PORTFOLIO
2012
ARCHITECTURAL DESIGN MONICA STERRETT
FLORENCE, ITALY
06
PORTFOLIO CONTENTS MONICA STERRETT
01 02 03 04
RIDLEY’S
PAGNALL ST
FOG BANK
RIDLEY RD MARKET, LONDON DALSTON, LONDON
NEW CROSS, LONDON
3A GALLERY, SAN FRANCISCO
SEPTEMBER 2011
MAY 2011
APRIL - OCOTBER 2011
FEBRUARY 2010
TEMPORARY RESTAURANT
POP-UP TEA HOUSE
DESIGN BUILD: RESIDENTAL,
THESIS STUDIO 2010 CLASS
DESIGN BUILD
INSTALLATION
STUDIO AND GALLERY SPACE INSTALLATION
URBAN FOG
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ASSIMILATION GRAPHIC & CONTRAST DESIGN HAYES VALLERY, ACADEMY SAN FRANCISCO RESIDENTIAL UNIT
SAN LUIS OBISPO, CALIFORNIA
SAN DOMMINO INTANGIBLE INCINERATOR CAL POLY SLO ARCHITECTURE FLORENCE, ITALY ENERGY MUSEUM
MEDIA RESOURCE CENTER OCTOBER 2009 INSTALLATION
RIDLEY’S TEMPORARY RESTAURANT OPEN SEPTEMBER 2011 RIDLEY ROAD MARKET, LONDON UK WORKING FOR ATELIER CHAN CHAN
01
Ridley’s, a temporary dining experience in Dalston, is a project by The Decorators and Atelier ChanChan. This group of designers-artists-architects have transformed an exposed yet derelict void in Ridley Road market, into a podium for outdoor exhibitionist eating. For the month of September a two-storey structure will rise above the stalls, housing a new kind of market food initiative. Come and exchange market produce for a meal if you’re having lunch or bring £15 if you’re looking for dinner (includes your dinner and a £5 food shopping voucher for use at the market ). A lineup of guest chefs will create daily menus from market produce only, whilst diners share a communal table high above the market. Meals prepared in the ground floor kitchen, the hub of exchange and production, will be raised by a mechanical table up to the guests on the first floor. This scenographic journey emphasizes the vertical transformation of the raw food at market level to the cooked meals at the elevated podium above. This temporary summer installation is a means of demonstrating the kind of activities that could be created to make the life of this market sustainable and is an opportunity to re-imagine the possibilities for the regeneration of the area.
ND GSLA N I K TON DALS
T TREE S H HIG
RIDL EY R OA
R
T KE AR DM RIDLEY ROAD MARKET Serving a diverse community, the produce you find in the market is equally as varied and exotic. Turkish, Jewish, Asian, cockney, African and Caribbean food sit amongst saris, african music and full chickens hanging in the butcher shops. This vibrant market is the place to go to find exotic good and reasonable priced produce. However the century old market sits near the future Olympic site and faces issues of gentrification and redundancy. The profits from these second and third generation family stalls have been dropping in the last five years.
TO GO LUNCH
RAIL
80 mm
A
16MM HOLLOW STEEL SUPPORT (4 PER SIDE, 16 TOTAL, 4480 mm TOTAL)
B
16 SQUARE WASHERS (SELF COLORED) WELDING TO SUPPORT SCAFFOLDING BEAM CLAMP STRUCTURAL GRADE (TRADITIONAL USED TO SUPPORT STEEL BEAMS)
C 88 mm
A B 200mm
DETAIL A CURTAINS RAIL CONNECTION
C
B
STRUCTURE
C
Scaffolding, traditionally used as a parasite on an existing building, provides for an eco-friendly structure for a temporary project, that can be erected and disassembled without waste. We worked with a
A
scaffolding company, to create a custom two- story structure. Manipulating the traditional components that join poles, to provide joints for the counters, shelves, cabinets and curtail rails. CURTAINS The 5 meter long curtain is made from 120 mm wide transparent silicone rubber sheeting. Traditionally used in smaller quantities in medical applications.
