A historical study of the urban texture of Gamla Stan shows how public space has been appropriated for private needs. Streets were built over, closed off or turned into private courtyards, some of which have started to disappear, being completely internalized. This process of space appropriation was one-directional until the early 1900s, when the fear of losing structures across town made authorities create a precedent and revert the process by removing specific houses from the urban texture. This approach is based on a set of rules which I changed when making my project: the re-examination of all the hidden, internal, private spaces and their re-introduction to public life.    My set of criteria is rooted in a research of the elements that constitute the borderline in Gamla Stan's public vs private realm: doors, passages and courtyards. Based on that I  limited my  intervention techniques to the removal of three elements: fences, structures, and doors. The last one has two sub-categories "the removed wall" (turned into a new door) and "the removed lock" (opening an existing door). By establishing the parameters of my work, I tested this speculation in a specific case scenario - a cluster of four blocks on the west side of Gamla Stan. Using the rule I that a door must be the beginning of a corridor path that leads to an open court, and having the historical knowledge of the  location of past public spaces, I surgically removed later additions of lesser architectural or historical quality. The result of this is a new interconnected, accessible network. Until now one was restricted to walking along the streets and alleys, and around buildings in Gamla Stan. With this intervention people can walk through the buildings and into the reclaimed spaces, thus shifting one’s perception of the urban texture. The new alternative, total system of navigation turns solid into permeable/perforated. Alley City has become Corridor City.

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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

The moving installation Visible is composed of parts of the classical painting, wooden slats and canvas. It represents the inner walls 8 anonymous portraits of dead children. They represent cruel and incomprehensible pain that a one can commit. Rotating an object is inspired by children's toys, children's carousel and its symbolism and design solutions to commemorate military mobile tent. Object carousel has an octahedral shape with a roof, levitates in the air space, not touching the ground and without a defined border.

In recent years significant progress has been made in the area of Probabilistic Programming, contributing to a considerably easier workflow for quantitative research in many fields. However, as new Probabilistic Programming Frameworks (PPFs) are continuously being created and developed, there is a need for finding ways of evaluating and benchmarking these frameworks. To this end, this thesis explored the use of a range of evaluation measures to evaluate and better understand the performance of three PPFs: Stan, NumPyro and TensorFlow Probability (TFP). Their respective Hamiltonian Monte Carlo (HMC) samplers were benchmarked on three different hierarchical models using both centered and non-centered parametrizations. The results showed that even if the same inference algorithms were used, the PPFs’ samplers still exhibited different behaviours, which consequently lead to non-negligible differences in their statistical efficiency. Furthermore, the sampling behaviour of the PPFs indicated that the observed differences can possibly be attributed to how the warm-up phase used in HMC-sampling is constructed. Finally, this study concludes that the computational speed of the numerical library used, was the primary deciding factor of performance in this benchmark. This was demonstrated by NumPyros superior computational speed, contributing to it yielding up to 10x higher ESSmin/s than Stan and 4x higher ESSmin/s than TFP.

