M a d e l y n H o a g l a n d - H a n s o n
Universit y of Vi rg i n i a S cho ol of Arch ite c tu re Master of L ands c ap e Arch ite c tu re C and i d ate | 2 0 1 9
I n t r o d u c t i o n
trans·port (verb) past tense: transported; past participle: transported 1. to take or carry from one place to another. 2. to overwhelm (someone) with a strong emotion, especially joy. What draws me to landscape architecture is similar to what drew me, in college, to study literature: the lingering enticement of other worlds, grounded by an unshakable affection for this one. Like literature, design is about transporting and being transported: the intentional drawing together of people, ideas, and materials to form a shifting, haptic script of emotional and spiritual resonances. I am interested in how we are shaped by place, as well as how we busily and indefatigably shape places. I have lived in the backcountry of the American West and the brownstone streets of Brooklyn, and found wonder and beauty in both. I try to bring this wide-eyed sensibility to my work, while resisting naïve ideologies of “nature,” always insisting that the place-based is political, and recalling that the world we perceive and “half-create” (as Wordsworth puts it) is an invention always threatening to escape, exceed, and enchant us—and is in that way much like a poem. Cover image: Sketch of a stand of trees in New Hampshire (2016).
Ta b l e
studio projects 01
Turn Park A series of strange gardens in a machinic wilderness.
02
Breakline Pavilion A design-build meditation on mutuality and measure.
03
The Flood Re-Seeds A land-art proposal addressing Richmond’s buried past.
04
The Birds that Might Have Been A future-tense memorial for New York’s Central Park. models & materials
05
Garden of Earthly Detritus What grows up must come down.
06
Dioramas, Models, & Material Explorations Two- & three-dimensional imaginings and experiments. professional work
07
Mahan Rykiel Associates - Internship
08
Oehme, van Sweden & Associates - Internship in progress
09
Other Animals (Master’s Thesis) Deconstructing the species boundary at the Smithsonian National Zoo. (All text and images are my own unless otherwise noted.)
o f
C o n t e n t s
M a d e l y n
H o a g l a n d - H a n s o n
fabrication Laser cutter CNC router Wood shop 3D printing Casting software proficiency AutoCAD Rhinoceros 3D Adobe Creative Suite ArcGIS Sketchup Grasshopper languages English (native), conversational & written French interests Poetry Writing Classical ballet
education Haverford, PA 2011 Edinburgh, Scotland 2010 Charlottesville, VA 2019 (expected)
University of Edinburgh Study Abroad Program in English Literature University of Virginia Master of Landscape Architecture design experience
Washington, DC Jan. 2018 Washington, DC May 2018 - Aug. 2018
Gustafson Guthrie Nichol Extern Oehme, van Sweden & Associates Intern
Washington, DC Jan. 2018
Landscape Architecture Bureau Extern
Baltimore, MD June - Aug. 2017
Mahan Rykiel Associates Design Research Intern
Philadelphia, PA Jan. 2017
OLIN Studio Extern teaching & research assistantships
Aug. 2018 - present
History of Landscape Architecture I & II, Michael Lee
Aug. 2018 - present
Landscape Studies Initiative, Elizabeth Meyer
Jan. 2018 - May 2018
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Haverford College, Bachelor of Arts English Major with Departmental Honors
Foundation Studio II, Teresa GalĂ-Izard
Aug. - Dec. 2017
Planted Form & Function I, Cole Burrell
Aug. - Dec. 2017
Arctic Design Group, Leena Cho
Sept. - May 2017
Rust Belt Cities Research, Julie Bargmann
104 Harmon Street Charlottesville, VA 22903
writing experience & publications Charlottesville, VA forthcoming
“On the Possibility of Radical Mourning at the National Zoo” in lunch 14: Frontier
Charlottesville, VA May 2017 - Dec. 2018
lunch | UVa student-run design journal Editor, Issue 13: Mischief (in print Mar. 2019)
Seattle, WA Jan. 2013 - Dec. 2013
zulily Copywriter
Haverford, PA Jan. 2009 - May 2011
The Bi-College News Writer & Editor environmental & non-profit experience
New York, NY Mar. 2015 - June 2016
The Horticultural Society of New York Executive Assistant
Seattle, WA Jan. - Dec. 2013
EarthCorps Corps Member
Logan, UT June - Nov. 2012
Utah Conservation Corps Crew Leader
Austin, TX Jan. - June 2012
Texas Conservation Corps Crew Member
maddiehh@virginia.edu c. (215) 498-1593
references Isaac Hametz Director of Research, Mahan Rykiel ihametz@mahanrykiel.com (410) 900-1632 Leena Cho Professor of Landscape Architecture, UVA lsc7t@virginia.edu (434) 243-4322 Julie Bargmann Professor of Landscape Architecture, UVA jlb6t@virginia.edu (434) 243-2014
awards & scholarships 2018
Richard Guy Wilson Prize for Excellence in the Study of Buildings, Landscapes and Places for “Turn Park” with Sarah Pate & Ru Wu
2018
Maryland Chapter ASLA Honor Award for Design with Dredge Research Initiative with Mahan Rykiel Associates
2018 - 2019
Raven Honor Society
2017 - 2019
UVA Graduate Merit Scholarship
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stu dio projec ts
tu rn park
Tu r n
P a r k
A series of strange gardens in a machinic wilderness.
