KY LE HO FF 1
KY L E HO F F
M . ARC H C A NDIDA TE A P R I L 2 0 1 2 // UN I V E R S I TY OF MI C H I GAN KYLEHOFF@G MA IL.COM // 3 3 0 . 7 2 7 . 0 7 5 3 KYLE HOFF
GRADUATE DESIGN p.06
p.16
p.26
HAVE A DRINK, DETROIT F a ll 201 0 / / T H RE SH O LD ST U D I O
/ / U N I V E RSI T Y O F MI C H I GAN
FRINGE
S PRI N G 201 1 / / O PT I O N S ST U D I O / / U N I V E RSI T Y O F MI C H I GAN
KLINE
F ALL 201 1 / / C O MPRE H E N SI V E ST U D I O / / U N I V E RSI T Y O F MI CHIG A N
DeNODE p.38
p.4
S PRI N G 201 1 / / D I GI T AL FABRI C AT I O N / / U N I V E RSI T Y O F MI C HIG A N
BACKFILL
F ALL 201 1 - SPRI N G 201 2 / / T H E SI S / / U N I V E RSI T Y O F MI C H I GA N
FURNITURE // FILM p.58
p.64
p.70
LONGMOUTH
F ALL 201 0 / / ST U D I O / / U N I V E RSI T Y O F MI C H I GAN
CIRRUS CHAIR
F ALL 201 0 / / RE PRE SE N T AT I O N / / U N I V E RSI T Y O F MI C H I GAN
FOLD STOOL
S PRI N G 201 1 / / D I GI T AL FABRI C AT I O N / / U N I V E RSI T Y O F MI C HIG A N
UNDERGRADUATE p.86
p.92
p.98
BEAR RUN FALLINGWATER F A LL 2008 / / ST U D I O / / MI AMI U N I V E RSI T Y
OVER-THE-RHINE S P RI N G 201 0 / / ST U D I O / / MI AMI U N I V E RSI T Y
SCANDINAVIA KETCHES
S P RI N G 2009 / / D AN I SH I N ST I T U T E FO R ST U D Y ABRO AD
3
GRADUATE KYLE HOFF
5
HAVE A DRIN KYLE HOFF
NK,
University of Michigan // Arch 552 Threshold // Prof. Steven Mankouche
Located on the riverfront in Detroit’s Mexican Town, the Have a Drink Detroit project houses the programs of a distillery, drinking lounge, and river bath to engage the presently deserted Riverfront Park as a platform for the mixing of the local and visiting populations. Drinkin g has long been a social catalyst and by leveraging it as the dominant feature of a public space will create a mixing hub where people from Detroit can come and simply have a drink. 7
HAVE A DRINK
DETROIT
KYLE HOFF
above_ w a te r ’s e d g e a t wi n t e r below_ in te r i o r p u bl i c s pac e le f t_ campaign poster
The materiality of the site is pulled from a collection of in local elements, avoiding heavy-handed manipulation of the site that has most often failed in Detroit. By creating a collection of existing components the design is not only more sympathetic to the context, but also draws less upon other resources. The majority of the design consists of these players: a repurposed barge, a vacant newspaper warehouse, gravel, and recycled steel.
9
The distillation process begins in the warehouse where the ingredients are mashed and fermented, with quality visible to the drinkers. Unlike a typical distillery, the fermented ingredients will then be pumped to the barge for distillation. The barge will undock at night and head for the middle of the river to distill in International Waters, avoiding the taxation from either country.
DATE TIME FRAME SETTING TEAM TECHNIQUE NOTES KYLE HOFF
Fall 2010 Semester Studio Solo Rhino/PS/AI/ID/CAD TCAUP Student Show selection
a b ove_ site sections a s id entified b y site p la n b elow_ wa tersid e view with b a rge a tta ched lef t_ site p la n with b a rge
11
CROSS SECTIONS | 1/64”=1’ After built construction is complete, a portable stacking conveyer will be used informally load gravel between the retaining walls. Gravel’s dynamic shape allows it to continually reform as its users uncover once buried aspects of the site by treading the surface of the retained mound. Human movement can be traced across surfaces allowing the most frequented routes to emerge.
KYLE HOFF
KPI-JCI PORTABLE EXTENDABLE RADIAL STACKING CONVEYER MODEL 33-36230 SUPER STACKER Extension__120’ 9” Max discharge height__47’ 2” Min. discharge height__19’ 6” Max angle of incline__19 degrees Conveyer Width__36” Power__30 Hp
abov e_ g r eyw ater co llection and dis tillatio n pro ces s left_ s e ctions o f g rav el lo ading
WATER CRISIS Anticipating inevitable water shortages, the on-site process for the production of whiskey can be altered to be used for the distillation of water. By collecting greywater from the roof through one of the steel extrusions serving as a slow sand filter, the water can be harvested and then purified through the distillation process to be used in a future water crisis. Likewise, the barges mobility permits the on board water distillation process to move to communities in need. 13
KYLE HOFF
abov e_ m o dels and final pres entatio n rig ht_ s ite m aterials
SITE COMPONENTS
Gravel Drawn from a gravel quarry directly across the river
+
Lake barge Second hand from the local industrial thoroughfare
+
The gravel, relocated from adjacent quarries, is used to negotiate the ground plane with the roof plane of the warehouse, which currently acts barrier to the rest of the river rendering the adjacent park vacant. From the gravel numerous steel extrusions emerge from the site. These are abstracted from overabundant population of tractor-trailers that congest the surrounding site as the trucks queue at the entrance to the Ambassador Bridge. Their uses change throughout the site, acting as skylights at some points to fermentation tanks in others.
Abandoned newspaper warehouse Repurposed from a past era
+
Steel Plate Recycled
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KYLE HOFF
University of Michigan // Arch 562 Options // Professor Anca Trandafirescu Situated on approximately twenty acres of wooded Michigan forest, the Fringe fabric installation was part of a a series of research/design/build projects of the Taut Studio. Beginning with open-ended form finding techniques, the studio approached tensile design through the exploration of stretch fabrics allowing for an early understanding of the capabilities and constraints of designing with fabric. The final product would be fabricated and installed for a summer long installation with a series of projects. 17
abov e _ initial si te c o n c e pt r e n de r i n g below _ sect i o n o f a p p r o a c h
DATE TIME FRAME SETTING TEAM TECHNIQUE
KYLE HOFF
Spring 2011 Semester Studio Justin Garrison/Greg Perkins Form Finding/Surface Development/Material Testing/Fabric Technique/ Installation/Rhino/PS/AI/ID
x
PROCESS Beginning with a four slit square modular unit, stretch fabric was manipulated within a perforated acrylic box with a motive of encompassing an interior space. After a series of experiments dealing with the clear box INGER MEMORIAL c tuary and later masts, an understanding of the constraints and capabilities of stretch fabric were then translated to our site at Grass Lakes Sanctuary.
ab ove _ site p la n showing a p p r oa c h b e l ow_ ea rly stretch f a b ric for m find ing techn i q u e s
19
SITE The site of Fringe is l ocated at the threshold of a semi-dense forest and an open marsh; the location addresses the release of the forest into the open. In addition to this natural fringe, the site negotiates other barriers including the natural swelling creek and a highly contested property line. EXPERIENCE Co ntext became the driving factor behind the design with the existing natural environment acting as the sole facilitator of support for the struc tur e. The two nearly touching fabric pieces straddle the creek, property line, and edge of the forest while stretching towards the ground on either side. While the two white pieces draw the viewer towards the installa tion, the void between directs the user near with a skewed view of the marsh and the horizon. The patterning of the two pieces reaffirms the pull through while the two sides of the border are stitched together by the installation.
