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PORTFOLIO + M.ARCH SELECTED WORK 2009-2011 Matt Gummow
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PORTFOLIO + M.ARCHSELECTED WORK 2009-2011
Matt Gummow
PORTFOLIO + M.ARCH
Matt Gummowhttp://[email protected]
Master of ArchitectureNewschool of Architecture & Design2009 - 2012
SECOND YEAR DIGITAL
THIRD YEAR THESIS (COMING SOON)
[ 3-4 ] House for the Ancestor[ 5-8 ] The Monastery[ 9-12 ] Staggering Stacks
[ 13-16 ] The Mission Valley Library[ 17-20 ] C-Street Music Lab[ 21-30 ] Negotiated Mass[ 31-32 ] The Bordeaux Chair
[ 2 ]
FIRST YEAR ANALOG
HOUSE FOR THE ANCESTOR
Course: AR702Topic: Single Family DwellingInstructor: Alan Rosenblum
The House for the Ancestor derives from an exploration of the experiential program of a highly individualized ancestral member. In this case, the client takes on the occupation of a Rocket Scien-tist, leading to a program that values cleanliness and order, spatial and organizational logic, and an eye towards the heavens. A clean facade graces the urban street with a single vertical canyon entrance to the house. Circulation begins as an ascent through the building’s various spaces, beginning at the public living room and ending at the private roof-top observation deck. A detached master bedroom rests on the back of the site along with a separate office and workshop
[ 3 ]
[ 4 ]
THE MONASTERY
[ 5 ]
Course: AR703Topic: Site Analysis, ProgrammingInstructor: Jared Bradley
The Monastery is an architecture as much about program as it is about site. Sweeping ocean views contrast deep enclosed eucalyptus groves; a large gently sloping field ends abruptly as the grade steepens into a cliff side.
In designing the Monastery for a fictitious sect of Sufism, the concepts of siting--rising above or cutting into the earth, perching over the ocean or nestling into existing vegetation--become the drivers behind a highly charged architecture. Studies of linearity, clustering, and dispersal lead to a chassis to which programmed elements are placed by hierarchies, circulation, natural bound-
[ DISPERED ]
[ LINEAR ]
[ CLUSTERED ]
[ 6 ]
THE MONASTERY
[ 7 ]
[ 8 ]
[ 9 ]
Course: AR704Topic: Medium Density HousingInstructor: Phillip Bossart
Barrio Logan in Downtown San Diego is a com-munity on the rise. The Staggering Stacks provide housing encompassing an entire two block site in the shade of the Coronado Bridge. Each site is a uniform 30’ x 100’ swatch with zero setback street frontage. My building introduces nine new custom dwelling units, a commercial space, and rooftop terrace offering an elevated view of the bay. Circulation branches at key junctions to provide a personalized approach to each unit, avoiding the double loaded corridor and ensuring a functional shared living environ-ment.
Number of Units: 9Unit Types: 4
STAGGERING STACKS
[ 10 ]
STAGGERING STACKS
[ 11 ]
LEVEL 2
LEVEL 1
LEVEL 0
LEVEL -1
[ 12 ]
[ 13 ]
Course: AR801Topic: Sustainable DesignInstructor: Jeff Parshalle
The design of the Hillcrest mixed-use library block is centered principally around a careful consider-ation for the program’s sustainability. During the design process, solar and wind studies, site orientation, and advanced HVAC system designs were meticulously incorporated into the program that called for a 16,000 square foot library with additional retail space and residential units. Through the use of daylighting strategies, the Library’s final design not only saves energy, but it creates a healthy public learning environment, as well.
THE LIBRARY8
1 1
23
6
7
4
5
WASHINGTON STREET
FRO
NT
STRE
ET
GROUND LEVEL
11
9
10
1818
18 18
LEVEL 2
17
PARKINGSUBLEVEL
12
1818
18 18
13
LEVEL 3
1415
16
LEVEL 4
N
RAINWATER CISTERN
RAINWATER COLLECTION
BOILERPUMP
POTABLE PROCESSING
CITY WATER SUPPLY
GEOTHERMAL LOOP
EXHAUST AIR
BOILER AND GEOTHERMALFEED PASSIVE CHILLED BEAMSFOR HEATING & COOLING
INSTANT WATER HEATER SUPPLIESRESIDENCES WITH WATER FOR FAUCETS& INTEGRATED HEATING RADIATORS
BIPV FOR NET ZERO ENERGY CONSUMPTION
HEATEXCH
FRESH AIR
EXHAUST FRESH AIR
STALE AIRHEAT RECOVERYVENTILATION UNITSSTRATEGICALLY PLACEDENSURE GOOD AIR QUALITY
[ 14 ]
DISPLACEMENT VENTILATION
THE LIBRARY
[ 15 ]
[ 16 ]
[ 17 ]
Course: AR802Topic: Urban DesignInstructor: Jeremy Joyce
C STREET CORRIDOR, SAN DIEGO
ANALYSIS: An urban canyon with high street wall inclosure. Low vehicle traffic north and south directions. Very low pedestrian traffic. Poorly activated retail and vacant commercial. Existing music venue at Symphony Hall.
