Architecture Portfolio - Graduate School Application

EVAN H. LEVY

ARCHITECTURE PORTFOLIO SELECTED WORK | 2018-2020

CONTENTS CONTENTS | CV

EVAN H. LEVY | M.ARCH1 CANDIDATE - FALL “21 | UNIVERSITY OF FLORIDA, SCHOOL OF ARCHITECTURE

EXHIBITION WATER

ANCHOR

P. 02 - 05

0

URBAN SILK

ROT ATE

ART GALLERY

EATE

PERM

SCULPTURE FACTORY

BIOMORPHIC S

TE NIMA ANIMATE A

SIMULA

P. 06 - 11

P. 12 - 17

P. 18 - 23

P. 24 - 27

1

2

3

4

P. 28 - 33

5

STRUCTURES

FURNITURE

HOTEL CO-LIVE

SUPER CHELSEA

SHIPYARD CRUSTACEAN

ATE

SUPPORT

SHEAR

TRAVERSE

IN TE

FABRICATE

3

P. 34 - 37

P. 38 - 41

P. 42 - 45

P. 46 - 51

P. 52 - 53

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7

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10

K RLOC

SHOP VS STUDIO

CURRICULUM VITAE EVAN H. LEVY | M.ARCH CANDIDATE - FALL “21 | UNIVERSITY OF FLORIDA

EDUCATION University of Florida. Bachelor of Science in Architecture [expected]. 01/2018 - Present.

Santa Fe College. Associate of Arts in Archiecture. 08/2017 - 05/2018 Park Vista High School. Automotive Academy | Diploma. 08/2014 - 05/2017

INDEPENDENT RESEARCH Resin 3D Printing Water Soluble. Research in Computational Design and Fabrication with Prof. Lee-Su Huang. 08/2020 - 12/2020 Furniture Design. Research in Subtractive Manufacturing. 01/2019 - Present.

Sculpture Design Research in Additive Manufacturing. 01/2020 - Present.

MATERIAL STUDIES Concrete. Sculptures | Installations. 01/2018 - Present.

Wood. Furniture Set | Joinery. 01/2019 - Present.

Fabric. Facade | Textile. 01/2019 - Present.

Steel. Automotive | Welding. 08/2014 - 05/2017 Paint. Automotive | Detailing. 08/2014 - 05/2017

ROBOTIC MANUFACTURING Additive. Manufacturing. 3D Printer - Built | Operate - ABS, PLA, TPU, PETG, Carbon Fiber, Water Disssolvable. 06/2017 - Present.

Subtractive. Manufacturing. Computerized Numerical Control Mill - Built | Operate - Wood, Foam, Steel, Plastic. 08/2019 - Present.

HARDWARE Arduino. Research in Motion - Servos | Motors. 05/2018 - 05/2021 Raspberry Pi. Research in Wireless Monitoring and Lighting system - LED | Cameras. 01/2018 - 05/2021

SOFTWARE

0 0

Parametric. 3D Modeling Grasshopper with Various Plugins. 01/2020 - Present.

Artificial Intelligence. 3D Modeling Fusion 360 Generative Design and Computer Aidedmanufacturing. 05/2019 - Present.

Subdivision Surface. 3D Modeling Rhino 7 SubD Features. 10/2020 - Present.

Standard. 3D Modeling SketchUp, AutoCAD, Rhino. 01/2010- Present.

Cura, Simplify3D, Fusion 360 CAM, Rhino CAM. 01/2017 - Present.

Slicer. Post Processing SWIFT Code. Language Apple IOS Programming Language for App Design. 03/2016 - 05/2017 C++ Code. Language Standard Programming Language for Website Design. 03/2016 - 05/2017 Adobe. Cloud Photoshop, Illustrator, Indeisgn, PremierPro. 05/2018 - Present.

Rendering. V-Ray, Lumion, Maxwell, Blender. 05/2019 - Present.

