Service Design is a relatively new, unexplored and exciting phenomenon that through an interdisciplinary work methodology designs services. A discussion has been going on for a long time regarding whether there is a difference between products and services. Services are often classified as immaterial, heterogeneous, non-storable and inseparable in relation to products. A question that arises is if something specific characterises the work methodology used regarding service design. The aim with this paper is thus to explain the work methodology when working with service design.

In my study, I have chosen to examine how the user interface and content must conform to design guidelines for responsive design makes it suitable for diverse desktop environment and for varied mobile platforms. The purpose of this study is to examine the extent recommended design guidelines based on scientific research has a positive impact on user performance and perception when using this study delivered hi-fi prototype. The goal of this study is to provide a Hi-Fi prototype with high usability that will introduce and inform the public about BrasilCine according specifications. Study findings from user testing and supplementary questionnaires show that the implemented technologies as design guidelines for responsive design and design features have a positive impact on user performance and perception. The study results are therefore relevant for further prototype development..

This report describes and explains the development of a comprehensive solution including visual identity, print catalog, website and online shop for the furniture company Resize Design. The development and production of these have occurred in the iterative processes with relevant theories as a basis. The theories include user-centered work processes, usability, design principles, interaction design, design patterns and web-compatible solutions. The report documents and discusses the work which is divided into different phases. .

For the Swedish artist Björn Lövin, the personal was a problem. In his first exhibition in Moderna Museet, Lövin observed through the fictitious character Mr. P (for »Personality«) the ruptures in the Swedish welfare state. The exhibition Konsument i oändligheten och Herr P:s penningar (Consumer in Infinity and Mr. P?s Money) (1971) was composed of two environments, through which a veridical working class apartment and a high street with life-sized mannequins and furniture characteristic of its time, visualized the societal discrepancies in the welfare state as well as the art world of the early 1970s.

Design Patterns introducerades på 1990-talet och användningen sades medföra en rad fördelar som skulle hjälpa systemutvecklare i deras arbete. Bland annat skulle Design Patterns underlätta för systemutvecklarna att kommunicera med varandra samt ge en bättre överblick över och förståelse för systemarkitektur genom en höjd abstraktionsnivå. Systemutvecklaren skulle även få en ökad förståelse för god design. Två kritiska artiklar fick oss att vilja beskriva hur systemutvecklare som aktivt arbetar med Design Patterns upplever att centrala fördelar uppfylls. Vi genomförde fyra fallstudier där vi intervjuade erfarna systemutvecklare och vår slutsats är att de upplever att fördelarna med Design Patterns uppfylls.

A current issue today is to try to implement creative design as a way to solve wicked problems in scientific contexts such as HCI. Since the problems are wicked, they have no given solution which makes the traditional methods inadequate. In these cases, creative design can be an alternative. Creative design is not used in scientific contexts because it is viewed as something unaccountable.In this essay we argue that creative design not necessarily have to be unaccounted. We discuss various views of creative design and translate theory to a practical context.

AbstractTitle: External communication channels of Prime Care How they where thought to be, how they work and how costumers apprehend them.Number of pages: 50 (64 Including enclosures)Author: Sophie DicksenTutor: Peder Hård af SegerstadCourse: Media- and Communication Studies DPeriod: Spring 2007University: Division of Media and Communication, Department of Information Science, Uppsala UniversityPurpose/Aim: The focus of this paper lies on the external communication channels of Prime Care and the aim is to study the following aspects: How do the channels work? How are they apprehended by customers of the company? What are Prime Cares own thoughts behind the channels? How does Prime Cares self-image correspond to the way that customers apprehend the company?Material/Method: Twenty interviews has been done with different customers of Prime Care in order to see how the company and its communication flow is apprehended. A consultant manager of Prime Care has also been asked about purposes behind the companies external communication channels in order to enable a comparison between Prime Cares image and profile. Prime Cares website, one of their mail sendouts, their salescalls, salesvisits and their exhibition participation have been studied on the basis of relevant litterature. Maletzkes model of mass communication was used as a general view of communication flow.Main results: All communication channels included in this study have different ways of function even though they all have the same main purpose, videlicet to promote the company, to inform about its activities and to recruit new customers and consultants.

