Kinley Matthews Undergrad Architecture Portfolio

Kinley Ma hews

Fay Jones School of Architecture + Design The University of Arkansas

“The Sun does not realise how wonderful it is un l a er a room is made.”

-Louis Kahn

TABLE OF CONTENTS LAMINATE SERIES vii DWELL ix GROTTO xix USA PAVILION TRANS-LOGIC STUDIO xxxv WILSON BOUTIQUE HOTEL URBAN DESIGN BUILD STUDIO lix

WHIPPLE EDUCATION CENTER

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LAMINATE 5TH YEAR STUDIO SERIES Professors: Peter MacKeith, Thomas Robinson + LEVER Team

Laminate: transi ve verb: a) to make something by uni ng superposed layers of one or more materials; b) to unite (layers of material) by an adhesive or other means Laminate: noun: a product made by lamina ng This advanced design studio examined and ar culated the inter-related issues of personal iden ty and public engagement, working in design through the transforma ve material medium of wood. The studio consisted of a series of researched visual and verbal inves ga ons, scaled material construc ons, and tectonic architectural designs. The studio proposed that the material lamina ons of mber and wood products can be analogues for the layered iden ty of an individual and the layered character of the United States. The studio commi ed to the reality of material and the reality of contemporary life: was the media on between “the virtual” and “the real” in design and construc on, between the mind and hands of the designer and the mind and hands of those fabrica ng and construc ng.

The USA Pavilion was the semesters result of explora ons and design strategies, the Laminate Series proposing as a “laminate of laminates.”

Project Type: Reliquary: DWELL DURATION: 1 WEEK

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GROT · TO 5TH YEAR STUDIO SERIES Project Type: Medita on/Sacred Space

/grädō/ noun: gro o; a small picturesque cave, especially an ar ficial one in a park or garden.

The design is imagined as a singular space and a unified construc on. It is illuminated primarily by natural illumina on and only vented by natural ven la on. The design does not need any further mechanical or environmental systems. It is constructed using only cross-laminated mber, fasteners and connec ons of another material, but only in a secondary role. It is designed to be assembled and disassembled, as well as portable, mobile – deployable and useful in mul ple loca ons.

The design provides a sheltered place for reflec on and medita on, configured in wood, as much for an individual, or several individuals, as for a group of up to 25 people.

This place is open and accessible all throughout the day and into the evening. It is ambi ous towards the “sacred,” or the “numinous,” but is non-denomina onal, without reliance on par cular icons or symbols, employing the most fundamental of architectural means to invoke those sensibili es.

DURATION: 3 WEEKS

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CONCEPT

Jomblang Cave | BP Chua

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CONCEPT

John Pawson’s Wooden Chapel | Felix Friedmann

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SCALE 1/4 1 ELEVATION 0 LEFT (NORTH) SCALE 1/4” - 1’ - 0”

RIGHT (SOUTH) ELEVATION SCALE 1/4” - 1’ - 0”

FRONT (WEST) ELEVATION SCALE 1/4” - 1’ - 0”

BACK (EAST) ELEVATION SCALE 1/4” - 1’ - 0”

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SECTION B SCALE 1/4” - 1’ - 0”

SECTION A SCALE 1/4” - 1’ - 0”

A

A

B

B

FLOOR PLAN SCALE 1/4” - 1’ - 0”

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Exterior Perspec ve - Sacred Space

“You present a quality, architectural, no purpose. Just a recogni on of something which you can’t define, but must be built...But that’s a definite a see. It doesn’t start with prac cal issues. It starts from a kind of feeling that there must be a world within a world. The world where man’s mind,

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architectural quality. It has the same quality of all religious places,” (page 35). It’s the beginning of architecture. It isn’t made out of a handbook, you you see, somehow becomes sharp,” (page 36). - Silence and Light, Louis Kahn

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Interior Perspec ve - Sacred Space

“Architecture is o en the representa on and staging of light. As has been shown in previous chapters, architecture makes itself present with light. spaces acquire a drama c dimension that reinforces the effect of a staging. In general, the theatricality is achieved in spaces that are lit by zenith space that plays the leading role requires a greater intensity of light.” - Zenithal Light, Chapter VI, Staging

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. Thus, the interior space of architecture is a container and lends form to light. If, moreover, the main source of light is zenithal, the architectural al light. The space that is illuminated and framed by the penumbra creates this scenographic drama c effect. As also occurs in the theatre, the

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USA PAVILION 5TH YEAR STUDIO SERIES Project Type: Exhibi on Pavilion

Play your part in the future of humanity, witness the real impact of your ac ons and create change through collabora on.

