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ARCHITECTURE PORTFOLIO a collection of academic and professional work

Francisco J. Gil


Urban Projections

Charleston Institute of Art San Martin de las Canas Urban School Exhibiting Orlando Church Street Urban Sports Hotel Workshop di Progettazione Vicenza Fitness and Wellness Center

Tectonic Articulations Biomimetic Explorations Semperian Pavilion Tectonic Florida House

Landscape Interventions Santa Fe River Boathouse Newnan’s Lake House

Designs and Sketches Zig-Zag Lamp Hexagonal Shelf Architectural Sketches Artistic Sketches

Professional Work

Super Docking: Redeveloping the Brooklyn Navy Yard (Planetary ONE, 33 Flatbush Avenue, Brooklyn, NY)


Charleston Institute of Art Charleston, SC, USA

San Martin de las Canas School San Martin de las Canas, Jalisco, MEX

Exhibiting Orlando Orlando, FL, USA

Church Street Urban Sports Hotel Orlando, FL, USA

Workshop di Progettazione Pescara, Abruzzo, IT

Vicenza Fitness Center Vicenza,Veneto, IT

Charleston Institute of Art Architectural Design 6 | Spring 2009 Professor Kara Levent Charleston, SC is well known in the United States and abroad for its unique culture and its importance in history both foreign and domestic. The city’s culture, which is derived from a blend of American, English, French, and West African backgrounds, is permanently displayed throughout the extensive number of historical sites, museums and attractions that tie into the urban fabric of the city. Urbanistically speaking, the city possesses an tightly knit system of elements that has evolved over the years through the influence of its historical landmarks and forces. This system, which is the city’s urban foundation, involves a communication between the public space and the more private and at times highly intimate areas of the private sectors. Designing a project apt for such a historically and culturally rich environment requires the integration and careful consideration of the city’s urban conditions. Now, the Charleston Institute of Art is a nonprofit, interdisciplinary artists’ community and arts education foundation dedicated to promoting artistic excellence by providing talented artists an opportunity to work and collaborate with some of the world’s most distinguished contemporary artists in the fields of music composition, visual arts and performing arts. Community interaction is coordinated through on-site and outreach presentations, workshops and exhibitions. The Charleston Institute of Art’s facilities include public performance, gallery, and exhibition spaces, a variety of studio spaces, a growing contemporary art library and media center, exterior exhibition and social spaces, and common areas for eating, socializing, and events. Also, included in the program is an exterior public space/garden/exhibit. The project includes two structures cores housing ancillary program such as bthrooms and elevators that together with a system of columns and load bearing walls make up the main structural support for the building. Next, the project contains two volumetric wings made up of office, studio and gallery spaces as well as an exterior roof garden. The studio spaces, gallery, and exterior roof garden all share a facade facing E Bay Street as an attempt for visual inspiration from their surroundings. And finally, the project’s principal gesture is leveled ramp that winds upward inside the atrium facing the exterior public garden. This leveled ramp contains a mixture of program ranging from media center, study space, library and exhibition spaces. As it moves upward it connects all the building levels and provides additional circulatory access to all the studio and office spaces within the building.

The Charleston urban composite is driven by its public, city streets. The streets provide a datum which serves as a dock where building can anchor themselves. Lined with a dense curtain of building facades on both sides, the major arteries of the city become the main public domain where the high speed forces of the city both at the pedestrian level and at the vehicular level displace themselves and interact. In contrast to the public domain, are the more private, interior courtyards and gardens within the city blocks. In general, these gardens exist at the core of each city block and form the common ground for the private living units and buildings surrounding them. The reason these two sectors exist together despite their programmatic differences lies in the buildings and facades that line the city streets. These buildings create a porous membrane. This membrane allows for the inhabitants of the cityscape to filter either through the interior of the building or through gaps in the porous curtain of facades, thus making a successful transition from the public city space to the private. At times, wider gaps in the membrane form secondary arteries of circulation that weave through the city fabric and release intangible city pressure.

