As I was growing up, I was always interested in how things work and how they come together to make a cohesive whole. My parents would reminisce about peeking into my room and seeing me in the middle of the room, contemplating an object or pile of wires sitting before me. I loved taking things apart and seeing if I could put them back together (I usually did). My fascination with seeing how various parts merge and collaborate is an important aspect of venturing into architecture. I believe this sentiment is reflected with a quote from Maya Lin: “I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.” During my sophomore year in high school (1994), I was introduced to the ideals that encompass architecture. I was hooked from the beginning, but realization of this took more than a decade. When graduating from high school, I was full of optimistic stupidity. Subsequently, I decided I was too smart to learn anything of consequence in a university setting. For the next fourteen years (or so) I went through multiple professions and learned many valuable skills, such as: working on car electrical systems, directing multiple employees, building websites, creating my own business, and renovating residential homes. After acquiring these skills, I found that one of the main ideas I learned was in direct opposition to my high school graduating thoughts. I learned that I am in fact NOT all-knowing and that a quality education is truly invaluable. Realizing that I didn’t know everything, I began to seriously consider going back to school. I examined many possible fields of study including en-gineering, business, and physical fitness, but at the top of every list was architecture. I had always been drawn to architecture, and I couldn’t pinpoint the precise reason; but after attending the University of Utah I am able to identify many aspects that attract me. I have a great appreciation for the volume and breadth of knowledge that the professors bring to the U of U. Specifically, I was impressed with Professor Hoff-man’s ability to simplify and improve a project in one fell swoop – I find myself frequently reflecting on his past advisements. I was captivated by Doctor Fischer’s enthusiastic thoughts about architecture and art – I find that I have an interest in architectural history that was almost non- existent before his class. I was enthralled with Professor Ruegemer’s verve for sustainable and walkable cities – he helped me to under-stand exactly why I am spellbound by downtown Portland. These are but a few examples of my expanded knowledge while attending the U of U, and I am hopeful to continue to work with the likes of Professors Ruegmer, Fischer, and Hoffman in the Master’s Program. I am particularly interested in the U of U’s small school environment and the ability to influence the direction of my own education. I find the availability of the DesignBuildBLUFF program, the accelerated M.Arch, and the various specialty certificates to be quite intriguing. At the end of my education, I hope to be on my way as a future architect that is well-versed on the subjects of design, sustainability, urban design, and new technologies. I believe that the Master of Architecture Program at the University of Utah will be able to help me develop the knowledge and skills required to accomplish these goals. As the next step in my educational and career pursuits, I would be ex-tremely honored to be admitted into the U’s program.

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

As I was growing up, I was always interested in how things work and how they come together to make a cohesive whole. My parents would reminisce about peeking into my room and seeing me in the middle of the room, contemplating an object or pile of wires sitting before me. I loved taking things apart and seeing if I could put them back together (I usually did). My fascination with seeing how various parts merge and collaborate is an important aspect of venturing into architecture. I believe this sentiment is reflected with a quote from Maya Lin: “I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.” During my sophomore year in high school (1994), I was introduced to the ideals that encompass architecture. I was hooked from the beginning, but realization of this took more than a decade. When graduating from high school, I was full of optimistic stupidity. Subsequently, I decided I was too smart to learn anything of consequence in a university setting. For the next fourteen years (or so) I went through multiple professions and learned many valuable skills, such as: working on car electrical systems, directing multiple employees, building websites, creating my own business, and renovating residential homes. After acquiring these skills, I found that one of the main ideas I learned was in direct opposition to my high school graduating thoughts. I learned that I am in fact NOT all-knowing and that a quality education is truly invaluable. Realizing that I didn’t know everything, I began to seriously consider going back to school. I examined many possible fields of study including en-gineering, business, and physical fitness, but at the top of every list was architecture. I had always been drawn to architecture, and I couldn’t pinpoint the precise reason; but after attending the University of Utah I am able to identify many aspects that attract me. I have a great appreciation for the volume and breadth of knowledge that the professors bring to the U of U. Specifically, I was impressed with Professor Hoff-man’s ability to simplify and improve a project in one fell swoop – I find myself frequently reflecting on his past advisements. I was captivated by Doctor Fischer’s enthusiastic thoughts about architecture and art – I find that I have an interest in architectural history that was almost non- existent before his class. I was enthralled with Professor Ruegemer’s verve for sustainable and walkable cities – he helped me to under-stand exactly why I am spellbound by downtown Portland. These are but a few examples of my expanded knowledge while attending the U of U, and I am hopeful to continue to work with the likes of Professors Ruegmer, Fischer, and Hoffman in the Master’s Program. I am particularly interested in the U of U’s small school environment and the ability to influence the direction of my own education. I find the availability of the DesignBuildBLUFF program, the accelerated M.Arch, and the various specialty certificates to be quite intriguing. At the end of my education, I hope to be on my way as a future architect that is well-versed on the subjects of design, sustainability, urban design, and new technologies. I believe that the Master of Architecture Program at the University of Utah will be able to help me develop the knowledge and skills required to accomplish these goals. As the next step in my educational and career pursuits, I would be ex-tremely honored to be admitted into the U’s program.

