Selected Works 2016-2020

SHERYL WADEHRA SELECTED WORKS 2016-2020

ARCHITECTURE. 1. VOXEL: THE POST ELECTRIC CRISIS 2. FUNDAMENTAL: PARQUE 02 3. NO MAN’S LAND 4. ANAMEOSIS 5. ASCENSION 6. TENSEGRITY

MIXED MEDIA. 7. ALL THE WORLD’S A STAGE 8. GRIND MY GEARS 9. FABRICATING FEELINGS 10. NATURE VS. NURTURE 11. CHRONOTORIUM 12. PROCESS I 13. PROCESS II

VOXEL: THE POST ELECTRIC CRISIS LOCATION: LONDON, ENGLAND TYPE: DATA MANIPULATION SKYSCRAPER IN COLLABORATION WITH: MONICA VALLE

In efforts to preserve political equilibrium in an era where the flawed practices of intergovernmental organizations caused their own descent, humanity resorts to well-developed AI to allow for global order. Treaty mechanisms based on assemblies of the most powerful governmental entities using human decision and defining veto power are anachronistic in nature. They are now left behind for impartial databased systems developed through years of scientific development and the rise of machine learning.

Allowing technology to take hold of the diplomatic process though the analytical processing of data continuously input by global agencies specialized in each social, scientific, and economic field ensures the functioning of the system in a decreasingly politically charged environment; furthermore allowing the voxel to be a public assembly space giving the option to the community to take part of the final and most important stage of the process: the human decision in an almost entirely digitized system.

Ultimately this network is used to digitize the power regeneration infrastructure through a diplomatic establishment shaped by electric surges running through regenerative voxel units resulting in a decentralized global power grid; equalizing power, and making it accessible to the people.

ELECTRIC SURGE STUDIES STATE OF THE WORLD: CHAOTIC

STATE OF THE WORLD: AUTONOMOUS

STATE OF THE WORLD: NEUTRAL

STATE OF THE WORLD: CONSTRAINT

STATE OF THE WORLD: IDEAL

GENERATOR AXON

75 ft NUCLEAR GENERATOR

0 ft GROUND LEVEL

-150 ft UNDERGROUND TRANSIT

-200 ft ADAPTIVE REUSE OF LONDON POWER TUNNELS

POLITICAL FRAMEWORK

SUPPLIER

POWER

DATA

DIVISON

STATE OF THE WORLD: POLITICAL

DIPLOMATIC ISSUES

GENTRY

MASSES

EVALUATE EVALUATE DEBATE EXECUTE

CLOSE

CLOSE EXECUTION TIME

SUB ISSUE

CLOSE

CLOSE

EXECUTE

POLITICAL FRAMEWORK

THE MASSES

TOUCH INTERFACE

VOXEL INTERACTION

ELECTRIC FRAMEWORK

VOXEL

VOID

POWER

DATA

STATE OF THE WORLD: ELECTRIC

DIPLOMATIC OPENING

GENTRY

MASSES

EVALUATE

EVALUATE

EXECUTE

CLOSE

DEBATE

CLOSE

TIME EXTENDED EXECUTE CLOSE

SUB ISSUE

SUB ISSUE 1

CLOSE

SUB ISSUE 2

ELECTRIC FRAMEWORK

ELECTRIC FLUX

SURGE STATION

NETWORK COVERAGE

VOXEL SUPPLIER

DATA

POWER

VOXEL

DATA

DIVISON

VOID

POWER

DIPLOMATIC ISSUES

VOID

DIPLOMATIC ISSUES I

DIPLOMA ISSUE

MASSES

GENTRY

GENTRY

MASSES

GENTRY

EVALUATE EVALUDEBATE EXECUTE

CLOSE

EVALUATE

EVALUATE UA

EVALUATE

CLOSE DEBATE E T EXECUTION

CLOSE

SUB ISSUE

CLOSE

CLOSE

DEVELOPMENT MATRIX

S1

S2

S3

S4

DEBATE

S5 S6 CLOSE

EXECUTE

EXECUTE

Above is a matrix that problem and the state

DATA

VOXEL

POWER

POWER

VOID

DATA

VOXEL

DATA

VOID

POWER

DIPLOMATIC ISSUES

ATIC ES

DIMPLOMATIC ISSUES OPENING

OPENING

MASSES

GENTRY MASSES EVALUATE

GENTRY

VOXEL

MASSES

AGENDA

EVALUATE

EVALUATE EXECUTE DEBATE

CLOSE

DEBATE

CLOSE OPEN

CLOSE TIME EXTENDED

CLOSE

DEBATE

EVALUATE

EXECUTE CLOSE

SUB ISSUE S1

S2

t explores the interesection between different methodolgies of solving a of the world they occur in.

