Matthew Hayes Design Portfolio by Matthew Hayes

MATTHEW HAYES DESIGN PORTFOLIO

RESUME

EDUCATION: 2017 Ball State University College of Architecture and Planning Bachelor of Science in Architecture with Honors 2021 Havard Graduate School of Design Masters of Architecture I canidate WORK EXPERIENCE: 2016 RATIO Architects Architecture Intern 2017 Tom Wiscombe Architecture Architecture Intern 2019 Cambridge Seven Associates Architecture Intern RECOGNITION AND INVOLVEMENT: 2014-2015 AIA Student Member 2013-2016 Dean’s List 2015 Honorable Mention Indiana Hardwood Lumber Association sponsored competition 2016 Conference Presentation Work presented at “Standard Deviations” Panel by James Kerestes at104th ACSA Annual Conference 2016 Object Strange Object Strange project displayed at Wunderkammer Art Gallery 2016 Flim Flam Architectectural Oddities & Misfits Weird Aesthetics work displayed at Muncie Makes Lab 2016 Composite: Unbuilt Works Graphics displayed at Wunderkammer Art Gallery as part of the Composite: Unbuilt Works Exhibition 2016 MKM ACSA Competition First Place MKM ACSA sponsored steel competition 2016 Robotic Gestures Robotic arm workshop with Aaron Willette and Fabio Gramazio 2017 Muncie Makes Lab First Thurday CRIPE projected exhibited at Muncie Makes Tiny Home Exhibition 2018 Cornell University DCA Biennial Juried Exhibition Suburban Horror Story Awarded Juror’s Choice Award in Design Drawing Category 2019 Arch Out Loud Home Competition Suburban Horror Story Awarded Director’s Choice Award PUBLICATION 2018 GLUE 13 Ball State College of Architecture and Planning Student Publication Suburban Horror Story published in 13th edition of GLUE 2018 Suckerpunch Daily Suburban Horror Story web published by Suckerpunch Daily 2019 Suckerpunch Daily House in a Field web published by Suckerpunch Dialy mhayes@gsd.harvard.edu (765) 438.6143

CONTENT

SUBURBAN HORROR STORY

pg. 4

URBAN CLUB

pg. 12

MICROCOSM HOUSING

pg. 18

THE FILM SHED

pg. 26

TEMPLE STREET GARAGE

pg. 32

CROSS RHYTHM

pg. 40

HOUSE IN A FIELD`

pg. 48

COALESCE HOUSE

pg. 56

TWELVE LAYER CAKE

pg. 62

TWENTY FOLD

pg. 68

11 SHELTER pg. 74 12

CAMPUS INFILL

pg. 80

OBJECT STRANGE

pg. 84

WEIRD AESTHETICS

pg. 88

SUBURBAN HORROR STORY residence

spring 2017-instructor james kerestes web published on suckerpunch daily

SUBURBAN HORROR STORY residence spring 2017- instructor james kerestes

The suburban home, with its traditional gabled faรงade, has become the embodiment of the house typology which outwardly conveys a sense of conformity and uniformity while maintaining marginal latitude for individual expression. This shape has become the universal symbol for the home and has permeated into our society at all levels. The idea of the suburb has evolved to the point where it has become a two dimensional application that has often been coopted, as in the case of many fast food restaurants and large grocery stores, to subtly imply to a sense of home or comfort to the consumer. This project offers a contrasting proposal for suburban architecture; speculating on a new form of residential architecture that deviates from an existing suburban residence. The goal for this project was, in contrast to changing the fabric of the suburbs, to create a new and foreign form that, through its difference, undermines the integrity and philosophy of the regimented and monotonous suburban landscape.

COMPARTMENTAL NATURE

Continuing the aggregational logic of the residence, the primary growths act as condensers of program containing scattered regions of social and private spaces. Barriers allow for anticipated and rewarding experiences. On the exterior, the new form h ly different materials than the previous home such as aluminum panels at edge conditions and metal plates shrouding the house

INTERIOR NATURE

On the interior these new forms masquerade as antiquity by shrouding themselves in wood paneling and familiar plaster. These materials began to frame the entryways to social spaces, highlight key views to the exterior, and became integrated into the furniture with the desire of relating the materials to the human scale.

