Current Works

Methodology for Design Architects and planners play a crucial role in the potential to reduce global consumption of energy. As I continue to mature as a designer, it has become apparent that sustainability is as much about lifestyle and choices, as it is about architectural elements which are simply schemed into building design. In an effort to do my individual part to reduce our ecological footprint, I am drawn to a city like Portland where I can utilize mass transit, effortlessly recycle my waste, and travel safely by bicycle. As a recent resident, I hope to learn how Portland and similar cities have become successful in their endeavor to become more “Green”, and use this valuable environment as fodder for my current and future designs. One of the easiest steps toward a sustainable lifestyle is the reduction of our automobile dependency. With Europe as a model, we can see that a lifestyle less reliant on the automobile is quite possible. Since Americans have placed such high priority on the automobile, we have let this dependency dictate the growth patterns of our urban fabric, rendering it non-pedestrian and severely disconnected. While attending the University of Oregon, the projects I’ve thus completed have given me the opportunity to utilize and interact with light rail transit and this mode of transportation has developed into an important focus of mine. In my short exposure to Portland, it has become obvious the advantage light rail provides in both moving people and becoming a catalyst for urban activity. Creative urban planning solutions and the utilization of several varieties of public transportation are imperative if we hope to overcome our oil depen-dency and mitigate one of the largest contributors to global climate change. It is at the beginning of every project that aspects like organization, program, typology, and processes are questioned with the intent to explore better and more appropriate design solutions, fully understanding that everything is relative. There is this habit for designers to gravitate toward predisposed ideas and apply them without ever questioning their intentions. On the other hand, an inquisitive approach has the ability to uniquely develop a quality of architecture that is both stimulating and concerned with the advancement of the profession. We forget that although we are typically designing for a specific client, our biggest client, more often than not, is the general public. Urban architecture gets in-filled into a setting where it is forced to fit among a diverse context of edifices, as well as the hustle and bustle of everyday life. Every urban project has the potentiality to repair or enhance those places in which people spend their day-to-day lives. It is in this setting where its success is not only measured by it response to context, but its ability to interact with the people that support its function. A positive response from the public is key, which requires providing spaces that people want to use and be in. This has led me to believe that a dense city is one that’s healthy, active and sustain-able. As my studies continue and culminate in a Masters degree of Architecture I am excited to learn more about the inner workings of the Urban Environment. My infatuation with Light Rail transit has fueled my independent research the last two quarters. My research thus far has examined the planning, design strategies, and implementation of Streetcars in North America. Once complete, my intentions are to present a proposed alignment to the City of Albuquerque, New Mexico, my hometown. My research will continue to peak as I seek the answer to my own million-dollar question: What makes a city, healthy, active, and sustainable? Success should not be measured by notoriety, as much as the satisfaction derived from knowing that our innovative designs are capable of alleviating our dependence on nonrenewable energies. These solutions need to function to serve many generations to come. Design aesthetics do not have to be compromised by climactic factors, and should be a visual representa-tion of the harmony between form and function.

Thank you for your time and consideration,

Matthew N. Byers

Matthew Nicholas Byers2248 NW Glisan Ave.

Portland, Oregon 97210505-507-7308

[email protected]

EDUCATIONMasters of ArchitectureFocus: Transit Oriented DevelopmentUniversity of Oregon, Portland June 2011GPA: N/A

Bachelors of Arts in ArchitectureUniversity of New Mexico, Albuquerque GPA: 3.93 Summa Cum Laude May 2009

High School DiplomaSt. Pius X High School, Albuquerque May 2005GPA: 3.80

HONORS/AWARDSForm Z Design Awards, Honorable Mention October 2009

Mickey Kosanovich Endowed Memorial Scholarship, University of New Mexico •Prize granted within the School of Architecture and Planning to the first place winner of the Kosanovich design competition.

