Andrew M Hubbard Portfolio Vol. 2

VOL 2: GRADUATE PORTFOLIO

wenda cabin charge prototype 1 study cabin

barbara kruger museum woodworking

WORK.

plasma cutting day.

I am Andrew Hubbard. architectural designer based in Denver, CO.

KNOCK web. email.

EDUCATION

EXPERIENCE

RELATED

curriculum vitae andrew m hubbard

www.issuu.com/andrewmhubbard amikiohubbard@gmail.com 317.670.4378 phone. andrwhub instagram.

location.

3234 Navajo St. apt 303 Denver, CO 80211

Bachelor of Arts in Architecture with Urban Design Thematic Sequence

aug. 2012 through dec. 2016

Miami University Oxford, OH

Master of Architecture with Design/Build Certificate

aug. 2018 through may 2020

University of Colorado Denver, CO

Ghana Design/Build design + construction

may 2016 through july 2016

Cape Coast Ghana, West Africa

Intern Architect schematic design + construction documentation

april 2017 through aug. 2018

CSO Architects Indianapolis, IN

Colorado Building Workshop Design/Build design, client communication + construction Design Professional schematic design, construction documentation + construction administration

jan. 2019 through june 2019

Colorado Building Workshop Denver, CO

jan. 2019 through present

Stantec Denver, CO

11th International Design Principles & Practices Conference, Institute without Borders Seminar Presenter George Brown Univeristy Toronto, Canada Fast Company: CO. Exist Published work Architect Magazine Published work Small but Smart: Design Solutions for Mini Homes Published work AIAS Fundraising Chair Miami University AIA Dayton: Architecture in Education Seminar Presenter International Development in Action (IDeA): Place & Displacement Competition Competition Participant

june. 2021

SKILLS

AWARDS

adobe cc

microsoft office

revit

bim360

autocad

bluebeam

sketchup

wood working

visualization

metal working

2021 International Wood Design & Building Merit Award 2019 AIA Western Mountain Region Honorable Mention Award 2019 Denver Does Design: Young Industry Professionals Award Indiana Subcontractors Association Scholarship Joseph P. Veasey Scholarship Bridges Program for Excellence Scholarship

“Architecture is the will of an epoch translated into space.”

- Mies Van der Rohe

I have always been fascinated by architecture’s impact on human development.

Our pragmatic need for shelter evolved from utility and necessity to something far less tangible. The average American spends 93 percent of their life indoors. How our constant interface with shelter ameliorates or degrades our intellectual development and emotions is a relatively immeasurable metric, however, the reality and magnitude of its presence is undeniable. Inversely, humans’ influence on architecture is clear. Designs’ dependence on available technology transforms the things we create into telling vignettes for future generations. It is a timeline inclusive of vernacular architecture and settlement to the vast urban fabric of the present-day metropolis. From this paradox, I find architecture as the identity of place and time. Through the contemplation of this notion, my work is cultivated. Rather than looking only to architecture as precedent, my work is driven by epoch. Not solely to a doctrine or its patriots but more abstractly, how culture fosters an epoch and how those prolific ideals evoke a response...an artifact...architecture.

CONTENTS.

1 2 3 4 5

Wenda Cabin Thoreau, New Mexico

Charge Prototype 1 Green River, Utah

Study Cabin Half Moon Bay, California

Barbara Kruger Museum Denver, Colorado

Woodworking Workshop, Anywhere

WENDA CABIN Thoreau, New Mexico

CAMP.

Colorado Building Workshop Team: Kasey King, Morgan Young, Michelle Ropson and Katherine McGonigle, Jesse Wilcoxen, Mike Hackett, Andrew Hubbard

In a landscape characterized by Juniper and Ponderosa Pine forests, Wenda Cabin is one of three cabins and an outdoor kitchen that welcomes refuge for trekkers at the base camp for Cottonwood Gulch Expeditions. It is located in the high desert of the Colorado Plateau just outside of Thoreau, New Mexico.

