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MARTIN BYRNE JR. A r c h i t e c t u r e Po r t fo l i o Bachelors of Architecture N e w J e r s e y I n s t i t u t e o f Te c h n o l o g y

Projects Electronic Music and Arts Center Arno River Bot anical Gardens Whaling Museum Miscellaneous


4

ELECTRONIC MUSIC and ARTS CENTER

16

A R N O R I V E R B O TA N I C A L G A R D E N S

34

W H A L I N G M U S E UM

40

MISCELLANEOUS PROJECTS


04 [EMAC]

ELECTRONIC MUSIC AND ART CENTER G A N E S V O O R T S T R E E T A N D WA S H I N G T O N S T R E E T NEW YORK, NEW YORK

With increasing interest in electronic m usic and art, this project promotes continued experiment ation of electronic media through the collaboration of artists, musicians, p e r fo r m e r s , a n d v i s i t o r s a l i k e . L o c a t e d a t the entrance of the Highland, on Ganesvoort Street, the Electronic Music and Art Center (EMAC) embraces the pedestrian activity at the southern edge of the Meatpacking District and extends it into the building. This circulation wrapper displays the b u i l d i n g s a c t i v i t y, a c t s a s a s o u n d b u f f e r between the outside city noise and the p e r fo r m a n c e s r o o m s , a n d p r ov i d e s a s p a c e fo r a r t i s t s t o d i s p l a y t h e i r r e c e n t w o r k . T h e EMAC building, along with the n ew Whitn ey Museum which is located at the opposite corn er of the site, and the Highlin e, est ablish a n a r e a o f h i g h p e d e s t r i a n a c t i v i t y, a n d p r o m o t e b o t h n e w a n d o l d a r t fo r m s . T h e s e buildings, along with the existing context, a c t a s a g a t e w a y a s o n e t r av e l s i n t o t h e Meatpacking District and along the Highlin e.


[EMAC] 05


06 [EMAC]

site

complete the block

views

circulation

SITE PLAN

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


[EMAC] 07

extend circulation to site

visual 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

SITE IMAGES

FROM GANESVOORT - Whitney Museum and Highline in the distance

FROM WASHINGTON - EMAC adjacent to Highline entrance


08 [EMAC]

PROGRAM BRIEF

HIGHLINE ENTRANCE

GANESVOORT STREET

A

- 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.

WASHINGSTON STREET

CAFE

C

GROUND FLOOR - public living room and lobby 0’

10’

20’

40’

RECEPTION

C KITCHEN / SERVICE

A

Total Floor Area: 47,800 sq ft.

SERVICE

Building Height: 130 feet Theatre Space: 5,050 sq ft.


[EMAC] 09

PRACTICE

MEDIA

open to below STORAGE

DISPLAY

SECOND FLOOR - display and practice spaces 0’

10’

20’

40’

PRINT WORKSHOP

STORAGE

THIRD FLOOR - support spaces 0’

10’

20’4

0’

PUBLIC LIVING ROOM - reception, cafe, primary circulation


10 [EMAC]

open to below

PRACTICE

MEDIA WARDROBE STORAGE

FOURTH FLOOR - practice and support spaces 0’

10’

20’

40’

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

OFFICE CLASS

OFFICE

CLASS

CONFERENCE

FIFTH FLOOR - classrooms and office suites 0’

10’2

0’

40’

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


[EMAC] 11

BLACK BOX THEATRE

PREFUNCTION

SIXTH FLOOR - prefunction and theatre 0’

10’

20’4

0’

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

BLACK BOX THEATRE open to below

C O N T R O L

SEVENTH FLOOR - control room FIFTH FLOOR - view of circulation volume

0’

10’

20’

40’


12 [EMAC]

SECTION AA -

JOGGED

0’

40’

circulation 10’

20’


[EMAC] 13

SECTION CC

circulation and theatre 0’

10’

20’

40’


14 [EMAC]

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


[EMAC] 15

3D SECTION: BLACKBOX THEATRE 1. Angled acoustic panels 2. Raised floor system (for wiring) 3. Heating and cooling ducts 4. Concrete slab 5. Corrugated metal decking 6. 30” rolled steel section 7. Aluminum mullion 8. Insulated glass panels 9. 5/8” tension cables 10. Spider fitting 11. Perimeter catwalk 10’ above floor 12. Handrail / light track 13. Collapsible risers 14. Adjustable theatre set support 15. Lighting track 16. Catwalk 17. Cables to support catwalk from above 18. Acoustical matt buffering

