In the melting pot of Miami, we often encounter architectural and design talent. However, when it comes to the pursuit of innovative. multi-sensory architecture, Renzo Luciano Lopez is in a caliber all his own. An adjunct professor at Florida International University, Renzo’s professional pursuit is to rebel against the ordinary, which is something clearly conveyed in his designs. Meet Renzo.

DS: Hi Renzo! Welcome to Design Storytellers. We’re excited to meet you and learn more about your architectural story. Where did you study and what type of architecture do you focus on?

RLL: Hi! Thank you. I’m a licensed architect with over 10 years of experience in the field. I earned my Master’s Degree from Florida International University in 2020. I actually don’t subscribe to the idea that architects must specialize in a single area. Rather, I see architecture as an all-encompassing art form—one that has the power to create beauty and function across various scales and typologies. With this perspective, I continually challenge myself to stay curious and design a wide range of buildings and structures.

DS: We’ve seen some stunning residential plans you’ve designed, but you’re right, your focus is more on the vision across any type of built structure, which is an interesting approach. What project are you most proud of?

RLL: Project you worked on that you are the most proud of, and why?

That’s a tough question. As time passes and I reflect on my work, I find myself evaluating it differently each time. However, if I had to choose a project, I’d point to a recent design I created for a competition last year held by the boutique rental home brand not-a-hotel.

The house was designed for a rocky, wooded site in Kitakaruizawa, Japan, and its concept was inspired by the Japanese word Hanafubuki, which translates to “flower snowstorm” or the sight of cherry blossom petals drifting in the wind. Formally, the home was composed as a cascading, radial array of stepped, glass-enclosed wood and concrete rooms. These spaces radiated outward from a serene central courtyard, where a monumental boulder—found on-site—served as the anchoring focal point and heart of the home.

Due to the site’s sloped topography, each room was simultaneously grounded at the courtyard level and connected to the forest floor. As you moved deeper into each room and away from the courtyard, the perspective shifted—from being among the trees to being suspended within the tree canopy, much like petals or leaves gradually drifting from a branch.

DS: That’s so interesting and complex, what did you enjoy most about this project?

RLL: What I enjoyed most about this project ties back to what I previously mentioned about the creative process. When I first began working on the design, I tested numerous ideas, but none felt quite right. Then, one day, my wife—who, despite not being an architect, has an incredibly creative mind—walked in and shared an idea she had for the project. At first, I struggled to fully grasp what she was describing, as she isn’t trained in talking about architecture. But then, she grabbed a few Post-it notes and playfully crafted a small model of the house which ended up being the basis for the design of the project.

DS: Wow! It goes to show inspiration and vision can come from the people around us. I’m sure that was a refreshing and rewarding step in the process.

RLL: Absolutely. That moment was incredibly rewarding. I felt as though I had indirectly inspired a curiosity in her, which, in turn, inspired my own work. Since then, she has become an integral part of my creative process—a sort of consultant for every project I’ve worked on since.

This experience taught me an invaluable lesson: always seek to understand different perspectives, both in work and in life. Sometimes, seeing things through a fresh, unbiased, and untrained eye can reveal insights that you might never have reached on your own.

DS: That’s wonderful perspective to experience, congratulations. On that note, what do you love most about your job?

RLL: I’m obsessed with the idea of turning fiction into fact. That’s why I love the part of the process that comes directly after a moment of inspiration. I get incredibly excited to put pen to paper and begin visualizing, testing, and iterating an idea within the rational, material, and contextual framework that building design requires.

Just as exciting, this phase of the work not only solves the initial problem but also ends up generating a series of iterations and studies that often take on a life of their own, sometimes finding relevance in entirely separate projects. It’s similar to how movie studios create entire films or TV shows based on side characters who were originally overlooked or underdeveloped in the main feature.

For me, the most thrilling part of my work is that magic-like moment—the process of pulling a rabbit out of thin air, taking a raw idea, and transforming it into something real, or at least something with the potential to become real.

DS: Sounds magical indeed. Do you prefer any specific architectural design style?

RLL: I wouldn’t say I have a favorite style. What I appreciate most in design and architecture—what I consider good design—is when a building or object, regardless of its appearance, expresses an attitude of excitement and playfulness through its articulation of form and function. It should allow you to experience a space or activity through a lens unique to its designer, place, or time period.

There are great examples throughout history that embody this spirit and energy, regardless of their formal aesthetics. To me, thinking about design in terms of style is a trap—one that often leads to the banal repetition of something simply because it became popular. It’s similar to how movie franchises attempt to copy a blockbuster or genre, often to a lesser degree, in an effort to cash in on its success—without truly understanding that what made the original great was its unique perspective on a particular story.

