The global and everlasting quest for the limited resources of the earth has developed into a need to chisel out how each spatial area will be able to sustain its inhabitants. The connection between global and local sustainability is direct and undisputed. However, the global vision of sustainability and its concrete meaning in local terms are vastly separate. In order to be able to bridge this gap, there is a need to anchor the vision and make it more tangible locally. Physical planning at a local level has in many ways been pin-pointed as the tool to achieve this, since local planning results in a merging of the economic, ecological and social aspects of sustainable development. Alongside this broadened view, the governmental vision of democracy is turning towards increased decentralization. Citizen participation is therefore becoming a part of, and even a uniting link, in the realization of sustainable development. This has created entirely new demands for the individual municipal planner. His/her new task is mainly to merge local stakeholders into functioning planning processes. As a response to this new network-based view of society, collaborative-or communicative-planning is being tested both theoretically and practically as a tool for realizing it. There are, however, major reservations as to how well it serves this purpose. The main objective of this thesis is to contribute to this discourse on these reservations, perhaps offering some useful input for further research and/or future development of guidelines for the practising planner. It is based on two case studies of communicative planning processes carried out in a Swedish context. The main conclusions are that communicative planning, both theoretical and practical, should be developed in a more post-modern and pragmatic sense, anchoring it firmly in its local, spatial setting and releasing it from preset assumptions of the formal and informal rules and boundaries of government and/or governance / <p>Godkänd; 2006; 20070109 (haneit)</p>

The management of architects within architectural businesses has been identified as an issue influencing the future behaviour of architectural practices. This work goes on to develop and apply a qualitative model (based on systems theory) which enables deeper research into architects' businesses. The modelling of goals at strategic, management and individual levels in the firm are introduced into a Case Study Series. The results are analysed and presented in the form of a social efficiency map. The thesis explores the modelling of multiple goal- seeking behaviour within firms. The work justifies behaviour at individual level using a fulfilment model (explaining personality as based on a single force toward growth and actualisation). Existing models of business behaviour are used to explain business behaviour at management and strategic levels in the firm. A rigorous selection of firms included in the series of Case Studies is undertaken. This enables a process of contrast comparison and replication. Initially this work builds on research by the RIBA (undertaken in 1993) and the RIBA's findings from their Case Studies of traditional, muitidisciplinary, named, and commercial architectural business. This is the basis for the propositions examined in this research. The research concludes by comparing the results of the Social Efficiency Map by triangulation with questionnaires and a technique of participant as observer (using an vnopportunistic method of sampling) to strengthen the findings. The model proves effective in capturing the 'world view 1 of architects, based on propositions developed from the RIBA study and those emerging from the Case Studies Series. The implications are applied in the wider sense of the construction industry entire. The systems theory model is extended to facilitate discussion. Recommendations are made regarding the wider problem of 'perceptions' by firms in the construction industry and the permeability of these firms towards change introduced into this wider environment described.

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The notion of seriality describes such relations where each element has a processor. It could be also understood as a condition of sequential translation and transfonnation. This thesis investi gates “seriality” in the relationship to architecture and landscape. I begin my investigation with a criticism of the conventional relationship between architecture and landscape. This relationship is often static and inert while it should be more dynamic and interactive within the design process. Reconsidering the relationship between “research” and “design,” my attempt to connect the two using algorithmic design was instrumental in formulating a new design process. In this thesis, a new design process has been developed and examined in three different sec tions: 1) “Theoretical Approach,” 2) “Technical Approach” and 3) “Case Study.” In the theoretical section, I investigate “rhythm,” which is an underlying series of movements affecting on architecture physically and fundamentally, in both architecture and landscape. In re sponse to this theory, I propose a method known as the “Genetic Grid” to manage grid flexibly by receiving its new identities from “natural conditions.” In the technical approach, I introduce methods in algorithmic design to manage grid flexibly. The basic method is called the ‘UVN generator’ which is based on the algorithmic process com bining the scripting potentiality and flexibility of traditional 3D surface modeling. This technique contributes to a method to generate the “Genetic Grid.” In the third section, I examine this “Genetic grid” more closely throughout a proposed design process called “Condition Linkage.” By embedding “Gene of Place” into architectural elements, I hope to show an underlying harmonious relationship between architecture and landscape. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

