Origin

ORIGIN

ANDREW MATIA

ORIGIN A Design Portfolio

2015

ORIGIN

2015

THAT FROM WHICH SOMETHING ARISES OR IS DERIVED; SOURCE; FOUNTAINHEAD; THE FIRST STAGE FOR EXISTENCE; BEGINNING

This portfolio holds a collection of some of my academic and nonacademic work in architecture and design.

Each project had its own essence of presentation, but for convenience; they are all presented in this book in a similar format, while still preserving the spirit of the original work.

CONTENT

Introduction A

B

10

Selected Academic Work 01

Cinematic Projection

12

02

at–Risk Patterns

24

03

Fracture

34

04

Dancing Pavilion

42

05

pseudoSCAPE

50

Selected Graphic + Client Work 01

Pitchdark Chocolate

62

02

Linea

66

Contact

71

An Attitude for Good Architecture Foremost, good architecture comes only from a journey of exploration.

I have built a humanitarian conscientiousness by my involvement

It is fascinated with possibilities unexplored, resolutions unresolved

in Portland’s first public streets seats project, the 4th Ave Public

and passages untrekked. It often seeks to create meaning in forgotten

Parklet. It is a myriad of like experiences that have coalesced into

places through abandoned means; heightening nostalgic yet hopeful

my belief that good architecture is above all a sensory experience

experiences for all.

Awestruck by its context, good architecture

that expresses meaning and value through the simple mediums of

responds in an artful fashion that seeks to magnify its surroundings of

material, form, organization, light and utilitarian purpose; all this for

people, place and happenings. It is a building that, as Peter Zumthor

the betterment of society.

acknowledges, “is sufficient for the elasticity of the life function.” It

to employ these ambitions in the urban context. It is my immediate

should be in constant flux, with the ability to adopt qualities that are

surrounding and the home to some 54% of the world’s population. I

essential for its present occupants. This ensures a lasting relevance

believe that for a viable future, architects must lead the conversation

that will be cherished by inhabitants both present and future.

Good

in rethinking the fabric of our cities to one that is not limited by a

architecture allows its inhabitants to perceive the world with the

conglomerate of self-serving interventions; but rather a future in

whole of one’s being, both emotion and reason. Architecture in not

which urban design is addressed in a way that enhances a harmony of

merely a mathematical function for optimal utility; it is the stage

experience, both physical and emotional. A city of intrinsic meaning,

upon which life unfolds. Good architecture successfully composes a

fearless optimism, powerful composition and joyful pragmatism.

backdrop for humanity to play its story, thus it should be designed in

I find my purpose in carrying forward this story and believe my

a way that stirs up strong feelings of emotion; heightening the senses

time in the world’s greatest metropolis at the Graduate School of

into a connectedness of experience. Good architecture is also smart

Architecture, Planning and Preservation at Columbia University

and intelligent; useful in its purpose, easily understood, intuitive to

will serve as the most comprehensive element in catalyzing this

all.

Good architecture acknowledges the vastness and beauty of

prose into a reality. I value the GSAPP’s commitment to change as

nature and responds in reverence. It seeks to exist in correlation and

the only constant in the urban environment and consequently, the

correspondence. It is honest and responsible in materiality seeking

open-endedness of exploration I see demonstrated in the archived

only to draw what is necessary for existence but not lavishness. Most of

work published in Abstract. I believe there is a necessary obligation

all good architecture should exist in parallel with humanity and nature.

to this type of experimentation, especially in our rapidly changing

It is my duty as a student of architecture

My name is Andrew Matia and this is my origin. These thoughts

and increasingly globalized world. There is no longer a uniformity in

are an amalgamate of both my visceral experience of built works

approach. Each project, place and people is its own quandary and

and my formal education. I believe architecture is the means by

requires a unique solution. This attitude, complimented by a league

which humanity creates the truest and most sincere expression of

of top educators and the vast resource available on campus and in

its collective values. I have witnessed the transcendent through

the city, will bring a unparalleled richness to my personal investigation

the lux nova in the Basilica of St. Denis and I have consumed the

of how to best realize manifestations of good architecture in

sensual through the dynamic curvatures of the Walt Disney Concert

the world. For these reasons, I would greatly appreciate your

Hall. I have wandered through rational thought in the extremely

consideration for placement into the Master of Architecture program.