DS: Yes, you have a point there. I’m sure adhering to guidelines and traits of design styles hinder creative exploration. So what would you advise emerging or interested future architects?

RLL: I would advise anyone pursuing architecture to find within themselves what truly keeps them creative and excited about the field as a student—and to hold onto it for dear life. Too often, I’ve seen incredibly talented and creative students enter the profession, only to become frustrated, indifferent, or leave architecture altogether.

The unfortunate reality is that we live in a world that often rewards conformity and mediocrity, and the architecture industry is no exception. Many corporate firms and offices will test you, attempting to suppress true creativity in favor of what is cheapest, quickest, and most marketable. This mindset is often sold to recent graduates with the familiar catchphrase: “This is how it’s done in the real world.”

My advice? Don’t conform to those who push this mentality—whether directly or indirectly. Learn as much as you can from every opportunity, but take all advice with a grain of salt. Keep pushing yourself to stay creative. Seek out your own projects, enter competitions, work on passion projects—do whatever it takes to ensure that the daily grind of working in architecture doesn’t stop you from actually practicing architecture.

In almost any field, those regarded as masters or geniuses are simply the ones who remained students of their craft—continuing to practice long after they had learned enough to just land a job. Now more than ever, we need architects and designers who can create places, buildings, and objects with soul and character—not just more bland, pro-forma-driven boxes.

Stay curious. Stay inspired. Stay creative.

DS: Very well said. Thank you. So aside from the creative visions of loved ones, where else do you find inspiration for your work?

RLL: I find inspiration for my work in just about anything. For me, staying creative comes down to always being curious—about the world, everyday moments, objects, and the people within them. It’s about viewing the ordinary through an architectural lens, then sketching or sometimes writing out the mental associations these moments trigger.

Sometimes, it’s the simple observation of how light falls on a crushed paper coffee cup. Other times, it’s intently staring up at the immense scale of a mountain during a hike. And sometimes, it’s as subtle as hearing someone else describe an object or moment from their perspective.

By describing this process, I don’t mean to suggest that these raw instances of inspiration lead to an instant, literal architectural translation. Rather, by continuously documenting these moments, I build a mental and visual library—a resource from which I can pull fresh ideas that may become relevant to a specific project.

Recently, I had been searching for and testing ideas for an art installation project in Miami Design District. One night I went with a friend to see a DJ perform at a bar. The crowd was pretty lifeless, but as massive fans of the music he was playing, my friend and I started chanting musical samples in key and tempo with the DJ’s set. At that moment, I thought: What if there were an architectural manifestation of this exact experience in the form of an interactive DJ booth?

This idea became DJ ORCHESTRA—a DJ booth designed to let people in the crowd play musical samples from three turntables facing them, with the output wired back to the main DJ’s mixer on stage. This setup would allow the crowd to suggest musical samples from a preloaded library, ensuring they stayed in key and tempo with the main DJ’s mix. Ultimately, the DJ would still curate and control which crowd-suggested elements to incorporate into their ongoing set.

DS: I love how you connect various touchpoints of life into architectural output. What about travel, what cities inspire you?

RLL: I absolutely love Los Angeles. Beyond its incredible architecture and design scene, I’m drawn to the weather, the museums, and most of all, its proximity to the mountains and nearby national parks. Anytime I have an excuse to fly out to LA, I jump on it without hesitation. Tokyo is probably one of the coolest places I’ve ever visited. Its architecture and urbanism are unlike anything I’ve seen before. There’s so much beauty and character in nearly every district that it’s one of the only major cities in the world where you can wander through alleyways and narrow streets, get completely lost, and still feel engaged and safe. New York is one of those places that, after having lived there for a while, I know isn’t really for me. Yet, I still feel drawn back to it, and I’ll always remember it as one of the first major cities I traveled to alone as an adult. There’s something about New York that I can’t quite put my finger on. I didn’t love living there, but every time I visit, I find myself wishing I could stay a little longer.

DS: Amazing, thank you, Renzo, for your thoughtful insights and perspective. To close: who are some creative people you look to from throughout time? Who do you find interesting?

RLL: Tom Wiscombe, Chris Precht, Bjarke Ingels, Valerio Olgiati

DS: Anything else you want to add?

RLL: Thank you for this opportunity and for creating a platform that not only spreads creativity but also gives designers worldwide a voice.

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Find Renzo:

Instagram: @anomaly_department_

Website: www.Anomalydepartment.com

Renzo Luciano Lopez

Nick Garate