CONTINUED LOGICS

The new form grew from inherent logics that resided within the existing house and worked to deviate the formal operations of the original home. These modified forms are repurposed based on programmatic functions and begin to integrate into the existing home.

POTENTIAL GROWTH

In contrast to the highly regimented suburban plot, the formal language of the modified home begins to inform a deviation of the topography from the typical neighborhood lawn. This provides the framework for future additions whether on this individual lot or within the neighborhood at large.

URBAN CLUB community

spring 2018-instructor elizabeth christoferetti

URBAN CLUB community spring 2018- elizabeth christoferetti

Implementing programs such as spas, massage parlor, thermal baths, as well as areas for physical and mental therapy to promote a certain level of physical and mental tranquility and passivity. This is important to counterbalance the overload of digital and sensory data that millennials and others experience on a daily basis. These programs and the club itself could exist to promote the physical and mental revival and promote a shared repose or solitude from society. The building exists and promotes a dichotomy of spatial and material senses such as lightness and heaviness, Subdued and expressed, fastness and slowness, isolated and public, open and safe. The organization of the building calls for the placement of four monuments that bound the city; creating a miniature interiorized city. A fifth object placed at the center of the building begins to weave and stich the interstitial space forming loose boundary conditions.

AMBULATION AS SPACE

The ambulatory nature of the interior form calls for the act of wandering and meandering that brings occupants into the physical moment and allows them to find their own niche or secluded space for introspection and solitude. The internalized object begins to also negate the typical notion of the ground level public realm as public spaces begin to displace to the upper levels.

IMPLIED PARTITIONS

The loose organization of partitions and the use of multiple half-levels encourages the movement through the central space and allows for happenstantial interactions with other users.These partitions allow for a connected volume in the center of the building and allows users to experience the collective while simultaneously allowing for small breakout spaces within the whole.

MICROCOSM cohousing community

fall 2018-collaboration with donald oâ&#x20AC;&#x2122;keefe instructor-jenny french

MICROCOSM cohousing community spring 2019- instructor jenny french- collaboration with donald oâ&#x20AC;&#x2122;keefe

Since their inception, intentional communities have struggled to define themselves in relation to the wider world. Some groups have chosen to retreat from the messy contradictions of urban life and attempt to create rural utopias. At the other extreme, perhaps, are solidarity groups like labor unions or ideological collectives that can provide mutual support without a clear spatial manifestation. Cohousing treads a middle path between inclusivity and exclusion - between the intentional production of collective space and the implicit separation from what lies outside. The Microcosm Cohousing Community aims to deconstruct the boundaries that separate conventional cohousing complexes from their environments. Our community was founded in the urban area of Somerville, from which we draw our vitality, and our membership. We seek not to remove ourselves from this environment, but to celebrate our place within it and to improve the neighborhood for the good of members and non members alike. Our cohousing community will be a microcosm of the city itself: an amplification of its diverse and sometimes ambiguous spatial and social character.

URBAN DIVERSITY

We recognize the benefits of urban living for the diversity of economic opportunities, the promotion of public health, the reduction of resource and energy consumption, and the promotion of social cohesion. We stand in opposition to the anti-urban tendencies, even if that stance requires us to sacrifice certain luxuries considered indispensable by our suburban counterparts.

COMMUNITY IMPROVEMENT

Simultaneously, we seek to critically analyze the character of Somerville, determining what to conserve, what to dispense with, and what to aggrandize. We seek to synthesize these competing interests into a whole that is optimistic and unapologetic; a sincere vision for improving our community, rather than simply preserving it.

MEMBERSHIP

Membership in the Microcosm Cohousing Community is offered at a gradient of levels. At the center is a Core Membership of permanent residents that own their homes. This group comprises 70% of the occupants of the complex and has the right to vote on community decisions. Current Members rent the remaining 30% of the units.

