My project explores the possibilities of shaping space using lightweight textile-based elements. The focus is on the transformation of surface patterns into three-dimensional forms, using analogue parametric design with laser-cut beds as a main testbed. The result is a smorgasbord of prototypes: spatial configurations that divide and define space. Each design is a permeable three-dimensional form that projects a unique pattern of shadow and light. The basis of my project comes from an initial investigation of Uppsala public libraries’ needs for flexible solutions. The libraries have housed many civic activities that I have experienced in recent years since moving to Uppsala in 2018. With their requirement of multiple types of use, I propose using fabric infrastructure as configurable room dividers. I use discarded textile (used carpets, fabric remnants) as the starting point for each prototype. The material itself imposes certain restrictions on the work. Each new piece of fabric acquired a problem waiting for a solution. In this sense, the finished prototype constitutes a solved puzzle. One key objective is to create designs that are flexible while still being robust enough to be portable. Another key objective is to create inviting and organic designs. While I used laser cutters to cut the fabric into precise patterns, I allowed gravity and light to create an imperfect and organic end-result. However, the outcome of my experimental exploration is a system and a technique for making use of discarded textile materials to create atmospheres and spaces.

The thesis paper Design takes place in our lives, naturally and sometimes invisibly, but how can we become alert to its impact on us? How can we as designers elaborate on our role in creating tools for people’s lives? A handmade metal wire toy I found in my parents’ house made me discover the world of mandalas; a Buddhistic symbol and a tool for spiritual enlightenment. Mandalas speak of the relation between us and the world and balance between body and mind. In my Master’s project, the act of playing is explored as a tool for altering perspectives on our physical environment. Inspired by the mandala, an alternative approach to functional form is visualized, connecting our bodies and minds in closer relation to a playful and imaginative state of being. By investigating our physical environment and encouraging interaction, new mantras for our everyday lives may be created. The design process Using the metal wire mandala as my starting point, I have explored spatial forms with possibilities in transformation. Different combinations of the same parts; half circles of bent metal wire which connected can move and therefore change the other shape of the construction, creates different kinds of space with more or less clear practical application. The ambition of this project has been to investigate the metal construction as foundation and frame for textile in and as architecture; building a whole space, as visual room dividers indoor or outdoor and as sun screen. The design is based on transformation and reuse of the same parts to build new forms. The textiles have been designed and produced with the metal construction as frame. The textiles are knitted with nylon thread, hand dyed and mounted onto the construction. The technique of partial knitting makes it possible to create the round shapes with an even elasticity in all directions, and an open centre for the next piece overlapping. When knitting, no waste material I generated since nothing is cut away after production. Using punch cards, patterns and structure is added to the surface. The need to create smaller spaces within a larger space is present in many places; indoors as well as out doors. The public environment in which we live, controls and shapes our lives. By creating more intimate sites, with the possibility for visual and mental rest, we can come closer one another and hold other types of conversations. This will create new patterns of behaviour; new mantras for everyday life. During the Konstfack Degree Exhibition 2013, I displayed one of the possible forms in full scale with textiles, along side a smaller size model of the same shape and one other possible shape with closer resemblance to the original wire toy. On site in the exhibition, visitors could meet and try the space in a real setting. / Thesis uppsats Formgivning sker i våra liv, naturligt och ibland osynligt, men hur kan vi bli uppmärksamma på dess inverkan på oss? Hur kan vi som formgivare utveckla vår roll i att skapa redskap för människors liv? En handgjord leksak av metalltråd som jag hittade i mitt föräldrahem fick mig att upptäcka mandalans värld – en buddistisk symbol och ett redskap för andlig upplysning. Mandalan vittnar om förhållandet mellan oss och världen och jämvikt