SELECTED WORKS Isaac Kim Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture Candidate
Contents ACADEMIC SPLIT-LINE HOUSING NEWBURGH LEARNING TRACK SERENDIPITY LIBRARY DELUGE PIER L-TRAIN THRESHOLD VIA 14TH REVIT BIM: GREENPOINT THEATER PROFESSIONAL STUDIO GOETZ JOHNSON NATHAN STROHE
Contact imk2125@columbia.edu
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Less is Enough
SPLIT-LINE HOUSING ACADEMIC | Core III Studio | Fall 2018 Critic: Gabriela Etchegaray, Ambrosi | Etchegaray Team: Tim Zhou Location: South Bronx, NYC
The objective of this studio is to ask, what do we really need in our lives? Is it more stuff? Or can the minimum provide just as much? The idea of domesticity is examined through the concept that “less is enough.� That is, what are the minimal moves architecture can make in order to make the most impact, especially in affordable housing? The South Bronx is full of hard edges that encourage separation. Fences, walls, and barriers provide security but also limit any genuine interaction between neighbors. Split-Line Housing attempts to enhance the quality of life of not only its residents but also the community by providing a new dynamic of living where residents are encouraged to come into contact with one another and with the public alike. This is achieved by softening these hard edges and increasing moment of intersection/interaction. Through several minimal moves, new bonds between people are created in order to make them feel invested where they live. First, a public market hall acts as a central spine, weaving together courtyards and different age-related community programs. Second, the typical double loaded corridor is expanded to create indoor residential atriums where residents are united in a light-filled space enhanced with vegetation. Third, movable perforated metal panels at each unit allow for customized privacy and create an ever-changing facade. Fourth, a slab step of 3.5 feet within the units allow for the creation of built-in furniture based on the lifestyles of each resident. Through these simple gestures, the South Bronx begins to become a space of engagement. It makes a person feel like they belong and have a sense of ownership, which in turn creates an engine of change.
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Above Left: Diagrams illustrating design concepts including: expanding the traditional double loaded corridor into an atrium, the Market Hall spine winding its way through the project, and refinement of massing to relate to proportions of buildings surrounding the site. Above Right: A catalogue of edge conditions showing varying degrees of separation informed the project’s direction toward open yet secure boundaries. Opposite: Oblique elevation illustrating the concept of movable panels creating a dynamic facade looking from the south.
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Claremont Parkway
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E. 171st St.
Level 1 Plan
1. Market Hall Spine 2. Courtyard 3. Daycare 4. Community Center for the Aging
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5. Youth Art & Science Center 6. Residential Lobby 7. Resident Amenity Space 8. Flexible Multi-Function Spaces
3rd Ave.
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Opposite: Plan of Level 1 showing the Market Hall spine snaking its way through a system of shear walls, connecting different community programs. Above: Perspective view of public Market Hall spine. Right: Perspective view of resident atrium.
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Level 2 Plan
Typical Level Plan
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Left Above, Left: Plans showing three distinct buildings, each organized around indoor atriums in order to bring in light and encourage interaction between residents living at different levels. Above: Iterative massing models examining negotiations of the site. Initial concepts of an S-shape building were simplified into six bars in order to minimize the amount of shadows in the project. Right: 1/16� scale physical model split down the central down.
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1. Market Hall Spine 2. Courtyard 3. Daycare 4. Resident Lobby 5. Resident Amenity Space
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6. Resident Atrium 7. Resident Gym 8. Resident Pool 9. Rooftop Lounge
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A section illustrating the relationship of three distinct buildings connected by public and residential programs at the ground floor.
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Above: A partial elevation, wall section, and details showing the system of movable perforated metal screens at each unit balcony providing shading, privacy, and the ability to create a dynamic facade. Opposite: View of public entry to Market Hall with transparency creating views to secure courtyard beyond.
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2-Bedroom Unit
1-Bedroom Unit
Studio Unit
Top: A 1/8� scale sectional model revealing the relationship between the public ground level, the resident atrium, the resident swimming pool, and the private residents. Boundaries become blurred in order to encourage interactions between residents who otherwise may not interact. Above: Each apartment has a full-width sheltered balcony with exposure to the indoor atrium and the outdoors, allowing for natural cross-ventilation when needed.
