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MOLLY HOGLE Curriculum Vitae

Address: Staudingergasse 3, 1200 Wien E-mail: [email protected] Born: Buffalo, NY, USA, February 1979 Language: mother tongue, English Currently studying German, completed entry level German101 at the University at Buffalo, Sept. 2013 – Dec. 2013 EDUCATION SUNY University at Buffalo: Buffalo, NY: 2009 - 2013

Master in Architecture 2013 Focused studies in Situated Technologies and Ecological Practices Research Group(s)

Parsons School of Design: New York, NY: 1999 - 2003 Bachelor of Fine Arts in Architecture Design 2003 PROFESSIONAL EXPERIENCE

LIQUIFER Systems Group: Vienna, Austria: Summer 2013 -assisted with new website design and organization, edited English documents, assisted in international meetings on design for self-deployable habitat.

GABU Heindl Architektur: Vienna, Austria: Summer 2012 -worked on a competition team of four, for grade school kindergarten – 12. Prepared conceptual diagrams, plans, sections, elevations, rendered images for project as well as act as design collaborator. Ants of the Prairie: Buffalo, NY: Fall 2011 -collaboration with Joyce Hwang of SUNY University at Buffalo, Projects: Bat Cloud and Bat Tower S3 Architecture (formerly NEXTarchitecture): Brooklyn, NY: November 2007 – June 2008 -project manager and designer of interior and exterior design projects for residential developments. Coordinated drawings with relevant contractors, held on-site meetings. Responsible for all specifications, architectural drawings and details. NEXTarchitecture: Brooklyn, NY: December 2005 – October 2006 -one of two person architectural team with a contemporary take on design in the newly developing area of Williamsburg, Brooklyn, NY. Projects include: design and preparation of construction documents for new loft apartment building, renovation of specialty cheese shop, and specifications of interior finishes for new build apartments. Professional Drafting Service: Buffalo, NY: July 2005 – December 2005 -drawings prepared for a variety of projects including schematics through construction drawings for retail spaces at Niagara Casino and topographical mapping of rock quarry in Williamsville, NY. Free-Lance for Eden Interiors: Buffalo, NY: Fall 2005 -design development and material specifications for the conversion of 6,000 sq.’ commercial space into private residence. Free-Lance for client Orrin Becker: East Aurora, NY: Fall 2005 -conceptual ideas prepared for three car garage (showcase for antique car collection) on owner’s property, approved drawings for construction.

d-ASH Design: New York, NY: August 2003 – May 2004 -one of four person design team for residential, retail and hospitality design in NYC with a focus on branding. Preparation of construction documents, millwork drawings, specifications of materials, initial conceptualization and visualization of project direction, on-site communication with building team, field measurements.

SKILLS AutoCAD, Rhinoceros, Photoshop, Illustrator, In-Design, Microsoft Office and Sketch-up. I am a conceptual and analytical thinker, have excellent research capabilities and am skillful at drafting, drawing and model making.

EXHIBITIONS / AWARDS / RECOGNITIONS / CONFERENCES Exhibition (Group): Acoustic Cinema at Adaptive Architecture 2013 ACADIA Conference, Cambridge, Ontario, Canada, Oct. 2013. Exhibition (Group): Tailored Landscape at SUNY University at Buffalo, Architecture Gallery, July – October 2013. Exhibition: Collaborative film at Museum für Angewandte Kunst MAK, Vienna, Austria.

Part of exhibition Faux Terrains, Stiefel & Company Architects, May-Aug 2012. Exhibition (Group): Geological Entropy of Petroleum, at The Urban Center, New York, NY; March 2003. Award: Michael Kalil Endowment for Smart Design 2004

Endowment for travel to the Ruhrgebiet region of Germany for study of the revitalization of industrial architecture and landscape in aid of proposal developed for the grain elevators of Buffalo, NY.

Recognition: University at Buffalo, Dean’s list – high honors, 2009-2013

Conference (attended): Adaptive Architecture 2013 ACADIA Conference, Cambridge, Ontario, Canada, Oct. 2013.

