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PORTFOLIO INT ER IOR A R C HITE CTURE AND DE SI GN

Romina Arellano-Templer


01.

THE RE-BUILD PROJECT


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THE RE-BUILD PROJECT

THE RE-BUILD PROJECT ‘A reflection of the refugee community, everything they do and want to share’ Exploratory Question:

Can design be used as a tool for communication and expression of identity without the reliance of language? “We are not simply observers of this spectacle, but are ourselves a part of it,” Kevin Lynch

13 MILLION

1.8 MILLION

Child refugees in the world.

Refugees in Europe

40 THOUSAND

121, 837

Refugees in the UK each year

Refugees currently in the UK

Quotes: “Wherever they’re from, refugees face the same difficult issues when they arrive in their new home countries. They are most often strangers in a strange land, and as such it’s important that society welcomes them and makes sure they get the support they need.” The Children’s Society “language remains the largest barrier” UNHCR report (The Children’s Society) “Not being able to speak a language properly when trying to settle into your new host country as a refugee can be a huge obstacle towards integration, employment and overall happiness.” Steadman, 2017 “Language barriers are a serious challenge faced by many refugees. They often create misunderstandings and can make refugees feel isolated.” BRYCS, 2018 Perspective Section of ‘The Neighbourhood’ - Section AA


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THE BRIEF The Re-Build Project The Re-Build Project populates the Generator Building in Bristol forming a micro-city, also known as the neighbourhood, within its walls. It is a Centre of connection for refugees to connect both with each other and with the wider community. Its key focus is to create a place for young refugee’s in Bristol to communicate, connect and express themselves without the reliance of language, bringing communities together from different cultures, worlds and stories. Here the users will have the opportunity to participate in a variety of activities to support them acquire a range of skills that will enable them to begin to meaningfully re-build their lives. Self-expression of individual and collective identity is celebrated and encouraged, creating an atmosphere that fosters a sense of belonging and ownership. “Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other participants,” Kevin Lynch Visual: Aaban arrives at The Welcome Area, this is his third week of coming here

THE RE-BUILD PROJECT

- THE BRIEF


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THE RE-BUILD PROJECT

- CONCEPT NARRATIVE

CONCEPT Narrative The concept for The Re-Build Project is to allow young refugees in Bristol to communicate, connect and express themselves without language. The idea is to create a micro city that encompasses different spaces, some fixed and some that allow the users to transform, modify, add to allowing the space to reflect a piece of themselves. “... Nor only is the city an object which is perceived (and perhaps enjoyed) by millions of people of widely diverse class and character, but it is the product of many builders who are constantly modifying the structure for reasons of their own. While it may be stable in general outlines for some time, it is ever changing in detail.” Kevin Lynch

YO U T H

T R A N S F O R M AT I O N

CITY ELEMENTS

GRAPHICS

INDUSTRIAL

N O N -V E R BA L C O M M U N I C AT I O N

IDENTITY

VA R I AT I O N O F S PAC E S

S E L F E X P R E S S I O N C A N VA S

SOFT O V E R L AY S

CONNECTION


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THE RE-BUILD PROJECT

INITIAL Sketches Exploring:

- Micro-city

- Layers of insertions

- Walkways and connections

- Variation of space: height, size, shape, function

- Light and dark

- Communication

- Look and feel of the city

01

02

03

04

05

06

- INITIAL SKETCHES


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THE RE-BUILD PROJECT

Site Features

Key strategy moves: Insertions

- SITE AND CONCEPT DIAGRAMS

Public vs Private/ Loud vs Quiet

SITE AND CONCEPT DIAGR AMS The Micro-City inside The Generator Building > Responding to site and design strategies used.

Site:

Grid in plan

Symmetry in plan

Symmetry in elevation

Dark, Light, Sight

1. Demonstrating the existing site, sight lines, sun path and water front. The insertions are arranged in order to preserve the sight lines, and work with the length and height of the original building.

2. Using scattered and clustered insertions as a design strategy to construct the micro-city ensuring that the new insertions extrude through each layer of the existing building to create a vertical relationship between new and old. A busy and lively atmosphere will be fostered in and around the insertions.

