J ILL M ALTBY
J ILL M ALTBY 515.240.9841 | jlmaltby@iastate.edu www.jlmaltby.weebly.com 02 | 03
SELECTED WORKS:
THE AESTHETICS OF WASTE
06 | 13
CCIOD
14 | 19
DEMONSTRATION SOHO
20 | 25
MAUSOLEUM
26 | 31
MACHINE
32 | 35
PLOT + FORMS
36 | 39
MOTION STUDY
40 | 41
BOND’S INVESTMENT
43 | 46
RESUME
47 | 48
04 | 05
The Aesthetics of Waste
Jungwoo Ji - Fall 2014 Team: Matt Darmour-Paul, Han Kwon, & Jill Maltby Awards: 2nd place CSI Competition Construction Specification Institute
Boston, MA 10 Weeks Size: 10,000 SF
When confronted with designing the Boston Music Complex in the recently rebranded ‘Innovation District’, we found material itself to be the most politically and architecturally significant factor in our design. We sought to embrace the culture of re-use and salvage that is unique to Boston as it is a city that expands it’s own perimeter when needed. It has historically done so with material considered to be waste, like the remains of the Great Fire of 1872. The cultural significance of the Seaport District is being eliminated by an influx of developer driven urbanization. We were concerned with the speed and severity of this construction, and the cultural amnesia it sets in motion.
SALVAGED SITES | SEAPORT
USE OF WASTE | 18TH CEN. BOSTON
SALVAGE AND TRANSPORT | CONCEPT
1/8” = 1’ GRID FOCUS | MODEL
06 | 07
We salvaged 5 specific buildings currently scheduled for demolition; the Neptune Restaurant, Floating Dock, the Rum Room of Pier 4, the District Hall assembly space, and the Chapel of Our Lady of Good Voyage. We are proposing the buildings are deconstructed into panels to be recomposed on site. Our definition of complex deals with varying scales of both audience performance, but also represents the several stages music travels through. Our project seeks to embrace the political dimensions of architecture through material, by responding directly to an urbanization project that is not inherently sustainable. It seeks to gather up the scale and spaces of buildings that would otherwise be torn down, and re-purpose them in a new way.
SECTION N | PRACTICE | 1/16” = 1’
08 | 09
MA IN
DR (PE OP OP OF LE F Z /LO ON AD E IN G)
EN
TR Y
HA
RB
OR
NE IG AC HB CE OR SS HO
WA L
K-
OD
VIE
W
TO WA R
DS
DO
WN
TO W
N
0) CONTEXT - PLOTTING ARCHAEOLOGICAL GRID
1) GATHER ABANDONDED SPACES
ARCHAEOLOGICAL GRID
2) PROGRAMMATIC DIVISION - CIRCULATION
SEAPORT SPACE TO BE SALVAGED
PROGRAMMING | CIRCULATION BASED
FRAMING | STAGE & FINANCIAL DISTRICT
RESIDUAL SPACE | STAINED GLASS
UNIFORM MATERIAL | EXTERIOR
STRUCTURE | CONCRETE WITH STEEL FRAMING
SYSTEMS | RADIANT | HEAT RECOVERY AT CHIMNEYS
SALVAGED MATERIAL | INTERIOR
RESIDUAL SPACE | VISUALIZATION
SALVAGED MATERIAL PANELIZATION | MODEL
10 | 11
Entry | Ticketing: 400 SF
SKYLIGHT DETAIL 1”=1’ VERTICAL WOOD SIDING RIGID BOARD INSULATION METAL CLIPS STRUCTURAL STEEL BEAM BOLTED TO PRE=FAB CONCRETE WALL RE-PURPOSED BARKING CRAB “CIRCUS TENT” ALUMINUM CLIPS, WELDED TO BEAM
Experimental Performance: 3,500 SF
SKYLIGHT STOP BLOCKING
PRE-FAB CONCRETE WALL, STEEL PLATE EMBEDS REPURPOSED BARKING CRAB SIDING METAL CLIPS
Back of House: 1,000 SF
RIGID BOARD INSULATION VERTICAL WOOD SIDING
SKYLIGHT
Mechanical | RR: 800 SF
M EC H. HRV .
