Lam Nguyen Tran Academic Portfolio 2014 by Lam Nguyen

2014

TRAN NGUYEN LAM

PORTFOLIO ACADEMIC

lam.nguyentran@live.com

lam-nt.tumblr.com

NCL APL Part II /

MArch

CONTENTS

Detail, Narrative & Memory Curating Museum Island Occupy Manhattan / A Protest Blueprint ( Part II Thesis ) Linked Research / Testing Ground After Image ( Part I Thesis )

02 64 104 190 212

Detail, Narrative & Memories 2 - 3

D ETAI L , NAR RATI V E & MEMORIES

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Detail, Narrative & Memories

Similarly, it might be said that every detail – however, precious, understated or seemingly ill-considered – has a tale to tell. Looking closely at the details of buildings can tell us a lot about the values, attitudes, and priorities of the culture in which they were produced. Some architects think about detail design separately from scheme design, parcelling them up as distinct activities. This separation is instituted in the organisational structures of some offices, where separate teams work on the ‘concept’ and ‘production’ phases of a job. This project aims to challenge this dangerous distinction between ‘concept’ and ‘production’, between ‘design’ and ‘technology’. It proposes, instead, that detail is the microcosm of an architectural idea; that rich architecture contains an idea or ideas which pervade the proposal from site to strategy to fabric to environment to detail. Similarly, it might be said that every detail – however, precious, understated or seemingly ill-considered – has a tale to tell. Looking closely at the details of buildings can tell us a lot about the values, attitudes, and priorities of the culture in which they were produced. This project asks you to design a detail. Through that detail, you are asked to design a building. A clear narrative – expressed through the cutting, joining, forming, layering and weathering of materials – should link the detail with the strategies for the building. The same narrative will thread your proposal’s environmental, structural, climatic, lighting and energy strategies together into a coherent whole The detail you are asked to design is the meeting of two buildings: an existing building, of your choice, and your new addition to it. Your FIRST task is to choose a building to work with. It might be modernist, classical, gothic, arts-and-crafts or in any other architectural idiom. It might be disused or derelict, but it certainly doesn’t have to be. The mundane or generic could be just as suitable as the iconic or famous. It’s likely to be somewhere you

can visit, or somewhere you have visited (but there may be good reasons to make an exception). Try to look beyond places you already know well; its often more rewarding to take on a building you find intriguing or problematic, rather than one you love. There are no absolute rules here, but you should agree your choice with the year team (who have a right of veto!). Everyone in the year should choose a different building. SECOND, you must draw and understand your chosen building and its context in plan, section, elevation and detail. Working at scales between 1:5 and 1:25, explore the building and site through their details, materials and junctions. What do the details say about the building, about architecture, and about the world? Draw the building to analyse its structure, organisation, proportions and hierarchies. These studies should shed light on the building’s cultural, social, political and historical contexts, and allow you to describe its ethos. Draw and model the building using a technique (or mixture of techniques) which reflect or critically respond to this ethos. THIRD, work out your attitude to the building and its ethos. Develop your studies of details to see what strategies and narratives and they might set in motion. Use models and drawings to explore how you want to work with the building and context. Through the interventions you propose, think about whether you want to celebrate the building, challenge it, or emphasise certain qualities and diminish others. How will your new architecture respond, critically, to the existing architecture? FOURTH, as your narrative develops, devise a schedule of accommodation for a substantial extension which will allow you to achieve your architectural ends. There is one rule: the programme should contain a variety of spaces at a variety of scales, including at least one large public or semi-public space. Again, the programme should be agreed with the year team. As a rough guideline (remembering that rules are sometimes there to be broken), you should aim for 2000-2500m2of accommodation. In marking, we will factor-in the ‘difficulty of dive’, and we will expect smaller projects to be resolved to a greater level of detail. FINALLY – and at greatest length – develop your building through your detail, and your detail through your building. Your detail should be a microcosm of the proposal which binds together: your critical response to the existing building; your response to site and programme; the resulting strategy; your choice of materials; the structural strategy; the choice of appropriate technology; environmental and climatic response; energy choices; and the necessities of contemporary regulations. The outcome should be a rich, critical architecture with an idea or ideas which pervade its conception through detail to strategy.

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Some architects think about detail design separately from scheme design, parcelling them up as distinct activities. This separation is instituted in the organisational structures of some offices, where separate teams work on the ‘concept’ and ‘production’ phases of a job. This project aims to challenge this dangerous distinction between ‘concept’ and ‘production’, between ‘design’ and ‘technology’. It proposes, instead, that detail is the microcosm of an architectural idea; that rich architecture contains an idea or ideas which pervade the proposal from site to strategy to fabric to environment to detail.

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The site and inspirations

Background: Newcastle railway station (or Newcastle Central Station) is the mainline station serving Newcastle upon Tyne, England, and is a principal stop on the East Coast Main Line between London and Edinburgh. It opened in 1850 and is a Grade I listed building. The railway station is connected to the adjacent underground Central Station Metro station on the Tyne and Wear Metro and along with many local bus services forms the most important transport hub in North East England. East Coast and CrossCountry are the main operators at the station, providing Inter-city rail travel across the UK. East Coast operates high speed rail services along the East Coast Main Line between London and Edinburgh. CrossCountry operates rail services along the Cross Country Route between Scotland, the Midlands and South West England. First TransPennine Express provides services to Yorkshire and North West England. Northern Rail operates local and regional services across the North East and also to Cumbria. The underground station provides Metro services to Newcastle Airport, nearby Gateshead, Whitley Bay, South Shields and Sunderland. Newcastle Central has seen strong passenger growth over recent years with just under 8 million passengers using the station annually. Overall passenger usage for both the mainline and Metro station currently numbers 13 million passengers annually. It is currently managed by East Coast but as part of the return of running of the East Coast Mainline to the private sector it will become the 18th station to be managed by Network Rail in 2015.

Detail, Narrative & Memories

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4 1. The shadow: Passing trains and fragmented structures create a vivid shadow counterplay. Shadows are always passing by, same way as every passenger in the train station 2. The queue Passengers waiting for each train create intriguing circulation with very calm spaces versus and dinamic areas. It makes a train station as a unuque meeting place 3. Time and waiting: It becomes almost an absolute concept in such busy place as train station: passengers always move through time and always wait 4. The repetitive structural arches This particular structure create the beauty of rythm, spaning all the way through long platforms and contious tracks. Through this we can find a sence of infinity. 5. The industrial landscape

6. The romantic sunset

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The narrative: HUGO film by Martin Scorsese

At the station on the following day Georges gives some ashes to Hugo, referring to them as the remains of the notebook. Later, Isabelle tells him that the notebook was not burnt, adding that the notebook has somehow deeply disturbed her Papa Georges. Finally, Georges tells Hugo that he may earn his notebook back if he works in the toy store every day to pay for all the items Hugo stole. During his free time, Hugo continues to work on the automaton. When it is finished, however, it is still missing one part: a heart-shaped key that goes into the back of the automaton to make it work. As the two grow close together, Hugo takes Isabelle to the movies, something that Georges would never let her do, while she introduces him to the bookstore owner Monsieur Labisse (Christopher Lee) who has loaned her books in the past. Hugo is surprised to find that Isabelle wears a heart-shaped key as a necklace. He asks to borrow it, but Isabelle refuses to lend the key to him unless he tells her why he needs it. At first he declines, but his desire to see the automaton operate leads him to take Isabelle to see the automaton. They use the key to start the automaton, and watch as it draws out an iconic image from the film Voyage to the Moon by the film pioneer Georges Méliès. When the automaton writes a signature beneath the drawing, Isabelle recognizes the name as her godfather’s own. They take the drawing to Georges’ home for an explanation. They ask Isabelle’s godmother Mama Jeanne (Helen McCrory) but she will not tell them anything. As Georges arrives home, Jeanne forces the children into a back room, where they find a hidden compartment in an armoire. In the compartment is a small chest containing a copy of the automaton’s drawing, along with many other drawings. The noise of a collapsing chair draws Georges into the room, and he throws Hugo out, feeling betrayed. Some time later, Hugo and Isabelle discuss Méliès with the bookstore owner; he directs them to the Film Academy section of the library, telling them just where they may find a book on the history of film. As they read the book, its author, Rene Tabard (Michael Stuhlbarg), appears and describes his love for Méliès’s work. The book asserts that Méliès died during World War I, but the children convince Tabard that the filmmaker is still alive. Tabard reveals he has the last known copy of Voyage, and he suggests that they go to the Georges’ house to watch it the next evening. That night, Hugo had a dream where he finds a golden heart-shaped key lying on a railbed in the station but is run over by an approaching train and his dream ends with images of the Gare Montparnasse accident of 1895. The next evening, Jeanne is hesitant about letting them show the film until Tabard recognizes her as Jeanne d’Alcy, a frequent and beautiful actress in many of Méliès’ films. When the film finishes, Georges comes out, and emotionally reveals himself to be Méliès, recalling his filmmaking career. He transformed his illusionist skills into the special effects he used for his movies to bring his vivid imagination to life. However, after the horrors of World War I, his films lost popularity with the jaded and disillusioned population, and he became ruined, selling the films to be melted down to chemicals, used to mold shoe heels, and quietly disappeared as a toy maker to sustain himself and Jeanne. Georges is despondent, believing all of his former film materials were otherwise destroyed in a museum fire, leading Hugo to recall the automaton.

