Matt Bowles Portfolio by Matthew Bowles

MATTHEW BOWLES

//URBAN ACTIVITIES CENTER

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ARCH 100 B SPRING 2011

//MUSEUM AND BOATHOUSE 21-30 ARCH 101 HONORS SUMMER 2011 GUARDAMAR DEL SEGURA, SPAIN

//TWIST ART GALLERY

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ARCH 140 SPRING 2012

//POTRERO HILL LIBRARY

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ARCH 100 A FALL 2010

//RESEARCH

//HAND DRAWN

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//URBAN ACTIVITIES CENTER ARCH 100 B SPRING 2011

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SITE RESIDENTIAL INFILL

120% 100% 80%

S.O.M.A SAN FRANCISCO

60% 40% 20% 0% -20% -40%

1980

POPULATION GROWTH BY PERCENTAGE

1990

2000

//SITE ANALYSIS: The intersection

of 8th and Mission resides within the S.O.M.A (South of Market) District of San Francisco. S.O.M.A, previously generalized via its extensive industrial program, has been witnessing an increase in population. Between 1990 - 2000 the population in the S.O.M.A region doubled and in the previous ten years, doubled again. This surge in population has paralleled such events as the dot.com bust that impacted the area leaving thousands of square feet of industrial space vacant. This, combined with the recent economic crisis has provided an ample supply of vacant square footage to meet the demand of the increasing population. Consequently, the increased demand for residential program has driven the transformation of previously industrial property into residential use. As such, the apparent attributes of the area are shifting away from industrial as residential infill fractures the area. However, the sites previously industrial nature is devoid of public amenities, and the increased residential populace creates a demand for residential support program.

2010

2020 PROJECTED 2

//SITE MODEL: With the onset of a

rapid increase in population within the SOMA area, the predominantly industrial real estate has been subdivided into residential sections. Symbolically, the progression from industrial to residential can be characterized through a system of infill and dissection within 150 SF PER the framework of the existing volumes. PERSON The industrial program, whose single expansive volume represents the singularity and sparseness of its use, is articulated into smaller residential units. This particularization is accompanied by a specialization of use and an increase in density. Based on U.S. Census data, the average square footage per person within San Francisco can by approximated at around 150 square feet. This number provided the dimension for each individual cube within the model and the generator for establishing estimates for the client base within the area. Ultimately, the use of cubic volumes dictated by average square footages allows the simultaneous representation of dissection and population.

//PARTICULIZATION DIAGRAM

IND

US TRI

RES IDE N

TIA L

//SITE MODEL

//GEOMETRY: The buildings basic form is heavily dictated by the initial volume and subsequent restrictions of the rect-

angular site boundary. To orient the building towards the residential community base, the initial rectangular volume was twisted about is three dimensional center. Consequently, as one moves vertically up through the building, the general alignment of the building approaches the pure residential orientation. Performatively, the transition from the orthogonal site-defined base and the rotated top plane create an intermediate twisted volume that serves to create space between the adjacent buildings, allowing a larger area of natural light to penetrate the building, and negating the damp interstitial space inherent within structures and planning.

