Quilian Riano Design Portfolio 2002-2005
All work was designed by Quilian Riano while attending the University of Florida from 2002-2005
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NY1 NY2
NY1- Manhattan Youth CenterURBAN STORIES- A language develops out of three spatial stories URB
-New York, New York USA
pages 6-13
NY2. Harlem Museum for African American Culture-
THE URBAN FOLD-Renovating and Preserving Urban Public Space
CHA GNV ORL
-New York, New York USA
pages 14-19
CHA- Charleston Public Library LANDMARKS, ZONES, NODES-Decoding Urban DNA
-Charleston, South Carolina USA
pages 20-27
ORL- Multi-Purpose Structure <TRUSS>FORMATIONS- An architectural language for the post-zoning city
Orlando, rlando, Florida USA
TER
pages 34-39
TER- Parochial School and Bullfighting Center GROUND AND CULTURE
Santa Teresa, Jalisco MEXICO MEXICO
pages 40-45 40-
VIC- Immigrant Housing and Municipal Market EXPLORING THE SOCIO-POLITCAL LANDSCAPE
-Vicenza, Veneto ITALY
pages 46-51
EUR-. European Sketchbook 4
SKETCHING PUBLIC SPACES
Quilian Riano Design Portfolio 2002-2005
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pages 52-55
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Program: Youth Center
Term: Spring 2003 Critics: Professors Donna Cohen and Shivjit Sidhu
Manhattan, New York USA
Step I: [Analyzing the UN block]
HOT DOGS AND FLAGS An analysis of the area around the United Nations Building through two itineraries: the
hot dog vendor and the UN dignitary.
The itineraries mapped start creating
spatial territories to understand New York
Quilian Riano Design Portfolio 2002-2005
STAGE II: THE PRISMATIC MEAN A connection between the two spatial territories created by the two characters does not take a physical form in New York. The only true connection between these two worlds is the idea of New York a person has before inhabitting it, and the uncertain memory that New York becomes after that person leaves. Thus, the prismatic mean is momentarily crystallized in the human condition of the urban nomad: the modern tourist
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Step 2: [Finding
a Spatial Language for New York]
Analysis of spaces created by Model and T-Shirt
STAGE III: ANTICLIMAX A proposal for New York is born, a series of spaces that flip and embrace the realities of New York. This is done as an exercise to provide the hot dog vendor, tour-
spatial language that is inspired by New York, its density, city planning, and its foreing visitor, the UN.
T-Shirt with Spatial Analysis Designed as a “Perfromance” to be worn inside model.
ist, and the diplomat a
MODEL 24”X24”X30”
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The spaces created for the hot dog vendor, tourist, and diplomat provide the language for a Youth Center in Chelsea. The spaces inside create encounters and interactions. The spaces are weaved, and
create a constant movement, and interaction withing programmatic elements.
Step 3: [A
New Language] The Manhattan Youth Center
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Quilian Riano Design Portfolio 2002-2005
Sketch East-WestSection
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Ground Plan
Media Center
Public Space
Offices
Basketball
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Quilian Riano Design Portfolio 2002-2005
Lobby
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Dormitory Pool Roof Garden Education
Media Center Training Room
Offices/Information
South-NorthSection
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Project Designer, Team Leader: Quilian Riano
DIAGRAM CIRCULATION SYS-
Physical Model Production: Kar Ho Coral Brandt Tinh Le Eva Pinero Renee Webley Cathy Le
Digital Production: Quilian Riano Jen Daniels Linda Daniels Stany Iordanova Ryan Wicks
URBAN CONCEPT
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these blocks are stretched to fit the proportions of the site and become the beginning of program elements.
National Organization of Minority Architects (NOMAS) Competition
Formation and marking of the building to capture space begins as a gesture of FOLDING the streets up onto the surface. Movement shifts scales as the streets become the circulation of the building. This movement shifts between
STACKING VOLUMES
Program: Museum of African American Culture
Harlem, New York USA
The layout of building as MASS and street as VOID breaks the space into horizontal pieces, analyzing these pieces as potential vertical layering of masses. This allows us to fold different scales and programmatic pieces together. Then
Quilian Riano Design Portfolio 2002-2005
the perceived interior and exterior spaces, activating the skin of the building.