Designed and partially prefabricated over one semester, we constructed this cabin in 6 weeks while camping onsite. Throughout our semester of design, we worked with the client to ensure the best response, fabricated and tested prototypes repeatedly and made many trips to get material. We also learned how to use many new tools along the way. Taking inspiration from place, our design was influenced by the earliest set of cabins on site, which were designed by Kurt Vonnegut Sr. (architect-father of the renowned writer). The design was propelled by four primary drivers: Connect, dissuade, foster, and limit. These factors coalesce to form the work that follows.

ARCH 5140, DESIGN/BUILD STUDIO IV, FALL 2017, R. SOMMERFELD + W. KONING - PROFESSORS

existing Cottonwood Gulch vernacular.

connect.

When designing and siting the cabin, we were very intentional about the orientation of the form and the location of its fenestration. We squeeze the cabin into a clearing on the site so that it is tightly flanked by trees on all sides. In addition to permitting light, the windows create vignetted moments of the delicate landscape. In a shotgun fashion, standing at either end of the cabin, one has an uninterrupted view of nature as the opposing end. By removing visual obstructions and framing moments of nature, the design establishes a greater connection between the campers and nature by blurring the line between interior and exterior space.

disuade.

One of the client's main concerns for the project was the risk of each camper's exposure to Hantavirus due to the native mice. Even though some of the rodents are eliminated by natural predators -- mostly cats and snakes -- kept on the Cottonwood Gulch property, campers are not safe from the disease. The virus is spread when contaminated particles from rodent urine, droppings, or saliva are stirred into the air. We wanted to ensure their safety protocol was a priority throughout the design process to keep campers' risk of exposure to a minimum. The implementation of mass timber construction over the stick framing typology proved to be the most prudent as it eliminated the opportunity for mice to burrow and climb within the wall assembly. To strengthen our defenses further, we elevated the entire structure above the site and hung the beds from the bent frames.

foster.

Cottonwood Gulch prides itself on creating opportunities to foster the personal growth of each camper in addition to manifesting an environment that encourages life-long friendships. This is known as their "porch culture". From this sentiment, we decided to bisect the cabin to create a covered porch. Here, the large cabin entry doors open onto the shared deck where the two cabins' campers can socialize after a long day of hiking or play games while sheltered from temperamental weather. By employing these large sliding doors, the two cabins can effectively become one.

limit.

Throughout design and construction, we were constantly thinking about design strategies and building techniques to limit our intervention with the site. As discussed in "Connect", we sited our cabin on a natural clearing and only fell two trees (invasive species to the local ponderosas) to accommodate the structure. Compounding this with "Dissuade", we elevated the cabin to limit our building footprint. In "floating" the building over the site, we not only reduce the amount of soil that is displaced for the foundation but also minimally disrupt the existing flows of smaller wildlife through the site.

12 6

transverse section looking east (A) 21/2’

5’

10'

A

floor plan 21/2’

A

5’

10'

place batter boards + mason lines.

dig foundation holes.

place formwork.

tie + insert rebar cages.

pour, strip + backfill foundation.

place foundation beams.

raise bent frames.

lay floor.

build walls.

wrap ceiling.

lay ice/water shield.

install glazing.

place purlins, finish ceiling + extend foundation walls.

mount corrugated roof + window shroud.

finish interior.

complete.

study sketches - bent, deck + foundation.

corner perspective looking east.

west en

d, ca

bin in

terior .

west end, window buck.

CHARGE 1 PROTOTYPE Green River, Utah

SERVICE.

Designed in collaboration with Jesse Wilcoxen

As climate change becomes an established reality for decision-makers in government and industry, the inevitability and ubiquity of the internal combustion engine and finite petroleum-based fuel sources cease to be a viable system. We find electric vehicles growing in popularity across the nation. Although the electronic vehicle is a compelling innovation, it is still hindered by available technology. Charging times are lengthy (when compared to the fueling of combustion-powered vehicles), the effective travel range of EV batteries is less than most fuel-efficient petrol-powered vehicles, and when a charge is required, it is difficult to locate a charging station while away from one’s home. As the popularity of electric vehicles continues to rise, we see more charging stations becoming available however, the vast majority colonize throughout metropolitan centers and adjacent sprawl which ultimately makes ownership of an electric vehicle inconvenient if you reside or are passing through more rural regions of the United States.

