caitlin santone design portfolio
DESCRIPTION
PDF verison of portfolio bookTRANSCRIPT
CONTENTS
8 Urban-Nurture20 RIMOSA30 Anthropologie36 Interior Architecture !esis Exhibition44 Picturing Space 52 Parametric Modeling
58 Ceramics Functional Assemblage Project Dinner for !eseus and Ariadne
66 Works on Paper Master Composition My Places Mask
Part I: Interior Architecture
Part II: Additional Work
INTERIOR ARCHITECTURE
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2011320 and 80 sq. ft. depending on module
URBAN-NURTUREAquaponics module
understanding food and waste
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And where our WASTE goes...
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ConceptMany countries import far more than they export, resulting in a surplus of shipping containers. Urban-Nurture reuses shipping containers to provide an integrated, o"-the-grid, closed-loop cycle that addresses the need for local, fresh, and a"ordable produce. It also makes use of human waste, which becomes a stimulant for growth in the surrounding landscape. Food and waste modules develop a symbiotic relationship with nature in the form of a food market and park. !e system is also scalable for a site’s specific needs. Urban-Nurture evolved during a collaborative studio made possible through a federal grant that aimed to stimulate jobs in Rhode Island. !e aquaponics module was my design while the waste module was designed by Cheryle Cranbourne.
Re-thinking where our FOOD comes from....
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Urban-Nurture
1 Urban-Nurture section2 Urban-Nurture business model 3 Test site in Providence, RI on vacant areas of I-95
Fish & vegetables to market
Food for fishCoffee grounds and compost
to aquaponics topsoilSterile urine + grey water
to fertilize surrounding landscape
Solid waste collected and incinerated
off-site
Patrons deposit their contributions to nature
MARKET PARK WASTEFOOD
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FOOD module
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3
40’
8’
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13Urban-Nurture
1 Early sketch of containers inhabiting abandoned infrastructure
2 Abandoned infrastructure, Lincoln Ave., Latrobe, Pennsylvania
3 Surplus shipping containers 4 Project model showing 40’x 8’ shipping
container5 Containers are placed above parking lots to
help mediate the heat island effect6 Additional sketches showing
possible sites: abandoned railroad tracks, parking lots of vacant big box stores, and empty lots
Design!e modules were designed to grow food e#ciently and compactly in a 320-square-foot space through a layered aquaponics system. Yet re-purposed containers can do more than just grow food. !ey invite people inside to be surrounded by the sights (plants and fish), sounds (running water), and smells (vegetation) of gardening. !ey enliven abandoned and vacant spaces in neighborhoods. Because of their innate portability, the modules can be temporary or permanent, isolated or grouped.
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Dill
A
2
Parsle
y
Aspar
agus
Basil
Beans
Beets
Brocco
li
Cabba
ge
Carrot
s
Caulifl
ower
Chives
Cilantro
Collard
Gree
ns
Cucumbe
rs
Eggpla
nt
Garlic
Leaf L
ettuce
Leeks
Mustard
Gree
ns
Onions
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3
15Urban-Nurture
1 Floor plan. Built-in seating is incorporated along with sliding shelves, removable containers for planting, and expandable tables
2 Section A-A: To deal with the inherently wet conditions of aquaponics, the food container has a custom-designed flooring and drainage system
3 Aquaponics explained: Effluents accumulated in the fish tank get pumped up to the vegetable tier. The by-products from the fish are absorbed as nutrients by the vegetables, and excess water trickles down to the watercress, where it is filtered and naturally cleaned before trickling back in to the fish tank.
4 Average plant bed: grid depicts number of plants per container by type
5 Section B-B: The container is cooled passively.
Parsle
y
Peas
Peppe
rs (re
d)
Peppe
rs (gr
een)
Radish
es
Rosem
ary
Scallio
ns
Spinac
h
Strawbe
rries
Swiss Chard
Thym
e
Tomato
es
Turn
ips
B
B
5
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2.5’
1’
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A 4x4 Steel tube for added structural supportB Frame of original containerC Steel corrugation D Spray foam insulationE Wall surrounding windowsF Aluminum framing for ETFE windowsG Green wall with mesh and wood framingH 3-layer ETFE foil filled with hot air in winter months
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DC
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HG
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17Urban-Nurture
1 Final model2 Container configurations 3 Plan detail of ETFE windows4 Section detail of floor drainage and wall system
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A Steel corrugationB Air cavityC Recycled wood sidingD Relazzo waterproof flooringE 5” Drainage space and aluminum drainage trayF Original plywood container flooringG DrainH Spray foam insulationI I-beam of original containerJ Wood blockingK Vapor barrier and firring strips
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A A B
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DesignPublic and portable restrooms are notoriously unpleasant. !is waste module is a high-quality portable restroom design and service. It not only provides clean and reliable facilities but also a pleasant user experience facilitated through natural light, ventilation, greenery, simplicity of materials, and art installation.
