Sarah Hadianti Portfolio by Sarah Hadianti

SARAH HADIANTI PORTFOLIO

Sarah earned her Bachelors of Architecture degree from Rhode Island School of Design. Her core interest lies in understanding and 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@alumni.risd.edu | sarahhadianti.com

EDUCATION

Rhode Island School of Design | Providence, RI, USA Bachelor of Architecture | 2016 Honor Student | Nature-Culture-Sustainability Studies Concentration

EXPERIENCE

Robert A.M. Stern Architects | New York, NY, USA Architectural Designer | August 2016 - present Design Development and Construction Documentation for Colgate Universityâ&#x20AC;&#x2122;s Benton Hall Generated fly-through animation and renderings for Benton Hall and Colgateâ&#x20AC;&#x2122;s New Residence Halls Used mostly Revit, InDesign and Photoshop to generate documentation and presentation materials

Tsao & McKown Architects | Brooklyn, NY, USA Intern | June - August 2015 Schematic Design and Design Development for the Cooper Hewitt Triennial: Beauty 2016 Established graphic standards for presentation/marketing drawings for future monograph 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 Photoshop in producing drawings and renderings

DISTINCTION

SKILLS

SOM Prize Finalist | July 2016 Wilbur E. Yoder Award for Excellence in the Study of Architectural Technology | June 2016 Door(s) featured on RISD Portfolios | May 2016 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

Revit Rhinoceros Grasshopper AutoCAD and SketchUp

Hand-drafting Laser-cutting Wood-working Model making 3D printing

Curious and Flexible Detail-oriented Fluent Indonesian and English,

Adobe Creative Suite

Conversational Spanish, Beginners Mandarin and Arabic

date

Project

page

2015

Above/Under Ground Climate Museum Launch

2016

Entrance(s) to Home Thesis Analysis

2016

Temple(s) of Worship Thesis Analysis

2016

Transcultural Pattern(s): Structure of Culture Thesis Exploration

2016

Transcultural Mosque Thesis Exploration

2016-17

Professional Work RAMSA

2015-17

Travel Sketches

Above/Under Ground Climate Museum Launch 2015

PROBLEM:

Detachment and impersonal understanding of storm water threats

PROPOSAL:

Underground tank for storm water drainage and museum experience

STRATEGY:

Immersive exhibitions using architecture elements and sloping roofs to direct water

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. 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.

2012 FLOOD: SANDY 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

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

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.

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.

SECTION B

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

column information

wall exhibition

platform exhibition

ft 021

response to the catastrophic and neht snotiibihxe muesum ehT wasteful issues of water: tnedneped-etamilc eseht thgilhgih 150 ft 440 ft 120 ft fo seires a hguorht stneanmunderground ele structure as a rof stniop yrtne dna sgnflood inepoprevention system; aerA knaT as a .ssentiw dna egagne ot sran otaboveground isTank iv Volume architecture

The museum exhibitions then highlight climate-dependent ft 04these 4 ft 051 elements through a series of openings and entry points for to engage and witness. emuloV knvisitors aT

ftqs 000,32 ≈ rainwater harvesting ≈ 2,800,000 cubicsystem. ft

ft cibuc 000,008,2 ≈ emulov tegrat fo 4/1 ≈

≈ 10,000,000 cubic ft

aerA etiS ertinE ftqs 000,86 ≈ Entire Site Area ≈ 68,000 sqft

≈ 1/4 of target volume

neht tnednepe 150 ftfo s rof s .ssent

The museum exhibitions then ft 021 ft 044 ft 051 highlight these climate-dependent elements through a series of openings and entry points for emuloV knaT visitors to engage and witness. ft cibuc 000,008,2 ≈

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.

a sa er ; a sa erutc .meTa t

emulov tegrat fo 4/1 ≈

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.

