Kaylee Tucker | Architecture Portfolio | W2020

K T

The cover image of this portfolio is a spectrogram, a visual representation of speech used in linguistic research. I am particularly interested in using research as a basis for design. Linguistic research, like that represented here, inspired the architectural project, SLA-ibrary.

table of contents 01 CYCLE

cooperative living

december 2020

02 jardines de juego

learning through play

may 2020

03 SLA-ibrary

a learning library

may 2018

04 Syncopation Through Space a music school

april 2019

05 music, architecture, and the spatialization of sound an interdisciplinary research project

january 2020 - present

06 Study Abroad

a year in barcelona

september 2018 – may 2019

07 Professional Work studiogc

summer 2017 – winter 2020

08 Motion

photography

various

01 CYCLE TYPE: LOCATION: COURSE: PROFESSORS: SCHOOL: TEAM: CONTRIBUTION:

COOPERATIVE MULTIFAMILY HOUSING DETROIT, MI ARCH 672 KATHY VELIKOV, JONATHAN RULE UNIVERSITY OF MICHIGAN MITCH DEANS, NIELS HOYLE-DODSON, DESIGNED AS A TEAM, PRODUCED ISOMETRIC AND FLOOR PLANS INDIVIDUALLY

Detroit, a city of hope, was systematically disinvested by white, wealthy investors, keeping it dependent on a system of predation. While communities are being grown in Detroit that push back against this system, the alienating nature of the urban fabric undermines the effort.

CYCLE works to give back part of the city to its own residents through engendering collective ownership of the space. The built environment always shapes the actions of its residents while individuals also define the space in how they inhabit it. Many parts of the building, from units to individual walls, are open to interpretations and changes depending on the desires of those who call it home. This flexibility contributes to a sense of belonging for the residents.

Open Air Hallway Community/ Civic Facilities

Communal Living/ Dining/Kitchens

“The Ally” (1 Bedroom)

“Communal Street”/ Hallways “The Compatriots” (2 Bedrooms)

Bike Bar

Greenhouses “The Accomplices” (Fully Communal)

“The Comrades” (3-4 Bedrooms)

Commercial/ Zones of Production

CLOVERDALE ST.

GREENLAWN AVE.

ROSELAWN ST.

BLV

D.

O AK

M

AN

BL VD .

OAKMAN BLVD.

PEDESTRIAN + #15 BUS TRAFFIC ONLY

ELMHURST AVE.

OAK M

AN

ELMHURST AVE.

CLOVERDALE ST.

OAK MA N

BLV

D.

JOE LOUIS GREENWAY

1.

2.

3.

4.

1.

comm comm living a living a

3. common common kitchen kitchen

B

common common dining area dining area

common common kitchen kitchen

2. common common working area working area

A

4.

common common dining area dining area

B

AN AN 50’ 50’

100’ 100’

THE ALLY

single persons | those not fully comfortable with communal living

Bedrooms: 1 Floor: 2, 3, and 4 Instances: 8 335 sqft

THE COMRADES Bedrooms: 4 Floor: 1 -2 Instances: 10 1456 sqft

larger families | small communal living | two couples and a roommate those seeking the amenities of a house

THE COMPATRIOTS

small families | a couple with a roommate | two friends | elderly and a caregiver

Bedrooms: 2 Floor: 1 Instances: 6 Front and Back Door 800 sqft

THE ACCOMPLICES Fully communal Private bedroom Paired bathrooms + kitchenettes Instances (bedrooms): 39 ~295 sqft/ resident

young people recently moved out | those seeking transitional housing multi-generational families | elderly and a caregiver | recovering addicts

02 TYPE: LOCATION: COURSE: PROFESSOR: SCHOOL:

jardines de juego kinderGARDENS of play

EARLY EDUCATION TLATELOLCO, MEXICO CITY, MX ARCH 662 ANYA SIROTA UNIVERSITY OF MICHIGAN AWARDED, CREATIVE CONSCIENCE AWARDS, 2020

Better schools build stronger, more resilient communities. That’s common knowledge. Commoning education by re-imagining a school district as an interconnected web rather than disparate parts strengthens the education outcomes of a community.