[5]
right_ sp ecif ica tion of connections a fter structura l a na lysis fa r right_ fa b ric cut sheet b ottom_ fla ttened d evelop a b le p ieces f or f orm p rod uction lef t_ connection d eta il
s wa ace d it rf late ble su s. The u g ian elopa band ying r t la v d re we ll de ulate se of atch ces nro m ng rpo urfa the u he tria al pu nd as ther s s the o use out t e du ely a e ano � wa on h 1 ce t t On sible to lay rved t ccura to on iece dded p s o and ion se ore a ieces each was a over- . p m p t m com glula ces m g the c. For d 1/2� n the � sea e n i tria the pi rientin fabr ble an t whe s an 1 a e a t a o h h t w ou s for ing t ge c so eir d line le sew the e bands to it th i wh ed for of the next e add sides piec e the ed th p lap
[6]
ut to c ric fab ciple and e th t n on he pri d wef t n ces pie o that arp a e w h s t e ced them ith th pla d w we riente rallel ic. n r e o a Wh we ere p e fab h m the ses w s of t a s i e b t s e h t not
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3
1
3
Truss Cables
1
7 8 5
2
4
2
6
3 4
Prestress Cables
5 6
Tree Height: 15’ - 4 7/8” Connection Height: 7’ - 1 1/4” Distance: 14’ - 6 3/8” Distance Off: 3’ - 8” Tree Height: 14’ - 5 7/8” Connection Height: 7’ - 2 7/8” Distance: 23’ - 5 3/8” Distance Off: 3’ - 10” Tree Height: 20’ - 5 7/8” Connection Height: 8’ - 4 1/2” Distance: 27’ - 10 1/2” Distance Off: 4’ - 2 1/2” Tree Height: 13’ - 11 7/8” Connection Height: 3’ - 2 5/8” Distance: 32’ - 11 7/8” Distance Off: 4’ - 6 1/2”
2
3
2 8
6
1 5 4 7
FABRIC PIECE #1 PATTERNS
O
M
Tree Height: 0’ - 5 7/8” Connection Height: 2’ - 6 3/8” Distance: 26’ - 9” Distance Off: 2’ - 10 3/4” Tree Height: 0’ - 3” Connection Height: 1’ - 8 3/4” Distance: 22’ - 11” Distance Off: 1’ - 7 3/4”
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Connection Height: 0’ - 6” Distance: 0’ - 11”
8
Connection Height: 1’ - 0” Distance: 4’ - 1”
I
L
Truss Cable Prestress Cable P
K
Q
J
Moving from the initial use of stretch fabric to find a form, Rhino Membrane was used to develop a pattern that would allow a fabric with minimal stretch to form the double curvatures. With this, the ap propriate tension and connection points of the tie back cables were NS developed. Accompanied with material strength tests, we could then ER ATT P #1 appropriately distribution of forces throughout the fabric to ensure the E C PIEcould withstand the climatic forces during the four month installation IC R FAB installation. O
I
M
H
L
G
P
K
Q
J
E H
[5]
G
Once the surfaces were triangulated it was possible to use the unroll developable surface command to layout the triangulated bands. The trianglulation served the dual purpose of laying out the pieces more accurately and as match lines for orienting the pieces to one another while sewing the fabric. For each piece 1” was added for the edge cable and 1/2” was added on the sides of the bands so that when the overlapped the piece next to it their was an 1” seam.
E
D
C
2
NS
[6]
A B
R TE PAT
#to2cut When we placed the pieces on the fabric CE them we oriented them so that the principle PIE C I stesses were parallel with the R warp and weft and not the bias of the fabric. FAB
F
F D
RN TE PAT OUT LAY
T EE
SH
C B
FABRIC PIECE #1 PATTERNS
FABRIC PIECE #2 PATTERNS
A
O
M L
I 2
21
PATTERN SHEE P
K
Q
1/8” Zinc Plated Ferrule
1/8” Galvanized Steel Cable
Lag screws were used at the tree connections to secure the steel cables from moving along the surface of the tree. Clear plastic tubing was used to protect the steel cable from rubbing into the tree. The excess cable was located at the fabric connection end were it was used to further tighten the structure where needed.
Various Deciduous Trees
1/8” Clear Plastic Tubing 3/8” Zinc Plated Lag Screw
Come alongs were used to tighten the prestress cables simultaneously until the adequate stress was acquired. These prestress cables were used to apply the majority of stress throughout the structure. If needed the temporary cable clamps on the truss cables were loosed and the cable was pulled tauter.
TREE CONNECTION DETAIL
1/8” Galvanized Steel Cable 1/8” Zinc Plated Ferrule
Cable clamps we were used to tem constructed. Wh was pulled tauter
8” - 3/8” Zinc Plated Turnbuckle
1/8” Zinc Plated Ferrule 1/8” Galvanized Steel Cable 1/16” Galvanized Steel Cable 1/16” Zinc Plated Ferrule 1/4” Metal Gromment
PTFE Teflon Coated Fabric
Polyester Sail Fabric
FABRIC CONNECTION DETAIL
a b ove_ connection d eta ils top right_ reinforcement a nd ca b le connection d eta ils right_ tra cing a nd cutting p rocess
KYLE HOFF
The forces create edge cables towa PTFE Teflon Coa steel cable is use cables. The forc turnbuckle where ground.
EDGE CABLE PATTERNING
SCALLOP CORNER LAYERING DETAIL
SCALLOP CORNER SEAMING DETAIL
Edge slit at intervals to allow cable sleeve to fold with edgecurve.
PTFE seamed into scallop edge to rein force cable connection points.
Reinforcing fabric seamed overlapping edge cable sleeve.
Border folded over once and sewn with one seam to allow cable to slide through.
