Graduate Architecture Portfolio 2021 by Dan Sadowniczyk

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S A D O W N I C Z Y K

Architecture Portfolio S e l e c t e d Wo r k s 2 0 1 8 -2 0 2 1

DANIEL SADOWNICZYK

I am a recent graduate from Roger Williams University with my Masters degree. I am eager to start my profession in architecture and showcase my abilities as a designer. I love to create and always have. Art was my first interest and I wanted to apply my skills into the real world and architecture was that outlet. Being able to visualize ideas come into fruition is an incredible feeling and one that I foresee continuing in the future.

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BEAU T Y MASTER THESIS 2019-2020 PROJECT TYPE Gallery + Adaptive Reuse PROJECT LOCATION Stockholm, Sweden

There is an exchange in architecture and its surroundings. An exchange and conversation of the two that can become very productive. Working with an existing structure has numerous possibilities, but it is difficult to find the correct answer. There is a history and story already formed in an existing structure, an atmosphere that already exists. When that atmosphere starts to be forgotten an architect can come along and find a new atmosphere or revitalize its existing one. In this thesis, I look for creating an atmosphere with an abandoned water tank located in Stockholm, Sweden. Through the use of light and shadow, material, and other elements this problem is tackled.

SWE D EN STO CKH OL M,

The site itself is an old water reservoir built in 1935 by architect Paul Hedqvist in a dense wooded area. The name of the tank is the Uggleviken Reservoir and is given the name because it was located near the former Uggleviken bay (the Owl bay). This reinforced concrete structure is made up of 64 large pillars holding the tank 46 feet in the air. The tank is 256×128×20 feet, with a small lantern sitting at the very top. It is currently unused due to the cities high demand of water and increase in population requiring a larger tank. They are proposing to demolish this tank and build an even larger one in its place. Instead of destroying the structure, it would be more sustainable to reuse its mass for a new program and locate the new larger tank in a different location. This structure holds a lot of attention to the public and is a prominent landmark for the city. Artists have used this structure for installations and tv shows have even been filmed there.

L e v e l Tw o 0’

1 Cafe

1,260 sf

Book Store

290 sf

200’

100’

D i g i ta l G a l l e r y 2,300 sf

Mech/ Electrical

2,350 sf

3 Lobby

7 Storage

4 Gallery

8 Pat i o

2 ,160 sf

15,400 sf

1,060 sf

13,500 sf

Ground Level 0’

100’

200’

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Site Section 0’

100’

200’

300’

J UXTAPOSI TI O N

Working with an existing structure offers up many opportunities for manipulating and working with what is given. What I have found is the most powerful adaptive projects are the ones that juxtapose the old and new. This is done through choosing different material, creating new form, or working outside the boundaries. Since the existing structure is made of reinforced concrete, a very dense and hard material, juxtaposing it with something fragile like glass can be powerful. Glass is used in the ceilings to help filter in natural light as well as contrasting the heaviness of the concrete. Light versus dark was also tested as another juxtapositioning element. Creating one opening in the roof to allow light in resulted in a very powerful space. The deep darkness the tank holds is heavily contrasted by the light.

IN F I LL The concept of infill is explored through many different interactions of form. Envisioning the existing roof to open up to the sky and then infilling it with gallery and other spaces create a narrative between the old and the new. Testing through photo montages and models, some forms are spread along the perimeter of the tank and creating a central courtyard that is shared amongst all. The opposite was tested as well, as forms are located centrally in the tank, with circulation around the outside perimeter. These unique forms create several outdoor courtyard spaces, each with a unique attitude. Thinking of the structure as a once filled space with water, now is filled with programs and the empty voids have become courtyards.

C IR C U L AT I O N

Movement was an important factor to keep into mind, how will visitors come in and out of the building? With the preconceived notion of retaining the same experience under the tank and creating an addition above, there were iterations conducted finding the best way of bringing visitors up forty feet into the tank. The arcade of columns has such a powerful stance and attitude to the structure. The shadows and atmosphere that come from underneath are too powerful, therefore the goal was to stay away from removing as many columns as possible.

ATM OS P HE R E The existing structure already held a powerful ambience and atmosphere and to elaborate further into it seemed necessary. In order to create a powerful atmosphere within the gallery spaces, light and shadow and a material study was tested through models and photo montages.

