Evelyn Hofmann Architecture + Design Portfolio by Evelyn Hofmann

E V E LY N H O F M A N N archit ecture + design

TAB LE O F CO NT EN T S

A C A DEM IC WO R K

Lodge at Dreki

Museo Della Citta

A Hiker’s Observatory

System Stalker Lab

10 Wellesley

Basilica San Vitale

Athrú

Woodworking & Chair Design 34 F_RM Lab

P ROF ES S IO N AL WO R K

Sauerbruch Hutton

Syverson Monteyne

Kirkor Architects + Planners

BG Furniture

P E RS O NAL WO R K

Photography

Italian Urban Sketches

A C A D EM IC

LO D G E AT D R E K I Professor: Andrew Levitt Course: Design Studio Term: 4B Sustainability Definition Sustainability relates to the way in which the architecture address the contextual framework of the project in order to minimize the use of energy, maximize the performance and work harmoniously with the natural environment. Sustainability can be applied to all areas in the design of a building through moderation in the use of materials, mechanical systems, energy consumption and development of space. An architectural project integrates itself with ideas of sustainability from the beginning stages and be carried out comprehensively though the design development and envisioned construction and occupation. Project Description The Lodge at Dreki is located north of Vatnajรถkull National Park in Iceland. It is a place of rest and repose for hikers and tourists of the Icelandic landscape. The architecture focuses on creating views of the landscape and generating a shared space for guests to gather and enjoy. The social life of the lodge is communal and the design of the spaces promote a shared experience. The building is treated like a living element to be sustained and cared for by its occupants. The rituals of the travellers are folded into the architectural narrative. The form plays with ideas of shifting and sloping landscapes relating to the fragile beauty of the Icelandic environment. The spa activities are meant to be essential to physical and social health and are naturally folded into the fabric of the daily life of the lodge guests. The spa program not only becomes an essential part of sustaining the health and wellness of the inhabitants but also harmoniously contributes to the sustainability of the architecture. The Lodge at Dreki applies the concepts related to sustainability from the beginning stages of site orientation, programmatic arrangement, and form development. It attempts to passively harness light, heat and ventilation before the addition of mechanical systems to become as efficient as possible. The compact form minimizes the surface area exposed to exterior conditions. The windows are operable with sliding exterior shading to control airflow and light respectively. In addition to passive heating strategies the lodge is tied to a geothermal source that provides an unlimited supply of heat and hot water. The sloping green roof with photovoltaic cells offsets embodied energy and generates power. The landscaping elements surround the building and connecto to a filtration and brown water system. An Annual Energy Estimate Summary is provided that demonstrates the quantitative effects of the energy saving strategies implemented in the project. The Lodge at Dreki is a building that not only shelters, inspires and refreshes its occupants but also connects them to the power of their natural environment.

Front Entrance View

Back Entrance View

Site Axonometric

South Elevation

Sauna

Geothermal Pool

Change Room

3 Spa Entrance

Spa Vestibule

Great Room Entrance

Storage

Reservoir

Treatment

Spa Lobby

Outdoor Dining

Porch

Treatment

Dining

Treatment

Indoor Pool

East Elevation

Pantry

West Elevation

Kitchen Great Room

Treatment

7 Office Lounge

Outer Vestibule

Trail Entrance

Inner Vestibule

Reception

8 Inner Vestibule

Washroom Storage

Washroom

Elevator

Storage Storage

Washroom

Outer Vestibule

Mechanical & Electrical

Shipping/Receiving

Laundry

Storage

Closed Office

Storage

Open Office

10 Main Entrance

South Elevation A

Ground Floor Plan

South Elevation

6 Person Accommodation

3 4 Person Accommodation

4 Person Accommodation

4 2 Person Accommodation Bedroom

Closet

Bedroom

Landing

5 2 Person Accommodation

Bath & Laundry

Living 6

6 1 Person Accommodation

West Elevation

Pantry

East Elevation Dining 7

Kitchen Storage

Storage

1 Person Accommodation

Library

Entry Hall

Bathroom

Spa Staff Accommodation

9 Outdoor Terrace Green House

South Elevation A

Second Floor Plan

Exterior Condition:

Photovotalic Panels:

Green Roof & Water Collection System:

Greenhouse:

The “L” Shaped form of the building shades and shelters the outoor spaces where human activity occurs. The Easterly wind is blocked fromt the outdoor pool and dining area. The main entrance is heated by the southern light creating a warm entry. The side entrance is sheltered from the wind on the west side of the building.

Panels automatically adjust to high sun angle in the summer and low sun angle in the winter so that they are at the optimum angle to capture the sun’s rays.

Water is drained down sloping roof, filtered and collected into insulated potable water storage tanks built into the building enclosure. It is heated by radient coils or cooled then pumped into the building through pipes in the floors and walls by a pressurized tank located in the mechanical room.

The Greenhouse help to store thermal energy and acts as a trombe wall between the exterior and interior. The space harness the southern sunlight to produce plant life, which is also fed by grey water and compost material the building produces.

The PV panels provide energy supply to lighting, mechanical systems and other electrcial plug loads within the building.

The height of the space produces as stack effect and excess heat is vented through operable openings in the glazed skin.

