As I was growing up, I was always interested in how things work and how they come together to make a cohesive whole. My parents would reminisce about peeking into my room and seeing me in the middle of the room, contemplating an object or pile of wires sitting before me. I loved taking things apart and seeing if I could put them back together (I usually did). My fascination with seeing how various parts merge and collaborate is an important aspect of venturing into architecture. I believe this sentiment is reflected with a quote from Maya Lin: “I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.” During my sophomore year in high school (1994), I was introduced to the ideals that encompass architecture. I was hooked from the beginning, but realization of this took more than a decade. When graduating from high school, I was full of optimistic stupidity. Subsequently, I decided I was too smart to learn anything of consequence in a university setting. For the next fourteen years (or so) I went through multiple professions and learned many valuable skills, such as: working on car electrical systems, directing multiple employees, building websites, creating my own business, and renovating residential homes. After acquiring these skills, I found that one of the main ideas I learned was in direct opposition to my high school graduating thoughts. I learned that I am in fact NOT all-knowing and that a quality education is truly invaluable. Realizing that I didn’t know everything, I began to seriously consider going back to school. I examined many p ossible fields of study including engineering, business, and physical fitness, but at the top of every list was architecture. I had always been drawn to architecture, and I couldn’t pinpoint the precise reason; but after attending the University of Utah I am able to identify many aspects that attract me. I have a great appreciation for the volume and breadth of knowledge that the professors bring to the U of U. Specifically, I was impressed with Professor Hoffman’s ability to simplify and improve a project in one fell swoop – I find myself frequently reflecting on his past advisements. I was captivated by Doctor Fischer’s enthusiastic thoughts about architecture and art – I find that I have an interest in architectural history that was almost non-existent before his class. I was enthralled with Professor Ruegemer’s verve for sustainable and walkable cities – he helped me to understand exactly why I am spellbound by downtown Portland. These are but a few examples of my expanded knowledge while attending the U of U, and I am hopeful to continue to work with the likes of Professors Ruegmer, Fischer, and Hoffman in the Master’s Program. I am particularly interested in the U of U’s small school environment and the ability to influence the direction of my own education. I find the availability of the DesignBuildBLUFF program, the accelerated M.Arch, and the various specialty certificates to be quite intriguing. At the end of my education, I hope to be on my way as a future architect that is well-versed on the subjects of design, sustainability, urban design, and new technologies. I believe that the Master of Architecture Program at the University of Utah will be able to help me develop the knowledge and skills required to accomplish these goals. As the next step in my educational and career pursuits, I would be extremely honored to be admitted into the U’s program.
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
ekam ot rehtegot emoc yeht woh dna krow sgniht woh ni detseretni syawla saw I ,pu gniworg saw I sA fo elddim eht ni em gniees dna moor ym otni gnikeep tuoba ecsinimer dluow stnerap yM .elohw evisehoc gniees dna trapa sgniht gnikat devol I .em erofeb gnittis seriw fo elip ro tcejbo na gnitalpmetnoc ,moor eht dna egrem strap suoirav woh gniees htiw noitanicsaf yM .)did yllausu I( rehtegot kcab meht tup dluoc I fi a htiw detcefler si tnemitnes siht eveileb I .erutcetihcra otni gnirutnev fo tcepsa tnatropmi na si etaroballoc .sehcaorppa cigol dna smetsys devol I .gnimmargorp retupmoc ,htam ,cigol devol I“ :niL ayaM morf etouq oohcs hgih ni raey eromohpos ym gniruD ”.noitanibmoc tcefrep siht si erutcetihcra derugfi tsuj I os dnA ub ,gninnigeb eht morf dekooh saw I .erutcetihcra ssapmocne taht slaedi eht ot decudortni saw I ,)4991( citsimitpo fo