Edward Palka Portfolio by Edward Palka

EDWARDPALKA

PORTFOLIO // SEPTEMBER 2016 MASTER OF ARCHITECTURE // 2018 CANDIDATE GSAPP // COLUMBIA UNIVERSITY

C0VER: Color and lighting study of Downtown Brooklyn (Front) versus Manhattan (Back). Data from DOT traffic camera imagery over 24 hour period.

EDWARDPALKA

PORTFOLIO // SEPTEMBER 2016 MASTER OF ARCHITECTURE // 2018 CANDIDATE GSAPP // COLUMBIA UNIVERSITY

EDWARD PALKA, ASSOC. AIA 176 W Houston Street, Apt. 22, New York, New York, 10014. c: 267.496.2442 e: edward.palka@columbia.edu

STU D I O O L A FU R E LI A SS O N N O RD HAVN CA M P U S END DATE: MAY 2014 DURATION: 5 WEEKS FOR: DIS ARCHITECTURE STUDIO CRITIC: HEIDI OSTERGAARD LA K E HO U S E END DATE: MARCH 2015 INVOLVEMENT: VISUALIZATION (3 WEEKS) WITH: HGA ARCHITECTS & ENGINEERS CLIENT: UNBUILT HOUSING COMPETITION PROJECT TEAM: JONATHAN BARTLING (DESIGNER)

RI C E U N I VE RS I T Y O FFI C E B U I LD I N G END DATE: AUGUST 2015 INVOLVEMENT: SD-DD (15 WEEKS) WITH: KIERANTIMBERLAKE CLIENT: RICE UNIVERSITY PROJECT TEAM: JAMES TIMBERLAKE (PRINCIPAL) JASON SMITH (ASSOCIATE) DAVID HINCHER (PROJECT ARCHITECT) ROLANDO LOPEZ (ARCHITECTURAL INTERN) TR A N S FO RM AT I VE M E D I TAT I O N S PAC E END DATE: OCTOBER 2015 DURATION: 4 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL M U S E U M O F T HE LO S T ( A N D FO U N D ) END DATE: OCTOBER 2015 DURATION: 3 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL TH E U R BA N B LA S Ã&#x2030; A N D RE FRA M I N G T HE C I T Y END DATE: DECEMBER 2015 DURATION: 4 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL B LU R END DATE: MAY 2016 DURATION: 12 WEEKS INVOLVEMENT: TEAM MEMBER - CONCEPTUAL DESIGN, PROTOTYPING, FABRICATION FOR: FAST PACE SLOW SPACE CRITICS: MARK BEARAK & BRIDGETTE BORDERS WITH: BECCA BOOK, HANSONG CHO, JIAPEI LI, KEVIN MACNICHOL, CAITLIN MAGILL , ABRAHAM MURRELL, EUGENE ONG, & GE ZHAO P RO G RA M A N D P RO C E SS I O N END DATE: MAY 2016 DURATION: 13 WEEKS FOR: GSAPP CORE II CRITIC: DOUGLAS GAUTHIER

STUDIO OLAFUR ELIASSON NORDHAVN CAMPUS

END DATE: MAY 2014 DURATION: 5 WEEKS FOR: DIS ARCHITECTURE STUDIO CRITIC: HEIDI OSTERGAARD

This project envisions a campus for the Danish conceptual artist Olafur Eliasson. The project is sited in Nordhavn, a historic industrial site just outside of the old walled city of Copenhagen. The area has been masterplanned and developed as a model of sustainable living and working. This project hopes to bridge the industrial past of the site with the sustainable future of the area; utilizing existing structures while modifying and adding to them to fit the needs and aesthetics of Eliasson and his studio.

