| 1. |
- Westerlund, Bo, 1951-
(författare)
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Design Space Exploration : co-operative creation of proposals for desired interactions with future artefacts
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis critically reflects on co-operative design workshops that I have conducted. The basic method used in these workshops draws on the participants’ embodied knowing. In the over twenty workshops that are analysed here a wide range of participants have been involved: family members, employees, persons with disabilities, and other stakeholders like manufacturers, service providers and civil servants. The topics have varied, but they have mostly been related to ICT products and services. Most of the workshops were conducted within various research projects. In order to analyse this diverse range of workshops I use several different theories and concepts. I articulate and analyse the design aspects of the activities by using established design theories and concepts. The conceptual tool design space, meaning all possible design proposals, is used for understanding the design process. I also use theories from other fields in order to analyse three different aspects of the workshops: the participants’ activities, the designers’ responsibility, and the process. To analyse the way that the participants co-operatively create knowledge, theories of interpersonal actions are used; to analyse the work done by the designer/conductor, theories of frames are used; and to analyse the process, the theory of actualisation and realisation is used. During the workshops the participants co-operatively make scenarios, props and video prototypes in order to create proposals for desired interactions with future artefacts. Contributions include accounts of critical situations during the workshops and suggested strategies for dealing with them. Some implications are relevant to the design field in general, for example the importance of a process where the participants trust each other, learn from each other and work effectively with difficult issues by creating multiple proposals that facilitate understanding of the design space. I also offer arguments about why it is better to see activities, props and prototypes as mainly constitutive rather than as only representative. Video prototypes on DVD and seven publications are included in the thesis.
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| 2. |
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| 3. |
- Kazemian, Reza
(författare)
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Design Interactivity and Communicative Quality Judgment versus Urban Design Competition : A Design Methodology Statement
- 2009
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Ingår i: Nordisk Arkitekturforskning. - Trondheim : Nordisk Arkitekturakademi. - 1102-5824. ; 2 - 3, s. 68-78
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Tidskriftsartikel (refereegranskat)abstract
- The study is targeted to analyze the essence of design, design methodology and the communicability of quality judgment process of urban design competitions. The aim is to provide a political argument which supports organizational and procedural reforms of the entire cycle of competition, from judgment to selection and implementation of a prize-winning architectural design. The study is searching to provide some principle definitions of the concepts of design competition as a design methodology and is keen to find out a new model of competing system which provides better interactivity and communication among wider sections of designers, jurors, clients and end-users. We need to know to what extents the design qualities and visions can be judged rectified and realized by relying on the solutions favoured and selected by few experts. What are the essential quality criteria that are being prioritized by jury members? What are the roles and positions of key players, especially the end users, in quality judgment processes? How are different needs, values, and visions being met after the implemented prize-awarded urban design projects? How can the processes of an urban design competition be reformed, new communication channels be created and a high standard of quality judgment and fairness of the system be maintained?
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| 4. |
- Westerlund, Bo, 1951-
(författare)
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Design space conceptual tool : grasping the design process
- 2005
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Ingår i: <em>Proceedings of Nordes, the Nordic Design Research Conference, ‘In the Making’</em>, Nordes, Copenhagen, May 29–31, 2005..
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Konferensbidrag (refereegranskat)abstract
- This paper concerns an alternative and relatively simple model of the design process that can be used as a conceptual tool for designing a design process. Three different examples are used to test and show the model’s relevance. This model takes a quite different turn on the process: instead of describing the process as if it would start from a problem, it suggests that it is actually the solutions that are actively used when designing. These possible solutions are referred to as the ‘design space’. The paper also provides a methodological framework for understanding the different approaches with which methods can be used. Here the concepts ‘explorative’ and ‘experimental’ are essential. Finally some aspects of ‘constraints’ are discussed in relation to the design space. The model can be used for reflecting on as well as designing design processes in education, in research and commercially.
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| 5. |
- Westerlund, Bo, 1951-
(författare)
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How can stories get translated into future artefacts?
- 2006
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Ingår i: Proceedings of Wonderground. - Lisbon.
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Konferensbidrag (refereegranskat)abstract
- This paper discusses a workshop method suitable for use in projects with a participatory design approach. Participatory design is sometimes criticised for focussing too much on what users say. The method described here takes that into account by having users not only talk, but also do acting and make lo-fi prototypes. The method has been used in several different projects. The structure of the workshops is designed to enable the participants to express themselves by saying, doing and making. People express different aspects through different channels and by enabling people to express themselves not only by talking but also by acting and constructing artefacts we create a richer understanding of their needs and desires as well as their context and situation. The method often gives ‘good’ results that are foundations for further design work.
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| 6. |
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| 7. |
- Billing, Mischa, et al.
(författare)
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The importance of wine glasses for enhancing the meal experience from the perspective of craft, deisgn and science
- 2008
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Ingår i: Journal of Foodservice. - Oxford : John Wiley & Sons. - 1748-0140 .- 1745-4506. ; 19:1, s. 69-73
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Tidskriftsartikel (refereegranskat)abstract
- The Five Aspect Meal Model (FAMM) is a valuable tool for exploring the entirety of the meal. Factors within the model are interdependent, and each relates to different forms of knowledge such as science, practical production, aesthetics and ethics. The present paper explored the role of consciously designed artefacts in the dining room, especially wine glasses, and their importance for the meal experience from the perspective of sommelier craft, art and science. Knowledge and awareness of utensils are of importance during the process of preparing, planning and serving a meal. A glass is, in effect, an instrument for communicating wine to the human senses. Therefore, the design is an important part of the meal experience, and its effect in enhancing the meal can be evaluated using FAMM principles. By working consciously with design, greater guest satisfaction can be achieved and the meal experience can be enhanced.
