Stockholm's fish market is a vibrant market and restaurant located on the waterfront in the Old Town of Stockholm. The structure is divided into two distinct volumes that are designed for their functions. The starting point for the project "Stockholm's fish market" was to develop a market for those who are on the site today. After numerous site analysis, I concluded that today's visitors can be divided into three categories; Rapid, semi-fast and slow. It is to them, "Stockholm's fish market" is designed for. The building is placed closer to the edge of the dock than the previous house. This is to create a more intimate rooms next to the water and to provide a lively place and create the square formation to the old town. By shaping the building in the form of two raktangulära volumes melts "Stockholm's fish market" well into the urban space. The facade is of slate, which creates a rustic feel, like the surrounding buildings. The slates properties also creates a play of light in the facade that can be reminded of fish scales. "Stockholm's fish market" is a place that is for planned and spontaneous visit to one of Stockholm's most important sites.

I hjärtat av staden finner man byggnaden. Här hittar du fisken från söt- och saltvattnet som vi är omgivna av.Här möts Stockholms magar som längtar efter färsk lokalfångad fisk. UTGÅNGSPUNKT 1: BYGGNADSTYPEN SALUHALL Vilka grundläggande krav ställs på saluhallen? Strukturen ska skydda från väder och vind. Den bör bestå av en öppen hall med stor rymd och överblickbarhet. Dimensioner som möjliggör snabba flöden inne i byggnaden. Generös ljusföring och frisk luft som cirkulerar fritt. En sträng och enkel planering som underlättar den stora omsättningen av varor och människor. Saluhallen ska vara saklig i sin arkitektur, jag efterfrågar en stark koppling mellan det arkitektoniska objektet och de processer som pågår inuti byggnaden. UTGÅNGSPUNKT 2: PLATSEN Skeppsbron är en viktig länk mellan Slussen och Norrmalm. Den fantastiska vyn över Stockholms alla öar och holmar från slussen och skeppsbrokajen är en stor kvalitet som utmärker platsen. Diagrammen nedan beskriver hur en stor volym skulle hindra den visuella kontakten och den vida vyn GESTALTNINGSPROBLEM: PARADOXEN Jag tog ställning till att en saluhall kräver en stor rymd. Jag har också identifierat och analyserat att en stor volym på skeppsbrokajen skulle förstöra den visuella kontakten och vyn ut över saltsjön. Den motsättningen låg till grund för mitt gestaltningsbeslut att gräva ner hallen på kajen. ! / In the heart of the city you will find the building.Here you can fish from the fresh and salt water that we are surrounded by.This is where Stockholm bellies, longing for fresh local fish meet. STARTING POINT 1: building type market hall What are the basic requirements of a market hall? The structure should give protection from the weather. It should consist of an open hall with great space and transparency. Dimensions that enables rapid flows inside the building. Generous light transmission and fresh air circulating freely. A strict and simple planning that facilitates the huge number of goods and people. The market hall must be a objective architecture. I am asking for a strong link between the architectural object and the processes going on inside the building. STARTING 2: PLACE Skeppsbrokajen is an important link between Slussen and Norrmalm. The stunning view over Stockholm's islands and islets from Skeppsbrokajen is a great quality that characterizes the place.  CREATION PROBLEM: THE PARADOX I took the position that a covered market requires a large space.I have also identified and analyzed that a large volume at Skeppsbrokajen would destroy the visual contact and the view out over the salt lake. The contradiction was the basis for my design decision to bury the hall on the quayside.

Projektet är ett förslag på en utställningsdesign i Storkyrkans likkällare i Gamla Stan i Stockholm och ska agera som annex till Medeltidsmuseets permanenta utställningar. I likkällaren ska historiska föremål presenteras på ett mer okonventionellt sätt än vad som vanligtvis förekommer på museum idag. Designförslaget består utav en flexibel och uttrycksfull utställningsdesign där många olika typer at utställningar ska kunna visas. Projektet drevs ur en frustration över museivärldens stundvis statiska och konventionella sätt att producera utställningar på och förslaget är ett försök att utmana dessa upplevda konventioner. Likkällaren är också ett stort rum mitt i staden som stått tomt i mer än 150 år. Projektet ämnar därför att öppna upp källaren för allmänheten och integrera den med staden ovanför.  Likkällarens rumsliga kvalitéer och framförallt dess golv har varit en viktig del i projektet. Golvet består av stenar från den rullstensås som en gång gick rakt igen Stockholm och som under århundraden grävts bort. En stor del av projektet har därför kretsat kring likkällarens nuvarande golv då rullstenarna både måste skyddas från besökare på grund av deras kulturhistoriska värde och är opraktiska ur ett tillgänglighets perspektiv. Därför har det befintliga golvet delvis täckts med ett nytt golv som gör det möjligt för besökarna att ta sig fram i utställningen. Rummets övriga inredning består av montrar och väggpartier där de medeltida föremålen placeras för display. Båda dessa går att arrangera om för att passa många olika typer av utställningar.  I Likkällaren kan besökaren ta del av både ett spännande historiskt rum som aldrig tidigare varit öppet för allmänheten men också dess unika golv och de medeltida föremål som visas i utställningen.

