In 2020, the meatpacking district of Stockholm (Slakthusområdet) is at the beginning of a period of change. A lot of its buildings are being demolished, or at least gutted, to transform a historical area of industry into a more urban district of housing, offices, trade, and services along with new parks and squares (Stockholms Stad, 2020). This thesis project is specifically about the first building that was torn down as part of the development of the area, Sandhagen 2. We should consider our condemned buildings a precious resource and extract from them rather than from the earth. In every house there is invested energy which is lost the day it is demolished but there is also something else that is lost other than precious resources. The research aims to highlight the importance of reuse not from the more obvious sustainability point of view, but as something that can be aesthetically motivated. The method involves a dissection of Sandhagen 2, extracting interior architectural elements without excessive alterations, and making an organized taxonomy. The taxonomy is then rearranged into a new spatial composition. How can a space be created from a taxonomy defined by an interior architect? How does a material’s earlier life add or take away potential in its future life?  The proposal is a strange space where the tension created by reuse is completely between the elements themselves, a result of having to become the conventional parts of architecture that complete a space; steps, something to sit on, floor, partitions.

Schloss Weesenstein ist eines der wenigen „Museumsschlösser“ in Deutschland, das zahlreiche originale Zimmerausstattungen aufweist. Dies bezieht sich auf die Wandbespannungen, Tapeten und Mobiliar. Fünf Zimmerausstattungen der herrschaftlichen Wohnetage im Unterschloss werden beschrieben, das Vogeltapetenzimmer, das Johann-Zimmer, der Chinesische Salon, das Empfangszimmer und das Wohnzimmer der Königin Amalie Auguste. Dabei wird der Einfluss Gottfried Sempers deutlich.

The goal in my bachelor thesis has been to create a multifunctional furniture, a product in which the form has followed the function to allow the user variation for the body and practical functions. The purpose of this project has been to encourage reduction of unnecessary furniture within compact living spaces and instead offer better solutions to practical multifunctional furniture. In my research phase for this project I studied different forms of multifunctional furniture on the market as well as carried out different observational studies of student living and how students generally use their furniture. The first being various visits to different student rums and apartments. The other being a closer study at Malmstens school in which I allowed students to create their own space and interact with the furniture to study how the students used the furniture and how the students sat in the furniture. A basic, yet crucial, survey about multifunctional furniture was sent out to gather information on what people do at home and what type of furniture people prefer if they were to live in a compact space. The research gathered led to the next phase of the project in which many different sketching techniques, both 2d and 3d, resulted in a multifunctional furniture which offers variation within sitting and practical use. As a result of the analysis a furniture prototype will be built and shown at Malmstens Spring Exhibition and Vallastaden Living and House Society Exhibit in September 2017. / I detta examensarbete har målet varit att skapa en multifunktionell möbel, en produkt där form följer funktion som erbjuder variation både för kroppen och för praktiska funktioner. Syftet med att uppnå detta mål är att uppmuntra till minimering av antalet möbler på en begränsad yta och därmed bidra till minskad konsumtion och erbjuda fler praktiska lösningar i hemmet. Jag vill upplysa om och uppmuntra tanken att möbler kan passa människans flexibla behov. En insamlingsetapp av information från studiebesök, deltagande observationer, en enkät och en omvärldsanalys har lett till en god uppfattning om hur människor kan möblera i framtiden. Under dessa observationsstudier besöktes olika former av studentboende med fokus på att observera förhållande mellan hur möbeln användes och placeras i rummet. I den andra studien som ägde rum på Malmstensskolan skapades ett påhittat rum som fick inredas av olika studenter för att se vilka funktioner möbeln användes till och hur studenten rörde sig i sina möbler. Undersökningen har lett till en omfattande skissprocess med olika skissmetoder. Resultatet är en multifunktionell möbel som ger variation för både sittande och praktiskt användning. Utifrån detta examensarbete tillverkas en prototyp som ska ställas ut vid Malmstens Vårutställning 2017 och vid Vallastaden Bo- och Samhällsexpo 2017.

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In my thesis project, I am questioning how we, as interior architects, can design and use material in a creative, sustainable and sensory way when the common workflow of our practice is becoming increasingly more digital and distanced, when quality and prices are being pressured by the consumer system and when production, to a great extent, has moved to developing countries. I believe that when we distance ourselves from the practical knowledge and process of making, we are also distancing ourselves from understanding how our bodies inhabit the world. How are we to design meaningful and multi-sensory spatial experiences, create something to connect and care for, when we are working from a distance, far away beyond the horizon? In my view, all spatial experiences are multi-sensory, meaning that we experience them through more senses than our gaze. Therefore, I believe it is important to practice as an interior architect through embodied methods of making, not limiting our understanding of space to two-dimensional representations such as computer models or drawings. Through tactile, slow and repetitive hands-on practice, I learn about the material wood and its sensory qualities and let the material guide me in my process. My project shows my collection of embodied memories from that learning process in an archive of wooden pieces and three pieces of furniture. All telling a tactile story of their own to be experienced with our senses.