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| 8. |
- Häggström, Cecilia, 1962
(författare)
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The relevance of academic writing in design education : academic writing as a tool for structuring reasons
- 2008
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Ingår i: Journal of Writing in Creative Practice. - : Intellect. - 1753-5190 .- 1753-5204. ; 1:2, s. 151-160
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This paper focuses on the current function of academic writing for design education within Sweden. It argues that in its present form academic writing is used to explain the final result by accounting for the process, but it would be much more useful to designers if the form were modified to fit the purpose of justifying a design solution. Interpretations of the academic report as chronologically telling about the process have, in Swedish design education, resulted in muddled texts where the final results are absent or hidden in the lengthy description of the process. The academic report fulfils its function because it is a logical construction. Its form includes explication of the research-process because this process determines the reliability and/or validity of the new knowledge arrived at. An excellent design-process does not, however, guarantee excellent design: a design-solution is justified only by solving the problem. Adjusted to this purpose, academic writing could become a useful tool, helping students to grasp which explicit reasons and grounds may support their definition of the problem, outline how their design may be a solution to it, and also show where reasons and grounds may prove to be poor. Writing, in a modified academic form, can become a useful and integrated tool in design education, primarily if the intellectual skill developed through this writing is useful also for the practitioner.
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| 9. |
- Glasberg Blomqvist, Ann-Charlotte, 1969
(författare)
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Sten A Olssons kulturstipendium 2006/2007
- 2007
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Ingår i: Sten A Olssons kulturstipendium 2006/2007. - Göteborg : Sten A Olssons kulturstipendium.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Intervjuer med pristagarna till Sten A Olssons kulturstipendium 2006-2007: Ola Åstrand, Annica Karlsson-Rixon, Mats David Gahrn, Jenny Magnusson, Helen Dahlman, Mandana Moghaddam, Andreas Edlund, Glenn Daniel Nilsson, Jenny Sjöström, Ludvig Lindström, Nina de Heney, Anna Westberg.
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| 10. |
- Glasberg Blomqvist, Ann-Charlotte, 1969
(författare)
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Sten A Olssons kulturstipendium 2008
- 2008
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Ingår i: Sten A Olssons kulturstipendium 2008.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Intervjuer med pristagarna till Sten A Olssons kulturstipendium 2008: Annika von Hausswolff, Heidi Saikkonen, Malin Byström, Mia Höglund Melin, Sarah Riedel, Pierre Torwald
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| 11. |
- Akner Koler, Cheryl
(författare)
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Form & Formlessness : Questioning aesthetic abstractions through art projects, cross-disciplinary studies and product design education.
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This research is based on empirical, embodied studies aimed to generate and regenerate aesthetic reasoning through three approaches:an educational approach concerned with developing an aesthetic discipline, supporting a formgiving process aimed to create tangible artifacts.an art-based approach supporting an open exploration of distortion and formlessnessa multi-disciplinary exploratory approach concerned with aesthetic experiences shared in laborations demonstrating complexity and transformation. The overall aim of the thesis is to explore different types of aesthetic abstractions that elaborate aesthetic reasoning about form and formlessness. The thesis develops methods and models for aesthetic investigation that support, challenge and go beyond the normative conceptions of beauty, with high relevance for teaching 3-D formgiving aesthetics and research by design methodologies. A central method applied throughout the entire research project is a cooperative inquiry method engaging students and experienced professionals as co-researchers in embodied/ interactive physical form studies and laborations. The content of the thesis is presented in three parts relating to the approaches above: -Part 1 defines an aesthetic nomenclature organized within a taxonomy of form in space. This aesthetic taxonomy is outlined in five levels based on essential aesthetic abstractions, emphasizing structure and inner movement in relation to the intention for the development of a gestalt. It originates from the educational program of Alexander Kostellow and Rowena Reed and has been further developed through an iterative educational process using a Concept-translation-form method, resulting in the Evolution of Form (EoF)-model. This EoF-model reciprocally weaves together geometric structures and organic principles into a sequence of seven-stages. To question the normative principles of beauty inherent in the EoF-model, a bipolar +/- spectrum was introduced at each stage to expand the model, aiming for a more inclusive approach to aesthetics. -Part 2, both challenges and expands the aesthetic reasoning in part 1 through i) solo sculptural exhibitions exploring properties of distortion and transparency in a constructivist art community ii) collaborative projects with physicists concerning infinity and studies of continuous complex curvatures and iii) explorative studies of material breakdown and non-visual studies with ID masters students at Konstfack. - Part 3 problematizes the taxonomy of form by applying methods and results from a cross-disciplinary study of complexity and transformation involving artists, physicists, designers and architects. The three year study explored temporal events of changing phenomena and formlessness that did not comply with any traditional aesthetic norms. Based on the experience from 12 laborations, three models were developed: The Transformation-model and Framing the dialogue-model were developed to physically interact with as well as to document and discuss change and transformation through bipolar reasoning. The Aesthetic phase transition-model was developed to capture the particular properties expressed in a transformation and unify stable objects with changing events. In conclusion, the thesis claims the value of an inclusive aesthetic mode of abstract reasoning in the scientific and design communities. A provisional 3 modes of abstraction-model is presented placing numeric, linguistic and aesthetic modes of abstraction as interdependent within a spectrum from separation to contextualization.
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| 12. |
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| 13. |
- Olander, Elin, et al.
(författare)
-
Toolkit for awareness in universal design
- 2005
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Konferensbidrag (refereegranskat)abstract
- In an attempt to make universal design an integral part of industrial design in general, an experiment was implemented early during the industrial design education. The aim of the experiment was to increase the awareness of the students regarding the fact that products may at the same time be attractive and well-functioning for a broad range of users. Five categories of everyday products were included in the experiment, objects in each category covering the range from stylish or sporty to products designed especially for disabled persons. Twenty-five students took part in the experiment in five groups. They tried the objects in true use situations and were asked to, in consensus, evaluate and comment on three mainly emotional and three mainly functional qualities. After testing, they analysed, presented and reflected around their results. Finally they were asked to group all objects in any kind of families. The presentations by the students demonstrated that very lively discussions had taken place about product qualities. The evaluation method provided rich information about young persons’ experiences of qualities in products. At the final grouping of products, the students chose to present objects as being related to different target users. One interesting finding was that the product family aiming at a very average user included an angled kitchen knife, product of a kind previously regarded a typical aid for disabled.
