A R C H I T E C T U R E D E S I G N P O R T F O L I O
BRYAN SISTINO UNIVERSITY OF FLORIDA UNIVERSITY OF CINCINNATI
selected works
1 4
8
[ 2006 - 2011 ]
2 7
12 13
hybrid hotel
1
9
mose cultural center
4
3 5 6 7
6
door window stair sand casting institute
10
jocassee tower
11
floating pavilion
12
scupper component urban woodland
18
kennedy heights artist center
HL INE HIG
hybrid hotel
23
RD
ST
adapting a hotel to the highline critic _ alfonso perez-mendez partner _ clay anderson site _ chelsea, new york scale _ 30 000 sqf
The Hybrid Hotel is a re-investigation of the opportunities of a hotel in relation to section, sociology, and site. The process involves the research of hotel typologies and section morphologies to create a hybridization that reacts to the idiosyncracies of place. The hotel’s unique location at the intersection of the burgeoning High and bustling 23rd Street in the eclectic Chelsea neighborbood has the perfect ingredients for a destination hotel.
STEP 1 _ hotel constituents:
hybrid hotel
STEP 2 _ hotel typologies:
resort :
meditation / tribe
boutique :
elite / served
capsule :
container / module
cruise :
remote / playful
love :
intimacy / couple
STEP 3 _ hotel hybridization:
destination :
omni / attraction
motel :
convenience / budget
b&b :
comfort / nostalgia
hybrid hotel
The amusement garden comprises of the basic lobby functions as well as lounging mezzanine and an eating area. It acts as an extension of the Highline and aims to blur the boundary between interior and exterior.
The lido deck takes its inspiration from the pool deck of a cruise ship. This space takes the basic function of a hotel pool, merges it with a bar, and raises the space 150 feet in the air to frame a view of the Empire State Building. This space becomes an intentional disconnection from the city, yet is visually grounded by the iconic New York skyline.
mose cultural center
activating the void critic _ robert macleod site _ st. augustine, florida scale _ 15 000 sqf
Located in the marshes of coastal Florida, this site used to be the home to Fort Mose - the nation’s first community of freed slaves. The attempt of this project is to engage with the natural landscape while commemorating the history and memory of the former site. A central void becomes the main conceptual generator that helps to give meaning to the project, while acting as a way to organize and structure the space and bring light into the galleries and other public spaces.
original fort
reconstructed fort
site situation
central void
mose cultural center
e n t r y s e q u e n c e
longitudinal section
view towards water
conceptual parti The extreme linearity of project emphasizes the notion of procession towards the former sites. An elongated ramp envelops the central void and frames the landscape in specific ways. Primary gallery spaces are augmented by administration spaces, classrooms, and an auditorium to activate the site as an educational and cultural hub for the community. A large exterior sitting and eating area becomes a place to reflect on the landscape.
circulation through main programmatic volumes
door window stair
constructing a spatial itinerary critic _ everald colas site _ savannah, georgia scale _ 500 sqf
In this spatial investigation, the common architectural elements of door, window, and stair were removed from their everyday context and re-investigated in terms of the spaces they could create. In this sense, the lines dividing the idea of door, window, and stair become much more ambiguous. Each is a threshold that controls the rhythm, pace, and experience of a space. Concentrating on a spatial itinerary, the final model is a speculative construction examining and challenging the relationship between these elements.
Sections emphasize the vertical transition that is created by the use of stairs. Occupation becomes apparent in model and accentuates the idea of narrow thresholds opening into larger occupied volumes.
sand casting institute
process + presentation critic _ bradley walters site _ charleston, south carolina scale _ 15 000 sqf
A sand casting is a cast object produced by forming a mold from a sand mixure and pouring molten liquid metal into the cavity of the mold. After the metal is cooled, the casting is separated from the sand mold revealing the cast object. The institute draws direct inspiration from both the interior program and the exterior context, creating an environment that responds just as much to sand casting as it does to Charleston. The institute is divided into two main bars that run perpendicular to East Bay Street independently housing the studio spaces and gallery spaces, emphasizing the process and the presentation. Interior as well as exterior foundry spaces connect these two spaces and celebrate the pouring as a public spectacle. A central alley and exterior roof gallery take cues from adjoining contextual relationships and afford views of the pouring areas as well as the surrounding city.
