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MATTHEW DAVID SCHMALZEL ARCHITECTURE PORTFOLIO//2009-2014
PERSONAL MATTHEW D. SCHMALZEL 4340 2nd Street Northeast Apartment 6 Washington, DC 20011 (616) 914-5882 mdschmalzel@gmail.com
EDUCATION
Master of Architecture - The Catholic University of America Cumulative GPA: 3.9 Intended Graduation: December 2015 Bachelor of Science, Major in Architecture - Ball State University Cumulative GPA: 3.7 Graduated: May 2013, with Honors
SKILLS
Revit Architecture, Google SketchUp, AutoCAD, Rhinoceros, Adobe Creative Suite, Microsoft Office, Hand Rendering, Digital and Physical Modeling
ACADEMIC AWARDS
Catholic University of America Centennial Scholarship Catholic University of America Magi Scholarship Ball State National Merit Scholarship - full tuition for eight semesters
EXHIBITED WORK
Immigration Museum Design - “Professing Architecture: Connecting Architecture, Culture, and Spirituality” - AIA|DC District Architecture Center, Washington, DC - February/March 2014 Watercolors and Sketches - The Cup, Muncie, Indiana - October 2012
VOLUNTEERISM & LEADERSHIP
Member, American Institute of Architecture Students Member, Emerging Green Builders (USGBC Students) Founding Member, Knights of Columbus Council 15251 Freshman Mentor, BSU Honors College Peer Mentor Program Freshman Mentor, BSU College of Architecture and Planning
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CONTENTS
GRADUATE WORK 01 05 09
ARPL 603 - Ecole de Danse ARPL 602 - Congressional Cemetery ARPL 601 - Immigration Museum
PROFESSIONAL WORK 15
FTC&H, Grand Rapids, MI - Chicago Theater
UNDERGRADUATE WORK 19 25 29 33 37 41
ARCH 401 - Castle Pinckney ARCH 302 - Eastern Market Bridge ARCH 401 - Mediascape ARCH 402 - Australian Beach House ARCH 301 - Colorado House ARCH 314 - Forest Cabin
INDEPENDENT WORK 43 47
Field Sketches Design Sketches
01
ECOLE DE DANSE
LEVEL: GRADUATE//SEMESTER ABROAD//INSTRUCTOR:STANLEY HALLET//INDIVIDUAL PROJECT
Based on the choreography of William Forsythe, this school of dance serves as a place of learning, performance, and public interaction at the heart of the 19th Arrondissement of Paris. The main conceptual move was to raise the main part of the building above the ground, leaving as much space as possible to the public realm of the Canal St.-Martin. 02
APPROACH ALONG THE CANAL The main indoor stage acts as a beacon of activity for those walking along the canal, drawing them into the built choreography of the building.
The choreography of William Forsythe was used as the inspiration for the design, specifically his recurring use of movement in constrained spaces and the human interaction with obstacles.
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The program of the building is split between the main public spaces that hover above the Quai and service spaces below grade. This separation allows for an uninterrupted public realm that allows the passerby to engage choreographically with the built environment as if it were as stage. 04
BUILDING OF MEMORIES The larger of the two program pieces was the so-called Building of Memories, which housed a memorial hall, conservation workshops, classrooms, and offices among other spaces. It is intended as the new heart of Historic Congressional Cemetery for both casual visitors and those who are mourning.
FORMAL DEVELOPMENT The form of the building was derived from the pattern and textures of the graveyard, balancing monolithic and linear elements 05
BUILDING OF MEMORIES Pages 5-7
HOUSE OF DEATH Page 8
CONGRESSIONAL CEMETERY
LEVEL: GRADUATE//INSTRUCTORS:GEORGE DOVE AND DAVE SHOVE-BROWN//TEAM:JAKE MORGAN/MARIE SHEEHAN/ANURAG GEHLOT
This Comprehensive Building Design project was focused on two separate buildings to be proposed in Historic Congressional Cemetery in Washington, DC. The larger “Building of Memories” is a multipurpose structure with sacred and profane uses. The small “House of Death” is a small chapel-like space for funerary ceremonies. 06
BUILDING OF MEMORIES The Memorial Hall, located at the heart of the Building of Memories provides a place for the visitor to appreciate the sacred nature of the site.