March 2009

2008 Western Mountain Region AIA Jury •1 of 5 students selected by UNM SA+P Dean to Juror the 2008 WMR AIA Competition October 2008

New Mexico Solar Energy Association Housing Competition, 4th place •Awarded to designs that best demonstrate a knowledge of Sustainable design in Architecture, specifically paying attention to passive solar design.

March 2008

AIAS T-Shirt Design Competition •Submitted design selected to go on the 2007/2008 AIAS T-shirt May 2007

University of New Mexico Dean’s List •Maintain a GPA of 3.5 or higher and be enroller in a min. of 12 credit hours Spring 2006-May 2009

MEMBERSHIPS/ORGANIZATIONS •TAU SIGMA DELTA Honor Society in Architecture and Allied Arts •GOLDEN KEY International Honour Society

TEACHING EXPERIENCEArchitecture and Children •Taught Architectural concepts and skills to fourth grade children at Monte Vista Elementary. •The course was designed to use architecture as a creative means to implement other curriculum such as mathematics, science, history, and art. Spring 2008 Tutoring at Douglas Macarthur Elementary •After school program that allowed for one on one with students having difficulties in a wide range of subjects.

Fall 2003-Spring 2005LANGUAGES •Working knowledge of Spanish

EMPLOYMENT University of New Mexico’s Rodey Theater Scene Shop •Position, Scenic Carpenter: Crafted sets for performance being hosted by Rodey Theater. •Experience in welding, carpentry, set design, plasma cutting, and painting were refined. Fall 2007MPedone Works •Position, Intern: Drafting, Code Analysis, 3D Modeling/Rendering, and Design •Works consisted mostly of small scale commercial and design competitions. •Experience gained in colabortation and working with clients. Summer/Winter 2008

INTRESTS •Art Making •Cycling •Traveling •Making Music •Collecting Guitars •New Urbanism

Online portfolio available at: http://issuu.com/r0s3c1ty/docs/matthew_byers_portfolio_recent_works

GATEWAY

REGIONAL TRANSIT (MAX)

DISTRICT TRANSIT (STREETCAR)

REGIONAL CENTERS

SWE

AREA SELECTIONGateway was chosen because unlike the other Regional Cen-ters, it lacks a central organizing body to coordinate various in-terests and is slated to absorb significant future growth from its diverse neighboring areas. As the only Regional Center within Portland, the district is envisioned as a second downtown. Since much of that growth has yet to materialize, Eco-districts plan-ning here is particularly relevant, especially considering policy goals like the Portland Climate Action Plan. Previous plans for Gateway reveal an area with many of the fundamental char-acteristics necessary for an EcoDistrict. However, stimulating economic investment in the district has proven difficult despite extensive planning and analysis.

LRT works well at moving people long distances, from one Regional Center to the next, but what about mobility throughout the Regional Center itself? The imple-mentation of a Streetcar would begin to increase our mobility at the district (neigh-borhood) scale acting as a branch to the regional trunk of transportation. It is at this scale that the opportunity for ecological infrastructure, capable of benefiting both habitat as well as people becomes the most clear.

PDX

PORTLAND

GRESHAM

GATEWAY!HOLLYWOOD

MILWAUKEE

BEAVERTON

HILLSBORO

A FUTURE OF STREETCARS

TIGARD

LENTS

CLAKAMAS

OREGON CITY

URBAN ANALYSISALIGNMENT PROPOSAL

Lack of Connectivity*Access to Gateway by alternative transportation modes, whether via transit, bicycling or walking, is generally good. However, automobile use re-mains high with an average of 26.7 daily miles traveled per person, the highest in the city of Portland. Mobility is impeded in the district by breaks in sidewalk coverage, long block lengths on corridors like 102nd Avenue, and unimproved streets throughout the Central Gateway area.Absence of Parks and Habitat areas*The Gateway URA has an absence of parks and public spaces, which has multiple effects on Gate-way’s environmental performance: decreased carbon sequestration potential, reduced air qual-ity, reduced pedestrian street scape quality and reduced habitat for urban ecological function.Abundant Impervious Surface*Average impervious surface coverage in the Gateway URA is more than 70%. Compared to a citywide average of just over 50%, this suggests a significant impact on the total volume of storm water across the district.