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t o p_ c o mp l e t e d f abr i c s t r u c t u re right_ o n si t e i n s t al l at i o n s t e ps through final review
KYLE HOFF
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KYLE HOFF
University of Michigan // Arch 672 Comprehensive // Professor Doug Kelbaugh Located on Willi am and Ashley Street, t he Kline Street project is a 217 unit housing complex, Made of two lower exterior block rings, a tall, and a long extruded tower the building assemblage will be home to mix of unit types and income levels. By positioning four-story exterior block building with commercial at the base, the building encourages a walkable, human scale street front. The taller buildings are then stilted and pushed towards the interior of the block to negotiate the change in scale from users on the street. The perimeter block strategy likewise opens up the interior block to semi-private common space for use by the residents. 27
ain en gag e b o t h t he b u s y s h o p p i n g dis tr ict of Main ents on th e Kline A l l e y . T h e s i t e wi l l lik ewis e boas t ho to-v ol taic s t o st o rm wa t e r ma n a g ement thr ough
exnit se, nd et. se nn ain ast gh
6.1 95
FAR W ALK SCOR E
K L I NE
UNIT C O U NT UNITS
TYPE
STUDIO STUDIO 1 BR FLAT 1 BR FLAT 1 BR LOFT 2 BR FLAT 2 BR FLAT 2 BR LOFT 2 BR L/W 3 BR 3 BR
on W illiam As hley 360 Str eet, AFFORDABLEL o c a ted 36 1.5 and 54 sf Kl inestein 1 36 is a 217 unit housing complex, Made of tw o low er ext e ri o r block , a tall,36and a 360 longsf extr uded tow er the building assemblage w ill be home to mix of unit MARKET RATE 24 r ings1.5 1 24 . By 540 pos itioning four-story exterior block building w ith commercial at the base, AFFORDABLEt y p e s and 15 income 1.5 levels22.5 sf 1 15 t h e building a walk540 able, MARKET RATE 27 encour 1.5 ages40.5 sf hum an 1 scale 27 street front. The taller buildings are then stilted and p u s h ed towar ds 1.5 the inter the sf block to1 to8 pull the larger scale aw ay from the users on the street. MARKET RATE 8 12ior of 600 T h e per imeter block lik930 ewissfe opens the interior block to semi-private common space for use MARKET RATE 50 1.5 s tr ategy 150 2 up100 . The s66 ite als o850 offer AFFORDABLEb y t he r es 22idents1.5 sf s an 2ample 44 amount of public space both as a continuation of A nn public 850 plaza. AFFORDABLEA rb o r ’s gr 8 eenway 1.5and a24 sf The 2plaza 16 on Main engage both the busy shopping district of Main maller live/wor k1,130 s hops AFFORDABLESt re et and 13 the s 1.5 39 sf ow ned 2 by 26 residents on the Kline A lley. The site w ill likew ise boast onmentally AFFORDABLEa n a rr ay9of envir1.5 40.5 concious 1,100 sf s tr ategies 3 27from photo-voltaics to storm w ater management through ve g a tation ous paver MARKET RATE 5 s tr ips1.5and por 22.5 1,400s .sf 3 15
217 50 7 6. 1 95
QTY
/BED
Kline
SQ FT
BEDS
/UN
TOT
21 7 50 7 6. 1 95
UN I T S
OCCU
F AR
W AL K S C
UNIT COUNT
NET AREA:
UN IT S OCCUPANTS
FA R
WA L K SC O R E
CCUPANTS
/BED
Kline
SQ FT
1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5
54 36 22.5 40.5 12 150 66 24 39 40.5 22.5
360 sf 360 sf 540 sf 540 sf 600 sf 930 sf 850 sf 850 sf 1,130 sf 1,100 sf 1,400 sf
BEDS
/UN
TOT
1 1 1 1 1 2 2 2 2 3 3
36 24 15 27 8 100 44 16 26 27 15
prev i o u s_ buildi n g p l a ns abov e _ buildi n g sta tis t i c s r ight_ str ee t f r o n t v i e w a t A s h l e y and W i l l i a m s
KYLE HOFF
OCCUPANTS
1.22 ac 1 79.3 units/ac 279 beds/ac 41 9 ppl/ac
G R O S S A REA : 1 .76 ac 1 23.3 units/ac 1 92 beds/ac 288 ppl/ac
UNITS
TYPE
STUDIO STUDIO 1 BR FLAT 1 BR FLAT 1 BR LOFT 2 BR FLAT 2 BR FLAT 2 BR LOFT 2 BR L/W 3 BR 3 BR
AFFORDABLE MARKET RATE AFFORDABLE MARKET RATE MARKET RATE MARKET RATE AFFORDABLE AFFORDABLE AFFORDABLE AFFORDABLE MARKET RATE
QTY
36 24 15 27 8 50 22 8 13 9 5
OCCUPANTS /BED
Kline
1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5 1.5
54 36 22.5 40.5 12 150 66 24 39 40.5 22.5
SQ FT
360 sf 360 sf 540 sf 540 sf 600 sf 930 sf 850 sf 850 sf 1,130 sf 1,100 sf 1,400 sf
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a b ove_ interior view of tower unit right_ sight p la n b elow_ west eleva tion
KYLE HOFF
31
DATE TIME FRAME TEAM TECHNIQUE NOTES
KYLE HOFF
Fall 2011 Semester John Simenic Revit/Rhino/PS/AI/ID/CAD TCAUP Student Show selection
spread_ 1/16� p hysica l mod e l ma d e of p op l a r
33
KYLE HOFF
The site also offers an ample amount of public space both as a continuation of Ann Arbor’s greenway and a public plaza. The plaza on Main engage both the busy shopping district of Main Street and the smaller live/ work shops owned by residents on the Kline Alley. The site will likewise boast an array of environmentally conscious strategies from photovoltaics to storm water management through vegetation strips and porous pavers. b elow_ a xon of b uil d i n g
l e ft _ rend ering of p u b l i c spa c e
35
por c h p orch
por ch
living liv ing space
be dro o m bedr oom
b ed ro o m bedr oom
l i v i ng sp a ce
bedr oom
bath
w/d b a th
kit chen
kitchen
bath
STUIDIO _1/8 ”
kitchen
bath
O NE BE DROOM FLAT_1 /8”
TWO B EDR OOM FLAT_1 /8”
UP
UP
UP
UP
l i v i ng s p a ce
w /d
bedr oom
b elow w /c living space
loft b ed ro o m
bath w /d
w/d
kitchen
bedr oom
UP
w/c
bath
w a l kw a y
wor k spa c e
p o rch
walkway
por ch
TWO B EDR OOM S TACKED_1 /8”
1/2” = 1’
KLINE_WALL DETAILS
O NE BE DRO O M L O F T_1/8 ”
p o r ch p o r ch
porch orch
kitchen kitchen
liv ing liv ing
m
be droo m b e dro o m
b ed r o o m b ed r o o m
living livingspace space
b ed roo m b ed roo m
kit chen kit chen bedr oom bedr oom
b a th b a th bath
bath
w /d
bath
w /d
bath
’
right_ tra nsverse section showing sunken p a rking a nd eleva tion cha nge of site
bath
b ed roo m b ed ro o m
bath
’
T W O B EDR O O M F L A T _ 1 / 8 ” W O B E D RO O M FLA T _ 1 / 8 ”
THRE E BE DRO O M F L AT_1/8 ” T HRE E BE DRO O M F L AT_1/8 ”
ONE B EDR OOM FLAT_1 /8” ONE B EDR OOM FLAT_1 /8”
p o rch p orch
bedroom bedroom
w /c
bath
DN
DN
DN
bedr oom bedr oom
DN
DN
DN
DN
DN
kit chen kit chen
bath bath
bath
w /c
w /c w /c
w /d w /d w o r k s p a ce w o r k s p a ce
UP
liv ing liv ingsp a ce sp a ce
bedr oom bedr oom
UP
UP
UP UP
UP
UP UP
bedroom bedroom
porch orch
B E D R O O M S TACK E D _ 1 / 8 ” R O O M S T AC KED_ 1 / 8 ”
TWO B EDR OOM LIV E/WOR K_1 /8” TWO B EDR OOM LIV E/WOR K_1 /8”
KLINE_UNIT PLANS K L I N E _ U N I T P L A N1/4” S = 1’ 1/4” = 1’
KYLE HOFF
lef t_ unit p la ns
Among the 217 units, a variety of typologies are co-opted to accommodate a mix of income and family size. The lower perimeter block portion allows for natural light from both and cross ventilation, while upper units housed in both towers benefit from large floor to ceiling ventilation techniques.
