Building Information Modeling (BIM) has become extremely prominent in the construction industry in the past twenty years. It serves as a digital repository that can, when used to its fullest potential, combine all aspects of designing, building, and managing a structure in one place, alongside all the data produced in those processes. The construction industry has to date struggled to increase productivity alongside similar fields, such as the manufacturing industry, though the construction industry generally has far more stakeholders on one project than the manufacturing industry. Further, building designs are becoming more complex while project schedules are becoming tighter. As states look to better manage and develop their infrastructure in the most efficient manner possible, it is critical that all options to improve both project results and efficiency are considered. Organizations such as the International Standards Organization (ISO) and British Standards Institute (BSI) have created standards such as ISO19650 and PAS1192 to provide guidance for how to best implement BIM. This study begins with an extensive literature review to determine the current state of practice of BIM from an academic standpoint. Semi-structured interviews with industry experts on BIM from those working as academics, architects, contractors, clients, software vendors, and engineers are used to inform a two-round Delphi study. The Delphi study seeks to elaborate on the potentials and barriers of BIM, and to determine the consensus or lack thereof within the overall building industry with respect to BIM. The various industry sectors are found to have poor agreement on the potentials and barriers of BIM, but the potentials are found to outweigh the barriers, aligning with the industry’s increasing adoption of BIM since its creation 20 years ago.

Färger som vi omges av påverkar oss i det vardagliga livet. Vi reagerar olika på färger som finns i ett rum utifrån färgens intensitet, textur och hur ljuset faller in. Däremot är färgen likaså ett subjektivt fenomen som förankras till våra preferenser och känslor. Tidigare forskning visar även på att färg är viktigt och att det har olika effekter på vårt mående och hur vi agerar. Problematiken idag utifrån min egna erfarenhet av att ha arbetat på förskolor grundar sig i att det saknas en mer färgrik kulör i den rumsliga miljön. Jag har ifrågasatt genom min egna upplevelse hur barn skulle reagera på en mer färgrik miljö och hur dem kommer till att stimuleras utav färg i den byggda miljön på förskolor. Att kombinera färg tillsammans med rummets utformning skulle kunna skapa en större inverkan på barnens beteende och sinnesstämning i deras lärmiljö eftersom färgen har en stor betydelse genom barnens uppväxt och utveckling. Syftet med studien är att belysa färgens egenskaper i rummets miljö på Bokebo förskola som utförs genom arkitektoniska aspekter , fullskaleförsök och genom teoretisk bakgrund inom färgpsykologi och tidigare forskningsstudier av färg och rumsligheter. Teorierna och fullskaleförsöket kommer sedan att förankras ihop med barnens svar på intervjufrågorna, där frågorna kommer ge svar på deras beteende och känslor i fullskaleförsöket, samt att observationerna kommer ge svar på deras stimulans i den rumsliga miljön. Detta kommer i slutändan att bidra till mer kunskap och förståelse för att kunna använda färg i förskolans fysiska miljöer på rätt sätt. Förutom intervjufrågor hos barnen kommer även pedagogerna på avdelningen att få genomgå intervjufrågor. Anledningen är för att kunna få svar på hur dem upplevde rummen och hur dem tror att det skulle kunna fungera för barnen. Intervjuer och observationer kommer att utvärderas tillsammans med tidigare forskning för att kunna se ett mönster i barnens beteende och sinnesstämning i den rumsliga miljön på Bokebo förskola. Resultatet av denna studie visar en övergripande positiv inverkan av färgen hos barnen. Däremot visade det sig skillnader i könen hos barnen. Ett mönster kunde tydas hos pojkar respektive flickor. Det ger ett resultat på att färgen är starkt kopplad till våra preferenser och känslor genom vår uppväxt , därför är det viktigt att flertalet aspekter tas i akt i utförandet av färg på förskolor. Resultatet upplyser även genom tidigare forskning att färgen bör användas i ett rum för rätt syfte och i rätt mängd, samt med rätt intensitet och dagssljus. Färgens applicering ska utföras med försiktighet och genom kunskap för att kunna uppnå ett bra resultat i den rumsliga miljön för barnen på förskolor. Det som är viktigt att tänka på är hur vi använder färgen och vad rummet har för form av syfte att användas till. Därför har fullskaleförsöket en stor betydelse i studien , den används för att få fram resultat på barnens reaktioner, beteende och stimulering av sinnen i rummet. Studien tar fram mer kunskap och förståelse i färgens betydelse som ska agera som inspiration till att vi ska våga använda mer färg, som ett kompletterande arkitektoniskt element till en bättre lärmiljö för barnen. / Colors that surround us affects us in everyday life. We react differently to colors in a room based on the color’s intensity, texture and how the light falls in. However, color is also a subjective phenomenon that is connected to our preferences and feelings. Previous research also shows that color is important and it has different effects on our mood and how we act.  The problem today based on my own experience of having worked in kindergarten is based on the lack of a more colorful color in the spatial environment. I have questioned through my own experience how children would react to a more colorful environment and how they will be stimulated by color in the built environment at kindergartens. Combining color together with the design of the room could create a greater impact on the children’s behavior and mood in their environment because color has a great importance through the children’s growth and development. The purpose of the study is to highlight the properties of color in the room environment at Bokebo kindergarten which is carried out through architectural aspects, full-scale experiments and through theoretical background in psychological color and previous research studies of color and spatiality.  The theories and the full-scale experiment will then be set together with the children’s answers to the interview questions, where the questions will provide answers to their behavior and feelings in the full-scale experiment, and also the observations will provide answers to their stimulation in the spatial environment. This will ultimately contribute to more knowledge and understanding to be able to use color in the kindergartens physical environments in the right way. In addition to interview questions for the children, the educators in the department will also have to go through interview questions. The reason is to be able to get answers to how they experienced the room and how they think it could work for the children. Interviews and observations will be evaluated together with previous research to be able to see a pattern in the children’s behavior andmood in the spatial environment at Bokebo kindergarten. The result of this study shows an overall positive influence of the color in the children. However differences in the genders of the children were found. A pattern could be interpreted in boys and girls respectively. It shows that the color is strongly linked to our preferences and feelings through our growth, therefore it is important that several aspects are taken into account in the implementation of color in kindergarten.The result also informs through previous research that the color should be used in a room for the right purpose and in the right amount, as well as with the right intensity and daylight. The application of the color must be carried out with caution and through knowledge to be able to achieve a good result in the spatial environment for the children in preschools. What is important to think about is how we use the color and what kind of purpose the room is used for. Therefore, the full-scale trial has a great importance in the study, it is used to bring out results on the children’s reactions, behavior and stimulation of the senses in the room.The study brings out more knowledge and understanding in the meaning of color, which should act as inspiration for us to dare to use more color, as a complementary architectural element to a better learning environment for the children.

