Bruce Hancock
Level 1
Architecture Portfolio Master of Architecture Candidate
Bruce Hancock Education
Work Experience
bhancock@alumni.princeton.edu 646.894.0162
Yale University Masters in Architecture (expected graduation May 2015) Princeton University AB in Architecture, Certificate in Spanish Senior Thesis: Aldo Rossi and the Tendencies of Rational Architecture
2015
Beyer Blinder Belle, New York, NY Intermediate Architect Supervised construction, historic preservation and research, and designed several large scale projects and mixed use developments.
2010-2012
D-ash Design, Long Island City, NY Intermediate Architect Technical drafting and detailing of retail interiors.
2003
April-May 2010
Robert Lazzarini, Artist, New York, NY Artist Assitant Refined and finished various cast objects for public exhibition.
May 2010
Kohn Pedersen Fox, New York, NY Junior Architect Worked on research laboratory facilities and large scale commercial development projects. Technical and conceptual drawing in 2D and 3D, structural and curtainwall coordination, extensive modeling studies, diagramming, and rendering design options, building and supervising the production of models.
2005-2008
Westgroup Designs, Irvine, CA Junior Architect Collaboration with principals on design, technical drafting and conceptual drawings, field verifications and site visits, rendering, managing and training junior office personnel. Ilan Lael Foundation, Santa Ysabel, CA Volunteer Work for architect James Hubbell. Work included a park in Rosarito and a school in Tijuana, Mexico. Skills
Awards and Interests
March 2004July 2005
2004
AutoCAD, Revit, Rhino, Sketchup, 3ds max, Vray, Photoshop, Illustrator, InDesign, Physical Models Teaching Fellow at Yale School of Architecture Formal Analysis with Peter Eisenman. Met individually with students weekly to discuss ideas and critique drawings as a class. Selected for Publication in Yale’s Retrospecta Black and White Photography Spanish Architecture and Culture Eagle Scout
2013
2012, 2013
Table of Contents Princeton University Whitman College Philadelphia Gallery Urban Strategies
Kohn Pedersen Fox CUNY Advanced Science Research Center One Hudson Plaza Downtown Jebel Ali
CAFE
GALLERY
LIVE
Art Collaboration
Wallingford Maze Farago-Chace Bridge
Beyer Blinder Belle
Artist’s Lofts Collage Sketches Photography
GARDEN
Guiyang Art Center 95 Horatio Street
Personal Work
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Junior Independent Work Studio: Whitman College Instructor: Kevin Kennon Princeton University Spring 2001 The project brief was for a new residential college for Princeton. The site is adjacent to several gothic dorms to the North and a pair of modern buildings, one of which was designed by I.M. Pei. My project focused on the diversity of the building types and styles present on campus. The context of the project was defined by the way surrounding buildings connected to the ground. Some buildings cantilvered over it, some met the ground as if they were emerging from it.
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Analysis of Existing Dorm Room Configurations
Patton Hall: 4 Person Suite - Common Rooms/Sleeping Rooms
Patton Hall: 8 Person Duplex Suite
Patton Hall Configuration: double loaded corridors with vertical entryways
The existing Gothic Dorm context for the most part utilizes vertical entryways, while some are hybrid vertical-horizontal circulation. Student preference is given to rooms containing large common rooms and often by extension, a complex series of internal hallways.
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Conceptual Animation
Existing Conditions
The surrounding buildings shift vertically based on their connection to the ground.
The vertical shift of the context causes the landscape to stretch to meet the base of the buildings.
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The context and landscape hovers over the ground.
Some buildings float, while others sink into the ground.
New buildings emerge out of this condition, further morphing the metaphorical terrain to accommodate the program.
Different elements of the program are placed at different levels based on their inter relationships.
. . .Then placed in context
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Senior Independent Work Studio: Philadelphia Gallery Instructor: Carles Vallhonrat Princeton University Fall 2003 The site for this studio was located one block from Philadelphia’s City Hall. The space is open to the sidewalk on three sides while half of the roof is covered by a cantilever. The space is conceived as a gallery for modern art and its plan is loosely based on volumes from some of Kandinsky’s compositions.
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Analysis of the Soho Prada Store, Rem Koolhaas
The interior consists of the integration of several conventional spaces. The space alternates between store and gallery, theater and display space. The hanging displays promote maximum visibilty from any vantage point.
