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.
t ekn e t sr kt aabyl el eoef ctoun c 01 SLA-ibrary
a learning library may 2018
02 anĂĄlisis lingĂźistica linguistic analysis may 2018
03 practice (v.)
a dance theater and studio december 2019
04 Syncopation Through Space a music school april 2019
05 work [ ] live
a living and working solution december 2018
06 Prairie Fires
an urban bookstore february 2018
07 Study Abroad
a year in barcelona september 2018- may 2019
08 World Wide Web a digital backup april 7th, 2018
09 Professional Projects studiogc summer 2017-18
10 Motion
photography various
01 SLA-ibrary TYPE: MEDIATHÈQUÉ LOCATION: CHICAGO, IL COURSE: ARCH 374 PROFESSOR: CLAIRE GASPIN SCHOOL: UNIVERSITY OF ILLINOIS
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 mediathèquÊ, 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
LANGUAGE USE IN THE NEAR WEST SIDE LANGUAGE USE ON THE NEAR WEST SIDE
Spanish Chinese Korean Hindi Other Asian Polish Gujarati Urdu Other Indic Italian Other Indo-European French *African Russian Arabic Greek Tagalog German Vietnamese Japanese English *Amharic, Ibo, Twi, Yoruba, Bantu, Swahili, Somali
IMPLICIT IMPLICIT
https://statisticalatlas.com/neighborhood/Illinois/Chicago/Near-West-Side/Languages https://statisticalatlas.com/neighborhood/Illinois/Chicago/Near-West-Side/Population
LEARNING METHODS
INPUT INPUT OUTPUT
you don’t know you’re learning you don’t know you’re learning
EXPLICIT EXPLICIT you know you’re learning
LEARNERS
you know you’re learning
L2 Native Language Speakers (NL)
learn and apply rules explicit
Heritage Language Learners (HL)
Second Language Learners (L2)
• Were raised in a bilingual house. • Not all HL learners are bilingual. • Some cannot speak in their HL, others can but have limitations in vocabulary or non-standard grammar.
• Were raised in a monolingual house. • Learn grammatical rules in the classroom.
HL learn through exposure implicit
000 Computer science, information & general works 001 Philosophy & psychology PURPOSE 002 Religion I want to communicate Mija, ¡tráete tu suéter! with you! 003 Social sciences 004 Language Okay, Dad! I’ll grab L2 my sweater! 005 Science NL 006 Technology 007 Arts & recreation HL 008 Literature 009 History & geography CONNECTING FAMILIES
¡Quiero comunicar contigo!
L2 NL
CONNECTING NEIGHBORS
The mediathèqué will encourage all types of learning The mediathèqué will serve all types of learners The mediathèqué will foster personal connections The mediathèqué will foster interest in gaining knowledge
PROGRAMMATIC STRATEGY APPROACH
L2 NL
60’
45’
29’
13’
0’
60’
< implicit output 45’
< explicit input 29’
< explicit input 13’
0’
< implicit input < implicit input
-15’
< support areas -31’
up up
loading
up
up
hvac
buisness manager
storage
directorâ&#x20AC;&#x2122;s oďŹ&#x192;ce
up accounting marketing graphic design
langauge learning programming
holds
up
individual study check out & information desk conversation area RFID book sorter books sent below
A
up up
circulation loading
up
storage
hvac
up
hvac
buisness manager
director’s office
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up
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009
up
B
B accounting multipurpose room marketing graphic design up
langauge learning programming
holds
up
flexible space
individual study large lecture check out & hall information desk
