ARCHITECTURE PORTFOLIO 2025 by Florentina Julisa F C

Selected Work From 2021-2024 | Florentina Julisa Friska Cristiani

Florentina Julisa

Friska Cristiani

julisa.friska@gmail.com

Hello,

I am a fresh architecture graduate with a growing interest in research-based design. I enjoy exploring spatial ideas and learning how climate, culture, and human behavior shape spaces. I approach design with curiosity and an effort to build discipline and attention to detail through every project I take on.

SOFTWARES

3D MODELLING

Sketchup

Archicad (intermediate)

DRAFTING

Autocad

RENDERING

Lumion

Adobe Photoshop

VISUALIZATION

Figma

Adobe Illustrator

Adobe InDesign

VIDEO EDITING

Adobe Premier Pro (intermediate)

LANGUAGES

Native Indonesia

Intermediate Fluent English

EDUCATION

| SMA TARUNA BUMI KHATULISTIWA

Actively participate on Physics Competition: 8th and 10th place in Super Physics 2018/2019, 3rd place in the Kubu Raya OSN (National Student Olympiad) and represented Kubu Raya in the Physics OSN 2019 at the West Kalimantan Provincial level.

2017 - 2020 2020 - 2024

| SEBELAS MARET UNIVERSITY

Bachelor of Architecture GPA 3.72/4.00

EXPERIENCE

DEC 2022 - FEB 2023 | SITE ENGINEERING INTERN PP URBAN ON REVITALIZATION OF LOKANANTA

Participated in producing detailed shop drawings and adjusting pre-design architectural drawings to match existing site conditions. Involved in on-site detailing and coordination of shop drawings during construction.

AUG 2024 - DEC 2024 | ASSISTANT ARCHITECT CONTRACT WU CONCEPT

Handled one mid-rise office project during the pre-design phase. Designed and developed floorplans and sections with a focus on functionality and efficiency. Also prepared and presented the initial pre-design concept to the client.

ORGANIZATION

2021 | ARCHEVENT

ARCHITECTURE INTERNATIONAL COMPETITION STAFF

2021 | RUMAH WIJAYA by pemimpin.id PROGRAM ACTIVATION

2022 | ARCHEVENT ARCHITECTURE LIVE EXHIBITION STAFF

2022 | HMA VASTU VIDYA EXPERTICE AND PROFESSION STAFF

2023 | ARCHEVENT ARCHITECTURE COMPETITION STAFF

HONOUR AND ACHIEVEMENT

2022 | ITMBC BEST DESIGN CONCEPT

2022 |SAYEMBARA FESTIVAL ARSITEKTUR PARAHYANGAN TOP 25

2022 | FASTUVEST ARCHITECTURAL COMPETITION TOP 15

2023 | SEPEKAN ARSITEKTUR TOP 3

2024 | AFFAIR UI TOP 10

WU CONCEPT GABON RENTAL OFFICE 1 PROFESSIONAL WORK PP URBAN REVITALIZATION OF LOKANANTA 2

COMPETITION WORKS

ACADEMIC WORKS

SEPEKAN ARSITEKTUR "MULTI-PURPOSE EVACUATION CENTER" | TOP 3 BUMI TEMARAM

AFAIR UI "RESILIENT HORIZON ARCHITECTURE TO CONNECT HOPE" | TOP 15 CONCAVE SOCIETY FINAL PROJECT WATERFRONT AL-MUKKARAMMAH SINTANG PALACE

ARCHITECTURAL DESIGN STUDIO 3 : ART GALLERY LALUAN SEBEJI 6

BUMI TEMARAM

COMPETITION PROJECT | Team

"Instead of following the trajectory of modern technological development, let us return to the

: Caesaria Puspa, Hasna Haura, Sinta Amalia, Belinda Komalasari

Type | EVACUATION BUILDINGS

Location | Cianjur, West Java Area | 2000sqm

SEPEKAN ARSITEKTUR 2023 ( Multi-Purpose Evacuation Center)

TOP 3

The annual earthquakes that occur in Cianjur serve as a reminder that such events are, in fact, part of a natural cycle—an inevitable result of the region’s position along several active fault lines. However, this natural cycle becomes a disaster when it leads to the loss of human life. This raises a crucial question: how can we minimize the risk and impact of such destruction through effective mitigation strategies?

Architectural local wisdom offers a response to the need for structural mitigation efforts across the archipelago. By embracing architecture rooted in local identity, we adopt a mitigation strategy based on the technological intelligence of our ancestors—knowledge that was once responsive to local natural conditions but has not been properly passed down through generations.

