MATT ARSENAULT
DESIGN PORTFOLIO
ALL IMAGES © MATT ARSENAULT 2011-2014
TYPE
NAME
NUMBER
PAGE
INDEX
1-10
1
Urban Youth Hostel
academic
11-16
2
Urban Sanctuary
academic
17-20
3
Facade Study: Kunsthaus Bregenz
academic
21-28
4
Annex Connector
academic
29-34
5
Waterfront Intervention
academic
35-48
6
Shipbuilding Center
academic
49-54
7
Side Projects
competitive
Education
Bachelor of Science in Architecture Wentworth Institute of Technology Boston, MA. USA Current Cumulative GPA: 3.47 Dean’s List: Fall 2011, Fall 2012, Fall 2013 High School Pinkerton Academy Derry, NH. USA
Experience
Wentworth Institute of Technology Architecture Studio Monitor - August 2013-Present Working as a studio monitor includes the proper maintenance and security of second year architecture studios after daylight hours. The well being and safety of students is the primary concern, and monitors work in close relation with public safety to make sure this goal is always met. Wentworth Institute of Technology Architecture Wood-shop Assistant - August 2013-Present Working as a volunteer wood shop assistant requires proper maintenance of machinery as well as laser cutters, and the CNC milling machine. Also, assist students with operating machines and programming files for laser cutting, 3D printing, and CNC milling. E.C.F. Entertainment Head Lighting Designer - June 2011-Present Working as a head lighting designer I was in-charge of all lighting placement, schemes, and programming for venues for private events such as, weddings, functions, and parties. Pinkerton Academy Architecture Project Manager - August 2010-June 2011 As a senior, I was in charge of architectural and design solutions for the CTE department at Pinkerton Academy. I worked to plan solutions and submit design proposals for NH State renovations on the campus.
Skills
Awards & Achievements
Expertise: AutoCAD, Rhinocerous, Adobe Creative Suite, Microsoft Office Suite Experience: Revit, Maxwell Render, Sketchup, IDX Renditioner, Hand Drafting, Excellent verbal and communication skills, high performance standards in quality of work, attention to detail, and presentation. Proficient at hand modeling. Experience with many 3D printing, laser cutting, and CNC milling interfaces. 2013 Facade Model Gallery-Model in Exhibit, 2013 Speaker at National Polytechnic Summit, 2013 & 2012 NH Architects Foundation Scholarship Recipient, 2011 AIA-NH High School Design Competition - First Place
ABOUT ME I was born in Boston and raised in the small town of Hampstead, New Hampshire. Besides my love for design, I enjoy kayaking, hiking, playing golf and baseball, woodworking and digital fabrication. I also enjoy graphic design, and working on my graphic representation.
CONTACT ME arsenaultm2@wit.edu www.matt-arsenault.com +1 603. 489.3038
p. 2
URBAN YOUTH HOSTEL DSGN 245 | Fall 2012 | Prof. Dan Sullivan
Boston, MA. USA With my architectural and urban design of the youth hostel, I tried to create a space that was generated primarily for social interactions. The social spaces on each floor all have open floor plans, and are viewable from both the exterior and the interior spaces above the space. The main concept of the building was exposure, derived from a rotational movement from a specific origin, which I refer to as “cracking open”. This “cracking open” was an urban response to change the existing prominent grid of the Back Bay Neighborhood. The rotational movement of each section opened up space under the building, creating the performance space area. Along with the rotational movements, levels of exposure were created on each floor.
1
PLAN TAXONOMY
FORM DERIVATION
p. 4
1
BASEMENT PLAN
SECOND FLOOR PLAN
GROUND FLOOR PLAN
THIRD FLOOR PLAN
MEZZANINE PLAN
FOURTH FLOOR PLAN
NORTH ELEVATION
p. 6
1
LONGITUDINAL SECTION
p. 8
1
p. 10
1
p. 12
URBAN SANCTUARY
DSGN 345 | Spring 2013 | Prof. Ingrid Strong
South End. Boston, MA. USA With this design, I focused on using light to introduce the ideas of openness and reflection in tight spaces. I used openings in the roof of the sanctuary to allow light to diffuse down the walls, which helped to open the space vertically. Placing a reflecting pool at the base introduced a reflection onto the stone material that was then used in the space. The project was designed using a series of thresholds based off of lighting techniques. These techniques brought tranquility into the sanctuary, reflection into the mausoleum, and a joining of the two into the outdoor sanctuary. Within the outdoor sanctuary, is a tree meant to represent life and existence, as seen in the adjacent cemetery on the site. The circulation is a circulatory path was designed with the idea of a journey, with the sanctuary being at the center.
