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Selected works from 2009-2014
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THOMPSON N G U Y E N
FOURTH YEAR B.A.S. DESIGNSELECTED WORKS 2014
IN ORDER TO UNDERSTAND AN ANCIENT CIVILIZATION’S VALUES, WE LOOK AT WHAT THEY DESIGNED IN THE PAST AND HOW THEY DID IT. FRAGMENTS OF THEIR KNOWLEDGE AND IDEAS TRANSFER INTO THE OBJECTS, BUILDINGS AND SYSTEMS THEY CREATED.
DESIGN IS BOTH VERY HUMAN AND SOCIAL. THIS IS WHAT FASCINATES ME ABOUT THE PROFESSION. THIS IS WHY DESIGN MATTERS.
DESIGN HAS THE POWER TO TEACH, HEAL, AND CONNECT HUMANS ACROSS DISTANCES, LANGUAGES AND TIME ERAS. TOGETHER WE ARE CONNECTED THROUGH OBJECTS, TOOLS, SPACES, ARCHITECTURE AND EXPERIENCES CRAFTED BY OUR ANCESTORS.
RESUME
CONTACT INFO
PORTFOLIO
1. THE TIDE ON BANK - TOWERS2. BLUES INSTITUTE AT 31 STORIES3. HONEYCOMB - CCA CHARRETTE4. BABA YAGA5. ISTANBUL YOGA AND WELLNESS CENTRE6. WHERE IS CHANGE?7. BUILT WORKS8. GRAPHIC DESIGN
4 THOMPSON NGUYEN | 2012 | PORTFOLIO
THOMPSON NGUYEN | 2014 | RESUME4
THOMPSON N G U Y E N
Bachelor of Architectural Studies, B.A.S. DesignCarleton University, Ottawa, Canada [2009-2014]• Fourth Year Standing, Expected to graduate April 2014
• Directed Studies Abroad trip in Beijing & Shanghai in China
• Dean’s Honour List [2009-2013]
International Exchange Student Program Istanbul Technical University, Istanbul, Turkey February 2012 to June 2012• Completed a semester abroad in Istanbul, Turkey
AWARDS EDUCATION
TECHNICAL SKILLS
Autodesk Revit
AutoCAD
Adobe Illustrator
Photoshop
InDesign
Dreamweaver
HTML/CSS
PHP
Fluency in the following software:
• CCA Charrette 2014 Interuniversity Prize winner : 2nd Place - ‘HONEYCOMB’• Selected works published in Building 22 (school wide publication):• “Water Room” [2010] , “Where is Change?” [2011], “Institute for the Unfinished” [2012], “Istanbul Yoga Studio” [2012]
Rhinoceros
Google SketchUp Pro
Microsoft Word
Excel
Powerpoint
Outlook
iWork (Pages, Keynote)
Wordpress / CMS
5THOMPSON NGUYEN | 2012 | PORTFOLIO
THOMPSON NGUYEN | 2014 | RESUME 5
ACE Services Group Inc. In-house Graphic Designer June 2011 to August 2011
• Designed and implemented web and print media for the company, including full Wordpress webpages, brochures and portfolio packages
Turner Fleischer Architects Inc.Junior Architectural Technologist August 2012 to August 2013
• Completed and revised permit and tender packages in AutoCAD and Revit for over 15 commercial/retail projects across Canada
• Issued and approved revised shop drawings, change orders, site instructions and other communication documents for during construction and contract admin phases
WORK HISTORY
VOLUNTEER EXPERIENCE
LANGUAGES INTERESTSEnglish, Vietnamese, French Theatre, Writing, Urbanism
• Azrieli Architecture Students Assocation - Vice President [2011-2012], Fourth Year Representative [2013-2014]
• Canadian Architecture Students Association - Carleton Representative [2011]
• Makeshift 22 Collective - Interdisciplinary Workshops Coordinator
• Food Forward - Designer for various campaigns & initiatives
Thompson Nguyen is a fourth year Canadian architecture student with a proactive and diligent attitude towards every task at hand. Raised in the Toronto suburbs, he is an engaged student at the Azrieli School of Architecture and Urbanism at Carleton University in Ottawa and brings his strong discipline and dedication to any workplace he is in.
THOMPSON NGUYEN | 2014 | PORTFOLIO6
1
L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E
E N G L I S H
F R E N C H N O N O F F I C I A L L A N G U A G E S
F A M I LY D E M O G R A P H I C S
2 - PA R E N T F A M I L I E S
M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N
S I N G L E PA R E N T
F A M I -L I E S
P O P U L AT I O N B Y A G E ( Y E A R S O L D )
0 TO
9
1 0 T O 1 9
2 0 T O 2 9
4 0 TO 4
9
5 0 T O 5 9
6 0 T O 6 9
8 0 +
3 0 TO 3 9
7 0 T O 7 9
91.1%
5.5% 3.3%
3.73%3.66%
52.17%
13.2%
35.07%
13.4%
11.88%
11%
16.84%
15.36%
11.82% 12.35%
C
mixed use
mixed
use
Shoppers
1
7
7
5
5
5
148
97
140
9899
BANK St.
RIVER
SIDE D
r.
SUNNYSIDE Ave. RIV
ERD
ALE
Ave
.
RIDEAU RIVERTM
$
$
$
BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE
SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD
EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT
RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES
1. 2. 3. 4. 5.
SECTION THROUGH SITEN
N
RETAIL AND RESTAURANTS
GARDEN AND
LOOKO
UT
B A N K S T R E E T
MARKET
STORE
FOOD
SKIP STOP
FLATS
FLATS
FLATS
FLATS
COUR T
-
Y A RD
&MAISONETTES
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.
THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.
THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.
12 1BR
23 1BR W/ SHARED LIVING
1 1BR MAISONETTE
10 2BR
3 2BR + DEN
1 2BR MAISONETTE
2 3BR
THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.
THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.
GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:
WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH
WITHIN 7 STOREYS
52
40
24 1BR
4 1BR MAISONETTE
8 2BR
4 2BR MAISONETTE
2 3BR
TOTAL UNITS
92 9944sqm A(107,036sqft)
COURTYARD NIGHT RENDERING
GROUND FLOOR PLAN 1:300
THE TIDE TOWERS & FLATS
THE TIDE TOWNHOUSES
LOCAL GOODS MARKET
GARDEN AND LOOKOUT
CEDAR’S GROCERY
VIEW LOOKING SOUTH EAST ON BANK STREET
THE TIDET O W E R S & F L A T S
SITE MAP - 1: 5000
WRAPPED TO THE SOCIAL AND URBAN FABRIC
THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.
UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.
THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.
WOOD POSSIBILITIES
THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.
AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.
THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.
THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.
AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.
ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.
THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.
COURTYARD ELEVATION (EAST FACING)
BANK STREET ELEVATION (SOUTHWEST FACING)
THE TIDE ON BANKTOWERS & FLATSDESIGN STUDIO 6 | FALL 2013
THOMPSON NGUYEN | 2014 | PORTFOLIO 7
L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E
E N G L I S H
F R E N C H N O N O F F I C I A L L A N G U A G E S
F A M I LY D E M O G R A P H I C S
2 - PA R E N T F A M I L I E S
M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N
S I N G L E PA R E N T
F A M I -L I E S
P O P U L AT I O N B Y A G E ( Y E A R S O L D )
0 TO
9
1 0 T O 1 9
2 0 T O 2 9
4 0 TO 4
9
5 0 T O 5 9
6 0 T O 6 9
8 0 +
3 0 TO 3 9
7 0 T O 7 9
91.1%
5.5% 3.3%
3.73%3.66%
52.17%
13.2%
35.07%
13.4%
11.88%
11%
16.84%
15.36%
11.82% 12.35%
C
mixed use
mixed
use
Shoppers
1
7
7
5
5
5
148
97
140
9899
BANK St.
RIVER
SIDE D
r.
SUNNYSIDE Ave. RIV
ERD
ALE
Ave
.
RIDEAU RIVERTM
$
$
$
BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE
SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD
EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT
RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES
1. 2. 3. 4. 5.
