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Matthew Miller


Matthew D.B. Miller

2 Lakeview Dr Apt C8 Peekskill, NY 10566 matthew.miller.22@gmail.com 512.573.9381 Skills Computer Software Adobe CS software Autodesk AutoCAD Autodesk 3ds Max Autodesk Maya Autodesk Revit Rhinoceros Google Sketchup V-Ray rendering Max rendering Rhino script Grasshopper script Python script

Model & Fabrication

Hand modeling CNC milling Laser cutting 3d printing Vacuum forming Interior construction/finishing

Education Columbia University - GSAPP May 2013 Masters of Science in Advanced Architectural Design Texas A&M University 2011 Masters of Architecture University of Nebraska-Lincoln 2008 Bachelors of Science in Design Work Experience Architectural Intern – FTC Architects, Georgetown, TX 2011-2012 2012 Shah Residence _ project designer/coordinator _ sd, dd 2012 Legacy Assisted Living _ draftsman/project coordinator _ dd, cd, ca 2012 Drinkwater Commercial _ draftsman/designer _ sd, dd, cd 2011 Central Professional Plaza _ draftsman/designer _ dd, cd 2011 Komico Tech Factory Expansion _draftsman/designer _ sd, dd, cd, ca Architectural Intern – Keith Dubas & Assoc., Lincoln, NE 2007-2008 2008 Marcus-Aylward Renovation _ designer _ sd, dd, cd 2007 Holle Residence _ designer _ sd, dd 2007 Kruger Commercial Development _ designer _ dd, cd Research / Teaching Experience Graduate Research/Teaching Assistant - Texas A&M 2010-2011 Assisted guiding class and evaluating students work Researched architecture and artifacts from antiquity Drew & digitally modeled detailed vector representations Graduate Assistant - Texas A&M 2010 Led workshops for modeling and rendering basics in Rhino and Maya Honors Land of Tomorrow Exhibition Selection (Bi-Polar) 2012 Graduate Teaching Academy (Texas A&M University) 2010 Published Abstract: Glowacki, Kevin T., Leslie P. Day, Ryan R. Collier, and Matthew D. Miller, 2010. “Estimating Storage Capacity of Late Minoan Pithoi Using 3D Computer Modeling: A Case Study from Kavousi Vronda” (paper, 112th Annual Meeting of the Archaeological Institute of America, San Antonio, TX, January 9, 2010). 2010 NCMA competition Third Place (University of Nebraska) 2007


Contents Academic Peeledscape

university of nebraska fall 2007

university of nebraska fall 2007

texas a&m fall 2009

texas a&m fall 2010

texas a&m spring 2011

columbia gsapp summer 2012

columbia gsapp summer 2012

Grided Landscape Formal White Stitch

Bi-Polar

Fun Palace

No Heimat For You Professional

Marcus-Aylward Renovation

keith dubas & associates spring 2008

ftc architects 2011-2012

The Legacy at Georgetown Collaborative La Riviera

texas a&m spring 2010

texas a&m spring 2011

Azimuth Wall

Matthew Miller M.S. Advanced Architectural Design Candidate 2013 Columbia University


ACADEMIC


Peeledscape Fall 2007

The bus stop project investigated the idea of peeling and pucturing an urban landscape. The project was a short investigation that was explored through the sketch both on paper and through model making. The industrial site gave provided a palatte of materials along with the old train tracks that were paved over yet still revealing within the street. Using these few raws materials and a simple expression of the peel and puncture, the bus stop terminal was formed allowing for seating and an overhead cover.

LOCATION Haymarket District, Lincoln, NE PROGRAM Bus Stop Terminal DESIGN PROCESS Concept design through sketch models Design development in models and sketches


GRIDDED LANDSCAPE Fall 2007

Land art uses the change of the landscape to create an atmosphere that is atypical in that setting. This project expands on this idea by converging land art and architecture. The project becomes a landscape that uses the grid as a universal condition and then takes that grid and finds new opportunities. The condition above the grid, the condition below the grid and how that grid may relate to a building as a reflective surface. In each condition new spacial possibilities are able to be explored and exploited in relation to the landscape around them.