3. Working with the height to arrange activities from loud and public at the bottom to quiet and private as you move vertically through the building to the top.

Existing Circulation Pattern

New Circulation Pattern

Vertical Circulation

4. Existing building configuration constrains site circulation to linear due to the long, narrow building and vertical due to the height.

5. New circulation route of users enabled by the implementation of the insertions. A reflection of city life meandering and wandering, exploring and doubling back on yourself.

6. Demonstrating the vertical circulation, busier and more free at the bottom, becoming more controlled and quieter the higher you go.

Existing Fifth Floor Plan

Existing Third Floor Plan

Existing Ground Floor Plan


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THE RE-BUILD PROJECT

“ O N M Y F I R S T D AY A T T H E R E - B U I L D P R O J E C T ”

Story Board of what happened on Aaban’s first day...

- O N A A B A N ’S F I R ST D AY

When I arrived I felt nervous because I didn’t know many people and didn’t know if I could talk to anyone. But as soon as I walked through the door I saw someone smiling at me and waving. I walked to the big table and sat down. Someone showed me a mug and asked me if I wanted something to drink. Huge relief.

I wandered around the corner after my drink and could smell delicious food. Everyone was cooking together and laughing and they called me over and said hello in lots of different languages. I recognised my own! I felt so happy. I asked Ayan what they were cooking. He told me it was preparation for lunch.

Asha took me to the pick up station to explain that there were ingredients to collect if I needed to take a pack home to cook myself. Or if it was hard to cook in the kitchen at home they also prepared meals from the food of the day to take away. I asked how much it would cost. Asha said, it is for you, for free.

I could see a workshop from the pick up station, I really loved the workshop in my home country. I looked inside and everyone was busy making things and making bikes. This was really exciting because making a bike would mean I could get around Bristol a lot more easily. I could be more independent.

Asha came to find me and told me that there was going to be a film on and asked if I wanted to join him and a group of others to watch it? It felt so nice that Asha had come to find me. I felt really at home all of a sudden. We got a hot drink from the kitchen and went to sit on some cushions to watch the film.

When the film was finished Asha and Ayan took me to a spot where there were lots of wooden planks, and screens that could pull out and open. There were even poles for curtains and ladders for climbing up. We started making a space that felt like a living room from home. We just talked and laughed and it was so warming. It was wonderful.

I remembered seeing a shop from the workshop, it felt like a wonderful little city. I told Ayan that I didn’t have many things where I was staying and asked how to use the shop. He told me that it was a sharing shop, to take what we needed. I could also see people walking on bridges above, I was curious about what was upstairs and how to get there.

First I went to the shop and found some clothes, bowls, a saucepan and some books. I only came to Bristol with one rucksack which has only a couple of things in. I had to leave most of my things, and I lost the rest on the way. These items will really help me to feel a bit of normality again.

I met Ola earlier, and she bumped into me at the shop. She reminded me that it was a sharing lunch today and that I should come upstairs to join everyone. I felt a little daunted but once I got to the table, I saw some more people I knew. Lunch was delicious, and we sat on the floor and ate with our hands, just like we used to at home. It felt right.

After lunch I explored upstairs. I saw that there were computers that I could use, this would be helpful because I could then write letters to home, to tell everyone how I am and find out how everyone is. Upstairs there were so many flags, they were beautiful and colourful. They made me feel happy.

At the start of the day I had booked a session in the support space for after lunch. Marla helped me understand the forms and what information I needed to find out. This was a huge relief, I had been worrying about these forms a lot.

Under the coloured flags Ayan and Asha and some others were playing games from the games cupboard. I went to join in. We laughed a lot, I was really good at the game, Ayan was not.

I climbed right to the top of this city and found the prayer space. The light was shining through little holes, it felt so peaceful, and quiet. The day had been so happy here, I had almost forgotten the bad feelings I had inside. I said my evening prayer, and stayed here for a long time.

On my way out, as I was leaving I walked down a sort of street. People were painting and throwing paint and making huge marks on the walls. Asha gave me a paintbrush, and I made my mark. I felt like I was now a part of this city. And this city was now a part of me.

