Professional Documents
Culture Documents
Ryan E. Griffin
M.S. Arch B.Arch
Ryan E. Griffin
M.S. Arch_2012 Pratt Institute GAUD B.Arch_2009 The Pennsylvania State University
Academic Portfolio
Order of Presentation
Indaba Agora - Pratt Thesis, Spring 2012 Sensory Deprivation S(t)imulation Center - Pratt, Fall 2011 Stage and Backstage: Chase Manhattan P.O.P.S. - Pratt, Summer 2011 The Homogeneity of Heterogeneity - Penn State Thesis, 2009 The Lower Don Lands, Toronto - Penn State Urban Studio, Fall 2007 The Philadelphia Athenaeum - Penn State, Spring 2007 State College/Penn State Bus Station - Penn State, Fall 2006
I N D A B A A G O R A
Submitted in partial fulfillment of the requirements for the Masters of Science in Architecture, The Pratt Institute GAUD M.S. students complete an intensive, one-semester thesis project. Led by critic Thomas
Leeser, in the fall, students compiled a book entitled "100 Years of Thought in Architecture," analyzing the past 90 years of architectural and cultural production and theory. Our thesis projects were to be part of the last decade of this 100 years and beyond.
Thesis Statement
The components of digital space configure the new open plan. The ability of these technologies to modify physical space changes our ideas of predetermined functionality. With the disappearance of physical objects, a new rationality of architectural space develops that begins to distance itself from strict modularity. The built environment begins to exist for its own rationality of indulgence in physical experience.
Abstract
The city is where people seek to witness, create, and nourish the spectacle. The spectacle stands atop the endless monument in modern cities. However today, as the internet swallows up real space, the monument and the stage fall further into the background. The thesis melds together the functional and navigational qualities of the network (digital space) with those of Cartesian space (physical space). The applications of digital space are embraced for their potential, and physical space is maintained as a body to immerse oneself in. The product is a collaboration and practice space
for musicians, immersive environments artists, and producers, that acknowledges the role technology plays in the evolution of art. The building allows for the same act to produce multiple outcomes; work, play, and performance occur simultaneously. The building
serves as a checkpoint/oasis for derive where the machine of the interior enhances the public space of the exterior in real time.
The project is a place for creation and collaboration between musicians, producers, and immersive environments artists. As a whole, it is a cybist workshop; a network that functions through the interaction of separate units. The units are digitally connected and their relationships can be reconfigured on the fly. Musicians in the city need a place to practice where it is quiet for themselves and others. Producers need sounds to work with, intentionally crafted or found, and a place to interact with other artists of their kind. Immersive environments artists need large, digitally activated spaces to experiment in and a willing audience on which to test their creations. Able to be placed in any city, the building has
two main levels, and a public space; an extension of the ground plane reaching to the space above the top level. The two main levels are the spaces for collaboration, and serve to enhance the public space above and below by transmitting sound and visuals from the inside and
P ROPOSA L
using
it
as
atmospheric occupy
ornament
on
the
exterior. and
Producers
the
rectilinear (sonic
spaces and
orchestrate
digital
connections
visual)
between the separate rooms. The producer may be sampling an active practice session without the active knowledge of the musician, orchestrating collaborations between
multiple musicians and immersive environments artists, or alter the already varying sonic qualities of the
spaces through digital means. Musicians and immersive artists are meant to have mutual influence on each other. This arrangement creates an arena for cybist creation.
Producers Studios
Entry
Acoustic transmission allows for musical drive through physical navigation. One experiences a natural re-mix while walking through the corridors.
Practice/Recording Cells
Graphically
and
sonically
digitized
rooms
allow musicians to practice/create in sensorily diverse environments, and on-the-fly talent re-networking.
