Matt Miller
Northeastern University Current Master of Architecture Student Massachusetts College of Art and Design Bachelor’s of Fine Arts in Architectural Design
Introduction Thank you so much for taking the time to see my portfolio! The work contained within consists of projects undertaken during my undergraduate education at the Massachusetts College of Art and Design, my first professional architectural opportunity at Vanko Studio Architects, projects undertaken during my Masters of Architecture studies at Northeastern University, as well as various personal projects that I have undertaken along the way. If you’d like to get in more contact with me, I can be reached at 978-799-1427 or mrynmllr@gmail.com. Thank you again!
Contents
Massachusetts College of Art and Design
Bachelor’s of Fine Arts in Architectural Design Things Shaped in Passing (Kangerdlugssuaq Station)
Vanko Studio Architects
Architectural Designer
Northeastern University
Master of Architecture Student
Colombia Road Development High Street Development
Masonry Cavity Wall Section Skin, Facade, Experience Artist and Family House Newmarket Up-mart Charnel Meditation (The Circular Installation)
Things Shaped in Passing: Kangerdlugssuaq Station Massachusetts College of Art and Design Fall 2015 - Spring 2016 Architectural Degree Project I & II
How do humans react, adapt, and tame the extreme environments of Earth? How can they both survive and thrive in such a setting? My capstone degree project at Massachusetts College of Art and Design focused on these questions. After exploring several different avenues including science-fiction inspired extra-terrestrial habitats, I decided to focus on a research station and artist residency on the quickly shrinking Greenland ice shelf. The site plan, shown to the left, illustrates the harsh and extreme expanse of the ice sheet as well as its variable and temporary qualities.
Site Plan Meters, oriented to North
Doppelgänger The relationship between man and the extreme environments which we have attempted to tame and understand mirrors the relationship between the arts and the sciences: different, but equal. In this way, I determined a research lab and artist residency is the most appropriate use for a station on the site.
Extremities To encourage interaction between both sides of the station, common elements in the center must be established
1/8� Model Laser-cut chipboard, foam, gesso, and tissue paper
Elevation The building is clad in insulated metal paneling to keep the arctic chill at bay. Perforations in the paneling over the windows blocks the harsh glare that is caused by the ice and snow
Section The building is split between scientific and artistic functions by a communal lobby that allows observation and study above and below the ice. Additionally, the hydraulic feet that the building sits upon allows it to respond to seasonal and human-caused changes in the elevation of the ice.
1
2
Level 1
2
1
1
1
2
-1
Vehicle hanger for extra-station activities, common circulation lobby, and communal research and studio space. The common circulation lobby descends below the station and the ice to allow staff to observe the ice and take samples below the surface without having to leave the station.
1
Level 2 2
2
3
3
2
3
2
Research space on the left side of the station and artist studio space on the right side. Each space is split by thick walls leading to the common circulation lobby which contains materials on display of interest to both scientists and artists.
4
2
3
3
3
3
2
2
Level 3 The main residential level of the station. The common circulation lobby continues up to a domed observation platform above. Artists and scientists would be lodged co-mingled.
Colombia Road Development Vanko Studio Architects Spring 2017
This project represents one of the most prominent amongst the plethora of multi-family developments that I worked during my tenure as a designer at Vanko Studio Architects under and alongside the principal architect, Peter Vanko. The focus of this project was a large new multi-family residential building along Colombia Road in the Roxbury neighborhood of Boston, Massachusetts with a strong theme of public integration and participation. My role in the project was as a participant in the initial design charette in addition to leading the process of the creation of schematic design drawings under the guidance of the principal architect, Peter Vanko.
Site
Public & Private
The building bends back from the main thoroughfare of Colombia Road. We felt that this both adds a sense of dynamism to the massing as well as lessens the magnitude of its impact as it engages the street.
The main draw and conceptual “selling point� of the building stems from the integration between public and private space. At each exterior deck level as well as the common upper roof deck, the public is encouraged to climb and utilize these common outdoor areas while still maintaining the privacy of the residential units within the building.
