Masteruppsatser HDK (2012-2019)
Permanent URI for this collectionhttps://gupea-staging.ub.gu.se/handle/2077/31649
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Item The Strategic Importance of Reframing(2020-09-27) Herzog, Pablo Vinícius; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkSoftware industry has been expanding and spreading its influence over a huge number of products and services. Parallel to that, the industry as a whole has been more exposed to challenges complicated enough to be faced with simple solutions. Due to its very dynamic nature, based on technological advances, software companies are perhaps one of the most exposed group, creating issues, internal and external, that were not present some time ago. Meanwhile, design has been more recognized as strategic, and for possessing sets of tools and methods to deal differently with problems in comparison to, for example, traditional managers. One of these practices is ‘reframing’. Hence, this study aimed to investigate how strategic design may contribute with organizational challenges faced by software companies through the use of reframing. Based on an initial challenge received, a qualitative study inspired by ethnographic methods was conducted, and then Kees Dorst’ Frame Creation Model was applied over the findings. The initial challenge was then reframed into a process that should be embraced by the company, instead of generating a single solution. It was concluded that reframing and the Frame Creation Model can be valuable for solving organizational challenge, as much as it is for social challenges, the main area of application of the model. Also, some insights about how designers can act strategically within software companies are revealed (for instance, being a ‘bridge’ between businesspeople and developers), together with findings about the behavior of the organization. This can serve as inspiration for other companies with similar issues, spreading the possibilities for designers to perform in this field, both as practitioners and as researchers.Item Sounds of Rain(2019-10-24) Fanny, Skröder; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkThis project is about creating a sonic experience using rain as a sound component in park environments in Gothenburg. I wanted to take advantage of the rain since a third part of the year in Gothenburg consists of rainy days. For many in the Western world, where rain is not scarce, the cold and wet rain is viewed as a negative thing. And when it comes to the qualities of rainy days, the contrasts are often mentioned 1 , like when you’re sitting indoors with a cup of tea, hearing the rain tapping outdoors on the roof or window. But when you’re actually outside during the rainy days, how can you then make it a more pleasant experience? During this project, I’ve been examined different techniques of water and rain sound installations, with a focus on Eastasian gardens, where most of the water sound installations have its origin. I’ve also been looking into different percussion music instruments that can be activated by the rain, in order to create a musical experience from the rain. From these investigations, I’ve developed a design proposal for a small scale rain pavilion where people can have a pause outdoors, protected from the rain and listening how the raindrops are meeting different surfaces and creating different compositions according to the amount of rainfall. I’ve been using video as a documentation tool to catch soundscapes and reactions to the sound tests and a full-scale mock-up of the rain pavilion that I’ve been exhibiting in Vasaparken in Gothenburg. My findings have been the relation of the acoustics of different shapes and materials in relation to falling waterdrops. My aim is that this rain pavilion will be non-site specific, so it can be produced and placed in more parks or other public spaces where you can enhance a rain shelter experience, like bus stops or attached to streetlights for example.Item Du skadade min arm(2019-09-06) Ridderstolpe, Karin; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Swarming abstractions(2019-07-30) Lopez Diaz, Larry; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkMy exam is about the research, modifying and experimenting with an algorithm that shows alternative representations of a pre-defined structure. Through the algorithm we can find shapes that could have been omitted otherwise due personal experience. My argument is that very simple models can be generated at an early stage of the design process to explore different alternatives that can be developed in parallel trough most part of the design process. I explored the possibility of producing raw representations that can shift the way we categorize information thus stimulating creative thinking and encouraging an iterative design practice.Item The invocation of X(2019-07-15) Bothén, Klara; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverk“The Invocation of X” takes its beginning in a