Download - Portfolio 2012
FLORENCE, ITALY
06
ARCHITECTURAL DESIGN MONICA STERRETTPORTFOLIO 2012
02URBAN FOG DALSTON, LONDON
MAY 2011
POP-UP TEA HOUSE
INSTALLATION
PAGNALL ST NEW CROSS, LONDON
APRIL - OCOTBER 2011
DESIGN BUILD: RESIDENTAL,
STUDIO AND GALLERY SPACE
RIDLEY’SRIDLEY RD MARKET, LONDON
SEPTEMBER 2011
TEMPORARY RESTAURANT
DESIGN BUILD
FOG BANK 3A GALLERY, SAN FRANCISCO
FEBRUARY 2010
THESIS STUDIO 2010 CLASS
INSTALLATION
PORTFOLIO CONTENTSMONICA STERRETT
01 0403
05 06 07 08ASSIMILATION & CONTRAST HAYES VALLERY,
SAN FRANCISCO
RESIDENTIAL UNIT
GRAPHIC DESIGN ACADEMYSAN LUIS OBISPO,
CALIFORNIA
SAN DOMMINO INCINERATORFLORENCE, ITALY
ENERGY MUSEUM
INTANGIBLE CAL POLY SLO ARCHITECTURE
MEDIA RESOURCE CENTER
OCTOBER 2009
INSTALLATION
RIDLEY’S TEMPORARY RESTAURANTOPEN 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.
[Academic use only]
RRIDLEY ROAD MARKET
DALSTON- KINGSLAND HIGH STREET
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
C
[Academic use only]
200mm
88 mm
80 mm
16MM HOLLOW STEEL SUPPORT(4 PER SIDE, 16 TOTAL, 4480 mm TOTAL)
SCAFFOLDING BEAM CLAMPSTRUCTURAL GRADE (TRADITIONAL USED TO SUPPORT STEEL BEAMS)
16 SQUARE WASHERS (SELF COLORED)WELDING TO SUPPORT
A
A
B
B
C
C
RAIL
DETAIL A CURTAINS RAIL CONNECTION
A
A
B
B
CD
D
C
12 MM BRIGHT BARWELDED INSIDE THE 16MM HOLLOW STEEL TO CONNECT PARTS
16MM HOLLOW STEEL SUPPORTBENT TO ALLOW A CONTINUOUS RAIL SPANING EDGES
16MM HOLLOW STEEL SUPPORT3.5 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
DETAIL B CORNER CONDITION
A
CB
DETAIL C CURTAINS RING
A
A
B
B 10 MM SELF COLORED WASHERS WELDED TO THE RING
6MM SOLD STEEL ROD215 MM LONG PER ROD BENT 80 MM HOOK (30MM SPACING, 20 PER SIDE, 60 HOOKS) 12M TOTAL
80 mm
STRUCTURE
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
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.
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.
02
URBAN FOG POP-UP TEAHOUSE DALSTON, LONDON UK
OPEN MAY 1 -21, 2011
WORKING FOR ATELIER CHAN CHAN
nature of the site. It is a site specific response to a derelict, walled and hidden pocket of empty space in Dalston and a wider investigation into escape, transparency, and thresholds. Varying levels of privacy through material and atmosphere affect.
.
URBAN FOG is an art installation and teahouse designed, fabricated and run by a group of young designers. Atelier Chan Chan teamed 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
nature of the site. It is a site specific response to a derelict, walled and hidden pocket of empty space in Dalston and a wider investigation into escape, transparency, and thresholds. Varying levels of privacy through material and atmosphere affect.
.
URBAN FOG is an art installation and teahouse designed, fabricated and run by a group of young designers. Atelier Chan Chan teamed 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
TEA/CAFE AREA
SEATING POCKETS
ENTRANCE
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.
