Thomas Masino_Architecture Design Portfolio_2018

THOMAS MASINO, AIA, NCARB

architectural design portfolio select academic and professional works

TABLE OF CONTENTS

GRADUATE WORK

SHIFT

Clemson University - Barcelona Architecture Center | Spring 2016

EMERGENT EMBASSY

Clemson University | Fall 2016

Carlos Barrios Washington, DC

CLEMSON BOAT HOUSE

Clemson University | Fall 2015

Ufuk Ersoy, David Franco, Ulrike Heine Clemson, SC

SCRIBBLED BRICK

Toni Montes and Miguel Roldan Barcelona, Spain Luis Quiros Washington, DC

CO-LAB

University of Maryland | Fall 2013

ENVISION SALISBURY

University of Maryland | Spring 2014

Michael Ezban Salisbury, MD

SELECT PHOTOGRAPHY

UNDERGRADUATE WORK PROFESSIONAL WORK

WEST 2ND

R2L:Architects | October 2017 - August 2018

Charlottesville, VA

PRIVATE RESIDENCE

Barnes Vanze Architects | June 2017 - October 2017

Bethesda, MD

FEATURE STAIRS

Barnes Vanze Architects | 2014 - 2015

Henlopen Acres, DE | Georgetown, DC

SHIFT and SUBVERT

Barcelona, Spain - Spring 2016 critic: Toni Montes time: 12 weeks programs used: SketchUp and Podium, AutoCAD, Photoshop, Illustrator, InDesign

THE TITLE AND CONCEPT OF THIS PROJECT WERE INSPIRED BY THE NOTION OF THE GOVERNMENT OF BARCELONA RETURNING THE AREA OF CAN BATLLÓ TO THE CITIZENS AND ALLOWING THEM TO ORGANIZE AND GOVERN IT AND THEMSELVES. THIS NOTION, REPRESENTING A SUBVERSIVE PARADIGM SHIFT, APPEARS IN THE BUILDING AS A SERIES OF RAMPS THAT SHIFT AND SUBVERT AROUND OTHER RAMPS AND PROGRAMMED SPACES. THE PRIMARY RAMP DESCENDS THROUGH THE BUILDING, CREATING AN INTERIOR PEDESTRIAN PASSAGE AND NAVIGATING AN EXISTING TOPOGRAPHY CHANGE BETWEEN THE EAST AND WEST FACADES. IT CONNECTS CAN BATLLÓ TO THE NEARBY METRO STATION AND LARGER METROPOLITAN AREA. PROGRAM THEN FELL INTO ONE OF THREE REALMS: THAT OF THE TOPOGRAPHY BELOW, THAT OF THE MODULAR STRUCTURE ABOVE, OR THAT WHICH CONNECTS THE TWO. LARGER AND MORE PUBLIC PROGRAM, SUCH AS THE WORKSHOP AND MULTI-USE HIGH SPACE, BELONG TO THE TOPOGRAPHY WHILE SMALLER AND MORE PRIVATE PROGRAM, SUCH AS THE OFFICES AND CLASSROOMS, BELONG TO THE STRUCTURE. THE CIVIC PLATFORM AND COMBINED GALLERY AND LIBRARY CONNECT THE TWO PREVIOUSLY MENTIONED REALMS AND ALLOW THE VISITORS TO INTERACT WITH THE CITIZENS.

EA CH OF THE PROGRAMMATIC ELEMENTS CONTAINS AN EDUCATIONAL COMPONENT, AIMED TO EDUCATE THE CITIZENS AT A VARIETY OF SCALES, IN ORDER TO TEACH THE COMMUNITY HOW TO THRIVE INDEPENDENTLY OF THE GOVERNMENT. FOR EXAMPLE, CHILDREN CAN LEARN TYPICAL SUBJECTS IN THE CLASSROOMS WHILE ADULTS LEARN TO GROW FOOD IN THE GREENHOUSES AND STUDENTS RESEARCH IN THE LIBRARY.

exterior view of south facade, including cafe and user shop space, from the Gran Via

existing site

top: site section bottom: site plan

A tall masonry site wall prevents views into Can Batllo while walking along the Gran Via, driving by on the Gran Via, or approaching the site from the nearest metro station. Visitors can access the site through an opening in the south site wall or through an entrance at the northeast corner. This site wall creates a barrier that isolates Can Battlo from the rest of Barcelona.

proposed site strategy

top: site section bottom: site plan

This project focuses on connecting Can Batllo to the larger city area by puncturing an opening in the site wall and creating a main pedestrian ramp through the proposed civic center

survey existing conditions

demolish select existing structures

create new upper public courtyard and renovate existing lower public courtyard

manage topography change with new interior pedestrian passage through building

excavate basement and ramp down to high-ceiling workshop space

ascend up to main civic space, hierarchically placed above pedestrian ramp

create civic platform by connecting main civic space to outdoor space on north side of building

extend civic platform through building with a cafe on the southern side, creating an open public facade

modify classroom and reading room roofs for access to indirect northern light

lift greenhouse roofs to allow for direct southern sun exposure

plans

left to right: ground floor; first floor; second floor; third floor

not shown: basement plan; roof plan gallery lobby cafe

theater civic platform gallery polivalent start-ups/retail

Secondary ramps allow users to access a basement level workshop space, where citizens can learn to produce products on their own and sell them in the adjacent store space. Citizens can also use the tools in the workshop to build the wood frame window panels featured prominently throughout the building. The primary ramp subducts under the main public space, the civic platform, that penetrates the building in the north-south direction and connects a northern outdoor space to a new southern terrace. A small lobby, multi-use hall, and cafe comprise the interior promenade along the civic platform. An existing structural grid informed the placement of ramps and interior spaces.

offices

reading

classrooms library greenhouses conference rooms

interior views

clockwise: conference rooms; greenhouse; gallery; cafe; workshops; multi-use high space

rooms

T he multi-use hall appears as an atypical space in which wood frame glass panels with attached louvers form the walls. Moveable partitions on the north and south walls allow the room to be completely open to facilitate movement through the building or completely closed to allow for a more traditonal venue for meetings and performances. Operable louvers create a variety of lighting conditions and views into the space, creating a dynamic space the reinforces the importance of the community.

theater seating options

left to right: market; reception; concert; tribunal

Folding partitions comprise the north and south walls of the focal theater space on the civic platform. Changing these partitions allows for a variety of communal activities to occur on the platform.