The green roof also acts as a natural shading device for the building by absorbing heat gain, insulating and protecting the roof membranes.

Summer 48o Mechanical Ventilation:

Windows: All windows on the facade are operable and give opportunities for cross ventilation.

Greenhouse

Vertical wood louvers slide up and down to provide customizable shading.

Great Room

Windows are also set back 150mm from face of the facade to contribute to shading.

geothermally heated “fire place”

Planting Bed with Drainage Channel

wc (beyond) Reception and Interior Vestibule

Exterior Vestibule

Mechanical Ventilation units act in addtion to the radiant heating system to filter and condition the a quality as well as provide additonal heating and cooling of spaces as needed. Air exchanger pumps a mix of indoor and outdoor air into the building that is conditioned to the correct temperature by radiant coils connected to the geothermal system. Air is pumped through walls and floor slabs into rooms at different rates dempending on program requirements. Polluted air from spaces such as washrooms is directed vented to the exterior. Air exchange unit is located in the mechanical room with vents connecting outside.

Outdoor Pool Grey Water Settling Tank

Geothermal Heat:

Interior Condition:

Thermal Mass:

Ground source heat pump collects hot geothermal water into an outdoor pool. Coils run underneath and main, insulated, line filled with thermally conductive fluid runs into building and distributes radiant heat to individual rooms.

The sloped condition of the roof creates variation in the heights of spaces which allows for maximum air flow and creates opportunites for air convection with varing placements in heights of natural and mechanical ventilation.

Direct sunlight that passes through glazing on south facade heats up thermally massive concrete topping on second floor and concrete slab on first floor. The masses store heat energy during the day and release it slowly at night. Works alongside radiant flooring system.

Integrated Building Systems Longitudinal Section

Building Cross Section

Black Water Composter

Equinox 24o

Winter 0o

pv panels indigenous plants in prevegetated live-roof coconut husk modules filled with engineered soil (150mm) filter fabric reservoir drainage layer moisture retention layer aeration layer extruded polystyrene (2x50mm) drainage layer root barrier protection course structural decking (15mm) 2” x 12” wood I-joists closed cell spray foam (100mm) gypsum board (15mm) latex paint/finish material

wood block support

metal flashing 300mm of gravel

plywood sheathing (13mm) 2” x 6” stud (50 x 200mm) plywood sheathing (13mm) drainage plane extruded polystyrene (2x50mm) three layers of overlapping wood nailing strips air space (20mm) wood siding (25mm)

latex paint/finish material gypsum board (15mm) 2” x 8” LSL Stud (50 x 200mm) closed-cell spray foam (50mm) plywood sheathing (13mm) drainage plane extruded polystyrene (2x50mm) air space (20mm) wood siding (25mm)

duct and conduit space

finish material reflective paper plywood sheathing (13mm) gypsum board (15mm) 2” x 6” LSL Stud (50 x 150mm) closed-cell spray foam (50mm) plywood sheathing (13mm) vapour barrier extruded polystyrene (2x50mm) air space (20mm) wood siding (25mm)

concrete topping (50mm) radiant tubing plywood decking 2” x 12” wood I-joists closed-cell spray foam (100mm) plywood ceiling (13mm) foil finish material

three alternating layers of nailing strips treatment room

triple-glazed, argon-filled, low-e coated, operable window with insulated metal frame, interior roll-down shade, fly-screen, and exterior vertical louvres

cast in place concrete slab with radiant tubes and steel reinforcing vapour barrier (200mm) extruded polystyrene insulation (50mm) locally sourced granular backfill to bedrock level (300mm)

rainwater collecting planting beds with 150mm concrete border, 150mm weeping tile and locally sourced granular fill

insect screen flashing protective cover

cast in place concrete slab with radiant tubes and steel reinforcing drainage plane (200mm) extruded polystyrene insulation (100mm) locally sourced granular backfill to bedrock level (300mm)

rainwater collecting planting beds with 150mm concrete border, 150mm weeping tile and locally sourced granular fill

Detail Sections

Accommodation/Spa Wall Section

MU S EO D EL L A C I T TA Professor: Lorenzo Pignatti Course: Design Studio Term: 4A “Consult the genius of the place in all; That tells the waters or to rise, or fall; Or helps th’ ambitious hill the heav’ns to scale, Or scoops in circling theatres the vale; Calls in the country, catches opening glades, Joins willing woods, and varies shades from shades, Now breaks, or now directs, th’ intending lines; Paints as you plant, and, as you work, designs.” - Alexander Pope

“Fundamentals consists of three interlocking exhibitions – Absorbing Modernity 1914-2014, Elements of Architecture and Monditalia – that together illuminate the past, present and future of our discipline. After several architecture Biennales dedicated to the celebration of the contemporary, Fundamentals will look at histories, attempt to reconstruct how architecture finds itself in its current situation, and speculate on its future.”