Two sublime forms meet in the Meadowlands. One, the New Jersey Turnpike: an icon of post-war Human Progress, an engineering marvel, suburban sine qua non, shining symbol of the capitalist capacity of Man to master Nature. The other, the Meadows themselves: vast, wet, reedy, and lonely, echoing with the buried excesses of generations of New York glitz, an icon of Anti-Progress, the things we wish we could forget. As the world warms and the sea rises, fictions of separateness become harder and harder to maintain. The straight, unerring line between land and sea, infrastructure and wilderness, human and non-, sublime and beautiful, quotidian and strange, machine and garden, past and future, is muddled. Turn Park is a place to encounter apparent boundaries and find that they were never there. A series of strange gardens in the midst of a machinic wilderness, it is a park “where democracy can look back upon itself,� and forward again, and back again—forever spiraling like an interchange, or the inner folds of a rose. Opposite image: Concept parti for Turn Park.
Project Partners: Sarah Pate & Ru Wu Critics: Leena Cho & Alex Wall
Foundation Studio Spring 2018
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rhythms of the road | The turnpike as a focusing lens for a variety of cyclic phenomena, both ecological and anthropogenic. 8
newly sprouted vegetation is attractive food for wildlife
burning causes increased blooming in fire-adapted plants
burning can stimulate belowground root production
Fieldwork itinerary drawn by Sarah Pate
research & fieldwork | Explorations of storm disturbance processes in wetlands—such as fire and floods—served as a guide for our final design. Hoagland- Hans on | 9
tu rn park
fire-thinned vegetation encourages seed germination
stu dio projec ts
“If New Jersey is the place in America where the machine is most firmly entrenched in the garden, the New Jersey Turnpike is that machine.”
2018 2019 2020
w. spur traffic transferred to manchester hwy
phase 1 completed
2022 2023
–Gillespie & Rockland, Looking for America on the New Jersey Turnpike
febr uar y
planting season begins
march
spring bird migration begins
2024 2025
apr il
2026
terrapin nesting season begins
2027
may
2028
first roses bloom
2029
june
2030
jasmine blooms july
2031
Proj ec ted S ea L e vel Ri s e
januar y
2021
hurricane season begins
2032 aug u st
2033
2035
2 + S ea L e vel Ri s e
2036 4 + S ea L e vel Ri s e
mowing season begins beach plums ripen
2034
E x i sting S ea L e vel
moonachie residents begin to evacuate
s eptember burning season begins
oc tober
2037 2038
6 + S ea L e vel Ri s e
november
dredging season begins
2039 2040
w. spur selectively deconstructed
decembe r
2041 2042 2043 2044 2045
residents of moonachie relocated
2046 2020
2050
2100
2047 2048 2049
D redg e Place me nt
2050 2051
sea level has risen two feet phase 2 completed
febr uar y
2052 E x i sting / Created Marsh
januar y
2053
planting season begins
spring bird migration begins
berry’s creek wilderness burns
march
2054
Ac tive D redg e Place me nt
2055
apr il
2056
cherries bloom
terrapin nesting season begins
2057
may
2058
first roses bloom berry’s creek wilderness burns
wisteria blooms
2059
june
2060
jasmine blooms hurricane season begins
july
2061 2062
aug u st
2063 2020
2050
2100
berry’s creek wilderness burns
beach plums ripen
2065
secaucus residents begin to evacuate
2066
Habitat Z ones
mowing season begins
2064 s eptember burning season begins
oc tober
2067 2068
berry’s creek wilderness burns
november
dredging season begins
2069
Wate r
2070
L ow Marsh
decembe r
2071 Hig h Marsh
2072 2073
Upland Meadow
berry’s creek wilderness burns
2074
Upland Forest
2075
sea level has risen four feet
2076 2077 2078
berry’s creek wilderness burns
2079 2080
phase 3 completed
januar y
2081 2020
2050
2100
teterboro wilderness burns
febr uar y
2082
planting season begins spring bird migration begins
2083
berry’s creek wilderness burns
march
2084
Pres c r ibed Bur n Plot s
2085
residents of secaucus relocated
apr il
2086 Hig h Frequenc y Bur n Plot
terrapin nesting season begins
2087
may
2088
Mid -Frequenc y Bur n Plot
june
teterboro wilderness burns
first roses bloom
wisteria blooms
2089
L ow Frequenc y Bur n Plot
cherries bloom
berry’s creek wilderness burns
jasmine blooms pulaski wilderness burns
hurricane season begins
2090 july
2091 2092