lluf saw I ,loohcs hgih morf gnitaudarg nehW .edaced a naht erom koot siht fo noitazilaer gnittes ytisrevinu a ni ecneuqesnoc fo gnihtyna nrael ot trams oot saw I dediced I ,yltneuqesbuS .ytidiputs ,slliks elbaulav ynam denrael dna snoisseforp elpitlum hguorht tnew I )os ro( sraey neetruof txen eht roF ym gnitaerc ,setisbew gnidliub ,seeyolpme elpitlum gnitcerid ,smetsys lacirtcele rac no gnikrow :sa hcus iam eht fo eno taht dnuof I ,slliks eseht gniriuqca retfA .semoh laitnediser gnitavoner dna ,ssenisub nwo tcaf ni ma I taht denrael I .sthguoht gnitaudarg loohcs hgih ym ot noitisoppo tcerid ni saw denrael I saedi I ,gnihtyreve wonk t’ndid I taht gnizilaeR .elbaulavni ylurt si noitacude ytilauq a taht dna gniwonk-lla TON ne gnidulcni yduts fo sdlefi elbissop ynam denimaxe I .loohcs ot kcab gniog redisnoc ylsuoires ot nageb neeb syawla dah I .erutcetihcra saw tsil yreve fo pot eht ta tub ,ssentfi lacisyhp dna ,ssenisub ,gnireenig hatU fo ytisrevinU eht gnidnetta retfa tub ;nosaer esicerp eht tniopnip t’ndluoc I dna ,erutcetihcra ot nward htdaerb dna emulov eht rof noitaicerppa taerg a evah I .em tcartta taht stcepsa ynam yfitnedi ot elba ma I ffoH rosseforP htiw desserpmi saw I ,yllacfiicepS .U fo U eht ot gnirb srosseforp eht taht egdelwonk fo ih no gnitcefler yltneuqerf flesym dnfi I – poows llef eno ni tcejorp a evorpmi dna yfilpmis ot ytiliba s’nam tra dna erutcetihcra tuoba sthguoht citsaisuhtne s’rehcsiF rotcoD yb detavitpac saw I .stnemesivda tsap aw I .ssalc sih erofeb tnetsixe-non tsomla saw taht yrotsih larutcetihcra ni tseretni na evah I taht dnfi I – -rednu ot em depleh eh – seitic elbaklaw dna elbaniatsus rof evrev s’remegeuR rosseforP htiw dellarhtne dednapxe ym fo selpmaxe wef a tub era esehT .dnaltroP nwotnwod yb dnuoblleps ma I yhw yltcaxe dnats srosseforP fo sekil eht htiw krow ot eunitnoc ot lufepoh ma I dna ,U fo U eht gnidnetta elihw egdelwonk lams s’U fo U eht ni detseretni ylralucitrap ma I .margorP s’retsaM eht ni namffoH dna ,rehcsiF ,remgeuR o ytilibaliava eht dnfi I .noitacude nwo ym fo noitcerid eht ecneuflni ot ytiliba eht dna tnemnorivne loohcs tiuq eb ot setacfiitrec ytlaiceps suoirav eht dna ,hcrA.M detarelecca eht ,margorp FFULBdliuBngiseD eht desrev-llew si taht tcetihcra erutuf a sa yaw ym no eb ot epoh I ,noitacude ym fo dne eht tA .gniugirtni o retsaM eht taht eveileb I .seigolonhcet wen dna ,ngised nabru ,ytilibaniatsus ,ngised fo stcejbus eht no slliks dna egdelwonk eht poleved em pleh ot elba eb lliw hatU fo ytisrevinU eht ta margorP erutcetihcrA xe eb dluow I ,stiusrup reerac dna lanoitacude ym ni pets txen eht sA .slaog eseht hsilpmocca ot deriuqer .margorp s’U eht otni dettimda eb ot deronoh ylemert
g r e b t taP t ta M o il of t r op er u t c e t i h cr a
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
M at t Pat t b e r g 8 2 9 8 R oo s e ve lt S t , M i d v a le, U T 801.898.6789 matt.pattberg@utah.edu m a t t p a t t be r g @ ya hoo. co m
O b j e c t i v e I want to become an architect that is well-versed on the subjects of design, sustainability, urban design, and new technologies.
E d u c at i o n University of Utah G PA
August 2011 - May 2013 3.61
S a lt L a ke C o m m u n i t y C o lle g e G PA
January 2009 - May 2011 3.84
H i llc r e s t H i g h S c h oo l G PA
August 1993 - June 1996 3.54
folding house pgs. 8-17
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
ballet west dance studio pgs. 18-29
borgund stave church pgs. 30-37
organized as a progression of my time as a student at the U of U older newer
parametric sun screen pgs. 38-47
pearl district bike collaborative pgs. 48-59
cherry peak ski lodge pgs. 60-75
pg. 7
Located at the beginning of a trailhead into a forested canyon, this project is intended to be used by forest rangers as a small refuge from the elements. Due to the amount of snow, the trail is closed during the winter months and open during the summer months. The shelter provides the ranger with a place of rest and a place to observe the comings and goings on the trail. The structure is required to be made of dimensioned lumber (two by fours) and plywood. It is organized around the act of cutting, folding, and sliding the surface of a cube to create habitable spaces and programmatically generated forms. All of the material originates from the cube itself, nothing is added or subtracted from the given form.
