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Integraseinhibitoren sind bereits seit Jahren in der Initialtherapie HIV-positiver Erwachsener empfohlen, in der Schwangerschaft aber bisher aber meist nur unter besonderen Voraussetzungen (z.B. bei hoher maternaler Viruslast kurz vor Entbindung) eingesetzt. Ziel dieser retrospektiven Studie ist es, die Effektivität und Verträglichkeit integraseinhibitorhaltiger ART bei schwangeren Patientinnen zu untersuchen und diese mit integraseinhibitorfreien Regimen zu vergleichen. Die quantitative Viruslast bzw. die Suppression der Viruslast zum Zeitpunkt der Entbindung stellte die primäre Zielgröße der Studie dar, Indikationen für einen INSTI als Intensivierung der ART oder Gründe für einen Therapiewechsel sowie unerwünschte Wirkungen bei Mutter und Kind waren sekundäre Zielgrößen. Hierzu wurden retrospektive Daten aus der Epidem-Datenbank des HIVCENTERs und aus den Patientinnenakten der teilnehmenden Frankfurter Schwerpunktpraxen extrahiert und in die Auswertung einbezogen. Im Beobachtungzeitraum vom 1. Januar 2008 bis zum 01. Juni 2018 wurden n=274 Schwangerschaften erfasst, diese resultierten in n=281 Kindern (fünf Zwillinge und einmal Drillinge). INSTI-haltige Therapieregime wurden bei 52 (19%) der Schwangerschaften eingesetzt, darunter zumeist Raltegravir (92%). Die maternale Viruslast zum Zeitpunkt der Geburt unterschied sich in beiden Therapiegruppen nicht signifikant, in beiden Subgruppen konnte eine signifikante Reduktion der Viruslast zum Zeitpunkt der Entbindung erreicht werden., Integrase inhibitors are highly recommended for the initial treatment of HIV-positive adults, but have so far only been used during pregnancy under special conditions (e.g. high maternal viral load shortly before delivery). The aim of this retrospective study is to investigate the effectiveness and tolerability of integrase inhibitor-containing ART in pregnant patients and to compare these with integrase inhibitor-free regimens. The primary objective of this study was the quantitative viral load respectively virologic suppression at time of delivery; secondary objectives were indications for an INSTI containing ART, reasons for a change of regimen as well as adverse effects in mother and child. For this purpose, retrospective data from the HIVCENTER’s Epidem database and patient files of the participating clinics in Frankfurt were extracted and included in the analysis. From January 1, 2008 to June 1, 2018 we observed n=274 pregnancies resulting in n=281 children (five twins and one triplet). INSTI-containing regimen were used in 52 (19%) pregnancies, predominantly raltegravir (92%). There were no significant differences in terms of virologic response between the two treatment groups; a significant reduction of the viral load at the time of delivery was achieved in both subgroups.

This work has sugar at its core. Sugar is nowadays an omnipresent substance in processed food due to its taste enhancing qualities. We can find sugar in food items that we would not consider sugary; for instance, soups, bread, and packed nuts among many others. Excessive consumption of added sugar may lead to many health and well-being problems. The most known condition associated with sugar consumption is diabetes, the ninth leading cause of death in the world. When at a young age, the author was diagnosed with diabetes, so minding sugar consumption became an essential aspect of his life. Initially, this was a personal concern, which afterwards, served as a motivation for his artistic persona. This MA thesis is a gathering of personal considerations that are reasoned on empirical experiences and facts. It concerns social awareness in the context of sugar consumption and diabetes. In order to convey these considerations, a series of objects which have sugar as their main medium, were produced. The conception of these objects was enhanced by a combination of theoretical research and material exploration. The theoretical research assembled notions from the fields of social psychology (with a focus on empathy) and speculative design. The material exploration consisted of exploring sugar as a building material by applying it to conventional craft methods and digitalized manufacturing methods. Through the lens of material development, these material explorations confirmed the potential of sugar as a building material. From a narrative perspective, what better medium than sugar itself, to expand on the problem of its consumption and to bring awareness about diabetes. Furthermore, SUGAR WONDERS allowed the author to find new branch topics, such as Diabetia, the country, which expands on the idea of a country made of diabetics and the notion of belonging for a person with a condition.