Perspective Collage from Studio/Exhibition Space Entrance

Entry Plaza

Canopy Delivery Employee Lounge White Room

Wood+Metal Shop

Arch. Studio

Exhibition

Archives

Section Through Campus

Artist In Residence Sculpture Garden Auditorium

LAKEHOUSE

END DATE: MARCH 2015 INVOLVEMENT: MATERIALITY & RENDERING (3 WEEKS) WITH: HGA ARCHITECTS & ENGINEERS CLIENT: UNBUILT HOUSING COMPETITION PROJECT TEAM: JONATHAN BARTLING (DESIGNER)

This project was entered in a competition for unbuilt houses. The house was proposed on a lake in Northern Minnesota as a small weekend retreat. Primary responsbilities were rendering and material selection. The house is composed of a large rectangular volume oriented towards the lake. Located on the steep site, the larger volume appears to emerge out of the terrain while the smaller volume cantilevers from above.The large volume includes the public spaces of the house, while a similar, but much smaller adjacent volume houses the private rooms.

Exploded Axon

RICE UNIVERSITY OFFICE BUILDING

END DATE: AUGUST 2015 INVOLVEMENT: SD-DD (15 WEEKS) WITH: KIERANTIMBERLAKE CLIENT: RICE UNIVERSITY PROJECT TEAM: JAMES TIMBERLAKE (PRINCIPAL) JASON SMITH (ASSOCIATE) DAVID HINCHER (PROJECT ARCHITECT) ROLANDO LOPEZ (ARCHITECTURAL INTERN)

With energy usage and budget in mind, this 70,000sf office building at Rice University hopes to provide flexibility for the University’s changing needs while contributing to the physical character of the campus. The project is sited just within the University Proper and is the first building one passed when entering from the Texas Medical Center. Unlike the rest of the campus, though, the projects’ dictated 80ft height dwarfs almost all buildings on campus, including the Allen Center, which houses the office of the President and other University Administrators, and looks directly at the new project, which takes the place of a surface parking lot. True to the character of both Rice and KieranTimberlake, the project employs custom terra cotta shading fins on the 19” sill outboard of the project’s window wall system. This sill is dictated by the depth of the office columns, to which the window wall is set flush with on the interior, creating a continuous interior space with no structural interruptions. The shading fins act doubly to relate an otherwise austere and “un-Rice-like” structure into a playful and dynamic building which pays homage to the campus’ material and color palletes (Matching both the University’s ubiquitous brick and blue and green ornament found throughout the campus) without becoming trite or mimetic. While aesthetic, the shading fins and recessed glazing combine to cut Summer solar heat loads by 66%.

SD Rendering of North and West Facades of Office

9' - 5"

33' - 5"

10' - 1"

7.1

9' - 5"

B.1

21' - 10"

14' - 10"

21' - 10"

E C N E R E F N O C

211

12' - 4"

9' - 5"

211.1

51' - 10"

B.3

Y B B O L

201

B.4

21 A5.01 A5.01-

12 A5.01 A5.0121' - 10"

21' - 10"

21 A5.01 A5.01-

112.2 201.2 14' - 1"

D.1

21' - 10"

D.2

212

21' - 10"

10' - 6"

213

E C I F F O

213.1 F

21' - 10"

10' - 6"

212.1 E C I F F O

21' - 10"

8' - 10"

SEE PACKAGE 1 FOR CORE FITOUT F.1 G

21' - 10"

G.1 H

21' - 10"

H.1

214.1

21' - 10"

13' - 10"

E C I F F O

214

215

10' - 6"

E C I F F O

215.1

I.1

J 216

10' - 6"

E C I F F O

216.1

21' - 10"

J.1

10' - 0"

10' - 6"

220.1

11' - 10"

219.1

K 217

9' - 5"

10' - 2"

9' - 5"

9' - 10"

E C I F F O

218

E C I F F O

219

E C I F F O

8' - 7"

220

217.1

218.1

13' - 7"

11' - 0"

12 A5.01 A5.02-

L 2

A2.02-

SD Interior Open Office Plan

OFFICE FF&E- TYPICAL UPPER LEVEL (BASELINE) 1/8" = 1'-0"

A4.01

A2.02-

OFFICE

1/8" = 1'-0

' - 1"

7.1

9' - 5"

9 21 A5.01 A5.02-

33' - 5"

10' - 1"

7.1

9' - 5"

211.1 G N I T E E M

211

B.1

21' - 10"

B.1

B.3

Y B B O L

201

B.4

21 A5.01 A5.01-

12 A5.01 A5.01-

21' - 10"

