Emma Johnson Interior Architecture and Design Portfolio
Emma Johnson DOB - 09/12/97
Education / Qualifications Leeds Beckett University 2016 - 2019 First Class Honours - Interior Architecture and Design
Ken Stimpson 6th Form College 2014 - 2016 A-Level Art and Design - Grade A A-Level English Literature - Grade B A-Level Geography - Grade C Extended Project Qualification - Grade B AS - Level Psychology - Grade C
Ken Stimpson Community School 2009 - 2014 10 GCSE qualifications grade A*- C Bronze Duke of Edinburgh Award
After thriving in the creative environment and lifestyle at university, I am excited to begin my carreer as a designer and continue to explore my passion and potential. My desire to persue Interior Architecture and Design specifically, comes from my fascination with the ability to curate an experience which provokes different sensations through the design of materiality, form and lighting of a space. My strengths lie within the research and conceptual development of a brief where I am confident in identifying clever yet sensitive links and considerations between site, building and brief. I am interested in continuing to broaden my design perspective by travelling and communicating with different cultures, environments and people. I have had many opportunities to display excellent teamwork skills like in collaborative university projects, through sporting hobbies and experience in retail and catering workplaces. As a result, I have established and learned to practice a liberal and diligent communication style which is effective and inclusive.
Work Experince
Skills
Software
Summer work experience placement with NOVO DESIGN - 2018
. Project research . Model making . Experience working with a range of materials and workshop equipment . Brief curation . Report writing . Photography . Technical and descriptive drawing . Digital visualisation . Imaginative concept development . Good verbal presentation and delivery of ideas . Strong communication and teamwork skills . Great organisation and problem solving skills
. Auto CAD . Adobe Indesign . Adobe Photoshop . Adobe Illustrator . Google Sketchup . Microsoft Office
. While working with NOVO Design I was given the opportunity to input my ideas on live briefs while gaining a professional insight to client relations.
Lakeside Resturaunt, Waitress/Catering staff 2018 - 19 Riva, Events catering 2018 - 19
. Through working in high pressure environments like catering festivals and weddings, I have gained a fantastic undertanding of the importance of organisation, punctuality and teamwork skills.
John Lewis, Sales Assistant 2015 - 2017
. Through working as a John Lewis partner I learnt how to perform the best quality customer service while executing my role within the team and supporting collegues.
TLC Signs, Digital design team/Admin Intern 2014 - 2015
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About Me
Professional Summary
Contents
Having recently graduated from Leeds Beckett University with a First Class Honours in Interior Architecture and Design, I am excited to embark on the next phase of my design career. Through working on live projects with NOVO Design and conducting my own site surveys /research, I have developed a fantastic understanding of how to curate a well rounded brief which considers both client needs, budget and site history. Throughout my University experience I have also explored and developed an awareness of sustainabilty and consequently considered how innovative methods could be encouperated within design projects.
1 - 2 Qualifications + About me
Contact Information Phone - 07891442476 Email - emmaxxjohnson@gmail.com Address 4 Gascoigne, Peterborough, PE4 5EH
References Julie MacDermott - Leeds Beckett, Interior Architecture and Design Course Leader
Final Major Project - 2018/19 3 - 4 Introduction to site research and Brief writing 5 - 6 Site Analysis, research and Design Report 7 - 8 Concept development and Site Combine piece 9 - 10 Project Manifesto 11 - 12 Translating concept into design 13 - 16 Materiality and form experimental work 17 - 20 The Confliction Corset, concept inspiration 21 - 22 Atmospheric/rendered visual of Key Space 23 - 24 Axonometric and detail visuals 25 - 28 Atmospheric visuals and details of final design 29 - 34 AutoCAD Plans, Sections and details 35 - 36 Degree Show presentation and building model Skinny House Project - 2018 37 - 38 An overview of design concept, technical drawings and building model
Email - j.macdermott@leedsbeckett.ac.uk
Corn, Cake and Barley Project - 2017
Kevin Abbott
39 - 40 An overview of the project, including technical drawings, atmospheric visuals and site analysis
- Head of Post 16 and Assistant Principal at Ken Stimpson School Email - k.abbott@kscs.org.uk Phone - 01733 765950
Simon Kemp
- John Lewis Peterborough, Womensware floor manager Phone - 01733 344 644
The Henry Moore Staircase - 2017 41 - 42 Detail drawings of staircase components and structure
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Final Major Project - Brief writing
Introduction to Dissertation - Design Reoprt
Back in Time for Tea A sustainable Tea Emporium Building – Gibson Mill Location – Hard Castle Crags, Hebden Bridge Date – 1800 Original purpose – Cotton Mill and Entertainment Emporium
Brief Reflecting over the rich heritage of Hebden Bridge’s past communities, this proposal will retrace the social significance of Gibson Mill whilst exploring the conflicting ‘dark side’ of the tea industry. Using the cultivation and celebration of tea dance to resonate with the site and its local community, an ensemble of sensual spaces challenge the modern assumptions of tea while communicating with the natural landscape to create a sustainable Tea Emporium. Echoes of an industrial past have been softened by nature at Gibson Mill. The philosophical approach to this project will therefore retrace and expose the buildings palimpsestic qualities while respecting the natural landscape. Following this method, the site strategy creates an evolving journey through the stages of tea processing, while isolating the significant historic layers of site to enhance sensual experience.
