Matthew Miller

EducationColumbia 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 ExperienceArchitectural 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 ExperienceGraduate 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

HonorsLand 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

SkillsComputer SoftwareAdobe CS softwareAutodesk AutoCADAutodesk 3ds MaxAutodesk Maya Autodesk RevitRhinoceros Google SketchupV-Ray renderingMax renderingRhino scriptGrasshopper scriptPython script Model & FabricationHand modelingCNC millingLaser cutting3d printingVacuum formingInterior construction/finishing

Matthew D.B. Miller2 Lakeview Dr Apt C8Peekskill, NY 10566matthew.miller.22@gmail.com512.573.9381

Contents

Academic

Peeledscape university of nebraska fall 2007Grided Landscape university of nebraska fall 2007Formal White texas a&m fall 2009Stitch texas a&m fall 2010Bi-Polar texas a&m spring 2011Fun Palace columbia gsapp summer 2012 No Heimat For You columbia gsapp summer 2012

Professional

Marcus-Aylward Renovation keith dubas & associates spring 2008The Legacy at Georgetown ftc architects 2011-2012

Collaborative

La Riviera texas a&m spring 2010Azimuth Wall texas a&m spring 2011

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

ACADEMIC

PeeledscapeFall 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.

LOCATIONHaymarket District, Lincoln, NE

PROGRAMBus Stop Terminal

DESIGN PROCESSConcept design through sketch modelsDesign development in models and sketches

GRIDDED LANDSCAPEFall 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.

LOCATIONOmaha, Nebraska

PROGRAMUniversity of Nebraska-Medical Center, College of Public HealthResearch FacilityClassroomsOffices

Section A

Section B

Section C

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vegetationgrowth mediumconcrete curbgravel for drainagemembranepre-cast concrete slab (3 slope)insulationpre-cast hollow core concrete

flush glazed insulated windowsdesiccant spacerstructural silicone sealantspacer gasketstructural silicone weathersealpolyethylene foam backer rodstructural mullion

snap-on coverclamp barneoprene gasketsetting blockvegetationgrowth mediumdrainage,aeration, water storage and barrierinsulationmembranecast-in-place concrete curbconcrete beam

cast-in-place concrete foundation wallpre-cast concrete slabextruded polystyrene foam insulationsteel reinforcementbase course of gravel

Formal WhiteFall 2009

The design for the Houston Museum of Art and Design begun with exercises in diagramming of Alvar Aaltos 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.

LOCATIONHouston, Texas

PROGRAMHouston Museum of Art and DesignOutdoor Exhibition SpacePermanent & Temporary GalleriesAuditoriumLobbyGift ShopCafeArt Storage & Shop

Iteration 1

Iteration 2

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

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 boxs interior integrity.

1_auditorium2_cafe3_gallery4_gift shop5_Loading Dock6_Lobby7_Offices/Wood Shop8_sculpture garden

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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.

Section A

Section B

Through the figure

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.

Through the box

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.

LOCATION1st Street Bridge, Austin, Texas

PROGRAMretain vehicular trafficIntegration of:pedestrian trafficoffice spaceresidential unitsretail development

building

pedestrian circulation

vehicular circulation

office surface

residential surface

First Street Bridge connects the fabric of two very different landscapes within Austins 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.

plan @ 15 above river plan @ 35 above river

longitudinal section

0 25 50 100ft 0 25 50 100ft

plan @ 50 above river plan @ 65 above river0 25 50 100ft 0 25 50 100ft

0 10 25 50 100ft

Bi-Polar2011

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 TEAMMatthew MillerDale FentonEmau VegaAdrian CortezAubrie Damron

SOFTWARE UTILIZEDRhino 4.0, Autodesk Maya, Lamina, Mastercam, Pepakura

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exterior surface[1/8 sintra]support structure[3/4 MDF particle board]aggregation panels 1[3/16 acrylic]aggregation supports[2x4 lumber]aggregation panels 2[1/4 plywood]wall frame[2x4 lumber]lateral support[1/4 plywood]end caps 1 and 2[4 foam]bladder membrane[4 foam]interior surface[12 foam]exterior panel support[8 foam]top cap[1/4 plywood]vacuum formed bladders[1/8 polycarbonate]cap end 3[4 foam]desk[4 foam on 3/4 MDF]

rainwater collected by roof and wall system

settlement tank lters large particulates and feeds storage cistern

using Pascals law the tall storage tank can force water into the system as required

greywater recycled into irrigation

pressure from storage cistern feeds water into internal bladders ltration and uv sterilization make water potable

hot water from passive solar heatingand 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

