Uppgift: Att rita den tilltänkta teknikbyggnaden till Nationalmuseum som planeras byggas efter att renoveringen av museet är klar. Eftersom Nobelcentrum planeras på tomten bredvid har jag intresserat mig för hur dessa två projekt skulle kunna samverka och dela funktioner i en gemensam byggnad. Nationalmuseums tilltänkta teknikbyggnad är placerad tillsammans med liknande funktioner inom Nobelcentrums byggnadskropp. Verksamheterna delar lastintag och uppställningsytor samt vissa verkstäder. De skulle även kunna dela hörsalar och auditorium. Nationalmuseums externa verksamhet är främst koncentrerad till Nobelcentrums sydvästliga del där funktionerna spänner över flera plan. Anslutning till huvudbyggnaden sker via en passage under mark. Nobelcentrum består av en lång byggnadskropp som omsluter museiparken. Byggnaden ansluter vid kajen och reser sig upp mot kvartersstaden. Öppet samband mellan park och tak. Museitaket blir en fortsättning av parken. Med en gemensam byggnad för de två verksamheterna ser jag en stor vinst för stadsbilden. Museiparken tillåts breda ut sig och skapa en stor parkyta mellan dessa två giganter utan en teknikbyggnad mellan sig. / Assingment: To draw the proposed annex to National Museum planned to be built after the renovation of the museum is completed. Since the new Nobel Prize Center is planned to be bulit on the opposite site, I’ve put my interest into how these two museum could co-operate in one common building. The functions of Nationalmuseum is situated among similar functions of Nobel Prize Center while concentrated in the southwest part of the building. The two organizations share cargo intake and some workshops, they could also share auditoriums. The extended part of Nationalmuseum connects with its main building trough a culvert underground. Nobel Prize Center consist of a slim shape that surrounds the park between the two buildings. The building rises up from the harbour and connects with the city aligning with the city block. The roof of the building extend the park by allowing its visitors to walk up on it. To build one building instead of two, I believe it will generate an economically benefit, but I believe in an even a larger benefit for the cityscape. The buildings are given a large park that connects them without having to divid the space with an annex.

Uppgiften bestod i att rita en tillbyggnad till Nationalmuseum i Stockholm. Denna tillbyggnad skulle innehålla administration som kontor och hanteringsutrymmen för konsten, så som ateljéer och uppställningsrum. Mitt projekt har arkitekturhistorien som ingång, där jag anser att vi använder oss av den för lite. Jag blev tidigt intresserad av hur det är att jobba med kollage och att använda mig av redan ritade rum. Vad händer när man sätter ihop dessa rum och vilka möten bildas? Jag valde ut fyra rum som jag jobbade med, studiesalen, konserveringsateljéerna, uppställningsrummet och kontoren. Dessa rum valdes efter kvaliteter de hade som passade till funktionerna det skulle inhysa. Studisalen är en siloanläggning, konserveringsateljéerna är en pelar- balksal, uppställningsrummet en gotisk kyrksal och kontoren Le Corbusiers La Tourette kloster. Sedan har rummen satts ihop till en helhet där historia och funktion möts. Det är vandringen mellan dessa rum och hur de möter varandra som är det mest intressanta med byggnaden. / The task for this project was to build an appendix to the National Museum of Art in Stockholm. The appendix was to hold administration such as offices and areas to handle the art, both for restauration and storage. My ptoject has its starting point in architectural history, I believe that we are not using all the information and knowledge that is in our past so I wanted to work with that as my inspiration. From the early beginning I worked with the collage and putting together already exicting rooms and this was also to become the finished product. Questions that arose was how these rooms can be put together and then what is happening in the meetings? I chose four rooms to work with, the studyroom, restaurationstudios, offices and storageroom. These rooms that i found and chose had the qualities I wanted and were suited for the functions they were about to have. These different rooms have been put together to a new whole. It is the inside and the way these rooms meet and the new rooms they create that is the most interesting part of the project.

