andrew heermann's portfolio
DESCRIPTION
A collection of designs created while earning my Master's of Architecture at Kansas State UniversityTRANSCRIPT
andrew k. heermann
cap+d kansas state university
1720 trowman way
emporia, ks 66801
table of Contents
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Résumé
stoppard-hochberg House
der Inkubator
konza prairie Winery
manhattan Natatorium
fabLab MKS
new york times 48Hr. Project
gerald d. Hines ULI Competion
hand Sketches
Résumé
05Education
Kansas State University, College of Architecture, Planning, and Design (CAP+D) - Masters of Architecture
Expected graduation May 2013
Hochschule Anhalt, Anhalt University of Applied Sciences - Dessau Institute of Architecture
Graduate School Exchange Program, Dessau, Germany
Emporia High School–Graduate with Honors
Professional ExperienceStructural Systems in Architecture I - Graduate Teaching Assistant
Co-Presenter - “Tananger.MMCX: A Knowledge Economy” w/ Prof. Torgeir Norheim, Darius Hollwell, & Ethan Rhoades
Risavikatagen 2012, Tananger, Norway, 3 October 2012
Evergreen Design Build, Emporia KS
Contract Design Consultant/ 3D Modeling/ Rendering, July - October 2012
Emig & Associates, Emporia KS
Intern Architect, January - March 2012
Structural Systems in Architecture III - Graduate Teaching Assistant, Fall 2011
Structural Systems in Architecture II - Teaching Assistant, Spring 2011
Honors & AwardsWinner - Wolfsburger Koller Preis 2012
Entry - “Der Inkubator: Rethinking the City of Mobility”
Published - New York Times, Monday, September 10, 2012
“Raising A Roof: 4 Ideas”
Work SkillsHand sketching/ Rendering/ Model making
Rhinoceros 5
AutoCAD 2013
Revit Architecture 2013
Creative Suite 5 - InDesign, Illustrator, Photoshop
Sketch-Up
Present
Spring 2012
2008
Present
2012
2011
2012
McNeel
Autodesk
Adobe
Evoking wonder. This simple phrase is the driving force behind the Stoppard-Hochberg residence. According to American Heritage College dictionary, to evoke means: to call to mind by naming, citing, or suggesting. It also states that wonder is: one that arouses awe, astonishment, surprise, or admiration; a marvel. Therefore, to evoke wonder is the calling to mind awe, astonishment, surprise, or admiration. This design for the Stoppard-Hochberg residence is one that fulfills, if you will, this mantra to the fullest potential.
The basis of the design for Tom Stoppard and Juliana Hochberg was to create for them a space that can relate to both of their arts. I took the basis for my parti from the way Tom Stoppard talked about his plays and how he needs to maintain control of the information so the audience stays interested yet not to show everything at once; but rather give hints about it throughout. I also pulled ideas from Juliana, being a light artist, and her skills to make people think of how her effects are achieved and why different elements are juxtaposed to create her effects. I wanted some of that to reflect in the house. So the piece of light art from which I gathered a basic idea, was a 1965 piece by György Kepes. The effect that the glow had on the viewer creates a feeling that intrigues the viewer to try to grasp or imagine what is in the contents of the box. This piece of art was one of the best pieces of light art that showed both aspects of
stoppard-hochberg House
view towards entrance
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Tom Stoppard and Juliana Hochberg.Initially the design started with
a large cubic volume, very orthogonal and “boring.” To add the element of wonder I looked to sources that evoke wonder still today: the Great Pyramids, the Easter Island heads, and meteor craters. What do all of these objects have in common? They have elements that make them more than just everyday occurrences, masterpieces. The Great Pyramids evoke wonder not only by their scale but by their shape. There had never been anything built with that angle. To the people of that time , the angle evoked awe and wonder to them. Similarly the Easter Island heads are placed at seemingly random positions on an island in the middle of the Pacific Ocean. Meteor craters come to mind not because of what they are, but what they are like in Science Fiction movies and novels. They are usually inhabited by some large meteor that is still glowing from the heat of entering the atmosphere or for some other alien reason. Aspects from all of these places are present in the design of the Stoppard-Hochberg residence.