North-south partitions open and lower louvers folded up. Natural light and views enter.

Operable doors in N-S partitions and half of the lower louvers folded up. Natural light enters and some views enter and exit.

Operable doors in south partition wall with optional back-of-house at north end. Little amounts of light and views enter.

interior view of main pedestrian ramp, theater, and civic platform

Operable doors in north-south partitions and half of the lower louvers folded up. Some natural light and views enter.

Louvers that fold up and down, together with wood-frame glass panels, make up the walls of the theater. These louvers allow for different views and amounts of light to enter and exit, based on the use of the theater space, depending on their position.

building sections

top: transverse section through lobby

bottom: longitudinal section through pedestrian ramp

section details

top left: new wood wall

top right: library wall panel and concrete floor

bottom left: theater wall panel and louver

bottom right: corten steel wall

3/4” wood sheathing wood joist with insulation 1/2” drywall new window in existing opening new window with operable upper portion new concrete floor new steel decking new steel structural beam

existing truss new concrete floor new steel decking new steel beam wall panel supports (tied into concrete slab) new wood frame glass wall panels louver supports new operable wood louvers louver track

new wood frame window panels new concrete floor new steel decking new steel beam (beyond) drop ceiling ties 3/4” wood sheathing 1/2” drywall ceiling new spandrel glass

existing roof 1” corten steel wall cap

1” corten steel wall panel 2” air gap moisture barrier 3/4” wood sheathing 2x6 metal stud with insulation 1/2” drywall

existing truss new glass infill panel new concrete floor new steel decking

building sections

top: transverse section through civic platform

bottom: environmental strategies section climate information

left to right: sun path diagram; annual wind direction; design temperatures; conditioned spaces

roof transformations

clockwise: classrooms; greenhouse; solar chimney; reading room

modified roof classrooms learn to teach

new exterior walls greenhouse learn to grow reading rooms learn to research offices learn to administrate library learn to educate conference rooms learn to collaborate multi-use hall learn to govern and perform civic platform learn to engage cafe learn to interact gallery learn to display multi-use high space learn to exercise vertical circulation start-up stores learn to sell storage workshops learn to make

new program

existing and modified exterior walls

modified terrain

views top: public entry to upper courtyard from metro station bottom: Can Batllo entrance

EMERGENT EMBASSY

Washington, DC - Fall 2016 critic: Carlos Barrios time: 6 weeks programs used: Rhinoceros 5.0, AutoCAD, Photoshop, Illustrator, and InDesign

FOR THIS PROJECT, WE WERE TASKED WITH DESIGNING A PRE-CAST CONCRETE EMBASSY IN WASHINGTON D.C. FOLLOWING RISING TRENDS OF NATIONALISM, XENOPHOBIA, AND RACISM THROUGHOUT THE WORLD, I CHOSE TO DESIGN AN EMBASSY FOR REFUGEES. I WAS INTERESTED IN DESIGNING AN EMBASSY FOR PEOPLE AND NOT A POLITICAL ENTITY. A BUILDING THAT COULD MAKE A DIFFERENCE AND CHANGE PUBLIC OPINIONS RATHER THAN SERVE AN ALREADY ESTABLISHED COUNTRY’S SELF-AGGRANDIZING GOAL. VITAL QUESTIONS TO MY PROCESS WERE HOW TO DESIGN FOR A PLACELESS POPULATION? HOW WOULD I INCORPORATE SO MANY DIFFERENT CULTURES IN ONE BUILDING. HOW WOULD I AVOID APPROPRIATING ANY EXPERIENCE THAT WAS NOT MINE TO DRAW ON?

CURRENTLY, THERE IS A NINE-STEP PROCESS TO RELOCATE REFUGEES FROM TROUBLED AREAS IN THE UNITED STATES. I IMAGINE A BUILDING SUCH AS THIS WOULD BE THE FIRST POINT OF ENTRY IN THE COUNTRY FOR REFUGEES. AT THE END OF THE PROCESS, THE REFUGEES WOULD BE BROUGHT TO THIS BUILDING TO STAY TEMPORARILY. I DESIGNED THE BUILDING TO ACT AS A TEMPORARY REFUGE FOR THE REFUGEES AS THEY WORK WITH THE CONSULATE TO GET PERMANENTLY RELOCATED IN ANOTHER STATE. THE CONSULATE WOULD ALSO WORK TO PROVIDE PERMANENT JOBS AND HOUSING FOR THE REFUGEES IN THOSE STATES.

