SYMMETRI: När någon gått bort upplever anhöriga ofta förvirring och tvivelkänslor. I detta vill jag arbeta med symmetri för att den fysiska platsen ska ingjuta tilltro hos de sörjande. När en individ upplever att tillvaron är ologisk finner hon stöd i den uppenbara logiken hos spegelsymmetri (t.ex. bevisar många studier ett samband mellanmental sjukdom och preferens för symmetri). TYNGD: Genom att anspela på monumental arkitektur vill jag tillåta de sörjande en paus från det beslutsfattande ett dödsfall innebär och ge dem möjlighet att uppleva sin litenhet och därigenom orka fortsätta sina liv. Tidigarefann människor i Sverige stöd hos kyrkan och i vedertagna ritualer kring döden och jag tror att dessa riterunderlättade genom att ta lätta individens eget ansvar. Jag vill i krematoriet underlätta genom att antyda ettallvar som ger anhöriga tillfälle att luta sig mot en outtalad tro. TRANSPARENS: Det är en liten del av dagens krematorier som tillåter insyn. Som anhörig kan detta ge en känsla av osäkerhetoch undran kring vad som sker i resten av byggnaden, särskilt i Sverige där kollektivet luckrats upp och individenblir chockad över att inte få bestämma vad som sker med den avlidnas stoft. Jag vill genom att arbetamed transparens ge anhöriga lugn i sitt förtroende för processen.I en artikel om Råcksta krematorium beskrevs bristande säkerhet och noggrannhet vid hanteringen avstoftet. Jag ser många anledningar att ge allmänheten insyn i delar av verksamheten, inte minst för att deanställda aldrig ska tvivla på allvaret i sin uppgift. Genom att göra tydlig skillnad på personalens fikarum etc. / SYMMETRY: When someone has passed away relatives often experience confusion and doubt. In this, I want to work with symmetry in order to let the physical environment instill confidence. When an individual experiences that life lacks logic they find support in the apparent logic of mirror symmetry. WEIGHT: By alluding to monumental architecture, I want to allow the bereaved a pause from the decision-making of a funeral and give them the opportunity to experience their smallness and thus be able to continue their lives. In earlier times people in Sweden found support in the Church and the established rituals around death and I think these rites helped by reducing the individual's own responsibility. I want the crematorium to provide ease by suggesting a gravity that allows the bereaved the opportunity to lean on an unspoken belief. TRANSPARENCY: Only a small part of today's crematoria are transparent. As a relative, this can provide a sense of uncertainty and worry about what happens in the rest of the building. By working with transparency I want to give the bereaved the peace of feeling confidence in the process.

This master thesis comprises an assemblage theoretical approach to a Viking Age burial mound. Traditionally assemblages in archaeology are static and homogenous arrangements. Recent research though looks to assemblages as constantly transforming and in flux. These vibrant matters consistent of different components neatly tucked together and intertwined always becoming and changing at the same time. With this approach of assemblage theory to a material of the burial mound “Gullhögen” the main focus will be to recognize which possibilities and what restrictions this kind of perspective has to offer to burial archaeology. Also, the aim of this study is to try and see how relations can become when human and non-human entities interact with the mound. Also, how the mounds inner and outer burial forms effect can have caused an affect in the past and still causes an affect today. This is done through different examples and a case study. With support in earlier interpretations it is argued here what the assemblage theoretical approach “intrinsic assemblage” has to offer in ways of a more vivid and nuanced way to interpret the burial mound and its monumentality as an arrangement with its own intentions and true capabilities to affect its surroundings and the humans and non-humans entities that interact with it.

The earliest graves that are found in Sweden is the megaliths, the huge stone monuments created with boulders and open entrances. The megaliths origin is from the Middle Neolithic’s, but they have been reused for several millenniums. The very act of constructing these monumental stone chambers for the dead shows that these monuments were built to last through time. This master’s thesis deals with four different kind of grave types that spans through four different time periods in Southwestern Sweden. After the Middle Neolithic, monumental graves the hällkistan (stone cists), became the dominant grave type during the Late Neolithic. The cist varies in construction, some are meant to be entered but most are closed. During the Bronze Age a new kind of cists continues to be used and new are constructed although the culture tends to create big heaps, cairns, around the cist. During the late Bronze Age and early Iron Age the construction of the graves changes and the cists are instead present on grave fields. The paper compares the similarities between the graves, megalithic tombs, stone cists, cairns and grave fields, in their monumentality, construction, accessibility, content, and focuses heavily on the transmission between the grave types through the theoretical concept of Longue durée. I have also chosen to focus on the tradition of reuse, and Pierre Nora´s theoretical concepts about memory sites and memory environments. The slow slight changes to the grave traditions, constructions and rooms shows changes in ideology of the contemporary culture. My main focus is to identify and discuss the transformation of the grave room, from the Middle Neolithic monumental stone construction to the late Iron Age grave fields. Through my understanding of this process, I argue that the mentioned grave types are the same type of monument that slowly changes through a time span of roughly 4000 years. The changes are visible through very slight and slow processes.

