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RESUME


MAYA MULÉ

443-430-4579 MAYARMULE@GMAIL.COM HTTPS://ISSUU.COM/MAYAMULE/DOCS/MAYAPORTFOLIO2018 EDUCATION University of Maryland, College Park (UMD) (August 2019May 2022) Savannah College of Art and Design (SCAD) (September 2018- June 2019) Integrated Path to Architectural Licensure (IPAL) program

Master of Architecture Expected graduation date: May 2025 Bachelor of Science, Architecture Expected graduation date: May 2022

EXPERIENCE Torti Gallas + Partners Architecture Internship (March-May 2018) • Drafted floor plan designs for residential communities transferring designs from tracing paper to Autodesk Revit based on structural models and blueprints • Rendered floor plans in Adobe Photoshop • Showcased the design process of creating the floor plans in Adobe InDesign • Collaborated with internship mentor on various in-house projects • Drafted projects and created watercolor renderings Architecture and Design Academy at the Applications and Research Laboratory (ARL) (September 2016-May 2018) • Created designs, scale three-dimensional models, and expressed concepts using Google SketchUp, Autodesk Revit, AutoCAD, and Adobe Photoshop • Collaborated with others and worked individually on various projects, including designing and modeling a sustainability campsite including: visitor center, lodging, and hygiene buildings • Presented designs and informational presentations to the ARL class and practicing architects Falling Water High School Residency Program (July 2016) • Selected as one of 10 applicants for an intensive onsite program focusing on the integration of nature and organic architecture using the theories of Frank Lloyd Wright • Collaborated on various projects, drawing exercises, and creative architecture problem-solving activities, including designing light carving designs inspired by Frank Lloyd Wright • Presented and critiqued design creations in a constructive group environment SKILLS Software • Google SketchUp • Autodesk Revit • AutoCAD • Rhinoceros

• • • •

Adobe Photoshop Adobe InDesign Lumion Microsoft PowerPoint, Excel, and Word

Personal • Architectural drafting • Watercolor rendering • Three-Dimenstional model building • Creative problem solver

ORGANIZATIONS American Institute of Architecture Students (AIAS) Member (October 2018-present) UMD Classical Dance Ensemble (CDE) (August 2019-Present) Women In Architecture (WIA) (August 2019-present) ARTIPRE Art Institute of Maryland (March 2017-March 2018) COMMUNITY AND VOLUNTEER SERVICE The School of Building Arts Alumni Conference (April 2019) Ushered attendees to presentations in the SCAD Museum of Art theatre Facilitated interaction between attendees and presenters during question and answer sessions Greeted attendees and promoted a positive environment SCAD Career Fair 2019 Assistant (February 2019) Managed a booth for the architecture firm CDH Partners Scheduled interviews with potential candidates Helped set up and organize booth SCAD Serve (November 2018-present) Combed Tybee Beach of harmful garbage to promote sustainability Lime Kiln Middle School (December 2016) Presented to the sixth-grade career classes about ARL career academies Inspired young individuals to be interested in architectural design


CONTENTS


ARCHITECTURE�������������������������������������������������������������������������������������������������������6 Micro-Living House............................................................................................................................................................................................................................................................... 6 Rockville Project- Phase 2..........................................................................................................................................................................................................................................8 Treehouse.......................................................................................................................................................................................................................................................................................16 Green Allies Visitor Center and Sustainability Camp ���������������������������������������������������������������������������������������������������������������������������������������������������������� 18 Black Lava Fields Competition.......................................................................................................................................................................................................................... 26

LANDSCAPE ARCHITECTURE �������������������������������������������������������������������������� 34 Animal Sciences Courtyard.................................................................................................................................................................................................................................... 34

DESIGN���������������������������������������������������������������������������������������������������������������������� 38 Vocabulary Chipboard: Spatial definition, Dominance, and Abstraction ��������������������������������������������������������������������������������������������������������38 Frank Lloyd wright Playing Cards...............................................................................................................................................................................................................40 El Lissitzky Design Project..................................................................................................................................................................................................................................... 44