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| 14. |
- Ståhl, Anna, et al.
(författare)
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Reflecting on the Design Process of the Affective Diary
- 2008
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Ingår i: NordiCHI 2008, Lund, Sverige. - : ACM Press. ; , s. 559-564
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Affective Diary is a digital diary that makes use of bio-sensors to add some reminiscence of bodily experiences. The design process behind Affective Diary aimed was ‘sensitive’ to three design qualities extracted from a previous project; providing cues of emotional expressivity building on familiarity, making the design open for personal expressivity and be aware of contradictions between modalities. Through the design process of Affective Diary, with frequent user involvements during the process, these design qualities became further tested, developed and refined. By providing a fairly detailed and reflected description of the design process behind Affective Diary, we aim to provide other designers with inspiration on several levels: both in terms of methods used, but also in why these three design qualities are important and how to realize them. Our aim is also to provide designers with knowledge in the form that makes sense to designers: the practical link between design qualities and final results.
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| 15. |
- Westerlund, Bo, 1951-
(författare)
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Design of communication interfaces together with family members in interLiving
- 2006
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Ingår i: i-com, Zeitschrift für interaktive und kooperative Medien. - : Oldenbourg Wissenschaftsverlag. - 1618-162X .- 2196-6826. ; 5:1, s. 54-58
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Tidskriftsartikel (refereegranskat)abstract
- The paper describes the way in which family members were involved in a project which aimed at designing technology to enhance communication between family members of different generations between 1 and 76 years old. This called for the use of several different methods and techniques in order to get information and understanding of the persons' needs and desires. The paper also describes in greater detail how one of the prototypes was developed. The approach was cooperative design with no specific technique or medium decided from the beginning. The researchers working in the project had different backgrounds, for example in ethnography, computer science, and industrial design. They closely worked together in the different activities. The paper concludes by discussing the approach and comparing it to other possible design processes
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| 16. |
- Westin, Lars, Professor, 1953-
(författare)
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Research strategies for Urban Design in Umeå
- 2000
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Ingår i: Urban Design for Sweden and Europe, June 20-21, 2000. - Umeå : CERUM, Umeå universitet. - 9171919953 ; , s. 3-5
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Creation of an Urban Design Centre in Umeå
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| 17. |
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| 18. |
-
Volym 0
- 2000
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- Artistic research. Publication as part of an installation of works filmed and photographed at Landschaftspark Duisburg Nord and Galleri k20, Halmstad. Edited and designed by Linton with texts by Linton, Joakim Palm & Sven-Olov Wallenstein. ISBN 91-631-0128-9
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| 19. |
- Johansson, Martin, et al.
(författare)
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Playful Collaborative Exploration : New Research Practice in Participatory Design
- 2005
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Ingår i: Journal of Research Practice. - : AU Press. - 1712-851X. ; 1:1
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Tidskriftsartikel (refereegranskat)abstract
- Within the Participatory Design community as well as the Computer Supported Cooperative Work tradition, a lot of effort has been put into the question of letting field studies inform design. In this paper, we describe how game-like approaches can be used as a way of exploring a practice from a design point of view. Thinking of ethnographic fieldwork as a base for sketching, rather than descriptions, creates openness that invites collaborative authoring. The concept of playful collaborative exploration suggests certain ways of interacting with material from field studies so that it becomes a design material for an open-ended design process. We have carried out field studies, transformed the field material into design material, and set up a design game for working with it together with the people we followed in the field. The design game builds on an idea about the power of narratives and the benefits of constraining rules. We believe that this framework for collaboration opens for playfulness, experimentation, and new design ideas.
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| 20. |
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| 21. |
- Bache, Anja
(författare)
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Technology Transfer : URBAN LIGHT DET MULTIFUNKTIONELLE LYSMØBEL I NY BETONTEKNOLOGI TIL BYRUM.
- 2008
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Ingår i: Arkitekten.
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Tidskriftsartikel (refereegranskat)abstract
- Af Anja Margrethe Bache Bygningsdesigner hos Gottlieb Paludan Arkitekter A/S I 2006-2007 gennemførte møbeldesigner MDD Claus Hviid Knudsen og ph.d.-arkitektur, skulptør og jeg ”Urban light, det multifunktionelle lys-møbel i ny betonteknologi til byrum”. Det var et projekt, der var finansieret af Bolig Fonden Kuben. Det blev realiseret på Statens Værksteder for Kunst og Håndværk og blev i januar 2008 afsluttet med en række design, samt prototyper i den ny betonteknologi som Dalton Betonelementer fremstillede. Contec Aps. og Densit A/S leverede materialer og Dansk Sintermetal A/S donerede jernpulver. Med devisen design starter med design af materialer og design af processer eller redesign af eksisterende processer fra anden industri, har vi i udviklingsprojektet ”Urban light” skabt multifunktionellle lysmøbler i en ny betonteknologi, Compact Reinforced Composite, herunder Densit. Vi har transfomeret en materialeteknologi og processer fra anden industri til design af udendørsmøbler. Det er et projekt hvor vi har været heldige at få Dalton Betonelementer med som samarbejdspartnere, men som ellers er præget af mangel på samarbejder med anden industri. Det er derfor endt med prototyper, der peger på muligheder frem for prototyper, hvor helt ny teknologi er integreret i de faktiske møbler som bliver lavet. Denne artikel handler om den teknologi overførsel som er afprøvet i Urban Light projektet. Den omhandler de aspekter, der peger fremad og åbner op for nye potentialer, men også de problemer, der opstår og som venter på at blive videreudviklet før optimale resultater kan opnås.
