P O R T F O L I O by Antonina Kharitonova

KHARITONOVA

- ABOUT -

I define myself as a young architect engaged to a global society. I believe in the duty we have with others and the power of architecture as a medium of change in society and their wellbeing . I am keen on creating a concept of luxury which is not based on cost or excess, but on the fundamental pleasure of living, being immersed in visual and tactile beauty, a type of luxury that does not focus on the external, but rather on inner satisfaction and wellbeing of the dweller. I believe that contemporary luxury is founded on spatial quality, engineering precision, and the beauty of simplicity. With my designs I would love to bring the aesthetics and beauty to the modern world of design and architecture as well as preserve the nature.

- BASIC INFO -

NAME: Antonina Kharitonova

BORN: 27th April 2000

RESIDENCE PLACE: London, UK

SKILLS

- EDUCATION2019-2022 2018-2019 2016-2018 2014-2016

BACHELOR OF ARCHITECTURE at the UNIVERSITY OF GREENWICH, LONDON

ART AND DESIGN FOUNDATION DIPLOMA at the SUSSEX COAST COLLEGE

A-LEVELS DEGREE at the BHASVIC COLLEGE, BRIGHTON GCSE-LEVELS DEGREE at the HOVE PARK SCHOOL, BRIGHTON

- DESIGN SKILLS -

imagination design concepts conceptualisation creative thinking industrial design drawing and drafting graphic design and visuals

- COMMUNICATION SKILLS -

coordination multilingual collaboration client relations interpersonal skills written communication speaking communication

- SOFTWARE SKILLS -

AUTOCAD

ARCHITECTURAL RENDERING ARCHICAD REVIT RHINO SKETCHUP PHOTOSHOP ILLUSTRATOR INDESIGN MICROSOFT OFFICE FREE HAND DRAWING FREE HAND PAINING MODEL MAKING

EXPERIENCE

CONCEPT DESIGNER AND ARCHITECT PRIVATE PROJECT FOR A CLIENT IN MOSCOW

Created a concept and led on design and execution of a private residential project

Maintained high-level communications with client, achieving a customer satisfaction

Created 3d models, renders, concept design, and design proposal for the client, curated the project and solved all the problems that were occuring during the construction stages

12/09/2022

Application for the position of Assistant Architect 07950695982

@antoniakharitonova@gmail.com

Dear Sir/Madame,

I was pleased to learn that you are looking to fill an Assistant Architect position within your company and if I get the opportunity to join your team, I’ll be coming to you with a pro-active approach and proven track record of extraordinary accomplishments and results which I’ve achieved throughout the years of my education and proffesional experience.

With an architecture degree from Greenwich University in London, I am looking for a job where I can apply my expertise and knowledge of the field. During my studies, I gained extensive knowledge of various aspects of architecture which are important for the role, and was always considered as one of the most creative and innovative students with good attention to details. My interest in sustainable architecture has led to an inventive design of my buildings, and my vision for modernity and aesthetics created extraordinary projects which I am very proud of.

My work experience includes a freelance architectural designer for a private client in Russia, where I had to lead a project from beginning to the end, with the help of external architects. I was asked to design a concept for the house, produce a set of technical drawings and follow the project throughout. I am highly skilled in the presentation of detailed project designs, development of surface area plans, production of weekly/monthly reports on the progress of the assigned projects, and completion of the site visits. Furthermore, I am adept at working under pressure and can function well independently or in team environments. I am a native Russian speaker who is also fluent in English and has a proficient knowledge of French. On top of that, I am able to use and have experience with various software programs, such as Rhino, Revit, V-Ray, Sketchup, Autocad and all Adobe suite.

After reviewing your job ad, I believe that my experience and expertise are in a perfect line with your current requirements and needs. I can be reached at the above phone number and I look forward to speaking with you soon.

Thank you for your consideration.

