Odenis Vitoreli, Jr.Architectural Portfolio

Paradisiacal ChapelFall 2009Grad 3Studio Critic - Juhani Pallasmaa Nancy Clark

Inscrutable UrnFall 2009Grad 3Studio Critic - Juhani Pallasmaa Nancy Clark

Office NodeSpring 2009Grad 2Studio Critic: Prof. Martin Gold

Interpretive CenterFall 2008Grad 1Studio Critic: Prof. Guy Peterson

PavilionFall 2008Grad 1Studio Critic: Prof. Guy Peterson

Regeneration of the urban typologySpring 2008Design 8Studio Critic: Prof. Francesco CappellariGroup Members: Odenis Vitoreli, Goura Rivera, Joseph Wynn

Civic CenterFall 2007Design 7Studio Critic: Prof. Paul Robinson

Madison LaneJean DuboisGainesville FL

Magnolia Bay Innovation CenterMichael Pellett, ArchitectGainesville, FL

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Oil Paintings

Greater Liberty Hill United Methodist ChurchMichael Pellett, ArchitectGainesville FL

Transformable Workstation2009 Pride in Place Charrette First Place Winner

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In the garden of remembrance all the senses are triggered by the harmony produced by the colors, materials, and softness of the landscape. As one moves through the water lily garden the body becomes weightless in the space between water, sky, and color. The joyful hues are a threshold to a paradisiacal atmosphere much like the ones found in the landscapes painted by Claude Monet. Every spring the wildflower garden is re-born, which brings forward the beginning of a new journey. The powerful and comforting light enters the chapel from the opening above, and embraces the mourner creating a sense of tranquility and hope. As the mind is mourning the loss of a loved one, the eyes are directed to the peaceful water that surrounds the chapel. This water is like the waters from a mighty river that brings nourishment and life to the land. The river flows under the warm red cypress wood tower, which is the place for the final goodbye. In this intimate space the natural light enters from a small window below the casket’s podium and moves upward accentuating the verticality of the space.

Gainesville, FLFunerary ChapelFall 2009Grad 3Studio Critic - Juhani Pallasmaa

Paradisiacal Chapel

Site Plan

Model Images

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Light Studies

Longitudinal Section

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Cross Section

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South Elevation

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West Elevation

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Book Table Detail

Lobby Section

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An artist creates his work in his mind, but the hand is used as an instrument to materialize the ideas. In the case of a painter, the bush becomes an extension of the hands, and thus becomes a connection between the body and the canvas. In the beginning of his career, Rauschenberg abandoned the brush and started to paint with his bare hands as a way to create a closer relationship between him and his art. The process of creating with the hands and the uncertainty of the final product became an inspiration for the design of the urn. An important intention on the project was that the form of the object would be the result of experimentation and the layering of information. The project started with a rectangular volume measuring 3.5 inches in length by 3.5 inches in width and 20 inches in height. These measurements were based on the size of an average hand and the proportion of the human body. The urn is the final resting place of the human body, so the use of the proportions of the body to create the volume creates a connection between the body and the object. The volume was then slowly carved in order to obtain a shape

that insinuates how the mourner should hold the urn. Then, the mold was covered with several layers of paper mache. The beauty in Rauschenberg’s artwork is the process that he goes through to combine different techniques and materials into one object of art. The process is sometimes revealed as part of the final artifact, but in many instances the artifact becomes a harmonic composition. In the same way, an additive process resulted in a uniform element that cannot be separated without altering the final product, thus creating the urn.

Funerary Urn for Robert RauschenbergFall 2009Grad 3Studio Critic - Juhani Pallasmaa Nancy Clark

Inscrutable Urn

Elevations Sections

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The component parts of the innovative office create spaces that promote communal interaction and dissolve the boundaries between work, leisure, ecology, and technology. The site is located in Gainesville, Florida in the former Alachua County Fairground. The North south orientation of the buildings, and 60 feet width of the floor plate provide for maximum use of daylight. The utility core is located on the East and West extremity to minimize heat gain. The south side uses a screen device that collects sun energy and provides shade to the facade of the building. A wetland system was created through the site to naturally filter storm water. Green roofs were used to Improve storm water management, insulation, and microclimate of the area. The site proposal retains most of the existing tree canopy coverage.

Gainesville, FLOffice NodeSpring 2009Grad 2Studio Critic: Prof. Martin Gold

Office Node

Hydrology diagram

Natural light diagram

Tree canopy diagram

Green roof diagrams

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Ground Level Plan

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Access floorsFlexible for office recon -figuration

Point of service airdistribution provides in-creased comfort and control

Light-Shelf increases light distribution into the interiorof floor plate

Screen wall system function as shading device and solar energy collector

Green Roof increases heat in-sulation and improve storm water management

Fresh air intake

Return air

Water Cistern

Collect rain water

PotableWater

Cooling and Heating

Electrical and dataSystem

Electricity ><

Gray Water

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Meeting Space

Presentation Area

Meeting bench

Meeting Space

Micro Kitchen

MeetingSpace

Meeting SpaceMeeting Space

Micro Kitchen

Presentation Area

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The program is an Interpretive Center for the city of St. Augustine, FL. The objective is to create a space that will educate the public on the rich military and civil colonial life of city. Exhibition spaces, auditorium, offices, and retail will compose this center. One of the main challenges of the project is how to create a modern intervention on a historical context. The architecture should harmonize with the rich historical fabric of St. George, and became a link between the past and the modern city. The final product will enrich the city’s tourism by providing the visitor with cultural tourism. The Interpretive Center will give the tools for the visitors to gain a deep understanding of the historical context of St. Augustine.

