S E L E C T E D
W O R K S 2 0 1 5 2 0 1 9
A G A T A
J A K U B O W S K A
P O R T F O L I O
A G A T A J A K U B O W S K A
R E S U M E
EDUCATION 2018-2019 UNIVERSITY OF PENNSYLVANIA MSD-AAD MASTER SCHOOL OF DESIGN WITH CONCENTRATION IN GRADUATING DEC 2019 ADVANCED ARCHITECTURAL DESIGN 2013-2018 PRATT INSTITUTE B ARCH BACHELOR OF ARCHITECTURE
EXPERIENCE MAY-AUGUST 2018 MAY-AUGUST 2017
ROGERS PARTNERS ARCHITECTURE INTERN
NEW YORK CITY, NY
Primary Projects : (1) Generated images and models for a large scale urban proposal of a mall expansion and residential mixed use building development. (2) Generated images for proposal for Houston’s publicly accessible water barrier to help prevent future floods.
JAN-MAY 2018 HARRISON ATELIER GRAPHIC CONSULTANT
NEW YORK CITY, NY
Developed a graphic for a wall paper inspired by solitary bees in order to promote the bee’s well being and educate on their role in the environment. JUNE-DEC 2016 LIMONLAB ARCHITECTURE INTERN
NEW YORK CITY, NY
Primary Projects : (1) Design development, presentations, and image production for an artists village in Panama City, Panama made primarily out of shipping containers. (2) Masterplan development and presentation for a self sustainable village in Kathmandu, Nepal. AUGUST-DEC 2016 AUGUST-DEC 2015 PRATT INSTITUTE TEACHERS ASSISTANT GABY ESCALERA (2015) AND NATE HUME (2016)
Assisted in teaching first year undergraduate architecture students representational techniques such as hand drafting and computer drafting orthographic projections.
JULY 2016
2
TRAVEL RESEARCHER ANLONG, CHINA
Analyzed and visited sites in order to research villages in Anlong, China to propose strategies and approaches to developing the village in a beneficial and sustainable manner to create better lives for the residents.
CONTACT +1 (972) 639 7112
AJAKUBOWSKA.STU @ GMAIL.COM
3514 SPRING GARDEN ST. A22 PHILADELPHIA, PA 19104
SKILLS SOFTWARE
ADVANCED ADOBE [ILLUSTRATOR, PHOTOSHOP, INDESIGN] RHINOCEROUS 3D, MAXWELL RENDER, GIS, VARIOUS 3D PRINTING
INTERMEDIATE GRASSHOPPER, V RAY RENDER, AUTOCAD, REVIT TECHNICAL
LASER CUTTING, 3D PRINTING, MODEL MAKING
LANGUAGES
ENGLISH, POLISH
AWARDS U.PENN PRATT INSTITUTE OTHER
DEAN'S SCHOLARSHIP RECIPIENT PRESIDENT'S SCHOLARSHIP RECIPIENT JUNGE SCHOLARSHIP RECIPIENT 3 TIME DISTINGUISHED PROJECT DISTINGUISHED THESIS PROJECT OUTSTANDING MERIT UPON GRADUATION 4 TIMES PUBLISHED IN INPROCESS HVIAC [HUDSON VALLEY INTERCOLLEGIATE ATHLETIC CONFERENCE]: ROOKIE OF THE YEAR 2013 PLAYER OF THE YEAR 2014
P O R T F O L I O
A G A T A J A K U B O W S K A
S E L E C T E D W O R K S
4
SELECTED WORKS
06 C U R R E N T
O D D K I N S
W O R K
O F T H E H A L I C S H I P Y A R D
10 2 0 1 6
R E A P P R O P R I A T I N G
T H E N A T I O N A L P A R K
18 2 0 1 8
C O N S T R U C T E D G R O U N D S
28 36 2 0 1 5
U R B A N U N I T E
2 0 1 6
N E S T E D
D I C H O T O M I E S
42 2 0 1 7
T R A N S I E N T P I A Z Z A S
P O R T F O L I O
2019 CURRENT WORK
A G A T A J A K U B O W S K A
HALIC SHIPYARD, ISTANBUL, TURKEY
ODDKINS OF THE HALIC SHIPYARD 00
OHS
CRITIC: FERDA KOLATAN + MICHAEL ZIMMERMAN
The halic shipyard is a found industrial landscape where the interface between rigid and formal meets with informal and textural. It is a sublime landscape which is then characterized and shaped by the ecological layer of processes. Using traditional turkish marbling, called ebru, as a vehicle, the idea became about creating artificiality of growth and weathering as an abstraction in order to comment on the ideas of the post industrial landscape as an uncanny kind of organicity which characterizes this landscape.
