SNIGDHA ROYACADEMIC PORTFOLIO2025-2026DIPLOMA HE INTERIOR DESIGNKLC SCHOOL OF DESIGN
Design Approach RESEARCH-LED INTERIORS SHAPED BY BEHAVIOUR, MEMORY AND ATMOSPHERE This portfolio brings together my development as an interior design student across residential, commercial, hospitality, workspace and live/work projects. Each project begins with close reading: of the client, site, cultural context, user needs and the behaviours the space must support. My work is driven by the relationship between analysis and atmosphere. Research is used not as background information, but as a way of shaping zoning, circulation, materiality, lighting and detail. Across the projects, I explore how interiors can become more than visual compositions: they can guide movement, support emotion, hold memory and create purposeful experiences. 01
BEHAVIOUR EMOTION PURPOSE MOVEMENT DETAILB E A U T Y + F U N C T I O N + B E H A V I O U R + A T M O S P H E R E + D E T A I L Design ManifestoA well-designed space does not simply contain people; IT ENABLES THEM. I design human-centred interiors that enable behaviour, emotion and purpose. My work begins with the person, their movement, rituals, comfort, access, atmosphere and emotional needs, before translating those observations into spatial planning, materiality, lighting, ergonomics and detail. 02
Contents 01 Neighbourhood Place, people and local observation 02 British Museum Spatial behaviour, light and public movement 03 Thresholds Transition, boundary and atmosphere 04 Interwoven Textile, craft and spatial translation 05 Home Away From Home Heritage, comfort and domestic ritual 06 SPACE 1.5 Inclusivity, wellbeing and workplace behaviour 07 STRIDE Analogue hospitality, social ritual and atmosphere 08 LAYERED CONTINUITY Archive, memory and contemporary live/work practice * PORTFOLIO SYNTHESIS Learning journey, design principles and final reflection 03
01NEIGHBOURHOODNEIGHBOURHOODNEIGHBOURHOODNEIGHBOURHOOD04 Reading local identity through mind mapping, collage and everyday neighbourhood markers. P L A C E / O B S E R V A T I O N / C O N T E X T / I D E N T I T Y
04MAPPING A NEW NEIGHBOURHOODMAPPING A NEW NEIGHBOURHOOD PROJECT LENS This mind map records early observations of Brent Cross Town as an emerging neighbourhood shaped by movement, housing, green space, amenities and everyday use. The exercise helped me understand place as a network of relationships, activity and future growth rather than as a fixed site alone. DESIGN READING 05
06 COLLAGE AS PLACE TRANSLATIONCOLLAGE AS PLACE TRANSLATION This collage translates Brent Cross Town as an emerging neighbourhood shaped by movement, amenities, green space and construction. Using sketches, photographs and cut-outs layered over an aerial base, the composition follows a daily route through local markers such as the bus stop, store, community centre and surrounding public spaces. PROJECT RESPONSE The physical making process turns observation into spatial language, showing the neighbourhood as an active network of relationships rather than a collection of isolated landmarks. SYNTHESIS
02THE BRITISH MUSEUM THE BRITISH MUSEUM THE BRITISH MUSEUM THE BRITISH MUSEUM 07 Reading heritage, intervention and visitor movement within a public cultural interior. S P A T I A L R E S E A R C H / A D A P T I V E R E U S E / M A T E R I A L T R A N S I T I O N
TRACING THE MUSEUMTRACING THE MUSEUM The timeline traces the British Museum as a layered public interior shaped by history, expansion and adaptation. Each architectural phase changes the relationship between existing fabric, added intervention, circulation and public experience. RESEARCH LENS 08
1857185718571823 – 18521823 – 18521823 – 1852 1973-19971973-19971973-1997 1939–1960's1939–1960's1939–1960's ORIGINAL MUSEUM BUILDINGORIGINAL MUSEUM BUILDINGORIGINAL MUSEUM BUILDING READING ROOM COMPLETEDREADING ROOM COMPLETEDREADING ROOM COMPLETED COURTYARD TRANSFORMATIONCOURTYARD TRANSFORMATIONCOURTYARD TRANSFORMATION WARTIME / POST-WAR ADAPTATIONWARTIME / POST-WAR ADAPTATIONWARTIME / POST-WAR ADAPTATION THE HISTORIC ANCHORTHE HISTORIC ANCHOR The plan studies show how the museumʼs central space evolved over time while continuing to revolve around the Reading Room. Although the surrounding circulation and courtyard conditions changed, the centre remained the spatial and symbolic anchor of the building. PLAN EVOLUTION Positioned at the heart of the museum, the Reading Room became more than a functional research space. It formed the intellectual core of the institution, giving the museum a central point of knowledge, focus, and orientation. THE READING ROOM The museumʼs classical facade, columns, and symmetrical language established a strong civic presence. This architectural identity created a sense of permanence and authority, grounding the later transformations in a recognisable historic framework. CLASSICAL IDENTITY 1852 1857 2000 09
THE ADDED LAYERTHE ADDED LAYER 200020002000 2007-20132007-20132007-2013 201420142014 Present DayPresent DayPresent Day The glass roof adds a contemporary architectural layer above the historic fabric. Its transparency allows light to enter the courtyard while visually separating the new intervention from the older classical structure. GLASS CANOPY INTERVENTION The isometric view reveals the Great Court as an inserted layer within the existing museum structure. It reorganises the central courtyard into a connected public space, linking surrounding galleries through a clearer spatial sequence. THE GREAT COURT AS CONNECTOR GREAT COURT OPENSGREAT COURT OPENSGREAT COURT OPENS PUBLIC INTERIOR ESTABLISHEDPUBLIC INTERIOR ESTABLISHEDPUBLIC INTERIOR ESTABLISHED VISITOR EXPERIENCE EXPANDEDVISITOR EXPERIENCE EXPANDEDVISITOR EXPERIENCE EXPANDED ACTIVE MUSEUM THRESHOLDACTIVE MUSEUM THRESHOLDACTIVE MUSEUM THRESHOLD 10
SPATIAL TRANSLATION AND ADAPTIVE REUSESPATIAL TRANSLATION AND ADAPTIVE REUSE The interior views show how the Great Court intervention changes the way the historic building is occupied. The glass canopy, retained stone walls, and open circulation turn the former courtyard into a usable public interior for movement, pause, and orientation. ADAPTIVE REUSE THROUGH EXPERIENCE The exploded isometric drawing shows how the Great Court intervention was inserted within the existing museum fabric. Rather than replacing the historic structure, the design reorganised the central courtyard into a connected public space around the Reading Room. SPATIAL REORGANISATION The Reading Room remains the intellectual and spatial anchor of the museum. Its preservation allows the new intervention to build around the existing heritage, creating continuity between the museumʼs original purpose and its contemporary public use. HISTORIC CORE RETAINED 11
GREAT COURT ROOF INTERFACEGREAT COURT ROOF INTERFACE The roof detail shows the meeting point between Foster + Partnersʼ contemporary glass canopy and Smirkeʼs neoclassical stone facade. The intervention frames the historic architecture rather than covering it, allowing the original courtyard identity to remain visible. FOSTER AND PARTNERS The junction drawing shows how the canopy is assembled as a lightweight structural layer above the historic courtyard. Its separated connection allows the new roof to span and perform independently, while keeping the original stone facade visually legible. EXPLODED ROOF JUNCTION The section and exploded junction show the roof as a separate structural system, lightly inserted above the existing fabric. This separation allows the new canopy to perform technically while reducing visual and physical pressure on the historic building. INDEPENDENT STRUCTURAL LAYER 12
