SARAH HADIANTI PORTFOLIO
Sarah is currently in the fifth year of an accredited Bachelors of Architecture degree program at the Rhode Island School of Design. Her core interest lies in rethinking existing systems in hopes to enrich daily life, such as exploring new frameworks for inhabiting the city. Having grown up in an international setting enables her to have an open mind and increases her sensitivity in adapting to respective social, cultural and political circumstances.
SARAH HADIANTI PORTFOLIO
SARAH HADIANTI
+1 (401) 347-5946 | shadiant@risd.edu | sarahhadianti.com
EDUCATION
Rhode Island School of Design | Providence, RI Bachelor of Architecture | 2016 expected Honor Student | Nature-Culture-Sustainability Studies Concentration
EXPERIENCE
Tsao & McKown Architects | Brooklyn, NY Intern | June - August 2015 Schematic Design and Design Development for the Cooper Hewitt Triennial: Beauty 2016 Used mostly AutoCAD, InDesign and physical models to communicate ideas
Brewin Design Office | Singapore Design Intern | July - August 2014 Schematic Design for the renovation of the hallways and lift lobbies of Millenia Office Tower Used mostly Rhino, V-ray and AutoCAD in representing the project
Design Global Indonesia | Jakarta, Indonesia Architectural Intern | June - August 2013 Design development of the public space and parking area of an apartment complex in Ciracas Used mostly SketchUp, AutoCAD, and Adobe Photoshop in producing drawings and renderings
Work-Study in Rhode Island School of Design | Providence, RI Teaching Assistant Concrete Structures | 2015 Urban Design Studio | 2014
Structural Analysis | 2014 Modern Architecture | 2014
Foundation Design | 2013
MakerBot Monitor | 2015 - present Project Assistant in Academic Affairs | 2013 - present
DISTINCTION
SKILLS
Wood Island Playscape featured on RISD Portfolios | July 2015 Urban, Architectural Design and Analysis work selected for NAAB Accreditation Visit | Winter 2014 Architectural Analysis work featured on RISD Portfolios | January 2014 Rhode Island School of Design, Honor Student | 2011 - 2012
Computer
Technical
Personal
Rhinoceros V-Ray DIVA AutoCAD
Hand-drafting Laser-cutting Wood-working Model making 3D printing Painting
Curious Flexible Detail-oriented Fluent Indonesian and English,
SketchUp Adobe Creative Suite
Conversational Spanish, Beginners Mandarin and Arabic
duration | date
Project
page
6-week project 2015
Above/Under Ground Climate Museum Launch
2
2-week project 2015
Drop the Bottle - Pier 26, NYC Climate Museum Launch
17
Film Research Institute Structures and Frameworks
23
5-week project 2014
Wood Island Playscape East Boston Greenway Connector
31
6-week project 2013
West End Revival Urban Design Principles
37
6-week project 2013
Aquarium and Lab Design Architectural Design
43
12-week project 2015
Integrated Lighting System Environmental Design
47
12-week project 2013
Sydney Opera House Analysis Architectural Analysis
53
12-week project 2014
Above/Under Ground Climate Museum Launch 2015
3
Above/Under Ground | Climate Museum Launch, 2015 In triggering new frameworks for transforming cities into resilient urban environments, two main strategies are implemented in response to the catastrophic and wasteful issues of water: - an underground structure as a flood prevention system; - an aboveground architecture as a rainwater harvesting system. Using 2012’s Hurricane Sandy as a precedent, which is equivalent to the 100-year flood line in Manhattan, the tank volume is calibrated to capture the storm water East of the site in order to prevent the flood water from further harming the neighborhood. 2012 FLOOD: SANDY
The “Climate Museum” not only performs at the urban scale but also in the human scale, where the exhibition elements are architectural interventions. These exhibitions highlight these climate-dependent elements through a series of openings for visitors to engage and witness, and for water to collect and be displayed.
