Undergraduate portfolio.

Jason Barker Undergraduate Portfolio.

The Petit Cabanon The Inhabitable Light Wells The Inhabitable Wall The Kit of Parts The Tao of Intersecting Planes Levitated Mass

Furniture Render and the Gallery Photography Illustration and Graphic Arts

The Petit Cabanon

Cliffs and Cabins.

The concept of the Petit Cabanon was centered around the idea of an inhabitable space being built on the edge of a cliff, with one or two large caverns below the structure. Inspired by the work of Thomas Kundig (specifically, his Delta Shelter), the Cabanon would feature at least one moving part.

In addition, it would weave in and out of at least one of the caverns.

The cliff was simulated by a cinder block, with the cavities serving as the caverns, and the top of the block being the area of land overlooking the edge of the cliff.

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Analysis.

One of the first steps in this project was to conduct an analysis of the Kundig cabin by means of two axoanometric drawings. One consisting purely of lineweights, and one that was toned.

We were instructed to highlight aspects we found significant to the building by means of tonality and color.

The Kunding Structure.

The kinetic nature of this structure was meant to inform our eventual project, particularly themoving part. With that in mind I decided to highlight the moving plates and their directional system.

Markers provided the color and tonality, as did transparent letratone.

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The Process.

Sketching and process.

Once we had the overall idea presented to us, I began sketching some different ideas on how the structure would interact with the site. In this case, the site being the cinder block.

I soon happened upon a concept which I called “The Cliff and the Sky�. in which the primary principle of the project was that spaces would be created where major horizontal and vertical elements collided.

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The Illustration.

Cliff and Sky. To provide a more dramatic illustration of the “cliff and sky� concept, I created this one-point perspective drawing. The color was used to signify the horizontal and vertical dynamic of the concept, and the way they collide to create the moments scattered throughout the structure.

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Horizontal meets vertical.

The Model.

Lineal elements breaking down scale.

Shadow and light interplay.

Weight and verticality.

The ultimate outcome was a structure defined by a large verical move down the side of the site, around which much of the circulation was organized..

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Stairs, ladders, and walls.

The final model featured a large flight of stairs hugging the interior cavern wall, a ladder leading from one level to another, and a small ramp-like elevator nicknamed an “esca-ramp�.

Vertical access.

Separated spaces create dynamic organizations

The stairwell hugging the cavern wall is a primary feature.

An extending viewing platform, and a sliding wall to frame the view from one side of the structure, were among the moving parts, along with the aforementioned ramp.

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The Section.

This section highlights several notable areas of the structure.

Stickyback and markers were used for toning.

Layers and overheads.

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Inhabitable Light Wells

Light and tectonics.

This final project was centered around the use of light as a building principle, and material. It was also a more mass-based construct than the previous projects.

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The Elongated C. This project was lighter on process than the previous two. Once I learned of the concept: a canopy formed of an elongated C shape with stereotomic elements, the idea for the final moel came together very quickly.

The large separate in the mass became a central organizaing element, and can be seen in the photo to the right.

Sketching.

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Lineal breakdown.

Lighter planes and lineal elements break down the scale. The over construction suggests a thrust in one direction, inviting a specific flow of movement and exploration, as well as a context for the direction of light.

The variety of plates imparts a tectonic quality to the canopy.

The Model.

Scale is broken down by lineal elements.

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Stairs and ledges vary the scale even further.

The cleft in the canopy is surrounded by assorted folding elements.

The ladder creates variety in the modes of circulation.

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Illuminant Photos.

Glow.

We were required to take a set of photos highlighting assorted lighting qualities of our structure. These photos focus on the large seperation, and light crashing through the lineal elements.

Much of the concept for my particular project was based on internal light, rather than external. The separation, where horizontal meets vertical, in particular, was initially envisioned as a light source.

The internal lighting allows for the smaller elements to create intriguing shadows.

The primary impression is that the light is coming from the heaver, rear portion of the construct.

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The lightness of the basswood, birch, and museum board gives the illusion that the structural elements are dissolving in to the light/void the farther inside one goes.

The predominantly horizontal orientation of the structure creates a motion that invites further entrance and exploration from the open/deconstructed end.

The light draws one in to the structure, inviting them to ascend towards the meeting of horizontal and vertical.

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Section Cut.

Elevations.

This single set of section cuts was required. The red tone is meant to make the cut portions of the drawing look bold and significant.

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The Inhabitable Wall

Second Project.

From vertical to horizontal, the next project involved a structure that was situated along a spatio-temporal line. The concept was “inhabitable wall�, and involved the creation of a space which extened along an axis, with inhabitable small scale spaces inside the primary mass.

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Location.

We were instructed to pick a spatio-temporal line on campus. A linear axis where the structure would be cited. This line and its surroundings would inform the rest of our approach.

I selected two potential sites, one of which is picture in the google earth image to the right. The process phase eventually entailed the creation of several small sketch models, one of which has been superimposed over the image. It depicts how the primary form and motion of the wall would express itself in the context of the site.

The Site.

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Site Exploration.

Visiting each site and spending time there was vital to conceptualizing the site and the project.

Time was spent photographing and sketching various details.

This was folllowed by the creation of small conceptual models, which allowed for the further exploration of the site.

The Site.

The nearby fountain provides a viewing context for the structural orientation.

The existing light and shadow dynamics of the site would carry over to the wall.

The existing trellis would be the context for the structure. The inhabitable wall would mimic certain exeperiential elements of it.

This basswood and walnut model was the primary basis for the eventual constract. It contributed to what would be the defining move: the diagonal intersection. Or, the diasection.

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Secondary site.