URBAN LIFE

Communities Membership is open to anyone who lives in the Boston. Community Members can sign up to join groups or attend events at Microcosm Cohousing, participating in the community even in they do not live there. Like any other city neighborhood, anyone is welcome to walk through our streets, sit on our curbs, lounge at our parks, climb on our trees, and chain their bikes to our signs.

THE FILM SHED film studios

spring 2018-instructor elizabeth christoferetti

THE FILM SHED film studios spring 2018- instructor elizabeth christoferetti

Contemporary culture, aided by film and speculative art, has reclaimed a certain formal language, most notably that of oblique or forty-five degree angles, that remains reminiscent of lost mysterious objects and primitive relics primarily for use in depictions of science fiction and near future societies. This language that once belonged to likes of obelisks, cairns, and totems now can be applied and blended to the typology of the film studio, which has historically hidden its nature under the guise of the shed. The reclamation and application of this language for the purpose of film studios can help bridge the architecture of the film industry with the worlds it seeks to create. This project utilizes simple shed structures that rest on a series of occupiable monolithic structures that support the long-span necessary for the freedom of filming. The totemic bar structures create a series of expressive linear elements that begin to deviate to allow for supporting programs and the creation of implied courtyard spaces.

MOVIE MAGIC

The criteria for this project consisted of the design of five sound stages of varying sizes for use by independent film studios. This program typology while in itself a highly creative function, architecturally calls for little; essentially an empty shed that can conform to the unique needs of each movie.

SUPPORT SPACES

The larger opportunity then lies within the design of the support spaces and in this proposal plays up this pervese relationship as the support spaces project an outwardly cinematic or dramatic persona while the studios themselves become banal and unremarkable.In this project, the support spaces become variants on a corridor that imply the cinematic and dramatic atmosphere .

TEMPLE STREET GARAGE hotel addition

fall 2018-instructor belinda tato

TEMPLE STREET GARAGE hotel addition fall 2018- instructor belinda tato

The design challenge in this project centered around the creation of a hotel and event space on top of the existing Temple Street Garage built by Paul Rudolph. This project called into questions issues of public accessibility as the new ground is divorced from the street, the changing typology of hotel, clientele, and historic preservation. The demands of program and the treatment of â&#x20AC;&#x153;building as siteâ&#x20AC;? called for a rough extrusion of existing footprint which was then strategically carved in order to provide larger atriums and a relatively comfortable width for the hotel rooms to access daylighting. The center of the existing garage was interrupted in order to provide a grand public staircase that circulates to the top of the roof deck and has a number of half levels and slow steps to allow for multiple points of entry and exit. The event spaces are located towards the north, and public, side of the garage while the hotel is relocated to the south and the upper floors.

PLANIMETRIC ORGANIZATION

In terms of overarching organization, the lowest level of the building acts as a gradient with the larger and more public spaces oriented towards a nearby park while the more cellular hotel programs are placed on the floors above. A grand formal stair is centrally located at a nearby intersection to usher users to the top of the existing parking garage.

BUILDING AS SITE

Utilizing Paul Rudolphâ&#x20AC;&#x2122;s Temple Street Garage, this project positions a hotel and conference center above the street plane; creating new public ground above an underutilized public space. The mass of the garage is duplicated and carved in order to allow for light, circulation, and programmatic scaling.

SCALAR DISRUPTIONS

As large carvings provide the overarching organization, smaller articulation disrupts the monotony of the typical hotel and provides access to smaller social spaces to encourage a deviation from the animosity present in the current hotel structure. At an even smaller scale the articulation of the form functions to organize rooms and work as furniture and window formations.

DEVIATED TYPOLOGY

In this design, there is a desire to reformat the experience of the repetitive typical hotel and instead provide a unique experience for each occupant and have variable rooms that encourage this. At the smallest scale, micro-fissures seem to serve only as material expression or as ornament that influences the overall, holistic experience of the space.

