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<p>Föreliggande uppsats studerar Friedensreich Hundertwassers (1928-2000) organiska/vegetativaarkitektur, begränsad till utvalda signifikativa arkitekturelement på fyra olika bildnivåer, frånöversiktsbild till en avgränsad del av ett mindre utrymme. Den byggnad som avses är kvarteretDie Grüne Zitadelle i Magdeburg, Tyskland. Uppsatsen är tudelad i den meningen att den utgårifrån nämnd arkitektur och analyseras/syntetiseras enligt Erwin Panofskys ikonologiska metod. Urdenna första analys framvaskas relevanta dikotomier, en metod som i sin ursprungliga form ärHeinrich Wölfflins komparativa. Dock jämförs inte Hundertwassers verk genom epokskiljandestilfaktorer, utan genom jämförande med en konstnär som enligt tidigare forskning anses varanärliggande Hundertwasser. Denne arkitekt är Antoni Gaudí (1852-1926), verket för analysen ärCasa Milá i Barcelona i Spanien. Syftet med uppsatsen är att genom dikotomierna experimentelltjämföra arkitekterna och deras verk, och forskningsinriktningen ligger i att urröna omdikotomierna kan blottlägga insikter om skillnader och/eller likheter som annars kunde varit svåraatt identifiera. Resultatet visar att arkitekterna tolkat filosofin på delvis lika och delvis olika sätt.Sammanfattande har Hundertwasser ett betydligt mer individualiserat formspråk avseende designifikativa arkitekturelementen. Oavsett om den dubbla metoden tillför nya kunskaper eller inte,torde dikotomierna kunna fungera som stöd för arkitekturanalyser och som hjälp vidkonstreflektion.</p>

Föreliggande uppsats studerar Friedensreich Hundertwassers (1928-2000) organiska/vegetativaarkitektur, begränsad till utvalda signifikativa arkitekturelement på fyra olika bildnivåer, frånöversiktsbild till en avgränsad del av ett mindre utrymme. Den byggnad som avses är kvarteretDie Grüne Zitadelle i Magdeburg, Tyskland. Uppsatsen är tudelad i den meningen att den utgårifrån nämnd arkitektur och analyseras/syntetiseras enligt Erwin Panofskys ikonologiska metod. Urdenna första analys framvaskas relevanta dikotomier, en metod som i sin ursprungliga form ärHeinrich Wölfflins komparativa. Dock jämförs inte Hundertwassers verk genom epokskiljandestilfaktorer, utan genom jämförande med en konstnär som enligt tidigare forskning anses varanärliggande Hundertwasser. Denne arkitekt är Antoni Gaudí (1852-1926), verket för analysen ärCasa Milá i Barcelona i Spanien. Syftet med uppsatsen är att genom dikotomierna experimentelltjämföra arkitekterna och deras verk, och forskningsinriktningen ligger i att urröna omdikotomierna kan blottlägga insikter om skillnader och/eller likheter som annars kunde varit svåraatt identifiera. Resultatet visar att arkitekterna tolkat filosofin på delvis lika och delvis olika sätt.Sammanfattande har Hundertwasser ett betydligt mer individualiserat formspråk avseende designifikativa arkitekturelementen. Oavsett om den dubbla metoden tillför nya kunskaper eller inte,torde dikotomierna kunna fungera som stöd för arkitekturanalyser och som hjälp vidkonstreflektion.

How could a contemporary archive in an art institution be organized, what can or should its parameters be? In recent years archiving has become an important subject for museums and galleries as they consider and organize the documentation and accessibility of their past activities and exhibitions. The article deals with the Fundació Antoní Tàpies in Barcelona and its special programmes to engage visitors in working with archive material in the museum space. The institutional framework developed at the Fundació includes the activation of different visitor groups, the establishing of online tools and the creation of new exhibitions based on archive material. These aspects aim at an open access to the archive for the public.

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Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a more than fourteen-year body of work about these relationships that explore the implications of feminine imagery. Antoni’s works are an effort to distinguish her body as a feminine subject-object, but also to identify with as well as separate herself from the mother. While she is a conceptual artist, Antoni puts great emphasis on materiality. For her, the concept defines itself within the materials, and it is the process of the making that interests her most, empowering what is traditionally overlooked, forgotten, or disempowered. As she alternately separates from and connects with the mother and the foremothers of the artistic heritage that have surely contributed to establishing this identity, Antoni allows new images of the female to be made visible in a culture where they have traditionally been lacking.

Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.

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This thesis confronts the possibility of an architecture which limits and reveals, freedom for a way to live, for the activities of man which are vital to a good life. An architecture which is investigated and projected through making. Architecture Separates and makes Distinct, while finding meaningful connection. The work of drawing here attempts to project an architecture which is vital to man, by providing a connection to the activities of Man, in which the spirit of their beginning is recaptured and renewed through a reimagining of the Institutions of Man. Where a sense of Wonder is imperative, and the sense of the eternal in architecture is cultivated. One where a renewal is possible and sense of the cosmos is more evident. On the Threshold of 'Where the desire to express meets the possible' (Kahn) using architectural form. Awareness What is the form? Beginning with the room / Master of Architecture