SELECTED WORK ISAAC KIM Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture, 2020
ACADEMIC The Civics of Power Split-Line Housing BIM: Greenpoint Theater Sakaide Artificial (Play)Ground The Learning Track Serendipity Library Deluge Pier
Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture, 2020
NYC 2050:
THE CIVICS OF POWER ACADEMIC / Advanced V Studio / Fall 2019 Critic: Marc Tsurumaki (LTL Architects) Team: Sanggyu Shin Program: Civic + Infrastructure Location: Tribeca, NYC
In the not-so-distant future of 2050, New York will face new extreme weather events caused by climate change along with population growth and increased demand for electricity. Both people and physical space for electrical infrastructure will battle for limited land. How can the city’s existing yet obsolete electrical grid be restructured to meet these new challenges while also reshaping our spatial relationship with infrastructure? The solution lies in new, resilient civic-infrastructural spaces that hybridize once separate programs. People and infrastructure can coexist with one another, celebrating this relationship in a new type of civic typology.
Present-day electrical grid
New microgrid network
The electrical grid today is woefully obsolete. As Hurricane Sandy revealed, the disruption of a single source of power caused power loss for a wide swath of downtown NYC. In order to cope with increasing storm events by 2050, the grid must be revamped. With the rise of renewable energy production through solar and wind, a new “smart� microgrid system is created where electrical production and distribution is localized into clusters that can store and distribute any excess power produced from one node to another. If one cluster experiences a loss of power, other nodes will not be affected. These nodes provide opportunities for a new civic-infrastructural identity to be created.
A place of shelter during storms
Concept and massing development
Within the battery storage tower
The electrical infrastructure is rendered as large masses, celebrating infrastructure as civicscaled objects, with a ring of public programs covered in a mesh-like skin to create an ephemeral veil. The form of the building itself hints at the energy and dynamism of the types of spaces contained within.
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Level 1
1. Substation Transformer Tower 2. Battery Storage Tower 3. Cogeneration Tower 4. Learning Center 5. Personal Rapid Transit Station 6. Maintenance Shop 7. Office Parking 8. Outdoor Plaza 9. Holland Tunnel Exit
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Level 2
1. Substation Transformer Tower 2. Battery Storage Tower 3. Cogeneration Tower 4. Public Amphitheater 5. Flex Community Space 6. Personal Rapid Transit Station 7. Maintenance Shop 8. Substation Office
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1. Substation Transformer Tower 2. Battery Storage Tower 3. Cogeneration Tower 4. Public Amphitheater 5. Flex Community Space 6. Outdoor Roof Terrace 7. Substation Office 8. Tower Maintenance
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1. Substation Transformer Tower 2. Battery Storage Tower 3. Public Amphitheater 4. Learning Center 5. Maintenance Shop 6. Rooftop Patio 7. Outdoor Plaza 8. Wireless Charging for Personal Rapid Transit
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Section at learning center & amphitheater
The building becomes a public amenity, centered around a technological hearth that powers the city. Personal rapid transit pods zoom by the public amphitheater as one views the monolithic infrastructural cores. Infrastructure becomes celebrated as citizens begin to understand the importance of these spaces in their everyday lives.
SPLIT-LINE HOUSING ACADEMIC / Core III Studio / Fall 2018 Critic: Gabriela Etchegaray (Ambrosi | Etchegaray) Team: Tim Zhou Program: Mixed-Use Public Housing Location: South Bronx, NYC
The South Bronx is full of hard edges that encourage separation to provide security, but also limits any genuine interaction between neighbors. Split-Line Housing softens these hard edges, increasing moments of intersection & interaction between residents and the community alike through a series of minimal architectural gestures. These include re-adapting the double loaded corridor typology into residential atriums and also weaving a public market hall through the buildings, creating a spine of activity and interaction. New bonds between people are created in order to make them feel invested where they live. 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.
