ARDITHA AURIYANE PORTFOLIO Selected Architecture Works 2013-2018
CONTENTS PROFESSIONAL WORK
BURBANK APARTMENTS HI POINT CONDOMINIUMS
MIT
STAIRS TO THERE, STAIRS TO NOWHERE S, M, L / ANTRHOPOMETRIC THEATER IN THE ROUND, THEATER IN THE GROUND THE PEOPLE’S POOL
UCLA
MILK CARTON + MILK CARTON = SOLID/VOID TRANSLATIONS CHARACTER CTY POINTILISM (2D) - POINT CLOUD (3D) PORTMANTEAU
BURBANK APARTMENTS M-Rad Architecture | Professional Work, 2016 Role: Preparing design development and construction documents for city permitting
All images are properties of M-Rad Architecture
HI-POINT CONDOMINIUMS M-Rad Architecture | Professional Work, 2016 Role: Preparing design development and construction documents for city permitting
All images are properties of M-Rad Architecture Description
STAIRS TO THERE, STAIRS TO NOWHERE Fall 2017 | MIT Core I Studio Instructor: Rachely Rotem
Reflections on bubble surface
STAIRS TO THERE, STAIRS TO NOWHERE Fall 2017 | MIT Core I Studio Instructor: Rachely Rotem This exercise came with a riddle: create a stair to there
the exact view shown in isometric. This is where the
and nowhere. The first part of the exercise instructed
game is further explored through materiality using
us to think in isometric as a mode of exploration. I
bubbles. Dipping the frame of stairs in soap water
began by thinking: how can ‘there’ be ‘nowhere’ at the
enables the system to continuously reconfigure itself
same time?
through the production of different surfaces, new lines, and new curves. Temporal, ephemeral qualities
Therefore, I propose a game of illusions, a game of
are introduced to the game. Surfaces are fleeting
finding: where is my stair? This game can be played in
and momentary. Is there a surface? At one moment
2D and 3D. In 2D, this game is made possible through
a surface is ‘there’, the next second it’s ‘nowhere.’
the duality and ambiguity inherent in isometric drawing that produce multiple readings of surface. However,
The drawing uses ice and its melting properties as
there is a gap between isometric drawing and 3D object,
a medium to express time, momentariness of the
where our eyes see in perspective, and one cannot see
surfaces, and the absurdity of the surfaces formed.
4 | Auriyane Stairs to there, stairs to nowhere
Left: Stairs dipped in bubbles. How many surfaces created? Top, Bottom: 3D print model. How many stairs possible?
5 | Auriyane Stairs to there, stairs to nowhere
Left: Drawing of the stair with ice, depicting its temporality Top: Cheat sheet of the many possible stairs
S, M, L / ANTRHOPOMETRIC Fall 2017 | MIT Core I Studio In collaboration with Charlotte D’Acierno, Melika Konjicanin Instructors: William O’Brien Jr, Jennifer Leung, Rachely Rotem
Field of figures make a room
S, M ,L / ANTRHOPOMETRIC Fall 2017 | MIT Core I Studio Instructor: William O’Brien Jr, Jennifer Leung, Rachely Rotem The project starts with the interpretation of a minimal
the number of unique experiences within the field.
“room” as an enclosed space. The human body can be perceived as that minimal room, where the human
S, M, L serves as a critic of today’s unrealistic
skin encloses the space of our interior organs. We then
standards of the ideal body. The standardized frame
question whether one needs to be fully enclosed around
circumferences in each of the 3 sizes of figures are
360° in order to achieve that feeling of enclosure, and
representative of architectural graphic standards,
whether we can adopt an architectural typology other
which reduce our bodies down to a range of 3
than “wall” in order to achieve this feeling. S, M, L is a
dimensions. The distance between the ‘feet’ of each
room consisting of 5 anthropometric “figures”.