Each space has been designed to make up a part of the re-build project’s neighbourhood. The core concept of this scheme is to enable users to communicate and connect without language as a means for refugees to rebuild their lives. The centre will allow users to interact with several identified zones of communication that do not require language to communicate with others, that allow them to express their identities and share their stories. Not only will this centre be for refugee’s themselves, but at certain times, for the wider community to interact with these zones to build stronger community relationships. The non verbal communication has been split into ‘Do’, ‘See’, and ‘Eat’.

Do: The concept for activities that ‘do’ is to allow people to come together to work on a project or in a space together learning from each other, and to

communicate through this act, as well as through the final product. The product being not only a form of communicating their story but an expression of a part of who they are. See: One of the most powerful forms of communication is visual. This

does not need any language to interpret what can be seen. Eat: Here users will come together to engage with food. The Food

Library will be a place to explore the whole process of producing a meal that can be shared with the whole community. Food is a common language, and communicating through this will allow users to share an expression of their identities and learn about others’. This communal activity will allow for joy, laughter, fun, creativity and connection for people from around the world. Food is a wonderful way to start and end each day. Photography: Gabriel Hill

Ola came to find me to say that if I needed any help with English there was a beginners session running at the skill centre. She said she would come with me because she was learning too.


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THE RE-BUILD PROJECT

- FLOOR PLANS

FLOOR PLANS Ground Floor:

6 4 7

‘Immerse yourself in the neighbourhood, explore, cook, build, shop in any way you want’

2

Key: 1: Dappled light prayer Space 2: Friends Corridor 3: Reflection Seating 4: Dark Prayer Space 5: Yoga or Meditation Space 6: Male Wash room 7: Female Wash room

1

5 1

Fourth Floor Not to Scale

8 2 10

7

Key:

9

2

1

1: Creatable Space 2: Bench Seating 3: Creatable Table 4: Nest Box 5: Games Cupboard 6: Together Space 7: Letter to a friend - Computers 8: Skill Centre 9: Nest Box 10: Together Space

7

1

10

6 4 9

5 2

3

Third Floor Not to Scale

8 10 6

7

3 4

1 1

9

A L

3

1

1: Creatable Rooftops 2: Bridges 3: Storage 4: Clinic Drop-in

4

4

2

Key:

5

A L

2

4 2

Second Floor Not to Scale

1

2

Not to Scale 0m

2.5m

5m

10m

1: The Growing Garden 2: The Dinner Table 3: Bridges 4: The Repair Station - Clothes 5: The Sharing Shop 6: Storage for repair, shop and creatable spaces

Key: First Floor Not to Scale

1: Welcome Area 2: Pick-up Station 3: The Kitchen 4: Colour Corridor 5: The Repair Station - Bike

5

Key:

6: The Central Together Space 7: Stair Seating 8: Sharing Shop 9: Creatable Spaces 10: Storage and Bathrooms

3

3

4

6


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THE RE-BUILD PROJECT

T H E F O O D L I B R A RY Eat - Communicating through the world of food Aaban strolls around the corner to the kitchen in the food library and joins in with cooking a meal for everyone to enjoy at the sharing lunch.

view of visual

- VISUAL - THE FOOD LIBRARY


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THE RE-BUILD PROJECT

T H E R E P A I R S TAT I O N and the central ‘Together Space’ Do - Communicating through the act of doing

Aaban starts to make his mark on the huge creatable wall and feels like he is really starting to belong to something special. He then wanders over to the Repair Station to start making a bike.

view of visual

- V I S U A L - T H E R E PA I R STAT I O N A N D C E N T R A L TO G E T H E R S PAC E


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THE RE-BUILD PROJECT

SKILL CENTRE See and Do - Communicating visually and through the acts of doing Aaban joins an English Skills Class upstairs - learning English here is helping him to feel more settled in Bristol.

view of visual

- VISUAL - SKILL CENTRE


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THE RE-BUILD PROJECT

NEST BOX Help and Healing Aaban books a session with Hassan to help him understand some paperwork that he knows he needs to fill in. After that they talk for a long time about things that have been on his mind.

