julia sikorski portfolio

INTERIOR DESIGN PORTFOLIO Julia E. Sikorski

BellaVita Studio Relocation

Hollywood Concept

Elevator Lobby

TED Global HQ

Exploring Hand Drawing

The Junction

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TABLE OF CONTENTS

BellaVita Studio RelocationRenovation of BellaVita’s new studio space in Greenwich Village

BellaVita: Fitness and Wellness is a small fitness and wellness studio offering yoga, pilates, zumba classes, lifestyle coaching, and private fitness sessions. They found a basement space in Greenwich Village to make their new studio location. After discussing goals, budget, and brand, I came up with some design solutions that best suited BellaVita’s needs.

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The first step was a site visit and survey in order to create a rough floor plan. At this point, the owner of the building informed us of some changes that had to be made in the space. Another door would be added to enter the bathroom hallway. A stairwell would be added in the room labeled “Secondary Entrance”. Lastly, everything left of the dotted line was off limits. The space itself was unusual for a fitness studio. Although the ceilings were almost 9’ high, they were covered in ducts and pipes making the height closer to 7’. BellaVita wanted to keep it exposed. There was also a 4” raised step in the main studio space with thin posts on either side of it, making the space less ideal for free movement.

Main Entrance

Lobby Area Main Studio Space

Private Session Room

Secondary EntranceBathrooms

Utilities

Utilities

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The next step was to research the needs of a fitness studio like BellaVita and find out what BellaVita wanted the space to be like.. One of BellaVita’s goals was to fit as many clients as possible and maximize the studio space. I researched yoga mat sizes and space requirements to perform the exercises. This plan shows the studio could fit 23 customers maximum. However, this many people would not be a comfortable situation. The space would be much more comfortable with closer to 15 customers exercising at a time.

I proceeded to explore possible layouts for the studio, keeping in mind the goal of maximizing studio space, and thinking of possible program needs for a fitness studio. With the check-in on the ground level, BellaVita wanted to create a lounge in the lower reception area. Plan A shows a maximized reception lounge, if the bathroom hallway wall is demolished. Plan B also demolishes this wall to create a small changing room. The lounge area ends up being much smaller.

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Plan A

Plan B

In the end, a variation Plan C was BellaVita’s favorite. This way there is still enough space for a small lounge, and construction costs can be minimal.

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Plan C

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With a rough plan ready, BellaVita wanted to move towards giving the space feeling. With the goal of keeping as much of the space as it was, including the laminate wood flooring and the red and silver ducts and piping. BellaVita also wanted to make the space as inviting as possible for the mostly young adult female target market. Chandeliers and plants were some of the requests, along with the necessary equipment and storage. These rough Photoshop renderings show some ideas for the entrance reception area.

Seating Area Entrance Door Wall

9Studio Front Wall

Studio Back Wall

Private Room Front Wall

Private Room Back Wall

With an idea of how we want the space to look. We are now compiling FFE possibilities and waiting the construction ordered by the building’s owner to take place.

HOLLYWOOD CONCEPTConcept + Graphics Package for Commercial Client with Huntsman Architectural Group

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Huntsman architectural group had been working with one of their commercial clients on the chosen concept “Hollywood”. As in previous projects, this client wanted to incorporate strong graphics and digital films throughout the space. After making elevations, I was given the task of finding suitable graphics for the various themed areas.

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AQUENT | 5670 WILSHIRE BLVD, LOS ANGELES CA.

Huntsman Architectural Group 50 California Street, Seventh Floor San Francisco, CA 94111 T 415.394.1212 F 415.394.1222 www.huntsmanag.com

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NEIGHBORHOODS

ACCENT PAINT

WC-16

WC-3

WC-2

WC-4

WC-1

ACCENT PAINTWC-5

WC-10

GF-3

WC-17

WC-9

WC-13

ACCENT PAINT ACCENT PAINT ACCENT PAINT ACCENT PAINT ACCENT PAINT

ACCENT PAINT ACCENT PAINT

ACCENT PAINT

Finish Plan Showing “Neighborhoods”

Using Huntsman’s furniture plan and “Neighborhood” delineation, I created a key plan, showing all the finishes and graphics locations at a glance. “Neighborhoods” are divided up by space usage and have specific graphics themes.