2
SITE PLAN
p. 14
2
BASEMENT PLAN
GROUND FLOOR PLAN
SECOND FLOOR PLAN
TRANSVERSE SECTIONS
p. 16
2
SOUTH ELEVATION
p. 18
FACADE STUDY: KUNSTHAUS BREGENZ DSGN 345 | Spring 2013 | Prof. Ingrid Strong
Bregenz, Austria For this assignment, the studio was split into teams. The task was to create a model that gave an understanding of how the facade of a building was designed, and how it can interact with the interior spaces of a building. My team, which was comprised of associates Anthony Polidoro and Sara Zettler, was assigned the Kunsthaus Bregenz designed by Peter Zumthor. With our model, we focused on a literal translation of the facade that worked, including the structure that supported it. The facade of the Kunsthaus is composed of overlapping glass panels that are held in with small insert connections on each individual panel. The design focuses on the diffusion of light through the facade into the stairwells, with gallery spaces located on each floor of the building.
3
p. 20
3
p. 22
ANNEX CONNECTOR DSGN 345 | Spring 2013 | Prof. Ingrid Strong
Wentworth Campus, Boston, MA. USA With the design of the Annex Connector, I focused on using the connection points between Annex North and Annex East to aggregate the weaving system used to derive the floor-plates, as well as the form. From above, all of the floor-plates create the appearance as if each was weaving in and out of each other. With this, the ability to have multiple height spaces all mixed together as well as being able to create visual connections from floor to floor was achieved. The layout of each floor was designed, based off of a circulation path from end to end, connecting the wings of the building together. Each floor acts as a continuous ramp spanning the distance of the building, while situating the program level on each ramp, based off the initial circulation path. With the program sitting in each floor, half walls and elevation changes were used to define space.
4
SITE PLAN
p. 24
4
FRONT ELEVATION
REAR ELEVATION
TRANSVERSE PERSPECTIVE SECTIONS
p. 26
4
p. 28
4
p. 30
WATERFRONT INTERVENTION
DSGN 456 | Fall 2013 | Prof. Ryan Salvas
East Boston, MA. USA With the design of the Waterfront Intervention, I was asked to design an intervention that could be used as a way to embrace the site and its context, to create a place that could enrich the population of East Boston. I designed a piece that would act as a tool for the population to understand tidal change. With this, I wanted to use the intervention to mimic the experience of the tidal change over the earth beneath it. Each component of the intervention is a representation of the tide based off of the lunar cycle, using the tide altitude and the length from the seawall to the tide edge during low-tide, as drivers for each component. With this, as the tide changes throughout each day the visual experience of the intervention, as well as the ability to access certain parts of the intervention, are determined by the tide. In total, the tide becomes the driver for the form as well as the experience of the entire piece.
5
LENG
TH F
ROM
SEAW ALL
TO L
OW
TIDE
EDG
E
TIDE CONNE
CT TIDE
HEIGHT
TO BAS E POIN
WID TH
FORM DERIVATION
HEIG
HT
T
BASE
D OF
F OF
LENG
TH
p. 32
5 12.2’ 12.1’
12.0’ HIGH TIDE AM
-1.9’ -0.9’
11.5’ HIGH TIDE PM
-1.0’ LOW TIDE AM
-0.6’ LOW TIDE PM
10.3’
10.6’
-0.1’
-0.3’
10.1’
10.9’
0.3’
-0.5’
9.7’
9.1’
0.9’
1.3’
10.6’
9.7’
0.1’
0.4’
8.7’ 2.0’
11.1’
-0.4’
8.4’ 1.5’
9.3’ 0.1’ 11.6’ 10.7’ -1.0’ -2.0’
COMPONENTS
SECTION A
p. 34
5
SECTION B
p. 36
SHIPBUILDING CENTER DSGN 456 | Fall 2013 | Prof. Ryan Salvas
East Boston, MA. USA With the design of Shipbuilding Center, I primarily focused on the use of site lines to derive the form and the spatial arrangement of the building. The form of the building is separated into two sections based off program: Shipbuilding and Public spaces. To achieve this, I used the site context of existing industrial warehouses along one side of the site and a public park adjacent to the opposite side of the site. I then took parallel lines from the context to create two intersecting forms that corresponded to each programmatic use. I then used those lines to create a circulation path that creates a separation between the two spaces. This circulation path on the bottom floor then carries as a void space throughout each floor, to create visual connections to different spaces following the site lines. The two forms of the building join together inside of a central atrium space through a bridge that acts as on observation deck into the shipbuilding center, as well as a visual joint for the forms. Programmatically the building is arranged through a progression of gallery spaces, that ultimately lead to a community space that overhangs the water acting as the peak of the design.
