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Ruth Jahja interior architecture

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Page 1: cover letter/resume/work samples

Ruth Jahjainterior architecture

Page 2: cover letter/resume/work samples

Ruth Jahjainterior architecture

Page 3: cover letter/resume/work samples

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

COVER LETTER

May 19, 2011

Dear Sir/Miss,

After more than four years to achieve a Bachelor of Fine Art for Interior Architecture, I would love to purse a career in design field by working in you company.

At Woodbury University, I familiarized myself with tools and materials that are essential to create and present a design project. For my classes, I was required to use AutoCAD as a 2D production, Rhino with Maxwell Rendering for 3D modeling, and Adobe CS to create a presentation of my project. Addi-tionally, during my spare time, I learned to work with DSLR and polish my hand sketching and render-ing with multiple mediums because these skills allowed me to visualize my concept and ideas. During my last semester at Woodbury, I used these tools to deliver my research in form of senior project, which won the Award of Design Excellence and was chosen to be presented at the IIDA Student Exhibition.

While Woodbury gave me the theoretical foundation to excel as a designer, my work experience as an intern at Greenmeme has given me the opportunity to use that foundation in a real-life project. At Greenmeme, my project was to help the artists to prepare for the production and installation of their temporary performance pavilion in Long Beach. This internship not only allowed me to participate in the process of transforming conceptual models and drawings into a finish installation, but also showed me the value in working as a team.

Given my academic background and internship experience, I am confident that I will be a valuable addition to your organization. Along with this letter, I have also enclosed my resume and my portfolio to give you an outline of my qualifications and the quality of work that I did in college. For other ad-ditional information regarding my interior architecture portfolio, you can visit my personal web site at http://issuu.com/ruthjahja. I appreciate your time and consideration and look forward to hearing back from you soon. If you have any questions, please do not hesitate to contact me at (626) 841-0953 or [email protected]

Sincerely,

Ruth Jahja

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Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

EDUCATIONS

PROFICIENCIES

WORK EXPERIENCE

GreenmemeMay-August 2010 as InternAssisted in production and installation of Urban Lab: Chantilly Clad (Long Beach)

AWARDS

2011 Award Of Design Excellence for Excellence in 4th Year Design, Woodbury University2008 Walter-Putnam Memorial Award for Architecture for 2nd Semester, Pasadena City College2007-08 Dean’s Honor, Pasadena City College

RESUME

SoftwaresAutoCAD, Rhinoceros, Maxwell (rendering), Adobe Creative Suite (Photoshop, Illustrator, InDesign)

Physical Model MakingWood, foamcore, acrylic, chipboard, and cardboard

Other Presentation SkillsHand drafting and freehand drawing with multiple mediums, digital photography with DSLR

LanguageIndonesian (Fluent)

EXHIBITIONS

2011 IIDA SoCal Student Design Exhibition at OTIS College of Art and Design Represent Woodbury University for the exhibition of design student’s thesis projects.

2011 Fresh Produce 2: Photographic Exhibition for Woodbury University photography class Display of Advance Photography final project. Currated by Niku Kashef.

REFERENCES

Freyja BardellPrincipal, [email protected]

Annie ChuFaculty, Woodbury [email protected]

Woodbury University2008-2011 Bachelor of Fine Art in Interior Architecture

Pasadena City College2006-2008 Associate of Art in Architecture

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INTERNSHIP

Urban Lab: Chantilly Clad by GreenmemeOcean Blvd and Lime Ave, Long Beach

Chantilly Clad photographs,taken by Moses Hacmon

FRESH PRODUCE 2

Physical model making samples

Annual exhibition to showcase the latest photographic works from students of beginner and advance photog-raphy class that currated by Niku Kashef.

Students participation not limited only to work but also for the installation of the exhibiton space.

