Reforming IKEA: Do-it-Yourself Projects and
Everyday Objects in Disposable Culture
Matthew W. Harkness
MDes, Emily Carr University of
Art + Design
2017
BFA, The University of
British Columbia Okanagan
2014

A CRITICAL & PROCESS DOCUMENTATION PAPER SUBMITTED IN
PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN
EMILY CARR UNIVERSITY OF ART + DESIGN 2017

© Matthew W. Harkness 2017

Abstract

This project aims to gain an understanding of the rela-

provide opportunities for everyone from non-designers to

tionships people have with everyday, domestic objects

experienced makers to conduct a personal material ex-

inside their urban living spaces using Do-it-Yourself (DIY)

ploration. Together with this creative act of hands-on mak-

furniture making projects. Throughout the project, new

ing, everyday design practices allow people to reflect on

knowledge is generated using hands-on making activities

the objects they own and why, while also achieving an

as a form of Research through Design (RtD). The primary

increased sense of well-being and agency towards their

objectives of this research are to open up and encour-

domestic objects.

age these kinds of Do-it-Yourself, experiential learning
activities as resources for people to draw on in their

Keywords

everyday lives. By innovating design interventions related

Everyday objects, making, Research through Design, Do-it-Your-

to personal well-being and satisfaction with our objects,

self projects, experiential learning, design research, custom-

this project has led to the development of concrete design

ization, Everyday Designers, personalization, consumption,

research exemplars demonstrating how DIY projects

material culture, IKEA, furniture.

can operate as creative resources for everyday design.
Through the design, implementation, and study of the artifacts created for DIY home customization, this research
aims to support people in experiencing increased levels
of self-satisfaction, well-being, and sense of value with
their belongings. This investigation focuses on aspects
of a domestic object’s importance, becoming an ‘Everyday Designer,’ customization, personalization and their
respective relationships to consumption and material
culture. As a result of this research, multiple DIY furniture
projects and instructional booklets have been created to
ii

Table of Contents

Abstract					ii
Table of Contents				iii
Appendices				iv
List of Abbreviations and Definitions		
v
List of Figures				vi
Acknowledgements				viii
Introduction

			10

Literature Review
Housing Affordability and Urban 		

13

Densification

IKEA as Pattern and Material Choices		

27

DIY Projects: The FORMÅ, KRÄFTIG, 		

31

and STÖN				
Instruction Manuals			38
Conclusion
Implications for Design			

43

Future Directions				45
References				48
Appendices				52

Consumption and Material Culture		

15

Reflecting on Everyday Objects		

17

Learning through Making and Everyday

19

Designers
IKEA Heirlooms: Personalization, 		

21

Customization, and Agency
Primary Research and
Research Through Design
Survey and Interviews			

24

Artifact Analysis				25
Research Through Design			

27

iii

Appendices

Appendix 1. Visual Essay: IKEA Fixtures and Negative Spaces
Appendix 2. KRÄFTIG Process Documentation
Appendix 3. STÖN Process Documentation
Appendix 4. Material Exploration: Lamp
Appendix 5. Material Exploration: Wall Hanger
Appendix 6. Material Exploration: Chair-Table
Appendix 7. Material Exploration: Coffee Table
Appendix 8. FORMÅ Instruction Manual
Appendix 9. STÖN Instruction Manual
Appendix 10. Participant Recruitment Flyer
Appendix 11. Interview Questions
Appendix 12. Perspectives on Thinking, Learning, and
Cognitive Styles Special Rightsholder
Terms & Conditions

iv

List of Abbreviations and Definitions

Do-it-Yourself (DIY)

Maker

A Do-It-Yourself activity is defined as anything that is constructed

Within this project, a Maker can be anyone who physically

or assembled from parts after being purchased from a manu-

builds things inside or out of their domestic space. This could

facturer. Examples of this include putting together a piece of

include any and all forms of DIY projects such as IKEA furniture

furniture from a kit, building a children’s toy or renovating an

building or large-scale home improvements.

entire house (Ho & Huang, 2009).

Non-Maker
Research through Design (RtD)

A Non-maker is someone with a propensity to think that cre-

Research through Design is a design research methodology that

ating, building, or physically making things is something that

uses the act of physically making something to generate new

should be done only by someone with specific training.

knowledge by physicalizing ideas to help inform future design
decisions (Zimmerman, J., Stolterman, E., & Forlizzi, J., 2010).

Canadian Mortgage and Housing
Corporation (CMHC)

Everyday Designers

“As Canada’s authority on housing, we contribute to the stability

Everyday Designers are individuals that use the simplest of acts

of the housing market and financial system, provide support

to discover and exploit affordances between situations and their

for Canadians in housing need, and offer objective housing

physical environment (Wakkary & Maestri, 2007).

research and advice to Canadian governments, consumers and
the housing industry”

IKEA™ (IKEA)

(Canada Mortgage and Housing Corporation, 2015).

Founded by Ingvar Kamprad in 1943, IKEA is a Swedish, multinational furniture company that sells ‘ready-to-assemble’ home

Medium Density Fiberboard (MDF)

furnishings (Kamprad & Torekull, 1999).

A type of building material made of wood particles glued together under intense heat and pressure
(“Medium Density Fiberboard,” n.d.).
v

List of Figures

vi

Fig. 1. Bookshelf Found in the Alley
(Photograph by M. Harkness, 2016)

Fig. 11. Cutting Legs for the FORMÅ
(Photograph by M. Harkness, 2016)

Fig. 2. Experiential Learning Cycle and Basic Learning Styles
(Perspectives on Thinking, Learning, and Cognitive Styles by
Taylor and Francis. Reproduced with permission of Taylor
and Francis in the format Thesis/Dissertation via Copyright
Clearance Center)

Fig. 12. FORMÅ Elevated Surface
(Concrete and IKEA Fixtures, M. Harkness, 2016)

Fig. 3. Plastic Wrapped Kettle
(Photograph by M. Harkness, 2017)

Fig. 14. KRÄFTIG Stool
(Concrete and IKEA Fixtures, M. Harkness, 2016)

Fig. 4. IKEA LACK Dissection
(Photograph by M. Harkness, 2016)

Fig. 15. KRÄFTIG Stool Blueprints
(Digital Image by M. Harkness, 2016)

Fig. 5. LACK Components
(Photograph by M. Harkness, 2016)

Fig. 16. Sketching Instructions
(Ink on Paper, M. Harkness, 2016)

Fig. 6. Creating the Mold 1
(Photograph by M. Harkness, 2016)

Fig. 17. KRÄFTIG Instructions Page 1
(Digital Image, M. Harkness, 2016)

Fig. 7. Creating the Mold 2
(Photograph by M. Harkness, 2016)

Fig. 18. KRÄFTIG Instructions Page 2
(Digital Image, M. Harkness, 2016)

Fig. 8. Preparing to Mix the Concrete
(Photograph by M. Harkness, 2016)

Fig. 19. KRÄFTIG Instructions Page 3
(Digital Image, M. Harkness, 2016)

Fig. 9. Freshly Mixed and Poured Concrete
(Photograph by M. Harkness, 2016)

Fig. 20. KRÄFTIG Instructions Page 4
(Digital Image, M. Harkness, 2016)

Fig. 10. Concrete Component Released from the Mold
(Photograph by M. Harkness, 2016)

Fig. 21. KRÄFTIG Instructions Page 5
(Digital Image, M. Harkness, 2016)

Fig. 13. STÖN Table
(Concrete and IKEA Fixtures, M. Harkness, 2017)

Fig. 22. KRÄFTIG Instructions Page 6
(Digital Image, M. Harkness, 2016)
Fig. 23. Droplifting Instruction Manuals at an IKEA Location
(Photograph by Z. Camozzi, 2016)

vii

Acknowledgements

I would like to thank my supervisor, Dr. Garnet Hertz, for
his advice throughout this Masters program at Emily Carr
University of Art and Design. His support and encouragement helped me see this project through to the end. I
would also like to thank Emily Carr University of Art and
Design for providing me the opportunity to complete this
project as well as the numerous faculty members and
administrative staff that aided me while on my journey
through the program. Thanks to my parents are also due,
as they have always impressed upon me the importance
of education and provided me with the means and support to undertake all my academic endeavors. I need to
thank my brothers, Robert, and Charlie, for their inspiration, support, and ceaseless love throughout these past
two years, without them none of this would have been
possible. Lastly, I need to give thanks to my entire cohort
and within that, my dear friend Zach Camozzi: thanks
for the countless hours spent working together inside the
studio and out during the Masters program.

viii

Introduction

Introduction

It’s time for a new generation of products that can age slowly

ownership with their everyday objects. Consequently,

and in a dignified way, become our partners in life and support

these ideas support longer lasting relationships with

our memories.

them, regardless of skill or experience. An underlying
Ezio Manzini
For Eternally Yours: Visions on Product Endurance
1995

theme in this project is that designing and creating
can be done by anyone. Additionally, individuals can
experience increased levels of self-satisfaction, personal
empowerment, and sense of value with their belongings

As a designer, I have always been fascinated with

and their home even if they initially feel as if designing

individual’s relationships with their objects. This interest

and creating should be left to a professional. Therefore,

relates to how people create a sense of home in domestic

anyone can become an ‘Everyday Designer’ by exploit-

space and, how “design for sustainability can embrace

ing minor affordances with objects to better enable spe-

not only social and environmental considerations but also

cific needs within their environment (Wakkary & Maestri,

deeper notions of human meaning and purpose” (Walker

2007). Through the creation of the objects they keep

& Giard, 2013, p.1). Not only does this quote from The

within their domestic space, individuals can experience

Handbook of Design for Sustainability by Stuart Walker

these and similar phenomena attributing to an increase in

and Jacques Giard (2013) align with my personal design

their overall well-being.

philosophy, but it also stands as the inspiration for much
of this project.