DRAWINGS ��������������������������������������������������������������������������������������������������������������46 Fallingwater............................................................................................................................................................................................................................................................................. 46 Abandonment ...........................................................................................................................................................................................................................................................................48 Classical Rendering.........................................................................................................................................................................................................................................................50 Savannah and D.C................................................................................................................................................................................................................................................................ 52 Jen Library Case Study................................................................................................................................................................................................................................................. 54 SCAD Museum of Art Case Study.................................................................................................................................................................................................................. 58

ARTWORKS�������������������������������������������������������������������������������������������������������������� 52 Self Portrait ......................................................................................................................................................................................................................................................................... 52 A Hard Day’s Work............................................................................................................................................................................................................................................................ 54 Hope in Desolation ......................................................................................................................................................................................................................................................... 56 Remember The Armenian Genocide Of 1915 ������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 58 LOVE.....................................................................................................................................................................................................................................................................................................60 Architectural Watercolor Rendering...................................................................................................................................................................................................... 62


Architecture

Micro-Living House

Year: 2017 Medium: Foamcore (study model) Actual Size Requirement: 16’ x 16’ Additional Details: The purpose of this collaborative project was to design a micro living house that fit into the bounds of a 16’ cube. The house also had to run entirely on green energy. We first brainstormed ideas on tracing paper, and then created the best design using Sketchup. We created floor plans using AutoCAD and Revit, and then hand-drafted them. In addition, a study model was created to provide a physical reference. Our tiny house had solar panels, green walls, a rainwater system, and skylights to benefit the environment.

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Architecture

ROCKVILLE Project - PHASE 2 Year: 2018 Medium: Vellum (for sketches) Actual Size of Each Apartment: 24’ x 41’ Additional Details: During my internship at Torti Gallas + Partners, I worked with floor plans from a residential project located in Rockville, Maryland. These two plans show my final designs. The goal was to eliminate the den in the original floor plan and adjust the affected rooms and walls in the most space efficient way. Google SketchUp, Autodesk Revit, and Adobe Photoshop were used to model these designs.

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Sketches

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ROCKVILLE

These sketches show my thought process before I arrived at my final designs, 1A and 1B, shown to the left.

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Unit 1

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ROCKVILLE

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Unit 2

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ROCKVILLE

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Architecture

Treehouse Year: 2017 Medium: Chipboard, metallic spray paint, red acrylic paint, balsa wood, foamcore, acetate sheet Model Size: 21” L x 15” W x 18” H Additional Details: In this collaborative tree house project explored the style of deconstructivism and effectively incorporated it into our design. Our first designs were created on a long sheet of paper, and then were recreated on Sketchup. The tree house was to be built as a writer’s retreat for a published writer in Iowa City, Iowa. Since writers need inspiration, we added many windows and skylights Daniel Libeskind’s designs to provide breathtaking views of the environment and natural lighting. We had a limit of 300 square feet to produce a design with a single half-bathroom and provided electricity. Since water was not a provided amenity, we incorporated a rainwater system into the design of the roof. After carefully evaluating and altering previous designs, we came up with a final, less complex design that still satisfied the style. In order to laser cut our design, we had to transfer our design onto AutoCAD. After laser-cutting all of the components of our tree house with medium-weight chipboard, we spray-painted them a metallic color.

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Architecture

Green Allies Visitor Center and Sustainability Camp Year: 2018 Medium: Chipboard, foam core, model vegetation Size: Âź scale models (3) Additional Details: The purpose of this project was to design, plan, and model a sustainability camp, containing a visitor center, two hygiene buildings, and two residential cabins in Pennsylvania for the Green Allies organization. I incorporated many sustainable elements such as skylights, rainwater systems, solar panels, vertical gardens, and natural building materials into my designs. The positioning of these buildings on the topography utilizes the most sunlight, saving energy. Additionally, the distinctive roof designs capture the slopes and angles of the terrain. I wanted this camp to fit well with its surroundings, and used red oak wood, which is indigenous to the area, for the exteriors of the buildings.