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MEMBER Team Florida Cycling Club. Member | Rider - Fundraising and Racing. 05/2020 - Present.

Flying Gator Aeronautics Club. Member | Pilot - Hand Modeling and Flying Scale Airplanes & UAV Drone Site Photography. 04/2019 - 02/2020 Phi Delta Theta Fraternity. Member | Brother - Designed and Constructed Parade Floats, Stage for Tailgates.

08/2018 - 07/2019

Park Vista Lacrosse Team. Member | Player. 01/2016 - 05/2017 Park Vista Automotive Club. Member - Design and Contructing Various Projects Including; Go-Karts, Half-Pipe. 03/2016 - 05/2017 Makers Space Online Communities. Member of Various Online Making Communities Including TH3d, FTIJP, V1 Engineering. 01/2012 - Present.

OCCUPATION Evaneering Fabrications. Freelance Furniture Design and 3D Printing / CNC Milling service. 05/2020 - Present.

A-1 Computers. Security System Installation and Monetization. 01/2015 - 05/2016 BrightHouse. Camp Counselor - Age: 7-14. 05/2016 - 07/2016 The Village Tavern. Server | Busboy. 01/2015 - 05/2017

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CAN MATERIALS MAKE DECISIONS INSTEAD OF ARCHITECTS?

EXHIBITION WATER

ANCHOR

UNIVERSITY OF FLORIDA | DESIGN 5 | INSTRUCTOR: LISA HUANG

1

This project illustrates how an abstracted perception of material properties can catalyze and navigate the design process, discovering new spatial experiences and ways to imagine material assemblies. The material’s character gets broken into two parts: heavy and light. Conceived similar to the three parts of a boat anchor: boat, anchor, rope. The boat holds the occupants and is an opposing endpoint to the rope, similar to the land’s role.

The stereotomic concrete mass acts as the destination point, situated with its face upstream, stationary in the ground like an anchor; this moment celebrates water funneling it for display. The fluid tectonic system suspended within reciprocates this gesture, celebrating water with harmonious motion like a rope.

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ANCHORED MODULE

Th is m odu le act s as t h e ou ter sh ell, en casin g t he l i ght l aye r susp e nded wit h in .

ANCHOR

SLICE / OCCUPANT ACCESS

CARVE FUNNELS / ELEMENTS ACCESS

ROPED MODULE

Th is m odu le act s to recog n ize t h e m ot ion of wate r a nd i s fa b ri cate d wit h a t wo- part assem bly.

OUTER LAYER / STATIONARY

INNER LAYER / MOTION

RANGE OF MOTION

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ANCHOR

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Payn e s P ra irie P re s e rve St ate Pa rk A l a c h ua C o unt y, F l

1 Hog tow n C re e k Un d e r p ass Gai n e svi lle , F l

RA IN FA L L

TIDA L CURR ENT TIDA L RANG E

This design probes architecture’s role within a given context. The sectional site analysis became the method to study the landscape. The analyzed concepts tidal range, tidal current, and rainfall act to force the decision process, captivating these natural phenomena allowing for architecture and nature to live symbiotically.

Lake Al ice Gainesvil l e, Fl

Jac k sonvil l e Beac h, Fl orida

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a

C e d a r Key, F l o r i d a

MOLD SET A

CASTING SEQUENCE A.9

A.8

A.7

A.6

A.5

MOLD SET B 8

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6

B.9

B.8

B .7 5 A.4

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B.6

A.3 B.5 3

A.2

B.4 2

A.1 B.3 1

B.2

The molds morphology became answering the question of casting mass and void. The molds were stratified to fill the negative space within the overall structure and then further partitioned, carving apertures that run horizontally to illuminate the horizon’s presence. These geometrical constraints mixed with the limitations of layered 3d printing generated the following set of molds.

B.1

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ANCHOR

1

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ROPED MODULE Motion is the element negotiating how architecture can dwell in the water. The experience of standing on a fixed pier above the water is profoundly different than standing on a floating dock within the water.

