Jenjira Holmes
Portfolio of Selected WORKS Harvard GSD UCLA AUD
TABLE OF CONTENTS
Landscape Architecture
Professional Experience
Architecture
Others
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BOSTON CITY HALL Core Studio | Fall 2016 Harvard GSD Silvia Benedito, Danielle Choi
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THE COURTYARD Core Studio | Fall 2016 Harvard GSD Silvia Benedito, Danielle Choi
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RIVERFRONT PARK Core Studio | Fall 2016 Harvard GSD Silvia Benedito, Gareth Doherty
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SHREWSBURY INTERNATIONAL SCHOOL GUANGZHOU, CHINA 2016 City Realty Co., Ltd
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THERMAL HEAT WALL Tech | Winter 2015 UCLA AUD Gabriel Fries-Briggs
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THE “X” Core Studio | Fall 2014 UCLA AUD Katy Barkan
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LIGHT MUSEUM Core Studio | Winter 2014 UCLA AUD Steven Christensen
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GIS GRAPHIC DESIGN ART
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BOSTON CITY HALL PLAZA Core Studio | Fall 2016 Silvia Benedito Danielle Choi
Boston City Hall Plaza is being studied through different levels in the city through the sculpting of the surfaces. Its surfaces was then being reimagined through tactical and precise cuts and fills of landforms. The main concept of this project is to reprogram the City Hall Plaza into a playful space. Other than the suggestive curves that convey a sense of playfulness, the smaller spaces created by the curves allow visitors to engage in several activities during the year. Large public space in the center allow for a larger scale event, where as the smaller niches allow for smaller, more intimate events. There are 3 main circulation leading from Cambride Street in and through the site. The first circulation serves as bypass route for people to faster get to the other end of the plaza. Nonetheless, this bypass route also allow visitors to observe the activities on the plaza level. The second circulation is a zig-zag route that allows visitors to easily access the plaza right from Cambridge Street. The third circulation caters to the City Hall employees and visitors as it provides a direct route to the City Hall.
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L PLAZA
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Section A-A BOSTON'S CITY HALL PLAZA
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SECTION A-A JENJIRA HOLMES
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BOSTON'S CITY HALL PLAZA BOSTON'S CITY HALL PLAZA
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SECTION A-A SECTION JENJIRA HOLMESB-B
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JENJIRA HOLMES
Cambridge Street Main Sunken Plaza
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OPEN COURTYARD Core Studio | Fall 2016 | Harvard GSD Silvia Benedito Danielle Choi
The foundational landscape elements such as circulation, canopy, surfaces and solar radiation/shadows are being tested in the Open Courtyard project. Through overlaying the elements, different spatial possibilities and configurations of these elements are created, leading to the formation of spaces It is assumed that this Open Courtyard is enveloped by a school complex where students rush from one class to another. Keeping that in mind, the project seeks to explore the circulation system that allows the students to quickly get to class, as well as a break/lunch time leisure space. The hierarchy of paths can be distinguished by its size and pavement materials. The major path is the widest, making from steady manufactured stone blocks, where as minor paths are smaller in size and made from more natural materials such as a mixture of grass and pebbles.
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Circulation
Canopies
Surfaces/Materials
Shadow Study at 11 AM
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SECTION A-A JENJIRA HOLMES
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RIVERFRONT PARK Core Studio | Fall 2016 | Harvard GSD Silvia Benedito Gareth Doherty
The Riverfront Park addresses the threshold between the river and the city, water and land, solid and aqueous. The main concept of this project is to create small microclimate environment within a park. I approached this project by creating multiple sunken gardens, with different paving materials, as well as different planting species. The underlying shape of the sunken gardens arises from the city grid and street routes from Harvard Square. There are opportunity for visitors to experience the river’s edge because parts of the park are built immersed under the water, with steps leading down to it.
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DRIVE
OLF
MEMORIAL +7.0
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RIVER +3.0
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CANOPIES EXISTING TREES
ADDED TREES
LINEAR PARK : THE SERRATED EDGE
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PLAN
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160ft.