teterboro wilderness burns
beach plums ripen aug u st
2093 2094
mowing season begins
berry’s creek wilderness burns
pulaski wilderness burns
s eptember burning season begins
2095 2096
teterboro wilderness burns
oc tober
persimmons ripen
2097 2098 2020
2050
2100
phasing & operational calendar | Choreographing land building, burning, and planting over time. 10
november
2099 2100
berry’s creek wilderness burns
dredging season begins pulaski wilderness burns
sea level has risen six feet phase 4 completed
decembe r
0
500
2000
tu rn park
l e g e n d
5000 ft
garden key
Marsh burned this year
Marsh burned one year ago
Marsh burned two years ago
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Cherry Esplanade
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The Grotto *
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The Great Lawn
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Ridgeline Walk
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The Lookout
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The Rockery
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The Long Meadow
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The Nethermead
Lombardi Forest
little ferry
Marsh burned four years ago
Garden
hasbrouck heights
North Meadows Hamilton Woods
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Xanadu Arches
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The Belvedere
Watercourse
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The Ravine
Mowed this year | General mow line
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The Coastal Rose Garden
Gravel
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Hackensack Arches
Turnpike
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The Fernery
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The Ramble
Fire tower
Trail Vehicle road
Route 80 Transverse
Teterboro Fire Tower
O ve rpe ck Cr ee k
Marsh burned three years ago
moonachie
Moonachie Heron Rookery
carlstadt
Teterboro Wilderness 15
* vanished 2067 A.D.
ridgefield
Edison Forest
East Meadows
rutherford
Stevens Fens
Stuyvesant Fens
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cliffside park
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West Meadows
Interchange Fire Tower 12
fairview
11 Cleveland Forest 10
lyndhurst
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north bergen C
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B err y’s
B
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Creek
Berry’s Creek Fire Tower
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Berry’s Creek Wilderness
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secaucus
c k e
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guttenberg
Route 3 Transverse
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Halsey Fens
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Kilmer Woods Long Meadow Fire Tower
north arlington
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west new york
H union city
s t e r n
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R i v
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Wilson Woods
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kearny
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Stockton Woods
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e y r s Je
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Lincoln Tunnel
weehawken Fenwick Fens
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S p u r
Pitcher Forest 4
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P
2 Fenimore Cooper Forest
Laurel Hill Route 7 Transverse
Pulaski Fire Tower Whitman Forest
harrison
Barton Fens
hoboken
Pulaski Skyway
jersey city
Holland Tunnel
manhattan
Pulaski Wilderness
year 2100 masterplan | Prescribed burn pattern, upland and garden distribution, and final turnpike deconstruction. Drawn by Sarah Pate. Hoagland- Hans on | 11
stu dio projec ts
strange majesty | Exploring the turnpike on foot just off the Vince Lombardi rest stop. 12
–Timothy D. Martin, “Robert Smithson and the Anglo-American Picturesque”
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tu rn park
“The task of the land artist is to create a garden—a place where democracy can look back upon itself, can catch sight of the material of the site in a way that induces a sense of prenarrative, solid time.”