Cities and regions carry with them a baggage of problems stemming from their locality or history, impacting their psychology and development. In Umeå’s case, it is not a problem of geography but a historical event. The fire of 1888 still casts its soot-shadows on the facades of buildings, scaring the extant buildings into retreating from each other, killing densification and turning expansion plans into far-off enclaves on the city outskirts. The project is a targeted intervention confined to the block of Stora Björnen aiming to boldly yet sensibly densify a neglected part of the neighborhood Öst på Stan. The Intervention acts as a benevolent academic enclave to the growing Arts Campus, stemming from an infill development and flowing into the courtyard of the block. Great care is used in fusing the new with the old stylistically. Adhering to local rules in a culturally protected environment while still breaking rules when they can be broken and bringing something new to the neighborhood. The existing barriers and haphazard collection of spaces in the courtyard is rearranged and from it emerges a new block within the block. New paths and relations between buildings emerge, strengthening and inviting more people into the collage that is Öst på Stan. The structure makes room for itself in the block, taking and giving back.

Given two samples from two populations, one could ask how similar the populations are, that is, how close their probability distributions are. For absolutely continuous distributions, one way to measure the proximity of such populations is to use a measure of distance (metric) between the probability density functions (which are unknown given that only samples are observed). In this work, we work with the integrated squared distance as metric. To measure the uncertainty of the squared integrated distance, we first model the uncertainty of each of the probability density functions using a nonparametric Bayesian method. The method consists of estimating the probability density function f (or its logarithm) using Fourier series {f0;f1; :::;fI}. Assigning a prior distribution to f is then equivalent to assigning a prior distribution to the coefficients of this series. We used the prior suggested by Scricciolo (2006) (sieve prior), which not only places a prior on such coefficients, but also on I itself, so that in reality we work with a Bayesian mixture of finite dimensional models. To obtain posterior samples of such mixture, we marginalize out the discrete model index parameter I and use a statistical software called Stan. We conclude that the Bayesian Fourier series method has good performance when compared to kernel density estimation, although both methods often have problems in the estimation of the probability density function near the boundaries. Lastly, we showed how the methodology of Fourier series can be used to access the uncertainty regarding the similarity of two samples. In particular, we applied this method to dataset of patients with Alzheimer. / Dadas duas amostras de duas populações, pode-se questionar o quão parecidas as duas populações são, ou seja, o quão próximas estão suas distribuições de probabilidade. Para distribuições absolutamente contínuas, uma maneira de mensurar a proximidade dessas populações é utilizando uma medida de distância (métrica) entre as funções densidade de probabilidade (as quais são desconhecidas, em virtude de observarmos apenas as amostras). Nesta dissertação, utilizamos a distância quadrática integrada como métrica. Para mensurar a incerteza da distância quadrática integrada, primeiramente modelamos a incerteza sobre cada uma das funções densidade de probabilidade através de uma método bayesiano não paramétrico. O método consiste em estimar a função de densidade de probabilidade f (ou seu logaritmo) usando séries de Fourier {f0;f1; :::;fI}. Atribuir uma distribuição a priori para f é então equivalente a atribuir uma distribuição a priori aos coeficientes dessa serie. Utilizamos a priori sugerida em Scricciolo (2006) (priori de sieve), a qual não coloca uma priori somente nesses coeficientes, mas também no próprio I, de modo que, na realidade, trabalhamos com uma mistura bayesiana de modelos de dimensão finita. Para obter amostras a posteriori dessas misturas, marginalizamos o parâmetro (discreto) de indexação de modelos, I, e usamos um software estatístico chamado Stan. Concluímos que o método bayesiano de séries de Fourier tem boa performance quando comparado ao de estimativa de densidade kernel, apesar de ambos os métodos frequentemente apresentarem problemas na estimação da função de densidade de probabilidade perto das fronteiras. Por fim, mostramos como a metodologia de series de Fourier pode ser utilizada para mensurar a incerteza a cerca da similaridade de duas amostras. Em particular, aplicamos este método a um conjunto de dados de pacientes com doença de Alzheimer.