SECTION THROUGH SITEN
N
RETAIL AND RESTAURANTS
GARDEN AND
LOOKO
UT
B A N K S T R E E T
MARKET
STORE
FOOD
SKIP STOP
FLATS
FLATS
FLATS
FLATS
COUR T
-
Y A RD
&MAISONETTES
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.
THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.
THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.
12 1BR
23 1BR W/ SHARED LIVING
1 1BR MAISONETTE
10 2BR
3 2BR + DEN
1 2BR MAISONETTE
2 3BR
THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.
THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.
GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:
WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH
WITHIN 7 STOREYS
52
40
24 1BR
4 1BR MAISONETTE
8 2BR
4 2BR MAISONETTE
2 3BR
TOTAL UNITS
92 9944sqm A(107,036sqft)
COURTYARD NIGHT RENDERING
GROUND FLOOR PLAN 1:300
THE TIDE TOWERS & FLATS
THE TIDE TOWNHOUSES
LOCAL GOODS MARKET
GARDEN AND LOOKOUT
CEDAR’S GROCERY
VIEW LOOKING SOUTH EAST ON BANK STREET
THE TIDET O W E R S & F L A T S
SITE MAP - 1: 5000
WRAPPED TO THE SOCIAL AND URBAN FABRIC
THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.
UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.
THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.
WOOD POSSIBILITIES
THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.
AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.
THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.
THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.
AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.
ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.
THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.
COURTYARD ELEVATION (EAST FACING)
BANK STREET ELEVATION (SOUTHWEST FACING)
L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E
E N G L I S H
F R E N C H N O N O F F I C I A L L A N G U A G E S
F A M I LY D E M O G R A P H I C S
2 - PA R E N T F A M I L I E S
M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N
S I N G L E PA R E N T
F A M I -L I E S
P O P U L AT I O N B Y A G E ( Y E A R S O L D )
0 TO
9
1 0 T O 1 9
2 0 T O 2 9
4 0 TO 4
9
5 0 T O 5 9
6 0 T O 6 9
8 0 +
3 0 TO 3 9
7 0 T O 7 9
91.1%
5.5% 3.3%
3.73%3.66%
52.17%
13.2%
35.07%
13.4%
11.88%
11%
16.84%
15.36%
11.82% 12.35%
C
mixed use
mixed
use
Shoppers
1
7
7
5
5
5
148
97
140
9899
BANK St.
RIVER
SIDE D
r.
SUNNYSIDE Ave. RIV
ERD
ALE
Ave
.
RIDEAU RIVERTM
$
$
$
BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE
SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD
EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT
RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES
1. 2. 3. 4. 5.
SECTION THROUGH SITEN
N
RETAIL AND RESTAURANTS
GARDEN AND
LOOKO
UT
B A N K S T R E E T
MARKET
STORE
FOOD
SKIP STOP
FLATS
FLATS
FLATS
FLATS
COUR T
-
Y A RD
&MAISONETTES
CIRCULATION
CIRCULATION
CIRCULATION
CIRCULATION
SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.
THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.
THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.
12 1BR
23 1BR W/ SHARED LIVING
1 1BR MAISONETTE
10 2BR
3 2BR + DEN
1 2BR MAISONETTE
2 3BR
THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.
THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.
GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:
WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH
WITHIN 7 STOREYS
52
40
24 1BR
4 1BR MAISONETTE
8 2BR
4 2BR MAISONETTE
2 3BR
TOTAL UNITS
92 9944sqm A(107,036sqft)
COURTYARD NIGHT RENDERING
GROUND FLOOR PLAN 1:300
THE TIDE TOWERS & FLATS
THE TIDE TOWNHOUSES
LOCAL GOODS MARKET
GARDEN AND LOOKOUT
CEDAR’S GROCERY
VIEW LOOKING SOUTH EAST ON BANK STREET
THE TIDET O W E R S & F L A T S
SITE MAP - 1: 5000
WRAPPED TO THE SOCIAL AND URBAN FABRIC
THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.
UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.
THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.
WOOD POSSIBILITIES
THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.
AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.
THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.
THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.
AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.
ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.
THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.
COURTYARD ELEVATION (EAST FACING)
BANK STREET ELEVATION (SOUTHWEST FACING)
A housing project in Old Ottawa South, at the cusp of urbanity and suburban sprawl. This development bridges the two planning schemes with density and integrated food amenities.
THOMPSON NGUYEN | 2014 | PORTFOLIO8
1Birds eye view of entire developmentThe Tide Towers & Flats (along Bank)and The Tide Townhomes (along Riverdale)(Urban design phase developed with KF)
THOMPSON NGUYEN | 2014 | PORTFOLIO 9
Below: Bank Street Elevation, Courtyard ElevationBottom left: Corridor elevationBottom right: Courtyard night view
THOMPSON NGUYEN | 2014 | PORTFOLIO10
1
RETAIL AND RESTAURANTS
GARDEN AND
LOO
KOUT
B A N K S T R E E T
MARKET
STORE
FOOD
SKIP STOP
FLATS
FLATS
FLATS
FLATS
C O U R T -
Y A R D
&MAISONETTES
CIRCULATION
CIRCULATION
CIRCULATION
CIR
CUL
ATI
ON
SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.
THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.
THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.
12 1BR
23 1BR W/ SHARED LIVING
1 1BR MAISONETTE
10 2BR
3 2BR + DEN
1 2BR MAISONETTE
2 3BR
THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.
THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.
GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:
WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH
WITHIN 7 STOREYS
52
40
24 1BR
4 1BR MAISONETTE
8 2BR
4 2BR MAISONETTE
2 3BR
TOTAL UNITS
92 9944sqm A(107,036sqft)
Unit Breakdown, circulation diagram and amenities briefsTotal gross area of development: 2500sqm.
THOMPSON NGUYEN | 2014 | PORTFOLIO 11
Construction assemblies and details;This project integrates Cross-laminated timber construction in both the towers and flats. The retail level uses reinforced concrete construction.
12 THOMPSON NGUYEN | 2014 | PORTFOLIO
THE BLUES INSTITUTE OF THE UNFINISHEDDESIGN STUDIO 5 | FALL 2011
Galleria space, connecting the Baptist Church and the Blues Institute
Smoker’s Rooftop GardenMassing of the tower planned for 3 phases
13THOMPSON NGUYEN | 2014 | PORTFOLIO
Exploring the concept of an evolving high-rise across three 5 year intervals, this high-rise accomodates educational, religious and commercial programs.
THOMPSON NGUYEN | 2014 | PORTFOLIO14
1HONEYCOMBECONOMY OF KNOWLEDGE
CCA CHARRETTE 2014 2ND PRIZE WINNER
HONEYCOMBAN ECONOMY OF KNOWLEDGE | EDUCATION IN TRANSIT
A SOCIAL SERVICE INTEGRATED INTO PUBLIC INFRASTRUCTURE
“KNOWLEDGE IS THE CURRENCY TO RIDE THE SYSTEM. TAKE IT WITH YOU, SHARE IT, AND BE GRANTED WITH TRANSPORTATION TO YOUR DESTINATION.”
$$
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
University of Ottawa campusRideau CentreMackenzie King BridgeConfederation Park / National Arts CentreNature MuseumCarleton University Campus
Ottawa Train StationBillings BridgeAlgonquin College CampusAirport
Museum of CivilizationNational Art GalleryCanal locksArboretum
War MuseumBronson McDonaldsRaw Sugar - Chinatown Hintonburger
CARLETON
CONFEDERATION
CARLING
CAMPUS
Mobile Collective Community Hubs
Educational hubs integrated along major transit routes
Map of Ottawa (2014) highlighting major educational hubs
Major cultural institutions may grant free admission with participation to Honeycomb transit trivia questions
BOARD ANY TRANSIT VEHICLE WITH YOUR HONEYCOMB TRANSIT PASS. GRAB A USBee TO RECEIVE DAILY INFO AND TRIVIA QUESTIONS
TAKE/INSERT USBee AFTER ANSWERING THE TRIVIA QUESTIONS. IF ANSWERED CORRECTLY, YOU ARE GRANTED A FREE RIDE & POINTS FOR YOUR ‘HOOD!