Several topics are part of this exploration, including an
inquiry into Vancouver’s unsustainable urban develop-

10

In addition to that, I also believe that everyday individ-

ment. As half of the world’s population currently live in

uals possess an innate ability to design, and create and

cities, this number is expected to concomitantly increase

that this capacity should not be considered a rare skill.

with the growth of the global population (Bettencourt, L.

Therefore, through the process of making, it is my hope

M. A., Lobo, J., Helbing, D., Kühnert, C., & West, G.

that people will establish a greater sense of agency and

B., 2007). Thus, cities such as Vancouver, Toronto, New

Introduction

York, Paris, and Shanghai are facing a growing number

created is that it supports consumers in their decision to

of challenges in areas such as affordable housing, urban

purchase a new object when the one they own becomes

organization, and sustainable development (Bettencourt

unfashionable or needs repair (Schrader & Thøgersen,

et al., 2007; Performance Urban Planning, 2015). As a

2011). Ultimately, this provides a design opportunity

result of this, having enough space for people to engage

to try to reinvigorate and rethink our relationships with

in meaningful Do-It-Yourself practices are difficult. Partic-

ordinary, everyday, consumer objects before so quickly

ularly for those who cannot afford large enough living

and vacuously discarding them.

spaces that would allow them to both live and comfortably build or modify their belongings in. Although many

Aside from a lack of space and our tendency to aban-

cities worldwide are facing these issues, the scope of this

don perfectly adequate objects, other circumstances

investigation is limited to Vancouver, British Columbia, to

are antecedent to a would-be Everyday Designer. These

investigate the design opportunities related to this prob-

factors are motivation and preconceived notions of skill or

lem space efficiently.

experience (Wolf & McQuitty, 2011). Negative feelings
such as these can significantly impact an individual’s will-

Material culture and consumption form another facet

ingness to create or customize their domestic objects and

of my core argument. These problems with Material

in turn, affect the formation of an emotionally long-lasting

Culture and consumption are mainly due to corporations

relationship with their objects (Marathe & Sundar, 2011).

viewing consumers as only the passive buyer of what

Beginning with my proposed DIY projects, an accessible

others produce and not as an active producer themselves

entry point for an Everyday Designer provides a way to

(Xie, C., Bagozzi, R.P. & Troye, 2008). Furthermore, the

combat these and similar feelings. By doing so, the poten-

number of objects that have been mass-produced since

tial for an increased sense of empowerment an individual

the 1950’s currently exceeds the combined amount of

could feel by having customized one of their belongings

people that have ever lived on this planet (Schor & Holt,

can become a reality.

2011). The problem with the massive number of objects
11

Introduction

All of these concerns are mitigated in this project using

Part three happens concurrently throughout this project

a three-part approach with each aimed at a particular

and makes up the ongoing Research through Design

outcome. Part one is composed of a comprehensive

activities. These occur alongside each part of this project

literature review, part two makes up the primary research

and involve the physical making and material exploration

activities, and part three is the ongoing Research through

happening through model making, prototyping, and the

Design occurring throughout the project.

creation of the final design artifacts themselves. As part
of the RtD process, this project explores the use of readily

Part one begins by asking: What roles could DIY projects

accessible materials, in this case, IKEA furniture fixtures,

play in helping people who see themselves as “non-mak-

which are repurposed to serve as concrete casting molds.

ers” to construct a sense of home? How could these

The resulting material explorations are analyzed and

activities open new ways that people can creatively

made into familiar instructional booklets that contain sim-

design, develop, curate, and live with the objects and

ple, Do-it-Yourself projects designed to support everyday

furniture they produce for their home? How can the act

people in their personal creation of a piece of furniture

of DIY making bring awareness to, and affect a person’s

for their small domestic space.

consumption habits? The design research within part
one begins as a search for a broad base of contextual
evidence taking form as a literature review.
Part two aims to design and undertake the primary
research activities to gain specific insights into the
problem space surrounding this investigation. Part two
works to develop and create an online survey, as well as
to conduct and code several interviews with participants
relevant to the scope of the project.
12

Literature Review

Literature Review

Housing Affordability and Urban

An important source for information and statistics regard-

Densification

ing Vancouver’s housing situation is the Canadian Mortgage and Housing Corporation (CMHC). The CMHC

If the city is for the rich and for luxury, and the rest of the pop-

(2015) estimates that the demand for affordable housing

ulation has the role of living outside the city and commuting in

among Vancouver’s growing population will continue to

to service the rich, then we are looking at a world that is very

remain high for the foreseeable future (Housing Market

different than the one we grew up in.

Outlook, 2015; Willa, R., Jennifer, Y., & Engeland, J.,

The Canadian Mortgage and Housing Corporation

2008). When comparing the monthly rental prices for a

2015

small, studio apartment in the Metro Vancouver area with
other Canadian cities, this problem becomes apparent.

Vancouver, British Columbia ranks significantly high in

In 2016 the monthly rental price was anywhere from

overall quality of life for several reasons. In comparison

$950.00 to $1,760.00 in Vancouver, whereas, in Cal-

to other Canadian cities, it has a temperate year-round

gary or Montreal, a one-bedroom apartment averaged

climate, is in proximity to both the Pacific Ocean and the

$896.00 and $868.00 per month respectively (Rent

North Shore mountains. As it is such a desirable place

Seeker, 2015; Housing Market Outlook, 2015).

to live, the demand for affordable housing is in short
supply, and thus, it becomes an expensive city to live

Being extremely sought after, Vancouver also suffers from

in for someone who is not yet financially established. In

complications related to the urban densification that has

other words, people who must rent a place to live, mainly

been occurring for decades. Despite Vancouver building

young adults, university students, or individuals living

developers trying to alleviate problems associated with

on their own away from their parents for the first time.

this, they are unable to keep up with the number of peo-

Thus, Vancouver works as an ideal problem space for this

ple currently migrating to Vancouver. This disconnect be-

design research investigation.

comes apparent when looking at the significant amount
of condominiums now being built throughout Vancouver
13

Literature Review

(about 51,600 units last year), yet despite not even

damaged slightly from the move. Ultimately, you decide

being finished, have already been purchased (CMHC,

to discard the desk and purchase a new one that will fit

2015, p. 4). Additionally, these new developments are

the space better. This scenario describes a major chal-

for sale only and are not available to rent, another factor

lenge that comes with living in a small domestic space.

decreasing the total number of rental units available

However, it also highlights the correlations between

(CMHC, 2015, p. 5).

material culture, consumerism, and the way we create
our identities and spaces we live in using objects.

When considering Vancouver’s housing affordability and

14

urban densification problems, a solution for prospective

An urban planning survey conducted in 2015 stated that

tenants could be to relegate themselves to increasing-

“home prices have risen ahead of economic fundamen-

ly smaller and smaller dwellings due to the shrinking

tals such as personal disposable income and population

affordability of larger ones (Danziger, S., & Rouse, C. E.,

growth, resulting in overvaluation in many Canadian

2008). However, fitting everyday items such as furniture,

housing markets” (Performance Urban Planning, 2015,

domestic objects, and electronics from a previously larger

p. 20). If these expensive housing trends continue, it will

living space into a smaller one proves difficult and intro-

be almost impossible for young adults trying to estab-

duces a range of consequences. For example, imagine

lish themselves financially to be able to afford to rent a

you are moving to Vancouver in your first apartment

modest-sized apartment in Vancouver. As this problem

away from home. At your current residence, your desk

intensifies, residents that occupy smaller, cramped living

and chair, as well as other belongings fit comfortably.

spaces face elevated levels of stress and altogether, a

However, in your newly-rented Vancouver apartment, the

lowered sense of well-being (Campagna, 2016). There-

only space for these is a corner with a windowsill that

fore, there is a critical need to develop novel ways that

awkwardly come together making it a difficult area to

enable people to enhance smaller living spaces through

use. You try to orientate the desk, but it does not fit. Also,

their domestic objects in the service of positively shaping

while maneuvering it, you notice that the legs have been

the mental health of residents dwelling inside them.

