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sophielizabethar
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Sophie Harris
Interior Architecture & Design BA (HONS) Graduate - 2:1
Sophie [email protected]
Profile
Graduate of Interior Architecture and Design BA (Hons) from The University of Portsmouth. I am enthusiastic
and seek any opportunities to use and demonstrate my academic skills and work ethic in a professional creative
environment.I am particularly interested in; travel which allows me
access to new art exhibitions and architecture, this inspired my IAD university projects whilst working in
various art mediums. I appreciate the colours, patterns and materials made internationally, my curiosity of these
cultures keeps me up to date with current affairs and feeds my interest in art.
Social Media
Sophie Harris; • LinkedIn harrisophielizabeth; • Instagram• Word Press• Pinterest • Flickr
Education
The University of Portsmouth – 2:1
BA (Hons) Interior Architecture and Design (2013 - 2016)
Dissertation topic; The 20th Century Controversy: Women in Architecture.
Employment Experience
Dawson Design Associates (2016 - 2017) Junior Interior Designer - Hospitality• Experience in CAD drawings; plan, elevation, RCP, CFP, detail & custom furniture • Custom furniture design & review• Writing & researching FF&E specifications• Concept rendering plans & elevations• Meeting with vendors & organising material library• Insight into all elements of the design process
Folly Farm (2013 - 2015) Catering Staff• Training new staff, while following all guidelines and company policies• Ability to fit into any job role within a short time• Capable of working independently using own initiative to complete a given task
Withybush Hospital & South Pembrokeshire Hospital Health & Social Care Resource Centre (June 2012) Work Experience• Care for elderly outpatients• Shadow rehabilitation centre and appointments
The Old Kings Arms Hotel (2011 - 2013) Part Time House Keeping Staff• Thorough understanding of safety precautions• Strong communication and time management skills• Long term ability to reliably perform physically demanding role
Pembroke School (2006 - 2013)
A level: Art & Design: B, Media Studies: B, Spanish: DGCSE: 11 A*-B inc. English, Mathematics and Science
School Achievements • Welsh Baccalaureate - Advanced Diploma• Duke of Edinburgh Award
References
University Lecturer - Rachael [email protected]
Previous Employer - Julia [email protected]
Previous Employer - Kate [email protected]
Head of Sixth Form - Jonathan Jones,[email protected]
Professional Skills • Adobe Photoshop• InDesign CS6• Auto CAD• Google Sketch Up• Microsoft Office 2016• Hand drawing• Model Making
Charity Work
Green Acres, Animal Rescue (2017) Volunteer
Working at animal rescue centre helping with daily care of all animals, as required.
Tenovus, Local Cancer Sup(2010) Volunteer
Working as part of a team, Responsible for organising stock, Arranged decoration of store and window displays.
Additional Information
I also have a full clean driving licence
Contents
Final Major Project
Phenomenology Historicalchanges&scheduleofaccommodation Client & visit to ‘Art Space’ Concept models Typology Axonometric model Prototyping Plan Section Conceptperspectives Artefact ‘Something in a frame’
Interiorcommunication&professionalstudies
Material details - Stool Material details - Chair PartB:Firestrategy-Section
Dissertation;Women:AnArchitectural Controversy
Abstract:Introduction Images Research tables
Identity
Artefact Linoprinting
Bastion6
Site plan SiteSection Detail Baysections Final model Elevations Perspectives
Field trips
Photography Sketches
Final Major ProjectDesigning; Art Studios for creative people with space to exhibit works &
group workshops indoor & outdoor.
