The "Right to the City [Library]" project aims to expand and modernize the historic Stockholm Public Library, designed by Gunnar Asplund and completed in 1927. This initiative addresses challenges posed by digitization and evolving library roles while preserving the building's architectural heritage, creating a welcoming, accessible space that respects Asplund's design and introduces versatile areas.

Located in the Vasastaden neighborhood, the Stockholm Public Library is known for its unique atmosphere and architectural features, especially the rotunda. As Stockholm’s first public library, it was modeled after American libraries where patrons could freely access books. Today, it is a cultural landmark.

However, the library's current design no longer meets modern spatial and functional needs. The extension project, informed by research into Asplund’s work and contemporary library design principles, aims to create an inclusive space that fosters intellectual growth. By restoring the library’s relationship with the city, the design seeks to counteract the imposing nature of the original structure, promoting accessibility and community engagement. This aligns with Henri Lefebvre's idea of "The Right to the City," where urban spaces are designed for and by the people.

The design process ensured a harmonious connection with the existing library while introducing new functional spaces, resulting in three primary components: the hallway, the stairs, and the observatory.

The Hallway: This transition and circulation space links various parts of the library, facilitating movement and access.

The Stairs: A complex set of interior and exterior stairs enhances connectivity between the library, observatory, and hill, integrating the new addition with Asplund’s design and connecting the library to Stockholm.

The Observatory: Mediating between the rotunda and the hill, the observatory provides additional library space. The reading room at the top contrasts with the grand, introspective rotunda of the original library, designed to be intimate and outward-facing with eye-level views. The design emphasizes a domestic, inviting atmosphere, embodying the idea that everyone has the right to be part of the library's community.

The extension increases the library’s usable floor area by 6630 square meters, including more educational and group study spaces, an auditorium, a café, and back-of-house facilities. The observatory's reading rooms provide panoramic views, creating a more inviting and accessible environment than the original library's formal reading spaces.

Using local materials like granite and ceramic ensures the extension's durability and aesthetic harmony with the existing building. This thoughtful blend of old and new addresses modern needs while respecting the Stockholm Public Library's historical value, creating a more inclusive and versatile environment that enhances the site's overall coherence.

The outcomes of the recently published research Onafhankelijkheid, Dekolonisatie, Geweld en Oorlog in Indonesië, 1945-1950 unveil the practices of violent Dutch armed forces during the Indonesian National Revolution and colonial period. These new revelations prove that there is still a lot to learn about the complex social systems of different ethnicities, classes and genders in the former Dutch East Indies during the colonisation. In the early 19th century, the Netherlands colonised the former Dutch East Indies (now the Republic of Indonesia). Dutch families and individuals inhabited the former Dutch East Indies from colonisation until the Indonesian National Revolution. With the introduction of the Kodak camera for private use at the end of the 19th century, family life in the former Dutch Indies was choreographed, captured and documented through photographs. The galleries of the family homes, where domestic scenes are enlivened in the comfortable shelter by walls on three sides of the outside room, are often the backdrop of these photographs. Accordingly, “Captured on the Gallery” examines how Dutch and Indonesian women were portrayed on these galleries at the beginning of the 20th century. An image analysis based on preserved pictures by the Tropenmuseum in Amsterdam provides insights into the gallery’s spatial features and how these concerned Dutch and Indonesian women. As a result of close examination, galleries can be considered a befitting place for the daily practices of both Dutch and Indonesian women. This result appertains to the gallery’s liminality that establishes a safe transitional space between indoors and outdoors. This liminal space allows women to simultaneously perform domestic work and connect with their surroundings. Moreover, pictures of the galleries prove that boundaries between Dutch families and their Indonesian domestic workers could dissolve and become explicitly pertinent. Altogether, the results of this research shed light on the ethnical, social and economic differences between Dutch and Indonesian women in the former Dutch East Indies.