Literature Review

Consumption and Material Culture

Before the industrial era, there were millions of craftsmen,
artists, poets, and thinkers who invented new technologies,

Consumption is about far more than simply the mindless purchas-

created new visions, and experimented with new practices of

ing of newer, shinier stuff - it is a journey toward an improved

living. The industrial era eradicated most of this creative ac-

and evolved self.

tivity by enforcing the distinction between creative designers
Jonathan Chapman
2005, p. 31

and uncreative consumers who had to be told how to live and
what to do in the service of mass production.
(Krippendorff, K. 2008, p. 14)

The seemingly infinite number of objects that surround us
in our everyday lives is incomprehensible. These objects

The manufacturing processes for these kinds of inexpen-

include “cameras, cars, lamps, solar panels, dishwash-

sive, domestic objects have made our lives incontrovert-

ers, telephones, chairs, Prozac, computer games, bread,

ibly easier. However, our separation from notions of

[…] and far more clocks than we can possibly watch”

repair as well as our love for purchasing new material

(van Hinte, 1997). These objects make up what is known

goods has since become an easier option for many

as ‘Material Culture,’ and the amount of mass-production

consumers. As a result of this, we tend to discard things

and waste generated from our inconsequential relation-

quickly, often well before the object can be considered

ships with these objects has become a problem (Schrad-

no longer usable (van Hinte, 1997). An example of this

er &Thøgersen, 2011). Klaus Krippendorff (2008), a

commonly occurring problem of Material Culture can be

researcher of cybernetics, epistemology, design, and

found by merely looking down one of Vancouver’s alleys.

culture describes how objects have been typically created

Although missing part of its back panel, this bookcase left

in the past, specifically before and after the Industrial

in the alley could be argued as still a viable and useful

Revolution by saying:

domestic object (see Figure 1).

Fig. 1. Bookshelf Found in the Alley
(Photograph by M. Harkness, 2016)

15

Literature Review

Many of the objects created within the sphere of Material

Unfortunately, this materialistic way that we have come

Culture make up a critical part of who we are and how

to individualize ourselves is something that has been

we identify ourselves to one another (Csikszentmihalyi &

occurring throughout much of history, even more so in

Rochberg-Halton, 1981). A major proponent of this idea

the last hundred years (Ingold, 2013; Krippendorff, K.

of ‘objects and the self’ comes from a study conducted

2008; van Hinte, 1997). The countless number of objects

in 1981 by behavioral scientist, Mihaly Csikszentmihalyi

that are being endlessly designed, manufactured, par-

and sociologist Eugene Rochberg-Halton (1981). Their

tially consumed, then discarded make up this temporal,

study in the Meaning of Things: Domestic Symbols and

ego-centric manifestation of ourselves. The resulting level

The Self looks at “the significance of material possessions

of consumption and waste that comes with it ultimately

in contemporary urban life and the way people carve

suggests that this an unsustainable way forward.

meaning out of their domestic environment” (Csikszentmihalyi & Rochberg-Halton, 1981). Csikszentmihalyi &

The amount of waste made up of our previously viable,

Halton (1981) summarize our relationships with objects

working objects happens due to our shallow relationships

and why they play such a vital role in human progress by

with objects and our constant upgrading and need for

stating that:

the newest thing (Suzuki, 2007). Therefore, this project
advocates that this eagerly disposable behavior may

The evolution of humankind thus tends to be measured not

be discouraged through the strengthening of our rela-

by gains in intellect, morality, and wisdom, the benchmarks

tionships with our objects using making and physical

of progress have to do with our ability to fashion things of

engagement with them. However, shifting this mentality

ever greater complexity in increasing numbers. [...] The fact

may be easier said than done, as sustainability research-

remains that the transactions between people and the things

er Anne Marchand (2011) asks:

they create constitute a central aspect of the human condition
(Preface. ix).

16

Literature Review

What can possibly motivate someone to not only opt for

Reflecting on Everyday Objects

products or product-service systems that are greener, but also
to voluntarily renounce the pleasure accompanying the acqui-

Stress on function results in a loss of attachment with products.

sition of new objects (a nice pen, a new kitchen in which to

When artifacts are designed mainly to fulfill a function, their

welcome friends and family, a trendy handbag) while having

individual characteristics become less important.

the purchasing power to do so? (Marchand, 2011, p. 1).

Peter Paul Verbeek, & Petran Kockelkoren
1998, p. 33

Marchand (2011) raises a good point. It may not be possible to totally shift consumer’s mindsets from the pleasure

An idea synonymous with our relationships with objects

they get from purchasing new things. Although creating

is what these objects mean to us and the contextual

a more meaningful and engaging experience with the ob-

meanings surrounding them. Donald Norman (2007), a

jects individuals purchase, may result in more substantial

researcher in the field of cognitive psychology describes

relationships with their objects and hopefully more time in

meaning as something shown in many ways, yet always

between consumption cycles.

maintains an aspect of ‘reflection’ (p. 8). Applying this
idea to design, Norman (2007) discusses reflective design as something that “makes you think about both past
and future experiences. It’s about long term relations with
objects” (Norman, 2007, p. 38). To understand this point
further and how it relates to everyday objects, a surface
level breakdown of an object’s meaning is discussed in
the first chapter of his book Everyday Objects: Why We
Love (or Hate) Everyday Things. It begins by describing
how an object’s meaning to us is based on visceral,
behavioral, and reflective levels of cognition (Norman,
17

Literature Review

2007, p. 5). An example of this is then provided using a

Writing by the French sociologist, philosopher, and

description of three different teapots that Norman (2007)

cultural theorist Jean Baudrillard (2008) elaborates

owns and displays on his kitchen windowsill.

on reflection, and the meanings objects can have as
significance combined with our own personal, emotional

I have a collection of teapots. One of them is completely un-

investment (Baudrillard, 2008). However, as individuals

usable [...] It was invented by the French artist Jacques Carel-

could potentially be passionate about anything they own,

man […] The second item in my collection is the teapot called

that is too broad for the scope of this project. Therefore,

Nanna whose unique squat and chubby nature is surprisingly

this project focuses on more mundane, everyday, domes-

appealing. The third is a complicated but practical “tilting”

tic objects including furniture, beds, kitchen appliances

pot made by the German firm Ronnefeldt. The Carelman pot

and electronics as opposed to antiques, wedding rings,

is, by intent, impossible to use. The Nanna teapot [...] looks

collectibles, or overtly sentimental objects. Although an-

clumsy but works rather well. The tilting pot [...] was designed

tiques are often thought of as objects people take pride

with the different stages of tea brewing in mind (Norman,

in collecting and maintain the aspect of reflection I have

2007, p. 3, 4).

been investigating, without this distinction, this discussion
would become convoluted by trying to resolve what does

The individual characteristics of each teapot and the

or does not count as a meaningful object (Busch, 2005).

fact that they possess reflective qualities despite being

By considering aspects of meaning and reflection from a

ordinary, everyday objects, makes them important to

design perspective, ideas such as sentimentality and the

Norman (2007) and demonstrates an important part of

ability objects have to connect us with memories and ex-

this project’s argument. Not only is each teapot inherently

periences can then be positively exploited. The investment

meaningful, and not because of its practical value, each

of time and creative energy needed to create something

one maintains an aspect of reflection.

for one’s space could imbue an object with some of these
previously discussed aspects of reflection, meaning, and
importance to create a longer lasting relationship with it.

18

Literature Review

Learning through Making and Everyday

As learning through experience transforms our reflec-

Designers

tions, observations, and experiments into actual knowledge, users can, therefore, rely on this newly formed

Handmade is a mark of distinction. It connotes a kind of

knowledge of making in future problem solving and DIY

authenticity and devotion that people, increasingly cast as

activities (Kolb, 2005). Additionally, this notion will also

passive consumers rather than active citizens, feel is other-

aid in quelling thoughts of inexperience or uncertainty

wise missing from their lives.

with these kinds of activities through the establishment of
Tim Ingold

knowledge with hands-on making and building materials.

2013, p. 122

As a result of these simple and approachable entry-level
DIY projects, users will gain essential experience and

British anthropologist Tim Ingold (2013) was reviewed

may feel more inclined to undertake future repair or

to gain an anthropological perspective of the physical

maintenance activities involving their everyday, domestic

making aspects of this inquiry. In additiona, Ingold’s

objects (Wolf & McQuitty, 2011).

Fig. 2. Experiential Learning Cycle and Basic
Learning Styles (Perspectives on Thinking, Learning, and Cognitive Styles by Taylor and Francis.
Reproduced with permission of Taylor and Francis
in the format Thesis/Dissertation via Copyright
Clearance Center)

(2013) ideas relate to experiential learning aspects of
this project bolster this project’s RtD approach. In Ingold’s

These aspects of Experiential Learning were pivotal for

(2013) book Making: Anthropology, Archaeology, Art

this project and its trajectory towards the creation of

and Architecture, he states that to make is to “learn by

hands-on, DIY design research activities and how they

doing” and to “give form to supposedly inchoate material

might be used to enact a change in consumer behavior.

of sensory experience” (p. 13). This kind of preliminary

However, a critique of the effectiveness of this model

relationship that making has concerning experiential

(See Figure 2) comes from the journal article Cognitive

learning is a major outcome of the created DIY projects.