refined, programmatic organization of the Seattle Public Library and

01

CINEMATIC PROJECTION

Greater Portland

N

Wapato // An Atelier for Film + Arts Located near Bybee Lake in the far north reach of Portland, Wapato

based arts is also asks the question of what it means to create a

is a 168,420 sq. ft. jail complex, constructed in 2003 by the City of

space using the techniques and mediums of film. It is a study of

Portland, that has sat vacant since its completion. Due to a number

the atmospheric effects created through film, translated into literal

of unforseen circumstances, the building was never occupied

spaces for creativity. This is primarily, a conceptual development

and the city is currently weighing out options for possible sale or

for an architectural intervention that is interested in deriving its

lease that would allow the structure a more viable future. In the

form and function from the very notion of film. As a directeor would

more recent past, television production companies have used the

choreograph and compose a scene, so this intervention hopes to

facility’s interior to shoot film scenes for shows such as Leverage

frame an architecture for creative work. Generative, conceptual ideas

and Grim. This project addresses the building’s desperate need for

followed a pattern of the diagramatic programing of activity for the

a permanent occupant and thus proposes the creation of an atelier

juxtaposition of fast spaces and slow spaces useful in generating

for film at Wapato that’s predominant focus is to provide studio

atmospheric qualites that catalyze the artistic process. Followed

facilities, production space, a gallery and a theatre for film artists

by a series of light studies that dicated how formal traits influence

and students. While the central aim for this intervention is to provide

the perception of light energy; and concluded in a scheme that

all the amenities needed for the production of film and other time

proposed a dynamically, enlightened space.

14

A 01

Cinematic Projection

Research:

Means:

Architectonic questions of matter, space and time in relation to

[1] To make film as time-space content, built up, as much as possible,

energy, sensuality, permance and perspectiveness

as filmic design and contstructional spatiality

Ingredients: Light as a physical material, air as a spatial element and duration as a

[2] To develp a narrative, as much as possible, as a way of generating

dimension of space

a relationship between site, edifice, event and process, where

Site:

cinematic envisioning replaces one-dimensional functionality

A time-space passage through events and activities on location at Wapato Jail near Bybee Lake and the Columbia River Slough

[3] To engineer architecture, as much as possible, as a way of

Goal:

transforming solid materiality into appearances of energy and

To assembles edifices which are there by not being there by being

spatiality

there

Wapato Grounds

A 01

Cinematic Projection

15

02 01

04

03

Take 1: Fast Space

01 02 03 04

Living Library Resident Quarters Arts Space | Workshop Theatre | Museum

01 02 03 04

Residents Quarters | Arts Space Workshop Theatre | Collaborative Space Living Library

01 02 03 04 05 06

Living Library Resident Quarters Workshop Collaborative Space Arts Space Production

01

02

04

03

Take 2: Slow Space

01 02

03 06 05 04

Take 3: Mediation

16

A 01

Cinematic Projection

Above [descending]: Montage Experience Drawings Formal Transitory Space Informal Art Space Intermittent Creative Space

A 01

Cinematic Projection

17

Cinematic Studies A series of artifacts was created to further explore the concept of light as a building material. The goal was to design surfaces that responded dynamically to light to achieve forms that would then be implimented in specific scenarios related to activity in the final building design. Special attention was paid to the character of the light that was reflected off the surface and how the formal shape of the object influenced or manipulated that quality. For example on the opposite page, Object 2 fabricates a feeling of transition. A vector of light enouraging the user to kinemtaic action; movement through a space. This is in direct constrast to the character seen in Object 3. A storehouse of light energy that is possessive in its containment of that energy.

The varying results of these experiments heavily influenced the formal quality of the intervention.

