Licentiatuppsatser / Högskolan för design och konsthantverk (2012-2019)

Permanent URI for this collectionhttps://gupea-staging.ub.gu.se/handle/2077/37211

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    Adaptive Design for Circular Business Models in the Automotive Manufacturing Industry
    (2019-02-25) Nyström, Thomas
    The vision of a circular economy (CE) promises both profitability and eco-sustainability to industries, and can, from a material and energy resource flow perspective, be operationalized by combining three business and design strategies: closing loops; narrowing and slowing down resource flows by material recycling, improving resource efficiency; and by extending product life by reuse, upgrades and remanufacturing. These three strategies are straightforward ways for industries to radically reduce their use of virgin resources. From a product design perspective, it is doable. However, from a business perspective, it is no less than a revolution that is asked for, as most Original Equipment Manufacturers (OEMs) have, over time, designed their organizations for capturing value from selling goods in linear, flow-based business models. This thesis aims to contribute to the discourse about CE by exploring practical routes for operationalizing circular product design in a “stock-based” CBM. The approach is three-fold. Firstly, the role of design as a solution provider for existing business models is explored and illustrated by case studies and interviews from the automotive industry. Secondly, challenges and possibilities for manufacturing firms to embrace all three strategies for circularity are explored. Thirdly, implications for designing products suitable to stock-based CBMs are discussed. In spite of the vast interest in business model innovation, a circular economy, and how to design for a circular economy, there are still many practical, real-life barriers preventing adoption. This is especially true for designing products that combine all three of the circular strategies, and with regard to the risk of premature obsolescence of products owned by an OEM in a stock-based business model. Nevertheless, if products are designed to adapt to future needs and wants, business risks could be reduced. The main findings are that CE practices already have been implemented in some respects in the automotive industry, but those practices result in very low resource productivity. Substantial economic and material values are being lost due to the dominant business and design logic of keeping up resource flows into products sold. The primary challenge for incumbent OEMs is to manage, in parallel, both a process for circular business model innovation and a design process for future adaptable products.
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    I ritens rum - om mötet mellan tyg och människa
    (Göteborgs universitet, Högskolan för design och konsthantverk, 2016-01-27) Nordström, Birgitta; Göteborgs Slöjdförening, Röhsska museet/Göteborgs Stad
    The project In a Room of Rites – Cloth Meeting Human is an artistic research project on textiles, rites and death, where I create textile art in the form of a funeral pall (in the artwork: Kortedalakrönika (Kortedala Chronicle) and infant wrapping cloths (in the artwork: I sin linda/Wrapped in Cloth). The initial aim of the project is to explore what textiles can mean at farewells and in funeral rituals, as well as to reflect on the experiences I gain in my art making. Funeral textiles in the form of funeral palls is an old tradition that has gained renewed relevance during the last decade. Through my own work with funeral palls in recent years, ideas of new textiles within this context gradually emerged, one of these being a wrapping cloth intended for children who were stillborn, or who died during childbirth, and where I asked myself the questions: what should a wrapping cloth of this kind look like, and how should it be woven? By weaving, and reflecting on these questions, my practical knowledge of textile art-making grows and develops – in a context where an intertwining interaction takes place between human life and cloth. My exploring takes an inward direction towards an artistic act of doing, and takes a more outward direction by examining the textiles in their contexts – together with the people who use them – through an inquiry moving between material, room and action. The manufacturing of textiles through hand-weaving, collective making and industrial production, also creates possibilities for reflecting on other aspects of doing. Artistic processes and art works are described in greater depth, and in the form of a reflexive investigation in the first person, in order to present a background narrative to my experience. Reflecting, I discovered wrapping and covering to be two very central textile-related actions when someone dies. When cloth meets human in the covering or wrapping of the dead, the meeting that comes into being here is of an absolute nature, that is: a person dies and we cover his or her face. The cloth becomes a symbol of the separating process, as well as of the separating line or border. Wrapping can, however, be an action linking birth to death. We are born into textile material, into cloths – and leave, wrapped in cloths – whilst being accompanied by a gesture of an embracing nature. How the wrapping cloths that came into being are experienced when put into practice will be the next step.
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    Intermezzon i medieundervisningen. Gymnasieelevers visuella röster och subjektspositioneringar
    (Göteborgs universitet, 2014) Hellman, Annika; Högskolan för design och konsthantverk
    The starting point of this licentiate thesis is the attempt to make pupils´ perspective on school in general, and media education in particular available and visible. This is done by using a visual research strategy of video diaries, a cumulative method that draws upon students’ knowledge of video diaries from popular culture such as TV-shows. The aim of the study is to investigate which available subject positions are constructed by upper secondary students recording video diaries. Six students were asked to talk about media education in individually recorded diaries during one school year. The analysis demonstrates a wide range and variety of perspectives and subject positions. Some of the more or less fixed pupil positions, “the lazy art student”, “the ambitious girl student” and the “unmotivated boy student” are transgressed through time, and lines of flight opens up possibilities to become other. This occurs through the visual method of video diary that can be said to create a simulacra, a reality on it own terms, where privileged positions can be reversed (Deleuze, 1994/2004). The title Intermezzo refers to how video diaries became an interruption in the everyday school routine, a space in-between lessons in school, and in-between the world in school and life outside school. In conclusion, video diaries makes visible the rhizomatic and nomadic subject positioning and complex learning processes, which are intertwined with gender, affect, materiality, visual culture and informal learning. The thesis make visible the possibility to construct new sites for identity processes and subject positioning through affective and relational work with media and visual art.