figure corresponds to 3 measurements of the ‘ideal female body’ (24” waist). The voids between columns
In the field, these figures form a series of unique voids
reflect distorted ideals of the female body to be
that create varying levels of enclosure and exposure,
occupied and tested by people. To exist in the voids,
and suggest different body positions as the occupant
pressure must be exerted. In some, the occupant
moves through the room. Within a single figure, 5
contorts around the figures; in others, the body is
elliptical frames are suspended in a nylon skin. Each
forced to distort the figures themselves. Sometimes,
frame has the same circumference, but a varied level
we are able to break out of these standards; or we
of distortion from a perfect circle. The frames are both
bow to them. Anthropometric figures questions the
rotationally and vertically varied in order to maximize
social and the spatial implications of standardization.
7 | Auriyane S, M, L / Antrhopometric
Top, Bottom: Bodies moving through figures
8 | Auriyane S, M, L / Antrhopometric
Top: Section through body moving in room Left: Anthropometric figure showing rotation, orientation, and measures
THEATER IN THE ROUND, THEATER IN THE GROUND Fall 2017 | MIT Core I Studio Instructor: Rachely Rotem
Section model of the field of platforms
THEATER IN THE ROUND, THEATER IN THE GROUND Fall 2017 | MIT Core I Studio Instructor: Rachely Rotem This exercise came with a riddle: create a theater in the
moments. In the process was the delicate and
round and theater in the ground. The static and linear
sensorial attributes that one has to feel and touch
hierarchy in traditional audience–performer relationship
as temperature changes when wax and ice melts. I
is boring. In this theater, hierarchy of seats is removed,
aim to incorporate this quality by proposing theater
replaced with dispersed seating with multiple views,
stages with microclimates: hot and cold theater.
looking at 3D stages that one can walk around. To me,
Around
theater in the round means a theater that can be seen
platforms arranged in a field. Temperature radiating
from all angles, from all around. Theater in the ground is
from stage contain sensorial cues influencing these
the platform of connection between two ground levels
platforms. Instead of experiencing the theater by
of the site to see the performance of the building.
sight, users will figure out the theater by sensation.
Wax models were made to interpret the precedents
Microclimates changes types of performance: hot
in terms of the ambiguity of inside-outside (House in
= increased activity, cold = passive movement.
Leiria, Aires Mateus), and non-hierarchical fields of
Microclimates suggest different viewing experience:
trees vs fields of columns (Museum Fort Vetchen, Anne
hot = crowds, cold = solitary platforms. In sensorium
Holtrop; Elbphilharmonie, Herzog & de Meuron). Hot
reactions: hot = beach chairs and naked bodies,
wax was poured into containers of ice. Ice melted,
cold = soft, warm couches and people in fur coats.
and the system created solid-void, inside-outside
Microclimate reconfigures how people gather around.
the
stage
are
non-hierarchical
plan 2 1’ = 1/16”
viewing
plan 2 1’ = 1/16”
theater in the round theater in the round
close and touching close and touching
close yet never touch close but never touch
section 2 1’ = 1/16”
theater in the ground theater in the ground
bigger platforms bigger platforms
solitary platforms solitary platforms
density and temperature density and temperature
temperature radiance radiance
Section 1 section 2 1’ = 1/16” 1’ = 1/16”
section 2 1’ = 1/16”
section 1 1’ = 1/8”
Section 2 section 1 1’1’==1/16” 1/8”
Top: Section through hot and cold theater showing different modes of occupations, furnitures, attires and performance Bottom: Early wax model impressing different types of space near different forming temperatures; pink (hot) = double height space, corridor; purple (mid) = seating area, blue (cold) = solid facade Left: Axonometric view
section 1 1’ = 1/8”
THE PEOPLE’S POOL Spring 2018 | MIT Core II Studio In collaboration with Lucas Igarzabal, Marisa Waddle Instructors: Mariana Ibanez, Christoph Kumpusch, Jennifer Leung
Collage of views through running track
THE PEOPLE’S POOL Spring 2018 | MIT Core II Studio Instructor: Mariana Ibanez, Christoph Kumpusch, Jennifer Leung Various communities make up the identity of Coney
lines form, their curvature invites user to flow through
Island; they are considered to be New York’s People’s
the spaces, blurring the boundary between the
Pool. The People’s Pool aims to create a diverse
inside and outside, forming spaces as inclusive and
atmosphere for those communities to come together.
