Jason

Barker
Advanced
Design
Portfolio
2018-2020
Conents.
1.Japan/Process Studio.

2.Transit Development Studio

3.Modernist Housing and

Museum studio.

4.22nd Street Corridor Studio.

Spring
2018
Japan
Studio
w/ Stan
Russell
The Process/Japan studio was an amazing
experience that focused on abstraction,
conceptual process, influence from other
mediums and fields of art, and the variety of
manners in which we can generated space
and architectural form.

The project bgan in an extremely abstract

manner, and the final product was a school
teaching traditional Japanese arts and craft,
sited in Kyoto near a river, and in a small
park.

In this segment I will focus primarily on the

process aspect, as there is a huge amount of
information and topics to cover in this stu-
dio, so I will direct my attention there.
Form
Generation &
Abstract
Diagrams
Using google maps, we generated figure
ground images of several existing temple
complexes in Japan, and later combined
these with other figure ground images and
addition diagrams to further generate new
forms and look for possible relations that
could be used to inform and generate space.
These four images show the progression of
the temple fusion figure ground diagrams, as
elements from different sources were added,
along with graphical abstraction and indices
of motion and space.

Two of the primary elements intersected to

generate this form were the figure ground of
an existing temple, and the stone pathways
of a Zen garden. The pathways were digitally
transfered to illustrator and in to the figure
ground image, at which point they were cut
up, edited, and moved around to provide a
circulation for the figure ground, while still
retaining some of their original shape,
conforming to the new context where
possible
On an entirely personal note, this diagram
is one of my favorite things I have done in
Advanced Design, and I consider it the most
successful diagram from this specific
exercise.

Entirely analog/traditional, it combines ink,

graphite, marker, watercolor, stickyback,
screentone, structural elements such as stairs
and columns, differing scales (both figure
ground city level elements and larger scale
housing interiors were used), and abstract
shapes to signify more experiential elements.
This larger image, also done on vellum with
much of the same media, hinted at a larger,
more urban scale. As well as more
conven tional spatial elements, such as water
and streets, while still maintaining an
analytic quality.

This image would go on to provide some of

the components for the 2.5 dimensional
extrusion model in the next step of the
project.
These two diagrams would later be toned
and intersected with other images, exploring
issues of texture, space, volume, and further
abstraction.

These were done on vellum and mylar with

ink and graphite, and later scanned for
digital enhancement.
One diagram involved the additon of
scanned and edited traditional Japanese
textile patterns, of the sort used to make
Kimono’s. The allowed for further generation
of elements that spoke to light, space, ma-
teriality, weight, and depth, especially when
contrasted with a flate, white field.
The final image in this exercise was the result
of intersection several different diagrams,
floorplans, and the synthesis of multiple
methods that had been used thus far, allow-
ing for a culmination of the entire process in
to one image.

The end result of this entire process was a

series of images that not only would inform
our spatial explorations going forward, but
images that serve as unique, abstracted
artworks in their own right. Much like the
Japanese textile patterns used elsewhere in
this exercise. Something that stands on its
own as an independent work despite eventu-
ally being part of a larger whole.
Extrusion
Model
&
Woodblock
Prints
Woodblocks were made with lasercutters
and in the woodshop, and then “painted”
with wet woodblock printers ink. Only a
few colors, with a different block for each
color. These were initial tests with black ink,
creating abstract, almost ghostly formsthat
can suggest either space/walls or circulation/
roads.
Different colors were combined on different
sheets, with orientation being somewhat
variable.

This was largely another form generating

exercise, as well as a look at how a traditional
Japanese arts and crafts practice is done, and
how it might be applied to our own purpos-
es.
Section
Cut
Models
&
Extrusion
Spaces
The next step was to begin translating the
existing diagrams in to abstracte section
drawings that, while still conceptual, had
more concrete characteristics of space and
scale.

This led to further use of trace paper to

combine, rework, and reimagine the forms
generated in the previous steps.

That result would then be turned in to

scanned drawings that would be traced in
AUTOCad, turned in to cut files, and used to
make a section cut model.
Section
Sketching
This long banner of canary yellow trace
paper was the initial canvas on which to
explore this new set of forms.

Angular, pivoting, and higly variably in mass

and delicacy. All with emergent spatial
properties that could be further enhanced.

This would be finessed in two ways; first, a

selected traced drwing on vellum of one par-
ticular segment, and second, scanning the
roll and reproducing the forms in AUTOCad
to eventualy turn them in to laser cut files.
This long banner of canary yellow trace
paper was the initial canvas on which to
explore this new set of forms.

