Passion, drive and focus are the three words that would describe me best. Following my dreams and not letting doubt and difficulty hold me back are things that I remind myself of whenever making a new descision. My dreams of the future are positive and full of success and so I strive every day to accomplish these, while still stopping along the road to enjoy the beautiful scenery.
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MICRORAYON MOSCOW 2014 Architectural Association design studio
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ARCHITECTURE FACULTY LIBRARY 2013 Design studio 04
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uRBAN OYSTER 2013 YAC Competition entry collaboration
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PARAMETRIC ORIGAMI SHADING 2013 Honours Informatics course
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PERSONAL WORK | PAINTINGS AND PHOTOGRAPHY 2009 - present
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Resume
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content
KUNSTHAL ROTTERDAM 2014 Bachelor graduation project
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The Kunsthal in Rotterdam is a museum without its own collection. Because of this lack of identity through collection, the design of the museum itself has to become its identity. To make the museum not overpower any artwork that may be placed in or around it, I chose to give the building its identity not by giving it agressive aesthetics but by destinguishing it by changing it’s character. Instead of only the artwork placed in it being the experience of going to a museum, I made moving through this museum on your way to the artwork the experience. This core value sets it apart from other designs. The visitor moves through this building as though completing a kind of ritual. This ritual is to connect two worlds, one of every day beings and one of art beings. Coming from outside, the restaurant or the offices(mundain world) one must allways pass through a series of zones forcing the visitor to reflect on himself and to prepare him for the exhibits (art world). The building is a journey not an envelope.
ART
MUNDAIN
. The building is serving of the art and ampliďŹ es the art experience. By splitting the building in two worlds with different programme a conscious transition between them is possible. This transition is experienced as a journey,
a ritual, to another world.
USER EXPERIENCE FIRST AND FOREMOST
RITUAL ROUTE BETWEEN THE TWO WORLDS
CONNECT RITUAL ROUTE TO SURROUNDINGS
The users experience is the base point for this design and inspired all design decisions.
The ritual route between the mundain world and the art world always has to be traversed. This space is has to connect to the overall routing and has to be the centre of the building.
To connect the building to its surroundings the ritual route has to be connected to the path leading up to the building. The beginning of this route already starts long before entering the building.
Kunsthal rotterdam
architectural design
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Zaal 2
Zaal
2
Zaal
Kantoren
Kantoren
Zaal 2
2
Werkingang Werkingang
ne Bega
d gron
ne Bega
d gron
Catering
Catering Restaurant Restaurant Winkel Winkel
Zaal
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Zaal
3
Werkingang Werkingang Zaal 3
m m toriu toriu Audi Audi
Zaal 3
Auditorium Auditorium
kunsthal rotterdam
ng ng diepi diepi r r e e v v e e Eerst Eerst
Hoofdingang Hoofdingang
n
errai Sout ditie
Expe
n
errai Sout
ditie
Expe
Zaal
Zaal 1
1
Zaal
Zaal 1Technische Technische ruimte ruimte
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Kunst Kunst Ritueel Ritueel Kantoren Kantoren Ontsluitingsruimte Ontsluitingsruimte Tech. ruimte / berging Tech. ruimte / berging
Programme
Bezoekers Bezoekers Kantoormedewerkers Kantoormedewerkers Kunst Kunst
Circulation
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KUNSTHAL rOTTERDAM The ritual in this design is presented as a sequence of spaces influencing the behavior and emotions of the visitor, preparing them for experiencing the art exhibited within. The ritual starts long before entering the structure. In front of the site there is a park. This park consists of different areas, together forming the first part of the ritual. Passing through the park you come across a bridge. The bridge first inhibits the visitor from seeing the building, but when ascending the bridge, more and more becomes visible. Atop the bridge there is a full overview of the design and then when descending, the building becomes larger and larger. To make the appearance of the building imposing before entering it, it is placed on top of a pedestal and a grand staircase leads to the main entrance. [introduction] Upon entering the Kunsthal the visitor arrives in the main hall. This hall
represents the element wind . The vast space visually stimulates the visitor but also gives a glimpse of what is to come. The next space’s element is wood, the earthy character of this room holds the cloakroom. Here visitors leave their earthly possesions and continue unburdened on their journey. After the cloakroom all visitors must pass through the sanitary facilities area. The element water here is the main focus, highlighted by the ceiling high waterfall in the middle. [cleansing] A rest zone with two stairs follows. The descending stairs lead to an underground dark underworld kind of space with one of the exhibition halls. The ascending stairs lead to a heavenly light space with the other exhibition halls. Dark represents the female, light the male, both balancing the world of art. [conclusion]