accessible as possible. The People’s Pool creates a landscape of pools, recreational amenities, and
The People’s Pool aspires to be inclusive and accessible
health facilities that respond to the public’s needs,
to everyone by creating an open, porous and permeable
both current and anticipated. Spaces like sensory
organism. It implements porosity utilizing curvatures
deprivation tanks are tucked within the edges of the
established by tangent lines and circles, which house
topography as a means of therapeutic treatment
programmatic elements.
The curved walls articulate
for those who suffer from PTSD. Ramps become
the connection to a newly developed topography;
the primary source of vertical movement across the
cutting through the ground, generating a shift in the
topography to accommodate all body types and
landscape while enclosing different programs. As these
means of circulation.
13 | Auriyane The People’s Pool
14 | Auriyane The People’s Pool
Left: Exploded axonometric showing underlying geometries and programs Top, Bottom: Sections
MILK CARTON + MILK CARTON = Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan
Kinetics of B + C
MILK CARTON + MILK CARTON = Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan How does a spout work? Based on the analysis of the parent object, the milk carton, spouts operate based on the slit on top of the carton. An opened milk carton has an inherent cut, the top slit; this cut enables the forming of the spout. The project further explores the reproduction of the cuts that reconfigure the milk carton. In order for a spout to be formed, (1) a slit must be introduced on the edge of a folded surface, and (2) it must either have a push or pull motion applied to the slit surface, much like how Object A transforms to A’. Object B and C are products of one same slit; the most minimal incision that reconfigures the object by creating
a new spout and closing the original spout, using a push and pull motion. This single move displaces the elevation of the spout opening from the top to the side of the carton. Object B and C are then fused to create a looping continuous surface, with the symmetry as its seam. This forms a continuous exterior that connects to the interior side of the surface. Utilizing the the inherent push-pull logic of the spout, the configuration of B and C creates a new object with a condition where the spout can be open and closed both at the same time.
CUT + PUSH DIAGRAM
Object A
Object A’
Object A to A’
Object A’
Object B
Object A’ to B
Object A’
Object C
Object A’ to C
Object A’
Object B
Object C
Top to Bottom: Spout positions of Object A’, Object B, Object C
17 | Auriyane Milk Carton + Milk Carton =
B+C
B + C UNFOLDED
Top to Bottom: Bottom Elevation, Front Elevation, Top Elevation of Object B + C
18 | Auriyane Milk Carton + Milk Carton =
SOLID/VOID Winter 2014 | AUD 121: Studio I Instructor: Steven Christensen Featured in UCLA A.UD Best Student Work Exhibition “Currents: Winter 2014”
Interior view towards a vanishing point of the solid/void
SOLID/VOID Winter 2014 | AUD 121: Studio I Instructor: Steven Christensen Featured in UCLA A.UD “Currents: Winter 2014” The project begins with an exercise of creating a void by colliding solids. Three prisms are collided on its edge using Boolean operations, and fitted into a box. This exercise provides multiplicity on the reading of the solid and the void, and the collision itself creates a third space inside itself. Further exploring the idea of finding the threshold between what is solid and what is void, some surfaces of the prisms are replaced with transparent planes. This further blurs and challenges the reading of the solid/void relationship. Floor plates are then introduced to the scaled volume, occupying the outside of the void, and assigned to
the gallery programs. The directional nature of the collided prisms brings the main stair circulation to a single point, as it travels along bifurcated third spaces being inside the void. A ramp is introduced at the end of the circulation to allow for viewers to read the void, which in their perspective would seem to be the solid. Finally, the façade is articulated by connecting the edges of the colliding prisms with planar surfaces.