The proposed design incorporates in part the previous work undertaken in previous phases of the studio. The design is in alignment with USFS’ founder Gifford Pinchot’s vision of the na onal forests, such that the pavilion achieves “a greater good, for a greater number,” further following the principles of “low to no” carbon design, “cradle-to-cradle” design thinking and a circular, and regenera ve economy.The USA Pavilion is designed and constructed primarily of mber and wood products, with the following ambi ons: 1| represen ng the diversity of species and the surplus growth of the na onal forests; 2| employing means of construc on in mber and wood ranging from paper products to dimensioned lumber to whole logs, along with the many families of engineered wooden products – plywood, CLT, LVL, etc.

3| emphasizing the tac lity and sensory experience of the forests.

DURATION: 6 WEEKS

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CONCEPT

Camino Forestal Hermosa | Vitaly Suprun

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CONCEPT

Tongrass Na onal Forest, Alaska | Don MacDougall/USFS via Flickr

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“You are one in 8 billion. And while it may seem that the acࢼons of one person can’t change the world, it’s ࢼme to think again. Be an agent of change and build a be er future for everyone.”

- The Opportunity Pavilion

Site Context

The 2020 Dubai UAE Expo proposes three thema c Pavilion sectors; the Sustainability Pavilion, the Mobility Pavilion, and the Opportunity Pavilion. The USA Pavilion resides in the Opportunity Pavilion sector, therefore focusing on encouraging its visitors the hope for a be er future for everyone.

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Exterior Perspec ve - South Approach

My understanding of the United States is that we can greatly iden fy as an ecosystem of biodiversity. To be responsive of place, the design uses techniques found in Islamic architecture. The design abstracts form and light, while materially tying back to our na onal forests.

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GROUND LEVEL

AXONOMETRIC

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Exterior Perspec ve - West Approach

This design is a formal evolu on of the Laminate series semester’s work. With the design heavily weighed on response to site and the desire for a design that revolves around light, the formal strategy takes head of mountainous forms that are collected together through a canopy that takes it form from that of the original concept of our Na onal Forests.

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Exterior Perspec ve - Beneath the Canopy

Beneath the flow of the canopy, using an acetone transfer technique, allows images and words to dorn the surfaces while never losing the materia who visit the pavilion will learn about the opportuni es that our mber industries can provide for the future of construc on in America, and world

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ality of the wood that lies underneath it. The exhibi on honors images and text relevant to the United States na onal forests and doctrines. Those dwide.

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Diagram - Joint Connec on

The idea behind the design of the CLT joint uses a technique, with respect, in Islamic pa ern design, also known as quasicrystals. Through discovery in this technique, the geometric pa erns designed for this joint stems from a structure that is ordered but not periodic, with the desire to mimic that of the light that peaks from the tree canopies in Arkansas’ Na onal Forest.

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Interior Perspec ve - Day

Interior Perspec ve - Night

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Model Images - Joint Connec on

In conjunc on with CutMyTimber, a fabrica on lab, this joint works primarily as a light bringer, a natural ven lator, and a design decision that is responsive to site. During the day, small specks of exterior light enter the space, and at night, the space is filled with a starry-night atmosphere. This joint is the experimenta on of how far we can take the common material CLT (cross laminated mber) and reinvent it for other purposes than structural.

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WILSON BOUTIQUE HOTEL TRANS-LOGIC STUDIO Professors: Marlon Blackwell, Jonathon Boelkins, and Emily Baker Project Type: Adap ve Re-Inven on

Small town, big ambi ons.

Our studio is set in Wilson, Arkansas: “Located deep in the heart of the American South, on the Mississippi River Delta, Wilson is a small town with great ambi ons. A farming community and former ‘company town’, Wilson is poised to become a beacon for change, in the region and beyond”. This small town has a vision for uni ng educa on, arts, food, history, and agriculture that will offer a bold new model for rural living founded in innova on and sustainable renewal. The town is currently undergoing significant transforma ons including the construc on of the new Delta School, a new farmer’s market and organic farm, and restora on of its Tudor-inspired town square and rail-line infrastructure. Our task was to provide (design) adap ve re-inven ons for three historic industrial structures (a co on gin building, a seed building, and a flour building) in the center of town. These structures are essen ally ruins in search of new programma c inser ons that contribute to and extend the vitally important cultural narra ve of this unique Delta town.

