selected works
JENNIFER CHAPMAN
01 gucci gucci
02 field conditions
04 incomplete volumes
05 intersections
03 fine grids
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GUCCI GUCCI
Luxury Mat Housing on Rodeo Drive
C AL POLY POMONA DE GR EE P ROJECT S PRING 2014 C RITIC: A LEX PA NG This project consists of twenty ultra-luxury mixed-use residences packed together to fill up the three hundred block of Rodeo Drive. The block uses a tripartite scheme to stratify privacy: the ground floor consists of twelve boutiques (Prada, Versace, etc.) separated by street entrances to the residences above. The second floor houses a “mixing chamber” of retail, residential, and vehicular. The upper levels are strictly residential – each house a suite of display and living spaces developed as a raumplan and flanking a massive pool ‘spine’ that unifies the block. We are consumers. To exhibit our possessions is to curate our image1. As our cultural compulsion to collect continues, display sometimes supercedes traditional housing program. This project fetishizes display through an investigation of poche. Historically, poche occurs through the thickening of walls to create space for subtractive niches. But, this project reimagines the traditional figure and ground reading in favor of ambiguous double-sided sectional contours. Sometimes, one side of the poche offers display and the other side is living space. And then the relationship inverts. Each space flows seamlessly into the next, eroding any concrete transition between solid and void, interior and exterior, living and display. The poche is generated as a sectional extrusion through a mat building, which has been abstracted through a series of inversions and crops. Traditionally a low-rise and high-density typology, mat schemes have roots in old Islamic cities. But contemporary projects, such as OMA’s Nexus World Housing and SANAA’s Eda Apartments reiterate the continued relevance of this model in dealing with contemporary housing issues. Both old and new versions, however, trend toward a plan extrusion courtyard scheme seeking maximum privacy, lighting, flexibility, economy, and density2. By inverting the mat scheme and developing it through section rather than plan, this project investigates whether the benefits of mat housing can be retained while amplifying architectural articulation, individuation, and poche.
1 Baudrillard, Jean. “The System of Collecting.” The Cultures of Collecting. Trans. Roger Cardinal. Ed. Roger Cardinal and John Eisner. Cambridge: Harvard UP, 1994. 7-24. 2 Smithson, Alison. “How to Recognize and Read Mat-Building.” Architectural Design Sept. 1974
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POOL MIXING CHAMBER
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POOL
(Top) Cleaving the pool in two, a ramp conveys a lipsmacking red Ferrari up in to your living-side showroom. (Right) Diagrammatic breakdown of overall building program and unit orientation. POOL
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G-UNIT (Top) Deep pools; shallow pools; aquariums; plunge baths. The water is a false datum. (Left) Plan and elevation interrupted by water datum. +33’6” POOL
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(Top) If you share an address with Prada, your house ought to be a closet with a few living spaces crammed in. (Right) Sections developed both as figure/ground and double sided contours. POOL
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FIELD CONDITIONS
Soccer Stadium on the Cal Poly Pomona Campus
C AL POLY POMONA PRE C A ST CON CRETE TOPIC ST U DIO S PRING 2014 C RITIC: A XEL PRI TCHAR D- SCHM IT Z BE RG E R In C o l laboration with Ju a n Sa l a z a r a n d Sel in a Edel Selected for Interim Exhibition In order to highlight precast concrete as both material and structure, the stadium was conceived of as a field of concrete columns that define stadium boundaries, bear dead loads, and create a rippling, shifting elevation. The field is interrupted twice: first, by the thin roof line plunging downwards to form stadium seating and second, by the ground reaching up to become a cone of public program. The columns, though equally spaced around two intersecting grids, change in size depending on the weight of the loads above. Cal Poly Pomona, unlike most universities, has developed its campus as a landscape plan. Therefore, the stadium needed to rest gently, for all its bulk, on its surrounding grass field. The ground plane becomes an extension of the field, uninterrupted by exterior walls, providing niches for retail, cafe, and tailgating. Likewise, the stadium never touches the ground plane, it hovers leaving constant visual connection between the public and the arena. The stadium is stratified sectionally to separate public and VIP areas. The VIP lounges are nestled within the roof structure, accessed by glass spiral stairs, while the public enters the stadium on the ground level. All athletic facilities are located underneath the base of the cone, which leads directly out on to the field not ensure privacy. The cone ramp, connected to all three levels, boasts restaurant, gallery, sports lounge, and classrooms accessible to athletes, the public, and VIPs alike.
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GROUND LEVEL (Top) The open public ground level, an extension of the surrounding field, gently undulates up and down and provides immediate visual and physical access to the stadium entrance. The ground levels hosts cafes, retail, tailgating area, auditorium, and restrooms.
