PORTFOLIO
Belinda Lundevall Svarstad
Belinda Lundevall Svarstad
I am a committed and ambitious architect with a passion for creating socially sustainable and human-centered environments. After several years of academic studies and hands-on experience during my internship at Carlstedt Arkitekter, I am now ready to take the next step in my professional career.
In my thesis project, STASIS, I explored how healthcare environments can foster both physical and mental health for cancer patients. The project focused on how the design of care environments can enhance patient well-being, emphasizing social sustainability and user experience.
During my internship at Carlstedt Arkitekter, I gained valuable experience across various project phases, especially within healthcare and educational environments. My work has consistently aimed to develop solutions that are not only aesthetically appealing and functional but also provide long-term value to users. A notable example is my involvement in the further development of the Social Byggnorm initiative, where we focused on designing changing rooms to address both physical and social needs.
I am proficient in Revit, Rhino 3D, and Adobe Suite, and quickly adapt to new technologies. Alongside my studies, I have worked as a teaching assistant at KTH, mentoring students in the use of digital tools.
I am excited to step into the professional world and eager to see where this journey will take me!
Email: lundevallsvarstad@gmail.com
LinkedIn: belinda-l-s
EXPERIENCES [IN SELECTION]
Carlstedt Arkitekter AB, Stockholm
Arhitect, Part time Sep 2023 - Okt 2023
Part-time position for ongoing participation in the construction of an elementary school.
Architect, Internship Sep 2022 - Aug 2023
Project focus in the areas of care and education, primarily within project planning, with projects spanning various scales. Additionally, I have contributed to interior architecture, color design, and initiatives for improving social building standards which is demonstrated in my portfolio (social byggnorm). The majority of my work has been executed using Revit and the Adobe Suit.
The School of Architecture, KTH, Stockholm
Teaching Assistant Autumn 2021, Autumn 2023
Assisting and offering supporting within the architectural program, providing guidance on digital tools, 3D printing and laser cutters.
AstraZeneca, Södertälje
Machine Operator, Works superintendent Feb 2015 -
Production and manufacturing of pharmaceuticals, my responsibilities encompassed conducting function checks, performing basic machine maintenance, and cleaning production equipment in cleanlinessclassified premises (RKC) following standardized procedures. Additionally, as a Work superintendent, I assumed responsibility for line operation, daily planning, and personnel distribution. was hired as a consutant through Proffice Södertälje from Feb 2015 to Feb 2016.
EDUCATION [IN SELECTION]
The School of Architecture, KTH, Stockholm
Master program in Architecture 2021 - 2024
Bachelor in Architecture 2018 - 2021
Södertörns Univeristy, Huddinge
Introductory class on rhetoric VT2024
Huddinge Gymnasiet, Huddinge
Scientific program 2010 - 2013
Focus on medicine and research, worked extra as a student ambassador
STASIS
A cancer treatment and community center
The incidence of cancer continues to rise, often becoming a chronic condition for many. In Sweden, the healthcare system lacks consistent and supportive cancer treatment environments, with patients frequently traveling long distances to different hospitals. Traditional hospital spaces, not designed for extended cancer treatments, can exacerbate stress and discomfort.
This project aims to redesign cancer treatment rooms based on patient and caregiver feedback, focusing on non-clinical environments like communication rooms, chemo and immunotherapy rooms, and radiotherapy bunkers. The goal is to create supportive, calming spaces by incorporating natural elements and improving layouts. Additionally, the project introduces a social and interactive space for group treatments, fostering community and reducing isolation for those connected to cancer. It offers private, semi-private, and social areas to meet the diverse needs of patients.
The project is designed as an addition to Huddinge Hospital, south of Stockholm, with the intention of developing treatment room principles that can be implemented in other hospitals. The goal is to create healing environments for more cancer patients.
THE COMMUNICATION ROOM - notice of illness
The communication room, where patients receive their diagnosis, is typically a generic hospital office with chairs positioned on opposite sides of a desk and a view of a neighboring house wall. My proposal reimagines this space to face a versatile view of nature, offering a more serene setting for receiving difficult news. The seating is arranged at angles next to each other, avoiding the tension and hierarchy of conversing across a desk.
Designed as a freestanding pavilion, the communication room provides privacy, a calm entrance, and a separate exit route. This layout allows the conversation to continue during a walk, which can be beneficial for some or provide an escape exit if needed.
The angled seating allows patients to focus on a distracting view when needed.
Patients describe receiving a cancer diagnosis as losing touch with reality, with the room disappearing around them. An embracing wall to lean on can provide much-needed support for some.