CROSS RHYTHM residence

fall 2019-instructor go hasegawa

CROSS RHYTHM residence fall 2019- instructor go hasegawa

This studio looked to adapt New Orleans housing typologies, in this case the shotgun home, to contemporary means of living and imagery. Brief takeaways from the shotgun typology is that it is indifferent to contextual relationships with the exception of a prominent street elevation. The shotgun rather focuses on its own internal logics which is the repetition of self similar rooms in contrast to the other typologies that negotiate their forms with exterior courtyard space. The quintessential space of the historic shotgun is the promise of another space or rooms. I was looking at placing the shotgun on an atypical site, in this case a flag lot is narrow towards the street and expands at the back of the site, to see how the shotgun can transform to meet the needs of contemporary living in New Orleans and the demands of idiosyncratic site. I was interested in having a reciprocal relationship with the site so that it is not simply the shotgun that is manipulated but also the shotgun influences the site and the exterior space. The systematic divisions of the shotgun are externalized across the site in the form of a 15â&#x20AC;&#x2122; rectilinear grid similiar to the historic lot.

IMAGE OF SHOTGUN

In this project, the importance of the street facade is maintained as image that relates to the scale of the surrounding buildings. The facade acts as an image that bounds an outside room and provides exterior access to the back of the lot.

SHOTGUN PROFILE

While the profile of the shotgun is maintained, there is variety in the interaction with the house and outdoor rooms as the inflections and raised patios prompt a sidedness to the shotgun. Cases in which there is visual connection from the room to exterior but on separate planes for privacy

SITE RECIPROCITY

The shotgun is similarly transformed in this bending and snaking operation to fill the extents of the site. At each moment of inflection and change, exterior space is subdivided to create more intimate and human scale courtyards. Programmatically, these moments of inflection also create separate households as the shotgun typically functions poorly after 4-6 rooms.

PORCH CONDITION

These resultant exterior spaces are subdivided in a similar manner to the original shotgun to create outdoor rooms, some of which are raised to give each household access to a smaller courtyard, an elevated shared public porch and a private back porch which are remanant of the existing typology.

HOUSE IN A FIELD residence

summer 2018-collaboration with jon gregurick web published on suckerpunch daily

HOUSE IN A FIELD residence summer 2018- collaboration with jon gregurick

House in a Field reclaims ornament as the primary architectural force in oneâ&#x20AC;&#x2122;s most intimate spatial setting, the home. Surface complexity, layered depth, and rich materiality provide an alternative to blankness or monolithic; here ornamental agency claims the space itself, every single wall, floor and ceiling. Spatial ornamentation fosters intimate, rather than indifferent, engagement with the home through controlled articulation, drawing one into the visual sensuousness of its unfolding depth. House in a Field is a series of insertions as vertically staggered living spaces, catalyzed by visual richness, prompting the inhabitant to intimately move amongst the visceral immediacy of spatial ornament. The tactile personality of form, its articulated surface, combats the cold uniformity of standardization. This small residence, is composed of a series of interlocked simple orthogonal forms to create intricate volumetric relationship to provide openness while implying differentiated spaces.

LAYERED ORNAMENT

Throughout the project, intricate ornament is successively built up; particularly at and edge conditions in order to strategically create privacy and imply regions of intimacy within a relatively open volume. The use of ornament, in opposition to the passive experience of many contemporary projects, encourages occupants to engage in their surroundings.

PRIVATE ADJACENCIES

While many of the spaces are volumetrically open to each other, accessibility to the more private programs such as the ownerâ&#x20AC;&#x2122;s study, restroom, and bedroom are filtered through the centralized, three-story staircase. Though unconventional in appearance and form, the adjacency of rooms follows convention with the bedroom and study allocated to the upper floors.

PUBLIC ADJACENCIES

The kitchen accessible yet visually separated from the dining and living room which are immediately available upon entrance to the house.The tumbled volumes, in addition to strategically limiting or providing access to certain portions of the residence, provide are of covered outdoor spaces.

OUTDOOR SPACES

Outdoor spaces such a large patio on the second floor wrap the back of the house and a covered porch at that shelters the primary entrance. Providing mitigation between interior and exterior spaces.

