Portfolio Bryn Martin
The body of work enveloped in this portfolio aims to track a spatial journey through territories of the human Imagination. In short, it is a collection of stories rooted in space. Bryn Martin
Academic Project Individual 1 Month
Little Bar on a Pier The aim of this project was to design a little bar on the existing Burrard Dry Dock Pier in North Vancouver. The design for the bar utilizes the existing small concrete building on the site and repurposes it into two unique atmospheric conditions. The first is the ‘Echo Chamber’ which leaves the exposed concrete of the existing building and expands an oceanic slot in the floor in which sounds of the ocean enter the space and reverberate with the conversations of the patrons. The second space is repurposed as the ‘Ethereal Chamber’ which is clad entirely in white porcelain tile and a central bathroom lit by a system of skylights. This space becomes the interstitial space in which to access the Echo Chamber and additional bar space on the water. This third space becomes the main bar/ restaurant area which is made entirely out of wood and natural materials. One long table connects patrons together while slotted sheer walls provide enough privacy for warm intimate conversations.
Oscillation Chamber Model
ECHO CHAMBER
ETHEREAL CHAMBER
OSCILLATION CHAMBER
Oscillation Chamber Interior
ECHO CHAMBER OSCILLATION CHAMBER
Academic Project Individual 1 Month
Canine House Canine House is a hyper specific housing project designed with the goal of creating an environment for dogs and their owners to live and thrive in a community atmosphere. There are three different housing types - each to suit the specific needs of small, medium, or large dogs and their owners. These created housing types are arranged within a structural frame and are stacked to create a three storey structure called a ‘wolf stack’. These stacks can house anywhere between 5 - 10 dogs simulating the size of an average wolf pack in the wild. Circulation between levels as well as outdoor space for each housing unit allows for an effective community for both owner and companion alike. These wolf stacks are then arranged to fill the given site located along King Street in Toronto making up a total of 40 housing units.
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King Street
Academic Individual Semester Long
RIBo House RIBo House’s primary function is to provide an architecture that chases moments of optical and aural significance on the site. It’s final form is a result of an intensive study of Casa Malaparte which sought to determine the relationship between occupiable space and framed views. This deconstruction of ‘the whole’ resulted in a series of abstract models that dematerialized the building leaving only the skeleton relationship between view and movement. The goal of RIBo House was to establish a similar skeleton structure that was defined by a series of points in 3-d space associated with specific views and/or sounds of interest on the site. By connecting these points the skeleton structure of RIBo House is revealed. The roof then ties the structure together in a coheisive skin. The overall structure resembles a ribcage, idicative of the processes that created the final form. Hence the name of the project; Rib-Optical House or RIBo House for short.
superimposed windows (views)
circulation plates (movement)
window placement (view curation)
Points of Interest
Z - Axis Push
POI’s in x, y cartesian plane placed
POI’s pulled in z direction and connected to give base skeleton
Plane Creation
Circulation Creation
Thickness and flat sections are introduced to create an occupiable space
Connections added for circulation between ribs
Drape Roof
Puncture Roof
Roof draped to create a skin to unify the structure
Roof punctures for light and nature to permeate structure
Section A
Section B
Section C
Road Axis - 6m
Roofscape - 9m
People - 3m
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Roofless Site Plan Train - 9m
Trees - 6m
Brush - 3m
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Interior Rendering
Academic Individual Three Weeks
The Conch The Conch is a tree viewing shelter inspired by traditional old-growth tree logging practices and the geometry created by the process itself. Two elements were extracted from the process to create a geometrical framework for the design; First, the use of the ‘springboard’ which loggers wedged into a notch in the tree to create a cantilevered member in which one could stand on to cut the tree down. And secondly, the V-shaped geometry of the saw-cut which created an informal cavity space in which one could occupy. The goal was to create an occupiable space akin to the geometry of the V-cut and a cantilevered ramp that spirals upward around the base of the 400 year old Douglas Fir located in Squamish, BC. The occupiable space becomes a place for sharing ideas, storytelling, and a teaching platform for the Evan’s Lake Forest Education Society. The structure offers an informal play-structure for visiting kids as they explore the forested area. The spiral itself is created from the golden ratio to create a conch-like form that appears to be naturally derived.
