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Sophie Harris

Interior Architecture & Design BA (HONS) Graduate - 2:1

HARRISOPHIELIZABETH@GMAIL.COM

Sophie Harrisharrisophielizabeth@wordpress.com

harrisophielizabeth@gmail.com07580039289

Profile

Graduate of Interior Architecture and Design BA (Hons) from The University of Portsmouth. I am enthusiastic

and seek any opportunities to use and demonstrate my academic skills and work ethic in a professional creative

environment.I am particularly interested in; travel which allows me

access to new art exhibitions and architecture, this inspired my IAD university projects whilst working in

various art mediums. I appreciate the colours, patterns and materials made internationally, my curiosity of these

cultures keeps me up to date with current affairs and feeds my interest in art.

Social Media

Sophie Harris; • LinkedIn harrisophielizabeth; • Instagram• Word Press• Pinterest • Flickr

Education

The University of Portsmouth – 2:1

BA (Hons) Interior Architecture and Design (2013 - 2016)

Dissertation topic; The 20th Century Controversy: Women in Architecture.

Employment Experience

Dawson Design Associates (2016 - 2017) Junior Interior Designer - Hospitality• Experience in CAD drawings; plan, elevation, RCP, CFP, detail & custom furniture • Custom furniture design & review• Writing & researching FF&E specifications• Concept rendering plans & elevations• Meeting with vendors & organising material library• Insight into all elements of the design process

Folly Farm (2013 - 2015) Catering Staff• Training new staff, while following all guidelines and company policies• Ability to fit into any job role within a short time• Capable of working independently using own initiative to complete a given task

Withybush Hospital & South Pembrokeshire Hospital Health & Social Care Resource Centre (June 2012) Work Experience• Care for elderly outpatients• Shadow rehabilitation centre and appointments

The Old Kings Arms Hotel (2011 - 2013) Part Time House Keeping Staff• Thorough understanding of safety precautions• Strong communication and time management skills• Long term ability to reliably perform physically demanding role

Pembroke School (2006 - 2013)

A level: Art & Design: B, Media Studies: B, Spanish: DGCSE: 11 A*-B inc. English, Mathematics and Science

School Achievements • Welsh Baccalaureate - Advanced Diploma• Duke of Edinburgh Award

References

University Lecturer - Rachael BrownRachael.Brown@port.ac.uk

Previous Employer - Julia BenfordJuliaB@dawsondesignassociates.com

Previous Employer - Kate TorokHR@folly-farm.co.uk

Head of Sixth Form - Jonathan Jones,Jjones@pembrokeschool.org

Professional Skills • Adobe Photoshop• InDesign CS6• Auto CAD• Google Sketch Up• Microsoft Office 2016• Hand drawing• Model Making

Charity Work

Green Acres, Animal Rescue (2017) Volunteer

Working at animal rescue centre helping with daily care of all animals, as required.

Tenovus, Local Cancer Sup(2010) Volunteer

Working as part of a team, Responsible for organising stock, Arranged decoration of store and window displays.

Additional Information

I also have a full clean driving licence

Contents

Final Major Project

Phenomenology Historicalchanges&scheduleofaccommodation Client & visit to ‘Art Space’ Concept models Typology Axonometric model Prototyping Plan Section Conceptperspectives Artefact ‘Something in a frame’

Interiorcommunication&professionalstudies

Material details - Stool Material details - Chair PartB:Firestrategy-Section

Dissertation;Women:AnArchitectural Controversy

Abstract:Introduction Images Research tables

Identity

Artefact Linoprinting

Bastion6

Site plan SiteSection Detail Baysections Final model Elevations Perspectives

Field trips

Photography Sketches

Final Major ProjectDesigning; Art Studios for creative people with space to exhibit works &

group workshops indoor & outdoor.