LOCATION Omaha, Nebraska PROGRAM University of Nebraska-Medical Center, College of Public Health Research Facility Classrooms Offices


Section A

Section B

Section C


vegetation growth medium concrete curb gravel for drainage membrane pre-cast concrete slab (3째 slope) insulation pre-cast hollow core concrete

1

flush glazed insulated windows desiccant spacer structural silicone sealant spacer gasket structural silicone weatherseal polyethylene foam backer rod structural mullion

snap-on cover clamp bar neoprene gasket setting block vegetation growth medium drainage,aeration, water storage and barrier insulation membrane cast-in-place concrete curb concrete beam

2

cast-in-place concrete foundation wall pre-cast concrete slab extruded polystyrene foam insulation steel reinforcement base course of gravel

3

1

2

3

4

4


Formal White Fall 2009

The design for the Houston Museum of Art and Design begun with exercises in diagramming of Alvar Aalto’s Saynatsalo Town Hall, extracting from the past. The diagram was described as a static condition within a dynamic movement that affected the landscape that it positioned. I than took this idea using the initial structure of the formal white box, as a reaction of the modern context of Houston, and melt it as you move across the space. This condition also creates a new environment, much like a renovation/addition to a pre-existing condition the building uses two different formal languages. As a user would experience this project they would first encounter the liquefied forms moving through them to find the framed glass box of downtown Houston. The frame with no direct opening between it and the city serves only as a display of the modern city. The figural space is engaged as a user moves through the space, the modern city can only be seen in the distance.

LOCATION Houston, Texas PROGRAM Houston Museum of Art and Design Outdoor Exhibition Space Permanent & Temporary Galleries Auditorium Lobby Gift Shop Cafe Art Storage & Shop


As the diagram was reconfigured, it was transformed into three-dimensional models. Each iteration was an attempt using the same concept of an initial box with growth coming off the box. The framed box being a constant, with a fluid system that is anchored from its general condition. The first box was

Iteration 1

Iteration 2

mapped on a face with intersecting lines that were the guides to the fluid growth from the system. The second box was a series of distorted boxes that transitioned to be more extreme versions while penetrating the original, as the distorted box became more corrupted the constant box’s interior integrity.


B

A 7

3

3

3

5

1

3

B

A

Level 0

B

A

3

6 8 3

B

A

Level 1

B

A

2

6

4

Level 2

B

2

A

1_auditorium 2_cafe 3_gallery 4_gift shop 5_Loading Dock 6_Lobby 7_Offices/Wood Shop 8_sculpture garden


Section A

Section B Each corner has an unique condition that is a result of the study of the diagrams. The building is encountered first from the smooth surfaces. This first welcomes the visitors as they move underneath these free following tubes. These sinuous forms wrap themselves around each other as they turn the corner.

The corner appears to be a folding of the forms as they are condensed. The curved forms are engaged with the glass box, pulling it away from its static condition. As the movement along the glass facade progresses the box normalizes squaring itself off.


Through the figure

Through the box

The figure is a new form, unfamiliar to the context. It sleek, its droops, it moves, it stops. The figure is used to move people through, and invite them in. The first encounter that any visitor has is with a massive geometry that acts more like a sculpture itself, it is the first piece of art. But unlike one that would be found inside this serves a purpose of enclosure, it welcomes engagement and violation. Once surrounded by the forms the smooth forms guide through their aggregation. The illusion of what could be inside is up to the imagination of the individual, only small fenestrations reveal any interior identity of these spaces. Lifting themselves up so that the box can be entered. Once entered the glass box frames the city, downtown Houston is on display.

The box begins its origin as a frame. The frame gives a perspective of the city. But turning itself around the once surrounding, encapsulating tubes, now are displayed through the glass plane. The extreme curvature reveals an intense level of fenestration suggesting the identity of the spaces inside, as well as better describing the composition of the surfaces. The glass plane, along with much of the glass box is the origin for surfaces. The box is manipulated and begins to contort itself. The melted formal language creates openings that are the entries into the main galleries. The display of both the permanent and temporary exhibits rest inside the tubes. The frame guides the visitor towards the opening inviting them to discover what lies beyond.