conversation area RFID book sorter books sent below
A
02 análisis lingüistica COURSES: SPAN 252, SPAN 303, SPAN 490 PROFESSORS: MELISSA BOWLES, JOSÉ IGNACIO HUALDE, SARA FERNÁNDEZ CUENCA SCHOOL: UNIVERSITY OF ILLINOIS
L2 Percent Change in Comparison to Pretest Explicit Implicit Control PRE 100.00% 100.00% 100.00% POST 183.33% 133.33% 333.33% DP 175.00% 133.33% 100.00%
HL Percent Change in Comparison to Pretest Explicit Implicit Control PRE 100.00% 100.00% 100.00% POST 100.00% 100.00% 85.71% DP 138.46% 114.29% 100.00% L2 Percent Change in Comparison to Pretest Explicit Implicit Control PRE 100.00% 100.00% 100.00% POST 183.33% 133.33% 333.33% DP 175.00% 133.33% 100.00%
As a Research Assistant for Sara Fernández Cuenca, a PhD candidate in the Department of Spanish and Portuguese at the University of Illinois, I collected and analyzed data for her study on Second Language Acquisition. After learning about SLA theory, I collected new data. Then, I analyzed older data. After grading oral and written tests, I analyzed the results to find out whether second L2 (1603, 1604, 1638, 1612, 1613) language learners and 1641, heritage learners learned Explicit σ Implicit σ Control σ from explicit and implicit instruction and what kind Pre 12 0.49 6 0.40 3 0.30 of knowledge they Post 22 0.47 retained. 8 0.44 10 0.47 DP
Pre Post DP
21
0.48
8
0.44
3
HL (1637, 1714, 1639, 1645, 1640, 1644) Explicit σ Implicit σ Control σ 13 0.50 7 0.42 7 13 0.50 7 0.42 6 18 0.50 8 0.44 7
0.30
0.42 0.40 0.42
HL Percent Change in Comparison to Pretest 350%
Pre Post DP
Pre 350%Post DP
300%
300%
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250%
200%
200%
150%
150%
100%
100%
50%
50%
0%
Explicit
Implicit PRE PRE
POST POST
Control DP DP
0%
L2 (1603, 1604, 1638, 1641, 1612, 1613) Explicit σ Implicit σ Control σ 12 0.49 6 0.40 3 22 0.47 8 0.44 10 21 0.48 8 0.44 3
0.30 0.47 0.30
HL (1637, 1714, 1639, 1645, 1640, 1644) Explicit σ Implicit σ Control σ L2 Percent in 7Comparison to7Pretest 13 Change 0.50 0.42 0.42 13 0.50 7 0.42 6 0.40 18 0.50 8 0.44 7 0.42
Explicit
Implicit PRE PRE
POST POST
Control DP DP
The image on the adjacent page is a spectrogram of the phrase, “Portafolio de arquitectura, Kaylee Tucker”. I ran a sound file of this phrase through PRAAT, a linguistics software that analyzes speech for phonetic and phonemic research. I also transcribed the phrase into IPA, the International Phonetic Alphabet, (below). As a Spanish linguistics minor, I have analyzed both my own speech and native speakers’ speech through PRAAT and IPA transcriptions. Below the IPA transcription is a graphical analysis of the vowel formants in the same phrase. These values are plotted to find which vowel is spoken.
[poɾ.ta.'fo.ljo.ðe.aɾ.ki.tek.'tu.ɾa]
03 practice (v.) TYPE: DANCE THEATER & STUDIO LOCATION: INTERLOCHEN, MI COURSE: ARCH 552 PROFESSOR: MALCOLM MCCULLOUGH SCHOOL: UNIVERSITY OF MICHIGAN
mass
practice (v.): the act of repetition to hone a skill practice (n.): to put something into reality, a discipline For dance, practice (v.) is far more important than practice (n.) – dancers spend far more time in studio than on stage. A large portion of the work and the enjoyment of dance (much like architecture) is done in studio, not in the showcase of the work. This project explores this idea through the arrangement of the spaces and their tectonic properties.
