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PP O R T F O O LL II O O

Em m ii ll yy C E C ll aa rr ee M M aalleekk


Project 1: Sydney Performance Space Final Bachelor Project Sydney University


Our cities are Our often vertical, linear spaces cities are often vertical, linear spaces operating on aoperating single plane. Our eyes on a single plane.must Our eyes must travel to see their form explode in the travel upwards to seeupwards their form explode in the space above far from reach. Here space above far from reach. Here the theatrethe theatre is pulled the earth is pulled into the earthinto allowing theallowing groundthe ground plane to operate on a human scale; enticing plane to operate on a human scale; enticing interaction. The performance begins playfully interaction. Theonperformance begins playfully the ground above, arousing our excitement. on the ground above, arousing our excitement. The theatre's dramatic descent encourages us The theatre's dramatic descent encourages to leave the city behind and enterus a new realm. manipulation to leave the city The behind and enterofathe newground realm.plane blurs the of interface betweenplane useable and unusable The manipulation the ground blurs space. A space previously unrealized, has the interface between useable and unusable been activated bringing forth a new way of space. A space previously unrealized, has experiencing the site, dissolving the city scale; been activated whilst bringing forth a new way of simultaneously choreographing a new experiencing the site, dissolving the city scale; potential for performance. whilst simultaneously choreographing a new potential for performance.


TheThe ground appears seamless to to ground appears seamless entice the audience up and onto entice the audience up and onto thethe sloped roof. These slopes sloped roof. These slopes double as seating for the cafe as as double as seating for the cafe well as provide an opportunity well as provide an opportunity forfor outdoor outdoor performances performances and exhibits. TheThe tiles become and exhibits. tiles become progressively smaller progressively smalleras asthethe ground groundliftsliftsup,up,creating creatingthethe illusion that they are higher than illusion that they are higher than they truly are. Just as the walls they truly are. Just as the walls in in Utzon’s crematorium project Utzon’s crematorium project become increasingly shorter become increasingly shorter and tigher towards thethe peak of of and tigher towards peak thethe hill,hill, thethe tiles draw the public tiles draw the public through thethe sitesite and pullpull thethe through and audience upwards. audience upwards.


Project 2: Aarhus Museum of Ancient Art Semester 5 Aarhus School of Architecture


SERVICE ENTRY AND WORKSHOP

MEAL ROOM MISC STORE

STAIRS TO OFFICE

OFFICE

MISC STORE

UPRIGHT STATUE STORE

FLAT STORE

PETITE STORE

OVERSIZE STORE CAFE

CERAMIC STORE BUST STORE AUDITORIUM PATH TO PAVILION GALLERY WC

ENTRANCE FOYER

PAVILION GALLERY


TheAarhus AarhusMuseum MuseumofofAncient AncientArt Art(AMAA) (AMAA)isislocated locatedaside aside The VorFrue FrueKirke Kirkeinincentral centralAarhus. Aarhus.The Theproposed proposedmuseum museumisis Vor designedtotohouse housethe thecollection collectionofofthe theAntik AntikMuseet Museetwhich which designed currentlyresides resideswithin withinthe theuniversity universitypark. park.Our Oursite siteanalysis analysis currently thearea areapresented presentedtwo twoprimary primarypoints pointsofofinterest interesttotoour our ofofthe project.Firstly, Firstly,the thegiven givensite siteisisconsiderably considerablysmaller smallerthat thatthe the project. currentAntik AntikMuseet, Museet,and andsecondly, secondly,the thesite sitelies liesupon uponone oneofof current thefew fewopen opengreen greenspaces spacesininthe theLatin LatinQuarter. Quarter.We Webegan began the expoloreways waystotoboth bothgive giveeach eachsculpture sculpturean anappropriate appropriate totoexpolore amountofofspace spacewhilst whilstalso alsomaintaing maintaingthe thepublic publicgreen greenspace space amount thesite. site. ononthe Realisingquickly quicklyhow howdifficult difficultthis thistask task was, was, we we began began to to Realising analysethe thestorage storageofofthe themuseum museumasasbeing beingan anunusal unusalmeans means analyse exhibitionwhich whichwould wouldmaximise maximisethe thespace spaceefficiency efficiencyand and ofofexhibition allowthe thevisitor visitortotobecome becomethe theexplorer. explorer. allow removingthe theexhibition exhibitionentirely entirelyand andplacing placingthe theworks worksinin ByByremoving curatedstorage storagehouse, house,a apossibility possibilityarose arosetotokeep keepthe theopen open a acurated spaceononthe thesite siteand andcreate createa anew newprecent precentfor fordisplat. displat. InIn space AMAA,the thestorage storagebuilding buildingisisa aunique uniqueshelving shelvingmechanism mechanism AMAA, hosuethe theworks worksofofart, art,whilst whilstthe theseparate separatecircular circularpavilion pavilion totohosue allowsfor fora adaily dailyrotating rotatingexhibition exhibitionofofthe thecollection. collection.Every Every allows artworkhas hasthe theopportunity opportunitytotobe beseen seenindividually individuallyinintheir their artwork mostideal idealsituation, situation,and andalso alsototobecome becomean anintegral integralpart partof of most thelarger largercollection. collection. the