“Through illusion, painting can embody all kinds of acts and environments; sculpture populates space with gesture and with movement; architecture is the construction of an environment of volumes of space made in a structural way.” - Vincent Scully

- Rem Koolhaas on the 2014 Venice Biennale

The testaccio site contains significant urban artifacts of the Pyramid of Castius, Porta San Paolo, the Aurelian Wall, the Mattatoio former slaughter house and the Testaccio Hill. The urban re-design of the site attempts to establish a stronger link between these elements through architectural and urbanistic solutions. The form of the museum and its public spaces refer to the existing site conditions, in particular the rectalinear form of the Mattatoio. The central “quad” acts as the main public space for cultural and institutional buildings on the site. The museum and the public spaces wrap the existing fabric in an “L” shape, keeping the height at the same datum. A series of reflecting and inflecting spaces show and hide the internal program and buildings beyond creating zones of indeterminancy, light vs dark. Front View

Museo della Citta is a public institution with the goal of uncovering and understanding the fundamental elements that constitute the city of Rome. These are the unrelenting artifacts contained within the evolving urban fabric; surviving amoungst its layers of history, patterns, depths and complexities. They can be concrete or abstract, tangible or ephemeral, spiritual or secular. The idea is that they are the lasting elements that have definined the genius loci, the spriti of the place. The museum celebrates this spirit and strives to contribute to a dialog about the future transformations of the city.

The layers of the museum reveal the historical context much like an excavation, uncovering the depths of intricacy of the building and reflecting upon the complexity of the palimpsest of Rome as a city. The museum acts as a monad with it’s stark exterior and intricate layers and connections of spaces within.The zone between the new and existing buildings acts as a semi-private garden space that relates to the content of the exhibit spaces. In addition to main permenant gallery spaces, special exhibiton space is provided for temporary artistic + architectural projects revisioning the next evolution of the city of Rome. Answering the questions about the future of the city and Rome’s role in the greater context of the world.

Front Elevation

Side Elevation

Wall

Existing Urban Fabric Infastructure

Environmental Fabric

New Proposal

Site Programme

Cross Section A

Cross Section B

Cross Section C

Site Axonometric

Side View

Ground Floor Plan

Nature + Landscape explores the role of nature in the development of the city. A display of native species in a garden. - Flora + fauna - Tiber River - Hills of Rome - Geography + geology - Artificial landscapes - Manâ&#x20AC;&#x2122;s contol over nature - Manicured landscapes - Manipulation of water through aquaeducts - Earthly elements - Materials: Tuff, brick, concrete, marble, metal, glass, composite - Plinyâ&#x20AC;&#x2122;s Natural History - Ideal city/garden city references

Imago Hominis explores the depiction of humanity, life, culture, condition of human experience within the city. Evolving definition of beauty and ideal life of a culture throughout the ages. - Paintings + Sculpture - Female + Male Form - Political leaders - Classical figures - Evolution of representation - Film/Media - Photography - Fashion

10 12

History + Mythology explores duality in the life of the city between the know progression of history to itâ&#x20AC;&#x2122;s mythology and where the two overlap. The events, stories and myths that have lasted throughout time and have defined the spirit of the city. The exibition displays a collection of imagery depicting the founding and evolution of Rome from these two perspectives. - Stories of the foundation of Rome - Representations of classical myths and history - Romulus and Remus - Political events - The Church and The State

Forma Urbis + Architecture explores the elemental vernacular of Italian Urban architecture, the fundamental elements, and the evolution of space and form within the city. A feature exhibition of drawings of the city by artists and architects such as Aldo Rossi, Le Corbusier, Louis Kahn, a display of evolving elements similar to the biennale exhibit by Rem Koolhaas (spoli of columns, marbles, etc), a collection of imagery of urban artifacts thoughout time in Rome including layering of maps over time. - Elements of the city - Evolving plan of Rome - Fragments of the Marble Plan of Rome - Drawings from the 1978 Venice Biennale - Drawings by Nolli, Palladio, Piranesi, Rossi, Corbusier, Kahn, Venturi on Rome - Work from the Academies in Rome - Platonic forms - Evolving Urban Artifacts of the City

11 13

A H I K ER â&#x20AC;&#x2122; S O B S E R VATO RY Professor: Maya Prysbylsky Course: Design Studio Term: 3B Design Partner: Janice Woo

For the first time in history, more than half of the global human population lives in urban environments. Given this, more and more people are seeking ways in which to reconnect with nature. Architecture can play a role in this reconnection. By building refuges, such as farms, cottages and cabins architecture can aid in our ability to ‘get back to basics’ and connect with the natural surroundings we are seeking out.

The project is an exploration of design development operating within a computational framework to generate effect end response to specific site conditions.

The framework of this project lies in the accommodation of long-distance hikers along the Bruce Trail network spanning from the northern tip of the Bruce Peninsula to Niagara. Trails are maintained by multiple organizations, providing checkpoints and primitive shelters to hikers. Hikers carry all their own food, water, clothing, cooking utensils and anything else they may need to survive in the outdoors.

The main feature unique to this shelter is it’s ability to track three constellations, Ursa Minor, Cassiopeia and Ursa Major, which rotate around Polaris (the north star) in a cyclical fashion each night starting from a slightly shifted position. Their movement is predictable as it is based on the motion of the earth spinning on an axis as it moves around the sun.

