MONIL MC GLYNN DESIGN PORT FOLIO
T: 0 7 9 6 1 0 4 3 9 1 1 M : M O N I L M C G LY N N @ L I V E . C O M
CONTENTS 07 09 15 21 25 29
background
modular
urban unit 38 practice a sense of play
2010
2009
2008
ELECTRONICS REPAIRS
MJP ARCHITECTS
LEYTON SIXTH - FORM COLLEGE
UNIVERSITY OF KENT
2014
2013
2012
2011 CAFE DES AMIS
21ST ARCHITECTURE LTD
SAVE THE SPOTTED DOG
ARTICLE 25
RESTLESS BEINGS
P R O F I L E
E D U C A T I O N
E M PLOYM ENT
V O L U N T A R Y
P U B L I C
K N O W L E D G E
A dedicated and keen RIBA Part I graduate, focused heavily towards the understanding of flow, fluidity and harmony of design. My work reflects that of thorough thought influenced by a diversity of disciplines and design processes to conclude an eclectic outcome.
Leyton Sixth-Form (2008-9) Foundation: Art + Design Merit Awarded
MJP Architects (2009) Architect’s Assistant
Article 25 (2010-11) Committee Member
EXHIBITIONS
SKILLS
FAD Exhibition, London (2009)
Cafe Des Amis (2011) Kitchen Assistant
Restless Beings (2012-13) Fundraiser + Assistant
Provided placement at MJP
EXIT 2012, Canterbury (2012)
Elaborate sketcher, model maker (in all design fields), sculptor, photographer + life drawer, and always expanding
PUBLICATIONS
WITH PROFICIENCY IN:
EXIT 2012 Catalogue (2012)
Adobe Photoshop + Illustrator + Indesign
In my spare time I am an avid sketcher and frequent attendee and participant in many exhibitions, talks and discussions. These are my personal ongoing methods for gain meaning as to the sole reason for design, and better persuing this understanding. Other than the chronology indicated above, I am additionally venturing to Mexico to help design an efficient and economical solution to help create shelters by the border. I am determind to never reject an activity or opportunity to expand, or broaden my knowledge.
University of Kent (2009-12) Kent school of architecture BA(Hons) Architecture Awarded
21st Architecture (2013-) Architect’s Assistant Save the Spotted Dog (2012-) Director + Trustee Electronics Repairs (2007-13) Self-Employed
Architect’s Journal (2014);
30 Marsh Wall Proposal, Canary Wharf (21st Architecture)
AutoDesk 3DS Max + V-ray, AutoCAD, Revit, Maya Vectorworks, Sketchup, Rhino + Grasshopper
BALANCE
CONFIGURE
CONCEPT
M O D U L A R
[ 2 01 1 ]
CANTERBURY, KENT
‘ Think back to how Univer sity Halls are, how would you improve the experience for your successor?’ The project brief specified a large quantity of student housing in the centre of a densely student populated town whilst preserving the heritage of the site at Greyfriars grounds and chapel. The key to organising the site, in my mind, was a balance between the open green grounds and provisions for a range of housing that accommodates for a diversity of cultures and their integration into the historic surroundings of Canterbury. Then in more depth; the brief delved into the specifics of how the individual modules should function based on personal experience.
LOGIC
This project revolves mainly around what I’d felt was the central theme of the brief; the configuration of the module itself, which had been frequently overlooked by a figure of a building. The solution stemmed from a very personal approach from my own experiences, to design with excitement; create compaction with luxury. Absolute privacy and yet cater for a sense of community. A Clear and easily differentiated zoning between reflection and social spaces. The design of the module originated at understanding basic forms and functions of a module and what could be deemed a comfortable space; which eventually concluded on the social, ‘cluster ’ module. This quite rapidly progressed through numerous forms and arrangements to implement excitement through a play of space.