narrative about domestic textile handicrafts in a historical perspective. This is in turn connected to other stories: handicrafts as a political strategy, secret societies, and the shared matrix of textile and digital structures. The main intention of this work has been to investigate how textile handicrafts can be used in order to negotiate and transgress discursive borders: for example, the ideological division between domestic and public space. The whole project is filtered through an old sampler book, a collection of images and ornaments in cross stitch. This book is used throughout the process to formulate questions around its imagery, specifically focusing on how this visual grammar has historically been part of a textile language - a way of communication that has been superseded by the written and printed word. The cross stitch sign system is therefore, here, perceived as a hidden code. The notion of hidden information is also present in the narrative on a larger scale: how the cultural history of textile work has not always been regarded as an important key to understand our shared past. Another intention of doing this project has been to find material based work methods for processing historical facts, in order to shed new light on them in a contemporary craft and art context. This has been done through studying and articulating the similiarities between house work and textile work, textile and digital, home and publicity. This knowledge has then been fed into a practical research process based in cross stitch embroidery. The coded cross stitch images have been manipulated digitally, and the small stitches magnified into pixels in large scale patchworks. The material result is an installation comprised of five large flags, a table, an embroidery hoop, a collection of books and a documentation sampler. On a personal level, this work process has led to a deeper understanding of how to integrate theory with practice, a stronger self-reliance in my way of working with objects and installations, and new ideas of possible continuations of this work that will follow me for a long time.Item Hole(2018-08-16) Vallgren, Sanna; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkI mitt arbete har jag utgått ifrån mina tankar om att vara kropp, om rädslor och känslor kring sjukdom och kroppens förfall. Det söker sig mot de inre upplevelserna, tankarna, känslorna och kanske nånstans också det undermedvetna. Ett försök att fånga ett diffust tillstånd av att pendla mellan realism och fantasi. För mig handlar det om den abstrakta, overkliga och kanske till och med lite skrämmande sinnesstämning man kan hamna i när man försöker greppa en svår situation. En destruktiv cirkel av ältande, förnekelse och verklighetsflykt. Vi har alla våra sätt att hantera, eller processa det som skrämmer oss i att existera. Fantasin får vara mitt sätt. Genom mina smycken vill jag spegla kroppen som en abstrakt, ospecificerad form mot de påtryckningar, spänningar och den utsatthet det innebär att vara kropp i det omgivande samhället. Objekten blir som ett skal av någonting som varit, som det tomrum som blev kvar. Eller ett skydd mellan mig och verkligheten. Ett filter, en fantasi. Som en del av kropp men är den mänsklig? Kan jag få formerna att se ut som om de växer in i varandra och rör sig? Jag tar ut former i aluminium, relaterade till fragment och silhuetter av kroppens insida. Först bearbetar jag materialet med borren. Små små hål får täcka ytan, eller lösa upp den. Jag använder ett trasigt borr, det skapas som en krater runt hålet. Det bildas en ny yta. Som knottrig hud, ett membran eller organ som släpper igenom någonting eller som andas. Hur mycket material kan jag ta bort? Kan jag få håligheten att tala om nedbrytningen av kroppen, förgängligheten, men samtidigt locka till egna (undermedvetna) associationer? Aluminium är ett material jag arbetat i tidigare, det är smidigt att forma och bearbeta men framförallt är det så lätt att jag kan välja att arbeta stort i förhållande till kroppen. Det känns viktigt att gå upp i skala för att ge uttryck för de känslor jag vill jobba med. Ju fler hål, ju mer material jag tar bort desto mer abstrakt blir vikten.Item Untouchable, monumental and intimate: on feminized mysticism and occult weaving(2018-08-16) Larsson, Hanna; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkI work with weaving as an alchemical formula, a thought experiment and a ritual gesture. I am driven by a presence of great sensitivity and tactile sensibility. For me weaving is ambivalent, ambiguous, intense and serious. Through the process I use different voices, mime them, translate them and repeat. Every step of weaving and its preparations are repetitive. For me the repetition is ritual, a hymn said over and over, which eventually is expanding beyond the weave and me. This project revolves around the connection between weaving and spiritual séances, with starting-point in a study of four female mystics: Helena Blavatsky, Annie Besant, Mechthild