Work Samples 路 Lawrence Matott 2015
3D modeling and Visualization
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Historic Building Surveys
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Furniture
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Architectural Mix
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Bio A native of Rochester, New York, Mr. Matott received a B.A. from Cornell University in liberal arts, including art history and Japanese language. He received a M.Arch. from Harvard’s Graduate School of Design, and was a Fulbright Research Fellow in the laboratory of Fumihiko Maki at Tokyo University. He has a diverse architectural background with years of study and work in both Japan and the United States.
Links www.linkedin.com/in/lawrencematott/ www.issuu.com/lawrencematott/ Lmatott@yahoo.com
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3D Modeling and Visualization
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The Giannini Boardroom A Re·creation of a Lost Historic Space
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The Giannni Room served as Bank of America’s formal meeting space. It was built in the 1930’s when the bank set up headquarters in Los Angeles at 650 Spring Street, and was part of an expansion to this 1921, steal-frame building. The
now demolished Giannini Room was styled as an Italian Renaissance Revival– axial, symmetrical, ceiling coffers invoking florentine palazzos, dentilled cornices, acanthus leaf corbels, egg and dart moldings, plus a Genoan heraldic shield.
Opposite: The model was built to match source photos (c.1980) and known column spacings. Photos: Los Angeles Historic Resources Division. Below: Orthogonal views and section cuts of the model generated traditional drawings.
Project Data Name: The Giannini Room 3D Modeling Project. Location: Nonextant. Client: Los Angeles Hisroric Preservation Division. Principal in Charge: Gerry Takano, TBA West Inc. Modeling & Visualiation: Lawrence Matott.
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1: 650 Spring St, c.1921, seen prior to expansion. Photo: Los Angeles Historic Resources Division. 2: Giannini room, interior elevation looking West. 3: 12th floor plan (original 1921 footprint hatched). 3D Modeling and Visualization
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3D Modeling and Visualization
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The Giannini Boardroom Scenography
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The room’s historical significance was linked to A. P. Giannini, the charismatic founder of Bank of America and financier to California’s early film industry, bankrolling Chaplin, Disney, and Capra. In 1904, he had founded the Bank of Italy in
San Francisco, lending to immigrants, and working class merchants. Surviving the 1906 quake, he lent to all who pledged to rebuild. He favored small customers over the wealthy investor class, so after the ‘29 crash was positioned to acquire
rival banks, forming Bank of America in 1930. Opposite: A strategy meeting (top); an evening toast (bottom). (SketchUp, Maxwell Render) Below: Seated at the wall (top); A late night letter (bottom). (SketchUp, Maxwell Render).
3D Modeling and Visualization
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3D Modeling and Visualization
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GA Gallery Exhibit Work For Maki and Associates, Tokyo
Constructed by hand with foam-core, museum board, pen and ink, these exhibition models and drawings depicted Fumihiko Maki’s Yerba Buena Arts Center for a retrospective show at the GA Gallery in Tokyo (1). Photos: Maki and Associates.
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Historic Building Surveys
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San Quentin Prison, Building 22 HABS Documentation (Overview)
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The five-building complex, known collectively as ‘San Quentin Building 22’, included some of the Prison’s earliest extant structures– a dungeon (c.1854) and an early hospital building (c.1885). When slated for demolition, Building 22 triggered an Historic American Build-
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ing Survey (HABS) as required by the National Preservation Act of 1966. The final measured drawing-set met the stringent ‘Level 1’ standards of the Secretary of State, and was ultimately placed in the repository of the Library of Congress. (The full electronic version can be
viewed at: www.loc.gov/pictures/collection/hh/ item/ca3606/ ) The 2’ x 3’ drawings were laser plotted on mylar and acid-free, rag paper for archival submission. Opposite: Site plan, San Quentin and environs. Below: East and west elevations, Building 22.
The survey targeted a wall of buildings stretching along the east side of San Quentin’s prison yard. We took thousands of measurements onsite within the maximum security perimeter.
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1: Satelite view of prison yard: Google Earth. 2: Archival aerial photo of San Quentin: California Dep’t of Corrections Archives. 3: Building 22 as seen from the prison yard. 4: Building 22C: hospital building’s east façde. 3–4: Photos: J. Stubbs. Historic Building Surveys
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San Quentin Prison, Building 22 HABS Documentation (Dungeon)
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Convicts were first imprisoned aboard converted whaling ships; but as their population rapidly increased during the Gold Rush era, a larger, land based facility was needed. With the ‘shipconvicts’ as laborers, the first prison cells of San
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Quentin were built, including its 1854 dungeon. Later, in 1859, a tubercular ward (5) was built above the dungeon. With granite walls two and a half feet thick, flat-iron gate (6) and a corridor of windowless, barrel vaulted cells (7,8),
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the dungeon continued to be used for solitary confinement until 1940. Opposite: East, north elevations, Building 22-A. Below: Longitudinal section thru dungeon, Building 22-A.