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Original framework of warehouseWell lit, Double height
Original hierarchy of spaces Wall placement - North, South & East, WestGeometries
Phenomenology
Sun orientation
Winter
Summer
North
“As a building may have, is even liable to have, particularities or peculiarities, which may be due to a variety of things. They may be a result of eccentricities in the original, diffi-culties of the site or later impositions.” Fred Scott - Altering Architecture 2007
Sketches of existing buildingExposed brick, ironworks artefacts, courtyard
1704 1710
1717 1726-36
1849-59 1863
1867 1873-74
Historical changes of Treadgold’s
Public
exhibition space 60+ m2 group workshop 60+ m2outdoor studio 30+ m2cafe 25+ m2shop space 20+ m2facilities - WC, kitchenette 5 m2
Private
Individual studios 6 - 10+ m2office 10 m2area for staff 8 m2facilities - WC, kitchenette 5 m2stores 2 m2back entrance
Group Workshops / Studio Exhibition Space
Individual StudiosShop Cafe
Outdoor Studio
Store
Office Facilities
Schedule of accommodation
Client
Art Space & Aspex, PortsmouthResidenceforartistsofPortsmouth,withadjoiningexhibitionspace
Community of artistsPromoting Portsmouth business
Creative freedom
Studio#3 - Storage space
Studio#1
Studio#2
4m Long
5mWide
3m Ceiling
5m Long
2.5mWide
3m Ceiling
Visit to Art Space, analysis of studios
Discoveries:
Artistsprefertoworkwithnorthlightasitiscoolandreliable.Eachspaceispersonalisedbyitsspecificuser.Anysizedspacecanbeutilisedforanartstudio.Theartistsof‘ArtSpace’havecreatedtheirowncommunity.Storagespaceiscrucialforsavingartwork.
Creating insertions without touching the original building, counterpoint of new and old
The Dovecote Studio, by Haworth Tompkins Architecture in Suffolk.
Pacific Ave Artist Studio by Dumican mosey architects
Concept models & precedents for studio
Entrance - Shadows
Modeling furniture
3.
Concept Models, design process, prototyping, precedents
Concept models 1.100 & sketches for insertion
Schemata Architects Tokyo factory collaged into main
warehouse space
Luchetti Krelle’s New York styled cafe collaged into exist-
ing shop space
DH Liberty warehouse collaged into existing
warehouse space
Typology, Treadgold’s & Precedents
Axonometric model
Glulam studio insertions
Fire resistant glass enclosed entrance
Floor plan of insertions
Existing site of Treadgold’s
I t was essent ia l for me that the
new insert ions do not touch the ex ist ing bui ld ing
& that i t was
treated as an artefact within i tse l f ,
with each studio hav ing a f ramed v iew of i t .
Being able to walk around the bui ld ing
f reely between the insert ions and the o ld
bui ld ing .
When decid ing on a f i re escape method, creat ing a
g lass enc losure
encas ing the ex ist ing bui ld ing,
emphasis ing the
counterpoint
between the o ld and new mater ia ls , whi lst a lso being
funct ional .
Photographs of ‘Prototyping’
1.100 Card Model
1.100 model of existing walls of Treadgold’s, filled with sculptural models of insertion ideas.
Working in scale 1.100 helped me to develop the width, height & overall appearance of the insertions, as it is easier to in visage the creation within the existing space.
1.100 Acrylic Model
As my ideas developed & I became clearer on my concept of the studio insertions, I created this model to show how the blocks filled the space and their relationship with the existing.
Helping to illustrate the flow around the new insertions, and original structure.
Art Warehouse, Ground floor plan 1.125
1. Main entrance2. Enclosed glass entrance3. Cafe / Display of Artist’s work4. Kitchen5. Elevator6. Studio7. Workshop8. Group studio9. WC10. Emergency exit11. Fire stair
1M
2M
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5M
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10M0M
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6.6. 6.
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A
AC
C
B B
Art Warehouse, Section A-A 1.125
1M
2M
3M
5M
7M
10M0M
1. Enclosed fire stair2. Studio3. Group studio space4. Elevator
3.
1. 2. 2.
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Reference plan sections
1.
A
A
A
Concept perspectives
1.
2.
3.
4.
