HOLLY HARRINGTON UNDERGRADUATE ARCHITECTURE PORTFOLIO
PART 1 ARCHITECT INTERIOR ARCHITECT
CONTACT: PHONE: 07539 222 442
EMAIL : harringtonholly@rocketmail.com
HOLLY HARRINGTON UNDERGRADUATE ARCHITECTURE PORTFOLIO CONTENTS
PROFESSIONAL WORK :2011-2012 BENARES, MICHELIN STAR RESTAURANT, MAYFAIR
ACADEMIC WORK: 2009-2013 1. SCHOOL OF FORENSIC ANATOMY & ART, TOWER HAMLETS, LONDON 2. FUSE 4, FUSION RESTAURANT, GATEWAY CITY, SLIGO, IRELAND 3. PAVILLIONS OF EXPRESSION, FRAGMENTATION, REGENTS CANAL, LONDON 4. SOUNDSCAPE & SOUND CUBES, PAVILLIONS OF SOUND, REGENTS PARK, LONDON 5.NYMPHAEUM, INVERFORTH PERGOLA, HAMPSTEAD HEATH, LONDON 6. STREET SHED, PHOTOGRAPHER’S STUDIO HOME, ELEPHANT & CASTLE, LONDON
WORK
BENARES, MICHELIN STAR RESTAURANT, MAYFAIR
The Michelin Star Restaurant in Mayfair, London, run by chef Atul Kochar, wanted to refresh their image and branding. During my time spent at Halo Design Interiors, I met with the clients, understood their brief and their desire to create big effects with minimal disruption to their operation. From researching their brand and also the idea upon which their restaurant was based on, I came up with several concepts for their interiors to make bold changes. To draw more customers in, I decided that more drama was required especially in the ground floor entrance hall. During my time on this project, I liaised directly with clients and suppliers, I designed bespoke items, produced drawings, sourced materials, products, designed signage and branding and quotations. I also organised the purchase, manufacture, delivery and fitting of many such items.
WORK The clients were also looking to expand their Wine Boutique and Private Cellar as another part of their business. This required new interior signage, and storage, and also lead to the client looking to revamp their branding and create gift hampers. Branding is also a large part of their name, and as such the clients wanted a new set of options for gifts and hampers. I worked on this to produce different branding options and produced samples, and costing.
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SCHOOL OF FORENSIC ANATOMY & ART, TOWER HAMLETS
Final Year Project: School of Forensic Anatomy & Art
A specialist school located in London, akin, to CAHID Institute, Edinburgh, providing further education in forensics, pathology, anthropology, forensic art and medical art and illustration. The school focuses on teaching about the body and gross anatomy through dissection. Drawing on the historic location of one of the Whitechapel Murders in the site’s viaducts, the forensic block holds its labs to one side, also providing a secret entrance for fresh cadavers through an arch via Chamber Street. The art block and its north facing top level studios sit opposite, with the DLR tunnel dissecting the site between them. Both art and forensic students share the protruding dissection chamber above the main entrance, as well as all other shared facilities bridging both blocks via a connecting circulation spine. Understanding of anatomy, and anatomical clues is taught to the students in order to understand, recreate, and discover human identities.
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SCHOOL OF FORENSIC ANATOMY & ART, TOWER HAMLETS
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SCHOOL OF FORENSIC ANATOMY & ART– DEVELOPMENT MODELS
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FUSE 4 RESTAURANT, SLIGO, IRELAND An urban infill building designed to bring Sligo town into a new epoch. Emphasizing the city’s title ‘Gateway city of the Northwest’, this modern building’s concept and form has evolved from the basis of this title. Portal– meaning an entrance or gate to something- promises access to a journey on passing the threshold. Fusion– meaning the blending of two or more things or ideas– creating warmth, energy, and movement within. There is a great history of ancient portals in historic Ireland, and the idea was to create a new portal into a modern multi-cultural Irish dimension, in the gateway city of Sligo. The building draws people in, picks them up, and radiates them to the new experience within the restaurant. The restaurant fuses people and food from all corners of the world together in a buzzing ambience above the lifeline street in Sligo.
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PAVILIONS OF EXPRESSION, REGENTS CANAL Located along the banks of Regents Canal in North London, a series of spaces and pavilions are provided for the public to take classes, practise or perform through a variety of creative means. All forms of expression can be as therapy, and as such the centre offers dance, music, literature, art, performance, learning and social areas. The path focuses on three stages of fragmentation progressing from the structured city, to a more dynamic natural free zone within the park.
FRAGMENTING TOWARDS FREEDOM
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PAVILIONS OF EXPRESSION, REGENTS CANAL
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3
2
1
SECTIONAL PLANTING STRATEGIES
1.
A.
ROSEMARY
B.
RIBBON GRASS
C.
BROWN CAREX
D.
HOSTAS
E.
LOCATION
2.
A
B
C
D
E
A
B
C
D
E
A.
LAVENDER
B.
GRASS
C.
FOXGLOVE
D.
LOCATION PLAN
STAGE 1: LIBRARY BUILT LANDSCAPE ELEMENT: CONCRETE, PATH WALL & PLANTER
ELEMENTS: SIGNAGE CONCRETE SIGNAGE— PART OF THE SUBSTRUCTURE
SPRINKLER SYSTEM LIES IN THE BASE OF THE PLATING BED WITHIN THE WALL FOR FOLIAGE MAINTENANCE
DIMENSIONS:
CONCRETE CANOPIES, DANCE PLATFORMS & BENCHES— PART OF THE SUBSTRUCTURE
CONCRETE PIT- PART OF THE SUBSTRUCTURE
LOCATION PLAN
DIMENSIONS : 2000MM BELOW
A SUNKEN PIT WITH STEPPED SEATING PROVIDES A SEMI PRIVATE SPACE FOR MUSICAL RECITAL. ALL WALLS ARE RETAINING WALLS BURIED INTO THE NORTH BANK.