mellan kropp och själ. I mitt masterarbete utforskas lekaktivitet som ett redskap för att ändra perspektiv på vår fysiska omgivning. Med inspiration från mandalan åskådliggörs en alternativ infallsvinkel på funktionell form som förenar våra kroppar och sinnen mer intimt med en lekfull och fantasifull tillvaro. Genom att undersöka vår fysiska omgivning och uppmuntra samspel kan vi skapa nya mantra för vardagen. Designprocessen Med leksaken av metalltråd som utgångspunkt, har jag utforskat rumsliga former med möjlighet till transformation. Olika kompositioner av samma byggstenar; halvcirklar av böjd metalltråd vilka sammanlänkade kan röra sig mot varandra och på så vis förändra den yttre formen, skapar olika typer av rumsligheter med mer eller mindre definierad praktisk användning. Projektets ambition har varit att utforska metallkonstruktionens möjligheter som stomme för textil i och som arkitektur; som skapande av hela rum, som visuella rumsavdelare inomhus eller utomhus samt som solskydd. Designen bygger på förvandling och återanvändning, där samma delar kan användas till att sätta samman nya former. De textila materialen har arbetats fram med metallkonstruktionen som utgångspunkt och ram. Textilierna är stickade i nylon, färgade och monterade i konstruktionen. Tekniken att delsticka på stickmaskin möjliggör att de runda formerna med jämn elasticitet åt alla håll, och ett hål lämnas i centrum för nästa överlappande del i den monterade konstruktionen. I stickningen skapas heller inget spillmaterial eftersom ingenting klipps bort efter tillverkningen. Med hjälp av hålkort integreras mönstringar och strukturer. Behovet av att skapa mindre rum i större rum finns många platser; inomhus såväl som utomhus. De offentliga platser vi rör oss på styr vårt beteende och formar våra liv. Med intimare mötesplatser och möjlighet till visuell och mental vila kan vi komma närmare varandra och föra andra typer av samtal vilket kan skapa nya mönster av beteende; nya mantran. Under Konstfacks vårutställning 2013, visades en av de möjliga formerna i fullskala med textilier, samt en mindre modell av denna samt en annan form med tydlig anknytning till mandala-leksakens ursprungliga form. På plats i utställningen kunde besökare pröva rummet i ett verkligt sammanhang.

Um tipo de composto têxtil, comumente chamado de membrana têxtil, tem sido empregado, nas últimas décadas, como parte de um sistema arquitetônico usado para a cobertura, fechamento e/ou proteção de espaços públicos e privados em vários países do mundo. O termo membrana está relacionado com o fato de o material permanecer tensionado e separar dois ambientes que se interagem. Essa solução arquitetônica é comumente conhecida como arquitetura têxtil, especialmente quando se trata de estruturas tensionadas; o termo é usado por muitos profissionais em todo mundo, apesar de não existir uma unanimidade de opiniões sobre os conceitos envolvidos na definição do termo e o que ele abrange. Na maior parte dos casos, as obras geradas são muito atraentes, práticas e funcionais, com características, formas e tamanhos diversos, dependendo da necessidade a ser atendida. Quando bem projetadas, integram-se perfeitamente ao ambiente por terem formas orgânicas e passarem uma imagem de leveza, fluidez e modernidade. São dois os tipos de membranas têxteis mais usados: 1) um grupo de membranas cujo tecido estruturante é um tecido de poliéster recoberto em ambos os lados por uma camada de cloreto de polivinila (PVC), e 2) um grupo de membranas feitas com tecidos de vidro recobertos com politetraflúoretileno (PTFE). O foco principal deste trabalho são as membranas de poliéster/PVC usadas para estruturas tensionadas. Os tecidos usados nessa gama estão enquadrados na categoria denominada tecidos técnicos, e são formados por fios compostos por filamentos de poliéster de alta tenacidade de diferentes tipos, gerando vários artigos com características técnicas distintas e, consequentemente, membranas com diversas especificações e comportamentos diferentes na aplicação final.Este estudo traz uma visão geral sobre o assunto no mundo e um panorama mais detalhado para o Brasil, abordando definições, termos usados, materiais, fornecedores, especificações, tipos de produtos e acabamentos, normas, reciclagem e meio ambiente. A beleza e modernidade são apontadas como as principais qualidades desse tipo de cobertura. As expectativas são de crescimento dessa aplicação para os próximos anos. Porém a falta de conhecimento e a complexidade técnica desse tipo de solução é um problema a ser solucionado para que melhores resultados sejam atingidos e ela possa realmente ser considerada uma solução viável e adequada para o país. / The type of textile compound, commonly called textile membrane, has been employed in recent decades, as part of an architectural