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CUSTOM GRAPHIC

Huntsman Architectural Group 48 Wall Street, Fourth Floor New York, New York, 10005 212.693.2700 www.huntsmanag.com

RECORDING STUDIO [1013] - WC1SOUTH ELEVATION

CHOSEN IMAGE - LESSEN COLOR INTENSITY (SATURATION)

RECORDING STUDIO

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CUSTOM GRAPHIC


RECORDING STUDIO [1013] - WC 16WEST ELEVATION

RECORDING STUDIO

CHOSEN IMAGE

APG - PLEASE ADJUST SCALE (THIS IS TOO BIG) AND RESOLUTION

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CUSTOM GRAPHIC



RECORDING STUDIO

CHOSEN IMAGE


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CUSTOM GRAPHIC




RECORDING STUDIO

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RECORDING STUDIO

CHOSEN IMAGE


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RECORDING STUDIO

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RECORDING STUDIO

CHOSEN IMAGE


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RECORDING STUDIO

CHOSEN IMAGE


The package was to be sent to the graphics design company. Elevations show how each graphic is to fit on the surfaces. I had offered to make the adjustments indicated in the notes. However, was told that wiring notes would be sufficient for the graphic designers. The theme for the “Recording Rooms” was sound recording and production.

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CUSTOM GRAPHIC

CONTROL ROOM [1002] - GF3SOUTH ELEVATION

CHOSEN IMAGE - GF3NOTE: 4 FT BAND OF 35 MM DESIGN GLASS FILM. BLACK PRINT ON TRANSPARENT BROWN/SEPIA FILM.LARGER RECTANGLES IN THE MIDDLE CAN BE LEFT TRANSPARENT OR PRINTED WITH A DESIGN FOR ADDED PRIVACY.50-65% FILM TRANSPARENCY

CONTROL ROOM

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CUSTOM GRAPHIC



RECORDING STUDIO

CHOSEN IMAGE


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CONTROL ROOM [1002] - GF3SOUTH ELEVATION

CHOSEN IMAGE - GF3NOTE: 4 FT BAND OF 35 MM DESIGN GLASS FILM. BLACK PRINT ON TRANSPARENT BROWN/SEPIA FILM.LARGER RECTANGLES IN THE MIDDLE CAN BE LEFT TRANSPARENT OR PRINTED WITH A DESIGN FOR ADDED PRIVACY.50-65% FILM TRANSPARENCY

CONTROL ROOM

The “Control Room” (meeting room) was to have a powerful, long graphic to serve as a privacy film over the glass partition. A film strip seemed fitting.

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BACK LOT [1010] - WC5SOUTH ELEVATION

CHOSEN IMAGE - WC5APG TO FIND BETTER IMAGE IF POSSIBLE

BACK LOT

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BACK LOT

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BACK LOT

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BACK LOT

The “Back Lot” graphic was the most difficult to find. Everyone at Huntsman had an idea of what they wanted to see. Although this image satisfied most, the fit on the wall obscured it. The client was happy enough to agree to it, but we hoped the graphic designers could make something custom for this wall.

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The graphic I found for the “Production Studio” seemed to be everyone’s favorite. No one knew exactly how to fit it on the wall. However, they were pleased with my solution. The “Meeting Room” graphic was simple, though equally effective.

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PRODUCTION STUDIO [1003] - WC17EAST ELEVATION

CHOSEN IMAGE - WC17

PRODUCTION STUDIO


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MEETING ROOM [1004] - WC9WEST ELEVATION

CHOSEN IMAGE

MEETING ROOM

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CHOSEN IMAGE

MEETING ROOM

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CHOSEN IMAGE

MEETING ROOM

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PRODUCTION STUDIO [1003] - WC17EAST ELEVATION

CHOSEN IMAGE - WC17

PRODUCTION STUDIO


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CHOSEN IMAGE

MEETING ROOM

Choosing stars for the “Editing Booths” and “Rehearsal Booths” was not easy. Trying to find a range of talent for everyone to relate to, these images were constantly being changed. In the end we found a diverse group of actors and musicians from a mix of genres.

