Ampdesign is a cross-disciplinary art + architecture + design ﬁrm founded in 1998 by Andrew P. Matt. Experimentation, intellectual curiosity and experience are at the core of all work at Ampdesign. Having worked in both architecture and construction ﬁelds, Andrew P. Matt as principal, brings a wide range of experience with many building types and a conﬁdent artistic approach to all projects. Project types he has worked on include; airports, custom single family residential, multifamily residential, hotels, commercial ofﬁce and interiors. Andrew received a Master of Architecture from Cranbrook Academy of Art and Bachelor of Architecture from the Southern California Institute of Architecture. He has studied at The Bartlett School of Architecture in London, England and with Lebbeus Woods at RIEAvico in Switzerland.
Introduction The work represented in this volume is intended to be a compendium…an effort on my part to put a stake in the ground as a point of departure for my professional practice. I mean this in the most futuristic sense. It is an evolutionary collection of work that I believe indicates a direction over the past ten years that is partly representative of methodological processes and trends in the architecture and design ﬁelds. That trend has been one in which previously separate or isolated steps in the creative making/building process are being merged together. Over the past 10 years, the inﬂuence of the digital process in design and architecture has merged with the hand “crafted” effort. That path has more to do with our typical understanding of craft and fabrication…the unique object vs. the systematized object than it has with ubiquitous presence of digital making. The result is a bifurcation of methodological thinking relative to the process of making. The practice as an architect is one where the design thinking, fabrication and building processes are traditionally distinct and isolated activities for the most part. The architect, knowledgeable of building and production methods, takes this into consideration with the design and organization of building systems and in the creation of working documents. Fast track options move the design and build process closer, yet a break still remains between the making and the designing. This distance can inhibit true experimentation and innovation. Digital making with the ability to prototype and quickly realize “sketched” ideas has enhanced the architects scope of realization on a material level. The conflation of design and fabrication methodologies hybridizes the creative process. The mediation between virtual creation and the physical object allows for morphologies of thinking and making. We now think of virtual objects as being not only of the nurbs or point surface objects to be rendered for simulated environments and glossy presentations but of translation to the tool head and paths traveled. Creative limitations are now axial limitations and concepts are woven into the physical act of making. The departure point for Ampdesign and future work is an implementation of effective design research through instrument driven material processes. It is a work method targeted towards design solutions less as a single monolithic effort but as a more strategic action. Targeted design solutions do not subscribe to a particular manifesto or dogma but rather as adaptive solutions that respond to and are mediated by a conditional constraints without bias.
Andrew P. Matt Detroit, 2013
Architecture 1. 2. 3. 4.
Residential Commercial Landscape & Outdoor Architectural Systems
Design 1. 2. 3.
Furniture Ceramic Sculpture
Art 2D 1.
Painting & Printmaking
Venice Residence Venice, California
Located in the heart of Venice California, on Ocean Front Walk, the residence includes a work space for a professional photographer and a family residence. The main entrance is from Speedway Avenue .
The site is a narrow inďŹ ll condition with 4 story apartment buildings on either side.
EXTERIOR ELEVATION Although the V13 house maintains the prefab spirit in terms of simplicity of form and a modular concept, it actually employs the overall aesthetic mainly as an organisational theme. As in shipping container vernacular, the residence is realised as a “Container for Living”. The container however is more like “boxeswithin a box” .
KITC KI TCHE HEN EN
BACK ELEVATION 16
2nd FLOOR KITCHEN 17
Sequen Sequ ntial tially lly the V13 can an n be se seen en as ha h vi havi ving ing g thr h ee hree e zon ones es or mo modu d le dule du l s. les. s. Ent nter erin i g in from m Spe peed edwa ed way wa y Av Aven enue en ue e and beg gin inni niing at th the e gr grou o nd ou d flo oorr, th the e ffiirrs st zo z ne in the se the th sequ q en qu ence ce is th t e ma main in n ent ntra ranc ra nce lo nce obb b y an a d ga gara rage ra ge.. ge
The second module or the â€˜coreâ€™ of the residence is a slippery zone accessible by both modules on either side. In terms of construction, it is an open light well. It functions as a courtyard and xeriscape type ga g rden at the ground level. The roof opens and closes by motorized can a opy. Additional light and air circulation are r achieved with the activation of warehouse-style sliding panel doors that clad the ex xterior of the light column.
INTERIOR VIEW 18
GROUND FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
FOURTH FLOOR PLAN
Toro Canyon Residence* Santa Barbara, California *Shubin & Donaldson Architects
Cota Cruz, Mixed Use* Santa Barbara, California *Tom Meaney Architect Inc.