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TV Stand
Bench Active Configuration
Pet House
Kitchen Countertop
Working Configuration Planter
Work Surface
Shelving
Leisure Configuration
Above: Sections and isometric views of a 1-bedroom unit configured for different functions based on a resident’s need. A simple change in elevation of 3.5 feet provides for a range of customizable built-in options, creating a sense of ownership and diversity for each home.
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Top, Above: Interior views of a 1-bedroom unit highlighting a simple slab step maximizing the potential of the space. Top Right: The step in floor slabs also maximizes privacy for each unit, preventing views directly into each home from the public corridor. Opposite: The outdoor courtyards act as secure intersection points between different programs on the ground floor, allowing for diverse activities for both residents and the public of all ages.
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NEWBURGH LEARNING TRACK ACADEMIC | Advanced IV Studio | Spring 2019 Critic: Adam Frampton, Only If Architecture Team: Krista Wiryomartono Location: Newburgh, NY
A new SUNY campus extension seeks to connect communities regionally, municipally, and locally by integrating existing intermodal transit stations (rail, ferry, and bus) on site. By activating the West Shore Railway as a new commuter route, the campus will take advantage of these new connections and accommodate the increased influx of community and public commuters. Formally, we are inspired to return lost densities from Urban Renewal by tracing settlement lots of historical Sanborn maps on the waterfront. Through historical perimeter mapping, we propose the reintroduction of the historical Colden Square and the lost junction off Water Street to reinstate urban life and prioritize the pedestrian experience. Through providing new residences and coworking spaces in response to the growing tech community along the Hudson Valley, the new campus environment will facilitate inclusivity, entrepreneurship, and social cohesion.
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Top & Above: Through tracing historic Sanborn maps of the waterfront, a comparison of Newburgh’s waterfront in its heydey in 1900 can be made versus today. Much was lost to urban renewal, creating a void in the city fabric in both plan and in section. Opposite Below: The campus reinstates the lost fabric by being constructed wtihin the same boundaries as the historic built form. Colden Square, once a major public space, is re-introduced.
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Above Left & Right: The history of Newburgh is deeply intertwined with its modes of transit. The campus physically threads these together, creating spaces that once again fill the urban fabric and to tap into the potential future of tech in the Hudson Valley connected by bus, rail, and ferry.
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An oblique illustrating transit centers including ferry, rail, and bus, are connected to towers that contain flexible co-working spaces, offices, etc. These towers, inspired by the church spires and factory stacks in the city, also act as a means of circulating up the steep topography of the site through a series of pedestrian bridges.
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Above: A 1/16� scale model highlighting the relationship between the train station and a co-working tower. A commuter traveling to the campus by train, bus, or ferry, are able to circulate through the towers and find a place to work, or move on to other areas of the campus or to other means of transit.
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Above: An enlarged plan showing the relationship between the train station at the bottom, the academic buildings in the middle and top right, and the bus station at the top left. All of these spaces center around a re-established Colden Square that was lost to history for almost 50 years. What was spatially lost in Newburgh’s waterfront is re-introduced while also re-connecting to the larger Hudson Valley.
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A section cutting through the train station, library, and bus station illustrate how to navigate through the steep topography of the site. Inspired by historic pedestrian bridges above the West Shore Railroad, these bridges bring constant energy through the towers. A series of double height spaces, courtyards, and sawtooth roofs bring light and nature throughout the project.
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Opposite Above & Opposite Below: A 1/16� scale model and perspective highlighting the bus station, with local connections to Newburgh proper, Stewart International Airport, and Orange County. The station can be accessed via tower bridge and at street level, creating street life that was lost during urban renewal. Top & Above: A 1/16� scale model and perspective highlighting the train station which, compared to the bus station, creates regional connections throughout the Hudson Valley from Albany to New York City. Currently a freight railroad corridor, a commuter rail can catalyze new growth for the region.
