PORTFOLIO
Maria Malloch | Fall 2021 | Georgia Institute of Technology 770 778 9685 | mmalloch3@gatech.edu
ARCHITECTURES OF EMPOWERMENT Muscogee cultural center in the heart of Midtown FALL 2021
PERPETUAL TRANSCIENCE
wellness retreat at the Manchester Mill Ruins SPRING 2021
FORM AND FIGURATION
developing structure through deep decoration FALL 2020 PARTNER PROJECT
REPRESENTING RENOVATION
experimental exploration of Covent Garden through time SPRING 2021 GROUP PROJECT
HOUSE FOR TWO ARTISTS
***urban infill in Atlanta’s Castleberry Hill neighborhood SPRING 2020
THE PRISON OF EXOTIC CARPENTERS capturing depth and story through collage FALL 2020
GEORGIA INKSTITUTE OF TECHNOLOGY a collection of pen and marker studies of the Georgia Tech campus FALL 2020
PERSONAL WORKS sometimes I do leave studio 2019-2021
ARCHITECTURES OF EMPOWERMENT Muscogee cultural center in the heart of Midtown INSTRUCTOR ELISA DAINESE | FALL 2021
While it is most common to imagine the Native American person adorned with fantastic cloth and bead patterns and elaborate culturally significant accessories, it is not as well known how those items and practices came to be. The evolution of Muscogee material culture from pre to post European contact caused the loss of some traditional practices but also the gain of others that have become
essential to the Muscogee way of life. These materials and crafts have been combined through layering into a personification of the whole of Muscogee material culture. The sculpture is designed so that the full image of the mother and child can only be perfectly viewed from a single point, when all of their pieces align perfectly. Each aspect serves a purpose to the greater composition.
DATA COLLECTION What aspect of the prototype intrigued you the most?
Did you have a favorite piece?
“that you can only see the people in full from a single point of view or axis”
“trailing drapery and fabric; it’s 3D and tactile”
“depth and viewing angles” “the people are true to scale. I’m looking the woman in the eyes.” “the layering and looking at it from the side” “there’s a larger image but so many smaller parts”
“the beaded shirts, they’re the most colorful piece” “the facial features” “the skirts; they have fun patterns”
Other comments? “I don’t want to touch her; she’s very pretty.” (I said they can move pieces to see them better) “More personally significant items seem closer to the body”
Elements that are adapted by the Muscogee culture are represented as making up the clothing of the persons or as aspects added on to their being.
Elements that are native or treated as native to the Muscogee culture are represented as making up the physical person or as their innermost clothing piece.
2D ELEMENTS
FABRIC
“The people are true to scale. I’m looking the woman in the eyes.” The scale of the sculpture is intended to bring the issue of Muscogee representation in their native homeland to life in the eyes of the viewer. It’s easy for people to ignore a chapter in their history textbook. It’s hard to ignore a mother and child standing before you.
This concept of layering, views, and opacities is continued through to the cultural center’s physical form via various types of copper, one of the first metals that the Muscogee used for craft. The perforated copper, much like the De Young Museum in San Fransisco, partially shields those inside from view while alloweding them to
look out of the building. Additionally, the perforations produce light and shadow similar to light through leaves, like the native Muscogee landscape. The cultural center is intended to act as a metaphorical reclamation of Muscogee territory in their sacred land, with ample room to carry out traditional practices.