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REHEARSAL BOOTHS [1015, 1016 & 1017] - ( INSIDE) WC2, WC3, WC4WEST ELEVATION

WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2

CHOSEN IMAGE - WC3IMAGE TO BE MIRRORED AS IN ELEVATION

WC4

REHEARSAL BOOTHS


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EDITING BOOTHS [1005, 1006] - WC10, WC13WEST ELEVATION


CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13

APG - IF POSSIBLE, SHOW MORE OF ACTORS ON WC10

WC10WC13

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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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CHOSEN IMAGE - WC10

EDITING BOOTHS

CHOSEN IMAGE - WC13


WC10WC13

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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS


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WC3 WC2

CHOSEN IMAGE - WC4

CHOSEN IMAGE - WC2


WC4

REHEARSAL BOOTHS

Huntsman Architectural Group 48 Wall Street, Fourth Floor New York, New York, 10005 212.693.2700 www.huntsmanag.com 16

Elevator LobbyExploring Possibilities for Elevator Lobby for Commercial Client

One of Huntsman Architectural Group’s commercial clients was looking to update their elevator lobbies in a cost-effective way. Upon seeing the possibilities, they decided to edit their standard materials throughout the entire office to achieve a more current look.

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The original elevator lobby had carpeting and painted walls. There was no panel above the elevators, and the call lights were directly on the wall. The lighting had to be redone as well, adding spotlights above each elevator and improving the cove fixtures. The client wanted a wood-like wall covering to give the space a more expensive atmosphere, but did not want the cost of wood panels. They did not want wood-look wall covering, but wanted to suggest wood with the texture. The client wanted a porcelain tile with an effective stone look and high coefficient of friction. Paints had to be picked for the elevators as well. After ordering many samples and creating renderings, the client preferred the top combination.

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The elevator lobby on two floors was to be updated as shown in the renderings. This floor starts to show some of the problems faced in material transitions. The right side of the lobby extends past the left side as it has one more elevator. The favored decision was to keep the wall coverings the same throughout the elevator lobby itself and to transition to pain in the hallways. The colors on the plan were to show the client these transitions as clearly as possible.

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34TH FLOOR WALL FINISH PLAN

SHORENSTEIN EAST | 1818 MARKET STREET, PHILADELPHIA09.13.1616.026.04

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

WALL FINISH PLAN

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EQ. EQ.

EQ. "

A"EQ

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33RD FLOOR FINISH PLANS


1/8" = 1'-0"SK-1

FLOOR FINISH PLAN WALL FINISH PLAN

This floor shows a similar problem with the wall coverings so we used the same solution. We also had to decide how to solve the floor tile to existing carpet transition. Although it would not fully correlate to the wall coverings, we decided it would be cleanest to extend the tiles to the end of the corridor.

8'-6

"


VARIESSK-3I produced an elevation and some details to clarify the transitions shown in the previous plans. It was crucial to show how the Schluter strips line up to achieve the most refined finish.

TED GLOBAL HQHeadquarters for TED Global in National Commercial Bank, Jeddah, Saudi Arabia

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Creating a design for the TED Global headquarters was a studio project at Parsons. Aiming to design a culturally relevant space, I highlighted an important craft of modern and traditional Saudi Arabia: weaving. TED has a powerful voice and aims to spread ideas. With this design, I hope to inspire people in a conservative environment to spread their ideas without fear, shame, or discomfort.

Jeddah National Commercial Bank

-Next to Al Balad (old town)-Directly on water-Near: •Islamic Sea Port •Balad Islamic Center •Mosques •Al Balad bus station •Post office

-On boarder of old and new Jeddah

Concept

Traditional significance of cloth (cotton)Introduction of synthetic polymer cloths

Changing density and sparseness with concentration

ConceptThe idea for this TED Global Headquarters comes from traditional and modern fabric weaving. Many loose cotton fibres fill a space densely but are arranged sparsely whereas, in cotton thread, the fibres are densely arranged but fill the same space much more sparsely. Sparseness and density can exist simultaneously at different levels.

