A reflection on the costume design process for the theatrical production of Taylor Mac’s The Lily's Revenge: A Flowergory Manifold, with book and lyrics by Taylor Mac and music by Rachelle Garniez. The production was directed by Jen Onopa. Performed at the Fine Arts Center, University of Massachusetts Amherst, April 20th to April 29th, 2018. The Lily’s Revenge is a piece of queer durational theater that tells the story of a Lily who falls in love with a bride and goes on a journey to become a man, so she can marry her. Along the way she faces challenges that force her to evaluate who she is and what love is. Taylor Mac uses multiple theatrical structures, establishing expectations and disrupting them while simultaneously disrupting heteronormative societal expectations. The audience is challenged to consider alternative possibilities for what constitutes happiness in our society, to open their minds to different possibilities of love. At once epic and intimate, ridiculous and real, this is a play rife with contradiction and possibility. I reflect on the challenges posed by this production, from the ethical considerations of representing the LGBTQ community on stage as a heterosexual cis-gendered woman, to the logistical challenges that accompany a four-hour long piece of theater with five acts set in unique settings and theatrical modes. I walk through the design process from the early research phase to the final design decisions. I examine the collaboration between myself and my team, how their input helped shape the designs. I explore the production process and my experience in guiding this massive show through the costume shop. I reflect on how I have grown through this experience—my work on this production has been exemplary of my time at UMass in that I have grown both as an artist and as a person. Art is a way of exploring the world and our relationship to it, of thinking about and questioning who we are as people, how we relate to other people, how we can make change in both regards. There is always something to learn about yourself through each production.

There is a gap in scientific knowledge regarding designing functional parts that may not fail, and this project came to define these parts as critical structures. The proposed design process is called the Additive Design Process for Critical Structure, which synthesizes required activities found in the literature review necessary to produce theoretically safe design structures. Although this proposed design process does not meet the requirements of a safe design as intended and must be further studied before the proposed design process can be adapted. The project’s ambition was to integrate the design’s safety with value components, referred to as elements/activities/tools/processes that could contribute to innovation and value creation, to exploit the advantages of additive manufacturing in the design process. The research conducted in this project adapted and applied Design Research Methodology (DRM), written by Blessing & Chakrabarti (2009). Two main research questions were studied that lay a foundation for this thesis, presented below. The project combined quantitative and qualitative research methods to generate the necessary knowledge and then apply/test the derived knowledge to answer these research questions. RQ1: What activities can this project identify to synthesize an additive design process in constructing critical structures for Additive Manufacturing (AM)? RQ2: What are the possible value components to include in the additive design process that would contribute to innovation concerning lead time, weight, and mass customization? The results show that the proposed design process, Additive Design Process for Critical Structured, did not meet the theoretical safe design. However, the findings still suggest that the required activities to achieve a safe design are by introducing defined and explicit protective measurements in the design process. The protective measurement parameters identified in this project were safety factors and Finite Element Analysis (FEA); the question of why the design process does not meet the requirements of producing a theoretical safe design is unknown today and needs further study. Concerning the second RQ, the results showed that Generative Design (GD) was this project's most innovative value component. Adapting GD contributed to shortening the product development time, liberating the design engineer to explore a bolder concept, reducing weight, and allowing the design engineers to generate mass customization. Keywords: Design for Additive Manufacturing, Design Process, Generative Design, Method, Critical Structures, Safety factor.

This thesis explores the intersection of Artificial Intelligence (AI) and User Experience (UX)design, aiming to leverage AI capabilities to enhance the overall user experience designprocess. The research included user interviews, data collection, and the usage of AI toolsto enhance efficiency. The collaboration with a company provided insightful informationand directed the research toward investigating AI capabilities in UX design. The studyclarifies the advantages of AI design tools, their impact on the UX design procedure, and thepossibility of further developments. It ends by introducing the AIUX app concept, whichprovides a streamlined and collaborative approach to UX design. The results highlightthe significance of a balanced approach, where AI enhances rather than replaces humancreativity and invention. As AI technology develops quickly and is increasingly included indesign tools, this thesis offers a starting point for further study.