1 Playing Field 2 Tailgating Area 3 Restrooms 4 Multipurpose Space 5 Retail 6 Storage 7 Seating 8 Concourse 9 Entrance Cone 10 Open Seating Space 11 Kitchen Fan Restaurant 12 Light Well
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1 Playing Field 2 Restrooms 3 Storage 4 Kitchen 5 Dining Space 6 Bar 7 Lounge Space 8 Double-Height Space 9 Open Seating Space 10 Viewpoint Space 11 Light Well
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PLAN - STADIUM - VIP LOUNGE AND RESTAURANT (52') SCALE 1/64'' = 1'- 0''
VIP LEVEL (Top) The VIP Level, nestled within the structure of the roof, consists of an inner ring of arena-side boxes/patios and an outer ring of bars, cafes, and sports lounges. (Left) Larger plan views of both ground level and VIP deck retail.
PRECAST SYSTEM (Top) Excepting the steel truss roofing system, the entire structural system and building skin are precast concrete. (Right) Skin, tribune, floor, and roof system details.
CONE (Top) The cone, structurally supported by an inner and outer precast diagram rings, hosts a large spiralling ramp of cafes, exhibits, and lounges, accessible to the public at any time. The void creates a light well, illuminating the athletic facilities below. (Right) Exploded axonometric of cone system.
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FINE GRIDS
Live/Work Studios in Cincinatti’s Brewery District
C AL POLY POMONA C O M PETI TI ON-BA SED TOPIC ST U DIO FALL 2012 C RITIC: SA RA H LORE NZE N In C o l laboration with Bea u Sizem ore Selected for Interim Exhibition The design of this LIVE • MAKE Center is a study of grids and modules: the city grid, the existing warehouse grid, a housing module, and a skin module. Each of these grids and modules have their own dimensional requirement, proportional system, and history. Taken all together they form a dense field, a moires, that(while geometric and fixed) had the capability of producing a complex and irregular environment. According to Stan Allen this combination of fields creates a “thickening and intensification of experience at specific moments...: In G6 we saw an opportunity to respond to the existing context through geometry and to create a rich and varied experience for its residents. Likewise, we sought to draw the public up through an elevated street grid made up of major and minor circulation paths to connect them with the integrated LIVE • MAKE housing complex Cincinnati’s orthogonal city plan developed parallel to the adjacent Ohio River. The grid consists of a regular rhythm of wide streets separated along their lengths by two city blocks; smaller alleys separate the back-to-back blocks, each block is broken down into a two by four lot grid. The existing warehouse grid remains in the form of the hypostyle 20’x16’ column grid that makes up the first two levels. Each housing unit consists of five housing modules: living, kitchen, bedroom, courtyard, and mixed use. Each unit works as one piece of a tetris puzzle to create different unit configurations. A secondary grid overlaid on the primary housing grid was used to develop a series of void spaces within each unit.
PROCESS DIAGRAM (Top L-R, Bottom L-R) Housing module grid, existing warehouse column grid, extension of the hillside, and industrial studio grid; Boolean subtraction of the hillside from industrial volumes; Light wells (in orange) and circulation shafts (pink), thread all three spaces; Housing modules form jigsaw puzzle around boolean; Interior topography is interrupted by polycarb light wells; Ground imprinted to create courtyards.
INDUSTRIAL 1/2 Ground level holds industrial studios surrounding open courtyards and outdoor work areas. Each industrial space has immediate access to parking and delivery. Level one is an extension of the street up into the existing hillside, pierced by polycarb light wells that divides it into cafe, brewery museum, rotating exhibit, outdoor patios overlooking work yards, and research library.
RESIDENTIAL 3/4 23 units, consisting of 6 modules (kitchen, living, dining, bed, studio, outdoor) and spanning two stories, jigsaw together access via circulation towers. Light wells thrust upwards carving away at the modules. The boolean operation leaves bizarre leftover pieces that are snatched up by surrounding units. Each unit is differentiated.
UNIT Q (Top) Axonometric of unit and surrounding jigsaw pieces. (Right) Catalogue of each differentiated unit.
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SECTION 1/2 A light well and circulation tower intersect carving away from the housing above. The internal topography, sloping upwards, allows for below grade industrial studios, shipping and receiving, and tool rental.This section, taken closest to the highest point of the hill, provides double-height industrial studios, while pinching the public gallery space above.
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INCOMPLETE VOLUMES Ravine House in Mount Baldy
C AL POLY POMONA S Y NTH ESIS STUD IO FALL 2011 C RITIC: A LEX PA NG Selected for Interim Exhibition Designed as a small retreat for a Japanese filmaker, this house straddles a ravine in the hills of Mount Baldy. The ravine funnels storm runoff down the mountain, which often rises to a depth of five feet. Major views surround the lot and a hiking trail cuts through the property. The program consists of a combined kitchen and living area, a bedroom, a bathroom, and outdoor space. Owing to the minimal amount of program required, this project explored diagram as a basis for programmatic and architectural agendas. Inserting a single curve within an intial volume became the basis for a dialogue between internal private circulation and the hiker’s passage. Each path follows the curve, crossing over one another, compressing and releasing the inhabitant as they proceed. The two masses, dissected by an overlaid grid, become a series of smaller, intersecting, incomplete volumes that carefully hide and reveal both views and people.