I CHOSE A CURRENTLY VACANT SITE ALONG MASSACHUSETTS AVENUE, NEXT TO THE FINNISH EMBASSY. I WAS INTERESTED IN THE SITE EXTREMELY STEEP TOPOGRAPHY AND ITS CLOSE PROXIMITY TO THE VICE PRESIDENT’S HOUSE ACROSS THE STREET IN THE NAVAL OBSERVATORY. I BEGAN BY DENSIFYING THE EDGE OF THE BUILDABLE AREA FACING MASSACHUSETTS AVENUE. I EXTENDED THE LANDSCAPE TO CREATE TWO WINGS OF THE BUILDING THAT EMBRACE A PUBLIC TERRACE, LIKE A CONTEMPORARY ST. PETER’S BASILICA. THE PUBLIC DESCENDS A PEDESTRIAN RAMP TO ENTER THIS TERRACE, WHERE THEY ARE GRANTED VIEWS TO DOWNTOWN WASHINGTON D.C. THEY CAN THEN ENTER THE CULTURAL ZONE OF THE BUILDING WHICH INCLUDES GALLERY SPACE, AN AUDITORIUM, AND MEETING SPACES. IN THE MEETING SPACES, THE PUBLIC CAN MEET WITH REFUGEES STAYING IN THE ROOMS ABOVE. HERE, THE REFUGEES ACT AS AMBASSADORS OF THEIR OWN EXPERIENCES, SHARING THEM WITH THE PUBLIC, AND DISPELLING PUBLIC FEAR.

Longitudinal section through the three primary zones of the building: political (bottom-left), cultural (middle), residential (top-right)

TYPOLOGICALLY: an embassy that not only appears open but actually is and engages both the public and residential realms in a new, transformative way.

ARCHITECTURALLY: form(s) that emerge from one another

CONCEPTUALLY: emergence from the “architecture of fear” that has dominated embassy design since the terrorist attacks of 9/11

IDEOLOGICALLY: emergence from xenophobia, fear of foreigners, and fear of refugees; emergence into a new era of global acceptance

65.3 million forcibly displaced people worldwide

21.3 million refugees 10 million stateless people

1.1m Lebanon

of

664,100 Jordan

population 979,400 Iran 736,100 Ethiopia

A country this size would be the 22nd largest country by size, behind the United Kingdom and ahead of France. A country this size would be the 57th largest country by size, behind the Ivory Coast and ahead of Sri Lanka A country this size would be the 89th largest country by size, behind the Portugal and ahead of Azerbaijan.

1.6m Pakistan

Top hosting countries 2.5m Turkey 3.33% of total population

site strategy diagrams

top to bottom, left to right: continue chain of embassies to Embassy Row, extend the landscape, densify the street edge, place the tallest portion of the building near existing buildings, integrate the building into the site, offer multiple circulation paths, sun path diagram, wind diagram

top: site plan

bottom: site section through pedestrian ramp

SEVENTH FLOOR (below)

a. ambassador’s suite b. entertainment room c. laundry room

TYPICAL HOSTEL FLOOR

(below)

a. two double bed unit b. one double bed unit c. one double, one twin unit d. communal kitchen

a c b

a c d d

b b b

a c b

FIRST FLOOR (above)

a. fire place lounge b. hostel lobby c. coffee bar

b

a c d e f

g h

GROUND FLOOR (above)

a. gallery b. atrium / cultural lobby c. public terrace d. public ramp e. open gallery f. upper embassy entrance g. auditorium h. storage

Below the cultural zone of the building stands the political portion of the building. I intentionally placed the formal embassy below ground so that the focus of the building would be on the spaces where the public interacts with the refugees and where the refugees temporarily stay. The political zone forms the subterranean, chthonic support of the building. The only portion of the building that is visible from Massachusetts Avenue is the residential tower. The base and focal point of the tower is a lobby and fire-place lounge. Here, the public and residents can also interact in a warm and comfortable environment. I designed these rooms based off of hostels, drawing on my only experience of placelessness; in Stockholm, it was such a relief for me to finally reach a hostel and have room to store my belonging and a need to rest on. The room was not big but it was temporary, similar to the rooms the refugees would stay in for three to four days. A communal play room, laundry facilities, and the ambassador’s residence occupy the top floor of the residential tower. The tower is intentionally too tall for the context; it becomes a statement about the refugee crisis and refuses to be ignored.

BASEMENT -2 (below) a. restroom b. printing and supplies c. refugee services offices d. conference space e. hallway f. kitchen g. director office h. employee lounge

BASEMENT -1 (left) a. gallery b. classroom c. neutral embassy d. closet e. restroom f. cafe g. cafe storage h. under-terrace connector i. consulate waiting room j. consulate vestibule k. security checkpoint l. security office m. hallway n. storage o. consulate office space p. lower embassy entrance

BASEMENT -3 (below) a. restroom b. printing and supplies c. ambassador staff offices d. conference space e. hallway f. kitchen g. deputy consul’s office h. ambassador’s office

BASEMENT -4 (below) a. storage b. archives c. resource library

CLEMSON BOAT HOUSE

Clemson, SC - Fall 2015 critic: Ufuk Ersoy, David Franco, and Ulrike Heine time: 5 weeks programs used: Rhinoceros 5.0, Maxwell, AutoCAD, Photoshop, Illustrator, InDesign

THIS PROJECT IS THE FIRST OF THREE IN A SEMESTER LONG PROJECT SERIES AIMED AT “RETHINKING CLEMSON”. SEEKING TO FULFIL A NEED OF THE CITY OF CLEMSON, WE WERE TASKED WITH DESIGNING A NEW COMMUNITY BOAT HOUSE. MY INITIAL INSPIRATION CAME FROM THE SHAPE AND DIRECTION OF A ROWING SHELL ITSELF. I ARRANGED THREE TYPES OF PROGRAM (CULTURAL, RESIDENTIAL, AND PRIVATE) IN THIS FORM. THE BUILDING ITSELF PROTRUDES FROM THE TERRAIN AS IF MOVING AWAY FROM IT, SIMILAR TO HOW ROWING SHELLS BEGIN RACES.

