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This thesis explores an architectural response for an urban site that incorporates the dismantled façade stones (spolia) of the site’s previous building into two dialectical devices: a ramp and a camera obscura. Each device allows the stones to act as both artifact (individual object with an embedded history) and frame (structure that invites a reading of its context). Spatial and temporal concepts from film provide theoretical guidance for the dialectical structure of the architectural design approach. A constant navigation between pairs of opposing forces (capturing/projecting, introvert/extrovert, operator/device, artifact/frame, object/subject) results in a pair of architectures, one a cinema + digital archive and the other a film school, between which a public space is activated as an outdoor amphitheatre. The two buildings simultaneously act as object (artifact) and subject (frame) in an attempt to locate and express a redefined historical continuity for the site.

How can modern architecture closely refer back to historical architecture without copying or making flat imitations? My thesis project idea is born out of the discussion on modernism versus traditionalism in architecture brought to the surface by the network Arkitekturupproret. I have investigated this through the proposition of an art gallery building with a big red roof. The red roof acts as a screen where imprints of 3-dimensional fragments from different historical eras are projected. The building has an extroverted outside that echoes of the architectural history of the city of Sundsvall, and the big red roof hides an inside that is introverted and focused on exhibiting art.

This dissertation aims to investigate the hybrid facture of one of the most influential buildings of architectural history, Hagia Sophia, which has been a source of wonder and awe since its construction in the sixth century. Since the first temple erected on that site; old-new, future-past, forgetting-remembering are all intertwined in the imaginative act of initiating and its continuous making as re-makings that manifest the building as a palimpsest-in-the-becoming. Its originality lies not any of its chronological beginnings but its diachronic facture of interweaved historical, mythical and architectural strata of its remakings through appropriation. The conquest of Constantinople, a central moment in Hagia Sophia's macro-history, marked the beginning of the diachronic appropriation of the site and building elements that are of Byzantine origin. By employing the south turret as the site of the minaret, the appropriation became a twofold strategy of preservation and innovation that ensured sacredness and continuity. An intertwined narrative was factured by complementing the material appropriation with deliberately constructed mythopoeic and visual re-makings of Byzantine texts and representations. Evliya Celebi's tale in which an Ottoman architect was said to have laid the foundations of a minaret preceding the conquest and the Dusseldorf manuscript, an idiosyncratic version of Buondelmonti's Liber Insularum Archipelagi are the two accounts through which this study aims to open-up a multi-directional dialogue to explore the appropriation program of Hagia Sophia. Within this framework, a critical revisiting of the concepts of facture, making, palimpsest, original, spolia and their respective relationships will provide clues to tackle the transformation process the building is going through currently. In a way, its hybrid facture will act as a paradigmatic model for the future undertakings. / Master of Science / This dissertation aims to investigate the hybrid facture of one of the most influential buildings of architectural history, Hagia Sophia, which has been a source of wonder and awe since its construction in the sixth century. Since the first temple erected on that site; old-new, future-past, forgetting-remembering are all intertwined in the imaginative act of initiating and its continuous making as re-makings that manifest the building as a palimpsest-in-the-becoming. Its originality lies not any of its chronological beginnings but its diachronic facture of interweaved historical, mythical and architectural strata of its remakings through appropriation. The conquest of Constantinople, a central moment in Hagia Sophia's macro-history, marked the beginning of the diachronic appropriation of the site and building elements that are of Byzantine origin. By employing the south turret as the site of the minaret, the appropriation became a twofold strategy of preservation and innovation that ensured sacredness and continuity. An intertwined narrative was factured by complementing the material appropriation with deliberately constructed mythopoeic and visual re-makings of Byzantine texts and representations. Evliya Celebi's tale in which an Ottoman architect was said to have laid the foundations of a minaret preceding the conquest and the Dusseldorf manuscript, an idiosyncratic version of Buondelmonti's Liber Insularum Archipelagi are the two accounts through which this study aims to open-up a multi-directional dialogue to explore the appropriation program of Hagia Sophia. Within this framework, a critical revisiting of the concepts of facture, making, palimpsest, original, spolia and their respective relationships will provide clues to tackle the transformation process the building is going through currently. In a way, its hybrid facture will act as a paradigmatic model for the future undertakings.

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.

This thesis examines the history, written sources and physical aspects of the citadel at Ankara with respect to building materials, masonry styles, design and topography. The distribution of different types of building materials in selected areas are analyzed and documented by using modern methods.

The aim of this thesis is to explore the concept of spolia and its analytical potential. The historical development of the concept from Roman antiquity to the present is examined, focusing on specific turning points, and two artefacts – a set of columns and a vase from the National Museum in Stockholm – are analysed. The different sections of the thesis are intertwined through methodological thematizations of power, violence and temporality. By activating older meanings of spolia, as well as introducing new ones, the concept is expanded through the study. It becomes a critical tool useful in understanding composite objects, which are analysed in terms of form, function and migratory paths. The study revolves around a contemporary museum setting but moves between several contexts and time periods. The expanded, critical concept that this thesis develops can therefore be used in other studies.

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