Publikationer från Konstfack
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Med former jag vandrat
No full textI mitt arbete blir min hemstad Katrineholm ett verktyg för att undersöka form. Genom ett visuellt utforskande av arkivmaterial från staden tar jag isär, sätter samman, ritar av, modifierar, och dekonstruerar för att skapa ny form. I en publikation visas arkivmaterialet tillsammans med mina undersökningar och gestaltningar. Minnen och min egen intuition leder mig genom innehållet och bestämmer vad som inkluderas och vad som lämnas åt sidan.In my project, my hometown Katrineholm becomes a tool to explore form. Through visual exploration of archival material from the city, I pick apart, piece together, draw from, modify, and deconstruct to create new form. Archival material and my explorations are brought together in a publication. Memories and my intuition guide me through the material and decide what is included and what is discarded
Stone as craft material in Sloyd Education : - exploration of suitable material choices and crafttechniques in stone work.
No full textSlöjdens kursplaner i grundskolan fastställer att det ska användas andra material förutom textil, trä- och metall, men förhållandevis få lärare väljer sten som ett alternativt material. Därför är studiens frågeställning: Vilka stenarter, verktyg och hantverkstekniker är lämpliga att arbeta med i relation till skolslöjden? Vilka uppfattningar finns det om sten som slöjdmaterial i skolslöjden? Denna empiriska studie består av två delar: intervjuer och undersökning av olika stenarter, lämpliga verktyg och hantverkstekniker att använda med respektive sten. Stenarternas egenskaper har jämförts med varandra i en komparativ analys, stenarnas egenskaper har testats empiriskt och presenteras i Stentabellen. I en materialnära undersökning av stenars egenskaper och lämpliga hantverkstekniker har ett aktionsforskande arbetssätt tillämpats. Resultaten visar bland annat att marmor, täljsten och alabaster är stenarter som lämpar sig bäst för skolslöjden, givet deras egenskaper och de hantverkstekniker som därmed följer. De visar även vilka arter som är direkt olämpliga och varför. Respondenternas olika erfarenheter och uppfattningar om stenarbete, verktyg och hantverkstekniker inkluderar deras huvudsakliga sysselsättningar, erfarenhet och bakgrund inom stenarbete, föredragna stenarter, egenskaper hos olika stenarter, arbete med svarvning och olika metoder, stenarbete i skolslöjden, riskfaktorer och säkerhetsaspekter, orsaker till bristande användning av sten, miljöaspekter och hållbarhetsfördelar med sten som material. En biprodukt av studien är ett Startkit för arbete med sten i skolslöjden
The long mine 2
No full textDuring a three-month stay in Fagersta in the summer of 2021, I developed a deep interest in the city. This inspired my previous master’s project where I proposed a public art installation for the city center. My first idea was to create six metal sculptures that would also serve as seating area, turning the planned construction of a multi-activity center into a public meeting place. These sculptures were intended as a tribute to Fagersta’s rich industrial heritage, focusing on its once-thriving steel industry, which relied on local natural resources such as forests, waterways and iron ore deposits which were abundant in and around Fagersta. The main focus of my master’s project is derived from this initial concept with a deep-rooted focus on the mining history of Fagersta. Through visits to the now inactive mines and interviews with people that have a connection to this cultural heritage I wish to preserve this history. These iron ore mines, that have been inactive since 1967 are a substantial part of Fagersta’s heritage that is now at risk of fading away. The central research question that will guide my project is: how can the integration of local history in the form of public art boost the sense of belonging of a public space and what could such a project look like? To investigate this, I conducted research in the local cultural history and did geographical studies. I also conducted interviews with several employees from Fagersta municipality and the former mine worker Bengt Högrelius that gave me insight into the current accessibility of mines such as Långgruvan 2. Långgruvan 2 is one of the best preserved mines in Fagersta and as such it became the focal point of my design. I 3D-scanned the entirety of Långgruvan 2, preserving the intricate details left by the mining in the bedrock and translating this into human scale sculptures that mimic the exact dimensions and organic shapes of the mine. The sculptures depict the combination of the raw aesthetic of the mine and communicate the human interaction with it. The aesthetics of the sculptures are inspired by Edward Burtynskys photo art depicting the global mining industry as well as the digital preservation act done by the island of Tuvalu. My project highlights the importance of integrating local cultural history throughout public art. Emphasizing how these kinds of installations can contribute to a strengthened connection between residents and the public space. Also looking at the challenges when depicting local history as an outsider. In conclusion, it would be ideal to place my sculpture in Fagersta to evaluate it’s impact on the residents engagement and feeling towards it. This is something I am still working on and due to financial restraints it is difficult to realize. However I still want to highlight the potential of the project to underline the importance of advocating for innovative ways to integrate historical events into the contemporary urban space
Modus Operandi
No full textAbstract Modus Operandi is an attempt to conceptualize and materialize the intriguing difference between owning an object and owning your own identity. To be mirrored by a physical object, something with a tangible presence, when your identity feels slippery and volatile. The work is approached by mixing contemporary and historical symbols and ornaments to convey a sense of how our heritage affects the present and the eclectic mix that constitutes a human being. This project is based on the creation of a modular system for making a candlestick, which will tell your personal history – both past, present and future. A modular object as an invitation to introspection. A domestic candlestick to mirror yourself, in your own home, to create a link between your inner self and the rest of the world. Traditional materials, such as bronze and brass are used to make the candlestick. Beyond this contemporary or somehow misplaced symbols and techniques are incorporated, in order to create tension between tradition and contemporary identity markers. Fueled by the inspiration from the alchemical holistic view of the world and using symbols one can view the candlestick as one’s own spiritual alchemical lab to conduct the Magnum opus
Redesigning workwear : En arbetsuniform för kvinnor inom byggbranschen, med fokus på individuell anpassning och hållbar modularitet.