The shelters that exist along the trail usually consist of the bare minimum - a floor, three walls and a roof - providing hikers with a holistic place to contemplate nature and recharge in anticipation of the next day. The site of The Hiker’s Observatory is situated at Rattlesnake Point on 15m x 15m cliff edge. However, the context that is most important to the project is it’s orientation facing north, latitude of 43.467o and the physical laws that govern the rotation of the earth around the sun, at the heart of our galaxy, in a sea of infinite other galaxies, which make up our unknowable universe.

Each shelter pod is uniquely designed to observe this phenomenon and to be calibrated to view the movement of a single constellation from start to finish on a specific night. This calendar of sorts takes the form of an oculus that can be opened, closed and rotated like an aperture of a camera.

The three shelter pods are designed to proved a hiker with an emersive experience in star gazing. Each pod is calibrated to track the movement of a constellation over a night on a specific calendar date.

We studied the night’s sky and used our findings to compose a computational simulation to aid in the process of design.

The position of the hiker as they gaze towards the night’s sky is important as their range of view and distance from the opening determines it’s size and effectively the design of the pod. These measurements were found using python script code to simulate the night’s sky, a person’s range of view and the sizes of the oculi.

C O N S T E L L ATION POS ITIO N S THROUGH T H E NI G H T The earth rotates 360o around its axis each day, or 150o each hour. Accordingly, the constellatons rotate 15o each hour for a total of 120o per 8-hour star-gazing night. JANUARY 21

FEBRUARY 21

MARCH 21

APRIL 21

MAY 21

JUNE 21

JULY 21

AUGUST 21

SEPTEMBER 21

OCTOBER 21

NOVEMBER 21

DECEMBER 21

JULY 21

AUGUST 21

SEPTEMBER 21

OCTOBER 21

NOVEMBER 21

DECEMBER 21

9PM

4AM

RA N G E O F M OTIO N TH R O U G H THE N IG H T Due to the orbit of the earth around the sun, the constellations appear to rotate slightly more than 360o, resulting in a gradual shift of position at any given hour each day. JANUARY 21

FEBRUARY 21

MARCH 21

APRIL 21

MAY 21

JUNE 21

4AM

R A N G E O F M OTION ACROS S TH E MO NT H

P R O J E C T I NG 2 D TO 3D

The position of each constellation at any given hour is rotated 0.986o (360o/365 days) from the position at that same hour the day before. The cycle starts again after one year.

Star-gazing guides show where to look in the night sky to find each constellation. In order to properly calibrate the pods to track a certain constellation, we must project the 2D image onto a 3D sphere.

9P M

01 023 0 4 0 5 0 6 0 7 0 8 0 9 0 1 1 2 1 3 1 4 1 5 1 6 1 7 1

PO S

N NS IO IT

1 1 8 0 9 2 1 2 0 2 1 2 2 2 3 2 4 2 5 2 6 2 7 28 39 310

01 02 03 04 05 06 07 08 09 11 12 13 14 15 16 17 18 19 01 20 21 22 23 24 25 26 27 28 29 30 31

IONS OSIT MP

CONSTELLATION POSITIONS TH ROUGH THE NIGHT To project the stars onto the dome correctly, the points must be projected radially (not vertically) outward. This will be the guide for calibrating the podsâ&#x20AC;&#x2122; oculi. import rhinoscriptsyntax as rs import math as m #Empty lists for each constellation---------------ursaMinor = [] ursaMajor = [] cassiopeia = []

Constellations are traced over found sky maps for June 21. This will be the reference date.

#Constellations compiled into list----------------constellations = [ursaMinor,ursaMajor,cassiopeia] #Constellation names -----------------------------constellationNames = ["Ursa Minor","Ursa Major","Cassiopeia"] #Layers Min = ["Min_Stars","Min_Sightlines","Min_Rings"] Maj = ["Maj_Stars","Maj_Sightlines","Maj_Rings"] C = ["C_Stars","C_Sightlines","C_Rings"] layers = [Min,Maj,C] anglePerDay = 360/365 anglePerHour = 15 + 3/73 hoursPerNight = 8 latitude = 43.46731 #Days in a year pSumDays = [0,31,59,90,120,151,181,212,243,273,304,334] june21 = 172

AXONOMETRIC

Taking a given radius, a line with a point at the end is drawn from the origin (0,0,0) to the edge of the circle (0,radius,0).

#Define origin origin = rs.GetPoint("Origin:") #Draw constellations in the sky for i in range(0,len(constellations)): constellations[i] = rs.GetObjects("Select stars in " + constellationNames[i] + ":",1) for i in range(0,len(constellations)): for j in range(0,len(constellations[i])): #Create a base line and point at length of radius edgePt = rs.AddPoint([0,7500,0]) radiusLine = rs.AddLine(origin,edgePt)

RADIUS

#Find angle to rotate radius line such that it aligns with star angle1 = rs.Angle(origin,edgePt) angle2 = rs.Angle(origin, constellations[i][j]) zAngle = angle2[0] - angle1[0] #Rotate radius line and edge point at angle just found rotLinePt = rs.RotateObjects([radiusLine,edgePt],origin,zAngle,None,True) #Project star vertically zDist = rs.Distance(constellations[i][j],edgePt) zStar = rs.CopyObject(constellations[i][j],[0,0,zDist])

The radius line and edge point are rotated to align with the start to be projected.

