AMANDA WIJAYA Bachelors Graduate of Architectural Studies
Name: Amanda Megayanti Wijaya Birth 17 | 05 | 1995 Nationality Chinese Indonesian Occupation: Student at the University of Auckland Contact Details: amandawijaya@hotmail.com +64211657328
AMANDA WIJAYA | CV
Graduate of Bachelors of Architectural Studies
EDUCATION THE UNIVERSITY OF AUCKLAND | Auckland, New Zealand Continuing Masters Degree of Architectural Studies
2016 - 2018
THE UNIVERSITY OF AUCKLAND | Auckland, New Zealand Graduate Bachelors of Architecture
2014 - 2016
ARQUITECTURA UNIVERSIDADE AUTONOMA | Lisbon, Portugal Studio Iberia exchange programme for 4 weeks SANCTA MARIA COLLEGE | Flat Bush, Auckland, New Zealand 2007 - 2013 | High School
2015 2007 - 2013
AWARDS NZ WOOD RESENE TIMBER DESIGN AWARDS Finalist (still ongoing)
2016
NZIA GRAPHISOFT STUDENT DESIGN PRIZE First in Course Award, Semester One
2016
NZIA GRAPHISOFT STUDENT DESIGN PRIZE Runner up
2015
NZIA SCHOLARSHIP Scholarship for one semester
2015
BEST DRAWING AWARD - MEDIA Won First in Course Award
2015
NZIA GRAPHISOFT STUDENT DESIGN PRIZE Won First in Course Award
2014
NZIA SCHOLARSHIP Scholarship for one semester
2013
NZQA SCHOLARSHIP HIGHLY COMMENDED Level 3 Digital Technology Communications (Graphics)
2013
TE TUI COMEPETITION Runner up for billboard design
2013
EXPERIENCE METAPHOR INTERIOR ARCHITECTURE | Jakarta, Indonesia Internship for two and half months as a junior designer
2015
WILD PAIR | Auckland, New Zealand Sales Assistance and Customer Service
2014 - 2015
CENTURY 21 | Auckland, New Zealand Photoshopping and editing photos
2013 - 2016
SKILLS Google Sketchup Photoshop InDesign Illustrator Microsoft Word Rhino 3D/ Vray AutoCad Grasshopper
Advanced Advanced Advanced Advanced Advanced Good Good Good Beginner
LANGUAGES English Indonesian
EXTRA - CURRICULAR ACTIVITIES UTOPIA | Home Décor & Freelance work small start up business with architecture friend
Fluent Fluent
SURF-LIFE SAVING CLUB SUNSET BEACH
Type: Surf Lifesaving Club Location: Sunset Beach | Port Waikato | New Zealand Tutor: Howie Kang
Academic Work - Bachelors Year 2 Semester Two
SURF-LIFE SAVING CLUB SUNSET BEACH
Surf Livesaving Club - Sunset Beach The main issues of the current Sunset Beach Surf Lifesaving club were the erosion on site, and the access to both the beach and first aid. The current club lacked connection between the building and the surrounding facilities, the landscape and the beach. In order to re-establish the connection, a need to consider the origin of the site and landscape is needed. This became the main over-arching idea of the project. The mass is derived from an offset of the site boundary that was carefully shaved and cut away, alluding to the harsh landscape of its surrounding environment. The resulting negative space provides access ways and gathering spaces as well as connection between different elements of the building and to the surrounding context. The form is sympathetic to the dramatic gradient change of the site in that it follows the contours from the far Southern corner to the top Northern point. The building acts as a continuation of the surrounding landscape, making it camouflage with the context, the overall design is sympathetic to and integrated with its ever changing surroundings, while also meeting the needs and improving the experience of the lifesaving club.
SURF LIFESAVING CLUB
LAND & BUILDING EXPLORATION Conceptual hybrid models conceptual cardboard models exploring how the building can be integrated into the landscape and vice versa.
“Land and Earth” 300 x 100 mm plaster, cardboard & hybrid drawing
“Land and Earth 1” 250 x 80 mm cardboard & hybrid drawing
“Land and Earth 2” 300 x 120 mm plaster, cardboard & hybrid drawing
SURF LIFESAVING CLUB
SITE PLAN Proposed Scheme a proposed scheme that establishes a connection to the beach, the first aid / medical centre, as well as to the community.