system used for covering, closing and/or protection of publics and private spaces in many countries around the world. The term membrane is related to the fact that the material remains tensioned and separating two interacting environments. This architectural solution is commonly known as \' textile architecture \', especially when tensile structures are involved; this term is used by many professionals worldwide, although it do not exist a unanimity of opinions regarding the concepts involved in the definition of the term and what it encompasses. In most cases, the structures generated are very attractive, practical and functional, with different characteristics, different shapes and sizes, depending on the requirements to be met. When well designed, they will be seamlessly integrated with the environment by having organic forms, giving a feeling of lightness, fluidity and modernity. The two types of textile membranes commonly used are: 1) a group whose structuring material of the membrane is a polyester fabric coated, on both sides, with a layer of polyvinyl chloride (PVC), and 2) a group of membranes made with glass filament fabrics coated with polytetrafluoretilene (PTFE). The focus of this work is the polyester/PVC membranes used for tensile structures. The fabric used in this range is framed within the category named \'technical fabrics\', and are composed by different kinds of high tenacity yarns of polyester filaments, generating several articles with different technical characteristics and consequently, membranes with different specifications and different behaviors in the final application. The study provides an overview of the subject in the world and a panorama slightly more detailed for Brazil, covering definitions, terms, used materials, suppliers, specifications, product types and finishes, recycling and environment issues. The \' beauty \' and \' modernity \' are cited as the main qualities of this type of covering. There are expectations of growing of this application for coming years. But the lack of knowledge and the technical complexity of this kind of solution is a problem to be solved, so that best results can are achieved and it can really be considered a viable and appropriate solution for the country.

Um tipo de composto têxtil, comumente chamado de membrana têxtil, tem sido empregado, nas últimas décadas, como parte de um sistema arquitetônico usado para a cobertura, fechamento e/ou proteção de espaços públicos e privados em vários países do mundo. O termo membrana está relacionado com o fato de o material permanecer tensionado e separar dois ambientes que se interagem. Essa solução arquitetônica é comumente conhecida como arquitetura têxtil, especialmente quando se trata de estruturas tensionadas; o termo é usado por muitos profissionais em todo mundo, apesar de não existir uma unanimidade de opiniões sobre os conceitos envolvidos na definição do termo e o que ele abrange. Na maior parte dos casos, as obras geradas são muito atraentes, práticas e funcionais, com características, formas e tamanhos diversos, dependendo da necessidade a ser atendida. Quando bem projetadas, integram-se perfeitamente ao ambiente por terem formas orgânicas e passarem uma imagem de leveza, fluidez e modernidade. São dois os tipos de membranas têxteis mais usados: 1) um grupo de membranas cujo tecido estruturante é um tecido de poliéster recoberto em ambos os lados por uma camada de cloreto de polivinila (PVC), e 2) um grupo de membranas feitas com tecidos de vidro recobertos com politetraflúoretileno (PTFE). O foco principal deste trabalho são as membranas de poliéster/PVC usadas para estruturas tensionadas. Os tecidos usados nessa gama estão enquadrados na categoria denominada tecidos técnicos, e são formados por fios compostos por filamentos de poliéster de alta tenacidade de diferentes tipos, gerando vários artigos com características técnicas distintas e, consequentemente, membranas com diversas especificações e comportamentos diferentes na aplicação final.Este estudo traz uma visão geral sobre o assunto no mundo e um panorama mais detalhado para o Brasil, abordando definições, termos usados, materiais, fornecedores, especificações, tipos de produtos e acabamentos, normas, reciclagem e meio ambiente. A beleza e modernidade são apontadas como as principais qualidades desse tipo de cobertura. As expectativas são de crescimento dessa aplicação para os próximos anos. Porém a falta de conhecimento e a complexidade técnica desse tipo de solução é um problema a ser solucionado para que melhores resultados sejam atingidos e ela possa realmente ser considerada uma solução viável e adequada para o país. / The type of textile compound, commonly called textile membrane, has been employed in recent decades, as part of an architectural system used