Aesthetics of Chaos is a study on exploring creative identity, using Finnish clay as its main medium. The starting point of this research work is author’s critical self-reflection on her relationship with colour, and an unexpected failure experience with Finnish clay. The study discusses the process of pushing through the internalised norms of working with clay, recognising self-established boundaries on creative identity; and it analyses colours’ impact on different levels throughout the project. Through a series of material and colour experiments with Finnish clay and altering the usual production methods of ceramic-making, this research work explores a wider spectrum of this material’s character and potential; while it also challenges the maker to critically reflect both on her own creative identity, and the concepts such as normal/weird, perfection, and failure, among others. The name Aesthetics of Chaos refers to the chaotic state of conducting a personally challenging research that deliberately forces the author to go out of the comfort zone and expand tolerances; and the molten, unruly, unapologetically free high-fired end results of the Finnish clay. This research work utilises various methods from practice-based design research and experimental material research fields. Making, documenting and reflecting on making itself goes hand in hand to gain a better understanding on intuitive reflexes of the maker, and acts an important source of insight for the research. Apart from making, the literature review is also utilised as an integral part of the process. It provides a theoretical structure for understanding, analysing and contextualising some of the concepts involved with and aroused from the making, such as one’s own creative identity, strong emotional influence and repulsion from certain colours, doubts, material agency and control. The research has a critical perspective on maker’s own pre-set standards and perceptions, and by engaging in a dialogue with

TRANSLATIONS is a study on colour in the context of migration. This research work takes as a starting point the author’s personal journey of leaving his home country of Mexico to settle in Finland. The study discusses the process of integration and identity building through the analysis of different aspects in the concept of colour, departing from the fact that the phenomena of colour and colour perception are on the one hand deeply individual, and yet highly informed by context and social constructs. Through a series of pieces, colour tests and interventions this research work explores the relation we build with colour and how it transforms when moving from point A to point B. Following the same line, the term translation is used in its different meanings to describe the process of transformation in words, objects and colour perception, creating a simile with the process of migration. The artistic research is documented in two chapters. In the first, a series of traditional Mexican wooden crafts are selected under the criteria of colour to be dissected and intervened in their materiality and appearance. The results of contextualising and decontextualising these objects are then discussed by the author to reflect on the object’s provenance, identity and practical function. In the second chapter, a technique for colouring wood is developed using pigments and several media to conduct a series of colour tests. A group of coloured wooden pieces are created using the act of colour testing itself as a method to translate different colour experiences deeply embedded in the author’s mind; experiences subjected to the translation from point A to point B. The conceptualisation of the outcomes of this artistic research on colour and colour perception becomes the ground to discuss different complexities of migration and the process of integration through the author’s own experience.

“Weaving Landscapes” is a research through design thesis that explores the relationship between craft and design, by using concepts from the material culture, with(in) the landscape. Landscape in this thesis refers to the environment(s) in which humans and nonhumans interact. Meanwhile, material culture is the concept that brings together activities from human society and natural ecosystems (natural culture) into one culture. Furthermore, this thesis examines the collaboration that exists between craft and design, which is studied on the notions of preservation and revitalization. Craft is understood as the practice of traditional techniques, while design is used as the perspective and tool to question, think, understand and develop concepts. The relationship between these two practices, craft and design, is inquired through the knowledge in materiality, in making and in the society. The context of the thesis is situated in Finland, in the relation that birch bark weaving technique has with the natural environment and with the society. This topic was chosen because the interest in this traditional craft in Finland seems to have decreased along with its makers, whether they are professional craftspeople or hobbyists. This thesis argues that birch bark weaving should be reconsidered because of the concepts and values that it has within the Finnish landscape. The context is studied by examining how craft values can be regenerated and preserved while revitalizing craft and design practices. As part of my research, I have traveled to mid-Finland to learn and research the birch bark weaving technique from a professional craftsperson. The trip along with the theory have inspired me to create the project “A Dialogue with Birch”, a collection of explorative artefacts. These artefacts consist on canvases that express the outcome of a conversation between my hands and the material (birch bark). Finally, with this thesis I want to analyze and empathize with the connections that