//CONCEPT SKETCH

EXTRUDE SITE BOUNDARY

SITE DEFINED VOLUME

TWIST

SITE PARAMETER

SITE PARAMETER EXTRUSION TRIM

//EXTERIOR RENDER TAKEN ON MISSION STREET LOOKING TOWARDS INTERSECTION WITH 8TH STREET

//MESH PANEL SYSTEM EXPLODED AXONOMETRIC

MESH PANEL

TUBE STEEL FRAME

ANGLED IRON BRACKETS

FLOOR PLATE

ARMATURE

//TRIANGULATED GLAZING SYSTEM EXPLODED AXONOMETRIC

GLAZING SPIDER BRACKET

LOW-E GLAZING

FLOOR PLATE PIN BRACKET

TUBE STEEL STRUCTURE

PIN BRACKET: ASSEMBLED

PIN BRACKET: EXPANDED

COMMUNITY GARDEN COMMUNITY CENTER WEIGHT ROOM

WORKOUT AREA BASKETBALL COURT YOGA STUDIO

DANCE STUDIO

ADMNISTRATION

ENTRANCE LOCKER ROOMS

POOL AREA //PROGRAM

//LONGITUDINAL SECTION

//PLANS

A. POOL B. ADMINISTRATION C. RENTAL OFFICE D. SNACK BAR E. DANCE STUDIO F. LOCKER ROOMS G. BASKETBALL COURT H. FLEXIBLE STAGE SETUP I. COMMUNITY MEETING ROOM J. MULTIPURPOSE ROOM K. GARDEN TERRACE L. PATIO

1 H

Roof

//CONCEPTUAL CUT

//INTERIOR RENDER

//MUSEUM AND BOATHOUSE ARCH 101 HONORS SUMMER 2011 GUARDAMAR DEL SEGURA, SPAIN

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//SITE ANALYSIS: Guardamar del Segura (translated literally means Guardian of the River Segura) is a small fishing village located on the Southern Mediterranean cost of Spain. Situated directly on the coast and flanked by an extensive region of sand dunes, the issue of desertification has always been an imminent threat. In the early 1800â&#x20AC;&#x2122;s, the advance of the dunes increased and began burying parts of the town. The village, to establish its survival, turned towards the planting of vegetation in the area to halt the progression. Ultimately successful, the dunes were halted and an extensive pine forest now inhabits the area. Like many ancient cities, Guardamar has a rich history that is marked by many different cultures. Guardamar was initially established as a small Phoenician fishing village near the mouth of the river as noted in several Roman geographies. The ruins of this civilization are apparent today, yet are for the most part buried under many feet of sand. On top of this Phoenician settlement, a Moorish settlement arose, the ruins of which are still visible today. Whether the location of the Phoenician settlement was apparent to the Moor settlers, despite that it was most likely buried at the time, is not know; however their choice of location provides a unique juxtaposition. These settlements, combined with an ancient castle of the Spanish crown on an adjacent hill and the 1800â&#x20AC;&#x2122;s Beaux Arts city planning grid create a palimpsest of historical grids layered vertically, and interconnected by their geolocation and common title.

//ISLAMIC RABITA WEST SIDE

//ISLAMIC RABITA RUIN EAST SIDE

//ISLAMIC RABITA WEST SIDE

MUSEUM OF GUARDAMAR: The project called for the preservation and protection of the multiple layers of history located at the site of the Phoenician and Islamic Rabita ruins -- while simultaneously â&#x20AC;&#x153;museumifyingâ&#x20AC;? the site and bringing attention to the ruins, and to the town of Guardamar on the whole. Initially designed as an extension of a small museum that houses many of the ancient artifacts that have been discovered here, the museum had to approach the issue of building within ruins carefully. The use of a single rectangular strip as a medium to create structure, space, and circulation provided an initial geometric generator. The rectilinear nature of this form, especially when arrayed, spoke of a grid like nature. Through the creation of a network representative of each level of historical significance inherent to the site, the museum becomes a interlocking palimpsest of overlaid systems.

//LONGITUDINAL SECTION

Dominated by circulation, the museum moves you along, below and over the ruins, providing unique interaction with the ruins unattainable through standard pathways. At certain points the path descends into the ground, allowing the crumbled remains of the wall footings to once again reach their original height. Other times, the path runs upwards, ceasing to be a path and providing sun shading or clumping to create occupiable space. The culmination of the overlapping networks resides in a raised overlook platform oriented towards the ocean, aligning the grids (and the multiple strata of history) towards the sea to which Guardamar owes its existence.

