portfolio andrew hoffmann
| ABOUT ME | Andrew Hoffmann
B.Arch (2017) The Pennsylvania State University Schreyer Honors College with Honors in Architecture
01.
02.
03.
| FARM AS FICTION |
| THESIS |
| ANNALIUM |
04.
05.
06.
| SISTEMA TEVERE |
| TERME ADRIANE |
| DRAWINGS |
01. | FARM AS FICTION | State College, Pennsylvania 13 Weeks with Rebecca Lefkowitz & Laura Deluca
4th Year Collaborative Design Excellence Award ( Faculty Selection)
The purpose of the farm-to-table movement is to expose to diners the process of food production, from the field to the plate. This process is extremely complex and largely abstract to most people, so our proposal involves a manipulation of the ground plane in order to reveal a path that connects existing networks on a macro scale, including water ways, hiking trails, and bus routes. The path sits alongside Shingletown Road, exposing a clarified version of the farm that provides visitors with a tangible representation of the farm-to-table process. Visitors will experience this culmination of farm experiences in stages of “on,” “of,” and “in,” alongside a rising edge condition that provides a backdrop to and services the complicated activities that take place.
site location
1.
CONTEXT
The rural surroundings are made of lines, parallel patches of farms that produce locally and nationally-distributed goods.
2.
PATCHWORK
The context is built of parallel lines of farms that serve the local communities.
3.
SITE IMPOSITIONS
The site is treated as a canvas upon which are imposed objects which link existing systems of transportation, site movement, and agricultural processes.
OUTREACH] [NEW YORK] [BELLEFONTE] 322
5 HR
80
[STATE COLLEGE]
[BOALSBURG]
[TYRONE]
[LEWISTOWN]
322
[ALTOONA]
[PINE GROVE MILLS]
[PITTSBURGH]
[HARRISBURG]
22
76
26
3 HR
[PHILADELPHIA]
3.5 HR
1.
ECOLOGIES
The site ecology has strata of natural systems, artificial farming ecologies as well as man-made run-off systems. This project seeks a hybridization of all.
2.
ORIENTATIONS
The project both digs into the ground as well as adding to the land behind it to create a natural buffer between the private farm and the public road.
3.
CIRCULATIONS
Guests enter the site from the road, and move in a horizontal line along the site edge from the market and leading into the piazza space towards the main restaurant.
The farmers live and work within the farm, moving in a condense, circular motion around the site to maximize farming efficiency.
Meats delivered foods are driven up a paved farm line vertically to the cafe where they are prepped in the loft. Foods grown on the land are picked and cooked in the restaurant.
a. guests
b. farmers
c. services
FOOD MOVEMENT
a. bike rack
b. water trough and shower
c. menu display
d. birdhouse
FARM-TO-FORK WORKER
e. bus stop
A LANDSCAPE OF OBJECTS Guests enter the site from the road, and move in a horizontal line along the site edge from the market and leading into the piazza space towards the main restaurant.
1.
MARKET
3.
RESTAURANT
2.
UNDER - BARN
4.
LIESURE SPACE
1A. SUMMER PASSIVE STRATEGIES
1B.
2A. WINTER PASSIVE STRATEGIES
2B.
solar panels
green roof se ction
aluminum sun shades
glass roof
conc. slab
tie-back
interior walls
WN ROAD SHINGLETO
cedar planking facade
frosted glazing
glazing
weathered steel structure aluminum mullion
int. gwb finish
insulation 3”
vapor barrier stud (2x4)
cedar planking facade .75”
L-bracket aluminum
mullion
frosted glazing
aluminum mullion
glazing
white oak plank floor
int. gwb. 1”
insulation 4”
structural steel w-section
02. | A ONCE AND FUTURE CITY | Philadelphia, Pennsylvania Thesis Project ( 1 year )
5h Year Design Excellence Award (Faculty Selection)
“And so it is, or should be, with the city.” - Edmund Bacon Design of Cities
When the image of the city is made and remade, the dissonance between what has been imposed and what results from such remains unrealized. A continuous framed vertical zone is an apparatus for exploding and exploring the physical stratification of the site which corresponds to the material stratification of archaeological time. Understanding these layers through stratifications of public and private, past and present, and opposing idealisms is a method to reconstitute utopia’s latent effects and construct a public apparatus through layered space. A utopia is an ideal. However when implemented, something “else” happens that the system did not anticipate, until eventually, utopia is a more. Presumptions turn to hesita-
tions, and unexpected consequences arise from a city’s former pathway.
