Zachary K. Hoffmann
ACADEMIC
Easy Office Creative Office Space
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Fluid Embedment
Urban Voids
Emergency Operations Center
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Lowell Redevelopment
Dodgers Stadium
Pawtucket Park
Yale Building Project
Center field Development
Minor League Stadium & Headquarters
Low-Income Housing
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Deep Space Bushwick Public Library
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RESEARCH
PROFESSIONAL
The Synthetic Various Proto-Image Projects
Helsinki H&M Guggenheim Coachella
548 W 22nd St
T4T Lab - The Raw & the Strange Forms, Matte Synthetic Painting, Fabrication
Mark Foster Gage Architects
Mark Foster Gage Architects
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ACADEMIC
EASY OFFICE Creative Office Space Culver City, California Finding roots in Andy Warhol’s Brillo Box, in which he utilizes ready-made objects as a way to create “easy art,” this advanced studio engages the contemporary workspaces in terms of the “easy” through layered processes of hoarding, collaging, and forming. Office spaces have a history of evolution with various degrees of hierarchies and organizations and some of the most creative offices today focus on activity-based working, which accommodates all workers for every situation. This office space seeks to expand on the next level of creative work spaces through studies in wall typologies, which have historically been one of the largest influences in workspace organization due to their various levels of enclosure, acoustics, transparency, and comfort. The project is located in Culver City, California, utilizing an existing warehouse as the shell of the office wallscape. Critic: Florencia Pita, Jacklin Bloom, Miroslava Brooks Third Year Advanced Studio Spring 2018
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Early stages in the project included curated hoarding, finding objects of specific qualities and refining them. This collection focused on soft and pudgy; linear and mechanical; and semitransparent malleability. 8
EASY OFFICE
The office space assimilates qualities of the ready-made and the layers smooth, crusty, and soft surfaces into a single wallscape, that in turn create varying levels of enclosure and comfort. The space is largely organized through its diagonal orientation, meant to break the strict rigidity of the grid from the existing warehouse and immediately create a disjunction and sense of entry/identity to the office space. The configuration allows for both visual and formal overlap, where pods become floors, and floors become volumes. Bookmarked by two exterior spaces created through the diagonal disruption is the central pathway, which permeates through the office and diverges into multiple cross-axes that act as figural gradients. ZACHARY K. HOFFMANN
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Exterior chunk - aerial
Surface melding chunk - aerial
Exterior chunk - elevation
Surface melding chunk - elevation
Exterior chunk - usage
Surface melding chunk - usage
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EASY OFFICE
Canopy chunk - Axon
Dual levels chunk- aerial
Canopy chunk - elevation
Dual levels chunk- elevation
Canopy chunk - usage
Dual levels chunk- elevation ZACHARY K. HOFFMANN
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Entry View
Gradient of walltypes 14
EASY OFFICE
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FLUID EMBEDMENT Emergency Operations Center Brooklyn Heights, New York When a city has some form of disaster, the Emergency Operations Center acts as a place to unify multiple agencies. It requires security for public officials, while simultaneously maintaining a level of social porosity to interact with the media and the masses. Located in Brooklyn Heights, this E.O.C. is placed at the crucial convergence of many different public, institutional, and transportation forces: High Street Station, Cadman Plaza Park, the Brooklyn Bridge, New York College of Technology, and a U.S. District Court. The design utilizes two large retaining walls embedded into the site that stitch these various programs together. The carving extends to the subway stop, across Cadman Park, along southern Whitman Park to the court, and underneath the highway to link to the university buildings. Not only does this create a fluid transition between each area, but provides a central point of gathering should an incident occur.
A - High Street Subway B - Cadman Park C - U.S. District Court D - NYC College of Technology Critic: Joel Sanders Second Year Graduate Studio Fall 2016
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Suspended above the retaining walls is the Emergency Operations Center, elevated to allow fluid transition between the districts. Its location grants it a degree of mystery, as well as a degree of security for local officials in times of crisis. The retaining walls that hold this elevated object are designed to be porous, accommodating the masses through classrooms, auditoriums, and retail in the lower level.
The intersection between the E.O.C. and the retaining walls is inhabited by a large light well in order to illuminate the lower levels, the E.O.C., and the spaces underneath it.