THE CHALLENGE OF MOVING ROWING SHELLS FROM THE PARKING LOT TO THE BOAT STORAGE BAY PROVIDED ME A UNIQUE DESIGN CHALLENGE. I SOLVED THIS CHALLENGE BY PIERCING THE BUILDING WITH A RAMP THAT WOULD ALLOW ROWERS TO MOVE THE SHELLS FROM UP ABOVE TO DOWN BELOW, MOVING THROUGH THE BUILDING. IN THIS WAY, THE ACT OF A TEAM MOVING THE BOAT TOGETHER AS ONE BECOME A PUBLIC SPECTACLE. CULTURAL FACILITIES, SUCH AS A GALLERY, LIBRARY AND RACE VIEWING PLATFORM, ARE PLACED ON THE UPPER LEVEL. FACILITIES TO ALLOW FOR THE LONG-TERM STAY OF ROWING TEAMS, SUCH AS BEDROOMS, A GYM, AND A LOUNGE, OCCUR IN THE MIDDLE OF THE BUILDING. FINALLY, THE LOWEST LEVEL IS DEDICATED TO THE BOAT BAY AND STORAGE AS THE ROWING SHELLS NEED DIRECT ACCESS TO THE DOCKS AND WATER.

Exterior view of the west side of the building, as seen from the water.

site analysis diagrams right: site

selection

Of the sites given to us to choose from, I chose the site labeled as “Abandoned Lot” to the right. The site, located across from a hotel and at the eastern end of a bridge, had a steep grade change that interested me. Its location had prominence as a potential gateway into the city of Clemson. Also, its proximity to residences to the south and a commercially developed highway to the north provided interesting design opportunities.

bottom, left to right:

Of the above study models, the largest one interested me most because of its strong, simple gesture into the water. This is the scheme I pursued further.

massing progression

left to right: separation of private, semi-private, and public program; arrange program along topography; pierce with boat circulation; pierce with public circulation; extend landscape onto roof

row house

parking lot

highway trailer parking site plan

public green rower green

perspectives left to right: entry; gallery; rower lodging; boat bay

p q

a b c d e

f g h h j k l l m

a. entry b. gallery c. public roof d. reading space e. library f. machine storage g. rower lodging h. locker rooms i. rower gym j. library stacks k. office l. restroom m. classroom

g n o

i plans 27

sections

top to bottom: longitudinal section through ramp; longitudinal section through gallery; longitundinal section through library; transverse section through entry and library; transverse section through rower lodging; transverse section through boat bay

full-scale model of louver

top: open bottom: closed

SCRIBBLED BRICK

Clemson, SC - Fall 2016 critic: Douglas Hecker time: 6 weeks programs used: Rhinoceros 5.0, Cura, and Potterbot

TASKED WITH THE GOAL OF RETHINKING THE BRICK, I BEGAN MY STUDIES BY TESTING THE CAPABILITIES OF THE CLAY POTTERBOT. I WAS INTERESTED TO SEE HOW FAR I COULD PUSH THE TECHNOLOGY AND MATERIAL AND STILL PRODUCE A SUCCESSFUL BRICK. I TRIED TO PRODUCE INTENTIONAL FAILURES THAT WOULD ALLOW LIGHT TO PENETRATE THOUGH THE BRICK. HOWEVER, THE POTTERBOT WORKED BETTER THAN I EXPECTED AND PRODUCED BOTH OF THE “DISINTEGRATED BRICKS”. NEXT, I TRIED TO SEE HOW STEEP OF A SLOPE I COULD PRINT IN CLAY, PRODUCING THE “STRESSED BRICK”. THEN, I DESIGNED AND PRINTED A BRICK WITH LONG SIDES THAT WERE MADE OF RIBBONS OF MATERIAL. I ALTERNATED CONCAVE, STRAIGHT, AND CONVEX RIBBONS HOPING THAT THE GAPS BETWEEN THEM WOULD PRODUCE THE LIGHT PENETRATION I WAS SEEKING. HOWEVER, THE MATERIAL DROOPED DURING THE PRINTING PROCESS AND PRODUCED A MUCH MORE INTERESTING EFFECT THAN I EXPECTED: A “WOVEN BRICK”.

MY FIRST TRUE SUCCESS CAME WHEN I DESIGNED A BRICK WHOSE LONG SIDES HAD BEEN SCRIBBLED SOMEWHAT RANDOMLY. THESE SCRIBBLED SURFACES OCCASIONALLY INTERSECTED ONE ANOTHER AND PRODUCED THE “SCRIBBLED BRICK 1”. I TRIED TO INCREASE THE NUMBER AND COMPLEXITY OF THE SCRIBBLES MAKING UP EACH LONG FACE, RESULTING IN THE FAILED BRICKS 2 THROUGH 5. THE POTTERBOT WAS SIMPLY UNABLE TO PRINT IN A CONTINUOUS PATH DUE TO THE COMPLEXITY OF THE SURFACE. AS A RESULT, IT MOVED AROUND DISCONTINUOUSLY AND PRINTED CLAY IN STRANDS WHERE I DID NOT WANT IT. WITH “SCRIBBLED BRICK 6”, I RETURNED TO THE SUCCESS OF THE FIRST SCRIBBLED BRICK, BUT CONTAINED THE BRICK IN A 3-INCH BY 3-INCH BY 9-INCH VOLUME TO ALLOW FOR STACKING AND THE CREATION OF A WALL.

THE ADDITION OF NOTCHES ALONG THE LONG SIDES OF THE BRICK IN “SCRIBBLED BRICK 8” ALLOWS FOR EITHER STACKED TO STAGGERED ARRANGEMENTS. IN THE FINAL WALL ASSEMBLY PHOTOS, BOTH ARRANGEMENTS ARE SHOWN. THE INTERACTING LONG SIDES OF THE BRICK CREATE STRUCTURAL INFILL, ALLOWING FOR AN OTHERWISE HOLLOW BRICK. THE HOLES IN THE BRICK ALLOW FOR THE LIGHT PENETRATION I HAD SOUGHT AFTER FROM THE BEGINNING.

