BERGEN NORWAY
Mahlon Howard
Portfolio - Fall Semester 2022
BAS: Bergen School of Architecture Erasmus Exchange Program Bergen, Norway
Midterm Exhibition
4 5
Travel & Photography Final Review
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Contact
Email mahlonhoward09@gmail.com Phone +420 607 273 530 / +1 (720) 804 6001 LinkedIn linkedin.com/in/mahlonhoward/ Instagram instagram.com/mahlonhoward/
Profile
Location Vršovice, Prague 10, Czech Republic From Denver, CO, USA Nationality American Date of Birth October 9, 1997 Languages English (Native), Spanish (Intermediate), Czech (Learning)
Education
Fall 2021 - Current Architectural Institute in Prague: ARCHIP (Prague, CZ) Master of Architecture
Fall 2022 Bergen School of Architecture: BAS (Bergen, Norway) Erasmus Exchange Program
Fall 2016 - Spring 2020 University of Colorado at Boulder (Boulder, Colorado, USA) Bachelor of Environmental Design in Architecture
Spring 2019 Architectural Institute in Prague: ARCHIP (Prague, CZ) Global Architecture and Design
Experience
Jan 2022 - May 2022
Simonik Architekty Architecture Intern
July 2017 - May 2020 Office of the Registrar Front Desk Student Manager
Aug 2018 - Dec 2018 ENVD Technology Assistant Tech TA
Oct 2020 - Current Self-Employed
Involvement
Spring 2022
1st Place Workshop Competition Winner
Spring 2022 3rd Place GoRo (Golden Roubik) Award
Spring 2022 Egypt Earth Building Workshop
Fall 2021 - Current Student Senate Member
Fall 2019 ENVD Student Showcase Feature
Fall 2019 Green Home Tour Guide
Spring 2019 Teach English Abroad Spring 2018 Alternative Breaks
Artistic Research Geir Tore Holm / Tree of Life
Artists provide work in order to express concepts, perspectives, imaginations, and many other emotions. Every artist has different interpretations on how they want to present their work to provide the observer with their own interpretation. It is important to understand these interpretations to better understand how ideas can be shown to provoke a certain emotion. Chosen from a list, every student was assigned a Sami or Norwegian artist to research and further understand their methods and techniques used. The goal was to use these methods and interpret their personal philosophies and the common motif behind their work.
The artist I have chosen to research is Geir Tore Holm. Artist Geir Tore Holm (B. in 1966) is from Olmmáivággi/ Manndalen, Tromsø. Since 2010 he is a farmer at Øvre Ringstad in Skiptvet, Østfold. He works with video, photography, sculpture, performance, and installations to present his work. He has also mediated, written about, and been teaching in contemporary art since finishing studies at Trondheim Academy of Fine Art in 1995. Geir Tore Holm is a practicing landscaper, and he is concerned with the interaction between people and the environment, agriculture, and life. From the north, he has brought with him the knowledge of nature and cultures that meet and change and transferred this to slightly more southerly areas where he lives and works. His eternal projects concern nature management, ecology, knowledge exchange and construction activities. By initiating Balkong in 1993, with the home as art space the contexts of artistic practice and work with dialogue has been central, as well as ecology, indigenous people’s issues, farming, and social engagement.
To interpret his work, I saw a strong nature theme. Geir Tore Holm is appreciative of the earth his very feet walk on. Like Holm, I view the earth in such an admirable perspective. To capture this essence, I have chosen to create the tree of life as my artistic interpretation installation. This tree of life is symbolic of the connection humans have with the earth. The piece is used to express life, and show the foundation of earth, and the universe. The essence of life is structured through the transfer of earth’s amenities. The universe is all connected to itself and as well as to humans. We are the earth - human life is not sustainable without the earth.
The tree of life represents the concept of the sacred tree. The tree of knowledge, connecting to heaven and the underworld, and the tree of life, connecting all forms of creation, are both forms of the sacred tree. To further this understand, I understood that life is based on the idea of the fractal, and the tree is just one of the countless renditions of the fractal universe. Not only are humans connected to the earth, but the earth is just the gateway to the replications of the universe.
GEIR TORE HOLM / FUGHETTA
2014.10.12 to 2015.02.01
During the dark season, Geir Tore Holm presents a work of light in the Bildmuseet entrance hall. He’s interested in household management and sustainable lifestyles, and his work refers to two conditions that have been of great significance for humans’ survival in the North - reindeer meat and light.