This thesis examines the relationship between the marginalization of ornamentation during functionalist modernism and the effect it had on female graphic design practice. By examining the historiography from a gender and feminist theory of history I present a different way of interpreting, not only the history of graphic design but also the concept of graphic design. This thesis does not reach a conclusive result, instead it sets the foundation for further research and illustrates the opportunities that we as graphic designers have to benefit contemporary graphic design by critically reviewing and redefining our history through a diverse historiography..

This degree project contains a theoretical and a practical part about magazine design. Literature aboutthe subject?s typography and magazine design has been studied and put into practice on the professionaljournal Ingenjören. Besides of that a study about the history of magazine typography for the lastfifty years has been done.Typography and other design factors are important for the magazine to be readable and gives at thesame time the magazine an identity of its own, which has become more and more important throughoutthe last decades.The result of this degree project is a new design for Ingenjören, a design that agrees more with howthe journal want to be considered. A new template, a dummy and a manual have been produced.

Research is a time-consuming endeavor which requires appropriate tools to manage often vast amounts of information. Militarization 2.0 is a research project aiming to explore Militarization in social media. The aim of this project is to design a user interface for supporting researchers in projects involving large amounts of data in qualitative studies. The project will follow the design process of the first version of the Militarization 2.0 research database interface. The design process involves user studies, interviews and design and testing of paper and digital prototypes.

I projektet, som är ett examensarbete från programmet högskoleingenjör i teknisk design vid Luleå tekniska universitet, har ett koncept på en delvis förarlös bil tagits fram. Arbetet har utförts mot instutitionen för arbetsvetenskap och har givit värdefull erfarenheter inför fortsatta studier vid Umeå Institute of Design. Resultatet är en lyxig fyradörrars kupé med tänkt lansering omkring år 2020. Bilen sköter till största delen av tiden körningen på egen hand men tillåter även manuell körning på ett nytt och revolutionerande sätt. Fordonet är även en social mötesplats där passagerarna får uppleva en ny dimension av att resa med bil..

Responsiv design syftar till att en webbsida ska anpassa sig efter anva?ndarens enhet, oavsett enhetens ska?rmstorlek. Arbetet har ga?tt ut pa? att ta reda pa? om man kan utveckla en framga?ngsrik responsiv design som fungerar pa? ma?nga typer av enheter enbart med en persondator som utvecklingsplattform, och pa? sa? sa?tt undvika att beho?va genomga? en stor process med testning. Resultaten visar att det a?r fullt mo?jligt. .

The purpose of current paper is to identify the differences (ifany) between Swedish and Turkish consumers in terms ofproduct design perception and to identify the differences toproduct design in relating the four dimensions / characteristics:1.Aesthetical attractiveness, 2.Functionality, 3.Value and4.Quality.The findings of the study indicate the existence of a universal perception of design. Despite the culturally different countries that are examined the empirical material consistently display similarities between the two countries. Both the quantitative and qualitative data point to a very similar perception in terms of design. The possibilities of global design are discussed for companies as well as managerial implications and future research..

Transcending sound design is possible. There are unseen possibilities and a great potential for improvement and development in sound and music design ? but there is a great difficulty penetrating the obstacles that lies in the way for such development to take place and to exist. The difficulties in being negotiable and productive lies more within the limits of the audience it has to gain, than in itself. It is as though music and sound design has to evolve very slowly, in an almost evolutionary style; one step at a time, to be accepted.

In this essay I analyze the performative aspects relating to Marina Abramovi?'s The Artist Is Present, which took place in spring 2010 at MoMA in New York, from the context of the artist and work, institution and documentation. In this performance work, for the duration of the exhibition, Abramovi? sits completely still opposite another chair where anyone from the audience may sit. The art arises through this participation.