Inwieweit verbinden uns Materialien, die uns umgeben mit den Orten von denen sie stammen? Wie verändern sich Landschaften und soziotechnische Infrastrukturen wenn Gebrauchsmaterialien in alternativen industriellen Symbiosen produziert werden? Und welche Rolle spielt die (karto)-grafische Dokumentation in ergebnisoffenen und transdisziplinären Forschungs- und Gestaltungsprozessen?

Indiana University-Purdue University Indianapolis (IUPUI) / Domain-specific models powered using domain-specific modeling languages are traditionally created manually by modelers. There exist model intelligence techniques, such as constraint solvers and model guidance, which alleviate challenges associated with manually creating models, however parts of the modeling process are still manual. Moreover, state-of-the-art model intelligence techniques are---in essence---reactive (i.e., invoked by the modeler). This thesis therefore provides two contributions to model-driven engineering research using domain-specific modeling language (DSML). First, it discusses how DSML semantic and constraint can enable proactive modeling, which is a form of model intelligence that foresees model transformations, automatically executes these model transformations, and prompts the modeler for assistance when necessary. Secondly, this thesis shows how we integrated proactive modeling into the Generic Modeling environment (GME). Our experience using proactive modeling shows that it can reduce modeling effort by both automatically generating required model elements, and by guiding modelers to select what actions should be executed on the model.

In times of crisis, what tools do planners and designers have to inspire a sense of well-being? How can we heal community through dialogue, recognizing the ongoing need for connection with or without a crisis? Are there ways to uncover unknown concerns and values in a community? The engagement approaches many planners and designers rely on do not typically aim to access these deeper questions in society. Surveys, public meetings and focus groups seek tangible results that target specific issues. They are often conducted out of context, taking the public out of the environment at issue to answer questions on a defined topic. What tools do professionals designing our urban environments have for discovering unknown issues in a more spontaneous and practice-based way in places where community exists? Through the Eudaimonic Tree Pilot I explored these questions, using the framework of eudaimonia to guide my process. The objective of my study began with my desire to inspire a sense of well-being, eudaimonia, in my community during a time of great loneliness and mental health decline due to the ongoing COVID-19 pandemic. This historic moment left many people feeling disconnected and hopeless, exacerbating a national trend that started well before COVID (Ammar et al., 2021). In response, I produced three installations using trees in the landscape to offer the public a means of expression. Each tree housed a different prompt rooted in eudaimonic sentiments and blank note cards for public response. Their messages hung from tree limbs and became an embodiment of the collective consciousness. This study of public engagement through participatory art unearthed profound implications for the planning and design fields. Some of the primary takeaways suggest that participatory art can catalyze community dialogue; spontaneity heightens co-creation; and highly co-created initiatives are likely to generate a eudaimonic effect. This process was led by results as they emerged, highlighting previously unknown resolutions and considerations. This heuristic, emergent methodology could be used more often by planning and design professionals as a means to perform design research that embraces the ephemeral and eudaimonic aspects of communities.

This thesis is a pilot study aimed at exploring how a chatbot can be designed to be used as a tool to give elderly classical music concert subscribers information about concerts they are attending. Previous works have indicated chatbots to be useful as information retrieval systems. To test this theory, a chatbot called “BerwaldBoten” was created and tested on eight elderly concert subscribers. Apart from testing the chatbot in everyday settings during a week leading up to a concert, the users also answered questionnaires before and after the study for qualitative data. Data from the chats was also collected for qualitative analysis. The results were generally positive, where most users found it easier to acquire concert information when using the chatbot. A need to provide the alternatives to interact using either quick reply buttons or free text was indicated. Furthermore, the importance of stating limitations and being transparent regarding the system state at all times is discussed. / Detta examensarbete är en pilotstudie med målet att utforska hur en chatbot kan designas för att användas av äldre konsertabonnenter av klassisk musik för att ge dem information om konserter. Tidigare forskning har visat på att chatbotar är användbara som informationshämtningsystem. För att testa denna teori skapades chatboten “BerwaldBoten” och testades på åtta äldre konsertabonnenter. Utöver att testa chatboten i vardagliga situationer under en vecka före en konsert fick användarna svara på frågeformulär före och efter studien för kvalitativ data. Data från chatkonversationerna samlades också in för kvalitativ analys. Resultaten var i överlag positiva, och en majoritet av användarna tyckte att det var enklare att erhålla information när de använde chatboten. Ett behov av att tillhandahålla alternativen att interagera antingen genom snabbsvarsknappar (quick reply buttons) eller fritext indikerades. Vidare diskuterades vikten av att förklara begränsningar och att alltid vara transparent om systemtillståndet.

The use of modern oral nicotine products (colloquially known as white snus or nicotine pouches) is increasing fast among youth and young women in Sweden. Due to aggressive marketing on social media, the colourful snus cans that contain nicotine pouches have become accessories that could be compared with lifestyle products (such as branded clothing, jewellery, or cosmetics). This collaborative design project aims to explore alternative approaches to education against modern nicotine products and to create a small-scale countermovement for the increasing white snus trend. During the project, we have used methods of human-centred design and visual communication in order to facilitate female snus users in reflecting on their own habits and rethinking the lifestyle around nicotine pouches. The project is done in collaboration with female university students who use white snus and two local tobacco control workers in the Region Kalmar län (Region Kalmar County).

