Selected_Works Matthew Hickey Portfolio // 2016
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Matthew David Hickey
As a native New Yorker, I have grown up in a city more dynamic than ever. Changing laws continuously alter the landscape, dramatically shifting the city’s culture over the years. In recent years, the shift had become most radical with a resurgence in real estate prices, along with the growing demand to live in the city. I plan on becoming a registered architect, developing a firm that works on all scales and mediums. Ranging from objects in virtual space, and of course, architecture. I Plan on starting my own firm with a special dedication to interdisciplinary design. The information age has led to the proliferation of many types of knowledge. Ranging from government data to cultural media. Although the world has seemingly gotten smaller due to globalization and urbanization, the consumer have never been further removed from the effects of their consumption on both people and the planet.
SKills
EXPerience
M.Arch Architects, March Chadwick RA, AIA, LEED AP – Entry Junior Architect June – August 2006, June - August 2014, December 2014 – January 2015 • Assisted with design development drawings for various commercial (offices) and residential townhouses • Produced renderings, animations, and conceptual designs for presentations to owners • Researched and created zoning analysises for building lots in all 5 boroughs for a variety of clients, created axonometric drawings of constraints • Researched filing requirements, performed site analyses, and filed multiple applications • Collaborated with contractors and owners on construction drawings as well as attending site visits for information
OBJective
311 Greenwich Street, Apt. #6D New York, NY 10013 matthewhickey06@gmail.com www.matthewhickey.nyc (646) 492-3100
As a native New Yorker, I have grown up in a city more dynamic than ever. Changing laws continuously alter the landscape, dramatically shifting the city’s culture over the years. In recent years, the shift had become most radical with a resurgence in real estate prices, along with the growing demand to live in the city. I plan on becoming a registered architect, developing a firm that works on all scales and mediums. Ranging from objects in virtual space, and of course, architecture. I Plan on starting my own firm with a special dedication to interdisciplinary design. The information age has led to the proliferation of many types of knowledge. Ranging from government data to cultural media. Although the world has seemingly gotten smaller due to globalization and urbanization, the consumer have never been further removed from the effects of their consumption on both people and the planet.
EDUcation Rensselaer Polytechnic Institute B.Arch, Architecture (Minor in Studio Arts) 2015 RPI has been a tremendous experience preparing me for the rigorous profession of architecture. It has lead me a profound insight into where the profession is going. Architecture requires an attention to detail, but also a larger understanding of physics, mathematics, computing, and material science. Xavier High School 2010 Xavier stands today as a reminder of “Men for Others”, where I learned the importance of spirituality in an academically demanding environment. Collaboration was a strong component of education, where it’s valued is unparalleled in preparing me for a professional career.
Direct Access Expediting, Inc., Ann Hickey PE – Draftsman/IT Manager/Expediter May 2004 – December 2013 • Drafted schematic CAD drawings for construction/ mechanical equipment, interior/exterior alterations in compliance with NYC DOB drawing specifications under PE supervision, prior to expediting • Acquired NYC Department of Buildings permits for various construction equipment such as: sheds, hoists, scaffolding • Designed, built and maintained company’s LAN network by specifying and installing hardware/software 2
_Contents Study of the Architectural Joint // 4 Fall 2010, Professor Anthony Titus
Beacon of Humanity // 8 Spring 2011, Professor Serban Ionescu
Contorted Entanglement // 12 Fall 2011, Professor Florencia Vetcher
Deflection, Context, Connection // 18 Spring 2012, Professor Casey Rehm
Inhabiting Difference // 22 Fall 2013, Professor Fleet Hower
Material Manifolds // 26 Spring 2014, Professor Lonn Combs and Alex Pincus
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Study of the Architectural Joint Fall 2010, Professor Anthony Titus
My architectural education began with the research, development and experimentation of the architectural joint. The project began with teams of students to constructing a joint to constrain two people. This construction was videotaped, photographed, and diagrammed to develop a series demonstrating this construction. The joints was a system of articulating joints, allowing movement of some axes, while constraining others. These diagrams express various ideas found within our recorded sessions. Dense areas arose in highly trafficked areas Translating the diagrams to models was an iterative process. At first simplistic, and reductionistic, these models began to take on other ideas. They furthered the idea, allowing permutations, and mutations to occur. This semester allowed me to embrace architectural design for the first time. The conception and experimentation of an idea, embodies a methodology relevant to any project.
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Juxtapose Translate Revolve
The three ideas that arose out of these diagrams were: juxtaposition, translation, and revolution. These diagrams enhanced the theories present within the photographs, and the drawings. By relating space time, connection, and material, the project rapidly approached architectural thought processing more so than the individual parts.