Composting Split ToiletAnders Nyquist, renowned green architect from Sweden, developed the split toilet design. !e toilet bowl is divided in two, so solid waste deposits down the back half, and liquid goes down the front.
Benefits:• Solid waste remains dry and thus does not emit odor.• Urine, when mixed with water at a ratio of 1:10, is an excellent
plant fertilizer • A back-to-nature approach; no added chemicals to the environment.
WASTE module
A Water-filtering plantsB WaterC SandD GravelE Filter sheetF Drainage layerG Protection layerH WaterproofingI Cor-ten steel roof
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B
CD
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GH
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19Urban-Nurture
1 Final model2 Floor plan of waste container3 Detail of water-filtering green roof4 Section through composting split toilet5 Section through water tower and entrance, also
showing energy and water collection systems.6 Section through skylight and stalls with passive
solar ventilation system
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2010219 W Park Street Providence, RI6, 200 sq. ft.
RIMOSA Rhode Island Museum of Science and Art
dissect, distort, reform
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Site!e proposed site for this project is 219 W Park Street, Providence, RI. !e 6,200 square-foot building was formerly a warehouse.
“The Rhode Island Museum of Science and Art merges art and science creating innovative, interactive exhibits and programs that awaken curiosity, encourage experimentation, and improve understanding of the world around us.”
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23RIMOSA
ConceptIn both science and art, physical interaction (such as dissecting, distorting, and reforming) reveals new discoveries and points of view. Arriving at the most innovative outcome often means using unorthodox processes, or ways of looking at the subject. One must abandon his preconceived notions about what something is supposed to be in order to discover its potential. !e structure of this museum can be dissected, distorted, and reformed continuously.
1 Existing conditions of 219 W Park St.2 Site plan3 Concept diagrams about movement and flexible
forms
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StructureIn the main exhibition space, walls pivot around a 10-column grid. !e walls are attached at their base to a rail system that inscribes a pattern into the floor. !e walls can be reformed in countless ways for changing exhibitions. While o#ces and storage space are located in the basement, an addition houses all of the other necessary spaces for the museum.
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25RIMOSA
1 Process model showing walls rotating around columns and unfolding
2 Proces sketches3 Section4 Plan of main floor
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A Entrance lobby and ticketingB Main exhibition spaceC Cafe and shopD Dining areaE Expandable spaceF Outdoor exhibition spaceG Indoor seating in exhibition spaces
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C
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Flexible and transformable spacesAnother space that plays with the idea of distorting and reforming is a transformable exhibition gallery which transitions from being an interior to an exterior space using a flexible aluminum wall material and a metal track system in the floor.
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27RIMOSA
1 Detail area2 Process model: A space that
transitions from interior to exterior
3 Elevation detail 4 Section detail5 Plan detail
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The floor of the main exhibition space has new hardwood flooring with the exception of the centers of the interlocking circles, where the original worn flooring remains.
29RIMOSA
2011Philadelphia, PA Projects for Anthropologie, BHLDN, and Anthropologie Accessories
ANTHROPOLOGIEProjects from an internship with Anthropologie Store Design
designing an unimagined experience
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Project DescriptionI was asked to sketch ideas for a carved redwood door handle for the entrance doors to the Walnut Creek store which was in the design development phase while I was an intern. One request was that the door handle feel organic in contrast to the design for the store which was very modern and geometric. At the end of my internship Anthropologie was in discussion with a local fabricator who was further developing the selected design into shop drawings.
CARVED REDWOODDOOR HANDLE
2011Role: Created all sketches and submitted to senior project manager Ashley Gehman for review.
