LANDSCAPE ARCHITECTURE PORTFOLIO / MLA I APPLICANT

JEAN NI

“Don’t ask yourself what the world needs. Ask yourself what makes you come alive and then go do that. Because what the world needs is people who have come alive.”

Howard Thurman

COVER PAGE: MOUNTAINS, Personal Watercolor, 2014

JEAN NI 510 364 9016 / JEANSNI@GMAIL.COM

WORK INCLUDED

ACADEMIC THE BOTANY OF SHAPES / INK DRAWING 3 CANS / WHITE CHARCOAL ON BLACK PAPER 4 SACK OF HAMMERS & HIPPO / CLAY SCULPTURES 5 DEEP SEA / RELIEF SCULPTURE WITH FAUX BRONZE AND PATINA 6

UC BERKELEY [IN]LAND PROGRAM BLAKE GARDEN ART INSTALLATION 7 ALBANY BULB PROJECT 8 SAN FRANCISCO TENDERLOIN COMMUNITY VISIONING PROJECT 9

PROFESSIONAL LEATHER PORTFOLIOS 11 NURSERY PLANTER DISPLAYS 12

PERSONAL SILVER & STONE CREATIONS 13 IN THE HOME 14 NOVEMBER SOLO / DIGITAL PHOTOGRAPH 15 BAHIA PESCADOR / DITIGAL PHOTOGRAPH 16 UNTITLED / CHINESE INK ON XUAN RICE PAPER 17 BIRCH TREES / WATERCOLOR 18

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THE BOTANY OF SHAPESInk drawing, 24” x 18”This piece explores my interest in nature’s patterns through subtle pen shading. Abstracted botanical features make up the crown of a single tree.

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CANS (Light and shadow study)White charcoal on black paper18” x 24”

To develop my representational skills while working on form and lighting, I enrolled in a Drawing and Composition course at Dixie State University.

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HIPPOClay sculpture with false bronze and patina treatment

7” x 4” x 4”

SACK OF HAMMERSMade plaster mold out of hammer head, then assembled several clay molds to form sculpture6” x 6” x 6”

To further develop my 3D spatial reasoning, I took an introductory sculpting course. I found that I enjoy working on the minute details of each piece, as well as making sure a design is visually effective from multiple perspectives.

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DEEP SEAClay relief sculpture with false bronze and patina treatment, 14“ x 10“

BLAKE GARDEN Built in collaboration with classmate Kai To (drawing and model mine), this installation at UC Berkeley’s Blake Garden explores themes of isolation, metamorphosis, and transcendance. From this project I experienced the logistical difficulties that can arise from translating even a simple design plan into a physical intervention.

Concentric circles were formed from split bamboo reeds, and ground nest was comprised of vines and forest duff. Viewers were invited to touch, walk around and stand or sit inside the circular forms.

Conceptual gestalt drawing

Aerial view of redwood grove sketch model, 10” x 10” x 14”

Photo of completed installation at Blake

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ALBANY BULBThe Albany Bulb in Albany, CA is a landfill-turned-peninsula that was home to several encampments in 2013. In lieu of the city’s proposals to evict all residents and tear down the sculptures located throughout the area, this plan aims to reconcile the area needs of three groups: evicted residents, wildlife, and new recreational users.

My proposal for the northeast region of the Bulb incorporates an art and community center to welcome former residents, a wildlife viewing deck, habitat restoration, and a hiking/running trail system. The original presentation board materials were later given to Albany Bulb residents for discussion in an on-site community meeting.

Diagram of available areas and spacial needs for wildlife habitat on and near the Albany Bulb peninsula Aerial close-up of wildlife viewing deck

Ink drawing of existing peninsula conditions

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TENDERLOIN COMMUNITY VISIONING PROJECTTo promote a safer pedestrian environment and local community stewardship, I created a street-to-wall mural plan using patterns which evoke the spirit of San Francisco. Community residents will be encouraged to join in painting the vibrant murals to beautify crime hotspots along the Safe Passages route on Leavenworth Street.

Street section showing viewsheds of intervention from facing building windows (Original scale 1” = 8’)

Pattern studies for potential mural imagery Elevated section of sidewalk and buildings illustrating planned design interventions (Original scale 1” = 8’)

Diagram of crime incidents and safety infrastructure in the Tenderloin district

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THIS COLUMN: Model of streetscape and buildings before and after intervention; entire model collapses flat to illustrate the metaphoric flow between public and private space.

Aerial view of building rooftops and design intervention plan on street. The original project board was later shown to community residents in an installation at the San Francisco Tenderloin National Forest in September 2013.

PROFESSIONAL WORK

These handcrafted leather tri-fold portfolios were designed in collaboration with Second Nature Entrada owner Rick Heizer. They are used by the wilderness therapy company for professional events, marketing, and client parent notebook packaging.

While Second Nature Entrada has plans for scaling up production, I currently hand-cut and stitch each leather portfolio with artificial sinew, then brand the cover.

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Working at Star Nursery not only taught me the names of plants or how well they grow in the desert, but I also had the opportunity to put together my own creative living palettes. Pictured are two examples of garden plants I assembled into seasonal displays for the store.

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PERSONAL PROJECTSThere are a variety of craft interests that occupy my free time: pottery, jewelry, sewing, wood carving, interior design, and leatherwork. I enjoy experimenting with color, texture, and organic forms. I have started to offer personal commissions for custom rings, pottery and leather wallets in order to practice marketing my work.

To create the rings, I shape slabs of stone into custom cabochons. Sterling silver wires and sheets are then cut, fitted and soldered into my design patterns.

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THIS COLUMN: Tillandsia plants housed in vintage wooden Coca-Cola crate

BOWLGlazed clay with pattern indentation9” x 9” x 4”

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NOVEMBER SOLODigital photograph, 2012This red road near Zion National Park in Utah is a path I take to the mountains when seeking solitude in nature’s beauty.

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BAHIA PESCADORDigital photograph, 2009Sunrise paddling on the Sea of Cortez in Mexico is a moment I revisit to remember quiet peacefulness and uninhabited wilderness.

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UNTITLEDChinese calligraphy ink on Xuan rice paper

9“ x 10“

My grandmother taught me Chinese watercolor and calligraphy as a child; in recent years I want

to rediscover the technique.

I am interested in exploring the potential intersection of American watercolor and Chinese

calligraphic ink in my design work.

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BIRCH TREESWatercolor10” x 14”

I enjoy learning new ways to utilize classic mediums. In this work I practiced a splatter technique as well as a different method of saving white space on the canvas.

JEAN NI 510 364 9016 / JEANSNI@GMAIL.COM