The proposed programs for the buildings are an Ar st Live-Work, a Micro-Brewery and Restaurant, and a Bou que Hotel and Bar.

DURATION: 13 WEEKS

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Exterior Image - Exis ng Condi ons

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SHADOW STUDY

Flour Mill

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SHADOW STUDY

Flour Mill

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ARKANSAS

WLSON

WILSON

MISSISSIPPI RIVER

ARKANSAS DELTA

ARKANSAS DELTA

Site Context

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SITE

2000 FT

TOWN SQUARE

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Hand-Drawn Site Plan on Vellum 24” x 36” Scale 1/16” = 1’ - 0”

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Group Model - A ernoon

Group Model - Bristol Board and 3d Print

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Group Model - Wilson Bou que Hotel and Wilson Brewery - Evening

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Final Itera on

Itera on 1 Stenciled Itera ve Process Pochoir - Acrylic on Strathmore 24” x 32”

Itera on 2

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Precedents - Wilson, AR Barn Roofs

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Interior Image - Flour Mill

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Interior and Exterior Images - Flour Mill

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Level 1

Level 2

Level 3

Level 4

Process Work - Pen and Prisma Colors on Trace Paper

I started my process by studying the solid-void rela onship on each floor. With my best efforts to make a minimum impact on the exis ng condi

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on of the building, each room was designed to take its formal language as an offset according to the exis ng absences in the floors and cielings.

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Ground Level

Level 5

Level 2

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1

2

3

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8 9 10

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Detailed Wall Sec on

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North Eleva on

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Hybrid Drawing - Semi-Finalist - Archisource Drawing of the Year 2019

Most people have turned their solu ons toward what is easy and toward the easiest of the easy; but it is clear that we must trust in what is difficu and against all opposi on. We know li le, but that we must trust in what is difficult is a certainty that will never abandon us. - Rainer Maria Rilk

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ult; everything alive trusts in it, everything in nature grows and defends itself any way it can and is spontaneously itself, tries to be itself at all costs ke

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5TH YEAR URBAN DESIGN BUILD STUDIO Professors: John Folan and Kim Furlong Project Type: Whipple Family Educa on Center at the Garvan Woodland Gardens Collaboraters: Joe Green

“In the Forest, of the Forest” - The Whipple Family

The Urban Design Build Studio (UDBS) OZARK RECIPROCAL MOMENT : PROTOTYPING CHANGE Studio is the third in a sequence of interdisciplinary design-build studios that is culmina ng in the realiza on of the Ross and Mary Whipple Family Forestry Educa on Center at Garvan Woodland Gardens in Hot Springs, Arkansas. Funded by mul ple philanthropic gi s to the Fay Jones School of Architecture + Design, the specifics of spa al defini on, physical form, and construc on associated with the 5,000 SF facility is emerging through collabora ve interdisciplinary work that seeks to speculate about appropriate boundaries and physical rela onships that respond to the aspira onal spirit of use, impact, and place. This studio is engaging in tangibly reshaping the future of Arkansas.

The Design Review Commi ee (DRC) has selected GULLY as the chosen scheme that will inform the project’s formal language moving forward as of March 22, 2021.

DURATION: 16 WEEKS (On-going)

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ARKANSAS

GARVAN

Site Context

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Site Image

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Site Image

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Site Analysis

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Exterior Perspec ve - South of Site

The gully reaches east to west, pulling the visitors within the central hall and into the program spaces. It is proposed to have an ordered con nua

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on that resembles directly of the forests language using a Cartesian grid of columns that orders the program and site.