The work consists of five reindeer carcasses moulded from epoxy, merged together into a lighting fixture. The carcasses refer to the food still-lifes of the Baroque, and the title Fughetta refers to a little fugue, a composition technique which reached its peak during the same era.
GEIR TORE HOLM / THE TIME WILL SHOW 2021.19.11.
“Time does not go by, it arrives” goes a Norwegian proverb, often heard among the elderly. We often ask ourselves: Do we have time? The concept of time may seem hands-on, but is very hard to define.
The measuring scale gets twisted when artistic practice proves to be ever more diverse, transient and defined by a multitude of local contexts.
Artistic practice can be ephemeral, only valid in the moment and being part of an experience of impermanence. A changeable art may correspond to biological and geological processes, or even be part of them. If art then merges with life to such an extent, can we still understand art as being independent, critical – and subject to art history?
Narrative Cartography City Blocks
Maps are territories, and they are used to identify and place knowledge. Maps work, and they work in two ways: They operate effectively, meaning they don’t fail, and they succeed, meaning they achieve effects and get things done. The Work of Maps are used to apply social forces to people and to bring into being a socialized space. The social forces they apply are those of the courts, the police, the military. They are those of authority. Maps reduce the necessity for armed forces. Maps link things in space on a specific plane, known as a map. This plane with its propositions is the map. The descriptions maps effect affect behavior by binding people to each other through the territory they mutually inhabit.
To understand the work of maps, the goal was to direct someone to a destination through the city by creating a nonconventional three-dimensional abstraction of a map. First, to create this map, it must be clear the route one must take to reach the destination. After selecting my destination, I walked myself throughout the city taking notes of specific landmarks, streets, corners, and any other things to define a space. The challenge of this was that I was not able to use directional words such as ‘left’ or ‘right’. It was important to navigate a city by describing one’s emotions within spaces. After navigating myself and writing down text, then a second person was to navigate themselves with only my text to see how accurate my descriptions were. After accuracy, the textual map was transformed and integrated into a physical model. This model will embody the directions and succeed in directing a viewer to a location from start to finish.
The starting location was the BAS school premises and the destination was baroque church around and on the other side of the city’s bay. Knowing that the destination was a church, I saw this as a prominent landmark within the city, so I saw this as inspiration to direct the viewer to different churches until eventually getting to the final church where the destination is. From the school, the first destination was Sandvik Church, to St. Mary’s Church, and around the bay to Children’s Cathedral.
In the model, the three churches are highlighting pieces in the map emphasized by towers. The model consists of 4 layers: bottom layer is the sea, second layer is the land, third is the directional path, fourth is the churches. In the corner is placed a mountain to represent mount Floyen for navigation. The map abstraction is built using only blocks of all the same length and width creating a cohesive blocked city that communicates the city effectively. The map can be read from all directions and functions as a navigational tool to apply direction and bring one into being in the city.
Plan
Elevation
Midterm Exhibition Web of Perspectives
Web of Perspectives is an engaging installation exhibiting the interaction between the most prominent species within the Porsangerfjord, located in Finnmark. The eight species called out are Cod, Salmon, Eider Duck, Harbor Seal, Sea Urchin, King Crab, Human, and Wolfish. Each member of the group is assigned one of these eight different species to further research in depth their characteristics, movements, and economic and cultural value within the fjord. Each researched species is then put together in a concise booklet that will each mark the main callouts in the installation. Aside from the main food web, to show our research we overall have five elements in our installation: a food web, a section, an animation, a timeline, and a visualization of a sea urchin invasion.
The installation itself is a collection of these eight prominent species along with twenty-four of the other secondary species that these eight interact with to sustain and satisfy the fjord’s ecosystem. Every species is installed separately on a wooden board that is cut apart and split into eight smaller boards to signal the eight species and sums to create a large ring. The center of the ring is left open intentionally for the interaction of all species. Strings are running across the ring over the open ring crossing paths to create the web depending on which species eats/interacts with the other.
As a whole, the installation is exhibited lower to the ground so that the viewer can observe it from above at a bird’s eye view but more importantly, so the viewer is forced to sit down and have an engaging experience with the species through their different perspectives. Once the viewer is seated, they look across the ring at the web of strings and is provoked by an overwhelming yet meaningful experience of the ecosystem in the fjord. Sitting down the viewer is greeted by one of the eight species booklets to read and further analyze the interaction of the food chain across the web through that one species perspective. After analyzing one specie the viewer can then rotate and move around the ring to discover the different species around the web.
