kevin crace; portfolio
DESCRIPTION
My porftolioTRANSCRIPT
Kev
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Abou
t Me
why
hel
lo th
ere!
I could begin with a perplexing post-modern circular argument about the urgent necessity
to upset the teleological ordering of architectural history, or, better yet, about the porous
boundaries that exist between design, literature, textiles and architecture. I could flex my
intellectual muscles and dazzle you with recondite quotes from Judith Butler all the while
demonstrating my engagement with Charles Jencks. But I won’t. Don’t misunderstand, theory
has its place (I know my stuff and it can be hypnotically beautiful), but theory is not the only
driving force of my work. As with this little intermezzo, I want to show my whimsical side. My
interest is dominated by small spaces, expansive vistas, the American landscape (adventure!
travel!), rambling through woods, historical romps (Faulkner’s Rowan Oak, anyone?). In my
realm objects loom large, animals speak, good guys win, and everybody loves America
(America Yay!).Think Petit Trianon meets Daniel Boone. Well, perhaps something more akin
to the image of Drayton Hall with an underground Zumthorian gift-shop, while Babe the Blue
Ox grazes picturesquely in a nearby field. Too much? Perhaps. But this is not an exploration
of saccharine kitsch or a hipster fairy tale -- you can keep all that irony, thank you. In brief, I
am unabashedly, unashamedly, hopelessly in love with fine craft -- crafting too; I knit -- and
America’s vernacular traditions (I dance to the drumbeat of a colonial march) and all that is
optimistic and enthusiastic.
For: Santa Clause, J.D. Salinger, southern food, J.M. Coetzee, champagne, Swiss Family
Robinson, La Dolce Vita, gummy bears, dachshunds, John Steinbeck, and any variation of
the color tan.
Against: hearing people eat, beer, and being cold.
Index
1 Th esis Work tags: in progress, historic preservation, artifact, archive, reuse.
2 Lincoln Woods tags: dam, infrastructure, underground, wet and dry space.
3 HE[ART] tags: shipping container, reuse, art, humanitarian, business strategy.
4 Tiber Floods tags: Rome, monument, silt, river access, flood, narrative.
5 Housing Accumulation tags: senior assisted living, urban, housing, campus, aggregation, circulation.
6 Community Th eater tags: spatial organization, human scale, indoor and outdoor program.
7 Jewelry and Metalsmithing tags: manual fabrication, digital fabrication, small scale.
8 Community Garden tags: built work, accessible, recreational space.
9 Manual Representation tags: hand drafting, projection.
10 Textiles tags: knitted fabric, woven fabric, pattern, apparel.
11 Fine Art tags: drawing, sketching, figure drawing.
12 Production tags: construction work, ceramics, sewing.
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Thesis Work
in progress
DescriptionThe inheritance of place, the accumulation of past, remains a determining factor that perhaps most shapes a site’s present
condition, its present being.I argue that a current stance on preservation, recreating an artifact to be frozen in a period of time erodes the inheritance of an object or place, and that, rather, a participatory, active attachment between artifact and protagonist is a more lasting means of preservation.History already operates as a myth, a myth created by multiple authors amongst multiple biases. The creation of a new myth between artifact and individual prolongs and facilitates the great inheritance of
place. Inheritance of place is an accumulation of numerous narratives, countless artifacts, and the boundless interpretations of both. An archive instigates the initiative to order the accumulation, a means of unraveling the lamination so that object and interpretation begin to be situated side by side. An archive calcifies an instance into an entity and is the primary means for an index to occur. It stands as a space where he protagonist generates an identity, singular to the artifact, while curating it amongst others
and preserving its existence.
ProfessorsPeter Tagiuri
TermSpring, 2012
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THESIS WORKTHESIS WORKTHESIS WORK
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Lincoln Woods
art for hearts sake
DescriptionMy project looks to separate the three systems of the dam; the culvert, the spillway, and the sluice gate. Through separation, both in space and program, I aim to create a greater understanding of these systems in place. I also aim to facilitate a discovery of the history of site and the systems previously and
currently in place.Program and infrastructure illustrate means of dealing with an increase in water. Below-grade is a bath house complex. Water pools underground while above has the potential for water to flow over. Water below remains stagnant, while water above fluctuates and flows with weather and climate. The amount of infrastructure needed to allow for an underground structure facilitates the support of the spillway if inundated with water. Also, the wet program increases the amount of structure needed while allowing for humidity and moisture to penetrate in either direction. A long ramp will allow for access and a visual reference to ground change. As one processes down, the height of the damn begins to be physically felt as you pass below the height of the water. The retaining wall unit begins to shift and separate to allow for space as well as passageways. A grain immerges, one opposing the flow of water and one allowing for passage of people
and movement of water.