In 1931, Hugo Cabret (Asa Butterfield) is a 12-year-old boy living in the walls of the Paris Gare Montparnasse railway station, where he mends the station’s clocks. Previously, Hugo was raised by his widowed father, a museum worker (Jude Law). His father had doted on him, teaching him the art of repairing mechanical devices, taking him to movies, and showing him how he was repairing an automaton (mechanical man) that supposedly could write a message. After his father was killed in a museum fire, Hugo was taken in by his alcoholic uncle Claude (Ray Winstone) who showed little sentiment for Hugo but taught the boy how to maintain the clocks at the station. When Claude mysteriously disappears, Hugo continues to maintain the clocks while making a living by stealing food and supplies. All the while Hugo lives in fear that if the vigilant Station Inspector (Sacha Baron Cohen) were to discover him, he would be turned over to an orphanage. Hugo continues the work on the automaton. Relying on his father’s notebook for insight, he steals the required parts wherever he can, including from the shop of a toymaker who makes and sells mechanical toys. One day, he is finally caught by the bitter toymaker, Papa Georges (Ben Kingsley), who has long known that Hugo robs him. Georges looks through Hugo’s father’s notebook, is evidently strongly affected by it, and keeps it despite Hugo’s protests. Hugo trails Georges to his home to retrieve it. There, he meets Georges’ goddaughter, Isabelle (Chloë Grace Moretz), who promises to help.

Hugo races back to the station to get the automaton (intending to use it as a surprise for Georges), but before he can retrieve it, he overhears the Station Inspector tell that Claude’s body had been recovered in the Seine. The Inspector catches Hugo and discovers that he is an orphan. During the ensuing chase, Hugo climbs up the clock tower and is forced to climb onto the clock hands to hide from the Inspector. When he goes away, Hugo quickly climbs back in and gets the automaton but is quickly cornered again by the Inspector and the automaton is thrown onto the railway tracks. Despite the approach of an oncoming train, Hugo jumps onto the tracks to recover the automaton. With no time to climb back up onto the platform to save himself and the automaton, Hugo appears to face certain death from the oncoming train. However, the Inspector saves Hugo at the last moment. As the Inspector decides whether or not to arrest Hugo, Georges arrives and asserts that Hugo is now in his care. Hugo is released and presents the automaton to Georges. Sometime later, a film festival is held showcasing over eighty recovered and restored Méliès films. Georges tearfully takes the stage, and thanks Hugo for his dedication and to the other attendees for sharing his imagination with him. After the festival, during a party in the Georges’ house, Hugo has acclimated as Georges’ son, while Isabelle begins writing a book on the recent events. The film ends on a shot of the automaton sitting at a writing desk in a pleasant room, poised as though prepared to resume drawing.

Detail, Narrative & Memories

Film making technique Set production Dolley track 8 - 9

Set construction is the process by which a construction manager undertakes to build full scale scenery suitable for viewing by camera, as specified by a Production Designer or Art Director working in collaboration with the director of a production to create a set for a theatrical, film or television production. The set designer produces a scale model, scale drawings, paint elevations (a scale painting supplied to the scenic painter of each element that requires painting), and research about props, textures, and so on. Scale drawings typically include a groundplan, elevation, and section of the complete set, as well as more detailed drawings of individual scenic elements which, in theatrical productions, may be static, flown, or built onto scenery wagons.

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Relief paper model of context

Cj Lim, in his book ‘London in two and half dimension’, capture London district atmosphere through his meticulous relief paper models that he name himself ‘ 2.5 D model’. This method of representation whilst do built on accurate vertical dimension of the context, but through the perspective view point, tricking the vision of the eyes, arrangement of layers of papers and its shadow deliver a powerful depth to the model. This technique is very commonly used in stage set design. Through the model, I attempt to capture the idea of lighting, shadow and the industrial landscape within a frozen moment that can be perceive at one particular point of perspective.

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The detail of the machinery

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Slider No.1

The slider is crafted as a synthesis from two parts of the research : the machinery of the train station and the beauty of classic film making technique. Using wood and plumber component, I try to bring the aesthetic of the steam engine into the slider device that is commonly used in film production. The drawing of the device is used as a mean to explore the idea of the relief in stage production. While the technical drawing provide dimension to the construction of the slider, the projection of lighting on the slider create shadow that bring the third dimension to the drawing. When blurring the boundary between the drawing line and the shadow, the object and its shadow merge and become a unique entity. I find this method is very interesting to explore the potential derive geometry from any given detail.

1. Design sketches 2. Development sketches 3. Axonometric view 4. Top view with shadow 5. Front view 6. Bottom view 7. Top view 8. Side view 3

Detail, Narrative & Memories

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Detail, Narrative & Memories 16 - 17

Using embeded lighting simulating system within the 3d modelling program, I generate 45 degree shadow projection from 4 direction top left, top right, bottom left and bottom right on to the axonometric view of device slider No.1. The range of shadow are then extracted from the object and recomposed into a new configuration. While making a new configuration, I attempt to approach the image of the train, the station and the dolly track. The result is a long and straight figure that referenced back to the image of the train and the station.

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CG 4 1 2 3 1. Shadow projection from 45 degree top right 2. Shadow projection from 45 degree top left 3. Shadow projection from 45 degree bottom right 4. Shadow projection from 45 degree bottom left 5. Extraction shadow from the geometry 6. Composition of range of shadow 7. Slider No.1 - 1:1 prototype 8. Slider No.1 demonstration

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Slider No.2

Detail, Narrative & Memories

The drawing of the device is used as a mean to explore the idea of the relief in stage production. While the technical drawing provide dimension to the construction of the slider, the projection of lighting on the slider create shadow that bring the third dimension to the drawing. When blurring the boundary between the drawing line and the shadow, the object and its shadow merge and become a unique entity. I find this method is very interesting to explore the potential derive geometry from any given detail. Extrusion of the shadow start to generate an architectural geometry. This idea have the potential to become the bridge between two drawing scale of an object / of a detail and of an architecture.

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The slider is crafted as a synthetic of two part of the research : the machinery of the train station and the beauty of classic film making technique. I try to bring the aesthetic of the steam engine into the slider device that is commonly used in film production.

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1. Front view 2. Bottom view 3. Side view 4. Top view 5. Axonometric view 6. Extrusion of the 45 degree shadow projection

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Detail, Narrative & Memories 20 - 21

Using embed lighting simulating system within the 3d modelling program, I generate 45 degree shadow projection from 4 direction top left, top right, bottom left and bottom right on to the axonometric view of device slider No.1. The range of shadow are then extracted from the object and recompose into a new configuration. While making a new configuration, I attempt to approach the image of the train, the station and the dolly track. The result is a long and straight figure that referenced back to the image of the train and the station.

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1. Shadow projection from 45 degree top right 2. Shadow projection from 45 degree top left 3. Shadow projection from 45 degree bottom right 4. Shadow projection from 45 degree bottom left 5. Extraction shadow from the geometry 6. Composition of range of shadow 7. Slider No.2 - 1:1 prototype 8. Slider No.1 demonstration

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Shadow of a detail Shadow of the arches

Detail, Narrative & Memories 22 - 23

Taking the previous study of the shadow further and applying it to the context of the site. I chose to study in detail one arch of the repetitive arches structure. The arches are modelled in detail and projected 45 degree shadow in the axonometric view. Shadow are traced and marked as a landscape of the initial detail. The context of the detail and its â&#x20AC;&#x2DC; deriving landscapeâ&#x20AC;&#x2122; are framed under different point of view start to suggest a new detail derived from the initial detail.

CG 1 1 2 3 CG 2 1 2 3 1. Three arches - shadow from top right 2. One arche - shadow from top left 3. Three arches - shadow from bottom left 4. One arche - shadow from bottom left 5. One arche close up - shadow from bottom

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A collage of four shadow studies are layered on top of each other create an emerging shadow landscape of the arches. This shadow landscape blur the distinction between different view and perception of the arches which suggest a different way to perceive the structure. It could be a landscape, urban furniture, a plan or a section. The production of a relief model with presance of people can suggest how these fragments ge+nerated from this shadow study can be used in a rich way to approach a new design.

1. Digital collage of 4 shadow studies on one individual arche 2. Two and a half dimension relief model of shadow study

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Detail, Narrative & Memories 1. Axonometric view of the relief model suggest an emerging landscape 2. Top view of the relief model suggest an building section

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1& 2 Top view of the relief model suggest a plan of a landscape merging with section of a building

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1. Design sketch derived from the relief model of the arches 2, 3 & 4 Studying sketches of structural balance and tension.

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1. Horizontal structural tension 2. Lighting system 3. Virtical structural tension 4. Primary column 5. Floor beam truss 6. Roof beam truss 7. Primary beam 4

Detail, Narrative & Memories

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1. Primary column 2. Floor beam truss 3. Primary beam 4. Horizontal structural tension 5. Vertical structural tensioni 6. Roof beam truss 7. Lighting system 8. Wooden floor cladding 9. Roof cladding 10. Rooflight 11. Electrical duct channel 7

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Cladding

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Secondary structure

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Primary structure

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Detail, Narrative & Memories 32 - 33

1. Digital model of the foot bridge 2. Physical model of the foot bridge to demonstrate structure stability

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The foot bridge provides a direct connection between the central station, Victoria II bridge and the quayside. This could be the starting point for a new development of this area of the quayside potentially proposing an implement of a new metro station. An outdoor cinema, skate park and car park is proposed at the connection between Victoria II bridge, the footbridge and the quayside will act as a social hub for the development of the new area.

1. Ariel view showing how the foot bridge situation in the context 2. View from the river to the connection between Victoria II bridge, the foot bridge and the quayside

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1. Newcastle central station 2. Connection to the foot bridge located at platform 1 3. The exhibition sequence 4. Zipwire departure 5. Paper cup sequence with connection to the ground 6. Newspaper sequence with connection to teh ground 7. Bottle cafe and office 8. Restaurent Outdoor cinema Zipwire arrival Skate park Car park 9. Victoria II suspended foot bridge

Detail, Narrative & Memories 36 - 37

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Detail, Narrative & Memories 40 - 41

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Pedestrian circulation Elevator Zipwire

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The exhibition space 44 - 45

Bright and open walkway consist of few segments. One of them is exhibition space: the exposition structure is folded from previous study of the shadows. It suggest abstract geometrical segments, adapted for haging and placing exponats about the history and culture of the strain station, steel works in Newcastle and its industrial past.

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Exploded axonometry view of the gallery space 1 Roof finish 2 Roof structure 3 Main supporting structure 4 Exhibition support structure 5 Mezzanine floor

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Paper cup installation space 48 - 49

Walk through space meant to track the number of people waiting for their journeys and taking this route by collecting recycling their coffee cups. All cups are placed in the ceiling structure with certain size of penetration. In overall it creates an aroma of coffee floating in the air.

