MATT BARNETT
selected works
The memories and experiences in our lives shape the people we become. People change throughout their li es ased on the influence of their surroundings. s an artist designer creator theorist and craftsman elie e that m past has de ned m present. he silhouettes on the co er represent the places ha e wor ed and li ed each lea ing a trail of mental heirlooms that construct m artistic conscious. s a designer ta e great pride in eing a le to isuali e ideas and space. he a ilit to connect to a place and experience the soul of a space is in alua le to m s ill set as an architect. elie e that e er pro ect should start with a clean palette of ideals that relate to the sensiti it of contextual ounds such as site climate histor and client. he est designs del e deep into the roots of the design challenge to cele rate unseen ualities of context. s architectural designers we ha e an o ligation not onl to the client ut also to the communit region and world to create thought pro o ing sensual wor s of functional eaut . rchitecture is the onl art form that is experienced the human race ased on the asic principle of shelter. his means that the profession must uphold the highest art form with the highest le el of thought and execution. theoretical and research interests ridge the cross disciplinar efforts of architecture landscape architecture and infrastructure. hese com ined elements are the future of architectural solutions. stri e to incorporate nature into all designs at all scales. he colla oration across the elds is creating the most interesting examples of architecture we ha e seen. s a designer in the modern era elie e that one must e a le to address the complex set of issues upon which our societ is ased. esign process and exploration are at the core of m design philosoph . stri e to uestion all con entional and existing methods of design materials sustaina ilit form and space. welcome all criticism and in turn wor with a critical e e in order to push all oundaries and limits in the eld of architecture. stri e to wor in an en ironment that fosters the exploration of uncharted territories and to re ne and expand the existing con entions of design.
academia
design / build
brooks + scarpa
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URBAN MARKET PARK
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model presentation design
01 he uxtaposition of program par space and ur anism de nes the nature of the design challenge. The program called for the reinterpretation and de nition of an ur an grocer store and culinar school. ontextual challenges included the direct relation to the main civic space in Downtown Knoxville. The integration of parkspace in conjunction with an urban high rise resulted in the idea that par space could extend erticall through a space. he entire design process was a push and pull etween de ning interior space and exterior space. To maximize the site area as an urban space, the bulk of the school program was conned to a slender high rise while the mar et area was designed hori ontall with a large ur an par spanning o er the top. he integration of the man faucets of green space allowed for the execution of man sustaina le strategies resulting in a theoretical platinum rating reduction in energ usage and water conservation. In collaboration with_ Zane Espinosa Awards_ 2014 Eureca 1st place Sustainability
URBAN MARKET PARK
downtown knoxville
solar chimne green roof
teaching kitchen winter garden facade par alcon
shaded pavilion public roof park lecture hall par
alcon
service core market pods loading lo reflecting pool rain garden sculpture garden
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sculpture garden radient floor ents structural I column vent shading 5’ deep winter garden lateral facade bracing interior operable glazing exterior operable glazing vegetation insulated wall egetation insulated floor
plant shading s stem
displa ta le concrete column storefront glazing ree ewa circulation aluminum corner detail
concrete stairs
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bradford pear
glass railing
drainage concrete slab lighting storefront footer radient drainage
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site water collection storage and treatment. gre water used for uilding and irrigation ser ices. site water run o . Lliquid to liquid geothermal wells designed to passi el accomodate all operational energ and of the heating and cooling load. arametric li ing wall designed to create a isuall pleasing se uence of nati e plants. ertical utterfl garden for adjacent apartment views.
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02 As the urban fabric changes throughout a city so does the connective tissue that binds these elements together. The traditional methods of connecting point a to point b with bridge and road structures have become obsolete with the increasing complexity of urban nodes. As cars become less viable and human density increases, the need for pedestrian connections that take u from point a through point d and beyond have become more necessary. This design explores the connectivity of a downtown center, the river, historical nodes, and a wide range of topographical points. The existing site is a mass of un-used highway streets. These streets have been removed to re-use the land as a water wetland park. This park will run continuously through the downtown grid and serve as an outlet for the storm water management in downtown. This creates a bridge condition in a form that allows for er speci c touchdown points in the structure. A museum symbolically extends outward over the river paying respect to the natural forces that ha e de ned our landscape.
