Yurda Surya Bachelor of Science in Architecture 2016 University of Michigan yurdas@umich.edu Ann Arbor Singapore Indonesia
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> On the Edge Story of an Alien Tamara Promenade Casestudy: House T
> Multiplicity
> Aperture: Screens
> Dream Space 01; in the context of refugee camps
On the edge explores the relationship between a cube (case holder) and the object in the cube (artifact).
Volume, points and edges that define the shape of a cube are being experimented on to push the limits of the cube’s geometry. The relation of the cube and the object plays a critical role in redefining the case holder. The mechanical bond between the cube and the object redefine the cube to not only be a case holder but also an artifact itself.
< on the edge >
<
story of an
A l i e n >
Every painting has a story.
This, though, is my interpretive story of Ocean Park #140 by Richard Diebenkorn.
A mother spaceship has finally come for its lost alien! The alien had been wondering alone on the strange unfamiliar ocean for many light years. It had even found a favorite spot, where it could rest whenever it wanted to. At last, its comrades found their lost friend on Ocean 140. The alien can finally leave the island and venture to many other oceans with its companions in their delightful spaceship.
Ocean Park #140, Richard Diebenkorn
< t a m a r a >
From the Invisible Cities by Italo Calvino, Tamara is a city full of signboards, not so different from cities we know today. Calvino described that he was bombarded with â&#x20AC;&#x153;images (and words) of things that mean other thingsâ&#x20AC;? as he passed through Tamara. He continued to describe that outside Tamara there was no images and signboards but there was signs from nature such as footprints on the sand and stars above. And that there was calmness outside the city.
I attempt to spatially construct Tamara. I see Tamara as a city that is vertically oriented and narrow with signs protruding from the city.
< interperative drawings> The drawing on the left shows the relationship of Tamara with the stars or the sky. Tamara strive to reach for the sky as it built towers and skyscrapers. The towers was also acting as a sign and symbol for Tamara.
The drawing below shows the passage that one passed trough Tamara. It is narrow and crowded filled with many overlapping signs. And only after one left Tamara would the road be vast again.
< p r o m e n a d e >
This is a model making project that ask for a highly imaginative and conceptual approach. We are to engage with vertical ground. I decided to explore the concept of promenade; how one move through space, whether it be long or short, tight or wide spaces.
< lebbeus woods inspired drawing >
<
casestudy:
House T >
< multiplicity > Melissa Harris Winter 2015 Site: W Washington St, Ann Arbor Program: Multi-purpose Cafe Train Station Tuition Center Living Quarter The site is uniquely located on the edge of residential and commercial districts. Thus, multiple and radically different views are seen depending on who and where one is coming from. My project seeks to encompass contradicting elements created within the site into one design project. To harmonize this diversity, I used the techniques of mimicry and interlocking spaces.
FACADE STUDY MODELS
< studies > Sketch models on the left experimented with the idea of interlocking volumes. The image on the bottom right shows the most successful moment when two large volumes are interlocked by a third volume.
The sketches below are site analysis that I had done before design. In this project, the concepts of mimicking the surroundings and camouflaging are fundamental. Thus site analysis is the first step of my design process.
SITE ANALYSIS
< site plan > I aim to mimic SCALE: 1/64” = 1’- 0“ the surrounding areas. This SITE PLAN site plan shows existing context of the site and how the surrounding buildings look like. The two roads on the north and south sides are to be noted because the views from the two roads are the elemental design consideration for the concept of mimicry and camouflage.
< site model > The spaces are compartmentalize by program and design to interlock with one another. The four spaces are the living quarter, the cafe, the train station and the tuition center is the connecting piece of the spaces. Instead of breaking this spaces into specifically different buildings, I am interested in connecting them. One way for me to connect these spaces are by designing pathways from one space to another and by the continuity of the roof/sheltered area. Additionally, the building and programs are spread throughout the site to confuse it being one or multiple buildings.
This is the living quarter for live-in tutors. The houselike structures are designed to mimic the residential areas in the immediate surrounding.
This is the tuition center. And also the connecting element between the living quarter (residential) and the train station and cafe (commercial). This part is designed with a mix of indoor and outdoor spaces so as to create a more alluring space.
