Works Selected

2020

AJ

Agata Jakubowska Works Selected Portfolio

01 Graduate 03 | 06 Professional 02 | 04 | 05 Undergraduate

Programmatic Type Landscape - Garden Landscape - National Park Landscape - Park Rocketship Hub Landscape - Park

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Agata Jakubowska

Table of Contents Works Selected

4 2019

Oddkins of the Halic Shipyard The Post Industrial Garden

12 2016

Reappropriating the National Park Constructed / Conserved

20 2018

Galveston Bay Park A Vision for the Houston Galveston Bay

28 2018

Constructed Grounds What is the current relationship between Los Angeles and its transportation infrastructure, and what could it be?

36 2017

Sub^lime Terrain The Sublime Uncanny: The natural sublime that has been reconstructed artificially.

44 2016 - 2019

Additional Professional Work Selection of Various Projects and Visualizations

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Table of Contents

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Aerial View: Central Basin

2019

Oddkins of the Halic Shipyard The Post Industrial Garden

Studio Professor: Ferda Kolatan

Programmatic Type Landscape - Garden

The Oddkin in the post industrial garden lies somewhere between the harsh nature of the industrial basin of Istanbul’s Haliç and the soft nature of the garden.

Formally, the idea of the industrial is something which caters to objects outside of our scale, it is sublime, it is intricate and large. The industrial is about transportation. The industrial is associated with certain textures, stark, reflective and hard, yet the basin along the Haliç of Istanbul has a low variety of textures where it primarily is concrete—but we read the effects of the water with the metal and oil and we see it as stains, algae, as rust. This begins to bridge the gap into the garden.

A garden is something at the human scale, something in conversation with the occupant, constantly changing.

A garden is softness, where the effects of wind, water and light are read as experience. The scale of the garden is small enough to be in constant flux with the experience of the user.

The garden is something to be understood on a personal level, an intimate level. We find ourselves wedged or nested or in a crevasse.

At industry’s and garden’s intersection we find the two ideas intertwining, where follies throughout the basin break up its large overbearing scale, while still leaving it to be understood in its original functioning form. The kinship is exacerbated through the subtle traces that water leaves of itself. Water is used as flow, an organizer as well as a generator.

The follies follow the water formally, texturally and through vegetation. Water is read on the basin in a soft way, through formal sweeps, through varieties of textures integrated through the water, and through water’s ability to generate plant life.

01

U. Penn.

Turkey, Istanbul

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2019

Oddkins of the Halic Shipyard

Early Objects of the Halic Hybridization between Ebru Painting and Basin The Halic Shipyard is a found industrial landscape where the interface between rigid and formal meets with the entropy of the informal and textural. It is a sublime landscape which is then characterized and shaped by the ecological layer of processes. Using the traditional Turkish marbling painting process, called ebru, as a vehicle, the idea became about creating artificiality of growth and weathering as an abstraction in order to comment on the ideas of the postindustrial landscape as an uncanny kind of organic character that reflects the landscape.

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01

Turkey, Istanbul

Ebru Study + Digital Manipulation

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Oddkins of the Halic Shipyard

Objects of the Halic Chunk study - Interiority / Circulation

Objects of the Halic Chunk study - Pocket spaces

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Objects of the Halic Chunk study - Circulation / Basin Space

2019

Gutter Detail

Hidden Walkway Space

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Basin Space

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Walkway Facing Caisson

ExistingImpression of Water

Halic Object Entire Landscape Intervention

Halic Object Garden of Babylon

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Roof Plan

2016

Reappropriating the National Park Constructed / Conserved

Studio Professor: Dragana Zoric

Programmatic Type Landscape - National Park

The goal of Pier 14 is to create an intervention on the edge of Manhattan which acts as a found preserve thusly reappropriating the idea of a National Park. National Parks lend themselves to the conservation of a scape, protecting it in time. It adapts national park programs through means of artificially constructed concrete forms. These forms respond to the question of "what is an icon and a monument?", and build on a juxtaposition between urban living and its relationship to nature.

