2013 - 2014
SELECTED WORKS
JHORDAN CHANNER CARIBBEAN SCHOOL OF ARCHITECTURE
JHORDAN CHANNER BE.NET/JHORDAN JHORDAN.CHANNER@GMAIL.COM 876-299-7033
RESUME OBJECTIVE To participate in a creative and collaborative environment that may utilize my design, drafting or presentation skills. I hope to grow in experience and learn from the various leaders in the industry to move towards my goal of becoming registered as an Architect. 1
EDUCATION 2010 - Present 2007 - 2009 2002 - 2007
Caribbean School of Architecture | University of Technology, Jamaica
Bachelors in Architectural Studies
Campion College
Associate Degree in General Studies.
Campion College
High School
WORK EXPERIENCE 2010 - Present
Church of St. Margaret, Liguanea - Measured Survey and Architectural Design
Re-designed lounge area for the Nursing home at the Church of St. Margaret
2007 - 2009
Definition X - Graphic Designer [freelance]
2002 - 2007
OLPC Jamaica - Graphic Designer [freelance]
Designed brand logo for upcoming fitness business.
Designed Jamaican Branch logo for the One Laptop Per Child charity.
MERITS 2013 - 2014 2007 - 2009
Top 10 finalist in UDC’s IDEAS competition.
Placed with my design of the Jamaica Music Museum in Downtown, Kingston
Top 7 works to be showcased at the Venice Biennial Placed with my design of Haulover Creek in Belize City, Belize
SKILLS [2D drafting] [3D modelling] [BIM] [presentation] [hand]
AutoCAD
Vectorworks
[other]
Sketchup
Rhino 3D
Vray [sketchup] Maxwell Render
Revit
ArchiCAD
Photoshop
Illustrator
InDesign
Drafting
Sketching
Modelling
Lumion
Public Speaking Music Production Spanish Diagraming Animation Graphic Design Pencil Crayon Sculpture
Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep
Charles-Édouard Jeanneret
COMMUNITY CENTRE
01 - 14
JAMAICA MUSIC MUSEUM
15 - 34
PUBLIC SPACES
35 - 40
Haulover Village
41 - 60
CASCO VIEJO, PANAMA
DOWNTOWN, KINGSTON
NCB TOWERS, MUSIC MUSEUM
BELIZE CITY, BELIZE
COMMUNITY CENTRE CASCO VIEJO, PANAMA
Casco Viejo stands as the cultural centre in Panama City. After attaining World Heritage status in 1998 the city experienced an economic boom fuelled by tourism. This manifested itself in the large number of renovation projects that emerged throughout the city. Since then, the city has grown as a tourist attraction housing a mixture of gourmet restaurants, hotels, shops and upscale residences.
The Community Centre seemed to be an appropriate response to a city under gentrification that finds itself segregated. On one side the residents who have lived there all their lives, living in the city cost free and on the other businesses who would seek to relocate them in an attempt to commercialize the city’s historical landmark status.
COMMUNITY CENTRE CASCO VIEJO
CONCEPT The challenge of this proposal was to unite the opposing social forces existing in the city. The symbology of the ‘Oroborus’ worked as the conceptual framework to create this architecture. It represents constant rebirth that reflects upon the eternal cycle of life and death. It also reflects on the necessary yet dichotomous relationship between opposites. The social issues that face the city involves the destruction of the lifestyles of its residents by foreign entities that have integrated themselves into their culture. To co-exist these two forces must learn to accept their differences and create new life in the city. The architecture is to create a meeting ground to promote cultural exchange and reflect an atmosphere of rebirth.
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COMMUNITY CENTRE CASCO VIEJO
Plaza Cathedral The proposal is situated in Plaza de Cathedral in the historic Spanish city of Casco Viejo, a World Heritage Site. The plaza is the focal point of the city and sees the highest concentration of commercial and cultural activity throughout the day. The opportunity exists to create architecture that takes advantage of this social hub to promote cultural exchange between tourists, residents and even the policy-makers.
