Jasper Chen Portfolio

JASPER CHEN PORTFOLIO

2018 - 2021 University of Toronto Bachelor of Arts Specialist in Architectural Studies: Design of Architecture, Landscape, and Urbanism Minor in Visual Studies

INDEX 01.

LEVITATE

02.

THE JOINT

03.

PARKDALE

04.

FIGURES

05.

GRACE EYEWEAR

06.

GBL ARCHITECTS

HOUSE FOR TWO

STUDY CENTRE

COMMUNITY BENCH

BLIND BOXES

RETAIL BRANDING

COMMERCIAL RENDERING

LEVITATE

HOUSE FOR TWO

01.

LEVITATE HOUSE FOR TWO

Instructor : Nima Javidi Fall, 2018 | Academic

TWO INHABITANTS “Levitate” is a residential home designed for two inhabitants living together, an artist and a chef. The extroverted chef required a large open space with a table able to serve twelve guests, while the introverted artist needed a private studio with a south-facing skylight.

This project considers the counterposing elements of its inhabitants, combined with the transparent qualities of the Farnsworth House precedent study and site analysis to create a balance between public and private space. These factors play a large influence on the design, which resulted in a building that appears to be levitating off the ground.

04

LEVITATE

HOUSE FOR TWO

EXTRACTION MODEL | FARNSWORTH HOUSE | 48″ × 8″ × 10″

FARNSWORTH HOUSE I studied the Farnsworth House by Ludwig Mies van der Rohe as the precedent to this project. Through the extraction of the twelve steel columns that suspend the terrace, floor, and roof in mid-air, I was able to closely examine the structural modules of the house.

The sectional model provides context to the beams, roof, floors, and drainage systems and interior core of the house. The scale of the model allows for a more accurate representation of the building.

05

LEVITATE

HOUSE FOR TWO

SITE PLAN | RATHNELLY AVENUE | TORONTO, ONTARIO

SITE SECTION

CAMERA ONE | 247 MACPHERSON AVE

SITE ANALYSIS Built between 1880 and 1910, the Victorian-style duplexes in this neighbourhood always appear to be cut down the middle, even at the compromise of efficient use of space. I dissected these buildings along with the topographic details of the site through cross-sectional drawings. This revealed the symmetrical components and use of the upper-floor space of the Victorian-style duplexes that became key ideas for my design.

06

CAMERA TWO | 277 MACPHERSON AVE

LEVITATE

HOUSE FOR TWO

PROCESS MODEL | HORIZONTAL DIVISION

PROCESS MODEL | STAGGERING VOLUMES

PARTI DIAGRAM | FORM & VOLUME

PROCESS MODEL | FINAL ROOF GEOMETRY

1a.

2a.

3a.

1b.

2b.

3b.

DESIGN PROCESS The volume of the ground floor is elevated, connecting the residences with the surrounding nature while paying homage to the Farnsworth House. The top two floors of a Victorian Style duplex are combined to create a higher-pitched rooftop geometry, creating a natural flow of circulation and sufficient natural lighting through the skylight windows. By staggering the volume, the house nests into the site while separating its different programs.

07

LEVITATE

HOUSE FOR TWO

FINAL MODEL | ROOF GEOMETRY | 10″ × 6″ × 4″

FINAL MODEL | EAST ELEVATION | CENTRAL STAIRCASE

FINAL MODEL | NORTH ELEVATION | KITCHEN AND TABLE

FINAL DESIGN “Levitate” unites the two inhabitants under the same roof, addressing the utilitarian needs while maintaining its aesthetic qualities through form and volume. Exhibited in the use of material represented in the final model, the division of public and private between the Victorian-style duplex roofs and transparency of the Farnsworth House is exhibited horizontally between the first and second floor. Connected through the central staircase, these counter imposing qualities create moments in space where the two inhabitants will comfortably interact and coexist.

08

LEVITATE

HOUSE FOR TWO

PLAN | GROUND FLOOR

PLAN | SECOND FLOOR

1 - MAIN ENTRANCE + LIVING ROOM 2 - DINING TABLE + STAIRCASE 3 - KITCHEN + BACK ENTRANCE

4 - MASTER BEDROOM 5 - WASHROOM + STAIRCASE 6 - GUEST/LIVING ROOM → ART STUDIO

1

4

2

5

3

SECTION | SOUTH

09

6

SECTION | WEST

THE JOINT

STUDY CENTRE

02.