Experience At each common junction of the building, meaningful interaction between members of the public as well as building residents in promoted and encouraged
Pedestrian Rendering The main pedestrian face of the building, looking from the north side of Colombia Road
High Street Development Vanko Studio Architects Fall 2018
Working alongside Peter Vanko and Sergio Afonso at Vanko Studio Architects, we were tasked to fit a minimum of 60 residential units onto a site in south Dorchester on a street consisting primarily of triple decker dwellings. The challenge and focus of the project lay in designing compact yet livable units as well as justifying the massing and appearance of the building in regards to its context. My role on the project consisted of participating in the initial design charette as well as working on the creation of presentation drawings and documents to be shown to the client and the Boston Planning & Development Agency.
Habitation Zones
Figure-Ground
Combined Site Plan
Residential, commercial/educational, recreation, main arteries.
Building densities and relative footprint sizes.
Arterial paths and zones layered with building densities and patterns.
Ground Floor Plan
Studio Plus
Studio
One Bed
Two Bed
Typical Upper Level Plan
1�=40’ Model
3D-printed PLA, chipboard, moss
Pedestrian Rendering
View from downhill on High Street
L4X6X1/4 STEEL LINTEL
CORRUGATED STEEL ROOF DECKING
BOND BM
1" AIR GAP
WIRE TIE AND JOINT REINFORCING
1X3 STRAPPING
MODULAR BRICK VENEER
5/8" GWB
2" RIGID INSULATION
8" CMU W/ VERTICAL REBAR IN GROUTED CORES
1" AIR GAP 2" RIGID INSULATION COPPER FLASHING AND WEEP HOLE
14" HEAVY TIMBER BEAM W/ FIRECUT END
L4X4X1/4 STEEL LINTEL
Enlarged Light Shelf Detail 1-1/2" = 12"
COPPER FLASHING AND WEEP HOLE
Originally drawn at 1-1/2” = 12” but reproduced at half scale
SEALANT
COPPER FLASHING AND WEEP HOLE
WOOD WINDOW
WOOD SLIDING WINDOW
ROWLOCK BRICK SILL
PERFORATED PLANTING TRAY W/ PROTECTION LAYER
3" 8' - 4 1/2"
FIBER CANT STRIP
15" CIP CONCRETE WOOD SLIDING WINDOW FOUNDATION WALL ROWLOCK BRICK SILL COPPER FLASHING AND WEEP HOLE
8' - 4 1/2"
8"
2X6 PT SILL PLATE AND ANCHOR BOLT BEYOND
WATER RESISTANT BRICK VENEER BLW FLASHING
3/4" PLYWOOD SHEATHING DRAIN PIPE 2X10 W/ FIRECUT END
MODU
1X3 STRAPPING 5/8" GWB
CMU WALL W/ VERTICAL REBAR IN GROUTED CORES 3/4" FINISHED WOOD FLOOR 3/4" PLYWOOD SUBFLOOR
COPPER AND
L4X6X1/4 STAINLESS
5/8" GWB ON 7/8" FURRING HAT CHANNEL @ 12" OC
5/8" GWB
COPPER FLASHING AND WEEP HOLE
2" RIGID INSULATION 2X10 W/ FIRECUT ONEND ZZ-GIRT
L4X4X1/4 STEEL LINTEL
SOFT EXPANSION JOINT
2" RIGID I
METAL STRAP TIE ANCHOR
2 WS
L4X6X1/4 STEEL LINTEL
4' - 8"
MODULAR BRICK VENEER
COPPER FLASHING AND WEEP HOLE
CORRUGATED STEEL ROOF DECKING
BOND BM
