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ARCHITECTURE PORTFOLIO
Architec tural Graduate
AMANDA MEGAYANTI WIJAYA
AMANDA
MEGAYANTI
WIJAYA
Architectural Graduate - University of Auckland, New Zealand
CONTACT Name: Amanda Megayanti Wijaya
+64211657328 amandawijaya@hotmail.com
Nationality: Chinese Indonesian
Architectural Graduate
D.O.B: 17/05/1995
Auckland, New Zealand
EXPERIENCE 2016 - 2017
STEVENS LAWSONS ARCHITECTS Internship for two months
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Auckland, New Zealand
2015 - 2016
METAPHOR INTERIOR ARCHITECTURE FIRM | Jakarta, Indonesia Internship for two and a half months as a junior designer
2017 - 2018
MEDIA ARCHITECTURE TUTOR | Auckland, New Zealand Tutored for two semesters at the University of Auckland
2013 - 2016
CENTURY 21 | Flat Bush, Auckland, New Zealand Photographer and editing photos
EDUCATION 2016 - 2018
THE UNIVERSITY OF AUCKLAND | Master Degree of Architectural Studies
2014 - 2016
THE UNIVERSITY OF AUCKLAND | Auckland, New Zealand Graduated Bachelors of Architectural Studies
2015
ARQUITECTURA UNIVERSIDADE AUTONOMA Studio Iberia exchange programme for 4 weeks
2007 - 2014
SANCTA MARIA COLLEGE High school
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Auckland, New Zealand
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Lisbon, Portugal
Flat Bush, Auckland, New Zealand
AWARDS 2017
BLUES AWARDS Winner
2017
AAA Visionary Awards Highly Commended
2017
NZIA CENTRAL INNOVATION STUDENT DESIGN AWARDS MARCH(PROF) Winner
2017
AUCKLAND BRICK MANUFACTURER PRIZE Winner
2017
NZ WOOD RESENE TIMBER DESIGN AWARDS Winner
2016
WARREN TRUST AWARD Winner
2016
MONIER PRIZE Winner
2016
NZIA CENTRAL INNOVATION STUDENT DESIGN AWARDS First in Course Award, Semester 1 & 2
2015
NZIA GRAPHISOFT STUDENT DESIGN AWARD First in Course Award, Semester 1 & 2
2014
NZIA GRAPHISOFT STUDENT DESIGN AWARD Runner Up
2013
NZIA GRAPHISOFT STUDENT DESIGN AWARD First in Course Award, Semester 1 & 2
2013
BEST DRAWING AWARD - MEDIA First in Course Award, Semester 1 Media Paper
SKILLS
LANGUAGES English
Google Sketchup
Indonesian
Photoshop InDesign Illustrator
HOBBIES
Microsoft Word Rhino 3D/ Vray
UTOPIA | Home Décor & Freelance small start up business with architecture friend
AutoCad Grasshopper
Awards: AAA Visionary Awards, Student Post Graduate Category HIGHLY COMMENDED
A d m i n i ster i n g Vi si o n s GRADATIONS OF LIGHT - TE KORE, TE PO, TE AO MARAMA Program: Community Building
Location: Bastion Point, Orakei
Tutors: Lynda Simmons & Danielle Koni
SITE PLAN
Location: Bastion Point, Orakei Client: Ngati Whatua Orakei Scale: 1:500
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1. Main Public Entrance 2. Entrance 3. Office Carpark 4. Visitor Carpark 5. Visitor Carpark 6. New Waharoa incorporated into the pavillion 7. Marae 8. Whare Nui 9. Whare Kai 10. Classroom 1 11. Classroom 2 12. Classroom 3 13. Courtyard 14.Whare Raranga - Weaving Workshop 15. Whare Whakairo - Carving workshop 16. Carpark 17. New proposed road to prevent conjunction and traffic 18. Proposed road to be semi-pedestrianize 19. Addition to Whare Nui for Kaumatua, Kuia
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he design is based on Maori Creation story of Ranginui (Sky Father) and Papatuanuku (Earth Mother), especially the moment of their separation when light entered into the world. This moment is described as a dynamic movement expressed in Maori as ‘Te Kore, Te Po, Te Ao Marama’; translated to be “Out of the nothingness, into the night, into the world of light”.1 Focusing predominantly around the transition between Te Po to Te Ao Marama, the design explores a series of gradations of light developing and seeping in through from the darkness, especially the moment when light is architecturally seen as the giver that materialises texture, but also how space is defined through its casts. This dynamic movement correlates to the theory of ‘experiential time’, also known as ‘Maori Time’ discussed in an article called: “Maori Time: Notions of Space, Time and Building Form in the South Pacific”, written by Bill Mckay and Antonia Walmsley. The theory of Maori Time in regards to Maori culture and architecture is strongly driven by its: “…connection to the past, the land and the physical world… in which everything in the physical world provokes remembering always communicating a meaning.”2
1 Ministry of Justice, He Hinatore kite Ao Maori – A glimpse into the Maori world (Wellington: Ministry of Justice, 2001), 12. 2 Bill Mckay and Antonia Walmsley, “Maori Time: Notions of Space, Time and Building Form in the South Pacific,” Journal of Interior Design/ Interior Architecture Educators Association 4, no.6 (2003): 87.
