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ryan henriksen SELECTED WORKS 2016-2017 UNIVERSITY OF PENNSYLVANIA


ryan henriksen

#117, 4101 Spruce St Philadelphia, PA 19104 +201 783 2369 ryanhe@upenn.edu

EDUCATION 08/2016-Present

UNIVERSITY OF PENNSYLVANIA

| Philadelphia, PA

M.ARCH Candidate 08/2012-05/2016

ROGER WILLIAMS UNIVERSITY

| Bristol, RI

B.S in Architecture | Graphic Design + Architecture History Minors 01/2015-05/2015

INTERNATIONAL STUDIES INSTITUTE

| Florence, Italy

Architecture Studies | “Università di Firenze” Collaborative Workshop

EMPLOYMENT 06/2015-09/2015

KIRBY PERKINS CONSTRUCTION

| Newport, RI

Architectural Design Intern: Produced construction documents for residential remodels and additions in Newport Historic District; recorded as-built measurements and constructed 3D digital models for clients; reviewed shop drawings for finalization and created hardware and appliance schedules for client review 05/2014-08/2014

TIMELESS DEVELOPMENT + FDS ARCHITECTS

| Tenafly, NJ

Architecture Intern: On-site work including general construction, demo and site cleanup; architectural tasks including recording measurements and floor layouts 09/2013-05/2016

RWU_SP+L DESIGN CENTER

| Bristol, RI

Design Center Coordinator: Oversaw a staff of designers in charge of all RWU campus-event advertising; c o o r d i n a t e d t a s k s , t r a c k e d d e a d l i n e s a n d m a n a g e d o ffi c e p r o c e d u r e s

HONORS 2016 2016 2016 2015 2015 2015 2014

P E N N D E S I G N S C H O L A R S H I P | University of Pennsylvania M A G N A C U M E L A U D E | Roger Williams University S I G M A T A U D E L T A H O N O R S O C I E T Y | Roger Williams University ‘ B E S T O V E R A L L D E S I G N ’ A W A R D | Università di Firenze W I L L I A M T . M O R R I S S C H O L A R S H I P | Roger Williams University B R I D G I N G T H E W O R L D S C H O L A R S H I P | RWU Study Abroad T H E M E D C A M P A I G N D E S I G N W I N N E R | NACA Graphics Competition

INVOLVEMENTS 2016-Present

AGATSTON URBAN NUTRITION INITIATIVE

| Philadelphia, PA

Graduate Designer: Worked on marketing collateral ideas for nutrition initiatives including store displays and graphic advertisements 2013-2016

INTER-CLASS COUNCIL: EXECUTIVE COUNCIL

| Bristol, RI

Publicity Chair: Oversaw all organization advertising, marketing and rebranding; coordinated a Design Committee of student designers; served on a board overseeing all organizational operations

SKILLS Rhino

AutoCAD

Photoshop

3D Printing

Maya

Vray

Illustrator

Laser Cutting

Revit

Maxwell

InDesign

CNC Milling

SketchUp

Grasshopper

M S O ffi c e

Physical Modeling


table of contents 1

Con-Structed Spatiality

2

Withdrawn Containment

3

Clustered Entanglement

4

Fibrous Candescence

5

Re-Vivo

1


2

UNIVERSITY OF PENNSYLVANIA


con-structed spatiality Russel Wright Gallery Design Critic - Andrew Saunders Fall 2016

'Con-structed Spatiality' stands as an object of rigorous investigation stemming from an initial study of the volumous nature of the cone in relation to the artifacts produced by the industrial designer, Russel Wright. "The American Modern dinnerware collection stands as a culmination of Russel Wright’s design ingenuity. The set, a highly curated assortment of earthenware artifacts, incorporates a series of articulated signature curvatures that gesture towards a deeper character within the pieces. No longer do these mundane functional artifacts sit stagnant in their role, but now breathe a life engrained with new aesthetic principles and understandings. The cone has become the primary element of investigation in this proposal, seeking to uncover its deeper intrinsic qualities through the nature of conic intersection. The cone shall be understood as a culmination of underlying networks of complex spatial curvatures from which the reality of its physical being is understood. A dynamic drawing machine, fueled by conic sections will be utilized in the same nature as Russel Wright. Through the appropriation of these unique curvatures within the gallery, the hidden nature of the cone is redeďŹ ned and a grand gesture towards the artist’s aesthetic investigations is made." 3