Area maximization
Double-loaded atria
Market hall spine
Relating scale to context
Worm’s eye axon showing a public market hall acting as a spine connecting the three buildings, creating a corridor for the neighborhood through the block.
A central atrium connects the public market hall with the units above, creating visible yet secure connections with the residential and neighborhood communities.
In addition to the market hall, the ground floor is occupied by public plazas at either corner of the site. These are flanked by age-related services currently lacking in the neighborhood, including centers for the elderly, young adults, and a daycare. The project becomes a community hub, with courtyards usually exclusive to residents in other similar project types available to users of the programmed spaces. Here they can meet people of different ages in a secure outdoor area.
Claremont Parkway
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1. Market Hall Spine 2. Courtyard 3. Daycare 4. Community Center for the Aging 5. Youth Art & Science Center
6. Residential Lobby 7. Resident Amenity Space 8. Flexible Multi-Function Spaces 9. Public Plaza
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Level 2 1. Residential Atrium 2. Resident Gym 3. Resident Patio
Building residents can gather in dedicated indoor atrium spaces located on the second floor. Here, they also have access to amenities such as a gym, pool, and outdoor patios that overlook the community spaces on the ground floor.
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Typical Level
Partial section through apartments
1. Market Hall Spine 2. Courtyard 3. Daycare 4. Resident Lobby 5. Resident Amenity Space 6. Resident Atrium 7. Resident Gym 8. Resident Pool 9. Rooftop Lounge
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Instead of cloistering residents away from the outside, they have the opportunity to go out and find meaningful interactions with their neighbors and the larger community of the Bronx. A hierarchy of spaces provide visual connections to each other while also providing physical separation for security.
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A walkway connecting the buildings above the public market hall provide visible but secure connections for residents.
25’-0� Indoor atrium
A simple step of 3.5 feet in the structural slab increases the potential of the home. It maximizes privacy for each unit, preventing views directly into each home from the public corridor.
Cutaway section model of market hall and atrium
Apartment w/ bench
Apartment w/ shelf The slab step in each unit can can be configured for different functions based on a resident’s need. These customizable built-in options creates a sense of ownership for the tenant and make them feel invested in their home and the well-being of the overall community.
TV Stand
Bench Active Configuration
Pet House
Kitchen Countertop
Working Configuration Planter
Work Surface
Shelving
Leisure Configuration
2-Bedroom Unit
1-Bedroom Unit
Studio Unit
A system of movable perforated metal screens at each unit provides shading, privacy, and the ability to create a dynamic facade that changes with the day. The building becomes a living presence within the Bronx and activates the site around it.
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.
The prototypical theater box is ripped and pushed to create reveals of the inner heart of the space, inviting the passerby to explore inside.
Site plan
Structural Diagram
Foundation
Concrete structure
Floors & cores
My primary duties included developing a majority of the Revit model, teaching my team members about Revit and program standards, and coordinating development based on feedback from structural, MEP, envelope, and sustainability critics.
View of lobby main entrance with wooden theater core and waffle slab system
A separate Black Box theater sits above the main theater on a concrete girder system. The primary envelope system consists of terracotta panels and an angled curtain wall, allowing views into the concrete-framed interior highlighted by the warm tones of the theater masses within.