Located on the humble and historic land of Bastion Point, in Orakei, the building administers a new vision for the Ngati Whatua Tribe for the potentiality of growth, leadership and expansion of this powerful iwi. The new vision of the administration building comprises of: - visitor centre and shop - gallery space to exhibit the carving and weaving done by the community, - multifunctional community space - waiting pavilion (architecture of patience) beside the existing Waha Roa where people wait and reflect upon the purpose of their visit before invited onto the marae - new offices for the Orakei Trust and Whai Maia Trust. Inspired by the creation story, the form of the administration building is reminiscent of the moment of their separation when their son Tane pushed them apart from his legs. Humbly embedded into the ground, the journey through the spaces draws in a closer connection and relationship to the Earth Mother, Papatuanuku, whereas the massing roof structure above it, is reminiscent of the Sky Father, Ranginui. Hierarchy of spaces have been articulately designated to ensure that the journey through the building is of one where people are first educated and humbled before entering into a space of tapu known as the marae. These spaces are designated through spaces of noa, which are typically stepped lower than spaces of tapu, which are raised higher.
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FLOOR PLAN Location: Bastion Point, Orakei Client: Ngati Whatua Tribe Scale: 1: 200
Second Floor:
1. Open Plan Office Space 2. Services 3. Copy and Storage Room 4. Kitchen 5. Waiting Area, and Informal Meeting Space 6. Ablutions
Ground Floor:
7. Main enterance and Performanc Area 8. Gift Shop 9. Visitor Centre 10. Administration Office 11. ‘The Space of Learning” - Gallery and Exhibition Space 12. Multi-use Community Space 13. Courtyard Space 14. Ablutions 15. Kitchen 16. Main Entrance into Waiting Area 17. Waiting Area 18. Proposed Waha Roa 19. Waiting Area 20. Proposed Extention of Waha Roa 21. Marae 22. Wharenui - Meeting House 23. 40 People Board Room 24. Office Reception and Waiting Area 25. Storage 26. Indoor Waiting Area/ Communal Space 27. 20 People Board Room 28. Kitchen 29. Courtyard Space 30. Entrance into office building and outdoor terraced area
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A JO URNE Y T HO RUGH THE GRA DATIONS OF LIGHT
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he journey through the building emulates different gradations of light, from entering in through the space of noa, such as the ‘Space of Preparation’ (gallery and visitor centre) and into the ‘Space of Potential’ (waiting area) where the interiority of the space becomes darker,
heightening an architecture of darkness, in which Maori people perceive it to be the most closet interaction/ relationship they have to their ancestor; in comparison to an open space of light, where the level of intimacy subsides and the physical and natural world is more connected.