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| 22. |
- Bache, Anja
(författare)
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Urban Light Multifunktionelle Lysmöbler
- 2007
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Ingår i: Magasinet Arkitekten, Arkitektens Forlag.
-
Tidskriftsartikel (refereegranskat)abstract
- På basis af et fondsfinansieret design-udviklingsprojekt, som jeg gennemförte med Möbeldesigner og Snedker Claus Hviid Knudsen, omkring design og udvikling af nye steds specifikke multifuntionelle möbler i ny betonteknologi, skrev jeg artiklen om denne teknologi og om hvordan möbler kan designes i forhold til en tvärfaglig platform.
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| 23. |
- Christoforidou, Despina, et al.
(författare)
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Responses to product features: An affective neuroscience perspective
- 2009
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Ingår i: Proceedings of the 2nd International Conference on Research into Design - ICoRD'09. - 9789810822774 ; , s. 379-386
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Konferensbidrag (refereegranskat)abstract
- Design aesthetics concerns the study of the way the features of a product are perceived by an observer. This paper shows that the moment of perception can be advantageously described with the help of results from affective neuroscience. It also shows, among other things, that the affective state of an individual is always prior to a later, slower, conscious cognition, and that it influences judgment during purchase and use. This can also be observed in great detail through the measurement techniques used in affective neuroscience. A comparison with current models of affect in design research is also presented. Finally, results from affective neuroscience allow the designer to play with emotions, knowing which stimuli will have an impact on the individual and when.
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| 24. |
- Fridell Anter, Karin, et al.
(författare)
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NEUTRAL GREY – AN ABSTRACTION?
- 2009
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Ingår i: Proceedings of the 11th Congress of the International Colour Association, AIC 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040 76 2 ; , s. 1-4
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Konferensbidrag (refereegranskat)abstract
- This paper presents part of the research project Greyness and spatial experience. Its main objective is to discuss the concept of neutral grey and to investigate the preconditions for perceiving neutral grey colours in different situations. Neutral grey is defined as having similarity only to black and white, not to the chromatic elementary colours. Greyish colour samples have been observed with different backgrounds and in different light. One of these series is presented in detail in the paper, the conclusions from others are considered in the discussion, together with relevant literature. Greyish colours are seldom perceived as neutral, but rather tend to get a perceived hue, which depends on the observation situation. Inherent neutral grey colours are not found in nature. In production of materials and artefacts no tolerance level can assure a total lack of hue. In conclusion we suggest that neutral grey should be considered as an abstraction, its unique but in practice unobtainable quality lying in its absolute lack of hue and chromaticness.
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| 25. |
- Fridh, Kristina, 1961, et al.
(författare)
-
Ytans materialitet
- 2009
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- I arkitekturen behandlas ofta ytan som något rumsavskiljande, där ytans materialitet får bli den gräns som ska definiera rumsligheten. Men om rummet är något föränderligt i våra medvetanden blir också ytan något obeständigt. Denna gräns får en subjektiv laddning, och ytans materialitet blir föränderlig. I den japanska traditionen uppfattas rum som en subjektiv upplevelse, en fysisk erfarenhet och en föränderlig process, det vill säga som något icke-fysiskt i en människas medvetande. I boken Ytans materialitet ställs frågan om och hur sättet att använda olika material i rumsskapandet är kopplat till olika kulturers föreställningar om rum. Två japanska och två svenska arkitektkontor/arkitekter jämförs: Kengo Kuma & Associates/Kengo Kuma, SANAA/Kazuyo Sejima och Ryue Nishizawa, Wingårdhs/Gert Wingårdh och Claesson Koivisto Rune/Mårten Claesson. En annan del av boken beskriver de utforskande experiment som gjorts med fokus på byggnadsglas. Ett fyrtiotal glasprover visar hur upplevelsen av glasets materialitet kan förändras och manipuleras genom laminerade, mönstrade skikt samt screentryck direkt på glas. Kopplingar har gjorts till föränderliga rum i skikt och glasets föränderliga egenskaper har undersökts genom att låta glaset samspela med ljus och omgivande rum.
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| 26. |
- Harvard, Åsa
(författare)
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"Prototyping spoken here" - artifacts and knowledge production in design
- 2004
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Ingår i: Working papers in art and design. - : University of Hertfordshire.
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Konferensbidrag (refereegranskat)abstract
- Artists and designers do not constitute a coherent group of professionals but they share a strategy of work where theartifacts are at the heart of the process. They are trained in a culture whose central activity consists in creating, interpreting, discussing and refining artifacts. Analytical knowledge is subordinated to the knowledge (or skills) necessary for the making of artifacts. In research, this situation is the inverse - analytical knowledge stakes precedence over making skills, and artifacts are not a valid research result unless they contain new knowledge. Within academia, however, the notion of knowledge also undergoes change. This can be seen in notions such as tacit knowledge and reflection-in-action (Schön, 1983). Theories of distributed cognition (Hutchins, 1995) describe knowledge as context-dependent, situated in the interplay between persons, processes and artifacts. I will use theories from cognitive anthropology about “distributed cognition” as the basis for an attempt to describe the relation between artifacts and knowledge production in a design project. Two design environments will be discussed. The first case concerns design education. It describes how students in Metal Design go about an assignment to develop concepts and prototypes for tableware. The second case describes a design-oriented research project, the Narrative Toys project, within the HCI/Interaction Design research field. My point is to demonstrate how artifacts are used to create and communicate knowledge – first, within a handicraft-oriented culture. Then, the way in which artifacts and the processes involved in producing them are instrumental for creating a kind of temporary “knowledge culture” within an interdisciplinary project, so that all participants have the means and the mandate to express their ideas in a designerly way.