Styles and Multicultural Populations. The problem with

Throughout the learning process, the user’s physical en-

this model, Anderson (1988) states, is that it “takes very

gagement with materials and the limited number of tools

little account of different cultural experiences and condi-

make up the primary means for learning to take place.

tions and has “been used within a fairly limited range of
19

Literature Review

cultures” (p. 3). To disarm concerns that the proposed DIY

Maestri, 2007). An example of an exploited affordance

projects may be limited to only a Western, English-speak-

shown in the study titled The Resourcefulness of Everyday

ing audience, the design decision was made to use uni-

Design by Wakkary & Maestri (2007), has a participant

versal, ‘Pictographic’ instructions (See Figures 17-22 and

using a measuring cup as an impromptu vessel to hold

Appendices 8 and 9). This decision was due to Pictographic

glass marbles. Directly related to exploited affordances

style instructions being proven to be useful in describing manu-

and augmentation of material attributes is this project’s

facturing processes and various contexts universally (Yamazaki,

use of IKEA furniture fixtures. A user’s initial familiarity

Goto, Taki, & Hori, 2008).

with IKEA fixtures was something this project aims to capitalize on in a further attempt at making these proposed

As the target audience for these DIY activities ranges

DIY projects relatable.

from inexperienced ‘Non-makers’ to significantly skilled
‘Makers,’ it is important to note the distinction between

Each proposed DIY project also requires a very limited

the two. Furthermore, this differentiation as to why

number of tools to complete. By limiting the necessary

making plays a critical role in our relationships with

tools needed to things user’s may already have around

objects as well as to individuals living in small spaces

the house, items such as a knife, a bucket or a roll of

is also important. Therefore, a Non-maker is a person

tape, the hope was to make these projects less intimi-

with a propensity to think that creating, building, or

dating while decreasing any notions of a required DIY

making things is something that should be done only by

skillset.

someone with specific training. Whereas being a Maker
means simply being somewhat creative, resourceful, and
self-determined. In this case, a Maker or Non-maker can
become an Everyday Designer merely by using the simplest of acts to discover and exploit affordances between
situations and their physical environment (Wakkary &
20

Literature Review

IKEA Heirlooms: Personalization,

with the completion of a personal DIY project (Baxter et

Customization, and Agency

al., 2015; Sundar & Marathe, 2010; Williams, 2004).
By becoming intrinsically familiar with an object, its

The mental state in which an individual claims an object as theirs

components and how to physically construct it, feelings

is called psychological ownership. Psychological ownership

of ownership and attachment to that object can develop

is associated with motives, routes, affordances, and outcomes

more quickly (Pierce, Kostova, and Dirks, 2003). Finally,

directly linked to attachment.

the physical act of hands on making then concretizes the

Weston L. Baxter, Marco Aurisicchio, & Peter R.N. Childs

entire experience and resulting memories of when the

2015, p. 1

user took the time to create something unique for their
personal space.

Enabling a user by providing opportunities for personalization and augmentation of their everyday, domestic

As this project revolves around IKEA furniture and the cre-

objects is also central to this project’s argument as these

ation and customization of personal objects, the phenom-

customization activities often result in stronger feelings of

enon known as ‘IKEA Hacking’ needs to be addressed.

agency between user and object (Baxter et al., 2015).

An accurate description of an ‘IKEA Hacker’ comes from

The significance of this idea comes from the previously

the article Learning from IKEA Hacking: “I’m Not One

mentioned roles that objects play in supporting people’s

to Decoupage a Tabletop and Call It a Day by Rosner

everyday practices of self-exploration, self-expression,

& Bean (2009). This article describes these individuals

and the social presentation of self to others (Odom,

by saying “whether they were making a self-conscious

Pierce, Erik, & Eli Blevis, 2009). However, agency is a

artistic statement or simply modifying a towel rack to fit in

major psychological factor when it comes to having a

a small bathroom, IKEA hackers illuminate an emergent

longer, more durable relationship with our objects. As

practice that provides insights into contemporary changes

agency contributes to a would-be Everyday Designer’s

in creativity” (p. 1). In support of a fledgling Everyday

motivation and the resulting empowerment that comes

Designer’s initial foray into this realm of personalization
21

Literature Review

and customization, several considerations have been

A fundamental difference to my approach as opposed to

taken into account within each of the proposed DIY

merely being an IKEA Hack is the fact that my proposed

projects. Many of them because of dissatisfaction with

DIY projects take the low, almost disposable material

aspects of IKEA Hacking. Many websites claiming to

quality of IKEA fixtures, and makes them significantly

highlight IKEA Hacks are often only showing projects

more durable. The familiar activity of building IKEA

consisting of superficial changes that require a very low

furniture is supplemented and amplified through the intro-

level of augmentation of the existing IKEA fixtures (Rosner

duction of a new, material exploration process leading to

& Bean, 2009). These incredibly cosmetic enhancement

the transformation of inferior IKEA parts into long-lasting

techniques often include painting, staining, adding

concrete ones. By doing so, the intention is for the user to

wheels or casters to the bottom of the object, or a very

feel enabled and more involved in the making process,

basic recombination of individual fixtures. Furthermore,

mainly feeling a much higher level of satisfaction and at-

once finished with their IKEA Hack, these people are left

tachment to the object they have created. In contrast to a

with an artifact that has mainly the same physical and

simple box of IKEA furniture, they will now have created

material lifespan due to the original low quality of the

an ‘IKEA heirloom.’ In this way, the user’s resulting every-

IKEA fixtures themselves.

day object has been adapted to both redefine and relate
the artifact to their sense of self in a much more enduring

However, it is important to note that as I am advocating

and almost permanent way (Akah & Bardzell, 2010).

for individuals bringing out their innate ability to design

22

and create, I do not aim to discount even these depthless

Furthermore, in the study conducted for their paper, What

creative explorations. The goal of this project is to amplify

Drives Customization? Control or Identity?, Marathe and

these activities to empower and increase the user’s well-be-

Sundar (2011) state that “psychologically, customization

ing and sense of agency with their objects to hopefully

can imbue a strong sense of personal agency by letting

result in stronger relationships and a longer life for their

users specify their preferences and modify the product”

domestic objects.

(p. 782). As the making of home life is done through the

Literature Review

related acts of customizing, curating, and organizing
one’s domestic objects, having the ability to augment
these kinds of spaces with specific and personalized
furniture can enable a greater sense of ownership over
one’s objects (Odom, et al. 2009). This idea of co-production […] allows users to participate “through shared
inventiveness and co-design” and users are engaged as
active participants (Wolf & McQuitty, 2011; Lusch, R. F.,
Vargo, S. L., & O’Brien, M. 2007, p. 11). By physically
interacting with both familiar and foreign materials on a
much deeper, more engaging level than in a basic IKEA
furniture kit, my proposed DIY projects aim to support
these kinds of customization and personalization activities. By doing so, individuals will become Everyday Designers through the augmentation of their mass-produced
IKEA furniture fixtures. Although this will involve a much
deeper level of engagement, it will result in an increased
sense of agency, ownership, and a strengthened relationship as opposed to a surface level, IKEA Hack.

23

Primary Research

Primary Research and Research Through Design

Survey and Interviews

also how easily discarded these belongings were. For
example, would participants discard a piece of furniture

A significant portion of the primary research for this

if it became damaged or if they had to physically move

project takes direction from the study conducted in The

it from one place of residence to another? By conducting

Meaning of Things: Domestic Symbols and the Self by

both an online survey as well as in-person interviews

Csikszentmihalyi & Rochberg-Halton (1981). It consists of

with people living in Vancouver and various other areas

data obtained from interviews with over 300 people liv-

during the Summer of 2016, insights surrounding this

ing in a major metropolitan area with interviews having

topic became apparent. Furthermore, the selection crite-

been conducted in the respondents’ homes, to view and

ria for both the survey and interviews were individuals

discuss the things that were part of their everyday lives

aged 19-30 years old and the participants interviewed at

(Csikszentmihalyi & Rochberg-Halton, 1981, preface. x).

various locations around Vancouver. Several Vancouver

This study provided a useful coding manual and object

residents, including students from Emily Carr University of

inventory for ordinary domestic objects found within

Art + Design and the University of British Columbia, were

participant’s homes and described how to classify and

interviewed to gain insights into topics such as consumer

exclude certain objects from this inquiry.

behavior, tendency to discard objects and confidence
with DIY activities.

Within my project, the young adult participants were
asked questions regarding the amount and kinds of
furniture they own, the amount of time they spend at
home and what objects they find most useful in their
current domestic space. However, unlike Csikszentmihalyi
& Rochberg-Halton’s (1981) study, this project is not
only concerned with the everyday objects that participants chose to live with inside their domestic space, but
24

Primary Research

•

Over half of the participants interviewed claimed

Artifact Analysis

to currently own or have at least built one piece of
IKEA furniture in their lifetime

To help further ground this investigation, one of the
primary research methodologies was an analysis of the

•

Participants expressed confidence in undertaking this

kinds of objects individuals discarded in their alley. This

level of DIY project either on their own or with anoth-

method of qualitative data collecting involved visiting

er person helping them

various alleys over the course of several weeks and documenting the objects found through photographs.

