Most art galleries around the world look the same; a large white room with a few artworks placed far apart. This standard way of designing art spaces together with locating them almost exclusively in the city centers makes them both physically and culturally distant for many people.  This project aims to explore other ways of displaying art to make it accessible to more people through small architectural interventions. It is an exploration about the relation between space the body and the object. A prototype for a mobile art gallery has been built as a testing device.

Den 19 april 1996 stod den kulturhistoriska byggnaden Stocksundstorps Gård i lågor. Historiskt hade tillägg från rivningsobjekt införts i byggnaden. Bland annat väggmålerier från Gustav III:s Opera; element som nu stod i riskzon att gå förlorade. Återuppbyggnadsprocessen fokuserade på att återskapa den ursprungliga utformningen. Återvunnet material applicerades, upptäckta historiska skikt återinfördes liksom de konserverade elementen som överlevde branden. Uppsatsen syftade till att forma en förståelse för vilka aspekter som formar en återuppbyggnadsprocess då byggt kulturarv har brandskadats. Därigenom undersöktes aktörers delaktighet och urval i representationer och bevarande av historiska tidsskikt, metoder och materialval. Genom studier av arkivmaterial; som arbetsbeskrivningar, ritningar, artiklar och foton, formades en uppfattning om processen. Platsbesök och en intervju utfördes, vilka gav en vidare förståelse om återuppbyggnadsprocessen och dagens syn på den. Resultatet redogjorde för ett pluralistiskt förhållningssätt kring hantering av olika principer, metoder och olika historiska skikt kopplat till 1990-talets restaureringsideologier och bevarandeprinciper, samt kulturvårdens utveckling i Sverige under 1900-talets andra hälft. Fallet Stocksundstorp redogör för hur en brandskadad privatbostad har hanterats och belyser därmed en mindre beforskad aspekt. / On the 19th of April 1996 the listed building Stocksundstorps Gård was in flames. Historically, elements from demolished historical buildings had been integrated to the building, such as murals from Gustav III’s Opera; elements that now were at risk of being lost. The reconstruction process focused on recreating the original design. Recycled materials were applied, discovered elements were re-introduced as well as restored elements that survived the fire.  The purpose of this study was to form an understanding regarding which aspects form a reconstruction process when listed buildings, built heritage, have been fire-damaged. This case study examplifies actors’ participation and selection regarding representation and preservation of historical layers. Through study of archival material; such as descriptions, drawings, articles and photos, an idea of the case was formed. Site visits were carried out, and an interview, which gave a wider understanding of the reconstruction process and today’s view of it. A pluralistic approach to the management of different preservation methods was regarded as a result of this study. Methods and management of different historical layers were linked to restoration ideologies and preservation principles of the 1990’s, as well as the development of preservation and conservation in Sweden during the second half of the 20th century. Furthermore, the object of study highlights a less researched area: when a historical, but private, building is reconstructed.