All analysis work done in collaboration with Alicia Jenkins


BASEMENT LEVEL PLAN 1 Box Theater 2 Storage





LEVEL 1 PLAN 1 Cafe 2 Lobby/Exhibition/Multi-Use 3 Food preparation 4 Exterior garden


3 2


LEVEL 2 PLAN 1 Studio 2 Library 3 Media/Study/Exhibition 4 Storage



2 2


2 4


2 6

LEVEL 3 PLAN 1 Studio 2 Office 3 Conference room 4 Media/Study/Exhibition 5 Storage




7 4




LEVEL 4 PLAN 1 Gallery 2 Music studio 3 Recording studio 4 Media/Study/Exhibition 5 Office 6 Media listening 7 Computer lab 8 Exterior exhibition 9 Storage

1 8


San Martin de las Canas School San Martin de las Canas, Jalisco, MEXICO Graduate Design 3 | Summer 2012 Professor Alfonso Perez-Mendez The concept was derived from several ideas and observations throughout the 3 week exploration of the cultural and architectural landscape of Mexico as well as from site observations. the concept of the project is that the volumes, which were derived from the modular nature of the surrounding urban fabric will act as separate individual spaces that interact and interconnect with each other to create a volumetrically expressive version of an urban school. The project responds to its obligations both as a school from a programmatic point of view and as a public building that holds the public plaza and creates place within the urban context of the surrounding town. Finally, given the nature of the volumes as floating elements within the building, it was important to use lighter materials such as wood and steel for their construction. However, the use of concrete for the primary structural walls of the lower level and the retaining walls of the public plaza, was an attractive way to begin to add diversity in materiality, as well as to create structural components and a dialogue between heavier elements and lighter elements within the project.

Unifying Enclosure

Volumetric Organization

First Level Plan

Second Level Plan

Exhibiting Orlando Graduate Design 2 | Spring 2012 Professor Frank Bossworth Major metropolitan areas are reinventing their downtowns, creating central cities where one can live, work, learn and play. The growing interest in living in multi-use urban districts is also being driven by the increasing number of knowledge workers in the U.S. labor force. Today’s economy relies more on ideas, created by people, rather than physical resources. This new work force seeks out a downtown, urban lifestyle. Orlando has been impacted by this change. Aware of the impact this trend will have on Orlando, and the opportunities this change will create, the City of Orlando commissioned Glatting Jackson Kercher Anglin to develop a master plan for the city’s downtown that was completed in 2006. The plan titled “Community Venues” calls for redevelopment in five areas categorized as the: Creative Village, Performing Arts Center, Events Center, Church Street Corridor, and Citrus Bowl. While the plan identifies five distinctive zones of development, the designers clearly articulate a larger vision that envisions the comprehensive development as the goal for the city. Over time, the Community Venues are projected to generate $10 billion in economic output and support 7,500 jobs annually.

The Community Venues redevelopment effort will initiate a change in the City of Orlando that will impact the quality of its urban life for the foreseeable future. At the core of the initiative, the creative village symbolizes the City’s commitment to becoming a World City that is home to the creative class. The nature of urban redevelopment, however, is incremental change, meaning for those who are living amongst it that major changes are often unnoticeable because they are immersed in, and part of the process. The purpose of the Exhibiting Orlando building is to observe and record the change, so that the events of the time are not lost, and become a constantly evolving, living history of the redevelopment. It is of paramount importance that the Exhibiting Orlando Building reflect , and represent, the nature of the change it is part of. This requires thinking of the building organically and temporally, setting aside preconceptions of the relationship between the built environment and time and embracing the concept of change as an underlying narrative for the investigation and development.

Axial Establishment

Site Division

Volumetric Orientation

Facade Response

Entrance Derivation

Circulation Axes

Site Movement

First Level Plan

Second Level Plan

Church Street Urban Sports Hotel Graduate Design 1 | Fall 2011 Professor Lee-Su Huang The Urban Sports Hotel located in Downtown Orlando, Florida was developed principally as a response to the need for a rail station for the newly proposed Sun Rail transit system of central Florida. The project has, as the driving force of its design, the conditions, activities, volumetri qualities and future projections of the surrounding site. The project aims to be an energetic synergy of activity that engages not only its guests, but also thesurrounding cityscape along with all its events and infrastructure. The design concept for the hotel is influenced by several conditions, among them is the sports culture present in the church street corridor of downtown Orlando. This, along with the vertical nature of the surrounding context, has inspired the idea of the climbable rock wall that scales the eastern and northern facades of the hotel tower. These walls serve dual purposes, both architecturally and programmaticaly. From an architectural point of view, these tectonic and structural double skinned walls serve as the enclosure for the building while at the same time provide shading for the interior public atrium of the hotel spaces. Simultaneously, they engage the inhabitants programmatically by serving as balconies and observation platforms for the rock climbing eventsthat take place on their outermost surface. Furthermore, The tectonic organization of hexagonal panels which provide the shading for the interior, act as the climbing surfaces which iven their diverse profiles can be further rearranged in order to alter the climbing paths and the diffuculty levels.

