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Fauzia holds a Master of Science in Architecture Design and Research degree in Design and Health from Taubman College of Architecture + Urban Planning at the University of Michigan. Her research interests revolve around questions of the evolving human conditions with their fundamental primitive necessities and their inclinations towards contemporary architecture. By deriving knowledges from history of the medicine industry, public and environmental health, human sensory, psychology and natural resources among others, she speculates the idea of experimental posttechnology architecture in respond to human as a complex being. Both of her thesis research explored notions of human olfactory and immaterial spatial qualities in architectural contexts. Apart from her 4 years of professional architecture experience, she indulges graphic communication works and has extensive involvements in editorial and public relation tasks throughout her career.
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BREATHE SNIFF 1.0 SNIFF 2.0 SNIFF 3.0 SEE CHANGE LIVE 1.0 LIVE 2.0 PLUG HIDE PRAY PLAY
1A 1
BREATHE
1B The studio encouraged us to see other spectrums of relationship between health and architecture design outside institutional healthcare. This particular work presents the discussion of the concept of ventilation, referring to the parallel systems between human and architecture. It investigates the disposal of indoor air contaminants, maintain breathable air quality and also how to eliminate discomfort, allergic or irritant reaction and the spread of airborne disease inside an enclosed space.
2015 MS PRACTICUM SUMMER STUDIO: INVESTIGATING DESIGN AND HEALTH Professor: Sean Vance
2A
The human body is a model for architecture and other designed objects. The main investigation revolves around the immaterial contaminants, as a result of human ventilation, within the indoor air atmosphere and how the enclosed surface ventilates as a respond to the presence of the matter. The contaminants resulting from human this human habitation, movement and activities, range from CO2 exhalation, body heat which leads to moisture and odor, to airborne bacteria and virus from coughs and sneezes.
BODY MOVEMENT STUDIES
2B
SURFACE MODEL
3A
SURFACE MODEL
3B
The research is done in several modes of two and three dimensional projections. The studies constitute different modes of spatial openings relative to types of bodily movements and performance. These various modes of opening are also projected in physical flexible models, drafted section and plan views to investigate the possibility of ventilation use and design on architectural surfaces, also to project the relationship between the complexities of time and movement into the research.
OPENING PATTERN STUDIES
4A The question of the presence and the role of scent in architecture space arise from my personal solicitude towards the comforting smell of my grandmother’s house, the frightening trademark hygienic scent of hospitals, the relaxing scent of her favorite spa place and even the exciting smell of a room when newly polished wooden furniture comes in. Scent is a substance present in our daily spatial experience The sense of smell enriches one’s experience of space and defines spatial awareness, even though the presence of scent in our everyday space has not been much noted and taken into consideration of architectural design. This paper tries to explore human olfactory abilities and scent’s capacity to create spatial experience. Human’s relationship with scent differs depending on individual perception, duration of exposure and its concentration within the air, which determine the role of scent as these architectural defining factors: 1. 2. 3. 4. 5.
Raising spatial awareness and define the language and identity of a place Define space dimensions and boundaries Influence movement and human behavior in space Influence memories and mood of the occupants on the short term basis Influence physiological condition and mental health on the long term basis
The result of literature and case studies shows that scent has different roles and influences due to the diverse types of space. Scent serves on different scales, urban, architecture and interior design spaces, with natural sources or artificially designed ones. Having a close connection with air we breathe in everyday, scent could act as a powerful tool for the design of space on multiple scales. The presence of a designed scent tailored to every specific space is a potential new approach in design. Scent design could not overpower visual aesthetics in a design, but it could reinforce the space to have an immersive sensorial experience, together with rich tactile surfaces, befitting room temperature and comforting sounds.