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 neededcast structure 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 interiortensile armature 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 surfacescompressive armature 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

panel groves material: carbon fiber panels coated to repel water function: provide a hard exterior shell for the structure along with capture waterwater collection material: air space/wall cavity function: gathers the water that weeps through the panel groves leading it towards the filterwater bladders material: expandable rubber canteen function: serves as a water storage device and increases thermal insulationrainwater filtration material: metal filter basket and plastic forming function: filters water that will then store the water in the wall bladders

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

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

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

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

Fun PalaceThis 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.

LOCATIONMoscow International Business Center, Moscow, Russia

PROGRAMoffices_capitalistresidential_communisthotel/retail_consumerist

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

1_bar2_bbq area3_break rooms4_communal kitchen5_hotel gym6_hotel pool7_ice rink8_kitchen vent column field9_laundry10_office gym11_parking12_residence balcony13_residence gym14_residence pool15_restaurant16_subway entrance17_vendors18_water coolers

Lobby Plan @ 1.5 m high

Lobby Plan @ 9 m high

Lobby Plan @ 13 m high

Lobby Plan @ 17 m high

Hotel Plan

Pool Transitions

Residential Plan

removed kitchens & balconies

Office Plan

water coolers

SecTiOn @ hotel and residence through kitchen / balcony SecTiOn @ hotel through pools

SecTiOn @ hotel and residence through water slide SecTiOn @ residence and office through gym / water coolers

tower amenities extracted

lobby amenities

no heimat for you too late to refugee in your homeland

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 inhabi-tants 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 exist-ing 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 inten-sity 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 sug-arcane grows under, then through the decomposed structure re-emerges.

(loop)

{francois roche + ezio blasetti, farzin lotfi-jam}GSAPP fall 2012 (n)certainties

III theraphosidae theraphosinaeII scytodes thoracicaI mygale lasiodora

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IV amblypygid

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santa cruz del sur

boca grande

cienfuegos

havana

ceiba hueca

puerto padre

antilla

[cuba]

[sugar cane plantation]

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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 Cubas most vital crop and largest export, being grown throughout the island.

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.

positioning

[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

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

[shrinking & stretching] a textile that can be expanded... and a textile that can be compressed

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

[slavers] an army of spiders is the cause of the corrupted biotype that we are working with

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.

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.

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.

substance experiment

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

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

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

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

initial proximity of cane memebers allows for webbing of the smaller gaps to occur

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

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

web mesh is constructed and stressed based on the cane structure

initial cane structure and humidity repulsors are set up

archipelago growth continental growth

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

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.

isolated growth

growth of the cane structure is vertical battling gravitational forces

REP 02

REP 03REP 01

grwgrw I

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grw IVgrw V

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///TRJ = trajectory

///REP = repulsor

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

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

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[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

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

[shrinking & stretching] a textile that can be expanded... and a textile that can be compressed

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

[slavers] an army of spiders is the cause of the corrupted biotype that we are working with

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.

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.

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

[2] collecting

[3] extracting glucose

[5] expulsion H2O

[4] reaction

[1] cutting

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

[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

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

[dormant closed state]

[movement]dance of the machine water expulsion

I combination II hyper-twist III tangle IV fiddle V arrow

[machine spray vectors]

[spider movement] [spider movement]

machine behavior

[safe points] the machine starts to built up on optimized areas

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

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

[joining] the diffrerent structures begin to join theirself

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...

[the slave]

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

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

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

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local geometry

plantinggrowing harvest/ agroupingdecay

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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

[system of evolution]

harvest/ agrouping recursing/ webing saturationharvest/ agrouping recursing/ webing saturation

global evolution

local fragment

local fragment

PROFESSIONAL

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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.