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| 27. |
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| 28. |
- Joachim, Halse, et al.
(författare)
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Design Rituals and Performative Ethnography
- 2008
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Ingår i: EPIC 2008 Conference Proceedings. - : Copenhagen University,Copenhagen, Denmark.. ; , s. 128-145, s. 128-146
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Konferensbidrag (refereegranskat)abstract
- This paper proposes a course for ethnography in design that problematizes the implied authenticity of “people out there,” and rather favors a performative worldview where people, things and business opportunities are continuously and reciprocally in the making, and where anthropological analysis is only one competence among others relevant for understanding how this making unfolds. In contrast to perpetuating the “real people” discourse that often masks the analytic work of the anthropologist relegating the role of the ethnographer to that of data collector (Nafus and Anderson 2006), this paper advocates a performative ethnography that relocates the inescapable creative aspects of analysis from the anthropologist’s solitary working office into a collaborative project space. The authors have explored the use of video clips, descriptions and quotes detached from their “real” context, not to claim how it really is out there, but to subject them to a range of diverse competencies, each with different interests in making sense of them. Hereby the realness of the ethnographic fragments lie as much in their ability to prompt meaningful re-interpretations here-and-now as in how precisely they correspond to the imagined real world out there-and-then. We propose that it is precisely the investment of one self and one's own desires and agendas that lifts an ethnographic field inquiry out of its everydayness and into something of value to further-reaching processes of change and development of attractive alternatives.
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| 29. |
- Klarén, Ulf, 1944-, et al.
(författare)
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The Spacious Greyness : On Colour Light and Space
- 2009
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Ingår i: AIC 2009 Proceedings of the 11th Congress of the International Colour Association Sydney, Australia 27 September to 2 October 2009. - Sydney : The Colour Society of Australia, Inc. September 2009, Sydney, Australia.. - 1877040762
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Konferensbidrag (refereegranskat)abstract
- In the project Greyness and spatial experience1 we have studied visual qualities in grey/greyish colours “on location” in the - spatial - world around. We have carried out a number of observation series not only aiming to investigate variation of greyness in different spatial situations but also to develop a methodology and equipment for such studies. In this paper perception of greyness is discussed in relation to our own observations and to scientific and scholarly references. We make some basic reflections on colour in spatial context and in relation to traditional colour theory.In spatial context colours with low chromaticness, near the grey-scale, play a more significant role than distinctly chromatic colours; hence they are very important in design of built spaces, both exterior and interior. The logically balanced distribution of greyness in shadows and in surfaces against the light produces a spatial feeling of coherency, and greyish inherent colours generally form a subordinated background to colours with high chromaticness. Simultaneously greyness to a high degree conduces to differentiation of spatial experience; an over-all spatial experience of greyness normally offers subtle but distinct contrasts of hue.In the field of colour most scientific research deals with colour phenomena as such. If focusing on colour as spatial phenomenon, colour theory can be given theoretical connection to intuitive understanding of the world around and be part of a wider field of aesthetic research.
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| 30. |
- Lindborg, PerMagnus, 1968-
(författare)
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Le dialogue musicien-machine : Aspects des systèmes d'interactivité musicale
- 2003
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Ce texte a comme sujet la confluence entre la création musicale et les sciences cognitives. Le but principal du travail a été de faire de la reconnaissance sur le terrain. Le présent texte est donc forcément incomplet, et ne servira que de point de départ pour une recherche substantielle.J’ai choisi comme thématique l’interactivité musicale, qui sera définie comme le dialogue musicien–machine. Je vais tenter d’approcher ce phénomène par multiples chemins, qui se superposent. Le thème restera au centre, et autour de lui, j’esquisserai sa relation avec plusieurs faits et phénomènes liés, en particulier : les langages naturels et formels, la question de l’interface à la création, l’intelligence artificielle, et les notions de mémoire et de sens. Ces approches mises ensemble constitueront l’étude des aspects des systèmes d’interactivité. Le vaste sujet de l’interactivité musicale est incrusté dans l’histoire de la musique d’ordinateur, une histoire qui date déjà d’un demi-siècle au moins. Par conséquent il sera nécessaire de cerner le cœur du sujet et de parcourir des cercles concentriques ou en spirale, pour gagner des connaissances qui nous permettent de comprendre mieux le phénomène. La procédure est un peu comme quand on observe une étoile avec l’œil nu : si on la regarde tout droit elle disparaît… La rétine est plus sensible à la lumière dans les côtés. Le texte est donc fatalement un collage consistant de plusieurs études d’envergure limitée. Malgré cela, il faut respecter les aspects importants propres au sujet, essayer d’esquiver le superflu et faire le plus possible de liens. La recherche est guidée par trois thématiques. Quelle est la matière, en d’autres termes, les composants et les processus qui constituent le système de proprement dit, utilisé dans la situation de performance musicale ? Deuxièmement, quelle est la relation entre recherche cognitive et outils technologiques à disposition ? Troisièmement, quelles implications est-ce que les technologies ont eues et auront d’autant plus à l’avenir sur la créativité musicale ?Depuis plusieurs années, les concepts qui sous-tiennent ce texte ont influencé mon travail de compositeur et performeur. J’ai fait des expériences en la matière au travers d’œuvres employant des dispositifs électroacoustiques de configuration variable : “Beda+” (1995), “Tusalava” (1999), “Leçons pour un apprenti sourd-muet” (1998-9), “gin/gub” (2000), “Manifest”[1] (2000), “Project Time”[2] (2001), “sxfxs” (2001), “Extra Quality” (2001-2), ”D!sturbances 350–500”[3]… Ces morceaux de musique sont nés d'une curiosité pour le fondement théorique de la cognition et le fonctionnement du cerveau humain. En particulier, je me suis consacré à analyser la situation de jeu dans laquelle a lieu un échange d’informations et d’initiatives musicales entre musicien et machine, qui agissent sur un degré équivalent de participation dans un système complexe. J’éprouve que cette situation ludique peut également servir d’outil de recherche ; elle est un peu comme un laboratoire, ou un banc d’essai, pour tester des hypothèses, qu’elles soient des propos limités à la musique, ou bien plus étendues, élargissant vers des terrains inhabituels.