Kiera Tucker - Pratt Architecture Portfolio

KIERA TUCKER

ARCHITECTURE PORTFOLIO 2018 - 2019

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Architectural Portfolio Pratt Institute Undergraduate Architecture Kiera Tucker

1 Design 101

2 Partition and Fracture as an Architectural proposition for splitting Transitions 5 Pair to Split 7 Sharing to Transition

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Design 102 10 Within or Without 14 Levels of Enclosure

20 Wrapped Intersected Stepping 24 Sequenced Projection

28 Technics 131 29 Prosthesis 31

Representation 111 32 Exploded Axonemetric 33 Tumbling Auxiliary 3 Organized Chaos

36 Representation 112 37 Translating Architecture 38 Projecting Architecture 42 Transformational Analysis 44 Architectural Drawing as Speculation

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Design 101 Fall 2018

Professor Carlyle Fraser

Formal systems in first semester produced generative drawings, models, design approaches, and then compared their qualities as systems. Projects were split into exercises; line, plane, surface, volume and void. A collection of models and drawings were produced for each with set materials. Design approach was defined as, “operations that act on geometry executed in material.� Studio culminates with the proposal of a folly, hybridizing two previous approaches using abstract rules and procedures. Proposed approaches were presented during midterm and evaluated.

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Partition and Fracture as an Architectural Proposition for Splitting Transitions

This project was an architectural proposition similar to a folly, created using two design approaches in two materials with the goal consisting of combining two visual material systems. In this case, line and plane are demonstrated through framer and planar modeling. Site and program related to a formal idea presented as a proto-concept. The approach Pair to Split was derived from the line exercise. The second approach, Sharing to Transition, was derived from the plane exercise.

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Derived from hybridizing Sharing to Transition and Pair to Split to aggregate connections. Expressed in split levels, shared spaces, and divided pairs. An occupant would experience this through a split ground plane, with thresholds that interconnect, allowing movement and split pairs that led spaces to feel detached. Site perpetuated split transitions through multiple levels. Additionally, site faced West, allowing significant afternoon sun to illuminate enclosed spaces, making them feel coh esive. Separation and suspension were significant.

They create a gap or break, that split the threshold and created distance in what should be continuous space using heavy enclosed structure offset by light airy ones.

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Pair to Split The first approach focuses on line. It searched for geometric and visual relationships allowing for formal explorations guided by rules, language, and discovery. The rule set was based on rectangular prisms with extended edges that penetrated the center of another rectangle, and connected through triangles. This was created based off of generative drawing sets, used as a road map.

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Sharing to Transition The second approach focused on plane. It searched for geometric and visual relationships, allowing for formal explorations guided by invented rules, language, and discoveries. Rectangular prisms align edges to center points, to create triangularly bridging divisions into quadrants. Subdivision drawing sets were used as a basis to create one side of the model, and the concept was then continued throughout.

I M AG E C A P T I O N

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Design 102 Spring 2019

Professor LoriTRANSITIONS: Gibbs POSITIONS AND 1/2” = 1’

TRANSITIONS:

1'-4 21" 2'-043"

5'-021" 5'-221" 4'-921" 4'-1 41 "

2'-1143"

3'-1"

TOP VIEW:

4'-221"

SIDE VIEW:

5'-4" 5'-243" 4'-421"

FRONT ELEVATION:

WALKING INTO LUNGING:

2'-041 "

2'-043"

1'-9"

2'-021"

1'-5 41 "

1'-5 21"

1'-3"

5'-4" 5'-341 " 4'-1 21" 3'-1041 "

SIDE VIEW:

1'-1143"

1'-1041 "

1'-7 21" 2'-541 "

TOP VIEW:

5'-4" 4'-521" 4'-4" 4'-7 43"

FRONT ELEVATION:

STANDING TO SITTING:

1'-2 43"

POSITIONS: STATIC SITTING:

1'-6 21"

4'-043" 1'-11"

3'-1143" 1'-7 41 "

1'-1043"

1'-6 41 " 4'-943"

BALANCED LUNGE:

5'-4"

STANDING STRAIGHT:

5'-4"

STABLE ARM EXTENSION:

2'-1 21"

1'-2"

Formal systems in second semester produced generative drawings, models, and design approaches and compared qualities as systems. The analysis of site, building or building elements, and the human body in space are introduced. A program was developed according to degrees of occupancy by focusing on specific activities, physical characteristics, and spatial requirements. Design is relative to a context and a position on how to approach environment.