Sincerely,

Antonia Kharitonova

RURAL RESIDENCE

YEAR: 2022

TEAM: Antonia Kharitonova

TYPE: Residential ROLE: Visualisation and Design STATUS:In completion

Clients brief of the design was based on the idea of a clean and serene simplicity that’s universal in appeal. Fully functional and minimal to a degree with addition of complex and organic shapes, tonal textural plays, and a relaxed appeal in all-white spaces with grey or beige undertones. stylish elements of interior in Scandinavian style.

The main requirement of a client was for the building to be situated in a rural area with a lot of surrounding nature and a lake nearby. The client also asked for a clean design which would suit a wooden house and would have a timeless design, which is not going to be looking ‘outdated’ in lets say 10 years.

LIVING ROOM BALCONY/TERRACE

KITCHEN AND DINING

BOILER ROOM

CLOSET ROOM

BEDROOM 1

BEDROOM 3

ENTRANCE

WARDROBE AND EN-SUITE BATHROOM 1

BEDROOM 2

THE WARMTH OF WOOD

Wood is naturally versatile material, filled with visual and tactile variety. Wood provides excellent insulation, both thermal and sound, due to the impressive vibration absorption characteristics of wood.

The eye finds few places to rest in this dynamic composition and everything stands out in sharp relief against the variegated-but-uniform background. The hard lines of the wooden walls are contrasted against the soft furniture elements and their pastel tones. The natural wooden finish of the interior is mostly inspired by Scandinavian architecture which perfectly fits with the brief of the client.

FIRST VISUAL ITERATIONS OF SPACES:

Bathroom, living room

BATHTUB: travetrine, wood, stone

SINK AND MIRROR: travetrine, wood, stone

SHOWER AREA: wood, stone, glass

FLOORING & WALLS: wood, stone

I present to you a house in the forest just outside of Moscow. This is a house for those who come to relax and spend the weekend with family and friends.

This house is 140 square meters and has a spacious terrace with a barbecue area and seatings. The task was to create a brutal interior, but at the same time cozy and soulful, as natural as possible.

I created a space where guests will return after an intense day, sit on a large soft sofa, watching the beauty of nature from panoramic windows.

THE WARMTH OF WOOD

Wood is naturally versatile material, filled with visual and tactile variety. Wood provides excellent insulation, both thermal and sound, due to the impressive vibration absorption characteristics of wood.

The eye finds few places to rest in this dynamic composition and everything stands out in sharp relief against the variegated-but-uniform background. The hard lines of the wooden walls are contrasted against the soft furniture elements and their pastel tones. The natural wooden finish of the interior is mostly inspired by Scandinavian architecture which perfectly fits with the brief of the client.

THE WARMTH OF WOOD

One of the 5 bedrooms in the house is a small bedroom with a large Poliform bed. On the both sides of the bed we used decorative lightning with the ability to adjust the direction of the glow and small mirrors to make the space seem wider. There is no need for a wardrobe this is why we only used the chest of drawers. Also we didn’t forget about the space for reading- armchair with floor lamp.

THE WARMTH OF WOOD

As for the bathroom, I’ve decided to make it minimalistic. Using the simplest forms and materials which resonate with the rest pf the house and create graphic combinations and aesthetics of functionality.

The huge living room contains a sofa area, a hanging fireplace, a dining area, a kitchen and an entrance hall. There are also 3 bathrooms: guest, main, and master bathroom.

Everyone who is going to relax in the house can have their own private room, in this house everybody can find the perfect place for themselves.

SERENITY

YEAR: 2020

MUSEUM

TEAM: Antonia Kharitonova

TYPE: Public ROLE: Visualisation and Design STATUS: Competed

THE BRIEF OF THE PROJECT WAS TO DESIGN A COMMUNAL SPACE IN DEPTFORD BRIDGE, LONDON, USING A CHOSEN GRAPHIC NOVEL AS AN INSPIRATION FOR THE STYLE OF THE FINAL DRAWINGS. MY BUILDING IS AN ART GALLERY INSPIRED BY KUNSTMUSEUM IN BASEL, SWITZERLAND.