03THE BRUNSWICK CENTRE THE BRUNSWICK CENTRE THE BRUNSWICK CENTRE THE BRUNSWICK CENTREReading thresholds, movement and public behaviour through everyday spatial markers. P L A C E / T H R E S H O L D / M O V E M E N T / I D E N T I T Y 13
Bernard Street creates the clearest entry point, shifting from busy street movement into a contained pedestrian plaza. Steps, shopfronts and concrete edges mark the transition into the centre. Seating, planting and cafe edges slow the pace of circulation. These pockets turn the plaza into a social threshold where people wait, eat, talk and observe. The site changes through sound, light, enclosure and planting. Street noise softens inside the plaza, sunlight opens the central space, and greenery helps soften the hard concrete frame.Residential levels sit above the active public ground floor, creating a vertical threshold between domestic life and commercial activity. The homes remain visually connected to the plaza, but feel quieter and more withdrawn. The central axis pulls users through the site, while side routes and crossings create smaller shortcuts. Movement is linear, but constantly interrupted by retail edges, seating and level changes. MOVEMENT ROUTE ENTRY POINTS / THRESHOLDS ACTIVE RETAIL EDGE PAUSE / SEATING SOUND SHIFT LIGHT EXPOSURE PLANTING / SOFT EDGE UNDERSTANDING SITEUNDERSTANDING SITE 14
Bernard Street forms the main transition from the surrounding urban condition into the Brunswick Centre. The shift is marked by a change from street noise and traffic movement to a more contained pedestrian route framed by concrete facades and retail frontages. MAPPING THRESHOLDSMAPPING THRESHOLDS The annotated maps record the Brunswick Centre as a lived spatial sequence rather than a fixed plan. Sound, sunlight, planting, circulation, busy points and quieter zones were layered to understand how the site changes as users move through it. EXPERIENTIAL SITE MAPPING ENTRY THRESHOLD The mix of shops, cafes, services and cultural uses creates an active public edge. These functions turn the site into more than a route, producing moments of waiting, meeting, browsing and everyday social exchange. Movement, Sound + Entry 15
MAPPING THRESHOLDSMAPPING THRESHOLDS The upper residential levels create a vertical threshold between public life below and private domestic space above. Although visually connected to the plaza, the residential edge feels quieter and more withdrawn from the activity at ground level. RESIDENTIAL EDGE The Curzon cinema marks a shift from open public plaza to enclosed cultural space. Light reduces, sound softens, and the atmosphere becomes more internal. CINEMA EDGE The central route directs movement through the site, but seating, planting and cafe edges create slower zones where people pause, wait, talk and observe. These moments soften the linear circulation and make the plaza more social. The steps operate as both movement and pause. They guide users between levels while also becoming informal seating points, turning circulation into a social edge. MOVEMENT TO PAUSE Pause, Edge + Enclosure 16
POETIC THRESHOLDSPOETIC THRESHOLDS The final haiku sheet translates site observations into a more atmospheric reading of the Brunswick Centre. Each poem responds to a specific threshold condition, capturing how movement, light, sound, enclosure and pause shift across the site. This allowed the mapping process to move beyond physical analysis and record the emotional quality of each spatial transition. HAIKU AS SPATIAL REFLECTION 17
04INTERWOVENINTERWOVENINTERWOVENINTERWOVENExploring how geometry, movement and material contrast can shape a layered interior experience. G E O M E T R Y / T H R E S H O L D / C O N T R A S T / S P A T I A L R H Y T H M 18
1.Public showroom 2.Visible loom Studio 3.Display areasBRIEF REQUIREMENTS4.Sales point 5.Storage 6.Private office 7.WC / RestroomINTERWOVEN: CLIENT, SITE + BRIEFINTERWOVEN: CLIENT, SITE + BRIEF The project is set within the Brunswick Centre, a modernist commercial and residential complex in London. The brief asked for an assumed retail unit within the centre to be remodelled as a commercial interior for a textile designer and weaver. SITE CONTEXT A key requirement was to make the working loom visible to the public. The weaving process becomes part of the customer experience, allowing the showroom to operate as both a retail space and an active studio. VISIBLE MAKING The client, Anna Cromwell, is a local textile designer and weaver moving her high-end fabric and tapestry business, Interwoven, into the Brunswick Centre. Her work is inspired by Anni Albers, whose approach to pattern, material, repetition, colour and structure informed the projectʼs research direction. CLIENT + INSPIRATION 19
RESEARCH: WEAVING, RETAIL + ANNI ALBERSRESEARCH: WEAVING, RETAIL + ANNI ALBERSWarp, weft, texture and repetition inform grid, rhythm, tactility and material language.MATERIAL + STRUCTUREThe loom becomes both a working tool and a visible part of the customer experience.LOOM + MAKING Textiles are browsed, layered and suspended, turning retail display into spatial experience. DISPLAY LOGIC 20
CONCEPT: INTERWOVEN GEOMETRYCONCEPT: INTERWOVEN GEOMETRY Bauhaus Weave X Brutalist Simplicity BRUTALIST SHELL Grey, rigid, structural INTERWOVEN GEOMETRY Thread lines soften the grid PLAYFUL ORDER Colour, rhythm+repetition Interwoven Geometry translates the act of weaving into spatial language. The concept combines the Brunswick Centreʼs Brutalist shell with the playful order of Bauhaus textile design, using grid, rhythm, colour and layered materials to create a commercial interior that feels both structured and tactile. 21
CONCEPT TRANSLATION: MATERIAL + SPACECONCEPT TRANSLATION: MATERIAL + SPACE This collage translates the concept of Interwoven Geometry into a spatial and material language. Bauhaus colour, woven rhythm and textile tactility are layered against the Brunswick Centreʼs Brutalist concrete shell, creating a balance between structure and play. The loom, woven samples, grid-based surfaces and thread-like circulation begin to show how craft becomes an interior experience. 22
DESIGN PROCESS: FROM CRAFT TO SPACEDESIGN PROCESS: FROM CRAFT TO SPACE This sheet explores how Interwoven Geometry moves from craft into spatial planning. The loom becomes the anchor of the space, while circulation, display, storage and sales areas are arranged like woven threads around it. Bauhaus colour and grid logic bring playfulness, while the existing Brutalist shell gives the scheme structure, contrast and simplicity. 23
ZONING + CIRCULATION: DIAGONAL WEAVEZONING + CIRCULATION: DIAGONAL WEAVEToilet Office/Storage Private Semi-Private Till/Billing Area Public Open Weaving Area Entry/Exits The zoning translates Interwoven Geometry into a diagonal spatial route, guiding customers through the showroom like a woven thread within the fixed Brutalist shell. Public display and entry areas sit towards the front, while the visible weaving zone becomes the central connection between retail and making. Office, storage and WC functions are placed along the quieter/private edge, keeping the space open, clear and customer-facing while still supporting the practical needs of a working textile studio.DISPLAYDISPLAYDISPLAY 24