ProfessorsNick Depace
TermFall, 2011
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LINC
OLN
WO
O
CULVER
T
SLUIC
E GAT
E
SPILLW
AY INC
OLN
WO
OIN
CO
LNW
OO
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HE[ART]
art for hearts sake
DescriptionA government funded studio reusing shipping containers to stimulate economy and generate environmental thought. Focus remains on design while incorporating an entrepreneurial business plan throughout the process. HE[ART] seeks to answer the question of what scheme of design can satisfy the wants of a well-developed world and the needs of a developing country simultaneously. A device emerges as a student run art gallery and a sister structure standing as a school, workshop, or community center amidst a developing nation. A relationship of exchange in thought, craft, and revenue is established. Design emphasizes the adaptability, modularity, and deployability while making use of local materials for insulation and local hands for
installation.+ Featured at Better World by Design
Symposium
ProfessorsMarkus Berger and Peter Dean
TermSpring, 2011
Markus Berger and Peter Dean
TermSpSSSpSpSpSpSSpSpSpSSpSSpSpSpSpSpppppring, 2011
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HE[ART]popopopopopopoppppp
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lililiiilililillloooooooooooooooooooooooooooooooooooo
HE[ART]HE[ART]
Tiber Floodsbringing rom
ans back to the river
DescriptionIn roman narrative, the river is the bearer of the brothers Romulus and Remus, bringing them to land at the shore line of our historically rich site. Also present is the Circus Maximus. The Circus stands in the valley between the Aventine and Palentine hills, the same site where the brothers competed for Rome, one at each hill. Following the middle point of the Circus Maximus , an inscription of a datum line runs directly through the site reaching the water. From here a strong grain and gesture is introduced to connect the permanent monuments that have historically been present on the site to the central line tied to the Circus. These monuments stand on the same ground as the central vein and make up the highest elevation for the proposed plan. From this elevation, a series of platforms and ramps decrease in elevation until they submerge underwater at the Tiber’s shore line. As the Tiber waters begin to rise, a slow concealing of the design occurs until the monuments stand as islands floating on the water. However, as the water recedes, the design begins to reveal itself. Certain grooves, steps, ramps, and platforms begin to collect the silt and debris left behind by the Tiber. This silt is swept along the surface, caught in pockets or inclines, revealing a sort of gradient leading back to the water.
ProfessorNick DePace
TermWintersession, 2010
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BER
FLOO
DS
BER
FLOO
DS
BER
FLOO
DS
Hou
sing
Acc
umul
atio
nSe
nior
Ass
isted
Liv
ing Description
A site plan and program illuminate the inhabitants as a member of the city versus an insular campus seemingly divorced from their surroundings. Through the aggregation of a unit fit to the comfort of the individual living within, the buildings take form. The geometry of the unit dictates the direction in which they multiply in plan while the location of the bearing walls manipulates the structure above in section. As the unit is repeated, an interior space develops. The means of circulation remains on the exterior facade, promoting visibility. However, the interior courtyard stands free of horizontal circulation and remains private to whoever travels within the space. Water flows from the roof on a concentrated slope and cascades from the top most point to the ground, adding a visual weight to the center. The collected water then acts as a source for climate control within the units.
ProfessorAlmin PrsicTermFall 2010
Ground Floor
First Floor
Second Floor
HOUSINGIn
vent
ed N
arra
tive
of U
ser
Hands full, Mr. Wyler removed his glove with his teeth, the sickening mixture of leather and saliva prompting a choking feeling in the back of his throat. Fighting nausea and straining to remain balanced, Mr. Wyler shuffled up to the entrance of his apartment complex. His pink arthritic hand was assaulted by the cold as he thrust it deep into his overcoat pocket. At this point he would usually be feeling for the jumble of metallic objects in his silk lined pocket wondering why he had so many damn keys. However as his short, rotund frame tottered along, he soon came into the gentle glow of the entrance way and took out the solid plastic rectangle that served as his key: Mr. Wyler, with much relief, grabbed it and used it to unlock his door which automatically swings open to receive him.