folding house
The cube is required to have dimensions of 8’ x 8’ x 8’.
pg. 9
detserof a otni daehliart a fo gninnigeb eht ta detacoL tserof yb desu eb ot dednetni si tcejorp siht ,noynac euD .stnemele eht morf egufer llams a sa sregnar eht gnirud desolc si liart eht ,wons fo tnuoma eht ot .shtnom remmus eht gnirud nepo dna shtnom retniw tser fo ecalp a htiw regnar eht sedivorp retlehs ehT eht no sgniog dna sgnimoc eht evresbo ot ecalp a dna .liart denoisnemid fo edam eb ot deriuqer si erutcurts ehT dezinagro si tI .doowylp dna )sruof yb owt( rebmul ,gnidlof ,gnittuc fo tca eht dnuora ot ebuc a fo ecafrus eht gnidils dna -orp dna secaps elbatibah etaerc .smrof detareneg yllacitammarg morf setanigiro lairetam eht fo llA ro dedda si gnihton ,flesti ebuc eht .mrof nevig eht morf detcartbus
esuoh gnidlof
evah ot deriuqer si ebuc ehT .’8 x ’8 x ’8 fo snoisnemid
pg. 11
folding house
Proposed sequence for folding a common sheet of paper to form a cube
flip
slide
flip and slide
slide
slide
fold
instructions for sliding, flipping, pushing, pulling.
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
floor plan 1/4” = 1’ -0”
east elevation 1/4” = 1’ -0”
west elevation 1/4” = 1’ -0”
pg. 13
folding house
west section 1/4” = 1’ -0”
north section 1/4” = 1’ -0”
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
north elevation 1/4” = 1’ -0”
south elevation 1/4” = 1’ -0”
south-east axonometric
pg. 15
folding house
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
on-site placement
pg. 17
Based on the proposed Ballet West facility on 200 South in Salt Lake City, this project is designed to achieve elegant circulation throughout. It provides visible dance and rehearsal studios, while occupying only a portion of the site, reserving the rest for an urban park. The studios are stacked and elevated above the site to conserve space and to allow for more urban park space. Prior to creation of the building, an urban analysis was conducted and used for inspiration. Site placement was heavily influenced by this analysis.
ballet west
Dance studios are an integral part of ballet companies and are used for daily classes and performance rehearsals. The four studios are based on specific proportions of a rectangular shape, with one of the walls mirrored to allow the dancers to view themselves. The dynamic activity of each studio is made v isible to people passing in the street and park, inviting admirers. An open vertical lobby provides visibility throughout the building, further enhancing the dynamic experience of the building.
pg. 19
002 no ytilicaf tseW tellaB desoporp eht no desaB ot dengised si tcejorp siht ,ytiC ekaL tlaS ni htuoS -siv sedivorp tI .tuohguorht noitalucric tnagele eveihca ylno gniypucco elihw ,soiduts lasraeher dna ecnad elbi nabru na rof tser eht gnivreser ,etis eht fo noitrop a eht evoba detavele dna dekcats era soiduts ehT .krap nabru erom rof wolla ot dna ecaps evresnoc ot etis .ecaps krap saw sisylana nabru na ,gnidliub eht fo noitaerc ot roirP tnemecalp etiS .noitaripsni rof desu dna detcudnoc .sisylana siht yb decneuflni ylivaeh saw fo trap largetni na era soiduts ecnaD rof desu era dna seinapmoc tellab -er ecnamrofrep dna sessalc yliad desab era soiduts ruof ehT .slasraeh -natcer a fo snoitroporp cfiiceps no sllaw eht fo eno htiw ,epahs ralug weiv ot srecnad eht wolla ot derorrim fo ytivitca cimanyd ehT .sevlesmeht elpoep ot elbisiv edam si oiduts hcae gnitivni ,krap dna teerts eht ni gnissap .srerimda -isiv sedivorp ybbol lacitrev nepo nA rehtruf ,gnidliub eht tuohguorht ytilib fo ecneirepxe cimanyd eht gnicnahne .gnidliub eht
t s ew t e l l a b
pg. 21
ballet west
creation of a site model
a collaboration with Spencer Anderson, Mike Hollopeter, Caitlin Thissen, et al.
