Jason Barker Advanced Design Portfolio 2018-2020
Conents. 1.Japan/Process Studio. 2.Transit Development Studio 3.Modernist Housing and Museum studio. 4.22nd Street Corridor Studio.
Spring 2018 Japan Studio w/ Stan Russell
The Process/Japan studio was an amazing experience that focused on abstraction, conceptual process, influence from other mediums and fields of art, and the variety of manners in which we can generated space and architectural form. The project bgan in an extremely abstract manner, and the final product was a school teaching traditional Japanese arts and craft, sited in Kyoto near a river, and in a small park. In this segment I will focus primarily on the process aspect, as there is a huge amount of information and topics to cover in this studio, so I will direct my attention there.
Form Generation & Abstract Diagrams
Using google maps, we generated figure ground images of several existing temple complexes in Japan, and later combined these with other figure ground images and addition diagrams to further generate new forms and look for possible relations that could be used to inform and generate space.
These four images show the progression of the temple fusion figure ground diagrams, as elements from different sources were added, along with graphical abstraction and indices of motion and space. Two of the primary elements intersected to generate this form were the figure ground of an existing temple, and the stone pathways of a Zen garden. The pathways were digitally transfered to illustrator and in to the figure ground image, at which point they were cut up, edited, and moved around to provide a circulation for the figure ground, while still retaining some of their original shape, conforming to the new context where possible
On an entirely personal note, this diagram is one of my favorite things I have done in Advanced Design, and I consider it the most successful diagram from this specific exercise. Entirely analog/traditional, it combines ink, graphite, marker, watercolor, stickyback, screentone, structural elements such as stairs and columns, differing scales (both figure ground city level elements and larger scale housing interiors were used), and abstract shapes to signify more experiential elements.
This larger image, also done on vellum with much of the same media, hinted at a larger, more urban scale. As well as more conven tional spatial elements, such as water and streets, while still maintaining an analytic quality. This image would go on to provide some of the components for the 2.5 dimensional extrusion model in the next step of the project.
These two diagrams would later be toned and intersected with other images, exploring issues of texture, space, volume, and further abstraction. These were done on vellum and mylar with ink and graphite, and later scanned for digital enhancement.
One diagram involved the additon of scanned and edited traditional Japanese textile patterns, of the sort used to make Kimono’s. The allowed for further generation of elements that spoke to light, space, materiality, weight, and depth, especially when contrasted with a flate, white field.
The final image in this exercise was the result of intersection several different diagrams, floorplans, and the synthesis of multiple methods that had been used thus far, allowing for a culmination of the entire process in to one image. The end result of this entire process was a series of images that not only would inform our spatial explorations going forward, but images that serve as unique, abstracted artworks in their own right. Much like the Japanese textile patterns used elsewhere in this exercise. Something that stands on its own as an independent work despite eventually being part of a larger whole.
Extrusion Model & Woodblock Prints
Woodblocks were made with lasercutters and in the woodshop, and then “painted” with wet woodblock printers ink. Only a few colors, with a different block for each color. These were initial tests with black ink, creating abstract, almost ghostly formsthat can suggest either space/walls or circulation/ roads.
Different colors were combined on different sheets, with orientation being somewhat variable. This was largely another form generating exercise, as well as a look at how a traditional Japanese arts and crafts practice is done, and how it might be applied to our own purposes.
Section Cut Models & Extrusion Spaces
The next step was to begin translating the existing diagrams in to abstracte section drawings that, while still conceptual, had more concrete characteristics of space and scale. This led to further use of trace paper to combine, rework, and reimagine the forms generated in the previous steps. That result would then be turned in to scanned drawings that would be traced in AUTOCad, turned in to cut files, and used to make a section cut model.
Section Sketching This long banner of canary yellow trace paper was the initial canvas on which to explore this new set of forms. Angular, pivoting, and higly variably in mass and delicacy. All with emergent spatial properties that could be further enhanced. This would be finessed in two ways; first, a selected traced drwing on vellum of one particular segment, and second, scanning the roll and reproducing the forms in AUTOCad to eventualy turn them in to laser cut files.
