Blake kane undergraduate works portfolio

Blake Kane undergraduate architecture

contents STUDIO DESIGNS 01//generative spatial processes 02//use and reuse 03//program 04//comprehensive 05//housing CONSTRUCTION TECHNOLOGIES 06//axonometrics SEMINAR WORKS 07//mapping emotional perceptions

skills DIGITAL adobe cs6 rhino+vray autocadd ANALOGUE graphite/pen+ink marker/colored pencil EQUIPMENT laser cutter cnc 3d printer shop

DEXTERITY plaster casting plaster gause forming paper mache wood craft foam core manipulation geso based painting acrylic glass mylar

01//generative spacial processes experience of space survey of space positive-negative inversion inhabiting space full scale

description “Being tuned-in to our own direct experience or perception of space is one of the best ways of learning about architecture. The objective of these tasks were to encourage learning about space through empirical observation and experience...�

For this task we were to roam the city of Buffalo with heightened awareness of the physicality and materiality of the spaces and the effects that they had on our own selves and the inhabitants.

After finding a space we could relate to, we were to then photograph and document the space through a drawing set.

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Plan Cut

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Cut A

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Left Elevation

Center Elevation

The space I chose was an art installation within the Albright Knox Art Gallery by Sol Lewitt. The unique shadings that made up the space were created through continuous pencil scribbling on the walls.

Right Elevation

From the survey drawings we completed, we were then required to produce the foam volume of the space; in order to cast the inversion of the space out of plaster pieces. From the series of pieces we then casted we then were to document the pieces as a series of new spaces displayed through perspective drawing techniques. All these were critical techniques toward thinking on how to inhabit space.

Reconfigured Mold Pieces

Plaster Gause Envelope

Inherent in the process of the plaster mold casting was the production of a multi-part mold. The relationship between the mold and the cast illuminated the further geometry of our space, producing a set of forms which were related to the original but still different. The next part of this exercise was to rearrange the pieces into a different from to accommodate a house design of our own. The site was to be an angled volume set at 25 degrees. Once our form was set out of the mold pieces, we were to then cast over the form with plaster gause material. We then had the opportunity to alter the plaster gause envelope to create circulation, windows, rooms, etc.

Plan of House Space Formed through Plaster Gause

Section of House Space Formed through Plaster Gause

PLAN

Studio Reconfigured Around Form

In architecture, a final construction is always a result of the creative process. We had the chance to experience just that through a full scale project that developed through techniques already learned on reforming space through generative process. For this model, we chose to exploit a very unrelavant, and overlooked portion of our studio space - the pipes. We casted the forms of the piping above our space, and through rearrangement of the very curvilinear pieces, we generated a new form the made the pipes something that was of the space.

Collaborative Group:Blake Kane, Dylan Burns, Justina Dziama, Rebecca Gamarra, Marcos Royes, Alexa Russo, Frank Kramer Casting Process

02//use and reuse morphology form and use

description “The relationship between function and form is a classic architectural question that became central to architectural discourse in the twentieth century. If we observe the built environment in most contexts carefully we can see that the relationship between architectural form and program is radically different. form and use become mostly chance encounters over time as buildings are used for a multitude of different programs.�

One of our first tasks was to create an artifact piece that acted as our architectural thesis/proposition for the rest of the exercise. Our reading of this artifact was to pull the strong and weak features from the object in order to lay the groundwork for a building that could house a wide variety of different programs. With this being said, we were not given a program but instead required to generate a spatial proposal that could account for many different conditions, independent of use.

I chose to use an ipod touch to represent my artifact thesis. The ipod presented both weak and strong features within its form and mechanics. The overall form of the ipod I saw to be the weak feature in that it offered very little opportunity within it basic and rigid form. Once I began to dissect the ipod to see what other features it held, I noticed that once exposed, the inside mechanics of the ipod was the strongest element; having the ability to unfold and expand piece by piece to create something much greater.

Original Site Plan

Cut 2

Cut 1

Plan Cut 1 Original

Totally Enclosed First Form

Original Site Plan

Middle Transformation Site Plan

Cut 2

Cut 1

Plan Cut 1 Middle Transformation

Semi Opened Second Form

The building that resulted from the artifact studies was something that pulled from both the ipod’s weak and strong features. The buildings overall form was a very simple, standard box structure that held the required amount of square footage (4000 sf.) needed. This could be seen as the buildings weak feature much like the original form of the ipod.

Once individual parts of the buildings were exploited and broken down, a new and stronger aspect of the building could be fully realized. Each wall and window had the ability to swivel on a hinge joint and reform the building to create a multitude of different spaces. This allowed for the building to house a variety of different programs at any given time. After design we were issued a program randomly to fully test this concept. The program issued (as seen in the drawings) was a seminary institute.

Middle Transformation Site Plan

Final Transformation Site Plan

Cut 2

Cut 1

Plan Cut 1 Final Transformation

Totally Opened Final Form

Section Cut 1 Original

Section Cut 1 Middle Transformation

Section Cut 1 Final Transformation

03//program context site design urban conditions

description “Witnessing the depletion of urban culture and pedestrian life on streets, our mission is to do experiments on: 1. How the architecture can impact both the street and city to revitalize the public activity and pedestrian life. 2.

