Högdalstoppen är konstruerad med myter och rykten. Och av teglet från Klara-kvarteren. I vissa ljus är det en ruin, ibland en bortglömd allmänning. Bland sly och trasiga lyktstolpar går du på avvägar, så plötsligt: du ser ett hörn av ett gravröse, ett monument. Att betrakta och bestiga Högdalstoppen är lika mycket en alldaglig som en storslagen upplevelse. Stadsträdgårdsmästare Holger Blom ville att ”topparna skall utföras som fristående konstverk”, och bortom förfallet kan det konstruerade urskiljas: genom toppens distinkta kanter och planerade planteringar. Begravningsplatsen landar bra på Klarakvarterens gravröse, krematoriet möter värmeverket. Min uppgift blir att gestalta uppstigningen. Från områdets primära ingång är det omöjligt att se själva toppen, men hela vägen måste berätta samma historia – om Döden och om Högdalstoppen. Resan till toppen ska skvallra om vad som ska möta en där uppe. Jag ser Högdalstoppen som en ruin av en storslagen park, och vägen genom skogen konstrueras av spillror från denna park. / Högdalstoppen is constructed with myths and rumours, and by the bricks of Klarakvarteren. From one angle it is a ruin or a feral park, and yet: through undergrowth and broken street lamps you can catch a glimpse of a monument. Holger Blom was the most influential planner of parks in Stockholm during the 20th century and he was the instigator of the building of Högdalstoppen. He wanted the hills to be autonomous art pieces in the landscape, and beyond the deterioration the constructed can be seen: through the sharp edges of the slope and the planned plantation. A cemetery would rest peacefully on this tumulus of old Stockholm. My task is to portray the ascension, make the road tell a story about death and about Högdalstoppen. So, what does that mean in the time of the agnostic? Uncertainty, and that is what I want to capture. I choose to see Högdalstoppen as a remembrance of a once great park, and the road leading up to the top should be constructed by fragments of that park.

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This project offers an analysis of how the transformative power of creative process in learning offers humankind relational connections with the natural environment. It supports the recommendation that educational institutions move towards a transformative creative learning process. The paper argues that by teaching children through assumptions of the world as in constant creative becoming humankind will move toward a more encompassing, coherent story of the universe which allows for the increasing self-actualization of individuals. After offering a theoretical discussion of the transformative power of creativity through the works of Brian Swimme, Edmund OSullivan and Alfred North Whitehead, the author provides descriptive, interpretive and critical narrative accounts of a teaching occasion created by her in which she illustrates her understanding of this transformative power.

This project offers an analysis of how the transformative power of creative process in learning offers humankind relational connections with the natural environment. It supports the recommendation that educational institutions move towards a transformative creative learning process. The paper argues that by teaching children through assumptions of the world as in constant creative becoming humankind will move toward a more encompassing, coherent story of the universe which allows for the increasing self-actualization of individuals. After offering a theoretical discussion of the transformative power of creativity through the works of Brian Swimme, Edmund OSullivan and Alfred North Whitehead, the author provides descriptive, interpretive and critical narrative accounts of a teaching occasion created by her in which she illustrates her understanding of this transformative power.

Stockholm is an archipelago of islands connected by water that historically has been an important resource for the city and for the industries, which found an easy access for ships and therefore they settled on strategic positions along the edges. This thesis investigates the topics of water, industrial heritage and edges in the city of Stockholm: these aspects are strong in their individual identity but they also interact in a powerful and interesting way. This work intervenes where this pattern is still visible -due to the presence of water and industries- but not accessible because it lacks the third element of connection with the city. The aim is therefore to investigate strategies that increase and reconnect the potential of these aspects that got disconnected through time. To obtain accessibility and usability, the edge was transformed and redefined to enhance the experience of walking along it. An analysis was carried out and a proposal was designed for the site of Lövholmen, which has these characteristics -the water, a strong industrial heritage and proximity to the city- that are now disconnected. The opening of the edge and possibilities of walking will transform and reconnect the site - and the richness in it- with the city of Stockholm.

This essay examines the final part of the life of former volunteer foreign legionary Sven Blom, and is part of a project which started in 2017 with my first essay: Red Trousers and Watery Mud. : Sven Blom’s Experience of the First World War: a Case-study, which explores the Swedish volunteer Sven Bloms’ experience of the First World War in the French foreign legion. My second essay: Dear Mr. Blom: Swedish Voices from the Western Front (2019), widens the scope to the other Swedish volunteers which served in the French foreign legion through their letters sent to Sven.In this final essay, I examine Sven Bloms life after the war through the source material in his archive. The overarching question posed to the material is: How does Sven Bloms thoughts, literary texts, letters and life compare and connect with the mentality and discourses present in France and Paris after Sven’s involvement in the First World War? Based on the use of Microhistorical theory, several parts of Sven’s life are examined in order to answer the large question through the small life that was Sven’s: How did he lead his life to his death in 1931, and what part did he play in the social circles which he took part in? How did he remember his fallen comrades and the war which claimed their lives? And how does his own writings, letters and diaries reflect on his view on life, and the war? Through the obituaries of Sven Blom, how is he remembered by his friends? And how does previously unexplored source material about Sven Bloms early life and demobilization help explain his agency?Through Sven Bloms eyes we are given a window into a postwar France and Paris torn by war and filled with a desire for life, having experienced want and death. Sven lived through these “Les années folles”, “the roaring twenties” of French society. Through Sven we are given access to the French process of healing, and through his experiences and thoughts, shared by many, he gives an account of a nation, a city and a people moving forward.

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This essay attempts to bring the experiences of eight soldiers to light, seven of them Swedish and one English, that took part in the fighting on the western front as volunteers in the French foreign legion during World War One. The main source material consists of letters sent between these soldiers and another Swedish ex-foreign legionnaire, Sven Blom, both during Mr. Bloms recovery from wounds which put him out of service in late 1914, and through Mr. Bloms work as first secretary of the Swedish consulate in Paris, with the last letters dating to 1918. The letters, which are part of a large archive left behind by Sven Blom, are transcribed and analyzed in this essay to answer five questions posed in order to ascertain the experiences and mindset of these soldiers. Are there any common themes in the soldiers’ letters? Are there any examples where Swedish national identity is commented on by the soldiers? What is their experience of the war, and what do they choose to tell Mr. Blom about? How do they feel they are treated by the French system and French soldiers? And, what are the soldiers’ opinion of reports from the war, like their fellow Swede Elow Nilson’s articles in the Swedish newspaper Vecko-Journalen?