PORTFOLIO M A D D I E B E L G R A V E
CONTACT
Tel: 503 880 9588 Email: maddiebelgrave@gmail.com 4324 NE 41st Ave Portland, OR 97211 maddiebelgrave.com
REFERENCES
ELISANDRA GARCIA-GONZALEZ Design for Spacial Justice Fellow University of Oregon garcia.elisandra@gmail.com 915 490 9762 JUSTIN FOWLER Director, Portland Architecture Program University of Oregon jfowler8@uoregon.edu 757 753 9608 STEVE MALANY President, P&C Construction smalany@builtbypandc.com 503 572 7290 ZELJKA CAROL KEKEZ Principal, PLACE zeljka.c.kekez@place.la 503 320 8885 MAX MALANY Project Engineer, Turner Construction mmalany@tcco.com 971 930 9939
EDUCATION 2020 - 2022 Portland, OR
MASTER OF ARCHITECTURE, TRACK II UNIVERSITY OF OREGON, SCHOOL OF ARCHITECTURE + ENVIRONMENT Urban Design Specialization
2016 - 2019 Portland, OR
BS, ARCHITECTURE PORTLAND STATE UNIVERSITY, SCHOOL OF ARCHITECTURE Dean’s List DRC Note Taker
2014 - 2016 Corvallis, OR
OREGON STATE UNIVERSITY, COLLEGE OF BUSINESS Interior Design + Business Marketing focus
EXPERIENCE Spring 2019 Beaverton, OR
DESIGN + CONSTRUCTION OF CHICKEN COOP, SENIOR CAPSTONE Portland State University Senior Capstone - volunteer collaboration students at Terra Nova School of Science and Sustainability, a high located in Beaverton, OR. Educating students on basic architectural process in order to design, renovate, deconstruct, and re-build the chicken coop.
with school design school’s
LEADERSHIP EXPERIENCE June 2019 - now Portland, OR
CERTIFIED INSTRUCTOR, BARRE3 PORTLAND
Dec 2016 - 2022 Portland, OR
LEAD FRONT DESK, BARRE3 PORTLAND
Foster a strong, tangible sense of community in classes and in the studio with both coworkers, guests, and clients. Responsible for leading and delivering a remarkable class and experience. Barre3 instructors have a passion for fitness while embracing whole-body health, community, and connection.
Responsible for ensuring strong client relations while maintaining an organized, clean, and welcoming studio atmosphere; with a strong focus on sales, membership. Assist studio management. Help continuously evolve barre3 studio standards, help with in-studio and off-site events. Leading by example, and imprinting on other staff.
SKILLS + INTERESTS
Graphic Design / Public Speaking / Creative Storytelling Illustration / Collage / Rendering Adobe Creative Cloud - Photoshop / Illustrator / InDesign Rhinocerous 3D / Vray / Grasshopper / Revit / RhinoInsideRevit / AutoCAD
EDUCATIONAL WORK
THESIS: The Catwalk Reclaiming Infrastructure 24 Hour Neighborhood Sticky Spaces
THESIS: The Catwalk
Urban Violence Laboratory Professor: Elisandra Garcia-Gonzalez Central Eastside, Portland, OR
[Rhino, Adobe Illustrator, Photoshop]
In the Urban Violence Laboratory each student was taked with investigating a subtopic in Urban Violence related to design, architecture, and urban design, in order to propose an architectural project that could prevent, mitigate, or disrupt existing systems of violence. My thesis is addressing gender-based violence against women and other marginalized genders within the urban fabric.
