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
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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.
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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.
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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.
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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.
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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
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wayfarer’s station
carving the desert floor critic _ jj eckler / nancy sanders site _ ala shan desert, china scale _ 30 000 sqf
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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
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HL INE HIG
hybrid hotel
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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:
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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
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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.
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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.
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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
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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
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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
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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
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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
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urban woodland
designing a block in
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35%
total 2 000 sqf office units
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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%
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urban intensity
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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’
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100’
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200’
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8_ main residential lobby
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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]
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3
1
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dewitt clinton park
eleventh avenue
sports + recreation
grocery store + shopping
movie theaters
concourse [plaza]
tenth avenue
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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
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four units
three units 756 sqf (x2) triplex 1 512 sqf (x1)
756 sqf (x4) quadplex
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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.
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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.