DESIGN PROPOSAL: PLAN + SPATIAL ORGANISATIONDESIGN PROPOSAL: PLAN + SPATIAL ORGANISATION1.SCENE(SC) 1-SEATING 2.SC 2-CURTAIN VIEW 3.SC 3- LIVING ROOM 4.TAPESTRY 5.SC 5- SEATING 6.STORAGE-BOOKS/CATALOGUES 7.POWDER ROOM 8.OFFICE/STORE 9.SINK 10.CURTAIN (SCREEN) 11.SC 6-SEATING WITH CONSOLE 12.DISPLAY TABLE 13.DISPLAY TABLE 14.WEAVING AREA 15.STORAGE 16.DINING TABLE/DISCUSSION AREA 17.BILLING SYSTEMNOTES: The final plan organises the showroom around the loom as the central working anchor. Public retail and display areas sit towards the entrance, allowing visitors to browse textiles before moving deeper into the space. The visible loom studio connects making with the customer experience, while storage, sales, office and WC functions are positioned around the edges to support the commercial operation without interrupting the main flow. 25
SECTION + ELEVATIONSECTION + ELEVATION A rhythmic display wall combines textile storage, colour blocking and geometric inserts, creating a strong visual anchor for the weaverʼs retail space. ELEVATION AA’ The flooring continues onto the wall to create an immersive woven surface, linking seating, display and work areas through one continuous design language. ELEVATION BB’ The sections and elevations show how Interwoven Geometry is translated through surface, height, rhythm and display. The existing Brutalist shell is kept as a calm grey framework, while Bauhaus-inspired colour, pattern and textile tactility are layered through flooring, wall treatments, joinery and woven displays. The design uses the elevation almost like a woven composition, balancing solid architectural planes with playful graphic moments. 26
SPATIAL EXPERIENCE: MATERIALITY + ATMOSPHERESPATIAL EXPERIENCE: MATERIALITY + ATMOSPHERE 27
05HOME AWAY FROM HOME HOME AWAY FROM HOME HOME AWAY FROM HOME HOME AWAY FROM HOME 28 Reimagining a historic cottage as a warm, restorative retreat for visiting creatives. H E R I T A G E / C O M F O R T / C R A F T / R E T R E A T
The proposal creates a restorative, home- like interior that supports rest, creativity and reflection while remaining sensitive to the cottageʼs historic exterior and estate context. Client: West Dean Estate Management Office Site: West Dean Estate, West Sussex Typology: Residential guest accommodation Users: Visiting artists, speakers, fellows+ creatives Key Focus: Heritage, nature, craft, wellbeing + sustainability HOME AWAY FROM HOME: CLIENT, SITE + BRIEFHOME AWAY FROM HOME: CLIENT, SITE + BRIEF Home Away From Home is a residential redesign of an 18th-century Grade II listed cottage within the West Dean Estate in West Sussex. The cottage is intended as accommodation for guest speakers, artists in residence, fellows and visiting creatives, offering a warmer alternative to a hotel stay. PROJECT BRIEF DESIGN AIMSITE MAP 29
RESEARCH: WEST DEAN, HERITAGE, CRAFT + PLACERESEARCH: WEST DEAN, HERITAGE, CRAFT + PLACEWest Deanʼs gardens, estate setting and South Downs landscape shaped a calm interior language connected to nature, pause and retreat. PLACE + LANDSCAPE The cottageʼs historic character, brickwork, timber, fireplaces and traditional details informed a sensitive approach to restoration and reuse. HERITAGE + EXISTING FABRIC Research into craft, making and lived-in interiors guided the proposal towards tactile materials, handmade detail and a warm residential feel. CRAFT + DOMESTIC ATMOSPHERE 30
DEDUCED DESIGN DRIVERS: VISION 2030 + SUSTAINABLE LIVING DEDUCED DESIGN DRIVERS: VISION 2030 + SUSTAINABLE LIVING West Deanʼs landscape, gardens and South Downs setting informed a restorative interior connected to nature, pause and reflection. NATURE + WELLBEING Material choices focus on reclaimed timber, stone, limewash and natural textures, with reversible interventions that protect the cottageʼs historic fabric. SUSTAINABLE HERITAGE The cottage supports visiting artists, speakers and creatives by turning domestic spaces into a quiet living gallery for art, craft and making. CREATIVE COMMUNITY + LIVING GALLERY 31
CONCEPT: HOME AWAY FROM HOMECONCEPT: HOME AWAY FROM HOME Home Away From Home creates a restorative residential interior for visiting artists, speakers and guests staying at West Dean. The concept brings together the estateʼs landscape, heritage and craft culture to form a place of comfort, retreat and creative belonging. The design draws from rolling topography, gardens and handmade traditions, translating them into soft spatial transitions, natural materials, botanical references and a calm domestic atmosphere. New interventions remain sensitive and reversible, enhancing the Grade II listed cottage while making it feel warmer, more layered and more personal. L A N D S C A P E R E S O N A N C E + B O T A N I C A L C R A F T + C R E A T I V E R E T R E A T 32
DESIGN PROCESS: FROM HERITAGE TO HOMEDESIGN PROCESS: FROM HERITAGE TO HOME This process sheet traces the concept of Home Away From Home through a series of spatial and material studies. Rather than treating the listed cottage as a blank interior, the design begins with its existing character: stone, fireplace, timber, texture and domestic scale. These heritage cues are then softened through layered textiles, quiet retreat spaces, crafted joinery and connections to nature, creating accommodation that feels calm, personal and restorative for visiting artists and creatives. 33
ZONING + CIRCULATIONZONING + CIRCULATION ZONING CIRCULATION The cottage is organised into clear layers of use, balancing communal living with private retreat. Shared spaces are located on the ground floor to encourage gathering and interaction, while bedrooms occupy the upper levels to provide comfort, privacy and rest. Circulation follows the existing staircase and hallways, creating an intuitive journey through the home while preserving the character of the original cottage. 34
SITTING ROOM 02 001 CH 2660 UP UP CH 2660 UP KITCHEN / DINNING CH 2530 LARDER + 200 +0.0CH 2700 BEDROOM 1 UP LANDING BEDROOM 2 CH 257005 003 BEDROOM 3 CH 1850 BEDROOM 4 STORAGE UNIT STORAGE UNIT·CH 1850BASEMENTUPDESIGN PROPOSAL: PLANS + SPATIAL ORGANISATIONDESIGN PROPOSAL: PLANS + SPATIAL ORGANISATION GROUND FLOOR SECOND FLOOR FIRST FLOOR BASEMENT The proposal retains the cottageʼs existing floor structure while organising the interior into clear layers of shared and private use. The ground floor forms the communal heart of the home, with sitting, kitchen and dining spaces encouraging gathering and informal exchange. Bedrooms are positioned across the upper floors to provide privacy, rest and flexibility for visiting creatives. Circulation follows the existing stair and hallway sequence, allowing the design to feel intuitive while preserving the character and proportions of the original cottage. 35
SECTIONSECTIONKITCHEN / DINNING KITCHEN / DINNING + 200 +0.0 GROUND FLOOR GROUND FLOOR AND BASEMENT The sections show how the proposal works within the existing cottage structure, using the buildingʼs original levels, wall thicknesses and ceiling heights to guide the spatial arrangement. Shared living and kitchen/dining areas are kept open and connected on the ground floor, while the basement and upper levels support quieter, more private functions. The sectional drawings also test proportion, enclosure and movement through the cottage, ensuring the design feels comfortable, practical and respectful of the historic fabric. 36
FF&E + MATERIAL STRATEGYFF&E + MATERIAL STRATEGY The FF&E and material palette support the concept of Home Away From Home by combining comfort, heritage and quiet craft. Soft upholstered pieces, warm timber, patterned textiles and layered lighting create a welcoming residential atmosphere for visiting creatives, while stone, brass and traditional detailing respond to the cottageʼs historic character. Botanical fabrics, muted greens and natural textures connect the interior back to the West Dean landscape, allowing the scheme to feel restful, rooted and gently expressive rather than overly styled. 37
