Mae Murphy | Selected Works | 2022

mae murphy | selected works | 2022

Architects cannot save the world-- however we do have a say on what is extracted, consumed, constructed, educated, designed and demolished. I am interested in how designers can change the way we use materials in order to create a mutual field of design that improves the current climate and social justice situation.

chapter I:

the fortress

4

II:

on the butcher’s block

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III:

death in the midwest

26

IV:

passage

32

digital fabrication

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textile co-op

42

strataa architecture archives

54

V:

VI:

VII:

resume

58

chapter I :

the fortress an ecofeminist exploration of witch rituals & practices fall 2021|arch 403 lazy landscapes studio prof. cruz garcia & nathalie frankowski

“We struggle to break capital’s plan for women, which is an essential moment of the divisions within the working class, through which capital has been able to maintain its power.”

-Silvia Federici, Wages Against Housework

of people who identify as women, witches will gain the freedom to create ecofeminist communities within the midwestern landscape.

The ecofeminist community fosters a space for people to learn about natural healing methods, innate knowledge of ecology, and safe How can intersectional, non-hierarchical, explorations into magical and non-traditional and non-binary coexistence dwell in a post- means of living. Witches thrived in the precapitalistic society? How can the extermination capitalistic society and will once again reclaim of patriarchal power create new forms of the land after capitalism falls in the future. liberation? Due to the inevitable collapse of capitalism and in reaction to the oppression

mae murphy | selected works | 2022

garden collage

What is the future of feminism? How can intersectional, non-hierarchical, and non-binary coexistence dwell in a post-capitalistic society?

the fortress | pg.7

site axon

Following the fall of capitalism, reclamation of patriarchal structures will follow allowing witches to claim the land for ecologcial care practices. Witches thrived in the pre-capitalistic society and will once again reclaim the land after capitalism falls in the future.

mae murphy | selected works | 2022

potion laboratory collage

“We struggle to break capital’s plan for women, which is an essential moment of the divisions within the working class, through which capital has been able to maintain its power.”

-Silvia Federici, Wages Against Housework

the fortress | pg.9

rest

write

tea

garden

Care practices such as making teas, potions, spells, gardening, critical reading/writing, intention rituals, and communal practices take place within the fortress.

mae murphy | selected works | 2022

garden landscape map

The ecofeminist community fosters a space for people to learn about natural healing methods, innate knowledge of ecology, and safe explorations into magical and non-traditional means of living. Gardens within the site host plants to aid in the witch rituals and practices.

the fortress | pg.11

ecological section

mae murphy | selected works | 2022

fortress section

drying plants

herb bin

potion lab

project | pg.13

library & archives

community gathering & fortress bunker

chapter II :

on the butcher's block butchering the past to serve the future first place|dlr group prize competition fall 2020|arch 401 robotic studio prof. shelby doyle partner cameron wahlberg

“A major challenge for re-using building debris is knowing the quality, quantity and temporal availability of demolition material.” Cities become material mines available for future reuse. Robotic analysis, deconstruction, & maintenance is key to kick starting the process of creating a material library, research database and a path forward in the construction industry in the U.S. What happens when there are no more resources left to feed a consumerist appetite of extraction, abandonment and exploitation of materials? We butcher.

What does it mean to butcher a building, to refine its structural qualities and to preserve its material cultural significance in Des Moines, Iowa? The setting of Des Moines has been growing for the past two decades bringing with it new infrastructure and material. We propose techniques to provide care on a material scale through the process of circular construction economy. A practice keeping materials and products in the economy as long as possible by re-using or butchering them.

Complete website: https://mwstudio.cargo.site/

mae murphy | selected works | 2022

urban mining map

Cities become material mines available for future reuse. To butcher is to carefully extract, examine, and reconstruct artifacts.

on the butcher’s block | pg.17

butcher diagram

Research on current robotic fabrication labs is critical to investigate a cyclical construction industry.

The AA Robotics Lab and SOM Robotics Lab are two importance references.

mae murphy | selected works | 2022

de/re construction collage

The proposed space in Des Moines, IA at the once abandoned East DSM Train Depot provides care/preservation on a material scale through the process of a circular construction economy.