Escuelas mejores construyen comunidades más fuertes y resilientes. Eso es saber común. Convirtiendo el distrito escolar como una sistema interconectado— una sistema común—en vez de partes disparatas fortalece los resultados escolares de una comunidad.

context

contexto

CAPEP tlatelolco

jardín infantil melchor ocampo

escuela secundaria técnica nº12 “guardias presidenciales”

jardín infantil constitución de 19 escuela primaria josé antonio torres

jardín infantil luz padilla de azuela

jardín infantil josé maría luis mora escuela primaria fray melchor talamantes

escuela secundaria nº106 CENDI agustina ramirez escuela primaria francisco medina ascencio jardín infantil batallón de san blas

jardín infantil erasmo catsellanos quinto

CENDI ISSSTE

educación superior escuela preparatoria técnica cuauhtémoc vocacional nº7 (1964-2013) escuela secundaria pedro díaz y cedros de líbano escuela secundaria nº83 valentín gómez farías escuela primaria vicenta trujillo

917

escuela secundaria escuela industrial y vocacional de la beneficencia pública

schools

escuelas

school inttlatelolco s c h o odistribution l distribu ion in tlatelolco 6 4

4

2 1

1 0

CENDI

jardín infantil

CAPEP

escuela primaria

escuela secundaria

educación media superior

educación superior

kindergarten school comparison kindergarten school comparison

mejorartuescuela.org & siged.sep.gob.mx/SIGED/escuelas.html

(mejorartuescuela.org & siged.sep.gob.mx/SIGED/escuelas.html)

number of classrooms jardín infantil batallón de san blas

5

jardín infantil constitución de 1917

6

jardín infantil erasmo castellasnos quinto

12

jardín infantil josé maría luis mora

5

jardín infantil luz padilla de azuela

6

jardín infantil melchor ocampo

6

classrooms

classrooms

classrooms

classrooms

classrooms

classrooms

number of teachers 4

6

6

5

9

5

teachers

teachers

teachers

teachers

teachers

teachers

number of students 87

166

167

130

159

170

students

students

students

students

students

students

teacher/ student ratio 21.8

27.7

27.7

26

17.7

34.0

t:s ratio

t:s ratio

t:s ratio

t:s ratio

t:s ratio

t:s ratio

est. sqft per person 158

48

46

58

56

45

square feet

square feet

square feet

square feet

square feet

square feet

number of playgrounds 0

0

0

0

0

0

playgrounds

playgrounds

playgrounds

playgrounds

playgrounds

playgrounds

education

educación

play and education “crisis in kindergarten: why children need to play in school,” alliance for childhood

laissez-faire, loosely structured classroom

classroom rich in child-initiated play

playful classroom with focused learning

didactic highly structured classroom

ample play but without active adult support, often resulting in chaos

exploring the world through play with the active presence of teachers

teachers guiding learning with rich, experiential activities

teacher-led instruction, including scripted teaching, with little or no play

ideal

current trend

proposition

proposición

jardín infantil erasmo catsellanos quinto jardín infantil batallón de san blas

jardín infantil melchor ocampo

0.47mi 0.26mi

0.23mi

0.33mi

0.21mi 0.22mi

0.16mi

0.35mi

one theme per school, all connected

0.42mi

jardín infantil constitución de 1917 jardín infantil josé maría luis mora

art self music

jardín infantil luz padilla de azuela

environment movement construction

el arte el mí mismo la música el ambiente el movimiento la construcción

una tema para cada escuela, todas conectadas

self

el mí mismo

batallón de san blas

playground materials asphalt rubber mat pea gravel grass wood fiber mulch

in this playground, learn how you fit in with the world, see yourself in scale, experience how different materials feel

sand

en este jardín, aprenda cómo se encaja en el mundo, vea a si mismo en escala, experimenta como sienten materiales diferentes

wooden deck

rubber mulch dirt turf

“i can see myself in the mirror” “me too!”