SCREENS WILL DISPLAY THE POINTS FOR TOP COMMUTERS OF EACH NEIGHBOURHOOD AND SHARE COMMUNITY INFORMATION OF THE LOCAL AREA
AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING, THOMPSON CONG NGUYEN,
1
2
3
42team
little italy centertown(nature museum)
(war museum)
gatineau
ottawa
chinatown
sandy hill
hintonburg
westboro
CORRECT!+ 3 0 0
POINTS!
HONEYCOMBAN ECONOMY OF KNOWLEDGE | EDUCATION IN TRANSIT
A SOCIAL SERVICE INTEGRATED INTO PUBLIC INFRASTRUCTURE
“KNOWLEDGE IS THE CURRENCY TO RIDE THE SYSTEM. TAKE IT WITH YOU, SHARE IT, AND BE GRANTED WITH TRANSPORTATION TO YOUR DESTINATION.”
$$
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
University of Ottawa campusRideau CentreMackenzie King BridgeConfederation Park / National Arts CentreNature MuseumCarleton University Campus
Ottawa Train StationBillings BridgeAlgonquin College CampusAirport
Museum of CivilizationNational Art GalleryCanal locksArboretum
War MuseumBronson McDonaldsRaw Sugar - Chinatown Hintonburger
CARLETON
CONFEDERATION
CARLING
CAMPUS
Mobile Collective Community Hubs
Educational hubs integrated along major transit routes
Map of Ottawa (2014) highlighting major educational hubs
Major cultural institutions may grant free admission with participation to Honeycomb transit trivia questions
BOARD ANY TRANSIT VEHICLE WITH YOUR HONEYCOMB TRANSIT PASS. GRAB A USBee TO RECEIVE DAILY INFO AND TRIVIA QUESTIONS
TAKE/INSERT USBee AFTER ANSWERING THE TRIVIA QUESTIONS. IF ANSWERED CORRECTLY, YOU ARE GRANTED A FREE RIDE & POINTS FOR YOUR ‘HOOD!
SCREENS WILL DISPLAY THE POINTS FOR TOP COMMUTERS OF EACH NEIGHBOURHOOD AND SHARE COMMUNITY INFORMATION OF THE LOCAL AREA
AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING, THOMPSON CONG NGUYEN,
1
2
3
42team
little italy centertown(nature museum)
(war museum)
gatineau
ottawa
chinatown
sandy hill
hintonburg
westboro
CORRECT!+ 3 0 0
POINTS!
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
Modular white birch panel system to create Honeycomb Transit Hubs and Walls
Honeycomb wall systems at Transitway stations Honeycomb system panel content
Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,
THOMPSON CONG NGUYEN,
Knowledge illuminated on the Honeycomb network
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
42team
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
Modular white birch panel system to create Honeycomb Transit Hubs and Walls
Honeycomb wall systems at Transitway stations Honeycomb system panel content
Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,
THOMPSON CONG NGUYEN,
Knowledge illuminated on the Honeycomb network
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
42team
THOMPSON NGUYEN | 2014 | PORTFOLIO 15
This ideas competition entry proposes a pollination of educational hives integrated into public transit infrastructure. Honeycomb learning systems encourage learning while traveling in an urban context.
WORLD INFO
NEWS OUTLET
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COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
Modular white birch panel system to create Honeycomb Transit Hubs and Walls
Honeycomb wall systems at Transitway stations Honeycomb system panel content
Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,
THOMPSON CONG NGUYEN,
Knowledge illuminated on the Honeycomb network
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
42team
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
Modular white birch panel system to create Honeycomb Transit Hubs and Walls
Honeycomb wall systems at Transitway stations Honeycomb system panel content
Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,
THOMPSON CONG NGUYEN,
Knowledge illuminated on the Honeycomb network
WORLD INFO
NEWS OUTLET
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COMMUNITY RATING
PUBLICLECTURES
+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS
1
2
3
THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS
COMMUNITY EVENTS
SATURDAY
08:30- KOSMICSUPERNOVA!!!
42team
THOMPSON NGUYEN | 2014 | PORTFOLIO16
ISTANBUL YOGA AND WELLNESS CENTREEXCHANGE STUDIO 5 | WINTER 2012
Site Plan - The Centre digs into the southern half of an abandoned roundabout on the intersection of Büyükdere Cd and the Trans European Motorway.
THOMPSON NGUYEN | 2014 | PORTFOLIO 17
Istanbul, known as the city without limits, is a chaotic metropolis growing at an exponential rate. The Yoga and Wellness Centre proposes an urban intervention at a key intersection on one of the cities’ major transit spines,
Büyükdere Cadessi. Reclaiming an unused piece of infrastructure, the centre serves as a cocoon amidst the chaos of the city for the exploration and reconnection of one’s body and spirit.
Sectional PerspectiveFloor -1: Lobby, Daycare, Administration,
Floor -2: Yoga Studio 1 & 2, Change Room, Floor -3: Swimming pool, Turkish Bath, Change Room, Granda Yoga Studio,
Floor -4: Parking
1 MARIONETTE THEATRE
DESIGN STUDIO 5 | FALL 2011
Third year design-build project. Lead as Project Manager, managed materials, finances and rehearsals. Also co-designed the Baba Yaga marionette.
18 THOMPSON NGUYEN | 2014 | PORTFOLIO
Baba Yaga and the set, performed November 2011
AZRIELI ARCHITECTURE STUDENTS ASSOCIATION | 2014 | PORTFOLIO 19
WHERE IS CHANGE?
AASA STUDENT GROUP | FALL 2011
A campaign to discuss the direction of the architecture school lead by students. Organized open forums, created an infographic and forumlated meetings and reports with the faculty.
SIX MEMBERS OF THE CACB (CANADIAN ACCREDITATION CERTIFICATION BOARD) CAME TO VISIT OUR SCHOOL LAST MARCH.
IN SOME ASPECTS OF OUR SCHOOL, WE WERE PRAISED AND GIVEN MANY COMPLIMENTS ON OUR CURRICULUM AND STUDENT WORK. BUT THERE IS STILL A LONG WAY TO GO.
WITHIN THEIR REPORT, THEY OUTLINED A LIST OF CONCERNS AND RECOMMENDATIONS. AS STUDENTS OF THIS SCHOOL, WE HAVE A RIGHT TO KNOW IF THE QUALITY OF EDUCATION WE ARE RECEIVING IS ACHIEVING THESE STANDARDS. HERE IS WHAT THEY HAD TO SAY:
IN ORDER TO BE APPROVED FOR ACCREDITATION, SCHOOLS OF ARCHITECTURE MUST UNDERGO A VISIT FROM THE CACB TEAM EVERY SIX YEARS. MARCH 2011
Carleton University Azrieli School of Architecture and Urbanism Visiting Team Report March 12-16, 2011
Causes of Concern and Team’s recommendations
As noted in the introductory remarks, the School is observed at a transitional and arguably formative moment. Apart from furthering allied academic ambitions, the preoccupation with new academic programs appears to have displaced due attention from full and ongoing review of the 4+2 professional stream.Notwithstanding the enabling of signi�cant resources that accrue from these new programs, the team observes a number of rather speci�c concerns that remain outstanding.
While the team observed signi�cant renewal of the MArch component of the professional stream, the BAS component appeared to have observed very little change over the course of the past cycle of accreditation visits. It is essential that the program observe the professional stream as a whole curriculum.
ORIGINAL TEXT:
TRANSLATION:
1. Continuity of Undergraduate and Graduate components of the professional program
The delivery of technical aspects of the professional curriculum is at present in a state of considerable disarray - characterized by a somewhat confounding con�uence of areas of excellence and those of complete neglect. Given the extraordinary developments in technical and professional realms recently, any degree of neglect can only compromise the ability of graduates to contribute to future professional roles and should be immediately reviewed. More speci�cally, the expertise of recent hires - with their consistent emphasis on the School’s expanded academic needs - speaks to an ethos in which these curricular components are not being given the speci�c attention that is their due.
2. Technical component of professional curriculum
As accreditation visits occur every 6 years, it is safe to assume that such a period of time must be describing a minimum of 12 years.
