A number of varying programs comprise the project, including a Waste to Energy plant, Recycling Center, and Artist in Residence component.
The typology for the project was derived from the Navy Yard bulkheads and
piers themselves. A set of design tool linework was developed to act as the generator for the project’s overall formal expression. The massing is composed of many fractures along differing axes. The fractures were used as a means to help direct the occupant in a certain direction, in particular a primary fracture is on axis with Kent Avenue, and projects out toward the channel, as a means to connect the streetscape, to the waterfront.
The idea of “fracture” as a generative driver for the project was expressed at
varying scales. It is used as the primary action upon which the formal massing is configured, used again as a means of circulation within the project, and is also used at the scale of the theater as the lower and upper seating areas are created through a penetration and ensuing fracture.
A large 3/16” scale chunk model of the A.I.R program was constructed which included a section through the proscenium theater, art gallery, and artist’s residences, as well as the structure and MEP systems.
Along the East River Corridor
- Continue replacement of bulkhead and piers, as well as complete drudging to ensure future maritime usage.
- Explore opportunities for controlled public access around and within Brooklyn Navy Yard where appropriate.
- Explore options for redevelopment of industrial and commercial uses with opportunity for public access if appropriate.
- Explore potential for under bridge development on relocation of current DOT and DCAS facilities
- Commence redevelopment of Domino Sugar Factory
a. Fracture + SeamsThe massing model explored how the assembly of varying components come together, and how they can be expressed. The model was fabricated through 3D printing, with the seams of assembly spray painted bronze.
a. Performance Theater - Upper Viewing Platform
Model Photo
b. Longitudinal Section - Cutting Through Theater, Recycling Center, and Waste To Energy Programs, as well as Kent Avenue.
c. Cross Section - Cutting Through Performance Theater, Art Gallery, Elevator Shaft, Ferry Terminal Bridge, as well as Structural + MECH. Systems
Sections
a.
a.
Model Photos
a.. Section Cut - Gallery + Theater + Elevator
b. Theater Roof - Structure + Skylight
c. Theater Interior
Model Specifications
Dimensions - 52.5” x 24” x 18”
Scale - 3/16” = 1’0”
Materials - High-Density Foam, PLA Filament, Foam Core, Watercolor Paper
Fabrication - 3D Printing, CNC Milling, Lazer Cutting
Shown at Wast[ed] Event Hosted by SOM
b.
Enclosure Details
b.
c.
a. Wall Section - A.I.R Residence’s, steel frame construction, channel rail substrate, and aluminum panel cladding offset from interior glazing
b. Detail 1 - Floating paneling, waterproofing, and drainage system at joint between wall and roof
A.I.R Chunk Model
b. Chunk Render - Depicts the 3-dimensional assembly of steel frame truss, light-gauge space frame, insulation, and aluminum paneling
Approach from Ferry
a. A.I.R Cantilever - Depicts the A.I.R resident block cantilevering over the outdoor exhibition dock, as one approaches on ferry.
a.
This project centered on the question: “How to protect Governors Island and make it ‘Floodproof’?”. When one hears the word “Floodproof” they think of strategies to mitigate rising sea levels and storm surge. While those instinctive assumptions are not wrong, the idea of making something “Floodproof” can also center on the idea of accessibility. The more someone cares about something, the more likely they are to take care of it. Therefore, our project chose to first increase accessibility to Governors Island by means other than ferry.
Currently GI is only accessible through ferry - vehicle, bike, or pedestrian access does not exist. Intriguing to our group however, was the Brooklyn Battery Tunnel Ventilation Shaft, located near the north end of the Island. The Brooklyn Battery Tunnel runs from Lower Manhattan to Sunset Park in Brooklyn, with the ventilation shaft at its center point.
The project proposed to use the ventilation shaft as a key access point into Governors Island, by phasing out vehicle usage in the tunnels, to eventually be purely utilized for
bike, pedestrian, and automated electric buses. In addition to re-purposing the tunnels, the shaft itself could be converted into a new space. Without CO2 emissions from vehicles, the machinery required to ventilate the shaft could be reduced and therefore free up space for a bike storage/ repair facility and performance theater.
Re-Imaging access to Governors Island, and designing a cultural attractor, would be the first step in making the Island “Floodproof”.
Existing
a. Vehicular Traffic Only
Phase 1
b. Vehicular + Bike/Ped.
Phase 2
c. Automated Bus + Bike/Ped.