Projektet ger ett förslag på en tillbyggnad till National Museum i Stockholm. Tillbyggnaden rymmer konserveringsateljéer, magasin och kontor. Projektet behandlar förutom programmet också en parkplanering och förslag på utformning av kustlinjen på Blasieholmen. Utgångspunkten i projektet har varit att ett Nobel Centrum ska byggas på östra Blasieholmen, och att det då inte blir mycket plats över till parken. Byggnaden och parken har formats av detta, och försöker skapa starka kvaliteter både för stadsrummet och för de anställda och besökande på National Museum. Funktionen och programmet har fått styra planen till stor del, tillsammans med parken. Stora delar som inte kräver ljus har placerats under mark för att möjliggöra ett behagligt landskap och en volym på platsen som bätter passar in under omständigheterna. Det yttre av byggnaden har ritats i stram klassisk stil för att passa in på platsen bredvid museet och omringat av några av Stockholms vackraste klassiska fasader. Genom att arbeta med höjd- och materialskillnader i parken och en vacker, välproportionerad fasad tillsammans med en funktionell planlösning och en byggnadsvolym som står på rätt ställe på platsen är projektet ett väl avvägt förslag för en eventuell tillbyggnad. / The project gives a suggestion for an addition to the National Museum in Stockholm. The addition will house conservation studios, warehouse and offices. Besides the program the project also deals with a detailed park and landscape design and gives a suggestion for a design of the coastline on Blasieholmen. The project is based on the assumption that there will be built a Nobel Center at the eastern Blasieholmen, and that it won't leave much room for the park, this assumption has strongly influenced the building and the landscape, and the project aims at creating lasting values and qualities in the urban spaces, as well as for visitors and employees at the National Museum. The function and program has dictated large parts of the plan solution, along with the considerations for the park. Large areas that don't require sun light has been placed underground to allow for a pleasing landscape as well as a smaller above-ground-volume that fits the circumstances better. The facade is designed in a strict classical style, to fit next to the museum and to live up to the task of being surrounded by some of Stockholms most beautiful facades. By working with height and material differences, a well designed facade, functional plan and a volume positioned in the right spot the project gives a well suited proposal for an addition to the National Museum.

I ett samhälle som ständigt förändras och där majoriteten av framtidens byggnader redan är byggda, är det av största vikt att vi kan utveckla och bevara dessa byggnader för en hållbar framtid. Byggnader och byggnadsmiljöer berättar om samhällets utveckling över tid och om föregående generationers liv och arbete. De berättar även om materialkännedom, tekniskt kunnande och om hantverksskicklighet. Att renovera äldre arkitektur kan dock ses som riskabelt och svårt eftersom kraven avseende utveckling och bevarande ofta är motstridiga. Ibland väljer man därför att inte renovera dessa byggnader, vilket i förlängningen leder till negativa konsekvenser och ibland även till byggnaders förfall. Balansen mellan att bevara och utveckla var högst aktuell under renoveringen av Nationalmuseum. I början av 2000-talet ansåg man att byggnaden var i akut behov av en omfattande renovering pga alla de fel och brister som hade uppdagats. En renovering genomfördes därför mellan åren 2013–2018. Syftet med studien är att se hur man kan kombinera dagens moderna krav med äldre arkitektur, genom att studera renoveringen av Nationalmuseum. Målet med studien är att belysa vikten av bevarande samt att bidra till medvetenhet om att det går att kombinera dessa två krav. Studien är en kvalitativ fallstudie där information inhämtats via en litteraturstudie, arkivanalys och intervjuer. Intervjuerna, som utgör den största delen av studien, är gjorda med en projektchef, arkitekt, konstruktör, underleverantör och en byggnadsantikvarie. Studien är begränsad till att endast omfatta delar av renoveringen och då främst tillkomsten av den nya spiraltrappan och det nya hisstornet. Vidare fokuserar studien helt på det arkitektoniska arbetet och hur man kom fram till de designmässiga lösningarna. Studien baseras på en frågeställning: hur kombinerade man kraven avseende utveckling och bevarande? Resultatet av studien visade att renoveringen av Nationalmuseum genomfördes på ett föredömligt vis. De två viktigaste förutsättningarna bedöms vara kunskap om objektet och samarbete mellan alla parter. Vidare visar studien på vikten av att inventera för att se vad som är original, att man måste utgå från det specifika objektet samt att man måste begränsa den negativa påverkan i de fall då bevarandekraven och utvecklingskraven krockar med varandra. Studien visar även hur tillägg kan göras på ett enhetligt och varsamt sätt genom att upprepa utförande och materialval, genom att utsmycka det som inte går att gömma samt genom att integrera flera funktioner i de tilläggen som måste göras.  Slutsatsen av studien är att det går att kombinera kraven avseende bevarande och utveckling av befintlig bebyggelse men att det krävs stor kunskap och ett stort engagemang från alla involverade aktörer.

