ANNISA P. CINDERAKASIH_WORK OF 2019-2022

PORT FOLIO SELECTED PROJECTS WORK OF 2019 - 2022

ANNISA P.CINDERAKASIH

Contents

THE PHYSICAL MACHINE OF THERMAL COMFORT SIMULATIONS Research and prototyping, 2019

A MODULAR INTERLOCKING ELEMENT FOR MATERIAL-EFFICIENT STEREOTOMY CONSTRUCTION Research and prototyping, Published at Nexus Network Journal on September 17, 2021 TENSEGRITY LOCOMOTION Research and prototyping. 2022

NGAYOGJAZZ FrogHouse Community Space. 2017-2020

ICD PAVILLION for DUBAI EXPO 2020 Skilled worker for bamboo weaving construction team of the collaboration between PT Bamboo Pure, IBUKU BALI, and FrogHouse Community Space. 2021, UEA WOUNDS AND VENOM I CARRY AS I RUN Exhibition Design for Timoteus Anggawan Kusno’s solo exhibition at REVOLUSI!, RIJKSMUSEUM February 11 - June 5, 2022, Amsterdam, Holand GHOST LIGHT Exhibition Design for Timoteus Anggawan Kusno’s solo exhibition at CEMETI INSTITURE FOR THE ART AND SOCIETY June 16 -July 24, 2021, Yogyakarta, Indonesia SHADE OF THE UNSEEN Exhibition Design for Timoteus Anggawan Kusno’s Artwork for GWANGJU BIENNALE 2020 April 1 - May 9, 2021, Gwangju, South Korea

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2020 - 2021

Shade of the Unseen Shades of the Unseen is an installation artwork commissioned by 13th Gwangju Biennale 2021: Minds Rising Spirits Tuning. The artwork is developed from my artistic research on how the supernatural world has become a space for abstraction. This world of the unseen is a space to encounter and remember things that were refused by the ruling regime and “history”, a cosmic space where the supernatural resides. This very universe has been an arbitrary nature for any buried things: forgotten names, forbidden memories, collective wounds. In this dark yet forlorn space, the traumatic memories expelled by the authority remain, co-exists with ghosts, haunting and sneaking out the present time. The memories are covert beneath the sacred belief, along with the ancestor’s spirits. To encounter the unseen, people usually chant mantras and prayer while lighting up lanterns or illumination. (From the artist statement ; T.A. Kusno) Commission artwork by Timoteus Anggawan Kusno for 13th Gwangju Biennale 2020,Minds Rising, Spirits Tuning Curator : Joowoon Park April 1 - May 9, 2021 Location : Gwangju Biennale Exhibition Hall, Galery 4. Gwangju, South Korea Project year : 2020 - 2021

The Shade of the Unseen is my first professional work on spatial and exhibition design projects. In January 2020, Timotheus Anggaran Kusno, an emerging visual-based artist from Yogyakarta, Indonesia, approached me to collaborate on his upcoming project. I accepted his offer because I intended to enhance my skills in spatial design. It was before the pandemic’s effects on our daily lives became apparent. However, the pandemic indeed threw our lives, as well as the art scene’s and artists’, into pandemonium. We had only begun this project when

EXHIBITION DESIGN PROJECT

Detail of The Shade of the Unseen in the Gwangju Biennale 2020 Photograph by Mie Cornoedus

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The dying sculptures

Raven sculptures

Lanterns design

Installation components on the randomised point on grid

Basic randomised point on grid

the Gwangju Biennale officer contacted him and advised him that the event may be pending until an uncertain time. However, to cope with the pandemic, we chose to keep working on this project. Thus, I believe that this installation accurately reflects the emotions of everyone who participated in the creation of this artwork. Everyone kept their hope alive by working on this project.

