Evan Preuss Portfolio

WORK SAMPLE.

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WORK noun

exertion or effort directed to produce or accomplish something; labor; toil. productive or operative activity.

adjective

of, for, or concerning work: work clothes. shaped and planed; working.

verb (used without object), worked or (Archaic) wrought; working. to do work; labor. to be employed, especially as a means of earning one's livelihood: He hasn't worked for six weeks

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SAMPLE noun

a small part of anything or one of a number, intended to show the quality, style, or nature of the whole; specimen.

Statistics. a subset of a population: to study a sample of the total population. a sound of short duration, as a musical tone or a drumbeat, digitally stored in a synthesizer for playback.

adjective

serving as a specimen: a sample piece of cloth.

verb (used with object), sam¡pled, sam¡pling.

to take a sample or samples of; test or judge by a sample.

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evpreuss@gmail.com

SOLO DESIGN

RECURSIVE HOUSE 005-008

CHAIR A

Lee and Norman Rosenfeld Thesis Award Model on Display: Mrytle Hall (2017-2019)

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Solo Work: non-Office.

On display at The Emre Arolat Architecture Gallery 199 Lafayette Street, New York, New York

SOLO FABRICATION

009-012

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Partner: G. Wartinger

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(A) Employment: The Living (B) Employment: Toshiko Mori Architects

ARTIST ASSISTANCE

CHICAGO ARCHITECTURE BIENNIAL MODELS. 013-014

XTC / ARCHES 015-016

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Employment: Dean Levin Studio

Solo Shows For Dean Levin XTC (Kohn Gallery), Los Angeles 2016 Arches (Marianne Boesky Gallery), New York 2017

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Employment: Hume Coover Studio

TEAM DESIGN

NATIONAL MUSEUM OF WORLD WRITING 017-020

GLIMMERING WILDERNESS 021-022

ATLANTIC PLAYROOM

Solo Show For Hume Coover Studio Kent CAED October 29 – January 15 2018)

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Employment: A05 Studio Playroom For the Atlantic Playroom Project Manager Position

TEAM FABRICATION

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Employment: Hume Coover Studio

ZIGGY: FLATIRON 027-030

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Employment: A05 Studio

Fabrication Project; Design by Hou De Sousa Winning entry for the sixth annual Flatiron Public Plaza Holiday Design Competition.

*RECURSIVE HOUSE.

005-006

RECURSIVE HOUSE

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Partner: G. Wartinger

Lee and Norman Rosenfeld Thesis Award Model on Display: Mrytle Hall (2017-2019)

-------------------------------------------------------A. Axon of Drill that is used for space manipulation.

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1. Model Photograph showing the section quality of the building. Model Size: 10”w x 36”d x 52”h

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THE RECURSIVE HOUSE MEETS CONSUMER DEMANDS OF UNIQUE ARCHITECTURAL FORMS TAILORED FOR INDIVIDUALS WITH THE ADDED CONVENIENCE OF RAPID RE-CUSTOMIZATION. A ROBOTIC SYSTEMS RE-DESIGN OF THE IDYLLIC GREENWICH VILLAGE TOWNHOUSE PROVIDES THE PERFECT SETTING FOR THIS UNIQUE USER EXPERIENCE, COMBINING OLD TOWN CHARM WITH ENDLESS ADAPTABILITY! YOU BECOME THE ARCHITECT IN THIS EXCITING OPPORTUNITY AS THE AUTONOMOUS MACHINE WORKS WITH YOU TO CREATE SPACES THAT FIT YOUR EVER-CHANGING DESIRES. THE PROCESS IS SELF-SUFFICIENT, AND PRACTICALLY WASTE-FREE, MEANING THAT AN ENDLESS STREAM OF INDIVIDUAL ARCHITECTURAL EXPRESSION IS POSSIBLE, SIMPLY MAINTAIN A DIALOGUE WITH YOUR HOME AND IT WILL BUILD NEW SPACES FOR YOU AT YOUR BEHEST. IN THIS FASHION, THE RECURSIVE HOUSE PRESENTS ITSELF AS A NEW PARADIGM IN ARCHITECTURAL HISTORY, IN WHICH THE FORM IS FOREVER IN HABIT.

