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Calm Before The Storm
No full textIt’s fall 2023, and it is hard to look at the current state of affairs in an
optimistic way. This year has vividly showcased the reality of the
climate crisis. Temperature rises, extreme weather occurrences are
more frequent, and their impact on communities is profoundly
devastating. It's influencing every aspect of our lives: how we work,
vote, socialize, and even live.
While still in school walls, I've chosen to leverage the luxury of being a
student to engage with this topic from a design perspective. While we
can't single-handedly solve the issue, as designers, we can contribute
by delving into people's personal perceptions of the climate crisis. I
aim to explore ways for sustaining hope—an essential catalyst for
action and change by looking at what we can do now to be better
equipped to meet climate change.
My project, a strategic design diploma thesis at the Oslo School of
Architecture and Design in the fall of 2023, employed practices from
strategic and service design. It aims to investigate three primary
facets: 1. How to live in the climate crisis; 2. How to navigate this crisis
in an emotionally resilient way; 3. How might design be helpful in
exploring new possibilities for sustaining hope in climate change? In
my work, I put people first, focusing on how the climate crisis is
changing people, physically and mentally, affecting every aspect of
our lives. The culmination of this exploration is not only the process
itself but also a set of briefs and strategic concepts aimed at showing
possibilities and encouraging discussions on how society should
prepare for climate crises. These ideas were tested alongside young
people: Heidi Dolven, a Senior service and system designer at the
Norwegian Labour and Welfare Administration, and Marianne Rolfsen,
Senior Innovation Advisor, together with Ingrid Marie Dybvig, Senior
advisor in Disaster preparedness and crisis management at Red Cross
Norway.submittedVersio
LOCOMOTIVE WORKSHOP - Cultivating a community for artistic production, dissemination and presentation in the Fjord City
No full textRailways (NSB) as part of a much larger complex. After shutting down operaions a few years earlier, much of the facility was demolished in 1967. Today, the building is protected through the Planning and Building Act (Plan- og bygningsloven) on the municipal level, and is situated in a development area with high activity. Its immediate surrounding were made into a park already in the year 2000, after the municipality acquired the building with the site in 1997.
The building has been vacant for a number of years, and its condition has deteriorated greatly during this time. In the autumn of 2023, the Municipality of Oslo, which owns the building, started a process to decide what it should be used for. This process will be concluded in the spring of 2024.
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For several decades, artists and artists unions have described a critical situation with regards to access to working spaces and studios for artists in the city. Not only is this a challenge for the individual artist and artists as a group – it is also problematic for the city, which has explicitly expressed the value of and need for vibrant and vitalistic artistic presence as a driving force for the city’s ambitions of being a city of culture.
During 2023, the debate about access to artist studios was reignited when Oslo municipality announced that the contracts for 150 of the artists working in the city’s 330 subsidized studios would not be renewed in 2024. This came about due to the municipality’s new plans for two of its largest temporary studio sites; Myntgata and Ila Pensjonat. In practise, this represents a 45% reduction of municipal studios. The rise of this debate inspired the response in this diploma project. Artist unions such as the Norwegian Visual Artists (NBK), Young Artists’ Society (UKS) and Visual Artists Oslo (BO) warn that as a result of the restrictive private market in tandem with the lack of proactivity – and even regression – on the part of the municipality forces artists to leave the city in order to find spaces to work and live.
The majority of Oslo’s 1150 visual artists do not rent a studio through the municipal studio program. On the private market, the studio situation has also become increasingly difficult, with risiing prices and a shortage of suitable spaces available for rent. Furthermore, it is exactly the areas which have been developed into the new cultural districts in the city that used to be prime locations for artists to find spaces to work, in the old industrial, logistics and production zones along the shore fronts. Where there used to be artist studios and underground galleries we today instead find the premier national institutions for the arts; The Munch Museum, the Oslo Opera House, the National Museum of the Arts, The Deichman Library, The Astrup Fearnley Museum, and so on.
For the Locomotive Workshop, I have attempted to imagine a way for the city to invite the production side of the art community back into the Fjord city, by establishing a hub for the diverse and broad range of output which it maintains. From crucial studio spaces, where the individual artist develops and produces artworks, exhibitions and public art, to artist-run and artist-led exhibition spaces where the profession’s research and development is put on display. Also present are workshops for specialized areas such as wood, plaster- and metal-work, where artists from the whole city may rent time for production. Further, office space and smaller scale studios make it possible to establish working environments for curators and critics, and larger office spaces on the ground floor may be suited for businesses connected to the art world, such as Oslo Art Guide or Atelie.art, an app where artists can sell their art online. In sum, the idea is to try to generate an open, bustling and vibrant scene which can offer the city another way to view art, from the maker’s perspective, as a compliment to the robust institutional art experiences on offer in the city today.
