INTERIOR DESIGN PORTFOLIO

BRONWYN HUNTINTERIOR DESIGN PORTFOLIO

CONTENTS 01

URBAN SOCIAL CLUB

15

22

03

ZAC POSEN: IMMERSIVE INTERIOR

29

SMALLER PROJECTS

35HOSPITALITY SUITE

ADAPTIVE REUSE

URBAN SOCIAL CLUBThe objective of this project was to design and develop a new sister organization to Austin’s existing Headliner’s Club. This city social club, comprising 1800 square feet on the 21st floor of Austin’s Bank of America Building, is meant to foster the communication and interaction amongst Austin’s up-and-coming members of society. The club consists of a fixed restaurant/bar and lounge, a series of event spaces which may be closed off for private use, and administrative offices.

SPRING 2012. DESIGN VI. 12 WEEK PROJECT.

03

CONCEPT IMAGERY.

feat;ureTo frame the identity of the social club, the project began with an initial concept development and branding exercise. The club name “Feature” was developed as a response to the networking potential the space would promote between journalists and Austinites. The composition of images establishes the desired image for the club moving forward: a space which reflects urban Austin’s forward mindset, while mainting a level of sophistication that brings a level of timelesness to the evolving nature of the club. Process renderings above represent intial schematic development.

NAMING/LOGO/CONCEPT DEVELOPMENT.05

PROCESS SKETCHES

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FLOOR PLAN LEVEL 1 FLOOR PLAN LEVEL 2

The spatial arrangement of the club addresses the multi-purpose nature of the program. The driving concept for FEAT;URE was the need for open, yet flexible space. The club offers distinctive levels of partitioning which provide the acoustical privacy necessary for the considered space’s function. The partitioning systems offer various configurations for how space may be rented out and utilized.

space rented individually for separate events

partitions unfolded for larger event

double height space maintains club functions

07

1. Entry2. Main event3. Private event(s)4. Storage5. Adminisrative offices6. Kitchen7. Storage8. Dining9. Private Lounge10. Bar11 Lounge12. Private lounge(s)

URBAN SOCIAL CLUB. 08

The club responds to both the urban and eclectic character of Austin. The idea was to incorporate both new and familiar objects into the design. Synthetic and rather skeletal elements are offset by the textural materials that introduce a sense of warmth.

PRODUCT SPECIFICATION

PERFORATED WD STRIP

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TECHSTYLE PANELS

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2" RECESSED DOWNLIGHT


TRACK LIGHT

PENDANT LIGHT,ALLEGRO RITMICO

PENDANT LIGHT,ALLEGRO ASSAI

SUSPENDED ACOUSTICPANELS

TECH-STYLE PANELS

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PENDANT LIGHT,VOID

LARGE PENDANT LIGHT,SPUTNIK

SYMBOL LEGEND

ACT

MOTORIZED INT. SHADING

MOTORIZED PROJECTOR SCREEN, PROV BY CLIENT

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TECH-STYLE PANELS

1. CEILING HEIGHTS ARE 9' 0" A.F.F. U.O.N.

2. ALL EXIT SIGNS CEILING MOUNTED U.O.N.

3. FIXTURES WHEN POSSIBLE SUBMITSHOP DRAWINGS TO ARCHITECT FORFINAL APPROVAL

4. REFER TO LIGHTING SCHEDULE FORDETAILED MANUFACTURER ANDINSTALLATION INFORMATION

PENDANT LIGHT-3

RECESSED LINEAR LED

EL

DL-3 SQUARE TRIMLESSRECESSED DOWNLIGHT

DL-2

TRACK LIGHT

FIRE ALARM

EMERGENCY BACK-UP

SPRINKLER

EXIT SIGN

ACTGYP

GYP

ACT

2 X 4 DOWNLIGHT

DL-3

DL-3

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Scale

Date

BRONWYNHUNT

UNIVERSITY OF TEXAS AT AUSTINSCHOOL OF ARCHITECTURE

1 UNIVERSITY STATION B7500AUSTIN, TX 78712

[email protected]

BANK OF AMERICA515 CONGRESS AVE,

SCHOOL OF ARCHITECTUREAUSTIN, TX 78703

INTERIOR DESIGN

GENERAL NOTES

1/8" = 1'-0"

4/30

/201

2 10

:56:

59 P

M

REFLECTED CEILINGPLAN

I - 9.1

Issue Date

1/8" = 1'-0"1 Level 2 1/8" = 1'-0"2 Level 1

PRODUCED BY AN AUTODESK STUDENT PRODUCT

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PERFORATED WD STRIP

GYP

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DL-3 DL-3 DL-3 DL-3

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PL-4



TRACK LIGHT

PENDANT LIGHT,ALLEGRO RITMICO

PENDANT LIGHT,ALLEGRO ASSAI

SUSPENDED ACOUSTICPANELS

TECH-STYLE PANELS

PL-1 PL-1 PL-1

PL-1

PL-1

PL-2

PL-2

PL-2

PL-3

PL-2

PL-1

PL-3

PENDANT LIGHT,VOID

LARGE PENDANT LIGHT,SPUTNIK

SYMBOL LEGEND

ACT

MOTORIZED INT. SHADING

MOTORIZED PROJECTOR SCREEN, PROV BY CLIENT

PL-2

PL-2

DL-1 DL-1DL-1DL-1DL-1

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AV

TECH-STYLE PANELS

1. CEILING HEIGHTS ARE 9' 0" A.F.F. U.O.N.

2. ALL EXIT SIGNS CEILING MOUNTED U.O.N.

3. FIXTURES WHEN POSSIBLE SUBMITSHOP DRAWINGS TO ARCHITECT FORFINAL APPROVAL

4. REFER TO LIGHTING SCHEDULE FORDETAILED MANUFACTURER ANDINSTALLATION INFORMATION

PENDANT LIGHT-3

RECESSED LINEAR LED

EL

DL-3 SQUARE TRIMLESSRECESSED DOWNLIGHT

DL-2

TRACK LIGHT

FIRE ALARM

EMERGENCY BACK-UP

SPRINKLER

EXIT SIGN

ACTGYP

GYP

ACT

2 X 4 DOWNLIGHT

DL-3

DL-3

DL-3 DL-3

DL-4 DL-4DL-4DL-4

DL-4 DL-4DL-4DL-4

DL-4 DL-4DL-4DL-4

DL-4 DL-4DL-4DL-4

DL-4 DL-4

DL-4 DL-4

Scale

Date

BRONWYNHUNT



[email protected]



INTERIOR DESIGN

GENERAL NOTES

1/8" = 1'-0"

4/30

/201

2 10

:56:

59 P

M

REFLECTED CEILINGPLAN

I - 9.1

Issue Date

1/8" = 1'-0"1 Level 2 1/8" = 1'-0"2 Level 1


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REFLECTED CEILING PLAN LEVEL 1 REFLECTED CEILING PLAN LEVEL 2

The previous projects led into the final production of the designer’s first flagship fashion boutique. It was to embody the spirit of his collections while providing the programmatic needs which are essential for a retail environment. The notion of immersion was to be maintained as a design approach.

10URBAN SOCIAL CLUB.

SECTION 1

SECTION 2

Scale

Date

BRONWYNHUNT



[email protected]



INTERIOR DESIGN

GENERAL NOTES

As indicated

4/25

/201

2 2:

41:4

6 PMSECTIONS AND

CONSTRUCTIONDETAILS

I - 6.1

Issue Date

BAR DETAIL

URBAN SOCIAL CLUB.

2 Copy (2) of {3D}

PIVOTING GLAZED PANEL SYSTEM

CONCEALED FOLDABLE PARTITIONS

DEMOUNTABLE PANELS AXONOMETRIC

13

Within the open, unfolded plan are territories created through various seating configurations and gestural lighting that allow greater intimacy to the given setting.

IMMERSIVE INTERIORThis studio focused on the notion of immersion, considering interior space as a consuming spatial experience. We conducted extensive research on a specific fashion designer’s body of work, considering not only their aesthetic, but the various techniques to which that aesthetic was developed. In using designer Zac Posen as a theoretical client, a spatial experience was formed as a way to reflect his defined image and further the brand identity established through his collections. The coursework was led by the initial design of a 2D graphic which would progressively be translated into the design of a 3D space.

15SPRING 2010. DESIGN IV. IGOR SIDDIQUI.

The custom graphic represents Zac Posen’s focus on the female silhouette. The hourglass figure of the body is given prominence throughout the collections, while the intricacy of the clothing’s construction provide further visual interest in supporting his ‘signature silhouette.’ The composition reflects Posen’s sophisticated edge and the sense of glamour and luxury his collections exert.

PROCESS SKETCH

WALLPAPER

WALLPAPER. 2 WEEK PROJECT.IMMERSIVE INTERIOR.

PHOTOMONTAGE

3D PRINTED SCREEN. 2 WEEK PROJECT.17

To create a 3D representation of the previous 2D graphic, a computer-generated model was produced via the 3D printer. The line work from the graphic has been translated into a structural piping system. The form of the hourglass is given the initial and final layer, while the central layer contains the supporting line work, acting as both a visual and physical connector to provide a mode for standing as an individual object.