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Exploded axonometry view of the cup collection fragment 1 Roof finish 2 Roof structure 3 Main supporting structure 4 Cup collection device 5 Mezzanine 6 Cup collection device 7 Floor structure 8 Mezzanine 9 Cup output system

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Detail, Narrative & Memories

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Newspaper collection fragment 52 - 53

Fragment of passageway meant for newspaper collection and display, orientated to passengers with their daily newspaper, it recycles and creates intriguing installation. Furthermore, atmosphere is altered by the light passing through thin paper and sound of sheets shuffling in the air from the air streams

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Exploded axonometry view of the newspaper collection fragment 1 Roof finish 2 Roof structure 3 Main supporting structure 4 Paper collection device 5 Mezzanine 6 Paper collection device 7 Floor structure 8 Office mezzanine curtain wall 9 Office mezzanine floor 10

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Plastic bottle collection fragment 56 - 57

Part of the passageway for translucent plastic bottle collection, which once more acts as recycling system, while creating spatial installation. This space is as suggested cafĂŠ area to stop and enjoy particular light condition created when daylight passes through plastic wall

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Exploded axonometry view of the bottle collection fragment 1 Roof finish 2 Roof structure 3 Main supporting structure 4 Mezzanine structure 5 Bottle collection device 6 Floor panel 7 Office structure 8 Office structure 10 Bottle output system

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Elevation view

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Sectional Perspective view of connection to Victoria 2 bridge

Detail, Narrative & Memories

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1. Primary structural column 2. Primary structural beam 3.ICF - Insulated concrete forms floor 4. Horizontal tension 5. Vertical tension 6. Lighting system 7. Roof finishing 8. Roof light 9. Service duct 10. Plastic bottle wall

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1 Outdoor cinema space. 2 View from the hill

Detail, Narrative & Memories 62 - 63 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3

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Curating Museum Island

I S LAN D /

64 - 65

C U RATI N G M U S E U M MUSEUMSINSEL

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Curating Museum Island

66 - 67 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 2

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The project addressed the Museum Island in the post-war context, an Island of five museums in the heart of Berlin. The museums have gone through series of restorations and renovations since they were bombed in the WWII. The project took into account the complex social situation between the East and the West Berliners and their past history. Inspired by the story of the Berlin wall, I pose a question â&#x20AC;&#x2DC; What if the restoration of the museum island had been done differently? What if there is another wall in Berlin that connects instead of separates? What if the voids of the past could be opportunities for new renaissance? The design took the broken frieze from Pergamon Museum representing the battle between gods as the starting point, and projected its missing parts - the void on to the facade of five museums.

1 A facade mapping imagery, to explore continuous architectural elevation in relation to main neighbourhood junctions, which become a barrier in the Museum island 2 Museum island mapping, aiming to explore wrapping of the existing facade, paying attention to the footprint created. It marks volumes of each museum, and, importantly, voids in between, which i will chose to fill in. Original image comes from tourist postcard.

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Curating Museum Island

1 Continues elevation of Museum island buildings

crystalise each layer of it and identifying voids inbetween. Continious work with the postcard

68 - 69

2 and 3 Defragmentation of chosen facade to

of Museum Island postcard.

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Curating Museum Island 70 - 71

Berlin Museum island symposium model. Taking the idea of void and barrier further, together with explorations from Museum island postcard, this model aims to explore imaginative proposal of connection between museums. It represents the opposite nature of existing buildings. Currently they are almost opposing each other, separated and distant. My conceptual narrative proposes fragmented view of each of the buildings, while blurring andoverlaying them together, in order to fill in the existing void. Three levels of this model represents three embedded inspirational parts of the conceptual narrative: top being the fresk, which gives further suggestion for the design geometry; middle part is continues exploration of the void; bottom is imaginative proposal of fluidity and connection between each of the museum building and its distinctive architecture.

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This old fresque reconstruction is a conceptual working base for future canopy design, when certain transformations are applied. Working method is adopted from previous experimentations of determining void and filling them in with fragmented details

1,2 & 3 Fragments of the famous Fresk in Pergamon museum, Island of Berlin

Curating Museum Island 72 - 73 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

Development of the fresque details. Adopting the same principle of void identification and purification of concrete elements, the fresque is altered to fragments, while missing the void. Similarly as facades where extruded from each of the building, while discarding voids in between.

1, 2 & 3 Fragment of the famous Fresk in Pergamon museum, discarding the void

Curating Museum Island 74 - 75 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

Detailed extrusions of fresque overlaid together, already filling the voids of each other and creating unique composition

Curating Museum Island 76 - 77 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

1 Fragment of Pergamon fresque with extracted voids 2 Geometrical abstraction of Pergamon fresque detail 3 invertion of the geometrical detail of Pergamon fresque, marking the void 4 Blurred view of the invertion 5 Outline of the invertion geometry

Curating Museum Island 78 - 79 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

1 Fragment of Pergamon fresque overlaid on the continues elevation from museum buildings 2 Detailed extrusion from the elevation, determined by fresque geometry 3 Combined fresque and elevation extrusion geometrically abstracted 4 Extrusion output compressed into necessary width of the canopy 5 Reformatted extrusion inverted

Curating Museum Island 80 - 81

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Bode museum elevation fragment. Conceptual process of facade and fresque combination. After determining facade details, they are turned 900 to the plan view and extruded in order to create a base geometry for the canopy

Curating Museum Island 82 - 83 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3

National gallery museum elevation fragment. Conceptual process of facade and fresque combination. After determining facade details, they are turned 900 to the plan view and extruded in order to create a base geometry for the canopy

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Pergamon museum elevation fragment. Conceptual process of facade and fresque combination. After determining facade details, they are turned 900 to the plan view and extruded in order to create a base geometry for the canopy

Curating Museum Island 84 - 85 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3

Neues museum elevation fragment. Conceptual process of facade and fresque combination. After determining facade details, they are turned 900 to the plan view and extruded in order to create a base geometry for the canopy

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Curating Museum Island 86 - 87 CG 1 1 2 3 CG 2 1 2 3 3

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1 Nueus museum process image 2 National gallery process image 3 Pergamon museum process image 4 bode museum process image 5 Plan view of all canopies combined together in ordar to fill the voids in-between

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

DN DN

PRODUCED BY AN AUTODESK STUDENT PRODUCT

+13.0

PRODUCED BY AN AUTODESK STUDENT PRODUCT

+16.0

+9.0

+3.0

0.0

PRODUCED BY AN AUTODESK STUDENT PRODUCT

{3D}

PRODUCED BY AN AUTODESK STUDENT PRODUCT

2 PRODUCED BY AN AUTODESK STUDENT PRODUCT PRODUCED BY AN AUTODESK STUDENT PRODUCT

T PRODUCT

PRODUCED BY AN AUTODESK STUDENT PRODUCT

+5.0

Curating Museum Island 88 - 89 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 3

1. Plan view of the National gallery canopy 2. 3 - dimensional extrusion of the canopy 3. Axonometrical view of the canopy structure

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Curating Museum Island 90 - 91 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 2

1 Elevation view of the National gallery canopy 2. Axonometrical view of the National gallery canopy

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Curating Museum Island 92 - 93 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3

1 Detailed plan view of the National gallery canopy in relation to the buildings footprint 2 Axonometrical view of the national gallery canopy in relation to the existing elevation

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

Curating Museum Island 94 - 95 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3

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1 Architectural fragment of created canopy. Primer volumetric output 2 Primary structure establishment 3 Opportunistic design of the canopy 4 Final canopy design output

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5 Plan output extrusion in to 3 - dimensional form

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

Curating Museum Island

Plan view of the final canopy design for Neues museum

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PRODUCED BY AN AUTODESK STUDE

Curating Museum Island

1 Sectional view 2 Axonometric detail of the canopy

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

Curating Museum Island

1 Front elevation of the final canopy design 2 Front elevation with the gallery building behind it

100 - 101

3 Perspective view of the canopy in relation to existing facade

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PRODUCED BY AN AUTODESK STUDENT PRODUCT

Curating Museum Island 102 - 103 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3

Side elevation/aerial view of the final canopy design

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Occupy Manhattan / A Protest Blueprint 104 - 105

O C C U P Y M A N H A T T A N / Part II Thesis A PROTEST BLUEPRINT

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Primer study of Urban Operation Tactic

The initial study focuses on the topic of Urban Operation Tactic - UOB. Through various sources of information including tutorial video and tactic manual, Iâ&#x20AC;&#x2122;ve tried to understand tactical movement that infantry employed when they combat in a dense urban area. The outcome of the study is condensed into a 6 minutes video in which I have illustrated a group of 4 soldiers that create a formation and move through a chosen route in Newcastle. The video can be found at https://vimeo.com/80686163. The core idea of the formation is that they have to cover 360 degree of observation by assigning each member of the team to cover one direction TL - Team Leader - Covering the front RF - Right Flank - Covering the right side LF - Left Flank - Covering the left RG - Rear Guard - Covering the back On the split screen of the video, at the top left corner, we see a main screen showing the whole team operate in the context. On the top right corner, we see the vision field

of 4 soldiers, and at the bottom is 4 view with the camera fixed on to each of the members, this is an experimental observation to explore the relationship between real vision and tracked views as well as the context modified around the soldier and not the other way around. When moving through the urban landscape, solider pay careful attention to all the potential threat such as invisible corners, doors and windows. They should use urban infrastructure, furniture as much as possible to cover themselves, in this way, they reduce the degree of exposure to enemies. As a result, when moving through the urban situation, the change of cityscape result in the fact that members have to swap their position and their direction of observation. There is almost a particular tactic applied for each of these moments. The second part of the video - Urban Operation Choreography explore the resulting relationship between movement of the team members. Using the fixed view of the member and isolated it from the context, I start to noticed pattern of expansion and contraction. This idea of element of expanding and contracting can be a core idea to take further in the thesis.