Projects were split into exercises that focused on relation to the body, specifically the measurements of myself and a studio mate. A collection of models and drawings were produced for each with set materials. Design approach was defined as, “operations that act on geometry executed in material.”

Studio curriculum culminates with the proposal of occupation between two Pratt townhouses, for two students. This was accomplished by hybridizing two previous approaches, using abstract rules and procedures. Proposed approaches were presented during midterm and evaluated.

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Enveloped Security against Unobstructed Exposure: Within or Without This project was created in a group with the intention of teaching construction methods, building techniques, and real materials at full scale. I was put in charge of the formulation of construction documents for the cutting, assembly and construction of the structure.

The struture is experience based, based on the decision on how the occupant interacts in a public or private setting. This idea is achieved through asymmetrical mirroring and telescopic nature forming hierarchy. The shared bench that runs from the exterior to interior allows for opportunity of communication between two users, both separate but joined experiences.

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SECTION: UNOBSTRUCTED EXPOSURE AGAINST ENVELOPED SECURITY

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Mitered Edges 3”=1’

Single Dowel Joinery 3”=1’

ISO NW

Offsetted Framing 3”=1’

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Levels of Enclosure: Stepping Bound Frames Mediate Sequenced Rhythm to Create Levels of Enclosure SITE ANALYSIS:

KEY:

1/4” = 1’

= PRIVATE / SOLID

SITE ANALYSIS: DESIGN 102 FINAL SCALE: 1/8” = 1’ 4.14.2019 KIERA TUCKER PROFESSOR LORI GIBBS

= SEMI-PRIVATE

= PUBLIC

Through analyzing levels of privacy and coding them through massing the main structures as private, semi private or public space are denoted. The visual relationships between the townhouses was the focus that guided my proposal. This led me to take a position on respecting the site and using it to react to, keeping the height and levels relative to the pre-existing structures.

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CREASE AND REVEAL THROUGH WRAPPED INTERSECTED STEPPING

WRAPPED INTERSECTED STEPPING: FRAMER

SEQUENCED REVEALS: PLANAR

LEVELS: PLANAR

DIAGRAM: DESIGN 102 FINAL SCALE: 1/8” = 1’ 4.27.2019 KIERA TUCKER PROFESSOR LORI GIBBS

CIRCULATION: PLANAR

The approaches were hybridized by wrapped intersected stepping acting as the framing that organized the program. This rule set followed my synthetic ground my enforcing the relationship between the site and intervention. Where frames lined up, planes were inserted, separating the spaces and creating private ones.

Sequenced projection shifted to crease and reveal, which turned folded planar elements that wrapped to enclose space into curved refined ones.

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LEVELS OF ENCLOSURE AND REVEAL

KEY:

1/4” = 1’

= PRIVATE / SOLID

PROPOSAL: DESIGN 102 FINAL SCALE: 1/5” = 1’ 4.24.2019 KIERA TUCKER PROFESSOR LORI GIBBS

= SEMI-PRIVATE

= PUBLIC

The folded elements have set rhythm, helping to define the space, creating levels of enclosure. Some of the spaces acted as contained compartments, partially enclosed or completely exposed exterior spaces. Rhythm is created through the change in height, the spacing between and scale of the folded elements.

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Levels of enclosure speaks to the levels of seclusion from the public. Folding and ramping allow for the connection of circulation and floor planes throughout the various levels. A gap of rhythm, created through a pause in rhythm into a slow paced one, creates this condition. This results in a threshold which transitions an open terrace and semi-enclosed porch that hangs over into the backyard.

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The creation of this program was based on the specific routines, preferences and individualized measurements of a studiomate and myself. This led to the creation of private space, but also the ability to come together in a central space. Since my studio mate is an early riser, the private space located in the front was created. The rhythm created in the space allows for sunlight to move through the space and natural light in the morning due to the directionality. The private room in the back was created for me. Due to the rhythm being more closely spaced, blocking a significant amount of morning sunlight, it created a darker environment that better accommodated my routine. Semi-private spaces were created through folding throughout the structure allowing for intimate spaces within open ones.

