Andrew M Hubbard Design Portfolio

Andrew M. Hubbard

Architecture + Design

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Andrew M. Hubbard Architecture + Design andrew.hubbard@ucdenver.edu 317.670.4378

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Easel Escape Wildwood, Utah

Essiam Community Pavilion Ghana, West Africa

Zaatari Sail Shelter Zaatari Refugee Camp, Jordan

Westcott House Bench Oxford, Ohio

Professional Practice Indianapolis, Indiana

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Easel Escape Wildwood, Utah

Rooted in the Rocky mountains, this design is a contemporary

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take on the vernacular A Frame. Designed for a painter, the structure acts as a panopticon to view nature where scenic landscapes are enframed. The fenestration is expansive, creating a continuum of space where the interior and exterior environments synthesize. Nature blends into the interior and the interior reaches out to the distant mountains. Created with reduced cubic forms, they merge together to create a cruciform intersection of natural light and landscape. The surrounding environment becomes the subject of the building’s composition. A distilled form and refined material pallet create a clean canvas for the artist to create.

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East

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Essiam Community Pavilion Ghana, West Africa

Architecture has the ability to bring people together and foster

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human interaction. It becomes home to visceral moments that create human identity. In June 2016, myself and fifteen of my counterparts were provided an opportunity to create such a space. Here, we traveled to Ghana, West Africa to design, collaborate and build a community identifier. Essiam, a small village of Cape Coast, requested our group to design and construct a community pavilion to host a diverse range of activities. From cultural celebrations and village meetings, to church services, weddings and funerals, this wide range of activities required a space that is versatile and culturally familiar. Placing a high emphasis on the structure’s seamless immersion into the community, we created a form embedded within Ghanaian culture and employed local vernacular building strategies. In collaboration with Essiam’s Chief and community elders, we worked through language barriers to create a product that was approved with much excitement. In its realization, the 3500 square foot pavilion successfully hosts all of its required activities for the years to come.

Collaboration: Village of Essiam and Miami University Ghana Studio Roll: Design, village presentation and construction

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Cape Coast Essiam

Cape Coast

Essiam

Building Site

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Aiming to create a formal embodiment of culture, the design process started by analyzing Adinkra. Adinkra are visual symbols created by the Ashanti of Ghana. The symbols have a decorative function but also represents objects that encapsulate evocative messages that convey traditional wisdom or aspects of life and the environment. Focusing on the Hwemudua Adinkra, this symbol means excellence and superior quality of life. Using this symbol as a foundation of the design, we arranged the programs and structure of the pavilion to communicate the Hwemudua form in our structures plan.

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Meeting Rooms/Storage Stage/Chief + Elder Seating Circulation Space

Performance Space

Villager Seating

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Al Zaatari Sail Shelter

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Zaatari Refugee Camp, Jordan

This design is not one of sole desire for aesthetic appeal, but is a

creation derived from memories of one’s place. As the conflict of war uprooted the Syrian people from their homes and forced them into the Za’atari refugee camp, this structure strives to remember and reminisce familiar moments of their home and culture. There is an immediate need for shaded space in the sun drenched desert where the camp is located. However, to give a design with only this utilitarian aspect seems insufficient.

This design pulls influence from the sacred Umayyad Mosque in Damascus, Syria that was destroyed at the height of conflict.

Sail Shelter makes a formal response to the Ablution Fountain found within the mosque while employing a reinterpretation of a traditional islamic relief found on the mosque’s entrance doors. As the sun shines light on the shelter, the shelter’s shadow produces the islamic relief onto the ground. By creating a vignette of the Syrian’s vernacular and culture, architecture can empower the disenfranchised.

This structure is poetic in nature. By working with the Syrian artists in Za’atari, one realizes how strong they truly are. The Syrian people who became refugees are different from what the media portrays them to be. As the hardships of war penetrate deep within these refugees, they become worn. They feel broken.

However, because of these struggles they become stronger, and more driven. They are motivated to pick up the pieces and rebuild. In the study of the geometric relief, it became apparent that its geometry could be condensed into an unfolding cube.

In the design, the cube represents the refugees. As unfortunate events unfold, so does the cube. The cube transforms into wings - wings to sail onto a better life. This structure represents the metamorphosis of the refugees and allows a moment from their past to provide shelter and a place to create a better future.

Collaboration: Za’atari Refugee camp Syrian Artist, International Relief and Development, United Nations High Commissioner for Refugees Roll: Research and design

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Context

Process

Concept

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As the state of the refugee crisis persist, supporting countries’ become fatigued.

Donated resources grow thin and disinvestment ensues, making it emperative that the design employs existing materials that are within the camp. Along with this, the restrictions of the skilled work force requires a design that is easily constructed to ensure its realization.

The extended residency of the refugees has caused them to outgrow the UNHCR’s temporary tent living accamodations and necessitates a more durable solution. As the tents are decomissioned and replaced with the new caravans, the tent’s skin and structure lay to waste, providing a substantial abundance of steel structure and canvas to be used. Sail Shelter recycles tent structure to create the welded frame and the tent canvas to create it’s shading inserts.

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Westcott House Bench Construction: Oxford, Ohio Installation: Westcott House Visitor Center, Springfield, Ohio

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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 exchange by creating a movement of planes from their structured grid. The seating plane appears to slide out of allignment 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.

Collaboration: Peter Bohlin of Bohlin, Cywinski, Jackson and Reynold Studio Roll: Design and construction

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The Westcott House Bench is realized using only one 3/4� 4’x8’ furniture grade 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.

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Professional Practice CSO Architects, Indianapolis, Indiana

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The following three projects are samples of the work I have produced while working at CSO Architects. In my nine months with the firm, I have been exposed to a diverse range of project types and scales of design. Primarily working in schematic design, my efforts are a direct response to site conditons and our clients’ project goals. Regardless of the size of my role in the design process, I aim to realize the most comprehensive solutions.

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A project with a fairly unconventional site, it is located in a developing suburb of Cincinnati, Ohio. (For confidentiality, the exact location cannot be disclosed.) Here, the client requested a design for a mixed-use apartment building. Encased in the project, the client noted a need for leasable retail space at grade as well as an internalized parking garage for its residents.

Displayed, is an example of the beginning of my schematic design process for this project.

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A window design created for southwestern fenestration in a tiltup panel construction project. Given a conventional 12 foot wide concrete panel, I take note of the proportional relationships between the panel and window elements. The protruding plate steel and nested glazing control the amount of direct sunlight permitted into the space allowing refracted light to produce the majority of natural light.

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Samples of architectural visualizations produced for CSO clients. Much like a painting or photograph, the renderings find strength in it’s organization of composition. Driven by the graphics’ intended purpose, the composition’s elements (time of day, lighting, entourage, etc.) are curated accordingly. The examples provided are a mixed use office building (above) and an adaptive reuse/new construction hotel (below).

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Using room modules developed by CSO Architects, I arrange the pieces to meet the clients room count requirements and create the most efficient layout for the designated site. From these schematic plans, an initial building mass is created, where myself and the design team can further articulate the form.

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A3 4 Room Modules

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Building mass

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Property Line

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Site Plan

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