<p>Rapporten behandlar framtagandet av en produktutvecklingsmetod för industriellt restmaterial. Studien har gjorts på uppdrag av Creatables som är ett projekt inom företaget KAAV AB.Creatables arbetar med att ta fram konsumentprodukter genom att ta tillvara och förädla restmaterial från industrin, därav deras slogan Made from Waste.</p><p>Dagens konsumtionssamhälle förbrukar mycket av jordens resurser och det krävs en effektivisering i utnyttjandet av dessa för att säkra tillgångar för framtida generationer. Creatables är ett ungt projekt med små resurser och således har syftet med examensarbetet varit att ta fram en ny produktutvecklingsmetod för Creatables anpassad till deras arbetssätt och storlek.</p><p>För att utreda uppgiften har arbetet delats in i två delar som sedan utvecklats parallellt med varandra. En produktutvecklingsmetod och ett flertal produkter av restmaterial har arbetets fram.</p><p>Litteraturstudier, intervjuer och studiebesök har genomförts för att bygga en grund för resultatet att stå på. Tidigare publicerade teorier om produktutveckling har studerats och informationen och resultaten från dessa har i kombination med produktutvecklingsarbetet använts för att ta fram en produktutvecklingsmetod som passar Creatables.</p><p>Resultatet är indelat i tre huvudområden. Första delen av resultatet är en vägledning till hur Creatables bör arbeta och tänka för att hitta relevanta företag. Därefter följer en utförlig beskrivning av den framtagna produktutvecklingsmetoden som har fått namnet The Creatables’ Way.</p><p>Fortsatt arbete bör bedrivas med att testa och utvärdera den framtagna produktutvecklingsmetoden med avsikt att jämföra den med Creatables arbetssätt idag för att sedan kombinera starka och svaga sidor från de båda.</p>

<p> </p><p>Anodisering är en ytbehandlingsteknik på frammarsch som ständigt bryter nya banor såväl inom industrin som hos den småskaliga utövaren. I den här uppsatsen ges en bild av hur en smyckesmed och en industri förhåller sig till ytbehandlingstekniken idag. Det är en jämförelse utifrån en historisk kontext om industrialiseringens framfart och samarbete branscherna emellan. Anodisering är en ytbehandlingsteknik som förstärker aluminiumet funktionellt och/eller estetiskt. Uppsatsen är av kvalitativ natur där material hämtats in för tolkning. Anskaffande av material har skett på ett kombinerat empiriskt och teoretiskt sätt.</p><p> </p>

<p>This bachelor’s degree thesis was conducted in mechanical engineering at Halmstad University during spring semester 2010 in close collaboration with the company Gremo AB, located in Ätran, Sweden. Gremo AB produces, developes and sales forest machines in both Sweden and on the international market.</p><p>Gremo AB belongs to one of the market leaders in forest industry, especially with their forwarder. In order to become a market leader even with their harvester, the company decided to change the harvester to have a swivel and a leveling driver cabin.</p><p>The aim with this bachelor’s degree thesis was to develop a design concept for the harvester driver cabin, which Gremo AB can apply on the new harvester. However, this bachelor’s degree thesis was limited to the outside design of the driver cabin. Further, the aim was to develop a smaller model in order to get a better feeling about the new driver cabin’s appearance.</p><p>By dint of different analysis we developed an edgy driver cabin with shared side posts and a lot of storage space on the outside. Additionally, there are options for more and adjustable lights, which was one of Gremos preferences. Also the inside storage space has become larger with better comfort for the driver. In case of underline our result we developed a smaller prototype.</p><p>The result of this thesis has been passed on to Gremo AB for further development.</p>

