Publikationer från Konstfack
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Longing for future living : Housing for tomorrow, based on yesterday
No full textIn this thesis, done in 2024 at the bachelor program Interior Architecture & Furniture Design, I give a proposal for an alternative future scenario for the cooperative housing organization HSB’s former headquarters at Fleminggatan 41, Kungsholmen, Stockholm. The office, built in 1939 by and for HSB, has after 84 years been passed on to a new owner and user, where the fate of the building is still unclear. I believe that the building should be of great historical value to HSB, especially since HSB’s former director Sven Wallander himself was the architect behind the building. In this work, I explore and propose future uses for the property under HSB’s ownership, and the possibility of going from office to residential through interior design. During the process of analyzing the building’s form and layout, the building turns out to be better suited for collective living with large, shared spaces, rather than private homes. For this reason, the work continues with inspiration from Sven Markelius’ collective housing on John Ericssons gata 6, also on Kungsholmen in Stockholm, which is also built during the same period as the head office (1935). In addition to historical functionalist references such as S. Markelius collective house and S. Wallander’s work for HSB’s history, The design proposal is also based on contemporary work by Andreas Martin-Löf, an architect who I believe has a strong connection to the functionalist ideology and aesthetics, and who has therefore been a great inspiration to the project in an effort to bring the ideas of functionalism further into the housing of the future. The result of the design proposal is a collective house with 75 identical residences of 29 square meters each, accommodating the most private room functions, designed according to the diversity of the households. The target group of this collective house is the social and child-free households of 1-2 persons who also have an interest in the collective lifestyle, and hope for the future. The residences are equipped with, among other things, bathtubs, oak parquet and window boards in swedish green marble, which is in line with the materials and functions associated with the functionalist era of HSB. On the ground floor of the house are the collective house’s common areas where spatial functions that can be shared with other residents take place. These areas include a laundry room with sewing machines and ironing boards, a mini spa, a home theater, a multifunctional living room and office, and a large kitchen for communal cooking and meetings, all of which are designed to meet the different needs and wishes of today’s households. With multiple shared spaces and functions, less is needed in the private home, which is both economically and ecologically sustainable. The aim of this work has been to create a modern interpretation of functionalism that reflects both historical and contemporary aesthetics, by creating a future oriented living environment. Longing for tomorrow living. Housing for the tomorrow, based on yesterday
cow-working with children : about a cow, Leif GW Persson, a hot dog and some other animals
No full textMy work explores aspects of the hierarchy between animal and human. I aim to find out how we as humans act, and how we treat animals in a not very humanised way. How would it look like if we would change place with the animals? To explain the different aspects of humanity, the work includes a symbolic language. I use different human coded objects, that works as an index that I’m creating during the master education. Among these objects are for example a hotdog, pommes frites and a bowl with cereals. During the process, another aspect has been added to the specified objects; the children perspective. Since children are more open minded and haven’t learned the structure of society yet, they are a great inspiration for me to learn how to look beyond the hierarchies in society. How do we as humans think before we learn how we should be thinking? One of the symbols I use is the cow, that works as a symbol for the animal. I have chosen to work with the cow since it is an animal that we use as humans to get milk and meat from, yet the cow is assisting and accepting us no matter what we do to them. I feel sorry for the cow, being a calm animal with no intention to do harm, at the very same time as we as humans kill them with no mercy. As a symbol for the human, I use Leif GW Persson. He is a Swedish TV personality taking and getting a lot of space in everyday society, for example in Swedish television. This project has an ambition to find out more about the hierarchies between different species (including the human). In order to tell the story through children, I have had workshops with them and gotten influenced by their ideas in the making of the installation and embodiment. This is a way for me