Cianjur Disaster Risk Analysis

According to the 2020 Disaster Risk Index for Regencies/Cities in Indonesia, Cianjur ranks as the fourth highest in the high-risk category. This is largely due to the presence of several active fault lines crossing West Java, including the Cimandiri Fault, Lembang Fault, Baribis-Kendeng Fault, Gersela Fault, and Ciremai Fault (PusGen, 2017).

Earthquakes in Cianjur are classified as shallow crustal tectonic earthquakes, specifically of the mainshock–aftershock type—where a major earthquake is followed by a series of subsequent tremors (Mogi, 1963).

Based on the distribution of relocated epicenters and hypocenters, the mainshock was located to the north of the Cimandiri Fault’s Rajamandala segment, while the aftershocks were situated to the northeast of the main event.

High population density contributed to the large number of casualties. In an interview with BBC News Indonesia, earthquake expert Irwan Meilano from the Bandung Institute of Technology (ITB) stated that much of the damage occurred because local buildings were not designed to withstand seismic events. This issue stems from a lack of awareness among both local governments and communities regarding the seismic risks present in their region.

In Sundanese, the word "bumi" literally means "home"—a place to live and to seek shelter. Temaram is adapted from the Sundanese phrase "aram temaram", referring to the twilight glow, a moment when the sky dims yet a trace of light still lingers. This metaphor reflects the fading presence of local identity, which, despite its dimming existence, holds the potential to be revived through architectural innovation and technology.

PROBLEM

Damaged buildings, insufficiently adaptive to withstand horizontal seis-

Construction materials that pose a hazard if they collapse.

The community neglects the value of traditional ,naturally adaptive architecture.

PURPOSE

Reduce the risk of infrastructure damage.

SOLUTION

The uniqueness of construction and structural systems in Nusantara (Indonesian) society.

STRATEGY

Minimize the risk of casualties due to material collapse.

Raise community awareness.

Lightweight materials used in the main body of the building.

Strengthening the traditional aesthetic of the building's appearance.

The main structural point of this building lies in the pile foundation, which has proven to be responsive to earthquakes. Through the adaptation of the existing pile foundation, the building's columns, which would typically crack or break, are only subjected to shaking.

Column “Lingga”

High Resistant Post Base Joint & Screws

I Joint For Foundation Umpak & Sindhik

Concrete Foundation “Yoni” Precast

Column “Lingga”

High Resistant Post Base Joint & Screws

XJoint For FounUmpak & Sindhik

Pondasi Isi Pasir

Concrete Foundation “Yoni” Precast

The grouping of activities into three main stages—PRA: Alert, PERI: Responsive, and POST: Restorative—forms the foundation for defining and meeting spatial needs within the building. Each stage represents the spatial response to disaster conditions, ranging from preparedness to recovery.

A variety of community expressions are accommodated through activities such as cultural events, education, gardening, communal gatherings, etc., reflecting the continuity between spatial functions and social life from pre-disaster to post-disaster phases.

The building structure is designed with consideration for innovation, locality, and adaptation. Timber is used as the primary material due to its light weight, ease of mobilization, and support for efficient construction. The connection system is kept simple and repetitive to facilitate assembly by the community.

This approach is combined with the principles of traditional 'umpak'—stone foundations that elevate the building from the ground—as a form of adapting local technology that has proven to be resilient and environmentally friendly.

Post Disaster Module

The knockdown concept is applied to post-disaster shelters as a response to the need for time efficiency, ease of assembly, and lightweight materials. This system is also adapted to the local context, incorporating traditional Javanese construction and architectural modules to enhance acceptance and local technical wisdom.

Each building module is designed with standard dimensions to facilitate transportation, storage, and flexible space usage. These modules are divided into four types: shelter, communal, economic, and recovery, which can be reconfigured based on activity needs and allow the building to evolve over time in line with the stages of post-disaster recovery.

Types of Joint Connections in Javanese Architectural

CONCAVE SOCIETY

Type |

THEMATIC PUBLIC SPACE

Location |

EAST PALMERAH ROAD,CENTRAL JAKARTA

Area | 9200 sqm

AFAIR UI 2023

(Resilient Horizons : Architecture to Connect Hope)

15

In the digital world, everyone has the opportunity to express themselves, grow, and interact. Technological advancements make it easier for people to access their interests in an instant, anytime, and anywhere. The platform’s diversity of information reflects the diversity of its user individual identities. However, the rapid and efficient transmission of digital data, along with algorithms, has an impact on the usage of gadgets as information sources and inhibits organic interactions. Gadgets become very close platforms to consumers, enabling self-understanding through technology.