THE JOINT

TIMBER STUDY CENTRE Instructor : Fiona Lim Tung Winter, 2018 | Academic

CONNECTION “The Joint” is a mass timber study center located on campus at the University of Toronto. As this building is likely a place where stress and anxiety are present, the architecture needs to consider the mental well-being of its inhabitants.

The multi-story building provides a space for students to focus on their individual tasks and create relationships with each other. Through the use of gaps between the floors, students coexist in semi-shared spaces above or below, which create a sense of community and connection between them, decreasing their risk of anxiety and depression.

010

THE JOINT

STUDY CENTRE

MODEL | OVERALL BUILDING

JOINERY | CONSTRUCTION PROCESS

KANE TSUGI

STUDY UNIT

TIMBER CONSTRUCTION This study center is constructed strictly from timber and wooden joints, which possess acoustic properties that absorb sound to minimize the noise and echo, making them ideal for study spaces. The design strategically protects and hides the end grain of the joints as it soaks up more moisture and results in quicker weathering. These factors led to the amalgamation of traditional joinery methods that serve to attach all basic components of the structure in the building such as the floors, walls, beams, columns, stairs, study units, and facade.

11

+

TOUNGE & GROOVE

=

STAIR DETAIL

END RESULT

→

JOINERY PROCESS

THE JOINT

STUDY CENTRE

MODEL | FACADE DETAIL

BASEMENT | TWO STUDY PODS

GROUND FLOOR | LOBBY

SECOND FLOOR | TWO STUDY PODS

FOURTH FLOOR | TWO STUDY PODS

MODEL | SECOND FLOOR

PLAN DETAILS In plan, the connection between floors in the building is evident through the gaps guarded by a glass railing.

Each floor consists of two staircases that are extended out from the floor plates. Individual study units provide semi-private rooms where students can collaborate while existing near other students on separate levels.

12

THE JOINT

STUDY CENTRE

SECTION | NORTH

SECTION | EAST

PERSPECTIVE | BUILDING FACADE

SECTION DETAILS In section, the relationship between the multi-story floors and the timber joints is highlighted through the columns, staircases, and study units. The joints extrude through the floor plates providing structural support to floors above and below. The load-bearing walls of the facade are mirrored on each floor to maintain their structural integrity, optimally adjusting the intensity of natural lighting according to the placement of tables and study units.

13

PARKDALE

COMMUNITY BENCH

03.

PARKDALE COMMUNITY BENCH Instructor : Reza Nik Fall, 2019 | Academic

GENTRIFICATION Throughout this course, we have been exploring the community of Parkdale in Toronto. This project brings attention to the lost community spaces while the area is undergoing the process of gentrification.

Public spaces continue to be labeled as decrepit and are being demolished in favor of private real estate development. However, many sites are currently vacant, and the community of Parkdale is urging the city to acquire such spaces for the community and self-improvement.

GROUP PROJECT In collaboration with Eric Espinosa, Gabrielle Lamanna, & Jennille Neal.

14

I conceptualized the cardboard bench and concrete sculpture and led in its fabrication.

I created all drawings and photographs shown except Gallery Exhibition Photographs.

PARKDALE

COMMUNITY BENCH

EXPERIMENTAL DRAWING | MOVEMENT ANALYSIS

CONCRETE SCULPTURE | TOP DETAIL

CONCRETE SCULPTURE | OVERALL MODEL

EXPERIMENTAL DRAWING The abstracted drawing above is a representation of the Parkdale community during my first visit. I recorded activities such as basketball, volleyball, soccer, and ultimate frisbee, and categorized the movements as linear, curved, and angled, which are represented by different shapes. The pattern of Parkdale’s movements begins to create something unexpected when collaged together, symbolizing the potential of beauty in community growth.

CONCRETE SCULPTURE This sculpture was our first response to the neighborhood of Parkdale as a group. Collaged to the sides of the crack are newspaper print and magazine images that depict nature. Moss at the bottom half acts as a lively carpet and path for growth. Coiled wire and dry flower petals show the continuous cycle of change and struggle.

The sculpture challenges notions of the growth and decay within Parkdale, leading to our design of the bench.

15

PARKDALE

COMMUNITY BENCH

BENCH | TWO DETACHED LEGS | 120 cm × 40 cm × 50 cm

BENCH | THIRD SUPPORTING LEG

BENCH | OVERALL MODEL

COMMUNITY BENCH This bench is an object that reflects these social issues through its form and function. This object is composed of three separate pieces: two interconnecting cardboard legs and a third disconnected leg. When set apart, the individual pieces are seemingly abstract, showing no signs of a clear use or purpose. However, when put together in collaboration, a bench is created.