Public Terrace
Producer Studio
Exploded Model
Fenestration/ Shading
Structure
S E N S O R Y D E P R I VAT I O N / S ( T ) IMULATION C E N T E R
The
premise
of
Professor
Acconcis
studio
was
architecture as prison. No matter our ideas of utopia, realizations of our decisions as designers and found physical situations are imposingly limiting factors on our daily lives. The imperative of the studio was to design a prison. However, given the nearly unlimited interpretation of architecture/built environment as prison, was the imperative loose. and The definition studio of prison a wide
inherently
produced
institutions of higher criminal learning. Overcrowding has led to the increased creation of new prisons - the construction and operation of which has been turned over to private corporations resulting in the prison-industrial complex. Medical care is
outsourced to private companies, who work to minimize care given to maximize profits. Private companies also tend to focus less on rehabilitation. The fact that all operations are still publicly funded raises questions of a conflict of interest. All capitalist economies rely on growth. If prison populations
decline, private prison industry loses its reason to exist. One may of question whether or the prison-industrial is complex to is a result the
overcrowding
if
overcrowding
insured
maintain
industry.
P ROPOSA L
A new publicly-funded private facility for rehabilitation will replace the need for growing incarceration and give back to society by combining rehabilitation, research, revenue, and public utility. The project is a center separate from the main prison and removed from societal centers - for controlled sensory input and deprivation, and will be used for physio-neurological research and to treat prisoners and free citizens alike through
prescribed experiences.
Design Process
The
design
consists
of
space
and
circulation
for
physiologists, neurologists, psychologists, and security, and wandering space, float tanks, and stimulation tanks for prisoners and free citizens in need of treatment. Overlaid on top of a regular structural system is
a path system based on the path and form of an endless Buddhist knot. A series of knots stacked atop of each other, rotated, and then connected, create an endless wandering space devoid of here or there. Sensory deprivation tanks are placed throughout the path. Tanks and wandering paths work together to filter out the subjects psyche and remove sensory stimulation. While the float tanks serve to deprive the senses in
an acute manner, the wandering paths are meant to emulate this phenomenon in longer duration in order to sustain the effects of ones experience in the tank or prepare the subject for a tank experience through a softer sensory deprivation. The paths blend and morph between levels of open/closedness, hardness/softness, and being live/dead acoustically. They are constructed using a smart-glasslike material, allowing for manipulation of transparency. for The soundtrack and musical inspiration the project was Alva Notos Halliod
(cont.)
a.
Panoptical
observation
tower
is
multiplied by three, arranged in triangular layout, used as and twisted. These shafts are from
institutional
circulation
the institutional base at the bottom of the structure. The multiplication and In 1954 Dr. John C. Lilly designed the first sensory deprivation (float) tank to study the potentialities of the brain when relieved of sensory input. Lilly sought to eliminate external stimuli: other people, light, sound, gravity, and temperature. Most important b. Structure is added to support triple panopticon. was gravity, accounting for 85-90% of central nervous activity. Floating minimizes gravitational pressure on the body, freeing the nervous system, slowing the c. Buddhist Endless Knot, is multiplied, into the pulse and lowering blood pressure. The tank slows brain waves, increasing theta Theta wave exist in the ephemeral state twisted, connected, weaved
twisting serves to add to the effects of the wandering space, by not providing a central reference point.
a.
b.
c.
structure.
waves.
between wakefulness and sleep. This state, called d. Place float tanks along wandering paths. hypnagogic, is characterized by dissociation and a lack of criticality, and hard to study. Zen masters
d.
e.
e.
Basic
enclosure/exposure
deployment
reach and maintain this state in full wakefulness. The tank induces it within an hour. Floating also increases right brain activity, creating higher
strategy.
interaction and synchronization between hemispheres and higher brain function. Floating can be used for self-hypnosis, healing, relief, from and increasing habits to and athletic addictions, performance, depression,
g. Envelope development: 1. Intersect rectangular prisms. 2. Subtract intersecting volumes. 3. Remainder serves as envelope.
pain
breaking anxiety
f.
g.