URBAN COMPLEXITIES
downtown knoxville
tree grove museum gallery history walls utterfl garden deciduous trees step seating river access
utterfl garden
deciduous tree garden
amphitheater structure museum
creek mouth outlook view
amphitheater seating
river walk 15 | 16
park connections
urban connections
urban wetland
historical nodes
structural axon bridge designed from 4’ tube steel and 10’ concrete caps bound together by super connectors
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river museum additive park elements
bridge surface
bridge structure
amphitheater
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03 Architecture for art, architecture as art. The programmatic design challenge of integrating artist studios with live/work studios resulted in the driving concept of how can a permanent building change its artistic expression. The answer lies in the monolithic display of artist work. The formal expression is derived based on the idea that as a artists evolve, arrive, and leave, the work displayed in the facade evolves also. The building will change appearance with every new installation. The facade acts as a performative stage for art work, and doubles as a highly sustainable shading device with depth. he program has een con ned to less than of the site extending upward allowing for a wandering sculpture garden. This garden becomes encapsulated for the highly pedestrian activated street allowing users to wander through the site on seemingl random et highl re ned paths. he artist tower ecomes a symbol of creativity for the community and the inhabitants. In collaboration with_ Thomas Agee Awards_ 2014 Eureca Architectural Award Finalist
CONSTRUCTED FRAGMENTATION
santa monica
The facade expression was derived by human interaction based on the scale of objects. The result of this geometry was a distinct identity for the client. The axonometric to the left shows the basic assembly of the kit of parts. Once assembled, the performative aspects of the design allowed for maximum views outward, and maximum shading form the harsh sunlight.
The landscape was handled in the same conceptual manner as the facade. The idea of creating a set of parts or rules that determine the aesthetic of wandering paths, extrusions, and depressions.
winter
summer
spring / fall
As the facade changes scale the human interaction also changes. The programmatic possibilities are endless for an artist or curator. The sizes range from small objects to large sculpture.
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The exploded axon gives a look into the cohesion of the design. The public par space starts at the street and wraps upwards feet. he di erent levels of the facade provide sun shading. The red shaded ares are the programmatic elements that run below the surface of the park space.
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Physical modeling at large scales allowed us to understand the scale and detail of the facade s stems and the landscape. ultiple models of di erent character and size were created throughout the design process.
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04 In 1891 the coal mining residents of Briceville, Tennessee started a revolt against the State Government. This revolt started a cultural uprising known as the Coal Creek War. The war centered around labor laws and use of prisoners for cheap labor. The state militia took camp on what is now referred to as Militia Hill. This high ele ation encampment allowed for the successful ring of artillery through the mountain pass down to the mining town. Present day Briceville is a town hampered by extreme poverty and lack of historical representation. The master plan of a green way system allowed for the establishment of alternative means of transportation and an attraction for high elevation athletics. The design proposal was to create a museum node established around historic tourism. The formal typology is a symbolic gesture of the program extending o the mountain side ust as the artillery did years ago. The result was the seamless capturing of the amazing mountain view.
HISTORIC CONNECTIONS
rural appalachia
he site is designed as s m olic gesture o of the side of the mountain while using compression and openess to hide parking from the pavilion space upon arrival. The canopy form pulls people form the path by engaging the greenway. Rainwater is collected on site and fed downward due to the slope of the site.
Passive sustainability strategies such as shading, operable windows, heat flow and site orientation were crucial to the design process. ite water collection ltration and solar panels were also used to further sustaina le measures.
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rigid insulation metal decking L beam I beam wood ceiling
cedar shading inset window glazing
wood flooring inset mullion rigid insulation concrete beam
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05 Geography is cut and eroded away by the power of water pathways. Human infrastructure is often determined by this process. Just as water can determine pathways, urban park space can determine the formal geometry of program. The idea of assigning green space to left over junk urban space is outdated. The existing site is a complex of American big box stores with their endless impervious automotive lots. By reclaiming the land and assigning green neighborhood connective pathways, the green space begins to erode at the future expansion of program vertically. The site is constrained by the natural features of water, elevation, and the surrounding urban fabric. Using public park space as the determining factor for form allows for the pedestrian paths to bleed out into the neighborhoods. Overtime the hyper density and transit additions can transform entire community areas into highly sustainable city structures modeled from the very landscape they inhabit.
HYPER DENSITY LANDSCAPES
north knoxville
+ 0 years
+ 10 years
+ 20 years
+ 30 years
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he massi e nature of the loc s allow for man di erent architectural solutions for breaking down and programming large spaces. These strategies were developed as a diagrammed idea and translated onto the speci c forms. he diagram a o e can e seen in the section elow.