Retail Level Plan

Activities Level Plan

Sky Restaurant Level Plan

Climbable Hotel Facade

Interchangeable Panels

Interior Hotel Spaces

Double Skin Structure

Panel Grid / Balconies Climbable Wall

Workshop di Progettazione Pescara, Abruzzo, ITALIA Pescara: Metro-Borghi | Fall 2009 Professors Paul Rubinson, Jurij Kobe and Carlo Pozzi

The Pescara: Metro-Borghi workshop was a three day charette, organized to be an international collaboration between universities from the United States, Slovenia and throughout Italy. The workshop was geared toward the analyzing, rethinking, preservation and revival of two decaying sectors of the city of Pescara; an old spinning mill and an old fishermen’s village. It is important to note that both sites posses historical connections that should be considered, for the elimination of which could be detrimental to the identity of the place; both at an urban level and at a personal and emotional level. Now, the new proposal for the fishermen’s village site was to create a place where the inhabitants of the surrounding areas and the city itself could come to learn, interact, shop, dine and relax. Thus, the idea for a modern agora. This urban campus concept came as an attempt to merge a historical notion of a market with the traditions of the site and a new demand for innovation and urban interaction. The project which contains a library, bookshop, media center, cafe, exhibition space, market, lecture hall, workshop and classrooms would allows the citizens of Pescara to interact in a contemporary atmosphere while maintaining their historical identity.

Vicenza Fitness and Wellness Center Architectural Design 7 | Fall 2009 Professor Ronald Haase With a mixture of both a natural setting and an urban city context the San Biagio site located along the Bacchiglione river contains interesting possibilities for an architectural integration of higher paced city lifestyle with the tranquility of the natural environment. In addition to the physical attributes of the site, the surrounding programatic conditions both present and historical overlay an additional layer of information that can further be integrated. Student dormitories, restaurants, the historic city center of Vicenza and an old convent are some of the most notable and important to consider. Also within the site, is an old church poorly transformed into a parking garage, that is the center piece of the San Biaggio site. The Vicenza Fitness and Wellness Center is conceived to reflect the vivacious nature of the city and the seclusion and tranquility of the physical site. Constructed into the landscape, the project becomes a restoration of the interior of the church as additions protrude from both ends and below. The spatial articulation and expansion provides spaces for numerous physical fitness activities, group exercise classes, meditation and stretching. It serves as a place of high pace activity and intensity as well as a place for meditation and physical relaxation. It embodies ideas of youth as well as revitalization and restoration. And can be a medium for individual concentration as well as social interaction.


Biomimetic Explorations Semperian Pavilion Florida House Florida, USA

Biomimetic Exploration Architectural Design 8 | Spring 2010 Professor Alfonso Perez-Mendez The biomimetic exercise is meant to explore possibilities in tectonic architecture. Tectonics are defined as the science or art of assembling, shaping, or ornamenting materials in construction; the constructive arts in general. Therefore, developing commonsensical systems of construction and assembly while at the same time striving to be inventive is necessary for a successful outcome. These systems should possess a clear relationship between structure, materials and the reasons why they come together in the way that they do. Moreover, there should be an inventive intent in the conception of the whole as well as in the individual parts that make it up, and there should be an inventive intent in the way that they are assembled. This inventiveness allows parts, materials and therefore the whole to transcend their original, commonly known abilities to become a new exciting composition while still maintaining all the original and logical qualities that they would normally possess. In addition, there should also be invention that gives expression to the part while at the same time puts it at the service of architecture. In this particular case, pieces of 1/8� chip board were duplicated via the laser cutter and layered side by side to create curved, textured planes. Next, these planes were arranged together in different ways in order to explore a variety of combinations and possibilities. These architectural elements aim to yield inventive solutions to issues of structure, space and enclosure by interacting with each other at the same scale or at a combination of different scales.