BESPOKE ELEMENT: THE VICTORIAN VESSELBESPOKE ELEMENT: THE VICTORIAN VESSEL The Elizabethan Vessel reimagines the traditional hearth as a portable bioethanol fireplace for the residential cottage. Inspired by Elizabethan urns and ceremonial vessels, the form combines historic ornament with contemporary clean- burning technology. The transparent glass body allows the flame to become the visual centrepiece, while the metal frame, wooden handles and curved proportions give the object a crafted, domestic character. DESIGN INTENT Elizabethan vessels informed the objectʼs proportions, handles and ornamental language. These references were simplified into a lighter, more contemporary fireplace form so the piece feels historic in spirit but not overly decorative. FORM REFERENCE The fireplace is designed to sit within an existing hearth recess without fixing into the historic fabric. This allows the piece to feel integrated within the cottage while remaining removable, flexible and suitable for a sensitive listed setting. The section tests clearance, scale and safe positioning, showing how the vessel can bring warmth and atmosphere without permanent alteration. INSTALLATION + FIT 38
ATMOSPHERIC COLLAGE : HOME AWAY FROM HOMEATMOSPHERIC COLLAGE : HOME AWAY FROM HOME 39
06SPACE 1.5SPACE 1.5SPACE 1.5SPACE 1.5 Designing an inclusive co-working environment between focus, collaboration and pause. W O R K / L I V E / P L A Y / F L E X I B I L I T Y 40
SPACE 1.5 : CLIENT, SITE + BRIEFSPACE 1.5 : CLIENT, SITE + BRIEF Space 1.5 was developed by Type B Designs as a group proposal for a start-up co-working office within the Edenica building at 100 Fetter Lane. The brief asked for an inclusive, collaborative and wellbeing-led workspace for freelance designers, including hot desks, meeting rooms, work pods, workshop facilities, F&B, storage and accessible circulation. PROJECT BRIEF The proposal explored a “space in betweenˮ a workplace that moves between focus and collaboration, making and resting, structure and flexibility. The project was developed collaboratively, with my contribution supporting research, concept development, spatial planning and visual communication. GROUP PROJECT | TYPE B DESIGNS 41
RESEARCH : DESIGNING FOR ALLRESEARCH : DESIGNING FOR ALL Space 1.5 was developed by Type B Designs as a group proposal for a start-up co-working office within the Edenica building at 100 Fetter Lane. The brief called for an inclusive, collaborative and wellbeing-led workspace for freelance designers, combining hot desks, meeting rooms, work pods, workshop facilities, F&B, storage and accessible circulation. PROJECT CONTEXT The research explored how a workplace can support different user needs through focus, collaboration, pause, flexibility and social connection. Precedents such as quiet pods, movable partitions, daylight-led interiors, acoustic strategies and biophilic elements informed a design approach centred on adaptability, comfort and inclusive use. RESEARCH DIRECTION 42
CONCEPT : SPACE 1.5CONCEPT : SPACE 1.5 Space 1.5 explored the idea of a workplace that sits between fixed categories: focused and social, individual and collaborative, productive and restorative. Developed from early ideas around doodling, flexible lines and the paperclip as a spatial metaphor, the proposal created a co-working environment where users can move between different modes of creative work. Work / Live / Play became the organising structure for the scheme, allowing the workspace to support concentration, making, social exchange and moments of pause without becoming overcrowded or rigid. SPACE 1.5 43
DESIGN DEVELOPMENT : WORKPLACE MODEDESIGN DEVELOPMENT : WORKPLACE MODE This process sheet explores how Space 1.5 developed from an “in-betweenˮ concept into a flexible workplace system. The sketches test different modes of use: focus, making, pause, meeting, social exchange and shared support spaces. Soft thresholds, rounded forms and accessible flow were used to move the proposal away from a rigid office layout and towards a more adaptable environment for freelance designers. 44
ZONINGZONING The zoning strategy divides the workspace into three linked modes: Work, Live and Play. Focused desk areas, work pods and workshop/printing zones support productivity, while the dining, lounge and bunk couch areas introduce comfort and pause. Social and meeting zones are placed as more active shared pockets, allowing users to move between concentration, collaboration and rest depending on their needs throughout the day.Socialfocusbunk couchRECEPTION LOCKERS COMMUNAL LOUNGE F&B KITCHEN BUNK COUCHLIVERECEPTION DESK AREA WORKSHOP PRINTING WORK PODSWORKRECEPTION MEETING ROOM SOCIAL AREAPLAY 45
CIRCULATIONCIRCULATIONPRIMARY CIRCULATIONACCESSIBILITY CIRCULATION The circulation strategy supports the concept of Space 1.5 by allowing users to move between focus, making, meeting, pause and social areas without the workspace feeling rigid. Primary routes create clear movement across the plan, while accessibility circulation ensures wheelchair users can reach key work zones, meeting rooms, pods, F&B and support spaces independently. The aim was to keep the plan flexible and inclusive while avoiding overcrowding. 46
SPATIAL LAYOUT : PLANSPATIAL LAYOUT : PLAN The final plan organises Space 1.5 around the projectʼs three workplace modes: Work, Live and Play. Focus desks, workshop areas, meeting rooms, pods, F&B and social spaces are arranged to support different types of creative work within one shared floorplate. Existing fixed services, including the elevators, WCs and supply cupboards, were retained, allowing the proposal to work with the building fabric while creating a flexible and inclusive co-working environment. SPATIAL LAYOUT 47
900 mm 2950 mm 3432 mm 3432 mm 2950 mm 900 mm CORNER DESK AND CHAIR PRINTERS HIGH CHAIRS WALL MOUNTED TABLES ADJUSTABLE WORKSTATION TABLESECTIONSECTION The sections explore how the workspace supports different modes of working within one shared environment. Wall-mounted desks, adjustable workstations, high chairs and printing areas allow users to choose between focused, collaborative and flexible tasks. The sectional view also tests proportion, access, furniture height and visibility across the space, helping the scheme respond to both productivity and comfort. SECTION FOCUS AREA 48
SPACE 1.5 SECTION: SOUTH WALL 003 1:100@A3Notes: 900 mm 2950 mm 3432 mm A1 A SECTIONSECTION 49
ELEVATIONELEVATION ELEVATION PLAN This elevation studies the outside face of the meeting room along the west wall, showing how the enclosure becomes a visible architectural feature rather than a hidden partition. The arched openings create a softer threshold into the meeting room, while the repeated curved forms connect back to the projectʼs wider spatial language of pods, privacy and shared working. The plan and view clarify how the meeting room sits beside the group pods, supporting both focused discussion and visual connection to the wider workspace. 50
LIGHTING STRATEGYLIGHTING STRATEGY The lighting strategy combines functional task lighting with softer atmospheric layers to support the projectʼs different modes of use. Brighter, focused lighting is positioned over desks, work pods and workshop areas, while warmer ambient pools define the lounge, dining and social zones. This creates a flexible workspace that can shift between concentration, collaboration and relaxation throughout the day. 51