TEAM JOUD AL SHDAIFAT SANGGYU SHIN HYUNG ROK DO ISAAC KIM
Columbia University Graduate School of Architecture, Planning and Preservation 1172 Amsterdam Avenue New York, New York 10027 (212) 854-3414
CONSULTANTS ARCHITECTURE JOE HAND, SHOP ARCHITECTS SE/C AARON CAMPBELL, BLUEZEES DEV. MEP OLIVER MEADE, BURO HAPPOLD ENCLOSURE ASHLEY REED, ECKERSLEY O'CALLAGHAN
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PERSPECTIVE AT LOBBY
View of lobby from rear entrance
Description
PROJECT
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GREENPOINT THEATER
A902
DRAWING NAME
PERSPECTIVES SCALE
Longitudinal section
Date
Transverse section
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PERSPECTIVE AT BLACK BOX
Interior of black box theater
PERSPECTIVE AT BLACK BOX
PERSPECTIVE AT AUDITORIUM
PERSPECTIVE AT AUDITORIUM
Interior of main theater
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PERSPECTIV
ALUMINUM STOREFRONT SYSTEM BACKER ROD AND SEALANT BLACK BOX THEATER LOBBY
OUTDOOR ROOFTOP PATIO
GALVANIZED "Z" DRIP FLASHING, PROVIDE END DAMS ADJUSTABLE PEDESTAL PAVER SYSTEM ALUMINUM STOREFRONT SYSTEM
2’ X 2’ GRANITE PAVER
BACKER ROD AND SEALANT BLACK BOX THEATER LOBBY
TPO WATERPROOF MEMBRANE
OUTDOOR ROOFTOP PATIO
GALVANIZED "Z" DRIP FLASHING, PROVIDE END DAMS ADJUSTABLE PEDESTAL PAVER SYSTEM RIGID INSULATION 2’ X 2’ GRANITE PAVER
CONCRETE DECK, SLOPED FOR DRAINAGE
TPO WATERPROOF MEMBRANE RIGID INSULATION CONCRETE DECK, SLOPED FOR DRAINAGE
3/4" WOOD WALL PANEL
(3) LAYERS 5/8" GYP. WALL BOARD 6" METAL STUD, 24" O.C.
6" THERMAFIBER SAFB INSULATION
6" THERMAFIBER SAFB INSULATION
SANGGYU
HYUNG R
HYUNG ROK DO
ISAAC KIM
ISAAC KIM
(2) LAYERS 5/8" GYP. WALL BOARD
(2) LAYERS 5/8" GYP. WALL BOARD
RC−1 CHANNEL, 24" O.C. 1/4" Z−CLIP
RC−1 CHANNEL, 24" O.C.
3/4" WOOD WALL PANEL
1/4" Z−CLIP
1/4" Z−CLIP
1/4" Z−CLIP
3/4" WOOD WALL PANEL
AUDITORIUM
AUDITORIUM
AIR SPACE (12" CONCRETE SHEAR WALL IN CERTAIN LOCATIONS, RE: PLANS)
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AIR SPACE (12" CONCRETE SHEAR WALL IN CERTAIN LOCATIONS, RE: PLANS)
LOBBY
LOBBY
AUDITOIRUM ACOUSTIC WALL DETAIL 3" = 1'-0"
AUDITORIUM
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Columbia University Graduate School of Architecture, Planning and Preservation 1172 Amsterdam Avenue New York, New York 10027 (212) 854-3414
Pedestal paver detail
ROOFTOP PATIO THRESHOLD 3" = 1'-0"
Columbia U Graduate S Preservatio 1172 Amst New York, (212) 854-
SLEEVES TO BE INSET INTO WAFFLE BEAMS FOR LIGHTING CABLES, TYP.
ROOFTOP PATIO THRESHOLD 3" = 1'-0"
J−BOX
3/4" WOOD WALL PANEL
CAN LIGHT
CONSULTANTS (3) LAYERS 5/8" GYP. WALL BOARD
GWB CEILING ON METAL STUD
SLEEVES TO BE INSET INTO WAFFLE BEAMS FOR LIGHTING CABLES, TYP.
AUDITOIRUM ACOUSTIC WALL DETAIL 3" = 1'-0"
J−BOX
0’ − 4"
6" METAL STUD, 24" O.C.
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JOUD AL SHDAIFAT
6" HSS FRAMING
6" HSS FRAMING
AUDITORIUM
TEAM
SANGGYU SHIN
1’−6" MIN.
3/4" WOOD WALL PANEL
6" METAL STUD, 24" O.C.
1’−6" MIN.