Residential Tower

NALP ETIS

SITE PLAN

”0 - ’23 = ”1

1” = 32’ - 0”

latinediseR rewoT

SITE PLAN

baL | ecffiO

1” = 32’ - 0”

MARGORP

PROGRAM

muesuM

Museum

muirotiduA

Auditorium Greenhouse Underground nedraG fooR

Greenhou

Office | Lab

esuohneerG

baL | ecffiO

dnuorgrednU

Office | Lab

baL | ecffiO

Residential

latinediseR

Auditorium

PROGRAM Roof Garden Museum Auditorium

muesuM

Greenhouse

EXHIBITION STRATEGIES

muirotiduA

SEIGETARTS NOITIBIHXE Underground nedraG fooR

Office | Lab Residential

larainwater ctirev mraf volume

SECTION C

retavertical wniar efarm mulov

SEIG

EXHIBITION STRATEGIES kcor rainwater sthplatform gilyks

lactirev rainwater mraf volume

retarock wniar mrskylights otfalp

rock skylights

rainwater flow

degreglass mbus llah eplatform rutcel

ssalg submerged mrlecture otfalp hall

aw liftllvideo notiibihxe

oewall div ftil exhibition

rainwater measurement

retawniar evertical mulov farm

vertical farm kcor sthrainwater gilyks platform

retawniar mrrock otfalp skylights

10 degrembus llah eglass rutcel platform

ssalg mrsubmerge otfalp lecture ha

lift video

column information

wall exhibition

platform exhibition

This project was done in collaboration with: Tiffany (Jenya) Chang.

Entrance(s) to Home Thesis Analysis 2016

PROBLEM:

Representation of culture in space

PROPOSAL:

Circulation passing thresholds between outside and inside

STRATEGY:

Collapsing space through collaging similar architectural elements

Entrance(s) to Home | Thesis Analysis, 2016 Through the methodology of collapsing culture and space, a sample of twelve entrances to homes from eight different cities are diagrammed with the focus on its sequence and transition from outside to inside. This is an exploration of culture’s imprint in space and at a different scale from the surface. The goal of this exercise is to compare contemporary dwellings of different cultures to highlight the similarities and familiarities of other cultures’ values to one’s own. For example, the house as a housing typology has very similar entrance sequence regardless of where it is located. In general the sequence to enter the house is: house gate, canopy, stepping up to front/side door. As opposed to the high-rise apartment typology, specifically the Jakarta sample, the sequence is: Enter in a car ramping up through the security gate, drive down to the basement parking lot, get off the car to an elevated platform to enter through the basement doors into the elevator lobby to take the lift up to enter the side door to the apartment home.

1 Karachi: House

2 Jakarta: House

4 Tehran: House

5 Shanghai: House

- House gate - Canopy - Step up - Front door

7 Providence: House - Step up (Canopy) - Front door - Stairs - Apartment door

10 Providence: Apartment - Step up (Canopy) - Double door - Elevator - Hallway - Front door

- House gate - Garage - Garage door

8 Brooklyn: Condominium - Secure door - Front yard - Stairs - Front door

11 Seoul: Apartment - Canopy (double height) - Double door - Elevator - Hallway - Front door

3 Singapore: House - House gate - Step (Canopy) - Front door

6 Manila: House - House gate - Steps (Canopy) - Front door

9 New York: Apartment - Ramp down - Canopy - Entrance double door - Lobby

- Elevator - Hallway - Front door

12 Jakarta: Apartment - Gate - Basement - Basement door - Elevator - Hallway - Side door

ENTR

2 5 6

RANCE(S) TO HOME

Temple(s) of Worship Thesis Analysis 2016

PROBLEM:

Multiple manifestations of ritual in space

PROPOSAL:

Combining different rituals into one space

STRATEGY:

Layering and juxtaposing sacred spaces into one structure

Temple(s) of Worship | Thesis Analysis, 2016 Cultures are commonly viewed in terms of ethnicity or country of origin. However, culture in its most general definition is a way of life of a group of people who share similar behavior, beliefs and values. Therefore, in investigating commonalities and differences of groups of people that extend beyond national borders, five different religious groups (from Judaism, Christianity, Islam, Hinduism and Buddhism) were studied through their architecture of worship. Samples from each were drawn

from various cities and time periods. The unifying theme across the different groups is the belief of a greater power that structures meaning to this life in reaching the next one or beyond this one. Manifestation of such beliefs shapes their spaces differently whether by rituals, symbols, or cartographic orientations. Similarities with the use of symmetry is inherent across all temples sampled. Major differences relate to scale, proportions and layers of spaces that lead to the central area of worship. For example, the 12th Century Hindu Temple Angkor Wat in Cambodia has

multiple layers and pillared halls that progress visitors in an upward ascent to the central tower. Similarly, the 9th Century Buddhist Temple Candi Borobudur in Indonesia also has multiple layers involving an upward ascent to its core. This notion of an elevational change in climbing closer to the skies is contrasted in the 16th Century Turkish Mosque of Suleymaniye and 16th Century Italian Church of Saint Peter such that the vertical connection to the Divine is instead expressed in a large space with intricate ceiling details that filter light.

ONS

SHIP

BUDDHISM

This investigation is geared towards highlighting the similarities and possibilities in sharing the same space without losing each religious group’s essence. The idea is to encourage tolerance of religious/ cultural difference, through an “inverse dialectical process, by letting that space influence its culture” --essentially a new transcultural, or trans-religious, embrace. Ideally this Temple(s) of Worship can be located in multiple places, however due to specific and relative orientations that the Synagogue and Mosque require, make it impossible to duplicate in different locations. In this case, the temple(s) is designed to be located East of Jerusalem and North of Mecca. This exercise reveals a need for a degree of separation achieved sectionally, in order to encompass all five cultures in one place. Currently, the Buddhist temple is the most secluded as worshipers need not enter the other believers’ space in order to practice their rituals. Whereas, the Abrahamic religions share a space with no dividing walls, merely nooks and columns because the rituals and congregational gatherings occur at different times that ideally result in no necessity of strict wall divisions, which allows for others to passively participate and observe.

ABRAHAMIC RELIGIONS

TRANS-RELIGIOUS TEMPLE

TEMPLE(S) OF WORSHIP

Mecca

HINDUISM HINDUISM HINDUISM HINDUISM HINDUISM

BUDDHISM BUDDHISM BUDDHISM BUDDHISM BUDDHISM

Jerusalem Jerusalem

Jerusalem

Jerusalem Jerusalem

East East East East

Mecca Mecca Mecca Mecca

ABRAHAMIC RELIGIONS

ABRAHAMIC RELIGIONS ABRAHAMIC RELIGIONS ABRAHAMIC RELIGIONS ABRAHAMIC RELIGIONS

Transcultural Pattern(s): Structure of Culture Thesis Exploration 2016

PROBLEM:

Cultures claiming their own unique patterns

PROPOSAL:

Combining similarities among selected cultures into one module

STRATEGY:

Geometrical analysis of the modulation and aggregation

Transcultural Pattern(s): Structure of Culture | Thesis Exploration, 2016 In exploring transculturalism in the scale of the surface, samples taken from Owen Jonesâ&#x20AC;&#x2122; The Grammar of Ornament were studied in terms of their base geometry, aggregation and complexity. Through stripping the patterns to only its structuring principles, it was clear that the patterns were aggregated in either radially or symmetrically relying upon a chosen grid. Samples from three cultural pattern plates (Chinese No.1, Byzantine No.3, and Persian No.2) were sorted in terms of their base geometry in generating their pattern: a circle, square, or hexagon. Thus in generating a transcultural pattern that can be identified across cultures, different base geometries and logic of modulation were combined to create a new hybrid. Several modules were tested and aggregated in various ways. The analysis focuses on one unit (Unit C) that holds the three different geometries that are radially repeated to create Module C.

CIRCULAR BASE PATTERN

CHINESE No.1/18

BYZANTINE No.3/35

CHINESE No.1/48

BYZANTINE No.3/34

CHINESE No.1/23

BYZANTINE No.3/44

MODULE 1_RADIAL AGGREGATION

MODULE 3_RADIAL AGGR.