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Exploded Axonometric. Graphite on Mylar. 36” x 72”
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Hyper Plexion. Basswood. 36” x 36” x 46”
Aside from this project engaging me in architectural design for the first time, it made me release my preconceptions of an architectural project. The conception and experimentation of an idea, embodies a methodology relevant to any project.
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Beacon of Humanity Spring 2011, Professor Serban Ionescu
An image of martian topography was given to each student for inspiration and development of research of the Martian landscape. Digitally enhancing the image allowed previously hidden topological changes to become emphasized, allowing mining of additional information. This independent mining of the spatial temporality of mars led to a series of diagrams acting as informative maps of spatial/temporal translations of the martian surface. Performing various methods of integrating grids, exposing structures, and forming skins allowed a series of constructive drawings to occur on multiple scales, which were then translated into models. The program was then instated as a landing base for those new to mars, a type of lighthouse for humanity on the desolate and dangerous planet. Symbolizing human knowledge and adaptation.
Turbulent Analysis. Graphite and Ink on Mylar (36�x36�)
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Landing on Mars, Section. Ink on Mylar. 42”x42”
I Devoid of structure, form falls onto us. It attacks relentlessly without reprise. Lost and bewildered, we search for hope. Expedition continues without an end in sight. As it inhabits the mind, it transforms. Once unknown, they manifest themselves as memories. Formal understanding has relapsed through the chaotic dispositions. III A new order exists, it always has. Fragments of order exist intrinsically. The fundamental state of existence entrances this order. Composing the order is easy, but describing it can become enigmatic. Will the order be accessible to all? Or will it implode itself and destroy?
Refining the Skin, Section. Ink on Mylar. 42”x42”
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The Beacon for Humanity. Basswood, MDF, latex paint. 42”x42”x42”
no History, no Order, no Law, no Code. Wasteland or Utopia? Barren or Fertile? Humanity adapts, It rises above the unforgiving,
Shine forth. For this is a beacon of hope. A celestial landscape Without reference Stillness, uneasiness, strange, unworldly, 11
an escape. A break from the terrestrial and mundane. The future is limitless. It should reflect all human achievement, The hostile is surreal.
Contorted Entanglement Fall 2011, Professor Florencia Vetcher
The Hyde’s Collection is a small museum in Hyde’s Falls, NY. The proximity to both Albany and Saratoga Springs makes it a convenient place for art-lovers from the capital region to get their impressionist fix. The collection started in the Hyde family’s estate, eventually becoming separate from the family when the museum was established. With one addition designed by Edward Barnes in the 1980s, the museum is looking to expand. RPI was invited to host a exhibition engaging the possibility of an expansion. Each student was assigned a random work of art from the collection. Mine was a medieval stained glass window (depicted above). The craftsman’s methods for constructing the piece were just as important as the composition of the artwork itself. A flattened perspective, and the juxtaposition of structure to transparent glass made an interesting selection. Construction lines, moments of interest, and medieval representation were juxtaposed to generate diagrams, which led to the project’s focus of contortion, which were translated to basswood models. These models served as the primary catalyst for the geometry for the museum’s addition.
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Transforming the diagrammed analysis of the piece, the project had a life of its own. The diagrammatic models construed the structure, but reinforced an envelope, or boundary, just as the stained glass has. It was evident that contortion had mutated from the stained glass.
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Programmatic Organization
Ticketed/Employed Circulation
Special Event Space
Contemporary Art
Basement
Permanent Collections
Courtyard Lobby
Cafe
Museum Store
First Floor
Temporary Installations Archive Storage
Auditorium
Kitchen
Education (Studios and Workshops)
Second Floor
Program Axonometric. Rhino 5, Illustrator
Diagrammatic Model. Basswood. 12”x12”
Drawn by: Matthew David Hick
I began to overlay the various ideas on to the site to draw interactions and connections between elements. It seemed that the methodical contorting of martial envelope alluded a historical reference to stained glass. The site, rich with history was also close to the family’s logging mill. Long ignored as a an element of the site. I chose rather to open views up on the new addition. As a reminder to look backward, as the family might not have been able to develop such an extensive art collection without their industrial might.
Program Axonometric. Graphite and Paper, Photoshop, Illustrator
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Warren Street
Oakland Avenue
N
Site Drawing. Rhino 5, Illustrator, Photoshop, V-Ray
Schematic Bird’s Eye. Rhino 5, Photoshop, V-Ray
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Hyde Collection Expansion - Fall 2011
Drawn by: Matthew Hickey
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Southwestern winds allow ventilation during warmer months, when visitors are visiting most to supply a more comfortable stay, as well as reducing energy usage by cutting back on air conditioning needs.