Job description:

Build representational model of the structure.Construct shop drawings for canopy and deck.Fabrication of lace pieces for canopy and the deck.Guide volunteers during lace and decks fabrication.Design a lace pattern.Install lace pieces to canopy’s steel structure.

Hand drafting and freehand drawing samples

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PORTFOLIO

Senior ThesisWoodbury University

Annie Chu and Michael Matteucci

Fall 2010- Spring 2011

ISLAMIC CULTURAL CENTERA study of narrative spaces

Site: Partish of St. Matthews,Pacific Palisades, CA

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Conceptual renderings of the front exterior facade

Photographs of the 1st conceptual model

Conceptual renderings of the side exterior facade

Photographs of the 2nd conceptual model

PROJECT DESCRIPTION

One can argue that architecture has the unique quality to manipulate viewer’s emotional response through haptic and other physical experiences. This abil-ity when combine with narratives have been utilized by churches and other institutions to convey their ideology and to create environments that ma-nipulate viewers to agree with their point of view. Thus this Islamic cul-tural center is design as an attempt to change the bad perception Muslim com-munity has garnered ever since 9/11.

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DESIGN PROCESS

The design first manifest itself in form of line diagram, a simplified version of Islamic history. This diagram then translated into 3 dimensional concep-tual model that later integrated into the existing site. After several tweak-ing and adjustments of the big archi-tectural gesture, the cultural center design then move into much smaller details and patterning that becomes a reminiscence of Islamic architecture.

Photographs of the 2nd conceptual model

American Muslim Post 9/11

Islam becomes syn-onymous with terror-ism and spread of violence. As a result, Muslim American be-comes the subject of prejudice and discrimi-nation.

9/11/2001

The Decline of Islam

The end of Islamic Golden Age start from the crusade, follow by Mongol Expansion, and the rise of Otto-man Empire.

1260 onwardThe Golden Age

Islam achieve the highest period un-der Abbasids Em-pire where Islamic expansion spread throughout the world and prosper-ity that allow ad-vance culture, arts, science, architec-ture, etc.

650-1260

Arab Expansion

After the dead of the Prophet, several ca-liphs lead Arabic Mus-lim community. The second caliph initi-ated Islamic expansion throughout the ancient world which resulted in the fall of Palestine, Syria, and most impor-tantly the captured of Jerusalem in 638.

Muhammad the Prophet

In the next 12 years Muhammad would spread his preach-ing in Mecca until he moved to Medina due to the threat from trad-ers from his native city. In the rest of his lifetime, Muhammad would establish sepa-ration between Islam with Judaism and Christianity, conquer Mecca, and completed his preaching.

A Man’s Journey

Muhammad was born around 570 A.D. in Mecca. When he was ap-proximately 40 years old, he re-ceived revelations that become the basis of Islam.

570-610

611-632

632-660

Diagram of Islam history with descriptions of each periods

Photographs of the 2nd conceptual model

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Short Section 2

Short Section 3

Short Section 1

PlansSECTION A-11/8" = 1' - 0"

SECTION A-11/8" = 1' - 0"

SECTION A-21/8" = 1' - 0"

SECTION A-31/8" = 1' - 0"

SECTION A-41/8" = 1' - 0"

SECTION A-51/8" = 1' - 0"

SECTION A-61/8" = 1' - 0"

SECTION A-71/8" = 1' - 0"

SECTION A-81/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

SECTIO

N B-1

1/8" =

1' - 0

"

SECTIO

N B-2

1/8" =

1' - 0

"

SECTIO

N B-3

1/8" =

1' - 0

"

SECTIO

N B-4

1/8" =

1' - 0

"

SECTIO

N B-5

1/8" =

1' - 0

"

SECTIO

N B-6

1/8" =

1' - 0

"

SECTIO

N B-6

1/8" =

1' - 0

"

SECTIO

N B-7

1/8" =

1' - 0

"

SECTIO

N B-8

1/8" =

1' - 0

"

SECTIO

N B-9

1/8" =

1' - 0

"

