Sophie Maguire Portfolio (2020) by Sophie Maguire

SOPHIE MAGUIRE

SELECT WORKS

PERFORMANCE

AWARDS

Open Stage* Confessions of an Estranged Pigeon (2020) The Scotia Dance Centre, Vancouver, BC, Canada

Epicenter* Frontier Fellowship (2020) Green River, Utah

Interplay Performance Series The Vain and Tragic Memoirs of the Once Revered Lady Viaduct (2019) w/ Azaia Windwraith at Moberly Field House, Vancouver, BC, Canada

Baryshnikov Arts Center* Collaborator for resident artist Raja Feather Kelly (2020) New York City, NY

inSitu Dance Festival Mimosa Pudica (2018) w/ Emma Wiseman at Socrates Sculpture Park, Queens, NY

LENA Residency* Art resident (2020) Galiano Island, BC, Canada

12 Minutes Max Performance Confessions of an Estranged Pigeon (2018) The Scotia Dance Centre, Vancouver, BC, Canada

Colombia Society of Architects Competition honorable mention (2018) La Tebaida, Colombia

The Shooting Gallery Stages of Self Burial in Today’s Pleasure Garden (2017) Dusty Flower Pot, Vancouver, BC, Canada

Harvard University South Asia Institute Graduate research travel grant w/ David Zielnicki (2016) India

The Current Sessions WE EXIST! WE EXIST! (we’re really happy) (2015) w/ Lily Ockwell at The Wild Project, New York City, NY

Harvard Department of Landscape Architecture Penny White Fund Prize, graduate research travel grant (2016) United Kingdom

Triskelion Presents dust, the wind had blown (2015) Triskelion Arts, Brooklyn, NY

Connecticut College Dance Department Joan Connel Memorial Award (2010) New London, CT

* Postponed due to COVID-19

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SOPHIE MAGUIRE ► ►

sophie.r.maguire@gmail.com +1 914 419 6925

EDUCATION

REFERENCES

Harvard Graduate School of Design Master of Landscape Architecture (2017) Cambridge, MA

Jennifer Nagai Partner, PFS Studio jnagai@pfs.bc.ca

Connecticut College Honors Bachelors of Arts, Magna Cum Laude (2010) Dance & Government double major New London, CT

Kelty McKinnon Partner, PFS Studio kmckinnon@pfs.bc.ca

WORK

PUBLICATIONS

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Ron Kellett Director, University of British Columbia SALA rkellett@sala.ubc.ca ►

PFS Studio Landscape designer, BCSLA intern (2017 - 2020) Vancouver, BC, Canada

Scapegoat Journal w/ Eunice Wong (2020) Beneath the Pavement, _____ !

University of British Columbia SALA Adjunct Professor (2018 -present) Vancouver, BC

ACSA Conference Publication* w/ Thena Tak (2020) The Surrogate

RISD, UBC, Harvard GSD Design critic / guest lecturer (2017 - present) Various

Testing Ground Journal (2019) The Makings of a Segregated City

Kirkland Gallery Curatorial Board (2016 - 2017) Cambridge, MA

Landscape | Paysages (2018) Remember Your Hoodie

Professor Sonja Dümpelmann, Harvard GSD Teacher’s assistant (2017) Cambridge, MA

Harvard GSD Publications Studio Report (2017) Kuala Lumpur: Designing the Public Realm

Professor Jane Hutton, Harvard GSD Research assistant (2016) Cambridge, MA

Platform 8 w/ Jake Watters (2017) Kelangopy

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Alison Tenanbaum Image Archiving Archivist (2013-2014) New York City, NY ►

* Postponed due to COVID-19

CONTENTS ►

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Tensai with PFS 2017-2019 Halton Regional Courthouse with PFS 2018-2019 Kelangopy Academic Work 2017 Big Legs Competition 2018 Moodyville Park with PFS 2017-2019 CAMH East Garden with PFS 2018-2020 Plazas Bolivar & Cardona Competition 2018 Constellation Spaces Academic Work 2017 The Avenue with PFS 2017-2020 Post Monument Academic Work 2016

1 11 21 31 37 49 61 67 79 91

Please note, all projects in this portfolio were done collaboratively. Authorship of particular drawings can be found in the bottom left hand corner of each page, with SM referring to Sophie Maguire.

