Sample Portfolio

IC ISOBEL CURRIE Email Linkedin Phone Website

Isobel-currie@outlook.com

linkedin.com/in/isobel-currie-6a70771a1

07896918529 Isobelcurrieportfolio.com

I am a proactive and ambitious person who uses my interest in both art and architecture to deconstruct methodologies and theories to allow the creative, inclusive and atmospheric placemaking. Being part of the Atelier Continuity in Architecture, my work focuses primarily on the need to use context as a generator to design socially responsible, sustainable and holistic architecture which understands the whole as a greater sum of its parts. My ability lies in being able to think critically, create technological solutions from theoretical concepts, communicate effectively and take projects from concept to proposal through iterative 3D modelling and design. I am eager to get involved in projects, make your visions a reality and to learn from the design ethos of your practice.

Experience

Education

Technical Proficiency

AHR Architects (Internship _ 2017)

Shrewsbury Sixth form college (2015-2017)

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A Levels: English Literature A Fine art _______ B Mathematics ____B

Adobe Photoshop Adobe InDesign Adobe Illustrator Adobe Premiere Pro Vectorworks VRay Lumion Revit Rhino AutoCad Sketchup MS Office Applications

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Proposal for an ongoing Residential project the Practice was working on.

Talking with colleagues on architectural matters to meet project requirements.

Understanding RIBA stages of design, construction and legislative aspects of building and design.

Balfour Beatty Infrastructure group (Mentoring scheme _ 2019) • •

Visits to the live site and discussions on the stages of design for MECD building in Manchester.

Monthly meeting to apply my academic projects to working practice.

Manchester School of Architecture (MSA) : First Class Honours (2017-2020. Atelier Continuity in Architecture) • •

Final project working with the live client, Shrewsbury Council to design a new Library as part of the Big Town Plan.

Projects focusing on a range of sectors from residential to commercial and educational.

Academic Achievements

Personal interests

References

Architects Journal student prize (2020)

Painting -

Claudio Molina Camacho

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(An interest in the spatial composition of paintings to represent architectural form)

Running -

Architect, Associate Lecturer for Masters Architecture + Urbanism & 3rd year Tutor at MSA (c.molina.camcho@mmu.ac.uk)

(Run Wild society 2017-)

Laura Sanderson

Travelling -

Senior lecturer at MSA, head of BA3 Continuity in Architecture (l.sanderson@mmu.ac.uk)

Final project chosen to represent the MSA undergraduate course

Winning entry for the B.15 at home awards (2020) •

‘B.15 At Home Award 2020 - Award for outstanding use of modelmaking in design work produced from home during the Covid-19 pandemic. Independently Judged by Bjarke Ingels Group, SimpsonHaugh Architects & HENN Architects.’

Article feature in Dezeen (2020) •

Final year project featured in MSA’s Degree show article representing the Atelier Continuity in Architecture.

Outstanding Academic Achievement Award (2020)

(I enjoy discovering new places which broaden my perspectives when designing)

Conversation (I enjoy talking with a wide range of people and learning from their experiences. I find conversating with people and listening to what they say aids my understanding when designing)

ACADEMIC | PERSONAL

RIBA PART 1 ARCHITECTURE

PORTFOLIO VOL.1 07.2020

| Isobel Currie

| PROJECTS |

Remember, Reveal, Construct New Shrewsbury Library | Academic

Sustainability Munich Net-Zero Office | Academic

Group Work Group Northlight | Academic

Creative projects Painting and photography | Personal

Shrewsbury Library 2020 BA3 Atelier: Continuity in Architecture Location: Quarry Park

Shrewsbury

UK Client: Shrewsbury Town Council

The proposal is for a new library in collaboration with the live client of Shrewsbury Town Council that is sensitive to Shrewsbury’s identity, its character and is respectful of its heritage. Being a former resident of Shrewsbury, I understood what the town needed and conversated with the community to create a design which was sensitive to the culture and history of Shrewsbury. This aspect of the project was incredibly useful, and I will take this understanding into future projects.

The past and present are re-enacted throughout the architecture of the historic town centre of Shrewsbury as newer buildings are integrated with older ones. The design was influenced by the urban geography and historical stratification of Shrewsbury and helps one consider the building and its surroundings as a whole.