Outdoor Performance Cafe: 2,500 SF
STAINED GLASS/FLOOR DETAIL 1”=1’ RE-PURPOSED STAINED GLASS WINDOW
WOOD SILL STOP BLOCKING RIGID BOARD INSULATION METAL CLIPS VAPOR BARRIER REPURPOSED BARKING CRAB SIDING CONCRETE WALL VERTICAL WOOD SIDING
Water Taxi Stop
STRIP WOOD FLOORING 2 1/2” PLYWOOD LAYERS VAPOR BARRIER RADIANT TUBING CONCRETE SLAB COMPACTED SAND OR GRAVEL VAPOR BARRIER COMPACTED GRAVEL
CAST IN PLACE CONCRETE HAUNCH
MECH
.
PROTECTION CONCRETE STEEL CHANNEL WELDED TO PLATE GROUT
STAINED GLASS TO FLOOR
Practice Rooms: 2,000 SF
L1 & L2
N | 1” = 40’
SELECTED DETAILS
CAFE | VISUALIZATION
12 | 13
CCIOD
Professor Gregory Palermo - Fall 2013 Columbus, IN 12 Weeks Size: 25,000 SF
The Columbus Center for Innovative Objects of Design acts as an outlet for both local and global visitors to experience various scales of innovation. The museum stems from the idea that Columbus is primarily on exhibition, itself. As a city rich with architectural composition, the CCIOD aims to maximize the potential to exhibit approach to design in addition to the final product. Designing with processed-based program at the building’s perimeter, space resolves across the site from showcase to protection-based space. Using the entry sequence as a destination from essential neighboring buildings, the proposal allows for one to shift through space similarly to how the building shifts across the site.
DETAIL #2
STEEL BEAM / GIRDER WOOD PANELING AT CEILING TIMBER COLUMN (RAISED AT BASE) WINDOW WALL
ALUMINUM MULLIONS (8”, BLACK)
SLATE PAVERS CONCRETE SLAB
SUPPLY AIR
1m=
MASTER DIAGRAM
ENTRY SEQUENCE CONCEPT SKETCH
SCALE: 1/5 (metric equivalent of 3” = 1’
W. FACADE DETAIL
ENTRY SEQUENCE | LIGHTING STUDY
14 | 15
temporary gallery
inventor residence lab
temporary gallery
admin.\ archive
main stair
permanent gallery education \ shop entry
permanent gallery
L2
N \ 1\64” =1’
L1
N \ 1\64” = 1’
dock
restaurant
MAIN STAIR | LIGHT EXHIBITION | VISUALIZATION
16 | 17
PERMANENT GALLERY | VISUALIZATION
18 | 19
Demoscene
Chamila Subasinghe - Spring 2013
New York, NY 12 Weeks Size: 40,300 SF
This proposal aims to highlight the intensified relationship between humanity and technology. Through those that align with the Demoscene subculture, the proposal serves as a space for the production, potential collaboration, and ultimate demonstration of the highly digitalized art form; a product known as a Demo. Programmatically, each unit is equipped with digital canvas which is able to penetrate boundaries in order to engage with both building occupants as well as the public at street level via the residents’ preference. As ‘Sceners’ are often introverted by nature, the screen can be as public, or private, as they see fit. In time, the hint at production via the unit canvas system will ultimately draw those curious to the virtual reality lab, where full demonstrations can be found on exhibition as the primary store front program.