BAS
MArch
6 yrs
By this, we understand that the accreditation team has noticed a considerable level of improvement and change in the MArch (Graduate) program within the school. Meanwhile, the accreditation team has also noticed that the undergraduate program has seen very little, if not any, progress over a course of time which they de�ne as "the past cycle of accreditation visits".
The Masters and Bachelor programs must therefore demonstrate an ability to operate with a sense of cohesion, as a whole. This entails that both programs should correspond to one other in a style which speaks the same language.
x2 or more without signi�cant change
We understand that the undergraduate student body has shown a degree of polarity in knowledge and expertise regarding technical aspects of the program.
Some students show very advanced levels of skill in technical points (ex: structural and mechanical components, etc.) which many have had the opportunity to learn outside of the school, while a majority of students must rely on the school's program.
At present, insu�cient attention is given towards developing the teaching of technical aspects in all areas of the school. (Ie: Studio Courses - Professors need to address the lack of attention given towards the structural aspects of students' designs).
1
2
ORIGINAL TEXT:
TRANSLATION:
We understand that the Accreditation Team has made note of the lack of attention given towards a teaching style which promotes an ongoing understanding of present-day technology and media.
It is apparent that the current curriculum does not demonstrate a de�ned set of requirements from the students, when regarding to digital work.
We recognize that the school's level of technological advancement is one which must seek to keep up with modern day advancements in the industry. The school of architecture has been attempting to balance both the traditional and contemporary methods of teaching - remaining eclectic with old traditional representation media such as hand-drafting as a pedagogical tool of developing craft, with the emergence of new digital mediums.
However, there appears to be no transition between the two; Students are taught to draw by hand, then are quickly expected to become familiar with the likes of Sketchup, Revit and Rhino.
The responsibility of a contemporary professional program to engage with and embrace digital media and their impact upon the conventions of practice is clear. Notwithstanding the School’s own mission statements, the emphasis in expertise of recent hires and the inability to enact a matter-or-fact daily engagement between these media and the curriculum remains problematic. The team notes that students are not unaware of this issue, and the very recent deployment of improved resources is very likely to aggravate their expectations in this regard.Allied with comments concerning technical components of the curriculum more generally, the team observes that the current preoccupation with infusing incoming students with a sense of ethos might usefully be balanced by providing an operative tool-kit of technique.
ORIGINAL TEXT:
TRANSLATION:
3. Regard for Digital Technology
3
The School’s faculty in their vitae reveal a tradition of privileging teaching accomplishment over research. Whatever the institutional encouragement for such a preference, the role of active, contemporary research in contributing to local collegial discourse, including the enrichment and critical review of curriculum, cannot be overstated. The need for concerted and collective discussions among faculty - particularly among new hires - regarding research interests, potential overlaps, recognition of inter-disciplinary opportunities, etc. is both important and timely. The proposal for an Associate Director for Research with overview of these discussions might go some way to bringing this agenda item forward.
4. Role of Faculty Research
ORIGINAL TEXT:
The student body understands this to be describing a visible lack of relevant research generated in the area of contemporary architectural issues to assist in the professional development of the student body.
This directly a�ects the students and their �uency in current architectural issues, and is crucial in familiarizing the school of architecture with current contemporary practice.
This should serve as a bare minimum requirement in which the faculty should take part in order to bring the school of architecture to the levels of current contemporary practice.
The steps 'above and beyond' which can be taken by faculty include researching the leading issues to allow for a critical re-evaluation of current contemporary practice in order to prepare students for the future of their own practices.
4TRANSLATION:
The team observed an imbalanced sense of empowerment and engagement in School decisions among its faculty. The degree that ‘ownership’ - whether of academic programs or research directions - can devolve to a sense of entitlement is always an issue to be aware of in academic institutions, and the team’s sense is that of a need to more deliberately cultivate open and collegial regard between all members of the faculty.
The circumstances of Ottawa as the nation’s capital are - for any academic program - potentially formidable. The team encourages the program to cultivate this potential.
ORIGINAL TEXT:
5. Program Governance
As noted elsewhere, the motivation for academic expansion does not immediately resonate with the need to assess and renew the core professional program of the School. While human resources - although more in terms of faculty than sta� - have been enriched, it is di�cult to assess the longstanding contribution of this expansion to the success of the program.
6. Resources / Academic Expansion
7. Acknowledgement of Locale
The student body understands this as describing the expansion of the program through the recent addition of the new streams. The new streams have developed further in the last year, and it is evident that there are constant steps being taken to improve these concentrations.
Meanwhile, the Design stream appears to be at a standstill. The recent faculty hires seem to express a level of focus towards History and Theory, while there is an evident need for hires within the digital and technical areas of expertise.
Secondly, the Accreditation Team alludes to the improvement and expansion of speci�c human resources, which appear to neglect the need for successful expansion within the educational program. We understand that CIMS has received much of this attention and funding towards research, while demonstrating a degree of inaccessibility to students in the program.
6
TRANSLATION:The Student Body understands this to mean that there is a sense of imbalance in decision-making between faculty members.
It is important that the students are aware of this issue and discontinuation in communication between faculty.
For example, the visible level of disorganization which took place during the ARCS 2106 Studio course in 2011 had greatly a�ected the level of academics produced in the 2011 winter term.
At the moment, the lack of cohesion between faculty members is causing the disconnect which loses focus and our ability to become a leading edge institution within the �eld of architectural pedagogy.
5
The Student Body understands this as acknowledgement of the potential advantage the students have, residing in the Nation's Capital. We believe that the school has the funding and resources to ful�ll this potential, but that we are not taking full advantage of this context.
7
SIX MEMBERS OF THE CACB (CANADIAN ACCREDITATION CERTIFICATION BOARD) CAME TO VISIT OUR SCHOOL LAST MARCH.
IN SOME ASPECTS OF OUR SCHOOL, WE WERE PRAISED AND GIVEN MANY COMPLIMENTS ON OUR CURRICULUM AND STUDENT WORK. BUT THERE IS STILL A LONG WAY TO GO.
WITHIN THEIR REPORT, THEY OUTLINED A LIST OF CONCERNS AND RECOMMENDATIONS. AS STUDENTS OF THIS SCHOOL, WE HAVE A RIGHT TO KNOW IF THE QUALITY OF EDUCATION WE ARE RECEIVING IS ACHIEVING THESE STANDARDS. HERE IS WHAT THEY HAD TO SAY:
IN ORDER TO BE APPROVED FOR ACCREDITATION, SCHOOLS OF ARCHITECTURE MUST UNDERGO A VISIT FROM THE CACB TEAM EVERY SIX YEARS. MARCH 2011
Carleton University Azrieli School of Architecture and Urbanism Visiting Team Report March 12-16, 2011
Causes of Concern and Team’s recommendations
As noted in the introductory remarks, the School is observed at a transitional and arguably formative moment. Apart from furthering allied academic ambitions, the preoccupation with new academic programs appears to have displaced due attention from full and ongoing review of the 4+2 professional stream.Notwithstanding the enabling of signi�cant resources that accrue from these new programs, the team observes a number of rather speci�c concerns that remain outstanding.
While the team observed signi�cant renewal of the MArch component of the professional stream, the BAS component appeared to have observed very little change over the course of the past cycle of accreditation visits. It is essential that the program observe the professional stream as a whole curriculum.
ORIGINAL TEXT:
TRANSLATION:
1. Continuity of Undergraduate and Graduate components of the professional program
The delivery of technical aspects of the professional curriculum is at present in a state of considerable disarray - characterized by a somewhat confounding con�uence of areas of excellence and those of complete neglect. Given the extraordinary developments in technical and professional realms recently, any degree of neglect can only compromise the ability of graduates to contribute to future professional roles and should be immediately reviewed. More speci�cally, the expertise of recent hires - with their consistent emphasis on the School’s expanded academic needs - speaks to an ethos in which these curricular components are not being given the speci�c attention that is their due.
2. Technical component of professional curriculum
As accreditation visits occur every 6 years, it is safe to assume that such a period of time must be describing a minimum of 12 years.
BAS
MArch
6 yrs
By this, we understand that the accreditation team has noticed a considerable level of improvement and change in the MArch (Graduate) program within the school. Meanwhile, the accreditation team has also noticed that the undergraduate program has seen very little, if not any, progress over a course of time which they de�ne as "the past cycle of accreditation visits".
