In my thesis I have investigated how to design a comfortable seating furniture for public spaces, so that it can be produced and used in a sustainable way. This is particularly important in environments where furniture is worn at a high rate, and where repair is currently not prioritized and furniture is left to decay. In the project, I have worked site-specifically with Stockholm City Library, but designed with the idea that it can fit in several different environments. This degree project presents a proposal on how companies and municipalities can switch to a more circular way of using furniture. The design proposal presented is an alternative to an upholstered armchair. Bind is designed to be produced and used in a sustainable way, so that it can have a long and dignified life and contribute to a circular economy.

In a future vision for rail travel, trains will be designed as an activity-based whole space, with different areas for various activities, such as relaxing, socialising or family bonding. My degree project, in collaboration with SJ, proposes a concept carriage dedicated to work, analogous to spending a day at a mobile coworking space. By recognising the new ways of working, this carriage will cater for the needs of different individuals and various types of work and will include private digital meeting spaces, group compartments, collaborative open spaces and cocoon-like seating options in quiet areas. Unlike other modes of transportation, trains allow for passengers to navigate and experience different spaces. By enhancing the use of space and incorporating amenities that improve the user experience, I aim to transform the perception of long train journeys from tedious to exciting and allow a more seamless and efficient way of getting work done while travelling. Ultimately, this degree project encourages sustainable travel through user-centred design. 

Imagine how much we are missing. So many people's artistry, stories, knowledge, soundscapes that are not given space in our world.

In Sweden, two out of ten songwriters (Sveriges Radio 2022) and three out of ten employees in the tech industry (Statistiska Centralbyrån 2020) are women. What do the sounds we haven't yet heard sound like? Unheard Sound wants to let the unheard sounds be heard.

In this project, I have explored how women, non-binary and trans people can be invited to participate in the electronic music scene to make the music and tech industry more equal. The project has resulted in a hardware synth that aims to challenge current norms about how a synth should be designed. A focus on technology places the power of the sound in the hands of the user. 

The design process has been driven by interviews with women working in the music industry and workshops with a primary school and an LGBTQ+ youth center.

Haptica is an artistic research project in the field of aesthetics that explores practical and theoretical connections between haptic attributes of the hand (making), nose, mouth and throat (tasting) and body (inner presence). The project aims to interlace aesthetic reasoning from sculpture and design to culinary art that emphasises active exploration and intentional form- and taste- giving processes. Haptic perception engages sensory experiences mediated through skin and kinaesthetic system.

The project started with researching how air flows through space and is perceived by subtle sensory receptors under our skin and hair follicles, proceeding to tactile touch of material and grasping of material and instruments used in the creative making and performative process. It then shifted the practical and theoretical models from external space and physical materials to internal airflow through breathing, smelling and tasting that connects with soma aesthetics and reflection through inner presence. The project is a collaboration with Mischa Billing and Annika Göran Rodell, Campus Grythyttan at the School of Hospitality, Culinary Arts and Meal Science, Örebro University.

This book aims to strengthen an understanding of the sculptural possibilities of form and space through developing a taxonomy and structure that recognizes and gives priority to the 3-dimensional perception of form and space. It is written so as to apply to both the active process of shaping 3-D form and space and analyzing any existing visual situation. Teaching in the Department of Industrial Design (ID) at Konstfack has given me great opportunities to further develop and document this visual study program. Using clay and paper models the students creatively question the "established terminology" and develop solutions that strengthen and/or add new concepts to the program.

The foundation of this language is derived from the inspiring courses conducted by professor Rowena Reed at Pratt Institute in New York City and also in private Soho classes. Rowena Reed´s method of visual analysis taught her students to "think with their eyes" and to translate an inner vision into concrete experiences. Her challenging way of teaching combined creative exploration with an analytical search for the "Principles of visual relationships".The last pages of this book are dedicated to summarizing her background, philosophy, and educational vision. Moreover, in order to gain a historical perspective, a map is included that outlines the relevant art movements in the beginning of this century and some of the major events in the early work of Rowena Reed and her husband Alexander Kostellow. The Russian constructivist movement is the point of origin for the artistic tendencies and formal language developed by Reed and Kostellow and further developed in this book by Akner Koler.