SITE SECTION COMPOSITE | SKETCH
UNIT STACKING CONCEPT | SKETCH
DEMONSTRATION | VISUAL
COURTYARD DEMONSTRATION MASTER | VISUALIZATION DIAGRAM
RESIDENT DEMONSTRATION PRODUCTION | VISUALIZATION
BUILDING TO SITE PROPORTION
POTENTIAL FACADES WITHOUT PRESENTATION
POTENTIAL FACADES WITH PRESENTATION
PRESENTATIONS MAXIMIZED
MAXIMIZE FACADE SURFACE AREA FOR ‘DEMOS’ | DIAGRAMS
VIRTUAL REALITY LAB LL
N \ 1/32” = 1’
STOREFRONT L1
N \ 1/32” = 1’
RESIDENTIAL L 2 - 6
N \ 1/32” = 1’
22 | 23
SECTION N 1\16” = 1’
VIRTUAL REALITY LAB STOREFRONT | VISUALIZATION
24 | 25
Mausoleum
Professor James Spiller - Spring 2012
Chicago, IL 6 Weeks Size: 45,000 SF
A project dedicated to the homeless of Chicago, the Mausoleum is located at the intersection of S. Wabash and E. Van Buren. Utilizing film, we shot footage of light, sound, materiality, and behavioral patterns within Chicago. The goal; to discover connections between researched phenomena and observed reality. Isolating a number of scenes within the created film, we mapped the narrative using selected geometries as a codification system. The codification system is called out in the arrangement of the above ground urns, dedicated to the homeless of Chicago, whom the Mausoleum is designed to commemorate. Each major district of Chicago would be represented by color, allowing both building users and those passing on the elevated line to identify those who have passed from their own district. Employing scale, elevation, and light, the mausoleum is designed to create an awareness for the otherwise unknown.
3 point geometries indicate: light 4 point geometries indicate: self Construction lines indicate: emotion
SITE SECTION COMPOSITE | MIXED MEDIA
CODIFICATION
INTERACTION DIAGRAMMING | WATERCOLOR | INK
SITE SECTION COMPOSITE | WATERCOLOR | INK
26 | 27
S. WABASH APPROACH | MODEL
ABOVE GROUND URNS | CONCEPTUAL SKETCH
28 | 29
SECTION S | 1\32” = 1’ | INKVV
L1
N | 1\16” = 1’ | INK
VIEW ACROSS ELEVATED LINE | MODEL
30 | 31
Machine
Professor James Spiller - Spring 2012 Team: Kelsi Thrasher and Jill Maltby
Ames, Iowa 6 Weeks Size: 43 SF
Fear of self-confrontation. Each plastic panel poses a question in attempt to force one to reflect on being. The user would answer each question with the typewriter provided, which contained no paper or ability to record an answer. By typing, an open circuit wired to a VCR located above the ceiling panel would power on. All wiring was strung from the VCR down the already suspended panel, beneath the raised platform and up though the typing podium. The drumhead on the VCR was equipped with a miniature paint roller which had clear fishing lines connected to each of the 5 panels. The more questions one answers, the more enclosed one becomes.
PROCESS INSTALLATION: FEAR OF TIME
DECONSTRUCTED
INTERACTION
SKIN
SKIN STUDY II | MODEL
32 | 33
PODIUM STUDY | SKETCH
PANEL CONCEPT | DRAWING
PODIUM CONSTRUCTED - FEAR OF SELF CONFRONTATION | FINAL MACHIENE
FULL ENCLOSURE EXTERIOR | FINAL MACHIENE
34 | 35
PLOT + FORMS
Professor Jungwoo Ji - Fall 2014 Team: Matt Darmour-Paul, Han Kwon, & Jill Maltby
Demilitarized Zone 6 Weeks Size: 500 square km
An estimated 2.2 million land mines are embedded in the Korean DMZ. We recognize the material presence of danger in our new global stage, and address it straightforwardly as an architectural problem. The regularity of the grid is graphically superimposed over the dynamic terrain of the 38th parallel. Mine clusters and existing growth are allocated as points onto this grid, creating a charted field or PLOT. This PLOT is then given physical FORM by means of columns, planks, and seed stations. PLOT+FORMS are both the process of territorial reclamation and the physical evidence of that process. The PLOT+FORM’s capacity to reveal invisible dangers, while not interrupting existing biological flows, are their primary function. Between mines are a series of seed stations equipped with soil bricks consisting of fertile biomass from both North and South Korea of which are thrown to detonate mines. PLOT+FORMS are both functional and symbolic, creating a new cultural layer by means of peaceful interaction and collective ownership.