Esta pesquisa tenciona investigar a produção artística de Cindy Sherman (1954-) e Stan Douglas (1960-), partindo da observação dos procedimentos por eles adotados para a produção de suas obras e de seu interesse comum pela natureza da cultura de massa. Pretende-se, ainda, evidenciar os tipos de convenções próprias dos suportes das mídias utilizados para suas imagens e o modus operandi que as mantêm. Grosso modo, entende-se por imagens subsidiadas pela mídia de massa aquelas que são expostas visando ao acesso em grande escala e de forma imediatista. / This study aims to shed light on the work of Cindy Sherman (1954-) and Stan Douglas (1960-), and proposes as its start-point not only the procedures that have been used by both of the artists in their creative process, but also the interest they have demonstrated in the mass culture as a subject for their work. In addiction to that, we intend to evince the type of conventions specific to the media in relation to its images and their modus operandi. By and large, it is well known that the repertoire of images subsidized by mass media correspond to those exposed in order to provide immediate access and in large scale.

Esta pesquisa tenciona investigar a produção artística de Cindy Sherman (1954-) e Stan Douglas (1960-), partindo da observação dos procedimentos por eles adotados para a produção de suas obras e de seu interesse comum pela natureza da cultura de massa. Pretende-se, ainda, evidenciar os tipos de convenções próprias dos suportes das mídias utilizados para suas imagens e o modus operandi que as mantêm. Grosso modo, entende-se por imagens subsidiadas pela mídia de massa aquelas que são expostas visando ao acesso em grande escala e de forma imediatista. / This study aims to shed light on the work of Cindy Sherman (1954-) and Stan Douglas (1960-), and proposes as its start-point not only the procedures that have been used by both of the artists in their creative process, but also the interest they have demonstrated in the mass culture as a subject for their work. In addiction to that, we intend to evince the type of conventions specific to the media in relation to its images and their modus operandi. By and large, it is well known that the repertoire of images subsidized by mass media correspond to those exposed in order to provide immediate access and in large scale.

Given two samples from two populations, one could ask how similar the populations are, that is, how close their probability distributions are. For absolutely continuous distributions, one way to measure the proximity of such populations is to use a measure of distance (metric) between the probability density functions (which are unknown given that only samples are observed). In this work, we work with the integrated squared distance as metric. To measure the uncertainty of the squared integrated distance, we first model the uncertainty of each of the probability density functions using a nonparametric Bayesian method. The method consists of estimating the probability density function f (or its logarithm) using Fourier series {f0;f1; :::;fI}. Assigning a prior distribution to f is then equivalent to assigning a prior distribution to the coefficients of this series. We used the prior suggested by Scricciolo (2006) (sieve prior), which not only places a prior on such coefficients, but also on I itself, so that in reality we work with a Bayesian mixture of finite dimensional models. To obtain posterior samples of such mixture, we marginalize out the discrete model index parameter I and use a statistical software called Stan. We conclude that the Bayesian Fourier series method has good performance when compared to kernel density estimation, although both methods often have problems in the estimation of the probability density function near the boundaries. Lastly, we showed how the methodology of Fourier series can be used to access the uncertainty regarding the similarity of two samples. In particular, we applied this method to dataset of patients with Alzheimer. / Dadas duas amostras de duas populações, pode-se questionar o quão parecidas as duas populações são, ou seja, o quão próximas estão suas distribuições de probabilidade. Para distribuições absolutamente contínuas, uma maneira de mensurar a proximidade dessas populações é utilizando uma medida de distância (métrica) entre as funções densidade de probabilidade (as quais são desconhecidas, em virtude de observarmos apenas as amostras). Nesta dissertação, utilizamos a distância quadrática integrada como métrica. Para mensurar a incerteza da distância quadrática integrada, primeiramente modelamos a incerteza sobre cada uma das funções densidade de probabilidade através de uma método bayesiano não paramétrico. O método consiste em estimar a função de densidade de probabilidade f (ou seu logaritmo) usando séries de Fourier {f0;f1; :::;fI}. Atribuir uma distribuição a priori para f é então equivalente a atribuir uma distribuição a priori aos coeficientes dessa serie. Utilizamos a priori sugerida em Scricciolo (2006) (priori de sieve), a qual não coloca uma priori somente nesses coeficientes, mas também no próprio I, de modo que, na realidade, trabalhamos com uma mistura bayesiana de modelos de dimensão finita. Para obter amostras a posteriori dessas misturas, marginalizamos o parâmetro (discreto) de indexação de modelos, I, e usamos um software estatístico chamado Stan. Concluímos que o método bayesiano de séries de Fourier tem boa performance quando comparado ao de estimativa de densidade kernel, apesar de ambos os métodos frequentemente apresentarem problemas na estimação da função de densidade de probabilidade perto das fronteiras. Por fim, mostramos como a metodologia de series de Fourier pode ser utilizada para mensurar a incerteza a cerca da similaridade de duas amostras. Em particular, aplicamos este método a um conjunto de dados de pacientes com doença de Alzheimer.

