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Jacqueline Love

portfolio 2019

contact 646 242 1658

about This portfolio is composed of work from the first three semesters of my architectural education in Spitzer School of Architecture’s M.Arch program, sculptures from the final year of my Bachelor of Fine Arts, as well as a collection of my ongoing photography. The influence each body of work has on one other is apparent. The boundary between them is blurred, something I hope will remain true throughout my career in architecture. I want to continue to view both the natural and built environment through multiple lenses, to develop my understanding of each at greater depths, and remain energized by both their combined and respective potential.

table of contents architecture i sculpture ii photography iii

Baruch Commons

Vertical City, 2018 Created with Yennifer Diaz, Kenia Peralta & Nicolas Losi

Baruch Commons is a vertical city concept which departs from the notion of architecture as a singular, iconic object, and moves towards architecture as a landscape: a fabric for social space, community, and the diverse functions of a city to occur within. This vertical urban scape is composed of 25 human-scaled districts, with unique identities and services that organize and necessarily fragment the mass of the building. Connecting these districts is a continuous street, rising from Manhattan’s street level and ascending at a 1/20 slope to the top, passing and connecting as it goes through the commercial, cultural, and residential spaces of the city. Courtyards at the heart of each district represent the key points of intersection between the street as it winds upwards and the cores which connect stacked districts directly to ground level, and are pivotal as unprogrammed public spaces of social engagement and community. Rising from Manhattan’s Lower East Side and facing the sun, Baruch Commons vaults over a newly created park as it ascends, resting on a massive lattice work which supports the districts in space and allows sunlight to reach deep into a landscape composed of terraced hills that buttress the Common’s cores and frame amphitheaters and water features. Architectural Studio 1.3, Professor Martin Stigsgaard

Preliminary Sketch

Final Design With Courtyards

Spatial Analysis

District Spatial Analysis

Structural Diagram

Formal Process

General District Breakdown

Major District Breakdown

Study Models

Midterm Model 1:50

Final Major District Models 1:25

Final Model 1:25

Museo de Arte Contemporaneo

Art Gallery, 2018

‘Museo de Arte Contemporaneo’ is a contemporary art gallery to be sited in Audubon Terrace, an early 20th-century complex of Beaux Arts buildings in upper Manhattan. It calls into question the current role and history of the prominent cultural institutions it shares the complex with, in particular the Hispanic Society of America—one of the many institutions in Manhattan that was founded by an American and predicated on American Renaissance ideals and objectives. ‘Museo de Arte Contemporaneo’ provides the Hispanic community with an opportunity to exhibit work by contemporary Hispanic artists and reinvigorate Audubon Terrace with firstperson representation. Formally it emerges from Audubon Terrace through use of materials, and conceptually by its relevance and authority. It draws the Hispanic Society of America into dialogue at particular moments through use of meticulously placed views, making visitors aware of the relationship between what is seen when looking outwards towards the Terrace and what is seen when looking inwards. Interior walls are also conscientiously placed so that as visitors circulate the building they are moving in parallel with the Hispanic Society of America—and never towards it— allowing for complete absorption in the contemporary works and the space they are given. Architectural Studio 1.2, Professor Bradley Horn

Preliminary Study Models

Midterm Model 1/8” = 1’ - 0”

Final Model 1/8” = 1’ - 0”

Final Model 1/8” = 1’ - 0”

By Way of Itself

Pavilion, 2018

This pavilion developed through a study on equilibrium, in particular through the study of artists Fischli & Weiss’ photographs which make up the series ‘Equilibres / Quiet Afternoon,’ which show precariously balanced sculptures at what appears to be the exact moment before their collapse. We were tasked with recreating the original artwork, documenting it through a series of photographs and analytical drawings, and ultimately creating our own composition. For both my version and ultimately my pavilion, I decided to focus on the objects’ dependency on one another, their necessary opposition to remain in balance. ‘By Way of Itself’ functions as a public meeting place and a place of personal refuge. It contains a public park, reading room, rooftop terrace, and outdoor projection theatre, all in unique, designated spaces that stack, oppose, and depend on one another. Its structure is based on an oppositional “hook” –a gesture reflected in both plan and in section. Its core plays both an integral role in structural stability as well as allowing for its cantilevered form, a nod to the precarity from which it was derived. Architectural Studio 1.2, Professor Bradley Horn

01 Fischli & Weiss Photograph

02 Fischli & Weiss Recreation

03 Personal Iteration

01 Analytical Drawings of the Fischli & Weiss Sculpture

02 Analytical Drawings of Personal Iterations

Preliminary Study Models

Final Model 1/4” = 1’ - 0”









Public Intervention, 2017 Created with Nicolas Losi

‘Lantern’ is a public installation proposal developed out of the mapping of a physical interaction with a lamp post in Central Park. The movement was an action in which the legs pivoted from a position parallel to the post to perpendicular, and was then mapped against time and abstracted to provide the basis of the pattern eventually employed. By unfolding the shape mapped from the movement, a form was created, multiplied, distorted, and placed back into Central Park. The original typology of a lamp informs the purpose of the structure. At night in Central Park these lamps and the light they emit create a shelter of sorts, but the interior of the lawns, so active during the day, become vacant and aversive in the vacuum of the dark. ‘Lantern’ seeks to activate one of these lawns—an expansive oval of grass on top of the Great Hill, rung by the very lights we began with. Lit from within, the translucent skin diffuses and contains the light, acting as a lantern. A mirrored base serves to amplify the light and visually continue the structure below, creating depth on an otherwise flat surface, while speaking to the original movement. It invites an audience to approach, follow their reflections into the sculpture, and become enveloped in its light and space. Architectural Studio 1.1, Professor Loukia Tsafoulia

Study Models

Final Model

ii. sculpture



From the point of deciding that it was architecture I ultimately wanted to pursue as a career (the year I entered the Fine Arts program at the University of Victoria), I faced the challenge of making art for my portfolio that solely demonstrated this ambition. I made a conscious effort to remain aware of the resources I had available to me that could best be used to better myself as an artist, and allow me to create works that could stand alone in the discipline. Even though the architectural references are evident, the process of form-finding through means of balance, composition and linework became the aspect of the work I most value. It was an exploration that became fundamental to my aesthetic—and has trained my eye in drawing, photography and architecture, and taught me how to create and find space and forms of interest. This particular body of work was never intended to be 3D. The sculptures began as two dimensional, architecturally-inspired drawings that I had been working on with ink and paper. The first evolution was to place them between two pieces of glass, then illuminate them in a 4’ x 4’ light box I built. From there, I was encouraged to communicate the drawings in different ways - ultimately removing the ink on paper and creating the ‘drawing’ by building the lines with other materials. This led to folding paper of different transparencies, was followed by drawing with tape on glass, and ultimately evolved into layering and stacking different materials and objects, resulting in these three-dimensional drawings. Interdisciplinary Practices II, Advisor Vikky Alexander

iii. photography


2009 - present

Exploring an unfamiliar city invokes in me feelings of freedom and smallness that I regularly yearn for. When I am surrounded by strangers and find myself trying to guess their stories, I end up removing myself from my own. On every trip I take, I ensure I have time to walk through the streets, take photographs, and suspend myself within that feeling. These photographs are depictions of those experiences. When I am walking around I never know what I am looking for—I see others’ outfits, displaced objects, and structural compositions and features with a genuine interest and intrigue. It’s a charged sensitivity to new surroundings that fades as time passes and the sites become more familiar, so I find myself trying to hold onto the experience for as long as I can.

Jacqueline Love 2019

Profile for Jacqueline Love

Portfolio, 2019  

Portfolio, 2019