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 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@risd.edu | sarahhadianti.com
EDUCATION
Rhode Island School of Design | Providence, RI Bachelor of Architecture | June 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 Attended client meetings, prepared and organized presentation drawings for future monograph
Brewin Design Office | Singapore Design Intern | July - August 2014 Schematic Design and Design Development for the interior renovation of Millenia Office Tower Attended client meetings, modeled landscape renovation of a Singapore residence
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 Expanded on facade details, edited presentation drawings for marketing purposes
Work-Study in Rhode Island School of Design | Providence, RI Teaching Assistant, Architecture Department | 2014 - present Architectural Analysis | 2016 Concrete Structures | 2015 Structural Analysis | 2014 Urban Design Studio | 2015 Urban Design Studio | 2014 Modern Architecture | 2014 Teaching Assistant, Foundation Studies Design Studio | 2013 3D Printer Monitor, Architecture Department | 2015 - present
DISTINCTION
SKILLS
Wood Island Playscape featured on RISD Portfolios | July 2015 Urban Design work selected for NAAB Accreditation Visit | Winter 2014 Architectural Design work selected for NAAB Accreditation Visit | Winter 2014 Architectural Design 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
1
2-week project 2015
Drop the Bottle - Pier 26, NYC Climate Museum Launch
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Film Research Institute Structures and Frameworks
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5-week project 2014
Wood Island Playscape East Boston Greenway Connector
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5-week project 2015
College Building: Problems in Way-finding Typography in 3D Space
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Sydney Opera House Analysis Architectural Analysis
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2-week project 2015
Door(s) Thesis Probe
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2-week project 2016
Entrance(s) to Home Thesis Research
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12-week project 2014
12-week project 2013
Above/Under Ground Climate Museum Launch 2015
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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
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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
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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.
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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.
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SECTION B
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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
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column information
wall exhibition
platform exhibition
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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.
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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
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1” = 32’ - 0”
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SITE PLAN
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MARGORP
PROGRAM
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Museum
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Auditorium Greenhouse Underground rotiduA nedraG fooR
Greenhous
Office | Lab
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Office | Lab
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Residential
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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
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SEIG
EXHIBITION STRATEGIES kcor rainwater sthplatform gilyks
rock skylights
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retarock wniar mrskylights otfalp
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
degrembus llah eglass rutcel platform
retawniar mrrock otfalp skylights
ssalg mrsubmerged otfalp lecture hal
lift video
column information
wall exhibition
platform exhibition
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This project was done in collaboration with: Tiffany (Jenya) Chang.
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Drop the Bottle Pier 26, NYC Climate Museum Launch 2015
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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 cumulative impact
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VIEW A
view A
view B
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VIEW B
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Film Research Institute Structures and Frameworks 2014
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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 existing parking lots 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
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Sarah SarahHadianti Hadianti Sarah Hadianti
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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.
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SEQUENTIAL INTERIOR PERSPECTIVES
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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
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GROUND FLOOR PLAN
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Wood Island Playscape East Boston Greenway Connector 2014
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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
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VIEW A
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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
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VIEW B
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College Building: Problems in Wayfinding Typography in 3D 2015
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College Building: Problems in Way-finding | Typography in 3D, 2015 Currently, RISD’s College Building is difficult to navigate. It is a building that houses a majority of Liberal Arts Classes and Faculty Offices. It is set on a hill with three main entrances: Benefit Street, College Street and South Main Street. The confusion originates from the organization of building, not only in its numbering system for the rooms but more so on the split-floor nature of the building. It is worsen by the lack of clear signage of the building. This project aims to solve the problems in way-finding, through playing with the signage with a focus on typography and its placement and scale in the space. The Benefit Street Entrance is the main entrance to the College Building. It lacks any useful information to help new occupants orient themselves in the building. Therefore, a legend of the building’s important rooms should be placed in the center of the space. The main strategy is to color code each floor and make navigating the split-floor rooms easier and clearer.
