Archive: Progression Year 1

Martin L. Katoppo, Dean Julia Tan, Executive Dean Erwin Widodo, Director Admin Ferry Gunawan, Department Chair

CHIEF EDITOR Andreas Yanuar Jacky Thiodore STUDENT COORDINATOR Randy Gunawan Louis Osvaldo ART DIRECTOR Randy Gunawan Louis Osvaldo PROOF READER Inggrid Samrat PHOTOGRAPHY

By Students PU UPH Photography Team TRANSLATOR Inggrid Samrat COVER Randy Gunawan

FULL TIME FACULTY Alvar Mensana Andreas Yanuar Ayu Larasati David Hutama Dicky Tanumihardja Emanuel Agung Felia Srinaga Fernisia Richtia Ferry Gunawan Gregorius A. Gegana I Ketut Canadarma Jacky Thiodore Julia Dewi Raymond Gandayuwana Santoni Stanley Wangsadiharja Susinety Prakoso Undi Gunawan VISITING FACULTY Adi Purnomo Adetania Pramanik Ahmad Djuhara Amir Sidharta

Ari Widio Ardy Hartono Ary Indra Asa Darmatriaji Avianti Armand Baskoro Junianto Bianpoen Carolina Djunaedi Dani Hermawan Dennis Indramawan Dimas Satria Elisa Sutanudjaja Endy Subijono Evytriana Tasman Finarya Legoh Firman Herwanto Glenn Hajadi Glenn Hratanto Hafiz Amirol Ida Zureidar Joe S. Willendra Lucia Helly Purwaningsih Monica Dewi Indrasari Realrich Sjarief Robin Hartanto Suwardana Winata M. Yusni Aziz

Archive : Progression Year 1 © Department of Architecture Universitas Pelita Harapan 2018 First published, July 2018 ISBN: 978-602-52441-0-0 ISBN: 978-602-52441-1-7(ebk)

All writings and printed materials in the publication may only be reproduced with the permission of the editor. opinions expressed in the article in this issue are those of authors and do not reflect thoseof authors and publisher.

Authors are responsible for verifying the accuracy of all published data.

Published by Publication Unit Architecture UPH Department of Architecture Universitas Pelita Harapan UPH Tower, Lippo Karawaci Tangerang 15811, Banten Telp. 021 5470901 ext 1293, email: uphpublicationunit@gmail.com sod.uph@uph.edu

TABLE OF CONTENTS Editorial Table of Contents Chairman Introduction Editor Introduction

i iii

STUDIO DASAR DESAIN 1 - 2015 Studio Introduction Proportion, Light & Face Contour Building’s Proportion Colour Theory Mid-term Project Merajam Chaotic Wrath Tortured Mid-term Exhibition Study Tour to Bandung Projection & Collage Drawing Final Project

Reflection

Back to Nature Digenggam Abu - abu Final Project Exhibition

1 3 7 11 15 17 18 19 20 21 25 29 31 33 35 37

STUDIO DASAR DESAIN 2 - 2015 Studio Introduction Negative Space, Contarst, Proportion & Texture Framing Drawing & Proportion Drawing 3D to 2D Scale, Proportion, Gesture, Impression & Shadow Mid-term Project Guernica The Birthday Osiris and Isis Adam et Eve Final Project Guernica The Birthday Osiris and Isis Adam et Eve

39 41 45 49 53 55 56 57 58 59 61 65 69 73

STUDIO DASAR DESAIN 1 - 2016 Studio Introduction Single Geometry Combined Geometric Form Figurative Form Transformative Form Final Presentation

81 83 87 91 95 101

STUDIO DASAR DESAIN 2 - 2016 Studio Introduction Definition of Space

Space Organization Atmosphere Space from Music Final Presentation Inside the Installation

103 105 109 115 121 125 127

CHAIRMAN INTRODUCTION UPH Architecture program is a platform for productive idea generator. Each semester the students creatively produce new ideas. Like a flame, ideas can dim overtime if not spread out immediately. Thus the UPH Architecture Department has committed to spread multiple and multitude of ideas produced by the students to the general public through Archive publications.

This year’s Archive is different from years past publications. In this Archive we would like to show the process of every level of study by two different year. Archive: Progression Year 1 consists of designs by first year students and Archive: Progression Year 2 by second year students and so on until Progression Year 4.

Each year’s results had its own character and dynamic.

Not only were we satisfied with publishing four Archives, this year we also launched a digital archive platform with our domain www.archuph.com. In this platform, the general public could view the uploaded designs of each student’s process in every assignment. With this platform we hoped to share ideas that have been produced by the students and to be better acknowledged by their peers and the general public.

As a flame on a candle, it can light up the darkness if spread out from wick to wick. Through Archive Architecture UPH, we hope to bring

Chairman

inspiration to a wider architecture audience.

Ferry Gunawan

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EDITOR INTRODUCTION The architecture progression in an academ-

can be noticed in the stages of Studio and Final

ic environment almost never stops surprising

Project.

us. The same lecturers and curriculum when connecting with different students will bear

We have several stages for Studio. It is started

different fruits. Those fruits are unpredictable

from Studio Dasar Desain 1 and 2 on the first

and have become an academic nutrition for our

year, Studio Perancangan Arsitektur 1 and 2 on

educational institution. The largest academic

the second year, Studio Perancangan A and B

nutrition relies on the students who are unique

on the third year, and on the fourth year stu-

with their own thinking.

dents can choose which one as their final project either thesis or project.

Students have their own luxury in exploring architecture. They have a luxury amount of time

The first changes occurred on studio nam-

to do mistakes and unlimited trial to achieve

ing from Studio Perancangan Arsitektur into

their goals and towards a higher achievement

Studio Desain Arsitektur. This one changes

where they feel satisfied. The second luxury is

intended to sharpen learning materials on ev-

their powerful energy level. They can pursue

ery stage and to keep the continuity of studio

their own design idea in an excellent physical

learning from the first until the final year.

condition, high enthusiasm, and wholeheartedly. Another student’s luxury is an opportunity

The other changes occurred on the third and

to manifest their project as a design process

fourth-year. Studio Perancangan A and B are

instead of a final product. Every edition of Ar-

changed into Studio Desain Arsitektur 4 and 5.

chive UPH Architecture has a purpose to show

Once the students pass through Studio Desain

architecture progression from how the students

Arsitektur 5, they are going to have their final

utilize their luxuries to turn their unique idea

project named Desain Berbasis Riset. This fi-

into masterpieces.

nal project comes in a new format as Desain Berbasis Riset that replaces the previous final

The theme of this archive is “progression”.

project (thesis or project).

