Olivia Raymundo Architecture Portfolio | UF SoA 2022

O L I V I A R A Y M U N D O

SELECTED WORKS 2019-2022 UNIVERSITY OF FLORIDA

IMPRINT

Prof. Michael Montoya and Prof. Sarah Gamble Design 7 | Fall 2022

A NEW SAVANNAH PUBLIC LIBRARY

Prof. Lee-Su Huang Design 6 | Spring 2022

COMMUNITY WITHOUT CONTACT

Prof. Elizabeth Cronin Design 4 | Spring 2021

WINTER PARK ART HOUSE

Prof. Lee-Su Huang Design 6 | Spring 2022

ANALYTICAL DRAWING

Various Works 2020-2022

CUBE

Prof. William Zajac Design 1 | Fall 2019

FLOATING LANTERN

Prof. Michael Montoya and Prof. Sarah Gamble Design 7 | Fall 2022

IMPRINT

acknowledging Rome’s past, present, and future

In collaboration with: Sydney Cherrington, Alexandra Sierra, and Danna Bermudez

Prof. Michael Montoya and Prof. Sarah Gamble Design 7 | Fall 2022

Italy’s capital of Rome is a city of high activity rich with culture and history. The extensive historic preservation efforts present this strong sense of urgency to protect and share the “legacy” of the Roman story. Upon making this observation, the creation of “legacy” became the core inspiration for this residential complex, as it would be leaving an “imprint” of its own on Rome. The parti is composed of two parts: a residential block and a library core. The library core in particular consists of vertical tiers of community spaces that foster interpersonal connections that may not always be face-to face.

The spirit of Rome as a city is almost tangible, one could even say it is alive. It feels as though it can be personified, but the history of Rome is too wide and varied to consolidate into one. If anything, Rome has spirits of past, present, and future. The library core works to be the physical manifestation of this. In this Roman library visitors would be encouraged to write in books so that anyone who encounters a text would be exposed to the ideas and knowledge of those who came before. A discourse would occur between the annotator and the reader despite the two having never met, and past and present collide. Additionally, the ascending levels of the library core include more private reading nooks as well as studio space for those with fresh ideas to create and eventually share their work in the museum above. Furthermore, the primary material chosen for the skin is copper, specifically because of how visibly it ages, as it also reflects this narrative of Rome’s past, present, and future. The patina of today will encroach on the pristine copper until there is none left, but the echo of the material’s original state will remain.

Appearance of the skin over time as the copper oxidizes

Roof Site Plan

Studio

The axis running from the Tiber River to the piazza on the site is visually and physically connected by way of a constructed ground. This constructed landscape sparks intrigue as well as offers a moment of pause for residents and visitors alike in a city where public seating is sparse. It is intentionally designed without individual “seats’’ or small niches to encourage individuals to share the space and interact, and the arrival leads up to the central communal area that houses markets and a cafe. This emphasis on community continues upwards into the residential core that includes four different unit types to accommodate as wide a variety of residents as possible. These differing units are deliberately intermixed in hopes that residents of all walks of life would be neighbors and interact in the communal circulation on each floor.

Communal Circulation Diagram

A NEW SAVANNAH PUBLIC LIBRARY

Evoking “I see you”

Prof. Lee-Su Huang Design 6 | Spring 2022

This new public library located in Savannah, Georgia is centered around the idea of “visibility” in the metaphorical sense through sightlines. Prejudice is primarily rooted in an unwillingness to see the other side, and the goal of the new Savannah library is to facilitate discourse between visitors in hopes that they will be exposed to new perspectives through storytelling at both an intimate and a more public scale. The proportions of the structure are in reference to that of the typical historic home in Savannah, wherein the lowest level would be reserved for the servant class. This library works to reimagine this format by designating the primary social spaces to this lowermost level. The subsequent circulation guides the inhabitant upwards in and into the central core.

The central core is an auditorium embedded in the ground that allows the speaker to be audible to anyone at any level if they wish to listen, as the sound would be held by the structure and travel upwards. Additionally, the atrium provides vantage points to other levels from every level for library-goers in the upper floors, encouraging them to become more conscious of those around them. Also found underground is a location for the Human Library project, an international organization that strives to prompt conversations between individuals who may not otherwise cross paths. Volunteers of this program take on a “title” and allow themselves to be “read” by sharing their experiences one-on-one or in small groups. This form of storytelling is made more intimate by the private rooms found in the below ground level. Moreover, dichroic glass is a prominent material in this project, serving as a poetic representation of diversity and discourse as the colors shift and mix throughout the day.

COMMUNITY WITHOUT CONTACT

an artist’s retreat in the desert landscape

Prof. Elizabeth Cronin Design 4 | Spring 2021

The artist who creates something from nothing must grant their mind reprieve, and in the barren desert they find everything. Being left to one’s own devices prompts introspection, and the artist’s retreat strives to facilitate intentional isolation wherein the artist can find clarity while still preserving the comfort of knowing others are around. Up to 15 artists can be housed at once, but they may never cross paths.

