Matthew Hayes Design Portfolio by Matthew Hayes

MATTHEW HAYES DESIGN PORTFOLIO

CONTENT

SUBURBAN HORROR STORY

pg. 4

COALESCE HOUSE

pg. 12

THE FILM SHED

pg. 18

TWENTY FOLD

pg. 24

HOUSE IN A FIELD

pg. 30

URBAN CLUB

pg. 38

SHELTER

pg. 44

TEMPLE STREET GARAGE

pg. 50

TWELVE LAYER CAKE

pg. 56

CAMPUS INFILL

OBJECT STRANGE

pg. 62 pg. 66

12 SITUATE pg. 72 13 KITBASH pg. 76 14

WEIRD AESTHETICS

pg. 80

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 Summer Architecture Intern 2017 Tom Wiscombe Architecture Summer 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 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

SUBURBAN HORROR STORY residence

spring 2017-instructor james kerestes web published on suckerpunch daily

SUBURBAN HORROR STORY residence spring 2017-instructor james kerestes web published on suckerpunch daily

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.

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.

original ridgeline modified chimney

modified kitchen

modified bedroom

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. In the interest of maintaining some of the integrity and ideals of the previous residence, design operations were initially performed from the configuration of the three primary extrusions from the core of the home with secondary aggregates within the interstitial spaces. These design actions included disrupting and and extending the roof planes over the extrusions, modifying the basement walls, and the extension and remodeling of the chimneys with the new formal language.

REAR ENTRANCE

GUEST BEDROOM

AMBULATION SPACE

original roof ridgeline

modified chimney

extended bedroom

extended dining

reading nook social space

COMPARTMENTAL NATURE

Continuing the aggregational logic of the original residence, the primary growths act as individual condensers of program containing scattered regions of social and private spaces. Visual and physical barriers allow for anticipated and rewarding experiences On the exterior, the new form had grown to use vastly different materials than the previous home such as aluminum panels at edge conditions and metal plates shrouding the house, but 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.

PRIVATE LOUNGE

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.

STAIRCASE

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 in the areas of warmth and comfort refocusing the attention of the form to the human realm. 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.

REFLECTION SPACE

VESTIBULE DELAMINATION

SITING

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.

CIRCULATION CORRIDOR

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. 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 while the glorified sheds then become the social condensers that help realize this in the form of movie production. Due to the programmatic requirements of interior controlable lighting and the desire for natural exterior lighting, the soundstages act as empty vessels that can meet the needs of the directors. The stages are additionally fanned to allow vistas across the Boston harbor.

CIRCULATION CORRIDORS

EXTERIOR COURT

TWENTY FOLD poolscape

spring 2016-instructor ana de brea

TWENTY FOLD 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.

COVERED ENTRANCE

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. 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.

SEATING NICHE

POOL STORAGE ENTRANCE

CHANGE ROOM

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 web published on suckerpunch dialy

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.

REFLECTION SPACE STUDY

LIVING ROOM

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.

BEDROOM

COVERED PATIO

EXTERIOR APPROACH

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, 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, provides ample opportunity for outdoor spaces such a large patio on the second floor that wraps the back of the house and a covered porch at that shelters the primary entrance.

bedroom stairwell study outdoor patio

kitchen

living room

dining room

kitchen

study

bedroom

dining room

living room

INTEGRATED ORNAMENT

In addition to implying visual privacy, the ornament is also integrated in each space to form a series of built-in furniture pieces

bathroom

URBAN CLUB community

spring 2018-instructor elizabeth christoferretti

URBAN CLUB community

spring 2018-instructor elizabeth christoferretti

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.

SEATING NICHE

ITERATION MODEL

AMBULATION AS PROGRAM

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. 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 loose partitions allow for a connected volume in the center of the building and allows users to experience the collective while simultaneously allowing the opportunity for individual or small breakout spaces within the whole. Further private spaces are available within the periphery constructs.

CIRCULATION SPACE

SHELTER transitional housing

fall 2016-instructor kevin klinger displayed at muncie makes gallery

SHELTER transitional housing

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

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.

shared double homes

fall 2016-instructor kevin klinger displayed at muncie makes gallery

SHARED PATIO

SINGLE-FAMILY HOUSING

social space skylight

community aperature

kinetic porch

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. The community center is located to the north of the site 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. These areas serve to allow services workers to meet and assist the population.

restroom skylight

COMMUNITY CENTER

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

LIVING ROOM MODEL

ELEVATION STUDY MODEL

SCALAR DISRUPTION

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. 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.

ENTRY STAIR MODEL

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 urban bakery

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

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.

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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.

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URBAN CORRIDOR

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 the space between them and the exterior envelop, serve as the definitions and boundaries for programmatic functions. 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.

SOUTH APPROACH

EXTERIOR AMPHITHEATRE

PENTHOUSE CIRCULATION

CAMPUS INFILL makerspace addition

fall 2017-instructor zeina korietem koreitem

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.

ROBOTICS ARM DISPLAY

OFFICE BALCONIES

OBJECT STRANGE commercial

fall 2015-instructor james kerestes displayed at wundekammer art gallery

OBJECT STRANGE commercial fall 2015-instructor james kerestes displayed at wunderkammer art gallery

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.

OBJECTS AND THE CITY

FIELD OF 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. Similarly to the material changes on the exterior, impacts between objects lead to material and programmatic changes on the interior. The interstitial spaces between the objects act as occupiable spaces such as the primary atrium and other public spaces. The movement between objects, in addition to encouraging material transitions, manifests in level changes and denote changes in programmatic usage.

PUBLIC ART GALLERY

OBJECT ATRIUM

SITUATE modulation study

spring 2018-instructor elizabeth christoforetti

SITUATE modulation study

spring 2018-instructor elizabeth christoforetti

This project investigates a series of five modules that produce legible figurations not solely through their form but also through the interstitial space defined by their boundaries. The modules work to examine the dichotomy between solid and void figurations and the manner in which this can at times emphasize or deemphasize the module at the micro and macro scale. With modules that exist as segments of a legible figure, the combination and aggregation of multiple bays will simultaneously produce a number of legible figures as well as causing a misreading of the module itself. Through the aggregation of modules and the creation of larger legible figuration of both solid and void, this can create and imply a variety spatial scales throughout the project.

EXTERIOR COURT

COVERED AMBULATION

fall 2016-instructor james kerestes displayed at wunderkammer art gallery

KITBASH object study

fall 2015-instructor james kerestes displayed at wunderkammer art gallery

Influenced by the philosophy of Object Oriented Ontology, this project questions the concept of object to object and parts to whole relationships. In this introduction to the Object Strange studio project, the design centered on the idea of symmetery while creating of moments of asymmetry within a balanced composition. When viewed from the front, the object appears symmetrical, but upon viewed from the opposing angle, specific objects disrupt harmony and draw the eye from the focal central axis. Due to the complexity of the autonomous components, the composition encourages analysis of the individual objects as well as the viewing of their relations to the larger context.

CONTINUED LOGICS

The compositition, due to the variety of autonomous objects, takes on a variety of aesthetic values depending on the viewerâ&#x20AC;&#x2122;s angle. The composition takes on a seeming personality, whether malicious or passive, which varies on specific lighting and viewer location. This quality, coupled with the complexity of invidual objects, works to create a dynamic composition 79

WEIRD AESTHETICS object study

spring 2016-instructor james kerestes displayed at flim flam exhibition at muncie makes

WEIRD AESTHETICS object study spring 2016-instructor james kerestes displayed at flim flam exhibition at muncie makes

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.

GLITCHED IMAGE