Colin L.S. Matthews by Colin Matthews

Colin L.S. Matthews portfolio

Contents

For Every Room a Window

New Structures for Living

Det Norsk Krematoriet

Fulton Library

Sheltered Island

Technical & Professional Work

A Coutyard Typology for the Vertical City

A Family of Houses for Rural Mexico

Civic Dignity in Death

Generocity in Public Space, Indoors and Out

Safe Access to the East River for all New Yorkers

For Every Room a Window A Courtyard Typology for the Vertical City Fall 2016 Studio Critic: Galia Solomonoff Partner: Tonia Sing Chi Site: Bronx, New York

What does it mean to live in New York City? What kind of spaces must we inhabit within Americaâ&#x20AC;&#x2122;s most dense and populous city? For people in need of affordable housing, there are a few typical arrangements; the shoebox walk-up studio, the overcrowded and airless tenement, the isolating tower in the park. While New York is undergoing a residential construction boom at the upper tier of the socioeconomic spectrum, the need for new affordable options is greater than ever. The city needs a new type of housingâ&#x20AC;&#x201D;one that is healthier and more flexible. Located in the Bronx, toward the southern end of the Grand Concourse at 144th St., this project serves a working-class community in which multi-generational households are common. The project is focused on flexibility, health, and community. Within the mass of the building, units are interspersed vertically with small courtyards that allow residents to maintain an outdoor life above the street. In keeping with a strong commitment to healthy space, every room in this project has at least one exterior window with a view. The ground level contains various community resources, including a grocery store, a school, and a senior center, as well as small retail spaces sized for local businesses, not chain stores. As the building mass snakes through the site, it interacts with the gently sloping topography to form large, terraced courtyards that allow for community gardens and event spaces. The western-most of these courtyards hosts a small farm. This project offers a new typology of community-focused courtyard housing that maintains an appropriate density and verticality for urban living.

Concept So much of New York City's housing stock is cramped, airless, and shut off from the vibrant street life that so many neighborhoods have to offer. To afford enough surface area to include a window in every single room, this project draws from the mat building typology to create punctures into the mass. However, in keeping with the dense urban context, this mat building is vertical. As the mat is flipped up, light wells become terraces and vertical villages coalesce into neighborhoods within the building, where your closest neighbors are above and below. Two vertical villages stand back to back within the thickness of the building. Strings of these pairs connect to form a long, snaking mass that winds its way through the site: a mat building balanced on its edge, elevated into the urban realm.

Massing Concept Model Scale: 1â&#x20AC;? = 50â&#x20AC;&#x2122; Acrylic

For Every Room a Window

Vertical village studies

Site Section

Gerard Ave

Walton Ave.

146th St.

Site Plan

For Every Room a Window

Grand Concourse

Bx 1 MOTT HAVEN 136TH ST

144th St.

Unit 1

Unit 2

Unit 3

1 Bedroom | 1 Floor

Studio | 1 Floor

3 Bedroom | 2 Floors

West Wall

5’

Circulation 26’

13’

55’ East Wall

26’

Unit 4

Unit 5

Communal 3 Bedroom | 3 Floors

Unit 1

2 Bedroom | 2 Floors

1 Bedroom | 1 Floor

5’

13’

5’

55’

35’ 55’

For Every Room a Window

Above: Typical Plan - Western Block Opposite: Unit Plans

Unrolled Section - Western Block

For Every Room a Window

Model of Vertical Village Scale: 1/8” = 1’ Wood, acrylic, paint

For Every Room a Window

Model of Western Block Ground Floor, Landscaping , & Typical Plan Layout Scale: 1/16” = 1’ Chipboard

For Every Room a Window

New Structures for Living A Family of Houses for Rural Mexico Spring 2018 Studio Critic: Tatiana Bilbao Site: Ixpantepec Nieves, Oaxaca, Mexico