A D
B C DETAIL B CORNER CONDITION
A
16MM HOLLOW STEEL SUPPORT BENT TO ALLOW A CONTINUOUS RAIL SPANING EDGES
B
12 MM BRIGHT BAR WELDED INSIDE THE 16MM HOLLOW STEEL TO CONNECT PARTS
C D
80 mm
B
16MM HOLLOW STEEL SUPPORT 3.5 M LENGHT, 2 PER SIDE, 8 TOTAL, BRIGHT BAR WELDED IN ONE PER SIDE ROD SUPPORTS 2 PER RAIL LENGHT 16 TOTAL SPACE EVERY 1.5 M
A DETAIL C CURTAINS RING
A
10 MM SELF COLORED WASHERS WELDED TO THE RING
B
6MM SOLD STEEL ROD 215 MM LONG PER ROD BENT 80 MM HOOK (30MM SPACING, 20 PER SIDE, 60 HOOKS) 12M TOTAL
MOVEABLE SERVING TABLE Meals prepared at the market level kitchen, the hub of exchange and production, are raised by a mechanical table up to the guests on the first floor. This scenographic journey emphasizes the vertical transformation of the raw food at market level to the cooked meals at the elevated podium above. Emphasizing the spectacle of serving, and preparation of the food.
URBAN FOG POP-UP TEAHOUSE DALSTON, LONDON UK OPEN MAY 1 -21, 2011 WORKING FOR ATELIER CHAN CHAN
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URBAN FOG is an art installation and teahouse designed, fabricated and run by a group of young designers. Atelier Chan Chan teamed
nature of the site. It is a site specific response to a derelict, walled and hidden pocket of empty space in Dalston .
up with a local cafe, Tina’s We Salute You, to create a temporary one month tea house; echoing local culture of transient art and the hidden
and a wider investigation into escape, transparency, and thresholds. Varying levels of privacy through material and atmosphere affect.
The installation utilizes the depth of the long enclosed site to create a series of
thresholds of occupation. The long trajectory of the space is seen as a journey for the body and the eye, like a series of foggy cinematic frames capturing increasing levels of private space. Like entering a lost cloud which has temporarily come to rest in this urban void, figures appear and disappear within the depth of the space and are distorted through light and shadow.
SEATING POCKETS
TEA/CAFE AREA
ENTRANCE
PAGNALL ST NEW CROSS, LONDON UK APRIL- NOVEMBER 2011 DESIGN BUILD GALLERY, STUDIO, RESIDENTIAL COMPLETE RECONSTRUCTION OF DERELICT BURNED OUT BUILDING
03
EXISTING BUILDING APRIL 2011
VIEW OF EXISTING DOORWAY FROM INTERIOR
THE INSTALLATION STEEL DOOR FRAME
DOOR USED AS PROJECTION SCREEN DURING GALLERY OPENING
DETAIL CROSS-SECTION
DETAIL FRONT VIEW
EXTERIOR
100MM X 75MM X 12MM PLATE SET INTO DOOR FRAME 16.5MM DRILLED HOLE IN DOOR FRAME (TIGHT FIT) STEEL WASHERS
16MM STEEL ROD WELDED TO 100MM X 100MM X 12MM PLATE SET INTO CONCRETE
INTERIOR
16MM FIRE TREATED MARINE GRADE PLY
16MM FIRE TREATED MARINE GRADE PLY
WHITE RENDERED PLASTER BOARD
CEMENT BOARD RIGID INSULATION BETWEEN WOOD BATONS
100MM X 100MM X 12MM PLATE SET INTO STEEL FRAME 16.5MM DRILLED HOLE IN STEEL CHANNEL (TIGHT FIT) 16MM STEEL ROD WELDED TO 100MM X 100MM X12MM PLATE SET INTO 12MM PLATE
100 X 50 X 10.0KG MILLED STEEL BOX
CXL 240
100MM X 100MM X 12MM PLATE SET INTO STEEL RAM
203 X 203 X 52 UC
16 MM DRILLED OLE IN STEEL C ANNEL TI T IT
100 X 0 X 10 MILLED STEEL C
16MM STEEL ROD WELDED TO 100MM X 100MM X 12MM PLATE SET INTO CONCRETE
ELEVATION
0
ANNEL
VIEW FINAL THRESHOLD EXTERIOR
150 X 150 SHS
FOG BANK 3A GALLERY FRANCISCO SAN SAN DOMMINO INCINERATOR JANUARY 25 -FEBRUARY FLORENCE, ITALY 30, 2010 THESIS STUDIO 2010 CLASS INSTALLATION
06 04
Fog Bank is an installation investigating affective environments through multiple
means: texture variation, light, blurring, reflectivity and varying opacity. The surface of the installation is composed of plastic tubes clustered together to form a surface derived from programmatic elements in the space. Together, the tubes create a highly animated effect, alternately shimmering with light or distorting it to create an atmosphere diffused throughout the space at once tangible yet ethereal.