Occupy Manhattan / A Protest Blueprint 106 - 107 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

1. Still image from the animation of stage 1 - Urban Operation Tactic 2. Still image from the animation of stage 2 - Urban Operation Choreography

Occupy Manhattan / A Protest Blueprint 108 - 109 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3

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Occupy Manhattan / A Protest Blueprint 110 - 111

1. Still images overlaid of TL - Team Leader 2. Still images overlaid of LF - Left Flank 3. Still images overlaid of RF - Right Flank 4. Still images overlaid of TL - Team Leader, mode line connection 5. Still images overlaid of LF - Left Flank, mode line connection and dot position 6. Still images overlaid of RF - Right Flank, mode line connection and dot position

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Occupy Walls Street movement in Lower Manhattan

Occupy Manhattan / A Protest Blueprint 112 - 113 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3

Manhattan : Middletown and Downtown

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1792

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1857

1712 1837

2011

1987

1970 1857

1920

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1712: New York slaves revolt 1792: Angry mob demands revenge after financial collapse

1967

1837: Rioters ransack a flour warehouse 1857: Rival police departments clash at City Hall 1857: Unemployed demonstrators ask for help 1920: Anarchists bomb Wall Street 1967: High-profile protesters are arrested in Vietnam War demonstration 1970: Activists and construction workers clash during the Hard Hat Riot

300 year of protesting in Lower Manhattan

1987: AIDS awareness Wall Street

activists

demonstrate

2011: Occupy Wall Street protesters gather

2011: Occupy Wall Street protesters gather On September 17, hundreds of people began demonstrating in New Yorkâ&#x20AC;&#x2122;s Zuccotti Park and other parts of lower Manhattan. Many participants have cited economic equality and the reduction of corporate influence as goals of the movement. The ongoing protests have inspired similar events in other cities in the United States and abroad.

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Mapping Occupy Walls Street movement

Mapping OWS movement between October - November 2011 Protester :

Mapping OWS movement between December 2011- Jannuary 2012

Small march

Protester :

Long march

Dispersion

Rally

Big gathering (messure by diameter ) Police :

+ 1

Small march

Long march

Big gathering (messure by diameter )

Deployment

Police :

Check point

Police violence + Arresting Kettling

Deployment Check point Police violence + Arresting Kettling

Protester :

Small march Long march Dispersion Rally Big gathering (messure by diameter )

Police :

Deployment Check point Police violence + Arresting Kettling

Occupy Manhattan / A Protest Blueprint

Using a wide range of available source on internet, I start to track down the movement and activity of the â&#x20AC;&#x2DC;Occupy Wall Streetâ&#x20AC;&#x2122; movement over 8 months period from October 2011 - May 2012. The investigation result in 4 mapping drawings which each represent a 2 months period of movement and activities. The content of each map include rally, marching, arrest, police kettling, deployment and police violence.

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Mapping OWS movement between Febuary - March 2012 Protester :

Police :

+ 3

Mapping OWS movement between April - May 2012

Small march

Protester :

Small march

Long march

Dispersion

Rally

Big gathering (messure by diameter )

Deployment

Police :

Check point

Police violence + Arresting Kettling

4 1. Mapping Occupy Wall Street October 2011 - November 2011 2. Mapping Occupy Wall Street December 2011 - January 2012 3. Mapping Occupy Wall Street Febuary 2012 - March 2012 4. Mapping Occupy Wall Street April 2012 - May 2012

Deployment Check point Police violence + Arresting Kettling

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April - May 2012

Febuary - March 2012

December 2011 - January 2012

October - November 2011

All the fragments of Occupy Wall Street movement mapping are layered in time order to create a three dimensional figure. This 3d map allow me to identify not only the location but also the intensity of movement and activity over time.

Protestor :

Small march Long march Dispersion Rally Big gathering (messure by diameter )

Police :

Deployment Check point Police violence + Arresting Kettling

Occupy Manhattan / A Protest Blueprint 116 - 117 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 Mapping OWS movement between October 2011 - May 2012 Protester :

Police :

Small march Long march Dispersion Rally Big gathering (messure by diameter )

Deployment Check point Police violence + Arresting Kettling

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Privatley Owned Public Space

One Chase Manhattan Plaza, with Bowling Green Park (the site of the “Charging Bull”) and Zuccotti Park as alternate choices. Police discovered this before the protest began and fenced off two locations; but they left Zuccotti Park, the group’s third choice, open. Zuccotti Park, formerly called Liberty Plaza Park, is a 33,000-square-foot (3,100 m2) publicly accessible park in Lower Manhattan, New York City. It is a privately owned public space (POPS) controlled by Brookfield Properties

City Owned Public Space Owned Authority

Private developper

City

Privately Owned Public Space / POPS Owned by private developper

Accessible to all public

Strict law applied Ex: no sleeping, no camping, no rally, no protesting ect.

Law’s oxymoronic invention

Protester camping

Permision for applying force in Privatly Owned Public Space

You are arrested because you didn’t obey to the Law applied on this Public Space

NYPD - New York Police Department City Authority ‘s Enforcement Permited to Arrest protesting individual within City Owned Public Space

Uptown

1. a plaza, arcade, or other outdoor or indoor space for public use provided for public use by a private office or residential building owner in return for a zoning concession

500 m

Occupy Manhattan / A Protest Blueprint

Because Zuccotti Park is not a publicly owned space, it is not subject to ordinary public park curfew. New York City Police Commissioner Raymond Kelly said on September 28, 2011, that the NYPD could not bar protesters from Zuccotti Park since it is a public plaza that is required to stay open 24 hours a day. “In building this plaza, there was an agreement it be open 24 hours a day,” Kelly said. “The owners have put out regulations [about what’s allowed in park]. The owners will have to come in and direct people not to do certain things.”

2. one of 525 or so zoning-defined public spaces in New York City 118 - 119

3. a plaza, urban plaza, residential plaza, public plaza, elevated plaza, arcade, through block arcade, through block galleria, through block connection, covered pedestrian space, sidewalk widening, open air concourse, or other privately owned public space specifically defined by New York City’s 1961 Zoning Resolution and accompanying legal instruments

2 Km

4. a type of public space characterized by the combination of private ownership and zoning-required public access and use

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5. Law’s oxymoronic invention Under the public policy of incentive zoning since 1961, New York City has granted more than 20 million square feet of floor area bonuses and other zoning concessions to office and residential building developers in return for over 80 acres of plazas, arcades, and other outdoor and indoor privately owned public spaces. Developers have used over 16 million square feet of the bonuses granted. To put this in context, 16 million square feet is the equivalent of roughly six Empire State Buildings, and 80 acres of public space equals about 10% of Central Park. Most spaces are located in Manhattan’s midtown, upper east side, upper west side, and downtown neighborhoods. Although the zoning rules governing the POPS have changed over the years, one aspect has remained constant: spaces must be open for public use, many for 24 hours a day, seven days a week, even though they are privately owned and managed.

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5 Km

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Map of POPS in Middle Town and Down Town Manhattan

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159 John Street

156 William Street

One Chase Manhattan Plaza

100 Church Street

120 Broadway

125 Maiden Lane, 9th Floor

125 Maiden Lane, Ground Floor

12 - 16 Vestry Street

14 Wall Street, 31 st Floor

14 Wall Street , Vault

145 Nassau Street

15 Nassau Street

200 Hudson Street

210 Front Street

32 Avenue of the Americas

45 John Street

Occupy Manhattan / A Protest Blueprint

Swing Space in Lower Manhattan

120 - 121

Launched in 2005, with generous support from the downtown real estate community and LMCCâ&#x20AC;&#x2122;s programming partners, Swing Space has placed over 1,000 artists in more than 25 different locations throughout Lower Manhattan and on Governors Island. Swing Space was designed to address short-term space needs for a wide range of projects and to encourage creative, experimental, and collaborative approaches to artistic practice in unconventional spaces. Swing Space was a project-based residency program that placed visual and performing artists and arts groups in space for the development and presentation of new projects and provided artists with space, publicity and public programs, and access to specialized support and resources.

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38 Park Row

77 Water Street

Melville Gallery

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7 World Trade Center

LMCC Project Space

Pier 17

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OCCUPY A

MAN HATTAN

PROTEST

BLUEPRINT

Content: Urban operation tactic Occupy Wall Street movement and tactic NYPD tactic in dealing with riot Privately owned public space Deployable structure

Communication and Order

Student: Lam Nguyen

Protesting Zone D

Activist Base Communication Direction

Activity Connection

SWING SPACES

Launched in 2005, with generous support from the downtown real estate community and LMCCâ&#x20AC;&#x2122;s programming partners, Swing Space has placed over 1,000 artists in more than 25 different locations throughout Lower Manhattan and on Governors Island. Swing Space was designed to address short-term space needs for a wide range of projects and to encourage creative, experimental, and collaborative approaches to- artistic practice in unconventional spaces. Swing Space was a project-based residency program that placed visual and performing artists and arts groups in space for the development and presentation of new projects and provided artists with space, publicity and public programs, and access to specialized support and resources.

1 A

Public / Privat Access D Protesting Zone 4

Activist Base

2 Private Access for Activist Public Routes B

3 Protester :

Small march Long march Dispersion Rally

Big gathering (messure by diameter ) Police :

Deployment Check point Police violence + Arresting Kettling

PRIVATELY OWNED PUPLIC SPACES - POPS

1. a plaza, arcade, or other outdoor or indoor civic space, provided for public use by a private office or residential building owner in return for a zoning concession 2. one of 525 or so zoning-defined public spaces in New York City 3. a plaza, urban plaza, residential plaza, public plaza, elevated plaza, arcade, through block arcade, through block galleria, through block connection, covered pedestrian space, sidewalk widening, open air concourse, or other privately owned public space specifically defined by New York Cityâ&#x20AC;&#x2122;s 1961 Zoning Resolution and accompanying legal instruments 4. a type of public space characterized by the combination of private ownership and zoningrequired public access and use 5. Invention of an contradictory law Under the public policy of incentive zoning since 1961, New York City has granted more than 20 million square feet of floor area bonuses and other zoning concessions to office and residential building developers in return for over 80 acres of plazas, arcades, and other outdoor and indoor privately owned public spaces.