The Masters and Bachelor programs must therefore demonstrate an ability to operate with a sense of cohesion, as a whole. This entails that both programs should correspond to one other in a style which speaks the same language.
x2 or more without signi�cant change
We understand that the undergraduate student body has shown a degree of polarity in knowledge and expertise regarding technical aspects of the program.
Some students show very advanced levels of skill in technical points (ex: structural and mechanical components, etc.) which many have had the opportunity to learn outside of the school, while a majority of students must rely on the school's program.
At present, insu�cient attention is given towards developing the teaching of technical aspects in all areas of the school. (Ie: Studio Courses - Professors need to address the lack of attention given towards the structural aspects of students' designs).
1
2
ORIGINAL TEXT:
TRANSLATION:
We understand that the Accreditation Team has made note of the lack of attention given towards a teaching style which promotes an ongoing understanding of present-day technology and media.
It is apparent that the current curriculum does not demonstrate a de�ned set of requirements from the students, when regarding to digital work.
We recognize that the school's level of technological advancement is one which must seek to keep up with modern day advancements in the industry. The school of architecture has been attempting to balance both the traditional and contemporary methods of teaching - remaining eclectic with old traditional representation media such as hand-drafting as a pedagogical tool of developing craft, with the emergence of new digital mediums.
However, there appears to be no transition between the two; Students are taught to draw by hand, then are quickly expected to become familiar with the likes of Sketchup, Revit and Rhino.
The responsibility of a contemporary professional program to engage with and embrace digital media and their impact upon the conventions of practice is clear. Notwithstanding the School’s own mission statements, the emphasis in expertise of recent hires and the inability to enact a matter-or-fact daily engagement between these media and the curriculum remains problematic. The team notes that students are not unaware of this issue, and the very recent deployment of improved resources is very likely to aggravate their expectations in this regard.Allied with comments concerning technical components of the curriculum more generally, the team observes that the current preoccupation with infusing incoming students with a sense of ethos might usefully be balanced by providing an operative tool-kit of technique.
ORIGINAL TEXT:
TRANSLATION:
3. Regard for Digital Technology
3
The School’s faculty in their vitae reveal a tradition of privileging teaching accomplishment over research. Whatever the institutional encouragement for such a preference, the role of active, contemporary research in contributing to local collegial discourse, including the enrichment and critical review of curriculum, cannot be overstated. The need for concerted and collective discussions among faculty - particularly among new hires - regarding research interests, potential overlaps, recognition of inter-disciplinary opportunities, etc. is both important and timely. The proposal for an Associate Director for Research with overview of these discussions might go some way to bringing this agenda item forward.
4. Role of Faculty Research
ORIGINAL TEXT:
The student body understands this to be describing a visible lack of relevant research generated in the area of contemporary architectural issues to assist in the professional development of the student body.
This directly a�ects the students and their �uency in current architectural issues, and is crucial in familiarizing the school of architecture with current contemporary practice.
This should serve as a bare minimum requirement in which the faculty should take part in order to bring the school of architecture to the levels of current contemporary practice.
The steps 'above and beyond' which can be taken by faculty include researching the leading issues to allow for a critical re-evaluation of current contemporary practice in order to prepare students for the future of their own practices.
4TRANSLATION:
The team observed an imbalanced sense of empowerment and engagement in School decisions among its faculty. The degree that ‘ownership’ - whether of academic programs or research directions - can devolve to a sense of entitlement is always an issue to be aware of in academic institutions, and the team’s sense is that of a need to more deliberately cultivate open and collegial regard between all members of the faculty.
The circumstances of Ottawa as the nation’s capital are - for any academic program - potentially formidable. The team encourages the program to cultivate this potential.
ORIGINAL TEXT:
5. Program Governance
As noted elsewhere, the motivation for academic expansion does not immediately resonate with the need to assess and renew the core professional program of the School. While human resources - although more in terms of faculty than sta� - have been enriched, it is di�cult to assess the longstanding contribution of this expansion to the success of the program.
6. Resources / Academic Expansion
7. Acknowledgement of Locale
The student body understands this as describing the expansion of the program through the recent addition of the new streams. The new streams have developed further in the last year, and it is evident that there are constant steps being taken to improve these concentrations.
Meanwhile, the Design stream appears to be at a standstill. The recent faculty hires seem to express a level of focus towards History and Theory, while there is an evident need for hires within the digital and technical areas of expertise.
Secondly, the Accreditation Team alludes to the improvement and expansion of speci�c human resources, which appear to neglect the need for successful expansion within the educational program. We understand that CIMS has received much of this attention and funding towards research, while demonstrating a degree of inaccessibility to students in the program.
6
TRANSLATION:The Student Body understands this to mean that there is a sense of imbalance in decision-making between faculty members.
It is important that the students are aware of this issue and discontinuation in communication between faculty.
For example, the visible level of disorganization which took place during the ARCS 2106 Studio course in 2011 had greatly a�ected the level of academics produced in the 2011 winter term.
At the moment, the lack of cohesion between faculty members is causing the disconnect which loses focus and our ability to become a leading edge institution within the �eld of architectural pedagogy.
5
The Student Body understands this as acknowledgement of the potential advantage the students have, residing in the Nation's Capital. We believe that the school has the funding and resources to ful�ll this potential, but that we are not taking full advantage of this context.
7
THOMPSON NGUYEN | 2014 | PORTFOLIO20
NESPRESSO TORONTO
DD PHASE IN OCTOBER 2012 - OPENED NOVEMBER 2013
THOMPSON NGUYEN | 2014 | PORTFOLIO 21
Involved in design development, bidding, contract and construction administration for the first large flagship Nespresso in Toronto, ON. Coordinated with local and international clients and consultants.
THOMPSON NGUYEN | 2014 | PORTFOLIO22
1 GRAPHIC DESIGN WORKS
VARIOUS DATES, 2013-2014
push fo o d fo rwar d.co m
fb.co m/g ro u ps/fo o d fowar d
poster by th o m pso n n g uyen
Left: Building Roots Poster for Food Forward
Top right: Design Economics branding for housing development
Bottom right: Various academic papers laid out on urban public spaces
THOMPSON NGUYEN | 2014 | PORTFOLIO 23
Piazza del Campo
The Piazza del Campo is Siena’s
main public square and is known
as one of the few preserved
medieval civic spaces in Europe.
Originally a marketplace carved
out from the city at the end of
the 12th century, it is situated in
the centre of Siena on a sloping
site near the intersection of three
hillside districts that formed
Siena. The piazza was and still is
the centre of urban life in Siena
and is sought after as a major
tourist destination, museum
complex, and major event space
(most notably the Palio, the
famous horserace hosted in the
summer, Figure 6) (UNESCO).
Thompson Cong Nguyen [100793376] 2014.03.04
Description The creation of
the piazza dates to its
earliest record in 1169 as a
communal space used for
fairs, markets and public
celebrations run by the
Siena government. The
true urban articulation of
the piazza begins during
the construction of the
Palazzo Comunale (or the
Palazzo Pubblico), created
institution. (Siena Online).
Piazza del Campo
is a very unique public
space, with a great deal
of emphasis on the urban
ground (Figure 2). The
treatment of the sloped
converging paving on
the site forms the piazza
into a big concave shell.
“The paving is made of
red bricks arranged in a
into a sunburst pattern by
nine strips of travertine (in
memory of the Government
of the Nine, who ruled over
the city from 1292 to 1355)”
(ItalyGuides) (Figure 2).
The semi circular
public space is articulated
ground drawing (Figure 5).
At these edges are retail
stores, cafes and bollards
(Kent). The curved edge of
the piazza covers a very
which greatly harmonizes
the urban ground of the
city. (Siena Online)
The building edges
are interrupted by the
paths of the city that
radiate from the piazza. 11
different narrow pedestrian
pathways run from the
piazza to the different
neighbourhood districts of
Siena.
urban node to the fabric
of Italian cities (Fusch).