•

Specifically, IKEA furniture was almost unconsciously

Multiple alleys in different Vancouver neighborhoods

discarded if it had suffered any moderate form of

were scoured, and of the hundreds of objects found,

damage due to its relatively small purchase price

domestic objects such as furniture (chairs, tables,

Fig. 3. Plastic Wrapped Kettle
(Photograph by M. Harkness, 2017)

bookshelves, lamps), mattresses, small appliances
•

Whether participants had or would ever try to repair

(microwaves, kettles), and books were found most often.

their domestic objects resulted in the response that

Care, in the form of neatly wrapped appliance cords,

they were mostly unwilling to undertake these kinds

the stacking of books, and ‘Free’ signs, were used

of activities

with some objects to infer that they may still work or to
enhance their appeal to a passerby. An example of this

•

Concerning repairing their IKEA furniture, it was

is a stainless-steel kettle that had been wrapped in a red

because of both its low cost and respondents low

plastic grocery bag to protect it from rain possibly (see

level of attachment to it; they felt this action was

Figure 3). Described as ‘Alley Shopping,’ this activity

beyond their skill level and not worth the time

often involves the reuse, repair or recombination of second-hand objects and has been linked with a perceived
increase in quality of life during a study conducted within
the Handbook of Design for Sustainability (Marchand,
25

Primary Research

2011; Walker & Giard, 2013). As a result of these activ-

Evidence of these unfashionable, obsolete, or irrepara-

ities, this increased sense of agency can strengthen our

ble domestic objects are common problems associated

relationship with an object because of the many levels of

with modern day Material Culture and our affinity for

physical engagement that occur as an attempt to service

consumption. These symptoms reflect a lack of consumer

a particular need we may have within our domestic

confidence in these agency-related areas and suggest

space (Baxter et al., 2015).

a much-needed development in regards to the way we
engage and live with the objects we own.

During an observational outing for this project, two
discarded microwaves had been discovered. Although
incredibly dirty, they were tested and confirmed to
be perfectly viable, and working appliances yet were
discarded before being rendered entirely inoperable.
The Eternally Yours Foundation (1997) elaborates on why
objects similar to these microwaves become abandoned
despite still working by stating:
25 Per cent of vacuum cleaners, 60 per cent of stereos and
even 90 per cent of computers still function when people get
rid of them. [...] They may either be bored or annoyed by
the way these products look and feel, or development of new
technologies has made the ‘old’ ones obsolete. If on the other
hand products are discarded because of malfunction, it is
because consumers are left out in the cold when it comes to
repairability of products (p. 19).
26

Primary Research

Research Through Design

IKEA as Pattern and Material Choices

Research through Design was selected as the primary

During the Fall of 2016, a series of domestic furniture-ob-

design research methodology to support this research

jects were developed using IKEA furniture fixtures as

project for several reasons. RtD uses the act of making to

materials that could be used to employ aspects of simple,

create artifacts that generate new knowledge (Zimmer-

experiential learning-based, DIY projects. Initially, insights

man, et. al, 2010). These artifacts can then be used as

from the online survey and interviews led to the decision

design research exemplars to aid in the transfer of this

to use IKEA furniture fixtures as a familiar, ubiquitous,

knowledge to Everyday Designers and design research

and standardized material element that many young

communities (Koskinen, Zimmerman, Binder, Redstrom

adults were comfortable using. Another reason for this

& Wensveen, 2011). Furthermore, RtD also broadens

decision to use IKEA furniture fixtures within my proposed

the understanding of the problem space surrounding this

DIY projects stems from IKEA’s history as a purposefully

project while uncovering questions for further inquiry. As

cost-effective, yet aesthetically pleasing alternative to

Walker and Giard (2013) state “the activity of designing

other furniture brands (Bengtsson, 2010). Therefore, it

should be regarded less as a problem-solving activity and

was fitting for use in this project similarly aimed at young

more as a question-asking activity” (p. 6).

adults.

Using these extensive material-based explorations occur-

Ideation began by obtaining an IKEA catalog and using

ring throughout this project, an ongoing cycle of creation,

white correction fluid to hide parts of the images of

reflection, and synthesis of ideas often supported this

furniture to imagine the individual parts that might be

process of continuous making. Not only does this time cre-

effectively repurposed or recombined with other pieces.

ating design artifacts allow for the physicalization of ideas

These activities developed into a smaller-scale artifact

but it also allows for critical moments of contemplation that

analysis and the eventual manual dissection of the differ-

can be synthesized to help inform further design decisions.

ent components. Ultimately, the analysis of various IKEA
27

Primary Research

furniture kits determined what kinds of physical, material

to remain understandable and familiar to them. Examples

properties each piece had and informed how it might be

of this include the decision to severely limit the use of

useful moving forward.

tools needed to construct these artifacts while keeping the
skills and techniques required to create them at a very

These examinations shifted this exploration from repur-

basic level.

posing and recombining to viewing each fixture as a

Fig. 4. IKEA LACK Dissection
(Photograph by M. Harkness, 2016)

negative space and its potential to become a mold.

The potential negative spaces afforded by IKEA fixtures

Therefore, beginning with previously accrued IKEA fur-

and my desire to create longer lasting, emotionally

niture, an inventory of all the available parts in each fur-

durable objects led to the implementation of high-strength

niture kit allowed for manipulation of these components.

concrete as the void-filling material. Often described

This kind of component inventory also confirmed whether

as an unsustainable material choice, further research

or not a piece could work as a casting mold.

into durable, long-lasting building materials determined
that a sustainable material of this kind is difficult to find

28

As familiarity and ubiquity were other majors factor

(Mehta P., 2002). Additionally, evidence suggest that

during my consideration of material choices, all the mate-

regardless what material is used for purposes within this

rials within my proposed DIY projects are approachable,

project, it will have both positive and negative effects on

generally cost-effective, and readily available. Using

the environment (St. Pierre, 2016). However, in support

these types of materials, I began specifically developing

of concrete and its use within this project, many harmful

a series of design artifacts featuring creative exploita-

industrial by-products are recycled during the production

tions, affordances, and happenstance (See Appendi-

of concrete (Mehta P., 2002; Van Vliet, K., Pellenq, R.,

ces 2-7). In a similar attempt to bridge and modify an

Buehler, M., Grossman, J., Jennings, H., Ulm, F., & Yip,

individual’s viewpoint towards DIY, making and appropri-

S., 2012). By adding these often toxic by-products into

ation, these standardized components were deliberately

the mix during manufacturing, it can give concrete both

manipulated, exploited, and explored in such a way as

desirable material properties and strengthen it as well

Primary Research

(Van Vliet, et. al, 2012). Concrete has also been labeled

it’s easy to use, forgiving nature and its aptitude towards

as an ‘infinitely recyclable’ material because old hard-

aspects of experiential learning. This blending of familiar

ened concrete can always be ground down into small

IKEA fixtures while introducing foreign material elements

pieces and reused as aggregate in a new mix (Mehta P.,

in the form of concrete aimed at giving the user an

2002). Between the demolition of an old building and

increased feeling of empowerment and accomplishment

the construction of a new one, it often makes more sense

as opposed to merely just putting together a box of IKEA

to grind up the old building’s foundation as aggregate

furniture. An example of this experience design scenario

for the new one, than it does to remove the rubble from

comes from ‘Betty Crocker’ cake mixes:

the construction site altogether (Mehta P., 2002).
While they sought to promote a quick and easy product that

Initially selected for its durability and association with

still retained a fresh, ‘home-made’ quality, […] the problem,

the idea of permanence, the many brands of concrete

according to psychologists, was eggs. Powdered eggs, often

tested during this material exploration led to the discov-

used in cake mixes, should be left out, so women could add a

ery of a high-strength mix that would be able to exist far

few fresh eggs into the batter, giving them a sense of creative

beyond the lifespan of a typical piece of IKEA furniture.

contribution (Marks, 2007, p. 136).

Concrete is also an excellent material choice because of
its indelible quality and its ability to patina over time. Like

Measuring the water, mixing, and pouring the concrete

wood and leather, van Hinte (1997) states that “wear

are synonymous with the cake making example above

should never be a surprising gimmick. It is a slow process

because of three important concepts needed to develop

that needs a certain gradualness in its appearance” (p.

an emotionally long-lasting relationship with an object.

130). Again, it is these one-of-a-kind marks and signs of

These concepts are engagement, history, and augmenta-

use that add to the personalization factor and perceived

tion (Odom, et al., 2009).

lifespan of our objects that can make them more emotionally durable. The final reason for choosing concrete was
29

Primary Research

crete to the IKEA furniture kits demonstrates this idea of
Engagement — the extent to which an object invites and

augmentation. As it elevates the identical mass-produced,

promotes physical engagement with its owner during use;

IKEA furniture fixtures, to an improved, personalized,

histories—the extent to which the materials of an object pre-

and otherwise enhanced object through a Do-it-Yourself

serve personal histories or other memories, either by explicitly

project.

showing physical signs of use or implicitly by virtue of its
persistence over time; augmentation—the extent to which
an object has been reused, renewed, modified, altered or
otherwise made to be a part of something [...] and as such
has become a symbol of the resourcefulness and/or creative
expression of its owner (Odom, et al., 2009, p. 4).

