EVOLUTION
ANDREW MATIA
EVOLUTION A Design Portfolio
2017
EVOLUTION
2017
THE GRADUAL DEVELOPMENT OF SOMETHING FROM A SIMPLE TO A MORE COMPLEX FORM; A PATTERN OF MOVEMENT OR MANEUVER
CONTENT
Introduction
A
B
09
Selected Graduate Work 01
This Dimension Corrupt
10
02
Dynamic Fidelities
22
03
aggroTHING
28
04
Edges + Enclaves
34
Selected Undergraduate Work 05
WeavePDX
40
06
at–Risk Patterns
50
Contact
61
An Attitude for Good Architecture
Foremost, good architecture comes only from a journey of exploration.
in the extremely refined, programmatic organization of the Seattle
It is fascinated with possibilities unexplored, resolutions unresolved
Public Library and I have built a humanitarian conscientiousness by my
and passages untrekked. It often seeks to create meaning in forgotten
involvement in Portland’s first public streets seats project, the 4th Ave
places through abandoned means; heightening nostalgic yet hopeful
Public Parklet. It is a myriad of like experiences that have coalesced
experiences for all.
Awestruck by its context, good architecture
into my belief that good architecture is above all a sensory experience
responds in an artful fashion that seeks to magnify its surroundings of
that expresses meaning and value through the simple mediums of
people, place and happenings. It is a building that, as Peter Zumthor
material, form, organization, light and utilitarian purpose; all this for
acknowledges, “is sufficient for the elasticity of the life function.” It
the betterment of society.
should be in constant flux, with the ability to adopt qualities that are
to employ these ambitions in the urban context. It is my immediate
essential for its present occupants. This ensures a lasting relevance
surrounding and the home to some 54% of the world’s population. I
that will be cherished by inhabitants both present and future.
Good
believe that for a viable future, architects must lead the conversation
architecture allows its inhabitants to perceive the world with the
in rethinking the fabric of our cities to one that is not limited by a
whole of one’s being, both emotion and reason. Architecture in not
conglomerate of self-serving interventions; but rather a future in
merely a mathematical function for optimal utility; it is the stage
which urban design is addressed in a way that enhances a harmony of
upon which life unfolds. Good architecture successfully composes a
experience, both physical and emotional. A city of intrinsic meaning,
backdrop for humanity to play its story, thus it should be designed in
fearless optimism, powerful composition and joyful pragmatism.
It is my duty as a student of architecture
a way that stirs up strong feelings of emotion; heightening the senses into a connectedness of experience. Good architecture is also smart and intelligent; useful in its purpose, easily understood, intuitive to all.
Good architecture acknowledges the vastness and beauty of
nature and responds in reverence. It seeks to exist in correlation and correspondence. It is honest and responsible in materiality seeking only to draw what is necessary for existence but not lavishness. Most of all good architecture should exist in parallel with humanity and nature. My name is Andrew Matia and the following is a journey thru my evolution in architecture. These thoughts are an amalgamate of both my visceral experience of built works and my formal education. I believe architecture is the means by which humanity creates the truest and most sincere expression of its collective values. I have witnessed the transcendent through the lux nova in the Basilica of St. Denis and I have consumed the sensual through the dynamic curvatures of the Walt Disney Concert Hall. I have wandered through rational thought
10
01
THIS DIMENSION CORRUPT
University of Pennsylvania PennDesign Foundation — ARCH 501 Design Studio Term: Fall 2016 Critic: Danielle Willems
An unspeakable horror seized me. There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing. I saw a Line that was no Line; Space that was not Space: light that was not light. I was myself, and not myself. When I found my voice, I shrieked aloud in agony, either this is madness or hell. It is neither.
This Dimension Corrupt This Dimension Corrupt defines architecture as a set of spatial and
the superposition of the two. It is the interplay of these elements that
formal conditions defined by curves, the primary adjective of form;
form the foundation for a corrupt architectural expression.
and planes, the limiting interference of space, that is corruption.
