Zachary K. Hoffmann Architecture Portfolio zkhoffmann@gmail.com
Zachary K. Hoffmann zkhoffmann@gmail.com
512.589.2141
Education
Work Experience
Bachelor of Environmental Design - 2014
Texas A&M University - College Station, Tx GPA: 3.7
Barcelona Architecture Center - 2013 Barcelona, Spain
Los Angeles, Ca
Atelier Manferdini - 2013 Intern Designer Los Angeles, Ca
Honors Dean’s List - 2013
Texas A&M College of Architecture
Gary Carroll Endowed Memorial Scholarship - 2013 Texas A&M College of Architecture
Summa Cum Laude - 2014
Texas A&M College of Architecture
Skills Autodesk Maya Autodesk AutoCAD Autodesk 3ds Max Autodesk Meshmixer Autodesk Revit Adobe Suite CSS
Mark Foster Gage Architects - 2014-2015 Project Manager
Texas A&M University - 2014
T4T Lab Teaching Assistant College Station, Tx
Texas A&M University - 2013
Graduate Studio Teaching Assistant College Station, TX
Publications Synthetic Proto-Image - Featured on SuckerPUNCH
Grasshopper Keyshot Render Maxwell Render Processing Rhino ZBrush
De-Lam - Featured on SuckerPUNCH Cliff House - Featured on SuckerPUNCH Smeared Projections - Featured at Beijing Bienalle
Academic
Spring 2014 Fourth Year Studio - T4T Lab | The Raw & Synthetic - Bruno Juricic
Synthetic Proto-Image Fall 2013 Fourth Year Integrated Studio - Mark Odom
Erosive Formation Spring 2012 Second Year Studio - Mitchell Lab | Kokkugia
Fibrous Formation | Cliff House Spring 2013 Third Year Studio - T4T Lab | Monad Studio & Niccolo Casas
De-Lam Fall 2012 Third Year Studio
Deliquescence Fall 2011 Second Year Studio
Allure Spring 2011 First Year Studio
Integration of Contrasting Elements
Practice
Summer 2014 Mark Foster Gage Architects
Helsinki Guggenheim Fall 2014 Mark Foster Gage Architects
Lane Crawford Stores Summer 2014 Mark Foster Gage Architects
Diesel Store Summer 2014 Mark Foster Gage Architects
Aurum Residential Tower Fall 2014 Mark Foster Gage Architects
Bard Live Arts Center Summer 2013 Atelier Manferdini
Nembi Summer 2013 Atelier Manferdini
Smeared Projections
Spring 2014 Fourth Year Studio - T4T Lab | The Raw & Synthetic - Bruno Juricic Design Team - Braden Scott, Cody Clancy, Alysssa Johnston
The Synthetic Proto-Image Project featured on suckerPUNCH One of the interests of the studio has been to use the normative rendering engine as a machine to produce a drawing and in that sense capture the essence of craft in architecture through the use of linework. The raw linework, made up of a series of splines, which are considered to be the pinnacle of the modernist line, was the basis for the three-dimensional formation of the object. In its development, the object has retained the spline’s presence and sectional legibility. However, the final iteration of the object has exhibited a mutation in the quality of the spline, morphing the retained linework into a messier, more turbulent aesthetic that retains no notion of the modern. In our earliest studies, we were interested in the idea of solarization, which is defined as a self-curating, light deterioration surface of an image when exposed to the environment. In this way, it creates a turbulent linework rendering that establishes an ambiguity of figure and ground, as well as between the surface and interior.
A non-indexical relationship is established between the two through the use of hi-fi articulation on the object and low-fi articulation on the ground. The two retain a similar figural language but no indexical relation. The form is established as a diagrammatic cavity with surrounding active surfaces.
The surfaces are composed of an agglomeration of layers that are articulated at multiple levels, establishing a hierarchy that in turn establishes the nemat and holey spaces. The holey spaces are the porous spaces that share the closest proximity to the surface, while the nemat spaces have a larger proximity. The formative timeline is created through these processes and establishes the raw proto-image, which retains a notion of the ingredients and all formal qualities from which the raw drawing is composed of. At that point, we have observed what we refer to as the escaping character: the behavioral autonomy of the object. This establishes the vertical synthetic timeline and through that, the synthetic proto-image.
