DA1 2018-19

SILENT ARCHITECTURE

Silent Meditation, 2018 Bee Breeders Competition

Studio DA1 is going to engage body, space and territory. We will explore territory of remote place as point of departure.
The main intention is learning to look the visible and invisible qualities of things and places. Students are challenged to
make a site-specific project from interpreting the territory, exploring the program to physical architectural space. This
studio esteems work that is imaginative, explorative and speculative.

This year we will look for silent architecture. As a daunting prospect in this modern life, we seem to be losing the act of
silent. Many of us are experiencing hectic lifestyle because the escalation of speed has become contemporary societies
product. This is accompanied by more and more people look on silent meditation as new activity. Silent meditation al-
lows for a greater understanding of yourself by developing a more effective coping strategy for managing stress levels.
Escaping the constant bombardment of media updates, emails and phone calls allows for a drastic increase in effective
concentration and a wider perspective. Allowing you time to re-focus on yourself and your immediate surroundings.
Silent meditation also forces you to talk less and listen more, effectively improving your communication skills and chal-
lenging yourself in a whole new way.

We will work out a competition brief, organised by Bee Breeders in partnership with Ozolini Teamakers. The competi-
tion is asking participants to create designs for a cabin that could be replicated in any number of spots throughout
the forest. The cabin’s main purpose is to help guests enjoy silent meditation, where the only sounds they would hear
would be the sounds of nature. The cabin should have sufficient area for guests to meditate, write, draw, or create using
materials found in nature, allowing them to let go of the external world and reconnect with their souls in nature’s wild
perfection. The silent meditation cabins would need to be able to accommodate just a single person, and offer them
basic and humble living conditions. With competition winners being put forward for consideration for construction,
designs for the The Silent Meditation Forest Cabins should focus on eco-friendly and cost-effective building techniques.

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 Silent Meditation, 2018 Bee Breeders Competition

PROPOSAL REQUIREMENT
• Comfortable living accommodation to a single person for 4-5 days;
• Operational in all seasons - resistant to the elements of heat, cold, rain, snow and wind;
• Non site specific - must be versatile enough to be replicated in different forest locations;
• Recommended construction material - wood;
• Maximum floor area 15m2; Sufficient clear floor area for meditation;
• Small food and water storage;
• Dry toilet reccomended;
• Alternative lighting options (no electricity available);
• Heating system for winter months must be suggested;
• Practice the environmentally responsible and resource - efficient construction methods;
• Low maintenance in terms of both effort and costs;
• Mosquito proof

LEARNING OBJECTIVES
COMPETENCY LEVEL EVALUATION
Tutorial Drawing Model Presentation
LO 1: Explains site engagement with architectural space and the person 20 10 10 20
LO 2: Develop programming - physical architectural space 15 20 10 20
LO 3: Elaborate materials - physical architectural space 20 20 30 20
LO 4: Construct narrative and creative proposal 30 20 20 20
LO 5: Show strong representation for the project (model/drawing/video) 15 30 30 20
100 % 100 %
100 %
100 %

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 1. Ozolini household; Tea storage and tea drying facilities;
2. Forest (Competition Site)
3. Lake Bezdibene

THE COMPETITION SITE

There is no specific location set for the cabins. Participants must present designs for a cabin that is versatile enough to
be constructed in different sites in the forest.

Ozolini retreat is located 100 km from Riga, Latvia in a long-inhabited patch of landscape which features once ex-
tensively grazed and selectively logged mixed-species forest, wetlands, solitary trees, old farms, small arable fields,
meadows, and pastures.

Over the years the forest has gradually turned into ancient woodlands, and become host to all manner of rare plant and
animal species and unique life forms. The forest is impressive in appearance, with huge biodiversity offering a world of
holistic possibilities.

In terms of local topography, the competition site is located on a small ridge and is surrounded by huge Norway Spruce
(Picea abies) with only small openings in the canopy allowing sunlight to penetrate the tree crowns. Blueberries (Vac-
cinium myrtillus) spread throughout the area, and during spring time, forest anemones (Anemone spp) flourish in
abundance.

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01 | SILENT CABIN (60%)
BODY-SPACE-TERRITORY

Students analysis the territory: Forest within the potential of the context: living and non-living matters. Conceptual of
meditation space as a reaction of body to the space and space to the body. Research will be carried out by constructing
your story first through a drawing and later in three-dimensional model. Using narrative to explain the stories of the
characters, spaces and atmospheres you encounter. A combination of open exploration to context, programming and
materials will inform your understanding of site and establish the basis for the programme. Aims to achieve poetic of
the project into physical architectural space. Find out how tectonic with primitive/traditional method and local material
structurally help to achieve a form, space and order of an architecture.