It was, undoubtedly, the most comprehensive design and production process in terms of creating a spatial experience. I was allowed to suggest alternatives based on how I perceived the artist’s original sketch into the installation design. I introduced him to a parametric design approach that may be suitable for this project and his other projects. By placing every component in the installation into a randomised point on the grid, I attempted to bring this concept and idea to life. Later, the based grid became the installation’s hanging structure. We could create an infinite number of installation options using Rhinoceros 3D and Grasshopper.

Later, the chosen composition had to be reformulated to fit the chosen installation objects component.

Installation image of The Shade of the Unseen in the Gwangju Biennale 2020 Photograph by Mie Cornoedus

After further discussion, the artist wanted to create a lantern design that may be folded and unfolded. The design had to facilitate packaging and shipment from Indonesia to South Korea, as well as installation. Given this brief, I created several lanterns designed using the origami technique. Furthermore, after his brainstorming, the artist included more disruptive figures, such as a swarm of ravens.

Some say the raven was born of the primordial darkness; others believe it was brought to light. The bird soared between the lanterns that were glimmering in the darkness.

Some ravens were gathered around the dying tiger sculpture, with a white fabric blanket draped over it.

In my opinion and interpretation, the dim lantern represents our hope, which we, everyone involved in this project, placed into it. The pandemic came alarmingly close to destroying our way of life and earning potential.

The artist felt that working with other artisans and crew members, would help us all manage and recover during this moment. Therefore, the raven, which flies in and out of the darkness or nothingness beyond our senses and grasp, may be seen as something we must keep an eye on and overcome.

We also needed to remember that, despite the misery and desperation of the unknown scenario portrayed by the dying tiger on the white blanket, we still had faith and hope for the day after tomorrow.

Original idea - render image

2021

Ghostlight The solo exhibition of Timoteus Anggawan Kusno (Angga), Ghost Light, presents a number of works, including video, sculptures, and other objects that are made and assembled in the form of installations in a dark room (black box) with a layout that builds a dramaturgical atmosphere as well as a filmic perception. Some works remind us of the character of the spaces of today’s life, others spark imaginations related to myths, as well as things that seem foreign, but tickle us with alluring poetic expressions. After all, the representation of objects in the video and real objects outside of it reflects and communicates to each other, implying an imaginary relationship that pervades the internal environment of the exhibition we are going to surround.

(From the curatorial ; T.A. Kusno)

A Solo Exhibition by Timoteus Anggawan Kusno Curator : Manshur Zikri June 16 - July 24, 2021 Location : Cemeti - Institute for the Art and Society, Yogyakarta,Indonesia Project year : 2021

Timotheus Anggawan Kusno received an invitation from the Cemeti Institute of Art and Society to exhibit his current artwork at the Gwangju Biennale. He viewed it as an opportunity to re-enter the Yogyakarta art scene after the pandemic, which was starting to make way for the new normal.

However, he was willing to not only reinstall his work for this solo show but also to elevate it and offer a fresh context for the situation and conditions in Yogyakarta. Later, he borrowed the concept of “the ghost light” in the performance set

EXHIBITION DESIGN PROJECT Picture of a visitor during the opening night.

Installation of the Ghostlight at Cemeti Institute for the Art and Society Photograph by Muhammad Dzulqornain dan Ridho Afwan Rahman

as the main idea for this show.

A ghost light, a single bulb, is usually placed in the centre of the stage when a theatre is dark or there is no performance. Practically, the light ensures that no one is injured during the stage’s setup or while there is no play.

Aside from that, the presence of ghost light on the stage is associated with a plethora of beliefs relating to the otherworld. Regardless, I agree that the idea of what we could perceive and experience by gazing into the faint ghost light on the stage in a dark theatre is incredibly compelling.

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Axonometri installation drawing

Installation components

During the pandemic, the theatre and Broadway were closed. There were no performances on the stage. Many of them also place the ghost light in the centre of the stage. It became a new tradition and a way of indicating the theatre would reopen. The Ghostlight kept burning up hope that we would be able to return to our regular lives as performers or spectators. This concept of Ghostlight, I believe, truly fits into the new reality of this art scene, which had to conform to pandemic reality. This exhibition was one of several held by the Cemeti Institute of Art and Society during the pandemic as a way of getting us back to our routine as creative workers.