SECTIO

N B-

1/8" =

1' - 0

"

SECTIO

N B-10

1/8" =

1' - 0

"

Unfold wall of first exhibition space

followed by a story of rejection,betrayal, and successful conquest

Unfold wall of second exhibition space

the narrative begin withone Man’s humble journey

MEZZANINE FLOOR PLAN1/8" = 1' - 0"

OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

BASEMENT PLAN1/8" = 1' - 0"

CLASSROOM

RESTROOM

CLASSROOM

TEACHEROFFICE

RESTROOM

TEACHEROFFICE

SEATINGAREA

SEATINGAREA

EXHIBITION OFHAREM SERIES

BY LALLA ESSAYDI

EXHIBITION OFGHOSTS

BY KADER ATTIA

EXHIBITION OFPAINTING

BY ASMA AHMED SHIKOH

GROUND FLOOR PLAN1/8" = 1' - 0"

A-1

A-2

A-3

A-4

A-5

A-6

A-7

A-8

LOBBY

RECEPTIONIST/OFFICE

OFFICE

CONFERENCE

STORAGE

SEATING

BEGININNIG OF ISLAMEXHIBITION EARLY ISLAMIC

EXHIBITION

GOLDEN AGEOF ISLAM

EXHIBITION

THE DAWN OF ISLAMIC CULTURE

EXHIBITION

OPEN �TO BELOW

OPEN �TO BELOW

MEZZANINE FLOOR PLAN1/8" = 1' - 0"

OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

ROOF PLAN1/8" = 1' - 0"

A-8

B-1

B-2

B-2

B-3

B-3

B-4

B-2

B-5

B-6

B-7

B-8

B-9

B-10

Material pallete

BASEMENT REFLECTED CEILING PLAN1/8" = 1' - 0"

Basement RCP Ground floor RCP

Furniture selection

WALL SCONE

LED RECESSED RECESSED FLUORESCENT STRIP

TRACK LIGHTING

Light fixture selection

CONCEPT

The story will unfold in series of exhibitions that represent the linear movement of time in spiral manner which delivers the narra-tive through the use of symbolism, forms, patterns, materials, different qualities of light, and relationship between the exist-ing structures versus the newer additions.

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Short Section 2

Short Section 3

Short Section 1

SECTION A-11/8" = 1' - 0"

SECTION A-11/8" = 1' - 0"

SECTION A-21/8" = 1' - 0"

SECTION A-31/8" = 1' - 0"

SECTION A-41/8" = 1' - 0"

SECTION A-51/8" = 1' - 0"

SECTION A-61/8" = 1' - 0"

SECTION A-71/8" = 1' - 0"

SECTION A-81/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

Series sections of gallery spaces

Series sections of second series of ramps

Unfold wall of first exhibition space

Unfold wall of second exhibition space

the narrative begin withs humble journey

Unfold wall of third exhibition space

Unfold wall of fourth exhibition space

Perspective of fifth gallery space

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Photographs of detail model

ENTRY

The importance of entry area is not only as the gate and reception to ex-hibition of foreign culture, but to cre-ate welcoming and ease the transition between the interior and exterior spaces. Conceptually, to explain the narrative of Islamic culture, it is impor-tant to incorporate Christianity as the beginning just like how the Quran have incorporate old and new testaments. This idea is translated into different materials that reaching from inside and greet visitors who enter from the stair and/or ramp while the exterior pavement materials will bleed into the interior lobby. To lead visitors further inside, the exterior office materials will continue inside while the exterior canopy will breach outside and play with the idea of exterior and interior space..

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IIDA Southern CaliforniaStudent Design Exhibition

05/10/2011

OTIS College of Art and DesignAhmanson Hall

Display from Woodbury University

Exhibition display for thesis project

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PORTFOLIO

Studio 4Woodbury University

Nina Briggs and Tracy A. Stone

Spring 2009

PROJECT DESCRIPTION

Go Green is the most famous slogan one could hear now days. Smart Car is one of many manifestation of it in automotive industry. The site will not only be merely a place to rent a smart car for Woodbury students, but more as an experience cen-ter that transform SmartCar and the concept behind it into haptic experience.

