This study investigates if, and in that case, how design theory is applied in practice in the web development field. Prior research has focused on methods used in the web development field. We wanted to study the designers role in a web design process by comparing existing designer roles with design theory literature. We did qualitative interviews with two practitioners at two different communication agencies in northern Sweden. Based on our qualitative data and literature review we have concluded that a designer has to devote a lot of energy on requirements engineering in order to develop a clear understanding of the design situation..

The IT industry is constantly evolving and it's more or less a requirement today for web developers to be familiar with and to be able to develop for all platforms. A technique that has taken hold and is now widely used is responsive design. Developing responsive design means adapting the layout to the viewing environment; the screen size. Another useful method when developing for different devices is the mobile first theory, which means developing for the mobile screen first. This is done to scale down the site and to clear unnecessary information in order to provide a better user experience.

This thesis introduces Kongjian Yu?s design approach in terms of industrial heritage conservation in connection to transformation and urban design. The approach is examined respectively on two cases from China and USA. The thesis give a brief introduction to current achievement in conservation research and general profile of industrial conservation practice. Based on case and theory study, Yu?s design approach is carefully applied to an industrial area Nyhamnen in Malmö and a design proposal is produced.

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.

When forces in foundation piles are calculated according to classic theory, thefoundation are assumed to be infinitely rigid which means that the foundation will notbend. High buildings need their whole width to be stable and use the ground floorwall as a foundation. But when, for example windows are needed in the ground floorwall, the stiffness of the foundation decreases which change the forces in the piles. Inthis report the difference of pile forces versus classic theory has been analyzed, and ifpile forces can be calculated as in classic theory. Further on, the effects of the wallmovement were analysed and how the buildings crack safety would be affected by themovement at the ground floor.

This study is made in order to see how music teachers pedagogic design their teaching from a semiotic design theoretical perspective. A survey was done in a study to see how the music college students experienced their music theory teaching. This was followed by an observation of two different music theory teachers teaching music theory and with subsequent interviews. One teacher taught music theory at a swedish non-compulsory School of Arts, Kulturskola, and the other music teacher taught at an independent adult education college. The study's questionnaire, observation and interview revealed patterns of teaching, probably largely due to the teaching tradition.

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..

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.

New technologies and new consumer behaviors are having a large impact on mediacompanies. The biggest change is in the behavior of the younger demographic whereold platforms like television are abandoned for new online platforms. In this newworld, media companies and organizations need new tools and business models tostay competitive. One such tool is Design Thinking, a term used to describe a cognitivedesign-specific set of activities used during a design process. It has been popularizedin commercial areas and there the term is used to describe an applicable workflowused to promote the skills required to use Design Thinking.

Ericsson develops a new stripline directional coupler. Its design is described in appendix B and differs from the directional couplers Ericsson uses in current products. The new directional coupler will be used for transmission power measurement in future UMTS 3G base stations.The most important parts of directional coupler theory are presented. It is necessary to study this theory to understand how the coupler works and how it should be designed to get good performance.Optimal directional coupler termination component values to get high directivity and broad directivity bandwidth have been investigated.The trim screws trim ranges have been studied.A simple analysis of serial production performance when termination component tolerances are taken into consideration has been done.The resistance components reactive (inductive/capacitive) characteristics at 2.14 GHz have been analyzed.The directivity performance limitations of the directional coupler, when Ericsson?s band pass filter is connected, are investigated.Design changes leading to better performance are proposed.

Drawing on earlier research, and using observations as the method, this study presents a design of a nature playscape for children. Applying outdoor pedagogy to the fundamental structure of a specific location, the study proposes a design of a playscape, over a more obvious design, for instance one based around a quiz walk.The theoretical framework is Gibson?s theory of affordance, and the goal has been to create a "play flow". The study concludes that spatial rhetorics can be an important tool when teaching children about nature..

The aim has been to investigate and describe how gender-neutral design, concerning typefaces and colours, can be created. Based on my results I?ve designed a cover for a recipe-book to make it appealing to both women and men. I have been doing my research based on questions such as; Does feminine and masculine design, concerning typefaces and colours exist? And if so what characterizes it? Does gender-neutral design, concerning typefaces and colours exist? And if so what characterizes it? Is it possible to design a cover for a recipe-book in a gender-neutral way, concerning typefaces and colours? The first part of my research consists of a literature study based on keywords such as gender, graphic design, gender theory, typeface, androgynous, visual communication, colour, shape, feminine, masculine, and book design.

A case study of professional interaction designers' usage of design materials was conducted. Five interviews were performed in order to gain insight in the systems used by designers, how these work, how they collaborate within them, and what they think of recent research about them. Design studios allow collaboration for several users at once. Digital material (mockups, pictures, etc.) are commonly used, but needs to be made analog, e.g. printed, to be usable in the design studio environment.

The purpose of this project has been to redesign an already existing cook-book. The title of the book (directly translated), ?Season in food ? the year around with herbs and spices?, contains what the headline imposes: spices, herbs and food. But when the author tries to entwine these parts and communicate it to the reader it is not working all to well due to a poor and inconsistent graphic design.I have followed the theories and values of information design when I redesigned the book layout with the intent to simplify the communication between author and reader. In the progress to make a complete dummie of the book I did multiple literature studies, book analysis, tests and a vast number of drafts.In this report I will describe the whole process from start to finish.

This study presents an alternate viewpoint to the strive to overcome the gap between research and practitioners within paper prototyping in interaction design. Earlier research identifies three aspects of this gap, which is:Practitioners being unaware of interaction design methods and theoriesPractitioners being aware, but choosing not to apply these methods and theories, due to time, budget and constraints of labourPractitioners and research having different perspective on similar design issuesOur study was done by carrying out qualitative interviews with interaction designers based on two digital design bureaus. One of the bureaus has an expressed link to research: the other has not. Our hypothesis is that the gap would manifest as a difference in work practice between the two bureaus.Our study shows that the two bureaus have similarities in work practice and that this work practice is based on scientific methods and theories, but is adapted to fit the client and/or the project. We conclude that the overcoming of the gap might not be necessary.