The
synthetic proto-image is the re-appropriation of the scientific image as an aesthetic to directly transgress the notion of the scientific
classification of an object. It retains a notion of duration from the primitive to the synthesized and through its curation has begun to note not only the ontological shift defined by the mutation of the modernist spline to the turbulent aesthetic, but the epistemological shift from the object to object of interest.
The object and its relation with the ground can be perceived as nomadic in the Hegelian sense of beauty; the turbulent, high-fidelity articulation of the surface creates no identifiable resting place for the perceiver. This geometry perturbs the low-fidelity ground, creating a constant irritation between the two. Although formal irritation between the object and the ground exists, the covalent bond between the two is one of shared origin, the spline. Sharing this bloodline so to speak, the two retain a constant reliance on each other. While the argument and text describe the object as existing purely in fluctuating nomadicity, the object exhibits pseudo-stasis only when drawings are produced and in turn creates an ambiguous notion of duration. This produces the peripatetic condition: the discussion of the object of interest.
The main purpose of discussion in regards to the object of interest is to in a sense figure out the components and meaning that make up the synthetic proto image. Exploration through descension into the object attempts to answer these question and in effect creates a disruption of its apparent stasis, establishing a self-cognitive ungrounding of the object from itself. notion of duration, similar to the synthetic proto-image.
While
Unlike
a normative section, descending retains a
excavating the object, the notion of nomadicity is observed in terms of the
“escaping character�, which establishes its autonomy in its morphing of the spline. Just as a novelist describes the phenomenon of a character dictating further developments, the object has transgressed into a higher state of existence, essentially cooking itself, transforming nomadically from the raw to the synthetic. The
simultaneous existence of the escaping character in both the formative and synthetic timeline makes the text as important in terms of
comprehending the synthetic proto-image as the object itself. the noted shit of the current episteme would not exist, and
Without this text as the provider of comprehensive knowledge of the object, the object of interest would create little valuable discussion. The content
resulting from this self-curation then establishes the epistemologically transgressive peripatetic object of interest and offers a new perspective to the architectural world in regards to the discussion and knowledge of this object.
Fall 2013 FourthYear Integrated Studio - Mark Odom Design Team - Zach Hoffmann, Stephen Renard
Erosive Formation The
natatorium takes on waters way of changing from a body that
is shaped by its container, to a body that begins to form its own environment.
Through and circulation. Our
turbulent erosion, it begins to establish form
natatorium is meant to be have a regional relation to
Austin,
becoming an icon that develops a relation between east and western
6th street and providing a reason to transition between the two areas.
Erosive Process
Plans LEGEND 1 GARAGE 2 BIKE PARKING 3 BATHROOMS 4 APARTMENTS
1 1 3
4 2
site plan
below ground
1 garage 2 bike parking
3 bathrooms 4 apartments
Erosive formation is established through means of circulation, form, and sensation. Interiorly based, the sensation is meant to have an almost cave-like affect, created through the use of higher contrast lighting from cave-like openings in the ceiling. The sensation is also emphasized through the undeground tunnel that
6th street. Not only are patrons able to travel underneath the pool, but the tunnel retains the fluid, cave-like geometry with an eery, cold sensation. extends from
5th
street to
Plans LEGEND 1 LAP POOL 2 DIVING POOL 3 BLEACHERS 4 LOCKER ROOM 5 BALCONY
8
2
1
4
7
9
6 5 1 2
5
3
3
4
10 5
Level 1
1 Lobby 2 Bar/Restaurant 3 Office Space 4 Under-pool Tunnel 5 Bathroom
6 Kitchen 7 HVAC 8 Chiller/Boiler 9 Storage 10 Apartments
Level 2
1 Lap Pool 2 Diving Pool 3 Bleachers
4 Locker Room 5 Balcony
The circulation has been established through the hierarchies of bodies of water that create seeping channels that extend through the floor into different zones. Patrons can enter the pool from the central ramp or lower entrance, which appears to have been eroded around it. The first floor contains a bar and lobby, which then leads into the office spaces. Stairs link the second floor to the underground garage, as well as the second floor. Extending around the sides of the pool are our systems spaces. The HVAC and chiller/boiler roosms are located on the western side to give them street access for maintenance and natural ventilation.