21 A5.01 A5.01-

101.5

213.1

E C I F F O

214.1

9' - 11"

20' - 1"

21' - 10"

E C I F F O

215

214

D.2

D.1

212.1

212

E C I F F O

213

9' - 5"

D.1

215.1

10' - 6"

D.2

10' - 6"

216.1

21' - 10"

10' - 6"

217

E C I F F O

217.1 F

216

E C I F F O

21' - 10"

8' - 10"

E1 OUT

SEE PACKAGE 1 FOR CORE FITOUT F.1

F.1

21' - 10"

G.1

G.1 H

219.1

218.1

E C I F F O

221

E C I F F O

220

H.1

220.1

10' - 1"

20' - 1"

21' - 10"

E C I F F O

218

E C I F F O

219

H.1

221.1

222.1

10' - 6"

E C I F F O

222

21' - 10"

13' - 10"

10' - 6"

223.1

223

10' - 6"

E C I F F O

I.1

J 224.1 224

10' - 6"

E C I F F O

J.1

21' - 10"

J.1

8' - 7"

- 10"

10' - 9"

10' - 6"

225.1

12' - 1"

226.1

228.1

9' - 10"

227.1

K 228

9' - 5"

E C I F F O

E C I

227

E C I F F O

226

E C I F F O

225

L 2 21

A2.02-

A5.01 A5.02OFFICE FF&E - TYPICAL UPPER LEVEL (ALTERNATE)

A4.01

1/8" = 1'-0"

SD Interior Clustered Plan

Solar Insolation Analysis of Glazing Positioning on Western Facade

Unrolled diagrammatic elevation of insolation on the equinoxes and solstice

367.0

57.3

41.6 insolation Study Between a Bay of Glazing (1) Flush with Exterior. (2) Recessed 18â&#x20AC;?, & (3) Recessed with Fins

Evolved Facade Detail from Flush Glazing to Recessed with Optimally Spaced Shading Fins

Monolithic Terra Cotta

Expanded Metal Mesh Shading Fin Materiality Study

Vertical Terra Cotta Strands

Terra Cotta Ladder

A6.02

DETAIL - SECTION - OFFICE - TYP SILL OPT 2

A6.02

3" = 1'-0"

1' - 6"

3 1/4"

TERRA COTTA FIN

EXTRUDED ALUM RAIL

REFER TO 2/A6.02 FOR SILL AND SLAB DETAILING

SST PL

EXT

TER

A6.02

DETAIL - SECTION - OFFICE - TYP SILL AT FIN OPT 2

3" = 1'-0"

1' - 6"

A6.0

3 1/2"

EXTR ALUM RAIL

TERRA COTTA FIN

4 SST PLATE EDGE OF CONC SLAB

A6.02

SLOPE ALUM FASCIA

DETAIL - PLAN - OFFICE - TYP FIN OPT 2 1 1/2" = 1'-0"

DD Section and Plan Details of Shading Fin Connection to Sill

WDW WALL SYS

Iterations of Terra Cotta Shading Fin

Rendered Perspective from Lovett College

TRANSFORMATIVE MEDITATION SPACE

END DATE: OCTOBER 2015 DURATION: 4 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL

A corner; a place/time for reorientation. Corners are the places where we change direction and temperament. They are, however, also the moments in time which facilitate this change. The corner is not just about intersection, or even place, but also about time. Having said this, a corner does not have to physically turn. Creating a linear corner, this project transforms from a linear procession into a collection of spaces intended to support contemplation and meditation. Though a use of anonymous, linear elements, the project comes alive in compression, becoming engaged in both plan and section though a bowing of the horizontal elements to shape and define space and circulation, but also through rotation, which allows for controlled lighting conditions and viewsheds. Within this system, the very personal experience of meditation can be customized to facilitate a wide range of spaces and atmospheres. When put into tension, though, the project recollapses into an undifferentiated linear corridor. The corner has been turned.