SMART HEIRA Smart Car dealership

Site: Woodbury University LibraryBurbank, California

Rendering of main seating area

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

DIAGRAM, LOGO, and MERCHANDISE

SmartHeir is designer reinterpreta-tion of Smart Car which has a youthful design with consciousness of sustain-ability with persona of luxury from its Mercedes Benz heritage.

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CONCEPT

For the branding purposes of this showroom, designer attempt to ap-peal to the student identities of Woodbury University as young and hip people with desired to be sus-tainable yet desired a certain de-gree of luxury that they achieve from enrolling in private university.

South Section

smart heir

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PORTFOLIO

Studio 7Woodbury University

Mattew Gillis and Leigh Christy

Fall 2010

PROJECT DESCRIPTION

This music education/recording/and performance space is where classi-cal music that represented by string instruments meet the popular music in today’s culture. By bringing the dis-tinctive qualities from each genres, one could create beautiful, new, and unique music that appeal to different group of people. The visitors and venues of Downtown Artwalk are the perfect market for this type of collaboration.

CLASSICAL HIPMusic Education/Production/Per-

formance

Site: 548 S Spring St, Los Angeles

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

DESIGN PROCESS

Using simple obloque triangle that rotated, reflected, and multiplied, one were asked to create a field of pattern. These pattern then translated into 3D patterns and become the organizational and detail sys-tem of the project.

Light study with charcoal of the main performance space

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SECTION A-31/8" = 1' - 0"

SECTION A-41/8" = 1' - 0"

SECTION 11/8" = 1' - 0"

SECTION A-21/8" = 1' - 0"

Long Section

Short Section 1

Short Section 2

Short Section 3

CONCEPT

The classical and the hip will be represent-ed by using two different vamping moves, CUT and SHIFT. Cut is used to define the public spaces while shift is used to rep-resent the private areas. Cut in music is a sense of repetition where the music sud-denly skip back into the beginning that we have already heard. Shift on the other hand, is a technique use in string instruments that involve the change position of hand.

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Detail Section

COLORS, MATERIALS, AND FURNITURES

Inspirations for this project come from nightlife, classical music scene, and the possibilities when two of them collide. Classical music have much more warm colors and materials with linear quality. Hip materials on the other hand are much cooler with radial quality.

STAINLESS STEELFINISH

SOUND PROOFINGMATERIALS

CLEAR GLASS

STAINLESS STEELFINISH

RECESSEDFLUORESCENTTUBE

FROSTED GLASS

GLASS WITHPATTERN APPLICATION

CLEAR GLASS

STAINLESS STEELFINISHEDSOUND

PROOFINGMATERIAL

SOUNDPROOFINGMATERIAL

WOOD FLOORING

STAINLESSSTEEL FINISHED

SOUND PROOFINGMATERIAL

FROSTEDGLASS

STAINLESSSTEEL FINISHED

CLEAR GLASS

EXISTING COLUMN

STEEL BEAM

STEEL BEAM

SOUND PROOFEDCEILING

SOUND PROOFEDCEILING

CARPET

CARPET

CARPET

PRACTICE STUDIO

RECORDING STUDIO

CONTROL ROOM

EDITING STUDIO EXISTING COLUMN

1/2" = 1' - 0"DETAIL SECTION

CARPET

Photographs of detail model

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SECOND FLOOR PLAN1/8" = 1' - 0"

OFFICES

SHAREDOFFICES

CONTROLROOM

EDITINGSTUDIO

EDITINGSTUDIO

READINGAREA

LOUNGEAREA

LOUNGE

OPENTO

BELOW

OPENTO

BELOW

READINGAREA READING

AREA

Second, first, and basement floorplan

FIRST FLOOR PLAN1/8" = 1' - 0"