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Wrapped Intersected Stepping

This design approach was created by punctures in the generated synthetic ground, being laminated with frames. The approach was based on a primary axis, that when intersected, ended the secondary frames.

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The stepping condition found in the synthetic ground was continued into multiple orientations. This was achieved through the extraction of three points with offset heights. Through mirrored and repeated elements a range of movement through the space and wrapping helped to direct circulation.

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WRAPPED INTERSECTED STEPPING 1/4” = 1’

APPROACH A: DESIGN 102 FINAL SCALE: 1/4” = 1’ 3.12.2019 KIERA TUCKER PROFESSOR LORI GIBBS

RAPPED INTERSECTED STEPPING 22 1/4” = 1’

ED STEPPING

WRAPPED INTER 1/4

APPROACH A: DESIGN 102 FINAL

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Sequenced Projection

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This design approach was based on a wave that fanned out from a centralized edge rather than a point. It appeared to lack structural stability and implied space. The components that make it up were created through two slanted L shaped that were joined and copied. This created a clear direction that when rotated, showcased the scaled and chaotic organization that limited its movement due to height.

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CTION:

1’

PROJECTION ”OJECTION: = 1’

ECTION

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Technics 131 Fall 2018

Professor Christopher Kupski

Technics is an introduction to the physical properties and behaviors of material and structural assemblies, as well as an introduction to the culture of experimentation andempiricism within architectural history and discourse. The course highlights the performative, dynamic, and emergent properties of full-scale constructions that students prototype,test, and refine from week to week.

Working in real time, students employ a broad range of material practices that are opportunies to discover the relationships between geometric form, methods of making, and their underlying behaviors. This course explores how ideas of performance, lightness, stability, and mass can be important contexts for developing design content.

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Tensegrity Cloud This project was created by two students working together to devise a prosthesis, a designed extension to the body that challenges its typical orientation. It required consideration of daily habits, postures, and situations, and take a position on how they can be altered, challenged, and subverted. These prostheses were made of aggregate component systems, a series of modules built up to become an intermediary between a specific body and surface, reorienting that body to its environment.

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The idea was based on two people being able to lie on a device that could also hold a shared phone. This was explored with the idea of breaking down the barrier technology can create. It was aggregated using tensegrity to find a balance between tension, compression, material, structure, and size. This project was constructed to fit the specifics of my partner and my body, not a product for mass production.

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Representation 111 Fall 2018

Professor Matthew Ostrow

Drawing is the language of architecture. Architects generate and communicate ideas through the act of making drawings. The primary goals of this course are: first, to give beginning architecture students the skills required to communicate sophisticated architectural concepts through drawing; and second, to explore how the act of drawing can be generative, an arena where forms and concepts emerge.

The generative and communicative skills acquired in this course will be incorporated into the student’s broaded design methodology, giving her/him a tool for analysis and innovation that can be employed in design and technical courses across the architecture curriculum.

Five separate blocks 2” x 2” x 2” were built out of ¼” basswood. All six sides were constructed; no faces left open and all corners mitered. Each block was “marked” by removing a triangular section 1” from three adjacent edges. An assembly of the blocks within an imaginary bounding volume of 6“ x 6” x 6“ were oriented and set and used as a basis for the semester.

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Exploded Axonometric This axonometic drawing was created using the top view and side elevation to construct a plan oblique of the assembly. This type of projection uses “true” dimensions in all axes.

All interior and material thickness information was included. Time and memory were added to the plan oblique by constructing an “exploded” view of the assembly.

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Tumbling Auxiliary Using the same parameters, a single cube from the assembly was constructed using plan and elevation to create a successive auxiliary view. Then, using three rotations, the effect of “tumbling� was constructed.

This was constructed by hand using graphite on vellum. All rotations included necessary construction lines, including all necessary plan and auxiliary drawings.

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Organized Chaos Purpose was to deconstruct into a system by tracking components.

