By hanna




logotype in english_ project Tink with white background black text a green rectangle on the right of the text and blue patterns below that look like waves


Open storm water solutions have a good potential in contributing to urban sustainability by delaying and purifying storm water locally, creating recreation possibilities and an attractive urban environment. However, today there is a lack of good examples adapted to Swedish conditions, not least wit focus on social accessibility

To create innovative and sustainable storm water solutions in urban spaces, multi-disciplinary innovation processes are needed that allows for incorporating social, ecological and economical sustainability challenges. Such processes have the potential to create solutions which do not only fulfl technical and social minimum standards, but also contribute actively to strengthen social values in cities. The project is built on this approach and will involve experts on norm-critical approaches, landscaping architecture and urban water management to develop sets of solutions for inspiration with new examples of how open storm water solutions can be designed with respect to these solutions.

The primary purpose is to contribute to the development of knowledge and the increased innovation capacity within the area. The secondary purpose is to contribute to the uptake of multi-disciplinary innovation with focus on social sustainability and accessibility also within other sectors in urban development, e.g autonomous vehicles and green roofs.

The project is founded by the Innovation Agency Vinnova and a collaboration with Rise – Research institute, HDK, Academy of Design and Craft, Usify, Disorder Architect, SLU – the Swedish University of Agricultural Sciences, Liljevall Architects, Kvadrin Architects, Göteborgs kommun and Vellinge kommun.

For more information:


Norm-Critique in practice: Haptic and tactile design methods in the notion of care

2nd of june, Aalto University, Helsinki

We invite participants to this workshop with the purpose to explore participatory processes based on tactile and haptic methods within the framework of norm-critical methodology.

The workshop is based on cases from the project ‘Tink – Idea development for available and inclusive open stormwater solutions`. Innovation- driven projects in urban planning are often based on technical aspects and deviate from social values. Through a norm-critical methodology, we argue that technical innovation needs to include social values based on intersectional analysis. Firstly, in the project Tink, that means that we work together across disciplines and focus areas, in an interdisciplinary environment with disability activists, researchers, practitioners, and municipal officials. Secondly, we state that norm-critical methodology includes design processes based on inclusive methods in the notion of care, engagement and social inclusion. In a workshop environment, this means creating settings for people with different experiences and abilities.

We acknowledge that all participants have different knowledges, understandings, and capabilities. Subjective experiences through our bodily senses can be a central tool for understanding our environment and situations. We suggest that by using haptic and tactile design methods in a workshop setting, we aim to challenge normative ways of understanding and to interpret architectural and design sketches, visualizations and models. By providing alternative ways to understand a workshop material within participatory methods, does not only make the workshop experience more accessible for participants who are not used to interpret architectural sketches.  It also provides better accessibility for people with visual impairments and cognitive disabilities, and, it also stretches the interpretation in general by questioning the visual and hearing norm.


bild där det står privilege booth i skrivstil med rosa bakgrund

PRIVILEGE BOOTH – Confession Session

Motsatsen till diskriminering är privilegium. Att bli diskriminerad eller priviligierad kan vara helt slumpartat. Det är ett lotteri där vi föds med olika förutsättningar. Som priviligierad behöver man inte bli ifrågasatt, utsatt eller uttittad. Som priviligierad blir man både sedd och hörd, känna sig trygg och representerad.

Makt är nära sammankopplat till privilegier. Vad innebär det att bära på en uppsättning privilegier och vad gör privilegierna med oss som individer? Att erkänner sina privilegier kan vara betungade, skamfyllt och ångestframkallande. I privilege booth har du möjligheten att anonymt samtala om din privilegie-position, om skam och skuld, men också försöka gå bortom dessa känslor för att försöka omvandla privilegie-skammen till ett privilegie-ansvar.

Vad kan du göra med den makt du har? Hur kan du med din privilegie-position bidra till ett mer inkluderande och jämlikt samhälle?

Privilege booth och de diskussioner som kommer ske är en del av Hanna af Ekströms forskning i Normkritisk design med fokus på funktionsnormer.

Privilege booth har både drop in och bokade tider under Design week 2018 på HDK, Högskolan för Design och Konsthantverk i Göteborg. HDK ligger på Kristinelundsgatan 8 och Privilege booth är placerat i entréplan.

Drop in tider till Privilege booth är Mån 22 okt kl 17-20, Tors 25 okt kl 17-20, Fre 26 okt 17-20. Varje session håller på i ca 30 min. Om du vill boka tid anmäl dig dig då här:

Som tack för ditt privilegie-erkännande erhåller du en gåva.



Museer ska vara till för alla. Därför ska de vara tillgängliga för alla. Alla har lika stor rätt att delta i och skapa kulturen! Men många museer dras med otillgängligheter av olika slag. För vissa människor innebär det att det blir svårare att ta del av det som finns på museer. För andra blir det rent av omöjligt. Detta ville Funktek ändra på.