The glass box has been deformed and invaded by the sinuous geometry, engaging its strict formal state. The curved geometry is composed of a double membrane skin of each that reveals itself when entering the glass box. It sheds the outer layer, revealing the colored interstitial space between the membranes. Aperture is gridded along the surface, numbering higher within the most extreme double curved grid units. From the outside the sinuous geometry appears to intrude the space, but revealed within the box

the geometry origins start within the formal geometry. They stretch and bend around the site turning corners capturing a courtyard, smothering one another as they compete to move away from the origin. The fluid system leaves inside a space that forces movement, unbalance. Inside, extremes can flow in and out of one another, high intensity both within the architecture and the art are only held at a moment. This moment fleets as the space influences unrest, users move freely as they are loosely guided from exhibit to exhibit.


STITCH

connection to arrogation of the first street bridge Fall 2010 In this project was focused on the manipulation of program elements and the reaction of the interiority and the object. This project used the familiar of each of the program elements, and began to blend through formal manipulation. The manipulation was based on the site condition change, as the building began to climb and then take over the bridge the spatial relationship had significant changes. The goal of this was to create a sense of place wherever within the building as well as making a promenade. The integration of vehicular, pedestrian traffic, and the programmatic space twisting around each other drawing the users eye to wonder yet each having a unique experience. LOCATION 1st Street Bridge, Austin, Texas PROGRAM retain vehicular traffic Integration of: pedestrian traffic office space residential units retail development


building

pedestrian circulation

vehicular circulation

office surface

residential surface


First Street Bridge connects the fabric of two very different landscapes within Austin’s downtown. The northern side is a well developed commercial, retail and residential mid to high-rise buildings. The natural tendency was to connect the commercial and residential within this side, each individual and combinations as the building moves across the water. The interior spaces became more subdivided as the programs started to integrate and transition to other programs. The southern side was a park that ran the course of the river for a few miles along with larger communal buildings and local retail. The landscape of the park was integrated throughout the bridge, allowing for pedestrian traffic as well as social areas. The mass from the larger programmatic elements are much further broken down, both for larger outside spaces and smaller retail levels. The building stitches together so that each program has a strong connection with the exterior fabric and the circulation systems.


0 25 50

plan @ 15’ above river

longitudinal section

100ft

plan @ 35’ above river

0 25 50

100ft


0 25 50

plan @ 50’ above river

100ft

0 25 50

plan @ 65’ above river

0

10

25

50

100ft

100ft


Bi-Polar 2011

GRADUATE MASTER THESIS: EMERGENT HOUSE FOR THE FUTURE This project discusses two attitudes concerning digital design, one about performance whose skin is resolved parametrically, the exterior as a rain water collecting instrument, that takes the water into water vessels integrated into skin, they also serve as heating and cooling devices producing light and temperature affects. The interior skin is more interested in sensation with a smooth sensibility on a pleated skin like silk and/or leather. The idea was to emphasize this distinction to embrace the discussion. This project was done in conjunction with a fabrication elective, which four students helped research fabrication techniques, design for construction and build the wall under my direction. http://www.suckerpunchdaily.com/ 2011/10/27/bi-polar/#more-16409 FABRICATION TEAM Matthew Miller Dale Fenton Emau Vega Adrian Cortez Aubrie Damron SOFTWARE UTILIZED Rhino 4.0, Autodesk Maya, Lamina, Mastercam, Pepakura


k l

m

a

b

c

d

e f

g

h

i

j


a exterior surface

n o

[1/8” sintra] b support structure [3/4” MDF particle board] c aggregation panels 1 [3/16” acrylic] d aggregation supports [2”x4” lumber] e aggregation panels 2 [1/4” plywood] f wall frame [2”x4” lumber] g lateral support [1/4” plywood] h end caps 1 and 2 [4” foam] i bladder membrane [4” foam] j interior surface [12” foam] k exterior panel support [8” foam] l top cap [1/4” plywood] m vacuum formed bladders [1/8” polycarbonate] n cap end 3 [4” foam] o desk [4’ foam on 3/4” MDF]


exoskeleton panels

material: carbon fiber structural metabolism: protective layer from the environment structural connections: fastened from behind to the interior structure, allowing for individual replacement if needed

material: polycarbonite plastic structural metabolism: holds the bladders in place allowing for expansion and contraction structural connections: fasteners for bladders, connections to the exterior panels & contoured structure within the interior