TEAM
(3) LAYERS 5/8" GYP. WALL BOARD
AARON CAMPBELL, BLUEZEES DEV. MEP OLIVER MEADE, BURO HAPPOLD
CAN LIGHT 6" HSS FRAMING
CONSULT ENCLOSURE ASHLEY REED, ECKERSLEY O'CALLAGHAN
1’ − 8"
RC−1 CHANNEL, 24" O.C.
2" HSS FRAMING
1/4" Z−CLIP
ARCHITEC JOE HAND
0’ − 4"
(2) LAYERS 5/8" GYP. WALL BOARD
2’ − 0"
GWB CEILING ON METAL STUD
2" STAINED WOOD SEATING
ARCHITECTURE JOE HAND, SHOP ARCHITECTS
6" THERMAFIBER SAFB INSULATION SE/C
1/4" Z−CLIP
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Description
3/4" WOOD WALL PANEL
ENCLOSU ASHLEY R
3’ − 0" ON CENTER
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SUBFLOOR SYSTEM
2" STAINED WOOD SEATING
2" RIGID INSULATION
2" HSS FRAMING
CONCRETE SLAB ON GRADE
WAFFLE SLAB ARCHITECTURAL DETAIL 1 1/2" = 1'-0"
1’ − 8"
UNDERFLOOR MECHANICAL DUCT
AIR SPACE (12" CONCRETE SHEAR WALL IN CERTAIN LOCATIONS, RE: PLANS)
AUDITORIUM
2’ − 0"
VENTILATION GRILL
36" X 36" STONE TILES
SE/C AARON C
MEP OLIVER M
1/4" METAL PANEL FACING 3/4" PLYWOOD BACKING
LOBBY
No.
1/4" METAL PANEL FACING 3/4" PLYWOOD BACKING
AUDITOIRUM ACOUSTIC WALL DETAIL 4 3" = 1'-0"
VENTILATION GRILL
LEVEL 3 35' - 0"
3’ − 0" ON CENTER UNDERFLOOR MECHANICAL DUCT
Waffle slab detail 15’ − 0"
WAFFLE SLAB ARCHITECTURAL DETAIL 5 1 1/2" = 1'-0"
2" RIGID INSULATION
LEVEL 2 20' - 0"
ESCALATOR CLEARANCE SECTION 1/8" = 1'-0"
PROJECT
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20’ − 0"
11’ − 6" CLR. TO UNDERSIDE OF MACHINE PIT
2" STAINED WOOD SEATING
DRAWING NAME
LEVEL 3 35' - 0"
2" HSS FRAMING 4’ − 0"
1/4" METAL PANEL FACING 3/4" PLYWOOD BACKING
11’ − 2" CLR
80" MIN.
BUILT-IN BENCH W/ INTEGRATED VENTILATION 2 3" = 1'-0" 1
NOTE: PROVIDE CANE DETECTION FOR AREAS BELOW MIN. REQ. HEAD CLEARANCE
HEAD CLEARANCE
ESCALATOR PIT
80" MIN. HEAD CLEARANCE
CONCRETE SLAB ON GRADE
VENTILATION GRILL
LEVEL 1 0' - 0"
GROUND PLANE -4' - 0"
UNDERFLOOR MECHANICAL DUCT
15’ − 0"
SUBFLOOR SYSTEM
11’ − 2" CLR
36" X 36" STONE TILES
DETAILS SCALE
As indicated
36" X 36" STONE TILES
LEVEL 2 20' - 0"
SUBFLOOR SYSTEM
11’ − 6" CLR. TO UNDERSIDE OF MACHINE PIT
2" RIGID INSULATION
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BUILT-IN BENCH W/ INTEGRATED VENTILATION 3" = 1'-0" 1
ESCALATOR CLEARANCE SECTION 1/8" = 1'-0"
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Wall section between lobby & theater
Integrated bench ventilation detail
BUILT-IN BENCH W/ INTEGRATED VENTILATION 3" = 1'-0"
PROJECT
GREE THEA
20’ − 0"
80" MIN. HEAD CLEARANCE
NOTE: PROVIDE CANE DETECTION FOR AREAS BELOW MIN. REQ. HEAD CLEARANCE
DRAWING
4’ − 0"
80" MIN.