The main parti was broken down to juxtapose simple cubic volumes, creating wonder evoking spaces. The simple cubic volumes were chosen as the basic form to act as a neutral base so that the wonder evoking elements would contrast and seem more prominent, much like a red scarf contrasts on an all-black outfit. In addition, they were
reflective of the same types of forms that Kepes used in the light sculpture.
Relating the clients with the wonder evoking elements, the angle given to the main cube is clearly a reference to all three of the previously described places: the angle of the pyramids, the odd placement of the Easter island heads and the post-impact look of meteor crater , as well as Juliana’s technique of making pieces that make people a bit leery of how well they are standing up.
Another element that is continuously used throughout the design is taking advantage of the wonder created in the average person and use that wonder to perfect the use of light to lead the viewer through the house and site.
Initially one is greeted with this huge slanting façade that is just beaming with light. They soon find out, after a look around the grounds, that the main entrance is located at the bottom of a ramp that leads into the ground, creating a feeling that would be similar if one were to stumble upon a meteor crash and having to descend into the crater to investigate
view from northwest corner view into entry atrium from the gallery
B B
A
A
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1.0_ground level 2.0_upper level
The viewer knows that it is safe to go down because the end of the ramp is lit by a light well that pierces through the building only to give light to that lower porch. Upon entering the residence, the viewer is greeted with a bright open atrium with a series of ramps that lead the viewer through the house. The atrium, after a second glance, is realized to be just the juxtaposition of the two main volumes, creating an overall compelling space with a mixture of light and space.
This glorious mixture of wonder evoking elements taken from the best examples throughout time, call to mind awe, astonishment, surprise, and admiration, creating a simply unique space and form seen nowhere else but here at the Stoppard-Hochberg residence.
site plan
view of atrium from north
view from south
view from northwest corner
view of atrium from north
11
61 Heinrich-Nordhoff-Straße. Neben
dem Gebäude der Gewerkschaft wirkt das
kleine Haus aus den 1950-er Jahren wie ein
städtebauliches Paradoxon. Die Möglichkeit,
hier Neues zu schaffen, wird zum Anlass
genomamen, eine Gebäudetypologie zu
entwickeln, die der veränderten Arbeits- und
Lebenswelt Rechnung trägt. Der Inkubator
ist eine Mischung aus individuellen und
gemeinschaftlichen Arbeitsbereichen,
erknüpft, die Arbeitswelt mit der Möglichkeit
zu temporärem und dazerhaftem Wohnen.
Er soll die “Urban-Nomads” anziehen, die
Stadtnomaden,, die für eine begrenzte Zeit im
Schatten des Volkswagenwerks einen Arbeits-
und Wohnplatz suchen. Junge Kreative, die
Werkstätten und Studios zusammen mit
schlichten Wohnmöglichkeiten für begrenzte
Zeit anmieten, und die dabei den Austausch mit
Anderen,das Teamwork in einem Inkubator
fachübergreifender Ideen zu schätzen wissen.
Der Bereich zwischen Heinrich-Nordhoff-und
Schlosserstraße ist ein idealer Standort dafür,
verbindet er doch den Aufbruch zu Neuem mit
der Tradition des Handwerkerviertels in dem
diese Verbindung von Arbeiten und Wohnen
in der Stadt ihren Ursprung hat.
61 Heinrich-Nordhoff Strasse.
Between the VW workers union
and a simple office building is the
opportunity to develop a building
typology that reflects the changing
relationship between living and
working. Der Inkubator (the
Incubator) is a mixture of individual
and communal workspaces with a
link connecting to temporary living
arrangements, both long-term and
short-term. This idea relies upon the
“Urban-Nomad” who has been coming
to Wolfsburg for short work at the
Volkswagen Headquarters and looks
to diversify and exploit the human
friction between those like-minded
individuals of the creative class to
build and identity of innovation in the
shadow of the temple (Volkswagen).