What is style? Can it be said that style as a design concept holds any weight in the contemporary discourse? Often disparaged or ignored, the idea of style receives little attention among architects today. This studio addresses the phenomenon of remittance architecture in Mexicoâ&#x20AC;&#x201D;a class of buildings that increasingly has come to dominate the Mexican built environment. Composed of a variety of stylistic simulacra, remittance homes in Mexico attempt to communicate the financial successes of those who have left Mexico to work in the United States. This project addresses the issues of remittance architecture, style, and construction to propose a new way of building and designing a home to communicate success. Something between a unified house and a complex of smaller structures, this project seeks to create communal space for an extended family in rural Oaxaca while also affording residents the privacy and luxury of their own, unique homes. The complex is to be built with a completely isolated structural system of reinforced concrete; none of the walls is load-bearing. By separating the walls from the structural system, we can design a home that is safe in an earthquake, is simple to build, and has an open relationship to its constituent parts and context. The end result of this project is a construction manual, from which the design and structure of the house may be easily and clearly understood by unskilled builders not accustomed to reading architectural plans.

Patio

Porch

Traditional Mexican | Traditional American

Stylistic Aggregation

Courtyard

Hall

New Structures for Living

5m 0m

20 m 10 m

50 m 30 m

Site Plan

Concept Occupying an irregular site between two paved roads on a steep hill, the house offers a complex elevational relationship to the community and the property itself, while positioning its own style within the cultural context of remittance-home aspirations.

View from street

Floor -1

Organization of Plan The plan of the house is organized within two different structural grids. The first is oriented to the street and the second is oriented along the slope of the hillside. The two grids serve to divide the house into private and public spaces and structure the circulation along the hill.

New Structures for Living

Floor 0

Floor +1

20m

Construction sequence

New Structures for Living Portal Solid Block

Permeable Stone

Stone

Door

Carizzo Screen

Punch Window

The 9 wall types and universal structural system

Permeable Block

Full Window

40.5 cm

126 cm

60 cm 20 cm

20 cm

12.5 cm

25 cm

35 cm

175 cm

20 cm

206 cm

Construction method illustrations

Construction manual

New Structures for Living

Construction manual

Northern elevation

Final model Scale: 1:50 Foamcore, paper, acetone transfer, watercolor

New Structures for Living

Det Norsk Krematoriet Civic Dignity in Death

Fall 2017 Studio Critics: Jorge Otero-Pailos & Mark Rakatansky Site: Oslo, Norway

The United States Embassy to Norway, located on Henrik Ibsens Gate in Oslo, was designed by Eero Saarinen and constructed in 1959. In 2017, the U.S. government decomissioned the building and put it on the market in order to move its diplomatic operations out of the city. This studio is about the preservation of a structure through the creation of meaningful use. In its former use, Saarinen's building was a purpose-built symbol of American influence over the post-war world stage. As this structure and the land upon which it stands return to the Norwegian people, it is important that its new use be for the people. In keeping with the spirit of strong public cultural institutions in Norway, this project would see Saarinen's building converted to an urban crematorium for the people of Oslo. Just as the government acts as steward for the citizens of Norway through their lives, so too can the state afford its citizens an equitable, respectful process of death.

The Norwegian Crematorium is a centrally-located civic institution, just a few blocks away from the National Theater and across the street from the grounds of the king's palace. Just as the United States government valued this site for its ability to convey power, the crematorium will leverage its location to stand as a symbol of the Norwegian government's own valuesâ&#x20AC;&#x201D;that of a healthy, fulfilling life and a dignified, acknowledged death. To renovate a cloistered political structure into an open, meaningful civic institution, a great nave is carved out of the building's mass by demolishing parts of three floorplates. The nave communicates directly with the preexisting atrium space that had originally served as the heart of the embassy. Below the atrium, in a space formerly used as the embassy's movie-theater, is the crematorium. The exhaust from the cremation process is filtered to remove particulate matter and toxic gases (what remains is mostly water vapor) and then vented straight up through the perforated-brick atrium walls to two stacks on the roof. There is a visible connection between the crematorium, the atrium, and the stacks above, through the use of skylights. The Norwegian Crematorium also contains columbaria with a capacity to hold the cremains of every person in Oslo for an estimated period of four years, given current death rates. Every resident of Oslo is entitled to be cremated here, fostering a sense of equanimity and communal engagement in the grieving process.

