Architectural Portfolio

LEHTINEN SAMPSA 叶上上

“ po rt fo l i o ” ARCHITECT BIM-COORDINATOR GRAPHIC DESIGNER PHOTOGRAPHER ARTIST PERCUSSIONIST

CONtents

Co nt e nts I N T RO DU CTI ON 3 C UR R I C U LU M V I TA E

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M AST ER ’ S TH ESI S

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pa i m i o 3 .0 10 GR A M O 18 -74 28 T R A D I TI ONA L A RT

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D I GI TA L A RT 39 SH A NG GR A PH I C S

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SH A NG sh oots 4 4

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INTRODUCTION [To this document] This is not a traditional portfolio per se. Architects’ working environment has shifted rapidly over the years from individual creations to somewhat specialized fields where co-working is more crucial than ever. Therefore, rather than only showcasing private architectural projects of mine, this document is an introduction to my morals, skills, and working experience. After all, in the architectural field, the actual ability to perform well in a building project is a lot more than simply artistic ambitions and one’s aesthetic ethics. Instead, it is including, but not limited to technological requirements, project managing skills, customer negotiation abilities, assimilated architectural theories, financial understanding, and time management.

Another side of this portfolio is working against architects’ limitations in using words. While we should openly write, read, and discuss the field of architecture – at least in Finland, building architects are greatly encapsulated in their own bubble. But according to prof. Panu Lehtovuori urban planning, in the meanwhile, consists almost entirely (~98.5%) of talking and writing. So why is it the opposite for the activity of architectural design? This question is precisely an interest of mine, which has been increasing exponentially over the last half-decade, and it should be visible in this conclusional work of me and my work as well.

But please do approach this “portfolio ” in your own fashion. Concentrating on the text or the pictures should create a whole image of my philosophy regarding architecture and arts in general.

Sampsa Lehtinen

Tampere, 12.06.2022

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C U R R I C U LU M V I TA E Sa m p sa L e h ti ne n architect ms.c., 28 yo.

Contact: Suvantokatu 1 D 53, 33100 Tampere Finland phone: +358 442034434 e-mail: ark.lehtinen@gmail.com

Education: 2017-2019 2014-2017 2012

Architect M.Sc / Tampere University Architect b.a. / Tampere University Matriculation Examination / Hatanpää High School

2009-14 2001-09

Percussions / Tampere conservatoire Drums / Sastamala music academy

Certifications: 2013 Driving license 2020 Occupational safety card - construction (valid 2/2026) 2021 Informational Security Exam - Senate Properties, Government of Finland Languages: Finnish English Chinese Swedish

mother tongue fluent basic elementary

Computer languages: HTML5 elementary CSS elementary Hobbies: Over the years, I’ve developed a range of skills and interests, ranging from physical activity in the form of cycling and strength training to art forms such as musicality (drums, banjo, guitar, etc.) and visual arts (graphic design, photography, pencil drawing, digital-painting, etc.). I’m also enthusiastic about reading non-fictional literature, as much as my timetable gives the possibility for it.

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Used softwares include: AutoDesk Revit (w/ Enscape, Dynamo, BIM Collab) Navisworks AutoCAD 3dsMax (w/ VRay) ArchiCAD SketchUp Rhinoceros Adobe Photoshop InDesign Lightroom Illustrator Solibri (BIM) Office Microsoft Office Word Excel OneNote

Working Experience: 2020-

BST-Arkkitehdit Oy

Responsible architect Space renovations:

public psychiatric healthcare center, ~350 m² (compl. june 2022)

private healthcare center, ~750 m² (compl. june 2022)

café house, ~120 m² (on going)

retail store ~450 m² (on going)

jewelry store ~75 m² (on going) Project architect

Business space renovations:

UFF store - Shopping mall DUO, Reima Pietilä 1979 (compl. November 2021) Apartment complexes:

As. Oy Tampereen Pisparannan Erina (compl. April 2022)

As. Oy Tampereen Pisparannan Serena (compl. June 2023) incl. BIM-coordination incl. underground parkingspace

As. Oy Pohjola Perusyhtiö Häme 29 (compl. summer 2023) incl. BIM-coordination

Tampereen Rantakylänraitti - A-Kruunu, (compl. June 2023) incl. BIM-coordination incl. underground parking space incl. public stair tower, Tampere city, 330 m² Restorations:

Rientolta Kerhola, Pirtti & Pytinki, Tampere, early 20th century timber cabinets

3D modeling (Revit) and building permit drawings BIM coordinator: Apartment complexes:

As. Oy Tampereen Hervannan Novelli &

2 apartment complexes and a parking hall

As. Oy Tohlopinranta Ohjaaja & Kuvaaja

2 apartment complexes and a parking hall Architect assistant

7 apartment complexes

1 area planning for apartment complexes

Designer for industrial hall (~4,200 m²)

Kirkonkylä primary school, 4,600 m² 2017-18

Arkkitehtitoimisto Hanna Lyytinen Oy

Architect assistant Castle restorations

Olavinlinna castle renovation, 15th century onwards (ongoing project) Church restorations

Kaarlela Church, built in 1460’s

St. Birgitta’s Church, built 1708 Uudenkaarlepyyn kirkko, Uusikaarlepyy Apartment restorations

Lompanlinna, POAS Peltokatu 33, built in 1920’s

Private museum restorations Kotkaniemi home museum Freelance: Shang Graphics 18 posters 3 logos

Shang Shoots Several event photography reservations Live streams broadcasting (Sound- and video-engineering) 1st place Helsinki Heroes Spring 2022 competition

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MASTER’S THESIS examiners: Pekka Passinmäki, architect, ph.d., lic. phil.

Fernando Nieto Fernandez, architect, assoc. prof. permanent address: urn.fi/URN:NBN:fi:tuni-201910294192 Grade: laudable (eximia cum laude approbatur)

Fengshui, literally “wind-water,” is an ancient Chinese philosophy and art of placement – an act of finding and creating auspicious places for harmonious living with the earth. Wind/ Water/Architecture utilizes this pre-historic knowledge of classical fengshui, and applies it to finding inherent human preferences regarding the built environment. Western societies have been dissatisfied with their surroundings for a large part of modern history, and this thesis argues that the fault starts with overlooking these primary preferences of human beings0.

Fengshui manuals are among the oldest available writings for pleasant and proper dwellings, and therefore they also offer the possibility to question our current building habits.

Due to being rooted back thousands of years in history, classical fengshui does have the potential to reveal a part of humans’ primary needs of architecture. Therefore, these original fengshui principles are compared with works of western literates and architects to reason them out by examining the intersection of these two different thought systems.

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The beginning of this thesis consists of an introduction to the basic knowledge required for a comprehensive understanding of the topic; Fengshui’s definition, history, and its elementary ideology, as well as the Western architectural theories and their similar worldview with fengshui. In the second section, three major theories of ancient Chinese metaphysics are described and compared briefly with various Western philosophical and architectural writings. Understanding these elements is necessary to comprehend the last section’s principles. This part undergoes the practical features of fengshui, and evaluates them in creating a universally pleasant architecture.

The findings show certain features of the built environment that have either been lost or ignored due to the ideological changes of modern times. They are largely based on masculinity and a dismissive attitude towards nature in contemporary thought systems, which inevitably have led to monotonous and uncomfortable built environments. Therefore, architects should re-evaluate their approach to their works towards something that fengshui advocates.

风 水 建 筑

SAMPSA LEHTINEN, MASTER’S THESIS

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H I STORY

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n a sense, everything we do is rooted in history, and our current state barely exists in the vast, interminable continuum of time. This is why architecture is considered best when it recalls memories and speaks of its time of existence and our past in general. One should not mistake it as imitating other specific time periods but instead examining the whole extent of human activity in a broad historical background.

History is what shows the positive qualities of our environment. We should not forget - even in the times of technological possibilities - what we have learned during our millenniums’ long history of creating places of shelter. There is no need to go back to primitive building habits nor to abandon the technical possibilities we have developed, but we should recall the humanity and warmth that our earlier buildings inevitably possessed.

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pa i m i o 3 . 0 NEW USE, OLD STYLE

AUTUMN 2017 / BACHELOR’s DEGREE PROGRAMME

Professor: Olli-Paavo Koponen, Architect, Ph.D. Mentor: Iida Kalakoski, Architect With: Aleksi Haho

PAIMIO 3.0 is a design project to find solutions for the new use of Paimio Sanitarium (Finn. Paimion Parantola). The sanitarium, designed by Alvar Aalto and completed in 1933, is one of the most rewarded and acknowledged hospitals for tuberculosis and is currently being nominated to become one of the UNESCO World Heritage Sites.

For this reason, our project focuses on restoring the building and finding a possible solution for keeping the building in use while causing as few permanent changes to the structures as possible.