Cota Cruz is a mixed use infill project located in Santa Barbara California. The traditional mission style design included 7 high end residential apartments with three commercial spaces located on a podium level. Each residential unit has a private elevator leading to parking level one level below grade. Local wood and metal artisans were employed to fabricate and install all of the custom details. The result is a project true to the historic preservation and authenticity of the Santa Barbara Style architecture that is unique to the region.
Malcolm Residence* Carmel, California *Tom Meaney Architect Inc.
The Malcom residence is a single family residence that is perched on a hilltop on 600 acres in the Santa Lucia Preserve on the Central California coast. The estate style residence consisted of 5 structures among them, a 13,000 S.F. main residence, two staff buildings, an agricultural barn and a maintenance barn housing a helicopter.
Bella Vita Assited Living: Chapel* Sherman Oaks, California *Hochhauser Blatter Architecture & Planning
Bella Vita is an assisted living care residence loctated in San Fernando o Va alle ey Califo ornia a witth ro oom fo or 30 00 residents. Lo ocatted d on the lowestt levell off the re esidence is a theater/auditorium an nd a small room for prayer and meditation. The chapel experience is intended to o be one, paradoxically, of both so olitude and community. Because off limited sp pace,, it is a small community. Another key element of the ch hapel experience is the sonic experience. Undulating wall and ceiling surfaces eliminate the potential fo or stand ding g wa ave e re eve erb bera atio on. Th he intention of this is to create a co ond dition wh here one feells an ab bsence of sound or and anechoic se co ondition. All surfaces are meant to o be contiguous; ďŹ‚oor, wall and ceiling for psychoacoustic effect.
Theater Lobby Sections
Theater Lobby 32
The Avedis Zildjian Company Inc. Artist Relations Office: Burbank, California
Zildjian Cymbal Corp., is the preeminent cymbal maker for musicians world wide. They recently relocated their west coast artist relations ofďŹ ce to a campus of similar vendors thus creating a one stop shop where endorsing musicians can drop in and sample new products. It was important that the new 1000 S.F. showroom be an environment that feels like a recording and performance studio yet still function as a business ofďŹ ce.
The Avedis Zildjian Company Inc. Software Developer: Burbank, California Gen 16 Software Corp. is a software developer specializing in studio sound sampling. In this small headquarters, the program required an area be set aside for video and sound recording of tracks being played by guest musicians. Acoustical treatment of the wall surfaces and design of the ceiling above the recording area was considered in the design.
Daily Grill Restaurant Remodel* Tom Bradley International Terminal, Los Angeles California *Gin Wong Associates
As part of the billion dollar terminal expansion, the airport sought to give an extensive face lift to existing food service area of the terminal. Part of the master plan included a complete demolition and remodel of Daily Grill Restaurant at Los Angeles International Airport Tom Bradley Terminal.
LANDSCAPE & OUTDOOR
Bock Residence Pavilion, pool and landscape design: Oak Park, California
A single family residence, the owners wanted a place where they could feel like they were on vacation for relaxing and entertaining. What began as an existing grass lawn was transformed by adding a swimming pool + deck , pavilion and bar/grilling station. The pavilion also features a hearth area as the central element.
96 pink balloons Bloomfield Hills Residence: Michigan
The clients for this single family residence needed a little more shade at the observation deck adjacent to the clay tennis court. Shelter from both sun and rain were taken into consideration. The perforations in the canopy are regulated by heavy duty balloons that inďŹ‚ate and deďŹ‚ate by a valve system as needed.
View from above
Side view 49
Compression Wall System
The Compression Wall System by Ampdesign can be either a structural cladding or enclosure system. Fabricated from single sheets of sheet steel, sectional strength is developed by creating a strategic pattern of ‘slices’ and perforations on the surface and folding it back onto itself. This increases the sheet’s sectional depth that reacts much the way a conventional steel beam responds when forces of tension and compression are applied to the whole
The Compression Wall System panels are formed from a single sheet of steel. The sheets are then offset and â€œsandwichedâ€? together to form the complete compression unit piece.
1. Furniture 2. Ceramic
The Tadpole Table is created from a single sheet of steel using a “ﬂatpack” construction methodology. It’s construction is the result of an effort to manipulate a ﬂat sheet of material by making a strategic pattern of perforations and cuts. The pattern of cuts and perforations demarcate the fold points for the piece. The folds are then positioned for primary structural effect or as secondary elements whereby other elements can be attached.
