Sarah Hadianti Architecture Portfolio

Page 1

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

15

Film Research Institute Structures and Frameworks

21

5-week project 2014

Wood Island Playscape East Boston Greenway Connector

29

5-week project 2015

College Building: Problems in Way-finding Typography in 3D Space

35

Sydney Opera House Analysis Architectural Analysis

43

2-week project 2015

Door(s) Thesis Probe

53

2-week project 2016

Entrance(s) to Home Thesis Research

57

12-week project 2014

12-week project 2013



Above/Under Ground Climate Museum Launch 2015

1


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

2


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

3


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.

4


5


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.

6


SECTION B

7


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

8


column information

wall exhibition

platform exhibition

9


ft 021

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

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 ≈

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

≈ 1/4 of target volume

neht tnednepe 150 ftfo se rof st .ssenti

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 .meTan ts

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 rotiduA nedraG fooR

Greenhous

Office | Lab

esuohneerG

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

rock skylights

10

lactirev rainwater mraf volume

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

11


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

12


13



Drop the Bottle Pier 26, NYC Climate Museum Launch 2015

15


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

16

VIEW A

view A

view B


17


VIEW B

18


19



Film Research Institute Structures and Frameworks 2014

21


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

22


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

23


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.

24


SEQUENTIAL INTERIOR PERSPECTIVES

25


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

26

GROUND FLOOR PLAN


27



Wood Island Playscape East Boston Greenway Connector 2014

29


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

30


VIEW A

31


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

32


VIEW B

33



College Building: Problems in Wayfinding Typography in 3D 2015

35


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.

36


BENEFIT STREET ENTRANCE (existing)

BENEFIT STREET ENTRANCE (proposed)

37


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.

38


END OF CORRIDOR (existing)

END OF CORRIDOR (proposed)

39


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.

40

MAIN STREET ENTRANCE (proposed)

4 5

422 - 437

542 - 546


MAIN STAIRCASE (existing)

MAIN STAIRCASE (proposed)

41



Sydney Opera House Analysis Architectural Analysis 2013

43


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.

44


45


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.

46


47


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.

48


49


To exaggerate and further explore the relationship between the sphere and the roofs, the 10 roofs were doubled totaling to 20 roofs.

50


51



Door(s) Thesis Probe 2015

53


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.

54


MOROCCAN

JEPARA (E. JAVA)

EUROPEAN (SICILY)

MODERN MALAYSIAN

W. JAVANESE

CHINESE

55



Entrance(s) to Home Thesis Research 2016

57


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.

58

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


1

3

2 5 6

7

4

9

8

10

11

12

ENTRANCE(S) TO HOME

59


60


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.