Our topic concerns how to conduct practice-based research between and within three aesthetic disciplines: sculptor, professional taster, and performative artist. We continue to work with the material and experiences developed during the 3-year VR-funded HAPTICA research project. Our plan is to actualise a few practical situations that show how we gained both a deeper aesthetic knowledge within our own artistic disciplines and grew more sensitive and knowledgeable about the challenges faced in the other disciplines. The overall topic has been to expand the field of aesthetics by including the proximity senses: tactile, haptic, smell, taste, and movement by conducting artistic research in haptic.

New design methods for educating designers are needed to adapt the attributes of haptic interaction to fit the embodied experience of the users. This paper presents educationally framed aesthetic sensitizing labs: 1) a material-lab exploring the tactile and haptic structures of materials, 2) a vibrotactile-lab exploring actuators directly on the body and 3) a combined materials- and vibrotactile-lab embedded in materials. These labs were integrated in a design course that supports a non-linear design process for embodied explorative and experimental activities that feed into an emerging gestalt. A co-design process was developed in collaboration with researchers and users who developed positioning and communications systems for people with deafblindness. Conclusion: the labs helped to discern attributes of haptic interactions which supported designing scenarios and prototypes showing novel ways to understand and shape haptic interaction.

Hard preppers and soft Values

Survival of the fittest.

Who is prepared for a crisis, and who will survive? What type of knowledge is needed to survive in todays society?

When I received the folder ”If Crisis or War Comes” from MSB (Swedish Civil Contingencies Agency) I felt a shiver of individualistic expectations to provide and protect yourself in a society where you can’t trust the community. This project is an attempt to challenge the camouflage green violent aesthetics disguised in a highly multifunctional pocketknife. An attempt to challenge who will survive.

This is a project about discussing survival from a class and norm perspective thought aesthetics. Discussed in parts as prepping in food and water prepping and defense. All of them in a technique and aesthetics that provokes the topic and challenge the individualism of todays prepping system.

How do care and authority relate to each other, and why is the relation between them important to understand for architects and designers?

By experimental modelling and experimental thinking this project tries to understand how the caring for different matters in the design process affect the results and consequences of care. The text draws parallells to early aviation pioneers and how a shifted focus from sheer power to manoeuvrability served them their success. 

Through the development of a curious wood treatment technique, and through it’s imagined applications to homes, mainly in large scale housing projects, this project searches eagerly for answers on matters related to care, authority, responsibility, a reasonable degree of rationality, standardisation, the role of the architect and the role of the designer.

Projektet "Dryckeskärl i glas för individer med greppsvårigheter" - som jag sammanfattar i denna rapport - är uppbyggd i ett antal teman, vilka är, Traditionellt glashantverk, co-design och gestaltning.

Mitt arbete grundar sig i att en stor del av de produkter ämnade för individer med greppsvårigheter idag, är enligt mig själv ofta tillverkade i motbjudande material som plast och silikon. Formerna på somliga hjälpmedelsartiklar kan ibland förmedla barnslighet eller att individen är fångad i sin “funktionsnedsättning” och därmed är i behov extra hjälp. Enligt mig själv och många andra har material och form stor betydelse för upplevelsen av dryck.

Detta projekt är utfört i glas, dels för att det är sällan används i denna produktkategori, dels betraktas glas i de flesta kulturer som något rent, vackert och exklusivt. Mina förhoppningar är att designförslagen i detta projekt kan medverka både i funktion såsom förbättrad självkänsla hos mina intressenter.

Vi människor kommer antagligen alltid att behöva artefakter för attleva på den här planeten. Nu omger vi oss kanske av fler föremål ännågonsin men på samma gång har vi mindre kontakt till vart, huroch av vem dessa artefakter är gjorda. I mitt projekt försöker jagkomma närmare materialet trä och dess ursprung, genom praktisktarbete vill jag belysa fördelar med en lokalt förankrad produktion avvardagsföremål.Jag har samarbetat med ett småskaligt sågverk nära Stockholm,därifrån kommer det mesta av materialet till projektet. Ambitionenär att visa på alternativa mindre system när det kommer tillproduktion av vardagsföremål samt att formge föremål av lokalaresurser för det lokala närområdet.

I en tid där möjligheten till att ständigt vara aktiv och där acceleration är lättare än motsatsen har jag valt att jobba med konceptet paus, tiden mellan aktiviteter, den stund då det inte handlar om att prestera eller att avancera. En övergripande fråga jag ställt är vad det är vi behöver paus ifrån och vad gör vi när vi tar paus. Jag har valt att jobba med kontoret som rumslig kontext, denna högborg för effektivitet och aktivitet. Jag har i mitt projekt skapat objekt som syftar till att främja närvaro och fokus på nuet. Jag vill med mitt projekt belysa vikten av att vara ledig och att vara närvarande vid ledighet. Jag har utforskat ämnet genom intervjuer och research inom psykologi och meditation.