LOCATIONLincoln, NE

PROGRAMEntertainment RoomFull KitchenStorageComplete Finishings

Basement Plan Electrical Plan

1_Rumpus Room South Elevation 2_Kitchen North Elevation

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2

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5 1/2"

1'-9"

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6'-4 3/8"

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8'-4 1/2" 8"

2'-6" 3'-9" 3'-0" 2'-0" 1'-6" 3'-0 1/2" 10'-1 1/8"

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10 1/2"

5'-0"

6 5/8"

5'-0" 5'-0" 5'-0" 5'-0"

5'-3"

4'

EQEQ

EQ

EQ2'-9" 2'-9" 2'-3"

6"1'-4 7/8"

1'-4 7/8"

1'-4 7/8"

10 7/8"

5'-1 1/2"1'-0 5/8"

1'-0 5/8"

1'-4 1/8"

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

8"5"

2'-0"2'-7"2'-7"2'-0"2'-0"2'-0"2'-0"15'-2"5"

2'-0"SSD 3D

SDS

SD42SD42

42

42

42 GFI GFI GFI42GFI42GFI42

S

S

S3D SD

S3D

S

1

1 1 1 1 1

1

1

2

2

1 1 1

1

1

1

1

1

1

1

1

1

1

3

3 2

2

Basement Plan Electrical Plan

1_Rumpus Room South Elevation 2_Kitchen North Elevation

5

4

EQ. EQ. EQ.

2"

1'-0"8"

5"

5" 5" 5" 5"

1 1/2"

3_Kitchen Bookshelf/Stair Detail

4_Kitchen Bookshelf 5_Stair Detail

Existing 4x4 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

The Legacy at GeorgetownAssisted 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.

LOCATIONGeorgetown, Texas

Collaborative

La RivieraDESIGN TEAMKy CoffmanHeather DavisDustin MattizaMatthew MillerJeff QuantzMichael TomasoGabriel Esquivel - Instructor

LOCATIONLa Riviera, Bryan, TX

SOFTWARE UTILIZEDRhinoceros 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 schools 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 5 3 2 1 0

65

87

21

43

1413

1615

109

1211

2221

2423

1817

2019

3029

3231

33

3534

2625

2827

COUNTERTOP3/4x4x8 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.

PANELS3/4x4x8 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.

ORNAMENTResting 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

FRONT ELEVATIONLEFT ELEVATION

Bar

Skeleton

Lamina Templates 4x8 printed for guides, but from wire mesh

1-0.5 1-1 1-2 1-3 1-4 1-5 1-6 1-7 2-1 2-3 2-4, 2-5

2-2

Ceiling

Azimuth Wall2011

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 Manferdinis 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 INFOhttp://archone.tamu.edu/www.ateliermanferdini.com

VIDEOhttp://www.youtube.com/watch?v=OX4pr6XsXFM

DESIGNERS STUDENT LEADERSElena Manferdini Matthew MillerEugene Kosgoron Chris Gassway Heather DavisSUPERVISORS Karine BashoyanGabriel EsquivelCarol Lafayette

LOCATIONAzimuth Cafe, College Station, TX

SOFTWARE UTILIZEDRhinoceros 4.0, Maya, Mastercam

PROTOTYPE 1

Aluminum scratched easily - needed plastic coating Ears overlapping bend lines wouldbe bent - must not overlap Newer/larger bending machine needed.

PROTOTYPE 2

Petals intersected - more toleranceneeded. Tabs were difficult to bend accurately.

PROTOTYPE 3

Detached petal-to-petal tabs allowedmore tolerance + more accurate bends. Very tight/difficult fit on structure withattached petal-to-structure tabs.

PROTOTYPE 4

Final test. All tabs detached - multiple flowers fiton structure easily.

FABRICATION | Petals.060 Aluminum

CONNECTOR TABS PETAL | Cut - - - - - - - - - - - - - - - - - - - > Bend - - - - - - - - - - - - - - - - - - - - - - - > Assemble

ALUMINUM CUT SHEETS | 4x8

Petal-to-Petal | 120 bend

Petal-to-Structure | 90 bend

CONNECTOR TABS PETAL | Cut - - - - - - - - - - - - - - - - - - - > Bend - - - - - - - - - - - - - - - - - - - - - - - > Assemble

A

BC

9012012090

Petal Sorting and Assembly

Structure Check and Petal Application

Securing Completed Wall and Vinyl Installation

Petal Sorting and Assembly

Structure Check and Petal Application

Securing Completed Wall and Vinyl Installation

Azimuth Wall | 2011final photos by Marcel Erminy

Matthew D.B. Miller2 Lakeview Dr Apt C8Peekskill, NY 10566matthew.miller.22@gmail.com512.573.9381

Matthew Miller

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