Matthew Hoffman Portfolio


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Matthew Hoffman Portfolio

  1. 1. MATTHEW HOFFMAN The Pennsylvania State University Bachelor of Architecture 360 W. 127th St. New York, NY 10027 p: 717.201.6746 e:
  2. 2. MATTHEW D. HOFFMAN JUNIOR ARCHITECT Work Experience: 2010: May - currently: C-LAB, New York, NY. Jeffrey Inaba. 212.989.2398 Worked in teams of 2-3 on projects ranging from the scale of a pavilion for the New Museum and an entry to the Sukkah City Competition, to a large-scale housing development in St. Petersburg Russia, in collaboration with Neil Denari’s office. 2009: June - September: RSH Architects, Pittsburgh, PA. Art Ruprecht, AIA. 412.429.1555 2009: May - July: The Manhattan Airport Foundation. New York, NY. Joe Stevens, Freelance Writer / Director, 917.843.8165 Published in The Guardian UK, The Huffington Post, U.S. News & World Report among others. Developed and created all images for the website, an art project to satirize urban development initiatives and draw public attention to the shortcomings of our air transportation infrastructure. 2008: September - December: Design Logic Architecture. Philadelphia, PA. Tunde Kazeem. 215.925.0700 2008: May - August: DigiFAB website and digital fabrication. Professor David Celento. 814.865.3682 Education: 2005 - 2010: The Pennsylvania State University, State College, PA. Accredited five-year Bachelors of Architecture degree. 2009: January - May: Sede di Roma, Rome, Italy. Semester abroad: Cartography, Urban Studies and Analysis, Italian Language.
  3. 3. Publications in progress: Reconstruction: Studies in Contemporary Culture. “ART MEADOW: The Feral Artscape.” MAS Context. PUBLIC issue, “superFUND.” ASSEMBLY. “Towards an Art Experience.” Publications & Awards: 2010: May: Runner-up: Design Excellent Award. Honorable Mention: Kossman Thesis Awards. 2010: March: College Award for Creative Achievement. Recognizes students who exemplify the objectives of the college with respect to enhancement of the arts. Students are selected based upon their creative work, academic excellence and service contributions. 2010: January: Stewardson Memorial Competition - Finalist. Comments from the Jury: “This entry engaged the site and the existing structure utilizing it as a driver. The Andrew Wyeth-esque imagery was strongly compelling and served as a reference point. This was perhaps the most emotive and poetic image in the competition. The design was unique, in presentation, attitude towards the site, and in its imagery and palette. The effect could be measured as much in the silent contemplation of those considering it as in their comments.” 2009: Semptember: Corbelletti Competition. Excellence in Graphic Design. 2008: May: Design Excellence Award. Excellence in design studio at the third-year level. 2007: September: Corbelletti Competition. Finalist. Skill set: Computer: Working experience with FormZ, Rhino, Sketchup, VRay, Autocad 2010, Final Cut Pro, Photoshop, Indesign, Illustrator, Flash. Model building techniques: 3D printing, Laser-cutting, CNC milling. Excellent hand-drawing techniques.
  4. 4. CONTENTS Sukkah City Slavyanka Masterplan ART MEADOW: The Feral Artscape Stewardson Competition Termini Station Mixed-Use Fraser Center The Manhattan Airport
  5. 5. SUKKAH CITY 2010
  6. 6. Facade & Massing Studies
  7. 7. ART MEADOW, the Feral Artscape or the Distributed Creation of Art in an Atomized Society
  8. 8. Matthew D. Hoffman Thesis Advisor: Peter Aeschbacher
  10. 10. ART MEADOW, the Feral Artscape Feral Artscape [feer-uhl ahrt-skāp’] media on identity, and applying this as an museum and gallery environments. ART MEADOW The creation, expression and re-appropriation of ART in its wild state, like wild animals or plants; not analogy to the creation of art, it is possible to [museum + nightclub + sandbox + sovereign city-state] domesticated, cultivated or censured; ferocious. create a new type of community completely will resurrect the process of creating, experiencing and Currently there is a great divide between the process devoted to exhibition and whimsical creation. immersing oneself with ART by removing the idea of of making ART [the artist’s studio] and experiencing In order to bridge this gap and create a new the artist as the solitary creator and replacing it with ART as a spectator [the art museum or gallery]. The ART EXPERIENCE, a new type of environment an environment of continuous creation brought forth traditional model of art museums and galleries has must be created which destroys the division between by collective involvement. long served as a barrier between artistic creation artwork and spectator and in its place constructs a The necessity of this space leads to an abandonment and appreciation, which has led to a banal and collective involvement in all aspects of a moment in of the architect as a creator of exact and unbending soon to be irrelevant architectural form. We are time, from the décor, to the actions of the inhabitants. space through the formal enclosures of floors, walls spoon feed collections along a predetermined This project creates a new LANDSCAPE OF and ceilings, and instead replaces the traditional role of path, which leaves little room for a truly personal MOVEMENT that takes the form of a massive urban the architect with that of a strategist of space creation, experience or understanding of the artistic process. playground in Central Park, New York. outlining processes of space-creation through models In contrast to this, the Internet thrives on constant Using the theories of the Situationists [Constant’s and kits of architectural pieces to then be appropriated input and feedback, an ability to freely and instantly New Babylon], ideas of Bigness [Voluntary Prisoners and altered by amateur designers in an environment reconstitute itself. The ease and availability by OMA], and architecture of the endless interior devoted to the continuous creation of ART. of content creation and re-appropriation has [MVRDV and SANAA] as springboards, this project changed the way that we operate as individuals seeks to create a new typology that will save art and and as a society. By analyzing the effects of new the artistic experience from the drudgery of existing