Sectional Environmental Response
Adding trees would reduce the intensity of these southwest winds during the winter, altering summer ventilation slightly.
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CASA BATLLÓ
ANTONI GAUDI
BARCELONA, SPAIN
Deflection, Context, Connection Spring 2012, Professor Casey Rehm
This semester’s project was to design an off-campus housing project for travelling scholars at RPI located along the Hudson River waterfront in downtown Troy, NY. My case study building was Casa Batlló by Antoni Gaudi. By diagrammatically analyzing the radius of each wall within the building and relating proportions of each part to each other, an informed decision was learned that these curvatures were highly precise and relied on interdependent proportions. My integrating the lessons of Gaudi’s curvature and tectonic studies, I was able to plan the use of ornament and it’s relation to the building of a housing project downtown. The unique relationship between ornamental tiles attached to the exterior of the building and the free-flowing interior atrium allowed unique affects throughout the entire project as it engaged the student population and the waterfront from both the public and private realms.
Bedroom
Communal Stairs Courtyard
Dining Room
Salon
Private Entrance
Waiting Room Bedroom
MAIN FLOOR
GROUND FLOOR
BASEMENT
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Front Elevation
Longitudinal Section
19 Not to Scale
Translated Gradating Geometries Reflecting Among Axes
Matthew Hickey
Back Elevation/ Transverse Section Delaunay Triangulation of Rooms Relative to the Curvature of their Walls
BARCELONA, SPAIN
CASA BATLLÓ BARCELONA, SPAIN Delaunay Triangulation of Rooms Relative to the Curvature of their Walls
Not to Scale
Translated Gradating Geometries Reflecting Among Axes
CASA BATLLÓ
ANTONI GAUDI
Matt
Professor C
Analytical D
1 Bedroom 2 Bedroom
Studio 2 Bedroom
2 Bedroom
2 Bedroom
Third Floor
1 Bedroom 1 Bedroom
2 Bedroom
Lounge - 700 sf
Studio
Studio 2 Bedroom Studio
1 Bedroom
Studio
2 Bedroom Studio
Studio
2 Bedroom
Second Floor
Third Floor
Matthew Hickey
Professor Casey Rehm
1 Bedroom
20 Lounge - 700 sf
1 Bedroom
Lounge - 700 sf
Studio
Studio
1 Bedroom
Studio
Studio
Studio
Second Floor
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Inhabiting Difference Fall 2013, Professor Fleet Hower
This studio dealt with generative design through the power of the Processing language. The semester started off with each group finding and researching a natural morphological process. My group chose crystal deposits on porous surfaces. It started with a series of small scale models that explored how crystals could grow on various substrates. Paper proved to be the most effective as it is a highly porous material. The large scale model utilized a cut paper that would change with the crystal growth, allowing generative design to occur. The concepts of flocking crystals were then integrated into a processing script which developed a rhino model to use as a tower with a variable site. The importance of this project was to emphasize the importance of new materiality through a new direction of design processes.
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1 - Create random points within the boundary of the container
2 - Create cubes (crystals) with cohesion mesh/agents
3 - Clumps form as seeds intersect while moving towards mesh 4 - When crystals intersect the mesh, they loose 24 their rules, and begin the process over again.
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Material Manifolds
Spring 2014, Professor Lonn Combs and Alex Pincus
This design for Pavilion No. 5 at the Montreal Fine Arts Museum, designed by Saucier + Perrotte, expands the museum’s hospitality, educational services, and gallery spaces. The design narrates differences amongst materials to relate to the historically to the heritage of the museum and to Montreal’s diversity. Opaque, marble facade juxtaposes the grain of the morphologically formed marble; also acting as a unifying symbol of the museums’ pavilions’ collective material tradition. By relating differentiated materials spatially, the pavilion not only acts as a catalyst into the community, but to the rest of the world as well.