SURF LIFESAVING CLUB
SITE PLAN Access Routes a proposed scheme that establishes a connection to the beach, the first aid / medical centre, as well as to the community.
SURF LIFESAVING CLUB
ELEVATION Proposed Scheme a proposed scheme in which the building integrates and emerges out from the landscape
WEST ELEVATION 1:100
SURF LIFE CLU
SURF CLUB
daytime activity and us
ESAVING LUB
B LOUNGE
sage of surf club lounge
SURF LIFE CLU
INTERNA L C
daytime activity and usa are
ESAVING LUB
COURTYARD
age of internal courtyard ea
SURF LIFE CLU
WEST EN
Render - We
west entrance of the surf lifes to the
ESAVING LUB
NTRANCE
est Elevation
saving club - from the beach e club
THE JOURNEY OF TATAU TATOOING
Type: Memorial Space Location: Apia | Samoa Tutor: Llama Tone
Academic Work - Bachelors Year 3 | Semester Two
THE JOURNEY OF TATAU TATOOING
Marking the journey of tatau (tattooing) Marking the journey of tatau (tattooing) is a memorial space located in Apia, Samoa. The design is inspired by the process of Samoan tatau (tattooing) and the importance / significance of its tradition. Samoan tatau (tattooing) for men is called the pe’a. The Pe’a is a dense tattooing which completely covers the lower body from waist to knee. They are seen as scripts, texts and testimonies to do with relationships, order and form. Being tattooed with a pe’a is described as a rite of passage for young men, and the ability to serve the family and community. The architecture of the memorial space seeks to evoke a sense of journey that embodies the significance of tattooing through the qualities of being inside a body that is being tattooed. The play of light and shadow through the journey of the memorial space mimic subtle gestures of the patterning found on the pe’a. It is a place of learning, observing, and reflection, as well as a place where people are able to get tattooed themselves to begin their own journey and rite of passage.
THE JOURNEY OF TATAU
CONCEPT The process of tatau / tattooing The act of tattooing is a process of imbuing scripts and testimonies of order and relationship to the recipient who receives it. It also imbues knowledge, culture, identity, manhood and honour of their family’s history and genealogy.
1
THE BODY CONTRACTING & EXPANDING
2
THE BODY RECEIVING & LETTING GO
3
THE TRANSITIONING
THE BODY CONTRACTING & EXPANDING
CONCEPT The process of tatau / tattooing The body is stretched or expanded by the assistant of the tufuga and returned to its original state before he wipes away the excess ink.
The Body Opening & Closing exploration of sectional model plaster & cardboard
THE BODY RECEIVING & LETTING GO
CONCEPT Receiving Spaces - pocket of spaces where people are received into when maneuvering the space. It can be used as a private space for reflection, tucked away within the masses, where an individual can immerse themselves in the space Spaces of release - breathing spaces from the masses Mass models of receiving spaces & spaces of release experimentation of orientation plaster model
THE TRANSITIONING
CONCEPT The effect of the ink imbued with the blood of the recipient symbolizes their transitioning from boyhood to manhood & their rite of passage
The Body Transitioning exploration model lasercut MDF 3mm
Enterance A - triangular opening
Enterance B - pentagonal opening
THE TRANSITIONING
CONCEPT Exploring forms that have a change of state upon entrance and exit of the building/ space. It seeks to investigate how the experience through the space could create a n effect of transition through the manipulation of formwork.
The Body Transitioning exploration model lasercut MDF 3mm
Enterance A - small opening
Enterance B - larger opening
N
Site Plan scale 1:500
1. Storage Space 2. Administrative offices 3. Male Toilets 4. Female Toilets 5. Main Hallway 6. Exhibition Space 7. Gallery 8. Tatau Space 9. Exit out of Memorial Space 10. Reflection Space 11. Cafeand rite of passage
Structural Diagram
Section A
Section B
Section C
Section A
Section B
Section C
THE JOUR TAT
WALK The Space of
a space that embodies the qu that is being tattooed. It is a is to be r
RNEY OF TAU
KWAY Imbuement
uality of being inside a body place of preparation of what received
THE JOUR TAT
GALLERY / E SPA
The Space o
a small gallery and exhibiti receive into to learn about th and meaning/ sign
RNEY OF TAU
EX H I B I T I O N ACE
of Learning
ion space where individuals he history of the tatau chisels nificance of the pe’a.
