I have explored the combination of sound, textile and space. How can one create textiles to use as sound dampening material in an arts and craft practice? To enhance the architectural aspect of textile as one of the five building materials I have chosen to weave walls. Walls don´t have to be straight or go from floor to ceiling but they should somehow create room and divide the space. I felt the need of walls working within Konstfack because of the distraction of fellow students in the open space classroom. Torn walls tells a story, we see the left traces. These traces I wanted to convert into woven textile. Sounds of people and objects in public spaces bounces between hard surfaces often without dampening, this creates an environment that causes stress and distraction. In Virginia Wolf´s essay “A room of Ones Own” (1929) she points at how important it is to create a workspace for the professional you, to take place and be part of the public realm. A big part of this master project has been making the actual materials to build with and executing fibre. Does the material do the job of sound absorption? Wool and silk both have a fibrous cell, which is suitable for sound absorption they also have low flammability and is biodegradable; therefore I chose to work mainly with these fibres. I share my knowledge through the experience of the space I create. How to create o Room of one´s own in an open office.

A need for new churches arose in Sweden during the 1950’s when modern suburbs for the growing urban population were developed around the Swedish cities. Four architects, Peter Celsing, Sigurd Lewerentz, Hans Borgström and Bengt Lindroos, who were known for their profane modernist architecture, were commissioned to design three churches in Stockholm's new districts: S:t Tomas kyrka in Vällingby, St. Markuskyrkan in Björkhagen and Söderledskyrkan in Farsta and all were inaugurated in 1960.  The purpose of the essay is to investigate how the sacral textiles of the three modernist churches look like in the year of inauguration and how they related to their respective contexts in the form of the modernist church rooms 1960. The investigation is done with the help of the questions: How do the sacral textiles look like in the modernist neighborhood church? Why do they look the way they do? What has influenced their appearance and design? The questions are answered with the support of the theories Material Culture and the performativity theory, and the investigation is carried out using Material Culture as a method and the textile science documentation method. In order to be able to determine what modernity was in the contemporaneity of the sacral textiles, whimsical terms have been operationalized, which are taken from the contemporary literature that speaks about what the modern can be or not be. This is a theoretical starting point from which the investigation into modernity starts.  The result of the investigation shows that the sacral textiles in their newly manufactured parts was influenced by the modernist church context. It appears in the essay that the influencing factors were several and they appeared in the context of the church ́s liturgy, the architect ́s visions and the designers’ artistic signature in expression. These gave effect in different ways to the appearance and design of the sacred textiles.