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CAN A LIBRARY BE CONCEIVED AS BOTH A CITY MONUMENT AND URBAN FABRIC?

URBAN SILK ROTATE

2

UNIVERSITY OF FLORIDA | DESIGN 6 | INSTRUCTOR: LEE-SU HUANG This library’s design aims to study the relationship between mass and void. Starting from a plexiglass and concrete concept model, the program broke into three main masses penetrated by circulation; the massing was then rotated to face the surrounding context. The offset between the rotated massing and the prominent church became the center of the design. Working with this monument on site, wrapping the perimeter while still trying to paint an image of its own proposed this dynamic scheme attempting to expose moments speaking out like a monument and others as city fabric.

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SITE

MATERIAL CONCEPT MODEL | SCALE 1:32” Investi gati on of ma ss a nd voi d, w i th p l ex i gl a ss a nd concrete .

MASSING

CIRCULATION

ROTATE

ENCLOSURE

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ROTATE

2

This design seeks to use the moments between the massings composition as different spatial reveal, opening the interior to the exterior. The wrapped masses touching the ground became an opportunity to address the corner and park across the street, seeking to expand this public space into the proposal.

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A narrative concept model was constructed using a repurposed media player. The electronics were carefully preserved by plexiglass as concrete filled the surrounding spaces. This interplay further pushed the concept of mass and void, transparent, and solid.

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ROTATE

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2

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4

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16

4 3

5

Level 1

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5 P u b l ic Fo r u m / P re- Fu n c t io n 3 Ent ra n ce Lo b by 1 0 Ad m in O f f ices 1 1 Sto ra g e

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Level 2

Level 3

4 6 7 8

4 Pub l i c Audi tori um 13 Workshop / Studi o 16 Re a di ng / Re se a rch 15 Pre -Functi on

Pu blic Au ditoriu m G en eral B ook Collect ion Special B ook Collect ion Event Terrace

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25 22 20 23

Level 4

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Level 5

22 Me d i a Sto rag e 21 Stud y C ubbi e s 20 Me d i a C ubbi e s 19 Me d i a Gal l e r y 18 C o m pute r Stati o n 17 Mul ti m e d i a L i brar y 10 Ad mi n Of f i ce s

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23 Meet in g Room s / Teen L ibrary 24 Pu blic Foru m 25 Cafe / Kitch en

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P ro ce ssi o n towa rd s t h e s p at ia l h in g e.

Vertical Circulation

Informal

Formal

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3

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SITE

MASSING

3

ART GAL

PERMEATE

UNIVERSITY OF FLORIDA | DESIGN 6 | INSTR

This deisgn presents two gestures cupping t

fy the gallery’s circulation endpoint. The faca gradient as the occupant moved through the

allows for a grand conclusion to one’s experien

ed between the buildings massing and neighb

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URBAN INTERIOR

MAIN GALLERY | CORE

COMPUTATIONAL FORTHCOMING PROJ ECT ASPIRATION

Venturing into the world of computational design, this drawing seeks to invoke interest and desire, collaging the project's elements together.

LLERY

RUCTOR: LEE-SU HUANG

the program; these adjacent moments signi-

ade system was designed to filter light with a gallery. The ground also features a ramp that

nce as they exit the 2nd level. This exit is nest-

boring party wall generating an interior atrium.

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PERMEATE

3

PARAMETRIC LIGHT ANALYSIS The design process initially investigated blue foam and chipboard models to generate ideas on the relationship between facades and their massing. This quickly came to manifest the project as parametric design was used to study this relationship, manipulating light with the facade as it enters the gallery spaces.