<p>Syftet var att undersöka möjligheten att utveckla ett nytt lättvikts material för användning som skrivbordsskivor. Detta eftersom  en utveckling av lättviktsskivor sparar kostnader för företaget i form av råvaror och transporter  men även samtidigt miljön. Då Edsbyverken har ett flertal produktserier Svanenmärkta har denna miljömärkning tagits i beaktning då materialen valts.  Analyser har gjorts av den svenska kontorsmöbelmarknaden och även undersökningar av material och tekniker anpassade för tillverkning av lättviktsskivor.  Provtryckningar genomfördes med den befintliga skrivbordsskivan som referens och de efter researchen framtagna testämnena jämfördes med denna.  Efter att två slutgiltiga skivförslag valts ut genomfördes slutligen en designfas på hur ett skrivbordsunderrede skulle kunna utformas för att spegla de egenskaper som en lättare skiva har.</p> / <p>The aim of the study was to investigate the possibility of developing a new lightweight material to use as desktop board. Reasons to develop lightweight panels are, saving cost to the company in form of raw materials and transportation, at the same time as it is an improvement for the environment. Since Edsbyverken have several product lines that are eco-labeled, this fact was taken into account when the materials were selected. Analyses of the Swedish office furniture market have been carried out, also studies of materials and techniques adapted for the production of lightweight boards. Pressure tests were carried out with the existing desktop board as reference to be compared with the test pieces. Two lightweight boards were selected, a design phase was carried out where desktop legs were designed to reflect the characteristics that a lighter desk possesses.</p>

<p>Abstract</p><p>The number of natural disasters are increasing. Disaster relief today is improving, but not enough.</p><p>The purpose of my graduation paper is to present a new solution to shelters. It’s important to remember the human, social and environmental aspects when designing a shelter for disaster relief. Each group within the population has to be able to use the shelter and benefit from it. You need to consider the different conditions whitin different countries, and I have chosen to direct my work towards Sri Lanka.</p><p>Based on my research I have been able to analyse the demad and needs of people affected by natural disasters.My solution to the problem is based on a plastic sheet. The plastic sheet is combined with cardboard plates which gives it structure and lasting. It’s able to use the plastic sheet in a different way than before. The sheet is able to fold into different shelters and it’s materials offers a possibility to develop it further in the future.</p> / <p>Sammanfattning:</p><p>Naturkatastroferna i världen ökar. Till följd av det krävs det att biståndshjälpen blir bättre. Ofta har nya lösningar till katastrofbostäder varit ineffektiva på olika sätt och inte fungerat i sitt syfte. Arkitekternas roll i att utveckla katastrofhantering har därför inte alltid varit uppskattad och självklar.</p><p>Syftet med mitt projekt är presentera en ny lösning till bostäder för katastrofområden. En bostad måste ha en enkel konstruktion för att bli effektiv, den skall helst vara lätt i vikt, samt enkel att tillverka och frakta så leveransen går snabbt. Det är viktigt när man arbetar med katastrofhantering att hjälpen inte blir felriktad. Det är också viktigt att man ser till att samtliga grupper ur befolkningen, även de svaga, kan nyttja den lösning som tillhandahålls.</p><p>Ett av de länder som förväntas drabbas av klimat-</p><p>förändringarna i framtiden är Sri Lanka. Jag har valt att rikta mitt projekt mot Sri Lanka för att presentera en lösning anpassad till visst områdes förutsättningar och krav.</p><p>Genom att analysera den litteratur jag läst i min research har jag gjort urval i mina skisser som svarar mot de krav som ställs på en katastrofbostad. Min valda lösning har jag sedan vidareutvecklat och förädlat. Idén grundas på en vanlig presenning. Min idé är att fästa plattor på presenningen för att ge den mer stadga än vad den har i dag. Ger man den mer stadga går den att använda till mer hållbara lösningar. Plattorna placeras så pass tätt på duken att det endast går att vika den åt ett håll. Försöker man vika den åt andra hållet tar plattorna mot varandra och det tar stopp. Genom detta håller konstruktionen uppe sig själv, förutsatt att materialen i duken inte är för tunga.</p>

No description available.