The parti situates a hub and a satellite at opposite ends with residual debris strewn in between. The hub is a much larger structure that is partially embedded in the ground. It houses most of the artists’ resources such as studio space, study rooms, and a library. Private pods can also be found here along the slope of the dune if the artists would like to reflect on their findings with one another without disrupting the isolation of others. On the far end of the site is the satellite, or the primary artist housing, which exists entirely above ground. Moreover, additional smaller individual rooms are scattered methodically across the desert to serve as clear wayfinding markers between ends. These rooms are mostly underground with only the entry door protruding so as to not to disrupt the horizon more than necessary.

"Hub" Short Section

WINTER

PARK ART HOUSE

fostering community via the art of stained glass

Prof. Lee-Su Huang Design 6 | Spring 2022

The Winter Park Art House is a collaboration with Rollins College that serves as a public arts venue intended to enrich the developing culture and character of the Park Avenue Corridor in Winter Park, Florida. Here, Rollins College students and Winter Park residents alike can come together to collaborate, create, and share their projects with a specific emphasis placed on the creation of stained glass works. Stained glass is unique in that it produces an “after-image,” or the resultant shapes found on the surfaces around them when light is shone through. As the sun’s position shifts so does this “after-image,” and this metaphor is reflective of the way art and culture continues to evolve over time.

There are two galleries, the larger of which is overlooked by a private studio for Rollins students only. The balcony-like nature of this space allows for students to see the reception of their work firsthand from above. Students also exclusively have access to the double level library found on the east end. Moreover, the cafe, lobby, and lecture all feature transparency that faces the context directly west of the site. The purpose of this is to guide visitors away from the street and promote more activity in areas that previously felt less inviting. The arrival is also found here, and the series of programmatic volumes that follows is linked by a continuous curved gesture along the east-west axis of the

North Elevation East Elevation

ANALYTICAL DRAWING

perceiving the world around us through line

Various Works 2020-2022

Drawing grants us the potential to visualize the unseen, to make the intangible physical. These drawings illustrate periods in time in which the built environment was explored through a more analytical lens. Earlier works are an introduction into understanding phenomenology such as light and sound, whereas later ones are brief sessions of documentation of European cities and structure with intentional editing. The result is an entirely new environment that nods to the original encounter while also emphasizing the spatial and phenomenological qualities being perceived by the viewer. It is a form of visual storytelling that provides a glimpse into the experience of an individual as they traversed a space. The design details stuck out to them, how the space made them feel, and the alignments that were most obvious to them can all be gleaned from a closer look of these pieces.

Brion Tomb | Treviso, Italy

Louvre Museum | Paris, France

Villa Emo | Treviso, Italy

Basilica Palladiana | Vicenza, Italy

CUBE

a constructed conversation

Prof. William Zajac Design 1 | Fall 2019

This first foray into design is a conversation between two voices moderated by a mediator. The mediator is composed of heavier components and more nuanced, smaller scale volumes to emphasize its role as the voice of reason. The other two opposing voices are of differing temperaments, with one being much more vocal than the other, which is made evident by the contrasting swaths of the total composition they each occupy. Exemplified by the consistent motif of elements in groups of three, the mediator is able to bring the voices to a consensus, encouraging the shout to hear the whisper as well as allowing the whisper to feel heard without strain. This is culminated in an ascending density of basswood elements encapsulated by an upper and lower gesture.

The Whisper The Shout The Mediator

FLOATING LANTERN

implementing light as a teather between spaces

A quickly evolving city such as Milan demands unique and functional architecture to serve its many permanent and transient inhabitants. This is especially so in the Italian city’s Porta Nuova District, known for its rapid charge towards modernity after being reimagined in the early 20th century. The result, however, was a lack of affordable housing for locals and transients alike. To resolve this, the Floating Lantern introduces light and malleable public space to Porta Nuova with a hostel, office and studio, and a museum. In doing so, transients have an inexpensive option that allows them to be in the center of the city while also offering a location for businesses and public events.

In collaboration with Abby Duffey

Prof. Michael Montoya and Prof. Sarah Gamble Design 7 | Fall 2022

Much of its facade is operable, with the lantern in particular having a double skin of translucent and transparent glass. The outer layer is of translucent glass and can fold upwards to control privacy as well as extend the interior space visually. This portion of the building exhibits its “lantern” quality by metaphorically collecting light throughout the day and releasing this light at night. Additionally, doubleheight floors feature a rotating panel facade to reshape the plan as needed. Futhermore, there are several tiers of public space, ranging from available to all, available to both hostel guests and office workers, and available to either hostel guests or office workers exclusively. The Floating Lantern elevates its visitors by granting access to the museum at its uppermost level and the hostel guests in particular have a split level communal area that is shared by every two floors. At the arrival, a constructed ground offers places to sit and mingle while also purposefully guiding visitors down a subtly sloped ramp to the entrance. Alignments from this concrete landscape extend below ground to the metro station where lightwells are purposefully placed to connect the lantern and station with ribbons of light.

Single-Level Facade Manipulation

Double-Level Facade Manipulation

THANK YOU.