SCALE: 1”=80-0’
JENJIRA HOLMES
Quercus rubra (existing tree) +0.0
0.5’ thick Concrete paving (Pour in place)
ASPHALT SURFACE ASPHALT BINDER AGGREGATE BASE COURSE
STREET LEVEL = PEDESTRAIN LEVEL
3” thick mulch
Precast Concrete Steps 1.5’ THICK CONCRETE BASE PEBBLES
-0.5
MEMORIAL DRIVE -2.0
planting soil structural soil drainage pipe tied to storm sewer prepared subgrade
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LAN ES E L ANE
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PEBBLES
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EXISTING CANOPIES: 0
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ADDED CANOPIES:
MATERIALS
40ft.
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QUERCUS RUBRA
PLATANUS OCCIDENTALIS
EXISTING CANOPIES:
CORNUS FLORIDA
->
PEBBLES
NYSSA SYLVATICA
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STONE PANELS
ADDED CANOPIES:
MATERIALS
BETULA PAPYRIFERA QUERCUS RUBRA
CORNUS FLORIDA
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PLATANUS OCCIDENTALIS
NYSSA SYLVATICA
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BETULA PAPYRIFERA
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WOOD PANELS PEBBLES
METASEQUOIA GLYPTOSTROBOIDES -> CONCRETE STONE PANELS
STONE BLOCKS WOOD PANELS
SAND
METASEQUOIA GLYPTOSTROBOIDES -> CONCRETE
STONE BLOCKS
SAND
LINEAR PARK : THE SERRATED EDGE
FOCUS PLAN (2)
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40ft.
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INEAR PARK : THE SERRATED EDGE
OCUS PLAN (2)
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40ft.
SCALE: 1”=20-0’ betula papyrifera (added tree)
Platanus occidentalis (existing tree)
SAND -3.0 MULCH
WOOD PANELS -4.0
STONE BLOCKS -3.5
Concrete Steps 1.5’ Tread, 0.5’ Riser
STONE PANELS -8.0
water -9.0
CHARLES RIVER
silt
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L DRIVE
MEMORIA
LINEAR PARK : THE SERRATED EDGE
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EDGE PLAN (2)
80ft.
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SCALE: 1”=40-0’
RIVER CHARLES Housing
Concrete Pavers (1.5’ x 0.5’)
ASPHALT SURFACE
Concrete Steps 1.5’ Tread, 0.5’ Riser
ASPHALT BINDER
Aggregate in Openings
Concrete Steps 1.5’ Tread, 0.5’ Riser
0.5’ thick Concrete paving
AGGREGATE BASE COURSE
+0.0
-5.0
Housing Base
1.5’ thick concrete base
0.5’ thick Concrete paving -8.5
1.5’ thick concrete base
water
Soil Subgrade
EDGE SECTION (2)
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30ft.
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Concrete Pavers (1.5’ x 0.5’)
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Concrete Steps 1.5’ Tread, 0.5’ Riser
0.5’ thick Concrete paving (Pour in place)
CH Aggregate in Openings
metasequoia glyptostroboides
+0.0
1.5’ thick concrete base Mulch
-5.0
drainage pipe tied to storm sewer prepared subgrade
EDGE DETAIL SECTION (2)
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Grass
Concrete Pavers (1.5’ x 0.5’)
ASPHALT SURFACE ASPHALT BINDER
Aggregate in Openings +0.0
AGGREGATE BASE COURSE
concrete paving
pebbles -2.0
1.5’ thick concrete base -4.5
Wood panels
Concrete Steps 1.5’ Tread, 0.5’ Riser -4.5
water
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WE EK S
BR I
Soil Subgrade
EDGE SECTION (3)
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30ft.
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ASPHALT SURFACE ASPHALT BINDER Precast Concrete Steps 1.5’ Tread, 0.5’ Riser
AGGREGATE BASE COURSE
STREET LEVEL = PEDESTRAIN LEVEL
Pebbles
1.5’ thick concrete base
+0.0 -2.0
Soil Subgrade
EDGE DETAIL SECTION (3)
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2
4
SCALE: 1/4”=1-0’
8ft.