ite
N
proposed s
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
N site figure/ground study
pg. 23
ballet west
programmatic elements
N
N structure diagram 1/32� = 1’ - 0�
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
Circulation through the stairs was examined extensively. Notice the stacked stairs, with an enclosed space and an open space (the red arrows traverse the enclosed space and the black arrows traverse the open space). A stacked stair configuration allows for maximum flow through the central core of the building while retaining a compact design. The enclosed space is clad with translucent glass. This permits natural light to penetrate an otherwise dark space, while also allowing occupants to notice the silhouetted movement within.
west section of stairs 1/8” = 1’ - 0”
pg. 25
ballet west
ballet studio 2
performance stage
office office
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
first floor 1/32” = 1’ - 0”
second floor 1/32” = 1’ - 0”
south elevation 1/32” = 1’ - 0”
south section 1/32” = 1’ - 0”
ballet studio 1
west elevation 1/32” = 1’ - 0”
west section 1/32” = 1’ - 0”
pg. 27
ballet west
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 29
Considered to be the best preserved stave church of Norway, the Borgund Stave Church was built sometime in the mid 12th century, the exact time is unknown, which adds to the local stigma about the building. There are multiple additions to the building, first starting in the 15th century. It is located in Borgund, Norway, situated amongst towering green mountains.
borgund stave church a collaboration with: Spencer Anderson & Alex Dahl
It is based off a basilica plan, with a tripartite arch over the main entrance, and crosses over the secondary entrances on the north and south. Reflecting the viking influence, many crosses have been replaced with dragons . Our group created a research paper, detailed drawings, and a section model; all based on the Borgund Stave Church.
pg. 31
fo hcruhc evats devreserp tseb eht eb ot deredisnoC -emos tliub saw hcruhC evatS dnugroB eht ,yawroN -nu si emit tcaxe eht ,yrutnec ht21 dim eht ni emit -dliub eht tuoba amgits lacol eht ot sdda hcihw ,nwonk tsrfi ,gnidliub eht ot snoitidda elpitlum era erehT .gni ,dnugroB ni detacol si tI .yrutnec ht51 eht ni gnitrats .sniatnuom neerg gnirewot tsgnoma detautis ,yawroN acilisab a ffo desab si tI hcra etitrapirt a htiw ,nalp ,ecnartne niam eht revo -ces eht revo sessorc dna eht no secnartne yradno -tcefleR .htuos dna htron ,ecneuflni gnikiv eht gni neeb evah sessorc ynam . snogard htiw decalper -er a detaerc puorg ruO deliated ,repap hcraes noitces a dna ,sgniward eht no desab lla ;ledom .hcruhC evatS dnugroB
h c r u h c ev a t s d n u g r o b :htiw noitaroballoc a lhaD xelA & nosrednA recnepS
pg. 33
borgund stave church
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 35
borgund stave church
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 37
Harsh evening sun is a difficult thing to mitigate without putting up a sun-blocking wall. For a downtown Salt Lake establishment, this project aims to diminishing the harshness of the evening sun without using an opaque wall. In the process of abating the sun, the project must use parametric construction techniques to achieve optimal use and installation. Site visits and sun studies will be needed.
parametric sun screen a collaboration with: Justinian Popa & Zac Wright
Additionally, we were tasked with analyzing how the project relates to letterpress and its various parts, machinery, and procedures.
pg. 39
-htiw etagitim ot gniht tlucfifid a si nus gnineve hsraH nwotnwod a roF .llaw gnikcolb-nus a pu gnittup tuo -hsinimid ot smia tcejorp siht ,tnemhsilbatse ekaL tlaS na gnisu tuohtiw nus gnineve eht fo ssenhsrah eht gni .llaw euqapo esu tsum tcejorp eht ,nus eht gnitaba fo ssecorp eht nI -itpo eveihca ot seuqinhcet noitcurtsnoc cirtemarap .noitallatsni dna esu lam seiduts nus dna stisiv etiS .dedeen eb lliw
neercs nus cirtemarap
erew ew ,yllanoitiddA gnizylana htiw deksat ot setaler tcejorp eht woh -irav sti dna sserprettel dna ,yrenihcam ,strap suo .serudecorp
:htiw noitaroballoc a thgirW caZ & apoP nainitsuJ
pg. 41
parametric sun screen
Letterpress was revolutionary when it first burst onto the scene in the 15th century, not changing in design for about 350 years. Today it is considered an art form. At its roots, It can be considered relief printing of text and images using a press that pushes paper onto raised movable type/images that are reversed. The movable type and images, often handcrafted, are always set by hand. Letterpress was revolutionary because it allowed move-able type that could be used over and over in varying combinations to print completely different books. This modular aspect is very similar to parametric design and contributes a large amount of inspiration for the parametric sun screen project.