Project type : group (3 people)

Competition registration : https://silentcabins.beebreeders.com/

CRITS: OUTPUT:
Pechakucha (18 September) (10%) Powerpoint: (3 mins) (1-3 images per slide)
context, programming, material, space, body, concept

Cross Review (UTS, 16 October) (30%) Drawings (1 drawings in 1 A2): site, plan, section, elevation (1:50), architec-
tural concept, space atmosphere, material, and building systems (axonom-
etry).
Models: Site + Massing study (1:25)

Submission (02 November) (20%) 4 A2 landscape, submit to https://silentcabins.beebreeders.com/

• Plan, Section, Elevations; (suggested scale 1:50)
• Enlarged sections and elevations highlighting key spaces or relationships;
(suggested scale 1:10)
• Details: (suggested scale 1:5) • Envelope • Key materials
• Site or landscape
• Axonometrics providing information on building systems or illustrating
key architectural concepts;
• Diagrams: Circulation • Public versus private space • Lighting • Land-
scaping • Energy systems
• Perspectives: • Primary interior spaces • Primary site locations

02 | SILENT ARCHITECTURE (30%)

We continue to work with the competition site. Now the project is growing into a permanent living space for two peo-
ple. One person have the silent meditation habit and another one with his/her unique personality. We challenge the
students to rethink a new proposal for this architecture. The maximum area for this project is 100 m2 .

Project type : individual

CRITS: OUTPUT:
External Review (UAS, 7 December) (30%) • Conceptual Drawing for the proposal (5 A2 portrait)
• Technical Drawing 1:50 : site plan, plan, section (2), elevation (2)
• 5 Physical Study Models (not to scale)
• Site+Project Model (1:50) (50x50 cm)
• Sectional Model (1:20)
• Perspectives: • Primary interior spaces • Primary site locations

PORTFOLIO (10%)
Each student needs to refine his/her images and work together to produce 1 Book Catalogue contains: SILENT CABIN &
SILENT ARCHITECTURE + Class Activity.

Project type : Class collective (12 December 2018)

OUTPUT: 4 copies DA1 books (digital and hardcopy) (A5 size)

UPH Architecture
APPROACH
The studio aims to develop a creative approach to architecture and design through drawing, making and narrative
construction. Students explore their ideas through a range of two and three dimensional techniques:
MODEL-MAKING : Cutting, Crafting, Casting, Molding, Sewing, Milling, 3d Printing
DRAWING : Archigram/Post Digital Illustration, Mapping, Photograph, Coloring.
TEXT : Narative, Video

SEMINAR
28 Agustus 2018 Order Systems by: Andreas Yanuar
04 September 2018 Wood Architecture by: Trianzani Sulshi
07 September 2018 Sun, Wind, Light by: Ferry Gunawan
18 September 2018 Drawing in Architecture by: Dimas Satria

MEDIA STUDIES
07 September 2018 Adobe
18 September 2018 Adobe
25 September 2018 Adobe

KEY DATES
18 September Pechakucha (10%)
16 October Cross Review (30%) (UTS)

02 November Submission (20%)

07 December External Review (30%) (UAS)

12 December Portfolio (10%)

REFERENCE
Main Reading:
1. Brown, G. Z., and Mark DeKay. Sun, Wind & Light: Architectural Design Strategies. New York: Wiley, 2001.
2. Edward T. White, Ordering systems: an introduction to architectural design, University of Minnesota, 1973.
3. Francis DK Ching. Architecture form space and order, John Wiley & Sons, 2007.
4. Juhani Pallasmaa. The Eyes of the Skin: Architecture and The Senses; 3rd Edition, Wiley, 2012.
5. Anthony Di Mari, Nora Yoo. Operative Design: A Catalogue of Spatial Verbs, Consortium Book Sales & Dist, 2012.
Supporting Materials:
1. https://koozarch.com/
2. King, Peter, In Dwelling: Implacability, Exclusion and Acceptance, Routledge S.I, 2017
3. Peter Cook, Archigram, Princeton Architectural Press, 1999 Supporting Textbook
4. http://www.metropolismag.com/architecture/architecture-enters-age-post-digital-drawing/pic/22622/

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CLASS POLICY
Critiques and Reviews. Your instructors expect you to prepare for studio critiques. That means when an instructor
comes to your desk, or when it is your turn to pin up work for group discussion, you should have a specific agenda for
discussion and a clear graphic record of work done since the last critique (e.g., annotated diagrams, sketches, revised)
Studio Attendance. The studio is a regular class meeting. You are to be in the studio during every scheduled day for
the allotted time. When not involved in a group activity, you are expected to work on the assigned project during class
time. There can be no schedule conflicts with other courses or employment. If you must miss a studio meeting, contact
Final Documentation. Following the final review for Project Three, you are required to submit Final Documentation of
all work produced in the studio. This documentation shall consist of a collection of images recording all final material
submitted for a grade on all stages of all projects. Hand work shall be scanned at 300 dpi resolution and submitted
digitally.
Attendance: Academic honesty: Academic rewards:
1. Morning session, time: 8.45-9.00 1. Cheating 1. Never absence in whole semes-
2. Afternoon session, time: 15.45-16.00 2. Plagiarism ter will have extra points
3. Absence more than 8 times, fail the course. 3. Document Falsification, 2. Winner of competition will be
4. Absence / late on exam, max mark is 50. consequences: fail the course automatically marked as: A score

