ES e r i n
fourth year student bachelor of interior design calgary, alberta, canada
s c o t t
ES erin scott interior design student +1 403.880.7633 firstname.lastname@example.org www.erin-scott.com in/erinhamiltonscott/ 203 valley ridge manor nw calgary, alberta t3b 6c4 canada
content firstly / 1 introduction blind / 3 viewing, threshold community / 17 gathering, context bavarian inn / 25 dining, alpine body + / 31 changing, masculinity explorations / 37 form, expression
Hello, My name is Erin Scott. I am a fourth year Bachelor of Interior Design student at Mount Royal University in Calgary, Alberta. Upon graduation, I intend on continuing my education to earn a Master of Architecture. I am a skilled computer user, artist, and draftsperson. My strengths lie in the efficient, thorough, and accurate completion of projects. I have a fervent enthusiasm for art and architecture, and am excited to direct my passion towards thoughtful and innovative design. In the unlikely event that I am not at school, I enjoy reading, travel, rock climbing, and listening to podcasts (as well as talking about them to anyone who will listen). I am a trivia fanatic, and dream of designing impactful spaces all over the world.
firstly / INTRODUCTION
Bachelor of Interior Design / 2015-19
Server + bartender: The Italian Farmhouse / 2013- 2018
Mount Royal University Art History minor University of Waterloo / 2011-12 English Literature major Varsity women’s volleyball team
Awards BILD Calgary Region scholarship / 2017 President’s honour roll / 2015-17 Jason Lang scholarship / 2015-17 Waterloo merit scholarship / 2011
Activities LEED Green Associate / 2018 USGBC Acoustic charette / 2018 Work Nicer Coworking Student representative / 2016- present Alberta Association of Architects Treasurer / 2016- present Interior Design Student Society Event volunteer / 2016-18 Primarily it’s a Party Guest Speaker / 2015 Fundamentally Human Festival Refreshment volunteer / 2015 Tom Baker Cancer Centre Assistant coach / 2012 403 Selects Volleyball Club
Embody a leadership role within a small team by teaching, making decisions, and delegating tasks to achieve maximum efficiency. Solve challenges quickly and confidently, and sensitively manage customer conflict to optimize satisfaction and business reputation. Supply detailed product knowledge and provide appropriate recommendations to customers. Freelance interior designer : The Bavarian Inn / 2017 Collaborated with client to define needs and develop an updated design concept to maximize restaurant efficiency while improving customer experience. Established relationships with suppliers to increase knowledge of appropriate materials, and ultimately make informed, thoughtful, and responsible finish selections. Developed clear finish plans to guide contractor work. Adhered carefully to client’s budget and timeline. Retail associate: Anthropologie / 2012-13 Provided kind and insightful customer care to assist in selection of luxury apparel and furniture. Implemented effective loss prevention techniques to maintain the company’s financial interests. Student intern: Alberta Children’s Hospital - Diabetes, Endocrine, + Gynecology clinic / 2012 Built a modern, user-friendly digital program to replace paper records while accurately and efficiently tracking patient diagnoses. Published comprehensive and informative gynecology pamphlets to educate new patients. Performed literature searches to assist nurses with research studies.
Proficiencies AutoCAD Revit SketchUp Rhinoceros V-Ray
Photoshop InDesign Illustrator Lightroom Grasshopper
Languages English / Native proficiency 2
French / Working proficiency
part one / BLIND
Strange & Visceral Blind is an art gallery set to occupy a portion of the third floor of Calgary’s historic Pilkington building. Located within the same floor plate as an import/export business for art, Blind is unusually capable of featuring highly valuable artworks with the security of a closed environment. This said, not every piece in the gallery is highly valuable. Blind’s central philosophy revolves around the destabilization of one of the world’s most exclusive economies. Thriving for hundreds of years, the art market is founded upon the perception of wealth, status, or power, as determined by the authenticity of an object. In opposition to this phenomenon, Blind displays art in a variety of conditions - original, forged, printed
or mass-produced - without any indication that might pre-determine a visitor’s opinion of a piece. A discomforting confrontation of the human psyche and our perception of value, Blind metaphorizes our quest for enlightenment, beauty, and truth through a space replete with strange and visceral geometry. This highly reflective space seeks to expose the ugliness of exclusivity while replacing hierarchical attitudes with genuine wonder. Blind is a space about relationships: the relationship between light and dark, between truth and fiction, and between rationality and entropy. It is an environment sustained on the innate human desire for truth, manifested through curiosity, theatricality, and uncertainty.
