Fabienne Tjia Internship portfolio 2014 by Fabienne Tjia

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 for 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. 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. Combined, these materials balance each sother out and provide stimulating and creative environment.

Full of ideals and positive energy would be an accurate description of my view on life right now. Although down-to-earth and with a practical mind, I have the mindset that what hasn’t been acheived yet can very well become reality if you set your mind to it. The illustration on this page shows the battle of creating your mind’s dreams and fighting the negatives and ‘can’ts’, turning them into possibilities and unleashing creative flow.

ARCHITECTURE FACULTY LIBRARY

The objective for this course was designing a library for our very own faculty. In a team of five I was responsible for the façade design.

Personal information Full name: Nationality: Date of birth: Address: Phone: Email: Link:

Fabienne Nathalie Tjia Dutch 2 december 1992 schiekade 602 3032AZ Rotterdam +31 612656962 fabienne_tjia@hotmail.com https://www.linkedin.com/pub/fabienne-tjia/58/229/38b

Education 2011-2014 2012-2014 2014-2014

TU Delft Architecture - Bachelor of Science Honours Programme bachelor Architectural Association School of Architecture - Spring Semester Programme

Work experience 2013-current

Exam trainer (French and Mathematics) - Lyceo

Languages Dutch English Mandarin German French

Mother language Full working proficiency Conversational proficiency Basic proficiency Basic proficiency

CONTENT

ART

MUNDAIN

KUNSTHAL ROTTERDAM

MICRORAYON MOSCOW

. The building is serving of the art and ampliﬁes the art experience. By splitting the building in to two worlds with different programme a conscious transition between them is possible. This transition is experienced as a journey,

a ritual, to another world.

ARCHITECTURE FACULTY LIBRARY

URBAN OYSTER

PARAMETRIC ORIGAMI SHADING

LED PROJECT ´HELLO´

PERSONAL WORK | PAINTINGS AND PHOTOGRAPHY

â&#x20AC;&#x153;All journeys have secret destinations people are unaware ofâ&#x20AC;? [Martin Buber]

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) one must allways pass through a series of zones forcing the visitor to reflect on himself and to prepare him for the exhibits (art). The building is a journey not an envelope.

KUNSTHAL ROTTERDAM

The Kunsthal in Rotterdam is a museum without it’s own collection. Because of this lack of identity through collection, the design of the museum itself has to become it’s identity. To make the museum not overpower any artwork that may be placed in or around it, I chose to give the building it’s identity not by giving it agressive aesthetics but by destinguishing it by changing it’s c haracter. 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.

ART

MUNDAIN

. The building is serving of the art and ampliďŹ es the art experience. By splitting the building in to 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 userâ&#x20AC;&#x2122;s 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. Therefore the beginning of this ritualstarts long before entering the building.

Site

Intersect

Differentiation

Art

Ritual Mundain

At ďŹ rst the visitor is not aware of the hidden Kunsthal

Sneak preview

On the square with the European ďŹ&#x201A;ag you can already see the looming building

Reveal

On top of the bridge the Kunsthal is clearly visible

KUNSTHAL ROTTERDAM

No visual

Monumental

On the recessed pathway, just before entering the museum the building towers over the visitors

Growth

Descending the bridge the building seems to grow

Ritual route

in section

Stairway

The grand staircase makes the entering of the building a consious action

Seven steps

symbolizes ridding of the 7 sins

Elevated entrance

gives the building a stately impression and is meant to render the visitor in awe. [cool character]

Wardrobe and reception

Distancing the visitor of earthly, daily matters, thus descending into the earth [warm character]

Cleansing

All visitors must pass the cleansing area, containing a zen environment and sanitary facilities

Male vs. Female

In Asian belief the female represents night and dark and the male day and light. On the female side the slope therefore descends to the subterranean art exhibits and the male side ascends towords the elevated exhibits.

Ritual passage

This vertical circulation space is simultaneously a symbolic transition space. De space descending has the abstract theme of the journey into the underworld and the space ascending will feel like a journey to heaven. It is a place of selfconfrontation and a prelude to the exhibits.

Zaal 2

Zaal

Kantoren

Zaal 2

Werkingang Werkingang

ond ond ne gr ne gr Bega

Catering

Bega

Catering

KUNSTHAL ROTTERDAM

ng ng diepi diepi e ver e ver Eerst Eerst

Restaurant Restaurant Winkel Winkel

Zaal

Werkingang Werkingang Zaal 3

m m toriu toriu Audi Audi

Zaal 3

Auditorium Auditorium

Hoofdingang Hoofdingang

errai Sout ditie

Expe

errai Sout

ditie

Expe

Zaal

Zaal 1

Zaal

Kunst Kunst Ritueel Ritueel Kantoren Kantoren Ontsluitingsruimte Ontsluitingsruimte Tech. ruimte / berging Tech. ruimte / berging

Programme

Zaal 1Technische Technische ruimte ruimte

Bezoekers Bezoekers Kantoormedewerkers Kantoormedewerkers Kunst Kunst

Circulation

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 also improve the social network of the microrayon.

MICRORAYON PERCEIVED OWNERSHIP

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.

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 location 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 of sorts, themed programme to give identity, and then let 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.

RULES

KINDS OF MEETING THREE KINDS OFTHREE MEETING

1. accesible A meetingfor point accesible for all residents 1. A meeting point all residents [ public ]

[ public ]

1. -Neighbourhood neighbourhood, 1. Neighbourhood neighbourhood,- meeting betweenmeeting between people from different neighbourhoods people from different neighbourhoods

2. for A meeting point fortwo residents of the two adjacent 2. A meeting point residents of the adjacent but can also be accessed buildings, but canbuildings, also be accessed by other residentsby other residents

2. Building - building, between residents from two 2. Building - building, meeting betweenmeeting residents from two adjacent blocks. adjacent blocks.

