PORTFOLIO
2020-2022
MASTER OF ARCHITECTURE
CHARENSIA PRICILLA ROMPIS
1
CONTENT
PROFILE INDEPENDENT THESIS KAMPUNG LUAR BATANG REVITALISATION FRAMEWORK DESIGN STUDIO THESIS: 07. UNCOMMON-UNITY (SEMESTER 1, 2022) DESIGN STUDIO 01. FRAGMENTED COLLECTIVE DESIGN STUDIO E: 36. UNTITLED (SEMESTER 2, 2021)
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02. SANCTUARY TRAILS DESIGN STUDIO D: 41. CREATE | CURATE (SEMESTER 1, 2021)
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03. PSY-ARK DESIGN STUDIO C: 04. THE ARK (SEMESTER 2, 2020)
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ELECTIVES 04. SIX FIFTY TOWER APPLIED ARCHITECTURAL TECHNOLOGY (SEMESTER 1, 2020)
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05. MORPHOLOGICAL CITY AA VISITING SCHOOL MELBOURNE - UNIT 05 (JULY, 2021)
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06. DRAGON DANCE DESIGNING FOR HEAT (DECEMBER, 2021)
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07. MEASURED DRAWINGS AND DIGITAL HERITAGE (SEMESTER 1, 2021)
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08. MAKING THE INVISIBLE VISIBLE (JANUARY, 2022)
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2
4
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M charensia@hotmail.com W https://issuu.com/charensiaaa
CHARENSIA PRICILLA ROMPIS EDUCATION 2015 - 2016 TRINITY COLLEGE FOUNDATION STUDIES 2017 - 2019 BACHELOR OF DESIGN UNIVERSITY OF MELBOURNE ARCHITECTURE & LANDSCAPE ARCHITECTURE
2020 - 2022 MASTER OF ARCHITECTURE UNIVERSITY OF MELBOURNE 2021 (July) - AA Visiting School Melbourne
PROFESSIONAL SKILL ADVANCED Adobe Suite, Microsoft Suite, Autocad, Rhinoceros, Revit, Agisoft Metashape, Enscape, Lumion, Procreate. INTERMEDIATE Sketchup, Grasshopper, Vray, Unreal Engine. BEGINNER 3DS Max, Archicad, Blender. Additional skills Model making, hand drawing, and digital drawing.
LANGUAGE PROFICIENCY ENGLISH AND BAHASA INDONESIA (PROFICIENCY IN WRITTEN & SPOKEN)
WORKING EXPERIENCE customadeby.ch Graphic Designer (Self-Employed) MAY 2020 - APR 2022 (2 years) PT. Budi Pradono Architect Architectural Intern (Remote) AUG 2021 - DEC 2021 (5 months) T-A SQUARE Student of Architecture SEPT 2021 - DEC 2021 (4 months)
ACHIEVEMENT 2016 ALLISON WEHRMAN AWARD Trinity College Foundation Studies 2017 ANDREW LEE KING FUN GALLERY EXHIBITION The University of Melbourne 2020 FIRST WINNER AT MYKI DESIGN COMPETITION Cards for a Cause
HIGHLIGHTS - Worked on a residential project alongside the Associate to produce preliminary and construction drawings.
2022 FINALIST IN THE 36TH DULUX COLOUR AWARDS Dulux Australia 2022 SHARING SCHOOLS, BUILDING COMMUNITIES EXHIBITION The University of Melbourne, Dulux Gallery
HASSELL JAN 2022 - JULY 2022 (7 months) Student of Architecture AUG 2022 - PRESENT Graduate of Architecture
2017 - 2022 MSDX EXHIBITION (SUMMER & WINTER) The University of Melbourne
HIGHLIGHTS - Working on commercial projects to produce Town Planning and Design Development drawings. - Working in a collaborative team to produce conceptual drawings, working drawings, and renderings.