Light & Geometry Looking at the floor plan, it is immediately apparent that the gallery is replete with sinuous, flowing geometry. Public spaces are governed by this futuristic yet accessible logic, while backof-house spaces go without it in the interest of functionality.
The threshold to the exterior provides a foundational design element for the space. This wall provides the most poignant opportunity for the dramatic and carefully calculated use of light within the interior. The explore this, the threshold required manipulation, which had to be achieved without altering the structure of the historic building. In order to determine how light would behave, numerous light studies were conducted. Data was accrued to understand angles, pathways, and patterns of the Sun in the Northern hemisphere, and more specifically, in Calgary. The data was the processed to develop a design that would allow light only to pass through the main archway system in the space,
without striking the solid surfaces between. This serves to increase the light penetration throughout the gallery while not compromising any paintings with direct UV exposure.
and to furthermore interact with the design in which they are immersed.
The reaction, therefore of the gallery to its exterior threshold is one of passage and functionality: allowing light to be channeled with intent. The organic-shaped portals that punctuate the threshold are curiously shaped to align with the galleryâ€™s overall aesthetic, and to inspire wonder. Visitors are encouraged to peer through the retrofuturistic openings,
Another major design feature of the gallery is apparent upon entering the reception space. Visitors catch a glimpse of a metallic surface and dappled light, thereby engaging the senses and evoking interest. This is a perforated steel barrel vault in the central gallery space. Inspired by architectural elements evoking Roman tenets of veracity and Gothic aspirations of enlightenment, this
digitally-suggestive geometry acts as an intervention that interrupts the space as an artistic piece itself. In doing so, it provides surfaces to mount paintings. The system is derived from a base geometry of catenary curves, streamlined and elongated from the traditional Roman arch to suggest technological advancement and with angles shallow enough to be more than a little space-age. A vertical extrusion extends from the archâ€™s opening to create a shaft connecting upwards to the skylight,
and bringing light into the space below. Ceiling planes intersect with the vault, and collectively hide the buildingâ€™s trusswork. In summation, the objects that comprise the gallery are commingled: set together in a language that is not wholly cohesive, but still convincingly related.
Space & Circulation Accessibility is a crucial component of the galleryâ€™s design. Considering the project concept, equal-opportunity is required both philosophically and physically. The main gallery space is separated into three avenues. One is a subtle ramp that eventually swoops
outwards to create a staircase, and then furthermore a seating area in the form of a small, casual auditorium. The ramp feature is important, as it carves a viewing corridor, rather than simply providing a necessary path of travel. Opportunities for adaptation are found throughout the gallery in flexible track lighting systems, as well as mobile plinths, such that the space can be refit for a variety of exhibition uses. Artificial lighting is provided simply as a support to supplement the ample amounts of daylighting. This establishes even light throughout the daytime, with possibilities for dramatic spotlighting and theatrical shadows after sunset.
Reflection In considering materiality, qualities of reflection of foremost importance. Through use of high-gloss surfaces, the light that is so carefully harvested into the space can be distributed to a great extent. Furthermore, the possibility for reflection is used as a psychological confrontation of self for visitors. Materiality polices the space by establishing a feeing of being watched: by others and by oneself. The pressure of scrutiny is designed to prey upon feelings of self-aggrandizement, and to encourage visitors to respond genuinely to their surroundings.
Lastly In conclusion, Blind is unusual in both form and purpose. Constantly exposing the tension of relationships, the space balances dichotomies of sterility and the grotesque, of calculation and fluidity, of curiosity and uncertainty. Obsessed with form and light, Blind is a contained for both visual stimulation and personal reflection. Altogether, I hope to have designed a spatial experience that alters an unsavoury condition of the human spirit, and which presents us with a candid confrontation of self.
part two / COMMUNITY
Context & Community Established in 1910, Sunalta is one of Calgaryâ€™s most historic neighbourhoods. This project oversees the hypothetical redesign of Sunaltaâ€™s aged community centre, with particular sensitivity to the social context of the neighbourhood. Sunalta exists amidst a different context from that of the rest of Calgary as a whole: its people generally exhibiting a lower median income, higher immigrant population, higher rate of transience, as well as a younger, unmarried demographic. These factors impacted the approach of new community centre design: careful to not only cater to a diverse population with varied needs, but also to imbue a sense of collectivity and identity that captures the spirit of this community.