IDEALLY, THIS BRICK WOULD BE USED TO CONSTRUCT INTERIOR WALL PARTITIONS IN OFFICE SETTINGS OR CREATE INTERESTING MUSEUM INSTALLATIONS. THEY ARE ALSO LIGHTER THAN TYPICAL BRICKS AND MORE VISUALLY INTERESTING.

Detail of scribbled wall

brick prototypes

top to bottom: disintegrated brick 1; disintegrated brick 2; stressed brick; woven brick; scribbled brick 1 ; scribbled brick 2

brick prototypes

scribbled brick 3; scribbled brick 4; scribbled brick 5; scribbled brick 6 ; scribbled brick 7; scribbled brick 8

increased surface area increases sound absorption

voids allow for light to penetrate brick and view through

notches allow for easy stacking scribbled infill creates structural integrity

CO-LAB

W ashington, DC - Fall 2013 critic: Luis Quiros time: 6 weeks programs used: SketchUp and Podium, AutoCAD, Photoshop, Illustrator, & InDesign

WE BEGAN THE DESIGN OF THIS COLLABORATE MAKER SPACE BY DESIGNING IN SECTION. I DESIGNED THIS MAIN SECTION TO HAVE A LARGE, FULL-HEIGHT ATRIUM TO VISUALLY LINK ALL OF THE PROGRAMMATIC ELEMENTS. PUBLIC FUNCTIONS, SUCH AS A CAFE AND GALLERY-DISPLAY SPACE OCCUPIES THE GROUND FLOOR WHILE SEMI-PUBLIC FUNCTIONS, SUCH AS AN AUDITORIUM AND MAKER SPACE, OCCUPY THE FLOORS ABOVE. THE UPPER FLOOR PROGRAM IS DIVIDED ACROSS THE ATRIUM, SEPARATING THE AUDITORIUM AND CHILD CARE AREA FROM THE MAKER AND HACKER SPACES. THESE TWO GROUPS OF PROGRAM ARE CONTAINED BY MULTI-FLOOR GLASS PANELS WHILE FIGURAL STAIRCASES CROSS THE ATRIUM. SERVICE IS MOVED THE NORTH SIDE.

I CONCEIVED OF THE PARTI OF THIS BUILDING AS A CONTINUATION OF THE PUBLIC REALM INTO A LARGE, MULTI-STORY, LIGHT-FILLED ATRIUM INTO WHICH VOLUMES OF THE THINK/ MAKE SPACE WOULD BE INSERTED. THE VOLUMES OF THINK/MAKE SPACES WERE DIVIDED ACROSS THE ATRIUM, WITH THE AUDITORIUM AND CHILDREN’S SPACE FACING 14TH STREET AND THE HACKING, COLLABORATIVE, AND FABRICATION SPACES FACING THE ALLEY. VISITORS ENTER THE BUILDING FROM THE WEST AND ENTER THE LOBBY WITH VIEWS INTO THE EATING SPACE AND LARGE PERFORMANCE/EXHIBITION SPACE. A STAIRCASE ALLOWS VISITORS TO ASCEND ON AXIS HALFWAY, THEN THE LANDING REORIENTS VISITORS 180 DEGREES, WHERE THEY FINISH THE ASCENT TO THE AUDITORIUM. STAIRCASES WITH SIMILAR FORMS LEAD TO THE FLOORS ABOVE, ENDING WITH A ROOFTOP TERRACE FACING 14TH STREET. WOOD PANELS COVER THE WALLS OF THE ATRIUM, APPEARING WARM AND GLOWING IN THE LIGHT. THE WOOD DIRECTS VISITORS UP THE STAIRCASE. SMALLER BEIGE TILES OF A SIMILAR SCALE COVER THE WALLS OF THE AUDITORIUM AND CHILDREN’S SPACE WHILE LARGER, METAL PLATES COVER THE WALLS OF THE HACKING, COLLABORATIVE, AND FABRICATION SPACES.

A SERIES OF STEEL TRUSSES CONTAINED WITHIN FIGURAL CONCRETE SUPPORT THE FLOORS AND ROOF SLABS. SMALLER STEEL BEAMS FRAME INTO THE TRUSSES, SUPPORTING THE CONCRETE SLABS AND DECKING. STEEL COLUMNS PLACED AT TWENTY FOOT INTERVALS ORIGINATING FROM THE CORNERS OF THE THIRTY FOOT BY THIRTY FOOT ATRIUM SUPPORT THE TRUSSES. I ZONED THE PLANS OF THE BUILDING TO PLACE ALL SERVANT SPACES (FIRE STAIRS, ELEVATORS, STORAGE, AND BATHROOMS) AGAINST THE NORTH PARTY WALL.

THE TWO VOLUMES OF THINK/MAKE SPACES ARE CONTAINED BY MULTI-STORY HEIGHT GLASS WALLS, PUNCTURED BY FLOOR SLABS AND CIRCULATION SPACES. THINK/MAKE SPACES INTERACT ACROSS THE ATRIUM USING COMMUNAL LOUNGES PLACED AGAINST THE SOUTH PARTY WALL. THE WEST ELEVATION PROJECTS THE ZONED INTERIOR WITH A CONCRETE CORE CONTAINING THE SERVANT SPACES. THE VOLUME OF THE AUDITORIUM PROJECTS FROM A GLASS FACADE, COVERED IN WOOD PANELS. SPACES ALONG THE WEST SIDE OF THE BUILDING ARE SHADED WITH LOUVERS AND OVERHANGS.

