edward napierkowski academic portfolio 2015
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Edward NAPIERKOWSKI III[ ACADEMIC PORTFOLIO ]
-ROGER WILLIAMS UNIVERSITY
BRISTOL, RHODE ISLANDB.S. + M.ARCH
M M X V
GRADUATE THESIS DESIGNRIVINGTON STREET SANCTUARYLOWER EAST SIDE, NEW YORK
[ 4 ]
COMPREHENSIVE DESIGNMUSEUM FOR A SCULPTOR
SAN SEBASTIÁN, SPAIN[ 10 ]
GRADUATE DESIGN STUDIO IHUDSON YARDS PROPOSALHELL’S KITCHEN, NEW YORK
[ 18 ]
GRADUATE DESIGN STUDIO IIMINUTEMAN ELEVATED RAIL STATION
LEXINGTON, MASSACHUSETTS[ 24 ]
DIGITAL MANUFACTURINGFLATWARE DESIGN + BIOPHILIA
[ 28 ]
[ TABLE OF CONTENTS ]
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LOWER EAST SIDE, NY
Located in the Lower East Side of Manhattan Island, the Rivington Sanctuary project seeks to give a largely diverse, immigrant community a service which does not currently exist. A public-access interfaith community center supplements many individual houses of worship, rooted in basements, storefronts, and otherwise temporary and/or uncelebrated locations throughout the neighborhood, and provides a common-ground for members of several prominent religious groups to be able to use the facility at different times of the day or week for celebrations, services, and education.
The site in question was previously home to the First Roumanian (sic) American Congregation, a large Synagogue, which served the Lower East Side for more than a century until the building was badly damaged and ultimately demolished in 2006. In searching for the right location for this type of building program, the precedent was clearly established. The focal space in the building is a large sanctuary with facilities for ablutions, confessionals, and a raised pulpit, all with proper Eastern exposure. Throughout the many levels, there are additional chapel spaces, flexible classroom, a street-level gallery, and a multi-tiered roof garden with water features and a firepit.
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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ABOVE + RIGHT: Sections looking East
ABOVE + RIGHT: Sections looking South
ABOVE + RIGHT: Main approach looking Southeast and Northwest, respectively
BELOW: Streetscape Elevation looking South
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TOP: Sanctuary space configured for an Islamic service
ABOVE LEFT: Sanctuary configured for a Christian service, as viewed from the organ
ABOVE: Preamble gathering space for Sanctuary
OPPOSITE TOP: View toward Atrium from Water Garden
RIGHT: Construction sequence
FAR RIGHT: Rear view of building
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SAN SEBASTIÁN, SPAIN
The 2016 European Capital of Culture is earmarked to be the Spanish city of San Sebastián. The northern territory known as the Basque Country is a culturally autonomous region, blending influences of Spanish and French life into a rugged seaside landscape, the city is celebrated for its food and art cultures.
At the absolute northeasternmost border of the city is a large, open area of land at the intersection of three unique conditions: City, Sea, and Mountain. The basis of this project’s proposal is to design a “temporary” museum pavilion to take advantage of this rare siting opportunity, to display a collection of artworks by the 20th century artist Eduardo Chillida, a native of the city.
The building takes the form of a continuous loop of gallery spaces around two courtyards, bounded by the site’s edges, and these three conditions. The ribbon ascends to its highest point at the crossover between the two halves, where the path of circulation also changes from outer to inner perimeter. Weathering steel clads the entire building, in a nod to Chillida’s preferential use for the material in many of his sculptures, including the Peine de los Vientos sculpture at the far western end of the bay.
XXAs this was a comprehensive design studio, there was a deliberate emphasis on the integration of structural and mechanical systems into the overall design. Choosing the correct systems for the particular climate of the region as well as the temporary nature of the building were paramount. As such, the building is designed in a manner of easily repeatable elements which can be trucked-in and erected on site, then just as easily disassembled when the lifespan of the building is complete. To minimize permanent impact on the site itself, the building rests on large concrete anchors which sit directly on the site surface, rather than under the surface.
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As per the nature of this course, this project was extensively documented in a full-length representative booklet, cataloguing everything from research about the site, through the conceptual development of the project, and into the technical strategies used to heighten the sense of believability in its proposition. A full set of construction documents was also created to accompany the final product, as if it were to be submitted directly to the city of San Sebastián for approval.
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DAY 1 DAY 7 DAY 14 DAY 1001
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Aerial from South
Aerial from West
Aerial from North
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Roof Plan
First Floor Plan
Ground Floor Plan
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HELL’S KITCHEN, NY
This project was an open proposal for how to redevelop the underutilized area of western midtown known as the Hudson Yards. The site, which is currently under development by KPF and Tutor-Perini, covers eight city blocks between 10th Ave and the West Side Highway, from W30th - 34th Streets, within the embracing perimeter of the final stage of the High Line Park development. This proposal, designed in conjunction with fellow students Michele Needham and Giulia Saier, investigates how this area might be developed in response to overwhelming data suggesting dramatic climate change.