18

A 01

Cinematic Projection

Object 1: Transition of Light/Energy

Object 2: Kinematic Temporality

Object 3: Possessive Projection

Object 4: Enlightened Space

A 01

Cinematic Projection

19

A-1

A-2

00: Theatre

01: Pre-Production

02: Production

0

16’ N

04: Dormitory

03: Post-Production

Section A-1: East

20

A 01

Cinematic Projection

32’

64’

The final strategy involved homogenizing the initial programing studies with the cinematic studies to create a dynamically exciting building. Formally, the building is a direct response to the vision of using light as a buidling material. Public spaces are reflected to the outside world in an exciting light show, a way of projecting to the world the inner workings of the art collective. Spaces dedicated to intimate creative explorations seek to harness light in a way that is possessive to the users; as to provide enlightened areas of thought and work. Both visitors and residents of the Wapato Art Building experience the building through enlightened means. The building is unto itself, a sort of cinemtatic projection, broadcasting to some while remaining intimate with others.

Section A-2: South

0

A 01

Cinematic Projection

8’

16’

32’

21

Dynamically Enlightened Spaces An experiential photo montage illustrating the dynamic light energy distributed throughout the final intervention. Light is used as a physical material to encourage an illuminated experience for the everyday user and the casual visitor. It is through these means that the architecture is engineered into a dynamic and exciting ordeal that is useful in generating moments of energetic film production and development.

22

A 01

Cinematic Projection

Celebratory Grounds Special attention was paid to the surrounding grounds of the atelier. The barren field is transformed into a gallery of cinematic experiences composed by a number of illuminated sculptures directly influenced by the earlier light studies. These artifacts are created by students of the center and are used to dimensionalize the experience of film wathcing. Each student film is projected onto the sculpture as to allow visitors to walk through the projection, thus experience art through tactile means. This center not only tries to energize the creative way by which film is created through formal decisions, but also tries to stimulate public interaction with the art. Foritfying a unique experince of visual and physical manipulation.

A 01

Cinematic Projection

23

02

at-RISK PATTERNS

Population Density//at-Risk Potential Portland High Schools Center for at–Risk Youth

Non-Terrain // An at-Risk Psychogeographic Map

26

A 02

at–Risk Patterns

Workshop Experience Montage

Boat Building Center for at–Risk Youth Situated between Morrison and Taylor on SW Naito Parkway, this

simple layering of a seemingly countless number of small wooden

intervention proposes a new home for a cooperative of students

members. Cooperatively, they form a rigid space frame, allowing this

and artisans who come together around the craft of constructing

urban infill to become a building of pure space, not form. The minute

canoes. This after-school program is aimed towards students from

detail of assembly reflects the type of craft that is present in wooden

Portland Public Schools who have been deemed atRisk. These

boat design and construction. When coalesced individaul members

students, who for a variety of reasons do not excel in the general

form a mosaic of pure beauty and grace, but indvidually they each

education environment, are given special attention after hours for

retain a sense of understanding and intuition. The interlacing,

their development both educationally and psychologically. Through

non-continuous floor plates and mezzanine level come together to

learning the craft of boat building they are not only pushed to learn

form a clearing in the structure of space and light; an emerging full

and preserve a tradition that is uncommon to the masses, but are

of energy and a collective activity. The focal point of the building

also offered the opportunity to learn the skills of manual labor and

centers on the towering, boat repository structure that extends

detailed craft. Thus the hope, that as they successfully launch a

from the ground floor to the ceiling. Its purpose is to archive the

boat, they lauch their life. The vision of this program is expressed

biography of each student and present their acomplishments to the

holistically not only in programming but also in the architectural

public. Thus the success of a completed boat symbolizes the victory

design, construction and assembly. The building’s stuctural system,

of life.

while appearing complex from a distance, is composed by the

A 02

at–Risk Patterns

27

Leftmost [clockwise]: Experiential Montage Studies Threshold Workshop Facade Above [descending]: Programing Diagrams Third Floor Second Floor First Floor