MODULE 4_LOOSE RADIAL

MODULE 2_RADIAL AGGREGATION

MODULE 3_LINEAR AGGR.

MODULE 4_TIGHT RADIAL AGGREGATIONS

MODULE 5_HEXAGONAL AGGR.

HEXAGONAL BASE PATTERN

SQUARE BASE PATTERN

CHINESE No.1/3

BYZANTINE No.3/16

CHINESE No.1/5

BYZANTINE No.3/26

CHINESE No.1/1

PERSIAN No.2/16

PERSIAN No.2/19

MODULE 5_RADIAL AGGR.

UNIT A

UNIT B

UNIT C

MODULE A

MODULE B

MODULE C

CIRCLE INTERSECTIONS

There are multiple possibilities of patterns and geometries that could be generated from one module. With the chosen module, seven distinct modules were algorithmically generated from finding intersections in the basic shapes that lead to offsets of those intersections in creating two states of solids and voids, whose intersections then also create new modules of greater complexities. Experimenting with several grids to tile the module, the tighter grid of A7 generated greater overlaps between the different modules and created more pleasing patterns.

OFFSET WITH SOLID AND VOID

INTERSECTIONS OF SOLIDS

XYZ

SQUARE INTERSECTIONS Y

One application of these patterns is a dividing screen. The screen aims to act as a filter for light and privacy as well as a materialization of superimposed memories from different cultures.

BASE MODULE (MODULE C)

HEXAGONAL INTERSECTIONS Z

AGGREGATION POSSIBILITIES a1

SAMPLE PATTERN USING A7 AGGREGATION STRUCTURE

TRANSCULTURAL SCREENS MATERIALIZATION OF PATTERNS GENERATED FROM THE SAME BASE MODULE AND AGGREGATION STRUCTURE

Transcultural Mosque Thesis Exploration 2016

PROBLEM:

Exclusive sacred spaces segregating people into “us” vs. “them”

PROPOSAL:

Openness and inclusivity without sacrificing its cultural essence

STRATEGY:

Programmatic adjacencies and designing multiple circulation paths

Transcultural Mosque: Transcultural Interactions | Thesis Exploration, 2016 In encouraging inclusivity within a culturally exclusive space, this project places different activities and actors in a shared space. It is an attempt to design an urban catalyst that diffuses cultural boundaries in order for any individual of any cultural background to feel welcomed. This exploration aims to generate a set of principles and challenge existing frameworks in issues of separation and division. Ideas of cultural tolerance versus hospitality in welcoming “others”, because we inherently group people into “us” vs. “them”.

VIEWING AREAS TO THE CITY

LECTURE SPACES

VIEWING AREAS TO T

Thus, this investigation raises questions on how to engage with the “others” as they could potentially be part of ourselves. And how can we allow for a belief system to continue to exist, and coexist with other experiences without diluting its essence? Through hybrid programming, a mosque, which is traditionally viewed as only serving those identified as being Muslims, fosters transcultural interactions among different actors with different activities in a shared place for a transcultural embrace.

KID’S AREA

WOMEN’S AREA

GARDEN

The programs and users include: ABLUTION ROOMS (GENDER SPECIFIC): MUSLIMS FOR SPIRITUAL CLEANSING MEDITATION ROOMS: PEOPLE SEEKING REFUGE TO REFLECT PRAYER HALL: MUSLIMS SPIRITUAL GATHERING SPACE: EVENTPERSPECTIVES SPECIFIC PEOPLE PROGRAM Sarah Hadiant i LECTURE SPACE: EVENT SPECIFIC PEOPLE WOMEN’S AREA: WOMEN ONLY KID’S AREA: PARENTS AND CHILDREN WORK SPACE: ALL WHO INTEND TO WORK LIVING ROOM: ALL, INDOOR VERSION OF THE PARK PARK: ALL, TOURIST-DRIVEN VIEWING AREAS: ALL, TOURIST-DRIVEN