LEFT IMAGE Render: Walkway towards the carving and weaving gallery ABOVE IMAGE Conceptual Drawing: Conceptual charocal drawing expressing the gradation of light from Te Po to Te Ao Marama
S PAT IAL C O ND IT IO NS
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he architectonics and atmospheric qualities for the project is an amalgamation of conceptual explorations that has been investigated through massing models, material testing and tectonic studies exploring the ideations of gradations of light. As a result of this, the architectonics of the building continues a similar compositional construction and language explored in the preliminary stages, predominately driven by a series of keywords such as overlapping, layering, embedding as well as the interplay between solid and transparent materials.
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ABOVE IMAGE fig 1. Mass Model 1: re-molded white and yellow wax, 3mm MDF, charred macrocarpa wood, 78x78x78 fig 2. Mass Model 2: re-molded yellow wax, 3mm MDF, charred macrocarpa wood and 3mm perspex, 79x75x75 fig 3. Mass Model 3: re-molded yellow wax, 3mm MDF, charred macrocarpa wood, 82x70x80
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CONCEPTS Material, massing, and tectonic detail explorations
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ABOVE IMAGE fig 4. Massing models, exploring atmopsheric spatial qualities of movement in space that expands and contracts inconjuntion to the interplay of lightness and darkness fig 5. conceptual form explorations investigating the moment of seperation between Rangi and Papa fig 6. material and tectonic detail explorations using wax, chaared wood, MDF and resin to give materiality and form to the intangibilities of Rangi and Papa fig7. Spatial and atmospheric explorations taken from zooming into massing models 1,2 and 3 investigating the moment of seperation between Rangi and Papa, also known as “Te Kore, Te Po, Te Ao Marama�
‘TE KORE, TE PO, TE AO MARAMA’ Out Of The Nothingness, Into The Night, Into The World Of Light. 1
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Ministry of Justice, He Hinatore kite Ao Maori – A glimpse into the Maori world (Wellington: Ministry of Justice, 2001), 12.
BELOW IMAGE Render: Visitor centre and shop
ABOVE IMAGE Render 1: Looking into the Aotea, - a place both for informal and formal gatherings such as performances Render 2: Looking into the gallery space exhibiting carving and weaving item pieces that the community created
THE SPACE OF REMEMBERING AND CONNECTING “…in connection to the past, the land and the physical world… in which everything in the physical world provokes remembering always communicating a meaning.” 1 - Bill McKay and Antonia Walmsley
1 Bill Mckay and Antonia Walmsley, “Maori Time: Notions of Space, Time and Building Form in the South Pacific,” Journal of Interior Design/ Interior Architecture Educators Association 4, no.6 (2003): 87.
LEFT PAGE Section: Scale 1:50 Detail Section of the Waiting Area LEFT IMAGE Section A-A: showcasing the movement through space in regards to the idea of ‘Gradations of Light’. Scale: 1: 100 BOTTOM IMAGE Section A-B: showcasing the movement through space in regards to the idea of ‘Gradations of Light’. Scale: 1: 100
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ABOVE IMAGES fig 1. Conceptual explorations of gradations of light through the investigation of material, and massing models that determined the detailed tectonic model illustrated in fig 2. fig 2. Detailed tectonic model of a column found in the Waiting area/ Architecture of Patience. The detail is reminiscent of earlier explorations of conceptual models that explores the tectonic of layering, embedding, overlapping and the interplay between solid and transparent materiality.
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aori Time is in regards to the traditions of Maori culture in which they perceive architecture to be strongly driven by its: “…connection to the past, the land and the physical world… in which everything in the physical world provokes remembering always communicating a meaning.”1
1 Bill Mckay and Antonia Walmsley, “Maori Time: Notions of Space, Time and Building Form in the South Pacific,” Journal of Interior Design/ Interior Architecture Educators Association 4, no.6 (2003): 87.
BOTTOM IMAGE Render: The Waiting Area before welcomed onto the Marae
PH YS I CAL MO D E L
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he model showcases the architecture connecting and emerging from the earth. Architect, Alberto Campo Baeza describes this as “... an architecture of the earth, as if it were born from it.� 1 It is an architecture that looks for light, which perforates its walls so that light might enter it. Therefore, the model showcases the heaviness of its materiality that creates voids out of light to make it into space.