28

A 02

at–Risk Patterns

Transition Corridors Stationary Spaces

Above: Selected Diagramatic Massing Models For Infill Structure Right: Full Scale Joint Assembly Next Page [clockwise]: Experience Renderings Canoe Assembly + Workshop Boat Archive Tower Waterfront Launch Procession Stairwell Bibliotheca

A 02

at–Risk Patterns

29

30

A 02

at–Risk Patterns

Section A-1

N

0

02

01

16’

32’

04

03

06

8’

07 05

Third Floor

01 02 03 04 05 06 07

Classroom Collaborative Study Intimate Study Terrace Bibliotheca Open To Second Floor Canoe Repository

01 02 03 04 05 06

Washrooms Artisan Atelier Bibliotheca Design Studio Central Atrium Canoe Repository

01 02 03 04 05 06 07

Storage + Work Benches Canoe Assembly Woodshop Permeable Facade Canoe Finishing Canoe Repository Entryway

02

01

04

05 06 03

Second Floor

03

04

01 02

07 05

06

First Floor A 02

at–Risk Patterns

31

Left [descending]: Immediate Infill Context Roof Structure and Joinery Detail Right: Boat Repository & Central Staircase

32

A 02

at–Risk Patterns

03

FRACTURE

36

A 03

Fracture

Fracture // A Study On Cracks and How They Allow Light To Escape This project was focused on the use of digital tools as the means by with to design and manufacture a light. Initial schematic design was concern with the nature of light as a medium. A series of explorative sketches was completed at the beginning of the research process to stir ideas about the nature of light and its emitting counterpart, the lamp. In my musings, I concluded that light is both fluid and mobile in character, thus it is capable of slipping through even the slightest spaces. This resolution led to the idea that if light escapes through cracks then there must be a crack in everything for that is how the light gets out. In thinking about the makeup of a simple shade where a multitude of threads are cross-weaved together to form the surface of the shade; under a microscope the space between the these threads can be perceived as tiny cracks where light is allowed to escape. Consequently, I sought to exploite this idea in the development of my lamp design. From initial concepts to final iteration, the form and edges of my lamp speak to the fluid nature of light and its ability to escape containment.

A 03

Fracture

37

Prototypes were constructed out of a variety of materials including cotton twine, wire mesh, plastic, sheet metal and chipboard.

Initial prototyping was concentrated on the quality of light. Warm light emited by Edison bulbs was contrasted to the cool light emitted by a more modern fluorescent.

Explorations quickly became fascinated with the construction of a shade as the main way to control the amount of light that was allowed to escape from the bulb. The final design of the lamp components was modeled in Rhino and Grasshopper and then digitally fabricated. Maple was selected as a final material for its warmth and was CNC’d into the final light cap and electrical housing. The voranoi pattern was laser cut into a steel sheet which was subsequently powder coated to a smooth white finish.

The miscellaneous mounting hardware and electrical hardware was lasercut out of a white, acrylic sheet.

38

A 03

Fracture

Final Assembly

CNC’d Electrical Housing

Fluorescent Bulb

CNC Maple Caps

Laser-Cut Acrylic Mount Plate

Extruded Acrylic Tube

Bulb Socket

Laser Cut + Powder Coated Steel Screen

Fluorescent Bulb Steel Screen Maple Cap

Wiring Port Heat Vents

Electrical Housing

A 03

Threaded Screw Insert

Mount Plate

Fracture

Bulb Socket

Maple Cap

Acrylic Tube

39

Above [clockwise]: Working Prototype Screen Detail Cap Detail Opposite Page: Environment Rendering

40

A 03

Fracture

A 03

Fracture

41

04

DANCING PAVILION

Left: Ritual Experience Drawing Right: Pavilion Plan

Pavilion for Dance + Stasis A pavilion was designed and built with the primary intention of physically archiving a dancers movement by way of paint and canvas.