The conceptual approach to the design follows the ideas of restriction and relief, reflecting the harsh pressures of the tea industry in contrast to the comforting benefits of tea ceremony and consumption. These themes are conveyed through juxtaposing delicate and dense materiality, lighting and form in addition to the progressive relief experienced after a series of ‘pinches’ in volume. These key moves puncture the buildings structure to restrict and relieve views and spaces sculpting an experience which evokes these contrasting realities of tea and its industry. The Emporiums Tea Master will preside over a range of functions which retrace the production of cotton throughout the building with the cultivation and processing of tea. Participants of the Tea Experience will pluck, process and blend their bespoke tea blends before preparing their own tea ceremony in the Ritual Sensorium. The Tea Dance heritage rooted to the site is rekindled alongside this process to create a space for the community to rehearse and perform tea dance.
Gibson Mill is located in the dense wooded valley of Hard Castle Crags and was built in 1800 to supply the demand for cotton during the Industrial Revolution. The remote site was later transformed into an Entertainment Emporium hosting a range of fun activities including afternoon tea and tea dances, offering relief from everyday life. This sense of relief was also manifesting through the adoption of tea as a symbol of British hope, strength and unity during the hardships of WW2. Tea has been cultivated for thousands of years however its sacred social values continue to evolve through different ceremonies, rituals and cultures around the world. The positive role tea has played in British culture is however darkened by the hidden truths of the tea industry.
The pressure and discomfort built in the Gallery of Truth is gradually released through framing a direct view of the tea master in the Cultivation Garden. Participants follow the transition aided by an increase in natural light and incline of the site to approach the juxtaposing, bright Cultivation space. The Cultivation Garden is home to the Camellia Sinensis nursery where young plants are protected in adaptive shelter. Even though the space allows an abundance of natural light, the views over the millpond and next space are restricted to direct the focus onto the current stage of processing (plantation.) Here the participants meet the Tea Master who guides them over the river to pluck their collection of Camellia Sinensis leaves.
Using the cultivation and celebration of tea to resonate with the site and its local community, an ensemble of sensual spaces expose these hidden truths and challenge the modern assumptions of tea, while communicating with the natural landscape to create a sustainable Tea Emporium Experience.
The next transition uses a key ‘pinch’ in the West elevation to signify the progression of the tea making process. On entry to the main Mill building the spatial volume is compressed by a sunken floor above and the view is directed through the space to the Tea Alter. The ground floor space is where the raw tea leaves are processed before ascending in the Tea Alter to be blended. As participants complete the stages of processing and approach the Tea Alter, the space opens up to a triple-height space representing the progressive exposure and the next phase of relief.
The Emporiums Tea Master will preside over a range of functions which retrace the production of cotton throughout the building, while guiding participants of the Tea Experience through the stages of tea processing. Gibson Tea will be produced and sold on site using the ancient Long Jin method. This processing method is tactile and involves participants hand plucking, rolling and drying their own collection of tea leaves. The site strategy isolates 2 key sensory spaces (The Gallery of Truth, and The Ritual Sensorium) allowing the participants to explore an enhanced personal and sensual experience without interference from the main processing pavilion. These spaces mark the beginning and end of the Tea Experience, contrasting the most dark and restrictive Gallery of Truths to the uplifting, meditative sensorium tasting space.
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The Gallery of truths is the most severe, restrictive space and acts as the gateway to the site, attracting participants from the woodland approach to its entrance. This immersive exhibition is then experienced alone to heighten its uncomfortable passage through the first ‘pinch’ and disorientating effects which convey the hidden truths of the tea industry. It is important that this space is experienced first as it is designed to reflect the pressures felt by those who work in the tea industry and challenge pre-existing ideas surrounding the origins of tea and its production before starting the tea process.