As it the central and
integral space of Siena,
it is designed with great
prominence. The typical
fabric of the Siena is its
low rise housing seen in
Figure 3. The irregularity
of the orientation of these
dense low rise buildings
is contrasted by the vast
open space of the piazza
as well as the Torre del
Mangia tower (Figure
4). This tower is a key
landmark to the cityscape
to the planning and design
of the piazza. This shows
a great formal connection
from the urban ground to
the urban ceiling (the sky).
The tower is not
the only landmark to the
city. Also in this public
space is the Fonte Gaia,
a white marble fountain
implemented in 1419 by
Jacopo della Quercia
(ItalyGuides) (Figure 1).
The emphasis on water is
01
02
edges
paths
03 districts
04 landmarks
05 nodes
Piazza del Campo
01 Thompson Cong Nguyen [100793376] 2014.03.04
also shown in the planning
of the site, as the slope
of the converging nine
strips of travertine travel
down to a drainage point
(ItalyGuides) (Figure 4).
As a low point to the hilltop
districts, the piazza acts as
a valley to the landscape of
the city where people and
elements are collected.
Analysis The Piazza del
Campo is an interesting
civic space as it is built at
the end of the medieval
period where design
ideas brought by the
Renaissance start to be
articulated. Although it is
clear that the city itself
shows medieval planning
ideas such as irregularity,
informality of the space,
picturesque planning
and punctuated skylines,
the piazza itself shows
order and ideas from the
Renaissance.
The piazza, with its
articulated edges of the
urban space, shows that
a city begins to value the
aesthetics of the Ideal
(Nevola, 100). An overall
civic importance to the
aesthetics of city building
had even manifested an
also known as
the Government of the
Nine.
of nine men dedicated
to enforce development
policies targeted to private
property owners that
of the urban fabric to meet
the criteria of the ornato
(Nevola, 98).
Therefore, it is in
Siena where we begin to
the vision and planning
of the beautiful Ideal city
in the Western world.
The aesthetic ambition of
implementation of orderly
Renaissance ideologies to
the medieval city.
02
Torre del MangiaOriginal use: Bell & Watch Tower
Present use: Observation deck
Pallazzo Pubblico
the Government of the Nine
Present use: Observation
deck
Fonte GaiaOriginal: Marble fountain
originally created by Jacopo
della Quercia
Present: Replica fountain
Original use: Barber shops and
retail
Present use: Retail and cafe
space
Taksim Square
A stage of political redefinitions
Great urban centres showcase a city’s social, political, cultural and economic conditions. Typically one can read a definite locus or identity from these spaces – we get to know what the city is like through this one urban node. For Taksim Square in Istanbul, Turkey, those conditions are changing dynamically every day – and at a speed so rapid that its identity is almost schizophrenic. Located at the heart of the European side of the city, Taksim Square is a space that has been redefined in numerous architectural, political and social ways throughout its history. A negotiation between different parties is in constant discussion; Conflicts between Istanbul’s local government and its people, its Ottoman traditions and Western influences, Turkey and its global partners, and how they occupy this major public space have redefined the identity of one of the most dynamic city squares in the World.
A Genius Loci in Motion
Thompson Cong Nguyen [100793376] 2014.04.01
Istanbul (European Side)
Origins and FunctionsTaksim (distribution) meydani (square) was originally a point where the main water lines from northern Istanbul were collected and branched off to other parts of the city through an infrastructure of aqueducts and dams
BOSPHORUS
Istanbul (Asian Side)
Old City (Sultanahmet)
Beyoglu
Taksim Square
Fig1 - Istanbul, Turkey
(Baykan). It was established in the Ottoman empire during the mid 18th century during the reign of Sultan Mahmut I (Baykan).n the early 19th century (1803-1806) an artillery barracks was built on the Taksim site. Numerous attempts of this artillery barracks were iterated on the site until it was finally demolished in 1940 to make space for a public park (Baykan).The clash of Ottoman and Western spaces manifest around the square during this period as Turkey’s economy opened up to the globe. An allocation of spaces for embassies of Western governments, hospitals, banks, hotels, new businesses and schools developed throughout the historic city making up the cosmopolitan character of Beyoglu (Baykan)After the First World War, the Entente powers occupied Turkey from 1920-1922. Following this, the Ottoman empire had long fallen and thus arose the cultural revolution lead by Ataturk. The Republic of Turkey marked a new modern era in the country’s rich history, and this was symbolized by monuments erected in Taksim Square.Modern Taksim Square was built in 1926 as the first square with a monument to be planned and designed in the new republic of Turkey (Baykan) based on secular and Nationalist ideals influenced by interventions from the West. Throughout time, other architectural and landscape interventions shaped Taksim to be the fluid and dynamic urban node it is today.
Images
File:Piazza_del_Campo,_Siena,_Tuscany_(5772001588).
Figure Ground: see Figure 5
Campo
campo
campo
End Page:
Work Cited
Fusch, Richard. “The Piazza in Italian Urban Morphology.” Geographical Review 84.4 (1994): 424. ProQuest.
Web. 4 Mar. 2014.
N.p., n.d. Web. 04 Mar. 2014.
Thompson Cong Nguyen [100793376] 2014.03.04
Piazza del Campo
01 Thompson Cong Nguyen [100793376] 2014.04.01
Edges The urban edges of Taksim Square have unique qualities of Islamic and Western medieval city planning. Taksim Square is a meydan, an Ottoman style square with the primary function for an open space for circulation, and aesthetic planning and quality is not put at the utmost importance (Baykan). Therefore, the defined edges of this public space are not necessarily organized in a symmetrical geometry as we have seen in Italian or French cities. However, the edges of the space are still evident with the contours of the streets (seen in Figure 6) as well as the geometric landmarks in the landscape (see circular planning of monument in Figure 2). Taksim Square is defined by the edges of these buildings that line the street – which vary in quality and program. There are smaller retail cafes and shops next to the major Ataturk Cultural Centre, which is also close to various high end hotels, a Burger King, lines of kebab vendors, embassies and Gezi Park. The mix of these varying typologies give Taksim Square a heterogeneous edge quality of both stately grandeur but also of rough, unrefined street culture.
Paths Taksim Square is the node that distributes the city into different paths it intersects. Major paths around the square are Cumhuriyet Caddesi (‘Avenue of the Republic’), Siraselviler Cadessi, Inonu Caddessi, Talabasi Blvd, and most importantly Istiklal Caddesi (Liberty Street). Istiklal Cd is the main commercial street of Beyoglu and is one of the longest pedestrian city streets in the world. (See Figure 6) Taksim Square is where people have congregated together for political, economic, and social reasons and that has been articulated in its history and architecture (Baykan). Because of this, Taksim is made up of very informal and waving paths that bleed into the major streets that were aforementioned. Taksim Square is an important meeting point for political processions. Seen in figure 3, this map shows the procession from smaller meydans in the city to Taksim Square in a major political protest in 1977 known as May Day, which redefined the republic square as a space for civic empowerment (Baykan). Taksim Square is also a major transportation hub integrated into the city’s extensive transit system. From Taksim, one can take the metro, the light rail train, various city buses, and airport shuttle buses. Also circulating in the square is a density of taxi cabs and informal taxi buses one can take to different districts. Paths from Taksim Square are not just the intersecting physical streets but also routes in various transit services one could take (see Figure 4).
Districts Taksim Square is on the European side of Istanbul, in the Beyoglu district. Beyoglu has a great deal of history as a Greek
Figure 2 (Top) - Protest at Taksim Square around the monumentFigure 3 (Middle) - Procession from smaller meydans to Taksim Square o n May 1 1977Figure 4 (Bottom) - Transportation hubs from Taksim Square
02
Istiklal Caddesi
Tarlabasi Blvd
Cum
huriy
et C
adde
si
Sira
selv
iler C
d.
Inonu Cd.
Figure 5 - Map of Taksim Square delinating edges, paths, and landmarks:1. Monument of the Republic, 2. Taksim, 3. Gezi Park, 4. Ataturk Cultural Centre, 5. Entrance to Istiklal Caddesi
city when Istanbul was under Byzantine rule, and its major districts were known as Galata and Pera. Over time the region has been redefined by the Ottoman empire, foreign businesses and trade by Western exchange, and the establishment of the modern republic in 1926. Therefore, Beyoglu’s character is a heterogeneous assemblage of the historic, Islamic, and Western cosmopolitan cities (Baykan). Its proximity from the old city (Sultanahmet) and the newer sprawling areas of Istanbul makes Beyoglu a central urban neighbourhood that is a mediating region between the post WWI modern Istanbul and its historic Ottoman quarters. Thus, Taksim square serves as an important place that distributes urban growth and populations of people across the city to various districts in Istanbul.
