The Tower of Olim Custos
1 // Awareness of Artifact
Upon arrival on the site there is a presence that calls attention to a moment. The visitors are drawn to this beacon, as their interest is piqued. This is the beginning of relating to this place. The beacon is treated as a translation of the artifact, tracing its profile in the landscape creating awareness.
“Artifacts are a portal to past memories. They are visible scars left behind by our lack of interaction and disassociation of a past that has helped shape our future.”
Upon arrival we have two choices: either connect to our past or remove our body from the artifact and explore the scars left behind by those memories.
2 // Interaction (Assimilation) with the artifact
Entering inside of the artifact the visitors are involved in a relationship that transports themselves. They become aware of the time that has aged this artifact along with the details that allowed it to exist for so long. This past is full of memories, left behind by visible scars on the artifact. In the middle of the artifact resides a vertical opening that serves as a metaphorical timeline that links our past memories with our present.
3 // Disassociation from ground
Zooming back, both in terms of the relation to the past and the ground plane the visitors are allowed to physically remove themselves from the artifact. No longer is the object occupying the same space as their body, they can no longer feel their own presence inside and the impact they can have on that artifact.
4 // Understand artifact relationship with context
As we explore this landscape that surrounds the artifact the visitors search for correlations, relations, and similarities. They now strictly observe what is/was present and try to find logic with the network of the past. Individual views towards landmarks tell a story at a new scale and time. The visitor now builds a physical understanding of the relationship of this artifact to the context not immediately around it. Time is no longer seen only through aging, now as movement as well.
5 // Disassociation from artifact
Inner reflection of the impact these experiences have on a visitor. The visitor will have the moment to focus back on oneself’s relation to the artifact, its place, and all that associate with it from this past network. The relationship each visitor has with this place is sacred to themselves.
6 // Assimilation back to ground
Returning to the ground, is a return back to existing time and movement. Assimilation back, but carrying a new scar.
Upon arrival on the site there is a presence that calls attention to a moment. The visitors are drawn to this beacon, as their interest is piqued. This is the beginning of relating to this place. The beacon is treated as a translation of the artifact, tracing its profile in the landscape creating awareness.
“Artifacts are a portal to past memories. They are visible scars left behind by our lack of interaction and disassociation of a past that has helped shape our future.”
Upon arrival we have two choices: either connect to our past or remove our body from the artifact and explore the scars left behind by those memories.
2 // Interaction (Assimilation) with the artifact
Entering inside of the artifact the visitors are involved in a relationship that transports themselves. They become aware of the time that has aged this artifact along with the details that allowed it to exist for so long. This past is full of memories, left behind by visible scars on the artifact. In the middle of the artifact resides a vertical opening that serves as a metaphorical timeline that links our past memories with our present.
3 // Disassociation from ground
Zooming back, both in terms of the relation to the past and the ground plane the visitors are allowed to physically remove themselves from the artifact. No longer is the object occupying the same space as their body, they can no longer feel their own presence inside and the impact they can have on that artifact.
4 // Understand artifact relationship with context
As we explore this landscape that surrounds the artifact the visitors search for correlations, relations, and similarities. They now strictly observe what is/was present and try to find logic with the network of the past. Individual views towards landmarks tell a story at a new scale and time. The visitor now builds a physical understanding of the relationship of this artifact to the context not immediately around it. Time is no longer seen only through aging, now as movement as well.
5 // Disassociation from artifact
Inner reflection of the impact these experiences have on a visitor. The visitor will have the moment to focus back on oneself’s relation to the artifact, its place, and all that associate with it from this past network. The relationship each visitor has with this place is sacred to themselves.
6 // Assimilation back to ground
Returning to the ground, is a return back to existing time and movement. Assimilation back, but carrying a new scar.
The Slanted Donut
Inside the space, the donut shape forms the kitchen, bathroom, laundry, utilities, seating, and storage, following the exterior shape of the building. The core of the unit is the bedroom, as shown in drawings, can serve as a separate space breaking up the kitchen and dining from the living space. The bedroom core serves as the most thermally insulated space, providing optimal heating and cooling conditions. Optionally, this design can remove any number of walls of the bedroom or use a single curtain on a track that runs the perimeter of the bedroom shape.
The resident would enter the kitchen and dining space, which has all accessible kitchen equipment located within the base cabinetry. As the cabinetry hits the corner, it transitions to a dining surface carrying that depth into the bedroom to serve as storage. The other side of the unit has a bathroom with a sink pulled outside the space to allow for ease of movement in and around the area. There is a closet that serves as a laundry room with stackable units and an exterior accessible closet to serve the utilities. The back portion of the unit has built-in seating with storage below and a second exterior door for access to a covered porch.
