Evolution

EVOLUTION

ANDREW MATIA

EVOLUTION A Design Portfolio

2017

EVOLUTION

2017

THE GRADUAL DEVELOPMENT OF SOMETHING FROM A SIMPLE TO A MORE COMPLEX FORM; A PATTERN OF MOVEMENT OR MANEUVER

CONTENT

Introduction

A

B

09

Selected Graduate Work 01

This Dimension Corrupt

10

02

Dynamic Fidelities

22

03

aggroTHING

28

04

Edges + Enclaves

34

Selected Undergraduate Work 05

WeavePDX

40

06

at–Risk Patterns

50

Contact

61

An Attitude for Good Architecture

Foremost, good architecture comes only from a journey of exploration.

in the extremely refined, programmatic organization of the Seattle

It is fascinated with possibilities unexplored, resolutions unresolved

Public Library and I have built a humanitarian conscientiousness by my

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

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

places through abandoned means; heightening nostalgic yet hopeful

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

experiences for all.

Awestruck by its context, good architecture

into my belief that good architecture is above all a sensory experience

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

that expresses meaning and value through the simple mediums of

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

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

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

the betterment of society.

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

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

essential for its present occupants. This ensures a lasting relevance

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

that will be cherished by inhabitants both present and future.

Good

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

architecture allows its inhabitants to perceive the world with the

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

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

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

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

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

upon which life unfolds. Good architecture successfully composes a

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

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

fearless optimism, powerful composition and joyful pragmatism.

It is my duty as a student of architecture

a way that stirs up strong feelings of emotion; heightening the senses into a connectedness of experience. Good architecture is also smart and intelligent; useful in its purpose, easily understood, intuitive to all.

Good architecture acknowledges the vastness and beauty of

nature and responds in reverence. It seeks to exist in correlation and correspondence. It is honest and responsible in materiality seeking only to draw what is necessary for existence but not lavishness. Most of all good architecture should exist in parallel with humanity and nature.

My name is Andrew Matia and the following is a journey thru my evolution in architecture. These thoughts are an amalgamate of both my visceral experience of built works and my formal education. I believe architecture is the means by which humanity creates the truest and most sincere expression of its collective values. I have witnessed the transcendent through the lux nova in the Basilica of St. Denis and I have consumed the sensual through the dynamic curvatures of the Walt Disney Concert Hall. I have wandered through rational thought

10

01

THIS DIMENSION CORRUPT

University of Pennsylvania PennDesign Foundation — ARCH 501 Design Studio Term: Fall 2016 Critic: Danielle Willems

An unspeakable horror seized me.

There was a darkness; then a dizzy, sickening sensation of sight that was not like seeing.

I saw a Line that was no Line; Space that was not Space: light that was not light.

I was myself, and not myself. When I found my voice, I shrieked aloud in agony, either this is madness or hell. It is neither.

This Dimension Corrupt This Dimension Corrupt defines architecture as a set of spatial and

the superposition of the two. It is the interplay of these elements that

formal conditions defined by curves, the primary adjective of form;

form the foundation for a corrupt architectural expression.

and planes, the limiting interference of space, that is corruption.

This expression exists as an application, not a generator. That is, an

Questioning the conventional notion that architecture is the spatial

operation to be performed on an object, not a practice that conceives

congruence of lines as definers of space, it seeks to establish a

intrinsically. This is innate to the idea of corruption. For something

new, perhaps sickening spatial sensation by evolving limited yet

is only corrupt, if and when the pure exists as its precursor. As such,

specific interference into a new modality for architectural expression;

the massing of the architecture was carried out as a separate exercise

corruption, as fundamental understanding of space.

exploring ideas of vertical orientation through curiously, strange

Derived first in a graphic series of digital image manipulation, the

relationships; originally borrowing direct formal language from the

intrinsic nature of lossy image compression was exploited to create 2D

contours of the Oceana series by Russel Wright.

corruption fragments. By isolating specific fragments and selectively

Once a mass was established and the relationship between its spaces

translating them to 3D form, corruption is formalized into three isolated

programmed, a series of multidimensional corruption was carried out

yet related categories: pixels, the 2D graphic surface application of

in aims to redefine what was expected in the architecture’s spatial and

corruption; bytes, the 3D extrusion of corruption profiles; and qubytes,

temporal physicality and formal language.