This long banner of canary yellow trace paper was the initial canvas on which to explore this new set of forms. Angular, pivoting, and higly variably in mass and delicacy. All with emergent spatial properties that could be further enhanced. This would be finessed in two ways; first, a selected traced drwing on vellum of one particular segment, and second, scanning the roll and reproducing the forms in AUTOCad to eventualy turn them in to laser cut files.
This step began to add color, shadow, interior, and depth. The suggestion of distance and more well defined spaces, with walls and hierarchy, begins to take shape and would further inform the final product.
Section Model The draft of the section cut model was done on chipboard, and attached to lengths of basswood. Five different “plates”/sections, each a variation of the initial image picked for the previous vellum drawing.
The model begins to suggest three dimensional forms, as one imagines where floors, ceilings, and walls may connect from one section to another. Markers and graphite added tone, continuing the language established in the vellum drawing.
Final Section Model The next step was a more developed model, made of plexi, basswood, and mueum board, amondd a few other materials. In this iteration, planes and other elements would be built between the various elements, starting to create spaces, circulation, and other elements.
Rooms, halls, atriums, corridors, nooks, and all sorts of other spacecs begin to take shape. Ground becomes more well defined, and spaces push and pull as planes connect variable borders between sections.
Roof conditions, walls, floors, and more become more articulated adn constructed, as implied masses begin to transform in to built forms ith structure and skin.
The profile of the sections now takes on an overall shape, defeining the primary mass and move of the structure.
Promenade Process This smaller, wooden process models were made to develop the main public space in the structure. A lowered atrium, a catwalk, and an upper gathering spae, as well s structural elements, are all envisioned here. The idea was a layering of different intersections of motion and public gathering space. This was the first major step in translating the extruded section model in to the final model.
Final Model: Form & Abstraction
For the last step, we were to transform our extruded section model in to a final struture, but were instructed to do so while still maintinging some of the abstract, conceptual qualities of the earlier steps, as opposed to translating it in to a more realistic building. Keeping with the previous approach of narrowing things down, we were once again instruted to select a specific part of the section model, rather than the entire thing, and further develop that. To that end, I incorporate many diagrammatic elements from earlier steps, and unconventional strutural language for everything from masing to public spaces. Etched plexi, ground diagrams in watercolor, and open use of heavy elements such as screws were all part of my final approach.
Section Drawings Section drawings, further building off of the previous drawings, give an idea of how the space is inhabited and how features such as the catwalk, overlook seating, and other features contribute to the space.
Fall 2018 Transit Development Studio w/ Taryn Sabia
This urban studio focused on the idea of Transit ORiented DEvelopment, building new urban, mixed use spaces around new transit hubs/stations. This project involved a huge amount of research and information graphics. You will notice that maps constitute the vast majority of material for this studio. We each assigned an area in Tampa, and had to research it extensively before we began to design anything. The involved heat maps, informational maps on things like demographics and land value, and numerous site visits to photograph and understand the location and its history. Mine is in Sulphur Springs, near 275 and the iconic abandoned water tower.
Initial Mapping & Expansion
This initial drawing was the foundation for the analysis maps of the area I was assigned for this project. It was scaned, toned, and used as the basis for all of the following heat maps, meant to analyze traffic, activity, and other relevant information about the area.
Basic Map
Notable Locations
Activity: Day
Activity:Night
Traffic/Traffic Barriers
All Information
Site Analysis & Further Mapping
Additional maps, site visits, and photography all provided further insight in the the are, refining my ideas of what needed to be done to realize the goals of the project.
Sulphur Springs: Figure Ground
Sulphur Springs: Analytic Map
Focused Information Mapping Further mapping and analysis focused on the specific neihborhood/area that was to be developed. All pertinent information, from tree coverage to demographics to future land use, were considered, informing the subsequent planning for the project.
This offered a great deal of insight in to the area, and provided many ideas as to what could be improved, how the area functioned as it was, how it related to the rest of the city, and so forth. The larger context can be easy to overlook even in the most basic sense, to say nothing of a deep dive in to the various layers of said context and what can be found in them.
