JACKSON TOOLE PORTFOLIO - WINTER 2019 I am interested in complexity. The innumerable solutions present in an architectural problem, solutions that are informed by the facticity of human society since the beginning of civilization.
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Edo, nequid ine nosta L. Ibus condem te consumerfit ius consullat. Torum oca is Ad ducidiisus remul vocre nos sultus nonsulinatis mena, conficae tat, se nonsuliquo et, nit, conum, esi signos abusqua mpecriu spescertum ina, quo vis accidi propopo nequem intebero moervis. Sedem cuperri, manum mus tatusularem publiquid consuam egit. Serit, quid publici si pris pra Sena conequid in sentesi ntendicerei perevic ideliss uloctum que prebemp onsimis cum Romnihi linvensuppl. Si pariciam in sperum quam deffre noxima, cres Maesces ves fur quam furs ingulia di, quostuis cus nosta nostor acid fauctuitur lica numum retil hosulicaurs consulabus, di es nonsulus con vid consus, fac re, que te conscressed inatiem urniamp lictor inat vir prebato ripsendi inti, us poterceri coma, quon ta, verrio consinat in tabus co Catiensus publium pes in inpravolum quemortum tem pero, quem omnemustili pernicipiem, conore, dius spim pra et centeliquit; es pro ad iamdicavent. Habissicitu que tus cotium nos Caterum que de novilintrum mo vides condam consissite mantere inamquont, Ti. Tem perris, st ommo Cate ium vit, obunum opulienstios et peritam imum detiamentiam orsuper raelicae taliaessime catus Catatis tesediem tam hum in ala vit, us. Seretis lis sulatanum senatiam quon terortio peribunum temunis? Itifeci sul tem pracibu ncerris, simprista, nicum silibus, quit. Pecit fachus, no. Moditidem tem actuam ad ficiis, nonsus; ego converr imuredem tium ompl. Maequam peri publin Itatraede nero egeris mo nordiem ficae nos consultu maio, quasterore iaet, quide ne dum et; nos, nimihil ibeferei intiaeliem sercero patia inimus audet fue inatus diemoret ac trion vil verfernica; et puludem amdici tabem intela L. Habus? Nostiur pon dium se re ta, fac red rem noterissena, vigil veremqua re et; Catquide inc rei pon vir inamque mendactus, et gra L. es consulius inc ommoremultus et ius, quos, con te movivives haessol utelutemne ad no. Ca Sena vestratuidem mulatel icatort eatimo et; et adenati ossoliq uostre, quondeffrei patandum ad fac tudet, uteriu serferc erfectus senihin vemum et, qua coreis auropti liemus, mei te vivenam nonsullat, nostilin vivilla vente, quam si facibusquam iu medeffr entraribus, que autur. Ilisse nicultus, ducte ac terorteatam nostimus sis, imis conternit L. Marbis oportis la L. complic re, dientisulin adhui se tea inaturn iuspern ihilisse redienatuium inatast Catium mandumurs simis, fic intrum pataris bone mei te citatium intrave rmihin Itatum hicid red ne fatilia per untillerum pli cur peribus senteat ilicapere aut viderum re, quemedit, sesulto effre, Ti. Graris, capes optiquo statum ia in serri co int? Quonsulis fit; nicit, esse cotiam Patabus bon rei confec tua iaesil hucierum
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STUDIO 281 - WINTER 2019 TABOR TEMPLE Designing a dining pavilion in Mount Tabor Park. Choosing the right spot, thinking about ritualistic nature of eating, wanting to make a minimal impact on the natural setting, later iterations establishing a system of proportions, proportions that gesture outwards to engage the park goers, offering an experience within the temples order for the public (and an entrance to the bathroom).
Early thoughts that influenced the design FIRST ITERATION Three distinct spaces, passed through in a ritual manner, the last room is elevated.