This theme is raised to mark out a curriculum transition which has been held since 2016 on

This Archive Progression contains the tran-

UPH Architecture Study Program. This curric-

sition of students’ works one year before the

ulum change is needed as an academic evalua-

changes (students of batch 2015) and one year

tion, also a response to the architectural con-

after the changes (students of batch 2016). Dif-

stitution that is already drafted at the moment

fer from the previous Archive, in this edition,

and soon will be realized. Significant change

their works will be published in four series of

iii

books: Archive year 1, year 2, year 3 and year 4.

such as designing a study carrel, classroom and then the kindergarten itself. In 2016 academic

Archive year 1 contains the projects of Studio

calendar, the studio’s name has changed into

Dasar Desain 1 and 2 (SDD 1 & SDD 2). SDD

Studio Desain Arsitektur 1 but it still has the

1 aims to introduce the students about the d

same goal. There are three projects on Studio

sign process, abstraction, form, and compi-

Desain Arsitektur 1. Active Play Space tends

sition so they can create a form iteration and

to train sensibility towards human motion and

composition. The evolution generates a shift-

understand the tectonic through an installation

ing learning process from manual to digital.

design. Rumah Wisata Nusantara tends to de-

The learning progress of SDD tries to gain the

velop student’s sensibility about character of

potential of both manual and digital simulta-

place. House of the Client tends to figure out

neously.

both needs and desires of the occupant. Studio Desain Arsitektur 2 still works on public activ-

Each studio has its unique brief. The brief in

ities within the function of an art gallery. On

SDD 1/ 2015 learns about form, scale, and

this project, students are expected to analyze an

proportion through the structure of human’s

artwork as a starting point to develop tectonic

head. SDD 2/ 2015 learns about a space

aspects and experience of space in the gallery.

through geometrical performance. SDD 1/ 2016 learns about statistic, organic, and kinetic

There is a significant change in third-year stu-

form. And the last is SDD 2/ 2016, students

dio’s structure. Beside Studio Perancangan Ar-

explore about the tangible and intangible thing

sitektur 3, the third-year has two other studios

which affects quality and flow of a space and

at the beginning of the year. They are Studio

tweaks users’ perception.

Perancangan Arsitektur A, it focuses on city issues and Studio Perancangan Arsitektur B, it fo-

On the second-year, the students are placed to

cuses on technology issues within architecture.

design a project considering ergonomic, varied

Every lecturer in those studios is responsible to

activities, private/public space program, tec-

offer a specific topic/brief. Later, students can

tonic, and site planning. Studio Perancangan

choose which topic that they are interested in

Arsitektur 1 carried them out by two projects:

and which studio that they are going into.

Resting Place and House for People with Disabilities. Studio Perancangan Arsitektur 2 shift-

Both of those studios stages have changed into

ed to public activities which is designing a kin-

Studio Desain Arsitektur 3 (DA 3) and Studio

dergarten. This Kindergarten project is directed

Desain Arsitektur 4 (DA 4). These changes give

within 3 exercises (from small to larger scale)

hierarchy and order applied into the course.

iv

The students can only take the studio in a grad-

Nowadays there is no longer two options/

ual order and only have one brief for the whole

channels between thesis and project. As the fi-

studio. The main objectives in DA3 are able to

nal project, the students have to design based

design public function and consider their de-

on theoretical and practical research. This

sign according to urban issues. Through a proj-

would like to start doing a research on certain

ect called Building for Temporary Living Space,

issues (thesis) and outcoming with design solu-

the students can learn about how a vertical liv-

tions (project). The name of the final project

ing plays a role at Mangga Besar district, Jakar-

is changed into Desain Berbasis Riset for one

ta. Next, on Reinvention of Urban Public Life

semester. At seventh semester, Seminar class

project, Studio DA 4 goes further with learning

will no longer exist and replaced by another

about urban planning in a specific context. The

stage of studio that is Studio Desain Arsitek-

project planning is discussed within separate

tur 5. In DA5, the students are given a case

group during the first half semester. Later it is

about public space with some strict regulations.

continued by individual work that each student

The students must get closer and understand

designs a building with its specific functions.

the reality of the built environment field. The

While master planning the area, the students

dynamics changes could be seen from the stu-

analyze several issues from economics, social,

dents’ works when executing the brief: In Be-

political, climate, until infrastructure aspects.

tween Space.

The building design must be specific and must deal with the sustainable system, utility system,

By reading every series of Archive, we can find

and other buildings’ performance.

out how curriculum changes affect through the work of two different students’ batches. We

And so, changes on the fourth-year. Before-

can also find further about how the progression

hand, students have two channels to go either

of every single year has been made, before and

thesis or project. On which channels is pursued

after curriculum changes happened.

by students in two semesters. The first semester in thesis is set for students to do research ques-

The curriculum absolutely cannot guarantee

tion about certain issues, dig into theory and

the quality of architectural progression because

observe case study. The next semester, they

it’s just a platform. The coordinator and other

will evaluate their research object based on

lecturers have a significant role undertaking this

the theoretical review they’ve done before. On

case. The coordinator of every studio translates

project channel, as the first semester, students

the goals our curriculum with their own ways.

are going to research issues and propose their

The theme and brief in the studio are differ on

concept design. Later they develop their design

every single academic year and it is interesting

in much elaborate consideration to the issues.

progression. Every lecturer with their own sp cific competency has colored the architectural

v

progression in each studio. To be able to see the diversity, the students and lecturers have a tradition to visit the entire studios at the end of the year. The annual event that held and planned by student association is called as Friday Display (now has been changed as Final Display).

Each studio is turned into an exhibition space and the people are entertained by some relaxing performances. Therefore, the whole studios might be able to summon and spread the design passion within various projects.

Archive wants to show that passion as well.

Unfortunately, considering the limitation of the medium, we cannot show all of them. Some projects we don’t have any chance to put into this Archive can be seen through another medium managed by Publication Unit Architecture UPH. We offer few videos for you that could easily be found on Youtube channel of Arsitektur UPH and Instagram account: pu_architectureuph. Besides that, we invite you to see a lot more UPH architecture students’ projects in our Online Archive at www.archuph.com.

On that website, you may be able to see how the progress is and the final product of every student.

All those surprises build up architecture progression in an academic environment never lose the creativity and show interesting works from years to years. This substance in university level has produced excitement for both students and lecturers to push forward future architecture. This kind of excitement that we

Editor

want to share through these four Archives.

Andreas Yanuar and Jacky Thiodore

vi

STUDIO DASAR DESAIN 1 2015 Coordinator : David Hutama Instructors : Andreas Yanuar, David Hutama, Baskoro, Santoni Our face – human face – epitomizes a beautiful play between space and geometry. The surface on our face is constructed and construed by differences of levelling of contour lines; forming the profile of our face, thus creating an enchanting play of light and shadow. Beyond its geometrical aspect, the face is human’s instrument to project and express emotion. This allegory presents a parallel operativity in the construction of architectural space.

The primary goal of the first-year design studio is to introduce how translatability works and important in a design process. Design begins with an idea. By framing this idea in a perspective, the idea develops; its complexity unfolds, and eventually it becomes a concrete object. The challenge in this translational flow is to maintain the essence of the idea intact throughout the process. Obviously, it is not a linear process, instead its an intense back and forth of simultaneous reflective process. Hence, exposing students to this specific trait of design thinking is important in the outset of their design education. Their understanding and awareness of challenges in translatability will help the students to build their own fluency in their design thinking afterwards.

