asawicka.ap

LOCATION: FIRE ISLAND, NY
CRITIC: F. BIEHLE
YEAR: 4TH - FA ‘10

“An interpretation center, interpretive center, or visitor interpretive center is an institution for the dissemination of knowledge of natural or cultural heritage. Interpretation centers are a kind of new-style museum, often associated with visitor centers or ecomuseums, and located in connection to cultural, historic or natural sites.”
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INTERPRETIVE CENTER
PROJECT

This project has posed a problem of human development with regards to population’s environmental consciousness as an architectural challenge in mind. Here, I have developed a system of paths where any island visitor is forced to explore it and learn about its significance as a natural habitat. Series of scattered pathways meet often and occasionally create programmatic focus nodes. While journeying a complex sequence of lightweight wooden-construction pathways, that were gently positioned within the site, viewer gains the knowledge about their surroundings. 

LOCATION: GREENPOINT, BROOKLYN, NY
CRITIC: M. TRENCHER
YEAR: 3RD - SP ‘10

NATATORIUM

McCarren pool design exercise was assembled with the idea of exploring the capabilities and faults of a long-span and an idea of great artistic sensitivity, where the “new” and “old” came into collision and tear the building into a ruin from within. Collision of neighborhood’s intersections driven across the site, caused the existing building to collapse on itself. Complex geometries of the new “collapsed” roof generated a need for structural experimentation, which throughout series of trial and error studies allowed for exploring a resolution to an issue of engineering a functional long-span structure.

Mentioned concepts generated pressure which required a new programmatic approach. Two main programmatic elements (pools) are classified into “leisure” and “activity” sequences. While the “activity pools” are guided by stringent set of restrictions in terms of shape and size, leisure elements are more playful and malleable. A significant adjustment to the design was also made when it was analyzed with use of BIM Ecotect software in order to properly address issues related to existing site conditions, such as sun positioning, which for e.g. allowed to orient cellular design of the roof.

LOCATION: 99 BOWERY ST
NEW YORK, NY
CRITIC: T.DAVID
YEAR: 2ND- FA ‘08

LIBRARY PROJECT

The concept for the design of the Library located on 99 Bowery St sprouted from analysis of the motion which occurs in front of the building and its tendency to distort the image of the facade as seen from across the street. This motion was in an almost literal way translated into the final project. The analogy of the design theme was the one of a hull of a ship that houses a population creating sort of an enclave which, could be interpreted as a typology of “temporary city.” The building, in its physical structure allowed for the hull to be raised to the level of adjacent buildings’ rooftops at the same time creating a community rooftop park, in the morning, and submerged into the ground allowing pedestrians to cross into a community park, at night. By exposing two lit towers that illuminated the neighborhood new intervention made the neighborhood safer at night. Eventually, the building arrived to be a tool via which the local population was called to gather and interact with fellow occupants of the neighborhood on a greater scale. 

LOCATION:
GREENPOINT, BROOKLYN
CRITICS:
PROF. MARK RAKATANSKY
AARON WHITE
YEAR: 5TH - SP’12

LIBRARY/CULTURAL CENTER

Greenpoint is a neighborhood located in North Brooklyn area. Within past decade it has been transformed by gentrification, a concept which has become a subject of this project. Polish National Home is a local center and with time it also became a symbol of being overtaken by new  “invading culture.“ Main idea within this project was an introduction of two intertwining buildings, which contrast, but at the same time complement each other programmaticaly. A new facade installed on an existing building mimics adjacent and historically correct context, meanwhile the contemporary in aesthetic intervention comes to sit and weave onto the incisions within the existing structure. Two programs housed within the building are a Library, which is to serve a local immigrant community and to help them assimilate in a new setting and a Cultural Center which exists with an intention of educating new occupants about historical and cultural heritage of the neighborhood.

LOCATION: PIAZZA DEL’ORO, ROME
CRITIC: L.ZEROTH
YEAR: 4TH - SP ‘11

CARAVANSERAI
 
My interpretation of pilgrim oasis was developed wile questioning: “What is the real definition of a pilgrim” and  “What could be truly interpreted as pilgrimage while realizing that in any case, such answer would have to be very site specific?” In Rome, I have identified two types of pilgrims: a scientist and a religious man. In this case these two groups occupy the same building and are allowed to make visual contact, yet are never able to come into physical interaction with one another. The exception to the rule became the common node, the chapel, where minds, whether dedicated to god or science, contemplate and have a chance to meet.
This project/building is to consist of two systems just like a lichen that consists of a fungus and algae, organisms coexisting in a symbiotic relationship. Knotting between the two creates a “being” superior to either one of the existing on its own. In main conceptual terms, two forms are: 1) true structure (fungi) providing the support for, 2) living program (algae) embedded within the greater body of the building. In more specific programmatic terms, two systems are: 1) secret society, that provides information but also financial base/support for the existence of the full programmatic system, 2) visitor/spectators who do not infiltrate layers of the program depth and are unaware of a full extend/meaning of its secretive component.

