Spencer Lindstrom [selected works 2012]

© SPENCER LINDSTROM 2012

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 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 R

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SEARECOGNIZING 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 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

SELECTED RECENT WORKSSPENCER LINDSTROM970.420.1614 [email protected]

REFRAMING PARISBUTTES CHAUMONT HOUSING: RSA PARIS


TYPICAL HOUSING BLOCK WRAP SPACEREINCORPORATE PUBLIC INDIVIDUATEFRAME VIEWS DIFFERENTIATE



PROPOSED PARK

PROJECT AND AIRPORTPARKING

TRE STOP

PROPOSEDDFW STOP(elevated)

SUSPENDED EDGESMIXED USE LIGHT RAIL STATION: DALLAS/FORT WORTH

GALLERY

LIBRARY

LIBRARY

TO DALLASTO FORT WORTH

TO COWBOYS STADIUM

TO DFW

LOCAL BUS STOP

TO BUS

SERVICE CORESMEDIATHEQUE

TO TRE RAIL

OUTDOOR PROSCENIUM

INDOOR PROSCENIUM

TO PARKING

OUTDOOR IN THE ROUND

BLACK BOX

LECTUREHALL

HOUSING


FORT WORTH DALLAS

IRVING

ARLINGTON

COWBOYS STADIUM

DFW AIRPORT

SUSPENDED EDGES AND EMBEDDED OBJECTS

OPPORTUNITY

DFW AIRPORTCOWBOYS STADIUM

AMERICAN AIRLINES HQAA CONCERT CENTER

SABREAMEX

VERISONU.S. POSTAL SERVICEAIRBORNE EXPRESS

FEDEXUPS

SKY CHEFS

CAR PARKBUS ALREADY

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

EDGE:CONNECTS, BUT DIVIDES

BORDER:CONTAINS AND SEPARATES

FILLED GAP:CONTAINS AND CONNECTS

INFRASTRUCTURAL CONNECTIONS...

LEAVE GAPS AT THE URBAN AND ARCHITECTURAL SCALES...

THAT ARCHITECTURE CAN BEGIN TO FILL.

RAIL

DALLASWORKERRANDS

(TRAIN TRACKS) (CITY LIMITS) (PROPOSAL)

FORT WORTHHOME

PLAY

CENTREPORTSTATION

EXISTING RAIL

PROPOSED RAIL

FORT WORTH DALLAS

IRVING

ARLINGTON

COWBOYS STADIUM

DFW AIRPORT


OPPORTUNITY



SABREAMEX


FEDEXUPS

SKY CHEFS

CAR PARKBUS ALREADY








RAIL

DALLASWORKERRANDS


FORT WORTHHOME

PLAY

CENTREPORTSTATION

EXISTING RAIL

PROPOSED RAIL

FORT WORTH DALLAS

IRVING

ARLINGTON

COWBOYS STADIUM

DFW AIRPORT


OPPORTUNITY



SABREAMEX


FEDEXUPS

SKY CHEFS

CAR PARKBUS ALREADY








RAIL

DALLASWORKERRANDS


FORT WORTHHOME

PLAY

CENTREPORTSTATION

EXISTING RAIL

PROPOSED RAIL

LOUIS KAHN:SCOTTISH CASTLESCOLLECTIVE SPACE

INVERTED MONUMENTALITY

INTERIOR EDGEEXTERIOR EDGE PROGRAM BLOCKS


SUBURBANSUPERBLOCK

URBAN SUPERBLOCK SUBURBANSUPERBLOCK SINGLE FAMILY HOME

EXTERIOR EDGElow surface area

privacyviews of landscapecirculation

INTERIOR EDGEhigh surface area

publicityviews of “city” lifelight and air




publicityviews of “city” lifelight and air


publicityviews of “city” life

light and air



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


BUSINESS!

HOUSING!

PARKING!

SWIMMING!SOCCER!

RUNNING!PLAYING!

FARMING!

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

BASE MAZE

DISTRIBUTED PROGRAMAS CUTS INTO MAZE

TWO DISTRICTS: EACH WITHACCESS TO ALL PROGRAMS

SECURITY SHORTCUTS CLOSED

SHORTCUTS OPEN

+

=


FOUND AT SEAAC-CA [PACIFIC] NEW OCEAN PLATFORM PRISON COMPETITION ENTRY.

*IN COLLABORATION WITH MR. TUCKER DOUGLAS.*TEXT IN COLLABORATION MR. WILLIAM CROTHERS.

BASE MAZE

DISTRIBUTED PROGRAM AS CUTS INTO MAZE`

TWO DISTRICTS: ACCESS TO ALL PROGRAMS

SECURITY SHORTCUTS CLOSED

SHORTCUTS OPEN

H

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. * © SPENCER LINDSTROM 2013

CENTRAL SECURE AREA

EMBEDDED PROGRAMS

HELIPADLOADING DOCK

FREIGHT ELEVATOR

DETENTION CELLS

DISTRICT ONE CELLS

DISTRICT TWO CELLS

DISTRICT ONE:PRISONERS

AWAITING TRIAL

DISTRICT TWO:CONVICTED INMATES

STRUCTURE//SECURITY SHORTCUTS

COMPOSITE

DINING

SHOWERSVISITORS AREA

CHAPEL

DINING

SHOWERS

GARDEN

REC ROOM

Documents

Spencer Lindstrom [selected works 2012]