Individual pieces are made dysfunctional deliberately, mirroring the alienating establishments throughout Parkdale’s past, in hopes to re-establish community space.

16

BENCH | ASSEMBLY PROCESS

PARKDALE

COMMUNITY BENCH

1 & 3 CLOSE AVE | VACANT 25 YEARS

11 BROCK AVE | VACANT 5 YEARS

1221 KINGS ST. WEST | MC DONALDS

1303 QUEEN ST. WEST | LIBRARY

COLLISION GALLERY | TORONTO, ONTARIO | DECEMBER 2019

GALLERY EXHIBITION We had the privilege of exhibiting our work at the Collision Gallery in Toronto.

This installation welcomes spectators to interact with the bench. As a result, the bench is a critique of useful space and occupancy by providing a literal space on-site for community members to pause, collaborate, or reflect on these moments throughout Parkdale’s repetitive disregard of community-driven growth.

IN SITU The eight images above show our bench in four distinct locations in Parkdale. Considering the desperate need for community housing, each site is critically important within Parkdale’s conversations of development. Although these places have the potential to benefit the community, most of these sites have been held in vacancy, or are planned to be demolished in favor of Toronto’s impending pressures towards real-estate development.

17

FIGURES

BLIND BOXES

04.

FIGURES BLIND BOXES

Instructor : Micah Lexier Winter, 2021 | Academic

DESIGNED TO SHARE A “Blind Box” is a type of packaging that keeps its contents hidden. I created an edition of 21 blind box figures with identical packaging containing an unknown concrete figure. These collectible figures have varying rarities that correlate with the number of faces of their geometry. This project communicated my passion for model-making and building relationships by using simple forms that appeal to everyone. Through the act of sharing, my work evoked emotions of curiosity and excitement that allowed me to spark a connection and form positive relationships with my community.

18

FIGURES

BLIND BOXES

PACKAGING | OPENED CONTAINER | 16″ × 7″ × 2.4″

EXPERIENCE | CLOSED BOX

EXPERIENCE | FIGURE REVEALED

PACKAGING | CLOSED CONTAINER

PACKAGING These blind boxes come in a larger cardboard container. These clear acrylic cubes were to be thrown out by a candy store called Sugarfina. After reaching out to retail stores across Vancouver, I was able to collect hundreds of these cubes to up-cycle into containers for figures.

19

EXPERIENCE | CONTENTS

FIGURES

BLIND BOXES

CONTENTS | OPENED BOXES | 21 FIGURES

BLIND BOX | 2.2″ × 2.2″ × 2.2″

BLIND BOX | NUMBER OF FACES

MOLDS | URETHANE RUBBER

PRODUCTION After sculpting the original figures with hardening clay, a liquid urethane rubber mold was poured on top to ensure the same geometry could be cast repeatedly. The image to the right are the three molds created from the cone, tetrahedron and pyramid respectively.

20

BLIND BOX | RARITY OF OBJECTS

GRACE EYEWEAR

BRANDING

05.

GRACE EYEWEAR RETAIL BRANDING

Manager : Michael Chen Summer, 2021 | Professional

OPPORTUNITY In May of 2021, I was called into work at my father’s retail glasses business due to a shortage of staff. I took the initiative to re-brand the store by designing new logos, catalogs, websites, and updating social media.

Through careful consideration of imagery and iconography, I created a concise and highly visual catalogue that guided the user through our products and services with minimal effort. My work allowed customers to see the same values and branding online and offline, creating a seamless experience that built a stronger sense of trust and connection between customers and our store.

21

GRACE EYEWEAR

BRANDING

LOGO DESIGN | BUISNESS CARD

LOGO DESIGN | SHOPPING BAG

22

NIKON CATALOGUE | FRONT + BACK

ESSILOR CATALOGUE | FRONT + BACK

GBL ARCHITECTS

RENDERING

06.

GBL ARCHITECTS COMMERCIAL RENDERING

Principle Architect : Daniel Eisenberg Summer, 2019 | Professional

INTERNSHIP Working as part of the firm’s schematic design process, I assisted the Associate Principal, Daniel Eisenberg, by creating multiple architectural renderings for client meetings.

This render was developed by translating plans and sectional AutoCAD drawings to a 3D model in Revit. I portrayed a scene that highlighted the key characteristics of the building while envisioning how the community interacts with the space. Cultivating practical industry experience has inspired me to pursue a master of architecture degree to inform my design process in creating architecture that will act as a beacon for care and connection within a community.

23

Thank You

Jasper Chen Phone : +1 778 320 6758 Email : jdw.chen@mail.utoronto.ca