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This project focusses on the microrayon Servernoye Izmailovo. A microrayon is a masterplanned area with residential superblocks surrounding schools or other programme. The challenge is to reinvigorate these nowadays dysfunctional sleeper-districts. The startingpoint of the research was the topic of privacy and structure. The astounding difference between the use of the microrayon during Sovjet times and modern times inspired the theme of ‘perceived ownership’ . This theme discusses the juxtaposition of a Sovjet designed masterplan with the onset of capitalism in which all was privatised. Programme may already have begun to change but the vast dilapitated public space of the microrayon still remains. Perceived ownership attempts to reinvigorate the ‘lost’ areas of the microrayon with this perception and simultaniously focusses on trying to reconnect the programmes in the microrayon to eachother. Where there were once islands of neighbourhoods, they must now become connected to improve the social network of the microrayon. After (subjectively) mapping the intangible quality of ‘perceived ownership’ the crucial factor for this phenomenon was established, use. For people to feel ownership of something they have to use it. To combine this with the ambition to connect the social centres to eachother I chose the theme of meeting to be guiding in the design. Three kinds of meeting were established to be important to insure optimal usage of the new structure. There were empty ‘unused’ spots that were in a prime locations for connecting, these corners of two buildings would be the location of my design. A set of design rules that implemented the different kinds of meeting shaped the final design. I chose for a modular system in which neighbours themselves could buy different units thus naturally shaping the new structure. The phased build would first implement a catalyst, themed programme to give identity, and then lets the residents of the adjacent buildings take over the design. Units can only be built following a set of guidelines, so the showed render is only a possibility of the final design.
microrayon perceived ownership
architectural design
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INFORMAL PATH FORMALIZED
CATALYST INTERVENTION + programme (bike repair shop, cafĂŠ) + structural changes + materialization of informal path
VIEWING DECK
eive perc
MODULAR PODS + balcony room unit + storage unit + studio unit
p shi r e n d ow CONNECTION OF DIFFERENT MEETINGPLACES + bridging structures
RULES
microrayon perceived ownership
THree kinds of meeting
THREE KINDS OF MEETING
1. A meeting point accesible for all residents 1. Neighbourhood - neighbourhood, meeting between [ public ] people from different neighbourhoods
1. Neighbourhood - neighbourhoo people from different neighbou
2. A meeting point for residents of the two adjacent
2. Building - building, meeting bet adjacent blocks.
2. Bulding -buildings, building, meeting between residents from but can also be accessed by other residents two adjacent blocks [ semi-public ]
3. Appartment - appartment, meeting between neigh3. A meeting point for residents within the same block, bours who live in the same building secluded from others
3. Appartment - appartment, meet who live in the same building
[ semi-private ]
4. Buildings adjacent to the site have to be permeable [ softening private-public boundary ]
Design rules
1. A meeting point accesible for all residents
RULES
1. A meeting point accesible for all re [ public ]
2. A meeting point for residents of the two adjacent buildings, but can also be accessed by other residents
2. A meeting point for residents of the buildings, but can also be accessed [ semi-public ]
3. A meeting point for residents within the same block
3. A meeting point for residents withi secluded from others [ semi-private ]
POD-STRUCTURES AND URBAN FABRIC + plaza + resident owned units
4. Buildings adjacent to the site have to be permeable, softhening private-public boundary
4. Buildings adjacent to the site have
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[ softening private-public
GROUND FLOOR +0.
0
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FIRST FLOOR +2.6
0
2
4
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8
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GARDEN ROOM
STORAGE SHED
WASTE COLLECTION NEIGHBOUR PLAZA
BIKE REPAIR SHOP
BIKE STORAGE WORKSPACE
GARDEN ROOM
WASTE COLLECTION OUTDOOR PICNIC SPACE
WORKSPACE
MECHANICAL ROOM STORAGE SHED
SECOND FLOOR +5.2
0
2
4
6
8
10
THIRD FLOOR +7.8
KITCHEN
CAFE
INDOOR GARDENING
ARTIST STUDIO
COMMUNITY CENTRE
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4
6
8
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GARDEN ROOM
COMMUNAL COMPOSTING
NEIGHBOUR PLAZA
0
VIEWING DECK
PET DECK
NEIGHBOUR TO NEIGHBOUR
SHARED RESIDENTIAL FACILITIES
STUDIO PODS NEIGHBOURHOOD TO NEIGHBOURHOOD
COMMERCIAL PROGRAMME BUILDING TO BUILDING
Programme
Circulation
COMPOSTING + garden waste turned into fertilizer
Meeting (programme)
GARDENING + residents now have communal gardens
SOD AND GREEN ROOFS + catch and retain water
RECYCLABLES AND OTHER WASTE + collected in a separate room
SEMI S0FT + green converging with hard
SOD ROOF +meant for moss INTENSIVE GREENROOF +meant for bushes and large plants
MECHANICAL ROOM + water pumping system
COLUMNS + Act as water drainage and pump system
WATER RETENTION BASIN
ADDITIONS +pods adjoining a communal garden will become extensions of that garden
Green and waste
Water
microrayon perceived ownership
CIRCULATION + different kinds of meeting routes intertwine
RESIDENTIAL PODS
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PR
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AUT Y AN D
UCE DB PRO
O CATI EDU ODE SK
CT ODU NAL PR ODESK AUT BY AN D E C U OD
UCT
CAT
EDU
PROD
ESK
UCT
ROD
IONA LP
L TIONA EDUCA
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Combined, these materials balance each sother out and provide stimulating and creative environment.