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
Three different panels were made at the proportions seen above. Connections were made to be adjustable so the panels could fit together in any configuration needed.
screen layout
pg. 43
parametric sun screen
Based on a grid pattern, it is clear to see that the back lip of the aluminum panel is perforated with small holes. However, what is not readily apparent is that the same grid of holes permeates the front of the panels. These corresponding grid based holes allow for the inherent parametric flexibility of the system. This diagram also shows how the panels are connected to each other, and the angle iron, with pop rivets. Additonally, it reveals the connection of the angle iron to the existing structure.
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
west elevation 1/16” = 1’ - 0”
south section 1/16” = 1’ - 0”
lasercut file to send to
pg. 45
parametric sun screen
Take note that you can not see how these are connected from the front.
Full-scale model made of aluminum. It stands over four feet tall and is currently hanging in a restaurant. M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 47
As a studio, we took a trip to research the phenomena of biking that manifests itself on Portland’s streets and sidewalks. While there, we visited many custom bike shops, walked the small downtown streets, and visited the proposed site. Located in the Pearl District, the site is at the end of one of the city’s many park blocks. This particular section of park block is a canidate to be expanded. As the name implies, this project is a collaborative which can have multiple interpretations. In this project, the building is designed to be extremely flexible. It has eight main workshops and a large common area that can be utilized in almost any way needed.
pearl district bike collaborative
This could manifest itself as a collection of start-up companies that share common resources to save money. It could emerge as specialized individual fabricators that want to collaborate with other professionals. It could develop into a home for fully independent shops that are interested in the social atmosphere provided by a collaborative. Or, it could be realized by any combination of the above.
N
fo anemonehp eht hcraeser ot pirt a koot ew ,oiduts a sA -edis dna steerts s’dnaltroP no flesti stsefinam taht gnikib ,spohs ekib motsuc ynam detisiv ew ,ereht elihW .sklaw -orp eht detisiv dna ,steerts nwotnwod llams eht deklaw eht ta si etis eht ,tcirtsiD lraeP eht ni detacoL .etis desop ralucitrap sihT .skcolb krap ynam s’ytic eht fo eno fo dne .dednapxe eb ot etadinac a si kcolb krap fo noitces hcihw evitaroballoc a si tcejorp siht ,seilpmi eman eht sA eht ,tcejorp siht nI .snoitaterpretni elpitlum evah nac thgie sah tI .elbixefl ylemertxe eb ot dengised si gnidliub egral a dna spohskrow niam eb nac taht aera nommoc yaw yna tsomla ni dezilitu .dedeen sa flesti tsefinam dluoc sihT -moc pu-trats fo noitcelloc a nommoc erahs taht seinap tI .yenom evas ot secruoser dezilaiceps sa egreme dluoc taht srotacirbaf laudividni htiw etaroballoc ot tnaw dluoc tI .slanoisseforp rehto ylluf rof emoh a otni poleved era taht spohs tnednepedni -ta laicos eht ni detseretni -loc a yb dedivorp erehpsom -er eb dluoc ti ,rO .evitarobal fo noitanibmoc yna yb dezila .evoba eht
tcirtsid lraep e v i t a r o b a l l o c ek i b
N pg. 51
pearl district bike collaborative
site
park blocks
pedestrian circulation
vehicular circulation
eastern building profiles
western building profiles
shop level circulation
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
N pg. 53
pearl district bike collaborative
1
2
3
4
b
bike/skate park
ground floor 1/64” = 1’ - 0”
5
6
7
8
second floor 1/64” = 1’ - 0”
a
third floor 1/64” = 1’ - 0”
1-8: workshops a: restaurant b: classroom : glass block floor
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
south elevation 1/64” = 1’ - 0”
south section 1/64” = 1’ - 0”
highly reflective glass translucent glass transparent glass
east elevation 1/64” = 1’ - 0”
pg. 55
pearl district bike collaborative
west elevation 1/64” = 1’ - 0”
west section 1/64” = 1’ - 0”
western perspective section - this view shows light shafts penetrating the structure 1/64” = 1’ - 0”
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 57
pearl district bike collaborative
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 59
Located just east of Richmond, UT, this collaborative project is a culmination of the work created throughout the winter semester of 2012. As such, there were many avenues for project inspiration. It is heavily influenced by a thorough site study, a demanding abstract water study, an intense site specific photography study, a demanding parti development, and a comprehensive programming study. Richmond, UT is due west of mountains that are the home of a proposed ski resort that is to be called Cherry Peak. We were tasked with d 足esigning a ski lodge for this resort that would occupy multiple levels, enclose about ten thousand square feet, and be programmed entirely on our own. 足
cherry peak ski lodge a collaboration with Sumin Bak.