17 18

16

15

14

1

9

10

12 11

8

13

7

3

6

5

4

2


16 [EMAC]

ENCLOSURE - frosted glass

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


[EMAC] 17

3D SECTION: WALL SECTION 1. Steel column 2. 5/8” steel cable 3. Spider connection 4. 3/4” insulated glass panels 5. 26” deep steel girder 6. 16” deep steel beam 7. Chilled ceiling panels 8. 1/2” water circulation pipe 9. 2” water supply pipe 10. Plastic insulation 11. Metal decking 12. 2” concrete 13. Rigid insulation 14. Metal wire mesh 15. 1” radiant tubing 16. 2” concrete subfloor 17. 5/8” finished concrete floor

5

6

7

4 3

2

1

17 16 12 11

15

14 13

8 9

10


18 [BOTANICAL]

BOTANICAL GARDENS ARNO RIVER F L O R E N C E , I TA LY L i k e m o s t c i t i e s r i c h w i t h c u l t u r e a n d h i s t o r y, t h e ‘ O l d C i t y ’ w i t h i n F l o r e n c e i s fi l l e d w i t h t o u r i s t s v i s i t i n g F l o r e n c e ’s m a n y l a n d m a r k s , s h o p s , a n d r e s t a u r a n t s . The ‘Old City’ located in northern Florence is home to t h e B a s i l i c a d i S a n t a M a r i a d e l Fi o r e , U f fi z i G a l l e r y, a n d t h e Po n t e Ve c c h i o . T h e ‘ N e w C i t y ’ , h ow e v e r, w h i c h is populated by most of the permanent residents of F l o r e n c e , h a s l i t t l e t o c a l l t h e i r ow n w i t h o u t t h e i n t r u s i o n o f t o u r i s t s . T h e b o t a n i c a l g a r d e n s p r ov i d e a n o p p o r t u n i t y fo r n e i g h b o r h o o d s w i t h i n t h e ‘ N e w C i t y ’ t o c l a i m p a r t s o f t h e A r n o R i v e r a s t h e i r ow n . T h e g a r d e n s a c t a s a g a t h e r i n g p l a c e fo r t h e r e s i d e n t s w h e r e p e o p l e can purchase fresh produce at the m arket, experience s e a s o n a l c h a n g e s t h r o u g h t h e p e r e n n i a l g a r d e n , o r fi n d oasis in the exterior parks and shaded garden. The design is intended to give each neighborhood along the southern edge of the Arno River a sense of individuality a n d p e r s o n a l i d e n t i t y a s e a c h n e i g h b o r h o o d ’s g a r d e n s will manifest physically and conceptually different due t o s i t e c o n d i t i o n s a n d n e e d s . H ow e v e r, t h e g a r d e n s require comm unity par ticipation in order to survive. R e s i d e n t s a n d m a r k e t v e n d o r s a r e f r e e t o g r ow w h a t they please within the edible gardens and they will be r e s p o n s i b l e fo r t h e g a r d e n s m a i n t e n a n c e . T h e d e s i g n will also revit alize the activity along and in the Arno R i v e r a s a l l t h e g a r d e n s w i l l b e l o c a t e d i n t h e r i v e r.


[BOTANICAL] 19


20 [BOTANICAL]

DIAGRAMS - organization SCALE - city

0’

1000’

2000’

4000’

SITE - residential side

neighborhoods

pedestrian streets and bridges

GARDEN - one per neighborhood

DIAGRAMS - organization SCALE - site

0’

250’

500’

1000’

open space

INTERIOR GARDENS - open space, bridge, and pedestrian street

MARKETS - activators

conceptual models


[BOTANICAL] 21

DIAGRAMS - organization SCALE - neighborhood

CIRCULATION - towards the open space

SEPARATION - exterior landscape

site images

conceptual models

0’

50’ 100’

200’

STREET MARKET - gathering place and entry


22 [BOTANICAL]

0’

100’

200’

SITE PLAN - interior gardens, exterior gardens, and market

400’


[BOTANICAL] 23 shade water

park

perennial

edible garden herb and spice

pond

orchard

market park


24 [BOTANICAL]