The location between Heinrich-
Nordhoff Strasse and Schlosserstrasse
is the ideal location to create a new
face for Wolfsburg towards the VW
plant, revealing a more artisan and
extemporaneous expression of life and
tradition at its heart.
13der Inkubator - rethinking the city of m
obiltiy
Winner - Wolfsburger Koller Preis 2012
individual offices
10' - 8 21/32"
10' - 8 21/32"
site plan
15
exposition and studio overflow space
mobility of the labor world
A large amount of effort is put
toward allowing freedom of workers
to practice their occupation. There is
a large open work space for groups
or even individuals to work freely.
With the studios/workshops, there
is adaptability to open out in to
the exposition area for overflow
workspace. The connectivity of these
spaces allow for there to be small
cafe-style interactions, but also allows
people to disappear into personalized
private spaces.
DN
DN
DN
DN
DN
UP
UP
DN
O.T.B
DN
DN
1.0_workspace
2.0_group interact
connection node
short-term living
extended-stay living
individual offices
studio / workshops
group live / work 17
When one thinks of a winery, grapes,
the barrels, and finally the wine comes
to mind. This design is focussed on
the emphasis of those three elements
and the controlled exposure the viewer
has experiencing those elements.
Those three elements make up the
validity of the wine making process.
Located at the Konza Prairie
overlook, south of Manhattan, Kansas,
the Winery chooses not to interrupt
the breathtaking view, as there is
the experience of the prairie and
the experience of the winery. Upon
entering the site, the path down the
hill towards the winery immerses
the viewer within the vineyards. The
immersion through the grapes is a key
indicator of the presence of a working
winery. The winery is ultimately
found near the base of the hill.
The patron is invited through the
massive entrance of the winery serving
konza prairie Winery
19
also as the crushing court for the
grapes on their journey to becoming
wine. A large glazed opening viewing
directly toward the fermentation
room, stops your path with the grapes.
As quickly as the viewer enters the
mass, the terminated axis of the
process, guides toward the entrance
into the public spaces of the building.
Upon entering a winery, after
driving through the vineyards, patrons
are ready to see some barrels. Once
through the main doors, the feeling
within the public space is clearly
opposite that of the process mass,
experienced within the crushing
court. Where there was a heaviness view towards aging barrels
Wine Tasting
Entry/ ReceptionWomen’s
Men’s
Crushing and Recieving Court
Fermentation
Aging
Bottling
Cased Goods Storage
Shipping
Up to Lab
Wine Tasting
Entry/ ReceptionWomen’s
Men’s
Crushing and Recieving Court
Fermentation
Aging
Bottling
Cased Goods Storage
Shipping
Up to Lab
from the wall of limestone earlier,
here in the public side there is a
separation from the heaviness
by a relief in the ceiling.
A light and open feeling
of this spacious segment
of the winery is to contrast
with the large limestone
walls of the wine
processing side
of the building.
Where the mass
of the process is
presenting solidarity
and resoluteness as
part of the earth and site,
the public side is leaving a
lighter footprint, as if it were
a temporary structure along
side an artifact of the ancient
earth. A modest steel skeleton
with the addition of wood slats
accomplishes the act of lightness.
This large open space,
besides from allowing multiple
uses depending on requirements
211.0_ground level
FlashingAluminum Retaining CapCondensate GutterButyl WeathersealSilicone SealantVinyl GasketStainless Steel Fasteners
Window FramingDouble Glazing
SoilFilter FabricDrainage LayerSheet BarrierWaterproofingRigid InsulationWide Flange Member
Shelf Angle2.5'x 5' Limestone Panels
Concrete Retaining WallDrainage MatRigid InsulationWaterproofing
Slab-on-GradeSealantSand
GravelDrainKeyTie Rods
Window Detail Scale 1'-1 1/2"
detail wall section
of the day, all is an attempt to lead
down the length of the space. At the
end of this space, the viewer receives
their long awaited barrels: through the
colonnade, led by skylight reliefs and
horizontal wood slats. The experience
with the barrels occurs only when
the viewer immerses himself past
the limestone wall’s opening. As the
wine is still aging, it is necessary
for the viewer to venture back into
the mass of the process through
the threshold of the limestone wall.
