HAYDEN MICHAEL MOFFITT
CONTENT
03 Resume
08-11
BLUESTEM
Professor Shelby Doyle Design Build Studio Spring 2018
12-15
The Nest
Professor Shelby Doyle Design Build Studio Spring 2018
Disrupt/ Displace
Professors Shelby Doyle and Leslie Forehand La Biennale di Venezia Fall 2016
16-21
Hotel Amador
Professors Thomas Leslie and Lee Cagely Studio Fall 2017 with Shelby Worth and Kayley Tuchek
3D Printed Cast Facade: Prototype
Professor Shelby Doyle File to Fabrication Fall 2017 22-23
04-07 24-25
Drawing Culture
Professor Pete Goche Drawing Culture Spring 2017
BLUESTEM
BLUESTEM is named after a native Iowan tall-grass and pays homage to the prairie which once covered nearly 80% of Iowa. Two hundred tall, thin poles occupy a base of mulch and a path of pea gravel. These poles meet the ground at varying angles and orientations, creating a moiré effect and a feeling of movement reminiscent of tall-grasses swaying in the wind.
Colors similar to native fields were used to emphasize way-finding and to define internal spaces and clusters of seating. Shades of magenta and aqua define the lengths of the poles, while a lighter pink marks the top face, signifying the seed heads of the grasses. BLUESTEM reminds the occupants that they are part of the ecosystems that once covered most of Iowa.
BLUESTEM was a design- build project completed in May of 2018 at the Iowa Arboretum, a non- profit, by a combination of fourteen architecture, landscape architecture, and interior design students at Iowa State University in Ames, Iowa.
Upper Left: Photo of final project installed at the Iowa Arboretum.
Upper Right: Detail shot from the path.
Lower Right: Section drawing of BLUESTEM
Upper Left: Proposed rendering of BLUESTEM at the Iowa Arboretum.
Upper Right: Proposed plan of BLUESTEM
Lower Left: Detail of 2.5’ PVC pipe installation in the ground and connection to painted 2” x 2” cedar
Lower Right: Detail as an assembly
The Nest
The Nest is a direct engagement with the native plants of Iowa. Not only is this pavilion unique to Iowa in its use of native plants, and even more unique to the site, the Iowa Arboretum, by using site harvested brush as a skin. The Nest showcases how plants can be used as more than just something you look at, but also as a material to construct habitats.
The Nest epitomizes the dichotomy of the human perceptions of the natural world. Taking the architectural elements of bird’s dwellings, or nests, and imposing human ideologies directly applies to the arboretum’s mission of preserving native plants in a designed environment.
Upper Left: Model photo
Upper Right: Model photo
Lower Right: Model photo
Disrupt/ Displace
REPORTING FROM THE FRONT
Alejandro Aravena
“Reporting from the front will be about sharing with a broader audience, the work of people that are scrutinizing the horizon looking for new fields of action, facing issues like segregation, inequalities, peripheries, access to sanitation, natural disasters, housing shortage, migration, informality, crime, traffic, waste, pollution and participation of communities. And simultaneously will be about presenting examples where different dimensions are synthesized, integrating the pragmatic with the existential, pertinence and boldness, creativity and common sense.”
In response to Aravena’s statement we identified the Bakken Oil Pipeline as a FRONT and a field of action to REPORT. The Bakken Oil Pipeline is spatial condition with social, cultural, and political ramifications. This REPORT is a record of a two-month dialogue about the complexities of architecture’s relationship to political and social issues. Many of the ‘fields of action’ in our world today are exceedingly complex issues, and the Bakken Pipeline is no different. The conflict surrounding the pipeline is intensely political and recent media coverage is only bringing more problems to light. Any built or designed space may address certain, specific needs of the pipeline, or conversely, those it affects. However, through iterative models and discussions we can not see a way in which architecture helps solve the problem of the Dakota Access Pipeline. Rather than providing a clear answer this process has stirred up additional frustrations, questions and concerns about architecture as an agent of social change.
Upper Left: Above view of the disrupt/ disturb grid after our practice installation in Ames, Iowa
Upper Right: Unpacking and assembling the cardboard pieces at the Venice Biennale
Lower Right: The Jeffersonian Grid divided the territory into a sequence of nested grids from townships, to sections, to quarter sections, to checks, and individual plots of land. Each section of the Jeffersonian Grid is abstracted into a unit that when aggregated becomes a representation of the gridded landscape.
This project, completed by fifty-five architecture and interior design students at Iowa State University in Ames, Iowa, United States, and five architecture students at Roma Tre University in Rome, Italy, is a collaborative response to the call set forth by Alejandro Aravena for La Biennale di Venezia 2016. This project was under supervision by instructors Shelby Doyle, Leslie Forehand, and Graduate Assistant Andrew Meyer.