6
INDUSTRIAL INDUSTRIAL INDUSTRIAL PUBLIC
PUBLIC PUBLIC
SITE LINES
INDUSTRIAL INDUSTRIAL INDUSTRIAL PUBLIC PUBLIC
PUBLIC
p. 38
6
CIRCULATION
CIRCULATION
SITE PLAN LINES SITE PLAN
N
p. 40
6
6 6 6 6
5
3 3
4 3
2
5
2
1
C
C
C
C
1
2 4
D
1
D
D
D
1
A
A
BASEMENT PLAN
A
GROUND FLOOR PLAN
SCALE: 1/8”=1’-0”
B
SCALE: 1/8”=1’-0”
B
1 - SHIP BUILDING 2 - WOOD SHOP 3 - DIGITAL FABRICATION 4 - GALLERY 5 - ATRIUM
1 - DRYDOCK 2 - CAFE 3 - GIFT SHOP 4 - LOBBY 5 - COATS/TICKETS 6 - OFFICE
A
SECOND FLOOR PLAN
MEZZANINE LEVEL PLAN
SCALE: 1/8”=1’-0”
B
1 - GALLERY 2 - OBSERVATION DECK 3 - CLASSROOM
SCALE: 1/8”=1’-0”
B
1 - COMMUNITY ROOM/GALLERY
N 0
10’
20’
30’
40’
BASEMENT PLAN 80’
GROUND FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
LONGITUDINAL SECTION A
p. 42
6
LONGITUDINAL SECTION B
p. 44
6
TRANSVERSE SECTION SECTION C SCALE: 1/8”=1’-0”
p. 46
6
1/4” SECTION MODEL
ROOF ROOF
COLUMN/ BEAM COLUMNS / BEAMS
TRUSS EXTERIOR TRUSS
MULLIONS MULLIONS
WALLS WALLS
FLOORS FLOOR PLATES
p. 48
6
p. 50
SIDE PROJECTS
MILLWORK (2013): PERSONAL DESIGN This piece is a block of Yellow Birch milled on a CNC milling machine. The design represents the representation of the distortion that exists between a digital screen and the human eye, through a straight horizontal line. The distortion creates the illusion of curves, which were then transferred to the block using the lineweights generated from the computer, to determine the depth of each curve in the design. This piece explains a design methodology which I plan on further developing to examine its endless design possibilites.
6
p. 52
7
FRONITSPIECE (2013) COMPETITION: Wentworth Design Community RESULT: 2nd Place The competition called for the design of a new desk, the “frontispiece� of the Wentworth Architecture Department. Along with team members Neal DosSantos and Derek Hill, our design focused on the concept of fluidity, using a continuous line that could be manipulated to achieve a formal strategy, as well as programmatic use, and primary structure. The formal strategy allowed for the design of the desk ,as well as the surrounding bookcases and programmatic elements of the office.
p. 54
7
SILHOUETTE CHAIR (2013) COMPETITION: 2014 ASFD Student Design Competition RESULT: Unknown IMAGES: Actual Construction Photos The design of the chair was based off of the concept of layering, and was interpreted into the physical construction of the chair, as well as the formal strategy. I constructed the chair out of laminated sheets of 1/8� Baltic Birch plywood, that were bent around a form-work, that was cut on a CNC milling machine and then assembled. The seat was created using ideal angles of repose for a lounge chair, and the base is a representation of the form-work the seat was bent around. The two pieces are connected by four 5/8� rubber washers that create a gap between the seat and base, to give the seat the effect that it is floating.
arsenaultm2@wit.edu www.matt-arsenault.com +1 (603) 489.3038