material: polycarbonate plastic structural metabolism: can add rigidity and resist horizontal forces while also begining to engage the interior programs structural connections: all contoured connections with high strength glue for adjacent surfaces

material: polycarbonate plastic structural metabolism: increase rigidity in all directions, stablizes the exterior surface structural connections: rigid fasteners to the exterior panels and glue for other surfaces

cast structure

tensile armature

compressive armature

panel groves

material: carbon fiber panels coated to repel water function: provide a hard exterior shell for the structure along with capture water

material: air space/wall cavity function: gathers the water that weeps through the panel groves leading it towards the filter

material: expandable rubber canteen function: serves as a water storage device and increases thermal insulation

material: metal filter basket and plastic forming function: filters water that will then store the water in the wall bladders

water collection water bladders

rainwater filtration

pressure from storage cistern feeds water into internal bladders

filtration and uv sterilization make water potable

rainwater collected by roof and wall system

hot water from passive solar heating and on-demand heating within bladders when necessary chilled water from circulation into wells potable water stored for use by appliances, etc.

HVAC supply air exchanges heat/cold into/out of airspaces around bladders before moving into occupied zones through perforations in interior surfaces

settlement tank filters large particulates and feeds storage cistern

using Pascal’s law the tall storage tank can force water into the system as required greywater recycled into irrigation


INTERIOR SURFACE material: high density styrofoam form: Maya polygonal geometry construction technique: cnc routered surface

STRUCTURE material: high density styrofoam, plywood, plexiglass aggregation: Maya polygonal geometry, parametric arranged profile cuts and scores directing water flow aggregation technique: cnc routered surface and profile cuts, cnc scored plexiglass, profile cuts through plywood, 2x4 concealed structure BLADDER AND BLADDER MEMBRANE material: polycarbonite plastic and high density styrofoam bladder construction: vacuum formed plastic over cnc routered form bladder construction: cnc routered surface with drilled holes for air flow

EXTERIOR CLADDING material: sintra plastic pattern: vornio division through pepakura construction technique: routered plastic joined at tabs with fasteners


Fun 1: what provides amusement or enjoyment; specifically: playful often boisterous action or speech 2:

a mood for finding or making amusement

3:

a: amusement, enjoyment b: derisive jest

4:

violent or exciting activity or argument

Fun Palace This project was an exploration is of the idea of fun and how to create this sensation. The goal is create spaces that argue or conflict encouraging exciting new reactions and redefining the typology. The use of a transportation tower that consists of an office tower, residential and hotel is a good opportunity to have the services that these towers consist of to begin to interact. Each tower represents the new and old of Moscow, the transition to from a communist country and a capitalist one, along with the consumerist of Moscow International Business Center. The amenities begin to blend together within the lobby 5 levels. The levels mix together creating a new tension and excitement with traditional amenities of the very different typologies. LOCATION Moscow International Business Center, Moscow, Russia PROGRAM offices_capitalist residential_communist hotel/retail_consumerist


Lobby Plan @ 1.5 m high

Lobby Plan @ 9 m high

Lobby Plan @ 13 m high

Lobby Plan @ 17 m high

1_bar 2_bbq area 3_break rooms 4_communal kitchen 5_hotel gym 6_hotel pool 7_ice rink 8_kitchen vent column field 9_laundry 10_office gym 11_parking 12_residence balcony 13_residence gym 14_residence pool 15_restaurant 16_subway entrance 17_vendors 18_water coolers


Pool Transitions

Hotel Plan


removed kitchens & balconies

Residential Plan


water coolers

Office Plan


Section @ hotel and residence through water slide

Section @ residence and office through gym / water coolers

Section @ hotel and residence through kitchen / balcony

Section @ hotel through pools


tower amenities extracted

lobby amenities


no ‘heimat’ for you too late to refugee in your homeland GSAPP fall 2012 (n)certainties

