Flaggskeppsbyggnader är både en del av städers marknadsstrategier och en plats där stadens varumärke manifesteras i de praktiker byggnaden bjuder in till. Denna uppsats undersöker hur flaggskeppsbyggnader används som ett instrument i platsmarknadsföring genom en fallstudie på Sara kulturhus i Skellefteå. Utifrån en kvalitativ ansats har semistrukturerade intervjuer utförts med aktörer med relation till kulturhuset och Skellefteås platsmarknadsföring. Sara kulturhus är byggt i lokalproducerat trä, vilket givit en lokal förankring där materialvalet, tillsammans med byggnadens höjd, gett staden en atmosfär av modernitet vilket uppmärksammats i internationell media. Således har byggnaden blivit ett flaggskepp även i människors medvetande vilket ökat stadens attraktivitet. Kulturhuset öppnades för allmänheten 2021 och nyhetens behag börjar nu avta. Kulturhuset kommer därför möta utmaningar för att behålla sin roll som Skellefteås ansikte utåt. Studiens deltagare vill uppnå detta genom att kontinuerligt lyfta designen i trä och ambitionerna om hållbarhet. Ett av kulturhusets mål är att det ska vara ett hus för alla, men i en stad som Skellefteå med en diversifierad befolkning finns det hinder för att nå ett sådant mål.

Questions of growth and development have been discussed in the municipality of Skellefteå for several years. With the establishment of the Northvolt factory for lithium-ion batteries and Sara cultural center, the municipality as well as local media are forecasting increasing growth. This thesis examines fears and expectations for the future among the inhabitants in Skellefteå. The importance of growth to the research participants is studied in relation to Sara cultural center and Northvolt and how these are articulated as “something more” or nodal points according to Lacalu-Mouffe's discourse theory. The research participants’ ideas of the future are furthermore related to the matter of place and identity. The matter of growth and development in Skellefteå is also to be understood in relation to the discourse in which Norrland, as a discursively constructed unit, is depicted as peripheral, rural and underdeveloped. The thesis examines how the expansive Skellefteå can be understood in relation to this discourse. Several participants articulated that they primarily hope for development within commerce, trade and industry, that Northvolt can act as a “self playing piano” for more establishments which can generate further growth. Several participants furthermore speak of a structural socio-cultural change within the labor market, hoping for a more diverse population. Growth within commerce, trade and industry is also mentioned in relation to Sara cultural center. The cultural centre will, apart from museums and library, also inhabit a hotel, spa and conference facilities. The cultural center thus has a double aim, to be a place for culture but also to make Skellefteå a more attractive place and generate growth. However this is also criticized. Some participants articulated that they worry that the municipality will have too strong a focus on growth. Another apprehension is that the cultural center won’t have local anchoring, not reflecting the local grass root culture. While this might be a fear, it can also be perceived as an expectation, since several informants hope for a cultural center that represents local culture. As nodal points, Northvolt and Sara are thus articulated as something of great importance for the municipality, rather than just a factory and a cultural center. They are articulated as a sign of change, which is at the same time articulated as positive and negative.