Syftet med denna uppsats är att studera relevansen av Pierre Bourdieus teorier idag genom att undersöka om bakgrunden hos individer påverkar vem som arbetar på ett fint – gentemot ett populärkulturellt museum och om denna distinktion uttrycker sig i museernas organisationsidentiteter. För att samla in empiriskt material genomfördes fyra semistrukturerade intervjuer med personer på ledande positioner från Nationalmuseum och ABBA the museum. Även analys av arbetsannonser utfördes för att nå vilka egenskaper som eftersöks på vardera museum. Utfallet av studien visar att det finns tendenser av det finkulturella på Nationalmuseum och av det populärkulturella på ABBA the museum som vi kan knyta till de intervjuade personernas bakgrund. I ett fall av de fyra intervjuade stämde inte Bourdieus teorier helt, vilket gör att teorierna i det anseendet kan ifrågasättas. Distinktionen återfanns även i arbetsannonserna. Dessa tendenser mot det fin- och populärkulturella lyser delvis igenom i organisationsidentiteten. / The purpose of this study was to investigate the theories of Pierre Bourdieu to capture their relevance today. Does the background of an individual affect whether they choose to work at a high culture museum or a museum of popular culture? Furthermore, if this expresses itself in the organizationalidentity. To collect empirical data four semi-structured interviews were performed with persons in managerial roles at the Swedish Nationalmuseum and ABBA the museum. An analysis of employment advertisements was also carried out to reach which attributes were required at the two museums. The study show that Nationalmuseum have tendencies categorising them as high culture whilst ABBA the museum is of the popular kind. Both findings can be related to the backgrounds of the interviewed managers. However, one of the four cases did not match with the theories of Bourdieu, making the theories in that regard questionable. The distinction was also found in the employment advertisements. These tendencies towards the high – and popular culture partially shines through in the organizationalidentity.

This study is a critical analysis of the various opinions of why museums should digitize their heritage collections. The aim of the study is to break these opinions down and critically analyse them in order to increase our understanding of why digitization is a desirable activity in museums. The purpose is to contribute to sustainable digitization works in the future. The opinions analysed in this study have been identified from three main sources: previous research; official policies and guidelines; and through interviews with the staff at Nationalmuseum in Stockholm, Sweden.  An argument analysis was conducted to identify the main positive and negative opinions of digitization. A theoretical perspective based on the societal development from modernity to postmodernity was incorporated into the analysis to uncover why these particular opinions exist. The study shows that while several issues with digitizing the cultural heritage of museums were acknowledged, the attitude towards digitization was predominantly positive. The negative opinions and fears of digitization, such as the potential loss of the physical experience turned out to be either unwarranted or solvable. The positive effects of digitization, such as increased accessibility, outweighed the negative issues. The opinions found in the previous research and the official policies reflected those of the staff who had been working with digitization in recent years at Nationalmuseum. Analysing the opinions showed that digitization is essentially a postmodern activity that caters to the needs and aims of the postmodern society. The reason why museums, that are traditionally modern would resort to a postmodern activity such as digitization is because digitization does not in fact undermine the authority of the museum, but rather helps this institution to fulfil its role and stay relevant in a postmodern society. This study is a two-year master’s thesis in Museum and Cultural Heritage Studies.