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BENEFIT STREET ENTRANCE (existing)
BENEFIT STREET ENTRANCE (proposed)
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There needs a unifying element to re-brand the College Building. The place to do so is at the bathrooms cores adjacent to the elevator and main staircase. The concept of the Building Legend is to illustrate the complexity of the building in section, which is where the main confusion originates from. Therefore, before entering the half-floor staircase, visitors will be able to note where they are and where they need to go.
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END OF CORRIDOR (existing)
END OF CORRIDOR (proposed)
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The building legend shows minimal information, only the important rooms: restrooms and main offices in relationship to the location of the building sectionally. The South Main Street Entrance also lacks information and clarity. Therefore, the signage of the South Main Street Entrance will be treated the same way and with the same logic as the Benefit Street Entrance. It is confusing to go down the stairs from the fourth floor, thinking that you will arrive on the third floor, but only to find that you are still on the fourth floor, just at a different side of the building. This disorienting experience occurs too often. To avoid the confusion, the walls of the staircase core should be painted according to its floor colors. With the floor numbers, as well as the room numbers, written on the walls.
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MAIN STREET ENTRANCE (proposed)
4 5
422 - 437
542 - 546
MAIN STAIRCASE (existing)
MAIN STAIRCASE (proposed)
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Sydney Opera House Analysis Architectural Analysis 2013
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Sydney Opera House Analysis | Architectural Analysis, 2013 Jorn Utzon’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.
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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.
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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.
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To exaggerate and further explore the relationship between the sphere and the roofs, the 10 roofs were doubled totaling to 20 roofs.
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Door(s) Thesis Probe 2015
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Door(s) | Thesis Probe, 2015 This is one of the investigations on my thesis: Transcultural Place, a place where multiculturality prospers. Since we are moving toward a “global civilization with many local cultures”1, what are the global commonalities that unite these multiple cultures into a singular civilization? In relation to architecture, I explored this through operating on a door. A door represents a transition and intersection of spaces. In this case, it inhabits multiple cultures into one door. This door is a compilation of multiple ones that is then its own unique (trans)cultural door. The acetate pieces on the bottom displays the individual layers, while the top part of the door shows its combination. In reflection to this probe, questions regarding what is shown and what gets lost emerged. It questions what hierarchy drives the process, or the decisions that come into play in merging multiple motifs into a new one. The idea of a “front” and “back” or comparison of “inside” and “outside” brings about the sidedness or asymmetry of the object. From the front, only the Chinese motif with hints of Indonesian and post-modern Islamic style is shown. Whereas the other side reveals more intricate and diverse patterns.
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MOROCCAN
JEPARA (E. JAVA)
EUROPEAN (SICILY)
MODERN MALAYSIAN
W. JAVANESE
CHINESE
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Entrance(s) to Home Thesis Research 2016
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Entrance(s) to Home | Thesis Research, 2016 Transcultural is a term using the prefix “trans”, for proposing a new cultural entity that highlights commonalities of multiple cultures instead of the traditional regard of division and difference. It encompasses multicultural and intercultural concepts but expands on them further as the focus is “across” and “beyond” individual cultures, where the sameness and uniqueness of each are integrated to create a new encompassing whole. Through the methodology of collapsing culture and space, I explored twelve entrances to homes from eight different cities. In an attempt to explore culture’s imprint in space rather than mere ornamentation or surface treatment, I focused on the sequence and transition from outside to inside. The goal of this exercise is to compare contemporary dwellings from different cultures to highlight the similarities and familiarities of other cultures’ values to our 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, front/side door.
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1 Karachi: House
2 Jakarta: House
4 Tehran: House
5 Shanghai: House
- House gate - Canopy - Step up - Front door
- 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
- 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
12 Jakarta: Apartment - Gate - Basement - Basement door - Elevator - Hallway - Side door
- Elevator - Hallway - Front door
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2 5 6
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ENTRANCE(S) TO HOME
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