suckerPUNCH: Describe your project.
tegan BUKOWSKI: Because of the tenuous relationship between ocean, land and air on the end of a narrow pier in the Brooklyn Navy Yard, my design for this museum became a study of topography, landscape and lateral sequence. The concept consists of a series of 80 unique lateral ribs that support a sculpture garden while synchronously defining the shape of interior space and circulation. Where a boardwalk penetrates the museum, a surface that is concurrently landscape, wall, ceiling and floor is created.
The central intersection of the boardwalk as it tilts to become an interior wall, the tips of the ribs, and interior glass wall, creates a thickness that acts as a central dispersal point for circulation. The form that results from these intersections and the shape of the pier is meant to be simultaneously lyrical and extruded.
The overlap of these different vertical and lateral thresholds blurs the relationships between human landscape and environment, building and park.
sP: What or who influenced this project?
tB: The productive proddings of Professor Martin Finio, Sculptors Beverly Pepper and Robert Stackhouse, Yokohama Ferry Terminal by FOA, the Ubiquitous High Line by DS+R, Shells/Exoskeletons/Skeletons/Ribs.
sP: What were you reading/listening to/watching while developing this project?
tB: Rhythm Science and Book of Ice by Paul D Miller aka Dj Spooky, Landform Building: Architecture’s New Terrain by Stan Allen and Marc McQuade.
sP: Whose work is currently on your radar?
tB: I am in Rome for a summer drawing fellowship with Yale SOA right now, so most of the names I would mention belong to people who are dead. I am focusing my final in-situ drawing project on Piranesi’s only piece of architecture, a lavishly and ridiculously ornamented church that sits locked behind the walls of the Order of the Knights of Malta.