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Second Floor
First Floor
Basement The space incorporates two dimensional surfaces used for art display and three dimensional volumes designed to house retail products. These forms are organized in the site by the shadows cast from two projectors while also casting shadows on curved screens, further distorting their shape. A narrow strip cuts through some of the volumes providing pasage to retail spaces while generating new possible views of the composition. Section
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Exterior Views
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Urban Strategies Instructor: Ralph Lerner Princeton University Spring 2003 This course focused on the various urban interventions in progress and several texts that have contributed to urban theory. Each student was assigned a project in their hometown, confronting issues such as pedestrian and vehicular circulation, parking, and the image of the city.
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Missio progr
1700s
Costa Mesa History: Three Building Types Missions, railroad stations, and parking lots each mediate the spatial relationships imposed by sucessive developments in transportation. Calfornia’s architectural history is a progression from the linear El Camino Real between missions to the complex network of freeways. With the increased Missio connectivity and volume of traffic comes the ultimate loss of the natural landscape signaled by progr Southern California’s ubiquitous landscape of parking lots.
1700s
1700s: Spanish Missions designed to be run by two monks. 1800s: Expansion of the railroad and its communities. Many missions are easily converted into train stations
Present day: Cars are the dominant mode of transportation, parking lots and freeways pervade the urban landscape.
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Concept Plan
The complex of buildings that makes up a mission form an introverted complex of buildings with a void in the center.
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Landscape Plan
I proposed to integrate the parking into the couryard, ending the classic strip mall offset from the street. The parking is collaged with fragments of historic building types leaving a small courtyard open at the corners.
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Parking
Public Lobby
Library Theater
Retail
Parking
First Floor Plan
Second Floor Plan
Roof Plan
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The site is adjacent to the notoriously busy 55 Freeway. Starting at the freeway, traffic gradually spirals into the site via narrowing roads that empty into two parking lots that almost meet. The buildings and the public space are shaped by this progression from freeway to pedestrian courtyard.
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City University of New York Advanced Science Reseach Center Kohn Pedersen Fox 2005-2008 CUNY originally hired KPF to build 3 buildings to integrate with their existing Harlem Campus. 600,000 GSF in phase 1 Advanced Science Research Center and City College Research buildings and phase 2 Advanced Science Research Center. Phase 1 included a 5 story and 6 a story building housing labs for various science disciplines, offices, social spaces and an atrium. A below grade vivarium connects the two buildings. The buildings came as part of a masterplan we developed to link the north and south campuses via connecting paths, views, and a varied topography created by the raised platform between the buildings and the proximity and shape of the buildings themselves. Worked on massing options, value engineering options, material selection, design and detailing of the curtainwall at various entry points to the buildings, integration with the site, and monthly design presentations. I rendered the built study models of the interior beak-out spaces, entries, stone base, staircases, and the atrium.
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Due to a level change of 21’ within the site, testing equipment and laboratory storage was buried under an elevated courtyard bounded by a stone wall with multiple access points to the buildings.
The masterplan concept sought to integrate the buildings with the rest of the North Campus by creating a gateway between the buidings while carving the inside faces like smooth canyon walls.
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Conceptual model of Masterplan
Final Presentation Model
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Laboratory blocks are shown with mechanical ducting locations. Curving interior walls around stairs define meeting rooms for the researchers.
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Exterior study models showing the frit pattern and a multitude of rooftop units for the labs below.
Interior study models of the tea rooms. Double height spaces give rise to continuous vertical design elements.
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Channel glass and curving interior partitions define the offices and stairs.
Material selection was often infromed by the quality of light in the renderings.
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Spot elevations from the landscape designer were converted to a 3d model of the site topography. This informed my work on integrating access points with the landscape. This virtual bulldozer was used to monitor cut and fill.
Key areas in the stone wall are offset with channel glass inserts with vertical ribbons of colored glass.
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The CUNY campus has 150 years of history with many of its original gothic buildings still intact. These buidlings have a consistent schist base that permeates the campus. Due to the high cost of stone mason labor in New York City, I designed a stone pattern to be used on a panel system that is assembled offsite. The intent was to limit the number of different stone modules used while stil giving the impression of a gothic stone wall.
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I studied the different conditions where the stone meets the ground as the topography rises and falls around the building. I also studied and detailed the channel glass and stone for several access points and break rooms that interrupt the stone wall.
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The inside of the four story atrium space is lined with channel glass. The shoe abuts an exposed steel channel that covers the slab edge and stair stingers. Documenting the various conditions and details and their integration with the curtain wall required thorough study in 3d.