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PROCESS MODELS | SCALE 1:32” Fa c a d e a n d p ro g ra m inter ro gat io n

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PERMEATE

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3

3

7

2

10

9

8

4 2

6

5 Level 1

Level 2

2 3 4 5

6 Dig it al G allery 7 Main G allery 8 Flexible G allery 9 Rest room s 1 0 Pre- f u n ct ion

Entran ce / Lo bby Adm i n i strati ve offi ce s Atri um Cafe

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The party wall became a moment to open up the interior, segmenting the program to hug site boundaries. An internal plaza gave way for a ramp to be

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13 Level 3 11 Wo o d wo r ksh o p 12 Li ve Maki n g S pace 13 Pr i nte r wo r ksh o p

routed, expanding the experience of the circulation.

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HOW TO BE SEEN IN THE DESERT?

SCULPTURE FACTORY

4

TE NIMA A ANIMATE UNIVERSITY OF FLORIDA | DESIGN 4 | INSTRUCTOR: MARTIN GUNDERSEN Working in the vast planes of Utah’s desert, this design aims to resolve a scaleless narrative. Inhabiting this immense empty terrain was a question of visual representation, the eye’s ability to see the construct from miles away. As a space for production, this factory provides workspaces for large desert installations, and underneath the overhead are suspended studio spaces. The colorful facade is a futuristic innovative material that morphs colors as the temperature changed. This characteristic allows the building to withstand and endure this harsh environment by self-cooling during the day shedding a lighter color.

SITE

CUT

SCULP

PTURE/ OCCUPANT ACCESS

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FACTORY SCALE DIAGRAM

X 33

X 20

1 0 , 0 0 0 Sq . Fe et

5 00 Sq . Fe et

FACTORY MODEL | SCALE 1:32”

PROGRAM

FABRICATION SPACES

15 Sq . Fe et

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ANIMATE

4

MACHINE, MAP, MODEL | SCALE 1:32”

A machine was constructed when searching for something to grasp the desert’s unified plane. Servos and an Arduino power the long excavated tracks; this model used a joystick to manipulate the ground plane’s surface. The initial two large moving masses became sculptures to transport through the desert.

CA RVI N G THE GROUN D

FRA MEWORK WI TH EMBEDDED SERVOS

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OV E R H E A D ST UDY

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5.1

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MESH CONSTUCTION

BIOMORPHIC STRUCTURES SIMULATE UNIVERSITY OF FLORIDA | INDEPENDENT RESEARCH | INSTRUCTOR: LEE-SU HUANG

5

Researching computational design, specifically grasshopper, in conjunction with plugins like kangaroo and weaverbird, this model simulates fabric’s physical properties generating the tensile like formwork. The column uses an innovative 3D-printed dissolvable filament to allow for these fluid geometries to be constructed.

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SMOCKING PATTERNS Th ese pat tern s wrapped t h e colu m n an d as virt u al fabric seam s du rin g t h e sim u lat ion p roce ss.

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SIMULATE

5

POINT CONSTRUCTION BIOMORPHIC STRUCTURES This model is based on arraying a series of polygons and slowly adjusting their vertexes.

Strictly using this method to generate a piece that defined space, the interest later became about adding a jerk or shift to break the defined system and give a moment of question.

Water s o l u b le dem oldin g , af ter 1 6 h ou rs su bm erg ed. Wit h 2 h ou r interva l s rep l en ish in g steam in g water to accelerate t h e process.

ARRAY

ROTATE

SCALE

5.2

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14 Hour p ri nt ti me , usi ng .6mm noz z l e doub l e l aye d wa l l thi ckne ss.

SHIFT

INTERPOLATE

SWEEP

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SIMULATE

BIO-TABLE Th is diag ram illu st rates t h e process of drawin g lin es to sim u late t h e f lu id form s of org an ic root g rowt h .

5.3

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SUB-D

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CONSTRUCTION

BIOMORPHIC STRUCTURES The organic anatomy of root growth inspires this table; its geometry’s tapered projections allow the eye movement across seamlessly from the bulged vertexes. Sub-D modeling was the best tool for designing a structure to replicate this natural phenomenon, drawing lines as roots from the rectangles’ edges and then weaving them together to add thickness. This loose modeling approach gave smooth control over each of the surfaces, producing these interlaced forms.