<p>Many design projects in industry require close collaboration between different actors in companies. Furthermore, due to globalisation and increased competition, companies have a growing need to quickly develop new innovative concepts and products. In this respect it is important to study how creative collaboration in design teams in the early phases of the design process may be stimulated and improved. The main objective of this thesis has been to develop models, tools and methods that stimulate and improve such collaboration. Factors involved in the staging for creative collaboration has been studied, and models, tools and methods have been developed. The empirical material was collected through in-depth interviews of company employees and design consultants. Furthermore, material was collected through action research in a new innovation course at NTNU in Trondheim and in 3 industrial cases. </p><p>Initially, three <i>conceptual models</i> are proposed and used as a background in the thesis.These models are visualised graphically. The first model proposes that the creative process is an ongoing cycle moving through order and chaos. The second model proposes that design is a creative activity in a dialectic tension. The third model, which is called the vision-based model, proposes that any product may be related to four levels of abstraction: the spiritual, the contextual, the principal and the material levels. All three models can function as tools for discussion and shared understanding in a team. In the innovation course the vision-based model functioned as a supporting tool for creative collaboration in the concept development process. </p><p>Further, the physical arrangement of space for creative collaboration in design teams has been studied. Two major concepts are proposed: <i>Flexible project space</i> and <i>activity zones</i>. The concept of activity zones, where different zones in the workspace are connected to different activities and modes of thinking, has been implemented in a specific case. The general conclusion is that conscious arrangement of space is one of the factors that may improve creative collaboration. </p><p>Results from the interviews show the need for a shared innovation level and focus in design team for good collaboration. It is concluded that participants in a team have different roles and perspectives and in this regard the concept of flexible role structure and the use of role-play are proposed for improving collaboration. The use of scenario play and mental visualisation exercises as tools in the concept development process have also been studied and tried out in courses and in specific industrial cases. The conclusion is that such exercises have both process and problem related effects and can help to improve creative collaboration in design teams.</p><p>Based on indicated limitations in existing methodology this thesis proposes finally, as the main contribution, a <i>vision-oriented</i> <i>methodology</i> for the early phases of the design process. It is divided into two stages: a vision-based and a specification-based stage. The vision-based stage has focus on user experience and applies visions, rather than specifications, as guidelines in the early phases of the concept development. Two types of visions are proposed in this stage: Goal visions and provocative visions. In the provocative visions elements of the goal visions are drawn to the extreme through fantasy scenarios. The methodology also integrates the physical arrangement of space and the use of scenario play, storytelling and mental visualisation exercises. It emphasises the extensive use of associative images and qualitative keywords. It also proposes the use of events, such as conceptual workshops and milestones, during the development process. Furthermore the methodology applies the vision-based model, with four levels of abstraction, as a supporting tool. Parts of the methodology (the vision-based stage) has been tried out and evaluated in the innovation course.</p><p>It is concluded that the methodology can help to improve creative collaboration in design teams, especially for projects that have a conceptual orientation and a focus on user experience. With an initial focus on visions it is argued that a design team may more easily create a shared understanding. Furthermore, with the active integration of</p><p>play and work with visions the methodology seems to be more process oriented, motivating and engaging than traditional methodology. It also integrates the active use of the body and senses and helps to avoid initial mental fixation to existing solutions. It is emphasised that it is important that the methodology is adapted to the specific company setting.</p>

Many design projects in industry require close collaboration between different actors in companies. Furthermore, due to globalisation and increased competition, companies have a growing need to quickly develop new innovative concepts and products. In this respect it is important to study how creative collaboration in design teams in the early phases of the design process may be stimulated and improved. The main objective of this thesis has been to develop models, tools and methods that stimulate and improve such collaboration. Factors involved in the staging for creative collaboration has been studied, and models, tools and methods have been developed. The empirical material was collected through in-depth interviews of company employees and design consultants. Furthermore, material was collected through action research in a new innovation course at NTNU in Trondheim and in 3 industrial cases. Initially, three conceptual models are proposed and used as a background in the thesis.These models are visualised graphically. The first model proposes that the creative process is an ongoing cycle moving through order and chaos. The second model proposes that design is a creative activity in a dialectic tension. The third model, which is called the vision-based model, proposes that any product may be related to four levels of abstraction: the spiritual, the contextual, the principal and the material levels. All three models can function as tools for discussion and shared understanding in a team. In the innovation course the vision-based model functioned as a supporting tool for creative collaboration in the concept development process. Further, the physical arrangement of space for creative collaboration in design teams has been studied. Two major concepts are proposed: Flexible project space and activity zones. The concept of activity zones, where different zones in the workspace are connected to different activities and modes of thinking, has been implemented in a specific case. The general conclusion is that conscious arrangement of space is one of the factors that may improve creative collaboration. Results from the interviews show the need for a shared innovation level and focus in design team for good collaboration. It is concluded that participants in a team have different roles and perspectives and in this regard the concept of flexible role structure and the use of role-play are proposed for improving collaboration. The use of scenario play and mental visualisation exercises as tools in the concept development process have also been studied and tried out in courses and in specific industrial cases. The conclusion is that such exercises have both process and problem related effects and can help to improve creative collaboration in design teams. Based on indicated limitations in existing methodology this thesis proposes finally, as the main contribution, a vision-oriented methodology for the early phases of the design process. It is divided into two stages: a vision-based and a specification-based stage. The vision-based stage has focus on user experience and applies visions, rather than specifications, as guidelines in the early phases of the concept development. Two types of visions are proposed in this stage: Goal visions and provocative visions. In the provocative visions elements of the goal visions are drawn to the extreme through fantasy scenarios. The methodology also integrates the physical arrangement of space and the use of scenario play, storytelling and mental visualisation exercises. It emphasises the extensive use of associative images and qualitative keywords. It also proposes the use of events, such as conceptual workshops and milestones, during the development process. Furthermore the methodology applies the vision-based model, with four levels of abstraction, as a supporting tool. Parts of the methodology (the vision-based stage) has been tried out and evaluated in the innovation course. It is concluded that the methodology can help to improve creative collaboration in design teams, especially for projects that have a conceptual orientation and a focus on user experience. With an initial focus on visions it is argued that a design team may more easily create a shared understanding. Furthermore, with the active integration of play and work with visions the methodology seems to be more process oriented, motivating and engaging than traditional methodology. It also integrates the active use of the body and senses and helps to avoid initial mental fixation to existing solutions. It is emphasised that it is important that the methodology is adapted to the specific company setting.