Time Square

Zuccotti Square

Union Square

Duart Squre

Brooklyn Bridge

Location : Footprint : Source:

14 Wall Street / Bank Vault 1000 m2 Swing Spaces

Location : Footprint : Source:

14 Wall Street / 31th floor 730 m2 Swing Spaces

Location : Footprint : Source:

15 Nassau Street 2300 m2 Swing Spaces

Location : Footprint : Source:

120 Broadway 500 m2 Swing Spaces

Location : Footprint : Source:

Zuccotti Park 2080 m2 Privately Owned Public Spaces

Location : Footprint : Source:

140 Broadway 1590 m2 Privately Owned Public Space

Location : Footprint : Source:

1 Wall Street 800 m2 Privately Owned Public Space

3 15 Nassau Street 2300 m2 Swing Spaces

4 120 Broadway - 29th Floor 500 m2 Swing Spaces

A Zuccotti Part 2080 m2 Privately Owned Public Spaces

B 140 Broadway 1590 m2 Privately Owned Public Space

C 1 Wall Street 800 m2 Privately Owned Public Space

The Archive - Permanent headquater of all political and social movements of New York. This space contain all documents about all protests in history of the city, where ideas will be studied by experts in politic and urban planning and developed into executed plan before being push into action. Opened to public only when there is no protest.

The Messenger - The center of information. In this space, activists monitor the protest through highjacking CCTV and their own flying cam and try to bring it to worldwide media. They take order from The Archive , communicate it to activists working on the field and taking report from them. When there is no protest, this space could remain as a radio station.

The Tool Kit - Visual communication support. A team of illustrationist and tailor receiving order from The Messenger to design, print flyer, banner, visual support, uniform. Light flyer could be pipe up to Zuccotti Lighthouse at level above to distribute direct from the air, heiver items would be transport to the site through van. When there is no protest, this space serve public with the printing and tayloring service.

Zuccotti Lighthouse - With direct view onto Zuccotti Park and Broadway Street ( hot spots of all protests), this space address issue that happened on Zuccotti Park from the air including flyer distributing, 3D projecting guiding information onto adjecent building. They report situations on Zuccotti Part to The Messenger and receive order from them. When there is no protest, this space remain as a visual artist studio.

The constant choice of all big protest that happen in Lower Manhattan. With capacity up to 3000 people. It hold a wide range of activities including : assembling, public speech and demonstration. The target of activist is to keep this space occupied with activities 24/7.

Pop-up People Library - an interlectual resource on the topic of the protest. It will be filled up with books brought by protestor and as well as books provided by The Archive.

Training Camp - Where Mix martials artist, ex soldier giving lesson on defence.

122 - 123

2 14 Wall Street - 31 st Floor 730 m2 Swing Spaces

Occupy Manhattan / A Protest Blueprint

14 Wall Street Vault 1000 m2 Swing Spaces

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Stage 1 - Planning and Preparing The presentation illustrate how activist will use available swing space which are renovated to host 3 particular function: The archive: Located at 14 Wall Street in the bank vault basement where all document related to protest are kept. In the archive, activist find documentary, record about past protest in New York city to help them plan the protest thoroughly . They can also have access to urban planning drawing and regulation. The archive connected to communication room at upper level through a direct lift platform where they can transfer equipment ( laptop, screen, and other) to the communication room. The communication room: Located at 14 Wall Street, 31th floor where activist run their campaign. The top level with a panorama view provide good signal and perfect observation over the city. Using social media, activist spread the word about the protest and call for participation. They will also monitor the protest using flying cam ( a technology that become very common and accessible in amateur film industry). The communication is organised into sub function : Social media Call center Monitoring Footage post editing Broadcasting

Outside the communication room is a wind turbine farm platform where inflatable turbines would be deployed when protest happen to power the communication room and the factory located in the adjacent building. The factory: located at 15 Nassau Street, ground floor where the preparation for the protest will take place. A restoration of 3 level turn the Swing space into a factory that serve 3 main functions. Printing service: is the place where protester print out their sign, slogan, banner which will be used in protest and demonstration. Washing service: is the place where protesters wash their clothes during their long temp occupation, the washing service include dying service if the protest need a particular colour theme. Food production: embed within a kitchen restaurant, this is the place where food will be made to sustain protesters during their long term occupation. When there is no protest happening, the factory serve the neighbourhood.

COMMUNICATION ROOM Level 31th

WIND TURBINE PLATFORM

Social media

Publishing

Calling center

Function: Generating energy for the Communication Room and the Factory

Wind turbine

Capacity: 60 turbines

Capacity: Location : 14 Wall Street / Level 31th

Location : 14 Wall Street / rooftop

Ownership :

Footprint : 750 m2

Footprint : 2120 m2

Source:

Swing Spaces

FACTORY

ASSEMBLY POINT Undeployed mode

Function: Workshop, device manufacturing, Printing, publishing, washing and dying, food production

West wing public sitting

Function: Monument / public sitting

Daily restaurent

Capacity: 3500 people

Delivery input

Capacity:

Occupy Manhattan / A Protest Blueprint

Function: Communication and Broadcasting

Location : 15 Nassau Street

Location : Zuccotti Park

Ownership :

Ownership : Brookfiled Properties

Footprint : 2300 m2

Footprint : 2080 m2

Source:

Source: POPS

Swing Spaces

East wing

Delivery output

West wing Dying service

Lift platform to Archive

Ink input

Storage

East wing public sitting Footage and post editing

Screen print device

Emerging extension for public screen print

Footage and post editing

Delivery track

ARCHIVE Level -2

FACTORY Level -1

Function: Workshop, device manufacturing

Capacity:

Lift platform to communication

Location : 14 Wall Street / Bank Vault Ownership : Footprint : 800 m2

Equipment storage

Source: Swing Spaces

FACTORY Level 0 Function: Printing, publishing, washing and dying

Storage

Capacity:

Location : 15 Nassau Street

Ownership :

Footprint : 2300 m2

Input

Source:

Swing Spaces

Archive

Emerging kitchen worktop

4 Delivery input

Storage

Hydraulic arms to deploy emerging extension

Emergin extension for public screen print

FACTORY Level +1 Function: Food production Capacity:

4 Delivery input

Storage

Emergin kitchen extension for public food making

Location : 15 Nassau Street

EMERGING LIBRARY Undeployed mode

Function: Urban furniture / public sitting

Location : 140 Broadway

Footprint : 2300 m2

Ownership : Brookfiled Properties

Source:

Footprint : 1590 m2 Source: POPS

EMERGING TRAINING CAMP Undeployed mode

Function: Urban lighting Capacity: 715 people

Capacity: 2465 people

Ownership :

Swing Spaces

140 Broadway public sculpture / urban sitting

Location : 1 Wall Street Ownership : Brookfiled Properties Footprint : 429 m2 Source: POPS

Output

Delivery output Working space

124 - 125

Function: Archive of Protesting

Emerging kitchen extension

Ink pump to emerging printing service

Delivery output

Washing service

ARCHIVE Level -1 - Mezzanine

Daily restaurent

CG 1 1 2 3

Function: Archive of Protesting Capacity: Location : 14 Wall Street / Bank Vault

Dying service

Archive

Ownership : Footprint : 200 m2 Source: Swing Spaces Screen print device Delivery track

Hydraulic arms foundation for emerging extension

Platform lift for supply delivery to basement workshop

Printing

Ink pump to emerging printing service

CG 2 1 2 3

1 Wall Street Urban lighting Permanent kitchen

Activists are depoying the wind turbines farm to power the factory and the communication room

Zuccotti park before the protest started

Activists are working in the communication room

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Activists are planning the protest, preparing for the assembling day

The factory has deploy it emerging extension. Emerging kitchen extension for food production above and emerging printing service below. Protesters contribute their help the produce.

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Stage 2: Assembly The assembly date and location would be announced through social media by the communication room. In the assembly day people will gather at Zuccotti Square and 140 Broadway plaza. By gathering here, the build up crowd of thousand people will slowly deploy the two structures which will facilitate the protest. During the process of deploying, the structure change its form in a various ways depending on the weight of the crowd occupying the structure. The deployed structure will block Broadway and Liberty Street, provide protesters with the shelter in bad weather, and various form of platform and step to help protester organize their activities such as demonstration, free speech, singing ect. The process of changing form and people inhabitation / occupying is influencing each other. The weight of the crowd change the configuration of the structure, the new configuration of the structure will influence the way protestors occupy it and again will change its form. During that time, the communication continue to monitor, broadcast and support the protest from the background; the factory continue to produce food and print to supply the protest.

ASSEMBLY POINT Deployed mode East wing 65 % West wing 65 %

West wing road barricade / public sitting

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training

Capacity: 3500 people

Location : Zuccotti Park

Ownership : Brookfiled Properties

Source: POPS

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training

East wing

Capacity: 3500 people

Location : Zuccotti Park

Footprint : 2080 m2

ASSEMBLY POINT Deployed mode East wing 80 % West wing 65 %

West wing road barricade / public sitting

Ownership : Brookfiled Properties East wing

East wing public sitting

Location : Zuccotti Park Ownership : Brookfiled Properties

Footprint : 2080 m2

Source: POPS

West wing

East wing 100 % West wing 100 %

West wing

East wing 85 % West wing 85 %

EMERGING LIBRARY Deployed mode 50 %

East wing 0 % West wing 100 %

Capacity: 715 people, 200 punching bags

East wing 0 % West wing 65 %

East wing 30 % West wing 65 %

140 Broadway public sculpture /

Location : 1 Wall Street

gathering point, public speech

Ownership : Brookfiled Properties

126 - 127

Function: Protest training, Urban lighting

Source: POPS

East wing 85 % West wing 50 %

EMERGING TRAINING CAMP Deployed mode

Capacity: 2465 people

Footprint : 1590 m2

East wing 0 % West wing 30 %

Function: Gathering point, public speech

Ownership : Brookfiled Properties

East wing 50 % West wing 50 %

East wing public sitting

West wing

Location : 140 Broadway

East wing 15 % West wing 15 %

East wing

Capacity: 3500 people East wing public sitting

East wing 0% West wing 0%

West wing road barricade / public sitting

Occupy Manhattan / A Protest Blueprint

ASSEMBLY POINT Deployed mode East wing 0 % West wing 65 %

Footprint : 429 m2 Source: POPS

East wing 65 % West wing 0 %

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East wing 65 % West wing 85 %

CG 2 1 2 3

1 Wall Street Urban lighting/ Protest training with punching

Protesters gathering at Zuccotti park, climbing on the structure. The weight of thousand people deploy 2 wings of the structure slowly

The structure is deployed at 70 %. Sun light has got in through the gap between 2 wings, protesters turn the space underneath the wings into working space and plan for training. Outside, people continue to gather on the steps of the 2 wings.

