shane+kevin

MIRAGE
FOLLY COMPETITION PROPOSAL FOR SOCRATES SCULPTURE PARK SPONSORED BY THE NEW YORK ARCHITECTURE LEAGUE.

MIRAGE

FOLLY COMPETITION PROPOSAL FOR SOCRATES SCULPTURE PARK SPONSORED BY THE NEW YORK ARCHITECTURE LEAGUE.

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LOVESEAT PART DEUX
An alternative version of the LOVSEAT that uses two hearts rather than 5. Editing the number of hearts pressures the individual components to work harder in order to generate the form of the seat. The result is an exaggerated, voluptuous surface that further abstracts the iconic image of the heart while creating an inviting surface for romance.

LOVESEAT PART DEUX

An alternative version of the LOVSEAT that uses two hearts rather than 5. Editing the number of hearts pressures the individual components to work harder in order to generate the form of the seat. The result is an exaggerated, voluptuous surface that further abstracts the iconic image of the heart while creating an inviting surface for romance.

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LOVESEAT
When asked to propose a sculptural installation for the summer show in Jeff Bailey’s New York City gallery space, we wanted to invoke a narrative that would live up to the exhibition’s suggestive title, It’s Hot Inside. Drawing on some of the themes from our past projects, we designed and produced a one of-a kind loveseat consisting of 5 distinct heart-shaped components that billow up from the floor and kiss along their respective edges to form a single contiguous surface for summer loving. The seat’s voluptuous contours also provide for a dynamic spatial experience of the gallery: they frame the two dimensional work that is on the gallery walls while also giving visitors the option of viewing the work from a relaxed (seated) position.
Materials: Low density Foam, Resin, Wiggle Board, Auto body paint
And special thanks to Scott Kunstadt for all his help fabricating the Loveseat.

LOVESEAT

When asked to propose a sculptural installation for the summer show in Jeff Bailey’s New York City gallery space, we wanted to invoke a narrative that would live up to the exhibition’s suggestive title, It’s Hot Inside. Drawing on some of the themes from our past projects, we designed and produced a one of-a kind loveseat consisting of 5 distinct heart-shaped components that billow up from the floor and kiss along their respective edges to form a single contiguous surface for summer loving. The seat’s voluptuous contours also provide for a dynamic spatial experience of the gallery: they frame the two dimensional work that is on the gallery walls while also giving visitors the option of viewing the work from a relaxed (seated) position.

Materials: Low density Foam, Resin, Wiggle Board, Auto body paint

And special thanks to Scott Kunstadt for all his help fabricating the Loveseat.

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BOWERY HOPSCOTCH
Competition to design innovative street fair tent in New York for Arts and Ideas Festival. Sponsored by the Storefront for Architecture and the New Museum.
The hopscotch course is typically drawn on pavement with chalk. the course is generally linear, and often numbered. it provides a basic narrative of navigation through an urban environment, and asks the game-player to engage in an acutely active manner with the street — to make their way across it and back again. the Bowery Hopscotch presents this same possibility for playful, fun, exploratory, and ordered engagement with the urban environment, albeit on a grander scale.
The project consists of four distinct structural typologies — named for the kid-relationships which they personify: “Sibling Rivalry,” “Twins,” “Oldest / Youngest,” and “Only Child” — that offer distinct possibilities as individual isolated structures as well as for playful and varied interaction amongst each other. Thus the kid-structures are played out down the street and invite the public to play through them. The original form of each typology is generated by the simple gesture of cutting and folding an individual sheet of material upon itself. While the final form of the structure is realized through the division of these forms into smaller portable components which when re-mated to each other ‘remember’ their original form and supply the material’s inherent curvature (much like a sail). This structural model dismantles the traditional skin-post dichotomy of the tent and supplies a single self-structuring skin which is light, cheap, and relies on only the simplest nuts and bolts to assemble.

BOWERY HOPSCOTCH

Competition to design innovative street fair tent in New York for Arts and Ideas Festival. Sponsored by the Storefront for Architecture and the New Museum.

The hopscotch course is typically drawn on pavement with chalk. the course is generally linear, and often numbered. it provides a basic narrative of navigation through an urban environment, and asks the game-player to engage in an acutely active manner with the street — to make their way across it and back again. the Bowery Hopscotch presents this same possibility for playful, fun, exploratory, and ordered engagement with the urban environment, albeit on a grander scale.

The project consists of four distinct structural typologies — named for the kid-relationships which they personify: “Sibling Rivalry,” “Twins,” “Oldest / Youngest,” and “Only Child” — that offer distinct possibilities as individual isolated structures as well as for playful and varied interaction amongst each other. Thus the kid-structures are played out down the street and invite the public to play through them.

The original form of each typology is generated by the simple gesture of cutting and folding an individual sheet of material upon itself. While the final form of the structure is realized through the division of these forms into smaller portable components which when re-mated to each other ‘remember’ their original form and supply the material’s inherent curvature (much like a sail). This structural model dismantles the traditional skin-post dichotomy of the tent and supplies a single self-structuring skin which is light, cheap, and relies on only the simplest nuts and bolts to assemble.

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KISSING BOOTH
PROPOSAL FOR A WARMING HUT FOR THE ASSINIBOINE RIVER, WINNIPEG, MANITOBA, CANADA.
The Kissing Booth presents an alternative concept for the warming hut: it offers a hut-space which interacts with and is activated by the skaters and the skate path. The design consists of two distinct surfaces — the ground plane, and the path edge/wall – that torque and kiss at their center. This moment of charged contact is at once the peak of their rotation, the spot where their function as a warming hut is realized (in the form of a wall and a roof), and the hut’s structural apex. The surfaces —which frame the skate path — rotate in response to the trajectory of the skater as they move from skating to sitting and back again. Further these dual surfaces are not really surfaces at all, but a series of beams which, although angular in nature suggest a complex curvature by means of a simple rotation process. The design employs the building module of dimensional lumber studs to achieve a visual play of light and shadow, motion, and ultimately shelter. The only elements which are not inherently a part of this beam-surface structure are the components of comfort for the visitor which exist at the structure’s core- a bench for rest, and a window which frames the landscape. The Kissing Booth offers the visitor a dynamic skating-shelter experience.

KISSING BOOTH

PROPOSAL FOR A WARMING HUT FOR THE ASSINIBOINE RIVER, WINNIPEG, MANITOBA, CANADA.

The Kissing Booth presents an alternative concept for the warming hut: it offers a hut-space which interacts with and is activated by the skaters and the skate path. The design consists of two distinct surfaces — the ground plane, and the path edge/wall – that torque and kiss at their center. This moment of charged contact is at once the peak of their rotation, the spot where their function as a warming hut is realized (in the form of a wall and a roof), and the hut’s structural apex. The surfaces —which frame the skate path — rotate in response to the trajectory of the skater as they move from skating to sitting and back again. Further these dual surfaces are not really surfaces at all, but a series of beams which, although angular in nature suggest a complex curvature by means of a simple rotation process. The design employs the building module of dimensional lumber studs to achieve a visual play of light and shadow, motion, and ultimately shelter. The only elements which are not inherently a part of this beam-surface structure are the components of comfort for the visitor which exist at the structure’s core- a bench for rest, and a window which frames the landscape. The Kissing Booth offers the visitor a dynamic skating-shelter experience.

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