Uppgiften bestod i att rita en tillbyggnad till Nationalmuseum i Stockholm. Denna tillbyggnad skulle innehålla administration som kontor och hanteringsutrymmen för konsten, så som ateljéer och uppställningsrum. Mitt projekt har arkitekturhistorien som ingång, där jag anser att vi använder oss av den för lite. Jag blev tidigt intresserad av hur det är att jobba med kollage och att använda mig av redan ritade rum. Vad händer när man sätter ihop dessa rum och vilka möten bildas? Jag valde ut fyra rum som jag jobbade med, studiesalen, konserveringsateljéerna, uppställningsrummet och kontoren. Dessa rum valdes efter kvaliteter de hade som passade till funktionerna det skulle inhysa. Studisalen är en siloanläggning, konserveringsateljéerna är en pelar- balksal, uppställningsrummet en gotisk kyrksal och kontoren Le Corbusiers La Tourette kloster. Sedan har rummen satts ihop till en helhet där historia och funktion möts. Det är vandringen mellan dessa rum och hur de möter varandra som är det mest intressanta med byggnaden. / The task for this project was to build an appendix to the National Museum of Art in Stockholm. The appendix was to hold administration such as offices and areas to handle the art, both for restauration and storage. My ptoject has its starting point in architectural history, I believe that we are not using all the information and knowledge that is in our past so I wanted to work with that as my inspiration. From the early beginning I worked with the collage and putting together already exicting rooms and this was also to become the finished product. Questions that arose was how these rooms can be put together and then what is happening in the meetings? I chose four rooms to work with, the studyroom, restaurationstudios, offices and storageroom. These rooms that i found and chose had the qualities I wanted and were suited for the functions they were about to have. These different rooms have been put together to a new whole. It is the inside and the way these rooms meet and the new rooms they create that is the most interesting part of the project.

Projektet redovisar genomförda och av examinanden ritade byggnadsprojekt under 19 år (1994-2012), i huvudsak flerbostadshus i Stockholmstrakten. Genom att sammanställa dessa med en text om teknik och arkitektur, vars huvuddrag tillkom i början av perioden, ges en inblick i kopplingen, eller kanske snarare bristen på densamma, mellan teori och praktik för en vanlig husarkitekt idag. De i textdelen skisserade ställningstagandena försvinner djupt ner bland lagren av tillfälligheter och sociala och ekonomiska makthierarkier i ett vanligt byggprojekt idag. Trots detta kan man genom att ha studerat till exempel hightech-arkitekturens bakgrund och historia ha tillskansat sig en beredskap och förståelse för hur varierad husbyggnadsprocessen kan vara, och som är användbar i praktiken om man vill utveckla sig som arkitekt. / The project reports completed and by the candidate designed buildings during 19 years (1994-2012), mainly apartment buildings in Stockholm. By compiling these with a text about technology and architecture, whose main features were added in the beginning of the period, the reader is given an insight into the coupling, or rather the lack of it, between theory and practice for an architect of today. Most of the outlined standpoints in the text  disappear among the layers of circumstance and social and economic hierarchies of power in a typical construction project today. Nevertheless, it is by studying, for example, high-tech architecture's history that gives you an understanding of how varied a building construction process can be, which is useful in practice if you want to develop as an architect.

