With over 300 years serving as a traffic route it is no wonder that Hornsgatan has the role of a major ‘artery’ in today’s Stockholm. This thesis will analyze and investigate how the street environment on Hornsgatan is affecting the people spending time on the street, and how a better street life and street quality can be brought out when it comes to enhance the social aspects for the street and its people. Through methods such as observations of the street and interviews with business owners, the case study of Hornsgatan have been based upon some theories by famous theorists when it comes to improving streets (and urban life) in cities, e.g.; Appleyard (1981), Jacobs (1993) and Gehl (2010). The results from the case study and the interviews show that Hornsgatan have both factors of what a ‘good’ and socially sustainable street should have; mix-use, the presence of people and social activities, active ground floors and different traffic modes, and factors that contribute to a less attractive street life; the heavy traffic, lack of places to sit, lack of greenery and lack of social activities for/between people. To reply the question if Hornsgatan is a ‘good’ and socially sustainable street or not, the answer is both yes and no. As Appleyard (1981) states, “[…] there is no single perfect street […]” (Appleyard 1981, p. 245). Instead each street and its situation are unique. However, with guidelines and aspects for how a street can be improved, at least some help can be brought out for its improvements. / Urban Form and Social Behaviour Research Project

Projektet undersöker byggnaden på kvarteret Domherren i flera skalor. Med utgågnspunkt i den stora kontextuella makroskalan analyseras plats och byggnads roll i staden över tid. Projektet zoomar sedan in på byggnadens sturkturella principer och rättar byggnaden efter den stora skalans resultat utan att kompromissa byggnadens integritet. Förvandlingen förbereder platsen för vidare förändring och tillåter ett mer aktivt och engagerat stadsliv att växa fram.

I detta examensarbete undersöks frågan: Hur påverkar den grafiska stilen den specifika atmosfären/auran i en scen och blir spelets atmosfär igenkännbart i en stillbild efter en remediering? Frågeställningen besvarades med hjälp av ett projektarbete där två spel undersöktes, spelen som undersökts var The Last of Us (2020) och Stardew valley (2016). Från spelen skapades remedieringar utifrån en scen från respektive spel. Remedieringarna var skapade i en stiliserad stil som skiljer sig från originalstilarna och dessa jämfördes sedan med varandra i en enkätstudie för att besvara frågeställningen. Resultatet visar på att den grafiska stilen har en påverkan för atmosfären i bilder men att den går även att behålla till viss del vid en remediering. Detta arbetet bidrar till att få en förståelse för vilka generella element som är viktiga för en remediering när något ska återskapas i ett nytt medium.

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Balls Form Knit explores the relationship between spherical objects as a filling material and knit to design transformable objects that offer an alternative perspective on what anatomical support can be, based on bold interaction. The expressive possibilities of weft knitting have been investigated from the perspective of generating form using the tension created by the filling. The elevation of the textile and fillings role from passive to active within the context of seating objects has been the starting point for this work. Both filling and knit have been worked with simultaneously to let them contribute to the expression of the design and let the meeting between their properties influence the form and the way an audience interacts with the objects. As a final result, the collection consisting of six textile objects presents ways in which different knit techniques and filling can be combined to create transformable objects that offer different interactions and supports for the body. Balls Form Knit engages the user to interact and be playful while finding support in a way that is intuitive and accessible.

Virginia Woolf is perhaps best known for her explorations and depictions of human consciousness. However, more contemporary science reveals that consciousness is only a small part of what constitutes our brain function. Rather, there are a dual functions within the human brain: consciousness and cognition. This nonconscious cognition is what allows us to see patterns, to make judgements, and to act reflexively, while consciousness is the function that shapes our individual identity and the story we tell about ourselves. Though previous studies have focused primarily on Woolf's representations of consciousness in her short stories and novels, there is much left to be explored when we look at her works through the lens of nonconscious cognitions, or as Woolf might call them, "moments of non-being" (Sketch 70). In my reading of The Waves, I leverage cognitive theory and new materialism to demonstrate how Woolf creates a world in which humankind--and therefore consciousness--is not entirely absent, but radically decentered. What remains is a world that is purely nonconscious cognition: still full of life and movement, but resistant to the individual identity and narrative structure so deeply sought after by humans. This cognitive project becomes especially apparent in the juxtaposition to the human characters' consciousness-driven narratives about their individual views of the world. I suggest that in the italicized interludes interspersed throughout The Waves, Woolf is writing moments of non-being, what Bernard calls the "world seen without a self"--a world in which human life is only marginal, leaving a quiet scenery full of microscopic action that often remains unseen in the self-focused, stream-of-consciousness narration of the chapters (Waves 287). I argue that by marginalizing humankind and shedding consciousness in the interludes of The Waves, Woolf places humans on the same ontological plane as the rest of the world. In this process, the scenes lose individual identity and traditional narrative, but reveal a connection with lively materials outside of the human self and with the rhythmic circularity of the universe.

The thesis project aims to investigate a Form Finding process as a design tool as well as the generator of a structural system, in this case a process of intersecting cones to create surface network logic, for a sailing school at Lidingö, Stockholm. Specifically the research aims at the blurring of the cone shape and the diffusion of a cellular logic by a process that increases the complexity and definition of the whole system. And as a result, a design method that generates and shapes the space.

All around us, our world is filled of physical laws and natural orders. As long as our species has had consciousness we have searched for those orders, wether it be among other species, mathematics or even architecture. This thesis will be exploring Benfords law: One of the orders applied to most of our world. The law itself is applied to large sets of numerical data and points to the fact that we do not use numbers uniformly. This has been utilized in a lie-de- tector fashion across a variety of sciences, as natural data follows the curve of Benfords law - but falsified or manipulated data deviates from it. So what can this tell us about architecture? Does it hold the true way of building and living, or is it a new take on the golden ratio? This work takes us through a series of generated forms to conclude some of the questions that the elected theme poses.

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