The growth of the site in an upward direction while terracing inward allowed for the introduction of greenspace, pedestrian paths, and ample light to the existing pathways. This forwards the concept of pedestrian alle s de ning form.
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06 The Beilke Residence was in a state of dis-repair with the existing entrances. The front and back entrances were dangerous and did not comply with current ADA standards. The design challenge was to incorporate a 40’ ramp and stair on the front the of home, which connected to the driveway. The back entrance needed a new deck surface that met the door height along with stairs and a creative way of establishing exterior storage. The design solution was centered around a mass wall that gave the project its concept and character. The wall provided a cohesive element that both the front and back elements shared. It also provided the client with a sense of privacy need because of the density of her neighborhood and lack of boundaries from neighbors. The wall was a interpretation of multiple uses for a simple deck board, and provided a very elegant strip of planting for the cheerful cultivation by the client. In collaboration with_ Thomas Agee, Brice Holmes Awards_ 2015 Eureca Architectural Award Finalist
BEILKE RESIDENCE
northwest knoxville
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Linear lines remain apparent through the wall and the railings. This respects the existing conditions of the home.
The wall is shown as a divider from the sloped surface of the ramp and the flat surface where the client can inha it.
The storage system is simple and utilizes the blocking of views as the main detractor. The storage is also tucked away under the deck surface.
The wall provides a shelter of privacy from the close proximity of the neighbors, and the community..
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07 The Skeen Residence is a 1960’s home made entirely from reused materials. he design challenge was to de ne a main point of entr to the home and pro ide a connection to the secondar point of entr . he main focus was to reno ate the existing dri ewa and o erhang while appl ing the new design of an shaped dec and concrete ramp extending to the ehicle entr point. he connecti e tissue of the design was the introduction of a third material. his material was deri ed from the essence of the original construction of the home, and the hobbies of the client. e created two large anchoring planters made from re claimed railroad ties. The railroad ties symbolized the nature of re-use and sustaina ilit that was alread instilled on the site. he placement of the railroad ties on each end of the dec ga e cohesion to the design concept and eautifull completed the uxtaposition of old s new material. In collaboration with_ Thomas Agee, Melissa Dooley Awards_ 2014 Eureca Architectural Honor Award
SKEEN RESIDENCE
northeast knoxville
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The railroad tie planters created a sense of privacy while paying respect to the original construction and the community.
The height of the wall become considerable as the pathway slopes downward. This gives another level of interaction due to the user standing.
The new entryway is very inviting and safe for not only those in the wheelchair but also those assisting.
The detailing of the ceiling matches the detailing of the floor surface. This keep continuity of design and keeps the directionality facing the entrance.
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08 This research publication was grounded around the study of green way design in the Eastern Tennessee region. The conceptual study of rural, suburban, urban suburban, and urban combined with contextual conditions of water, rails, and trails resulted in a striking graphic representation of educational case studies. The book was a design challenge in itself of how to convey vast amounts of information to the masses. The creation of icons that relayed the individual contextual conditions lead the view to a graphic visual index. This index is a compilation of materials, signage lighting surfaces furniture and u ers. he com ination of the various levels of information ranging from broad strokes to small details allows for communities to make informed decisions on the ene ts and feasi ilit of green wa s stems in their speci c context. ll of the research was geared to the topographical conditions of ridge and valley that characterize the Eastern TN. In collaboration with_ Clay Lezon, Taylor Dotson, Clint Wayman Awards_ 2014 ASLA Tennessee Award of Excellence
GREENWAY GUIDELINES
east tennessee
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09 The act of physically creating is a integral part of my design process. Using tangible means of representation and exploration allows for added discoveries in the conceptual process. Fabrication and experimentation allow for a designer’s mind to wander and challenge the idea of feasibility. I strive for new and unique ways of fabrication. The use of meticulous craft in physical modeling is a reflection of the designer s artistic conscious to create the beautiful sum from the scattered pieces. This model is a museum quality creation of representation for The Lipton Residence. The design of the model combines the soft white powder printing for the parametric brick facades with the rigid laser cut white plastic styrene. The soft white textures and attention to detail in the model allowed for very elegant lighting in the interior and exterior. The model gave perfect representation of future lighting and views for the actual construction. Brooks + Scarpa Architects - Physical Modeling In collaboration with_ Larry Scarpa, Oren Atia, Brooke Hair
LIPTON RESIDENCE
chicago
The detailing of the design was facilitated and tested through the 3d model and the physical model. The picture to the left shows the entrance and the parametric brick wall with the structure beyond. The picture above shows the careful organization of window and panel arrangement.
