KHiO

Drops consists of legs of stainless steel and an inner tube covered with recycled upholstery material. The seat is not permanently fixed to the underframe, but the inner ring in the seat fits over the outer ring of the underframe so that the chair can be tilted into the desired position by the user. The seat can also be removed from the underframe for use as a pouffe. The chair's design has been inspired by the process behind making tassels. Drops introduces elements of childish delight and colourfulness into the user's everyday life.

Dusk consists of two pouffes made of recycled textiles from the furniture industry. Around the middle of the pouffes is a belt made of material. The height of the pouffe can be adjusted by the width of the belt. Pictured is one pouffe at a seating height suitable for children and another at a height for adults.

The pouffes are inspired by childish memories of making tassels - to a different scale, but just as colourful. They have their own personality and brighten up the greyness of everyday life.

72º is a stool of solid birchwood and based on geometry - the result of several incisions and adjustments to the angles of a cube. Two of the stool's legs are slanting at an angle of 72º, hence its name. The angles, surfaces and contacts that arise are a challenge to the material, but the locked construction makes it stable. The dynamic design of the stool invites the observer to look at it from all directions and discover that every side has an interesting appearance.

This product is clearly inspired by bees: nature's small, industrious creatures and the way they use space and materials to optimal effect. The hexagon is the obvious choice when strength, space saving and a minimal use of materials is required.

I wanted to design a crystal-clear example of my views about using as few resources as possible in a design process.

The chair is cast in polyurethane foam, which - when subjected to the correct casting process - will give a little and mould to the user's body when she sits on it. I also wanted the chair to have an untreated surface; once the structure is strong and functional, the bees have done their job.

The idea behind Samo was that it should be innovative to the eye but recognisable to the soul. With its characteristic expression, the object invites spontaneous reactions; indifference is its greatest enemy. It demands a definite response: hate me or love me, as long as you recognise me! Samo challenges conventions and investigates the boundaries between art and design. Functionality is a secondary concern when you experience this object, which communicates with you on several levels, and not necessarily through the mediums of physical comfort or functionality. Samo's visual value lies in the logic of its linear forms and the relationship between them: every line has a meaning.

My MA-project is about communication through form, and how to capture a certain expression to create the desired mood for a given setting. I want to master the skill of creating objects that make a statement, and of endowing products for everyday use with visual poetry. In the case of my pilot project, which resulted in Unit One, I decided that the message should be "hands off"; the expression: serious; and the mood: reliable and strong. Unit One is a personal container for keeping diaries, secret treasures and the likes. The goal of the whole "capturing-the-expression-mission" is to build a longer-lasting and more personal relationship between consumers and products.

Four straight legs, a comfortable seat and an unpretentious, straight back: how to design a chair along these lines that is simple, yet at the same time exciting to look at? The solution was to use only one type of material, in one coherent form.

The chair Aperto looks as if it has been cut out of a solid block of plywood, but is in fact constructed of many layers, like a sandwich. The holes in the back and seat, inspired by Le Corbusier, help to lighten the appearance of its otherwise very compact form. The holes are emphasised with a choice of colours. The plywood gives the chair the strength it needs in order to retain its slim shape.

It's unhealthy to sit for too long! People today are far too sedentary, both at home and at work. And if you are sitting too comfortably, you won't move. The brain is stimulated when the body moves. I have made a chair that is as simple and elegant as possible, without being banal – and that looks hard, without being so. So, don't sit on it for too long!

It is comfortable to sit on! The chair is made of solid birch and with a flexible back because it is constructed of three separate and very thin layers of plywood that absorb your bodyweight in a pleasant way and keep you mobile. Parts of the chair are also decorated with silver leaf that creates exciting reflections.

The Hiatus Chair is designed for cloakrooms, dressing rooms and corridors, where people do not need to sit for long periods of time. The design idiom emerges from the chair's gaps or interspaces that change shape and form, depending on the angle from which you look at them. "There are more gaps than chair". The appearance of The Hiatus Chair is based on a single principle arising from guidelines on how to use plywood. The distinctive character of the chair is created by cutting all the parts from one and the same piece of plywood, thereby producing a number of unique correlations.

The table is small, easy to move and its three legs keep it stable, irrespective of the surface it stands on. With its rather modest, yet characteristic appearance, the table can complement a comfortable chair, or become the focus of attention when several chairs are put together. Its simplicity and harmonious dimensions make the table useful in a number of situations.

Softscape is a project that challenges people's perception of furniture in a room and aims to eliminate the boundaries between the pieces of furniture themselves and between the furniture and the room. The sofa, the chair and the carpet have been removed and everything has become a fluid, organic landscape for sitting in. The main concept is inspired by the softness of newly fallen snow, when a thick, white carpet has covered whatever was underneath.

The main element in the project is therefore the chosen textile and its latent potential, which creates a holistic, visual idiom. By adding softer areas, it becomes more than just a surface – it becomes the padding itself. And when it slides down onto the floor, it ceases to be just upholstery material and is transformed into a carpet.

Zipp consists of zips that have been put together to form the supporting component of the lamp. The lamp comes in different heights and in plain colours or multi-coloured, according to choice. The zip itself creates an interesting play of light and allows the lamp to be taken apart for transport. The collection consists of a table lamp, standard lamp and pendant lamp.

Swell is inspired by the soft waves of the ocean and the clarity of water. We have played around with the concept of a material that is constantly changing: from its original form, it flows into perforations before returning to its original form again. The visual appearance clearly reflects the changes that occur. In the process, we exploit the characteristics of the material: it is strengthened to a substantial degree and can also be stretched over a larger area. This technique has many advantages that we will develop further in connection with other utility objects.

Plastic Dandy is a sitting sculpture designed by the Belgian designer Isaac Monté, but produced in Norway. The cold, naked plexi-plate contrasts with the warm, woollen plaid.

The transparent piece of furniture is formed in such a way that light accentuates the curves. It is been made in one piece of plexi that has been folded by heat into two triangular forms, symbolising the male figure. The triangular forms are echoed in the pattern of the plaid.

Although the sculpture and the plaid are two different objects, they have been designed together and should be seen as one object. Both pieces evoke different feelings: warmth and cold, nudity and serenity, the old-fashioned and the modern. This combination of both objects is innovative.

It is important for our bones that we move, even when we are sitting still. This is the idea behind the chair Backup1.

Many people slide to the edge of their chair when they have been sitting for a while. The seat of Backup 1 follows the body 12 cm outwards while at the same time rising slightly. The seat can be tilted in order to change the seating position to a semi-reclining position or to a more active working position. The back of the chair can both be sat on and rolled, so allowing movement and adjustment to different body shapes. The chair can be locked in an upright position, when it will look like an ordinary dining-room chair. The seating technique is protected by a patent.

If, besides always satisfying our need for a good rest, a chair also has an appearance that encourages you to question your own preconceptions about the composition of the physical objects that surround you, then it will, at the very least, make you stop up and take a rest. By means of its proportions and special character, or the sentimental associations it awakens, a chair can talk to you and so instigate a dialogue between you and your surroundings.

Stave's character is the result of the encounter between the homogeneous framework of its back and sides on the one hand, and the eclectic seat composed of scrap pieces of wood on the other. The framework gives the chair a look of uniformity, while the seat makes each individual chair unique and gives it personality – a personality that might make you think of barcodes or a pile of macaroons, or that can even awaken feelings of national identity.

Materials: Untreated ash, lacquered birch, stained ash, pear tree, yellow oak, maple.