| 1. |
- Krohn Andersson, Fredrik, 1973-
(författare)
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Kärnkraftverkets poetik : Begreppsliggöranden av svenska kärnkraftverk 1965–1973
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The first Swedish commercial nuclear power plant was ordered in 1965. By 1973 it had been inaugurated, and building work had begun on the remaining three facilities that became the locations of Swedish large-scale nuclear power production. This thesis explores what kind of architectural objects, in a broad sense, the nuclear power plants in Sweden was discursively constructed as during these years. During the post war years enormous expectations were in Swedish politics attached to the implementation of nuclear power technology. An important discursive figure was that energy was of fundamental importance to society. Simultaneously it was articulated that nuclear power would provide an unlimited supply of energy. Society therefore was on the verge to a completely new era, an era which was to materialize through the nuclear power plant. Drawing upon Norman Fairclough’s theorization of discourse, three different orders of discourse are delineated wherein the nuclear power plant during the period 1965–1973 could be conceptualized as building: a discourse order of architecture, of landscape and of cultural heritage. It is a question of what sort of collective identity that is constructed through the utterances on nuclear power plants. Through the orders of discourse not only objects are produced, but also a who, on a collective level, that is producing them. These orders of discourse are connected to three different specific modes of temporal orientation which are formative for collective identity: towards the future, the past, and a position outside of history. Through an analysis of utterances and narratives in magazines, official texts, films, etc., this examination shows that in contrast to an international context, the nuclear power plant in Sweden was almost completely negated within the discourse order of architecture. Instead it was within the discourse orders of landscape and of cultural heritage that the nuclear power plant was to be conceptualized.
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| 2. |
- Bergman, Elin, 1983-
(författare)
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Trädgårdens textur : Rumsliga, materiella och sociala perspektiv på den privatägda trädgården i Sverige cirka 1900-1930
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The subject of this dissertation is privately owned gardens in Sweden circa 1900–1930 and aims to identify and make visible their meaning and impact on different societal levels. Sweden, like many other European countries, faced profound societal changes during the nineteenth and early twentieth centuries. This was in part due to a major increase in population, the development of new urban environments, a growing working class, and migration within and out of the country. The culmination of these circumstances had an impact on the development of society, more broadly, and on housing, in particular.Prior scholarly inquiries across multiple disciplines have studied the home as a locus for various social relations and expressions of aesthetic ideals. However, the outdoor space of the home has not been specifically included or emphasized in previous research. The focus of this dissertation is therefore to examine gardens within the private sphere – in physical form as well as in their conceptions – concentrating on spatial organization and material constitution within the social context of the time. The aim is to make visible the ways in which the garden acted as an important part of the construction of the ideal home, in theory as well as in practice. In so doing, gardens and garden practices of the early twentieth century are historically, culturally, and socially situated.The theoretical framework is built upon the concept of texture which combines the theoretical fields of spatial theory and materiality. The approach and the use of texture emphasize the material elements that are essential in the constitution of the garden (but not always considered meaningful in their own right), as well as the relationship between humans and their surroundings, particularly with regard to home-making and relating practices. It includes analyses of individual materials’ physical conditions and the way they are experienced with the senses. Furthermore, it highlights the material and visual merging of materials as a perceived whole and the relation of the parts to that whole. Finally, it elucidates the socio-cultural relations between objects and environments which are then experienced, used, and changed by human subjects. The dissertation demonstrates the various meanings of the garden and garden practices, based on a vast set of empirical sources selected on principles of geographical and demographical diversity during the selected time period. The result is presented in case studies. These include analyses of garden literature, the work of county gardeners employed by the Agricultural Society, and educational institutions such as Lillie Landgren’s Torshäll (Dalarna County). Furthermore, particular sites are investigated, such as the mining town of Boliden (Västerbotten County), and the private gardens of Crown Princess Margareta at Sofiero (Skåne County) and Ellen Key at Strand (Östergötand County). The study reveals the multifaceted functions of the garden. The conception of the garden’s potential was made visible in publications and visual material, which provided exemplary gardens, cultivated by – and at the same time cultivating – the human actors. The study’s emphasis on the manual elaboration of materials with a certain aesthetic ideal or practical purpose as the objective confirms that the garden is a result of spatial, material, and social prerequisites, all coalescing as the texture of the garden.
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| 3. |
- Hinners, Linda, 1971-
(författare)
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De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period.The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions.My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).
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| 4. |
- Mellander, Cathrine, 1971-
(författare)
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Arkitektoniska visioner under statligt förmynderskap : En studie av Överintendentsämbetets verksamhet och organisation 1818-1917
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall aim of this dissertation has been to paint a more detailed picture of the organization and practice of the Board of Public Buildings during the period 1818-1917, mainly through a close-up study of four consecutive architects working for the Board. Besides analysing the practice followed by the authority and the social structure of which it was a part, the dissertation also deals with aspects of its interaction with executive regional and local clients, and the effect this mutual collaboration had on the final architectural expression. The activities of the Board are in this study interpreted as a reflection of what has always characterized Swedish administration historically, namely, strong central control with a requirement for all-round official inquires and public transparency, guaranteeing the citizens’ demands for codetermination. The study clearly shows that this typically mild exercise of power, which has characterized Swedish administration, also embraced the country’s public architecture. The significance that can be ascribed to the Board as regards the configuration of public architecture was immense. The stylistic ideals initiated by the Board had an enormous impact because of the large number of cases handled, combined with their geographical spread. In this lay the strength of the authority, but its weakness as well: by virtue of its superior position, the architects of the Board could easily point out the direction to be taken by style, but subsequently, when the stylistic ideals had spread downwards to the broad masses, it was difficult to change course. It may thus be noted that the Board as an authority was a leading body and a source of stimulus when riding the crests of the waves, but in the troughs it lagged behind and was even static. Never the less the significance of the Board of Public Works and Buildings for the development of building in Sweden during the nineteenth century can scarcely be overestimated.
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| 5. |
- Skogh, Lisa, 1974-
(författare)
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Material Worlds : Queen Hedwig Eleonora as Collector and Patron of the arts
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis portrays the role of Hedwig Eleonora (1636-1715) dowager queen of Sweden, born princess of Schleswig-Holstein-Gottorf, as a patron and collector. Her role is analysed as to have played a great part in the Swedish cultural political visual production before and during the age of absolutism in the late seventeenth and early eighteenth-century.Hedwig Eleonora’s specific areas of interests have in this study been grouped as metaphorical material worlds: her active involvements in pictures, wonders and knowledge. The analysis concerns Hedwig Eleonora’s patronage strategies of painters, sculptors, ivory sculptors, hardstone carvers, jewellers and goldsmiths, as well as ideas on natural resources, rarities and scholarship, which were of great significance to the visual display and political culture created around the Swedish royal court. Furthermore, the study of her collections brings to light the influence of her international connections, including agents of exclusive commodities and scholars, as well as the great importance of her continental family network, such as the influential and prominent courts of Gottorf and Dresden, whose patronage patterns are mirrored in the symbolic environments created by Hedwig Eleonora.
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