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Original framework of warehouseWell lit, Double height

Original hierarchy of spaces Wall placement - North, South & East, WestGeometries

Phenomenology

Sun orientation

Winter

Summer

North

“As a building may have, is even liable to have, particularities or peculiarities, which may be due to a variety of things. They may be a result of eccentricities in the original, diffi-culties of the site or later impositions.” Fred Scott - Altering Architecture 2007

Sketches of existing buildingExposed brick, ironworks artefacts, courtyard

1704 1710

1717 1726-36

1849-59 1863

1867 1873-74

Historical changes of Treadgold’s

Public

exhibition space 60+ m2 group workshop 60+ m2outdoor studio 30+ m2cafe 25+ m2shop space 20+ m2facilities - WC, kitchenette 5 m2

Private

Individual studios 6 - 10+ m2office 10 m2area for staff 8 m2facilities - WC, kitchenette 5 m2stores 2 m2back entrance

Group Workshops / Studio Exhibition Space

Individual StudiosShop Cafe

Outdoor Studio

Store

Office Facilities

Schedule of accommodation

Client

Art Space & Aspex, PortsmouthResidenceforartistsofPortsmouth,withadjoiningexhibitionspace

Community of artistsPromoting Portsmouth business

Creative freedom

Studio#3 - Storage space

Studio#1

Studio#2

4m Long

5mWide

3m Ceiling

5m Long

2.5mWide

3m Ceiling

Visit to Art Space, analysis of studios

Discoveries:

Artistsprefertoworkwithnorthlightasitiscoolandreliable.Eachspaceispersonalisedbyitsspecificuser.Anysizedspacecanbeutilisedforanartstudio.Theartistsof‘ArtSpace’havecreatedtheirowncommunity.Storagespaceiscrucialforsavingartwork.

Creating insertions without touching the original building, counterpoint of new and old

The Dovecote Studio, by Haworth Tompkins Architecture in Suffolk.

Pacific Ave Artist Studio by Dumican mosey architects

Concept models & precedents for studio

Entrance - Shadows

Modeling furniture

3.

Concept Models, design process, prototyping, precedents

Concept models 1.100 & sketches for insertion

Schemata Architects Tokyo factory collaged into main

warehouse space

Luchetti Krelle’s New York styled cafe collaged into exist-

ing shop space

DH Liberty warehouse collaged into existing

warehouse space

Typology, Treadgold’s & Precedents

Axonometric model

Glulam studio insertions

Fire resistant glass enclosed entrance

Floor plan of insertions

Existing site of Treadgold’s

I t was essent ia l for me that the

new insert ions do not touch the ex ist ing bui ld ing

& that i t was

treated as an artefact within i tse l f ,

with each studio hav ing a f ramed v iew of i t .

Being able to walk around the bui ld ing

f reely between the insert ions and the o ld

bui ld ing .

When decid ing on a f i re escape method, creat ing a

g lass enc losure

encas ing the ex ist ing bui ld ing,

emphasis ing the

counterpoint

between the o ld and new mater ia ls , whi lst a lso being

funct ional .

Photographs of ‘Prototyping’

1.100 Card Model

1.100 model of existing walls of Treadgold’s, filled with sculptural models of insertion ideas.

Working in scale 1.100 helped me to develop the width, height & overall appearance of the insertions, as it is easier to in visage the creation within the existing space.

1.100 Acrylic Model

As my ideas developed & I became clearer on my concept of the studio insertions, I created this model to show how the blocks filled the space and their relationship with the existing.

Helping to illustrate the flow around the new insertions, and original structure.

Art Warehouse, Ground floor plan 1.125

1. Main entrance2. Enclosed glass entrance3. Cafe / Display of Artist’s work4. Kitchen5. Elevator6. Studio7. Workshop8. Group studio9. WC10. Emergency exit11. Fire stair

1M

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6.6. 6.

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A

AC

C

B B

Art Warehouse, Section A-A 1.125

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10M0M

1. Enclosed fire stair2. Studio3. Group studio space4. Elevator

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Reference plan sections

1.