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WHAT IF FURNITURE TOOK UP LESS SPACE, BUT DID MORE?

FURNITURE SET SUPPORT

INDEPENDENT RESEARCH | 2019-2020

6

This furniture set is the outcome of an ambitious dive into the world of CNC fabrication. Starting with constructing a CNC to explore the possibilities of furniture making. Attracted to the art of wooden joinery, each assembly was a tool in researching how this construction process ultimately intertwined with humanity.

The overall set was designed to combat the difficulties of working in a tight space; personally living through this endeavor, each piece was consciously designed for a specific function and curiously designed to explore the unknown. How would these pieces function in everyday life? Would the joints design hold up to daily abuse?

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SWAYING SHELF Des ign ed fo r a c l ient , t h is sh elf is u sed to fold lau n dry u t ilizin g an open in g m ech an ism com prised of t wo part s; t h is en ables t h e sh elf to be ti ghtly store d away w he n not i n use .

FOLDING CHAIR T h is c h a ir is t h e ou tcom e of explorin g wooden j oin ery; wit h an interest in m ot ion , a h in g e was protot yped an d f u rt h ered expa nde d i nto p i e ce s of f u rn it u re.

STUDIO CART Th is cart is an org an izer for st u dio su pplies f it ted wit h a lin ear h older, pen cil divider, an d opt ion al paper stora ge .

SPIDER’S DESK T h is d es k wa s desig n ed to be lig ht weig ht produ ced u sin g on ly t wo sh eet s of plywood. Th is decision inf lu en ced t h e sh apin g of the l e gs, ca rv i ng away m aterial to address econ om ic fabricat ion .

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SUPPORT

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The “Folding Chair” was the first piece of furniture added to the set that deploys a hinge enabling it to fold. Prototyping different cnc milled plywood joints, this was discovered working between the two layers of 3/4” inch plywood. Immediately after the invention, tolerances were tested, and this piece along with the “swaying shelf” were designed. Both utilize this pivot point to combat different aspects of the miro living lifestyle.

FOLDING CHAIR TECHNICAL DRAWINGS 95°

14.85”

15.75”

6°

2.25”

1.5”

17.5”

18” 11.65”

EXT E R IOR L AYE R - S H E L L

INTE RIOR L AY E R - J OINT LOCKE D

19.35”

I N TERI OR LAYER - JOI N T UN LOCKED

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WORK, REST, PLAY. WHAT ELSE DO YOU NEED? ROOFTOP BA R A N D RESTAURA N T

PE T-FRI EN DLY OBSERVATI ON GA RDEN

AY PL

SPLIT

S PA

ST

RE

COOKI N G STATI ON S

RK WO

G U EST ROOMS

CO-LIVE HOTEL SHEAR

L AU NDRY ROOMS

UNIVERSITY OF FLORIDA | DESIGN 7 INSTRUCTOR: ALFONSO PEREZ PARTNER: BRANDON ALVAREZ

SHEAR

This project strives to facilitate a merged space between work, rest, and play. How does the dwelling, office, and public space coalesce?

This trend of micro-living is popular among our generation. Using the hands to juggle a diagram on the interaction between these aspects of life.

DAYCA RE

FITNESS CEN TER

B US I N ES S C E N T E R

LOB BY CA FE

WIRELESS CHECKI N

SU BWAY ACCESS

7 “Communal living is hardly a departure from tradition- it’s a return to how humans have been making their homes for thousands of years” - The Atlantic.

“Millenials compose 56% percent of the rental market and are most willing to move into an apartment” - NY Times.

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LOWER EAST SIDE DENSITY AND LAYER ANALISIS

SLICE

REJECT

City Silhouette / Site This section of the city shows a decrease in height moving west along Delancey St.

Parks / Open Space With the congestion of New York City, parks and open plazas allow for moments of pause. Working with these spaces on the site allowed for more interaction between locals and visitors.