ground floor
upper floor
sand casting institute
sand block
programmatic separation
mold cavity to receive pattern
city block
contextual separation
carve spaces to receive program
implementation of mold constituents
exposing the cast object
evolution of the sand casting institute
implementation of building constituents
A formal process evolved that mimics the way a sand caster goes about their process - from a homogenous block to the final object. This metaphor constantly drew connections between the steps that the artisans would encounter and the architectural process of design: the exterior of the institute reacts to the surrounding historic context by remaining orthogonal emulating the exterior of the mold while the interior is sculpted to create urbanistic public spaces of various scales that center on the making and displaying of sand cast sculptures.
sand casting institute
urban contextualization The institute draws people in from East Bay Street through the interior alleyway and up through the institute through vertical light wells that create an experience of moving through a carved mold. The interior void creates a public alley with a private feel that focuses the occupant’s attention on the foundry spaces. The public space on the roof becomes an exterior extension of the gallery and responds to the neighboring rooftop culture.
jocassee tower
flooding + memory
critic _ jj eckler / nancy sanders site _ lake jocassee, south carolina scale _ 10 000 sqf Jocassee, South Carolina was once a thriving summer community. In 1973, however, everything from this town was literally washed away when Jocassee was flooded in the name of hydroelectricity. This conceptual project consists of an inverted tower that is submerged in the lake and allows visitors to reconnect with this sunken community. The tower involves a vertical descent that guides the occupants through pockets of discovery that aim to educate the visitors as well as to emphasize the spectacle of occupying space below the water.
lake jocassee
sectional investigation _ pockets of discovery / vertical descent
The final model includes a found object as a way to generate the tectonics of the tower as well as a way to relate to the sunken objects that might be displayed throughout the tower.
floating pavilion
venice biennale carved cube critic _ carlos campos site _ venice, italy scale _ 900 sqf
This pavilion, located in Giudecca, the southern most island of Venice, is the manifestation of a process that transformed the analog code of a Nolli map into a digital code that defined the elements of the construction. This structure was then layered with a Morton Feldman composed string quartet rhythmic notation adding repetition with sharp juxtapositions and moments of disbelief. The final construction is a striation of repetitive material carved to create a ten square meter cube that modulates light, sound, and view. Excavated light tubes connect the sky to the water through suspended volumes and thin porous walls. The pavilion creates a new experience with the surroundings as well as with other people within the space.
process model
g e n e r a t i o n d i a g r a m s
light modulation elevation studies
volumetric excavations
exploded construction diagram
scupper component
aggregation + fabrication critic _ brian ringley partners _ todd ebeltoft august miller scale _ flexible
Rococo, from the French rocaille and coquilles (stone and shells, respectively), has reared its playful head in an era of digital architecture marked by the tireless pursuit of formal novelty. The ability to digitally control parameters for pattern, texture and tactility opens up the door for designers to explore the architectural performance of building materials at a much finer scale. This prototype scupper component derives inspiration from the formal structure of sponge and drainage patterns. Various inserts were milled from laminated 3/4� baltic birch plywood based on parametric definitions defining hole aperture size and radial twist patterns.
These scupper components were then aggregrated on a voronoi network to construct a performative wall panel.
urban woodland
integrating a block in
nyc
critic _ alfonso perez-mendez partner _ clay anderson site _ hell’s kitchen, new york scale _ 1 500 000 sqf
total 1 000 sqf dwelling units
53
RD
ST
11
TH
AV E
432
35%
total 2 000 sqf office units
38
5%
residential density : 108 dwellings/acre (comparison: densest manhattan areas: 147 dwellings/acre)
This project involves the transformation of an industrial city block into a mixed-use development for the neighborhood of Clinton. The immediate proximity of DeWitt Clinton Park to the west
total 10 000 sqf commercial units
total 10 000 sqf institutional units
30%
30%
46
urban intensity
46
max/min
8/2
(comparison: times square 10 / secluded garden 1)
provides an opportunity to extend green space into the city as an elevated forest. This elevation creates an intense public space on the street level that activates the city and allows the residential towers to exist in an urban woodland.