Semperian Pavilion Architectural Design 8 | Spring 2010 Professor Alfonso Perez-Mendez The Semperian Pavilion is conceived as a tectonic architectural project, that seeks to apply concepts of an architecture based on making, such as German architect Gottfried Semper’s four elements of tectonics. Semper’s four elements of tectonic architecture are earthwork which is refers to the building’s placement on the site; hearth which is the ability of the place to have livable human quality; framework/roof which describes essentially to the structural elements that provide the skeleton for the space; and enclosing membrane which addresses the issue of enclosure and skin. Keeping these four elements in mind when materializing the ideas for the pavilion helps realize a logical project and interesting project.

Developing a system of primary, secondary and tertiary provides a hierarchal way for all the elements of the construction to come together as parts and work with each other to create a whole both at the level of the single system and at the level of the three combined systems. The types of materials used are very important and the way that they combine with each other is even more critical. Materials have limitations that allow them and prevent them from doing certain things and behaving in certain ways, however the combination of two weak materials may create a strong composite which now allows for new possibilities of construction. By following the ideas behind Semper’s concepts on tectonic architecture and the basic concepts of primary,secondary and terciary elements, the construction of the Semperian Pavilion takes shape and can be dissected as follows. First, there is a self supporting cage of thick, steel structure that acts as the clear primary for the pavilion. Then, this primary cage supports a glass box that hangs within it and creates the enclosed space for the pavilion. The glass box is made up of a secondary steel cage and the tertiary panels of glass that it holds. This interior, glass cage is attached to the primary structure and also holds additional tertiary elements such as the aluminum panels that make up the floor and the roof. Meanwhile, on the exterior lies another secondary system of rails that support a tertiary skin necessary for the shading of the interior glass box. Moreover, the skin itself consists of a steel diaphragm which holds perforated steel panels that come together as parts to form the whole. Additionally, there is yet another secondary group of boxes made up of steel ribs and aluminum panels that are held by the primary. These boxes put themselves at the service of the pavilion by acting as skylights, windows and the entrance gateway. The important thing to realize about this pavilion is that all the elements are at the service of the whole. Without any of these parts or systems that make it up the pavilion would not be complete or it would not make sense. All the parts have a role and are necessary for the success of the whole.

Tectonic Florida House Architectural Design 8 | Spring 2010 Professor Alfonso Perez-Mendez The Tectonic Florida House applies principles of architectural tectonics in an attempt to create a prefabricated system of parts that can be assembled on site. The house follows a hierarchal system of composition within its kit of parts that can be broken down into primary, secondary and tertiary elements. To begin with, the vertical columns that hold the roof diaphragm and the grid of steel beams at the house’s base together form the primary structural element for the project. Next, the secondary element of the project consists of the modular steel cages that stack together on the primary grid of steel beams while at the same time forming a diaphragm for the terciary enclosure. These modular structures provide the spatial grid that is separated into the house’s interior spaces. Finally, the terciary elements consist of the house’s exterior pannels and the skin that covers all of the perimeter walls. The skin and pannels

attatch to the steel cage diaphragm thus providing the enclosure for the project. Now, in addition to the previous system of assembly, there is a separate hierarchal system for the construction of the roof. The roof system as previously mentioned shares a primary structural element with the overall assembly of the project. The steel columns rise above to provide support for the secondary roof diaphragm, which provides a grid for a system of cables to hang and hold the terciary roof pannels.


Santa Fe River Boathouse High Springs, FL, USA

Newnan’s Lake House Gainesville, FL, USA

Santa Fe River Boathouse Architectural Design 5 | Fall 2008 Professor Mark McGlothlin The Santa Fe River is usually a slow flowing river. It is dotted with natural springs that appear along its banks, which add to the wide array of different moments and views present in the river’s directional narrative. The mostly slow moving nature of the water makes the river a perfect place for activities such as kayaking and rowing. The approach taken towards design envolves examining the qualities of buoyancy, measure and view present in the sport of rowing, in order to adapt them to the project. Now, when analyzing the sport one can see that it is an activity that envolves a linear displacement along the water utilizing a consistent rythim of measured strokes. It combines moments of applied action and work with moments of recovery that together combine to propel the hull along its path. Also, the linear prominade allows for moments and views along the landscape of the river’s edges, thus allowing the activity itself to engage with its surroundings. Moreover, the delicate fashion with which the hull comes in contact with the water illustrates the phenomenon of buoyancy, which is an attractive one and suggestive of solutions for ground interaction. Consequently, the boathouse sits in the landscape and emulates the subtle submergence of the hull in the water. The project posseses a certain linear directionality in it arrival and interaction with the river. This directionality is driven not only by the linear essence of the sport, but also by the practicality of storage. Next, its placement on the water allows the project to become one in a series of views available as the hulls move on their river prominade. The boathouse becomes a gateway between the waterscape and the landscape. Finally, programatically speaking the project contains spaces for boat storage, locker rooms, lobby/cafe and outdoor terraces.