Protesters from other place walking toward Zuccotti Park, following the wind turbines landmark

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Protesters from other place walking toward Zuccotti Park, following the wind turbines landmark

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Protesters are occupying Zuccotti park. The structure is half deployed. Protestor use the 2 wings of the structure on the top as amphitheatre for public free speech and shelter themselve from bad weather underneath the wings

The structure is deployed at 85 %, and start to block Broadway artist and musician start to use the 2 wings as performing stage to encourage and support the protest.

Protesters start to climb up the tent hotel, the weight of hundred people bring down the lightway structure and block liberty street

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Stage 3: Occupying Once the deployment of Zuccotti Square structure and 140 Broadway Plaza structure block Broadway and Liberty Street, these two streets become inaccessible for vehicle, protester can expand their occupation on to the streets. Zuccotti Square structure become the main base for protester while 140 Broadway structure could be turned into a â&#x20AC;&#x2DC;People libraryâ&#x20AC;&#x2122; based on its shelve configuration. Since these structures are located on privately owned public spaces, and it is locked down by the weight of the crowd, the only way to unblock is to ask permission from private developer to clear the crowd from the square and the plaza which does not belong to city properties. This process of clearing is uncertain and time consuming, which will give protester more advantage in controlling their territory. Simultaneously, protestor can start to deploy the structure at 1 Wall Street to block the other side of Broadway and the structure at One Liberty Plaza to block the other side of Liberty Street. This structure once fully deployed, could be used as sleeping camp and training camp. Once all structures are fully deployed, it would paralyze the whole area between 140 Broadway and 1 Wall Street with no access for vehicle, protesters can expand their territory and using this as a starting point to grow their occupation.

TENT HOTEL

Capacity: 550 beds Location : One Liberty Plaza

Tent hotel undeployed mode

Ownership : Brookfiled Properties

ASSEMBLY POINT Deployed mode East wing 100 % West wing 100 %

West wing road barricade / public sitting

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training

Function: Gathering point, public demonstartion, road barricade, camping site, food distribution, training East wing

Capacity: 3500 people

Footprint : Source: POPS

West wing road barricade / public sitting

Occupy Manhattan / A Protest Blueprint

ASSEMBLY POINT Deployed mode East wing 100 % West wing 65 %

Function: Sleeping

Location : Zuccotti Park

East wing public sitting

Ownership : Brookfiled Properties

East wing

East wing public sitting

Footprint : 2080 m2

Source: POPS

Tent hotel Deployed mode

West wing

TENT HOTEL

EMERGING LIBRARY Deployed mode 100 %

Function: Sleeping

Location : One Liberty Plaza

Function: Medical support

Footprint :

Location : 140 Broadway

Source: POPS

Ownership : Brookfiled Properties

13 Waiting room

Capacity: 30 beds

Capacity: 2465 people

Ownership : Brookfiled Properties

TEMPORARY HOSPITAL Lift from the street to rooftop

Capacity: 2465 people

Ownership : Brookfiled Properties Footprint : 265 m2 Medical storage

Source: Swing spaces

Source: POPS

EMERGING LIBRARY Deployed mode 100 % Function: Gathering point, public speech, road barricade

Location : 120 Broadway, floor 29

Footprint : 1590 m2

Patient room

EMERGING TRAINING CAMP Deployed mode 140 Broadway public sculpture /

Function: Protest training, Urban lighting

emerging people library, road barricade, public speech, protest training

128 - 129

Function: Gathering point, public speech, road barricade

Capacity: 550 beds

West wing

Capacity: 715 people, 200 punching bags

Location : 140 Broadway

Location : 1 Wall Street

Ownership : Brookfiled Properties

Footprint : 1590 m2

Footprint : 429 m2

Source: POPS

Entrance from the building

EMERGING TRAINING CAMP Deployed mode

Function: Protest training, Urban lighting

CG 1 1 2 3

Capacity: 715 people, 200 punching bags Location : 1 Wall Street Ownership : Brookfiled Properties Footprint : 429 m2 Source: POPS

CG 2 1 2 3

1 Wall Street Urban lighting/ Urban lighting

Punching bags

Protest training with punching bags, road barricade

Zuccotti park has deployed 100%, 2 wings has completely block Broadway and Church Street. Protester start to call Zuccotti Part as ‘Zuccotti Gate’. The pamplet cannon blow out pamphlet on Zuccotti Park.

With Broadway has been block from 2 side north and south, protesters pour on on the street and occupy entirely broadway street between Zuccotti Park and 1 Wall Street

5 weeks after Zuccotti Assembly, protester continue to expand their occupation over Manhattan, deploying other structure in the city ...

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The sculpture at 140 Broadway has been deployed and block Liberty Street, protesters set up a ‘People Library’ dedicate to knowledge about the subject.

Protesters has manage to punch and kick the structure at 1 Wall Street out to block Broadway and set up a training camp. Ex soldier and mix martial artist voluntere to train protesters defense technique and battle formation

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ARCHIVE Level -1 - Mezzanine

Function: Archive of Protesting Capacity:

Archive

Location : 14 Wall Street / Bank Vault Ownership : Footprint : 200 m2 Source: Swing Spaces

ARCHIVE Level -2

Function: Archive of Protesting 2

Lift platform to communication room

Capacity: Location : 14 Wall Street / Bank Vault

Equipment storage

Ownership : Footprint : 800 m2 Source: Swing Spaces

Archive

1. Archive 2. Lift platform 3. Communication room 4. Wind turbines platform

Working space

The archive is located at 14 Wall Street in the bank vault basement where all documents related to protests are kept. This space initially is part of 25 available swing spaces, provided by Lower Manhattan Art Council. It is renovated into a permanent archive about protesting. In the archive, activist find documentary, record about past protest in New York city to help them plan the protest thoroughly. They can also have access to urban planning drawings and regulations. The archive connected to communication room at the upper level through a direct lift platform where they can transfer equipment ( laptop, screen ect) to the communication room.

1. Activist are planning the protest inside the archive

Occupy Manhattan / A Protest Blueprint

The Archive

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WIND TURBINE PLATFORM

COMMUNICATION ROOM Level 31th

Function: Generating energy for the Communication Room and the Factory

Function: Communication and Broadcasting

Capacity: 60 turbines

Capacity: Location : 14 Wall Street / Level 31th Ownership :

Location : 14 Wall Street / rooftop Social media

Publishing

C a l l i n g center

Footprint : 750 m2

Wind turbine

Ownership : Footprint : 2120 m2

Source: Swing Spaces

Source:

Lift platform to Archive

Storage

Footage and post editing

The communication room is located at 14 Wall Street, 31th floor where activists run their campaign. This space initially is part of 25 available swing spaces provided by Lower Manhattan Art Council. The top level with a panorama view provide a good signal and perfect observation over the city. Using social media, activists spread the word about the protest and call for participation. They will also monitor the protest using flying camera ( a technology that become very common and accessible in amateur film industry). The communication is organised into sub function :

Social media Call center Monitoring Footage post editing Broadcasting Outside the communication room is the wind turbine platform where inflatable wind turbines would be deployed when protest happen to power up the communication room and the factory located in the adjacent building. 1. Activist are monitoring the protest inside the communication room

Occupy Manhattan / A Protest Blueprint

The Communication Room:

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The Inflatable Wind Turbines The inflatable wind turbine has duo function in this protest. At first it serves to power the communication room and the factory; at later stage, its presence in the sky become a land mark to indicate the location where protest happening.

1. The moment of deploying the inflatable wind turbines 2. Inflatable wind turbines floating in the sky and become a landmark indicating the location of the protest

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FACTORY Function: Workshop, device manufacturing, Printing, publishing, washing and dying, food production Capacity: Location : 15 Nassau Street Ownership : Footprint : 2300 m2 Source: Swing Spaces

1. Daily restaurent 2. Delivery input 3. Delivery output 4. Ink input 5. Screen print device 6. Emerging extension for public screen print 7. Emerging kitchen extension 8. Emerging kitchen worktop 9. Ink pump to emerging printing service 10. Delivery track 11. Dying service

1 2

Occupy Manhattan / A Protest Blueprint

The Factory The factory is located at 15 Nassau Street, ground floor where the preparation for the protest will take place. It is a part of 25 Swing Space provided by Lower Manhattan Art Council. A restoration of 3 level turn the Swing space into a factory that serve 3 main functions. Printing service: is the place where protester print out their sign, slogan, banner which will be used in protest and demonstration. Washing service: is the place where protester was their clothes during their long temp occupation, the washing service include dying service if the protest need a particular colour theme.

136 - 137

Food production: embed within a kitchen restaurant, this is the place where food will be made to sustain protester during their long term occupation. When there is no protest happening, the factory serve the neighbourhood as a printing service, washing service and a restaurant. When there is a protest happening: the building will deploy its emerging extension through the use of hydraulic arms. The emerging extension reveals the printing service on ground floor and the kitchen on the first floor. Both extend over the street that allow more access to protester who want to contribute their labour in the production. The extension serves as an element that blocks vehicle access as well.

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1. Emerging extension extend the printing service on ground floor and kitchen on first floor over the street.