The eventual aim of this installation was to reinstall the artwork components borrowed from the Shade of the Unseen but in a new manner. So, based on the artist’s idea and direction, I suggested a more complicated scenario for the installation by envisioning it in the gallery area we utilized for the exhibition. The artist also produced other artworks for this exhibition, such as a platform statue made of metal, the ghost light itself, and video work, to elevate this installation. His whole body of work attempts to reveal the nature of this exhibition.

The exhibition was open to the public after 5 pm. The scene was constructed to give the impression of entering an unknown place at twilight. In Javanese folklore, twilight is not only a transitional period between day and night, but it is also frequently connected with the entrance of the unknown realm. In those, the visitor would come across the Ghostlight, which served as a lighthouse and blinks every second, creating an unpleasant visual effect. Going deeper and deeper into the gallery, the ravens carried lanterns to the visually intricate nest structure. And on the backside of the gallery, a virtual stage was shown.

Installation of the Ghostlight at Cemeti Institute for the Art and Society Photograph by Muhammad Dzulqornain dan Ridho Afwan Rahman

2020 - 2022

Wounds & Venom I Carry as I’m Running This work is about experiencing the long unheard voices and years of anti-colonial resistance leading to the Indonesian revolution.

It abstracts the leftover of the long colonial experience and ask how it resonates with our reality today; to what we took for granted, to what has been taken and forgotten? The title of this work is borrowed from a line from Chairil Anwar’s poem, entitled Semangat or sprit. The spirit of this poem is in line with the spirit of Revolusi: of being free from colonial repression. I worked and collaborated with many amazing people inside and outside the studio in making this installation.

(From the artist statement ; T.A. Kusno)

A Solo Exhibition by Timoteus Anggawan Kusno REVOLUSI! RIJKSMUSEUM 2022 Curator : Harm Stevens,Amir Sidharta, Bonnie Triyana, Marion Anker Feb 11 - June 5, 2022 Location : Philips Wing, Rijks Museum, Amsterdam,Holand Project year : 2019 - 2022

It was the longest exhibition design project that I did with Timotheus Anggawan Kusno. He asked me to join this project in 2020, shortly before the pandemic hit, when we had just begun the Shade of the Unseen project. The artist has been fascinated by the intersection of anthropology, history, and narrative fiction. He used research methodology in many of his previous projects, turning known history into an artefact and attempting to re-narrate it as a pseudohistory. So does what he did in this exhibition.

EXHIBITION DESIGN PROJECT

Final proposed render image

exhibition

design

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He was granted permission to use the Rijksmuseum collections for his exhibition after his research and residency project at the Rijk Academy a few years ago.

The collection included: 1) war prizes, such as war flags from Indonesian national independence fighters who fought colonial armies, 2) colonial Dutch-East Indies governorgeneral paintings that were removed from the presidential palace and returned after the end of the Dutch colonial occupation in Indonesia; and 3) cannon from the Dutch colonial army during the war. This show is part of the larger Revolusi! the exhibition, which aims to provide multiple perspectives on important moments in world history.

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Installation components

Installation image of The Wound and Venom I Carry as I’m Running in the Phillip Wings at Rijksmuseum Photograph by Timotheus Anggawan Kusno

Installation image of The Wound and Venom I Carry as I’m Running in the Phillip Wings at Rijksmuseum Photograph by Timotheus Anggawan Kusno

Detail of the installation Photograph by Timotheus Anggawan Kusno

In this exhibition, the artist attempts to question the existence of the Dutch colonial’s prize of war. What is the relationship between those items in the current context of the modern-day?