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As one travels past the residence the facade changes to let in views and restrict others. The picture sequence to the left shows this progression as one walks form side to side the facade begins to open and close. The facade is shading and giving privacy to a private courtyard.
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10 Graphic representation of spaces and ideas are integral to the understanding of conceptual ideas in architecture. The level of theory, poetics, and story telling that gives a design project its soul must be present in its representation. Presentation drawings whether two-dimensional or three-dimensional give a higher level of understand to the client, the community, and the users of a design project. Being a designer creating experiential drawings allows me to be self critical of the spaces that I have created. The representation of The Six embodies the connective spirit of the design. The renderings depict the spaces in which inhabitants can sociali e at the man di erent le els of the pro ect. he experiential spaces show the open space that is connected with greenery. The same ephemeral feeling can be seen throughout the project from the front entrance all the way to the breath taking views captured on the roof top deck. Brooks + Scarpa Architects - Graphic Presentation In collaboration with_ Larry Scarpa, Nick Schwaller
THE SIX
los angeles
WATER EFFICIENT SPECIES AND IRRIGATION TECHNIQUES MINIMIZE AMOUNTS OF WATER CONSUMED BY LANDSCAPE
GREEN ROOF PROVIDES HEAT REDUCTION AND STORMWATER COLLECTION
SOLAR COLLECTOR SYSTEM FOR HOT WATER AND ENERGY PRODUCTION,PROTECTS ROOF FROM DIRECT SOLAR GAIN
ROOFTOP DECK SPACE PROVIDES A CONNECTION TO SUNLIGHT AND THE LANDSCAPE, PROTECTS ROOF FROM DIRECT SOLAR GAIN
FSC-CERTIFIED IPE WOOD SCREEN SHADES THE CIRCULATION SPACES JUNE 21 MIDDAY
INDUCED AIRFLOW CREATES A BREEZE THROUGH THE CENTRAL VOID SPACE. THIS CROSS-VENTILLATION REDUCES COOLING LOADS AND ENERGY USAGE
COOL ROOF
BLOWN - IN RECYCLED CELLULOSE INSULATION AT ALL PERIMETER WALLS REDUCES INFILTRATION AND THERMAL BRIDGING
DEC 21 MIDDAY NORTH
DEC 21 SUNSET STORMWATER IS COLLECTED AND SENT THROUGH THE GREEN ROOFS AND LANDSCAPE, INTO THE STORMWATER COLLECTION BASINS
JUNE 21 SUNRISE
SOUTH
DEC 21 SUNRISE
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Renderings show the connective tissue and the subtractive nature of interior voids. Planters are at every level of interaction for residents.
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11 The 18th Street Arts Center conceptual design was conceived around the ideas of community and public space. The existing site has artist studios and a performance space. The new program consists of a formal art gallery, cafe, artist studios, live/ work studios, and maximum public urban space. The gallery was designed as a tall space with slanted walls allowing for the exterior viewing of artist installations. Massive glass doors open for free flowing circulation of humans to the surrounding sculpture gardens. The cafe is designed as a way to take advantage of its close proximity to a metro rail stop. Live work studios are shaded by the cutting and folding of aluminum panels. The same decking extends from the main event space over the cafe up to the roof deck of the artist lofts. This continuous fabric of public spaces allows for a dynamic array of interaction areas. The complex promotes this free flow of artistic conscience and ideas. Brooks + Scarpa Architects - Conceptual Design In collaboration with_ Larry Scarpa, Nick Schwaller
18TH STREET ARTS CENTER
santa monica
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A
PARKING
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ALLEY
C
PARKING
ART WALL WALL
O LINE
ADMIN
R O EXP
OURT ART COURT
F
D
EXISTING STUDIO BUILDING M
PUBLIC
ART WA ALLK K
PARKING D
BIKE PA TH
LA MET
EXISTING “HIGH WAYS” THE ATER
COURT GALLE R Y
LOBBY / ENT R Y
02 05 EVENT PLAZA
04 CAFE
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A
B
18TH STREET
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The gallery, cafe, live/work studios and event space are all wrapped around the existing elements on the site. The new design is focused around bringing pedestrians into the site, and providing much needed upgrades to the facilities for the art center.
GALLE R Y
C
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