stu dio projec ts
0 1 :
T h e
C o a s t a l
R o s e
G a r d e n
Surrounded by stands of loblolly pine, wild roses flood the Vince Lombardi interchange in mid-summer, followed by beach plums in early autumn at the peak of the burning season. Access from the Fernery through the Hackensack Arches, perennially draped in confederate jasmine.
to Moonachie
mowing in progress
The Fernery
The Hackensack Arches
Vince Lombardi Rest Stop
A
The Coastal Rose Garden
The Pinetum
Estuary’s Edge Trail
A
Interchange Fire Tower
vince lombardi rest area 0
section drawn by Sarah Pate; plan drawn jointly with Sarah Pate and Ru Wu; perspective and plant palette are my own. 14
50
150
500 ft
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0 2 :
T h e
Va n i s h i n g
C h e r r y
E s p l a n a d e
A very long goodbye: five hundred Sargent cherries marching bravely into the marsh until they lose themselves in the rising tide. In spring, a tunnel of blossoms leads to the infrastructural grotto beneath one of the remaining portions of the decommissioned western spur.
dredge placement in progress
mowing in progress
The Cherry Esplanade public access point to former
turnpike
B The Grotto
The Vanishing Cherry Esplanade
B
former turnpike gantries
staging dredge for placement
the vanishing cherry esplanade 0
section drawn by Sarah Pate; plan drawn by Sarah Pate and Ru Wu; perspective and plant palette are my own. 16
50
150
350 ft
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stu dio projec ts
0 3 :
T h e
R o c k e r y
a t
Ly n d h u r s t
L a n d f i l l
Cast-off rubble from the turnpike teardown forms crumbly peaks and valleys around a slow-moving stream, while alpine herbs and hardy flowers make their home amid the mayhem. Views of Manhattan and the nearby Forbidden Isle, where a small forest flourishes in seclusion.
Forbidden Isle to the Long Meadow
C
The Rockery
The Lullwater
C
view
towa rd M idtow nM anha ttan
view to ward Laure l Hill
high tide line
low tide line
ttan Manha
er ard Low view tow
to the Lookout
the rockery at lyndhurst landfill
0
section drawn by Sarah Pate; plan drawn jointly with Sarah Pate and Ru Wu; perspective and plant palette are my own. 18
50
150
350 ft
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stu dio projec ts
0 4 :
T h e
Te t e r b o r o
W i l d e r n e s s
A lone lookout in an ocean of marsh, the Teterboro Fire Tower is the primary watchpoint for the northern quadrant. Expansive views of burns in progress and the Moonachie Heron Rookery to the east. Access via the Washington Avenue Traverse and surrounding service trails.
North Meadows
Sylvan Avenue
Teterboro Fire Tower
Hamilton Woods
D
D
Public Campground
Washington Avenue Traverse
Teterboro Wilderness
dire ctio no f bu rn
Moonachie Heron Rookery
mown edge protects upland from potential wildfires
The Ramble
teterboro wilderness area 0
section drawn by Sarah Pate; plan, perspective, and plant palette are my own. 20
100
500
1000 ft
tu rn park Hoagland- Hans on | 21
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b reakline pavilion
B r e a k l i n e
P a v i l i o n
A design-build meditation on mutuality and measure.
The following sketches, photographs, and drawings were produced as part of a design-build studio whose focus was the concept of “tolerance,” broadly conceived, both as a material property and social practice. As part of a three-week workshop led by Visiting Professors Sami Rintala and Dagur Eggertsson, our class of thirteen students collectively designed and constructed a temporary pavilion on the North Terrace of UVA’s Architecture School Grounds out of reclaimed wood from a demolished Virginia farmhouse. The resulting structure cuts across a set of concrete stairs, reflecting them into a sequence of wooden steps that face a central gathering point. Afterwards, to document the build, a team of students including myself meticulously measured each component of the as-built structure and modeled it in Revit, attempting to capture material defects, construction errors, and imperfections as an exercise in probing the limitations of architectural representation. The complete list of studio members who contributed to the design and building of the pavilion is as follows: Esteban Chavez, Andrea Gomez, Leah Grossman, Calvin Heimberg, Yudou Huang, Hutch Landfair, Cong Nie, Sarah Pate, Frank Peng, Kira Rosenbaum, Jingyi Shen, Todd Stoval, and myself. Opposite image: Photo of pavilion interior by Sarah Pate.