Hence, exercises in the first-year design studio are tailored to expose students to a variety of scenarios on translatability in design. The exercises will start from the simple and straightforward one and gradually becomes more complex in terms of the scale and the number of elements involved.

These exercises are organized in two levels of complexity. The first level begins with observation and exploration on the shape of the face. The second level of the exercises deals with the intangible aspect of architecture. Students are introduced to other architectural elements which they can manipulate in order to establish spatial composition. In this level, the students play with texture and tactility, light and shadow, and visual perception. These three are essential in evoking a good quality of architectural space.

David Hutama

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Students define the contour of the head shape models with giving certain amount of attention to the shadows, proportion, and texture of the object.

2

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Proportion, Light & Face Contour A first and foremost approach to architecture.

A self-portrait is one of the first practices the

Skill of the hands are main tool of an architect

professors develop in order for each student to

as a medium to provide ideas from the mind

understand the most critical essence of drawing

down to sketches. The first year of architecture

–or design to be the fact –which is proportion

will be teaching students on the basic approach

and scale. To be able to manage and control the

of architecture, sketching. Within the first day

scale of drawing is important in studies. On the

of Basic Design Studio, students are assigned

first meeting, scales are important in order to

to sketch a self-portrait on a A1 sized paper.

identify the measures of object.

Intentionally to give a brief understanding on the study of proportion, scales, lighting, and the tools to create such art.

To get in touch with inner sense of art on each individual, it is important to note that skill of the hands needs to be harness.

Images 1| Face Drawing 2| Face Draawing with lighting

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Proportions and scales are top and foremost

The focus of this lesson is to provide students

in basic design. And so, key of design is the

with the capability to understand the unique

ability to manage proportions of an object and

contour or the face, straight from nose to the

by then determine its basic contour. To under-

eyes. Seeing as these contour is indirectly con-

stand more on the art of basic architecture, its

nected with the study of section drawing. In

obligated to learn composition of contour on

architecture, being able to visualise the sections

varieties of object including the human pro-

of a certain object is important

portion.

1st Basic Design Studio will be majorly cover on the basics and knowledge of proportion. As for the first week, students are required to study under instructions of professors. The second meeting on the first will be a lecture consisting proportion of the human anatomy, mainly from the bust and above.

Images 1| Face Contour’s Mock-up 2| Face Contour’s Maquettes Drawing

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Students were required to perform live drawing and visualise the atmosphere of a certain place at the city of Bandung.

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Building's Proportion Perspective. An important lesson to notice, as

Understanding faults and revising was also a

it helps not only artist to determine and draw

technique taught as an intention to understand-

an object with a more precision, but also helps

ing the correct proportion and the right way to

aspiring architect to put attention and interest

measure. From time to time measuring does

in keeping the same exact proportions of what

not always depend items such as rulers, so in

original product and the depiction of what the

order to be able to perceive the measurements

artist sees. By learning perspective, we are able

by common sense, it is important to incorpo-

to apply in the hard-earned knowledge of pro-

rate manual measurements first hand to under-

portion into place. As it helps students to gain a

stand the feel.

better control of proportion, learning perspective will prove useful to visualise the design.

Images 1| Perspective Drawing on A3 paper 2| Perspective Drawing on A3 paper 3| Perspective Drawing with analysis proportions

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Students were required to draw and paint the anatomy of human faces with taking giving attention to the proportion and color of the face.

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Colour Theory Colours are the essence of mood in both art

The study on colours are to understand the

and design. Importance of colours are to de-

hue, saturation, and value of colours that forms

scribe certain situation, a mood, or sometimes

the various colors. With mostly averting focus

to reveal emotions to an inanimate object. Stu-

on hue: warm and cool, it’s important to keep

dents are required to study the prime colours as

note that the difference of warm and cool co-

it leads to an important key in art and its basic.

lours majorly determined how the building in

At most time, design is incomplete without co-

architecture and other object most likely to give

lours as it helps reveal a certain nuance to the

it’s vibe.

visual sense.

Images 1| Colour Wheel 2-4| Perspective Drawing with Warm and Cool colour 5-6| Face Drawing with Warm and Cool colour

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Mid-term Project

Negative Space From proportion to contour, from colour to

Negative spaces are formed through the im-

defining the hue of a certain object, every last

pression of spaces around a certain object.

of lessons are considered essential for help the

The volume and restriction of its surroundings

student to develop their sense of sensibility to-

greatly affect how negative spaces will form.

wards art. Regardless of shape and space, it’s

From here on out, colors and proportions play

necessary for student to understand the mech-

a certain rule in defining the negative space.

anism of each lesson and apply them to the

A certain space can look rigid, small, spacious,

study and the projects regarding it. This mid-

or slim depending on the shape and form of

term session will be focusing on both propor-

the object, such procedure goes the same way

tions and the negative spaces that each object

with colours. Certain colours might or might

forms.

not affect how the viewers or designers view the space.

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Students were obligated to hear instructions for the midterm projects.

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Merajam

by Cynthia Yuwono, Christian Laurentius, Sebastian Subeno Instructors : Andreas Yanuar, David Hutama, Baskoro, Christian Santoni

Images 1| Merajam Mock-up 2| Chaotic Wrath Mock-up

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Chaotic Wrath

by David Kristiawan, Daisy Corleona, Robert Christopher, & Rexy Jonathan Instructors : Andreas Yanuar, David Hutama, Baskoro, Christian Santoni Entitled, Chaotic Wrath. The objective of the

The material of the project mainly consists of

project is to complete a miniature represent-

5mm thick MDF boards. Cut into the shape of

ing a human head, specifically the face created

a face by total of 16 leveled MDFs, in which

from the negative space created by the object.

each of the MDF boards are placed in a hanged

The design composition was in grid, and car-

position distancing 3mm per MDFs. Intention-

rying the emotion of anger. The first step was

ally, it is to accentuate the nuance of pressure

to measure the face shape as reference and by

and chaos within the design. As for anger, the

then construct them into a representative min-

shape where the form of the head is built by

iature.

burning the inner side of the miniature. Aside from that, the void is filled with ashes as a symbol of burning anger. The highest hierarchy of the miniature is the void where the ashes are mostly placed on some part of the eyes and mouth. The final addition was to add some nails pinned on some parts of the miniature, where this acts to give a feel of oppression, sharpness, and harsh.