DIAGRAM

The previous projects led into the final production of the designer’s first flagship fashion boutique. It was to embody the spirit of his collections while providing the programmatic needs which are essential for a retail environment. The notion of immersion was to be maintained as a design approach.

LASER-CUT MODEL PHOTOS

IMMERSIVE INTERIOR.

19

The dressing rooms were treated as a separate area which one would be led to. The changing area was designed to allow for various configurations by means of a track system which hung fabric from Posen’s current collection.

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1. SHOES2. ACCESSORY3. STORAGE4. DISPLAY5. CASH WRAP6. DRESSING7. OFFICE

SECTION 3ELEVATION

FLAGSHIP FASHION BOUTIQUE. 6 WEEK PROJECT.

FLOOR PLAN

SECTION 1

SECTION 2

FLAGSHIP FASHION BOUTIQUE. 20

The screen creates a fully immersive experience as it creates a secondary enclosure in response to the pre-existing walls.The inherent layers of the screen expand and retract in accordance with necessary programmatic functions and product display.

SMALLER PROJECTS 22

SPLAY. ENVIRONMENTAL CONTROLS I. 2 WEEK GROUP PROJECT.

SPLAY LIGHT FIXTURE.

Photometric Curve of Long Section:

Angle Footcandles Calculations Candlepower0 76 76x22 = 30430 82 82 x 22 = 32845 107 107x22 = 42860 176 156x22 = 62490 86 86x22 = 344120 73 73x22 = 292135 85 85x22 = 340150 53 53x22 = 212180 2 2 x 22 = 8

Lamp Information:

Type: Compact Fluorescent Voltage: 120Color: Soft White Base: Intermediate Lumens: 800Watts: 14Efficacy: 57lumens/watt

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Photometric Curve of Short Section:

Angle Footcandles Calculations Candlepower360 76 76x22 = 304330 25 25x22 = 100315 8 8x22 = 32300 8 8 x 22 = 32270 12 12x22 = 48240 39 39 x 22 = 156225 5 5x22 = 20210 5 5x22 = 20180 2 2 x 22 = 8

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The design of this light fixture was prompted by a list of design intents necessary for a specific study space in the UT Architecture building. Criteria included the need for direct light and indirect light to provide lighting for task as well as an even distribution of ambient lighting. The Splay pendant uses angled planes for this directing and diffusing of light. The planes are splayed at alternated angles so the central lamp focuses light downward and the side lamps reflect light up and out. The lamps are concealed by frosted sheets of plexi glass to minimize glare. This four person project was achieved in two weeks, tasks included design, construction, and calculation of photometric curve to reveal the candlepower of both long and short section.

PHOTOMETRIC CURVES

Photometric Curve of Long Section:

Angle Footcandles Calculations Candlepower0 76 76x22 = 30430 82 82 x 22 = 32845 107 107x22 = 42860 176 156x22 = 62490 86 86x22 = 344120 73 73x22 = 292135 85 85x22 = 340150 53 53x22 = 212180 2 2 x 22 = 8

Lamp Information:

Type: Compact Fluorescent Voltage: 120Color: Soft White Base: Intermediate Lumens: 800Watts: 14Efficacy: 57lumens/watt

700

600

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300

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Photometric Curve of Short Section:

Angle Footcandles Calculations Candlepower360 76 76x22 = 304330 25 25x22 = 100315 8 8x22 = 32300 8 8 x 22 = 32270 12 12x22 = 48240 39 39 x 22 = 156225 5 5x22 = 20210 5 5x22 = 20180 2 2 x 22 = 8

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PROCESS SKETCH

SHIRT REMODIFICATION. FALL 2011. DESIGN V. 2 WEEK PROJECT.

PROCESS

The concept of human measurement was to be integrated into the re-construction a of an oxford shirt. Careful deconstruction of the original shirt was conducted prior to re-design. The original structure of the old shirt provided a framework for the new, while the process of deconstruction is revealed in the finished product through the textural quality of the exposed hems and interfacing.

CUBE ADDITION. SPRING 2011. VISUAL COMMUNICATIONS II. 25

date:

sheet number:

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Designed by:

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BRONWYN HUNT

1Perspective

The purpose of this assignment was to gain experience with the 3D environment by outputing form through a digital medium. A digital array of unfolded cubes comprise a physical model created via laser cutter. The later addition to the ‘cube’ responds to its previous subtracted volume, corresponding the existing solid and void.

CONSTRUCTED GRID. SUMMER 2010. VISUAL COMMUNICATIONS I. 26

The focus of the technique-based course was to gain experience with the conventions of constructed architectural drawing. Representation was based on a 12” by 12” grid through orthographic projection, paraline drawings, shade and shadow, and three-dimensional

ORTHOGRAPHIC PROJECTED DRAWINGS

PROJECT SHOE. FALL 2010. DESIGN III. 2 WEEK PROJECT.

