HOLLY HARRINGTONHOLLY HARRINGTON

UNDERGRADUATE ARCHITECTURE PORTFOLIOUNDERGRADUATE ARCHITECTURE PORTFOLIO

PART 1 ARCHITECTPART 1 ARCHITECT

INTERIOR ARCHITECTINTERIOR ARCHITECT

CONTACT:

PHONE: 07539 222 442 EMAIL : harringtonholly@rocketmail.com

HOLLY HARRINGTONHOLLY HARRINGTON

UNDERGRADUATE ARCHITECTURE PORTFOLIOUNDERGRADUATE ARCHITECTURE PORTFOLIO

CONTENTSCONTENTS

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

BENARES, MICHELIN STAR

RESTAURANT, MAYFAIR

WO

RK

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 dis-

ruption to their operation.

From researching their brand and also the idea up-

on 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 decid-

ed 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, prod-

ucts, designed signage and branding and quota-

tions. I also organised the purchase, manufacture,

delivery and fitting of many such items.

The clients were also looking to expand their Wine Boutique and Private Cellar as another part of their business. This re-

quired new interior signage, and storage, and also lead to the client looking to revamp their branding and create gift ham-

pers.

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.

WO

RK

1 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, pa-

thology, 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 dis-

secting 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. Understand-

ing of anatomy, and anatomical clues is taught to the students in order to understand, recreate, and discover human

identities.

1 SCHOOL OF FORENSIC

ANATOMY & ART, TOWER HAMLETS

1 SCHOOL OF FORENSIC

ANATOMY & ART– DEVELOPMENT MODELS

2 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 thresh-

old.

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 in-

to 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.

FRAGMENTING TOWARDS

FREEDOM

3 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.

SECTIONAL PLANTING STRATEGIES

1. A. ROSEMARY

B. RIBBON GRASS

C. BROWN CAREX

D. HOSTAS

E. LOCATION A B C D E

1

2

3

4

2.

A. LAVENDER

B. GRASS

C. FOXGLOVE

D. LOCATION

PLAN A B C D E

3 PAVILIONS OF EXPRESSION,

REGENTS CANAL

STAGE 1: LIBRARY BUILT LANDSCAPE ELEMENT: CONCRETE,

PATH WALL & PLANTER

CONCRETE WALL—PART OF THE SUBSTRUC-

TURE. IT LEADS AS A NARRATIVE ALONG THE

PATH, HOLDING SEASONAL PLANTING SPECIFIC TO

THE 3 STAGES

SPRINKLER SYSTEM LIES IN THE BASE OF THE PLATING

BED WITHIN THE WALL FOR FOLIAGE MAINTENANCE

DIMENSIONS:

5

160

4

STAGE 2: MUSIC

LOCATION PLAN

DIMENSIONS : 2000MM BELOW

GROUND LEVEL

CONCRETE PUBLIC ACCESS STAIR OF 10 RISERS

APPROX WIDTH: 7000MM

3 ROWS CONCRETE STEP SEATING

EXTERNAL BUILT ELEMENT: OUT-

DOOR ACOUSTIC REHEARSAL SPACE

CONCRETE PIT- PART OF THE SUBSTRUC-

TURE

A SUNKEN PIT WITH STEPPED SEATING PRO-

VIDES A SEMI PRIVATE SPACE FOR MUSICAL

RECITAL.

ALL WALLS ARE RETAINING WALLS BURIED

INTO THE NORTH BANK.

BUILT NARRATIVE

ELEMENTS: SIGNAGE

CONCRETE SIGNAGE— PART

OF THE SUBSTRUCTURE

STAGE 3: PERFORMANCE BUILT LANDSCAPING ELEMENT: CAN-

OPY & DANCE PLATFORM

CONCRETE CANOPIES, DANCE PLAT-

FORMS & BENCHES— PART OF THE

SUBSTRUCTURE

EXPRESSIVE LANDSCAPE ELEMENT

WITHIN THE PROPOSAL PROVIDES

SHADE & SHELTER IN VARIOUS PLAC-

ES IN STAGE 3.

DIMENSIONS OF DANCE PLATFORMS

VARY ACCORDING TO THE PLAN.

DIMENSIONS OF CANOPY HEIGHT &

ANGLE VARY.

APPROXIMATE HEIGHT 2500MM X

WIDTH 1200MM X ANGLE 30 DEG

BENCHES SEEN IN VIEWS: HEIGHT

400MM LENGTH: VARIES

Stage one: An arts library based on knowledge and the mind is open to

the public. It is in a rigid grid format with no room for embellishment ,

echoing the mentality of the city working environment.

Stage two: One reaches the music boxes and the outdoor amphithea-

tre. These are still very much of a grid structure but are starting to

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 stand-

ing as pavilions of their own .

4 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 peo-

ples 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– cre-

ating 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

SOUNDSCAPE: sound( noun), and scape

(suffix)

THE SOUNDS OF AN AREA, DISPLAYED IN A METHOD SIMILAR TO

THAT OF LANDSCAPES

THE PACE OF LIFE IS QUITE FAST IN LONDON, BUT THIS CHANGES

AN INVISIBLE CITY IS

POPULATED WITHIN THE PARK.

UNDULATING AS THE LANDCAPE,

RHYTHMS

TRAVEL ACROSS THE PARK

4.1 RESEARCH- SOUNDSCAPE

ZONE 1

ZONE 2

ZONE 3

ZONE 4

ZONE 5

THE SOUND BOXES OF THE PAVILLION. THREE

DISTINCT ACOUSTIC SPACES.

1. ECHO ROOM

2. ANECHOIC CHAMBER

3. REPLAY ROOM

LANDSCAPE LEVELS. EACH LEVEL IS FINISHED

WITH A DIFFERENT SURFACE GIVING RISE TO A

VARIETY OF FOOTSTEPS.

PLAY AREA.

THE TUNNEL. A SEMI SUBTERANNEAN SPACE

PROVIDING VIEWS ACROSS THE LAKE.

OUTDOOR LANDSCAPE AREA WITH LARGE

WATER FEATURE

4.2 LANDSCAPE PLAN -SOUNDSCAPE

INTERNAL CAFÉ ENTRANCE TO ECHO BOX ANECHOIC BOX

4.3 SOUND CUBES, PAVILLION OF SOUNDS

5 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 Centu-

ry 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 un-

derground, 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 over-

looking London. Infill from the Northern Tube

Line construction was used for the grounds of

Inverforth. It was originally built by Lord Lever-

hulme, an English industrialist.

6 STREET SHED, PHOTOGRAPHER’S

STUDIO HOME, LONDON

Client’s brief: a sustainable small dwelling which can act as both work stu-

dio 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/ din-

ing area, and a loft style bedroom. Also the exterior is not to be treated

with any anti-vandalising agents.