Composite Perspective of Urban Procession

Conceptual Analysis of Visual Field

THRESHOLD PROFANE TO SACRED

SHIFT CONTRAST WITH THE WORLD

FOCUS ATTENTION WITH AN AGENDA

SIMPLICITY EMPTY ROOM; EMPTY MIND

Spatial Arrangements

Evolutionary Plan Diagrams

Closed

Overlaid Model Photograph of Transformation

MUSEUM OF THE LOST (AND FOUND)

END DATE: OCTOBER 2015 DURATION: 3 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL

A museum which acts as an index of the city of New York. Composed of items turned in to the MTA, the museum is themed and curated by the Secretary of Displacement. Through a series of dramatic, disorienting, and cavernous spaces, one is taken on a journey and comes to appreciate and sense the personal and collective stories contained in the displayed items. Compression and release - light and dark, - horizontal and vertical; all mimic the act of losing and finding.

M O N ET M SEON AR N ET Y V TI A A LU SE MER Y E N N ECT NTAVA CIME LILU T E N ES N CEC IT TA Y O C Y LI ME TY POS C SIT O M ITYE PO SI TE

METROMETRO

Cellphone Cellphone 29.8k 29.8k

Metrocard Metrocard 28.3

28.3

Wallet Wallet 27.3 A-I

A-I

25.3 DEBIT DEBIT

J-Q

R-Z

27.3

CashCash 25.3

DebitDebit CardCard 22.2

22.2

Misc.Misc. Item Item 19.5

MONEYMONEY

A-I

DRIVERDRIVER GOVERNMENT GOVERNMENT OTHEROTHER

J-Q

R-Z

A-I

J-Q

R-Z

9.8

Backpack Backpack

Driver's Driver's License License 11.1

J-Q

10.5

Insurance Insurance CardCard 9.8

A-I

J-Q

9.8

R-Z

Identification Identification CardCard

A-I

9.8

8.3

Purse Purse

J-Q

8.1

All Other All Other Personal Personal ID ID 7.5

R-Z

11.1

School School ID ID

8.1 OTHEROTHER

11.8

J-Q

8.3 A-I

12.1

Credit Credit CardCard 11.8

CREDITCREDIT

19.5

Shopping Shopping Bag Bag 12.1

CARDSCARDS

7.5

Benefit Benefit CardCard

R-Z

7.4

House House KeysKeys 6.8

6.8

Membership Membership CardCard

CASH CASH

6.6

Eyeglasses Eyeglasses 6.1

6.1

Employment Employment ID ID BLACKBLACK

WALLET WALLET THINGSTHINGS

WALLET WALLET

LEATHER LEATHER

OTHEROTHER

BLACKBLACK OTHEROTHER

TOP

CLOTHES CLOTHES

TOP

SMALLSMALL MEDIUM MEDIUM + LARGELARGE +

ACCESORY ACCESORY

SMALLSMALL MEDIUM MEDIUM LARGELARGE + +

A-I

J-Q

R-Z

A-I J-Q R-Z

BAG

4.8

4.6

3.6

4.5

PAPER PAPER

4.3

4.5

4.4

4.3

Medication Medication 3.6

COLORFUL COLORFUL

MONOCHROME MONOCHROME

3.6

All other All other KeysKeys 3.2

3.2

Folder Folder 3.2

3.2

ShirtShirt

MEDIUM MEDIUM

COLORFUL COLORFUL

3.1

PATTERNED PATTERNED

Stationary Stationary Supplies Supplies

LARGELARGE

MONOCHROME MONOCHROME COLORFUL COLORFUL PATTERNED PATTERNED

3.0

3.1

3.0

Hat Hat 2.9

Handbag Handbag 2.7

PAPER PAPER

2.7

OTHEROTHER

All other All other Clothing Clothing

FICTION FICTION

Gloves Gloves

2.7

NON-FICTION NON-FICTION

2.6

OTHEROTHER

2.6 IPHONEIPHONE 6 6

PHONEPHONE ELEC. ELEC.