Lördagen den 26:e maj år 2018 sätts första spaden i marken för ett av vår tids största bostadsprojekt. Årstafältet, en i dag lantlig lunga i närmaste Söderort, skall under de nästkommande tolv åren bebyggas till två femtedelar med bostäder och i en avsevärt mer urban kontext erbjuda boende till 15 000 nya stockholmare – ett bostadsprojekt vars omfattning motsvarar hela Nynäshamns befolkning, eller en femtedel av Kungsholmens. Den nya detaljplanen, vars motto är "en plats för möten" och vars ledord är "variation", förordar att den nya bebyggelsen skall präglas av variation i höjder, former och stilar. I enlighet med detaljplanens ledord och kandidatarbetets program har vi gestaltat en skolbyggnad för 540 elever i åldrarna 10 till 16 år, som med en postmodern, eklektisk ansats förenat element och inspiration från många olika stilbildningar, och där de varierande miljöernas utformning ej underordnar sig någon enskild arkitektonisk princip, utan också i sig utgör en plats för möten – mellan tider, stilar, material och element. Esplanadskolan har utformats som ett postmodernt skolpalats, där kunskapens enastående värde och institutionens oerhörda vikt befästs i sin monumentalitet. Esplanadskolan riktar sig utåt till såväl den nya som befintliga stadsdelar som ett landmärke och symbolbyggnad, där en stor del av lokalerna är öppna för allmänheten utanför skoltid, och avser i sina inre rumsligheter att erbjuda skolungdomen intresseväckande och varierande lokaler, med ett vinterträdgårdsatrium, en monumental spiraltrappa och en fresnelprismatisk ljusobelisk som sammanbindande nav. / On Saturday May 26th, A.D. 2018, the ground work is initiated for one of our time’s most expansive housing projects. Årstafältet, a predominately natural park in southern Stockholm, will during the next twelve years be urbanized to two fifths of its total area, giving context for an entirely new urban quarter, accomodating 15 000 new Stockholmers. The scale of the housing project is comparable to the whole population of Nynäshamn, or one fifth of Kungsholmen’s. The new zoning plan has the motto “a place for meetings”, and its main principle is “variation”. The zoning plan requests that the new buildings should be characterized by a variation in different heights, forms and styles. In accordance with the main principle of the zoning plan, and with the program of the degree project, we have designed a school building for 540 pupils in the ages of 10 to 16 years, which embodies a postmodern, eclectical approach, in uniting diverse architectural elements and inspiration from many different historical styles, and in the standpoint that the diversity of elements and physical environments is not subordinated to any one architectural principle. The school is in itself a place of meetings – between epochs, styles, materials and elements. Esplanade Elementary School has been designed as a postmodern, monumental school, where the awesome dignity of knowledge, as well as the massive importance of the school as a societal institution, is fortified in the architecture’s monumentality. Esplanade Elementary School directs itself as a landmark and symbol to both old and new contexts in its urban vicinity, opening up its doors for the public in many aspects outside of school hours. It also aspires to offer its pupils physical environments which evoke their immersive interest and in its diversity allow for the phenomenological compatibility of equally diverse environmental preferences. The main elements which make up the directional essence of the interior environments are the Botanical atrium, the monumental spiral staircase and the Obelisk of Light, composed of hundreds of naturally and artificially lighted fresnel prisms.

This essay delves into the intricate dynamics of Berzelii Park, focusing on the interaction between the mesh fence constructed in 2016 and the Raoul Wallenberg monuments. It examines the fence as a nationalist monument, revealing its transformative impact on the communal space and highlighting its role in shaping memories, identity, and ideological conflicts within the urban landscape. Through qualitative text analysis and theoretical frameworks on monumentality, phenomenology, and bordering, the study navigates layers of exclusion, memory, and identity formation within the park. The collision between nationalist symbolism and the narratives of memory becomes a focal point for nuanced discussions about memory and identity formation. The conclusions of the research questions reveal how the fence transcends its functional simplicity and becomes a symbol of nationalist ideology and exclusionary practices. It interprets the mesh fence in Berzelii Park as a nationalist monument by examining its impact on the park's communal space and the narratives it depicts. Furthermore, the study explores the significance of the fence in relation to the Raoul Wallenberg monuments, complicating the dynamics between these elements in the park's location. The essay provides insight into the complexity of urban spaces and the continual redefinitions of collective identities and memories. / Denna uppsats fördjupar sig i den besvärande dynamiken i Berzelii Park, med fokus på samverkan mellan nätstängslet som restes 2016 och Raoul Wallenberg-monumenten. Den studerar stängslet som ett nationalistiskt monument, avslöjar dess transformativa inverkan på det gemensamma rummet och belyser dess roll i att forma minnen, identitet och ideologiska stridigheter i stadslandskapet. Genom kvalitativ textanalys och teoretiska fackverk rörande monumentalitet, fenomenologi, och gränsdragning navigerar studien i lager av utanförskap, minne och identitetsbildning inom parkens gränser. Kollitionen mellan nationalistisk symbolism och minnets narrativ blir en samlingspunkt för nyanserade diskussioner om minnes- och identitetsskapande. Forskningsfrågornas slutsatser avslöjar hur stängslet överskrider sin funktionella enkelhet och blir en symbol för nationalistisk ideologi och exkluderande metoder. Den tolkar nätstängslet i Berzelii Park som ett nationalistiskt monument genom att undersöka dess inverkan på parkens gemensamma utrymme och de berättelser som stängslet skildrar. Vidare utforskar studien stängslets betydelse i förhållande till Raoul Wallenberg-monumenten, vilket komplicerar dynamiken mellan dessa element på platsen i parken. Uppsatsen ger inblick i stadsrummets komplexitet och ständiga omdefinieringar av kollektiva identiteter och minnen.