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S o u t h We s t E l e vat i o n 0’

100’

200’

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M AT E R I A L & T E XT U R E

FORM & OBJECTS

LIGHT & SHADOW

Material and texture go hand to hand with light and shadow as without light one would not see a texture. Material is very important in the atmosphere as it allows for colors, tone, and character to come into a space. Muted or muddied colors can signify a sense of calm where a bright color can evoke excitement and awareness.

Form and objects can dictate programmatic elements in a building. The layout and uses of a space. The form of a space dictates how it will be used. This allows for an atmosphere to be present in that space.

Light and shadow has the power to evoke an emotion out of a user in a building. Manipulating it can empower a space or put an individual in a warm mood, where a more dim space can create a gloomy perception.

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Air is what gives life and fills buildings alongside the users themselves. If there was no “space” or air there would be no life and way of experiencing the emotions that are evoked in an atmosphere. An essence is received in the interiors of a building. Sound is determined by the volume and material of a space. Even “silence” can be defined as a sound.

S o u t h E a s t E l e vat i o n 0’

200’

1 Pyramid Glass Skylight Inner/ Outer Glass Pyramid Extruded Aluminum Angle S e a l a n t P o l y. T h e r m a l B r e a k s Extruded Aluminum Frame M o u n t i n g F l a n g e 2 Concrete Roof Grid P r e - c a s t C o n c r e t e A l u m i n u m F l a n g e S e a l a n t 3 Glass Clerestory F r o s t e d D o u b l e L a m i n a t e d G l a z e d P a n e l sealant and Backer Rod Anodized Aluminum Coping Tr e a t e d W o o d B l o c k i n g G a l v a n i z e d L - M e t a l 4 E x i s t i n g Wa l l Steel Reinforced Concrete 5 Steel Framing System S t e e l F r a m e M o u n t i n g F l a n g e 6

Suspended Flourescent Lamp

7 Suspended Glass Ceiling F r o s t e d G l a s s Pa n e l s

TRACE S COMPREHENSIVE STUDIO 2019 PROJECT TYPE Winery + Adaptive Reuse PROJECT LOCATION Antigua, Guatemala

Twenty-first century architecture design theory is largely based on context; a sites condition dictates design. This type of research-based design has largely contributed to the architectural practice of sustainability as well as historic preservation. When considering context, environmental and historical components often take precedent. A strong historical context can pose many obstacles in design, potentially limiting movement, expansion or construction as a whole. Though considered a difficult task, a successful union of context and architecture can yield not only smart but also empathetic designs. In this studio, we explored interventions of architecture and historical contexts that aim to enhance historical relevance, promote present awareness and ensure future preservation. We study and design in a historic site in Antigua, Guatemala known as Santa Teresa.

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Designing in a historical site like Santa Teresa should be done in a respectful manner that reflects back to the city and the people of La Antigua. With disasters like earthquakes destroying buildings within the city and large floods filling peoples homes, the convent of Santa Teresa became the home to many devastated people. With the government giving up on the city and moving to a new location, only a few brave souls stayed back to reclaim and rebuild the broken city. Santa Teresa was reclaimed and recycled having a variety of programs, one of which a winery. 1717 brought about a devastating earthquake that sparked considerations for moving to another location. Rather than acting on those considerations, the city saw a “Golden Period” of development of structures that were earthquake proof (safer roof vaults and single story housing). 1773, the city was bombarded with a series of earthquakes from May until December completely destroying the entire city and killing many. January of 1774, the official capital was moved and established in present-day Guatemala City. The citizens of what is now known as La Antigua opposed moving the capital and rebelled against a forced move to the new city. The government of Guatemala decreed it illegal to remain in La Antigua. The old city was ravaged, taking all valuable structure, ornament, and furniture were to be taken and moved to the new capital. Buildings were to be destroyed so as to be used to build the new structures of Guatemala City. Overall the country’s government ended up causing more destruction than the 1773 earthquake. As the new capital began to grow, the government lost interest in forcing poorer citizens to move from La Antigua.

R E F LE CT I O N Exploring the idea of reflection of the history and of the people of La Antigua in Santa Teresa are explicit in these renderings. It is important to always remember the past inorder to continue forward to the future. By exploring architectural forms and views out to the city, one can reflect upon history and move on forward to new and healthier futures.