20 | Auriyane Solid/Void
SOLID/VOID 3 PRISM COLLISION ALONG RED AXES - BOOLEAN CONDITION MAIN CIRCULATION INTRIDUCED TO ALIGN WITH MAIN DIAGONAL AXIS
VERTICAL CIRCULATION
LOBBY + MUSEUM STORE + CAFE
FIRE STAIRS
GALLERY SPACE
STORAGE ELEVATOR
OFFICES
UTILITIES
W
M
OF F IC E SPA C E
5TH FLOOR PLAN 0
5’
10‘
20’
50’
GA L L ERY SPA CE
GA LLE R Y SPA CE
4TH FLOOR PLAN 0
5’
10‘
20’
3RD FLOOR PLAN 50’
0
5’
10‘
20’
50’
CAFE
W W
M
BOOKSTORE A N D TI CKETI N G
M GA LLE R Y SPACE
G AL L ER Y SPACE
KITCHEN
GA L L ERY SPA CE
GA LLE R Y SPA CE
1ST& 2ND FLOOR PLAN 0
5’
10‘
20’
GROUND FLOOR PLAN 50’
0
5’
10‘
20’
50’
21 | Auriyane Solid/Void
Top: Interior view of ramp connecting end of circulation on fourth floor back to gallery space on first floor Bottom: Interior view of first floor galery space
+58’-0” B UI LD ING HE I GHT
+44’-0” LE VE L 5
+58’-0” B UI LD ING HE I GHT
+30’-0” LE VE L 4
+44’-0” LE VE L 5
+23’-0” LE VE L 3
+15’-0” LE VEL 2
+30’-0” +11’-0” LE VE L 4
+23’-0” LE VE L 3
0’-0”
LE VEL 1
+15’-0” LE VEL 2
+11’-0”
SECTION A 0
5’
0’-0”
10‘
20’
LE VEL 1
SECTION A 0
5’
10‘
20’
+58’-0” BUILDING HEIGHT
+58’-0” BUILDING HEIGHT
+30’-0” L E VE L 4
+15’-0” L E VE L 2
+30’-0” L E VE L 4
0’-0” LEVEL 1
+15’-0” L E VE L 2
-15’-0” UN DERGR OU ND STORAG E
0’-0” LEVEL 1
SECTION C -15’-0” UN DERGR OU ND STORAG E
SECTION C 0
5’
10‘
20’
10‘
20’
SECTION C 0
5’
SECTION C
22 | Auriyane Solid/Void
Top: Section B (physical model) Bottom: Section B’ (physical model)
TRANSLATIONS Spring 2014 | AUD 143: Tech III Instructor: Georgina Huljich
Physical model made of E.V.A foam, expressing the smooth and rough texture by contouring the surface with thin surfaces
TRANSLATIONS Spring 2014 | AUD 143: Tech III Instructor: Georgina Huljich Each student is given a single image of a mineral. The minerals are then reimagined by speculating and constructing extra layers of information -taking into consideration its texture and skin, its volume, and finally the body of the object. In this project, the speculated mass is assumed to have rough and smooth textures depending on the cut of the stone. I chose to materialize the object and articulate these nuances with thin surfaces, micro contouring the skin in different directions to express the texture. As these surfaces twist and bend to reveal the materiality of the medium, the undulation and the parallax effect create different readings of the texture. This fluidity
is contrasted with the orthogonal primitive volumes presumed to compose the flesh of the object. This process translates an image into a digital 3D model, which is then translated into series of drawings, and then into physical model. These multiple stages of translations bring forth different interpretations of information as well as some loss of accuracy, as twodimensional drawings are not static representation of objects, but are taken as a provocation for design intellection -in Robin Evans’ words, “we must look in front for the things that the drawing might yet suggest, might lead to, might provoke; in short, what is potent in them rather than what is latent.�
24 | Auriyane Translations
ANALYTICAL DRAWING
SERIAL SECTIONS
i h g f e d c b a
EXPLODED AXONOMETRY
25 | Auriyane Translations
Top: Sectional model describes the relationship between the skin and the body of the object Bottom: Seam detail showing different contour directions to express the texture
CHARACTER CITY Spring 2015 | AUD 123: Studio III Instructor: Ramiro Diaz-Granados
Exquisite City at RUMBLE 2015
CHARACTER CITY Spring 2015 | AUD 123: Studio III Instructor: Ramiro Diaz-Granados The 12 students in the studio are presented with the problem of herding cats: how to arrange parts with peculiar characteristics into a coherent whole. To solve this problem, we compiled a catalogue of vernacular 2D shapes from which we build our distinctive yet familiar 3D volumes through boolean operations. I further take this question and challenge the transition from the rigid, euclidian boolean operations, into topologies, where properties of space are preserved under continuous deformations (such as stretching and bending), and explore on how shapes transition from having characteristics into being a character, including having material characteristics. These volumes are then assigned to programs fitting of their shapes, driven by collective zoning and program overlays contributed by each students, ranging from green space, commercial, residential, to parking, FAR
