SELECTED WORKS 01 [2018]

01 Sel ected Wo rks

TEC TONIC F R AGM EN TS & CO M P O S ITIO N The following is a selection of architectural works from the University of South Florida School of Architecture and Community Design.

The Intertice TOKYO

THESIS Spatial Sound

Continental Drift BERLIN

Millenial Tower TAMPA

SeaPort Tower BOSTON

luistilano.myportfolio.com/work

College of the Arts ST. PETERSBURG

Mahler’s Klavier Quartet Diagram Layers - TOP: “Notes”; BOTTOM: “Movement” Ink on mylar

S PATIA L S O U N D | THE TRANS L ATIO N BE T WE E E N M USI C & A RCHI T ECT URE | M AST E R S P RO JEC T +P rofes sor K r i stien Ri ng Architects and Musicians are two professional artists that, through the culturally erected barriers that separate their art-forms, nevertheless use similar language, philosophy, and character in achieving a final product, whether it be a building or piece of music.

We live in a culture that unconsciously favors the eye over the ear when theoretically they go hand in hand. Architecture represents the art of design in space, as music represents the art of design

in time, but the properties of space and time are inseparable.

Without space and time, matter cannot exist. Space gives form and proportion, and time supplies it with life and measure. Rather than be a definitive and exhaustive study of the similarities of music into architecture, this study, as an ongoing and developing investigation, will attempt to provide one example of how a piece of music can be specifically translated into space and vise versa.

002

Notational Interstice Extrusion Model Fabric threaded through plexiglass slides

Spatial Exploration with Architectural Language 3D Printed forms anchored on plaster molded ground

FINAL MODEL The final model combines the MODULOR sections together with previous Mahler sections through controlled lofts and extrusions. This was performed in Rhino to create a 3D printed, long promenade of spaces specifically for listening to sounds.

Being that the main focus of the research was on translation into form, the final model does not reside at a specific site or location on earth.

Instead, the model floats above a molded ground whose contours respond directly to the fluidity above. The ground was first molded in clay, then plaster casted to better control where it might rise or fall depending on what was happening on the interior.

For example, when the sound scoops of the large performance space from Section 02 were opened to below, the clay depressed to allow for enhanced acoustical experiences below. The reverberation of interior sounds escaping the instillation intrigue the individuals on the exterior to find an entrance, or to recall their previous experience within.

The final model breaks into 6 sections to allow for a better architectural understanding of how the sections were joined. In this way, one can see how you may circulate through the resolved program.

Section Model

CO L L EGE O F THE ARTS | ST. PETERS BURG, F LORI DA | A DVA N CE D DESI GN A +P rofes sor Dan Powers The site is located on the University of South Florida, St. Pete campus.

The project called for a new Art school with two buildings, and waterfront plaza space. The building to the north is the Education Building, containing classrooms and studios, and the building to the south is the Research Building, consisting of offices, and a large gallery.

The initial project began with an abstract study of the sight. Once a figure-ground geometry was selected, it was extruded vertically to create masses. The main concept here was to try and shield the

water’s edge, and the surrounding site from the adjacent street traffic to promote a semi-private and safe experience. The abstract “boundary” is created with the distinct ground arrangements and most importantly, the inversed cantilevered geometries reaching out toward each other.

This makes the street-side entrance one that you must break through in order to enter the school of the arts. It begins to provide for a safe outdoor environment creating a true sense of place for the new school.

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= Supply = Return

Main hall of Research Building

HVAC system diagram

Lobby Area of Education Building

LEFT: Research Building Cross Section; RIGHT: Education Building Cross Section

Second floor

Ground floor

Interstitial Mapping Diagrams Ink on Mylar

T H E IN TER STICE | TO KYO, JAPAN | ADVA N CE D DESI GN D +P rofes sor S tan ley Russel l PROCESS 03 was intended to explore the interstitial relationships of objects and maps as a generator of design.

Using Japanese Zen principals, the class encouraged the surrender to, and discovery of your own intuition and the design styles that followed. Without excess thinking, planning, or judgment, the painter had to be one with the painted.

The site was discovered within the very dense, urban fabric of Tokyo.

At first glance, it was not realized what sectional treasures were hidden within. The approach began on a semi-public street

adjacent to the Kanda River. What was thought to be a small public-stair, intercepted the street, heading downward, to a flat gray concrete facade of a two-story apartment building. Upon descending, we noticed the stair was actually drastically longer then originally thought, and the concrete building became five stories tall at the landing. When reaching the bottom, the path then cut left and became an even more private urban situation.

This site was the epitome of the “architectural interstice.�

010

011 Relief Model with accompanying Sections

Final Model

012

= Residential = Commercial = Office = Museum / Gallery = Gym

Ground Floor Site Plan

UR BA N R ES IL IENCY | BERL IN, GERMA N Y | A DVA N CE D DESI GN C +P rofes sor K r i stien Ri ng PROCESS 03 was intended to explore the interstitial relationships of objects and maps as a generator of design.