1 Sketch showing interaction of handle between interior and exterior
2 A proposed design3 Selected design (also see image on page 30)4 Sketches for small handles
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33Anthropologie
Project Description!e goal of this project was to create a tile pattern which appeared as if the tiles had been scattered across the wall and landed in the most elegant way. !e pattern was to be undetectable. Once the 2’ x 2’ tile pattern was finalized I made an unfolded section drawing and diagram of the stair, where the tiles were to be installed. !e colors are for diagrammatic purposes only.
A B C D E F G H I J
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DN
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2’ A
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TILE PATTERN
2011Role: Developed pattern under direction of Kirsten Moore, John Gwinn, and Robert Jamieson.
1 Stair floor plan. Labels correspond to drawing below. Floor plan drawing: Kirsten Moore and John Gwinn.
2 2’ x 2’ sheet of tile.3 Field of tiles. This is what a wall of 2’ x 2’ sheets
of tile looks.4 Unfolded section showing tile sheet layout
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Project Description!ese fixture designs are for a line of accessories-only Anthropologie stores. For administrative reasons, the development of the brand was cancelled.
ANTHROPOLOGIE ACCESSORIES
2011Role: Assisted Ashley Gehman in design, created AutoCAD drawings of each fixture, aided in review of shop drawings with MISKO Design Build.
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35Anthropologie
1 Fixtures of charred cypress and brass2 Brass and charred cypress table
1'-3 716 "
2'-11 14 "
1550
2"
2
2012Providence Convention Center250 sq. ft.
Interior Architecture Thesis Exhibition2012 RISD Graduate Thesis Exhibition
timeline
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Concept!e design for the 2011 Master of Interior Architecture !esis Exhibition emphasizes the theme of adaptive re-use of existing structures which is central to the department’s philosophy. !e exhibit was organized as a timeline, guiding visitors along sixteen vacant and underused Providence buildings which are now transformed through students’ thesis projects. !e brown and white single-ply cardboard panels which make up the entire exhibition were pre-fabricated and assembled on location over a period of three days. !e entire installation was recycled following the two-week exhibition period.1
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39Interior Architecture Thesis Exhibition
DesignCaitlin Santone, Jason Van Yperen, Samantha Rose, Sheilah Carroll
FabricationCaitlin Santone, Jason Van Yperen, Samantha Rose, Sheilah Carroll, Yuki Kawae
1 An initial sketch 2 Early SketchUp model showing layering of
images of existing buildings in front of new projects
3 Development of SketchUp to final Rhino Model4 Installation of prefabricated pieces
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1 View of entire completed exhibition2 The half-wall facing the projects contains
students’ names, host buildings, and year. All projects are organized by date.
Interior Architecture Thesis Exhibition
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2 3
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1 Two walls were lined with a collage image by each student and their corresponding project title and thesis statement. All text was either laser-cut or -etched into the white cardboard and mounted on the brown cardboard structure.
2 Two projects side by side.3 Drawings of the existing buildings were
etched into white cardboard and mounted on the panels on the exterior of the wasit-high structure that also contains the date panels.
4 Apex of half-wall structure.5 Project panels meet the floor at an angle.6 View towards start of exhibition.
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Interior Architecture Thesis Exhibition
201172 K Street Boston, MA6, 550 sq. ft.
PICTURING SPACEGallery for architectural photography
mystery and discovery in the photograph and the journey
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Context72 K Street is located in a warehouse district of Boston and within walking distance to the well-known Institute for Contemporary Art. !e building currently houses a woodworking studio and sign printers, and is across the street from a power station. !is proposal is for a gallery focused on architectural photography.
Power Station
K S
tree
t
2 3
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2
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ProcessI created 16 sketches inspired by 16 photographic operations. Select sketches were explored in model form and further developed into drawings.
Picturing Space
1 Existing exterior 2 Site plan3 Existing exterior wall4 Sketch based on ‘perspective’5 Sketch based on ‘flattening’6 Concept model of temporal quality sketch7 Sketch based on ‘temporal quality’8 Concept model further developed to include
entrance through void.
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B
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Concept!is gallery celebrates the sense of mystery, discovery, and voyeurism in photography. I looked at photographs that used techniques of layering and manipulation, and was especially inspired by double exposed images. Visitors must enter through a void in the middle of the gallery. !is courtyard is divided from the gallery by walls of glass so that visitors can see some of the key pieces on view while still outside. Visibility of the entrance door is partially obscured by the main interior staircase, which cuts through the courtyard void and connects the upper and lower floors, which house the main and secondary galleries. As new visitors must walk under this staircase to access the door, their paths intersect with those inside.