Placing a constructed thirteen acre pier would not be considered a found landscape by any circumstances and so a dialectic forms between the ideas of constructed and conserved. This project argues that a space can be created with the purpose of preservation within the future. Architecture can be created in order to be preserved. Manhattan is a changing island, with boundaries blurred through each added space. A pier can become a commentary on how the edge of a city is being used and it can become a means to gage how it will be used in the future.

As the pier meanders from urban edge to water's edge its experiences progressively change from pastoral rolling landscapes and parks into more porous and open landscapes with a direct relationship to the water and then back into cavernous and sublime landscape as the hiker begins to experience more intense and rigorous landscape, and is presented with many different paths.

Studio Collaborator: Jonathon Koewler

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Pratt

South Street Sea Port, Manhattan

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14

Model Shot

Entrance of Pier - Shallow Typology

Middle of of Pier - Porous Typology

End of of Pier - Deep Typology The national park seeks to create measured experiences through these simple icons, where no path between each marker is the same. The 'markers' put in place are deemed follies which can be interacted with and lead the conscious experience from one marked point to another. Meandering from folly to folly leads to a certainty in the users observed experience. The registration of ‘I am here’ impacts the occupant into measured space, as she proceeds from one folly to another.

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South Street Sea Port

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[A] "The Bottle Opener"

[B] "The Bow"

Icons of the Pier The national park seeks to create measured experiences through these simple icons, where no path between each marker is the same. The 'markers' put in place are deemed follies which can be interacted with and lead the conscious experience from one marked point to another. Meandering from folly to folly leads to a certainty in the users observed experience. The registration of ‘I am here’ impacts the occupant into measured space, as she proceeds from one folly to another.

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02

South Street Sea Port

[A] Folly Intervention

[B] Folly Intervention

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Roof Plan

Render from End of Pier Interior

Render from Entrance of Pier

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Galveston Bay Park Site Plan : Barrier Islands in Place

2018

Galveston Bay Park A Vision for the Houston Galveston Bay

Professional Work

Programmatic Type Landscape - Park

Houston Texas has recently been seeking plans for reducing the amount of impact that hurricanes cause on its coast. Hurricane Ike hit Houston in 2008, exceeding the one hundred year storm plane. Later, in 2017, Hurricane Harvey struck Houston and exceeded the five hundred year storm plane and in other places, thousand year.

The SSPEED Center, in Houston, has taken great strides in order to create simulations to measure the impact of a two hundred and fifty year storm, and how the impact could be mediated if the proposed barrier islands and mid bay gate were in place.

The Galveston Bay Park proposal is to create five barrier islands which have soft and hard edges where reasonable, in order for the water circulations to keep the bay and the islands intact, while working to prevent surges and further flooding. Since the bay lacks public program, the islands will also be an opportunity for people to come and interact with the bay through public park and educational programs. The barrier islands will also provide a habitat for the oysters of the area. The oysters will in turn clean the water and revitalize the ocean life for Galveston Bay and the surrounding waters.

Additionally, across the Houston Ship Channel, the Mid Bay Gate will be open and close when there are storm warnings.

Galveston Bay Park seeks to both revitalize the edge condition of Galveston Bay as well as promote public park programs which will teach and give appreciation for the local environment. The studies done by SSPEED show how much damage these storms do to the edge of the bay. If these storms keep hitting, Houston will continue to flood.

03

Rogers Partners

Galveston Bay

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Sspeed center surge simulations of Hurricane Ike, as existed.

Sspeed center surge simulations of Hurricane Ike, as existed with an additional 15% increase in order to simulate hurricanes that could potentially hit the area

FEMA 36 250 Year Storm

FEMA 36 250 Year Storm FEMA 36 + Sea Level Rise in 2085

FEMA 36 250 Year Storm with Mid Bay Gate in Place

FEMA 36 + Sea Level Rise in 2085 with Mid Bay Gate in Place

Existing Conditions in the Bay Dredge Lines Points of Boat Access

Areas of Dredging + Points of Access 23

Phase 00

Phase 01

Phase 02

Phase 03

What is at stake?

Houston has a population of 2.3 million, and Galveston has a population of 0.5 million. 13% of the population lives below the 100 year flood line and another 13% lives under the 500 year flood line. The most vulnerable population, the industry workers, are located in areas below the 100 year flood plane.