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RECURSIVE HOUSE

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Partner: G. Wartinger

Lee and Norman Rosenfeld Thesis Award Model on Display: Mrytle Hall (2017-2019)

-------------------------------------------------------A. Maison Domino Reimagined with robotic armiture that allows for rapid prototyping.

B. Axon Showing different spatial conditions that can be produced through extraction.

C. Semi-Design Block at various stages of extaction. (Left: untouched; Right: completely milled) D. Timeline of building construction begining as a skeletal aarmiture and finishing as a fully realized volume.

E. Plan showing evolution of spatial creation as time progresses.

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1. Model Photograph showing the roofscape of the building. Model Size: 10”w x 36”d x 52”h

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Chair A

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Solo Work: non-Office.

On display at The Emre Arolat Architecture Gallery 199 Lafayette Street, New York, New York

-------------------------------------------------------A. Render of the front elevation of Chair A. 1. Photograph of Chair A in situ. Chair Size: 35”w x 40”d x 38”h 2. Photograph of crowd at EAA Opening with Chair A in situ. Chair Size: 35”w x 40”d x 38”h 3. Photograph of Chair A in situ. Chair Size: 35”w x 40”d x 38”h

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The overall design direction is based on the notions of Eugene Ionesco’s absurdist play The Chairs. Like in the play chairs are organized for the duration of the piece of a series of people that will never show up. CHAIR A follows the same directive as the designers have created a chair that sits on a podium and waits for onlookers to fulfill its purpose. However since the chair finds itself out of the lounge and instead in a gallery space the chances that it can fulfill its programmatic meaning is exponentially decreased. Therefore the chair sits waiting for a person to sit on it, a person that until after gallery hours; will never come.

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Chair A

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Solo Work: non-Office.

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On display at The Emre Arolat Architecture Gallery 199 Lafayette Street, New York, New York

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-------------------------------------------------------A. Exploded Axon Showing the Construction methodology of the chair B. Chair A in different views (Top: Axon; Bottom from left to right: Left Elevation, Front Elevation, Right Elevation) C. Construction Manual showing assembly order.

D. Kit of parts showing all pieces of chair.

1. Photograph of chair. Chair Size: 35”w x 40”d x 38”h

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* CHICAGO ARCHITECTURE BIENNIAL MODELS. 1(A).

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* An Example of images located inside Capsule Dreams.

As a hallmark of the Japanese Metabolist Movement, the Nakagin Capsule Tower, designed by Kisho Kurokawa and constructed in 1972, was intended to “denote human society” and to continually evolve almost organically. In Capsule Dreams, we start with a historic photo of the interior of one apartment—which is notably devoid of people or personal touches—and create a model that reactivates the interior in the photograph by adding layers of human occupation and passing time. The model focuses on the interior of the building rather than on its iconic form. Five apartments are visible through the circular window, which acts as a framing device akin to the viewfinder of a camera. Each one offers a portal into a different past, present, or future version of occupation. Like all buildings, the Nakagin Capsule Tower is a backdrop for people to project their dreams onto—in this case, dreams about the future, explored through different films from different eras and countries: Electronic Labyrinth THX 1138 4EB (USA, 1967), Solaris (Russia, 1972), Logan’s Run (USA, 1976), 2046 (Hong Kong, 2004), and Tokyo! (Sharing Tokyo) (Japan/South Korea, 2008). As a whole, the exhibit explores extended and alternative futures for the Metabolism Movement.

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CHICAGO BIENNIAL

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2(A).

(A) Employment: The Living (B) Employment: Toshiko Mori Architects

-------------------------------------------------------1(A.). Biennial Model in situ. Model Size: 48”w x 60”d x 30”h.

