SAMUEL AUSTIN MALONEY ARCHITECTURAL PORTFOLIO
Master of Architecture, Distinction Wentworth Institute of Technology, 2017 Bachelor of Science in Architecture, Cum Laude Wentworth Institute of Technology, 2016 E: maloneys1@wit.edu C: 1 (203) 450 1346 W: samaloney.portfoliobox.net
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Samuel Austin Maloney
TABLE OF CONTENTS Center for Silence Boston, Massachusetts. Thesis 2016 - 2017
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Center for the Spoken Word Paris, France. Fall 2016
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Future Lab Berlin, Germany. Spring 2016
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Beacon Theatre Boston, Massachusetts. Spring 2015
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THS Presents SEUSSICAL THE MUSICAL Trumbull, Connecticut. March 2017
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CENTER FOR SILENCE
BOSTON, MASSACHUSETTS. THESIS 2016 - 2017 THESIS STATEMENT: Center for Silence: By synthesizing profound silence through the combination of contextual awareness, connection to natural elements, and a balance of light and shadow, one can construct a sequence which enables individuals to pause and reflect on their place in the cosmos. ABSTRACT: The Western world has developed over the past two centuries at an extraordinary rate due to capitalism. This has led to an age of over-connectivity, a surplus of cultural noise, and disregard for the impacts of humanity on the planet. Happening congruously with the rise of capitalism was the great secularization of the Western world, resulting in a pluralistic society which accepts all forms of religion; organized, absent, or otherwise. Although society has pivoted back to its roots in individually oriented belief systems, the secularization of everyday rituals has perpetuated a culture of distraction. Individuals have become self-centered, yet disconnected from the profound idea of who they are and how they relate to the cosmos.
A solution to these cultural issues is to encourage secularized individuals to pause, unplug, and take a moment to consider their existence. The architecture to support this adjustment is that which provides space for profound silence, which is not quite the absence of noise, but instead the energy of infinite quietude. This is best achieved when materialized as a sequence of spaces which employ contextual awareness, a balance of light and shadow, and connections to natural elements. These three architectural motifs culminate in a symphony of profound silence, decodable by the individual occupant and prompting one to pause and experience a transcendent moment of reflection.
RIGHT: RITUAL Offering a criticism on consumerism, an aisle at Star Market is photo-collaged over an image of the Cathedral of the Holy Cross and Saint Eulalia in Barcelona, Spain. Both designs utilize the effects of one-point perspective to imply movement, though one is purely for commercial efficiency and the other suggests ascension to the heavens.
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CENTER FOR SILENCE
BOSTON, MASSACHUSETTS. THESIS 2016 - 2017
The final design is situated on Parcel 12 of the Rose Kennedy Greenway, sandwiched between Cross Street and Surface Road adjacent to the Government Center Parking Garage. This site hosts two exit ramps of the Central Artery highway system, submerged below grade between 1991 and 2006 with the “Big Dig” project. The city of Boston has proposed an elevated park to increase the usable surface area of the lot by 50 percent. The final design assumes that the proposed park, which entails two landscaped ramps that culminate at a viewing platform
which sits 14’ above street level, has been completed. The final design proposes an additional ramp connecting Surface Street with the elevated viewing platform, a series of interventions on that viewing platform, and an architectural journey occupying the South-West majority of the site. In close proximity to the chosen site are Faneuil Hall, Quincy Market, Christopher Columbus Park, the hay market, Boston’s Holocaust Memorial Museum, and a number of MBTA bus and train stops.
RIGHT: SITE PLAN The Rose Kennedy Greenway has a history of reclaiming territory previously occupied by an elevated highway which lacerated the City of Boston. With the submersion of the Central Artery System came the opportunity to connect the divided neighborhoods with a stretch of public park space. Parcel 12, still dominated by exit ramps, is the last remaining lot between Haymarket and South Stations to be re-purposed for public use.
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OVERVIEW The space is designed with an intentional entry sequence of dissolving the site’s distracting qualities an employing architectural elements to engender profound silence. First, one descends from the elevated viewing platform down an elongated set of stairs between two curving surfaces, concrete on the right and vertical wood lovers on the left. The northward view of the busy exit ramp vehicular traffic slips behind the wall as one descends into the entry garden.