Engagement allows the user and object to interact, and
makes up the creation and hands-on part of my proposed
DIY projects. History might allow for any previous DIY
experience that the user may have to come forward, but
more so, is viewed as the unique conception of the object
itself. Although following instructions, what is meant by
this, is that each object will be inherently bespoke. For
example, the ratio of water to the concrete mix may not
be the same, and fewer air bubbles may be visible on
the surface resulting in a slightly different end product,
again, these imperfections will add to the object’s character throughout its lifespan. Finally, the addition of con30

Primary Research

DIY Projects: The FORMÅ, KRÄFTIG, and STÖN

The making process is quite similar for each the FORMÅ,
KRÄFTIG, and STÖN, however, it is demonstrated below

After several months of ongoing material explorations us-

using images for the FORMÅ project (See Figures 6-14).

ing IKEA furniture fixtures, concrete, and a limited number

The making process for the KRÄFTIG is detailed using its

of tools, I created several prototypical design artifacts.

instruction manual in the following section titled Making

Initially, ten distinct concepts were developed and iterated

Instructions and images from both the KRÄFTIG and

upon, however, from these initial explorations, three of

STÖN’s making processes can be found in Appendix 2

the most successful of these explorations became realized

and Appendix 3 respectively.

as working prototypes (See Figures 5-13 and Appendices
2 and 3).These included the FORMÅ (see Figure 13),
an elevated surface made using a LACK side table, the
STÖN (see Figure 14), a larger table also made using

Fig. 5. LACK Components. An inventory of the LACK
table’s components. One medium density fiber
board (MDF) table top, four MDF legs and four
double-sided steel leg screws.
(Photograph by M. Harkness, 2016).

a LACK and the KRÄFTIG (see Figure 15), a small stool
made using a FNISS garbage can. The making process
for many of these explorations is similar in that it involved
the exploitation of the IKEA fixtures to create a mold
cavity, then preparing the mold, mixing the concrete and
pouring it into the mold. Disassembly of the mold takes
place after the concrete has become dry, and, in many
cases, the mold becomes a future component in the rest
of the design. Then, through cutting, taping or use of the
IKEA fasteners in the original furniture kit, a recombination of the pieces, plus the newly created concrete one, is
put together to make the final design artifact.
31

Primary Research

Fig. 6. Creating the Mold 1. Butting the legs up against
one another at 90 degrees to form the mold cavity.
(Photograph by M. Harkness, 2016)

Fig. 7. Creating the Mold 2. The LACK legs form the mold cavity, and
the LACK tabletop creates the base. Tape secures them together.
(Photograph by M. Harkness, 2016)

32

Primary Research

Fig. 9. Freshly Mixed and Poured Concrete. Once
thoroughly mixed and poured into the mold, the
concrete can be aerated by repeatedly tapping
the edge of the mold with mixing stick to release
any trapped air bubbles.
(Photograph by M. Harkness, 2016)

Fig. 8. Preparing to Mix the Concrete. Concrete mixing tools: A level
work surface, a bag of concrete mix, a bucket to mix the concrete
and water in, a few liters of water and a sturdy mixing stick.
(Photograph by M. Harkness, 2016)

33

Primary Research

Fig. 10. Concrete Component Released from the Mold.
Although not required, a rubber mallet helps
release the concrete from the mold. Any concrete
that seeped out from the bottom edge of the mold
is fragile and is easily cleaned off.
(Photograph by M. Harkness, 2016)

Fig. 11. Cutting Legs for the FORMÅ. The IKEA LACK legs consist of
MDF. Therefore, they can be cut to size using a sharp knife.
(Photograph by M. Harkness, 2016)

34

Primary Research

Fig. 12. FORMÅ Elevated Surface
(Concrete and IKEA Fixtures, M. Harkness, 2016)

35

Primary Research

Fig. 13. STÖN Table
(Concrete and IKEA Fixtures, M. Harkness, 2017)

36

Primary Research

Fig. 14. KRÄFTIG Stool
(Concrete and IKEA Fixtures, M. Harkness, 2016)

37

Primary Research

Instruction Manuals

universal and familiar semiotic structure suggests a more
approachable method of transmitting the steps needed

Fig. 15. KRÄFTIG Stool Blueprints
(Digital Image, M. Harkness, 2016)

The inspiration for this kind of open-source, DIY in-

to complete these design artifacts to both Makers and

struction manual comes from books such as Nomadic

Non-makers. Ultimately, the artifacts and their instruction

Furniture, by UNESCO International Design Expert Victor

manuals came to be in an attempt to create understand-

Papanek (1973) and industrial designer James Hennessy

able, relatable design exemplars that enable previously

(1973), and Build More Buy Less! by German architect

unwilling people to weave design and making activities

Van Bo Le-Mentzel (2012). Beginning with ideas from

into their everyday lives.

these texts and my initial sketches, measurements, and
using the FORMÅ, STÖN and KRÄFTIG artifacts themselves, I created a computer modeled version of each
using Autodesk Fusion360. Then, working between Autodesk and Adobe Illustrator, manipulated the 3D models
to create a Do-it-Yourself project manual for each of these
three artifacts.
An investigation of Pictographic instructions, the kinds
of symbols and their uses within IKEA instruction books,
mainly their semiotic structure, informed my DIY instruction manuals. IKEA’s well-known Pictographic instructions
are co-opted as templates for their use of only imagery,
symbols, and numbers to support future dissemination of
these manuals to a broader range of Everyday Designers
(Yamazaki et al., 2008). This application of a somewhat

38

Primary Research

Fig. 16. Sketching Instructions
(Ink on Paper, M. Harkness, 2016)

39

Primary Research

Fig. 17. KRÄFTIG Instructions Page 1
(Digital Image, M. Harkness, 2016)

Fig. 18. KRÄFTIG Instructions Page 2
(Digital Image, M. Harkness, 2016)

40

Primary Research

Fig. 19. KRÄFTIG Instructions Page 3
(Digital Image, M. Harkness, 2016)

Fig. 20. KRÄFTIG Instructions Page 4
(Digital Image, M. Harkness, 2016)

41

Primary Research

Fig. 21. KRÄFTIG Instructions Page 5
(Digital Image, M. Harkness, 2016)

Fig. 22. KRÄFTIG Instructions Page 6
(Digital Image, M. Harkness, 2016)

42

Conclusion

Conclusion

By bringing together a variety of ideas and, through creative

More specifically, individuals earning an average income

practice, translating them into tangible form, questions can be

in Vancouver will not be able to afford the high cost of

raised about the nature of material culture.

housing in the Metro Vancouver area shortly (CMHC,

Stuart Walker & Jacques Giard

2015; Danziger & Rouse, 2008). Even now, young

2013, p. 6

adults are feeling this pressure and moving to cities
that are more affordable (Performance Urban Planning,

Implications for Design

2015). Alternatively, young adults who are not leaving
Vancouver may choose to move and downsize both their

Ultimately, the importance of this project stems from

rented living space as well as the number of possessions

problems related to the ever-increasing cost of housing

they keep to maximize their livable space. However, this

and the fact that major urban centers are constantly den-

suggests an increased level of stress and a decreased

sifying and will continue to do so into the future (Housing

sense of well-being because of their dissatisfaction with

Market Outlook, 2015; Willa, R., et al., 2008). By

their now smaller living spaces and the objects within

looking at broader, global housing issues, then focusing

them (Campagna, 2016; Csikszentmihalyi & Roch-

on local ones, Vancouver has been specifically chosen

berg-Halton, 1981). By attempting to uncover notions

as a case study within this project. This investigation

of importance, meaning and reflection concerning our

uncovered many problems with urban densification and

everyday, domestic objects, this project aimed to benefit

resulted in the discovery of quantitative data from various

individuals by using DIY projects as a source of agency

sources to support and further grounding this inquiry

and empowerment in regards to their material posses-

(Bettencourt et. al, 2009; CMHC, 2105). Unaffordable

sions we construct our identities with (Akah & Bardzell,

housing and urban densification were among the issues

2010; Baxter et al., 2015).

uncovered, and their effects will not only reach young
adults currently living in Vancouver but prospective future

The city of Vancouver again works well as a case study

residents as well (Danziger & Rouse, 2008).

for this project, as it demonstrates aspects of our con43

Conclusion

sumer tendency toward seemingly disposable objects,

ening previous research beyond the role of making and

Material Culture, and our love of purchasing new things.

prototype creation by professional designers towards

Further research led to the discovery of the way we cre-

more emergent ideas of how people can draw on these

ate our identities using material objects (Csikszentmihalyi

DIY activities as design resources to improve their every-

& Rochberg-Halton, 1981). Although, these identities

day dwellings (Campagna, 2016; Koskinen et al., 2011;

that are created using objects were quickly found to be

Odom et. al, 2009). Furthermore, primary research was

somewhat inconsequential because of certain aspects of

conducted through survey and interview questionnaires

Material Culture and our relationships to those objects

as well as multiple artifact analyses. These provided

(Chapman, 2005; Csikszentmihalyi & Rochberg-Halton,

more insights into both the problem space and the the-

1981; Walker & Giard, 2013).

ory-based pillars of this project. With hopes to reframe
our currently shallow relationships with our everyday,