As a studio, we had 20 people working on fabricating and installing the 26,085 tube pieces. Beside my role in
fabrication of the tubes, specifically, I was in charge of the lighting design, With a limited budget, I tried to utilized the existing light sources in the room and experiment with light filters to create maximum impact for minimal cost.
Space is a reality of our sensory experience, and man perceives space first through the sense of sight. According to Gestaltists we view multiple objects as a group or totality and use certain perceptual clues, such as assimilation and contrast in interpreting these objects. Where objects overlap there is a visual ambiguity created and the objects lose their individual identify when our eyes assimilate objects to minimize stimuli and create uniformity. Since this uniformity is the creation of multiple objects, what we visual perceive is not the spatial reality. In order to understand the space, the relationship of the objects must be established by introducing contrast. The scroll begins with a series of lines, yet do to the assimilation they appear to be just positive and negative planes, lacking overlap and penetration. By making series of localized changes to introduce more contrast and break the assimilation, the appearance of the space and depth
Space is a reality of our sensory experience, and man perceives space first through the sense of sight. According to Gestaltists we view multiple objects as a group or totality and use certain perceptual clues, such as assimilation and contrast in interpreting these objects. Where objects overlap there is a visual ambiguity created and the objects lose their individual identify when our eyes assimilate objects to minimize stimuli and create uniformity. Since this uniformity is the creation of multiple objects, what we visual perceive is not the spatial reality. In order to understand the space, the relationship of the objects must be established by introducing contrast. The scroll begins with a series of lines, yet do to the assimilation they appear to be just positive and negative planes, lacking overlap and penetration. By making series of localized changes to introduce more contrast and break the assimilation, the appearance of the space and depth
05 CONDO COMPLEX HAYES VALLEY SAN FRANCISCO
ASSIMILATION AND CONTRAST
Space is a reality of our sensory experience, and man perceives space first through the sense of sight. According to Gestaltists we view multiple objects as a group or totality and use certain perceptual clues, such as assimilation and contrast in interpreting these objects. Where objects overlap there is a visual ambiguity created and the objects lose their individual identify when our eyes assimilate objects to minimize stimuli and create uniformity. Since this uniformity is the creation of multiple objects, what we visual perceive is not the spatial reality. In order to understand the space, the relationship of the objects must be established by introducing contrast. The scroll begins with a series of lines, yet do to the assimilation they appear to be just positive and negative planes, lacking overlap and penetration. By making series of localized changes to introduce more contrast and break the assimilation, the appearance of the space and depth
Above: Still frames from experimental animation “Localized changes to composition alter your perception of the relationship of objects in the field.�
Space is a reality of our sensory
introducing contrast. These concepts
the assimilation, the appearance of the
experience, and man perceives space
were investigated with an abstract
space and depth of the whole piece is
first through the sense of sight.
animation. It begins with a series of
comprehended differently. When the
According to Gestaltists we view
lines, yet do to the assimilation they
relationship of the localized pieces changes
multiple objects as a group or totality
appear to be just positive and negative
the composition of the whole is perceived
and use certain perceptual clues,
planes, lacking overlap and penetration.
differently. In architecture the relationship
such as assimilation and contrast
By making series of localized changes
changes due to the movement of the user
in interpreting these objects. Where
to introduce more contrast and break
and the materiality of the surfaces.
objects overlap there is a visual ambiguity created and the objects lose their individual identify when our eyes assimilate objects to minimize stimuli and create uniformity. Since this uniformity is the creation of multiple objects, what we visually perceive is not the spatial reality. In order to understand the space, the relationship of the objects must be established by
Space is a reality of our sensory experience, and man perceives space first through the sense of sight. According to Gestaltists we view multiple objects as a group or totality and use certain perceptual clues, such as assimilation and contrast in interpreting these objects. Where objects overlap there is a visual ambiguity created and the objects lose their individual identify when our eyes assimilate objects to minimize stimuli and create uniformity. Since this uniformity is the creation of multiple objects, what we visual perceive is not the spatial reality. In order to understand the space, the relationship of the objects must be established by introducing contrast. The animation begins with a series of lines, yet do to the assimilation they appear to be just positive and negative planes, lacking overlap and penetration. By making series of localized changes to introduce more contrast and break the assimilation, the
GROUND FLOOR
FIRST FLOOR
LONGITUDINAL SECTION
SECOND FLOOR
GRAPHIC DESIGN ACADEMY SAN LUIS OBISPO, CALIFORNIA STUDENT DESIGN PROJECT
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The Academy site, situated within an unused urban delta, is a natural point of
COLLISION between three major vehicular roads
A 300 student high school, the
academy provides an education with a focus on graphic design. The building and program reflects this condition, with the design education colliding with the general education. As a result of the impact, the steel skin DISINTEGRATES exposing fluctuating levels of transparency.