PARQUE 02 LOCATION: SAN JOSE, COSTA RICA TYPE: AIR POLLUTION MITIGATION INSTALLATION IN COLLABORATION WITH: FUNDAMENTAL DESIGN TEAM

BY TALLER KEN Parque O2 is a public space project whose goals are to make a place for people to come together, educate and better the environment. Worldwide 9 out of 10 people breathe polluted air. Parque O2 is an installation that aims to clean the air.

Creating a dialogue for awareness and future planning to improve our quality of life. FUNdamental design build initiative believes in the power of architecture and technology to better the environment and empower the community.

Located in San José’s public Polideportivo Park, the installation connects the highly complex topological, social, and environmental components of the site, which sits at the intersection of a contaminated urban waterway, an informal settlement, and a railway on one side, and an organic market and public green space on the other. Previously, the areas were nearly inaccessible to each other, dividing communities along both geographical and socioeconomic lines.

The result is a field of bamboo sticks painted in a vibrant gradient of yellows, golden oranges, hot pinks, and purples. Together, they create a meandering path linking the main nodes of Polideportivo Park and the railway near the upper informal settlement. The terrain is further shaped by grass-covered mounds of different shapes and sizes, which serve as seating pedestals for the groupings of bamboo totems. Covering a total surface area of approximately 2,000 square meters, the installation is comprised of 600 reclaimed tires filled with gravel and crushed stone (used as a base for the mounds and for soil retention and manage flooding) and approximately 1,200 linear meters of bamboo.

LEGEND: 1. National Railway 2. Barrio Otoya Norte 3. Park Enterance 4.Bamboo Retaining Wall 5. River Lookout 6. Mural 7.Amphitheater 8. Playground

STORY BOARD SEQUENCE

UPPER MOUND AREA

UPPER MOUND AREA

FERIA VERDE MARKET

UPPER MOUND AREA

IMMERSED IN STICKS

AIR POLLUTION LEVELS very low

low

medium

high

very high

TiO2 titanium dioxide

paint

particulate matter nitrogen dioxide

AIR POLLUTION BREAKDOWN

STICK SECTION + RECLINATION DIAGRAM

MOUND SECTION AA

VIEW FROM BOTTOM OF THE MOUNDS

VIEW FROM TOP OF THE MOUNDS

ALL PHOTOS: ANDRES GARCIA LACHNER PHOTOGRAPHY

NO MAN’S LAND LOCATION: PIEDRAS NEGRAS, US - MEX BORDER TYPE: REHABILITATION SHELTER “ When the whole self merges with consciousness we have the ability to imagine inventions and concepts never before imagined and to create long term solutions to human problems. Asylees don’t want to be entertained, they want to participate. Without a fear based focus, asylees can thrive in the environment they are in. The more situations are forced, the more trouble. This is a matter beyond prejudice, beyond dualistic distinctions.” - Whole Self, Kendrick Mercer This program consists of various components that assemble together to create the whole. This includes modular housing, amphitheater, a transit station and reclaimed wood studio.

Wood and glass are the essentials in the dichotomy of building these structures, since thet both exude strength but can be carved in. The housing is located on the Mexican side , while the rest of the buildings lie on the US side, creating a dialogue between both countries by exploring the idea of a microcosm and macrocosm.

In it’s simplest essence, the land is barren. Man sees land.

Man builds on land. Due to climatic change the topography buries the land over time. This creates a revitalized landscape, and when dug up existing buildings can be found creating a blueprint for new civilizations to build on.

Through this cyclic process the border ceases to exist.

READING WHOLE SELF

being cognizant

documentation

economic prosperity

free of resistance

pursuit of happiness

art of healing

harmonizing with nature

before reading after reading

seeking the truth

PROJECTED LANDSCAPES [0-25YRS]

0

5

10

15

20

25

SESA FLUORSPAR

HAMAR ENTERPRISE

MAVERICK SUPPLIES

CAMINO REAL BR.