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+ STACKING VOLUMES
= CIRCULATION SYS-
URBAN FOLD
FOLD + STREET SCALE CONTEXT
Fold within the local context, at 125th Street and 7th Ave, responds to the scale of the human, allowing the surface of the fold to open and reveal establish-
ing an interaction between person and building.
FOLD + LARGE SCALE CONTEXT
Surrounded by other zones of varying sizes and densities, Harlem has a responsibility to INTERACT within and throughout its large-scale context. The fold becomes a gesture of how the city functions and becomes an urban response to the event that is New York City.
FOLD + CULTURAL CONTEXT
Harlemâ&#x20AC;&#x2122;s intense culture is constantly moving- identity in specific periods of time. Prominent figures, events, and the spaces they occupy become the method to determine location, place, and time. Representations and form of the building become symbolic of the MOVEMENT of Harlem society. The form, charged by the program of the building,
creating a marker for the contemporary African American and his or her culture.
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Model-West Elevation
Gallery
(on top of the preserved section of
Plan Key:
the Teresa Hotel)
1-Underground Eating Area-Gift Shop
2-Ground Floor
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Lobby- Lounge-Computer Room
3-Second Floor
4
Theater-Education
4-Fifth Floor
Library-Education
5-Eigth Floor
3
Music Academy-Lounge
2 1 Outdoor Circulation System (IN GREEN)
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Perspective-Ground Floor
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Sketch of Site
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Term: Fall 2002 Critic: Professor Nancy Clark
Program: Public Library
Charleston, South Carolina USA
Analysis of Charleston
CHARLESTON: CITY OF STEEPLES One of the most impressive feature of Charleston, is the amount and heights of the church steeples. In fact, Charleston is one of the few cities in which churches are still the tallest buildings. It creates landmarks for the city, organizing the city in a system of landmarks (the church),
territories (the neighborhood), and connections (streets).
NODES The steeples, become nodes in each neighborhood. In the library, I allowed my analysis to create a continuous wall, to hold all the bookshelves. The continuity
of the wall reminiscent of the continuity of the charlestonian streets, and the bookshelf acting as a landmark, creating a territory around itself.
Three dimensional system of nodes
Quilian Riano Design Portfolio 2002-2005
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3.4
Plan Key:
1.6
3.3
GROUND FLOOR
SECOND FLOOR
THIRD FLOOR
2.4-2.5
1.1-Lobby/Catalogues 1.2-Office Area 1.3-Ramp 1.4-Rare Books 1.5-Periodicals 1.6-Children’s 1.7-Special Event Area
2.1-Open to Below 2.2-Office Area 2.3Ramp 2.4-Sound-Image 2.5-Science 2.6-Reading Rooms
3.1-Roof Garden 3.2-Ramp 3.3-Philosophy 3.4-History 3.5
1.4
3.5 2.6 1.5 BROAD
BROAD
BROAD
2.2 1.1
1.2
2.6
3.5
2.1
1.4
1.7 1.3
2.2
KING
1.2
1.5
3.3
KING
KING
2.5
3.1
3.4
2.4
3.2 1.6
2.3
GROUND FLOOR
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SECOND FLOOR
THIRD FLOOR
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North-West Section
South-West Section
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the site
are separated, they do not con-inhabit the city of Orlando. By not appealing to
this large nomadic population, Orlandoâ&#x20AC;&#x2122;s inhabitants lose the dollars that the tourists are ready to spend. Orlando needs more density downtown, with facilities that cater for both tourists and locals.
