Page 1

A Architecture Selected

Works

2011 - 2019

P O R T F O L I O

M 1


2


I m p r i n t

Antonia 2011

Work

Royal

Myleus -

2019

ranging from Bachelor’s to Mater’s Degree Institute

University

of

Technology (KTH)

of the West of England (UWE)

Illustrations and Photographs are of the author unless stated otherwise

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contents.

01

p.08

t h e s i s

CV a b o u t 1993 Education Interests

4

p.06 m e -

Work

-

p r o j e c t

02

p.42

m a s t e r ’ s

Weaving the urban fabric through Architectural Degrowth

Collective housing for performance artists

03

04

p.50

m a s t e r ’ s

m a s t e r ’ s

What

Teenage

is

a

home?

SESC

p.58


05

p.70

06

p.80

07

p.92

m a s t e r ’ s

m a s t e r ’ s

m a s t e r ’ s

Wasting

Kindergarten

Art

Space

08

p.100

d i p l o m a A

route

to

the

p r o j e c t hive

09

center

p.104

b a c h e l o r ’ s Merging

re-use

landscapes

p.108 i n t e r n s h i p Sandellsandberg

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ABOUT ME

CV

Antonia Myleus (F) Swedish

11/03/1993

antonia.myleus@gmail.com (+46) 70 383 04 10

ABOUT Hi! My name is Antonia Myleus, I am a newly graduated Architect from KTH (Royal Institute of Technology) in Sweden with an Honorary Mention from my thesis project; Weaving the Urban Fabric Through Architectural Degrowth. I am passionate about social architecture, (social) sustainability, social/collective housing and public spaces, which I have specialised in further during my Master’s when I participated in the ‘Social Sustainability Design’ and ‘Social Housing studio’. I have experience in a range of projects from public, offices, villas, housing, apartment blocks, masterplanning, detailing, building permits and holiday homes. I’m passionate about experiencing new cultures and places as I have lived in four countries so far. I am also interested to learn about new (sustainable) materials and methods.

S C2 W E D I S H

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E C2 N G L I S H

F A2 R E N C H

D A1 U T C H

I A1 T A L I A N


CV

W Architect o SandellSandberg, SWEDEN 16/11/2016 - 23/06/2017 r k Collaborative projects & Responsible for individual projects

E Intern (Architecture) x SandellSandberg, SWEDEN p 15/06/2016 - 15/11/2016 e Everything from masterplans, model makr ing to building permits i e Planning Assistant ÅF, SWEDEN n 10/08/2015 - 02/02/2016 c Working with landscape architecture, e Nacka 2030 & graphic design

E Master of Science, Architecture (MScs) Tekniska Högskolan (KTH), SWEDEN d Kungliga 20/08/2017 - 04/06/2019 u Mention (Top 5 projects) c Honourable Thesis project: Weaving the urban fabric a through Architectural Degrowth t i BA (Hons) Architecture & Planning of the West of England, UK o University 28/08/2011 - 06/06/2015 n Degree: High 2.1 Bachelor Project: A route to the Hive

Erasmus

Politecnico di Milano, ITALY 11/08/2013 - 04/07/2014

Average: 30 (Highest)

European Baccalaureate

European School of Brussels, BELGIUM

Intern (Landscape & Traffic) ÅF, SWEDEN

04/08/1999 - 05/06/2011

01/05/2015 - 01/06/2015

Bachelor project for town planning completed at ÅF

PAL-Leader (Peer Assisted Leader) University of the West of England, UK 05/08/2014 - 05/03/2015

Leading,teaching & helping my own group of first year architecture students

P Exhibition r Candid Arts Trust, London, UK 10/06/2015 - 20/06/2015 o j Bachelor project selected to be exhibitied e Booklet c KTH, SWEDEN t 15/05/2018 - 25/05/2018 s Project manager for putting together studio booklet of all student projects

Project presentation

School of Archtiecture, BRAZIL 15/04/2018 - 15/04/2018

Public presentation on a collaborative project that I did with another student,regarding local interventions based on UN global goals in Sao Paulo, Brazil.

S k i l l s

Illustrator Photoshop InDesign AutoCAD Revit Rhino SketchUp UltiMaker 3D Lasercut

C o u r s e s

Ceramics

Stockholm, SWEDEN

05/06/2019 - 18/06/2019

Short Course exploring basic techniques within Ceramics

Where we are and where we could be Sao Paulo, BRAZIL

10/04/2018 - 17/04/2018

Collaborative project between KTH and the School of Archtitecture in Sao Paulo.

Donana, out of the city

Politecnico di Milano, ITALY 11/02/2014 - 19/02/2014

Local interventions in Donana, Spain.

Berlin Parks

Politecnico di Milano, ITALY 20/10/2013 - 29/10/2013 Photography

Haparanda 1993-1996

Travelling

Brussels 1996-2011

Yoga

Ceramics

Interventions and public spaces of the parks of Berlin.

Bristol 2011-2013

Milan

2013-2014

Bristol 2014-2015

Stockholm 2015-

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01 t h e s i s

KTH * ÅRSTAFÄLTET

p r o j e c t

individual

This Project recieved an Honourable Mention, placing it in the top 5 projects (out of 100).

My aim for this project is to challenge the notions of consumer societies, responsible production & consumption, as well as an exploration in an option of what to do with textile waste.

The weaving of cloth is one of the oldest crafts we have and can dictate everything from our role in society, aesthetics, religion, shelter as well as dictating urbanity. In Sweden, the textile industry has flourished since the 1800’s but today it remains a forgotten industry. Economic growth has long been the definition of consumer societies, but at the expense of the extracting of natural resources, waste, rising temperatures, and many more environmental factors which indicate the urgency of this problem. The average Swede buys 12 kg textiles/person/year and throw away 8kg and only 0.02% of textiles are being re-used in Sweden. - 73% of textiles ends up in landfill - 70% clothes recycled abroad - Only 0.01 % uses looped systems - I aim for, 1. Reduce reuse recycle 2. Increase clothing utilisation 3. Improve recycling 4. Joint implementation between actors. A shift in how we build and what we produce is called for; should it continue as mass-production of cheap items, or should it go back to individual production of goods? Or do we need to find other ways of making and relating to products that does not become exclusive only to the few? But how do we go about this shift? Should we go for an architecture of alternatives – or perhaps even experiment with an architecture for degrowth? Architectural de-growth confronts the association of economic growth as ‘good’ in order to open up to alternative ways of organizing societies. Architectural ‘de-growth is not about building less, it is about building differently, according to social needs rather than economic profit. It is also about acknowledging that there are possibilities, or necessities to create architecture that promote different, or alternative lifestyles where excessive consuming is not the most important thing.