1(B.). Photo of Nakagin Capsule Tower. The building in which the project was based.

1(C.). Zoom in showing the interior conditon of the model.

1(D.). Drawing of the Capsule Dreams Model.

2(A.). Biennial Model in situ. Model Size: 42”w x 120”d x 36”h.

1(B.). Photo of Thread Artist Residency and Cultural Center. The building in which the project was based. *Text description provided by Chicago Biennial Offical Website.

2(B).

Toshiko Mori’s design for the THREAD ARTIST RESIDENCY AND CULTURAL CENTER was completed in Sinthian, in the Tambacounda region of Senegal. It was intended to catalyze exchange between West African artists, locals, and a global audience. The title Thread acknowledges the support of the Anni Albers Foundation, the titular figure of which was renowned for her weavings that were learned at the Bauhaus school in Germany, where she later taught as well. The project brings together the Bauhaus history of craft and tradition with that of Mori’s research into the vernacular traditions of knotting and weaving. The building carries a sweeping thatched roof that is influenced by vernacular conventions learned through collaboration, designed through software, and built with local craftsmen. Mori notes that thatched roof construction occurs everywhere in the world and allows for an increase in size, performance, and span when combined with contemporary design tools and engineering knowledge. Shown here as a scale model, one can see the typological basis of the roof and undulating geometries that reorganize the directionality of the weave in ways that afford diversity of forms.

The second edition of the Chicago Architecture Biennial (CAB) was the largest architecture and design exhibition in North America, showcasing the transformative global impact of creativity and innovation in these fields. The 2017 Biennial featured over 140 practitioners from more than 20 countries addressing the 2017 theme “Make New History.” Artistic Directors Sharon Johnston and Mark Lee selected architects and artists whose eye-opening creations invited the public to explore how the latest architecture can and will make new history in places around the world.

*XTC / ARCHES. 1.

A. Dean Levin’s solo exhibition XTC at Kohn Gallery, the artist’s first in Los Angeles, presents a refined iteration of Levin’s ongoing investigation into space, perception, and architecture. At once conceptually utilizing and physically inhabiting the gallery space, the works on view offer discrete moments of architectural deconstruction and reconfiguration, prompting the viewer to objectively consider the space itself, while maintaining a subjective engagement with the resultant products of Levin’s investigatory gesture. Made up of three separate sculptural “vignettes” demarcated by discrete swaths of carpet on the gallery floor, the exhibition can be viewed as an experiential installation whose totality is more than the sum of its various formal parts.

As a guide to this project, an additional presentation of schematic paintings will be installed in an adjacent gallery. Here, Levin reveals the modular essence of the works on view next door. Mapping alternative layouts of the exhibition, a series of ten new Diagram paintings suggest the rich potential of the unrealized and aestheticize the conceptual fruition of the show. Two new Archive paintings, created with the studio materials leftover from the making of the exhibition, similarly offer a physical record of its realization by providing a document of its very matter.

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XTC / ARCHES

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Employment: Dean Levin Studio

Solo Shows For Dean Levin XTC (Kohn Gallery), Los Angeles 2016 Arches (Marianne Boesky Gallery), New York 2017

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-------------------------------------------------------A. Schematic Gallery Paintings.

B. Arch Paintings 1. XTC Gallery View 2. Arches Gallery View *Text description provided by Kohn Gallery and Marianne Boesky Gallery respectively

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ARCHES engages in a direct dialogue with one of architecture’s most classical forms—the arch—re-envisioning it as a sculptural object with independent agency. While many architectural styles and ornamentations have been developed and disposed of through time, structural components—like arches—have remained, carrying a historic nostalgia and an ongoing contemporary relevance within both artistic and architectural lexicons. Constructed from a set of black matte convex panels, Levin’s arches appear to gently undulate as the viewer moves closer and further from them and through and around them, creating a dynamic set of relationships between the overarching structure, space, and viewer, as well as among the individual panels.

The presentation of the arch is augmented by a series of new paintings that depict a range of exterior and interior architectural views.