“Could not this ideal city be both a Theater of Prophecy and a Theater of Memory?” - Colin Rowe Philadelphia began as a Utopian experiment for an agro-religious society that implemented an everlasting physical system of public spaces in the form of five main public squares, including Center Square. The society was based on the individual’s relationship with the government and their right to own land, that would act as an incubator for religious freedom. For a few hundred years this utopian idea worked, until industrialism eroded it into an essentially privatized city that generated economics that ultimately
produced the Great Depression. Center Square became City Hall, the public vestige gone. In reaction, the city was reinvented again the 1950s... another utopia. Philadelphia was the first of many American cities where modernist urban designers utilized government funding to impose rules and regulation onto an urbanity that had grown without such. Born in the minds of European Modernists such as Le Corbusier’s radiant city, the second utopia became and experiment in transforming the city into an environment for an idealized corporate world. Located at the heart of the city near Center Square an office complex known as Penn Center built in 1954 was the first piece of a comprehensive master-plan of a utopian reality that the city is still living with as it pushes for increased development and privat-
ization of the public realm. Penn Center implemented two things: office towers, and an under-ground concourse of pubic access linking trains with retail space. Public space is dead, forced underground into alienating pedestrian zones. Since the implementation of the modernist utopia ideals, the city became a place to work, not to live. A place to pass through, not to be. The underground is public. The streets are private.
“Each generation must rework the definition of the old symbols which it inherits from the generation before; it must reformulate the old concepts in terms of its own age.” - Edmund Bacon
If utopias erode into failed systems, what is architecture’s role in defining a future of a place given the immediacy of two such failures? And what will happen with center square’s now unfortunate underground existence? The site is a register for these events, both past and present. The project is a re-stratification of these layers in the latent public space at the site of Penn Center and proposes an implosion of the city’s stratified reality. A continuous framed vertical zone is an apparatus for exploding and exploring the physical stratification of the site which corresponds to the material stratification of archaeological time. Within the existing site networks are inserted moments including staircases, platforms, and internal volumes which activate micro zones in this vertically public strata. These relationships are mitigated through a translucent façade in which apertures define these specific moments from orthogonal to
vertical interaction—where internally, the disconnect to the exterior provides an experience which is entirely vertical, and where from the exterior, the architecture is abstracted in that it presents the user with an architecture materially opposite to that which exists on the site. The apparatus acts as a whole as a framework for intensifying public interactions in latent space, where a dialogue is established from up to down, and past to present, and offers an option for re-examining the life of Center Square. If by definition a utopian ideal represents an unattainable outcome, architecture should reflect this by becoming sensitive to its context not only in a physical sense but also in a diachronic terms to reconstitute utopia’s latent effects and act as a framework for defining the possibility of a future.
| EXTENSION OF THE EARTH |
Noble Callowhill Vine Race Arch Filbert Market Ludlow Chestnut Samsom Walnut Locust Spruce
# of programs
density of use
7
4
5
3
1
3
2
Pine
1
BROAD STREET LINE LOGAN SQUARE VINE STREET EXPRESSWAY
SUBURBAN STATION
AMTRAK TRAINS
CITY HALL MARKET-FRANKFORT LINE PENN CENTER
RTTENHOUSE SQUARE
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1.
2.
3.
original city grid with imposed public squares
the grid is warped along axis x and axis y, and nodes of activity form
time and iteration evolve the points into a dual-framed system, along axis z.
4.
5.
6.
boundaries of the two systems erode and the network iterates upon itself after establishment.
a projection plane intersects the networks, creating a sensitive vector in both x and y (space) and z (time)
the tectonics of spatial subtraction and positive insertion into a framed space coalesce
1990
1950
1910 the ‘holes’ of the city correlate to a physical stratification that corresponds to archeological time. layerd interractions occur through touching these points.
1860
1770
each itteration of the city is collapsed in the phenonmena of the present
the strucutre of the frame is a vector which is sensitive to the reality which surrounds it. networks of underground circulation which correspond to archeological stratification are interesected. the frame is thus a register for events past and events present as a continuation between two stratified worlds. a section becomes a chronology, a topography of events in a series of moments of built space.
2000
1987
1954
1850
1700
the ascending
the enclosure
the descending
the continuing
Facade supporting structure
Polypropylene Facade
Bracing
Inserted staircases and internal zones
additional facade
existing hole in plaza surface
penn center volume boundary
added cut into plaza surface
entrance to pedestrian concourse
vector of natural land slope
N
existing line of telescopes
summer solstice sunrise
western sunset
winter solstice sunset
0
20
50
100
03. | ANNALIUM | Tuscon, Arizona 2 Week Competition 117th Annual John Stewardson Memorial Fellowship in Architecture
FINALIST Top 8 Entires in State-wide Competition (Pennsylvania Architecture Schools)
All matter comes from stars. Within them, the simplest elements are fused, and at the moment of supernova the particles condense and are dispersed across the cosmos. The atoms and molecules that build our cells and construct our bodies, and too the concrete, metals, and glass that form our buildings are but distant pieces of stars, arranged beneath the sky, eyes facing upward, looking back upon themselves. Science, like architecture, is a way through which we objectify the world around us. The illumination of scientific knowledge is a process of observing, recording, criticizing, and building upon previous presumptions. It is much like a piece of paper, the entire contents of which are yet to be shown: a blank plane onto which facts and theories are slowly uncovered, written, and rewritten. If an annalium is a place for the recording, keeping, and sharing of knowledge, then an architecture for such purposes should exhibit stages of this process.