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The proposed solution is a nursing home for dementia patients, due to their similar needs as the building can offer, while having qualities for the users that most other facilities do not possess, such as nature, an abundance of sunlight, and a sense of community and history. As Aalto himself described the sanitarium: “The main purpose [...] is to function as a medical instrument.” we believe that our proposed function suits the original means rather well.

Perhaps the most significant debate about modern dementia nursing homes is the safety of the residents. Our solution is a proposal of a microchip capsule that can monitor the movements and health of patients without affecting their quality of life and freedom or the architecture.

HI STOR I CA L EVA LUATI ON OF TH E 3 RD LEVEL

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BE FOR E

All public changes are left either relatively minor or in purpose to conserve and return the appearance closer to the original state. Examples of the latter are restoring the original linoleum floors and removing the installed ventilation pipes installed in the corridors in the 1970s.

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A FTE R

To enhance the residents’ freedom of movement and sociality, the current social space is enlarged [graph below], and for being entitled to UNESCO World Heritage, original sun balconies are restored to their original use as an outdoor space.

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Due to the limited size of the rooms and the general system of a nursing home, the apartments aim to represent a regular compact home at its best; each room is provided with its own bathroom and high-quality furniture.

v i s ua l i zat i o n f ro m a r esid e nt’s room

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Larger apartments are also equipped with a simple kitchen, which provides more control for the residents over their daily lives and enables them to have guests.

s ect i o n o f a r esi de nt’ s room

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fu r n i t ur e d esi gn for a r esi den t’s room

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H EA LT H Although architecture cannot cure illnesses, it can very well cause them – therefore, contradictorily, it is also the essence of a healthy, comfortable living. We need surroundings that align with our nature and do not collide with our own values, which is why unhealthy architecture roots in the, often unconscious, messages it gives.

Unless there is a justification to do otherwise, every building choice should be questioned whether or not it speaks for the values of health. And this brings the ethical questions of architecture to the surface. Whether the message of the built environment is a conscious design decision, these feelings will inevitably be transmitted to the users regardless.

Therefore, should our architecture support geniality or aggressiveness, activeness or passiveness, tranquility or agitation? Architect decides.

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GRAMO SOCIAL GRADIENT & MODULARITY

FALL 2017 / MASTER’s DEGREE PROGRAMME

Teacher: Teemu Hirvilammi, architect, Ph.D. Assistant: Tapio Kaasalainen, Architect Mentors: Jarkko Niskanen, architect Juulia Juselius, architect Juuso Iivonen, architect Katja Maununaho, architect Tapio Kangasaho, architect Taru Lindberg, architect

The second design principle is premised on modularity. By disjoining these modules, residents can have a visible part of the building as their own. Therefore, this building method not only gives the building its distinctive appearance but also has true quality of ownership. Instead of an abstract space “mid-air,” Gramo offers a personal setting both emoGramo is an exploration of a solution to this tionally and physically. socio-economical problem. It lets the residents have the opportunity for more transparent living, which in turn establishes a greater connection between the neighbors.

In other words, the setting of the building offers a smooth social gradient instead of a hard edge from a public space to a private one.

This transition can be adjusted accordingly to the situation and preferences of the residents. But in the meanwhile, it also increases the social interaction among the neighbors due to the encouraging openness.

Humans are dependent on social interaction, and our desire for social connection in the current times is only increasing due to advancing technological possibilities. But in the background, our culture idealizes individuality while the social connectivity is left relatively vague.

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1 RO O M A PA RTM E NT · 1 M ODU L E

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Each module consists of four major parts: 1) Deck-access 2) Transition space 3) Private apartment 4) Small balcony The shared access to the staircases inevitably will lead to more significant traffic, which increases opportunities for social interactions and thus forms better relations among the neighbors.

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The transition space offers possibilities for spontaneous conversations and expresses the residents’ different personalities.

Naturally, the transparency can also be adjusted as needed; Transition space can be closed with opaque panels, and bedrooms are located outside the reach of passerby’s eyes. Therefore privacy is as well assured.

F LO O R PL A N · 4 TH F LOOR

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A REA PL A N 22

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view from the south

northern balconies

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OPPO SI TI ONS

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ruth comes in contradictory pairs, which might be the explanation for why we have the tendency to set things in opposites. And this, in turn, truly shows our desire to experience the world in duals. But to me personally, our current environments seem rather monotonous. I want to experience the warmth of birch beside the polished aluminum, glass, and granite. And where are the intimate, dim spaces in the ocean of light and scalelessness?