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One Hudson Plaza West 34th Street & 11th Avenue Kohn Pedersen Fox 2007 This skyscraper is a 900 foot tall office building adjacent to the Hudson Yards development in New York. The building was for a developer who did not have a committed occupant. The design had to be adaptable to changing requirements specified by any prospective occupant. For example, a prospective occupant wanted the lower floors for exhibition which necessitated a side core scheme in addition to a center core scheme. A diagrid structure expressed on the exterior was chosen, reducing steel costs by 30%, and giving a unique design opportunity/challenge in adapting the structure to the massing (a melted stick of butter and jagged top were considered). The adapted scheme featured a double wall podium skirt flared out to form an arcade while further up, the massing steps back according to the shape of the diagrid.
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I proposed this version where portions of the building near the corners flip outward to gain views of the Hudson River. A minimal cantilever was allowed per a cost assessment from the structural engineer.
I generated and developed the design schemes pictured. We took into consideration variations in structure, massing, and podium configuration.
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I helped build conceptual models at various scales, while also rendering massing options developed by me and the team. Our experiments with different modeling techniques were tailored to each massing, highlighting the particular formal characteristics pictured below.
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The final design includes a flared diagrid arcade supporting a curtain wall that swoops up at the corner to reveal the lobby.
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Downtown Jebel Ali, Zone 3 Dubai, UAE Kohn Pedersen Fox 2008 Situated on a light rail line connecting Abu Dhabi to Dubai, the building is designed to be a major destination for a mix of activities as well as a singular urban space. The building is 130 meters high and contains 3.5 million GSF, making for an evenly proportioned massing. Containing program for retail, office, residential, and hotel, and a 200 meter by 200 meter raised retail plaza; the building splits into four quadrants above the plaza to overcome circulation issues and carve out an introspective, protected environment. 30 storys up a large skypark occupies the center of this void, bridging residential and hotel programs with common amenities and together with a dome encapsulating the project, uniting the project in a strong form. I worked on office and residential layouts, structure and design of the exterior dome and rooftop garden. I also supervised the production of in-house models for this project. I worked on office and residential layouts, structure and design of the exterior dome and skypark.
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Bridging the central void sits a lush skypark draped with a delicate steel and glass structure.
Sheltered pockets of retail and landscaping, occupy the corners of the elevated plaza.
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Garden Maze for the Wallingford School Media, Pennsylvania Collaboration with Artist Beth Clevenstine 2009 I assisted Beth in the execution of a garden labyrinth design for a small art school in Media. As a part of a summer art class for kindergartners and older, Beth and I were tasked with facilitating the design of a small garden space. The Mosaic elements made by students were integrated into an overall design.
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The design consists of a concentric path made from concrete and finished in glass and ceramic mosaic.
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Proposal for RISD Art Museum “The Farago-Chace Bridge� Collaboration with Artist Beth Clevenstine 2010 The competition brief was for a piece of art to be located in one of several designated locations in the museum. We chose to design a piece for one of the many bridges between buildings. The physical history of the RISD museum is a series of additions and subtractions that have tied and retied the building to itself many times over. The additions include Waterman 1877, Pendleton 1906, Radeke 1926, Farago 1993, and Chace 2008. Each of these necessitated the construction of a bridge from old to new. As a simple passageway or a connecting gallery, each bridge strings together cirulation routes between the different pieces of art. Beyond being a simple container, the museum itself is a connected series of spaces. The RISD museum is a bridge between old and new, manmade and natural, uphill and downhill, and earth and sky.
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Our project is a circulation diagram of the museum where the two most extreme entrances are the endpoints of a bridge. This diagram is then registered in a caternary program created by Axel Kilian. The output is how the spaces of the museum “hang”. The awkward and unbalanced result reveals the redundancies and dead ends in the museum’s circulation. Divots taken from the sides or ends of the ellipses are broken connections where in the history of the museum, circulation has been rerouted.
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The catenary is to be placed in one of the museum’s bridges, tucked in a window niche, bridging between two display cases. The blown glass pieces refract light coming through the window. Painted ellipsoids molded in plaster on chickenwire are linked by rebar anchored to temporary plywood backing.
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Guiyang Art Center Guiyang, China Beyer Blinder Belle 2011 The Art Center is a private retreat for the chairman of Chinese development company. The building site is on a saddle between two hilltops which segregate an old, deteriorating city from a massive development of high rises. The detailed program included, reception and meeting areas for 300, a spa and recreation area, an entertainment complex, art gallery, and separate quarters for VIPs, and a large program for the chairman himself. The sheer size of the program at 5,000 square meters with the extreme slope of the site made the project a challenge. I codesigned the massive interior spaces, landscape, and early massing.