  11. 11. TOWARDS AN ART EXPERIENCE Inhabitants will transform and recreate their surroundings within the structure, according to their artistic vision. All movement and action will become a part of the artistic endeavors of the whole, thru an uninterrupted process of creation and re-creation, sustained by a generalized creativity that is manifested in all domains of activity. The inhabitant is invited to bring along an arsenal of tools and materials to facilitate their experience in ART MEADOW. Likewise, the unprepared user simply re- appropriates found materials already within the structure. The seasoned veteran could develop an entire outfit for his self, or assemble a team of like-minded explorers for their expedition into the depths of ART MEADOW.
  12. 12.
  13. 13. THE SOLUTION:
  14. 14. Artistic Creation Freedom to Play Modification of Aggressive / Destructive Influences Search for Beauty Recreation of a Lost or Ruined Object Form as Content Conceived in Terms of a Medium and a Culture Artistic Appreciation Unconscious Re-living of the Artist’s Experience of Creation Search for Fulfillment of an Emotional Need Aesthetic Experience Occurs by Chance Creation in Virtual-Space Infinite Divisibility [de-centralized administration, infinite monkey theorem] Crowd-Sourcing [collective intelligence, distributed participatory design] Fabrication / Adaptation of Identity [-isms, role-playing] Viral Phenomenon / Memes [amateur celebrities, viral] Cyber-Terrorism [hacktivism, google bombing, flashmob] Tribal Formations [minority style, fringe movement] Project Guidelines Crowd-Sourcing Artistic Endeavors Unrestricted Movement through Space Ability to Invent Identities Transparency of Actions Super-Compression of Interaction Mobile Sense of Place Hierarchy Defined by Movement
  15. 15. E O T M The creative act MUST be a social act! Erasure is taking things away, Origination is a point in time Transformation indicates a Migration describes things making space. where something new begins continuous change between moving from one point to to happen, origination sets two states of an object or another, things that leave something into the realm of situation; change with a and don’t return, of which the other, it is the basis for beginning and an end. sometimes traces remain. reaction. As applied to INDIVIDUALS The Art Process [Existing] Add Crowd Add Space The Art Experience As applied to MOVEMENT Tree-Hierarchy [Existing] Scatter Destinations Connect All movement & action become a part of the artistic process As applied to ARCHITECTURE Generate a Field Define Programmatic Elements Combine & Scatter! Final Structure
  16. 16. They wander through the sectors of New Babylon ART MEADOW seeking new experiences, as yet unknown ambiances. Without the passivity of tourists, but fully aware of the power they have to act upon the world, to transform it, recreate it. They dispose of a whole arsenal of technical implements for doing this, thanks to which they can make the desired changes without delay. Just like the painter, who with a mere handful of colors creates an infinite variety of forms, contrasts and styles, the New Babylonians can endlessly vary their environment, renew and vary it by using their technical implements. This comparison reveals a fundamental difference between the two ways of creating. The painter is a solitary creator who is only confronted by another person’s reactions once the creative act is over. Among the New Babylonians, on the other hand, the creative act is also a social act: as a direct intervention in the social world, it elicits an immediate response. The artist’s individual creation seems, to other’s eyes, to escape all constraint and ripen in isolation. And it is only much later, when the work acquires an undeniable reality, that it will have to confront society. At any given moment in his creative activity, the New Babylonian is himself in direct contact with his peers. Each one of his acts is public, each one acts on a milieu which is also that of the others and elicits spontaneous reactions. All action, then, loses its individual character. On the other hand, each reaction can provoke others in turn. In this way interventions form chain reactions that only come to an end when a situation that has become critical ‘explodes’ and is transformed into another situation. The process escapes one person’s control, but it matters little knowing who set it off and by whom it will be inflected in turn. In this sense the critical moment (the climax) is an authentic collective creation. The yardstick, the space-time framework, of the New Babylonian ART MEADOW world is the rhythm in which each moment succeeds the last. -Excerpt from New Babylon Constant Nieuwenhuis
  17. 17. CENTRAL PARK, NYC “Creative activity may be the closest thing to a natural resource in New York, but it is also a little understood and long overlooked asset, and one that can no longer be taken for granted.” Creative New York, Center For An Urban Future Not only does New York City have the art capital in place for such a landscape, but the model upon which Central Park was created [The Greensward Plan] provides a basis for my own project by outlining a model of movement, views and destinations, knitted together with a false topography. Using this model yields a new dense landscape condition which becomes a natural extension of the ideals of Central Park and the landscape itself.
