ARCHITECTURE & DESIGN PORTFOLIO TREY H. F. HOFFMANN III
A compilation of selected work in design created by Trey H. F. Hoffmann, III.
TREY H. F. HOFFMANN III
D e s i g n e r, P r i n t m a k e r, C l i m b e r, H i ke r, M o d e l M a k e r, M u s i c i a n .
6 0 We s t 1 2 9 t h S t r e e t # 5 a N e w Yo r k , N e w Yo r k 1 0 0 2 7 t r e y. h o f f m a n n @ g m a i l . c o m (804)690-1716
Cicognani Kalla Architect, PLLC New York, NY
•Assisted with design of a new office website & Instagram. Edited por tfolio images & content for online gallery •Constructed mock ups for design presentations & internal office research. •Par ticipated in all design phases of projects as an integral team member •Provided drawing sets for bidding & construction with direct supervision of project managers & principals •Provided perspective drawings for client presentations •Par ticipated in client & consultant meetings & communicated directly with clients •Communicated with product vendors & provided schedules & order forms •Assisted with competition entries •Assisted in project management & review shop drawings & submittals under supervision of principals •Reviewed builder & consultant proposals & developed comparisons for internal use & client review •Created 3-D models for presentation & internal research
EDUCATION Virginia Polytechnic Institute & State Univeristy Blacksburg, VA Class of 2014 Degree: Bachelor of Architecture Minor: Industrial Design
•Satellite Campus:Washington & Alexandria Architecture Center Alexandria, VA Spring 2013
•Study Abroad: European Travel Studio Europe
•Microstation •AutoCAD •Photoshop •Indesign •Illustrator •Bridge •Rhino •VRay •Sketch Up •Microsoft
•Hand Drafting •Sketching •Model Making •Photography •Plaster/Rockite molds •Photography •Rendering
•Printmaking •Screen Printing •Watercolor
P u r s u i n g wo r k i n a r c h i t e c t u r e & d e s i g n : •that activates spaces & frames experience. • t h a t e n g a g e s c o m mu n i t y & t h e i n d i v i d u a l . Pur suing an Architecture License.
New York, NY ongoing Model Making, 3-D Computer modeling, Scenic Design, Sculpture, Printmaking
GLAVÉ & HOLMES ARCHITECTURE
Richmond, VA Summer 2012 & 2013 Schematic Design, Construction Administration, Construction documents, Site Analysis, Survey. Education, Historical, Residential, & Hospitality.
MICHAEL WINSTANLEY ARCHITECTS & PLANNERS
Alexandria, VA March - July 2013 Model Making, Site Analysis, Construction Documents. Planning, Competition, Education, Historical.
MEMBERSHIP & AWARDS
•Alpha Rho Chi: Metagenes Chapter •90.7 FM Blacksburg, Virginia Radio DJ (2009) •Printmaking Competition at the Washington Alexandria Architecture Center First Place (2013) •Top Visiting Students at the Washington & Alexandria Architecture Center 2013 •Northern Virginia AIA Scholarship Award Second Place (2013) •VSAIA Competition @ Virignia Tech Top 20 (2012) •Selected for Virginia Tech student work presentation for Accredidation Review 2012
CONTENTS: 1 UPPER EAST SIDE RENOVATION 11 WEST VILLAGE TOWNHOUSE COMBINATION 19 NEW & OLD DUPLEX 31 ROOM & GARDEN 43 NETS 55 PIPES 57 STREAM 59 PRINTMAKING
UPPER EAST SIDE APARTMENT RENOVATION PROGRAM: Renovation of Master Suite DURATION: April 2015-Present (Currently completing Punch List) TEAM: Cicognani Kalla Architect PLLC, V. DiSalvo Contracting Co. Inc., Uriu Nuance LLC, Audio Visual Systems, Inc.
Tasks & Roles:
•Designed iterations & produced perspectives, 3-D models, & mock ups. •Participated in client meetings •Reviewed bid proposals & developed comparisons with supervision. •Produced drawing sets for bidding & construction. •Made site visits to monitor construction progress. •Communicated directly with clients. •Reviewed shop drawings and submittals with supervision. •Communicated directly with suppliers and manufacturers. •Participated in meetings with builder, subs, & decorative painters. •Integral team member in internal design meetings.
The scope of work for this project was to create a modern reinterpretation of the client’s master suite. The clients wanted our office to create something special and unique to their apartment. From this request, we took existing datums and details from the apartment as influencers for our intervention.