Incorporating prior skills and producing a drawing that blurred the relation between three dimensional representation and successive auxiliary.

I flipped the original block assembly over an axis, keeping shadows intact. The concept of mirroring was explored by constructing over multiple axes, creating organization. Two blocks in each set were chosen as key blocks, arced in the opposite direction of the set and exploded. The cubes that remained were arced, but ghosted to create layers. Overlap created by cubes and construction lines created a focus on chaos, juxtaposing the order.

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Representation 112 Spring 2019

Professor Scott Sorenson Semester work archived in InProcess

Following the critical concepts introduced in Representation 1, the primary goal of this course is to introduce different forms of analytical drawings via the reading and understanding of a significant architectural staircase vignette. Students are asked to explore and discover different organizing principles from the source material, such as existing architectural drawings, photographs of the project, and renderings. The discoveries are then re-presented in a series of analytical drawings produced by variety of techniques, using analog and digital tools. This exploration culminates in the form of constructed re-interpretation of the original architectural staircase that resides exclusively in the form of architectural drawings.

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Translating Architecture

ORTHOGRAPHIC PROJECTION REPRESENTATION 112 FINAL SCALE: 1/12" = 1' KIERA TUCKER PROFESSOR SCOTT SORENSON 0

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FEET

Orthogonal views of the Longchamp Flagship Store, design by Thomas Heatherwick, were based on a stacked section as the central figure that organizes the hinging.

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Projecting Architecture The side and front wall are removed to reveal the main stair and egress stair. It showcases the juxtaposition between the two, highlighting the delicate free form that can also appear strongly structural from different views.

This is accomplished through hidden light lines, showing how the stair is enclosed, but opens up as you move up the stairs.

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SCALE: 1/4" 39 = 1

Projecting Architecture

A bird eye view is slightly rotated down, so the ribbons appear to C VIEWS be flattened. This view could never been seen in person. With the exception the precedent model created in Heatherwick’s studio.

NTATION 112 ofFINAL The relationships created between the floors, walls and stairs and 7" = 1' how they converge is represented.

CKER OR 40 SCOTT SORENSON

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1/7” = 1’

SCALE: 1/4" = 1

1/2� = 1’

Enclosed space is created by the main flowing stair. This rotated worms eye view allows for an exaggerated view of what can be witnessed when walking underneath the stairs.

SCALE: 1/2" = 1

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Transformational Analysis The stairs are contoured as a topography. Speed vs. movement vs. direction are showcased through arrows.

Active vs. passive space are shown using different rotations of hatches on the floor plates to showcase the accessible walkable areas of the stairs. I chose to represent form through layers of hatch, removing all hard lines to move away from literal forms.

TRANSFORMATIONAL ANALYSIS REPRESENTATION 112 FINAL SCALE: 1/3" = 1' KIERA TUCKER PROFESSOR SCOTT SORENSON 0

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TRANSFORMATIONAL ANALYSIS REPRESENTATION 112 FINAL

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FEET

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CONTRADICTING BOMBARDMENT REPRESENTATION 112 FINAL SCALE: 1/4' = 1’ KIERA TUCKER PROFESSOR SCOTT SORENSON KEY: EXTENTS OF RIBBON PERIMETER EXTENTS OF THRESHOLDS LEAST USED/MOST CONTAINED MOST USED/LEAST CONTAINED MODERATELY USED/FAIRLY CONTAINED

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Architectural Drawing as Speculation Contradicting Bombardment: The goal was to focus on the dynamism of the stairs. Contours of the stairs were created in two opposing directions to create a 3D topography.

From there the typical modes of representation were reversed treating the walls and extents of the axon as hidden lines. This allowed for the interior spaces to be revealed. Additionally, the spatial qualities within the axonometric were shown only through hues of blue denoting direction.

This departed from typical modes by removing line weights to represent.

A notational system was created to show a planimetric map of frequency and containment of space. These systems were exploded, bridging the 2D and 3D graphic technique. The exploded contours were analyzed through datums and the notational system of the boundaries of the wall, relative to the contour of the stair. Color was used as a tool to create a high contrast color palette that allowed the systems to correlate through a general hue that showcased contrast, complement, and spatiality.

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