model progression

building plans

top to bottom: fourth floor plan; third floor plan; second floor plan; ground floor plan

service core service core service core service core

hacker space co-lab space fabrication space lobby

stair atrium stair atrium stair atrium stair atrium

roof terrace children’s space auditorium performance space

user lounge user lounge user lounge cafe

design drawings

top: section perspective

middle left: 14th Street elevation

middle right: transverse section

bottom: technical longitudinal section

ENVISION SALISBURY

Salisbury, MD - Spring 2014 critic: Michael Ezban

time: 12 weeks (6 weeks urban design, 6 weeks building design) programs used: SketchUp and Podium, AutoCAD, Photoshop, Illustrator, & InDesign

SIMILAR TO SALISBURY, THIS PROPOSED SCHEME FUNCTIONS BOTH A GATEWAY AND DESTINATION; A GATEWAY TO RIVERFRONT RECREATIONAL ACTIVITIES AND A DESTINATION FOR CITY CULTURAL EVENTS. SERVICE SPACES, ALL CONTAINED WITHIN A 15-FOOT HIGH VOLUME, WRAP AROUND AND NESTLE THE LARGER PUBLIC SPACES. THE STEEL STRUCTURE EXPOSES ITSELF IN THESE LARGER PUBLIC SPACES WHILE WALLS SURROUND THE STRUCTURE IN THE SERVICE SPACES. ALL LARGE PUBLIC SPACES ARE FLEXIBLE ENOUGH TO HOST A VARIETY OF EVENTS INCLUDING PERFORMANCE, EXHIBITIONS, LECTURES, AND RECEPTIONS. THE LOBBY GENTLY CAPS THE SPACE BETWEEN THE BRICKCLAD SERVICE VOLUMES, ALLOWING FOR VIEWS THROUGH THE LOBBY AND TO THE RIVER.

Exterior view of main entrance from Circle Avenue

community workshop

above: pamphlet made by the studio to lead community members around their own city to understand more about their needs and desires for a public building

right: photos from the community workshop (I am pictured at the head of the table in the middle left photo)

work on this page

completed in collaboration with Adam Louie.

urban design drawings

top: scheme 1 - 75% natural, 25% built; middle: scheme 2 - 50% natural, 50% built; bottom: scheme 3 - 25% natural, 75% built

work on this page completed in collaboration with Adam Louie.

site design

top: site strategies

bottom: site plan

design drawings

top to bottom: plan; section through lobby; section through great space; north elevation

1. Great Space

2. Lobby

3. Outdoor Terrace

4. Exhibition Space

a. service corridor b. green room c. men’s changing room d. women’s changing room e. great space service space f. loading dock g. storage h. kitchen i. mechanical room j. Strait Java cafe k. Strait Java cafe patio

l. coat room m. women’s restroom n. ticket office o. men’s restroom p. service corridor q. office(s) r. women’s restroom s. men’s restroom t. mechanical room u. storage v. loading dock

design drawings

right: lobby perspective

below: lobby component axonometric

left: great space perspective below: great space component axonometric

right: view of river elevation

below: structural axonometric

SELECT PHOTOGRAPHY

THE FOLLOWING PHOTOGRAPHS, TAKEN ON VARIOUS TRIPS TO MAJOR CITIES AROUND THE WORLD DURING MY GRADUATE STUDIES, REPRESENT MY INTEREST IN MUSEUMS AND ADAPTIVE REUSE. WHILE SOME PHOTOGRAPHS SHOW LARGER GALLERY SPACES, SUCH AS THOSE OF THE MUSÉE D’ORSAY OR THE LOUVRE, OTHERS SHOW SPECIFIC MOMENTS I FOUND PARTICULARLY INTERESTING, SUCH AS THE JUXTAPOSITION OF MATERIAL IN THE CAIXA FORUM, THE BLENDING OF MATERIALS IN THE NEUES MUSEUM, OR THE OCULUS IN THE BROAD MUSEUM.

Broad Museum, Los Angeles

view of Plaza Espana, Barcelona

Museo Nacional del Prado extension, Madrid

Museo Nacional Centro de Arte Reina Sofía , Madrid

WEST 2ND

Charlottesville, VA

R2L:Architects role: Primary Staff programs used: Revit 2018, Photoshop, and Illustrator

I CAME ONTO THIS PROJECT AFTER THE SCHEMATIC DESIGN PHASE AND LEARNED THAT THE PROJECT HAD A SOMEWHAT DIFFICULT PAST. THE CITY PUT OUT AN RFP FOR A HOUSING PROJECT THAT COULD ALSO PROVIDE A PERMANENT HOME FOR THE CHARLOTTESVILLE CITY MARKET. THE CITY AND THE VENDORS DISAGREED WITH WHICH PROPOSAL SHOULD PROCEED FURTHER, BUT THE CITY WENT WITH THEIR CHOICE.

THE PROJECT WAS FURTHER INHIBITED BY AN INITIAL DESIGN THAT CALLED FOR AN EXPENSIVE, TWO-AND-A-HALF STORY UNDERGROUND GARAGE, UNREALISTIC STRUCTURAL SYSTEM, AND INEFFICIENT TYPICAL RESIDENTIAL FLOORS.

THE PROJECT CAME TO R2L:ARCHITECTS AS WE ARE KNOWN FOR HIGH QUALITY, COST-EFFECTIVE DESIGN. A NUMBER OF CHANGES INCLUDED REDUCING THE AMOUNT OF EXCAVATION, CHANGING TO A CONCRETE STRUCTURAL SYSTEM, INCREASING RENTABLE OFFICE SPACE, AND MORE EFFICIENT RESIDENTIAL FLOORS.

MY INITIAL CONTRIBUTIONS TO THIS PROJECT INCLUDED PRESENTATION DRAWINGS FOR BOARD OF ARCHITECTURAL REVIEW MEETINGS THAT WE WERE REQUIRED TO PRESENT AT ONCE EVERY MONTH OR SO. ADDITIONALLY, I WORKED ON ALMOST EVERY DRAWING INCLUDING PLANS, SECTIONS, ELEVATIONS, EGRESS PLANS, ZONING INFORMATION, UNIT SHEETS, STAIR AND ELEVATOR DETAILS, AND EXTERIOR DETAILS. THE EXTERIOR DETAILS WERE PARTICULARLY INTERESTING AS THEY ALLOWED ME TO WORK CLOSELY WITH THE PRINCIPALS AND ENVELOPE CONSULTANTS.