This expression exists as an application, not a generator. That is, an
Questioning the conventional notion that architecture is the spatial
operation to be performed on an object, not a practice that conceives
congruence of lines as definers of space, it seeks to establish a
intrinsically. This is innate to the idea of corruption. For something
new, perhaps sickening spatial sensation by evolving limited yet
is only corrupt, if and when the pure exists as its precursor. As such,
specific interference into a new modality for architectural expression;
the massing of the architecture was carried out as a separate exercise
corruption, as fundamental understanding of space.
exploring ideas of vertical orientation through curiously, strange
Derived first in a graphic series of digital image manipulation, the
relationships; originally borrowing direct formal language from the
intrinsic nature of lossy image compression was exploited to create 2D
contours of the Oceana series by Russel Wright.
corruption fragments. By isolating specific fragments and selectively
Once a mass was established and the relationship between its spaces
translating them to 3D form, corruption is formalized into three isolated
programmed, a series of multidimensional corruption was carried out
yet related categories: pixels, the 2D graphic surface application of
in aims to redefine what was expected in the architecture’s spatial and
corruption; bytes, the 3D extrusion of corruption profiles; and qubytes,
temporal physicality and formal language.
12
A 01
This Dimension Corrupt
Qubyte
Byte
Glitch Gallery
Wormhole
Glazing
Pixel
Front Elevation
Rear Elevation
A 01
This Dimension Corrupt
Front Elevation
Left Elevation
13
mass [it.03]
mass [it.05]
it.01.1
#.11
it.03.1
#.22
it.05.1
#.01
it.01.2
#.12
it.03.2
#.23
it.05.2
#.02 #.03
it.01.3 it.01.4
#.13 #.14
it.03.3 it.03.4
#.24 #.25
it.05.3 it.05.4
#.04
it.01.5
#.15
it.03.5
mass [it.02]
mass [it.04]
mass [it.06]
#.05
it.02.1
#.16
it.04.1
#.26
it.06.1
#.06
it.02.2
#.17
it.04.2
#.27
it.06.2
#.07 #.08
it.02.3 it.02.4
#.18 #.19
it.04.3 it.04.4
#.28 #.29
it.06.3 it.06.4
#.09
it.02.5
#.20
it.04.5
#.30
it.06.5
#.10
it.02.6
#.21
it.04.6
.00
.05
.11
.16
.22
.25
.01
.06
.12
.17
.23
.27
.02
.07
.13
.18
.24
.28
.03
.08
.14
.19
.25
29
.04
.09
.15
.20
.10
.62
14
mass [it.01] #.00
A 01
.30
.21
.63
This Dimension Corrupt
.64
.65
mass [it.07]
skin [it.01]
mass [f.01]
#.31 #.32 #.33
it.07.1 it.07.2 it.07.3
#.47 #.48 #.49
it.01.1 it.01.2 it.01.3
#.58 #.59 #.60
mf.01.1 mf.01.2 mf.01.3
#.34 #.35 #.36 #.37 #.38
it.07.4 it.07.5 it.07.6 it.07.7 it.07.8
#.50 #.51
it.01.4 it.01.5
#.61
mf.01.4
#.39 #.40 #.41 #.42
it.07.9 it.07.10 it.07.11 it.07.12
#.43 #.44 #.45 #.46
it.07.13 it.07.14 it.07.15 it.07.16
skin [it.02]
mass mapping
#.52 #.53 #.54
it.02.1 it.02.2 it.02.3
#.62 #.63 #.64
Planar [elevated] Cylindric [local] Cubic [total]
#.55 #.56 #.57
it.02.4 it.02.5 it.02.6
#.65 #.66 #.67 #.68
Spheric [local] programMAP [it.01.1] programMAP [it.01.2] programMAP [it.01.3]
.31
.37
.41
.47
.52
.58
.32
.38
.42
.48
.53
.59
.33
.39
.43
.49
.54
.60
.34
.40
.44
.50
.55
.61
.35
.45
.51
.56
.36
.46
.57
Upper Galleries
Circulation Wormhole Exterior Gallery Portal Lower Galleries
.66
A 01
.67
This Dimension Corrupt
.68
Support Space
15
A
Existing R.W. House + Studio
Waters Edge
Terraced Land Formations
Quarry Lake
Gallery Proposal
A
20’