Nodes Istanbul is seen as the clash of Western
and Eastern cultures, and this is very evident in the planning and use of Taksim Square. This square is known as a meydan, which is the Turkish word for a city square. Much like an Italian or medieval city square, it is a positive space that “signif[ies] an open space between structures and buildings inside the boundaries of a city (Baykan).” More similarly to a medieval square, the meydan “evades the rigidity and the intentionality of the plaza or square’s structural form (Baykan).” Traditionally in Ottoman and Islamic city planning, meydans were not intended for a social aspect but rather were intended for urban circulation. Hence, Taksim Square is a very important node to the flow of people in the city – it is a main destination for the shuttle bus to and from the main airport, it is a subway/light rail/bus/taxi cab stop, it is a meeting spot for locals and tourists before deciding where to venture for the night, and it is where protests begin and end. Although this functional aspect of Islamic city planning is evident, the social and political development
to how it became a Western ‘square’ raises to the surface as it is occupied throughout history. Various famous protests have been held there in attempt for the public to mediate with the state on great inequalities in the municipal system. The most important protest that redefined the square was the May Day tragedy in 1977 which resulted in 38 deaths of protestors caused by the police force (Baykan). Smaller protests occur throughout the year, but the most recent larger protest was the occupation of Gezi Park in 2013, which was a public reaction to development plans to replace this public park with a large shopping mall planned and funded by the municipality (Kimmelman). Although meydans are intended to be more for function than social-political engagement, Istanbul citizens have proven to have a historic impact on the reclamation of public space in the city and Taksim Square is the most important space where these negotiations take place.
Landmarks Taksim Square features the monument of Ataturk, the leader of the new republic of Turkey that lead the cultural revolution and the War of Independence. (Baykan) He stands proud with other key political figures and comrades in this period piece. The statue was created by an Italian sculptor and marks the beginning of a new secular state after the fall of the Ottoman empire. Tourists, in and out of Turkey, visit this monument and are reminded of a nationalistic view of the country that Turkish people are very proud of. Other key landmarks include the Ataturk Cultural Centre, the Hilton Hotel (designed by Skidmore Owings and Merill) Gezi Park, and Istiklal Caddesi (Figure 5).
03
Images
Title Page: http://www.newyorker.com/online/blogs/photobooth/2012/09/2.htmlFigures:1. Istanbul, Turkey Map - http://www.prew.hu/gallery3/index.php/DOT_CD29/Turkey_05/DOT_Turkey_05_Istanbul_Map_12. Protest at Taksim Square around the monument - http://www.prew.hu/gallery3/index.php/DOT_CD29/Turkey_05/DOT_Turkey_05_Istanbul_Map_13. Procession from smaller meydans.. - See works cited, text by Baykan4. Transportations hubs from Taksim Square - www.elsevier.com/locate/optlaseng (from article titled: “Producing 3D city model ... of Taksim Cumhuriyet square “)5. Map of Taksim Square: See works cited, text by Baykan6. Various images for timeline:See works cited, text by BaykanHilton Hotel - http://en.wikipedia.org/wiki/Hilton_IstanbulOccupy Gezi Park Protest - http://www.haaretz.com/print-edition/business/israeli-companies-fear-turkish-backlash-1.293435
Works Cited
Baykan, Aysegul, and Tali Hatuka. “Politics and Culture in the Making of Public Space: Taksim Square, 1 may 1977, Istanbul.” Planning Perspectives 25.1 (2010): 49-68. Web. 29 Mar. 2014
Kimmelman, Michael. “The Power of the Public Space; Istanbul Protests Offer Reminder That There Is No Substitute for the Street.” The International Herald Tribune 8 June 2013: 1. Print.
Thompson Cong Nguyen [100793376] 2014.04.01
Evolution of Functions & Symbolic importance
In the mid 18th century, Taksim Square was first seen as the node for the distribution of lines of water infrastructure, and a meydan, an open space for the flow of people.In 1803, the construction of an artillery barracks began. This building was built, destroyed,
reconstructed and then ultimately demolished where the current Gezi Park is situated now.In 1926, Taksim Square was planned as a declaration of a secular state in the republic era lead by Kemal Ataturk. A Nationalistic state needed to be expressed, and so
“Western ideas defined the cosmopolitan character of Beyoglu and Taksim. (Baykan)” Post WWII – the new political parties focused on culture and economy. Density of the city greatly influenced Istanbul’s morphology. Between 1950-1960, Istanbul reached a
population close to two million. Space was not recognized by political parties as a declaration of the modern nation but instead was seen as “an economic resource for liberal interests.” Development of large boulevards, dense construction, tourism, and Gezi Park was
constructed during this period. A city beautiful approach was taken, although little or no regard for quality, cohesion, or history was considered as several neighbourhoods were erased in this process. (Baykan)
On May 1st, 1977, Taksim became a space of mass politics with the tragedy of a large protest ending in the deaths of 38 civilians caused by the police. The square’s political symbolic importance was redefined by the people as it is regarded as a memorial for the aftermath of public outcry. Today, Taksim Square is recognized as a spectacle of globalization and political rising in the 21st century – most recently, in the situation of Occupy Gezi Park. The currently Prime Minister Erdogan and the city were “determined to clean [Taksim Square] up and make it into a pedestrian zone, with a new mall, mosque and tunnels for traffic to move underground. (Kimmelman)” Although it is true that the surface of the square cannot accommodate the traffic needs of Istanbul’s growing population and tourists, locals argue that “‘The government wants to sanitize [Taksim], without consulting the people.” (Kimmelman). The battle and morphology of Taksim Square has resulted in a great deal of outrage and protests ensued. The discussion – or rather, argument – over the occupation of public space is constant in the city.
Conclusion Taksim Square is the city’s most important meydan – it is “a place where citizens negotiate the transformation of symbols, structures and boundaries.” It is not “bounded with formal spatial definitions and urban restrictions, the meydan as particular typology generates participatory actions and becomes a mediator space between citizens and regime (Baykan).” Since the 90s, Taksim’s identity – although seemingly fragmented and too fluid – is one of dynamism and public engagement. The social conflicts between parties, specifically the state and the public, still play a great role to exercise their “domains of power and resistance [to] produce and recast the political (Baykan).”
1750
1803
1926
1950
1976
2013W A T E R
DISTRI-BUTION J U N C -TION
ARTILLERY BARRACKSNATIONALIST CITY BUILDING)
MONUMENT TO THE NEW REPUBLIC OF TURKEY
L IBERAL AND ECO-N O M I C CITY CEN-TRE - (CIVIC SYMBOLISM IS ERASED BY DE-VELOPMENT)
MAY DAYPOLITICAL DEMON-STRATION SPACE(CIVIC IMPORTANT REWRITTEN BY THE PEOPLE)
#OCCUPY GEZIPARK(PROTEST TO PRO-TECT CIVIC SPACE
(BUILT, DESTROYED, REBUILT THEN FINALLY DEMOLISHED FOR GEZI PARK)
Le Parc Monceau
Once a parcel of land owned by the Duke of Chartres (a cousin of Louis XVI) in 1789, the French landscape architect Carmontelle was commissioned to create what was soon to be Parc Monceau. Carmontelle suggested in designing this park in the style of an English picturesque garden. This being one of the first English style gardens as a green space in Paris, it was an unusual and new proposal for the state. However, Carmontelle’s twist on the park was ultimately made complete with the use of follies that borrowed historic styles and symbols from cultures and time periods
Thompson Cong Nguyen [100793376] 2014.03.19
all over the world (Le Parc Monceau). As seen in figure 1, it is clear the extent of the park in the late 18th century was very grand for the royal and bourgeois class.