2X10 W/ FIRECUT END
WIRE TIE AND JOINT REINFORCING WATERPROOFING MEMBRANE
6" MIN TAPERED RIGID INSULATION BOARDS TO 1/4"/12"
2' - 0"
L4X6X1/4 STEEL LINTEL
SINGLESINGLE-PLY ROOF MEMBRANE
4' - 0"
WATERPROOFING MEMBRANE 2 WS MODULAR BRICK VENEER
L4X4X1/4 STEEL LINTEL
SEDUM PLANTINGS HIGH ABSORPTION SOIL
3/4" PLYWOOD SUBFLOOR
WATER RESISTANT BRICK VENEER BLW FLASHING COPPER FLASHING AND WEEP HOLE 3' - 4"
3' - 0"
3/4" FINISHED WOOD FLOOR
WIRE TIE AND JOINT REINFORCING
COPPER FLASHING AND WEEP HOLE
2' - 8" 8' - 6"
CONTINUOUS COPPER FLASHING
10"
2' - 8" 2' - 8"
COPPER FLASHING AND WEEP HOLE
ROOF DRAIN PRECAST CONCRETE COPING
8' - 1 1/2"
BOND BM
WOOD SLIDING WINDOW
14" HEAVY TIMBER BEAM W/ FIRECUT END CMU WALL W/ VERTICAL REBAR IN GROUTED CORES
10"
L4X6X1/4 STEEL LINTEL 2" RIGID INSULATION
WEEP HOLE
CONTINUOUS COPPER COUNTERFLASHING
1' - 1 1/4"
COPPER FLASHING AND WEEP HOLE 1" AIR GAP L4X4X1/4 STEEL LINTEL
3" SOLID WOOD DECKING
Enlarged Light Shelf Detail 1-1/2" = 12"
10"
3' - 4"
2' - 8"
COPPER FLASHING AND WEEP HOLE
8' - 7 3/4"
2' - 8"
L4X4X1/4 LINTEL
2 WS ROWLOCK BRICK SILL
8"
Enlarged Light Shelf Detail
L4X6X1/4 LINTEL
STAINLESS STEEL BAR WELDED TO ANGLE ANGLE 45° AWAY FROM BLDG
L4X6X1/4 STEEL LINTEL
WATERPROOFING MEMBRANE
1/4" STAINLESS STEEL BAR WELDED TO BASE PLATE AND FASTENED TO CMU BACKUP EA JAMB
L4X6X1/4 WELDED TO STAINLESS STEEL BAR 3"
4' - 8"
8"
BOND BM
2' - 0" 2' - 8" 8" 4' - 8"
WOOD WINDOW REINFORCED CMU BOND BEAM
L4X4X1/4 LINTEL
2X10 W/ FIRECUT END
METAL STRAP TIE ANCHOR 3" SOLID WOOD DECKING 5/8" GWB ON 7/8" FURRING HAT CHANNEL @ 12" OC
COPPER FLASHING 2 AND WEEP HOLE WS
SEALANT
COPPER FLASHING AND WEEP HOLE
6" CIP CONCRETE SLAB WOOD SLIDING WINDOW
2X6 PT SILL PLATE STEEL WIRE BOLT AND ANCHOR REINFORCING MESH BEYOND
DRAINAGE MAT 15" CIP CONCRETE FOUNDATION WALL
ROWLOCK BRICK SILL COPPER FLASHING AND WEEP HOLE
3" SOLID WOOD DECKING
2' - 8"
2" RIGID INSULATION ON ZZ-GIRT SOFT EXPANSION JOINT
STEEL WIRE
2' - 8"
6" CIP CONCRETE SLAB WATERPROOFING MEMBRANE
3"
2" RIGID INSULATION
5/8" GWB
8"
12" DEEP 24" WIDE CIP CONTINUOUS CONCRETE FOOTING
1" AIR GAP
BOND BM
FOOTING DRAIN IN GRAVEL BED
8' - 1 1/2"
4" COMPACTED GRAVEL FILL
Masonry Cavity Wall Section
14" HEAVY TIMBER BEAM W/ FIRECUT END
1' - 1 1/4"
WATERPROOFING MEMBRANE
STAINLESS WELDED T ANGLE 45° A
COPPER AND
L4X4X
1' - 0"
This project functioned as an investigation and exercise in technical architectural detail representation. We were instructed to depict a full wall section of a two story brickclad masonry cavity building with specific floor and roof structure requirements at each level. The original drawings were produced at 3/4” = 12” scale (with the enlarged shelf detail at 1-1/2” = 12”) but have been reproduced here at half size.
