VIANY SUTISNA a rc h i te c tu re por tfolio - s e le cte d work s 2014 - 2016
EDUC ATION
LANGUAGE
National University of Singapore (Aug 2015 - present)
English (Fluent) Mandarin (Passive) Bahasa Indonesia (Native)
Bachelor of Arts (Architecture)
Saint Joseph’s Institution International (Jan 2013 - Nov 2014)
International Baccalaureate (IB) Diploma
SOFTWARE
ACHIEVEMENTS NUS City Exhibition 2016 | Selected Works
Jun’16 - July’16
NUS Design Yearbook 2016 | Selected Works I believe in the difference that architecture and design can make. With a fascination for the discipline’s considerations regarding functionality and aesthetic impact, I hope to pursue this subject matter in much depth for the beauty and betterment of the spaces we live in.
CONTACT Viany Sutisna Tel: +65 9115 5310 viany_sutisna@hotmail.com
2016
IB Scholarship Award
Jan’13 – Nov’14
ACSIS U19 Volleyball | Gold Medal
Jan’13 – Nov’14
Adobe Photoshop Adobe InDesign Adobe Illustrator
NUS City Exhibition 2017
Aug’15 – present
Google SketchUp AutoCAD Rhino Grasshopper (basic) ArchiCAD
NUANSA (Indonesian Theatrical Production)
Aug’15 – Mar’17
Microsoft Office (Word, Excel, Powerpoint)
AC ADEMIC
EXPERIENCE
Publicity Co-Head
Sets Designer Creative Marketing www.nuansacp.com
Construe and Construct V Lecture Series
Oct’16
Curatorial Team
Cambodia Housing and Slum Upgrading Project
Jun’16
Student Helper (under the supervision of Professor Junko Tamura)
Indonesian Catholic Community (ICy) Special Projects Head
EXTERNAL
Aug’15 - Jun’16
INVOLVEMENT
WSSA Singapore
Jun’16 – present
Dale Carnegie Generation.NEXT Programme
Jun’13 - present
Designer www.wssasg.org
Group Leader www.dalecarnegie.co.id
Woodshop Lasercutter 3D Printing
OTHER Red Cross Youth Volleyball Basketball Painting
INTERESTS
PROJECTS
01
Community Museum
02
Music Cube: John Cage into Architecture
03
Artist Dwelling
03
Hand - drawn Documentation
Site: Beach Road HDB Estate, Singapore
Site: Gillman Barracks, Singapore
Site: Gillman Barracks, Singapore
Space Asia Hub, Singapore Love Lane, Penang
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01 “COMMUNITY MUSEUM” A museum’s function is to preserve and showcase. However, often, museums focus on being artworks themselves instead of being a setting for engagement for the public and the artwork it holds. Especially for a community museum that is to be set in the heart of an old HDB estate, the site bounded by Beach Road, Crawford Street, and North Bridge Road, the museum should be a response to the texture of the existing habitial actions and routines of the residents. Colonising public space, especially around corners and columns is evident on site. This museum uses this behaviour as a mechanism that allows residents to actively preserve their daily rituals and showcase them to the public. Galleries are on two levels - the ground level being completely accessible to public and for residents to colonise, following the existing grid and the “corner”-like tectonic, while the upper level galleries and surrounding spillover activity spaces are for gallery goers, resident artist and staff to colonise for discussion and collaboration.
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Golden Mile FC
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“FIELD OF INFLUENCE”
Blk 1 - 6
TOWARDS CHOSEN SITE
Blk 7-9
13 MSCP
COLUMN CONFIGURATIONS (ALONG WALKWAY)
Column Configurations on site
NPP
SHOPS
Vehicular Intensity
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Mapping of columns with relation to informal activity
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Mapping of “corners” with relation to informal activity SITE PLAN
SITE ANALYSIS 7
GALLERY 1 ACTIVITY SPACE
PRIVATE COLLECTION
NPP
GALLERY 2
NPP
GATHERING CORNER GATHERING CORNER WORKSHOP ACTIVITY SPACE
ARTIST STUDIO
GROUND LEVEL
GROUND LEVEL | Scale 1:200
S-01
S - 01 1:200
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ARTIST RESIDENCE
UPPER LEVEL PLANS LEVEL 1 | Scale 1:200
S-02
S - 01 1:200
SECTIONS
STRUCTURAL SYSTEM OF GALLERY 9
“Gallery Spaces and Corners� Partial Model of Main Space
Column configurations adapted from site are distributed on ground level for public and residents to colonise. Upper level is for gallery goers, resident artist and staff to colonise for discussion and collaboration.