Colors are something that humans have always been fascinated by but impacts of different colorants have caused concern about health and environmental issues. Now more sustainable alternatives interest many industries since the demand for greener products has increased. To be able to answer these environmental challenges, biotechnology can offer new types of tools for design that are enabling co-working with living organisms as a source for new colors and material alternatives. This research project is executed in collaboration with professionals from biochemistry and with living organisms. Research seeks after inherent natural colorants that are produced by microorganisms, bacteria and fungi. Research focuses on exploring the challenges of isolating the pigment out from the microorganisms and also considering the ethical aspects of working with living. This research introduces a detailed description of a working procedure that was implemented with bacteria Serratia marcescens that is able to produce pigment called prodigiosin. In addition to this, working with another microorganism, fungi, is presented as a case study. Both of these projects focused on finding color, growing and isolating of the color from the microorganisms. To be able to tell more about the characteristics of the pigment, experimental color and material research was implemented with prodigiosin pigment that provided promising signs as a colorant. These future colorants can offer us more environmental friendly alternatives from a natural source. Colorants that are produced by microorganisms still require more research to be done of their environmental impacts and benefits but according to the results from this research these colorants already showed potential to be scaled and further developed., Värit ovat aina kiehtoneet ihmisiä, mutta erilaisten väriaineiden vaikutukset ovat jo pidemmän aikaa herättäneet keskustelua erilaisten terveys- ja ympäristöhaittojen vuoksi. Uudet ympäristöystävällisemmät vaihtoehdot kiinnostavat nyt monien eri alojen yrityksiä kuluttajien kasvavan vaatimuksen myötä. Bioteknologia voi tarjota muotoilulle uusia välineitä näiden haasteiden ratkaisuun mahdollistaen yhteistyön elävien organismien kanssa, jotka kykenevät tuottamaan erilaisia värejä ja materiaaleja. Tämä tutkimusprojekti on toteutettu yhteistyössä biokemian ammattilaisten sekä elävien mikro-organismien kanssa. Tutkimuksessa tavoitteena on löytää luonnollisia väriaineita, jotka voidaan tuottaa bakteerien ja sienien avulla. Tutkimus keskittyy tarkastelemaan, onko näistä mikro-organismeista mahdollista eristää kiinnostavia väripigmenttejä ja mitkä ovat haasteet työn ympärillä samalla arvioiden työn eettisiä näkökulmia. Työ esittelee yksityiskohtaisen kuvauksen työskentelymenetelmästä, jota hyödynnettiin Serratia marcescens bakteerin kanssa, joka kykenee tuottamaan prodigiosin pigmenttiä. Tämän lisäksi työ esittelee tapaustutkimuksen, jossa väriä pyrittiin tuottamaan sienten myseelin avulla. Molemmat projektit keskittyvät värin löytämiseen, kasvattamiseen ja väriaineen eristämiseen mikro-organismeista. Jotta väripigmentin luonteesta voitaisiin kertoa enemmän, toteutettiin prodigiosin pigmentin avulla kokeellinen väri- ja materiaalitutkimus, joka tarjosi lupaavia merkkejä väriaineena. Tutkimuksen tuloksena saatiin tuotettua väriaineita sekä väripigmentti onnistuneesti. Nämä tulevaisuuden väriaineet voivat tarjota ympäristöystävällisen vaihtoehdon kirkkaiden värien saamiseksi, samalla sisältäen terveydelle hyödyllisiä ominaisuuksia. Mikro-organismeilla tuotetut väriaineet vaativat vielä lisätutkimusta niiden todellisista ympäristövaikutuksista ja -hyödyistä, mutta jo tämän tutkimuksen tulosten perusteella voitiin huomata, että väriaineissa on potentiaalia skaalattaviksi ja jat

Moving Bodies is a maker’s personal narrative. It illustrates a journey towards finding one’s voice as a designer through a material experimentation process that resulted in the making of The Moving Bodies. The project begins with self doubt and and a question: “Who am I?”, and continues with the evolution of the author’s thoughts as a maker leading to the creation of his sculpture series Moving Bodies. A material experimentation process in ceramics is narrated through the analysis and self-reflections of the author’s own practice. By studying himself and his own mind, he explores his values and through an hands approach he is able to deeply analyse his intuition, a key point to understand creative decisions. Learning by doing, letting go of set guidelines and prioritising the value of