Machines will carefully dissect/butcher the existing Depot an emphasis on brick and masonry.

on the butcher’s block | pg.19

construction phases

mae murphy | selected works | 2022

lab section

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1. De/Re Construction Lab 2. Material Education Classroom 3. Maintenance 4. Admin Offices 5. Computation / Design Research 6. Material Composition Lab 7. Staff Space 8. Gallery 9. Workroom / Library 10. Masonry Testing Lab 11. Open Innovation Space 12. Observation Deck 13. De/Re Construction Lab

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on the butcher’s block | pg.21

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mae murphy | selected works | 2022

material section

We propose techniques to provide care on a material scale through the process of circular construction economy. A practice keeping materials and products in the economy as long as possible by re-using or butchering them. Energy consumption and passive systems are integrated with a key focus on the sustainability of material narrative and ecology which currently accounts for 40% of waste in landfills.

on the butcher’s block | pg.23

mae murphy | selected works | 2022

robotic deconstruction collage

Our perspective drawings utilize journaling, sketching and collaging to create a dialogue between the material, people, and robotic inhabitants within the space.

on the butcher’s block | pg.25

material interior collage

The building is an integration of a multiplicity of socio-economic, environmental scales and systems focused on questioning our current construction practices while pushing for innovative means of reuse, and environmental impact. Butchering the past to serve the future.

For more information, visit our project website: https://mwstudio.cargo.site/

chapter III :

death in the midwest a green burial landscape work selected for the 2020 iowa state apex art exhibition spring 2018|arch 202 landscape studio prof. reinaldo correa

We are inherently changing every moment of the day. Change is not linear, it is cyclical and ever present. The work featured is a green burial site located in the Midwest where locals are encouraged to bury their loved ones in a biodegradable casket to return their bodies back to the landscape. Over time the green burials bring nutrients back into the soil, allowing for regrowth and regeneration. The repetitive movement of change is built into our DNA most significantly in the cycle in which we decompose.

The site in which our bodies decompose is a large factor in the process. Underground the body has

time to replenish the soil with nutrients. It is time to devote our bodies back to the landscape with the least harmful process to regenerate the future.

An opportunity is arising to return our bodies into the landscape and create a dialog towards a more environmentally friendly burial process in the U.S. Midwest region. Nonprofits such as the Midwest Green Burial Society are working to advocate for natural burial processes and raising awareness of the environmental impacts of conventional burials.

mae murphy | selected works | 2022

death site plan

The Site Model was created to gain inspiration from the organic landscape of an abstract model and understanding the ebb and flow of the life cycle-- human or inhuman.

death in the midwest | pg.29

burial site collage

The park exists to provide space to honor loved ones, and also the process of death as a whole.

There is a shift in the U.S. from the traditional casket burial ceremony to a green burial and return our bodies to the earth in a sustainable way.

mae murphy | selected works | 2022

site growth section

6 months of growth

2 years of growth

10 years of growth

This option not only changes the environmental impact of death, but also the mourning and grieving process. The process of death does not signify the end, in fact it is simply the beginning of something new. It is time to devote our bodies back to the landscape with the least harmful process to regenerate the future.

death in the midwest | pg.31

landscape manifesto

The collaged Landscape Map investigates sites for green burials in the Midwest. Created with CNC Site Model, plaster, Photoshop collage, and hand drawing.

chapter IV :

passage seattle design festival with dlr group summer 2021 internship dlr group team: nathaniel gundersen, van stanek, haley wilson, leon holloway, austin gutierrez, lisa lazar, lorraine leslie, & jessica crandall. image credits to dlr group, seattle office

Passage is an invitation to memory and a fuller participation in the now, an homage to the tumultuous past year and a tribute to our collective resilience. Experienced as a wooden trellis channel, the Passage is inhabited by emergent plant species creating space for contemplation and consideration of change through time. Participants are encouraged to explore their own crossroads in the wake of the global pandemic and how they will emerge within the space of what has been, what is, and what is about to be. Located at Lake Union Park 860 Terry Ave N, Seattle, WA during the Summer 2021 Seattle Design Festival. All images and drawings are DLR Group content.

Please do not duplicate or copy any content.

mae murphy | selected works | 2022

seattle exploration collage

passage | pg.35

structure axon

ASSEMBLY DIAGRAM

MUSLIN CANVAS

ROCESS

ment evolved around different space types that could embody PROCESS ergence, moving from an experiential space ITERATIVE to a monolithic abitable structure.

Design development evolved around different space types that could embody

DOWEL PIN CONNECTIONS

the spirit of emergence, moving from an experiential space to a monolithic d around different space types that could embody oving from an experiential space to a monolithicelement to an inhabitable structure. ucture.

FOOTING SUPPORT

CESS

MODULAR FRAME

2 nt evolved around different space types that could embody ence, moving from an experiential space to 1a monolithic 2 3 itable structure.