How the building can be configured architecturally to promote/present healthy life as a cultural destination around the site. 3. How the facade, structure and system can integrate with the overall building design to pursue above missions, in which healthy relationships between physical and metaphysical components can then be compared to the integration of facade, form and program.�

After rigorous research and site analysis, we were to develop and design a wellness center, not as a type of building, but a culture of healthy life, creating an experimental framework that can instigate public action for people to do more than architects would normally expect. The wellness center site was to be located at the intersection between Main and Summer Street, Buffalo, NY.

My design focused on creating an area within this district that could not only hold the required program (gym/fitness center, doctors office, cafe, study/reading space), but also contribute to the street scape and add more to the urban Main Street environment.

The form of the building was designed to have multiple penetrable access points to allow for transparency of entrance both horizontally and vertically. The concept was to design a building that gave back to the community in a variety of different ways.

Site Plan/First Floor

Second Floor

Third Floor

Detailed Section One way by which I integrated these penetrable openings into both the facade and overall structure of the building was through the continuation of the penetrations up through the roof of the building, and out through the sides. The ceiling condition once penetrated now became a way to allow for much more natural light while the facade became a way to display the interior function/circulation of the building.

04//comprehensive structure systems integration building environment

description “Architects must have the ability to build abstract relationships and understand the impact of ideas based on research and analysis of multiple theoretical, social, political, economic, cultural, and environmental contexts. They are called upon to comprehend the technical aspects of design, systems and materials, and be able to apply that comprehension to their services.

Additionally they must appreciate their role in the implementation of design decisions, and the impact of such decisions on the environment.�

For this project we were to design an office building for an architectural firm.

The project location was on the corner of Allen and Franklin Street in Buffalo, NY. My design was form driven, and provided opportunities to create a building that both interacted and separated itself from the street level.

Site Plan/Lower Street Cafe Level

Second Floor

Third Floor

Upon designing the interior of my project, the continued question of how to mix this irrational form with the needs and requirements of an architecture firm became a major issue. The tilted wing of the building was something that need to be justified through the firms requirements. An architects job is understand space (much like what I was experimenting by tilting this portion of my building). So the solution was to program this angled feature of the building as a type of floor model for a wide variety of very different full scale modeled spaces; while in contrast to this very busy workshop like atmosphere, on the opposite side, there would be a more standardized office environment that housed all the buildings services and egress. Within the middle was the circulation and bridged connection between these to varying forms.

Fourth Floor

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05//housing scale urban living public and private space

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description “The driving force of cities arises from collective energy. These days, that energy might be social, economic, political and environmental, with urban density increasingly being seen as a key to ecological sustainability. Because of its collective character, one of the challenges of the city is the balance between the public and private realms, an issue that becomes central in the design of urban housing.�

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Required Program

More Housing

Required Housing

Required Housing

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For our project, we chose the site on the corner of Delaware and Chippewa.

Upon doing our site analysis one of the first things we noticed was the drastic shift of scale of the buildings from the more commercial Delaware district, to the more leisurely Chippewa area. We felt that our building needed to address this issue, taken into consideration throughout the majority of our design process. After looking at the overall surrounding context of the site we also noticed that this area held very little residential/housing buildings (at least in the immediate area). This was not only important for justifying the need for this project, but also it was important for recognizing the need for more plentiful and affordable housing.

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Stacking

Prefab Unit

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Single Core

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Single Core

Collaborative Member: Christian Urena

Ground Level Plan

Typical Unit Layout 1

At the base level of the project we placed our public program and parking. Our public program included a retail shopping space at the ground level, alongside lobby spaces for the units and other public spaces at the upper levels. The second level housed a gym for use of the residents next to a laundry mat.

On the third level (on the Delaware side) there is a large community center with a housing office again for use of the residents. Perhaps the most unique part of our building also happens on the third level, where you can see the divides of the forms, and a courtyard/green space pushes along in between and up through this divide space.

Mid Level Platform

Typical Unit Layout 2

Each unit module is framed off separately and stacks one a top the other. In order to account for services we set bathrooms and kitchens in the same locations on select modules, so that the services could then stack on top each other and connect to provide water/waste systems to each unit. For the most part we tried to place bedrooms in locations that were provided with the best views. As for the bridging units; we intended to place the larger living room spaces so that they could hover over the courtyard space in the center.

06//axonometrics structure systems construction materials

description “This source focused on the understanding of construction materials and systems, with an emphasis upon the translation of design concept into built artifact. Through the careful study of buildings exhibiting a significant integration of intention and technique, we [ I ] developed an appreciation for the value of fully resolved execution.�

Analysis and study of the Croffead House located in Charleston, South Carolina - designed by Clark and Menefee architects.

Analysis and study of Kitsap County Administraion Building located near Seattle, Washington - designed by Miller-Hull architects.