{francois roche + ezio blasetti, farzin lotfi-jam}

harvest is not the end///// The fields of agriculture are used for interior and exterior consumption... the land mass is filled with a strong biological system that supports a rich multitude of species... it is one more biological particular system. As harvest cycle passes multiple formal conditions are multiplied, folded... other new are happening... ..the biotype cycle is being corrupted by the association of inhabitants of the biotype... slavers of the uncertainty of this cycle. auto-generative protocol///// The corruption appears as a collaborative agent in order to redefine the DNA of the area, helping harvest the agriculture. Introducing torture to the existing biotype, fear takes over and drives all biological systems through the harvest. It uses the agriculture with the intention to create a structure for the workers, a community based not only in humans but also on a high intensity of animal types. The loop of vegetation that can be harvested, as well as those that have begun to decompose, cutting them, and accumulating them in dry areas, always escaping from the fear... the sun & humidity. escapism & nomadism///// The workers that seek refuge from their existing world find themselves moving towards the unknown. By escaping their environment they realize this new environment it possesses fear and relaxation, a tension feed by the calm and the aggressive simultaneously... humans feel para(arach)nophobia... spiders cause a strange environment tormenting the inhabitants as the same time that provide shelter... The inhabitants slip deeper into the abyss by the screening action of spiders from stimuli... exterior and interior are no different any more. As the sugarcane structure system begins to decompose, the spiders are driven by their fear of the water, a schizophrenia of death, the dream of the nomad, the nostalgic of a diffuse past... the inhabitants re-appear from their decomposed canopies and follow the fresh shadows. A new harvest of sugarcane grows under, then through the decomposed structure re-emerges. (loop)


positioning

havana

cienfuegos

boca grande

puerto padre

antilla santa cruz del sur

ceiba hueca

[cuba] The whole island of Cuba was once sheltered with forest... even though great areas were cleared to make way for sugarcane, there are still many opportunity (uncertain) areas. Sugarcane is Cuba’s most vital crop and largest export, being grown throughout the island.

50,0 m

45,0 m

Furthermore, the island is a very specific place for spiders... an authentic nomad agent that scape from the rules of the State... spiders of different dimensions and several protocols of production. Spiders that make webs, that make tunnels... traps for their preys.

II

40,0 m

35,0 m

IV

I

30,0 m

25,0 m

III 20,0 m

15,0 m

[sugar cane plantation]

10,0 m

5,0 m

0,0 m

I mygale lasiodora

II scytodes thoracica

III theraphosidae theraphosinae

IV amblypygid


substance experiment [zip ties] we used zip ties to simulate the ductile quality of sugar canes

[reinforcement] because the lack of rigid points the structure collapses. afterwards it will reorganize itself, searching a form of stability

I

[sugar canes structure] zip ties behavior

The protocol of accumulation of sugar canes is quite similar as the behavior of zip ties. Their design allow strong knots that with precision can create a structure. [slavers] an army of spiders is the cause of the corrupted biotype that we are working with

[membrane] the several spider webs create a membrane without a clear inside and outside like in Klein’s bottle

II

[production behavior] spiders

Spiders have demonstrated a complex behavior in different environments. We have tried and studied after capture several of them in order to understand how they produce their silk, at the same time that we experimented how the water is a need but simultaneously a source of fear. [shrinking & stretching] a textile that can be expanded... and a textile that can be compressed

[hybrid membrane] the artificial spider silk works in complicated environment with variable structural points

III

[spider web] textile experimentation

The physical properties of the viscid and frame silks allow them to function effectively as shock absorbers and structural elements, respectively; and allow the orb-web to function as an aerial filter with a minimum expenditure of material and energy.


computation analysis REP 02

REP 02 REP 06 grw II

REP 02

REP 04

grw III REP 01 grw I

grw grw I

REP 03

grw II REP 01

REP 01 grw III

grw V

grw IV

REP 04

REP 03

///REP = repulsor ///GRW = growth

REP 05 isolated growth

archipelago growth I [growth logic] based on different arrangements of growth points, different patterns emerge

continental growth

size of member change allowing for easier webbing on the exterior and more efficient structural members in the interior

because of external agents, like wind currents and sun incidence, some of the anchor points for spider growth become more stable than others.

