Portfolio jcristal

JONATHAN CRISTAL LANDSCAPE ARCHITECT PORTFOLIO 2015

jonathan.cristal@gmail.com + (64) 21 213 838 9 https://nz.linkedin.com/in/jonathancristal http://issuu.com/jonathancristal9

DESIGN PHILOSOPHY

All architecture represents a conception of the natural world. From the process of the human intellect to the arrangement of prepared elements. Architecture is an expression of likeness in the balance of raw intuition with crude artistry.

My intent in design is to evoke spaces through the creating of harmonious approaches which draws out the human intellect through the blending and blurring of the natural and synthetic materials. I believe that this approach brings forth both the human and natural ambiance and the sense of bringing togetherness to the human and natural world.

CONTENTS WORK EXAMPLES SELECTED WORKS NICHOLSON PARK

One of four senior landscape student mentors in conjunction with Auckland Council helping design Nicholson Park Reserve with Auckland Normal Intermediate School.

COURTYARD RENDER

Rendered courtyard images as to clients concept design.

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UNIVERSITY PROJECTS SELECTED WORKS STUDIO 6A

GREEN INFRASTRUCTURE - Developing new methods that will sustain green infrastructure as a driving force behind Aucklands Waterview Connection project.

STUDIO 6B

TACTICAL URBANISM - Tackling a social or environmental issue using a tactical approach.

STUDIO 7B

THE SOUTHERN INITIATIVE - Investigating the Otahuhu precinct and its disconnection of its residential dominated east side and economy driven west side.

NEGOTIATED STUDY

BLURRING LANDSCAPE AND ARCHITECTURE - Current fourth year thesis investigating the blurring of Architecture and Landscape.

NDAT

RESIDENTIAL AND COMMERCIAL PROJECTS - Detail drawings of residential and commercial projects done through my study in National Diploma of Architectural Technologies.

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OTHER BIOGRAPHY

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CURRICULUM VITAE

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WORK EXAMPLES SELECTED WORKS

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NICHOLSON PARK In association with Auckland Council, I was chosen along with three other senior landscape students to help render a redesign for the Old Nicholson Park Bowling Green just adjacent to Auckland Normal Intermediate School. We were split into four groups of three to help mentor and collaborate with students from Auckland Normal Intermediate School to create a design concept.

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Located on a steep hillside, this concept design allows Nicholson Park to act as an intermission space adjacent to the neighbouring active recreational spaces. The replication of a terrace, garden planting, wild-flowers and simplicity in park designs all reflect and embrace a persona of Mt Eden within the park. Playing with Nicholson Parks built terraces and heritage stone walls resolves to creating an openness which has been long desired within its space.

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KEY

tree bush

flower bench school

scale// 1 :100 Nicholson Park Project 2014

PARK DESIGNERS//mentor ABBY.EMMA.NEVE // jonathan.cristal

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COURTYARD RENDER Rendered concept images as per clients request. I was asked to produce conceptual images designed by the client through the use of any type of medium.

The concept was re-modified numerous times using Computer Aided Design software - SketchUp, Adobe Photoshop and Adobe InDesign I was able to deliver rendered images to the clients satisfaction and produce a booklet to their request.

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UNIVERSITY PROJECTS SELECTED WORKS

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SUBTERRANEAN INFRASTRUCTURE

The Auckland Waterview Connection is one New Zealand’s largest infrastructural project. Unfortunately the primal focus of this project is to resource New Zealand’s economy providing a quicker and efficient route to business’ and connections, neglecting the value and care for the natural resources within the Waterview Connection vicinity.

This project aim looks to remedy that result. How could the design of a radical green infrastructure influence a social impact on particular communities? The question asked provides a theoretical approach onto building a subterranean landscape as a new concept of planning.

Inducing the mobility to construct above and below ground instead of growing out. The idea focuses on linking above fragmented network systems, parks and spaces and below community based networks through the development of archaeological findings, local park development, community involvement within town centres and economical opportunities.

This sort of green infrastructure becomes more indepth than the accustomed additional tree planting, streetscaping and road emissions. This project is the design and development of a sustainable but economical outcome, where we could benefit from the landscape and ecology, vice versa.