TACOS KIKE 1

EL MIRADOR

AUTELRIO INN

PUENTE INT CAMINO

ELEKTRA

[DAILY USE]

EAGLE PASS INT BR

[PLAY/SEE]

MARIO’S FURNT

[INDUSTRY]

SOURCE MAP

[PLAY/SEE]

SHELBY PARK

MONCADA PARK

EAGLE PASS MPC

PASEO DEL RIO

GRAN PLAZA

MUSEO FRONTERA

EP GOLF COURSE

FORT DUNCAN

[INDUSTRY]

ONE STOP 10

TURIMEX INC

ARREOLA’S TAX

GASOLINERA

[WORK/LEARN] GRIFOLS PLASMA

ROBERT LEE SCHOOL

BENAVIDES SCHOOL

CLINICA LUPITA

OFICIAIA PRIMERA

EAGLE PASS BR. SYSTEM

BANCO SANTANDER

EP POLICE DEPT

US CUSTOMS EP IBC BANK

[DAILY USE]

SEAR’STORE

MERCADO DULCES

MERCADO ZARAGOZA

CBP US CUSTOMS

EP PUBLIC LIBRARY

DOMINO’S

BORDER BURGERS

[WORK/LEARN]

MASSING OPPURTUNITIES

TRANSIT STATION

19 20 21

18

17 22

16 1

14

15

1. LOBBY 2.WASHROOMS 3.REGISTRATION 4. SPECIALITY KIOSK 5. ADMIN OFFICE 6. STORAGE 7. CAFETERIA 8. ADULT TRAINING AREA 9. ADMIN OFFICE II 10. MECHANICAL UNIT 11. STORAGE 12. EGRESS 13. CUSTOMS CHECKPOINT 14. REGISTRATION [ NON DOCUMENTED] 15. CONVINIENCE STORE 16. CAFE 17. RECLAIMED WOOD STUDIO REGISTRAR 18.INFORMATION CENTER HOUSING 19. STORAGE 20. ADMIN OFFICE III 21. NECHANINCAL UNIT 22. COMPUTER LAB

2

CHILDREN AREA

STUDIO

BALCONY

COURTYARD

LIBRARY LIVING AREA

KITCHEN

BATHROOM AMPHITHEATER MENTAL HEALTH

CLINIC

STORAGE

PROGRAM ANALYSIS

ADMINISTRATION CONFERENCE MECH

UP

9

8

10

11

This program’s main compoments are the clinic, living area, amphitheater and studio space.

Each component is decentralized but can still conect to the others.

12

13

3

4

5

6

7

BUILDING TYPOLOGIES BUILDING COMPONENTS

LIVING

SINGLE UNIT MODULES 10X10

LOBBY ENTERANCE

THE AVERAGE FAMILY 5 MODULES 10X10 CAFECITO

SINGLE UNIT MODULES 10X10

THE STACKING EFFECT 15 MODULES 10X10

AGENCIES

TRANSIT STATION

OPPURTUNITIES

BRIDGE + BORDER

AMPHITHEATER

PLAYSCAPES

RECLAIMED WOOD STUDIO

ANAMEOISIS: CHRONOTORIUM LOCATION: NOVA SCOTIA CANADA TYPE: PANORAMA TO COMMEMORATE TIME

Over time we realize that our memories are not exact replicas of the things we have originally experienced. Memory is a reconstructive process, biased by personal knowledge, emotion and world views- sometimes we remember events that never actually happened. But exactly how memories are reconstructed by the brain, step by step, is not well understood. One way the brain solves this problem is by automatically filtering our experiences, preserving memories that contain vital information and allowing the rest to fade away.

As the tide washes away so do memories resetting our psychological clocks as we experience this panorama. Anameosis is a synthesis that is defined as nostalgia for a time you’ve never known.

STORYBOARDING SEQUENCE

LONGITUDINAL SECTION

VERTICAL UTILITES CANAL VENTILATION TUBES

UNDERFLOOR HEAT PANELS

BOREHOLES

GEOTHERMAL HEAT PUMPS

AXONMETRIC VIEW

INNER COURTYARD

INNER GLASS TIER

OUTER MAINFRAME

OUTER GLASS TIER

SECTION THROUGH COLUMN

FOUNDATION COLUMN JOINT

AXONOMETRIC VIEW

AXONOMETRIC VIEW CLOSE UP

BUILDING FACADE DETAIL

GLASS PANELING THAT ACTS AS A LIGHT REFRACTOR, THAT PROVIDES INSULATION AGAINST COLD AND HEAT TO CREATE A LUMINIOUS EFFECT

INTERIOR FLOURESCENT LIGHTING WITH PRISMATIC LOUVERS THAT MAINTAIN THE LUMINOUS OF DAYLIGHT

SUSPENDED GLASS CEILIING

STEEL FRAMING WITH DIAGONAL BRACING

INNER GLASS LAYER

ASCENSION LOCATION: REDFERN, AUSTRALIA TYPE: ORAL REPERTORY MUSEUM A cross product of spatial relationships and human condition, this repertory aims to create an inimitable experience for the user. Ascension is a design meshed with Redfern’s culture while hosting international performances.