Following the barrel experience
the final emphasis of any winery is
the wine tasting. Although the public
side is considered light and open, the
location of the entire building lies in
the valley of the overlook where the
viewer experiences a more inward
focus towards the winery as opposed
to the experience of the prairie. It is in
the time that the patron is within the
wine tasting area that the experience
of all three elements of the winery can
come full circle. When sampling the
wine, the room offers one of the few
treeless views outward. This view out
toward the northwest shows more of
the working vineyards that make up
this winery. Seeing the grapes and
drinking the wine will offer a chance
to reflect on the process as a whole;
the grapes, the barrels, and the wine.
entrance facade
23
Taking note of the many advantageous features of the site allowed the building to design itself. On the West-Southwest side of the site there was a large creek and a big grouping of trees. As one moves away from the creek toward the North and East, the terrain gradually becomes more organized, ultimately reaching the road boundaries the site. The relationship created from the site offered an analogy to the parti and program of the building.
Swimming is often viewed as more open, elegant and free; whereas, diving is more closed, precise, and structured. The design of this natatorium is reflecting that same standard of practice, as the site
manhattan N
atatorium
entry
25
moves from the more rigorous and structured East-Northeast toward the more organic and moving area of the creek. The building starts with the strong and solid enclosure of the diving wells in the Northeast then the structure begins to break down revealing more extensions into the organic, open, area around the creek.
Not only are the athletes and patrons immersed in the change of the structure and presence of the building, the centralized link between the two experiences of the diving and swimming pools offer the spectator the same visual experiences. Spectators on
from southwest towards exterior deck
1.0_main level
27
view through main pool to the south
the diving side of the space remain in that enclosure and are fully immersed in the structure and rigor of the space, as well as the diving. Whereas on the swimming side, the spectators are greeted with a view, not of bleachers, but of the landscape pouring through the openings and glazing leading to the outdoors. The transformation of the structured diving to the simple open elegance, of the swimming comes full circle.
29longitudinal section
The fabLab MKS was designed
within a comprehensive studio project
performed during the 1st semester
of my 4th year of my eduction. The
studio concerned itself with an all
encompassing design experience,
from programming, schematic design,
design development, and concluding
with a near-complete construction
document set. The comprehensive
nature of this studio allowed for
implementation of everything my
education had taught me up to
that point: structural systems,
building construction and assembly
systems, HVAC, all the while
keeping in mind passive and active
environmental system considerations.
fabLab MKS
section analytique
29
Critical Acoustic and Visual InterfaceBeing an educational facility is one of the fabLab’s primary
callings and the building should properly inhibit that activity.
The diagram is highlighting a strong visual connection from
the education side to the workshop, while maintaining an
acoustical separation.
Circulation of the FabricatorThis shows the easy flow that the fabricator would find as they
are working with the building. The various shops, storage,
both raw and their own, and assembly tools are never too far
away in any direction
Arousing Pedestrian InterestWhile holding the 3rd Street and Humboldt urban edge,
the fabLab offers numerous step-backs giving glimpses of
the building’s inner workings. The culmination of walking
on either street is the corner which is the gallery of the best
products the fabLab has produced.
Blocking Winter WindsThe fabLab was designed in a manner that placed the storage,
high-bay workspace, and other semi-conditioned spaces, as
well as trees to provide a buffer from the harsh winter winds for
the spaces needing a more comfortable human environment.
Poyntz Ave.
3rd St.