Section 1
Section 2
The
exterior form is articulated through the
use of channels on the roof.
These
channels
merge into central involutions where the form seems to have completely eroded in.
They
also
transition into the ground, where they articulate the circulation and public spaces. can be used for various social
These spaces functions. The
building is composed of two primary materials that focused on conceptual and contextual reasons.
Concrete in the lower areas emulate a more stone-like material and provide the areas that are meant for public activity. Austin is a very outdoor-based community. To compensate for this, certain areas are designed to be traversable, in particular the northern wall and a climbable eastern wall. The copper material is meant to be a more natural looking metal that can relate back to the cliffs in
Austin’s lakes.
Systems
October - South Orientation - 9 am
October - South Orientation - 12 pm
December - South Orientation - 1 pm
October - East Orientation - 9 am
October - West Orientation - 4 pm
June - South Orientation - 1 pm
The involutions are the basis behind our formal, structural, and systematic functions. They provide lighting to the lower levels through diffusion. Light enters in through the involutions and carries to the lower, darker levels. The channels on the roof also lead into involutions, providing a method for collecting rain water. The natatorium is oriented to the different axis to provide maximum daylighting without excess. Fenestration is minimized on the southern and western sides to avoid excessive heat in hot Austin summers, but has enough shading to retain heat in the winter. With the natatorium ceilings being so tall, it was necessary to design the air ducts to be at a lower height in the walls , to avoid excess energy consumption to carry the ventilation lower.
Details
Roof-Wall-Floor Detail
CONNECTION DETAIL - TUBES
SOCKET
SOCKET LOCATION
STEEL TUBES
Wall-Floor-Foundation Detail
VERTICAL BRACING
STEEL TUBING - 1.5’
INSULATION VAPOR BARRIER
BOLTED CONNECTIONS
DRYWALL
COPPER CLADDING
STEEL TUBE - .5’
PLASTER FINISH
STEEL TUBING - 1’ VAPOR BARRIER
COPPER CLADDING
STEEL TUBE - .5’ INSULATION INTERIOR CLADDING
STEEL TUBE 1.5’ SILL PLATE
PLASTER FINISH
CONCRETE SLAB
COPPER CLADDING
VAPOR BARRIER
STEEL TUBE - 1’
INSULATION
BOLTED CONNECTION CONCRETE
GLASS BRACE
CONCRETE FOUNDATION WALL
TILING
CONCRETE FOOTING
Structure
Triangulated
Loading Diagrams
1 1 3
4 2
20 PSF
50 PSF
100 PSF
40 PSF
60 PSF
250 PSF
Quadrangulated
Subdivided with Load Tracing
The involutions are one of the main structural support elements and located at areas of the largest amount of stress: next to the cantilever and above the diving well. With architecture that has complex geometries, complex structural systems are needed. The natatorium consists of a heirarchy of tubes that extend throughtout the roof. The mesh was originally triangulated and carries the longest spans. The second level of tubes is quadrangulated to provide crossbracing between each of the beams. The third level providdes the hightest lvele of bracing and subdivides the previous iteration of quadrangulations.
Spring 2012 Second Year Studio - Mitchell Lab | Kokkugia Design Team - Adrian Cortez, Steven Hewett, Lyly Huyen, Tyler Nagai, Stephen Renard
Fibrous Formation | Cliff House Project
featured
Emergent
technologies
suckerPunch
on
growing in today’s society.
are
constantly
The Mitchell
lab
concentrated on the idea of fibrous formation and self-organizing systems.
Similar to the way
that birds respond to each other and create a flocking system, we designed algorithms which allow agents to react to each others movements
The algorithms are based off of the agent’s cohesion, alignment, and separation factors relative to one another. These in turn generate a line work with coherent hierarchies and relations, and
generate
their
own
organization.
Fabricated Prototype
leading to a more complex organization that can ultimately create more efficient structures.