Opaque Copper Panel; Perforated Copper Screen; Additional Mullion Shading
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Reflecting | Discussing | Reading
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Gathering | Dining | Overlooking
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Administration
Market | Catering | Entertaining
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Learning | Experiencing | Immersing
Nearby Monuments and Public Art
A. Perforated Copper Panels (varying perforation) B. Glazing C. Copper Track D. Glass Track E. Waterproofing Membrane F. Insulation G. Gypsum Drywall H. Flashing I. Concrete J. Rebar K. Accordion Structural Deck L. Roof Membrane M. Steel Girders N. Cable System to support Copper Panel O. Rod Supports for Copper P. Metal Rail Q. Structural Joists R. HVAC and Mechanical Accomodations S. Tile Flooring (exterior) T. Polished Concrete Floor U. Exterior Ceiling Panels
Multipurpose Courtyard Space w/Market Screening
Third Floor Library overlooking Midtown
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1. Center for Knowledge Exchange 2. Restroom 3. Restroom 4. Storage 5. Main Reception Area 6. Covered Market/Catering Space 7. Service 8. Staff Restroom 9. Conference Room 10. Conference Room
11. Storage 12. Staff Restroom 13. Storage 14. Assembly Storage, Set-up, Queue 15. Principal Assembly Space 16. Service 17. Main Space/Monument 18. Office 19. Staff Workroom and Kitchenette
PERPETUAL TRANSCIENCE
wellness retreat at the Manchester Mill Ruins INSTRUCTOR JULIE KIM | SPRING 2021
As time passes, the environment changes and guests enter and exit the Earth. In a larger sense of things, ground is covered and uncovered, cut into and built up. Structures are erected and, by natural or manmade means, reduced to a shell of their former selves, entering a new era of their lifetime. People and experiences, too, are fleeting. As one lives their life, they evolve and change, uncovering new paths and adventures along the way. On a day-to-day basis, events come and pass as the sun rises and falls. Whether or not one goes to sleep conscious of their time spent is a key determinant of their overall wellness. By creating a structured environment with clear contrasts in all aspects, the users’ mindfulness of their decisions and place in the larger timeline is heightened. Following a layout suited to a circadian rhythm, the guests are invited to wake up and fall asleep slowly on the peripherals while the bulk of their day is occupied in the center of the environment through intentional decisions with escapes along the way. By separating the doing unto and the having done, the time prior and the time present, each can be enjoyed in full, bringing clarity and peace of mind to visitors.
Therme Vals Precedent Study
Addition
Expansion
Main Space
The Ruin
OCCUPYING THE RUIN
Sweetwater Creek
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Serve
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Experience
Participate
Recharge
Serve
Experience
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Spaces of Action - Along
Introspect
Immerse
Stretch Cool
Participate
Recharge
View Dream
h Splash Steam
FORM AND FIGURATION
developing structure through deep decoration INSTRUCTOR LARS SPUYBROEK | FALL 2020 PARTNER: JORDAN HANNA
By analyzing gothic curves and figures then reimagining them in new systems of vertical sheets and beams, a number of structures can emerge. In one, the Historical Architecture Preservation Club of Chicago, the agenda of the club weaves
between monumental pointed flames and networks of curves. Located at the site of a current surface parking lot on the corner of Wabash Avenue and Balbo Drive, the facades are only a preview of the structures housed within.
Gothic Curve Studies It is essential to understand the core of gothic figures and architecture by first becoming familiar with the “Gothic alphabet”, the S, C, and J curves. To do this, ten precedent windows from a range of years and locations were analyzed by extracting and sorting the curves of their makeup based on deep or shallowness, symmetry, and length of staff (J). The assortment of collective curves produced a potential range to each curve type.
Duomo di Milano Lancet
J - curve
S - curve
C - curve
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J
C
Duomo di Milano Milan, Lombardy, Italy 1386-1965
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Symmetrical to Asymmetrical
Loose to Tight
Deep to Shallow Curves
Loose to Tight Unconfined to Confined
Taking inspiration from the vast and diverse networks created in the Sondergotik style architecture, the precedent curve collections were condensed into a batch of curves with the most potential Jfor transformation into open nodes. Each parent curve of the top row was rotated and mirrored down, forming a new collection of open nodes, ranging in internal and external spatial qualities, from which to move forward in the next phase of research.
Unconfined to Confined
Open Node Matrices
Deep to Shallow Curves
Symmetrical to Asymmetrical
Shallow to Deep Hooks
Long to Short Staffs
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Pointed Flames
Gothic Figure Matrices Red Figures were extracted directly from precedent window studies.
While gothic curves have the potential to create open nodes, it is important to not discount the value and uniqueness of the gothic closed patch figures. Analyzing the ‘pointed flames’, trefoils, and quatrefoils based on curve-type composition (around the circle) as well as symmetry (radially) revealed the diversity of the figures, creating the need for a secondary circle in the center of the matrices for “hybrid” figures. The pointed flames proved best at expressing the gothic notion of the curved symmetry line (below) as well as showed the most promise for potentially being integrated seamlessly into an open node system.