The new community centre was designed not to continue serving the needs that it currently provides, but rather to change the neighbourhoodâ€™s social landscape by offering thoughtful spaces that encourage gathering and connection. A phenomenon that was largely researched throughout the inception of this project was an idea of place-making: how a space could accurately represent a whole community and stimulate a sense of pride in personal identity for its users. There is little sense of residential intimacy in this transient, slightly dilapidated community: something that could be changed with a targeted goal of stirring pride. An overt sense of worth and value among neighbourhood residents produces a palpable feeling of greatness within a community. This phenomenon is exemplified in other Calgary
neighbourhoods such as Bowness. To imbue Sunalta with a similar feeling, the community centre design takes cues from Bowness, by seeking to represent genuine, local, and resident-focused amenities. The design departs from a analysis of low-income neighbourhoods and their role within the fabric of society. Low-income neighbourhoods are
important. Without them, a significant portion of the population is left with inaccessible housing options. Without inner-city low-income neighbourhoods, people and families identifying as such are pushed to the periphery of cities where expansion developments use price as an attraction. These people are then removed from important amenities such as public transportation. This
phenomenon is oppressive and creates a negative reinforcement loop for a disadvantaged population who deserves the same social and civic benefits as an affluent citizen. In this regard, Sunaltaâ€™s economic climate is a great opportunity to provide housing to many people who cannot spend upwards of $1,000,000 on a house, but still require proximity to the city centre. The neighbourhood structure of Sunalta however, is not naturally conducive to bringing its residents together and creating a community. The amenities that are provided to residents are not appropriate given their financial and social characteristics, and generally cater to destination businesses rather than local businesses that inspire a sense of collectivity. Sunaltaâ€™s amenities may serve to benefit the community in an economic sense, but they do little for the neighbourhoodâ€™s social capital. As a by-products, Sunalta lacks the togetherness that turns neighbourhoods into communities.
Ultimately, Sunalta is an uncommon neighbourhood that fulfills an important niche in the fabric of an affluent city. Its mission to resist the effects of city expansion (high-rise buildings, new homes, etc.), while preservative, have also created the economic conditions for a
transient and disconnected population. A sense of place needs to be inspire among the people of Sunalta in order to truly fulfill its potential as a home to a diversity of residents. In providing restaurant and theatre amenities, the new community centre seeks to thoughtfully consider the role of the low-income neighbourhood within society to create a thriving social facility that causes the community to flourish.
In order to integrate within Sunaltaâ€™s pre-existing condition, the community centre site was carefully assessed to consider environmental, circulatory, historical, and utilitarian factors. The buildingâ€™s placement capitalizes on the busy LRT station to the siteâ€™s northwest, which provides plenty of foot traffic to the building. Paths of travel were assessed to place a take-out window to serve morning coffees and discounted baking to commuters and the less fortunate. By extension of this window, the restaurant is placed at the western end of the building, leaving the east to be occupied by the theatre. Zoning and blocking diagrams were developed to establish relationships between different areas of the building, and to properly consider the vertical circulation corridors within the space. Sensibility of vertical movement in conjunction with the parkade are ensured to be practical, efficient, and accessible to any user. While not within the scope of this project, consideration for the placement of educational and administrative facilities was also critical to establishing an order and wayfinding system within the building.