These models and sketches explore the second site, and while it was not used, the explorationof the heavier stereotomic elements proved valuable in th eventual realization of the project.

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The Wall.

Diagonals The finished wall was expressed by a large number of diagonal forms, which folded and framed one another to create an interior axis space through which passerbys would circulate.

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These two images highlight various structural details, as well as scale.

Early sketches explored the general shape and form.

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The diasection was explored in assorted sketches, and took one various forms before the final iteration was settled upon.

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Drodels and Elevations.

Flatness and dimension.

Illustrated.

These drawings, in addition to two drawing-model bybrids, were created to explore the form in two dimensions.

One plan, and one elevation, for each type of drawing. The diasection is the primary focus of the plans.

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The elevation highlights the interior circulation of the inhabitable wall. The stairs enter the mass and travel to an exit near the top, allowing inhabitants to experience the space above the axis.

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Each drodel incorporated both drafting and modelmaking, with a focus on negative space and folded elements.

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Watercolor toning was used to indicate shadow and carved spaces. The types of wood used in the model were matched in the drodel whenever possible.

Chipboard represented a ground condition.

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Digital Design: The Gallery.

A Place to View.

Digital Design focused on a semester-long project that took place in several parts. The first involved selecting a piece of furniture and receating it in AUTOCad and Rhino. The second involved doing the same with a physical model of our choice from a previous project. Finally, the model would be refined in to a new structure: an abstract gallery space that the piece of furniture would inhabit.

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Sketching.

Sketches.

A great deal of sketching went in to this part of the project. Much of it concerned the gallery and reflection spaces, as well as some ideas for connections and support structures..

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Furniture Render

Furniture Render.

We were instructed to pick a piece of furniture, and find several reference photos of it. Then, draw it in AutoCAD, export it to Rhino, and begin to create a 3D render with texture and lighting effects.

The couch selected was a sleek modernist couch known as the LC2 Petite Model, by architectural giant Le Corbusier. This more than fit the criteria for the assignment, and was a personal favorite of mine as well.

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The Model

Turning scales.

This model was created as an experiment for my Intro 1 class, and was done in a very spontaneous manner. Scale was varied quickly and the model was allowed to evolve in a very organic fashion, with this being the final result.

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White Renders.

Floating Forms.

Like the couch, the initial models were “clay.� Flat, textureless surfaces with basic lighting effects to highlight spaces.

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Surfaces.

Wood and stone were the primary materials chosen for the construct, with the wood representing the more delicate, planar elements, and the stone the more extreme mass.

Texture and Detail.

Purpose.

The idea for this structure is that it would eventually be simplified, and made in to a sort of gallery space for the furniture model.

Each space in this construct would serve a unique purpose, which would be color coded in a future step.

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Lights in the Darkness.

Lighting was to be an important part of this project. To that end, we were to experiment with differnt light sources before adding materials to the final model.

Light, color, and circulation.

Pathways of Color.

Each color signifies a different aspect of the space.

Red: Circulation.

Pink: Reflection.

Green: Entrance.

Blue: Gallery.

Yellow: Context.

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Process Renders.

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Light and Void.

The basic concept of such an abstract construct floating in a void would require proper use of lighting to achieve the most dramtic effect. A warmer, softer light seemed to offer the most interesting contrast, giving this otherwise impersonal and unusual space a more welcoming feel.

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Sections.

Two section cuts offer a different view of spatial qualities, as well as the scale of inhabitable areas.

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Focus.

The artifact/couch is the central focus of the gallery, which is located adjacent to a small are offering a view of the exterior space. Placing it in the context of the structure was the final step, once the texture, space, and circulation had been finalized. The structure represents and abstract progression through the construct, centered around encountering the piece of furniture.

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Photography.

Sketching and Illustration

Point and Section Practice.

These structures and scenes were done primarily to practice point perspective. Some are realistic structures, some are purely conceptual shapes, and some are silidly in the realm of fantasy and speculaitve fiction.

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Spiral Elevation.

This peculiar structure popped in to my mind, and was an opportunity to practice sections and elevations.

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Lamp Section.

A geometric lamp, drwn to practice section and elevation drawing, as well as watercolor toning skills. Original sketches below.

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Point and Section Practice.

These structures and scenes were done primarily to practice point perspective. Some are realistic structures, some are purely conceptual shapes, and some are silidly in the realm of fantasy and speculaitve fiction.

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Gestures,Figures, Poses.

A handful of drawings focusing on figure drawing, gestures, poses, anatomy, and composition relating to the human form.Some basic, some more elaborate than others.

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Getting a Grip.

Hands are one of the most difficult parts of human anatomy to master. I have spent considerable time sketching them to improve my skills in this area.

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Thought and Education.

A slightly peculiar subject for a drawing, perhaps, but I nonetheless had the urge to draw John Dewey. The early 20th century philosopher is celebrated for his contributions in the fields of education and psychology.

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Venetian Abstraction.

I have occasionally been fascinated by the strange, ornate appearance of venetian masks.

I decided to explore this by creating a surreal, alien illustration of one. The montage bebeath the mask contains cues to numerous historical things, contemporary issues, and a handful of notable structures both modern and ancient.

Drawn with micron pens, colored with markers, on 6 x 8 sketch paper.

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Land and Expanse.

Realistic and fanciful landscapes, some that exist, some that do not, are the focus of these images.

The images on the left were drawn in ink and colored digitall in Photoshop. The cliffs to the right were colored with markers.

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Fantasy in the Clouds.

This cloud castle, approached by a flying vehicle, was created on 16 x 20 illustration board with watercolors and markers.

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Flying Seed.

Surrealistic fantasy and plant life are the defining elements of this ink and watercolor image, created on a sheet of watercolor paper.

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