ROWLOCK BRICK SILL
8' - 6"
Fall 2019 Architectonic Systems
WOOD SLIDING WINDOW
3/4" PLYWOOD SHEATHING DRAIN PIPE
8' - 7 3/4"
6" MIN TAPERED RIGID INSULATION BOARDS TO 1/4"/12"
L4X6X1/4 LINTEL
STAINLESS STEEL BAR WELDED TO ANGLE ANGLE 45° AWAY FROM BLDG
10"
L4X4X1/4 STEEL LINTEL
Masonry Cavity Wall Section Northeastern University
SINGLESINGLE-PLY ROOF MEMBRANE
8' - 7 3/4" 1' - 1 1/4"
4' - 0"
COPPER FLASHING AND WEEP HOLE
Skin, Facade, Experience Northeastern University Fall 2019 Architectonic Systems
Model Painted chipboard, stained wood, acrylic
24' - 0"
2' - 0" 5' - 9"
HEAVY TIMBER DIAGONAL BRACING BEYOND (TYP)
6' - 0"
20' - 0"
2X4 CROSS LOUVER BEYOND (TYP)
6' - 0"
For this project, I have elected to utilize a double-skin insulated glass curtain wall system to take advantage of the enhanced environmental performance a double-skin can provide and to mitigate the solar gain drawbacks of an all-glass facade. Conceptually, the cladding and the structure are to work in tandem, with the purpose of the cladding being the preservation and illumination of the structural system. To both further control solar head gain and to reinforce this concept, louver panels constructed of cross-fastened 2x4 members have been added to evoke cross-laminated timber construction while still permitting a level of light to pass through the facade as both light and shadow.
DOUBLE SKIN GLASS CURTAIN WALL
3"
One of the celebrated inherent qualities of any wood construction system is its tactile nature, with rich variations in both color and texture. Heavy timber framing is emblematic of this fact, connecting us as users of space to both a historic past as well as the natural evocations inherent in the material.
Front Elevation
Model Painted chipboard, stained wood, acrylic
24' - 0" 1' - 3"
21' - 6"
14' - 0"
1' - 3"
6X12 HEAVY TIMBER BEAM ABV STEEL BRACKET (TYP)
TOP MULLION W/ JOINT SEALANT AND BACKER ROD
18X18 UNSPECIFIED COLUMN 6X12 HEAVY TIMBER BEAM
6X8 HEAVY TIMBER BEAM
2X4 CROSS LOUVER W/ STEEL ANGLE TOP AND BOTTOM WELDED TO MULLION
10' - 4"
5' - 9"
OUTSWING CASEMENT CURTAIN WALL PANEL TO CONTROL AIR FLOW
TOP MULLION W/ JOINT SEALANT AND BACKER ROD
6X8 HEAVY TIMBER BEAM ABV
2X4 CROSS LOUVER W/ STEEL ANGLE TOP AND BOTTOM WELDED TO MULLION
6X6 HEAVY TIMBER COLUMN BEYOND
6X6 HEAVY TIMBER COLUMN BEYOND
4X4 HEAVY TIMBER BEAM
2' - 10"
UNITIZED CURTAIN WALL (SKIN 2)
6' - 0"
BRACED 6X6 HEAVY TIMBER COLUMN (TYP) 18' - 0"
ALUMNINUM MULLION W/ RUBBER GASKETS (TYP)
20' - 0"
OUTSWING CASEMENT CURTAIN WALL PANEL TO SERVICE DOUBLE SKIN INTERIOR
6X6 HEAVY TIMBER BEAM ABV 6X8 HEAVY TIMBER BEAM ABV
2" SOLID WOOD DECKING SERVICE PLATFORM
HEAVY TIMBER BRACKET BEYOND
2x4 CROSS LOUVER
12' - 0"
6' - 0"
BOTTOM MULLION W/ JOINT SEALANT AND BACKER ROD
3"
24' - 0"
6' - 10"
6' - 0"
INSULATED GLAZING UNIT UNITIZED CURTAIN WALL (SKIN 1)
6' - 0"
INSULATED GLAZING UNIT UNITIZED CURTAIN WALL (SKIN 1)
Ground Plan
UNITIZED GLASS CURTAIN WALL (SKIN 2)
Section
18X18 UNSPECIFIED COLUMN BEYOND
Artist and Family House
kids
living
Northeastern University
bedroom 2 bedroom 3 bath 2 flex space
Fall 2019
artist master bedroom bath 1
studio
artist
guest guest bedroom bath 2
master bedroom bath 1
eating dining room kitchen 1/2 bath
studio studio
together
land esplanade entry
boat mooring garage water entry
water
living room dining room kitchen 1/2 bath
boat mooring garage water entry
parent master bedroom bath 1 study
land
water
esplanade entry
n w e s
