Patricia Kunkel
Contents
Academic 4 10 14 18 22
The Riverwalk - a mixed use building on the Gowanus Canal Musicians’ Hotel - a hotel in San Francisco’s SOMA neighborhood Meyerland Southwest - a site plan for rebuilding a flood-prone Houston neighborhood Fiberglass Boathouse - a sports facility near one of Houston’s bayous Ad Reinhardt Museum - an art museum in Houston’s cultural district Professional
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101 California (BCJ) - a lobby renovation for a tower in San Francisco’s financial district Square Oakland (BCJ) - adaptive reuse and interior design for a tech client in Oakland Pax and Parker (Ibanez Shaw) - high end retail store in Fort Worth
The Riverwalk ARCH 601 Prof Gordon Wittenberg Fall 2019 4
The Riverwalk is a mixed-use project on Brooklyn’s Gowanus Canal that revitalizes a forgotten, polluted site by refurbishing five blocks of industrial warehouses, creating a new landscape, and lining the existing waterway with a massive horizontal wall filled with retail spaces, workplaces, and apartments. This wall is a piece of inhabitable infrastructure
that suspends a collection of CLT floorplates from an enormous steel truss that spans several large columns. Building in this way addresses structural challenges associated with building on marshy polluted land, and allows the daily activities of the city to flow under the building’s more permanent uses and inhabitants.
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1) The building divides the canal from the city and curates views and access to create a special urban oasis. 2) Some of the building’s support facilities (administration spaces and a central plant) sit outside the main mass. 3) An angular glass wall, folded in key moments to create special programmatic moments and views, covers the north facade. Apartments are suspended below a large truss, which is filled with outdoor ammenity spaces. 4) The building’s south facade is largely opaque but covered in balconies to minimize heat gain.
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1) Glass wall typical condition. 2) The glass wall folds out at its base to form an entry promenade. 3) The glass wall folds back to form an elevated outdoor lounge. 4) The top of the glass wall folds out to form an overlook. 5) Glass wall folds out to accommodate increased need for office space. 6) A road passes through part of the building where glass is removed and structure is exposed. 7) Each short block of apartments contains several identical living spaces, designed for people at similar stages of life. The long block on the site’s south end has a blend of one bedroom, two bedroom, and three bedroom apartments. 8) Suspending the apartments above the offices creates large open areas uninterrupted by columns.
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(1) Office spaces are free from columns and feature views out to the vegetation in the neighborhood beyond. (2) A diagrid structure spans between angled girders to hold the curtain wall at an angle to the rest of the building, creating an internal pocket for working and lounging. (3) A gently undulating path sits between the large trusses that supports the lower floor plates. (4) A combination of Warren trusses (on the outside) and Vierendeel trusses (on the inside) allow for clear head space and passage between paths. (5) The building’s north side has several expansive open spaces to allow for movement between the canal and the rest of the city. (6) The building’s south side is largely opaque to minimize heat transfer. (7) Large columns split the building into four blocks, each with a slightly different use.
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Musicians’ Hotel ARCH 402 Prof Ajay Manthripragada Spring 2018 10
The Musician’s Hotel is a proposal for a tower at the intersection of Tenth and Mission in San Francisco. The project looks to the work of Louis Kahn to derive a primitive plan by isolating key organizational elements from seminal projects and recombining them to produce a conceptual average of his strategies. This primitive is inscribed in a rectangular volume, and
the peripheral spaces between the boundary and the averaged plan act as informal collaboration and performance spaces for musicians above a base that houses a larger performance venue. This rectangular volume is a rainscreen covered in curved geometries derived in a similar averaging process that looks to drawings by mid-century artist Sol Lewitt.
Dominican Motherhouse
Fisher House
Kimbell Art Museum
Esherick House
The tower’s plan is a product of the isolation and averaging of key organizational elements from four Louis Kahn plans. “Averaging”
Internal voids betwen the rectangular shell create spaces for impromptu concerts where artists can be heard but not seen from the street. An internal urbanism of lofted street performances
Basement
Floor 1: Event space
Floor 2: Lobby
Floor 3: Amenity spaces
Floor 4: Administration
Floor 5-11: Hotel rooms
Floor 12: Lounge
Floor 13-18: Hotel rooms
Sol Lewitt-derived lines create a moire pattern rainscreen
Rusakov Workers’ Club Sectional Camber 11
Floor 1: Event space
Floor 2: Lobby
Floor 5-11, 13-18: Hotel
Floor 12: Lounge
Balcony Lounge Balcony
Lounge Admin Amenity deck Lobby Event space Parking Tenth and Mission intersection 12
Grace St. elevation
Balcony Lobby Event space Parking
Performance space section
Breakout and seating section
A rainscreen covered in thin, delicate circular elements obscures internal activity. The curving pattern appears like a random field of lines at the top of the tower but coalesces into an order above the building’s entrance.