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Visitor Center

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Green Allies

Photovoltaic skylights are incorporated into the visitor center and hygiene building design. These skylights provide natural sunlight, filter ultraviolet (UV) and infrared radiation (IR) rays, and generate free electricity.

Outside the back of the building contains a vertical garden on a wood trellis. This green element promotes improved air quality and biodiversity.

As seen in the floor plan, the restrooms are gender neutral and are compliant with the Americans with Disabilities Act (ADA) accessibility guidelines. Videos promoting sustainability can be viewed in the theatre area. 21


Cabins

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The floor plan shows how each room is connected by a hallway. The bunkhouse area to the left of the common room is compliant with ADA accessibility guidelines. Each of the four rooms, besides the common room, have a back door that leads straight out to the hygiene building behind it.


Green Allies

This structure is aesthetically pleasing and contains sustainable qualities. The downward angle of the roof directs rainwater towards a gutter system, leading to a rainwater collector. The abundance of windows eliminates the need for artificial light during the day.

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Hygiene Buildings

This building, like the others, is facing southward to receive the most sunlight and therefore generate more electricity through the photovoltaic skylights.

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Green Allies

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Black Lava Fields Competition Year: 2019 Additional Details: This project was completed in collaboration with Sara Castellano, a SCAD student. Inspired by traditional Icelandic turf houses, this visitor center was designed to blend in with the surrounding environment and culture. The walls are constructed with native black lava brick. This reduces the need to transport materials over long distances, reducing the amount of greenhouse gas emissions. The moss roof helps the structure blend into the landscape, so views of the lava field remain undisturbed. The curvature of the structure allows visitors to walk up to the roof and see undisrupted views of the lava fields from different perspectives. Also, the curvature of the curtain walls allow breathtaking panoramic views around the entire first floor. The large skylight provides natural lighting and serves as an observatory for stargazing and viewing the beautiful Aurora Borealis. The museum in the basement is inspired by the labyrinth-looking black lava formations. Also, there is a children’s play garden maze embedded with the Icelandic folklore of the Yule Lads.

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Lava 1

Section 1

Scale- 1:50

Section 2

Scale- 1:50

Hygiene Building with Bathrooms and Showers

Scale- 1:50

South Elevation

Scale- 1:50

North Elevation

Scale- 1:50

Museum

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All materials and vegetation can be found in Iceland, which promotes sustainability.

Ramp


Black Lava Fields

Main Floor Interior View

Roof View

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Lava 2

Double Glazed Skylight Pressure-Treated Birch Wood Railings

Glass Fiber Reinforced Polyester (GFRP) Recycled Mineral Fiber & Fiberglass Ceiling Structural Beams

Photovoltaic Glass Curtain Wall Walls LED Lighting ADA Compliant Elevator Curved Museum Maze Walls Double Glazed Windows Basement Wall

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Black Lava Fields

MATERIALS

Protection Layer

Roof Deck with Vapor Barrier

MOSS ROOF

VEGETATION

Scale- 1:5

Different sized bricks ranging from 2 x 5 to 3 x 4

PRODUCED BY AN AUTODESK STUDENT VERSION

Birch Paneling

Moss Living Roof

BLACK LAVA BRICK WALL Scale- 1:5 JUNCUS TRIFIDUS

Recycled Paper Cellulose Insulation

MENTHA AQUATICA

Scale- 1:5

Composition:

Photovoltaic Glass

RACOMITRIUM LANUGINOSUM

Low Iron Glass PVB Photovoltaic Cells PVB Float Glass PHOTOVOLTAIC GLASS

Black Lava Brick

PRODUCED BY AN AUTODESK STUDENT VERSION

INTERIOR WALL

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

LUPINUS POLYPHYLUS

Birch Flooring

Scale- 1:5

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Lava 3

Hygiene (ADA Compliant) Welcome Area

Museum Maze Bathroom

Cafe Mechanical

Kitchen First Floor

Circulation Diagram

Scale- 1:50

Storage

Basement

Staff Office Scale- 1:50

Scale- 1:50 Vehicular Circulation

Commercial Personal

Private Public Public and Private Diagram

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Scale- 1:50 Cafe


CHILDREN’S PLAY GARDEN

Black Lava Fields

Purple lupine flowers (lupinus polyphyllus) and three leaved rush (juncus trifidus) are planted in the garden maze. Both of these plant species are native to Iceland. According to Icelandic folklore, the Dimmuborgir site was once the home of the murderous troll Grýla and her sons known as the Yule Lads. It was said that her mischievous sons still live in the castle-like formations. There are 1’ 6” stone Yule Lads scattered across the garden maze, and there is a scavenger hunt activity to find all 13 of them. In the Dimmuborgir legends, trolls turn to stone when the sun rises. These Yule Lads were having too much fun in the garden and forgot the sun would shine again. ENERGY DIAGRAMS

Evacuated Tube Solar Collector Geothermal Energy System

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Landscape Architecture

Animal Sciences Courtyard

Year: 2019 Medium: Paper, pen, and colored pencils Size: 11 x 17 Additional Details: A site diagram, site analysis, and functional diagram were created after careful observations of the Animal Sciences Courtyard at University of Maryland. The final design response recommends improvements to the courtyard.

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Site Diagram


Site Analysis

Scanned with CamScanner

Scanned with CamScanner

Functional Diagram

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Design Response

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Animal Sciences

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Design

Vocabulary Chipboard: Spatial definition, Dominance, and Abstraction Year: 2016 Medium: Acrylic paint, foamcore, and white chipboard Size: 10” L x 10” W x 8” H Additional Details: This model represents the terms “spatial definition” three-dimensionally, “dominance” two-dimensionally, and “abstraction” through the color scheme. The “wild card” component of this design is incorporated through the triple-layer base. The term “spatial definition” is achieved through the several dividers in between each base layer. Also, there are cutouts in most of the 3D chipboard components. From a two-dimensional perspective, the term “dominance” can be seen because the two 1“ x 1” squares and the 0.5“ x 1” rectangle come together to form a larger shape, overpowering the four smaller 0.5” x 0.5” squares. The furthermost and largest piece features a colorful abstract design executed with multiple small triangles. Painter’s tape was used to create the clean-cut and crisp edges of each triangle. This model was created on Sketchup, hand-drafted, and reproduced on AutoCAD.

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Design

Frank Lloyd wright Playing Cards Year: 2018 (DSGN-100) Medium: Acrylic paint, Acrylic Plastic, and Bass Wood Card Size: 2.5” L x 3.5” H Additional Details: I decided to make my cards based on the designs of the architect that inspires me the most; Frank Lloyd Wright. My concept is to incorporate Wright’s wooden light carvings and modern geometric designs into one playing card. The composition of the back of the card is inspired by the windows of Wright’s Lake Geneva Hotel. I arranged the geometric forms to create design with symmetrical balance. The clean, crisp, precise edges of my wood carving is the most successful aspect of my design. The laser cutter made it possible to execute my complicated design. The designs on the front of the cards are inspired by the colorful windows of the Avery Coonley Playhouse. Wright arranged complementary colors side by side, creating contrast; I arranged my colors this way as well. 40


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Design

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Frank Lloyd wright

The sketches to the left show the different iterations of the front and back of the playing cards before I arrived at my final design. The design template made with Adobe Illustrator in the bottom right corner was used to laser cut the wooden backs of the cards.

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Design

El Lissitzky Design Project

Year: 2017 Medium: Thin chipboard, tracing paper, medium chipboard, wire, foamcore Size: 18” L x 10” W x 6” H Additional Details: In this project, I was given one of El Lissitzky’s “Proun” artworks, and had to recreate a component of it three dimensionally. I brainstormed my ideas on a long piece of tracing paper. I chose three of my best iterations and then transferred the designs to Sketchup. Then, I scaled them by ½ and built the three iterations out of thin chipboard. I selected the best piece of the three iterations and recreated it full scale using medium chipboard.