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A
PROGRAM
C
D
1
1 A-400
3 A-300
B
A-300
O
N 1 A-301
M
F
Storage/Mechanical Cafe Gallery Circulation Restroom Workshop
O
N 1 A-301
M
F
Connection to other pavilions Lightwell/Main Circulation Entrance/Reception Area
A
C
D
B
Stair Core and Main Circulation 3
1
1
A-300
A-400
A-300
Stair Core and Elevator
Workshop/Temporary Exhibition Lounging Area O
Cafeteria
1
N
A-301
M
F
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Marble Panel 50mm 40mm x 40mm Vertical Galvanized Steel Support 130mm Rigid Foam Exterior Insulation 22mm Steel Channel Furring
Roof 24005 305mm Steel Channel Framing
HSS 12x12x1/2 (305x305x12.7) Steel Vierendeel Truss (column and Beam)
4th Floor 18700
22mm Steel Channel Furring
305mm Steel Channel Framing
HSS 12x12x1/2 (305x305x12.7) Steel Vierendeel Truss (column and Beam)
60mm x 20mm Pine Wood floor panels
4th Floor 18700
3 - Desmarais Pavilion 13700
3rd Floor 13700
Callout 1:5
60mm x 20mm Pine Wood floor panels
3 - Desmarais Pavilion 13700
3rd Floor 13700
Callout 1:5
2 - Desmarais Pavilion 8700
80mm Hollow Steel Frame
Centria Foam Insulated Metal Panels 1020mm x 80mm
2 - Desmarais Pavilion 8700 1.5 - Mezzanine 5117
80mm Hollow Steel Frame
Centria Foam Insulated Metal Panels 1020mm x 80mm 1 - Lobby 3617
1.5 - Mezzanine 5117 38mm bentonite drain board, EPS, with filter fabric
0 - Demarais Pavilion 900
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1 - Lobby Gravel and drainage pipe 3617 0 - Lower Level 0
1 A-400
B
D
C
A Roof
Roof
24005
24005
4th Floor 18700
3 - Desmarais Pavilion 14520 3rd Floor 13700
2 - Desmarais Pavilion 8700 2nd Floor 8700
1.5 - Mezzanine 5117
1 - Desmarais Pavilion
4700 1 - Lobby 3617
0 - Demarais Pavilion 900 0 - Lower Level 0
1 A-301
O
N
M
F Roof 24005
4th Floor 18700
3rd Floor 13700
2 - Desmarais Pavilion 2nd Floor 8700
1.5 - Mezzanine 5117 1 - Desmarais Pavilion 4700 1 - Lobby 3617
0 - Demarais Pavilion 900 0 - Lower Level 0
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39
TH
STR
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EN UE
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TH
36'-0"
8th AVENUE
DOT PERMITS NEEDED FOR PHASE I:
P.M.
1. Full Sidewalk Closing 2. 14’ Roadway Closing 3. Pedestrian Walkway in Street 4. Vault Repair 5. Install Fence 6. Maintain Fence 7. Curb Replacement 8. Place Equipment other than shovel/crane on Street Barriers 9. Place Equipment other than shovel/crane on Street Container 10. Signs/Markings: No Parking During Work Hours
Repair Vault DOB#121548735-01-EW OT
24'-9"
557 8th Avenue Block: 761, Lot: 39 Existing 3 Story Building
AKA 557 8 AVE BLOCK: 761 LOT: 39
Scale: Not to Scale
Container L
T
SITE PLOT PLAN
10'-0"
10'-0"
Parking Lane
Pedestrian Walkway
14-0"
10'-0"
Moving Lane
38th STREET
Construction Fence DOB#121548735-01-EQ FN
5'-0"
8'-0"
Moving Lane
STR
EE
Barriers to protect pedestrians
11'-0"
Parking Lane
8'-0"
116’-0"
P.B.
LEGEND TREE (WITH PIT)
100'-0"
16'-0"
P.M. PARKING METER LAMP-POST
L P.B.
PHONE BOOTH
FENCE VAULT WALLS BARRIERS PED. WALKWAY VAULT AREA
MPT AND DOT PERMIT PLAN Scale: Not to Scale
PREPARED BY:
WORK PERFORMED BY:
DIRECT ACCESS EXPEDITING, INC. 311 GREENWICH ST. APT#6C NEW YORK, NY 10013
FOUR BOROUGH CONSTRUCTION CORP. 2498 ARTHUR AVE. BRONX, NY 10458
h
136'-10" TO CORNER OF WASHINGTON PLACE
1'-0"
Barrow St. 1'-0"
10'-0"
5'-0" 5'-0" 5'-0" 5'-0" 5'-0" 5'-0"4'-0" 5'-0" 5'-0"
t tree es S
eck Ble
193'-4" TO CORNER OF 7th AVENUE SOUTH
gto Washin
7th
t tree er S
17 Barrow St. Block: 590 Lot: 63
10'-0"
Ave nu
h
7t
et Stre ow Barr
en Av
20'-0"
et
e So
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Pla ce
Jon
S
10'-0"
ton
e Str
uth
th
t4
ing
6'-0" 4'-0"
s We
Wa sh
So
n Place
ut
We st
25'-0"
17 BARROW ST - PLOT PLAN Scale: Not to Scale
lia rne
Existing 4” Curb to remain
et Stre
Co
LPC SIDEWALK CONSTRUCTION NOTES:
1. Replace concrete with concrete, or restore the historic material if documentation indicates the sidewalk was another material. 2. Match the color of the new concrete to the adjacent and/or predominant paving on the sidewalk by using tints or pigments 3. Score the new concrete to align with the adjacent sidewalks. 4. Retain historic stone curbs whenever possible.