The Library aims to unify the boundary between the Town and park, establishing a cohesive urban environment by extending the main axis through Town which was previously broken. This is crucial in the evolution of Shrewsbury, to encourage tourism and improve the well-being of the people that live there.

1. Plan in context 2. Mental Map of Shrewsbury (not to scale)

1.

Shrewsbury Library LANDMARK

MAJOR DISTRICT MINOR DISTRICT PEDESTRIAN PATH VEHICLE PATH

2.

MAJOR NODE MINOR NODE

Location

EDGE

Serial Vision The urban environment should be designed from the view of a moving person. The city is a collective enterprise and not a collection of individual things like streets and buildings, but rather embodies the art of relationship: how things fit together, the space between them and how people move through them.

Gordon Cullens methodology of using set serial vision sketches were used to analyse the spatial qualities of Shrewsbury. These qualities were then integrated into the design of the Library to ensure spatial continuity.

1. Key serial visions around Shrewsbury 2. View down central staircase framing the Boy’s School 3. Serial Sequence through external areas 4. View approaching Library from Kingsland Bridge

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2.

Enclaves.

Here and there.

Incident.

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4.

Serial Vision

Shrewsbury Library

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3.

1. View approaching from the Park.

2. 1:100 model.

3. Serial Sequences through town.

2.

Shrewsbury Library

The building integrates into its urban context by establishing curiosity through the use of the existing and emerging view. The central staircase and amalgamation of form were designed to emulate the winding Medieval streets of Shrewsbury, along with the walkway encouraging a flow of people through the use of spatial constraint and relief, also framing the views of the surrounding urban artefacts.

Spatial Continuity

The Library lies in a space that was previously unused due to the unfinished route from town. The 1:100 model illustrates the flow of people through the Library into the park.

1.

Shrewsbury Library

1. View to Library from The Boy’s School 2. 1:1000 plan of third floor 3. 1:1000 Section AA

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5.

4.

A

2.

A 3.

7.

6.

7.

5.

4.

General Arrangement

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2.

9.

8.

1. Library 2. Council Office 3. Mayoral Parlour 4. Great Hall 5. Central Staircase 6. Theatre 7. Cafe 3.

10.

1.

8. Restaurant 9. Childrens Library 10. Listening Archive

0

10

20

30

1.

1. View of the Great Hall upon entry to the Library 2. View of the Great Hall from Ground floor 3. Iterative process of interior spaces

Shrewsbury Library

The double height spaces in the library design were a crucial step in connecting each programmatic space. A design concept that influenced this decision was how the office and library should be visually connected as this was not present in the existing library. The rotunda atrium also allows for maximum views onto other floors without any obstructing corners.

Interiors

2.

3.

1.

Model-making aided the design of the Library and the understanding of spatial experience.

Through the utilisation of light, I was able to capture the essence of each space and tailor my design to achieve the desired result.

Shrewsbury Library

The traditional typology has become warped as the digitisation of information is now available.

The design motive is no longer to house an ever-expanding collection of books but to create an adaptive, healthy and sustainable environment for working, socialising and learning. The New Library offers an array of adaptable open-plan spaces varying in size and each possessing a unique character.

The atriums within the plan allow for user interconnectivity throughout the Library and allow appropriate daylight levels to enter the ground floor. The interior spaces hold an introspective atmosphere through the use of space, light and texture, creating a contemplative place to work, socialise and learn.

1. Final visual proposal for the Mayoral Parlour 2. 1:50 Concept model proposal for the Mayoral Parlour 3. Concept sketch of form to reflect light into interiors 4. 1:100 Model of theatre

Spatial Experience

2.

3.

1.

The form of the Library responds to the surrounding roof profiles of Shrewsbury. The irregular heights and pitched roofs is a recurring theme around the town and so applying this to the Library allows continuity of form. The taller pitched roof aims to create a landmark within the town, appearing above the tree’s, leading people towards the Library.

The large and complex structure that is needed to achieve this result is composed of pigmented reinforced board-formed concrete which is a response to the textural characteristics of the surrounding context. Rough in texture, but elegant in form. The beams of the roof provide structural stability and allow for light entering through apertures in the structure to reflect into the interiors.