OPERABLE GLASS FACADE - view from entry ramp


[BOTANICAL] 25

AT STREET LEVEL - view towards market and entry ramp

NIGHT LIGHTING - illuminates street and market


26 [BOTANICAL]

0’

25’

50’

100’

SECTION AA - shade garden SEASON - early summer

SECTION BB - water garden SEASON - late summer


[BOTANICAL] 27

SHADE GARDEN - tall grasses, vines, and trees

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


28 [BOTANICAL]

0’

25’

50’

100’

SECTION CC - perennial garden SEASON - autumn

SECTION DD - edible garden SEASON - winter


[BOTANICAL] 29

PERENNIAL GARDEN :: perennial flowers, vines, and trees


30 [BOTANICAL]

EDIBLE GARDEN AND ORCHARD - entry ramps and retaining wall


[BOTANICAL] 31

CONTINUATION OF LANDSCAPE - view from old city

EDIBLE GARDENS - variety of foreign edible plants


32 [BOTANICAL]

3D SECTION: BOTANICAL GARDENS 25 26

21 22

14

20

24

19

7

13 9

18 17 16

10 12

8

28 27

11

15 4

6 5

2 3

1

3D SECTION PERSPECTIVE - interior perennial garden

23

1. Pile 2. Pile cap 3. 5’ x 15’ Concrete footing 4. 4” PVC piping 5. 2’ Return air duct 6. Mechanical and storage space 7. 2’ Low volume air supply duct 8. 3” Concrete floor support 9. Concrete floor 10. 3/8” Glass and railing 11. 5’ Concrete earth retaining wall 12. 3’ Concrete water retaining wall 13. 3/4” Insulated glass enclosure 14. 3” Mullion and strip lighting 15. 6” Concrete retaining wall 16. Concrete pier 17. Pole socket and anchor to concrete pier


18. 1’ Laminated wooded pole 19. 1 1/2” Plant structure and watering system 20. 3” Rigid ties 21. Steel cap and spider connection to mullion 22. Secondary ties to glass facade 23. 3’ Concrete slab 24. Stair assembly 25. Steel beam and roof assembly 26. Steel socket and anchor to retaining wall 27. Soil 28. Plant material

[BOTANICAL] 33

retaining wall and foundation

poles

glass facade enclosure

floor slab and concrete piers

pathways

rigid ties

mullion structure

roof structure

entry ramp


34 [WHALING]

WHALING MUSEUM EXTENDED GAZING OF VISUAL STIMULI Museum 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.


BOTANICAL [WHALING]- 17 35

AL HELD - Inversion XIV


36 [WHALING]

GENE DAVIS - Moondog

LARRY POONS - Untitled

SOL LEWITT - Lines

SOL LEWITT - Lines Not Short, Not Straight, Touching and Crossing


[WHALING] 37

0’

5’

10’

20’

CROSS SECTION - variable lighting conditions of visual stimuli

AL HELD - Inversion XI


38 [WHALING]

0’

5’

10’

SECTION - al held gallery space

20’


[WHALING] 39

0’

2’

4’

ROOF DETAIL - panel and louver system

8’


40 [MISC]

MISCELLANEOUS PROJECTS A H A L L U C I N AT I O N I N D U C I N G S O L I TA R Y A R C H I T E C T UR E F O R M Y O B S E R VAT I V E S O L I TA R Y S E L F 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.


[MISC] 41

SECTION - solitary architecture


42 [MISC] Continuous runner channel Continuous runner Steel beam 4’4” x 6’ wood panels with attached fixed louvers Metal blocking Electric motor (interiorly controlled) Horizontal frame Metal rod

Fiberglass batt insulation Gypsum wallboard Interior wood finish Horizontal track

Vertical frame Sunshading system Operable louver, slate Ball bearing Horizontal frame Fixed louver, slate 2” Air space Waterproofing Moisture barrier Sheathing Metal stud Continuous runner Clip angle anchor bolted to concrete foundation wall Anchor bolt

Fixed window Operable sliding window Snap-in glazing bead Thermal break Mullion system

Reinforced concrete over metal decking Open web steel joists

Dampproofing Waterproofing membrane Drainage mat

Steel dowels Footing pipe Mechanical key anchor Footing rebar 2’ x 4’ Continuous concrete footing

WALL SECTION AND MATERIALS - newark k-8 school


[MISC] 43

MOBILE THEATRE - connecting community sounds



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