THE JOUR TAT
TATTOOIN
The Space
a space where people are ab funga (tattoo artist) & a spa can come to support and
RNEY OF TAU
NG SPACE
e of Tapu
ble to get tattooed by the tuace where friends and family d encourage the recipient
TRANSLATIONS TRIAL & ERROR
Type: Installation Location: Architecture Studio | Auckland | New Zealand Tutor: Kester Rattenbury
Academic Work - Bachelors Year 3 | Semester One
TRANSLATIONS I-CHING
TRANSLATIONS As architects we have subconsciously become subjected to over aestheticize in our projects and in the developmental process of our conceptual studies. This suggests that in the stages of the design process – conscious or not, we are constantly critiquing the aesthetic nature of our 2D drawings or 3D models, in which our decision making is being influenced and driven by the subject of aesthetics. Due to this process, the integrity of textiles becomes lost in the formal principle of architecture. This project seeks to investigate the tangible integrity of material properties through physically making. Through the removal of sight, it seeks to eliminate the aestheticized nature of design; drawing attention in the materials, tools and techniques applied. The dependency of this experiment will be explored through the remaining senses, such as sound, smell, taste and touch. This intends to heighten the instinctive nature of making, enhancing our comprehension of material properties and capabilities. Through the reliance on these sensory instincts, the human body will become an important aspect on how it can be seen and used as an architectural tool to generate architecture or architype.
I-CHING GRID I Ching is taken from the ancient Chinese “Book of Changes� and it is a form of divinatory practice involving 64 hexagrams (patterns of 6 broken and unbroken lines). There are 8 trigram in row one and column one to form an individual hexagram. This is shown on a grid split into an upper and lower trigram.
1
34
5
26
11
9
14
43
25
51
3
27
24
42
21
17
6
40
29
4
7
59
64
47
33
62
39
52
15
53
56
21
12
16
8
23
2
20
35
45
44
32
48
18
46
57
50
28
13
55
63
22
36
37
30
49
10
54
60
41
19
61
38
58
TRANSLATED I-CHING GRID for building materials and architype This chart will be used to translate the work produced in this paper into a range of building materials and architypes determined by the I Ching. It seeks to experiment with sudden constraints and limitations, similar to what is expected on a architecture site, as well as in the industry.
1
beam
34
25
51
column
door handle
6
40
clay
5
floor
3
29
24
ceiling
exterior
facade
33
table
12
screen
44
column
13
screw
10
butter paper
62
door
16
39
8
gutter
32
nail
55
floor
23
truss
48
2
chair
22
door
60
table
lamp
41
column
57
beam
50
36
37
30
window
screen
19
61
38
wall
screen
28
hand
roof structure
clay
floor
45
ceiling
timber cladding
door
21
lamp
35
door handle
interior wall
47
column
56
brick wall
20
truss
46
18
63
53
chair
17
truss
64
mosaic tiles
chair
plumbing services
brick wall
mosaic tiles
54
butter paper
43
screw
21
window
59
timber cladding
15
52
window
14
window
42
plumbing services
7
4
amp
9
tiles
wall
27
nail
hingel
11
26
table
table
49
lamp
58
tiles
brick wall
TRANSLATIONS TRIAL & ERROR
generated hexagram
17
6
CLAY WALL
Using the I Ching chart of building materials and architypes, it suggested to translate these clay sheets into an interior wall. In order to do so, the clay sheets have been assembled in an overlapping manner (one of top of the other) to create a textural effect. An exerpimentation of appropriating different scales (e.g. a large and small scale) has been explored to compare how these clay sheets can be used and interpreted in different ways on a 1:1 scale.