a maker’s process over planning and clear cut results are defining points of this body of work. The narrative is far from linear, conscious design decisions are showcased with a no-nonsense attitude and most importantly, a detailed analysis is made on where those decisions stem from. Moving Bodies does not draw clear lines between experimental ceramic samples, the very first material development tests and the final outcomes. The process of creating or stumbling upon a new ceramic material, followed by trying to master and understand the material results in an extremely hands-on diary focused both on personal thoughts and technical information. Material and maker co-creation as a method is introduced, the moving bodies, free flowing ceramic bodies, is the main collaborator to the maker himself. Every test piece or sculpture is essentially the maker creating a playground for the material to free-flow. Material co-creation is a back and forth dialogue between the maker and the material he is trying to guide, form and understand. The Moving Bodies are created through many unorthodox methods of crafting ceramics and setting up molding and forming techniques for the material in the ceramic

A state of chaos conflicts with reason and discipline, repressing order and precision. Entropy can be organised into logic only with information. Disorder arranged by knowledge increases the opportunity for definition as it reveals measurable differences. What can be methodologically measured, known, justified and thus argued as knowledge, is interpreted by our sensorial system. However, our perceptional capabilities are limited and affecting the spectrum of collectible data, thus restricting our notion of reality. Preserving knowledge through time, tradition is mediated by language, culture and interaction. Tradition consists of propositional knowledge, a truth that relies on empirical observation and experience. Therefore, the provability of the external reality is tightly linked to our subjective experientiality. Knowledge and information of a contrary kind, existing remote from the rational and measurable, is in this research defined as transcendental. Transcendence is a phenomenon or an assortment of events occurring hidden from our bare senses, beyond the realm of our consciousness. This thesis is an exploration through art, design and philosophy, reflecting the topic of combining experimental material design with VR technology on the discourse of new materialities in the digital age and research on current knowledge on the processes of perception and presence. The project unravels the path to a transcendental level of information, which is collected and used as the worked material. The design and construction processes of a virtual environment extend the conventional studio facilities and practice, and present affordances, new possible directions and different perspectives for a material experimentation process. Virtual reality enables the observation of glass in an alternative context where its transformed phase, interpreted by complex systems, reveal another dimension of its complete objecthood that can be perceived through designated devices. Through recip, Kaaos on järjen ja kurinalaisuuden vastakkainen tila, joka pidättelee järjestystä ja tarkkuutta. Ainoastaan informaation avulla entropian on mahdollista järjestyä loogiseen muotoon. Tiedon avulla järjestetty sekasorto paljastaa mitattavia eroavaisuuksia tuoden näin esiin mahdollisuuden määrittelylle. Kuitenkin kaikki, mikä voidaan metodologisen mittaamisen, perustelun ja todentamisen myötä vahvistaa tiedoksi, on lopulta aistijärjestelmämme tulkitsemaa. Havaintokykymme on rajoittunutta, ja tämä ominaisuus vaikuttaa kaiken kerättävissä olevan tiedon kirjoon, vaikuttaen käsitykseemme todellisuudesta. Traditio säilyttää tietoa ajan kuluessa välittyen eteenpäin kielen, kulttuurin ja interaktion kautta. Traditio on propositionaalista tietoa, joka nojaa empiirisiin havaintoihin ja kokemuksiin linkittäen näin ulkoisen todellisuuden todistettavuuden vahvasti subjektiiviseen kokemuksellisuuteemme. Vastakohtainen, rationaalisuuden ja mitattavuuden ulkopuolella oleva tieto on tässä tutkimuksessa määritelty transsendentaaliseksi. Transsendenssi on ilmiö tai kokoelma tapahtumia, jotka ilmenevät tietoisuutemme ulottumattomissa, biologisen aistikykymme ulkopuolella. Tämä opinnäytetyö on tutkimusmatka taiteen, suunnittelun ja filosofian alueille. Se reflektoi kokeellisen materiaalisuunnittelun ja VR-teknologian yhdistämistä digitalisoituneella aikakaudella ilmenneisiin uusiin materiaalisuuden käsityksiin sekä tämänhetkiseen tietoon ihmisen havainnon ja läsnäolon prosesseista. Projekti selvittää tietä transsendentaaliselle tasolle, jossa kerättyä ja tallennettua informaatiota käytetään työstettävänä materiaalina. Virtuaalisen ympäristön suunnittelu ja rakentaminen laajentaa perinteisiä työskentely-ympäristöjä ja -käytäntöjä sekä tuottaa affordansseja, uusia mahdollisia suuntia ja erilaisia näkökulmia materiaalikokeiluille. Virtuaalitodellisuus mahdollistaa lasin tarkastelun vaihtoehtoisessa kontekstissa, jossa fyysisen objektin olomuoto ja kokonaisvaltainen esineellisyys tulkitaan uu