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15/01/2019 - 04/06/2019

Weaving the urban fabric through Architectural Degrowth

Based on my research question, searching for an architecture of alternative, I thus propose to create a different kind of factory, integrated in a neighborhood scale where the raw material is based on public donation of textiles rather than extraction of natural resources, celebrating ‘trash’ as a resource. I also propose to grow flax flowers (linen) in order to create locally grown natural fabrics. The aim has been to explore a factory, situated in Årstafältet in Stockholm, Sweden, where various actors in the textile production chain are in proximity or work with each other, where functions of recycling, repairing, reusing, public, private, production and consumption are all interwoven both externally and internally. After having looked at this question of degrowth, and what it means architecturally, perhaps it’s not about creating a factory where the end goal, the product is in focus, but rather exploring the concept of how to deal with textile waste, and how these moment of interaction between production & consumption happen. It’s about creating a place where interaction happens between person giving clothes/visitor, and worker or individual business owner in order to create transparency throughout the whole process, opening it up rather than hiding it, being able to see the vast process that is required for making a single linen shirt. Perhaps architectural de-growth is not only about re-using and re-making and repairing materials, but rather creating an opportunity for both consumption and production to both influence and co-exist parallel to each other, interwoven on a micro and macro scale. Creating a place where consumer needs exist, but in a different way. A different type of growth, an architecture of de-growth.

Weaving the urban fabric through Architectural Degrowth


Courtyard Axonometric

Weaving the urban fabric through Architectural Degrowth

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Problems Today

10

Weaving the urban fabric through Architectural Degrowth


Problems Today

Weaving the urban fabric through Architectural Degrowth

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Urban Fabric

- Analysis

Consumption

Holes in the Urban Fabric

Production

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Distribution

Weaving the urban fabric through Architectural Degrowth


Holes in the Urban Fabric

Site Plan - Årstafältet, Stockholm, Sweden

Årsta Partihallar is situated in between the two largest distribution areas and industrial areas in Stockholm. It’s where everything comes in/out. I define it as a hole due to the fact that it sustains Stockholm’s consumer patterns, but it also affects its surrounding neighbourhoods in terms of housing prices, segregation and access to leisure and types of consumption. Årstafältet lies in the middle of all of these conditions, this is why I have chosen this site. The city of Stockholm has a new plan to build 6000 houses for 15.000 people which patches up this hole without necessarily stitching together östbergahöjden in South weast and valla torg north west of the site. My issue with the plan is that it creates too many distinct areas, blocking östbergahöjden even further as well as hiding the industrial areas (East and west of the site). I thus choose this circled site as it lies in-between industry, housing and leisure.

Weaving the urban fabric through Architectural Degrowth

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How do people leave their clothes?

> Challenge the notion of consumer societies. Responsible production, consumption as well as an exploration in an option of what you can do with textile waste.

> Create a different kind of factory, integrated in a neighbourhood scale where the raw material is based on public donation of textiles rather than extraction of natural resources, celebrating ‘trash’ as a resource.

> Forming a loop of re-use, re-pair, re-cycle, thus aiming to create a looped production & consumption system, creating a circular economy rather than a linear one.

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Weaving the urban fabric through Architectural Degrowth


Weaving testings

Industry, Distribution & Production

Holes in the Fabric

Weaving the urban fabric through Architectural Degrowth

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Holes in the Urban Fabric Experimental Weaving

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Weaving the urban fabric through Architectural Degrowth


Site & Method

Size Based of the typology research, the textile manufacturing process require certain amounts of m2, they tend to be separate and often spread out with little to none relation to each other. Based of this, I have explored how to combine differenet processes and methods.

Concept Inspired by the warp and weft in weaving techniques I explored how this can serve as a basis for the layout of my buildings, public spaces, links, and how this can start to weave into the urban fabric itself, not only weaving building with function, but public with process and process with the city & neighbourhood.

Placing Analysis into links, access points and processing manufacturing lines, routes both for people (visitor & worker) as well as product (donated textile & linen manufacturing).

Final layer The final layer show how the buildings in accordance to public interaction and textile processes are placed in this new public manufacturing and visitor factory and park. Both poduction and consumption are woven together, and in turn woven into the city fabric through function and active participation, generating awareness.

Weaving the urban fabric through Architectural Degrowth

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Linear Textile Process

The Process Today - Linear

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Weaving the urban fabric through Architectural Degrowth


Poly-Input Textile Process

Adapted Process - Poly Imput Process

Weaving the urban fabric through Architectural Degrowth

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Circular Diagram

Paper Making from Residue

Fibre Recycling

Material brar

Re-use/Re-pair/ Re-Cycle

Storage

Common Market Place Donate

Sort Circular Textile Diagram

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Weaving the urban fabric through Architectural Degrowth


Circular Diagram

Spinnery

Linen Processing

Flax Fields

Common Working Area

l Liry

Cutting/Sewing

Weaving

Weaving the urban fabric through Architectural Degrowth

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Four ways to leave your clothes

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01

02

Repair & Upgrade

Clothes Library & Second Hand Shop

Weaving the urban fabric through Architectural Degrowth


Four ways to leave your clothes

03

04

Scraps for recycling

Scraps for fibre recycling

Often there is no relationship between the consumer and prodcer with regards to production, but foremost where your clothes come from or end up.

I have created four different ways to dispose, repair or upgrade your textiles. By Allowing the raw material to come from public donation rather than production, the factory is not necessarily aimed at economic growth, but rather growth in an alternative manner, a de-growth factory.

There is no sorting of textiles in the same way you sort food, and other household waste. The most sustainable way of producing clothes, fibres or textiles, is not to create new raw material, but to use existing clothes or fabric as your raw material. This is the main concept for my factory, to foremost use existing, donated clothes as raw material. By creating a place where people can drop their clothes, scraps, get them repaired or upgraded creates an awareness of how to dispose your clothes, where they end up, how the whole lifecycle works as well as being more aware of the amount of resources needed to be able to produce a single linen shirt.

