Andrea's Portfolio (2024)

ANDREA ANGELICA

portfolio . 2024

Andrea is a budding designer who has always been keen about arts and design since her early years, finding joy in all things beautiful. Driven by concepts and the distillation of ideas, she has a fervent passion for crafting spaces rich in experiential and atmospheric qualities that aligns with their context. With a love for dynamic environments and collaboration, she excels in creating bespoke environments tailored to users’ needs, seamlessly marrying function and form.

21 . 02 . 04

CURRICULUM VITAE

ANDREA ANGELICA HARDJOSUDIRO

andreaangelh04@gmail.com +6588876400

Id SOFTWARES

Adobe Illustrator

Adobe Photoshop

Adobe Indesign

Autodesk AutoCAD

Education

LASALLE College of the Arts

BA(Hons) Interior Design 2021-2024

Royal Melbourne Institute of Technology Student exchange program 2023

Jubilee School Jakarta Cambridge IGCSE & Ijazah SMA 2019-2021

Autodesk 3DS Max

V-Ray

Sketchup

Enscape

Accomplishment

Feature Leaders Scholarship program from LASALLE College of the Arts AY2021/2022

Work Experience

Parenthesis Studio / Sujonohun

Intern - interior design and 3D modelling 2022

Decova Interior

Intern - interior design and 3D modelling 2022

Freelance cellist

This portfolio showcases a collection of my curated works in interior design, both academically and in my work experience, along with my design-related hobbies.

01 SENJA

FINAL YEAR PROJECT ⁄ 5 Kadayanallur Street, Singapore

/sen·ja/ (n) the time when the sun fades into the horizon.

In my hometown, people often use the term “usia senja,” meaning “sunset age.” The analogy highlights the vital role of our elders in society, much like a sunset, which many consider the most beautiful part of the day.

Senja reimagines a senior daycare centre as a place to appreciate every stage of life, and to cherish our elders for the values they have brought to society—as storytellers, guardians of traditions, and sources of wisdom.

AGEING IN SINGAPORE

BY 2030, IT IS ESTIMATED THAT 1 IN 4 SINGAPOREANS WILL BE AGED 65 AND ABOVE.

AGEING IN PLACE

TO CARRY ON LIVING IN ONE’S HOUSE AND ENVIRONMENT FOR AS LONG AS POSSIBLE.

MEET FRIEND/ CHILDREN FOR MEAL

EVERYWHERE ALSO CAN BE HOME

83,OOO

ELDERLY WILL BE LIVING ALONE OR WITH THEIR ELDERLY SPOUSES BY 2030. THE ROLE OF CENTRE-BASED ELDER FACILITIES BECOME CRUCIAL.

To reintegrate the elderly to the wider society

>5,000 OLDER SINGAPOREANS SAID:

THE SITE

18-20m

Bringing the outside in and the inside out

ELDERLY PROGRAMMES INTRODUCED

THE OUTSIDE IS BROUGHT IN AS THE IN-BETWEEN SPACES. PHYSICALLY REMAIN AS A SINGLE SOLID STRUCTURE.

APPLY TO THE DETAILS

ORIGINAL STRUCTURE

THE INSIDE IS INSIDE. THE OUTSIDE IS OUTSIDE.

AS SEATINGS. AS OPENINGS TO LOOK OUTSIDE WHEN I AM EATING.

AS OPENIINGS. THE INSIDE CAN LOOK OUTSIDE, THE OUTSIDE CAN LOOK INSIDE

PULLING OUT OF THE STRUCTURE

PHYSICALLY BROUGHT CLOSER TO THE CROWD (FOOD CENTRE). INTRODUCING POROSITY TO THE STRUCTURE.

PUSHING OF WALLS. OPENINGS WHERE PEOPLE CAN FREELY WALK THROUGH.

AS BENCHES. CREATES SPACES WHERE GREENERY CAN BE BROUGHT INSIDE.

02 LIBRARY OF CRAFTS

SEMESTER 3 ⁄ 150 Tyrwhitt Road, Singapore

What if peranakan tiles are a verb and not a noun?

The popularity of Peranakan tiles has grown in recent years, although its production had stopped since the 1930s. I have chosen this craft with the intention to revive the the art of Peranakan tiles, corresponding to the site philosophy “Chye Seng Huat” which translates to to fluorish again.

The design is based on a design question that bends the fact surrounding Peranakan tiles: “What if Peranakan tiles are a verb and not a noun?”

