This thesis explores the atmospheric sequences within a steel museum located in the South Side Works of Pittsburgh, Pennsylvania. The South Side Works, once a historic steel production area, is now undergoing renewal and redevelopment, yet it still retains traces of its industrial past. The exploration begins by examining the pre-union steel production space, characterized by hazardous conditions, limited natural lighting, and uncomfortable indoor temperatures. Visitors are transported to the 19th-century factory workers' world, experiencing the dim light from above, sweltering heat, dirt on the ground, and the large scale of the production space. This atmosphere contrasts with the post-union era, marked by enhanced natural light, modern steel construction, and a connection to the outdoors. The shift signifies increased attention to workers' rights and well-being, moving from dehumanization to humanization, symbolized by the "Union Hall" where workers advocated for their rights.The "Union Hall", which is the turning point of the journey, serves as a symbol of empowerment and progress for steelworkers.Technological advancements have further improved the working environment, making the production process more standardized and automated. This thesis aims to narrate the story through the qualities of spaces—scale, steel construction, materials, and light—by utilizing architecture study methods including modeling, sketches, lighting studies, and architectural drawings. By showcasing two contrasting spaces, it explores how the sequence of space, along with materials, light, and scale, shapes the architectural spaces and atmosphere within the museum, reflecting the evolution from furnace to fairness. / Master of Architecture / This thesis explores the atmospheric sequences within a steel museum located in the South Side Works of Pittsburgh, Pennsylvania. The South Side Works, once a historic steel production area, is now undergoing renewal and redevelopment, yet it still retains traces of its industrial past. The exploration begins by examining the pre-union steel production space, characterized by hazardous conditions, limited natural lighting, and uncomfortable indoor temperatures. This atmosphere contrasts with the post-union era, marked by enhanced natural light, modern steel construction, and a connection to the outdoors. The shift signifies increased attention to workers' rights and well-being, moving from dehumanization to humanization, symbolized by the "Union Hall" where workers advocated for their rights.The "Union Hall", which is the turning point of the journey, serves as a symbol of empowerment and progress for steelworkers. This thesis aims to narrate the story through the qualities of spaces—scale, steel construction, materials, and light—by utilizing architecture study methods including modeling, sketches, lighting studies, and architectural drawings.

Krematoriet är en tvåfaldig byggnad: dels en funktionell anläggning där döda kroppar hanteras rationellt men också en byggnad med behov av känsla och ritual för att undvika att kremationen reduceras till likhantering på löpande band. Dödsritualer basereras ofta på gemensamma trosuppfattningar, något som är sällsynt i vårt postmoderna samhälle. En ledande frågeställning är hur arkitekturen kan skapa rum för mening utan att formulera egna godtyckliga ritualer eller försvåra för den praktiska verksamheten. En sista sekvens är ett krematorieprojekt som eftersträvar att skapa ritual genom rumssekvenser. Ritualens symboliska handlingar översätts till fysiska platser som passeras vid varje kremation. Hierakiskt ordnade, karaktärisktiska rum förbereder för och markererar kremationens olika steg utan att göra avsteg från det funktionella. Hypotesen är att kremationsprocessen kan upphöjas till en rumslig ritual som skapas av rumssamband och form. Varje kista som förs mot ugnen omsluts av karaktärisktiska rum: spatiala ögonblick, som skapar värdighet för den döde, tröst för de närstående och och en påminnelse till de anställda att deras arbete är viktigt. Resultatet är ett krematorium med funktionella rumssekvenser där industriella rum och passager har fått sensoriska kvaliteér. Om rumssekvenserna är starka nog för att få rituell mening är svårt att utvärdera utifrån ritningar men det föreslagna krematoriet har tydlig ambition att lyfta fram och skapa särskiljande och sensoriska rum för en industriell process. / A crematory is an ambigous structure: in part a functional facility where corpses are processed but also a building that require emotion and ritual to keep the crematory from becoming a death factory. In many cultures rites of passage are based on a common belief of what happens after death but these collective beliefs are scarce in today's post-modern society. One of the main questions in the project is how architecture can create meaningful space without inventing its own arbitrary rituals or compromising the building's functionality. Spaces of Passage is a crematory project that aims to create ritual through spatial sequences. The symbolic acts of the ritual are translated into physical places. Hierachically organised space with specific character enhance and foreshadow each step of the cremation process without sacrificing effectivness. The hypothesis is that the cremation process can be become a spatial ritual - a ritual created from form and relations. Every coffin that is transported towards the owen will pass through architectural moments, which convey a sense of dignity for the deceased, comfort for the bereaved and a a reminder that the work done at the crematory is of outmost importance. The resulting architecture is a crematory with functional spatial sequences where industrial spaces have aestetic qualities. Without studying how people interact with the actual building it is hard to evaluate if the spatial sequences have gained ritual value but the proposed crematory is indeed a clear attempt at creating emotional significance in an industrial process.