UP
w /c
DN
k i t chen
DN
DN
w /d
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KYLE HOFF
University of Michigan // Arch 571 Digital Fabrication // Professor Maciej Kaczynski In the setting of a digital fabrication course, DeNODE set out to optimize the water jet technologies of Taubman College in a research through making method of material tests and con struction. The goal of our trajectory was to test the physical properties of different gauge steel to determine the constraints of a nodal assembly to produce a doubly curved surface. The project went through several phases of testing to derive a developable surface from 306 unique steel pieces 39
What is happening at the node?
Forces
Double Curvature
In the early tests we developed a method of triangulated connection that could be continu ously aggregated th rough simple spot welding. Then to test the constraints of the form and steel a series of dou bly curved surfaces were tested to determine to what extent the individual steel pieces could curve without becoming plastic and what gauge would best handle these fo rms. We found th at 18 gauge would work best as 20 gauge became too malleable and 16 was too rigid to twist. Likewise, the depth of the member had constraints of its own. We determined that a range between 3/4” and 2” would allow for twisting while not compromising structural rigidity. With this knowledge we were able to outline a series of constraints that would inform a de velopable surface from the nodal construction. Next, in Rhino we employed Grasshopper to cr eate a surface that could act as platform for the process of adapting the nodes as evident in the steps below. 3/4”
top right_ comp lete insta lla tion a f ter wea thering
1 1/4”
right_ p seud o scrip t step s used to crea te f orm f rom b end ing techniq ue left_ section p rop erties of f orm a b ove_ ma teria l constra ints
2”
KYLE HOFF
_i nput s ur fa ce
_ di v i de su r fac e i n t o U / V po i n t s
_des cr i be s ur f a c e wi t h h e xa g o n s
_ fi l l e t h e x ag o n s t o c r e at e n o de s
_offs et s ur face to cr eate nodal pair s
_1d s cale input s ur face _tr im hexagons to cr eate depth v ar iation
_loft adjacent hexagons _tr im s o that s ur face end s in thr ee s ided node
_s plit hexagons to cr eate nodes _unr oll 3 0 6 unique s ur fac es
41
Once all the nodes were combined to develop the surface, the hexagon pieces were then cut and separated to create 306 unique overlapping pieces. These were then unrolled to create two-dimensional pieces to be cut on the waterjet. Each piece was also scored on the surface where its two mates would align allowing for precision when constructing the individual nodes and later when strategically combining the aggregated form. Below is the system for matching the pieces.
KYLE HOFF
a bo v e _ h a n d a s s e m bl y t e c hnique p o s t c u t 10 2 n o de s right_ c u t s h e e t o f 3 0 6 u n ique me m be r s f o r wa t e r jet bottom left_ l a b e l i n g a n d g u i d e f or as se m b l e o f u n i q u e p i eces to f o r m n o d e s t h e n s u rface
Spring 2011 Elective 7 Weeks Torrey Law/Alex Saroki John Simenic TECHNIQUE Rhino/Grasshopper/MasterCAM/ WaterJet/Hands/Steel/
DATE SETTING TIME FRAME TEAM
43
right_ a ssemb ly f rom nod es to fina l f orm
nodes unique steel members spot welds square feet of steel sheets bolts used for base connections hours water jet time KYLE HOFF
102 306 1200 56 21 5 4
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KYLE HOFF
University of Michigan // Arch 660, 662 Thesis // Advisor Kathy Velikov The c o n tin u a lly d e n s i f y i n g a n d e x p a n d i n g c i ti es and urban reg i o ns o f the co ntempo rary wo rl d are support e d , a n d lite r a ll y b r o u g h t i n t o b e i n g , b y v a st terri to ri es o f l and dedi cated to the pro ducti o n, ex tract ion, proc e s s in g a n d tr a n s p o r t a t i o n o f m a t e r i a l s a n d reso urces, and thei r asso ci ated netwo rks. O ften a l a cuna t o m o s t wh o r e s id e i n c i t i e s , t h e s e t e r r i t o r i e s pro duce no t o nl y aberrant arti fi ci al eco l o g i es ( whi ch m ay oft en h a ve im p a c t s o n a m a s s i v e s c a l e ) , b u t al so dev el o p speci fi c subj ecti v i ti es, so ci al rel ati o ns, spat ial code s , p o litic s ( b o t h i n t e r n a l a n d g l o b a l ) a n d co nnecti o ns. T he urban ex ternal i ti es thesi s studi o wi ll t ake an in te r e s t in th e s e t e r r i t o r i e s , t h e i r e c o l o g i e s, techno l o g i es, archi tectures and so ci eti es, tyi ng them and t hei r fu tu r e in to ou r u r b a n n a r r a t i v e s a n d p o t enti al s. T he thesi s g ro up wi l l o perate bo th i ndi v i dual l y and as a colla b o r a tive th i n k- t a n k, d e v e l o p i n g c o l l e c t i v el y the sco pe and fo cus fo r the year o f research ef for t s. 47 -Kat h y Ve lik ov // T h e s i s A d v i s o r U n i v e r s i t y o f M i chi g an
KYLE HOFF
ABSTRACT The city of Youngstown, Ohio, once a dominant factor of steel production in the Great Lakes Region, has since deflated to almost half its previous occupied land with less than half its peak population. Ground that once consisted of mills employing thousands now house monumental piles of scrap, lifeless soil and active earth moving machinery. Much like the by-product of the production of steel itself, the land along the Mahoning River is an externality of a once industrialized city. This ground, saturated and churned time after time; evolved from wild, to the platform and receptacle of industry. Today, these sites exhibit man’s obsession with continuity evident in the active erasing of ruins into an artificial earthwork. Likewise, the minimal understanding of these complex systems has permitted these sites to remain lifeless for decades until we feel the need to re-stir the land into what we imagine it originally was. However, the continued depletion of both ecosystems and urban environments cannot continue to be disregarded as an accepted urban conditio n. sp rea d _ loca tion of interventions with rela tive sections
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G L O B A L
WWI
GR OWTH I N A S I A N M A R K ET
C A R BO N
N A T I O N A L
WWII
NE W Y OR K
IRON
CHICAGO
BETHLEHEM
D E T R OI T
P I T T S B UR G H
CO K E
C L E V E L A ND
STEEL MILLING LYK E S C O RPO RA T IO N
N
E N V I R O N M E N T A L
U. S. ST E E L
W A TE RB O R N E BY- PRO D UC T S
M A HO N IN G RIV ER REGULAT IO N
D A MS P R O D UC T I O N H EA T
A IRBO RN BY- PRO D UCTS
I M P ER V I O US S UR FA C ES
D O M ES T I C P O L L UT I O N
N A T IO N A L ST E E L C O MPA N Y
W O G N U
YO UN GSTOWN S H E E T & T UB E C OM PAN Y
STEEL PRODUCTION
WI CK C AM PBE LL
INDUSTRY
R OBE R T E . WI LLI AM S LE TTE R TO S H AR E H O L D ER S
R E P UB LI C S TE E L MA HO N IN G V A LLE Y IRO N C O MPA N Y
RAIL
UNI TE D S TE E L WOR K ER S S TE E L WOR K E R S OR GA NI Z I NG COMMI TTE E
S O C I O E C O N O M I C
O
B RIE R HILL IRO N & C O A L C O MP A N Y
H A RDWO O D
200, 000
LI TTLE S TE E L S TR I K E
S UBUR BAN EX PANS ION
100, 000
C IT Y E XP A N S IO N
WESTERN RESERVE
P O L I T I C A L
Y
YO UN GST O W N RO LLIN G MILL C O MPA N Y
IRO N
S
T
I N D U S T R I A L
CO AL
M A S S E M P L OY M E NT
YOUNGSTOWN POPULATION 0
JOHN YOUNG
FOUNDING
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1920
1950
spread_ network d ia gr a m of Youn gst own
VIETNAM
TS
C O M P E T I T I V E MA R K ET
E P A F O RM ED
CO N T A M I N A T ED S O I L
O HIO DE P ARTM E N T OF H E ALTH : CONTAC T A ND F ISH C ON SUM PTI ON ADVI SORY
P O S S I B L E WA T ER C O N T A M I N A T I O N P O S S I B L E EA R T H Q UA K E T R I G G ER
MA H O N IN G R IV E R E C O L O GIC A L R E S T O R A T IO N P R O J E C T
N ATUR A L GA S DR I LLI NG I N TH E MAR CE LLUS S H ALE V & M S TAR B R O WN FI EL D S
B L A C K MO N D A Y
=200 W ORK E R S UNE MP LOYE D
C RUMBLIN G IN F RA STRUCTURE
A BA N D O N E D IN D USTRY H UN GE R
MA S S UN EM PLO Y M EN T
H O ME LE SSN E SS V A CA TE D CITY 33% O F FA M I L I ES S T R UG G L E WI T H FO O D H A R D S H I P
A C C E P T IN G T H A T YO UN GS T O WN IS A S MA L L E R C IT Y I MP R O V IN G YO UN GS T O WN ' S IMA GE & E N H A N C IN G Q U A L IT Y O F L IFE
43% O F C I T Y L A N D V A C A T ED
A C C E P T IN G T H A T YO UN GS T O WN IS A S MA L L E R C IT Y
A C A LL T O AC TI ON MA YO R JA Y W ILLIA MS