6
P O R T F O L I O
A G A T A J A K U B O W S K A
0 0 O D D K I N O F T H E H A L I C S H I P Y A R D
8
P O R T F O L I O
2016
A G A T A J A K U B O W S K A
SOUTH STREET SEA PORT, MANHATTAN
REAPPROPRIATING THE NATIONAL PARK 01
RNP
COLLABORATOR: JONATHON KOEWLER CRITIC: DRAGANA ZORIC
The goal of pier 14 is to create an intervention on the edge of manhattan which acts as a found preserve thusly reappropriating the idea of a national park. national parks lend themselves to the conservation of a scape, protecting it in time. It adapts national park programs through means of artificially constructed concrete forms. these forms respond to the question of what is an icon and a monument, and build on a juxtaposition between urban living and its relationship to nature. Placing a constructed 13 acre pier would not be considered a found scape by any circumstances and so dialectic forms between constructed and conserved. this project argues that a space can be created with the purpose of preservation within the future. architecture can be created in order to be preserved. Manhattan is a changing island, with boundaries blurred through each added space. a pier can become a commentary on how the edge is being used, and it can become a means to gage how it will be used in the future.
10
PLAN CUT AT 25'
PLAN CUT AT 3'
P O R T F O L I O
A G A T A J A K U B O W S K A
[A]
0 1 R E A P P R O P R I A T I N G
[B]
N A T I O N A L P A R K
12
[C]
PLAN CUT AT 50'
[A] [B] [C]
As the pier meanders from urban edge to water's edge its experiences progressively change from pastoral rolling landscapes and parks into more porous and open landscapes with a direct relationship to the water and then bach into cavernous and sublime as the hiker begins to experience more intense and rigorous landscape, and is presented with many different paths.
[A] SECTION MODEL : LOW + PASTORAL
[B] SECTION MODEL : POROUS + SPRAWLING
[C] SECTION MODEL : DEEP + SUBLIME
P O R T F O L I O
A G A T A J A K U B O W S K A
0 1 R E A P P R O P R I A T I N G
[C] SECTION MODEL FOLLY DETAIL EACH FOLLY GIVES A STORY
The national park seeks to create measured experiences through these simple icons, where no path between each marker is the same. The 'markers' put in place are deemed follies which can be interacted with and lead the conscious experience from one marked point to another. Meandering from folly to folly leads to a certainty in the users observed experience. The registration of ‘I am here’ impacts the occupant into measured space, as she proceeds from one folly to another.
N A T I O N A L P A R K
14
"BOTTLE OPENER" FOLLY
[A] SECTION MODEL FOLLY DETAIL
"BOW" FOLLY
P O R T F O L I O
A G A T A J A K U B O W S K A
"THE DONUT"
"BOW"
"THE WHISTLE"
"THE OYSTER"
"DORITOS"
"STING RAY"
0 1 R E A P P R O P R I A T I N G N A T I O N A L P A R K
16
"THE RIBBON"
"THE ONION"
WHAT MAKES AN ICON
"TEAR DROP"
"THE FLIPPER"
"THE ZIPPER"
"THE SHOVELHEAD"
Icons are often easily read objects which are capable of being interpreted differently by individuals in order to be readily consumed as an image; images full of associations. This renders icons to be both minimal as well as experimental, as they are stand alone and aim to be an idiosyncratic icon of a landscape. Today's iconicity comes from images consumed as an even faster rate, digitally across multiple platforms. Material acrobatics, as in brutalist ideas of heavy concrete being lifted into the air are also ideas of iconicity. Therefore, the follies at Pier 14 are standalone minimal shapes easily associated with objects which perform their own material acrobatics as thin concrete shell structures able to be interacted with, and most importantly, taken a picture with.