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FACTORY Level -1

Function: Workshop, manufacturing

FACTORY Level 0

device

Function: Printing, publishing, washing and dying

Storage

Capacity:

Delivery input

Storage

Capacity:

Location : 15 Nassau Street

Hydraulic arms to deploy e m e r g i n g extension

Emergin extension for public screen print

Location : 15 Nassau Street

Ownership :

Footprint : 2300 m2

Input

Source: Swing Spaces

Footprint : 2300 m2 Source: Swing Spaces

Output

Delivery output

Washing service

Dying service

Screen print device Delivery track

Hydraulic arms foundation for emerging extension

Platform lift for supply delivery to basement workshop

Printing

Ink pump to emerging printing service

Occupy Manhattan / A Protest Blueprint

FACTORY Level +1

Function: Food production

Delivery input

Storage

Capacity:

Emergin kitchen extension for public food making

Ownership : Footprint : 2300 m2 Source: Swing Spaces

The ground floor of the factory serves as a washing/dying service and printing service. The column layout of the existing space already divide the space into 3 parts which are assigned 3 different program: washing, circulation and printing. By introducing a delivery track running across 3 space, it allows a connection in operating as well as spacial quality. The two services - washing and printing have its own operating space, while the shared circulation in the middle can extend its activity when needed.

Delivery output

The emerging extension from the printing service is deployed by hydraulic arms. Its consist of 7 pivoting platforms that extend depending on the amount of people engaging into the activity. Once the extensions are fully deployed, ink will be conducted directly from the inside pipe to individual screen printing device through transparent tube. This ink conducting not only make the process of screen print become more efficient but also become a visual statement for the protest through the colour of the ink.

Daily restaurent

The top floor serves as a restaurant, when the city is not protesting. When the protest rise up, restaurant becomes a public protest kitchen with an extension on the right. Here protester can join in to food preparation process, supply it to the protesting community or eat it in the restaurant itself. Kitchen extension is spatially connected to permanent kitchen for easy access, food delivery and convenience. The extension manifests itself to the outside, while indicating presence of the protest happening and adding a feature to the city scape. Internally restaurant hall overlooks the floor bellow, with printing and washing process. Restaurant kitchen has an independent delivery system with an input and output routes.

138 - 139

The basement of the factory serves as a workshop where people are crafting devices, objects that will be used during the protest. These objects varies dependig on the topic of protest. It could be making tear gas masks from plastic bottles, creating a symbolic sculpture for protester to burn or fabricating low tech tensile structure to shelter. There is a delivery track that run along the side of the workshop and connected to the upper level.

Location : 15 Nassau Street

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Permanent kitchen

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Protesterâ&#x20AC;&#x2122;s choice of space: Study of relationship between protesting people and chosen spaces. A strategic framework to bring into further design

1. Monument. Protesting people chosing to gather around landmarks and monuments to uccupy important space of the city, ease communication and attract as much attention as possible.

Monument for protest gathering, a place to get attention

2. Agora. Public square, usually with different levels is used as beneficial anouncement space, as well as important gathering point. Often town squares marks the city center

Agora, steps for public free speech

4. Circulation route. Strategically chosen space to paralyse normal life of the city. That is how message of protest spreads out more quickly and efficiently, together with dissatisfaction of other people.

Occupy Manhattan / A Protest Blueprint

3. Shelter. Often used type of space in lasting protest, when crowds chose to occupy space in the city for weeks, not minding the night time, weather conditions or other enviroment diffeculties.

140 - 141 CG 1 1 2 3 CG 2 1 2 3 Shelter for long term stay

Occupy square, street, occupy everything

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Occupy Manhattan / A Protest Blueprint

Zuccotti Design proposal 142 - 143 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

First attempt to design deployable Zuccotti structure. This design suggest an idea of lifting protestors up from the ground, so their message would reach high office building workers by placing people on foldable platforms. For the first time I have explored a concept of deployability based on crowd weight. It suggests that only certain amount of people ( with their crowd weight ) could open the platforms out and send a message. This structure, when deployed, would act as a monument as well, because of its proportion, mass and platform span. It employs hydraulic mechanism to allow the movement of each wing.

Disadvantages of this proposal where stiffness, limited amount of possible positions that can be used, poor adaptability to a large amount of people at the nature of the protest, which usually tend to occupy the ground. In this proposal, Zuccotti structure could only be used in two forms: closed, acting as a monument and open, as a platforms for protestors. While opening from one position to the other, structure is unused and only manifest the process. Additionally, capacity of its circulation route is not adopted to a mass crowd, what creates a difficulty to move around and deploy it. Nevertheless, it allowed to develop the concept of crowed initiative and structure powered by this, explore hydraulic mechanism and adopt idea in further design

1. First attempt to design deployable Zuccotti structure. Axonometric view from bellow of structure in undeployed mode 2 First attempt to design deployable Zuccotti structure. Axonometric view from bellow of structure in deployed mode

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1 First trial of Zuccotti structure design. Long elevation in undeployed mode 2 First trial of Zuccotti structure. Cross elevation in undeployed mode 3 First Zuccotti structure design trial. Deployed long elevation 4 Deployed structure elevation

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1 First Zuccotti design trial. Undeployed structure plan view 2 Deployed structure plan view

Occupy Manhattan / A Protest Blueprint 148 - 149

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Occupy Manhattan / A Protest Blueprint

1. Structure in undeployed mode 2. Structure in deployed mode

150 - 151

Second proposal for Zuccotti structure The design consists a multifunction structure that addresses issues that protesters have to deal with including sheltering, tear gas and water cannon. The method of deployment itself is seen as a demonstration in which the mass of the crowd when climbing on the step of two wings on two side will slowly bring down the structure. The level of deployment and its speed is totally depended on level of engagement between protestor and the structure. The structure once deployed will block the street and provide different service such as

Embed shelter on the ground which can also be used as barricade Deployable shower Water cannon protection The structural wing once fully flatten down could reach the other side of the street and activate the library structure. Provide access to sleeping structure through fall down bridge.

3 7

This proposal successfully addresses protester activities in a more convincing way; however, the fact that the structure has many deployable components that activated separately increase the level of complexity of the architecture. It become too complicate to operate and facilitate a crowd of thousand people. 4

1. Deploying wing 2. Curtain protection from water canon 3. Shelter used as barricade 4. Library 5. Sleeping structure 6. Foldable bridge 7. Foldable shower

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1. Zuccotti architectural plan 2. Zuccotti plan in occupation

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1. Cross elevation in undeployed mode 2. Cross elevation in deployed mode

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1. Long elevation showing Zuccotti structure and sleep structure in occupation 2. Long elevation showing Zuccotti architecture 3. Long elevation showing Zuccotti architecture end sleeping structure in deployed mode 4. Long elevation showing Zuccotti architecture end sleeping structure in undeployed mode

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Final proposal for Zuccotti structure, a more simple protester friendly. The design took feature from previous proposal and are developed into a more simple operation.

1 Zuccotti square monument at peaceful state/ ordinary day configuration 2 Zuccotti square monument deployed during the protest

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East wing 0% West wing 0%

East wing 100 % West wing 100 %

East wing 15 % West wing 15 %

East wing 0 % West wing 30 %

East wing 50 % West wing 50 %

East wing 0 % West wing 65 %

East wing 85 % West wing 85 %

East wing 0 % West wing 100 %

In the assembly day people will gather at Zuccotti Square and 140 Broadway plaza. By gathering here, the build up crowd of thousand people will slowly deploy the two structures which will facilitate the protest. During the process of deploying, the structure change its form in a various ways depending on the weight of the crowd occupying the structure. The deployed structure will block Broadway and Liberty Street, provide protesters with the shelter in bad weather, and various form of platform and step to help protester organize their activities such as demonstration, free speech, singing ect. The process of changing form and people inhabitation / occupying is influencing each other. The weight of the crowd change the configuration of the structure, the new configuration of the structure will influence the way protestors occupy it and again will change its form.

East wing 65 % West wing 0 %

160 - 161

East wing 30 % West wing 65 %

Occupy Manhattan / A Protest Blueprint

East wing 85 % West wing 50 %

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East wing 65 % West wing 85 %

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1 Zuccotti at undeployed mode 2 Zuccotti assembly point in the process of deployment

ASSEMBLY POINT Undeployed mode

West wing public sitting

Function: Monument / public sitting Capacity: 3500 people Location : Zuccotti Park Ownership : Brookfiled Properties Footprint : 2080 m2 East wing

Source: POPS

West wing

East wing p u b l i c sitting

Occupy Manhattan / A Protest Blueprint 162 - 163

ASSEMBLY POINT Deployed mode East wing 0 % West wing 65 %

W e s t wing road barricade / public sitting

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade

CG 1 1 2 3

Capacity: 3500 people Location : Zuccotti Park Ownership : Brookfiled Properties

CG 2 1 2 3

East wing

CG 3 1 2 3

Footprint : 2080 m2 Source: POPS

CG 4 1 2 3 CG5 1 2 3

East wing p u b l i c sitting

W e s t wing

CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

GA2 1 2 3 4 5 6 7

1 Zuccotti structure at deployment stage. Perspective view demostrates the step - like structure which allows poeple to climb up and accelerate the deployment process 2 Zuccotti structure at deployment stage. Image shows the shelter configuration, created by semi unfolded structure.