STAR TO BE PROJECTED

#Rotate radius line and edge point to create final radially-projected star finalLinePt = rs.RotateObjects(rotLinePt,origin,angle3[0],rotAxisVect,True) #Move lines and points to correct layer rs.ObjectLayer(finalLinePt[0],layers[i][0]) rs.ObjectLayer(finalLinePt[1],layers[i][1])

The distance between the star and the edge point is found and the star is moved upward along the z-axis by that distance (starâ&#x20AC;&#x2122;s distance away from the origin is inversely proportional to projection height).

The radius line and the edge point are rotated to align with the point projected in the previous step. The new edge pointis at the final projected position.

The same is done for all stars in the constellation.

#Dump all unnecessary guidelines rs.ObjectLayer([edgePt,radiusLine,rotLinePt[0],rotLinePt[1],zStar,guideLine,rotAxis],"DUMP") #Define Polaris as axis of rotation polaris = rs.AddPoint([0,20000,0]) polarisLine = rs.AddLine(origin,polaris) rotPolLine = rs.RotateObjects([polaris,polarisLine],origin,latitude,[1,0,0]) polarisVect = rs.VectorCreate(origin,rotPolLine[0]) #Get date month = rs.GetInteger("What month are we visiting the shelter?",None,1,12) day = rs.GetInteger("What day of month are we visiting the shelter?") #Find start position of constellation for that date dayOfYear = pSumDays[month-1] + day daysRotation = june21 - dayOfYear startPosition = daysRotation*anglePerDay maxStarDist = [] minStarDist = [] for i in range(0,len(constellations)): starDists = [] for j in range(0,len(constellations[i])): starDists.append(rs.Distance(constellations[i][j],origin)) maxStarDist.append(max(starDists)) minStarDist.append(min(starDists)) toRotate = [] for i in range(0,len(layers)): #Rotate the constellation toRotate.append(rs.ObjectsByLayer(layers[i][0])) toRotate.append(rs.ObjectsByLayer(layers[i][1])) toRotate = sum(toRotate, []) constellationsTonight = [] for j in range(0,hoursPerNight): constellationsTonight.append(rs.RotateObjects(toRotate,origin,startPosition+anglePerHour*j,polarisVect,True)) constellationsTonight = sum(constellationsTonight,[]) toRotate = [] visionRad = [] oculusCentres = [] for i in range(0,len(constellations)): maxStar = rs.GetObject("Which star in " + constellationNames[i] + "is farthest away from Polaris?") minStar = rs.GetObject("Which star in " + constellationNames[i] + "is closest to Polaris?") maxMinStars = [maxStar,minStar] for j in range(0,len(maxMinStars)): #Create a base line and point at length of radius edgePt = rs.AddPoint([0,7500,0]) radiusLine = rs.AddLine(origin,edgePt) #Find angle to rotate radius line such that it aligns with star angle1 = rs.Angle(origin,edgePt) angle2 = rs.Angle(origin,maxMinStars[j]) zAngle = angle2[0] - angle1[0] #Rotate radius line and edge point at angle just found rotLinePt = rs.RotateObjects([radiusLine,edgePt],origin,zAngle,None,True) #Project star vertically zDist = rs.Distance(maxMinStars[j],edgePt) zStar = rs.CopyObject(maxMinStars[j],[0,0,zDist])

POLARIS

POLARIS OUTER RADIUS

INNER RADIUS

The user is asked to input a day of the year. The script calculates the difference in days between the reference date (coded into the script and the given date, providing the appropriate angle at which to rotate the constellation around polaris. Eight positions are shown, correspoindign to the eight hours between 9PM and 4AM. The user is asked to input the distance between the oculus and the view. This will govern the inner and outer radii of the oculus (distance from viewer is directly proportiaonal to radius of oculus). The radii are drawn with the centre aligned to polaris, providing the geometry on which to base the oculus design.