view of visual

- VISUAL - NEST BOX


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THE RE-BUILD PROJECT

M I N D F U L N E S S S PAC E Healing Aaban takes a moment for himself to stop and pray. It is quiet and calming at the top of The Re-Build Project.

view of visual

- V I S U A L - M I N D F U L N E SS S PAC E


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THE RE-BUILD PROJECT

C R E ATA B L E S P A C E See and Do - Communicating visually and through the acts of doing At the end of the day Aaban joins Ola and Hassan to continue building a small structure that they are planning to paint and decorate to represent a part of their home countries for an open to the public show next week.

view of visual

- V I S U A L - C R E ATA B L E S PAC E


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THE RE-BUILD PROJECT

- FF&E HIGHLIGHTS - MATERIAL

“ B A S E C O L O U R PA L L E T W I L L B E M O S T LY R AW A N D N A T U R A L”

P LY W O O D M O D I F Y A N D C R E AT E M AT E R I A L S TAT E M E N T Architectural approach and Graphic focus

STEEL

Introducing the idea of a built structure to be used as a frame for individuals to modify, add to, create and adapt to match their individual preference, the space will consist of fixed steel and wooden frames. A combination of transparent and semi transparent surfaces will be introduced onto the exterior of these structures to aid in the air of communicating without language. Whilst wood will line the interiors creating a warmer and more comfortable atmosphere. Users will be able to inhabit these structures as well as the spaces around in a whole manner of ways. They will be able to paint directly onto them, hang and display items, draw on them, and more. The colour pallet will be mostly raw and natural leaving it up to the inhabitants to ‘decorate’ the space however they may choose. Whilst boldly coloured way-finding graphics will overlay the entire space ensuring navigation is easy and interesting.

W AY F I N D I N G G R A P H I C S S E M I T R A N S PA R E N T

RÖNNINGE CHAIR IKEA

“ U S E R S W I L L B E A B L E T O PA I N T D I R E C T LY O N T O S U R FA C E S ”

SELF EXPRESSION AND S TO RY T E L L I N G

Furniture will include stylish yet affordable and practical products such as the Ronninge chair from Ikea adding to the fun yet comfortable atmosphere inside The Re-Build Project.

SELF EXPRESSION AND S TO RY T E L L I N G

In the large volume spaces steel poles will be laced with colourful flags, clothes and anything else the inhabitants wish to include which can be created and displayed allowing self expression and story telling.

COLOURFUL FLAGS Key Materials Wood, Plastic, Steel, Concrete, Cloth Overlay, Graphic Overlay

“The robust construction is softened by the visible grains of the wood, giving the chair a warm and homey feeling”


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FF&E HIGHLIGHTS - TECHNICAL SECTION

A

A

200x200mm timber hand rail

200mm

TECHNICAL SECTION The Repair Station The Repair Station has been designed as a wooden structural system that allows a semi open flow of movement through it below and acts as viewing point and creatable rooftop above.

Detail 1

30x30mm steel balustrade embedded every 100mm Detail 1

Materials Semi-transparent corrugated plastic Plywood Flooring Plywood Sheets Timber circular poles Sliding Screens Creatable Canvases Bespoke Workshop Tables Accessories

Cross Laminated Timber Frame Structure 200x200mm total

Plywood Flooring

Detail 2

Corrugated Plastic

Section AA Not to Scale 0m 0.2

0.4

1m

2m

Timber Frame Detail

200mm

Detail 2


02.

AUTHENTIC HUMAN


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AUTHENTIC HUMAN It’s who I AM. Exploratory Question: Can an interior foster identity expression and exploration for transgender kids?