Verbs are commonly perceived as movements. However, I demonstrated the importance of fixed/ static points to show these movements through a set of abstract models where in the absence of these fixed points, the model fails to move the way it is supposed to.

Fixed points are now explored as spaces. On the first floor, the courtyard acts as the fixed space, with different functional spaces of the workshop surrounding it. Here, the main role of the fixed point ventilation as ceramic making requires constant exchange of air.

On the second floor, the fixed space is combined between a green deck and void. Aside from ventilation, this void allows visual connection between the public spaces and the craftmen’s space.

On the third floor, the fixed point is simply a continuation of the void. However, private spaces such as the office is located on this level and therefore, the visual connection is one-way into the void.

L1

FIGURES 3.2. MODEL PHOTOS OF THE LIBRARY OF CRAFTS.

FIGURE 3.1. EXPLODED ISOMETRIC VIEW OF THE LIBRARY OF CRAFTS.

03 ADAPTING STRUCTURES

SEMESTER 2 ⁄ Marina East Under The Bridge, Singapore

Located under the Benjamin Sheares Bridge, the site is a popular rest stop for cyclists, ranging from kids to professional/hobby cyclists. Inspired by a beaver’s lodge , this pit-stop emulates the movement of beavers throughout their dwellings, where water acts as an intersection between the interior and the exterior. Exploring this idea has benefited me in designing the circulation within the site, in which I aimed to alter the traffic of the main user groups–the kid cyclists and hobby cyclists.

SECTION A-A

FIGURE 2.1. DERIVATION OF A BEAVER’S LODGE.

FIGURE 2.2. THE CIRCULATION, INSPIRED BY THE MOVEMENT OF A BEAVER IN AND OUT OF ITS DWELLING.

BICYCLE CAFE SEATING

BICYCLE SHOP

BICYCLE REPAIR AREA CAFE BREWING

BRIEFING/ SEATING AREA

PLAYGROUND

TOILET/ LOCKER AREA

KIDS CYCLING AREA KINDER TOILET

VENDING MACHINES

04 TEXT IN SPACE

SEMESTER 1 ⁄ SHIFT–OVERLAP

Text in Space explores two different verbs, in my case, “shift ” and “overlap”. On my first ever project in this course, I attempted to embody these verbs through a series of drawings both on shift and overlap. These two drawings then combine into one, which will then be reimagined as a physical model. The multiple layers on this model overlap each other, with force going through it creating a shift throughout the forms.

FIGURE 3.1A. OVERLAP.

FIGURE 3.2. SHIFT AND OVERLAP.

FIGURE 3.1A. SHIFT.

FIGURE 3.3. MODEL ON SHIFT AND OVERLAP.

05 THE FURNITURE COLLECTION

SEMESTER 2 ⁄ Digital Studies: 3DS Max V-ray

The furniture set (read as “Wave”) is a curation of pieces by renowned brands Magis, BD Barcelona Design and &Tradition. With similar tubular parts and semi-circular curves, the set is both playful and high-end.

Using 3DS Max V-ray, this assignment allowed me to practice on 3D modelling and rendering to create magazine-like images of the individual furniture pieces, as well as the set.

Chair: “Sam Son” low armchair (Magis) Table: “Explorer” side table (BD Barcelona Design) Lamp: “Flowerpot VP9” table lamp (&Tradition)

SEMESTER 4 ⁄ Queen Victoria Gardens, Melbourne, Australia

In the past, the lands surrounding the Yarra River was a source of life for the Aboriginal people. With its dramatic bends, the river would periodically flood and replenish the surrounding lands. During the colonisation, the river was realigned by setting earth onto the affected lands to control its flooding and thus the area of the site shifted its landscape from wetlands to botanic gardens. Holding onto its sentimental values, realignment is reintroduced into the site, changing the human flow. Dramatic bends and play in depth is brought back into the walk paths, changing of pace of the pedestrians; this slowing down may be an opportunity for people to gather–the sediment of people–where new meetings occur, re-meetings, a site for events, etc.

FIGURES 5.1A. THE OLD AND NEW COURSE OF THE YARRA RIVER, AND AREAS AFFECTED BY THE PERIODICAL FLOOD.

5.1B. REALIGNMENT APPLIED AT THE SITE, WITH THE AFFECTED ZONES.