von Magdeburg and Hilma af Klint. With weaving as method, I want to put attention to affective, emotional and bodily forms of mysticism that through history has been associated with women. What can we learn from the mystics in questions about sensuality, embodiment, perception and knowledge? I want to manifest a feminist perspective on materiality and sensuality based on the methods of these mystics. How can I use weaving as a practice rather than a citation of mystics’ practices? The result consists of an installation of copper and silk weavings in a spiral construction, and this text material in which I aim to present a correlation of the different voices I want to activate through this project.Item Berättelser från skogsbrynet(2018-08-16) Espmark, Klara; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkBerättelser från skogsbrynet har sin utgångspunkt i den berättartradition som finns i min släkt och i hur denna tradition är förankrad i skogen, samt i mina egna erfarenheter av att befinna mig det sammanhang som den skapar. Jag bär på ett arv av berättelser. I min familj har historier och myter förts vidare genom generationer och även jag har fått dem till mig genom hela mitt liv. De här berättelserna har uppstått på och är knutna till en specifik plats som är omgiven av stora vidsträckta skogar. Här lever man i, med och av skogen. Naturen är ständigt närvarande i berättelserna och får där en nästan mytisk karaktär, befolkas och levandegörs. Berättartraditionen har uppstått i skogens närhet, och även i mitt arbete har skogen varit närvarande under en tid. Där har skogen blivit metafor för en inre plats, ett ordlöst undanglidande tillstånd som jag inte riktigt har kunnat greppa betydelsen av. Skogen är för mig en symbol för något på samma gång välbekant och hotfullt, ett gränsland som jag är intresserad av att befinna mig i och som jag hela tiden återkommer till. Jag tänker på skogsbrynet som en representation av det där gränslandet. Där möts det vilda och det tämjda, det som jag känner till och som är tryggt, och det som jag inte ännu vet något om, det främmande. Berättelserna hör kanske också hemma där i skogsbrynet, i gränslandet mellan verklighet och fiktion. För att ge mig själv en avgränsning och och en utgångspunkt för arbetet valde jag att utgå ifrån tre objekt - kotten, tallen och stenen - som symboliserar den berättartradition som jag bär med mig och som samtidigt är konkreta representationer av skogen. De är laddade med historier eller finns med som mytologiska inslag i berättelserna, och får på så vis både en symbolisk och en konkret betydelse för mig. Dessa symboler blev ett sätt att knyta ihop och tydliggöra det jag var intresserad av att arbeta kring i examensarbetet. De utgjorde ett ramverk som blev min startpunkt och något att falla tillbaka på under arbetets gång. Jag har förhållit mig fritt till den här utgångspunkten och låtit dessa tings/symbolers betydelse skifta genom arbetet och anta olika roller i de olika verken. Arbetet har resulterat i tre textila verk - två broderier och ett skulpturalt objekt. Jag har haft olika ingångar och förhållningssätt i alla de tre verken och tar från det här arbetet med mig en fördjupad förståelse för mina arbetsmetoder, min tematik och för textilens berättande egenskaper. Genom det textila materialets språklighet gör jag mig själv till ett led i kedjan av berättare. Jag närmar mig det arv jag bär på och försöker att skildra glimtar av det, men istället för med ord så gör jag gör det med stygn efter stygn, genom sammanfogning, lager av tyg och långa ringlande trådar.Item Samtal i trä(2018-08-16) Lindholm, Sanna; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkIn this text you will follow the work and methods I used in my MA project Wooden talks, safe terrain and tangled situations. Wooden talks is a installation of abstract shapes in meeting with figurative ones. Through the material and with the lathe as my main tool, I have followed the work and through arrangement investigated the exchange of information and what meaning that arises in the meeting between forms. I call the installation a staging to emphasize the importance of activity and changeability. It is a concept that illustrates important parts both in the making and in the experience of the work. Such as perception, meaning, feeling and sense. Imagination, appearance, the direct and present. On the stage, the forms appear and occur in relationship to each other out of a process based on a playful strategy that opposes one single sentence.Item Glitch, Bow, Bliss(2017-10-18) Dynebrink, Ellen; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Twisted Biota(2017-10-18) Cody, Victoria; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Vem har tiden?