David Tucker Portfolio by David Tucker

David Tucker

CONTENTS 02 06 08 14 16 26 30 38 44

Police Station

Tulsa Massacre + Policing

Glass Investigation

Bus Station Intervention

Urban Oysters

Oyster Production and Vocational School

[Dis]Jointed

COVID Memorial

Waste Hub

Recycling+Incinerator+Greenhouse

Middle Ground

Re-imagining Subways for the People

The Post Office Redifinig the Post

Performing Arts HS

Detroit School of the Arts

Domestic Objects Drawing Investigations

POLICE STATION Tusla Massacre + Policing

My project is interested in the intersection of the police and the public. Recognizing that this conflict in justice is systematic while also challenging the way police stations have been designed in the past in hopes of shifting the power relationship between these two groups. In looking at the program, Police Stations tend to be very solid and insular. By pairing this program with a public library, the hope is that the police station becomes much more porous allowing for public interaction. In 1921 after a series of events, the Tulsa Massacre took place where the thriving Black neighborhood known as Greenwood was burned to the ground. This event was poorly archived and all that remains a re photographs of the neighborhood. Through these images, I was able to create a catalog of remnants to use in my design. These parts were then scattered around the site once again creating reconstructed and re-contextualized artifacts as a type of memorial to the massacre. Objects that were once whole but are now fragmented, pieces that take on a new relationship. Combining this with two bars, one representing the library and one representing the police station, focus can be paid to where these objects intersect. Combining the two ideas, the objects disrupt the library and the police space and space is organized around it reminding visitors of the events that took place. Peter Macapia, Pratt SP 21

GLASS INTERVENTION Bus Stop Investigation

In this course we were tasked with looking at glass and thoroughly analyze its performance in the real world. With my project I choose to look at a rock section and pull the material a part. I was drawn to placing it in a city setting where it would have the ability to interact the most with its surroundings. I eventually settled on a bus shelter as it has a unique interaction with viewers..When applied to the bus station, there are two layers. The outer layer blurs the objects behind it through the material while also allowing areas to be completely transparent. The inside material deals with color, becoming transparent and reflective in one setting and then adding a tint in others. Both patterns on the materials align allowing for a constant shift as viewers experience the space. To add on to this, each panel is not perfectly flat allowing for areas of reflection and transparency as pedestrians walk by. The result is a newly realized bus station that is always in flux, blurring lines of the object and the subject and engaging the inhabitants in the space. People waiting for the bus are usually still so their image of the people behind the structure rarely changes, but they are able to see movement behind the glass. The people walking past the bus stop never have a solid relationship with the structure. Phil Parker, Pratt SP 21

URBAN OYSTERS

Oyster Production and Vocational School The Brooklyn Army terminal has a rich history in Sunset Park. The objective of this studio was to take an existing building located on the site and redesign the interior for an oyster production facility and a program of our choice. Using the Million Oyster project as an example, this project strives to create space for oysters to be grown in captivity and released into the near by river as oysters are able to clean and rid of pollution found in water. The program is combined with an vocational school focused on green energy. Using a report done by Uprose on the community and their proposed plans for the site, a vocational school would provided opportunities in the community without fear of adding to the gentrification problem similar to the problem that is happening in Industry City. This design keeps the same form of the existing building while lifting it off the ground creating pools of water for oysters as well as a solution to future flooding. The facade becomes the driver for this project as the relationship between the old and the new is able to be read on the exterior. The old facade keeps the board-form concrete while the new areas that carve into the building becomes a smooth concrete juxtaposing one another. Existing punched windows then begin to become affected by the new geometry as the intersection cuts the windows creating a new profile. Alexandra Barker, Pratt AU 20

[DIS]JOINTED Covid Memorial

While the whole world was affected by the virus, the effects were felt and handled differently country to country, state by state. [Dis]jointed: A Memorial to the Ongoing Pandemic recognizes the different experiences of COVID-19 and joins us together through our varying struggles. [Dis]jointed represents and honors the lives lost during this tumultuous time in America, while recognizing and representing the effects felt around the world. Extending the street context from Manhattan to Roosevelt island, 50 towers representing the rate of COVID-19 deaths emerge. The towers become the most intimate scale of separation as they separate the visitors from one another. Moving towards the center of the project the towers become taller, and the separation becomes more intense. The grid, once a symbol of order, is now remnants in disarray. The towers pull out from the grid to represent those who had their lives taken away from them by the virus. At a much smaller scale, the surface of the towers are disrupted with a perforated gradient. As you look upward, they disappear into the sky. The ground plane is activated by the towers, causing mounds to infiltrate the memorial as the disease infiltrated and disrupted life. The path through the memorial is interrupted by the towers and earthen mounds. Completed with: Anthony Iovino, Megan Pettner, & Katie Shipman AU 20

WASTE HUB

Recycling+Incinerator+Greenhouse The inspiration for this project came from picking up the striated language in the site from the adjacent Major Deegan Highway and also the surrounding context. The specificity of the machinery was very important to our project as public space starts to appear in between it. The equipment was deconstructed and rearranged linearly in order to reinforce the relationship between industrial infrastructure and extrusion. Floor plates start to appear in the open space in the incinerator and the recycling process as well. We wanted the building to serve as a connection between the community and these processes so as people travel through, they gain knowledge on how both systems operate. We anticipate our building receiving a decent amount of traffic as it will connect the pedestrian traffic from the bridge to the ferry and train station towards the souther end of the site. A greenhouse appears above the two tipping halls intend for use by the various programs at Bronx Community College. The project embraces the industrial nature of the various programs through a series of layered linear extrusions. Each extrusion ranges in scale from the scale of large machinery to the scale of a person. The resulting spaces strive to create a community hub that provides a variety of transportation and educational opportunities. Stephanie Bayard, Pratt SP 20