As a presentation, each group member was seated at their assigned species around the ring and the audience was invited to seat themselves beside them around the ring fully closing it. One by one in an appropriate order each group member speaks about their individual species in the first-person form to personify themselves with their specie. The order is dependent on their interaction with each other with importance until every group member has presented their short spiel. The atmosphere created is intimate and places the audience within the web amongst it. Around the ring it appears as if we are all having an important business meeting, but it is purposeful in order to place everybody in a vulnerable situation. The audience is forced to sit and ponder the ecosystem in their own personal perspective and the impact they and every other species has on one another.
Overall, the installation provides a serene oasis throughout the full exhibition. The intersecting web is intriguing and inviting for passers while the species booklets want them to stay and explore the perspectives of the different species further in depth.
Final Review Bringnes-Hytten
An adventurous retreat in the sub-arctic landscape in the Porsanger Municipality in Finnmark, Norway, this minimal cabin is built with local materials for an eco-friendly experience that offers inhabitants a chance to connect with man, nature, and climate. The cabin is well insulated and is built using only sustainable materials that are locally sourced with energy-efficient qualities - aiming to have a low carbon footprint living experience in the Norwegian Arctic Circle.
Inspired by the Indigenous Sami Goahti (turf hut), the cabin embodies the structural, functional, minimal, and material characteristics of their traditional homes used for generations. The structural frame is made from birch roundwood pegged together with wood. Poles of roundwood are laid against the frame, pegged, and covered with overlapping sheets of birch bark which are kept in place by layers of turf stacked against the sloping walls. Its parabolic profile giving it stability. There is a smoke hole in the roof, with an opening directly above the fireplace to ensure ventilation. The rooms on either side of the fireplace could be divided into several sections where people slept, ate, and worked. A certain site chosen reflects the environmental values and planning specific to their immediate needs such as agriculture cultivation, social/cultural development, resources, and weather protection. Keeping these philosophies, the cabin design celebrates the Sami Goahti as a working model and is inspired by their layout, function, sustainability, efficiency, and structurability. Throughout the cabin are traces of the Sami Goahti philosophies: a central living core, sleeping and eating wings, fireplace in the center, arched structural wood beams to hold the structure, and built of local materials.
The cabin rethinks harmful construction practices that continue to contribute to the increasing climate crisis, so therefore all materials are found directly in the Porsanger Municipality. The use of a minimal carbon negative material creates a cabin that boasts a smaller carbon footprint than other traditional construction. In dialogue with its natural context, the exterior of the cabin has been finished with black tar-stained pine wood and the entire interior has been finished with natural birch wood, including the floor and furniture. Further, the slanted roof is finished with slate plates to withstand and handle weather impacts. Solar panels are also installed so that the cabin can create its own renewable energy during the sunny months. Birch trees will also be planted around the site to replenish the consumption of materials taken. Similarly, the cabin’s shape is carefully designed as a direct analysis and reaction to the harsh sub-arctic climate along and with respect to the local environment. The design counteracts and withstands the low sun, rain and snow precipitation, and strong wind conditions.
The cabin is integrated into the Norwegian UT.no trail and cabin system and compliments the other cabins in its proximity. Users of the cabin are those traveling through Finnmark and need a shelter over their head for a night or two until continuing their adventure. A maximum of six people can accommodate the cabin and it can be rented by one single party or multiple parties at once. The purpose of the cabin is to share a common space with other likeminded people who share similar nomadic ideologies. The minimal function of the cabin reflects the minimality of a traveling backpacker. Overall, the cabin is designed as a durable structure that maximizes on sustainability. The cabin consumes a minimum amount from the earth, has a simple construction, and replenishes what was used. The cabin is built to be long-lasting and efficient despite its minimal footprint.
cabin consumes a minimum amount from the earth, has a simple construction, and replenishes what was used.
qualities - aiming to
the other cabins in its proximity. Users of the cabin are those traveling through Finnmark and need a shelter people can accommodate the cabin and it can be rented by one single party or multiple parties at once. The similar nomadic ideologies. The minimal function of the cabin reflects the minimality of a traveling backpacker. cabin consumes a minimum amount from the earth, has a simple construction, and replenishes what was used.
minimum amount from the earth, has a simple construction, and replenishes what was used.