Besides theoretical evidence, this project seeks prece-

domestic objects, engagement, personalization, and cus-

dence focused on the importance of everyday objects

tomization were also considered as possible sources to

and reasons why people keep certain things rather than

support these changes (Akah & Bardzell, 2010; Marathe

others. Cognitive psychology, anthropology, engagement

& Sundar, 2011; Sundar and Marathe, 2010). These

with objects and objects and the self, all revolved around

considerations suggest a need for accessible, and nearly

everyday, domestic objects and informed ongoing

tool-free projects to support and engender more positive

Research through Design activities. Furthermore, the arti-

relationships between us and our objects. In particular,

facts produced through RtD and the resulting evaluations

for individuals affected by shrinking living spaces who

were attempted to provide concrete ways of advancing

are currently living modestly in the cities like Vancouver.

new knowledge on how these consequences of urban
density and the lack of personalized objects and furniture
for smaller dwellings can be re-framed and productively
approached. This objective was geared towards broad44

Conclusion

Future Directions

ample, while shopping at IKEA, an individual might come
across one of these manuals and look through it. They

Implications for these design artifacts and the resulting

may become inspired to create one of these projects and

steps for this project revolve around the dissemination of

decide to improve and reinvigorate the LACK table they

these instruction manuals. Essentially, taking these instruc-

came to replace rather than buying a new one. Subse-

tion manuals and distributing them to individuals living in

quently, the individual will have effectively reduced their

small metropolitan living spaces. Currently, these manuals

consumption and increased their agency and lifespan of

are available to download from my portfolio website

their IKEA object. However, as the consumer is already at

www.mharknessdesign.com. However, the number of

an IKEA store about to purchase a new piece of furniture,

downloads remains in the single digits.

this method may not be the most effective in changing

Fig. 23. Droplifting Instruction Manuals at an IKEA
Location
(Photograph by Z. Camozzi, 2016)

ingrained consumption habits.
Another option currently being explored is called
‘Droplifting.’ This activity involves physical copies of

Another problem with both these methods is the lack of

these instruction manuals being left at IKEA store loca-

feedback gained from having someone complete one of

tions near the required fixtures for each project (see

these DIY projects. A viable solution to this issue takes in-

Figure 23). Droplifting or ‘Shopdropping’ is the opposite

spiration from Le-Mentzel’s (2012) open-source DIY proj-

of shoplifting and is a form of culture-jamming where

ects. Like Le-Mentzel’s (2012) designs, my proposed DIY

someone leaves something behind in a store rather than

projects are also available both in a physical form and

steals something (Watkins-Hughes, 2004). In this way,

online. To increase feedback on his projects, Le-Mentzel

consumers could find their IKEA product as well as one

(2012) asks individuals to email him, send a photo of the

of these instruction manuals. They may then decide to

completed furniture object and also to explain why they

augment and enhance their new object to the level of an

are undertaking these DIY projects (Bo Le-Mentzel, 2012)

IKEA heirloom, and, by doing so, increase the emotional

all while welcoming augmentation and improvements to

durability of their newly acquired domestic object. For ex-

any of the designs.
45

Conclusion

A possibly even more fruitful implication with regards to

DIY activities could then be asked. How well participants

obtaining feedback for these projects would be to recruit

are responding to the instructions and in what ways if

participants to complete them and use them within their

any, are they altering the objects for an even greater

homes as a cultural probe. A cultural probe can be an

level of personalization and customization as opposed

object or set of objects aimed at creative reflections re-

to merely following the instructions? Mostly these cultural

garding personal circumstances and context. Particularly

probes would serve as “provocative instruments given to

useful when looking at individual’s specific problems with

participants that will inspire new forms of self-understand-

small living spaces and how customization could improve

ing and communication about their lives, environments,

certain areas, cultural probes serve to “begin a conver-

thoughts, and interactions” (Martin & Hanington, 2015,

sation about possibilities that might exist by design, in

p. 24).

tandem with other informative research methods” (Martin

46

& Hanington, 2015, p. 24). As a type of cultural probe,

Other avenues of consideration regarding concrete and

these DIY activities could be attempted by participants

IKEA as construction materials have also been uncov-

who would then be involved in further stages of iteration

ered. Many of the material explorations conducted were

and investigation to improve these artifacts and strength-

relatively small in scale, further investigation into what the

en the suggested outcomes. Additionally, important

scalability of these kinds of concrete IKEA projects might

questions could then be asked of future participants re-

look like may also be a viable avenue for future research.

garding how these DIY activities are being received and

In addition to that, considerations were made to increase

conducted. Questions such as how the resulting artifacts

longevity and physical durability of these artifacts to pro-

are in use in a participant’s small space and for how

mote increased reflection on an object’s perceived life.

long, and how might this kind of experiential learning

However, this neglects aspects of design for ephemerality

and engagement with materials impact their consumption

or design for flexibility. Perhaps extremely durable, heir-

habits. Specific questions revolving around the creation

loom IKEA furniture and domestic objects are not a viable

and dissemination of the instruction manuals for these

suggestion for dealing with this kind of ‘throwaway’ ma-

Conclusion

terial culture? Further exploration into purposefully single

sourcefully drawn on by people in their everyday lives,

use objects could be undertaken to gain a more holistic

this research aims to contribute to the fields of Research

view of this problem space as well as areas for possible

through Design, Material Culture, and Sustainability.

mitigation.

This project also concerns individual’s overall well-being
and sense of empowerment with their domestic objects

Further user testing scenarios could integrate with other

they keep in their small living spaces in the service of

aspects of DIY culture for use within these projects. Initial

extending these objects lifespans. Through the creation

speculation of this implication for this project could be

of these DIY projects, “the resulting artefacts, which are

a demonstration day or a face-to-face tutorial of these

effectively questions-in-form,” exist to illuminate issues

introductory DIY projects with various participants. This

surrounding our domestic objects and their importance to

type of event could aim to highlight the benefits and em-

us (Koskinen et al., 2011). Moreover, these objects and

powerment that results from taking part in these activities.

the relationships they have with the act of making, and

A prominent and far-reaching platform for these could

our consumption habits all aim to propose new directions

be an online YouTube tutorial video. This video would

for design as it sits within the realm of material culture

demonstrate these projects and allow users to follow

(Walker & Giard, 2013).

along systematically at home. Additionally, the comments
section could allow for further discussion, iteration, and
perspective on the making process of these design artifacts from both Makers and Non-makers and on a much
larger scale.
Therefore, through the research, design, and study of
these innovative DIY home customization activities and,
by developing new ways these activities can be re47

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Appendices

Appendices

Appendix 1. Visual Essay: IKEA Fixtures and Negative Spaces
Appendix 2. KRÄFTIG Processs Documentation
Appendix 3. STÖN Process Documentation
Appendix 4. Material Exploration: Lamp
Appendix 5. Material Exploration: Wall Hanger
Appendix 6. Material Exploration: Chair-Table
Appendix 7. Material Exploration: Coffee Table
Appendix 8. FORMÅ Instruction Manual
Appendix 9. STÖN Instruction Manual
Appendix 10. Participant Recruitment Flyer
Appendix 11. Interview Questions
Appendix 12. Perspectives on Thinking, Learning, and
Cognitive Styles Special Rightsholder
Terms & Conditions

52

Appendices

Appendix 1.
Visual Essay: IKEA Fixtures and Negative Spaces

Fig. 25. MAMMUT Children’s Stool
(Photograph by M. Harkness, 2016)

Fig. 24. ADDE Dining Chair
(Photograph by M. Harkness, 2016)

53

Appendices

Fig. 26. PS VÅGÖ Chair
(Photograph by M. Harkness, 2016)

Fig. 27. GLADOM Side Table
(Photograph by M. Harkness, 2016)

54

Appendices

Fig. 28. PELLO Armchair
(Photograph by M. Harkness, 2016)

55

Appendices

Appendix 2.
KRÄFTIG Process Documentation

Fig. 29. KRÄFTIG Process 1. A 5-gallon bucket works in
place of a FNISS Garbage can.
(Photograph by M. Harkness, 2016)

Fig. 30. KRÄFTIG Process 2. Detail of the rounded over leg-ends.
(Photograph by M. Harkness, 2016)

56

Appendices

Fig. 32. A Finished KRÄFTIG Stool
Concrete and IKEA Fixtures, M. Harkness, 2016)

Fig. 31. KRÄFTIG Process 3. Zach is seen locating the KRÄFTIG’s legs in
the freshly poured concrete.
(Photograph by M. Harkness, 2016)

57

Appendices

Fig. 33. One of Many Failed KRÄFTIG Stools. This image shows a
KRÄFTIG that broke as it released from the mold. If the
KRÄFTIG’s legs are positioned too close together when stuck
into the concrete, the stool can become weakened.
(Photograph by M. Harkness, 2016)

58

Appendices

Appendix 3.
STÖN Process Documentation

Fig. 35. STÖN Process 2. Detail of the LACK table top
surface partially removed.
(Photograph by M. Harkness, 2017)

Fig. 34. STÖN Process 1. Measuring out 9mm from each edge of the
LACK table top.
(Photograph by M. Harkness, 2017)

59

Appendices

Fig. 36. STÖN Process 3. Another detail of the LACK
table top surface with even more removed.
(Photograph by M. Harkness, 2017)

Fig. 37. STÖN Process 4. The LACK table top entirely removed with
only the particle board blocks in the corner remaining.
(Photograph by M. Harkness, 2017)

60

Appendices

Fig. 39. STÖN Process 6. Detail of the corner block
being chiseled away.
(Photograph by M. Harkness, 2017)

Fig. 38. STÖN Process 5. Once the waste has been drilled out of the
corner block, the rest can be chiseled away.
(Photograph by M. Harkness, 2017)

61

Appendices

Fig. 40. STÖN Process 7. Detail of the corner with the
block removed and waste cleaned out.
(Photograph by M. Harkness, 2017)
.

