Migration of humans have always existed and therefore people have changed their standard of living over the years. Because of immigration the lack of residences has always been more or less a problem. The solutions through the decades have been Barnrikehus, Folkhem and Miljonprogrammet. Today people are emigrating from their countries because of conflicts and natural disasters due to the climate changes. This leads to immigration and the population of Sweden is rising. At the same time the need for new residences increases. Recently, in 2016, Boverket came out with a new prognosis that there is a need of 150 000 new residences until year 2025. At the same time the useful areas in bigger cities starts to fade. A new solution is to build floating homes on watermirrors. The aim of this study was to get an understanding if floating homes are a modern solution to the lack of residences or just a small-scale type of living. The conclusions are based on a mapping of planed and performed floating projects in Sweden. Further, there was an aim to find out if floating homes are something for the northern part of Sweden in Lycksele, Västerbotten.   The first part of this study contained a literature study were waterproperties, permanent floating homes and restricted access to the shore was defined.  The second part was a case study were a qualitative study was implemented with interviews of the inhabitants. The selections of inhabitants were based on gener and age. Interviews was also performed with the Building Department and with community planer. Finally, the case study ended up in a proposal with floating homes located on Hawaiiudden, Lycksele. Hawaiiudden was the most appropriate location due to an inventory of 6 watermirrors with different benefits and disadvantages. The proposal was a two storey house with an open design and possibility to affect the number of bedrooms from 2 to 4. The exterior was a discreet and curious architecture inspired from classic  boathouses in the southern part of Sweden but with characteristics from north.  The result of the interviews showed that the inhabitants have an interest in floating homes but many holds back by the fear of waterdamages, risk of children drowning and economical perspectives. Many fears can be reduces by knowledge. When it comes to the location of these homes, almost half thinks that Lycksele is not the right place. It stays a riddle where the hesitant people think these homes should be placed. Summery, you can say that floating homes is something new-thinking and innovative that has not reached all parts of Sweden yet. There is a lot of missing knowledge and the law has some catching up to do. If Sweden in the future will have floating homes as a natural element in detail plans and city planning remains to see.

Composition is a process of applied research. In a portfolio of eight original pieces, the technical and aesthetic components of this process are investigated from the perspective of several theoretical precepts which both inform and underpin its creative strategy. Drawing on theories of intertextuality, composition is collocated within a broad current of thought in which ideas and material from pre-existing ‘texts’ across a variety of disciplines are utilised and explored to create new compositional ‘texts’. This procedure is tested from several, key perspectives, characterised variously as: (i) problem-seeking, (ii) serendipitous, (iii) transgressive, and (iv) transcriptive. The first of these draws on John Dewey’s notions of art as a form of creative problematisation. In the second, techniques are developed in which performance flexibility is balanced against structural exactitude, aided by a series of parametric tables that outline a range of variables across the different elements of musical sound. As a transgressive process, compositional procedure is informed by Viktor Shklovsky’s theory of aesthetic defamiliarisation. Finally, as a form of transcription, the research draws on Ferruccio Busoni’s observations about notation and its key transmutational role in manipulating and recasting musical ideas. By adopting an eclectic attitude towards materials and techniques, a compositional strategy is formulated which offers an alternative to the assumption that advancement in the field is inevitably shaped by an ineluctable, dialectical process. A polyvalent approach and direct interaction with materials, it is argued, are the important creative ingredients which present valuable and meaningful developments in compositional language, form and technique.