Top: nave, with memorial service Bottom: exterior view from north

Top: program relationships Bottom: aerial site photo

Det Norsk Krematoriet

Concept The architectural concept of the crematorium is based upon verticality and light, with visual connections to the sky marking every step of the procession through the building. As the bereaved gather in the atrium, perform remembrance in the nave, bid farewell in the cremation room, and reflect upon their experience either in the family room, roof gardens, or the atrium once again, there is always a direct visual communication with the sky and the city beyond.

Top: nave elevation sketch Bottom: morgue study sketch



Sections



Det Norsk Krematoriet



 

 







Ground floor plan

Top: atrium Bottom: crematorium

Det Norsk Krematoriet

Top: columbarium Bottom: atrium ceiling and skylight

Fulton Library

Generocity in Public Space, Indoors and Out Spring 2016 Studio Critic: Stella Betts Site: Downtown Brooklyn, New York

New York can be a harsh place to live. Noise, pollution, and density are constant challenges to health and well-being. The city boasts over 1,700 parks, yet sometimes it seems like green space is hard to find; New York has almost 700,000 street trees, but sometimes it can be hard to find a breath of fresh air. Additionally, inequality is a major issue, with record numbers of homeless New Yorkers and an increasing exclusivity of private space and amenities. This studio project aims to reframe the public library as a carefully tuned and calibrated space to offer respite from the vibrant (though sometimes overwhelming) entropy of the street, while still affording a meaningful connection to the neighborhood that the library serves. Useful, healthy, and durable spaces are programmed to suit the needs of today’s library patrons in search of financial solvency, information, employment, entertainment, or just a little quiet and relaxation. Half sanctuary, half terraced courtyard, the Fulton Library offers meaningful public space filled with light and views, using through-building punctures aligned toward the cardinal directions and the sky. These “three big moves” gently break up the all-important street wall and draw light into the interior of the building. The resultant courtyard offers library patrons a light-filled public outdoor space that is elevated from noise and air pollution and the visual cacophony of the street.

Top: site isometric Bottom: view from west

Concept Downtown Brooklyn is a busy place. Located at the intersection of DeKalb and Fulton, the library is situated in the midst of a cacophanous array of signage from a wide range of small businesses. Responding to the hustle and bustle of the Fulton Street corridor, the library attempts to focus views and awareness toward new perspectives on the neighborhood. By alternately framing and obscuring views back to the city, as well as elevating the public realm to a higher datum, the project carves out a new space for residents to inhabit that is both socially open yet visually sheltered.

Site signage collage

Fulton Library

Conceptual site strategy

View concepts

Stacked study model

Fulton Library

Massing evolution

Final massing

Fulton Library

Section Model Scale: 1/8" = 1' Foamcore, wood, acrylic

Section looking east

1) Lobby; 2) CafĂŠ atrium; 3) Inner courtyard; 4) Book stacks; 5) Main reading room; 6) Children's library

Fulton Library 3

Plans

Final model Scale: 1/8” = 1’ Foamcore, wood, acrylic, paperboard

Fulton Library

Top: View from reading room balcony. Middle: Inner courtyard. Bottom: Main reading room, upper level. Opposite: Looking into inner courtyard, from alley park.

Top: View of stacks. Middle: Main reading room, lower level. Bottom: Main reading room, upper level.

Sheltered Island

Safe Access to the East River for All New Yorkers Fall 2015 Studio Critic: Tei Carpenter Site: East River Park, Manhattan, New York