end-to-end, straight
end-to-end, curved
JC
CS
Quatrefoils
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Trefoils
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JC
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Ogive
Symmetrical to Asymmetrical
Origin Form
Origin Form Symmetrical to Asymmetrical
Ogove
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JS
Ogee
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Sheet Design
Components Used
Components Used
Using the components formed by the smoothed until the connection is seamless. original set of nodes, each sheet is designed Again, this excludes inner component loops in a “puzzle-piece” fashion following a set of and points. rules. 5. Any points within the sheet which 1. The largest components must be may possibly pose structural hazards later placed on the screen first. must be reinforced by replacing curves or pieces of curves with pointed flames 2. All open ends, excluding loops and following the node contours. Components Color Coded points, MUST Used be resolved and connected to another component. 6. Components designed under the “Component Design” phase for each system 3. Some minor manipulation of open are Components Used Colorused Coded as bases only. Within the sheet ends is allowed in the case of connecting iterations, the base components may be to other components only. manipulated by removing or adding the 4. Any “kinks” or harsh angles produced nodes used to make up the base. Scaling is via connecting components is prohibited, as prohibited, but open ends may be minorly they are a hazard to the structural integrity manipulated. Mirroring is permissible. Color Coded Final of the sheet. All such angles must be
Color Coded
Final
Components Used
Color Coded
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Final
Base Screen A
The Components
The screens formed by this machine are meant to resemble melting icicles or strings of jewels. The long, bead-like structures meet with the surrounding fields of curves at tension points.
The Machine
Unconfined to Confined
Loose to Tight
Loose to Tight Level of Confinement Consistent Relative to Parent Curves
Component Design (all systems)
Loose to Tight
The components, or “puzzle-pieces” of each system are created via a series of mirroring, scaling, and interconnecting of the original open nodes of the chosen column or row. Not every piece in a set needs to be needed if some do not have as much potential as others. The components are created with architectural features such as columns or surfaces in mind to influence the width and density of the component makeups.
9 scaled for focal point
9 column with potential for side connections
3 and 6 columnal arrangements with “pendant” effect
Level of Confinement Consistent to Parent Curves 1
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(left) 4 medium-density field (right) 4 loosely dense surface
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Hybrid Sheets Pointed flames, in green, are added to structurally weak areas of original sheets (classified by their order within an unpictured set of 32 sheets generated from the systems) and are created to follow the curve of the components.
Thickening The two main forms of thickening on the individual sheets are a “walking” typology where columns and fields of the lower portion of the sheet are shifted outwards for stability and “falling” where upper columns and fields that are naturally disconnnected from other areas fall to the front and back of the sheet, a potential multiplying
opportunity. The pre-torn, strand-like nature of the sheets allows for easy development of multiplying features such as weaving thinner columns through the open spaces of the nodes and meeting the tips of node strands in a precise fashion.
Beam System Creation (Example using Floor 2)
Plans
Field and Column Placement Approximations
Input Curve Network in 2D Using Components below
Networks Adapted to Meet Vertical Columns
*fields in darker opacity; columns in lighter opacity
Components Used Beamwork is composed of components drawn from all four vertical sheets, which can be combined on a single floor if necessary. These components would then be subject to the same rules as applied to connections between components in the vertical (2d) sheet development.
Fields
In this system, fields of various densities are placed under large rooms and high-traffic areas while columns are placed under smaller walkways or low occupancy rooms. As before, gaps are naturally created within this method of combining components, so for areas where gaps should not be, yet are, filler components are used as patchwork. Columns
Fillers
Fillers
Fields Fields
Columns Columns
Interior view featuring beamwork and shifted/torn floor plates
Within the Gallery
REPRESENTING RENOVATION
experimental exploration of Covent Garden through time INSTRUCTOR RYAN ROARK | SPRING 2021 PARTNERS: JOSE MIRANDA, KATHERINE DAVIS
Almost constantly filled with activity through the centuries, Covent Garden’s facades have seen a multitude of renovations, demolitions, and expansions. The group’s challenge was to represent these all through a large, interactive deliverable. Concept originating from a crib sheet strategy I used in high school, we chose to represent the older facades in blue and
Floral Court in the 1980s (below) and now (right); layered (far right)
the newer in red. These facades were then printed on transparencies and wedged between acrylic panels. When edge lit with red or blue light, one layer disappears and the other appears black. The same effect can be achieved by looking at the white light lit model through red or blue film. This method was used to represent the area surrounding Carriage Hall and Floral Court.