The Sweater Work / Shop is a project focusing on the utilization of DIY, crafts and making techniques in a design context. Setting out to develop a small-scale system, this Thesis explores the possibilities of working with textile waste in new and innovative ways through hands-on making while searching for an alternative to mass consumption. Theoretical research provides relevant and contemporary knowledge about the key areas of DIY, crafts and making, as well as their suggested benefits for the environment, society, individual wellbeing and the human-object relationship. Added to this, an extensive practical research provides deeper insights into these themes, related businesses and local projects, together with applied knowledge about the DIY, crafts and making process in a series of experiments with techniques and materials. An in-depth analysis summarizes the most significant problems and opportunities learned by application of the previously mentioned research methods, resulting in the formulation of a design brief for the practical prototype. The prototype itself is a small mobile kiosk to show, make and sell. It visualizes the process of un-knitting old garments, making recycled yarns and then knitting new products from these yarns. It serves both as a workstation and a small shop, therefore the title of this Thesis: The Sweater Work / Shop. This prototype is combined with an alternative pricing system, offering customized products for a lower price, and thereby creating value through engagement of the customer and the story of the making process instead of monetary investments. In the end, a real-life trial proved, that customized products offer a good balance of involvement; allowing even those who don’t want to craft, DIY or make to participate and benefit from some of the positive aspects of DIY, crafts and making.

Paper cutting has been a well-known and developed form of art for centuries, traditionally performed in China and Japan since the invention of paper. It is still popular today with even newer ways of cutting emerging from the use of modern technologies. This thesis builds on current and traditional paper cutting methods to develop a new type of material manipulation using digital fabrication. The focus of this work is on practice-based material research of paper, cardboard, wood pulp, plywood and metal, and explorative prototyping using cutting and bending techniques to reshape the thin sheets into three-dimensional objects, aiming to widen the boundaries of material use. The research is based on self-developed cutting patterns and is documented by photos and videos of the process and outcome. After the first tests are conducted on the selected materials, they are analysed and evaluated based on the material characteristics after the cutting process, the cutting patterns and resulting shapes, durability as well as possible functions. After careful consideration, one particular cutting pattern has been selected to be developed into the final outcome of this thesis, a pendant lamp. The design process is documented by sketches, computer models, photographs of mock-ups and prototypes. After several sets of prototypes, Sila pendant lamp is been refined to its current shape incorporating the feedback from the public and professionals in three consecutive exhibitions, where it was presented.

Opinnäytetyö Delfuksi Tulemisesta koostuu taiteellisesta työstä sekä kirjallisesta osiosta. Taiteellinen työ on veistoskokonaisuus, joka esiteltiin Galleria Huudossa 5.-20.8.2017. Näistä veistoksista esittelen tarkemmin kaksi kokonaisuutta, keraamisen Sea-installaation ja puusta koostuvan Delfu-veistoksen. Kirjallisessa osiossa kuvailen kyseisten veistosten työprosessia, keskittyen taiteellisen ajatuksen kulkuun. Kuvailen kolmesta eri näkökulmasta miten työn lähtökohta määrittelee valintoja ja valitsematta jättämisiä veistoksen työprosessissa. Opinnäytetyön keskiössä on teoksen ja tekemisen suhde siihen, mitä se tarkastelee. Reflektoin omaa taiteellista työskentelyprosessia suhteessa lähdekirjallisuuteen, Max Horkheimerin ja Theodor W. Adornon kirjaan Valistuksen Dialektiikka: Filosofisia sirpaleita, keskittyen erityisesti lukuun Kulttuuriteollisuus: Valistus massapetoksena (2008). Kyseisen luvun tulkinnan kautta syntyy työn lähtökohta ja koko taiteellista produktiota ohjaava metodi: Intuitio muutetaan mittaamiseksi, näkemys järjestetään systemaattiseksi ja tämä systeemi imitoi sitä muovista ympäristöä, jossa huomaamatta elämme. Metodista syntyy vieraannuttamisen efekti, oman tekijyyden piilottaminen, joka näkyy jokaisessa työvaiheessa näyttelyn ripustukseen asti. Käyn työskentelyprosessin läpi kolmen määrittelemäni termin avulla. Kappaleessa Käytäntö kuvailen miten valitsemani metodi näkyy studiolla tapahtuvassa työprosessissa. Keramiikan työstäminen tapahtuu keramiikan työtavoin, mutta kaikkea tekemistä ohjaa taiteellinen ajatus. Kohdassa Paljastaminen kerron kehollisen työskentelyn merkityksestä minulle, joka on oleellinen elementti metodia ajatellen. Vieraannuttamisen efekti, joka ohjaa työskentelyä, pyrkii peittämään kaikki kehollisen työskentelyn työvaiheet, joista syntyy minulle itselleni merkityksellinen tunne. Piilottamalla oman käden jäljen, piilotan samalla opitut tekniikat ja käytettävän materiaalin, työhön käytetyn ajan sekä studion, missä olen työstäny, The Master’s thesis Delfuksi Tulemisesta (eng. On becoming Delfu) consists of artistic work as well as a written section. The artistic work is a set of sculptures that were presented at Gallery Huuto during 5.