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Tortured

by Karisya & John Lado Instructors: Andreas Yanuar, David Hutama, Baskoro, Christian Santoni In this project, we decided to disperse the

By understanding the three steps of built up

product into three types of expressions, the

emotion, it is clearly known that anger is a

self-loathe, repression, and lastly explosion.

certain type of emotion, which might trigger

Ironically, humans are prone to feel dissatisfac-

dangerous and hurtful actions and words to

tion. Humans tend to carry the tendency to feel

their surroundings. For this reason, answers the

less than what they have, causing rage within

intentional design of which we used elements

one’s mind, blaming one’s self for not possess-

by bending them from the inside toward the

ing what others have, or anger expressed anger

outside; as an expression of pressured to an

as a form of regretting and showing remorse.

exploding emotion. From the installation we

From here often resulting the unconscious to

observe that it uses a grid composition as a

withhold the feelings and keeping them from

symbol which acted as a red thread, connecting

boiling out; like a pressure cooker if you might

–for example a person– with their problems.

say –slowly building up heat from the inside,

For the installation, we highly emphasize the

until it reaches a certain point where it will boil

interaction of negative spaces and the materials

and reaches the maximum heat limit. By then

as human’s tendency when they are emotionally

emotion will expressed regardless by words or

unstable, specifically angry. Start from making

physical contact.

certain limitations to provide protection using iron materials and slowly changing them to small sized wire; sharp and fragile, explaining the fragility of human mind.

Images 1| Tortured Mock-up 1|

2-4| Mid-term Mock-up

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Mid-term Exhibition The process of midterm progression is dis-

Giving each design a room to give a limited

played in a small exhibition, intentionally revil-

amount for description enough to describe the

ing each group’s temporary process and how it

project as a whole.

progresses over time.

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Activities and places visited by the students during study tour session progresses.

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Study Tour to Bandung As part of the progress and learning session, students are obligated to participate in a study tour which is arranged for the participant to undergo a deep lesson concerning proportion and framing of a certain scenery. Incorporating with nature as its object, students are required to use both their eyes and touch senses into action

Images 1-8| Study Tour’s Documentations and Live Drawing

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Projection Drawing & Collage Learning the basics of projection drawing is

In projection drawing it is highly likely to re-

key to architectural drawings. Projection draw-

member three important essence of projec-

ings are used most of the time as a basic to

tions, starting from proportions, correct mea-

understand architectural drawing, as it stems

surements, and mostly is mostly important to

from it. As Architectural drawings are often

reveal information regarding the measured

referable as the most important tool an archi-

object. Mostly information from projection

tect needs to be able to represent the ideas and

drawings is a little similar to the common archi-

works as a bridge to provide information to the

tectural drawings, as this consist of annotation,

chosen client. From the 1st Basic Design Stu-

scale, material labels, measurements, as well as

dio students are required to know the symbols,

the height, width and length of an object.

annotations, and the steps to draw projection drawings starting from scratch.

Images 1| Seat Plan 2| Isometric Table-Seat 1|

Drawing

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Projection & Collage Drawing Having architectural drawing aside, in design

Unlike posters, design board stands to reveal

Images

process it is important to give a presentation to

process of a design and the necessary infor-

Drawing

the audience in order for them to understand

mation to give brief information to the read-

and give feedbacks in return. Thus the media

er. Within the design board it’s important to

suited for such is a design board. Design board

pay close attention on the board presentation

is a board which mostly will be explaining and

–means, the how the board shall be displayed–

describing the design you –as a designer– have

itself. Each board must have a vocal point

created. It functions both as a media to relay

(main picture or ideas), a proper description,

your design to others, and also as a sample of

and most importantly a communicative lan-

information and a guide for presentation.

guage and layout.

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1-3| Projection & Collage

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Final Project

Transformation After a period of four months, students entered the lase phase of project, which also stands as the final projection, a continuation from the midterm. Students are required to understand and relate both negative formations of space that surrounds the object they are working on, as well as transforming a certain object from one shape to another. From here on out then the students are reviewed. The purpose of this final project is to prepare students with the next upcoming 2nd Basic Design Studio, which will majorly cover on transformation and abstraction of three dimensional object.

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Reflection

by Jessica Deviani, Jeremiah Tiono, Klaudia Tan, & Louis Osvaldo Instructors : Andreas Yanuar, David Hutama, Baskoro, Christian Santoni The concept of the installation is called Reflec-

The major composition used in the installation

tion. As the title explained, the installation is

is the linear composition, where the ambiance

made as a media for the people to be able to

are located on the mirrors that forms the shape

reflect on. By using the mirror as a way to show

of the face of two concrete pillars, positioning

reflection in the simplest way. The transforma-

the face right in the middle between two con-

tion installation, ‘a Face in Place’ is an instal-

cretes.

lation using the face and head as reference to perform transformation on a chosen site.

For the Reflection installation, we used a concept deriving from concrete which contained the character of vertical, rough, and heavy to transform in to its vice versa. The changes of this character are shown from the slowly shifting material from hardened paper to fragmented piece of mirror, creating an effect as if it’s floating while the face are facing down –To form an impression of contemplation.

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1| Images 1| REFLECTION front view 2| REFLECTION elevation 3-4| REFLECTION Construction Process

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Back to Nature

by David Kristiawan, Daisy Corleona, Robert Christopher, & Rexy Jonathan Instructors : Andreas Yanuar, David Hutama, Baskoro, Christian Santoni Back to nature, the project this time is covering

The construction over all begins form the in-

about the 3D construction of a negative space

ner frame and slowly proceeding to the exteri-

in dimension of 2metres in cubic. Forming the

or façade as to replicated and adapt to the site.

negative shape of a human head along with the

The frame physically shown only from head to

composition that was given. In one group is

neck only as limitation. The progression of the

assigned 4 members each. Here the composi-

façade are formed distant at first but at a cer-

tion we receive was in grid. The first step is to

tain location the gap tightens inorder to show

measure the dimension of the head into some

movement of head formation. Once all the

certain criteria in order to enable enlargement

process are done and executed well, by then

at later stage. After requiring the original size by

will the final construction be carefuly put on

then we enlarge the measurements by scale 2:1.

the site.

To be able to readjust them, we measured the site area and site we are working on. Located at UPH near building B. By then we continued with deciding the concept of grid composition and site condition. The concept then decided as ‘Back to Nature’.

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1| Images: 1| BACK TO NATURE front view 2| BACK TO NATURE Right View 3| BACK TO NATURE 3|

Close View 4| BACK TO NATURE Mock-up

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Digenggam Abu - Abu

by John Lado & Karisya Putri Instructors :Andreas Yanuar, David Hutama, Baskoro, Christian Santoni Grasped with haziness, as referred to the En-

Setting on the middle of concrete pillars, the

glish translation. The installation itself derived

idea of the transformation is for the installa-

from the idea of blending the site with the

tion to rise and tower from the ground upward

transformation into one. While the main con-

while giving the impression of being pulled

cept of the installation started as an idea with

down by the force of nature. From here on

the form of showing a memorial for the hu-

out the concept wanted to show the observer

man to remember upon the force of nature are

a struggle between rising and as if being pulled

the one holding absolute and dominant power

down by gravity –returning humans to under-

upon other life forms on earth.

stand the dominant force of nature.

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Images 1| DIGENGGAM ABU-ABU Board Concept 2| DIGENGGAM ABU-ABU Top View

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Final Project Exhibition As way of appreciating the hardwork of each

Exhibitions are important, as it helps create

student throughout the whole term, an exhibi-

connections with others, it is also important as

tion was held as a closing ceremony and as a

a media of publication to those who yet to dis-

medium to show great appreciation for the stu-

cover the designs

dents. During the exhibition students presents their projects, drawings, and also their ideas to the public. .

