Spencer Lindstrom [selected works 2012] by Spencer Lindstrom, AIA

ALL WORK AND NO PLAY MAKES JACK A DULL BOY ALL WORK AND NO PLAY MAKES JACK A DULL BOY ALL WORK AND NO PLAY MAKES JACK A DULL BOY ALL WORK AND NO PLAY MAKES JACK A DULL BOY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS PLAY ALL WORK AND NO PLAY MAKES JACK A DULL BOY ALL WORK AND NO PLAY MAKES JACK A DULL BOY ALL WORK AND NO PLAY MAKES JACKSPL2@RICE.EDU A DULL BOY ALL 970.420.1614 WORK AND NO PLAY MAKES JACK SELECTED RECENT WORKS A DULL BOY WORK IS PLAY WORK IS PLAY WORK IS PLAY WORK IS SPENCER LINDSTROM C-CA [PACIFIC] COMPETITIO

EATHERLIN HOUS

EFRAMING PARI ICE SCHOOL OF ARCHITECTUR USPENDED EDGE

UBURBANSUPERBLOC

ICE SCHOOL OF ARCHITECTURE PARI

OUND AT SE

C-CA [PACIFIC] COMPETITIO

EATHERLIN HOUS

EFRAMING PARI ICE SCHOOL OF ARCHITECTUR USPENDED EDGE

OUND AT SE

UBURBANSUPERBLOC

ICE SCHOOL OF ARCHITECTURE PARI

RECOGNIZING THAT NOTIONS OF JUSTICE ARE FUGITIVE, THE PRISON TAKES ITS SITE AS A POINT OF DEPARTURE. FEW THINGS INSPIRE AWE SO OVERWHELMINGLY AS AN ENDLESS HORIZON, AND WHETHER CONSIDERED THE SUBLIME OF BURKE OR THE LEVIATHAN OF HOBBES, AWE IS A POWERFUL TOOL IN UNDERSTANDING OUR POSITION IN THE WORLD. THE PRISON SEEKS TO LEVERAGE THE SITE AS ITS INCARCERATED GRAPPLE WITH THIS VERY QUESTION. THE BUILDING TAKES FORMAL CUES FROM THE SEA, EMPHASIZES VIEWS OF IT, AND EVEN DEPENDS ON IT FOR SECURITY. THE LABYRINTH PROVIDES A FRAMEWORK BOTH FOR DEPLOYING CELLS, AND OPENING THEM. THE APERTURES FOCUS ON THE SEA, THE SKY, AND THE SEEMINGLY INCOMPREHENSIBLE ARRAY OF CELLS. THE LABYRINTH FURTHER CRAFTS A NARRATIVE THROUGH SPATIAL DISASSOCIATION AND CONFUSION, AS THE PRISONERS ARE FORCED TO LOOK BEYOND THEMSELVES AND THEIR IMMEDIATE SURROUNDINGS FOR LANDMARKS, FOR CLARITY, FOR A HORIZON. THE PROGRAM VOLUMES DIVIDE THE CELLS BETWEEN CONVICTS AND THOSE AWAITING TRIAL. IN THE CENTER, THE FABRIC OF PASSAGES AND CELLS IS TORN BY A LARGER VOLUME. THIS HOLDS THE SECURE PROGRAMS, INACCESSIBLE TO THE PRISONERS. ITS CENTRAL LOCATION EMPHASIZES THE AUTHORITY OF THE INSTITUTION WHILE SIMULTANEOUSLY DOWNPLAYING ITS ROLE IN SURVEYING PRISONERS’ PROGRESS OR BROWBEATING THEM INTO PARTICULAR BEHAVIORS. THE PRISON IS NOT CLOCKWORK ORANGE, AND IT’S NOT THE PANOPTICON. RATHER IT EMPHASIZES THE PERSONAL RESPONSIBILITY OF INDIVIDUALS TO FIND THEIR PLACE IN THE WORLD. PUNISHMENT IS BEING FED TO A MINOTAUR. REDEMPTION IS SLAYING IT. IN THE DARK SHADOW CAST BY THE COMPLEX, A PRISONER ARRIVES ON THE TEMPESTUOUS DECK OF A BOAT, STARING IN AWE AT THE LOOMING PLATFORM STOLID AND IMPOSING, FAINTLY AWARE OF A DISTANT HELICOPTER, FLYING OVERHEAD, BEARING AWAY THE FORGIVEN AND THE DEAD IN A PULSING ROAR. REDEMPTION IS A HARROWING ENTERPRISE. * RECOGNIZING THAT NOTIONS OF JUSTICE ARE FUGITIVE, THE PRISON TAKES ITS SITE AS A POINT OF DEPARTURE. FEW THINGS INSPIRE AWE SO OVERWHELMINGLY AS AN ENDLESS HORIZON, AND WHETHER CONSIDERED THE SUBLIME OF BURKE OR THE LEVIATHAN OF HOBBES, AWE IS A POWERFUL TOOL IN UNDERSTANDING OUR POSITION IN THE WORLD. THE PRISON SEEKS TO LEVERAGE THE SITE AS ITS INCARCERATED GRAPPLE WITH THIS VERY QUESTION. THE BUILDING TAKES FORMAL CUES FROM THE SEA, EMPHASIZES VIEWS OF IT, AND EVEN DEPENDS ON IT FOR SECURITY. THE LABYRINTH PROVIDES A FRAMEWORK BOTH FOR DEPLOYING CELLS, AND OPENING THEM. THE APERTURES FOCUS ON THE SEA, THE SKY, AND THE SEEMINGLY INCOMPREHENSIBLE ARRAY OF CELLS. THE LABYRINTH FURTHER CRAFTS A NARRATIVE THROUGH SPATIAL DISASSOCIATION AND CONFUSION, AS THE PRISONERS ARE FORCED TO LOOK BEYOND THEMSELVES AND THEIR IMMEDIATE SURROUNDINGS FOR LANDMARKS, FOR CLARITY, FOR A HORIZON. THE PROGRAM VOLUMES DIVIDE THE CELLS BETWEEN CONVICTS AND THOSE AWAITING TRIAL. IN THE CENTER, THE FABRIC OF PASSAGES AND CELLS IS TORN BY A LARGER VOLUME. THIS HOLDS THE SECURE PROGRAMS, INACCESSIBLE TO THE PRISONERS. ITS CENTRAL LOCATION EMPHASIZES THE AUTHORITY OF THE INSTITUTION WHILE SIMULTANEOUSLY DOWNPLAYING ITS ROLE IN SURVEYING PRISONERS’ PROGRESS OR BROWBEATING THEM INTO PARTICULAR BEHAVIORS. THE PRISON IS NOT CLOCKWORK ORANGE, AND IT’S NOT THE PANOPTICON. RATHER IT EMPHASIZES © SPENCER LINDSTROM 2012 THE PERSONAL RESPONSIBILITY OF INDIVIDUALS TO FIND THEIR PLACE IN THE WORLD.