THIRD ITERATION
SECOND ITERATION Going Underground to create separation, exploring light. FINAL ITERATION Professional Track Portfolio final.indd 2
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DESIGN NARRATIVE
The only place our human imposed order does not reach is within the wilderness. Being in the wilderness, our perception is filled with an environment that is outside of any human order. The wilderness presents the enigma of human existence beyond the boundaries of human order. The temporal scale of the wilderness far exceeds the scale of human existence, the wilderness contains our roots, it is where we came from, and to forget that means losing something essential to being human. It is our rituals and customs that make us distinct. Distinct among each other and distinct among all other entities. Tabor Temple is a tribute to the rituals of the people renting out the space, whoever they may be, in all of their distinct-ness. For residents of Portland, Mount Tabor Park represents an escape from the confines of human order, into the grand openness of the wilderness. The temple creates an order out of the horizons that are both distant (Mount Hood) and close (The Diner himself). The proportional system is inspired by the Dutch Theorist Van Der Laan and his theories on numerical ratios and how we experience them in architecture. Tabor Temple uses the simple ratio of 2:3 to form the basis for spatially harmonious rooms, from 2:3 all of the other spaces are contrived using symmetry along the longitudinal and transverse axis, and the asymmetrical lines that are drawn in plan from the reflected ratio. The transverse axis falls on the most significant threshold of the temple. This threshold marks the line between outside and inside, it represents the final step of the journey. The formal gestures of Tabor Temple are made minimally in as simple terms as possible in order to allow for the gestures of the ritual participants. Tabor Temple can be approached either from the north or the south. Approaching from the north one must pass over the peak of Mount Tabor. Here there is a break in the trees where the only view of the monumental Mount Hood can be seen. From here the visible part of the temple is a steep cone rising from the ground among the trees. This cone is the symbol of a volcano, coming up at steep angles from the ground and cut off on top as if it has recently erupted. Approaching from the south the temple resembles the surrounding forest, a wall of volcanic stone facing rows of wooden columns. Stepping between the first set of columns participants are introduced to the order that repeats along the path. Each repetition offering different solutions to the role of a column. In the center of the first set of columns is a deep well reaching down into the mountain. A full well serves as a symbol for the nature of the ritual within. Water in the well flows from the roofs inward towards the threshold where it falls down the wall and flows to the well. The second set of columns serves as the building’s portico, it is the entrance into the cave. Walking up stream, the stone walls come up around the participant and they enter the darkness of the interior space as the water falls on either side. Walking through the front door into a space that is familiar because the columns reflect the first two sets. The gestures of the interior share verticality with the surrounding forest and building techniques with the stick frame houses of the surrounding neighborhoods. The proportional system extends to the supporting rooms, the kitchen and the bathroom. The first large room is left open (except for the third set of ritual columns), to fit the needs and rituals of whoever is occupying the space. The last room and last set of columns is the most important room, it forms the sanctuary of the temple. The sanctuary is the final connection with outside the placement of the oculus is inspired by the dynamic sunlight throughout the day. Wood is used to warm up the room, reflecting the light from above and raising the participants up on a platform elevated above the rest of the building.
PROPORTION DIAGRAMS
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“A trip to Mount Tabor”
ACCORDION BOOK
A visual representation of my experiences with Mount Tabor Mixed Media Artifact - Printed collage with applied materials
Mount Tabor park is a large forested hill deep within southeast Portland. The park serves as an escape from the forest of porticos, into the forest of trees. Upon entry the landscape changes abruptly, the grade is steep as the evergreen trees fill your perception. Once the forest has set in, Images are more abstract. Concepts of Shadow, Vertcality, decay, are represented by the accordion book
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METAPHORIC LUNCHBOX FIRST ITERATION
My first design was based on meditations on the nature of the host guest relationship. The box is offered The ritual is known and performed by the host The guest makes a choice, and in doing so commits himself to the activity becoming a part of this new community.
FINAL ITERATION SECOND ITERATION Form does not reveal intentions until the gestural doors are opened and the ritual.