1.
2.
3.
fear,
facilitate
superlearning,
Site Selection
ALTONA BARE HILL OGDENSBURG RIVERVIEW FRANKLIN
FRANKLIN
UPSTATE
CHATEAUGAY
MAXIMUM SECURITY
ATTICA AUBURN BEDFORD HILLS (FEMALES) CLINTON (ANNEX) COXSACKIE DOWNSTATE EASTERN ELMIRA FIVE POINTS GREAT MEADOW GREEN HAVEN SHAWANGUNK SING SING SOUTHPORT SULLIVAN UPSTATE WENDE
CLINTON
CLINTON HUB
CLINTON ST LAWRENCE
The site lies along the Hudson River and Metro North rail line and is situated in a central location with respect ADIRONDACK to three different large hubs of high prison population, and New York City. The site was chosen for its centrality and also to achieve the sensation of removal. Whether those at the
ESSEX
VERNEUR
MEDIUM center have come from prisons, orSECURITY from the city, they have been far removed from their everyday MORIAH
ADIRONDACK HALE CREEK (FEMALES) HUDSON environment and placed in ALBION a serene location in the middle of the river. ALTONA LIVINGSTON ARTHUR KILL BARE HILL BAYVIEW (FEMALES) BUTLER CAPE VINCENT CAYUGA CHATEAUGAY COLLINS FISHKILL FRANKLIN MAXIMUM SECURITY GOUVERNEUR GOWANDA GREENE MEDIUM SECURITY GROVELAND
GREAT MEADOW GREEN HAVEN SHAWANGUNK SING SING SOUTHPORT SULLIVAN UPSTATE WENDE HALE CREEK HUDSON LIVINGSTON MARCY MIDMID -ORANGE MID MID-STATE MOHAWK MT. McGregor OGDENSBURG ONEIDA ORLEANS OTISVILLE RIVERVIEW TACONIC (FEMALES) ULSTER WALLKILL WASHINGTON WATERTOWN WOODBOURNE WYOMING
wandering space:
paths, float tanks, s(t)imulation tanks, security access
HAMILTON WARREN
WASHINGTON
GREAT MEADOW
WASHINGTON
UPSTATE CHATEAUGAY ALTONA BARE HILL
NEIDA
HERKIMER
NEW YORK STATE FULTON DEPARTMENT OF CORRECTIONAL SERVICES FACILITIES HALE CREEKMAP
OGDENSBURG RIVERVIEW
OHAWK
CLINTON
CLINTON HUB
CLINTON
MID-STATE MARCY
GOUVERNEUR
ADIRONDACK
JEFFERSON
CAPE VINCENT
MT. McGREGOR
LEWIS
ATTICA AUBURN BEDFORD HILLS (FEMALES) CLINTON (ANNEX) COXSACKIE DOWNSTATE EASTERN ELMIRA FIVE POINTS
ESSEX
WATERTOWN
MORIAH
HAMILTON WARREN
WASHINGTON
MONTGOMERY
OSWEGO
GREAT MEADOW
ONEIDA WASHINGTON
ALBION
ONEIDA HUB
NIAGARA
ORLEANS
ORLEANS
MONROE
WAYNE
SCHENECTADY
ONONDAGA
ONEIDA MOHAWK
HERKIMER FULTON
ROCHESTER
BUTLER AUBURN
MADISON ONTARIO SENECA CAYUGA
MID-STATE MARCY
HALE CREEK
BUFFALO
GENESEE
MT. McGREGOR
ADIRONDACK ALBION (FEMALES) ALTONA ARTHUR KILL BARE HILL BAYVIEW (FEMALES) BUTLER CAPE VINCENT CAYUGA CHATEAUGAY COLLINS FISHKILL FRANKLIN GOUVERNEUR GOWANDA GREENE GROVELAND
MARCY MIDMID -ORANGE MID MID-STATE MOHAWK MT. McGregor OGDENSBURG ONEIDA ORLEANS OTISVILLE RIVERVIEW TACONIC (FEMALES) ULSTER WALLKILL WASHINGTON WATERTOWN WOODBOURNE WYOMING
WENDE
MONTGOMERY
WENDE HUB
ERIE
ATTICA WYOMING
WYOMING
LIVINGSTON
FIVE POINTS
YATES
CAYUGA
SUMMIT
GROVELAND
ALLEGANY
LIVINGSTON
ALBANY
ONEIDA HUB
RENSSELAER
SCHENECTADY
