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Sample Portfolio and CV: Tara Keswick 2020 Master of Architecture Graduate

Examples of work in practice have not been provided in this sample but can provided upon request through one-to-one communication.

Tara Keswick: Experience and Education Education: Postgraduate Degree (MArch RIBA Part II Accredited) Newcastle University Results Pending 2018 - 2020 Undergraduate Degree (BSc RIBA Part I Accredited) University of Bath Second Class, First Division (2:1) with Honours 2013 - 2017 Freman College, Buntingford A Levels - A, A*, A* (B,A) Chemisty, Fine Art, Mathematics, (AS - Physics and General Studies) GCSEs - 8A* and 4As Biology, Chemistry, English Language, English Literature, Fine Art, French, History, Latin, Mathematics, Music, Physics Physical Skills: Hand-drawing, model making, watercolour painting, deisgn through sketching Software: Autocad, Vectorworks, Adobe Photoshop, Adobe Illustrator, Adobe Indesign, Google Sketchup, V-Ray for Sketchup, Microsoft Office Suite, NBS Hold CSCS Card valid until May 2023. Clean, full driving license. Other Experience: Lifeguard Document Administration Wedding and Events Decoration Receptionist Events waiting staff Events bar staff Restaurant Bar and Greeting Service Interests: Music Gardening Cooking Sport

Newcastle University MArch graduate seeking full time employment as a Part II Architectural Assistant. If you would like to know more please contact me at: tara.keswick@live.co.uk

Architectural Experience: Purcell - London Office May 2019 - September 2019 Summer role between my fifth and sixth years of masters. Time was predominantly spent working on The National Gallery and the refurbishment of a listed building on a development site. Responsibilities included design team communication, meeting trades on site to review feasibility of resoration method, unsupervised site visits to carry out surveys and extent of works required. Preparation of tender documents, construction details and schedules. Purcell - London Office October 2017 - August 2018 Part I Architectural Assistant role working within a team of 6 or 7 designers. Time was predominantly spent on a large scale resdesntial development. Attended design team meetings, reviewed design options with client, designed two residential blocks. Also gained experience working with heritage projects through ongoing works at The National Gallery and a residential development within a listed building and its surrounding site for planning. Attended one week Conservation School in Manchester which allowed the opportunity to discuss and learn more about conservation principles. Purcell - Cambridge Office May 2016 - August 2016 Working on a mixture of residential (Grade II listed water mill), office and education projects. Contacting other members of design team, producing schedules, co-ordinating drawings. Also responsible for management, briefing and working with team members based in the Hong Kong office. Jeff Kahane + Associates February 2016 - May 2016 As part of B.Sc Thin Sandwich programme, small practice of between 5 to 8 designers working on high end residential projects in London. Planning drawings, specifications, tender and construction drawings. Consulting planning officers, contacting clients and trades people. Twitchett Architect February 2015 - September 2015 As part of B.Sc Thin Sandwich programme, working with sole practictioner Twitchett Architect provided valuable experience learning, observing and engaging with all phases of construction. Prepared initial feasibility drawings, design options, planning drawings, tender packs, construction drawings, specification and snagging documents. Nicholas Hare Two weeks of experience including a site visit to a school project on site during construction phase. Mace Ltd Week experience at age 16 learning about the different roles within the construction industry.

References provided on request. Examples of work in practice have not been provided in this sample but can provided on request through one-to-one communication.

Portfolio: Contents T A R A

K E S W I C K

P O S T G R A D U A T E

S I X T H

Y E A R

Archiving the City: Neo-neolithia 022 Thesis

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Animating the In-between Transitional Object and Phenomena: Part I 052

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Theatre of the Interior Transitional Objects and Phenomena: Part II Affordance Urban Design: Milan 060

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A Peopleâ&#x20AC;&#x2122;s Garden Basil Spence Group Project

Cardia Undergraduate Final Project

Examples of work in practice have not been provided in this sample of work but can provided upon request through one-to-one communication. 4

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Archiving the City: Neo-Neolithia Introduction Neo-neolithia is a stone extraction, stone working and crafting site, combined with a museum archive and debating chamber for public education and engagement, focused around honest structural stone use. Edinburgh is a city made by the material below its feet, with historical quarries within the modern cityâ&#x20AC;&#x2122;s footprint, the traces of which have been removed from the modern cityâ&#x20AC;&#x2122;s landscape. Today any stone requirement for repairs or new stone buildings is sourced from elsewhere in the UK often from hundreds of miles away, altering the grain of the city, texture and language of the final product, using stone as a tile applied to a frame, over simplifing the material with a detrimental effect on the structure stone buildings in the city. Neo-Neolithia looks to counteract this. The site opens a dialogue about material in the city, with stone masons engaging with planning officers and members of the public with conservation architects.