The exterior cladding will remain where possible, otherwise replaced to match the existing. Within the two covered entries, the building will be clad with fiber cement siding. On the interior, the floor is shown to have a mixture of concrete (existing), tile, and wood. The walls are white drywall with wood trim and wood cladding detail along the donut. Light enters the space through the two cuts on the existing building; natural light works its way through the exterior facade, into the donut, and deeper into the unit.
Fenced Garden Home
Using
the privacy fence construction typology, this detached accessory dwelling unit(ADU)
blends within the typical residential zones within Omaha. This design provides
an accessible covered entry with an optional covered garden space. This ADU is
designed for a 1:20 slope to the entry garden that allows entry from multiple
points.
Inside the space the front half of the building serves as a public space with exposed structure (optional). Moving deeper into the unit, the bedroom is separated from the public space by a custom millwork piece that can serve as a multifunctional storage space serving all four sides. All building services are along a single bar to provide maximum efficiency and ease of servicing the space.
Continuing the construction method of a privacy fence, the unit uses wood cladding on the exterior with a gabled shingle roof. The garden cladding is designed to provide a protected area that could allow multiple types of plants to grow within the space: climbing, potted and within garden beds. The materials on the inside are continuations of the ground in the garden. The floor is shown to have a mixture of concrete, tile, wood, and carpet. The walls are white drywall with wood trim and wood cladding detail along the utility bar, kitchen, bathroom.
In terms of accessibility, the bathroom is designed to be as minimal as possible providing ease of entry for shower and toilet ambulatory access with the sink pulled into the main space. The bathroom walls provide the blocking/sheathing necessary to allow for grab bars to be installed as needed. The kitchen and dining space allow for a compact accessible space with access to the custom millwork for additional customization to improve fit for each user. The living space accommodates multiple seating configurations with views and light that open to the private garden entry.
Inside the space the front half of the building serves as a public space with exposed structure (optional). Moving deeper into the unit, the bedroom is separated from the public space by a custom millwork piece that can serve as a multifunctional storage space serving all four sides. All building services are along a single bar to provide maximum efficiency and ease of servicing the space.
Continuing the construction method of a privacy fence, the unit uses wood cladding on the exterior with a gabled shingle roof. The garden cladding is designed to provide a protected area that could allow multiple types of plants to grow within the space: climbing, potted and within garden beds. The materials on the inside are continuations of the ground in the garden. The floor is shown to have a mixture of concrete, tile, wood, and carpet. The walls are white drywall with wood trim and wood cladding detail along the utility bar, kitchen, bathroom.
In terms of accessibility, the bathroom is designed to be as minimal as possible providing ease of entry for shower and toilet ambulatory access with the sink pulled into the main space. The bathroom walls provide the blocking/sheathing necessary to allow for grab bars to be installed as needed. The kitchen and dining space allow for a compact accessible space with access to the custom millwork for additional customization to improve fit for each user. The living space accommodates multiple seating configurations with views and light that open to the private garden entry.
Gold Renovation: Formed Wood
This project is a design-build basement renovation of a single-family residence. Expanding on the storage core of the residence, this design uses standardized materials and details to push and pull from inside and outside of a single bedroom within the existing building footprint. This detail serves as a mass that begins at the stair circulation, that expands and contracts the volumes of both the stair and the bedroom. Inspired by the profiles found in brake metal, this design-build project utilized digital fabrication techniques to achieve the profile forms in plywood panels. This design for a home in Omaha uses the same base material, birch plywood panels, found in millwork within the existing bedrooms but uses a new geometry logic of linear cuts and bends to engage the depth of a typical storage volume. Serving as a children’s room, this design asked to be interacted with as a play element and uses natural curiosities to find opportunities for exploration within the depth of this mass. This project is the first phase of a two-part renovation of a basement to adapt to the changing demands of a growing family within the existing footprint of the home.
Casa de Musica - Redrawn
El Nogal
VIVIENDA Y DESAROLLO COMUNITARIO
El municipio de Puerto López, Meta, enfrenta un alto déficit de vivienda que contribuye a la persistencia de la pobreza multidimensional y la migración de sus habitantes. Además, la falta de estructuras para capacitaciones limita el desarrollo local. Nuestra propuesta arquitectónica busca crear un equilibrio entre la naturaleza, la biodiversidad y las necesidades habitacionales. El proyecto incluye zonas naturales que mejoran la calidad del aire, garantizan seguridad alimentaria y promueven la restauración ecológica. Las áreas flexibles ofrecen espacios para capacitación, ventas y recreación, impulsando el desarrollo social y económico. Esto fortalece la competitividad de la mano de obra local, mejorando las condiciones de vida y reduciendo las desventajas estructurales del municipio. Los materiales utilizados hacen énfasis en la sostenibilidad que proponemos dado que la estructura es en madera, los ladrillos será en adobe con mezclas orgánicas y tenemos un sistema hídrico de aguas lluvias que mitigaría significativamente el impacto ambiental.