Left: Site Plan Section A–A with East Elevation
0’
Right: Ground Floor Plan Section B–B
16
A 01
This Dimension Corrupt
Entrance From R.W. Studio
Auxillary Gallery
Qubye Spatial Structure
Circulation Wormhole
B
B
Ground Floor Foyer
Elevated Terrace
88’– 0”
Qubyte
72’– 0”
Corrupt Gallery 60’– 0”
To Glitch Terrace 48’– 0”
Wormhole 36’– 0”
Lower Gallery 24’– 0”
Foyer
0’– 0”
8’
0’
A 01
This Dimension Corrupt
17
Right [clockwise]: Interior Gallery Space Outdoor Terraced Gallery Circulation Wormhole
18
A 01
This Dimension Corrupt
A 01
This Dimension Corrupt
19
Right: Final Physical Model Digital and Analog Fabrication
In sum, This Dimension Corrupt acts as a portal to a new found knowledge of architectural expression by blurring the line between physical and virtual space. Why? According to psychologist, Jordan Peterson, our cognitive understanding of the external world materializes in a series of high and low
resolution
rationalized
representations
and
that
are
by
our
characterized
senses. Essentially, the world is so complex and multi-layered that a total knowledge of it is impossible, so humans unconsciously categorize
things
respective
to
their
immediate importance. Static in nature, architecture falls into low resolution characterization. Its expression is often certain and dull; an author of ignorance. This project does not claim that glitch architecture is the best way forward. Rather, the polemic is for a new form of architectural expression that calls itself to attention because, by its definition, it strays away from what is expected, allowing one’s senses to refocus on what they are continuously, yet unexpectedly, confronted with. Juan José Saer defines the “unknown as an abstraction and the known as a desert.” This Dimension Corrupt lies somewhere in between. Something that is half-known and half-seen for this is the perfect breeding ground for desire and hallucination.
20
A 01
This Dimension Corrupt
A 01
This Dimension Corrupt
21
02
DYNAMIC FIDELITIES
University of Pennsylvania PennDesign Formal Efficiencies — ARCH 740 Design Elective Term: Spring 2017 Critic: Erick Carcamo
Above: Particles: 1000 – 5000 count Path: Traced Frames 400 of 2000 Frames Mesh: Quad; 50 – 90% proximity threshold Right: Particle: 10,000 count Path: Traced Frames 500 of 1200 Frames Mesh: Quad; 95% proximity threshold
24
A 02
Dynamic Fidelities
Dynamic Fidelities A compilation of ephemeral masses, Dynamic Fidelities explores and develops the notion of proficient geometric variations using time and motion capture as both generator and recorder of architectural possibilities. By introducing a high level of complexity to digital design iteration, questions regarding geometric articulation, accuracy and performance develop new understandings in the contemporary setting of CG animation. Animation tools inherently introduce time as a temporal element, acting not only as a simulated ‘physics engine’ with its attributes, but also as a geometric generator. By tracing and capturing individual particle movements in time, successive phases of motion develop new languages for expression; both physical and spatial manifestations. This formal articulation is not limited by traditional parameters, so a wide and varying degree of gestures become possible. They simultaneously exist and are available at extremely high and low resolutions because of their parametric nature.