COALESCE HOUSE residence

fall 2016-instructor kevin klinger

COALESCE HOUSE residence fall 2016- instructor kevin klinger

Addressing the classic question of form or function, this project offers a solution in which the functional geometry at a human scale transitions seamlessly into the generalized form; effectively unifying form and function. An undulating form was chosen to reflect the surrounding geography; implying soft movements throughout the residence. Designed as a secluded residential house in Norway, this building follows conventional distribution of spaces along a central light corridor as the spaces transition from the public spaces such as the living room and the kitchen to the more private bedroom and restroom. Using traditional ideas of light in Scandinavian countries, a material palette of light concrete and warm wood was chosen in order to enhance the quality of light for the majority of the year.

FORM AS FUNCTION

Usable components of the house such as countertops, seating, and stairs delaminate and peel away from the exterior form in order to unify the functionality with the formal gesture. These delamination begin to inform material changes as the form transitions from a cool neutral concrete to a warm wood. This change in materiality encourages movement to and action.

ENVIRONMENTAL CONSIDERATION

This residence, in order to address environmental concerns, uses an operable track system in the central corridor as well as a rotating wall for passive ventilation. In addition to this, the building remains low to the landscape, with a basement that effectively burrows, to take advantage of more consistent ground temperatures.

12 LAYER CAKE urban bakery

spring 2016-instructor ana de brea collaboration with natalie broton awarded first place in third year school competition

12 LAYER CAKE residence spring 2016- instructor ana de brea- collaboration with natalie broton

The design challenge in this project centered around defining and designing for the needs of a mixed-use development in an urban center. Focusing on the concept of live, work, play this building is intended to explore the relationship between “sweets” or desserts and architecture. One intriguing aspect of sweets is the idea that even though desserts are not a necessary component in a healthy diet, they are universal in virtually every society and generally desired by all. Due to this universality, aspects and qualities of sweets were analyzed to help inform and develop the form, materials and program of our building. Desserts, in order to announce their presence and appeal, often contain bright colorations to engage the visual senses. This quality of sweets helped influence the buildings design, as this was used as an opportunity to disrupt the dreary monotony of downtown Vancouver with a visual “treat” by incorporating vibrant and decadent materials in tandem with a distinctive architectural form.

SOFT ON THE INSIDE

A quality common in many sweets, particularly in pastries and candies, is that they are often hard on the exterior but reveal a soft, gooey interior. This project reflects this logic through the design of a hard, twisted envelop which informs a series of softer, curvilinear forms hidden inside. These interior objects serve as the definitions and boundaries for programmatic functions.

CELEBRATORY TREAT

A large component of desserts is that they are often featured as part of a celebration, so similarly this building is expressively celebratory of downtown Vancouver with the inclusion of commercial spaces that engage the culturally rich location and appeal to a finically universal demographic.

TWENTY FOLD poolscape

spring 2016-instructor ana de brea

TWENTYFOLD poolscape spring 2016- instructor ana de brea

This project focused on the design and creation of a small bathhouse and calming poolscape environment directly outside the city of Muncie. Spatial programs required restrooms and showers as well as a place to store pool equipment. The primary design solution related to questions of continuous material and form topology to achieve a uniform aesthetic between separate programmatic functions. Upon entering the initial structure, the two distinct folds enclose a covered picnic area and a locker storage area. Private restrooms and showers reside in the following folds and pool equipment storage is located in the final folded structure. The pool itself is shaped in modular strips that relate to the width of the bathhouse and are used to create alcoves and niches for reflection. Surrounding the pool, built-in seating also retains the topological and material logic of the primary structures.

HUMAN SCALE FOLDS

The continuous topologic surface, in addition to providing a sense of enclosure and shelter, begins to serve functional needs at a human scale. Under the initial covered entrance, smaller folds are utilized to serve as a series of storage lockers and a pair of picnic tables.

FOLDED RATIONALE

In addition to this, the interior of the restrooms reflects the continuous folded rationale using a series of folds to divide change stalls and function as sink counters. As well along the folds along the edges of the pool that act as lounge seating for the swimmers.