Using Japanese Zen principals, the class encouraged the surrender to, and discovery of your own intuition and the design styles that followed. Without excess thinking, planning, or judgment, the painter had to be one with the painted.

The site was discovered within the very dense, urban fabric of Tokyo.

At first glance, it was not realized what sectional treasures were hidden within. The approach began on a semi-public street

adjacent to the Kanda River. What was thought to be a small public-stair, intercepted the street, heading downward, to a flat gray concrete facade of a two-story apartment building. Upon descending, we noticed the stair was actually drastically longer then originally thought, and the concrete building became five stories tall at the landing. When reaching the bottom, the path then cut left and became an even more private urban situation.

This site was the epitome of the “architectural interstice.�

014

Public Thoroughfare

1. EXISTING SITE

4. COURTYARDS

5. PROGRAMMED ROOF CONDITIONS

2. IDENTIFYING CIRCULATION

3. EXTRUSIONS

Private Residential StaĂ&#x;e

M IL L ENIA L TOWER | TAMPA FL . | ADVA N CE D DESI GN B +Do ctor Leve nt Kara In the wide-spread city of Tampa, Florida, small gems of commercial activity are scattered throughout with no true connections, other than a long car ride on the heavily congested highways. Tampa relies on the potential of its downtown to become a bustling urban center for the future. This tower proposal engages the city and its inhabitants through its inviting transparency of spaces and mix of uses, transforming the downtown area to the true heart of the city.

A framed landscape welcomes the flanuer into a public, commercial incubator, in which juxtaposed program allows for mixed activity. This public space provides the opportunity for Zack Street to become a

vibrant art-walk, as well as a commercial corridor. Further along the tower, vertical galleries and art studios pull this art district into fivestory public volume. Adjacent stands an array of office space, ranging from traditional private offices to shared, semi-public work space.

We envision a workplace of 9 to 5-ers, freelancers, and creative makers to ensure a middle zone of constant energy. Capping the tower is a variety of residential space, offering homes for individuals and families alike. Millennial Tower is a representation of 21st century ideals, proving that Tampa has the potential to become a major American city.

020

Collage Material Study

Experiential Perspectives

3D Massing / Sectional / Material Studies

Residential Office Gallery / Studios Public / Retail

PROGRAM DIAGRAM

SKIN DIAGRAM

CIRCULATION DIAGRAM

M A R IN A TOWE R | TAMPA FL . | ADVAN CE D DESI GN B +Do ctor Leve nt Kara Project II begins with a choice between two sites—one along the edge of Boston’s Financial District, and one across the channel in the Seaport District. Upon visiting both sites, two schematic massing proposals were developed to explore the potential of their locations.

Ratios between residential, office, and commercial spaces were negotiated within these schemes, ultimately narrowing down the decision to the proposal with the highest design potential. The chosen scheme was built upon for the remainder of the semester, molding early design decisions into fully realized plans, sections, and diagrams.

Themes of structure, tectonics, and skin were developed beyond the precedences of Project I. Project II concluded with a mixed-use

community of 800,000 square feet in the center of downtown Boston, offering retail and office space, varied residential typologies, and cultural and institutional programs. The chosen proposal in the Seaport District revolved around two early concepts: a porous ground condition and an elevated public node.

The final product stands as a series of three towers, each sitting atop public podiums. The office tower is separated from the residential towers but physically connected by an elevated market space and rooftop garden. Finger-like volumes extend from the podiums as a response to the site’s constructed piers, housing a shared office space and local brewery.

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RESIDENTIAL

OFFICE

MUSEUM

SKIN DIAGRAM

RECREATIONAL

COMMERCIAL

MARKET

FOURTH LEVEL: Wellness + Recreation Center - Museum - Rooftop Garden - Office

THIRD LEVEL: Brewery - Cafe - Museum Lobby - Market / Food lab

SECOND LEVEL: Shared offices - Gallery - Office

GROUND LEVEL: Preschool / Residential lobbies - Retail - Office Lobbies / Elementary School

EIGHTH LEVEL + : Typical Residential B

Typical One Bedroom

SEVENTH LEVEL: Typical Residential A

Typical Studio

SIXTH LEVEL: Spa - Museum - Office

FIFTH LEVEL: Wellness + Recreation Center - Museum - Office

ROOF TOP COMMUNITY GARDEN A system of structural trusses anchor the elevated market to its neighboring towers, carrying it’s loads to the ground as a means of dialogue between the levels. The ground condition is thus uninterrupted by columns, allowing for a seamless view of the water.

BREWERY EXTERIOR The third floor of each podium serves as the initially intended public node—the hinge between commercial and private program.

Complete with a museum, restaurant space, market, food lab, and brewery, the third floor seamlessly pulls the public into the tower’s underbelly to activate the towers at all times.

COMMERCIAL ATRIUM The first few floors create an exterior urban hall, bleeding the proposal into it’s context and connecting the waterfront to the community, as well as allowing for a pedestrian-dominant ground floor.

OFFICE BUILDING PODIUM ( Above food lab )