1.

2.

Facade elevation Facade section 1:200

1330mm

1.

4126mm 729mm

700mm

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3.

4.

5.

2948mm

2900mm

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7.

8.

2100mm

Shrewsbury Library

The site of the Library is exposed on all sides without being defined by either river or road. These conditions led to a sculptural building form without a dominant facade. The facade is an articulation of the roof structure which is reminiscent of the Medieval exposed post and beam buildings around the town.

The extrusions also create depth and scale to the facade and respond to the vertical nature of the surrounding trees.

6159mm 9.

2100mm

10.

11.

2100mm

1. 1.5mm zinc sheet flashing 2. Prefabricated boardform concrete fin unit

12.

AIM small

3. 400/250mm Loadbearing reinforced concrete column

extruded to facade with gutter embedded within

AIM small

AIM small

90mm 70mm 200mmAIM

small

2100mm

4. Laminated saftey glass, low e coating 13.5mm + 20mm

cavity + 10.3mm low-iron float glass

5. Motorised sun shade

4000mm

6. 8mm curtain wall float glass + 16mm cavity + 8mm

lam. saftety gasss in aluminium profile frame

7. Roof light: 17.5mm lam. saftety glass + 18mm cavity +

2100mm

13.

12.3mm laminated glass

8. Timber-board-marked reinforced concrete beam 1070MM

9. pivot mechanism to allow window opening with limted

4000mm

opening range

110MM

10.

Welded catwalk assembly anchored to structural stay vent to allow air flow through shaft box double skin.

11.

hydraulic window opening lever

02MM

12.

09MM

81MM

52MM

13.

2074MM

707MM

30mm wood panels, 60mm screed with underfloor heating and service voids, 70mm insulation, 200mm concrete slab Water gutter, guard on insulation, removable grid Aluminium sill 2129MM

704MM

14.

15.

170mm 100mm 16.

250mm

12.

14.

15.

Hard core

17.

Reinforced concrete wall, Damp proof membrane, 100mm core insulation, 160mm exposed concrete wall

16.

100 x 70mm natural stone paving 50mm mortar bed 200mm reinforced concrete floor slab

17.

Concrete pile foundation

3000mm

1000mm

2.

4656mm

Structure

5000MM

7213MM

Munich Office 2020 BA3 Module: Technologies Location: Munich As the traditional patterns of work evolve throughout the 21st century the design of workplaces must offer adaptable, sustainable and healthy working environments. As part of the Technologies module, I worked on the technical specification of a CLT office building in Munich which proposed a sustainable and healthy working environment. Designing with timber is a holistic approach to the environmental crisis we face and acts as a sustainable means to support economic and social development on an international scale. A primary aim of the project was to design a building which solely used timber to explore the feasibility of wood used as a widespread material.

The project was a three-week study to check the feasibility of an office within the sites contextual parameters. The design drivers were explored and tested with regards to site conditions, interior environmental performance and energy consumption.

All of which supported the argument for the building skin.

The infill site in the temperate climate of Munich led to design drivers: • • • • •

Maximise sunlight in a constrained site Create an adequate ventilation strategy Allow for maximum views out Balancing glazing amount with wall conductivity Have an adequate water collection strategy

1. 1:1000 Plan in context 2. Key view in context 3. 1:1000 Section AA 1. Cafe 2. Offices floors 1-4

3. Bar and Roof Terrace

4. Ground floor plan 1. W/C 2. Riser 3.Lift 4. Stairs to floor 1 5. Cafe

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Munich Office 2.

1

2

3

4

5

6

0

5

10

Level 6 : 24000

Level 5 : 20000

3.

A. 6

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Level 4 : 16000

5

Level 3 : 12000

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3.

2.

Level 2 : 8000

3

Level 1 : 4000

2

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5.

1

A

B

C

D

E A.

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F

Final Proposal

2.

Timber was my chosen building system as I wanted to explore the feasibility of designing solely from Timber to reduce the carbon footprint and decrease construction time.