Located adjacent to the Manitoba Sugar Company factory there is a bus stop. Here you find three bright yellow beets. Yes, beets. Enlarged and bulbous, these sweet Japanese treats, wagashi, stand half pulled from the ground, as an homage to the sucrose laiden tuber. Part plaza, part garden, part memorial, Tensai literally scales up the importance of underrepresented Japanese - Canadian histories in one of the most public of places. My role in this project included iterations of the site plan, building a digital site model, iterating digital forms for the feature sculptures, creating renderings for the competition proposal and for the fabricator, coordination with the client and subconcultants, research on fabrication techniques, and drawing construction documents.

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TENSAI

a built public art project (2017 - 2019) w/ PFS Studioâ&#x20AC;&#x2122;s Kelty McKinnon (partner) & Mike Derksen (construction administration) Cindy Mochizuki (collaborating artist) for the Winnipeg Arts Council in Winnipeg, Manitoba, Canada

Photograph collections of Art Miki. Manitoba during WWII.

During the 1940s thousands of Japanese-Canadians were forced into internment as sugar-beet farmers. Relocated from their homes to the interior, families were put immediately to work pulling the large sugar beet tubers from the ground. Artist Cindy Mochizukiâ&#x20AC;&#x2122;s illustration shows this work in a vinyl decal attached to the back of the bus shelter (top). Next to the bus shelter is the zen-inspired garden (bottom). In the garden, three sugar beet sculptures sit atop raked concrete pads, nestled within tiny vegetated topographies.

2 (Top) Illustration by Cindy Mochizuki and layout by SM. (Bottom) Digital model and rendering by SM.

People are invited to sit, play, and wandering through the garden as they pass by or wait for the bus.

4 Axonometric by SM.

In addition to being a sculpture, the beet also provides seating and a structure for children to explore within the garden (left). The first iteration of the beet included large copper leaves offering shade and verticality to the garden. Given Winnipegâ&#x20AC;&#x2122;s deep frost heave, the structural strength of the beetâ&#x20AC;&#x2122;s footing was essential (right).

6 (Left) Digital model and renderings by SM. (Right) Structural drawing by Blackwell structural engineers.

The garden sits adjacent to the bus shelter. Each of the three beets is unique in shape and size, requiring installation detailing to accommodate the specificity of their orientations (top right).

8 (Left) Materials plan by SM. (Top right) Beet construction detail by SM and Mike Derksen. (Bottom right) Illustration by Cindy Mochisuzki.

The site for the new Halton Regional Courthouse is within the Golden Horseshoe, the traditional territories of the Lake Iroquois, the Haudensasaunee, and the Missisaugas First Nations. The land sits on the outskirts of Oakville, a medium density suburban development, and in between the ravines of Lions Valley Park and Bronte Creek Provincial Park. Continued development will eventually engulf the courthouse site making it a new town centre. The courthouse, as an architecture, has come to stand as a symbol for democracy and justice. A place that is safe and welcoming, yet commands authority and strength. Today, as Canada takes part in a long and complicated process of Truth and Reconciliation with Indigenous communities, architecture and landscape must engage in new design processes that respond to dialogues of decolonization. A new standard is being set for design teams requiring not only design excellence but real consideration for how land acknowledgment, respect, and honor can be expressed in the built environment. My role in this project included project management, schematic design, design development, historical research, working knowledge of the extensive project requirements, iterations of the site plan, design panel presentation materials, building a comprehensive digital site model, presentation diagrams, project renderings, coordination with lead and subconsultants, and drawings for a technical submission including sections, details, planting, irrigation, and materials plans. â&#x2013;ş

HALTON REGIONAL COURTHOUSE

a competition for a public realm project (2018 - 2019) w/ PFS Studioâ&#x20AC;&#x2122;s Jennifer Nagai (partner) & Eunice Wong (landscape designer) KPMB (architects), Two Rows Architects (indigenous consultant) & Elisdon (lead, contractor) for Infrastructure Ontario in Milton, Ontario, Canada

Photograph by Eden Ashley on The Bruce Trail, Halton Hills, Ontario.

