Alexandra Raymond: Design Portfolio by Alexandra Raymond

ALEXANDRA RAYMOND DESIGN PORTFOLIO

CONTACT 1447 NW 12th Avenue, Apt. 529 Portland, OR 97209 831.535.3915 alexandrajraymond@gmail.com www.issuu.com/alexandraraymond

PHILOSOPHY USER-CENTRIC DESIGN The creation of an environment that is functional, accessible, and comfortable for all users is paramount. Users of the built environment interact with their surroundings in a multitude of ways, ways that are often unique to each user. It is essential that design focus on environmental comfort. A successful design is inviting to the user, imbuing warmth and welcome, and offering no hindrance to the overall use of the space. RESEARCH AND ANALYSIS Research is a critical step in understanding how users identify with a space. Research, analysis, and application of knowledge all contribute to an informed design. An informed design is a better design, and a better design thus contributes to the longevity of the design itself. A thorough understanding of user needs and wants not only contributes to client satisfaction, but also leads to a design that is environmentally, physically, and socially apt. Research should examine precedent, local conditions, environmental impacts, and human behavior. HEALTH AND WELL-BEING A design must contribute to and enhance the health and well-being of its users. A successful design recognizes the physical and environmental comfort of building occupants. A healthy design is one that is also conscious of the physical environment and the potential impacts of construction methods and materials utilized. A healthy design should consider elements such as indoor environmental air quality, the selection of materials that contribute to the well-being of users, and the inclusion of daylighting strategies. ENHANCED EXPERIENCE It is the subtle details of a design that contribute to an enriched human experience. Whether such details alter the perception of a space, induce a specific emotion, or provide a tactile stimulus, it is the inclusion of such details that enhance a userâ&#x20AC;&#x2122;s interaction with the space around them. No detail is immaterial. Electric lighting establishes atmosphere, daylighting implies movement, hardware leaves an impression, and circulation orchestrates an experience.

SANTA CRUZ TOWN HALL WATER ST

CIF RAN NB

Santa Cruz Town Hall is a municipal institution designed to extinguish the perception of government buildings as a means of expressing political power. This project utilizes an existing building of significance, calling upon its subtle neoclassical detailing and imbuing it with contemporary ideals of government transparency through design. Most important to the design of Town Hall is public perception of the symbolism ingrained in its presence. Both the spatial design and material selections for the project aim to establish a feeling of warmth while providing the opportunity for citizens of Santa Cruz to interface with their elected officials.

OR TE A VE

Santa Cruz, California Master’s Thesis, University of Oregon Revit, AutoCAD, Adobe Creative Suite

SITE PLAN

CENTRAL TRANSPARENCY

EXTERIOR TRANSPARENCIES

0’ 4’ 8’ 16’

NEW + HISTORICAL LINKAGE

PRIMARY CIRCULATION

32’

ADDITION + EAST ENTRY

SECTION B

STREET ENTRY

NEW ENTRY/CAFÃ&#x2030;

TOWN FORUM

CIVIC SERVICES COU

UNTERS

CIVIC SERVICES MEETING ROOMS

COURTYARD/EVENT

CAFE UP UP

EXHIBITION/EVENT

PUBLIC COPY RM.

SMALL MEET

PLANNING

SMALL MEET SMALL MEET HUMAN RESOURCES

PLANNING

FILE ST.

MEETING

CIVIC SERVICES

MEETING

FIRST FLOOR PLAN 0’ 4’ 8’

16’

32’

B MAYOR'S OFFICE

DN OPEN TO BELOW

OPEN TO BELOW

ARCHIVE

OPEN TO BELOW

ST.

CITY COUNCIL OFFICES

OPEN TO BELOW

BREAK RM.

COPY

CONFERENCE

THIRD FLOOR PLAN

16’

0’ 4’ 8’

32’

B OPEN TO BELOW

DN DN

MEETING

OPEN TO BELOW

COUNCIL CHAMBER

TOWN FORUM CONTROL MEETING

STORAGE DN

OPEN TO BELOW DN

ADMIN.

SECOND FLOOR PLAN C

0’ 4’ 8’

16’

32’

MATERIALS

Existing

The material selection, in conjunction with furniture and fixtures, celebrate both the distinction and unity of the old building and the new. The thresholds between the old and new parts of the building are demarcated by original materials found in the building, namely wood and brass.

SECTION A

Furniture selections consider the functional needs of the program, allowing users to easily move pieces to suit their needs.