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Above: A cutaway axonometric revealing the relationship between the low-rise academic buildings below and the flexible co-working towers above. The towers, while referencing the historic vertical forms in Newburgh and allowing navigation up the topography, also allow workspaces to have grand vistas of the Hudson Valley. In the low-rise buildings, a series of classrooms and labs provide specialized spaces adjacent to the flexible work spaces along the street. These spaces have sawtooth roofs referencing historic factory forms, creating a new productive space for technologies.
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Top & Above: Perspective and 1/16� scale model highlighting the pedestrian bridges that sit above the re-established Colden Square. The kinetic energy of pedestrians flowing from building to building at street level and from tower to tower above create constant movement in what is otherwise a currently lifeless urban fabric.
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A 1/16� scale model showing the relationship of the buildings on the topography of the site. While some low-rise buildings are partially buried, sawtooth roofs bring ample light into spaces that bleed into a flexible circulation and work space along the street. Higher in the topography, buildings open to the street and to intermediate courtyards, bridging the urban fabric with nature.
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SERENDIPITY LIBRARY ACADEMIC | Core II Studio | Spring 2018 Critic: Erica Goetz, Studio Goetz Location: DUMBO, Brooklyn, NYC
What is the relationship between structure and space? How does that relationship inform the future identity of a library as it transitions from the analog to the digital age? These questions are explored through the lens of certain structural typologies including space frames, arches, trusses, walls, etc. In the case of the Serendipity Library, a community library that offers a new experience for each visit, the typology of the structural stack as seen in the Bibliotheque Nationale or the New York Public Library is evolved into a dense matrix of shelves that form the very structure of the building. The frame, though dense, is at a human scale and is intertwined with open-grate pathways so that patrons can take a different route on each visit. This density of stacks and meandering pathways inevitably increase chance encounters, such as the surprise of finding a treasured book that is not being looked for or a revealing of a space or view. No two journeys are alike. Also caught within the tartan grid of stacks, special rooms called “clearings� arise unexpectedly. They provide both programmed public space and spaces of release from the density of the books, allowing a patron to rest on their journey. The clearings open to pointed views of the city or to meandering atria within the building, connecting the depths of the stacks to the outside world. The Serendipity Library is a place for the unexpected encounter, whether it be with a neighbor, a book, or a view of the East River and the city.
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Top: Model of Louis Kahn’s Exeter Library, examining the relationship between structure and program. Middle: The “proto-building”, translating lessons learned from precedent studies and creating a concept of exploration and discovery in relation to the wall. Above: Lessons from the “proto-building” are translated into the site, creating moments of walls and bookshelves as walls framing views of the Manhattan skyline.
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Top: A series of study models exploring massing, material, and program. Above: A site plan showing the library’s location near the Brooklyn Bridge and a ferry landing. An existing historic building creates an irregular L-shaped site.
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1. General Reading Room 2. Study / Work Area 3. Teen Reading Room 4. Children’s Reading Room 5. Digital Lab 6. Stacks
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Level 4
A series of pathways meander through a dense forest of reading stacks that also act as structure. This density allows a visitor to wander and discover an unexpected book. “Clearings” contain visual and programmatic relief from the forest and are unexpected oases. Oriented to specific views of the city, they provide areas to read, work, and lounge.
Top: The “clearings� also contain work areas such as a computer lab shown here. Just as a visitor can make a serendipitous discovery of a book, they can also discover different kinds of program scattered throughout the stacks. Above: The relationship between stacks and clearings are at a human scale, and ambiguous enough to allow an uninterrupted sense of journey.
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Computer Lab
Stacks
General Reading Room
Children’s Reading Room
Cafe
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General Reading Room
General Reading Room
Computer Lab
Meeting Room
Auditorium
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Stacks
Stacks
Teen Reading Room
Stacks Computer Lab
Auditorium
Above: Transverse section cutting through a meandering path that leads from the public ground level through the stacks and into varying common spaces. Opposite Top, Opposite Bottom: A 1/16� scale model made out of foamcore, matboard, and basswood. The model explores the relationship between a dense but permeable structure and how the stacks, integrated into the structure, create rich spatial layering and openings throughout the building.
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Top: The experience inside the stacks is compressed yet open, with metal grate walkways, open shelves, and a porous structure creating a multitude of spatial relationships. Above: A reading room “clearing� provides a place to read a newly discovered book and to take stock of ones journey through the stacks.