Étant compositeur, j’ai essayé de rendre l’étude ni trop limitée, ni strictement descriptive. J’ai ressenti le besoin d’analyser des travaux contemporains, ayant des composants scientifiques : les trois projets étudiés sont effectivement en cours de développement. Il s’agissait dans cette étude de capter plutôt leur raison d’être que de montrer leurs formes respectives dans un état finalisé, qui de toute façon n’est pas leur destin. Si la musicologie se contentait de démontrer des structures dans des œuvres de répertoire connues depuis longtemps, ou si elle s’enfermait dans un académisme technocrate développant des modèles n’expliquant que des choses qui sont évidentes pour les musiciens, alors elle souffrirait d’anémie. En proposant une hypothèse, elle doit comporter des aspects prédictifs. Ce serait encore mieux si des modèles développés en support à l’hypothèse étaient facilement accessibles et pouvaient servir au développement de nouveaux outils innovants. Cela est souhaitable, non seulement pour stimuler la production créative, mais également pour aider à mieux comprendre le fonctionnement de la créativité lui-même.L’activité musicale, au sens général, pour ceux qui la produisent autant que pour ceux qui l’apprécient, est un exercice essentiellement non-verbal dont le but est l’émergence d'une compréhension de la créativité humaine d’un ordre autre que verbal ou écrit. En étudiant la créativité, et surtout sa formalisation, ne risquerait-on pas de la dénaturer ? Peut-être la créativité ne risque-t-elle pas de s’effondrer dans la recherche ? Que restera-t-il de la création musicale le jour où une machine aura composé une œuvre capable d’émouvoir les auditeurs ignorant tout de son mode de fabrication ? Néanmoins, en suivant l’appel de William Faulkner, “kill your darlings”, espérons transcender la créativité telle qu’on la connaît et aller vers des pays musicaux inouïs.
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| 31. |
- Lyckvi, Sus, 1970
(författare)
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Teaching Gameplay Design is Teaching Interaction Design
- 2007
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Ingår i: Interaction Design and Architecture(s). - 2283-2998 .- 1826-9745. ; :3-4, s. 102-109
-
Tidskriftsartikel (refereegranskat)abstract
- This paper describes the benefits of integrating gameplay design in interaction design teaching since this allows students to practice designing for unusual situations, considering ethic and aesthetic issues as well as issues of use and abuse, often all in the same project. Some examples – ranging from a three week group project to a half day exercise – are described, each together with aims and noted learning outcomes related to interaction design, as well as with a general discussion. In addition, a few student projects are described together with learning outcomes. Finally the pros and cons of this approach are discussed, and educators willing to try it, but inexperienced in games, are getting some useful information on what to look into.
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| 32. |
- Sangiorgi, Daniela, et al.
(författare)
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Toward a Participatory Design Approach to Service Design
- 2004
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Ingår i: PDC 2004 - Proceedings of the Eighth Conference on Participatory Design. - Toronto, Canada : ACM Press. ; , s. 148-151
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Konferensbidrag (refereegranskat)abstract
- This paper introduces service design as a potential Participatory Design (PD) theme. It proposes that the success of designing good services can be increased by including the perspectives and practices of the future service participants into the design process. Through the description of an action-research project, the paper explores the potentials and limitations of using an ethnographic approach and Activity Theory to frame the service design process and interpret the complexity of services.
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| 33. |
- Wilde, Danielle
(författare)
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hipDisk : using sound to encourage physical extension, exploring humour in interface design
- 2008
-
Ingår i: International Journal of Performance Arts and Digital Media. - Bristol : Intellect Ltd.. - 1479-4713 .- 2040-0934. ; 4:1, s. 7-26
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses the hipDisk and its development. The hipDisk (see Figure 1) is an interactive sonic system triggered by core-body gesture that highlights and responds to the dynamic relationship between the wearer’s hip and torso. The resulting interface turns the body into an instrument by augmenting it with instrumental capabilities. hipDisk sits within a broader research framework that explores how technology can be paired with the body to poeticise experience. In order to discuss this, the process that led to the emergence of hipDisk is elaborated; this is followed by a statement of design goals; a detailed description of the instrument, its construction and behaviour; and an analysis of outcomes and audience response to date. Within this, a discussion of the role of interface, extension, tangibility, and what is afforded by the use of soft as opposed to hard electronics is undertaken. In addition, the limitations and affordances of the hipDisk as an instrument are discussed. Through this article questions are raised about the role of the creative process in the design of interactive, wearable elements and systems, and the value of considering non-functional outcomes such as addressing the inner life of the wearer. I contend that a focus on these issues can provide added value, beyond intended functionality and that, with such a focus, novel yet meaningful applications of technology could be created that poeticise experience and enhance quality of life – for both wearer and also, possibly, observer.