to get “dehumanised” since children has less time living as human beings and haven’t yet learned how they should behave. The workshops works as one method in my project, while another method that I’m using is the sloppy craft. Through this method I aim to both show a more childish and naive way of working with textiles, to make it be looking more as if a child would have made it. It’s also a way for me to question the traditions within textile craft, and to challenge the hierarchic system between fine art and the craft field. Furthermore, it’s of importance to me challenging traditions of personal reasons, since I have always been very law-abiding in general and a so called “good girl”, wanting to be accepted by everyone. Through my artwork I am breaking these rules and that is also a big reason why I’m doing what I’m doing. The most important message in my work is still to highlight the hierarchy between animal and human, and I aim to do it with the help of sloppy craft and children
Vacancy : Sculpture for solitary bees
No full textThis is a project that focuses on building awareness for solitary bees and how we can use public sculptures/artifacts to help and to create a positive vision of the future through art, design,science and to promote bio diversity. A lot of modern techniques like 3D modeling, 3D printing, and CNC milling were used to bring this artifact to life. Public artworks are proven to have a positive effect on our mental health and create discussion, so with this project I wanted to create a public sculpture/artifact that benefits both humans and bees, make sure that people would take notice to it and start to investigate the creation, see all the life that lives around and inside it. This is a form with a function. The material used in this creation will be discarded wood and the wood will decompose with time. Vacancy focuses on integrating nests for species, in this case solitary bees, within artistic public sculptures and artifacts. Through the creation of this sculpture/artifact, the project aims to engage and inspire the curiosity of the viewer to reflect on the ongoing crisis facing our pollinators. Furthermore, the project aims to promote biological diversity
Föremålens förmågor : Nesting
No full textJag tror att människan har ett behov av att omge sig av saker. Vi har en längtan efter att få ta hand om, att få vara omvårdande och bry oss om. Under våra liv utspelar sig en evig nestingprocess, ett oupphörligt skapande av ett bo och en trygghet. Ett ändlöst ackumulerande av saker. Jag vill undersöka och visualisera vårdandet, ägandet, samlandet och blicken. För mig är människans relation till föremål uråldrig, den härstammar från begynnelsen och är en primitiv drift. Jag ser tillbaka på stenåldersmänniskan, barnet och djuret och lånar deras blickar för att kunna förstå och nysta i relationen.I believe that us humans has a need to sorround ourselves by objects and things. We share a desire to care and be caring. During our lives an endless nesting process unfolds, an infinite creation of safety. In this paper I want to explore and visualise care, ownership, collecting and gaze.
Närvarande frånvaro : Sorg och sörjande genom material och objekt
No full textIn this project I let sorrow speak through the objects and give the absence a place to be present. Through the creating process and material shaping, I portray the complexity of my own sorrows. Personal, but not private. With my examples and my objects I want to arouse something personal touching on the theme of grief. I believe and am convinced that everybody needs to get in touch with their grief at some point. Of course, we need to take the time to process it in different ways, but I would like to say that materials and objects can help us get in touch and act as a link we can all relate to. Only if we listen. Although my belief is obvious, I have become well aware that not everyone can or knows how to do so. With my work I want you to get this help. I want you to be present with the absence
Captured by clay : a study on ceramics course participants experiens of being captured by clay
No full textI denna mastersuppsats har jag undersökt vad som får deltagare i keramikkurser att återvända gång på gång. Min utgångspunkt har varit leran som ett taktilt material, välbefinnande och händernas arbete. Under arbetets gång framkom också berättelser om gruppens betydelse och leran som utlopp för kreativitet. Det empiriska materialet består av transkriberingar från både individuella intervjuer med fyra personer och en workshop med en fokusgrupp. Samtliga informanter har jag mött under mina år som lärare vid ett studieförbund, där de har gått olika keramikkurser under flera års tid. De individuella intervjuerna kretsade kring föremål som deltagarna själva skapat och tagit med sig till intervjuerna, och de reflektioner och associationer dessa föremål väckte, i en fri intervjuform med elicitering. Fokusgruppen fick arbeta praktiskt med lera under tiden vi samtalade om deras upplevelser