INTERMEDIARY Secondly, one turns 90 degrees to the west into the entry garden, where a polished black marble wall separates the garden from the busy vehicular traffic of Surface Road on the other side. On axis with the first stretch of this pathway is a vertical slot, enabling a glimpse of the adjacent street. Overhead the tree canopy filters direct light and allows the wind to manipulate the shadows that are projected on the ground. As one continues their descent down the 1:12 ramp, which terminates at 3 feet below street level, the pathway rotates counterclockwise around a square pool with a gentle fountain generating white noise.
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PAUSE AND SILENCE Finally, one enters a threshold of vertical wood louvers which then turn to horizontal beams 8’ overhead, then turn right to experience the view on the left. The doorway is set on axis with the reflection room and the reflection pool, as well as the smaller fountain pool in the entry garden that one would have just experienced. The reflection room is open to the elements, with a large rectangular porthole opening to the reflecting pool to the east and a number of geometric apertures overhead. The lower cylindrical volume is constructed of dark colored board formed concrete, and the upper cubic volume is constructed of lightweight per-fabricated concrete panels, supported by eight vertical glue-laminated columns. The surface of the floor and the adjacent reflection pool are 3’ below street level, and the polished black marble wall of the entry garden continues as the boarder between the street and the large pool, with regularly spaced vertical slots. This is the most isolated yet open space, as well as the tallest, with a ceiling height of 52 feet.
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CROSS STREET
NORTHBOUND EXIT RAMP
SOUTHBOUND EXIT RAMP
MECH. ROOM
REFLECTION ROOM
JOHN F. KENNEDY SURFACE ROAD
PLAN 1: REFLECTION ROOM
QUINCY MARKET PEDESTRIAN WAY
3’ BELOW STREET LEVEL SCALE: 1/16” = 1’
The covered space is 3’ below street level, and consists of a reflection room, which is the primary pause point in the project, the large reflection pool, a single user restroom and support spaces. Interior circulation connects the project and creates a buffer between the southbound exit ramp and the reflection spaces. One walks through the interior space from left to right.
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CROSS STREET
VIEWING PLATFORM NORTHBOUND EXIT RAMP
SOUTHBOUND EXIT RAMP
JOHN F. KENNEDY SURFACE ROAD
PLAN 2: VIEWING PLATFORM
QUINCY MARKET PEDESTRIAN WAY
14’ ABOVE STREET LEVEL SCALE: 1/16” = 1’
The elevated platform proposed by the City of Boston sits 14’ above street level. Visitors may ascend from various directions, then follow the shallow curved staircase down to the entry garden to the North of the reflection room. As one exits the covered space, the staircase ascends directly on axis with the Customs House clock tower which presides over the city.
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CROSS SECTION FACING SOUTH EAST SCALE: 1/8� = 1’
All drawings utilize a Sketchup based model with section and plan cuts exported to AutoCAD for linework adjustments. Lineweights are edited in Adobe Illustrator and renderings are completed in Adobe Photoshop. A Google Maps underlay creates the grey-tone context which transcends ground plane and background buildings.
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LONGITUDINAL SECTION FACING NORTH EAST SCALE: 1/8” = 1’
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RIGHT: 1/16� SCALE COLLAGE MODEL Two dimension plans and sections build three dimensional space and enable multiple perspectives. As one is drawn closer to the pause point, descending from the elevated platform to the covered space (dark grey to light grey), noise is mitigated an silence is activated. The plan elements are painted to represent the way they respond to light. Dark grey being the most absorbent, and white being the reflective surfaces of water. Strips of plexi represent the vehicular traffic, taking on the linear lines of the ever pumping Central Artery system at both street and subterranean levels. Through the sections of this model one can understand the manipulation of the surface of the earth over time, as an adjacent building on the left rises up well beyond the ground plane, and traffic tunnels descend well below it, speaking to Boston’s history of landform manipulation.