-20.8.2017. I’ve selected two works, the ceramic installation Sea and the wooden sculpture Delfu, of which I speak of in depth. In the written section I describe the work process of these sculptures focusing on the artistic thought behind them. Using three different perspectives I describe how the work’s basis defines the choices of doing and not doing during the sculpture’s artistic process at the studio. In the center of the thesis is the relationship of the artwork and it’s artistic process towards that which it surveys. I reflect my own artistic work process in relation to the reference literature, Max Horkeimer’s and Theodor W. Adorno’s Valistuksen Dialektiikka: Filosofisia sirpaleita (eng. Dialectic of Enlightenment: Philosophical Fragments), especially focusing on the chapter Kulttuuriteollisuus: Valistus massapetoksena (eng. The Culture Industry: Enlightenment as Mass Deception). Through the interpretation of this chapter the basis for the work and also the method which guides the entire artistic production is born: Intuition is transformed into measuring, insight is arranged as systematic and this system imitates the plastic environment in which we live in without realizing it. Out of this method is born an effect of distancing, the hiding of authorship, which is seen in every stage of the working process. I go through the working process with three different perspectives I’ve defined as terms. In the chapter Käytäntö I describe how the method I’ve chosen is visible in the working process at the studio. Using ceramics as a material determines the specific techniques and requirements in the work process but all the work is guided by the artistic thought. In the second chapter Paljastaminen I speak of the meaningfulness of the physical work for me. It is

The state of awareness that is possible to achieve today by being constantly engaging with devices of technology had left me deeply concerned, about everything. My concern about the future, in global as in personal spectrum, had affected diminishingly on my abilities to work in a field where the product of my labour was, to me, just an object. I feared that the crafts field I was graduating to as a ceramicist was an aging, dusty one and becoming obsolete in today’s society. This thesis aims to explore the meaningfulness of objects and the beautiful relationship between them and people through makers eyes. Through the production I am exploring my creative process and methods and trying to learn new ways to comprehend that process more, in order to find enjoyment in the making and in the product. I am reflecting my own and people’s relationship to pieces I’ve made, and pondering why we love certain objects. I am exploring the relevance of objects through theoretical literature studying people and their relationship to objects through ethnographical, sociological and philosophical look. I am also skimming through texts concerning creative process and making, and exploring how the relationship with objects is expressed by makers and people using them. I am also addressing the subject of the value of small scale production in order to clarify wether crafts industry today is obsolete or not. By also delving into my own creative process and exploring what methods I use to find inspiration I will go deeper into the process of creating objects, finding enjoyment in the process and finally, in the object., Tietoisuuden taso joka on mahdollista saavuttaa tänä päivänä tietoteknisten välineiden avulla oli tehnyt minusta huolestuneen, huolestuneen kaikesta. Huolestuneisuuteni tulevaisuudesta, globaalista sekä henkilökohtaisesta, oli johtanut kykenemättömyyteeni toimia omalla alallani, jossa tekemiseni tuotos oli minulle vain esine. Valmistuessani keraamikoksi ja käsityöläiseksi pelkäsin koko käsityöläisalan olevan vain pölyttynyt ja aikansa elänyt tässä yhteiskunnassa. Tämä opinnäytetyö pyrkii tutkimaan esineiden merkityksellisyyttä sekä niiden ja ihmisten välistä suhdetta, tekijän silmin. Produktion kautta tutkin omaa luovaa prosessiani ja työskentelymetodeja, tarkoituksenani oppia uusia tapoja ymmärtää prosessia ja siten löytää iloa esineestä ja niiden tekemisestä. Peilailen omaa ja ihmisten suhdetta valmistamiini esineisiin ja pohdin, miksi jotkin esineet meitä kiinnostavat. Tutkin esineiden merkityksellisyyttä teoreettisesti kirjallisuuden pohjalta jossa tutkitaan ihmisiä ja heidän suhdettaan esineisiin etnograafisten ja sosiologisten tutkimusten pohjalta sekä filosofiselta kannalta. Tutustun myös teksteihin koskien luovaa prosessia ja tekemistä, sekä miten käyttäjät ja tekijät ilmaisevat suhdettaan esineisiin. Otan myös esille pientuotantoesineiden merkityksen ja arvon selventääkseni onko käsityöläis-ala olemassa vai. Sukeltaessani omaan luovaan prosessiini ja tutustuessani käyttämiini työskentelymetodeihin inspiraation löytämiseksi pyrin myös näiden kautta löytämään iloa tekemisen prosessista ja lopulta itse esineestä.