There are two main rooms within the master suite.These rooms each share similar qualities in proportion, egress, and openings. By identifying these qualities we had selected what elements were opportunities to create a new spatial effect. Specifically, we had seen the doors, windows, and ceiling as our elements. Throughout the floor below doors are surrounded by elaborate trims and overdoors. We took this as inspiration for our modern counterparts in the master suite.
Before renovation... 2
TRIM ITERATION MOCK UPS
The Trims around the room were utilized as visual connections between the qualities outlined above. The stepping surfaces travel around the door and window trims then the height of the room at the corners and connects to the crown above.
before decorative finish Above, left; Door detail drawings. Door is designed to be flush with casing.
With decorative finish
To create doors as planar surfaces on the wall, they needed to be designed flush with their casings. Moving them into the room rather than the jamb. As the door plane is now in contrasting depth to the wall surface, we had selected contrasting finishes. The doors and trims are kept uniform and glossy; and the walls have texture and range in hues and tones. The walls also are glazed in mica, which has its own lustrous affect, providing changing pearlescent colors as you move through the room.
The incorporation of mica within the glazing added a reflective & refractive quality. The small agregates of the stone distribute light to the eye depending on the angle at which the occupant stands. Layering different values beneath the mica allow the reveal of different color variations in the absence of seeing reflected or refracted light. In this instance we selected for darker variations beneath the mica. This creates a larger spectrum of light to dark. The visual change dependant on the localized position or movement of the occupant creates an orientation of the person within the space.
The flooring type for the (2) bathrooms within the suite was client driven; due to thickness restrictions, budget, and need for permanence. Our office selected a ceramic slab which had been derived from an image of a Callacatta Stone slab. Each slab is derived from the same set of images derived from the same stone slab. Because we knew these options I had investigated possible patterns and could design the appearance of the floor. BOOKMATCHED CERAMIC SLABS
BOOKMATCHED CERAMIC SLABS
FOUR SLABS CONSECUTIVE
WEST VILLAGE APARTMENT COMBINATION PROGRAM: Combine the 3rd floor apartment with the 4th floor apartment of a townhouse DURATION: June 2016-Present (Currently under construction) TEAM: Cicognani Kalla Architect PLLC, Hudson Green Craft, Outsource Consultants Inc., ABS Engineering PLLC, Blue Sky Design, Level Acoustics LLC.
Tasks & Roles:
•Developed bid & construction sets. •Participated in client meetings. •participated in meetings & correspondence with builders, engineers & subs. •developed schedules & communicated directly with suppliers. •Created budget comparisons. •Participated in site visits with principals. •Surveyed existing conditions for replicating details from the upper floors. •Created multiple filing sets with supervision from principals & participated in meetings with code expeditors. •Designed iterations & produced perspectives, 3-D models, & mock ups. •Created landmarks filing sets for new windows on building exterior.
Project Site: 1940’s tax photo.
The client for this project had purchased the 3rd floor of this townhouse in the West Village for their growing family. They were very content with the design and aesthetic of their current apartment, the 4th floor and Mezzanine, and wanted to bring this to the 3rd floor.
4TH FLOOR & MEZZANINE + 3RD FLOOR
4TH FLOOR & MEZZANINE
Match Existing: WOOD RAILINGS WOOD TREADS PAINTED RISERS BEADED BOARD FLUSH BASES WIDE FLOOR BOARDS
The 3rd floor was gutted and constructed to be the private floor for sleeping, bathrooms, and laundry. This results in guests passing the private floor in their climb to the living and dining rooms. As a solution we designed doors, on Harmon hinges, to be integrated in design of the wall. When the floor is open, the doors fit in a niche in the adjacent wall; when the floor is closed the doors blend into the walls within their jamb. To sucessfully acheive this design the layout was driven by the dimension of the modular tongue & groove bead board from the floor above.
The combination of these two apartments changes the townhouse to a 2-family house. Making what was a public egress stair for multiple apartments into the entrance to our clients new home. We have proposed the language of the fourth and mezzanine floors be carried from the ground floor up through the staircase.
Entrance to lower apartment Entrance to lower apartment Entrance to 3rd, 4th & Mezz apartment
To create a connection between the 3rd floor and the upper floors on the rear facade the third floor masonry opening is reconstructed to match the proportions on the 4th and mezzanine floors.
NEW STEEL LINTEL
Third Floor under Construction...
NEW & OLD DUPLEX PROGRAM: Single residence, gallery space, classrooms & labs. Utilize the existing structure as part of the new space DURATION: Spring 2013 LOCATION: Le Droit Park, Washington, D.C. SCHOOL: Washington & Alexandria Architecture Center
3rd Street NW
T Street NW
The site condition of the project includes an existing house of historic significance. The house, constructed as a duplex, was half destroyed by a fire in 1944. The task given was to transform the house into a home for the Josef and Anni Albers Foundation. The Program is to include a residence, gallery, and area for education. It is also to intended to reclaim the space left behind after the fire.