The circle, for many Indigenous communities, symbolizes the natural cycle of all things a knowledge of wholeness, completion, and reciprocity. A singular pedestrian path surrounds the courthouse building offering visitors and staff a contemplative journey through a carefully curated moments of seasonal change (left). Plant material is used to guide visitors through the site (right). Careful consideration and inclusion was given to plant material with Indigenous histories and use.

12 (Left) Diagrams by SM. (Right) Planting plan by SM and Eunice Wong.

Reciprocity was a guiding principle throughout the entire site planning process. The site grading is designed with bioswales capturing the majority of surface run-off from circulation and parking areas. Apertures within the public realm near the gathering circle pay tribute to the summer and winter solstices, acknowledging the traditional rituals and choreographies for indigenous prayer circles (left). The formal entrance to the courthouse comes from this aperture, passing by the gathering circle, through the large circular path, and to the front entrance (right).

14 (Left) Diagram by SM. (Right) Digital model by SM, rendering by SM and Jiwen Li.

Central to the output specifications for the courthouse is security. The challenge for the landscape team became upholding strict security standards while also designing an enjoyable public realm. A collection of approaches were developed, that when installed together, created a complete 15m line of deterrence around the entirety of the building (left and right). Security wall furnishings and elements are designed to blend into the landscape so as to avoid the appearance of a fortress.

16 (Left) Sections by SM and Eunice Wong. (Right) Details by SM.

The vehicular and ADA accessible drop off sequence at the main plaza were carefully designed to comply with distance requirements from car-door to front-door. The entry sequences specifically accommodate arrivals coming by foot from the southwest, by public transit from the south, and by car from the parking lot on the eastern edge of the site. As seen in the plan rendering (right), the pedestrian circle path unites the parking lot, the drop-off sequence, the formal plaza, the gathering circle, the western forest, the northwestern hills, and the eastern ravine.

18 (Left) Materials plan by SM. (Right) Plan rendering by SM and Eunice Wong.

Where the Kelang and Combak Rivers meet there was once a ‘muddy confluence’ from which Kuala Lumpur gets its name. These rivers have been ‘tamed’, straightened, channelized, and buried through a steady process of development and added infrastructure. The Kelang River Channel, topped by a major highway, separates one of Kuala Lumpur’s last remaining Malay agricultural settlements, Kampung Baru, from its traditional burial grounds and from the skyscrapers of Kuala Lumpur City Center (KLCC). At its most basic, this project connects Kampung Baru back to its traditional burial grounds and to the amenities of KLCC. The design assumes that development is inevitable, and thus argues that the area over the river and highway infrastructure is one of the only remaining swaths of vacant space in the city. Kelangopy activates the parallels between the stratification of the Malay rain forest and the layering of urban infrastructure offering a public realm within the tree canopy. Kelangopy is an experience over the river where multiple publics can transport, congregate, and linger. Kelangopy is also a planted forest that will release the Kelang River from the confines of its channel. My role in this project included a site visit, historic and site research, conceptual and schematic design, representation, digital modeling, and physical modeling, all done in collaboration with Jake Watters. ►

KELANGOPY

a studio project (2017) w/ Jake Watters (GSD MLA ‘17) w/ direction from David Rubin, Rok Oman & Špela Videčnik in Kumpung Baru, Kuala Lumpur, Malaysia

Photograph collections of Major David NG & Steven Tan. Klang River, c. 1930.

Kelangoy is made up of a family of steel and concrete platform columns that rise above the river channel (top). Below the public realm, a diversity of native trees are planted to spur a process in which the channel is demolished (bottom). The two catalogue, columns and trees, work in tandem, creating a hybrid forest within the urban fabric.

22 Both images by SM and Jake Watters.

The concrete, steel, and vegetation are established in phases to allow for quick and efficient vegetal growth (left). The platforms vary in scale to create a diversity of experiences while traveling over the Kelang (right). PHASE 1

PHASE 2

PHASE 3

24 (Left) Phasing diagrams by SM. (Right) Scale diagrams by Jake Watters.