4B
SNIFF 1.0
2011 UNDERGRADUATE THESIS : EXPLORING SCENT IN ARCHITECTURE Professor: Evawani Ellisa
5A
S
F F I N
0 . 2
5B
2015 MS DESIGN HEALTH CORE COURSE: HEALTH INDIVIDUAL INFRASTRUCTURE Professor: Robert Adams
6A
WHITE COAT + EQUIPMENTS
6B
The project questions the distinct role between doctors (with their white coats) and designers in respond to the health issues. This particular project explores the notion of smell for the person under the white coat. The use of white coat indicates authority, power, professionalism, restrictiveness, cleanliness, minimum presence of sensorial stimulis; sound and smell. White color communicates nothingness, nonexistence, absence, nihility of substances that affects the equilibrium of health. This project explores the notion of possible existence of smell, with a vessel that carries sources of smell embedded on the clean white coat. What if the coat, which usually carries medical equipments, carry a scented breathing apparatus? Will it be a good use, to calm down patients, or to freshen up the doctor after a long night shift? Could the use and presence of scent act as a potential addition in future health practices?
SNIFF 3.0
7A
7B
This project aims to retrieve the presence of smell and artistic culture in both the world of pharmacy, and other spatial typologies, as institutions of health. It will also speculate a set of experiential scales and how the modern medicine packaging, together with the presence of smell, could intensify spatial design.
2016 MS CAPSTONE STUDIO “CHROMOSAPIEN SPACE”: HYPEROSMIC SPACE APPARATUS Professor: Robert Adams
8A
SPECIMENS
8B
Hyperosmic Space Apparatus is a vessel to encapsulate nature, time and space, to emit its preserved scent as medicinal properties to the air we breathe. It is intended to encapsulate and carry olfactory qualities that embodies momentary qualities is saved, preserved, dosed, packaged, and delivered to then be consumed across time and space. The elements that build up a spatial situation, such as the natural and built environment conditions, people, objects, and activity, in forms of solid objects are fabricated through distillation process to create a thematized scent in forms of liquid.
DISTILLATION PROCESS
9A
PROTOTYPE
9B
This research is a conceptual exploration of the olfactory abilities to receive a pseudo-medicine/placebo which can provoke imminent methods of responding to human health conditions beyond the use of commercial inhalers and aromatherapy sprays. With the adoption of pharmaceutical blister packaging to perform as a vessel for medicinal properties, Hyperosmic Space Apparatus undertakes atypical method to deliver a non-material entity: scent, through the perplexed potential of human olfactory sense. The research does not view pharmacy as a formal health institution, but as a space that contains, stores, displays, and delivers medicine to the public. It also raises conversations about the similarities between pharmacies and other building typologies, including domestic spaces. This also raises provocation and questions; what if in the end the scented air is treated as the solid pills? Will it be a new form of placebo medication? What if people can have scented air as a prescription medicine? Will this be a part of the future of healthcare and pharmaceutical practice?
SPATIAL NOTES
10A
The research opens up speculation of multiple scale uses; a device, furniture, interior, to architecture, as an experimental vessel to condition the environment which is suggestive to the notion of architecture design and health. The blister method is perceived as effective not only because of its ability to seal, preserve, and dose the compounds, it is also a tool for critic and speculation on the shifts of pharmaceutical and healthcare businesses.
PACKAGING
10B
SCALES
11A
Deriving from the keyword “North� as the design brief, the project tries to act as the fiducial cardinal direction, being the vessel of contemporary information in the city of Jakarta.
11B
SE
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2010 UNDERGRADUATE STUDIO 5 ON “NORTH”: JAKARTA CONTEMPORARY ART GALLERY Professor: Anthony Sihombing
12A
PROGRAMMING
12B
THE SPACES
13A
FORM DEVELOPMENT
13B
The form describes the experience of contemporary art, embodied through the shape of the building that has a cubical main form with adjacent curved reflections on two sides. The interior space has a free plan, accommodates flexible displays and events. Glass transparent walls are used for the building envelope to allow free information viewing from outside. In addition to the universal nature of the project, it provides ramps and mezzanine levels for the visitors to experience both the space and the exhibition intimately.