3. for A meeting point forthe residents within the same block, 3. A meeting point residents within same block, secluded from others secluded from others

Appartment - appartment, between neighbours 3. Appartment - 3. appartment, meeting betweenmeeting neighbours whobuilding live in the same building who live in the same

THREE KINDS [ semi-public ] MEETING [ semi-public ] OF

[ semi-private ] [ semi-private ]

4. Buildings adjacent tobe thepermeable site have to be permeable 4. Buildings adjacent to the site have to [ softening private-public boundary ] [ softening private-public boundary ]

RULES

1. A meeting point accesible 1. A meeting for all point residents accesible for all residents [ public ]

2. A meeting point for2.residents of point the two A meeting foradjacent residents of the two adjacent buildings, but can alsobuildings, be accessed residents but by canother also be accessed by other residents [ semi-public ]

[ semi-public ]

DESIGN RULES A meeting point forsame residents 3. A meeting point for3.residents within the block,within the same block, secluded from others secluded from others [ semi-private ]

THREE ELEM

1. The path

2. The unb

3. The built

THREE KINDS OF MEE

RULES

[ public ]

MICRORAYON PERCEIVED OWNERSHIP

RULES

[ semi-private ]

Buildings adjacent the site have to be permeable 4. Buildings adjacent 4. to the site have to be to permeable [ softening private-public boundary ] [ softening private-public boundary ]

PRIVATELY OWNED PRIVATELY OWNED

DESIGN PROCES DESIGN PROCES

1. Neighbourhood - n people from differe

2. Building - building, adjacent blocks.

3. Appartment - appa who live in the sam

3. Inserting 3. Inserting programme

1. Continuing the grid 1. Continuing the grid

2. Respecting the informal path 2. Respecting the informal path

DESIGN PROCES

3. Inserting programme 3. Inserting programme

4. Inserting pods 4. Inserting pods

Plans

MICRORAYON PERCEIVED OWNERSHIP

ARCHITECTURE FACULTY LIBRARY

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.

260

145

170

UTODESK

D BY AN A

PRODUCE UCT

NAL PROD

EDUCATIO

18 40 50

150 218

90 60

470

124 380 28

D BY AN A

UTODESK

EDUCATIO

NAL PROD

UCT

ARCHITECTURE FACULTY LIBRARY

PRODUCE

CONNECTING TROUGH FOOD The design responds to every little aspect present at the location site. It not only offers a broad 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 process or just enjoying the sun on the deck; oysters bring back the vivacity and activity in the old harbor area. 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. 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.

SMART HARBOUR URBAN OYSTER

CONCEPTUAL DESIGN

Oyster deck

Smart Harbour as a catalyst for surrounding environment

204

203

Accomodation, wellness spa

Restaurants, activity centre

Oyster deck, market halls, Oyster Institute

Development plan

202

Oyster deck

2014

Future development

2013 Zoning

STEP 2 GROWING BABY OYSTERS ON EXISTING RAMP 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

STEP 1 FERTILIZATION 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.

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.

Oyster life cycle on site

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

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, 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 act mor e naturally. Making connections between points rigid and pushing the two ends of the screen together, you can simulate the folding of the origami. Besides 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

and gesture s

t: h npu

kinect

[PROOF OF PRINCIPLE] PROTOTYPE IS PROGRAMMED TO PERFORM TWO ACTIONS: MAKING A SPOTLIGHT AND DIMMING THE LIGHT

on/off: wave to your hello

make a spotlight move: grab the light

dim your light: move your hand up and down

make a bigger spotlight: pinch the light and pull

split the light: point and move

hip

mega mic roc uino Ard

This project was an Honours Programme interfacultary course. The objective was to design an innovative sustainable LED product or system for the office environment. Looking at the current products for office lighting, there wasn’t much to be inspired by. That is why I decided to take a standard hanging lamp design and add an innovative, interactive system to it. This system makes your lighting handgesture controlable. For hygiene, creative stimulus and also energy savings, this is the perfect product. The main idea for the system was that by using handgestures you can command one single lamp to produce a series of different spotlights on your desk, thus saving energy for not having to use multiple lamps or having a very large light on all the time. The product is named ‘Hello’ and is a new way of communicating with lighting. It uses the sign language that comes most intuitive to you and is all about giving the feeling that your ‘hello’ is communicating with you.

Printboard

:L tput

ED lightin

LED PROJECT ‘HELLO’

PRODUCT DESIGN

You might have also noticed this strange stamp on the coverpage. It is actually a personal logo. Made to represent my heritage is has elements of asian culture and a western twist to it. 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’ (Nazi’s stole this symbol from asian culture). Underneath my last name ‘Tjia’ is spelled at a 90 degree angle thus making it not immediately discernable.

PERSONAL WORK CHINESE PAINTING

The painting on the other page was drawn by me three years ago when I was studying in Chinese in Beijing. It also serves as part of the inspiration for my portolio. I really wanted something 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.

I hope you enjoy them, and dream of some faraway destinations yourself.

PERSONAL WORK PHOTOGRAPHY

Traveling and photographing nature are two of my favorite 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 Iâ&#x20AC;&#x2122;m very proud of. Theyâ&#x20AC;&#x2122;re not thanks to a whole lot of photographic skill, but more a huge amount of patience, persistence and luck.

PERSONAL WORK PHOTOGRAPHY