Using wood as the main interior material offers warmth and a sense of familiarity to the space.
There are two sets of doors, providing a different exit, symbolizing the before and after of the diagnosis. This exit also allows for the option of having the conversation during a walk outside.
The flooring, like the outside view, can offer a positive distraction. A large tile with a small detailed pattern in front of the seating area allows patients to focus on the design
SECTION B - B
The treatment room where patients receive chemotherapy and immunotherapy is often a generic hospital space with a hospital bed, an uncomfortable chair, and a desk. Many patients describe these spaces as depressing, sterile, and unstimulating. Sessions typically last between 2 to 4 hours, and in many hospitals, patients don’t have a choice about where they sit, whether in private or group settings.
My proposed private treatment unit offers comfortable seating for both the patient and a support person(s). The room includes a private toilet and ventilation hatches to let in fresh air since nausea is the most common side effect of the treatment. The space is designed to be calm and inviting, without feeling too home-like. Windows are angled towards the treatment bed to provide a wider view of nature, and a ceiling window allows patients to look outside even when lying down.
The proposed building features private treatment units in various sizes to meet different patient needs and includes group treatment options as part of a larger community (interacting spaces).
Windows in multiple directions allow daylight to enter throughout the day, making the space feel less claustrophobic.
is the most common side effect of the treatment, so the private treatment rooms include individual toilets.
room has a small storage room for more discreet placement of the medical equipment
room is equipped with ventilation hatches to let fresh air to enter
The
The windows are angled to provide a wider view from the treatment bed
The
Nausea
REDESIGNING THE RADIOTHERAPY BUNKER
The radiotherapy bunker is a concrete maze with 1.8-meter thick lead-infused walls, typically located in the hospital basement. This environment, lacking nature and daylight, often feels overwhelming and intimidating for patients. To address these issues, I redesigned the space to create a more welcoming atmosphere.
My design transforms the bunker into a freestanding pavilion surrounded by nature. By incorporating an opening in the roof, daylight and fresh air can enter the space. This opening, behind a foldable glass wall and paired with a vertical garden, provides patients with an outdoor climate experience during their 15-minute treatment, serving as a positive distraction.
The roof opening mirrors the shape and principle of the original maze floor layout. By rotating the maze design and applying it both vertically and horizontally, an opening is created. The opening is paired with a vertical garden that works as a positive distraction and offers the possibility of an outdoor climate experience.
WALL CONSTRUCTION
• Plinth element 100 mm
• Peripheral insulation 80 mm
• Waterproofing 2 mm
• In situ concrete wall 150 mm
• Concrete blocks with lead 500 mm
• In situ concrete wall 150 mm
FLOOR CONSTRUCTION
• Inner wooden flooring 15 mm
• Screed 80 mm
• Separating layer
• Insulation (cellular glass) 80 mm
• Damp-proof membrane
• Concrete blocks with lead 500 mm
• Concrete ground slab 240 mm
• Lean concrete 50 mm
The wooden floor gives the space a more recognizable and safe appearance. Wooden surfaces also has natural antibacterial qualities
The thickest part of the walls is integrated into the maze, creating niches for storage.
Rotating the treatment equipment by 90°, providing a more discreet placement of the medical equipment and a less overwhelming perspective upon entering the space
A door is not necessary with the maze layout but it provides a more human scale
The waiting area includes seating for those needing a moment before treatment.
Curved walls offer a kinder and less clinical aesthetic.
SHAPED BY THE SITE SETTING
The site is nestled between a jogging track and steep mountains. The building faces the track and is shaped by the surrounding hill.
EXISTING TREES
The existing trees have been measured, prompting the building’s shape to be pushed inward to enhance the natural vegetation of the site.
CAPTURED VIEWS
Sections of the building have been angled and extended outward strategically to capture pleasing views, providing positive distractions for the more sensitive program areas.
LIGHT AND PRIVACY
The building’s depth is reduced for more light and nature views. It’s divided for privacy.
WELCOMING ENTRY
Entrances are recessed from the volume to create welcoming and gentle building entrances.
THE PROPOSED BUILDING
The proposed building includes a social main structure and four separate pavilions for private treatment, a conversation room, and a radiotherapy bunker.
DIAGRAM - FLOW OF MOVEMENT
DIAGRAM - CONNECTING THE PROGRAM
DIAGRAM - FRAMED VIEWS
THE MAIN ENTRANCE
The redesigned main entrance of the hospital aims to create a kind and welcoming atmosphere. Upon entering, visitors encounter a rounded area furnished with seating, providing a pause space for reflection before proceeding further. Lowerplaced windows offer views of the outdoors while maintaining privacy for those seated.