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SHREWSBURY INTERNATIONAL SCHOOL NANSHA, GUANGZHOU, CHINA Professional Experience Decembern 2015 - August 2016
Before going to graduate school, I worked in a real estate firm in Bangkok, Thailand called City Realty. Their main projects include hotels (Chatrium Hotels), condominium, shopping malls and international schools. They open a really successful international school in Bangkok called Shrewsbury International School in 2003 and they decided to branch off internationally to countries like Hong Kong and China. I had a chance to work on their China project, where the form and concept were based of many Chinese traditional patterns and beliefs. My role in this project include attending meetings with teachers and headmaster, attending meeting with Chinese LDI, design dormitory and classroom layout to meet the required floor area, modeled the whole school campus on Rhino and rendered in Lumion.
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PIXELATED HEAT Tech | Winter 2015 | UCLA Gabriel Fries-Briggs (Project in collaboration with Stephanie Lu, Beck Fray, Vivian Liu, Danielle Swenson, Ives Brown)
This project focuses on the materialization of the thermal dynaics of an original drawing on the early 20th century bathroom and plumbing systems by Adolf Loos. The project began with a thorough analyzation of the drawing, by looking at the temperature and pressure at each point on the pipes. The system was then arised from the amount of heat and cool particles that are transferred throughout the wall within the pipes at a given point. Heat (the unseen) is translated into a 2D drawing and a 3D model.
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A drawing based on Adolf Loos’ front elevated plumb drawing. The drawing essentially analyzes what were inside the wall in the early 20th century house.
We selected a small selection of our first drawing and decided to focus on this section for the rest of the quarter.
From a small section of the drawing, we came up with a system to translate the heat transfer within a drawing to 3D processes. This system is based is based off a pixel within an image or a dpi. The areas with more heat transfer will have darker pixels, whereas an area with lighter pixel colors will have less heat transfer (cooler temperature).
Method: Highest temperature has shoerter pins whereas coolest temperature has longer pins. The graident between the highest pins to the lowest pins also show the amount of heat transfer from the hottest point to the lowest point. The pins are made from wooden pegs and the heated material is an acrylic sheet. Heat is applied with a hand gun because it gives a more exaggerated result than using a vacuum forming machine.
Heat diagram is translated into panels, each with different heating characteristics.
After the acrylic sheet is heated according to the method mentioned previously, the acrylic sheet is flipped, having the opposite side facing up. Plaster is poured in to get the negatives from the acrylic sheet.
A drawing showing different layers of heat transfer. 1. Coolest (less heat transfer) 2. Cool 4. Hottest (more heat transfer) 5. All layers of heat transfer
A drawing showing the gradients/slopes based on the experimental piece above. 3. Warmer
End Result: Because we need to build a final wall with a height of 4 feet by 8 feet, we have to omit plaster (too heavy) and resin (too expensive), and use foam instead. Our wall was made from 32 square panels (1 feet by 1 feet/ panel). The area with large differences in gradients has more heat transfer. 13
THE ‘X’ Core Studio | Fall 2014 | UCLA Katy Barkan
This studio focus on the design of a single family residence that consists of two distinct sectors; the living (private) and the working (public) sector. The two distinct program requires both separation and accessibility between one another. In order to solve the spatial problem, the project is focused on the moments that the 2 bars crossed. It focuses on inhabiting the two bars in such a way that the crossing area is one single uninterrupted volume. To achieve this, I looked at the circulation and make sure that it is straightforward and that it suppors the reading of the project. The experience one can get after entering through the entrance is a beautiful crossing, This approach then allow for the different sector of the house to be connected as a whole, as well as creating some privacy for the individual program to function. The shape of an X, created when two bars crossed one another, is an important concept of this project. The shape of an X allows the different variations of 2-in-1 to be created. These different variations act as the fundamental principles for the distributions of the program, as well as its circulation within the two bars.
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A diagram showing possible public and private spaces from overlaping two bars.