39

Images 1-5| Final Project Exhibition Scene

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STUDIO DASAR DESAIN 2 2015 Coordinator : Glenn Hartanto Instructors : Andreas Yanuar, David Hutama, Glenn Hartanto, Santoni, Raymond The Architecture of Techniques, Exploration

Albeit these exploration can have numerous

and Delivery

radical and exotic result, the pinnacle where these idea begin to serve as “architecture” are

Rather than seeing architecture as a prescribed

in how they create a space/a setting for an ac-

discipline, the design studio re-examines the

tivity and how it relates to the human body. An

basic tenets of architecture by exploring its

architectural play, where performers body inter-

operating techniques: drawing, modeling, con-

acts with their costume and setting to deliver

struction. Each of these techniques poses not

ideas and experience to its spectator becomes

only their own limitation but also their poten-

the final delivery of these explorations. It is in

tial. Drawings proposes a moment of the de-

this performance where we hope that the stu-

sign with its ability to access certain character-

dents they formulate their specific understand-

istics. A charcoal proposes the impermanence

ing of what architecture study could be – a fluid

of lines as an idea that can be created and

discipline that constantly merge and disengage

overwritten quickly while a drawing pen offers

from all other disciplines of the arts, where its

precision and may require clarity from its user.

boundaries are subjectively mapped by each art-

From this two dimensional constructs we have

ists’ explorations. As the students prepare for

the luxury of leaving its third dimension for

their final delivery of their performance, the

imagination.

excellence in their techniques of execution de-

As such phenomenon are offered in both mod-

fines the quality of their live performance: the

eling and construction of mock-ups, we focus

joinery of a construction, the material choice

on the resulting constructs’ ability to be em-

for their costume, the movement of a dance

bedded with ideas. The transferrence of artistic

performance, the lighting that they devise. At

ideas/value into a painting, sculpture or movies

this point, the act of exploration starts to be

offered by renowned works of art, from the

reviewed from how it can be enjoyed by specta-

genius of Picasso’s painting to Wayne McGre-

tors – whether they are enjoyable or worthwhile

gor’s Chroma performance, begin to provide

performance. Then, the exercise forces student

clue as how ideas are explored as and intrinsic

to review/revise , again, their techniques, ex-

part of the construct, rather than a mere repre-

ploration, and delivery.

sentation or metaphor of it.

Glenn Hartanto

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Students were listening to the evaluation from the lecturer about the live drawing task.

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Negative Space, Contrast, Proportion & Texture Entering a continuation of the second term, a

After understanding the method and lesson of

lesson on abstraction and negative space. The

creating a negative space from an endless scrib-

first introduction towards three dimensional

ble, then students shall move to a wider scope

abstractions is the importance of understand-

of sample to sketch on. Here, students will

ing the quality of negative spaces, their relation

be given a scenery on an LCD layer and trace

with the object and the effects it created. From

the proportions, the scale, and by means not

there on students are given task to do an end-

neglecting the negative spaces. The negative

less scribble of an object they find interesting.

spaces and proportions yet again played an im-

Drawing the negative spaces surrounding it,

portant role in skimming the LCD and traced

understanding the correlation of each line as it

the drawing. From here on students will gain

overlaps with each other. The point of the les-

the understanding of quality of per certain part

son was to understand how negative spaces are

of the image presented on the LCD. By man-

formed, telling the difference between shadows

aging and picking the utmost important quality

and negative spaces.

that represents the drawing, then a student will understand and able to see qualities directed in different scenery pointed on the LCD.

Images 1| Proportion & Contrast Drawing 2| Negative Space & TextureDrawing 3| Proportion & Contrast Drawing - Flash Drawing on LCD 4| Negative Space & TextureDrawing - Flash 1|

2|

Drawing on LCD

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Students were drawing lines on a piece of A1 paper with ink.

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48

Framing Drawing & Proportion Drawing 3D to 2D Not only does a student need to learn and per-

Focusing on the vocal point of each scenery

ceive a certain measurement, but they also need

and trace them on the paper, with precision

to learn the method of framing the object as a

and careful attention to the three dimensional

way of scanning and understanding the quality.

proportion. Not only does it apply on scenery

While doing framing, students were assign to

tracing, but also on an object. On the second

use charcoal as a media on an A1 paper in order

week students were given task to draw a certain

to complete the progress. By practicing framing

tool –different with one another– trace and en-

students will be able to manage and control the

large the size by 5:1 in scale.

object within the frame.

Images 1| Framing Drawing 2-4| Proportion Drawing 1|

3D to 2D

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Students were drawing gestures from a model with speed by using charcoal.

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Scale, Proportion, Gesture, Impression, & Shadow This is to test and challenge the students to

In applying scale and measurements, it does not

draw in the right amount of proportion and

only apply to inanimate objects, but also ani-

multiply them from the first measurements,

mated objects. Such as the gesture of humans.

then trace another one within the 20:1 scale.

By studying the gesture of humans, students

Such scale was intentional as it provides and

will be more sensitive to manage and carefully

widen the knowledge of students to not only

compare such extreme proportions with anoth-

scale them to the tiniest scale comparison but

er object. And so does the lighting. Lighting

also the skill to enlarge the scale.

and to where the direction of the light falls over an object will affect how we measure, scale, and shade. To play close attention to detail is also a preference during this step.

Images 1-2| Scale -Proportion Object - enlarge object 3-6| Gesture, Impression 1|

2|

& Shadow Live drawing

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Mid-term Project

3D Abstraction Painting

55

Osiris and Isis by Anselm Kiefer

The Birthday by Marc Chagall Guernica by Pablo Picasso

Adam et Eve by Francis Picabia

Guernica

by Rexy Jonathan (xaverius_298@yahoo.com) Instructor : David Hutama For this task, students are asked to think ab-

Next, was the 3D construction process created

stract upon the paintings that was choosen for

through an acrylic from the past lesson where

the three dimensional adaptation. First step is

each of the students are assigned to form and

to decide the artist of the paint according to

weave a abstract 3D shape from an acrylic,

their style. In here, I chose to go with Pablo Pi-

where each hole is created in certain edges of

casso’s Guernica from cubism era, then I con-

the acrylic, thus creating a 3D space

tinued to decide one of his works that would be chosen as a reference for the 3D construction.

The last step requires the 3D space from acryl-

After the work is selected, then the process of

ic to be turned into a physical abstraction of

observing the composition and element from

3D miniature with the exact size and scale us-

the painting takes place. In the work, it was de-

ing dowels as main structure. All the shape and

scribed on how the work consist of straight line

forms of the miniature must in-line with the

elements, flat areas, repetition, how each object

beginning intention in regards with the select-

in the paintings are located, and so on so forth

ed work of painting. Once the frame is done,

Images 1-3| GUERNICA Abstraction Mock-up 4 GUERNICA Outfit’s Sketch

the next step is to cover the miniature with a

5| THE BIRTHDAY

Meanwhile, the next iteration was that for the

façade, here I used cardboard on some places

Outfit

work to be presented on a board consisting the

of the miniature to strengthen the 3D form.