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FLUID EMBEDMENT
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1 - reception & market space 2 - auditorium 3 - cafe 4 - retail 5 - classroom 6 - closed office 7 - open office 8 - watch command 9 - joint operations 10 - E.O.C 11 - situation room
The ground level contains large public spaces to house retail and media reception. Enclosed within the walls are the private spaces: auditoriums, classrooms, and cafes, each given various degrees of transparency. Upper levels hold the offices, with meeting and media spaces inhabiting the walls. Spaces surrounding the E.O.C. are left open for office spaces.
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Plaza with suspended E.O.C.
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FLUID EMBEDMENT
Fluid paths above and below grade
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URBAN VOIDS Lowell Redevelopment Lowell, Massachusetts Lowell, Massachusetts is an old mill town easily identified through its long mills and canals, which create a number of disperse interiorities and visual corridors between points of interest. The site is located at the point of convergence between college campuses, commercial districts, and highways establishing its connection to Boston. However, it also has a number of deterrents that restrict its accessibility and identity. Its monolithic surfaces and lack of public spaces create little sense of entry or wayfinding. In addition, its current pockets are treated as leftovers rather than celebrated interiorities. Our design proposes a unified district that builds upon the potential of voids (both existing and added) to create directionality and a sequence of points of interest. Critic: Ed Mitchell Design Team: Valeria Flores, Zach Hoffmann Second Year Graduate Studio Spring 2017
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Carving out of existing mill building to create new market space
New axis extending from Middlesex College to new housing.
New gateway buildings for entry point and wayfinding devices
Urban voids expand into existing courtyards and visitors center
Theater building as centerpiece embedded into the new entry plaza
Final configuration
Our strategy is comprised of a network of voids that are created through the carving out and filling in of spaces. These voids have been categorized in a number of ways, but largely operate in a red surface treatment that begin to establish new space in existing mills, and programmatic indications in the new buildings and plazas. By doing so, we are able to create new axes, and connect the district with both Middlesex college and downtown Lowell.
The voids, as well as a series of object buildings, begin to create a level of wayfinding and porosity to this district in Lowell while still maintaining a degree of containment through their narrow, oscillating corridors. Two gateway buildings (1) facilitate these conditions and bracket the district. Other buildings, such as the theater (3), market (7), and residential tower (8) contribute to the district's iconicity and axes, while enabling its status as a flexible, multi-use district.
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URBAN VOIDS
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1 - gateway entrance 2 - new district parking 3 - partially open-air theater 4 - courthouse and welcome center 5 - canal public space through ground carving 6 - new main plaza 7 - open-air market carved from mill 8 - residential tower 9 - existing voids, re-appropriated 10 - Middlesex College 11 - Downtown
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Aerial view of the new district, using surface treatment and carving operations to establish new voids 1 - gateway entrance 2 - new district parking 3 - partially open-air theater 4 - courthouse and welcome center 5 - canal public space through ground carving 6 - new main plaza 7 - open-air market carved from mill
Central plaza with theater. Void established through wrapping surface treatment and ground carving 32
URBAN VOIDS
Urban voids and spatial continuity established through form
Gateway into new Lowell district
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Carvings through existing mill buildings establish new retail spaces
Surface treatment establishes public plaza and wayfinding
DODGERS STADIUM Center Field Addition Los Angeles, California Dodgers Stadium, located in Los Angeles, is one of the oldest baseball stadiums in history. Recognized for its grand site atop Elysian Park, the stadium was literally carved out of the landscape. Multiple traversable terraces engulf the stadium and provide a sense of identity and entry to the various levels. The stadium has an inherent link to landscape, given its history, sectional qualities, and use of retaining walls as land art. Our design for center field proposes to reinstate the Dodger’s Stadium as such and provides a main entry for the stadium, something that it currently lacks. Concealed within the stone walls of our new landscape are the various programs of center field: clubs, concessions, seating, and a Dodger history museum. Inhabitants traverse through the carved spaces and multiple levels until eventually they reach the summit, which provides dual views of the ballpark and Elysian Park. Critic: Janet Marie-Smith, Alan Plattus, Andrei Harwell Design Team: Valeria Flores, Dylan Weiser Advanced Studio Fall 2017