FINAL COMPOSITE DRAWING: FIRST FLOOR PLAN WITH PERSPECTIVE DRAWINGS

PRECEDENT: Graphic novel: Square eyes

FINAL COMPOSITE DRAWING: SHORT SECTION WITH PERSPECTIVE DRAWINGS

MAIN SPACES:

Reception

Main gallery space

Hall

Circulation

Cafe

Immersive space

Toilets

Overlooking platform

Perfermance space

Souvenir shop

Ground level garden

Roof garden

PRECEDENT: Graphic novel: Square eyes

MAIN SPACES:

Reception

Main gallery space

Hall

Circulation

Cafe

Immersive space

Toilets

Overlooking platform

Perfermance space

Souvenir shop

Ground level garden

Roof garden

WEARABLE ARCHITECTURE | OBJECT LONDON, UNITED KINGDOM

WEARABLE ARCHITECTURE | OBJECT LONDON, UNITED KINGDOM

“The Ilizarov apparatus and gypsum cast for the medical purposes. Ilizarov apparatus is used to elongate the bone and its structure, the idea of extenstion and elongation is represented by the object”

I AM KEEN ON PRODUCING A SET OF MODELS WHICH WILL HAVE A RELATION TO MY CHOSEN OBJECT (ILIZAROV APPARATUS) AND FASHION. THE MAIN QUALITIES WICH I AM TAKING FROM MY CHOSEN OBJECTS WOULD BE - ATTACHMENT TO A BODY PART, MATERIAL QUALITIES, SUCH AS METAL PIECES. I WANT TO KEEP THEM VERY SIMPLISTIC AND CREATIVE, AND HAVE A RELATION TO AN IDEA OF MAKING, REMAKING, CHANGING OVER TIME AND RECONSTRUCTION OR DECONSTRUCTION OF OBJECTS/BUILDINGS

the idea of the piece is in it’s form and texture. it studies the combination of lightweight materials which form structures. the idea of combination of elements adds onto the form of the piece. it represents thw idea of uncomfortability within an architetcural element of fashion. a hybrid model of textures, shapes and forms inspired by all the given precedents a qualitiesof which I will continue exploring in my architecture in the further development of my project

a hybrid model of textures, shapes and forms inspired by all the given precedents a qualitiesof which I will continue exploring in my architecture in the further development of my project

I AM KEEN ON PRODUCING A SET OF MODELS WHICH WILL HAVE A RELATION TO MY CHOSEN OBJECT (ILIZAROV APPARATUS) AND FASHION. THE MAIN QUALITIES WICH I AM TAKING FROM MY CHOSEN OBJECTS WOULD BE - ATTACHMENT TO A BODY PART, MATERIAL QUALITIES, SUCH AS METAL PIECES. I WANT TO KEEP THEM VERY SIMPLISTIC AND CREATIVE, AND HAVE A RELATION TO AN IDEA OF MAKING, REMAKING, CHANGING

OVER TIME AND RECONSTRUCTION OR DECONSTRUCTION OF OBJECTS/BUILDINGS.

The idea of the beauty of soft and elegant elements of fashion could be implemented to the architecture and the design of the aramature that i am currently working on. i love the 3d printed way of creating the piece.

The photographs represent a combination of “restrictive elements” of wearable architecture pieces. those models are based around the idea of obstructing the view, restricting the movement, and to keep you in a static position.

The initial idea was inspired by the casts at Maison Margiela store in Paris and London, designed by Anne Hol trop. This unusual fabric casting procedure is meant to replicate a garment fabrication approach utilised by the fashion company, which aims to disturb the “anonymity of the lining” and reveal the garment’s inner workings. Maison Margiela noted, “The gypsum castings in textile formwork adapt the ‘anonymity of the lining’ concept into an architectural element.”

I have casted the column using a prefabricated mould which the was wrapped with fabric for textured finish. After removing the textile formwork, the imprint of the textile remains visible on the surface of the walls and col umns, together with the pleats of the textile and volume of the gypsum that pushed the formwork out. The walls and columns are turned inside out – we look at the lining, the interior of the wall. The column turned out well and I am happy with the final texture finish and with it’s shape, however, this is not a structural column. It would be great to add it as a design element, rather than a structural element, and there fore, I will continue experimenting with different shapes and forms as well as the cast of roof and the skylight.

