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The pursuit of a better life has motivated people to move and settle in different parts of Västerbotten. Traditionally, some building typologies have moved together with the people but due to various reasons some homes have been left behind. Goals have been set up to decrease the amount of construction demolishment waste in Eu and Sweden is following quickly with new regulations upon waste management and sorting. But what happens with the houses that no-one intend to deconstruct, the ones that is left to its own destiny and already is considered useless? This thesis springs from a curiosity of deserted homes, the narratives they witness, the value they hold and the lessons that they can teach. The thesis Challenged by the wall deals with the architects role in bridging past and present.Research question: How can the tracing of empty houses inform the contemporary architect? The investigation is done through a visual research method making drawings and illustrations through different medias the heart of the project. It follows two parallel paths in its search for value: emotional and physical, two different angles of research that find strength in and complement each other. Several factors have caused the houses to be abandoned, such as forestry, economical advantages and standard of living. The empty houses represent an other time and a way of living that man distanced himself from when industrialisation opened up for new levels of comfort to every day life. The illustrated observations pays attention to the obscure and aims to enlighten value in the rejected. By that it hopes to challenge the way value is put into systems. Throughout the research reflections have been made as to whether the architect can treat the romanticism of the past in a nostalgic way that is helpful for the present architecture. With the illustrated samples as evidence, it argues that the broader spectra of value has to be discussed and thus the final resolution of the thesis hope to urge that dialogue.

Using a qualitative semiotic analysis and a quantitative netnographic approach, this mixed method study seeks to examine the use of nostalgic marketing within the field of luxury fashion advertising. The focal point of the study focused on material from online video content posted by four European luxury fashion brands between the years 2020 and 2022, as well as commentary feedback from their followers on social media platforms Instagram and Youtube. Basing our research on previous literature regarding both nostalgia and luxury fashion marketing individually, along with a theoretical framework including theory of semiotics, theory of representation, mythology and luxury branding, the aim was to establish whether or not the selected brands were successful in inducing nostalgic emotions in their viewers. This study offers insights into marketing perspectives, branding strategies and how to build brand equity through attachment and loyalty towards luxury fashion brands through the use of nostalgia. By analysing four luxury brands, three of which can be considered as heritage brands and the forth being newly-established on the market, and juxtaposing them against each other to compare their cultural, symbolic and nostalgic elements included in their advertising video campaigns and study their individual effectiveness. Throughout our research, it was indicated that the symbolic value within imagery must be enhanced, specifically in regards to luxury fashion brands, for consumers to have positive impressions of the brand and be willing to purchase from the brand. Therefore, luxury fashion brands continuously try to deliver dream-like scenarios in order to fulfil consumers’ desires and luxury experiences.

Smedsudden var en gång i tiden en sprudlande udde fylld med konst och skapande, klädd i lummig natur och inramad av svalkande vatten. Med årens gång har udden glömts bort, husen därpå har brunnit och rivits ner. Nu står endast det nergångna Annexet kvar. I detta projekt har jag re-aktiverat Smedsudden genom att rusta upp Annexet som Café med tillhörande Orangeri, tillfört en dansbana i Annexets kulturellt nostalgiska stil, och skapat ett konstmagasin med uppsikt att återigen tända Smedsuddens konstnärliga gnista. Här, mitt i Stockholm, upphör stadsmyllret för en stund och skapar med hjälp av detta projekt återigen en oas för kreativitet, livsglädje och nöje. / The cape of Smedsudden depicts a story of a place robbed of its former cultural identity; once a flourishing spot for artists and celebra-tion, it is now rendered barren and culturally obsolete. My project exists as a retort to this delapidation. It conveys a vision of what Smedsud-den could become, and relays to it a new sense of purpose. The new structures on the site are designed to evoke a sense of nostalgia, all the while displaying a delicate touch of Smedsuddens own historical presence. This version of Smedsudden provides the people of Stock-holm with the oppurtunity to reexperience the historically ever-present combination of social leisure and cultural enrichment in the context of idyllic countryside vistas, of vibrant river landscapes and lush foliage — in the heart of Stockholm.

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Lightning Flowers traces the psychological collapse of Waylan Dranger, an East Texas construction worker / folk artist. Waylan suffers from hallucinatory encounters with Reeve, his missing brother. Reeve often blames Waylan for his disappearance and implied death. Waylan also worries that Sam, his live-in girlfriend, will leave him before he can resolve his own increasingly erratic behavior. Largely, Lightning Flowers is preoccupied with the consequences of nostalgic thinking. Among others, the novel grapples with the following questions: What defines contemporary notions of "brotherhood"? To what extent does one's survival necessitate self-delusion? How do social stigmas inform our experience of mental illness?

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