IPHONEIPHONE 5 5 OTHEROTHER PHONEPHONE OTHEROTHER OTHEROTHER

2.7

2.6

Shoulder Shoulder Bag Bag

OTHEROTHER

APPLE APPLE

2.7

Hardcover Hardcover

MAIL MAIL NO BOOK NO BOOK

3.6

PantsPants

PLASTIC PLASTIC

BOOK BOOK

4.6

OtherOther Baggage Baggage

2.9

SHOPPING SHOPPING

4.8

Library Library CardCard

4.4

PATTERNED PATTERNED PERSONAL PERSONAL

5.1

Paperback Paperback

Tote Tote Bag Bag

MONOCHROME MONOCHROME SMALLSMALL

5.1

Social Social Security Security CardCard A-I

SMALLSMALL MEDIUM MEDIUM + LARGELARGE +

BOTTOM BOTTOM

5.1

ID Holder ID Holder BROWNBROWN OTHEROTHER

ID HOLDER ID HOLDER

5.1

2.6

T-Shirt T-Shirt 2.4

2.4

Jacket Jacket 2.4

2.4

Telephone Telephone Accesories Accesories 2.3

2.3

Umbrella Umbrella 2.2

2.2

Sunglasses Sunglasses BLACKBLACK

2.0

Envelope Envelope 1.9 WHITE WHITE GRAY GRAY OTHEROTHER

1.9

Undergarment Undergarment 1.8

COLORFUL COLORFUL

1.9

Pouch Pouch

1.8

Sweater Sweater 1.8

1.8

Mail Mail 1.8 PATTERNED PATTERNED

Sorting Method

1.8

Passport Passport 1.8

1.8

AV E

TRE

14T

TECHNOLOGY

LITERATURE

SPORTS

TOURISM

VISUAL ARTS

MUSIC

FASHION

Exploded Axonometric

City Plan

Subterranean Plan

Model Photograph

Overall Section

Contoured Solid Void Plan

Contoured Solid Void Section

THE URBAN BLASÃ&#x2030; AND REFRAMING THE CITY

END DATE: DECEMBER 2015 DURATION: 4 WEEKS FOR: GSAPP CORE I CRITIC: JOSH UHL

This project is about taking a disconnected and forgotten site and turning it into a place of reflection on and escape from the city. The site, cut off from Manhattan proper by FDR Drive, Jacob Riis, and Alphabet City, is a prime location for understanding and reflecting on the city from a distance without actually leaving the city. Not about itself, the site draws from the surrounding landscape of the city, expanding its territory indefinitely. The project relies on the notion of borrowed landscape, where the site is extended beyond its physical bounds to connect to a larger territory. In this case, specific views around Manhattan and Brooklyn.

Site Plan and Framed Views

Overall Perspectives of Pier

Model Photo Towards Cafe and Depressed Pathway

Model Photo From Park

Procession Vignettes

Unrolled Section

Brooklyn (sunrise)

Queensboro Bridge

Midtown

Williamsburg Bridge Tower

Williamsburg Bridge Panorama

Empire State Building

1. Playground

2. Cafe

3. Dog Park

4. Sundeck

5. Boat Launch

Overall Axonometric

BLUR

END DATE: MAY 2016 DURATION: 12 WEEKS INVOLVEMENT: TEAM MEMBER - CONCEPTUAL DESIGN, PROTOTYPING, FABRICATION FOR: FAST PACE SLOW SPACE CRITICS: MARK BEARAK & BRIDGETTE BORDERS WITH: BECCA BOOK, HANSONG CHO, JIAPEI LI, KEVIN MACNICHOL, CAITLIN MAGILL, ABRAHAM MURRELL, EUGENE ONG, & GE ZHAO

Blur is a group project to create a pavillion to be exhibited at the 2016 End of Year Show at Columbia University GSAPP. The intent is to create an occupiable and interactive pavillion which is also quickly demountable and able to be flatpacked for shipment. The pavilion is at once solid and dissolved. A regularized steel frame encloses a soft forest of rubber tubing. The architecture itself vibrates, as you pluck and stretch it out of shape. With enough vibration, the entire structure moves out of focus. The visitor is invited to input their own energy into the system, watching the how a single tube transmits its movement to surrounding elements. You can immerse yourself in the material, using the rubber seats or leaning back into its web with your body. In this room, the vibration surrounds you, and the outside world begins to blur away.