A 02
Dynamic Fidelities
25
Left: Particles: 1000 – 2000 count Path: 400 of 2000 Frames Mesh: Quad; 10– 20% proximity threshold Right: Particle: 1000 count Path: 200 of 1000 Frames Mesh: Quad; 35% proximity threshold
26
A 02
Dynamic Fidelities
A 02
Dynamic Fidelities
27
03
AGGRO— THING
University of Pennsylvania PennDesign Digi–Blast II Digital Design Workshop Term: Summer 2016 Critic: Ezio Blasetti + Danielle Willems
Regular Surface Subdivided into 5x5 Grid
Extruded Polysurface From Simple Curve Regular Surface Subdivided into 5x5 Grid
Chamfered Naked Edges by 15 Degrees
Mesh Face Extracted From Warped Polysurface
New Polysurface
Mulitfaceted, Three Dimensional Polysurface
Simple Form Arrayed Into a 2x2 Grid
Simple Object Aggregation
Polysurface Flaps Rotated Upwards by 65 Degress
Arrayed Grid Reflected Upon Itself
Aggregation Wrapped Around Mulitdirectional Mesh Face Upper Array Reduced
Continued Multidirectional Aggregation and Selective Reduction
Left: Recursive Aggregation and Assembly Above: Component Construction Logic Right: Courtyard Experience
30
A 03
aggroTHING
aggroTHING | An Ephemeral Folly thing: (noun)
aggroTHING is a fictional proposal for the yearly Young Architects
1. a material object without life or consciousness; an inanimate object
Program (YAP) founded by MoMA and MoMA PS1 which offers
2. some entity, object or creature that is not or cannot be specifically
emerging architectural talent the opportunity to design and present
designated or precisely described
innovative projects for a temporary, outdoor installation in the MoMA
3. anything that is or may become an object of thought
PS1 courtyard that provides respite with shade, seating and water. aggroTHING explores the notion of recursive aggregation whereby
aggregate: (adjective)
a simple component is specifically grown and expanded along a
1. formed by the conjunction or collection of particulars into a whole
structural spine, successively establishing a compelling part-to-whole
mass or sum; total; combined
relationship. Complexity and intricacy emerges at the scale of the
2. a sum, mass or asemblage of particulars; a total or gross amount
whole, not the part.
A 03
aggroTHING
31
0
4’
8’
16’
Jackson Avenue
0
32
4’
aggroTHING threshold
8’
A 03
16’
aggroTHING
Momentary Relief
Benches Borrow Component Logic
B
A
A
N
0
16’
32’
64’
B
Top [clockwise]: Section A–A Grounds Plan Section B–B
A 03
aggroTHING
33
04
EDGES + ENCLAVES
University of Pennsylvania PennDesign Foundation — ARCH 502 Design Studio Term: Spring 2017 (work in progress) Critic: Miroslava Brooks Team: Mohamed Ali
36
A 04
Edges + Enclaves
Precedent: Paul Klee, Dream City, 1921 Left Page: Composite, Gestures in Dream City Right Page: Operational Analysis, 1+2 Formal Analysis, 3–5
Edges + Enclaves A series of drawings dedicated to the study of urban enclaves and
Ungers’ manifesto, The City In The City: Berlin the Green Archipelago,
urban edges through the projective and speculative analysis of their
in which a series of drawings and images show “the different layers
implicit and explicit conditions. Drawn as a precedent analysis before
and elements of a city’s structure and urban fabric” and the wonderful
the development of a library in Parkside, Philadelphia, the goal was to
interplay that exists between these factors. The drawings analyze
think of the city as a whole and to see the library, a singular architectural
precedents at three scales: the painting, the building and the city; and
intervention, as part of a larger project contained in a series of pre-
they specifically consider three edge conditions: the stable edge, the
existing edge conditions of the city. It is partially inspired by Oswald
non-existant edge, and the unstable edge.