(2017-10-18) Hultsborn, Tina; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Blodsband(2017-10-18) Bille, Amalia; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Memory Box(2017-10-18) Bankeström, Sofia; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Ett då i oss nu(2017-10-18) Svensson, Sofi; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Försök ti sov nu(2017-10-18) Sundblom, Maja; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkItem Play with conventions(2017-08-30) Wei, Ying-yu; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkThe purpose of this project is to interpret Ming chair through story telling concept. The narrative is based on my personal travel experiences, in particular how I spontaneously encounter with people from other culture and share different viewpoints on conventions. By Setting a start point on a Chinese historical artefact, I am interested in taking Ming chair out of the traditional box and develop it into a contemporary version. With various design method application, my goal is to present a chair with playful form language inspired from Ming chair.Item Changing paradigms(2017-08-30) Fernandez, Vanessa; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkThis work explores new ways of working with CNC (Computer Numerical Control) machines within the field of arts, crafts and design, specifically in relation to woodworking, to increase possibilities of creation according to the current times and resources. The concept behind this work sets its position against systems of power and absolute control, which in a variety of forms numb societies, and diminish capacity of doing and freedom of expression by not showing alternative ways of action. The ultimate objective is to raise awareness about this condition, hoping to increase sense of empowerment in the audience, boosting their courage to take action and change realities for better.Item INSITU(2017-08-30) Velthuijzen, Marie-Louise; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkDuring years of change in taste, material exploration and context shifts we have forgotten some archetypes of furniture that were once part of our homes. This project is an investigation in how to use history as inspiration for designing new pieces of furniture. It examines what we have forgotten and why. By learning from the predecessors of the forgotten archetypes I hope to have created a piece that will last and gets the change to age gracefully from generation to generation without disappearing.Item Iterated Window - Experiencing the In-between and Informing the Practise of Business and Design(2016-12-02) Hookway, Samantha; Nyblom, Mia; University of Gothenburg/HDK - School of Design and Crafts; Göteborgs universitet/HDK - Högskolan för design och konsthantverkOur research begins with understanding human experience and continues to inquire on, what we refer to, as the iterated window metaphor that frames the in-between to inform the practice of business design. Our exploration first attempts to understand human experience by exploring how humans perceive and inform their experience through the philosophies of Pragmatism and Hermeneutics. Then, through a method of action research, we tested a set of assumptions that built an understanding of the research question: how might the in-between inform designers to enable embodied meaning in an experience at an organization. Along our journey, we found that the term in-between is defined as a physical state of in-between, where one stands in the middle and it is the phase of a transition in understanding. This transition of understanding, or interpretation becoming meaning, starts in the present and transitions from one’s past experience to a new understanding. As researchers, we personally are situated in the in-between as we are between our two different human experiences that have led us to this collaboration, the two fields of business and design, academia and the organization, and our stakeholders of Microwave and Packet Core at Ericsson Site Lindholmen. Specifically, the aim of this research is testing the use of the in-between (metaphorically, philosophically and literally) in creating design criteria for an Experience Center at Site Lindholmen. Our process inquires through a documentation of a spectrum of events and experiences, both inside and outside Ericsson. The aesthetic events proved to inform how meaning is interpreted, or misinterpreted. The Ericsson events informed the communication of the organization, but also included the practice of working with our stakeholders. This co-creation required a collective sense-making dialogue and using designerly methods, such as externalization and visualization. Hence, embodying the in-between throughout this research we found and understood the importance of the process: doing, reflecting, framing and iterating. As practitioners of business design we realized through this research that the in-between informs the practice as our proposed notion of the in-between stance. The in-between stance is an active balancing act that navigates uncertainty and finds peaceful moments of understanding. Applying the in-between stance when designing an intended experience with other humans at an organization, enables embodied meaning.