< interlocking elements >
This is the train station and cafe area. They have separate spaces with outdoor connection. The cafe is designed to be the front of the building.
< Roof > is an important element in the project. It is the uniting detail in the design. Shapes of roofs have connotation to them. Thus, I use them to my advantage in terms of mimicking the surroundings. I mimic gable roof for the living quarters and more unconventional roof shapes for the commercial areas.
< first floorplan >
< second floorplan >
< third floorplan >
< perspectives 01 >
< perspectives 02 >
< Aperture: screens >
Malcolm McCullough Fall 2015 Site: northern fringe of the University of Chicago, on the northwest corner of 55th St and Greenwood Ave Program: Retreat center Studio theme: Aperture In this project I aim to investigate and experiment with one specific aperture; screen. I am interested in the filtered views that screens create between the two sides. Screens give texture to facades of a building. The varying amount of screens use will also vary the amount of light, view and texture. I aspire to pair and contrast low and high volume of screens.
< sketch models >
< site plan > There are thresholds through the site. Two courtyards dictate this threshold. One is a public courtyard, where the circulation is most dense. The other is a private courtyard, where the meditation chambers are.
Differentiating out-site and in-site of the Retreat center is crucial in designing the facades of the building. This is to convey that while in the retreat center, the residents can and should be disconnected with the outside world so as to focus on oneself. The exterior facades of the building, facing the roads, are rigid and mute with minimal screens/ openings so as to discourage relationship to the outside world. On the contrary, the facades facing the courtyards are textural with generous amount of screen and encourage interactions within the site itself.
ROOF/CEILING CO LETS LIGHT IN AND ALLOW
SCREEN 5 CEILING CONDITION SCREEN LIGHT COMING THROUGH THE SKYLIGHT
S
BRISOLE TO LET SOUT
SCREE
SCREEN ON UPPER FLOOR VIEW TO THE DINNING UPPER FLOOR COURT
SCREE
SCREEN FACING THE COURT LAYERING OF SCR RANDOM BLOCKING OF VIEW AND L
SCREEN FACIN MINIMAL VIEW TO AND FROM THE LET LIGHTS IN FROM SCREENS ON THE HIGHER END
SCREEN 6
ONDITION/SKYLIGHT W FOR SOLID WALLS
< diagram : layers of screens >
SCREEN 4
TH LIGHT IN
EN 3
HALL TYARD
EN 2
TYARD REENS LIGHT
SCREEN 1
NG THE STREETS E STREET LEVEL OF THE FACADE
< elevation/section 01 >
< elevation/section 02 >
< inner courtyard > The inner courtyard is the highest order of space one could â&#x20AC;&#x153;retreatâ&#x20AC;?. It is the core of the retreat center. It is where the meditation chambers with their own garden are. The meditation chambers are minimalistic and mute with exceptional skylights and brisole.
< Thesis > For years, refugees around the world are left in the perpetual state of confusion with no home and job, deprived of the ability to participate in society. Though the radical temporary housings that the evacuees’ are given cater to their minimal physical needs, an equally important psychological and physical need to work on their future is neglected. This project tests the role of architecture in filling the gap of the refugees’ lives by providing space to project and realize their dreams. I propose a framework of space that these evacuees will take ownership of and nurture. The space seeks work, ambitions, effort and dreams from the refugees. The infrastructure is to evolve with time as the owners, individuals or groups, interact with it.