Removable canvases incorporated into the walls of the pavilion capture paint as the dancer elegantly moves through the space. After the performance, the canvases are to be moved by the dancer into the art gallery behind the pavilion where one is exposed to a physical archive of an ephemeral action. Once a place of action, immediatly transformed into a moment of stasis. Further, the pavilion as a whole becomes a living record of dance over time. Interruptions in the wall allow paint to leak onto multiple surfaces, permanently marking every dancers actions. These actions become part of the physical constructon of the building and so the pavilion evokes a feeling of incompleteness, only to completed in time by the movements of each dancer that performs within the space. Part of the design process included mocking up a full scale iteration of the dance performance and pavilion. At this moment, it was understood that paint becomes the physical manifestation or extension of one’s body.

A 04

Dancing Pavilion

45

The Body as Site // Mediation with the World A complimentary element in the pavilion design was the creation of an environmental landscape within which the pavilion could reside. The hand was abstracted into a landscape that was very unnatural, forced, and manipulated. The inspiration behind this move stemmed from the Latin root for hand, manus. Many English words bear the same root, for example words like manipulation or manual labor. Thus it was decided that the landscape was to be manipulated. Paper sheets were manually rolled into cylinders and then used to form a three-dimensional plane. Aspects of the abstracted landscape were borrowed and embellished into the final topographic effort. A retaining wall was used to allude to the physical manipulation of a natural landscape into a more programmatic landscape. The final pavilion was tucked into the side of a hill creating a stage for the pavilion to occupy.

46

A 04

Dancing Pavilion

Right [descending]: A Series of Ritual Drawings Arrival Threshold Moment of Stasis

A 04

Dancing Pavilion

47

Right [clockwise]: Final Model Kinetic Wall With Integrated Canvas Panel Threshold Gallery of Stasis + Reflection Opposite: Ritual Experience At Full Scale

48

A 04

Dancing Pavilion

05

PSEUDO SCAPE

Typical Urban Typologies Building

Infrastructural

Environmental

Single Family Residence

Roads

Forests

Multi Family Residence

Sidewalks

Parks

Mixed Use Commerical

Bike Avenues

Gardens

Commerical

Bridges

Industrial/Employment

Railroads

rough

chaste

New Urban Typology

laminate

Sensory pseudoSCAPE loud

dense

linear

frenzy

techno

composite

Urban Typology

Metamorphic Membrane

soft

sensual

intimate

solitude

Transformation of Typical Urban Textures

52

A 05

pseudoSCAPE

riverSCAPE

greenSCAPE

urbanSCAPE

PDX River Story // pseudoSCAPE Fifty-four percent of the total global population presently resides within a tight, urban environment. This number is projected to continue rising into the future, so it is safe to conclude that our planet is increasingly becoming a conglomerate of cities. While the many benifits of an increasingly urbanized environment is exciting, there have been a number of recent studies that have pointed out some of the pitfalls of this historically foreign setting for the human species. Constant sensory stimulation, common within an urban core, has been linked to an increase in mental health issues including anxiety, depression and schizophrenia. While there are many factors that could play into a more comprehensive resolution, this project asks whether or not introducing an urban typology, that specifically addresses urban sensory experience and seeks to mitigate exposure, could result in a healthier and more viable urban core. psuedoSCAPE is my personal contribution to World River Story, a social sculpture project hosted by Kentaro Ichiki and Where Art and Science Fall In Love. He is asking creatives across all disciplines to redesign rivers of the world into hubs for cultural, artistic and technological breakthroughs. pseudoSCAPE is one part of a collective effort, of multiple conceptual proposals, that seeks to map the Willamette River in Portland as the first North American river on the World River Story platform. For more info visit: worldriverstory.org

A 05

pseudoSCAPE

53

Urban Sensory Stimulation The current urban enviornment is laced with a slew of objects and impedimentas that all contribute to an overstimulation of human sensory response. The advent of technology and its aggressive infiltration into our daily lives only contributes to this provocation. In a urban core packed densely with people and stuff, it is all but impossible to find sensory relief which in our nature we desperately desire. It is no wonder that sensory deprivation experiences, for example float shops, are gaining popularity with millenials.

This and the onset link between urban stimulation and mental health issues makes it imperative that for a viable future, we must find ways to restrict environmental stimulation in the city. What if we could use the healing and cleansing properties of water as means for a sensory detox? pseudoSCAPE: river story as a sensory cleansing experience.