A

A

A

Concept perspectives

1.

2.

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4.

3. Main entrance, existing building encased in glass, displaying the building itself

1. Visualisation for insertion in main warehouse space

2. Imagining a studio space & how it can be utilised

4. Conceptualisation of studio space & uses

7.

5.

6.

8.

Perspectives & Precedents

5. Studio space emphasising contrast between existing & new materials

Ant House by mA-style architects

Cedar house micro homes by S Plus One in Japan

Architects Alessandro Orsini and Nick Roseboro of

Architensions 6. Visualising warehouse insertion in existing building

Perspectives

7. New courtyard created within main warehouse space

8. Exhibition gallery within existing first floor shop space

Photographs of ‘Artefact’

1.20 acrylic & MDF model of studio insertion with laser cut MDF furniture; Chair, table & bookcase. MDF mimics the material qualities of plywood, which the furniture is designed to be cut from.

The studio is of ample space for working and becoming a personalised art workshop for its user, as all furniture is interchangeable, sustainable and recyclable.

The large glass walls ‘windows’ expose user to as much day light as possible, whilst contrasting the new studio space with the existing building outside it.

‘Something in a frame’

Interior Communication and Professional Studies

Developing our knowledge on professional standards by applying;building regulations, costing, risk assessment & materials to our final major project.

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Interior Architecture & Design

Unit 340 684393

Scaleasshown

ArtWarehouse,Portsmouth

Material detail specification:ArtWarehouse,OldWork-shopstudioInsertion,Furniture - Stool

Sophie Harris

Projecttitle

Drawingtitle

Drawnby Drawn#:

AO1

Date:26.4.16

North Elevation Section B-B Section A-A South Elevation

A

A A

AB

B B

B

5.9m

7.3m

6.1m

3.8m

4.2m

6.3m 6.3m

1.40 plan of left, first floor studio in old workshop insertion

1.200 plan of left, first floor studio in old workshop insertion

1.10 drawing of stool with dimensions

3.2M

2.9M

Axonometric drawing of stool within left studio - not to scale

Flat pack stool

Nofinishneeded,highqualityfaceveneerandcanbemadefromalmostanytypeoftree,meaningthereareplentyoffinishestopickfromdependingonthe need.

Affordabletoproduce£28.98forplywoodpanel9x2440x1220(supplier Robbins).

Sustainableduetohowthinthehardwoodiscut,meaningonetreecanbeusedtomakemanypanelsofplywood,industrialprocessingisheavilyinvolvedbutwhencomparedtohowlongatreetakestogrow,isasmallsacrifice.

Reliableduetothegrainsofeachwoodlayerrunninginalternatingdirections,meaningplywoodexpands&contractsverylittle,thisiscalledcross-graining.

9mmthickBirchplywoodBB/BB grade

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Interior Architecture & Design

Unit 340 684393

1.10 @ A3

Date:13.4.16

ArtWarehouse,Portsmouth

Material detail specification:Furniture - Chair

Sophie Harris

Projecttitle

Drawingtitle

Drawnby

Face veneer

Back veneer

Aseachsheetiscompressed,eachlayerwillconform to defects in the adjacent layer

Coreveneers,graindirectionofeachpanelis90degreesadjacenttooppositelayer

Axonometric - not to scale

18mmthickBirchplywoodBB/BB grade

Flat pack chair

Sustainable,economic,recyclable,innovativefurnitureCNCmilledtocreatesnugjointsandjunctions2440x1220CanbecreatedfromonepanelofplywoodNofinishneeded,highqualityfaceveneerEasily repaired or parts replacedEasilysourced,widelyproducedmaterialAffordabletoproduce£49.22forplywoodpanel18x2440x1220(supplierRobbins)

Drawn#:

AO2

Tolerance

NominalThickness,mm 18Number of piles 35Average actual thickness, mm 17.5Weight,kg 32