//SITE PLAN: MUSEUM EXTENSION AND BOATHOUSE

//CROSS SECTION

//BOATHOUSE: For thousands of years, the town of Guardamar del Segura has drawn its existence from the Mediterranean ocean. Consequently, the craft of boat building to create tools through which to harvest the ocean has been a technique relied upon throughout its history-dating all the way back to its Phoenician founders. Even today, the small harbor at the junction of the Segura river and the ocean is full of fishing vessels large and small who come and go, providing food for the town. Connected to the Museum of Guardmar extension by a circulation route that traverses the Phoenician ruins, the Boathouse provides space for historical preservation, pedagogical practices, and current boat construction. The building, whose built form relies upon a rib and stringer construction drawn from wooden boat building techniques, progresses from smaller enclosed space to the expansive open air boat factory at the opposite end. Reminiscent of the deck systems within boats, three mezzanine floors flank the edge of the construction zone. Here, the practices of boat building are taught, remembered, and glorified on each respective floor -- all while new construction occurs on the open warehouse floor, and within the dry//floodable dock below. DRY / FLOODABLE DOCK CIRCULATION ARCHIVAL SPACE / CLASSROOM OFFICE / RESTROOM RECEPTION/ GIFT SHOP FABRICATION / RESTORATION SHOP CAFETERIA GALLERY CONFERENCE

//PROGRAM PLAN DRY / FLOODABLE DOCK CIRCULATION

OFFICE / RESTROOM RECEPTION/ GIFT SHOP

CAFETERIA GALLERY CONFERENCE

ARCHIVAL SPACE / CLASSROOM

FABRICATION / RESTORATION SHOP

//CROSS SECTION

//INTERIOR RENDER: BOATHOUSE

//TWIST ART GALLERY ARCH 140 SPRING 2012

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//PROJECT OVERVIEW: This project was based upon a design extension to Louisiana Museum. The task was to design a

satellite exhibit space for traveling exhibitions. The site, located in Flagstaff, Arizona at a latitude of 35 degrees N and a longitude of 112 degrees W, provided a 24' x 38' footprint on which the art gallery sat. Research into the year-round climate tendencies of Flagstaff provided that Flagstaff possess a large diurnal temperature fluctuation, a high altitude and thus low pressure characteristic, dry, and predominantly sunny climate. As such, and through utilization of the bioclimatic chart, it became apparent that solar shading devices and a reliance on thermal mass would be the most appropriate sustainable strategies to navigate the challenges presented by the climate and the gallery program. On a purely aesthetic note, the project called for a space that choreographed how visitors experienced artwork as they moved through the space. By addressing the envelope (specifically in terms of fenestration), the project called for the indoor environment to become a special but also performative experience. Programmatically, the gallery needed to address and support the following: + 25 lineal feet of wall for light-sensitive drawings, (below 15 footcandles) + 45-50 additional linear feet for wall-mounted work + Seating to accommodate 6 people + free-standing sculptures (20-100 footcandles)

//BIOCLIMATIC CHART: DATA POINTS = (MIN RELATIVE HUMIDITY, MAX TEMPERATURE) (MAX RELATIVE HUMIDITY, MIN TEMPERATURE) *ALL DATA FROM MONTHLY AVERAGES

30 째

//SITE ORIENTATION: ORIENTED 30 DEGREES WEST OF NORTH

//CONCEPTUAL SKETCH

//INITIAL VOLUME

//ROTATION: TO ALLOW PROGRAMMATIC TRANSITION FROM DIFFUSED SIDE LIGHTING (LIGHT SEN-

SITIVE PROGRAM) TO TOP DOWN DIRECT LIGHTING (LIGHT TOLERANT PROGRAM)