The Cliff House, located on a high cl iff in Nevada, is designed to withstand extreme climate conditions. It has to deal with high wind forces as well as gravity as it cantilevers off of a cliff. 2-D Generated Linework Showing Agent Based Organization System
Chunk from top of the house: Displays part of the form & Human/Generated Influences
first generation
second
& third generation
The form was developed through a process of constant fluctuation between generating linework and meshing. Generated from the cliff, the linework (which becomes the framework of the building) creates a structure that fluidly forms to its surroundings. There are a series of linework iterations which created the heirarchy of the framework, each iteration responding to the previous one. The constant negotiations between a person’s formal insight and processed generation allow for a larger integration between human and technological creation.
The site for the house was chosen to test the capacity of composite fabrication in extreme structural situations to resist both wind and static loads. Although an argument for composite fiber construction is frequently premised on the desire for structural optimization, the use of composite material in the with more esoteric aesthetic, formal and tectonic intentions
-
Cliff House is a negotiation of structural necessity
it the expressive nature of these formations that
is of interest.
Top: Rendered Chunk
Bottom: Night-Rendering and Framework Heirarchies
Fabricated Prototype
The
fluidity of the form applies to both the exterior and interior of the
creates a similar topological variation to the interior as the exterior.
Cliff House. Both
systems are united under one creation, which
These generated spaces vary in different intimacies suited to different environments. All rendered wall section to the left displays both an image of the interior as well as a section of the fiber glass materiality. It is suited to handle multiple housing systems. Different levels of strand densities and weights show the hierarchy of linework and reaction to the structural requirements.
Spring 2013 Third Year Studio - T4T Research Lab | Monad Studio & Niccolo Casas Design Team - Ryan Wilson, Erica Duran, Matt Kohman, Elijah Wood
De-Lam
Project Featured on suckerPunch De-lam is the actualization of form and enclosure through the delamination of surfaces. Based on the study of crab and flower decadence, the hybrid system of shell and petal creates strange, enigmatic creatures and a seamless integration to the ground which in turn spreads into a field.
This field becomes an architectural painting created from sweeping, delaminating brushstrokes. The
harder shell takes on the rigidity and strength of a
crab’s shell while retaining the complexity in its joinery.
Each
segment fits into each other and articulates spaces
for the softer surfaces to fit into. Its materiality shows traces of decay on the edges, similar to its biological counterpart.
The
softer surfaces take on the less rigid
and more delaminating aspect of flower petals.
Areas that
are nestled in the hard shell retain some of the original qualities of the petals, while those that break away from the pavilion begin to decay and deteriorate through materiality and form.
Object 1 - Section 1
Object 1- Section 2
There
are two aspects of the petals: moments of divergence and
moments
of
convergence.
In
areas
of
divergence,
will delaminate and establish interstitial space.
In
the
petals
moments of
convergence, the petals laminate and provide a sub-structure instead of establishing spaces.
Object 2 - Section
The
delamination of petals continues its formation of spaces and
poche into the ground by creating a new definition of a field.
A
sweeping field is created as the objects’ delaminations seamlessly interact with the ground and translate their language into it. architectural painting is thereby conceived.
Delminations
An
become
brushstrokes in the way that they spread out and create connections
Object 3 - Section
among densified points.
Object 1 - Plan View
Iso-Mesh - Shell
Iso-Mesh - Shell
Iso-Mesh - 3D Print
Iso-Mesh - Petal
The matters of fact are defined as what allows our project to become a reality. De-Lam converges fact and sensation, not in the usual sense of simultaneously having the two systems, but in having the two embedded in each other. The objects, while composed largely of concrete and carbon fiber, creates a middle ground between the fact and sensation through the use of the Iso-Mesh. The Iso-Mesh
acts as the inner skeleton of the system and is revealed through the transparency of the material in certain areas.
the ultimate convergence of fact and sensation.
Sensation
This
is
is established through the senescence of material. through the decadence is
established by the color of the exterior of the hard shell and the build-up of stronger material toward the edges of the soft.