‘Gestural Molds’ 250 x 600 mm canvas material & indian ink
INSTRUCTIONS for clay molding scale 1:10 1. take a lump of clay approx. 3 mm diameter 2 - 6. using the edge of the thumb, apply pressure to flatten and mold the clay into desired form on a flat surface 7. take various clay molds and dip into indian ink
TRANSL TRIAL &
Interior Clay
Working with a small sca make the clay molds smal all tog
Models: Chassya Andrys Wina C
LATIONS & ERROR
Wall Feature
ale: I Ching suggested to l before assemblling them gether
ska Susanto & Angeline Chandra
TRANSL TRIAL &
Interior Clay W
Working with a large sca make the clay molds ma them all
LATIONS & ERROR
Wall Feature 1
ale: I Ching suggested to assive before assemblling together
TRANSLATIONS TRIAL & ERROR
generated hexagram
4
53
16
25
60
52
IMPLEMENTATION
The I Ching grid of materials and architypes suggested to make a hanging lamp with chicken wire as the structural frame to assemble all the butter paper cones together. The I Ching grid is placed over the chicken wire to determine its form. This is shaped by the six random hexagrams given from the I Ching. These numbers are used as an indication to where pressure is applied to shape its form.
scale 1:20
1
2
INSTRUCTIONS 6 for butter paper ceiling structure scale 1:50 1. bend the chicken wire for the two edges to meet 2. secure the edges with metal wire 3. fold the sides edges inwards for it to meet & secure edges with metal wire to form a rectangular cuboid 4. apply pressure on the area generated from the hexagram & mold until desired form 5. formed chicken wire structure 6. individually insert butter paper cone in the square net of the chicken wire 7. continue step 6 until chicken wire is covered
4 3
25
4
52
16
53
60
8 7
TRANSL TRIAL &
Butter paper h
butter paper, wheat
Models: Thom
LATIONS & ERROR
hanging lamp
t glue, chicken wire
mas Hundarto
TRANSLATIONS TRIAL & ERROR
generated hexagram
50
52
BUTTER PAPER SCREEN
The I-Ching suggested to use the human hand as an architectural took to generate organic circulator forms by wrapping it with butter paper. Exploring the ergonomics of my hand, and different gestural movements of how butter paper can be wrapped around it, influenced the size and form of the masking tape.
Note: Resulting form and size of the circular form is dependent on the ergonomic of an individual’s hand, which differs for every individual.
TRANSL TRIAL &
Butter paper h
Using the I Ching materials and archity translate these butte scre
butter paper & 2600 x 1
LATIONS & ERROR
hanging lamp
g grid of building ypes, it suggested to er paper pieces into a een.
& wheat glue 1800 mm
BONE & SKIN LAMP DESIGN
Type: Digital Fabrication | Installation Location: Architecture Studio | Auckland | New Zealand Tutor: Dermont Mc Kneel
Academic Work - Bachelors Year 3 | Semester One
BONE & SKIN LAMP DESIGN
Bones and Skin The design of these lamps shows the structural integrity of its construction, which in turn creates these beautiful shadows when lighted up. The intent of this experimentation was to understand how parametric design is used to control form and structure. The outcome of these lamp designs have been predominantly done on software’s such as rhino and grasshopper. These softwares became a beneficial tool in the design process to control variant sizes and variables of the lamps in order to suit ergonomic purposes, usages and material sizes. and rite of passage.
OBAMA PRESIENTIAL CENTRE
Type: Design Competition Location: Chicago | United States of America Group Members: Callum Ireland Rijuta Chakraborty Yeji Lee Reagan Lee Amanda Wijaya
Year of competition: 2016
OBAMA PRESIENTIAL CENTRE
Obama Presidential Centre The Obama Presidential Centre in Chicago, America, is an amalgamation of creative spaces and sustainability that celebrate the collaborative nature of the Obama Foundation and the 21st century in its sustainable practice. The building itself is a garden extension of its neighbouring Washington Park as it gradually emerges from the ground in the north-east corner of the site, taking its topographical form over the block and descends back in the south-west end where the main entrance welcomes visitors. The green roof, partially accessible to visitors below, covers over half of the total area of the roof and is gardened in native species of flowers and grasses that not only improve the thermal performance the building but also the air quality of the surrounding site as well as reducing heat island effect. The orientation of the building not only caters to Chicago’s weather conditions but to the existing site facilities such as the train lines and roads. The main entrance and gallery exhibition space, being located in the south western end of the building increases the accessibility for public transport users and encourages the use of the surrounding site that has been landscaped to create cycling paths and foot paths.