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TOWN CENTERS

RECREATIONAL SITES

ARCHAEOLOGICAL SITES

ECOLOGICAL SITES

INDUSTRIAL SITES

SOCIAL FRAGMENTS

RECREATIONAL FRAGMENTS

ARCHAEOLOGICAL FRAGMENTS

ECOLOGICAL FRAGMENTS

INDUSTRIAL FRAGMENTS

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RECREATIONAL

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ARCHAEOLOGICAL

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CULTURAL

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TACTIAL URBANISM This project looks to challenge Auckland City’s perception of open space, specifically shared streets asking: How could a tactical approach using multimedia intervention be utilised to resurrect Auckland’s backstreet laneways? - Looking to use Durham St West to test my intervention with the design media school around its corner.

The question was tackled through the process of 5 interventions, using nature and awareness as a recurring theme and approach.

Each intervention would envelop or evolve from the previous, further provoking the public subconscious to tackle an everyday norm and help make them aware of the space around them.

From physical object interventions to sensory visuals or sounds the design progressed to encourage the use of multimedia as a direct response within Durham St. This led to the designs final interventions where people were asked to choose an environment by the use of WiFi off of their phones then each of the spaces would be changed to the favoured environment.

Ideally to stimulate the subconscious as a means to temporarily “be away from the city whilst still in it.”

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SENSORY

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INTERVENTIONS

SITE

AWARENESS

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SOCIAL

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INTERVENTIONS

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SOCIAL

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INTERACTIONS

ENVIRONMENT

SENSORY

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PORTAGE LINK Investigating the Otahuhu precinct and its disconnection of its residential dominated east side and economy driven west side caused by the State Highway which ran right through it.

The design sought the opportunity to reconnect the town through a coastal boardwalk that ran through the edge of Tamaki River and through the revitalisation of the Old Portage connection.

The boardwalk would be a texture and contours to passage, environments and right through and within

mix of different materials, provide a more natural as well programs that fit the Otahuhu community.

Focusing solely more into the redevelopment and restoration of the Old Portage Link. Perspectives show the re-envisioning of the Portage Link and Materials, textures, contours and settings program how the linear park, or any other part of the design could affectively contribute to Otahuhu and Aucklands looking to restore its “thriving, safe� community.

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ANALYSIS

1mcontours

overflows

ANALYSIS watercatchments

infrastructurelayout

historiclandmarks

naturalecosystems

naturalwatersystems

boardwalk

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DIAGRAMS

points of interest

reconnection lines

disconnection lines

points of interest

disconnection lines

DISCONNECTION DIAGRAM

u uh ah

u uh ah ot wn to

ot

1:10 000 @ A3

RECONNECTION DIAGRAM

wn to

1:10 000 @ A3

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PROGRAMS cultural & social engagement enviromental & ecological restoration contextual & aesthetical impact economical & public services connection local impact & enhancement

bridges/pathcrossings

boardwalkpathway

planting

linearpark

re vegetation

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hydrology

NEGOTIATED STUDY BLURRING BOUNDARIES

The blurring of Architecture and Landscape two accompanying disciplines that focus’ on the designing of spaces both inside and out. Lead me to question: How could the interweaving of the natural and built form coherently provide a better environmental, social, ecological and economic future for our world?

I looked in to using blurring strategies on the Unitec Mt. Albert campus design proposal. By exploring the design of a tertiary campus on a real site, my investigation looked to refine the meaning of blurring between the two disciplines and in the process generate a hybridity in a resilient and unique way.

The blurring of landscape and architecture goes beyond the designing for a projects visual amenity. When factoring all the layers within the context of the site and its surrounds, there result many positive and beneficial outcomes that influence a projects design. The outcomes refer to the designing of spaces, the restoration or enhancing of the ecology and change of physical and mental perceptions to the built environments. The blurring of landscape with architecture programs new methods of hybridity for the two disciplines, to coherently work together and propose new concepts for spatial and urban design.

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ANALYSIS

DIAGRAMS

UNITEC MASTER PLAN 1:750 @ A1

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NORTHERN WETLAND 1:200 @ A2

MAIN COURTYARD 1:200 @ A2

BUILDING 112-115 TRANSITION 1:200 @ A2

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NORTHERN WETLAND PERSPECTIVE

MAIN COURTYARD PERSPECTIVE

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BUILDING 112-115 TRANSITION PERSPECIVE

CLIMBER WETLAND 1:50 @ A2

CLIMBER WALKWAY 1:50 @ A2

PERGOLAS 1:50 @ A2

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NDAT Detail of a design is by far the most important aspect in architecture. Technical drawings allow the communication of structure and services to be expressed together and help convey how different parts of connect, work and form as one whole.