Our installation was a two part movement. The first being the organization of the grid of units. The second is the intervention of a deconstructed diagonal.
It was crucial that the units become altered and deconstructed. Displacing them was simply not enough to convey the implications of the pipeline in real life, therefore disruption to the unit itself must also be present. Upon arriving in Venice the first step in assembling the installation was to remove and construct all of the pieces into three-dimensional forms. Upon completion of the pieces they were collected in an unorganized pile signifying the unstructured nature of the American landscape prior to the implementation of the Jeffersonian Grid. The enactment of the grid was then organized as the pieces are spread evenly across the space.
The deconstruction of the landscape takes places as two members of the group removed and dismantled the pieces. The land disturbed from the landscape is not removed and as such the pieces were replaced as deconstructed flattened pieces within the confines of the void. In order to encourage people to engage with the space and complete the disturbance within the boundaries of the grid the whole group marched over the void, further flattening the pieces, and leaving the space chaotic in its destruction. Interaction with the space was almost immediate, with people engaging with the space and experiencing the spatial implications of the pipelines cutting through the landscape in a physical form.
Upper Left: Installation in Venice
Upper Right: Colleagues disrupting the grid at our installation in the Venice Biennale
Lower Right: Final disrupted and disturbed grid at the Venice Biennale
Hotel Amador
Located on the Amador Peninsula in Panama City, we developed a Micro-tel focused on guest experience. When tasked with designing a micro hotel, we focused on the surrounding environments and really capitalized on social opportunities throughout, to draw guests out of their rooms and allow them to experience what the peninsula has to offer. After examining the site and identifying 6 surrounding attractions, we developed 5 basic tower floor-plates that lay over a 9 m by 9 m grid, to optimize our partially below grade parking structure. We decided on a perforated metal panel system allow for shading in the year round sun without obstructing the views out. We went on to incorporate warmer, indoor/ outdoor interiors to make the guests feel comfortable and more inclined to utilize these social environments.
Upper Left: Outdoor social space rendering
Lower Left: 5 tower floor-plates
Upper Right: Night exterior rendering
Lower Right: Site evaluation and circulation diagram
Far Left: Axonomextric floor plate diagram
Upper Left: Ground floor plan
Lower Left: Suite room plan
Upper Middle Right: Spa floor plan
Upper Right: Bar floor plan
Lower Right: Standard room plan
Upper Left: West facing section
Lower Left: East facing elevation
Upper Right: North facing section
Lower Right: Exterior rendering of lobby entrance
At the beginning of the design process, I began with the simple 2D Y. From there, the goal was to make another versatile piece that would allow for multiple configuration types. Without mirroring any of the sides on the chevron, it allows for 4 separate faces on the piece, allowing more maximum versatility.
Throughout the process, five different molds were printed, using a Dremel 3d Printer and then filled with rockite. With each iteration, dimensions were slightly changed to allow for better stack-ability, easier removal, and more abilities for stacking/ standing without assistance.
Once there were multiple individual successful casts and molds, i began experimenting with the combining of iterations to create more variation among the push and pulls on the chevron.
This Chevron could be used as a rain screen, a light system, or as a way of casting shadows down the facade. With the variations on the depth of the facade, it allows an ideal situation for rain to run down. As we scale up, there will be options for removing pieces and allowing for light to penetrate through.
Maintaining flat edges that easily lay and stack together was a large priority for the piece. I believe creating something elegantly simple geometrically allows the shape to shine as part of a larger configuration.
Upper Left: Detail photograph of configuration
Upper: Plans and elevations of an individual piece
Upper Right: Single freestanding mold piece
Lower Right: Molded piece plus 3D printed mold
Drawing Culture
By creating guidelines for myself, I restrain where the drawing goes but am provided with endless possibilities. I began by taping off perspective lines on the blank wood. I then painted over it and repeated that process. The drawing consisted of four phases, the last being the removal of all of the tape to reveal what was created. The beauty was in the process and reveal. As Stoppani states in Mapping the locus of the project “... the construction of the map become the itinerary of a research endeavor that is endless and impossible to fix in a finite form... The object of the novel is not the map itself, but the process of the making of the map and the endless and yet every insufficient knowledge that inform it.” My intention was for the series of drawings to disappear entirely off of the canvas, creating an infinite space adding depth through the many layers.
Upper Left: Painting study
Upper Right: Hand Drawing
Middle Right: Hand Drawing
Lower Right: Hand drawing taken and altered digitally