According to the ranks third in the social media use. tual world becomes than the real world. is created in the a personal relationship they enjoy. The also reduces one’s society.

the 2018 Global Web Index, Indonesia the country with the longest length of use. Because of its algorithms, the virbecomes more appealing to explore rather world. Without realizing it, a virtual area the digital world that contains data with relationship to each user, including things convenience provided by algorithms one’s ability to adapt and integrate into

Accesibility Neighborhood

Offices Area

The high level of stress in the city due to the culture of individualism and fast mobility, this place could becomes a short escape for society.

Beside The Flyover

The Ferris wheel is a point of interest that can be seen from various sides that are not blocked by the flyover

Ferris Wheel (Machine learning) 10 minutes

Circulation

Location

Intro stage (Hypervision) 10 minutes

Similiar to a convex mirror system, information is collected before reaching the user

Space Syntax 60 minutes

maker

In contras the solution adapts the system of a concave mirror. Humans, with their heterogenity, resulting in repeated reflections of information the expose users to foreign material outside their comfort zone

a phenomenon in which algorithms prefer to offer users items that match their or interests, which can isolate them from people with diverse viewpoints and interests.

user analysis to manage potential relationships with optimized movement efficiency, for interaction space requirements

a holistic approach that involves direct engagement with people enables for the sharing of various ideas and points of view.

the merging of AI, architecture, and humans to create richer, more inclusive, and diversified physical or social environments.

Improve adaptation by learning to think creatively, adjust to change, and deal with uncertainty more calmly.

encouraging human engagement with people who have different points of view and interests.

creating a more welcoming and compassionate environment in which people can feel loved and accepted

1. Intro Stage

Because everyone has various perceptions and interpretations, complex abstractions can be avoided by using storytelling in the form of narratives and visual stimuli.

HYPERVSN MasterBox

HYPERVSN SMART WALL

Comitment To Sustainably Throughout:

Eco-Friendly Materials

Carbon-Neutral Initiatives

Extend Life-Span

Energy Efficiency

1 up to 6 HYPERVSN Displays connected

Less Pixels Used To Create Same High Resolution Imaging Below 50 Watts On Average (Solo Device)

Less Power Than Traditional Digital Signage Such Led/Videowall

Life Time 5 Years

2.

The ferris wheel form is both playful and effective for creating more intimate spaces throughout the project, It simultaneously offers privacy, perfect for short escape. The design maintains a strong concept as a filter for the city. By inviting visitors from all sides, it is respectful of its urban context, and features a series of layout/light that invite the visitor to lightly descend into the world of the interaction.

3. Space Syntax

How does each person experience the possibility in reality that brings them together with other souls? Pattern learning with AI intelligence investigates movement and binding in space-time.

Generate Layout as social space appears as a catalyst, radiating personal interaction with the goal of effectiveness, in both quality and quantity, in which individuals participate.

The circle rail system on the floor can transform the space by adapting the activity, capacity, profile, and interest of the user.

LED lights incorporated into the floor that direct users connected to other users.

Layout Type 4 :

- Public distance zone

- Interact in distance range >12’

Layout Type 3 :

- Social distance zone

- Interact in distance range 4’-12’ <20 peoples

Personification

A = would like to talk about life

B = would like to talk about relationship

C = would like to talk about work

Layout Type 2 :

- Personal distance zone

- Interact in distance range 18”-4’ 7-15 peoples

Layout Type 1 :

- Intimate distance zone

- Interact in distance range 0-18” Pax: 2-7 peoples

WATERFRONT KAWASAN

ISTANA AL MUKARAMMAH SINTANG

Aligning the Role of Nature in the Development of Public Space

Type | WATERFRONT

Location |

Sintang, Wesy Kalimantan

Area | 2000sqm

Final Project WATERFRONT

The indigenous people of Sintang, West Kalimantan, have had a deep connection with the Kapuas River throughout their history. This river has played a significant role in the development of local civilization—serving as a trade route, a center for religious activities, and a medium for cultural exchange. There is a profound bond between humans and nature in this region.

Through this intervention, a space is created where humans and nature can coexist in harmony and meaning. With the river's historical role being valued, it is hoped that a sense of appreciation and reflection will grow regarding the complex and layered relationship between humans and their surrounding environment.

West Kalimantan is often referred to as the "Land of a Thousand Rivers" due to its geographic condition, being traversed by hundreds of rivers. The Kapuas River is the main river, holding the record as the longest river in Indonesia, flowing through several districts.