tray + pedestal
The three portions of the building key to different types of spaces—the pedestal is for the auditorium, the tray is the lobby, and the objects are studios. The main entrance is through the tray—most of the time, students will be using the building for classes. The “lightning bolt” that cuts through the tray and pedestal connects the very open tray to the more compact and circular circulation of the pedestal. objects
trim to fit site
tray
mezzanine
pedestal
objects
tray
pedestal
tectonic study
tectonic study
south east elevation
section b-b
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up
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a up
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up
tray (0)
tray floor plan
section a-a
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04 syncopation through space TYPE: MUSIC SCHOOL LOCATION: POBLE NOU, BARCELONA COURSE: ARCH 476B PROFESSOR: CARLES MARCOS SCHOOL: UNIVERSITY OF ILLINOIS ETSAV (ESCOLA TÈNICA SUPERIOR D’ARQUITECTURA DEL VALLÈS)
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
practice room windows vary between a, c, & e windows to provide musicians with ample light, ventilation, and privacy
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 work [ ] live TYPE: LIVING & WORKING APARTMENT BUILDING LOCATION: GRÀCIA, SPAIN COURSE: ARCH 476 PROFESSORS: ALEJANDRO LAPUNZINA, NÚRIA SABATÉ GINER SCHOOL: UNIVERSITY OF ILLINOIS ETSAV (ESCOLA TÈCNICA SUPERIOR D’ARQUITECTURA DEL VALLÈS) TEAM: ABIGAIL PETERSON, TEAM: MARTHA MULLER CONTRIBUTION: DESIGNED AS A TEAM, PRODUCED CONTRIBUTION: SECTIONS, RENDERINGS, AND CONTRIBUTION: DIAGRAMS INDIVIDUALLY.
Our proposed living and working building speaks to two different urban languages present near our site. A complex, interlocking section evokes the language of Gràcia’s streets, while clear, regularized functions are reminiscent of l’Eixample. Each unit in the residence has at least two windows, with one always leading to the main street, Milà i Fontanals. To give a feeling of more space, side units are double height. These double height spaces create interesting circulations—each unit has its entrance on the long part of the unit, and residents either ascends or descends through the double height to arrive at additional space. All public living areas are keyed to the double height area, while all private living areas are keyed to the single height areas.
core working living circulation
5N
5S
5N
5M
5M
3S 5S 2S 3M
3S 2S GS
4M
3N
3M
2N
2M 1M
CW
L
GS
Middle studio apartments’ residents travel vertically to reach their working areas, while side units’ working areas are adjacent to their residences. Additional services include bike parking, a communal working space, and a storefront working area for the ground floor unit.
5S
5N 4M
5S 5M 5N
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4M 2N
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GS L
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A’ C’ C
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first floor plan
GS
B
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A’ C’ C
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second floor plan
horizontal louvers denote work spaces
vertical shutters provide shading and privacy for living spaces small windows provide light and ventilation to where bathrooms and kitchens are present in the core reduced window size for private living
concrete projections denote double height living space in each unit
lower ďŹ&#x201A;oor of each projection features a balcony
06 Prairie Fires TYPE: URBAN BOOKSTORE & CAFÃ&#x2030; LOCATION: CHAMPAIGN, IL COURSE: ARCH 374 PROFESSOR: CLAIRE GASPIN SCHOOL: UNIVERSITY OF ILLINOIS
Site
Prairie Path Currently, this long and narrow site in Champaign is a Pocket Prairie, an urban green space. This design for an indie bookstore incorporates the prairie as both a precedent and an inspiration.
Split Horizontal
Prairies are excellent at revitalization; wildfires burn off the plants above ground while keeping the roots intact, allowing for prairie species to flourish. The division of spaces of the urban bookstore reflects this process. The level at grade with Chestnut Street and the level at grade with Market Street represent the roots of prairie plants, functioning as more permanent spaces. In contrast, the second floor symbolizes the leaves and stems of prairie plants. These portions of plants are burned off in prairie fires and are ephemeral, so the space is more flexible and is perfect for collaboration. The circulation changes from linear to curved and polygonal furniture allows for more people to work closely on projects. The triangular and pentagonal tables are modular and can be combined to serve any function.