Using ‘the dismantling of the monument’ terms, he wants to deconstruct the glorious idea of the price of war and portray it as if it were indifferent nature. In this exhibition design that I worked on, we still wanted to convey the glorious side of the war flags that had been seized and shredded by their rightful owner. And letting the visitors envision how powerful these flags were throughout the centuries-old wars. The paintings are unframed. Only the empty frames are on display.

It dispersed above the podium, along with the tiger sculpture that symbolizes the end of power. Borrowed the raven sculpture from the Shade of the Unseen, the bird depicts loss and the foreboding of what we endured during the war. Seven-headed trumpets with crimson wings soar in the centre of the room, chanting a melody. The soundscape that the artist produced has united all of the installation components into one whole-strong exhibition experience. This soundscape derives from the written mantras or spells that were discovered written in the flags.

It is sung in such a hypnotic manner. As if we can almost hear the sound of the fighters during the wars.

2021

ICD PAVILLION

Dubai Expo 2020 The Expo Dubai ICD experience is a spatial narration of the corporation’s story, told through a physical space effortlessly integrating natural elements with the clever technology. On the outside, the ICD pavilion is a bamboo structure radiating light and movement, enticing visitors to enter through a curious audiovisual waterfall aperture screening the ICD corporate identity. Past the waterfall, visitors are engulfed by tall hedges and guided through the pavilion by whirling stems and stalks and winding grassy slopes.

(From the statement of Investment Corporation of Dubai Pavillion in their official website)

Bamboo Weaving Work Sub Contractor : IBUKU BALI, PT BAMBOO PURE, & FROGHOUSE BAMBOO Main Contractor : ALEC FITOUT Designer : ICARIA ATELIER Client : Investment Corporation of Dubai October 1, 2021 - March 31, 2022 Location : Al Forsan Crescent, Dubai Expo 2020 Complex, Dubai, UEA Project year : 2021

The brief was clear when FrogHouse Bamboo approached me in early March 2021 to join this project: we were going to work on the bamboo weaving for the surface of the ICD Pavilion at Dubai Expo 2020.

This project was similarly to what we did previously at Ngayogjazz bamboo atmosphere (Yogyakarta, Indonesia) or the bamboo pavilion for yoga class at Padma Hotel in Ubud (Bali, Indonesia). It was, however, our first significant project in which we worked with other subcontractors. We needed to develop a concept and structural

SPATIAL DESIGN PROJECT

model, making this bamboo weaving surface a reality in Dubai, where no one, including the designer team, had ever worked with bamboo.

The pavilion design was made by Icaria Atelier (Spain). It came from clay model transformation and had organic flowing shape to trap the wind movement within the site. The pavilion’s sculptural shapes were given required to be transformed into structural principles so the sub-contractor in Dubai could create the supporting framework.

The bamboo weaving would be done later by FrogHouse Bamboo and their team. So I’ve been given the responsibility of being in charge of this project to produce conceptual drawings for the supporting structure under the supervision of the Project Architects, Maria Yohana Rahardjo of FrogHouse Bamboo and Defit Wijaya of PT. IBUKU Bali.

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Basically, bamboo weaving can be accomplished by placing a rectangular mesh on the surface of the sculptural shapes. The mesh structure is supported by the frame structure due to the thickness of the bamboo weaving surface and the cantilever of each pavilion module.

So it was theoretically comparable to waffle structure logic. At specific distances, the frame structure will support a mesh surface structure, which will also be supported by the main structure.

I conceptualized and developed this concept using Rhinoceros 3D and Grasshopper. This conceptual structure design was later used as a guidance by the structural engineer while calculating and fabricating the supporting structure for the bamboo weaving surface. However, because of the organic design of the pavilion shapes, the ridgeline portions of the supporting structure cannot be manufactured in the factory and must be completed on-site.