14A
CHANGE
14B
2010 UNDERGRADUATE STUDIO 3 ON “JAKARTA URBANISM” : TAMBAK PARK & CHANGE Professor: Robert Adams
15A
STUDY MODELS
15B
Tambak Park & Change is designed to respond the urban speed and movement of the active middle-class people in Jakarta and their private vehicle on Tambak Road, a busy midscale road on the Central of Jakarta. High percentage of Jakarta’s population prefers private transportation over public transportation. However, the people in Jakarta are used to the use of traditional modes of transportation, a three-wheeler (Bajaj) and motorcycle taxi (Ojek). This project tries to maximize the use of traditional transportation modes in a more systemic means. The form starts from space studies that are made from levelled pleats that represents the movements of people on this particular road. The building’s main program is providing spaces for private vehicle parking, to then switch to Bajaj or Ojek. Bajaj and Ojek stations and fast accesses to the busway and train station are provided. Other supporting urban activity needs are also provided in the building, a convenience store, food stalls, praying room, toilet and public sitting areas to enhance the pause movement.
LIVE 1.0
16A
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16B
2015 FFFAAARRR BUILT PROJECT: THERAPY HOUSE, JAKARTA, INDONESIA Fauzia Evanindya + Andro Kaliandi + Azalia Maritza (Concept + Design Development + Render + Diagrams + Construction Document + Project Supervising)
17A
MASSING DEVELOPMENT
17B
INSIDE VIEW
18A
ON-SITE PROGRESS JUNE 2015
18B
The design of this domestic space is intended to bring in contrast ambience to the city bustle and promoting mental healing to the family. The mass design started with a big water box as the base and four tower masses above the water. The ground base is dedicated for public purposes and the separated towers are the private ones. This separate masses are then connected with open-air bridges to give distinct spatial experiences. Both the separate masses and the water base cools up the space and creating a new isolated atmosphere to the domestic space. This project encompasses our team’s question on the effect of openness for domestic spaces in Jakarta, within the context of population density, crime rates, and pollution.
THE DESIGN
19A 1
0 . E2
LIV
This project is about rethinking wilderness. It is the dialogue among the elements of nature, trees and its inhabitants, which creates the space within their movements in responding the richness and threats of the wild.
19B
2011 13TH SHELTER INTERNATIONAL ARCHITECTURE DESIGN COMPETITION FOR STUDENTS (JAPAN) Fauzia Evanindya (Concept + Photoshop Render + Diagrams), Robin Hartanto (Concept + Vray Render)
20A
This project is about rethinking living in the wilderness. It is the dialogue among the elements of nature, trees and its inhabitants, which creates the space within their movements in responding the richness and threats of the wild. The form is developed by studying the typical form of a forking tree, exploring the ways of a monkey living and moving between different trees. The research then focused in the embodiment of the movements occurred in the gap between two trees, defining the invisible space between them. The oblique planes creating the form and spaces are the extensions of the axis of the growing tree branches. The form itself tries to keep pure environmental balance by minimalizing artificial interference. The design consists of two types of mass adjusting to the mass of the scene and the programs (public and private). The public space exposes the activities inside and blends with the whole nature scene while the private spaces are the solid ones masses to the trees. Only two main private functions, to rest and to dispose.