PLAN

50 people

150 people

150 people + market tents

PLAN

24 seated 10 standing

36 seated 25 standing

53 seated 48 standing

SECTION

Stretching from Kampung Baru (left side of drawing), over the Kelang and the freeway, to the traditional Malay burial grounds (right side of drawing) the necklace of steel and concrete platforms offer various types of spaces with tremendous views of KLCC and Kampung Baru.

26 Plan by SM.

As one travels over the necklace of elevated spaces, one has views of the cemetery, the channel, and KLCC (left). Vegetation rises from the river bed up and through the platforms and is supplemented by smaller shade plantings atop the platforms as well as constructed steel and sail canopies (right).

28 (Left and Right) Renderings, digital model, and physical model by SM and Jake Watters.

Once upon a time, between the reeds, we herded and fed. The stems we built shelter from, the catkins we roasted and told stories over, the tuberous roots we ground and made into sweetbreads. A famous troupe of shepherds on stilts (tchangues or ‘big legs’) led their herds through the swamps and fields of Landes. Big Legs welcomes you to explore a collection of winding paths that step up and through a field of tall, limber marsh plantings. Stepping from sandy paths to concrete legs you ascend through the marsh uncovering secret vantage points. If you are lucky, you may find yourself taller than your vegetal friends. The wet feet, feel the morass, do you sink in? My role in this project included historic and site research, conceptual and schematic design, digital modeling, and representation, all done in collaboration with the project team.

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BIG LEGS

a garden competition (2018) w/ Thena Tak & Eunice Wong for Le Jardin de Métis at the Reford Gardens in Price, Québec, Canada

Photograph from Apic / Getty Images. Shepards of Landes, c. 1936.

Designed as a garden installation, Big Legs, allows visitors to play between scales, elevations, and levels of moisture (left). Although small in area, paths and moments of height are designed as places of prospect and refuge; getting lost is a top priority (right).

32 All images by SM, Thena Tak, and Eunice Wong.

scirpus lacustris // grassweed // scirpe bolboschoenus fluviatilis // river bulrush // scirpe fluviatile schoenoplectus pungens // 3 square bulrush // scirpe piquant sagittaria latifolia // duck potato // wapato // flêche d'eau typha angustifolia // cattail // massette à feuilles étroites phalaris arundinacea // bunch grass // phalaris lythrum salicaria // purple loosestrife // herbe aux coliques calamagrostis canadensis // blue joint // agrostide à fleurs étroites spartina pectinata // prairie cordgrass // spartine pectinée dorée

Relation to plant material is key. A visitor can be at the root, where the air meets the marsh, or they can be in the air with the catkin at their feet. In Big Legs we see the plant from top, from bottom, and through (left).

34 All images by SM, Thena Tak, and Eunice Wong.

Moodyville sits on the north shore of Vancouver squeezed between mountains, forest, and harbor. The land was colonized and became the first thickly settled area on the Burrard Inlet, The Moodyville Sawmill Company. Starting in 1862 the mill processed a vast amount of fir logs, hand cut from the surrounding mountains and shipped internationally. Flumes, trestles, and skid rows took over the landscape, supporting the young provinceâ&#x20AC;&#x2122;s most lucrative business. Today, as Vancouver has seen rising real estate prices, North Vancouver has quickly become an attractive and more affordable alternative for middle class families. In an effort to densify the area at an exponential rate, there are brand new condominium complexes where single family detached housing once existed. Moodyville Park is a restoration and extension of an existing park. Sandwiched between a new condominium complex, the Spirit Trail (a trail running along the entire North Short), and wheat silos, the park sits on a steep slope that leads down to the shores of the Burrard Inlet. My role in this project included a site visit, historical research, iterations of the site plan, building a comprehensive digital site model, design and digital modeling of custom play equipment, creating renderings for fabricators, coordination with subconsultants, and drawing construction documents including sections, details, planting, irrigation, and materials. â&#x2013;ş

MOODYVILLE PARK

a built public park (2017 - 2019) w/ PFS Studioâ&#x20AC;&#x2122;s Chris Phillips (partner) & Mike Derksen (project manager and construction administrator) KinsolPlay (timber construction), Carscadden (architect), Binnie (civil engineer), Geopacific (geotechnical engineer) & Holland (contractor) for the City of North Vancouver in North Vancouver, British Columbia, Canada

Photograph from North Vancouver Museum & Archive. Lynn Valley c. 1912.