//SUN ANGLE AXONOMETRIC

//WINTER SOLSTICE - 31.5

//SUMMER SOLSTICE - 78.5

//LIGHT DISTRIBUTION DIAGRAMS

//HYPOTHESIZED LIGHT DISTRIBUTION

//TEST #1 RESULTS: NO GALLERY WALL

//TEST #2 RESULTS: GALLERY WALL

//PROJECTION: APERTURE CHANGE

// SUNLIGHT APERTURE DIAGRAMS

//DIFFUSE APERTURE

//TRANSITIONAL APERTURE

//DIRECT APERTURE

//SUNLIGHT TESTING PHYSICAL MODEL: INTERIOR PHOTOS 9am

12pm

3pm

DEDecember CEMBER

September SE PTEMBER JUNE

June 9 am

12 pm

//VIEW #1: TAKEN FROM THE DIFFUSED OPENING LIGHT SENSITIVE ART AREA lOOKING TOWARDS THE TRANSITIONAL AND DIRECT LIGHT SECTIONS. CURVED WALL TRANSITIONS INTO SEATING FOR ART VIEWING IN THE LIGHT SENSITIVE ZONE.

3 pm

9am

9 am

12pm 3pm

12 pm

3 pm

//VIEW #2: TAKEN FROM UNDER THE DIRECT SUNLIGHT APERTURES LOOKING TOWARDS THE CURVED WALL THAT SERVES TO SHELTER THE LIGHT SENSITIVE AREA FROM LOW ANGLE WINTER SUN 38

//INTERIOR RENDER

//SUNLIGHT TESTING PHYSICAL MODEL

//DIFFUSE APERTURE

//TRANSITIONAL APERTURE

//DIRECT APERTURE 42

//POTRERO HILL LIBRARY ARCH 100 A FALL 2010

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Undifferentiated Surficial deposits

Dune Sand

Greenstone

Thin Bedded Sandstone and Shale

Serpentine

Artificial Fill

//SITE ANALYSIS: Situated in a zone of high tectonic activity, San Francisco can be characterized by its unique geological characteristics. This project recognizes the powerful local and global geology of the San Francisco region and translates these forces into the manipulation of form. The site is located on the footprint of the Potrero Branch Library on 22nd and Connecticut on Potrero Hill of San Francisco. Occupying a volume contained between two party walls, the site

boasts incredible views of the city. Globally, San Francisco is situated between two major transform-slip/strike faults, The Hayward fault running through the East Bay, and the San Andreas running through San Francisco on the Pacific side. On a local scale, Potrero hill itself is situated atop a serpentine rock mass, one of the few natural geological features of San Francisco-an area prone to landfill and manipulation. These local and global characteristics form the basis for the project.

3 4

//SITE VOLUME

//SLIP STRIKE

//FRACTURE

//UPLIFT

//FLOOR PLATE

//TERRACING

//PROGRAM STACK

3 4

46 //FLOOR PLATE

//RESEARCH

47-50

//CITY VS. SUBURB CONCENTRATION MAP: Created using the Java based program Processing, the scatter plot map utilizes census data and geolocation to provide an accurate representation of the concentration of cities and suburbs. Using zip code locations with corresponding latitude, longitude, state name and city name combined with a conical geographic projection algorithm commonly used by cartographers to translate spherical coordinates into a two dimensional map, allowed a single pixel to be places in the exact centroid of each 5-digit zip code zone. Without superimposing any further data onto these points, they created a density map of the United States. The next step was to alter each individual pixel based on another layer of data, specifically data illuminating the location of predominantly suburban zip codes. The US Census data on geography of housing units provided the number of structures in a variety of categories including 1 units/structure, 2 units/structure, 3-4units/ structure, and so on and so forth till 50 or more units/structure. By identifying the largest of these categories per each zip code and taking a ratio of this category over the total units in the zip code, provided a threshold to determine suburban versus urban. Suburban zip codes were abstracted as areas with a predominant unit per structure category, whereas larger cities had a majority of larger unit to structure numbers. This ratio was linked to a color and size shift, where the larger the zip code (the more structure in it) created a larger dot, and the color of the dot (green being entirely suburban and red representing a large city center.