River Network in Borneo Island

Local Revenue Sector

Kapuas River Network in West Kalimantan

Agriculture, Forestry, and Fisheries

Wholesale and Retail Trade, Motor Vehicle and Motorcycle Repair

Construction

Other Sectors

Business Sectors of PDRB (2023)

Sintang experiences an increase in river discharge due to high rainfall every year. The frequency of this discharge increase can occur more than once a year. The floodwater level can reach up to 10 meters, depending on the area's condition.

The name Sintang is derived from Senentang, which means the Main River (Kapuas River); two tributaries merge into one, namely the Melawi River and the Pembunuh River (Sjamsuddin, 2013:34). The confluence of these three rivers has grown and separated the settlements of the Chinese, Malay, and Dayak communities in Sintang.

The site is located with heritage buildings such as Istana Al Mukarrammah and Masjid Jami Sultan Nata. The site 's orientation of the mass and buildings facing the south or toward the river.

The combination of axes with the site's contours creates a zoning of functional elements, with the horizontal line acting as a connecting node between zones.

The intersection of the horizontal and vertical axes forms the main axis, which divides the functions: the hospitality area on the left and the community area on the right.

The site's intersection follows the development of the landscape and contextual study, integrating visual orientation and circulation as binding elements with the river's edge.

Ten functional points are designed to accommodate various activities throughout the day, providing open spaces with elements of cultural identity.

User access

Universal access

Pedestrian priority

Connectivity of nodes

Spatial movement

Sightline and wayfinding

Image

Historical and cultural symbols

Material variations

Thematic segments

Uses & Activities

Sociability

Spatial value

Activity center

Landscape and waterscape

Diversity of activities

Continuity of activities

Shadow and light brightness

Flexibility of public facilities

Facilities and services

Safety

Water Quality

Reinforcing resistance

Building piles

Tolerating

Adapting

Embankment

The green corridor along the edge of the hardscape forms a transitional zone to the water conditions.

Visual Connection with Surrounding Elements

It creates a visual connection and outdoor spatial experience that attracts visitors.

Riverside as an Interaction Space

The low promenade along the river provides direct access for visitors to the water's edge.

Protecting the Building

With the floating structure scheme, the floating elements help reduce the impact on the floodplain retention capacity, making it an effective strategy in large-scale flood mitigation concepts.

Spatial Condition

This design enhances the spatial connection between land and river, creating an experience that is closer and more responsive to the water's edge.

Tolerating Strategy

This design ensures that transitions in water levels covering the space still maintain its functions and activities, making changes in water levels an integral part of the spatial experience.

As the main hub of public space, this area serves as a recreational point with expansive visual coverage and a distinctive spatial experience. The View Deck area is designed in the form of a ramp that follows varying sight levels toward the river, offering an optimal experience for viewing sunsets.

The View Deck structure integrates a pile system and floating modules in the central area, creating a dynamic and more intimate spatial experience with the water surface. This approach allows users to not only observe but also feel the river's presence directly. This aims to strengthen the emotional and cultural connection between humans and the river, which has long been part of the historical journey of the local community.

In addition to its recreational and contemplative functions, this area is also designed as an open multifunctional space—serving as a display screen and social interaction point, where visitors can enjoy performances, discussions, or other community activities that emerge adaptively according to needs.

The adaptive structure that responds to changes in water flow has long been implemented by the local community in Sintang. This principle is adopted and developed in the design of floating platforms and tourist piers using high-density polyethylene (HDPE) material, which has high durability and a long service life.

The restaurant is designed with consideration for the visual potential towards the river and the spatial needs with a wide viewing range. The main building uses a stilt structure as a response to the riverbank condition, allowing a safe elevation while supporting visual orientation. In the front, a semi-circular deck platform (view deck) is supported by a pile structure, functioning as an immersive transitional space. This area strengthens the visual and atmospheric connection with the river, making the water dynamics a key element in the spatial experience.

Laluan Sebeji

Type | CULTURAL CENTER

Location | Sintang, West Kalimantan

Area | 1980 sqm

ARCHITECTURAL DESIGN STUDIO 3

ART GALLERY

Laluan Sebeji is a heritage and cultural center inspired by the myth of Sebeji Aji, a spiritual figure in the origin story of Bukit Kelam. Rooted in the architectural typology of the Rumah Betang, the project reinterprets this traditional longhouse form through a sustainable and context-sensitive design that aligns with the site’s natural contours and cultural heritage.

The building’s longitudinal form is oriented directly toward Bukit Kelam, establishing a visual and spiritual dialogue with the landscape. A long staircase along the axis serves as a metaphorical and physical journey through different layers of cultural engagement—grounded in local myth and elevated through community participation.