ESCALATOR PIT
HEAD CLEARANCE
CONCRETE SLAB ON GRADE
LEVEL 1 0' - 0" GROUND PLANE -4' - 0"
DET SCALE
As indic
The theater utilizes passive ventilation in the lobby and rainwater collection to enhance sustainability. Conditioned air produced from the benches cools up to occupied space, while the hot air towards the lobby ceiling is released through operable glazing units.
OPEN METAL GRATE WALKWAY ACCESS HATCH BIORETENTION SOIL MEDIA STREET LEVEL WATER LINER (30ML)
IRRIGATION PUMP
HC GAUGE FTG GRAVEL FILL CONCRETE FOOTING
Rainwater is collected and filtered through a storm garden, which is then stored in a tank that is used for graywater throughout the building.
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FACADE SYSTEM 1 ELEVATION 1/2" = 1'-0"
Terracotta parapet detail 2
FACADE SYSTEM 1 PLAN 1/2" = 1'-0"
Terracotta base detail
Terracotta plan detail
Facade System 2: Glazing Glazed facade head detail
Glazed facade operable detail
Glazed facade base detail
SAKAIDE ARTIFICIAL (PLAY)GROUND ACADEMIC / Advanced VI Studio / Spring 2020 Critic: Enrique Walker Team: Sanggyu Shin, Yanni Wang, Tim Zhou Program: Adaptive Re-Use + Cultural Location: Sakaide, Japan
How can a building that was conceived to be ever-changing, in what is called “open work,” udergo an operation that will double a physical aspect of it? This is a spatial question that asks if such a dramatic experiment will complement or fundamentally alter the original intent of the architect? Working with an existing Metabolist building by Masato Otaka called Sakaide Artificial Ground, the project examines Otaka’s original body of work in order to re-animate a decaying building to address contemporary issues of urban space that have arisen since its construction in the 20th century.
1959 TOKYO BAY PROPOSAL MASATO OTAKA
1960 SHINJUKU SUBCENTER MASTERPLAN FUMIHIKO MAKI + MASATO OTAKA
1966 HANAIZUMI AGRICULTURAL CO-OP HALL MASATO OTAKA
1967 SAKAIDE ARTIFICIAL GROUND MASATO OTAKA
1969 MOTOMACHI HOUSING SETTLEMENT MASATO OTAKA
1970 SHIZUOKA AGRICULTURAL CO-OP HALL MASATO OTAKA
1966 YAMANOUCHI AGRICULTURAL CO-OP HALL MASATO OTAKA
1968 TOCHIGI ASSEMBLY HALL MASATO OTAKA
1972 NIHON UNIVERSITY LIBRARY MASATO OTAKA
A genealogical study of Otaka’s work was conducted in order to understand his design principles, notably including the concept of an “artificial ground.” This attempted to address Japan’s transition from feudal land ownership to private land, upon which a platform could be built over existing cities to create new land that would be open and equal to all. Another concept was that of “group form,” where buildings would be aggregated in an organic fashion that created human-scaled interstitial spaces and diverse moments of interaction. Otaka was also concerned with prefabrication in order to allow then-unskilled labor to build the new Japan with ease.
Examining later buildings by Otaka, we propose that the concept of “artificial ground” expand from a single slab structure to that of a “thickened ground” that contains public programs elevated from the earth. This thickened condition creates more rich spatial intersections and can be retroactively applied to his earlier Artificial Ground at Sakaide. The space below becomes a “thickened” ground condition that allows the public to wander into what was an impenetrable block. Views to various programs organized through Otaka’s principle of “group form,” including new galleries, a cafe, a maker-space, a library, a co-working office, and a co-working studio, create a new urban environment respecting Otaka’s original intent.