Matt Pattbergarchitecture portfolio

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

M a t t P a t t b e r g8 2 9 8 R o o s e v e lt S t , M i d v a le , U T8 0 1 . 8 9 8 . 6 7 8 9m a t t . p a t t b e r g @ u t a h . e d um a t t p a t t b e r g @ y a h o o . c o m

O b j e c t i v eI want to become an architect that is well-versed on the subjects of design, sustainability, urban design, and new technologies.

E d u c a t i o nU n i v e r s i t y o f U t a h G PA

S a lt L a k e C o m m u n i t y C o l le g e G PA

H i l lc r e s t H i g h S c h o o l G PA

A u g u s t 2 0 1 1 - M a y 2 0 1 33 . 6 1

J a n u a r y 2 0 0 9 - M a y 2 0 1 13 . 8 4

A u g u s t 1 9 9 3 - J u n e 1 9 9 63 . 5 4

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

folding housepgs. 8-17

ballet west dance studiopgs. 18-29

borgund stave churchpgs. 30-37

organized as a progression of my time as a student at the U of Uolder newer

pg. 7

parametric sun screenpgs. 38-47

cherry peak ski lodgepgs. 60-75

pearl district bike collaborativepgs. 48-59

organized as a progression of my time as a student at the U of Uolder newer

pg. 9

Located at the beginning of a trailhead into a forested canyon, this project is intended to be used by forest rangers as a small refuge from the elements. Due to the amount of snow, the trail is closed during the winter months and open during the summer months. The shelter provides the ranger with a place of rest and a place to observe the comings and goings on the trail.

The structure is required to be made of dimensioned lumber (two by fours) and plywood. It is organized

around the act of cutting, folding, and sliding the surface of a cube to create habitable spaces and pro-grammatically generated forms. All of the material originates from the cube itself, nothing is added or subtracted from the given form.

The cube is required to have dimensions of 8’ x 8’ x 8’.

folding house

Located at the beginning of a trailhead into a forested canyon, this project is intended to be used by forest rangers as a small refuge from the elements. Due to the amount of snow, the trail is closed during the winter months and open during the summer months. The shelter provides the ranger with a place of rest and a place to observe the comings and goings on the trail.

The structure is required to be made of dimensioned lumber (two by fours) and plywood. It is organized

around the act of cutting, folding, and sliding the surface of a cube to create habitable spaces and pro-grammatically generated forms. All of the material originates from the cube itself, nothing is added or subtracted from the given form.

The cube is required to have dimensions of 8’ x 8’ x 8’.

folding house

pg. 11

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

folding house

Proposed sequence for folding a common sheet of paper to form a cube

floor plan1/4” = 1’ -0”

instructions for sliding, flipping, pushing, pulling.

sl

ide

slide

slide fold

flip and slide

flip

pg. 13

east elevation1/4” = 1’ -0”

west elevation1/4” = 1’ -0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

folding house

west section1/4” = 1’ -0”

north section1/4” = 1’ -0”

north elevation1/4” = 1’ -0”

south elevation1/4” = 1’ -0”

pg. 15

south-east axonometric

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

folding house

pg. 17

on-site placement

pg. 19

Based on the proposed Ballet West facility on 200 South in Salt Lake City, this project is designed to achieve elegant circulation throughout. It provides vis-ible dance and rehearsal studios, while occupying only a portion of the site, reserving the rest for an urban park. The studios are stacked and elevated above the site to conserve space and to allow for more urban park space.

Prior to creation of the building, an urban analysis was conducted and used for inspiration. Site placement was heavily influenced by this analysis.