NEO-NEOLITHIA Character of Site Although the site is constantly changing and evolving, growing, and adapting the chamber and existing building provide the calm and constant grounding to the chaos of the site.

NEO-NEOLITHIA Experience Intended as a journey from the passive education of the museum, to active experimentation and research in the workshop, to discussion about action in the city through the debating chamber. The public enter the massive, solid foot of building, below the action and noise of the workshop atrium space and above the growing volume below. 10

NEO-NEOLITHIA Experience The floor of the atrium provides an overwhelming introduction to stone. The sound of machinery and hand tools being hit against the surface of stone in the workshops above combined with the facility and information to learn about the process, material, and the site itself. The top of the space has a different character, constructed from a steel frame it is more industrial and lighter than the levels below to allow light into the volume below. 12

The spectacle of stone extraction, whether inferred or actual, connects all the spaces and highlights the significant relationship between the above and below. In the safety of the earth, materials, records, drawings, development applications are collected and stored, as well as being presented and engaged with in more public areas. Moving out of the darkness, drawn by the light people are drawn to the debating chamber, where stone masons have conversations with planning officers and members of the public with conservation architects this relates the actions of the site with the modern context of the wider city. 14

Different languages of Stone

Conceptual collage following progression of textures in section

Transitional Objects and Phenomena:

Animating the Inbetween Described by the Viennese tourist board as ‘the most beautiful boulevard in the world’, the Ringstrasse in Vienna is a 5.3 kilometre long belt around the most central part of Vienna. Built between 1860 and 1890 and described as an ‘urban planning masterpiece’ it was intended as the cultural parkland around the centre of Vienna, occupying the old military glacis which divided the city from the suburbs, the Ringstrasse used the line of the city wall as its rough route. Defined by grand, ornate buildings, the Ringstrasse was the designated location for Vienna’s cultural and political quarter, to include new museums, art galleries, houses of parliament and ministry buildings. Today the Ringstrasse behaves more as a barrier between the suburbs and the city centre. The grand neoclassical façades alienate rather than facilitate. To emphasise this further the Ringstrasse is now infested with transport which means that it is even more difficult to navigate exaggerates the lack of movement of pedestrians between the in and the out. Many of the tourists are confined to the ring and a small amount of the inner city, where as the Viennese living within the suburbs are redirected around the inner city by the Ringstrasse.

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This series of perspectives describe how the intervention is employs with many views from a singular place. The existing buildings are used as visual references. or a background while the activity how plays out in front of the is instead of being hidden behind the impenetrable, intimidating faĂ§ades.

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The left-handPerformance image below shows broken takenWien Kalsplatz in the distance space at lower level, the with views throughalter, to the Museum from the Karlskirche, with the University in the distance. The image below takes elements from the university spaces to create a space for free thought and discussion.

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Investigative drawings

Informal music performance space with views through to the Musicverein and the Kunstlerhaus in the distance

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[Declaration] Theatre of the Interior As the catalyst for the generation of the ruinous theatre it seems poinient to begin the declaration of the project with the image below. Approaching

On the Walkway On the Walkway

Transitional Objects and Phenomena: The theatre of the interior is a statement directed at the potemkin image of Vienna, an assemblage and collage of spaces designed to fraustrate the occupants, restricting and filtering views, much like the Potemkin does against the culture of the city. It will force a reflection into how Vienna curates, presents and evolves it’s spaces of engagement.

Plan

Theatre of the Interior

Loos wrote, ‘Whenever I stoll along the Ring(strasse), it always seems to me as if a modern Potemkin had wanted to carry out his orders here, as if he wanted to persuade somebody that in coming to Vienna he had been transported into a city of nothing but aristocrats.’ The deceptive nature of Vienna causes me to question, to what end has this image been created? In the same way the clasps in a child’s plastic bracelet fails and the pieces of glass in the metal clasps fall out and the owner is left with a series of metal clasps as jewellery, it is my feeling that the ‘fake jewels’ of Vienna will dull and the city will be seen for its true self, the potemkin façades will fade and the city will be left without what it holds highest and the deprived if cultural development, as a result of the ruin of falsehood they have created. ‘(I)n time the parvenu’s eyes too open up. First he recognizes one inauthenticity among his friends, then another, in things he had earlier thought were authentic. Then, resigned he gave them up for himself as well.’ Ultimately the potemkin image is destructive, causing shame within those who feel they are inadequate or pressurised to portray their own potemkin. The potemkin image is asphyxiating Viennese culture. It will decay. What becomes of the Viennese identity?