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| 34. |
- Tillberg, Margareta, 1960-
(författare)
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Anne-Marie Ericsson. The Interiors of M/S Kungsholm: Masterpieces in Swedish Art Deco
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 77:4, s. 230-234
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- Art Deco is a style that has hitherto gained too little attention in Swedish history of art and design. With her special focus on the 1920s and 1930s Anne-Marie Ericsson, a well known author and lecturer in the Swedish design world, is the just author for this period. Therefore I open her M/S Kungsholms inredning. Mästerverk i svensk art deco [The Interior of M/S Kungsholm. A masterpiece in Swedish art deco][i] with great expectations.As the title implies, the aim of the book is to treat the interiors of M/S Kungsholm, the show-piece of the Swedish American Line. This focus is reasonable, insofar as the exterior presented nothing new, according to the author, whereas the interior was enthusiastically received by the New York press as a “fairy tale castle” when she arrived on her maiden voyage in New York, December 1928. (p. 9).Trying to present a reconstruction of how the ship looked, although almost nothing remains of it today, Anne-Marie Ericsson has taken upon herself a task that is not an easy one. The fate of M/S Kungsholm was unfortunate. After a glorious decade, she transported troops during World War II, incredibly enough escaped bombs and torpedoes, became a cruise ship in the Mediterranean and was finally broken up in Bilbao in 1964. By that time, the interiors had been almost entirely extinguished and the furniture plundered or sold.[i] If not stated otherwise, all the translations from Swedish to English are my own, M.T.
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| 35. |
- Tillberg, Margareta, 1960-
(författare)
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Coloured Universe and the Russian Avant-Garde : Matiushin on Colour Vision in Stalin's Russia, 1932
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.
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| 36. |
- Stolterman, Erik
(författare)
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The nature of design practice and implications for interaction design research
- 2008
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Ingår i: International Journal of Design. - 1991-3761 .- 1994-036X. ; 2:1, s. 55-65
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Tidskriftsartikel (refereegranskat)abstract
- The focus of this paper is interaction design research aimed at supporting interaction design practice. The main argument is that this kind of interaction design research has not (always) been successful, and that the reason for this is that it has not been guided by a sufficient understanding of the nature of design practice. Based on a comparison between the notion of complexity in science and in design, it is argued that science is not the best place to look for approaches and methods on how to approach design complexity. Instead, the case is made that any attempt by interaction design research to produce outcomes aimed at supporting design practice must be grounded in a fundamental understanding of the nature of design practice. Such an understanding can be developed into a well-grounded and rich set of rigorous and disciplined design methods and techniques, appropriate to the needs and desires of practicing designers.
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| 37. |
-
Startpunkter : experimentell forskning inom arkitektur och design = Beginnings : experimental research in architecture and design
- 2005
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- 01.AKAD – EXPERIMENTAL RESEARCH IN ARCHITECTURE AND DESIGN – BEGINNINGS is the first in a series of publications from AKAD, which aim to provoke, promote and discuss new and critically experimental research by architecture and design. This first book is structured around four themes arising from projects initiated within AKAD with financial support from the Swedish Research Council. It includes critical essays and presentations of experimental design and writing projects. The contributors are architects, designers and scholars based in Sweden, Austria, Belgium, Canada, Ireland, Italy, Switzerland, UK, and USA.
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| 38. |
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| 39. |
- Oveisy, Nazanin, et al.
(författare)
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Emotional design for the blind users: Application of tactile and auditory semiotics in product design
- 2008
-
Ingår i: Proceedings from the 6th Conference on Design and Emotion 2008. - 9789881748928
-
Konferensbidrag (refereegranskat)abstract
- As products features and functions and user's conceptions of them could be a part of each product's beauty, aesthetics in product design is not limited to the appearance of a product. Users feel beauty with all of their five senses, so sight is not the only tool for understanding the aesthetics, but a part of each user's emotional ability. To develop a new product design paradigm for sensitive-disabled users, in the first phase of this research both physical requirements and emotional needs of a blind user (as a certain) group has been studied. In a product design project as an experimental phase of the study, defining the non-visual signs and symbols for usage scenarios, helped the design team to create an emotional but non-visual design for a product which was designed for blind users, who use their touch sense as the main tool for understanding and interacting with products. A physical model of final design (the laptop for the blind) was evaluated by the user group and achieved attention and successes in various national and international exhibitions. The results of experimental phase led to a discussion about a holistic and extendable paradigm for bringing emotion into products which are designed for sensitive-disabled users, especially blind users. The study shows that how an emotional dialogue between disabled users and products could exist without depending on visual signs and symbols.
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| 40. |
- Zetterlund, Christina
(författare)
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Hands on Movement : A Dialogue With History
- 2008
-
Ingår i: Journal of Modern Craft. - : Taylor & Francis. - 1749-6772 .- 1749-6780. ; 1:3, s. 427-430
-
Recension (övrigt vetenskapligt/konstnärligt)
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| 41. |
- Akner-Koler, Cheryl, 1956-
(författare)
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Three-dimensional visual analysis
- 2007. - 3
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- 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.
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| 42. |
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| 43. |
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| 44. |
- Bouman, Ole, et al.
(författare)
-
Architecture is too important to leave to architects : A conversation with Giancarlo de Carlo
- 2005
-
Ingår i: Volume. - Amsterdam : Archis. - 1574-9401. ; 20:2
-
Tidskriftsartikel (refereegranskat)abstract
- Giancarlo de Carlo has a long career as an architect and writer behind him. As an architect he has been self-taught, having mastered the profession during the war while at the same time being involved in the resistance. In those days he was an enthusiastic admirer of the masters of the modern movement. Later on, however, in the fifties, together with contemporaries such as Aldo van Eyck, Jacob Bakema and Ralph Erskine, he founded Team 10, a group that was fiercely critical of the rigid functionalism of the CIAM. Since that time De Carlo has not ceased to analyze and criticise new developments and trends in architecture. In his public appearances and in his writings De Carlo denounced the anonymity of bureaucratic clients, the frivolous concern with symbolism in architecture that ducked any attempt to discuss its content and the prevalence of special interest groups in the field of architecture. A constantly recurring theme was accountability in architecture. In the eighties architecture went through a phase of being depoliticised; now in our own age his approach has again become amazingly topical. One article of his that is particularly striking is entitled Legitimising Architecture (Forum Vol.III, 1972, no. 1, pp. 8-20). In it he accused the profession of surrendering to the interests of people without any principles (‘the expert exploiter of building areas, the manipulator of building codes, the cultural legitimator for the sacking of the city organised by financiers, politicians and bureaucrats’). This article deserves to be quoted in detail.