The first way is clothes that are whole but that are salvagable, exchangable and upgradeable. The second way is your clothing scraps, which are recycled into new fibre and yarn. The third way is upgrading and recycling your garments, and the fourht way is larger textile scraps which are also recycled into new fibres. By creating a physical place to donate your clothes, it hopefully sparks an interest to move further along the site, weaving public and private, workers and observers, production and consumption.

Weaving the urban fabric through Architectural Degrowth

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Circular Textile Loop

5 6

1

3

4 7

2

1. Tram 2. Clothes Library 3.Textile Recycling 4. Upcycle 5.Scraps into Rugs 6. Weaving 7. Repair & Upgrade 8. Common Market Space open to the Public

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Weaving the urban fabric through Architectural Degrowth


Circular Textile Loop

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9 15 14

13

8 16 10

11

12

9. Fabric Drying Racks 10.Market & Trade Space 11. Flax food products cation 13. Linen processing 14. Spinning 15. Yarn Racks 16. Weaving

Weaving the urban fabric through Architectural Degrowth

12. Edu17. Shop

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Plans Donation, Re-use & Repair Factory

This Plan is half of the site, showing the entrance building (bottom) coming from the tram, which is the first stop where you leave your clothes. The Grey areas are all the public areas where visitors can wander, engage and always walk parallell to production. The walls are designed in a weaving manner, where one can always see what’s happening inside, but also engage with the windows and walls as well. The facade is re-used bricks and re-used windowframes and doors. The bottom right corner is where clothes that are hold gets uphoilstered, where you have the sorting, cutting, designing, weaving and selling. All the scraps goes to the left hand side, which is the fibre recycling. The scraps from fibre recycling and cutting then goes into weaving rugs or making accessories in the top left corner. The top right corner is the repair and recycle room, where you have individual booths in the facade. The buildings are designed as smaller units, which all relate to one another, in order to create movement throughout the whole site. The facades are designed to create a parallell co-existence between production & consumption, but the site can still be used on sundays. The two units meet in the middle, where the main access point between the new development and ÜstbergahÜjden takes place. Here the public (as well as the producers) can sell/exchange clothes, fabrics hung to dry, marketspaces, auction spaces, creating a secondary use for the site and building, where the sole function is not production and economic growth, rather a different way in which things can be done.

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Weaving the urban fabric through Architectural Degrowth


Plans Linen processing and Weaving Factory

This plan looks the other way from the plan on the left. Like the other plan, there is an entrance building on the bottom, selling yarn, fabrics and accessories. The plan is also a peng-wing type as opposed to a square. The Grey areas feature the public path, which is meant to take you through all stages of linen production to making and weaving of fabrics, thus being able to understand the whole loop. It’s not a dedicated route with a start and finish, rather an explorative route where one hopefully wants to turn around the next corner. The bottom left features flax fields with outdoor working areas (the platforms). The facade on the bottom left are linen drying walls, with internal linen processing areas. The building continues to processing in the middle, to spinning on the right hand side, to yarn storage on the top right to weaving of the fabrics top and top left. All the areas are connected to a dyeing and drying courtyard, where the public can also access, creating this parallel route between production and consumption. Further along the site, the common market space is shown, where produce from the linen factory can hang to dry, fabrics can be sold, clothes can be exchanged and so on. Thus the whole site is a vibrant field of production, reuse, repair and consumption as well as education. The factories are separate, in order to create access points inbetween the buildings, but also designing in a medium as opposed to large scale factories.

Weaving the urban fabric through Architectural Degrowth

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Axonometric - Recycling

R e c y c l i n g & U p c y c l e F a c t o r y

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Weaving the urban fabric through Architectural Degrowth


Axonometric -Linen

L i n e n M a n u f a c t u r i n g & E d u c a t i o n

Weaving the urban fabric through Architectural Degrowth

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Repair & Upgrade

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Weaving the urban fabric through Architectural Degrowth


Repair & Upgrade

Weaving the urban fabric through Architectural Degrowth

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Elevations - Reused Bricks

Front Elevation - Upcycle Factory

Side Elevation - Clothes library to upgrade

Section - Cutting room & Fibre recycling

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Weaving the urban fabric through Architectural Degrowth


Common Market Space

Weaving the urban fabric through Architectural Degrowth

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1:20 Detail Re-used Bricks

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Weaving the urban fabric through Architectural Degrowth


Perspectives

Gutters & Drying Courtyard

Cutting Room

Weaving the urban fabric through Architectural Degrowth

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Thesis Project 05Sewing - Materiality - Problems Today Room

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Weaving the urban fabric through Architectural Degrowth


Sewing Room

Weaving the urban fabric through Architectural Degrowth

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1:20 Detail Linen Drying wall

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Weaving the urban fabric through Architectural Degrowth


Perspectives

Repair & Upgrade

Dyeing & Drying COurtyard

Weaving the urban fabric through Architectural Degrowth

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Site Iso/Axonometric Drawing

Site Axonometric - ร–stberga hรถjden to Valla Torg (Real scale 1:500)

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Weaving the urban fabric through Architectural Degrowth


Site Iso/Axonometric Drawing

Site Axonometric - ร–stberga hรถjden to Valla Torg (Real scale 1:500)

Weaving the urban fabric through Architectural Degrowth

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02 m a s t e r ’ s

KTH * STOCKHOLM ( y 2 )

10/11/2018 - 15/12/2018

Collective Housing for Performance Artists

individual

This Project started with a Dérive in Stockholm, where we had to set up a series of rules. My focus point became voids in stockholm as well as focusing on public and private spaces. The task for this second half was to find a site based on our dérive and findings, in order to build collective housing. The second part of the project was to define the site, as well as defining a group of people to house this collective. In Stockholm today, there is a severe housing shortage, and almost none affordable housing or places to rent. The municipality of Nacka in Stockholm is anticipated to grow 26.000 inhabitants by 2030, whilst allocating no creative or collective spaces. The trend thus remain to buy your own apartment. 

I have worked with two sets of ‘units’, which meet in the middle through a common practicing and culture area. Each unit features single rooms. family rooms as well as outdoor practise spaces. The public functions such as kitchens, living rooms, bathrooms and common areas are spread across the two floors of each unit in order to create spontaneous meetings between residents living in each unit. The circulation is placed on the outside of the building, where there is a second ‘skin’ acting as a membrane to the public. The middle floor is open and accessible to the public and see-through, in order not to take away the view from the bridge.