This is the site plan. The site is located in the corner of the street which plays a role in this design. Since the majority of the site is surrounded by other buildings, the design of the building comprises of numerous window panels allowing in as much day light as possible.
1st Floor
2nd Floor
3rd Floor
The main entrance is connected to the public space where anyone can access. As a person proceeds toward a larger space, a person has an option of either turn left/right into a private space or continue towards a medium-sized space which is a public space.
Medium Large
Small
Entrace
A section showing occupancy inside the building. The public area acts as a learning space/ classroom and workshop for students.
There is a change in spaces from small to large then medium as one progresses from the entrance to the back of the building.
4.
3. Open to below
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3rd Floor
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Program 1. Workspace 2. Personal Office 3. Bedroom 4. Bathroom 5. Living Room & Kitchen 6. Outdoor Workshop 7. Parking 8. Garden
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2nd Floor
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1st Floor
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LIGHT MUSEUM Core Studio | Winter 2014 | UCLA Steven Christensen
The goal of this project is to produce an annex in response to LACMA’s needs to increase its floor spaces. The design started off with an intensive geometrical explorations between a box and 2 intersecting irregular geometries in order to find interesting spcaes within the intersections. The intersections of the two geometries influences the directions of circulation which is a shape of an X.
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Site Plan
Section
Study Models
X shaped circulation within the building made by 2 lines crossing each other. One line is drawn from one entrance to the other. The other line is drawn from the main window to the main staircase, 9forming the main circulation.
Gallery Spaces
Gallery Spaces Open to Below Open to Below Gallery Spaces
Open to Below
4th Floor
3rd Floor
Sculpture Garden
Book Store
Book Store Services & Mechanic
Gallery Spaces
Ticketing Offices Gallery Spaces
Loading Dock
Cafe
2nd Floor
Temporary Storage & Shop
Restroom
1st Floor
PANTHEONOMES Tech | Fall 2013 | UCLA Mohamed Sharif The main concept of this project is to analyze the original drawing of the 2D plan geometries of the Pantheon in Rome. A 3D object is developed from the found geometries in the plan. The project aims at producing a representation of a 3D object using projection line.
PLANTING DESIGN Tech | Fall 2016 | Harvard GSD Rosetta Elkin This course engaged in the study of plant growth, by treating the plants as a dynamic subject through prediction of form, intentional manipulation and movements, effecting by the surrounding envionment and climage 5
40
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SLOPE
PAVEMENT
COURTYARD
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25ft.
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SLOPE
PAVEMENT
COURTYARD
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Juniperus Virginiana/ Eastern RedCedar Generic Silhouette
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Juniperus Virginiana/ Eastern RedCedar influenced form, observed at mt.auburn cemetery 0M
CHARACTERISTICS: MAX. SIZE; 50’ X 20’ MEDIUM GROWTH RATE; 13-24” PER YEAR FULL SUN, WITHSTAND OCCASIONAL DROUGHT/FLOODINGS DEEP ROOTS
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FIELD CONDITION: E.REDCEDAR PLANTED IN BLOCKS TO ACHIEVE ITS SCREENING PROPERTY 10M
Witch-Hazel
Year Year 2020
Witch-Hazel Witch-Hazel Eastern RedCedar Eastern RedCedar London Plane Tree London Plane Tree
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Eastern RedCedar Eastern RedCedar London Plane Tree London Plane Tree Dawn Redwood
Eastern RedCedar London Plane Tree
Dawn Redwood
Eastern RedCedar London Plane Tree Dawn RedwoodLondon RedCedar
KEY: Eastern
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KEY: Plane Tree
6m 6m
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Contours at 0.25 ft
6m
Year 20
witch-hazel 3m x 2m
london plane tree 10m x 9m
Eastern redcedar 4.5m x 4m
dawn redwood 12m x 9m
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GIS A mapping project from a GIS class at UCLA. I customized the color of the map through basic computer programming, as well as adding links and clickable pop-ups.
A mapping project I made during my internship at the City of Santa Monica. I had to visit Santa Monica’s 28 parks and document parks amenities/infrastructures such as location of benches, water fountains using a smartphone application called Collective (by ESRI). The collected data is then used to create a user friendly and interactive map that accurately show the location of park amenities. The web map is created from scratch, using HTML, CSS, JavaScript, jQuery and ArcGIS plug-in.
