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JI ianne A mante A &D nterior rchitecture



Interior Architecture and Design

“Bad design shouts at you. Good design is the silent seller�. - Anonymous

Contents Curriculum Vitae Design work

01 02 03 04 05 06 07 08 09

Personal Artwork Interiors Reinvented Sculpting interior Space Leeds Art Gallery Staircase Hepworth Wakefield, ‘The Mill’ Tote, Catterick Races Final Major Project, ‘In:Step’, Glastonbury York St John University ‘Timber House’

Curriculum Vitae JI ianne A mante A &D nterior rchitecture

13 Village Place, Burley Park Leeds, West Yorkshire, LS4 2NT Mobile: +44 (0) 7496294834 E-mail: DOB: 30/09/1993 Languages: TAGALOG (Filipino) native proficiency ENGLISH full professional proficiency SPANISH intermediate level


About me:

From a very early age I have been exposed to different cultures and traditions surrounded by architecture from the past and present. With my interest in both, I am truly fascinated by the contrast in relation to design. Design has been a big part of society and the growing world around us. Designed buildings are a place of work, living and sometimes even a place of gathering. I feel that it is a very important part of life as they are becoming a statement and also a necessity for an individual’s day to day life.

Achievements & Qualifications:

Leeds Beckett University Interior Architecture and Design, BA Hons 2012-2015 The John Henry Newman School Art & Design BTEC Diploma Business Studies 8 GCSE’s Grades A-C including English, Mathematics and Science

Professional Experience: January 2016 - Present

May 2012

One Design Architectural Services Ltd. Pentangle Design Shipley, Bradford, West Yorkshire Hitchin, Hertfordshire Learning the design process in residential and commercial sectors as well as Working as part of the main design team, visiting sites, creating liasing with clients as an Architectural assistant in the Planning team. models and learning about the production. September 2015 Watson Batty Architects Guiseley, Leeds, West Yorkshire Enhancing my skills within the Urban planning sector, meeting deadlines to provide an informative presentation to clients, and being able to work within the design team. July 2014 Saraya Interior design & Contracting Khalifa Street, Abu Dhabi, U.A.E Being involved in the design process, improving my innovative thinking, written and verbal communication skills, and working independently to ensure all projects are completed in a timely manner.

Skills and Experience:

Research: - Researching inspirations in response to a simple design - Researching personal interpretation to support the project Modelling: - Good modelling skills from conceptual, development models to final presentation models - Experimenting with sizes and depth of materials Drawing: - Using a variety of creative approaches in respond to a complex design - Sketching a quick detailed plan Communication: - Good verbal presentation skills - Student Ambassador, liasing between young students and parents - Good team skills Softwares - AutoCad - Adobe Photoshop and InDesign - Apple and Microsoft OS literate - SketchUp - Basic 3D AutoCad

Referees: Peter L. Dixon BA(HONS) FCSD Senior Lecturer Department of Architecture & the Built Environment C101, Ellison Building Northumbria University Newcastle Upon Tyne, NE1 8ST T. +44 (0)191 349 5376 M. +44 (0)7989 979988 E.

Wissam Kashi Saraya Interior design & Contracting Managing Director Khalifa Street Abu Dhabi, UAE T. +971 2 674 7433 E.

‘T imber House’ Imaginative brief

YLordork st John University Mayor’s Walk, York Work experience

The following are SketchUp scenes showing the existing and development within the area in the future.

IOldn:Sbeckery tep, Baily’s Factory Road, Glastonbury 3rd year Final major Project

Feasibility Report

This module enabled me to develop my thinking, understanding and critical analysis of primary and secondary sources which supports my design proposal. Through the report I have investigated and analysed the context and delicacy of the building.