MATERIALITYMATERIALITYACRYLLIC PLASTICCEMENT/CONCRETECHROMEDURABLE RECLAIMED LEATHERTIMBERNEUTRAL TEAK WOOD COUNTER/TABL E TOPSCEMENT/CONCRETESTAINLESS STEEL ACCENTS AND COUNTER TOPSDURABLE RECLAIMED LEATHERDURABLE WOOL BLEND RUGRECYCLED ACRYLIC PLASTICCEMENT/CONCRETEOAK TABLES IN MEETING ROOMSDURABLE WOOL BLEND RUGGLASS MIRROR ACCENTSWORKLIVEPLAY The material strategy supports the three core modes of the project: Work, Live and Play. Practical materials such as concrete, chrome, stainless steel and acrylic create a durable base for high-use work areas, while timber, leather and wool soften the social and live zones. Colour and reflective accents are used more playfully in meeting and social spaces, helping the interior feel energetic without losing its functional structure. 52
FF&EFF&EWORKLIVEPLAY The FF&E selection supports the projectʼs three activity modes: Work, Live and Play. Work furniture is practical, mobile and task- focused, supporting desks, pods and collaborative production. Live pieces introduce comfort through softer seating, lounge forms and warmer materials, while Play elements use more expressive furniture, games and social seating to encourage interaction and informal exchange. 53
BESPOKE ELEMENTSBESPOKE ELEMENTSBESPOKE BUNK COUCH TECHNICAL DRAWINGPLANELEVATIONSECTION The bespoke bunk couch was developed as a playful pause point within the workspace, supporting the projectʼs Live and Play modes. Its circular plan creates a compact social enclosure, while the stacked structure allows users to sit, lounge or occupy the space at different levels. The technical drawing explores how the pipe frame, rivet connections and vertical supports could create a durable, modular feature that feels both functional and experimental. 54
BESPOKE ELEMENTSBESPOKE ELEMENTS MEETING TABLES TECHNICAL DRAWINGS & VIEW The bespoke meeting table was developed as a flexible alternative to a fixed boardroom layout. Each curved module can be moved independently, then magnetically click together to form a larger shared table when collaboration is needed. This allows the meeting room to shift between individual work, group discussion and collective idea generation, while keeping the furniture playful, adaptable and easy to reconfigure. 55
ATMOSPHERIC VIEW : SPACE 1.5ATMOSPHERIC VIEW : SPACE 1.5RECEPTION WORK, LIVE, PLAYTYPE B DESIGNS 56
07STRIDESTRIDESTRIDESTRIDEDesigning a bar where cricket, music and social ritual meet through movement, rhythm and atmosphere. C R I C K E T / M U S I C / M O V E M E N T / H O S P I T A L I T Y 57
Project: Hospitality / Cocktail Bar Location: Cinder, St Johnʼs Wood High Street, London Key Requirement: Ground floor bar + basement speakeasy Design Focus: Analogue socialising, atmosphere, movement and ritualSTRIDE: CLIENT + BRIEFSTRIDE: CLIENT + BRIEF The brief asked for a cocktail bar designed around analogue socialising: a space that encourages face- to-face conversation, shared rituals and in-person gathering rather than digital distraction. The design needed to include one bar on the ground floor, one bar in the basement, small food service, male and female WCs, an accessible WC on the ground floor, lighting, FF&E, branding and a clear speakeasy PROJECT BRIEF The client is a contemporary hospitality operator seeking a cocktail bar with a speakeasy lounge at Cinder, St Johnʼs Wood High Street. The proposal required a distinctive bar identity, a welcoming ground floor and a more atmospheric basement experience, with food service, seating, WCs and considered branding integrated into the interior. CLIENT 58
The Beatles’ Abbey Road album made the zebra crossing globally iconicLord’s Cricket Ground – internationally known as “the Home of Cricket”.The ground floor should feel open, social and connected to post-match gathering, while the basement should shift into a darker, music-led speakeasy atmosphere. Movement between the two levels becomes part of the experience, translating local cultural rituals into spatial rhythm. DESIGN TAKEAWAYS RESEARCH: ANALOGUE RITUALSRESEARCH: ANALOGUE RITUALS The research identified two nearby cultural anchors: Lordʼs Cricket Ground and Abbey Roadʼs music history. Both are rooted in shared presence, repetition and collective memory, positioning Stride as a bar shaped by movement, ritual and face-to-face social experience. RESEARCH READING 59
CONCEPT: MOVEMENT, RHYTHM & PLAYCONCEPT: MOVEMENT, RHYTHM & PLAYRitual Repetition of social behaviourMovement Transition through spaceDuality Open (ground floor) vs immersive (basement)GROUND FLOORBASEMENTSTAIRS Stride translates the act of moving through culture into a hospitality experience. The ground floor is imagined as an open social field, influenced by cricket gatherings and post-match rituals, while the basement becomes a darker music-led speakeasy. The staircase acts as the threshold between both worlds, turning movement into a shift in mood, light and behaviour. 60
DESIGN DEVELOPMENT: RITUAL INTO SPACEDESIGN DEVELOPMENT: RITUAL INTO SPACE The design development began by deconstructing two cultural objects: the cricket ball and the vinyl record. Their material qualities, rhythm, tactility and circular forms were translated into spatial decisions, from leather seating and brass detailing to acoustic cork, red- toned light, chrome finishes and movement-led circulation. This allowed the concept to move beyond visual reference and become embedded in material, atmosphere and user experience. 61
ZONING & CIRCULATIONZONING & CIRCULATIONBARKITCHENSEATING (HIGH)STORAGESEATING (LOW)SEATINGSEATING (HIGH)STOREBOOTHBOOTHSEATING (LOW-WINDOW VIEW)OFFICE/ELECTRICALGROUND FLOORBASEMENTENTERZONINGKITCHENBARSEATINGW/CDJCIRCULATIONCUSTOMERSTAFF The zoning strategy separates the ground floor and basement into two contrasting social conditions. The ground floor supports an open, post-match gathering atmosphere with clear access to the bar, seating and service areas, while the basement creates a more enclosed music-led speakeasy with DJ, bar and lounge zones. Circulation was planned for both customers and staff, allowing visitors to move intuitively through the experience while maintaining efficient service routes between the bar, kitchen, WCs, storage and seating areas. 62
PLAN: GROUND FLOORPLAN: GROUND FLOORGROUND FLOOR PLAN The ground floor is designed as an open, social bar inspired by cricket culture and post-match gathering. A central pitch-like alignment guides movement from entry through the bar, while seating is arranged to support quick drinks, longer conversations and group socialising. Staff circulation was considered alongside customer movement, with clear service access between the bar, kitchen, storage and seating areas.CEMENT+EXPOSED WALLBAR BACK WALLBAR FRONT GROUND FLOOR: SOCIAL FIELD 63
PLAN: BASEMENTPLAN: BASEMENTAA'BB'BB'STOREOFFICE/ELECTRICALENTERBASEMENT PLANVINYL WALL DETAILDJ BOOTH DETAIL The basement shifts into a darker, music-led speakeasy, creating contrast with the open ground floor. A central bar and DJ zone organise the space, while lounge seating and vinyl-inspired details build a more enclosed atmosphere. Circulation supports both customer discovery and staff efficiency, allowing service movement around the bar, WCs, storage and lounge areas without interrupting the social experience. BASEMENT: IMMERSIVE SPEAKEASY 64