At the center of this work is an empty house and the urgency to keep memories safe. Our memories don’t exist in a vacuum, they are born from instances of reality. Buildings and fabrics, the spaces where we live our lives, the layers that involve our bodies, have the power to trigger memories. However, a memory is not a safely stored footage of reality. The act of remembering is entangled with imagination as we inadvertently seek for a coherent narrative. Familiar places have an important role in safeguarding memories, they are ever present as we carry out our lives and they change drastically in the circumstance of death. This MA thesis is a personal reflection on the relationship of memory, presence and place in the context of loss: a reflection that is carried simultaneously in writing as in weaving. It encompasses a research through the fields of Philosophy of Memory and Phenomenology, pulling a thread from the topic of memory and following it through connections to imagination, narrative, emotion and language, presence the immateriality of the dwelling space and the subjective dimension of time. The researched topics are interwoven with personal stories and with the making of a thin metallic fabric, embracing reflections on the meaning of the empty house while turning to the process of hand weaving to create a site specific artifact.

Opinnäytetyö on kuvaus yhteistyöprojektista muotoilun ja materiaalitieteen välillä. Se tarkastelee muotoilijan roolia osana materiaalin kehitysprosessia. Tutkimuksessa kehitin nanoselluloosapohjaista rakenteellista väriä yhteistyössä Aalto-yliopiston kemian tekniikan korkeakoulun biotuotteiden ja biotekniikan laitoksen kanssa ja tutkin sen mahdollisia käyttösovelluksia. Opinnäytetyö on kertomus siitä, miten henkilökohtainen kiinnostukseni hohtavia värejä kohtaan kasvoi hiljalleen monialaiseksi tutkimus- ja kehittämistyöksi. Opinnäytetyön ensimmäisessä osassa keskitytään tutkimuksen taustoihin, omaan henkilökohtaiseen kiinnostukseeni kimaltavia ja hohtavia väriefektejä kohtaan, väriin ilmiönä ja rakenteellisen värin määritelmään. Rakenteellinen väri voidaan määritellä värinmuodostusmetodiksi. Se on luonnon tapa tuottaa hohtavia ja irisoivia väriefektejä esimerkiksi riikinkukkojen sulissa ja taivaansiipien eli Morpho-suvun perhosten siivissä. Ilmiö perustuu nanokokoisen rakenteen ja valon vuorovaikutukseen. Pyrin tutkimuksessani tuomaan ilmi rakenteellisen värin ja pigmenttivärien eroja. Esittelen eläinkunnassa esiintyvää rakenteellista väriä ja innovaatioita, joita tästä värinmuodostusmenetelmästä on jo kehitetty. Kimaltavat ja hohtavat värit ovat nouseva trendi mm. kosmetiikan, vaateteollisuuden ja huonekaluteollisuuden aloilla. Metallinhohtoisten ja irisoivien väriefektien toteutukseen liittyy kuitenkin ongelmia: Ne valmistetaan usein uusiutumattomia muovi- ja metallipohjaisia aineita käyttäen ja ovat siksi haitallisia ympäristölle. Nanoselluloosaa voidaan valmistaa puusta, jotka ovat luonnollinen, uusiutuva luonnonvara. Nanoselluloosasta tuotettava rakenteellinen väri voisi siis olla yksi mahdollisuus valmistaa kimaltavia efektivärejä ympäristöystävällisesti. Materiaali ei kuitenkaan ole vielä valmis kaupallisiin sovelluksiin, vaan sen hyödyntäminen ja käyttöönotto teollisuudessa edellyttää jatkoa muotoilijoiden ja materiaalitieteilijöiden yhteiselle kehitystyölle, This thesis is a description of a collaborative project between design and material science. It investigates the role of a designer as a part of the development process of a material. In the study, I developed nanocellulose-based structural color and researched potential practical applications for it, all in collaboration with the Department of Bioproducts and Biosystems at the Aalto University School of Chemical Engineering. This thesis is a story of how my personal interest in shiny colors slowly grew into interdisciplinary research and development work. In the first part of the thesis, I