P O R T F O L I O
Student work
a collection of selected works by Linnea Legefors
ABOUT ME My name is Linnea Legefors and I am 25 years old. I live in Stockholm and are currently studying my final year of my master’s degree in Architecture. I can be described as ambitious, social and hard - working. Last year I was doing an intership for one year at CF Möller, a Danish architecture office located in Stockholm. Before that I was studying one semester of my master’s degree at RMIT University in Melbourne. I would describe myself as energetic and enthusiastic that I like to take on new challenges and love meeting new people. I have extensive experience in working with Rhinoceros, AutoCAD, V-Ray, Revit and Adobe Creative Suite. I also have great skills in 3D rendering, drafting and model making. In addition to my architectural studies, I have the experience of leading larger projects. A few years ago I was responsible for planning all the decor, sound and lighting for Nobel Night Cap, the after party to the Nobel Banquet in Stockholm. This gave me great experience in planning and organizing a larger event, but also negotiating and communicating with companies. It also gave me valuable leadership skills, as I, together with the leading board led a team of over three hundred students. January 2018 - current, Masters program Royal Institute of Technology, Stockholm July 2016 - November 2016, Masters program RMIT University, Melbourne, Australia August 2014 - June 2016, Bachelors program Royal Institute of Technology,, Stockholm August 2012 - June 2013, Bachelors program Chalmers University of technology, Gothenburg
TABLE OF CONTENT
06 /
SEARCHING FOR MA / Tokyo filmstudio
14 /
NEW RESIDENTIAL TYPOLOGY / Interacting Community
26 /
MEETING AROUND TOLERANCE /
36 /
THE LAND BETWEEN / Connecting bridge
48 /
REGIONAL ARCHITECTURE/ Models making
52 /
OPEN BORDERS / Preschool
Residence and multifaith center
SEARCHING FOR MA Tokyo Filmstudio This project is a study of traditional and contemporary Japanese culture and architecture, including important concepts such as Ma and Oku. The brief has its starting point in the understanding of the diverse urban fabric of the Tokyo Metropolitan Area, as well as the concept of filmmaking (directing, cutting and producing) in relation to architecture and contemporary cultural movements. Studying the relationship between Nordic and Japanese approaches, its discussed how one culture can be represented in another context. As an introduction to the project, we went to Tokyo on a study trip. Here we found the very site for the new Nordic Film Studio Residence in Tokyo. The brief was to create a place for a new Nordic Film Studio Residence in Tokyo, as well as an investigation of the cultural identities and interrelations between Japan and the Nordic Countries. Individual project, Master’s degree - 2018 Stockholm, Sweden Supervisor: Therese Selberg, Leif Broderson
MA - spatial pause
MA -
A pause between spaces. Time, interval or emptiness in space. In - between every volyme, a gap or a pause is perceived to absorb the spatial pause nature and ligh, a contrast between the room and the passage.
Pause between spaces. All aspects in life. Time, interval or emptiness in space. Inbetween every volyme, a gap or a pause is perceived to absorb the nature and light. Contrast between the room and the passage -
Contradistinction - use in space
Asymmetry - circulation
Changing between narrow, enclosed space and open, bright space exriches the visitors´ spatial experience and helps to create sensory depth in building space. between narrow, enclosed Changing
In reference to Oku, the circulation is designed in uneven routes, which never reveals the entire view of the end of the building, this to enrich the spatial experience within a longitudinal plan. concept In reference to the Japanese
Contradistinction - use in space
space and open, bright space enriches the visitors´ spatial experience and helps to create sensory depth in the building space.