SECTION: ATMOSPHERIC TRANSITIONSECTION: ATMOSPHERIC TRANSITION The speakeasy is defined through a shift in atmosphere rather than a hidden entrance. The section shows the transition from the warm, open ground floor to the darker, enclosed basement, where light, material and ceiling height create a stronger sense of immersion. Movement between levels becomes part of the experience, reinforcing the contrast between social gathering and music-led immersion. 65
LIGHTING AS AN ATMOSPHERELIGHTING AS AN ATMOSPHEREGROUND FLOORBASEMENT Lighting is used to separate the two bar experiences without disconnecting them. The ground floor uses warm, ambient and layered lighting to create a social cricket-led atmosphere, while the basement shifts into lower, more directional coloured light to support the music lounge. This contrast helps guide movement, mood and identity across the project. GROUND FLOOR | WARM SOCIAL LIGHT Soft ambient lighting, bar highlights and table-level glow create a welcoming space for conversation, movement and casual gathering. BASEMENT | IMMERSIVE MUSIC LIGHT Red-toned accent lighting, low illumination and focused highlights create a more intimate, atmospheric setting for music, DJ performance and evening use 66
MATERIAL, FF&E & ATMOSPHERE : GROUND FLOORMATERIAL, FF&E & ATMOSPHERE : GROUND FLOORBRONZE CONCRETE WOOD WINE/GLASS BOTTLES LEATHER The ground floor palette uses warm, tactile finishes to create a familiar social atmosphere. Bronze, leather, timber, concrete and bottle-glass textures translate the cricket reference into material experience without becoming literal. The FF&E supports relaxed gathering, with traditional forms and aged surfaces reinforcing the barʼs open, post-match character.SMOKING AREA MAIN DOOR AWNING BAR NAME 67
CHROME CONCRETE WOOD GLASSMICRO SUEDEMATERIAL, FF&E & ATMOSPHERE : BASEMENTMATERIAL, FF&E & ATMOSPHERE : BASEMENT The basement palette shifts into darker, more reflective materials to intensify the speakeasy experience. Chrome, concrete, dark timber, micro suede and glass create a more enclosed and music-led atmosphere, supported by low lighting and red-orange tones. The FF&E is softer and more lounge- like, encouraging slower movement, longer stays and immersive social interaction. 68
Location on Ground Floor PlanBESPOKE FEATUREBESPOKE FEATURE The bespoke floor inlay translates the cricket pitch into a subtle spatial guide through the ground floor. Chestnut timber forms the central route, while crushed wine, beer and glass bottles are set in resin to create the side strips, reusing post- consumer glass commonly generated within bar operations. Fine white resin lines echo cricket markings, embedding the concept into the floor while adding a sustainable material layer to the social field. PITCH FLOOR INLAYGREEN BOTTLE GLASS IN RESIN WHITE RESIN LINE DETAIL CHESTNUT TIMBER 69
The brand identity adopts a restrained and refined approach, reflecting the barʼs understated yet immersive character. The walking figure suggests movement, rhythm and progression, linking back to the project concept of stride across cricket, music and social experience. Applied across uniform, signage, coasters and merchandise, the branding creates a consistent visual language without overpowering the interior.DEEP BURGUNDYANTIQUE GOLDCHARCOAL BLACKCOLOUR PALETTE BRAND IDENTITYBRAND IDENTITY A MINIMAL FIGURE MARK COMMUNICATES MOVEMENT, RHYTHM AND ANALOGUE SOCIAL RITUAL 70
ATMOSPHERIC VIEWATMOSPHERIC VIEW 71
08LAYERED CONTINUITY LAYERED CONTINUITY LAYERED CONTINUITY LAYERED CONTINUITY Designing a live/work space where memory, archive and contemporary practice continue through layered spatial experience. M E M O R Y / A R C H I V E / P R A C T I C E / C O N T I N U A T I O N 72
CLIENT Amos Goldreich, founder of Tamart and son of Arthur Goldreich and Tamar de Shalit. The project responds to his role as designer, researcher, archivist and custodian of family memory.BRIEF A live/work space that supports archive research, material exploration, furniture display, client meetings, focused design work and private living.DESIGN RESPONSE Layered Continuity becomes the organising strategy: archive, research, practice and domestic life are layered rather than separated.Archive as sourcePractice and material explorationSpatial continuity through designThe brief asks for a live/work interior that supports focused design work, client-facing meetings, furniture display, material exploration and the ongoing curation of a family archive. This project responds by treating the archive not as a separate storage room, but as an active source of memory, research and creative continuation. The space is organised around balance: public creative practice below, private domestic retreat above, and a stair threshold connecting legacy to living. CLIENT+ BRIEF CONCEPTCLIENT+ BRIEF CONCEPT Understanding Amos, Tamart and the live/work challenge Amos Goldreich is the son of Arthur Goldreich and Tamar de Shalit. After their deaths, he created Tamart as a way of continuing, protecting and reinterpreting their design legacy through contemporary furniture, archive research and material practice. 73
ABOUT TAMART: MEMORY, ARCHIVE & DESIGNABOUT TAMART: MEMORY, ARCHIVE & DESIGNAmos GoldreichTamart was created by Amos Goldreich after the deaths of his parents, Arthur Goldreich and Tamar de Shalit, as a way of continuing, protecting and reinterpreting their creative and design legacy. Their archive holds drawings, furniture studies, photographs, material references and personal memory. For Amos, this archive is not separate from contemporary practice, it becomes a source for research, storytelling and new work. This project responds to Tamart as a living continuation: from family memory, to archive, to material exploration, to contemporary design.Family & ArchiveTamart WorkTAMAR + ARTHUR ↓ MEMORY ↓ ARCHIVE ↓ AMOS ↓ TAMART ↓ DESIGN Tamar de Shalit, Arthur Goldreich and Amos Goldreich 74
RESEARCHRESEARCH Work, archive and occupation remain continuously layered rather than concealed. Storage systems become active spatial infrastructure for display and collaboration. The showroom continuously adapts through rearrangement and occupation. Living remains compact and intentional within a larger process-driven environment. Francis Baconʼs Studio Materioteca / material libraries Vitra Showroom Le Corbusier — Cabanon The second set connects the project to Tamar and Arthurʼs legacy, Tel Aviv modernism, the WAX Buildingʼs industrial character and contemporary live/work practice. These references informed a language of layered thresholds, honest materials, warm restraint and adaptable work settings. The research helped position the archive not as a separate room, but as a living source of research, making and daily occupation. CONTEXT, HERITAGE + WORKING ATMOSPHERE The first set of references studies spaces where work, archive, display and occupation remain visibly connected. Francis Baconʼs Studio informed the idea of creative residue and active memory, while material libraries and showroom precedents showed how storage and display can become part of the spatial experience. Le Corbusierʼs Cabanon supported the idea of compact, intentional living within a larger work- led live/work environment. PROCESS-DRIVEN SPATIAL REFERENCES 75