to building height. As such, the territory of this city has an average FAR of 2.1 and height limit of 80 feet, with some blotches of land allowing for 200 feet height. These overlays interact forming the characteristics of the city. The problem of field vs. figure-ground relationship between building and landscape also influence the texture of the city strands, where topography is modified to allow for taller buildings. Complexities and anomalies are corollary as these varying conditions are being addressed. This project is also a collective game of exquisite corpse: a game played by Surrealist painters as they continue a drawing having shown only a sliver of the previous person’s drawing. Twelve students played this game in an urban scale, giving rise to the strange, unreal, uncanny conditions as they address the problem of extension and locality in connecting one territory to the other.
S1
S2
S3
S4
S5
MATERIAL CONDITIONS | BEING A CHARACTER
Pleiades
Sfera
Anka
Kefka
Celes
Cetra
Seirios
Kiros
Ofey
Maia
Freja
27 | Auriyane Character City
BOOLEAN OPERATIONS | SHAPES WITH CHARACTERISTICS
Maia Sfera
6T H ST Seirios Anka 50’ Ofey
40’
Pleiades
50’
Freja
50’ 40’
Kefka
50’ 50’
Cetra Yo
40’
Kiros
Sfera Di
A
Sol
7TH ST
Anka
Sfera Ofey
SITE PLAN 0
50’
100‘
200’
500’
Celes Seirios
ER E S R IV
Maia
NGEL LOS A
B
28 | Auriyane Character City
Top: Vignette showing view of the striations Bottom: Vignette showing neighboring conditions and the anomaly of the transitioning shapes
200’
Residential S5
Commercial
85’ 50’
-35’
SECTION A 0
50’
100‘
200’
500’
Yo
Sfera
SECTION B 0
50’
100‘
200’
500’
S5
Seirios
Anka
Pleiades
Kiros S1 Cetra
Re
29 | Auriyane Character City
Yo
Kiros Sfera
Celes Di
Commercial
esidential S5
S5
Di Residential Commercial
Kefka
S3
200’
Sol
Sfera
Freja
Seirios 75’ 50’
-15’
POINTILISM (2D) - POINT CLOUD (3D) Winter 2015 | AUD 142: Tech II Instructor: Gabriel Fries-Briggs In collaboration with: Yani Cui, Malcolm Galang, Vivian Kuong, Zhi Pei, Ian Rodgers Featured in UCLA A.UD Best Student Work Exhibition “Currents: Winter 2015”
Pouring wax into water - the forming of wax cavities
POINTILISM (2D) - POINT CLOUD (3D) Winter 2015 | AUD 142: Tech II Instructor: Gabriel Fries-Briggs Featured in UCLA A.UD “Currents: Winter 2015� This project attempts to materialize thermal dynamics as presumed in a section of Dymaxion Bathroom by Buckminister Fuller. We began the project by investigating the structure and location of the pipes, and notating their thermal properties in the form of pointillism drawing. Points show thermal conditions of the bathroom unit, where point density equates to temperature. Then comes the problem of materialization. We chose wax as a medium for its thermal sensibilities when poured into different water temperatures. In high temperatures, wax forms slowly and creates wider cavities; whereas in lower temperatures, it forms quickly and creates smaller cavi-
ties. The method of pouring is also important: we utilized a metal rod to be a single point, from which it catches the density of points, materialized in form of wax. Thus, we translated pointillism into point cloud; larger cavities represent higher temperatures, and smaller vice versa. The wax cavities are then cast into plaster to create silicon molds, and re-casted into expandable foam to create wall panels, which are assembled as a full-size model of 4 by 8 feet. The final model is juxtaposed with scanned image of the panels and pointillism drawing, which captures our methodology of translating pointillism (2D) to point cloud (3D).