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Meyerland Southwest ARCH 401 Prof Albert Pope Fall 2017 Collaboration with classmate Andrew Bertics 14
This project is a proposal for the redevelopment of Meyerland, a neighborhood in Houston that was badly damaged in Hurricane Harvey. The Evelyn Rubenstein Jewish Community Center (the JCC) sits on the northern edge of the neighborhood’s southwest quadrant and experienced extreme flood damage over the past decade due to its proximity to Brays Bayou.
The proposed redevelopment will proceed from key cultural buildings like the JCC along the bayou and grow backward into the rest of the city, interlocking landscape with the urban fabric . This strategy will also integrate the bayou ecosystem into the city through a combination of retention and detention ponds, prairie grass, and paved areas.
Meyerland flood boundary and programmatic bayou anchors Cut-and-fill water management strategy Flat matrix
Extruded matrix
Spine buildings
A matrix-based form study of “L� shaped volumes led to the creation of three types of buildings that each occupy a unique part of the project. Narrow volumes were selected for use as high-rise apartments while wider, branching units house commercial and assembly uses. These volumes are arranged in a spine that stretches from the bayou back to the city and will gradually be deployed as damaged structures are bought out, razed, and excavated to produce higher ground.
Old JCC
Existing single family houses
Existing retail
New JCC
New mid rise housing
Mixed use and high-density
Towers
Anchors
Phase 0
Phase 1
Phase 2
Phase 3
Phase 4
Phase 5
Existing Site Water Management Elevated Pads New Buildings 15
Phase 0: Meyerland during Harvey
Phase 1: JCC excavated and rebuilt; buyouts
Phase 2: Buyouts proceed; new mixed use built
Phase 3: Excavation continues, parks emerge, mixed use grows
Phase 4: Dense housing established
Phase 5: Construction reaches rest of Houston
Perspective from bayou
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Section 1: Through towers
Section 2: Through spine buildings
New development will begin along the front of the site, with the replacement of the JCC. As buyout gradually remove buildings, L shaped low rise mixed use buildings and a natural landscape will begin to spread to the back of the site. In later phases, high rise buildings will be built along the busy road at the back of the site that connects Meyerland to the rest of Houston. Section 3: Through Jewish Community Center
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Fiberglass Boathouse ARCH 302 Prof Daisy Ames Spring 2017 18
This project is a proposal for a boathouse located at the start point of Houston’s annual kayak regatta that would provide a variety of much-needed amenities, including training, storage, administration, and dining. The boathouse takes inspiration from the structural system used in polyethylene kayaks to cre-
ate incredibly strong, fully contained curvedmodules stacked in a loose pile. Due to the its proximity to Buffalo Bayou, the building acts as a gateway to the waters beyond, protecting the adjacent neighborhood from floodwaters and calling out the importance of this site as a transitional moment between land and water.
Rotational molding manufacturing as structural inspiration
The loose boundary between structure and water evident in the architectural reveals in Carlo Scapra’s Querini Stampalia inspired the boathouse’s relationship to the ground and the bayou.
Arch
Floor drain
Stair
Centralized, universal Assembly Focused Admin
Active
Spatial deformation diagram
Public
Work Play
Stacking diagram
Program diagram
Solid/Void space
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Level 2
Level 3
Level 1
1. Boat storage 2. Lobby 3. Locker room 4. Snack bar 5. Trophy room 6. Training room 7. Theater 8. Announcer’s booth
Path to bayou
View from bayou
To amplify the high-energy beginning of the boat race, there is a continuous path under the second floor to the water’s edge. This undercroft space also creates a significant covered outdoor area to make being outside in Houston summers a pleasant experience on rainy and sunny days alike. View of undercroft
Section through bayou
Section through parking 21
Reinhardt Museum ARCH 201 Prof Lluis Linan Fall 2015 22
The Ad Reinhardt museum is an investigation into the amount of time a gallery visitor takes to experience a work of art. This project amplifies the interaction museum-goers have with a piece by modulating the proportions of a gallery through the placement of the ceiling. The first level of galleries in this building is low, compressed, and horizontal, which enco
urages visitors to quickly pass through and see pieces in a state of transit. By contrast, the upper gallery is vertical, narrow, and monumental, encouraging museum-goers to linger in contemplation. This organization helps call out subtle geometries in Ad Reinhardt’s work, which grew increasingly inscrutable over the years.