“The truth is that trans children come from all walks of life. Some parents can and do open themselves up to the possibility that an outward expression of the gender the child identifies with “persistently, consistently and insistently” as opposed to the body they inhabit, is what is going to take their child to a healthy sense of self. This is often difficult and traumatic for parents as they come to terms with what they need to do to nurture well balanced, contributing members of society. Parents will often grieve painfully and at length for the child they thought they had even as they work to support and accept.” The Guardian But without that acceptance, more NHS resources are avoidably burdened as our children develop secondary pathologies, appearing repeatedly in accident and emergency wards after suicide attempts and chronic self-harming incidents.” - The Guardian “We define self-expression as expressing one’s thoughts and feelings, and these expressions can be accomplished through words, choices or action.” (Sedikes, C., Spencer J.,S.,.2007) “Studies showed that people express their self-identities through their choices and preferences for objects and opinions.” (Prentice, 1987; Smith, Bruner & White, 1956)

AUTHENTIC HUMAN


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AUTHENTIC HUMAN - CONCEPT NARRATIVE

AUTHENTIC HUMAN The Brief What will you do? Authentic Human is a centre of identity exploration and expression for gender expansive and transgender children. This centre will aim to give children a chance to discover who they are and who they want to be, gaining the confidence in their own identities to take on a transitional period in their life. This centre will also aim to provide support and education for families to support their children in the best way possible. Each child is unique, and each child has the right to be listened to and to have their voices heard. Article 12 of the Unicef Right of The Child states, “Every child has the right to express their views, feelings and wishes in all matters affecting them, and to have their views considered and taken seriously. This right applies at all times, for example during immigration proceedings, housing decisions or the child’s day-to-day home life.”

K I T O F PA R T S

CONTRAST

KIDS

GRAPHICS

T R A N S F O R M AT I O N

It is important to give children the opportunity to explore their identities in safe and open environments. This is true for all children. But even more so for children who are gender expansive or transgender.

CON CEPT

N A R R AT I V E The concept for Authentic Human is to allow transgender children to express and discover themselves. The idea is to allow children to transform the space to their liking and to choose how they wish the space to look, how they interact with it, and how that reflects who they are.

A D J U S TA B L E

S O F T R AW M AT E R I A L S

R AW M AT E R I A L S

EXPRESSION AND FREEDOM

CHOICE

N AT U R E


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AUTHENTIC HUMAN - STORY BOARD

C R E AT O R S Q U A R T E R

T H E P O R TA L

J AY ’ S D AY Out This story board follows Jay through his day at Authentic Human as he encounters the different spaces.

BOOT ROOM

When I arrived with Mummy I got to leave my dead name behind and write my real name on the board.

Ali and Arthur at the big desk welcomed us. I felt shy but they used my real name and I felt better.

We waited on the big steps for Jacob to explain what we could do next.

Jacob told us about the different areas inside Authentic Human, Jacob said that we could GO and EXPLORE! But that if we needed anything we could always ask or leave any area at anytime if we wanted. I was excited to explore.

THE WORKSHOPS THE KITCHEN In the Creators Quarter I could make my own room just the way I liked. There were lots of drawers I could pull out, and if I didn’t like the colour I could push it back in and pull out another. I found lots of things to play with that made me feel like a boy. I really liked it.

I found Mummy, Daddy and Freya in the kitchen with lots of other families. We had lunch all together.

At the table I sat next to Finn and we laughed lots, Finn was here with his family too. He is like me, he used to be called something else but now he is Finn.

Upstairs you can see everyone down below. It’s fun to look at what everyone is doing. I also chose which path I wanted to walk along. Alex changed the direction of the arrows when he walked along the path.

S TO RY B OX E S

SERENITY NOOK Photography: Mango

In the workshop Arlo told us that he is transgender too. I liked Arlo. I also got to make a bear picture because that’s my favourite animal.

I made my room again, this time I wanted to have red and orange walls.

In the story boxes I spoke with Charlotte and Dad about not being a boy anymore, it felt nice.

At the end of the day everyone sat on the steps and the carpet to watch a film. I felt happy.


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PROCESS WORK

AUTHENTIC HUMAN - SKETCHES, DIAGRAMS AND MODEL

Track System on top level.