av leran. Jag har analyserat detta material med stöd av teorier om materialitet, flow och känslan av sammanhang (Kasam). Informanternas berättelser tar stor plats i uppsatsen, liksom bilder av den gestaltande kommentar till arbetet som jag har skapat tillsammans med informanterna och andra. Denna gestaltning kommer att presenteras i samband med examinationen på Konstfack. De slutsatser jag drar är att leran har en unik materialitet som bidrar till att skapa en känsla av välbefinnande. Andra faktorer för att deltagarna återkommer är gruppen och att arbeta tillsammans.This master’s thesis explores what motivates participants in ceramics courses to return repeatedly. My initial focus was on clay as a tactile material, the hands' work, and the sense of well-being it provides. However, participants also highlighted the importance of group dynamics and clay as an outlet for creativity. The empirical material consists of transcriptions from individual interviews with four participants and a focus group session. All participants have attended various courses over several years during my time as a teacher. The individual interviews focused on objects they created and brought with them, while the focus group worked with clay during the discussion. I analyzed this through theories of materiality, flow, and the sense of coherence (SOC). The participants' stories and images of the artistic work we created together are central to the thesis, with the final piece presented during my examination at Konstfack. The conclucions I draw is that clay’s unique material properties contribute to well-being. One other factors influencing participants to return is the group dynamics
Like Wanting to Eat delicious Fruit in Summer
No full textThis essay is a labyrinthine journey through desire, weaving together poems, irrational thoughts, and raw emotions. It features snippets from revered authors and the author’s own fictions, reflecting a quest to approach love, desire, and suffering. Love is painted as a vast, elusive universe, compelling one to confront their inner shadows. The essay challenges conventional morality, presenting alternative views on pain and trauma without offering a definitive map to love. It acknowledges the universal struggle to find personal meaning in love, often a confusing and transient phantom. Readers are invited to wander through the text, embracing their interpretations as much as the author’s. The writing is both a confession and a pilgrimage for redemption, seen as a self-immolation to cleanse the soul rather than self-destruction. This piece is not a polished artifact but a chaotic tapestry aiming to open doors to new understandings and possibilities for boundless love, despite societal constraints. The author leads readers through this maze of thoughts and emotions, encouraging a closer examination of pain and trauma. Ultimately, the essay highlights the necessity of finding individual meanings of love, acknowledging its stoic yet ephemeral nature. The author seeks to deeply connect with readers, inviting them to unravel the layers within the text
For example, look at this lazy artist
No full textIn this essay, I have explored various roles that I played during my working hours and how they influenced my individual behavior and agency. I began by presenting a series of strategies I employed to navigate the commuting space – a new socially charged environment distinct from the one in which I was raised, where boundaries blur and social norms consolidate. Subsequently, I presented three previous projects, outlining their features and purposes, to ultimately use them as the foundation for an action carried out between 2022 and 2024. There, I illustrated the intricate interplay between the artist, the audience, and the external world
Waves of Movement through Suspension then Release : Finding the voice of Afro-Emiratis
No full textSince the documented history was and still mainly is viewed as autonomous, this essay attempts to challenge history’s formal disciplined approach with a narrative from slaves’ own history rather than seeing slavery as an event. The Indian Ocean slavery has not been documented as much as Atlantic slavery history, in which led to a gap within the history of the Persian/Arabian Gulf countries. Moreover, the essay looks specifically at my own family history, as an artist, the interest of documenting such history was to find ways to relate and understand the afterlife of slavery. I raise questions regarding reflecting on the remembrance and presentation of slaves’ history as an amendment process and as an attempt to fill in the gaps in order to understand history and the socio-political positioning of Afro-Emiratis. The essay unfolds with its suspension then release, in three main narratives titled: Fairuz, Dalma, and Zar, that took place in the last century. The methodology was mainly focused on weaving narratives, events, and heritage of Afro Emiratis into a steppingstone to further document and present of an unspoken history