CA
RM
Vehicular Entrance to
EL
ST
Underground Parking ST
Dormitories
HIG UR A
& Student Center Design Studios
N Classrooms
1�= 100�
Bus Stop
Technology
M
Gallery
T
HS
S AR
1 5
1
2
1
1 5
6
01
5 1
11
Facade Variation Formula _ Levels of Opacity
3
Dimensions Transparency
1- Deterrent Seal 2- Opening in Horizontal Rails 3- Pressure Equalization Chambers 4- Tight air seals 5- Glass 6- Exterior
1
9
7
3 SOUTH ELEVATION SECTION LONGITUDINAL
5
GLAZED CURTAIN WALL PRESSURE EQUALIZATION
9
1
3 3
01
22
20
00 11 10
20
12
20
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20
21
00 11 02
21
00
22
20
1- Technology Lab 2- Design/Art Studios 3- Lecture Rooms 2
4- Office 5- Public Gallery
9 10
1
6- Library
9
7- Student Center LEVEL THREE
8- Kitchen 9- Dorm Unit 10- Courtyard 11- Parking
2
2
2
9
10 3
9
3
3 3 3
6
LEVEL TWO N 1”= 100” 11
2
4 5
2
2
9 10
3
3
3 3 3 3
7
8 LEVEL ONE
6
SAN DOMMINO INCINERATOR FLORENCE, ITALY
07
ZONES Water Gathering Vegetation Water Feature City Integration Landscaped Fields
City of San Donnino
Highway
N
Walking Path Connecting to Firenze
1”= 1000”
Arno River
San Dommino , a small suburb right outside Firenze, has been plagued with
7 2
6
bad air quality and noise since the trash incinerator was built in the 60. Original
4
5
1
4
view as the utopian solution to the trash problem of Firenze, this futurists machine now lays a banned. This project expands the existing building and recreate connections between the broken site, the city of San Dommino and the city of
3
Firenze. Working on multiple scales, from master planning to interior renovation. [1} Incinerator [2] Parking [3] Node to
3
5
Residents of San Dommino [4] Entrance paths [5] Reflecting pools with storage tanks [6] Boat Docks [7] Path to Casine Park Firenze
4
5
1
2
Museum for Energy Efficiency Circulations STEAM - VAPOR 3 HOT WATER 2 WARM WATER 1 COOL WATER 0 STEAM
Spa for Local Residents Circulation
3 2 1 0
H
O
T
WARM COOL
dn.
dn.
Ground Floor Plan
First Floor Plan 6
up
5
up
3 1 2 3 4
dn.
Ground floor [1] spa: entry/lobby [2] lockers/rest rooms [3] cafe/gift shop [4] elevators to restaurant [5] cool pool [6] storage tanks
2
2 1
dn.
dn.
2
Longitudinal Section
A
Second Floor Plan 2
First floor [1]museum: entry [2] rest rooms [3] warm pool [4]reflective pool Second floor [1] museum: exhibition [2] hot pools
Third Floor Plan up
2
1
2
1
2 3
4 Third floor [1] museum: exhibition [2] steam rooms [3] spa: outdoor deck [4] (open to below)
2
1
INTANGIBLE SAN DOMMINO INCINERATOR CAL POLY SAN LUIS OBISPO ARCHITECTURE MEDIA RESOURCE CENTER ITALY 1-1FLORENCE, SCALE BUILT PROTOTYPE OF MATERIAL AFFECT STUDY OCTOBER 2009
06 08
LIGHT AS MATERIAL
multiple, superimposed light sources that
This installation was fabricated with
This installation investigates the capacity
shift based on the parameters of a basic
thermodynamics P.E.T plastic that used
for spectral light to take on physical and
animation, resulting in imagery with a life
a C.N.C routed frame as a guide . The
spatial qualities. Through the use of
and depth far greater than the sum of its
wall is created with two different panel
reformed glossy plastic, simple projected
individual components. The individual is
variations, rotating to form the pattern.
images are bent and refracted into
able to participate in this transformation
Panels are attached to a wood framing
ethereal wisps. Using the wall not just
more directly through process of
system. Light projectors were embedded
as a surface but a tool to manipulate the
circulating on stage, whereupon the
into a walk able C.N.C. routed stage.
environment. This transformation takes
interference with each light creates varied
a step further with the application of
fluctuations in the final image.