Dance studios are an integral part of ballet companies and are used for daily classes and performance re-hearsals. The four studios are based on specific proportions of a rectan-gular shape, with one of the walls mirrored to allow the dancers to view themselves. The dynamic activity of each studio is made visible to people passing in the street and park, inviting admirers.

An open vertical lobby provides visi-bility throughout the building, further enhancing the dynamic experience of the building.

ballet west

Based on the proposed Ballet West facility on 200 South in Salt Lake City, this project is designed to achieve elegant circulation throughout. It provides vis-ible dance and rehearsal studios, while occupying only a portion of the site, reserving the rest for an urban park. The studios are stacked and elevated above the site to conserve space and to allow for more urban park space.

Prior to creation of the building, an urban analysis was conducted and used for inspiration. Site placement was heavily influenced by this analysis.

Dance studios are an integral part of ballet companies and are used for daily classes and performance re-hearsals. The four studios are based on specific proportions of a rectan-gular shape, with one of the walls mirrored to allow the dancers to view themselves. The dynamic activity of each studio is made visible to people passing in the street and park, inviting admirers.

An open vertical lobby provides visi-bility throughout the building, further enhancing the dynamic experience of the building.

ballet west

pg. 21

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

ballet west

creation of a site model a collaboration with Spencer Anderson, Mike Hollopeter, Caitlin Thissen, et al.

proposed site

N

pg. 23

site figure/ground study

N

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

ballet west

programmatic elements

structure diagram1/32” = 1’ - 0”

N

N

pg. 25

Circulation through the stairs was examined extensively. No-tice the stacked stairs, with an enclosed space and an open space (the red arrows traverse the enclosed space and the black arrows traverse the open space). A stacked stair config-uration allows for maximum flow through the central core of the building while retaining a compact design.

The enclosed space is clad with translucent glass. This permits natural light to penetrate an otherwise dark space, while also allowing occupants to notice the silhouetted movement within.

west section of stairs1/8” = 1’ - 0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

first floor1/32” = 1’ - 0”

south elevation1/32” = 1’ - 0”

second floor1/32” = 1’ - 0”

performance stage

south section1/32” = 1’ - 0”

ballet west

ballet studio 1

ballet studio 2

office

office

pg. 27west section1/32” = 1’ - 0”

west elevation1/32” = 1’ - 0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

ballet west

pg. 29

pg. 31

Considered to be the best preserved stave church of Norway, the Borgund Stave Church was built some-time in the mid 12th century, the exact time is un-known, which adds to the local stigma about the build-ing. There are multiple additions to the building, first starting in the 15th century. It is located in Borgund, Norway, situated amongst towering green mountains.

It is based off a basilica plan, with a tripartite arch over the main entrance, and crosses over the sec-ondary entrances on the north and south. Reflect-ing the viking influence, many crosses have been replaced with dragons .

Our group created a re-search paper, detailed drawings, and a section model; all based on the Borgund Stave Church.

borgund stave churcha collaboration with:Spencer Anderson & Alex Dahl

Considered to be the best preserved stave church of Norway, the Borgund Stave Church was built some-time in the mid 12th century, the exact time is un-known, which adds to the local stigma about the build-ing. There are multiple additions to the building, first starting in the 15th century. It is located in Borgund, Norway, situated amongst towering green mountains.

It is based off a basilica plan, with a tripartite arch over the main entrance, and crosses over the sec-ondary entrances on the north and south. Reflect-ing the viking influence, many crosses have been replaced with dragons .

Our group created a re-search paper, detailed drawings, and a section model; all based on the Borgund Stave Church.

borgund stave churcha collaboration with:Spencer Anderson & Alex Dahl

pg. 33

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

borgund stave church

pg. 35

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

borgund stave church

pg. 37

pg. 39

Harsh evening sun is a difficult thing to mitigate with-out putting up a sun-blocking wall. For a downtown Salt Lake establishment, this project aims to diminish-ing the harshness of the evening sun without using an opaque wall.

In the process of abating the sun, the project must use parametric construction techniques to achieve opti-

mal use and installation. Site visits and sun studies will be needed.

Additionally, we were tasked with analyzing how the project relates to letterpress and its vari-ous parts, machinery, and procedures.

parametric sun screena collaboration with:Justinian Popa & Zac Wright

Harsh evening sun is a difficult thing to mitigate with-out putting up a sun-blocking wall. For a downtown Salt Lake establishment, this project aims to diminish-ing the harshness of the evening sun without using an opaque wall.