TRAVEL For the observance and study of culture and architecture – Italy, England, Germany, Netherlands, Belgium, Sweden, Norway, Finland, Russia, Latvia, Poland, Czech Republic, Croatia, Bosnia, Albania, Switzerland, Hungary, Austria, France, Spain, Morocco, Greece, Turkey, India, Bangladesh, China, Thailand, Vietnam, Cambodia, Brazil, Columbia.













d-ASH Design: New York, NY: August 2003 – May 2004 -one of four person design team for residential, retail and hospitality design in NYC with a focus on branding. Preparation of construction documents, millwork drawings, specifications of materials, initial conceptualization and visualization of project direction, on-site communication with building team, field measurements.

SKILLS AutoCAD, Rhinoceros, Photoshop, Illustrator, In-Design, Microsoft Office and Sketch-up. I am a conceptual and analytical thinker, have excellent research capabilities and am skillful at drafting, drawing and model making.

EXHIBITIONS / AWARDS / RECOGNITIONS / CONFERENCES Exhibition (Group): Acoustic Cinema at Adaptive Architecture 2013 ACADIA Conference, Cambridge, Ontario, Canada, Oct. 2013. Exhibition (Group): Tailored Landscape at SUNY University at Buffalo, Architecture Gallery, July – October 2013. Exhibition: Collaborative film at Museum für Angewandte Kunst MAK, Vienna, Austria.

Part of exhibition Faux Terrains, Stiefel & Company Architects, May-Aug 2012. Exhibition (Group): Geological Entropy of Petroleum, at The Urban Center, New York, NY; March 2003. Award: Michael Kalil Endowment for Smart Design 2004

Endowment for travel to the Ruhrgebiet region of Germany for study of the revitalization of industrial architecture and landscape in aid of proposal developed for the grain elevators of Buffalo, NY.

Recognition: University at Buffalo, Dean’s list – high honors, 2009-2013

Conference (attended): Adaptive Architecture 2013 ACADIA Conference, Cambridge, Ontario, Canada, Oct. 2013.

TRAVEL For the observance and study of culture and architecture – Italy, England, Germany, Netherlands, Belgium, Sweden, Norway, Finland, Russia, Latvia, Poland, Czech Republic, Croatia, Bosnia, Albania, Switzerland, Hungary, Austria, France, Spain, Morocco, Greece, Turkey, India, Bangladesh, China, Thailand, Vietnam, Cambodia, Brazil, Columbia.

MOLLY HOGLE [email protected]

THE URBAN WILDERNESSECOLOGICAL PRACTICES STUDIO SPRING 2013

Faculty : Joyce Hwang with Katharina Dittmar

500 ft. walking radius

flood plain

sedimentation

erosion

combined sewage overflow

landmarks

origin of ground level Scajaquada Creek

HABITAT: The habitat I aim to create is one of a rejuvenated riparian wetland which the site is declared to be by the EPA. The goal is to make the given site a more inhabitable site by making specific improvements to the earth and water that comprise the site. Currently there is nearly no wildlife living in the waterway except for a few scattered fish and visiting ducks. Algae blooms are common but the inclarity of the water prevents direct sunlight and the growth of more favorable and substantial plant life. My proposal is to start at a very minimal level of introducing plants and animals by using species that are most resistant to the pollutants at site. With time the plant life common to ripar-ian wetlands will, through phytoremediation processes, naturally clean the environment. The use of macroweeds, saprophytes and macrophytes help to break down organic compounds common from the combined sewage that enters the site. Chemotropic bacteria is at the very bottom of the animal food chain and grows at the roots of macrophytes and provides nutrition for insect populations. Insects and transient birds and fish will be the first level of species that will return to the site within a few years. After a decade or more of rejuvenation, a higher level of spe-cies can be supported including small mammals and larger fish.

FOREST LAWN CEMETERY

The Scajaquada Creek is 13 miles long and extends through 5 townships including the City of Buffalo, the Town of Lan-caster, the Village of Lancaster, the Town of Cheektowaga and the Village of Depew. There are 96,000 inhabitants liv-ing within the Scajaquada Creek watershed and it is the most contaminated waterway out of the eight that flow into the Niagara River. Within the limits of the City of Buffalo, the waterway is channeled as is passes underneath the east side in an underground tunnel. It resurfaces in the Forest Lawn Cemetery and continues at ground level till its mouth which opens at the Niagara at Squaw Island. This project addresses the portion of the Scajaquada Creek which is within the limits of Buffalo and at ground level. Although the condi-tions at the site are extremely bad and remediation of the site would be a complicated and tedious task, I do think it is important to consider what I propose. That acts like these that I present here, multiplied and believed in, could have an amazing impact on the ecology of urban waterways.

