Jack Watson
A COLLECTION
OF SELECTED WORKS
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RESUME BASKETBALL COURT PAVILION URBAN DECAY / GAEA SALVE WAPATO FILM INITIATIVE FOR YOUTH BOAT BUILDING CENTER FOR YOUTH
OTHER DESIGN WORKS
Jack Watson Professional Profile I am a fourth year Architecture student attending Portland State University’s undergraduate program. I am currently looking for a position at an Architecture firm before my graduation in Spring of 2016. With a diverse range in skills in digital and traditional mediums, as well as my experiences in game and film development, I would bring a refreshing view in an Architecture and Design firm. I am enthusiastic about problem solving, Ruin Theory, and finding innovative ways to establish a connection with nature into the urban sphere. Most importantly, I do not limit my creativity to one medium but choose to research the most efficient method for a task. I work in sketches and 3-D to provide thorough and quick ideations to get a project finalized!
Software Proficiency Photoshop Sketchup Maya Illustrator Indesign Maxwell Rhino After Effects AutoCAD Final Cut Pro Modo
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Work Related Experience SuperGenius _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ Oct. 2015 O Contract Artist for upcoming mobile game • Aided game development process independently • with supervision of 2D Art Director. • Effective management of time and resources to • create game grade renderings for frequent client review.
Plexus (film) _ _ _ _ _ _ _ _ View here _ _ _ _ _ _ _ June 2015 PSU: SCHOOL OF ARCHITECTURE STUDENT FILM
O Director & Screen Writer • • • • • • • • •
Prepared storyboards, scripting, and concepting for a limited visit to St. Johns Wapato Prison. Improvised workflow to effectively capture all shots need to make reel in an efficient time period. Collaborated and assisted motion designer with composing techniques to develop unique visual style. Quickly spliced edited footage into a compelling sequence of shots for final screening.
AIPD - 3dFX Club & FX TEAM _ _ _ _ _ _ _ _ Summer 2013 O Concept Artist, Actor, Music Composer • • • • • • •
Responsible for visualizing character costumes, gun design, vehicle motif, and atmosphere schemes. Conducted club meetings to assess style guidelines, accept critique, and construct pipeline. Handled additional responisbilities on a chromakey set as supporting actor.
Work Related Experience (cont.) AIPD - Student Services _ _ _ _ _ _ _ march - Sept. 2013 O Administrative Assistant • • • • •
An outstanding team member that assisted in publicizing events. Designed posters and brochures requiring effective communication skills. Trusted with confidential information, data entry, and a variety of tasks that required constant improvisation.
WW Autowerks Inc. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 2004 - 2009 O Porsche Technical Assistant
• Assisting my father by improving my work ethic, • handling expensive industrial equipment, and minding craft. • Fostered relationships with clients and understood their • needs for fast turn-around restorations. • Tasked with a variety of jobs including inventory, assisting with engine removals, and much more.
Education Portland State University _ _ _ _ _ _ _ 2014 - Present BACHELORS OF ARTS IN ARCHITECTURE
REcognition Demos: Wapato Correctional Facility_ _ _ _ _ 2015
PROJECT BY ERNEST - C3: INITIATIVE (2013-2015)
AIA: Traversals _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ July 2014 IN THE GALLERY - END-OF-YEAR STUDENT EXHIBITION
Gallery - Featured Student Work _ _ _ _ 2012 -2013 ART INSTITUTE OF PORTLAND: CONCEPT DESIGN
O.A.R. Rowing Team _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 2010 NOVICE OF THE YEAR
References AVAILABLE UPON REQUEST
Contact JACKALDRAWS.COM
1630 SW CLAY ST 13M PORTLAND, OR 97201
JAWATSON@PDX.EDU
541 510 0905
The Art Institute of Portland_ _ _ _ _ _ _ 2012 - 2014 ANIMATION & 2D DESIGN
541 510 0905
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Final Model
Basketball Court Pavilion This project consisted of creating a temporary basketball court for a grade school. The main feature for the pavilion was a roof garden that would need to be supported without fail. The structure type my group picked was a space frame, which succeeded our Tectonics instructor's 120 lb test. Note how he's whacking it with another book to see if it fails. In the end, it surely did fail but by the time the steal members touched the ground, no one would reside within the structure. A catenary curve would be worked into the design of the structure so the load is equally spread across the bay.
I took part in creating both physical models and was the sole artist for the matte painting. Structural Stability Test
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Exterior Perspectives
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Urban Decay / Gaea Salve This project consisted of an exhibition concerning the Willamette River, a historical and topographical study of the Portland’s interaction with the river and a proposal for a new architectural intervention. There is a simple way we can we could begin to change the river for the betterment of itself and people living in a city, specifically by changing how the citizens see their coexistence with the river. The exhibition grasped the historical context of the Willamette and how it had been used firstly out of convenience. By early logging, and industrial work, the surrounding streams and rivers of the now metropolitan area would be controlled and covered over. The Seawall along the western waterfront is a prime example of safety through convenient building methods. Through contemporary capabilities, the people of Portland would begin creating ways to reintegrate the river’s qualities and organic systems back into our urban landscape. But now that we’ve gotten this far, isn’t it time for us to lower ourselves back down to where it all began? To change our perception of the river, we need to walk on its shores.
