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MARTIN BYRNE JR .Arch i t ec tu re Por t fo l i oBache lo r s o f Arch i t ec tu reNew Jer sey In s t i t u te o f Techno logy

Pro jec t s

E lec t ron i c Mus i c and Ar t s Cen te r

Arno R i ve r Bo t an i ca l Gardens

Wha l i ng Museum

Mi sce l l an eous

ELECTRONIC MUSIC and ARTS CENTER

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ARNO RIVER BOTANICAL GARDENS

WHALING MUSEUM

MISCELLANEOUS PROJECTS

ELECTRONIC MUSIC AND ART CENTERGANESVOORT STREET AND WASHINGTON STREETNEW YORK, NEW YORK

With i n c rea s i ng i n te re s t i n e l ec t ron i c m us i c and a r t , t h i s p ro j ec t p romote s con t i nued exper imen t a t i on o f e l ec t ron i c med ia t h rough t he co l l abora t i on o f a r t i s t s , m us i c i an s , pe r fo rmer s , and v i s i t o r s a l i ke . Loca ted a t t he en t rance o f t he H igh land , on Gan esvoor t S t ree t , t he E lec t ron i c Mus i c and Ar t Cen te r (EMAC) embraces t he pedes t r i an ac t i v i t y a t t he sou the rn edge o f t he Mea tpack ing D i s t r i c t and ex tends i t i n t o t he bu i l d i ng . Th i s c i r cu l a t i on wrapper d i sp l ay s t he bu i l d i ng s ac t i v i t y, a c t s a s a sound bu f fe r be tween t he ou t s i de c i t y no i se and t he pe r fo rm ances rooms , and p rov i de s a space fo r a r t i s t s t o d i sp l ay t he i r r ecen t work . The EMAC bu i l d i ng , a l ong w i th t he n ew Whi tn ey Museum wh i ch i s l o ca ted a t t he oppos i t e co rn er o f t he s i t e , and t he H igh l i n e, e s t ab l i s h an a rea o f h i gh pedes t r i an ac t i v i t y, and p romote bo th n ew and o l d a r t fo rms . These bu i l d i ng s , a l ong w i th t he ex i s t i ng con tex t , a c t a s a ga teway a s on e t rave l s i n to t he Mea tpack ing D i s t r i c t and a l ong t he H igh l i n e.

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[EMAC] 05

site

SITE PLAN

FROM HIGHLINE NEAR STANDARD HOTEL - view of EMAC and future Whitney Museum

complete the block views circulation

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SITE IMAGES

extend circulation to sitevisual connection of circulation and activity

circulation wrapper separates noise from performance

performance space extend into display space

interaction between artist and visitor in display space

FROM GANESVOORT - Whitney Museum and Highline in the distance FROM WASHINGTON - EMAC adjacent to Highline entrance

[EMAC] 07

SERVICE

KITCHEN / SERVICE

GANESVOORT STREETWAS

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STON

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RECEPTION

HIGHLINE ENTRANCE

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CAFE

0’ 10’ 20’ 40’

PROGRAM BRIEF

- 300 seat flexible blackbox/whitebox theatre space- back of house support spaces- lobby- cafe- office suites- classrooms- green room, control room, and practice rooms- mechanical, bathrooms, service, and support spaces

Building Footprint:5,900 sq ft.

Total Floor Area:47,800 sq ft.

Building Height:130 feet

Theatre Space:5,050 sq ft.

- public living room and lobbyGROUND FLOOR

C C

08 [EMAC]

PUBLIC LIVING ROOM - reception, cafe, primary circulation

PRACTICEopen to below

DISPLAY

MEDIA

STORAGE

SECOND FLOOR - display and practice spaces

0’ 10’ 20’ 40’

WORKSHOP

PRINT

STORAGE

THIRD FLOOR - support spaces

0’ 10’ 20’4 0’

[EMAC] 09

PRACTICE MEDIA

WARDROBE

STORAGE

open to below

FOURTH FLOOR - practice and support spaces

0’ 10’ 20’ 40’

CLASS

CLASS

CONFERENCE

OFFICE

OFFICE

FIFTH FLOOR - classrooms and office suites

0’ 10’2 0’ 40’