Photographic Analysis I made several trips to the area to see things first hand, and take some photos of notable landmarks, such as the water tower and Sulphur Springs theater. While much of what existed there in the 1930’s is now gone, the remaining traces of it could play a notable role in future revitalization and redevelopment of the area.
Final Urban Development
Intervention Sketching These figure ground sketches were the next step in envisioning how a new urban, mixed use development might manifest itself in Sulphur Springs. Though largely basic, this was the first step in arranging greenspace, housing blocks, street grid, and other vital features.
Organic Experience This diagram spoke to a more metabolic, perceptual experiene. One not of form, but motion and impression, giving an idea of how the area felt as things perceptually pushed and pulled relative to motion, line of sight, and overall impression.
Development Sketching & Sections. A number of sketches were done to further develop the transit station, the mixed use development, street grids, movement analysis, and a number of specific, individual spaces that could define the new Sulphur Springs T.O.D. The following pages are street sections, starting with the location of the transit station as it is now and progressing to its eventual development, as well as a street room analysis of one a street further in to the development.
Final Site Plan The final site plan envisions the footprint, grid, spaces, and all other relevant aspects of the new Sulphur Springs development. With the transit hub in the lover left, near the edge of the greenspace everything else is built out from that.
Site Section This site section image combines massing, abstracted sections with hand sketches to highlight various areas of importance in the development. Presented here in a smaller form to give an overview, the next few pages display it in segments to allow the reader to discern the smaller details of the drawings.
Conceptual Street Model Following the site section is a conceptual, gestural street model to present a street room condition from the commerce area of the new urban development, emphasising the built-in seating elements amidst the pedestriant-centric street room
Fall 2019 Modern Housing & Gallery w/ Gunderson & MacLeod
This studio was extremely rewarding, and my work for this segment is made up primarily of models, as opposed to drawings or graphics. For this studio we did a considerable research in to international modernism, and what it sought to achieve. We took what we learned and applied it to two projects. The first is a house, a second home for someone that is built around an interest of theirs. We were paired together and each of us served as architect/client in a two way relationship. The next project was a hybrid museum/ workshop, which would host an artist in residence and focus on some type of activity that had some relevance to architecture. Mine is focused on sculpture and video/projection art involving light. EVerything from LED and flourescent installation art to urban projection mapping.
The Second Home; Initial Process
Unlike my previous projects, the house project has little in the way of drawings, and is much heavier on modelmaking, both as a part of the process and for the final works. The models made in this studio are among my favorite I have ever done in the program. This initial model, utilizing junk parts and leftover scraps as form generators, and to reproduce abstract drawn elements, began to explore the form and porgram of the house, settling on a fairly solid idea at the outset.
These initial marker and ink sketches began to speculate on different ways the intervention might interact with the water, the site, orientation, etc. MAny of the concepts that would be carried through to the final were quickly developed here, particularly the courtyard and elevated walkways, which would serve as the centerpiece of the house.
The idea of organizing the house around a central courtyard with elevated walkways that connected it to the site and the water emerged from this process model. As did the central focus of motion, decision, and axis, initially represented by the black rubber ring where the planes/walkways meet.
A subsequent process model moved away from gesture and concept and began to focus on the development of interior spaces. This model emerged from the instructions to create two roof models, and design around those. This one was built around the more successful of the two. In addition to the interior spaces, it also begins to develop the ground. Thoug one roof design was selected, the model was made with a detachable roof in mind, so the subsequent photos display both roof designs.
Secondary Home: Final Model
The final model was a mono-material model made of basswood, with a focus on delicate articulation, roof volume, and how the structure relates to the ground. Screening systems, the courtyard, walkways, and the light properties of the roof are also notable highlights.
While most of the project focused on models, this hand drawn section emphasis the basic information of the roof, screening, and strutural courtpyard elements via section cut.
Light Museum; Drawn Speculations
This project featured more drawing and sketching, both for the process and the final deliverables, but still a very heavy emphasis on modelmaking, with some results I am still quite pleased with. These initial conceptual watercolors and sketches began to inform the overall shape and intent of the studio/museum hybrid space.