REFRAMING PARIS BUTTES CHAUMONT HOUSING: RSA PARIS

TYPICAL HOUSING BLOCK

REINCORPORATE PUBLIC

FRAME VIEWS

WRAP SPACE

INDIVIDUATE

DIFFERENTIATE

SUSPENDED EDGES MIXED USE LIGHT RAIL STATION: DALLAS/FORT WORTH

HOUSING LECTURE HALL

TO DFW GALLERY

LOCAL BUS STOP

LIBRARY

PROJECT AND AIRPORT PARKING

BLACK BOX

TO BUS

LIBRARY

PROPOSED PARK

TO PARKING

PROPOSED DFW STOP (elevated)

INDOOR PROSCENIUM TRE STOP

TO FORT WORTH

TO DALLAS

OUTDOOR PROSCENIUM

OUTDOOR IN THE ROUND

MEDIATHEQUE

TO COWBOYS STADIUM

SERVICE CORES © SPENCER LINDSTROM 2012

TO TRE RAIL

CENTREPORT STATION

ARLINGTON

INVERTED MONUMENTALITY

COWBOYS

ARLINGTON STADIUM

COWBOYS STADIUM

OPPORTUNITY CAR PARK BUS DALLAS CAR PARK WORK BUS ERRANDS DALLAS WORK ERRANDS

PROPOSED RAIL

DFW AIRPORT COWBOYS STADIUM AMERICAN AIRLINES HQ DFW AIRPORT AA CONCERT CENTER COWBOYS STADIUM SABRE AMERICAN AIRLINES HQ AMEX AA CONCERT CENTER VERISON SABRESERVICE U.S. POSTAL AMEX AIRBORNE EXPRESS VERISON FEDEX U.S. POSTAL UPS SERVICE AIRBORNE EXPRESS SKY CHEFS FEDEX UPS SKY CHEFS

RAIL FORT WORTH RAIL HOME PLAY FORT WORTH HOME PLAY

ALREADY 9,800 RIDERS A DAY: +2.5 MILLION TRIPS A YEAR ALREADY 9,800 RIDERS A DAY: +2.5 MILLION TRIPS A YEAR

DFW AIRPORT

EXISTING RAIL

FORT WORTH

OPPORTUNITY

IRVING CENTREPORT STATION

ARLINGTON COWBOYS STADIUM

DALLAS

EDGE: CONNECTS, BUT DIVIDES EDGE: (TRAIN TRACKS) CONNECTS,

BUT DIVIDES (TRAIN TRACKS)