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WFFEC ASPIRATIONS, PURPOSE, GOALS, + FUNDING AS STATED AND PRACTICED IN THE URBAN DESIGN BUILD STUDIO

VALUE OF ARKANSAS FOREST AND TIMBER INDUSTRIES

5000 SF OF SPACE CONSTRUCTED FROM ARKANSAS SOURCED WOOD AND TIMBER

EXHIBITIONS THAT INTEGRATE TECHNOLOGY, ART, AND CULTURE AS MECHANISMS FOR ENHANCED FOREST EDUCATION

AN ENVIRONMENTAL EDUCATION CENTER AND ECONOMIC DEVELOPMENT TOOL EDUCATION OF LOCAL, STATE, AND NATIONAL PUBLIC ON THE CHARACTER AND VALUE OF THE ARKANSAS FORESTS

ECONOMIC DEVELOPMENT

EDUCATE ON THE USE OF WOOD FOR THE BETTERMENT OF SOCIETY AND THE ENVIRONMENT

MISSION OF GARVAN GARDENS OUTREACH CENTER OF FJSOA+D TEACH ECOLOGY OF THE FOREST FOREST PRODUCTION STEWARDSHIP OF THE FOREST THE FUTURE OF THE FOREST

CREATE ARTS EDUCATION AND CULTURAL EXPERIENCES FOR THE PUBLIC FJSOA+D SUMMER DESIGN CAMP FOR STUDENT IN K THROUGH 12

ENGAGING AND INTERACTIVE

YEAR ROUND HOME FOR AN ENVISIONED PUBLIC PROGRAM AIMED AT BUILDING LIFELONG APPRECIATION OF FORESTS AND TIMBER INDUSTRIES

NAVIGATE THE LANDSCAPE PARTICIPATORY EXHIBITION PERMANENT ARKANSAS FOREST EDUCATION EXHIBITION

1.5 MILLION TO SUPPORT DESIGN AND CONSTRUCTION OF THE CENTER

CHANGING ARKANSAS FOREST EDUCATION EXHIBITION

300K TO SUPPORT MAINTENANCE ENDOWMENT

TRANSFORMATIVE EXPERIENCE

200K EDUCATIONAL AND PROGRAMMATIC SUPPORT ENDOWMENT

MAXIMIZE FLEXIBILITY OF USE

ADVANCEMENT OF THE MISSION OF GARVAN WOODLAND GARDENS AS AN OUTREACH CENTER OF FJSOA+D

RELEVANT TO MISSING AGE DEMOGRAPHIC EFFICIENT USE OF RESOURCES

“In the Forest, of the Forest” - The Whipple Family

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1 SOLAR PANEL ARRAY 2 LIGHT WELL 3 CISTERN 4 BIOSWALE

Environmental Systems

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Exterior Perspec ve - Rain-water Collec on

GULLY indicates the celebra on of our efforts for 100% water collec on of the site. During rainy days, rainwater will collect in the gully and migra

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ate to the spout which indicates the rainwater being collected in the trough below. This collec on will provide for the Center’s u li es.

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Exterior Perspec ve - Day

During sunny days, the roof’s formal strategy indicates a strategic allowance of natural light into the program.

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Site Integra on

It is being proposed that to reinforce being “in the forest and of the forest” that reforesta on areas are placed where the current exis ng parking lots to the north hinder our objec ves, and the demonstra on gardens and produc on areas to the south as a desire to reach the site to the water’s edge.

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Exterior Perspec ve - Approach

Visitors to the Garden’s will get a glimpse of the Whipple Center while approaching from the main road to the south of the site.

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Model Image - East - Hand Cut Bass Model on a Chipboard Base inset in CNC Wood Topography and Dowels for Trees

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Exterior Perspec ve - Handicap Entry

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Model Image - Aerial - Hand Cut Bass Model on a Chipboard Base inset in CNC Wood Topography and Dowels for Trees

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Exploded Axonometric

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Exterior Perspec ve - Approach from the North

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Interior Perspec ve - Exhibi on Visual Proposal

We proposed interior alterna ves to the exhibi on space which was a main concern of the clients. With the grand height of the space, exhibi ona

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al preformances are possible.

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Interior Perspec ve - Exhibi on Visual Proposal Alterna ve

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Exterior Perspec ve - Night

U lizing the “glass box” strategy creates a luminance in the forest during the night as a strategy for site naviga on.

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Model Image - West - Hand Cut Bass Model on a Chipboard Base inset in CNC Wood Topography and Dowels for Trees

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“One of the greatest beau es of architecture is that each me, it is like life star ng all over again.”

-Renzo Piano

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Kinley Ma hews 501.650.4167 kbryma @gmail.com linkedin: Kinley Ma hews

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