Moving from west to east, the park is comprised of a picnic lookout built on the old foundations of a house, a custom pump track, a generously sized kids play area, an expansive lawn, and a basketball and parkor area.

38 Site plan by SM and Mike Derksen.

100m

Boulders excavated during construction were used throughout the park to maintain steep slopes and edges.

40 (Left) Photos by Mike Derksen. (Right) Details by SM and checked by Mike Derksen.

The main play area features custom structures made from untreated yellow pine locally harvested throughout British Columbia. The PFS team worked closely with KinsolPlay toward a final built form that closely resembles the digital model (left). The structures navigate the existing topography of the park with some fill used to exaggerate vantage points and look outs. All of the play structures were designed to abide by Canadian play standards.

42 (Left) Digital model and renderings by SM. (Right) Photo by Mike Derksen.

As with any childrenâ&#x20AC;&#x2122;s play space, the ground material is of particular importance. Mixed use of rubberized play surfacing and wood chips adds textural diversity to the play area (left and right).

44 All drawings by SM and Mike Derksen.

The play features occupy several terraces, navigating the grade change across the park. In addition to the custom pieces, two swing sets (top left) and a double zip line (bottom right) are amongst the parkâ&#x20AC;&#x2122;s exciting offerings.

46 Construction photos by Mike Derksen.

Since its inception, the Centre for Addiction and Mental Health (CAMH) has gone through several name changes, paralleling evolving approaches to mental health in Canada; originally the Provincial Lunatic Asylum in 1850, the Asylum for the Insane in 1871, Hospital for the Insane in 1905, Ontario Hospital Toronto in 1919, etc. A physical clue of the hospital’s past is the brick wall that surrounds three sides of the campus property. Built using unpaid patient labor the wall bears inscriptions by patients over the course of the hospital’s history giving small glimpses into the tortured experiences of those who went through the hospital gate. Today, CAMH is a leading voice in mental health research and care with both in- and out-patient programs for the province’s most vulnerable populations. This winning competition proposal is for the new research building on the east side of the campus catering to doctors and researchers working on progressive approaches to addiction and mental health. Currently undergoing major renovations, the physical campus is a collage of architectures from different parts of the hospital’s history, creating a palimpsest. Between the new research building and the heritage wall along the east side of campus will sit the East Garden. My role in this project included schematic design, historical research, iterations of the site plan, development of competition presentation materials, building a comprehensive digital site model, diagrams, project renderings, coordination with subconsultants, and drawing design development documents including sections, details, planting, irrigation, and materials. ►

THE EAST GARDEN

a semi-public garden, currently under construction (2018-2020) w/ PFS Studio’s Jennifer Nagai (partner), Vinh Van, Tom Kwok, Lulu Yu & Saki Wu (landscape designers) KPMB (lead, architect) for the Center for Addiction and Mental Health in Toronto, Ontario, Canada

Photograph from City of Toronto Archives. CAMH c. 1900.

Seeing the CAMH campus as a palimpsest drove the conceptual approach of the project: from the sand and till to the native pine, maple, oak and beech forests to Indigenous traditions of land-based healing to the picturesque rural campus, to todayâ&#x20AC;&#x2122;s urban encroachment (left). The wall, now protected as a heritage feature, is rearticulated as a welcoming gateway and framing device for the garden, rather than the barrier it was originally intended to be (right).

50 (Left) Diagram by SM. (Right) Rendering by KPMB with digital modeling by SM.

The East Garden design was informed by a wider masterplanning approach that defined the Garden as an entry to the campus and a key piece of the overall circulation system (top left). With a diversity of scales, the spaces within the garden range in programmatic offerings from intimately scaled seating alcoves to a larger flexible forecourt, from narrower paths to wider public gather areas (right). A slender water feature hugs the heritage wall, reflecting the memories and stories carved into the brick.