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06//mapping emotional perceptions economy manipulation abstraction

description “This seminar focused on issues of basic design through the exploration of material space as it is conditioned by its direct physical perception, which actually conforms every architectural experience. The student ultimately confirms the relevance of understanding their approach to design as a direct experience that necessarily goes from the physical to the intellectual and vice versa. This seminar was organized through a series of readings and discussions around specific texts by Josef Albers and Mathias Goeritz, along with the production of paper models that embodied a perceptive hands-on procedure.�

Mapping Emotional Perceptions: Between Josef Albers and Mathías Goeritz: Laboratory of Paper / FL’15 ARC 489-589 / Guitart / U. at Buffalo

SESSION #01 / Repetition Student: Blake Kane, BS’Arch ‘15 TRIANGLE CUTS + FOLDS Each iteration in this series explores modes of repetition through a method of cutting and folding techniques in a sequence to generate different forms. The first three iterations in the series experimented with methods of two directional folds that held repetition through symmetry and scale. The next three iterations in the series continued using the same folds in two directions; however the scale can be seen as taking a more drastic jump, and new methods of rotation and reflecting are added to the experimentation, driving the series to different forms. The final three iterations take all the methods and values learned from the first six models, and find ways of combining them through use of repetition to create more sporadic forms. The first of these final three iterations combines methods of reflecting with rotation, but does not let the two interact. The second final iteration combines only one reflection with one mode of rotation. One aspect of this model that is noticeable is that the one of the reflected rows discontinues to allow a continuation of the rotation method. The final iteration has two different methods of reflection that is framing two methods of rotation in the center.

Photo #01 symmetrical repetition | Photo #02 large scale asymmetrical repetition | Photo #03 repetitive scaled growth | Photo #04 rotation | Photo #05 weaving scaled growth | Photo #06 symmetrical reflecting | Photo #07 reflection and rotation | Photo #08 reflection infused with rotation | Photo #09 mixed rotations with mixed reflections

Keywords: repetition, mirroring, reflecting, rotating

Mapping Emotional Perceptions: Between Josef Albers and Mathías Goeritz: Laboratory of Paper / FL’15 ARC 489-589 / Guitart / U. at Buffalo

SESSION #02 / Sequence Student: Blake Kane, BS’Arch ‘15 CUT, FOLD, CONNECT Each iteration involves creating a sequence through cutting, folding, and at times, reconnecting pieces in order to generate different forms. This method was very difficult to think through as control was always a problem. It was at times defeating to watch the cause and effect one cut would have on the entire form. The first three models in the series show the simple experimentation of the method. It is easy to see these models were trying to apply too many rules and were restricted to simple forms. The next three models in the series were less about limitations, and more about expanding and using less rules, while still using the same method of cutting, folding, and connecting. The final three iterations take on the task of attempting to use rules that assist to the generation of unique forms. The first final model uses repetition, but once this mode is restricted the model uses a rotation/ reflection to continue in a different direction. The next final model makes an attempt toward symmetry, while forming an opening in the center. The cause and effect of this method was unique in that it pushed the material to its maximum limits, expanding the model to extremes. The final model uses methods of repetition, rotation, reflection, and symmetry to generate openings spontaneously throughout the model.

Photo #01 offsetting symmetry large scale | Photo #02 offsetting symmetry small scale | Photo #03 rotation | Photo #04 weaving rotation | Photo #05 weaving | Photo #06 weaving/offsetting symmetry | Photo #07 repetition/rotating/mirroring | Photo #08 weaving symmetry | Photo #09 repetition, rotation, reflection, and symmetry

Keywords: repetition, mirroring, reflecting, rotating, weaving

Mapping Emotional Perceptions: Between Josef Albers and Mathías Goeritz: Laboratory of Paper / FL’15 ARC 489-589 / Guitart / U. at Buffalo

SESSION #03 / Order Student: Blake Kane, BS’Arch ‘15 REPEATING FOLDS, ALTERNATION Through this series of models order is generated not solely through the operation of each model, but through the rigid form that is created through the folds. After a series of first iterations, the form of the model was generated after combining the folds in both horizontal and vertical patterns. The order through process (rotation, reflection, mirroring,etc.) can be seen as enhancing the order already set in place through form. The first model was a test of using both the horizontal and vertical forms through repetition. The next two models used rotation and mirroring to generate new form with the rigid form. The next three models built off of the process of the first three, using a more relaxed approach to the overall order and arrangement. One interesting aspect that began to form within each model was flexibility to the rigid form. The final three iterations of this series makes an attempt to find a mode that allows for a loose variation to the rigidized form. The models can be seen as scaling down the runs of the horizontal and vertical folds in order to allow for a much more loose and flexible final form, that can still be seen as order.

Photo #01 repetition | Photo #02 rotation | Photo #03 mirroring | Photo #04 offsetting mirroring | Photo #05 repetition through growth | Photo #06 staggered rotation | Photo #07 offsetting rotation | Photo #08 rotation/shift | Photo #09 hierarchy

Keywords: order, repetition, mirroring, reflecting, rotating