The structural are kept in place by roof, with an Home. In this several sections social/cultural development,
Site Analysis Concept Site Analysis
Throughout the cabin materials.
The use of a has been slate plates to around the site to to the local and need a shelter once. The traveling backpacker. replenishes what was used.
Site Analysis Concept
Site Analysis Concept
Sun Path Precipitation
Site Analysis Concept
Sun Path Precipitation
Sun Path Precipitation
Sun Path Precipitation
Average Snowfall Average Rainfall
This cycle repeats annually. The most optimal months to visit Porsanger are during February to December when there will be given sunlight.
Solstice then eventually become shorter again until the Winter Solstice. This cycle repeats annually. The most optimal months to visit Porsanger are during February to December when there will be given sunlight.
Precipitation
Jan 12.5 cm Mar 14.8 cm May 2.5 cm Jan 0 cm
Tourism Score
Dec 18.8 cm 0 cm
40 cm Jan Dec
Dec 18.8 cm 0 cm
Jan 12.5 cm Mar 14.8 cm May 2.5 cm Jan 0 cm
Average Snowfall Average Rainfall
40 cm Jan Dec
Jan 12.5 cm Mar 14.8 cm May 2.5 cm Jan 0 cm
Oct 2.5 cm
Dec 18.8 cm 0 cm
Oct 2.5 cm
40 cm Jan Dec
Dec 18.8 cm 0 cm
Jan 12.5 cm Mar 14.8 cm May 2.5 cm Jan 0 cm
Oct 2.5 cm
40 cm Jan Dec
Oct 2.5 cm
Jul 7.3 cm Nov 1.3 cm 0 cm
20 cm Jan Dec
Apr 1.3 cm
Jan 0.4 cm
Jul 7.3 cm Nov 1.3 cm 0 cm
Jan 0.4 cm
Apr 1.3 cm
Apr 1.3 cm
Jul 7.3 cm Nov 1.3 cm 0 cm
Posangerfjord experiences significant seasonal variation in monthly rainfall. The rainy period of the year lasts for 6.9 months, from April 13 to November 10, with a sliding 31-day rainfall of at least 13 millimeters. The month with the most rain in Lakselv is July, with an average rainfall of 72 millimeters. The rainless period of the year lasts for 5.1 months, from November 10 to April 13. The month with the least rain in Lakselv is January, with an average rainfall of 4 millimeters.
20 cm Jan Dec
20 cm Jan Dec
Jan 0.4 cm
Posangerfjord experiences significant seasonal variation in monthly rainfall. The rainy period of the year lasts for 6.9 months, from April 13 to November 10, with a sliding 31-day rainfall of at least 13 millimeters. The month with the most rain in Lakselv is July, with an average rainfall of 72 millimeters. The rainless period of the year lasts for 5.1 months, from November 10 to April 13. The month with the least rain in Lakselv is January, with an average rainfall of 4 millimeters.
Porsanger experiences significant seasonal variation in monthly snowfall. The snowy period of the year lasts for 7.4 months, from October 2 to May 14, with a sliding 31-day snowfall of at least 25 millimeters. The month with the most snow in Lakselv is January, with an average snowfall of 189 millimeters. The snowless period of the year lasts for 4.6 months, from May 14 to October 2. The least snow falls around July 23, with an average total accumulation of 0 millimeters.
Posangerfjord experiences significant seasonal variation in monthly rainfall. The rainy period of the year lasts for 6.9 months, from April 13 to November 10, with a sliding 31-day rainfall of at least 13 millimeters. The month with the most rain in Lakselv is July, with an average rainfall of 72 millimeters. The rainless period of the year lasts for 5.1 months, from November 10 to April 13. The month with the least rain in Lakselv is January, with an average rainfall of 4 millimeters.
Porsanger experiences significant seasonal variation in monthly snowfall. The snowy period of the year lasts for 7.4 months, from October 2 to May 14, with a sliding 31-day snowfall of at least 25 millimeters. The month with the most snow in Lakselv is January, with an average snowfall of 189 millimeters. The snowless period of the year lasts for 4.6 months, from May 14 to October 2. The least snow falls around July 23, with an average total accumulation of 0 millimeters.