OKU - circulation
of Oku, the circulation is designed in uneven routes, which never reveals the entire view of the end of the building, this to enrich the spatial experience within a longitudinal plan.
ground floor 1:200
elevation 1:200
section 1:200
SKALA 1:100
basement 1:400
SKALA 1:100
second floor 1:400
NEW RESIDENTIAL TYPOLOGY Interacting Community Until fairly recently, most people in the world grew up, lived out their lives, and died within a few miles from where they were born. To them, their communities meant what they had always known. Now, with emigration and greater physical and social mobility, many of the world’s people find themselves in places far from home, living in communities defined by geography or economics. Rather than knowing their neighbours from childhood, they may not know their neighbours at all. Today, in order to create a community, it’s often necessary to bring people together. Yet, especially in large cities, people often live either in isolation, or surrounded only by others who are similar to themselves. How do we build communities that are embracing the diversity of backgrounds, ethnicity, race, and culture that make up much of today’s society? Interaction within a neighbourhood creates a sense of community. By getting to know your neighbours, people with different histories and assumptions can establish relationships and begin to value their differences as well as their similarities. Until the 20th Century, villages, towns, and cities were full of gathering places and the primary way to communicate with others was face to face. With the coming of radio, telephones, TV and computers, ultimately, all that changed. People no longer had to gather physically to communicate. I think one of today´s challenges is to incorporate places for interaction into the design of everything from cities themselves to smaller housing complexes. Individual project, Master’s degree - 2018 Stockholm Supervisor: Therese Selberg, Leif Broderson
LAYERING THE MOVEMENT By arranging different levels of privacy another layer of communication is introduced. I want to focus on layering the movement from the private to the public space and show the importance of semi private and semi public spaces for the interaction between people. The level where public and private meet forms their borders.The boundary between indoor- outdoor, private and public is the place where ‘something starts to exist’ and leads ultimately to the establishment of a communication, acting as a social equipment. By focusing on connecting the worlds they divide and create a welcoming spatial developmen it can activate a more social interaction and social encounters.
Until fairly recently, most people few miles from where they were ways known. Now, with emigratio people find themselves in places or economics. Rather than know neighbours at all.
Today, in order to create a comm cially in large cities, people often similar to themselves. How do w grounds, ethnicity, race, and cult neighbourhood creates a sense o different histories and assumptio es as well as their similarities.
BORDER
PRIVATE
HOUSIN
PUBLIC
Until the 20th Century, villages, t way to communicate with others computers, ultimately, all that ch cate. I think one of today´s challe everything from cities themselve
INTERACTING
horisontal and vertical living
HORISONTAL AND VERTICAL LIVING
interacting
INTERACTING
HORISONTAL AND VERTICAL LIVING
ground floor 1:200
second floor 1:400
AXONOMETRIX VIEW
section 1:200
MEETING AROUND TOLERANCE Residence and multifaith center My starting point with the project was the global context of today. With a growing interaction between members of the world with different faiths and beliefs its important to create spaces that can accomodate different people with different needs, where you meet around tolerance. I’m therefore suggesting a multi-faith space for people of different faith or no faith at all to worship and to connect and learn about the faith of others. With an entrance from two sides, both from the housing units but its also inviting and open to the public and the local community. It’s a place of neutral spaces where what is particular to the different faiths is hidden. What is exposed are things they share. In this case the lighting, the focused space and the planning of light and shadow and their interaction. The site is located in Farsta south of Stockholm and situated in between the built and the trafficked roads as an empty leftover space next to the train track. Looking at the surrounding suburban conditions and how the buildings and these bigger housing blocks are spread out in the landscape with no real connection to each other, with big courtyards where you feel exposed and excluded from the surroundings. I wanted to instead create a coherence in the way the buildings are being put together and connect the housing units, so that you almost can see whats going on in the other houses. The units are gathered around the courtyard which works as a meeting point connecting all the buildings. The purpose is to create an interaction between the residents in the different units, with different layers of private and public spheres. Individual project Master’s degree - 2018 Stockholm, Sweden Supervisor: Ori Merom
siteplan 1:800
section 1:125
plan 1:125
The multi faith space A promenade leading to the main worship area creating a ceremonial sequence with different experiences along the way, this to slow down the pace and create a slower transition between rooms. You enter through a thick wall and the first thing you face is a wall, this to change the movement and force you to slow down. By using stairs adapted to the sloping ground you meet the different levels of the ground and slows you down when concentrating on your steps. A dark cave-like passage, with limited natural light but only a small light stream coming in from the side thats changing when you walk in the stair, creates a change from the narrow and small into the big and open main room.