4th Street N
The design concept was focused heavily on the importance of the fire wall. The decision was made to remove it from itâ€™s current location and replace it. This move allows the existing space within the unit to be expanded, then claims the space from its older counterpart. Above; hand drawing, early diagram of concept. Below; charcoal drawing, site interpretation. The surviving party wall.
A structural system was needed to support what was once supported by the fire wall.The structural system is made up of parts which are then assembled to create columns and beams which support the existing floors. The columns and beams are essembled based on the drawing to the right. The assembly allows for a reveal to be created between the columns and beams.The reveal between the parts is an expression similar to the wall being separated from the existing building.
Right; hand drawing, exploded column detail. Below, hand drawing, section drawing, view into existing building.
The column placement is designed not to disrupt flow between rooms but to also allow the columns to occupy the new and old space. Allowing the new structure to weave into the old creates a simultinaety of a singular building that represents two separate time periods. Above; chipboard, cardboard, basswood, and rockite model. Left; hand drawing, site analysis of existing building. Below; Photoshop, photography, and model rendering. View into gallery.
The reconstruction of the wall is to be done in fragments. A steel structural system, which mimics the interior column system, is placed to frame the fragments of the wall.
Left; Photograph of existing building. Below; Hand drawing. West elevation, reconstructed party wall.
The repeated column detail within the wall began an exploration of light. The column allows light to enter through the reveal between column parts. The decision was made to use the edge of glass. Utilizing glass in this orientation refracts and concentrates light. The lines produced from the refraction begins to establish spacial boundaries within the gallery and lobby.
Left; Glass and chipboard model, Photoshop. Model of lighting affect. Above; AutoCAD. Exploded assembly of column. Below; Photograph of model, Photoshop. View into first floor lobby.
Main Entry Lobby
First Floor Plan
Second Floor Plan
Above left and right; Photograph of model, North facade and main entry.
Section through Gallery; View to North.
Above; hand drawing, Section. Right; Chipboard, Rockite, and Basswood model. During construction and design.
The spatial organization of the new half was determined through the discovery of the section revealed by the removal of the fire wall. Keeping the section exposed allows each room to participate with the lobby and gallery because of its verticality. The Gallery begins on the second floor and spans the new and old construction.
Above; Photograph of model and photoshop. Rendered view looking up from the lobby.
Right; Plexiglass, chipboard, rockite, and basswood model. During construction. Above; Photograph of model and photoshop. Rendered view looking down access to residence.
The residence, placed at the back the context, is designed for the head of the foundation. The residence is designed for privacy but also maintains a connection to the gallery and classrooms. This connection is established through a translucent curtain wall placed at the center axis of the building. The translucency allows for southern light exposure without revealing the privacy of the home.
Photograph of model and Photoshop. Rendered view of residence.
ROOM & GARDEN PROGRAM: 500 square feet interior space that relates to exterior DURATION: Fall 2012 LOCATION: Blacksburg, VA SCHOOL: Virginia Tech
The room is created by an interval of lines applied to a form. The interval creates the modular for material and establishes an ordering system for construction. The lines become present through the material.
Right; AutoCAD. Diagram of lines. Below Left; Chipboard, basswood and plexiglass model. Early model during design. Below Right; Hand drawing. Site plan.
The lattice, created by placing material between pairs of lines, is a boundary that allows the communication of interior and exterior. The opennings between the materials, designed to be wood, is where the garden becomes a part of the experience of of the room. The lattice is placed as the east and west facade. As the sun makes itâ€™s path throughout the day, light and shadow creates a temporal aspect of the line order. Placing the walls as such allows for cross ventilation. Through ventilation the garden and room are able to share breeze and aroma.
Below; Photograph of model.
Each wood band is angled outward. The angles in the bands of the lattice are determined by placing a diagonal line on the facade. Where the band and the line colide the angle is placed. These angles are a means of extending the interior to the exterior.
Left; Photograph of model. Shadows. Below; Photograph of model. Column detail.
Above Left and Right; photograph of model. During construction Right; Photograph of model. Approach to room.
In contrast of the lattice, the north and south boundaries are made from a gray stone designed within the constraints of the lines. The heavy masonry constrasts the light feel of the wood lattice.The opaquness of the walls accentuate the east and west boundaries and provides a canvas for the shadows of the lattice.
Below; Hand drawing. Elevations of Room.
Six columns support the linear nature of the lattice structure and hold up 3 glue laminated beams that support the roof of the structure. The lattice merges into the structure of the stone walls. The stone is held in place by CMU bricks.