1.2 -Mi l e Ra di us

CUP

TEAR Building / Sidewalks The crossing of Delancey St. and Essex St. are at the heart of the lower east side; one is 1.2 miles from all the essentials.

City Grid/streets The city grid carves out the layers above, this system generating traffic pattern and acts as the glue holding the city together.

Topographic Lines / Subway System The subway connects the city seamlessly underground; this connection creates the main city datums, and linking to this system broadens the hotel’s position within the city.

APARTMENT SIZE FLUCTUATION IN THE RECENT DECADE

60% of Millenials choose to

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Attaching to the subway, this large influx of residents required an open ground floor with shops suspended above. Also, it features wireless amenities to aid in keeping pace with the motion of our generation.

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CAN A SUPER-BLOCK BREAK THE COMMISSIONERS GRID?

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8 STANDARD NYC BLOCK

The idea of a super-block within Manhattan responds to a need for a community catalyst in Chelsea, offering specific civic attractors. The curves on the NYC grid are moments where the commissioners’ grid gets questioned, and working with this question on 28th street, became part of the project. The design chooses to mirror the curve, allowing for a moment of pause to interplay with the public plaza. This moment is then sheltered from the avenues by a series of smaller masses holding the curve’s edge. A composition of bridges allows the city’s

CURVED NYC BLOCK

passageways to be brought above the ground plane; this provides the inhabitant with a new lens to perceive the UNIVERSITY OF FLORIDA | DESIGN 7 INSTRUCTOR: ALFONSO PEREZ PARTNER: BRANDON ALVAREZ

TRAVERSE

SUPER CHELSEA MASSING COMPOSITION

PUBLIC PLAZA

HOUSING

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TRAVERSE

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The Dwelling M icro-units fam ily-s ize units s hared co-live s p aces

The Institute Culinar y s chool (w. Res taurant) cos m etolog y s chool (w. B eauty s alon) s ocial as s is tance s chool g rap hic des ig n s chool f lex m eeting s p aces dig ital ar ts lib rar y contem p orar y ar ts g aller y lecture theater p rov is ion m ar ket

The Office Co-wor k s p aces f lex m eeting s p aces p rov is ion m ar ket

The Market U-p ick g arden trading p os t indep endent s eller retail neig hb or hood dining

The Recreation G roup activ ity room s dig ital-inter face s olo room s larg e-s cale racq uet b allroom s f lex-m achiner y s p aces ex tr uded p ool m as s es ab ove wellnes s s uite

The Common G reen-hous e entr y outdoor s creening wall r unning track adapt and re-us e p rov is ion vendor s dog p ar k the p ool ( ar t ins tallation g ather ing s p ace r ide-s har ing p or t

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This project lies at the intersection of materials, making, and humanity. Through the process of material exploration, a restaurant was generated interlocking these various programmatic elements. The site is a shipyard with a sea wall, and this iconic location called for an architectural moment that spoke the scale and engaged the environment. To captivate these possibilities, circulation was at the forefront of the design, articulating it specifically to accommodate an adventurous dining experience.

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The boiler marks the interlocking point and symbolizes a grand concussion ending one’s procession through the project. One experiences the sky, horizon, and ground as they submerge into the restaurant.

CRUSTACEAN SHIPYARD INTERLOCK UNIVERSITY OF FLORIDA | DESIGN 5 | INSTRUCTOR: LISA HUANG

WHAT IF DINING WAS A JOURNEY INSTEAD OF JUST A TASTE?

9 BURN | DISCHARGE

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MODEL ASSEMBLY | SCALE 1:16 Th is exploded diag ram sh ows h ow t h e pieces of the p roje ct i nte rl ock tog et h er. Tediou sly n otch in g t h ese prog ram itc ele me nts togethe r a ct to def in ed t h is spat ial m om ent .