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combined sewage overflow

interceptor sewer

storm relief sewer

storm overflow sewer

combined sewer

EROSION - Revetments are commonly used to prevent erosion by barricading earth. It serves as a type of retaining wall or new surface.

simultaneously the revetment ‘eliminates’ earth

COMBINED SEWAGE OVEFLOW – retention basins permanently hold water and provide a place for water to be stored as it percolates through the ground surface which naturally filters it.

COMBINED SEWAGE OVEFLOW / RUNOFF – can also be addressed by using detention basins that temporarily hold water. It provides place for water to be stored as it percolates through the ground surface which naturally filters water and makes use of plants for breaking down compounds.

EROSION - Facines can be constructed which entail embedding material in the earth creating obstructions at the surface. Falling material and debris will be ‘caught.’

SEDIMENTATION - Deflectors are put into rivers and streams to help the flow of water be more dynamic, helping the process of oxygenation.

EROSION - repetitive cells hold earth in place and allow plant species to take root.

SCAJAQUADA CREEK WATERSHEDmiles 0 1 2 3

DESIRE: my vision was to create a blanket that would cover the entire site of the Scajaquada Creek within the City of Buffalo gathering in areas that needed support and thinning in areas that were stable and did not re-quire reinforcement. I conceived the blanket, or lattice system, to act as a fluid entity that would extend across the landscape and serve as a continuous visual and physical aid encouraging visitors and animals to transverse the site and engage in the natural. The blanket in concept will interweave disparate components together.

Exploration was done in seeking a form that could function in a number of ways. I was looking to develop a single language that could express the various and disparate needs and desires of the site including erosion control, sedimentation combat, combined sewage treatment and in addition create more inhabitable places with greater accessibility to site by both people and ani-mals. I thought if the whole site could be gridded, then the grid could later be manipulated to create different kinds of spaces…

ELEVATION > SLOPE in combination with 45 / 45 PLAN

ELEVATION = SLOPE in combination with 45 / 45 PLAN

ELEVATION < SLOPE in combination with 45 / 45 PLAN

ABOVE GROUND PROJECTIONS OF TYPICAL OBJECT-

PROVIDES FUNCTION

SLOPE

HEIGHT = vertex

90

PLAN

THICKNESS

ELEVATION < SLOPE

ELEVATION = SLOPE

ELEVATION > SLOPE

VARIABLES

1. SLOPE - the incline of the slope at a given site. Variable and specific to site. Most variables are dependent on this mea-surement.2. HEIGHT - will deter-mine the vertex of object to be placed at given site, based on the function it is required to perform. (a) the vertex shall always meet the ground at 90 de-gree angle, thus having a direct relationship to the slope of the given site (b) an equal height will ex-tend into the earth, supporting the load imposed above ground3. THICKNESS - the wall of the object varies in thickness based on the stresses imposed on it and remains consistent throughout object4. ELEVATION - will de-termine the angle of both arms of the object. This factor affects to a large degree the overall ‘look’ of the intervention (aesthetics). The figure in the chart represents a range to consider (it is not a for-mula). Generally in this category f ‘limited access,’ objects have an elevation that is equal to the slope of the site which creates a more or less horizontal plane, comfortable to walking, running, sitting, etc. 5. PLAN - will deter-mine the overall length of the object as it interacts with the landscape and site specific conditions

BELOW GROUND PROJECTIONS OF TYPICAL OBJECT -

PROVIDES SUPPORT LEVERAGE WHOLE OBJECT SHOWN IN WHITE,

PORTION THAT IS SHADED REPRESENTS FOUNDATION

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ACOUSTIC CINEMA

by Molly HogleFebruary 1, 2014

A special project submitted to the Graduate Faculty of the School of Architecture and Planning of

the State University of New York at Buffaloin partial fulfillment of the requirements for the

degree of

Master of Architecture

Department of Architecture

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Figure 3 Perception & spatial experience of hearing / seeing