SECTION \ 1”= 12’
DETECTION
DETONATION
REGENERATION
PROGRESSION
36 | 37
N. KOREA
1. DETECT
2. MAP
3. CONSTRUCT
4. DETONATE
5. REGENERATE
6. CIRCULATE
S. KOREA
FERTILE BIO MASS
DETONATE
SEED STRATEGY DIAGRAMMING
SITE PLAN ‘MINE LOGIC’
ENEMY \ 1” = 10’
DETECTION
DETONATION
REGENERATION
38 | 39
Motion Study
Professor Francesco Mancini - Spring 2014
Rome, Italy 10 Weeks Graphite study
I had the opportunity to study several spaces in Rome, however few recent works resonated with the same strength in comparison to Renzo Piano’s Parco della Musica. Under the direction of Professor Francesco Mancini, I was able to develop a study starting with human movement and it’s progression through both historic and modern space in Rome. Using the Parco della Musica as a modern piazza, I was able to map and compare user navigation of a historic piazza on the Tiber Island. Together, the drawing series investigates human interaction with the public setting, and attempts to map human progress across the space.
HUMAN MOTION SERIES | SKETCH
PARCO DELLE MUSICA | ENTRY STUDY | GRAPHITE
40 | 41
Bond’s Investment
Elia Zenghelis Master Class - Spring 2015 Team: Aniket Nagdive, Jill Maltby, & Zhaoyu Zhu Additional Critics: Nadia Anderson, Ross Exo Adams, Pete Goche, and Ivonne Santoyo Orozco Boston, MA 10 Days Size: 10,000 SF “The goal of these next ten days is simple really; I want to know what you stand for”
WWII
2013
Historical figures used on notes 1970
Currency viewed as highly complex pieces of technology
1 pound coins replaces 1 pound 1983
The Bond Panorama skyline construction drawing by Air Rade Precaution soldier Arthur Bond
Bank note re-designed 1957
1925
The Bond Panorama composed 1930
1914
1899
1883
1,000 pound notes issued 1879
Victorian days of Bank 1859
demolition of Soane’s bank and re-built. 7 stories above ground and 3 below.
1855
1833
bank fills “island site” = 3.5 acres and is today the present day site
Operation Bernhard: evacuated 1945
WWI currency forgery begins; utilization of foreign coins
1828
demand for gold increases due to potential for invasion by French
1815
1788
the Bank Pickett created (military protection of the bank)
The Restriction Act 1797
1788
Robert Taylor Bank : Complete 1788
The Gordon Riots 1780
1765
1732
The Popery Act of 1698 1698
1688
Foundation: The Bank of England 1694
began as anti-Catholic protest in London against the Papists Act of 1778 (exempts those taking the oath from some provisions of the Popery Act of 1698)
The Bond Panorama composed 1944
N a pol e onic Wa r s Cross-section of public represented in “subscription” Represents collective efforts regardless of power. Sign of “trust” in the Bank of England (1,268 people in 11 days)
Sir Herbert Baker
A C Blomfield
Sir Arthur Blomfield
PC Hardwick
Professor C.R. Cockerell: Begins
John Soane : Begins
Sir Robert Taylor : Begins
George Sampson : Begins
Bond’s Investment draws from a time when the people of London collectively advocated for institutional representation of value as Capitalism continued to develop from its 14th century foundation. London, today, continues to identify with the Bank of England as both a building and an institution, though circulation of capital has mutated from the collective efforts of 16th century London and the foundation of the Bank. Bond’s Investment depicts an abstraction of The Bond Panorama, an image of the 1944 London skyline constructed by Bank of England employee and artist Arthur Bond, who stood watch with ARP (Air Raid Precaution) wardens during World War II as Capitalism continued to navigate away from the collective, and towards the individual.