52 (Top left) Sketch by Jennifer Nagai. (Bottom left) Conceptual axonometric by SM. (Right) Plan rendering by SM and Tom Kwok.

The small topographies in the Garden are bounded and punctured by undulating seat walls carefully placed to choreograph moments of separation and gathering (right). Materials are also used to delineate spaces (bottom left). The north, central, and south coves of the garden hug the building and are treated as extensions of the interior program, creating fluidity between the garden and first floor of the research building (top left).

54 (Left) Diagrams by SM. (Right) Sections by SM and Lulu Yu.

56 Materials plan by SM, Lulu Yu, and Saki Wu.

An oscillating water feature runs along the eastern-most portion of the heritage wall, sinuously drawing passerby into the garden (right). The water ribbon engages visitors throughout the seasons and helps to further delineate gathering spaces (left).

58 (Left) Digital modeling and renderings by SM, Lulu Yu, and Tom Kwok. (Right) Rendering by KPMB.

This project is a proposal to reinvision the two main plazas in La Tabeida, a city of 42,000 people in central Colombia. The main priority of the design is to enliven street life through the increase of pedestrian traffic through and between the two plazas. Using slight topographic change, connective paving patterns, and a rich vegetal presence, the two plazas serve to bookend the downtown core of the city. The design of the two plazas prioritizes pedestrians yet allows smooth vehicular flow on the periphery. The two streets that link the plazas are envisioned as pedestrian-only with the same paving pattern as in the plazas. Seating elements perforate the design offering places to rest under the lush tree canopy. Commerce, both formal and informal, lines the peripheries of the plazas and connecting streets, at moments spilling into the plaza themselves. The plazas are simple, yet playful in their slightly tilted planes and bubbly topographies. My role in this project included site research, conceptual and schematic design, digital modeling, and representation, all done in collaboration with the project team.

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PLAZAS BOLIVAR & CARDONA

a competition for a public realm project (2018) w/ Altiplano Arquitectura, Davi Schoen, Eunice Wong & Matt Wong in La Tebaida, QuindĂo, Colombia Honorable mention from Colombian Society of Architects

Photograph from Tourism Colombia. Plaza Nueva Luis Aranga Cardona.

Plaza Cardona large existing trees are supplemented with a feathery understory nodding to the rich coffee culture in the area. Long seating elements encapsulate the planting mounds of existing trees. The plaza is navigated at the threshold between vegetation and paving, joyously celebrating the welcoming of â&#x20AC;&#x2DC;natureâ&#x20AC;&#x2122; in.

62 (Left) Plan by SM and Eunice Wong. (Right) Sections by SM, Davi Schoen, Eunice Wong, and Matt Wong.

Plaza Bolivar is more formal in its geometries, yet is set on a tilted plan similar to Plaza Cardona. Playful arcs of seating walls swipe through the plaza guiding pedestrians through. Ground material changes highlight geometries of the older plaza while increasing circulation and gathering spaces throughout.

64 (Left) Plan by SM and Eunice Wong. (Right) Sections by SM, Davi Sheon, Eunice Wong, and Matthew Wong.

Un-box the school! In St. Louis, Missouri, elementary schools are centers of community activity. Given St. Louis’ high vacancy rate, this project aims to spread the activity of schools around the neighborhood by releasing education from the confines of architecture. The constellation of learning spaces envisioned by this project support a wide variety of learning approaches given the diversity of physical spaces and require children to walk through their neighborhood as part of their daily school routine. Sites are chosen from the Land Revitalization Authority’s database of vacant lots, establishing satellite classrooms throughout the school catchment zones. Through learning, playing, interacting, and exploring, students gain a kinship with the land that they occupy, promoting a stewardship of and excitement for the land within their neighborhoods. This project included an extended site visit and community engagement. The entire project was done by SM.

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CONSTELLATION SPACES

a studio project (2017) w/ direction from Dan D’Oca in St. Louis, Missouri

Drawing by SM.