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Center field bus arrival
Completing the ring of circulation through the concourse
Both decks retain the ability to watch the game simultaneously with Elysian Park or Los Angeles respectively. 40
DODGER'S STADIUM
Adding a new landscape with carved automobile access
Negotiation between the top and lower deck
New main entry for Dodger's Stadium as traversable landscape with paths flanked by land art. ZACHARY K. HOFFMANN
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Negotiation between the two views - from top of the landscape looking into the stadium 42
DODGER'S STADIUM
Negotiation between the two views - from the top deck looking back into center field ZACHARY K. HOFFMANN
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1 - new Dodger Express drop-off 2 - main entry and ticketing 3 - team store 4 - bars & concessions 5 - inhabitable Batter's Eye 6 - The Dodger Experience Museum 7 - rentable club space 8 - food trucks and vehicular access
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Model view of new main entry
Beneath the landscape - The Dodger Experience
Inhabitable batter's eye utilizing the moirĂŠ effect ZACHARY K. HOFFMANN
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PAWTUCKET PARK Minor League Park Pawtucket, Rhode Island The Pawtucket Pawsox recently decided to move from Pawtucket’s McCoy Stadium to a new site within the region. Not without controversy due to the team’s strong presence in the area, our design proposes to move the park to the Slater Mill Historic Site, the birthplace of America’s Textile Industry. With close proximity to Pawtucket’s downtown, the Blackstone River, I-95, and Slater Mills, this site has potential to become a key part in the city’s long-term revitalization plan. Our design attempts to stitch together many of the city's aspects within a campus, hosting the ballpark, riverfront programs, and subsequent developments. The park itself prioritizes views back into the city by stacking seating in the south along the highway and opening up view corridors along the riverfront. Always prioritizing the game and the historic nature of the city it is held in, Pawtucket Park amplifies the experience of both. Critic: Janet Marie-Smith, Alan Plattus, Andrei Harwell Design Team: Valeria Flores, Dylan Weiser Advanced Studio Fall 2017
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PAWTUCKET PARK
Park orientation and new road alignment to allow for maximum usable space
New riverfront with maximum porosity and new pedestrian bridge
Stacking seating along the highway for noise coverage and city views
Riverfront development that links the park back to Slater Mill and below the highway
The stadium is one of two bookends in the future development of Pawtucket, the other being a new rail station. Located between the two are many of the cities icons: Slater Mill, City Hall, the Blackstone River. Our proposal includes not only the new stadium, but a new riverfront path that extends it across the highway. ZACHARY K. HOFFMANN
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PAWTUCKET PARK
Approach from Slater Mills
Entry to the Park
View from top deck looking back into the city ZACHARY K. HOFFMANN
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BUILDING PROJECT Low-Income Housing New Haven, Connecticut This house, designed by Team C for the YSOA 2016 Building Project, was located in western edge of New Haven, Connecticut, on a long, narrow site. The clientele, the city of New Haven, established the need for a residence that could accommodate either one or two families. Our scheme was designed to seamlessly allow for the two to exist through the use of a centralized plan that could easily be modified should the separation occur, while simultaneously allowing a degree of transparency between the house and the neighborhood. Critic: Andrew Benner, Peter de Bretteville Design Team: Claire Haugh, Margaret Marsh, Danielle Schwarz, Matthew Shaffer, Phineas Taylor-Webb First Year Graduate Studio Spring 2016
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Section Perspective
There are two opposite entrances to the house: one to the more communal areas, indicated through a slight push into the facade; and another facing the backyard should the extra family exist. The only change needed to accommodate both is the plug-in at the upper level, otherwise the room becomes a master bedroom for the rest of the house. Each room on the upper level contains one large window overlooking either the rear of the site (filled by forest) or the street. Separating the two sides of the house is a central study, illuminated through a large, louvered skylight on the northern side to provide adequate light throughout the day.