No full textSyftet med examensarbete är att undersöka arbetskläder inom byggbranschen och fokusera på individuell anpassning och modularitet. Evelina Lavergren har utforskat möjligheterna att genom design möjliggöra för fler kvinnor med olika typer av kroppsform att kunna bära samma plagg med mer individuell anpassning. Genom ny mönsterkonstruktion och tygmodifikation har Lavergren tagit fram arbetskläder som går att justera efter behov, och på så vis öka komfort och trivsel i arbetsplaggen. Att välja att skapa nya arbetskläder för just kvinnor har baserats på underlaget som tagits fram under research där behovet av fler olika typer av arbetskläder för kvinnor ännu finns. I och med att de löstagbara delarna slits ut och efter tid kasseras, kommer dessa att kunna utnyttjas som en materialresurs. Av materialet kommer man att 3D printa detaljer som arbetsplaggen kräver, så som knappar och hängen. Målet blir slutligen att skapa en funktionell arbetsuniform som är säker och bekväm att använda, och som fyller alla behov en byggarbetare behöver. Med detta som grund vill Lavergren utmana estetiken inom byggbranschen. Evelina Lavergren vill utnyttja varselplaggens behov av starka färger och reflexer, men utmana uttrycket att använda dessa. Genom att utveckla komfort genom individuell anpassning och förlängt användande genom ett modulärt system kan man få två delar att korrelera och skapa en symbios där användaren genom sitt val av arbetskläder bidrar till ett förändrat hållbarhetstänk inom byggbranschen.The purpose of this thesis is to examine workwear in the construction industry, focusing on individual customization and modularity. Evelina Lavergren has explored the possibilities of enabling more women with different body types to wear the same garments with greater individual adaptation through design. By employing new pattern construction and fabric modification techniques, Lavergren has developed workwear that can be adjusted according to specific needs, thus enhancing comfort and well-being in work attire. The decision to create new workwear specifically for women is based on research findings indicating the ongoing need for a greater variety of workwear options for women. As the detachable parts wear out and eventually need to be discarded, they can be utilized as a material resource. The material will be used to 3D print details required for the work garments, such as buttons and hangers. The ultimate goal is to create a functional work uniform that is safe, comfortable, and meets all the needs of construction workers. Building upon this foundation, Lavergren aims to challenge the aesthetics within the construction industry. Lavergren seeks to harness the requirement of high-visibility clothing for strong colors and reflectivity while challenging the conventional expression of their use. By developing comfort through individual customization and prolonged use through a modular system, two aspects can correlate and create a symbiosis where the wearer's choice of workwear contributes to a transformed sustainability mindset within the construction industry.
Work on track! : A train interior design concept to meet contemporary work trends and needs
No full textIn 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.
Unintentional Artefacts : Recycling data through the looking-glass
No full textIs data material? Is it feasible to recycle information and bring it into the physical world? How do a thousand dental surgeries look when they take shape and become part of an object? Big data is the oil of the twenty-first century; we have an abundance of it. There are several possible implications of data collecting, and we are currently waiting to discover the environmental cost of some. In spite of this, relatively little of the data is really used. Unintentional Artefacts, is a degree project which attempts to look at data from a different perspective and invite everyone to look beyond the facts. There is a world of potential forms hidden in information. The methodology is illustrated through the conceptual design of three sneakers. Each shoe is transformed into a new shape by recycled information, originating from root canals, library trips, and recreational fishing
OMsorg
No full textAbstract. In the worldview of a traditionally Eastern cultural context, consciousness and matter are intertwined. In that context negative and positive spaces relate to each other. With that in mind, the vessel is an interesting object to work with. In my master work I explore "Thinking- through- making", a process where making and thinking alternate back and forth, in iterations. The making or designing can be taking place intuitively. Scaling down the vessel, to the point where it has no contemporary practical function, as a way of talking about the exercise of sensitivity, in a fast, loud and insatiable present. Questioning the prevailing value system. By re:learning to become more sensitive, empathy for different types of existence becomes possible, and togetherness between human beings and their companion species opens up. By making (diminutive) stoneware vessels, I enter a long tradition of the time-consuming, hand-building technique of Yixing clay. And hence, contrasts with the technology and scale of contemporary mass production. Perhaps my vessels are pots to plant seeds for the hope of a future human existence? Or, maybe they are vessels for tears, over human existence? At least they are parts of bedrock coming back together from dissolution, for union.