This redesign addresses these concerns by incorporating a clear and inviting entrance that allows natural daylight to permeate the space. Seating is strategically placed in the wind-catching area to enable patients and visitors to pause before entering the building. A resting area is situated immediately inside the entrance, ensuring views of the outside from multiple directions to prevent a claustrophobic atmosphere. This approach fosters a more open, calming, and patient-friendly environment.
INTERIOR, MAIN ENTRANCE
MAIN ENTRANCE
THE INTERACTING SPACES
One of the key concepts is to ensure that social life and treatment patients are not segregated from each other. The social space is open to anyone who has a connection to cancer and it includes a central kitchen where you can cook your own food, a flexible area called the treatment pit, and counseling rooms.
The treatment pit is a lowered section of the building, inspired by the 70s conversation pit, and is angled to provide a view of the existing jogging track since patients have found motivation in watching healthy people. The space is designed to hold workshops, larger counseling sessions, art classes or just a space to relax and socialize in.
A key project idea is to integrate staff into the community, encouraging them to work from open office spaces or social areas with guests. The northeast wing, however, is dedicated to providing staff with private spaces for work and breaks.
The design includes private areas for staff work and recreation, with pleasant and inviting spaces. Non-sterile workspaces feature welcoming designs, furniture, materials, and colors. The plan ensures access to nature during work hours and breaks, creating healing and caring environments for both patients and employees.
THE FLEXIBLE TREATMENT PIT
Archipelago Verdure
A vision for a new Senior Living
In our pursuit of redefining the senior living, we present a project that transcends tradiotional boundaries, placing paramount importance on breaking the schackles of isolation. Out approach goes beyond architecture; it’s a dedicated effort to nurture authentic connections and a feeling of inclusion. Our design not only caters to the immediate community but also extends to create communal spaces that fosters interaction with the larger world. Through breaking down the boundaries between the facility and the neighborhood into new zones, our project seamlessly intergrates with the broader community. At the heart of our design are these four connecting zones that promote social engagement through the creation of new spacial heirarchies and movement flows. These areas serve as catalysts for forging new friendships and a sense of belonging.
In our project, the four zones— Private, Family, Community, and Public—harmoniously converge to redefine the senior living experience. Through our application of architectural ingenuity, these zones seamlessly interconnect, forming a cohesive and integrated living experience. Residents navigate effortlessly between private retreats, familial bonds, communal vibrancy, and the enriching embrace of the broader community—a testament to our commitment to breaking isolation and fostering holistic wellbeing. By weaving a tapestry of interconnected spaces, we aspire to create a senior living environment where residents thrive emotionally, socially, and spiritually.
Part of a collaboration on a competition proposal with Emmy Mollgren and Rebecka Granat.
A MODERN EXILE
Current buildings focus on economic efficiency with compact apartments, isolating residents from public spaces.
THE INVOLUNTARY ISOLATION
Traditional senior living spaces tend to isolate individuals in confined cells, restricting social interactions to narrow corridors.
BREAKING OLD PATTERNS
Reconfiguring standard apartment layouts and incorporating unprogrammed space to break free from traditional senior living.
A REDIRECTED CONNECTION
By shifting the focal point of the building entrance, we alter the human experience of space.
THE NEW FRIENDZONE
Through providing visibility into our living spaces, we forge connections among neighbors.
EMBRACE THE COMMUNITY
By structuring semi private spaces hierarchically we connect individuals and “family” units in nearby clusters.
THE ZONES OF INCLUSIVITY
Through our new zones, we create a transformative environment that reshapes how citizens connect.
THE ZONES OF INCLUSIVITY
As we extend beyond our immediate community, THE PUBLIC ZONE becomes a bridge, connecting our facility with the wider world. This thoughtfully designed space welcomes external visitors, creating an inclusive atmosphere that transcends the boundaries of our physical structure.
The serene core of THE COMMUNITY ZONE functions as the beating heart of our project, encouraging social interaction within an expansive green space. Here, diverse areas encircle the magnetic fireplace that act as the navel for the residential hub, creating a dynamic and inclusive environment for residents to engage and connect.
THE PRIVATE ZONE, intricately designed for personal solace, effortlessly flows through a openable kitchen into THE FAMILY SPACE—an inclusive realm where residents organically cultivate a sense of familial connection through e.g. communal cooking or shared activities around the central dining table. Here, daily lives seamlessly intertwine, giving rise to a shared experience that fosters a profound sense of unity among community members.