GROUND LEVEL 5 CONCRETE PUBLIC ACCESS STAIR OF 10 RISERS APPROX WIDTH: 7000MM 160
BUILT LANDSCAPING ELEMENT: CANOPY & DANCE PLATFORM
EXTERNAL BUILT ELEMENT: OUTDOOR ACOUSTIC REHEARSAL SPACE
CONCRETE WALL—PART OF THE SUBSTRUCTURE. IT LEADS AS A NARRATIVE ALONG THE PATH, HOLDING SEASONAL PLANTING SPECIFIC TO THE 3 STAGES
BUILT NARRATIVE
STAGE 3: PERFORMANCE
STAGE 2: MUSIC
DIMENSIONS OF DANCE PLATFORMS VARY ACCORDING TO THE PLAN.
EXPRESSIVE LANDSCAPE ELEMENT WITHIN THE PROPOSAL PROVIDES SHADE & SHELTER IN VARIOUS PLACES IN STAGE 3.
DIMENSIONS OF CANOPY HEIGHT & ANGLE VARY. APPROXIMATE HEIGHT 2500MM X WIDTH 1200MM X ANGLE 30 DEG BENCHES SEEN IN VIEWS: HEIGHT 400MM LENGTH: VARIES
3 ROWS CONCRETE STEP SEATING
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Stage one: An arts library based on knowledge and the mind is open to Stage two: One reaches the music boxes and the outdoor amphitheathe public. It is in a rigid grid format with no room for embellishment , tre. These are still very much of a grid structure but are starting to echoing the mentality of the city working environment. break apart.
Stage three: Passing the changing foliage tied into seasons along the journey to expression, the theatre, dance studios, café and outdoor rehearsal spaces are seen. The structures are fully fragmented standing as pavilions of their own .
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SOUNDSCAPE & SOUND CUBES, PAVILION OF SOUNDS
Both landscape and pavilion in one, Walkthrough is based on the rhythms and sounds of people moving through the park. In essence capturing the specific sounds of the park and extruding them into built forms one can experience– like a soundscape. The theme was the senses and I chose to focus on sound and in particular rhythms and frequency, and how to embody or personify those sounds.
The landscape and pavilion merge and are all based on varying stages of experience as one walks across it. The landscape had risers of various heights and frequencies meaning each stair felt different to climb rhythmically. The pavilion focused mainly on affecting peoples sense of sound by their own presence within each space. I created three connected boxes, where in each one the user would have a very distinct aural experience.
Box 1: Colourful polycarbonate walls and metal floor to create and lively, echoing space
Box 2: Padded triangulated walls and floor with metal mesh above, stole all sound– creating a silent, dead space.
Box 3: Connected to box 1 via a metal duct to enhance the sound- Metal walls and floor bring to life peoples sounds and rhythms not of the current occupants themselves but of those currently in Box 1
4.1
RESEARCH- SOUNDSCAPE
AN INVISIBLE CITY IS
SOUNDSCAPE:
POPULATED WITHIN THE PARK.
(suffix)
UNDULATING AS THE LANDCAPE, RHYTHMS
THE SOUNDS OF AN AREA, DISPLAYED IN A METHOD SIMILAR TO THAT OF LANDSCAPES
TRAVEL ACROSS THE PARK
sound( noun), and scape
THE PACE OF LIFE IS QUITE FAST IN LONDON, BUT THIS CHANGES
4.2
LANDSCAPE PLAN -SOUNDSCAPE
THE SOUND BOXES OF THE PAVILLION. THREE DISTINCT ACOUSTIC SPACES. 1.
ECHO ROOM
2.
ANECHOIC CHAMBER
3.
REPLAY ROOM
ZONE 5
OUTDOOR LANDSCAPE AREA WITH LARGE ZONE 4
WATER FEATURE LANDSCAPE LEVELS. EACH LEVEL IS FINISHED WITH A DIFFERENT SURFACE GIVING RISE TO A VARIETY OF FOOTSTEPS.
ZONE 3 PLAY AREA. ZONE 2
ZONE 1
THE TUNNEL. A SEMI SUBTERANNEAN SPACE PROVIDING VIEWS ACROSS THE LAKE.
4.3
INTERNAL CAFÉ
SOUND CUBES, PAVILLION OF SOUNDS
ENTRANCE TO ECHO BOX
ANECHOIC BOX
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NYMPHAEUM, HAMSTEAD HEATH A MODERN DAY PLAYFUL PLACE OF REPOSE FLOATING ABOVE THE WATER FAERIES
Location: Inverforth Pergola, Hampstead Heath, North London
Brief: To make a connection between the 19th Century Pergola, its gardens, and the surrounding forest. Verticality is an important aspect- as one is to use a stair as a bridge between the upper level of the pergola, to the garden area, and also this journey must then continue underground, by taking on a modern day concept of an ancient Greek Nymphaeum, which will then break into the forest. Inverforth House rests loftily on a height overlooking London. Infill from the Northern Tube Line construction was used for the grounds of Inverforth. It was originally built by Lord Leverhulme, an English industrialist.
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STREET SHED, PHOTOGRAPHER’S STUDIO HOME, LONDON
Client’s brief: a sustainable small dwelling which can act as both work studio and home, while in London working on his new exhibition. The dwelling is to make use of recycled and raw materials as much as possible. It is to act as a kind of refuge with selective interaction with the city through chosen views. Adam’s main requirements are: the provision of a darkroom and associated storage. Space to store skateboards or bike on entering, small kitchen/ dining area, and a loft style bedroom. Also the exterior is not to be treated with any anti-vandalising agents.