#Create a rotation axis perpendicular to rotated radius line rotAxis = rs.RotateObjects(rotLinePt[1],origin,90,None,True) rotAxisEnd = rs.PointCoordinates(rotAxis) rotAxisVect = rs.VectorCreate(origin,rotAxisEnd) #Create guide line for second rotation guideLine = rs.AddLine(origin,zStar) #Find angle to rotate about rotation axis angle3 = rs.Angle2(guideLine,rotLinePt[0]) #Rotate radius line and edge point to create final radially-projected star finalLinePt = rs.RotateObjects(rotLinePt,origin,angle3[0],rotAxisVect,True) #Move lines and points to correct layer rs.ObjectLayer(finalLinePt[0],layers[i][0]) rs.ObjectLayer(finalLinePt[1],layers[i][1]) #Dump all unnecessary guidelines rs.ObjectLayer([edgePt,radiusLine,rotLinePt[0],rotLinePt[1],zStar,guideLine,rotAxis],"DUMP") visionRad.append(rs.Distance(finalLinePt[1],(rs.LineClosestPoint(rotPolLine[1],finalLinePt[1])))) oculusCentres.append(rs.AddPoint(rs.LineClosestPoint(rotPolLine[1],finalLinePt[1]))) #Find inner and outer bounding circles oculusRadii = [] oculusDist = rs.GetReal("What is the distance between viewer and oculus in millimeters?") for i in range(0,2*len(constellations)): visionHeight = m.sqrt(m.pow(7500,2)-m.pow(visionRad[i],2)) oculusRadii.append(visionRad[i]*oculusDist/visionHeight) #print ("max" if (i % 2 == 0) else "min") + " for " + constellationNames[int(m.floor(i/2))] + " is " + str(oculusRad) print oculusRadii oculusRing = [] for i in range(0,len(oculusCentres)): oculusRing.append(rs.RotateObject((rs.AddCircle(oculusCentres[i], 1.1*oculusRadii[i] if (i % 2 == 0) else 0.9*oculusRadii[i])),oculusCentres[i],-latitude,[1,0,0])) rs.ObjectLayer((oculusRing[0],oculusRing[1]),layers[0][2]) rs.ObjectLayer((oculusRing[2],oculusRing[3]),layers[1][2]) rs.ObjectLayer((oculusRing[4],oculusRing[5]),layers[2][2]) def degToRad(radians): return radians*m.pi/180 oculusPlane = rs.AddPoint(0,oculusDist,0) rs.RotateObject(oculusPlane,origin,latitude,[1,0,0]) for i in range(0,len(oculusRing)): ringMove = rs.VectorCreate(oculusPlane,oculusCentres[i]) rs.MoveObject(oculusRing[i],ringMove)

Front Elevation

Site Section

Site Plan

Pod Occuli (Top to Bottom) Cassiopeia, Ursa Major, Ursa Minor

Visualizations

S YS T EM S TA L K E R L A B Professor: Maya Prysbylsky Course: Design Studio Term: 3B

Image of Compiled Frames Phase 1 of System Stalker Lab Studio. An analysis of a physical phenomenon through parsing and filtering to create a working data set as well as numerically expressible rules capable of generating a rich but structured array of behaviours. Using logic observed (identified within the created rules) a sequential transformation of code is developed. My partner and I chose to â&#x20AC;&#x153;stalkâ&#x20AC;? a drop of ink diffusing in a glass of water. We simplified a raster photograph into a vector composed of 6 colour densities. Our analysis was based on the densities and their relationship to the overall system. We interpreted the structure of the system in a code-driven design. Aquired Data / Ink Drop / 15 Frames / 5s Duration

Surface Area Bounding Boxes

Density Bounding Boxes

Density Centroids

Age Progression of Nodes

FRAME 01FRAME 01

FRAME 02FRAME 02

FRAME 03FRAME 03

FRAME 04FRAME 04

FRAME 05FRAME 05

FRAME 06FRAME 06 FRAME 07FRAME 07 FRAME 08FRAME 08 FRAME 09FRAME 09 FRAME 10FRAME 10 FRAME 11FRAME 11 FRAME 12FRAME 12 FRAME 13FRAME 13 FRAME 14FRAME 14 FRAME 15FRAME 15

Analysis of density in proportional to age + density-centroid relationships

100

Step 1. Please draw one or more curves - Can be any length, any curvature, alng any plane (if any)

ORIGIN

Step 2. At what rate should the diamonds drop along the curve? - Some number between 0.7 and 1.0 How large should the original diamond be? - Enter distance from origin to each vertex, any real number (eg 100) - Each vertex represents a density of colour

Step 3. Move vertices to correct distance from origin relative to distance between origin and high - eg ratio of SL:L:ML:M:MH:H = 0:7.27:7.4:9.97:22.41:30.39 so if distance from Step 2 is 100, 100/30.39 = 3.29 so each distance is scaled up by 329%

Step 4. Subsequent diamond vertices moved towards or away from origin a random distance within a range determined based on data

Step 5. Each diamond rotated some random angle around the axis

Code interpretation of data using Python Script and Rhino 5

1 0 WE LL ESL E Y Professor: Philip Beesley Course: Design Studio Term: 2B

Render

The 10 Wellesley Tower proposes a mixed-use housing, retail and performing arts centre with a public park located in the urban fabric of downtown Toronto. The residential units take on a modified â&#x20AC;&#x153;scissor-stepâ&#x20AC;? formation. This creates opportunity for light to pass through the narrow tower as well as pocket garden/patio spaces to be shared by every two floors. The podium contains a performing arts centre along with the required service and retail spaces. A central atrium creates a cross section through the building, visually connecting Wellesley to the park at the rear of the building. A rooftop water feature flows through the rear atrium space and connects to the landscape of the park.

