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2030 marks the 100-year anniversary of The Stockholm Exhibition 1930 and what is often described as an important breakthrough of modernism in Sweden. The “special exhibition” Svea Rike - with the task of strengthening the national identity- has not been given the same attention as other exhibition halls in The Stockholm Exhibition in architectural history. Svea Rike was not part of the initial plans of The Stockholm Exhibition 1930 and is therefore missing in the early and most published plans and models of the exhibition. Exterior and interior photographs of the special exhibition disclose parts of Svea Rike but it’s never entirely uncovered.  In the Svea Rike pavilion at The Stockholm Exhibition 1930 the development of Sweden was shown in a full picture and near the entrance, Herman Lundborg, Head of the State Institute for Racial Biology in Uppsala presented his work on typical racial descriptions and the significance of heritage through photographs, sculptures, and illustration. To see the building Svea Rike is also to see how race and modernity are interconnected and central in the history. Through careful research into archives and collections, examining drawings, photographs, objects, correspondence and other texts, this project aims to find out what the building Svea Rike looked like. Through reading, investigating, approximating, drawing, and model, information is overlapped and a reconstruction of Svea Rike offers a way to see the Stockholm Exhibition from the building Svea Rike.

Denna uppsats beskriver möbelarkitekten Axel Einar Hjorths karriär och produktion med fokus på åren 1927-32, hans första sex år som chefsarkitekt på Nordiska Kompaniet. Genom att undersöka några samtida tidskrifter försöker uppsatsen även utröna hur Hjorth mottogs under sin egen tid, samt varför han var förtigen i svenskdesignhistoria så länge. I uppsatsen ingår flera möbelanalyser vilka syftar till att beskriva Hjorths stil och bredd samt tidens smak. Uppsatsen visar att Axel Einar Hjorth ofta ritade internationellt orienterade möbler i ren art déco, men också stilmöbler, funktionalistiska seriemöbler m.m. Art déco var en stilriktning under mellankrigstiden, men i Sverige talar vi ofta om ”Swedish Grace” eftersom mycket konsthantverk under denna tid fick ett något svalare klassicistiskt uttryck än övriga länders. I Sverige har art décon eller ”Swedish Grace” ofta hamnat i skuggan av funktionalismen, som fick större genomslagskraft. Det är en av anledningarna till att ingen akademisk text tidigare har skrivits om Axel Einar Hjorth. / This essay describes the carrier and production of the architect Axel Einar Hjorth, with an emphasis on the years 1927-1932, his first six years as head architect at Nordiska Kompaniet. The essay also tries to inquire into how Hjorth was recieved by contemporary press and explain why he was forgotten about for many years. The study shows that the furniture designs of Axel Einar Hjorth was very international in it´s style. Instead of calm classicism the furnitures often have strong references to art déco, a style that didn´t grew big in Sweden. The essay includes several furniture analyses where the aim is to show Hjorths versatility. Hjorth designed both art déco furnitures, period furnitures and more modernistic furnitures etc. One of the reasons why so little has been written about Axel Einar Hjorth and art déco in Sweden is that the funktionalism won the debate with it´s socialistic ideas, which made art déco a short-lived style.