PLANAR CUT // 1 By the geometric principles of the cone, when sliced by a plane the resulting section will exist as a circle, ellipse, hyperbola or parabola

PLANAR CUT // 2

PLANAR CUT // 3

PLANAR CUT // 4

PLANAR MERGE // 6

PLANAR MERGE // 7

PLANAR MERGE // 8

ANGLED MERGE // 10

ANGLED MERGE // 11

ANGLED MERGE // 12

INTERSECTION // 14

INTERSECTION // 15

INTERSECTION // 16

OBLIQUE // 18

OBLIQUE // 19

OBLIQUE // 20

SIZE VARIANCE // 22

SIZE VARIANCE // 23

SIZE VARIANCE // 24

PLANAR MERGE // 5 Merging two conic volumes whose bases lie in the same planar orientation results in varying hyperbolic curves

ANGLED MERGE // 9 Merging cones with non-similar base planes results in a curvature that begins to twist out of its planar orientation

INTERSECTION // 13 Intersection of the conic volumes at a 90 degree orientation creates a pinched elliptical curvature

OBLIQUE // 17 Based on the angle of intersection of two conic volumes a unique variety of curvatures will result

SIZE VARIANCE // 21 Manipulating the size of either cone begins to distort the dimensionality of the resulting curvature

// ITERATIVE ANALYSIS

The cone underwent an iterative analysis expanding upon the common conception of the 'conic section'. It was examined in reference to its intricate networks of underlying curvature and became a dynamic drawing machine from which to extrapolate entirely unique formations. 4


conic intersection. Clustered within the gallery, the cones perform a highly choreographed dance with the newly conďŹ gured conic sections poised at center stage. Within their spatial depth, the vaulted enclosures unveil the play of conic intersection as they spiral upward towards apertures overhead. Light rolls down into the volumes of the conic masses illuminating the works of Russel Wright as they rest on display. The conic section motivates a level of dynamism on the interior as conic curvatures wrap, warp and cut the spatial environment within.

5


// FINAL MODEL

// MID-REVIEW MODEL

// CONCEPTUAL STUDY

// PHYSICAL MODELS

(top) photograph of ďŹ nal model (below) photographed collection of 3D printed iterative study models interogating possible formal and spatial clusterings 6


// INTERIOR SPATIALITY RENDERS

//A

//B

//E

//F

//I

//J

//C

//D

//G

//H

//K

//L

Z

\\ PINCH

// BRIDGING

By clustering the conical volumes in an arrangement where their aperatures are grouped closely together the resulting vaulting resembles that of a rifling pattern that spirals upward toward the overhead aperature.

By intentionally ‘sandwiching’ one cone between two non-uniform others the resulting internal vaulting creates, aesthetically, what can be refered to as a pinch condition.

By bridging one or more clusters of conical volumes with another elongated cone, new aperatures are created that link the previously isolated spaces. The ‘bridge’ can be curated to serve as a visual or auditory link bewteen spaces.

7


// SITE PLAN

8


site registration. Positioned just east of the existing Russel Wright home and studio, the new gallery's formal gestures act as an extention of the linear site registrations established by the existing structure. Elevated above the quary, the gallery establishes a new public space in close connection to the home further highlighting Russel Wright's obsessive repurposing of the land.

9


// CLUSTERED VOLUME ITERATIONS

// CLUSTERED CURVENETWORK

// SITE SECTION

The gallery establishes a series of conic clusters that are poised as the primary exhibition spaces within the structure. Courtyards to the front and rear of the structure establish public realms further intertwining the gallery with the site.