for covering, closing and/or protection of publics and private spaces in many countries around the world. The term membrane is related to the fact that the material remains tensioned and separating two interacting environments. This architectural solution is commonly known as \' textile architecture \', especially when tensile structures are involved; this term is used by many professionals worldwide, although it do not exist a unanimity of opinions regarding the concepts involved in the definition of the term and what it encompasses. In most cases, the structures generated are very attractive, practical and functional, with different characteristics, different shapes and sizes, depending on the requirements to be met. When well designed, they will be seamlessly integrated with the environment by having organic forms, giving a feeling of lightness, fluidity and modernity. The two types of textile membranes commonly used are: 1) a group whose structuring material of the membrane is a polyester fabric coated, on both sides, with a layer of polyvinyl chloride (PVC), and 2) a group of membranes made with glass filament fabrics coated with polytetrafluoretilene (PTFE). The focus of this work is the polyester/PVC membranes used for tensile structures. The fabric used in this range is framed within the category named \'technical fabrics\', and are composed by different kinds of high tenacity yarns of polyester filaments, generating several articles with different technical characteristics and consequently, membranes with different specifications and different behaviors in the final application. The study provides an overview of the subject in the world and a panorama slightly more detailed for Brazil, covering definitions, terms, used materials, suppliers, specifications, product types and finishes, recycling and environment issues. The \' beauty \' and \' modernity \' are cited as the main qualities of this type of covering. There are expectations of growing of this application for coming years. But the lack of knowledge and the technical complexity of this kind of solution is a problem to be solved, so that best results can are achieved and it can really be considered a viable and appropriate solution for the country.

A wall might appear as basic, a clean surface without an identity of its own, nothing but a clean slate upon which to leave any impression. Though the walls surrounding us are all but anonymous. They are built with a structure making them stand tall and strong. They are filled with insulation to keep us warm and sheltered. They are hard and they are soft. They can allow us to isolate ourselves from each other or they are fragile enough to let us know someone is on the other side. They cover the basic necessities of our houses, and we in return cover them to make our spaces less anonymous. There is softness hidden in your walls mainly aims to highlight the textile components of architecture which we usually never see. While we tend to view textiles mostly as decoration, they constantly perform in a lot of various ways all around us. In this project I have worked with prefabricated building materials that according to me have textile qualities, but they aren’t viewed as textile. Or I have tried to adapt textile techniques to non-textile materials to test them in new ways. The wall as the leading actor has first and foremost been used as a conversation partner for the material exploration and contextualization. The main material used is wool sheep insulation though many other materials have been put to the test throughout the process.

The word endogenic means growing or proceeding from within, it is commonly used to describe the process of tectonic movement and earth crust formation caused by the extrusion of magmatic material. My project is a metaphorical exploration of the geological term “endogenic process” as well as an exploration of a design approach based on the term.The work explores soft form-bearing structures and textile bodies that contrast in relation to the hard framework of the rectangular room. It touches on material hierarchies in the living environment and the field of spatial design. The research explores the relationship between interior bodies and spatial frameworks. It aims to highlight the importance of the subject within the framework of the rectangular space that divides the interior of most buildings. My work involves exploring the endogenic process as a way of relating to the creative process and through the use of soft structures and drapery creating furniture that engages people with the spatial framework of the rectangular room. It is an exploration of spatial furniture that constitutes a connection and physical involvement between bodies and space, a kind of furniture providing a multiplicity of possibilities.