This charging facility prototype is sited in Green River, Utah. A community weathered by the boom-bust of the agriculture industry as well as a military testing base. According to the 2019 census, it has a population of 856 people. Most residents are still employed by agriculture but the town is primarily a fueling stop for motorists traveling I-70. While petrol fill times are as short as a few minutes, electric charge times can be 30 minutes or more. Although higher-speed charging times are forthcoming, a full charge will take significantly longer than what people are accustomed to. Here, we find our opportunity. Much like the filling stations of the early 20th century, we introduce program to pleasantly occupy charging customers while pairing them with amenities that can positively impact the community in which the station resides. Prioritizing its integration within a specific fabric, establishing a symbiotic relationship with the host community is crucial to the project's success. It does not dilute or exploit community culture but rather provides programmatic elements which elevate and encourage its development (Internet, education, community gathering, flexible space) all while entertaining and adequately servicing the traveling customer.

ARCH 6170, DESIGN STUDIO VI, SPRING 2020, M. SHEA - PROFESSOR

study model

adjacent:

stacked:

Typical present-day filling station arrangement where pedestrian zones are shared with vehicle circulation aisles and fueling infrastructure. This approach creates a kinetic threshold of vehicles which discourages the building's connectivity and integration within its surrounding urban fabric. This typology also encourages greater site coverage with pavement leading to a larger impact and design of the site water management systems required.

The EV charging service is elevated above the ground plane to allow for program components that cater towards user experience. This stacked arrangement allows for dense but variable pedestrian activity and an overall pleasant EV user experience.

proportion diagram

GFRC skin

W-shape structure

Charging bays

Grab-n-go

Rental Hospitality

Battery Core

Market

program diagram

wall section @ southern facade 3'

6'

12'

For economic and efficient deployment of the prototype, the primary structure utilizes a hybrid of steel and precast concrete members. The precast columns support the second floor (charging deck) which is composed of Inverted Double T beams and a hollow core deck. On the second floor the columns transition to steel W-shapes to

reduce column size and the number of required columns in the charging bays. The roof structure also consists of steel beams and girders to meet load and span requirements in addition to supporting the Glass Fiber Reinforced Concrete (GFRC) skin which wraps the exterior.

perspective looking east

charging bays @ second floor

STUDY CABIN 1

REFINE.

HALF MOON BAY, CALIFORNIA

Architecture can bring people together and encourage human interaction.

Inversely, it can create places of refuge to help one disconnect from the busy life they lead. This project aims to synthesize these contrasting environments to create an experience that inspires new ideas and innovation for its users.

Study Cabin 1 is designed as a weekend study-retreat cabin for visiting researchers at Argamonte Ranch Research & Conservation Center (ARC).

ARC is a living laboratory for renewable energy microgrid research, land regeneration, and environmental education. It is intended for the researcher to stay and collaborate with other researchers and staff on site. With this in mind, the design response had to be an embodiment of ARC's mission, acting as an example of their education platform. It must be sustainable with material use, conservative with energy consumption, and efficient with waste management and resource sequestering. Looking at the exterior, screened in local Monterey Cypress, the cabin floats above the landscape while blending with its surroundings. The interior is intentionally left distilled where one can be removed from visual distraction and focus on their study. Natural light and frame vignettes of nature, permitted by fenestration, provide spatial continuity and wayfinding.

ARCH 6150, DESIGN STUDIO V, FALL 2019, J. HERDT - PROFESSOR

other proposed cabins property line walking path site

Argamonte Ranch

20’

40’

91/2’

high cube - type a

high cube - type b

The structure is composed of 3 recycled shipping containers (two (2) 40' high cube containers, one (1) 20' high cube container). The diagramming was used to understand the optimal container layout to minimize additional structural material and maximize interior spatial continuity.