177
VicinityLarge Commercial Development
The Site – 3rd & Humboldt
Manhattan Town Center Mall
Flint Hills Discovery Center &
Manhattan Convention Center
Manhattan, Kansas
33
site aerial
Located at the corner of 3rd Street
and Humboldt Street, fabLab MKS
is another link in the new North-
South development of Downtown
Manhattan, KS. It is centrally
located between a large commercial
development to the north and the
new Flint Hills Discovery Center.
Its location is the catalyst sparking
continuous development from North
to South a revitalized downtown area.
2.0_upper level
1.0_ground level
35
The roof evolved out of the idea of a
lightweight tensile structure capable
of spanning distances, with minimal
additional weight, into a hybrid
structure of tension and compression
with high tensile fabric, steel cables and
tubing inspired by the mechanisms
of an iris, like that of a camera.
Sixteen triangular shapes rotate on
individual fixed axes that open and
close. Buttress-like structures surround
the stadium, producing a clear
juxtaposition of heavy compressive
elements and light tension members
that extend into the sky.
37
For the fifth straight year, the UnitedStates Open men’s final was pushed backa day, to Monday, because of weatherproblems. This tournament had its shareof interruptions — which means thechorus of complaints resumed about thelack of a roof over courts at the BillieJean King National Tennis Center.
The Australian Open has retractableroofs on two courts at Melbourne Parkand plans for a third; Centre Court atWimbledon added a retractable roof in2009; and the new Roland Garros sta-dium with a retractable roof is expectedto make its debut at the French Open in2017. But United States Tennis Associa-tion officials have said that Arthur AsheStadium, built on a swamp-like ashdump, could not absorb the weight of aroof that would cover its expanse.
How hard would it be to overcomethose obstacles? Not very, at least for thestudents at Kansas State University’sCollege of Architecture, Planning andDesign, one of the nation’s top architec-ture programs. The New York Times in-vited them to brainstorm how they mightkeep the rain out of Arthur Ashe Stadiumwithout putting too much weight on theweak soil. They were given 48 hours todo it. Here are their proposals.
RaisingA Roof:4 Ideas
The initial idea forthe inflatable roofdesign we’re call-ing the cloudcame from theconcept of hot airballoons. Incorpo-rating lightweight,durable fabric, theroof hovers abovethe stadium andfloats whimsicallyin any directionaround the sta-dium, similar to acloud. Providingprotection fromthe elements isthe primary func-tion of the cloud;however, it alsoserves as a mes-sage board to thestadium users.
Lauren Kelly,Cierra Myers andDarius Hollwell
Air CellTechnology:The Cloud
The roof evolved out of theidea of a lightweight ten-sile structure capable ofspanning distances, withminimal additional weight,into a hybrid structure oftension and compressionwith high tensile fabric,steel cables and tubing in-spired by the mechanismsof an iris, like that of acamera. Sixteen triangularshapes rotate on individualfixed axes that open andclose. Buttresslike struc-tures surround the sta-dium, producing a clearjuxtaposition of heavycompressive elements andlight tension members thatextend into the sky.
Ethan Rhoades, AndrewHelseth, Andrew Heer-mann and Ryan Wilson
The Iris
The energy and movement of a tennis game in-spired us to create a rhythmic pattern of foldingplanes. The origamilike form adds structuralstability and provides opportunities for dynamicdisplays of light through reflection and perfora-tion. The folded planes frame the sky to the eastand west, sheltering the stadium. The form al-lows the natural beauty and light of the sky topermeate the roof through a semitranslucentplastic composite material that encloses thevoids of the folded-plane structure.
Zachary Bodine, Samantha Engle, LaurelJohnston and Richard Ouk
Folding PlanesWe took inspiration from the composition of atennis racket. The geometric webbing of a racketcreates one large, uniform structural whole.This led us to creating a steel space frame, com-posed of an organic geometry that could bestretched and molded around the stadium. Theframe is clad with glass over the seats and thecourt, while being left open where it is not need-ed to aid in ventilation. We then extended ourgeometry from the space frame into the interiorof the stadium to create undulating sun shadesthat make a textural and interesting ceiling.