This talk addresses the use of the ecological notion of response diversity (Elmqvist Et al. 2003) as a frame to develop coupled natural-artificial systems. It does so through the practice of design, making explicit the type of performativity that design proposals could enact by devising complementary responses designed to support the life of specific beings in specific ecosystems. The talk elaborates upon examples from the project Dispersal machines, part of my postdoctoral research entitled Symbiotic tactics and financed by the Swedish Research Council (2013-2016). Dispersal machines proposes two complementary artificial systems that attempt to minimise the damages by a moth (Spodoptera frugiperda) on crops (corn and soy predominantly) in the agroecosystems of Córdoba, Argentina. The proposals attempt to biologically control this species by interventions that disseminate and/or host species that predate or parasitize the moth at different stages of its life cycle: a diurnal response, based on the dissemination of parasitized eggs of the moth by a tiny wasp (Telenomus remus), as well as a nocturnal response, based on the placement of bat refuges that feed on the adult moth.

In this paper I present a design project developed in Córdoba, Argentina, entitled ‘Spices-Species’. Through this case study, I discuss the possibility of designing using two decolonial strategies —"objectivity (or truth) in parenthesis" and " being where one does and thinks"— that can lead to delinking, on a micropolitical scale, from colonial social patterns as well as reconnecting humans with natural processes and beings to which they are detached by means of devices. The paper suggests that these decolonial strategies, combined with the performance of designed artefacts may help to acknowledge not only human diversity, but also the multiple and diverse nonhuman beings that conform and participate in different localities.

The presentation “Responding through design” addresses the use of the ecological notion of response diversity (Elmqvist Et al. 2003) as a frame to develop naturecultures. It does so by focusing on the practice of design, making explicit the type of performativity that design proposals could enact by devising complementary responses designed to support the life of specific beings in specific ecosystems. The talk elaborates upon examples from the project Dispersal machines, part of my postdoctoral research entitled Symbiotic tactics and financed by the Swedish Research Council (2013-2016). Dispersal machines proposes two complementary artificial systems that attempt to minimise the damages by a moth (Spodoptera frugiperda) on crops (corn and soy predominantly) in the agroecosystems of Córdoba, Argentina. The proposals attempt to biologically control this species by interventions that disseminate and/or host species that predate or parasitize the moth at different stages of its life cycle: a diurnal response, based on the dissemination of parasitized eggs of the moth by a tiny wasp (Telenomus remus), as well as a nocturnal response, based on the placement of bat refuges that feed on the adult moth.

Interspecies care demands response-ability (Haraway 2016); the challenges being the development of a practice of design tuned to respond dynamically to multi-scalar phenomena and multi-species abilities. Addressing the “semiotics of hybrid natures”, the presentation reflects upon “abilities to respond” and the notion of semethic interaction (Hoffmeyer 2008) as it relates to the more general semiotic term, semiosphere. With this context in mind, it addresses pattern-making through design, co-evolutionary possibilities, and the human capacity to respond through design, and design as a form of response. 

This essay commemorates the 30^th anniversary of the publication of Félix Guattari’s The Three Ecologies. It does so by proposing a ‘diffractive’ reading of the book, suggesting latent potential in each of the overlapping “ecologies” that conformed the ecosophysketched by Guattari. 

There are mainly two aspects of The Three Ecologies addressed in this essay. Firstly, the understanding of the general frame of the interrelation of the three ecologies as an “intersectional” approach. Secondly, the understanding of this form of intersectionality as a possible platform to acknowledge other-than-human ‘intersections’. Through the essay I exemplify with one of my own design projects to help situating the claims and the questions raised. Finally, I propose a multimodal explorative framework of the three ecologies to explicitly articulate human and other-than-human beings inter and intra-relatedness. 

Det här projektet handlar om att få igång tankar kring hur den svenska medelklassen behandlar sina tillhörigheter. Vi, Siri Bahlenberg och Sofia Bergfeldt, vill frammana situationer där föremål används på ett passande sätt utifrån sin tänkta livslängd. Med hjälp av form och material vill vi skapa ett lekfullt och symboliskt exempel på hur livslängden kan uppfattas i olika bruksföremål.