Project Data Name: San Quentin State Prison, Building 22, Historic American Building Survey Location: San Quentin, Marin Ct. California Client: California Department of Corrections and Rehabilitation Survey Lead: Gerry Takano, TBA West, Inc. HABS Drawings: Lawrence Matott Photography: Joseph Stubbs Historic Structures Report: Carey and Co. 5–8: Photos: J. Stubbs. Historic Building Surveys
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San Quentin Prison, Building 22 HABS Documentation (Hospital Building)
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The 1885 Hospital Building (Building 22C) was built on top of an existing mess hall– a long masonry structure built into the earth along a massive retaining wall. The hospital building featured large arched portals at its lowest level. These
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arches were the original structure of the early mess hall, built in 1854. The Hospital’s east façade is of an Institutional Italianate style. Brick quoins edge Its corners and arched openings. A corbeled brick cornice runs below its parapet. The
remainder of the building is faced with a cementplaster imitation of ashlar stone. Opposite: Photo reference key, Hospital Building interior features. Below: East façade, Hospital Building.
Location key-plans, referencing many of the survey’s on-site photographs, were added to the standard plans, sections, elevations and details.
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9: Brick cornice and nameplate detail. 10: Window details– brick arches and quoins. 11: The main floor timbers span from a massive retaining wall and across braced posts. 12: Massive arched portals revealed after the demolition of the neighboring building. 9–12: Photos: J. Stubbs. Historic Building Surveys
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Warehouse No.14, Samoa Wharf HABS Documentation (Overview)
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The town of Samoa lies on a narrow, barrier peninsula separating the Pacific Ocean from Humboldt Bay (2). In 1893, the Vance Mill and Lumber Co. located its sawmill on this peninsula. It linked by rail to its timber stands, and by sea to its world markets. Around the mill yard, the company also
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built the town of Samoa to house millworkers, and engineers, creating a true Gilded Age ‘Company town’– one of the few still standing today. The Hammond Lumber Co. bought Samoa in 1900. Operations expanded, and by 1920 they needed the giant, 1,275 foot long ‘Warehouse 14’. Today
it is derelict. Only a quarter of its length remains; its sawtooth roof has collapsed. Samoa anticipates new development and the warehouse is to be removed, requiring a level 3 (‘sketch level’) survey. Opposite: East elevation and floor plan. Below: South and east elevations.
1: Remnant of Warehouse 14, photo: J. Stubbs. 2: 1947– Warehouse 14 at full length, Samoa, photo: Humboldt Ct. Public Works Dep’t. 3: Piers show the extent of the lost warehouse.
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Warehouse No.14, Samoa Wharf HABS Documentation (Structure)
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In its heyday, Warehouse 14 (c.1920) was 1,275 feet long. Railroad track ran the length of its interior, where as many as 17 box cars could be loaded and unloaded. Built over the bay on hundreds of piers, Its east side accessed the wharf
and busy shipping lines. Timber-and-iron Howe trusses spanned Its cavernous, 78 foot wide, central space, and natural light filtered through clerestories. At times, there were mezzanine levels, and after electrificaton, items were moved
from the mill yard and thru the building on overhead, monorail trolleys. Opposite: Structural cross-bracing at side aisles; Howe trusses at center. Photos: L. Matott. Below: Transverse section looking north.
Project Data Name: Samoa Wharf Warehouse No. 14, Historic American Building Survey. Location: Samoa, Humboldt Ct. California. 95564 Client: Oscar Larson & Assoc., Engineers Freelance contract to: TBA West, Inc. Survey Lead: Gerry Takano HABS Drawings: Lawrence Matott HABS Photography: Joseph Stubbs Historic Structures Report: Gerry Takano Architectural Historian: Suzanne Guerra Historic Building Surveys
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Gate to the Japanese Pavilions 1915 Panama-Pacific Exposition
Measured and drawn as part of a survey celebrating the centennial of San Francisco’s Panama-Pacific International Exposition, this gate, called the Hagiwara-mon, greeted tourists to the Expo’s Japanese pavilions. In 2015 it stands at the Japanese tea garden in San Francisco’s Golden Gate Park.