Google aerial images show the grain of density on city blocks; parcels vary from having no architecture at all, to having boarded up dilapidated structures, to still housing residents (left). Vacant land offers a rare opportunity for diverse forms of stewardship and design in larger swaths of contiguous spaces (right).

68 (Left) Altered GoogleEarth images by SM. (Right) Sketches by SM.

Existing impressions, such as desire lines, and materials on the land give the project clues as to the types of occupations possible within the neighborhood. A score of the existing site is a parti, influencing the choreography between the outdoor spaces (left). The schematic site plan is a blueprint for the community, showing how the school will be unboxed and integrated into the rest of the neighborhood (right).

70 (Left) Landscape score by SM. (Right) Schematic plan by SM.

Each of the five sites offer a different learning and teaching environment, allowing the children to immerse themselves in a plethora of discoveries (left & right). Site features can be used, transformed, and taken care of in a myriad of ways.

caterpillar canopy

barrel planter ant hill

chicken coop

compost

72 Plans by SM.

mole hole barrel planter shovels

climber umbrellas

classroom

brick carpet

black top

curtain

seating main stage 73

As students and other community members continue to use the spaces and cultivate stewardship of them, the sites will change and evolve. The project offers a jumping off point; an initial move to remove the walls from the school and immerse children in their neighborhoods.

stage

brick red carpet reading pit

raised village

lending library

drawing walls

74 Plans by SM. (Following Page) Interactive playing cards by SM.

communal swing berm orchard

raised beds lunch tables

raised platforms

shed

material pilings

woodchip pile

The revitalization of Bellevue, Washington, is owed in part to the expansion of the technology industry with giant companies such as Expedia Group, Unity Technologies, and Microsoft having offices in the downtown core. The Avenue is a mixed use luxury development catering to the likes of the newly minted upper-middle class employees of said companies. The development includes a diversity of retail experiences, a celebrity chef restaurant, a residence tower, a hotel tower, and three levels of underground parking. The landscape scope of the project included the ground level a shared street (woonerf) and plaza, residential and hotel amenity terraces, and three large, intensive green roof systems. My role in this project included schematic design, design development, iterations of the site plan, developing the digital model for family of bespoke concrete furnishings and water feature, diagrams, project plan renderings, coordination with lead and subconsultants, green factor calculations, amenity bonusing calculations, silva cell calculations, and drawing construction documents including sections, details, planting, irrigation, and materials.

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THE AVENUE

a mixed use development, currently under construction (2017 - 2020) w/ PFS Studioâ&#x20AC;&#x2122;s Kelty McKinnon (partner) & Maureen Hetzler (project manager) Collins Woerman (project architect, lead), Weber Thompson (design architect), Navix (civil engineer), Enginuity (fountain mechanical), Deeproot (silva cells) for Fortress Development in Bellevue, Washington

Stock image of water on textured concrete.

The public realm includes the plaza (1) and the woonerf (2) that allow visitors to move through the retail zone simultaneously allowing for moments of rest. Two amenity terraces (3), one associated with the residence and one associated with the hotel, allow for rest, relaxation, and a place to let your dog run. Three intensive green roof systems (4) can be seen from different vantage points within the building atop floors three, four, and twelve.

80 Roof top plan rendering by SM.

4 1

2 81

The central plaza has several main features all belonging to a family of bespoke precast concrete furnishings. The features share an undulating form, wrapping themselves around the plaza like ribbons. The plaza has two water features: a central water table and a larger cascading water and planting feature around the periphery. Sitting next to still and moving water allows visitors a connection to fluidity amongst the harder materiality of the buildings.

82 Materials plan by SM and checked by Maureen Hetzler.

A wooden screen hugs the periphery of the plaza separating the public realm from the vehicular throughway behind (top right). In contrast to the towers above, the plaza is designed at a human scale. Rising out of the ground like a wave, concrete ribbons present themselves as seats, allowing visitors to sit, meet, and gather. Concrete seating is also used along the woonerf with longer planter furnishings at the entrance (left).