Right; Hand drawing. Column detail. Below; Photograph of model. Column function. Next Below; Photograph of model. Lattice meets wall and column detail.
Right; Hand Drawing. Wall section of stone wall. Above; Basswood and plexiglass model. Roof of room during construction. Below; Basswood and plexiglass model. Beams and ceiling of Room.
Photograph of model. View of lattice.
Right; Photograph of model and Photoshop. Rendered view of door. Above; Photograph of model. View of door. Below; Photograph of model. View of door.
The south facade splits to form the entry. The gap, created by the split, is spanned by glass to reveal the interior. The door adheres to the same linear rule as the rest of the building. It opens by sliding it into the building. The door is hung on a track which enables the ability to slide open and closed.
Above; Photograph of model. Birdâ€™s eye view of room. Below; Hand Drawing. Section model.
Above; Photograph of mode. Glass wall lifted to ceiling. Right; Hand drawing and AutoCAD. Diagram of wall moving.
Glass walls were designed to create enclosure within the lattice. The glass walls act as doors which can be lifted to open the room to the exterior. The top of the door is weighted to allow this movement to occur without mechanics.
The room is a retreat.The lines begin in the cornfield, the occupant moves along a path of wood planks to the building; a line of red maples accents the background of the view at approach. The door slides open and is closed behind the occupant. The glass partitions are lifted. The occupant is in a safe and secluded space. The place is ordered and simple. The sounds of nature and the wind move through the building.
Above; Photographs of red maple trees. Above Right; Laserjet print, Xylol, and watercolor. Image of Room with trees. Below; Photography and Photoshop. Collage of Room with Garden.
NETS INTENT: Activate a highly visible space in the Town of Blacksburg, Virginia. DURATION: March 2014 - present (Currently on display) TEAM: Prof. Paola Zellner-Bassett & Textile space @ Virginia Tech, Moss Arts Center @ Virginia Tech, Prof. Tom Martin, Nicole Branch-Seavy, John Knuteson, Student Volunteers.
Tasks & Roles:
•Project manager & integral in the design of the project. •Presented the project to the town at Moss Arts Center. •Integral in the construction of the project. •Kept log of project expenses. •Coordinated with the management of the Moss Arts Center. •Integral in the testing and decision making for the quality of the installation.
Above; AutoCAD. Drawing of netted objects. Right; Rhinoceros and VRay Rendering. Diagram of movement and spatial arragnement of objects.
The installation comprises of five cyllindrical NETS, lights and motors.The lights and motors are attached to a live weather feed from the surrounding area. This provides a performance that is constantly changing. Two NETS move up and down at a speed determined by humidity levels. The color of the lights are determined by barometric pressure, this is to provide a change in color as storms enter the area. Lastly, the intensity of light is determined by a ratio of temperature throughout the day to provide a higher light intensity during the day.
Yarn, PVC, zip-ties, and LED light fixture. Photographs of prototype used for testing lights and learning construction.
The process involved several prototypes and many forms of testing. Lighting was an integral part of the testing. The complexity of a netted textile provides a complex shadow, because of this the shadow became a part of piece.
Above; Photograph of zip-tie use in netting. Below; Photograph of another prototype used for learning construction Right, Photograph of shadows casted by prototype.
Summer 2009 Blacksburg, VA
This is a furniture investigation of planes and lines. The Pipes and surfaces create the lines and planes. The pipes are held in place by the top and bottom surfaces and the surfaces within are held in place by the pipes. The parts come together and create the completeness of the form.
Above; Photograph of completed table.
STREAM INTENT: Create an artistic interpretation of the Scents of Serenity spa. DURATION: Summer 2012 - present (Currently on display) LOCATION: Richmond, VA The spa prides itself in using natural and organic products, because of this the spa has stylized itself to the natural environment. The sculpture was requested to mimic the style of the spaâ€™s logo but also to provide a unique piece of art for the lobby.
The logo of the spa is derived from the shape of a raindrop. I wanted to keep this shape, and maintain the idea of the water, however think of the water running like a stream rather than falling from the sky. Above; Company Logo Below; Photograph of sculpture. Concrete still curing.
Stones within the stream forms the abbreviation for Scents of Scerenity. The stones, made from concrete, are caste around a steel frame which is clad in mirrors. The mirrors symbolise the flow of water. The piece was then ornamented with mosses and plants.
Above; Photograph of completed sculpture.
The following pages are investigations in monotype printmaking. The artistic processes or which are architectural in the study of forms of colors to create notions of spacial recognition. The studies compose these shapes to evoke depth, volume, interstitial, void, corners, movement, and object.