THIRD FLOOR - work spaces, view to practice room, view towards south

FOURTH FLOOR PRACTICE - view towards Whitney Museum, Highline, and Standard Hotel

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PREFUNCTIONBLACK BOX THEATRE

SIXTH FLOOR - prefunction and theatre

0’ 10’ 20’4 0’

BLACK BOX THEATREopen to below

CONTROL

SEVENTH FLOOR - control room

0’ 10’ 20’ 40’

SIXTH FLOOR - prefunction space, view to Highline and Standard Hotel

FIFTH FLOOR - view of circulation volume

[EMAC] 11

SECTION AA - JOGGEDcirculation

0’ 10’ 20’ 40’

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SECTION CCcirculation and theatre

0’ 10’ 20’ 40’

[EMAC] 13

BLACK BOX THEATRE - able to be transformed into white box via operable curtain

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3D SECTION: BLACKBOX THEATRE

1. Angled acoustic panels2. Raised floor system (for wiring)3. Heating and cooling ducts4. Concrete slab5. Corrugated metal decking6. 30” rolled steel section7. Aluminum mullion8. Insulated glass panels9. 5/8” tension cables10. Spider fitting11. Perimeter catwalk 10’ above floor12. Handrail / light track13. Collapsible risers14. Adjustable theatre set support15. Lighting track16. Catwalk17. Cables to support catwalk from above18. Acoustical matt buffering

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[EMAC] 15

ENCLOSURE - frosted glass

STRUCTURE - steel frame, truss system, and glass curtain wall

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3D SECTION: WALL SECTION

1. Steel column2. 5/8” steel cable3. Spider connection4. 3/4” insulated glass panels5. 26” deep steel girder6. 16” deep steel beam7. Chilled ceiling panels8. 1/2” water circulation pipe9. 2” water supply pipe10. Plastic insulation11. Metal decking12. 2” concrete13. Rigid insulation14. Metal wire mesh15. 1” radiant tubing16. 2” concrete subfloor17. 5/8” finished concrete floor

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[EMAC] 17

BOTANICAL GARDENSARNO RIVERFLORENCE, ITALY

Like mos t c i t i e s r i ch w i th cu l t u re and h i s t o r y, t he ‘O ld C i t y ’ w i t h i n F lo rence i s fi l l ed w i th t ou r i s t s v i s i t i ng F lo rence ’s m an y l andm arks , s hops , and re s t au ran t s . The ‘O ld C i t y ’ l o ca ted i n no r the rn F lo rence i s home to t he Bas i l i ca d i San t a Mar ia de l Fio re, U f fi z i Ga l l e r y, and t he Pon te Vecch io . The ‘New C i t y ’ , however, wh i ch i s popu la ted by mos t o f t he pe rm an en t re s i den t s o f F lo rence, ha s l i t t l e t o ca l l t he i r own w i thou t t he i n t ru s i on o f t ou r i s t s . The bo t an i ca l ga rdens p rov i de an oppor tun i t y fo r n e ighborhoods w i th i n t he ‘New C i t y ’ t o c l a im par t s o f t he Arno R i ve r a s t he i r own . The ga rdens ac t a s a ga the r i ng p l ace fo r t he re s i den t s where peop le can pu rchase f re sh p roduce a t t he m arke t , exper i ence sea son a l changes t h rough t he pe renn ia l ga rden , o r fi nd oa s i s i n t he ex te r i o r pa rk s and shaded ga rden . The de s i gn i s i n t ended t o g i ve each n e ighborhood a l ong t he sou the rn edge o f t he Arno R i ve r a sen se o f i nd i v i dua l i t y and pe r son a l i den t i t y a s each n e ighborhood ’s ga rdens w i l l m an i fe s t phy s i ca l l y and concep tua l l y d i f fe ren t due t o s i t e cond i t i on s and n eeds . However, t he ga rdens requ i re comm un i t y pa r t i c i pa t i on i n o rde r t o su r v i ve . Res i den t s and m arke t vendor s a re f ree t o g row wha t t hey p l ea se w i th i n t he ed ib l e ga rdens and t hey w i l l be re spons i b l e fo r t he ga rdens m a in ten ance. The de s i gn w i l l a l s o rev i t a l i ze t he ac t i v i t y a l ong and i n t he Arno R i ve r a s a l l t he ga rdens w i l l be l o ca ted i n t he r i ve r.