  18. 18. Annual Museum Attendence 1,000,000+ 500,000 - 1,000,000 250,000 - 500,000 <250,000
  19. 19. THE GREENSWARD MODEL In many ways the creation of Central Park erased the natural and replaced it with a simulation of the natural. This artifice seeks to accomplish what was “The park was to be a Republican Institution where the Guidelines: expected of a natural landscape. The model of Central classes would mingle as a single collective in the spirit of • Landscape of desire Park sought to accomplish a certain set of goals for the democratic fraternity. It was to be a pleasure ground where • Naturalness [or the simulation of] inhabitant by becoming a simulation of a certain ideal. citizens could find an escape from the pressures of cramped • Mechanisms of exposure & concealment In a similar way, this project replaces the living. The ideas behind Central Park were accented by the • Disorientation [as opposed to the grid of Manhattan] existing landscape with a new dense field condition moralistic overtones of the American Transcendentalists • Mechanical artifice which simulates naturalness upon which a continuous artistic invention and who believed in a metaphysical need for individual • Idyllic, naturalistic landscape reinvention occurs. The space of this project does not communion with nature, as a way of salvaging personal erase or deviate from the original intentions of the autonomy from the social conformity spawned by the parkscape, but instead enhances these original goals, nascent commercialism of American Culture.” through a process of continuous, collective artistic -DOUGLAS KELBAUGH creation.
  22. 22. THE COMPONENTS HORIZONTAL VERTICAL WHITE BOXES FOLLIES CIRCULATION CIRCULATION Stairs and places. In most places, the topography elevators are when needed to reach inaccessible Ramping systems are added only combined White boxes represent together to form the traditional museum Extravagant pieces of the field provides access. vertical elements environment. These of architecture which are are varied in size and scattered throughout the which are location. They also hold structure. These are scattered through constructed solely for typical programmatic the project. They elements such as cafes, decoration and to add are placed in ideal bathrooms, workshop emphasis to specific areas. locations where and research spaces. multiple planes overlap. WALLS PITS BLACK BOXES STAGES Multi-level platforms serve as canvases for open-platform experimental painting and drawing. Shallow pits mark the are integrated into the alter, using any means necessary. These are available for anyone to landscape of the project, Black boxes enclose topography of the Walls, of varied shape and size, Some walls are also moveable. denoting spaces devoted purely digital spaces. structure. to free-form sculptural These facilitate a new By deleting pursuits. These spaces hold type of art creation, with certain raw materials, and serve as no physical presence, pieces workshop spaces for any to but instead a complete adjacent to use to create, alter or destroy immersion in digital these stage 3-dimensional art pieces. art production and spaces, transparency environmental creation. is created which encourages voyeurism and exhibitionism.
  23. 23. THE HUNGRY PROGRAM Spaces are defined and arranged PLAY 100% inside of one another: the “hungry program.” Like hungry animals, they have EXHIBITION 90% swallowed a large amount of information, DESTRUCTION 80% sensations, perspectives, moods and CREATION 70% environments and compressed them into ADMINISTRATION 60% a dense landscape condition. The result is an NETWORK 50% endless landscape: the form offers infinite 10% 10% 10% 10% 10% internal possibilities and contains an infinite amount of interconnecting spaces. NOURISHMENT NURTURANCE INTOXICATION SENTIENCE SEX
  24. 24. FIELD GENERATION 1. 2. 3. Cut: Layer: Amplify Height: To generate a field for ART Four layers are formed and The topography of each of the MEADOW, the topography of arranged vertically on top of planes is then extruded and Central Park is divided and one another. amplified vertically to reach separated into four even pieces. a total of 100’-0” from their lowest to their highest point.