BORDER: CONTAINS AND SEPARATES BORDER: (CITY LIMITS) CONTAINS AND

SEPARATES (CITY LIMITS)

FILLED GAP: CONTAINS AND CONNECTS FILLED GAP: (PROPOSAL) CONTAINS

AND CONNECTS (PROPOSAL)

INFRASTRUCTURAL CONNECTIONS... INFRASTRUCTURAL LOUIS KAHN: CONNECTIONS... SCOTTISH CASTLES COLLECTIVE SPACE

LEAVE GAPS AT THE URBAN AND ARCHITECTURAL SCALES... LEAVE GAPS AT THE

THAT ARCHITECTURE CAN TO FILL.

THAT ARCHITECTURE CAN URBAN AND TO FILL. INTERIOR EDGEARCHITECTURAL PROGRAM BLOCKS SCALES...EDGE EXTERIOR

SUBURBANSUPERBLOCK RSA PARIS CHARETTE *IN COLLABORATION WITH MR. TUCKER DOUGLAS.

INTERIOR EDGE high surface area URBAN SUPERBLOCK © SPENCER LINDSTROM 2012

SUBURBANSUPERBLOCK

SINGLE FAMILY HOME

publicity views of “city” life

INTERIOR EDGE high surface area

EXTERIOR EDGE low surface area

INTERIOR EDGE EXTERIOR EDGE publicity privacy views surface of “city” life ofarea landscape high lowviews surface area light and air circulation

publicityprivacy views of views “city”oflife landscape

BUSINESS!

HOUSING!

SWIMMING! SOCCER! RUNNING! PLAYING! FARMING!

PARKING!

NEATHERLIN HOUSE MATERIAL STUDY RENDERINGS AS RESEARCH ASSISTANT. *DESIGN: MR. GRANT ALFORD.

FOUND AT SEA AC-CA [PACIFIC] NEW OCEAN PLATFORM PRISON COMPETITION ENTRY. *IN COLLABORATION WITH MR. TUCKER DOUGLAS. *TEXT IN COLLABORATION MR. WILLIAM CROTHERS.

BASE MAZE

DISTRIBUTEDPROGRAM PROGRAM DISTRIBUTED AS CUTS INTO MAZE AS CUTS INTO MAZE`

TWO DISTRICTS: EACH WITH TWO DISTRICTS: ACCESS ACCESS TO ALL PROGRAMS

TO ALL PROGRAMS

SECURITY SHORTCUTS CLOSED SECURITY SHORTCUTS

CLOSED

SHORTCUTS OPEN SHORTCUTS OPEN

CHAPEL VISITORS AREA SHOWERS DISTRICT TWO: CONVICTED INMATES

DINING

DISTRICT TWO CELLS

DISTRICT ONE CELLS

Recognizing that notions of Justice are fugitive, the prison takes its site as a point of departure. Few things inspire awe so overwhelmingly as an endless horizon, and whether considered the Sublime of Burke or the Leviathan of Hobbes, awe is a powerful tool in understanding our position in the world. The prison seeks to leverage the site as its incarcerated grapple with this very question.

REC ROOM GARDEN SHOWERS DISTRICT ONE: PRISONERS AWAITING TRIAL

The building takes formal cues from the sea, emphasizes views of it, and even depends on it for security. The labyrinth provides a framework both for deploying cells, and opening them. The apertures focus on the sea, the sky, and the seemingly incomprehensible array of cells. The labyrinth further crafts a narrative through spatial disassociation and confusion, as the prisoners are forced to look beyond themselves and their immediate surroundings for landmarks, for clarity, for a horizon. The program volumes divide the cells between convicts and those awaiting trial. In the center, the fabric of passages and cells is torn by a larger volume. This holds the secure programs, inaccessible to the prisoners. Its central location emphasizes the authority of the institution while simultaneously downplaying its role in surveying prisoners’ progress or browbeating them into particular behaviors. The prison is not Clockwork Orange, and it’s not the Panopticon. Rather it emphasizes the personal responsibility of individuals to find their place in the world. Punishment is being fed to a Minotaur. Redemption is slaying it. In the dark shadow cast by the complex, a prisoner arrives on the tempestuous deck of a boat, staring in awe at the looming platform stolid and imposing, faintly aware of a distant helicopter, flying overhead, bearing away the forgiven and the dead in a pulsing roar. Redemption is a harrowing enterprise. *

DINING

DETENTION CELLS FREIGHT ELEVATOR HELIPAD LOADING DOCK

STRUCTURE// SECURITY SHORTCUTS

EMBEDDED PROGRAMS CENTRAL SECURE AREA COMPOSITE H