THE PRIVATE HOUSING UNIT
The Private Zone - Perspective seen from the private bedroom, overlooking an atrium adorned with greenery, a private livinng room area and the horizon beyond.
To the right; The Community Zone - The scene reveals the shared hangout space where residents come together and connect.
The Family Zone - A view from the communal area providing a glimpse of the private units. The sliding window has the ability to eliminate the boundary between these zones, seamlessly connecting the private kitchen to the shared space.
Social Byggnorm
A Norm-Critical and Inclusive Perspectives on Changing Rooms
In spring 2023, our team designed a sports hall and changing rooms for a new school in Köping. Aware that students often avoid changing or showering after physical education, we questioned the inclusion of traditional gender-separated changing rooms as per the client’s program. Inspired by our office’s work on the “Social byggnorm,” we sought to challenge norms and explore innovative alternatives.
Contemporary evidence from teachers, students, and research indicates a decline in students showering after physical education, with only a small percentage opting to change. Research suggests that factors such as the fear of mistreatment and discomfort with nudity in communal settings contribute to this trend. The rising prevalence of mobile phones in changing rooms poses an additional challenge, making it increasingly difficult to maintain a sense of privacy. Furthermore, the evolving landscape of gender expression, gender identification, and accessibility requirements adds complexity to the issue.
By adopting a norm-critical approach, we endeavored to devise a design that promotes inclusivity in sports facilities. This involved challenging the conventional practice of segregating premises based on gender and questioning the expectation that individuals should be comfortable disrobing in the presence of others of the same sex.
We pondered whether a norm-critical approach could challenge the conventional design of changing rooms, aiming to create an inclusive space where individuals of all genders, gender expressions, and abilities feel welcomed. Our objective was to foster greater inclusion and diminish gender-based divisions throughout various school activities.
The innovative dressing room concept involves individual spaces for changing and showering, promoting privacy and inclusivity. Afterward, students convene in communal social areas outside, fostering open communication and play that includes everyone.
The project is a collaboration with Anette Eriksson, and The complete work is available for reading at carlstedtark.se.
Post-class interactions happen in gender-segregated spaces.
Sex-segregated areas for shower and changing.
Belongings and clothes are stored in personal lockers.
PRIVATE SHOWER CUBICLE
Private spaces for showering and changing.
Post-lesson conversations and play occur in accessible open social spaces.
The students exit the sports hall as one joint group.
W O O L H O U S E
A personal meeting hub
Constructed during a 1:1 scale project involving 22 students, this house was designed to fit through a standard door opening. Beginning with a small building adhering to typical Swedish wooden house construction, the design process involved evaluating proposals through on-site prototypes. The result is a portable tiny house built for relaxation.
Through the exploration of building materials, wool emerged as a sustainable alternative for insulation and the wooden façade.
By repurposing wool, typically discarded in Sweden, the project not only achieved a distinctive aesthetic but also utilized a waste material.
Internally, the house features a tub filled with specially designed pillows, walls made of plywood and mirrors to create a spacious appearance. Equipped with a self-made sprinkler system and steerable wheels for mobility, the house was built for a real client (AMF Fastigheter) within a specified budget and installed in their entrance hall at the head office building.
LANDKRABBA
The walking pavilion
This projects baseform was to study a nearby area and develop a structure out of it through different collages. The chosen land was a deserted sandpit in Tumba, Stockholm (Sweden).
A gravel-pit, or a sandpit, is a space for extracting naturally deposited sand for industrial use. Once the extraction of sand has come to an end, the land turns into a no man’s land. It’s unclear if this specific area is open to the public or not, occasionally you can spot a few motocross bikers, a dogwalker or few failed paragliding attempts. The lack of constant activity in the area slowly allows the forest to reclaim the space, making it hard for the animals that inhabit the sandy environments to adapt and find new living spaces. Due to the lack of natural sandy environments in Sweden today, these abandoned pits are the last sanctuary to many endangered species.
The LANDKRABBA proposes a novel approach to inhabit and experience the deserted land. Functioning as a walking pavilion propelled by muscle power, it traverses the dunes, preventing the forest from reclaiming the land. Combining Theo Jansen’s (STRANDBEEST) mechanism with bicycle pedal mechanics, visitors can drive the structure across the sandy environment. Equipped with a hot air balloon for climbing steep terrain, the LANDKRABBA not only provides a new reason to visit the area but also opens up the previously closed land to both the public and endangered species.