“Sloped roofs are more stable and effective when dealing with heavy rain because this roof design helps direct water away from the construction. Also, slanetd roofs allow the rainwater harvesting which could be used within the building for flashing systems and any internal water manipulations, it is making the building more sustainable as it uses the concept of circular economies.”

I will look at the construction of a concrete canopy and columns with the following aims:

One of the methods of construction would be casting the columns by forming them inside a prefabricated mould which is going to be made out of thin plywood sheets. The sheets will be soaked in water to become easily bendable. Rebars will be placed inside the column and then concrete will be poured inside the mould, then thin layer of concrete will be sprayed over the casted column to create an ultra-thin layer of the roof. This is one of the real life construction methods of the rood and column cast. It is also possible to cast the roof and column separately which will be more functional for my building as it would allow to cast each section of the roof and join them together leaving a little gap in-between. This will allow more light to come into the studios and as was discussed in the previous chapter, natural light is an important strategy when trying to reduce the embodied carbon. Also, separate arts of the roof can be deplorable and this goes well with my building strategy - making demountable construction which can be taken down and put back up. The casts do not require this method, as they will be permanently there, but for the future of the building, such as maintenance and different construction works it might be a useful idea to implement to the roof design.

This unconventional casting method is intended to reflect a garment construction technique used by the fashion house that is designed to disrupt the “anonymity of the lining” and reveal the inner workings of a garment.

This model is a mould for the roof structure cast which I will be using as a test for my technology material research as well as the structural process. First of all, I have created my roof structure in Rhino, then I’ve used Materialise magics to create a negative form of my model for the timber structure for the cast. Then I have used Fusion by Autodesk to slice the model and laserncut it on mdf. Then I’ve put together the laser cut pieces to get the form of my mould.

BESPOKE METAL SCAFFOLDING PIECES WHICH COME APART AND CAN ALWAYS BE REINSTALLED WITHIN THE BUILDING. EACH TIME YOU INSTALL THE SCAFFOLDING IT CAN LOOK DIFFERENT.

plaster casts which are inspired by the previous “wearable” experiments, drawing od the casted wall element and a render which are the inspiration for the textures and shapes within my buildingю

This figure illustrates the exploded axonometric drawing of the ultra-thin casted column. In the real world of architecture such column would be created using wooden formwork. The formwork is separated in parts, so it would be easy to take it apart. When the formwork is erected, the rebars would be inserted inside it to provide the concrete with the necessary tensile strength. It is essential for the concrete to set as soon as possible after it is poured to avoid it running and to achieve a flawless finish. Then chemical accelerators are mixed into the concrete to speed up the hydration process and increase the concrete’s early strength.

1 2

1 - strong rebars (roof connection)

2- concrete column

3 - metal pole for structural support

4 - connecting joint

5 - bolt

6 - thin rebar which shapes the column

7 - metal base

8 - casted roof marks

9 - concrete casted roof

8 9 ANTONIA KHARITONOVA 42

COMPONENTS

The building will be containing 3 main stages - designing, production and exhibition. The main space - designing stage, will be a fixed concrete construction which will be used throughout the entire year. Production stage will be a temporary scaffolding part, where the atelier would be situated as well as temporary scaffolding construction. And exhibiting stage will be a deployable scaffolding and a combination of lightweight texture and fabric elements which will be displayed during fashion weeks and seasonal shows.

The initial idea was inspired by the casts at Maison Margiela store in Paris and London, designed by Anne Holtrop. This unusual fabric casting procedure is meant to replicate a garment fabrication approach utilised by the fashion company, which aims to disturb the “anonymity of the lining” and reveal the garment’s inner workings. Maison Margiela noted, “The gypsum castings in textile formwork adapt the ‘anonymity of the lining’ concept into an architectural element.”

