Krematoriets struktur bygger på två murar. Den ena bildar en ny gräns mot norra begravningsplatsen och den andra leder besökaren ner för backen och in i krematoriet. Själva gränsen mot norra begravningsplatsen är på just denna plats inte alls lika omhändertagen som runt resten av begravningsplatsen, och viljan att ge inte bara själva krematoriet utan även omgivningarna goda kvalitéer har varit en av de viktigaste parametrarna vid gestaltningen. Krematoriet med dess murar ger platsen en tydlighet, för anhöriga, personalen och för förbipasserande. På kullen vid murens startpunkt skapas en ny entré till norra begravningsplatsen. Själva krematoriet ligger delvis under den gång/cykelväg som sträcker sig längs begravningsplatsens västra gräns. För att krematoriet inte ska skapa en tråkig baksida mot befintlig gång/cykelbana dras den på krematoriets tak. På detta sätt integreras krematoriet i landskapet och ger mer plats för en större omgivande park. Murarna kläs i stenskivor av granit. Graniten på den övre muren har en grövre yta tänkt att smälta samman med landskapet. Graniten på den nedre muren har en polerad yta som reflekterar omgivningarna och den mer bearbetade ytan gör att muren läses ihop med själva byggnaden snarare än med landskapet. För de anhöriga blir denna nedre mur ett sätt att orientera sig i byggnaden då den är exponerad i alla rum som de anhöriga besöker. Som anhörig besökare följer man muren från begravningsplatsens entré söderut ner för slänten. Muren är helt horisontell och blir högre ju längre ner för backen man kommer. Entrén utgörs av en utskjutande volym och innanför finns de rum som är avsedda för de anhöriga. Slutligen omsluter muren anhörigrummet där urnutlämningen sker, och bilar där ett rum med interiör del kopplad till en exteriör gård. Ett träd med en omgivande vattenspegel upptar större delen av denna inre gård. Trädet filtrerar solljuset och ger ett skuggspel över väggar och golv och vattenspegeln reflekterar solljuset och ger ett ljusspel mot muren på gården. Avsikten är att skapa ett tydligt avgränsat rum där naturen ändå är närvarande och ger liv åt materialen. För att skapa en god arbetsmiljö på krematoriet ordnas rummen för att logiskt passa in i processen från kistans mottagning till att urnan hämtas. Pausrum och arbetsrum finns i den södra delen i nära anslutning till kistmottagningen. De rumsliga sambanden är också avsedda att skapa möjlighet för sociala möten mellan personalen och även med begravningsentreprenörerna. / The structural principle of the crematory is based on two walls. The first creates a new border to the northern cementary. The second wall leads the visitor down the hill and in through the crematory. The actual border of the cementary is at the projects site not as well taken cared of as on the rest of the cementary, and a will to give not only the crematory but also the surroundings good qualities has been one of the most important parameters during the project. The crematory and its walls gives the site clarity and simplicity for the relatives, the employees and also for bypassers. On the hill at the starting point of the wall, a new entrance to the cementary is created. The crematory is partly situated under the pedestrian/bicycle path ranging along the cementarys western border. To prevent the crematory from turning its back on the existent destrian/bicycle path, that very path is given a new route on the rooftop of the crematory complex. In this way, the crematory naturaly integrates itself in the surrounding landscape and saves alot of space for the surrounding park. The walls have a granite facade, on the upper wall with a rough surface intended to blend into nature and on the lower wall with a polished surface to connect it to the crematory building rather than the landscape. Beeing exposed in every room intended to be visited by relatives to the deceased, this lower wall is a way for them to orient themselves during their visit. As a visitor you follow the wall from the cementary entrance, going south down a sligt hill the wall is getting higher as you move towards the main entrance to the crematory, which is a volume protruding from the lower wall. The spaces intended for the relatives are located close to the main entrance, and the most important of those rooms is the room where the relatives collect the urn. In that  rectangular room, which has an exterior and an interior space closely connected, you are surrounded by the lower wall on all sides. The exterior space a tree stands surrounded by a pond, whose reflections and shadows give life to the materials. To create a good environment for the employees, the rooms have been organized to fit the crematory process, from the recievement of the chest to handing over the urn. Paus- and officespaces are located in the south part of the building, closley connected to the chest recievement room. The connections between the crematorys different rooms are intended to create spontaneus meetings between the employees, and also with the visiting funeral directors.

According to a recent United Nations report, China's population of 1.4 billion represents 19% of the world's entire population of 7.6 billion. As the distance between east and west contracts in business, so too do the arts. This dissertation focuses on six selected contemporary Chinese art songs composed by Nan-Chang Chien. By providing the references of musical facts, synopsis of the poems, word-for-word translation, IPA transcription, poetic translation, and interpretive and performance guides, singers and pianists will have an overall understanding and detailed directions for learning the Chinese language and Chinese art songs. This dissertation also provides the foundation and model for further exploration and research into Chinese art sing literature by scholars in the west.

The relationship between editorial and advertising departments in the written press has always been under discussion. There have been incidents, in the past, where advertisers have tried to exert influence over editorial material. In the pursuit of avoiding this, the journalistic professional identity relies heavily on independency. There is something that distinguishes the difference between the department of advertising and the editorial office, a kind of "invisible wall", one might call it. The editorial part of a newspaper work with journalism, while the advertising department is working with finances, and, according to journalistic principles, the two should never meet. In this study we have investigated the relationship between the advertising department and the editorial office of local newspapers in Sweden. We have done this by making use of qualitative interviews with respondents from these workplaces, and then analyzed their responses with a vertical and horizontal analysis method. We could in our essay, to some extent, conclude that the "invisible wall" may well have changed in recent years. It was previously set in stone, in the form that the contact between the department of advertising and the editorial office was almost non-existent. Today it rather seems to be a question of smaller forms of cooperation. We came to the conclusion that the journalistic profession and the self-image seems to be somewhat unchanged, or at least similar, to what previous research have concluded. But the actual dialogue between the different departments have come to change a bit.