In:Step Bespoke Footwear The region of Glastonbury, Somerset has been noted as the beginner’s luck of shoemakers with big brands such as Clarks shoes and Morlands starting there. Following in their footsteps, so to speak, the Baily’s factory based in Glastonbury will be used to accommodate several professional shoemakers. For my brief, I will be designing a series of spaces for bespoke shoemakers and their production of high quality footwear. There will be a variety of well-made bespoke shoes including but not limited to Venetian shoes, wedding shoes, ballet shoes and baby shoes. The building will be split into three main spaces: retail studios, exhibition space and the workshop. The shoemakers will have their own designated space to work allowing them access to all the machines they required. The exhibition space will be open during working hours allowing the public to the opportunity to enrich their understanding of bespoke shoes as well as the importance of it to the structure of the feet. Whilst the workshop is provided to allow the visitors to try their hand at shoemaking. There will also be a souvenir shop providing various tools that can be bought to begin shoemaking as well as small souvenirs of Baily’s building itself.

Context The Baily’s factory in Glastonbury is split into two buildings, eastern and western factory. Focusing on the eastern Baily’s factory, a Grade II listed building was later developed into a sheepskin, rug and glove manufactory. The factory produced boxing gloves for the world’s finest such as Muhammad Ali, Floyd Patterson and Henry Cooper.

The art of bespoke shoes is a well-preserved crafting process that takes the individuals personality and style to create a product that represents them. But most importantly, it protects the delicate structure of the human foot focusing primarily on comfort for consumers. There are two major reasons as to why a person would choose to wear custom-made shoes. One is the desire to be unique and stylish; people want to be creative. Within this creativity they are involved in the design, choosing their own materials and textures they prefer. This process allows the consumer to be part of the end product without needing the necessary skills; releasing their creativity into a product they can call themselves. The second reason being the support that shoes provide. It is not a product that has always been made to be the most beneficial, whereas now there is more of an emphasis on all different types of shoes to suit an individual consumer. Custom shoes allow the individual to have personalised long lasting shoes without damaging their feet. To know comfort is to feel comfort.

History of shoes Ancient


Basic style of shoes and Social status is shown sandals were invented for through shoes in all protection and status height, width and length

Anaszi (10075CE)Weaved from fibre using a yucca plant

Shoes were made more sturdy

Ancient Egypt (2500BC) Made from braided papyrus leaves and vegetable fibre

Footwear was kess rigid and more colourful using softer facbrics

An era of technological Footwear became more The style of shoe reflects improvements, new affordable the change in social colours from synthetic status of age groups dye 18th Century Flaper Style 1950s Stilleto

The length of toe represented wealth status

Made from furs and skins


Enlightment-19th Century

Pouline (12th century)

Ice man

Greek Solea (400BC) Made of leather with cork or leatehr soles


Venice Chopine(16th century) Worn by upper class women inspired by the Ottoman Empire

Trippe Worn as overshoes to keep feet dry and dirt-free in wet conditions

Usually black, medium heeled and pointed with a big shiny gold/silver buckle

England Boots (17th century)


Made from velvet, silk and brocade

Slap Sole

Modern (00-40s)

Charles I was the first to wear boots to hide his ricket as a child France Shoes and stockings became very important for men

It gives off a distinct sound when it slep against the heel Art Nouveau was introduced. Simple pumps became ideal for day and night wear

Modern (50-90s)

Women’s shoes became Designed by Roger finer and lighter with Vivier. pointed toe and elegant straps

Women’s fashion became more extravagant than men Heels shrunk dramatically in order to suggest that everyone was born on the same level 19th Century Square toe became a trend

Oxford Black leather shoes for formal evening wear Loafer (1932)

Exaggerated embellishments were introduced

Designed by Guccio Gucci Glamorous pumps influenced by Hollywood Platform Became a daily practical wear

1970s high-heels platforms 1980s Low heeled pumps for daily wear 1990s An era of minimalism