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Several design iterations were created in order to find the most efficient and modular form. The wood structure was located at the annual Seattle Design Festival August 21st-22nd, 2021

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mae murphy | selected works | 2022

plant integration within the form

Plants were critical in the Passage project. Native Washington state ferns were the source of inspiration. Due to the pandemic and with more people being confined to their homes, interior spaces are transformed with plants to create safe and beautiful spaces.

passage | pg.37

plant species sourcing

MARIMO

Devonian Period - 400,000,000 B.C. (Moss ball)

EQUISETUM HYEMALE

Devonian Period - 416,000,000 B.C. (Horsetail) - Native

POLYSTICHUM MUNITUM

Devonian Period - 16,000,000 B.C. (Sword Fern) - Native

ADIANTUM PEDATUM

Carboniferous Period - 360,000,000 B.C. (Western Maidenhair Fern) - Native

BLECHNUM SPICANT

Carboniferous Period - 360,000,000 B.C. (Deer Fern) - Native

GINKGO BILOBA

Jurassic Period - 190,000,000 B.C. (Ginkgo Tree) - Native

GUNNERA MANICATA

Cretaceous Period - 100,000,000 B.C. (Gunnera) - Native

MAGNOLIA GRANDIFLORA

Paleocene Period - 60,000,000 B.C. (Southern Magnolia) - Native

Urban Earth Nursery, a local Seattle plant shop, provided plants to occupy the structure

chapter V :

digital fabrication casting 3d prints fall 2021|arch 433 intro to digital fabrication prof. shelby doyle partner luke mcdonell

Casting 3D printed forms was a project focused on digital design and physical construction. The original form was created in Rhino and then a mold was made to cast the final shape. The objective of the project was to create stackable forms that could be utilized for an architectural element such as a facade. When stacked, the opening creates a curved and geometric form.

The dynamic double curvature was the final iteration due to the complexity of form, success with the mold, and stacking method. These pieces are created from PLA filament mold and casted Rockite. Molds were used in order to cast multiple iterations of the form.

mae murphy | selected works | 2022

facade collage & model details

digital fabrication | pg.41

stackable 3D printed casted forms

The double curvature forms create a strong structure. Openings occur when stacked allowing for light or other elements to penetrate

chapter VI :

textile co-op dia:beacon new york artist residency bwbr competition 2020 semifinalist spring 2020 | arch 302 housing studio prof. pete goche partner samarth vachhrajani

Textiles are objects which carry stories and memories in them. They signify the conditions that once existed. Even in times such as now, where we find ourselves trapped in our houses, textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain.

The building is located in Beacon, NY, a place where multiple hat factories existed. The city was once known as the “hat factory making the capital of New York State.” This work seeks to recognize this past of Beacon through art residency within Dia:Beacon.

The proposed residency located to the west

of the museum is where artists who work with textiles have the opportunity to participate in discussions of oral histories as a speculative form of generating new and just forms of textile labor production. The fabric tapestry is a container of our thoughts, concept, and spatial strategy.

Explorations with thread, sewing machines, acetone transfer and paper were encouraged.

Inherited fabrics, clothes, and pattern pieces are held dear to our hearts due to the visual documentation of labor and physical work that go into sewing and textile creations.

mae murphy | selected works | 2022

atmospheric perspective

The drawings within this project are textile objects. The fabric tapestry is a container of our thoughts, concept, and spatial strategy. Explorations with thread, sewing machines, acetone transfer and paper were encouraged.

textile co-op | pg.45

shadow studies

Textiles as the containers of oral histories, are produced in some of the most precarious and exploited labor conditions. The project seeks to recognize this past of Beacon through a textile artist residency within the Dia:Beacon museum.

Left: Acetone transfered on canvas with thread, canvas, ink 12” x 18”

mae murphy | selected works | 2022

project | pg.47

mae murphy | selected works | 2022

atrium collage

textile co-op | pg.49

sewn floor plans

The building provides spaces for sharing skills and stories through working collectively with other artists and the public coming to Dia Beacon.

Above: Acetone transfered on paper, sewn with machine with thread, ink 8.5” x 11”

mae murphy | selected works | 2022

textile section

textile co-op | pg.51

dwelling collage

Drawings within this project are used as textile objects. These drawings are meant to be speculative pieces which use the fabric as a conceptual medium by staining the fabric and embedding our project within it. It is fabric as a container of our concept.

Left: Textile Section : Acetone transfered on canvas with thread, canvas, ink 12” x 18”

mae murphy | selected works | 2022

The collaborative tapestry is a final piece which we will keep as a textile object that testifies for the memory and labor that has been contributed to the project. Textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain.

Final Tapestry : Sewn acetone transfered canvas with thread, ink

textile co-op | pg.53

chapter VII :

strataa : architecture archives a new iowa state architecture department publication co-founder & co-editor team: cameron wahlberg and jacob gasper dec 2020-present

In these trying and often unpredictable times, a new form of student documentation emerges from the Iowa State University College of Design Architecture program. StratAA: Architecture Archive is a recently established student publication featuring collective undergrad student work from the Department of Architecture. Inspired by the limitations brought about by the COVID-19 pandemic and online reviews, StratAA aims to disseminate/ archive studio work in a cohesive publication highlighting the diverse talent across studios.