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A 1/4� scale model made out of basswood, foamcore, and matboard. The larger scale model illustrates the structural module, with shelves of varying lengths spanning between columns and creating porous walls. Based on the orientation of a walkway parallel or perpendicular to this wall, the perception of openness in the space changes.
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A cutaway axonometric and the structural module. A cruciform column allows shelves to be built in different configurations, orienting and disorienting library users as they meander through the building and make surprising discoveries.
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DELUGE PIER ACADEMIC | Core I Studio | Project 4 | Fall 2017 Duration: 3 Weeks Critic: Christoph a. Kumpusch, Forward Slash (/) Location: East River, New York City
What is an experiential pier? How could it extend the energy of the city beyond a mere tourist trap or a piece of green space? My concept focused on the threat of urban coastal flooding due to rising sea levels. Events like Superstorm Sandy crippled New York City but seem to have been largely forgotten by its citizens. Therefore, it is necessary to renew public consciousness and galvanize action. This project, an experiential “pier�, aims to increase awareness about rising sea levels through the physical act of flooding. Views are oriented towards landmarks along the coast, ones that are the most vulnerable to rising sea levels. These landmarks are architecturally framed in what may seem to be protected spaces; however, the waterline of the East River is only 3 feet below the top of the lowest wall. At high tide, the frames begin to be inundated with water. The infiltration of these frames reinforces a sense in the viewer that there is tenuous relationship between city and water, and that the concrete jungle is in reality a fragile system that can be devastated in a single flood. Upon leaving the pier, a visitor will have seen a vision of what is to come if New York and other cities do not galvanize their efforts and create resilient urban coastlines. The waters will come and visitors will leave with renewed awareness.
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Top: A diagram of the ever-evolving coastline of Manhattan through the centuries. The pier is built on the site of land that once extended into the East River, a precarious threshold between land and water. Above: Building sections illustrating different configurations of flooding that can occur in the pier.
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Top: The pier is strategically oriented to different sight lines of urban coastal landmarks, such as the nearby Williamsburg Bridge, the ConEdison power plant in Brooklyn, and the site of the former Domino Sugar Factory. These create the architectural framed views that become invaded by the river. Above: A 1/8” “moment model” made of concrete, basswood, piano wire, and acrylic. A visitor to the pier is able to access the entire site based on the flood conditions. They can witness the flood from within the wall, below it, or from above.
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The framed view of the Williamsburg Bridge becomes inundated by the East River as high tide approaches. Visitors have no option but to retreat upwards, just as they would have to do during the inevitable flooding of the city.
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The same view from a higher level. As more of the pier floods, space becomes more scarce and visitors are pushed into a smaller area. They begin to realize the seriousness of flooding as a threat to the welfare of New York and countless other coastal cities.
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A 1/32� model made out of matboard. The model underlines just how close the top of the floodwalls are in relationship to the East River. An existing 20th century fireboat house at the head of the pier, now containing a center for ecology, underlines its mission to educate and raise awareness about flooding as a pressing issue that must be addressed.
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L-TRAIN THRESHOLD ACADEMIC | Core I Studio | Project 3 | Fall 2017 Duration: 2 Weeks Critic: Christoph a. Kumpusch, Forward Slash (/) Location: First Avenue L-Line Station, New York City
Since its founding centuries ago, New York City has been synonymous with transformation, evolution, and revelation. The 14th Street corridor between First Avenue and Avenue A is a hotbed of these conditions. While transformations above ground have always been highly visible, the stories of the underground have been physically and metaphysically buried for almost a century. The closure of the Carnarsie Tunnel for a 15 month renovation in 2019 presents an opportunity to reveal the lost history of the underground and to imbue new value to subway station.. Operations of rotation, extraction, cutting, and extrusion are applied to the length of the station in order to create a new threshold between above and below, past and future. The street is cut and rotated to become occupiable space for artists who process lost items from the MTA and transform them into works of art. The subterranean infrastructure of columns and beams are adapted to shape a new urban topography with spaces for seating, walking, observation, performance, and for the enjoyment of the community while still serving the practical use of reaching the subway platform. What once was an object of mere utility gains another purpose. It is still practical but also becomes enjoyable, even celebrated. In this way a user forms a new relationship with a space and gains greater appreciation of it. The subway station becomes a destination for other than coming and leaving.
