This study investigated the effects of rubber alley flooring on cow locomotion, claw and leg health, production, cleanliness, grooming behaviour and cow exclusion rate in a free stall herd. The study was conducted in a new dairy house with a rotary milking system, with a matched group of cows on traditional scraped concrete alleys used for comparison. All claws were trimmed and lesions recorded at the beginning and end of the 4-month study. Locomotion, claw and leg health, behaviour and hygiene were observed and scored at regular intervals during the study. The results showed that cows on rubber alley floors displayed significantly (p.

The Swedish dairy production today consists of big farms and different housing systems are in use. These systems put demands on the cows? ability to cope with the environment and one challenge is the claw health in the herds. Some claw lesions that are frequently observed are foot rot, hemorrhages, digital dermatitis and sole ulcers, which can be caused by, for example, the claws? environment and the flooring type used.

A nonsense mutation in the DMRT3 gene has been shown to have a large impact on pattern of locomotion in horses. Horses that can perform several other gaits in addition to the normally occurring gaits, walk, trot and canter, are often hetero (CA)- or homozygous (AA) for this nonsense mutation. Horses that only can perform walk, trot and canter are often homozygous for the wild-type gene (CC). For example the Icelandic Horse is a gaited breed. Five-gaited Icelandic horses can perform both flying pace and tölt, except for the normally occurring gaits, walk, trot and canter, and are often homozygous for this nonsense mutation (AA).

The lily pad creatures arose out of my childhood memories of nature. This project has been an ongoing investigation of a workprocess as well as an exploration of my own sense of artistic idiom. I wanted to develop my knowledge in pattern design and focus on the artistic expression. I want the pattern to invite participation in storytelling in the same way that nature has inspired me..

The aim of this study was to determine a method to habituate treadmill-naive Labrador Retrievers to walk and trot on a treadmill. 17 Labradors was equipped with reflective markers glued to the skin. Their motions were captured with six 240 Hz infra-red cameras as they walked and trotted on a treadmill three times a day for two days. Also the heart-rate was recorded. We then used QTM and custom built software to analyze the measurements.

Hommage till slit och släp is a tribute and a resarchabout patterns relation to clothes. The primary goalof the project was to examine how a pattern couldchange the apperance of a garment and how thegarment?s construction and material would impactthe pattern. The formative survey was about thesparsely populated areas in the north of Sweden andhow theese areas have been treated by the swedishgovernment. The issue worked as an inspiration andmethod which I used in the patternresearch.

This is a project about creating new patterns from childhood memories of patterns. I havebeen reaserching the possibility to add further value to a pattern in terms of memories, stories,associations and feelings.The goal has been to create new patterns from other peoples memories of patterns. It hasalso been my purpose to develop my skills and feel more comfortable in the creating of patterns.The questions at issu has been:How can I tell a story with a pattern?How can I communicate a feeling or a mood with a pattern?How does our memory image and an interpretation effect the process and the end result?I interviewed nine people. The questions during the interview was:Your name and age?Where was the pattern you?r going to talk about placed?How did it look like?What kind of feelings or emotions do you connect with this pattern?Someting else you whant to tell about the pattern?I created five patterns and during the process with the interviews I realised the importance ofshowing the stories in the end result.

The character of a pattern carries through to the context in which it is placed. Each pattern tells a story. By interpreting our surroundingenvironments we become inspired, and the patterns in turn can become part of our own narratives. This project was fuelled by my fascination and desire to explore patterns. My method of exploration was based on prior knowledge of patterns and interior design.The question became how can I apply my knowledge of interior design to pattern design and how could I best translate the brief intoa language of colour and shapes? The aim was to develop my knowledge of pattern design as well as to use this opportunity to combine my design methods with those of a professional designer.

My project aims to understand more about the methods used in making woven textiles on an industrial level, and how these tech¬niques can be adapted to create object-specific pieces. On visiting the furniture fair in Stockholm, I was surprised to see that most of the textiles used for furniture were so similar, despite the variation in the furniture itself. My project is about creating textile patterns that are specific for each piece.The idea behind the process could be used for any product, but the pattern I created is specifically for the armchair Accent by Yngve Ekström. I wanted to create the feeling of a pattern moving over the surface of the object and adjusting to it. I worked primarily with differences in density.