Jordens medeltemperatur har stigit med över en grad sedan 1800-talets andra hälft. Stora företag i framförallt industrier har stor inverkan på utsläppen och kan göra betydande skillnad. Design har blivit ett konkurrenskraftigt verktyg för företag att använda och det har därför blivit allt viktigare att arbeta med hållbar design. De senaste åren har det ökat i betydelse att skydda vår planet och därför måste produkter på marknaden ligga i framkant av hållbar design för att kunna konkurrera. I och med att företagen har stor inverkan så ligger ett ansvar på dem för att det ska ske någon betydande förändring för att EU ska uppnå klimatneutralitet innan år 2050. För att detta ska ske så har EU- kommissionen tagit fram en förordning kallad EU:s Taxonomi med två kompletterande akter som är ett klassificeringssystem med 6 stycken miljömål inom olika sektorer. Taxonomin syftar till att göra det enklare att göra satsningar som främjar övergången till en mer hållbar verksamhet och säkerställer att det finns tydliga kriterier för vad som klassas som en hållbar investering. Denna rapport ligger till grund för ett examensarbete på kandidatnivå inom Teknisk Design i kurs D0024A. Detta kommer att utföras under 10 veckor som motsvarar 15 högskolepoäng under handledning från Luleå Tekniska Universitet. I denna rapport presenteras ett arbete som hur designprocessen påverkas av EU Taxonomins förhållningssätt och hur det påverkar slutprodukten. För att göra detta har metoden autobiografisk studie används genom ett tidigare genomfört projekt. Där gås varje fas i designprocessen igenom steg för steg för att sedan avslutas med en reflektion baserat på mina tankar om vika beslut som hade kunnat göras annorlunda eller intressanta aspekter. Designprocessen är en komplicerad process som behöver jobba på ett iterativt sätt så att man alltid går tillbaka till startpunkten för att se att målen och behoven uppfylls. Genom att ha avstämningspunkter längst vägen ger det processen tillfällen att identifiera grunderna till de besluten som tagit längst vägen. / The Earth's average temperature has increased more than one degree since the second half of the 18th century. Large companies in above all manufacturing industries have a big impact on emissions and can make a considerable difference. Design has become a competitive tool for companies to use and it has therefore become increasingly important to work with sustainable design. In recent years, the importance of protecting our planet has increased and therefore products on the market must be at the forefront of sustainable design in order to compete. As the companies have a large impact, there is a responsibility on them to ensure that there is some change in order for the EU to achieve climate neutrality by the year 2050. In order for this to happen, the EU- Commission has produced a regulation called the EU:s Taxonomy with two supplementary acts which is a classification system with 6 environmental targets in different sectors. The taxonomy aims to make it easier to make investments that promote the transition to a more sustainable business and ensures that there are clear criteria for what is classified as a sustainable investment. This report is the basis for a bachelor's degree project in Technical Design in course D0024A. This will be carried out over 10 weeks, which corresponds to 15 credits, under supervision from Luleå University of Technology. In this report, work is presented as how the design process is affected by the EU Taxonomy's approach and how it affects the final product. To do this, the autobiographical study method has been used through a previously completed project. There, each phase of the design process is reviewed step by step and then ends with a reflection based on my thoughts about folding decisions that could have been made differently or interesting aspects. The design process is a complicated process that needs to work in an iterative way so that you always go back to the starting point to see that the goals and needs are fulfilled. By having checkpoints along the way, it gives the process opportunities to identify the basis for the decisions taken along the way.