THE DESIGN
20B
21A
INSIDE
21B
SECTION SITUATIONS
22A
PLU
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22B Our
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2016 HOW TO ARCHITECTURE! STUDENT COMPETITION ENTRY: SECOND PRIZE WINNER Fauzia Evanindya
23A
PLUGS + CABLES
23B
“I love this how the design of the space feeds me visually. But my phone battery is almost dead. I’m not staying there because there are no power plugs.” –Personal Experience We desperately need them yet we want them out of sight. We hate the mess yet we keep on plugging it in. Somehow it determines our contemporary culture. How could we get access to Buzzfeed, thoughtcatalog, Instagram, or Snapchat without it? The Beacon at the festival should be the center of power plugs. It’s where we connect our most personal property which carries our deepest secrets and thoughts (the ones in our mobile phones, that is). Where we can actually embrace those outlets. Where we see those outlets as a part that builds up architecture. The outlets are Buzzfeeds of the festival themselves, literally feeding gadgets with buzz/feeding gadgets so you can buzz. Seeing how it constitutes facial expressions, and speculate what it communicates through those emoticonlike composition of holes. This whole wall of power plugs is messy, weird, and unusual, but it is really pretty cool when they are exposed virally. Excuse me for a minute, I want to take a selfie with that sad looking power outlet next to my sad face
THOUGHTS
24A
HIDE
24B Architecture plays an arguably significant role in post-disaster recovery. This project is intended to facilitate living fundamental needs, physical and psychological, of post-disaster victims in urban conditions, taking place in Depok, Indonesia, an area mostly populated with aging community.
2010 UNDERGRADUATE STUDIO 4 ON “EMERGENCY�: SLIDED SHELTERS Professor: Emirhadi Suganda, Team: Fauzia Evanindya + Reyni Ramadhani
25A
The research focused on combining the elements of sensitive human needs, easy-assembly principles and resilience for unexpected aftermath issues. The aging bodies and their restrictive movements manifested into the form. The individual secluded form only allows horizontal movements, sitting and sleeping, urging more vertical movements such as standing and walking to be done in public areas to promote social activities. The shelter also has a sliding system to expand the space into a longer form adjusting to the range of horizontal movement. The nature of the flexible design brings in communal use by choice, each individual can have their individual units joined with each other while still maintaining the privacy of an individual space.
THE DESIGN
25B
SITUATION
26A
This project is a praying pavilion within the governor’s house complex in Banyuwangi, Indonesia. Due to the contemplative nature of the praying activity, the design emphasized on defining spirituality and translating it to spatial qualities; relationship to nature and scale.
26B
Y PRA 2013 ANDRAMATIN BUILT PROJECT : GOVERNOR’S HOUSE PRAYING PAVILION Andra Matin (Principal) + Titis Nurabadi (Senior Supervisor) + Fauzia Evanindya (Junior Designer)
27A 1
LOCAL MATERIALS
27B
The idea is to escape from the dome typology of a Mosque, and deriving form from the Kabah in Mecca, which constitutes the geometry of a cube. The form develops with the top of the cube being drawn up towards the sky symbolizing the primacy of the connection between human and The Creator. The top part of the mass is then bent down, gesturing the prostration movements in the Moslem praying process. The main mass is positioned in the middle of a reflective water pond to increase the tranquility of the space. Iron wood panels constructed on steel structures were chosen to build a timeless natural ambience. Slight gaps between each wood panel were designed to let natural air and specks of sunlight in, at the same time dispel rain water. The supporting areas and the landscape walls are covered with local yellow stones.
THE DESIGN
28A As a beauty product business owner, the client wants to expand his business into a spatial customer experience. This project exhibits the activity process from organic planting, raw produce collecting, factory processes, packaging, to the selling of the end product.
PLAY
28B
2015 ANDRAMATIN BUILT PROJECT: SECRET GARDEN, BALI, INDONESIA Andra Matin (Principal) + Patisandhika Sidarta (Senior Supervisor) + Fauzia Evanindya (Junior Designer)
29A
Situated in the island of Bali, this hospitality project emphasizes on recreational and educational program for tourists. Adapting to the strong natural ambience of the site, the design intended to be light and monochromatic, putting the colors of nature as the main point. Traditional Balinese wooden structures and craftmanship are exposed with a touch of modern tropical architecture. This project has just finished construction May 2016 and has been receiving exciting reviews from the press, also public responses on the spatial experiences and architectural design.
THE MASTERPLAN
29B
ON SITE JUNE 2016
30A
ON SITE JUNE 2016
30B
BLOW-UP SECTION DRAWINGS