RECORDINGSTUDIO

RECORDINGSTUDIO

RECORDINGSTUDIO

RECORDINGSTUDIO

RECEPTION

LIBRARY

AUDIOSTORAGE

LIBRARY

OPENTO

BELOW

BASEMENT FLOOR PLAN1/8" = 1' - 0"

OFFICESTORAGE

STAGE

KITCHEN

CAFE

PRACTICESTUDIO

PRACTICESTUDIO

CLASSROOMSTORAGE PRACTICE

STUDIO

STUDIOSTORAGE

BREAKAREA

COMPUTERLAB

CLASSROOM

CLASSROOM

BACKSTAGE

CASHWRAP

HipClassic

Renderings of the main space

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PORTFOLIO

Techtonic 2Woodbury University

Tracy A. Stone

Fall 2009

PROJECT DESCRIPTION

This artist in residence project is made to represent Aya Kato, genius Japanese graphic designer. Other that represent the quality and characterics of Aya Ka-to’s, the project also need to be remove-able, effective, green, and recycleable.

AYA KATO RESIDENCYTemporary artist in residence

Site: Woodbury University Burbank, California

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Short section facing seating area

Long section cutting through private space

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GALLERY FOR A STORY TELLER

Aya Kato believed that her artworks are her way to speak her mind to the world. Thus, her gallery should express this. View-er will passed through series of arches un-til it finally reach Aya’s private place.

CONCEPT

There are several key concepts that can be derived from Aya Kato’s works. The first one is her reference toward ukiyo-e, Japanese ancient woodblock printing that involve layering. Her heavy refer-ence of Japanese cultures such as kimo-ne lead to the use or origami as a mean of structures, to create volume from planar surface. Her art-noveau refer-ance show strong circular center that floating and appear to be lightweight.

Exploded Axons

S-1

E-1

E-2

S-1

S-2 S-2

D-1

D-2

D-3

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PORTFOLIO

Architecture 10BPasadena City College

Coleman Griffith

Fall 2007

PROJECT DESCRIPTION

Rehabilitation can be defined as restor-ing one’s to useful position in society; converting wasteland to useful and habit-able land,; vindication of one’s personal-ity and restoration of one’s reputation. Based on the definition of the program, there will be three different clients for this project: people with disability, non-violent inmate, and the site itself.

REHABILITATION CENTERfor physical disability and

non-violent prisoners

Site: Van de Kamps BakeryLos Angeles, California

commercial

site

school

residential

N

N

12

3

4

5

5

1. Concession area2. Administration3. Small gym4. Equipment Storage5. Spectator Seating

Floor Plan

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Commercial

School

Site

Residential

Site plan

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train

local street

freeway

LA river

site

Long Elevation

Long Section

Short SectionShort Elevation

CONCEPT

The consept for this rehabilitation center is EMERGING for the new addition and RESTRICTION for the existing building.

Train

Freeway

Local street

L.A. River

Site

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PORTFOLIO

Architecture 10APasadena City College

Deborah Bird

Spring 2007

1

2

3

3

3

3

3

1. Refreshment area2. Restroom3. Sleeping pods

Skale 1’=1/8”

Plan

Long Section

PROJECT DESCRIPTION

Sleep is one of the necessity that always being neglected. Many decided to take a nap in various places to satisfied their need, and this salon is dedicated for them. In sleeping salon, people could check in, take a quick yet important nap without the risk of oversleep, enjoy refreshing caffeinated drinks, and continue with their hectic life.

SLEEPING SALON

Site: Old Town PasadenaPasadena, California

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Long Elevation

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DESIGN SOLUTION

The conceptual model become a physical representation of people’s sleep pattern. Two walls that pushed and pulled represent how people try to minimize sleep time with caffeine and alarm while the datum represent the necessary sleep time.