  25. 25. 4. Merge: Each of the four layers is then merged together to form a large wire mesh, roughly 800’-0” square and 100’-0” vertically. This forms the field condition which holds all of the program elements and forms the backbone of the project. NORTH MEADOW BALL FIELDS 5. Situate: The generated field is then THE RESERVOIR situated on the site, with varied edges created to mesh with the surrounding terrain and reconnect itself back to Central Park. Thus the fabric HARLEM MEER of the project, generated from the parkscape, is re- grafted to the park to form a CONSERVATORY GARDENS seamless addition. FIFTH AVE. 96th ST. 101st ST. 106th ST.
  26. 26. THE TOPOGRAPHY In order to form a fabric to knit the programmatic elements and the components together, a dense topography is developed utilizing the existing landscape of Central Park as a basis. This topography is also layered vertically, by stacking each of the layers and bringing the ground plane upwards through the structure through a series of massive ramps formed by the topography. BEAMS FLOORS The fabric of the four overlapping planes is further triangulated to form a dense 3-dimensional field of points. A hierarchy is formed among all of the points depending on the amount of lines each point is connecting. The greater the amount of connections, the greater the point. This forms a varied, or gradient, PLANES field of densities. WHITE BOXES VERTICAL CIRCULATION COLUMNS GROUND EXPLODED AXONOMETRIC N.T.S.
  27. 27. Lines are then generated between the points. These lines form the structure Finally, planes are formed between the lines to complete the process. These of the entire project, both vertically, horizontally and diagonally. The planes form the basic topography of the structure, becoming floors, coverings structural columns and beams are varied in size and shape, according to and walls. Many planes are deleted throughout the structure, or filled with their span and the load that they are carrying. The structure is typically materials such as mesh or other translucent materials, to admit and filter light concrete, which encases all necessary utilities within the column itself, to the interior depths of the structure. This acts in a similar way to the filtering effectively hiding all of the mechanical aspects of the structure. and shading of light from the trees of Central Park.
  30. 30. CONCLUSION: ART MEADOW allows and encourages an unrestricted movement through space, and a mobile sense of place. There is a transparency throughout the whole structure which harnesses and exhibits the participant’s actions, and a super compression of interaction and activity. The combination of each of these guiding principals allows for a crowd-sourcing of artistic endeavors, and an ability to re-invent and re-define identities according to each visitor’s creative insight. This new ART EXPERIENCE, of art in its most primal and basic element, forms a radical departure from the traditional and banal architectural form of art museums and galleries. The existing need to enclose spaces through formal frameworks has long served as a barrier to art and to our ever-accelerating selves. By taking into account societal changes and applying these changes to create a new set of guidelines for architecture, it is possible to bridge the existing gap between artistic creation and appreciation and in its place construct a unitary environment completely devoted to whimsical creation and complete immersion within ART. On a larger scale this project also addresses the shifting nature of our own self-awareness as individuals and as a society. This landscape forms a zone of pure simultaneity, absolute simulation, instability and instant transmission of all creative processes.
  31. 31. “Architecture must inevitably hemorrhage in this seismic mix. It must flow out in other less predictable directions. New spatial aggregates will require multiple escape routes. A single door for entering and exiting will no longer suffice. “Riemannian spaces ... amorphous collection of pieces that are juxtaposed but not attached to each other.” Pure patchwork with an infinite porosity of structure, like a sponge.” Merge Invisible Layers John Beckmann
  32. 32. BIBLIOGRAPHY: Calvino, Italo. Invisible Cities. Harvest Books; 1978. Costa, Xavier. Theory of the Derive and Other Situationist Writings. Museo d’Art Contemporani; 1996. Evans, Robin. The Projective Cast. The MIT Press; 2000. Harrison, John E. Synaesthesia: The Strangest Thing. Oxford University Press; 2001. Koolhaas, Rem. Content. Taschen;2004. Koolhaas, Rem. Delirious New York. Monacelli; 1997. McLuhan, Marshall. Counterblast. Harcourt; 1970. McLuhan, Marshall. Gutenberg Galaxy. University of Toronto Press; 1962. McLuhan, Marshall. Medium is the Massage. Gingko Press; 2005. NAi Publishers. Reading MVRDV. Actar; 2007. Sadler, Simon. Archigram: Architecture without Architecture. MIT Press; 2005. Scott, Felicity D. Architecture or Techno-Utopia. The MIT Press; 2007. Sorkin, Michael. Starting from Zero. Routeledge; 2003. Steiner, Wendy. Image and Code. Michigan Slavic Publications; 1981. Venturi, Robert. Iconography and Electronics upon a Generic Architecture. The MIT Press; 1998.