New York is a city surrounded by water. The waterways that flow through and around our city have always figured heavily in our history and identity as a coastal, global city. There is great potential in our waterways for forming new public spaces and zones of transportation, but there must be safe and inclusive access to the water itself. Sheltered Island is a protected harbor in the East River, located off the shore of Manhattan near East 6th St. This harbor is a destination and a point of departure for people both afloat and on land. The harbor is formed through the articulation of a floating concrete breakwater, whose form and structure work with the demanding marine environment rather than against it. By floating on the surface rather than sinking a foundation into the riverbed, the protected harbor permits much of the dangerous tidal current to flow underneath the harbor. The harbor serves as a boat landing and a refuge from the dangerous East River environment. On one level, there is a wide area for the storage of kayaks and canoes. Many of the small boats stored here are available for anyone to use, and there are docks for visiting boats of various sizes. On top of the breakwater are an open-air pavilion, a café, a store for provisions, and the harbormaster’s office. Abutting the café is a dock for the East River ferry, so that Alphabet City might enjoy a convenient connection to the rest of the city. Fostering a marine connection from one of Manhattan’s most isolated neighborhoods, the Sheltered Island offers an opportunity for all New Yorkers to depart the shoreline and get out into the river.

Isometric view from shore E. 6t

ld H ouse

East River Park

Lillia

n Wa

FDR Drive

h St.

Site Plan

Site

Maximum Ebb

Site

Slack Tide

Site

Beginning of Flood

Site

Maximum Flood

Sheltered Island

Concept The design of the pier was driven by a response to the strong tidal currents that occur in this part of the east river. By breaking up the edge in plan, the current is caught in protective eddies that generate a bubble of still water around the structure. Through sectional faceting (next page), the form breaks up and dissipates the dangerous boat wakes that occur and multiply in the close confines of the East River.

Tidal flow simulation around massing

5 kts

Model Scale: 1/16” = 1’ Foam, mat board, paint

Sheltered Island

Section showing chambered flotation arrangement and wave-dissipating bank

Wave dissipation typology: Grotto

Wave dissipation typology: Bank

Sheltered Island

View from shore

Sheltered Island

View from pedestrian entrance to harbor

Sheltered Island

View from water

Sheltered Island

Technical Coursework

Advanced Curtain Wall

Spring 2018 Professors Bob Heintges & Daniel Vos For a semester-long curtain wall design project, students were tasked with adapting an abstract painting into a viable, unitized curtain wall system. Responding to Juan Uslé's 2007 painting, O Tempo, the curtain wall design is based on the contrasting arrangement of two zones: 1) strong vertical expression with horizontal articulation 2) strong horizontal expression with vertical articulation.

Juan Uslé O Tempo, 2007

Vertical expression occurs throughout the façade, while horizontal expression overlaps in some places according to program. The horizontal expression is comprised of metal mesh curtains suspended from bronze outriggers extending two feet outside the glazing, which serve as privacy screens and sun shading. The curtains may be removed for window cleaning, or moved to different parts of the façade, if required. The vertical zone is comprised of a hybrid unitized system with structurally supportive vertical elements and unitized horizontal glazing frames, each spanning the width of one column bay. Multiple horizontal frames stack to form one floor height. Their individual heights vary, allowing multiple configurations of stacking to be achieved, thus giving the façade a more randomized appearance. The excessive width to height ratio of the vision glass is achieved by use of a cable-stay system on the interior, which channels wind load to the structural vertical members. All dead load is supported by the vertical structure. The metal mesh and expressed vertical structure are bronze.

Building Elevation

14’−0"

20’−0"

Elevation

1/2" = 1’−0"

1 5’−2 1/2"

X 004

3’−6 11/16"

3’−2 11/16"

3’−6 11/16"

2’−0"

4’−10 1/2"

X 001

20’−0"

Plan 1/2" = 1’−0"

4’−6"

X 002

1’−8"

2’−6"

4’−0"

3’−0"

X 002

2’−0"

3 X 002

Section 1/2" = 1’−0"

1 X 001

Colin M 3’−6 11/16"

X 001 − Ge

2’−0"

3’−2 11/16"

Technical Coursework

Building Elevation 1/16" = 1’−0"

0 1/2"

SLOTTED HOLE

11"

LOW−PROFILE BINDING BARREL

STAINLESS STEEL LOW−PROFILE BINDING BARREL

1’−0"

1/8" PLASTIC SHIM

0 1/2"

1/8" PLASTIC SPACER PLATE

FINISH FLOOR

Elevation at Finish Floor 2 6"Mullion = 1’−0"

Anchor & Splice Assembly

SLAB EDGE BELOW

EDGE OF FINISH FLOOR

X 002

10"