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Alberto Campo Baeza, Alberto Campo Baeza : Idea, Light and Gravity (Tokyo: TOTO Publishing, 2009), 62.
TOP IMAGE Model: Physical model illustrating the interior spatial arrangement of the building, Scale 1:100 RIGHT PAGE Model: Physical Model, Scale 1:100
Medium: macrocarpa wood, tan cardboard
Awards: Auckland Brick Manufacturer Prize, Achieving the most meritorious design project in Advanced Design 1 WINNER
T h e M u seu m o f Si l en c e ‘The Labyrinth of Silence’ Archetype: War Museum
Location: Constitution Hill, Auckland City
Tutors: Ross Jenner
‘THE LABYRINTH OF SILENCE’
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xtruded from the slope of Constitution Hill, the proposed war museum is a concrete monolith that exhibits silence through a stereotomic approach where a solid is carved out to create clearings left for the absence of nothingness, also known as full of potentiality to be filled into the space. The primal stillness of the world – the ‘ontological’ silence of the universe is contaminated and eradicated by the cultural noise and clatter. As a result of this, complete silence no longer exists, but only in fragments. The design scheme focuses on creating silence by slowing down time and people’s movements through a labyrinthine approach. As the theorist Milan Kundra suggests: “The degree of slowness is directly proportional to the intensity of memory... [whereas] the degree of speed is directly proportional to the intensity of forgetting”.1 The labyrinthine approach is explored through pockets of spaces that collect individuals to linger and create their own meandering journey that neglects the tyranny of measured time and focuses on the notion of time that ebbs and flows.
1 Marc J. Neveu and Negin Djavaherian, Architecture’s Appeal: How Theory Informs Architectural Praxis (New York: Routledge, 2015), 196.
RIGHT IMAGE Render: ‘The Threshold of Silence’
The spaces within are deviated by pulled and pushed masses to establish and exhibit different forms and dimensions of silence. This is expressed through the constant movement of contraction and expansion within the space in conjunction to the presence of light and darkness that proposes different conditions of silence through their tonal value. The architecture encourages one to feel somber and sympathetic with the presence and absence of light that serves as a gradual reminder of the severity of war. The emotional atmosphere created by using concrete as the primary material in the construction of these spaces, presents a rich and dense platform to access one’s spirituality. As one journeys through the labyrinth, they are welcomed to a vast final clearing at the point of entrance, in which individuals are then released into the final courtyard that serves as a parting gift, where one is released from the previous fortification and relieved into a serene expanse after a journey’s end. Therefore, to become oblivious to time, the war museum is a place where the feeling of absence is immeasurable through spaces that have been cleared out and carved out for a spiritual power to be filled into the void. It is a place where the architecture exists at a threshold between silence and light.
‘THE THRESHOLD OF SILENCE’ An interval space where one are invited to pause, stay and linger for a period of time .
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LABYRINTH EXPLORATIONS
Negative Space: Represents the space of silence where it is cleared, emptied and pure, awaiting to be filled with imaginative and emotional spaces Positive Space: Represents the pause/ interval/ ‘ma’ between negative spaces, crucial for an individual to connect with.
SITE PLAN
Location: Constitution Hill, Auckland City Scale: 1:1000
A. Underground Tunnels connecting to Albert Park B. Courtyard Entrance & Open Gallery C. Memorial Space D. Museum of Silence E. Courtyard Exit
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Explorations of atmopsheric spatial conditions in response to the positive and negative drawing studies
exploration of
ATMOSPHERE
light vs. darkness
contraction vs. expansion
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‘ATMOSPHERIC EXPLORATIONS’ 3D explorations of stereotomic modes - carved out spaces
ovement of lightness and darkness in conjunction to the closeness and openness of space in three-dimensional form.
Photograph: Conceptual Atmospheric Exploration
TOP IMAGES Medium: Charred MDF Wood
‘ T H E S I LE NC E O F POT E NT IALITY’
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ilence is not necessarily the absence of sound, but a void that has a figure of potentiality. Therefore,
“to create is to generate a state of readiness, in which the first thing created is… an empty space. The creation of the nothing is the absolute principle of all creation... so that something can be created in it.”1 - Juhani Pallasmaa
1 Juhani Pallasmaa, “The Geometry of Feeling,” in Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965, ed. Kate Nesbitt (New York: Princeton Architectural Press, 1996), 448.