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Drawings

Fallingwater

Year: 2016 Medium: Pencil/sketchbook Size: 8.5� x 11� Additional Details: This sketch portrays a view of Fallingwater that I have personally experienced during my residency course there. The sounds of the running water and rustling trees create a peace of mind.

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Drawings

Abandonment

Year: 2018 (DRAW 100) Medium: Ink pen, white charcoal paper Size: 19� x 25� Additional Details: Using a rectangular compositional scheme, this drawing depicts an urban building progressively disintegrating from top to bottom into 500 different volumetric shapes, conveying the emotional impact of abandonment.

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Drawings

Classical Rendering

Year: 2018 (DRAW 100) Medium: black and white charcoal, medium gray charcoal paper Size: 19� x 25� Additional Details: Sighting and measuring was used to achieve this classical rendering of a geometric plaster face. Cross-hatching was used to build shadows to add chiaroscuro. The dramatic shadows create suspense and give the face character.

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Drawings

Savannah and D.C.

Year: 2016, 2018 Medium: Pencil/Pen/Marker Pad Size: 9” x 12”, 8.5” x 11” Additional Details: These sketches are based on buildings in Savannah, Georgia and buildings in the D.C. area.

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Drawings

Jen Library Case Study

Year: 2019 (DRAW 115) Medium: Pencil, Pen, Paper, Markers Size: 17� x 36� Additional Details: Detailed Measurements and observation were required to achieve this three-story section drawing of Jen Library located in Savannah Georgia. Analytical diagrams were created to show circulation, spatial enclosure, and program.

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Drawings

The section was cut through the stairwells, and the backgro tion cut line. 56


Jen Library Case

ound geometry shows details seen to the left of the sec-

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Drawings

SCAD Museum of Art Case Study

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Year: 2019 (DRAW 115) GlAss bAy disPlAy

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Medium: Pencil/Pen Paper Size: 18” x 24” (Various scales)

lobby

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The channel glass in the tower serves as a unique and iconic addition to the museum. The seamless construction of the tower structure adds to the interesting aesthetic.

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In my parti diagram, I focused on the relationship between the seCtioN elevAtioN old and new structure. It is clear that walls were built around the Savannah Grey Brick structure, exposing it in certain areas.

Studying the SCAD Museum of Art made me appre tion and become more aware of construction Studying the SCAD Museumdet of was originally thetion ruinsand of the headquarters for the become more aware underwent a dramatic transformation to modernit was originally the ruins of the h a successful balance between historical and c underwent a the dramatic transfor From multiple museum tours, I noticed the skeleton a successful balance between out the galleries. Comprehending the underlying s From multiple museum tours, I n was most important when completing my drawing out Ithe galleries. Comprehend In my parti diagram, focused on the relationship b was most com new structure. It is clear thatimportant walls werewhen built aroun In my parti diagram, I focused Brick structure, exposing it in certain areas. new structure. It is clear Additionally, I included information aboutthat the wa fa lAN of things UseUm obb the museum. There were many I was recentl Brick structure, exposing it in ce surprised me. For instance, glue was used as ainform quic Additionally, I included areas such as thethe connection of the glass display museum. There were manyc entrance. Also, glue was used fuse togetherglue ele surprised me.toFor instance, columns supporting the terrace. I also learned abo areas such as the connection o successful and unsuccessful. The channel glass in t entrance. Also, glue was used unique and iconic addition to the museum. The se columns theaestheti terrace the tower structure adds tosupporting the interesting successful and unsuccessful. Th Utilizing the structure of the tower, Yayoi Kusama unique and iconic to will be featured in the museum. Mirrorsaddition will be plac thebe tower adds toThe the glass, and lights will hungstructure from the ceiling. in the lights will make the viewer feel as if theyofare loo Utilizing the structure the t addition, numerous and sizes of Kusama’s will shapes be featured in the museum“ tered across the glass, courtyard. and lights will be hung fro This case studythe sharpened my understanding of f lights will make the viewer and constructed, and my scale drawings have imp