Bachelor

1 Bedroom

2 Bedroom

3 Bedroom

Live Work

Axonometric Section

Typical Condo Unit Plan

CHANGE ROOM

WEIGHT ROOM

CYCLE YOGA DANCE

HOT TUB

POOL

CHANGE ROOM

MECHANICAL

Amenity/Roof Plan MULTIPURPOSE

MULTIPURPOSE

MEETING

MAIL

STORAGE

LOBBY 1

LOBBY 2

OFFICE

SMALL REHEARSAL ROoM

WORKSHOP

WARDROBE

LARGE REHEARSAL ROoM FLYTOWER

Cross Section

WORKSHOP

Level 4 Plan OFFICE

OFFICE

STORAGE

4 PERSON DRESSING ROOM

12 PERSON DRESSING ROOM

FLYTOWER

Level 3 Plan CONFERENCE

CONFERENCE

STORAGE

STORAGE OFFICE

OFFICE

COMPUTER /STORAGE

PRODUCTION OFFICE

SMALL REHEARSAL ROoM

WORKSHOP

GREEN ROOM

PERFORMERS LOUNGE

LARGE REHEARSAL ROoM FLYTOWER WORKSHOP

Level 2 Plan

Longitudinal Section

BOX OFFICE RETAIL

RETAIL

RETAIL BAR CONCESSION

BAR STORAGE STORAGE

STORAGE

RETAIL

STORAGE

COAT ROOM

DIMMER ROOM CONTROL ROOM

STORAGE

PROGRAM STORAGE

GIFT SHOP

AUDITORIUM

THEATRE STORAGE

STORAGE

LIVE WORK GALLERY

WC KITCHEN WC

STAGE SERVICE

BAR

RESTAURANT

Site Plan + Ground Level

BA S I L I C A SA N V I TA L E Professor: Tammy Gaber Course: Iconography Term: 2A

Open Model

Using Peter Tonkin's description of “The Other” and Michel Foucault's description of “Heterotopia,” the role of the mosaics and iconography at San Vitale can be described as the physical connection between utopia and reality that makes palpable the dominant ideas and forces of both religious beliefs and social values. In such a way the mosaics act as the “heterotopic” mirror that reflects The Other by juxtaposing the two realms in one instance. Evidence of this can be seen by looking at examples in the mosaics of the apse and presbytery of the church. As part of the 2A Iconography course we studied early Christian cultural history. We were required to model and research a church, synagogue or mosque and relate a certain aspect of the architecture to “The Other”. Our group chose the Basilica San Vitale located in Ravenna, Italy. Materials included cardstock, plaster, paint and wood. Group Members: Evelyn Hofmann, Tamara Paolatto, Keturah Breckon, Kristin Allison, Anjie Liu, Monica Lalas

Closed Model

AT H R Ã&#x161; : R OU N D TA B L E Professor: Tracey Winton Course: Iconography Term: 2B

Every summer, the second year class at the University of Waterloo School of Architecture write, direct, produce and perform a play based on material covered in their Cultural History course. Taking R. Murray Schafer's writings on the â&#x20AC;&#x153;Theatre of Confluenceâ&#x20AC;? as a point of departure for non-contemporary theatre, our production team created an out of the ordinary theatre experience. This year's performance took place at Taylor Lake, where both the audience and the performers are engaged with nature. The Round Table was designed as a multi-purpose prop to function as the round table of King Arthur's court, as well as, the shields for the knights and king. As they come together in a round, they physically and symbolically unite their brotherhood. Group Members: Evelyn Hofmann, Katherine Holbrook-Smith, Bryce Clayton, Louis-Pierre Belec

WO O DWO R K I N G Professor: Heinz Koller + Dan Jessel Course: Woodworking Term: 3A

Coffee table with hand chiseled dovetail joinery

CHAIR DE SIGN Professor: Elizabeth English + Heinz Koller + Dan Jessel Course: Structural Design/Build Workshop Term: 3B Design Partner: Andrew Cole

Upright Configuration

Lounge Configuration

THE CUBE F_RM Lab ACADIA Adaptive Architecture Conference Fall 2013

L IGHT F ORE ST F_RM Lab Unsilent Night Cambridge Winter 2016

PR O FES S IO NA L

S YV E R S O N M O N T E Y N E A R C H I T E C T URE Winnipeg, Manitoba 4-Month Internship Spring 2013

Morberg Residence

NEW WOOD WINDOWS ON FRONT ELEVATION (TYP.) CHARCOAL/ BROWN

135 Marion Facade Renovation

NEW ROOF FLASHING (CHARCOAL /BROWN)

NEW HARD/BOARD FASCIA (WHITE)

PAINT EXIST. WOOD SIDING (TYP.)

NEW HOUSE NUMBERS

NEW FLASHING

NEW WOOD WINDOWS ON FRONT ELEVATION (TYP.) CHARCOAL/ BROWN

NEW WALL NEW ROOF FLASHING MOUNTED LIGHT FIXTURES (CHARCOAL /BROWN) (TYP.)

PAINT EXIST. WOOD SIDING (TYP.)

420

NEW HARD/BOARD FASCIA (WHITE)

NEW FLASHING

NEW HOUSE

NEW FLASHING

NEW WALL MOUNTED LIGHT FIXTURES (TYP.)