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
MILLED STEEL BOX
FRAMEPLATE SET INTO STEEL
100MM X 100MM X 12MM
FIT)CHANNEL (TIGHT
HOLE IN STEEL
16.5MM DRILLED 100 X 50 X 10.0KG
SET INTO 12MM PLATE 100MM X 100MM X12MM PLATE WELDED TO 16MM STEEL ROD
16MM FIRE TREATED MARINE GRADE PLY
CEMENT BOARDWHITE RENDERED PLASTER BOARD
INTERIOREXTERIOR
16MM FIRE TREATED MARINE GRADE PLY
RIGID INSULATION BETWEEN WOOD BATONS
SET INTO CONCRETE
16MM STEEL ROD WELDED TO100MM X 100MM X 12MM PLATE
IN DOOR FRAME (TIGHT FIT)16.5MM DRILLED HOLE
FRAMEPLATE SET INTO DOOR 100MM X 75MM X 12MM
STEEL WASHERS
DETAIL FRONT VIEW DETAIL CROSS-SECTION
VIEW OF EXISTING DOORWAY FROM INTERIOR THE INSTALLATION STEEL DOOR FRAME DOOR USED AS PROJECTION SCREEN DURING GALLERY OPENING VIEW FINAL THRESHOLD EXTERIOR
16MM STEEL RODWELDED TO 100MM X 100MM X 12MM PLATESET INTOCONCRETE
MILLED STEEL C ANNEL100 X 0 X 10 016 MM DRILLED
OLEIN STEELC ANNEL TI T
IT
100MM X 100MM X 12MMPLATE SET INTO STEEL
RAM X 52 UC203 X 203
150 X 150 SHS
CXL 240
ELEVATION
VIEW OF EXISTING DOORWAY FROM INTERIOR THE INSTALLATION STEEL DOOR FRAME DOOR USED AS PROJECTION SCREEN DURING GALLERY OPENING VIEW FINAL THRESHOLD EXTERIOR
SAN DOMMINO INCINERATORFLORENCE, ITALY
0604
FOG BANK 3A GALLERY SAN FRANCISCO
JANUARY 25 -FEBRUARY 30, 2010
THESIS STUDIO 2010 CLASS INSTALLATION
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 assimila-tion and contrast in in-terpreting these objects. Where objects overlap there is a visual ambigu-ity created and the ob-jects lose their individ-ual 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 spa-tial reality. In order to understand the space, the relationship of the objects must be estab-lished by introducing contrast. The scroll be-gins with a series of lines, yet do to the as-similation they appear to be just positive and negative planes, lack-ing overlap and penetra-tion. By making series of localized changes to introduce more contrast and break the assimi-lation, the appearance of the space and depth of the whole piece is better comprehended. When the relationship of the localized pieces changes the compo-sition of the whole is perceived differently.
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 assimila-tion and contrast in in-terpreting these objects. Where objects overlap there is a visual ambigu-ity created and the ob-jects lose their individ-ual 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 spa-tial reality. In order to understand the space, the relationship of the objects must be estab-lished by introducing contrast. The scroll be-gins with a series of lines, yet do to the as-similation they appear to be just positive and negative planes, lack-ing overlap and penetra-tion. By making series of localized changes to introduce more contrast and break the assimi-lation, the appearance of the space and depth of the whole piece is better comprehended. When the relationship of the localized pieces changes the compo-sition of the whole is perceived differently.
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 assimila-tion and contrast in in-terpreting these objects. Where objects overlap there is a visual ambigu-ity created and the ob-jects lose their individ-ual 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 spa-tial reality. In order to understand the space, the relationship of the objects must be estab-lished by introducing contrast. The scroll be-gins with a series of lines, yet do to the as-similation they appear to be just positive and negative planes, lack-ing overlap and penetra-tion. By making series of localized changes to introduce more contrast and break the assimi-lation, the appearance of the space and depth of the whole piece is better comprehended. When the relationship of the localized pieces changes the compo-sition of the whole is perceived differently.
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 assimila-tion and contrast in in-terpreting these objects. Where objects overlap there is a visual ambigu-ity created and the ob-jects lose their individ-ual 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 spa-tial reality. In order to understand the space, the relationship of the objects must be estab-lished by introducing contrast. The scroll be-gins with a series of lines, yet do to the as-similation they appear to be just positive and negative planes, lack-ing overlap and penetra-tion. By making series of localized changes to introduce more contrast and break the assimi-lation, the appearance of the space and depth of the whole piece is better comprehended. When the relationship of the localized pieces changes the compo-sition of the whole is perceived differently.
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 assimila-tion and contrast in in-terpreting these objects. Where objects overlap there is a visual ambigu-ity created and the ob-jects lose their individ-ual 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 spa-tial reality. In order to understand the space, the relationship of the objects must be estab-lished by introducing contrast. The scroll be-gins with a series of lines, yet do to the as-similation they appear to be just positive and negative planes, lack-ing overlap and penetra-tion. By making series of localized changes to introduce more contrast and break the assimi-lation, the appearance of the space and depth of the whole piece is better comprehended. When the relationship of the localized pieces changes the compo-sition of the whole is perceived differently.
ASSIMILATION AND CONTRASTHAYES VALLEY SAN FRANCISCO
CONDO COMPLEX
05
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
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 visually perceive
is not the spatial reality. In order to
understand the space, the relationship
of the objects must be established by
introducing contrast. These concepts
were investigated with an abstract
animation. It 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 of the whole piece is
comprehended differently. When the
relationship of the localized pieces changes
the composition of the whole is perceived
differently. In architecture the relationship
changes due to the movement of the user
and the materiality of the surfaces.