A 04
Edges + Enclaves
37
Precedent: Candilis, Josic, Woods Toulouse Le Mirail, 1961 University of Bochum, 1962 Free University Berlin, 1963 Top: Composite Bottom: Formal + Operational Analysis
38
A 04
Edges + Enclaves
Precedent: SANNA 21st Century Museum, 2004 Top: Composite Bottom: Formal + Operational Analysis Sanaa | 21st Century Museum | 2004
Sanaa | 21st Century Museum | 2004
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
A 04
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
Edges + Enclaves
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
Sanaa | 21st Century Museum | 2004
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
Sanaa | 21st Century Museum | 2004
Sanaa | 21st Century Museum | 2004
Sanaa | 21st Century Museum | 2004
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks
Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23
39
05
WEAVE PDX
Portland State University School of Architecture Architecture Studio 7 — ARCH 481 Design Studio Term: Winter 2016 Critic: Travis Bell Awards: AIA Citation Award
Nesting Elements Simple, Triangulated Module
Arranged Horizontally For Optimum Spatial Flexibility
Stacked Vertically For Maximum Density
Excavated Crevasses 200’ x 156’ Unit Block
Extruded Vertically For Maximum Density
Excavated Crevasses Stimulates Dynamic Experiences
Weaving Peaks 200’ x 156’ Unit Block
Spatial Arrangement on Typical Grid For Pedestrian Alleyways
Weaving Composition of Orientation & Mystery
Above: Perspective Looking East On Alberta
42
B 05
Massing
Weave PDX
Circulation Diagrams
NE Thirteenth Ave.
NE Twelfth Ave.
NE Tenth Ave.
NE Eleventh Ave.
NE Alberta St.
Vehicle Pedestrian
N
0
16’
32’
64’
Weave PDX | Reconsidering Modern Dwelling The Alberta Arts District has a long and diverse history as a cultural
final intervention is an amalgamate of three initial proposals that
center for the city of Portland. Long a place for makers and artists, the
strictly considered the Rules for Creating Good and Attractive Cities,
neighborhoods recent redevelopment and inevitable gentrification
a rulebook, developed in the first part of the term, of architectural
has led to the pushing out of residential makers. Accordingly, Weave
characteristics embodied by the world’s most livable cities as ranked
PDX proposes a mixed-use development along NE Alberta St.
by Monocle Magazine. It draws its formal inspiration from the
between NE Eleventh and Twelfth Ave that specifically addresses
poetic weaving of threads in a piece of fabric, weaving and wefting
this issue. It seeks to incorporate self-reliant work not only as a way
programmatic elements, circulation, interests, nature and building.
to redefine the modern domestic environment, but also as means to
Weave PDX creates a dynamic live/work environment for its residents
fabricate an energetic and livable urban experience. Urbanites are
and visitors by creating a unique and meaningful relationship between
introduced to the juxtaposition of space within one complex. Private
life and the maintenance of it.
and public. Work and play. Resident and transient. Intimate and formal. The diversity of these experiences engages the human condition from economic, spiritual, physical and non-physical mediums. The
B 05
Weave PDX
43
Weaving Composition of Residences
Extruded Workspaces
Street Facing Units Elevated on Podium
Podium Extruded Into a Series of Private Terraces
Form Sculpted Into Warping and Wefting Faces
Expansion of Central Thoroughfare Into Wefted Environment
Private Terraces Refined Around Private and Public Circulation
Enclosure of Thoroughfare / Hierachical Seperation of Private and Public Access
Torn Thread Allows Public Breach of Structure
Ground Floor
First Floor
Second Floor
44
B 05
Weave PDX
Beam Along Ridge 2”x 12” Stick Framed Roof
2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing
2” x 4” Stud Shear Wall With APA Rated Gypsum Board
2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing
2” x 12” Engineered I-Joists
White Stucco Finish
2” x 4” Stud Shear Wall With APA Rated Gypsum Board
2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing 2” x 6” Alternate Braced Panel Reinforced Concrete Shear Walls Two-Way Reinforced Concrete Flat Slab
Two-Way Reinforced Concrete Flat Slab
Hybrid Poplar Cladding
Non–Structural 2” x 6” Stud Wall
Right: Axonometric Assembly And Construction
1/4” in. x 12” Aluminum Fin
Opposite Page [Descending]: Diagramatic Illustration of Formal Manipulation
1/4” in. x 6” Aluminum Fin
Plans 1/4” in. x 6” Aluminum Fin
B 05
Weave PDX
Reinforced Concrete Column
Translucent Privacy Glass
45
Section A
Section B
Section C
46
B 05
Weave PDX
Dynamic Pedestrian Experience
B 05
Weave PDX
47
Right [clockwise]: Typical Residential Loft Unit Retail / Work Environment Typical Residential Living Unit
48
B 05
Weave PDX
B 05
Weave PDX
49
06
at-RISK PATTERNS
Portland State University School of Architecture Architecture Studio 4 — ARCH 381 Design Studio Term: Winter 2015 Critic: John Cooney
Population Density//at-Risk Potential Portland High Schools Center for at–Risk Youth
Non-Terrain // An at-Risk Psychogeographic Map
52
B 06
at–Risk Patterns
Workshop Experience Montage
Boat Building Center for at–Risk Youth Situated between Morrison and Taylor on SW Naito Parkway, this
of small wooden members. Cooperatively, they form a rigid space
intervention proposes a new home for a cooperative of students and
frame, allowing this urban infill to become a building of pure space,
artisans who come together around the craft of constructing canoes.