Concept A particularly important facet of the design-development process in this project was to determine how to create beauty in a space without neglecting or falsifying the community’s identity. In order to provide locals with a sense of value, pride, and care, the building would naturally require to be aesthetically appealing. To design a beautiful, modern, and luxurious interior would certainly nurture the community’s sense of worth, however would
be falsely representative of Sunalta’s identity, history, and culture. Instead, the centre’s intent is to accentuate Sunalta’s qualities, and express the community’s local spirit through design. This building is not interested in changing Sunalta’s standing or reputation within the city, but rather to showcase the important and beautiful attributes of low-income neighbourhoods: ones that are sorely neglected in Calgary’s generally affluent climate. To achieve this end, the cafe design and palette seeks to communicate an approachable space to encourage gathering and lingering. Fun, bright accents in combination with warm, textured materials create a casual and engaging environment. The cafe establishes itself as a modern, comfortable community living room: a place where everyone is welcome and encouraged to socialize and meet their neighbours. The space is bright and casual to reflect the interactions held within. Materiality exemplifies these qualities with a light colour palette, and warmth drawn from use of wood. Yellow accents add bright, friendly tones to the space, while nodding to the community’s namesake derivation from ‘sunny Alberta,’ Fun patterns and tactile materials encourage excitement, touch, and general engagement with one’s surroundings. Seating is positioned to inspire interaction, and recall the comforts of a residential setting.
Ultimately this casual cafe is intended to do away with differences and to unite an estranged population in a space that is especially curated for gathering. Graphics from the cafe’s design package are shown here to
furniture plan / first floor communicate the overall feeling of the community centre.
BACK STAGE 44.8 M²
14 CHAIRS IN ROW
Concepts of gathering and unity are further seen in the theatre’s design, which was developed solely as a contract document package. To mimic the cafe’s emphasis on casualness and fun, the theatre also embodies these principles, but with a different language. Instead of using a bright palette with fun patterns to achieve a light-hearted and exciting environment, the theatre provides a dark, dramatic procession to spur anticipation. The auditorium itself is a theatre-in-the-round, to further ideas of gathering, interaction, and informality by use of intersecting sightlines and close quarters. One edge of the seating is comprised of a mobile telescopic bleacher unit that can be removed to create an opening for a stage viewable by an outdoor seating area. An opening to the second floor provides an opportunity for upper-floor seating, though only a single row is provided to ensure a quality viewing experience. Though volumetrically lowered from the remainder of the second floor, this
THEATRE VIEWING AREA 85.9 M²
8 CHAIRS IN ROW
4 CHAIRS IN ROW
furniture plan / second floor
upper viewing deck is fully accessible. Acoustic panels hang from the second floor ceiling to distribute sound appropriately to viewers. With open areas that are flexible in use, the community centre’s theatrical amenities are suitable for a multitude of purposes, and furthermore in keeping with the building’s casual and adaptable concepts.
From a practical perspective, the contract documents for the theatre were complete with door, hardware, finish, furniture, equipment, and electrical schedules. Compliance with
building and fire codes were carefully met, while maintaining the integrity of the space’s concept as expressed through its design package.
Time & Place Context was the emphatic theme of this project: environmental, social, and historical. Sensitivity to each branch of context was critical to the design process, and guided its progress in order to create effective, beneficial, and impactful spaces within the new Sunalta community centre. Another contextual element
considered throughout the project was time. As seen above, a graphic imagination of a post-apocalyptic theatre explores the possibilities of the building’s use many decades in the future. While this was a creative exercise, it nonetheless inspired thought for the role of contemporary architecture as time passes, as well as its adaptability to change.
SUNALTA COMMUNITY CENTER CAFE The Sunalta community centre cafe exists to bring together a neighbourhood of diverse circumstance. Sunalta residents are united neither in their age, their income, nor their ethnicity, but rather by the place they call home. Why not have a place that celebrates this similarity to all?
part three / BAVARIAN INN
Project A fully realized project, the Bavarian Inn, located in Bragg Creek, Alberta, was redesigned to suit a its new ownerâ€™s vision. With a small budget and short lead time, the restaurant was transformed from a quaint and dated interior into a clean, contemporary, and warm alpine space. Construction was completed in the spring of 2017.
and on budget. Once presenting a single dining environment, the Bavarian Inn now hosts both a fun, contemporary lounge alongside a more formal, elegant dining room, offering guests a diverse experience.
Following two months of planning and two weeks of construction, the renovation was completed on time
The restaurant required new drywall to eliminate the monochromatic green stucco that clad the walls and
Before ceiling. Considerations for asbestos, acoustics, and existing electrical circuitry were important due to the buildingâ€™s age and condition. Water damage was repaired, and much of the restaurantâ€™s millwork and furniture was replaced and updated.