At seventy Mr. Wyler had moved, in his words, into a new ‘establishment’ and he was reluctantly happy with the change. Mr. Wyler bore discomfort with ease (it gave one the chance to complain and to criticize), but he grudgingly had little to say in the negative. He would gladly have stayed in his former home, if the burden had not proved too much for the aging educator. Mr. Wyler was never a man one could easily ascribe any of the qualities of youth, save expect stubbornness -- curmudgeon was a badge of honor Mr. Wyler wore with pride -- but poor eyesight, loss of hearing, and crippling arthritis conquered even this truculent being.
Yet Mr. Wyler had found the arrangement had perfectly suited his needs. Creaking stairs gave way to the wonder of the elevator; cold, narrow passages lined by newspapers, books and coffee-cups were replaced by the smooth tread of carpets, clean lines and wide, airy progressions; and tiny views of a vast and much neglected garden were substituted for a scenic (and in Mr. Wyler’s eyes) proprietary view of the river. The easy demarcation of horizontal and vertical glows to mark the coming and going of an apartment’s entrance was, although never verbally acknowledged by Mr. Wyler, of great help.
Returned once more to his new environment this obdurate old bachelor happily strolled, safeguarded from cold winds and old neighbors, to his commodious apartment. Tucked safe within and muffler, hat, gloves, and shoes removed, Mr. Wyler ruffled about in his refrigerator and greedily sought out his meager dinner. Groaning with pain, Mr. Wyler advanced to the living are and eased back into his chair. Food in hand and an expansive view before him, Mr. Wyler sat back to gaze at the illuminated scene. Yes, Mr. Wyler was happy.
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Comm
unity Theater
DescriptionA public theatre space, indoor and outdoor, resting in a national park. Design immerges from the frequency of use/visitation of the programmed spaces. Using the scale of the body as a source of spatial organization and experiential site analysis, the
architecture is defined.
ProfessorPari Riahi
TermSpring, 2010
port
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MMUNITYMMUNITYMMUNITY
Jewelry and M
etalsmithing
small scale fabrication
DescriptionUsing both computer aided design to digitally fabricate as well as traditional manual fabrication and
metalsmithing.
ProfessorErin Scully and
Term 2009-2010
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1 South
Interior View of Entire Fence Elevations Scale : 1/8” = 1’-0”
2 West
5 South
6 WestExterior View of Entire Fence Elevations Scale : 1/8” = 1’-0”
3 North 4 East
7 North
8 East
Comm
unity Garden
shared accessible recreation space
DescriptionGroup design project investigating the relationship of an efficient use of space with the opportunity to engage the community by designing planting beds of different proportions and orientations. Spaces for kneeling, standing, and sitting are integrated throughout each of the four planting areas. This combination of differing bed types allows each member of the community to work where they are most comfortable, while further integrating the various demographics of Elmwood.
+ Kneeling beds are larger and low to the ground, and are fitting for families.
+ Seated beds are shorter and are proportioned to arm length. The angle of the wall is ideal for wheelchairs to pull in comfortably and gain easier access to
the planting area. + Standing beds are at table height, and are proportioned for comfortable reaching length. Elderly users are able to garden without leaning or bending
into discomfort.ProfessorPari Riahi
TermSpring, 2010
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Manual R
epresentationan exercise in drafting
DescriptionDrafting techniques using a variety
of subjects, physical and imagined.
ProfessorJack Ryan
TermFall, 2009
Text
iles
fi ber
art Description
Textile techniques using both a loom and a knitting machine. Design focusing on pattern and repeat with an intent for apparel or product.
ProfessorAnne EmleinTerm2010-2011
Well hello there! Do you like my vintage knitted bathing suit?
Fine Artundergraduate w
ork
DescriptionExperience in figure drawing, spatial and still-life representation, sculpture, textiles, and digital media.
ProfessorsVarious Professor
TermFall 2006 - 2009
Pro
duct
ion
rece
nt p
roje
cts Description
Various works done in sewing, ceramics, and construction. Construction work done as a volunteer with Red Feather Development Group building a straw bale home. Ceramics pieces are slip cast porcelain.
Term2011
74 transit providence757.876.0
kcrace@
st., ri 02906109
risd.edu
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