CONTEXTUAL ANALYSIS
This involves analyzing the Forces, Edges and Memory of the context to generate design strategies. This ‘FEM’ process was integral in the initial stages of site planning as it helped to draw inspiration from the site itself. FORCES
EDGES
MEMORY
CIRCULATION
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The negative space between the building masses that surround the site form the initial mass for the community centre. The height of the mass therefore responds directly to its immediate context at 3 levels.
A portion off the mass was removed in a stepped fashion to allow light and ventilation at each level. It also serves to release the pressure that the buildings along Avenida B exert on the proposal due to their close proximity.
The mass follow the torque of the forces on site forces as it spirals in hierarchy.
The building is detailed to allow for transparency and openness. Light and ventilation enters at each level.
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GROUND FLOOR PLAN 1. Entry Hall 2. Exhibition Hall 3. Reception
4. Kitchenette 5. Legal Aid 6. Counselling
7. Administration 8. Bathrooms 9. Mechanical Room
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2.
FIRST FLOOR PLAN 1. Classroom 2. Meeting Room
3. Children’s Classroom 4. Rooftop Lounge
5. Computer Lab 6. Lightwell
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GROUND FLOOR PLAN 1. T 2. Manager’s Residence 3. Rooftop Garden
4. Crisis Residence
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COMMUNITY CENTRE CASCO VIEJO
SOUTH ELEVATION
11 -12
NORTH ELEVATION
COMMUNITY CENTRE CASCO VIEJO
Aluminum Railing
300mm Concrete Roof Slab 150mm Concrete Wall with Brick Cladding
LONGITUDINAL SECTION
13 -1 4
500mm Reinforced Concrete Beam Aluminium Operable Louvre System
JAMAICA MUSIC MUSEUM DOWNTOWN, KINGSTON
The problem stated is to create space that would showcase the significance of music to Jamaican culture. The master plan to revitalize Downtown, Kingston envisions Parade Square as the centre for culture, recreation and economic activity. This proposal for the Jamaica Music Museum seeks to immortalize the rhythms of our music, it is a point of reference that seeks to inspire the populous with our rich musical history.
JAMAICA MUSIC MUSEUM DOWNTOWN KINGSTON CONTEXT The influence of the Ward Theatre has given the context a strong cultural footing. This rationalizes the idea of a Music Museum at this site. If culture thrives on community then this site definitely provides for culture. St. Williams Grant Park to the South acts as the node for Parade Square, it generates community and relates directly to the proposed site. The Simon Bolivar Cultural Centre another project constructed in the area gives precedent for the possibilities available in this context.
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The museum is placed in the context of the UDC’s proposed development of Parade Square. The site is located in the Downtown Kingston area, along Parade Square, it is wedged between the Ward Theatre and the Simon Bolivar Cultural Centre and faces St. Williams Grant Park.
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up
CHURCH STREET
LOVE LANE
up
up
PEDESTRIAN AND VEHICULAR CIRCULATION
up
up
up
NORTH PARADE
19 -2 0
1. The structure stood at 3 levels to relate to the building heights in context. There is a potential for strong views towards St. Williams Grand Park.
2. The movement along Kings Street and Church Street suggests a shear force that splits the building into two masses.
light
3. Masses were sloped to emphasize the direction of the shear forces and reduce the
heaviness of the building in context. There was opportunity for light to enter and for rainwater runoff.
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4. The ground level is excavated to open up pedestrian circulation along public walkway. This also gives site space back to the public.
5. Columns were added to support the suspended mass, and these were reminiscent of
porticos used in classical times to denote entrance. The building was then detailed to allow for light and ventilation.
Gallery 4
Temporary Gallery
Gallery 3
up
up
Gallery 1
up
Entrance
Gift Shop
up
GROUND FLOOR
up
up
Gallery 2
23 -24
up
Wall Exhibition
Gallery 4
up
Auditorium
up
FIRST FLOOR
up
up
up
Lobby
up
up
up
up
Admin.