Additionally, the heavy industry renders tanks vulnerable: 0.00 - 0.01 0.02 - 0.05 0.06 - 0.10 0.11 - 0.20 0.21 - 0.25 0.26 - 0.50 0.51 - 1.00 urban areas 24

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Houston Galveston Bay

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Open Mid Bay Gate >

Closed Mid Bay Gate - Emergencies > Hard Edge Soft Edge

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Site Plan Showing Hard and Soft Edges

Site Plan Showing Mid-Bay Gate

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Site Plan : Rocket Ship Hub and Surrounding Island

2018

Constructed Grounds What is the current relationship between Los Angeles and its transportation infrastructure, and what could it be?

Studio Professor: Dragana Zoric + Evan Tribus

Programmatic Type Rocket Ship Hub

Reflecting the way the highway dictated the urban sprawl of LA, the rocket will drive the new urban condition.

LA’s growth and densification pushes its borders further and further. One border which remains unbroken in the age of the car is LAs coastline, which will be broken with new technologies. The rocket, placed in the Santa Monica Bay will become an extension of the city fabric, a new neighborhood, a future development of Los Angeles. It will be connected by boats and helicopters as well as the hyperloop, and will be just as accessible as any other neighborhood within LA.

Santa Monica West infill’s the spaces in between the launch radii, creating an island. Here we find a ground plane freed from ground transportation, allowing for a topographic play, a radical wildness, without rigid boundaries that are found in current LA: the house plot, garden plot, sidewalk, and so on. The constant adjacency is now to the topography with the experience of each condition (peaks, vallies, inside, outside). This means a thick three dimensional experience of the porous ground rather than a surface treatment even in LA’s more topographical locations.

The neighborhood has an overarching organization of an adjusted topographical network, that forms a hill that becomes a base for occupation strategies, the hills become nodes. The neighborhood is organized in a series of sectors, two or three nodes form a sector, which has a variety of programmatic spaces on various levels of enclosure; a selectively penetrable skin. For example in sector five the cont. pg 36>

Studio Collaborator: Sasha Chechel

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Pratt

Los Angeles

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Changing the Landscape with Transportation: Car (top left + right) vs. Rocket (bottom left +right)

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Physical Model : Rocket Platform + Occupiable Topography

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Ground Studies

< prev. pg 33

theater is located within the volume while the swimming pool here is half enclosed. Rather than a flattened adjacency, the fabric of the ground folds onto itself to form unexpected conditions; the tree can now be located under the house, the pool can be above the hiking path. The traditional architecture to ground relationship begins to blur, there is a merged relationship between inside and outside, the figure ground no longer exists.

Each sector will be idiosyncratic in its use, adapting to the types of programs needed. Most likely the type of user will be one who needs quick access to the rocket, such as a businessman or a corporate user. The adjacency to the rocket will be desirable for people operating on the globalopolis scale.

Another sector will be designated as the rocket ship hub, meaning that people would arrive on at Santa Monica West and then access the launch pad from the rocket sector.

The sectors and continental LA are connected by underground and over ground transportation, such as the hyperloop and its offshoots and helicopter, drones, and other proposed transportation types such as perhaps the flying car or jetpacks.

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04

Pratt

Los Angeles

Render of Rocket Hub From Santa Monica

Plan of One out of Four Wings - Occupiable New Ground

Render of Rocket Hub From Hollywood Hills

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Approaching Island (top left) Occupying Island (top right) and Section of Occupiable Ground (bottom)

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2017

Sub^lime Terrain The Sublime Uncanny: The natural sublime that has been reconstructed artificially.

Studio Professor: Cathryn Dwyer

Programmatic Type Park Intervention

Hudson exists as a found-scape, perched atop the peak of a local topography, an elevated, steep, sloped terrain, built upon long stretches of time, when the glaciers carved the landscape. Nature exists as a slow, deceptively passive but powerful force. Down First Street, a pastoral topography with an uncanny substructure forms an underlying prehistoric “landscape”, the sublime figure pushing up out of the land and stretching it into a moment of legibility, these obscured yet somehow familiar forms reminding us of a blanketed history; how forces prevail above beings. Even the largest and most natural beings were wiped off of the landscape by the pressures of the universe, now existing to the human only as a remnant of a history long past. The non-human objects perform symbolically, forcing asymmetrical confrontations with ‘natural’ history. Buried under the topography they are a reminder of what we are built upon, a macrocosm begun well before our experiences.