not form. The minute detail of assembly reflects the type of craft that
This after-school program is aimed towards students from Portland
is present in wooden boat design and construction. When coalesced
Public Schools who have been deemed atRisk. These students, who for
individaul members form a mosaic of pure beauty and grace, but
a variety of reasons do not excel in the general education environment,
indvidually they each retain a sense of understanding and intuition.
are given special attention after hours for their development both
The interlacing, non-continuous floor plates and mezzanine level
educationally and psychologically. Through learning the craft of boat
come together to form a clearing in the structure of space and light;
building they are not only pushed to learn and preserve a tradition
an emerging full of energy and a collective activity. The focal point of
that is uncommon to the masses, but are also offered the opportunity
the building centers on the towering, boat repository structure that
to learn the skills of manual labor and detailed craft. Thus the hope,
extends from the ground floor to the ceiling. Its purpose is to archive
that as they successfully launch a boat, they lauch their life. The vision
the biography of each student and present their acomplishments to
of this program is expressed holistically not only in programming
the public. Able to be viewed from both the interior and the exterior of
but also in the architectural design, construction and assembly. The
the structure, each completed boat symbolically celebrates the victory
building’s stuctural system, while appearing complex from a distance,
of life.
is composed by the simple layering of a seemingly countless number
B 06
at–Risk Patterns
53
Leftmost [clockwise]: Experiential Montage Studies Threshold Workshop Facade Above [descending]: Programing Diagrams Third Floor Second Floor First Floor
54
B 06
at–Risk Patterns
Transition Corridors Stationary Spaces
Above: Selected Diagramatic Massing Models For Infill Structure Right: Full Scale Joint Assembly Next Page [clockwise]: Experience Renderings Canoe Assembly + Workshop Boat Archive Tower Waterfront Launch Procession Stairwell Bibliotheca
B 06
at–Risk Patterns
55
56
B 06
at–Risk Patterns
Section A-1
N
0
02
01
16’
32’
04
03
06
8’
07 05
Third Floor
01 02 03 04 05 06 07
Classroom Collaborative Study Intimate Study Terrace Bibliotheca Open To Second Floor Canoe Repository
01 02 03 04 05 06
Washrooms Artisan Atelier Bibliotheca Design Studio Central Atrium Canoe Repository
01 02 03 04 05 06 07
Storage + Work Benches Canoe Assembly Woodshop Permeable Facade Canoe Finishing Canoe Repository Entryway
02
01
04
05 06 03
Second Floor
03
04
01 02
07 05
06
First Floor B 06
at–Risk Patterns
57
Left [descending]: Immediate Infill Context Roof Structure and Joinery Detail Right: Boat Repository & Central Staircase
58
B 06
at–Risk Patterns
Contact:
amatia@design.upenn.edu www.andrewmatia.com +1.503.327.5008
2322 Spruce Street Philadelphia, PA 19103