Conceptual structure

3D Model

Landscaping process

PT Bamboo Pure, Bali, supplied the bamboo material. It was manufactured, processed, and shipped from Bali, Indonesia, in two large containers holding around 10,000 bamboo slats. FrogHouse Bamboo and its crew traveled to Dubai to work on this project from July to August 2020. I was able to assist the weaving team in working on the ridgeline structure with the cooperation of PT Bamboo Pure’s Project Manager, Gede Surabande. It was a real challenge to match the form exactly as it appeared in the 3D models. Unfortunately, we had to depend on our 3D perception and artistic sense to complete the form. During this period, I also joined other bamboo artists in weaving the bamboo surface.

Majelis - area of gathering

Construction process

2017 - 2021

NGAYOGJAZZ

Bamboo Atmosphere FrogHouse Community Space a community that runs a homestay, workshop, art and music events in Yogyakarta. It is a space that caters cross-cultural exchange and discussion. They also collaborate with other community to run festival and events. For over years, FrogHouse Community Space consistently has proposed the artistic design and architectural ambience for Ngayogjazz, an annual Jazz and Music Festival in Yogyakarta that works with rural local community.

Bamboo installation project for the annual music festival, Ngayogjazz in Yogyakarta Bamboo weaving team : FROGHOUSE BAMBOO Annualy, in the 3rd weekend of November Location : Yogyakarta, Indonesia Project year : 2017 - 2021

I became one of the younger members of FrogHouse Community Space since 2016.

In this community, I practice hands-onarchitecture, explore the practice of craftsmanship, especially using bamboo material, and participate in collective work. For me, FrogHouse Community Space is a laboratorium and living workshop.

In this collective platform, I expand my understanding to the site practice and set design,

SPATIAL DESIGN PROJECT

The pandemic 2020 has been effecting the majority of art and cultural events in Yogyakarta.

This condition made the Jazz Festival which annualy moving from villageto-village goes online. However, this situation didn’t let spirit down.

After waiting a more stable new normal condition, in 2021, the festival went offline. The number of the stage was added. This year, the FrogHouse constructed the festivity of this event,and especially, the 2 main stages of the music performance.

Ngayogjazz 2021

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Ngayogjazz 2020

Ngayogjazz 2019

Ngayogjazz 2018

2022

Soft Structure : Tensegrity Locomotion

Individual Research and Prototyping Project Supported by Dorxlab & Laboratorium of Architecture Simulation, Department of Architecture and Planning, Faculty of Engineering, Universitas Gadjah Mada Project year : 2022 - ongoing

After working on the Physical Machine of Thermal Simulation project and my tensegrity installation project, Wonder Wander, for the Parallel Exhibition of FKY 2019, Yogyakarta, Indonesia, I came up with the idea for this project. The idea of mapping movement and space volume into flexible surface geometry that can later be experienced as architecture is the starting point of this research-based project. We enjoy watching the dancers’ movements on stage during a performance. But what about changes in space or architecture as a result

RESEARCH & PROTOTYPING

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of the movements? We don’t often get to experience it. Consider what would happen if the dancers were draped in fabric and allowed to continue dancing and moving as they pleased.

The tensile and compressive performance of the tensegrity structure itself allows it to function. The fabric can act as a tensile component in this case. While the tensegrity rod can act as a skeleton, the first thing to understand in this study is the relationship between each rod and the length of the tensile component rope.

The structure’s tension can adjust its equilibrium. According to this concept, the tensegrity structure can accustom its shape and stability by adjusting the length of the rope. We can see the changes in contour and geometry caused by this movement in the tensegrity structure covered by a flexible fabric.

Wonder, Wander Tensegrity Bamboo’s Installation for Wirama, a Parallel Exhibition of FKY 2019.