The first floor (Mixology Workshop) allows participants to reflect upon past stages of tea processing while blending their bespoke teas in a social space. This concept of layering reflects the idea of palimpsest within the building but also represents the reflection over the dark history of tea and the journey to creating a more sustainable/ ethical future. Before submerging into the final Ritual sensorium space, the single-file bridge promotes independent reflection over the Tea Experience as well as reconnecting with the surrounding landscape. This simplistic space is inspired by the sacred Japanese tea ceremony and is therefore designed to minimise external sensory distraction and enhance the personal encounter of tea. The Tea Exchange shop is located within an exposed transition from the Mill building to the Workers Cottages to attract passing walkers/ visitors. This space also acts as a separate community entrance to the tea dance rehearsal and performance space (40 Steps.) Members of the community organise performances which can be overlooked by the participants of the Tea Experience.
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Design Report - Dissertation Building and Site Analysis
Site Analysis
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Concept Restriction and Relief - Applied to lighting, volume, views, materiality and sensual experience. Expose and Conceal - Expose layers and scars of the past (Palimpsest.) . Inspired by wearable piece . Progression of concealed spaces opening up reflecting the heightened personal experience with tea. . The Gallery of Truth’s and Ritual Sensorium are the most controlled sensual spaces which are therefore isolated and require a personal journey over a threshold.
Strategy Tea has played a sacred role in human connection for thousands of years, however, amongst its healing and social values, tea also has a dark history and scars to expose. The design strategy for Gibson Mill therefore emulate the palimpsestic quality of tea through creating thresholds which define the layers of the building’s past. The original mill will remain connected to the landscape as the centre of site, but the connecting spaces will be pulled away. The Gallery of Truths and Ritual Sensorium are both highly sensual experiences which require focus and detachment. Therefore, these spaces are pulled away further and isolated from the other spaces.
Site Combine A site combine encapsulates the essence of site and building. The sculptural pieces (Right/Below) capture the isolation of Gibson mill by extrouding the contours of the landscape and exaggerating the form of the valley. The bands of wooden elements represent the natural woodland surrounding site, layered between rings of transparent acrylic. This materiality suggests the presence of water and subseqent presence of flora. Samples of different leaves are pressed and preserved to suggest the potential for successful cultivation in the area.
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Project Manifesto A cast piece representing the connections between tea and the local site/community.
- Resin cast of the sites contours formed to hold the Camellia Sinensis plant and processed tea. This piece represents the the cycle of tea production and connection between the site, local people and tea traditions. The transparency of this piece implys the exposure of ‘concealed truthes’ in the tea industry, but also portrays the idea that the tea leaves and industry are ‘stuck in time’ much like Gibson Mill itself. This design decision has informed the materiality strategy for the project, contrasting the sharp steal with the fragility of glass bands. The cast sculpture also reffers to the journey of tea cultivation through to its processing and consumption. The piece is elevated to imply the weight of the cast and the precarious nature of both the environment and the industry.
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Translating concept into design
Examples of key design decisions forged through experimenting with multi-medium paper models and sketches. Conceptual journeys developed through paper models are easily manipulated and allow for creativity and ideas to manifest.
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Concept modelling for the Gallery of Truths experience Concepts - Restriction, the unknown, confusion of the senses. Exploring the ways inwhich form and texture can inform atmosphere and experience through materiality. The concepts attatched to this space are intended to provoke an initial unnerving sensation for the visitor reflecting the historic atrocities of the Tea industry. The strategy for this space is to create a contrast between the initial discumfort and restriction of this gallery with the benefits of community and cumfort tea offers in the present day (relief.) This contrast also grounds the brief to site since the building was previously used as a retreat which celebrated tea dance and British culture.
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Wearable concept piece - The confliction corset Project Synopsis Back in Time for Tea reimagines Gibson Mill as a Sustainable Tea Emporium; where participants are taken on a sensual journey through the different stages of Long Jin tea processing. This project aims to utilises the timeless qualities of tea to re-assess and reconnect lost cultural links between the building and the local community, while simultaneously exposing the concealed truths of the tea industry. The design strategy for this project explores the conflicting ideas of restriction and relief reflecting the harsh pressures of the tea industry in contrast to the comforting benefits of tea ceremony and consumption. A series of juxtaposing spaces and environments support the distinct transition and threshold between each space, promoting a progressive and heightened sensual experience. Following the projects themes of pressure and relief, this concept piece contrasts its clear, exposing materiality with its uncumfortble, paralysing form to reflect and reveal the pressures of the Tea Industry. The corset conceptually informed the design of the Gallery of Truths, taking the harsh contrast of restriction of relief and translating it through experiential techniques.