GEORGETOWN SUMMIT
ALBANY
RENSSELAER
WILLARD
CORTLAND OTSEGO
MINIMUM SECURITY
BEACON (FEMALES) BUFFALO EDGECOMBE FULTON
SCHOHARIE
MINIMUM SECURITY
LINCOLN MONTEREY SHOCK MORIAH SHOCK QUEENSBORO SUMMIT SHOCK
SCHUYLER
TOMPKINS
MONTEREY
CHAUTAUQUA CATTARAUGUS
ELMIRA HUB
CHENANGO GREENE DELAWARE
OTSEGO
SCHOHARIE
STEUBEN
CHEMUNG TIOGA
ELMIRA SOUTHPORT
GEORGETOWN
GREEN HAVEN DOWNSTATE FISHKILL BEACON
PUTNAM
WOODBOURNE SULLIVAN
LEGEND
MAXIMUM CORRECTIONAL FACILITIES MEDIUM CORRECTIONAL FACILITIES RECEPTION CENTERS WORK RELEASE SHOCK INCARCERATION CASAT (MINIMUM CAMP) CORRECTIONAL FACILITIES
GREENE
GREENE
SULLIVAN HUB
BEACON (FEMALES) BUFFALO MINIMUM SECURITY: CAMP EDGECOMBE DRUG TREATMENT CAMPUS FULTON
OTISVILLE MID-ORANGE
WESTCHESTER
COXSACKIE
LINCOLN
TACONIC
ROCKLAND
LINCOLN MONTEREY SHOCK MORIAH SHOCK QUEENSBORO LAKEVIEW SHOCK (INC FEMALES) ROCHESTER SUMMIT SHOCK
DELAWARE
HUDSON
EDGECOMBE
FULTON
SUFFOLK
NASSAU
BAYVIEW
KINGS
RICHMOND
QUEENSBORO
QUEENS
ARTHUR KILL
1/19/10
WOODBOURNE SULLIVAN
SULLIVAN HUB
OTISVILLE MID-ORANGE
WESTCHESTER
TACONIC
ROCKLAND
BRONX
FULTON
SUFFOLK
NASSAU
QUEENSBORO
QUEENS
ARTHUR KILL
RICHMOND
1/19/10
Plan-Section
The site is Chase Manhattan Plaza in the Financial District of Manhattan. Of interest is the public art in the plaza, the J.P. Morgan/Armani Casa commercial and residential tower, and the Chase Manhattan Building housing business offices as well as a world-class art collection. The premise of the project is to take over the mid-levels of the two towers in order to join the two cultures - business and residential - as well as to introduce the institution of the art museum. The impetus for the project is the growing availability of space in the emptying business towers of the district as well as the opportunity to use the space offered through elevator configurations of the mid-levels.
The studio focused strongly on a prescribed analysis and design methodology. Site analysis was done as a lesson/practice in topology. Understanding the site as a set of qualities (forces) constantly in flux, conclusions were made about intensities and shifts of such, not of fixed identities and hermetic ontologies. The method of intervention in such a conception of space, place,
and time - one of shifts and interaction - had to be just as fluid as that understanding. Minimal surface cells offer infinitely varying possibilities of form, floor/wall/ceiling (supporting/enclosing/ sheltering), affect, and are by definition self-structural. Using a tetrahedron-based minimal surface cell, research into
the formal and affective potentials of the cell was done using parametric modelling techniques. Different cell states were created as genetic types carrying unique characteristics and agencies.