6| THE BIRTHDAY

background, composition, and elements which

Although it was a challenge for each to students

7| THE BIRTHDAY

had been observed beforehand.

as the façade must not use any adhesive to con-

Mock-up

nect the materials with the frame.

Outfit’s Sketch

Stage Mock Up

8| THE BIRTHDAY

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The Birthday

by Louis Osvaldo Xavier (louisox04@gmail.com) Instructor : Andreas Yanuar The Birthday, a work by March Chagall tells

The character of the husband represents gen-

the story about a husband and wife where the

tleness, lightness, and the impression of float-

husband wanted to surprise his wife upon her

ing, while as the wife are his opposites –stiff,

birthday with a kiss and a bouquet of flowers heavy, and mostly in geometric shape. From from behind. This was done by the husband here on, the abstraction form 2D to 3D using bending his neck to reach for her. The different

thread technique connected from one acrylic to

character of each husband and wife became an

another forming 3D shapes.

inspiration and soon adapted into the ideal of 2 different character of rough and soft.

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Osiris & Isis

by Elisa Utomo (ellisautomo@gmail.com) Instructor : Christian Santoni Taking from the work of Anselm Kiefer enti-

While the design of the outfit are focused on

tled ‘Osiris and Isis’, are the elements that rep-

the linear elements by physical appearance, the

resent the story behind the works –repetition,

linear elements are less shown. The stage are

linear, central, and focal point. Using dowel as

set into a more interactive stage ambience, by

the frame of the prototype and weave each

arranging the dowel upwards creating rooms to

Outfit

dowel with another using joints to create the

correlate with the outfit.

4| ADAM ET EVE

built focal point focusing on heart. By putting

1| OSIRIS AND ISIS Outfit 2| OSIRIS AND ISIS Abstraction Mock-up 3| OSIRIS AND ISIS

Abstraction Mock-up 5 ADAM ET EVE Outfit 6 ADAM ET EVE Outfit

the focal point on the heart, the linear elements are placed stretched from arms and centred towards the chest.

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Images

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Adam et Eve

by Natasia Gunardi (gunardi_natasya@yahoo.com) Instructor : Glenn Hartanto Choosing from the art movement of Dadaism

From there I reconstruct the work using the

–Adam et Eve, a work by Francis Picabia, the

basic architectural elements there is. Using the

work then processed into physical abstraction

same technique, thread to create space through

in 2D and escalated to 3D installation for both

acrylics. Then after the 3D process, the out-

stage and outfit prototype. From Adam et Eve

fit construction and stage design is based on

then I took 3 fundamental principles that make

the idea of simplicity, as in which is shown

up the Adam et Eve painting –Transparency,

throughout the painting. Thus resulting both

juxtaposition, contrasting effect, symmetri-

the stage and outfit to obtain the simple geo-

cal-asymmetrical, the line that which created

metric shaped design.

the area.

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Final Project

Geometric Play

61

Guernica

by Rexy Jonathan (xaverius_298@yahoo.com) and team Instructors : David Hutama, Raymond Gandayuwana Before the final call on stage, there are some

for its strong fibre and structure for housing

few adjustments that needed to be done as a re-

has become a choice for the frame of the stage.

quirement to perfect each part, whether it’s the outfit, stage setting, or the movement. Especial-

The last stage for the project involves cho-

ly for the outfit, it has become one of the most

reography. All the movement are observed

setback the team had to face with. The team had

and inspired based on the essesnce and

undergone many changes and consumed quite

background of the paintings. There were

an amount of time. In terms of material, it was

several revisions on the choreography as

quite difficult to find a material that would suit

it plays an important role to convey the

the outfit, which would solve the design prob-

message of the paintings to the spectator.

lem. Aside from the outfit, details in the outfit at the stage played an important role to define

As final touch a contrast of element was given

and mobilise the outfit, as well as considering

to distinct one elements with another, result-

the ergonomics of the outfit for the performer.

ing differences shown when the neon light was turned on. on the outfit, metallic papers

The stage for the performance had skipped a

are used to reflect the light and glow as it is

few revision regarding designing the space as

attached on the outfit. This is of course, ex-

main criteria, which also function as an inter-

ecuted with another extra help from 3 stage

action venue between the performer on stage

lights. Overall, the performance is backed up

and spectators. While performer’s safety must

with an illustration music from The Books,

be put into consideration, the material played

entitled “Enjoy Your Worries You May Never

an important role to as it needs to withstand the

Have Them Again”.

weight of the performer. Pine wood, known

63

Images 1|GUERNICA PLAY Scene Process 2| GUERNICA Stage Making Process 3| THE BIRTHDAY Outfit’s Making rocess 4| THE BIRTHDAY Stage Making Process

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Stop Motion :

Geometric Play - Guernica Youtube link : https://www.youtube.com/watch?v=iAX8ZS2wIh4

1’’

15’’

1’

1’ 15’’

2’

2’ 15’’

3’

3’ 15’’

65

30’’

45’

1’ 30’’

1’ 45’

2’ 30’’

2’ 45’

3’ 30’’

3’ 45’

66

The Birthday

by Louis Osvaldo Xavier (louisox04@gmail.com) and team Instructor : Andreas Yanuar The birthday, a work by Marc Chagall tells a

For our play, the interpretation of Marc Cha-

story about how a husband surprises his wife

gall, The birthday we took 2 main characters

on her birthday with flowers and a kiss to his

–husband and wife– and unite them on stage in

beloved wife by bending and extending his

a form of square and round, representing the

neck. The characters, wife and husband are dif-

characteristic of stiffness and flexibility. In or-

ferent especially through their way of express-

der for the play to interact with the background,

ing it. From the differences of the characters

we created the background to form as a timer

then do we take into consideration as the main

for the play. The play adopted the 2 characters

play for the stage on geometric play.

in order to transform into one and to bring the message to the spectator.

Character, the husband was developed from the soft, lightweight, and floating impression, from

Background songs by John Cage, In a Land-

here also shown that the shape of the man is

scape as well as fluorescent based paint and UV

not like any other average human body form.

light for both stage and outfit-installation are

The man wanted to unite with his wife whom

essential to the play as it represents the play as a

developed from stiffness, heavy, and geomet-

whole. Ending the play as how it should be –the

ric impression –a comtplete opposite to one

husband unites with his beloved wife.

another. At the end of the story, the husband unites with his wife with a kiss, causing her to emit a surprised reaction.