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Poster for River Exhibition
Installation at PLACE Architects Firm
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River & Convenience Guild ‘s Lake / 1926 Filled and developed, “Industrial Sanctuary” / Today Tanner Creek / 1866 Mouth of Tanner / Today
River banks used for shipment from industrial wharfs / 1883 Seawall is erected / 1928
Portland Waterfront / Today
River & Human Capabilities Flooding & sewage spills provoke new strategy for city waste / 1991 Big Pipe / Today Hoyt Street Train Yard / 1915 Pearl Redevelopment plan. Focuses on preserving history, green spaces / 2001 Tanner Springs Park / Today
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My intervention is located at Tom McCall Park, hugging the contours of the Willamette River. Initially walking on the path, one will encounter tourist attractions that are open to the elements, cyclist traffic, and a disconnection from the river’s surface. The new pavilion would lower tourist attractions, food carts, and general events that consist of slower foot traffic to the grade of the river. The existing bike and pedestrian path would reside for faster bike traffic and cover for events below. The Tom McCall Park would be altered, becoming tiered for theater spaces, playgrounds, and dining areas.
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Wapato Film Initiative For Youth This course firstly investigated various films and their stance on social connections. The short film, Le Baiser (The Kiss) by Iñigo Manglano-Ovalle, held a strong narrative that consisted of a window washer, the Farnsworth House, and a female DJ. Throughout the film, the washer presses his squeegee against the glass while the DJ mixes alone in her transparent shell. There is a slow but noticeable buildup in tension between the washer and the DJ, and one can connect this feeling to the disconnection individuals feel when communicating over mobile devices and social media. It is only until the the washer has left the, literal, window of opportunity, for the DJ to finally notice that the presence is gone. The diagram on the opposite page shows the interventions that occur throughout the film, being that the narrative is a twelve minute loop, the characters’ dilemma is also presented in a similar fashion.
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The following project was a reflection to this film, the class was instructed to create films that examined our site, the unused and pristine Wapato Prison, and create a narrative about social interactions. We were given the opportunity to explore the now-vacant prison and film as we pleased. I began asking questions that provided the theme a context: If we were to visit a forgotten social networking site, what would it look like? Would we see the memories, the emotions, and intimate relationships that make us human? Or would the structure of the social interactions stand fossilized, still providing the most basic needs of communication without the human element?
secution is secured through anonymity, and likes, comments, and ‘tweets’ are commerce. This utopia, like most, lacks one thing:
My short film reflects a virtual reality as if we were to sign-in to a forgotten social media site in the future, exploring the fount of the social network when housing the tactile qualities of the human condition. A place where your identity is celebrated, freedom of speech and protection from per-
The glass portals from which we construct our virtual selves are the bubbles we try so desperately to pop out from.
True Intimacy. We see only what others provide to us. What began as convenience became our prison. It is an activity for which you are expected to participate in. The social pressure demands that we create a persona that not only projects how we want ourselves to look, but how others should see us. In the end, the connections we make allow us to be surrounded by many, when we are completely alone.
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Storyboarding clips in comparison with footage from my film, Plexus.
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Short Film, Plexus, selected frames
The Wapato Jail, an unused facility built in the 1990s, is located just outside the City of St. John’s. Constructed on a manmade peninsula and surrounded by a mote, this location is isolated from the outside world. The following investigation provides a means of reattaining a purpose for youth at risk. The site provides a perfect canvas for their feelings of isolation but allowing their creativity to blossom where they believed it couldn’t before.
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Initial site investigations in plan and program. Relying strictly on the steps in film development.
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Conceptual montages and model that demonstrate possible aesthetic and tactile oppurtunities.
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The floor plan and elevation follows the steps in film development and the spaces are categorized likewise. The project would house, educate, and promote 50 - 70 students at a time. The path from the jail flows directly into an atrium and production center. The studio spaces are located on the basement floor for controllable lighting and prop storage. The at-grade floor features sleeping quarters, lockers spaces and over-looks of the entire studio spaces. There is a public gathering space that sits as the connection hub for these facilities. The top floor provides spaces for research and production briefing classrooms. When the work is complete, the theatre is the finalized space for the students’ graduation.
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Floor Plans
2nd Floor
1st Floor
Basement
Exterior and Interior Sections
Site plan
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Model demonstrates the scale of the structure. The large eaves allow diffused lighting and some more direct lighting into the sleeping quarters. The montage on the opposite page shows the atrium for family gathering and prop storage. Natural lighting penetrates this area while plants cling to the surrounding areas, giving a peaceful backdrop that youth at risk don’t typically reside in.