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HOUSE OF DEATH This small space is designed for funeral ceremonies and includes a columbarium for interment of remains.
The site of the House of Death is at the bottom of a gradual slope. A screen wall mediates the view toward the cemetery focusing the visitor on the ceremonial space.
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IMMIGRATION MUSEUM
LEVEL: GRADUATE//INSTRUCTORS:JULIO BERMUDEZ AND CLAUDIO SILVESTRIN//PARTNERED WITH ERIC HOFMANN//
Situated on the National Mall in Washington, DC, this design for a National Museum of American Immigration seeks to tell the story of the generations of immigrants who have shaped the culture of the United States. Descending through layers of history, the visitor experiences both the tribulations and the triumphs of making a new life in a new place. 10
TYPICAL GALLERY Top-lit galleries slope downwardinto the earth, revealing more and more of the history of immigration to the USA 11
EXHIBIT STAIRWAY To break the inexorable march of the spiraling galleries, stairways between related exhibits offer a visual reprieve and connection
COURTYARD ENTRANCE The visitor’s journey of discovery transitions at the bottom level to a space for contemplation and reflection 06
CENTRAL COURTYARD The museum’s central courtyard functions as a place of reflection, while the walls encircling it conceal a ramp that leads to the surface 13
AERIAL VIEW The only elements that protrude from the surface are the walls of the central courtyard and three secondary stairwells
SECTION VIEW The layers of history represented by the stone strata are contrasted with the purity of the central courtyard
CUT-AWAY VIEW By removing the ground plane, the wandering nature of the sloping gallery spaces is made apparent
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CONCESSION AREA
BAR AREA 15
CHICAGO THEATER
PROFESSIONAL WORK EXPERIENCE//FTC&H//GRAND RAPIDS, MICHIGAN//PROJECT MANAGER:CHRIS KRETOVIC
The work on the following pages was undertaken during the summer of 2013 on the renovation of a large, urban movie theater in downtown Chicago. Renderings, finish plans, and AutoCAD drawings were produced in the schematic and deisgn development phases of the project. 16
LOBBY ENTRY RESTROOM
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THEATER ENTRY THEATER
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CASTLE PINCKNEY
LEVEL: UNDERGRADUATE//INSTRUCTOR:JANICE SHIMIZU//PARTNERED WITH ETHAN COVERSTONE//
This entry for the 2013 ACSA “Preservation as Provocation” competition dealt with the 19th Century remains of Castle Pinckney, located in the harbor of Charleston, SC. A visitor center, belvederes capturing scenic views, and new spaces for theatrical performance within the ruins of the old fort were designed and developed. 20
INFILL MANAGEMENT The fill currently within the fort enclosure is excavated to create an amphitheater within the fort and facing the north gate
BUILDING ZONE Built intervention is confined to the area immediately surrounding the fort
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NATURAL ZONE To protect native species, the rest of the island is undeveloped
PERFORMANCE VENUES The reshaping of the interior and exterior of Castle Pinckney is based on creating flexible spaces for gathering and performance
BELVEDERE Three belvederes take advantage of scenic vistas across the harbor and provide places for larger-thanlife interaction with those offshore by means of light and shadow projected on the upper level PROCESSION The images on the opposite page show the visitor’s progression from the harborside welcome pavilion, through the interior of the fort amphitheater, to the belvedere overlooking the undisturbed low country marshes that compose the rest of the island
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Photovoltaic Panels Charleston enjoys more than 3,000 hours of sunlight per year, making solar power a viable alternative energy source. The energy captured would be used primarily for lighting and sound systems.