Split Vertical
Extrude
Cant Roof
Carve & Extrude
Collaborative
Quiet
Transportation
Entrance from Chestnut St (+0)
Transportation
Nourishing Entrance from Market St (+5) Transportation
+5
+7
+14
+0
+5
+7
+0
MECH
WORK ROOM
+0
Curve derived from path on site
Glazing separates loud collaboration space from quiet working areas
Building transportation
LEAVES & STEMS: An ephemeral and flexible space for collaboration
Modular tables facilitate collaboration
Stool design comes from interlocking roots
Shape inspired by Monarda fistula, a prairie plant found on site
ROOTS: A defined space that feeds patrons as a root nourishes a plant Display tables mirror angles from grasses
Building transportation
ROOTS: A permanent and defined space for reading, working, and finding books
07 Study Abroad SCHOOL: ETSAV (ESCOLA TÈCNICA SUPERIOR D’ARQUITECTURA DEL VALLÈS) TERM: FALL 2018 AND 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 architectureâ&#x20AC;&#x201C;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
08 World Wide Web COMPETITION: 24H - BIG DATA DURATION: 24 HOURS TYPE: DATA STORAGE TEAM: CLAUDIA MIRALDI TEAM: MARCO NIETO TEAM: ANDREE SAHAKIAN CONTRIBUTION: RESEARCHED AND DESIGNED AS A CONTRIBUTION: TEAM. CONCEIVED NARRATIVE AND CONTRIBUTION: CREATED GRASSHOPPER SCRIPT TO CONTRIBUTION: MODEL THE WEB INDIVIDUALLY.
2018: The Information Age A myriad of knowledge is accessible from our pockets and guides our daily lives. We use the Internet and its data to answer small questions and big questions alike. From “Where should we eat?” and “How do we get there?” to “Is the Universe expanding?” and “How can we combat global warming?”, data is a part of our existence.
2080: Overload “An [information] economy based on endless growth is unsustainable.” The Internet has shaped data collection, study, analysis, and application for a century. A hundred years’ worth of documents, photos, social media posts, scientific data, and emergent technology has accumulated. How can the important data be parsed and secured in the event of a catastrophic event when analog technologies are unable to handle the load? 2194: Restored More than two hundred years after the advent of computers and the Internet, the World Wide Web at Point Nemo has grown from its original, modest size to fit the accrual of data spanning three centuries. Point Nemo’s remote location ensures its security— important files are not compromised from political tensions. Already, this structure and its SCUBA-diving engineers have restored lost data to the world, from both minor data losses and calamitous tragedies.
Ducie Island Matu Nui
1,700 miles Point Nemo
Maher Island
Site Plan
Site Plan
Web Plan
Floor Plan
Web Plan
Floor Plan
Structural Rib
Buoyancy Control Vibration Control Pistons
Data Storage Units
Cable Web Connection
Server
wave breaker to maintain safety
server brought to surface for maintenance
servers with variable buoyancy
central origin point allows for flexible network growth
to ocean floor (-4244 m)
zero state: float in epipelagic zone (-23 m)
09 Professional Work PROJECT: 1233 HARTREY RENOVATIONS PROJECT: CASEWORK REPLACEMENT ASK CONTRIBUTION: PRODUCED DRAWINGS IN CONTRIBUTION: FULL, ADA CODE CONSULTATION
PROJECT: NILES SD 219 BRIDGES PROGRAM CONTRIBUTION: MODELED AND PRODUCED CONTRIBUTION: 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
10 MOTION MEDIA: PHOTOGRAPHY
These images both capture motion. The image on the left is a light painting. I used lasers and LEDs as paint with the cameraâ&#x20AC;&#x2122;s long exposure as a canvas. The facing image captures the movement of dancers. I used a long exposure to show the dancersâ&#x20AC;&#x2122; expressiveness, musicality and elegance.