BELOW IMAGE A Render: Gallery Space - The fragment of a space is permeable to connecting spaces
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RIGHT IMAGE B Render: Maori War Memorial Gallery Space - Movement through the masses of different gallery spaces: space within a space. RIGHT IMAGE C Render: Threshold - Thresholds of Silence, movement in space through lightness and darkness
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he methodology of stereotomy in this project was approached by carving voids of light to make it into space, similar to Alberto Campo Baeza. It is an architecture that seeks to suspend time, giving individuals the serenity and peace that allows them to contemplate eternal self inside them. Individuals find themselves before an architecture of absence, the absence of any element of any visual noise that might disturb them. With a purity of form, it ensures that there is nothing superfluous, that only the very essence of silence remains, what ever form or dimension that might take for every individual.
The notion of time experienced in the Museum of Silence is immesurable: “Experimental Time is not linear… it ebbs and flows based on its own set of laws.”1 - Juhani Pallasmaa 1 John K. Coyle, “The Fiction of Chronological Time: The Reality of Experiential Time,” John K. Coyle, last modified September 12, 2014, http://www. johnkcoyle.com/taorlblog/2014/09/12/the-fiction-of-chronological-time-the-reality-of-experiential-time.
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RIGHT IMAGE A Render: Auditorium - Silence is expressed through the prominant excavation where light filters in through the stage area RIGHT IMAGE B Render: Entrance - The stage of preperation RIGHT IMAGE C Render: Gallery Space - Movement through the masses of different gallery spaces: space within a space.
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Awards: NZ Wood Resene Timber Design Awards, Student Category WINNER
T h e Jo u r n ey o f Tata u ‘Marking the Journey of Tatau (tatooting)’ Archetype: Memorial
Location: Apia, Samoa Tutors: Llama Tone
T H E BO DY CO N T R ACT IN G & E X PA N DIN G
T H E BO DY R E CE IVIN G & LE T T IN G G O
THE T R A N SIT IO N IN G
THE JOU RNEY OF TATAU
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arking the journey of tatau (tattooing) is a memorial 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 seeks to evoke a sense of journey that embodies the significance of tattooing through the qualities reminiscent of a body 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.
CONCEPT
T he process of tat au / t at t o o i n g 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. The concept of the design is based on the process of a recepient receving the tatau, which includes 1. ‘The body contracting & expanding’, 2. ‘The body receiving and letting go’, and 3. ‘The Transitioning’. LEFT IMAGE Photograph: Conceptual model of ‘The Transitioning’
Medium: MDF 3mm
Dimension: 100 x 50 x 200
CO N C E PT O NE
T he process of tat au / t at t o o i n g
THE BODY CONTRACTING & EXPANDING T he body is stretched or expanded by the assistant of the tufug a and retur ned to its original state before he wipes away the excess ink.
ABOVE IMAGE Photograph: Conceptual charcoal drawing of ‘The Body Contracting and Exapnding 1’ Photograph: Conceptual charcoal drawing of ‘The Body Contracting and Exapnding 2’ Photograph: Conceptual charcoal drawing of ‘The Body Contracting and Exapnding 3’
Medium: Charcoal Medium: Charcoal Medium: Charcoal
CONCEPT TWO
T he pro c e ss o f t a t au / t a t t o o i ng
THE BODY RECEIVING & LETTING GO Receiving Spaces - pocket of spaces where people are received into when maneuvering the space. It can be used as a private space for ref lection, tucked away within the masses, where an indi vidual can immer se themselves in the space Spaces of release - breathing spaces from the masses
LEFT IMAGE Render: ‘The Body Receiving & Letting Go’ Medium: Charcoal BELOW IMAGE Photograph: Mass models of receiving spaces & spaces of release Medium: Plaster
CO N C E PT T HRE E T he transitioning
THE BODY TRANSITIONING T he body of transitioning explores the ef fect of ink being imbued with the blood of the recipient to symbolize their transitioning from boyhood to manhood as well as their rite of passa ge. Architecturally, this is explored through a series of conce pt models that investig ates a change of state from the moment of entrance towards exiting the space. It seeks to inves tig ate how the experience through space could create an ef fect of transitioning through the manipulation of for mwork.