Flood Volume: East of Site ≈ 10,000,000 cubic ft
Total Site Area
Tank Area
≈ 68,000 sq ft
Tank Volume
≈ 23,000 sq ft
≈ 2,800,000 sq ft ≈ 1/4 of target volume
150 ft
Total Site Area ≈ 68,000 sq ft
440 ft
Rain Collection Area ≈ 30,000 sq ft
120 ft
Average Annual Rainfall ≈ 4.17 ft
Average Water Collected ≈ 935,075 ft ≈ 3,534,583 gallons
4
SITE STRATEGIES
PROGRAM Residential Office | Lab Museum: Auditorium | Greenhouse | Underground Exhibition
Residential Tower
Greenhouse
Office | Lab
Auditorium
EXHIBITION STRATEGIES
rainwater volume
column information
rainwater platform
rock skylights
glass platform
submerged lecture hall
lift video
wall exhibition
vertical farm
platform exhibition
5
Stemming from the programmatic demands of the rainwater vs. storm water strategies, the massing is divided into two buildings. In order to activate the two corners of the site, the two volumes are located in the North-West and South-East corners. In order to optimize the amount of Southern light exposure, the building mass is pushed to the North and to the West to respect the neighboring high-rise and allow better views. Similarly, in order to maximize foot traffic and visibility, the South-East corner is crucial as the major avenue is South of the site as well as major pedestrian activity to the East.
6
7
Programmed spaces of the ground floor comprised of strategies to view the underground cistern in hopes to attract visitors to explore the exhibition below. It includes stairs from the South side of the site on the ground level to access the underground platform and subway; sets of skylights in the plaza; submerged hall to view the cistern; and a glass flooring at the entrance of the larger building. This section reveals the architecture exhibition strategy of the smaller building. It displays the submerged hall and its view to the underground storm water tank.
8
SECTION B
9
This section illustrates the programmatic division and juxtaposition of the normalized residential slabs on top of the labs and offices, against the more spatially rich museum rooms with double and triple height conditions. It includes views to the underground tank, and hint the rainwater collection above. This 120 feet deep underground habitable cistern includes columns with exhibition platforms, stairs, two elevators and one large service elevator. Exhibition strategies uses the structure as a platform to display the information and graphics, such as utilizing the columns at its length, as a field of columns, the wall at its entirety, as well as the side-rails.
SECTION A
10
column information
wall exhibition
platform exhibition
11
The rainwater exhibition in the larger building highlights the glass tank. It exhibits the rain and snow and a lever controls the water’s accumulation and release to the plaza below. The “rock skylights” not only allow light to penetrate the cistern but also increase visitors’ curiosities of the underground condition while inhabiting the ground level.
SECTION C
lactirev rainwater mraf volume
retarock wniar mrskylights otfalp
rock skylights
12
rainwater flow
rainwater measurement
vertical farm
lift video
column information
wall exhibition
platform exhibition
13
This project was done in collaboration with: Tiffany Chang.
14
15
Drop the Bottle Pier 26, NYC Climate Museum Launch 2015
17
Drop the Bottle - Pier 26, NYC | Climate Museum Launch, 2015 The idea of the project includes educating the public regarding water usage and plastic bottle consumption in New York City. The pop-up pavilion will include an exhibition space that takes visitors on a journey of their individual impact on this issue, which will later accumulate to display the collective impact. The installation can only work with the contribution and participation of the community. It is designed with hope to inspire change, raise awareness, and bring climate change to the center of our focus. The process includes: - collect used plastic bottles - clean bottles on site - pump water from the river to reach 1-in deep of the bottle - measure individual impact through questions exhibited in the dome; the darker the water, the greater the damage - hang individual bottles to visualize the collective and cummulative impact
18
VIEW A
view A
view B
19
VIEW B
20
21
Film Research Institute Structures and Frameworks 2014
23
g Air
Film Research Institute | Structures and Frameworks, 2014 After analyzing in conjunction Spencer Finch’s Painting Air and Paul Rudolph’s Yale School of Architecture, the similarity of the two projects lies in the ambiguity of its edges and the in-between space. Multiple layers of rotating glass panels constantly create implied space through the overlaying reflections. This is a series of plan analysis of a portion of the piece in describing the phenomenon. The idea is carried in Rudolph’s main exhibition space in the YSOA as edges between one pocket of space to another are blurred through the subtle changes in elevation and partition walls.
Sarah Hadianti
The site is located in the heart of Providence’s Jewelry District. The project proposes to occupy an existing parking lot with a film research institute that houses editing labs, studios, as well as public programs.
SITE LINES
STRUCTURE
ENTRANCES
GESTURE
Responding to the urban context, the building has three masses where each with its own major public service: 1. Cafe - most light 2. Library - less direct light 3. Theater - black box
24
sis s of ofPaul Paul Analysis Rudolph’s Rudolph’s of Paul Yale Yale Rudolph’s School Schoolof Yale ofArchitecture Architecture School of Architecture es esofofOverlapping Overlapping Volumes ofSpace Overlapping Space Space
Sarah SarahHadianti Hadianti Sarah Hadianti
25
The center is circulation space filled with activity. It is the connective tissue that provides a continuous path from the ground floor to the rooftop stopping at each major public space between the three masses. Working with the existing topography, the slope of the site allows greater sectional qualities and half floors. The ground floor is entirely accessible with three entrances into the theater and atrium lobby.