Gegenstand dieser Arbeit sind die Möbelherstellung auf dem Gebiet des (Groß-) Herzogtums Mecklenburg-Schwerin und die vom (Groß-) Herzog Friedrich Franz I. in Auftrag gegebenen Neuausstattungen von Appartements in der Zeit vom Ende des 18. bis ins erste Viertel des 19. Jahrhunderts. Sie wurden für zwei Generationen Erbprinzen anlässlich ihrer Hochzeiten vorgenommen. Zum einen wird nach der Qualität der im Land hergestellten Tischlerwaren und nach den stilistischen Impulsen sowie ökonomischen Bedingungen ihres Entwerfens und Anfertigens gefragt. Zum anderen gilt es nachzuvollziehen und zu begründen, wie sich der (Groß-) Herzog bei den Neuausstattungen gegenüber den Tischlern seines Landes verhielt und wie diese Projekte von den bei Hof tätigen Architekten organisiert wurden. Die vorliegende Arbeit in zwei Teile gegliedert: Im ersten Teil werden zunächst die Bedingungen der Tischlerausbildung und Möbelherstellung in den Städten Mecklenburgs und den Städten im westlichen Teil der damaligen preußischen Provinz Pommern (heute Vorpommern) erarbeitet und durch Vergleich mit politisch oder wirtschaftlich verbundenen Regionen bewertet. Man gewinnt ein zwar nicht lückenloses, aber detailreiches Bild von der Situation der Mecklenburger Tischlerämter. Im zweiten Teil der vorliegenden Arbeit werden die höfischen Raumausstattungen sowie die bei ihrer Planung und Ausführung vom Herzogshaus beschrittenen Wege erläutert. Dabei wird ein Wandel in der Repräsentations- und Wohnkultur des Mecklenburger Hofes deutlich. Die (Groß-) Herzöge zwischen circa 1790 und 1840 erteilten keine großen Aufträge, um das (Tischler-) Gewerbe zu fördern, obwohl fortlaufende kriegerische Auseinandersetzungen im 18. verheerende Auswirkungen auf die Bevölkerung hatten. In der Konsequenz entwickelte sich hierzulande keine eigenständige Möbelkunst. Großherzog Friedrich Franz I. nutzte die dynastischen Verbindungen und die Kontakte seiner Architekten zu den großstädtischen Märkten für seine Projekte. / This dissertation deals with the topics of cabinet making in the former (Grand) Dukedom Mecklenburg-Schwerin and the projects for new interior decoration of the appartments for two generations of hereditary princes. The new interiors were ordered by the (Grand) Duke Frederic Franz I. of Mecklenburg-Schwerin between 1799 and 1822 due to the upcoming marriages of the princes. For answering the questions in both the fields I consider on the one hand the quality of the produced furnitures circa 1790 and 1850. On the other hand I investigate whether the (Grand) Duke engaged the cabinetmakers of his own land for his projects or not. The question also is how interior planning and bulding were organized by the architects of the court. To address this it is necessary to study the historical documents. My text is divided into two parts. In part one, I investigate the conditions of the practical and theoretical education of the carpenters in Mecklenburg and the towns of the Western part of the former Prussian province Pomerania. Today it is part of the German federal state Mecklenburg-Vorpommern. I discuss all the still existing furniture and drawings of cabinetmaker’s work for which the regions or cities where they were made are verifiable. In the end it is possible to draw a picture of the possible capability of the carpenters in the (Grand) Dukedom of Mecklenburg-Schwerin. In addition to this I compare the results to the situations in other regions which were connected by trade and the exchange of the knowledge by the craftmen. In the second part of this dissertation, the planning and organization during realisation of the court interiors will be introduced and explained. In the end it is possible to see a change in the culture of representation and court life. The (Grand) Dukes didn’t support the cabinetmaker’s trade by special orders in between 1799 and 1850. As a consequence in this country the art of furniture making could not prosper. Frederic Franz I. relied on dynastic relations and the contact of his architects to the international markets in Hamburg and Berlin.

Sammanfattning I mitt examensarbete har jag undersökt olika metoder för att skapa färgade mönster i fanerade ytor. Jag har med praktiska tester och metoder undersökt olika kvalitéer i olika tillvägagångssätt samt jämfört för och nackdelar med respektive teknik. I tur och ordning undersöker jag olika träslags lämplighet för ändamålet, liksom olika infärgningsmedel, fiberbrytartekniker och metoder för infärgning. Med en tillbakablick i vår möbelhistoria har jag hämtat gamla tekniker för ytdekor i möbler med fokus på färg och faner och jämfört dessa med mer utvecklade samt moderna tekniker. I min undersökning har jag vägt praktiska, tekniska samt visuella fördelar. Genom att jämföra dessa tekniker och se vilken som uppnår flest fördelar, och med uteslutningsmetoden har jag kommit fram till att den metod som ger bäst resultat är vattenbets på björkfaner med mönster bränt med laserteknik och färgen applicerad genom att använda schablon samt stämpel med syntettyg. / Abstract In my thesis project I have investigated different methods for creating colored patterns in veneered surfaces. With practical tests and methods, I have studied different qualities in different approaches as well as compared to the pros and cons of each technique. In turn, I investigate the suitability of different wood types for the purpose, as well as different materials for staining, different fiber cutting techniques and different methods of applying the staining. With a look back in our furniture history, I have collected old surface decoration techniques, focusing on color and veneer, and compared these with more developed and modern techniques. In my survey, I have weighed practical, technical and visual aspects. Comparing these techniques helped me to conclude which alternative seemed the most suitable. I have come to the conclusion that the best-performing method is water based staining on birch veneers with laser cut patterns and the color applied by using stencils and stamps made with synthetic fabrics.