Brooklyn Battery Tunnel
Ventilation Shaft Section
e. Section - The machinery currently in the shaft could be reduced as CO2 emissions would not be as high due to the elimination of vehicle usage. Therefore, the interior of the shaft could be re-purposed to house, bike storage, and a performance theater, to act as a cultural attractor to the Island.
Model Photos
b. Part 1 - Bike Storage + Pumps
c. Part 2 - Theater + Culture Space
d. Part 3 - Roof Structure
NIKOLAS JOHAN SHAMRELL
b.
c.
d.
e.
a. Parts of Assembly
The National Science Foundation (NSF) had awarded a grant to teams to further the research on sustainable innovations in relation to our built environment. Contracted via Philip Parker Architects, our project, Urban Shorelines, centered on how to re-design the typical seawall, and re-imagine it as a living shoreline.
Instead of viewing the seawall as the partition which draws a distinct line between what is built and what is natural, Urban Shorelines looked to challenge this notion, by blurring the zones between city
and water. In addition, these strategies could be used to expand the city’s infrastructural connections to its ocean setting, and to increase urban resilience.
The new design of the seawall included components varying in form from curvilinear grass-like strands, to disks, to sponge-like blocks, all designed to house various marine life. How these components are arranged on the wall in relation to the zone of marine habitat, creates a rich textural mosaic, instead of an abrupt hard seawall.
The living seawall could be modularized as well, to accommodate various profiles, ranging from vertical, to projected, to gradually sloped, facilitating different interactions with the water’s edge.
It was a great experience to work in a cross-disciplinary project from the start. Having the opportunity to work with ecologists, engineers, as well as other designers and architects, added to the overall strength of the design from its conception.
Seawall Mosaic
a. Mosaic Panel Elevation - 30’ x 12’
b. Component 1 - Small Cube
c. Component 2 - Grass-like Brush
d. Component 3 - Disk
Fabrication
Render b. Vertical Section - Shoreline section can be modularized for vertical section
c. Projected Section - Shoreline section can be modularized to project into the water.
d. Sloped Section - Shoreline section can be modularized to slope towards water and offer opportunities to interact with high/low tide.
NSF: COMPETITION/ KOL/MAC LLC and Philip Parker Architects / Project Designer: Urban Shorelines
The research for this project initially began by asking the question, “How can one challenge the 2-dimensional to 3-dimensonal architectural process?” Historically, the architectural process has consisted of a 2D to 3D workflow. A set of 2 dimensional, planar, drawings are used to visualize a 3 dimensional space. But does a 2D drawing really exist?
To start, 5 architectural drawing conventions were selected: Plan, Section, Elevation, Axonometric, and Perspective. As well as, three scales were identified:
Instrument (something operable by hand), Building (a construct which could be occupied), and Urban (a larger matrix or network in which we operate within). Through compiling differing architectural conventions, in addition to considering multiple scales, Collage was used as a medium to find moments of resonance between each of the various attributes listed.
Collage was then used as a generative technique to further investigate how one could combine various scales and drawing
conventions into a singular composition. Once a pair of 2D drawing compilations were generated, the Bounding Box (an inherently 3D object) was used as a tool to both assimilate varying scales through using a singular face or partially or completely unfolding.
The unfolding of 2D drawings, then generated a new 3D object, where a reciprocity between 2D and 3D visualizations are worked in a new, fresh, way.
Drawing Convention Precedents
a. Plan Wall House #2 - Hajduk
b. Axonometric House III - Eisenman
c. Perspective Wexner Center - Eisenman
d. Section - Industrial Oil Pump
e. Elevation - Typical Stair + Landing
Scale Precedents
f. Building Farnsworth House - Van der Rhoe
g. Urban Partial Brooklyn Grid
h. Instrument Drawing Compass
Bounding Box as TOOL
i. Bounding Box
j. Compilation A + B
k. Compilation A + B Projected
l. 3D Object Visualized
m. Additional Drawings Generated
n. Additional Drawings Projected
Scale: INSTRUMENT
a. Instrument 1 Line
b. Instrument 1 Rendered
c. Instrument 2 Line
d. Instrument 2 Rendered
a.
c.
Scale: BUILDING
a. Building Composition Line
b. Building Composition Rendered
c. Detail: Water Tower + Vent
d. Detail: Plan + Elevation Resonance
e. Detail: Structure + Circulation
f. Detail: Perspective + Plan Resonance
e.
f.
c.
Scale: URBAN
a. Urban Composition Line + Render
3D Composition
a. Longitudinal View 01
b. Cross View 02
c. Cross View 03
b.
