2019 Landscape Portfolio

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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stu dio projec ts

rhythms of the road | The turnpike as a focusing lens for a variety of cyclic phenomena, both ecological and anthropogenic.

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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.

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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

10

The Belvedere

Watercourse

11

The Ravine

Mowed this year | General mow line

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The Coastal Rose Garden

Gravel

13

Hackensack Arches

Turnpike

14

The Fernery

15

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

13

West Meadows

Interchange Fire Tower 12

fairview

11 Cleveland Forest 10

lyndhurst

rr y

’s

north bergen C

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k

C

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a

9

l

r

v

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i

B err y’s

B

R

Creek

Berry’s Creek Fire Tower

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Berry’s Creek Wilderness

s a

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secaucus

c k e

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guttenberg

Route 3 Transverse

v

H

e

r

a

7

Halsey Fens

R

i

Kilmer Woods Long Meadow Fire Tower

north arlington

6

s

o

n

west new york

H union city

s t e r n

r

E

R i v

a

e

5

i c

Wilson Woods

a

3

kearny

k

e

Stockton Woods

N

e w

e y r s Je

T

u

r

n

p

i

Lincoln Tunnel

weehawken Fenwick Fens

1

a

s

s

S p u r

Pitcher Forest 4

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8

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.

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stu dio projec ts

strange majesty | Exploring the turnpike on foot just off the Vince Lombardi rest stop.

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–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.

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50

150

500 ft

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stu dio projec ts

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.

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50

150

350 ft

tu rn park Hoagland- Hans on | 17

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.

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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.

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100

500

1000 ft

tu rn park Hoagland- Hans on | 21

22

stu dio projec ts

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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stu dio projec ts

“God is in the details.”

– Mies van der Rohe

construction photos by Leah Grossman.

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b reakline pavilion Hoagland- Hans on | 25

stu dio projec ts

exploded axon drawn in Revit & Illustrator. Over 3,000 as-built measurements were taken.

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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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stu dio projec ts

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.

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th e f l o od re- seed s

gis mapping of ground materiality and land use. operational diagrams of project installation.

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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.

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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.

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canopy layer

garden of earth ly detritus

seasonal collage | Old field, wet meadow, and forest in winter, spring, and fall, respectively.

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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

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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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56

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)

less

(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