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Drawings

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Artworks

Self Portrait

Year: 2017 Medium: Acrylic/Canvas Size: 20” x 24” Additional Details: This portrait reflects my interests and inspirations. In the background, different elements are fused together. In the center, I painted Fallingwater, one of my favorite architectural structures. My summer residency course at Fallingwater made me realize that I wanted to pursue architecture in the future. Also, I included Frank Lloyd Wright inspired designs in the background. I added patterns similar to those in Frank Lloyd Wright’s Pope Leighey House. In addition, to add emphasis, I painted every rose red except for one. The only pink rose represents my individuality and unique ideas.

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Artworks

A Hard Day’s Work

Year: 2017 Medium: Pastel/Textured Paper Size: 26.5” x 33” Additional Details: This large piece depicts a candid scene of my father falling asleep on the couch after a long day at work. The focal point of this scene is his hand and arm, which are larger and therefore appear closer than anything else.

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Artworks

Hope in Desolation Year: 2017 Medium: Mixed media on wood ply with acrylic, joint compound, paper, balsa wood, metal spring, glass, tile, and rock Size: 24” x 24” Additional Details: This piece captures a scene of a desolate, deteriorating city. Everything is destroyed except for one building in the distance, which seems to be the only sign of hope. The animated, colorful, and warm building contrasts with the somber, gloomy, and cold ruins. An airplane was created out of paper and attached with a spring so it would appear to be flying out of the painting. This simple child’s paper airplane also contrasts with the overall mood of the work and promotes a sense of optimism. To create a realistic three-dimensional effect, additional pieces of wood were added and painted to resemble buildings. To make the buildings look more damaged, joint compound was layered on the wood and painted. Glass, rock, and tile were crushed and added to the piece to enhance the destruction of the city. 56


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Artworks

Remember The Armenian Genocide Year: 2018 (DRAW 100) Medium: Black, white, and silver ink Size: 40� x 60� Additional Details: My concept focuses on the theme: Peace and Violence. I arrived at my concept when I thought about war, and my ethnic heritage. I am part Armenian, and my great grandparents were survivors of the Armenian Genocide. I wanted to dedicate my artwork to my grandma, who documented the story of her mother’s survival and escape from Turkey. The story was passed down from generation to generation. It is important for my family to never forget the Armenian Genocide because it has been denied and forgotten. I decided to take a peaceful approach on my concept and create a piece that raises awareness and communicates how important it is to remember what happened in 1915.

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I represented the eternal flame from the monument in Tsitsernakaberd, Yerevan throughout my artwork. It represents the longevity of the survivors through their generations.

My work contains features from Armenia, such as the Euphrates river. The river is an important and symbolic element in my artwork; My grandmother once said that the Euphrates river ran red at the time of the Genocide. Parts of the river will flow through my artwork and symbolize how the Armenian race still lives on, like the once red river that now flows clear.

The technique I used resembles teardrops that fall when we remember the Genocide of 1915. 59


Artworks

LOVE

Year: 2017 Medium: Mixed Media; Clear acetate “Love” overlay on background painted on stainless steel plate using acrylic paint Size: 12” x 24” Additional Details: This painting depicts a scene I saw in the Distillery District in Toronto, Canada in July 2017. To symbolize everlasting love, couples would buy a lock, attach it to a part of the word, “LOVE,” and keep the key. The “LOVE” display was exclusively painted on translucent acetate paper. After the background was painted on the steel plate, the acetate sheet was placed on top, completing the scene.

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Artworks

Architectural Watercolor Rendering

Year: 2018 Medium: Watercolor paper, watercolor paint Size: 11� x 17� Additional Details: This painting was completed during my internship with Torti Gallas + Partners. An outline of the building was printed out in light pink ink onto watercolor paper and I drafted a more detailed version over it in pencil before rendering it in watercolor.

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Thank You

Profile for Maya Mulé

Architecture and Design Portfolio  

Architecture and Design Portfolio  

Profile for mayamule
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