Using humble materials while integrating the black box theater, Ascension aims to evoke the essence of what makes us all human, through a conscious connection.

The storyboarding sequence revolves around an ancient Indian myth. A king. A cousin. His Queen. The king is depicted by the figure, the white tangents are his cousin and the red lines are the Queen. The story starts with the Queen observing a game of dice between the kin and his cousin. The cousin proposes a bet, if he wins, the Queen and palace is his. If the king wins he takes everything. The King and his cousin play round after round, until the king loses his palace. Soon after, the King loses his Queen.

Now the cousin, conniving as he is, drags the queen out by her red garment. He tries to humilate her by uncovering her body, but to his surprise her garment keeps flowing. The Queen who’s actually a goddess, is enranged, and kills the cousin, banishes the King who tried to pawn her off and regains her position on the throne. Thus the cycle coming into a full circle, with the divine reigning supreme.

STORYBOARDING SEQUENCE

MLK

BOU

LEVA

RD

W BRO

UGH T O

N ST.

MLK

BOU

LEVA

RD

W BRO UGH T O N ST.

MLK

BOU

RD

LEVA

FLOOR PLANS

FIRST FLOOR

SECOND FLOOR

THIRD FLOOR

FOURTH FLOOR

LONGITUDINAL SECTION

BLACKBOX THEATER AXONMETRIC VIEW

RECTRACTABLE FABRIC ROOF [REUSABLE]

SCAFFOLDING ROOF TRUSS [RECYCLABLE]

FLEECE FABRIC DRAPERY LAYER

FLEECE FABRIC DRAPERY LAYER

ORIENTED STRAND BOARD PANEL

SCAFFOLDING WITH CABLE WIRE CANOPY FOR FABRIC HANGING

TIERED SEATING PLATFORM + STAGE

WEBBING FACADE DETAIL

INSULATED GLASS UNIT

VERICAL ALUMINUM SCREW SPLINE MULLION

W14X72 STEEL PERIMETER BEAM

METAL SILL

RED NBK TERRACOTTA CLADDING ALUMINIUM TERRA COTTA BRACKET STRUCTURE

TYPICAL STEEL DIAGRID NODE

FACADE PROTOTYPING

INTERIOR RENDERS

TENSEGRITY LOCATION: SAVANNAH, GEORGIA TYPE: LONG SPAN PROTOTYPE IN COLLABORATION WITH: MONICA VALLE, ELIZABETH MANGILARDO Going into this project, the three of us were very excited but more so came with an intention to learn. Our design process started off by defining the word ‘span’. We all came up with different variations of what span could be and we all were quite fascinated by the aesthetic quality of hammocks. Throughout the first half of designing the structure we explored different techniques including Japanese joinery. As we started prototyping, we realized that Japanese joinery would be extremely difficult to recreate, on a bigger scale. Another part of our design that was challenging was manipulating the fabric to create the right amount of tension throughout the structure.

TRUSS MODULE CONSTRUCTION 8’ 2’

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FRONT VIEW OF TRUSS WITH JAPANESE JOINERY

TRUSS ROTATIONAL VIEWS

MIXED MEDIA + PROCESS LOCATION: SAVANNAH, GEORGIA TYPE: ANALAGOUS DRAWINGS, EXPERIENTIAL SECTION, HYBRID MEDIA, PROCESS SKETCHES As a person who operates on tactility, mixed media has been a huge outlet for me. It’s breath and immersive nature has taught me the importance of being able to bend restrictions that architecture can sometimes place. It’s non constraining nature is overwhelming but I can spend hours with random materials just making art.

It intrigues me and completes me. My growth as an artist has been primarily due to the fact that I cannot allow myself to sit still. My hands need to tinker and feel their way through the piece from it’s inception to the end.

ALL THE WORLD’S A STAGE POSTERCOLOR, CHARCOAL, GRAPHITE 2019

GRIND MY GEARS INK TRANSFER, CHARCOAL 2019

FABRICATING FEELINGS 3D PRINTED OBJECTS, COPPER WIRE, SCREEN PRINTING INK 2019

NATURE VS. NURTURE PIGMENT, COPIC PEN 2018

CHRONOTORIUM PRISMACOLOR, COPIC PEN, GOLD SHARPIE 2019