24 Allright Place is fictional dwelling situated in Mt. Wellington, Auckland. These projects provided the location, outlines and structural framework of the dwelling and only requested to draw up the design details that help embody the format of the house.

Minor design changes were allowed to provide a unique and different characteristic between each submission.

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Detail of a design is by far the most important aspect in architecture. Technical drawings allow the communication of structure and services to be expressed together and help convey how different parts of connect, work and form as one whole.

These projects situated in Auckland, provided the location, outlines and structural framework of the dwelling and only requested to draw up the design details that help embody the format of the house.

Minor design changes were allowed to provide a unique and different characteristic between each submission.

  

           

 

  

       

 

 

 



 





   



 

 









     

     

  

 

 

 

 

 









  

 

 



  



      

    





  







   





 

    



 

    

  







    

  







   

 





  



    



 



   



     



  



  

 

               

 

  



   

   

   



  



       

  





 

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   

          

     

       

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BIOGRAPHY Born in Manila (Philippines) on February 17, I moved and lived with my family in New Zealand for the majority of my life.

I grew up and spent most of my school years in Wellington.

As Wellington is rich in culture and has a unique city character my interest in architecture developed and grew over time. Studying at a school near the city, I was fond of understanding the way of people and culture and their relationship to the landscape at a young age. Living so close to the city I would visit the harbour edge and stroll around the central city curious of the effects and affects of design, materials and people had towards each other.

During my high school years my interest in graphics and design influenced my way of understanding architecture visually and creatively. I quickly came to familiarize myself with use of programs such as Photoshop, Illustrator and InDesign as well as noncomputer programs such as learning hand drawing methods isometric projections, auxiliary views, cross sections and exploded views. The organization of materials and expression of an end product redefined my understanding in design and architecture as a whole.

Moving recently to Auckland further helped pursue my interest in architecture. Taking a two-year diploma at Unitec helped me understand further the essentials and importance of the organization of materials in construction. While moving to a different environment helped me grasp the emotive notion in design.

After my diploma I continued my studies back in Wellington for a year achieving a more detailed approach to an emotional driven concept in design but residing back again to Unitec, Auckland where I now am driven to design architecture and its landscape through a practical emotive sense.

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CURRICULUM VITAE WORK EXPERIENCE UNITEC LANDSCAPE PLAN Feb 15- Oct 15

VILLAGE PIZZERIA Nov 15 - Feb 16

COURTYARD RENDER Nov 15 - Jan 16

NICHOLSON PARK Aug 15 - Nov 15

COVE KINLOCH Nov 14 - Apr 15

EDUCATION BACHELORS OF LANDSCAPE ARCHITECTURE 2013 - 2015 Unitec Institute of Technologies, Auckland

BACHELORS OF ARCHITECTURE 2012 - 2013 Victoria University, Wellington

NATIONAL DIPLOMA OF ARCHITECTURAL TECHNOLOGIES 2008 - 2010 Unitec Institute of Technologies, Auckland

ACHIEVEMENTS KINGSLAND URBAN DESIGN COMP 2013 Highly Commended

ONLINE BUSINESS COMPETITION 2007 First Place : Thesmallbusinessgame NZ Web Comp

SKILLS • • • • • • •

Modeling Proficient in ArchiCAD, AutoCAD, Autodesk Revit, SketchUp, Vue. Graphics Proficient in Photoshop, Illustrator, Indesign.

MS Office Proficient in Microsoft Word, Excel, Powerpoint Leadership and Team Commitment 1 of 10 School representatives on ‘The Spirit of Adventure’ voyage 2006

REFERENCES CRAIG BRIERLEY

Cove Kinloch - Architecture & Projects Manager - 021 920 733

CHRISTOPHER GRIFFITHS

Unitec BLA - Programme Leader & Senior Lecturer - 09 815 4321 ext 7842

RENEE DAVIES

Unitec BLA - HOD & Senior Lecturer - 09 815 4321 ext. 7243

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