“this planet is huge!” “i think it’s jupiter”

“this planet is ours — the earth!”

environment

el ambiente

erasmo castellanos quinto

“do you see the agave plant? it’s grown here, in our city!”

“if you want to water the plants, you can move this piece and the water will flow from the roof”

“alright class, now we’re going to plant here. this garden is similar to the aztec chinampas”

movement

el moviemiento

josé maría luis mora

“miss, how does the water fall from the roof?” “great question! the water moves because of gravity”

“i can feel the water moving between my legs!” “me too! why can we feel it?” “the waterfall!”

“i’m it!” “move! move! i don’t want to be it!” “don’t tag me!”

03 SLA-ibrary TYPE: LOCATION: COURSE: PROFESSOR: SCHOOL:

MEDIATHÈQUÉ CHICAGO, IL ARCH 374 CLAIRE GASPIN UNIVERSITY OF ILLINOIS SHORTLISTED, CREATIVE CONSCIENCE AWARDS, 2018

extrude

In the Near West Side of Chicago, there is a large amount of linguistic diversity—both in the number of people who speak languages other than English at home and in the number of languages spoken.

split

In an increasingly digital age, how might we leverage this linguistic diversity and encourage residents of the near west side to use and gain language skills in order to better connect with each other?

This urban mediathèqué, focused on language learning, takes cues from second language acquisition research to best foster connection among residents of the Near West Side.

primary shapes

secondary shapes

connection

LEARNING METHODS

000 Computer science, information & general works 001 Philosophy & psychology 002 Religion 003 Social sciences you don’t know you’re learning 004 Language 005 Science 006 Technology 007 Arts & recreation 008 Literature you don’t know you’re learning 009 History & geography

IMPLICIT

IMPLICIT EXPLICIT

INPUT INPUT

you know you’re learning

EXPLICIT

OUTPUT PROGRAMMATIC STRATEGY OUTPUT you know you’re learning

APPROACH

PURPOSE

Mija, ¡tráete tu suéter!

Okay, Dad! I’ll grab my sweater!

L2 NL

HL

heritage learner

second language learner

CONNECTING FAMILIES ¡Quiero comunicar contigo!

I want to communicate with you!

L2 NL

second language learner

L2 NL

second language learner

CONNECTING NEIGHBORS

60’

< implicit output 45’

< explicit input 29’

< explicit input 13’

0’

< implicit input < implicit input

-15’

< support areas -31’

A

up up

loading

up

storage circulation up

hvac

buisness manager

director’s office 007

up

B

008

009

accounting marketing graphic design

B

multipurpose room

langauge learning programming

holds

up

individual study check out & information desk flexible space

RFID book sorter books sent below

large lecture hall

A

conversation area

04 TYPE: LOCATION: COURSE: PROFESSOR: SCHOOL:

SYNCOPATION THROUGH SPACE MUSIC SCHOOL POBLE NOU, BARCELONA, SP. ARCH 476B CARLES MARCOS UNIVERSITY OF ILLINOIS ESCOLA TÈCNICA D’ARQUITECTURA DEL VALLÈS (ETSAV)

transparent

A

In Barcelona’s Poble Nou neighborhood, Avinguda d’Icària meets a diagonal pedestrian path. To capture this unique intersection, this music school is predicated on the idea of creating connective spaces through courtyards and terraces.

B

A dynamic staircase links five floors filled with practice and rehearsal rooms, offices, a library, and a café. Glazing on both sides of the staircase creates a light-filled circulation spine, connecting the two volumes of the building across the courtyard.

A rhythmic structure wraps around the perimeter of the building and is punctuated by panels that range from transparent to opaque. These panels are strategically placed to allow for the best lighting and ventilation in various spaces of the building.