84 Details, digital modeling, and renderings by SM and checked by Maureen Hetzler.

The plaza sits on top of the parking structure, requiring coordination with the architectural team for dropped slabs to accommodate soil cell systems. Sitting at a lower elevation than the vehicular street that surrounds it, the plaza is the nestled center of the complexâ&#x20AC;&#x2122;s public realm.

86 Sections by SM and checked by Maureen Hetzler.

The separation between vehicular and pedestrian space is articulated by a variety of features. Planters and plant seat walls aid in navigating grade changes (right), while evenly spaced bollards within a detectable warning strip of rough stone create a more porous edge throughout the majority of the ground level (left).

88 Details and sections by SM and checked by Maureen Hetzler.

The site: The Pentagon, the head quarters of the US Department of Defense. The provocation: to decrease the footprint of the US military. This research is part of a larger collection of design interventions sited on the national mall, embassy row, Roosevelt Island, Arlington National Cemetery and the Pentagon building itself. All of the proposed interventions seek to dismantle landscapes that support the monumentalization of Washington DC built environment. This dismantling is done by removing conventional monuments and infrastructure, changing management regimes, and blurring jurisdictional boundaries. Working together, the interventions challenge our perception of memory while attempting to decouple monument from ground, imagining a post monument, post military capital. The following interventions works at three scales to address the physical ramifications of materials buried by the US Department of Defense. The project proposes rendering the military’s actions perceivable through design moves in order to understand the actual footprint and scope of the US military. My role in this project included historical and site research, conceptual and schematic design, digital modeling, physical modeling, mapping, and representation, all done in collaboration with the entire project team. ►

POST MONUMENT

a studio project (2016) w/ Nada Alqallaf, Alex Agnew, Laura Butera, Ellen Epley, Hannah Gaengler, Aaron Hill, Ho-Ting Liu, Yuxi Qin, Yujia Wang, Yifan Wang, Eunice Wong & Ziwei Zhang (GSD MLA ‘17) w/ direction from Sergio Lopez-Pineiro & Pierre Bélanger in Washington, DC

Photograph from Corbis. Arlington National Cemetery, 1865.

The collection of interventions are sited throughout Washington DC (left), enabling a multi-pronged approach to the dismantling of the monument throughout the city. In presenting the research, the team arranged drawings and models around a scaled plan of the proposed sites (right and following page).

92 (Left) Key map by SM. (Right) Project installation by entire team.

Functioning as a parti diagram, the altitudinal section (left and right) functions as a guide to understanding the elevations of containments throughout Washington DC.

94 Both images by SM, Eunice Wong, and Nada AlQallaf.

The number of headstones in Arlington National Cemetery are visual and physical evidence of the human toll of US military action (left). Each grave-site is marked with a white marble headstone. Such rock is extracted from a quarry, transported for sculpting, and then transported for installation. The array of headstones make the landscape of the cemetery hard to traverse and difficult to visit. This intervention proposes the removal of the marble material, the development of a geo-locating system for mourning families, and the reconceptualizing of the cemetery, and therefore mourning, as a forested park (right).

96 Both images by SM and Hannah Gaengler.

Formally used defense sites (FUDs) perforate the greater Washing DC landscape (right). These sites are the burial grounds of weapons and chemicals located under a myriad of land use types (private homes, public parks, etc.). This intervention proposes the excavation of buried materials from FUD sites throughout Washington DC. A performative process of excavation is accessible to the public, allowing the public to observe the unearthing of these materials (left).

98 (Left) Axonometric by SM and Hannah Gaengler. (Right) Site map by whole project team.

US military bases operate as cities, with residences, amenities, and thus the accumulation of vasts amounts of garbage. It is common practice for military personnel to burn trash in enormous burn pits on the outskirts of the base, leaving no trace of the enormous amount of consumption required by the military establishment. This intervention proposes using techniques of trash burial in creating new topographies, rendering the militaryâ&#x20AC;&#x2122;s footprint visible (left and right).

(Left) Model diagram by SM. (Right) Axonometric by SM and Hannah Gaengler.

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SOPHIE MAGUIRE ► ►

sophie.r.maguire@gmail.com +1 914 419 6925

Thank you for your consideration.

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