In the process of abating the sun, the project must use parametric construction techniques to achieve opti-

mal use and installation. Site visits and sun studies will be needed.

Additionally, we were tasked with analyzing how the project relates to letterpress and its vari-ous parts, machinery, and procedures.

parametric sun screena collaboration with:Justinian Popa & Zac Wright

pg. 41

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

parametric sun screen

Letterpress was revolutionary when it first burst onto the scene in the 15th century, not changing in design for about 350 years. Today it is con-sidered an art form. At its roots, It can be considered relief printing of text and images using a press that pushes paper onto raised movable type/images that are reversed. The movable type and images, often handcrafted, are always set by hand.

Letterpress was revolutionary be-cause it allowed move-able type that could be used over and over in vary-ing combinations to print completely different books. This modular aspect is very similar to parametric design and contributes a large amount of inspiration for the parametric sun screen project.

pg. 43

Three different panels were made at the proportions seen above. Connec-tions were made to be adjustable so the panels could fit together in any configuration needed.

screen layout

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

parametric sun screen

Based on a grid pattern, it is clear to see that the back lip of the alumi-num panel is perforated with small holes. However, what is not readily apparent is that the same grid of holes permeates the front of the panels. These corresponding grid based holes allow for the inherent parametric flexibility of the system.

This diagram also shows how the panels are connected to each other, and the angle iron, with pop rivets. Additonally, it reveals the connec-tion of the angle iron to the existing structure.

pg. 45

lasercut file to send to

west elevation1/16” = 1’ - 0”

south section1/16” = 1’ - 0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

parametric sun screen

Full-scale model made of aluminum. It stands over four feet tall and is currently hanging in a restaurant.

Take note that you can not see how these are connected from the front.

pg. 47

As a studio, we took a trip to research the phenomena of biking that manifests itself on Portland’s streets and side-walks. While there, we visited many custom bike shops, walked the small downtown streets, and visited the pro-posed site. Located in the Pearl District, the site is at the end of one of the city’s many park blocks. This particular section of park block is a canidate to be expanded.

As the name implies, this project is a collaborative which can have multiple interpretations. In this project, the building is designed to be extremely flexible. It has eight

main workshops and a large common area that can be utilized in almost any way needed.

This could manifest itself as a collection of start-up com-panies that share common resources to save money. It could emerge as specialized individual fabricators that want to collaborate with other professionals. It could develop into a home for fully independent shops that are interested in the social at-mosphere provided by a col-laborative. Or, it could be re-alized by any combination of the above.

pearl district bike collaborative

N

As a studio, we took a trip to research the phenomena of biking that manifests itself on Portland’s streets and side-walks. While there, we visited many custom bike shops, walked the small downtown streets, and visited the pro-posed site. Located in the Pearl District, the site is at the end of one of the city’s many park blocks. This particular section of park block is a canidate to be expanded.

As the name implies, this project is a collaborative which can have multiple interpretations. In this project, the building is designed to be extremely flexible. It has eight

main workshops and a large common area that can be utilized in almost any way needed.

This could manifest itself as a collection of start-up com-panies that share common resources to save money. It could emerge as specialized individual fabricators that want to collaborate with other professionals. It could develop into a home for fully independent shops that are interested in the social at-mosphere provided by a col-laborative. Or, it could be re-alized by any combination of the above.

pearl district bike collaborative

pg. 51

N

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

pearl district bike collaborative

site

park blocks

pedestrian circulation

vehicular circulation

eastern building profiles

western building profiles

shop level circulation

pg. 53

N

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

pearl district bike collaborative

ground floor1/64” = 1’ - 0”

bike/skatepark

second floor1/64” = 1’ - 0”

third floor1/64” = 1’ - 0”

1-8: workshopsa: restaurantb: classroom : glass block floor

7 8a

b

5 6

3 4

1 2

pg. 55

south elevation1/64” = 1’ - 0”

highly reflective glass

transparent glass

translucent glass

east elevation1/64” = 1’ - 0”

south section1/64” = 1’ - 0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

pearl district bike collaborative

west elevation1/64” = 1’ - 0”

western perspective section - this view shows light shafts penetrating the structure1/64” = 1’ - 0”

west section1/64” = 1’ - 0”

pg. 57

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

pearl district bike collaborative

pg. 59

pg. 61

Located just east of Richmond, UT, this collaborative project is a culmination of the work created through-out the winter semester of 2012. As such, there were many avenues for project inspiration. It is heavily in-fluenced by a thorough site study, a demanding ab-stract water study, an intense site specific photog-raphy study, a demanding parti development, and a comprehensive programming study.