In Sweden, there are students who live in small student apartments. These apartments can be called compact living as a student apartment can be as small as 16 square meters. To take advantage of the place that is in small homes, it would be good if larger furniture could be combined into a piece of furniture. On behalf of Husmuttern AB, this work has been aimed at exploring furniture concepts with sleeping and their functions in a compact living environment for students. The issues being examined are: -          What functions are desirable in a multifunctional seating and sleeping furniture for students and people living in compact living environments? -          How can a multifunctional seating and sleeping furniture be designed, that is applied to students living in a compact-living environment? Human Centered Design was used as a method and thus a qualitative data collection was carried out in the form of observations. The respondents were in the primary target group and were observed in their everyday lives in their homes. A focus group was involved in generating ideas and concepts. Functional prototypes were built, and 3D models were created in SolidWorks. Digital testing of the concepts was carried out and the development of the Generation Sofa Bed was realized. There is a discussion about how reliable this study is, when the results became situational. However, the respondents were from a limited audience and had different views on what they wanted from a sofa bed, which provided rewarding information for the development of the furniture. The conclusion is that while the Generation Sofa Bed needs to be further developed through testing and evaluation of storage facilities, it has great potential to become a finished product. / I Sverige bor det studenter i små studentlägenheter. De lägenheterna kan kallas för compact living då en studentlägenhet kan vara så liten som 16 kvadratmeter. För att ta vara på den plats som finns i små hem vore det bra om större möbler kunde kombineras till en möbel. På uppdrag av Husmuttern AB har detta arbete haft som syfte att utforska möbelkoncept med sov- och sittfunktioner i en compact living miljö för studenter. De frågor som undersöks är: 1.      Vilka funktioner är önskvärda i en multifunktionell sitt- och sovmöbel för studenter och personer som bor i compact living miljö? 2.      Hur kan en multifunktionell sitt- och sovmöbel konstrueras, som är tillämpad för studenter som bor i compact-living miljö?  Human Centered Design användes som metod och därmed genomfördes en kvalitativ datainsamling i form av observationer. Respondenterna var med i den primära målgruppen och observerades i sin vardag i sina hem. En fokusgrupp var med och genererade idéer och koncept. Funktionsprototyper byggdes och 3D modeller skapades i SolidWorks. Digital testning av koncepten genomfördes och utvecklingen av Bäddsoffan Generations blev förverkligad. Det finns en diskussion om hur pålitlig denna studie är, då resultaten blev situationsbaserade. Dock var respondenterna från en begränsad målgrupp och hade olika syn på vad de ville ha av en bäddsoffa, vilket gav givande information till utvecklingen av möbeln. Slutsatsen är att medan Bäddsoffan Generations behöver vidareutvecklas genom testning och utvärdering om förvaringsmöjligheter, så har den stor potential att bli en färdig produkt.

Many pieces of fine art are made of wood that has been treated with coatings. Since wood is a very hygroscopic material, the moisture content strongly influences the deformation of wooden parts. Coatings often act as moisture barriers. Therefore, the moisture permeability of coatings must be considered for the evaluation of the structural behaviour. The mechanical properties are also relevant to evaluate the deformation of thin artwork like panel paintings as well as the damage of paintings and varnishes. Therefore, the mechanical properties and the permeability of selected coatings used for cultural wooden artwork are investigated and presented in the article at hand. In this study, coatings of three artworks are investigated: a Lusatian cupboard from the eighteenth century, an altarpiece by L. Cranach the Elder and a Russian icon from 1912. The coatings considered are white ground, colours, varnishes, glue and textile reinforced sizing. Mechanical tests are conducted to evaluate the stiffness and tensile strength of the Russian icon’s coating. Cup tests are made to identify the moisture permeability of the coatings. This test was conducted for single coatings as well as for coating systems consisting of different coatings to investigate both the moisture barrier of single coatings and the interaction of coatings. Exponential functions for the relative humidity-dependent permeability are fitted based on the experimental data. The results allow the quantification of permeability for all investigated coatings—from white ground with a high permeability to beeswax with a low permeability—and the magnitude of moisture dependency of the coating’s permeability. Furthermore, it is shown that the simple addition of the water vapour resistance of single coatings underrates the resistance of a total coating system. By the mechanical tests, the strength, ultimate strain and Young’s modulus are obtained. The permeability and the mechanical parameters are required as input for numerical simulations of the structural behaviour of coated wooden artwork. These results are a good step forward to assess the risk of damage of coated wooden artwork.