Ground Floor Plan 1:100

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[External Interior] Development From the thematic massing model and the discussion at interim review centred around how the interior spaces express themselves on the exterior of the theatre.

Pulling out the interiors of the buildings and giving them a combined rebirth at the centre of the Karlsplatz should feel like the pieces have been pulled together extremities. As a result, the GC1 from GC2 theGC3 GC4 GC5 GC6 GC7 upper GC8 layer GC9 of the GC10theatre GC11 of the interior allows the public to create spaces as they see fit within the ruinous structure. From there, the next level of the theatre refines itself further with a suggested theatre space and finally at the lowest level is the offices, workspaces and dressing rooms. These layers each have a 65 New different environmental and atmospheric quality, from most natural to most controlled. 24

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On the Walkway On the Walkway On the Walkway

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[Panoramic Collage] Theatre of the Interior From within the theatre space, each of the (g)host buildings are identifiable through their motif elements. This combined with the moving natural daylighting and movement of activity on the level above all add to the assemblage feel of the space.

From within the theatre space, each of the (g)host buildings are identifiable through their motif elements. This combined with the moving natural daylighting and movement of activity on the level above all add to the assemblage feel of the space.

[Panoramic Collage] Theatre of the Interior

From within the theatre space, each of the (g)host buildings are identifiable through their motif elements. This combined with the moving natural daylighting

Urban Design: Infrastructure Regeneration: Milan, Naviglio Grande Masters in Urban Design - MaUD Accelerated Route Starting with Harry Heft’s text titled ‘Affordances and the Perception of Landscape’ we looked at ways in which we could transform the unfinished Aldo Rossi designed station at San Cristoforo, Milan into a space for the community to enjoy. The shell concrete structure offered a landscape for many possibilities. Observing the way that locals were using the site when we visited we, as a group of architectural students and urban design students, tried to provide a solution which used this as a catalyst for the future growth of activity. In its current state, local people are using the area surrounding the site for allotments, fashioning fences, furniture and sheds out of waste or disused items recycled and reused into new uses, or afforded or perceived in new ways. The proposal uses the new affordances of old materials to create vertical platforms which can be used in many ways. As vertical alotments or gardens for relaxing, for education spaces, playing and creating artwork. These platforms can also be transported out of the station frame structure to the canal parallel and floated into central Milan. Here they can be joined together to form temporary structures to host festivals and events before being taken back to the San Cristoforo site.

Sir Basil Spence Project: A Peopleâ&#x20AC;&#x2122;s Garden From a live competition run by Oxford City Council, our group created a brief that focused on generating a public realm for the people of Oxford. Currently, with huge oversaturated retail developments surrounding the site we believed that instead, parklands would have a greater social impact on the area. A beautiful city with dreaming spires and a bustling city centre, there is a presently a lack of pauses and places for people to unwind. The scheme seeks to provide a space to facilitate this shortage. The garden is sculpted in response to the existing Frideswide Square, local church and proposed retail developments, forming new spaces for interaction. It will be populated with an array of accommodation in the form of local artisan shops, market stalls and other community civic spaces. The Station within the park is the climax of a journey through this landscape. It hosts facilities unusual for a standard station such as group working spaces, bookswap and art studios all to entice people to visit, traveller or not.

The Landscaped Platform

Changing Materiality in the Park

Perspectival Study

With a large spanning landscape encompassing this sunken and seemingly unassuming railway station, it was imperative that we develop a single element that would act as a spinal link throughout our design. The concrete “Active Wall” manifests itself throughout the whole scheme, providing a balance between structure and architecture, taking many forms and providing many functions. The platforms, drop off, Concourse, Park, Hostel, all utilise these walls. Through their changing forms they act as place markers, creating spaces and routes. Their functions range through environmental and structural uses, to spaces for occupation. The scheme proposes a public space at a time when the public sector is under threat, and offers to facilitate a park for all people of the city when great social divides are forming nationally.

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Undergraduate Project: Cardia My final undergraduate project, a cardiac rehabilitation centre in Dorchester, Dorset. Set with surrounding parkland and mature trees whilst also being close to the centre of the town, the facility provides long term care and support for cardiac patients through their different phases of recovery, from inpatient to day patient to occasional consultation.

Creating a Sense of Community

Filtering of Views