This endeavor culminates in this physical book and an online pdf showcasing all of the projects submitted. This collection stands as physical evidence of the labor and effort contributed in virtual and hybrid classes this past year. All work within the publication was submitted on a volunteer basis. We are grateful for all the students who contributed and will continue to contribute to the archives.

StratAA: Architecture Archive was developed from three undergraduate students: Cameron Wahlberg, Jacob Gasper and Mae Murphy along with Associate Professor Sharon Wohl and Department Chair of Architecture Deborah Hauptmann. The three students and longtime friends, collected, categorized, edited, printed and planned the entire publication utilizing their strong passion for publication and design work.

The publication name, StratAA, is derived from stratum: ‘a layer or series of layers of rock in the ground.’ The cumulation of student work is a layering of knowledge, time, and labor— an ode to the tumultuous past and somewhat hopeful future. In order to progress our collective knowledge base we must acknowledge where we come from and learn from the archives stored in this publication.

mae murphy | selected works | 2022

editor’s note

As editors, we hope that this publication invokes inspiration to continue the energy and passion into design projects and to push the limits of reality. Do not forget the origins of labor that contribute to the progression of the future. The first edition contains 313 pages of student work curated into a concise book for dissemination.

strataa | pg.57

strataa layer 1 print

mae murphy maemurphy99@gmail.com maem@iastate.edu https://maemurphy.com

ed u c at io n

Iowa State University: Bachelor of Architecture

Minor in Women’s and Gender Studies

Graduation May 2022 / GPA: 3.8

aw ard s Leonard Wolf Leadership Award Iowa State Spring 2021 Lightfoot Travel Scholarship Iowa State Summer 2021 DLR Prize Competition - First Place Iowa State Fall 2020 BWBR Competition - Semifinalist Iowa State Spring 2020 Apex Student Juried Art Exhibition Artwork Selected Spring 2020 Hansen Prize - Finalist Iowa State Fall 2019 International Baccalaureate (IB) Diploma Programme Recipient Des Moines Central Academy 2017

s k il l s

Modeling: Revit, AutoCad, Rhino, Grasshopper, V-Ray Rendering, DIVA. Graphic: Adobe Photoshop, Illustrator, InDesign, Premier, Acrobat, Revu Blubeam, Microsoft Office, Excel.

Other: Public Speaking, Laser Cutting, 3d Printing, CNC Cutting, Book/ Journal Printing, Design Research & Critical Writing, Sewing/Textiles, Jewelry, Collage, and Hand Drawing.

References available upon request

exp eri ence

Skidmore, Owings & Merrill (SOM) : Shadowship Program January 2022 - Chicago, IL Participated in a week-long global externship that offered an immersive experience, mentorship, and guidance.

Alquist 3D : Innovative Design Intern August 2021 - PRESENT Collaborates with the team to design 3D printed affordable houses.

Generates ideas for future innovation with 3D printing technology, sustainability, and digital fabrication research.

DLR Group : Architecture Intern Summer 2021 - Seattle, WA Focused on the K12 education sector, Seattle Design Festival installation, and material sustainability with the Living Building Challenge. Learned about the Pacific North West landscape through an architectural lens.

OPN Architects : Architecture Intern Summer 2019 / Summer 2020 - Des Moines, IA Worked for two summers developed skills of historic preservation and renovation. Created construction documents, detail drawings, blubeam markup edits, 3D point clouds, and more.

ISU College of Design : Student Recruitment Ambassador Fall 2020 - PRESENT Represents the ISU College of Design program to incoming and prospective design students.

ISU Student Wellness : Peer Wellness Educator Spring 2019 - Fall 2020 Facilitated and presented information about holistic wellness on campus.

Organized College of Design Mental Health project.

eng a g eme nts

StratAA Architecture Archives: Co-Founder and Co-Editor Created a new ISU architecture publication team inspired by the limitations brought about by COVID-19 and online reviews.

DATUM Student Journal of Architecture: Co-Editor Curated, designed, edited, and formated latest ‘CARE’ publication.

Created the Datum Discourse program and facilitates interviews.

Design Wearables Team: Co-Founder and Former President Founded the ISU Student Organization with student team.

Attended Venice Architecture Biennale - Fall 2021 Participated in Ecologies of Repair a Green New Deal Superstudio OPN Masterclass Workshop - Spring 2021 with Carole Lévesque Iowa Women in Architecture - Student Member Design Studies 102 Peer Mentor - 2019 & 2020 Iowa State University Dean’s List - Fall 2018 - PRESENT

mae murphy | portfolio

thank you!

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