1/8" SPACER PANEL

1’−2 3/8"

1/8" SHIM

FIELD−INSTALLED SILICONE SEAL FOR FLOOR−TO−FLOOR SEPARATION

CONTINUOUS STEEL C−CHANNEL BOLTED TO MULLION

2" 1 3/8"

1 1/4" 0 3/4"

2 1/8"

1 1/2"

0 7/16"

0 7/8"

Plan at Vision

at Finish Floor 4 Plan 6" = 1’−0"

6" = 1’−0"

EXTRUDED BRONZE EXTERIOR FACING

1/8" PLASTIC SPACER PLATE

Technical Coursework 8 3/16"

FINISH FLOOR

10 1/4"

oor

SLAB EDGE 8 3/16"

EDGE BELOW

FIELD−INSTALLED SILICONE BEAD

5 5/8"

1/16" GALVANIZED STEEL BACKPAN

10 1/4"

1 1/2"

EDGE OF FINISH FLOOR

SLAB EDGE

1/8" SPACER PANEL

FIELD−INSTALLED SILICONE BEAD

1 1/2"

5 5/8"

1/16" GALVANIZED STEEL BACKPAN

FIELD−INSTALLED SILICONE SEAL FOR FLOOR−TO−FLOOR SEPARATION 1/8" ALUMINUM BACKPAN

1/8" ALUMINUM BACKPAN

FIELD−INSTALLED SILICONE BEAD

EXTRUDED BRONZE EXTERIOR FACING

BRONZE OUTRIGGER BRONZE OUTRIGGER TO BRONZE MESH CURTAIN 24" OUTSIDE GLASS

Plan at Anchor 6" = 1’−0"

TO BRONZE MESH CURTAIN 24" OUTSIDE GLASS

Colin Matthews

Colin Matthew

X 002 − Mullion Detai

X 002 − Mullion Details

Plan at Anchor 6" = 1’−0"

2 1/4"

3 1/2"

0 1/4"

1’−0"

0 3/4"

0 1/4"

Stack Joint Section at Cable Post

6" = 1’−0"

1 1/8"

0 1/4"

1 1/4"

0 3/4"

Stack Joint Section − Typ 6" = 1’−0"

3" CAST FORKED CLEVIS CONNECTION

24" THREADED ROD WITH HEX−ADJUSTMENT

10 1/2"

1’−0"

7 1/2"

9 1/4"

01 /2"

CONNECTION TO OUTRIGGER TO BREAK AWAY IN EVENT OF ICE BUILDUP

MILLED SLOT FOR CABLE TO PASS THROUGH

7 3/8"

Cable Post A 6" = 1’−0"

1 1/8"

3 1/4"

1 3/8"

Shadow Box End Cap 6" = 1’−0"

PASS−THROUGH HOLE DRILLED AT ANGLE TO MATCH CABLE VECTOR

0 1/2"

23"

Cable Post B 6" = 1’−0"

Cable Post C 6" = 1’−0"

Stack Joint 6" = 1’−0"

3 1/2"

0 1/4"

Technical Coursework

0 3/4"

0 1/4"

1 1/4"

0 3/4"

Stack Joint Section − Typ 6" = 1’−0" LOUVERED SUPPLY GRILLE FROM PRESSURIZED PLENUM

24"

CONNECTION TO OUTRIGGER TO BREAK AWAY IN EVENT OF ICE BUILDUP ACCESS HOLE

1/16" GALVANIZED STEEL BACKPAN

1 1/8"

SMOKE SEAL 23"

7 3/8"

Colin Ma FIRE−SAFING INSULAT

X 003 − Stack J

Stack Joint Section at Slab 6" = 1’−0"

Technical Coursework

Building Systems

Fall 2016 Professors Sarrah Khan & Craig Schwitter Partners: Arianna Deane, Andrea Chiney, Xiao-Wei Lim For a group project using Revit, teams were tasked with incorporating two distinct programs (a theater and a brewery) into a unified design scheme on an irregular plot in Brooklyn. Projects were evaluated on the comprehensiveness of their structural and mechanical design, as well as the overall integration of sustainability strategies into an incongruous pairing of programs.

re .

e Av

This project emphaszes flexibility and a multi-layered arrangement of spaces to offer different levels of connection to the urban context depending on program.

