DANIEL O.

SMITH
BA (Hons), Dip Arch

CURRICULUM VITAE

Charlie Cochrane Silver Medal for Architecture 2012

PERSONAL DETAILS
+ DOB: 22.12.1987 + A : 2 4 R ob i n s o n C l o s e , S e l s e y , C h i c h e s t e r, P O 2 0 0 F D , U K + E: smith.o.daniel@btinternet.com + T: 07889672358 + W: www.danielosmith.co.uk

2004-2006 +A Levels: Art, Physics, History, +AS: Maths, Critical Thinking + T h e We a l d S i x t h F ro m C o l l e ge , B i l l i n g s h u r s t +NCFE: Blacksmithing + Metalwork + C h i c h e s t e r C o l l e ge , B i l l i n g s h u r s t

PROFESSIONAL EXPERIENCE
+ A R C H I T E C T U R A L A S S I S TA N T + J O N AT H A N T U C K E Y D E S I G N , L O N D O N , U K + June 2009 - September 2010 + June - September 2011 + June - September 2012 Wo r k i n g a t J T D m a i n l y i n v o l v e d w o r k i n g o n h i g h e n d re s i d e n t i a l p ro j e c t s f ro m c o n c e p t d e s i g n a n d f e a s i b i l i t y s t u d i e s t o d e t a i l i n g s m a l l e x t e n s i o n s a n d l a r ge r competition entries involving multiple consultants. + P ro d u c e d f e a s i b i l i t y s t u d i e s a n d d e s i g n d o c u m e n t s f o r p re s e n t a t i o n s . + A t t e n d e d a n d h e l d m e e t i n g s w i t h c l i e n t , c o n t ra c t o r a n d c o n s u l t a n t s . + P re p a re d a n d s u b m i t t e d p l a n n i n g a p p l i c a t i o n s , i n v o l v i n g c o n t i n u a l d i s c u s s i o n w i t h p l a n n i n g o ffi c e r s . + P re p a re d d ra w i n g s f o r d e t a i l e d d e s i g n a n d p ro d u c t i o n o f i n f o r m a t i o n f o r c o n struction. + K e y m o d e l m a ke r w i t h i n t h e o ffi c e ra n g i n g f ro m s ke t c h c o n c e p t m o d e l s t o 1 : 2 0 Fa c a d e S t u d i e s . + A ke y p a r t o f a n i n t e r n a t i o n a l t e a m t o d e l i v e r t w o c o m p e t i t i o n s n e g o t i a t i n g w i t h c o n s u l t a n t s w i t h i n E u ro p e . + A R C H I T E C T U R A L A S S I S TA N T + B P T W PA R T N E R S H I P, L O N D O N , U K + June - September 2008 B P T W w a s a n i n t ro d u c t i o n i n t o t h e w o r k i n g w o r l d o f a rc h i t e c t u re , w o r k i n g a l o n g s i d e a rc h i t e c t s a n d d e s i g n e r s t o d e l i v e r i m a ge s f o r c o m p e t i t i o n s a n d p u b l i c a t i o n w h i l s t a l s o p ro d u c i n g C A D d ra w i n g s f o r p l a n n i n g a p p l i c a t i o n s .

AWARDS
Glasgow City Council Charlie Cochrane Silver Medal for Architectu re W i n n e r 2 0 1 2 T h e Fo re s t S c h o o l A r t C u p 2 0 0 5 : W i n n e r

COMPUTER LITERACY
M A C + P C , A u t o c a d , Ve c t o r w o r k s , S ke t c h u p , P h o t o s h o p , I l l u s t ra t o r, I n d e s i g n

EXHIBITIONS
+ M AY 2 0 1 1 + New Glasgow Society + D i p l o m a w o r k u s e d i n t h e re - o p e n i n g o f t h e N e w G l a s g o w S o c i e t y E x h i b i t i o n + APRIL 2011 + Glasgow School of Art + C o - c u ra t e d e n d o f y e a r H o u s i n g P ro j e c t w i t h i n T h e L i g h t h o u s e E x h i b i t i o n Space + JUNE 2010 + J o n a t h a n T u c ke y D e s i g n + C o - c u ra t e d a n e x h i b i t i o n o f m o d e l s t o s h o w c a s e J o n a t h a n T u c ke y D e s i g n

REFERENCES
+ J o n a t h a n T u c ke y + D i re c t o r a t J o n a t h a n T u c ke y D e s i g n a n d t u t o r a t T h e U n i v e r i s t y o f G re e n w i c h + E : d e s i g n @ j o n a t h a n t u c ke y . c o m +T: 0208 960 1909 + G ra e m e M a s s i e + D i re c t o r a t G ra e m e M a s s i e A rc h i t e c t s a n d t u t o r a t T h e M a c k i n t o s h S c h o o l o f A rc h i t e c t u re + E : i n f o @ g ra e m e m a s s i e . c o m + T: 0131 556 9911