In parallel, the town has created niches within industry from the natural resources; macro scaled corporations and the micro scaled local artisan find themselves in Hudson.

The dichotomy in the town between nature and industry is both tense and somehow seamless, both benefit from one another. This proposal takes advantage of this relationship and extrapolates on the uncanny topographic and the aggressive sublime artificial. Both of these forces alter the native landscape, the urban forms cut into the pastoral in order to both take away from it, as well as to highlight its deeper sectional qualities, a familiar sublime is revealed of large bones, carcasses. The aggressive artificial is injected through carving the topography, leading the user directly through the topography, making them both aware of the hill, and it’s now half-absence, its deep sectional quality, as well as the hills’ dark ecology becoming structure.

05

Pratt

Hudson, New York

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38

< pg 42. Eidetic Drawings

Early Topography Studies

‘Hudson surprised me because it held the stratification of a large city in one tiny town and the evidence was incredibly clear. Melissa herself called it a “microcosm of American conflict”. Warren Street feels like it belongs in Williamsburg while just one street over, for example Cherry Alley or Prison Alley, feel like small town streets and are read like them. This intensity in the strata is something that is a huge problem within large and small towns alike; particularly in Hudson where the town contains both million dollar homes no more than half a mile away from abandoned squatter shanty shacks. The connection from northeast to southwest has been acknowledged as a troublesome one, and it is being addressed albeit a little timidly. I would like to work down the axis of either 2nd or 3rd street and deal with it through a series of interventions that each deal with the type of community they are placed in. I want to explore the question can a microcity reform and reflect? This seems like a reasonable problem to tackle through landscape and topography, as this axis is the most drastic in topography as well as in context.’

05

Pratt

Hudson, New York

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Render of Plaza

40 through Intervention Section

Physical model of Occupiable Spaces

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Conditions Axonometric

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Winter Render of Intervention

Full Site Plan

Summer Render of Intervention 43

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2016 - 2019

Additional Professional Work Selection of Various Projects and Visualizations

Rogers Partners Architects and Urban Designers

Programmatic Types Civic Architecture

At Rogers Partners Architects and Urban Designers, the programmatic typology is in almost all cases, civic architecture. Here you will see examples of visualizations created by me for various projects, including, but not limited to:

School, Philadelphia, PA: Elementary and Middle school done in accordance with Drexel University. Middle School is on the second floor while Elementary School is on the ground floor, surrounding a playground.

Mall Façade and Entry, Seoul, Korea: Shinsegae Mall is a cultural landmark where the clients want to implement a circulation space for the vast mall complex that will create an open ‘lantern’ for the community to have a beacon. Formerly a bank building, this facade will be completely renovated into a more porous and visible space. This beacon bridges exterior open public space with interior open public space, to create a more open plaza where interior and exterior are blended and bridged into a transparent in-between space. The lantern will light up the seven story open height circulation void at night, like a paper lantern, a Hanji, a traditionally Korean concept at heart. Hanji is a traditional Korean paper that is used to make windows, doors and room dividers, with geometric patterns.

This paper is translucent and when lit from the back -- it glows to create a type of paper lantern. This was the concept used for the newly renovated Shinsegae plaza.

Mall, New Jersey: Façade Renovation and Re-identification, as well as a Residential Neighborhood Master plan were developed for a schematic phase booklet proposal.

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Rogers Partners

various locations

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Renders - Visualizations

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Drawings - Visualizations

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Models - Visualizations

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2020

AJ

Agata Jakubowska Works Selected Portfolio

01 Graduate 03 | 06 Professional 02 | 04 | 05 Undergraduate

Programmatic Type Landscape - Garden Landscape - National Park Landscape - Park Rocketship Hub Landscape - Park

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