Richmond, UT is due west of mountains that are the home of a proposed ski resort that is to be called

Cherry Peak. We were tasked with designing a ski lodge for this resort that would occupy multi-ple levels, enclose about ten thousand square feet, and be programmed en-tirely on our own.

Additionally, we were to implement a site design of the immediately sur-rounding elements that is also our own. This in-cludes, but is not limited to, items such as parking lots, roadways, walk-ways, ski lifts, and vege-tation.

cherry peak ski lodgea collaboration with Sumin Bak.

Located just east of Richmond, UT, this collaborative project is a culmination of the work created through-out the winter semester of 2012. As such, there were many avenues for project inspiration. It is heavily in-fluenced by a thorough site study, a demanding ab-stract water study, an intense site specific photog-raphy study, a demanding parti development, and a comprehensive programming study.

Richmond, UT is due west of mountains that are the home of a proposed ski resort that is to be called

Cherry Peak. We were tasked with designing a ski lodge for this resort that would occupy multi-ple levels, enclose about ten thousand square feet, and be programmed en-tirely on our own.

Additionally, we were to implement a site design of the immediately sur-rounding elements that is also our own. This in-cludes, but is not limited to, items such as parking lots, roadways, walk-ways, ski lifts, and vege-tation.

cherry peak ski lodgea collaboration with Sumin Bak.

pg. 63

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

This photo was taken at the site and has been a large influence on the design of the ski lodge. The influence is two-fold.

Looking at the photo, it is plain to see that there are three main elements; foreground, middle-ground, and background. The idea of varying depths (taken from this photo) is often an influence throughout the devel-opment of the project.

Additionally, this photo played a large part in the development of the parti for the project (seen on the left). This parti delineates the foreground - middle-ground - background relationship in a 2D form.

The following is an explanation of the parti relationship: the broad, large stroke rep-resents the foreground, the long stroke up to the right is indicitive of the mid-dle-ground, and the short stroke to the left portrays the background.

This parti was used to influence initial massing, placement of the parking lot, re-lationship of the building to the sun, and placement of walkways. This is not an all-inclusive list.

pg. 65

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

site development1” = 300’

program sizing adjacancy relationships

pg. 67

site development1/64” = 1’ - 0”

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

main floor1/32” = 1’ - 0”

a - lobbyb - retail shoppingc - rental deskc1 - rental storaged - officese - mechanical eqp./storagef - first aid office

2 - custom retail shelving 1 - lobby view showing cable supported stairs 3 - receptionist / hot chocolate desk

main floor1/32” = 1’ - 0”

a - lobbyb - retail shoppingc - rental deskc1 - rental storaged - officese - mechanical eqp./storagef - first aid office

pg. 69

4 - custom designed ski rack 5 - custom designed dining area

second floor1/32” = 1’ - 0”

g - restaurant dining areah - restaurant kitcheni - meeting roomj - outdoor eatingk - second floor walkable roof

second floor1/32” = 1’ - 0”

g - restaurant dining areah - restaurant kitcheni - meeting roomj - outdoor eatingk - second floor walkable roof

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

(1) roof vegetation section 1/32” = 1’ - 0”

south elevation1/32” = 1’ - 0”

roof vegetation detail 1” = 3’ - 0”

roof vegetation perspective section

pg. 71

north elevation1/32” = 1’ - 0”

(3) western lobby section 1/32” = 1’ - 0”

lobby/retail area - looking south

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

west elevation1/32” = 1’ - 0”

(2) eating area section 1/32” = 1’ - 0”

eating area perspective section eating area - looking northwest

pg. 73

(5) lobby curtain wall detail 1/8” = 1’ - 0”

(4) concrete wall detail 1/8” = 1’ - 0”

second floor walkable roof - looking southwest

southern lobby access - looking west

M a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

cherry peak ski lodge

pg. 75

endM a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o

endMatt Pattbergarchitecture portfolio

endM a t t P a t t b e r ga r c h i t e c t u r e po r t fo l i o