26
SEQUENTIAL INTERIOR PERSPECTIVES
27
The cantilevered volume that houses the cafe, creates a space underneath to house outdoor screenings. The ground beneath also slopes down to encourage viewers to comfortably lie down while watching the show. The deep cantilever is anchored and held up by the other two masses.
SECOND FLOOR PLAN
COMPOSITE SECTION
28
GROUND FLOOR PLAN
29
Wood Island Playscape East Boston Greenway Connector 2014
31
Wood Island Playscape | East Boston Greenway Connector, 2014 Currently a neglected site in East Boston, the Wood Island marshland has potential in playing a greater part in the East Boston Greenway. The site is tucked next to Logan International Airport, the MBTA Blue Line and a residential area. The parti of this playscape is that of C-shaped enclosures that frames views to the water or to the sky. Depending on the orientation towards the sun, the overhang of the C-seating varies. It is designed to avoid the summer sun while welcoming the winter sun.
view A
32
VIEW A
33
The playscape includes sloped grounds to elevate visitors to enjoy the view to the water, while it houses seating areas and bathrooms underneath to allow occupants to pause and rest. The wooden C-seating transitions from a bike rack into a bench and later into a combination of longer seat and table.
view B
GROUND PLAN
34
VIEW B
35
West End Revival Urban Design Principles 2013
37
West End Revival | Urban Design Principles, 2013 Boston’s West End currently attracts thousands of people daily as it houses the Massachusetts General Hospital (MGH). In an attempt to revive the neighborhood and invite more than just hospital visits, the project comprises of two cinemas, a multi-purpose auditorium, retail and a variety of residential units. The area chosen for development is at the North Western corner as it tackles the mess of the highway infrastructure, the underused T-station, and the missed opportunity of connecting to the bay. In the urban-scale, the project aims to connect two T-stations: the red line’s Charles/MGH Station and the green line’s Science Park Station. A new layer of ground is achieved by creating a program-filled podium as the base of the residential tower. The main layer of ground activity mediates the T-station level and the ground level leading towards the hospital block. To protect and encourage pedestrians in the area, the edge between the project site and the ban of highways is hardened.
38
39
The logic of the project carries on from the urban to the architectural scale. The hard edge that blocks the highway translates into the hard edge that has no balconies in the residential units. While, the other sides open up to the public in both urban and architectural scale. The tower is sited on a hard edge to protect pedestrians on the podium and gardens. Its slender form is derived from the curved edge of the site. With respect to the solar path, the faceted edge intends to catch more Southern light of the otherwise North-West facing windows. By providing a bridge from the Science Park T-station directly to the new ground, it allows for more convenient and safer access for pedestrians. The increased foot traffic will help liven up the neighborhood in hopes to reconnect the West End with the rest of the city.
40
41
Aquarium and Lab Design Architectural Design 2013
43
Aquarium and Lab Design | Architectural Design, 2013 The project is a research laboratory and office located by the Providence Harbor. The program consists of administrative and research offices, laboratories, an indoor aquarium and tidal pool. Taking inspiration from the water, the project incorporates water as a lighting element. The light qualities necessary for each use dictate the programmatic division and composition.
SECOND FLOOR PLAN
ROOF PLAN
SITE SECTIONS
TOP OFFICE PERSPECTIVE
MODEL DETAIL 1
MODEL DETAIL 2
Light was controlled through a series of openings on the ceiling, walls, and even floors. The roof is the main light filter. It provides shade to spaces such as the labs and offices that requires less light relative to the aquariums and pool. The circulation spine is also granted more light. Overall, the exposed beams create rhythm both in their solid masses and shadows. Other lighting elements include the two small aquariums on the second floor. Each is accompanied by skylights and clear bottoms that allows light to transmit down to the underground laboratories. The detail model highlights the main lighting elements. It demonstrates the role of the roof and the rhythm created by the beams. Similarly, it reveals the lighting condition filtered by the small aquarium.
44
MODEL INTERIOR
MODEL AERIAL
DETAIL MODEL
45
Learning and Integrated Lighting Environmental Design 2015
47
Learning and Integrated Lighting | Environmental Design, 2015 Architecture and education are inherently linked. More specifically, the design of a classroom or other programmed space can impact students’ academic progress. This project focuses on two variables: quality of light and flexibility of programmed space.