Site Context layered images by Katherine Davis expressing the changes of Carriage Hall (top) and Floral Court (bottom) on their facades from 1793 to the present day.
Intersection on the model featuring scale figures from two different eras (represented in their associated color)
HOUSE FOR TWO ARTISTS
urban infill in Atlanta’s Castleberry Hill neighborhood INSTRUCTOR GUSTAVO DO AMARAL | SPRING 2020 ***AWARDED MIKE RICE AWARD FOR OUTSTANDING FIRST YEAR PROJECT
Located in an unsuspecting empty lot beneath the street level of Nelson Street in Atlanta’s historic Castleberry Hill neighborhood, this project called for a live-work space for two artists, a potter and muralist, as well as a gallery space for themselves and local artists to display their work. Drawing inspiration from the behavior of locals during the site visit, this project aims to represent the Castleberry Hill artist as a physical structure, unwrapping their culture and way of life. The site is located on the relatively busy Nelson Street which is lined with local small businesses and lofts. In a larger context, Castleberry Hill is just south of popular Atlanta landmarks such as Mercedes Benz Stadium and Centennial Olympic Park. The neighborhood has transitioned from an industrial hub to a community of artists. However, the trendiness of living in converted industrial lofts in an artist community is causing gentrification and pushing the locals out. As the cost of living rises substantially, it is likely that the rich culture of Castleberry Hill will be lost in the transition. The history of the people. however, will always remain present within the built environment.
East Section
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Roof (above)
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Ground Floor (above); Second Floor (below)
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Gallery Space Gallery Balcony Kitchen Living Room Living Balcony
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THE PRISON OF EXOTIC CARPENTERS capturing depth and story through collage INSTRUCTOR GEORGE JOHNSTON | FALL 2020
Which came first, the chicken or the egg? Is Schrödinger’s cat dead or alive? Much like these highly debated questions of phenomenon, collage presents the art of ambiguity. It creates debate in the subtleties one’s mind is apt to pass over without thought, encouraging a second look, or even a third. The proposition that two things should exist in the same space, at different or simultaneous time frames, bleeds frrom paper collage, as depicted here, into architecture through both visual experience and program, introducing a flow and flexibility to the space.
The Prison of Exotic Carpenters depicts the process of cultural appropriation and commodification through architectural collage. Each image is associated with an architectural drawing: Elevation, Site Plan, Perspective, Detail, and Section (respectively). These titles are meant to be taken in a figurative sense and hold many implications in the contents of each scene. Elevation: the luxury home exhibits
traditional artifacts yet lifts itself above the town through the door. Site Plan: the businessman observes the ancient ruins from his perch, but only under the cover of night. Perspective: he returns to his office with his trasures yet refuses to acknowledge the hands they were made by through his window.
Detail: each creator is kept safely tucked away in the adorned drawers of the collector, yet their creations are displayed proudly on pedestals for sale.
Section: when viewing the process as a whole, the creators are reduced to their creations, and, depite the high value of their craft, are not held to the same value and are barred outside while their artwork is displayed in a pristine interior.
GEORGIA INKSTITUTE OF TECHNOLOGY
a collection of pen and marker studies of the Georgia Tech campus INSTRUCTOR CHARLES RUDOLPH | FALL 2020 Part of the “Sketch of the Week” series in Construction Technology and Design Integration, I chose to study on-campus buildings, primarily those from Old Campus, documenting them through pen and markers in relatively quick drawings to capture the subjects.
(below) the French Building, side entrance (top row, left to right) the stained glass window of Brittain Dining hall, column detail of Lyman Hall main entrance, column at Tech Tower main entrance (bottom right) old campus and midtown as viewed from the Clough Undergraduate Commons
PERSONAL WORKS sometimes I do leave studio MARIA MALLOCH | 2019-2021
Since as long as I can remember, I’ve always had an interest in the visual arts. More recently, I’ve taken up painting and sketching as my main mediums, though I actively seek out more to explore. The techniques I’ve learned while investigating these modes of expression have consistently informed me in my architectural and design career and vice versa. I’m excited to see what the future of visual representation holds for me.
(left) collection of detail pen drawings from 2019 studying stippling and fine linework (right) investigation into color overlaying to build depth and shadow as well as a means to present the full process in the final image | all drawings completed in Pilot .38mm ballpoint pens and Micron on mixed media paper