A major request from the client was to enhance the atmosphere of the dining room in order to match the fine dining experience desired with the restaurantâ€™s rebranding. To this end, the wall separating the kitchen was extended to the ceiling to reduce sound transmission. The partitions between the dining room and entry way were also extended to create visual separation between these hightraffic areas. A custom millwork wine rack was installed to create product interest and storage. Dark stained solid
wood tabletops were commissioned to connect with the natural connotations of alpinism, while wrought iron accents were used to represent Bavarian design elements. Practical considerations for furniture also included substituting leather and wood for the previouslyused suede in order to maximize their lifespan and ability to be cleaned. A key design element present in the dining room is the large custom-built 10-seat family table. This feature not only provides a pragmatic space for large parties, but also imbues the space with a modern sense of sharing, where previously there were sheltered booths. The table seeks to create an atmosphere of collectivity and friendliness in order to maintain an element of approachability in an overall fine-dining environment.
Looking to diversify his demographic, the client desired a more casual, modern, and trendy â€˜bistroâ€™ side to the restaurant. Suitable for drinks and appetizers, this space incorporates industrial-style furniture as high tables to create a quick and relaxed environment. Brick veneer was applied as a feature wall to bring visual texture and clean lines, while simple pendant lighting brightens the space at nighttime. A new solid walnut bar top replaced an old laminate to draw customers to the bar and make social connections with the staff. A dark colour palette was maintained for consistency with the dining room, but to ultimately create its own distinct space.
part four / BODY +
Barriers In creating a commercial change room that encourages body positivity, the dichotomy between privacy and publicity becomes ambiguous. This project required the design of a fully accessible male public change room in a facility that praises the body.
True to the notion of body positivity, this space incorporates little in the way of opacity. Visually disruptive barriers are only used to separate the water closet from the remainder of the change room. Otherwise, glass provides a material transition for when one is required pragmatically (for example, the entrance to the steam room or sauna). Apart from instances such as these, barriers are foregone altogether.
Ample space was given for the construction of this project, encouraging the inclusion of luxury and extraneous facilities within the change room. Ultimately however, the aim was to create a thoughtful dialogue about the notions of privacy within an intimate yet open space. Psychological consideration of masculine culture and body image sought to create
a space that is both comfortable and progressive in its treatment of nudity and gender. Materiality is of utmost importance in affirming selfworth and establishing a safe space amidst a condition of vulnerability.
Privacy is not created by inhibiting visual connection, as is traditional. Instead, a person is encouraged to be comfortable by instilling luxury from the use of rich, raw, and tactile materials. When a person feels valued or nurtured, a sense of selfworth is fortified, thereby lessening the need to be visually separated from others. The psychological approach to this design emphasizes our need for physical comfort in the search for mental and emotional security. These three branches of our being are closely intertwined, and must be satisfied as a collective in the spaces we inhibit.
In addition to the theory and application of private and public spaces, this project mainly sought to educate upon the use of materials and their visual presentation. Care was taken in specifying codeappropriate materials that would work both practically and beautifully within a humid space. The design package was then assembled with the intent of engaging and exciting a potential client and winning their bid. A hybrid drawing (right) was required to visually convey concept, as well as general aesthetic information about the spaceâ€™s design.
lastly / EXPLORATIONS
Lastly In closing, I am a dedicated and avid student who is constantly improving upon and discovering new skills pertinent to design. Currently, I am particularly interested in the intersection of physical and digital mediums, and how their combination can further the possibilities of either on its own. I am a curious and enthusiastic learner, eager to share ideas and accrue wisdom with other people in the design world. Overall, each semester brings with it a wealth of knowledge. Currently completing the third year of my Bachelor of Interior Design, I will obtain practical industry experience
throughout the upcoming year, and complete a mandatory requirement of hours prior to my anticipated graduation in June 2019. Furthermore, I am excited at the prospect of participating in design competitions and local initiatives to gain experience and learn practical skills. Ultimately, I am eager to continue learning with the goal of designing beautiful, functional, and impactful spaces throughout my design education, and onwards into that of architecture.
ES erin scott interior design student +1 403.880.7633 email@example.com www.erin-scott.com in/erinhamiltonscott/ 203 valley ridge manor nw calgary, alberta t3b 6c4 canada
Bachelor of Interior Design student potfolio