Different inventions or styles have more commonly than not been a contradictory reaction to the prevalent cultural attitude; For example, the first machines got formed partly to bring a sense of order into the disordered social life of the 17th century. And abstract, unorganized art forms have been popular during times of control. Where in the spectrum of opposites are we currently situated in architecture? And are we going to see a new reaction to our surroundings soon?

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-74 ACTIVE LIBRARY

FALL 2017 / MASTER’s DEGREE PROGRAMME

Teacher: JENNI POUTANEN, ARCHITECT Mentors: ANTTI MOISALA, architect MARIA AHOKAS, architect

Oppositions should be the elementary feature of any pleasing and exciting environment.

The size and the shape of the spaces, volume of light, coarseness, and color of textures all should vary in harmony. Buildings should be creating transitions without being disturbing, expressing the purpose of each space and offering places for different personalities and moods.

-74 combines this desire of opposition with the vast demand for spaces that the modern library requires. Each set of spaces is located, formed, and finished accordingly with their purpose, creating the transition of oppositions. I.e., an airy library full of light is connected with an intimate, underground magazine hall.

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Room sizes vary the intimacy of spaces.

Heights change accordingly with the level of concentration needed. Natural light is adjusted depending on the mood of the rooms.

These and other architectural features are located on either side of the building according to their spectrum of oppositions.

spatial oppositions

west

east

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-74 is also a memorial with respect to the past long aviation history in its location. The building’s form of a crashed airplane wing is meant to utilize the entire lot – wedged between the two roads – and have symbolic meanings as airplanes were the critical factor in connecting people in this part of the city. And most of the buildings are related to aviation in one way or another – If not practically, then at least witness various accounts of air travel history. Here’s, for example, one story in many:

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“It was Sunday, January 13th, 1974, and ‘Piper Cherokee’ was flying in difficult weather towards Helsinki. The small plane was full of 4 passengers, and the plane’s wings were heavy from a layer of ice. Even though the pilot Männikkö was a skilled aviator, he saw it better to have a stopover at the Härmälä airport. But near the new destination, the plane was already flying too low, and the means to increase the altitude was in vain. The carburetor was frozen, and the airplane kept falling. The wings almost verged the rooftops of houses as the plane came crashing down on the street of Säästäjänkatu.”

g r a nul at i o n

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2 n d f lo o r

1 st f lo or

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undergro und

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S ECT I O N A-A

As explained above, the feeling of the building aims to maximize the sense of a crashed airplane wing. Whether it is on the general broken form and the disoriented rhythm of the weathered aluminum façade, or the shape of the spaces with a visible layered structure and narrowing height towards the tip, this said theme is subtly present.

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But along with this harsh image the library possesses, its low profile, on the other hand, gives this large public building a relatively humane sense of scale and enables a long route to explore, with a whole spectrum of spaces to experience.

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TRADITIONAL ART

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D I G I TA L A RT

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original zipporah from “The Trials of Moses” (1481-2)

by Sandro Botticelli (c. 1445 – 1510)

REFERENCE STYLE Alphonse Mucha (1860 – 1939)

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SHANG GRAPHICS Graphic design has been a part of my repertoire since 2017 and a steady half-professional freelance along with my studies and later my work-life. After five years of intermittent working, I’ve got to create 18 posters and four logos for five different customers. Poster design gives freedom to experiment with digital and traditional mediums, and so far, I’ve implemented anything from vector design, collage, pencil drawings, and watercolor.

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SHANG shoots Photographing has been another side-profession of mine for a long time. I’ve been photographing events since I was 15, when I possessed my first DSLR camera.

Today working under the name ‘Shang Shoots,’ I’m a freelance broadcaster for Duo Lehtinen & Lipasti live streams, as well as shooting street photography in my free time. Examples of the latter can be viewed on the following pages.

50mm • 1/250 • f/4 • ISO 125

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85mm • 1/250 • f/1.6 • ISO 400

85mm • 1/1600 • f/4.5 • ISO 100

[Gold Award at HH-Streetphoto Winter ‘22 Contest]

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85mm • 1/500 • f/2.2 • ISO 100

85mm • 1/2500 • f/2.5 • ISO 100

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85mm • 1/500 • f/2.2 • ISO 100

50mm • 1/1250 • f/2.5 • ISO 100

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Thank you kiitos 谢谢