Fall 2012 Third Year Studio - Toni Montes | Barcelona Architecture Center Design Partner - Steven Hewett
Deliquescence
The market is designed to renovate the existing Eixample garage to create accessible public space for the area as well as the unification of the surrounding buildings and ultimately, the district. This is achieved through the physical connection of existing commercial spaces in the block with our market. The block then at the ground level becomes transformed into what we call a “Hyper� Market, defined as a series of interconnected spaces consuming the entire ground level for commercial activity. We
began by mapping the area to establish all of the usable space to be integrated with our market.
By
using the idea of fluidity and how
water would flow out of the market if it were poured in, the usable space was then narrowed into categories of densities of space. shades of blue represent the level of density (lightest being lowest density, and darkest being highest density). are retained and used in our market space to promote a more fluid circulation.
Areas
The
of lowest densities
Access to the roof is then provided through the use of the
market spaces of lowest density.
Footprint
Defining Densities
Establishing Usable Space - Ground Level
The
market’s way of establishing program and dealing with the existing site is established through the idea of continuous surface.
surface establishes a topological ramp system which perpetually expands until reaching the roof. further defines the idea of continuous surface.
Programmed
The
ramp materiality and seamless form
spaces are enclosed in between the floor and ramps.
diminishes the program, resulting from the diminishing of ramp space for enclosure.
High
The
Each
level gradually
amounts of visual connectivity link the multiple
levels.
The market is designed to have an open atmosphere and provides public space in the market as well as above it. The roof-level public space is linked to the surrounding exterior-private spaces through the series of ramps and stairs, establishing a complex social atmosphere that unifies the existing buildings.
Section
Plans
Underground Level
Ground Level
Level 1
Roof Level
Connection Diagrams
Connection 1
Connection 2
Connection 3
Connection 4
Connection Diagrams
Circuclation Underground Level
Circuclation First Level
Circuclation Ground Level
Circuclation Roof Level
Construction Process
Market Render
Phase One New Supports
Phase Two Steel Beams and Hot Rolled Steel Support
Phase Three Steel Reinforcment
Phase four Pouring Concrete and Finishing
Roof Render
Fall 2011 Second Year Studio - Gabriel Esquivel
Allure Designed
Thierry Mugler, Allure acts as a defining unity between ornament, structure, and tectonics, thereby enhancing and recreating the surrounding environment. Instead of consuming its surroundings, it kisses the them. Its as a fashion pavilion for
caressing strands add a second skin to all of the buildings in a way that is reminiscent of the way in which a fragment of the
Mugler uses his second skins to redefine forms. Each site becomes pavilion, thereby creating a dreamwork quality. Like in a dream, a
person has to look at the entire dream before they can figure out exactly how it comes together.
Similar to how Gothic architecture fully integrated ornamented structure, the Mugler pavilion uses its intricate stranding as a way of articulating its form, supporting itself and establishing the ground. The strands extend into the inside of the building, where they begin to define the floor plates and direct the flow of movement throughout the pavilion.
This
articulate creates a convergence of dimensionality, between the
3-dimensional
forms to the
2-dimensional
patterns.
Along
with their ornamentation
and structure, the strands contain water circulation and electricity, acting as a seamless integration of aesthetics and function.
Plan & Section
Spring 2011 First Year Studio - Julie Rogers & Zhipeng Lu Design Partner- Rachel Griffith
Integration of Contrasting Elements The
gallery integrates contrasting elements of form and materiality: the more natural looking concrete and the manufactured metal and
glass.
Expansion joints are used to break up the concrete to exemplify the rugged quality of stonework. The smooth steel walls demonstrate metal’s malleable qualities. The form is composed of straight and curved walls in a way that the opposite elemnts compliment each other. Formal continuities in the interior, such as the penetrating wall from ground to roof, emulates the way sculptors use metal to bond materials.
Residence
The
Gallery Level 1
gallery is located on a corner and deals with
the condition through the use of the cylindrical geometry that creates a formal continuity. Visitors are immediately taken into the gallery where the lobby is. Gallery items are found along the walls on the first and second levels as well as the balcony on the second level, which can be used for both displays and public social space.
Underneath
the
gallery is the residence, which has intimacy from access and visibility of the gallery.