Due to the increased popularity of greener products (green implies being more sustainable) and more businesses involved in greener markets, the phenomenon of greenwashing has expanded. This is problematic because actors trying to design, manufacture and sell products with a high sustainability content are then forced to compete with actors that deal with artificial sustainability. When trying to market products with a high sustainability index, customers require strong arguments regarding how sustainability has been dealt with within the design process. These need to be grounded in reality and be transparent. One identified research gap is the limited knowledge on how to design and manufacture consumer products in an environmentally and climate friendly way and at the same time attract consumers. The purpose of the study is to problematize sustainable design and consumption and develop a model for a sustainability integrated design process.  First, a literature review was conducted to gain a theoretical overview of the concepts mentioned earlier but also to build a theoretical point of reference. To further explore the concepts, an empirical case study was conducted using Verk, a Swedish furniture company as a case company in order to deepen and complement the gathered theory. The results of the literature study and the case study were then compiled into four identified sustainability factors that affect the creation of novel artefacts which were then sorted through Cross’s (2008) four stage design process model consisting of exploration, generation, evaluation and communication. These four stages were then integrated into a two layered sustainable design process in order to draw conclusions on how a sustainability integrated design process can be modelled.  The developed model was named “2-4 sustainable design process model” because of the two decision processes in each of the four stages of the design process. The model was validated by using the model in a design process where a table was designed. The table corresponds well with the four sustainability factors which shows that the sustainability factors successfully can be integrated within a design process and deliver a product with a high sustainability value. The implications of conducting this type of research is to show how a scientifically derived sustainable design process can be modelled and executed. The method contribution of this study is of scientific interest within design science, due to the scarcity of sustainable design process models with a rigid sustainability dimension. There is also a practical contribution when the developed model gives guidance for industrial designers on how to design in a way that seamlessly deals with sustainability in all the stages of the design process. Further there is a probability that the developed model also can be used in design teaching on how to design in a sustainable way, due to its prescriptive logic.

This thesis investigates the efficacy of integrating prototyping methodologies and robust design principles at the initial stages of the design workflow to optimize resource utilization. This acquired knowledge is applied in the development process of an industrial parts feeding machine. The aim of this machine is to present fasteners in a defined orientation in a controlled manner after receiving them in an unordered manner. This project encompasses extensive phases of research, analysis, brainstorming and prototyping, including a classification of the different prototypes like sketches, CAD models, multibody simulations and physical prototypes. A subsequent analysis is carried out and a viable production-ready solution is proposed. Additionally, an economical analysis is performed, valuable conclusions are extracted from the process and future work is defined. / Denna avhandling undersöker effektiviteten av att integrera prototypmetoder och robusta designprinciper i de inledande stadierna av designarbetsflödet för att optimera resursutnyttjandet. Denna förvärvade kunskap tillämpas i utvecklingsprocessen av en industriell maskin för matning av delar. Syftet med denna maskin är att presentera fästelement i en definierad orientering på ett kontrollerat sätt efter att ha mottagit dem på ett oordnat sätt. Detta projekt omfattar omfattande faser av forskning, analys, brainstorming och prototyper, inklusive en klassificering av de olika prototyperna som skisser, CAD-modeller, multikroppssimuleringar och fysiska prototyper. En efterföljande analys genomförs och en hållbar produktionsklar lösning föreslås. Dessutom görs en ekonomisk analys, värdefulla slutsatser extraheras från processen och framtida arbete definieras.

Designing the elements of a theatrical production is a unique and often experimental process. This process changes from show to show, and it can be difficult for a viewer to differentiate mistakes from design choices without a background in lighting. That is why it is important to take a look at the design process step by step. Two goals I strove for when designing Savage In Limbo were, how the director's concept blended with a design and if the integrity of the designer's vision was evident on stage. To explore these goals, script analysis and consideration of the director's vision are two very important processes. Additionally, an exploration of the design process will better describe the growth and personal achievements of the design. This thesis will show the process of the lighting design for The University of Central Florida's 2011 production of John Patrick Shanley's Savage In Limbo. The project will highlight the design achievements and the goals explained previously, and create a formal dialogue on this specific design in order to provide insight into the process. When analyzing the design it was important that I assessed the process as well as the product by looking at whether the design met the expectations of the script and audience. This thesis will also explore how my past experiences, education and current skill level have prepared me for this design process in order to create a guideline for others interested in the development of knowledge needed for design.

Additive manufacturing is becoming more popular as a construction technique for various design fields. 3D Concrete Printing is one type of additive manufacturing in which layers of concrete are stacked on top of each other by pushing concrete through a nozzle onto a printing bed. These layers create three-dimensional solid objects from a digital file. 3D Concrete Printing promises to be extremely beneficial for design flexibility, cost, time, safety, environmental impact, and error reduction. This study explores the potential of 3D Concrete Printing technology in landscape architecture by exploring current research, case studies, expert interviews, and design prototype documentation. The study results indicate that 3D Concrete Printing technology has great potential for future use; however, there are also some challenges. Analysis of the responses aims to provide a basis for understanding the technology's performance, design process, and the potential of the 3DCP in landscape architecture design.

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