ARTIFICIAL GROUND
EXISTING GROUND
TOCHIGI PREF
ARTIFICIAL GROUND
EXISTING GROUND
SAKAIDE ARTIFICIA
ARTIFICIAL GROUND
Existing parking beneath platform
EXISTING GROUND
Existing planter penetrating platform
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ARTIFICIAL GROUND
EXISTING GROUND
FECTURE COUNCIL ASSEMBLY HALL, 1968-69
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AL GROUND 1966-86
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ARTIFICIAL GROUND Proposal for cultural functions and connectivity EXISTING GROUND
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Proposed interventions
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Proposed Where Sakaide Artificial Ground was defined by mostly dark, disconnected parking and abandoned retail spaces below the platform level, our proposal doubles the amount of public space below to complement the existing civic auditorium. This leads to other necessary surgical interventions on the existing structure (gray) to increase floor-toceiling heights (dark blue), the amount of natural light (light blue), way-finding (red), and transparency (yellow).
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1. Residential Housing 2. Parking (Existing) 3. Commercial Retail (Existing)
4. Cafe 5. Gallery (Beyond) 6. Library (Beyond)
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The interplay between the old (in gray) and the new (in red) create a rich space penetrated by expanded openings up to the sky. These “seams� are anchored by new circulation elements that act as characters defining different areas of the project. The world beneath the artificial ground begins to reflec the diversity and richness of the urban fabric surrounding the project.
Existing vertical circulation
Proposed vertical circulation
Existing man-made topography
Existing retail beneath platform
View of proposal at platform level with greater ground level connectivity and visibility
THE LEARNING TRACK ACADEMIC / Advanced IV Studio / Spring 2019 Critic: Adam Frampton (Only If Architecture) Team: Krista Wiryomartono Program: Education + Transportation Location: Newburgh, NY *Winner of the 2019 AIANY + ASLANY Transportation + Infrastructure Design Excellence Awards, Student Award*
A new SUNY campus extension seeks to connect communities regionally, municipally, and locally by integrating existing inter-modal 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 co-working spaces in response to the growing tech community along the Hudson Valley, the new campus environment will facilitate inclusivity, entrepreneurship, and social cohesion.
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. 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.
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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1. Bus Station 2. Train Station 3. Ferry Station 4. Academic Buildings 5. Service Building 6. Historic Train Station
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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1. Bus Station 2. Train Station 3. Classrooms 4. Library 5. Historic Train Station
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.
SERENDIPITY LIBRARY ACADEMIC | Core II Studio | Spring 2018 Critic: Erica Goetz (Studio Goetz) Program: Public Library 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? 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.
Snead Structural Stack patent drawing
A series of spatial and structural concepts learned through designing a “proto-building� create the crux of the project. With exploration and discovery as key themes, these are translated into the building to create moments of walls and bookshelves as walls framing views of the Manhattan skyline.
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.
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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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Approaching computer lab clearing
Within computer lab
Just as a visitor can make a serendipitous discovery of a book, they can also discover different kinds of program scattered throughout the stacks. The relationship between stacks and clearings are at a human scale, and ambiguous enough to allow an uninterrupted sense of journey.
1. Auditorium 2. Cafe 3. Meeting Room 4. Computer Lab 5. General Reading Room 6. Children’s Reading Room 7. Stacks
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1. Auditorium 2. Teen Reading Room 3. Computer Lab 4. Stacks
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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. The structural module has shelves of varying lengths spanning between columns, creating porous walls. Based on the orientation of a walkway parallel or perpendicular to this wall, the perception of openness in the space changes.
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.
DELUGE PIER ACADEMIC / Core I Studio, Project 4 / Fall 2017 Duration: 3 Weeks Critic: Christoph a. Kumpusch, Forward Slash (/) Program: Cultural Location: East River, New York City
Events like Superstorm Sandy crippled New York City but 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.
Sited on an ever-changing coastline 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.
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 architectural framed views that become invaded by the river. 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.
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.
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.
ISAAC KIM Columbia University Graduate School of Architecture, Planning and Preservation Master of Architecture, 2020