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[BOTANICAL] 19

0’ 1000’ 2000’ 4000’DIAGRAMS - organization SCALE - city

DIAGRAMS - organization SCALE - site

SITE - residential side

conceptual models

open space

MARKETS - activators

pedestrian streets and bridges GARDEN - one per neighborhood

INTERIOR GARDENS - open space, bridge, and pedestrian street

neighborhoods

0’ 250’ 500’ 1000’

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0’ 50’ 100’ 200’DIAGRAMS - organization SCALE - neighborhood

CIRCULATION - towards the open space STREET MARKET - gathering place and entry

SEPARATION - exterior landscape

site images

conceptual models

[BOTANICAL] 21

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SITE PLAN - interior gardens, exterior gardens, and market0’ 100’ 200’ 400’

park

shade

waterperennial edible garden

parkmarket

pond herb and spice

orchard

[BOTANICAL] 23

OPERABLE GLASS FACADE - view from entry ramp

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AT STREET LEVEL - view towards market and entry ramp

NIGHT LIGHTING - illuminates street and market

[BOTANICAL] 25

0’ 25’ 50’ 100’

SECTION AA - shade garden SEASON - early summer

SECTION BB - water garden SEASON - late summer

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SHADE GARDEN - tall grasses, vines, and trees

WATER GARDEN - water based plants, lily pads, grasses, and mosses

[BOTANICAL] 27

SECTION CC - perennial garden SEASON - autumn

SECTION DD - edible garden SEASON - winter

0’ 25’ 50’ 100’

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PERENNIAL GARDEN :: perennial flowers, vines, and trees

[BOTANICAL] 29

EDIBLE GARDEN AND ORCHARD - entry ramps and retaining wall

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CONTINUATION OF LANDSCAPE - view from old city

EDIBLE GARDENS - variety of foreign edible plants

[BOTANICAL] 31

3D SECTION: BOTANICAL GARDENS

1. Pile2. Pile cap3. 5’ x 15’ Concrete footing 4. 4” PVC piping5. 2’ Return air duct6. Mechanical and storage space7. 2’ Low volume air supply duct8. 3” Concrete floor support9. Concrete floor10. 3/8” Glass and railing11. 5’ Concrete earth retaining wall12. 3’ Concrete water retaining wall13. 3/4” Insulated glass enclosure14. 3” Mullion and strip lighting15. 6” Concrete retaining wall16. Concrete pier17. Pole socket and anchor to concrete pier

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3D SECTION PERSPECTIVE - interior perennial garden

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18. 1’ Laminated wooded pole19. 1 1/2” Plant structure and watering system 20. 3” Rigid ties21. Steel cap and spider connection to mullion22. Secondary ties to glass facade23. 3’ Concrete slab24. Stair assembly25. Steel beam and roof assembly26. Steel socket and anchor to retaining wall27. Soil28. Plant material

retaining wall and foundation

glass facade enclosure

mullion structure

floor slab and concrete piers

poles

roof structure

pathways

rigid ties

entry ramp

[BOTANICAL] 33

WHALING MUSEUMEXTENDED GAZING OF VISUAL STIMULIMuseum visitors will first be exposed to the visual experience of a sailor’s voyage by entering a large auditorium space with a 360 degree projection of the ocean. Visitors will be confined to the auditorium for one hour; there is a chance of perhaps seeing a whale once during this 60 minute period, though it is not guaranteed. This allows users to experience extended gazing of the ocean before entering the museum.The museum will display paintings which allow visitors to discover patterns or a system to the paintings creation. There will be judicious examples by Sol LeWitt, Al Held, James Rosenquist, Jackson Pollack, and Larry Poons which were all chosen for their appropriate visual stimuli for the act of extended gazing. Each visual stimulus will require one hour of controlled staring. Through isolation and extended gazing of these visual stimuli, the visitors will be able to understand patterns and systems, and the visual parameters of a life at sea.Controlling station points, the spot where a person views art, allows users to either view the art as the artist truly intended, or in a radically new way. For example, viewing a Jackson Pollack painting inches from ones face allows a person to study how Pollack controlled the paint and the techniques that he used. Only later will the user be able to view the whole composition. Viewing an Al Held painting from a far distance allows people to understand the painting as a series of simple geometries forming a complex composition.The spaces in which art is displayed will be designed with the walls acting as physical vision cones or horse blinders. The walls control what can and can’t be seen. The progression through the space will also control which parts of the painting can be seen at a particular instance. Fenestrations will be designed to create patterns of light and shadow in the space. These patterns will change throughout the day, meaning the artwork can never be viewed the same twice; the experience will be constantly changing. Finally, this museum discourages modern museum culture of looking at a piece of art for a few minutes and moving on, without truly understanding it. By viewing art in a unique architectural space and under special conditions, this museum provides an experience which is offered in no other museum.

