If you ask any person for his opinion about "miljonprogrammet", most would answer that it is the largest architectural failure in modern times. The housing shortage meant that numerous buildings had to be built quickly and the architecture was neglected. Today there is again a significant housing shortage, and the need to build many homes have quickly become a political priority issue. These homes should preferably be as cheap as possible. The risk is great that we in 50 years will view these buildings in a similar way that we look at the "miljonprogrammet" today. If we instead turn to the houses that were built in the 1920s these are still considered to be very beautiful and classic tastefulness. This type of house should be easy to replicate by simply building classic houses with pitched roof, simple details above windows and doors with a one-colored plaster facade. This work has been carried out in order to avoid falling into the same situation again. The aim was to prove that there is an increased willingness to pay for houses built around the 1920s. By proving that this is the case, we hope that the houses being built in the future will return to this classic tastefulness architecture which we believe will provide a more sustainable cityscape. The result has been obtained by several independent t-tests of sales in Södermalm and Östermalm, in central Stockholm, during the past five years. Interviews with architects, brokers and construction companies have also carried out to obtain a broader base and to see how professionals in the industry look at the issue. Literature has been used for further theoretical background. The conclusion has been obtained by compiling samples and interviews. The result was that there is a strong significant difference in the willingness to pay of properties built during the "miljonprogrammet" versus 1920. Where the 1920s houses sold for a much higher price. / Frågar man valfri person efter dennes åsikt angående miljonprogrammet skulle de flesta svara att det är det största arkitektoniska misslyckandet i modern tid. Bostadsbristen medförde att mycket skulle byggas fort och arkitekturen kom i skymundan. Idag råder det återigen stor bostadsbrist och behovet av att bygga många bostäder snabbt har blivit en politisk huvudfråga. Dessa bostäder ska helst också bli så billiga som möjligt. Risken är stor att vi om 50 år kommer se på dessa byggnader som man ser på miljonprogrammet idag. Ser man istället till husen som byggdes under 1920-talet anses dessa fortfarande vara väldigt vackra och klassiskt stilrena. Tjugotalshusen borde vara enkla att återskapa genom att bara bygga klassiska hus med sadeltak, få enkla detaljer över fönster och dörrar samt med en enfärgad putsfasad. Det här arbetet har genomförts för att undvika att hamna i samma situation en gång till. Syftet var att bevisa att det finns en ökad betalningsvilja för hus byggda kring 1920-talet. Genom att bevisa att så är fallet hoppas vi att de hus som byggs i framtiden kommer återgå mot denna klassiskt stilrena arkitektur. Detta tror vi kommer ge en mer långsiktigt hållbar stadsbild. Resultatet har fåtts genom en sticksprovsstudie av överlåtelser på Södermalm och Östermalm, i Stockholms innerstad, under de senaste fem åren. Intervjuer med arkitekter, mäklare och byggbolag har även genomförts för att få en bredare bas och för att se hur yrkesverksamma i branschen ser på frågan. Litteratur har använts för vidare teoretisk bakgrund. Slutsatsen har fåtts genom en sammanställning av stickproven och intervjuerna. Resultatet blev att det finns en stark signifikant skillnad i betalningsvilja mellan fastigheter byggda under miljonprogrammet kontra 1920-talet. Där 1920-talshusen såldes för ett betydligt högre pris.

Denna uppsats beskriver möbelarkitekten Axel Einar Hjorths karriär och produktion med fokus på åren 1927-32, hans första sex år som chefsarkitekt på Nordiska Kompaniet. Genom att undersöka några samtida tidskrifter försöker uppsatsen även utröna hur Hjorth mottogs under sin egen tid, samt varför han var förtigen i svenskdesignhistoria så länge. I uppsatsen ingår flera möbelanalyser vilka syftar till att beskriva Hjorths stil och bredd samt tidens smak. Uppsatsen visar att Axel Einar Hjorth ofta ritade internationellt orienterade möbler i ren art déco, men också stilmöbler, funktionalistiska seriemöbler m.m. Art déco var en stilriktning under mellankrigstiden, men i Sverige talar vi ofta om ”Swedish Grace” eftersom mycket konsthantverk under denna tid fick ett något svalare klassicistiskt uttryck än övriga länders. I Sverige har art décon eller ”Swedish Grace” ofta hamnat i skuggan av funktionalismen, som fick större genomslagskraft. Det är en av anledningarna till att ingen akademisk text tidigare har skrivits om Axel Einar Hjorth. / This essay describes the carrier and production of the architect Axel Einar Hjorth, with an emphasis on the years 1927-1932, his first six years as head architect at Nordiska Kompaniet. The essay also tries to inquire into how Hjorth was recieved by contemporary press and explain why he was forgotten about for many years. The study shows that the furniture designs of Axel Einar Hjorth was very international in it´s style. Instead of calm classicism the furnitures often have strong references to art déco, a style that didn´t grew big in Sweden. The essay includes several furniture analyses where the aim is to show Hjorths versatility. Hjorth designed both art déco furnitures, period furnitures and more modernistic furnitures etc. One of the reasons why so little has been written about Axel Einar Hjorth and art déco in Sweden is that the funktionalism won the debate with it´s socialistic ideas, which made art déco a short-lived style.

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.