WATERPROOFING MEMBRANE INSULATION STRUCTURAL SLAB

LAMINATED GLASS DISK FASTENING FLANGE

VAPOUR BARRIER SUPPORT SLEEVE LENS CLAMP PLATE

2'-0"

9'-0"

CAST GLASS LENS

7'-10"

9'-0"

STRUCTURAL STEEL COLUMN

LICHEN & MOSS

TE HOLDING AREA STEEL FRAME PERFORATED CORTEN METAL PANELS

SORT ING BALI NG GREE NHOU

TIPP ING

ASH CO

HALL TIPP ING

HALL

WAST E

HOLD IN

LLEC TI

VISITOR PARKING

CONV ECTI

MIDDLE GROUND

Re-imagining Subways for the People Subway systems, especially in New York City, are an important part of the communities that they run between. However the relationship between the riders and the system seems to be one sided. While riders depend on the subway daily, the subway remains indifferent to the riders that keep it going. Lately, new seating has appeared in the subway that appears to be less like a bench and more like a bar for someone to lean on. These “benches” are a prime example of hostile architecture that strive to deter homeless people from sleeping or resting on them. This project strives to give authority of these spaces back to the public that uses them most. Currently when you enter the subway, you walk downstairs and are immediately greeted with the metro-card readers before choosing which direction you’ll be traveling in. The result is an open floor that only serves as a middle ground between the train and the outside. This project relocates the metro-card readers to the lower floor opening up the middle ground for the public to use. Seating is provided that then carves out four separate areas where people can sit and gather while listening to speakers or musicians or even watch street performers, before catching their train below. Independent Project

THE POST OFFICE Redefining the Post

In this studio we looked at the post office as an institution. The project wasn’t to simply clean the post office and bring it into the 21st century, but instead looking at ways to save it. As we visited a local distribution center and local post offices and talked to workers, I took the stance of submersing the post office further into the neighborhoods. By doing this, the post office wouldn’t solely be a chore to just get out of the way but become a space for the community. The first step in doing this was placing the post office right in the middle of the neighborhood instead of on the edge like it has been done traditionally. The next step was creating a transparency between the consumer, the worker, and the system. By doing this the hope was the workers and consumers would gain a better knowledge of each other: thus, easing tension and creating an overall enjoyable experience for both sides. The consumer gets placed in the middle of this system. Allowing them knowledge of all the post office entails of. Instead of three different operations working closely together but still divided, these systems will overlap and bleed into one another. The building continues into the surrounding site to further create a public space. A shelter curves the edge and creates shelter with seating underneath. The seating extends into the park with two benches plugged into the site. Karen Lewis, Ohio State SP 19

Office Space

oading Dock/Sorting Room

ackage Storage Room

P.O. Boxes

Main Lobby

Employee Break Room

Cafe

Self Service

athrooms

Plan Scale 1’:1/8”

Form Roof vs. Ground Roof Plane

PERFORMING ARTS HS Aretha Franklin Arts School in Detroit

In this project, we were challenged with the opportunity to create a performing arts school located in the heart of Detroit. Rather than creating a building that embodies Aretha Franklin, my studio took the unique stance to create the future for the arts like Aretha did during her time. Using the technique of sampling we observed Rem Koolhaas’ 1909 theorem and his built works. It was through this process that I got the motif of the cloud. The ability of the cloud to create form and void all in the same is what I wanted to create in my school. Using the idea that performance can happen anywhere, this became the tool to sculpt my building. The interior uses a cloud but breaks it and inverts it. Theses objects then become suspended in the main atrium. They house various program such as the library, cafeteria, and computer lab allowing all these public spaces to face inward and simultaneously each other. The building’s façade becomes reliant on the site. Facing the city, the building becomes more rectified emphasized by the ribbon windows. The next façade gains a decorative cloud and the façade that faces the Dequindre Cut gains two. This illustrates a transformation as cars drive by from rectified to freer. The suburban side becomes more playful and interactive. The side that faces the Mies towers opens and one can see all the objects being held inside the space. On the top of the building, the cloud motif repeats and creates a canopy where performances can take place. Stephen Turk, Ohio State AU 18

DOMESTIC OBJECTS Drawing Investigations

For this seminar, we were challenged with replicating architectural representation throughout time to find the effects of various drawing styles. To do this, we worked with everyday objects that were void of meaning allowing us to clearly read the effects that the types of representation had on the object. My object of choice was a lamp and throughout the semester I chose to replicate the target images very specifically. The first image is based on the NEMESTUDIO project called “Nine Islands.” This drawing forces a scale change on the lamp and starts to reveal the spacial qualities it has. The top half of the image becomes a plan landscape all inspired my various parts of the lamp. The second image is based on the Andrew Holder project “The Kid Gets Out of the Picture.” In this drawing, the idea was to mask the object over a series of three sheets and the legibility of the object solely relies on the form it makes along with the clues surrounding it. The result is a partial interior space created between the sheets and the ground plane. The final drawing was based on many drawings by Auguste Choisy. These drawings overlay multiple architectural drawings such as a plan, section, and elevation to create something entirely new. The result is overall and elevation that can begin to be read as a wormseye or birds-eye view with the help of the overlayed information Sandhya Kochar, Ohio State AU 18