31 | Auriyane Pointilism (2D) - Point Cloud (3D)
Rods catching the points
2D (Pointilism)
Wax (Materialization of Point Cloud)
3D (Point Cloud)
Foam Panels (Point Cloud)
Above: Method of operations Right: (Top) Dipping process showing the translation of a single point as it catches wax to form point clouds; (Bottom) Typology of wax cavities as determined by water temperature and formation time
32 | Auriyane Pointilism (2D) - Point Cloud (3D)
H (120 - 130ºF)
W (90 - 110ºF)
C (70 - 80ºF)
120
120s
90s
120s
90s
120s
90s
90s
130 ºF
130 ºF
130 ºF
130 ºF
120 ºF
120 ºF
120 ºF
120 ºF
110 ºF
110 ºF
110 ºF
110 ºF
90 ºF
90 ºF
90 ºF
4”
80 ºF
3” 2”
70 ºF 0
2”
3”
3” 2”
70 ºF
1” 1”
4”
80 ºF
0
4”
Temperature: 130ºF Diameter: 4.0” Time: 120s Depth: 4.0”
2”
3”
4”
0
90s
60s
2”
3”
0
4”
60s
130 ºF
130 ºF
130 ºF
120 ºF
120 ºF
110 ºF
110 ºF
110 ºF
110 ºF
90 ºF
90 ºF
90 ºF
2”
70 ºF 0
1” 1”
2”
3”
4”
Temperature: 110ºF Diameter: 3.0” Time: 90s Depth: 4.0”
4” 3” 2”
70 ºF 0
1” 1”
2”
3”
4”
Temperature: 90ºF Diameter: 2.0” Time: 90s Depth: 4.0”
90 ºF 4”
80 ºF
3” 2”
70 ºF 0
4”
60s
120 ºF
80 ºF
3”
90s
130 ºF
4”
2”
Temperature: 120ºF Diameter: 3.5” Time: 90s Depth: 2.0”
120 ºF
3”
1” 1”
90s
60s
80 ºF
3” 2”
70 ºF
1” 1”
4”
80 ºF
Temperature: 130ºF Diameter: 4.0” Time: 90s Depth: 2.0”
Temperature: 120ºF Diameter: 3.5” Time: 120s Depth: 4.0”
90s
3” 2”
70 ºF
1” 1”
90 ºF 4”
80 ºF
1” 1”
2”
3”
4”
Temperature: 110ºF Diameter: 3.0” Time: 60s Depth: 2.0”
4”
80 ºF
3” 2”
70 ºF 0
1” 1”
2”
3”
4”
Temperature: 90ºF Diameter: 2.0” Time: 60s Depth: 2.0”
33 | Auriyane Pointilism (2D) - Point Cloud (3D)
Left: Juxtaposition of the scanned panels with pointilism drawing, along with cavity typologies Above: Instrumental drawing; assigning location of wax cavity molds on their respective place as they represent thermal properties per pointilism drawing
34 | Auriyane Pointilism (2D) - Point Cloud (3D)
Left: Full scale 4’x8’ model, castable rigid urethane foam Top to Bottom: Model making process; casting wax into plaster, casting silicone, casting foam
PORTMANTEAU Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan
Fourth floor; physical model
PORTMANTEAU Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan
The project is a portmanteau of 1 big theatre room and 60 dorm rooms - theadorm, blending the two programs together using one single move: the twisting of surface.