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Project 3: Concept House for Wes Anderson Semester 4 University of Sydney


cirtemonoxa dedolpxe

56


On the set of a movie, space fluctuates in a continuous activity as each architetural element can be configured and reconfigured. Wes Anderson is a contemporary film director who is known for his ingenious use of sets, colour and alternative camera techniques. As the client for this terrace house, the forms and mechanisms by which the house moves are derived from his film techniques. The symmetry of the floor plan mimicks his obsessively symmetrical compositions. The modular, movable componentry forcers the occupant to move through the house as though they are withi one of Anderson’s signature “tracking” shots. Walking through the space is transformed into an act of performance. The clientel of the house extends to include three character adaptations of Bill Murray from various Wes Andersom films. Just as an actor; in this instance Murray; can morph into any persona, the house can too can be adapted to suit any purpose. The terrace house creates a kind of provisional freedom within the semi-defined architectural space. The freedom to create a unique living condition, and the freedom to construct impermanence.

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"What I hope is to create situations where the actors will be able to be alive like real people even in the context of something that is quite manufactured". -W.Anderson


1:100 section.


Project 4: Playground in an Anceint Ruin Semester 4 University of Sydney


SOUTH WEST ELEVATION 1:100

PROCESS DIAGRAMS

The Playground is situated in Parco degli Aquadotti in Rome. An ancient aquaduct structure dominates the park and a single pathway runs alongside it. This project aims to entice a playful interaction with the monument, being one of the only ruins in rome without gates, ticket booths and guards circling. The audience is invited to climb, sit, stand and touch the aquaduct in the playspace; a series of three rasied hills and a fragmented climbing frame.

SOUTH WEST ELEVATION 1:100

NORTH EAST ELEVATION 1:100

NORTH EAST ELEVATION 1:100

SOUTH WEST ELEVATION 1:100

PROCESS DIAGRAMS

PROCESS DIAGRAMS

the playground. GSEducationalVersion

NORTH EAST ELEVATION 1:100


“the playground” is situated in parco degli aqcuadotti in Rome. An ancient aquaduct structure dominates the park and a single pathway runs alongside it. this project aims to entice a playful interaction with the monumentbeing one of the only unguarded ruins in rome. the audience is invited to climb, sit, stand and touch the aquaduct via a series of three raised hills and simple climbing frame.

“the playground” is situated in parco degli aqcuadotti in Rome. An ancient aquaduct structure dominates the park and a single pathway runs alongside it. this project aims to entice a playful interaction with the monumentbeing one of the only unguarded ruins in rome. the au-


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Project 4: Celebration Hall Semester 3 University of Sydney


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Emily Clare Malek

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For more comprehensive works: issuu.com/emilyclaremalek For freehand drawings: instagram.com/e.c.m.c.e

P O R T F O L I O // emilyclaremalek  
P O R T F O L I O // emilyclaremalek  
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