Geometry of Saw Cut
Cantilever of Spring Board
Old Growth Tree Havesting
Original Idea
Wood Joint Inspiration
Modifications
Updated Joint System
Wormhole Perspective
Step 1
Step 2
Side View
Step 3
Step 4
Academic Project Individual 6 Weeks
Moriyama House Moriyama House (completed in 2005) is one of the seminal projects to come out of the firm SANAA. The forms that make up this project are quite simple in stature and appear as a series of elegant volumes split up by program. As such, their volumetric simplicity is coupled by simple materials - primarily of concrete (painted white), wood and steel. Unlike the usual form of a residential building which envelopes all of its rooms under one roof, the Moriyama House splits its functions into ten seperate volumes. Each accessable via an exterior garden space. The following exploration was completed for a class with the focus on developing Revit knowledge and efficient workflows. The aim was not only to create an accurate BIM model of Moriyama House, but also to carefully consider representation and quality of drawings.
Ground Floor
Level 1
Section A
Section B
Academic Partners 1 Semester
By-Catch Traditionally fisheries use large scale nets that are dragged through the water catching indiscriminately anything that comes along. Often there is what is called “By Catch” wherein unwanted marine life gets caught unintentionally in these nets. Despite this fishing culture being just a piece of a much larger overall maritime history, Our design for a new Maritime Museum is wrapped in a fine mesh which encapsulates the building and its contents indiscriminately. The objects and artifacts on display range from a 1920’s RCMP schooner named the St. Roch and the artifacts of its great arctic expedition, A Green Peace exhibition which showcases some of seafaring’s historical pitfalls as well as the ways in which contemporary practices aim for a higher level of sustainability and social responsibility. By highlighting both sides of the larger maritime history the visitor is guided to experience maritime history as a narrative of collective of victories and failures. Rather than this net cast over the museum to be a way to vilify the past – we hope it is rather a signifier of future change.
We’ve split up our program into three categories: Administration, Guest, and Artifact. The administration grid is oriented directly south, ensuring the maximum amount of daylight for the workers using those spaces. The visitor orientation is rotated towards the Burrard Inlet and the boats floating in the bay. And lastly is our artifact orientation which is rotated 45 degrees to match the downtown core and reduce high intensity solar exposure. By wrapping these programmatic boxes with our mesh we unify the building into a single form and create a series of interstitial spaces between our programmatic boxes. Our design’s identity is predicated on three essential phenomenological characteristics: The first being our tightly controlled programmatic boxes which adopt the white-austere museum typology, the second being all our vertical punctures clad in wood to create spaces of warmth and rest, and lastly our fine square mesh which obscures the overall ‘stacked-box’ form from the exterior and contains the visitor experience from the interior.
SKIN
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TEMPORARY ART GALLERY SKYSPACE EXTERIOR EXHIBITION VIEWING DECK
LEVEL 2 ENTRANCE OUTDOOR PREFORMANCE STAGE LIBRARY PUBLIC GALLERY ADMINISTRATION OFFICES RESTAURANT VIEWING DECK
LEVEL 1 CANOE CARVING ST ROCH. BOARDING WOODSHOP CONSERVATION THEATER PERMANANT GALLERY LOADING DOCK
LEVEL 0
AUXILLARY SERVICE SPACE MECHANICAL ST ROCH HULL ARTIFACT STORAGE
LEVEL -1
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LEVEL 1 10. Entrance 11. Reception 12. Administration Offices 13. Exterior Performance Stage 14. Restaurant 15. Restaurant Kitchen 16. Lecture Hall 17. Library 18. Gift Shop 19. Free Admission Gallery
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LEVEL 0 20. St. Roch Boarding 21.Arctic Expedition Hall 22. Artifact Conservation 23. Display Case Storage 24. Loading Dock 25. Artist Residence 26. Canoe Carving 27. Wood Shop 28. Theater 29. Concessions 30. Model Ship Display 31. First Nations Exhibition 32. Green Peace Exhibition 33. Open Exhibition
Adminitration Offices
East Stair
St. Roch Exhibition
Hadden Beach Approach