Rendered first digitally and then transferred onto the canvas, the paintings play with the gradation and weight of color and line, with some portions highly defined and others washed out to near nothingness. The paintings pull Levin’s play with depth and three-dimensionality back into the two-dimensional frame, creating a concave complement to the primary sculptural installation in the exhibition. Together, the works immerse the viewer in an encompassing, perception-bending experience.

*NATIONAL MUSEUM OF WORLD WRITING. 1.

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NATIONAL MUSEUM OF WORLD WRITING

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Employment: Hume Coover Studio

-------------------------------------------------------1. Exterior perspective of building in the site. *Text description provided by Hume Coover Studio

The NATIONAL MUSEUM OF WORLD WRITING breaks down into several pavilions across the site each anchored by a large figures streaked with color and vegetation. These figures contain the permanent collections, office spaces, and meeting rooms allowing the rest of the museum to flow openly around them. The thick walls peel in and out bringing the neighboring park into the museum while the interior pushed outside. Benches, display cases, plantings, and walls cross the enclosure of the building recalibrating the thresholds of the site. The public park becomes entangled with the building to invite users to stumble upon the collection and events inside. A public space for meeting people, dining at the cafe, or reading on a bench alongside the strange synthetic landscapes spilling out form the alluring figures. The rough textures of local bricks, concrete, and cast ceramic blend with the grasses to form wild qualities flickering between the synthetic and natural.

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NATIONAL MUSEUM OF WORLD WRITING

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Employment: Hume Coover Studio

-------------------------------------------------------A. Longitudinal Section B. Surgical Section showing the programatic activity in each of the geodes.

1. Model photograph showing geodes as well as the sectional quality of the ribbon like connector tissue. Chair Size: 24”w x 15””d x 18”h

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*GLIMMERING WILDNESS. 1.

A. RE-MAKE/RE-MODEL looks at new forms of leisure coming not through traditional activities such a sports or idle time but rather through learning and

making. The dockyard is re-conceived as a landscape of exchange from ideas, to materials, to technology. The existing warehouse spaces become scaffolds to create large open spaces to accommodate a range of teaching and making spaces. Programs range from food preparation, to small batch production and sewing, to cutting metal with cnc technology, the campus becomes a site to promote innovation and creativity alongside a trend toward dis-ownership and empowerment of prosumers. The lower levels invite curiosity as people move from space to space and inside to outside, past all the different projects and classes unfolding. The spaces flow together and combine to host activities from a two person meeting to large conferences. A series of figural volumes are rested on top of the warehouses to produce new fixed spaces such as auditoriums, industrial shops, and raw material storage rooms.

021-022

GLIMMERING WILDNESS --------------------------------------------------------

Employment: Hume Coover Studio Solo Show For Hume Coover Studio Kent CAED October 29 – January 15 2018

-------------------------------------------------------A. Model Photograph showing Models in Gallery.

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Model Size (County Life): 24”w x 36”d x 24”h

B. Model Photograph showing Models in Gallery.

Model Size (Re-make/Re-model): 30”w x 36”d x 15”h

1. Exterior perspective of Re-make/Re-model in the site.

2. Exterior perspective of Country Life in the site. *Text description provided by Hume Coover Studio

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COUNTRY LIFE is a shared cabin in the dense forest of Olivino, Latvia along a rugged hiking trail. The project explores a place of shared living in a

non-urban setting – a domestic landscape embedded in the forest. The cabin borrows familiar features and materials from the cabin typology such as shingle cladding, wood framing, gabled roof, thatching, and punched openings. This familiarity gives way to an alluring strangeness which develops as these forms and materials transform through shifts such as multi-directional shingles, the thatch roof growing on the interior, and the dissolution of the extruded bar. As the form opens up to allow people to move freely between its spaces and the site, it promotes a quality of spillage between gradations of inside and outside.