Angular, pivoting, and higly variably in mass

and delicacy. All with emergent spatial
properties that could be further enhanced.

This would be finessed in two ways; first, a

selected traced drwing on vellum of one par-
ticular segment, and second, scanning the
roll and reproducing the forms in AUTOCad
to eventualy turn them in to laser cut files.
This step began to add color, shadow,
interior, and depth.

The suggestion of distance and more well

defined spaces, with walls and hierarchy, be-
gins to take shape and would further inform
the final product.
Section
Model
The draft of the section cut model was done
on chipboard, and attached to lengths of
basswood. Five different “plates”/sections,
each a variation of the initial image picked
for the previous vellum drawing.
The model begins to suggest three dimen-
sional forms, as one imagines where floors,
ceilings, and walls may connect from one
section to another.

Markers and graphite added tone, continu-

ing the language established in the vellum
drawing.
Final
Section
Model
The next step was a more developed model,
made of plexi, basswood, and mueum board,
amondd a few other materials.

In this iteration, planes and other elements

would be built between the various elements,
starting to create spaces, circulation, and
other elements.
Rooms, halls, atriums, corridors, nooks,
and all sorts of other spacecs begin to take
shape. Ground becomes more well defined,
and spaces push and pull as planes connect
variable borders between sections.

Roof conditions, walls, floors, and more

become more articulated adn constructed, as
implied masses begin to transform in to built
forms ith structure and skin.

The profile of the sections now takes on an

overall shape, defeining the primary mass
and move of the structure.
Promenade
Process

This smaller, wooden process

models were made to develop
the main public space in the
structure. A lowered atrium, a
catwalk, and an upper gath-
ering spae, as well s structural
elements, are all envisioned
here.

The idea was a layering of

different intersections of
motion and public gathering
space.

This was the first major step

in translating the extruded
section model in to the final
model.
Final
Model:
Form
&
Abstraction
For the last step, we were to transform our
extruded section model in to a final stru-
ture, but were instructed to do so while still
maintinging some of the abstract, conceptual
qualities of the earlier steps, as opposed to
translating it in to a more realistic building.

Keeping with the previous approach of

narrowing things down, we were once again
instruted to select a specific part of the sec-
tion model, rather than the entire thing, and
further develop that.

To that end, I incorporate many diagram-

matic elements from earlier steps, and un-
conventional strutural language for every-
thing from masing to public spaces.

Etched plexi, ground diagrams in watercol-

or, and open use of heavy elements such as
screws were all part of my final approach.
Section
Drawings
Section drawings, further building off of the
previous drawings, give an idea of how the
space is inhabited and how features such
as the catwalk, overlook seating, and other
features contribute to the space.
Fall
2018
Transit
Development
Studio
w/ Taryn
Sabia
This urban studio focused on the idea of
Transit ORiented DEvelopment, building
new urban, mixed use spaces around new
transit hubs/stations.

This project involved a huge amount of

research and information graphics. You will
notice that maps constitute the vast majority
of material for this studio.

We each assigned an area in Tampa, and had

to research it extensively before we began to
design anything. The involved heat maps,
informational maps on things like
demographics and land value, and numerous
site visits to photograph and understand the
location and its history.

Mine is in Sulphur Springs, near 275 and the

iconic abandoned water tower.
Initial
Mapping
&
Expansion
This initial drawing was the foundation for
the analysis maps of the area I was assigned
for this project.

It was scaned, toned, and used as the basis

for all of the following heat maps, meant to
analyze traffic, activity, and other relevant
information about the area.
Basic Map
Notable Locations
Activity: Day
Activity:Night
Traffic/Traffic Barriers
All Information
Site
Analysis
&
Further
Mapping
Additional maps, site visits, and photography
all provided further insight in the the are,
refining my ideas of what needed to be done
to realize the goals of the project.
Sulphur Springs: Figure Ground
Sulphur Springs: Analytic Map
Focused
Information
Mapping
Further mapping and analysis focused on
the specific neihborhood/area that was to be
developed.

All pertinent information, from tree cov-

erage to demographics to future land use,
were considered, informing the subsequent
planning for the project.
This offered a great deal of insight in to the
area, and provided many ideas as to what
could be improved, how the area functioned
as it was, how it related to the rest of the city,
and so forth.

The larger context can be easy to overlook

even in the most basic sense, to say nothing
of a deep dive in to the various layers of said
context and what can be found in them.
Photographic
Analysis

I made several trips to the area to see things

first hand, and take some photos of notable
landmarks, such as the water tower and Sul-
phur Springs theater.