Y OUNG S T OW N 2010 PLA N
49. 7% POV E R TY R ATE H I GH E S T OF 100 LA R GE S T U. S . CI TI E S
LAN D US E R E Z ON I N G
S EG R EG A T I O N O F US E
SHRINKING CITY
1980
2010
SYSTEM/NETWORK YOUNGSTOWN
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RESEARCH POSITION Positioned on the asphalt from behind the apparent safety of a fence, one can make out the distant interaction of the large bodied machines. One continually bends to the earth and gouges its surface, while its partner, a more colossal figure, waits nearby. A droning howl, relentlessly produced, can be heard at almost any point in the terrain, discouraging one from moving towards their territory. The landscape is barren from the continual aggression of these agents as they work to achieve continuity. Grounds that once supported industry, employing thousands, are now wastelands only inhabitable by machines. The idea to let the place exist in its deindustrialized state was abandoned, while the decision to let the machines inhabit the land has since led to the production of an alien landscape. Possessing the appropriate natural resources and a geographical location at the entrance to the industrious Great Lakes Region, Youngstown, Ohio would inevitably become an epicenter of steel production. Unavoidable as well was the cities abrupt decline and its struggle to survive in the post-fordist era as a single industry region. Youngstown’s growth would mirror that of its manufacturing, as the steel has decayed, so did its urban fabric. Conversely, with the active growth of industry the local environment were quickly smothered as mills would pump 485,000 pounds of solid wastes and chemicals a day into the river 1. As the ground was abandoned the regeneration of ecologies is stalled by the contaminants remaining in the soil and water. And if new ecologies attempt to emerge, the constant churning of the earth by the machines overpower any new life. Similarly the social, political and economic externalities are enduring. Consequently forty-three percent of the land within the city is abandoned and forty-nine percent of the population is below the poverty line, the highest in the United States 2,3. Even with significant efforts to shrink the city, the prevailing scale of these industrial wastelands has a detrimental effect on any effort to consolidate and restitch the urban fabric. With this, the natural evolution of these deindustrialized sites is being ignored, as continuity is being forced on landscape via excavation. The outcome is vast and desert-like. Decades of economically viable industry are backfilled then resurfaced and rather than encouraging remediation and new emergent ecosystems, the city is waging an effort to fabricate a false uniformity amongst the landscape. Robert Smithson acknowledges the temporality of these deindustrialized landscapes in his essay “Frederick Law Olmsted and the Dialectical Landscape.” In the article he pulls from Uvedale Price in his discussion on the state of wasteland, Price asserts, “The side of a smooth green hill, torn by floods, may at first very properly be called deformed, and on the same principle, though not with the same impression, as a gash on a KYLE HOFF
living animal. When a rawness of such a gash in the ground is softened, and in part concealed and ornamented by the effects of time, and the progress of vegetation, deformity, by this usual process, is converted into picturesqueness; and this is the case with quarries, gravel pits, etc., which at first are deformities, and which in their most picturesque state, are often considered as such by a leveling improver” 4. In a similar manner, the ground beneath Youngstown has been exploited for human production as part of its lifecycle and will not return to its previous state. These conditions must be accepted as a by-product of a process that was in fact a necessity for Youngstown existence. The active erasing of the site is only an attempt at blurring the deformities from industry. As Price foreshadows, there is an inherent complexity to these drosscapes created by human influence that can’t be overlooked. Alan Berger explains, “The first step in delineating and reclaiming the potential of these physically excluded sites is to mentally recognize that such waste deposits are an inevitable result of growth. Waste landscape is an indicator of healthy urban growth” 5. Another externality of the deindustrialization of a city is nostalgia. The history of the Youngstown has been imbedded deep in the soils as another byproduct of production. Although of significance importance when understanding the context of place, it has become evident with other deflated deindustindustrialized cities that nostalgia is a barrier to salvaging what’s left. Fortunately, Youngstown realized there was no return to its previous economy and population. Therefore, in 2005 the city decided to make a conscious effort to shrink its borders by cutting funds to parts of the city that are in disrepair while consolidating salvageable portions of the city 6. While this plan has downsized the scale of the city, it has in effect increased the magnitude of the dross belt that bisects the municipality. Another by-product that can’t be ignored when examining deindustrialized cities are the monumental ruins. The recent obsession with industrial structures often inhibits the recovery of post-fordist cities, as places like Detroit struggle with gaining an identity beyond its trendy industrial ruin porn. Therefore it is imperative that the buildings of Youngstown’s deindustrialized sites should therefore not become artifacts in the landscape, but rather reintegrated and adapted, as an element of the greater project to serve the social, cultural, and environmental needs. With all this noted, a shift in the way we approach wasteland is required. As Berger asserts, “No longer are polluted and toxic landscapes beyond recovery and reinhabitation, as many are now considered valuable city assets” 7. Burger adds a series of strategies for designing with drosscape. The approach should be bottom up and as described by Berger, “a scavenging on the urbanized surface for interstitial landscape remains” 8. This bottom up approach will require fieldwork accompanied by collecting and interpreting data/trends tied to the site. From this platform an array of approaches should be adopted based on the given site situations; however, “the designer must dis-
cern which types of ‘waste’ may be productively reintegrated for higher social, cultural, and environmental benefits” 9. The interventions that take place on these drosscapes will be catalyst for addressing the social problems associated with the deindustrialization of the city. Youngstown has the highest poverty rate among the hundred largest U.S. cities at nearly 49.7% while over 30% of families struggle with food hardship 10,11. Therefore the idea is that grounds that once prospered economically to support the cities social and cultural needs, can be reintegrated with the urban fabric to do so once again. However, now these grounds can prosper by adaptively reusing these sites in a more passive manner. There is also much to be cautious of when approaching wasteland as a site, especially in the circumstance of over idealizing the situation. In the case of the Fresh Kills Landfill project, John May argues that designers are disregarding the long-term realities of superficially laying a park over a landfill 12. The truth of it is, as May asserts, “Flowers and field grass grow quickly across the thin epidermal soil, while the smell is virtually eliminated” 13. There is a clear danger in the misleading nature of a project that uses a mere membrane seal decades of waste from its idealistic users whom are cross-country skiing and canoeing. It is also rather clear that the hazard of projects like Fresh Kills lies within the embellishment of architectural renderings accompanied with our lack of understanding these complex systems. With this said, the hazard of reclaiming a landfill that once took in 90% of New York City’s solid waste over 50 years can differ significantly from other drosscapes. There are varying degrees to which a site may be contaminated which should then indicate the outcome of the sites use. As in any design situation, the context and circumstance must determine the use, and therefore a park is not an applicable program for all