By order of King Gustav II Adolf, a canal was started in 1629 between Hjälmaren and Mälaren to facilitate the transport of goods from the West Coast to Bergslagen and Stockholm and thus also avoid the detour through the strait between Denmark and Skåne. More than 500 men were employed for the canal construction and it took them 10 years to connect a waterway between the two large lakes.Due to rock blasting in the immediate area, traffic jams often occurred as the canal needed to be repaired frequently as a result of blasting. At the suggestion of the creator of the Göta Canal, Balzar von Platen, a new stretch of just over 5 kilometers was built between 1819 and 1829, which resulted in a traffic route with significantly greater capacity.The canal was of great importance for trade with the capital. In addition to iron, grain and timber were also transported to Stockholm. In return, the boats transported goods from the capital to merchants in Örebro and the mills in Bergslagen. It was most active during the beginning of the 20th century when, during a sailing season of 209 days in 1951, voyages were made through the canal with steamships, sailing ships and tugs.Freight traffic ceased in 1970 and the canal has since been used only by leisure boats and passenger ships.Hjälmare canal is today Sweden's oldest artificial waterway that can still be traveled on the waterway that stretches between Hjälmaren and Mälaren measures 13 kilometers, between which 9 locks are passed, and has a drop of just over 22 meters (same height as Arkitektskolan). Since the re-routing in 1829, the canal has been left untouched (maintenance only) and the same hand-drawn lock doors and mechanics are still used today.The canal is owned by Svea skog and the operation is managed by Jan Eriksson, better known as "Sluss-Janne". Sluss-Janne was born, raised and lives right next to the heart of the canal, Hjälmare doll, which is located a mile southeast of Arboga. Here there is a campsite, café and a dry-laying dock. It is around this place that visitors usually gather and there are annual events around the drying dock which is very popular. In an interview with Sluss-Janne, he explains that with the canal's long history, it is today perceived as a 13 kilometer long interactive and open museum. During the summer, people in leisure boats and motorhomes come here to experience locks, boating, beautiful nature, swimming and hiking trails, as well as take part in the canal's rich history and interesting cultural environments.Next to the Dry Laying Dock and the canal café are the Hällby locks, which are locks number 6, 7 and 8 in the order from the helmet and have a drop of just over 8 meters. On its eastern side, I have chosen to place a visitor center. The center gathers the history of the canal into one and the same place in the form of an exhibition hall that tells about the time the canal was built, how it was built and the history of the place from then until today. In addition to the permanent exhibition, there is a restaurant, café, lecture hall and a space for temporary exhibitions and various activities.The center gives the place an extra appeal. It will generate more tourism as the existing target group is given a longer experience of the canal while attracting people who have not yet found it.There are also premises for the “lock men” who work on the canal as well as offices and staff rooms for those who work at the center and for employees at Sveaskog and Arboga municipality. Close to the east side of the locks is a brick bed that follows the design of the locks. From the brick grow two load-bearing arched brick walls that measure a thickness of 800 mm. These in turn carry up curved glulam beams with a span of 24 meters. The beams rotate around an axis in an organic shape that results in the roof meeting the ground towards the lock at the beginning and end of the building. This design was governed by two reasons. Partly, in order not to be perceived as too massive and make too great a claim on the site and in addition to let the canal be in focus and partly to allow visitors to move around the building and experience locks from a top perspective.The surface layer of the roof consists of a biotope roof (grass and plants from the local flora). A blanket that further tones down the building and allows it to blend into its surroundings.from the long sides of the roof, wooden pillars fall at a dense pace and meet the ground to create climate protection. Between the pillars, windows are placed that allow you to get close to the outer surroundings, the locks on the east side of the building and the varying deciduous forest on the west side. The movement through the building is like the roof, organically visible. The two entrances are located at the top of each end of the western façade and you always follow the design of the locks when you move through the building.The whole spirit of the project is to let the locks and the canal be in focus. The building functions as an addition and should give the visitor an enhanced experience of staying on site.