  33. 33. TERMINI STATION MIXED-USE: PIAZZA DEI CINQUECENTO Semester Abroad - 4th year Professor Giuseppe Milani Rome, Italy 2009: January - May For most visitors Piazza Dei Cinquecento is the first place of impact within the complexity of this City, a place of sharp conflict both in forms and in scale, and in almost all parts not yet architecturally resolved. When you exit the train station, which is reas- suring in its rigorous functionalism, you meet a huge formless open space, beyond which the big measured mass of the Diocletian Terms closes your sights. We were asked to redesign the eastern half of the piazza to create a new enclosure and defini- tion for the piazza. My project replaced the existing Compartmental RR building, and rose to the same height of the Termini Station front, 28 meters high. Within this envelope my project included a hotel, offices, retail and exhibition spaces, which were arranged along a narrow spine of circulation. This spine holds a series of ramps which wrap around the perimeter of the facade. The programmatic elements of the proj- ect are then cantilevered off of the circulation spine, and woven around the rigid geometry to soften the edges and add a playfulness to the massing of the project.
  34. 34. East Elevation North Elevation
  35. 35. Longitudinal Section AA Longitudinal Section BB
  36. 36. Transverse Section AA
  37. 37. Transverse Section BB
  38. 38. Transverse Section CC
  39. 39. Transverse Section DD
  40. 40. FRASER CENTER State College, PA 2007: August - December In State College there is a need for, and an opportunity to design a structure to improve the area’s viability simply by creating a locus for the area’s personality and promise. The Downtown Vision and Strategic Plan identifies the need for establishing a unique “arts” identity for the downtown while strengthening its roles as the Centre Region’s center for business services, specialty retail and entertainment. This project proposes a 6-plex cinema complex, 40 residential condominiums as well as retail, office and restaurant spaces at the base to form a vibrant street scape. The primary focus of this project is to create an overall structure and form for the project which responds and enhances each programmatic element. The simple L-shape massing provides for a large open piazza, while the facade of the building then becomes a living “screen” for the plaza. The mixture ofdiverse programs will also provide a combination of day and nighttime uses that cater to the student, and permanent resident populations while also ensuring a round-the- clock use of the interior and exterior spaces.
  41. 41. This page: Facade Studies Opposite: Interior Studies
  42. 42. Index: 1. Plaza 2. Pedestrian entrance 3. Cinema 4. Green space for condominiums 5. First level condominiums 6. Second level condominiums 6 7. Miller Alley 8. Fraser Street 5 4 3 2 1 7 8
  43. 43. Index: 1. Beaver Ave. 2. Calder Way 3. Pedestrian Entrance 4. Cinema 5. Vertical Circulation - Cinema 6. Condominium 7. Entrance to Green Space 6 6 6 6 7 5 4 4 1 3 4 5 4 2
  44. 44. Index: 1. Beaver Ave. 2. Fraser St. 3. Stairs up 4. Cinema entrance 5. Ticketing and concessions 6. Circulation - Cinema 7. Cinema 8. Bathroom 9. Circulation - Condominiums 10. Restaurant Entrance 11. Indoor Seating 12. Covered Exterior Seating 13. Kitchen 14. Fire stair
  45. 45. Index: 1. Cinema 2. Elevator 3. Stairs 4. Bathroom 5. Fire stair 6. Storage 7. Circulation - Condominiums 8. Office 9. Conference Rm. 10. Storage
  46. 46. Index: 1. Circulation - Condominiums 2. Entrance 3. Stairs - Cinema 4. Green space 5. Condominium 6. Mail Rm.
  47. 47. THE MANHATTAN AIRPORT FOUNDATION “The Manhattan Airport Foundation is Professional Freelance Client: Joe Stevens, Writer / Director Central Park, Manhattan 2009: May - June a land-use constituency committed Personal Responsibilities: I was asked to create all images to the immediate development for the project, as featured on the website of a viable and centrally-located The Manhattan Airport Foundation TMAF is an art project created international air transportation hub in Manhattan for the benefit of all New to satirize urban development initiatives and draw public attention to the shortcomings of our air transportation infrastructure in NYC, specifically Manhattan. Yorkers.” The project has been featured in Fast Company, The Guardian UK, U.S. News & World Report, The Huffington Post and Gawker among others in addition to generating huge amounts of conversation throughout the blogosphere, Twitter and Facebook.
  48. 48. “The group’s proposition, conveyed by a very professional website complete with quality 3D renders, is to redevelop the unused area of central Manhattan, currently known as Central Park, as an air transportation hub fit for the 21st century.”