waste landscapes. The Highline project, a wasted scape produced by the deindustrialization of New York City, is a successful retrofitting of a contaminated site. Rather than defensively addressing the condition with a film, the High Line offensively deals with ground contamination allowing the dense population of the city to safely inhabit this once industrial site. It is vital that we address these sensitive locations rationally with deep consideration for the current context, rather than blindly following a mix of false optimism and nostalgia. Taking a cue from the Parc de la Villette competition, the finalists in the proposed Downsview Park competition work with a framework strategy to retrofit a 320-acre decommissioned military base into an urban park with both active and passive recreation 14. The idea of a framework grew out of the necessity to create an infrastructure for a fifteen-year implementation, anticipate transformation, and accept a complex array of natural and cultural processes. Although Toronto posses an incredibly different scale and population than Youngstown, the creation of a framework, rather than form, to address the many complex systems should be employed. The Downsview competition led to many proposals based around the notions of unfolding,
flow, emergence, adaptation, and interaction to develop a way in which a framework could be engaged as a platform 15. It is also relevant to note that the lack of ability to identify an original state of the natural site made a case for the invention of new methods of intervening with the ecosystem avoiding the static picturesque 16. This further necessitates the notion that people are an integral component in the evolution of ecologies as noted by Alexander Felson and Linda Pollak, “It is only recently that ecologists have broadly acknowledged that no site is untouched, and that changes in the environment brought about through human activity play a significant role in the definition of ecological systems” 17. This current perception has brought about works like Liat Margolis and Aexander Robinson’s “Living Systems,” which serves as a catalogue of approaches and technologies for identifying landscape behaviors and techniques for intervening with the urban ecology and fabric 18. With the previously acknowledged context and techniques in mind, Youngstown’s wasted scapes should be engaged as a platform for creating better social, cultural, and urban practices. Therefore, the 49.7% below the poverty line will be first in mind; however, this is dependent on the environment being enhanced as well. Adopting the framework method Downsview Park, informed interventions will bridge the specific social and ecological needs of the site and region.
“Mahoning River Watershed” Restoring / Cleaning Up the Industrialized Mahoning River <http://ysu.edu/mahoning_river/river_restoration.htm> (December 10, 2011) Tavernise, Sabrina. “Trying to Overcome the Stubborn Blight of Vacancies.” The New York Times, sec. U.S., November 19, 2010. 3 Elizabeth Kneebone, Carey Nadeau, and Alan Berube. “The Re-Emergence of Concentrated Poverty: Metropolitan Trendsin the 2000s.” Metropolitan Policy Program at Brookings, May, 2011. 4 Jack Flam ed., Robert Smithson: The Collected Writings, (Berkeley: University of California, 1996) 159. 5 Alan Berger, Drosscape: Wasting Land in Urban America, (New York: Princeton, 2005) 36. 6 Belinda Lanke. “The Incredible Shrinking City.” Metropolis, April 17, 2006. 7 Berger, Drosscape. 8 Ibid., 239. 9 Ibid. 10 Kneebone, Nadeau, and Berube. “The Re-Emergence of Concentrated Poverty” 11 “Food Hardship in America 2010: Households with and without Children” Food Research and Action Center, August, 2011. 12 John May. “Technology, Ecology, and Urbanism: an Interview” in Verb: Crisis, edited by Irene Hwang and Mario Ballesteros (Barcelona: Actar, 2008) 102-03. 13 John May. “Bringing Back a Fresh Kill; A Dream of Territorial Resuscitation,” in Verb: Crisis, edited by Irene Hwang and Mario Ballesteros. (Barcelona: Actar, 2008) 90. 14 Julia Czerniak. Case -- Downsview Park Toronto (Munich: Prestel, 2001) 14. 15 Ibid., 15-16. 16 Ibid., 30. 17 Alexander Felson and Linda Pollak, “Situating Urban Ecological Experiments in Public Space” in Ecological Urbanism, edited by Mohsen Mostafavi and Gareth Doherty, (Baden: Lars Muller, 2010). 18 Liat Margolis, and Alexander Robinson, Living Systems, (Basel: Birkhauser, 2010) 10. 1
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BACKFILL MOVIE One of the initial assignments for the thesis was to document the current status of the sight and project through film. The filming of this movie led to a greater understanding of the present condition of the deindustrialized sites in Youngstown. To check out the film on vimeo: https://vimeo.com/kylehoff
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spr e a d _ stagi n g o f i n t e r v e n t i o n as the p o si ti o n i n g o f t h e t h e ater d r i f ts u p r i v e r
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POSITION This project places itself within the present context (and what some might consider a crisis )of repeated attempts by the fields of architecture, landscape and urbanism to cultivate and participate in natural ecologies and dynamic systems. The work takes a skeptical position relative to the current fascination and investment in site remediation and restoration of degraded natural systems, which, according to recent studies, shows little proof of successfully restoring previous or emergent ecologies. Maybe what this thesis is more interested in though are the possibilities of engagement, activity, self-awareness and subjectivity that these practices might engender and the way that architecture might participate to structure these practices over time. The energy of the machines and the incessant reshaping of the land will be leveraged and extended as a form of mega-scale entertainment in the same breadth as NASCAR and monster truck rallies. With the previously examined site conditions, architecture will be employed as the means for co-oping the existing excavation equipment that presently inhabit the site. The spectacle of earth movement will be a new form of epic rally for the city of Youngstown displaying the power of the machines in all its various forms of glory permitting other forms of spectacle to follow and evolve. Requiring a specific inquiry into the types of machines to engage in this choreography, the event will enlist a series of architectures to serve as the catalyst for the viewing of the geological excavation. With this said, the design requires an undertone of a deeper understanding of geologic time and the antrhopocene subtly initiated by the architecture and the choreography of the events. 57
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lef t_ historic a ctors of Youngstown right_ p resent a ctors of Youngstown
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V IEWIN G TOW ER Cr e a t i n g a n o p t i ma l v i e w i n g an g l e an d u n m at c h e d pro x imit y t o t h e s h o w , v i e w i n g t o w e rs w i l l be po s i t i o n e d at stra t e g i c l o c a t i o n s a mo n g s t t h e s h o w s t ag i n g g ro u n ds t o of fe r a c o n t i n u i n g v i s t a o f t he de i n du st ri al i z e d si t e . T h e sm a l l fo o t p r i n t w i l l a l l o w t h e st ru c t u re s t o be po s i t i o n e d a mo n g s t t h e s h o w , r e g i s t e r i n g t h e c h an g e i n t h e e art h ove r t i me . T h e t o w e r s w i l l c o n t i n u e t o c arry t h e s am e p r o g r a m a s n e w e me r g i n g spe c t ac l e s su rf ac e 1 : Vi ewi ng b ox wi t h f ra med vi e w of s ta gin g a r e a 2: St ruct ura l sha f t w i t h ci rcul a tion a t in te r ior 3: E l eva t ed vi ew i ng p l a t f orm con n e c tin g u s e r s fr om s a fe z on e to vi ewi ng t ow er wi t h a ccess for m a c h in e s b e low 4: Thea t er sea t i ng wi t hi n vi ewin g b ox 5: E l eva t ed el eva t or ent ra nce to a n tic ip a te c h a n gin g gr a d e l e v el 6: C ha ngi ng gra d e l evel regi ste r in g on s h a ft of v ie w in g p la tfo r m
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l e f t/ r i g h t _ l i n e dr a wi n g s o f v i e w ing to we r a n d n o t - s o - g r a ndsta n d, t wo f o r m s o f interv e n t i o n e m pl o y e d as part o f i n d u s t r i a l t h e at e r .
