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In this thesis, done in 2024 at the bachelor program Interior Architecture & Furniture Design, I give a proposal for an alternative future scenario for the cooperative housing organization HSB’s former headquarters at Fleminggatan 41, Kungsholmen, Stockholm. The office, built in 1939 by and for HSB, has after 84 years been passed on to a new owner and user, where the fate of the building is still unclear. I believe that the building should be of great historical value to HSB, especially since HSB’s former director Sven Wallander himself was the architect behind the building. In this work, I explore and propose future uses for the property under HSB’s ownership, and the possibility of going from office to residential through interior design. During the process of analyzing the building’s form and layout, the building turns out to be better suited for collective living with large, shared spaces, rather than private homes. For this reason, the work continues with inspiration from Sven Markelius’ collective housing on John Ericssons gata 6, also on Kungsholmen in Stockholm, which is also built during the same period as the head office (1935). In addition to historical functionalist references such as S. Markelius collective house and S. Wallander’s work for HSB’s history, The design proposal is also based on contemporary work by Andreas Martin-Löf, an architect who I believe has a strong connection to the functionalist ideology and aesthetics, and who has therefore been a great inspiration to the project in an effort to bring the ideas of functionalism further into the housing of the future. The result of the design proposal is a collective house with 75 identical residences of 29 square meters each, accommodating the most private room functions, designed according to the diversity of the households. The target group of this collective house is the social and child-free households of 1-2 persons who also have an interest in the collective lifestyle, and hope for the future. The residences are equipped with, among other things, bathtubs, oak parquet and window boards in swedish green marble, which is in line with the materials and functions associated with the functionalist era of HSB. On the ground floor of the house are the collective house’s common areas where spatial functions that can be shared with other residents take place. These areas include a laundry room with sewing machines and ironing boards, a mini spa, a home theater, a multifunctional living room and office, and a large kitchen for communal cooking and meetings, all of which are designed to meet the different needs and wishes of today’s households. With multiple shared spaces and functions, less is needed in the private home, which is both economically and ecologically sustainable. The aim of this work has been to create a modern interpretation of functionalism that reflects both historical and contemporary aesthetics, by creating a future oriented living environment.   Longing for tomorrow living. Housing for the tomorrow, based on yesterday.

The aim of this thesis is to examine how mirrors were hung and used in decorating a room during the gustavian period (1770-1810) and the functionalistic period (1930-1939) in Sweden. I have compared the two styles and the way of decorating with mirrors. Based on the comparison I deduced the differences and similarities. The material which the thesis is based on are three drawings and one painting depicting four gustavian rooms containing mirrors. To illustrate the functionalistic period I used four photos from the catalogue from the Stockholm exhibition in 1930. To explain the context this thesis also contains a discussion of the mirrors technical history and the frame designs during the two periods. The questions I raised at the beginning of the thesis is how and were has the mirror been placed and is there a specific reason for this? Are there distinct differences between the two periods in how they decorated with mirrors? The results of my analysis shows that mirrors are often placed between two windows on the centre of the wall during the gustavian period. The functionalistic decorators on the other hand usually placed the mirrors a bit of centre on the walls. Differences between the two styles become apparent when looking at the way mirrors were used. In the early period the mirrors were a decorative element and a show piece with high status. Later it became just a necessary and useful object with a low status as it became more common.

Museum of Modern Art har varit mycket tongivande för historieskrivningen och definitionen av modernismen, "the international style". Svensk modernisms mest kärnfulla period 1930-1960, representeras av 55 objekt i MoMAs arkitektur och designsamling. De svenska objekten i samlingen visar på en reception av svensk design som mest inflytelserik under 1950-talet. Årtiondet är det mest välrepresenterade, till antalet objekt räknade, men ger också den mest representativa bilden av hur svensk design marknadsfördes i USA. De mest inflytelserika tillfällena för marknadsföringen av svensk design i USA under åren 1930-1960 är enligt konstprofessor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), världsutställningen i Chicago 1933, världsutställningen i New York 1939 och utställningen Design in Scandinavia 1954-1957. Knappt hälften av de representerade formgivarna i MoMAs samling fanns med under marknadsföringen ,vilket kan visa på samband mellan marknadsföringen och samlingens karaktär. / Museum of Modern Art has been very influential for the historiography and definition of modernism, "the international style". Swedish modernisms most vigorous period 1930-1960, is represented by 55 items in MoMA´s Architecture and Design collection. The Swedish objects in the collection show at a reception of Swedish design as most influential during the 1950s. The decade is the most well-represented, in number of objects counted, but also gives the most representative picture of how Swedish design was marketed in the United States. The most influential opportunities for the promotion of Swedish design in the United States during the years 1930-1960 are according to art professor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), the World's Fair in Chicago in 1933, the World's Fair in New York in 1939, and Exhibition Design in Scandinavia 1954-1957. Just under half of the represented designers in the MoMA collection, were included in the marketing, which can show correlations between marketing and the collection's character.