ORGANISATION INDONESIAN STUDENT ASSOCIATION AUSTRALIA DESIGN AND ENVIRONMENT STUDENT SOCIETY YOUTH CHARITY SOCIETY SONA (AIA)
REFERENCE GRADY WANG - EWERT LEAF University Classmate and Groupmate t: +61 431 676 365 | e: greydotw@gmail.com YITENG CHONG - WOO ATELIER MALAYSIA Mentor and Tutor e: yiteng19@gmail.com ROB POLGLASE - MELBOURNE UNIVERSITY Thesis Supervisor t: +61 437 438 624 | e: robpolglase@gmail.com 3
kampung luar batang revitalisation framework INDEPENDENT THESIS, 2022. STUDIO 07. UNCOMMON UNITY Thesis Supervisor: Rob Polglase Stephanie Wan Tina Huynh This thesis asks how conventional kampung/ village can be better developed and revitalised to amalgamate the existing neighbourhood community with the idea of contemporary living post-pandemic. *exhibited at Dulux Gallery, Melbourne School of Design as part of Sharing Schools, Building Communities Exhibition 2022 and MSDx Winter 2022
for more: https://issuu.com/charensiaaa/ docs/thesisbooklet 4
ANALYSIS
EXISTING CONDITIONS
THESIS STATEMENT
12pm
5pm
7am d mpang Roa
ng E
Luar Bata
half-storey housing
RW-3 (14RTs)
“Kampung or village is the main urban settlement type in Indonesia that forms the basis of a social structure and urban typology of the city. As people are moving towards the modern world, kampung begins to lose its cultural identity and question the existence of itself. Along with the current pandemic situation and restrictions, the kampung that was originally known as a close-knit community is becoming foreign and distant.”
Luar Batang V Street
r ee t
RW-1 (11RTs) Luar
Sunda
Mitra
Bahari
treet
g II S
Batan
eet
Luar
Por Kelapa
III Str
III Street
Luar Batang
treet
ng I S
Bata
new vs old
t
10 50
0
fish market
demolition protest sign
Road
Sunda Kelapa Port
1739
topography /1m N
ort apa P
a Kel
Sund
Street
t VI S tang
ng IX Bata
Luar B
Lua r Ba
ar Lu
Street
tang IV
Luar Ba
atang V
Muara Baru Road
RW-2 (12RTs)
kampung framework 100 m
Legend:
windrose
sunpath
transportation
Habib Husein Mosque
access to kampung
worship
laneways
DESIGN PRINCIPLES 10
N 0
50
“Therefore, through recollecting the past and designing for the future, this thesis proposes an architectural framework that aims to re-introduce the idea of community, locality, and contemporary living post-pandemic within an existing Kampung Luar Batang in Jakarta, Indonesia.”
Warung/ Kiosk
100 m
Architecture: adapts to surrounding context and materiality
Warung/ Kiosk temporary market space (extended business area)
Renter
Spatial Organisation adapts to local culture and traditions
Rentable Space
Owner affordability & flexibility
community engagement
cross-pollination: people & programs
3 frameworks 5 key design principles across the RWs in Kampung Luar Batang
sewer
sewer
alley
Occupied Space alley
sewer
sewer
alley
socio-economic context surrounding the Mosque 5
STRATEGY program
form response
architecture language
referencing traditional Betawi house
as a kit of parts
surrounding context and climatic condition R
warung/ kiosk
2 semi-public
shared laundry
workshop
communal workspace
1
residents x visitors
setback for daylight access throughout the building
public gathering
shared kitchen
urban farming
communal workspace
spatial programming
residential + shared mixed-use
residential
G
warung / kiosk back-of-house warung/kiosk street interface
shared programs: 1 space = multiple functions
warung/ kiosk as a blending tool with the public realm
material palette
referencing existing social and economic context lightweight
3. corrugated sheet
brickwork
corrugated metal sheet
2. wood heavy
1. recycled red bricks
kayu jati/ teak wood
referencing flood context
bamboo
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residential accommodation
wellbeing
G private
public
gable roof
economy
MODEL MAKING
social
quiet nook
praying area
porch/ balconies external staircase
RESOLUTION
7 7
fragmented collective DESIGN STUDIO E: 36. UNTITLED (SEMESTER 2, 2021) Studio Leader: Anna Nervegna fragmented collective is an extension of the neighbourhood of Fitzroy. The proposed art gallery space consitutes of stacked fragments that breaks down the idea of internalised gallery space into a series of formal and informal, individual and communal, focused and diffused, indoor and outdoor space. *exhibited at MSDx Summer 2021 *Finalist in the 36th Dulux Colour Awards 2022. *Top 10 Projects by Australian Design Review.
for more: https://issuu.com/charensiaaa/ docs/studio36_reflectivejournal_ compressed 8
STRATEGY
DESIGN STATEMENT With the current pandemic situation, most art and culture industries are in free fall, forcing many theatres, museums, and art centres to shut their doors. Without certainties of when they would reopen, the arts and culture sector is slowly diminishing. The question is, how do we connect people again through art and culture like we used to? How can we accommodate people to experience art and culture despite the current situation and restrictions?
CONCEPTUAL MODEL
Contemporary art has been slowly shifting from the physical towards the digital realm, allowing people across the globe to experience art and culture simultaneously. The proposed art gallery space would shift the focus from a contemporary internalized gallery space into a mixture of indoor and outdoor gallery space that enables interaction between human and art, where it will be home to hundreds and thousands of physical, visual, and digital art.