IMAGE PENDING
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1: The Hagiwara Gate and Gardens with Japanese Pavilion (far left) and Reception Hall. Photo: www.archive.org p38 2: The Gate and Japanese Reception hall (c.1915) seen from the Japanese Gardens. In the background are the Expo’s Tower of Jewels and Palace of Horticulture dome. Photo: www.sfimages.com
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Furniture Design
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Genji Reproduction Furniture Traditional Japanese Tansu Projects
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Genji Antiques, a dealer in Japanese antiques and collectibles, began making fine reproduction furniture. Their traditional-style chests, or tansu, were faithful to historical examples, and built from drawings that used direct measure-
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ments of the true antiques on their shop floor, and information found in antiquarian databases. The final pieces included Japanese cupboards (mizuya-dansu), step-chests (kaidan-dansu), merchant’s chests (chouba-dansu) and cloth-
ing chests (ishou-dansu), and were all based on Meiji, Taisho and early Showa era examples. Opposite: A reproduction of a fine Taisho era (c.1915) mizuya-dansu. Below: A step-chest from photo records.
Project Data Name: Genji Antique Furniture Reproductions Client: Genji Antiques, San Francisco Principal in Charge: Shigeto Murase, Owner Manufacturer: Sobe Furniture, Shanghai Project Development: Lawrence Matott
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1,2: A mizuya lower corner assembly, using a traditional ‘wari-kusabi’ split wedge joint. 3: The ‘hako-dome’ joint for a merchant’s chest. 4: Finished reproduction: double chouba-dansu. Furniture Design
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Furniture Design
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A Buffet / Sideboard +
Japanese Tradition Mid-century Modern
A collector of post-war, Japanese prints commissioned this dining room sideboard, specifically requesting a Japanese-style for a mid-century modern home. It began as a Getabako (shoes storage box). Unlike heavier types of Japanese
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tansu, the thin and light construction of a getabako suggested modernist ideals of ‘lightness’ and ‘simplicity’. This piece floats above the floor, raised to emphasize lightness. Its countertop is extended for horizontality. Getabako would often
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forgo hardware. Rather than use hand pulls, they were opened using the door’s frame. This is a minimalist detail in the spirit of Modernism. Opposite: Front elevation (SketchUp, Maxwell). Below: Interior storage (SketchUp, Maxwell).
Project Data Name: Genji Custom Furniture– Sideboard Client: Genji Antiques, San Francisco Principal in Charge: Shigeto Murase, Owner Manufacturer: Sobe Furniture, Shanghai. Project Design: Lawrence Matott.
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1: A Showa era Getabako (shoes box) displays typically light construction, little hardware. 2: Front elevation with dimensions. 3: Side elevation and 4: transverse section. Furniture Design
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Genji Reproduction Lanterns Traditional Japanese Andon Projects
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‘Andon’ refers to paper-covered, wood-frame lanterns of various styles. The oki-andon is for interior use– to place (oku) on the floor. The base of the oki-andon provides a table-like surface for an oil decanter (3,4). ‘Roji’ means ‘alleyway’ or
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‘pathway’ and refers to lanterns set along an outdoor path in evening, perhaps marking the way to a garden tea house (5). ‘Ariake’, or ‘dawn’, became a term for any portable lantern carried by traveler’s as they journeyed, often on foot, along
Japan’s historic routes like the Tokaido (6). Below left: A bonbori lamp stand. Photo: L Matott Below middle: Roji garden lanterns. Photomontage: L Matott (SketchUp, Maxwell Render). Below right: The traveler’s ‘Ariake’ hand-lantern.
Project Data Name: Genji Antique Lantern Reproductions Client: Shigeto Murase, Owner, Genji Antiques Manufacturer: Sobe Furniture, Shanghai Project Development: Lawrence Matott
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1: The traditional Bonbori style hexagonal frame. 2,3: Night in Yoshiwara c.1750– A raucous street scene (2), Amusing hand shadows (3). H. Unno, Akari, Living Design Ctr Ltd, 2000,p74 4-6: Oki, Roji, and Ariake style lamps in elevation. Furniture Design
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Furniture Design
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A Paulownia Jewelry Box
It is said that Japanese families planted the fast-growing paulownia tree upon the birth of a daughter and, twenty years later, it would become a kimono chest for her wedding dowry. Its wood naturally wicks moisture; so it was left unfinished,
with Elm Stand
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adorned only with decorative brass fittings. A customer who remembered her grandmother’s dowry chest commisioned this jewelry box. Her project inspired a set of off-the-shelf components. They could be stacked, used with or without a stand,
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as a jewelry box, calligrapher’s box for pens and paper or an artist’s paint and brush box. Opposite: The jewelry box (SketchUp, Maxwell) Below: Drawers with standard, velvet-lined inserts (SketchUp model, Maxwell render).
Project Data Name: Genji Custom Furniture– Jewelry Box Client: Genji Antiques, San Francisco Principal in Charge: Shigeto Murase, Owner Manufacturer: Sobe Furniture, Shanghai. Project Design: Lawrence Matott. 1: A Showa era Kimono-Dansu of Paulownia with decorative brass fittings and hinged doors. 2: Front elevation with dimensions. 3: Interior plan and 4: Transverse section. Furniture Design
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