SHELTER transitional housing

fall 2016-instructor kevin klinger displayed at muncie makes gallery

SHELTER transitional housing fall 2016- instructor kevin klinger

social space skylight

community aperature

kinetic porch

restroom skylight

The design challenge in this project centered around providing four tiny homes for single homeless parents that are attempting to transition back into society. In addition to proving a number of homes, the project brief asked for the creation of a shared community block for a number of basic community needs. The lack of shelter is entirely foreign to our nature as humans and yet homelessness is largely tolerated in todayâ&#x20AC;&#x2122;s culture. This project seeks to architectural examine the contradictory relationship between our desire as humans for shelter and our lack of proper care at a societal level. These two differences are compared and unified through a variety of architectural elements such as form, material, and space. These ideas are then merged with conventional architectural ideas and the unique needs of the homeless to create a sense of safety for those transitioning from this predicament.

single family homes

plaza plantings

community garden

community center

community lounge

shared double homes

ARCHITECTURE OF TRANSITION

One notable feature of the individual homes is a two large covers operating on a track system. These covers are utilized for a variety of functions including controlled daylighting and solar gains, semi-enclosed shared indoor-outdoor spaces, and the creation of visually secure spaces as a sense of privacy is paramount for the transitional homeless population.

COMMUNITIY INTEGRATION

A community center is located to the north to block access to a busy intersection while the homes are oriented towards the residential neighborhood with views towards the interior community. The site provides a number of informal gathering places, both interior and exterior in order to services for the homeless living within the neighborhood and in the tiny homes.

CAMPUS INFILL makerspace addition

fall 2017-instructor zeina korietem

CAMPUS INFILL makerspace addition fall 2017- instructor zeina korietem

Confronting issues of site reciprocity, this proposal acts as an intervention between two existing campus buildings and proposes additional classrooms, administrative offices, and a shared makerspace. The intervention seeks to mitigate the differenctial grids of both buildings; transitioning from horizontal domino floor plate to the vertical walls of a load bearing structure. The infill, rather than applied at a local moment, seeks to unify the two buildings and the addition under the guise of a single facade or wrapper. The interventions itself deviates from the directionality of the existing buildings to match the campusâ&#x20AC;&#x2122; paths and is elevated to allow for circulation underneath the structure. The facade of the new intervention have large areas of glass to allow passersby to view the two robotic arms and the workshop spaces in order to promote the schools identity as a creative institution committed to design. The center of the building is left open in order to allow for a public gathering spaces and has a cafe and support programs for students and administrators.

OBJECT STRANGE commercial

fall 2015-instructor james kerestes displayed at wundekammer art gallery

OBJECT STRANGE commercial fall 2015- instructor james kerestes

Developed from the design philosophy of Object Oriented Ontology, this project focused on the composition of autonomous objects in which both the whole and the part are legible. Designed primarily through examining the interstitial space from the overlap of impacted objects, this program focused on thresholds and an examination of spatial typologies. Originally developed from primitive dodecahedrons, the design was intended to sculpturally express both the fluid and solid nature expressed by glass, particularly in its shaping and production. Utilizing the inherent divisions between objects, opportunities were created to express changes and divisions between floor plates, materials, and programmatic functions. Gradients between transparent glass and aluminum panels was chosen to highlight the interaction between autonomous objects. Site conditions, both physical and cultural, began to act as a force manifesting itself as physical impacts working to push and pull the objects. The ground, treated as another of many objects, was distorted and impacted to create topography that helped nestle the proposed building.

WEIRD AESTHETICS object study

WEIRD AESTHETICS object study spring 2017- instructor james kerestes

In this seminar project, architectural conventions and standard ideas of architectural form finding were addressed and questioned through the process of deviation and ruination. Both primitive and recognizable objects were deviated to better understand inherent logics within the objectsâ&#x20AC;&#x2122; coding. In addition to examining the ruination of three dimensional objects, digital images were deviated in order to investigate conventional architectural rendering techniques and styles. For the deviation of three dimensional objects, a primitive sphere was deviated using a simple word processing app in order to modify its coding. The goal of this modifications was to find the logics within the coding and, after numerous repetitions, begin to breed and recreate qualities through the code manipulations. The glitched objects began to become interesting as the origins of the object became unclear or entirely unreadable. Unintended qualities were then mined and analyzed for architectural characteristics.