While much of what existed there in the

1930’s is now gone, the remaining traces of it
could play a notable role in future revitaliza-
tion and redevelopment of the area.
Final
Urban
Development
Intervention
Sketching
These figure ground sketches were the next
step in envisioning how a new urban, mixed
use development might manifest itself in
Sulphur Springs.

Though largely basic, this was the first step in

arranging greenspace, housing blocks, street
grid, and other vital features.
Organic
Experience
This diagram spoke to a more metabolic,
perceptual experiene. One not of form,
but motion and impression, giving an idea
of how the area felt as things perceptually
pushed and pulled relative to motion, line of
sight, and overall impression.
Development
Sketching
&
Sections.
A number of sketches were done to further
develop the transit station, the mixed use de-
velopment, street grids, movement analysis,
and a number of specific, individual spaces
that could define the new Sulphur Springs
T.O.D.

The following pages are street sections, start-

ing with the location of the transit station as
it is now and progressing to its eventual de-
velopment, as well as a street room analysis
of one a street further in to the development.
Final Site
Plan
The final site plan envisions the footprint,
grid, spaces, and all other relevant aspects of
the new Sulphur Springs development.

With the transit hub in the lover left, near

the edge of the greenspace everything else is
built out from that.
Site
Section
This site section image combines massing,
abstracted sections with hand sketches to
highlight various areas of importance in the
development.

Presented here in a smaller form to give an

overview, the next few pages display it in
segments to allow the reader to discern the
smaller details of the drawings.
Conceptual
Street
Model
Following the site section is a conceptual,
gestural street model to present a street room
condition from the commerce area of the
new urban development, emphasising the
built-in seating elements amidst the pedes-
triant-centric street room
Fall
2019
Modern
Housing
&
Gallery
w/ Gunderson
& MacLeod
This studio was extremely rewarding, and
my work for this segment is made up pri-
marily of models, as opposed to drawings or
graphics.

For this studio we did a considerable

research in to international modernism, and
what it sought to achieve. We took what we
learned and applied it to two projects.

The first is a house, a second home for

someone that is built around an interest of
theirs. We were paired together and each
of us served as architect/client in a two way
relationship.

The next project was a hybrid museum/

workshop, which would host an artist in resi-
dence and focus on some type of activity that
had some relevance to architecture.

Mine is focused on sculpture and video/pro-

jection art involving light. EVerything from
LED and flourescent installation art to urban
projection mapping.
The
Second
Home;
Initial
Process
Unlike my previous projects, the house
project has little in the way of drawings, and
is much heavier on modelmaking, both as a
part of the process and for the final works.

The models made in this studio are among

my favorite I have ever done in the program.

This initial model, utilizing junk parts and

leftover scraps as form generators, and to
reproduce abstract drawn elements, began to
explore the form and porgram of the house,
settling on a fairly solid idea at the outset.
These initial marker and ink sketches began
to speculate on different ways the interven-
tion might interact with the water, the site,
orientation, etc.

MAny of the concepts that would be carried

through to the final were quickly developed
here, particularly the courtyard and elevated
walkways, which would serve as the center-
piece of the house.
The idea of organizing the house around a
central courtyard with elevated walkways
that connected it to the site and the water
emerged from this process model.

As did the central focus of motion, decision,

and axis, initially represented by the black
rubber ring where the planes/walkways
meet.
A subsequent process model moved away
from gesture and concept and began to focus
on the development of interior spaces.

This model emerged from the instructions to

create two roof models, and design around
those. This one was built around the more
successful of the two. In addition to the
interior spaces, it also begins to develop the
ground.

Thoug one roof design was selected, the

model was made with a detachable roof in
mind, so the subsequent photos display both
roof designs.
Secondary
Home:
Final
Model
The final model was a mono-material model
made of basswood, with a focus on delicate
articulation, roof volume, and how the struc-
ture relates to the ground.

Screening systems, the courtyard, walkways,

and the light properties of the roof are also
notable highlights.
While most of the project focused on
models, this hand drawn section emphasis
the basic information of the roof, screen-
ing, and strutural courtpyard elements via
section cut.
Light Museum;
Drawn
Speculations
This project featured more drawing and
sketching, both for the process and the final
deliverables, but still a very heavy emphasis
on modelmaking, with some results I am still
quite pleased with.

These initial conceptual watercolors and

sketches began to inform the overall shape
and intent of the studio/museum hybrid
space.
Small watercolor forms were drawn, based
on potential spacec usage and the needs of
a light-art studio and projection workshop.
These considered circulation, footprint, pro-
gram, light, hierarchy, etc.