The ideal configuration of this design decision is a bar building, with two ends being the vertical and horizontal, and the twisting, that happens in the middle, provides circulation. However, the site condition requires the configuration to contort on itself by twisting the planes multiple times.
The project turns horizontal planes into vertical planes, allowing for two kinds of spaces that would fit the two distinctive programs: the horizontal planes bifurcates into corridors to provide organization for the dorms, while the vertical planes allow for a large space to fit the theatre.
This contortion changes the behavior of the folding and the void it creates, forming floor pockets and obliques. In-between programs, such as lounges and communal space lounges, occupy these oblique planes, being the portmanteau of the horizontal and the vertical.
What single move can produce two kinds of spaces that accomodate two very distinct space requirements?
horizontal
U-shape configuration
horizontal
vertical
x4 one large volume
vertical
60 individual rooms
horizontal
vertical
site
site
elevation
rigid
organic
theatre lounge
dorm rooms
rigid
organic
rigid
36 | Auriyane Portmanteau
bar building configuration
4TH FLOOR PLAN 0
5’
10‘
20’
3RD FLOOR PLAN 50’
2ND FLOOR PLAN 0
5’
10‘
20’
0
5’
10‘
20’
50’
1ST FLOOR PLAN 50’
0
5’
10‘
20’
50’
Top to Bottom: Physical model; Elevation of the theater facade, lounge and circularion facade, dorm facade
37 | Auriyane Portmanteau
3RD FLOOR ENLARGED PLAN 0
5’
10‘
20’
50’
SHORT SECTION 0
5’
10‘
20’
50’
38 | Auriyane Portmanteau
Top: Exterior view Bottom: Interior view of public space, showing the third space, created from the turning of planes. Circulation and lounges occupy the oblique planes
UNFOLDED SECTION 0
5’
10‘
20’
50’
ARDITHA AURIYANE auriyane@mit.edu 1 (909) 418 8671
E D U CAT IO NAL BACKG RO UND CURREN T 2013-2015 2010-2013
MIT Architecture | M.Arch Class of 2021 | 4.80 UCLA Architecture and Urban Design | B.A in Architectural Studies | 3.89 Mount San Antonio College | Architecture Major | 4.00
S C H OLA RSHIP S | AWARDS | EX HIBITION S 2013-2015
2012-2013
Graduate with Distinction UCLA A.UD 2015 Best Continuing Student UCLA A.UD 2013/14 | Keller Scholarship Currents: Fall 2013 | UCLA A.UD Select Best Student Work Exhibition Currents: Winter 2014 | UCLA A.UD Select Best Student Work Exhibition Currents: Winter 2015 | UCLA A.UD Select Best Student Work Exhibition Natalie Morgan Architecture Scholarship | Mount San Antonio College
WOR K E X P ERIENCE MARCH 2 0 1 6- FEB 2017
SUMMER 2015
M-Rad Architecture, Los Angeles | Project Designer Prepared drawings and documents, from schematic design, design development, and construction documents for city planning and permitting of multifamily housings SSC_A - Steven Christensen Architecture, Santa Monica | Intern Schematic design for competitions
S K I LLS Autodesk Revit, Rhino, SketchUp, VRay, Adobe Creative Suite Hand Drafting and Modelling 3D Printing, Laser Cutting, Milling LA NGUAGES English | Speak fluently with high proficiency in reading and writing Indonesian | Native language I NT E R E S TS Graphic Design | Exhibition Installation | Fabrication and Model Making