Legend

Fireexitillumination sign

Emergencyfirestair

Protected means of escape

90minutefiredoor

WheelchairRefuge

Fireextinguisher

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Interior Architecture & Design

Unit 340 684393

1.125@ A3

ArtWarehouse,Portsmouth

Part B: Fire Strategy -SectionA-A

Sophie Harris

Projecttitle

Drawingtitle

Drawnby Drawn#:

A11

Date:9.02.16

1M

2M

3M

5M

7M

10M0M

Reference plan sections

A

A

Section A-A

Part B: Fire Strategy

4.32Everyinternalescapestairshouldbeaprotectedstairway

4.36Everyprotectedstairwayshoulddischarge: a.directlytoafinalexit;or b.bywayofaprotectedexitpassagewaytoafinalexit.

4.38Aprotectedstairwayneedstobefreeofpotentialsourcesoffire.

5.8Wheretherelevantperformancecanbemetintermsofbothintegrityandinsulation,thereisnorestrictioninthisApprovedDocumenton the use or amount of glass. 5.36Allescaperoutesshouldhaveadequateartificiallighting.

5.37Everyescaperouteshouldbedistinctivelyandconspicuouslymarkedbyemergencyexitsigns.

Studio(Room06)

Group Studio(Room 13)

Stairwell(Room16)

Courtyard(Room18)

Studio(Room 21)Studio

(Room28)Studio(Room29)

Stairwell(Room 30)

Studio(Room 11)

Studio(Room36)

Studio(Room 37)

Studio(Room38)

IdentityExploring what we are passionate about to influence our

dissertation and final major project.

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Artefact - Promoting Visibility

Women in the arts who were maginalised by their significant others in the 20th century, inspired by dissertation research.

Celebrating their designs and their legacies.

Lucienne Day - TextilesMargaret Macdonald - InteriorsRay Eames - ArchitectureVivienne Westwood - Fashion

Invisible Pioneers Recognition

[the husbands’] ‘It is all the more surprising to find that the women designers they not only greatly admired but chose to

live and collaborate with have been relegated to the margins of history’. (Kirkham, 1995)

Creative Medium

I chose to use a lino print to represent women in design, as I could create my own artwork by using the womens most notable patterns / designs.I liked to experiment with repetition and different colour ways, to then create (on opposite page) my artefact - images of the marginalised wives shadowed by their creations - credited to their husbands. This then fed my desire to learn more about women in architecture to create my dissertation. The fact that the women represent four different art mediums increased my passion to create studios for my final major project that can be open to all creatives

and to celebrate all creative industries.

Lino printing

DissertationExploring the 20th century differences to

men and women in architecture.

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Abstact-Introduction

This dissertation sets out to reveal issues of inequality for women in 20th and 21st century architectural practice. It will identify the history of persistent discrimination towards women, those who are hidden in their architect husband’s shadow.

In architectural history the great male predecessors and their precedents to the subject are exceptionally documented, however the women who participated in these architectural traditions are not. Hardly any progress was made upon women being recognised in architecture for the first half of the 20th century, until the impact of feminism which came about in the 1960s, women in architectural practices began challenging inequality and started speaking out and actively fighting against injustices in architecture,

Evidencing feminism as being one of the elements to provoke equality for women in architecture, helping change the archaic male dominated culture. This led to the formation of feminist co-operatives which began in the 1970s and recognition of women in architecture with; Matrix, which then inspired 21st century female practices such as; Muf and Parlour.

Creating an awareness in the 21st century of women in architecture and the battle they still face against; inequality between peers, education, background, quality of work and the pay gap that is still visible and not yet completely diminished between qualified architects

this data is worryingly low for the 21st century and can be addressed by; flexible working hours for both professional and personal reasons for men and women, equal education and the contemporary precedents of women in architecture.

Aims to clarify in this dissertation are: why women have been undermined in the 20th century, how architectural traditions have been changed by women and why discrimination against women in architecture still continues to happen in the 21st century.