67

Images 1| THE BIRTHDAY Stage Mock-up 2| THE BIRTHDAY Outfit’s Making rocess 3| THE BIRTHDAY Stage Making rocess 4| THE BIRTHDAY Stage’s Material

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Stop Motion :

Geometric Play - The Birthday Youtube link : https://www.youtube.com/watch?v=V3kdooyjMtM

1’’

15’’

1’

1’ 15’’

2’

2’ 15’’

3’

3’ 15’’

69

45’

30’’

1’ 30’’

1’ 45’

2’ 30’’

2’ 45’

3’ 30’’

3’ 45’

70

Osiris Osiris and and Isis Isis

Osiris and Isis

by Elisa Utomo (ellisautomo@gmail.com) and team Instructor : Christian Santoni The project is part of the continuations of the

Both the stage and outfit derived from the lin-

past project, in which before the outfit and

ear and centred composition within the works

stage arrangement and design was chosen from

entitled Osiris and Isis. Within the play, the 3

my works. The project involved a group con-

main cast will each wear the outfit whereas each

sist of 18 members whereas the two groups are

outfit is different in terms of materials used on

divided into 2 divisions, ‘outfit’ and ‘stage’ divi-

each outfit.

sion. The main idea of the play is to retell the journey that revolves around life, death, and the

Osiris and Isis, a play accompanied with Mus-

afterlife. Within the play consist of 3 main cast,

sorgsky’s ‘Pictures at an Exhibition’ centres a

8 additional cast as background figure which

story from Egyptian mythology of Osiris and

will also affect the play.

Isis. The play takes off with no light, thus the outfit and stage will be the source of light.

The stage and outfit mainly consist of geomet-

By using LED lights attach to the constricted

rical shapes of a triangle, arranged in circular

part and controlled through the back stage,

motion surrounding the stage to the centre.

the light will play as hints and direction of

The stage’s elevation also played an important

the storyline to the spectators. The additional

role as it defines the stage of life and the climax

cast whom played behind the cast took the

within the story.

task of supporting crew of each main cast’s movements.

71

Images 1| OSIRIS AND ISIS Stage 2| OSIRIS AND ISIS Outfit’s Designing rocess 3| OSIRIS AND ISIS Stage Making rocess 4| OSIRIS AND ISIS LAY ractice

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Stop Motion :

Geometric Play - Osiris and Isis Youtube link : https://www.youtube.com/watch?v=fOsTvdtlXxM

1’’

20’’

1’ 20’’

1’ 40’’

2’ 40’’

3’

4’

4’ 20’’

73

40’’

1’

2’

2’ 20’’

3’ 20’’

3’ 40’’

4’ 40’’

5’

74

Adam et Eve

by Natasia Gunardi (gunardi_natasya@yahoo.com) and team Instructors : Glenn Hartanto and Ari Widio The final project this time is titled Adam et

position, transparency, and contrasting effect.

Eve an original work by Francis Picabia which

To be able to perform the 3 fundamental prin-

will be one of the geometric play that was per-

ciples, we used 2 different and contrast color –

formed during the final group project on Basic

black and white. By using light and 2 colors, the

Studio Design 2. The development of the work

performance by then played literally through

itself is processed into a set of outfit and stage.

physical gesture and movements done by 2 cast

The form the masterpiece painting of Adam et

in the designed outfit.

Eve, we took 3 fundamental principles –juxta

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Images 1|ADAM ET EVE Outfit close view 2-4| ADAM ET EVE Stage Making rocess 5| ADAM ET EVE LAY ractice 6| ADAM ET EVE Outfits and Stage rototipe

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Stop Motion :

Geometric Play - Adam et Eve Youtube link : https://www.youtube.com/watch?v=V4sf6zv0ziU

1’’

21’’

1’ 21’’

1’ 41’’

2’ 41’’

3’ 1’’

4’ 1’’

4’ 21’’

77

41’’

1’ 1’’

2’ 1’’

2’ 21’’

3’ 21’’

3’ 41’’

4’ 41’’

5’

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The atmosphere and activities of the students, lecturers and visitors during the exhibition of Geometric Play.

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STUDIO DASAR DESAIN 1 2016 Coordinator : Raymond Gandayuwana Instructors : Andreas Yanuar, Undi Gunawan, Raymond Gandayuwana, Santoni, Ardy Hartanto Basic Design Studio 1 / Studio Desain Dasar

time. The physical model is constrained within

1 (SDD1) is the first semester studio class for

15x15x15, 30x30x30, 45x45x45, and progres-

architecture student to introduce the basic

sively to 60x60x60cm boundary. The use of

knowledge of: drawing, model making, design

glue is prohibited, which ask students to ma-

principle, and abstraction. All these basic de-

nipulate edge and corner in order to produce

sign skill and knowledge is trained through

a composition and become character of the

intense exploration of form that divided into

form itself. The drawing and Illustration need

four main assignment with specific topic: Geo-

to be layout in A2 or A1 paper with a given

metric Form, , Figurative Form, and Transfor-

required content. All drawing was required to

mative Form.

be constructed with at least three different line

The first assignment is filled with hardline

thickness to create sense of depth.

drawing exercise to represent sharp edges form. Series of study model from paper, balsa,

Some works that is shown in the following

acrylic, wood sticks, and string is produced as

pages shows the strong relation between draw-

progressive options to achieve a complex form

ing and model making. Drawing is produce to

that reflects design principle: Axis, Hierarchy,

study the form and the model is produced as an

Symmetry/Asymmetry, Datum, Rhythm (Rep-

instrument to be analyzed and represented in

etition). While the last two assignments, leans

2D. The repetitive, fast, and highly demand of

toward freehand drawing exercise to represent

production, is given to make the process more

curve edges. Plan and section became crucial in

tactile. The production of composition of ba-

order to study shape and composition of or-

sic geometric, nature and organic shape, and

ganic form and sport movement.

changes in movement are fundamentally asked the student of how a form is constructed.

The outcome of assignments is strictly controlled and need to be produced with limited

Raymond Gandayuwana

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Single Geometry

by Sebastian Brian (sbrian58@gmail.com), Nathaniel Geordy, Laura Tansil (lauratansil@hotmail.com)

For the first task on Basic Studio

ing, floating, mid-floating. From then will the

Design 1, students were given a lesson on the

student begin on making a miniature to rep-

basics of drawing which mostly referring to

resent their ideas a design. Using beermat as

axonometric and isometric drawing. Students

main material the organization is formed into

also learnt how to make different varieties of

basic shapes. It is important to note at during

2D pattern to create cylinder, ball, and cone.

the process of construction, students are not

For the final project, each student is required

allowed to use any adhesive as a connector.

to pick one theme from over all theme, sink-

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Images 1| Axonometric Drawings 2| 3D models 3| Technical drawings

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Images 1| Conecpt Presentation 2-5| Conceptual Models 6-7 | Final Models 1|

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Combined Geometric Form

by Laura Tansil (lauratansil@hotmail.com)

Second project begins with drawing

sion, so to bind and connect each object the

a copy of original building given by the in-

student will have to use either joints, wire, or

structor. The buildings’ drawings consist of the

cable ties as their option. In this project ses-

plan, 4 different side views, and 4 axonometric

sion all students are required to learn symmetry

drawings as well. Then after the architectural

pattern, shape, and movement as the base to

drawings are finished, students are required to

understand what kind of shapes does each stu-

make a miniature dimension of 30 centimetres

dent’s miniature needs. In resulting to the end

in cubic. The main elements are lines and flat

of process, which is an extraction from pas de-

surfaces with using only sticks and beermat.

velopment, plywood, infra-board, and acrylic.