C O N N E CTION The concept of connectivity can be utilized when referencing the history of Santa Teresa and the people of La Antigua that courageously stayed in the city after the disastrous volcanic eruptions. Building masses are used respectfully to the original structure inorder to preserve and not distract as much from the exterior, but still have moments of contemporary visions that express the future of the site.

PAU S E Moments of introducing the natural environment to a visitor’s experience can accentuate their journey. These moments play on the users senses and heightening one more than another, in order to take a break from the same one being used. This is achievable by natural light and viewsheds.

S E N S E The visitor experience is extremely important with a program of a winery. Questions arise of how a space should be explored and perceived. The general topic of sense become evident in the visitor experience. Wine tasting rooms should be a space of heightened taste and smell senses and architecture can help users reach this state.

C E L L A R The wine was stored in cellars underground, in order to keep the wine at a continuous temperature all year. Wine cannot be stored and preserved in any temperature, therefore the easiest way is to have cellars underground, where it is much cooler. Following that ideology, this concept reflects wine production by proposing program spaces all underground. This allows for the ground level to be preserved to its natural state and not alternating the history Santa Tersa holds.

U N I T Y Expressive elements in the model reflect back to the people of La Antigua and pay respect to all the disasters and hardships people went through in history. Seeking refuge in the convent and temple, the people can progress through the temple with elements that will lead them down to the future made up of the past.

North Elevation

East Elevation

South Elevation

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LEVEL 0

LEVEL 1

LEVEL 2

Inorder to make sure that the building is sitting firmly on top of the ruins, a similar building method is used to the Kolumba Museum by Peter Zumthor. At every so often feet steel piles are driven down the original walls of the ruins and past the foundation and finally filled with concrete to act as a new foundation to the addition. This method helps strengthen the original ruins as well as helping the addition sit firmly and confidently. The part of the design that floats above the temple consists of four concrete and steel columns that drive down the temple. The very end connects to the original temple wall and clasps onto it.

TRACES : LA ANTIGUA GUATEMALA

SANTA TERESA

DAN SADOWNICZYK

COMPREHENSIVE STUDIO ARCH 513

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SCI EN CE ARCH 515 2019 PROJECT TYPE Aquarium + Research PROJECT LOCATION Trieste, Italy

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Experiencing an emotional response through the aquarium is achieved through bold emersed interactions with marine life, however simultaneously, interactions with the physical research facility activate a didactic response. Through the manipulation of the colored rays of light that enter the water column. The rays are transformed into planes that are resized and changed in elevation referring back to the water column. To represent vertical movement and connection planes are rotated ultimately creating a central point of interaction, which is translated into the main large tank. This tank holds the most familiar fish, where visitors can experience it at different elevations. The key to holding the aquarium together is through the research facility. Fingers protrude into the aquarium for a direct connection, as well as a shared spaces. The facade is faced towards back into the city of trieste to represent the importance of conservation. The aquarium connects directly over the research facility with large view back into the city as well.

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Structurally, the building would be sitting on a pile foundation as it would be built on waterfront. The research side of the building would consist of steel columns and beams, as the aquarium part would be a mixture of concrete and steel.

PAINTED ALUMINUM COPING PARAPET INSULATION

EPDM ROOFING OVER SLOPED RIGID INSULATION COMPOSITE LIGHTWEIGHT CONCRETE WIDE FLANGE COLUMN BEYOND 1’-6” WIDE FLANGE 1’-6” BAR JOIST

WIDE FLANGE COLUMN BEYOND LIGHTING AIR DUCT GYPSUM BOARD DROP CEILING W/ C-CHANNEL STRUCTURE

INTERIOR SINGLE LAYER LAMINATED GLASS CHANNEL GLASS WALL SYSTEM

EPDM ROOFING OVER SLOPED INSULATION

PAINTED ALUMINUM COPING

COMPOSITE LIGHTWEIGHT CONCRETE

LEVEL 3 FIREPROOFED STEEL FRAMING

42’-0”

WELDED CATWALK ASSEMBLY ANCHORED TO STRUCTUAL STAY FOR HORIZONTAL LOAD RESISTANCE

SECTI ON

This wall section is through the south facade of the research facility. It shows the channel glass system that would be present. Parts of the system would be accessible by the scientists in the building to have the ability to turn on or off the glass. The glass would go from being transparent to translucent. The workers would still have the privacy they deserve and would let the public see within when necessary.