EDUCATION
+ 2010-2012 + D i p l o m a i n A rc h i t e c t u re ( P a r t 2 ) + M a c k i n t o s h S c h o o l o f A rc h i t e c t u re , G l a s g o w + 2006-2009 + 2 : 1 B A A rc h i t e c t u re + U n i v e r s i t y o f G re e n w i c h , L o n d o n

ACADEMIC WORK
DIPLOMA YEAR 2

Reykjavik has grown rapidly over the last century. Factors including vast amounts of land and small population has meant the city has not developed a highly dense urban grain but spread, leading to an interesting permeability. This permeability is both physical and visual. Many blocks within the city cannot be moved through but still seen into and across. Physical permeations are often incidental routes and inactive spaces caused by car parks, derelict land or unclaimed space around buildings. This space, although giving the appearance of neglect is characteristic and key to the city obtaining character through the scale of context and uses such as protection from changing weather fronts. Despite the uses and characteristics created by these spaces, their remains strong active frontages to blocks and neglected or private cores which could be utilised and defined through the use of programmatic function within the block as well as on the front instead of succumbing to the increasing practice of replacing an entire block as an entire construction destroying the urban characteristics. This Thesis sets about exploring and changing the character and atmosphere of the incidental, accidental and inactive space through the exploration of densification using a building and programme insertion that are deliberate definers of space through the physical manifestation and active function of programme. This programme, after much exploration, became the Icelandic Fashion Council Institute. It is run by, and for, Icelandic fashion designers. The goal of the institute is to join Icelandic fashion designers in a tight knit community and support their creativity and business adventures. One of the main concerns of the institute is to enlighten the public on the importance of fashion design and its fast growing business nationally and internationally, becoming a major international contributor to the fashion scene within the last 4 years.

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
DIPLOMA YEAR 2
1 2

1 Concept model examining the permeability of a city block 2 1 : 1 C a s t m o d e l o f m a t e r i a l p a n e l fa c a d e

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
DIPLOMA YEAR 2
1

1 L a n e c o n n e c t i n g L a u g a v e g u r a n d H v e r fi s g a t a , e x p o s i n g e x i s t i n g a n d n e w s t u d i o s a n d c o v e re d c o u r t y a rd . 2 N e w P u b l i c s p a c e b e i n g u s e d a s a c a t w a l k f o r a w i n t e r c o l l e c t i o n f ro m t h e I c e l a n d i c I n s t i t u t e o f Fa s h i o n

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
DIPLOMA YEAR 2

1 P u b l i c e n t ra n c e t o t h e Fa s h i o n I n s t i t u t e i n c o r p o ra t i n g a n e w p u b l i c s p a c e o n t o L a u g a v e g u r, t h e b u s i e s t h i g h s t re e t i n R e y k j a v i k . 2 M a s s i n g c o n c e p t m o d e l 1 : 2 0 0 , Wo o d , Fo a m a n d C a rd b o a rd

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
1

DIPLOMA YEAR 2

1 S e c t i o n s h o w i n g n e w p u b l i c s p a c e a n d e n t ra n c e , c o v e re d c o u r t y a rd a n d re l a t i o n s h i p t o s u r ro u n d i n g s t re e t s . 2 U p p e r G ro u n d F l o o r P l a n

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
DIPLOMA YEAR 2
1 2 3

1 E x t e r n a l Fa c a d e S a m p l e , T h e S t u d i o s a n d w o r k s h o p s h a v e a w i d e f ra m e o n t h e e x t e r n a l fa c e . T h i s f ra m e s t h e v i e w o f t h e d e s i g n e r s a n d p ro c e s s . 2 I n t e r n a l M a t e r i a l A s p e c t , T h e P u b l i c s p a c e s w i t h i n t h e b u i l d i n g h a v e f ra m e s i n t e r n a l l y a n d t h u s f ra m e t h e v i e w o u t o f t h e b u i l d i n g . 3 D e t a i l e d S e c t i o n t h ro u g h P u b l i c ro u t e a n d P r i v a t e s t u d i o s s h o w i n g re l a t i o n s h i p o f f ra m e s i n t e r n a l l y a n d e x t e r n a l l y g i v i n g t h e fa c a d e a r e a d a b l e c h a r a c t e r a s t o programmatic layout and intrigue as to what is being framed.

ICELANDIC INSTITUTE OF FASHION

ACADEMIC WORK
DIPLOMA YEAR 1

The concept originated from an exisiting morphology of the Georgian proportion. This is eminent throughout Glasgow, especially within the central city Grid. The site used to be occupied by Georgian housing and thus the immediate context is still of Georgian proportion and rhythm within the City. Looking forward it is important to recognise what was previously on the site, and using this rhythm of four Georgian houses, forms the essence of the concept, both internally and externally. The brief included housing 7 objects from the Burrell collection of varying shape, size and necessary conditions. These conditions from light to atmospherics drove the design, using them as a guide for movement and conditions within the relevant galleries.