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St a nd a rd (St ep hensons) t ra c k s a t ju n c tion Hyd ra ul i c sci ssor l i f t E xt end ed st a nd s Med i um l evel st a nd s Unext end ed st a nd s St a gi ng of i nd ust ri a l t hea t e r
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N O T -S O G R A N D S T A N D D es i g ned t o co - o p ed o f t he ex i s t i ng r a i l i nf r a s t r uct ur e, t he N ot - s o G r a nd s t a nd ha s b een d es i gned t o b e a b l e t o d r i f t on a S t a nd a r d t r a ck w i d t h of 4 ’ - 8 3 / 4 ” . T o a ccom m od a t e t he hei g ht r es t r i ct i o ns ea ch p or t i on o f s t a nd s ha s b een l i m i t ed t o 1 3 ’ t a l l ; ho w ev er , i n or d er t o i ncr ea s e occup a ncy t he s t a nd s ha v e b een f i t t ed w i t h hyd r a ul i c s ci s s o r l i f t s . Thi s a l l ow s a n a g g r ega t i o n of s t a nd s t o t a k e p l a ce t r a ck j unct i o ns p r ev i o us l y us ed f o r l o a d i ng t hes e a t i nd us t r i a l s i t es . T he p o s i t i oni ng o f t he N o t - s o G r a nd s t a nd w i l l b e b a s ed on t he l o ca t i ons o f t r a ck j unct i o ns .
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top /b ot t om_ view of sta ging zon e s I & IV
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DATE TIME FRAME SETTING TEAM TECHNIQUE
Fall/Spring 2011/2012 2 Semesters Thesis Solo ArcGIS/Film/FinalCut10/ Rhino/PS/AI/ID/CAD
sp rea d_ a xon of sta ging a nd imp le menta tion of p la tform
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sp rea d _ fina l thesis insta lla tion with p rojecting mod el to show evolution of the site
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FURNITURE FILM
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// 69
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Longmouth is a stop motion movie shot using a fixed digital SLR as part of a studio prompt on the accumulation of products. The abstract film set out to comment on the mass production and consumption of products through a light hearted background of the quirky objects we continually develop. To check out the film on vimeo: https://vimeo.com/kylehoff
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DATE TIME FRAME SETTING TEAM PROCESS
Fall 2010 2 Weeks Options Studio Andrew Heathfiled Stop Motion Film/ IMovie/AI
l e f t_ f i l mi n g an d m a n i pu l a ti o n o f pi e c e s to c r e at e s t o p mo ti o n f o o t a g e r i g h t_ f i l m po s t e r b o tto m l e f t _ sti l l s f r o m f i l m
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DATE TIME FRAME SETTING TEAM TECHNIQUE
Fall 2020 2 Months Representation Solo Hand drafting/solder/ metal working/rhino left _ b ent sold ered met a l studi e s b ottom/p reviou s rhino mod el of ch a i r
The Cirrus Chair is was designed to be fabricated from a single looping metal rod. Its simple design takes advantage of lightweight wire frame construction. Between the metal frame, cable is looped as the seat. The design process began with drawing followed by thin gauge metal wire sketch models informing the final product.
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Made from a single piece of 4â&#x20AC;&#x2122; x 2â&#x20AC;&#x2122; plywood and wasting less than 5% of the material, the Fold Stool employs a technique of kerfing (slits leaving just one ply of sheet uncut) to allow for bending so that the plywood can rejoin with itself through a puzzle piece connection. The process of cutting and kerfing were done in a single 10 minute CNC routing session. Minimal materials, simplicity of fabrication, and flat-packing potential are all encompassed in the easily assembled design.
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DATE TIME FRAME SETTING TEAM TECHNIQUE
Spring 2011 U of M 2 Weeks Elective Self Rhino/MasterCAM/CNC
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a b ove_ Ma sterCAM cut sheet to b e cut on the CNC lef t_ d eta ils of comp lete p iece
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UNDERGRAD PROFESSION
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BEAR RUN KYLE HOFF
Miami University // Junior Studio // Professor John Reynolds In cooperation with the Western Pennsylvania Conservancy, the Miami University Fallingwater Studio was assigned to come up with design proposals for adapting one of the Con servancy’s neglected buildings to be used as an educational facility on the site of Frank Lloyd Wright’s Fallingwater. The process was first assessed with a series of drawings to be submitted to the Historical Building Survey that detailed the existing schoolhouse that dates from the early twentieth century, followed by a field studies ranging from a detailed analysis of Fallingwater to a town meeting to understand the community’s impression of the historical structure on the site. 87
The Hem at Bear run is designed to serve as a much needed tie between Bohlin Cywinksi Jacksonâ&#x20AC;&#x2122;s Western Pennsylvania Conservancy Barn and Fallingwater. The Sites would be linked through a series of paths stitched together by independent education facilities dispersed outwards from the schoolhouse. These adaptable classrooms and adjoining walls open outward in a pinnacle from the hearth of the schoolhouse, framing views and creating niches for education along the procession to Fallingwater. KYLE HOFF
top l e ft _ interior of a d a p t e d existing school h ou se b ottom l e ft _ outd oor cla s sr oom r i gh t _ sit e p l a n
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DATE SETTING TEAM TECHNIQUE
s pr e a d_ s i t e s ections
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Fall 2008 Miami U Studio Solo SketchUp/PS/AI/ID/CAD
Constructed from reclaimed material with minimal impact on the land scape, the classroom and connected walls are designed to be con structed in phases that will not only allow units to be built at different times, but also evolve individually. Initially these pairs will begin as outdoor classrooms with the wall as an education backdrop, eventually turning into a full enclosures with multiple uses. This will not only accommodate the incremental budget of the nonprofit, but will allow each space to have unique attributes engaging the user with subtle or drastic changes between each classroom.