This paper outlines a first-person engagement with energy systems and materiality and shows how somaesthetic design is one possible means by which we can cultivate and design for new ways of ethical being in relation to energy systems. The climate crisis does not afford a continued pace of our current technological design and development. There is a need to reframe our relationship to energy, particularly in a Western energy context, like Sweden, where we have plentiful access and no meaningful barriers to thoughtless use. Sustainable Interaction Design (SID) has attempted but fallen short of bringing forth meaningful interventions. This project argues that facilitating a new way of being in relation to energy will help us open an unexamined design space. Soma design is about designing ways of being in the world, but soma design as a method uses how we are in the world to find designerly ways of contributing to a transformational becoming. Through a deep engagement on the individual level, I did design work around energy system relations. Autobiographical design work revealed a trajectory of fatalism and extreme restriction to a slow loosening up – an opening into a more holistic relationship with energy. As the process unfolded, it became clear that sustainability is not a somaesthetic sensibility but that it can be appealed to via soma design methodology which reveals underlying notions and values that benefit sustainability. This contributed to a new understanding of how we relate to energy somatically and how we might tap into relational ethics in interaction design research and practice to encourage a felt sense for the materiality of energy. / Denna artikel skisserar ett förstapersonsengagemang med energisystem och materialitet och visar hur somaestetisk design är ett möjligt sätt genom vilket vi kan odla och designa för nya sätt att etiskt vara i relation till energisystem. Klimatkrisen har inte råd med en fortsatt takt i vår nuvarande tekniska design och utveckling. Det finns ett behov av att omformulera vårt förhållande till energi, särskilt i ett västerländskt energisammanhang, som Sverige, där vi har gott om tillgång och inga meningsfulla hinder för tanklös användning. Sustainable Interaction Design (SID) har försökt men misslyckats med att ta fram meningsfulla interventioner. Detta projekt argumenterar för att underlätta ett nytt sätt att vara i relation till energi kommer att hjälpa oss att öppna ett outforskat designutrymme. Soma design handlar om att designa sätt att vara i världen, men soma design som metod använder hur vi är i världen för att hitta designmässiga sätt att bidra till ett transformerande tillblivelse. Genom ett djupt engagemang på individnivå gjorde jag designarbete kring energisystemrelationer. Självbiografiskt designarbete avslöjade en bana av fatalism och extrem begränsning till en långsam uppluckring – en öppning till ett mer holistiskt förhållande till energi. Allt eftersom processen utvecklades blev det tydligt att hållbarhet inte är en somaestetisk känslighet utan att den kan tilltalas via soma designmetodik som avslöjar underliggande föreställningar och värderingar som gynnar hållbarhet. Detta bidrog till en ny förståelse för hur vi förhåller oss till energi somatiskt och hur vi kan utnyttja relationsetik i interaktionsdesignforskning och praktik för att uppmuntra en känsla för energins materialitet.

This licentiate thesis presents and discusses experimental explorations in search for new methods of form-thinking within the knitwear design process. The position of textile knitting techniques is somewhat ambiguous. This is because they are not only concerned with creating the textile material, but also with the form of the garment as these two are created in the same process. Consequently, the common perception of form and material as two separate design parameters can be questioned when it comes to knitting. Instead, we may view it as a design process that has a single design parameter; a design process in which the notion of form provides the conceptual foundation. Through conducting a series of design experiments using knitting and crochet techniques, the notion of form was explored from the perspective of the way in which we make a garment. The outcome of the experiments showed that there are possibilities for development of alternative working methods in knitwear design by viewing form in terms of topological invariants rather than as abstract geometrical silhouettes. If such a notion, i.e. a notion of a more concrete geometry, were to be implemented in the design process for knitwear, it would provide another link between action and expression that could deepen our understanding of the design potential of knitting techniques and provide the field with new expressions and gestalts.

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Where do beginner readers read in the English, mainstream primary school and where could they read? Emma Jane Dyer This thesis explores design for the beginner reader in Year One by evaluating existing spaces in the English primary school and imagining new ones. Three significant gaps identified in the literature of reading, the teaching of reading and school design are addressed: the impact of reading pedagogies, practices and routines on spatial arrangements for beginner readers inside and beyond the classroom; a theoretical understanding of the physical, bodily and sensory experience of the beginner reader; and the design of reading spaces by teaching staff. The study uses a design-oriented research methodology and framework proposed by Fällman. A designed artefact is a required outcome of the research: in this case, a child-sized, semi-enclosed book corner known as a nook. The research was organized in three phases. First, an initial design for the nook was created, based on multi-disciplinary, theoretical research about reading, school design and architecture. Secondly, empirical research using observation, pupil-led tours and interviews was undertaken in seven primary schools to determine the types of spaces where readers read: spaces that were often unsuitable for their needs. Thirdly, as a response to the findings of phases one and two, the nook was reconceived to offer a practical solution to poorly-designed furniture for reading in schools and to provoke further research about the ideal qualities of spaces for the beginner reader. The study demonstrates how the experience of the individual reader is affected by choices made about the national curriculum; by the size of schools and the spaces within them where readers can learn; by the design of classrooms by teachers; and by regulatory standards for teaching and non-teaching spaces. In developing a methodology that can stimulate and facilitate communication between architects, educators, policy-makers and readers, this thesis offers a valuable contribution to the ongoing challenge of improving school design for practitioners and pupils.