Sweden has a great tradition of pattern in both wallpapers and fabric, where colours and shape matters a lot for the customer. I have through my examination project tried to expand the views and find new alternatives and shapes for the obvious pattern traditions. I have therefore worked with what could be on the verge of attractive or repelling. To create a curiosity of what is considered to be commercial. From the prospective of the body organs I have created physical patterns for fabric and wallpapers.

Ett mönster är uppbyggt av ett motiv som upprepas. Denna upprepning kan fortsätta i all oändlighet. Hållbar antyder långsiktighet. Mönstrets övergripande egenskap är oändlighet. Hur kan denna egenskap hos mönstret nyttjas inom mönsterdesign för att främja hållbar utveckling? Det här kandidatarbetet undersöker mönsterdesignens möjlighet att verka för hållbar utveckling genom att se till begreppet mönster ur ett bredare perspektiv, samt i relation till design för hållbar utveckling.

Under mina tre år på Konstfack har jag arbetat fram en värld av ickefigurativa mönster. I mitt examensarbete låter jag mönstren röra sig bortom skolans väggar och ut i det offentliga rummet. Genom att titta på hur reklamen idag tar plats i staden, på gator, väggar, tidningar och i kollektivtrafiken har jag hittat en för mig ny exponeringsyta.Mitt arbete består av två delar:I min processbeskrivning utforskar jag ickefigurativa mönsterbilders värde och roll i både konstnärliga och vetenskapliga sammanhang. Jag har också studerat hur reklamen tar plats i vårt offentliga rum. I mitt praktiska konstnärliga arbete har jag använt dessa teoretiska kunskaper tillsammans med en grupp tillvägagångssätt som jag gett samlingsnamnet PATTERN ATTACK.I mitt konstnärliga arbete presenterar jag hur olika PATTERN ATTACKs kan gå tillväga. .

The aim of this examination project was to work with the processof making a pattern collection for fabrics. The collectionshould consist of at least three patterns with report measurementssuitable for screen print. I wanted the pattern collectionto be a simple, mystic and colourful collection with a folklorespirit like the popular rural life I experienced during my childhood.The purpose of the project was that I during the working processwould deepen my estethic background to enforce my personalgraphic expression ability and evolve as a pattern designer.I wanted to try to mix my personal view of domestic graphicexpression with another language that I gained in recent years.This I wanted to do in order to find the tools that could helpme clarify and develop my pattern signature.A few of the questions that I had about this project were if thelong scetching phase that I planned would help or damage theproject.I also thought it would be interesting to experiment with coloursin this project. I wanted to see how far I dared to go inmatter of colours as well as how the patterns would be visuallyexperienced if I for example reduced one colour or replaced itwith the opposite colour.I thought it was inspiring to work with traditional techniqueswith the colours. It was only positive that part of the patternstory telling was developed in an unpredicted direction duringthe scetching phase.

Ett mönster är uppbyggt av ett motiv som upprepas. Denna upprepning kan fortsätta i all oändlighet. Hållbar antyder långsiktighet. Mönstrets övergripande egenskap är oändlighet. Hur kan denna egenskap hos mönstret nyttjas inom mönsterdesign för att främja hållbar utveckling? Det här kandidatarbetet undersöker mönsterdesignens möjlighet att verka för hållbar utveckling genom att se till begreppet mönster ur ett bredare perspektiv, samt i relation till design för hållbar utveckling.

The present project was initiated with the aim to create pattern modules for use in public environments. My intention was to let the properties, of the specific materials used, have a marked influence on the realisation of the final form. I also wanted to find a material, which is suitable from the perspective of sustainabilityand possibilities to create modules from it. The work was initiated with a study of some candidate materials and many sketches before I finally made my choice. My decision was clear after a visit to the company Glasfabriken inKalmar.