Fig. 41. STÖN Process 8. The completely hollowed out LACK table top
can now be used as a mold.
(Photograph by M. Harkness, 2017)

62

Appendices

Fig. 43. STÖN Process 10. Detail of the perpendicular
holes for the STÖN’s dowel frame.
(Photograph by M. Harkness, 2017)

Fig. 42. STÖN Process 9. Drilling through the dowel to create the STÖN
frame.
(Photograph by M. Harkness, 2017)

63

Appendices

Fig. 44. STÖN Process 11. Detail of the STÖN’s frame
with perpendicular through dowel joinery.
(Photograph by M. Harkness, 2017)
.

Fig. 45. STÖN Process 12. The STÖN’s frame.
(Photograph by M. Harkness, 2017)

64

Appendices

Fig. 47. STÖN Process 14. In an effort to make the concrete component of the STÖN lighter, a 20mm
Melamine panel was used to create a void in the
underside of the table’s surface.
(Photograph by M. Harkness, 2017)

Fig. 46. STÖN Process 13. The LACK table top mold is filled with
concrete.
(Photograph by M. Harkness, 2017)

65

Appendices

Fig. 48. STÖN Process 15. Once the STÖN’s frame is
stuck into the wet concrete a spirit level ensures
the furniture object will be level once the concrete has dried.
(Photograph by M. Harkness, 2017)
.

Fig. 49. STÖN Process 16. The thin, particle board edges of the LACK
mold are easily peeled away from the concrete top of the
STÖN table.
(Photograph by M. Harkness, 2017)

66

Appendices

Appendix 4.
Material Exploration: Lamp

Fig. 50. Lamp Process 1. A failed lampshade beside its NEJKON plant
pot mold.
(Photograph by M. Harkness, 2016)

67

Appendices

Appendix 5.
Material Exploration: Wall Hanger

Fig. 51. Wall Hanger Process 1. A hollow LACK table leg
became the mold for the Wall Hanger.
(Photograph by M. Harkness, 2016)

Fig. 52. Wall Hanger Process 2. The corners of the mold can be
smoothed and sealed using plasticine.
(Photograph by M. Harkness, 2016)

68

Appendices

Fig. 54. Wall Hanger Process 4. The coat pegs are fixed
in place within the dried concrete.
(Photograph by M. Harkness, 2016)

Fig. 53. Wall Hanger Process 3. The LACK’s thin MDF walls are rein
forced using G-Clamps and wood cauls. This clamp pressure
prevents the wet and heavy concrete from bowing out the sides
of the mold.
(Photograph by M. Harkness, 2016)

69

Appendices

Fig. 55. Wall Hanger Process 5. Detail of the failed Wall
Hanger.
(Photograph by M. Harkness, 2016)

Fig. 56. Wall Hanger Process 6. The distance from the wooden coat
peg to the edge of the LACK mold was too small. Presumably,
this made the Wall Hanger fail as it was removed from the
mold.
(Photograph by M. Harkness, 2016)

70

Appendices

Appendix 6.
Material Exploration: Chair-Table

Fig. 58. Chair-Table Process 2. The ADDE Chair leg now
bent to 90°.
(Photograph by M. Harkness, 2016)

Fig. 57. Chair-Table Process 1. The back leg of the ADDE Chair can be
bent by hand to 90°.
(Photograph by M. Harkness, 2016)

71

Appendices

Fig. 59. Chair-Table Process 3. Using a LACK Table to
create a mold the same way a FORMÅ is made,
the top of the Chair-Table can also be made.
(Photograph by M. Harkness, 2016)

Fig. 60. Chair-Table Process 4. A recently dried concrete Chair-Table top
from a FORMÅ mold.
(Photograph by M. Harkness, 2016)

72

Appendices

Fig. 62. Chair-Table Process 6. The ADDE Chair frame is
then put back together using the existing IKEA
fasteners, and rubber clips hold the concrete top
in place.
(Photograph by M. Harkness, 2016)

Fig. 61. Chair-Table Process 5. Using a hacksaw, the ADDE Chair Rails
can be cut shorter to fit the newly formed concrete top.
(Photograph by M. Harkness, 2016)

73

Appendices

Fig. 63. Chair-Table Detail
(Concrete and IKEA Fixtures, M. Harkness,
2016)
.

Fig. 64. Chair-Table
(Concrete and IKEA Fixtures, M. Harkness, 2016)

74

Appendices

Fig. 66. Coffee Table Process 2. The curved legs of a
PELLO armchair create the mold for the table. A
piece of scrap wood can be nailed or screwed
into the PELLO frame to connect each leg-end
and complete the mold.
(Photograph by M. Harkness, 2016)

Fig. 65. Coffee Table Process 1. Choosing a smooth, level and, plastic-coated concrete pouring surface will significantly affect the
finished table’s top surface.
(Photograph by M. Harkness, 2016)

75

Appendices

Fig. 67. Coffee Table Process 3. The gap between ends
of the PELLO legs is smoothed over using plasticine and translucent packing tape.
(Photograph by M. Harkness, 2016)

Fig. 68. Coffee Table Process 4. With the PELLO frame clamped down to
the work surface, the concrete is poured.
(Photograph by M. Harkness, 2016)

76

Appendices

Fig. 70. Coffee Table Process 6. With half of the PELLO
mold removed, the corners of the concrete top
can begin to be gently pried up.
(Photograph by M. Harkness, 2016)

Fig. 69. Coffee Table Process 5. Disassembling the mold after the
concrete has dried.
(Photograph by M. Harkness, 2016)

77

Appendices

Fig. 71. Coffee Table Process 7. The top surface of the
table after it has been pried up and flipped over.
(Photograph by M. Harkness, 2016)

Fig. 72. Coffee Table Process 8. The wooden base of the table is then
created using the PELLO Armchair’s pre-drilled holes and
fastener’s. All that is left to do is to trim the two long sides of the
legs using a hand saw.
(Photograph by M. Harkness 2016)

78

Appendices

Fig. 73. Coffee Table Process 9
(Photograph by M. Harkness, 2016)

79

Appendices

Appendix 8.
FORMÅ Instruction Manual

Fig. 74. FORMÅ Instructions Page 1
(Digital Image, M. Harkness, 2016)

Fig. 75. FORMÅ Instructions Page 2
(Digital Image, M. Harkness, 2016)

80

Appendices

Fig. 76. FORMÅ Instructions Page 3
(Digital Image, M. Harkness, 2016)

Fig. 77. FORMÅ Instructions Page 4
(Digital Image, M. Harkness, 2016)

81

Appendices

Fig. 78. FORMÅ Instructions Page 5
(Digital Image, M. Harkness, 2016)

Fig. 79. FORMÅ Instructions Page 6
(Digital Image, M. Harkness, 2016)

82

Appendices

Fig. 80. FORMÅ Instructions Page 7
(Digital Image, M. Harkness, 2016)

Fig. 81. FORMÅ Instructions Page 8
(Digital Image, M. Harkness, 2016)

83

Appendices

Appendix 9.
STÖN Instruction Manual

Fig. 82. STÖN Instructions Page 1
(Digital Image, M. Harkness, 2017)

Fig. 83. STÖN Instructions Page 2
(Digital Image, M. Harkness, 2017)

84

Appendices

Fig. 84. STÖN Instructions Page 3
(Digital Image, M. Harkness, 2017)

Fig. 85. STÖN Instructions Page 4
(Digital Image, M. Harkness, 2017)

85

Appendices

Fig. 86. STÖN Instructions Page 5
(Digital Image, M. Harkness, 2017)

Fig. 87. STÖN Instructions Page 6
(Digital Image, M. Harkness, 2017)

86

Appendices

Fig. 88. STÖN Instructions Page 7
(Digital Image, M. Harkness, 2017)

Fig. 89. STÖN Instructions Page 8
(Digital Image, M. Harkness, 2017)

87

Appendices

Fig. 90. STÖN Instructions Page 9
(Digital Image, M. Harkness, 2017)

Fig. 91. STÖN Instructions Page 10
(Digital Image, M. Harkness, 2017)

88

Appendices

Fig. 92. STÖN Instructions Page 11
(Digital Image, M. Harkness, 2017)

Fig. 93. STÖN Instructions Page 12
(Digital Image, M. Harkness, 2017)

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Appendices

Appendix 12.
Perspectives on Thinking,Learning, and Cognitive Styles Special Rightsholder Terms & Conditions

90