*Gateway Eco-District Pilot Study

GRESHAM

EXISTING (2011) PROPOSED(2011-2015) T.O.D. (2015-2050) (2050-2100)

FRED MEYER’S

OREGON CLINIC

I-205

T.C.

STREETCAR ALIGNMENT

BOARD WALK

T.C.

PARK+RIDE

SITE PLAN

URBAN MODEL: 1”=50’-0” MDF + CHIPBOARD

SITE MODEL: 1/16”=1’-0” Basswood + Museum board

TECTONIC MODEL: 1/4”=1’-0” Basswood, Museum board + Rockite

If we look at the correlations between film and architecture we begin to see paralleled proj-ects that are concerned with spatial sequence, continuity, framing, and composition. The evolution of any building can start to become dynamic when we consider our role of architect as a director, concerned with the unrolling of plot to a viewer, in our case the user, and how they will become enveloped in it.

To better familiarize ourselves with the art of filmmaking we were required to create short film explorations that were representative of the city. In the short film I produced it involved a transitional technique that involved fading from color to black and white to accentuate par-ticular elements I wanted the viewer to focus on.

After the filmmaking process we were asked to screen a film of our choosing. Cued from the black and white transition of my film exploration it seemed obvious to analyze ‘The Wizard of Oz’. The interpretation produced two objects one 2-D the other 3-D. These interpretations began to examine and demonstrate the external influence the built environment we interact with day-to-day plays on our subconscious. For Dorothy, her entire journey through Oz, al-though fictional, was completely constructed from elements and images of her reality, similar to our own dream process.

The question then became, “How can architecture be representative of this process, and how could it possibly begin to make us appreciate the day-to-day experience we are apart of?”

By isolating the most crucial part of a Film Center, that being its screening room, a place for critique, visual exploration, and presentation, I was able to reinforce its importance and ex-ploit its existence by using the buildings secondary program to physically define it.In the case of this Film center its screen room is only composed of, or defined, by the wall the adjacent programs lend to separate their spaces. This volume is only capable of existing because the other program allows it.

NORTH WEST FILM CENTER584 STUDIO: FALL 2010

She isn't coming yet, Toto. Did she hurtyou? She tried to, didn't she? Come on --we'll go tell Uncle Henry and Auntie Em.Come on, Toto.

Just listen to what Miss Gulch did to Toto! She....Dorothy, please! We're trying to count! Fifty-eigh

Don't bother us now, honey -- this old incubator's gone bad, and we're likely to lose a lot of our chicks

Don't bother us now, honey -- this old incubator's gone bad, and we're likely to lose a lot of our chicks

Oh -- oh, the poor little things. Oh, butAunt Em, Miss Gulch hit Toto right over theback with a rake just because she says hegets in her garden and chases her nasty oldcat every day.

Oh -- oh, the poor little things. Oh, butAunt Em, Miss Gulch hit Toto right over theback with a rake just because she says hegets in her garden and chases her nasty oldcat every day.

Oh, but he doesn't do it every day -- justonce or twice a week. And he can't catchher old cat, anyway. And now she says she'sgonna get the sheriff, andPoor little orphan, and her Miss Gulch

troubles. Gosh all hemlock - you know, sheought to have somebody to play with.

Hunk on ground -- gets finger caught under wagon bedt

Zeke and Hickory holding wagon bedZeke, what am I going to do about MissGulch? Just because Toto chases her oldcat

Now lookit, Dorothy, you ain't using yourhead about Miss Gulch. Think you didn'thave any brains at all.

Well, why don't you use them? When you comehome, don't go by Miss Gulch's place. ThenToto won't get in her garden, and you won'tget in no trouble. See?