For this project I focused on collective housing for performance artists, a group of people amongst the creative arts which have little to none place to practice, engage with the public or work. I have looked into a collective housing situation that offers practice and living spaces for circus artists, actors, poets, writers and so on. There’s a public stage where the neighbourhood can partake in theatre, circus shows as well as an outdoor cinema. It is important to create meeting spaces for all types of residents in the area.

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Collective Housing for Artists


Masterplan

Site Plan Collective Housing for Artists

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Unit Diagrams

Noisy

Noisy

Apt

Waterfront

Circulation

Double Height

Live-Work-Collaboration

The Stage

Double Skin Facade

Activity

The Building sits on a forgotten space in Hammarby Sjรถstad. I have created a transparent middle floor with also serves as the common floor for residents. The middle (common) floor is also open for visitors. It is see through as it lies close to the bridge, I wanted the pedestrians to not loose the view. Having it open also creates the feeling of a certain distance. The ground floor has a theatre, outdoor cinema and public seating towards the water. There is a staircase that starts at ground level up to the street level above, creating a new access point that serves as seating for the theatre.

44

I have placed both common and private practicing spaces at the corners and edges of the building. Having the circulation at the outside of every floor also creates a natural integration between units and the people living there. By having a transclucent skin, the general public is able to see practising happening creating interest in the space, hopefully creating an interaction between neighbours and the performance artists living in the collective. The materiality is wood, with wooden secondary structure and concrete internal beams. Polycatrbonate serves as the facade.

Collective Housing for Artists


Axonometric diagram Circulation Collective Housing for Artists

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Unit Plans

Unit Floor Plan - First floor

Unit Floor Plan - Second floor

Elevation Detail

Perspective Front Square

46

Collective Housing for Artists


How the two units work

Housing Unit 2 - Living & Eating

Housing Unit 1 - Gather & Performance

Collective Housing for Artists

47


Section Axonometric

Section Axonometric

48

Collective Housing for Artists


Section Axonometric

Collective Housing for Artists

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03 m a s t e r ’ s What

is

a

KTH ( y 2 )

20/09/2018 - 06/10/2018

Home?

individual

A home can be a physical place but also a concept or an idea, which often materialises into a feeling constructed by your cognitive mind rather than the actualities of your physical surroundings, forming the basics of a shelter. The feeling of home can perhaps be described as a ‘value of belonging and intimacy on scales that range from the body to the world’ (Angelova, 2010). Home is where privacy is bought, temporal changes are recognized, where patterns, changes and daily routines all occur parallel to each other and ‘where the personal experiences reach its epitome’ (Bachelard 1958). The home can also be explained as a container of memories and things as well as the entrance to one’s soul and fragmented mind. I believe that home is not only connected to a certain location, but that your social relationships, collected things, fragments of previous dwellings and memories help constitute the overall feeling of ‘being at home’. I believe that you always carry fragments and memories of previous dwellings with you, it’s a cognitive memory which makes up your current view on spaces and your surroundings. The feeling of home does not only relate to your mind but your collected belongings that you move with you. Things relate to past experiences and past dwellings, they help you to mentally organize spaces. Home does not only relate to memories and things, but also the neighbourhoods and collections of spaces in your milieu. They relate to your daily routine, where your social network is, thus home is also the journey of returning to a place, a sense of bodily crossings in terms of thresholds. What does memory in terms of home mean, and how do we define it? One way is in relation to the body, ‘our memories are products of our body’s experience of physical space’, it manifests in our routines, daily lives and how we inhabit space. There is no memory without body. The body influences the mind just as the mind influences the body. Memories happens through our experiences and actions, they are the result of our collected and lived memories manifested into your everyday actions and routines, your routines also create a future by the doings of things and relating to the spaces around you. I chose the film ‘Jeanne Dielman’ by Chantal Akerman, which showcases a ‘cinematic representation

50

of the duration, tempo and rhythm of Dielman’s every day to day life’, the movie spans across 3 days in her life. The protagonist is a housewife, she has a very extreme routine where certain actions and things start to penetrate her routine. The story is secondary to what I want to investigate in, I am foremost looking into her way of inhabiting her own home, what the reoccurring events are and which things are loaded with meaning. * This study aims to understand the possible relationship between the construction of memories through a daily routine and the physical environments where these are played out, imagining her home as a container of memories with have permeable and fragile points. The implementation of memories in a space is formed by your collective experiences, routines and ways of relating to a space, but how do you extract memories from a place? I studied what constitutes the ‘feeling’ of a home by filling in the gaps of her fragmented apartment. The physical existing fragments relates to her bodily relations to her spaces, her daily routine and her belongings, but what completes the ‘feeling of home’? When moving through spaces, the mind rarely thinks of spaces in terms of floor plans but instead, as a series of linear spaces. Your actions depict the spaces, where the physical surroundings merely form a background. Thus, I am investigating how much is actually needed to form the basics of ‘feeling at home’, what’s important in terms of visual connections, height of walls, size of the roof, openings and floor? By doing this, I am hoping to find how this new formed relationship affects her routine, speculating how a new spatial relationship could be formed. What parts of the apartment would be used? What parts could again be removed? Which spaces need to stay permanent and private? This process of fragmenting the apartment from her body’s experience through her routines, filling in the gaps with new physical interventions, looking at her new way of relating to her space, fragmenting it once more, and filling in the gaps again, I hope can potentially start to inform me what you actually bring with you in terms of memories, i.e, how you extract them? What is actually forming the basis of home and what to you bring with you? Then comes a final question, how do you allow room for expansion?

What is a home?


Jeanne Dielman

Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles Feo Xa Zoochat

Movement throughout movie

What is a home?

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Movement & Method

52

What is a home?


Anchor Points

Movement Diagram Bedroom

Movement Diagram Living room

What is a home?

53


Adaptations to the plans according to rutines & Anchor Points

Fragmented Plan According to routines

Plan of Apartment

54

What is a home?


Final Adaptation to the plan

Final Fragmented Plan

What is a home?

55


Deconstructed Apartment

56

What is a home?


Deconstructed Apartment

Axonometric

Hallway

Memories are constructed by everyday action, and home in turn is constructed by memories. This study aim to figure out a process in which this could be applied to, the result would be different to everybody. Fragmented way of looking at the essence of home, what it actually means to feel at home, and how you habitate spaces and how you can bring that with you.