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Top: An exploded First Avenue L-Line station exhibiting components re-adapted for the new subway station including historic pre-cast concrete (purple), structural steel (green), and pipes (red). Bottom: Building plans at street level and underground illustrate the openness of the new station to the sky. Additionally, the dangerous conditions for pedestrians at this portion of 14th St. is alleviated by closing it to traffic, moving cars to an access road immediately to the north.
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Top: Looking towards the new urban topography. A series of terraces lead from the subway platform below to the artist studio and performances spaces elevated above the street. Bottom: A view from the subway platform looking up towards the sky. Waiting for the train no longer becomes a burden, but a desirable experience. Opposite Page: A partial 1/32� model made out of acrylic, plastic, basswood, and foamcore. Many of the components of the new subway are re-adapted from already existing structural members.
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A section isometric illustrating commuters, visitors, and wanderers alike traversing multiple elevations each with its own spatial qualities. A green-roof provides a contrast to the utilitarian underground while terraces provide vistas of the subway, the city, and the sky.
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VIA 14TH ACADEMIC | Core I Studio | Project 2 | Fall 2017 Duration: 2 weeks Critic: Christoph a. Kumpusch, Forward Slash (/) Location: 14th St. & 9th Ave., New York City
At the intersection of 9th Ave. and 14th St., pedestrians must traverse four different corner conditions between east and west. And like at all crosswalks in the city, the journey is a blur. The goal is to travel as fast as possible before the change of the traffic light. Thus VIA asks, what does it take for people to pause, to look up, to explore the places in-between corners without fear of oncoming traffic? Taking the sidewalk shed, the ubiquitous scaffold considered as a hindrance to pedestrians, VIA transforms this typology into an interactive machine that inhabits the crosswalks of 14th St. It acts as a bridge between the street corners and creates new cadences in movement. Layers of mobile members can be operated by a visitor, create a multiplicity of operations where an open path can become constricted while, at the same time, a wall can become a ceiling further along the path. These moments create unexpected frames of the surrounding site, surprising reflections, and a “thickening” of a pedestrian’s spatial experience. Getting lost is encouraged. Exploration is a requirement. VIA is a machine that produces moments of pause and opportunities for new modes of navigation along 14th Street. New discoveries are made and new interactions are created in order to gain a renewed sense of place for the New Yorker.
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Initial explorations of “corner� conditions prevalent in New York City (i.e. the corners of streets, of buildings, etc.) lead to the question of how they can be made interactive. How can something so mundane be transformed into a catalyst for exploring a city taken for granted? These series examine different modes of operation where corner conditions transform from one form into another, allowing for new modes of activity and exploration.
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Above: A collage of a diagrammatic plan, a sidewalk shed, and its transformation onto the site. The operable members are spaced at regular intervals with planar elements of varying sizes attached to different members. These planes move with the members and affect a pedestrian’s perception of their journey through the machine. A ceiling can become a wall which can also become the ground. Opposite Page: A model of the machine made from acrylic, metal pipe, and 3/32� screws. Each series is joined by metal pipe and is independently operable from another series.
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A plan view of the model illustrating the machine’s ability to extend beyond its immediate context through the interplay of light and shadow.
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STUDIO GOETZ PROFESSIONAL | June - August 2018 Position: Architectural Intern
Drew multiple sets for bidding, permitting, and landmarks for a townhome renovation and extension in Brooklyn. Additionally, created presentation drawings for aforementioned townhouse project and for high-rise apartment in 432 Park Avenue. Also re-designed company website by streamlining layout, adding projects, and increasing information accessibility.
Willow Street Renovation & Extension | Brooklyn, NY | Single Family Residential: Section perspectives of a twostory library addition at House W in Brooklyn. Created in Rhino, V-Ray, and Photoshop.
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432 Park Avenue Apartment | New York, NY | Single Apartment: Section perspectives of a highrise apartment located at Park Avenue showing living room and kitchen (above & opposite above), master bath (below), and library and bedroom (opposite below). Created using Rhino, AutoCAD, and Photoshop.