12

A 01

This Dimension Corrupt

Qubyte

Byte

Glitch Gallery

Wormhole

Glazing

Pixel

Front Elevation

Rear Elevation

A 01

This Dimension Corrupt

Front Elevation

Left Elevation

13

mass [it.03]

mass [it.05]

it.01.1

#.11

it.03.1

#.22

it.05.1

#.01

it.01.2

#.12

it.03.2

#.23

it.05.2

#.02 #.03

it.01.3 it.01.4

#.13 #.14

it.03.3 it.03.4

#.24 #.25

it.05.3 it.05.4

#.04

it.01.5

#.15

it.03.5

mass [it.02]

mass [it.04]

mass [it.06]

#.05

it.02.1

#.16

it.04.1

#.26

it.06.1

#.06

it.02.2

#.17

it.04.2

#.27

it.06.2

#.07 #.08

it.02.3 it.02.4

#.18 #.19

it.04.3 it.04.4

#.28 #.29

it.06.3 it.06.4

#.09

it.02.5

#.20

it.04.5

#.30

it.06.5

#.10

it.02.6

#.21

it.04.6

.00

.05

.11

.16

.22

.25

.01

.06

.12

.17

.23

.27

.02

.07

.13

.18

.24

.28

.03

.08

.14

.19

.25

29

.04

.09

.15

.20

.10

.62

14

mass [it.01] #.00

A 01

.30

.21

.63

This Dimension Corrupt

.64

.65

mass [it.07]

skin [it.01]

mass [f.01]

#.31 #.32 #.33

it.07.1 it.07.2 it.07.3

#.47 #.48 #.49

it.01.1 it.01.2 it.01.3

#.58 #.59 #.60

mf.01.1 mf.01.2 mf.01.3

#.34 #.35 #.36 #.37 #.38

it.07.4 it.07.5 it.07.6 it.07.7 it.07.8

#.50 #.51

it.01.4 it.01.5

#.61

mf.01.4

#.39 #.40 #.41 #.42

it.07.9 it.07.10 it.07.11 it.07.12

#.43 #.44 #.45 #.46

it.07.13 it.07.14 it.07.15 it.07.16

skin [it.02]

mass mapping

#.52 #.53 #.54

it.02.1 it.02.2 it.02.3

#.62 #.63 #.64

Planar [elevated] Cylindric [local] Cubic [total]

#.55 #.56 #.57

it.02.4 it.02.5 it.02.6

#.65 #.66 #.67 #.68

Spheric [local] programMAP [it.01.1] programMAP [it.01.2] programMAP [it.01.3]

.31

.37

.41

.47

.52

.58

.32

.38

.42

.48

.53

.59

.33

.39

.43

.49

.54

.60

.34

.40

.44

.50

.55

.61

.35

.45

.51

.56

.36

.46

.57

Upper Galleries

Circulation Wormhole Exterior Gallery Portal Lower Galleries

.66

A 01

.67

This Dimension Corrupt

.68

Support Space

15

A

Existing R.W. House + Studio

Waters Edge

Terraced Land Formations

Quarry Lake

Gallery Proposal

A

20’

Left: Site Plan Section A–A with East Elevation

0’

Right: Ground Floor Plan Section B–B

16

A 01

This Dimension Corrupt

Entrance From R.W. Studio

Auxillary Gallery

Qubye Spatial Structure

Circulation Wormhole

B

B

Ground Floor Foyer

Elevated Terrace

88’– 0”

Qubyte

72’– 0”

Corrupt Gallery 60’– 0”

To Glitch Terrace 48’– 0”

Wormhole 36’– 0”

Lower Gallery 24’– 0”

Foyer

0’– 0”

8’

0’

A 01

This Dimension Corrupt

17

Right [clockwise]: Interior Gallery Space Outdoor Terraced Gallery Circulation Wormhole

18

A 01

This Dimension Corrupt

A 01

This Dimension Corrupt

19

Right: Final Physical Model Digital and Analog Fabrication

In sum, This Dimension Corrupt acts as a portal to a new found knowledge of architectural expression by blurring the line between physical and virtual space. Why? According to psychologist, Jordan Peterson, our cognitive understanding of the external world materializes in a series of high and low

resolution

rationalized

representations

and

that

are

by

our

characterized

senses. Essentially, the world is so complex and multi-layered that a total knowledge of it is impossible, so humans unconsciously categorize

things

respective

to

their

immediate importance.