This project incorporates these contrasting qualities to create differences between private and public spaces. Gradations of and transitions from the private and public allow people to use spaces depending on how comfortable they are with being exposed. People can occupy the same spaces and choose how much privacy they would like. This choice will allow people, particularly women, to explore their comfort with public interaction, which can be difficult in a repressive culture.

LocationNational Commercial Bank, Jeddah, Saudi ArabiaNext to Al Balad (old town), Balad Islamic Center, Al Balad bus station, mosques. On boarder of old and new Jeddah. Directly on water near Islamic Sea Port.

Concept


Changing density and sparseness with concentration

Concept


Changing density and sparseness with concentration23

Floo

r 1 F

urni

ture

Scal

e: 3

/32”

: 1’

Floo

r 2 F

urni

ture

Scal

e: 1

3/32

” : 1

’

Plan: 1st Floor Plan: 2nd Floor

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The entrance of the headquarters is on the first level, the most public level. There is a seating area, designed with a screen system inspired by cotton being spun into threads. To the left is an event space. Ahead is the reception area. This is a triple height space connecting all the levels, with a library behind it. This triple height space is meant to aid TED with its aim to “spread ideas”. One level up are the open offices. This level is less public, but not as private as the executive level. Here, the screen system seems to be continuing from the lower level; it is thinner and denser, but occupies the space more sparsely.

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Floo

r 2 F

urni

ture

Scal

e: 1

3/32

” : 1

’Fl

oor 3

Fur

nitu

reSc

ale:

3/3

2” :

1’

Plan: 3rd Floor Reflected Ceiling Plan

Refl

ecte

d C

eilin

g an

d Li

ghtin

g Pl

an S

cale

: 1/4

” : 1

’

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The third level of the headquarters is the most private. Walls are solid, with only a decorative hint of the screen system that started on the entry level. The RCP generally shows the circulation, mimicking the fibres of cotton being spun.

Reflected Ceiling and Lighting Plan Scale: 1/4” : 1’

Elevation 1Scale: 1/4” : 1’

Elevation 2Scale: 1/4” : 1’Lobby: Upon Entering Lobby: Reception

Detail 3Scale: 1/2” : 1’Executive Office

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This Rhino view shows the secluded seating areas in the lobby. These spaces serve a casual public square, inviting everything from informal lectures to waiting on an appointment. The seating is within screens and offers varying levels of seclusion and exposure.

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Here is a Rhino view showing the lobby from the staircase above. Quotes from various TED presenters run up the walls showing “ideas worth spreading”, as the TED slogan promises.

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EXPLORING HAND DRAWINGInterior Renderings

The following renderings are a selection of hand drawing samples. As they are not connected to larger projects, the aims behind the drawings were developing skill in conveying material, improving plan to perspective drafting, and understanding the power of different perspectives.

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These swatches are material explorations rendered in marker colored pencil. From left to right, top to bottom, the materials are Breccia Sarda limestone, Calacatta marble, Kashmir White granite, and Emperador marble.

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These two renderings show a study of one room I drafted from a plan and interpreted in different ways. They are rendered with marker and colored pencil.

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Although this room was not drawn by me, I rendered it with marker and colored pencil. In this drawing I was exploring exaggerating tonal contrasts.

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THE JUNCTIONHotel design for Thomas Juul-Hansen building at 505 W 19th St. New York, NY

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At Parsons, we were given the project of redesigning a Thomas Juul-Hansen apartment building and turning it into a hotel. The building’s location on the Highline was a major factor contributing to the design of “The Junction”.

ConceptThe Junction hotel idea is based off of the location of the building. As the Highline used to be a railway for freight trains, bringing supplies and goods to the Meat Packing District, my hotel design was inspired by a freight train station. I wanted to recreate the busy, industrial atmosphere that this type of station would have. Two ideas I wish to further emphasize are the assembly line and conveyor belts. Both have linearity and create direct connections for efficiency. They call for a clear definition and separation of functions which all have to be connected.