Axonometric

Dining Room

The new layout is the process of the mind through routines, can adapt and expand like the mind, and is based on your habits.It’s a different way of looking at how you can construct your home, and identify the things that are most important to you. I’m arguing that by having certain anchor points, even without walls, and if you would move it, you could still habitate the space in the same way, but you also need certain physical fragments to make up the overall ‘feeling of being at home’

What is a home?

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04 m a s t e r ’ s Teenage

KTH * BRAZIL ( y 1 )

20/04/2018 - 20/05/2018

SESC

Collaborative

This project started off with a study trip to Sao Paulo, Brazil in 2018. Looking at social housing in relation to the government, as well as taking in consideration the previous research that had gone into the project before the trip, we chose an old theatre (Art Palacio) that also has an hotel in the city centre of Sao Paulo. The SESC’s in Sao Paulo work towards providing social services for those working in commerce, however, ages 12-18 do not have access to these social amenities. Our project aim to provide educational facilities, culture, sports facilities, a boarding school, places of repose as well as skill-based workshops for youths. The street and public space continues throughout the former theatre up to the fourth floor, which acts as the meeting & merging space for the public, youth, and residents of the social housing. Ideas regarding living arrangements, who has access to what and bringing the public up into the building has been key throughout the project. The theatre itself has already been

58

(2)

refurbished, and the hotel rooms themselves were in good shape. We thus did not want to rearrange the building too much. By pulling back walls, we were able to create an outdoor space for each apartment in the social housing part. We also created a public ‘street’ in all levels, and by removing rooms on the 4th floor we were able to create a mediating and neutral meeting space between the public, residents, theatre and the street. We have kept the current hotel layout but extending the circulation, letting it act as the new street for all residents. This also allows for vertical and horizontal meeting spaces as well as views. By extending the circulation to the old lighting shafts, the apartments become bigger. This gives the possibility to provide private outdoor space either to the street, or to the new cirulcation. The project tackles questions regarding the role of the bedroom where variations to the existing hotel rooms have been tested, concluding ’The more people the higher the bed’.

Teenage SESC


Kept & New

Site Plan & Access

Refurbished Hotel into Collective Housing Black (Moved/New) White (Kept)

Teenage SESC

59


Typical Floor Plans

Typical Floor Plan - Floor 1,3,6

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Teenage SESC


Typical Floor Plans

Typical Floor Plan - Floor 2

Teenage SESC

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Details & Public Access section

Section - SESC (Old theatre) to new Social Housing (Old Hotel)

Section - Street to Climbing wall, Social Housing & Rehabilitation

Detail - Recessed Glass Door created old window as balcony

Detail - Old Floor Slab meets new Shaft

Detail - Added Roof Top

The three details show the pulled back walls in order to make use of the window, creating a balcony and outdoor space. Working with the height of the window, we have added a step into the balcony from the apartment to break up the space. The second detail show the current structure that the hotel has and the new light shaft where we have placed the new back street. The look is resembling scaffolding, but wood gives a more permanent and warmer feel to it. The floor is corrigated metal to allow for light throughout all the floors. The back street serves as the social function for each floor, but also have different functions to allow for social interactions across all floors and residents. The third detail show the added floor along with the added common roof top space. Therapy, group and sport rooms are placed at this level as well as a garden for repose and growing your own vegetables. The added floor has green tiling opposing and complimenting the existing white tile.

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Teenage SESC


Social housing alternations and alternatives

Recessed Glass Door, Balcony towards street & Bed Above Bathroom

Recessed Glass Door, Balcony towards street, Bed Above Bathroom & Besides Kitchen

Balcony towards new shaft, Bed above bathroom and kitchen

Balcony towards new shaft, Bed besides kitchen, storage above bathroom

Teenage SESC

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Perspectives & Plans

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Plan 5 - Dormitories & Library

Plan 1 - Apartments & Laundry

View towards Climbing Wall

View towards social housing

Teenage Teenage SESC SESC


Common Extension from Street

Common Floor Plan - Level 4 Lanchonette & Reception for housing

Teenage Teenage SESC SESC

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Exploded Axonometric

Common Terrace

Rehabilitation + Garden

SH + Repose

SH + Cook

Boarding School + Library

Common area + Lanchonette

SH + Play

SH + Read

SH + Wash

SESC Entrance

Axonometric of SESC & Social Housing

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Teenage SESC


Social Housing Apartment Variations

Axonometric Diagram - Family Apt

Axonometric Diagram - Single/Double Apt

The Axonometric to the left shows the variour floors in relation to the transformed old theatre in relation to the city. We have worked with extending the public space and street into the new teenage SESC (Old theatre) as well as up to the fourth floor, creating a meeting space for both teenagers, visitors and the people living in the social housing. The yellow shows the circulation spaces. We have added an elevator in the further right corner throughout all floors. By Opening up the light shaft we were able to create a communal space that is different to every floor. By spreading out the functions (library, repose, wash, cook) throughout all the floors also ensure spontaneous social interactions. The layout remain the as the old hotel, but we have worked with changeing the layout and adding walls to the back in order to create larger apartments and each apartment having the possibility of an outdoor space, eitehr to the steet or to the newly created ‘back street’. The two diagrams on the top shows the different types of standad apartments we have created from the old hotel. The bigger ones are for larger families, but the same m2 can be split into two apartments for smaller sized families. We have also looked into sleeping arrangements, focusing on creating large living areas as opposed to large bedrooms that are only used in nighttime.

Teenage SESC

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Common Ground Floor & Elevation

Section - Street to SESC

Front Elevation - Added top floor in green and wood. Removed Old staircase shaft to create balconies, opened street level

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Teenage SESC


Refurbished Theatre

View from SESC to Social Housing Teenage SESC

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05 m a s t e r ’ s Wasting

KTH * BRAZIL ( y 1 )

05/01/2018 - 02/02/2018

Space

Collaborative

Can the provision of electricity help decrease social inequality in public spaces? We were given 2 global goals to look at in relation to an area in the city centre of Sao Paulo. Our two global goals were 7 (Affordable & Clean Energy) & 11 (Sustainable Cities and Communities). The first half of the project consisted of a research phase, where we focused on finding out problems but also opportunities for the second half.

education and so on. We wanted to create a neutral meeting space for all types of people. By creating an electricity grid in the form of poles, it could potentially start creating a neutral, safe meeting space. > The project explores the activities that can be generated, only from active participation in the form of donating your waste, and the implied activities the objects provided can form.

What we discovered in the first half was the vast energy being both produced and consumed, mostly from oil and gas and hardly any renewble resources.