I have casted the column using a prefabricated mould which then was wrapped with fabric for textured finish. After removing the textile formwork, the imprint of the textile remains visible on the surface of the walls and columns, together with the pleats of the textile and volume of the gypsum that pushed the formwork out. The walls and columns are turned inside out – we look at the lining, the interior of the wall.

The column turned out well and I am happy with the final texture finish and with it’s shape, however, this is not a structural column. It would be great to add it as a design element, rather than a structural element, and therefore, I will continue experimenting with different shapes and forms as well as the cast of roof and the skylight.

storage unit temporary photostudio back of house design and production studios

SECTIONAL CUT ON THE PLAN

The new production dynamics suggest an intriguing opportunity for a return to city-based making and design. A reimagined retro-innovation with commercial production cohabiting public, private, and civic interests in a setting of cleaner manufacturing, enabling a closer compact between production and the city than previously possible.

The building will perform as a central point for design and production of fashion clothes and designer items and will host public events and fashion shows to bring together the community at the Isle of Dogs.

A. ATELIER

Sketches of the key spaces within the building. The concept store of Maison Margiela with casted walls is an important element of my future design as well of the production of fabric, deployable construction of the seasonal elemtents such as catwalk and the exhibition space for designer pieces.

WEARABLE ARCHITECTURE | FASHION DISTRICT

IN ORDER TO ENGAGE THE SUSTAINABLE AGENDA WITH THE PUBLIC ONE APPROACH TO CONSIDER, ARE OPPORTUNITIES WHICH TAKE OF ADVANTAGE OF EXISTING INFRASTRUCTURE. FAST FASHION COMES AT AN ASTONISHING ENVIRONMENTAL AND SOCIAL COST. WHILE THE IMPACTS OF THE FASHION INDUSTRY IN TERMS OF POLLUTION, WATER USE, CARBON EMISSIONS, HUMAN RIGHTS, AND GENDER INEQUALITY ARE INCREASING, THE NEED FOR A SHIFT TO SUSTAINABLE FASHION IS EVIDENT. I AM AIMING TO SHIFT THE FASHION ECONOMY AND FOSTED INTERNATIONAL COOPERATION ON THE ISSUE. Improving the concept of supply chain management and consideration of the environmental aspects and impacts on it, is the basis for the development of enterprises operating in the textile industry. It should be emphasised that the issue of sustainable supply chain management , due to its inherent complexity, requires continuous analysis of the situation of internal and external decision-making and is burdened with greater or lesser risk concerning the choice of strategy and resource allocation. Therefore supply chain management should be supported by a variety of instruments to streamline organisational structures and processes. These activities should be planned in detail and adapted to the specific nature of the industry. The aim is to introduce the three main spaces within the Building - design, production and exhibition. This will all be integrated into the building throughout its lifecycle.

CONCEPT CURATION: To hone the Genderless concept and use it to create an idea that holds the concept throughout the building design, interior design, customer experience, and collection. Then collaborated on a promotional campaign that creatively put across the concept to the public.

BUILDING/ INTERIOR DESIGN: Collaborated on the idea of a Storeless’ temporary space that provides the possibility to be changed into various forms reflecting the Genderless idea, whilst guiding the customer through the Genderless concept and the collection.

Designed a space that contains exhibition spaces to engage and inform the customer: created open installation spaces to relax and a retail space with a customisation area; displays and changing rooms.

CAPSULE COLLECTION: Helped refine the collection concepts and designs as well as acting as creative consultant on collection colour palette.

PROMOTION: Designed a branding campaign that reflects the ‘i Margiela’ Genderless concept, that included posters and unique merchandise.

1 - back garden 2 - production space 3 - clothes keeping unit 4 - benchwork area 5 - scaffolding floor 6 - backyard inside the building 7 - circulation 8 - changing rooms 9 - reception 10 - entrance 11 - waiting area 12 - pivoting windows/ doors

“THE CREATION OF ART CREATION”

ANTONIA KHARITONOVA

ART AND THE ART OF THE CREATION” KHARITONOVA