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ABOVE IMAGE Photograph: ‘The Transitioning 1’ Conceptual Model Photograph: ‘The Transitioning 2’ Conceptual Model
Medium: MDF 3mm Medium: MDF 3mm
Photograph: ‘The Transitioning 1’ Interior View Photograph: ‘The Transitioning 2’ Interior View
ABOVE IMAGE Medium: MDF 3mm Medium: MDF 3mm
The memorial space is an example of a subterranean architecture, which uses rammed earth walls to create underground spaces and trenches in the design. The memorial space is design as three distinct spaces, joined together with a walkway. The walkway consists of a steel portal frame that runs along the main space, supporting both the skylight and the sidewalls of the structure. The design of the memorial is purposefully designed to be open to the natural elements e.g. allowing wind and rain to naturally come into the building, due to the hot climate in Samoa.
ABOVE IMAGE Detail Drawing: Stuctural Diagram System
Scale: 1:1000
Section A
Section B
Section C
ABOVE IMAGE Section Render: Section drawing showcasing the journey through the building
‘ T H E WALKWAY ’ The Space of Imbuement
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space that embodies the quality of being inside a body that is being tattooed. It is a place of preparation of what is to be received
BELOW IMAGE Render: The Walkway - ‘The Space of Imbuement’
ABOVE IMAGE Detail Drawing: Sectional Design Detail – Walkway Canopy Scale: 1:5
1. mud brick plaster built in three layers 16 mm – leave interval surface rough for adhesion 2. cement board 12 mm 3. steel frame 100 mm 4. timber packer 40 mm x 60 mm 5. glass frame / bracket 40 x 12 mm 6. glass 15 mm 7. copper flashing 8. waterproof membrane 9. waterproof membrane 10. steel portal frame 200 x 200 mm 11. diamond hi span purlin 75 x 200 mm
‘ T H E E N T RANC E ’ The Space Preperation
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transitional space that allows individuals to prepare and learn about the receiving of the tatau (tattoo)
1. rammed earth with 20% mixture of cement 500 mm 2. mud brick plaster built in three layers 16 mm – leave internal surface face rough for adhesion 3. steel portal frame 200 x 200 mm 4. steel panel welded onto steel portal frame 5. steel portal frame 200 x 200 mm 6. c15 concrete slab 200 mm 7. concrete footing 900 mm 8. steel portal frame 200 x200 mm 9. bolt and plate connection 10. steel portal frame welded onto steel frame of skylight 11. skylight steel frame 100 mm
ABOVE IMAGE Render: The Entrance - ‘The Space of Preperation’
Detail B
Detail A
ABOVE IMAGE Detail Drawing: Detail A LEFT BOTTOM IMAGE Detail Drawing: Detail B
ABOVE IMAGE Detail Drawing: Sectional Design Detail – Internal Wall Gutter for Ceiling Louver Panel
1. bituminous 4 mm to protect against moisture and for thermal insulation 2. bitumen layer 4 mm 3. foam glass 100 mm for thermal insulation 4. timber ceiling panel 120 mm 5. timber packer 120 x 50 mm 6. waterproof membrane 7. timber packer 220 x 50 mm 8. gutter filter 9. down pipe 600 mm diameter 10. rammed earth mixed with 20% cement 500 mm 11. #6 rebar 12 mm in diameter 12. earth 13. copper flashing
Scale: 1:5
‘ T H E G ALLE RY / E XHIB IT IO N’ The Space of Learning
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small gallery and exhibition space where individuals receive into to learn about the history of the tatau chisels and meaning/ significance of the pe’a.
BELOW IMAGE Render: The Gallery / Exhibition - ‘The Space of Learning’
‘ TAT TO O I N G SPAC E ’ The Space of Tapu
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space where people are able to get tattooed by the tufunga (tattoo artist) & a space where friends and family can come to support and encourage the recipient.