TECTONIC STUDY

8’

1

2

3

9

1. transitional space 2. bathroom 3.outdoor shower 4. study room 5. kitchen/dining 6. deck 7. contemplation space 8. bed/storage 9. battery storage

4

5

6

7

8

floor plan 2'

6'

12'

preliminary sketches.

longitudinal section looking east 2'

6'

12'

interior perspective looking west.

transverse section looking south 2'

6'

12'

A.

B.

To insulate the cabin, the design employs BioSIPs (Xtreme Green sheathing and mushroom mycelium insulation, r-19) to replace the existing corrugated metal skin of the containers. These sheets are repurposed at the underside of the cabin to retain and protect the floor insulation.

Fifteen helical piers serve as the foundation, allowing the cabin to hover above the landscape for minimal ground disturbance. This is achieved by a helical pier pile cap welded to an International Organization for Standardization (ISO) container

wall section 1/2” = 1’ fitting which is then attached to the container structure's corner fitting. In doing this we can effectively use the shipping container's existing structure as the primary structure for the cabin. The shed roof is clad with standing seam metal panels to which the 6 panel PV array is attached. Roof water is drained to a rain collection troth which then directs water to the portable grey water collection basin. This basin is then transported to basecamp to be purified and returned as potable water to supply the cabin at a future time.

detail A. 11/2” = 1’

photovoltaic standing seam ice/water sheild sheathing 2x8 joist / cellulose fill S-5! PVKIT clip existing 2x2 HSS L-31/2x3x1/4 L-1x1x 1/4 / Sculptform track 6” Bio-SIP Assembly (R-19)

Monterey Cypress batten 6” Bio-SIP assembly (R-19) existing corner fitting ISO container fitting helical pier pile cap Xtream Green sheathing underlayment existing sheathing existing cross member / foam fill existing joint strip 3x1

detail B. 11/2” = 1’

KRUGER MUSEUM OF SPATIAL ARTS

FABRIC.

Denver, Colorado

This project is an investigation of creating architecture that parallels the content with which it is intended to display. Barbara Kruger's work finds success through strategies of layering medium and text which appropriates space. There is an unapologetic honesty to the works which aid its communication of social and political content. The Kruger Museum of Spatial Arts design employs strategies of spatial layering and translucent materiality to strengthen the experience and display of Kruger’s work. Much like her art, the building design is honest in its materials and construction. The site (14th + Lawrence) is located at the tri-corner intersection of Lower Downtown, the Central Business District, and the Auraria Campus. Fairly dislodged from its art-house contemporaries, the site is surrounded by high-rise commercial properties and traditional material pallets. From this, the building gains its strength by standing in stark juxtaposition of the adjacent properties. It is not tall nor does it consist of thick masonry walls, it is light and transparent.

It creates a canvas for Barbara Kruger's work to speak for itself.

ARCH 5130, DESIGN STUDIO III, FALL 2018, H. JONES - PROFESSOR

CB D

La

wr en

ce

St .

Lo Do th 14

a i r ra

1. traffic directionality 2. sun path|exposure 4:00-7:00 P.M. 3. adjacent building material porosity

.

1.

St

Au

2.

3.

create void to allow existing drive.

compress and expand overhead condition for entry sequence while creating a unique gallery experience (above) which contrasts the adjacent atrium experience.

flanked by 8 plus story buildings, the site does not allow for many daylighting opportunities. step the building volumes to permit maximum natural (diffused) light to atrium and lower gallery spaces.

lower ceiling height over employee and administrative spaces for better human scale. raise atrium to reinforce spatial hierarchy.

introduce organic elements as strategic partitions to encourage view filtering.

exterior skin used to enforce layering on facade, reduce thermal heat gain in atrium and enclose mechanical penthouse on the roof.

