BASIC DESIGN STUDIO a r c h i t e c t u r a l s t o r y t e l l i n g , s p a t i a l l i t e r a c y, p e r s o n a l s p a c e
JESSICA
architecture studio year 1
ARCH UPH’19
JESSICA A R C H I T E CT U R E U P H 2 01 9
CONTENT
6 peculiar crosswalk 50 optimizing open spaces 62 sela 78 reconstruction 90 personal object 102 paprika project
PECULIAR CROSSWALK PERSONAL SPACE [fifth project]
6
one.
7
//site plan
8
//crosswalk
9
//crosswalk
//view of each end of the cross
10
//people’s interaction when crossing
11
//the relation between various types of personal spaces while waiting for the crossing time
12
//various types of personal spaces
13
//the interaction and relation between various types of personal spaces while crossing
14
//space between the personal spaces and the flow direction created within
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//2D abstract
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//3D abstract
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//3D abstract
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//3D abstract
19
PECULIAR CROSSWALK the idea of this installation is that if only people can see and experience experience my unique personal path on the crosswalk, and not only experiencing the path, but also the atmosphere around it. the full crossing experience is packed into a box that has 2 different elements. it reveals 4 unique experiences, for 2 destinations and 2 sides of the road. one side uses wood, to represent a warmer atmosphere as there aren’t any vehicles waiting on this side, but the woods are leading inwards, creating an uncomfortable feeling as we don’t know other people’s direction. the other side uses concrete, it represent a colder atmosphere, but it creates a safer feeling as the existence of the signalized crosswalk makes pedestrians feel more at ease. what if the concrete is not formed by one big thing, but actually formed by small modules, that have irregular shapes, illustrating the factors on the crosswalk with different characteristics it also has an elevation of ground elements, that illustrates the walking speed, walking uphill is slower than walking downhill, this creates the same effect as when we bumps into other people, we tend to slow down.
20
[installation draft 1]
axonometry.
21
[installation draft 1]
plan.
22
[installation draft 1]
side view.
23
[installation draft 1]
front view of wood side.
24
[installation draft 1]
front view of concrete side.
25
[installation draft 1]
mock-up.
26
[installation draft 1]
mock-up.
27
[installation draft 1]
mock-up.
28
[installation draft 1]
mock-up.
29
what if the modules that formed the massive concrete form does not have equal sizes? what if it’s formed by irregular shapes illustrating the factors on the crosswalk with different characteristic?
30
[final installation design]
axonometry.
31
1500
1500 1060
1200 1100
765 645
1000
505
900
A
120
30
470 520
30 70 30 70 30
370
30 70
300
190
50
A
960
560
30
250
30
250
400
30 85
100 30
30
270
250
30
250
+0.25
270
30
+1,00
30
250
30
550
250
3000
250
+0.75
250
30
545
250
+0.75
85 30
405
250
30
+0.25
B
1500
1500
3000
[final installation design]
plan.
32
B
0,87
0,58
0,29
TAMPAK SAMPING KANAN
SKALA 1:10
[final installation design]
axonometry.
33
POTONGAN A-A
SKALA 1:10
[final installation design]
section A-A.
34
POTONGAN B-B
SKALA 1:10
[final installation design]
section B-B.
35
+0.87
+0.58
+0.29
+0.29
[final installation design]
front view of wood side.
36
+0.58
+0.58
+0.29
+0.29
+0.29
+0.29
3000 500
1140
405
570
3 1000
2
1500
1500
1000
1
1000
960
530
200
955
4
500
500
5
15
3000
6
8 7
1500
1485
1500
9
11
945
950
10
350
350
475
635
12
13
900
330
455
270
90
230
530
420
230
555 1350
1100 1500
1500
[final installation design]
front view of concrete side.
37
AXONOMETRI
SKALA 1:10
[final installation design]
wood exploded axonometry.
38
3 2
4 1
9
5
11
7
12
13 10 6
8
AXONOMETRI EXPLODE
SKALA 1:20
[final installation design]
concrete exploded axonometry.
39
40
MOCK-UP JOINT A
MOCK-UP JOINT C
MOCK-UP JOINT B
MOCK-UP JOINT E
41
[final installation design]
mock up.
42
[final installation design]
mock up.
43
[final installation design]
mock up.
44
[final installation design]
mock up.
45
46
47
.peculiar crosswalk. experiencing of someone’s peculiar path
48
49
50
two. [sixth project]
51
before the quarantine due to virus COVID-19, my house was empty, there were only my mom and my dog. my dad and my sister were working and I was at university. in my house complex, we were kinda close with our neighbors, and we can meet up normally as there are no social and physical distancing. because of quarantine, we do our normal activities inside the house. but we don’t have to stay indoor all the time. we can also do other activities in outdoor space in our house while doing social and physical distancing with our surroundings. one of the things that we do regularly that uses outdoor space is sunbathing. each floor in my house have its own outdoor space. we can do sunbathing from those 4 places. while sunbathe, we can also socialize with our neighbors. not only for external activities, we can also uses our outdoor spaces for internal activities to eliminate the boredom inside the house. there are so much that we can do to optimize the usage of outdoor spaces that we have, for `external or internal activities
52
[rooftop]
[balcony]
[balcony]
[terrace] 53
[empty]
[empty]
[empty if no one’s resting]
[mom’s working]
8 am - 5 pm before
54
[workout at home]
[work and class from home]
[mom’s still working]
8 am - 5 pm after
55
[because they also have a balcony]
[greeting each other from the terrace is one way to socialize with our neighbors]
56
[there are no access to the neighbors from the rooftop]
[there are no access to the neighbors from the third floor balcony]
[we can communicate with our neighbots across us from the second floor balcony]
57
[we usually never go out to the rooftop]
[empty]
[empty]
[can socialize easily with our neighbors, mostly outside the house]
before
58
[now we realize that there are many things we can do in the rooftop like playing drone, bbq, exercising together, etc]
[we come out here when we want to enjoy the air withour having to communicate with others]
[our neighbors usually go out to the balcony on the second floor, so we can socialize with them]
[socializing with neighbors from inside the fence, while cleaning the car, playing with our dog, etc]
after
59
60
each outdoor spaces can be used for different things. so it’s important to have an outdoor space in our house so that we can still enjoy and feel the fresh air even though we have to stay at home for our safety
stay at home, stay safe 61
SELA.