Porosity throughout house
Interior overlooking backyard
Central study with northern facing skylight
Front Elevation
DEEP SPACE Public Library Bushwick, New York Located in the outskirts of Bushwick, the Public Library is immersed in a region that is quickly becoming a region of local interiorities. Its surroundings are hidden beneath semitransparent facades and masks of graffiti that create both distinction between their surroundings, as well as sharp contrasts between their own interiors and exteriors. This project engages this idea, not by trying to fit into the context, but by retaining and hiding itself behind a mask. Existing within the large wall of semi-transparent marble is a complex, labyrinthine-like space whose figures are constantly changing as one pervades through the multiples levels of spaces. The project is largely mixed use, departing from the library’s traditional use as a place to read books, instead functioning as an icon within the area, both bold and concealed. Critic: Rosalyne Shieh First Year Graduate Studio Fall 2015
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View from the lowest level, looking through the multiple levels of spaces above 64
DEEP SPACE
1 - lobby 2 - study 3 - archive 4 - media lab 5 - screening 6 - exhibition 7 - public rooftop 8 - cafe 9 - meeting
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RESEARCH
SYNTHETIC PROTO-IMAGE T4T Research Lab Texas A&M University The T4T Lab is part of ongoing research at Texas A&M University, designed to explore broader areas of the discourse, including formal, technological, and ecological relations in architecture. This Lab, titled The Raw and the Synthetic explored the ungrounding of objects and the differentiation between nature and human culture. The balance desired was between the raw and synthetic through “cooking,� in which the processes were not displayed through diagram, but through embedding their nature into the objects themselves. Research was conducted into architectural ecologies, and explorations were made into varying degrees of porosity, from holey to nemat spaces. This T4T lab focused on epistemology in architecture, utilizing both text and images in order to understand the transformation from objects into objects of interest. Critic: Bruno Juricic & Gabriel Esquivel Design Team: Cody Clancy, Alyssa Johnston, Braden Scott Fourth Year Undergraduate Studio
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SYNTHETIC PROTO-IMAGE
The raw object is created through a series of splines, the pinnacle of modernist lines. Through its development, the object retained the spline’s presence and sectional legibility, but was morphed into a far messier aesthetic that retains no notion of the modern. This new, turbulent aesthetic establishes an ambiguity of figure and ground, as well as surface and interior. Form is
characterized as a diagrammatic cavity surrounded by an agglomeration of layers articulated at multiple levels, which in turn create a hierarchy of porosity. Holey spaces are those with the closest proximity to the surface, while the nemat are the more deeply embedded.
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The object and ground, varying between hi-fi and low-fi articulation respectively, have a non-indexical relationship that is only present due to their similar figural language. The geometries rely on each other due to their similar bloodline: the spline. However, the high-fidelity perturbs the low-fidelity, in turn creating a constant irritation between the two.
The Synthetic Proto-Image is the re-appropriation of the scientific image as an aesthetic, retaining a notion of duration from the primitive to the synthesized. It notes not only the ontological shift from the modernist spline to a turbulent aesthetic, but the epistemological shift from the object to the object of interest. Exploration of the object is through descension into the object, which in itself carries a notion of duration, similar to the cooking. Just as a novelist describes the phenomenon of a character dictating further developments, the object has transgressed to a point of autonomy, cooking itself from the raw to the synthesized.