Vertical atrium
Admin
Galleries
Lobby
Long duration gallery Mid duration gallery Short duration gallery
Section 1: Through tower
Site axon
Long duration gallery Mid duration gallery Short duration gallery
Section 2: Through atrium
Elevation 1: Facing downtown
Site plan
Elevation 2: Facing museum district
The museum is a simple rectangular mass sitting on top of a horizontal plinth. A large atrium connecting the two provides moments of pause between galleries, and encourages visitors to reflect on Reinhardt’s worrks while looking out through an enormous window facing toward Houston’s downtown skyline. 23
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1. Lobby 2. Theater 3. “Early career” gallery 4. “Mid career” gallery 5. “Late career” gallery 6. Classroom 7. Cafe 8. Storage 9. Archives
The vertical atrium moves visitors from one gallery to the next using long escalators. These encourage a quiet, slow pace through the building. The building’s base, which contains a variety of administration, support, and public spaces, outlines the perimeter of the site to create a large urban void of grass. This void acts as a quiet courtyard to reflect on the artist’s work and become increasingly understood, like the artist’s geometries, as one progresses through the building. 25
101 California 2018-2019 Bohlin Cywinski Jackson
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101 California is a Philip Johnson-designed office tower in Downtown San Francisco that BCJ was commissioned to add an enormous all-glass lobby structure, a clubhouse filled with custom wood millwork pieces, a glass retail kiosk, a new plaza (which we collaborated with the Office of James Burnett to design), a fitness center, a large interior balcony canti-
levering off the existing structure, and an updated detailing language. I was involved in this project from the end of SD to the end of CD’s and created designs for the retail kiosk, main lobby, fitness center, clubhouse, and numerous elements in the landscape, including the plaza vents and egress stair and housing.
The historic angled glass roof that covers the main lobby went through several different design iterations. The latest version refinishes the existing structure and adds several new openings to redefine its relationship to the plaza. The lobby along Pine Street has its street-facing wall replaced with enormous panes of glass. 27
New sculptural volumes covered in angled metal fins redefine the relationship of the building and garage’s ventillation system to the city. These elements establish a detailing language that flows across the landscape onto the walls of the lobby structure and into the clubhouse. 28
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Square Oakland 2018-2019 Bohlin Cywinski Jackson
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Square’s new Oakland location is located in Uptown Station, a building built in the 1920’s that previously housed a Capwell’s department store. This project melds Square’s corporate identity with the building’s industrial aesthetic through the addition of six floors of office space and various amenities along with several spaces for retail and IT support. Our
design wrapped a central void with public spaces for workers and adopted the language of urban planning to create intimate spaces where collaboration can thrive. I was involved with this project from its inception until the completion of CD’s and developed plans and designed several feature spaces, “all-hands” spaces, and millwork items.
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1. Courtyard 2. Office 3. “Portal” 4. Lounge 5. Help Desk 6. Conference
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7. Boardroom 8. Pantry 9. All-hands 10. Reception 11. Library 12. Cabana
Neighborhoods of desks, cul-de-sacs of offices, and avenues between conference rooms help make the space’s immense scale comprehensible. Unifying the interiors is an acoustic woodlook baffle system laid out in a grid. 31
To provide spaces for informal collaboration and brainstorming, Square’s new location has an abundance of lounges, pantries, and cafeterias. Several help desks provide employees with the resources they need to succeed.
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The “all-hands” space, located on the sixth floor, is a multipurpose space in which employees can gather for meetings, grab a coffee, have lunch, or give a presentation. A square geometric motif spreads throughout this space on feature
geometry convey a sense of Oakland’s architectural history through the language of Square’s corporate identity by taking cues from the colors found on shipping containers in the Port of Oakland, located close to the site.
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Pax and Parker 2015 Ibanez Shaw Photos by Dror Baldinger 34
Pax and Parker is a high-end clothing store that was occupying a space in a new development with a very low budget allocated for tenant improvements. To attain a look that was in line with the brand’s aspirations and products they sold I developed an enormous feature wall made of thousands of metal coat hangers tied together in
interlocking standardized units. Thin metal cables support this system from the floor and ceiling and create a lacy screen visible from the street that broadcasts the store’s identity to the community. The rest of the store’s interior is left almost completely bare, with the wall acting as the sole spatial divider.
The store has a simple plan; in front of the screen is retail space where shoppers can sort through clothes and bags, while behind the screen are a few small fitting rooms, a sitting area, and a large mirror. When seen from a sharp angle, the screen becomes almost opaque as units start to blend together, but when seen from head-on their presence becomes more distinct.
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