Natural Ventilation the welcome pavilion utilizes a doubleceiling system that shades interior spaces and allows for ventilation through vents in the floor and the inner ceiling
[section through restroom]
Composting Toilets an aerobic waste processing system minimizes water and energy usage while also maintaining a pollution-free environment
Water Collection rainwater is collected from the outer roof structure, filtered, and funneled into a cistern to be utilized for the restroom facilities
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orientation and reception
covered porch
utilities
WELCOME PAVILION The welcome pavilion references the local vernacular of the so-called “Charleston House� to take advantage of passive green strategies.
restrooms
dock
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EASTERN MARKET BRIDGE LEVEL: UNDERGRADUATE//INSTRUCTOR:ANDREA SWARTZ//INDIVIDUAL PROJECT
This entry for the 2013 ACSA “Building to Bridge” competition centered on creating a new link in the Eastern Market neighborhood of Detroit. In addition to the bridge across the highway, the project includes a pavilion space within a vacant building. The program includes space for local craftspeople to sell their wares in all seasons in this important and historic part of the city. 26
Steel is the dominant material throughout the design of the bridge. Standard square frames are rotated along the axis of the structure to create a sense of warping that draws the eye toward either the market or the artists’ pavilion in the vacant building to the south of the freeway.
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OPPOSITE PAGE: The bridge spans the Fisher Freeway from the parking lot of the Eastern Market to the second floor of a vacant building on the south side of the highway
ABOVE: The result of the intertwining of the form of the bridge with the form of the existing building is an indoor market space, where local artists can sell their crafts 18 28
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MEDIASCAPE
LEVEL: UNDERGRADUATE//INSTRUCTOR:JANICE SHIMIZU//INDIVIDUAL PROJECT
The program for this small project was that of a small classroom space devoted to the cinematic and photographic arts. Situated on a coastal cliff in southern California, the structure hearkens back to the architecture of the Spanish Missions while taking into account relevant themes concerning light, projection, light and shadow, and reflection. 30
ABOVE: The small classroom building sits at the edge of the cliff and seems to become another rocky outcropping along the shoreline. It is an introspective sentinel 31
RIGHT: The classroom is composed of two layers: a rigid concrete shell pierced by small apertures and a canvas lining that manipulates light, shadow, and projection
PROCESS The formal development of the project was based primarily on phenomena relating to cinema and photography: apertures admitting light, screens, and the interplay of light and shadow in a controlled space.
enclosure
light / shadow
concept
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AUSTRALIAN BEACH HOUSE LEVEL: UNDERGRADUATE//SEMESTER ABROAD//INSTRUCTOR:JOE BILELLO//INDIVIDUAL PROJECT
Designed while studying abroad in Lennox Head, Australia, this single family beach house responds to the unique climatic and cultural conditions typical of the Far North Coast region of New South Wales. Limiting solar gain, rainwater collection, and maintaining natural ventilation were some of the green design goals that helped move the design forward. 34
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RIGHT//CENTRAL COURTYARD The beach house is laid out across two wings on either side of a central court. Site constraints including ocean views, sun and wind patterns, and energy concerns contributed to the layout of the single-family vacation house. TOP LEFT//GROUND FLOOR The main living spaces are situated in the eastern half of the main floor to take advantage of ocean views, breezes, and privacy from the street BOTTOM LEFT//SECOND FLOOR The master suite faces the ocean and has a private verandah to help limit solar gain from the north throughout the day. Two smaller bedrooms complete the second floor.
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COLORADO HOUSE
LEVEL: UNDERGRADUATE//INSTRUCTOR:PAM HARWOOD//INDIVIDUAL PROJECT
Situated on a ridge outside of Aspen, the Colorado House is the answer to a studio that asked us to be the ‘architect’ to a fellow student within the studio who would be our ‘client.’ The client helped shape the direction of the project in mood and feeling, but it was up to the architect to translate these ephemeral desires into a sensible working design. The ‘client’ was Nick Wissing. 38
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The folding of materials to form space is a primary driving factor in the design of spaces within the house. A study model placed on a heliodon (sunsimulation equipment) helped form the bones of the experiental perspectives at left, showing the terrace, living room, and bedroom.
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FOREST CABIN
LEVEL: UNDERGRADUATE//INSTRUCTOR:DICK STAFFORD//PARTNERED WITH BRYAN BEERMAN
This small cabin design was developed from concept through to a set of construction documents in Revit 2013. In addition to standard architectural views and details, the set included basic mechanical, electrical, and foundation plans. 42
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TRAVEL SKETCHES INDEPENDENT WORK 2009-2015
Sketching is an important component of “seeing� a place. In addition to recording a places characteristics, the act of sketching helps one to understand both the logic and the elegance of architecture around the world.
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DESIGN SKETCHES FREEHAND SKETCHING//SACRED SPACE DESIGN
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