Myrtle Ave. PROJECT NAME:

SVENSK TEATER CAXA

Colin Matthews | Andrea Chiney | Xiao Wei Lim | Arianna Deane 1172 Amsterdam Ave, New York, NY 10027

Front facade

DRAWING TITLE:

SD CONCEPT DIAGRAM

PROJECT NO:

A601

& %

3/$1 % %

3/$1 & &

6(&7,21 $ $

*5$',(17 3$77(51

Front facade wall types *5$',(17 3$77(51

*5$',(17 3$77(51

PROJECT NAME:

PROJECT NO.

SVENSK TEATER

PROJECT NAME: DRAWING TITLE

PROJECT NO.

SVENSK SYSTEM 1TEATER ASSEMBLY 01 DETAIL

DRAWING TITLE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

SYSTEM 1 ASSEMBLY DETAIL

F210 1" F210 = 1'-0" 1" = 1'-0"

NOTES:

NOTES: 0'

16'

32'

64'

16'

32'

64'

THEATRE ROOF 50' - 0" CH I LL ED BEA M S Y STEM

+45 THEATRE CATWALK 45' - 0"

+35 OFFICE

COOLING TOWERS

35' - 0"

OPERABLE CLERESTORY WINDOWS FOR EXHAUST AIR

GREEN ROOF IRRIGATION

+28 BREWERY ROOF 28' - 0"

SUPPLY

FRESH

RE TURN

RETURN

+16 GARDEN / MEZZ 16' - 0"

RE TURN

EXHAUST

+24 LEVEL 2 BOH 24' - 0"

TAST I NG ROOM SU PPLY

+4 LEVEL 1

SUPPLY

EXHAUST

SUPPLY

RE TU RN

SUPPLY

+0 GROUND FLOOR

RE TU RN

4' - 0" 0" BASEMENT -11' - 0"

BOILER FLUE

THEATER AHU

BREWERY WASTEWATER

BREWERY AHU

DISPLACEMENT SYSTEM

HOT WATER TANK

V.A.V. SYSTEM

BOILER FLUE

BOILER

DOMESTIC WATER SUPPLY

OFFICE AHU

BOILER

FILTRATION TO GREEN ROOF

BOILER

CHILLED BEAM SYSTEM

CHILLER

FROM BOILER

NYC WATER SUPPLY

HEAT EXCHANGE

CHILLER

FROM CHILLER

Mechanical section diagram SUPPLY

FRESH

EXHAUST

RETURN

INTERIOR OF AHU

1 6 " 1/2

NOTES:

M102

SVENSK TEATER

COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

PROJECT NO. 2

'19

PROJECTGNAME:

A301

DRAWING- 0" TITLE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

MECHANICAL SECTION DIAGRAM 3/32" = 1'-0" ' 39

0' 13

'65

0" '40

FIRE EXIT 7792 SF DN

'38

LARGE THEATRE 5820 SF

4' - 0"

'40

5 " 11

'25

THEATRE

DN COLLAPSABLE SEATING

THEATRE BAR 1748 SF FIRE EXIT 1029 SF

" 11

4' - 0" DN

BREWERY 4327 SF

SMALL THEATRE 4154 SF

'25

" 1/2

0" '25

'30

1' 12

DOOR TYPE B (SEE A505)

32'

BOH STORAGE 150 SF

CHANGE ROOMS 282 SF

'15

" 11

CHANGE ROOMS 210 SF

7' 19

LOADING DOCK

BOH STORAGE 126 SF

'30

M102

16'

3 CHANGE ROOMS 211 SF

" 1/2

'25

LOADING DOCK

4' - 0"

BREWERY

DOOR TYPE B (SEE A505)

'25

OUTDOOR STORAGE 496 SF

UP DN

2' -1

KITCHEN PREP ROOM

DOOR TYPE A (SEE A505)