TRANSL TRIAL &
Butter paper h
Using the I Ching materials and archity translate these butte scre
butter paper & 2600 x 1
LATIONS & ERROR
hanging lamp
g grid of building ypes, it suggested to er paper pieces into a een.
& wheat glue 1800 mm
METAPHOR ARCHITECTURE & INTERIOR FIRM
Type: Interior | Cake Shop, Bar & Restaurant Location: Ambarrukmo Hotel | Yogyakarta | Indonesia Head Designer: Fredi Role / Status on the Design: Junior Designer - 3D Modelling, design concept and development Render: Render Team of Metaphor Architecture and Interior
Internship Work | December 2015 - January 2016
METAPHOR ARC INTER
Floorplan - Cake Sho
2
3
1. Cake 2. Outdoo 3. Indoor Dinin 4. B
CHITECTURE & RIOR
op, Restaurant & Bar
1
e Shop or Dining ng / Restaurant Bar
4
METAPHOR ARC INTER
Cake
Cake Shop in the lobby connected to the Bar & outdoor
CHITECTURE & RIOR
Shop
of Ambarrukmo Hotel, & Restaurant, as well as r dining
METAPHOR ARC INTER
Restauran
Proposed design for indoor restaurant & Bar at Ambarr showing connection to the cake shop on the left, a
CHITECTURE & RIOR
nt & Bar
rukmo Hotel. Render viewpoint from indoor restaurant and the reception of the hotel and bar to the front.
METAPHOR ARC INTER
Restaurant &
Render viewpoint from in connection to the cake connection to the outdoo
CHITECTURE & RIOR
& Cake Shop
ndoor restaurant showing e shop on the right and or dining area on the left.
METAPHOR ARC INTER
Outdoor
Proposed design for outd Shop in Ambarrukmo H showing connection and
CHITECTURE & RIOR
r Dining
door dining of the Cake Hotel. Render viewpoint access from main-street.
METAPHOR ARC INTER
Outdoor
Render viewpoint showin from main-street and indo
CHITECTURE & RIOR
r Dining
ng connection and access oor dining & bar in front.
METAPHOR ARCHITECTURE & INTERIOR FIRM
Type: Interior | Foodcourt Location: Palembang | South Sumatra | Indonesia Head Designer: Fredi Role / Status on the Design: Junior Designer - 3D Modelling, design concept and development Render: Render Team of Metaphor Architecture and Interior
Internship Work | January 2016 - February 2016
METAPHOR ARC INTER
Floorplan - Palem 1
2
6
3
7
4
8 9
10 11
CHITECTURE & RIOR
mbang Foodcourt
5
1. Road Enterance 2, 3, 4, 5. Main Indoor Dining Area 6. Central utensils and waiter service area 7. Main Enterance into food court 8. Indoor Bar 9. Outdoor Bar 10. Outdoor Stage 11 & 12. Main Outdoor Dinig Area
METAPHOR ARC INTER
Enter
Entrance of the Pale
CHITECTURE & RIOR
rance
embang food-court.
METAPHOR ARC INTER
Indoor D
Proposed Design for the main stalls circling the perim
CHITECTURE & RIOR
Dining
n indoor dining area, with the meter of the foodcourt.
METAPHOR ARC INTER
Indoor D
Proposed Design for the ma traditional warung design se mark
CHITECTURE & RIOR
Dining
ain indoor dining area, with een in pasar (traditional food rket)
METAPHOR ARC INTER
Outdoor
Proposed design of the main greenhouse design for the bar surrounding e
CHITECTURE & RIOR
r Dining
n outdoor dining area with a r, and a panoramic view of the environment.
METAPHOR ARC INTER
Outdoor
Render vimain outdoor dini and access to in
CHITECTURE & RIOR
r Dining
ing area showing connection ndoor dinig area