CT RODU
NAL P
UCATIO
SK ED
UTODE
Y AN A
CED B
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The second material is placed on the spherical lecture hall and is a copper alloy with a golden hue, as gold is also a stimulus.
U PROD
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The overall design theme we chose was the concept of stimulating the creative mind. Research done showed a couple of fysical elements could influence this. Firstly ‘cool’ light (>7000K) provides for a focused environment and when alternated with ‘warm’ light it stimulates creativity. This is why I chose the material aluminum foam. This material has a lot of cavities, which makes the light reflect within the material before entering the interior, thus providing ‘cool light’. This material is also very intricate and lots of detail is also proven to spark the right side of the brain, the creative center of the mind.
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architecture faculty library
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The objective for this course was designing a library for our very own faculty. In a team of five I was responsible for the facade design.
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work space | Study cavern • all study cavern are clad inside and out withe the aluminum foam material • vary in height and size to give every space an unique character
Front facade architecture faculty • classic dark brown brick
Aluminum and bronze messing in golden hue • panels 4000 x 1600 horizontal orientation • fastened on metalstud with hooksytem on back • seamless connection to panels
Aluminum Foam clads all workspaces to provide: indirect lighting, a cave like creativity bootsing space and intricate patterns (also stimulating the left side of the brain) • white coating • double layered over glass on all walls, to ensure climatising abilities and fire safety • also acting as a climate control wall, by warming or cooling the aluminum with invisible tube system behind • covers and diffuses air inlet in walls •
Roof gardens • interconnected with bridges and connected to the central plaza • green roofs with a highline type character to mix well with the urban context
architecture faculty library
Central plaza • circular square on top of main lecture hall provides the perfect overview over the whole library • makes the entrance more than just a crossroads, provides possibility for meetings between students, professors and visitors
main steps • connect the main road to the central plaza and entrance of the building • steps are a means as well as a desitination and resting spot • size of steps are ideal for seating and are located in one ofthe sunniest spots of the plot
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Smart Harbour as a catalyst for surrounding environment
CONNECTING THROUGH FOOD The design responds to every little aspect presented at the location site. It not only offers an opportunity to produce and consume, it also brings the local Pesaresi, the Italian and international tourists together on a big accessible food-island. Buying all your fresh and local products on the food market, diving to the underwater oysterbanks, canoeing through the growing fields or just enjoying the sun on the deck; oysters bring back the vivacity and activity in the old harbor area.
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0 Oyster deck
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Accomodation, wellness spa
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Future development
Restaurants, activity centre
WHY OYSTERS? The oysters thrive on the nutritious brackish water and also purify the water of the Foglia River. Pesaro will from now on be associated with the best and most sustainable grown oysters in Italy. ORGANIC GROWTH is, in the current economy, the best option to make a sustainable and sucessful plan. The oysters and food-philosophy work as catalysts for development by implementing small interventions and re-using the old harbour buildings.
2014 Oyster deck, market halls, Oyster Institute
2013
THIS PROJECT WAS DONE FOR THE YOUNG ARCHITECTS COMPETITION OF 2013 IN A TEAM OF FIVE IN WHICH I HAD EQUAL PART IN ALL FACETS OF THE DESIGN.
STEP 1 FERTILIZATION
STEP 2 GROWING BABY OYSTERS ON EXISTING RAMP
Oysters eggs are fertilized in a labratory to provide more successful baby oysters. Fertilizing oysters is a labrotory task. In the future, the area could become an oyster knowlege centre.
Young oyster spat settle on mature oyster shells or other calcium rich porous material on the ramp, where they grow in 4 different steps, before growing at sea.
PUBLIC DINING ROOM
BABY OYSTERS READY TO MATURE IN SEA
FERTILIZED EGGS + NUTRIENT RICH WATER FROM THE RIVER
EXISTING RAMP
smart harbour urban oyster
concept design
Oyster deck
STEP 4 CONSUMING Oysters are harvested and eaten along with other local products. Locals and tourist meet at the dining table. Festivals about oysters could become major annual events.