The whole promenade creates a distance from the outer world, leading the believers, bit by bit, layer by layer, through the hall, the washing facilities, the shoe storage area, the stair, the passage into the central space. The main room opens up to the interior and the sky and closes off to the exterior to keep away disturbance from the outside. Its a simple and cubic form directed to the middle. Its lit by only one source of light that penetrates through the roof and draws the gaze upwards towards the sky. The floor here is coming down a little bit to create a connection between the ground and the sky. The room will change character during the day when the light hits the wall in different directions. From the main room there are several individual rooms with different experiences and intentions that are branching out from the central room.
plan 1:125 groundfloor 1:125
section 1:125
The vertical and horizontal connection From the entrance you have to pass the collective kitchen to enter your apartment and on the upper floors you have a connection to the ground floor. By having an open stair with double ceiling height and a bigger step in the middle that allows for a pause, the stair works as an extension of the room and connects the upper floor wth the ground floor. The corridor also allows for a horizontal connection, connecting the rooms and the public and private spheres.
plan 1:125 second floor 1:125
section 1:125
The corridor The corridor works as a semiprivate threshold between the private apartment to the public court yard. By having the corridors alongside the building it works as an extension of the apartments and creates a semiprivate living room or balcony facing toward the public courtyard. By glazing parts of the wall between the apartments and the corridor it blurs the line between private and public and enables light to come in to the apartments from the other side. The corridor can also be opened up towards the courtyard and connect the inside and the outside.
THE LAND BETWEEN Connecting bridge This project draws focus on material language within the Western district of regional Victoria, Warrnambool. The interest lies in un covering the value of site through thorough investigation of local archeologies. By means of a parallel investigation of local tectonics and site histories I´m aiming to tease out vestigial narratives that gives agency to develop a strategic brief to engage with the Lake Pertobe Reserve. Bluestone is a local material and therefore this architectural intervention is directly addressing to the requirements of bluestone to inform its language. I want to investigate how you can control people’s movement on the site. How can you create passages through lake pertobe? And from this create a journey around and within lake pertobe that familiarise the locals to the site and its values but also connect different places. The intervention transports people in a controlled direction and includes various spaces and height differences that enables different activities throughout the journey, this to add more value to the bridge and create a more enhanced experience. The result is a 1 km long bridge that acts as an extension of the mainstreet in the city. The narrtive guides one, through and into different thresholds – the manmade, the water, and nature. Individual project, Maters’s degree - 2016 Melbourne, Australia Supervisor: Claire Scorpio, Nic Angius
enclosed
open
enclosed
_railway a viewing point where the bridge shoots out from the hill, creates a contrast between the enclosed space where the bridge is carved into the hill to enhance the open feeling when you come out on the bridge.
open
_arches the arches investigates the qualities of space created as a direct response to its program and how you by different scaled arches can create different types of feelings.in this case the arch is responding to the width of the railway. 8 meters wide and 4.5 meters high creates the dimensions of the arch.
scale 1:200
section 1:200
entrance
storage
open
enclosed
enclosed
storage
entrance
elevation
scale 1:200 1:200
_bridge
_railway
Im focusing on the user group is the town folks, but instead of focusing on the frequent regally users of the park I want to focus on the people that doesn’t come here as often.
viewing point w out from the hil between the enc bridge is carved the open feeling the bridge
I want to investigate how you can control people’s movement on the site. How can you create passages through Lake Pertobe? And from this create a journey around and within Lake Pertobe that familiarise the locals to the site and its values but also connect different places. By moving the entrance to Lake Pertobe to the end of Liebig Street Im creating an extension of the main street in Warrnambool and also in that way attracting more people and creating a more diverse bridge. The intervention transports people in a controlled direction and takes them from the CBD to the Beach. But instead of focusing on the beach as a goal itself, the journey there is the goal. The journey includes various spaces and height differences that enables different activities throughout the journey, this to add more value to the bridge and create a more enhanced experience. The result is a 1 km long bridge that acts as an extension of the main street in the city, The narrtive guides one, through and into different thresholds – the manmade, the water, and nature.