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| 45. |
- Ehn, Pelle
(författare)
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DOC and the Power of Things and Representatives
- 2008
-
Ingår i: Proceedings of the 26th International Conference on Design of Communication. - New York, NY, USA : ACM Digital Library.
-
Konferensbidrag (refereegranskat)abstract
- Social life is communication. To live in a society means sharing things. And this we do not through, but in, communication. That is how things become common, and hence how communities are formed.
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| 46. |
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| 47. |
- Fletcher, Kate, et al.
(författare)
-
Clothing Lives!
- 2003
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Ingår i: Product Life and the Throwaway Society. - Sheffield : Centre for Sustainable Consumption, Sheffield Hallam University.
-
Konferensbidrag (refereegranskat)
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| 48. |
- Fletcher, Kate, et al.
(författare)
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Clothing rhythms
- 2004. - 1
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Ingår i: Eternally yours. - Rotterdam : 010 Publishers. - 9789064505492 - 9064505497 ; , s. 254-274
-
Bokkapitel (populärvet., debatt m.m.)abstract
- If you imagine how numerous we are and multiply that by the number of outfits we have, that makes many billion garments… and yet how much do we know about our clothes? What can we say about the relationships we have with the contents of our wardrobe? What do we know about the principles embodied by our garments or their longevity? Is there a garment that promotes an ecological awareness that transforms our relationships with materials and our experience of the world? In this short paper, we introduce new ideas about the lifetimes of fashion clothing that question not only the status quo in mainstream industry but also that in the eco-clothing sector. We think the connection between fashion clothes and rhythms of time is crucial because of its implications for ecological thinking and sustainability. For too long the chief response of environmentalists to questions of fashion obsolescence of clothes has been simply that it is unnecessary and that it should not happen. But this neglects the power and influence of fashion and the complexity and subtlety of the relationship between fashion, clothing and consumers over time. From a time-based perspective, different users, different patterns of use and different fashion levels inform the design. The result is a more diverse, more rhythmic, more ecological response. Our approach proposes that we acknowledge that fashion and clothes are not identical, although their use and looks sometimes coincide. It engages with consumer-garment interaction as an important part of the fashion cycle - both in terms of driving the fashion cycle and in terms of environmental impact. We believe that in order to achieve more ecological practices in the fashion and clothing industry, we must understand and use the rhythm of fashion, the dialogue between our clothing, ourselves and the zeitgeist.
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| 49. |
- Hellström, Björn, 1959-
(författare)
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Akustiskt designlaboratorium
- 2006
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Rapport (populärvet., debatt m.m.)abstract
- Projektets målsättning är att etablera ett Akustiskt Designlabb på Konstfack som ska omfatta utbildning och forskning, och även fungera som mötesplattform för representanter från näringslivet och från universitetssfären. Idag finns audioteknisk utrustning utspridd på Konstfacks olika institutioner. Tanken är att skapa ett interdisciplinärt labb genom att samla teknik och specialistkompetenser under ett och samma tak. Personalen kommer att bestå av ett team av personer med kunskaper om ljudredigeringsteknik, ljudkonstinstallationer, ljuddesign, rumsakustik, konst, arkitektur, musik och pedagogik mm. Teknik och kompetens ska vara tillgänglig för forskningsprojekt och för lärare och studenter vid de olika institutionerna, och även för skolans utställningsverksamheter. Det finns idag inget motsvarande ”laboratorium” i Sverige, utan det här skulle bli unikt för Konstfack.
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| 50. |
- Hultman, Mats
(författare)
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Seaside, Celebration och Windsor: Studier av urbana estetiska regler
- 2002
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation deals with aesthetic rules in an urban context. The dissertation develops a theoretical framework for understanding the role of aesthetic rules, especially urban design codes, in the process of improving the architectural quality of the built environment. In the context of this framework three case studies of urban design codes are presented. The over-arching aim is hermeneutical: to create a better understanding of the relationship between aesthetic rules and architectural quality. The more specific aim is to describe the cases in such a way that the reader gets an understanding of how the design codes have worked in these cases, and of their relation to the architectural quality of the places in question. The first two chapters discuss aesthetic rules mainly in relation to theories about quality and quality management. A key concept in this discussion is the division between spontaneous and stable quality derived from the philosophy of Robert M. Pirsig. This dichotomy and a comparison between the use of quality in architectural discourse and the practice of quality management leads to an assumption of the limited role of aesthetic rules. Aesthetic rules, as a part of an endeavour towards architectural quality, are assumed to be able to positively affect the stable quality, while the spontaneous quality can be influenced only indirectly. The third chapter introduces the movement of New Urbanism as the major ideological context of the three case studies. These are presented in chapter four and consist of studies of the design codes and the built environment of three Florida developments: Seaside, Celebration and Windsor. The cases are studied with qualitative research methods. They show that, alongside other factors like the ambitions of the developer and the cultural competence of the house buyers, the urban design codes in all three cases have contributed to an urban design and architecture with high stable quality. Furthermore the loose typological code in Seaside have permitted high spontaneous quality. A comparison between the more strict codes of Celebration and Windsor shows that the pattern book used in Celebration seems to be more restrictive in relation to spontaneous quality than the typological code of Windsor. In both cases, however, the high quality is predominantly stable. Consequently the cases support the assumption that aesthetic rules can affect the architectural quality in a positive way, but that great care must be taken in order not to stifle creativity and in that way prevent the appearance of spontaneous quality. Finally the conclusions and how they can be related to the Swedish planning context, together with the ethical and democratic aspects of aesthetic rules, are discussed.
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