ALLUSIVE FORM Strange Forms Yale University Derived from the idea of allusion, in which objects lose their identity as a given “thing� through the blurring of their formal and material origins, this exploration is composed of a multitude of layered objects. Each carry both their own distinctions, as well as simulate qualities of their adjacent counterparts. Hierarchies are lost, and material and formal codings are no longer able to be established. Physical manifestations of the forms were fabricated utilizing a mixture of silicon and resin casts, as well as 3d-prints with plaster coatings. Critic: Nate Hume Second Year Graduate Course Spring 2017
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MATTE PAINTING Boston City Hall & Trapdoor in Paris Yale University Widely adapted by filmmakers and concept artists, matte painting is a technique that has been developed over the past half-century as a way of producing hyper-realistic images reasonably quickly. The first matte painting study is part of an analysis of interiorities in architecture. Our group analyzed Boston City Hall, currently existing at a convergence of centripetal and centrifugal forces. While it naturally pulls people in through its porosity, its massive plaza pushes them away. Our intervention was designed to bring the void back to the site through a new underground network. By breaking up the current monotony, the plaza becomes far more inhabitable, and what currently has no program now possesses strong interiorities, just like the current city hall. The second illustrates Elaine Scarry's Floor of the World, in which she critiques constitutional law regarding thermonuclear weapons and the delicate fabric that countries maintain. Through matte painting, the idea of "trapdoors" which can instantly drop a city, was applied to Paris. Critic: David Erdman Design Team: Gently Smith, Dylan Weiser Second Year Graduate Course Critic: Mark Foster Gage Aesthetic Activism Symposium Spring 2017
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Boston City Hall - Subterranean Expansion
Trapdoor in Paris ZACHARY K. HOFFMANN
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DRAWING STUDIES Rome: Continuity and Change Yale University Ruination has become an ever-prevalent topic in pop culture, due to both its haunting aesthetics and its depiction of the consequences political and economic turmoil. As part of the Rome Seminar, many drawing studies were made until concluding an analysis of San Stefano Rotondo. A strangely intact church, San Stefano was well maintained and frequently renovated to the point that the original version is only slightly visible. This ruination operates in a time period in which San Stefano was never maintained, and was ruined by natural causes. Analysis and reconstruction of the church were followed by its immediate destruction. In this situation, ruination was able to convey more material and formal information in regards to the church's history than its present. Critic: George Knight & Tessa Kelly Second Year Graduate Summer 2017
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San Stefano Rotondo - Re/deconstruction
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TOYBASHING Visualization Studies Yale University Kitbashing is a widely adapted technique by model-makers to create hyper articulation of surfaces. Components are taken from a variety of model kits and agglomerated into a single, textured surface. This project attempts to re-imagine the idea to develop new formal languages. By hybridizing both traditional bashing, along the melting together of objects, ambiguities between forms are established through both formal and material melding. Different level of defamiliarity are created from the golden “bashing,” to the colored “melting.” The golden forms retain their identity through form, but lose material recognition. In contrast, the colored objects lose their form by smearing into one another but retain their surface and material qualities. Critic: Brennan Buck & John Eberhart Design Team: Pat Doty, Valeria Flores First Graduate Design Course Spring 2016
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PROFESSIONAL
HELSINKI GUGGENHEIM Competition Proposal Helsinki, Finland Mark Foster Gage Architect’s unsubmitted proposal for the Helsinki Guggenheim competition featured its ongoing research on the concept of “kitbashing.” Originally coined as a term for model-making, in which builders would make models from multiple different kits, kitbashing here utilizes the vast amounts of free objects online. By “bashing” them together, we were able to create new forms and textures that were not entirely distinct from their original components. The hierarchy in scale creates different levels of reading based on proximity. Created from entirely CNC cut marble, the Guggenheim contains forms from the addition and subtraction of objects. Adjacent to the main body are two tunnels, both of which are carved out with hundreds of objects that then lead to the entrance. Some of the forms carry into the interior, thereby creating strangely inhabitable spaces. Mark Foster Gage Architects Role: Project Manager Summer 2014
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H&M COACHELLA Event Tent Palm Springs, California Mark Foster Gage Architects designed a tent for H&M at the yearly music festival, Coachella. The tent is experiential and transformative, with various activation zones designed to change your perception, body, and self. These zones include interactive light features, Oculus Rift, aura readers, and painting stations, each of which are housed within miniature faceted, fiber-glass pavilions. Each pavilion is embedded into a mound of similar geometry for inhabitants to lay on while watching the ceiling projections, all within a cool environment. Other designs within the tent include: flowers that spit scented mist, emit light, and hold clothing; trees for displaying products; and pods that contain various devices. Mark Foster Gage Architects Role: Project Manager Spring 2015
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Trees
Bubble pod for product display
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H&M COACHELLA
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548 W 22ND STREET Residential Tower New York, NY Located in Chelsea, New York along the Highline, the proposed residential tower is located in an emerging area already filled with numerous recognized high-rises. With approximately 50,000 gsf, this tower is constructed on top of an existing gallery space. By twisting the balconies as they ascend, the design maximizes the available balcony space that overlooks the Hudson River, with the largest balcony spaces reserved for the highest levels. Its facade is compose of a black and gold frame with a jawbonelike pattern in the inner portions. Mark Foster Gage Architects Role: Project Manager Summer 2014
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Zachary K. Hoffmann Yale School of Architecture zkhoffmann@gmail.com 512.589.2141