Gallery Level 2
Practice
Summer 2014 Mark Foster Gage Architects
Helsinki Guggenheim Fall 2014 Mark Foster Gage Architects
Lane Crawford Stores Summer 2014 Mark Foster Gage Architects
Diesel Store Summer 2014 Mark Foster Gage Architects
Aurum Residential Tower Fall 2014 Mark Foster Gage Architects
Bard Live Arts Center Summer 2013 Atelier Manferdini
Nembi Summer 2013 Atelier Manferdini
Smeared Projections
Summer 2014 Mark Foster Gage Architects Role - Project Manager
Helsinki Guggenheim Mark Foster Gage Architect’s proposal for the Helsinki Guggenheim competition featured its ongoing research on the concept called “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 ojbects online. By “bashing” them together, we are able to create new forms and textures that were different, but not entirely distinct from their original components. The hierarchy in scale creates different levels of sensation based upon the perspective.
Created from entirely CNC cut marble, the Guggenheim contains forms from the agglomeration of objects, as well as from the carving out of others. Adjacent to the main body are two tunnels, both of which are carved
object field
out from hundreds of objects that then lead to the entrance.
Some
of the forms carry into the interior,
thereby creating inhabitable spaces.
kitbashing
Plans
floor
2
floor
7
floor
4
floor
3
Section
detail
tunnel view
detail
Fall 2014 Mark Foster Gage Architects Role - Project Manager
Lane Crawford Stores Mark Foster Gage Architects
designed a series of
Nicopanda
pop-
China for collaboration between Lane Crawford and Two Hustlers. The stores consist of a family of animals based on the Nicopanda all of which create a mixture of clothing displays and sculptures. All animals will be made of foam then covered in fiber glass. Scratch-and-sniff wallpaper will be utilized to get multiple fragrances throughout the stores. up clothing stores throughout
Summer 2014 Mark Foster Gage Architects Role - Project Manager
Diesel Store As a part of the emerging lineup between Diesel and Nicola Formichetti as their director, Diesel opened a pop-up store in Wiliamsburg, one of the most prominent areas in the booming area of Brooklyn. The
central space enclosed in a mirror cage to create an endless,
expansive nature to the otherwise small interior.
Custom displays are able to to be aligned into different configurations.
retail scheme
There are five schemes: retail, mannequin, party, display, and lounge. The retail scheme contains underlit displays to illuminate mannequins and products. The mannequin scheme contains an miniature army that descend into the ground, featuring the same masks and mohawks used in Nicola Formichetti’s recent lineup.
mannequin scheme
Summer 2014 Mark Foster Gage Architects Role - Project Manager
Aurum Residential Tower Located
in
Chelsea, New York
along the
Highline, The Aurum
is
a residential tower located an emerging area already filled with numerous well known high-rises.
The
design maximizes the available
balcony space through its twisting form, which overlooks the
River. Its
Hudson
facade is composed of a gold frame, surrounding an inner
black jawbone-like pattern.
Fall 2014 Mark Foster Gage Architects Role - Project Manager
Bard Live Arts Center This project for Bard College is adjacent to Frank Gehry’s Fischer Center for the arts, which it also serves. Designed as an interdisciplinary mixer between theater, dance and performance art, the building is comprised of several open studios that sit adjacent to a large communal gathering space. The facility will not only serve as a practice location for performances in the
Fischer Center,
but will be an educational
building where all of the “live arts� are brought together in one location.
The
individual studios
are given separate identities as masses but are collected and interconnected as a single complex.
plan
studio render
studio render
east elevation
Summer 2013 Atelier Manferdini Role - Designer
Nembi “Nembi” (Italian commissioned by
Clouds) is a permanent public art LA County. The project has been designed for
project with the
intent to create a strong relationship with the iconic green color
Hubert Humphrey Health Center concrete façade and a memorable experience of the entry into the health center. bands of the
Summer 2013 Atelier Manferdini Role - Designer
Smeared Projections Beijing Biennale
Smeared Projections is a site specific installation for the Beijing Biennale 2013. The project discusses the comingling of geometrical massive
patterns
sculpted
projected
volumes
against
and
their
relationship in the creation of an effectual reading of the figure. Ideas about patterns, background
and
foreground
and
their
visual effects were central to the work.