_arches
the arches inves of space created to its program a different scaled different types o
in this case the to the width of wide and 4.5 m dimensions of t
where the bridge shoots ll, creating a contrast closed space where the d into the hill to enhance g when you come out on
stigates the qualities d as a direct response and how you by d arches can create of feelings.
arch is responding the railway. 8 meters meters high creates the the arch.
_market
_end
the bridge acts as an extension of the main street in the city, where the local market can take place and by this support the local farmers.
the bridge is co water in a way of it continuing
the bridge transforms into the roof of a market space and gives a feeling of enclosure. an enclosed feeling is also created by raising the landcape and create space in between the two hills, the market space opens up towards the lakes and since the space is on the same level as the lakes it connects the lakes not physically but visually
_arches the arches investigates the qualities of space created as a direct response to its program and how you by different scaled arches can create different types of feelings. In the market the arch is created as a response to the program of the market. Each arch represent the space needed for a place at the market, in this case between 1.5 to 2 meters wide. The arches varies in height to alter between open and closed.
where the brid splits in two so float into the p aspect where t with the differe of the ocean.
when its a high reach further u a low tide you out on the brid meets the act o
open
enclosed
_end the bridge is connecting to the water in a way that creates a feeling of it continuing into infinity. where the bridge hit the water it splits in two so that the water can float into the path. this adds a time aspect where the bridge is changing with the different tides and movement of the ocean.when its a high tide the water can reach further up and when there is a low tide you can walk furtherer out on the bridge. here the manmade meets the act of nature
high tide shore line
low tide
scale 1:200
30m
20m
10m
0m
-10m
500m 250m 0m
market the bridge transforms into the roof of the market and give a feeling of enclosure
railway
enclosed enclosed feeling by higher trees next to the path and
view point the bridge shoots out from the mountain
starting point path carved into the landscape
vegetation
terrain proposal current terrain intervention
1000m 750m
infinity carvin through the land into the water wich allows the water to egage with the bridge and change with the tide
connecting the ocean path is carved into the landscape
connecting to the lake engage the lake by carving throughout the water
REGIONAL ARCHITECTURE Model making The studio aims to draw on this idea of activation of regional centers, and consider alternative ways we can utilise these spaces in a way that contributes to the local, and broader community. The studio is mainly manifesting this in modelmaking. Individual project, Maters’s degree - 2016 Melbourne, Australia Supervisor: Claire Scorpio, Nic Angius
OPEN BORDERS Preschool A preschool for exploration adapted to different types of play. There is an interaction between children’s learning and the physical environment. I therefore believe that its important to create playful environments where children are inspired to different types of activities, to exploration and discovery.Children play in different ways, therefore its important to design the rooms accoringly. Firstly, there are games that require larger rooms for movement and interaction, with space for freer games opened up to the outdoors. The facade outside the building creates an exciting play of light that will stimulate and inspire the children to play. Secondly there are also games that require more concentration for individual learning and development, rooms where the children can play undisturbed with the least possible interruption in the game. The rooms need to be smaller and lower in ceilings with sound absorbing materials. These rooms are more introvert and brings in light from a courtyard that cannot interfere with the kids´ play. Individual project 3rd year - 2016 Stockholm, Sweden Supervisor: Ori Merom
_transparent facade A transparent wooden facade on top of the glass facade creates shadows and a stimulating and exciting play of light inside the room that can inspire the children to play and explore. While the room opens upwards towards the outside, the facade creates a transparent layer between the children’s play and what is going on outside. This reduces disturbing moments and the game can continue without interruption.