OVERHEA D

DOCK | RECIEVE RESTURANT

SEAWA LL

ARRIVAL | GROUND

ARRIVAL | HORIZON

ACCESS

GROUN D

ARRIVAL | SKY

EXIT | GROUND

PROGRAM ANALYSIS A n im a gin ative series of sect ion s were u sed to an alylize t h e prog ram s’ key m o m ent s. Th is st u dy served to diag n ose f u rt h er h ow a rest au rant c a n rel ate to it s locat ion in t h e lan dscape.

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INTERLOCK

The scale and function of the site gave way for how to navigate this active terrain. The experience of dining is not shaped around the food but rather the adventure of its preparation. This concept generated two interventions constructed at opposite ends of the seawall: first, receiving food from the ocean and second, preparing it for the occupant. The guest arrives at the receiving end, witnessing the entire process of their meal’s preparation, before getting to enjoy it.

g

in

in

d or

do

in fish transfer storage tanks

entry/arrival lounge waiting area

bar

g boiler kitchen in in s

om ro st e re ffic o

entry/arrival

fish transfer storage tanks

entry/arrival lounge waiting area

bar

d

boiler kitchen s

om ro st e re ffic o

entry/arrival

or

do

in

SITE ANALYSIS Th is draw i ng se e ks to ex p l ore the di ffe re nt ex p e ri e nce s of a rri va l a nd ex i t. Two concrete p i e ce s we re ca st n eg ot iati ng the se mome nts, a nd the surfa ce of the se p i e ce s furthe r hi ghl i ghte d thi s re l ati onshi p . The exit piece wa s ca st i n a fa shi on to re se mb l e a s se nce of we athe ri ng ta ki ng p l a ce a l ong the wate rs e dge .

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Initially, an assembly model was composed interlocking different elements. These components were designed conceptually on the premise of their inherent material properties. This model drove the project as three systems joined: an internal rubber core - light and flexible concrete wrapper - heavy concrete armature. The hand’s ability to negotiate these assemblies guided the overall design of the restaurant.

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INTERLOCK

DISCHARGING INTERVENTION Th is intervent i on i s w he re food p re p a rati on a nd di ni ng occur. To ce l e b rate thi s mome nt, the boiler is exag ge rate d, di scha rgi ng fume s a s the food i s cooke d.

Fabric’s material properties played a large role in the restaurant’s form, starting with a series of concept models. These models aided in generating a scheme with a spiral gesture and used this tensile material to study a facade paneling system. This monumental overhead marks the landscape as the boiler punctures through the center.

9 BOILER SHAPE AND LOCATION ANALYSIS

RECEIVING INTERVENTION Th is space serves to m ake a presen ce alon g t h e water’s edg e an d is t h e rest au rant’s arrival point . Th e dock exten din g into t h e water is wh ere t h e intervent ion receives t h e food to be prepared.

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STUDIO VS SHOP

FABRICATE

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INDEPENDENT RESEARCH | 2018-2020 This open-source CNC (computerized numerical control) mill is built using 3d printed pieces in conjunction with a few clever items like skateboard bearing and conduit piping and is designed by Ryan at V1 Engineering. Thanks to his efforts, I constructed my own, allowing me to learn various things about the mill. There is great respect for elements coming together in the shop’s environment and the tolerances that apply with this craft. I have developed a fascination with the intersection of elements. This eye for understanding the intersection has transcended my work seeking moments of motion. Both the shop and the studio have driven me to explore how these machines influence design and aid one’s ability to seize material into commodities, enhancing everyday life. One of the most notable things that dawned on me during this adventure was using one machine to fabricate another machine and the beauty of this paradigm.

WHAT IS MORE FASCINATING ABOUT THE MACHINE THAN ITS ABILITY TO FABRICATE ANOTHER MACHINE?

10 Joint investigation among two layers of 3/4 “ inch plywood, one fixed, other in motion.

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EVAN H. LEVY evan.levy@ufl.edu 561-715-8287