Haven’t you heard? When beginning my research I started looking into things that make the city feel unsafe or unwelcoming as a woman, things like lack of lighting, tall facades without entries, vacant lots, underused space under overpasses and lack of sidewalks/pedestrian infrastructure. This led me to picking my site at the heart of portland’s central east side; on 3rd avenue, spanning the blocks between Morrison and Yamhill. My project is a proposal for a safe street for queer individuals, at the heart of Portland’s Central East Side. Inspired by drag culture and the forming of chosen families, the street is anchored by three “houses:” the fashion house (makers spaces for the sewing and tailoring of costumes), the music house (a recording studio), and the performance house (dance studios/event venue) to support entrepreneurship and provide creative amenities for local artists. The interstitial spaces between these anchors transform existing industrial loading docks into outdoor stages, all connected by an urban catwalk. The catwalk is intended to connect the architecture while hosting introverted and extroverted street activities*, softening bridge infrastructure, and de-paving part of the city, further creating green spaces within the city to foster security, community, and joy for all gender identities. *During my research I was intrigued by an article by fem_arc_collective where I learned about the origins of the term “gossip,” it was originally a term for way that women or other marginalized communities communicated in regards to their safety, survival, and used as a way to build community. Today the term has been stigmatized into something negative, because people outside of these marginalized communities felt othered by the whispers. My project is a host for these more intimate moments “for gossip” as well as extroverted moments; for show, performance, and exuberant celebration of identity.
If you know, you know The Central East Side is notorious for having little existing sidewalks, is extremely car-focused, and has two large overpasses passing over it. Simultaneously, this site has a bright and vibrant art culture: Portland Street Art Alliance has been commissioning local artists to paint murals in attempts to make this the “mural district” within Portland. In addition, the neighborhood has a thriving flea culture and underground art culture. This “underground culture” inspired me to research more into queer art forms such as drag (while now it’s become much more mainstream) historically, queens and other performers come out at night, and drag events (Balls and Pagaents) originated as an underground scene where Black and Latinx gay, trans and queer people developed a thriving subculture, where they could express themselves freely and find acceptance within a marginalized community. Drag balls were considered illegal and taboo to the outside world in the early 20th century, which drove the competitions underground (and also undoubtedly added to their appeal). Attendees were invite only, or knew someone who is there or competing. Drag balls evolved into House Balls, which became the birthplace of voguing.
Gossip Pocket
Outdoor Stage
Performance House
Entertainment Plaza
Music House
Muse
[inv
Fashion House
Wall of Wigs
eum Walk
version of the closet]
THE CATWALK
[2nd floor plan]
[SOUTH ENTRY]
[MUSEUM WALK]
Performance House DANCE STUDIOS
INDOOR STAGE
OUTDOOR STAGE
Urban Catwalk UPPER CATWALK
LOWER CATWALK
GOSSIP POCKETS
Fashion House COMMUNITY FASHION STUDIO
[CITY LIQUIDATORS]
INDIVIDUAL FASHION STUDIOS
MUSEUM WALK
RECLAIMING INFRASTRUCTURE Professor: Carla Bonilla-Huaroc Eastbank Esplanade Portland, OR
[Rhino, Adobe Illustrator, Photoshop]
The goal of this studio was to design innovative and inviting public architecture through the reuse of infrastructure leftover space. This project retakes and repurposes the public spaces that have been overtaken by car driven expansionism and imagines new ways for humans and nature to reclaim existing industrial infrastructure for public use. The form can be understood through various conditions of defamiliarization of the existing columns of the overpass. “Fake” columns have been added and gradually become distorted, twisted, and rescaled as you move towards the center of the site.
These new columns create new typologies of space for humans + wildlife. Some columns will be rescaled wide enough for wildlife and human activity to be hosted inside these new columns, and some deformations will allow the columns to become floor plates for balconies and upper levels. The program of this space is flexible, ever-changing, and undetermined. It will primarily be used as a public market with rotating vendors. and outdoor event venue where the specific programs can change seasonally, or for various nights of the week based on local interest.
OBJECT STUDY
In the early stages of this studio we were tasked to create an artifact that is scale-less and takes familiar architectural or infrastructural elements along the Eastbank Esplanade and distorts them in odd ways, either by using an element in a strange way, or mixing and matching a series of them. For my artifact I distorted the the overpass and created a bulletin board concert posters. the grungy feeling of the
structure of texture from Leaning into belly of the overpass.