> Creating an off-grid solution that generates renewable energy through community participation, as well as tackling the problem of waste in cities.

We also found out that electircity is the most hijacked form of electricity provision due to the unjust social system for paying electrical bills as well as there hardly being any public spaces that are safe or lit up. Out tast was then to combine the knowledge of creating some form of renewable energy in relation to an area where there is hardly any meeting areas.

> Education regarding waste management through active participation of throwing waste & making the process visible.

The second half of the project was the more in depth site analysis. Out project is situated in Bixiga, Sao Paulo. We found out from research that not only is it the most hijacked area for electricity, almost everyone have their own phones without any place to charge. We also found out that the area has a lot of restaurants where the food waste could be seen as a potential. We started to think how we can combine food waste with electricity, public space and wifi. We came up with a system of give & take, where people not only run the public space by getting rid of their food waste, but the public space in turn creates the eneryg into free wifi and lighting, with outdoor cooking spaces, cinema,

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(2)

> The public space is generated through density in the form of bodies > The public space can only be generated through the active participation of the block and its surroundings. > The objects have been modified vertically & materially to create an electrical landscape powered by the waste plant. > The electricity landscape creates reference points for people to generate their own activities, as well as creating a safe, accessible & transferable public space > The public space is defined by single multiplied and modified objects and is generated through the density is creates from bodies and their singular, or collective activities.

Wasting Space


Neighbourhood Analysis & Electricity Reach

Provided Electricity reach

Wasting Space

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Problems in Brazil Today

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Wasting Space


Small Scale (Organic) Waste to Energy Plant

Organic Waste Plant Axonometric Diagram

Wasting Space

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Access & Interactive Processes

Plan - Electricity grid & Plant

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Wasting Space


Public Space & Grid

Diagram - Electricity Poles FUnctions

The whole concept is to foremost create new access through the neighbourhood block as well as working with the concept of give & take. By creating place. From poles which have street

an incentive to throw away your organic waste you also create a meeting the waste you get access to electricity from the provided electrivity also functions as safe lighting in a neighbourhood that otherwise doesn’t lamps.

The poles also gives off free wifi, but only powered by the amount of food waste that is thrown away. By having the waste power plant visible andintegrated withing the public space created a relationship between production, consumption, education, repose, cooking, selling.

Section - Electricity Grid provided from Organic Waste

Wasting Space

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Electricity Grid & Interaction

Wifi and plugs integrated in the poles

Poles are transformed into furniture

Visible turbine to understand the process of creating electricity

Cover to reduce waste odors

Top perspective of site Angle to facilitate the dumping of waste

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Wasting Space


Nighttime Perspective Electricity Grid & Interaction

The stairs create a small auditorium or an open air cinema

The pole is transformed into a lamp and a bench to provide safe places

The water tanks are place higher to facilitate the delivery into the pipes and the taps

Wasting Space

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Electricity Grid Diagram & Public Use

Diagram - Activities within the grid

We have created a grid which is suggeative rather than divided into functions. By providing tables around the poles suggests places for working, seating suggests repose or charging your phone. Plugs on the ground or in the middle suggests individual or group activities such as listening to music, setting up market spaces, cooking areas or theatres. The spacing between the poles also suggests the functions or activities possible on site, either places where you walk, site, form as groups, or watch a movie. We have intended to create a neutral and safe meeting space for all types of people living in the neighbourhood, as well as people passing by just needing to charge their phones.

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Wasting Space


Daytime Perspective - Marketspace Daytime vs Nighttime Use & Wifi

Daytime - Public market, education, kitchens

Night time - Public Cinema, Lighting, Seating, Wifi, Plugs

Wasting Space

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06 m a s t e r ’ s

KTH * ÖREBRO ( y 1 )

27/10/2017 - 05/12/2017

Kindergarten

Individual

This is a transformation project of an old warehouse, part of the wagon workshops in Örebro, Sweden. The task was to transform a former workshop of choice into a kindergarten. I set a rule for myself - ‘what’s already changed I can change again’, thusly I was for example able to remove two walls, opening up a public street. I kept the entrances as they originally had been placed, but as the western facade had previously been covered up, I worked a lot on the fenestration. Punching holes in the original brick wall to form a new contemporary look yet being respectful to the original facade and materiality.  I have worked a lot with the windows, there are 4 different kinds, either being designed for the child or for the pedagogue. Following the principles of ‘Reggio Emilia’ this kindergarten is focused on hands-on and experience-based learning. Behind every corner there should be a learning or playing opportunity.  I have also focused on creating two ‘streets’ - the learning street and the playing street. The playing street is elevated by a common playing platform, where the children are in the heigh of the windows that were originally built for trains. The playing street also has a direct relation to the play yard.  The learning street hosts most of the classrooms, as well as the entrances which are extended by an additional structure which also continues throughout the building creating a direct relation between inside and outside. The entrances have been designed as ‘wind catcher rooms’ (Vindfång) but rather a deconstructed one, where it becomes a bench, playing feature or shelter. 

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Kindergarten

Playground

Dry

Take off shoes Act

Stair, slide Climb hide

Store shoes

Outside Watch Learn

Wash

Play

Play

Bake Help

Stair

Serve

act

Social

Small bake Climb

Wet play

Eat, socialise

Studio Run

Draw Sort

Tray

Discover

Games Social

100 languages Story time, breakfast,sleep

Play, Sleep

Draw

hang

Books

Eat draw Play

Light

climb draw

Discover street

Eat Draw

calm Store shoes, coats

Soft play

Discover outside

Stair

Hide Unit

Discover street

Learn to climb

Learn how to hang your coat

Storage

Take shoes off

Dry shoes

Playground

Learn to draw, eat, help, play

Private play

stair


Site Axonometric

Site Plan

Kindergarten

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Interactive Plans

Ground Floor Plan

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Kindergarten


Method

The floor plan works in a zig-zag manner where it’s possible to close the middle parts during the different parts of the day and according to need. The Grey areas is the passing through and meeting areas, not only between parents and pedagogs, but between young toddlers to 6-year olds. The light grey areas is a raised platform that reach the level of the windows perviously meant for trains, in order to fit the scale of children now. There are also internal windows in order to create a relation between units and learning areas

The main concept has been to ‘keep everything kept & Change everything that’s already been changed’, meaning that the western wall for eg that has been changed, I can change again, thereby removing it to open up for pedestrian access. The windows that are original, I keep and work internally to fit the scale of the window to the children. I have also removed the entrance in order to create two new entrances on either side of the building, working with the entrance as an elongated threshold.