C

D

opaque

E

C

A

E

E practice room windows vary between a, c, & e windows to provide musicians with ample light, ventilation, and privacy

C A

interior courtyard can be seen throughout the building, bringing in light and encouraging a dynamic circulation

t tensioned (right) used for right side of building, F2-4

◄◄ main structural grid

post-tensioned structural grid used on right hand side; floors 4, 3, & 2 ►►

0.05m

0.55m 0.05m

0.95m

0.05m

0.55m

0.55m 0.05m

1.00m

1:10

steel HSS section, filled with concrete, surrounded by insulation and an aluminum exterior. ►►

05 TYPE: SUBPROJECT: PROJECT SITE: SCHOOL: TEAM: CONTRIBUTION:

THIS RESEARCH WAS SUPPORTED BY:

music, architecture, and the spatialization of sound RESEARCH PROJECT MUSICAL INTERPRETATION + GRAPHICAL REPRESENTATION SOUNDXSPACE.CARGO.SITE UNIVERSITY OF MICHIGAN LEONARD BOPP, M. MUSIC, TYLER GAETH, M. ARCHITECTURE COLLABORATED ON RESEARCH, PRODUCED GRAPHIC TRANSLATIONS INDIVIDUALLY

UM ARTSENGINE’S ARTS INTEGRATIVE INTERDISCIPLINARY (AiiR) GRANT TAUBMAN COLLEGE’S ARCHITECTURE STUDENT RESEARCH GRANT (ASRG)

Our principal goal from the outset of this research was to explore new modes of engagement between musicians, architects and their respective audiences.

Through a series of exercises and studies, we have begun breaking down these forms of visual communication and re-representing them in formats and visualizations that don’t rely on disciplinary knowledge. Working back and forth between the disciplines, these realizations are working towards a shared language between music and architecture that can convey qualities of both fields in more accessible formats without oversimplification.

Working from Anthony Di Mari + Nora Yoo’s Operative Design1, we defined each verb in three ways­—from a non-disciplinary perspective, architecturally, and musically.

expand architectural definition

musical definition

1. Increase by at least one dimension 2. Thermally, the change of materials in different seasons and weather conditions

1. To add a new idea to a pre-existing idea - i.e. making a phrase longer by adding a new element

To increase in extent, size, volume, scope, etc.2

From these definitions, Leonard wrote a musical phrases for each word, manipulating a basic motif just like Di Mari and Yoo manipulated a basic volume. This phrase, a diatonic and mostly step-wise pattern in the key of G minor, could be manipulated through various alterations of length and rhythm. In some cases, Leonard also added an additional voice to illustrate the verb.

musical phrase

listen

1. Di Mari, Anthony, Nora Yoo. 2018. Operative Design : A Catalogue of Spatial Verbs. Amsterdam, The Netherlands: BIS Publishers.

2. “Dictionary.com Is The World’s Favorite Online Dictionary.” n.d. Dictionary.com. Accessed August 3, 2020. https://www.dictionary.com/.

expand

musical musical notation notation

staff

add add lines lines at at mid-points mid-points

⁰⁄16

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time time markers, markers, unit/16th 11unit/ 16th note

add points points for for each each note, note add using using time time markers to show note length

connect points

finalgraphic graphic representation representation final

Our method of re-translation begins to show large trends in a phrase. Because it doesn’t rely on disciplinary notation—like the symbols that show note length —these representations begin to make the trends readable for non-musicians.

inflate architectural definition

musical definition

1. Expand a shape symmetrically as if it were being blown with air 2. Dealing with elastic, sealed volumes, to pump air or other gas in order to create volume.

3. The size of something relative to its context, function, convention, and occupants

1. To add both higher and lower registration

To distend; swell or puff out; dilate2

musical phrase

listen

In Inflate, the two voices pull apart­—a trend you can see graphically. While possible for musicians to understand in traditional musical notation, non-musicians don’t have the disciplinary training to do so

interlock architectural definition

musical definition

1. To take two shapes and fit them together, using positive and negative space to ‘lock’ them together.

2. Joinery method in which two or more components connect by co-mingling

1. Take two ideas that are complimentary and put them together. Steve Reich’s “Music for Pieces of Wood” is a great example.