Project Partners: Esteban Chavez, Leah Grossman, Sarah Pate Critics: Seth McDowell, Sami Rintala, Dagur Eggertsson
Design/Build Studio Fall 2017
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“God is in the details.” – Mies van der Rohe
construction photos by Leah Grossman. 24
b reakline pavilion Hoagland- Hans on | 25
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exploded axon drawn in Revit & Illustrator. Over 3,000 as-built measurements were taken. 26
b reakline pavilion
“The devil is in the details.” – German proverb
Elevations drawn by Sarah Pate
catalog and details drawn jointly with Sarah Pate and Leah Grossman Hoagland- Hans on | 27
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stu dio projec ts
th e f l o od re- seed s
T h e
F l o o d
R e - S e e d s
A land-art proposal addressing Richmond’s buried past.
This project reimagines the urban hydrology of the city of Richmond, VA as a de facto irrigation system for a massively distributed public garden that begins at the primary drainage corridor for Richmond’s largest watershed—the Shockoe Creek Watershed—and spreads fractally throughout the city via the successive colonization of stream orders. The “flood” begins as a line of red field poppies planted along the watershed’s ninth stream order, and expands and contracts according to both human and non-human agency— floods, wind, the movement of animals, and so on. Part garden, part land art, and part memorial, it attempts to make visible the legacy of human and ecological violence that gave rise to Richmond’s historic economic prosperity while also reveling in the wonder, strangeness, and exuberance of an imagined “super bloom.” Opposite image: Concept collage; underlaid photo shows flooding in Shockoe Bottom during Hurricane Agnes (1972).
Project Partner: Missy Velez Critics: Tat Bonvehi-Rosich & Alex Wall
Foundation Studio Spring 2017
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Former site of Jackson Ward (destroyed by construction of I-95, mid 1950s) Former site of Navy Hill (destroyed by construction of I-95) Former African American burial ground (filled 19th cent., paved 20th-cent.) Former bed of Shockoe Creek, piped and filled by mid-1920s Former locus of Richmond slave trade James River
watershed map showing intertwined human & ecological histories. sectional timeline of poppy lifecycle. 30
th e f l o od re- seed s
gis mapping of ground materiality and land use. operational diagrams of project installation. Hoagland- Hans on | 31
stu dio projec ts
“‘Floods’ is the word they use, but in fact it is not flooding; it is remembering. Remembering where it used to be. All water has a perfect memory and is forever trying to get back to where it was.” – Toni Morrison (in Grace Notes by Rita Dove)
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th e f l o od re- seed s
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stu dio projec ts
th e b ird s that m igh t have b een
T h e
B i r d s
t h a t
M i g h t
H a v e
B e e n
A future-tense memorial for New York’s Central Park.
In the midst of a massive decline in migratory bird populations worldwide, this project strategically re-excavates the site of a former Cave in Central Park in order to construct an underground echo chamber for the calls of migratory thrushes, whose songs have inspired generations of poets from Keats to Philip Larkin. With the help of high-frequency sensing devices that funnel proximate bird calls into the chamber below, the seasonal enchantment of thrush song becomes a strange and poignant phenomenon. The slow passing-out-ofbeing of entire species of birds, the seasonal nature of migration, and the sudden awareness of bird song ordinarily heard in passing combine on three temporal scales to form a ghostly echo: the final notes sounded in an all-too-earthly nocturne. note: The drawings that follow are supported by a semester-long animation project that can be viewed by clicking this link. Opposite image: Bird’s eye perspective of the Cave in the Ramble.
Individual Critics: Sean Lally & Lucia Phinney
Research Studio Fall 2018
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stu dio projec ts
1 8 5 9 To p o g r a p h i c a l M a p
former cave site
early research | Nineteenth-century maps and photos of Central Park indicate the former location of the Cave, filled in the 1930s. 36
O v e rl and e ntr y path Entr y stairca s e Ne t w ork of hig h-f requ e nc y s ound s e n s ors Re inforced conc re te shel l (b el ow g round) D e n s e shr ub pl anting E xi sting b edrock for mat i on Poli shed , re f l ec tiv e f l o or sl ab Stone re taining w all s B oat acce ss cor r i d or
The Lake
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th e b ird s that m igh t have b een
T he Rambl e Arch
stu dio projec ts
N-S Section through Entry Staircase
Top por tion of entr y staircas e i s pre-cast conc rete; bottom por tion i s rock-c ut
Found and /or ex cavated boulders ar rayed as s eating in li stening chamber
To the Ramble
E-W Section through Listening Chamber
To the L ake
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Bird s ong i s collec ted f rom above-g round s ens ors and projec ted f rom bas e of wall s v ia embedded playback de v ices
Retaining wall be yond to match exi sting bedrock
th e b ird s that m igh t have b een
C oncrete f loor & shell treated w ith high- poli sh, re f lec tive f ini sh
S outher n entr y cor r idor for access v ia boat only
To the L ake
B edrock for mation ir reg ularly ref rac ts s ound waves
Poli shed concrete shell amplif ies and echoes s ound waves
Sur rounding ear th in sulates chamber against ambient c ity noi s e
To the Ramble
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stu dio projec ts
Animation Stills
00:00:00
40
00:02:18
00:02:19
00:06:40
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th e b ird s that m igh t have b een
Full animation can be viewed here.