Women:AnArchitecturalControversy

‘Untilrecently,historiansassumedthattherewerenofemalepractitionersbeforethemid-20thcenturyandsotheydidnotbothertolook.’(Stratigakos,UnforgettingWomenArchitects:From

thePritzkertoWikipedia,2013)

‘Thesechangeswerenotdueexclusivelytofeministactivismandideas–butwouldnothavehappenedwithoutthem.’(TorreS.,2014)

‘female architects earn on average 25 per cent less than men in similar roles’ (Mark, Gender pay gap: beyond shocking, 2014)

Clockwise from top right:Architects journal, 2015 survey of Women in Architecture (Arcilla, 2015)Dale School From a Void to a Volume of Possibility 2006–2009 (Muf, 2009)Mother trying to cross road with young children, access problem, page 43 (Matrix, 1984)Parlour’s guides to equitable practice (Clarke, Parlour Guides to Equitable Practice, 2015)

Clockwise from top right:Robert Venturi and Denise Scott-BrownCharles and Ray EamesCharles Rennie Mackintosh and Margaret Macdonald MackintoshJane Drew surrounded by male architects

Table 1

Creative Wives

Art couples, women hidden in their husband’s shadow.

Medium Date Active Male FemaleArchitecture 1888 Charles Rennie Mackintosh Margaret Macdonald MackintoshArchitecture 1960 Robert Venturi Denise Scott BrownArchitecture 1930 Charles Eames Ray EamesArchitecture 1934 Maxwell Fry Jane DrewArchitecture 1924 Louis Kahn Ame TyngArchitecture 1970 Daniel Libeskind Nina LewisArchitecture 1968 Rem Koolhaus Madelon Vriesendorp/Petra BlaisseArchitecture 1950 Cesar Pelli Diana BalmoriArchitecture 1890 Frank Lloyd Wright Olgivanna LW/ Lilly ReichArchitecture 1985 Wang Shu Lu WenyuArchitecture 1949 Peter Smithson Alison SmithsonArchitecture 1914 Le Corbusier Charlotte PerriandArchitecture 1917 Gerrit Rietveld Tiuus Schroder SchraderArchitecture 1906 Mies Van Der Rohe Lilly ReichArchitecture 1929 R D Russell Marian PeplerArchitecture 1908 Walter Gropius Ise FrankArchitecture 1978 Enric Miralles Carme Pinos/Benedetta TagliabueArchitecture 1921 Alvar Aalto Aino AaltoArchitecture 1899 Walter Burley Griffen Marion Mahoney GriffenArchitecture 1938 Robin Day Lucienne DayArchitecture 1976 Michael Hopkins Patti HopkinsArchitecture 1980 Mario Gandelsonas Diana AgrestArchitecture 1979 Ricardo Scofidio Elizabeth DillerFashion 1971 Malcolm Mclaren Vivienne WestwoodArtists 1958 Christo Jeanne ClaudeFashion 1909 Arthur ‘ Boy’ Capel Coco ChanelArchitect Planners 1937 Leslie Martin Sadie SpeighGraphic Design 1914 Edward Mcknight Kauffer Marion Dorn Kauffer

Date Active Name Practice1973 Zaha Hadid Own practice1962 Eva Jiřičná Own practice1988 Meta Brunzema Own practice1985 Judith Sheine Own practice1986 Jeanne Gang Own practice1994 Sarah Wigglesworth Own practice1998 Christine Hawley Own practice1985 Amanda Levete Own practice1987 Kazuyo Sejima Own practice2007 Mabel O. Wilson Own practice1926 Margaret Schutte-Lihotzky Architect1939 Lina Bo Bardi Architect1950 Ada Louise Huxtable Architectural critic1943 Jane Jacobs Architectural critic1978 Jennifer Bloomer Architectural author1890 Charlotte Perkins-Gilman Feminist1965 Julia Kristeva Feminist1897 Mary Ritter Beard Feminist1992 Ananya Roy Urbanist1973 Doris Saatchi Art & design journalist1980 Matrix1994 Muf2013 Parlour2013 Architexx1977 Arquitectonica1979 Future Systems2013 MISS1981 Koning Eizenburg1978 Grafton2009 VPPRTable 2

Women in 20th / 21st Century Architecture

Women who have founded their own practices, created multi-disciplinary practices and influenced architecture.