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Courthouse
2
3
Orlando Population
Downtown Orlando Area
International Tourists
Rest of Orlando
Domestic Tourists
(1 hotel=2,000 hotel rooms)
1 image= 250,000 people
Quilian Riano Design Portfolio 2002-2005
a petri dish for <post>urban thought:
Orlando has a great opportunity to renew its downtown area. The money is coming in from the tourist industry. If downtown Orlando learns to use the local industry for its advantage it can be a huge success in the rethinking of city-dwelling. The city can be a fertile lab to experiment with hybrid structures. Structures that belong to both the public and commerce, the local and global, the banker and the judge. Traditional urban thought has to be thrown out. Orlando will never be
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How do they shape the city?
Interstate 4- I4
Program: Multi-Use Structure
Term: Fall 2004 Critic: Professor Shivjit Sidhu
Orlando, Florida USA
Where do they go?
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Bank of America
10% of the population of the United States passes through Orlando annually, yet most tourists choose NOT to go to downtown Orlando. They are lured by the entertainment in other parts of the cities. In the current situation the tourists and the locals
8 seconds bar
the problem:
Downtown Orlando will serve as an experiment for the new post-urbanist thoughts of the city. a mini city will rise in a spot of downtown Orlando connecting I-4 to the orange county courthouse. The connection will cut a section through the rural-themed urban club of 8 seconds, the railroad, and the financial institution of Bank of America.
Equation for density downtown.
Where do they come from?
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New York. It must find its own language, a suburban language rooted in entertainment, and with a local accent. SITE DIAGRAM
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step2: THE TRUSS BECOMES A LANDSCAPE Through a series of unfolding of space, the truss of the house unfolds into a
step 3
field. This landscape makes the truss more apparent, the idea is to have a field that acts as holding agent for a series of moments which are then charged and designed.
step 1
<TRUSS>formations: spatial exercise Sketch of Truss on Site
step 1 THE TRUSS AT A DOMESTIC SCALE: seeking to understand
better how to intervene in Orlando a simple exercise is done. A domestic-scale space is designed to house both a person from Orlando, and a tourist. The spaces is to understand the connection between the two, and is thought of as an urban truss. A structure that provides organization of the space, both private and public. In my scheme the structure acts as catalyst for moments of forced, and willing interaction between the inhabitants of the two spaces, and the public that passes through a passageway in the middle of the space to a public landscape. Continuous movement (lines of extensity) with moments of intensity.
step 1
step 2
step 3: THE TRUSS ARRIVES TO THE URBAN CONDITION. The truss ar-
step 2
step 3
+
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Quilian Riano Design Portfolio 2002-2005
rives to the downtown Orlando site. Orlando is the ultimate truss, its urban infrastructure gently holds many programs, peoples, situations, not as a dictator, but as an accommodator. The truss will now be informed by the programmatic information of the site.
=
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Programmatic pieces from the site get inserted into the TRUSS. Legal and Financial Services Hotel-8 seconds â&#x20AC;?ruralâ&#x20AC;? Theme Park Housing Units Auto Storage
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Program: School-Bullfighting Ring Term: Summer 2003 Critic: Alfonso Perez-Mendez
Santa Teresa, Jalisco MEXICO
Analysis of Landscape, Santa Teresa
Quilian Riano Design Portfolio 2002-2005 TER 41
Sketches of Landscape becoming designed Public Space
Santa Teresa Loses Its Wall: Santa Teresa is a city in the Tequila region of Jalisco, Mexico. The townâ&#x20AC;&#x2122;s economy is comprised of the growth of blue agave the prime ingredient of Tequila. The town has grown in what once was a Hacienda. The 1910 Mexican Civil War and subsequent constitutional land redistribution turned the Hacienda and the land around it to the people that worked the land. The inhabitants gained the land, and the Haciendaâ&#x20AC;&#x2122;s walls came down. Public Space: Along wit the change of the Hacienda, and the destruction of the wall, Santa Teresa lost its Public Space. Today the only places that the community has to come together are the church used once weekly, and a bullfighting ring, used once yearly during the Santa Teresa festival. The bullfighting ring was built around the remnants of the wall.