Diagram of movement
An enthusiastic passenger
REINFERA
re; back in; to fera; wilderness
The designated site is a nature reserve situated in Järna, south of Stockholm. Currently, the area is marked by extensive monoculture fields, an abandoned dairy farm, and an overly bustling camping site.
This proposal envisions a phased-out monoculture, allowing the forest to reclaim lost ground through a Rewilding project. Grazing animals will restore the land to wilderness. The priority is recreating the vulnerable habitat, requiring every element in the space to contribute to the restoration of the damaged land.
Today, Swedens burial choices are limited to coffin or cremation, with the former facing long processes and a shortage of space, and the latter producing carbon emissions and nutrient-free ashes.
A new burial alternative has surfaced in the United States - composting. This process, using less energy than cremation and producing minimal carbon dioxide emissions, effectively converts a body into soil within four weeks. The resulting nutrient-rich soil can be dispersed in natural environments, contributing to ecological restoration.
The new civic house is therefore proposed to be a hybrid between the typical civic house and a new spiritual space, disconnected from religion, where a new death care is introduced on Swedish grounds.
The unused dairy-farm on the given land will transform to the new business where human and animal remains will convert to nutrient soil, which will be spread over the damaged land in the nature reserve. The bodies of the loved ones will be placed in sacramental silos on the farm where they, through a compost process, will be united with the wilderness.
The more typical civic house will play its role in the program by adding life to the area where staged and public workspaces intertwine with the more serious funeral ceremony in the silos.
Circular diagram, vertical and horizontal bodies
Diagram showing composting process
Composting ceremony
Exit, ceremonial hall
Waiting room, ceremonial hall
Main entrence
Exploded view, ceremonial hall
Atrium of flowers, locally grown flowers can be picked up for the cermony
Proposal on site
Assembly hall, space for the funeral reception
Technical drawing 1:20, A1
The proposed concept aimed to reclaim the wilderness of the land. The study underscored the importance of reprogramming the space to preserve and rejuvenate the vulnerable land it was situated on. Both structures and activities needed to seamlessly integrate into the surroundings, fostering a conducive environment for nature to regenerate. Another focal point of the project was to introduce a revamped meeting venue that struck a balance between existing nature and human activities.
The solution put forth was a mobile lookout tower designed to distribute the nutrient-rich soil of its composed body back into nature. The structure facilitated simultaneous use by both humans and animals, ensuring a harmonious coexistence without disruption. By elevating different species to various levels above the ground, a hierarchy-free space was established, allowing diverse forms of life to share the area.
Various executions and shapes of the lookout towers were proposed to accommodate and shelter different species, fostering a welcoming environment for all.
Sektion A-A
T I M A E U S, 7 1
A wooden structure based on Plato’s dialogue
The given task was to create a wooden structure based on a text fragment from a chosen part of Plato’s dialogue.
The chosen piece from the text (Timaeus 71) is about the bile and how the intestinal have the ability to punish the bad in people, making the very weakness of the body serve a purpose. Timaeus 71 describes the foolishness of man and how the body itself is built to moderate the bad impulses of a man. Ironically you could argue that the urge to find a purpose and meaning for all things in life by itself is the ultimate substance to foolishness of man, making the text a self-fulfilling prophecy of human nature.
In response, my proposed structure embodies the context of the text, representing the eternal quest for purpose in life. The program is designed around this pursuit, with the structure dynamically twisting out of its intended position as individuals climb ladders, influencing joints and altering internal spaces for an evolving experience.
Situated beyond our known universe, the structure isn’t a destination but a symbolic representation placed, perhaps only on paper. It serves as a symbol of life, offering a multitude of experiences without definitive conclusions. The structure presents crossroads without dead ends, compelling decision-making while preventing a final destination. As the drawn road seemingly ends on paper, a mirroring effect perpetuates the structure as a reflection, creating a continuous loop and symbolizing its eternal nature.
PALAZZO RATTI
A luxury home for a rat
Delving into the essence of luxury design and its intended audience, a somewhat critical diorama model was meticulously crafted to serve as an opulent residence for a rat.
The rat’s home features an exclusive Italian walnut base, complemented by a dome-shaped ceiling and balcony base made of pure gold. The balcony, supported by pillars in green Italian marble, stands as a luxurious addition. The centerpiece (cheese) of the project is the green marble bathtub, providing a lavish space for the rat to unwind after a long day navigating the streets of Stockholm.