focus on the background of the research, my personal interest in glimmering and shiny color effects, color as a phenomenon, and the definition of structural color. Structural color can be defined as one of the mechanisms of color production. It is nature’s way of producing shiny, iridescent color effects, found for instance in peacock feathers and in the wings of the genus Morpho butterflies. The phenomenon is based on the interaction of light and nanostructure of the surface. In my research, I aim to bring out differences between structural color and pigment color. I will discuss structural color as it occurs in animals, and innovations that have already made use of this means of color production. Glimmering and shiny colors are a rising trend in e.g. the cosmetics, clothing, and furniture industries. However, production of metallic and iridescent color effects is problematic, as they are often made using non-renewable, plastic and metal-based ingredients, which are harmful to the environment. Nanocellulose can be extracted from wood, which is a natural, fully renewable resource. Thus, structural color made using nanocellulose could be an opportunity to produce glitter effects in an environmentally friendly way. The material is not ready for commercial applications yet, and further collaboration between designers and material science experts is required, until these industries c

This thesis begins with making glazes for ceramics out of food waste from a local restaurant. The initial idea is to develop specific glaze recipies, but when the work developed the philosophical aspects became more important. The main reserach question is: what kind of a glaze type of finish with food waste can be created on ceramics? Later on the question arose that is there a poetic connection between the user and the objects created? In this thesis glaze as a concept is quite an open term meaning the different finishes created on ceramics with food waste. Later on in the process coffee waste and coffee powder were studied as a material on ceramics. Wood firing was chosen as a firing method for most of the pieces, which created especially interesting results. This project is divided into two parts, which will focus on the results from the point of view of aesthetics and test table settings to analyze the aesthetic qualities of the pieces. The aesthetics developed here are based on aesthetic theories found in literature combined with the maker’s background in ceramics. In the test pieces the food waste seems to have entered the pieces and they have become relics of the past meals. Some of the results remain art pieces and only intended for un-commercial use., Tämä lopputyö alkaa lasitteen valmistamisella keramiikalle ruokajätteistä, jotka on hankittu paikallisesta ravintolasta. Alkuperäinen idea oli kehittää tiettyjä lasitereseptejä, mutta projektin edetessä filosofiset kysymykset tulivat tärkeämmiksi. Päätutkimuskysymys on: millaista lasitteenomaista jälkeä voi ruokajäte luoda keramiikalle? Myöhemmin syntyi kysymys siitä, että onko käyttäjän ja luodun esineen välillä runollista yhteyttä? Tässä lopputyössä lasite konseptina on melko avoin termi ja tarkoittaa eri pintoja, joita on luotu keramiikalle ruokajätteen avulla. Myöhemmin prosessin aikana kahvijäte ja kahvijauhe olivat tutkimuksen kohteena materiaalina keramiikalle. Puupoltto valittiin polttomenetelmäksi suurimmalle osalle esineitä, joka loi erityisen kiinnostavia tuloksia. Tämä projekti jakautuu kahteen osaan, jotka keskittyvät tuloksiin estetiikan näkökulmasta ja testikattauksiin, joissa analysoidaan esineiden esteettisiä ominaisuuksia. Estetiikka, jota tässä on käsitelty pohjautuu kirjallisuudesta löydettyihin estetiikan teorioihin sekä tekijän itsensä taustaan keramiikassa. Ruokajäte on mennyt esineiden sisään ja ne ovat muuttuneet jäänteiksi menneistä aterioista. Jotkut tuloksista jäävät taide-esineiksi ja ovat tarkoitettu vain ei-kaupalliseen käyttöön.