July 7 - 16, 2019. CHTH Building of Museum Sonobudoyo, Yogyakarta, Indonesia

Exploration of the Tensegrity consfiguration based on the structural geometries of Indonesia traditional architecture ‘s roof structure

Exploration of the Tensegrity consfiguration for Wonder, Wander installatoion

Reinstalling Wonder, Wander Tensegrity Bamboo’s Installation at the East Hall of the Department of Architecture, Faculty of Engineering, Universitas Gadjah Mada, Yogyakarta, Indonesia

My early interest in the exploration of tensegrity structure began in college when I developed a concern about how architecture sees structural elements as a visual aesthetic of the design, working more on mathematically calculated geometry and repetitive structural forms as a starting point for my design approach. The structure has given me another perspective on how minimal and effective the structure can be by manipulating the structural components and materials. My first exploration began by transforming a simple folding surface into a tensegrity system.

Dorxlab provided me with the opportunity to explore my interests using computational design and parametric design approaches.

I practised making simple tensegrity structures out of locally found materials with the help of FrogHouse Community Space. From the Wonder Wander project, I want to deconstruct the heaving-looking traditional structural expression into a weightless-like structure, which is movable and can be a adjusted on site. In the process of making this installation, I questioned the broader art practices, techniques and methodologies of placing new works in a gallery which are simply hung, displayed, or simply placed, and what if the work is moved and uprooted from the installation context of its existence in the gallery.

2020 - 2021

A Modular Interlocking Element for Material‑ Efficient Stereotomy Construction In the last decade, research interest in digital stereotomy has been renewed, with efficiency as a popular objective. However, along with a mainstream focus on full customization, comes a paradox of efficiency design yet inefficient fabrication. By utilizing a parametric design approach and rapid additive prototyping method, sequential experiments were executed to test seventy variations of units. Material efficiency was achieved through total elimination of shims and up to 91% reduction in falsework, and material use-value maximization through an easy assembly and selection of up to six different constructional strategies to build arches with similar shape and volume.

Research and Prototyping Project done by Dorxlab & Laboratorium of Architecture Simulation, Department of Architecture and Planning, Faculty of Engineering, Universitas Gadjah Mada Lead researcher : Nabila Afif Team : Nur Zahrotunnisaa Zagi, Annisa P. Cinderakasih, Agus Hariyadi Project year : 2020 - 2021 Publication : A journal of ‘A Modular Interlocking Element for Material Efficient Stereotomy Construction’, Nexus Network Journal on September 17, 2021 https://doi.org/10.1007/s00004-021-00577-6

Nabila Afif, a young lecturer and research collaborator in the Dorxlab, has received research funding from Universitas Gadjah Mada. She collaborated with the Laboratory of Architecture Simulation, where I worked as a laboratory assistant, with two of her colleagues from the Department of Architecture. The goal of this study is to investigate stereotomic construction by utilizing a 3D parametric design and prototyping method to optimize modular geometry and interlocking units.

Seven sub-type variations with a diferent joint location relative to the element width

RESEARCH & PROTOTYPING

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Five type variations with diferent joint depth to width ratio in use

As a base to construct the basic element form, joint form, and joint location, a comparative literature study was done on fve precedents of contemporary architectural works that utilized interlocking joint as one of their key concepts. The works include (1) Armadillo Vault by Block Research Group from ETH Zurich; (2) Quarra Crain by Quarra Stone and Matter Design Studio; (3) Landesgartenschau Exhibition Hall by ICD, ITKE, and the Institute of Engineering Geodesy from the University of Stuttgart; (4) Diamond Strata; and (5) Blockhut by Gilles Retsin Architecture.

Following the analysis, the registration groove element joint was selected as an interlocking model with the most optimal balance of the structural, constructional, and design qualities.

This type of joinary units was further developed, focusing on the joint design to optimize the overall performance of the modular element, with the ease of the fabrication process, and the limitation of the fabrication tool as considerations. At this initial stage, we have 70 constitutional combination units, with five type variations with diferent joint depth to width ratio in use and seven sub-type variations with a diferent joint location relative to the element width.