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Historically, the Locomotive Workshop was a site for production, and the building is a pragmatic structure. The perimeter of loadbearing outer walls (as well as sections of outer walls that have been kept as the complex expanded), together with an array of columns, carry the large eaved roofs with monitor rooflights running along the gables. It consists of large, open spaces with great ceiling height and lots of daylight.
The principle idea for the project was to generate a stage for a substantial number of artists to work, and to build an infrastructure around them with workshops, project spaces and exhibition venues. But I was also interested in cultivating a community where professional discourse and collegiality is given space to arise.
Architecturally, I have attempted to let my project – and especially the studios located in the two main halls of the building – grow within the building without erasing it. I have tried to do this by operating with independent, secondary structures which are disconnected from the existing structures, to allow the old and new to co-exist and be experienced together. The language is on the one hand heavy and industrial, with large steel columns and beams carrying robust CLT floors. On the other hand, it is soft and pragmatic, with the actual studios constructed with light framing and plywood sheets.
Further, I have tried to offset the stringent and rhythmical structure of the original building with a more chaotic layout, which would hopefully work towards generating possibilities in the common spaces to meet, and work, and eat and exhibit and adjust how the space is used from day to day.submittedVersio
RE-FOAM
Get PDFREPLACING FOAM TO CREATE A MORE SUSTAINABLE FURNITURE
Chairs and beds are products that we depend on in our everyday lives. They are products we cannot live without. But these products are not sustainably made, because of the foam they contain. The foam they use today has a cruel manufacturing process, and it cannot be recycled but only downcycled. The foam’s material is called polyurethan and is derived from petroleum.
“Globally, furniture foam, accounts for 105 million tonnes of CO2 emissions annually. One armchair for example, emits an average of 43 kg CO2 emission, almost half of which is due to the furniture foam.”
In this diploma I look in to finding a plant-friendly alternative through material exploration and testing. I want to test out making furniture stuffing out of plant fibre that is completely free of petroleum, has a sustainable manufacturing process and can biodegrade after its lifetime, and go back to nature, and be fertilzer for new plant fibre stuffing to come.
With the finding from the material exploration and testing, I will deisgn a modern take on what a sustainable sofa should look like today.
BASIC - A SOFA FOR THE HOME
Hello! Meet BASIC the sustainable sofa for the home. If you want a reliable, solid, and durable sofa that stays with you through life, this is the one!
BASIC has a very good comfort with its cushions made of hemp, and its flexible construction.
BASIC has a construction with few components, designed for disassembly, so it can be flat-packed during transportation and easily repaired through its life time.
BASIC is made 100% organic with all biodegradable materials. That means you can basically throw the sofa out in your garden and it will decompose within a year and become fertilizer for your plants.submittedVersio
For:talt
No full textBoken i det trykte formatet har eksistert svært lenge, og har gjennomgått utallige endringer og iterasjoner for å nå dagens form. Hvorfor har ikke utviklingen av e-bøker fulgt samme utvikling? Kan vi fi nne en måte å lese på skjerm som er bedre tilpasset det digitale formatet?
‘Fortalt’ utforsker ulike tilnærminger til lesing i en digital, skjermbasert setting. Oppgaven har to leveranser med ulik vekting: et refleksjonshefte som stiller spørsmål om lesing, og en klikkbar prototype for mobil som viser et alternativ til lesing i en digital setting.
Gjennom en utforskende prosess og kjappe iterasjoner, undersøker oppgaven hvordan lesing kan videreutvikles i en digital kontekst. Oppgaven prioriterer mangfold fremfor dybde, og jobber iterativt med materialet, med fokus på testing og tilbakemeldinger fra brukere underveis. Målet med oppgaven er å utforske idéer og muligheter for å skape en mer innovativ tilnærming til lesing i en digital verden.
For:talt presenterer et illustrerende eksempel på hvordan man kan tilpasse en leseopplevelse til et mobilformat. Det tar høyde for og legger til rette for en god opplevelse av tekstlesing, samtidig som det demonstrerer hvordan man kan benytte ulike virkemidler for å skape en engasjerende og atmosfærisk opplevelse av å lese på mobilensubmittedVersio
Rethinking climate action - Can we enjoy the mountains while protecting them?
No full textThere are many indications that winter tourism will discontinue at several popular ski resorts.It is because of the increasingly warmer climate. It assumed that the emissions did not decrease.
During my research in Åre, Sweden, a ski resort, I discovered that people find it difficult to reconcile their dual roles: being part of the problem and, at the same time, part of the solution. We must learn to live with this duality. However, according to many sources, there is still hope.
My project in service design aims to motivate people who have yet to be enthusiastic about climate action to take action. Therefore I developed Rider, a service that turns a train journey into an experience.
Rider transforms ordinary train journeys into fascinating experiences, targeting individuals attending various festivals and events.
While taking a train may be considered optional rather than a certainty, Rider enhances the overall experience by extending the event atmosphere onto the train.
