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. Lineal elements breaking down scale. Shadow and light interplay.

The Model.
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”.

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.
Vertical access.

Separated spaces create dynamic organizations

The stairwell hugging the cavern wall is a primary

feature.
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The Section.
 Layers and overheads.
This section highlights several notable areas of the structure.
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Stickyback and markers were used for toning.

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 ladder creates variety in the modes of circulation.

The cleft in the canopy is surrounded by assorted

folding elements. 29
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. 31
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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
The nearby fountain provides a viewing The existing light and shadow dynamics of
exploration of the site. context for the structural orientation. the site would carry over to the wall.

The existing trellis would be the context for

The Site. 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 Early sketches explored the general shape and form.
well as scale.

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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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