_atrium
-
The atrium creates opportunities for the children to get out to the yard and collect material such as leaves in the fall, snow in the winter and when it rains, water can be collected for water games. Through the atrium, the children have the opportunity to create a creatively created and to follow the different seasons.
adapt the rooms accordingly
open and introvert rooms
DIAGRAMMATISKT SNITT AV SNITT LJUSET DIAGRAMMATISKT AV LJUSET
DIAGRAM OF THE LIGHT DIAGRAM OF THE EXPERIENCE
-
DIAGRAM OF THE LIGHT
The wall should not be seen as a limiting obstacle but as a transparent membrane that can create different feelings in the room depending on how the light falls into.
OPEN O OAVMUPPLEVELSEN S DIAGRAMMATISKT SNITT R AV SNITT UPPLEVELSEN DIAGRAMMATISKT
_the wall
INTROVERT ROOM
DIAGRAMMATISKT SNITT AV SNITT LJUSET DIAGRAMMATISKT AV LJUSET DIAGRAMMATISKT SNITT AV SNITT UPPLEVELSEN DIAGRAMMATISKT AV UPPLEVELSEN
How can you create stimulating rooms that the children themselves can interpret and explore?
DIAGRAM OF THE EXPERIENCE
lay ently
SPATIALITY
PLAN VÃ…NING -1
underground 1:200
n and vert rooms
and vert rooms
n and vert rooms
I N T R O I VNETRRTO V E R T I N T R O V E R IT N T R O V E R T ROOMROOM ROOM ROOM
ORAVPSNITT E ON RSAVDIAGRAMMATISKT O OAVMDIAGRAMMATISKT SP EDIAGRAMMATISKT SNITT UPPLEVELSEN DIAGRAMMATISKT AVAV LJUSET DIAGRAMMATISKT SNITT SNITT LJUSET SNITTDIAGRAMMATISKT O PDIAGRAMMATISKT EN O MUPPLEVELSEN DIAGRAMMATISKT SNITT UPPLEVELSEN SNITT AV LJUSET DIAGRAMMATISKT AV DIAGRAMMATISKT SNITT AV LJUSET OUPPLEVELSEN N RAV O ODIAGRAMMATISKT OAVM PUPPLEVELSEN SEDIAGRAMMATISKT N RAVSNITT O O M S AVDIAGRAMMATISKT SNITTDIAGRAMMATISKT UPPLEVELSEN SNITT UPPLEVELSEN DIAGRAMMATISKT AV SNITT LJUSET SNITT AV SNITT LJUSET SNITT SNITT UPPLEVELSEN DIAGRAMMATISKT AV LJUSET AV LJUSET
DIAGRAM OF THE EXPERIENCEDIAGRAM OF DIAGRAM DIAGRAM OFLIGHT THE EXPERIENCE DIAGRAM OF THE LIGHT OF DIAGRAM OF THE EXPERIENCEDIAGRAM OF DIAGRAM DIAGRAM LIGHT THE EXPERIENCE DIAGRAM OF THE THE LIGHT EXPERIENCEDIAGRAM OF THE LIGHT DIAGRAM OF THE LIGHT DIAGRAM OF THE EXPERIENCE OFDIAGRAM THE LIGHTOFOF THE EXPERIENCE THETHE EXPERIENCE DIAGRAM OF THE LIGHT DIAGRAM OF THE
n and vert rooms
CONCEPT
CONCEPT
CONCEPT
Sunlight
PLAN VÅNING 2
PLAN VÅNING 2 CONCEPT
Sunlight
Sunlight
Sunlight
groundfloor 1:200
PLAN VÅNING 1
PLAN VÅNING 1
second floor 1:200 Open up
Open up
atrium
atrium Open up
Open up
atrium
atrium
Concept
Section A
Sektion A
A-A 1:100
A-A 1:100
Section B
Sektion B-B
B-B 1:100
B 1:100
Group 1 Group 2 Group 3
Common areas Staff
Technical section 1:50
CONTACT linnealegefors@gmail.com +46 725656505