COUNTRY LIFE AND RE-MAKE / RE-MODEL explore these possibilities through very different scales and contexts. An urban

dockyard being revitalized as part of a new leisure coast and a cabin maintained by a parks center for passing travelers. Both are spaces which are shared and have no single tenant but instead a constant overlap of users creating new platforms for exchange. In both, the architecture transcends a neutral scaffold of flexibility to become an instigator of an elevated physical experience which matches the open possibility of these places of sharing. A synthetic nature or an artificial rawness provokes traditional notions of the built world and its relationship to ‘nature’ to shape conditions which reflect our current material culture. A culture which is straddling between synthetically produced biomaterials and ‘artisinal’ wood. These paradoxical combinations serve to open up new saturated conditions within architecture by questioning the ordinary and spectacular in search of a strangeness in the space between to produce a GLIMMERING WILDNESS.

*ATLANTIC PLAYROOM. 1.

023-024

THE ATLANTIC PLAYROOM

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Employment: A05 Studio

Project Manager Position -------------------------------------------------------1. Photograph of completed Playroom.

Located in the Atlantic Apartment Building (Philadelphia, Pennslyvania)

THE ATLANTIC PLAYROOM is a design that focuses on the whimsy of childhood and implements that feeling through its built compo-

nents. The entirety of the project is fascinated with the examination of the cartoonification of the natural world and using that notion as a vehicle to provide a maximum amount of fun for the intended user ( A Child.). The design includes a treehouse observation that is situated in the corner of the room is flanked by Corian Marioesque wall treatments that allow the children to feel as though they have been transported into a world where fairies exist and their problems do not.

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THE ATLANTIC PLAYROOM

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Employment: A05 Studio

Project Manager Position -------------------------------------------------------A. Dimensioned drawing from bid set showing Treehouse.

B. Detail drawings of treehouse railing.

C. Detail drawings of stand alone tree.

1. Photograph of stand alone tree. (Tandem with Image C)

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*ZIGGY: FLATIRON. 1.

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ZIGGY: FLATIRON

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Employment: A05 Studio

Fabrication Project; Design by Hou De Sousa -------------------------------------------------------1. Daytime Photograph of Pavillion in situ.

Pavillion Size: 16’w x 43.5’l x 9.5’h *Text description provided by Hou De Sousa

The Flatiron/23rd Street Partnership and Van Alen Institute has selected ZIGGY as the winning entry for the sixth annual Flatiron Public Plaza Holiday Design Competition. The project will be open to the public from November 15, 2019 to January 1, 2020. Ziggy celebrates the holiday season with vibrant hues and playful gestures. Located between Broadway, 5th Ave and 23rd Street, the project softly ricochets between the narrow bounds of its triangular site, effectively echoing the urban and architectural context while establishing a broad structural footprint. A collection of apertures and thresholds frame views of the Flatiron District’s many attractions and landmarks while also welcoming visitors and allowing for a steady stream of locals to pass by unimpeded. For those seeking a moment of respite, the design is accentuated by several “gateways” which have been upended to serve as benches. The thin linear elements that define Ziggy’s porous composition are lightweight, visually transparent and impervious to wind. As one encounters the piece, its 27,000 feet of iridescent cord visually converges and dynamically filters the surrounding context with shifting colors, patterns and light. Ziggy is a kaleidoscopic beacon, designed for the people of New York.

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ZIGGY: FLATIRON

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Employment: A05 Studio

Fabrication Project; Design by Hou De Sousa -------------------------------------------------------A. Site Plan. Project is situated directly in front of the Flatiron building. Drawing provided by Hou De Sousa.

B. Delivery Diagram and Massing on site.

Drawing provided by Hou De Sousa.

C. Circulation path of the project inthe site.

Drawing provided by Hou De Sousa.

D. Kit of parts showing fabrication breakdown.

1. Night Photograph of Pavillion in situ. Pavillion Size: 16’w x 43.5’l x 9.5’h 2. Daytime Photograph of Pavillion in situ.

Pavillion Size: 16’w x 43.5’l x 9.5’h

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