A journey begins with an act.  To move one's body/mind from one place to another. The planning of where, when and how to get there.  Expectations of what to come, before, during and after. In my thesis I turn to the notions we encounter when experiencing space. Through the bodies movement we shift our perspectives, leaning our eyes on surroundings of change, we mediate what is perceived. Telling us the story of where we have been and where we are heading to.  The fragile surface of the lace cloth covering the sunlight shine in my grandmothers kitchen window had to me an unfamiliar texture and its yellowing white colour brought a time from another generation. Drinking weak silver tea and sitting next to this curtain formed a tactile memory of constant. I don´t remember any other details from those days, other than the taste of the tea and the atmosphere created by the lace. When, during a journey in unknown lands several years after, I again saw this lace covering a window I remembered not the situation nor the tea but a sort of comfort. A memory of carrying both my past and present.  The memory of space is created both in the past and the present but also when we leave, as we remember and recall it. How do we interpret what is a part of our past, present and future? And where is the real/unreal memory of space created?  To investigate these notions I placed my self in a sort of somewhere! On the border between reality? and utopia. In an constant journey of bodies from familiar to unknown. In a place where perception of space pass through movement and time. In an journey of memory and imagination. In a cruise boat.

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Due to the geographical location, the amount of daylight in Sweden varies greatly during the year - the lack of light is part of our everyday life. Regardless of the season, the sun’s position gives a light that seems to fall from the side, it kind of drags itself in through the windows. As a result, it is easily influenced by the surroundings. All the edges, corners and profiles that stand in the way create an endless variety of shades. Given these conditions, it is a good reason to devote time to the detailing of all the parts of a window. In this master’s project, I am directing my gaze towards the window frame and more specifically towards the framework’s profiling. By observing the shape and the color language of different profiles, the perceived contrast between light and shades is noticed and interpreted into new. Based on the qualities of the Nordic light, this project hopes to clarify and show with concrete examples why decision-making around the window frame is crucial for how we perceive the incident light. Relatively small differences in profiling create a large effect in contrasts, I find, and consequently, a more complex window profile enhances the character of the window and the incident light. This project is about looking at something specific, to observe and to explain what already is there.