I ALSO REALLY ENJOYED WORKING ON THE PLAZA PAVING PLAN, SEEN ON PAGE 58. THE PLAZA HAD GONE THROUGH VARIOUS ITERATIONS AND WAS RESTRICTED TO ABOUT 30% CAST STONE AND 70% STAMPED CONCRETE, FOR BUDGET REASONS. THE DESIGN I PROPOSED ESTABLISHED A SUBTLE 10’X10’ GRID FOR THE VENDOR TENTS WITH CAST STONE BORDERS TO SEPARATE THE VENDOR SPACE FROM THE CIRCULATION SPACE. VARIOUS GRAY CONCRETE REACHES ACROSS THE PATH TO HIDE THE INCONGRUITY OF THE LINES EXTENDING FROM THE BUILDING’S 20’ OPENINGS AND THE 10’ TENT GRID.

Exterior rendering of northeast corner (by self).

presentation drawings

top: context map (by project manager);

bottom: plaza paving plan with inset showing process drawing (by self)

presentation drawings

top left and right: building massing and program axonometrics (by self);

middle: plaza trellis during the week (design input provided by self, trellis model and export by others);

bottom: plaza trellis during Charlottesville City Market (design input provided by self, trellis model and export by others)

presentation drawings

left: indoor market hall entrance (raw render and linework export by self, post-production by other with input by self)

right: residential lobby entrance (raw render, linework export, and post-production by self)

left: office lobby entrance

(raw render and linework export by self, post-production by other with input by self)

right: retail entrances (raw render, linework export, and post-production by self)

7'-7 1/4" 20'-0" 7'-11 5/8" 8'-0 3/8" 20'-0 3/8" 20'-0 3/8"

9'-0 3/8"

presentation drawings

north elevation perspective (raw render, linework export, and postproduction by self)

12435 Park Potomac Ave. Suite 300 Potomac, MD 20854 MARKET STALL SCHEDULE B CountType 16' 8' Indoor Stall 58' 12' Indoor Stall 1410' x 8' Indoor Stall 310' x 10' Indoor Stall 5010' x 10' Outdoor Stall 210' x 15' Outdoor Stall 810' x 20' Outdoor Stall 1110' x 30' Outdoor Stall TOTAL: 94

CIVIL ENGINEERING LANDSCAPE ARCHITECT 11600 Ninth St. N St. Petersburg, FL 33716 t 727‐210‐0492 POWER DESIGN, INC. Charlottesville, VA 22903 t 434‐295‐5624 TIMMONS GROUP ELECTRICAL ENGINEERING ENVELOPE CONSULTANT 1828 L St. NW Suite 950 Washington, DC 20036 t 202‐239‐4199 SIMPSON GUMPERTZ & HEGER CODE CONSULTANT Ashburn, VA 20147 t 703‐481‐2000 f 703‐437‐6432

VA 22902

A2.10

fourth floor plan (initial model by others, sheet set-up and major model / drawing edits by self)

presentation drawings

west elevation perspective (raw render and linework export by self, post-production by other with input by self)

construction documents

unit floor plan (initial model by others, sheet set-up and major model / drawing edits by self)

presentation drawings

south elevation perspective (raw render, linework export, and postproduction by self)

11600 Ninth St. N St. Petersburg, FL 33716 t 727‐210‐0492

11600 Ninth St. N St. Petersburg, FL 33716 t 727‐210‐0492

POWER DESIGN, INC. Charlottesville, VA 22903 t 434‐295‐5624

TIMMONS GROUP

LANDSCAPE ARCHITECT

608 Preston Avenue Suite 200 Charlottesville, VA 22903

ELECTRICAL ENGINEERING ENVELOPE CONSULTANT 1828 L St. NW Suite 950 Washington, DC 20036 t 202‐239‐4199

SIMPSON GUMPERTZ & HEGER CODE CONSULTANT Ashburn, VA 20147 t 703‐481‐2000 f 703‐437‐6432

IBTS

ACCESSIBILITY CONSULTANT 10309 Rosser Rd Dallas, TX 75229 pete@skarzenski.com

construction documents

typical brick details (initial drafting, sheet set-up and major drawing edits by self)

POWER DESIGN, INC.

11600 Ninth St. N St. Petersburg, FL 33716 t 727‐210‐0492

POWER DESIGN, INC.

11600 Ninth St. N St. Petersburg, FL 33716 t 727‐210‐0492

TIMMONS GROUP

Charlottesville, VA 22903 t 434‐295‐5624

LANDSCAPE ARCHITECT

608 Preston Avenue Suite 200 Charlottesville, VA 22903

ELECTRICAL ENGINEERING ENVELOPE CONSULTANT 1828 L St. NW Suite 950 Washington, DC 20036 t 202‐239‐4199

SIMPSON GUMPERTZ & HEGER CODE CONSULTANT Ashburn, VA 20147 t 703‐481‐2000 f 703‐437‐6432

IBTS

ACCESSIBILITY CONSULTANT 10309 Rosser Rd Dallas, TX 75229 pete@skarzenski.com

presentation drawings

east elevation perspective (raw render and linework export by self, post-production by other with input by self)

PRIVATE RESIDENCE

Bethesda, MD Barnes Vanze Architects role: Primary Staff programs used: SketchUp and AutoCAD

I STARTED ON THIS PROJECT RELATIVELY EARLY, JUST AFTER INITIAL PLANS AND ELEVATIONS OF THE HOUSE HAD BEEN APPROVED BY THE CLIENT. AS I WAS THE ONLY OTHER STAFF MEMBER ON THIS PROJECT, I WAS ABLE TO WORK ONE-ON-ONE WITH THE PROJECT MANAGER. I DRAFTED AND PRODUCED ALMOST EVERY DRAWING USED IN CLIENT OR CONSULTANT MEETINGS AND DRAWING SETS.