WHITE PAINTED SUSPENSION ROD

OUTSIDE: DOUBLE LAYER LOW IRON U-PROFILE GLASS UNTIS W/ TRANSLUCENT INSULATION LEVEL 2

28’-0”

LIGHTING INTERMEDIATE CHANNEL SLIP CONNECTION

LEVEL 1 14’-0”

MOTORIZED SOLAR CONTRAL SHADES

INSIDE: SINGLE LAYER LAMINATED GLASS WALL SYSTEM

4” CONCRETE SLAB-ON-GRADE CONTINUOUS 1” RIGID INSULATION POLY. VAPOR BARRIER LEVEL 0

4” GRANULAR FILL STAINLESS STEEL GUTTER PILE FOUNDATION

PAINTED ALUMINUM COPING

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I NTROV E RT ARCH 515 2019 PROJECT TYPE Prayer + Multifunctional PROJECT LOCATION Koura, Lebanon

Principles of architecture have been attained and applied through history, as far back to the Roman times and further and this knowledge is shared and interpreted to fit into any design. However can we take architectural principles and apply them to any other project regardless of scale, location, program, climate, etc, to play a role in solving social divides? In this project, we take a look into how architectural principles from a project with no similar context can apply themselves to play a role in solving social divides in an area that is looking for a striving and healthy future.

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H O U S E

Two qualities that stand out in the design of the Sert House are the continuous views and geometries that are present. The drawing takes a continuous view that is more privatised and another that is more public. By standing in the kitchen and looking out towards the dining room, further is the corresponding courtyard for the dining space. This view as well as all other continuous views, visually expand a specific space, in this case of the dining area, to appear larger and breathable. The second view is taken from a more public space, the living room, looking through the central courtyard, to the master bedroom, and finally to the other courtyard. Geometry is shown by the organization of the drawings and silhouettes of the certain views taken from each encounter. Similar to the geometry of the Sert House itself, by using four separate drawings and overlapping them, creates four separate and equal squares. The layering of each drawing is also a representation of the layering of spaces through views of the house.

T C I R T S I D A R U O K

U N I V E R S I T Y O F L E B A N O N

Located on the eastern shore of the Mediterranean sea, Lebanon is a country with an extensive history. Some of the oldest human settlements were in Lebanon. Mediterranean cultures such as the Phoenician, Greek, and Arab societies all worked to establish the complex and prolific country of Lebanon. Modern day Sur, Sayda, and Jubayl were all major points of trade and culture in the 3rd millennium BCE. It was during the 1920s that France established the state of Greater Lebanon and incorporated the country into the League of Nations mandate. In 1926 Lebanon became a republic but it was not until 1943 that Lebanon as a country proclaimed its independence. Lebanon is a country of contradictions it has wonderful aspects such as a rich cultural, environment, history, and cultural influences but also has negative features such as its current political turmoil. It is a country that for some time has had difficulties controlling its own destiny.

The climate of the site is dry and arid so it was very important that spaces have shade, but still a good quality of light, but also ventilated. Early concepts allowed for some ventilation, however for maximum use of the breezes that the site can provide, the whole facade became a ventilation system. The facade is made up of precast forms that allow gaps in between for natural ventilation, but would block views to the exterior. Ventilating large spaces became a priority. The exterior walls would allow air to flow through and enter the interior spaces. The spiritual space holds a similar facade that entails operable windows that let air to flow low and then disperse up, carrying the hot air, and out of the space. The social space has a similar quality where two large masses hold cuts that allow for natural ventilation as well.

1. Vestibule

2. Social Space

3. Kitchen

4. Storage

5. Spiritual Space

6. Ablution

7. Administration

8. Work Rooms

9. Service

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West

Northeast Southwest

West East

Southwest

East

PRO F ES SI O NAL

WOR K IVY DESIGN Summer 2021

PROJECT TYPE Competition: Custom Building PROJECT LOCATION St. Magrethen, Switzerland At IVY DESIGN I worked on several design competitions, mostly creating digital renderings through lumion and photoshop and building physical site models. This project is a customs building for St. Magrethen, Switzerland with an interesting program. I put together the entire site model, concept models, and final building model. I hand cut the site and 3D printed context buildings as well as the final model.

ART WOR K Charcoal Acrylic Oil Pen Digital Collage

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