Passagenhuset, a historical building marked green by Stockholm City Museum, is under threat. In the 2017 proposal by Pembroke, it is to be demolished and replaced with a 14-storey tall glazing building. The protest against this proposal paused the demolition of Passagenhuset. There has been a renowned aggressive preservation culture in Sweden. The protest for Passagenhuset and Almstriden is merely the epitome of the culture. However, the city of Stockholm is unavoidably being transformed for the function of the next decade, probably in a violent way unfortunately. The contradiction shows the incapability of aggressive preservation, which could be a hinder instead of a solution when it comes to city development.  Therefore, Hasten 21 has become the object of the preservative reuse experiment. In the preliminary structure preservation, a new interior space of the building has to be implemented, in order to make the contemporary function possible within its chassis. And the study of new tensegrity structure opens the opportunity for the adaptive reuse of Hasten 21. / Passagenhuset, en historisk byggnad som är grönmarkerad av Stockholms stadsmuseum, är hotad. Enligt Pembrokes förslag från 2017 ska det rivas och ersättas med en 14 våningar hög glasbyggnad. Protesten mot detta förslag pausade rivningen av Passagenhuset. Det har funnits en erkänt aggressiv bevarandekultur i Sverige. Protesten för Passagenhuset och Almstriden är bara ett uttryck för denna kultur. Stockholms stad håller dock oundvikligen på att omvandlas för det kommande decenniets funktion, troligen på ett våldsamt sätt tyvärr. Motsättningen visar på oförmågan till aggressivt bevarande, vilket kan vara ett hinder i stället för en lösning när det gäller stadsutveckling.  Därför har Hasten 21 blivit föremål för experimentet med konserverande återanvändning. I det preliminära bevarandet av strukturen måste ett nytt interiörutrymme i byggnaden införas för att möjliggöra en modern funktion inom ramen för dess chassi. Och studien av en ny tensegrity-struktur öppnar möjligheten för ett anpassat återanvändande av Hasten 21.

This project aims to explore how to repurpose a technical building into a public space, more specifically: Hornstulls Subway stations north entrance building into a Hemgård. The entrance building for Hornstulls subway station at Hornsbruksgatan, Södermalm is up for demolition. The building was designed by the style-forming architects Bengt Lindroos and Hans Borgström together with their college Nils Arne Rosén at Stockholms spårvägar in 1961-1964. Bengt Lindroos and Hans Borgström is also known for their design of Kaknästornet and Söderledskyrkan, both designed around the same time as Hornstulls Tunnelbana.  The building is built in brutalist style, typical for its time. A style both idealized and hated. But the trend of embracing these structures has been on the rise. Therefore, I find it unfounded, that in these times of sustainability and reuse, this strategy isn’t applied in this case. Especially since the building with its durability and robustness would suit a public use well. It is also economically beneficial for organizations and associations that never could have afford to erect a new building in the city center. The building's strategic location (being a subway station) will make the building easily accessible from all over Stockholm.  This project aims to explore one way of how this building can be preserved and reused instead of demolished. And a proposal for how one can add a public space to an already existing building.

A need for new churches arose in Sweden during the 1950’s when modern suburbs for the growing urban population were developed around the Swedish cities. Four architects, Peter Celsing, Sigurd Lewerentz, Hans Borgström and Bengt Lindroos, who were known for their profane modernist architecture, were commissioned to design three churches in Stockholm's new districts: S:t Tomas kyrka in Vällingby, St. Markuskyrkan in Björkhagen and Söderledskyrkan in Farsta and all were inaugurated in 1960.  The purpose of the essay is to investigate how the sacral textiles of the three modernist churches look like in the year of inauguration and how they related to their respective contexts in the form of the modernist church rooms 1960. The investigation is done with the help of the questions: How do the sacral textiles look like in the modernist neighborhood church? Why do they look the way they do? What has influenced their appearance and design? The questions are answered with the support of the theories Material Culture and the performativity theory, and the investigation is carried out using Material Culture as a method and the textile science documentation method. In order to be able to determine what modernity was in the contemporaneity of the sacral textiles, whimsical terms have been operationalized, which are taken from the contemporary literature that speaks about what the modern can be or not be. This is a theoretical starting point from which the investigation into modernity starts.  The result of the investigation shows that the sacral textiles in their newly manufactured parts was influenced by the modernist church context. It appears in the essay that the influencing factors were several and they appeared in the context of the church ́s liturgy, the architect ́s visions and the designers’ artistic signature in expression. These gave effect in different ways to the appearance and design of the sacred textiles.