23 Barrow St.
19 Barrow St.
17 Barrow St. Block: 590 Lot: 63
15 Barrow St.
MPT AND DOT PERMIT PLAN
LEGEND
Scale: 1/4” = 1’
PROPERTY LINE
CONCRETE COLORING NOTES:
BUILDING LINE
1. Curing agents should be colored to match concrete. 2. Colors may vary due to slump, water content and aggregates. 3. Concrete should be uniform in slump and lowest slump possible.
CURB LINE
COLOR SPECIFICATIONS:
S
1 bag Scofield Chromix, Charcoal No. C-24 (or Dark Grey, No. C-34), per 1 yard Portland Cement and sand mixed to match adjacent concrete flags
AREA OF WORK TREE PIT
PHOTO OF SIDEWALK TO BE REPAIRED
Please see additional attached photos for adjacent conditions
PREPARED/FILED BY:
DIRECT ACCESS EXPEDITING, INC. 311 GREENWICH ST. APT#6C NEW YORK, NY 10013
PROPERTY OWNER:
COLLEN GIUJJONE 17 BARROW ST NEW YORK, NY 10014
SIGN
PROJECT: SHEET:
17 BARROW ST: SIDEWALK REPAIR (LANDMARK PRESERVATION COM.)
A-100.00
DATE: AUGUST 13, 2015
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CREATED BY: MATTHEW HICKEY
STAMPED BY: ANN C. HICKEY, PE.
Plot plan: 46 Gansevoort Street, New York NY
Safety railing Safety mesh
Gansevoort Street
5’
The engineer has not been retained for and is not responsible for construction supervision or inspection.
60’
NOTICE
Flame Retardant Plastic Enclosure (Filed Seperately) Roof
Heavy Duty (300 Psf) Sidewalk Shed (Filed Seperately)
Building facade
Lot 54 Block 643
27’
The contractor shall indemnify and hold harmless Ann C. Hickey, P.E. against all expenses and attorney fees for any lawsuits of actions arising in whole or part from any act or omission of the contractor, owner or subcontractor, or anyone directly or indirectly employed by them. In accordance with Section 7209 of the State Education Law, no person shall alter these plans in any way, unless he or she is acting under the supervision of a licensed professional engineer.
46 Gansevoort Street
5’
Flame Retardant Plastic Enclosure
Greenwich Street
Steel Pipe Scaffold (Filed Seperately)
Horatio Street
Copies of of these plans not bearing the inked or embossed seal of a professional engineer shall not be considered a valid and true copy. Installation Contractor: WEST NEW
YORK R ESTORATION OF CT, INC. 1800 Boston Road Bronx, N.Y. 10460-4909
Project Location:
46 Gansevoort Street New York, NY 10014
Property Information:
Block: Lot: Zoning: Zoning Map#:
Electric Light
10’-14’
Sidewalk Shed (FIled Seperately)
TENANT SAFETY NOTES: 1). Construction work will be confined to the normal working hours: 8a.m. to 5p.m., Monday thru Friday, except legal holidays. 2). Construction work will not block hallways or means of egress for tenants of the building. 3). Construction work will not involve interruption of heating, water or electric services to other tenants of the building.
4’-12’ 6’-14’
Section A - Typical Detail
Stair Tower and Scaffold (Filed Seperately)
8’
CONTRACTOR’S RESPONSIBILITIES: All field coinditions differing from the drawing and any field changes shall be re-reported.
Floor:
1
Project: Scale:
Plastic Enclosure
Not to scale
Engineer:
643 54 M1-5 8D
Date:
28 December, 2012
Ann Hickey P.E.
CONSULTING ENGINEER
Flame Retardant Plastic Enclosure
305 Broadway - Suite 800A New York, N.Y. 10007-1109
NYS Licensed Professional Engineer # 065430
EQ-001.00 Sheet 1 of 1 10'-14’ 8’
Sidewalk Bridge (Filed Seperately)
3' 8’
6’
8’
8’
10’
6’
12’
7’
DOB label
Gansevoort Street Elevation (typ.)
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