To interweave or interlace, one with another2

musical phrase

listen

In Interlock, the lower voice is delayed by half a beat, so that the voices interlock. This trend is much easier to see graphically­—the lines lock together, interweaving with each other.

06 SCHOOL: TERM:

Study Abroad ESCOLA TÈCNICA D’ARQUITECTURA DEL VALLÈS (ETSAV) FALL 2018 SPRING 2019

During my time at the Illinois School of Architecture, I studied in Barcelona, Spain. This year long program is unique in that all of our classes, from structures to history, were integrated with each other and our environment. Through our studies, we were lucky enough to get to experience Barcelona, Spain, and all of Europe through architecture–especially through sketching and photography.

French National Library, Paris, France

Ciutat de les Arts i les Ciències, València, Spain

Escuela Técnica Superior de Arquitectura de Granada, Granada, Spain

Sagrada Família, Barcelona, Spain

Façade, Florence Cathedral, Florence, Italy

Copenhagen, Denmark

Monastery, Sant Cugat del Vallès, Spain

Monastery, Santes Creus, Spain

L’Oceanogràfic, València, Spain

Eiffel Tower, Paris, France

07 PROJECT: CONTRIBUTION:

Professional Work 1233 HARTREY RENOVATIONS CASEWORK REPLACEMENT ASK PRODUCED DRAWINGS IN FULL ADA CODE CONSULTATION

PROJECT: CONTRIBUTION:

NILES SD 219 BRIDGES PROGRAM MODELED AND PRODUCED IMAGES AS A TEAM

REMOVE EXISTING SINK, FAUCET, AND CASEWORK

NEW STAINLESS SINK, BASIS OF DESIGN: ELKAY LRADQ252255 ASK-02

1

2

NEW FAUCET, BASIS OF DESIGN: CHICAGO FAUCET MODEL 201AGN8AE29-317CP

PARTIAL ENLARGED FIRST FLOOR PLAN 1/4" = 1'-0"

PLAM COUNTERTOP WITH BACKSPLASH AND RETURNS: WILSONART GOLDEN JUPARNA 4932-38

20 ASK-03

PLAM CABINETS: WILSONART MONTICELLO MAPLE 7925-60

30" x 34" x 24" DEEP CABINET

36" x 34" x 24" DEEP CABINET WITH INTEGRAL TOE-KICK

RUBBER WALL BASE EQ

2

3' - 0"

2' - 6"

CASEWORK ELEVATION - CORRIDOR 1/4" = 1'-0"

Work produced under employment with StudioGC, copyright StudioGC, 2019

EQ

COUNTERTOP WITH NEW SINK

T/ COUNTER

2' - 10"

WIRE PULL & 5-KNUCKLE, 180 DEGREE HINGES 3/4" DOOR WITH 3MM EDGES, ATTACHED TOEKICK

4"

PROVIDE NEW VET UNDERNEATH SINK CABINET 3"

3

SINK BASE CABINET DETAIL 1" = 1'-0"

Work produced under employment with StudioGC, copyright StudioGC, 2019

FINISHED FLOOR

Work produced under employment with StudioGC, copyright StudioGC, 2019

08 MEDIA:

Motion PHOTOGRAPHY

I’m interested in lights, long exposure photography and how it’s possible to capture movement through their combination. The first image was an experiment in using light alone. Using colored LEDs and lasers, I “painted” the space, capturing that movement through the camera.

The second two images were part of a series that looked at freezing ephemeral movement in dance through photography. I wanted to capture the moments of this dance in particular because I was the lighting designer for the piece. Capturing this interaction between lights and dancers was an exciting way to combine my experiments with long exposure photography and lighting design.

thank you