Detta arbete redogör för hur en stadshistorisk utställning kan utformas för att kommunicera sitt innehåll till målgruppen utrikes födda med bristande kunskaper i svenska. Undersökningen mål är att hitta riktlinjer som visualiserar ett koncept för denna typ av utställning. I undersökningen behandlas den lokalhistoriska utställningen ”Se Eskilstuna” på Eskilstuna stadsmuseum. Utställningen används idag som undervisningsmaterial för studenter från SFI; svenska för invandrare. Idag har utställningen brister som gör att den inte uppfyller den specifika målgruppens behov. Genom låg kontrast och struktur samt att den idag till stor del utgår från text, försvåras möjligheten att kommunicera sitt innehåll till målgruppen. I detta arbete diskuteras främst utställningens rumsliga formgivning, men även hur innehållet påverkar förståelsen för utställningen. Syftet med arbetet är att undersöka hur en utställning på bästa sätt kan förmedla information om platsen och platsens historia, utan att enbart förlita sig till kompletterande text-information. Detta för att underlätta för målgruppen att ta till sig innehållet. Med hjälp av tydligare struktur, och genom att skapa grupperingar och ett visuellt narrativ, skapas ökade förutsättningar för målgruppen att ta till sig utställningens innehåll. I undersökningen kombineras teorier om kognitiva processer, distribuerad kognition och affordans som vetenskaplig utgångspunkt. Genom kvalitativa metoder i form av fokusgrupp och öppen observation har en förståelse för målgruppen och dess behov skapats. Genom en platsanalys har brister i den existerande utställningsmiljön identifierats och en förståelse för rummet formulerats. Med stöd av litteratur och metodresultat har sedan ett designförslag skapats.

<p>Nordic Summer Evening is a theoretical painting, today an important icon of Nordic art from the turn of the century. The purpose of this essay is to analyse the painting, and to investigate and identify its declaration of program, and in a wider context, the emergence of a program of the nationalistic art at the turn of the last century. The essay also investigates how the painting has become more popular throughout the century, and why Americans tend to see the painting as an exposé over a quarrel, filled with sexual tension, while Swedes tend to make a point out of the harmony and stillness of the painting.</p>

Museums have a task to present history in a way that's meaningful for the visitors. Museums also have a responsibility to represent everyone in the society, not exclude groups and at the same time make other groups more highlighted. This paper is about how the exhibition ”Historien i Sörmland” represents gender differences and how women and men are portrayed in different ways. Women are often under-represented in exhibitions around the world, leaving the men as a benchmark. The results show that women are under-represented in the exhibition ”Historien i Sörmland” and that the men and women who are portrayed contribute to the stereotype images of masculinity and femininity.

This essay examines the represention of sami drums (goavdát) at museums in Sweden. I performed a case study of two exhibitions at different museums, focusing especially on one drum in each. The museums consisted of Nordiska museet in Stockholm and Ájtte – Swedish mountain and sami museum in Jokkmokk. The purpose was to examine them from a viewpoint based on the perception of a both historical and ongoing situation of colonialism of the sami people. The motivation to study museums derives from the idea that museum possesses an ability to create value. In combination with the exhibition I also studied the original function of the drums and interpreted the images on them. The investigation showed diffrent problematic issues in the exhibitions: Ájtte has a deficiency of space which complicates a dialog between the drum and the visitor. Nordiska museet creates a conception of the drums as reduced to a central object in a colonial process without any concerns of the native use. This results in an urge to either establish new exhibitions or updated the ones that already exist since the museums are part of creating a picture of sami identity for the public and therefore - creates value. / Den här uppsatsen undersöker den museala representationen och gestaltningen av samiska ceremonitrummor (goavdát) i Sverige. Metoden har varit fallstudier av två utställningar med särskilt fokus på en goavddis i varje. Undersökningsobjekten bestod av utställningen Sápmi: om att vara same i Sverige (2007-pågående) på Nordiska museet i Stockholm samt Trumtid – i livets famn(2002-pågående) på Ájtte svenskt fjäll- och samemuseum i Jokkmokk. Arbetet har utgått från två ståndpunkter: en historisk kolonialism av Sápmi likväl som fortgående koloniala praktiker, samt att museet som sådant har en förmåga att skapa värde. I kombination med analyser av utställningarna har jag tolkat bilderna på trumskinnen. För att undvika att placera dem inom strikt koloniala kontexter har tolkningarna utgått från förkristna samiska världsuppfattningar. Studien upptäckte olika problem hos utställningarna; Nordiska museet skapar en bild av goavdát som reducerad till centrala objekt i koloniala processer, utan hänsyn till ursprunglig användning eller perspektiv. Ájtte fysiska placering av trummorna och dess dova belysning försvårar en dialog mellan besökare och föremål. Det resulterar i en uppmaning till museerna att se över utställningar då museerna är centrala producenter av bilden om samisk identitet för allmänheter och därför – skapar värde.