These cells were gradiently deployed in the site as active agents, placed in specific response to the initial quality mapping. The intervention radically changed the topology of the site.
New architectural spaces, forms, and adjacencies gave suggestions for programmatic use, able to exist in flux as well. In the future, expansion to the structure can be done using the same methodologies, and with the possible introduction of new cell types.
Mapped Qualities
2
(heat, humidity, hot fronts)
1
3
Pretentious/Ostentatious
4
(cloud cover, doldrums) A set of found qualities were used to evaluate the site. site. were Each Their mapped quality was documented actions levels throughout the
intensities, at
and
interactions and
different
vertically
P ROPOSA L
through time. Qualities were evaluated with regards to physicality, aesthetics, and psychology. the Pretentious/ostentatious executive offices of fronts Chase emanated from the
Discrete/Discreet
Manhattan,
surrounding office buildings, and the terraces of (cooling winds) the J.P. Morgan/Armani Casa building. These fronts reached out to each other, gravitating towards
interaction. Confidence flowed through the air space as the idea of the city, occasionally distorting
already pretentious spaces. The compliment of these types of spaces was discreet/discrete space.
Confident
Level
Peak
Off-Peak
Pry
1. to inquire inquisitively persons private affairs into a 2. to use force in order to move or open (something) or to separate (something from something else) (used in pre/ost and distorted space)
Two
types
of
minimal were
surface
developed
that pries and one that excavates - and deployed at varying the strengths site in
throughout
Discrete/discrete areas were excavated to create and interior with space, high
spaces
pretentious/ostentatious
Excavate
1. to make a hole in; hollow out 2. to form by hollowing out 3. to remove by digging or scooping out 4. to expose or uncover by or as if by digging (used in discrete/eet space)
Excavating Max
Intervention Strategy
Residential/Office Terrace
Sculpture Garden
Public Terrace/Park
Gallery Space
Cafe/Restaurant
Gallery
Restaurant
Art Classrooms Digital Music Library, Listening Pods Rentable Reception Space
Public Promenade
T H E HOMOGENEIT Y O F HETEROGENEITY
The project is an artists co-op functioning as an arts center/school where resident artists teach classes
and community members can rent out space. In addition to this, is a commuter train stop and newsstand/
ticket office. The project is constructed by taking a line of five 1930s-era houses and building around, on, and through them.
...stratification and separation through materiality, iconography, scale, and physical separation...homogeneity, leading to
placelessness (despite vernacular), disillusionment, stasis, and sterile boredom ...stereotypification of the American Dream and Americans in general (assuming there is a norm) ...indirectly encouraging environmentally unsound developments ...commoditization of community, which can kill existing, organically developed communities.
Approach
the thesis claims and tests itself through...
...play and experiment with iconography, visual identification, materiality, and the blurring of physical and visual boundaries ...an additive ...the use of building process reclaimed materials and preservation of existing
population,
unconventional
family
structure,
unconventional thought.
Innovation...
...the proposition that...
...vernacular doesnt have to be rooted in nostalgia, an idea that has been commercially perpetuated, but defined by stratification through time, visible in physical layering
...suburban/small town architecture doesnt have to be conservative and can be more appropriate for the way communities can come
together.
...the amorphousness out of which objects are materialized by the (a)perceiving subject, the anterior physicality of the physical world emerging, perhaps, as an after-effect of the mutual constitution of subject and object, a retroprojection? You could imagine things, second, as what is excessive in objects, as what exceeds their mere materialization as objects or their mere utilization as
objects - their force as a sensuous presence or as a metaphysical presence, the magic by which objects become values, fetishes, idols, and totems. Temporalized as the before and after of the objects, thingness amounts to a latency (the not yet formed or the not yet formable) and to an excess (what remains physically or metaphysically irreducible to objects). But this temporality obscures the all-at-onceness, the simultaneity, of the object/thing dialectic and the fact that, all at once, the thing seems to name the objects just as it is even as it names some thing else.