MATERIALS

New

New materials introduced provide a tactile experience, an experience of warmth, of welcome, of brightness, and ultimately a reassurance of community harmony. These materials reflect the laid back lexicon of Santa Cruz, with a nod toward the beach and ocean environments in which the city is situated.

SECTION C

LEDusbOMG

Task Luminaire Peruvian walnut, wool design felt, USB port, toggle switch, cloth cord, LED strip. Designed for the Allen Hall Atrium at the University of Oregon, home to the Journalism Department, the LEDusbOMG bridges the gap between deeply rooted tradition and the modern tech fueled world. Walnut, cloth cord, and a toggle switch hint at the longstanding values of the department while the sleek modern form, LED lamp, and USB charging dock embrace the lifestyle of the contemporary journalism student. Partnership with Ren DeCherney and Lisa Hartanov.

THE SCALE

PRODUCT SPECIFICATION

THE SCALE

Product Description

6.5”

3.25”

6.5”

Design

1.5”

Lisa Hartanov & Alexandra Raymond

Wall-mounted Luminaire Unit Plywood, paint, LED strip.

The fish scale shape of the luminaire is inspired by the Art Deco patterns integrated the isJordan The fish scale shape throughout of the luminaire inspiredSchnitzer Art Museum entry lobby and courtyard. The by the Art Deco patterns integrated throughout symmetry of the scale allows for the tessellation of multiple shapes. The interior of the the Jordan Schnitzer Art Museum in entry lobby and luminaire painted gold to provide focal glow in whatever space it is utilized.

Concept

courtyard. The symmetry of the scale allows for the tessellation of multiple shapes. The interior of the luminaire is painted gold to provide focal glow Black Finish in whatever space it is utilized.

Material Back & front plate: MDF, Edging: Plywood birch veneer Partnership with Lisa Hartanov. Mounting

Sawtooth bracket. Cord type: 24 AWG black PVC power cord, Cord length: 9’

Weight

2.375 oz.

Lamp

diode led Blaze 12V LED Tape Light

OFF THE GRID CHAIR

Borrowed Objects as Inspiration: Terra cotta votive holder White ash frame, white oak veneer seat back, cotton canvas webbing. Wood joinery. The design of the OFF THE GRID chair draws inspiration from the square gridded pattern of a terra cotta votive holder. The seat plate of the chair assumes this grid, which is translated in a woven manner. The squares on the votive holder do not define the overall shape of the object. This sentiment is translated to OFF THE GRID, in which the structural quality of the chair is as important as the detail from which the seat borrows.

PROTOTYPE + PROCESS

OREGON BRASSWORKS GALLERY

The transformation of the Oregon Brassworks building presents a unique challenge, that which requires attention to the footprint of the bulding itself as well as the artists’ works chosen to inhabit the space. The narrow condition of the building means that space and its adjacent circulation must be carefully laid out. Such arose the concept for the Gallery at Oregon Brassworks. Circulation became installation display space and intallation display space became circulation. This is achieved by an L-shaped light tunnel, which in essence wraps around the permanent gallery. The space created within the crux of the L became critical to the attitude of confinement within the Dora Maar gallery. A strong diagonal juts across this space, thereby opening up entry to the building as a whole.

The form of and connection between gallery spaces arose out of the conceptual notion of creating a permanent gallery that evokes feelings of confinment and darkness. Such a notion reflects the Surrealist imagery of Dora Maar. Vierwers in effect enter a gallery that is lighter and filled with Maar’s early works. As viewers progress into the gallery, they encounter a darker environment featuring Surrealist images from the height of Maar’s photographic career. Linked to the permanent gallery is the light space, meant to communicate a similar sensory experience of enclosure. This space does so with quite the opposite conveyance of light. The linkage of the permanent gallery and light space not only connects the areas conceptually, but also serves as an inspiration for the spatial organization of the remainder of the buidling.

INTERLOCKING VOLUMES

LIGHT INSTALLATION & PERMANENT GALLERY Oregon Brassworks Building Portland, Oregon AutoCAD, Sketchup, marker The adaptive reuse of the Oregon Brassworks building required attention to the footprint of the building itself as well as the artists’ works chosen to inhabit the space. The form of and connection between gallery spaces arose out of the conceptual notion of creating a permanent gallery that evokes feelings of confinement and darkness, reflecting the permanent artist’s work. Linked to the permanent gallery is the light space, meant to communicate a similar sensory experience of enclosure, again in relation to the work of the artist.

SECTION A

ENTRY

SECTION B

OFFICE