<p>Inslag av upplevelsebaserade utställningar, såsom museum och science centers, i skolans verksamhet är ofta uppskattade av både lärare och elever. Utbudet av utställningar har ökat de senaste 15 åren och forskning som gjorts inom området visar att det finns brister i hur lärare använder den externa resursen som dessa utställningar utgör. Resultaten pekar på att klasserna ofta är oförberedda och att utställningsbesöket sker som en isolerad händelse som inte införlivas i det arbete som äger rum i skolan. Kunskap om hur den informella lärandemiljön i utställningen länkas samman med den formella lärandemiljön i skolan är önskvärd och detta arbete syftade till att bidra till sådan kunskap. I studien har elva lärares erfarenheter av att använda en upplevelsebaserad utställning i undervisningen undersökts genom en kvantitativ och en kvalitativ metod. Resultaten visar att både lärare och elever var väl förberedda inför besöket och att erfarenheter från utställningen har använts i klassrumsundervisningen efter besöket. Resultaten visar att lärare använder sig av utställningen på olika sätt och en viss koppling kan göras till lärarnas syn på lärande. Lärarna anser också att utställningens fysiska miljö är en resurs som kan ge eleverna möjlighet att uppleva och upptäcka kunskap som inte kan skapas i klassrummet, men att både utställningsutbudet och organisatoriska svårigheter minskar antalet utställningsbesök.</p>

<p>Uppsatsen tar upp ljudet i utställningen och de problem som uppkommer när ljud används i utställningssammanhang. En studie av fyra utställningar görs för att synliggöra hur ljudet används, för att sedan peka på saker som är bra och saker som är mindre bra med just deras sätt att använda ljud. Vad är en fördel och vad är en nackdel med att använda ljud i utställningar? För att synliggöra detta har en analysmodell konstruerats. Analysmodellen har konstruerats med hjälp av den teori som ligger till grund för uppsatsen. Teorin som används är filmljudsforskning, musikforskning och soundscapeforskning.</p>

Inslag av upplevelsebaserade utställningar, såsom museum och science centers, i skolans verksamhet är ofta uppskattade av både lärare och elever. Utbudet av utställningar har ökat de senaste 15 åren och forskning som gjorts inom området visar att det finns brister i hur lärare använder den externa resursen som dessa utställningar utgör. Resultaten pekar på att klasserna ofta är oförberedda och att utställningsbesöket sker som en isolerad händelse som inte införlivas i det arbete som äger rum i skolan. Kunskap om hur den informella lärandemiljön i utställningen länkas samman med den formella lärandemiljön i skolan är önskvärd och detta arbete syftade till att bidra till sådan kunskap. I studien har elva lärares erfarenheter av att använda en upplevelsebaserad utställning i undervisningen undersökts genom en kvantitativ och en kvalitativ metod. Resultaten visar att både lärare och elever var väl förberedda inför besöket och att erfarenheter från utställningen har använts i klassrumsundervisningen efter besöket. Resultaten visar att lärare använder sig av utställningen på olika sätt och en viss koppling kan göras till lärarnas syn på lärande. Lärarna anser också att utställningens fysiska miljö är en resurs som kan ge eleverna möjlighet att uppleva och upptäcka kunskap som inte kan skapas i klassrummet, men att både utställningsutbudet och organisatoriska svårigheter minskar antalet utställningsbesök.