As a focus on construction technique, a chosen shoe was dissected and closely examined in order to understand the various parts, and how these parts related to the object as a whole. Both hand rendering and 3D modeling techniques were performed as methods to further explore the object.

HAND DRAWING

SITE PHOTOS

ADAPTIVE REUSEThe Govalle Wastewater Treatment Plant was built in 1937, and was considered to be a revolutionary facility due to its introduction of new and innovative technologies. The Art Moderne style is reflected in the built infrastructure as an accompaniment to this technologically advanced system. As a part of a historical preservation studio, our team of three individuals proposed an adaptive reuse of the now decommissioned plant. Our attention was focused on the infrastructure viewed above: a blower building, three deactivated clarifier tanks, and an aeration tank which once held the waste water. To assist in the next phases of design, we first recognized the character defining features of the site we believed to be most historically significant, and therefore features which should be preserved. The goal of the project was to design a space of provisional presence: “An architecture that changes with the changing of circumstance”- Kevin Alter, Provisional Architecture. The site would be liberated from specific programmatic needs and would serve as an indefinite backdrop for various forms of occupation and experiences.

SPRING 2013. ADVANCED DESIGN II. 6 WEEK PROJECT.

To accentuate the relationship between the infrastructure of the proposed area, the roofs of the three clerestory tanks tilt slightly towards a central vantage point, as if to grow out of the landscape. The slope allows natural light to enter into the tanks below, and is angled in such a way to encourage visitors to recline. There are two supporting entrances to the circulation hall below; An entrance through the existing blower building allows for a quick transition, while the ramp through the aeration tank allows for a grander descent from the northeast end of the site.

PROCESS SKETCHES

DIAGRAMMATIC SITE PLAN

GOVALLE WATER TREATMENT PLANT. 6 WEEK PROJECT.31

ADAPTIVE REUSE. 32

GOVALLE WATER TREATMENT PLANT. 6 WEEK PROJECT.

Our objective was to create distinct experiences from above and below ground, while exploring how the levels may be both physically and visually connected. In order to delineate our proposed area, the underground roof displays a textural treatment above ground to bridge the connection between levels. Punctured skylights provide light into the circulation hall below, and are located within the roof’s structural grid.

BELOW GROUND FLOOR PLAN

ABOVE GROUND FLOOR PLAN PRECEDENT IMAGERY

1. Entry 12. Restaurant3. Catering Kitchen4. Restroom 15. Circulation Hall6. Event(s)7. Entry 28. Restroom 2

1. Entry 12. Gardens3. Restaurant4. Event5. Cafe6. Entry 2

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ADAPTIVE REUSE.

To present the design as a provisional space, the interior perspectives display two possible ways in which the clarifier tanks may be occupied. Our objective was to provide a neutral field which honored the original form of the infrastructure while providing flexible, unobstructed space. “Through an architecture which is unresolved and provisional, people might be precipitated into contemplation, ultimately to act upon and constitute reality themselves.”

SECTION THROUGH TANK

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ADAPTIVE REUSE. 36

HOSPITALITY SUITEThe concept of this studio focused on the exploration of reclamation, color, and scale. Standard size shipping containers were used as the shell for the design of a hospitality suite. The site was located on a piece of land outside of Austin, and was situated upon a small viewing pond. The container was considered an artificial object which stood in contrast to its natural surroundings.

FALL 2011. DESIGN V. 6 WEEK PROJECT.

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HOSPITALITY SUITE.

The application of color was utilized as a way to treat each unit as a separate entity while maintaining a sense of progression. The sequence was inspired by an excerpt from a supplemental reading: “Analogical color is a continuum, a seamless spectrum, an undivided whole, a merging of one colour into another.” - David Batchelor, Chromophobia.

The suite consists of two shipping containers which are slightly elevated above the site. One container is considered ‘public’ and another ‘private.’ The structure is sliced and separated according to the necessary space needed for the enclosed function. The container serves as the inhabitable space, while the separation allows for transitional space. The sequence addresses the idea of solid and void as the user is given glimpses of visual exposure to the surrounding landscape.

1. STUDY2. RESTROOM3. CLOSET/STORAGE4. DRESSING ROOM5. BEDROOM6. ENTRY CLOSET7. KITCHEN8. LIVING

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FLOOR PLAN

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SECTION 1

SECTION 2

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HOSPITALITY SUITE.

BRONWYN [email protected] PATTERSON AVE, AUSTIN, TX 78703 817.243.8414

INTERIOR DESIGN PORTFOLIO

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