Short Elevation

Short Section

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PORTFOLIO

Studio 3Woodbury University

Leigh Christy

Fall 2008

PROJECT DESCRIPTION

Due to the location of the site, there will be two types of customers that change as day pas by; the office people who en-joy the lunch and other clientele that dine in style. Thus, the ambiance of the cafe will change almost in same period as sky to accomodate the client’s need.

SKY CAFE

Site: Downtown Los AngelesLos Angeles, California

N

Floor plan

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Plan diagram

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2D and 3D DIAGRAMS

The diagrams are made based on pro-gression of shadows throughout the day. It represent 2D via ink on mylar and build in 3D to represent the characteristics of the shadows.

CONCEPT

The radial organization that radi-ate from seating area is based from the diagrams. The artificial landscape is created to recreate the stepping and to emphasize the weight of cer-tain shadows from the diagrams.

South Section

West Section

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PORTFOLIO

Studio 6Woodbury UniversityJoshua Stein and Richard Yoo

Spring 2010

PROJECT DESCRIPTION

Located at the heart of Hollywood, this Artists in Recidence program will attempt to provide a living, produc-tion, and educating areas for different artists and the communities they be-come associated with. This Residen-cies is design for Ball&Nogues, Judy Baca, Suzanne Lacy, and John Malpede.

COMMUNITIES WITHIN COMMUNITY

Artists in Recidence

Site: Hollywood Blvd. and N. Western Ave.Los Angeles

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

WHY COMMUNITIES?

Ball&Nogues, Judy Baca, Suzanne Lacy, and John Malpade were chose be-cause each of them have a very spe-cific group(s) of people that associated with them. During their recidencies, these different communities that might never met with each other would have to interact with one another.

Hand perspectives of entry sequences

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Hierarchy diagram

John MalpedeHomeless Community

Seen as partner

Judy BacaMinority

Seen as helper and source of inspiration

Suzanne LacyWomen and ElderlySeen as helper and source of inspiration

Ball-NoguesArchitecture Students

As voulenteers

NEW HIERARCHY

The hiearchy system for this recidency is based on artist’s point of view toward their predeterminded communities. This new hierarchy system intrestingly reverse the normal hierar-chy based on social class. John Malpede artworks attempt to direct stories from this community with homeless communi-ties as the actor and actresses in his production. Judy Baca and Suzanne Lacy inspired by their communities and need them help produce their works. Ball-Nogues on the other hand need voulenteers of architecture students as a mean of production for their intense physical labor installations.

Judy Baca

SuzanneLacy

JohnMalpede

Ball-NoguesVisual artcommunity

Performance artcommunity

Architectand

Engineer

Painter

Homelesscommunity

Minorityand marginalcommunity

Dancer

Artists and their communities

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CONCEPT

The design for this recidencies were taylored to fits the production and edu-cation requirements which are uniques for every artist and differentiation between working and living areas. For the artists areas, it is hierarchily ar-range based on their relationship with their associated communities. Due to the massive number of people who will use this facility, it is important to give these people a clear sense of direction to where he/she supposed to go.

First Floor FloorplanSecond Floor Floorplan

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Basement Floorplan

Early conceptual models

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PORTFOLIO

InternshipGreenmemeMay-August 2010

JOB DESCRIPTION

Build representational physical model during early stages that use to explain the project to engineers and sponsors.Construct shop drawings for CNC that later used as the template to create the lace pieces.Fabrication of lace pieces for canopy.Fabrication of the decks.Guide volunteers during fabrication.Design a lace pattern.Install lace pieces to the structure.

Ruth Jahja100 North Bonnie Avenue Apartment #3Pasadena - CA 91106Cellphone: 626-841-0953Email: [email protected]

Shop drawings for CNC

Petal A

Petal B

Petal C

Petal D

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Petal C

Petal D

[email protected] | 626.841.0953

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[email protected] | 626.841.0953