Funktek var ett treårigt projekt finansierat av Arvsfonden som verkade mellan åren 2014-2017 i samarbete med Utopia, Göteborgs Stadsmusuem, Rise institutet, Riksutställningar och Mistra Urban Futures. Funktek handlade om att alla ska kunna gå på och uppleva museum. För att det skulle bli möjligt behövde vi veta vad olika människor med olika funktionsvariationer tyckte, tänkte och ville ha!

Därför anställde Funktek personer med olika funktionsvariationer för att utvärdera tillgängligheten på Göteborgs stadsmuseum. Vi kallade det att jobba som Funktek–pilot. Genom att göra olika workshops tillsammans fick vi nya kunskaper. Vi ville att dessa kunskaper skulle förändra sättet Göteborgs stadsmuseum planerar och bygger utställningar på. Så att framtidens museer blir mer tillgängliga för fler människor. Vi ville inte skapa fler särlösningar, vi ville skapa lösningar.

Funktek resutluterade i att fler utställningar på Göteborgs Stadsmusuem blev tillgängligare men också i handboken Bara Gör som du kan ladda ner här:

För mer info:



So, yesterday I was on a meeting for a future casestudie. I visited Katarina and Mattias from the border of the organisation Young visual impairments in the west of Sweden and Gothenburg.

We discussed different normcreative campaigns and to think “outside the box” We talked about preconceptions and how the socialty is designed for the ablebodied, about unaccessible situations and products, family life, sex and new imagined futures.

We talked about to meet up in a creative workshop to brainstorm together with a larger group from the organisation this spring.

To be continued.



sourze from Diversity is beautiful journal

The term ableism refers to “a particular understanding of oneself, one’s body and one’s relationship with others of humanity, other species and the environment, and includes how one is judged by others”. Ableism reflects the value and promotion of abilities such as productivity and competitiveness over empathy and kindness. It has historically been used by certain social groups to justify their higher status in relation to “others”, to justify a hierarchy and exclusion. The preference for “speciestypical normative abilities” might lead to the discrimination against people with disabilities as less able. This notion rejects the so-called variation of being, the biodiversity, the acceptance and accommodation of the people affected.

Most interestingly, ableism does not only refer to the obvious, to people one might automatically associate with. In fact, sexism is partly driven by ableism as it favours certain abilities and at the same time labels “the biologically fragile, emotional and incapable” woman as not having them. Like sexism, racism (claiming that some ethnic groups are less intelligent, i.e. less cognitively able than others) and other -isms are driven by ableism.

The Swiss organisation “Pro Infirmis” started the rather spectacular campaign “Because who is perfect?” in order to raise awareness for body diversity and the lack of representation of people with disabilities. Five persons with different disabilities were used as models to create mannequins that reflected their bodies. The mannequins were displayed in shop-windows next to the “perfect” mannequins. Here is a four-minutes clip (in Swiss German with English subtitles).

Wolbring, G. (2008) The Politics of Ableism. Development, 51, 252-258


“What we did for civil rights in the ‘60s, we forgot to do for people with disabilities.”

– Rep. Patricia Schroeder (D-Colo.) said of the Americans with Disabilities Act of 1990




On Monday, March 12, 1990 disability rights activists descended on the U.S. Capitol demanding the passage of the Americans with Disabilities Act (ADA) which would give equal rights to people with disabilities. The ADA was passed by the Senate the year before but as finding complications getting through the House of Representatives. Over 1,000 protesters came from 30 states to protest the Act’s delay.
Disability activists participating in the “Capital Crawl” on March 12, 1990.

Disability activists participating in the “Capital Crawl” on March 12, 1990. Photo Credit: Tom Olin/Disability History Museum

After the day’s rally and speeches, over 60 activists abandoned their wheelchairs and mobility devices and began crawling the 83 stone steps up to the U.S. Capitol Building. During which people were loudly chanting “What do we want?” “ADA!” “When do we want it?” “NOW!” Other activists remained at the bottom holding signs and giving encouragement to the crawlers. “I want my civil rights,” Paulette Patterson of Chicago stated as she was inching her way to the top. “I want to be treated like a human being.” Eight-year-old Jennifer Keelan was famously taped [as seen in the video above] while crawling up the stairs. “I’ll take all night if I have to,” she firmly stated. The second-grader from Denver suffered from cerebral palsy and decided to partake in the crawl after joining ADAPT (Americans Disabled for Accessible Public Transit). She was inspired by her friend Kenny Perkins who passed away in January 1990. As Jennifer reached the top she stated, “I’m doing it for Kenny.” Michael Winters, a leader in the Independent Living Movement, later wrote about event and the reaction people had to the crawl. “Some people may have thought that it was undignified for people in wheelchairs to crawl in that manner, but I felt that it was necessary to show the country what kinds of things people with disabilities have to face on a day-to-day basis,” Winters recalled. “We had to be willing to fight for what we believed in.”