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LEFT: METHODOLOGY DIAGRAM The relationships between programmatic elements and existing site conditions are described in this early drodel. The two masses of the intervention are built out of white material, with a blue top on the smaller mass representing a body of water. Brown chipboard represents existing conditions, and wood signifies generative lines. The two masses of the intervention are divided by the generative line of Fulton Street, and the smaller mass terminates on an angle derived by the Quincy Market pedestrian walkway. The building masses are built out of white material to suggest two spaces that capture light. The reflecting pool, having a symbolic connection to the near-by harbor, reflects light in such a way that the city skyline will be mirrored for a majority of the day. The body of water, still and calm, will adapt with the seasons, mirroring not only the present form of the city but also the passage of time.
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CENTER FOR THE SPOKEN WORD PARIS, FRANCE. FALL 2016
Designed in the Fall semester of 2016, this space is sited in Paris, France along the Siene river. The project is built on a space known as the “Quai,” which is the industrial shipping dock which flanks either side of the Seine river and has been transitioning into a pedestrian riverwalk for a number of years. The project responds to the New National Library, a monolithic complex consisting of four 250’ tall towers sitting atop a 25’ tall plinth. The New National Library was constructed in the early 21st century to house France’s incredible historic
archive. The new intervention strives to create a connection between the top of the library’s plinth, and the inhabitable surface of the Quai on the left bank of the Seine. The Center for the Spoken Word serves as a visual framing device in that it provides views to and through the intervention with vistas, leading lines, and forced perspectives. The Center for the Spoken Word is also an acoustical and historical framing device, as it allows students from the nearby University Diderot to study, create, and perform the art of the spoken word.
RIGHT: SITE PLAN The site is the 13th Arrondissement, up-river of Notre Dame by approximately 1.75 miles. The four towers of the New National Library dominate the skyline, and on the left bank an orderly grid of streets descend to the river. The Quai along the left bank is moderately busy with pop up bars and an existing amphitheater carved into the embankment. The right side of the river is sparsely occupied.
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RIGHT: FLOOR PLANS A majority of the program is on the second floor, level with the street that runs along the base of the New National Library Plinth. This creates a strong connection with the existing educational institutions while minimizing the impact on the Quai. These considerations lead to a long, thin form which flares out for significant programmatic elements such as the library and Forum. These elements also descend toward Quai level, bringing occupants closer to the Seine in the same way that the existing amphitheater does. Pedestrian and vehicular traffic is maintained and advanced by the intervention.
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ABOVE: URBAN CONTEXT MODEL The abstract bass wood model which sits on a chipboard site model is one of many iterations in which abstract modeling responded to urban conditions. This lead to the slender form, the stepping gesture towards the water, and moments of forced perspective which allow the building to act as a visual framing device from the plinth of the New National Library.
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RIGHT: PERSPECTIVES Two rendered perspectives illustrate the energy of the two most significant spaces within this project. Above is the Forum, with a stage at Quai level that fits within the pop up eateries and engages the water. Below, the library provides a scenic view of the left bank and the Parc de Bercy beyond. Materials include board formed concrete, birch woodworking, and aluminum frame curtain walls in reference to the materials of the New National Library.
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ABOVE: SECTIONS AND ELEVATION In section and elevation one can see that the low lying form never exceeds the height of the New National Library Plinth. Rather than adding another monolithic building to the neighborhood, the Center For the Spoken words seeks to blend in with the existing fabric and add additional overlooks and opportunities to connect with the water.
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FUTURE LAB
BERLIN, GERMANY. SPRING 2016
In an attempt to establish a campus of science education and advancement, this project proposes to construct a Future Lab and Start-Up office building between the Berlin Technical Science Museum and Spectrum, a children’s science museum. The site previously housed Berlin’s largest and most productive rail yard,
and this project proposal intends to re-imagine the gateway to and from the city that was destroyed in World War II. With a combination of stylistic innovations and local vernacular, the proposed building stands out as something different yet harmonious in a city that is always in a state of advancement.
RIGHT: SITE PLAN The new construction consists of two buildings, the longer Future Lab and the taller Start-Up office building. Historically, this was the site of the customs houses for the rail yard, two sister buildings connected by a bridge. The site layout honors this history by creating a street-facing northern facade inspired by the lost symmetrical gateway, while also redeveloping the public circulation through the area to engage exterior courtyard created on the southern end.