SPIRITUAL GATHERING SPACE

WORK SPACE

THE MOSQUE

PROGRAM LIST (in order from public t

MEDITATION SPACE

WORK SPACE

PRAYER HALL

AS TO THE MOSQUE

GARDEN

LIVING ROOM

WORK SPACE

VIEWING AREAS TO TH

LECTURE SPACES

PROGRAM LIST (in order from public to private) ROOMS 7 MEDITATION 1

MEDITATION SPACE

LIVING ROOM

All are w

GARDEN 8

SPIRITUAL GATHERING

KID’S AREA

WOMEN’S AREA

All are w

LIVING ROOM WORK SPACE

PRAYER HALL

ABLUTION ROOMS

All who or in gro

All are w

VIEWING AREAS TO THE CITY

PRAYER HALL VIEWING AREAS TO THE MOSQUE

12 LECTURE SPACES

MEDITATION ROOMS All who 13 ABLUTION ROOMS

SPIRITUAL GATHERING SPACE

KID’S AREA

Women

WOMEN’S AREA

Women mosque

PRAYER HALL

Muslims

MEDITATION SPACE

Muslims

ABLUTION ROOMS

Muslims in prepa

All who another

MEDITATION SPACE

spiritual

LIVING ROOM

ABLUTION ROOMS

6 12 11

Transcultural Mosque: Surrounding Restrictions New York City is a multicultural metropolis, which contains diversity in both user and program. In choosing a site for a mosque, existing mosques in New York City were mapped out with a half-mile diameter. Based on important conditions like nearby transit, waterfront access, views to the city, and nearby park, pointed to 85 Jay st. in Brooklyn as a fertile testing ground. Key restrictions that govern the design were the orientation to the Kaâ&#x20AC;&#x2122;aba as the direction to face for prayer, as well as the surrounding site conditions in terms of the solar path to optimize lighting, and existing flows of people coming in and out of the MTA F train York stop to maximize foot traffic. The neighboring buildings are mixed-use with new residential developments planned and underway, and with the proximity to up-and-coming tourist destinations in DUMBO, there are a variety of users inhabiting this area throughout the cycle of the day.

Legend Residential Mixed Use Commercial Institution Industrial

Southern Light Lower Manhattan Skyline

M 58.5o N Park continuation KEY ORIENTATIONS

MOSQUE 10-MIN WALKING RADIUS

SITE EXPLORATION

VIEWING AREAS TO THE MOSQUE

LECTURE SPACES

MEDITATION ROOMS

SPIRITUAL GATHERING SPACE

All who are searching for inner peace

Transcultural Mosque: Design Iterations 7

The driving concept of the iterations has been the idea that the heart of the mosque lies in the prayer hall. The design began with translating the program into a form where the main prayer hall is circular and in the center, whereas all the supporting program revolves around it.

All who are moving from one place to another are welcomed to look in

spiritually inclined

KID’S AREA

Women and children

WOMEN’S AREA

Women who want to gather in the mosque but are unable to pray

PRAYER HALL

Muslims to pray

MEDITATION SPACE

Muslims enganging in individual

ABLUTION ROOMS

Muslims to undergo spiritual cleansing in preparation to praying

3 6 12

10 9

(not just a) MOSQUE

4 3 6

Multiple iterations show the evolution of this idea, into adding strength to the prayer hall in order to structurally support the other volumes. This process fluidly translated among plans, sections and axons using hand sketches and computer aided tools.

2 6 12 11 8

PROGRAM EXPLORATION Sarah Hadianti

(not just a) MOS

PROGRAM

STRUCTURE

CIRCULATION

MASSING AXON

Transcultural Mosque: Transparent Thresholds

Although diversity of land use, people and cultures exists surrounding 85 Jay Street, there lacks interaction and intersections among such groups. The principles driving this design focus on the thresholds and sequences in entering the mosque from the city, as well as the interior negotiations within the block. It is challenging the traditional notions of religious spaces as being hermetically sealed from its surroundings, such that this proposal encourages transparency and openness instead. ANCES:

The prayer halls are anchored in the 8 NE corner and unwaveringly face the 10 direction of the Ka’aba, which is 58.5 9 degrees East from North. It includes multiple entrances and layers of thresholds to prepare1 the journey from the mundane to the sacred. The mosque opens up to major axes of the city, attracting the liveliness of Jay street from the west side of the site. The park acts as a buffer between the mosque and the heavy foot traffic along Jay street. Thus the west side of the park is elevationally lower from the rest and meets the

GARDEN

LIVING ROOM

WORK SPACE

GATHERING SPACE topographical change SPIRITUAL of Jay street as well as to welcome9and provide green CHILDREN’S AREA 3 13 space for the activities from Jay street to 10 WOMEN’S AREA flood into the park. The majority of the 11 MAIN PRAYER HALL park remains open to all, with important 13 MAIN axes extending out from theABLUTION mosqueROOM to the corners of the site marked by the pathways of the park. The trees are laid out in a grid to mimic pillared colonnades. 8

UND FLOOR SEQUENCE

38 Sarah Hadianti

EXPLODED AXON: TRANSCULTURAL MOSQUE SITE, SEQUENCE AND PROGRAM

VIEWING AREA TO THE CITY

VIEWING TO THE MOSQUE

LECTURE SPACE

MEDITATION ROOMS

WOMEN’S PRAYER HALL

GARDEN

LIVING ROOM

WORK SPACE

SPIRITUAL GATHERING SPACE

CHILDREN’S AREA

WOMEN’S AREA

MAIN PRAYER HALL

MAIN ABLUTION ROOM

CIRCULATION CORES

PRAYER HALLS: MAIN HALL AND WOMEN’S AREA

11 8 10

1 2

ENTRANCES: GROUND FLOOR SEQUENCE

Since there is a clear direction for prayer, majority of the programs are placed on the sides and back of the prayer hall, following that axis. The living room and workspace are the only two volumes that follow the grid of the site, with the workspace pulled back from the Southern site line in order to shape a greater entrance from the SE corner. The remaining programs are used as volumes to filter direct southern sunlight and allow for a diffused light entering from above and filtering down the curves of the ceiling. The circulation cores are located on the opposite sides of the prayer halls and act as a meeting point where different actors converge in a shared transitional space. Taking inspiration from courtyards, the transition from the street to the mosque are sequenced with openings to the sky enhancing the dialogue of inside and outside. This perspective is cutting across the SE corner of the site, entering the workspace and living room area first with a hint of the sky in between the two programs. Then leading out to a courtyard bounded by the living room, the childrenâ&#x20AC;&#x2122;s area and the masjid (place of prostration). However, the masjid is inaccessible from the courtyard, as it is blocked by the series of columns with screens filtering the sound, only showing a sneak peek of what is inside through the holes. The entrance of the masjid is tucked to its sides marked by the archways. Given the adjacencies of the programs, there are opportunities for others to interact or watch and not necessarily participate.

This viewpoint focuses on accommodations for women and children to participate in the community. Families are encouraged to come here with their children since there is a dedicated childrenâ&#x20AC;&#x2122;s area or daycare center,

in close proximity from the womenâ&#x20AC;&#x2122;s elevated prayer hall that can have a direct view of the children playing below. Additional spaces such as the spiritual gathering place dedicated mostly for lectures and talks with a special slightly

elevated area for the sisters who are unable to participate in worship but would like to participate in the communal spiritual growth and discussions.

The section model illustrates the sequence of spaces surrounding the circulation core as one would travel on the stairs. Also it plays on the idea of inside of outside, framing specific views throughout the journey inside to the masjid or outside to the sky.

The masjid is lit by direct light from south-western exposure from an opening at the top that is filtered by the curved ceiling. Though the main gesture of the curvature of the ceiling is to diffuse the strong southern light and flood with space below, it also acts as a screen with penetrations towards the northern light. The immense verticality of the prayer hall is mediated by the shorter mihrab wall (wall indicating the direction to Kaâ&#x20AC;&#x2122;aba) to tie the grandeur with comfort in the human scale.