TRJ c TRJ a

TRJ e

TRJ b

TRJ d ///TRJ = trajectory growth of the cane structure is vertical battling gravitational forces

II

[types of growth and comp deviations] computation of an interior system that self organizes as tissue is removed

REP 01

REP 01

REP 05

REP 01

REP 05

REP 05

REP 04

REP 04 REP 02

REP 04 REP 02

REP 03

REP 02

REP 03

REP 03

///REP = repulsor initial proximity of cane memebers allows for webbing of the smaller gaps to occur

the scope increases as the percentage of members are taken over by the web III

[spider web evolution] computation of the spider structure protocol. from key points, tension, relaxation, to maximum density

VEC 0.8

VEC 0.8

VEC 0.4 VEC 0.6

web becomes more intense as the webbing builds on top of each other forming a second layer of complexity moving it closer to being read as a continuous surface of lines

VEC 0.8

VEC 0.4

VEC 0.2

VEC 0.9

VEC 0.7

VEC 0.6

VEC 0.4

VEC 0.2

VEC 0.9

VEC 0.6

VEC 0.2

VEC 0.9

VEC 0.7

VEC 0.7

///REP = repulsor ///VEC = stress vector

initial cane structure and humidity repulsors are set up

web mesh is constructed and stressed based on the cane structure IV

[spider web surfaces] computation of the spider surfaces created due to large amounts of connections within certain areas

web is tighten in the most dense areas, others areas the surface is relaxed


machine behavior

I combination

II hyper-twist

III tangle

IV fiddle

V arrow

[movement dance] the limbs all have joints that allow the machine to manipulate its form, contorting the form to move from branch to branch

[2] collecting

[1] cutting

[3] extracting glucose

[4] reaction

[dormant closed state]

[extraction open grippers]

[water expulsion]

[hands]

the hands of the machine are used to cut and hold onto the cane allowing for movement as well as spraying liquid to torment the spiders making them continuously nomadic

[5] expulsion H2O

[machine]

machine is composed of two limbs that are able to twist and shift themselves to build the cane structures

[movement]

dance of the machine water expulsion

[machine spray vectors]

[spider movement]

[spider movement]


local geometry 6.0 m 4.0 m 2.0 m 0.0 m

6.0 m 4.0 m 2.0 m 0.0 m

6.0 m 4.0 m 2.0 m 0.0 m [safe points] the machine starts to built up on optimized areas

00,0 min

20,0 min

40,0 min

[accumulation] it takes floating sugar canes in order to construct a dry structure for spiders

60,0 min

[collapse_reinforcement] at the very begining the structure falls down. after that the basement becomes more consistent

80,0 min

100,0 min

[scaping] the machine continues building and avoiling wet areas/ water vapor

120,0 min

140,0 min

[joining] the diffrerent structures begin to join theirself

160,0 min

180,0 min

[densification] iniciation of the general density of the global condition

200,0 min

220,0 min

240,0 min

///REP = repulsor ///GRW = growth ///TRJ = trajectory

[the slave] the spiders are the slaves, the agent that starts combining the biotype with hman life. they build scaping from the water... its phobia has started...

1.2 m

1.1 m

REP 06 1.0 m

REP 02

REP 03

0.9 m

0.8 m

0.7 m

0.6 m

0.5 m

0.4 m

0.3 m

0.2 m

0.1 m

0.0 m


180 days

120 days

55,0 m

MCH.15

60 days sugarcane plantation

MCH.01

50,0 m

MCH.11 60 days

MCH.16 MCH.07

45,0 m

MCH.06

MCH.17

120 days

MCH.10

MCH.05

sugarcane plantation

40,0 m MCH.23

60 days

MCH.19 35,0 m

120 days

MCH.21 MCH.03

MCH.22

180 days

30,0 m

MCH.09

MCH.14 60 days

60 days

MCH.12

25,0 m

240 days

MCH.08 120 days

MCH.04 120 days

MCH.02

180 days

20,0 m

180 days

sugarcane plantation

240 days

MCH.13

120 days

15,0 m 60 days

MCH.20 10,0 m

MCH.18 5,0 m

[system of evolution]