Static in nature, architecture falls into low resolution characterization. Its expression is often certain and dull; an author of ignorance.

This project does not claim that glitch architecture is the best way forward. Rather, the polemic is for a new form of architectural expression that calls itself to attention because, by its definition, it strays away from what is expected, allowing one’s senses to refocus on what they are continuously, yet unexpectedly, confronted with.

Juan José Saer defines the “unknown as an abstraction and the known as a desert.”

This Dimension Corrupt lies somewhere in between. Something that is half-known and half-seen for this is the perfect breeding ground for desire and hallucination.

20

A 01

This Dimension Corrupt

A 01

This Dimension Corrupt

21

02

DYNAMIC FIDELITIES

University of Pennsylvania PennDesign Formal Efficiencies — ARCH 740 Design Elective Term: Spring 2017 Critic: Erick Carcamo

Above: Particles: 1000 – 5000 count Path: Traced Frames 400 of 2000 Frames Mesh: Quad; 50 – 90% proximity threshold Right: Particle: 10,000 count Path: Traced Frames 500 of 1200 Frames Mesh: Quad; 95% proximity threshold

24

A 02

Dynamic Fidelities

Dynamic Fidelities A compilation of ephemeral masses, Dynamic Fidelities explores and develops the notion of proficient geometric variations using time and motion capture as both generator and recorder of architectural possibilities. By introducing a high level of complexity to digital design iteration, questions regarding geometric articulation, accuracy and performance develop new understandings in the contemporary setting of CG animation. Animation tools inherently introduce time as a temporal element, acting not only as a simulated ‘physics engine’ with its attributes, but also as a geometric generator. By tracing and capturing individual particle movements in time, successive phases of motion develop new languages for expression; both physical and spatial manifestations. This formal articulation is not limited by traditional parameters, so a wide and varying degree of gestures become possible. They simultaneously exist and are available at extremely high and low resolutions because of their parametric nature.

A 02

Dynamic Fidelities

25

Left: Particles: 1000 – 2000 count Path: 400 of 2000 Frames Mesh: Quad; 10– 20% proximity threshold Right: Particle: 1000 count Path: 200 of 1000 Frames Mesh: Quad; 35% proximity threshold

26

A 02

Dynamic Fidelities

A 02

Dynamic Fidelities

27

03

AGGRO— THING

University of Pennsylvania PennDesign Digi–Blast II Digital Design Workshop Term: Summer 2016 Critic: Ezio Blasetti + Danielle Willems

Regular Surface Subdivided into 5x5 Grid

Extruded Polysurface From Simple Curve Regular Surface Subdivided into 5x5 Grid

Chamfered Naked Edges by 15 Degrees

Mesh Face Extracted From Warped Polysurface

New Polysurface

Mulitfaceted, Three Dimensional Polysurface

Simple Form Arrayed Into a 2x2 Grid

Simple Object Aggregation

Polysurface Flaps Rotated Upwards by 65 Degress

Arrayed Grid Reflected Upon Itself

Aggregation Wrapped Around Mulitdirectional Mesh Face Upper Array Reduced

Continued Multidirectional Aggregation and Selective Reduction

Left: Recursive Aggregation and Assembly Above: Component Construction Logic Right: Courtyard Experience

30

A 03

aggroTHING

aggroTHING | An Ephemeral Folly thing: (noun)

aggroTHING is a fictional proposal for the yearly Young Architects

1. a material object without life or consciousness; an inanimate object

Program (YAP) founded by MoMA and MoMA PS1 which offers

2. some entity, object or creature that is not or cannot be specifically

emerging architectural talent the opportunity to design and present

designated or precisely described

innovative projects for a temporary, outdoor installation in the MoMA

3. anything that is or may become an object of thought

PS1 courtyard that provides respite with shade, seating and water. aggroTHING explores the notion of recursive aggregation whereby

aggregate: (adjective)

a simple component is specifically grown and expanded along a

1. formed by the conjunction or collection of particulars into a whole

structural spine, successively establishing a compelling part-to-whole

mass or sum; total; combined

relationship. Complexity and intricacy emerges at the scale of the

2. a sum, mass or asemblage of particulars; a total or gross amount

whole, not the part.