The project is an experimental structure for (such program/space) sited on the in-between spaces of makeshift shelters. The structure has a grid that is fluid and porous, allowing interactions and malleability by the inhabitants. The existing makeshift shelter camp fabricates the underlying grids that are then multiplied and manipulated. In this project, gridded structure acts as a scaffolding for the inhabitants to work on. The grids are also use to generate texture and light. The grids are to be manipulated and added on to by the owners with their own textures and works. As time passed, the structure is to manifest into an integral space in the evacuees’ lives. This project also speculate on the urban fabric of refugees camps as many refugee camps are built onto existing urban conditions in the recent years. 4.25.2016
< Dream Space 01; >
refuge for uncharted ambitions in the context of refugee camps
Dawn Gilpin Winter 2016 Semester theme: Refuge Studio prompt: Radical and Preposterous; mind the gap Site: makeshift shelter site in Kaisei, Ishinomaki, Miyagi Prefecture, Japan
<Earthquake Magnitude of 9.0 6Min long Shifted earth on its axis by 15cm (6in) More than 5,000 aftershocks hit japan in that year
Tsunami< Peak height of 40.5M (133ft)
Nuc Fuk Le
Nuclear trav 3Km-30km e Nuclear waste t
< CONTEXT > On March 11, 2011, Japan was struck by earthquake of magnitude 9.0. The earthquake was followed by a series of devastating tsunami and a nuclear meltdown in Fukushima. The catastrophe resulted in a total of 15 894 dead, 2 562 missing, 6 152 injured and many damaged property and infrastructure. Evacuees as many as 165 000 were placed in emergency centers and makeshift shelters. These makeshift shelters were built to last two years before the evacuees were to move to public housings. However, five years later, only about 65% of these evacuees have moved to public housings and about 10% still have no certain plans for their future. This project is built on the preposterous amount of time, refugees spent waiting for a “better” future. The project is sited on the in-between spaces of a makeshift shelter site in Kaisei, Ishinomaki, Miyagi Prefecture, Japan. Many such refugee camp sites around the world have situated themselves on the existing urban fabric. This project also speculates on the growth of “refugee urbanization” in the existing urban context while refugees grow as members of society.
clear Meltdown< kushima Daiichi evel 7 meltdown Tepco company 3 Workers died r contamination veled northwest evacuation zone to pacific ocean As of Feb 2016, Dead: 15 894 Missing: 2 562 Injured: 6 152 Damage property Dwellings: 400 Non-dwellings: 56 Roads: 4 Railways: Bridges:
243 613 198 29 116
Jpd 25trillion Usd 300billion Evacuation: 2011: 300 000 2016: 100 000 Temporary shelters built to last 2 years Public housings are supposedly provided Average length of stay in refugee camps around the world is 17 years As refugees wait... This project is built on the preposterous amount of time spent waiting.
SITE BEFORE SHELTER/EARLY 2011
NEWLY BUILT SHELTER/2011
SITE WITH SHELTER/AFTER 2011
POTTED PLANTS
BICYCLE
STORAGE OF THINGS
LAUNDRY
GRID OF SHELTER
SHELTER/2016
INTERVENTION: MULTIPLIED GRIDS
INTERVENTION: IN-BETWEEN SPACES OF 2 SCALES
< SITE ANALYSIS >
0
12.5m
0
1.25m
104ft
10.4ft
< CONCEPTUAL SITE PLAN / TOP VIEW >
Programs (senses & space) The infrastructure is to stimulate the five senses for nostalgic but new spaces. From stories/murmurs in the Internet, the lives of the people before the disaster are given a chance to be dreamt and realized again. Striving for some level of self-sustaining community, the program encompasses to a variety of production and skill set.
Bee Farms (Hearing, Taste)
Noodle Shop (Taste, Smell)
Exemplary space to bring in delectable traditional local cuisines. Former noodle store owner, Ebisu-An, will reopen her noodle store and serve delectable traditional ramen as she did in her perished hometown. The store performs as a starting point of upcoming food stores to open in the structures.
Striving for some level of selfsustaining community, bee farming is a great addition to nature and production of the dream structure. Former bee farmer, Takahisa Ogawa, will have a space to continue his bee farming that was once successful. He will share some of his produce and sell some in the market.
Observatory and Lookouts (Sight)
Garden
(Touch, Smell, Sight) From the disaster, a number of farmers from northeast of Japan have lost their farming lands. This space allow them to impart their knowledge and skills. They will be great asset to the community gardens. The garden will be a wondrous gathering space for anyone. Food and produce will be shared with the evacuee community.
Celestial space for the community to be elevated above ground, to look over the site, to get closer to the sky, to relax. A wonderful space to observe the stars at night.
Workshops (Touch, Hearing)
Space to cultivate hands-on skills. The evacueesâ&#x20AC;&#x2122; community have a wide range of skill set that they have from their former lives before the disaster. The space encourage teaching and learning as well as continual use of the skills that they already had so as not to forget them. A buzzing space of continual craft and production. The products will be share to the evacuee community and sold to anyone else. The space is also to built craft skills for the young and anyone who is interested.