Ce mémoire de maîtrise en recherche-création s'articule en un essai théorique et un projet d'écriture romanesque. Dans l'essai La réception universelle du film lyrique du quotidien de Stan Brakhage, nous soumettons les œuvres Anticipation of the Night (1958), Wedlock House: an Intercourse (1959) et Window Water Baby Moving (1959) au test de la fictionnalisation, mode de production de sens et d'affects proposé par Roger Odin dans son approche sémio-pragmatique du cinéma. En nous questionnant sur la part familiale des œuvres de notre corpus, nous souhaitons suggérer une approche susceptible d'éclairer la réception publique à laquelle se destine le cinéma lyrique de l'artiste-cinéaste américain. Poursuivant notre réflexion concernant l'appropriation de l'imagerie familiale, le roman Marée tranquille s'inscrit dans un geste d'écriture rendu possible par la fictionnalisation et deux des opérations qu'elle prévoit, à savoir la diégétisation et la narrativisation. Roman de la route illustré d'une vingtaine de photographies tirées des archives familiales de l’auteur, Marée tranquille cherche à témoigner de l'adéquation entre le fond et la forme au moyen d'une narration non fiable, ici mise au service des principaux thèmes du roman, soit l'oubli, la fuite et le double. Faisant à la fois office de posture méthodologique pour le projet de création ainsi que pour l'essai, la fictionnalisation agit en tant que consigne de lecture privilégiée afin de comprendre comment l'imagerie familiale amateure, normalement destinée à une réception privée, peut prétendre à un statut universel. / This master's thesis in research and creation is structured into a theoretical essay and a fiction writing project. In the essay La réception universelle du film lyrique du quotidien de Stan Brakhage, we are submitting the works Anticipation of the Night (1958), Wedlock House: an Intercourse (1959) and Window Water Baby Moving (1959) to the test of fictionalization, a mode of production of meaning and affects proposed by Roger Odin in his semio-pragmatic approach to cinema. By questioning the family aspect of the works in our corpus, we wish to suggest an approach likely to enlighten the public reception for which the lyrical cinema of the American artist filmmaker is intended. Continuing our reflection on the appropriation of family imagery, the novel Marée Tranquille is part of a gesture of writing made possible by fictionalization and its first two operations it anticipates: diegetization and narrativization. Marée Tranquille, road novel illustrated with some twenty photographs from the author's family archives, seeks to testify the adequacy between content and form by means of unreliable narrative, here dedicated to the themes of the novel, which are oblivion, escapism and duplicity. Acting as a methodological posture for the creative project as well as for the essay, fictionalization acts as a privileged reading guideline to understand how amateur family imagery, normally intended for a private audience, can claim a universal status.

This research is an investigation into the phrase 'landscape as infrastructure' and questions the influence of this notion in the design of new housing developments along the Maribyrnong River, Melbourne. The phrase lends itself to a systems based agenda because the word 'infrastructure' implies that it performs some kind of function. It is through this functioning that we can understand the way landscape acts as a stage for activities to occur, not just background to the object. The main question within the research is how landscape can precede housing development and set the parameters for its location, density, and relationship to the river. This is tested through four overriding themes which summarise the key ideas and methodologies for designing with landscape as infrastructure. The themes 'Catalyst', 'Time', 'Cause and Effect' and 'Experience' are tested on four different sites along the Maribyrnong River responding to different site conditions and the influence of geology and topography. The four sites have been named to reflect the primary function they perform within the overall strategy. To establish a framework for this discourse the research has been filtered through seven principals, originally developed by Stan Allen as a series of propositions for infrastructure. These principals question issues of force, process, typology, scale, invisible form, structure, function and change and visible form and set up a mechanism enabling me to challenge the notion of landscape as infrastructure. If the landscape is infrastructure then Allen's principals will also apply for the design of housing developments. This Appropriate Visual Record (AVR) is a selection of research material and design solutions developed over the last three years as part of the Research Masters Degree at RMIT.