This doctoral thesis presents research that aimed to contribute to the understanding of heritagisation in built environments and how heritagisation interacts with structural changes to an environment. The theoretical framework of the research was based on heritagisation, a concept defined by Harrison (2013) as the process through which objects, places and practices are turned into cultural heritage. The research was part of a single case study investigating conceptualisations of built heritage during the urban transformation of the town of Kiruna. Kiruna is a mining town in the northernmost part of Sweden that has plans to be relocated so that the mining company LKAB can continue mining the iron ore deposit that extends underneath the settlement. Kiruna is also a designated heritage site since the 1980s, and includes a large number of protected buildings. Hence, it is of interest how the built heritage is managed during the urban planning process. This is not only because the urban planning situation, which includes the relocation of an entire town, is special, but also because the town’s built heritage inevitably will change during the urban transformation. The research underlying this thesis has followed heritagisation during the urban transformation, from 2004, when the urban transformation was announced, until 2015. The empirical data used consist of planning documents, media reporting and observations, which together provide an overall view of the public discussions over the course of the urban planning process. Findings from the Kiruna case study show that the town’s officially recognised built heritage corresponds with the concept of an authorised heritage discourse (AHD). This heritage discourse was challenged by the urban transformation. Conservation goals are not clearly stated in the urban planning process and there are differing ideas for how to manage historic buildings during the urban transformation. These ideas shift both over time and between stakeholders, and the outcome of the urban planning process depends on a balance between the discourses of heritage conservation, urban development and architectural production. During the urban planning process some parts of the town’s official heritage have been reaffirmed as built heritage, while others have been dismissed. The concept of heritagisation was adopted and developed throughout the research presented in this thesis. This research also introduced the concepts of re-heritagisation and de-heritagisation, which refer to new heritagisation processes that occur when built heritage is contested and challenged during urban change. One of the main conclusions of the research was that the changes in meaning during the heritagisation process can be divided into four dimensions to analyse the complicated relationship between different interests and strategies in urban planning. Heritagisation can refer to: the addition of new heritage; reaffirmation of already designated heritage; re-interpretation of already designated heritage; rejection of previous designated heritage. / Godkänd; 2016; 20160314 (jensjo); Nedanstående person kommer att disputera för avläggande av filosofie doktorsexamen. Namn: Jennie Sjöholm Ämne: Arkitektur/Architecture Avhandling: Heritagisation, Re-Heritagisation and De-Heritagisation of Built Environments The Urban Transformation of Kiruna, Sweden Opponent: Professor Peter Larkham, Head of Resilient Environments Centre, School of Engineering and the Built Environment, Birmingham City University, Birmingham, Storbritannien, UK. Ordförande: Professor Kristina Nilsson, Avd för arkitektur och vatten, Institutionen för samhällsbyggnad och naturresurser, Luleå tekniska universitet, Luleå tekniska universitet. Tid: Fredag 13 maj 2016, kl 10.00 Plats: E632, Luleå tekniska universitet

The method of Design/Build is known for its practicality and skillful designers and builders. However, high quality buildings produced by this method suggest there is an intellectual wealth hidden beneath this technical practicality. To uncover this wealth, a definition for the processes of design used in this method must be constructed to clarify its intellectual aspects. Such a definition begins with the assumption that design is an intelligent process through which people arrange their environment. To uphold the intelligence of design, the interaction between human (designer, tradesperson, client, or inhabitants) and architecture must be maintained throughout the process. The unique conditions in the method of Design/build allow the human intellect to freely interpret and intervene in the processes of architecture. To fully exploit these conditions, a designer must develop a particular view, seeing architecture as combined processes rather than as an end-result. Via this view, it becomes evident that the arrangement of lines, forms, and structures of buildings is just a material manifestation of a deeper reality, i.e. the agreed values that an individual or society holds. These values are translated into two groups of design principles in architecture. The first group is geometrical and includes proportion, symmetry, order, and unity. The second group is relational and leads to consideration of adaptability, nature, need, tradition, and material. These principles define the relationships of architecture, humans, and the environment, expressing the role of intelligence in man-made settings. In Design/Build, these principles can be incorporated into the processes of design far more than in any other method, because architecture is intimately connected to environment (social and natural), and there is a dynamic interaction between designing and building. This method sees architecture as a combination of processes, considering design not as rules and regulations, but as a process that is empowered and motivated by the events of everyday life. This method arrives at the rules and regulation of architecture only after recognizing this fact. Without the attendance of life in an architectural process, the geometrical and relational principles of design are dull and meaningless. By establishing this view, this paper hopes to construct a definition for the design process of Design/Build, a definition that does not deal solely with the technicality and practicality of this method but rather with the intellectual aspects of the process. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