0’ 5’ 10’ 20’
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3 4
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A Entrance courtyard B Main GalleryC ReceptionD OfficeE KitchenF Secondary GalleryG Retail spaceH Storage and framingI Deck
Picturing Space
1 First floor plan2 Second floor plan3 East-west section4 West elevation5 North elevation6 Final Model
Elevation drawings are not to same scale as plans
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SequenceUpon entering one sees the first key wall in the gallery behind the Picturing Space name.
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51Picturing Space
1 Stairwell seen from interior2 Entrance with image by photographer Andrew
Moore3 Early sketch of display walls showing images by
photographer Andrew Moore4 Picturing Space model
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2012Rhino & Grasshopper
PARAMETRIC MODELINGGenerating forms with Grasshopper
a series of exercises developed in the Grasshopper generative modeling plug-in for Rhinoceros
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55Parametric Modeling
1 A rotated block wall.2 This is an iteration of the rotated block wall
shown above. In order to give the wall a wire-like quality, I added a pipe component to the original box parameter block which is rotated.
3 An interpolated truss. Textures are added in V-Ray to simulate frosted glazing.
4 Pattern created using a point attractor. Differentiation in size is based on relationship to a point created in Rhino.
5 A design for a bracelet. First an octagonal shape was created in Rhino and then it was tiled across a series of arcs using Grasshopper. Differentiation in size is based on degree of angles.
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ADDITIONAL WORK
2011clay, lead-based slip, glaze
CERAMICSWHEEL-THROWN AND HANDBUILT POTTERY
exploring stories and function
DINNER FOR THESEUS AND ARIADNE
2011clay, colored slip, clear glazePlates measure approximately 8.5” in diameter
ConceptDinner for !eseus and Ariadne tells a story as a meal is consumed. !e story of !eseus and Ariadne was chosen for its ability to inspire conversation between friends and strangers, as the story involves elements of travel, personal sacrifice, challenge, and unfulfilled love. !e last two dishes, a salad bowl and quiche plate were chosen to hold recipes that I often share with my friends.
Every nine years 7 girls and 7 boys are sent from Athens to Crete to be sacrificed to the minotaur and keep peace between the two lands. Theseus, an Athenian, vows to kill the minotaur.
Theseus and Princess Ariadne, of Crete, fall in love. She gives him a sword and a ball of string to help him find his way through the labyrinth, where the minotaur dwells.
Theseus slays the minotaur.
61Ceramics
The ball of string leads him back out of the labyrinth.
He takes Ariadne with him on his return journey to Athens, but they are blown off-course and land on a deserted island.
Araidne is left asleep on the island, as Theseus sails away into the distance.
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ProcessEach piece was individually hand-thrown and trimmed on the potter’s wheel. !e drawings were carved and filled in with blue and black slip.
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63Ceramics
1 The beginning of the meal2 The final scenes of the story revealed
The end of the story unravels as the quiche and salad are consumed.
2
FUNCTIONAL ASSEMBLAGE PROJECT
2011clay, glazeCandleholders range in height from 11-22 inches
Process and Concept!e forms for this project were thrown, cut apart, and reassembled. !e connections of their parts are hand-built and emphasize the contrast between hand-building, which is naturally more organic, and the more regulated forms which come from wheel-throwing.
65Ceramics
WORKS ON PAPER2D AND 3D
collages
Concept!is drawing is a compilation of three separate drawings in the collection of the Metropolitan Museum of Art. I created several on-site sketches of three paintings and combined them into one scene based on my sketches. !e paintings included are: Judith with the Head of Holofernes by Massimo Stanzione (ca. 1640), A Maid Asleep by Johannes Vermeer (1656-57), and A Young Woman at Her Toilet with a Maid by Gerard ter Borch (ca. 1650-51).
MASTER COMPOSITION
2006brown paper, charcoal, chalk48 x 43 in.
69Works on Paper
Concept!is mask project asked students the question, “What do you want to share about yourself with your classmates?” A mask is supposed to reveal or hide aspects of a character. !is idea of a mask and its role in theater led me to the subject of set design. I created a mask of the sets of some of the places that have most influenced me: my house in Pennsylvania, an apartment in Venice, and the Brooklyn Bridge.
MY PLACES MASK
2010bristol paper, papier-mache, graphite
71Works on Paper
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