S E PA R AT I O N (Top) The facade is a simple polcarb skin the wraps the house providing a shadowy illusions to the other side of wall. Illuminated from within at night, the polycarb facade becomes a glowing lantern. (Right) Construction documents - plan view.
POLYCARB PANELS (TYP.)
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STRUCTURE (Top) Concrete walls extend from the ground and meet up with wood framing. The curving wall takes the majority of the load as the living spaces cantilever out into the view. (Left) Process photos of 1” = 1’-0” model production.
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PARAPET TOP OF PARAPET 4511'-0" TOP OF ROOF 4510'-0" BOTTOM OF BEAMS 4508'-10"
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STEEL REINFORCED CONCRETE FOOTING BOTTOM OF FOOTING 4478'-0"
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LONGITUDINAL SECTION The minor datum, where the two structural systems meet, blur the line between house and context.
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TRANSVERSE SECTION The outdoor spaces carve into the interior living space, whic hovers over the ravine.
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INTERSECTIONS Elementary School in Koreatown
C AL POLY POMONA S Y NTH ESIS STUD IO S PRING 2012 C RITIC: D ENNIS MCFADDE N Selected for Interim Exhibition The goal with this project was to encourage social collision amongst students through the development of circulation spaces that double as hubs for play, quiet reading, and group work. The project was thus organized around a series of linear woven paths that crisscross and intersect the schools main functions. Likewise, it was important to develop a classroom that reflected its environment, therefore, i endeavored to develop double-oriented classrooms that opened out onto patios or green spaces and that allowed ample natural ventilation and light to flood the space. I chose to structure this project with a combination of heavy timber and wood-clad steel plate columns to provide a sense of warmth within the school confines, while maintaining structural integrity. Furthermore, because my project tended towards a horizontal planar configuration, I employed the facade to return a verticality and rootedness to the building, while responding to environmental and functional requirements within the space.
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GROUND LEVEL (Top) The ground floor holds the main administrative offices, K-2 and special needs classrooms. The central cafeteria and auditorium, spill out into classroom patio and play spaces, anchoring the campus. (Right) Exploded axonometric showing gluelam structural system.
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LEVEL ONE (Top) The main level of the library intersects the third and fourth grade classrooms threaded together through multiple outdoor areas. A walkway connecting the second level to the ground carves through the auditorium, providing a campus outlook and gathering space.
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LEVEL TWO (Top) Fifth and sixth grade classrooms connect immediately to the library’s bridge reading room. Bookshelves operate as a facade system - books with spines facing in - changing as books get checked out and returned.
SECTION 1/2 (Top) Transverse and longitudinal sections show major and minor datum lines as volumes intersect one another. (Right) Key wall details for glulam timber roof, floor plates, beams, and columns. To account for shear and pullout, bolts were thickened and multiplied for maximum redundancy.
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FINISH FLOOR 12’-4.5”
PROTO-PROJECT Experimenting with layered vellum through stacking, shifting, pressing, squeezing, taping, fanning, and gravity.
JENNIFER CHAPMAN
E D U C AT I O N 2009-2014 | California State Polytechnic University at Pomona | College of Environmental Design | Bachelor’s of Architecture Degree | Summa Cum Laude 2007-2009 | Santa Barbara City College | Liberal Arts A.A. Degree 2008 | Study Abroad Experience | Cambridge Program | UK
360 / 286 / 6295
2004-2006 | Brooks Institute | Photography Major
JENMCHAPMAN@HOTMAIL.COM
EMPLOYMENT
237 West Second Street San Dimas, CA 91773
2014 - Current | Lawson Design Studio | Freelance | Bainbridge Island, WA 2D Drafting, 3D Modelling, and Rendering | Multiple Projects 2013 | Marmol Radziner and Associates | Summer Internship | Santa Monica, CA 3D Modelling, Rendering, and Specifications | Multiple Projects AWA R D S 2014 | AIA Certificate of Merit 2014 | LABC Julius Shulman Emerging Talent Design Award | Honorable Mention 2013 | Outstanding 4th Year Architecture Student Award | Cal Poly Pomona Department of Architecture 2009-2014 | President’s Honor List | Cal Poly Pomona 2009-2014 | INTERIM Exhibition | Cal Poly Pomona - Department of Architecture | Project Featured Multiple Quarters 2009 | Outstanding 1st Year Architecture Student Award | Cal Poly Pomona Department of Architecture 2009 | Certificate of Achievement: Student Voices | Santa Barbara City College | Published Essay I N V O LV E M E N T 2014 | AIAS | Member 2013 | Docent | Neutra VDL House | Silverlake, CA 2013 | Architecture Theory Teaching Assistant | Supervising Professor: Alexander Ortenberg 2013 | Architecture Studio Teaching Assistant | Supervising Professor: Alex Pang SKILLS
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