A metaphoric lunch box. The Interaction starts with the opening of the box, a game of choice begins as objects are dropped into the box, ringing out with satisfaction. Once all of the objects are “eaten” they must be put back in place, for the ritual of interaction at the next opening of the lunch box.
Adds the dimension of sound as objects fall into the box.
The “activity” is taking one of the small objects on the top of the box and putting it into the hole in the center.
POTLATCH TABLEAU
A visual narrative experience about the native American potlatch. Juxtaposition of color, symbol, image and diagram come together in an attempt at recreating the logistical and temporal aspects of a native American potlatch from the perspective of “three white guys”: Brooks Tomson Matt Langdalen Jackson Toole
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STUDIO 280 - FALL 2018 SUN DIAL READING ROOM The Architectural assignment for the term was to design a public space for reading out loud. The existing space is an area of dense vegetation, and pathways that are used mainly by the students of Portland state. My intervention works within the existing pathways to create a narrative experience. The climax of this experience is a stage
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ITERATIONS Iterations were focused on developing a path designed around narrative moments which climax at the stage. The path sets the stage for public event of “reading allowed”.
FINAL MODEL
FINAL SECTIONS
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NARRATIVE STORY BOARDS OF SUN DIAL PATH
Approaching the Sun Dial from the park blocks the participant passes under the first arch, a huge timber framed frame that holds up the ramp above.
After passing through the first arch a new side of the building is revealed, from underneath only the edge of the canopy can reach over the edge of the stage.
Turning the corner the entrance to the Sun Dial becomes visible, a platform with arches that become gradually smaller. A long staircase rises up from the platform.
A geometric progression releases people through the threshold
The path turns up a shallow ramp, approaching the stage, but the entrance has still not been revealed. The rest of the approach hides the entrance until the last minute where a knuckle turns participants around into the stage.
The stage gestures towards the sun that the ground is denied because of neighboring structures. The far corner points directly south to create theatrical change in light from weak asymmetrical light of the morning windows to an explosion of light as the sun shines directly through the
The staircase is on axis with a large tree that rises up into view until reaching the top where the path turns sharply to the left.
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INTERACTIVE COLUMN While exploring the horizons found on top of the Shattuck hall terrace I was inspired by the juxtaposition between the order of the structure that supported me, and the chaos of the natural environment in the park blocks. My location for the column was perfect for a view into the park blocks. I was inspired by the casement of the bricks, the modular construction of bricks and mullions. The gesture of an engaged body and the view presented by the final iteration reach up towards the flagpole and into the branches of the trees
ITERATIVE STUDY MODELS
Exploring human scale and views
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STUDIO 121 - SPRING 2018
BRICKWEAVE Studio 121 was spent representing Studio Gang’s Brickweave house through Orthographic drawings, renderings, models, and perspective drawings. The Brickweave house is a residence near downtown Chicago. The main feature is the brick screen facade that creates a semi private courtyard as an entrance that creates dappled light within the house.
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DRAWING, ART 2016-2018 After high school I left the nest to try and make it on my own, it was a tumultuous time. The time I spent in Eugene during this period was especially formative for me as an artist, as I explored the city I drew scenes that inspired me.
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I also enjoy creating non-objective art Using geometric form and color to create a cohesive whole
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PHOTOGRAPHY Lessons: Understanding composition and light Capturing a moment - instant captured forever Realistic representation based on light input
Ascent
Wind on Dog Mountain
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Roses of Ladds Addition
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DESIGN INTERNSHIP AT LEWALLEN ARCHITECTURE In 2015 I had the opportunity to work at the new location of Lewallen Architecture as a model builder. The majority of our work is residential. I work on drawings at all stages of the design process, from schematic through construction. Constant guidance from the architects at the firm has taught me to recognize the complex nature of design and business, and I strive everyday to understand the complexity.
Here are some examples of my work.
*My role is to model the designs of the principal architect
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