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RESOLUTION
B
Ground Floor Perspective
10
G
1
Second Floor Perspective
LEGEND
1. Main Foyer 2. Cafe 3. Gift Shop 4. Main Gallery 5. Temporary Gallery 6. Project Space & Digital Gallery 7. Artist’s Studio 8. Kid’s Learning Centre 9. Research Digital Library 10. Administration + Staff 11. Loading Area 12. Storage 13. Mechanical Room 14. Toilets 15. Sculpture Terrace 16. Communal Area 17. Breakout Room
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As mentioned by Steven Holl in his book Questions of Perception, he mentioned that phenomenology is a curation of fragments or a series of incomplete phenomena that results in an architectural experience. These fragments are texture, materiality, opacity, transparency, and translucency. Therefore, in this project, the proposed gallery space would explore the potential of light and materiality to create a sensory and atmospheric experience throughout the gallery space.
R
Rooftop Perspective
11
540
Studio Leader: Yui Uchimura Sanctuary trails aim to discover the art of printmaking through the act of carving and preserving that amalgamates a series of programs and journey within the landscape. The main strategy is to create a representation of a bodily movement across the site and to provide a sense of being away from everything without being compromised by a profound level of openness from the site itself.
CAR PARK & loading area
ACCOMMODATIONs WORKSHOP
*exhibited at MSDx Winter 2021
ENTRY
CAR PARK
12
5 0
15
30M
515
510
RESIDENCes
53 5
DESIGN STUDIO D: 41. CREATE | CURATE (SEMESTER 1, 2021)
for more: https://issuu.com/charensiaaa/ docs/cc_journal
520
5 25 530
sanctuary trails
PRINTMAKING
CONCEPTUAL MODEL
MATERIAL TESTING
DESIGN STATEMENT
MATERIAL PALETTE vic ash eucalyptus leaves
tas blackwood
PLYWOOD
ETCHING PLATE MDF
LINOLEUM
travertine
PRINTMAKING MATERIALS
TIMBER FURNITURE MATERIAL rammed earth
STRATEGY
CARVING & PRESERVING
SENSORY EXPERIENCE
LIGHT & SHADOW
PROCESS & IMPERFECTION
We always think of architecture as an additive element to the landscape, however, the sanctuary is rather an embodiment within the landscape itself. The sanctuary proposes shifting the focus on dynamic forms of new building towards the internal spaces where we, human, inhabit and experience the space. Transforming “form follows function” into “subtraction follows function”, the sanctuary allows programs such as workshop, residence, and accommodations to be concealed within subtracted voids where each program has its own volumetric experience, lighting quality, and orientation towards the site scenery. The experience is curated with the notion of compression and release, where the journey started from carving the landscape into opening to the natural light and Daylesford scenery. Throughout the project, the curation of material palette and detailing are utilized to strengthens the experiential quality of the project.
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RESOLUTION
WORKSHOP PLAN
MAIN WORKSHOP COMMUNAL KITCHEN/ workshop
PRIVATE WORKSHOP wc
STORAGE
STORAGE wc ENTRY
TO LOADING AREA GALLERY
key location:
1 0
PERSPECTIVE VIEW INTO THE WORKSHOP AREA
CLIENT BRIEF
2
5m
WORKSHOP PLAN
WORKSHOP SECTION
The young couple used to teach printmaking in RMIT, however, since the teaching has been suspended due to COVID-19, the couple wishes to move into Daylesford and pursue their dream of running a printmaking workshop near their residence. The Apprentice (25) used to be their student during their teaching period in RMIT. She currently lives in Daylesford, and she is willing to work in the workshop for the young couple. The couple treats her as if she is their daughter.
PRIVATE WORKSHOP
MAIN WORKSHOP
1 0
14
2
5m
CORRIDOR
COMMUNAL KITCHEN/ NATURAL DYE WORKSHOP
CORRIDOR
MODEL MAKING
PERSPECTIVE
SITE ELEVATIONAL PERSPECTIVE
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psy-ark DESIGN STUDIO C: 04. THE ARK (SEMESTER 2, 2020) In collaboration with: Grady Wang Studio Leader: Laura Martirez Due to the confinement of humans during the isolation period, PSYARK acts as a vessel and artefact of human emotions. The ark amalgamates complex emotions through architecture that reflects the human condition, our sentiment, and feelings before the pandemic. This establishes order to gradually increase exposure to urbanity. Because everyone is different and expresses/experiences and reacts differently to certain situations, the Ark proposes users free will to gradually explore and experience emotional exposure.