Curator up
SECOND FLOOR
LOVE LANE
up
Education
2 5 -2 6
up
up up
CHURCH STREET
Archives
Storage Gallery
up
BASEMENT LEVEL
up
up
A/V Room
The atmosphere of the interior spaces drew inspiration from the cold, dark and ambient nature of dub music. The strong contrast between light and dark sought to give meaning and direction to the spaces and to create an experience analogous to strong bass and echoes of dub music.
The minimalism of the genre also inspired the layout of the programme. It was important to create a sense of journey throughout the building, so the floor plan was opened in each mass with vertical circulation leading occupants through the experience.
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Though functionally circulation follows a linear and hierarchal path, the experience of the journey is not so. Spaces are organized to overlook each other, the user can look back and experience spaces already traversed from a different outlook.
At the 3rd level the entire journey can be experienced from the perspective of one who has completed a metaphorical movement through the Jamaican musical history.
The Permanent Gallery showcases the artefacts and documents that reflect Jamaica’s musical heritage, each gallery is to represent specific periods in our musical history. The user walks through the galleries looking forward to the future and at the end of the journey can look back and observe where we have come from.
JAMAICA MUSIC MUSEUM DOWNTOWN KINGSTON
LONGITUDINAL SECTION through entrance Section shows how light enters the spaces.
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JAMAICA MUSIC MUSEUM DOWNTOWN KINGSTON
STREET ELEVATION
LONGITUDINAL SECTION through permanent gallery
33-34
PUBLIC SPACES
NCB TOWERS, JAMAICA MUSIC MUSEUM
The project sought to look at the logic behind spaces for public access. The initial part of the project involved a precedent study at the NCB Towers which focused on transition in and out of the public space. The final part of the project would apply the principles investigated in the precedent study to redesign the entrance for the Jamaica Music Museum project.
NCB Towers
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An aspect of the precedent study was an analysis of its barrier free features at the NCB towers. Ramps with appropriate railings allowed for disabled accessibility. However, the ramp/stair combination cannot functionally accommodate a railing, and as such, it may not be an effective solution for disabled access across the two towers.
70mm
45mm
2200mm
Barrier free features were measured against comfort standards to see if they effectively facilitate access. The dimensions of railings, the space between a railing and a wall, the width of a walkway and the height of informal seating on site were all analyzed and most seemed to be in accordance with the standards.
Points of access were analysed based on their effectiveness as thresholds to mediate between the inside and the outside.
C U T ST O NE PA V ER S The rough texture of the cut stone pavers allow for adequate wheelchair grip. Stones are laid flush with each other to not disrupt wheelchair movement.
C O N C RE TE B AS E / P L AN TE RS
G L A S S EN T RA N CE
A LU MI N UM R A L IN GS
T IM B ER L OU VR E S
The transparency of the glass curtain wall entrance pulls the outside in and the inside out mediating the two.
Aluminum railings allow for adequate grip for circulation up ramps and stairs.
The louvres provide shade in front of the gift shop and also creates a cafe space underneath.
R E D BR I CK P A VERS The red brick pavers are the main ground cover for the redeveloped parade area.
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GROUND FLOOR PLAN SCALE 1:50
R A I LI NG / P L A N T ER D E TA I L
S T E PS D ET A I L
39-40
S EC T IO N A - A SCALE 1:50
OVE R HE A D LO UV R E D ET A I L
D O U B L E D O O R D E T AI L
S EC T IO N B - B SCALE 1:50
Haulover Village BELIZE CITY, BELIZE
The duality of water to Belize City is important to its character. Historically as the generator of the city and now as an important part of its commerce the water shows incredible potential for the creation of life and activity. Inversely its destructive potential has caused the city to turn its back to the water. The concept revolves around reintroducing the city and the river, to mediate their strained relationship so it is not awkward for visitors to interact with the two without taking sides.