spatial literacy perceiving and communicating space [fourth project]
62
three.
63
//site plan
64
//2D abstract
65
01
Elemen yang paling dominan : SUARA suara manusia, suara langkah kaki, suara gerobak yang ditarik di jalanan, suara penyapu jalanan, suara mesin ac, suara kicauan burung
66
02
Suara-suara ini masih terdengar berantakan dan kosong. Suara-suara datang dari segala arah sehingga terasa seperti bulatan-bulatan yang menumpuk. Suarasuara itu belum menyatu dan belum terasa sifatnya masingmasing.
03
Hasil analisa selanjutnya, suara itu bukan seperti bulatan masive tetapi suara yang saling mengisi dan saling menutupi. Suara-suara itu memiliki sifatnya masing-masing, tetapi yang menyatukannya adalah sela yang ada di antara suara-suara itu yang dapat diisi dengan suara lain sehingga terlihat lebih utuh.
//proses abstraksi
67
//potongan perspective
68
suara tegas cenderung kasar
suara samarsamar
suara yang paling banyak tetapi tidak dominan
suara yang terdengar paling kecil dan jauh
suara yang terdengar kadang tinggi, kadang rencah, kadang mendekat, kadang menjauh
suara tawa manusia yang terdengar tinggi rendah
69
//tampak atas
70
//perspective 1
//perspective 2
//perspective 3
//perspective 4
71
//axonometry
72
//tampak B
//tampak A
73
//3D abstract
74
//3D abstract
75
//3D abstract
76
//3D abstract
77
RECONSTRUCTION PROJECT (continuation of personal object project) [third project]
78
four.
79
RECONSTRUCTED MODEL
GROUPING FORM [Edge to Edge] as the radial sequence meet at one edge
AXIS The space inside follows a certain axis. Giving it a path that we can take
[Spatial Tension] it’s close to one another but do not meet each other
BASE PLANE [Base] radially arranged forms are on a base plane
RHYTHM The stairs are elevated in a rhythmic way. Each are elevated either 1cm, 2cm, or 3cm
[Elevated Base Plane] all space in here are on a elevated base plane. Each are elevated based on it’s form
Each layer is located in a rhythmic sequence both radial and linear
[Overhead Base Plane] the layers that forms linear organization are hanging form the ground and based on an overhaed base plane as it is the highest point
The thickness of the layers also form rhythms as it consists of 1 layer, 2 layers, or 3 layers.
80
//axonometry
81
//side view
TRANSFORMATION The original shape of each layer is stretched, shortened, or cut into a new shape. Giving an experience of getting inside a more enclosed form and the experience of floating from the ground.
subtractive
subtractive additive
82
//side view
SPATIAL ORGANIZATION Radial The linear organization extend in a radial manner. Linear There are linear sequence of repetitive spaces also can be seen in the stairs
83
//top view
84
//front view
85
//two point perspective
86
//one point perspective
87
//3D model
88
//3D model
89
PERSONAL OBJECT COFFEE GRINDER (NEGATIVE SPACE) [second project]
90
five.
91
COFFEE GRINDER Is a unique shaped machine made of stainless steel. Although it looked simple, the inner parts of it are interesting. It’s a round bilateral symmetry shape that focuses on the blades (grinder) as the most important element in this machine. It has 2 axis, one in the center from the top of the tube to the bottom of the tube, and the other one is from the center of the cap which is also is the start of the handle till the end of the handle the shape of the grinder / blade itself is a transformation from a tube to a semi-cone with soft blades. The space inside provides room for both coffee beans and ground coffee
92
//still life drawing
93
//top view 94
//front view & section 95
//exploded axonometry 96
//axonometry
97
//1
//2
//3
//4
//5
//6 //still life drawing
98
//two point perspective drawing of the negative space 3D model
99
100
//3D model (negative space)
101
THE PAPRIKA PROJECT [first project]
102
six.
103
THE STORY OF A PAPRIKA
Paprika or also as bell peppers is a unique vegetable. With curvy body and bumps on it’s bottom. It’s classified into the same family as chili and other peppers but paprika has different structure and meat than the others. It’s big, it looks sturdy, spicy, and fierce but it’s actually fragile on the inside. When you eat it, it’s not spicy at all. Eventhough it looks solid from the outside, when you cut it you can see this huge space inside and you’ll know that the parts that you can eat is only the edges.
104
Architecturally, it is a mass-void relationship. The mass is occupied by the presence of the meat, the physical character of a paprika that defines the limits of space and shows the form of a paprika. Meanwhile the space inside the paprika is the void between the meat. It has a spesific purpose for paprika, that is to provide a room for the seeds to grow.
//still life drawing
105
//top view
//side view
106
//sections
107
T H A N K YO U .
BASIC DESIGN STUDIO architecture studio year 1
JESSICA