Further conscious efforts to quiet the primacy of the image and rather turn a piqued ear to the environment which surrounds could create daily opportunities for reverie, hallucination, meditation. Space, time and movement are fundamental charac-teristerics of both Architecture and Cinema. “Cinema constructs spaces in the mind, creates mind-spaces, reflecting thus the inherent ephemeral architecture of human mind, thought and emotion.” (Pallasmaa, essay) A defining characteristic of cinema is its ‘fine-grained’ close look at the space in which it records. Selected information from the entire picture is brought closer into focus, which reveals a ‘realness’ beyond what everyday experiences reveal. By pulling out, weeding out infor-mation from an environment, importance is granted; it is thus put on stage for contemplation. Film is successful in revealing to us information that would otherwise be lost. The installation ‘Acoustic Cinema’ and the work that led up to it, looks to reveal the same fine-grained quality, not through the medium of film and image, but through sound. Whereas film communicated spatial and architectural properties, XS architecture can facilitate (communicate) cinematic experiences. The design approach was to research physical proper-ties of sound, material and form and how these three elements work synchronously in creating the acoustic properties of a given place Architecturally and Experi-entially. It will reach into the sciences and psychology. It will turn to the arts. And blur lines between fact and fiction.

“Sight isolates, whereas sound incorporates; vision is directional, whereas sound is Omni-directional. The sense of sight implies exteriority, but sound creates an experience of interiority. I regard an ob-ject, but sound approaches me; the eye reaches, but the ear receives.” -Juhani Pallasmaa

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Figure 5 Image samples overlaid by sound samples

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The quality of sound is entirely dependent on the context in which it is present. Architecturally this is significant. When sound waves strike a surface they are either ab-sorbed, reflected or changed through the medium of the surface. The curvature or flatness of a surface will cause sound to reflect differently as well.

There is also a sonic quality of urban spaces. “Urban life is saturated by sound, as if lived in continuous im-mersive soundscapes: the sound of a crowd, the hum of machinery, the roar of traffic.” (Richard Coyne, quoted in Koeck, 116)(Coyne et al. 2010:92). Sound reveals a depth, a surface quality, a geography and weather condition of the urban form. At each site, a unique sonic characteristic particular to that site, whether an interior space or an outside urban condition was identified and used as the essential ‘material’ for the design.

CONVEX surface

widely spreads and diffuses sound

FLAT surface

spreads sound

CONCAVE surface

focuses sound

Figure 8 Reflection of sound on surface

SURFACE

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Figure 9 ‘Surface’ confronts depth, inherent in sound

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In creating a surface for experiencing sound I chose to use latex because it would permit the variable qualities I sought. I chose to work with latex for its property of elasticity and its ability to be easily manipulated. When pulled taut the chains would become strong and could reflect sound waves. When in a relaxed state, the sound could pass through.

Figure 18 Latex membrane

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Figure 19 Painting liquid latex

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PROTOTYPE 3

Figure 23 Prototype 3

Prototype 1: 18” x 18” latex mem-brane of 3 painted layers stretched on square wood frame. Surface to be manipulated by the body. In its relaxed state, sound passes through the surface. As tension is applied sound begins to reflect variably. This is a performative piece; in form, material and in the communi-cation between two people.

Prototype 2: 12” x 12” latex mem-brane of 3 painted layers stretched on 12” round wood frame, supported by 3 steel legs. A fine grit concrete mixture is poured into the latex membrane as the force of gravity pulls the material into a parabolic form.

Prototype 3: 18” x 18” latex mem-brane of 3 painted layers using the concrete form achieved in Prototype 2 as formwork. This piece func-tions similarly to Prototype 1, but performs and looks different. It has potential for more depth and reveals the aesthetic of limp latex.

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“There are also, probably in every culture, in every civilization, real places – places that do exist and that are formed in the very founding of society – which are something like counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality. Because these places are absolutely different from all the sites that they reflect and speak about, I shall call

them, by way of contrast to utopias, heterotopias…” (Foucault, Of Other Spaces)

Figure 31 Looking south, (left) Marine A

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The latex prototype is made site specific and situated within a silo of Marine A Elevator at Silo City in Buf-falo, New York. This conglomeration of monumental and monolithic industrial architecture has become for the most part obsolete due to the shifts of production and economies. Once of pivotal importance for the grain industry extending from the mid-West to the Atlantic, the grain elevators of Western New York have outlived their purpose. Today they stand as materially excessive artifacts of a bygone era. The architectural proposal addresses novelty and at-tempts to transform the site’s larger context from its former use. The installation “Acoustic Cinema” is sited at Marine A grain elevator at Silo City. The circular form of the acoustic ‘mirror’ imitates the hollow cylindrical shaft of the concrete silo and is suspended from the top of a severed hopper. The site, a 30’ round x 100’ high concrete vertical shaft has inherently interesting acous-tic properties. The spectacular characteristics of the space in regards to sound can be attributed to the large reverberation time within the space due to the continu-ous reflection of sound off hard concrete surfaces in the horizontal direction and the vertical movement of sound and how some frequencies are returned as echoes as others are completely removed from the space and not reflected at all.