STEP 3 GROWING MATURE OYSTERS AT SEA Adolescent oysters can mature behind these breakwaters at a safe distance from recreational swimmers, while divers and other oyster tourists can access them by boat
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The objective for this course was parametric design using Grasshopper. I chose to focus on origami, making an innovative system to shade a room using miura ori folds as I was inspired by a recent visit to a textile and paper art exhibition. The miura ori fold is special in the sense that it does not only fold in one but two directions, thus making it an interesting system for shading. The parametric system I chose to develop does not operate mathematically but rather using the laws of physics. Using Kangaroo, an add-on for Grasshopper, these laws can be implemented, for example gravity. which keeps the origami grounded and move more naturally. Making connections between points rigid and pushing the two ends of the screen together, you can simulate the folding of the origami. Beside the folding, several triangular openings are made in the screen to make an intriguing contrast of light and dark projected in the room.
parametric origami shading
parametric design
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aquarel painting These paintings I painted are reproductions of works of Stina Persson. I admire her work tremendously and experimented with a couple techniques to try to find out how she would have produced her paintings. After a couple of tries I finally got the result I was aiming for and curiously enough it involves very little ‘typical painting’. After close inspection these paintings have fields of colour that look like a drop of in kwas spilled onto the paper instead of painting in strokes. So to achieve this look a drop of coloured ink had to be dropped in a wet area for the ink to flow. Ink on dry paper would just immediately be absorbed by the paper and results in a very dark spot. So to explain how to achieve this look, you must use very thick paper that can handle a lot of water without wrinkling too much. Then you trace the outlines of the colourblocks lightly onto it. These areas you have to then ‘paint’ with water and then quickly, befor the water dries up, drop different colours of ink onto the water. The ink will then flow accross the wet surface, creating these mesmerizing radiant colours.
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personal work aquarel paintings
chinese painting These paintings were drawn by me three years ago when I was studying Chinese in Beijing. It also serves as part of the inspiration for my portolio. I really wanted my abilities and my personality but also my heritage to come through. My nationality is Dutch but my heritage is half Dutch, half Chinese. It is part of the reason I have always felt like a citizen of the world rather than being bound to one place. That is also why I would love to study abroad and expand my skill set to be able to work internationally. The stamp on the coverpage is my personal logo. Made to represent my heritage it has elements of Asian and Western culture. It represents a classic Chinese stamp, often used as signature to a piece of artwork or a letter. The Swastika at the top is an abstraction of an ‘F’, also referring to Asian culture. Underneath my last name ‘Tjia’ is spelled at a 90 degree angle thus making it not immediately discernable.
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architecture faculty library
I hope you enjoy them, and dream of some faraway destinations yourself.
personal work photography
Travelling and photographing nature are two of my favourite things to do. The following photos were made on trips to Namibia and the zoo. As you can tell my favorite subject is animals. The thrill of capturing a wild animal at exactly the right moment, the right pose, the right light and the right composition is very exciting. The results you see here are pictures I’m very proud of. They’re not thanks to a whole lot of photographic skill, but more a huge amount of patience, persistence and luck.
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Fabienne Nathalie Tjia Dutch 2 december 1992 Talmastraat 55c 3038 SL Rotterdam +31 612656962 fabienne_tjia@hotmail.com EDUCATION
ACTIVITIES
WORK
AWARDS
SKILLS
Delft University of Technology Faculty of Architecture | Bachelor of Science Cum Laude Delft University of Technology Faculty of Architecture | Honours Programme bachelor • Extracurricular program of 20 ECTS offering more in depth courses as well as interfacultary courses Architectural Association School of Architecture | Spring Semester Programme
2011 - 2014 2012 - 2014
Organisator of Masterclass ‘Product and Personal Branding’ for the Honours Programme • A two day course with several speakers per day lecturing and interactively working with 25 participants
January 2013
Fulltime Internship | Architekten Cie, Amsterdam The Netherlands • designing as well as draftwork, drawing of diagrams and making of presentation materials such as models for RGD issued competition PPS Rechtsgebouw Breda (ongoing) and PPS Rechtbank Amsterdam (ongoing) High School Exam trainer Mathematics and French | Lyceo
September 2014 - current
1st prize LED Project | winner of the interfacultary course Green Village Innovation LED Project • teamwork with partner of the Faculty of Industrial design • Project name ‘Hello’ and interactive handgesture controlled desk light 1st prize Spatial planning and Strategy | winner of the Management game Rotterdam Blaak • teamwork 10 people each fullfilling a different role • role: Project leader, responsible for managing other roles, guiding negotiations and presentation
July 2013
Dutch English Mandarin German French
Mother language Full working proficiency Conversational proficiency Basic proficiency Basic proficiency
Aquarel painting, Chinese painting and calligraphy, Photography
January - May 2014
February 2013 - current
November 2013