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Wearable concept piece - The confliction corset
Inspired conceptual, transparrent walkway over original stone honouring the buildings palimpsestic quality. . The stone floor consistent throughout the ground floor still bears the scars of its industrial past. The markings from machinery and workers clogs will be preserved and respected by inserting a glass walkway which draws attention to the stone below. The transparent walkway will guide visitors through the ground floor spaces and present the progressive exposing design.
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Key Space Long Section of the Gallery of Truths and transition to the Cultivation Garden (West) - AutoCAD . This section details the approach to site guiding the participant into the narrow entrance distinguished by its glass facades. The continuation of spaces which follow are suggested due to the natural inclinine on site. . The journey through the First space (Gallery of Truths) is designed to shock and immerse participants by exposing the hidden truths of the Tea Industry. This experience is hightened by confusing the senses with obscure lighting, changes in volume and a narrow, angled walkway. . The end of the experience is indicated by the use of the ‘pinch’ in volume, creating a restricted threshold which reveals a glimpse of the next space. The transition to the Cultivation Garden elevates exposing participants to more natrual light and an enigmatic first view over the tea plantation.
This detail shows the sharp puncture of natural light which penetrates the Gallery of Truths.
Visualisation of the ‘relief’ passage from the Gallery of Truths to the Cultivation Garden.
Detail suggesting the atmospheric ‘pinch’ in volume creating an uncumfortable threshold.
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2nd ‘pinch’ threshold marking the end of the Gallery experience and change in design/space.
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Key moves . The sites key palimpsestic features are honoured and exposed using textured glass alongside the original mill stone grit to reveal and conceal their ‘scars.’ . The form of the iconic chimney is reflected onto the millpond acting as a bridge to the submerged Ritual Sensorium space. The bridge punctures the North facade through a single dropped window on the first floor. The bridge acts as a ritual journey over the threshold and is to be experienced alone in preparation for ceremony. The space is mostly concealed below water level to control sensual distractions, so the experience can be heightened. . The original pulley system spans through all three floors of the Mill building and is still in working condition. The pulley will be cocooned by an opaque glass tube and will function as transport for the visitor’s bespoke tea as they progress through the stages of processing. The tube will extend to the roof structure to allow the influence of natural light to illuminate the threshold. . Cultivation Garden bridges its inside/outside transitional greenhouse over the river. This threshold links the plantation to the community. . In chronological order, the bridging key moves, and corresponding sequence of spaces follow the sun path from SE to NW concluding with the chimneys shadow cast aligned with the millpond bridge. . The first and second floors of the Mill are pulled back to appear suspended and to allow visitors to see up/down through the spaces.
Materiality . Textured and transparent glass will be incorporated to define the key design moves on site. The materiality allows layers of spaces to overlap and involve tracing the muted silhouettes of other visitors. The glass elements will also mirror the surrounding natural landscape, so the reimagining of the site remains sensitive. . Local timber from plantations area treated and used to clad surrounding buildings (sustainable.) The timber clad buildings will become negative to the Original Mill and the glass intersections will create a dramatic but sensitive contrast highlighting the Mill as the centre of site.
Scale Plan of Site suggesting restricting ‘pinches’ in the journey.
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Short section of Cultivation Garden and Long section of the main building (South) - AutoCAD . Detail of the Cultivation Garden and journey through pinched transition to the main building. . Exectuion of the concepts pressure and relief through form, light/exposure and experiene.
. Palimpsest is a lexical theme throughout this project. The approach to applying this concept to the site strategy manifested as a sensitive approach to preserving the sites heritage which roots this building to both the landscape and the community. . Key features, like the original cotton pulley mechanism, have been restored and repurposed honouring the buildings past while functioning as the ‘Tea Alter’ - a central point of focus when circulating the main space since it spans 3 floors and symbolicly transports tea through the building.
Tiered spaces provide exclusive environments for the sampling and mixology of different tea’s. The distinction of each space in the tea experience is imperitive to create a hightened sensual journey.
This detail depicts the ‘pinch’ transition from the Culitivation Garden to the Main Building. From the exposed and naturally bright cultivation space, participants are funneled through an opaque glass tunnel into a much more controlled, dark and restricted entrance to the main building. A sensual pause brfore the next processing experience.
This space has been designed to behold a palimpsestic quality. The ability to be immersed in a private, educational space while overlooking the tea processing they have already experienced ties the journey through the space.
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The journey out of the main building to the Ritual Sensorim punctures through the centre of the building where the participant is able to preside over the previous stages of the process. The ‘pinch’ through the external wall leads to a narrow bridge over the Mill Pond. This experience is designed to re-connect with the landscape and cleanse the senses before submerging into the most sensual, sensorium tasting space.