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SKETCH MODEL OF PAROCHIAL SCHOOL
A New Center In order to make a new public space I decided to make a new center for the town away from the historical hacienda house. The new center comprises of the site behind the church and renovating the bullfighting ring. Instead of a solid wall, the new boundary was to relate more to both the landscape and the city. A new democratic center, built on top of an area that is used by the local inhabitants to weekly celebrate the death of a religious figure, and yearly to celebrate the death of an animal for both cultural reasons and subsistence.
The Cultural Landscape I created a Parochial school, that is a gate
between the center of town, and the agave fields, giving a place for
people to have a forum to discuss their religion not just once a week when the priests arrive from the larger town of Tequila. The rebuilding of the bullfighting ring included, seating, and the edge of the seating includes a series of spaces for a meat market and butcher. The market will give the bullfighting ring a daily program, making it a place for communal interaction. This new Center is a cultural center of understanding, an understanding of death celebrated by the religious functions, and the death of animals first used for cultural events, later eaten
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Plan Key: 1. Santa Teresa Church (Existing) 2. Parochial School-Classrooms 3. Porochial School-Atelier 4. Bullfighting Space 5. Seating
3 2
SITE MODEL 5
4
1
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SKETCH TOPOGRAPHY OF SITE
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Term: Fall 2003 Critics: Professor Alfonso Perez-Mendez, Professor William Tilson
Immigrant Housing and Municipal Market
Vicenza, Veneto ITALIA
SITE SKETCH
the political landscape:
in 2003 the government of Vicenza, Italy made an anti-loitering ordinance, so that immigrants would not be able to sit or stand for too long in the park in front of the local train station. Although Immigration is key the geographical landscape and the larger texture. for the survival of a nation with the low- The site is in an area that is the unofficial gate to the city. The train-station est birth rate in Europe, culture has not is located on the north, and Corso Palladio (the main street of Vicenza) is to began to accept the immigrants as part the south.The topography of the site is influenced by Mount Berico, a large mountain directly behind the train-station. of the Italian texture.
Symbiotic relationships:
the commercial landscape:
The project is for three temporary housing structures in the park directly across
In this new millennium commerce has began to take over as the single most important human activity. Brands are shaping our world, the extension of their power is felt in all aspects of life, as we are constantly bombarded by their messages through billboards and TV and radio announcements. The main organizing feature in public/commercial space are billboards and signs. Buildings are mere formalities as the most important logics are those outside of the building announcing what can be bought.
Quilian Riano Design Portfolio 2002-2005
from the train station. This housing would allow immigrants to have an affordable first home, and provide jobs. To provide the inhabitants with jobs, the housing units are combined with commercial space, and a large public space. The structures rise from the landscape created by mount Berico. The houses for each family would be sponsored by different companies, who in turn are allowed to advertise on the house. This public space merges commercial, political, and topographical landscapes, while beginning to weave the immigrant into the Italian cultural web
Topogra-
Commerce Politics
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SITE MODEL
GROUND PLAN KEY: 1. RAMP 2. HOUSING CORRIDOR 3. HOUSES 4. SHOPPING CORRIDOR 5. SHOPPING SPACE
3 1
2 4 1
5
WATERCOLOR SKETCH OF THE SPATIAL CONDITION IN THE SITE
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n
arde
Corporate Sponsored Housing
oof G nity R
mu
Commercial Space
Com
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Sketch Diary
Term: Fall 2003
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ITALY: Venice Quilian Riano Design Portfolio 2002-2005
Watercolor Study of City
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SPAIN: Barcelona
Museum of Contemporary Art
ITALY: Vicenza
Sketches of Piazzas
ITALY: Vicenza 58
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Sketches of Piazzas
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SPAIN: Barcelona
SPAIN: Barcelona
Historic City Map and Sketch of Public Space carved out of the dense Medieval town.
SPAIN: Barcelona
Cerda’s City Map and Sketch of Public Space in and around blocks.
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Quilian Riano Design Portfolio 2002-2005
Olympic City Map-Sketch of public space in and around “landmark” towers.
SPAIN: Barcelona
New City Map- Sketch of new public space connecting new tower to the “Forum”.
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