Table 1 Table 2

Bastion 6Exhibition Design

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1.WC2.StaffArea3. Cafe/Shop4. Entrance5. Cleaning cupboard 6.Parking7.ExhibitionSpace8.WoodenTankExhibit9.NatureWalk10. Auditorium11. Memorial Garden12. Exit13.Freshwater

A

A

Bastion6

A scheduled ancient monument in the north of Portsmouth, proposed to be the newsite of the WW1 museumcurrently housed in Fort Widley.

Surrounding the Bastion is anature trail pathway followingthe Hilsea lines, making the Bastion an ideal break spotor feature along the trail.

If I were to follow through withmy design ideas in Bastion 6, Iwould correspond with EnglishHeritage, explaining my need for new openings in the rear of thescheduled ancient monument, to create links with the localnature of the Hilsea lines, and exposing Bastion 6 to increasedfootfall into the museum.

The structure is made from local red brick. On a site visit I was inspired by the bricksplicing that creates arches and groins supporting the structure.

Contrast the link with theoriginal monument’s splicing and the surrounding environment, to create a modern piece of furniture that creates a floor, displaycabinets and seating.Made fromtimbertohighlightthelinktotheoutside, spliced together in the samewayastheoriginalstructure.

As emphasis in our brief and from the clients was put onhow we display the WW1artefacts, and the journey wecreate through the exhibition.

Site Plan

Materials

SiteSectionA-A

Slicesection1:20

1. 2.

1. Sectionof auditorium including; stepped seatingandblock seating, both created out of local, sustainablerustic cut timber,matte finishes, so as not to slip. Alsoshowing the raised timber flooring, original floor level,andwerethenewinsertiontouchestheoldbrickbuilding.

2.Detailofsuspendedsplicedtimberfloor.Underbattonfloor joists ( I-beams) sit on foamgaskets, abovedampproof membrane covering existing concrete floor.Insulationprotectionlayersitsagainstlistedbrick.Pressuretreatedsoftwoodcreatesfloordecking,withaclearfinish.

Detail

Detailofsuspendedtimberfloor1:2

Bay 1 -

Entrance,welcomearea,cloakroom,disabledlift.Allbaysarenottoscale.

Bay 2 -

CauseofWW1exhibitionarea,artefacts displayed in glass cases, and

screenshowingWW1films.

Bay 3 -

Uniformsdisplayandinteractivefloorexplaining about countries involved in

WW1.

Bay 4 -

FloatingdisplaydescribingairunitsusedinWW1,cabinetsholdinglandartefactsandinteractivetableabout

the sea.

Bay 5 -

SocialaffectsonBritain,personalletters,photographsandpropaganda

posters.

Bay6-

Endofthewar,largescreenshowinghappy, joyful images of the conclusion

ofthegreatwarandexit.

Bay 7 - Tank exhibit

WoodentankleadingtotheHilsealinesnaturewalkandaneducationalplaceforschoolgroups,withviewsoverBrackish

watermoat.

Referenceplanofbaysections

BaySections

Precedents

Final Model

A1:100modeloftheBastion,showingthe rear tankexhibit,how thetimberfloorfitsandflowsinthelinearspace,the floor creating stepped seatingfor the auditorium area and the placement of the memorial pond.

ElevationofBastionfa-cade

ElevationofBastionrear

Elevations

Perspectives

Collage of interior facing north east Collage of west elevation Collage of exterior facing west

Collage of interior facing east

Field tripsSketches & photographs

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Milan & Venice 2015

NewYorkCity2016

Sketches

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