asdfasdfasdfasdf
DESCRIPTION
asdfadasdfasdfadsTRANSCRIPT
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
4
16
34
40
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.
04 [EMAC]
[EMAC] 05
site
SITE PLAN
FROM HIGHLINE NEAR STANDARD HOTEL - view of EMAC and future Whitney Museum
complete the block views circulation
06 [EMAC]
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
HING
STON
STRE
ET
RECEPTION
HIGHLINE ENTRANCE
A
A
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
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
10 [EMAC]
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’
12 [EMAC]
SECTION CCcirculation and theatre
0’ 10’ 20’ 40’
[EMAC] 13
BLACK BOX THEATRE - able to be transformed into white box via operable curtain
14 [EMAC]
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
1
6 5
14
15
16
17
12
18
13
3
4
2
7
8
109
11
[EMAC] 15
ENCLOSURE - frosted glass
STRUCTURE - steel frame, truss system, and glass curtain wall
16 [EMAC]
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
123
4
5 6
7
8
9
10
1112
13
1514
16
17
[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.
18 [BOTANICAL]
[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’
20 [BOTANICAL]
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
22 [BOTANICAL]
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
24 [BOTANICAL]
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
26 [BOTANICAL]
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’
28 [BOTANICAL]
PERENNIAL GARDEN :: perennial flowers, vines, and trees
[BOTANICAL] 29
EDIBLE GARDEN AND ORCHARD - entry ramps and retaining wall
30 [BOTANICAL]
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
1
6
5
14
15
16
17
12
18
19
20
21
22
23
24
25
26
27
28
13
3
4
2
7
8
10
9
11
3D SECTION PERSPECTIVE - interior perennial garden
32 [BOTANICAL]
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.
34 [WHALING]
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
36 [WHALING]
AL HELD - Inversion XICROSS SECTION - variable lighting conditions of visual stimuli0’ 5’ 10’ 20’
[WHALING] 37
SECTION - al held gallery space0’ 5’ 10’ 20’
38 [WHALING]
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.
40 [MISC]
[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
42 [MISC]
WALL SECTION AND MATERIALS - newark k-8 school
[MISC] 43
MOBILE THEATRE - connecting community sounds