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02 11
02 “MUSIC CUBE� Totem Ancestor, is a prepared piano piece, composed separately by John Cage to complement a dance piece by Merce Cunningham. Through meticulous mapping of musical phenomena, this project strives to discover the structure in what is seemingly chaos, translating the 2D to 3D iterations, and finally considering these spaces as habitable for living through methodical analysis. The building site of this Cage - inspired piece is the bridge at Gillman Barracks for its 360 degree viewpoint twithin close proximity to an emerging arts hub for an patron art lover.
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PITCH VARIANCE
DYNAMIC
DISCOVERY B1
B2
R1
R2
G1 G1G1
G2 G2
DEGREE OF CONSONANCE/ DISSONANCE
MAPPING & DISCOVERY
DESIGN ITERATION FROM 2D TO 3D
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Specific patterns overlap systematically which translate to spaces of similar quality created by recognizable planar elements
Back
Right
Top
Left
Higher plane density indicates higher degree of privacy - to allocate functional spaces such as bedroom, kitchen, social space
Front
Section A-A’
Section B-B’
Section D-D’
Section E-E’
Section C-C’
Bottom
Section F-F’
ANALYSIS OF HABITABLE SPACES
FINAL TRANSLATION
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“Hidden Reminiscence� Like how John Cage creates a hidden reminiscence by using patterns in pitch variance masked under a layer of dynamic, reminiscence is created in space through visual patterns that are masked as architectural elements.
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“External Vignette� There is structure even in the most abstract forms; there is order even in what may seem like chaos.
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03 17
03 “ARTIST DWELLING” Wayang Kulit is an art form which originates from the island of Java. The “Dalang” is the pupeteer of a wayang kulit performance. He makes the performance come alive with his mastery at puppets, shadow, linguistics and philosophical insights. Volumes wrap at a height around the bridge to form public space below it - the stage, seating space and wayang screens. They contain the semi public and private spaces - workshops and dwelling, who becomes a puppet himself as people watch him to about his daily life. For people travelling across the bridge, the one point perspective through frames, compartmentalised views on the right and left, and immersive experience of wayang related activities can be experienced in this new venue option.
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9AM
6AM
Cars
Joggers
10AM
Light and Shadow studies
SITE PLAN
F&B Workers
Prefered User Pathways
Visual projection
Audio
Performance screen
The ultimate role of the puppeteer is to teach people about wayang kulit, through these three elements.
Grand immersive staircase
Enclosed spaces - private
Bridge Extension
Restrictions of the bridge: 2m wide, 1.5m high, 40m long
Total incidence of shadow (9AM+6PM+10PM)
Total preferred user pathways
SITE ANALYSIS
DESIGN ITERATIONS 19
Seating and Stage Level (1)
Dwelling Level (3)
Bridge Level (2)
Deck Level (4)
PLAN
EXPLODED ISOMETRIC 20
SECTIONAL PERSPECTIVE
“Projection” A machine that transforms during the day and night to cater for the dalang’s workshops and performances, giving an immersive, sequential experience of wayang kulit, while acting as a gateway that possesses a drawing factor into Gillman Barracks and its activities.
N I G H T | D AY
NIGHT | DAY 21
Interior Vignette One point perspective surrounded by wayang kulit elements.
External Vignette A visible beacon in the night.
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04 Space Asia Hub Hand drawn Documentation Isometric and Details
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04 Space Asia Hub Hand drawn Documentation Two point perspective
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04 Love Lane, Penang Hand drawn Documentation: Building Scale Elements & Features
The local chinese say that the richmen and sailors would meet their mistresses here, thus the name Love Lane. Love Lane boasts one of the narrowest five foot lanes in Penang.
A way to identify the historical style of Penang heritage shophouses include studying the distinct features of the windows, columns, and materials in the facade.
A corner view of Stewart Lane (left) and Love Lane (right). 26
04 Love Lane, Penang Hand drawn Documentation: Human Scale and Threshold Spaces
Storefront details
Five foot way perspective view 27
Thank you for your consideration.
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