Willamette River
SEATING
HOUSING
ROTATING VENDORS
TRANSPECIES COLUMNS
MAIN STAGE GREEN ROOM
CAFE
*
*
* [SITE AXON]
[SOUTHERN ENTRY TO SITE]
[BALCONY DINING]
[VIEW FROM STAGE]
Defamiliarization of the Column
Rescaling BALCONIES
ROTATING VENDOR SPACE
SEATING
Distorting RETAIL
MAIN STAGE
GREEN ROOM
Retrofitting TRANSPECIES DESIGN: PERMANENT PROGRAM: use of ECOncrete to DINING increase biodiversity on site
24 Hour Neighborhood
Collaborators: Payne Fleming + Mckenzie Vanko Professor: Justin Fowler Old Town Chinatown, Portland, OR
[Rhino, Revit, RhinoInsideRevit, Adobe Illustrator, Photoshop, Premier Pro]
Our project aims to transform the closed-off corporate tower One Pacific Square and integrate it with the rest of the neighborhood by developing spaces to revitalize and connect the district during all hours of the day (and night) through the market, public art, and other events – becoming a 24-hour neighborhood, for everyone. The building is an embodiment of Old Town’s historic characteristics while challenging what night infrastructure can provide. Design decisions were derived from the study of a series of moments within existing urban conditions which were then transformed to create new experiences that engage light and shadow, mutating from day to night.
Cool kids never sleep Since the 1850s, Old Town has been considered the late-night entertainment hub of Portland. Today, it comprises a number of bars, concert venues, and strip clubs. Within the past decade, the nightlife scene has become so prevalent that it has been named Portland’s “Entertainment District,” where streets are barricaded from cars for late night partygoers to roam freely. Oldtown is divided into culturally distinct sub-districts: Japantown / Chinatown, The Japanese Historical Plaza, Skidmore, the Entertainment District, and the Waterfront. These existing subdistricts lack a networked connection. The waterfront is activated during summer weekends with businesses active on weekdays. The entertainment zone, in contrast, is activated during the weekend evening hours by young party goers coming from outside of Oldtown. These sub-districts are isolated by occupancy, noise, and light. This project embraces the nostalgia of Portland’s historic Old Town neighborhood, while mutating and enhancing the experience of the city for future generations, providing a variety of non-alchohol centric activities; thus creating a 24-hour neighborhood for everyone.
HISTORIC SOCIAL CULTURE OF OLD TOWN
stories of what is, what was, and what might have been
GROUP
MORPH
SEAT
SHELTER
PLANT
HEAT
FACADE
CONTEXTUALIZE
LIFT
replace with primary transparent structure glass
external advertising
images
patterns
COMMUNICATE
SHADE
secondary structure
camouflage
tertiary structure
internal advertising
6” square semi-transparent + PV panels
optical illusion
movement
OBSERVATORY HOUSING
RESIDENT LOUNGE + LAUNDRY DINER +
COVERED TERRACE LIBRARY + CAFE OFFICE + RETAIL PUBLIC MARKET
AM PARKING // PM ROLLER RINK
OBSERVATORY
RESIDENT LOUNGE + LAUNDRY
MEDIA FACADE FOR MOVIE SCREENING
It’s goin down in Old Town https://youtu.be/6-DW4JxY1vE
APPROACH TO SITE
COVERED TERRACE
LIBRARY + CAFE
OFFICE + RETAIL
PUBLIC MARKET
STICKY SPACES Collaborators: Amy Arroyo + Payne Fleming Professors: Nico Larco The Green Loop Portland, OR
[Rhino, Revit, Adobe Illustrator, Photoshop]
Our goal with this project was to make the park blocks a place that people stick around in (understanding success as staying after work, or staying if communiting on the green loop, or for an event). We focused on small moves with big impact: food and other microenterprise that function out of kiosks and food trucks, art as community created through moments of tasteful vandalism, and play elements that double as sculptural, beautiful park objects that serve all ages.
We took the north, mid, and south blocks and gave them an identity as well as an anchor of activation. In addition, we developed a language of urban furniture kit-of-parts that will be phased into the transformation of the streets, creating vertical and horizonal elements that will grow, change, and develop over time.
PHASE 2: CANTILEVER + SEATING
PHASE 1: COLUMN
URBAN FURNITURE: KIT OF PARTS
PHASE 4: BAY
PHASE 3: ARCH
[NW GLISAN INTERSECTION: BIKE CALLOUT]
[PROJECTION MAPPING: OAK PARKING LOT]
[PORTLAND ART MUSEUM PROMENADE]
THANK YOU! Tel: 503 880 9588 Email: maddiebelgrave@gmail.com 4324 NE 41st Ave Portland, OR 97211 maddiebelgrave.com