1. rammed earth wall mixed with 20% cement 500 mm 2. glass 20 mm 3. ground floor exterior 4. rammed earth ceiling mixed with 40% cement 300 mm 5. 250 UB 37 – 260 x 200 mm 6. #6 rebar 12 mm in diameter 7. rammed earth wall mixed with 20% cement slab 200 mm 8. c15 concrete slab 200 mm 9. glulam post driven into earth 200 x 200 mm 10. concrete footing 11. earth 12. screw 200 mm 13. 250 UB 37 – 260 x 200 mm
Detail B
ABOVE IMAGE Render: Tattooing Space- ‘The Space of Tapu’ RIGHT BOTTOM IMAGE Detail Drawing: Detail B Scale: 1:10
Detail A
ABOVE IMAGE Detail Drawing: Detail A Scale: 1:50
Detail A
ABOVE IMAGE Detail Drawing: Detail A
Scale: 1:50
ABOVE IMAGE Render: Tattooing Space- ‘The Space of Tapu’ - Ceiling Detail BELOW IMAGE Detail Drawing: Detail B Scale: 1:10
‘ TAT TOO ING SPAC E ’ The Space of Tapu
1. rammed earth wall mixed with 20% cement 500 mm 2. glass 200 mm 3. 300 UB 40 – 300 x 210 mm with rammed earth packed into cavity of beam 4. rammed earth ceiling mixed with 40% cement 300 mm 5. 250 UB 37 – 260 x 200 mm 6. 250 UB 37 – 260 x 200 mm 7. glulam post driven into earth 200 x 200 mm 8. precast concrete for stairs 9. concrete pile for glulam post driven in the earth A. screws 250 mm B. steel plates 200 x 120 mm C. customized steel plate for screw to insert into 100 x 200 x 250 mm D. glulam beam 200 x 200 mm E. glulam post 200 x 200 mm F. screws 80 mm
Detail B
ABOVE IMAGE Render: Tattooing Space - ‘The Space of Tapu 1’
ABOVE IMAGE Detail Drawing: Roof to Wall Intersection Scale: 1:5
1. drainage gravel 2. earth/ top soil 3. bitumen layer 4 mm 4. foam glass insulation 100 mm 5. bituminous layer 4 mm 6. slope down 4 degrees 7. #6 steel rebar 12 mm in diameter 8. timber packer 60 x 60 mm 9. timber packer 100 x 60 mm 10. glass 15 mm note: glass slopes down in opposing direction at a 3 degree pitch for water runoff 11. steel glass bracket 40 x 12 mm 12. copper flashing 13. timber packer 100 x 60 mm 14. rammed earth, 236 x 94 mm, packed into universal beam cavity 15. shear studs connector 16. 250 UB 37 – 260 x 200 mm, packed with rammed earth
Awards: Auckland Brick Manufacturer Prize, Achieving the most meritorious design project in Advanced Design 1 WINNER
Tr a n sl ati o n s ‘THE I-CHING’ Archetype: Installation Art Location: University of Auckland Tutors: Kester Rattenbury
T R A N S LAT IO NS
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s architects we have become accustomed to architectural representation in a certain way. This is a result of design making that follows a formal principle of concept design, development design, working drawings and a final design process typically found in architecture school and in architectural practices. In constraining a strict design process it disregards the flexibility for what Kester Rattenbury would describe as “designing by chance and the notion of randomness.” 1 This paper explores to critique the constraints of following a formal principle of design making within the principal of chance, changes and randomness towards a method of production. The design process uses an Ancient Chinese Book of Changes called the ‘I-Ching’, that consist of cosmological texts providing philosophical commentaries and inspiration to the subjects of religion, psychoanalysis, literature and art. The texts are used to provide guidance for decisionmaking that is translated for interpretation, which has been used for many centuries of debate in traditional Chinese culture.