NEW POWDER COATED STEEL RAILING

420

01 EAST ELEVATION 3/16" = 1'-0"

NEW POWDER COATED STEEL RAILING

01 EAST ELEVATION

NUMBERS NEW CONCRETE STAIR & LANDING

NEW CONCRETE STAIR & LANDING

NEW FLASHING

EXISTING BRICK TO BE REMOVED & REPLACED W NEW CEMENT BOARD PAINT FINISH (TYP.) EXPOSED EXTERIOR FASTENERS

03 CONTEXT IMAGE

3/16" = 1'-0"

Callis Residence Facade Renovation

02 ENTRANCE PLAN 3/16" = 1'-0"

420 Boreham

201

420 Boreham

201

CALLIS RESIDEN ph - 204.947.3155 www.sm-arc.com

02 ENTRANCE PLAN 3/16" = 1'-0"

CALLIS RESIDEN 41 ph - 204.947.3155 www.sm-arc.com

S A U E R B R U C H H U T TO N Berlin, Germany 4-Month Internship Fall 2012

Cité de la Réalité Virtuelle Centre Competition Laval, France

Renders done by outside office

NON-INSTITUTIONAL OPTION MASTER PLAN

KING CORPORATE CENTRE

K I R KO R A R C H I T E C T S Toronto, Ontario 4-Month Internship Winter 2011

KING RD.

Group A

Group B

9,250 sq.ft.

Building E 7,880 sq.ft.

Building H

Building G

Building F

7,880 sq.ft.

5,985 sq.ft.

Building I

13,800 sq.ft.

26,465 sq.ft.

9,250 sq.ft.

Group A

Group B

15,500 sq.ft.

Group E

20,500 sq.ft.

Building D

Group A

8,300 sq.ft.

7,880 sq.ft.

P E R S P E C T I V3EDS P E R S P E C T I V E S

Group A

Building B

8,300 sq.ft.

Group B

8,300 sq.ft.

Building A

5,985 sq.ft.

Group F

5,985 sq.ft.

22,260 sq.ft.

5,985 sq.ft.

Building C

I N G C O RKPIO NR GACTO E RCPEONRTARTEE C E N T R E

Group D

8,300 sq.ft.

Public Trail

Group C

8,300 sq.ft.

Building J

Group E

40,040 sq.ft.

Old Methodist Cemetery

20,500 sq.ft.

Group C

Group D

JANE S TREET

7,880 sq.ft.

13,800 sq.ft.

5,985 sq.ft.

15,500 sq.ft.

Building K

Building L

Building M

Group D

Loading Area

Group C

9,250 sq.ft.

PARK Gro up F

22,2

Building A 46,740 sq.ft.

Building B

Building C

46,740 sq.ft.

Building D

46,740 sq.ft.

Building E 29,175 sq.ft.

Building F 23,720 sq.ft.

Building G 23,720 sq.ft.

60 sq .ft.

Building H 46,740 sq.ft.

POND ``B``

F t. up q.f ro 0 s G 2,26

POND ``A`` PARK 18m

PARK 3 Meter High Landscaped Berm

Site Plan OFFICE

KIN C OCITY RPORATE MIXED USE | GKING CORPORATION OF THE TOWNSHIP OF KING

CENTRE 20 Martin Ross Avenue, Toronto, Ontario M3J 2K8 T 416.665.6060 F 416.665.1234

PROJECT NO. 12001 March 7, 2012

kirkorarchitects.com

GROUP D TYPICAL CONCEPT

Site Overviews

INSTITUTIONAL INSTITUTIONAL

GROUP D TYPICAL CONCEPT

100

200

300M

SITE LEGEND

NON-INSTITUTIONAL NON-INSTITUTIONAL

XED USE | KING MIXED CITY USE | KING CITY RPORATION OF THE CORPORATION TOWNSHIP OF OF THE KING TOWNSHIP OF KING

OJECT NO. 12001 rch 7, 2012

20 Martin Ross Avenue, Toronto, Ontario M3J 2K8 20 Martin Ross Avenue, Toronto, Ontario M3J 2K8 T 416.665.6060 F 416.665.1234 T 416.665.6060 F 416.665.1234

PROJECT NO. 12001 March 7, 2012

MIXED USE

kirkorarchitects.com

KING CITY

CORPORATION OF THE TOWNSHIP OF KING Conceptual Elevation PROJECT NO. 12001 March 7, 2012

20 Martin Ross Avenue, Toronto, Ontario M3J 2K8 T 416.665.6060 F 416.665.1234

kirkorarchitects.com

BG FURNITURE Atelier

Walkerton, Ontario Winter 2015

ATELIER IN THE LIVING ROOM

BG Furniture

ATELIER

Living Room

Atelier

Living Room Concept Render

ATELIER IN THE BEDROOM

Handcrafting your dreams since 1927

Bedroom

Bedroom Concept Render

Product Brochure

Helsinki Nesting Cocktail Tables in Walnut 14” & 17”

Klaebu 94” Entertainment Unit in Walnut

P ER S O NA L

P H OTO G R A P H Y

Champs-Élysées at Night

Desert Mist

Balloon Pyramid over the Nile

Reflections on the Spree

I TA LI A N U R BA N S K E T C H I N G Professor: Tracey Winton Course: Italian Urban History Term: 4A

Teatro di Marcello

Urbino

Sabbioneta

Parma

Mantova

Siena

Pienza

EVELYN HOFMANN Email: LinkedIn: Issuu:

evelyn.hofmann@gmail.com linkedin.com/in/evelynhofmann issuu.com/evelynhofmann