5.1C. CHANGE OF HUMAN FLOW. POTENTIALLY, THE SEDIMENTATION OF PEOPLE.

SEDIMENT OF PEOPLE

Where does the earth go?

WOODEN OR METAL FORMWORK

PRESSURE TO COMPACT ACT (USING PENUMATIC TAMPER).

SECOND LAYER OF EARTH ADDED INTO FORMWORK.

PROCESS REPEATED UNTIL DESIRED HEIGHT ACHIEVED.

FORMWORK REMOVED AND RAMMED EARTH FORMS.

Key terms movement force realign sediment sentiment aperture frame expansion interaction isolation light play

Programmes

• art workshops

• cultural performances and activities

• community yoga/exercise

• educational talks

• etc.

FIGURES

FIGURES

FILLED WITH EARTH.

FIGURE 5.2A. PROCESS OF RAMMING EARTH

FIGURE 5.2B. DIAGRAMATICAL PORTION OF EARTH REMOVED FROM THE SITE.

FIGURE 5.3. LIGHT AT DIFFERENT TIMES OF THE DAY.

07 TREASURE AT TAMPINES

INTERNSHIP (2023) ⁄ Design + 3D Modelling (SketchUp)

Bedroom for two young adult daughters

FOR ROOM NO. 1

FIGURES 6.2. MUSICAL INSTRUMENTS STORAGE

FIGURE 6.1. IMAGE OF BEDROOM NO.1.

FIGURES 6.4. STAIR/BEDFRAME OPTIONS FOR ROOM NO. 2.

FIGURE 6.3. RENDERED IMAGE OF BEDROOM NO. 2.

08 GREENPANEL OFFICE DUBAI

INTERNSHIP (2023) ⁄ Design + 3D Modelling (SketchUp)

Office concept

FIGURE

FIGURES 7.4. VIEW UPON ENTERING THE OFFICE.

FIGURE 7.3. 3D MODEL IMAGE OF THE DIRECTOR’S ROOM + DESK AND SHELF DESIGN.

FIGURE 7.2 3D MODEL IMAGE OF DIRECTOR’S ROOM LOUNGE AREA + SHELF DESIGN.

09 G&L SURGICAL CLINIC

INTERNSHIP (2023) ⁄ Design + 3D Modelling (SketchUp)

Clinic conept

FIGURE

FIGURE 7.3. 3D MODEL IMAGE OF THE DIRECTOR’S ROOM + DESK AND SHELF DESIGN.

10 BANDUNG, WEST JAVA

INTERNSHIP (2022) ⁄ Design + 3D Modelling (SketchUp)

Children’s playroom - children’s bathrooms - powder room

11 VISUAL DESIGN

Speak4Teens - High school yearbook - Focal Points - (dis)Order

2021 . I am a COVID batch graduate, so there was not much high school memories that my friends and I shared as our time at school was cut short. I wanted to make this yearbook memorable, to involve my friends in the making of this memorabilia. This was my first experience with InDesign, Photoshop and Illustrator, and yes, it was not a perfect yearbook. However, I have learnt so much through the process and I am grateful to say that the making of this yearbook had connected people through tough times.

Focal

Points - RMIT, Communication Systems. During my semester in RMIT, I had a great deal of assignments that focuses on the communication between the designer and the viewer–which might also be myself. While this publication has multiple works contained inside, I realised that throughout the weeks, I had put myself in the centre of this body of work, creating focal points that are based on my point of view and most importantly, my personal preferences.

dis(Order) - RMIT, Communication Systems. Only in order that disorder exists. This second publication focuses on transcribing existing artworks. The last part of this publication is the transcription of John Brack’s painting “Collin’s St, 5 p.m,” in which I was drawn to the grid system the painting follows like the layout of the city of Melbourne, also resembling the orderly manner of people working 9-5 and thus the theme of this publication is dis(Order), where some parts are very orderly, while others are the opposite.

11 VISUAL DESIGN

Speak4Teens - High school yearbook - Focal Points - (dis)Order

12 PHOTOGRAPH

travels - I have really liked taking photos since I was really young. I remember I used my dad’s Canon G11 as a kid and I was the one carrying it around along trips. Still in search of that old trusty camera but these photos are taken on Fujifilm XT-1. I think I have a new passion in currating too, so here are some currated photos of my holiday trips. Mostly taken in Bali.

Further Hotel - WYAH Art & Creative Space - Titik Dua - Nusa Dua Beach - Chamonix, France