RESEARCHRESEARCH Display and collaboration overlap through flexible open arrangements. Storage becomes an inhabitable extension of circulation, archive and work Filtered boundaries soften separation while maintaining visual continuity. Living is compact, intentional and quietly integrated into the wider work environment. These references informed the key spatial moves of the project: open display, inhabitable storage, filtered boundaries and compact retreat. The images helped translate the live/work brief into a layered interior where collaboration, archive access, focused work and private living can overlap without becoming visually or functionally confused. SPATIAL MOVES The WAX Building references ground the proposal in an existing industrial shell. Its brickwork, large windows, exposed structure and history of furniture waxing and shellacking informed a material language connected to making, craft and production. The design responds by inserting softer archive walls, work surfaces and domestic layers within the buildingʼs robust working character. SITE + INDUSTRIAL CHARACTER 76
CONCEPT : LAYERED CONTINUITYCONCEPT : LAYERED CONTINUITY Layered Continuity is the guiding concept of this project. It explores how memory, archive and material heritage continue to inform contemporary design practice. The project is structured as a sequence of layers: from Tamar de Shalit and Arthur Goldreichʼs creative legacy, to archive research, to Amos Goldreichʼs ongoing development of Tamart. Each layer reveals a different part of the story : memory is preserved through the archive, the archive informs research, research supports practice, and practice creates future continuation.MEMORY → ARCHIVE → RESEARCH → PRACTICE → CONTINUATIONTamar and Arthur Goldreich — family and creative inheritanceArchive research — drawings, objects, photographs and memoriesTamart design language — honest materiality and crafted detailMediterranean influence — light, texture and warmthSectional intent — spatial layers and vertical continuity From Memory to Contemporary Practice 77
CONCEPT SYNTHESISCONCEPT SYNTHESIS How research becomes spatial narrative Layered Continuity brings together the projectʼs key research strands : archive, atmosphere, threshold, material history and process-driven practice —> into one spatial method. Rather than separating memory, work and living, the proposal layers them into a sequence of revealed experiences. 78
Process sketches were used throughout the project to test how research, memory and movement could become spatial decisions. Rather than developing the proposal as isolated rooms, the design evolved through layers of circulation, reveal, archive interaction, work activity and domestic retreat. The sketches show how early ideas around human movement, archive display, collaborative working, stair thresholds and storytelling were gradually translated into the final spatial sequence. This process helped form the project as a narrated journey: from Tamart introduction, to research, archive, conversation, stair threshold and private living continuation.DESIGN PROCESS DEVELOPMENTDESIGN PROCESS DEVELOPMENT 79
SPATIAL STRATEGYSPATIAL STRATEGY From public practice to private continuationThe stair acts as the threshold from collective memory to Amosʼ quieter private world above. The first floor becomes the inheritance of life: a domestic retreat where personal archive, focused work, daily ritual and reflection continue the legacy intimately.Layered Continuity is translated into the building through a clear public-to- private spatial strategy. The ground floor becomes the inheritance of practice: a public-facing creative environment where Tamartʼs identity, archive, research, material exploration and conversation are visible and active. 80
ZONING DEVELOPMENTZONING DEVELOPMENTShowroom ↔ Meeting Worktable ↔ Display Archive ↔ Material Library Reading ↔ Focused Work This early zoning study tested how the live/work brief could be organised vertically, with public and collaborative activity placed on the ground floor and quieter private functions placed above. At this stage, the ground floor was explored through display, archive, information and meeting zones, while the first floor tested a gradient from living to workspace and private retreat. Although the final proposal developed further, this diagram established the core public-to-private logic that continued through the project.DISPLAYDISPLAYDISPLAYBAR/INFOARCHIVEABOUTWORKSPACELIVINGSEMI PRIVATEPRIVATEEARLY SPATIAL INTENTIONS (Initial zoning logic later refined into the final layered spatial sequence) reconfigurable display systems layered visibility movable presentation surfaces adaptable collaboration filtered thresholds evolving pin-up walls divided archiveGROUND FLOORFIRST FLOOR 81
MOODBOARDSMOODBOARDS 82
GROUND FLOOR PLANGROUND FLOOR PLAN TAMART SHOWROOM+WORKSPACE The ground floor is organised as the public-facing layer of the project: Tamart arrival, showroom display, research lab, archive atelier, AV archive wall and conversation zone. The plan supports collaboration, archive access and client interaction while keeping the experience sequential — from introduction, to research, to archive, to exchange. The stair acts as the main threshold between the public creative practice below and Amosʼ private living continuation above. Ground floor plan showing the public creative layer of the proposal: arrival, research, archive, projection, display and conversation arranged as a sequence of spatial scenes. 83
FIRST FLOOR PLANFIRST FLOOR PLAN AMOS LIVING QUARTERS The first floor is organised as Amosʼ private living and working layer, shifting from public creative practice into retreat, reflection and focused work. The plan includes the living area, kitchen, bedroom, bathroom, personal archive/reference library, workspace and domestic storage, allowing daily rituals and design practice to coexist quietly above the showroom. This level continues the project narrative by translating inheritance into lived experience — a private environment where memory, work and rest remain connected. First floor plan showing Amosʼ private living layer, where focused work, domestic ritual, personal archive and retreat are arranged as a quieter continuation of the ground floor narrative. 84
SECTIONSSECTIONSSection (left) showing the transition from ground-floor research and display to first-floor living, work and retreat.2600 mm1379 mmRESEARCH LAB ARCHIVE ARTILIER AV WALL BEDROOM KITCHEN LIVING ROOMSEATING BY THE WINDOWtamartWhole Food Cooking Every DayAmy ChaplinDIANA HENRYFROM THE OVEN TO THE TABLEBRINGING THE HOUSE HOMETRUEARRIVAL BAR UNITKITCHEN BATHROOM MATERIAL LIBRARY TAMAR’S BAR AV WALLSection (right) showing the live/work balance between public Tamart experience below and private domestic life above. 85
tamartThe arrival wall introduces Tamart as the public opening scene of the project. The backlit sign, exposed brick, oak panel and selected Tamart pieces establish the brand before the visitor moves deeper into the archive and research spaces. This moment works as an introduction rather than a showroom alone, placing Amos, Tamar + Arthur and Tamart into the first spatial encounter.BACKLIT TAMART SIGNOAK INTRODUCTION PANE;TAMART DISPLAY PIECESSHEER THRESHOLD CURTAINArrival view introducing Tamart through brand identity, material warmth and selected furniture pieces before the visitor enters the deeper archive sequence. TAMART ARRIVAL / INTRODUCTIONTAMART ARRIVAL / INTRODUCTION 86
The research lab translates the archive into an active working environment. Tamart pieces are displayed in acrylic vitrines above a continuous collaborative desk, allowing the space to function as both display and day-to-day workspace. Under-desk storage, ergonomic seating and task lighting support drawing, material review, discussion and ongoing design development. This space presents archive as practice rather than storage alone, a place where reference, research and contemporary making happen together.TAMART DISPLAY IN ACRYLIC VITRINESResearch lab elevation showing acrylic Tamart vitrines, shared worktables, ergonomic seating and focused task lighting.RESEARCH LAB/COLLABORATIVE WORKSPACERESEARCH LAB/COLLABORATIVE WORKSPACE 87