Projektet ger ett förslag på en tillbyggnad till National Museum i Stockholm. Tillbyggnaden rymmer konserveringsateljéer, magasin och kontor. Projektet behandlar förutom programmet också en parkplanering och förslag på utformning av kustlinjen på Blasieholmen. Utgångspunkten i projektet har varit att ett Nobel Centrum ska byggas på östra Blasieholmen, och att det då inte blir mycket plats över till parken. Byggnaden och parken har formats av detta, och försöker skapa starka kvaliteter både för stadsrummet och för de anställda och besökande på National Museum. Funktionen och programmet har fått styra planen till stor del, tillsammans med parken. Stora delar som inte kräver ljus har placerats under mark för att möjliggöra ett behagligt landskap och en volym på platsen som bätter passar in under omständigheterna. Det yttre av byggnaden har ritats i stram klassisk stil för att passa in på platsen bredvid museet och omringat av några av Stockholms vackraste klassiska fasader. Genom att arbeta med höjd- och materialskillnader i parken och en vacker, välproportionerad fasad tillsammans med en funktionell planlösning och en byggnadsvolym som står på rätt ställe på platsen är projektet ett väl avvägt förslag för en eventuell tillbyggnad. / The project gives a suggestion for an addition to the National Museum in Stockholm. The addition will house conservation studios, warehouse and offices. Besides the program the project also deals with a detailed park and landscape design and gives a suggestion for a design of the coastline on Blasieholmen. The project is based on the assumption that there will be built a Nobel Center at the eastern Blasieholmen, and that it won't leave much room for the park, this assumption has strongly influenced the building and the landscape, and the project aims at creating lasting values and qualities in the urban spaces, as well as for visitors and employees at the National Museum. The function and program has dictated large parts of the plan solution, along with the considerations for the park. Large areas that don't require sun light has been placed underground to allow for a pleasing landscape as well as a smaller above-ground-volume that fits the circumstances better. The facade is designed in a strict classical style, to fit next to the museum and to live up to the task of being surrounded by some of Stockholms most beautiful facades. By working with height and material differences, a well designed facade, functional plan and a volume positioned in the right spot the project gives a well suited proposal for an addition to the National Museum.

Through the development of draping and pleating methods of heavy fabric referring indirectly to the stage Curtain, the aim of the project is to study ambiguous coexistence of masking and exposing made by repetitive folds, simultaneously developing technique studies and site analysis and apply them to make a new concert hall for Stockholm.The thesis defines the concert hall a public space, and further develops the concert hall as a public space by exposing the commonly inaccessible backstage area in on the ground floor Visitors and concert-goers have the opportunity to look behind the scenes and reconsider the value of art by seeing how a piece of music has been shaped and rehearsed. There are some performance halls throughout Europe that open their backstage doors to the public in order to see what is going on behind the stage.Ways of disclosing the backstage has been achieved through design technique studies and by considering the history of folded fabric in a design research.The main part of the research is based on the theoretical influence that Semper specified in his book Style, the topic of textiles and their relationship in architecture and it has been completed by developing a terminology and meanings defined by contemporary artist Petra Blaisse in her book Inside outside.Throughout history, many artists have spent time on the study of fabric and folds; an example is the dramatic drapery in Baroque sculptures such as the “Bernini folds,” making a hard material appears soft. I tried to take advantage of all the qualities that heavy fabric can offer for the development of my building and use most of the information that can be derived from fabrics application.An example of applying these qualities is making deep semi masked openings. Making apertures through deep folds to rehearsal rooms, the folds open and close visually as people pass by. By continuing this method and using the qualities of deep surfaces from outside to inside I tried to achieve a backstage that is both open and masked in the same time.The project has been started by focusing on two parallel tracks of site and technique study.The site is located on the Djurgården. Djurgården is home to historical buildings and monuments, museums, galleries. Galärparken is located between three museums that are known for their historical heritage. This site requires very careful design in relation to buildings surrounding it. However; the site provides a good context for a distinctive building that creates identity and contributes to a good overall situation. Parallel to the site analyzes the design technique studies have been developed.The proposal has been developed through analyzing two parallel tracks of pleating and draping.Within the pleating method linear techniques have been investigated to make repetitive folds to define surfaces, and extruding techniques have been investigated to create volumetric depth.Draping methods are: fluttering, masking, fullness and tassel. After defining and refining each of the techniques, they have been applied at a building scale to articulate the material organization of the concert hall.Tassel: Tying fabric from one end and hang it. framing space while having fabric freely.A tuft of loosely hanging fabric, cords, or other material knotted at one end ” ...another of white cashmere, draped in heavy folds, hanging in half moons and caught at every interval with splendid white silk tassels, each draping being trimmed with a narrow silk fringe” Gottfried Semper, StyleFluttering: To make small, gentle movements in the air, to move something in a particular direction by pulling it gently e.g. “A wind machine blew air in to the drape and made it flutter” Inside outside, Petra BlaisseMasking: To cover or hide something so it cannot be clearly seen. A set of curtains or scenic elements used to define the visual limits of a performance area.” Glossary of Theatre termsFullness: The condition of being full with chunky pleats. Fullness is a common term used to describe an aspect of stage curtains; it is directly attributable to the amount of pleating present. For instance, a curtain that has no pleating at all (a flat sheet) has 0% fullness; a curtain that has 100% fullness will start out as fabric that is twice as wide as required.”Glossary of Theatre terms.The project’s program is to make a 1500-seat auditorium.The project is made of two different layers. The first layer shapes the outer envelope and the other layer is happening inside enveloping the auditorium. These two layers are connected by different shaped slabs at different levels. The auditorium drapes loosely between the slabs at different levels. The circulation between floors take places all around the auditorium. Each level has a view to the other floors so the flow of people can be seen from different levels.The first floor is accessible for all people and provides an open plan while exposing backstage and makes transition between Nordiska museum and the waterfront.The fullness quality has been introduced in three parts of the exterior envelope in relation to the site. The first is the part that faces the Nordic museum including one of the entrances between the folds.The next part is the part that faces to Stockholm and again openings are embedded between the folds.The last pleated part is located within the side that faces Vasa museum. The Vasa museum is here in close proximity with the concert hall. In respect to the Vasa museum the concert hall has been pushed in, and deep surfaces can be seen here as well.The inner layer has been shaped also by deep surfaces made by deep folds. At ground floor, where the back stage is located, the deep folds can make semi open apertures and provide a view to rehearsal rooms for visitors. From the other side the semi masked openings of the backstage faces a cafeteria with seats with a view to the training rooms.On the other floors, folds create openings to the auditorium from different sides.The concert hall has been shaped with respect to site and adjacent buildings. The implementation and coexistence of masking and revealing strategies have been developed through design techniques studies and subsequently influenced the design.