LOCATION: NEWARK, NJ
CRITIC: D. BUSCESCU
YEAR: 5TH- FA’11

THEATRE TECHNICIANS’ VOCATIONAL SCHOOL

This project begun with an analysis of a basic structure of a flight tower, however its programmatic concept sprouted form an idea of education via experience. Proposed program could be confused with a school for performing artists, yet in reality, it aims to design a space which is to be utilized as a learning lab for future theatre technicians. By proposing a system which emulates the basic concept of an assembly line where a new stage is produced from scratch and added upon while moving from space to space a student is able to learn each step of producing a stage set. Important features of the building are shifting walls and commercial elevators, which allow mobility of the constructed components. Successively, a stage is utilized in a performance that takes place in either the building’s indoor or outdoor theatre. 

More poetic characteristic of this peculiar mechanism is the idea of perpetual motion that encouraged the activity without which the existence of the flight tower in itself could not be justified. This building is in fact a machine, not an object, which strongly implies its non-static nature. “Theatrical wagon”, or a newly constructed stage set, is an essential component for performance of a play. By beginning at the lowest level, with street access, delivery trucks supply materials, delivered raw materials would be moved into the adjacent storage and then used in the basement wood and metal shops. Next, they would be transferred into the painting room with adjacent “color studios,” then, the “wagon” is moved onto a vertical elevator and into light and sound rooms. After the new set has been tested and properly adjusted, it would be transported into the highest level, where it would be given an adjacency to the flight tower’s mechanical riggings and by that, given an opportunity to be adjusted with regards to the battens. After students finalize the construction of the stage, it would be transferred into one of the theaters, outdoor or indoor.

The concept of the building is to enforce the idea of an actor to becoming a spectator, alongside the constructor, a student, who also in turn becomes an actor. The project is turned inside out in a way. In the end product of the machine is brought to th outside and into the landscape. Third party, typical spectator becomes an observer of a performance as he or she receives the end product that ascends by a ramp towards the outdoor theatre. They also are able to observe the play that occurs in a form of acting of vocational students in their “classrooms.” A person who is looking at the building from the outside perceives large framed openings as an moving artwork, especially at night, when illuminated, the occupants with a background consisting of particular section of the flight tower become clearly visible.

LOCATION: WILLIAMSBURG
BROOKLYN, NY
CRITIC: P. BAUMANN
YEAR: 2ND- SP’08

KINDERGARTEN

Kindergarten project was to be located in the newly developing area on the waterfront of East River in Brooklyn, New York. It begun with the analysis of single shifted unit and its capabilities that allow varied illumination. Successively a system of connections was developed that allowed for combining a larger number of units together. Main concept was derived from the weaving system of strands emerging and submerging in the site. Creating a playful environment for the young occupants of the space, allowing a direct and experiential learning environment analogous with the Montessori learning methodology, made this space a learning lab with visual access to the below-the-ground environment, green-roof gardens as well as vista frames focused on Manhattan and Brooklyn. Finally, in order to create a well rounded design, program and structure were adjusted with site issues in mind. 

LOCATION: DORMITORY
FORT GREENE, BROOKLYN, NY
CRITIC: D. CROMLEY
YEAR: 3RD- FA ‘09

Dormitory project originated in a design exercise of a single cell which by slight variation allowed to create a more complex lattice of the overall program. In the end, ingeniousness of the concept lies in the removal or addition of two small partitions by which we are able to obtain either a single or double occupancy unit. In this exercise, I have also placed focus on environmentally conscious design, incorporating cross ventilation and sun exposure solutions. Stacked prefab methodology of construction allows for redundant and efficient structure.

At first when I saw that memorable mansion surrounded by this cold, stone-made wall I knew that I am most certainly dealing with people rich and dangerous. They needed to be unreachable from the outside and have an opportunity to stop people from getting out. Then I saw all these people, dressed rather official, walking around the front yard and on the balconies of the mansion, it was not difficult to notice the guns that they had near their sides. Sudden shiver went trough my body and that cold, that was so strange in such a full sun.