THE PROJECT FOCUSED ON THE DEMOLITION OF AN EXISTING HOUSE AND CONSTRUCTION OF A NEW RESIDENCE FOR A FAMILY OF EIGHT WITH AN IN-LAW WING, PLAY COURT, MEDIA ROOM, FORMAL DINING ROOM, INFORMAL FAMILY ROOM AND ATTACHED PORCH, AND THREE STORY FEATURE STAIR.

I LEARNED THE MOST ON THE PROJECT WORKING ON BUILDING AND WALLS SECTION, AND ASSOCIATED DETAILS. MEETING WITH AND COORDINATING DRAWINGS WITH THE STRUCTURAL ENGINEER WAS ALSO AN IMPORTANT STEP IN MY UNDERSTANDING OF THE DESIGN PROCESS.

I PARTICULARLY ENJOYED MODELING THE HOUSE AND ITS INTERIOR IN SKETCHUP, PRODUCING VARIOUS IMAGES SUCH AS THE ONE TO THE RIGHT, TO SHOW THE CLIENT. BEING ABLE TO SEE THE CLIENTS’ JOY AND INTEREST AS I NAVIGATED AROUND THE MODEL TO SHOW THEM THEIR FUTURE HOME WAS ESPECIALLY EXCITING.

Interior view of living room (by self).

construction documents

first floor plan (inital drawing by project manager, major edits by self)

presentation drawings

interior view of family room (model and view by self)

exterior elevations (inital drawing by project manager, major edits by self)

presentation drawings

exterior view of front of house (model and view by self)

construction photographs (by project manager)

construction photographs (by project manager)

FEATURE STAIRS

Henlopen Acres, DE | Georgetown, DC Barnes Vanze Architects role: Secondary Staff programs used: SketchUp, Rhinoceros 5.0, AutoCAD

WHILE MY ROLE ON BOTH OF THESE PROJECTS WAS SOMEWHAT LIMITED TO HELPING OUT AS NEEDED AND EDITING ALREADY DRAFTED DRAWINGS, I HAD THE CHANCE TO EXPLORE ISSUES RELATING TO THE DETAILING OF THE FEATURE STAIRS OF BOTH RESIDENCES.

ON THE LEFT IS A MORE CONTEMPORARY, STEEL STAIRCASE FOR A BEACH HOUSE LOCATED IN HENLOPEN ACRES, DELAWARE. A DIGITAL MODEL PRODUCED IN SKETCHUP WAS USED TO STUDY THE INTERSECTIONS OF THE C-CHANNEL STRINGERS AT EACH CORNER AND HOW THAT INTERSECTION INTERACTED WITH THE RAILING POST ABOVE. VARIOUS OPTIONS WERE EXPLORED INCLUDING A COMPLETELY OPEN CORNER, ONE THAT INCLUDED WELDED PIECES AT THE FLANGES BUT LEFT THE WEB OPEN, AND A BOXED-OFF CORNER. ULTIMATELY, THE CORNERS WERE BOXED OFF WITH ADDITIONAL WELDED PIECES, CREATING A STRONG, ASSERTIVE CORNER THAT APPEARS TO HOLD THE RAILING POST QUITE NICELY AND TRANSITIONS FROM THE LOWER STRINGERS TO THE UPPER ONE.

ON THE RIGHT IN A MORE CLASSICAL, MARBLE STAIRCASE FOR A WEEKEND HOUSE LOCATED IN GEORGETOWN, DC. THE STAIR IS INTERESTING IN THAT IT IS SUPPORTED ON ONE SIDE BY THE MARBLE STRINGER AND THE OTHER BY A CONCRETE WALL. I WAS TASKED WITH MODELING THE STAIRCASE IN THE FIRM’S GO-TO PROGRAM, SKETCHUP, IN ORDER TO PROVIDE INITIAL DRAWINGS TO THE FABRICATOR WHO WOULD BE PRODUCING THE MARBLE STRINGER AND TREADS. INITIALLY, I STRUGGLED TO MODEL THE STAIRCASE IN SKETCHUP, DOWNLOADING PLUG-IN AFTER PLUG-IN, ONLY TO FAIL AT ACHIEVING THE PROPER GEOMETRY OF TREADS THAT HAD A DIFFERENT CURVE AT THE FRONT THAN AT THE BACK AND WERE ALSO TAPERED IN SECTION. I KNEW I COULD MODEL IT MORE EASILY IN RHINO AND EVENTUALLY CONVICED THE PROJECT MANAGER AND PRINCIPALS TO LET ME USE MY PERSONAL COMPUTER TO DO SO. THE TASK WAS THEN QUICKLY ACHIEVED WITH A NUMBER OF 2-RAIL SWEEPS TO PRODUCE THE EXPORTED IMAGE ON PAGE 75. LINEWORK WAS THEN EXPORTED FROM THIS MODEL AND SENT TO THE FABRICATOR.

Detail photographs of feature stairs (by professional photographer).

project images

top left: process digital model (model and drawing by self); top right: professional photograph (by project photographer); bottom: construction document stair detail sheet (inital drawing by project manager, major edits by self)

project images

top: construction document stair detail sheet (drawing by others) bottom left: process digital model (model and drawing by self); bottom right: professional photograph (by professional photographer)

2323 40th Place NW, Apt. 205 Washington DC, 20007 301.832.0315 tfmasin@g.clemson.edu issuu.com/tommymasino