3. Main entrance, existing building encased in glass, displaying the building itself
1. Visualisation for insertion in main warehouse space
2. Imagining a studio space & how it can be utilised
4. Conceptualisation of studio space & uses
7.
5.
6.
8.
Perspectives & Precedents
5. Studio space emphasising contrast between existing & new materials
Ant House by mA-style architects
Cedar house micro homes by S Plus One in Japan
Architects Alessandro Orsini and Nick Roseboro of
Architensions 6. Visualising warehouse insertion in existing building
Perspectives
7. New courtyard created within main warehouse space
8. Exhibition gallery within existing first floor shop space
Photographs of ‘Artefact’
1.20 acrylic & MDF model of studio insertion with laser cut MDF furniture; Chair, table & bookcase. MDF mimics the material qualities of plywood, which the furniture is designed to be cut from.
The studio is of ample space for working and becoming a personalised art workshop for its user, as all furniture is interchangeable, sustainable and recyclable.
The large glass walls ‘windows’ expose user to as much day light as possible, whilst contrasting the new studio space with the existing building outside it.
‘Something in a frame’
Interior Communication and Professional Studies
Developing our knowledge on professional standards by applying;building regulations, costing, risk assessment & materials to our final major project.
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Interior Architecture & Design
Unit 340 684393
Scaleasshown
ArtWarehouse,Portsmouth
Material detail specification:ArtWarehouse,OldWork-shopstudioInsertion,Furniture - Stool
Sophie Harris
Projecttitle
Drawingtitle
Drawnby Drawn#:
AO1
Date:26.4.16
North Elevation Section B-B Section A-A South Elevation
A
A A
AB
B B
B
5.9m
7.3m
6.1m
3.8m
4.2m
6.3m 6.3m
1.40 plan of left, first floor studio in old workshop insertion
1.200 plan of left, first floor studio in old workshop insertion
1.10 drawing of stool with dimensions
3.2M
2.9M
Axonometric drawing of stool within left studio - not to scale
Flat pack stool
Nofinishneeded,highqualityfaceveneerandcanbemadefromalmostanytypeoftree,meaningthereareplentyoffinishestopickfromdependingonthe need.
Affordabletoproduce£28.98forplywoodpanel9x2440x1220(supplier Robbins).
Sustainableduetohowthinthehardwoodiscut,meaningonetreecanbeusedtomakemanypanelsofplywood,industrialprocessingisheavilyinvolvedbutwhencomparedtohowlongatreetakestogrow,isasmallsacrifice.
Reliableduetothegrainsofeachwoodlayerrunninginalternatingdirections,meaningplywoodexpands&contractsverylittle,thisiscalledcross-graining.
9mmthickBirchplywoodBB/BB grade
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Interior Architecture & Design
Unit 340 684393
1.10 @ A3
Date:13.4.16
ArtWarehouse,Portsmouth
Material detail specification:Furniture - Chair
Sophie Harris
Projecttitle
Drawingtitle
Drawnby
Face veneer
Back veneer
Aseachsheetiscompressed,eachlayerwillconform to defects in the adjacent layer
Coreveneers,graindirectionofeachpanelis90degreesadjacenttooppositelayer
Axonometric - not to scale
18mmthickBirchplywoodBB/BB grade
Flat pack chair
Sustainable,economic,recyclable,innovativefurnitureCNCmilledtocreatesnugjointsandjunctions2440x1220CanbecreatedfromonepanelofplywoodNofinishneeded,highqualityfaceveneerEasily repaired or parts replacedEasilysourced,widelyproducedmaterialAffordabletoproduce£49.22forplywoodpanel18x2440x1220(supplierRobbins)
Drawn#:
AO2
Tolerance
NominalThickness,mm 18Number of piles 35Average actual thickness, mm 17.5Weight,kg 32
Legend
Fireexitillumination sign
Emergencyfirestair
Protected means of escape
90minutefiredoor
WheelchairRefuge
Fireextinguisher
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Interior Architecture & Design
Unit 340 684393
1.125@ A3
ArtWarehouse,Portsmouth
Part B: Fire Strategy -SectionA-A
Sophie Harris
Projecttitle
Drawingtitle
Drawnby Drawn#:
A11
Date:9.02.16
1M
2M
3M
5M
7M
10M0M
Reference plan sections
A
A
Section A-A
Part B: Fire Strategy
4.32Everyinternalescapestairshouldbeaprotectedstairway
4.36Everyprotectedstairwayshoulddischarge: a.directlytoafinalexit;or b.bywayofaprotectedexitpassagewaytoafinalexit.