GIS A map illustrating the relationship between population in 10 most populated cities in Los Angeles County. This proves that in population densed city (but not necessary large area per square mile) has higher transportation linkages (ie. train stations) and denser transportation network. AR
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LOS ANGELES
1. LOS ANGELES POPULATION: 4,010,000 AREA: 503 sq mi POP.DENSITY: 8,282/sq mi
500,000 LONG BEACH
2. LONG BEACH POPULATION: 470,000 AREA: 51.437 sq mi POP.DENSITY: 9,000/sq mi
400,000 200,000
4. SANTA CLARITA POPULATION: 177,000 AREA: 64.4 sq mi POP DENSITY: 3,400/sq mi 3. GLENDALE POPULATION: 192,000 AREA: 30.583 sq mi POP DENSITY: 6,300/sq mi
GLENDALE
SANTA CLARITA
5. LANCASTER POPULATION: 157,000 AREA: 94.547 sq mi POP DENSITY: 1,700/sq mi
LANCASTER
6. PALMDALE POPULATION: 153,000 AREA: 106.216 sq mi POP DENSITY: 1,400/sq mi
PALMDALE 150,000
POMONA
TORRANCE
7. POMONA POPULATION: 150,000 AREA: 22.964 sq mi POP DENSITY: 6,500/sq mi PASADENA
8. TORRANCE POPULATION: 146,000 AREA: 20.553 sq mi POP.DENSITY: 7,100/sq mi
KEY: RAILROADS EL MONTE
MAIN STREETS HIGHWAYS COASTAL PORTS
9. PASADENA POPULATION: 138,000 AREA: 23.128 sq mi POP.DENSITY: 5,900/sq mi
AIRPORTS
100,000
10. EL MONTE POPULATION: 114,000 AREA: 9.648 sq mi POP.DENSITY: 12,000/sq mi
POPULATION
TRANSPORTATION SYSTEMS IN 10 MOST POPULATED LOS ANGELES CITIES POPULATION X TRANSPORTATION LINKAGES
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GRAPHIC DESIGN
SCULPTURE
PAINTING
PAINTING
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DRAWING
DRAWING
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PHOTOGRAPHY Tree of Heaven
(in collaboration with Amanda Martina Walker) Tuesday 5:40 - 6:30 AM; Our initial thoughts of being on the site at night was the absence of borders that differentiated space - the street, sidewalk, grass, dirt and water. Evidence of what surrounded us came through blinking traffic lights, the cars that swept by and the reflections of illuminated windows in the river. Without these indications of movement and life, the space would have seemed desolate, and the river that cut through the city would have appeared to be nothing but an empty void of darkness. In making our way along the Charles, we found ourselves dependent upon the silhouettes of plants that lined the riverbank to indicate the change between land and water. In doing so, we began to appreciate the two-dimensional object that was present only due to the absence of light — causing the plant, something three-dimensional, to be transformed into an abstract figure. The reduction of an object from the three-dimensional to the two-dimensional placed an emphasis on one layer and one plane – giving superiority to the urban context that dominated the space with its flashing lights and high rise structures; thereby, diminishing the quiet and the still – the naturally occurring – inhabitants of the area (the plant). In making this observation, we attempted to capture the plant as it was found; however, creating a new perspective that gave what is overlooked a character of monumentality. We accomplished this by: placing the plant at the center of the composition; selectively increasing the saturation and exposure of its individual leaves; and sharpening its edges to increase clarity. Once we gave the plant a more prominent presence, we worked to lessen the vibrancy and power of the city behind it: dimming the sky and ground to create a frame that further focused the eye onto the plant; and neutralizing the overpowering colors reflected in the river by traces of human life. The final product is a new take on how one views and experiences the space. Through our efforts, we have forced our viewers to notice the plant presented, and caused them to question how objects are valued on a site.
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jholmes@gsd.harvard.edu (310) 383 5413