Fig 5 Collated footwear from ancient to modern day

North and South Elevation Materiality











1. Brickwork chimney 2. Softwood painted barge board and exposed purlin ends 3. Vent

1. Softwood painted barge board and exposed purlin ends

4. Streetlight on metal bracket 5. Square coursed random rubble blue lias walling 6. Extent of ivy growth 7. Corrugated steel enclosure to stair, painted finish

Square coursed random rubble blue lias walling 2. Area of stonework severely eroded

West Elevation Stone corbels 9. Surface mounted conduit for lighting cables

8. Cast iron rooflights, corroded

7. Clay ridge, socket jointed

Brickwork chimney Cast iron gutter and downpipe along entire elevation

6. Slate roof, heavy moss growth Cast iron vent covers, painted

5. Brickwork chimney

Clay ridge Slate roof covering

4. Cast iron gutters, badly eroded 3. Square coursed random rubble blue lias walling Modern street lamp and control box 2. Corrugated steel 1. Ivy growth

Pressure relief valves for boiler room Timber sliding doors

Doors and windows on ground floor are boarded up, condition unknown

Fig 76 Not to scale











Extent of ivy growth

East Elevation 3. Brickwork chimney, lightning conductor running up centre 2. Clay ridge

5. Rooflight glass missing 7. Clay ridge, socket jointed

1. Slate roof covering

4. Slate roof, heavy moss growth

6. Line marks roof profile of building now demolished

8. Brickwork chimney 9. Rooflight boarded up Cast iron rooflights, corroded 10. Cast iron gutters, badly eroded

13. Crack at base of chimney extends into lintel over opening

Fig 86 Not to scale

11. Corrugated steel enclosure to stair, painted finish

12. Small areas of paint on stone work
















Removal of shoes upon entering the exhibition space, replaced with folded fabric sandals as a souvenir

Pivoting column showing different leather textures/patterns

Axonometric drawing showing the original features of the building including added components

Exhibition space showing a variety of hand-made shoes

Retail space showing ballet shoes

Retail space with glass flooring overlooking the workshop

Foot scanning area with a sensory leather wall

‘M etamorphosis’ Tote, catterick races 3rd year


Catterick Racecourse is one of the true homes of the Northern racing scene - a venue steeped in tradition and a favourite among many of the region’s owners,trainers and racing public. Racing at Catterick Bridge began as early as the mid-17th Century and the first recorded meeting took place on April 22nd 1783, but it was not until 1813 that a permanent course was created. Today, Catterick is a charming blend of old and new. The framework of the old 1906 stand is still evident in the present Grandstand but many alterations and improvements have taken place while maintaining the informal atmosphere. As well as being the busiest Racecourse in North Yorkshire with racing all year round, Catterick prides itself on being the friendliest and provides a fun relaxed day out for everyone whatever the occasion.

Model Making

Natural Physical Feature - 5 minutes from the A1 - People walk pass or through the racetrack - Relaxing view over the lake in the centre of the course - Perfect venues for outdoor events

Facilities -Winning Streak Restaurant - Furlong’s Cafe -Champion’s bar and buffet - God’s solution bar -Betting stands -Children’s indoor/outdoor play area - Car park

Site Plan

Location Plan

Design Concept

Location: The Racecourse Catterick Bridge, Richmond North Yorkshire DL10 7PE


Tel: 01748 811478 Email:

I have chosen to re-imagine the Tote at the Catterick racecourse as a silk workshop. Silk making would be very beneficial to the jockeys when designing their cut/shape for the races. Aside from the workshop, it will also have an exhibition space refining the life cycle of a silkworm. Alongside this is the process of designing your very own silk via the tablets which are all connected to the ‘big pod’ in the workshop. This space will hopefully become an eye-opener to the public that silkworms are equally as important as cows and chicken which are all domesticated, raised and bred in factory farms.

Model in process

1st model

2nd model

Final model


Developmental Sketches

Model Making



Silkworm Designing

Moth Selling

The Tote is the imaginary cocoon structure preserving the preciousness and delicacy inside the building. I wanted to tell a story about the life cycle of a silkworm and show how precious their silks are. Everything in the space will be suspended from the ceiling suggesting a silkworm weaving their delicate cocoon.