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RIGHT: GROUND FLOOR PLAN The main entrance to the Future Lab is on the southern facade of the longer building, while the Start-Up office building has a separate entrance on its western side. The ground floor of the longer building is dedicated to the public, with a cafe and large lobby space to allow visitors to engage with the building. The 2400 square meter lab space is elevated 2 meters above the ground plane, with a trap room/storage space below, and can be accessed from the main lobby by the connecting stair and elevator core.
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ABOVE: EXTERIOR PERSPECTIVE The main entrance of the Future Lab is located here on the southern side, pulling the public off of the street and allowing them to engage with the Berlin Technical Science Museum and Spectrum. By funneling people down through the gateway, established by the two flanking buildings and their connecting bridge, the historic axiality of the rail yard has been returned to the site.
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RIGHT: FIRST FLOOR PLAN The second floor of the longer building features seminar spaces with flexible furniture options. Also located here are two administrative offices to support day to day operations. As the longer building is a split level, the Future Lab space is located on Floor 0.5, between Ground and Floor 1. The smaller building features leasable space suited for an open office plan. Two single-user restrooms and a storage closet are centered between the two stairwells.
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ABOVE: LOBBY PERSPECTIVE The main lobby of the Future Lab features exposed glu-lam timber construction in a double height space. With a view through the glass-encased stairwell, the public is given a glimpse of the future lab, hopefully making them more curious about what is happening within.
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RIGHT: SECOND FLOOR PLAN The buildings are separated into fives zones; moving counterclockwise from the top right, there is the Start-up offices, a utility/circulation zone, the Future Lab, another utility/circulation zone, and then additional offices. This layout was arranged to maximize leasable space and maintain flexibility for the start-up office layouts, and is the typical floor plan for floors 1 through 3 with the exception of a green roof patio on the third floor of the longer building.
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ABOVE: SECOND FLOOR PERSPECTIVE As seen from within, the South-facing facade features a curtain wall with electro-chromic glass panels. This active system enables an abundant amount of natural daylight while reducing the level of solar heat gain to create a comfortable and environmentally conscious work space.
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RIGHT: SECTION DETAILS The structure of the proposed buildings are almost entirely comprised of glue-laminated timber, right down to the mullions of the curtain walls. As the facade features an angled mullion system, the structure was designed accordingly so that the columns would work on the same grid in elevation. The top detail illustrates how the column grid and curtain wall terminate at the parapet. The bottom detail illustrates how the angled column system, cut in section, connect to the glu-lam joists are the lightweight reinforced concrete slab floors and the curtain wall mullions.
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LEFT: RENDERED ELEVATIONS As the facade features an angled mullion system, the structure was designed accordingly so that the columns would work on the same diagonal grid in elevation. The facades also feature electrochromic glazing, which minimizes solar gain on warm sunny days and can also be used to establish a privacy veil. The utilization of wood siding in the heart of Berlin was controversial amongst German critics, but the design decision was ultimately accepted as an affordable, ecological, and culturally relevant choice. It also stays true to the structural system employed.
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BEACON THEATRE
BOSTON, UNITED STATES. SPRING 2015
Located on the back side of the Huntington Theatre Company, this experimental theater and educational facility strives to be a destination location. Though it blends into the urban fabric, it stands out as a functional expression of the theater process and performs for the public. As a comprehensive studio project at Wentworth Institute of Technology, this project required full structural and HVAC system designs. The proposed structure is steel construction with concrete footings and a wood louvered facade system. The HVAC design features a 5’ x 5’ modular plenum floor system in the theater space to allow for maximal thermal control in an adaptive environment with reduced noise pollution.
RIGHT: SITE PLAN The project site is surrounded by cultural icons: it is connected to the Huntington Theatre Company; across from the historic Matthews Arena; a block from the landmark Symphony Hall; and a short walk from the Museum of Fine Arts. Easily accessible by public transportation, this site can host a hidden gem for patrons to discover. If the building were to welcome guests and draw them in, it might serve as a cultural beacon.
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TOP RIGHT: FACADE DETAIL A partial section and elevation illustrate the integration of mechanical systems, structure, and facade as the tension cable curtain wall wraps underneath the cantilever.
RIGHT: GROUND FLOOR PLAN The interior space is defined by programmatic adjacencies. The entry sequence has patrons descend from street level to the lower lobby, then ascend the central stair (or elevator) to the upper lobby. The lower level, though primarily storage and theater patron related spaces, is where the conventional classroom spaces reside. During the day, the lower lobby can be used as a break out space for students and professionals to collaborate, and in the evening it provides ample space for theater patrons to mingle throughout the evening.