By doing so, Rider makes train travel a more appealing alternative and, simultaneously, is an act for the climate.
Above is the user journey for an example trip that the service Rider developed from Oslo to a festival in Åre. The goal is encouraging people to choose the train as a more environmentally friendly transportation option. As part of this initiative, they have arranged for the first day of the festival to take place on the train
Through the woods - Facilitating supports from significant others for young adults across life events
No full textAddressing young adults’ need for alleviating mental distress and regulating mental resilience in the face of life events, Sacred Woods is a psychologically oriented product service that provides meaningful experiences of planting trees and facilitates meaningful discussions for personal growth. When experiencing low mental health, our service provides a tree-planting experience to promote social support and discussion of coping strategies by facilitating meaningful connections between significant others. When in a high mental health state, a board game named The Forest of Life is offered to build psychological resilience by facilitating meaningful discussions on common life events.
The Forest of Life is designed to provide young adults with a fun experience that encourages them to elaborate on their emotions and thoughts while facing life’s challenges and turning points to build psychological resilience. Using the metaphor of a forest maze, I aim to mirror real-life exploration in this board game that motivates players to navigate twists and turns. By engaging in discussions about the life events described on the cards, players will have the opportunity to reflect on their own experiences and learn from each other. Whether playing with friends or family, our board game will provide a fun exploration for players to think deeply to unpack the complexities of life.
The tree-planting experience was constructed as a rite of passage with nine MSEs. The comforter or/and the distressed encountered Sacred Woods ads when they browsed websites about mental health and related topics with cookies. The distressed disposed of emotional baggage with a Wasted Bag to collect externalisation of negative thoughts during the separation phase. At the same time, they collect externalisation of allies of the life event which the distressed suffered. The transition phase included planting the sapling and seed paper and building the tree persona, a reincorporation followed to connect the tree and the life event.
However, this diploma is not a ready-to-ship service. It is a design concept focusing on the values it could bring to the world. Collaborations with stakeholders, strategic planning, further iterative developments and more user tests shall be carried out to implement this service in a viable, feasible and desirable way. Additionally, this diploma does not act as a replacement for professional mental healthcare.submittedVersio
Aligning social networks and co-designed visions to foster systemic innovation in the Alps
Get PDFpublishedVersio
Refuturing studies: rehumanizing futures through/by design
No full textWith the onset of climate and ecological breakdown, organized human life faces a precarious present and an even bleaker future. The sixth IPCC report (2021-2022) states that the window for drastic climate action is closing fast. At the same time, the atmosphere of climate disinformation, denialism, and delay has calcified the collective social imagination, unable to see desirable futures beyond Business as Usual. For this thesis in Industrial Design, the question is relatively simple—can Industrial Design imagine radically hopeful climate-resilient futures? This Research through/by Design thesis answers this question by imagining a desirable future that doesn’t yet exist and what it may take to get there.
This thesis travels through two worlds or paradigms—‘What-is ‘and ‘What Could-be.’ The world of ‘what-is’ explores the typologies of defuturing and dehumanization as they manifest with climate breakdown. The thesis imagines a speculative future world that ‘could-be,’ explored in the accompanying The Open Journal of ReFuturing, a fictional design research journal from 2131 AD. The journal is written as an indigenous critique from the future, looking back at the first century of climate reparations through the speculative solutions enacted today. These speculative solutions are generated through/by designerly ‘What-ifs’ and its designed artifacts for climate-resilient solutions and ‘Technologies of Care’ that make this world thinkable and doable today. This seriously playful yet studied imagination of ReFuturing Studies is an invitation to reimagine a transformed ‘ecology of disciplines’ for climate action—to reclaim and rehumanize the dehumanized present such that the future is profoundly different when we arrive in it.publishedVersio
Pushing Buttons
No full textThis project is about material exploration of haptics and tangible input as a study in interaction design. As our technology advances, we are exposed less to sensory experiences and miss out on the cognitive benefits they give us. This seamless approach gives us less time to reflect and evaluate our actions. The project explores how tangibility in our interactions can change experiences and uncover new ground covered by our perceived affordances and cultural conventions.
A fresh look at how we construct the interactions around us, furthermore, which possibilities we can consider when designing for the tactile. The project explores this through user testing new tangible input playing on perceived affordances and conventions to enable new.
This diploma explores how changing known interactions with new tangible interactions can give a different experience. For example, in a test where changing how we seamlessly scroll on a screen to a seamfull tangible experience made users reflect on the content and acknowledge the effort of scrolling. By understanding and exploring what haptics give, we open for new areas to explore interaction design.
Outlining possible opportunities in exploring a niche within tangible interaction design. It shows the potential through scenarios backed by research and quantitative data from user testing, with the goal of starting discussions and questioning the space in the shadow of conventions and current mass production.submittedVersio