Small watercolor forms were drawn, based on potential spacec usage and the needs of a light-art studio and projection workshop. These considered circulation, footprint, program, light, hierarchy, etc. With a basic form selected, it was further refined and explored along several dimensions, including massive, fighure-ground, structure, light, and relation to the water. From this, a more concrete sense of space and program began to emerge.
Sketching progressed from analyzing plan and layout to sectional qualities. Like the previous project, there was a focus on the primary roof, and how it shaped the entire struture. In this case, a bold move in which an agular break occured, creating two roof conditions in conversation with each other, became the defining feature going forward. It spoke to light and elevation, which seemed conceptually appropriate for a light-art studio.
Process Models Roof, ground, and interior were explored in these process models, which examine the “break” in the roof, areas where light penetrate, struture, and whatever else emerged from these explorations.
Final Draft The last steps in the process phase were a final draft of the model, and a final draft of the drawings. The model was developed in tandem with the hand-drawn section drafts, and was made of basswood and museum board. The final shape, the spatial qualities, structure, and everything else were finalized here. Though it is formally a draft model, I think I like it as good as some of my final models.
The long atrium-hallway became the defining spatial gesture, while the broken roof was the defining rhetorical one, Both generate the rest of the structure, from the artist residence to the various workshops and gallery spaces. In addition to the break, the language of the moment extends to the articulation at the far end, seen here on the left, to create a rising, angular overhang above the largely orthogonal glass box of the work areas.
Light penetrates much of the largely transparent structure, with the initial entry-gallery being a modest exception, with more strategically placed transparency.
The long atrium-hallway became the defining spatial gesture, while the broken roof was the defining rhetorical one, Both generate the rest of the structure, from the artist residence to the various workshops and gallery spaces. In addition to the break, the language of the moment extends to the articulation at the far end, seen here on the left, to create a rising, angular overhang above the largely orthogonal glass box of the work areas.
Final Model & Drawings; Shining a Light
The final model was made entirely out of basswood, and featured more articulation and struxture, as well as a new feature; the dark pods. Small, mazelike galleries and workshops on the side of the site for displaying and developing works requiring extreme darkness and a total lack of light. The final model was accompanied by final drawings, including an axonomtric illustration. Both the primary structure and the dark pods were built with removable roofs. What follows are both conventional an dramatically lighted photos of the model, with the subsequent drawings afterwards.
Spring 2020 Woodson Studio w/ Tara Wood-Dzoark
This studio combined urban and comprehensive elements, with a focus on community involvement. Our site was the 22nd street corridor in St. Petersburg, and we were instructed to create two interventions, one an outdoor intervention relating to the 275 overpass, and one a new Carter G. Woodson museum, to compliment the original community museum found in the area. This was a unique project and the meetings we had with people in the community were very enlightening, and gave me a new appreciation for robust communication with, and understanding of, the communities and people we impact with out work.
Overpass Intervention & Urban Analysis
The first step in the overpass inervention andnew Woodson museum involved understanding the local area, meeting with community leaders, researching the history, and finally, diagramming the area for greater understanding of the larger context and how to make our intervention work.
This digital site diagram analyzes the 9th and 22nd corridor, considering different relations between longstanding staples of the area and hotspots of activity. This was pivotal to understanding what was happening where, and how to weave that in to the underpass intervention and the museum.
Draft Model Close up details of the draft model of the underpass intervention, highlighting curtain walls, storefront, the upper spae, and the structural and rhetorical conponents of the “sail” element.
A second site analysis was done, which highlighted the early form of the Woodson museum and how it relates to the underpass intervention, the corridor, and everything else in the area. From a lake to pathways that cut through 27th via pedestrian tunnels, the focus was on breaking through this barrier which had divided the community for decades. From this came the unfolded section drawing; an illustration that documents the trop from the original Woodson to the new musem. It is depicted across several pages as it is an extremely long, landscape oriented drawing which seeks to document experience, including sound, motion, traffic, and struture.
These perspective sketches illustrate the three major masses of the gallery in the new museum, which are the primary focus of my concept, and how they relate to the overall circulation of the museum. The subsequent images are the initial plans and sections, which are more conceptual, and the final plans and sections of the museum, with specific spae designated