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BOTANICAL - 17

AL HELD - Inversion XIV

[WHALING] 35

GENE DAVIS - Moondog

LARRY POONS - Untitled SOL LEWITT - Lines Not Short, Not Straight, Touching and Crossing

SOL LEWITT - Lines

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AL HELD - Inversion XICROSS SECTION - variable lighting conditions of visual stimuli0’ 5’ 10’ 20’

[WHALING] 37

SECTION - al held gallery space0’ 5’ 10’ 20’

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ROOF DETAIL - panel and louver system

[WHALING] 39

0’ 2’ 4’ 8’

MISCELLANEOUS PROJECTSA HALLUCINATION INDUCING SOLITARY ARCHITECTURE FOR MY OBSERVATIVE SOLITARY SELF

The research of my self-identity and of the 18 selected areas of my self-identity has led me to a project in which the experience cannot be fully understood or appreciated without the attendance of another solitary individual within the same solitary complex. Through various studies of my self-identity, I have begun to understand my deep interest in observing human interaction, and their potential behaviors while in isolation. I have become fascinated with the potential of an architecture in which random occurring events within the solitary spaces could lead to a distortion of reality and eventually, hallucinations or the appearance of what seems to be a hallucination.Of the 18 selected areas of self-identity, grandfather clocks, shower heads, corn fields, and sea turtles have emerged as primary design aids towards for the formation of the solitary architecture. The grandfather clock mechanism will be responsible for starting and ending the random events which will take place in the solitary. The events will be experienced through sounds, smells, temperatures, visual stimuli, and through both natural and artificial lighting conditions. Multi-functional shower heads will be used in order to pump sound, light, or smells into the space depending on the particular event. The shower head units will be attached to leaf-like members which will be the primary envelope of the solitary space. The leaf members were inspired by corn and its husk which is the primary defense of the vegetable. The sea turtle influenced the primary fixed structure of the space. While the leaf members are both flexible and fixed, the ‘bones’ of the structure are fixed and are designed like joints in a skeleton. The spaces within the complex were all designed to create different conditions in which the events could occur and change. The spaces were not designed with the intention to act as a bedroom or kitchen, but instead, were designed in order to maximize different experiences within the solitary. The three main pods of the complex are designed on grade, below grade, and above grade respectively in order to achieve three varying conditions for the solitary members. Through the flexibility of the leaf members, certain areas of the complex can be destroyed in order to create new spaces. Both solitary members will remain in the complex for one year.

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[MISC] 41

SECTION - solitary architecture

4’4” x 6’ wood panels with attached fixed louvers

Continuous runner channel

Metal blocking

Continuous runner

Electric motor(interiorly controlled)

Steel beam

Horizontal frame

Fiberglass batt insulation

Metal rod

Gypsum wallboard

Vertical frame

Interior wood finish

Sunshading system

Horizontal track

Operable louver, slateFixed window

Ball bearing Operable sliding window

2” Air space

Mullion system

Continuous runner

Dampproofing

Mechanical key anchor

Horizontal frame Snap-in glazing bead

Sheathing

Waterproofing

Reinforced concrete over metal deckingClip angle anchor bolted to

concrete foundation wall

Steel dowels

Waterproofing membrane

Footing rebar

Fixed louver, slateThermal break

Metal stud

Moisture barrier

Open web steel joistsAnchor bolt

Footing pipe

Drainage mat

2’ x 4’ Continuous concrete footing

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WALL SECTION AND MATERIALS - newark k-8 school

[MISC] 43

MOBILE THEATRE - connecting community sounds