total interior construction
_1 534 000 sqf_ numbers define urban intensity
total exterior public space
_ 134 000 sqf _
1_ concourse [plaza] 2_ movie theaters 3_ car museum / hotel lobby 4_ grocery store / shopping 5_ recreation fields 6_ fitness facility 7_ restaurants 0’
20’
40’
100’
200’
8_ main residential lobby
urban woodland
residential towers
urban woodland
urban presence New York public places such as Times Square and the Highline act as precedents for public space. The goal was to create a hierarchy of public spaces with varying degrees of intensity. This task was accomplished by dividing the block into 3 distinct zones ranging from most intense to least intense: 1: the city (10th) avenue, 2: the neighborhood (11th) avenue, and 3: the residential (52nd +53rd) streets. A public concourse / plaza on 10th Ave. promotes a more intense public space activated by urban attractors while maintaining its urban presence in the city. The elevated urban woodland creates a calmer public space that can be considered a retreat from the city while maintaining direct physical and visual connections. The dichotomy of these public spaces in relation to urban morphology is the generator of the spatial solution used to drive the form of the block.
skin / structure
volumetric massing
site [block]
urban woodland
urban woodland
west elevation
east elevation
south elevation
residential towers The towers are elevated in the urban woodland and separated programmatically. The four towers farthest west are housed by permanent residents while the two closest to the plaza are hotels and related program. The levels are then further broken down into one, two, three, and four unit modules. The towers organic cylindrical form is utilized to allow a 360 degree vista of the city and the feeling of truly living within a forest.
1 512 sqf (x2) duplex
four units
three units 756 sqf (x2) triplex 1 512 sqf (x1)
two units
one unit 3 025 sqf (x1) luxury
756 sqf (x4) quadplex
urban woodland
ground level
sun diagrams Residential towers are positioned on the north side of the urban woodland to maximize the amount of sunlight in the forest and for the living units.
upper level
The indoor sports + recreation complex on Eleventh Avenue acts as an extension of DeWitt Clinton Park. In addition to the other urban attractors on the block, the diversity of program attempts to draw people in from all over the city. These attractors ensure that the block will be occupied by people and promotes a healthy way to live in the city.
kennedy heights artist center
super-use bird‘s nest critic _ aaron betsky / eli meiners site _ cincinnati, oh scale _ 35 000 sqf
The project brief calls for transforming an vacant Kroger supermarket shell and surrounding parking lot into a new community center using only recycled materials while not disrupting more than ten percent of the existing structure. The site would house an overflow open storage space for an art museum, studio spaces for the an artist center, and classrooms and exterior space for a montessori school. The concept for the project became to create a new face for the center while breaking down the transition from exterior to interior but creating new program spaces that would envelope and augment the existing Kroger shell. An infrastructure, or nest, of scaffolding is used to define new program spaces while acting as a framework for new volumes and materials to be inserted within creating a collage of new spaces. The scaffolding would allow for a flexibility that the users could adapt to their needs.
materials:
section:
existing proposed
1
3 2
9 4 11
8
10 7
1 2 3 4 5 6 7 8 9 10 11 12 13 14
PLAZA EXHIBITION SPACE DROP-OFF CLASSROOMS PLAYGROUND LOADING DOCK ARTIST WORK SPACE PARKING FLEX SPACE ARTIST STUDIOS OPEN STORAGE GALLERY MONTESSORI SCHOOL MUSEUM STORAGE OPEN FIELD
12
13
6
5
14
kennedy heights artist center
Starting from the left, this unfolded section montage shows the transition from the street, to the plaza and exhibition space, to the artist studios, to the musueum open storage in the center defined by glass dispay cases, to the montessori school that extends to an exterior playgound with a connection to a neighboring field.