Door of the car opened suddenly:

-"Come on…" - I saw a face of a man in a suit peeking inside.

-"Where are we?"

-"What does it matter?" - he asked with a rather recognizable, Italian accent.

I did not respond because the tone of his voice made it obvious that he will not answer any of my questions no matter how long I would keep on insisting for him to do so. We entered trough the front door into a very large room with a high ceiling covered with lots of roman styled paintings.  As soon as we walked into the first room I saw four men laughing and talking about some rampage…I know it was that huge shooting in the uptown Manhattan that I have read about in the papers. They turned around as we entered the room. One man screamed: ” Hi Louie, how'z all?” my companion responded “Good! What have you been up to?” - "Usual, you know, some straightening up to do…” While Louie was chatting with his friends I took a good look at the beautiful design of the room, rather well lighted, with marble walls and red carpets everywhere and then I noticed that there are two big exits out of the room (sepawayton). Louie finished talking an we entered into one of them, the one that was darker on the other side.

                We started proceeding deeper inside:

right,left,left,right,left,straightahead…

Dark and dungeon like halls were cold and confusing; I bet it took lots of time to memorize the correct combination of turns. Then we got to an old-fashioned elevator, like the one that they always show on the movies, one with the fence-like doors. Then I started to hear those horrible screams as if somebody was ripping somebody else’s skin off. “Not a nice sight, I bet”-I thought to myself. I turned around and I saw that there was two more man in the elevator with us: quiet and mysterious. Elevator stopped, we got out, and I saw two different doors again, again we chose one on the right.  We walked trough the door and I saw a horrible, full of piercing-pain view. I saw people being tortured in the most disgusting ways (torcelluring room). Blood was rare sight in that room but God knows if those people were not better of killed straight off.

                We turned right and again entered the room similar to the room that I saw downstairs (guardoom), two man were sitting on the chairs smoking and playing cards. “I need to see the boss” - Louie said - “Fresh meat!”. Guards came up to us and checked me for gun, I didn’t have any…

Then, we entered the room with poor lighting, -“weird”-I thought to myself, why don’t they open the shades?, I realized that I must be in some living room, and of course that room did not belong to any ordinary person, even president does not have security like that, and for sure he does not even close to being so powerful. From the dark corner of this huge room I heard heavy footsteps...

PROJECT: THE CHAIR
CRITIC: R. LEE BRACKETT III
YEAR: 3RD - SP‘10

Hiding behind a toppled desk, I was peaking into the darkness where I heard an uneasy mechanical breathing. I did not see anything moving. I knew that the smart thing to do was to wait for whatever it was to reveal itself, but maybe then, I would have never found out what it was. For the first time in my life, I felt a deep and unreasonable curiosity. I didn’t even know when I started walking towards the darkness. I looked around. Vague rays of light were illuminating the floor only by the door, and I saw something lying on the carpet. “It is an office, for all I know it could be anything…” Besides, I didn’t really care for what it was. I knew that there is something I want to see… I need to see, and it’s waiting for me right where I was going.

Surprisingly, when I reached the other room I saw that it was much brighter. I noticed stacks of books in the corner, lab-coat on the hanger, and many quite familiar science props. I got goose bumps. High School Chemistry Lab wasn’t a joy, I can tell you that much…

Then, I have noticed the ”CHAIR”. It was there in the corner, to be quite honest I am not sure how I knew it was a chair but I couldn’t resist a temptation to sit in it. It only made sense that whoever worked here must have designed it. I have never seen a chair like that before. 

As I sat down I felt an unusual softness sinking into flesh-like matter. Weird. It kind of brought back the image from STAR WARS, didn’t it? I fully collapsed into its structure. Immediately it felt as if the chair has become a part of me, or rather as if I became a part of it. I begun to feel metallic cold running through my body. “Whatever-it-was”, it now run in my veins. In an impulse I tried to get up, but couldn’t. My body was not in my control anymore. I belonged to the chair. I was the chair. I was helpless. It begun to move and “walked” back to the main space. Shades opened automatically. I now saw the object on the floor clearly. White, bony, bruised, with blood-shoot eyes wide opened and staring at me, dressed in a bloody lab coat was Dr. Illrich.

Durning a spring semester of my 4th year of Architecture School at PRATT Institute I had an opportunity to participate in the Rome Program. Durning the time I have spent in Italy, I have been lucky to be able to spend a significant amount of the time exploring sites of City of Rome, but also several other important cities and villages of both North and South regions. Here are various samples of work produced durnig that time.