This thesis aims to investigate how the meaning of the concept of authenticity has been used in arguments about the reconstruction of Nationalmuseum in Stockholm, Sweden. The museum, which opened for the first time in 1866, was closed for restoration, renovation and other engagements during 2013-2018. After the reopening, a debate took place in the Swedish newspaper Svenska Dagbladet. In the debate there were people who argued that the reconstruction had erased the museum’s history and replaced it with modern design. Other people argued that the reconstruction had made the building more true to its history as older reconstructions had distorted the original building. The main source material for the present study consists of a final report of the project made by the National Property Board, selected debate articles from the debate on the reconstruction in Svenska Dagbladet, and an interview and two mail conversations that have been made with persons involved in the project. Through argumentation analysis, arguments from the final report, the debate in Svenska Dagbladet, the interview and the mail conversations have been analyzed. The arguments selected from the source material are arguments that either indicate that the authenticity has been preserved or that the authenticity has not been preserved. The thesis does not intend to determine whether the reconstruction of Nationalmuseum has preserved the authenticity or not, it is the argumentation about this issue that is to be investigated. The reason is that the perception differs between different people, different contexts and different views. The analysis shows that the arguments claiming that the authenticity has not been preserved above all relate to the building's younger reconstructions with its additions that were removed during the current reconstruction. Some debaters argue that the building's younger history also has a value that should be protected. In the end it comes down to what kind of authenticity one intends to preserve. In the project, the experience values have been prioritized before the material values, which indicates that the authenticity from a material perspective may have decreased while the functional authenticity of the building has increased. The arguments that favour that the authenticity has been preserved are primarily based on the view that great emphasis has been placed on the preservation of the building's cultural-historical value. During the project one has also been inspired by the building's original drawings made by the building's architect Friedrich August Stüler, which indicates that the authenticity of the original building has been strengthened. The thesis ends with a final discussion where the result of the analysis is presented in relation to the theoretical framework of the thesis. This is done in order to answer the research questions. The main research question for the thesis has been; "How has the meaning of authenticity been presented in the final report, in the debate and by people who have worked with the reconstruction of Nationalmuseum?”.

The purpose of this study is to present a clearer picture of the divided roles of museum libraries, to see how they balance working with two separate target groups, the public and the museum staff, and to analyze how this affects the work of the librarians. The research on museum libraries has been sparse during the past 20 years, and this essay aims to fill a gap in the research field. Our primary method of data-collection is qualitative, semi structured, interviews with staff at three museum libraries at Upplandsmuseet, Nordiska Museet and Konstbiblioteket. Additional data was collected by analyzing regulatory documents for each library. The collected data is analyzed using concepts from organizational theory, mainly organizational identity as formulated by Alvesson. The results are presented thematically in accordance with the main points brought forward by the interviewees.   Our interviews show that the primary function of the museum library is to support the museum. The libraries also aim to serve the public but are only able to do this to a limited degree. The role of the libraries is not formulated in any regulatory documents but according to the interviewees, this is not a current issue. Regarding organizational identity, the study shows that the libraries are all connected to the overarching identity of the museum. However, while the library at Upplandsmuseet is strongly connected to the museum's identity, the libraries at Nordiska museets and Konstbiblioteketare somewhat detached from the respective organizations. This could result in a weaker identity for the library. Finally, the librarians from all three libraries express a wish to reach an even broader target group outside the museum. Due to a lack of resources however, both in terms of budget and staff, this is deemed impossible at the present. This is a two years master's thesis in Library and information science.

This essay examines the debate that arose in connection to the sale of Carl Larsson’s monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum’s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications. The controversies concerning the painting shows that its meaning as cultural heritage was not constituted by the painting itself but by the meanings which the debaters placed upon it. The debate also sheds light on that there may be a wide variety of opinions concerning what it is that constitutes as cultural heritage. The meanings the debaters ascribed Midvinterblot related, however, in a crucial way to each other. My examination of the debate also show how cultural heritage is created to fill a specific purpose, for example, to maintain cultural values, to attract tourists or as a resource in the formation of group identities.

This essay examines the debate that arose in connection to the sale of Carl Larsson’s monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum’s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications. The controversies concerning the painting shows that its meaning as cultural heritage was not constituted by the painting itself but by the meanings which the debaters placed upon it. The debate also sheds light on that there may be a wide variety of opinions concerning what it is that constitutes as cultural heritage. The meanings the debaters ascribed Midvinterblot related, however, in a crucial way to each other. My examination of the debate also show how cultural heritage is created to fill a specific purpose, for example, to maintain cultural values, to attract tourists or as a resource in the formation of group identities. / Tintin Hodén