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Short sections of the Main Building and Ritual Sensorium space (West) Short section render of the Main building and - AutoCAD
Ritual sensorium (West) The single-file bridge transition to the Sensorium tasting space provokes independent reflection over the experience.
Interior space of the sensorium - designed to evoke reflective qualities and a connection to the landscape. The minimal design allows participants to focus on the heightened sensual experience of tea sampling.
This rendered technical drawing explains the powerful transition theto main overspace the Mill Pond the Ritual Sensorium. . Thefrom journey the building submerged from thetoMain building is deThe single-file bridge allows participants an opportunity to reflect signed to isolate individuals in preperation for the highly sensual and over the processing experience independantly and re-connect with meditative space. This strategy follows the the concepts of pressure the natural surrroundings. exposurenand isolation of the and relief however the pause orThe ‘pinch’ is created by restricting thebridge are intended to strip the senses before entering the most private ability of visitors to communicate and instead, directs them accross and ritualised space. The Sensorium offers a heightan outside bridge. This transition provokesexperience the sensation of exposure ened sensory experience while sampling bespoke teas. and connection to the surrounding environment, distinguishingThe the design of this space contributes to the concept of restriction and relief/ begining of a new space. conceal and expose by using a minimal yet imposing concrete structure in contrast to its delicate glass insert which appears to float above water level. This etherial, meditative environmet and lack of sound distraction allows participants to connect with the outside and reflect over the lessons of the experience while performing their tea ceremony.
Tea (Camellia Sinensis) plantation open to explore and gather tea leaves for processing.
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Presiding platform allows visitors to overlook the processing experience linking to the idea of palimpsest.
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Long section orthographic drawing (West) - AutoCAD . Detailing the pinched transition from the Gallery of Truths experience to Cultivation Garden.
Detail of the Gallery of Truths . Conceptual structure details referring to the concepts pressure and relief.
Short section of Main building . Detail of voids created within the form and structure of the design following the concepts of pressure and relief. Short section of Cultivation Garden and Long section of the main building (South) - AutoCAD . Detail of the Cultivation Garden and journey through pinched transition to the main building. . Exectuion of the concepts pressure and relief through form, light/exposure and experiene.
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Detail Charette . Short section explaining the North facade of Main building.
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AutoCAD detail section of the Ritual Sensorium.
AutoCAD detail of staircase access to the Sensorium space.
Ground floor plan of site - AutoCAD (Not to scale)
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First floor plan of site - AutoCAD (Not to scale)
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Second floor plan of site - AutoCAD (Not to scale)
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. The 3 images (left) show the projects site/building model at 1:50 scale, constructed using laser cut MDF. . The larger images showcase the presentation I curated for the end of year Degree Show. Viewers were able to interract with the display and engague with the project by practicing thier unique tea rituals. The green tea provided was processed by hand over the courese of the year using the tactile Long Jin method affiliated with the project.
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1st floor Plan
Ground floor Plan B1
2nd floor Plan
Kirkstall - The Skinny House Project
This project/brief drew inspiration from the clients profession as a Milliner. Subsequently, the concepts evolved from the rhythmic, repetative nature of stitching and harsh metallic sound. This brief was focussed on sculpting the form of the space. Through concept modelling, the triangular form was developed and eventualy used to layer the volume of the long, narrow space. The sharp form of the trangle was used to puncture and penetrate different facades and the roof to link back to the milliners work and to create interresting shadows throughout the day. The focus of this building was a ‘cat walk’ inwhich clients could display thier hats. The walkway is therefore carved through the centre of the building where pockets of space created by the layered triangles could be used by spectaters.
- 2nd Year
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Skinny House Project
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Concept development
Key visuals
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IAD5.5 - 5.6 Corn, Cake and Barley Building
Wakefield - Corn, Cake and Barley Project 2nd Year
April 2018
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Key visuals highlighting the concept of layering withing the building
First Floor Plan
IAD5.5 - 5.6 Corn, Cake and Barley Building April 2018
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Site mapping diagrams used to orient the building to face the current of the river and benefit the natural sun path.
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This project brief reinvents the abandoned Barley warehouse as a canal boating centre. Designed to accompany the opposing Hepworth Gallery, the river is encouperated within the conceptual approach to reflect and suspend different elements of the building and site.
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These concepts of suspention and reflection are translates into design through the use of mirrored space and where the first and second floors are pulled back from the walls forcing visitors to use bridges and pause at points of isolation or to frame a view.
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Second Floor Plan
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Technical drawings detailing the Henry Moore Staircase - AutoCAD (2nd year)
Original sketch drawings of staircase details.
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Emma Johnson Interior Architecture and Design Portfolio