St. Augustine, FLInterpretive CenterFall 2008Grad 1Studio Critic: Prof. Guy Peterson

St. Augustine - Interpretive Center

St. Augustine Interpretive Center

The site for the Interpretive Center is located between St. George Street and the Castillo de San Marcos. St. George Street is a representation of St. Augustine historical colonial life, and the Castillo is a representation of the Military colonial life. The main aim of the Interpretive Center is to create a conceptual, physical, and visual link between the two situations. The conceptual connection is created by the museum itinerary. The visitor starts the journey by ascending to the Spanish Quarter gallery. The gallery contains artifacts from the historical civil life in St. Augustine. The architecture provides spaces where the visitor can pause and look back to the historical St. George, but also look forward to the Castillo. After visiting the Spanish Quarter gallery the journey takes the visitor through a glass bridge over A1A. The bridges provide the visitor with a visual connection to the city. In the Castillo side of the bridge the visitors descend to the Castillo gallery through a glass tower. The gallery takes the visitor back to the military era in St. Augustine. The museum becomes a corridor that connects St. George street to the Castillo de San Marcos.

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The design of pavilion type structures has played and important role throughout architectural history. The pavilion series studio project in this context is provisionally defined and envisioned to serve as a string of gathering places or small salons for the St. Augustine community. The primary goal for the initial studio project will be to weave the manifold forces of the pavilions the aesthetics/symbolic relationship to the cultural context, the relationship of the immediate site, and the programmatic experience- into a integrated and layered spatial unit guided by a clear architectural context.

UF G-SOA

St. Augustine, FLPavilionFall 2008Grad 1Studio Critic: Prof. Guy Peterson

A Pavilion for Cultural Exchange in St. Augustine, Florida

Sculpture becomes Architecture on the landscape

“I dream of sculpture in which landscape, architecture, and the city become one” Fritz Wotruba

The street is punctured 3 times to create an itinerary through layers of history and time. The first puncture is a memorial to the unmarked graves, the second is a memorial to the city history, and the third is a memorial to the wall. Each site becomes a place of memory, a place of rest, and place of gather. The procession reveals the object to the eyes [SCULPTURE] and brings the body through the space [ARCHITECTURE].46

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There are hundreds of new housing projects being built in Bucharest, but there is little or no planning involved on the design of these projects. The only purpose is to build fast and cheap, and there is no concern for the quality of these spaces. As a result many of these places do not offer the inhabitants a place where they can feel like home, a place that they can individualize in privacy; those places become just a shelter, a protection from the elements. Therefore, questions arise: How can we create a dense housing project in the city that will generate some of the same perceived individualized qualities of the country? How can we build cheap and efficient and yet take into consideration the quality of individual spaces?

Bucharest, RomaniaHousingSpring 2008Design 8Studio Critic: Prof. Francesco CappellariGroup Members: Odenis Vitoreli, Goura Rivera, Joseph Wynn

Bucharest Housing: Regeneration of the urban typology

Bucharest Housing: Regeneration of the urban typology

The proposal is to revitalize a dilapidated neighborhood area by developing two housing strategies. The first is a reinterpretation of the existing residential typology of the site. The second strategy is a dense apartment building. The design is a prototype that can be rearranged in different configurations; its flexibility will allow it to become a driving force in the redevelopment of other areas in Bucharest. In order to support the needs of the existing community and the new housing, the project would offer a day care, preschool, and commercial. The commercial will animate the street edge, by establishing an urban moment between industrial and the residential. The intimate scale of the public spaces provides physical, visual, and conceptual connections between the new and the existing.

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Villas

The small scale buildings are a transition between the existing neighborhood and the new housing compound. The buildings are a re-interpretation of the existing typology of the site. Each building is around three stories high, and contain between two to three apartments. There is a mix of two and three bedrooms units ranging from 100 to 150 square meters. Each building has a private outdoor area with green spaces. Parking is providing in some of the units, and there are additional park on the main garage of the complex.

HousingThe program includes two types of housing. One is a re-interpretation of the existing residential typology, where the other is a dense apartment building. The first system is comprised of 3 story buildings, with two to three units per building. The second is a seven story building that contains commercial in the ground level. The program contains one, two, and three bedrooms units. The one bedroom units are aimed towards young adults or young couples, while the two and three bedrooms are aimed towards families. One of the main goals in each unit is to take full advantage of the natural features, such as natural lighting and natural ventilation. Some of the units will also have access to an outdoor space.