Posangerfjord experiences significant seasonal variation in monthly rainfall. The rainy period of the year lasts for 6.9 months, from April 13 to November 10, with a sliding 31-day rainfall of at least 13 millimeters. The month with the most rain in Lakselv is July, with an average rainfall of 72 millimeters. The rainless period of the year lasts for 5.1 months, from November 10 to April 13. The month with the least rain in Lakselv is January, with an average rainfall of 4 millimeters.
Porsanger experiences significant seasonal variation in monthly snowfall. The snowy period of the year lasts for 7.4 months, from October 2 to May 14,
Porsanger experiences significant seasonal variation in monthly snowfall. The snowy period of the year lasts for 7.4 months, from October 2 to May 14, with a sliding 31-day snowfall of at least 25 millimeters. The month with the most snow in Lakselv is January, with an average snowfall of 189 millimeters. The snowless period of the year lasts for 4.6 months, from May 14 to October 2. The least snow falls around July 23, with an average total accumulation of 0 millimeters.
Wind Prevailing Wind Direction
Prevailing Wind Direction
Wind Prevailing Wind Direction
Prevailing Wind Direction
Tourism Score
Tourism Score
Tourism Score
Tourism Score
Clouds Temperature Tourism
Jan Feb Mar Apr May Jun Jul Aug
The tourism score favors clear, rainless days with perceived temperatures Based on this score, the best time of year to visit Lakselv for general outdoor from mid July to early August, with a peak score in the last week of July.
The tourism score (filled area), and its constituents: the temperature score score (grey line), and the precipitation score (blue line).
days
Based on this score, the best time of year to visit Lakselv for general outdoor from mid July to early August, with a peak score in the last week of July. The tourism score (filled area), and its constituents: the temperature score score (grey line), and the precipitation score (blue line).
Goahti Analysis
Concept
South Orientation
Precipitation Run-off
Optimal for passive heat gain, charging of solar panels, and light penetration through structure.
Contextual
Views
Framing views of fjord, Bringnes, and surrounding landscape.
Sustainability
Locally Sourced
Curved edges for precipitation to escape the structure and away from entrance.
Integration
All materials found and used from the site.
Relationship with Bringnes Hill filling mountainous voids.
Replenish
Planting of trees around site for every tree taken and used for structure.
Wind Divergence
Passive/Active Strategies
Rounded shape to divert wind strength and minimize high wind impact..
Dark exterior absorbs heat, insulated walls retains consistent temperature, and solar panel generates energy.
Reference Point
Minimal
Iconic silhouette recognizable from afar.
Simple form, optimization of space, and minimal footprint.
Durability
Reversibility
Resistance of elements, minimal maintenance, and long-lasting materials.
No usage of concrete and minimal foundation allows for removal without leaving a trace.
Section A
Section B
Hunton insulated walls retain consistent temperature throughout.
Slate roof for durability and resistance of elements.
Local pine wood stained with tar for exterior. Dark exterior absorbs heat.
Local and long-lasting materials inspired by the traditional Sami homes.
Hunton insulated walls retain consistent temperature throughout.
Local pine wood stained with tar for exterior.
Shape of structure having a relationship with Brignes Hill in the background.
Bi with r
No usage of concrete forpotnetial removal without a trace
Slightly lif away from
Slanted roof to force precipitation away from entrance
6 beds to accomodate multiple parties of users.
Fireplace in the center of structure to distribute heat throughout.
Central gathering space core inspired by traditional Sami homes.
Full kitchenette with refridgerator, sink, stove, dining table, and storage.
Birch interior inspired by traditional Sami homes.
Strong circular shape inspired by traditional Sami homes.
Plenty of storage to hold users backpack essentials.
Arched skeleton structure inspired by traditional Sami homes.
Birch floors insulated with recycled glass to etain heat.
ted floor base om moisture
Rounded edges to divert high wind speed impacts.
Floor to cieling windows to maximize views of surrounding landscape.
Curved glass windows on either side to allow light penetration through structure
South facing for maximum sun exposure.
1. Oslo 2. Bergen 3. Fløyen 4. Ulriken 5. Lyderhorn 6. Trolltunga 7. Tromsø 8. Rødtinden 9. Hesten 10. Segla 11. Porsangerfjord 12. Trollholmsundin 13. Bekhilderen 14. Kossdalssvingene 15. Damsgårdsfjellet 16. Fantoft 17. Stavkirke 18. Løvstakken 19. Knarvik
Mahlon Howard
Portfolio - Fall Semester 2022
BAS: Bergen School of Architecture Erasmus Exchange Program Bergen, Norway