0,0 m

the behavior of the structure in local terms, works according to a series o steps that the machine is doing in order to help spiders to build their web. this structure is going to be formed attending mainly, to the level of humidity. in that way, the machine will scape from wet areas . in other words, humidity is shaping the structure the behavior of the structure in local terms, works according to a series o steps that the machine is doing in order to help spiders to build their web. this structure is going to be formed attending mainly, to the level of humidity. in that way, the machine will scape from wet areas . in other words, humidity is shaping the structure

growing

planting

decay

h


arvest/ agrouping

global evolution

recursing/ webing

saturation


local fragment


local fragment


PROFESSIONAL


Marcus-Aylward Renovation Spring 2008

The renovation of the Marcus-Aylward residence consisted of finishing a basement, adding a full kitchen and entertainment room. This included the finishing the ceiling, lighting design and installation, and configuring new storage. Upon walking down the stairs, there is a new railing detail, which was both a hand rail as well as a visual divider. The kitchen is feed right off the stairway, where there is a built-in storage wine storage and under the stair opposite the counter shelving. In the entertainment room there was a built in entertainment center and new walls for defined storage that were added. The project focused on different techniques to give more space and allow light into the dark, small basement. Both recessed lighting and lamp lighting were used, along with an increased cut away for the small windows. The originally exposed HVAC system was covered and finished similar to the walls. All wall finishes were consistent and differentiated themselves from the ceiling.

6 5/8"

5'-0"

10 1/2"

1

5'-0" 5"

15'-2"

2'-11" 5'-0 3/4"

3'-0 5/8"

3'-3 5/8"

5" 5 1/2"

8'-4 1/2"

8"

2

6'-4 3/8" 2'-0" 1'-9"

3

2'-6"

3'-9"

3'-0"

2'-0" 1'-6" 3'-0 1/2"

1

2'-0"

Basement Plan

LOCATION Lincoln, NE PROGRAM Entertainment Room Full Kitchen Storage Complete Finishings

5"

2'-0"

2'-0"

2'-0"

2'-0" 2'-7" 15'-2"

2'-7"

2'-0"

5"

1_Rumpus Room South Elevation


5'-0"

5'-0"

5'-0"

5'-0"

4'

3 1

1

1

1

2

1

S S

5'-3"

1

1

1

1

2

1

3

5" 2'-0"

10'-1 1/8"

SDS3D

S3D SD S3D

S SD

1

EQ

EQ

1

SD42SD42

2

42

1

EQ

1 2

42

1 EQ

2'-9"

1 42

1

GFI42

2'-9"

1 GFI42

1

1

2'-3"

1 GFI

GFI

S

GFI42

Electrical Plan

1'-4 1/8"

5

10 7/8" 1'-4 7/8" 5'-1 1/2" 1'-4 7/8" 1'-4 7/8" 6" 5 1/2"

4

1'-0 5/8" 1'-0 5/8" 7'-10 7/8"

5 5/8"

8"

2_Kitchen North Elevation


EQ.

EQ.

EQ.

2"

1'-0"

8" 5"

3_Kitchen Bookshelf/Stair Detail Existing 4”x4” with New 2” x 4” on Each Side 2” x 4” Support Frame 3/4” Veneered Plywood 2” x 6” Support Frame Handrail 1” x 6” Light Fin

1 1/2"

5"

5"

5"

5"

4_Kitchen Bookshelf 5_Stair Detail


The Legacy at Georgetown Assisted Living Facility 2011-2012

The Legacy at Georgetown was a 80 unit assisted living facility, to serve the surrounding community of Sun City in Georgetown. The project was broken into two separate wings one facilitating memory care, the other as a general assisted living. The design was a simple figure eight configuration allowing for maximum lighting into each unit as well as private gardens for the residents.

INDIVIDUAL INVOLVEMENT In this project I began working on revisions on all documentation, eventually taking over full duty of coordinating all architectural drawings while facilitating with civil, mep and structural drawings as well. In addition, I constructed a virtual model for rendering, walkthroughs and animations. LOCATION Georgetown, Texas


Collaborative


La Riviera DESIGN TEAM Ky Coffman Heather Davis Dustin Mattiza Matthew Miller Jeff Quantz Michael Tomaso Gabriel Esquivel - Instructor LOCATION La Riviera, Bryan, TX SOFTWARE UTILIZED Rhinoceros 4.0, Maya, Lamina, Grasshopper, Mastercam

La Riviera is the result of a digital design-build course taught at Texas A&M University by Gabriel Esquivel during the spring of 2010. the intention of this course was to explore ground breaking modeling techniques, emerging fabrication processes and to utilize the school’s large-scale design-build facility. My own responsibility was the overall schematic design, final design of the ceiling and as a team we constructed, finished & installed all of the design.