Figure 32 Section, site Silo City

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1a – X – 1b Photocell 1a detects movement and tells microphone X to record. Cell 1b detects movement and plays microphone X recording. 2a – Y – 2b Photocell 2a detects movement and tells microphone Y to record. Cell 2b detects movement and plays microphone Y recording. 3a – Z – 3b Photocell 3a detects movement and tells microphone Z to record. Cell 2b detects movement and plays microphone Z recording.

Figure 35 Mapping movement and technology

“It is this possibility of action that separates archi-tecture from other forms of art. As a consequence of this implied action a bodily reaction is an insepa-rable aspect of the experience of architecture. A meaningful architectural experience is not simply a series of retinal images.” -Juhani Pallasmaa

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“… I believe that between utopias and these quite other sites, these heterotopias, there might be a sort of mixed, joint experience, which would be the mirror. The mirror is, after all, a utopia, since it is a placeless place. In the mirror, I see myself there where I am not, in an unreal, virtual space that opens up behind the surface; I am over there, there where I am not, a sort of shadow that gives my own visibility to myself, that enables me to see myself there where I am absent: such is the utopia of the mirror. But it is also a heterotopia in so far as the mirror does exist in reality, where it exerts a sort of counteraction on the position that I occupy. From the standpoint of the mirror I discover my absence from the place where I am since I see myself over there. Starting from this gaze that is, as it were, directed toward me, from the ground of this virtual space that is on the other side of the glass, I come back toward myself; I begin again to direct my eyes toward myself and to reconstitute myself there where I am. The mirror functions as a heterotopia in this respect: it makes this place that I occupy at the moment when I look at myself in the glass at once absolutely real, connected with all the space that surrounds it, and absolutely unreal, since in order to be perceived it has to pass through this virtual point which is over there.” (Foucault, Of Other Spaces)

Figure 33 Acoustic mirror

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‘real sensory percept’, ‘pictorial representation’ or ‘imaginative mental image’ because it is an ‘evocative, affecta-tive and meaningful sensory experience that is layered, associative and dynamic, and in constant interaction with memory and desire.” (Pallasmaa, 41) Pallasmaa discusses the ‘embodied image’ and seeks to define the term in such a way as to turn the image into a real and breathing thing. He describes the embodied image, quoting Elaine Scarry, as having, spatiality, gravity and tactility – or solidity. He wants to believe that the embodied image has its ‘own materiality and experiential cosmos.” (Pallasmaa, 42) I want BOTH. Embodiment AND ephemerality. Pre-sentation of this confliction is the essential aim of the installation. “Works of art, literature and architecture originate in the body of the maker and they return back to the body through the experience of the beholder/listener/reader of the work, or the dweller of the house, through the meditation of the artistic image.” (Pallasmaa, 42)

My installation piece in effect attempts this, it puts the user in the position of both creator and beholder of the artistic image. As both the observer and the observed = MIRROR.

Figure 37 Marine A, Acoustic Cinema

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Figure 38 Membrane mirror

Lebbeus Woods Constant NieuwenhuysThe development of the Taylored Landscape occupied the second half of the semester. It was refered to using

different terms as its form, material, orientation and meaning evolved with time. The object, in concept, is based on the hammock; a minimal piece of material, suspended between two points with the sole purpose

of suspending ones body beyond the ground plane. In essence it is a parallel plane that embraces the body as gravity summons you downwards. The is no place like a hammock to become entirely aware of your body’s

mass and the force that it demands. I sought to create an architecture that could exhibit some of these qualities. I sought to develop a surface that could respond to a person; to use that person as an actuator.

I envisioned a space (or rather a plane) that could provide various opportunity to experience one’s own body and it’s relation to gravity.

Isamu NoguchiIsamu Noguchi

Taylored Landscape Tailored Landscape

Lebbeus Woods

Tailored LandscapeSITUATED TECHNOLOGIES RESEARCH GROUP

Jordan GeigerFall 2012

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