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The recreation program steps down the slope of the hill, creating a series of arcades and garden paths utilizing terraced rooftops. To avoid additional regrading, the olympic sized pool cantilevers over the existing landscape.
ELEVATOR TO NEW CITY
CHAIRMAN BALLROOM SERVICE PASSAGEWAY
HELIPAD OFFICE
UNDERGROUND RECEIVING
GRASS SKI LIFT ENTERTAINMENT
PARKING
VILLAS
CULTURAL
VILLAS
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010 Beyer Blinder Belle Architects & Planners, LLP. All
RECREATION (STACKED TENNIS COURTS)
BARN & PADDOCKS
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Ground Level Plan
Level 1
Lower Level Plan The client requested a classical interior and a specfic sequence spaces for reception LowerofLevel (below Level 1) of guests. The entertainment fuctions are on the lower level. Opposite the sprawling outdoor program to the South, a truncated cone houses a ballroom, banquet rooms, and the chairman’s offices above.
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I designed a version of the receiving hall that would suit the traditional preferences of the chairman while incoporating cantilevered gallery “trays” and bridges spanning the 40 meter high space. I used Boulée’s Paris Library and Alberto Kalach’s Mexico City library as precedents.
An abstracted arcade lined with glass runs along a double height entertainment complex. The truncated cone beyond refers to the utopian architeture of Boullée and the work of Aldo Rossi.
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outhwest
Building A Building B Building E Building F
Building H
95 Horatio Street Existing Conditions Photo: Gansevoort Street New York, NY Beyer Blinder Belle 2011
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Key Plan Scale: NTS
95 Horatio Street New York, NY
This historic building is situated at the Southern end of the Highline, an elevated park converted from a defunct industrial railroad. Since closure of the railroad, tracks running through the second floor have been demolished, leaving parts of the old structure. My firm was hired to complete a masterplan and construction documents of a series of storefronts wrapping the entire building. After receiving a conceptual design from Joel Sanders, we were tasked with detailing the storefront, providing proper access on a sloping site, while maintaining the integrity of the historic design. The building contains an existing loading dock, apartments, and parking garage. It is also located in a protected Landmarks district.
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Building H
Building B
Continuous brick wall with miscellaneous openings
Historic Photos: High Line
95 Horatio Street New York, NY
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Building F: No upper pilasters
}
Building E: No upper pilasters
Building E: Continuous brick wall mith miscellaneous openings
Historical Photo: Building E Scale: NTS
95 Horatio Street
I researched the history of the building to find ties between its See page 12 for detail historic state and photo of metal the proposed existing frame at prior openings changes. Tax Lot Photos from the 1940s reveal Existing Elevation Photo: Building F a 3first floor Scale: NTS loading dock Existing with a disordered Neo-Classical entablature ground floor and and cast iron lack of structural column relationship is continuity above. maintained
Existing Elevation: Building E Scale: NTS
{
{
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Building A
Continuous brick wall with miscella
Historic Photo looking South from Highline Scale: NTS
Building E
}
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Building F
Building F: Continuous brick wall mith miscellaneous openings
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Historical Photo: Rendering: Building F Building E Proposed Scale: 1NTS Scale: NTS
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Proposed Rendering: Building F Key Plan Scale: 1/16” = 1’-0” 0 Scale: NTS
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10 E: Historical, Existing, and Building F: Historical, Existing, and Pro Building Proposed
The final design incorporates client requested simplifications of the design - minimizing brick piers and guardrail obstructions, both limiting visibility of the tenant space. This required through justfication with Landmarks, including a reassessment of the building’s history and functions. We succeeded in arguing that certain classical tropes were not sacrosant given the original disarray of the ground floor and the changing form of the building over time.
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Artist’s Lofts Wooster Street & Spring Street Speculative Research 2011 Over the last year the Department of Buildings has started to more aggressively enforce a zoning regulation that limits residential development in SoHo. The current regulations support the provision for residential provided that an artist is in residence. Previously, celebrities with dubious artistic merits could vouch for an entire building, perpetuating the luxurious overtones of the neighborhood. As a result of the enforcement of this rule, funds have been withdrawn from many SoHo building projects. I propose a type of apartment that integrates the role of artist within the organization of the building, promoting connection between the public and artistic production. At the corner of Wooster and Spring, a conspicuously vacant lot attracts street merchants for use as a outdoor retail space with free rent. The lot is 20’x80”. I decided to explore the possibilty of occupying this relatively narrow space while seeking an antidote to Soho’s inability to support lower income artists.
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Site photo showing local merchants using the site, DOB has issued several fines to the owner, but it continues.