STRATEGY: Stimulate culture by building on arts and entertainment with new Music Lab, modable public park and galleries. Activate retail with new “Anti-Mall” targeted at the urban youth market. Enclose the spaces by building up the street wall while working within the scale of the existing urban canyon.
C STREET MUSIC LABORATORY
MUSIC LAB
PUBLIC PARKPERFORMANCE SCAPE
FOODPAVILION
MUSICIANAPTS
PARK[ING]
SYMPHONY HALL
SHERATON HOTEL
VANTAGE POINT
SENIOR APTS
MERRILL LYNCH
PARKING GARAGEGROUD FLOOR
OFFICES
NIGHT CLUB
PARKING GARAGE
CHASEBANK
OFFICEBLDG
LIBRARYLOFTS
CHURCHLOFTS
THEATER
PUBLIC LIBRARY
PACIFICBELLBLDG
OFFICECONDOS
A
B
SECTION A
SEC
TIO
N B
[ 18 ]
!
!
!
!
!!!
!
!
!!
C STREET
B STREET
BROADWAY
KETN
ER B
LVD
11TH
AVE
10TH
AVE
9TH
AVE
8TH
AVE
7TH
AVE
6TH
AVE
5TH
AVE
4TH
AVE
3RD
AVE
1ST
AVE
FRO
NT
STRE
ET
UN
ION
STR
EET
STAT
E ST
REET
COLU
MBI
A ST
IND
IA S
T
[H]
[H]
[H]
SENIOR CENTER
CHURCHILL HOTEL
YMCA
SMARTCORNER
TROLLY STOP
CALIFORNIA BLDG
US GRANT HOTEL
WESTGATE HOTEL
HORTON PLAZA
BRISTOL HOTEL
WESTIN HOTEL HALL OF JUSTICE
COUNTY COURTHOUSE
CONSTRUCTION[ONGOING]
COUNTYCOURTHOUSE
COUNTYJAILHOUSE PUBLIC LAW
LIBRARY
EMERALD PLAZA
TROLLY STATION
SANTA FETRAINDEPOT
MUSEUM
CIVIC CENTER COMPLEX
RAIS
ED P
EDES
TRIA
N W
ALK
INCR
EASE
D D
ESN
ITY
PROGRAM: 1,350,000 CUBIC FEET
MISC. ANTI-MALL OPEN AIR MARKET ARTIST LOFTS MUSIC LAB
[1] first we determine that our proposalwill introduce approximately 1,350,000cubic feet of new program into this sector of c street.
[2] next we break the program into relative portionsand strategically select existing structures that will be demolished to accommodate our new program.
[3] finally, the programmatic elements begin to take embryonic forms informedby a common language that opens upblocks for plazas and alternate way finding.
[ 19 ]
C STREET MUSIC LABORATORY
[ PERFORMANCE ]
[ ATRIUM ]
[ MUSEUM ]
[ STU
DIO
][ S
TUD
IO ]
[ STU
DIO
]
[ STUDIO ] [ STUDIO ] [ STUDIO ]
[ PLAZA ]
[ SHOP ]
[ RETAIL ]
[ OFFICES ]
[ MUSICIAN WALK ]
PLAN
SECTION
[ MUSICIAN WALK ]
[ RETAIL ]
[ OFFICES ]
[ MUSEUM ]
[ SHOP ][ PLAZA ]
[ STUDIO ][ STUDIO ][ STUDIO ]
[ STU
DIO
]
[ PERFORMANCE ]
[ ATRIUM ]
Morphing the discovery of the Urban Canyon with the form of the Natural Canyon, the C Street Corridor Music Lab emerges from an existing cliff side, introducing a public traverse inspired by erosive paths over and through the building. Owing to the unique site, the North and South approaches to the building present very different scales in relation with the street. On B Street, the Lab’s 45 foot floating street wall is a step down from the colossal Symphony Towers to the West. On A Street, a cafe with a 15 foot street wall faces into the residential neighborhood of Cortez Hill, bridging the community with the core. The prom-enade from Cortez Hill into the plaza of the Lab conducts the visitor through a narrow pass, emerging into sweeping views of the public park across the street and down the gently sloped terrace that forms the roof of the museum and recording studios below.