The City of Stockholm’s energy and climate goals are analyzed and projected in several scenarios. Using the year 2015 as the baseline year, a database covering the energy performance and fuel use within the City is created. This starting point is used to project the performance of the City until the year 2050. The projection is made with the use of scenarios and the simulation software LEAP by formulating scenarios that combine ongoing, planned and conceivable measures. All these scenarios aim to the reduction of emissions with the long term aim to set the City of Stockholm a fossil fuel free city by 2050. Various paths can be followed towards that goal and these are analyzed and classified based on cost and applicability. According to the simulation of scenarios, the immediate action and the long-term planning are shown to play an essential role in achieving the City’s goals. In addition, the significance of policy, the behavioral aspect and the continuous gradual development are found to be three basic pillars towards the target that the City has set. Specifically, the City should focus on energy efficiency in both generation and utilization. Available technology can help to this direction at an affordable cost and with remarkable potential. However, in order to achieve the target of an entirely fossil fuel free city by the year 2050, the City of Stockholm needs to support a shift of transportation modes towards public transport. Currently, the transportation sector has a low share of clean fuels and is likely going to be the most challenging sector to affect. Among the challenges in the transportation sector comes the fact that there is always a given risk when trying to introduce a new dominant fuel, based on assumptions of future car fleets and volatility of markets. Biofuels may for instance lead to a shortage in the market with higher biofuel and food prices as a result while changing the entire vehicle fleet takes 20 years on average. The best possible scenario does demonstrate one possible path toward a fossil fuel free City of Stockholm 2050 by taking a number of aggressive actions. This does not account for possible new technologies nor changes in the economy at large.