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Analysis
Faced with a narrow site, I chose to study building efficiency and sunlight exposure in three building types: a narrow railroad apartment, a courtyard house, and a block style apartment building. During the 1880s the city of New York Lexington Avenue northward, extended through the Upper East Side. This brought about the demolition of many existing properties, leaving Joseph Richardson a property 3’-0” in width. Rather than sell the marginal strip for below market rates, Richardson chose to build to spite his neighbor, the low bidder. Utilizing a now closed loophole allowing corner lots to occupy part of the sidewalk with bay windows, he built a two unit apartment building 3’ wide at the narrowest and 7’-6” wide at the bay windows.
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The narrowness of the lot elongates the building’s layout and increases its exposure to light and air. The shape of the bay window deforms the plan, leaving left over triangles shown in red. The shape of the bay promotes better sun exposure, shown as orange triangles.
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Alvaro Siza’s Beires House in Portugal offers another strategy for narrow spaces. Although the house is an ample block of space, the primary rooms on both floors are semiautonomous. For the most part, the circulation is tied to the exterior wall, see the black dotted line. Like in the Richardson House, a linear chain of rooms runs parallel to the exterior wall. The eroded shape of the courtyard derives from a triangle removed from the corner of each room.
2nd Floor
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1st Floor 53
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On the second floor, the deformation of spaces on the exterior wall is for the purpose light penetration to the interior.
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The first floor spaces are eroded in the same way, with the exception of the Maid’s Room, where two triangles are added to provide access and make the spaces contiguous.
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Antonio Coderch’s Casa de la Marina in Barcelona is a solid block with minor undulations in its exterior wall. These undulations are echoes of the internal pressure between spaces. The orthogonal component of each room is shown in pink, while the deformations are in red.
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For each room, a corner is pulled outward, adding space for a doorswing while the adjoining room becomes a polygonal vestibule with a door on each of its sides. These vestibules take the place of inefficent elongated hallways, creating circulation nodes that use less space. At several points in the plan, thse nodes become pinwheels, as the door door action is reflected in the faceted layout. At the terraces, space is subtracted from the living spaces. Casa de la Marina harnesses the internal pressure between spaces to create an efficient whole.
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Live / Work / Gallery
The three building types analized previously are applied as precednts for narrow, autonomous, and efficient spaces, that integrate sun exposure into the building organization. For the site, segregating the live/work/gallery spaces along the length of the building splits up the program. I chose to distribute them along the width, subdividing the width of the lot. The building is dropped 6’ into the ground to bring the open garden level closer to eye level, ultimately promoting public access to the gallery above. The slab sandwich is 2’-0� thick so that mechanical and plumbing will take less of the limited floor area as chases. Retail and Cafe have separate access points at either side of the building. Rectangular openings in the ceiling above serve as skylights through the slab, which is a concrete truss construction. Light is admitted into these cellar spaces via openings in the top and vertical face of the slab.
Flexible Work/ Gallery Space Garden
Cafe/ Retail Section Looking South
This sketch shows a limited but efficient living space propagating deformations in plan and section. Connection with the public is achieved by folding the ground plane upwards into an eye level garden space, that folds upward again into a gallery above.
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Cellar Level
Street Level
The below grade cafe receives light from above via a curved recess in the exterior wall and voids in the concrete slab at the edge of the garden above.
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The voids in the concrete slab provide light penetrations for the cafe. The wide incline of the gallery stair provides space for planting and increased visibility of the garden from street level. From street to garden plinth to gallery, the public spaces are vertically continuous.
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Garden Level
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Movable Partition
1st Floor
The angled walls between live / work / gallery spaces form a soft boundary, allowing for informal connections between programs while providing pockets of space flexible as gallery exhibition space or as an extension of the workspace extending from the adjoining living space.
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2nd Floor
3rd Floor
4th Floor
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The structure is a series of shear walls that cut back at the top floor giving way to a faceted glass setback.
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Street view showing the vertical bands of solid wall which occur at the workspaces, promoting introversion from the street wall while tying those spaces back to the gallery at the building’s ultimate interior.
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Street View
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LIVE GALLERY GARDEN CAFE Elevation / Section showing the vertical program relationships.
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California House Collage Magazines, Ink, and Watercolor
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Treehouse Collage Magazines
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Sketches Ink on Paper
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Dark Weed Shot with Nikon FM10 on Ilford HP5 film
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Grass Patch Shot with Nikon FM10 on Ilford HP5 film
Night Studies Shot with Nikon FM10 on Ilford XP2 film
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Night Overpass Shot with Nikon FM10 on Ilford XP2 film
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