The notion of randomness is organized in the form of a divination practice called cleromancy, which produces random numbers that are turned into a hexagram (patterns of 6 broken and unbroken lines). There are a total of sixty-four hexagrams in the book, in which each hexagram has their own set of texts attached to it. Within the scope of this paper, the texts provided from the I-Ching will be used as a tool for translation and interpretation towards design making. The notion of randomness within this paper is derived from using an ‘I-Ching’ app that generates two hexagrams directing to two readings based on chance and a set of questions asked. The two texts generated are used for translation towards design making in this paper. Furthermore, the set of sixty-four hexagrams were translated into various archetypes that were used for guidance towards a design outcome generated by the two random hexagrams given. As a result of this paper, the design process taught by Kester Rattenburg critiqued another method of design process and making by chance, change and randomness with integrity and sincerity as if it were deliberate circumstances.
1 Rattenbury, Kester. “Changes.” Presentation, ARCHDES, University of Auckland, Auckland, May 10, 2016.
RIGHT IMAGE Photograph: Butter Paper Wall
Medium: Butter Paper & Wheat Glue
Dimensions: 2600 x 1800
“DESIGNING BY CHANCE AND THE NOTION OF RANDOMNESS.” 1 by Kester Rattenbur.y
1 Rattenbury, Kester. “Changes.” Presentation, ARCHDES, University of Auckland, Auckland, May 10, 2016.
Installation: Interior Clay Wall Detail
Medium: Clay, Indian Ink
ABOVE IMAGE Location: University of Auckland
I N T E R I O R C LAY WALL II BUTTER PA PER SCREEN
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sing the I Ching chart of building materials and architypes, it sug gested 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 ef fect.
generated hexag ram
17 Render: Interior feature Clay Wall II
Medium: Clay, Indian Ink
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BOTTOM IMAGE Model: Angeline Wina Chandra
I M PLIME NTAT IO N
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he 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.
generated hexag ram
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H ANGING LAMP
Installation: Hanging Lamp Photograph: Butter Paper Hanging Lamp Detail
Location: University of Auckland
Medium: Butter paper, wheat glue, chicken wire
ABOVE IMAGE Model: Thomas Hundarto
LEFT IMAGE Dimension: 250 x 250 x 600
BU T T E R PAPE R SC RE E N
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sing the I Ching grid of building materials and architypes, it suggested to translate these butter paper pieces into a screen.
generated hexag ram
17 Installation: Interior butter paper screen
Medium: Butter paper, wheat glue
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BOTTOM IMAGE Dimension: 2600 x 1800
WOR K E X PE R I E N C E Internship work at Metaphor Interior and Architecture fir m Archetype: Hospitality Interior
Project Role: Junior Designer
Team Leader: Fredi
CAK E S H OP Location: Ambarrukmo Hotel, Yogyakarta, Indonesia
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Team Leader: Fredi
he cake shop is a minimal contemporary design that similarly carries the material language of the hotel lobby. It has a spacious, humble and comforting ambience inviting people to dine in, linger and relax. Located on the left hand side of the hotel entrance, the spatial composition of the cake shop also allows for people to grab food on the go when they leave or return from their destination.
BELOW IMAGE Render: Cake Shop in the lobby of Ambarrukmo Hotel, connected to the Bar & Restaurant, as well as outdoor dining
ABOVE IMAGE Render 1: Dining area for restaurant and bar during the day time Render 2: Outdoor dining - secondary access from outside the hotel
PA LE M BA N G FO O D C O URT Location: Palembang, Indonesia
Team Leader: Fredi
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he design of the Palembang food-court celebrates both modern and traditional Indonesian architecture. It is reminiscent of traditional food carts that are located along the streets of Palembang. The Pasar (Market) design, introduces a new approach of experiencing food-courts that creates a lively and festive ambiance for both locals and tourists to enjoy.
BELOW IMAGE Render: Outdoor dining area, overlooking 360 view of the Palembang district. LEFT PAGE Render 1: Entrance into the foodcourt Render 2: Mezzanine area of the foodcourt Render 3: Foodcourt render of the ground floor over looking a 360 degree view of the site
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THANK YOU . . . for reading. . .
Amanda Megayanti Wijaya