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1ST FLOOR PLAN
UPPER FLOOR PLAN ALLOCATION
2ND FLOOR PLAN
CORRELATION
FLOODING
DISCORD
GREENERY
GROUND PLAN
LOCATION:MACRO CONNECTION
MICRO
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OVERVIEW
COMMUNITY SANCTITY SOLITUDE C E N T R A L A X I S PA S S A G E
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[2012]
RAMSGATE, KENT
[ I D E N T I T Y ] - the characteristics determining who or what a per son or thing is. Ramsgate; a culturally and historically rich seaside town located central to the Thanet region in Kent. Overlooking Europe and providing a strong gateway between the channel that separates them. From visiting the site, I was initially surprised at how this town had become partially dilapidated and under appreciated from it’s former glory and confident elevation along the coast. The urban grain of Ramsgate had rich cultural heritage buried under the modern commercial age, sandwiched between derelict buildings and punctuated with broken sign-age; resembling what I could only describe as a patchwork of identity. When asked to make a museum, I focused entirely on the idea of regeneration; of social and entertainment values that reflected successfully the surrounding in which it had been placed. This I felt could only be grasped by understanding the identity of what already existed in the area.
PEDESTRIAN ENTRY
U R B A N
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DESIGN PROGRESSION
ERRATIC PHASE
RATIONAL PHASE
DY N A M I C P H A S E
CIRCULATION FIGURE/GROUND
LIBRARY ENTRY
THE CENTRAL ATRIUM: CORE
F R A G I L E R E L I C S PA C E
ZONING
S I T E PA N O R A M A
A P P R OA C H : M A N I F E S TA T I O N O F I D E N T I T Y
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ARTICULATION
CONCEPT: CORE
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MUSEUM STORE LIBRARY MUSEUM ARCHIVE RARE EXHIBITION TEMPORARY EXHIBITION CENTRAL CAST SPACE PUBLIC EXHIBITION PRIVATE EXHIBITION MUSEUM FOYER SEMINAR ROOMS LECTURE SPACE
The final scheme reflects manifestation in the existing terrain keeping the energy of how the land shapes itself as a sea fronted town. The excitement and vibrancy of the profile alters the identity and form internally as it bounces around a huge core spanning vertically through the building. Each floor carefully represents a separate zone, this is accomplished through a change of identity and feel. The idea of the central core is to unify this chain of contrasting zones whilst forming a free-flowing passage through them.
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U N I T
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[ 2 01 3 ]
NEWHAM, LONDON
[ F O R T R E S S ] - a per son or thing not susceptible to outside influence or disturbance. During some reflection time, I realised I had a perfect opportunity to imply a little practical mentality to an otherwise considered, old and highly polished design method. Living in a terraced, Victorian house as is commonly seen around London, I frequently found it uncomfortable and impractical way of living under the constraints of modern life. The criticism and analysis constantly heard by a resident about their home made me have a suitable amount of information to provide exactly what the user desired. The comfort and navigation of this home were outdated and in need of rearrangement, despite the dwelling greatly satisfying the comfort and function demanded of them in the 19th century. The user, in this case, desired a space that maximised the small plot of land given, whilst appearing unique and interesting. Naturally, this could not be a complete detraction from the existing form of the street and had to give the traditional comforts of a house, which is where I derived a ‘fortress’ mentality when designing the home The proportions of elevation reflect those used along the street, but provide a striking and very protective modern take on a terraced dwelling whilst providing the most open and comfortable spaces within the dynamic exterior
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D UA L L A Y E R B E D R O O M
KITCHEN
EN-SUITE BEDROOM
UPPER BEDROOM
LO U N G E T H R O U G H TO T H E K I TC H E N
P V PA N E L S
UPPER BEDROOM
EN-SUITE BEDROOM
KITCHEN
SHED
A C C E S S PA S S A G E
DESIGN DISSECTION
GREEN ROOF
FRONT BEDROOM
S T U DY / LO U N G E
LOUNGE
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CELLAR
F A C A D E : E L E VA T I O N S H O W I N G W H I T E R E N D E R A R T I C U L A T I O N
WA T F O R D R O A D
G R O V E G R E E N R OA D
L E A B R I D G E R OA D
REDBRIDGE JCC
S U L I VA N R O A D
21ST ARCHITECTURE : [2013-14] A N G E L , I S L I N G TO N .