4.38Aprotectedstairwayneedstobefreeofpotentialsourcesoffire.
5.8Wheretherelevantperformancecanbemetintermsofbothintegrityandinsulation,thereisnorestrictioninthisApprovedDocumenton the use or amount of glass. 5.36Allescaperoutesshouldhaveadequateartificiallighting.
5.37Everyescaperouteshouldbedistinctivelyandconspicuouslymarkedbyemergencyexitsigns.
Studio(Room06)
Group Studio(Room 13)
Stairwell(Room16)
Courtyard(Room18)
Studio(Room 21)Studio
(Room28)Studio(Room29)
Stairwell(Room 30)
Studio(Room 11)
Studio(Room36)
Studio(Room 37)
Studio(Room38)
IdentityExploring what we are passionate about to influence our
dissertation and final major project.
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Artefact - Promoting Visibility
Women in the arts who were maginalised by their significant others in the 20th century, inspired by dissertation research.
Celebrating their designs and their legacies.
Lucienne Day - TextilesMargaret Macdonald - InteriorsRay Eames - ArchitectureVivienne Westwood - Fashion
Invisible Pioneers Recognition
[the husbands’] ‘It is all the more surprising to find that the women designers they not only greatly admired but chose to
live and collaborate with have been relegated to the margins of history’. (Kirkham, 1995)
Creative Medium
I chose to use a lino print to represent women in design, as I could create my own artwork by using the womens most notable patterns / designs.I liked to experiment with repetition and different colour ways, to then create (on opposite page) my artefact - images of the marginalised wives shadowed by their creations - credited to their husbands. This then fed my desire to learn more about women in architecture to create my dissertation. The fact that the women represent four different art mediums increased my passion to create studios for my final major project that can be open to all creatives
and to celebrate all creative industries.
Lino printing
DissertationExploring the 20th century differences to
men and women in architecture.
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Abstact-Introduction
This dissertation sets out to reveal issues of inequality for women in 20th and 21st century architectural practice. It will identify the history of persistent discrimination towards women, those who are hidden in their architect husband’s shadow.
In architectural history the great male predecessors and their precedents to the subject are exceptionally documented, however the women who participated in these architectural traditions are not. Hardly any progress was made upon women being recognised in architecture for the first half of the 20th century, until the impact of feminism which came about in the 1960s, women in architectural practices began challenging inequality and started speaking out and actively fighting against injustices in architecture,
Evidencing feminism as being one of the elements to provoke equality for women in architecture, helping change the archaic male dominated culture. This led to the formation of feminist co-operatives which began in the 1970s and recognition of women in architecture with; Matrix, which then inspired 21st century female practices such as; Muf and Parlour.
Creating an awareness in the 21st century of women in architecture and the battle they still face against; inequality between peers, education, background, quality of work and the pay gap that is still visible and not yet completely diminished between qualified architects
this data is worryingly low for the 21st century and can be addressed by; flexible working hours for both professional and personal reasons for men and women, equal education and the contemporary precedents of women in architecture.
Aims to clarify in this dissertation are: why women have been undermined in the 20th century, how architectural traditions have been changed by women and why discrimination against women in architecture still continues to happen in the 21st century.