With a basic form selected, it was further re-

fined and explored along several dimensions,
including massive, fighure-ground, structure,
light, and relation to the water.

From this, a more concrete sense of space

and program began to emerge.
Sketching progressed from analyzing plan
and layout to sectional qualities.

Like the previous project, there was a focus

on the primary roof, and how it shaped the
entire struture. In this case, a bold move in
which an agular break occured, creating two
roof conditions in conversation with each
other, became the defining feature going
forward.

It spoke to light and elevation, which seemed

conceptually appropriate for a light-art
studio.
Process
Models
Roof, ground, and interior were explored in
these process models, which examine the
“break” in the roof, areas where light
penetrate, struture, and whatever else
emerged from these explorations.
Final
Draft
The last steps in the process phase were a
final draft of the model, and a final draft of
the drawings.

The model was developed in tandem with

the hand-drawn section drafts, and was
made of basswood and museum board. The
final shape, the spatial qualities, structure,
and everything else were finalized here.

Though it is formally a draft model, I think I

like it as good as some of my final models.
The long atrium-hallway became the defin-
ing spatial gesture, while the broken roof was
the defining rhetorical one, Both generate
the rest of the structure, from the artist res-
idence to the various workshops and gallery
spaces.

In addition to the break, the language of the

moment extends to the articulation at the far
end, seen here on the left, to create a rising,
angular overhang above the largely orthogo-
nal glass box of the work areas.
Light penetrates much of the largely trans-
parent structure, with the initial entry-gal-
lery being a modest exception, with more
strategically placed transparency.
The long atrium-hallway became the defin-
ing spatial gesture, while the broken roof was
the defining rhetorical one, Both generate
the rest of the structure, from the artist res-
idence to the various workshops and gallery
spaces.

In addition to the break, the language of the

moment extends to the articulation at the far
end, seen here on the left, to create a rising,
angular overhang above the largely orthogo-
nal glass box of the work areas.
Final
Model
&
Drawings;
Shining
a Light
The final model was made entirely out of
basswood, and featured more articulation
and struxture, as well as a new feature; the
dark pods.

Small, mazelike galleries and workshops on

the side of the site for displaying and
developing works requiring extreme
darkness and a total lack of light.

The final model was accompanied by final

drawings, including an axonomtric
illustration.

Both the primary structure and the dark

pods were built with removable roofs.

What follows are both conventional an dra-

matically lighted photos of the model, with
the subsequent drawings afterwards.
Spring
2020
Woodson
Studio
w/ Tara
Wood-Dzoark
This studio combined urban and
comprehensive elements, with a focus on
community involvement.

Our site was the 22nd street corridor in St.

Petersburg, and we were instructed to create
two interventions, one an outdoor interven-
tion relating to the 275 overpass, and one a
new Carter G. Woodson museum, to
compliment the original community
museum found in the area.

This was a unique project and the meetings

we had with people in the community were
very enlightening, and gave me a new
appreciation for robust communication with,
and understanding of, the communities and
people we impact with out work.
Overpass
Intervention
&
Urban
Analysis
The first step in the overpass inervention
andnew Woodson museum involved un-
derstanding the local area, meeting with
community leaders, researching the history,
and finally, diagramming the area for greater
understanding of the larger context and how
to make our intervention work.
This digital site diagram analyzes the 9th and
22nd corridor, considering different relations
between longstanding staples of the area
and hotspots of activity. This was pivotal to
understanding what was happening where,
and how to weave that in to the underpass
intervention and the museum.
Draft
Model
Close up details of the draft model of the
underpass intervention, highlighting curtain
walls, storefront, the upper spae, and the
structural and rhetorical conponents of the
“sail” element.
A second site analysis was done, which
highlighted the early form of the Woodson
museum and how it relates to the underpass
intervention, the corridor, and everything
else in the area. From a lake to pathways that
cut through 27th via pedestrian tunnels, the
focus was on breaking through this barri-
er which had divided the community for
decades.

From this came the unfolded section draw-

ing; an illustration that documents the trop
from the original Woodson to the new
musem.

It is depicted across several pages as it is an

extremely long, landscape oriented drawing
which seeks to document experience,
including sound, motion, traffic, and stru-
ture.
These perspective sketches illustrate the
three major masses of the gallery in the new
museum, which are the primary focus of my
concept, and how they relate to the overall
circulation of the museum.

The subsequent images are the initial plans

and sections, which are more conceptual,
and the final plans and sections of the
museum, with specific spae designated