[ I N D U S T R Y ] - An activity or domain in which a great deal of effor t is expended. My experience in practice has been invaluable: teaching me to take my development and concept into the constraints and scrutiny of the built world. It has helped me better understand the process that are entailed in delivering commercial and larger scale projects through strict planning and precision. It has opened my eyes to how to communicate my ideas in higher quality, and under much faster paces. During my time at 21st, I have become adept at numerous programs that have helped me to take my traditional sketching process and extent that to the next level, as well as working on a great deal of projects resembling a mixed palette of constraints and disciplines. The diversity of design and visualisation work reaches from single and smaller residential schemes to masterplanning and tower design:
A PA R T M E N T I N T E R I O R : Q U A L I T Y O F S O C I A L S PA C E
G A T E WA Y H O U S E
GLOUCESTER AVENUE
C H U R C H R OA D
FLEXIBILITY
GREAT PORTLAND STREET
Guardian House Ella + Ridley Jacob’s House Commercial Street Redbridge JCC Grove Green Road Watford Road Westfield Avenue Gateway House 30 Marsh Wall Lea Bridge Road Princes Square Sulivan Road Gloucester Road Haverstock Hill Church Road, Leyton Great Portland Street Dwell Homes Wembley Site Hackney Police Station Ghana Site Stonor, Kuala Lampur Prototype (IBL)
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DEVELOPMENT: REDUCTION IN FOOTPRINT, OVERSHADOW AND MASS
E N V E LO P E D E TA I L
PERMEABILITY: A VIEW UNDERNEATH
3 0 M A R S H WA L L Working on 30 Marsh Wall provided me with the greatest insight on design discipline and visual representation. The pressure and requirements of the proposal demanded clarity and elegance in design, which had to be reflected along all stages and presentations. The work I was put under was the design of the amenity spaces and how they interacted with the general public, mapping out human flow and designing the spaces to appreciate the nature of the users, through sketches, orthographics and computer models.
VICINITY: EXISTING
VICINITY: CONSENTED
VICINITY: PROPOSED
The final outcome had to take into consideration that the explanation of these spaces had to be fully fleshed out and described to the client, GLA presentations and public consultations held to reassure the borough’s locals that our proposal considered their needs for social space.
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I M A G E O F R O O F TO P A M E N I T Y
I D E A O F S PA C E
ARRANGEMENT
PERMEATION
OBSTRUCTION
FLUIDITY
A
S E N S E
O F
P L A Y
: [...]
Unknown
[ P L AY ] - engage in activity for enjoyment and recreation rather than a serious or practical purpose [ I N T I M I D AT E ] - frighten or overawe (someone), especially in order to make them do what one wants. The briefing for this project was assigned as a third year project (Interdisciplinary) which forced me to experiment with a discipline outside of architecture. The integration is a mixture: tying in heavily with sculpture and photography, the central outcome is most comparable to an art installation. The experiment of this design is to enforce my ongoing philosophy of architecture through an eclectic, and expressive, medium.
LUMINOSITY
T R A N S PA R E N C Y
AMALGAMATION
BALANCE
This concept is to make the occupant the main subject, as a pose to the forms: mixing them between a rich sequence of intimidation balanced with interaction. This concept is stemmed from the fear that Richard Serra frequently uses in his pieces, and my personal understanding on how the balance of space and form can make even the most intimidating forms enticing to interact with. Contradicting traditional human perception.
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The final outcome reflects a control of space and the balance of colour; to create a vibrant and rich sequence of events. The configuration maintains a fluidity of motion and perceptively smooth transition of space, while leading the user through a varied. The playground of colour and experience entices the subject to interact with a multitude of emotions and spatial manipulation. The desired outcome expresses a curiosity: to see if colour and space can entice an audience of varied emotions to suit and enhance the diversity of each subjects, creating an illusion of a soft and gentle space.
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KSA 2009 - 14