Initial Sketches, Diagrams and Model Photographs THE POCKET KNIFE APPROACH W H AT D O E S T H I S M E A N ? U S I N G T H E M O D E L O F A P O C K E T K N I F E T O T R A N S L AT E M Y DESIGN THOUGHTS:

To create an environment that fosters expression and exploration for transgender kids it’s important to look to mechanisms that allow choice and ownership. Having a multitude of choice allows the children to find ways in which they choose to express themselves. By using the concept of the pocket knife, a box insertion has been implemented that pulls, pushes, moves, transforms in a whole manner of ways depending on what the individual child chooses, echoing how a pocket knife works.

Graphics on top of inserted box, with changeable block signs. GR APHICS + > \\ < O

HOW DOES THE BOX WORK?

Inside the box there are several walls that are able to pull out and touch the existing host building, these walls create a ‘room’ for a child or several children. Other walls within these rooms are also able to pull out, all with different colours or materials allowing the children to choose which they would like to have open on that day. Other elements within this box include parts that push and pull. Embedded within these are items that encourage the children to explore the box further as well as exploring their identity.

Pull and push element slotted inside the box for users to manipulate configuration.


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AUTHENTIC HUMAN - FLOOR PLAN

Box insertion in ‘Sleep State’

FLOOR Plan 1. The Boot Room 2. The Portal 3. Creators Quarter 4. The Kitchen 5. Serenity Nooks 6. Projector Screen

7. The Workshops 8. Discovery Quarter 9. The Store Room 10. Story Boxes - Support Rooms 11. Group Story Box - Group support Room

Entrance

Floor Plan: Box insertion shown to be ‘Open’

0

5

10

15

30


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AUTHENTIC HUMAN - AXONOMETRIC DIAGRAM

ROOF STRUCTURE

1 2 3

Wooden cladding Skylights Original wooden trusses and beams

AXONOMETRIC Diagram

2

1

SECOND FLOOR 4

Inserted boxes on track system 3

FIRST FLOOR (TOP OF BOX INSERTION) 5

6

Changeable graphic floor pattern Inset wooden table areas

7 8

4

6

BOX INSERTION 7 8 9 10

5

Integrated stairway and lift Integrated unisex bathrooms Pull out walls Push/Pull elements

10 7 8

GROUND FLOOR 11 12 13 14

15

Entry point Boot Room Buggy Store Original openings with newly inserted windows Linear Axis

14

15 12 13 11

9


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AUTHENTIC HUMAN - VISUAL

C R E AT O R S Quarter Jay creates his room however he likes, expressing his preferences, especially the red hatch. Kit of Parts:

Build your room Change your room

Different packed items into the inserted box

Transform your path

Explore the space

Different clothes for children to dress in

Push/Pull elements

Make up

Different coloured lighting Variety of toys

Change the colours of spaces

Art equipment


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C R E AT O R S Quarter Freya recreates the same room later, showing the expression of her preferences.

AUTHENTIC HUMAN - VISUAL


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AUTHENTIC HUMAN - VISUAL

AUTHENTIC HUMAN Project 02 On top of the inserted box, Jay and Freya can choose how they want to move around the space, which path they want to follow and where they want to go. This floor encourages interaction with others whilst expressing yourself through choice of movement and actions.

+

Changeable Graphic Squares

+

Fixed Graphic way-finding

=

INTER ACTION & EXPRESSION THROUGH CHOICE OF ACTION AND MOVEMENT

Fixed Workshop inset tables

TOP OF INSERTED BOX Graphic squares, lines and workshop inset tables

Workshop

Workshop

Workshop

GRAPHIC CHANGEABLE SQUARES User can choose which square they want to place in the floor and use to move around the space.

O

X

//

>

<

|||

|||

Roundabout

No entry

Jump over

Directional

Directional

Choose which path

Choose which path


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S TO RY Boxes Upstairs in the Story Boxes Jay and his mum talk to Max about how they are both feeling for a long time. The story Boxes are a big part of Authentic Humans aim to support transgender kids and their families. These spaces are important in continuing to improve their mental health and well-being.