/ˈfluːɪd/ is a project that explores the retail part of the fashion world. By creating an inclusive shopping experience, this project aims to escape the binary world of clothing stores. Working with second-hand pieces, the goal is not to create new garments, but to give everyone access to the full spectrum of clothes. In that way, /ˈfluːɪd/ aspires to provide a safe place which inspires self-expression and stimulates individuality as well as a sense of togetherness.

Fluidity being the core concept, the proposal addresses different matters, such as gender, size and audacity. To implement gender fluidity, there will not be any gender categorization, but the clothes will be sorted by colors only. Getting rid of the existing labels and producing a new flexible size chart will initiate a personalized experience and harmonize the systems between the different brands. Designing /ˈfluːɪd/ is designing both an experience and a physical space, to provide a place which encourages anyone to express themself in public.

Purpose – This paper brings new material to the understanding of interlinkages between motivation, learning and performance in academic contexts. By investigating these interlinkages in a new context – students of business and management at a Swedish university college – it seeks to answer the following research questions: How do students’ degree and type of motivation relate to their learning strategies?; how do students’ degree and type of motivation and learning strategies relate to their academic success?; and how do student characteristics in terms of experience and gender influence the nature and strength of these relationships?

Research methodology – The data used in this paper is based on student surveys and a centralised system of reporting and archiving academic results. The latter contains information on the academic performance of individual students, whereas the surveys gathered information on the students’ background characteristics (experience and gender), their motivation for pursuing academic studies and their learning strategies. The difference in proportion tests and OLS regressions were then applied to investigate differences between student groups and relationships between the different variables.

Findings – The findings reveal that business students are more extrinsically than intrinsically motivated; that deep learning approaches lead to higher grades for particular examination forms, and that female students are typically more intrinsically motivated, engage more in deep learning approaches and perform better than their male counterparts.

Practical implications – The findings suggest that practitioners in higher education involved with the business and/or university college students have good reasons to stimulate motivation generally, and intrinsic motivation in particular. However, this must be accompanied by examination forms that promote deep learning.

Originality/Value – In contrast to most research, this paper focuses on the interlinkages between motivation, learning and performance among business students in a university college setting. This contrasts most research on this topic which tends to be focused on university students, particularly in the US, in other fields of study or accounting. Moreover, this paper also takes student characteristics into account and uses a variety of measures to operationalise academic performance. Copyright © 2019 Bengtsson & Teleman. Published by VGTU Press

Mitt projekt handlar om att visa på ett alternativt sätt att tänka när vi designar elektronikprodukter. Det handlar om att designa för att hitta tid för vila och återhämtning. I en kultur som är besatt av effektivitet prioriteras ofta tiden för reflektion bort. Vi skapar ny teknik för att allt i samhället ska bli smidigare och gå snabbare. Jag har tittat närmare på elektronikprodukter vi har runt oss i vardagen, på deras estetik och användning. Jag har valt ut en produkt från den kategori; luftfuktaren. En produkt vars syfte är att portionera ut fukt till luften för att ge en bättre atmosfär. Jag kommer ge luftfuktaren nya värden utöver det rent praktiska den redan har idag. 

Hur skulle en luftfuktare se ut och användas ifall den inte bara skänker fysisk återhämtning utan även gav mental återhämtning?

I projektet arbetar jag med luftfuktarens mist som material. Med dess estetiska kvalitéer och rörelse vill jag skapa en upplevelse som förhoppningsvis kan ge betraktaren en stund av vila.

The need for humanity to lessen its impact on the ecologies we’re a part of is becoming increasingly clear.  While there are many technically advanced solutions in the makings, one of the most straightforward ones is to simply use the objects we surround ourselves with longer. We can make them more durable and repairable but what happens when the needs of the user changes? How can we really know what needs the future will bring?

I’m searching for a design approach that embraces this unknown. A process where the designer doesn’t have to be the enlightened figure that knows everything in advance. Because if we accept the complexity of the social and ecological reality where our objects end up, we never can be. I want to make objects that can grow and change with the user. A fertile soil for future needs.

I’ve used the design process of three different objects to develop these thoughts. 

An open ended loom for the weaver Vega Määttä Siltberg, a table made with designer Julie Amira that is disassemblable without tools, and lastly a piece of furniture that changes function without moving parts.

The goal of this project is not to produce a solution to a specific problem or to create an object that communicates an idea as well as possible. Rather it’s the reverse. By the process of designing and building I’ve been able to explore the questions that my project is composed of. The thoughts expressed here come from this experience. 