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ABOVE: EXTERIOR PERSPECTIVE A view down St. Botolph Street shows the relationship of the building to its surroundings. The wood louvered facade stands out amongst the brick while still speaking to the regional vernacular. The extruding cantilever reaches out to the street, and the green space between the new structure and the existing brick buildings to the north/west invite the public onto the site.
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TOP RIGHT: REHEARSAL ROOM The exterior wooden louver screen creates a veil which provides more of a view out than in, and also shades the curtain wall from excessive solar exposure in the summer months.
RIGHT: FIRST FLOOR PLAN Building occupants ascend from the lower lobby to the upper lobby, which is to be considered the main artery of the building. Along the southern elevation, the process of scenic construction is put on display, cantilevering over the St. Botolph Street sidewalk. Elements of the show can be moved from one shop to the next, and with the advent of large sliding walls, the lobby is used to circulate them in and out of the stage space. The stage space has a number of different entrances, including both a central and a side entrance for patrons to use depending on the seating set up.
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ABOVE: LOBBY PERSPECTIVE Inside, the Upper Lobby is scarcely furnished as it is the main point of circulation for the entire building. Here the stage space, scene shops, patron entry sequence, and actors spaces meet. Stairs, suspended corridors, cantilevers, and moveable glass partitions create a dynamic space with many layers.
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TOP RIGHT: LOBBY AND UPPER LOBBY A perspective view showing the patrons’ view as they ascend the staircase from the lower lobby to the main lobby, with the suspended corridor of the upper lobby and the theater cantilever in view.
RIGHT: SECOND FLOOR PLAN Above the upper lobby is the upper bar, a suspended corridor, and a seating section which cantilevers out over the space below. Here the void space is just as important as the occupiable space, as it gives the lobby an expression of loftiness, which translates into the perimeter catwalk of the theater and the suspended lighting grid. Organized off of the central circulation space are two subsidiary components, the costume shop to the left, which has a close connection to the dressing rooms below, and the administrative suite on the right.
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ABOVE: EXTERIOR PERSPECTIVE At night, the building glows. Light emanates from the large stretches of glazing along the public areas, and from the more private rooms light slips through the cracks of the wood louvers. The public lawn, which gently slopes down to the ally between the new and existing theaters, can be used as seating for an outdoor performance or public film screening.
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ABOVE: CROSS SECTION In section, the relationships of the cantilevers to the public can be compared. On the exterior, the scene shops hover over the sidewalk, putting the process of construction on display. In the upper lobby, the cantilever can provides a view of the lighting grid as a glimpse into the stage setting before one takes their seat. The cantilever can also be used for seating, as the curtain grid system is designed to host removable seating depending on the requirements of the show.
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THS PRESENTS SEUSSICAL THE MUSICAL TRUMBULL, CONNECTICUT. MARCH 2017
Through a process of extensive collaboration, the two dimensional style of Dr. Seuss emerged into three dimensional reality at Trumbull High School in Trumbull, Connecticut. Designers, artists, builders, and the production staff committed to a vision and iteratively worked to realize the world of Seuss. From large to small, the details of this design seek connectivity, identity, and creativity, three themes which run throughout SEUSSICAL and all of Dr. Seuss’ work. As one of four set designers, I was responsible for drafting, digital modeling, and construction documentation, while the entire team contributed to the conceptual design and execution.
DRAFT TO FINAL A number of details were revised and added as the show was built, though the overall design stayed true to its original form. Changes came about through a collaborative effort to think through all of the design details and develop a rich Seussian universe.
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Opening
World of Seuss
Jungle of Nool
Whoville
McElligot’s Pool
Jungle and Whoville
Colverfield
Circus McGurkus
Palm Beach
Trial
RIGHT: ELEVATIONS BY SCENE To comunicate the final desgin to the Director, Production staff, and other collaborating artists, Elevation-like perspectives were exported from a comprehensive Sketchup file, in addition to a number of AutoCAD drafted stage plots. Though these elevations are lacking color detail, they illustrate the varying settings with elements that are fixed contrasted with the movable pieces which are specific to certain scenes.