Newnan’s Lake House Architectural Design 5 | Fall 2008 Professor Mark McGlothlin The project site consists of a thick forest of trees that blocks any direct visual connection with the adjacent lake. As the viewer walks through this forest from the parking area there is an engagement of the senses brought about in part by the limited visibility of the area outside the immediate surroundings. The sounds of the lake and natural environment prepare the viewer for what feels like an inevitable arrival point. Eventually, at the end of the natural trail the inhabitant arrives at a small peninsula where the lake is finally, completely visible. This new sensory information, provides for the first time a full understanding of the site and ties togther all of the previous sensory experiences, therefore becoming the climax of the sensory experience. Designed to be a small 800 sq. ft. lake home, the project sitson the peninsula, lakeside, on the water’s edge, hidden between trees. Now, the sensory phenomenon of the site was taken into consideration in the formulation of a design concept. The ideas of approach, entry, arrival and view are the driving force behind the interpretation of the project on the site. The lake house which is made up of a kitchen, bedroom, studio/office, living room and one and a half bathrooms, is devided into two sections by a wall that runs parallel to the shore. On the back side of the wall is the entrance of the house and reception area along with the stairs leading to the second level, all of which form part of the entry layer following the approach. Then, on the other side of the wall facing the lake are the kitchen living room, bedroom and studio all of which have a direct view of the lake. These living spaces which are the main areas of the house all form part of the arrival and ultimately the viewing layers of the house.


Zig-Zag Lamp Hexagonal Shelf Architectural Sketches Artistic Sketches

Zig-Zag Lamp Environmental Design 2 | Spring 2010 Professor Tom Smith The Cassina Zig Zag Chair was designed by Gerrit T Rietveld in 1934. Using only four elements joined with a system of dovetailing, the Zig-Zag chair’s visual simplicity belies a relatively complex construction. This 1934 design is an expression of the “De Stijl� movement and is included in the permanent collection of the Museum of Modern Art. Made of natural cherry, Zig-Zag can serve as a chair or a side table. Inspired by the Cassina chair the Zig Zag lamp and book stand follows the angled planar design that makes the chair so unique. The dual nature of the Rietveld pice which can double as a night stand is continued over to the lamp/ bookstand. The expressive look of the chair is adapted with certain variations not only to capture the essence of the original design but also to present and evolution of the object. This vertically winding nature of the lamp is an integral part of its design due to its ability to create additional spaces for books and magazines while ultimately fulfilling its original purpose . The lamp is fabricated from a framework of winding ribs and cladded with 1/32 in. wooden sheets and it houses a 20 Watt, 120 volt MR16 halogen bulb which provides the illumination. The device can be easily operated by plugging its cable to any common household outlet and simply flipping the on/off switch located on the lower left handside of the lamp.

Hexagonal Shelf Fabrication Seminar | Spring 2012 Professor Lee Su Huang The idea for the project is intended to be a response to the lack of shelf/storage space available in Alicia’s bedroom back home. We began by analyzing the present conditions and features of the room in order to design a solution that was not only useful for storage, but that could also room for additions, provide additional useful dualities and work well within the context of the room. First, the design of the structure is derived by taking a hexagonal grid, which is both structural and highly modular. Then, manipulating it by displacing the intersecting vertices of the grid in order to provide different scales of storage cells and to open a large viewing frame for the window located directly behind the shelf in the center of the wall. Next, in order to provide additional variation to the design as well as to strengthen the structural capabilities of longer spanning members, the elements along the perimeter of larger cells were thickened, ultimately creating an interesting, positive correlation between cell size and member thickness. Now, to elaborate further on the idea of variation, the next step in the design process began to expand and compress the thickness of the cells in a direction perpendicular to the wall. This, created a variety of cell depths that further broke down the scale of the modular system, thus adding further versatility. Now, in relation to the construction of the object itself, we began by making the overall form of the object using Rhino as a modelling tool. Once the design had been established it was important for both economy of materials, and cost that we try to use the least amount of materials as possible. Furthermore, due to the dimensional limitations of available materials as well as those of the CNC fabrication machine it became indispensable to establish a tectonic system of assembly that could be simple and commonsensical. This system became nothing more than an equally divided, three part split at each hexagonal vertex. This meant that since all intersections have three members and they all share members with the adjacent intersections. Moreover, each layer of members is separated by a layer of spacers that help secure each joint as well as provide an economical solution with regards to amount of material.