the site has three simple masses that define major regions of program that define movement on the site
the masses are embedded into the landscape, allowing roof access linkage with the natural earth.
the axis of the solstice defines the major circulation through the central space as well as defining other regions of living, observation, and learning.
burried into the hillside, the archive and study spaces have perforated skylights in the earth, brining rays of light into the otherwise darkened chambers.
1. Entry Pathway 2. Observatory 3. Public Research Library 4. Outdoor Terrace 5. Cafe 6. Study / Archive Rooms 7. Services 8. Hermitage (residence)
4.
3. 2.
5.
6.
1
7.
8.
N
0
20
50
50
concrete panel ‘fold’
steel frame
conc. slab
cast-in-place concrete walls
steel w. section columns with footings
04. | SISTEMA TEVERE | Rome, Italy 13 Weeks master-planned with Selby Niumataiwalu
Rome is continually changing. Its river once provided life and transportation to its population, and for thousands of years the contiuation of flooding and adaption along its shoreline defined the city’s life. The project began as an analysis of these changing systems. The result is a synthesized urban proposal consisting of bridge, park, museum, and research center. The design emphasized enhancing existing urban systems into a new connection spanning the Tiber River to re-establish a once-vital public architectural connection to Rome’s waterway in close proximity to an unrealized urban axis proposed by Michelangelo. The river museum design is into an existing Renaissance-era house on Via Giulia.
villa farnesina
tiber river
lungotevre
via guilia
palazzo farnese
existing site section
LINE
POINT
SURFACE
cross circulation of a line of access from public piazzas and busy commercial streets through the new connection
extension of axis as geometric imposition, or manipulation of existing nodes?
resultant interior zones that define major regions of program of the river museum and the water research center on opposite sides of the river.
SITE PLAN 0m
20
50 10
100
1.
ARMATURE
2.
EXPEDIENT
The spaces are defined by buildings, by physical things. in total, it architecture acts as an armature that defines unique edges to the site topography and sequence of events
Space is used to move *through*. piazzas are points along journey of established routes through the city. the connection links congested parts of this movement through Piazza Trilussa and Campo di Fiori
palazzo farnese
proposed connection
3.
PEDESTRIAN
Piazzas are places to *stay*, they are moments along a path to gather and to watch. this project hybridizes this into a platform extension across the river, connecting separate zones
campo di fiori
FLOOR 1 PLAN 0m
20
50
100
VIA GIULIA ELEVATION
LONGITUDINAL SECTION
PROGRAMMATIC AREAS
Upper exhibition space Auditorium
Gallery Cafe Entry Loggia
Lower gallery Stair
FLOOR 0 PLAN
FLOOR 2 PLAN 0m
20
50
100
The artist Roesler Franz painted a disappearing Rome. The site is one of the few remaining streets left practicaly unmodified. The project fills this void, colliding past and present, and acting as a container for memories past and future to be exhibited.
Roma Sparita, Roesler Franz, 1890s.
05. | TERME ANDRIANE | Tivoli, Italy 2 Weeks Group of 7 Students
PARTICIPANT Premio Piranesi 2015 International Competition Architecture and Archeology
Archaeological sites are built on layers of time, referring to both the imposed chronological strata of material imposition and the event-based growth of a site. Both are experienced when constructing an architecture that participates in the continuing narrative of a place. The Spa situates itself among these layers, where the architectural form manipulates the ground plane to create spaces at the intersection of both traceable and invented strata. The spa is situated at Hadrian’s Villa Villa Adriana and is a composite of the site’s existing archeology. Through the manipulation of classical architectural composition, the project compels visitors to explore the pools and surroundings.
roofs
grasses
proportion pathway
guidelines pools
archaeological lines hard surface
GEOMETRIC STRATA
PROGRAMMATIC STRATA
SITE ELEVATION
BUILDING PLAN OF SPA
offices
locker rooms
reception
outdoor patio
SECTION
bar and restaurant
spa
outdoor patio
indoor pool
NORTH ELEVATION
concrete vaulted roofs
flat roofs
columns & enclosures
plan of zones
16th century villa
site wall extension to the spa
fountain addition
Uffizi Corridor Perspective Florence, Italy, fall 2012
06. | DRAWINGS| various works & media
Route Map of Via Salaria Vetus Rome, Italy, fall 2015
Corbelletti Design Charette First Place, fall 2014