10


// NORMATIVE BOUNDARY FORCE

// REACTIONARY MANIFOLD

11


PARABOLIC CURVE EXTRACTING SECTIONS

ELLIPTICAL CURVE

// CONCEPTUAL DIAGRAM

The formation of the container evolved as an analytical study of underlying geometry of Russel Wright's Pitcher. While withdrawing the volume within its manifold, the container also aimed to visuallyvv extract the sectional cuts of the cone form that were inherent in the earthenware artifact.

// FINAL 3D MODEL

12


withdrawn containment 10 5/8”

Artifact Analysis + Containment Critic - Andrew Saunders Fall 2016

6 5/8”

After the topological signatures of the sculpted pieces were understood the investigation turned to creating a container that would then house its specific form. The container created in this study was intended to emphasize the artifact as a withdrawn object while also aiming to highlight a specific signature element of its formal language. In the manifold constructed, the object was understood in its primitive massing, a cone, and the container acted to gesturally reveal its underlying conic nature.

10 5/8”

// ORTHOGRAPHIC PROJECTIONS

The following analysis served as an initial basis of investigation into representational techniques and an understanding of underlying geometric guides. Through the study, a series of Russel Wright's earthenware artifacts were disected and recreated in relation to their compositional structures. Once a series of orthographic projections were developed, the artifact could be extrapolated as a digital 3-Dimensional object that could then be pushed forward into the latter stages of the investigation.

8 1/2”

The container was limited by an extruded cairo grid boundary condition that became the normative condition in its composition. Any instance where the manifold breaks from the cairo grids normative constraints is an instance where the container is gesturing towards a specific sectional cut of the cone. 13


14


clustered entanglement PennDesign DigiBlast PS1 Pavillion 1-Week Design Workshop Summer 2016 The development of this proposal was thought about from the perspective of a spider, inter-connecting spatial volumes with various webs. From an arachnid’s perspective habitable space is completely dependent upon the entanglement of various volumes within its web; for without it their ability to hunt, travel and survive are greatly inhibited. Once constructed, a web has exponential ability to expand and entangle various other forms that build to its clustered composition. A spider’s web serves as a means to interconnect various nodes and fill the spatial voids between them. The proposal is an arrangement of various solid modules that have been “entangled” or intertwined in the similar ideology of a web structure. The recursive nature of the individual web components ties the pieces in to a uniform structure that allow it to be understood as a single web entangling various solid forms. The entangled forms then begin to interact at the human-scale highlighting interactive moments like sitting climbing upon. The creation of this system was aimed to serve as a speculative proposal for the PS1 MOMA, analyzing recursive modeling techniques and modular construction tactics. The proposal was assigned as part of a 1-week introductory digital design seminar where softwares including Rhino, Grasshopper and Maya were introduced. 15


x

// NODES

// INTERCONNECTION

// NODE GEOMETRY AND CONNECTIONS

// NEW CONNECTIVITY

// ENTANGLED GEOMETRIES

1

2

// AGGREGATION

// GEOMETRIC COMPOSITION

// COMPONENT DETAIL

The modular system in this proposal aims to create a cohesive design typology while also integrating a variety of mixed interactive gestures. 16


// EXPLODED AXONOMETRIC

17


18


ďŹ brous candescence Pavillion Design Competition Critic - Andrew Saunders Fall 2016 Fibrous Candescence began as an intense interogation into material reappropriation, where a typicaly non-structural product could be manipulated and transformed into a feasible architectural component. In this investigation burlap fabric was casted with resin in a two-part mold system to create rigid architectural components. The geometric formations of the components were derived through a careful study of several earthenware artifacts from the Russel Wright American Modern Dinnerware Collection which served as a the guiding objects of the project. The constructive analysis and the use of burlap fabric was intended to assimilate to Russel Wright's unique investigative nature as an artist where he looked to transform a material's intrinsic values. The componentry highlights an appreciation towards handicraft and natural materiality present in the American Modern Collection while also serving to re-formalize their signature aesthetics. Through the variability of their connectivity, the structure is able to aggregate in an organic matter, further elaborating the part to whole realtionship of the composition.