P O R T F O L I O
2018
A G A T A J A K U B O W S K A
LOS ANGELES COAST
CONSTRUCTED GROUNDS 02
CS
COLLABORATOR: ALEKSANDRA CHECHEL CRITICS: EVAN TRIBUS + DRAGANA ZORIC
Our degree project focuses on the relationship between the urban fabric of Los Angeles and it's transportation infrastructure. Our thesis asks: how does the urban fabric of the city transform when you remove the constant adjacency to the car; what happens to the ground plane and the larger urban condition? We speculate that freeing the ground plane of the car creates a mega-fabric which can be occupied three dimensionally in contrast to the flatness of roadbased sprawl. In order to realize the potential of this mega-fabric, we propose a hybrid of infrastructure and architecture which we call the constructed grounds. We propose a new offshore neighborhood called Santa Monica West. It will accommodate four rocket launch pads with a constructed ground forming an island around the launch radii. We project Santa Monica West to be an extension of the city fabric, a new neighborhood, a future development of Los Angeles. It will be connected by boats and helicopters as well as the hyperloop, and will be just as accessible as any other neighborhood within LA. TEXT CONT. PAGE 18
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SITE PLAN OF ROCKET HUB
P O R T F O L I O
A G A T A J A K U B O W S K A
0 2 C O N S T R U C T E D G R O U N D S
20
URBAN FABRIC AS SHAPED BY THE CAR
URBAN FABRIC AS SHAPED BY NEW TECHNOLOGIES
VIEW FROM SANTA MONICA BEACH
We are using current advances in transportation (both passenger and freight) technology to shape our proposal. One of the most radical technologies in development is public rocket travel which could be another mode of public transportation. It takes the passenger into orbit for about 5 minutes in order to travel from one side of the world to the other in very little time. If implemented, it would take 30 minutes to travel from LA to Shanghai. This is the mode of transportation which in our view will take the place of the highway. With these technologies the cities located close to each other, such as San Francisco and San Diego will connect to make a megalopolis, and these megalopolises will connect via rocket to form a global-opolis.
P O R T F O L I O
A G A T A J A K U B O W S K A
0 2 C O N S T R U C T E D GROUND TYPE ITERATIONS G R O U N D S
22
Here we find a ground plane freed from ground transportation, allowing for a topographic play, a radical wildness, without rigid boundaries that are found in current LA: the house plot, garden plot, sidewalk, and so on. The constant adjacency is now to the topography with the experience of each condition (peaks, valleys, inside, outside). This means a three dimensional experience of the thick porous ground rather than a surface treatment in current LA.
PLAN
P O R T F O L I O
A G A T A J A K U B O W S K A VIEW APPROACHING HUB
0 2 C O N S T R U C T E D G R O U N D S
24
VIEW WITHIN THE TOPOGRAPHY
MODEL OF A WING
P O R T F O L I O
A G A T A J A K U B O W S K A
0 2 C O N S T R U C T E D G R O U N D S
26
SECTION THROUGH THE TOPOGRAPHY SHOWING HOW IT CAN BE INHABITED
THICK GROUND PLANE
LA is intrinsically tied to transportation and will be so in the future. However, the new transportation will lead the shifting of LA’s habits and will be able to have an altered relationship to its ground creating a new way of life, which allows for assembled and architectural precisely constructed urban condition. Without the need to be constantly adjacent to a flat plane, radical wildness exist in these constructed grounds. The projected street section will begin to shrink as vehicles become
autonomous, and users use different transportations. The boundary will become adjustable depending on time of day. A further projection and proposed ground plane is one of high adjustability, allowing for 3 dimensional relationships. However, one border which remains unbroken in the age of the car is LAs coastline, which will be broken with new technologies. We site our proposal in Santa Monica Bay.
P O R T F O L I O
A G A T A J A K U B O W S K A
2015 CLINTON HILL, BROOKLYN
URBAN UNITE 03
UU
COLLABORATOR: ARDON LEE CRITIC: ANDREW LYON
Le Corbusier set residential topology on its side with his Unite d'Habitation. With his double height units he allowed the circulation corridor to happen every other floor instead of every floor which relieved the space of redundancy and freed it to become a useful common area. Units were allowed to span all the way across the building, facade to facade. Along with the Corbusier topology, the project injected a townhome typology into an artists dormitory in order to form a hybridized chymera where the corridor becomes public and is divided into units dependent on use: painting studios, pottery studios and dark rooms for photography. Here, the townhome is dependent on use, but contains clear divisions between private and public. Hybridizing the Unite involved applying a program of art student dormitory living within seperate interior public streets that interwove studio spaces and pseudo-living room spaces. Each of the public streets is located every other floor on the stop levels. The density of public spaces creates a townhouse typology: blended private and communal spaces with microcommunal pockets.