*exhibited at MSDx Summer 2020
for more: https://issuu.com/charensiaaa/ docs/arkjournal_ 16
STRATEGY
JOURNEY
KIT OF PARTS
PROGRAMS
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RESOLUTION
VILLAGE
OVERALL ISOMETRIC
18
LOVE HOTEL
3000
3000
CLOSE-UP SECTION
500
2400
3000
RESIDENTIAL
0.5m
SCALE 1:20
0m
1.5m 1m
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SECTION
six-fifty tower
APPLIED ARCHITECTURE TECHNOLOGY (SEMESTER 1, 2020) In collaboration with: Sandra Lin & Hafiz Azman Studio Leader: Luca Calvanese for more: https://issuu.com/charensiaaa/docs/t21_groupc_charensia_hafiz_ sandra Six Fifty Tower is located at 650 Lonsdale Street, Melbourne, positioned in between The Ritz Carlton Hotel and Melbourne One Apartments. The whole concept of the design is about transitioning from public to private space with the idea of inviting people to inhabit the space. It aims to engage with the street context and contribute to the Melbourne City Skyline through vertical stepping from the podium, the tower, and to the top of the crown.
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The idea of creating eight sides around the tower allows 360 degrees view of the Melbourne city skyline, which therefore, creates fluidity rather than rigidity. Taxi drop off will have its own access from Lonsdale Street to the undercover podium area adjacent to Merriman Lane.
PODIUM DETAIL
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morphological city AAVS MELBOURNE (WINTER, 2021) Studio Leader: Kate Finning & Andrew Power for more: https://issuu.com/charensiaaa/docs/charensiapricillarompis_860209_journal The proposed city is called a Morphological City, not a TikTok city. Inspired from the duet feature of the network, the city itself is a critique. It is a fictional city, yet present, in how social media predominantly occupy our daily lives. The city’s history is embedded in architecture and inherited through what is called an urban mutation. The lack of connection between architecture and urbanism that form a city becomes a strong basis of the proposed city. Gridded, yet, emergent, the theoretical framework of the city is imposed on a 30 by 30-metre grid that acts as a boundary between each unit. The gridded nature of the city is able to remove the idea of hierarchy to reinforce the sense of community. Additionally, unbuilt areas within the grid will be used as open communal space. Analogous to the way viral phenomena propagates, the city aims to replicate and mutate. The development will introduce a new architectural typology that creates a “spontaneous” city within this Morphological City.
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The typology contains different forms and arrangements that reflect the political nature of this “duet phenomena” referred to as the host or origin. From the host itself, the unit can replicate and mutate into recognisable forms. The city contains an open boundary in the form of a mountain landscape that acts as unseen city walls. It is analogous to the way an Algorithm is controlling social media. Though there are no concrete data behind it, we all know that the Algorithm plays a big factor in restricting how much exposure we can get. As the city continues to grow, new housing typology either gets replaced or grow into the landscape, blurring the unseen boundary of the city. The flexibility and growth from the typology mutation produce an “informal urbanism” within the city itself.
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STRATEGY
dragon dance
DESIGNING FOR HEAT (DECEMBER, 2021) In collaboration with: Grady Wang, Hafiz Azman, Roujin Wu, Lainie Sutton Studio Leader: Wendy Walls for more: https://issuu.com/charensiaaa/docs/ass3.group05_melbourne_ grady_charensia_roujin_laingroup05_melbourne_grady_charensia_roujin_lain Dragon dance is a traditional dance and performance. It is a simulation of the imagined movements of this river spirit in a sinuous and undulating manner. It is a symbol of Chinese culture and is believed to bring good luck to people. These spirits affiliate themselves with the rain, wind, and sun. And the longer the dragon is in the dance, the more luck it will bring to the community.
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Our focus site is Corrs Lane, and the strategy and concept is to utilise the existing microclimatic conditions imbued in the physicality of compression and release in the site. The lane is broken up into three segments that scale from compression to release, and the design is to mitigate the unwanted and unpleasant atmospheric qualities of the site, and to enhance and enable specific microclimatic conditions that vitalises the hospitality programs present on site.
RESOLUTION compression
middle
release
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photogrammetry point cloud
PLAN
MEASURED DRAWINGS & DIGITAL HERITAGE (SEMESTER 1, 2021) Studio Leader: Ursula Chandler for more: https://issuu.com/charensiaaa/docs/mddh
PERSPECTIVE
26
BIRD’S EYE VIEW
cabin for a heartbroken chef MAKING THE INVISIBLE VISIBLE (JANUARY, 2022) In collaboration with: Nathaniel Foo, Rose Ong & Francis Ng Studio Leader: Guillermo Rojas-Alfaro
COLLAGE
27
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