Architecture and 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 t r e y. h o f f m a n n @ g m a i l . c o m
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804.690.1716
E d u c a t i o n Virginia Polytechnic Institute & State University Bachelor of Architecture, minor in Industrial Design Spring of 2014
European Travel Studio Bachelor of Architecture Fall of 2012
Washington & Alexandria Architecture Center Bachelor of Architecture Spring of 2013
E x p e r i e n c e GlavĂŠ & Holmes Architecture
Michael Winstanley Architects & Planners
Richmond, VA Schematic Design, Construction Administration, Construction documents, Site Analysis. Education, Historical, Residential, & Hospitality. June - August 2012 & August 2013
Alexandria, VA Model Making, Site Analysis, Construction Documents. Planning, Competition, Education, Historical. March - July 2013
S k i l l s Computer AutoCAD Photoshop Indesign Illustrator Bridge
Analogue
Revit Rhino VRay Sketchup Microsoft
Hand Drafting Sketching Model Making Photography
Craft
Printing Press Screen Printing Water Color Textiles Wood Metal
H o n o r s Printmaking Competition at WAAC
VSAIA Competition at Virgina Tech
Away at the WAAC
Chesapeake Bay Competition
Northern AIA Scholarship
Dean’s List
Alexandria, VA 2013 First Place
Blacksburg, VA 2013 Top 20
Alexandria, VA 2013 Top visiting student
Blacksburg, VA 2011 Competition Finalist
Alexandria, VA 2013 Second Place
2008-2013
R e fe r e n c e s
av a i l a bl e
upon
request.
CONTENTS RE-PLACE
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ROOM
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PIPES
25
STREAM
27
NETS
29
P E R S P E C T I V E 39
RE-PLACE Spring 2014 Washington, D.C. 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.
REQUIREMENTS: Single Residence, Gallery space, classrooms and labs. To utilize the existing structure as part of the new space.
3rd Street NW
T Street NW
W
4th Street N
Located in Le Droit Park, Washington, D.C. The surrounding area is dense historic residential.
Above; hand drawing, early diagram of concept. Below; charcoal drawing, site interpretation. The surviving party wall.
The design concept was focused heavily on the importance of the fire wall. The decision was made to remove it from it’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.
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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.
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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.
West Elevation
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.
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Garden
Main Entry Lobby
First Floor Plan
Event/Meeting
Residence
Lobby below
Second Floor Plan
Gallery
classroom
Gallery
Residence
North Elevation
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Student Lounge
Classroom
Gallery
Gallery
Event/Meeting
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.
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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.
Right; Plexiglass, chipboard, rockite, and basswood model. During construction. Above; Photograph of model and photoshop. Rendered view looking down access to residence.
Photograph of model and Photoshop. Rendered view of residence.
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ROOM
Fall 2011 Blacksburg, VA The project is an investigation of the construction of a room and its relationship to its surroundings. The site context is a corn field placed inbetween the boundary of a forest and a dirt road.
REQUIREMENTS: 500 square feet must relate to the exterior context
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 it’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.
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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.
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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.
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Photograph of model. View of lattice.
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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. Bird’s eye view of room. Below; Hand Drawing. Section model.
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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.
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PIPES
Summer 2009 Blacksburg, VA This is an 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.
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STREAM
Summer 2012 Richmond, VA I was commissioned to create a sculpture for Scents of Scerenity Organic Spa in Richmond, Virginia. 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 spa’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.
Above; Photograph of completed sculpture.
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.
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NETS
Summer 2014 - in progress... Blacksburg, VA NETS is a collaborative installation and is set to be openned September of 2014. The installation is to be placed in Moss Arts Center at Virginia Tech. I am co-creator and project architect for the team.
Within the building, the intended location is within a glass facade stairwell that faces downtown Blacksburg, Virginia. Above; Image of Moss Arts Center at Virginia Tech. Red Rectangle corresponds to image below. Below; Image of stairwell, through glass facade, where the installation is to go.
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.
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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.
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Above; Mold, created from plywood and nails, used for shaping PVC pipe. Below Right; reshaped PVC pipes glued together.
Below; Glued PVC ring hung from cieling. Rope is attached and prepped for netting.
Left; Netting process continues. Above; Detail photograph of rope attached and secured to PVC pipe. Below; Deatil photograph of how the process of netting ends.
Above; Photograph. Verifying proper dimensions of rope within net. Below; Photograph of jig used for drilling PVC pipe.
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Post construction of NETS, The objects were placed within a gallery to test lighting conditions, assembly and movement of the pieces. It was also the first time the objects were seen together. The following photographs were from this test. During this time we looked at different forms of lighting and color of light. We worked closely with a theater production team and a theatrical lighting designer for this process.
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PERSPECTIVE Spring 2013 Alexandria, VA This is a print series created with oil based inks run through a printing press. This series was an investigation in the construction sequence of perspective in two dimensions. The series grew as a means to challenge the understanding of perspective on paper.
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t r e y. h o f f m a n n @ g m a i l . c o m
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804.690.1716