Second Floor Plan

Diagram - Change vs Keep

Kindergarten

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Exploded Axonometric

Added Skylights

Added & Modified Roof Beam

Original Roof Truss

Second Floor - Older Children

Entrance 2

Kitchen & Eating Area

Theatre & Play Street

Common Space & Units Playing Street

Entrance 1

Threshold - Play/Repose

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Kindergarten


Elongated Entrance

Entrance - Sit, Explore, Play

Entrance Technical Detail (Original 1:20)

Kindergarten

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Entrance UnitKindergarten Diagram Axonometrics

Common Play

Unit 2

Section - New two floor typology vs raised platforms

Long Section with opened up windows for common playing areas

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Kindergarten

Unit 1


1 Day in the Kindergarten

Theatre play and stage

Common eating and cooking area

Playing Street Connecting to second floor

Kindergarten

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Regenerated Facade

Facade Detail - 4 window types, Adjusted scale and function

Side Elevation - Punched windows according to need and function behind the walls

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Kindergarten


Regenerated Facade & Details

Diagram - Raised Platform to adjust window scale from trains to children

Kindergarten

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Entrance

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Kindergarten


Entrance

Kindergarten

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07 m a s t e r ’ s Re-Use Center Artists

Urban Plan - Örebro Continuous Path for Open Art

KTH * ÖREBRO ( y 1 )

10/09/2017 - 20/10/2017

for

Individual

The wagon workshop is situated in-between the nature reserve and the city centre. One of the main problems of the area today is that it’s closed off by fences, it’s disorientating reaching the building and large parts are closed to the public due to its derelict use. With this in mind, I want to open up the whole building, extending the public space, restoring large parts of the façade to what it looked like before. Creating a new diagonal axis through the building from the main path on site to the allotments in the east, along with the existing paths inside the building will allow for public and experiential routes through the building, linking the wagon workshop back to the city centre whilst being connected to nature. Due to the scale of the wagon workshop, I have chosen to work with various different themes within art but also the production of art and its materials, rather than to fill it up with a single use. I have chosen to look at the building in a city-like scale, working with paths and modular buildings which can grow naturally through time when needed and according to its functions, but can also be taken down and transformed or moved when no longer needed. I want the wagon workshop to diffuse the threshold between the public and private, shifting from large scale closed-off industries for trains, to an open art and re-use factory which is largely self-sustained built by people for people and artists, focusing on the human-scale through arts and craft, creating new materials and the re-use of them. I want to challenge this thinking by creating a public space that is indoors, where people are free to roam, create, interact with artists through the whole life-cycle of creating the artwork as well as being able to pass through the space. The path can be seen as a shortcut through the building, but it also follows the whole process of reusing building materials to the finished artwork. The transformation process of the building starts with re-using the existing walls inside

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the wagon workshop to create the first building, or generator building where material can be stored, treated or transformed in order to build new workshops and residence for artists. ‘Node buildings’ with features such as pottery making, sculpting, metal workshops, wood workshops etc are built in accordance to need. Material for new buildings are treated in the workshops, where the scrap material can be used for the production of paintbrushes, canvas frames, sculpting tools etc in the smaller individual residential workshops, thusly supplying not only the people working in the building, but the local artists and schools in the area with material as well. From the workshops, walls, working spaces or showcasing spaces will grow in accordance to need and working activity, thusly the ground floor will be a self-generated space which changes over time. By taking care of the materiality of the surrounding buildings that are planned to be taken down, the material is treated in the generator building and can then continue to build more workshops or residential units. The building is divided into a 6x12m grid, where the building concept is based on modules which can be transformed or expanded through time. For the three weeks that the building will be used for Open Art, I have chosen to work with smaller ‘pods’ which fit into the grid, which makes it easy for future expansion or removal. The main purpose for these building is to create public and private working spaces as well as private living spaces, and creating equality for spaces, both in terms of privacy, openness, social interaction, rest, passing through. The whole ground floor is open, but through level changes and elongating the entrance into the public space, suggestive private working areas are created without having a formal door. Placing the buildings one ‘step’ away from the façade creates private working spaces in close relation to the façade with good light, and the possibility to bring the artwork outside and work on them there.

Re-Use centre for artists


Project lifecycle concept

DEMOLISHION OF EXISTING WALL

Locally sourced wood

Cinder block reusal for buildings

Storage + treatment of cinder blocks

workshop for treating wood Material to storgage Scrap for workshops

Art material supplied to local artists

Art work transported to Open Art

New walls

Treatment = concrete

Frames for casting + artists

Workshops; ceramics, clay, metal, wood, paint

Work + live, space to create art

Spontaneous area

OPEN ART Showcase personal work to public

Smaller workshops; - Paintbrushes, sculpting knives etc

Exhibition, work, share, walk, teach, learn

Spontaneous area

Project Diagram & Life Cycle

Re-Use centre for artists

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Concept & Diagrams

1

1. Flexible public space; diagonal path as guidance,

2

2. Self-Organised public space; smaller open rooms,

Axonometric Diagram Experience Path through Wagon Workshop

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Re-Use centre for artists

3

3. Determined public space; paths, rooms, stairs, roof


3 Social Squares

The building is divided into a 6x12m grid, where the building concept is based on modules which can be transformed or expanded through time. For the three weeks that the building will be used for Open Art, I have chosen to work with smaller ‘pods’ which fit into the grid, which makes it easy for future expansion or removal. I started to shift my thinking from what makes a public space, to what makes a public building? Which is; light, access, the feeling of welcome, openings and how they sit in relation to where people walk. The whole idea of opening up the art process follows the essence of Open Art, which encourages public interaction with the artists. The main purpose for these building is to create public and private working spaces as well as private living spaces, and creating equality for spaces, both in terms of privacy, openness, social interaction, rest, passing through. The whole ground floor is open, but through level changes and elongating the entrance into the public space, suggestive private working areas are created without having a formal door. Placing the buildings one ‘step’ away from the façade creates private working spaces in close relation to the façade with good light, and the possibility to bring the artwork outside and work on them there.

Re-Use centre for artists

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Unit Plans & Axonometric

Block

Wood

Brick

For this I have worked with reusing the material from the current wall, which creates 4 types of walls. These walls, which have different privacy and light penetration, will be placed where less or more privacy/light is needed, thus always forming a relation with the public space and the exterior faรงade. The materiality also forms a relationship with the public and allowing light penetration, yet keeping a sense of privacy and enclosure.