OUTDOOR THEATRE 1635 SF

368 SF

LOBBY/RECEPTION

'85 TICKET OFFICE 326 SF

3 " 1/2

1 A302

BREWEING TANK STORAGE 2011 SF

OUTDOOR AMPHITEATHER

10 TASTING ROOM / BAR 2229 SF

OPEN KITCHEN 408 SF

ENTRANCE LOBBY 7050 SF

BEER HALL + RESTAURANT

TASTING ROOM 3086 SF

1" ' - 1" 45 ' - 1 48

VESTIBULE 643 SF UP

" 1/2

T 11

6' -3 1/2 "

4' - 5"

32' - 0"

19' - 0"

" 1/2

22' - 6 1/2"

230' - 5 1/2" 1 A300

Ground floor plan, showing program COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

PROJECT NAME:

PROJECT NO.

SVENSK TEATER

DRAWING TITLE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

PROGRAM PLAN

A602

NOTES:

64'

Technical Coursework

39’-00”

Section through theater PROJECT NAME:

COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

CAXA

THEATRE 1 ENLARGED + VIEW TO EXTERIOR

PROJECT NO.

3/32" = 1'-0"

SECTION A-A

THEATRE 2

INDOOR/OUTDOOR EVENT

OUTDOOR AREA FOR RECEPTION

THEATRE 2

NOTES:

A300

DRAWING TITLE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

INDOOR/OUTDOOR THEATRE

SVENSK TEATER

THEATRE 2 + 3 COMBINED LARGE PRODUCTION

THEATRE 2+3 COMBINED LARGE EVENT

Seating configuration diagrams COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

PROJECT NAME:

PROJECT NO.

SVENSK TEATER

A603

NOTES:

DRAWING TITLE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

SEATING AND DOOR DIAGRAM

COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

1” MORTAR COPPER-TITANIUM ZINC SHEET 1.5” THERMAL INSULATION CONCRETE BLOCK

PRECAST CONCRETE BLOCK

DAMP-PROOF COURSE INSULATED CMU BLOCK CONCRETE FLAGS GRAVEL SYNTHETIC ROOFING FELT 6” RIGID INSULATION

TERRACOTTA RAIN SCREEN

VAPOR BARRIER 3 1/2” LIGHTWEIGHT CONCRETE ON 3” METAL DECK

METAL FRAME HANGER

DAMP-PROOF COURSE INSULATING LAYER

VAPOR BARRIER METAL STUD FRAMING GYPSUM SHEATING ACOUSTIC PANEL TILE ON METAL FRAME

PLASTER VENEER

REFER TO A502 GANTRY CRANE CATWALK DETAIL

SVENSK TEATER

PROJECT NAME:

PROJECT NO.

DRAWING TITLE

SYSTEM 1 WALL SECTION

CHILLED BEAM VENTILATION SYSTEM W/ INSET LIGHT FIXTURE

DAMP-PROOF COURSE ANGLE FOR FIING WINDOW FRAME TRIMMER RAINWATER DRIP (SHEET METAL)

PAINTED METAL FRAME OPERABLE WINDOW, TRIPLE GLAZED

RAINWATER DRIP (SHEET METAL) ANGLE FOR FIING WINDOW FRAME DAMP-PROOF COURSE

COLUMN ENCLOSED IN GYPSUM VENTILATION OPENINGS

3 1/2” LIGHTWEIGHT CONCRETE ON 3” METAL DECK

F200

1" = 1'-0"

DIFFUSED VENTILATION FLOOR SYSTEM

NOTES:

RUBBER GYM TILES ON WOOD PANEL FLOORING METAL DECK FOR IN-FLOOR WIRING INSULATED CMU BLOCK

PRECAST CONCRETE PLINTH FLASHING W/ 6" VERTICAL LEG

LEAN CONCRETE SEPARATING LAYER RIGID INSULATION DAMP-PROOF MEMBRANE CONCRETE GROUND SLAB LEAN CONCRETE ON GRAVEL

8' 16' 32' 64'