Sammanfattning På uppdrag av förlaget Adastra läromedel AB har jag gjort om en övningsbok i svenska. Den är utformad med nya bilder och layout efter målgruppens (åk 5) önskemål och efterfrågningar. Dessa har tagits reda på med hjälp av utprovningar i form av fokusgrupper och intervjuer. Rapporten innehåller även två lärares syn på bilden i läromedel, och slutligen en presentation av materialet jag utformat.

Abstract The number of natural disasters are increasing. Disaster relief today is improving, but not enough. The purpose of my graduation paper is to present a new solution to shelters. It’s important to remember the human, social and environmental aspects when designing a shelter for disaster relief. Each group within the population has to be able to use the shelter and benefit from it. You need to consider the different conditions whitin different countries, and I have chosen to direct my work towards Sri Lanka. Based on my research I have been able to analyse the demad and needs of people affected by natural disasters.My solution to the problem is based on a plastic sheet. The plastic sheet is combined with cardboard plates which gives it structure and lasting. It’s able to use the plastic sheet in a different way than before. The sheet is able to fold into different shelters and it’s materials offers a possibility to develop it further in the future. / Sammanfattning: Naturkatastroferna i världen ökar. Till följd av det krävs det att biståndshjälpen blir bättre. Ofta har nya lösningar till katastrofbostäder varit ineffektiva på olika sätt och inte fungerat i sitt syfte. Arkitekternas roll i att utveckla katastrofhantering har därför inte alltid varit uppskattad och självklar. Syftet med mitt projekt är presentera en ny lösning till bostäder för katastrofområden. En bostad måste ha en enkel konstruktion för att bli effektiv, den skall helst vara lätt i vikt, samt enkel att tillverka och frakta så leveransen går snabbt. Det är viktigt när man arbetar med katastrofhantering att hjälpen inte blir felriktad. Det är också viktigt att man ser till att samtliga grupper ur befolkningen, även de svaga, kan nyttja den lösning som tillhandahålls. Ett av de länder som förväntas drabbas av klimat- förändringarna i framtiden är Sri Lanka. Jag har valt att rikta mitt projekt mot Sri Lanka för att presentera en lösning anpassad till visst områdes förutsättningar och krav. Genom att analysera den litteratur jag läst i min research har jag gjort urval i mina skisser som svarar mot de krav som ställs på en katastrofbostad. Min valda lösning har jag sedan vidareutvecklat och förädlat. Idén grundas på en vanlig presenning. Min idé är att fästa plattor på presenningen för att ge den mer stadga än vad den har i dag. Ger man den mer stadga går den att använda till mer hållbara lösningar. Plattorna placeras så pass tätt på duken att det endast går att vika den åt ett håll. Försöker man vika den åt andra hållet tar plattorna mot varandra och det tar stopp. Genom detta håller konstruktionen uppe sig själv, förutsatt att materialen i duken inte är för tunga.