The word endogenic means growing or proceeding from within, it is commonly used to describe the process of tectonic movement and earth crust formation caused by the extrusion of magmatic material. My project is a metaphorical exploration of the geological term “endogenic process” as well as an exploration of a design approach based on the term.The work explores soft form-bearing structures and textile bodies that contrast in relation to the hard framework of the rectangular room. It touches on material hierarchies in the living environment and the field of spatial design. The research explores the relationship between interior bodies and spatial frameworks. It aims to highlight the importance of the subject within the framework of the rectangular space that divides the interior of most buildings. My work involves exploring the endogenic process as a way of relating to the creative process and through the use of soft structures and drapery creating furniture that engages people with the spatial framework of the rectangular room. It is an exploration of spatial furniture that constitutes a connection and physical involvement between bodies and space, a kind of furniture providing a multiplicity of possibilities.

I have embarked on a journey (that will never end) to explore color. Inspired by Maggie Nelson’s blunt and anecdotal ways of writing about the color blue (2017), I have searched for more aspects of color than I intuitively knew before.  What do I want with color? How much color is needed to make an effect? How do you combine theory with intuition? What approaches are there when working with color, and which to choose? What sort of knowledge is color and how do we create qualitative discussions about and with it? Will I ever be satisfied?  The questions are asked in the context of renewing the interior of building 21, Smedjan or Smälten in Lövholmen. Its name Smälten comes from its industrial history as a smelter, producing resin in paint and varnishing products for Wilhems Beckers between 1944-1973. While Lövholmen is facing a lot of changes, the area has plenty of housing plans but fewer plans for cultural needs or activities.  The city of Stockholm released a report in 2019 stating that we lack modern contemporary dance stages. Since Smälten is situated just next to Färgfabriken I think it well suited to serve as an extended cultural meeting point, providing a new platform for artistic expression and social interaction. A space to be shared for cultural activities that hold an audience, such as lectures, performances, art gatherings, film screenings or a contemporary dance stage.    This project is about a journey of exploring color, but also the programming of a modern contemporary stage while renewing and taking care of a building from within, a building enriched with an industrial history.

Homes proclaim our social standing and reflect the trend of the times. This project seeks to explore and redefine the relationship between modern homes and modern women who strive for mobile life styles. Modernism and globalization have brought us a new way of living that could have never been imagined before— our workspace and homes are no longer limited to a specific unit but have extended to the entire globe. The physical changes compelled by modernity have also complemented the changing role of women. Since the beginning of the 20th century, modern women have expanded their lives outside of their homes and are playing a much more active role in society. This project is designed for the modern feminist nomads—young women with international background living away from their home country—who are passionate about what they do professionally and proud of the women they are. The project will allow these women to determine what home means to them, and also allow their artifacts and concept of home to travel with them and, through the process, shape who they are. This project is a series of 5 different scales of designs: the Z-Cases, the Z-Cubes, the Z-Units, the Z-Communities, and the Z-Global Business Model. This series of designs is developed to better aid the life on the move for the feminist nomads, by making traveling , moving, and adjusting to a new community a much easier process.

My degree project aims to find an alternative destiny to the city glitches- the forgotten industrial buildings which are constantly being torn down. All the memories, the urban creatures that nest inside them, are considered disposable in city planning. The aim of this project is not to stop urban development but to create spaces where this endless force magically stops, a bubble of “utopia”, where the urban beings take their own time to flourish, undisturbed. I focus my project on the abandoned factory house Nitrolackfabriken in the southern part of Stockholm, a building threatened with demolition. I went through three stages in the design process: first background research, second a design proposal about turning the building into a functional culture house, and lastly landed on a design intervention where I gave up the previous culture house proposal, refused it on behave of the building itself, and gave the house back to what is already inside. I created three design interventions in this new part of the project: the garden, the pond, and the fire room. I see the building and all the small beings nesting inside as part of an intertwining relationship, a living being, a “GIANT.” I abstracted her into a human-like shape, wishing to create an emotional resonance between the GIANT and us. To remind us that we are all part of this complexity.

The City of Holyoke, Massachusetts is one of many aging, industrial cities striving to revitalize its economy based on the promise of increased digital connectivity and clean energy resources. But how do you renovate 19th century mills to meet the demands of the information age? This architectural study explores the potential impact of sensing technologies and information networks on the definition and function of buildings in the 21st century. It explores the changes that have taken place in industrial architecture since 1850 and argues for an architecture that supports local relationships and environmental awareness. The author explores the industrial history of Holyoke, appraises emerging uses of sensing technologies and presents a thorough narrative of her site analysis and conceptual design of a digital fabrication and incubation center within an existing textile mill.