WORK SAMPLE.
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*JAMES EVAN PREUSS +MArch Architectural Design Applicant
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
...... 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
THESIS WORK
RECURSIVE HOUSE
Lee and Norman Rosenfeld Thesis Award Model on Display: Mrytle Hall (2017-2019)
SOLO WORK
SOLO DESIGN
004-007
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Partner: G. Wartinger
CHAIR A
On display at The Emre Arolat Architecture Gallery 199 Lafayette Street, New York, New York
ARTIST TEAMASSISTANCE DESIGN
008-011
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Solo Work: non-Office.
XTC / ARCHES 012-013
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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Employment: Hume Coover Studio
TEAM DESIGN
NATIONAL MUSEUM OF WORLD WRITING 014-017
ATLANTIC PLAYROOM
Playroom For the Atlantic Playroom Project Manager Position
TEAM FABRICATION
018-021
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Employment: A05 Studio
ZIGGY: FLATIRON 022-025
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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.
004-005 005-006
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
*THESIS WORK.
+ Was present in all stages from design to fabrication. + Completed with a team of 2.
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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 The RECURSIVE HOUSE consumer demands unique architectural tailored for TOWNHOUSE PROVIDES THE meets PERFECT SETTING FORofTHIS UNIQUE USER forms EXPERIENCE, individuals with the TOWN added convenience of rapid re-customization. A robotic re-design COMBINING OLD CHARM WITH ENDLESS ADAPTABILITY! YOUsystems BECOME THE of the idyllic greenwich village townhouseOPPORTUNITY provides the perfect setting for this uniqueMACHINE user experience, combinARCHITECT IN THIS EXCITING AS THE AUTONOMOUS WORKS WITH ing old charmSPACES with endless You become the architect in thisTHE exciting opportunity YOU TOtown CREATE THATadaptability! FIT YOUR EVER-CHANGING DESIRES. PROCESS IS as the autonomous machine AND worksPRACTICALLY with you to create spaces that fit your ever-changing desires. TheSTREAM process OF is SELF-SUFFICIENT, WASTE-FREE, MEANING THAT AN ENDLESS self-sufficient, ARCHITECTURAL and practically waste-free, meaningISthat an endless stream MAINTAIN of individualA architectural INDIVIDUAL EXPRESSION POSSIBLE, SIMPLY DIALOGUE expression is possible, simply maintain a dialogue with yourFOR home andAT it will build new spaces for you at WITH YOUR HOME AND IT WILL BUILD NEW SPACES YOU YOUR BEHEST. IN THIS your behest.THE In this fashion, theHOUSE recursive house presents itself a newPARADIGM paradigm inIN architectural history, FASHION, RECURSIVE PRESENTS ITSELF ASas A NEW in which the form is HISTORY, forever in habit. ARCHITECTURAL 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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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
*SOLO WORK.
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+ Was present in all stages from design to fabrication. + Completed with a team of 2.
The overall direction based on the notions of Eugene Ionesco’s absurdist play The Chairs. Like in the playplay chairs are organized for the CHAIR Adesign embodies a staticis interpretation of Eugene Ionesco’s absurdist play The Chairs. In the aforementioned chairs are organized for the duration of the piece for a series of people that will never show up. Chair A through algorithmic booleans creates a representation of a 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 collapsed momentand in time the sourcetomaterial. chair in the gallery provides results the play through different setspace of sits on a podium waitsfrom for onlookers fulfill itsThe purpose. However sincespace the chair findssimilar itself out of theaslounge and insteada in a gallery inputs. In the play the chairs remain empty due to the fact that they are for an absent user base while the chair in the gallery remains empty based 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 on a user base complying to a hours; set of norms created in our hierarchical society. While the play deals with the absurdity of presenting the audience person that until after gallery will never come. with a method of entering the play Chair A deals with the absurdity of allowing the onlooker to be present with a non-performative artistic experience. In both cases participation requests are rarely answered.
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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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*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.
012-013 015-016
XTC / ARCHES
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Employment: Dean Levin Studio
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Solo Shows For Dean Levin XTC (Kohn Gallery), Los Angeles 2016 Arches (Marianne Boesky Gallery), New York 2017
-------------------------------------------------------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
*ARTIST ASSISTANCE.
+ Was present in design of paintings and layout of gallery. + Completed with a team of 2.
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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.
014-015 017-018
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
*TEAM DESIGN.
+ Was present in all phases from design to fabrication. + Completed with a team of 3.
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 Longitudinal Section Section A. B. Surgical Surgical Section Section showing showing the the programatic programatic B. activity in in each each of of the the geodes. geodes. activity 1. Model Model photograph photograph showing showing geodes geodes as as well well as as 1. the sectional sectional quality quality of of the the ribbon ribbon like like the connector tissue. tissue. Chair ModelSize: Size:24”w 24”wxx15””d 15”d xx connector 18”h 18”h
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*ATLANTIC PLAYROOM. 1.
018-019 023-024
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)
*TEAM DESIGN.
+ Was present in all phases from design to fabrication. + Completed with a team of 6.
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 ((AA Child.). Child.). The The design design includes includes aa treehouse treehouse observation observation deck that is situated in theincorner of the that is situated the corner room flanked Corian Marioesque wall treatments that allow the tochildren feel as though have been into a world where of theisroom andby is flanked by Corian Marioesque wall treatments thatchildren allow the to feel they as though they transported have been transported into a world fairies exist and their do not.do not. where fairies exist andproblems their problems
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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.
022-023 027-028
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
*TEAM FABRICATION.
+ Was present in fabrication stages. + Completed with a team of 4.
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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