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PLAN CUT AT SKIP LEVEL
P O R T F O L I O
A G A T A J A K U B O W S K A
0 3 U R B A N I Z I N G T H E U N I T E
30
INITIAL STUDY MODELS
UNIT PLANS AND SECTIONS
P O R T F O L I O
A G A T A J A K U B O W S K A
0 3
UNITE D'HABITATION SECTION
EXPLODED SECTION
DIAGRAMMATIC SECTION
DIAGRAM OF ENVELOPE
U R B A N I Z I N G T H E U N I T E
32
PLAN CUT AT ROOF LEVEL
P O R T F O L I O
A G A T A J A K U B O W S K A
0 3 U R B A N I Z I N G
NORTHWEST [FRONT] ELEVATION
T H E U N I T E
SOUTHEAST [BACK] ELEVATION
34
FACADE ELEVATION DETAIL
FACADE SECTION DETAIL
P O R T F O L I O
2016
A G A T A J A K U B O W S K A
36
COLUMBIA ROWING BOATHOUSE
NESTED DICHOTOMIES
04
ND
COLLABORATOR: MADELEINE WONG CRITIC: BETH 0'NEILL
Manhattan is a dense urban jungle packed with an artificial kind of animal. Concrete planes intersect sky high glass and the landscape is all but natural. Artificiality is sculpted by the designer and the inhabitant exists as an implemented foreigner, just like their environment. On the very tip of the island lies a vastly different experience, where the unaltered makes its refreshing appearance. This peninsula marked by Inwood Park is characterized by an openness that leads your eyes up and away, past the green plants native to the area, past the tranquilly still river, past the robust colossal rock formations left behind by the pre-existing glaciers of the area. This makes the site an ideal space for commemorating human as part of their original landscape. Initially, with the two forces acting on site, we decided to proceed with a dichotomous language of natural versus urban. However, no matter how opposite these forces are they none-the less act in harmony. Two axes formed; one where te inhabitants are integrated into their environment and the other where they are introduced to it. The boatshed becomes a new topography peeled up from the existing landscape where the rowers maneuver within the newly formed in-between spaces to carry scll or sweeps in anad out.
MODEL
P O R T F O L I O
A G A T A J A K U B O W S K A
0 4
NORTH SOUTH SECTION
EAST WEST SECTION
N E S T E D D I C H O T O M I E S
NORTH ELEVATION
SOUTH ELEVATION
38
LOWER LEVEL PLAN
P O R T F O L I O
A G A T A J A K U B O W S K A
0 4
N E S T E D D I C H O T O M I E S
ROOF AND FLOOR DETAILS
40
BOATHOUSE RENDER
ENTRANCE RENDER
P O R T F O L I O
2017
A G A T A J A K U B O W S K A
APPROACH TO THE VATICAN
TRANSIENT PIAZZAS
05
ND
CRITIC: FREDERICK BIEHLE
Urbanistically Rome is a circuit of fragmentary pieces of the ancient ruins, medieval crumbs, the renaissance and baroque as modifying the medieval fabric through organizing geometries, and finally, the 19th and 20th century interventions. Rome is filled with dispersed urban identities manifesting as one conglomerate. This is what makes up the identity of Rome; the occurences of the identities as a collective, as they blend together in places sometimes identifiable and sometimes obstructed by their mixture. The identities are interpreted within and read as one new collective bricollage of spaces. Rome is sequentially episodic with the idea of a rhythm of open close, open close, between piazza space and corridor thouroughfare, open, close (open, close). The proposal occuring along the Spina, along the street VIa della Conciliazione, does not exist in the city, but rather, brings the qualities that exist in the city through a repetitive unit. This part seeks to create a condition of open close as sequence through the unit of a ring.
42
P O R T F O L I O
A G A T A J A K U B O W S K A
0 5 T R A N S I E N T P I A Z Z A S
44
P O R T F O L I O
A G A T A J A K U B O W S K A
0 5 T R A N S I E N T P I A Z Z A S
46
ISOMETRIC OF URBAN INTERVENTION [ALL]
P O R T F O L I O
A G A T A J A K U B O W S K A
0 5 T R A N S I E N T P I A Z Z A S
48
ISOMETRIC OF URBAN INTERVENTION [GROUND PLANE ONLY]
A G A T A
J A K U B O W S K A
C U R R E N T W O R K
O D D K I N S O F T H E H A L I C S H I P Y A R D
2 0 1 8
2 0 1 6 R E A P P R O P R I A T I N G T H E N A T I O N A L P A R K
C O N S T R U C T E D G R O U N D S
2 0 1 5 U R B A N U N I T E
2 0 1 7 2 0 1 6 N E S T E D D I C H O T O M I E S
T R A N S I E N T P I A Z Z A S