Original Grid

Manipulated Grid

Trimmed/ Fitted Grid

Trimmed/ Fitted Grid

Member Thickness Variation

Selective layer subtraction

















Built section
















Architectural Sketches Architectural Sketching | Fall 2012 Professor Alfonso Perez-Mendez The following are a series of architectural sketch panoramas developed as part of an exercise in order to generate ideas for a project site. The five architectural collages are the culmiation of a semester long sketching exercise. They are meant as a final set of drawings articulating a thesis exploration, which analyzes the different architectural solutions for the project. They explore ideas dealing with form, public space, edge, boundary, porosity, traffic, landscape, etc.

Artistic Sketches Architectural Sketching | Fall 2009 Professor Ronald Haase A collection of sketching exercises utilizing different forms of expression, different methods of compilation and different shading techniques. Techniques like the sole use of graphite or pen or the combination of the two. Also, shading techniques ranging from hard line to fluid line to any combination of both. Superimposition collages allow for a collective summary of the place or an in depth interpretation of the subject or space.


Super Docking: Redeveloping the Brooklyn Navy Yard. Planetary ONE, Brooklyn, NY

Super Docking: Redeveloping the Brooklyn Navy Yard Planetary ONE | 2011 33 Flatbush Ave. Brooklyn, NY On an urban industrial site in Brooklyn, New York, Super Docking imagines a self-sustained working waterfront as a center for clean industries that are incubators for new technologies. The designed landscape is adapted to local climate dynamics and is outfitted for a living infrastructure to seamlessly connect land and water. The project interfaces the historic dry-docks, which are retrofitted into five distinct research and production facilities; massive 3D digital prototyping/ scanning, replicable test beds for studies in limnology and restorative ecology, freight delivery of raw materials and finished goods, automated shipbuilding, and phytoremediation barges for CSO (Combined Sewer Overflow) issues. The surface of the site mitigates architectural space and river flows. It supports programs to clean polluted water and sets the terrain for privileging pedestrian movement throughout the site. The project docks are highlighted by shapeable deployable structures and membranes. It is an industrial ecology landscape established to manage both man made and natural systems, with reinforced land use needs. The current urgency to aggregate areas for innovation with social and economic diversity is in demand. Our project encourages research, both as an industrial activity and as an ecological intervention. We wish to promote new products, jobs, green office spaces, and areas of exchange Project by: Planetary ONE Credits: Mitchell Joachim, Nurhan Gokturk, Maria Aiolova, David Maestres, Jason Vigneri Beane. Design Team: Carlos Barrios, Alex Felson, Walter Meyer, Melanie Fessel, Zafirah Bacchus, Ivy Chan, Courtney Chin, Adrian De Silva, Julianne Geary, Francisco Gil, Shima Ghafouri, Jacqueline Hall, Kelly Kim, Florian Lorenz, Bart Mangold, Dustin Mattiza, Chema Perez, Alsira Raxhimi, Daniel Russoniello, Melody Song, Allison Shockley, Katherine Sullivan.


Mario Ortega Mark McGlothlin Alfonso Perez-Mendez Ronald Haase Francesco Cappellari Peter Prugh Franca Stocco Paul Robinson Jurij Kobe Carlo Pozzi Tom Smith Kara Levent Charles Hailey Ruth Ron Gary Siebein Rocke Hill Nancy Clark Lee-Su Huang Frank Bossworth Martin Gold Martha Kohen Giovanni Traverso Mitchell Joachim Nurhan Gokturk David Maestres Maria Aiolova Cristina Gil Francisco Gil Laura Gil Alvaro Gil Alicia Jenkins Monica Campodonico Brian Aylwin Gibran Tevar Jonathan Godinez Sebastian Sanchez Adrian Rozas Daniel Rodriguez Kathleen Jenkins Daryl Jenkins All the students of the UF SoArch


Francisco J. Gil (305) 369328 6431 SW 116th ct. Unit D Miami, FL 33173

Architecture Portfolio | a collection of academic and professional work.  

Contains a collection of academic and professional projects, by Francisco J. Gil.

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