Using adhesive are also forbidden in this ses-

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Images 1| Study model projections 2| Final model presentation 3| Model Portfolio

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A table filled with a student's presentation of the models. From the conceptual models into the final model.

90

Figurative Form

by Laura Tansil (lauratansil@hotmail.com)

Different from past themes which

tative sample miniature with wires and sticks

uses the composition forms of stiff shapes

as main elements. With referring to Frei Ot-

such as planar and straight line, this time the

to’s works, each student is assigned to create

3D shapes will be formed into organic shapes.

a membrane structure. What most important

Beginning from architectural drawings of 3

is that each student must pay attention to the

side views and 2 sections from 3 different

alignment, repetition, rhythm, and symmetry/

fruits. Then after all processes are done, each

asymmetry of their work. As final product, a

students are obligated to choose 3 drawings

3D built mock up frame bearing the same con-

from the overall drawings to make a represen-

cept in a 45 centimetres cubic volume.

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Images 1| Technical drawings of a fruit 2| Model from drawings 3| Abstraction using natural objects

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Images 1| Conecpt Portfolio 2-3| Conceptual Models 4 | Final Models

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Transformative Form

by Laura Tansil (lauratansil@hotmail.com), Jacky Pan (phua.jacky@gmail.com)

Last project for Basic Studio Design

drawn on a transparent plastic paper as the first

1 was to create a dynamic 3D mock up sample.

hand lesson of movement, then used the same

As per requirements that the final result must

concept and materials from previous project.

end from static to organic. The basic concept

The final result was performed in a 45 centime-

of the design is taken from sport movement

tres in cubic, performing movements of slide,

such as pole vault, butterfly swimming, and

twist, and spin.

so on. As first procedure, the movement was

1|

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Images 1|Transformative Form Study 2| Movement Study Model 3| Technical Drawings of the Final Models

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A board of the final transformative model. Drawn to show how the model transforms.

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Another transformative form model, with photos demonstrating the movement of the model (from 1-4).

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Final Presentation

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STUDIO DASAR DESAIN 2 2016 Coordinator : Raymond Gandayuwana Instructors : Andreas Yanuar, Stanley Wangsadihardja, Raymond Gandayuwana, Fernisia Richtia, Ari Widio As a continuation of SDD1, Basic Design

ganized together with Rumah Intaran and Eff

Studio 2 / Studio Desain Dasar 2 (SDD2) ex-

Studio, allowed student to exercise live draw-

plores students’ ability to observe, represent,

ing intensely as a group. Space Organization

and reinterpret space. Space is fundamentally

is a tactile exercise, which is to create a spatial

constructed of horizontal and vertical plane

composition from series of casted cement that

with different height and steepness. Instead of

could express a pair of a given adjective. Space

studying space and form with certain topic as

From Music is an elaborate process for student

in SDD1, students experience and analyze it

to create a 2D abstraction drawing from a mu-

through different point of view.

sic. The selected composition is used to gener-

One point of view is to experience space

ate a physical model and 1:1 installation.

through the following adjective: Inviting vs Re-

There is red-line learning curve for the stu-

jecting, Moving vs Halting, and Accelerate vs

dents in SDD2 , which is to exercise their

Decelerate. The other point of view is to expe-

ability to imagined and positioned themselves

rience space through its atmosphere element:

on eye-level to experience space be it through

light, temperature, sound, smell, and texture,

sketches and drawing, modelmaking, and 1:1

which documented through video-making,

installation. As mentioned in many of architec-

perspective, and orthographic diagram. Visual

tural writing and critics, space always changing

note consists of sketches of plan, section, and

in relative to time, music is used as a metaphor

perspective becomes regular exercise through-

of the spatial procession. While videomaking,

out the semester.

series of drawing, and the 1:1 installation plays

Students works shown in the following pages,

a major role to document students experience.

are the result of their sense’s experience of space. Field Observation to Bali for 5 days is or-

Raymond Gandayuwana

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Definition of Space

by Randy Gunawan (randy.gunawan.95@gmail.com)

Basic Studio Design 2 started with

played an important role in architecture draw-

perspective drawings of rooms within the cam-

ing, thus the students are obligated to learn and

pus of UPH. Later on continued with plan, sec-

understand how to use visual notes. To review

tions, axonometric, and 3D mock up design of

from the past Basic Studio Design, students are

the room itself. After finishing the design, stu-

required to make a 3x3x3 centimetres module

dents are taught on projection drawing of the

of 4 room compositions.

previous plan and sections. Visual notes also

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Images 1| Plan and section projection 2| Perspective drawing 3| Space study model

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A perspective illustration drawn on site, with an A2 paper and charcoal.

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Space Organization

by Laura Tansil (lauratansil@hotmail.com), Randy Gunawan (randy.gunawan.95@gmail.com)

Continuing from the first project, a continu-

arch within UPH’s B building and D building.

ation of the mock up design are required to

As final step of the project, the concretes will

be made into a moulding to create concrete.

be stacked and formed in either linear, radial,

The moulding will be created from plywood.

and centralised composition using sticks and

While waiting for the concrete to dry, students

beermat.

are occupied to draw an A1 ramp perspective

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Images 1| Visual notes of space study 2-5| Exploration drawing and models 6| Final Model

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Visual notes describing the process of concrete casting using multiplex as the mold.

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Images 1| Wet concrete inside the molds 2| The dried concrete and the mold side by side.

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Atmosphere by 2016 UPH Architecture Students

This project introduced us to the

students was given the chance to study pho-

process of creating video, visual notes, and

tography hosted by D’Breeze. Intentionally the

perspective of areas located within the UPH

trip to Bali was executed to raise the student’s

campus. From here on, the students acquire to

sensitivity for not only architecture, but the sur-

make storyboards and scripts as a preparation

roundings or architecture.

for the study trip to Bali. Before the study trip,

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Images 1| Gde Kresna Presentation 2-3| Drawing Activities 4| Capturing Video for the Project 5| Drawing Sunrise

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Images 1| Instagram Feed of 2|

Group 3 2| Perpective Drawing 3| Visual Notes

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The book created by the students which consists of drawings exploring Rumah Intaran.

Space from Music by 2016 UPH Architecture Students

The last project will be covering

choosing, students are formed into one major

overall song meanings by King Crimson enti-

team consisting all students into one team, with

tled Requiem, then later on would be extracted

the purpose to create a single 3D final module

into 2 mock up design abstraction. From all of

in size of original size, in scale 1:1. The process

the mock up design, the students are required

to the final starts from making and choosing

to choose only 1 design from all the students.

the best of best module of each students.

By voting, then the leader will be decided. After

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Images 1| 2 dimensional abstractions from the music 2-3 |1:10 Model Building 4| Final 1:10 Model

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Images 1-2| Construction for the installation by the students 3| A 3D render of the installation

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Final Presentation

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Inside the Installation

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