Artist Housing Door Garden Visual Arts Practice Rooms Dance Studio Gathering Space
Longitudinal Section
Gallery/ Shop
Painting House
Dance Studio
Periodical Library
Door Garden
Perspectives
Dance Studio
Practice Rooms
Resident Artist Studios
Painting House
Periodical Library
The
project
was
to
create
schematic
plan
for
community in the Lower Don Lands of Toronto; a current industrial area in declining use, separated from the rest of the city by the Gardiner Expressway.
Planning was done in groups of four to six, including architecture and landscape architecture students.
Building heights were arranged to allow for wind to pass over the buildings, serving as wind protection in addition to the courtyard layouts. Docks are located near the main cultural and commercial area. Businesses are located further to the north near the Gardiner. Light rail lines run through the site using pre-existing tracks.
Schools are located near the sports fields. Landscaping is done in these areas to allow for changing walk out points depending on flood levels. The sports fields are at the upper level of the flood lands and accept overflow in the strongest floods.
After planning, each student took on a design project within the new community. My individual design was for a courtyard building, with a mixed-use ground floor and apartments above. In addition to the courtyard concept, taking a cue from northern European cities, bright colors were used to combat winter grays. The commercial
ground floor is clad in found sheathing materials from old buildings demolished on the site. Varying adjacencies of private/public
were used to create a more intensely activated open space in the courtyard and street.
Site Section
Aerial View
Northwest Elevation
Roof Plan
T H E P H I L A . ATHENAEUM
The project is an expansion of the existing library of the Philadelphia Athenaeum. The site is on Washington Square Park in Philadelphia, PA. Key site factors are the site, the Athenaeum, and an existing historical house on the property where the expansion is to go.
Conceptual Approach
The main conceptual moves are a vertically and horizontally weaving pathway moving through the structural stacks, light shafts providing light and marking specific stops on the path, and the reading room, which shares a language with the light shafts, makes a careful gesture over an existing historical house, and looks out onto
Washington Square.
Site Plan
West Elevation
Floor Plans
b.
1.
3.
4.
2.
Building Model
North Elevation
East Elevation
Transverse Section
Transverse Section
S T A T E C O L L E G E / P E N N S TAT E B U S S TAT I O N
The project involved a mixed-use program centered around the focal point of a bus station for transport of Penn State students, faculty, and locals. A bus station was already located on the site, inhabiting the old train station, while a Vietnamese restaurant inhabited the old bus station. As a recent property acquisition of Penn State, the design was to incorporate Penn State administrative facilities, an international foods and fresh produce market, a bookstore, restaurant, bar, cafe, newspaper/convenience store, a bank, and an
Design Concept
I drew inspiration from the unglamorous, yet intriguing layering of time visible on the existing site; on the pavement, in the buildings. Continuing with this haphazard development, I used the ideas of amputation, graft and prosthetic in my design to create location specific interventions across the larger, pedestrian-rich site. What resulted was a seemingly free-form solution, arranged as a complex rather than a solitary building, where connection points between the old and the new were the key.
Cut Diagrams
New Old
1. Bookstore 2. Cafe 3. Restaurant 4. Delivery/Shipment 5. University Offices 6. Auditorium 7. Bank 8. Newsstand 9. Convenience Store 10. Bus Station a. ticketing
b. waiting room c. departures/arrivals
11. Restrooms
5 4 11 3 8 9 2 6 1
Aerial View From North
b c 10
1. Bookstore 2. Cafe 3. Pub 4. FedEx/Kinkos 5. 7. 8. University Offices Fresh Produce International Foods Market 6. Auditorium
Basement Plan