Before

After


Commissioned by local restaurant, La Riviera was to renovate the entry space of the restaurant, the scope included a new bar, wall ornament and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce costs while achieving the desired atmosphere. The project used multiple techniques of construction, and materiality to create the complex geometry. The ceiling serves as an atmospheric installation blanketing the entire entry space. The light source is masked by layer of translucent forms, which diffuses the light casting an even glow over the entire space. The countertop served as one large module that allowed for guests to have drinks and display desserts. The ornament on the countertop and walls carried a certain sensability that encompassed the entire space. The projects scope included a new bar, wall ornaments and a ceiling installation. Due to an extremely tight budget, the team developed innovative processes to reduce costs while achieving the desired atmosphere. The project was completed in the fall of 2010.


Wall

ELEVATION Ornament CNC milled from 2 lb polyurethane foam

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3

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Bar

COUNTERTOP 3/4”x4’x8’ MDF panels laminated to form countertop. Jouints were split up to avoid having a visible seam in the countertop to maintain the fluidity of the piece.

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PANELS 3/4”x4’x8’ MDF panels laminated to form front panels. The panels were attached to the cabinets with 3/8” D x 6” hanger bolts. The threads were attached permenantly to the panels but were bolted to the cabinets on site.

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ORNAMENT Resting on top of the countertop and the panels the foam peice is made out of 18 lb/ft foam essentially giving it the same density of wood.

PLAN VIEW

LEFT ELEVATION

FRONT ELEVATION


Ceiling

1-0.5

1-1

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2-1

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Skeleton

Lamina Templates

4’x8’ printed for guides, but from wire mesh

2-4, 2-5


Azimuth Wall 2011 Student leaders assisted in writing the initial project proposal and budget, and presented these items to the college for approval. Upon approval, student leaders worked to produce a series of prototypes, communicating directly with Elena Manferdini’s team to solve design and construction issues encountered. The finalized design was then fabricated with the help of several students participating in the Artist in Residence program. The student leaders were responsible for organizing work schedules, material transport, setting up files for CNC routing, quality control and overall fabrication management.

MORE INFO http://archone.tamu.edu/ www.ateliermanferdini.com VIDEO http://www.youtube.com/ watch?v=OX4pr6XsXFM

STUDENT LEADERS DESIGNERS Matthew Miller Elena Manferdini Chris Gassway Eugene Kosgoron Heather Davis Karine Bashoyan SUPERVISORS Gabriel Esquivel Carol Lafayette LOCATION Azimuth Cafe, College Station, TX SOFTWARE UTILIZED Rhinoceros 4.0, Maya, Mastercam


PROTOTYPE 1

PROTOTYPE 2

Aluminum scratched easily needed plastic coating

Petals intersected - more tolerance needed.

“Ears� overlapping bend lines would be bent - must not overlap

Tabs were difficult to bend accurately.

Newer/larger bending machine needed.


PROTOTYPE 3

PROTOTYPE 4

Detached petal-to-petal tabs allowed more tolerance + more accurate bends.

Final test.

Very tight/difficult fit on structure with attached petal-to-structure tabs.

All tabs detached - multiple flowers fit on structure easily.


FABRICATION | Petals .060 Aluminum

ALUMINUM CUT SHEETS | 4’x8’ Petal-to-Petal | 120° bend

Petal-to-Structure | 90° bend

CONNECTOR TABS

PETAL | Cut - - - - - - - - - - - - - -


A

90째

120째

120째

90째 C

- - - - - > Bend - - - - - - - - - - - - - - - - - - - - - - - > Assemble

B


Petal Sorting and Assembly

Structure Check and Petal Application

Securing Completed Wall and Vinyl Installation


Azimuth Wall | 2011 final photos by Marcel Erminy


Matthew D.B. Miller

2 Lakeview Dr Apt C8 Peekskill, NY 10566 matthew.miller.22@gmail.com 512.573.9381


Matthew Miller

Portfolio 2013  

matthew miller architectural portfolio

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