Additionally, we were to implement a site design of the immediately surrounding elements that is also our own. This includes, but is not limited to, items such as parking lots, roadways, walkways, ski lifts, and vegetation. pg. 61
evitaroballoc siht ,TU ,dnomhciR fo tsae tsuj detacoL -hguorht detaerc krow eht fo noitanimluc a si tcejorp erew ereht ,hcus sA .2102 fo retsemes retniw eht tuo -ni ylivaeh si tI .noitaripsni tcejorp rof seuneva ynam -ba gnidnamed a ,yduts etis hguoroht a yb decneufl -gotohp cfiiceps etis esnetni na ,yduts retaw tcarts a dna ,tnempoleved itrap gnidnamed a ,yduts yhpar .yduts gnimmargorp evisneherpmoc eht era taht sniatnuom fo tsew eud si TU ,dnomhciR dellac eb ot si taht troser iks desoporp a fo emoh erew eW .kaeP yrrehC a gningised 足 htiw deksat troser siht rof egdol iks -itlum ypucco dluow taht tuoba esolcne ,slevel elp ,teef erauqs dnasuoht net -ne demmargorp eb dna 足 .nwo ruo no ylerit
egdol iks kaep yrrehc
ot erew ew ,yllanoitiddA ngised etis a tnemelpmi -rus yletaidemmi eht fo taht stnemele gnidnuor -ni sihT .nwo ruo osla si detimil ton si tub ,sedulc gnikrap sa hcus smeti ,ot -klaw ,syawdaor ,stol -egev dna ,stfil iks ,syaw .noitat
.kaB nimuS htiw noitaroballoc a
pg. 63
cherry peak ski lodge
This photo was taken at the site and has been a large influence on the design of the ski lodge. The influence is two-fold. Looking at the photo, it is plain to see that there are three main elements; foreground, middle-ground, and background. The idea of varying depths (taken from this photo) is often an influence throughout the development of the project. Additionally, this photo played a large part in the development of the parti for the project (seen on the left). This parti 足delineates the foreground - middle-ground - background relationship in a 2D form. The following is an explanation of the p 足 arti relationship: the broad, large stroke represents the foreground, the long stroke up to the right is indicitive of the middle-ground, and the short stroke to the left portrays the background. This parti was used to influence initial massing, placement of the parking lot, relationship of the building to the sun, and placement of walkways. This is not an all-inclusive list.
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 65
cherry peak ski lodge
site development 1� = 300’
program sizing
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
adjacancy relationships
site development 1/64” = 1’ - 0”
pg. 67
cherry peak ski lodge
1 - lobby view showing cable supported stairs
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
2 - custom retail shelving
main floor 1/32” = 1’ - 0”
3 - receptionist / hot chocolate desk
a - lobby b - retail shopping c - rental desk c1 - rental storage d - offices e - mechanical eqp./storage f - first aid office
4 - custom designed ski rack
second floor 1/32” = 1’ - 0”
5 - custom designed dining area
g - restaurant dining area h - restaurant kitchen i - meeting room j - outdoor eating k - second floor walkable roof
pg. 69
cherry peak ski lodge
south elevation 1/32” = 1’ - 0”
(1) roof vegetation section 1/32” = 1’ - 0”
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
roof vegetation perspective section
roof vegetation detail 1” = 3’ - 0”
north elevation 1/32” = 1’ - 0”
(3) western lobby section 1/32” = 1’ - 0”
lobby/retail area - looking south
pg. 71
cherry peak ski lodge
west elevation 1/32” = 1’ - 0”
(2) eating area section 1/32” = 1’ - 0”
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
eating area perspective section
eating area - looking northwest
southern lobby access - looking west
second floor walkable roof - looking southwest
(5) lobby curtain wall detail 1/8” = 1’ - 0”
(4) concrete wall detail 1/8” = 1’ - 0”
pg. 73
cherry peak ski lodge
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
pg. 75
M at t Pat t b e r g a rc h i t e c t u re po r t fo li o
n g r e b t taP t ta M o il of t r op er u t c e t i h cr a
end M at t Pat t b e r g a rc h i t e c t u re po r t fo li o