SECTIONAL MODEL OF CIRCULATION CORE

Benton Hall, Colgate University Professional Work DD and CD 2016 - 17

Benton Hall, Colgate University | RAMSA, 2016 - 17 Here are samples of presentation materials generated and rendered with Revit, which is later finished in Photoshop. Other than these perspectives, an animation video was recorded an edited using the Revit model. Below is the link to the fly-through video.

Flying Through Benton Hall

Modeling in Revit allows for multiple design options that enable quicker big picture design changes.

STONE PIER RAILING BY OTHERS STONE VENEER RETAINING WALL

The work that went into generating the presentation materials aided the development of the drawing set.

My work and contribution to this project touches a range of aspects and throughout the exterior and interior of the building. References can be provided upon request.

LEDGE ELEVATION BELOW FINISH GRADE W/STONE VENEER - SEE STRUCTURAL DWGS.

8" MIN

WEST SITE WALL - NORTH ELEVATION

3/8" = 1'-0"

D 4 A237

4 A237

Typ

17 5:56:15 PM

50 A

WEST SITE WALL - NORTH

1 A237

LEGEND / NOTES L

9 2 A232

1 A232

2 A233

LEGEND / NOTES 15'-0"

70'-0"

T.O.C. + 1199' - 9"

11'-0"

7'-8"

AX04

STONE VENEER RETAINING WALL

13 T @ 1'-2" EA = 15'-2"

NOTE: ALL DIMENSIONS ARE TO FINISH FACE OF WALL, UNLESS OTHERWISE NOTED

11'-0"

1'-2"

1 A233

1 A234

AX04

STONE PIER

SLOPE

TO DRAIN

SLOPE

AX04

T.O.C. + 1207' - 1"

RAILING BY OTHERS

4'-0"

TYP

3'-0" MIN 3'-8"

LEDGE ELEVATION BELOW FINISH GRADE W/STONE VENEER - SEE STRUCTURAL DWGS.

A.1

KEY PLAN

AX04

MIN

- 11" R 24' BUILDING BELOW

EXISTING LOADING DOCK H ROOF

T.O.C. + 1207' - 3" 4'-11" CENTER TO COL. LINE

' - 7" R 30

AX04

OPE SL

EA 1'-2"

'-4" = 16

AX04

END OF CURVED SEGMENT OPE SL

F AX04

0" -1

2 A237

AX04

1'-6"

3' - 0" TYP

NOTE: INSTALL AS PER MANUFACTURER SPEC.

1'-6" BAND AT TOP/BOTTOM OF STAIRS TYP

EASED NOSE

CONC. STAIRS

AX04

1% WASH TYP.

5 4 3 2 1 INTEGRAL ICE MELT SYSTEM - SEENo. SPEC.

H 25 '8 8" 7/ .

WALL LIGHT - SEE SPEC.

THIS IS A PRELIMINARY DRAWING NOT ISSUED FOR CONSTRUCTION PURPOSES

KEY PLAN

T.O.C. + 1215' - 0"

R 1'

END OF CURVED SEGMENT

" 1'-6

1'-9 5/8"

" 1'-2

1'-2" MIN.

1'-0"

ISSUE FOR BID 90% CD CHECK SET 50% CD CHECK SET DESIGN DEVELOPMENT SCHEMATIC DESIGN

2017-02-17 2017-01-27 2016-12-16 2016-10-07 2016-07-01

ISSUE

DATE

6" TYP

BENTON HALL

MIN

COLGATE UNIVERSITY HAMILTON, NEW YORK

ROBERT A.M. STERN ARCHITECTS, LLP.

460 WEST 34th STREET, NEW YORK, NY 10001 TEL (212) 967-5100 FAX (212) 967-5588

SEE

SPECS

1% WASH TYP.

A23 3 4

1% WASH TYP.