Women:AnArchitecturalControversy
‘Untilrecently,historiansassumedthattherewerenofemalepractitionersbeforethemid-20thcenturyandsotheydidnotbothertolook.’(Stratigakos,UnforgettingWomenArchitects:From
thePritzkertoWikipedia,2013)
‘Thesechangeswerenotdueexclusivelytofeministactivismandideas–butwouldnothavehappenedwithoutthem.’(TorreS.,2014)
‘female architects earn on average 25 per cent less than men in similar roles’ (Mark, Gender pay gap: beyond shocking, 2014)
Clockwise from top right:Architects journal, 2015 survey of Women in Architecture (Arcilla, 2015)Dale School From a Void to a Volume of Possibility 2006–2009 (Muf, 2009)Mother trying to cross road with young children, access problem, page 43 (Matrix, 1984)Parlour’s guides to equitable practice (Clarke, Parlour Guides to Equitable Practice, 2015)
Clockwise from top right:Robert Venturi and Denise Scott-BrownCharles and Ray EamesCharles Rennie Mackintosh and Margaret Macdonald MackintoshJane Drew surrounded by male architects
Table 1
Creative Wives
Art couples, women hidden in their husband’s shadow.
Medium Date Active Male FemaleArchitecture 1888 Charles Rennie Mackintosh Margaret Macdonald MackintoshArchitecture 1960 Robert Venturi Denise Scott BrownArchitecture 1930 Charles Eames Ray EamesArchitecture 1934 Maxwell Fry Jane DrewArchitecture 1924 Louis Kahn Ame TyngArchitecture 1970 Daniel Libeskind Nina LewisArchitecture 1968 Rem Koolhaus Madelon Vriesendorp/Petra BlaisseArchitecture 1950 Cesar Pelli Diana BalmoriArchitecture 1890 Frank Lloyd Wright Olgivanna LW/ Lilly ReichArchitecture 1985 Wang Shu Lu WenyuArchitecture 1949 Peter Smithson Alison SmithsonArchitecture 1914 Le Corbusier Charlotte PerriandArchitecture 1917 Gerrit Rietveld Tiuus Schroder SchraderArchitecture 1906 Mies Van Der Rohe Lilly ReichArchitecture 1929 R D Russell Marian PeplerArchitecture 1908 Walter Gropius Ise FrankArchitecture 1978 Enric Miralles Carme Pinos/Benedetta TagliabueArchitecture 1921 Alvar Aalto Aino AaltoArchitecture 1899 Walter Burley Griffen Marion Mahoney GriffenArchitecture 1938 Robin Day Lucienne DayArchitecture 1976 Michael Hopkins Patti HopkinsArchitecture 1980 Mario Gandelsonas Diana AgrestArchitecture 1979 Ricardo Scofidio Elizabeth DillerFashion 1971 Malcolm Mclaren Vivienne WestwoodArtists 1958 Christo Jeanne ClaudeFashion 1909 Arthur ‘ Boy’ Capel Coco ChanelArchitect Planners 1937 Leslie Martin Sadie SpeighGraphic Design 1914 Edward Mcknight Kauffer Marion Dorn Kauffer
Date Active Name Practice1973 Zaha Hadid Own practice1962 Eva Jiřičná Own practice1988 Meta Brunzema Own practice1985 Judith Sheine Own practice1986 Jeanne Gang Own practice1994 Sarah Wigglesworth Own practice1998 Christine Hawley Own practice1985 Amanda Levete Own practice1987 Kazuyo Sejima Own practice2007 Mabel O. Wilson Own practice1926 Margaret Schutte-Lihotzky Architect1939 Lina Bo Bardi Architect1950 Ada Louise Huxtable Architectural critic1943 Jane Jacobs Architectural critic1978 Jennifer Bloomer Architectural author1890 Charlotte Perkins-Gilman Feminist1965 Julia Kristeva Feminist1897 Mary Ritter Beard Feminist1992 Ananya Roy Urbanist1973 Doris Saatchi Art & design journalist1980 Matrix1994 Muf2013 Parlour2013 Architexx1977 Arquitectonica1979 Future Systems2013 MISS1981 Koning Eizenburg1978 Grafton2009 VPPRTable 2
Women in 20th / 21st Century Architecture
Women who have founded their own practices, created multi-disciplinary practices and influenced architecture.