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Miami University // Senior Studio // Professor Tom Dutton Over-the-Rhine, the United Statesâ&#x20AC;&#x2122; largest intact historic district, has undergone significant evolution since first being the home of German immigrants in the 1800â&#x20AC;&#x2122;s. It has recently seen a peri od of social injustice and neglect fro m the city of Cincinnati, which has driven many lower income residents out of the region. The aim of the studio is to identify solutions that will embrace the areaâ&#x20AC;&#x2122;s diverse culture while proposing more knowledgeable redevelopment routes. With this, the project was not necessarily about coming up with a final proposition, but more about engaging with the community to find better solutions for the future of Over-the-Rhine. 93
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d residential flat residential 1/8”=1’ flat 1/8”=1’
residential flat 1/8”=1’
Block 6, located on Liberty Street between Race and Pleasant, presents the typical block layout and challenges that are re peated throughout the length of Liberty Street. To address these and the overall issues of Over-the-Rhine in a cohesive manner the studio came up with a set of patterns that would make certain that all similar social and ecological challenges could be dealt with in a similar way. One of Block 6’s greatest obstacles is the lack of a human scale at the street front due to the expansion of Liberty Street and demolition of adjacent buildings.
To address this void an edge is created on the street front as a mixed income/mixed e f use housing unit that reinstates the height of the Receptacles adjacent structures and implements A. Gary Comer Youth Center D. Hammarby Sjostad Disposal B. Vertical Greenhouse Example E. Trombe Wall Diagram a street-level storefront. This structure two story residen C. Hammarby Sjostad Disposal System F. Hammarby Sjostad Eco Model also creates a second story semi private space at its rear for the inhabitants of this building and adjacent existing residential units. This pattern is repeated throughout two story residential - floor 1 the block to make certain that all resi 1/8”=1’ two story residential - floor 1 dential units have an immediately adjacent 1/8”=1’ shared space with their neighbors to en two story residential - floor 1 sure interaction at different levels in the 1/8”=1’ neighborhood. Finally, the site will take advantage of the vacant southern half of the block as an ideal space for urban agriculture. This will serve as a community space that will be facilitated by an existing building on the site that houses administration and crop development encouraging education of agriculture and other trades. lef t_ unit p la ns b ottom_ site section
two story residential - floor 2 1/8”=1’ two story residential - floor 2 1/8”=1’
two story residential - floor 2 1/8”=1’
KYLE HOFF
site section 1/16”=1’ site section
right_ b ird s eye view of Lib erty st
two story residen
sidential flat 1/8”=1’
ntial - floor 1 1/8”=1’
ntial - floor 2 1/8”=1’
DATE SETTING TEAM TECHNIQUE
site section 1/16”=1’
Spring 2010 Miami U Studio Mike Duggan SketchUp/PS/AI/ID/CAD 97
KYLE HOFF
SCANDINAVIA SKETCHES
DATE Spring 2009 DIS SETTING Danish Institute for Study Abroad TEAM Self TECHNIQUE ]Paper/pen
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KYLE HOFF
EDUCATION University of Michigan // Ann Arbor, Michigan
330.727.0753 kyleho ff@g mail.com 507 south 5th ave. ann arbor, mi 48104
Miami University // Oxford, Ohio
SKILLS hardware Digital fabrication C NC routing R a pid prototyping Woodworking F u rniture des ign Waterjet Welding
software R hino Photos hop Illus trator In D es ign R ev it V -Ray Mas terCam F o rm Z S k etchUp CAD F inal Cut 10 A RC G IS
M Arch wi th H i g h H o n o r s G ra d ua ted Ap ri l 201 2 W i th a G P A o f 3.8 6
Ba chel o r o f f i ne Arts i n A r c h i t e c t u r e Cum La ud e + D ep a r t m e n t a l H o n o r s G ra d ua ted M a y 201 0 M a j o r: Archi tecture M i no r: E ntrep reneurs h i p W i th a G P A o f 3.74
Danish Institute For Study Abroad // Copenhagen, Denmark Urb a n d es i g n f o cus Sp ri ng s em es ter 200 9
POSITIONS Graduate Student Instructor // University of Michigan Und ers ta nd i ng Archi t e c t u r e , A r c h 2 1 2 Fa l l s em es ter 201 1 A co urs e o fferi ng a n i n t r o d u c t i o n t o t h e p r o m i n e n t i d e a s o f t h e d i sc i p l i n e Lea d two week l y d i s c u ssi o n g r o u p s i n a d d i t i o n t o g r a d i n g p a p e r s a n d t e st s.
Undergraduate Assistant // Miami University H i s to ry & P hi l o s o p hy o f E n v i r o n m e n t a l d e si g n , A r c 2 2 1 Fa l l s em es ter 2008 A co urs e s urveyi ng t h e h i st o r y o f a r c h i t e c t u r e a n d u r b a n d e si g n f r o m p rehi s to ri c ti m es thr o u g h b a r o q u e Res p o ns i b l e fo r g ra d i n g m u l t i p l e e ssa y e x a m s, d e si g n d r a w i n g s, a nd res ea rch p a p er s t h r o u g h o u t t h e se m e st e r .
EXPERIENCE Pyatok Architects // Oakland, CA Archi tecture Intern M a y 201 1 - Aug us t D es i g n wo rk o n a ffo r d a b l e m u l t i f a m i l y h o u si n g i n b o t h t h e Ba y Area a nd So uth e r n C a l i f o r n i a So f twa re us ed : Revi t , H a n d r e n d e r i n g , P h o t o sh o p , I l l u st r a t o r , & I n D e si g n
Ghafari Associates // Chicago, IL Archi tecture Intern M a y-Aug us t 201 0 M a y-Aug us t 2008 P a rti ci p a ted a s a d e si g n t e a m m e m b e r o n t h e R F P f o r t h e r e c e n t l y c o m p l e t e d UN O Cha rter Scho o l s S o c c e r A c a d e m y W o rk ed o n num ero u s o t h e r l a r g e sc a l e p r o j e c t s a n d c o m p e t i t i o n s i n sc h e m a t i c , d es i g n d evel o p m ent, a n d c o n st r u c t i o n p h a se So f twa re us ed : Auto C a d , P h o t o sh o p , S k e t c h U p , I l l u st r a t o r , & R e v i t
Fallingwater // Bear Run, PA Archi tecture E d uca ti o n I n t e r n J une 2009 - p res en t UN E SCO W o rl d H eri t a g e D r a w i n g s o f 1 0 F r a n k L l o y d W r i g h t b u i l d i n g s Red evel o p m ent o f c e n t u r y o l d sc h o o l h o u se o n F a l l i n g w a t e r si t e f o r s tud ent ed uca ti o n So f twa re us ed : Auto C a d , P h o t o sh o p , I l l u st r a t o r , & I n D e si g n
AWARDS University of Michigan Merit Scholar Awa rd ed M a y, 201 1 Awa rd ed b y T a ub m a n C o l l e g e o f A r c h i t e c t u r e a n d U r b a n P l a n n i n g
Walter C. Pfeiffer Architecture Scholarship KYLE HOFF
Awa rd ed M a y, 2009 P res ented b y the M i a m i U n i v e r si t y D e p a r t m e n t o f A r c h i t e c t u r e a n d I n t e r i o r D e si g n
Ruth W. Newland Scholarship
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KYLE HOFF