SHOP SAFETY AND EQUIPMENT USE

This class relies heavily on model fabrication at various scales. Therefore you must obtain or renew your Shop Safety
Certification in order to utilize certain power tools and equipment, and you must be certified to gain access to laser cut-
ting and CNC machines. These classes are available immediately, and you are encouraged to sign up for them.

GRADE SCALE & GRADING STANDARD

Your final studio grade will be based on an evaluation of three primary categories: (1) your attendance and the qual-
ity and consistency of your participation in all studio sessions, assignments and activities, (2) the quality, consistency,
intensity and depth of your work, and your level of investigation and development in the refinement of your ideas/
projects, and (3) your comprehension of the content of ARCH306 as evidenced in the technical proficiency and craft of
your work.

Grades will follow University policy, and are defined specifically as follows:
Failing (E): Work fails to meet the minimum course requirements for completeness and/or comprehension.
Below Average (D): Assignments are incomplete and/or of low quality and craft. Very inconsistent or little to no effort
is exhibited. Very little development and meeting few course objectives. Average (C): Completes all assignments with
work of acceptable quality and craft, but with little distinction. Minimum requirements met on time, and course objec-
tives are met. Above Average (B): Completes all assignments with work of high quality and craft. Exhibits significant
levels of development and progress with work, and meets all course objectives. Most work of high quality, energy and
participation.Excellent (A): Consistently produces work of the highest level of quality and craft, and exhibits technical
proficiency and comprehension with distinction. All course objectives are exceeded. Work of excellent quality, energy
and intense involvement.

UPH Architecture
DA1 2018-19

STUDIO UNIT
JACKY ANDREAS FERRY
THIODORE YANUAR GUNAWAN

ANSELL SAMUEL JULIANTO JOSHUA ALFANDO ANKE ARDINE ARDINE

ANDREAS HASIHOLAN ALDO DAFFA PARDOMUAN ARTA KENANG RUSTIAWAN
ANISSA DIPA ANTONIUS PRIYA PRATHAMA CLEMENS SAMUEL UTOMO
CARLA AURELLIA EUBISIUS VERCELLI OCVANTO DHARMAWAN
CHELSEA GRACELYN HALUN JESSICA LEE JASON JOEL CIPTAWIJAYA
EDGARD JEREMY MICHELLIN SONIA WIBOWO JOSHUA MICHAEL SIHASALE
FRANCA KARTASASMITA MUHAMAD YUSUF NYOMPA NATHANAEL CHRISTOPHER NG
GILBERT ANTONIOUS NICOTHEUS GIOVANNI NOVI SYNFAH
JASON ARISTYA WONGSO PRAISELLA HATIJANTO RAIHAN RAMADHAN
RAYKA MARTAWIJANA STANLY ALVIANDO SATYA KRISNADI
WILLIAM CHANDRA VANIA SERRAFINE BUDIARTA SHANIA SALSABILA
YUKI BAYU VALENCIA ANGELITA

ADETANIA DIMAS APRIANI

PRAMANIK SATRIA SARASHAYU

EVANIA HAMDANI JASON LIM ANGGRENY RATNASARI

CHRISTAL YOHANES EDY BARRY JOEL YEHUDA BAHRY DARWIN WINATA
GERARDO LEONARD EL GRANTNADA ROMAULINA EIFFEL CHRISTOPHER
HEIDY LAURENTIA FARISYA YUNANDIRA PUTRI FANIA
JOSHUA FELIX THEO JASON AXEL DARMAWIJAYA FIKRA ABHINAYA DJUHARA
JOVIN JUAN JESSLYN AMANDA KURNIADI HEINRICH BENEDICK
MARCELL CRUXIVISYO MAURITZIO HIZKIA WIDJAJA MICHAEL IMANUEL SUSILO
MARVELIUS RAYNALD LEUNG PASHA MAULANA YUSUF SANDER EKAPUTRA
MICHAEL ANTONIO HALIM PUTROAJI DARMA MAULANA SEPRIANI HEROE
SPAZIO JULIUS HALIM RAYNALDO FEBRIO ISTANTO
SHELLA ANGELICA
THESSALONICCA VENESYA

DA1 2018-19
Studio Coordinator: Jacky T
UPH Architecture