Table 1 Table 2
Bastion 6Exhibition Design
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1.WC2.StaffArea3. Cafe/Shop4. Entrance5. Cleaning cupboard 6.Parking7.ExhibitionSpace8.WoodenTankExhibit9.NatureWalk10. Auditorium11. Memorial Garden12. Exit13.Freshwater
A
A
Bastion6
A scheduled ancient monument in the north of Portsmouth, proposed to be the newsite of the WW1 museumcurrently housed in Fort Widley.
Surrounding the Bastion is anature trail pathway followingthe Hilsea lines, making the Bastion an ideal break spotor feature along the trail.
If I were to follow through withmy design ideas in Bastion 6, Iwould correspond with EnglishHeritage, explaining my need for new openings in the rear of thescheduled ancient monument, to create links with the localnature of the Hilsea lines, and exposing Bastion 6 to increasedfootfall into the museum.
The structure is made from local red brick. On a site visit I was inspired by the bricksplicing that creates arches and groins supporting the structure.
Contrast the link with theoriginal monument’s splicing and the surrounding environment, to create a modern piece of furniture that creates a floor, displaycabinets and seating.Made fromtimbertohighlightthelinktotheoutside, spliced together in the samewayastheoriginalstructure.
As emphasis in our brief and from the clients was put onhow we display the WW1artefacts, and the journey wecreate through the exhibition.
Site Plan
Materials
SiteSectionA-A
Slicesection1:20
1. 2.
1. Sectionof auditorium including; stepped seatingandblock seating, both created out of local, sustainablerustic cut timber,matte finishes, so as not to slip. Alsoshowing the raised timber flooring, original floor level,andwerethenewinsertiontouchestheoldbrickbuilding.
2.Detailofsuspendedsplicedtimberfloor.Underbattonfloor joists ( I-beams) sit on foamgaskets, abovedampproof membrane covering existing concrete floor.Insulationprotectionlayersitsagainstlistedbrick.Pressuretreatedsoftwoodcreatesfloordecking,withaclearfinish.
Detail
Detailofsuspendedtimberfloor1:2
Bay 1 -
Entrance,welcomearea,cloakroom,disabledlift.Allbaysarenottoscale.
Bay 2 -
CauseofWW1exhibitionarea,artefacts displayed in glass cases, and
screenshowingWW1films.
Bay 3 -
Uniformsdisplayandinteractivefloorexplaining about countries involved in
WW1.
Bay 4 -
FloatingdisplaydescribingairunitsusedinWW1,cabinetsholdinglandartefactsandinteractivetableabout
the sea.
Bay 5 -
SocialaffectsonBritain,personalletters,photographsandpropaganda
posters.
Bay6-
Endofthewar,largescreenshowinghappy, joyful images of the conclusion
ofthegreatwarandexit.
Bay 7 - Tank exhibit
WoodentankleadingtotheHilsealinesnaturewalkandaneducationalplaceforschoolgroups,withviewsoverBrackish
watermoat.
Referenceplanofbaysections
BaySections
Precedents
Final Model
A1:100modeloftheBastion,showingthe rear tankexhibit,how thetimberfloorfitsandflowsinthelinearspace,the floor creating stepped seatingfor the auditorium area and the placement of the memorial pond.
ElevationofBastionfa-cade
ElevationofBastionrear
Elevations
Perspectives
Collage of interior facing north east Collage of west elevation Collage of exterior facing west
Collage of interior facing east
Field tripsSketches & photographs
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Milan & Venice 2015
NewYorkCity2016
Sketches
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