The exterior of the space is mimicking a full trash can, commonly found in city centers. Making in camoflagued for the public. Concealed atop the trash pile is a handle, known only to selected rat enthusiasts. The rat gains access through a marbled and golden entrance hole from underneath.
This proposal, executed at a 1:1 scale, is a collaborative effort with Gustaf Delebeck, Hanna Becker, and Linnea Stenlund.
Drawings illustrating the entire structure, subsequently crafted as two halves/sections.
ANTI-VY
an obstructed perspective
The given task was to study a (unspecified) view, based on physical conditions of the human body. By studying how the blocking of a view could affect the experience of it (or the lack of it) instead of how to enhance and frame a view, the project ANTI-VY came to be the very contradiction to a view itself.
The structure is built up by a large wooden panel (to block the view) with a small slit in the middle (to lure the visitors in). When the visitor is looking into the slit (expecting to see what’s behind it), the view is redirected from the expected view (straight forward) by an installation of angled mirrors on the backside of the wooden panel, making the visitor see anything but straight forward. The view is redirected in different directions depending on where the body itself is placed against the wooden panel, the view shifts with the placement of the body. The view also differs from eye to eye, making one eye look straight to the side, while the other one looks behind oneself. The mirrors never let the view go straight forward, instead it erases the expected view all together.
By placing several structures next to each other it is possible to block an even wider view.
RÉGLES ET RÊVES
Le bureau d’architecture de Haute Ecole Royale Technique
The assigned task involved exploring the Beaux-Arts era and devising a contemporary interpretation for a study space office. The office where installed and developed in the limited studio space at KTH. The office was unveiled during an inauguration event, accompanied by the presentation of our set office guidelines and a manifesto outlining our values.
Our primary emphasis centered around the initial sketching session at the project’s onset. Collaborative sketches were generated by rotating the round table and adhering to a predetermined grid.
The project was part of a group collaboration with Anton Gumaelius, Elis Butler, Harry Daggfeldt, Johanna Minde and Sanne Segerström.
OFFICE GUIDELINE
In our office space we aspire to create an environment of work and play. We are driven by the idea that symmetry and logical arrangements undoubtedly will lead to an elegant and economic architecture. We believe in boundless loyalty and internalized aesthetic values. To maintain a high level of quality we encourage a culture of friendly rivalry. Hard work is to be expected during office hours 9-17. Overtime is frowned upon. Holidays and weekends are sacred.
PHASE I
PLAN CROQUIS
All participants stand in front of an individual piece of paper. On this paper you begin to draw a plan. The table is turned after a certain time, depending on the scale of the project. When every drawing has been caressed by all hands, a communal evaluation takes place. One plan is chosen for everyone to use in the next step. Insufficient projects are archived for future generations.
SECTION CROQUIS
The process is repeated, this time each participant is drawing a section based on the chosen plan.
After each participant has contributed to each section, one section is chosen to be placed above the plan in the middle of the table. Insufficient projects are archived for future generations.
ELEVATION CROQUIS
The process is repeated once more, this time producing an Elevation. Insufficient projects are archived for future generations.
PHASE II
The working method is the same as in the croquis but with the addition of a grid and a fixed scale. Consult General principles for drawings.
PHASE III
WORKING DRAWING
Individual work or in a group depending on the project and the given budget. Drawn based on the previous stages of design. Consult General principles for drawings.
PHASE IV
RENDERED DRAWING
Individual work or in a group depending on the project and the given budget. Drawn based on the previous stages of design. Consult General principles for drawings. Add colour and shadows to the drawing.
Plan drawing of the claimed office space, previously a storage room.
THE RITUAL OF THE MEETING
Entrance, as seen from the studio space.
Leave behind any distracting belongings before entering in your assigned locker
Pour yourself a drink and take your stand around the table.
Let the sketching begin (PHASE I)
Allow the sketches to rotate with the table, with each participant contributing to every sketch.
Review the results of each sketch, select one to proceed with, and move
COSTUMES
Never the one to back away from a good costume-party, especially when there’s a prize for the best-dressed on the table. With my home-made costumes you’ll always see me fighting for the title.
seen as (in selection);
Oblina,
Lumiere,
The Mask, The Mask
Bubble Palace, Pierre Cardin
DISCO-mort, Harry Potter
Sailor Moon, Sailor Moon
HIM, Power Puff Girls
Hades, Hercules
AAAHH!!! Real Monsters
The Beauty and the Beast
Email: lundevallsvarstad@gmail.com
LinkedIn: belinda-l-s