//ZIP CODE TABULATION AREA DATA ZIP_CODE,LATITUDE,LONGITUDE,ZIP_CLASS,PONAME,STATE,COUNTY 00210,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00211,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00212,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00213,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00214,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00215,+43.005895,-071.013202,U,PORTSMOUTH,33,015 00501,+40.922326,-072.637078,U,HOLTSVILLE,36,103 00544,+40.922326,-072.637078,U,HOLTSVILLE,36,103 00601,+18.165273,-066.722583,,ADJUNTAS,72,001 00602,+18.393103,-067.180953,,AGUADA,72,003 00603,+18.455913,-067.145780,,AGUADILLA,72,005 00604,+18.493520,-067.135883,,AGUADILLA,72,005 00605,+18.465162,-067.141486,P,AGUADILLA,72,005 00606,+18.172947,-066.944111,,MARICAO,72,093 00610,+18.288685,-067.139696,,ANASCO,72,011 00611,+18.279531,-066.802170,P,ANGELES,72,141 00612,+18.450674,-066.698262,,ARECIBO,72,013 //UNITS PER STRUCTURE DATA GEO_ID| |SUMLEVEL|GEO_NAME|H030001|H030002|H030003|H030004|H 030005|H030006|H030007|H030008|H030009|H030010|H030011 86000US00601|00601|860|00601 5-Digit ZCTA, 006 3-Digit ZCTA|6715|5295| 821|165|149|156|66|11|31|21| 86000US00602|00602|860|00602 5-Digit ZCTA, 006 3-Digit ZCTA|15590|123 99|2170|407|258|154|30|62|34|76| 86000US00603|00603|860|00603 5-Digit ZCTA, 006 3-Digit ZCTA|21667|144 76|3415|656|853|988|769|200|289|21| 86000US00604|00604|860|00604 5-Digit ZCTA, 006 3-Digit ZCTA|1184|875| 209|50|4|8|6|13|15|4| 86000US00606|00606|860|00606 5-Digit ZCTA, 006 3-Digit ZCTA|2272|182 6|338|47|31|16|8|||6| 86000US00610|00610|860|00610 5-Digit ZCTA, 006 3-Digit ZCTA|10576|798 9|1842|234|181|130|104|64||32| 86000US00612|00612|860|00612 5-Digit ZCTA, 006 3-Digit ZCTA|28797|211 10|4149|808|810|1061|491|148|126|86|8 86000US00616|00616|860|00616 5-Digit ZCTA, 006 3-Digit ZCTA|3986|333 6|569|31|23|8||||12|7 86000US00617|00617|860|00617 5-Digit ZCTA, 006 3-Digit ZCTA|8717|7037 |1248|188|61|133|32|||18| 86000US00622|00622|860|00622 5-Digit ZCTA, 006 3-Digit ZCTA|6358|4062| 735|192|173|197|138|120|6|663|72 86000US00623|00623|860|00623 5-Digit ZCTA, 006 3-Digit ZCTA|16824|125 45|2339|413|333|329|135|296|150|284| 86000US00624|00624|860|00624 5-Digit ZCTA, 006 3-Digit ZCTA|8735|7391

float HORIZONTAL_BORDER = 20, minX = -0.3667764, minY = 0.4181981, maxX = 0.35192886, maxY = 0.87044954, mapX1 = HORIZONTAL_BORDER, mapX2, mapY1, mapY2;

final float MIN_DOT_RADIUS = 1, DATA_FUNCTION = 5; final int DATA_CUTOFF = int(exp(log(240) * (DATA_FUNCTION + 1)) / exp(log(255) * DATA_FUNCTION)), DATA_SCALE = 1000; // A bigger number means smaller dots. // The array that outputs a Place object (represents a zip code, its city’s name, and its coordinates) for a zip index. Place[] places = new Place[100000]; // The array that holds the DataPlace objects that are represented on screen. DataPlace[] dataPlaces; int dataCount; float tx = 0, ty = 0, x1 = 0, x2, y1 = 0, y2;

//HAND DRAWN

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