a
a a
a
b a
site factors
This project dealt with the design of a two-family dwelling on Boston’s Charles River Esplanade for two disparate user types: a single artist and a small family, with the artist house to utilize a “free-plan” design tactic and the family home to explore ideas of architectural thickness and thinness. Each house had a prescribed program that must be met within reason, as well as requirements of land and water access. Through program and site analysis, I devised a building which constitutes two disctinct volumes organized around a central courtyard in which both user groups can interact. Below, on this page, interaction diagrams of the different program “building blocks” as well as how these blocks aggregrate and interact with each other and the site are shown.
family house
artist house
living room
a a
a
studio a a
living living room
studio studio
land esplanade entry
court
guest bedroom bath 2
master bedroom bath 1 study
living room dining room kitchen 1/2 bath
esplanade entry
eating
living living room
dining room kitchen 1/2 bath
studio studio
water
water
guest guest bedroom bath 2
a
boat mooring garage water entry
boat mooring garage water entry
guest guest bedroom bath 2
artist master bedroom bath 1
parent
kids
master bedroom bath 1
water
land
boat mooring garage water entry
esplanade entry
parent study
b
together parent
land
guest
flex space
together living room dining room kitchen 1/2 bath
water
kids bedroom 2 bedroom 3 bath 2
kids bedroom 2 bedroom 3 bath 2 flex space
artist
a
a common
court
b
common
b family
boat mooring garage water entry
eating dining room kitchen 1/2 bath
artist
studio studio
living living room
kids bedroom 2 bedroom 3 bath 2 flex space
master bedroom bath 1
together court
living room dining room kitchen 1/2 bath
parent land esplanade entry
master bedroom bath 1 study
ad acent development
artist & family house
dining room kitchen 1/2 bath
site ad acencies
eating
b
5
7
4
2
6
1
1
6
4
2 2
4
4
4
2
5
3
3 4
Level 2 Plan
Level 1 Plan
Family House
Artist House
1. Garage 2. Bathroom 3. Mudroom & Laundry 4. Storage 5. Dining 6. Kitchen 7. Living 8. Kid’s Room 9. Study 10. Bedroom 11. Master Bedroom
1. Garage 2. Bathroom 3. Mudroom & Laundry 4. Storage 5. Dining 6. Kitchen 7. Living 8. Studio 9. Guest Bedroom/Studio Extension 10. Master Bedroom
11
4 9
4
7
10
4 2
4
2 4
2 2
9 9
4
8
4
4
8 10
Level 3 Plan
Level 4 Plan
10
Exploded Axonometric Diagram
Rooftop
Rooftop
Level 4
Level 4
Level 3
Level 3
Level 2
Level 2
50’-0”
29’-0”
19’-0”
9’-0”
Level 1 0’-0”
Section
50’-0”
29’-0”
19’-0”
9’-0”
Level 1 0’-0”
Esplanade Elevation
Rooftop 50’-0”
Level 4 29’-0”
Level 3 19’-0”
Level 2 9’-0”
Level 1 0’-0”
Section Perspective
Charles River Elevations
1
3
2 Renderings 1. Family House Open Living Area 2. Artist House Studio 3. Esplanade Approach 4. Waterfront Approach
4
Model Laser-cut basswood
Newmarket Up-mart Northeastern University Spring 2020 Graduate Studio I
This project was concerned with the creation of a new building typology that combines several traditionally industrial processes with public interaction. This typology would be situated in an industrial infill part of Boston: Newmarket. With this in mind, the essential question that this project endeavors to address is this:
how does a prototypical center for making, recycling, farming, and shopping make a statement by giving space back to the community and creating a link between divided urban areas?