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The program for the project is a mixture between housing and public space. The housing component is composed of fifteen apartments, and the public component is composed of four meeting spaces. The meeting spaces are to be used by government officials and citizens to discuss civic issues in Venice. The concept for the project came from the idea of government and civic history. In my research I studied the “Allegory and effects of good and bad government” by Ambrogio Lorenzetti. These frescos represent the effects that a good or bad regime would have in a town or country. The frescos have a series of symbolic gestures such as good government on the left, bad on the right; good government light, and bad government dark, and so on. Subsequently, I looked into the civic history of Venice and absorbed how the regime influenced the rise and fall of Venice throughout history.

Venice, ItalyCivic CenterFall 2007Design 7Studio Critic: Prof. Paul Robinson

Venice - Civic Center

The meeting spaces are located in the north area of the building. The ground level is composed of a reception desk, restrooms, elevator, one meeting space, and the staircase. On the first level there is the second meeting space, and on the second level the third meeting space. The third level contains the last meeting space and a connection to an exterior garden. The meeting spaces are organized so that there is a level of transparency between the spaces, so that as one moves through the spaces, there is always the opportunity to view what is happening in the different meeting areas. There is also a degree of transparency between the inside and the outside, so that even as one moves around the structure it is possible to see the activities inside. The private area of the building is composed of fifteen units, in which six are two bedroom apartments and nine are one bedroom. Eight of the one-bedroom units are lofts, where the bedroom is located on the second level and the public areas on the first level. The apartments are organized around three atriums. The atriums function as light wells to the inner units, but also as an away to create outside spaces for the apartments. The third level contains two gardens in which one is reserved inclusively to the inhabitants of the building. The second garden works as an informal gathering space between the users of the public spaces and the dwellers of the building.

Ground Level Plan

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First Level Plan Second Level Plan

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Third Level Plan

Longitudinal Section

West Elevation South Elevation66

South Elevation 67

Professional Work

Madison Lane

Jean Dubois

Responsible to fully develop a schematic design for a possible sustainable and affordable housing development a site located on the east side of Gainesville, Florida. The double height living room with a full height glazed wall opens to an enclosed courtyard, which provides privacy while letting abundant natural light into the interior spaces. An open floor plan in combination with sliding room dividers provides for maximum use of space, and allows for cross ventilation in the units. The bedroom in the first level opens to the double height living room, and overlooks the living spaces and outdoor courtyard. A careful research of green technologies, materials, finishes, and lighting was used to create a high performance energy efficient building. Each building includes two townhouses and an upstairs apartment.

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1st Level Plan

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2nd Level Plan

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Magnolia Bay Innovation Center

Michael Pellett, ArchitectGainesville, FL

Participated in the schematic design for a 5 stories office building for downtown Gainesville. The program for the project contains an underground parking, flexible office spaces, conference rooms, and retail spaces. Responsibility under the supervision of Michael Pellett architect included: site planning, schematic design, floor plan development, 3D modeling, rendering, development of presentation boards, and development of digital animation for advertisement.

Typical Floor Plan

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Greater Liberty Hill United Methodist Church

Michael Pellett, Architect

Participated in the schematic design for a new fellowship hall for Gainesville’s Greater Liberty Hill United Methodist Church. The program for the project contains a sanctuary, cry-room, lobby, and restrooms. Responsibility, under the supervision of Michael Pellett architect included: site planning, schematic design, floor plan development, 3D modeling, renderings, and development of presentation boards.

Floor Plan

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Transformable Workstation

This conceptual design was chosen as the 2009 Pride in Place Charrette First Place Winner. The winner team was responsible to revise the conceptual design and create a prototype for the desk. The responsibilities of the team included a series of meetings with members of the University of Florida College of Design, Construction and Planning during the design development of the prototype. In addition, the team was responsible to develop models, research materials, and create fabrication drawings and guidelines for the desk. The new desks are going to be used in the Architecture and Landscape architecture studios.

Team Members: Odenis Vitoreli, Ryan McGinn, Kimberly Gillan

2009 Pride in Place Charrette First Place Winner

SHELVING FOR BOOKS

DRAWING STORAGE

MOBILE MODULE for supplies storage

ROLL STORAGE/MODEL SUPPLIES

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1. TYPICAL STUDIO LAYOUT. The mobile module can be used in different arrangements as a secondary work surface.

2. PRESENTATION MODE.The mobile modules can also be used as presentation tables when pushed together to create a larger surface for project models to be displayed.

3. CONFERENCE MEETINGS.The mobile modules can also be arranged to accommodate a conference style arrangement for group discussions.

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Oil Paintings

VitoreliApollo and Daphne2010

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Vitoreli The mirror2010

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vitoreli Redemption

2009

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VitoreliMadam Butterfly2008

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VitoreliApproaching virtue

2008

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VitoreliToro Inmolado2008

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VitoreliDevil’s Playground

2008

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