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34plan

1/16”=1’

To create the bustling energy of a train station, I would like to have a marketplace in the basement level. To enter the market, there is a freight entrance on the east side, giving visitors a more industrial experience, or a ramp nearby, lined with market stalls. The main hotel entrance is at the south side and also offers market entry. The ramp on the left is lined with wine vendors and leads you to a potential stop at the wine bar. The last stop on the ramp before the market is a glass enclosure (a cigar shop). To the right of the hotel entrance is an elevator for market and Highline access. Further along is an organic restaurant offering local produce from market vendors. Two large atria beneath two skylights light up the market and connect it to the main level. A screen gradually fades out the market as we approach the hotel reception in the center. Behind the reception is a lobby lounge and a breakfast room with a terrace for the guests.

Main Level Floor Plan

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After listening to a train and looking at a visual of the sound waves created, I started to develop a pattern. This pattern became the starting point of the screen above. This screen is made of three metals: copper, iron, and steel. The slanting rail is at the ramp and path to the restaurant and the hexagonal pattern leads up to the reception. The pattern gets larger and more solid closer to the reception as if the train is slowing down, reaching its destination. This separates the private hotel area from the public marketplace.

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This hand rendering shows the interior of the reception. The reception was designed after an office in a factory, a box with a slit window which overlooks the rest of the workers. This reception does not reach the ceiling and extends below the floor, separating it from the rest of the ground level and making it seemingly float above the market, overseeing all the activity below. It is directly beneath the Highline, emphasizing strong linearity.

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The outside walls of the reception would be a rough wood with steel details, slightly giving it the appearance of a crate. However, the interior is pristine and clean, like the executive office it was inspired by. Some materials for the reception include glass blocks creating a take on the “slit window” in a factory office, and mirror tile on the desk adding more rectilinear elements.

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Here we can see the outer walls of the reception and the lobby lounge. A glass floor surrounds the reception to show how it continues below the main floor. Beams holding the Highline flank the entrance of the breakfast area against a copper accent wall.

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Some materials for the lobby lounge and main areas include steel and copper accents and concrete walls. The floor is an enlarged marble subway tile adding a bit of lightness and elegance, but keeping the atmosphere more utilitarian with the subway tile pattern. Furniture is simple and modern with clear structural elements.

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40 Key Plan

Standard King Room(Fully Designed)

Deluxe King Room(Generally Designed)

1/16”=1’

Standard King Room(Fully Designed)

Deluxe King Room(Generally Designed)

The guest rooms we could focus on were the standard king and the deluxe king rooms above. Given the choice, I decided to focus on the standard king room. Being able to completely design the smaller room suited my concept by highlighting efficiency.

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Standard King Room PLAN

1/2”=1’The floor plan shows the clear division of each area, an important factor of the assembly line. As will be seen on the next page, I needed to figure out how to create a linearity to connect the spaces as well. I decided to design a datum line to keep the eye moving around the space.

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Rendered Room Elevations

Four important elevations of the guest room begin to show division and connection in different spaces. These ideas tie back to the concept of the assembly line and conveyor belt seen in the lobby design.

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This Rhino rendering shows how the datum line works throughout the different parts of the guest room. The wall behind the furniture emphasizes different functions with backlit leather paneling.

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This marker and colored pencil rendering shows another view of the room. The furniture is connected, allowing the eye to continue through the space, but each function is separated by the paneling behind the furniture.

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Room Materials and Furniture

To have a mixture of soft and hard materials, the paneling behind the bed and couch is white leather, the couch and bed themselves are white linen, and the carpet is lightly plush. The floor is a grey toned maple, the walls concrete and back painted etched glass, and accents copper. The furniture is rectilinear and simple, true to its structure. To further emphasize linearity, the bedside tables, bed, and couch are all connected as suggested in the above bed image.

The datum line continues in the bathroom. In the bathroom, the spaces are especially separated by function. There is a separate WC, vanity area, and wet room. However, the spaces are all connected with the datum line and the continuation of materials.

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This marker and colored pencil rendering shows another view of the bathroom, showing in particular a connection between the vanity area and the wet room. The vanity has a niche providing the wet room with storage space for toiletries.

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Bathroom Materials and Fixtures

The bathroom fixtures would be modern, simple, and very rectilinear, emphasizing the linearity of the hotel’s design. Materials would be kept to a minimum, the lower material would be Caesarstone’s Puro quartz and the upper material a geometric slate tile.

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