MISSION
2. Materials are the building blocks of our designs, and we approach them with a profound sense of responsibility. We explore innovative materials and construction techniques that minimize environmental impact while conserving resources, and promoting new economies.
3. We are dedicated to pushing the boundaries of fabrication technology, utilizing cutting-edge methods such as 3D printing, robotic construction, and modular systems. By embracing digital fabrication processes, we unlock new possibilities for customization, precision, and complexity in our designs. Our approach uses technology to find new ways of expressing our craft, fostering a symbiotic relationship between human ingenuity and machine capabilities.
4. Computational design is at the core of our practice, enabling us to generate, optimize, and simulate architectural solutions. Through algorithms, parametric modeling, and generative design techniques, we explore vast design spaces, iterate rapidly, and arrive at solutions that are both innovative and responsive to our clients' needs. Computation empowers us to achieve a delicate balance between form and function, aesthetics and performance.
5. While we embrace technology and innovation, our ultimate focus remains on people – the users, inhabitants, and communities for whom we design. We prioritize human experience, well-being, and inclusivity in all our projects, creating spaces that inspire, engage, and enrich the lives of those who interact with them. Our designs are not just structures; they are catalysts for connection, creativity, and new ways of living.
6. We believe in the power of collaboration and interdisciplinary exchange. We actively seek partnerships with experts from diverse fields – including ecology, engineering, sociology, and art. Our practice thrives on curiosity, exploration, and continuous learning.
7. As architects, we recognize our role as agents of change in shaping the built environment and influencing societal attitudes towards sustainability and innovation. We advocate for policies, practices, and norms that promote ecological stewardship, equitable access to design, and responsible use of technology. Through education, outreach, and activism, we strive to inspire a new generation of architects and citizens who are committed to building a more resilient, equitable, and beautiful world.
8. Mistakes are inevitable in the pursuit of innovation and excellence. We foster a culture of humility, curiosity, and resilience, recognizing that the path to mastery is paved with setbacks and breakthroughs alike.
info@mascollab.com
Mas Collaborative
Omaha, NE 68124
Mas Collaborative
New York, NY 68124
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TEAM
Matthew Miller is a registered architect in the state of Nebraska with over 10 years of experience practicing architecture. Matthew has previous experience working on a wide range of work at award-winning firms that includes furniture, installation, private residential, historic preservation, commercial, and large-scale urban projects.
With the College of Architecture Miller has taught undergraduate and graduate architecture studio courses and seminar courses on detailing, computation, fabrication, and ecosystems. His previous teaching experience includes at the University of Nebraska-Omaha, and Cooper Union.
Matthew holds a Bachelor of Science in Design from the University of Nebraska, a Master of Architecture from Texas A&M, and a Master of Science in Advanced Architectural Design from Columbia University. His academic work has been published and selected to be part of the Land of Tomorrow Exhibition in 2012.
Matthew’s creative work is fascinated by computational design and innovative fabrication techniques. He is interested in leveraging this practice in the built environment to create impact through design affect and phenomenology. He is focused on using a design process through an analog and digital construct, exploration through iteration, various mediums, and feedback loops.
Alejandro Marin is an accomplished architect whose career is marked by a deep commitment to innovative design and trans-species collaboration. He earned his Master of Architecture from South Dakota State University, subsequently, Alejandro obtaining a Master of Science in Advanced Architectural Design at Columbia University .
With seven years of professional experience, Alejandro has made significant contributions to the field, having worked at prestigious firms including HDR, BNIM, Pelli Clarke & Partners, and COOKFOX. Alejandro's projects range from large-scale developments to culturally significant renovations, each demonstrating his adeptness at balancing aesthetic vision with functional purpose.
Beyond his professional endeavors, Alejandro is recognized for his scholarly achievements and contributions to architectural discourse. He played a pivotal role in researching, curating, and producing Season 3 of rAADio, a critical platform at Columbia University exploring themes such as trans-species architecture. Additionally, his involvement in the "Re-purpose" exhibit at the Kaneko Art Museum underscored his dedication to exploring adaptive reuse and environmental stewardship. As co-founder and editor of PEEL journal, Alejandro continues to foster intellectual exchange within the architectural community, shaping conversations on contemporary issues in design and sustainability.