BURELL IN THE CITY

ACADEMIC WORK
DIPLOMA YEAR 1

1 L o n g s e c t i o n t h ro u g h t h e M u s e u m . 2 S ke t c h e s e x p l o r i n g t h e s p a t i a l re l a t i o n s h i p b e t w e e n g a l l e r i e s

BURELL IN THE CITY

ACADEMIC WORK
1 2

DIPLOMA YEAR 1

1 M o v e m e n t b e t w e e n w a l l s , re f e re n c i n g t h e ge o r g i a n h o u s e s p re v i o u s l y o n t h e s i t e a n d s t i l l w i t h i n t h e c i t y a s v e r t i c a l m o v e m e n t . 2 Te c h n i c a l B a y S t u d y . 3 E x t e r n a l v i e w f ro m B a t h S t re e t .

BURELL IN THE CITY

ACADEMIC WORK
DIPLOMA YEAR 1

This project is an effective Glasgow council lead campaign to sell PDs, the idea that these can be collectively bought and erected by communities to re-inhabit these vacated structures; taking advantage of the monotonous plan to provide interchangeable and flexible plug-ins: discos, swimming pools, saunas, conservatories, the list is endless. Adverts sell a lifestyle, similar to the original utopic imagery of the 50s high rise, however rather than a paternalistic solution. The PDs facilitate a community lead and affordable IKEA spirited personalisation of the inhabitants immediate environment, creating vertical streets of amenities and breaking the monolithic sections. This project did not seek to comment on the successes or failures of the high rise as a typology, merely to highlight the contained ironies of the blanket solutions to construct and demolish. Our reaction is situated in the official condemnation of these towers where upon they stand abandoned,for up to a decade as they await demolition, forming hollow monuments to a forgotten optimism.

HIGH RISE HOUSING

ACADEMIC WORK
1

DIPLOMA YEAR 1
1 Exhibition in the Lighthouse, Glasgow. 2 Timeline of High Rises in Glasgow showing our POD to b e i n s e r t e d j u s t b e f o re d e m o l i t i o n . 3 B i l l b o a rd s a d v e r t i s i n g P O D o u t s i d e B l u e v a l e , t w o c o n demned High Rise buildings within Glasgow.

HIGH RISE HOUSING

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN

The winning entry for this competition is for a mixed use site in Folkstone. The site encompasses three current houses which will be changed into a mixed used site that is opened up into a public walkway, with 3 retail units and 4 residential units. This project is on an interesting site as the two streets running parallel are at different levels creating an interesting dialogue between the new connecting path and the retail units on the ground and lower ground floors and the new residential units above. The models below are 1:25 Facade mock ups of a Rodeca Facade, hopefully the first residential use within the UK.

THE USUAL SUSPECTS, FOLKESTONE

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN

1 1 : 2 5 Fa c a d e M o c k u p o f t ra n s p a re n t R o d e c a w i t h v i s i b l e s t r u c t u re . 2 P ro p o s e d re a r e l e v a t i o n t o To n t i n e S t re e t b u i l d i n g .

THE USUAL SUSPECTS, FOLKESTONE

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN

A new build house in London. Set over three floors including a basement, the site is highly constrained, with a 5 storey residential building adjoining and two 9 storey residential blocks overlooking. Pre-cast concrete louvres at ground floor allow light in but block views from the overlooking buildings. The house has a strong arts and crafts feel. Materially it is a mixture of traditional and contemporary, with brick, exposed structural timber and polished concrete.

GROVE END ROAD, LONDON

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN

1 M a t e r i a l s ke t c h e s , Wo o d e n s h i n g l e s w i t h l o u v re s , C o r t e n a n d g l a s s . 2 1 : 5 0 M o c k u p m o d e l , f o a m b o a rd , c a rd a n d w a l n u t

GROVE END ROAD, LONDON

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN

This was a competition to design 6 Lock Houses along the Somme Canal incorporating a hollistic approach to the whole canal basin and tourism ideology set out by the French Local Authorities. An exciting setting and interesting existing buildings lead to a comprehensive design process to create an indiviual approach to every Lock House due to differing programmes whilst tying them all together. in a common recognisable language. The process involved working alongside a local French Architect and an internationally renowned Landscape Architect in Belgium.

SOMME LOCK HOUSES

PROFESSIONAL WORK
JONATHAN TUCKEY DESIGN
1

1 S i m p l e c o n c e p t d i a g ra m s f o r L o c k H o u s e i n t e r v e n t i o n s 2 E l e v a t i o n f o r a L o c k H o u s e I n t e r v e n t i o n , F ro s i s y , S o m m e , F ra n c e

SOMME LOCK HOUSES

PROFESSIONAL WORK
1 2

JONATHAN TUCKEY DESIGN

1 1 : 2 0 0 C o m p e t i t i o n m o d e l f o r a n e w s c h o o l E n t ra n c e , K i l b u r n L a n e . ( L i s t e d i n A J t o p 1 0 s m a l l p ro j e c t s 2 0 1 2 ) 2 C a r b o a rd a n d 3 - d p r i n t e r m o d e l f o r a p ro p o s e d i n t e r v e n t i o n , W i m b l e d o n . 3 E a r l y M o d e l f o r Fo l ke s t o n e c o m p e t i t i o n .

MODELS

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