På Arkitekturskolans innergård pågick under vintern och våren ett fullskaligt experiment med byggställningar som råmaterial. Undersökandet gick ut på att hitta alternativa metoder att tolka och översätta idéer och föreställningar till arkitektur. Skaparna har med egna händer uppfört och transformerat alla de strukturer som engagerat och interagerat med Arkitekturskolans invånare. All your base are belong to us handlar om att ta i besittning sin vardagliga fysiska miljö. / Three years ago studios and workshops were destroyed in a major fire at KTH School of Architecture and ever since a state of temporariness echoes in its premises. Barracks and tent structures are a constant reminder of the event that ominously foretold of the schools future fate. In the fall of 2015 the school is to move to a new building across the border that is Valhallavägen.The provokative brutalistic architecture was intended to educate the students in building techniques. With its exposed constructive elements and unfinished expression it urges us to appropriate, adapt and make our own additions. As students, time is running out and we found it suitable to make an homage to the so often unfairly treated architecture that parented us.We found that there is a kinship between the building and its recent temporary additions. Perhaps the way they both truthfully express the individual parts and assemblage that make up the whole. We felt the need to build something in line with these structures, as we imagined that temporary architecture could optimize the use of the appropriated site. We would be able to learn how the site logistically and emotionally operates by working with previously untested conditions. We chose what we believed to be the most public of spaces; the courtyard.We were looking for certain qualities in a building material. Although not recognizable to most people, we found that the following traits are inherent to the scaffold structure: to effortlessly being able perform specific tasks, fulfilling a duty with straightforwardness, operating at a maximized output level relative to the invested amount of work, extremely potent and beautiful in its own sense, always soon to be a memory.What we would be investigating was unclear at the beginning but looking back at our work we have made a number of transformations of the site. Sometimes suggestively and sometimes reactively. We have been searching for a form that would always surpass the previous. We have been searching for constellations that would cause people to engage and reflect on their built environment. We have been searching for alternative ways to translate ideas into architecture.

This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.