Senator Tom Harkin had authored and introduced the ADA to the Senate, delivering part of the speech in sign language so his deaf brother could understand. If it passed, it would outlaw discrimination based on physical or mental disability in employment, access to buildings and public and private transportation as well as other issues. The ADA had four goals for people with disabilities: equal opportunity, full participation, independent living and economic self-sufficiency. “We’re not asking for any favors,” asserted I. King Jordan, the first deaf president of Gallaudet College for the deaf. “We’re simply asking the same rights and equality any other American has.” Within four months, the Act passed in the House. On July 26, 1990, the Americans with Disabilities Act of 1990 was signed into law by President George H.W. Bush. On signing the measure, President Bush said, “Let the shameful wall of exclusion finally come tumbling down.” The Act that Senator Tom Harkin and the disability activists worked so hard to pass had finally become law. The “Capitol Crawl” had an effect on the passage of the ADA. Several Senators felt “inconvenience” by the “stunt” and it reportedly pushed them to approve the Act. At the time, the event was not widely known to the public since the media failed to shed much light on it. But to present-day disability activists, on the other hand, the “Capitol Crawl” is seen as one of the single most important events that finally pushed for the passage of the ADA into law. In 2010, the Americans with Disabilities Act of 1990 celebrated its 20th Anniversary. Senator Harkin penned an article about the legacy of the Act for The Huffington Post:

The 19th of April, 2015 at the inaugural event for DisArts Film Festival David Michell interviewed the actor Mat Fraser (who played Paul the Illustrated Seal in Season 4 of American Horror Story: Freak Show) who made some significant comments on “cripping up” as a non-disabled actor to play roles based on disability experience.


This blog in a window for me,to you, where I collect inspiration in my PDH studies about participatory design, normcritics and disability at the design department at HDK, the academy for Design and Crafts at Gothenburg University, Sweden.


Vital Signs
Crip Culture Talks Back
By David Mitchell & Sharon Snyder

This video brings together influential voices in disability rights and disability studies to document an emerging disability culture. A mix of performances, interviews, dramatic readings, and activist footage, Vital Signs features well-known disability rights advocates, poets and performance artists, and disability studies scholars.

48 minutes
© 1995


The secret fashion council gallery


hannaafekstrom_photo_williamolebringThe Secret Fashion Council förenar spiritualitet med mode, konst och design. Den här smyck- eskollektionen påvisar sambanden mellan parapsykologi och kvantfysik, baserat på forskning om materia och energi. Enligt kvantfysiken är allt i universum uppbyggt av vibrationer och många tror att mediala människor har förmågan att känna av dessa. Genom att använda metafy- siska färdigheter från ett medium, erbjuder The Secret Fashion Councils smyckeskollektion att få sitt smycke “avläst” och utvärderat på ett mycket speciellt sätt, där mediet siar om bärarens andliga förflutna, nutid och framtid. Syftet med kollektionen är att initiera bäraren till tidig- are outforskade andliga områden. Förhoppningarna är att detta kommer vidga konsumentens förståelse om att föremål inte bara är köpbara livlösa ting, utan något som innehåller lite av dig, mig och allt.




I mitt kandidatarbete på smyckekonstlinjen på HDK, högskolan för design och konsthantverk inspirerades jag av illustratören Aubrey Beardsley. Beardsley var en av de mest kontroversiella konstnärerna under art nouvou perioden i England i början vid sekelskiftet 1900.  Hans illustrationer utmärks av starka kontraster mellan vita ytor och svarta fält. De kännetecknas ofta av mörka undertoner och symbolism. Beardsley inspirerades av japanska träsnitt, sagor och myter.

I mitt examensarbete arbetade jag, liksom Beardsley grafiskt i svart och vitt, på papper med svart bläck, har min hud fungerat som papper och smyckena i stålcat jewelry. bild på flicka som har ett smycke runt halsen och där en katt sitter på hennes huvud. och textil som det svarta bläcket. Sättet att arbeta med monotona rörelser som att sy och hand såga mina smycken blev som en meditation. Jag lät mitt undermedvetna arbeta i takt med kroppens rörelser. Jag hittade gömda minnen och bevarade dem i smyckena. Jag skissade direkt i materialen och eftersom processen gick så långsamt hade jag tid att verkligen tänka hur jag vill mina smycken skall vara utformade.

Det kändes som om Aubrey Beardsley var en av de saknade länkarna till att de författare, konstnärer och musiker som jag har uppskattat under lång tid. Denna upptäckt tror jag inte att jag funnit om jag inte hängivit mig åt slumpen. Likt boken om Alice i underlandet följde jag efter en mental vit kanin och ramlade ner i ett djupt hål. På botten av hålet hittade jag en ny värld och en större förståelse om mig själv.