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2'-07 8" 13'-015 16"
150° 11'-015 16"
4' 1'
1'-63 4"
1'
90°
13" 8'-716
161°
3" 1'-108
150°
117°
3'
90°
5'
90°
3'
9"
11'-915 16" 16'-65 8"
3' 7'
3" 10'-116
1" 9'-64
15°
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8' 1" 4'-18
12'-1"
1" 1'-92
90°
1'-6" 1'-6"
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13" 3'-816
3'-3" 30°
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6" 23°
3'
5' 4'-9"
90°
90°
2'-13 8"
5" 2'-616
142°
112°
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1" 4'-82
4'
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150° 12'
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1" 20'-62
20'-7"
SEUSSICAL THE The original goals forMUSICAL the set were to transform the two dimensional illustrates of Seuss’ stories UNIT SET: DIMENSIONS, ANGLES into a three dimensional world, and to provide the audience with clarity of time and place. The 1.22.2017 word of Seuss hides behind closed curtains as the audience finds their seats, and in the opening number the Cat in the Hat introduces us to a system of ramps and stepped platforms connected by a bridging mountainscape. As the story evolves, the ramps and curves of Stage Left transform into the Jungle Of Nool with tree wagons and other foliage, while the stepped platforms become the microscopic world of Whoville with an additional Up Stage platform and building edifices. Once Horton is captured and sold to the circus, the Mid-stage traveler comes in halfway to signify a change in location.
1'
7'-10"
5'
SCALE: 1/4" = 1' PRINTS TO SCALE ON 11X17
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JUNGLE OF NOOL A system of ramps and curved landings was chosen for the jungle to suggest a natural flow down a gentle slope. Multiple elevations for action to occur allowed the large cast to occupy the set and be seen by the audience, and allowed the director to stage scenes which dynamically filled the space. The ramps are always on stage, so to distinguish the jungle, three jungle tree wagons roll on up stage of the ramps, and lower level shrubs are carried on. For the tallest set of tree trunks, the leafy canopy flies in from the wing on a track.
ABOVE: JUNGLE SHRUB Shrubs are stand alone elements built of chicken wire and covered in paper mache. The puffy vegetation is a chicken wire mold finished with lime fun fur.
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LEFT: JUNGLE TREE WAGONS Roll on trees underwent a number of iterations. The sketch to the left illustrates a wood framed idea, which ultimately transformed into the final product. The vertical tree trunks are comprised of 8� diameter aluminum metal ducting which slide over a 1x3 wood posts kinked at peculiar angles. The metal is then finished with colored burlap. Fo-leather leaves rest atop a chicken wire mold.
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WHOVILLE A roll on staircase, down stage building edifice, and upstage platform wagon with three distinct building facades redefine stage right as Whoville when the script requires. In contrast with the curves and ramps of the Jungle, Whoville is “carved out” of the mountain, consisting of stairs and angular landings which contort into a compact hillside village. Curves are then introduced in the building forms and whimsical details such as the stair banister. A number of practical windows, filled with sheets of corrugated plastic, are lit from behind.
ABOVE: TRUFFULA TREE TRUNKS Because “the truffula trees were all cut down,” we’ve designed clumps of leftover stumps to occupy the jungle ramps while in Whoville.
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LEFT: BUILDING EDIFICES Details for the building facades were constructed with rigid foam board and luon. It was imperative that the building faces have depth and detail to ensure that the Seussian style evolved into three dimensions. Thus elements were applied so as to cast shadows, reflect light, or emit light.
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EGG NEST & TREE The Egg Nest & Tree built of lumber and covered with layers of cardboard and paper mache. The canopy is a chicken wire base covered with pink fun fur, and the nest is made of a curly cue mesh straws of various colors. The nest sits at 4’6� AFF to ensure an appropriate elevation change. 50
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CLOVER FIELD The clover field is comprised of a sheet of green fabric with pink cotton balls hot glued to it, draped over the descending landings of the jungle. This choice enables the field to be fast, transcending elevations and stretching down past the proscenium.
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Please visit samaloney.portfoliobox.net for more. Samuel Austin Maloney E: maloneys1@wit.edu C: 1 (203) 450 1346 W: samaloney.portfoliobox.net
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