Visual 1- Small pod showing the silk consultation room

Visual 2- Ground floor showing the exhibition space and silk samples

Visual 4- showing section

Visual 3- Big pod showing one of the seamstress working in the workshop

‘T he Mill’ Hepworth WAKEFIELD 2ND year

‘Fabric Archive’

This project is a semi-live project which was originally part of the Hepworth Gallery Scheme but there were insufficient funds to undertake the works originally planned. The Hepworth, Wakefield council and public groups would like to see its history back to life. The Upper Mills will be reinvented as an archive of industrial heritage of the building and historic fabric whilst exploring new materials for the 21st century.

A series of models to show the sun path

Staircase model

A drawing to show detail and fixation of the treads to the staircase

Atmospheric Visual

SlEEDStaircase P roject ART GALLERY 2ND year

Surveying staircase sketches

Surveying staircase sketches

CAD Drawings (not to scale)

SWeaver’s culpting Interior Space brief Freeman college, sheffield 1st year

Freeman College Case Study

James Ashley Case Study

Iinspired nteriors Reinvented BY THE FILM ‘dONT LOOK NOW’ WRITTEN BY DAPHNE DU MAURIER 1st year

British Legion This project started off by mainly focusing on the colour red as a key part of the film ‘Don’t Look Now’. The colour red seems to appear when danger is approaching or when a story is about to unveil. The theme red has led me to design a place of remembrance for the members and family of the British Legion. There will be a running workshop for 3-60 year olds where they are able to participate in our ‘make and do’ furniture, fabric and upholstery for the elderly and ‘Mother and Child’ workshops for mums and toddlers.

Personal artwork

I like the idea of re-painting old paintings to create new ones. The idea of revealing and recycling is somewhat enjoyable. 1. A repainted painting using egg tempera and paint 2. A repainted painting using egg tempera and paint to create a new painting of a brick wall 3. A repainted painting inspired by Aaron Young using egg tempera and paint 4. A repainted painting inspired by Aaron Young using egg tempera and paint, with my final brief written over it

1 2

3 4

Here are some of my graphic pieces that I enjoyed the most. 1. A collage based on the magazine Baseline 2. A traced collage of combined letter A’s to form new A’s 3. A dismantled A2 sheet inspired by Ed Ruscha, printed with baked beans, marmite, mustard, mayonnaise and fine liner. 4. A lino print inspired by an unknown artist 5. A collated work inspired by Corita Kent 6. A recipe using collage, letra set and ink printing 7. Braised lettuce recipe graphically written with ink and dip pen, collage paper and stencil

G2010-2012 raphics


2 3





M ixed media 2010-2012


I enjoy using different mediums to create something beautiful. I find that the less control I have over a paint brush or a pen, the more powerful my piece of art becomes. 1. A collage of my work on separate A4 paper combined into one using, tracing paper, brown paper, ink, paint, colouring pencils, 2B pencil, piece of twig, pro markers and maskin tape 2. A sample piece for our school chapel using, ink, wax and sewing machine 3. A sketch of my hanging pieces in the class room using, ink, berol, Tipex, paint, maskin ta and graphite dust



T2010-2012 extiles

Here are a few of my samples for our school chapel. 1. Layered painted fabric and ‘JOY’ printed from a printer 2. Hand Drawn ‘Race’(inspired by an unknown artist), scanned and printed from a printer 3. Piece of layered fabric with sample loose threads




I2010-2012 nstallation Final Major Project

Here are a few of my hanging pieces that I have gathered at the start of my Final major project. My brief was to make a new lampshade inspired by personal thoughts hence the cut out writing and lightbulbs with writing on them. I used, spray paint, tipex, wax, plaster, permanent pen and paper.

Contact Mobile: +44 (0) 7496294834 E-mail:

CV & Portfolio