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JOHNSON NATHAN STROHE PROFESSIONAL | February 2014 - July 2017 Position: Project Designer
Active in multiple roles in multifamily and hospitality projects, including position as a project designer for two multifamily projects in Oceanside, CA and for a multifamily project in Fort Collins, CO. Also engaged as architectural staff in the creation of Entitlements, Schematic Designs, Design Details, and Construction Documents for several multifamily and hospitality projects, and in Construction Administration for multifamily housing in Oceanside.
PIERSIDE NORTH
Oceanside, CA | 66-Unit Mixed-Use Multifamily
Participated in all phases of project, from Conceptual Design through Construction Administration. Also designed the majority of the exterior of the building including massing, windows, custom railings and accents, and arches per city requirements for a “Mission� style building on the site. The design is a contemporary re-imagining of the more traditional elements of this architectural style for modern living.
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Courtyard Level Plan and building section produced in Revit for Construction Documents. One key goal for the project was to maximize the amount of amenity spaces for residents, resulting in a second level courtyard overlooking the Pacific Ocean.
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A key design element in the project were custom water-jet cut metal panels used in the railings and the building facade. These were inspired by existing motifs in California missions. The result is a fine, semi-transparent texture that adds depth to the otherwise restrained facade.
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PIERSIDE SOUTH
Oceanside, CA | 110-Unit Mixed-Use Multifamily
Across the street from Pierside North, my participation in the project spanned all stages from Conceptual Design through early Construction Administration. I was again responsible as project designer for the massing and design elements of the exterior of the building. A view from the street (above) and a rooftop amenity space (below) highlight a modern take on California living compared to the building’s more traditional neighbor.
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Pierside South | Oceanside, CA | 110-Unit Multifamily: Plan of typical level and building section produced in Revit for Building Permit Documents. A third level courtyard is supplemented by rooftop outdoor spaces accessible to all residents, with views toward the Pacific Ocean only blocks away.
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Pierside South | Oceanside, CA | 110-Unit Multifamily: The third level courtyard (above) is organized around small pavilions that provide different spaces including a fire pit, an outdoor shower, and shaded seating along the pool. The exterior street facade (below left and below right) references the adjacent railroad through repetition of units modulated by varying window patterns.
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Pierside South | Oceanside, CA | 110-Unit Multifamily: Other design elements include wood accents and earth-tone stucco that break up the massing and introduce warmth to the white facade. Residents participate in the public realm through porosity of views, such as the elevator lobbies (above) being visible from the street adjacent to the main entrance of the building.
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BIM COURSE: GREENPOINT THEATER ACADEMIC | Building System Integration | Fall 2018 Critics: Architecture - Joe Hand, SHoP Architects Structural - Aaron Campbell, Bluezees Dev. MEP - Oliver Meade, Buro Happold Enclosure - Ashley Reed, Eckersley O’Callaghan Team: Joud Al Shdaifat, Hyung Rok Do, Sanggyu Shin Location: Greenpoint, Brooklyn, NYC
A theater along the East River appears to be a pristine monolithic geometry with angled walls until approached from the south, where a curtain wall system provides visual penetration into the depths of the theater space and allows light to enter for passive environmental strategies. This course teaches students to develop a project in Revit from Schematic Design to Design Development to Construction Documents with oversight provided by a team of professional consultants.
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Top: Concept diagrams showing the prototypical theater box being ripped and pushed in order to create visibility through the space. Middle: Site plan of project adjacent to WNYC Transmitter Park. Above: The building is constructed entirely through a series of concrete beams, slabs, and columns. Opposite: Level 1 & Level 3 plans.
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Top, Middle: Building sections cutting through the main theater and a separate Black Box theater above set on a concrete girder system. Above: Rendered building elevations. Opposite Above Left: Cutaway isometrics detailing the primary envelope systems of terracotta panels and curtain walls. Opposite Above Right: Wall section through lobby and theater spaces. Opposite Below: Perspective view of lobby looking towards the wood-clad theater space, creating a destination visible throughout the building and from the exterior.
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Isaac Kim Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture Candidate