The Architectural Program is Vertically Organized: The ground level accommodates a management office (2) alongside an open, area that functions primarily as a café terrace (3). This space can be easily transformed venue for cultural festivals, temporary markets, bootcamps, or mini exhibitions—encouraging informal community interaction at the pedestrian level.

The first floor acts as a social magnet, featuring an inviting café (5) and a green signed as a semi-public platform, the green terrace supports various cultural events (7), enhancing visual and physical connections to the surrounding natural

Dedicated to cultural education and preservation, the uppermost floor houses os (10) and exhibition areas (9). This level is programmed to introduce and transmit knowledge through hands-on experiences. Complementary features highlight such as textile weaving, ceramics, rattan craft, and wood carving—creating an vironment for cultural appreciation.

Landscape Adaptation

The building adopts a stilt-house (rumah panggung) typology as a direct response natural topography and as a tribute to the traditional architectural language munity. This elevated structure not only addresses practical concerns such tion and improved airflow but also embodies the spatial logic inherent in indigenous dwellings.

The undercroft of the structure is partially activated as a functional extension restaurant (3), offering a direct transition to the prayer room (1) while framing of the adjacent forest and water features (4). Circulation is designed to be inclusive riential, with a long ramp (8) replacing conventional stairs—evoking the extended found in traditional longhouses and enhancing accessibility for all users.

open, flexible outdoor transformed into a exhibitions—encouraging

green terrace (6). Decultural and ceremonial natural landscape.

workshop studi-

transmit traditional highlight local art forms an immersive en-

response to the site's of the local comsuch as flood mitigaindigenous Dayak

extension of the outdoor framing curated views inclusive and expeextended thresholds

Designed to embrace the principles of open-air tropical architecture, the outdoor cafe space seamlessly integrates with the rear courtyard, encouraging fluid circulation between indoor and outdoor zones. This spatial openness allows visitors to engage directly with the surrounding natural context lush forest and water elements located just beyond the site—while also accommodating flexible uses such as cultural markets, festivals, and communal gatherings.

The exhibition space is devided into two section: a permanent area and a rotating section that is updated every three months. The exhibition narrates the history and traditions of the Dayak tribe, showcasing various forms of local art such as ikat weaving and traditional wood carvings. One of the key concepts highlighted in this exhition is the ikat weaving processing practiced in Ensaid Panjang, a traditional village located within the same district as the project site. To convey the spatial and material identity of the Dayak culture, timber wall surfaces are used throughout the space, reflecting the texture and atmosphere of the traditional longhouses found across Sintang. In some of the the temporary exhibition settings, the color red-an iconic element of Dayak ikat textiles-is intentionally used as dominant visual motif. This bold chromatic choice not only reforces the cultural narrative but also draws visitors' attention to the symbolic richness embedded in local weaving traditions.

AGRI'S HOUSE

Type |

RESIDENTIAL HOUSE

Location |

Sintang, West Kalimantan

Area | 1980 sqm

ARCHITECTURAL DESIGN STUDIO 2

RESIDENTIAL HOUSE

This house is inhabited by a large family consisting of a head of household and three children, one of whom is already married. Designed with a principle of openness and a strong emphasis on local context, the house combines natural materials such as wood and stone to create a warm atmosphere that blends seamlessly with its surroundings. The project replaces an older house located directly adjacent to the site and is envisioned to be integrated with the family's business office in the future, offering potential for spatial connectivity between the two buildings through an open transitional space.

The design concept of the Rumah Betang, second floor symbolizing of family space. Meanwhile, oped as a semi-open lation corridor that both as a visual focal cooling. This openness the tropical climate, terest in ornamental ly integrated into

concept is inspired by the architecture Betang, with an elongated mass on the symbolizing the linearity and continuity Meanwhile, the ground floor is develsemi-open public area, featuring a circuthat surrounds a fish pond—serving focal point and a source of natural openness strategy not only responds to climate, but also reflects the owner's inornamental plants, which are thoughtfulthe domestic landscape system.

Section B-B'

Section A-A'

One of the unique integration of a pond and vegetation This feature responds interest in gardening ponic system passion, while ement within the garden’s aesthetic a separate faucet

The dynamic acts as a breakout tablishing a tween indoor mosphere compared

unique elements of this house is the of an aquaponic system that utilizes vegetation within the central garden. responds to the homeowner’s personal gardening and fishkeeping. The aquais custom-designed to reflect this while also serving as a dynamic visual elthe garden. In addition to enhancing aesthetic appeal, the system includes faucet for ease of daily maintenance.

experience created by this element breakout point within the house, esphysical and visual connection beindoor spaces and offering a distinct atcompared to other areas of the home.

Feel free to contact me through:

julisa.friska@gmail.com