MODIFIED SKYLIGHT – GLASS PANELS MODIFIED SKYLIGHT – STEEL BRACING ROOF SLAB ADAPTIVE FURNITURE
The existing condition have many occupancy comfort flaws such as high glare, overheating, and lack of natural light that negatively affects the building’s overall performance. Our team tackled these issues through two means: - a facade louver system, allowing occupant control of glare while allowing natural light to enter; - a skylight system, allowing deeper penetration of light. Using DIVA for Rhino as the main metric for designing and measuring the described variables, our proposal went through many iterations of lighting type and design, occupant control, lamp selections, and planning the programs. The final design includes three natural light interventions: - north-facing skylight - “eyelash” light shelves - louvers —with movable furniture for flexible spatial programming.
EXISTING GLASS PANES EXISTING STRUCTURE INTERIOR LIGHT SHELF FINS EXTERIOR LIGHT SHELF FINS MULLIONS FULL WINDOW BLINDS
FINAL DESIGN - PROGRAM AXON
124
8
16
32
SITE PLAN
LONGITUDINAL SECTION - DAYLIGHT
48
LATITUDINAL SECTION - DAYLIGHT
FALSE COLOR AND HDR OF PHYSICAL MODEL IN DAYLIGHT
FLETCHER
Final Electric Lighting
2300h
FALSE COLOR AND HDR OF RHINO MODEL IN ELECTRIC LIGHT
Total Illumination
Electric Light Contribution
Lux 200
267
Dayight Contribution 333
400
467
533
358 lux 0> 100% > 500 0% < 0 , 0% > 500
600
DAYLIGHT AVAILABILITY
INTEGRATED LIGHT SECTION DIAGRAM
LONGITUDINAL SECTION - ELECTRIC LIGHT
49
The sectional model, in 1:20 scale, was used and calibrated to the Rhino model in order to better evaluate, support and demonstrate our daylighting system design.
This project was done in collaboration with: Hanson Cheng, Nicholai Go, Tai Shaw, Brandon Wang, and Andrew Yon.
50
Winter Dec 21, 0900h
Winter Dec 21, 1600h
Summer Jun 21, 0900h
Summer Jun 21, 1600h
Fall Sep 21, 0900h
Fall Sep 21, 1600h
51
Sydney Opera House Analysis Architectural Analysis 2013
53
Sydney Opera House Analysis | Architectural Analysis, 2013 Jorn Utzonâ&#x20AC;&#x2122;s Sydney Opera House is known for its iconic roofs. However, for the purpose of understanding the experience of the building, this plan oblique of focuses on the exterior and interior public circulation. It is oriented facing towards the public entrance. The movement of visitors are generally forward and upwards towards the opera house and concert hall. The roofs are cut to reveal the arrangement of the core of both concert halls.
Similar to the hand-drafted x-ray drawing, the exploded axonometric drawing focuses on the circulation. This is also oriented in the same manner as the x-ray plan oblique. The halls are exploded to reveal the division of the circulation. First, a visitor enters forward and upwards. Later, a split occurs where one can choose to enter the major hall to the left or the minor hall to the right. The levels of each hall is then exploded vertically. The major roofs are cut along their axis of symmetry to reveal the concert halls and the overall symmetrical nature of each hall.
54
55
Continuing the analysis with the focus to unfold and reveal the spherical geometry of the roofs. The roof shells are derived from parts of the surface of one sphere with a radius of 264 ft. Each roof shell is cut twice along the diameter of the sphere and once more along the surface of the sphere, creating a smaller circle along its surface. From these cuts, half of a roof shell emerges. The other half is mirrored along the smaller circle to complete one section of the roof. Each shell is mirrored along the center of the sphere. The lines of the ribs are continued along the surface of the sphere to connect the two shell that makes one roof. The 10 roofs are organized into three categories: the major hall, the minor hall and the restaurant. The roofs in each group are then connected at a point. The proximity of the groups is based on the plan of the Opera House. The sphere is then projected onto a geodesic dome, which enables the double-curved geometry to be unrolled and represented as a two dimensional surface.
56
57
The two dimensionality allows the pieces to be rearranged at will. The lines of the ribs are then extended in order to clarify which shell belongs to which pair and they act as guides when fabricating and assembling the geodesic dome.
58
59
To exaggerate and further explore the relationship between the sphere and the roofs, the 10 roofs were doubled totaling to 20 roofs.
60
61
68