4 ways of using blocks

Floor Plan - Artists Recidency

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Re-Use centre for artists


Axonometric of Artist Residence

DN

DN

DN

K/F

Artists Residence Plan 1

DN

DN

Artists Residence Plan 2

Re-Use centre for artists

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Atelier & Perspective

The Back Street - Ceramics from the earth

The Back Street - Ceramics from the earth

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Re-Use centre for artists


Perspective Back Street Atelier & of Perspective

AteliĂŠr Street - Public interaction between artist & Public

Section - Public Square to Private Working Street

Re-Use centre for artists

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08 d i p l o m a (BA.HONS) A

Route

to

the

UWE * SHARPNESS p r o j e c t

10/08/2014 - 05/06/2015

Hive

Individual

Note This project was selceted as one of 10 top graduate projects to get exhibited in London (Candid arts trust) Description Bees pollinate 80% of our crops and are dying at a vast rate due to intensive farming techniques and loss of foraging areas. This scheme and building seek to raise awareness of the decline of bees, and bee related industry within Britain, and to show practical methods on how to mitigate effects of the disappearance of bees and of using artificial farming techniques, through the integration of a diverse range of programmes, which relate to bees, beekeeping, and natural honey production. The scheme further aims to make Sharpness a centre for bee foraging with bee gardens. The building is part of a scheme that builds on the already existing beekeepers’ network and knowledge in the area and aims to develop a district ‘bee cluster’ in Sharpness. The proposed building is a mixed-use building for the provision of education and knowledge regarding apiculture, and aims to create links with the educational and tourism network already based in the region.

The walkway provides different levels of permeability in terms of vision, temperature, sound, smell, touch and light due to its materiality and shape. It is an interactive space not only used for walking through the building, but also for demonstrations on the art of beekeeping and for experiencing nature and enjoying viewpoints towards the river. The walkway’s permeable and semi-permeable materiality will enhance the visitors’ experience and journey through the building, forming a relationship with the immediate and non-immediate landscape. The walkway is part of the larger masterplan route. The landscape strategy aims to create and expand foraging areas through wildflower fields in Sharpness, this also helps to protect conservation areas and species found on site. The landscape strategy closest to the building is designed to create educational areas regarding apiculture. The landscape is designed for both visitors and bees, where the two can interact but not disturb each other.

There are three parts to the bee centre; educational, production and social. These parts will be connected to a walkway, which runs throughout the building, serving as the main circulation area.

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A Route to the Hive


Problems with the Bee Population

A Route to the Hive

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Site plan & Section

Section

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Floor Plan

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A Route to the Hive


Common Route & Beehive Garden

Perspective - Beehives and public walkway

Perspective - Beehives and public walkway

A Route to the Hive

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09 e r a s m u s Combining

POLIMI * EL ROCIO ( y 3 )

11/10/2013 - 15/12/2013

Landscapes

Collaborative

Note This project was awarded with the highest grade in the class.

(4)

highlight new hubs of public activity.

Description El Rocio lies South of Seville and borders the national park of DoĂąana and changes from a slow and quiet town during the winter to a bustling tourist destination in summer. Thousands of pilgrims descend on El Rocio annually, and the national park contains hundreds of endangered species and the town relies upon these assets to generate income for the town and the surrounding area.

Our design is informed by the rigid human logic of the town grid, FOLDING in line with key axis, but the forms are inspired by nature. The irregular angles and shifting of the OBLIQUE surfaces imitate rock formations found at the shoreline, intended to erode and evolve as cliffs. The CONTINUITY of the design provides a subtle architectural language that could be translated for future development of housing and amenities as El Rocio expands.

In it’s current state, El Rocio is disjointed; the rigid waterfront fractures the metabolic connection between the natural and urban landscapes. A vertical drop creates a physical and visual boundary, allowing visitors to view the marshland but not to experience it. There is a need to break down the rift between nature and the town and provide a dynamic and engaging extension of the public realm. With this project, we have MERGED the two environments, fusing the organic marshland and the synthetic urban landscape, breaking down the edge of El Rocio to bring the public into the natural habitat. The natural park will be enriched and developed through the creation of a new National Park centre. Pavillions and viewpoints will

OBLIQUE

104

MERGING

FOLDING

Merging Landscapes

CONTINUITY


Concept & Diagram

Illustration: Maria Petri

Merging Landscapes

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Diagrams & Concept

Project Diagram Merging the city with the marshland

Illustration: Maria Petri

Bird watching and Public Space

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Merging Landscapes


Perspectives & Masterplan

OBLIQUE

MERGING

FOLDING

A Route to the Hive Merging Landscapes

CONTINUITY

Illustration: Maria Petri

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10

SandellSandberg

i n t e r n s h i p

01/05/2016 - 06/06/2017

Various

Collaborative Individual

Projects

&

I spent 14 months working as an intern at SandellSandberg working on a range of projects, both in teams and individually. The biggest collaborative project was for Ericsson, the task was to redesign their office space as well as creating an entrance building. I participated in plans, analysis, concept images and desining of the interior of the entrance building as well as the new office space. The second project that I collaborated on with Thomas Sandell, was a hotel concept in Värta Hamnen in Stockholm.The client wanted everything to be outsourced, thus increasing living spaces and accommodation units.

Hotel

I was also responsible for redesigning a villa in Lidingö, Stockholm where the clients wanted new interior plans as well as an extention to the roof. I was responsible for the building permits. I also participated in projects such as; Holiday and Skii homes, designing the interior spaces, elevations as well as perspectives. I also aprticipated in the entrance building for ‘Eriksberg’ which was recently published in Dezeen. Other projects include floor plans for community housing, Residential Apartment Buildings, Perspectives, Town-House Development, Masterplans, Building Permits, Model Making, Villa Extension and Bilding Permit

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SandellSandberg


SandellSandberg - Internship

New Ericsson Entrance

New Ericsson Entrance

New Ericsson Entrance

Town-House Design

Regenerated Apartments & KinderGarten

SandellSandberg

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P O R T F O L I O Thank you for your time

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Profile for Antonia Myleus

Architecture Portfolio 2011 - 2019  

Selection of work from my Bachelor and Master's.

Architecture Portfolio 2011 - 2019  

Selection of work from my Bachelor and Master's.

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