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stu dio projec ts
– John Keats, “What the Thrush Said”
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th e b ird s that m igh t have b een
“O fret not after knowledge—I have none, And yet my song comes native with the warmth.”
models & m aterials
o f
E a r t h l y
Andropogon virginicus Broomsedge [existing]
Comptonia peregrina Sweetfern
Quercus illicifolia Bear Oak
Solidago odora Anise-scented Goldenrod
Myrica pensylvanica Bayberry
Pinus rigida Pitch Pine
Vaccinium angustifolium Lowbush Blueberry 44
D e t r i t u s
orchard
old field
G a r d e n
Cydonia oblonga ‘Aromatnaya’ Quince
Populus nigra Black Poplar
Pyrus communis ‘Seckel’ Seckel Pear
Diospyros virginiana Common Persimmon
Prunus armeniaca ‘Harglow’ Apricot
Carya ovata Shagbark Hickory
garden of earth ly detritus
Carex spp. Mixed Sedges [existing]
Spiraea alba White Meadowsweet
Hierochloe odorata Sweetgrass
Magnolia virginiana Sweetbay Magnolia
Iris versicolor Blue Flag Iris
Taxodium distichum Bald Cypress
forest
wet meadow
Professor: Julie Bargmann
Planted Form II Fall 2017
Claytonia virginica Spring Beauty
Malus x domestica Semi-Dwarf Apple
Liriodendron tulipifera Tulip Poplar [existing]
Osmunda cinnamonea Cinnamon Fern
Malus coronaria Wild Crabapple
Tsuga canadensis Eastern Hemlock
Podophyllum peltatum Mayapple Hoagland- Hans on | 45
models & m aterials
groundcover layer
shrub layer
understory layer
planting plan | Three “garden rooms� in an old field, wet meadow, and tulip poplar forest. 46
canopy layer
garden of earth ly detritus
seasonal collage | Old field, wet meadow, and forest in winter, spring, and fall, respectively. Hoagland- Hans on | 47
models & m aterials
Tw i l i g h t
Av i a r y
Brief accompanying animation here.
Diorama Fall 2018
This sectional diorama was created to illustrate an imagined amphitheatre cut into the earth and surrounded by widening circles of pines. In contrast to a traditional aviary—focused primarily on the viewing of birds—the Twilight Aviary opens to the public only by nightfall, disfavoring looking in favor of listening to the songs of crepuscular species. (materials used: Routed foam, laser-cut Bristol board, mirror) 48
models & m aterials
To p o g r a p h y
o f
F i r e
Study Models Spring 2018
model 1 (representational)
model 2 (experimental)
A series of models examining the influence of topographical differences on the spread of fire in a hypothetical salt marsh environment. (materials used for model 1: Laser-cut Bristol board; materials used for model 2: Clay, wax, matches)
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models & m aterials
P l y w o o d
Wa v e
F i e l d
&
P a v i l i o n
X
Material Tests & Model Fall 2017
top: Bending tests with 1/8’’ plywood butt-jointed together into paper-like “sheets”; bottom: Reimagining of UVA’s Pavilion X using plywood-bending method to create a rippling, “skin-like” wall rhythmically incised to admit slivers of light: a reference to the Pavilion’s first resident, a professor of anatomy (Group model with Leah Grossman and Sarah Pate) 50
models & m aterials
A d v e n t u r e
P l a y g r o u n d
Analytical Model Spring 2017
This model explores the kinetic potentialities of Richard Dattner’s 1966 Adventure Playground located near the West 67th Street entrance to Central Park in New York City. It uses simple geometric forms and colors to show varieties of movement—such as running, jumping, sliding, splashing, and climbing— encouraged by Dattner’s arrangement of play structures within the space. (materials used: Cardstock, Bristol board) Hoagland- Hans on | 51
models & m aterials
H a n d
52
S k e t c h e s
&
D i a g r a m s
hand sketc h es & diagram s
Personal & Academic
Miscellaneous 2016 - present
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prof es sional work
M a h a n
R y k i e l
A s s o c i a t e s