Chris Penland and Adam Bubak
The Space Frame
ABOVE, PHOTO BY CHRISTOPHER BILYK; BELOW LEFT, PHOTO BY CAMERON SPENCER/GETTY IMAGES; BELOW RIGHT, PHOTO BY BEN SOLOMON. RENDERINGS BY LAUREN KELLY, CIERRA MYERS AND DARIUS HOLLWELL
PHOTO BY BEN SOLOMON FOR THE NEW YORK TIMES; RENDERINGS BY ETHAN RHOADES, ANDREW HELSETH, ANDREW HEERMANN AND RYAN WILSON
PHOTO BY BEN SOLOMON FOR THE NEW YORK TIMES; RENDERINGS BY ZACHARY BODINE, SAMANTHA ENGLE, LAUREL JOHNSTON AND RICHARD OUK PHOTO BY BEN SOLOMON FOR THE NEW YORK TIMES; RENDERING BY CHRIS PENLAND AND ADAM BUBAK
D8 N THE NEW YORK TIMES, MONDAY, SEPTEMBER 10, 2012
T E N N I S U . S . O P E N
C M Y K Nxxx,2012-09-10,D,008,Bs-4C,E1 new york tim
es 48 Hr Project
39 Kinetic MinneapolisIntellectually Driven | Socially Vibrant | Physically Active
gerald d. Hines ULI C
ompetion
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New Vikings Stadium
Rec Center/ Armory
Light Rail Station
Coffee Shop
Restaurant
Restaurant/Bar(Above)
Medical Offices
Offices
Biomedical Incubator
Retail
Boutique Hotel
AMC Theater
Urban Grocery
Kinetics Plaza
Parking Ramp
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P MD K NJ LF
Young Professionals
UrbanRenters
Metro Tenants
CollegeStudents
Affluent Retired
56.5% 4.8% 4.4%4.7%19.4%
$56.3 K
ProfessionalsService
60% in Service Industry
Grocery,Medicare,
Bank, Sports.
Retired, Soc Security
Savings + Low Fixed Incomes
Service, Transport
12% in Local Government
Education, Food
52% work Part-Time
Hospitality,Food
50% White Collar
$26.2 K
$31.2 K
$34.0K
85+ Years
Median Household Income
Employment
Preferred Amenities
Preferred Amenities
Preferred Amenities
Preferred Amenities
Preferred Amenities
Employment Employment Employment Employment
Median Household Income
Median Household Income
Median Household Income
Median Household Income
33.6 Years
18 Years
85+ Years
18 Years
85+ Years
46.4 Years
18 Years
85+ Years
18 Years
85+ Years
30 Years
18 Years
$16.8 K
85+ Years
18 Years
85+ Years
24.4 Years18 Years
85+ Years
27.8 Years
18 Years
Grocery,Convenient
store.
Food, Cultural, Movies
Food, Grocery, Movies, Sports,
Clothing,Cultural,Movies.
Kinetic Minneapolis is driven
by the city’s potential to achieve
economic and social sustainability
through livable innovation-driven
communities. The concept represents
an understanding that the regional
socio-economic climate makes the
Downtown East Redevelopment Site
highly conducive for a high-density
mixed-use district characterized
by synergy of a bio-tech business
incubator with supporting residential,
retail, and recreational uses. Through
strategic selection and placement of
land-uses, spatial programming, and
architecture, the concept transforms
the site and neighboring context into
a hub for intellectual, social, and
physical kinetics.
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phase I
phase II
phase III
Market Rate HOUSING
Retired LIVING
Affordable HOUSING
OFFICES RETAIL StructuredPARKING
24%
15% 21%
07% 11%
23%
Market Rate HOUSING
RetiredLIVING
RETAIL RECREATIONOFFICES INCUBATOR StructuredPARKING
21%
34%
09% 13%
02% 07%
13%
Market Rate HOUSING
Retired LIVING
RETAIL HOTELOFFICES StructuredPARKING
26% 25%
05% 05% 10%
30%
45hand Sketches
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533