54

A 05

pseudoSCAPE

A 05

pseudoSCAPE

55

THRESHOLD INTERMITENT VACANCY BREAKOUT

PHASE SHIFT INFRASTRUCTURAL ABUTTMENT

INFRUSTRUCTURAL CONSUMPTION

MOMENTARY ENGULFMENT WATER FRINGE

Visual Cleansing Experience

Atmosphere Atmospheric questions regarding the visual environment in a city center. Generally, compositions include flat planes, rectilinear form, impersonal materials that could result in an overstimulation of the ocular nerve.

Typical Urban Environment

pseudoSCAPE proposes the introduction of atmospheric elements into the urban environment as a means by which to soften visual perspectives. To hide city forms in a sensuous way, where users are made completely unaware of their immediate urban surroundings. A means by which to provide temporary solitude in a dense setting. A blurring of begining and ending, a cleansing engulfment.

56

A 05

pseudoSCAPE

THRESHOLD

DIGITIZED URBAN SCREEN

TECHNO窶的SOLATION SOLITARY MOMENT

WHITE NOISE GENERATOR

Auditory Cleansing Experience

Commotion Questions regarding the loudness of commotion and general sound pollution commonly found in cities. This includes loudness not only from physical medium like people and vehicles but also from the

Typical Urban Environment

digital world. pseudoSCAPE introduces way to quiet the realties of techno-stress in our physical and digital environment.

Elements might include techno-isolation and a digitzed urban screen that blocks out all distractions found in city. Moments of quiet are juxtaposed with moments of noise.

White noise generators would alleviate stress and allow urban ears momentary relief.

A 05

pseudoSCAPE

57

TOXIC CONTAINMENT

THRESHOLD

FRAGRANT CLEANSE

AROMAL ENHANCEMENT

Fragrant Cleansing Experience

Redolence Urban environments commonly suffer from odor pollution, both smells and tastes.

Chemical reactions that arouse the nose and the tongue. pseudoSCAPE proposes an evironment for fragrant cleanse, both aromal

Typical Urban Environment

enhancement and diffusion. A means by which to cleanse the pallate and allow one to taste of the city once more.

58

A 05

pseudoSCAPE

INFRASTRUCTURAL CONSUMPTION

ENVELOPE OF ENGAGEMNET

THRESHOLD

CONCRETE MITIGATION

Tactile Cleansing Experience

CIVIC CLEANSING EXPERIENCE

Contingence Questions regarding the tactile nature of the built environment. Improved surfaces, like pavement and cladding, while offering environmental resilience, result in an impersonal, tactile experience. Divorcing

Typical Urban Environment

one from his physcial environment. pseudoSCAPE introduces an new environment that seeks to neutralize urban experience by means of physical touch. The reintroduciton of natural textures, if allowed to overtake the urban environment, would be useful in the creation of an organic city.

Enabling an immediate connection between city dwellers and their physical environment.

A 05

pseudoSCAPE

59

Cardinal Birth The Willamette River has served as a historical precedent in Portland for what it means to create a livable city. In 1972, Harbor Drive was destroyed in favor of establishing Tom McCall Waterfront Park. An early move by city planners that demonstrated an attitude for ecological responsiblity allowing Portland city dwellers access to their riverfront. It is an ideal location for the first implementation of pseudoSCAPE. Grounding itself in history and once more redefining for a generation what it means to have a healthy and viable city that looks at urban planning from a holistic point of view.

60

A 05

pseudoSCAPE

A 05

pseudoSCAPE

61

01

PITCHDARK CHOCOLATE

Left: Selected Chocolate Bar Mockup Right [clockwise]: Collection of Print and Packaging Components Identity Photography Unfolded Chocolate Box

ECUADOR WOODSY . SPICY . FRUITY

73

percent

MOLDED AND PACKAGED BY HAND IN BEAUTIFUL PORTLAND, OREGON

M ODER N A MERICAN CHO COLATE

M O DERN A M ERI CA N CHO COLATE

73% ECUADO R ORIGIN BALAO PROCESS BEAN TO BAR NOTES WOODSY, SPICY, FRUITY WE AR E H O NO R E D WI T H T H E O P P O RT U N I T Y TO S H OWCAS E T H E R E M AR K AB L E C O C OA G R OWN O N T H E CAM I NO VE R D E P L A N TAT I O N FO UND I N T H E B AL AO R EG I O N O F EC U A D O R .