WEST SITE WALL - SOUTH ELEVATION

A23

2 4

G RAILING AND CURB BY OTHERS

SITE STAIR AND WEST SITE WALLS LAYOUT PLAN

SITE WALL TRANSITION DETAIL - TYPE C

3/8" = 1'-0"

2/17/2017 5:55:58 PM

1 1/2" = 1'-0"

WEST SITE WALL CAPSTONE JOINT LAYOUT PLAN

SITE STAIR HANDRAIL

SITE WALL LIGHT DETAIL

EXISTING LOADING DOCK

1 1/2" = 1'-0"

WEST SITE WALL LAYOUT PLAN

1/4" = 1'-0"

SITE STAIR TYPICAL SECTION A

STAMP

Project No.

A16008

CAD File No.

A16008

Drawing No.

A231

3/8" = 1'-0"

2'-1"

PLAN VIEW

THIS IS A PRELIMINARY DRAWING NOT ISSUED FOR CONSTRUCTION PURPOSES

2'-0"

FINISH GRADE - SEE CIVIL DWGS.

4 1/2"

VARIES (1' - 0" MIN)

FLASHING

SEE CIVIL DRAWING

2'-2"

2'-0" TYP

R 2'

1/2"

1'-10" 1"

STONE COPING PROFILE SC-3

- 1"

8" MIN.

STONE CLADDING - SEE SPEC.

E 2'-2"

SS DOWEL AT THE BEGINNING AND END OF CAP SEGMENT

SITE WALL TRANSITION DETAIL - TYPE B

1 1/2" MIN

2017-02-17 2017-01-27 2016-12-16 2016-10-07 2016-07-01

DRAWINGS

DATE

D 4"

SEE STRUCTURAL

BENTON HALL

VARIES

SEE PLAN

SEE ELEVATION

DRAWINGS

2'-6"

SEE STRUCTURAL

No. ISSUE

STONE CLADDING - SEE SPEC.

1 1/2" = 1'-0"

VARIES

8" 5 ISSUE FOR BID 4 90% CD CHECK SET 33/4" WASHED50% CD CHECK SET GRAVEL FILL WRAPPED IN FILTER FABRIC 2 DESIGN DEVELOPMENT 1 SCHEMATIC DESIGN

FLASHING

CONC. FOUNDATION WALL - SEE STRUCTURAL DWGS.

STONE VENEER RETAINING WALL

SEE ELEVATION

GRANITE COPING STONE - SEE SPEC. STONE COPING PROFILE SCO-4

COLGATE UNIVERSITY HAMILTON, NEW YORK

STONE PIER 8" MIN

ROBERT A.M. STERN ARCHITECTS, LLP.

SEE STRUCTURAL

DRAWING

CONC. FOOTING - SEE STRUCTURAL DWGS.

DRAWING

8" MIN

5'-8 1/2"

MIN

LEDGE ELEVATION BELOW FINISH GRADE W/STONE VENEER - SEE STRUCTURAL DWGS.

WEST SITE WALL ELEVATIONS

SITE WALL TYPICAL SECTION AT STONE PIER

1 1/2" = 1'-0"

PERFORATED HDPE DRAIN PIPE WRAPPED IN FILTER FABRIC - SEE CIVIL DWGS.

SITE WALL TRANSITION DETAIL - TYPE A

4' - 0" MIN

460 WEST 34th STREET, NEW YORK, NY 10001 TEL (212) 967-5100 FAX (212) 967-5588

FINISH GRADE - SEE CIVIL DWGS.

(6" BELOW FROST LINE)

WEEP HOLE VENT SPACED 16"-24" O.C.

SEE STRUCTURAL

2'-6"

SITE WALL TYPICAL SECTION

1 1/2" = 1'-0"

STAMP

Project No.

A16008

CAD File No.

A16008

Drawing No.

Travel Sketches 2015 - 17

Travel Sketches | 2015 - 16 These sketches are done in 5 - 15 minutes at a time. This page is of Buddhist Temples in Jogjakarta, Indonesia. The next page is of mosques in Istanbul, Turkey. And the last set is from London, UK.

SARAH HADIANTI

THANK YOU

SARAH HADIANTI

SARAHHADIANTI.COM