This paper covers the process of designing the SNOW Kit, an addition designed to fit Cake bikes model Ösa. The aim of the project is to explore the advantages of light weight electric bikes in winter conditions. This is done by proposing a concept vehicle designed for use in snow. To enable driving in on-rode and off-rode terrain in rural areas.

The design proposal suggests an additional kit that transforms the electrical bike into a snow mobile. The design is adjusted to fit the design language of the company as well as creating a functional and comfortable vehicle.

“The Self: Towards A Method for Queering death” is an identity testament, a speculative method for designing the space of your own funeral before you die. It is a format to create a fair memorial of a person’s identity that does not feel welcome or fits in the current formats of burial ceremonies we have in Sweden today, usually connected to Christianity or other religious traditions. Even the secular burial traditions of Sweden today have a very clear traditional format and aesthetic that can be intimidating to a lot of members of society. “The Self” is also a method to relegate the power of narrative to whom it belongs.  “The Self “is executed through this thesis, a sacred document, a spatial installation and a film, showing a possible scenario of a burial ceremony as a result of the method of the identity testament.

This thesis demonstrates and problematizes the secular burial traditions in Sweden and how the common rituals are still based on the norms of Christianity, heteronormativity and traditional values, and why this is oppressing a lot of individuals in society. It does so by using a speculative method of an identity testament, which gives every human the right to own the narrative about their persona and who they were to the afterlife. It also problematizes the hierarchies and norms in society of what “family” means, and how consanguinity is valued by state and law. The term “queer” or “queering” is used in multiple ways, both as an adjective (being queer, a queer community, a queer sexual identity) but also as a verb or an adverb, as in the method used by the Queer Death Studies Network. The content of this thesis consists of texts, pictures, research in form of written sources and interviews, queer theory, descriptive design methods and descriptions of a sculptural exploration and spatial installation as well as a motion picture. The thesis asks and answers questions such as: How could a new type of burial ceremony - based on our secular beliefs in contemporary Sweden – look, feel and be arranged to be more connected to what we can relate as religion today? Is it possible to create an organized system to collect information about a person´s identity to be used as a formal ground to create a fair burial ceremony after the person’s death?

The analysis focuses upon speculative ideas about what could happen if every person had a right to state a will for their intangible possessions and assets as well as their physical ones. The thesis also goes through multiple examples of cases of queer deaths where there have been strong needs to arrange an alternative funeral to feel safe and comfortable. Finally, the thesis reflects upon how this method could be used and if it really could be applied to society, and if so, who would be able to use it?

In this thesis i describe proposals designed to give remaining species a temporary haven until their natural habitat is reestablished. 

Designing for decay is about alternative methods for nature conservation, about us working with the forest not against it. Methods based on decaying wood and the reintroduction of fungi into the young boreal forest. Looking at the planetary boundaries as summarized by Stockholm resilience center biosphere integrity is one of the areas where the anthropogenic factors has made the largest impact. 

Jag vill med mitt projekt undersöka på vilka sätt en produkt kan vara fördelaktigt både för slutanvändaren och för platsen där vi bryter/skördar materialet. Under arbetet vill jag också arbeta med både havet och människan som intressenter.

“Maternity care needs to be comprised of emotional support and reassuring nursing practices, even more so than it does today.”

This quotation, from the book Trygg förlossning (2017), has been a big influence in my degree project. Today, it is regarded as safe to give birth in Sweden with maternal and child mortality being amongst the lowest in the world. Despite this, many suffer from a fear of childbirth.

Studies from Socialstyrelsen, amongst others, show that a back-lying position during childbirth is disadvantageous for the mother and child. If the mother moves and has an upright position, the perceived pain may decrease as the release of endorphins increases. Despite this, most people continue use a back-lying position during childbirth.

There is obviously a gap between medical knowledge and childbirth practice. Therefore, I have investigated existing aids in maternity care, many of which are not developed for childbirth, but borrowed from other healthcare departments.

I have developed a design proposal that will encourage an upright childbirth position for a safer delivery.