The site, bound by Haulover Creek and Northfront Street, is anchored by the Haulover Creek. While Northfront Street engages the site from the land, the water is generative and has the potential to activate the site, during the day as a village and engage its nightlife in the evenings. The process began by analyzing the access from the land and from the water.
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from WATER
from LAND Sketches try to rationalize material use and the atmosphere of the spaces. Special attention was paid to the thresholds at the different points of access.
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1. Building masses were placed to respond to the edges of the site, relating to the land, the water and the parking lot
2. The masses were raised, displaced and carved to allow for access onto the site from the land, the water and the parking lot. A bridge connects the two sides of the site.
3. The structure was detailed to allow for ventilation through the structures, views to the core of the site and also views to the water. Many of the details take precedent from the colonial architecture that defines the city.
HAULOVER VILLAGE BELIZE CITY, BELIZE
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The project asked for the designer to create a programme that would see Haulover Creek as the business, social and cultural hub in Belize City. The programme developed began with an Entrepreneurial Incubator and Design Studio that would be connected on either side of the site, this split the site into business and cultural zones. The idea of a theatre, a gallery and a hostel (for adventure tourists) grew out of the culture of the city.
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The zoning of the elements on site was important to the functionality of the spaces in the programme. To Northfront Street are the areas of the site activated in the day, here the Entrepreneurial Incubator deals with the business and administrative functionality on site. At Haulover Creek are the areas of the site activated in the night. The restaurant, bars and bistros as well as the Haulover Theatre and Gallery engages the night life.
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1. 2. 3. 4. 5.
Admin/Reception Business Cafe Conference/Expo Hall Bistro/Bar/Cafe Kiosks/Site Storage
GROUND FLOOR PLAN
1. 2. 3. 4. 5. 6. 7.
Office Spaces Office Lounge Archives Multimedia Room Kiosks/Site Storage Studio Spaces Hostel/Gallery Space
FIRST FLOOR PLAN
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1. Rooftop Bar
SECOND FLOOR PLAN
HAULOVER VILLAGE BELIZE CITY, BELIZE
The open space between the building masses provides areas for rest and social exchange. The courtyard is shaded by the buildings and the planting layout. The planting layout organizes itself with the proportions and aesthetic of the building. A formalistic design is implemented to emphasize the building’s modern style.
Haulover Theatre stands as the main cultural incubator on site, showcasing performances from Belizean artists as well as foreign performances to generate cultural exchange. The theatre produces income from scheduled performances and can be rented as a practice space.
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The Entrepreneurial Centre consists of rented office spaces for young startup businesses; it provides basic facilities for young entrepreneurs; meeting rooms, conference/expo centers, printing and photocopying services.
The bistros, bars and cafes relate directly to the boardwalk, they are the main income generators on the site.
HAULOVER VILLAGE BELIZE CITY, BELIZE
NORTHFRONT STREET ELEVATION
HAULOVER CREEK ELEVATION
5 7- 5 8
HAULOVER VILLAGE BELIZE CITY, BELIZE
300mm R ectangular Section Hollow Steel Beam.
15mm Cement Board.
60mm Concrete Topping with Steel Decking
300mm Light Guage Steel Joist. Fiberglass Batt. Insulation.
300mm Precast Hollowcore Slab.
350mm Steel S-Section I-beam.
Water Catchment Cistern.
500mm Pile Foundation.
LONGITUDINAL DETAIL SECTION
59-60 Q5 Vertical Wind Turbine.
Operable Aluminium Louvre Wall.
Roof Drain to Rainwater Catchment System. 200mm Steel Curved I-beam
Aluminium Railing.
Gravel Layer.
Retaining Seawall.
LONGITUDINAL SECTION
SITE SECTION
Thank you for READING....
JHORDAN CHANNER BE.NET/JHORDAN JHORDAN.CHANNER@GMAIL.COM 876-299-7033