T H I S B E AN H AS AN AB SO L UT E LY E XQ UI S I T E AR O M A . B OAST I NG F LO R E SC E N T, F RUI T Y F L AVO R S AND UNC LOAK I N G B O L D, WO O DSY TO NE S , T H E E XC E PT I O N A L F L AVO R O F T H I S B AR I S A R E S ULT O F T H E FAR M E R’S M E T I C ULO US F E R M E NTAT I O N AND D RY I NG P R O C E S S. I T R E AL LY I S R E M AR K AB L E .

INGREDIENTS COCOA, SUGAR

Pitchdark Chocolate Company A Portland, Oregon crafter compelled to forge a new yet authentic manner for understanding chocolate. Every aspect of production,

WWW.PITCHDARKCHOCOLATE.COM

from initial roasting to final packaging, is carefully considered to ensure the ultimate tasting experience for the everyday connoisseur.

I was commissioned by the owners to develop and integrate a

INGREDIENTS COCOA, SUGAR

new corporate identity for their company. I was responsible for the

WE AR E H O NO R E D WI T H T H E OP P ORT U N I T Y TO S H OWCAS E T H E R E M AR KA B L E COCOA G R OWN O N T H E CAM I NO VE RDE P L A N TAT I ON FO UND I N T H E B AL AO R EG I ON OF ECU A DOR .

T H I S B E AN H AS AN AB SOL U T E LY E XQ UI S I T E AR O M A . B OAST I N G F LORE SCE N T, F RUI T Y F L AVO R S AND UN CLOA KI N G B O L D, WO O DSY TO NE S , T H E E XCE PT I ON A L F L AVO R O F T H I S B AR I S A RE S U LT OF T HE FAR M E R’S M E T I C U LOU S F E R M E NTAT I O N AND D RY I N G P ROCE S S .

I T R E AL LY I S R E M ARKA B L E .

creation and implementation of all graphic, copy and packaging components. The main art direction was an art-deco themed design that embodied a sense of elegance and refinement while remaining grounded in dedicated craft. Their new logo is a turn of the century

ORIGIN BALAO PROCESS BEAN TO BAR NOTES WOODSY, SPICY, FRUITY

inspired lamp post and custom typeface, influenced by the Aeronaut

73% ECUADOR

ROASTED, CRACKED, SORTED, WINNOWED, REFINED, CONCHED, TEMPERED,

P I TCH D A R K

P I TCH D A R K

font. The chocolate box seeks to make a lasting impression and create instant brand recognition with its dramatic V-cut top.

B 01

Pitchdark Chocolate

65

02

LINEA

Opposite: Poster Mockup of Complete Alpahbet

Linea // 3D to 2D Alphabet Translation

Above [clockwise]: 3D Letter Iterations Exploring Materiality Basswood Nylon Thread 16 Gauge Aluminum Wire Final Nylon Letterforms Mounted to Corrugugated Plastic Sheet

Seeking to create a dimensional interpretation of letterforms, this project seek to explore the boundaries of spatiality contained within a specific, typographic glyph. My perception of type characters is one that has always seen them as flat. I was curious to investigate each characters unique quality and push it into the three dimensional world. A series of 3D letterforms was constructed to physically investigate their unique shapes and forms. I selected the most dynamically exciting iteration and then translated the forms into a custom drawn 2D typeface. By limiting the construction of both the 2D and 3D letterforms to shapes created by point and line interactions, I was able to push the boundaries of how a type character can exist in our world.

B 02

Linea

69

Contact:

matia.andrew@gmail.com andrewmatia.com

1095 SW 197th Ave Beaverton, OR 97003 +1.503.327.5008