RESEARCH | ‘PARADIGM’ BANK OF ENGLAND
PROCESS | PANORAMA ABSTRACTION
PATTERN AND CONSTRUCTION FOCUS | INK
42 | 43
BOND’S INVESTMENT
44 | 45
EDUCATION Iowa State University – Ames, Iowa BArch – Professional Degree August 2010 - May 2015 Iowa State University – Rome, Italy Study Abroad January 2014 - May 2014
ADDITIONAL WORK EXPERIENCE
Waukee Warrior Regiment Drum Line – Waukee, Iowa Volunteer Front Line Instructor Summers: 2010-2013 Iowa Financial Partners – Ankeny, Iowa Marketing Assistant June 2002 - May 2011
RELATED WORK EXPERIENCE
PUBLICATIONS
Elia Zenghelis - Master Class Iowa State University Spring 2015
DATUM No. 5 - Binocular Vision Agents of Production: ‘Lens: Music’ Fall 2014
ASK Studio – Des Moines, Iowa Architectural Intern IDP - 2,000 hours January 2015 - Present Summers: 2013, 2014
Lightfoot Documentation Summer 2014
Iowa State University – Ames, Iowa College of Design Teaching Assistant: Design Studies 111 January 2015 - Present
Lightfoot Documentation Summer 2013
RELATED SKILLS
Iowa State University – Ames, Iowa College of Design Teaching Assistant: LaDan Omidvar, Joe Muench Fall 2012, Spring 2015 Iowa State University – Ames, Iowa College of Design Teaching Assistant: Design Studies 115 August - December 2014
DATUM No. 3 - Perspectives ‘Inception of Wrongness’ ‘Boat House’ Fall 2012
Proficient: Revit, Illustrator, InDesign, Photoshop, SketchUp, AutoCAD, Hand Drawing, Sketching, Laser Cutting, 3-D Printing, Microsoft Office
Developing: Rhino, 3DSMax, Adobe After Effects, and Vasari Languages: English (native USA) German (advanced)
AWARDS AND HONORS
REFERENCES
CSI Competition | 2nd Place “The Aesthetics of Waste” | Construction Specifications Institute of Central Iowa Fall 2014
MR. BRENT SCHIPPER, AIA, LEED AP – Principal of ASK Studio ASK Studio – 3716 Ingersoll Avenue, Des Moines, IA 50312 (515) – 277 – 6707
William M Dikis, FAIA Service Scholarship American Institute of Architects, Iowa Chapter Fall 2014
bschipper@askstudio.com
Lightfoot Scholar Department of Architecture, Iowa State University Spring 2014 Designation Lightfoot Scholar Department of Architecture, Iowa State University Spring 2013 Designation Spiros Mentzelopoulos Book Award Selected by second year architecture faculty Fall 2012
ADDITIONAL INTERESTS/ACTIVITIES Iowa Women in Architecture: Students 5th year coordinator and student branch founder Fall 2012 – present DATUM - President Student-run architectural journal at Iowa State University Editor, former treasurer, writer, photographer, publicity coordinator Fall 2011 – present Jazz Ensemble 1 Jazz vibraphonist and soloist Fall 2010 – Spring 2011
MR. JUNGWOO JI -Lecturer and Principal of EU.K Architects Department of Architecture at Iowa State University (914) - 419 - 4589 techarch@iastate.edu MR. JAMES SPILLER – Lecturer and Studio Instructor Department of Architecture at Iowa State University (515) - 294 – 3543 jspiller@iastate.edu
DR. MIKESCH MUECKE - Associate Professor and Advisor Department of Architecture at Iowa State University (515) - 294 - 8786 mikesch@iastate.edu
MS. MINDY COOPER - Academic Advisor and Design Learning Communities Coordinator College of Design at Iowa State University (515) - 294 - 3680 macooper@iastate.edu
46 | 47
J ILL M ALTBY 515.240.9841 | jlmaltby@iastate.edu
www.jlmaltby.weebly.com