A 03

aggroTHING

31

0

4’

8’

16’

Jackson Avenue

0

32

4’

aggroTHING threshold

8’

A 03

16’

aggroTHING

Momentary Relief

Benches Borrow Component Logic

B

A

A

N

0

16’

32’

64’

B

Top [clockwise]: Section A–A Grounds Plan Section B–B

A 03

aggroTHING

33

04

EDGES + ENCLAVES

University of Pennsylvania PennDesign Foundation — ARCH 502 Design Studio Term: Spring 2017 (work in progress) Critic: Miroslava Brooks Team: Mohamed Ali

36

A 04

Edges + Enclaves

Precedent: Paul Klee, Dream City, 1921 Left Page: Composite, Gestures in Dream City Right Page: Operational Analysis, 1+2 Formal Analysis, 3–5

Edges + Enclaves A series of drawings dedicated to the study of urban enclaves and

Ungers’ manifesto, The City In The City: Berlin the Green Archipelago,

urban edges through the projective and speculative analysis of their

in which a series of drawings and images show “the different layers

implicit and explicit conditions. Drawn as a precedent analysis before

and elements of a city’s structure and urban fabric” and the wonderful

the development of a library in Parkside, Philadelphia, the goal was to

interplay that exists between these factors. The drawings analyze

think of the city as a whole and to see the library, a singular architectural

precedents at three scales: the painting, the building and the city; and

intervention, as part of a larger project contained in a series of pre-

they specifically consider three edge conditions: the stable edge, the

existing edge conditions of the city. It is partially inspired by Oswald

non-existant edge, and the unstable edge.

A 04

Edges + Enclaves

37

Precedent: Candilis, Josic, Woods Toulouse Le Mirail, 1961 University of Bochum, 1962 Free University Berlin, 1963 Top: Composite Bottom: Formal + Operational Analysis

38

A 04

Edges + Enclaves

Precedent: SANNA 21st Century Museum, 2004 Top: Composite Bottom: Formal + Operational Analysis Sanaa | 21st Century Museum | 2004

Sanaa | 21st Century Museum | 2004

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

A 04

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

Edges + Enclaves

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

Sanaa | 21st Century Museum | 2004

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

Sanaa | 21st Century Museum | 2004

Sanaa | 21st Century Museum | 2004

Sanaa | 21st Century Museum | 2004

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

ARCH 502 Design Studio | University of Pennsylvania | Penn Design | Spring 2017 | Miroslava Brooks

Mohamed Ali + Andrew Matia | precedent analysis | 2017-02-23

39

05

WEAVE PDX

Portland State University School of Architecture Architecture Studio 7 — ARCH 481 Design Studio Term: Winter 2016 Critic: Travis Bell Awards: AIA Citation Award

Nesting Elements Simple, Triangulated Module

Arranged Horizontally For Optimum Spatial Flexibility

Stacked Vertically For Maximum Density

Excavated Crevasses 200’ x 156’ Unit Block

Extruded Vertically For Maximum Density

Excavated Crevasses Stimulates Dynamic Experiences

Weaving Peaks 200’ x 156’ Unit Block

Spatial Arrangement on Typical Grid For Pedestrian Alleyways

Weaving Composition of Orientation & Mystery

Above: Perspective Looking East On Alberta

42

B 05

Massing

Weave PDX

Circulation Diagrams

NE Thirteenth Ave.

NE Twelfth Ave.

NE Tenth Ave.

NE Eleventh Ave.

NE Alberta St.

Vehicle Pedestrian

N

0

16’

32’

64’

Weave PDX | Reconsidering Modern Dwelling The Alberta Arts District has a long and diverse history as a cultural

final intervention is an amalgamate of three initial proposals that

center for the city of Portland. Long a place for makers and artists, the

strictly considered the Rules for Creating Good and Attractive Cities,

neighborhoods recent redevelopment and inevitable gentrification

a rulebook, developed in the first part of the term, of architectural

has led to the pushing out of residential makers. Accordingly, Weave

characteristics embodied by the world’s most livable cities as ranked

PDX proposes a mixed-use development along NE Alberta St.

by Monocle Magazine. It draws its formal inspiration from the

between NE Eleventh and Twelfth Ave that specifically addresses

poetic weaving of threads in a piece of fabric, weaving and wefting

this issue. It seeks to incorporate self-reliant work not only as a way

programmatic elements, circulation, interests, nature and building.

to redefine the modern domestic environment, but also as means to

Weave PDX creates a dynamic live/work environment for its residents

fabricate an energetic and livable urban experience. Urbanites are

and visitors by creating a unique and meaningful relationship between

introduced to the juxtaposition of space within one complex. Private

life and the maintenance of it.

and public. Work and play. Resident and transient. Intimate and formal.