OPENING FOR ACCESS TO WIRING

Wall section at theater

DAMP-PROOF COURSE DRAINAGE/PERFORATED POROUS PIPE

Technical Coursework COLIN MATTHEWS | ANDREA CHINEY |XIAO WEI LIM | ARIANNA DEANE

1172 AMSTERDAN AVE. NEW YORK, NY 10027

1” MORTAR COPPER-TITANIUM ZINC SHEET 1.5” THERMAL INSULATION CONCRETE BLOCK

IRRIGATION PIPES 3” TOPSOIL

PRECAST CONCRETE BLOCK DAMP-PROOF COURSE

DAMP-PROOF COURSE INSULATED CMU BLOCK

2” DRAINAGE/PROTECTION MAT CALENDERED POLYMERIC ROOFING, 2 LAYERS 6” RIGID INSULATION

3 1/2” LIGHTWEIGHT CONCRETE ON 3” METAL DECK

OPERABLE LIGHT MONITOR W/ PAINTED METAL FRAME

SUSPENDED METAL GIRDER 1" CNC-MILLED PERFORATED WOOD CEILING PANEL

PROJECT NAME:

SVENSK TEATER

DRAWING TITLE

CLAY MASONRY, 3-5/8" x 2-1/4" x 8" 3/8" GROUT

CLAY MASONRY W/ CAVITY UNDERSIDE 3/8" STEEL REINFORCMENT BAR

WATER CHANNEL

1/2" VENTILATED CAVITY WATER/AIR BARRIER THERMAL INSULATION VAPOR BARRIER STAINLESS STEEL FRAME REFLECTIVE SPRAY COATING AEROGEL LAYER W/ LOW-E COATING INSULATED GLASS BLOCK

PROJECT NO.

SYSTEM 2 WALL SECTION

WALL TIE

F300

1" = 1'-0"

CONCRETE RADIANT FLOORING RIGID INSULATION 3 1/2” LIGHTWEIGHT CONCRETE ON 3” METAL DECK

FLASHING W/ 6" VERTICAL LEG INSULATED CMU BLOCK

NOTES:

0' 8'

LEAN CONCRETE SEPARATING LAYER RIGID INSULATION DAMP-PROOF MEMBRANE CONCRETE GROUND SLAB

DAMP-PROOF COURSE

16'

DRAINAGE/PERFORATED POROUS PIPE

LEAN CONCRETE ON GRAVEL

32'

Wall section at lobby 64'

Technical Coursework

Transitional Geometries Fall 2017 Professor Trevor Watson

This course challenged students to iteratively develop three-dimensional repeating forms that can be used in different configurations to create varied structures. Working upon the principal of friction as a viable joint between two objects, I designed several modules to explore this idea. All modules were cast in silicone rubber using cement.

Detail: Craft in Practice Spring 2018 Professor Trevor Watson Partner: Laura Lee As an exercise in contending with design in the context of shop fabrication, this class required students to develop a building detail in depth and then work with a fabricator to have part of it manufactured. This project is a light fixture for a previous studio prompt (see Ch. 3 "Det Norsk Krematoriet").

Professional Work Barnard College Library Spring + Summer 2015 Summer 2016

In my first internship at SOMâ&#x20AC;&#x2122;s New York office, one of the projects I worked on was a new library for the campus of Barnard College, in New York City. In preparation for a meeting with the president and trustees of the college, I was asked to design and build a presentation model that could be used interactively with clients to explain the features and arrangement of the project, then in the DD phase. The model, at one-sixteenth scale, was separable by floor, showing all interior spaces and large furniture. In order to fashion a model that would look clean and whole while also being interactive, material tolerances had to be strictly observed and multiple tests were carried out. When I returned to SOM the following year, I again worked on the Barnard project, which had by then started construction. In preparation for the publication of the project, I was asked to prepare presentation drawings of the built design from the CD set.

Presentation Model Scale: 1/16” = 1’ Acrylic, styrene, wood, paper, paint

Ground floor plan

160

Professional Work

East elevation

160

Longitudinal section

Professional Work

Colin L.S. Matthews matthews.colin@gmail.com +1 917-714-6536 91