This project aims on exploring ways to redefine the relationship of gender and space through urban design. Gender inequalities expressed in spatial manners have been theorized by feminist geography, an approach to human geography. Having a good understanding of this theoretical context will provide the tools to tackle distantiation, spatial separation, constraint and the limited spatial opportunities women experience in public places. Using Rinkeby square as the canvas for this exploration, the effort will be put on mapping the uses of the square through observation, quantitative research, as well as interviews with local organisations, shops and authorities close to the square. An inventory of the architectural features of the square will be made along with a site analysis focusing on the questions of effects on equality. Furthermore existing female networks and societies in the area will be contacted seeking possible collaborations for a later project work, workshops or events. Finally, as a result of the initial investigations, this project intends to explore how a physical intervention would affect these questions at Rinkeby square. It is the working hypothesis of this project that any project in order to be successful would need to be based on a deeper understanding of the challenges surrounding female presence on the square, and be tied into the already existing networks for women. This project therefore hopes to establish contact with existing female networks such as (D)Järva Kvinnor, Café Respekt and Tensta-Hjulsta Kvinnocenter, amongst others.

No description available.

At Bromma Stockholm Airport, fire drills have previously been performed at a location outside the current airport confinements. Fire drills were performed with extinguisher foams containing toxic perfluorooctanesulfonic acid (PFOS), which have polluted the site. Harmful effects of PFOS include but are not limited to damages to the endocrine system. The contaminant is relatively soluble and can be transported by water. The aim of this thesis was to model groundwater flows and PFOS transport in the area. In order to build the model, data was gathered from databases, literature studies and field investigations. The field investigations included geophysical measurements. The model was built in the software Visual MODFLOW Classic. It was used to increase knowledge of hydrogeological conditions in the area, predict the fate of PFOS leaching from the site and suggest preventative measures for preventing the spread. The model results showed that the contaminant is transported towards the current airport area by means of groundwater at a slow rate and with low concentrations. Additionally, high concentrations of PFOS will remain in soil and groundwater at the study area for several hundreds of years, according to model results. Preventative measures should therefore be focused on minimizing risks to frequent visitors to the site, which is currently used as a golf course.

Churches have been a central meeting place during centuries. Today, many churches are unused due to economic issues and decreased amounts of members. This project examines how these valuable buildings can be used in different ways to create new and reprogrammed meeting places. Our investigation is based on three relevant examples in three different contexts: St Paulskyrkan in Stockholm - representing the urban context, Tegelhuset Bricks in Malmö - representing the suburb context and Östra Nöbbelövs kyrka in Simrishamn - representing the rural context. By representing these three examples, we want to highlight the variety of demands, challenges and opportunities of this heritage. / Kyrkor har varit en central mötesplats under århundraden. Idag står många kyrkor oanvända på grund av bristande ekonomi och ett minskat antal medlemmar. Projektet undersöker hur dessa värdefulla byggnader kan användas på olika sätt för att skapa nya och omprogrammerade mötesplatser. Vår undersökning bygger på tre relevanta exempel i tre olika kontexter: St Paulskyrkan i Stockholm - som representerar den urbana kontexten, Tegelhuset Bricks i Malmö - som representerar förortskontexten och Östra Nöbbelövs kyrka i Simrishamn - som representerar landsbygdskontexten. Genom denna jämförelse vill vi visa olika behov, utmaningar och möjligheter som detta kulturarv ställs inför.

Stockholm's fish market is a vibrant market and restaurant located on the waterfront in the Old Town of Stockholm. The structure is divided into two distinct volumes that are designed for their functions. The starting point for the project "Stockholm's fish market" was to develop a market for those who are on the site today. After numerous site analysis, I concluded that today's visitors can be divided into three categories; Rapid, semi-fast and slow. It is to them, "Stockholm's fish market" is designed for. The building is placed closer to the edge of the dock than the previous house. This is to create a more intimate rooms next to the water and to provide a lively place and create the square formation to the old town. By shaping the building in the form of two raktangulära volumes melts "Stockholm's fish market" well into the urban space. The facade is of slate, which creates a rustic feel, like the surrounding buildings. The slates properties also creates a play of light in the facade that can be reminded of fish scales. "Stockholm's fish market" is a place that is for planned and spontaneous visit to one of Stockholm's most important sites.