Memory in Motion | Projection as Archive Layer The AV Archive Wall turns the archive into an active spatial layer. Projection, focused audio and dimmable lighting allow drawings, films and documents to appear across the wall, creating a temporary layer of memory within the Archive Atelier. Key Notes Matte wall finish supports clear projection with reduced glare. Wall-wash lighting dims during projection mode. Directional speakers create focused audio near the viewing zone. Motion sensor activates projection, audio and lighting as visitors approach. Flat-file drawers store drawings, documents and archive material. Inspection table supports reviewing, sketching and archive handling. Electrical Labels PJ-01 — Ceiling-mounted projector centred to projection surface. SPK-01 L/R — Directional speakers aimed towards viewer pause point. PIR-01 — Motion sensor angled towards visitor approach zone. WW-01 — Dimmable wall-wash lighting above projection wall.ELEVATIONSECTION THE AV WALL/DYNAMIC TAMART MOVIE DISPLAYTHE AV WALL/DYNAMIC TAMART MOVIE DISPLAY 88
STAIR AS THRESHOLDSTAIR AS THRESHOLDConceptual model exploring the stair as a vertical threshold between public creative practice and private living continuation. The stair is treated as the physical hinge between the two main project layers: the public ground-floor world of Tamart and the private first-floor world of Amos. The section shows how the stair cuts through the building vertically, creating partial visibility, movement and reveal between archive, conversation and living. The open stair and vertical elements allow the transition to feel layered rather than closed off. The conceptual model abstracts this idea, showing the stair as the central connection between floor plates — a movement from inherited memory below to lived continuation above. SECTION + MODEL INTENT 89
1618173346 mm1687 mm5530 mmPILLAR LIGHTPARTITIONENTRY 2SHOE RACK WITH SEATINGENTRY 1DOWNUPUPWINDOWKINETIC FLOWER DISPLAYSEATING15131914202110119122223824635472251DCBEA12850 mm2620 mm2765 mm2601 mm3885 mm617 mm587 mm869 mm690 mm472 mm1167 mm725 mmThe Operating System is Amosʼ private focused work layer, positioned within the first-floor domestic environment. It supports drawing, reading, archive review and design development through a bespoke adjustable desk, task lighting and personal reference storage. The bookshelf acts as a threshold between the bedroom and workstation, allowing the workspace to feel connected to daily life while still having its own focused identity. A carpeted floor softens the atmosphere acoustically and materially, distinguishing this quieter upper level from the public ground-floor showroom. The artificial skylight panel, task lamp and blue pillar light create a layered lighting system for different working modes, reinforcing the workspace as a personal continuation of research, memory and contemporary practice.First-floor Operating System showing Amosʼ private workspace, bespoke adjustable desk, artificial skylight, personal reference library and threshold connection to the bedroom beyond. OPERATING SYSTEM / BESPOKE WORK DESK OPERATING SYSTEM / BESPOKE WORK DESK 90
The kinetic flower installation creates a quiet breathing pause within the first- floor retreat. Positioned near the window / balcony edge, it introduces subtle movement, softness and environmental responsiveness into the domestic layer. The feature responds to light, warmth and time, allowing the space to change gently throughout the day without requiring plant maintenance. It acts as a symbolic living threshold between archive-focused work and personal retreat. This detail supports Layered Continuity by translating memory into movement, a small responsive moment where atmosphere, time and daily life remain connected.Kinetic flower installation proposed as a responsive breathing pause within the first-floor retreat, shaped by light, movement and temporal change.KINETIC MEMORY FLOWERKINETIC MEMORY FLOWER Breathing Pause 91
The Amos Arch Light is conceived as an architectural object embedded within the first-floor living and work environment. Integrated into the blue pillar and rounded threshold condition, it transforms lighting from an accessory into part of the spatial identity of Amosʼ retreat. Its detachable directional head allows the feature to operate across multiple conditions — task lighting for work, softer focused light for reading, and an atmospheric glow when docked. The recessed cradle and charging logic reinforce daily ritual, flexibility and personal use. This detail strengthens the projectʼs idea of Layered Continuity by linking domestic life, work, atmosphere and memory into one responsive element. It marks the first floor as a lived continuation of the archive below: quieter, more personal and closely tied to Amosʼ way of inhabiting the space.Custom integrated lighting feature showing the relationship between threshold, atmosphere and personal ritual within Amosʼ first-floor retreat.Bespoke architectural pillar light designed as an integrated live/work feature for focused task lighting, reading and domestic atmosphere.ATMOSPHERE, TASK AND THRESHOLDAMOS ARCH LIGHT / BESPOKE LIGHTING FEATUREAMOS ARCH LIGHT / BESPOKE LIGHTING FEATURE 92
FIRST FLOOR MOMENTSFIRST FLOOR MOMENTS Bathroom view showing the compact reset space with shower, vanity, integrated laundry and practical storage. Bedroom view showing the private rest layer, softened through warm lighting, textured finishes and a calm material palette. First-floor living and kitchen area showing the transition from public creative practice below to a quieter domestic layer for rest, daily ritual and personal continuation. 94 93
Under-stair archive and entry storage detail showing integrated display, drawer storage, warm LED lighting and efficient use of the stair threshold zone.Ceiling bulkhead detail showing the rounded form and concealed warm LED cove light used to soften the ceiling edge and create an indirect ambient glow.Shoe storage detail showing the entry seating, concealed electrical access, hanging hooks and integrated shoe drawers within the first-floor arrival zone.OTHER DETAILSOTHER DETAILS 94
FF&E UNDERSTANDINGFF&E UNDERSTANDING 96 95
ATMOSPHERIC VIEWATMOSPHERIC VIEW 96
Portfolio Synthesis Human-centred interiors designed through research, behaviour and atmosphere Across these projects, my work has developed around a consistent interest in how interiors shape behaviour, memory and human experience. Each proposal begins with research: the client, site, cultural context, user needs and the emotional logic of the space. From there, design becomes a process of translating ideas into spatial decisions through zoning, circulation, materiality, light, detail and atmosphere. This portfolio brings together residential, commercial, hospitality, workspace and live/work interiors, but the underlying approach remains consistent: spaces should not only look resolved, but also feel purposeful, inhabitable and emotionally specific. My strongest work sits between analysis and atmosphere, using concept as a practical tool to organise movement, support users and create meaningful spatial experiences. Designing spaces that do more than look resolved: they support how people live, move, work and feel. 97
Snigdha Roy THANK YOU