This bachelor thesis brings up a discussion about museums availability and access to thearchaeological display objects towards blind and visually impaired visitors. The study phasewill take start in analyzing four museums in south Sweden, all which have exhibitions aboutthe prehistory.Visually impaired and blind visitors don’t have a lot to go on at the current exhibitions aboutprehistory. This is because of the lack of access and availability when it comes to their specialneed. To raise awareness to this problem I took out a survey for the museums to answer. I alsovisited two of the exhibitions to make my own opinion of the museums public areas; such asthe entrance, hallway and the exhibition area. Things I looked out for were Braille, audioguides and objects to touch.The sense to touch is of most importance for visually impaired and blind to create an image ofan object. Because of this I discuss the ability for an exhibition where most of the objects areexposed to all visitors to be touched. An exposure of archaeological object to benefit needsfor visually impaired is an important discussion towards the management of thearchaeological display objects, which leads the study towards replicas and experimentalarchaeology.The conclusion was that it is quite possible to design and customize an archaeologicalexhibition for the visually impaired by factors like; reconstructed objects, route marker fororientation, Braille and audio guides with well rendered image descriptions.

Summary It is inspiring to see museum visitors evolve and develop through art exhibitions. Great potential lay in facilitating the learning experience by art exhibitions, and the possibility of designing exhibitions that make visitors attracted to learn. The purpose of the present work is to study the means of creating favorable conditions for lifelong and enjoyable learning in art exhibitions.   The concept of learning has multiple definitions, and several have been used effectively in various ways in preceding works. The underlying principle of this work is that visitors learn by actively processing information in their own minds and through experiences. The term lifelong learning is often associated with employability and adaptability. In this work, the view of lifelong learning is from a museum perspective, and that it is a form of learning that involves enjoying learning and actively seeking opportunities to learn, irrespective of the level of education and employment status. We define enjoyable learning at art exhibitions as a state of mind when visitors enjoy themselves because they are learning.   Art education has, since the first museums were founded, strived for becoming more available on many levels. Art educators have pursued and attempted to construct more pleasant forms of learning involving more dialogue and participation of visitors. Given that the field of art education is constantly evolving, critical examination of current practices remain useful tools.   A series of questionnaires were handed out to museum visitors during four exhibitions. The visitors were asked to define the reason for coming to the art exhibition in question and to formulate their perceptions of their learning experience. A total of 200 questionnaire replies were collected, examined and analyzed. The primary attraction to the art exhibitions was to have an art experience. 72 of 200 people came just to see and experience art, and 124 people responded that they came to see and experience art along with any of the other options. There were only 6 people who came just to learn, and just as many said they do not like to learn and discover new things in art exhibitions. Based on these results, we find that providing motivation for learning appears important and an underexplored area. To create favorable conditions for lifelong learning in art education is to get a clearer link to personal development and employability. One can facilitate, and attract, visitors to enjoyable learning in exhibitions by letting them know more about the museum, the staff and the thoughts that are behind the exhibits. Partnerships can attract more and new visitors. It is important that the exhibition has an art education that is well established which can enhance the experience of art. The pedagogy should not interfere with the experience of art, considering that some visitors were disinterested or even negative towards learning. Many of the respondents were satisfied but wanted more information through interaction with staff and/or artist. The greatest art educational challenge appears to be providing the visitors motivation for learning by giving them what they did not know they wanted.     Key words: Art education, Museum, Exhibition, Lifelong learning, Enjoyable learning. Sökord: Konstpedagogik, Museum, Utställning, Livslångt lärande, Lustfyllt lärande.