Baltimore, MD
Internship Summer 2017
top: Bird species of Hart Miller Island, a Baltimore dredge containment facility; bottom left: Potential plant palette for a dredge containment facility & final presentation graphic showing mosaic-driven plant management strategy; bottom right: Dec. 2017 feature in Landscape Architecture Magazine
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prof es sional work
O e h m e ,
v a n
S w e d e n
&
A s s o c i a t e s
Washington, DC
Internship Summer 2018
top: Paving studies for a rooftop garden in Arlington, VA; middle: Rendered plan of a Nantucket estate; bottom: Key habitat maps of Martha’s Vineyard, Nantucket, and the Hamptons
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m aster’s th esis
oth er anim als
O t h e r
A n i m a l s
Deconstructing the species boundary at the Smithsonian National Zoo.
My thesis project (currently in progress) examines the grounds of the National Zoological Park in Washington, D.C. Through a deep historical reading of the site, as well as a broad investigation of the Western philosophical wellsprings that have led human beings to institutionalize animals, it moves toward a speculative, post-humanist future in which animals—including the human-animal—are emancipated. Opposite image: Portion of a collage unpacking Aristotle’s Scala Naturae—”the order of being.”
Individual Advisor: Michael Lee
Master’s Thesis Spring 2019
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m aster’s th esis
(7) Wenzel Peter, Adam & Eve in the Garden of Eden (19th century) (8) Nicholas Negroponte’s SEEK, a cybernetic installation using gerbils (20th century) (9) Francesco Zuccarelli, Landscape with a Fountain, Figures, and Animals (18th century) (10) Francisco de Zurbarán, Agnus Dei (17th century) (11) Paolo Uccello, The Hunt in the Forest (15th century) (12) Winslow Homer, Deer Drinking (19th century) (13) Nurpur miniature of Lord Ganesha (19th century) (14) Henri Rousseau, A Lion Devouring its Prey (20th century)
image key (clockwise from “spectacle”) (1) (2) (3) (4) (5) (6)
The Grande Galerie of the Natural History Museum in Paris (19th century) A tapir at the National Zoological Park, Washington D.C. (19th century) Unknown artist, “A Dragon Flying Over a Panther” (13th century) Beatrix Potter, Illustration from “The Rabbit’s Christmas Party” (20th century) Viktor Vasnetsov, Ivan Tsarevitch Riding the Gray Wolf (19th century) Daniel Schultz, Fox and Grapes (17th century)
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(15) (16) (17) (18) (19) (20) (21) (22)
Emperor Huizong, Finches and Bamboo (12th century) Caravaggio, Rest on the Flight into Egypt (16th century) Photograph of Franz Kafka with his dog (20th century) Scene from Lassie Come Home (20th century) Paintings on the wall of Lascaux Cave (Paleolithic) Giotto, Saint Francis Preaching to the Birds (13th century) Piero di Cosimo, Satyr Mourning Over a Nymph (15th century) Roman floor mosaic showing damnatio ad bestias (3rd century)
more
spectrum of animal agency
spectacle
chattel
symbol
object
laborer character fable
test subject
fairy tale
specimen
allegory
mythical beast
prey
predator
sacrifice
compass of animal encounter
devourer
quarry
glimpse
phenomenon
comrade
spirit
divinity
interlocutor
guardian witness
fellow creature
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presence
companion
radical alterity
mystery
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oth er anim als
top left: Chart of human-animal encounter; top right: Elemental collages based on Gaston Bachelard’s theory of the material origins of the poetic imagination; bottom spread: “Linnean Cube” concept model illustrating the inherent slippage of taxonomic classification methods
maddiehh@virginia.edu (215) 498-1593 (c)
“L ong live t he we e ds & t he w i lder ness yet.” – G erard Manle y Hopkins