On the maps below of the Newmarket neighborhood, red areas show industrial, blue areas are commercial, and green shaded regions denote residential uses. The site is encircled by industrial area. The block in which it is contained divides residential areas from each other as well as a large commercial area, which provides opportunity to create a structure that serves as a visual link.
The investigation into this new typology began by selecting structural types that are conducive to the expected functions of each of the four primary program categories. I determined that the building can be split into horizontal elements devoted to “consumption” (recycling and the public market) and vertical elements devoted to “production” (farming and the maker spaces).
site plan
primary floor plan
A grassy outdoor sculpture garden lies on the residential side of the site to beckon visitors in. The garden can display works created by community artists in the maker space portions of the building. On the pass-through street, the grass begins to slowly give way to brick flooring that makes up the ground floor market and recycling center areas. A large open space outdoor pavilion lies at the heart of the ground floor, revealing glass-covered program advertisments for the maker space and farming towers.
As each of the called-out towers intersect with the horizontal market and recycling units, solid wall gives way to glass. This serves to reveal, beckon, and advertise the programs of each tower to the general public visiting the builidng to utilize market and recycling programs.
Charnel Meditation Northeastern University
Fall 2020 Options Studio: The Circular Installation This design project aims to explore the creation of a space for an individual or a small group of people to meditate on the cyclical properties of life, death, and rebirth in nature as a way to reach acceptance of this process in a spiritual manner outside of the realm of traditional religion. The concept of forest succession explains that early species in a landscape grow, live, and die. Through this process of life and decomposition they enrich their environment to support the development of further life, with each new wave of species being stronger and more stable than the last. As humans largely are creatures of nature, an optimist can believe that we live off of the efforts and energy of past humans, plants, and animal species. Of all the forms of life involved in this process, the mushroom which grows from decay is emblematic of this process. These observations can remind us that we live, we die, and in death we are transformed into future new life that is enriched and imbued with the qualities of us. For this reason, an overgrown ruin is the perfect place to contemplate these ideas. From nearly any vantage point, one is surrounded by the sights and smells of both life and death. One can see dead and decaying leaves, broken twigs and branches, the discarded relics of human construction, but also thriving animal and plant life. A space to meditate on these ideas should the possess sights, smells, and sounds that evoke this experience. When entering the space, one should be confronted with musty, earthy, and damp aromas that evoke the forest floor and the darker places of the natural world. In this way, the goal of this project is to create a positive space that echoes these ideas, encourages visitors to confront these concepts, and serve as a means of easing our discomfort with death.
The proposed structure lies against the focal stair ruin adjacent to the existing path that cuts through the site. Visitors will be beckoned in by it’s mysterious qualities and circulate around the rotunda. After experiencing the interior, they can continue through the remainder of the site with a new perspective.
plan
section
Visitors to the installation must circulate around a dense, narrow, and dark pathway that will have interior bricks that are allowed to continue to fruit. These fruiting mushrooms will enhance the sensory experience of the installation and allow points of natural interaction. Inside, a compost put exists to serve as a visual anchor of contemplation with natural seating.
This drawing shows the height of the structure as well as a possible tecontic detail of the bricks, allowing for vertical elements to decay at different rates. This can allow the installation to be “regenerated� (more bricks can be slotted in) or express itself vertically. In this way, it echoes and evokes the phenomenon of real-world ruins in which the vertical elements tend to be the elements that remain.
material sourcing An important component of this project was the sourcing and life-cycle of the respective materials. The map on the left shows that many of the components that make up the mycellium bricks can be sourced in and around New England. The timeline on the right depicts a rough outline of the creation of the installation and the negative outputs at each stage as well as the different rates of decomposition of the different installation compnents.