Activation Through Participation

Overall Axon (By Kevin MacNichol)

Floor Plan (By Kevin MacNichol)

Roof Plan (By Kevin MacNichol)

PROGRAM & PROCESSION

END DATE: APRIL 2016 DURATION: 13 WEEKS FOR: GSAPP CORE II CRITIC: DOUGLAS GAUTHIER

The public visits libraries with a wide variety of seemingly mutually exclusive experiences in mind. To be by themselves; to collaborate. To find something specific; to stumble upon something unknown. Each of these reasons call for their own organizational and experiential treatment while cohesively contributing to a totalizing image of â&#x20AC;&#x153;the libraryâ&#x20AC;? as a public institution. The grand reading room; the intimate reading nook. The relentlessly rigorous dewey decimal system; the bewildering organization of the warburg institute. By interrogating the variety of qualities and experiences one may desire in a library, this project aims to create contiguous threads of qualities which are typically viewed as mutually exclusive.

Iterpolated section of reading room edge conditions in Aaltoâ&#x20AC;&#x2122;s Seinajoki Library and Michelangeloâ&#x20AC;&#x2122;s Laurentian Library

Programmatic Interpolation betweenn Aaltoâ&#x20AC;&#x2122;s Seinajoki Library and Le Corbusierâ&#x20AC;&#x2122;s Mundaneum

RESIDENTIAL

COMMERCIAL

CIVIC USE

Context As Mosaic of Programmatic Zones

Conceptual Diagram of Quality Mixing and Locating Programs

SLOW

FAST

PRIVATE

PUBLIC

COLLECTIVE

SINGULAR

INTROVERTED

EXTROVERTED

SLOW

FAST

COLLECTIVE

SINGULAR

INTROVERTED

EXTROVERTED

PRIVATE

PUBLIC 12th 13th 11th

READING ROOM

10th

READING ROOM COLLECTION

WORKROOM/LAB

9th

LIBRARIAN OFFICES AUDITORIUM

8th

READING ROOM READING ROOM

7th

MAKER SPACE WORKROOM/LAB

6th

READING ROOM COMPUTER LAB

5th

STUDY ROOM COMMUNITY ROOM

4th

COMMUNITY ROOM

3rd

STUDY ROOM STAFF LOUNGE

2nd

READING ROOM COLLECTION CIRCULATION DESK

1st

CAFE ATRIUM

Programmatic Breakdown of Library Vertically Creating a Rhythm of Qualities

CO LL EC TI ON

CO MM UN IT Y

ST UD Y

RE AD IN G READING_001

STUDY_001

COMMUNITY_001

COLLECTION_001

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

READING_002

STUDY_002

COMMUNITY_002

COLLECTION_002

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

READING _003

STUDY_003

COMMUNITY_003

COLLECTION_003

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

READING_004 INTROVERTED EXTROVERTED COLLECTIVE SINGULAR PUBLIC PRIVATE FAST SLOW

READING_005 INTROVERTED EXTROVERTED COLLECTIVE SINGULAR PUBLIC PRIVATE FAST SLOW

AU XI LI AR Y

LI BR AR IA N

CO MP UT ER COMPUTER_001

LIBRARIAN/CIRC_001

MAKER/SHOP_000

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

COMPUTER_002

LIBRARIAN/CIRC_002

PERFORMANCE_000

OFFICE_000

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

LIBRARIAN/CIRC_003 INTROVERTED EXTROVERTED COLLECTIVE SINGULAR PUBLIC PRIVATE FAST SLOW

LOUNGE_000

CAFE_000

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

ATRIUM _000

MAKER/SHOP_000

INTROVERTED EXTROVERTED

COLLECTIVE SINGULAR

PUBLIC PRIVATE

FAST SLOW

Program Organization

Program Distribution in Relation to Distorting Floor Plates and Central Circulation Core Reorienting Visitors Per Floor

Variety of Spaces Within A Cohesive Architectural Language

EDWARD PALKA, ASSOC. AIA 176 W Houston Street, Apt. 22, New York, New York, 10014. c: 267.496.2442 e: edward.palka@columbia.edu