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 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
LONGITUDINAL SECTION
GROUND FLOOR FIRST FLOOR SECOND FLOOR
GRAPHIC DESIGN ACADEMYSAN LUIS OBISPO, CALIFORNIA
STUDENT DESIGN PROJECT
06
Structural System Diagram
\
Steel Skin vs Transparency
Program diagram
Building Parti
Steel skin vs. Transparency
Structural Pattern
Steel Skin vs Transparency
1”= 100”
N
HIGU
RA ST
MARSH ST
CARMEL ST
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.
Dormitories
& Student Center
Design Studios
Classrooms
Technology
Gallery
Bus Stop
Vehicular Entrance to
Underground Parking
11
9
9
75
5
1
3SOUTH ELEVATIONLONGITUDINAL SECTION
1- Deterrent Seal2- Opening in Horizontal Rails3- Pressure Equalization Chambers4- Tight air seals5- Glass6- Exterior
1 1
1
1
23
5
6
5
33
1
1
GLAZED CURTAIN WALLPRESSURE EQUALIZATION
Facade Variation Formula _ Levels of Opacity
00
01
0202
1222 21
21
20 20
20
20
2022
00
00
10
00
11
211101
Tran
spar
ency
Dim
ensi
ons
1
9
10
10
10
9
9
9
9
2
22
22
24
5
6
6
7
8
2
3
33
3 3 3 3
3 3 3 3
1- Technology Lab
2- Design/Art Studios
3- Lecture Rooms
4- Office
5- Public Gallery
6- Library
7- Student Center
8- Kitchen
9- Dorm Unit
10- Courtyard
11- Parking
11
1”= 100”
N
LEVEL ONE
LEVEL TWO
LEVEL THREE
07
SAN DOMMINO INCINERATORFLORENCE, ITALY
City of San Donnino
Arno River
Walking Path Connecting to Firenze
Highway
1”= 1000”
N
Water Feature
Water Gathering
ZONES
City Integration
Vegetation
Landscaped Fields
Site Master Planning
San Dommino , a small suburb right
outside Firenze, has been plagued with
bad air quality and noise since the trash
incinerator was built in the 60. Original
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
Firenze. Working on multiple scales, from
master planning to interior renovation.
3
3
2
45
5
5
6
7
44
2
1
1
[1} Incinerator [2] Parking [3] Node to
Residents of San Dommino [4] Entrance paths
[5] Reflecting pools with storage tanks [6]
Boat Docks [7] Path to Casine Park Firenze
Spa for Local
Residents Circulation10
32
STEAM - VAPOR 3
HOT WATER 2
WARM WATER 1
COOL WATER 0
H O T
COOL
WARM
STEAM
Museum for Energy Efficiency Circulations
Ground Floor Plan First Floor Plan
dn.
dn.
up
dn.
dn.
dn.
up
Ground floor[1] spa: entry/lobby [2] lockers/rest rooms [3] cafe/gift shop [4] elevators to restaurant [5] cool pool [6] storage tanks
1
1
2
2
2
2
56
3
3
4
up
Second Floor Plan Third Floor Plan
Long
itudi
nal S
ectio
n
First floor[1]museum: entry [2] rest rooms [3] warm pool [4]reflective poolSecond floor[1] museum: exhibition [2] hot pools
Third floor[1] museum: exhibition [2] steam rooms [3] spa: outdoor deck [4] (open to below)
1 1 1
22 2
2
23
4
A
SAN DOMMINO INCINERATORFLORENCE, ITALY
0608
INTANGIBLE CAL POLY SAN LUIS OBISPO ARCHITECTURE MEDIA RESOURCE CENTER
1-1 SCALE BUILT PROTOTYPE OF MATERIAL AFFECT STUDY
OCTOBER 2009
LIGHT AS MATERIAL
This installation investigates the capacity
for spectral light to take on physical and
spatial qualities. Through the use of
reformed glossy plastic, simple projected
images are bent and refracted into
ethereal wisps. Using the wall not just
as a surface but a tool to manipulate the
environment. This transformation takes
a step further with the application of
multiple, superimposed light sources that
shift based on the parameters of a basic
animation, resulting in imagery with a life
and depth far greater than the sum of its
individual components. The individual is
able to participate in this transformation
more directly through process of
circulating on stage, whereupon the
interference with each light creates varied
fluctuations in the final image.
This installation was fabricated with
thermodynamics P.E.T plastic that used
a C.N.C routed frame as a guide . The
wall is created with two different panel
variations, rotating to form the pattern.
Panels are attached to a wood framing
system. Light projectors were embedded
into a walk able C.N.C. routed stage.