Oh! Oh, it feels like my joints are rusted.Listen, Dorothy, don't let Hunk kid youabout Miss Gulch. She's just a poorsour-faced old maid that -- she ain't gotno heart left. You know, you should have aittle more heart yourself, and have pityon her.

Oh! Oh, it feels like my joints are rusted.Listen, Dorothy, don't let Hunk kid youabout Miss Gulch. She's just a poorsour-faced old maid that -- she ain't gotno heart left. You know, you should have aittle more heart yourself, and have pityon her.

Do you suppose there is such a place, Toto?There must be. It's not a place you canget to by a boat or a train. It's far, faraway -- behind the moon -- beyond the rain --

..Someday I'll wish upon a starAnd wake up where the clouds are far behind me.Where troubles melt like lemon drops,Away above the chimney tops,That's where you'll find me.Somewhere, over the rainbow, bluebirds fly.Birds fly over the rainbow,Why then -- oh, why can't I?If happy little bluebirds flyBeyond the rainbowWhy, oh, why can't I?

..Someday I'll wish upon a starAnd wake up where the clouds are far behind me.Where troubles melt like lemon drops,Away above the chimney tops,That's where you'll find me.Somewhere, over the rainbow, bluebirds fly.Birds fly over the rainbow,Why then -- oh, why can't I?If happy little bluebirds flyBeyond the rainbowWhy, oh, why can't I?

Destroyed? Toto? Oh, you can't! Youmustn't! Auntie Em! Uncle Henry! You won'tlet her, will you?

Please, Aunt Em, Toto didn't mean to. Hedidn't know he was doing anything wrong.I'm the one that ought to be punished. Ilet him go in her garden. You can send meto bed without supper

Well, that's for the Sheriff to decide.Here's his order allowing me to take him.Unless you want to go against the law

Well, that's for the Sheriff to decide.Here's his order allowing me to take him.Unless you want to go against the law

Oh, no, no! I won't let you take him! Yougo away, you....! Oooh, I'll bite you myself!



Toto, darling! Oh, I got you back! Youcame back! Oh, I'm so glad! Toto! Oh,they'll be coming back for you in a minute.We've got to get away! We've got to runaway -- quick!

Well, well, well -- house guests, huh? Andwho might you be? No, no -- now don't tellme.

Let's see -- you're -- you're travelling indisguise. No, that's not right. I -- you're-- you're going on a visit. No, I'm wrong.That's...You're -- running away.

Professor Marvel never guesses -- he knows!Now, why are you running away?

No, no -- now don't tell me. They -- theydon't understand you at home. They don'tappreciate you. You want to see other lands-- big cities -- big mountains -- bigoceans

No, no -- now don't tell me. They -- theydon't understand you at home. They don'tappreciate you. You want to see other lands-- big cities -- big mountains -- bigoceans

Please, Professor, why can't we go along with you?

Please, Professor, why can't we go along with you?

He's perfectly welcome. As one dog toanother, huh? Here now -- let's see wherewere we?

Nobody cares about me at home. They wouldn'teven miss me.

Nobody cares about me at home. They wouldn'teven miss me.

...away! Come on, Toto! Oh, what'll I do?If we go home, they'll send you to theSheriff. And if we don't, Aunt Em may --well, she may die! I know what I'll do -'ll give you to Hunk. He'll watch out foryou. But we've got to hurry. Goodbye,Professor Marvel -- and thanks a lot!