Prior to the French revolution, the garden was used for the members of the royal class leaving this huge lavish development to be enjoyed only for the wealthy elite. As Napolean reigned, he took great interest to turn the park into his own private paradise with considerations
for a zoo or a private garden for the King of Rome. (Fondation Napoléon) Although the Duke did empathize with the working class, as it was said that he did understand and share the same values of the revolution, the public did not see him as their own and his ‘folie de Chartres’ was guillotined in the park (Le Parc Monceau). The public had reclaimed this property and the park was nationalized during the revolution in this demonstration of defiance (Jarrassé).
After monarchy was set in place once again and the Duke restored control over the park, the property was severed in parcels for real estate investments and the rest sold back to the city of Paris. The final extents of the Parc Monceau was reclaimed by the city in 1860 with 20 hectares of the site allocated for public use during Haussmann’s renovation of Paris’ city centre with Haussmann and Adolphe Alphand as the key planners (Fondation Napoléon).
Le Parc Monceau
01 Thompson Cong Nguyen [100793376] 2014.03.19
As many public parks had done to great city neighbourhoods, Parc Monceau brought a great deal of real estate value to the neighbourhood when it was “inaugurated on August 13, 1861 by Napoleon III, the park met with immediate success owing to its masterful beauty as well as the surrounding housing
estates.” The aesthetics of the city became an important value for Paris, and it is clear that Haussmann was on the forefront of driving the City Beautiful movement in his renovation. (Fondation Napoléon) As Paris became modernized through Haussmann’s planning, it was clear that it was becoming a
cultural and artistic centre. The Parc Monceau brought a great deal of attention to artists, and we began to see it being documents in Claude Monet’s paintings. (A View on Cities) Today it attracts many tourists and locals alike to enjoy the landscaping, the culturally appropriated follies along with the culture of the
‘Flaneur’ – seeing and being seen – existing in the public realm of Paris’ urban spaces. (A View on Cities)
Design analysis
The Parc Monceau is an interesting urban park as it borrows design strategies from the English garden tradition as well as follies from different cultures. A reading of the park using Kevin Lynch’s five points in ‘The Image of the City’ will help us understand the topology of this urban space.
Districts The Parc Monceau is located in the eighth arrondissement (see Figure 3) of Paris at the intersection of Boulevard de Courcelles, Rue de Prony and Rue Georges Berger. At this junction is the North entrance to the park, which is marked by a Rotunda. (Jarrassé) The area surrounding the park
Figure 1 - Le Parc Monceau c. 1790 with approximate overlay of existing Parc boundaries Figure 2 - Present extent of Le Parc Monceau
Figure 3 - Le Parc Monceau in context to Paris
Key Nodes/entrances
Main entrance/Monceau metro
02
is one that was occuppied by the bourgeois of Paris, as many of them had decided to build their mansions on the Monceau plateau. (Fondation Napoléon) Given this character of the emerging upper class of the city, it is true that this public space must uphold the same aesthetic qualities of the neighbourhood it resides in. In the same way, the park provides an urban identity for this district.
Edges The occupation of the elite class around the Parc Monceau greatly
impacted the boundaries between public and private space. An ample amount of space needed to be provided between the private mansions from the street, and Haussmann enforced a setback of “15 metres of greenery […] required in front of the property as well as gates marking the barrier between public and private space.” (Fondation Napoléon) Hence, the edges of the park’s perimeter were greatly defined and formalized not only by its surrounding streets, but by the gates of the adjacent properties in its district.
Figure 4 - Illustrated map of the follies and paths
Figure 6&7 - Pyramid + Column folliesFigure 5 - Gates designed by architect Gabriel Davioud
The perimeter of the Parc Monceau, like many Parisian parks built at this time, was lined with wrought iron gates. To build a specific image for the new wealth of the city, architect Gabriel Davioud had designed these barricades, seen in figure x. (Fondation Napoléon)
Nodes Although the park itself it an urban node in the city and it is a foci on intersection avenues that change movement, the many entrances to the park from the streets that penetrate it
are key nodes into this public space. The map in figure 2 indicates the key entrances from the street into the park. Most of these entrances are marked with follies in the park, which greatly show a sense of organization in the use of these key markers in the landscape. Particularly the northern entrance with the Rotunda and Monceau metro stop is a key urban node with many streets converging to the gates of the park.
Landmarks (Follies) The follies of the
park really give the public space an interesting sense of character. It is in a sense a “fantasy world” or “amusement park” borrowing from different cultures and eras in time, as stated by the landscape architect Carmontelle (Jarrassé). These follies mark key entrances and nodes in the park, helping pedestrians finding a sense of place in the picturesque landscape. As seen in figure x, it is clear that there is a mismatch of different cultural styles in the follies. These include the Roman-Greco Rotunda and
Colonnade, the Pyramid, various monuments of famous Frenchmen, ruins of a Doric column and other key landmarks. (Jarrassé)
Paths The paths are what really dictate the design and organization of the Parc Monceau. As one can see in figure x, the park is particularly designed in the tradition of a French garden due it is main axes running north-south from ‘La Rotonde’ down to the ‘Monument ’ as well as its east-west axis that is the
Images
Title Page: https://www.flickr.com/photos/karin_in_paris/4331245826/sizes/l/
Figures:1.Le Parc Monceau c. 1790 with approximate overlay of existing Parc boundaries - http://upload.wikimedia.org/wikipedia/commons/4/4d/Plan_du_Parc_Monceau.jpg
2. Present extent of Parc Monceau - http://www.pileface.com/sollers/article.php3?id_article=527
3. Le Parc Monceau in context to Paris - http://1.bp.blogspot.com/_rvHbl_Xm8kk/TURRIzMPptI/AAAAAAAABjo/uTvufn3ANYY/s1600/
4. Illustrated map of folliesand paths - http://sites.duke.edu/french119_parcmonceau/files/2011/12/parc-monceau-mail1.jpg
5. Gates ... - https://www.flickr.com/photos/58708751@N00/8067843188/sizes/l/
6&7 Follies - Columns - http://a395.idata.over-blog.com/3/19/10/25/Paris/028-Le-parc-Monceau.JPGPyramid - https://www.flickr.com/photos/anachronism_unltd/6401494889/sizes/l/
8. Occupation of Parc Monceau - http://landscapelover.files.wordpress.com/
9. Claude Monet painting of Parc Monceau -http://upload.wikimedia.org/wikipedia/commons/2/2e/Monet_claude-au_parc_monceau.jpg
Works Cited
“Histoire.” Le Parc Monceau. N.p., n.d. Web. 20 Mar. 2014. <http://sites.duke.edu/french119_parcmonceau/histoire/>.
Jarrassé, Dominique, and Jacques Lebar. Grammaire Des Jardins Parisiens: De L’héritage Des Rois Aux Créations Contemporaines. Paris: Parigramme, 2007. Print.
“Parc Monceau.” , Paris - A View on Cities. N.p., n.d. Web. 19 Mar. 2014. <http://www.aviewoncities.com/paris/parcmonceau.htm>.
“Parks.” Fondation Napoléon. Fondation Napoléon, 2008. Web. 20 Mar. 2014. <http://www.napoleon.org/en/magazine/itineraries/course/parcs_parcoursparcs_english.asp?id=448743>.
Thompson Cong Nguyen [100793376] 2014.03.19
Le Parc Monceau
Allée de la Contisse de Ségur as key paths of organization and movement. What makes this park more English is its use of more informal pathways that cut across the main axes, around resevoirs and along follies. This allows for a much more playful sense of movement in the park that compliments the formal Cartesian style of Versailles.
However, the scale of these paths are still very wide and formal, like a French garden. As seen in figure x, the width of these paths do not allow for a meandering or picturesque quality like English gardens, and rather focuses on allowing the public to enjoy the space with ample circulation space. It is important to note that although these formal qualities are evident, Carmontelle’s intent was for not to produce an
English garden, but rather a park that is “an extraordinary garden, a pure amusement” rather than something ‘naturalistic’ that many national parks would attempt to produce (Jarrassé).
The Parc Monceau is seen today as a traditional public park but it still widely enjoyed by locals and tourists alike, especially children. (A View on Cities) The playful quality and fantasy-like design that Carmontelle had aimed for is still prevalent today and it is a key example of public green space in modern Western cities.(Images on left:Figure 8 above - occupation of Parc MonceauFigure 9 below - Claude Monet painting of Parc Monceau
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