AUTHENTIC HUMAN - VISUAL


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S U S TA I N A B I L I T Y Statement The design has a large focus on social sustainability with the intention of benefiting the transgender youth community and their families. By promoting an open and expressive environment with embedded support, the design aims to improve the mental health and well-being of this community. The design will be implemented into an existing site and by doing so will increase the lifespan of the original building. The natural openings will be maintained enclosed by glass windows to ensure that the natural light is let in, but the heat isnâ&#x20AC;&#x2122;t let out. This will minimise the need for lots of light fittings. The site itself is on an exiting cycle path, and by providing covered bike racks and a boot room the design will encourage people to cycle to the site. This will minimise air pollution from cars. The sustainable materials within the design include the use of: - Sustainable re-purposed wood from Castle to create the story boxes - Sustainable plywood from Wisa to create the inserted box - Upholstery from Kvadrat to cover armchairs within the story boxes - Cork flooring from Quadrant to line the top of some of the pull out elements within the inserted box - Fabscrap Flooring from Forbo to line the tops of the inset tables as well as the pull out elements of the inserted box - Forbo furniture linoleum to cover inset tables as well as the pull out elements of the inserted box - Baux Acoustic panelling to line some of the pull out walls of the inserted box As many of the objects as possible within the box are sustainable products ranging from sustainable clothing such as The Bright Company to art supplies from Crayon Rocks.

AUTHENTIC HUMAN - MATERIAL FF&E


03.

INTERNSHIPS


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H AW K I N S\B R OW N - M O O D B OA R D

1

H AW K I N S \ B R OW N Internship

4

Interior Strategy: using story books to theme and zone spaces.

1

Kitchen focal point, change and transition. Book 1: The House Held Up By Trees, The trees in the story take time to grow, they start small and need all the right ingredients from nature to grow into a forest to eventually hold up the house. The children in the school also take time to grow and need all the right conditions around them to flourish before leaving school. Mood board for Kitchen Dining area. Key: 1: Image references from the story book. 2: Colour references. 3: Graphical elements for walls. 4: Reference image for graphical elements. 5: wood.

1 5

2

1

3

1

1


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H AW K I N S\B R OW N - V I S U A L S

I N T E R I O R S T R AT E G Y Kitchen/Dining Area Wooden ‘box’ to house and zone the dining space. Gives warmth to the space creating a nurturing environment. Graphical wall elements to give pop of colour and house reference. Potential to create joinery that children can plant in to mirror story and ‘make their mark’ on the school.

Wooden Option

Colour Block Option


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H AW K I N S\B R OW N - V I S U A L S

I N T E R I O R S T R AT E G Y Library Different room configurations with partition options using joinery element. Graphic ‘book’ signage on wall using fonts from story book. Exploring and imagining.

Full height bookshelf. Playful shelving with loose desk and extra shelving.

Half height bookshelf with loose shelving and extra shelving.

Half height double sided joinery. One side integrated desk space, the other for books. Corner joinery element for extra book storage and space for cushioned ‘soft’ area to read in.


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SANDERS STUDIOS Internship Interior Design and Visualisation. Brief: To create a home studio/gallery space.

SANDERS STUDIOS - VISUAL


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SANDERS STUDIOS - MOOD BOARD

MOOD BOARD Interior Interior atmosphere - high end, large feature piece artworks which will act as gallery display pieces, leather furniture on a warm wooden floor.

01

Renders 1-3 by Sanders Studios.

02

03


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INTERIOR Visuals Left: Vignette Right: Studio space integrated into the gallery

SANDERS STUDIOS - VISUAL


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SANDERS STUDIOS - VISUAL

T H A N K YO U For looking through my portfolio.

ra198666@falmouth.ac.uk

07504505858

mina_arellano.t mina.at_photography

www.linkedin.com/in/romina-arellano-templer

Profile for Romina Arellano-Templer

Portfolio 2020 Interior Design | Interior Architecture.  

Interior Design | Interior Architecture Portfolio. Falmouth Graduate | Interior Design BA(Hons) First Class. 2020

Portfolio 2020 Interior Design | Interior Architecture.  

Interior Design | Interior Architecture Portfolio. Falmouth Graduate | Interior Design BA(Hons) First Class. 2020

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