Bryan Sistino _ Undergraduate Portfolio

A R C H I D E S I G N

BRYAN

T E C T U R E P O R T F O L I O

U N I V E R S I T Y

SISTINO O F

F L O R I D A

U N I V E R S I T Y O F C I N C I N N AT I

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.

analytical itinerary drawing

_01

_02

_03

_04

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.

_01

_02

_03

_04

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.

_05

_06

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.

_07

_08

_09

_10 _05 _11

_06 _12

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.

_07

_08

_09

_10

_11

_12

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.

section a-a

section b-b

_07

_08

_09

_10

_11

_12

wayfarer’s station

carving the desert floor critic _ jj eckler / nancy sanders site _ ala shan desert, china scale _ 30 000 sqf

_13

_14

_15

_16

science + research

site drawings _ manipulating ground as a way to receive program

gathering hub

sleeping quarters

ranging facilities

defining space The wayfarer’s station in the Ala Shan Desert acts as a temporary outpost shelter and research center for traveling nomads and scientists. The complex links two bodies of water - one fresh to drink from and one salt to research. The central gathering hub acts as a social community center that promotes interaction between the nomads and the scientists. The desert floor is carved to receive program and shield the occupants from the harsh desert windstorms. _13

_14

_15

_16

HL INE HIG

hybrid hotel

23

RD

ST

placing a hotel on 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.

hotel constituents:

_17

_18

_19

_20

_21

_22

_23

_24

hotel typologies:

resort :

meditation / tribe

boutique :

elite / served

capsule :

container / module

cruise :

remote / playful

love :

intimacy / couple

hotel hybridization:

destination :

omni / attraction

motel :

convenience / budget

b&b :

comfort / nostalgia

_17

_18

_19

_20

_21

_22

_23

_24

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.

_17

_18

_19

_20

_21

_22

_23

_24

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.

_17

_18

_19

_20

_21

_22

_23

_24

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

_25

_26

_27

_28

longitudinal section

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

_25

_26

_27

_28

healy guest house luminaire

illuminating

critic _ thomas smith site _ siesta key, florida scale _ 6 sqf

the

cocoon

house light distribution:

This luminaire was designed to hang inside the Healy Guest House in the middle of the living space over the central table. The main intention of the luminaire is to create an ambiently light environment that naturally reinforces the construction of the house and its larger landscaped context. Details of the house’s materiality and tectonic joinery, most obviously the catenary curve, are reinvestigated to contextualize the luminaire. The luminaire diffuses light down by refracting the rays through a bamboo screen held together by braided nylon threads. A mahagony framework acts as an armature upon which the screen and lights are suspended. Three 2� 40 W incandescent lightbulbs are used in the luminaire on a two-way circuit to provide different levels of lighting intensity.

plan

c o n t e x t :

paul rudolph + ralph twitchell [1948] section

materiality:

[nylon]

braided threads

[bamboo]

[mahogany]

wood screen

armature

intensity:

[off]

no light

[low]

one light

[medium] two lights

[high]

three lights

_29

_30

campus furniture

interaction + relaxation critic _ ruth ron site _ gainesville, florida scale _ 300 sqf

This intervention is intended for college students to relax and socialize with one another. It is situated on the exterior of the architecture building in a threshold, intending to lure in passerbys. The intervention consists of several different pieces of furniture: each reinforcing the notion of interaction and relaxation. The program is concealed in the articulation of the rib system that gives the threshold a sense of space and purpose.

plan

architecture building _ university of florida

section

multi-use furniture A long bench reaches out to the sidewalk and brings the users in to the space below the canopy. Under the canopy lies practical pieces of program for students and faculty alike - including a bulletin board and a table. The canopy swoops across the space towards the centerpiece multi-person hammock. The hammock is the final and most essential piece of program that emphasizes the main idea of the intervention because it, most of all, encourages interaction and relaxation. _31

_32

critic _ alfonso perez-mendez partner _ clay anderson site _ hell’s kitchen, new york scale _ 1 500 000 sqf

nyc

total 1 000 sqf dwelling units

432

11

TH

AV E

urban woodland

designing a block in

53

RD

ST

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’

_33

100’

_34

200’

_35

_36

_37

8_ main residential lobby

_38

_39

_40

_41

_42

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]

2

3

1

_33

_34

_35

_36

_37

_38

_39

_40

_41

_42

dewitt clinton park

eleventh avenue

sports + recreation

grocery store + shopping

movie theaters

concourse [plaza]

tenth avenue

_38

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.

two units

one unit 3 025 sqf (x1) luxury

1 512 sqf (x2) duplex

_33

four units

three units 756 sqf (x2) triplex 1 512 sqf (x1)

756 sqf (x4) quadplex

_34

_35

_36

_37

_38

_39

_40

_41

_42

sun diagrams ground level

upper level

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.

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.

_33

_34

_35

_36

_37

_38

_39

_40

_41

_42

T H A N K

Y O U

To my parents _ for their unwavering support and unconditional love.

I could not have done any of this without you.

To andrew _ for always making sure we paid the bills on time and for keeping the kitchen clean. Viva Italia!

To clay _ for the pleasure of collaborating with you every... single... night... and helping me co-found Bismarchitects + Bryan-Can-Help-Too. To my friends, family, and faculty _ and to all of the people who have supported me throughout my life and my time at the University of Florida. C You have all inspired me and without you this would not have been possible.