Variations of the constituent elements of a unit

male - female units

female - male units

female - female units

male - male units

The gradual elimination aims to narrow down the options to the most optimum unit form to serve the research purpose, which is to develop material-efcient stereotomic construction made out of modular elements. In the first simulation stage, the test was set to obtain quantitative data about the maximum acceptable tilt angle for each unit in a self-supporting condition, and qualitative data about the form stability of the construction (gravitation and torque resistance).

The second simulation stage, each selected modular unit is duplicated and assembled in the form of a self-supporting archlike curve with a limit of eight units per-confguration to provide an initial assessment of the construction’s overall structural performance and space-forming ability. To help deal with the test location’s potentially uneven surface, the lower part of the testbed is used as the assumed ground surface. The curve is formed by stacking one element on top of the other and applying a pull in the direction of the y-axis. To do this, a modifed version of the weight-pulling system of ropes and counterweights is applied. Based on the simulation data, it was found that three out of twenty-eight units did not satisfy the minimum constructional performance expected from this simulation.

Sample of sequential decrease of inner degree measurement for unit 4c—A

In general, an arch construction will be started with sequential addition of wedged-shaped units from two starting points to form symmetrical construction. This is to prevent asymmetry of unit weight and shape at the crown or top part of the construction, which could lead to con-structional failure.

However, from previous stage of study, two unique structural behaviors have been examined from the modular units.

1a) 29/70 units have the capability to maintain form stability when tilted more than 90° which indicates the potential of the units to resist tension force. 1b) 25 of them that have the potential to be used as springer, voussoir, and keystone.

2) couples of the same unit type and subtype with diferent orientations has a high similarity of the inner degree measurement, which indicates a potential to achieve arches of similar dimensions when developed further into fully closed constructions.

When combined, these phenomena indicate a possible development of several alternatives of constructional strategiesfor a modular arch which exploits the characteristic of modular units and tensioned-resistance overhanging structure, as follows.

a

b

c

d

e

f

Final results of the construction: a A-start continuous construction (type b B-start continuous construction (type c A-start asymmetric construction (type d B-start asymmetric construction (type e A-start mirror construction (type 5); f B-start mirror construction (type 6)

1); 2); 3); 4);

The results of this research are significant as a proof-of-concept that the modular stereotomy approach has great potential and is highly competitive compared to the other bespoke-oriented alternatives in the field.

With newly developed logical workflows and form and structure relationships from modular stereotomy, results from this research are expected to forge the path towards digital stereotomy that is more efficient, familiar, and technology-ready for a vast and swift application. With regard to future developments of the results discussed in this study, there is a potential to further investigate the modules’ adaptivity in relation to increasing the flexibility of the construction’s form-finding process and construction strategy. Referring to the early stage of model development, the breakdown of units into detachable elements is based not only on simplification of fabrication but also on the possibility of a mix coupling between different elements.

2019 - 2020

A Physical Machine of Thermal Simulation

Research and Prototyping Project done by Dorxlab & Laboratorium of Architecture Simulation, Department of Architecture and Planning, Faculty of Engineering, Universitas Gadjah Mada Team : Nabila Afif, Annisa P. Cinderakasih Project year : 2019

A thermal simulation that we know happens to difficult to understand for some people. Especially when we try to explain it in the physical context of architectural models. This machine supposes to help people to understand what happened during the thermal simulation to the outside surface and also space inside.

By reading the thermal data we set before, wind flows or sunlight intensity, the sensor will calculate the data and

RESEARCH & PROTOTYPING

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moves the mechanism of the machine. The surface of the machine can be a representation of the building facade materials, embedded in the Arduino program, and it will respond to the data value as a result of the simulation and calculation.

The outer surface moves according to algorithm evaluation of the sensor reading information, by the gears mechanic linear movement. As the result, this machine can accommodate an interactive visualization of the parallel event that happens to space inside.

The diagram of the apparatus’s movement

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Distribution without permission is not allowed

This compilations of works are solemnly made for applying Design for Performance and Interaction MArch Program at the Bartlett School of Architecture, UCL, London, UK

© Annisa P. Cinderakasih . 2022