11

14

11

11

11

13

7+8

12

10

second floor plan.

3

5

9

9

10

3 1

2 6

15 4

first floor plan.

PROGRAM KEY Amenities:

Administration:

Exhibit:

Circulation:

1. Lobby/Reception - 400 s.f. 2. Reception - 100 s.f. 3.

Restroom - 140 s.f. 4. Reading Room - 400 s.f. 5. Gift Shop 100 s.f. 6. Cafe/Catering - 1400 s.f.

7. Gallery 1 - 1,000 s.f. 8. Gallery 2 - 2,000 s.f. 9. Galleries 3-5 - 500 s.f. 10. Outdoor Gallery - 800 s.f.

11. Offices - 200 s.f. 12. Conference Room - 375 s.f. 13. Prep Room - 375 s.f. 14. Restroom - 140 s.f. 15. Storage - 1,000 s.f.

16. Elevators - 60 s.f. + 150 s.f. 17. Fire Stair - 180 s.f.

HERE. 14th St. elevation

1/16” = 1’

transverse section 1/16” = 1’

YOU ARE lawrence st. elevation 1/16” = 1’

LOST? longitudinal section 1/16” = 1’

perspective from the corner of lawrence and 14th st.

WOODWORKING Various Workshops

GRAIN.

Woodworking is something I have always been passionate about. My father was a furniture designer and manufacturer so I spent a great number of my formative years in a woodshop. The following are a couple of projects which challenged my craft and understanding of appropriate techniques. The tools you see to the right are the primary instruments that were used to produce the work that follows. I acknowledge innovations in tool technology however, I do prefer to use hand tools as much as possible. I appreciate the challenge and find the results to be more controlled and accurate. The hand plane (No. 5 to the right), I made to help finish the construction of the Froebel box.

Froebel Gift 5: Froebel Gift Sets are educational play materials for young children, originally designed by Friedrich Fröbel for the first kindergarten at Bad Blankenburg.

Frank Llyod Wright attributed much of his spatial awareness in design to his early exposure to the Froebel Gifts. Six different gift sets were designed, Gift 1 holding the fewest pieces (8) and Gift 5 holding the most (39 pieces). I chose to recreate Gift 5. It is constructed entirely from Cherry wood. For the box's finger joints I created a jig and used a dado blade on my table saw.

Rather than creating the original Froebel sliding top lid, I chose to make a dovetail and key lid system which was achieved on a tabletop router. After the box was completed I hand cut the 39 pieces (21 one-inch cubes, 6 halfcubes, and 12 quarter-cubes) with a Japanese pull saw then sanded them to dimension. Finally, I finished everything with 800 grit sandpaper, shellac, and petroleum-based wax.

INDEPENDENT RESEARCH, 2016-2018

tools.

1.

Table Saw 2.

Pencil 3. Japanese Pull Saw 4.

Square 5.

Hand Plane 6.

3/4” Chisel

1.

2.

3.

4.

5.

6.

THIS IS A BOX. これは箱

tectonic diagram.

This bench was designed in collaboration with Peter Bohlin of Bohlin, Cywinski, Jackson. Created as an installment for BCJ’s Westcott House Foundation Visitor Center, the design captures and communicates the temporary nature of visitors’ presence within the space. As visitors arrive to tour Frank Lloyd Wright’s Westcott House, they stay in the visitor center only for a short time. Slipping past one another, the guests move toward their destinations. The bench aims to communicate this moment by creating a movement of planes from their structured grid. The seating plane appears to slide out of alignment with the back supporting plane, leaving behind an impression of its origin. Taking precedent from Charles and Ray Eames, the bench employs furniture-grade plywood to achieve structural rigidity and economic feasibility. The bench is realized using only one 4’x8’ 3/4” sheet of Maple plywood and consists of four components. This design is intentionally conservative with materials, number of parts, and required production labor to create a product that is economically feasible for the client. It can be transported, disassembled, and easily pieced together on-site with a rubber mallet (friction fit).