0.00 Min. 10.00 Min. 20.00 Min. 30.00 Min. 40.00 Min. 50.00 Min. 60.00 Min. 70.00 Min. 80.00 Min. 90.00 Min. 100.00 Min.

DOROTHY GALETO-TO the DOG

AUNTIE M + UNCLE HENRYHUNK (SCARECROW)

HICKORY (TIM MAN)ZEKE (COWARDLY LION)

MISS ALMIRA (WICKED WITCH)PROFESSOR M. (WIZARD of OZ)

GLENDA THE GOOD WITCHCHAR

ACTE

RSSO

NGS

SCEN

ESTR

ANSL

ATIO

NAR

CHIT

ECTU

RAL

ELEM

ENTS

CONCEPTUALLY

“OVER THE RAINBOW”

“MUNCHKIN LAND SEQUENCE”

“MUNCHKIN LAND SEQUENCE”

“FOLLOW THE YELLOW BRICK ROAD”

“IF I ONLY HAD A BRAIN”

“WE’RE OFF TO SEE THE WIZARD”


“MERRY OLD LAND OF OZ”

“IF I WERE KING OF THE FOREST”


“IF I ONLY HAD A HEART”

“IF I ONLY HAD THE NERVE”

DIRT ROAD (PATH)

YELLOW BRICK ROAD (PATH)

OPENS DOOR TO OZ (THRESHOLD)

EMERALD CITY IN SIGHT (FORCED PERSPECTIVE + PRESENCE)

(WIZARD’S FARWELL) PUBLIC SPACE

“THERE”S NO PLACE LIKE HOME”

LARGE DOORS INTO EMERALD CITY (THRESHOLD)

LARGE DOORS + HALLWAY TO WIZARD

INSIDE OZ’S CHAMBER (SACRED SPACE)

“IT’S A LUCKY THING IT WASNT YOUR HEAD”

“I HAVE SO GOT BRAINS”

“WELL GEE, I’ll TRY AND HAVE A HEART”

“HAVE A LITTLE COURAGE THAT’S ALL”WELL YOUR HEAD AIN”T MADE OF STRAW YOU KNOW”

“DO YOU SUPPOSE THERE IS SUCH A PLACE TOTO?”

“DESTROYED? TOTO? YOU CAN’T!”

“YOU WICKED OLD WITCH! UNCLE HENRY, AUNTIE EM DON”T LET EM TAKE TOTO!”

“NOBODY CARES ABOUT ME AT HOME, THEY WOULDN’T EVEN MISS ME”

“OH YES, YOU WANT TO GO HOME HUH?”

‘THE WIZARD OF OZ’2-D Film Interpretation

‘DOROTHY’S SUBCONSCIOUS’3-D Interpretation (acrylic+yarn)

NWFC PROPOSALBOARD 1




MARKET/PLAYGOUND (NEIGHBORHOOD FOCUS)

SCHOOL QUAD(PSU STUDENT FOCUS)

SUSTAINABILITY CENTER(ECO-DISTRIC FOCUS)

URBAN REPAIRS +ADDITIONS

URBAN VISIONRe-route Streetcar into Montgomery/Harrison Couplet

LIBERATE DEAD PARK WATERFRONT SHOPS/LIVINGCOMMERCIAL(FOCUS)

WATERFRONT SQUARE(PEDESTRIAN FOCUS)

INTERIOR RENDERINGS (ENTRY + LOBBY)

MODELbasswood, acrylic, clay,plex + museum board(scale: 1/16” = 1’-0”)

DAYLIGHT MODELchip board, basswood, plex,foamcore + museum board(scale: 1/2” = 1’-0”)

MODELbasswood, acrylic, clay,plex + museum board(scale: 1/16” = 1’-0”)

DAYLIGHT MODELchip board, basswood, plex,foamcore + museum board(scale: 1/2” = 1’-0”)

DAYLIGHTING MODEL (GALLERIES)

4.

3.

INK TRAVEL SKETCHES

1. Klee Museum, Bern Sum. 20092. Segrada Familia, Barcelona Sum.20093. Cathedral of the Angels, L.A. Fall 20084. Villa Rotonda, Vicenza Sum. 2009

2.

1.

WATER COLOR TRAVEL SKETCHES

5. Notre-Dame,Ronchamp Sum. 2009 6. Church (untitled), Barcelona Sum. 2009 7. Castelgrande, Bellinzona Sum. 2009 8. Morcote Tessin, Vico Sum. 2009

5.

6.

7.

8.

Documents

Current Works