This paper attempts to deal with architectural theory at the level of the design process. By concentrating on a particular idea, or really a particular type of idea construction, I intend to illustrate the nature of contemporary design process. The method of idea construction dealt with is the notion of paradox. The nature of the contemporary design process is illustrated through discussions which mark the transition from Modern to Post-Modern design. It is my contention that the paradox is a particularly strong vehicle with which to discuss the shift from the Modernist approach to the Post-Modern concept of designing. Further, I will illustrate how paradoxes possess innate qualities which are greatly prized by the Post-Modernists but which were not highly extolled by the Modernists. The qualities of paradoxes which are proving to be of considerable value to design are ambiguity and complexity. These qualities are held to be of great importance for creative work. Their special value today results from the diverse and rapidly transforming social and technological realms, which require complex yet integrated conceptual models in order to cope with rapid change. Paradoxes are shown to parallel the structure of creative thinking in-so-far as creativity has been described. Paradoxes are a special case of the bi-association used in creative thinking. In bi-association one entity is juxtaposed in a single framework with an antagonistic entity. The resultant conflict gives rise to the creation of new integrated ideas. In a paradox the conflict arises over the question of whether or not a contradiction is true or false. In fact the ambiguity that results from a contradiction that is both true and false at the same time is one of the most valuable properties of a paradox. The creation of an integrated idea that can deal with the ambiguity is to resolve the paradox and to perform a promising creative act. In short, a paradox can be defined as an apparent contradiction. It is to be valued for its ability to introduce indeterminate thinking to the design process. By definition, the paradox retains the idea that a contradiction is present, even while the contradiction is known to be false. I will maintain that an appreciation of a contradiction even after the contradiction is shown to be false has the ability to vault the designer to still higher levels of synthesis and abstraction. This movement between levels of abstract integration is held to be fundamental to the design process in general and to paradoxical thinking in particular. This paper introduces the idea of the paradox in preparation for a discussion of the complexity and indeterminacy that results when we attempt to apply it to particular examples. The body of the paper is taken up with the definition and discussion of the role of seventeen paradoxes. These paradoxes have been chosen for their ability to illustrate the transformation from Modernism to Post-Modernism, which in the broadest terms are described as the machine age and the communications age respectively. The intention has been to illustrate the character and role of paradox in specific instances. But additionally the selected examples are intended to reveal how paradoxical thinking has a natural affinity with the sensitivities and objectives of Post-Modern design. The general conclusion based on the insights gained from discussing the paradoxes is not radical. To conclude that the essential purpose of design must be to personify the perpetual act of creating meaning on many levels at the same time is to corroborate findings established in many quarters. The fact that the notion of paradox reinforces widely held beliefs does reveal the relevance of paradoxical thinking to mainstream design. Essentially, paradox is important to the design process as a rational construction of a type which incorporates irrational functions. A very potent creative tool results when both rational and irrational functions can be combined to compose meaning at a variety of levels at the same time. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Just as natural adaptation comes from evolutionary processes that lead to 'fit' of an organism to its environment, adaptive buildings come from design processes that lead to the 'fit' of a building to its environment. A building which 'fits' its environment is considered to be sustainable. The environment is defined to encompass economic, social and ecological context. Buildings are artifacts chosen by a designer from among possible designs based on human value judgements about internal and external constraints. It is hypothesized that a project design process will result in more adaptive buildings when: first, the project team has sufficient relevant information related to the environment; second, the project team is sufficiently motivated to 'fit' the project to its environment; and third, the project team develops specific targets for resource consumption. Design process occurs at both the team level (project design process) and the individual level (design process). A model of design as a complex adaptive system is developed. The model shows creativity as a phenomenon arising from the interplay of two forces: pattern and constraint. In design, a designer transforms the 'chaos' of new and unintegrated input (change agents) into emergent pattern by integrating the input so as to be consistent with existing patterns and responsive to constraints (conservation agents). This integration results in the 'click' which designers experience during design activity. The 'click' signals boundary-breaking between the designer's internal and external (content and context) constraints and patterns. Dynamic equilibrium arises from balancing between change and conservation of input and between integration and differentiation of that input. Total equilibrium arises from combined conservation and differentiation. Further it is suggested that oscillation between integration and differentiation will result in creative breakthroughs. The model is researched in a case study of a built project, tested in a design exercise in a seminar setting with students and professionals, and discussed in an interview with a noted designer. Indicators for sustainable buildings are developed. The model provides a new description of design process and the findings indicate that its use is likely to result in more adaptive buildings as measured by indicators for sustainability. / Science, Faculty of / Resources, Environment and Sustainability (IRES), Institute for / Graduate

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