[ 20 ]
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LEVEL 1 LEVEL 2 ROOF PLAN
PROGRAM:[1] ENTRY ATRIUM[2] MUSEUM GALLERIES[3] MUSEUM COURTYARD[4] CIRCULATION AND RESTROOMS[5] PARKING ENTRY[6] RECORDING STUDIOS[7] ACOUSTIC THEATER[8] RESTAURANT[9] CAFE
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[ 21 ]
C STREET MUSIC LABORATORY
[ 22 ]
[ 23 ]
NEGOTIATED MASS
Course: AR803Topic: Concrete as MaterialInstructor: ADRIANA CUELLAR
MANIFESTO: The Zeitgeist is dead. What remains is a plurality of ideas--a grab bag of process--informing architecture that it must address the present. This in-the-moment design can be given an identity through its role as temporarily contemporary. In the built environment, contemporaneity must be revealed through special effects of materiality, exhibiting current tectonic technology. Concrete's special effects: MASS, VOID, VOLUME, TEXTURE, COLOR, FORM, TRANSLUCENCY. Concrete, as a material of mass in architecture, must be defined as a function of time and movement--that being flow. From the moment cement, water, and aggregate are combined, concrete is introduced to a set of physical laws principally governed by time and movement. This is flow. Under its own weight, concrete gravitates to fill the voids where it remains unobstructed by mass as formwork. Formwork is mass, then void. Concrete is void, then mass. In the negotiation between “figure and ground”, concrete will define the spatial “figure” (MASS) while absence of concrete will define the “ground” (VOID). Due to the plastic nature of concrete, interior and exterior textures become an intense trace of construc-tion, consecrating the process of flow. Construction of formwork is made contemporary through the use of digital technologies in fabrication. The removal of formwork is as haptic as its construction. Burning, cutting, prying, melting, stripping, sand blasting, acid washing, all are tools of technology to break down the classical barriers of concrete construction.
Memory is caste and cured mass. Living is negotiated mass.
Wor
ld W
ar I
- 191
4 - 1
918
Wor
ld W
ar II
- 19
39 -
1945
Viet
nam
- 19
56 -
1975
Cold
War
- 19
47 -
1991
WARD’S CASTLE (MOOK)1875
LINGOTTO FIAT FACTORY (TRUCCO)1923
CASA DEL FASCIO (TERRAGNI) JOHNSON WAX TOWER (WRIGHT)1947
THE GUGGENHEIM (WRIGHT)1956
NOTRE DAME DU HAUT (LE CORBUSIER)1957
XOCHIMILCO RESTAURANT (CANDELA)1958
FALLING WATER (WRIGHT)
1936
EGLISE NOTRE DAME DU RAINCY (PERRET)
1921
UNITY TEMPLE (WRIGHT)1905
THE MADRID HYPODROME (TORROJA)1935
ORVIETO HANGARS (NERVI)
THE LOVELL HEALTH HOUSE (NEUTRA)1929
THE VILLA SAVOYE (LE CORBUSIER)1931
THE SALK INSTITUTE (KAHN)
1963
KIMBEL ART MUSEUM (KAHN)
1966
DULLES INT’L AIRPORT (SAARINEN)
NATIONAL ASSEMBLY (KAHN)
1962
CHANDIGARH GOV’T COMPLEX (LE CORBUSIER)1961
BRUDER KLAUS CHAPEL (ZUMTHOR)
2007
MAXXI MUSEUM (HADID)
2010
PHAENO SCIENCE CENTER (HADID)
2005
BIG BELT HOUSE (MASSIE)
2000
INGALLS BUILDING (ELSNER & ANDERSON)1904
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[ 24 ]
STRUCTURE + ROOF
STEEL COLUMNS + BEAMSGLASS SKYLIGHT
RIBBED STRIATIONSERVICE VOIDS
STEEL RIBS + BRACINGPLYWOOD SHEETING
FORM TIESELASTIC FABRIC
PVC TUBE PIPING
2X4 WOOD FRAMEINTERIOR GYPSUM FINISH
EXTERIOR VERTICAL WOOD SLAT FINISH
FINISHED CONCRETE
FORMWORK
STUD WALL FRAMING+ WINDOWS
EXPLODED AXONOMETRIC
[ 25 ]
NEGOTIATED MASS
01 STEEL RIBS
02 ELASTIC FABRIC
03 PVC PIPES
04 FINISHED WALL
[ 26 ]
[ 27 ]
NEGOTIATED MASS
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NEGOTIATED MASS
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[ 30 ]
THE BORDEAUX CHAIR
[ 31 ]
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Course: DES542
Topic: Furniture Design
Instructor: Dominique Houriet
The design of the Bordeaux Chair re-imagines the structural concept behind Rem Koolhaas’ Bordeaux House. A single steel cable is attached to the front of the seat, allowing the back to canti-lever over a central hinge. This feature, along with the chair’s angles, allow the user to feel a sense of weightlessness in the comfortably reclined position. The chair is designed for reading as its primary function and the low back secures the shoulder blades, while the arm rests extend to support the elbows for holding a book. The warm jatoba wood seat, back, and arm rests feel com-fortable against the users skin while contrasting the cold steel frame, giving the chair a distinct modern while rustic aesthetic.
[ 32 ]
Matt Gummowhttp://[email protected]
Master of ArchitectureNewschool of Architecture & Design2009 - 2012