Wi-Fi W i Fi A Adapter dapter
USB Firewire U SB and dF i i ports t
Steel conference table with signature â€œcompressionâ€? leg supports. This table uses a ply construction for the star shaped top. The two plyâ€™s are connected using welded studs to increase the sectional strength characteristics. The leg supports are integral to the bottom ply. The star shape allows for laptop use and other meeting items without obstructing the direct interaction with other meeting members.
Compression leg supports with chrome ďŹ nish
Desktop Book Caddy
The desktop book caddy evolved from preliminary investigations using sheet steel that were designed to exploit sectional characteristics of folded metal. The primary focus for this test was to isolate a particular structural characteristic and design around it. In this case we were focused on compression. Simplicity of manipulation was important, seeking to complete the entire piece on one seamless move. The result is the compression module was later deployed to other typologies for building and object design.
Steel Ply Bench
The Steel Ply bench fabricated from CNC plasma steel. Stud welding is used to form the ply’s and provide sectional strength much in the way a steel beam is constructed. The proﬁle of the bench top can be adjusted by deepening the section of the ply’s thus tuning it to the shape of a structural moment diagram.
Ceramic tableware by Ampdesign is created using a hybrid of traditional and cutting edge technology. The designs for each piece are all digitally modelled using advanced 3D surface modeling software. The 3D model is then used to create plaster molds for slip-casting using a CNC milling machine. The advantages of this result in complete control over dimensional design characteristics as well as the ability to make multiple molds with multiple variations. This provides for greater experimantation and ďŹ ne tuning the nuanced nature of ceramic design. After the molds are made, the process of slip-casting and glazing is fairly tradional. Unique glazing formuilas and applications are also part of the process.
Porcelain esspresso cup and saucer
Unique two part glaze in several colors 74
Process: from Rhinocam to porcelain
Designed in Rhino. Tool paths written using Rhinocam
Making pieces for mold using CNC mill. 75
Slip cast pieces before ďŹ ring.
Application of glaze layers using spraygun.
Porcelain Rice Bowls
The Sonic Trap project is the result of my interest in the relationship between form and sound. The piece itself is intended to be a device for continued testing. The origins of my exploration in the Sound Traps Project were founded initially on the formal construction of framing space. The construction of the ﬁrst hanging armature pieces was an attempt, through the use of multiple frames, to provide a theatre of operation in order to investigate integrative digital fabrication methods as applied to formal constructs. It was intended that this arena have many probabilities and combinations for the addition and subtraction of elements. In Earth Moves, Bernard Cache notes that, “…strictly speaking, architects design frames.” 1 A literal and conceptual stage for possibilities, the frames reduce the opening moves of the work to their most elemental components. According to Cache, “The frame reduces architecture to its most basic expression and allows us to formulate a concept that derives directly from Eugene Dupreel, whose philosophy was centered entirely on the notion of the frame of probability.”2 Suspending the frames and creating a framed space created many probabilities. By sus-
pending the frames, another plane or axis was opened for consideration. This meant that 360 degree access was usable in the formation of a spatial design. In addition to spatial probabilities, a variable of time is added to the piece with movement. The frames were constructed so that they could move horizontally and swivel along a main axis. We build space in the practice of architecture. Space as it is normally considered that is created by objects, a system of objects or integrated components thereof. The addition of time to the equation in the case of the Sonic Trap provides options for an alliance with other sensory episodes. With the elemental reduction of objects from the frame environment, program is deleted. We are left with a varying context of probabilities. We are left with the frames, air and movement. Object space and time…silence. John Cage commented when talking about silence, “I have the feeling that sound is acting ...” This activity may be free from constraints of time or meter or pitch. It just is. Cage goes on to say that, [Marcel Duchamp began thinking of …music as being not a time art but a space art … Which means different sounds, coming from different places and lasting, producing a sculpture.]3
Pistola Project: Rendering
Pistola Project Bookends: Steel
Pistola Project Rendering
Pistola Project: Rendering
Pistola Project Panel: 48â€?X60: Foam
Pistola Project Gun: 3.5”X8”: Foam
1. Painting & Printmaking
Succisa Verescit Lithographic print 1/6
Bacon Rip-Off Lithographic print 1/6
Where are the Bones Lithographic print 1/10
Chain Lightning Lithographic print Unique
In Mue Lithographic print Collage Unique
Snake Painting Study Lithographic print Unique
Snake Oil Paint and Charcoal
Burroughs Portrait Oil Paint and Duct Tape