w/ Nicole Bronola, Bingyu Wang + Ting Su 19


// FINAL MODEL

// COMPONENT PREP

// MOLDS

// FABRICATION MODELS

(above, assorted) collection of photographs during the component fabrication phase with each resin-casted component being comprised of two halves that were trimmed hand stiched together 20


// PITCHER

// CREAM BOWL

// GRAVY BOAT

// COVERED VEGETABLE

// A

// B

// C

// D

// E

// F

// G

//H

iteration.

// I

//J

// K

The initial component massings developed as a series of iterative studies of recombinations of previously analyzed artifacts that could be fragmented and reintegrated. A catalogue of component 'children' created a tree of possible forms that were unique, but maintained speciďŹ c signature forms adopted from their parent artifacts.

// FINAL FROM DEVELOPMENT

The ďŹ nal form was interogated as a study of positive/negative massing realtionships that guided its resulting shaping; emphasizing subtle reveals and curvatures symbolic of Russel Wright's craftmanship. 21


orientation. Packed within a tetrahedral volume, the individual components have the ability to form unique packing structures that begin to aggreate in non-uniform formations. The casted component was designed with consistent edge conditions to allow for connectivity in any orientation.

//A

//B

//C

//D

//E

//F

// CONSTRUCTION PROCESS

The components are created by ďŹ rst casting a sheet of burlap fabric in resign between a two mold system. Once cured the component is released and the halves are sewn together. 22


23


24


re-vivo 1-Week Design Competition Spring 2017

Focused on instilling a new communal connectivity within the Western Philadelphia neighborhood or East Parkside, Re-Vivo aims to revitalize existing conditions through the installation of a new public market and rail line. The project sereves to recultivate the fading energy of the neighborhood through an activation of new transportational and community amenities. With the renewed connection, the Parkside neighborhood is granted the potential for ourished growth stemming from community activated market stalls and public gardening. Abandonned lots scattered throughout the neighborhood have created a distanced and fragmented community that will beneďŹ t from a renewal of communal unity. Clad with recycled polyethelene plastic the market loop gestures towards a community activated sustainability that will revitalize mis-used lots and enhance the neighborhood on a grander scale. The modular composition of the structure allows for new potentials for communal pavilions to be constructed cheaply and efďŹ ciently.

w/ Yi Lu + Justine Huang 25


orientation. The structure was designed as an integration of three new funtional spaces; a new rail line connecting the neighborhood to Central Philadelphia, a community market to serve the local residents, and public spaces to enhance community interaction. The loop lies is aimed at bridging the two neighborhoods between which it sits in an aim at revitalizing a new communal interconnectivity.

1

Below is an example of a simpliďŹ ed pavilion structured that could be dispered throughout the East Parkside neighborhood, serving functions of bus canopies, gardening huts and market stalls 2 3

1 2 3 4 5 6 7

4

Community Plaza/Recreation Public Market Stalls Community Garden Lots Performance Space/Entertainment Indoor Commercial Space Westbound Platform Eastbound Platform

6 5

7

// PLAN

// STRUCTURAL AXONOMETRIC

//SECTION AA

// SECTION BB

Re-Vivo's loop formation is intended to develop a new connectivity between the existing site of East Parkside Philadelphia with the neighborhood to its southern front. 26


// A

// D

3

2 1

// B

// E

// C

// PUBLIC GARDENING SPACE

// PUBLIC EVENT SPACE

// EXPANDED INFLUENCE

The 'Re-Vivo' proposal was thought about, additionally, as an urban design solution that could use its modular construction technique in smaller pavilions throughout the neighborhood. 27


28


Ryan Henriksen Portfolio  

Selected Works 2016-17 University of Pennsylvania PennDesign

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