The development would satisfy the current demand for retail, hotels, restaurants, et cetera, apropos of KPF’s proposed zoning, but the skeletal towers would accommodate facilities for a post-apocalyptic flood scenario, on the assumption that flood waters would dramatically rise in the coming decades. These buildings would then be connected to one another by means of a walkway, built at current ground level, but which elevates with rising sea levels, to provide stable footing in the future. The concept for this is based on the structure employed by oil rig platforms which are built on adjustable pedestals.
These future facilities include a hospital, a tower for scientific research, with large-scale water purification and hydroelectric systems. A lighthouse tower will be built out into the water beyond the site, with a ferry terminal to mitigate the current ferry system’s lack of a facility in western midtown, and will act as a navigation and destination beacon in a presumably dark futurescape.
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PHASE 2PHASE 1
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TOP: “Present-day” aerial view looking East from Hudson River
ABOVE LEFT: View of Science Tower from High-Line Park
ABOVE: Looking East from Hudson River
LEFT: Ferry Terminal / Lighthouse during Phase 1
OPPOSITE TOP: Looking West toward New Jersey - Post Flood
RIGHT: Program distribution for development
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Oil-Rig-Inspired Structure
Flood-Plane Section looking North
23Elevation and Section of Lighthouse / Ferry Terminal Building
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LEXINGTON, MASS
The Minuteman Elevated Rail Station seeks to establish a new means of connecting the commuting population of Boston’s Metrowest suburbs into the city proper, by means of a new elevated-rail system. The Lexington station would be a stop along a route with termini in Boston to the east and Bedford to the west. The building would take the place of an existing corporate pharmacy in the center of town at the intersection of Mass Ave and Waltham Street - a major visual corridor.
Vernacular architecture of the area is typical of most New England towns, but the center of this historic district has not escaped the clutches of corporate development. The new train station will incorporate materials familiar to the area such as brick and stone, but will emply them in a more distinctly modern style.
The creature comforts expected by today’s travellers will be abundant throughout the interior. Electrical charging stations, newsstands, restrooms, and even lockers will be available. A restaurant on the lower level will have its own entrance directlu to the streetscape.
Commuter parking will be offered in the existing rear lot off of Edison Way, and additional parking spaces will be created in an underground lot, beneath the station. As the project is located directly on the Minuteman Bike Path, more bicycle-oriented and pedestrian-friendly means of arrival and storage will be encouraged, as well.
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DIGITAL MANUFACTURING | FlatwareX Digital Manufacturing was a graduate level course which dealt with the usage of technology in its capacity to aid in design and product development at a small scale. Using three-dimensional technologies, there were three assignments over the course of the one-semester long class duration.
The first set of projects was to design and manufacture sets of chopsticks and flatware. In conjunction with fellow student Giulia Saier, a design was initiated and manipulated across multiple platforms to achieve a final physical product. Digital models were used to print items three-dimensionally, and a more hands-on method as employed thereafter to create molds of the fragile prints, and recast them with industrial-grade plastics, and ideally pourable metals. The flatware set, given the product name Kemosabe, would be cut out of strips of bamboo wood and flatpacked through a given profile to achieve the desired shape of a fork, knife, spoon, etc. Then the results were packaged together as a set and presented as a genuine product, as advertised on opposite page.
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Kemosabe by MNS
The Kemosabe cutlery and flatware set derives its form from an ergonomic ease of usability, with a desire for sanitation. Utilizing durable but lightweight bamboo, Kemosabe uses an inclined-plane design to keep the dirt from food off the table, and likewise, from the table to the food. With Eastern design influences, the set re-sembles the Geta, a traditional Japanese sandal, and the same design language car-ries through to the matching cup and plate sets (sold separately).
MSRP: $600 six-piece set
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DIGITAL MANUFACTURING | Biophilia
The second project required the participation of all students in the class to collaborate on a large scale installation, to be displayed in the Roger Williams University School of Architecture. The underlying theme of the project was to design and manufacture a “Green Screen”, ideally to improve air quality in the space which it is displayed. The final design utilized 50 seed-shaped plastic pods, each with a small Spider Plant installed in it. Each seedling plant was potted with a small amount of soil, and each pod was connected to one another through an interconnected irrigation system, so that one only need pour water into the top-most pod, and gravity would subsequently feed the rest. Once a design was settled for the design of the pods, the process of making each one in-house began.
A three-axis CNC mill was used to create plugs for each half of the container, and a vacuum box was fabricated to thermoform each half, which would then be assembled by hand later. Once all of the necessary components were assembled, the irrigation system was woven through, as was a decorative LED lighting system, which also aided in the photosynthetic needs for the plants therein, at a supplemental level. The entire cluster was then hung from an interior column in the building’s main gallery hallway, and draped across a bridge which spanned the space.
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OPPOSITE PAGE: Early studies of form and feasibility
ABOVE: Further analysis of form in the space
TOP LEFT + RIGHT: The finished product hanging in the main atrium space of the Roger Williams University School of Architecture