Final Model with cutaway interior shot
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Interior Perspective
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Boat Building Center For Youth
Willamette River
SW Taylor St
Tom MccAll Park
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SW Yamhill St NAIto Parkway
Interior Perspective, Final Model
This site is located on the West side of the Willamette River, between SW Yamhill St and SW Taylor St. It sits directly across the street from Tom McCall Park, providing a large area for recreational activities and space for program if necessary. The project consisted of creating a boat building center for youth, so I chose a method called strip planking. This type of building allows small but elongated wooden strips to be laid on top of each other then sealed in place. This method is quick, simple, and can be taught to youngsters very effectively. The following pages illustrate the type of work, space, and equipment needed to create a boat building facility. Then after determining the square footage, these assets would be divided up and arranged in the order necessary for efficiency. But before that, I would need to take a site analysis of whom I am going to be helping. The opposite page shows a diagram of poverty rates, crime demographics, and local amenities.
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2009 Site Statistics & Youth Poverty Analysis in Portland Metropolitan Area
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5,000 sf 2 Table Saw w/ outfeed table
3 Band Saws
2 Miter saws w/ tables 5 Mobile Workstations
5,000 sf
Consolidated Lumber (Upright)
120 sf
Perimeter Workbenches
200 sf
Tool Storage
120 sf
5 Student Canoe Forms
240 sf
5 Student Canoes
270 sf
3 Potential Artist Boat Studios
297 sf
Unloading Dock
600 sf
60 sf Top Floor -Accesory Installation -Final Examination -Storage -Awaiting Christening
Workstations
31.3%
2nd Floor Sanding and Epoxy application
Program
Open Programatic Space
Layered ≈ 20,000 sf
112 sf 24 sf 60 sf
22.3%
Utilites
3.3%
Open Programatic Space
43.1%
2897 sf
1st Floor -Form Setup and Strip Fitting -Form Removal and Trimming
Boat Building Steps with corresponding assets
Ground Floor -Lumber Delivery -Strip & Form Cutting
Min. Space Dimensions Student Workshop
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Asset Management
Proportions of Space Divisions
Layered Program Consolidation
Atmospheric Exploration Perspectives
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Final Models
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Interior Perspectives, 2nd & 1st Floor
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Interior Perspective, Third Floor
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Agosta House Case Study Patkau Architects is an innovative architecture and design research studio based in Vancouver, Canada. The Patkau Architects firm was founded by John and Patricia Patkau in Edmonton, Alberta in 1978. In 1984, the firm was relocated to Vancouver, bc. The firm works predominantly in the Critical regionalism style which focuses on reflecting the surrounding site in the features of the structure. Critical regionalism demands that the build forms to the site, contours the geography and reflects its natural values. Patkau Architects doesn’t just embrace the character of Critical Regionalism, but it also manifests it by forming to the natural backdrops of their buildings’ placements. The Agosta house is a prime example of this with its unique construction and reflection of local culture – by the Agosta family’s wishes – Patkau transcends the Modernistic approach of universal usage of materials, therefore developing an architectural order which is specific to circumstance.
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I love the way John Patkau reflects on this idea: “In formal terms, we attempt to achieve particularization and specificity through differentiation. To this end, our buildings often utilize device such as juxtaposition, contrasting scales, or playing mass against void or line. [...] Increasingly, we also tend to differentiate elements within building assemblies, expressing the role of each element, either directly or through representation, so that nature of the construction and the forces which act upon it are evident.” The Agosta House is located on a 43 acre property, largely covered by second-growth Douglas Fir forest. Ten acres have been dedicated to a perpetual conservation easement.The house is sited on a grassed meadow, enclosed on 3 sides by the dark fir forest, but open to the northwest, where it overlooks rolling fields and distant views. The house is stretched across the ridge of the meadow, so that it forms a ‘spatial dam’. This dam creates an enclosed forecourt to the house, a ‘spatial reservoir’ which is released through the house
to the panorama below, a sea of picturesque fields and waterways. The building section is battered — walls and roof sloped — to respond to the gentle but steady slope of the site. The spatial organization of the house is the result of extruding this section and manipulating it either by erosion, to create exterior in-between spaces that subdivide the house programmatically, or by the insertion of non-structural bulkheads that organize the interior into finer-scaled spatial areas. The structure consists of a combination of exposed heavy-timber fir framing and gypsum board clad stud framing, founded on a simple concrete slab-on-grade. The exterior is largely clad in ‘zactique’ metal cladding, intended not only to protect the structure from the effects of weather, but also to address the possibility of wildfire in an area not well served by firefighting.
Axonometric View, Demonstrating Architects’ building style
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Elevation, Site Plan, & Perspective drawings
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Final Final
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Other Selected Works
Various drawings and projects (2012 - 2015)
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Personal, Last Stand, (2015)
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Contact: 541 510 0905 jawatson@pdx.edu