The Austrian Spruce is transported from the KHL factory in Austria, and the prefabricated elements could be erected with minimal disruption in the city centre location. Timber has excellent credentials with carbon sequestration and so designing with it creates a sustainable solution to office developments.

Once I had analysed the site parameters, I began to focus on the form. I created a stepped box form which allowed a larger clearance space to the South maximising solar gains and views out. The shallow floorplate would also allow for adequate cross ventilation.

Iterative simulation testing led to appropriate glazing percentage, u-value and mechanical systems allowing for a healthy working environment and net-zero carbon emissions in the cities centre.

The results showed that the building needed: • • •

70% glazing on the south facade and 40% glazing on the north facade Triple thermal protection glazing 20cm insulation

A higher glazing amount was needed without affecting the transmission heat loss of the walls. I achieved this by applying a shaft box double-skin facade that would act as a thermal buffer zone and noise pollution barrier. This allowed for a higher glazing amount, daylight levels and views out.

1. Stages of design: • • •

Adjust mass for greater clearance space to the south.

Timber structure incorporated with CLT walls and window openings.

Iterative simulation testing leads to appropriate glazing percentage, u-value and mechanical systems. Double skin shaft box facade is added to allow for a thermal buffer zone and noise pollution barrier from the street.

2. Environmental Diagram 3. Typical floor to floor bay. 1:20

4. Wall to floor detail 1:5

2.

1.

Munich Office 3.

1.

LVL curtain wall junction 2.

9MM Carpet 3.

Glulam column 4.

Two layers of 13mm Plywood 6.

Sprinklers and services in ceiling trough 7.

99mm 3 layer CLT 8.

Acoustic insulation

19mmx38mm @75mm spacing wood

slats, ceiling black fabric, acoustic insulation 9.

Glulam Beam 10.

Suspended light fixture 11.

169mm 5-layer CLT 12.

Services in floor trough 13.

Service chaser 14.

50mm semi-rigid acoustic seal around penetration 15.

2 layers 16mm gypsum wall board 16. two layers 25mm semi rigid fibreglass

board insulation 17.

Curtain wall, alluminium veneer, LVL

mullion, triple glazing.

3.

1.

13.

2.

14.

11.

12.

7.

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6.

4.

9.

15.

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10.

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Design Development

17.

NorthLight 2020 BA3 Module: Events Situated in Brierfield, Pendle stands the redundant, disused Gas Tower.

As part of the Events group work, students from each year at the school collaborated in designing re-use for the Tower. The group helped to transform this forgotten landmark into a space which can engage with the local community.

As a team Northlight collaborated with the non-profit art organisation IN-SITU utilising model making and community discussions; to formulate a range of ideas which can inspire the future development of the site.

1. Visit to site to meet with the local art college 2. Final exhibition of work

2.

1.

1.

The events team was split into three groups, I was part of the group that was responsible for large-scale conceptual development. Multiple days of site analysis through research and scale model building followed by trips to the site took place in the first week.

The most intriguing part of the project was the collaboration with the people of Briarfield, including the art firm In-Situ and students from the local art college. The design was a product of co-operation between multiple parties.

The whole team worked together in an organised and coherent manner to deliver the concepts and final outputs. Once the concept was decided, we spent a week designing and building proposals for the Tower. The scheme was a re-use of the Tower which would act as a new landmark in Briarfield. A new core public and commercial space was proposed, which would house exhibitions and markets within the existing structure.

The work was presented through models and drawings which were exhibited in the Art School’s Benzie Building. An integral element of the project was the collaborative design to deliver architecture that is driven and inspired by the user through the utilisation of successful teamwork.

Creative Projects The intersection between art and design is a crucial aspect to my work. My artistic skills have become expressed in a more architectural manner throughout my studies to define art and architecture in terms of function. I have understood that Architectural design is a balance between both activities and that successful spaces combine the emotive and atmospheric qualities of art with design that address social and geographic contexts. By painting, I have been able to combine both art and architecture to deconstruct methodologies and theories to be creative and reach new levels of design.

1.

Sample of work from Life Drawing class: Watercolour and collaging

2.

Photograph next to the National Theatre

3.

Stranger in a room: Acrylic on canvas Oil on canvas

4.

Transverse and perpendicular surfaces: Oil on canvas

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