The diversity of these experiences engages the human condition from economic, spiritual, physical and non-physical mediums. The

B 05

Weave PDX

43

Weaving Composition of Residences

Extruded Workspaces

Street Facing Units Elevated on Podium

Podium Extruded Into a Series of Private Terraces

Form Sculpted Into Warping and Wefting Faces

Expansion of Central Thoroughfare Into Wefted Environment

Private Terraces Refined Around Private and Public Circulation

Enclosure of Thoroughfare / Hierachical Seperation of Private and Public Access

Torn Thread Allows Public Breach of Structure

Ground Floor

First Floor

Second Floor

44

B 05

Weave PDX

Beam Along Ridge 2”x 12” Stick Framed Roof

2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing

2” x 4” Stud Shear Wall With APA Rated Gypsum Board

2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing

2” x 12” Engineered I-Joists

White Stucco Finish

2” x 4” Stud Shear Wall With APA Rated Gypsum Board

2” x 6” Prescriptive Braced Panel With APA Rated Plywood Sheathing 2” x 6” Alternate Braced Panel Reinforced Concrete Shear Walls Two-Way Reinforced Concrete Flat Slab

Two-Way Reinforced Concrete Flat Slab

Hybrid Poplar Cladding

Non–Structural 2” x 6” Stud Wall

Right: Axonometric Assembly And Construction

1/4” in. x 12” Aluminum Fin

Opposite Page [Descending]: Diagramatic Illustration of Formal Manipulation

1/4” in. x 6” Aluminum Fin

Plans 1/4” in. x 6” Aluminum Fin

B 05

Weave PDX

Reinforced Concrete Column

Translucent Privacy Glass

45

Section A

Section B

Section C

46

B 05

Weave PDX

Dynamic Pedestrian Experience

B 05

Weave PDX

47

Right [clockwise]: Typical Residential Loft Unit Retail / Work Environment Typical Residential Living Unit

48

B 05

Weave PDX

B 05

Weave PDX

49

06

at-RISK PATTERNS

Portland State University School of Architecture Architecture Studio 4 — ARCH 381 Design Studio Term: Winter 2015 Critic: John Cooney

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

Non-Terrain // An at-Risk Psychogeographic Map

52

B 06

at–Risk Patterns

Workshop Experience Montage

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

of small wooden members. Cooperatively, they form a rigid space

intervention proposes a new home for a cooperative of students and

frame, allowing this urban infill to become a building of pure space,

artisans who come together around the craft of constructing canoes.

not form. The minute detail of assembly reflects the type of craft that

This after-school program is aimed towards students from Portland

is present in wooden boat design and construction. When coalesced

Public Schools who have been deemed atRisk. These students, who for

individaul members form a mosaic of pure beauty and grace, but

a variety of reasons do not excel in the general education environment,

indvidually they each retain a sense of understanding and intuition.

are given special attention after hours for their development both

The interlacing, non-continuous floor plates and mezzanine level

educationally and psychologically. Through learning the craft of boat

come together to form a clearing in the structure of space and light;

building they are not only pushed to learn and preserve a tradition

an emerging full of energy and a collective activity. The focal point of

that is uncommon to the masses, but are also offered the opportunity

the building centers on the towering, boat repository structure that

to learn the skills of manual labor and detailed craft. Thus the hope,

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

that as they successfully launch a boat, they lauch their life. The vision

the biography of each student and present their acomplishments to

of this program is expressed holistically not only in programming

the public. Able to be viewed from both the interior and the exterior of

but also in the architectural design, construction and assembly. The

the structure, each completed boat symbolically celebrates the victory

building’s stuctural system, while appearing complex from a distance,

of life.

is composed by the simple layering of a seemingly countless number

B 06

at–Risk Patterns

53

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

54

B 06

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

B 06

at–Risk Patterns

55

56

B 06

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 B 06

at–Risk Patterns

57

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

58

B 06

at–Risk Patterns

Contact:

amatia@design.upenn.edu www.andrewmatia.com +1.503.327.5008

2322 Spruce Street Philadelphia, PA 19103