arditha auriyane portfolio Selected Architecture Works 2013-2016
CONTENTS SOLID/VOID TRANSLATIONS MILK CARTON + MILK CARTON = PORTMANTEAU CHARACTER CTY POINTILISM (2D) - POINT CLOUD (3D)
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.
7 | 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 SPA CE
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’
9 | 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 UILD ING HEI GH T
+44’-0” LE VE L 5
+58’-0” B UILD ING HEI GH T
+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’
10‘
20’
0’-0” 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” UNDERGROUND STORAGE
0’-0” LEVEL 1
SECTION C
SECTION C 0
5’
10‘
20’
-15’-0” UNDERGROUND STORAGE
SECTION C
SECTION C 0
5’
10‘
20’
11 | 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 itself, 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 interpreted into physical model. These multiple stages of translations bring forth different interpretations of information as well as some loss of accuracy, as two-dimensional 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.�
15 | Auriyane Translations
ANALYTICAL DRAWING
SERIAL SECTIONS
i h g f e d c b a
Exploded Axonometry
17 | 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
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
23 | Auriyane Milk Carton + Milk Carton =
B+C
B + C UNFOLDED
Top to Bottom: Bottom Elevation, Front Elevation, Top Elevation of Object B + C
25 | Auriyane Milk Carton + Milk Carton =
PORTMANTEAU Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan
Fourth floor; physical model
portmanteau Fall 2016 | AUD 122: Studio II Instructor: Katy Barkan What one move can produce two kinds of spaces that accomodate two very distinct space requirements? 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 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.
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. 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.
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
29 | 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
31 | Auriyane Portmanteau
3RD FLOOR ENLARGED PLAN 0
5’
10‘
20’
50’
SHORT SECTION 0
5’
10‘
20’
50’
33 | 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’
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 various parts with peculiar characteristics into a coherent single 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 separately by each students,
ranging from green space, commercial, residential, to parking zones, FAR to building height. As such, the territory of this city has an average FAR of 2.1 and average building height limit of 80 feet, with some blotches of land allowing for 200 feet height. These overlays interact with the characteristics of the city. The problem of field versus figure-ground relationship between building and landscape also influence the texture of the city strands, where topography is also 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
39 | 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
41 | 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
43 | 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 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 of the bathroom and the location of the pipes, taking its thermal properties, and notating them in the form of pointillism drawing. Points show thermal conditions of the bathroom unit: where heat is prevalent, the density of point increased (as seen around the hot water pipes and overhead lamps). Then comes the problem of materialization, and we chose wax as a medium for its thermal sensibilities when poured into different water temperatures. In high temperatures, wax forms slowly and allows for cavities
to grow wide; whereas in lower temperature, it forms quickly and creates smaller cavities. The method of pouring is also important: it requires a single point in the water to catch the poured wax. We utilized a metal rod to become this single point from which it catches the density of the 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, now our materialized representation of temperature, are then cast into plaster to create silicon molds, and re-casted into expandable foam to create wall panels. These panels are then assembled to create a full-size model of 4 by 8 feet, juxtaposed with scanned image and pointillism drawing, which captures our methodology of translating pointillism (2D) to point cloud (3D).
47 | Auriyane Pointilism (2D) - Point Cloud (3D)
Rods catching the points
2D (Pointilism)
Wax (Materialization of Point Cloud)
3D (Point Cloud)
Foam Panels (Point Cloud)
This page: Method of operations Opposite: (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
49 | 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
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120 ºF
110 ºF
110 ºF
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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
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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”
51 | Auriyane Pointilism (2D) - Point Cloud (3D)
This page: Instrumental drawing; assigning location of wax cavity molds on their respective place as they represent thermal properties per pointilism drawing Opposite: Juxtaposition of the scanned panels with pointilism drawing, along with cavity typologies
ARDITHA AURIYANE aauriyane@gmail.com 1 (909) 418 8671
Educational Background 2013-2015 2010-2013
UCLA Architecture and Urban Design | B.A in Architectural Studies | 3.89 Mount San Antonio College | Architecture Major | 4.00
Scholarships | Awards | Exhibitions 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
Work Experience Summer 2012
PT. Naturalle Multi Kreasi, Indonesia | Intern Graphic Designer Branding and logo designing for new clothing lines
Summer 2015
SSC_A - Steven Christensen Architecture, Santa Monica | Intern Schematic design for competitions
March 2016-Current
M-Rad Architecture, Los Angeles | Project Designer Project managing for planning and permitting of multifamily housings.
Skills AutoCAD | Revit | Rhino | SketchUp | VRay Adobe Photoshop | Adobe Illustrator | Adobe InDesign Hand Drafting and Modelling | 3D Printing | Laser Cutting Languages English | Speak fluently with high proficiency in reading and writing Indonesian | Native language Interests Graphic Design | Exhibition Installation | Lighting Design | Model Making