We experience an urgent climate crisis that shakes our whole existence and calls for change. The field of industrial design education has expanded over the past decades towards a new language of speculative design projects, aiming to influence industry and address unsustainable manufacturing. How designers typically use their capacities for change, is shown in the discursive qualities of proposed solutions. Within the current educational context, not given a commercial brief, new methods arise. This international design master's course aims to find better future product concepts that nudge sustainable ways of living. How they initiate and prototype these product ideas, is through design fiction and co-creation, conceptualizing and proposing solutions to essential problems and needs. By the use of prototypes, designers can bring essential future solutions into the present. This paper outlines how the new ‘Anticipative Co-creation Method’ emerged. As the foresighted concepts intend to address the negative trends in overconsumption and unsustainable lifestyle, the designs for the far future function as inspirational future versions of the relevant suggestions for today. Through interpersonal anticipatory engagement, concepts grow out of the design fiction. In a dialog with each other students verbalize scenarios and through co-creation concepts become ‘real’ as different videos were created. We have observed that the students build empathy for each other through co-creative activities within the method of anticipation. If we want a thriving future, we need to act now. The design profession has never been more essential in building and critically assessing design futures literacies. 

Havet - allt som lever på jorden behöver havet.

Havet är källan, där liv skapades. Vi människor

är inget undantag. Men vi har skapat ett

ohållbart beroende till havet. Det tar upp en

fjärdedel av all den koldioxid vi människor

producerar, och näst intill all värme alstrad av

växthuseffekten. På ytan ser kanske havet ut

att må bra. Men i själen mår det dåligt.

Hur kan design ändra vår attityd gentemot

havet?

Vad händer om vi bryter ytan mellan havet och

människan? Hur skulle produkter, i en värld vår

vi ger havet och dess invånare den respekt de

förtjänar, se ut? Om vi skulle leva med och inte

av havet?

Mitt arbete utspelar sig i ett scenario där vi har

förstått vårt behov av havet och där vi värnar

om det. Där havet har en framstående roll och

människan visar det respekt. För att beskriva

det scenariot presenterar jag fiskredskap –

redskap som gynnar fiskens liv och miljö. Detta

genom att anspela på aktiviteten av att håva

och meta och men med redskap vars grundläggande

funktion är vänd från att ta en fisks

liv till att istället ge den förutsättningar för ett

friskare liv.

Det här är ett projekt vars syfte har varit att designa ett enkelt och instruerande slipverkytg för skidåkare. Ett multiverktyg som har allt du behöver för att slipa dina skidor hemma eller on-the-go. Det har varit en användarbaserad arbetsprocess och filtrerats under genomgående användarundersökningar för att designa mot den verkliga användaren. 

Slutresultatet har blivit ett slipverktyg som jag valt att kalla för Pre Ski. Den har allt du behöver för att vårda dina stålkanter; du byter enkelt mellan en fil som gör den vass, diamantbryne för polering och en plastkantborttagare som tar bort plast från sidoväggen. Ergonomiskt handtag som ger stabilitet och bra grepp. Pre Ski används med belaget mot dig vilket möjliggör flera användningspositioner; stående, sittandes, i backen, på fjällstugans golv eller kanske mot en arbetsbänk. Ett slipverktyg designat för alla skidåkare, och även snowboarders. 

The purpose of this work has been to explore if objects can strengthen communication between psychologists and children in therapy. Can objects together with tactility as a tool help us to find and put words to feelings and episodes in our lives? I have explored this by interviewing three psychologists on several occasions who work with children. I have planned and implemented a three-day workshop with four children in the age of 7. Working in 3D as a method of sketching and testing has been an important part of the process.The work resulted in a tactile material consisting of 18 objects that have different material qualities. During tests the material has been helpful in order tostart conversation and getting help describing emotions. My hope is that this material will continued to be tested and developed.

I projektet .To Be Continued undersöker och visar jag exempel på hur jag som blivande industridesigner kan underlätta materialåtervinningen av elektroniska produkter. Plast som material står i fokus i projektet . Den övergripande idén är att utveckla och formge exemplen på smarta metoder och lösningar för sammansättning och nedmontering av elektroniska produkter.

Det övergripande syftet är att framställa ett designförslag som, på grund av hur den är sammansatt, ska kunna främja materialåtervinning och på så sätt kunna ingå i en cirkulär ekonomi. För att presentera tydliga förslag på sammansättningar av elektroniska produkter har jag valt att formge en kaffemaskin, som alltså är framarbetad utifrån de metoder och lösningar som utvecklats i detta projekt. Designförslaget, som presenteras i texten, är en kaffemaskin. Kaffemaskinen är uppbyggd med en grundstruktur där komponenterna staplas på varandra och som tillsammans bildar både formen på insida och utsida av kaffemaskinen.