Söderströmsbron is the bridge that leads the subway between Slussen and Gamla Stan in Stockholm, the capital of Sweden. It is one of the busiest routes in the entire SL traffic system. According to surveys, the ground behind one of the retaining walls in Gamla Stan has shown settlements and movements that have required Trafikförvaltning to annually fill up with 1m3 of macadam.To avoid disturbing the traffic in the area, an interference-free reinforcement method has been requested. A proposal to stabilize the soil is by injecting geopolymer, which is a two- component solution that protects against erosion and equalize ground levels. Geopolymer consist of two liquid substances, that expand in the combination with each other, forming an impervious barrier to water.This report addresses a finite element analysis in the Plaxis 2D program for the affected soil behind the support with geopolymer to determine if the reinforcement method can be applied as a long-term solution.The results from FE analyzes show that the injection of geopolymer is a more long-term solution for reduced settlements in the soil, but also for the movements of the structures. / Söderströmsbron leder tunnelbanan mellan Slussen och Gamla Stan i Stockholm. Det är en av de mest trafikerade sträckorna i hela SL:s trafiksystem. Jorden bakom landfästet i Gamla Stan har enligt undersökningar påvisat sättningar och rörelser vilket medfört att Trafikförvaltningen årligen behövt fylla på med 1m3 makadamballast.För att undvika att förhindra trafiken i området har en störningsfri förstärkningsmetod efterfrågats. Ett förslag för att stabilisera marken är injektering av geopolymer, en tvåkomponent-lösning som skyddar mot erosion och utjämnar marknivåer. Geopolymer består av två flytande ämnen som i kontakt med varandra expanderar och bildar en ogenomtränglig barriär mot vatten.Denna rapport behandlar en finita element-analys i programmet Plaxis 2D beträffande den drabbade jorden bakom stödet samt en förstärkning med geopolymer för att avgöra om förstärkningsmetoden kan tillämpas som en långsiktig lösning.Resultatet från FE-analysen visar att injektering av geopolymer är en mer långsiktig lösning för minskade sättningar i jorden, men även för konstruktionernas rörelser.

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This project is speculation in search of possibilities and rethinking the potential of Gamla Stan. Society is continually changing, as are the cities that we live in. The old town is mainly a residential area, but also a “living, pedestrian-friendly museum”. This is a place out of time and frozen in its form, a certain sensitivity is required when thinking about such a fragile context. However, the urban structure is not a fixed entity, but a dynamic and evolving one. By gentle carving in the existing city fabric, the aim is to re-introduce a workshop space in a contemporary manner. The idea is tested on the block of Cassiopea, where its building components get interconnected to make a continuous interior. The new space is about forgetting about the hyper-productivity mindset, with an intention to promote aesthetic pleasure and a slow pace of life. This collective and multifunctional space is a representation of artistic expression, a city atelier for making craft using technology. A space for artists, makers, and education, visible to the public.

No final da década de 1960 e início da seguinte, dentro do contexto que se convencionou chamar de cinema experimental ou de vanguarda norte-americano, um número sem precendetes de cineastas dedicou-se à elaboração de filmes-diário ou autobiografias filmadas. Esse movimento é acompanhado, no caso de alguns dos realizadores, por um interesse por outras formas (literárias ou pictóricas) de autorre- presentação e escrita de vida e por um esforço reflexivo sobre as possibilidades, usos e potências dessas formas no cinema. Partindo do entendimento que a autobiografia transforma-se em um campo de interesses para cineastas, críticos e público apenas a partir deste momento, esta tese pretende abordar como ela é formulada e inventada por cineastas como uma forma possível para o cinema. A partir da análise de textos e filmes de três cineastas centrais para essa elaboração, notadamente Stan Brakhage, Jonas Mekas e Hollis Frampton, demonstramos o papel do gênero na transformação de um panorama artístico e criativo. De um lado, como se verá, a autobiografia afirma-se e inventa-se como uma tentativa de dialogar e responder a uma história artística que incluí o próprio cineasta, de outro, ela propõe-se como um lugar de singularização e transformação dessa história. / On the threshold of the seventies, the autobiographical genre emerged as one of the main tendencies of the north-american avant-garde film. This event was followed by a growing interest in other forms of self representation and life narratives in painting and literature and by an intellectual effort to reflect on the uses, qualities, possibilities and predecessors of the new form in film. Understanding that autobiography becomes a field of interest for filmmakers, critics and public alike only at this moment in time, this dissertation intends to broach how autobiography is fashioned by filmmakers into a form viable for cinema. Relying on a vast documentation of writings by Jonas Mekas, Stan Brakhage and Hollis Frampton, three filmmakers whom we consider to be central to the understanding of the genre as such, and on close readings of their autobiographical films we demonstrate the role played by the genre in the transformation of a creative and artistic environment. As will be seen, the emergence of the genre responds to a historical and aesthetic transformation in experimental films and offers itself as a peronal narrative for this changing history.