Occupy Manhattan / A Protest Blueprint 164 - 165 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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1 Zuccotti structure being semi deployed by a crowd of people at one side. 2 Zuccotti structure at different formation of one side shellter and lighting. It creates stage effect to accommodate announcements

ASSEMBLY POINT Deployed mode East wing 65 % West wing 65 % Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training Capacity: 3500 people Location : Zuccotti Park

W e s t wing road barricade / public sitting

East wing

East wing p u b l i c sitting

Ownership : Brookfiled Properties Footprint : 2080 m2 Source: POPS

W e s t wing

Occupy Manhattan / A Protest Blueprint

Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training

166 - 167

ASSEMBLY POINT Deployed mode East wing 80 % West wing 65 %

W e s t wing road barricade / public sitting

East wing

CG 1 1 2 3

Capacity: 3500 people

CG 2 1 2 3

Location : Zuccotti Park Ownership : Brookfiled Properties

CG 3 1 2 3

Footprint : 2080 m2

CG 4 1 2 3

Source: POPS

CG5 1 2 3

W e s t wing

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1. Zuccotti monument at semi shelter formation. Higher platform forms the background for stage- like arrangement to hold various announcements. 2. Side view of semi deployed structure

Occupy Manhattan / A Protest Blueprint 168 - 169 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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1 Zuccotti at final deployment stage with semi shelter and walkway that connects square to adjecent block 2 Fully deploted structure leaving only gate frame to manifest about highest level of civic protest

ASSEMBLY POINT Deployed mode East wing 100 % West wing 65 % Function: Gathering point, shelter, public demonstartion, amphitheatre, road barricade, camping site, food distribution, training Capacity: 3500 people Location : Zuccotti Park

W e s t wing road barricade / public sitting

East wing

East wing p u b l i c sitting

Ownership : Brookfiled Properties Footprint : 2080 m2 Source: POPS

W e s t wing

Occupy Manhattan / A Protest Blueprint

Function: Gathering point, public demonstartion, road barricade, camping site, food distribution, training

170 - 171

ASSEMBLY POINT Deployed mode East wing 100 % West wing 100 %

W e s t wing road barricade / public sitting

East wing

CG 1 1 2 3

Capacity: 3500 people Location : Zuccotti Park

East wing p u b l i c sitting

CG 2 1 2 3

Ownership : Brookfiled Properties

CG 3 1 2 3

Footprint : 2080 m2 Source: POPS

CG 4 1 2 3 CG5 1 2 3

W e s t wing

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GA2 1 2 3 4 5 6 7

1. Perspective view of fully deployed Zuccotti monument structure, demonstrating frame rising up from the crowd. Rest of the structure is now blocking the street to the benefit of the protest. 2. Side view of the gate - like deployed structure in the crowd of protestors and civil

Occupy Manhattan / A Protest Blueprint 172 - 173 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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EMERGING TRAINING CAMP Undeployed mode

EMERGING TRAINING CAMP Deployed mode

Function: Urban lighting

Function: Protest training, Urban lighting

Capacity: 715 people

Capacity: 715 people, punching bags

Location : 1 Wall Street

200

Location : 1 Wall Street

Ownership : Brookfiled Properties

Footprint : 429 m2

Source: POPS

1 Wall Street Urban lighting

1 Wall Street Urban lighting/ Protest training with punching bags

2 EMERGING TRAINING CAMP Deployed mode

Function: Protest training, Urban lighting Capacity: 715 people, punching bags

200

Location : 1 Wall Street Ownership : Brookfiled Properties Footprint : 429 m2 Source: POPS

U r b a n lighting

Punching bags

Training camp design is a type of multifunctional urban furniture. During times with no protest it acts as a street light grid, offering atmospheric and intimate urban space in one of the streets. While during the protest, structure becomes as a training facility for physical exercising. Light support acts as a hook structure for punching bags and grid supports additional weight. When crowd of people use up all the hook with punching bags at the same time, structure is slides of to the adjacent street and blocks it with the benefit for protestors.

Occupy Manhattan / A Protest Blueprint

The Training Camp:

174 - 175 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3

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1 Aerial view of training camp structure at peaceful period 2 Training camp during the start of the protest 3 Diagram showing displacement of the structure when training happening. 4 Perspective view of training camp when no protest happening - structure act as a street lighting grid

CG11 1 2 3 GA2 1 2 3 4 5 6 7

1 Training camp structure sliding out to the street to block it. Aerial view 2 Training camp out in the street. Perspective view

EMERGING TRAINING CAMP Deployed mode

Function: Protest training, Urban lighting Capacity: 715 people, punching bags

200

Location : 1 Wall Street Ownership : Brookfiled Properties Footprint : 429 m2 Source: POPS

1 Wall Street Urban lighting/ Protest training with punching bags, road barricade

Occupy Manhattan / A Protest Blueprint 176 - 177 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3

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Emerging library Emerging library is an essential component of the protest programme. It holds books and written information about the topic of the protest. The first attempt to design emerging platform results in a pivoting platform that gives access to a hidden amphitheatre and a hidden chamber. The architecture configuration of the amphitheatre and the pivoting platform can be used for public speaking as well as shelves for books and documents.

Occupy Manhattan / A Protest Blueprint 178 - 179

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CG8 1 2 3

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1. Pivoting platform 2. Amphitheathre 3. Hiden chamber

1. Pivoting platform during occupation 2. Amphitheatre during occupation

GA2 1 2 3 4 5 6 7

Emerging library is a structure designed as one more multifunctional building in the scheme. It is folded down by people weight to block the adjacent street. While protest is taking place, public can bring readable materials to shelf units of it, store it and read it in necessary times.

EMERGING LIBRARY Undeployed mode

Function: Urban furniture / public sitting Capacity: 2465 people

1 Emerging Library. Aerial view at peaceful period 2 Emerging Library. at the time of the protest

Location : 140 Broadway Ownership : Brookfiled Properties Footprint : 1590 m2 Source: POPS

140 Broadway public sculpture / urban sitting

Occupy Manhattan / A Protest Blueprint

EMERGING LIBRARY Deployed mode 50 %

Function: Gathering point, public speech Capacity: 2465 people 140 Broadway public sculpture /

Ownership : Brookfiled Properties

gathering point, public speech

180 - 181

Location : 140 Broadway

Footprint : 1590 m2 Source: POPS CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 2

CG11 1 2 3 GA2 1 2 3 4 5 6 7

1 Emerging Library. Aerial view when fully deployed 2 Emerging Library view on ground level during occupation

EMERGING LIBRARY Deployed mode 100 %

Function: Gathering point, public speech, road barricade Capacity: 2465 people Location : 140 Broadway Ownership : Brookfiled Properties Footprint : 1590 m2 Source: POPS

140 Broadway public sculpture / emerging library, barricade, speech, training

people road public protest

Occupy Manhattan / A Protest Blueprint 182 - 183 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 2

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Sleeping camp Vertical sleeping structure is an additional component into the protest programme. While it is essential for protesters to occupy the ground, the vertical sleeping structure allow protesters to extend their occupation in order to get more attention from the neighbourhood who inhabiting and work inside the surrounding skyscraper. The sleeping structure also contribute into the process of blocking the street. The weight of the people low down the structure closer to the ground and blocking Liberty Street.

1. Image from Occupy Wall Street 2. Vertical sleeping structure

Occupy Manhattan / A Protest Blueprint

Function: Sleeping Capacity: 550 beds

184 - 185

TENT HOTEL

Location : One Liberty Plaza Ownership : Brookfiled Properties Footprint : Source: POPS

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1. Sleeping structure deploying process 2. View on the ground during occupation

TENT HOTEL Function: Sleeping Capacity: 550 beds Location : One Liberty Plaza Ownership : Brookfiled Properties Footprint : Source: POPS

Tent hotel Deployed mode

Tent hotel undeployed mode

Occupy Manhattan / A Protest Blueprint 186 - 187 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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1. Protesters expand their occupation onto the street 2. Manhattan skyline during occupation, in and urban scale

Occupy Manhattan / A Protest Blueprint 188 - 189 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 2

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Link Research / Testing Ground

190 - 191

LINKED RESEARCH TESTING GROUND

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Link Research / Testing Ground

Link research is a 12 months research by design module that involve a collaboration of 14 students working on two live build project.

The second project ‘Stonehaugh pavilion’ consisted designing and build a star gazing pavilion for Stonehaugh village. The project started with and open competition for concept idea. My team propose a mobius pavilion that aimed to become a gathering space for villagers and attract tourist attention to the area. The design sought for unconventional organic form. By using mathematic principle and parametric design we developed the form of the pavilion through progressive step starting from a primary form of a circle. The big feature of the design was decision to remove one face of the mobius structure, it create an articulate opening and access to the central yard of the pavilion however, at the same time it destabilise the structure of the pavilion. We have increase the satiability of the structure by introduce horizontal segment that intersect with the primary frame while respecting the mobius configuration principle. A physical model 1:20 were produce with the help of laser cutter to prove the stability of the structure. While the mobius proposal receive a lot of appreciation from the village, the complexity of the structure and material cost made it impossible to be delivered.

192 - 193

The first project ‘U cafe’ was a project based on material exploration where we were asked to reuse university campus waste such as wooden pallets, plastic bottles, plastic bags or cardboard. The first phase of the project took the form of a competition where three teams working on three proposals of a pop up cafe using a chosen recycle material. Each proposal explored the potential of waste material in form of architectural element; cardboards were used as load bearing wall and chair; plastic bottles were used as translucent cladding material and lamp, plastic bags were transported into clothes and visual support. The winning scheme were a combination of elements from the three team. The main structure consisted of load bearing cardboard structure that could support a cardboard roof; plastic bottles and plastic bags were used to make lamp, uniform and visual communication.

CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

1 First part of linked research. cardboard cafe structure assembling 2 First part of linked research. Cafe structure - plastic bottles

Link Research / Testing Ground 194 - 195 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 2

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Mobius Pavilion Proposal

1 Plan of footprint 2 Arieal view 3 Side elevations and sections at different variation

Foot print Stonehaugh Pavillion

Ariel View Stonehaugh Pavillion

Elevation Stonehaugh Pavillion

Link Research / Testing Ground 196 - 197 CG 1 1 2 3

Section Stonehaugh Pavillion

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1 Digital model of the mobius pavilion 2 Physical model of the mobius pavilion

Link Research / Testing Ground 198 - 199 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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1 Digital model of the mobius strip 2 Physical model of the mobius strip

Link Research / Testing Ground 200 - 201 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 2

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1. View from the picnic area

2. View from the road

Stone observi brings circles stone ng have Stoneh forthe astrono stone placed timber; traditio mical augh The circle spaceinner inside nally Circle the events. stargaz to materia open Kielder been circle the allowin is Stoneh other,formed ing The to l of Forest, used natureouter the area g enclose for the made by augh as river skies, from the viewers hide circle sites s an two forest.replaciCircle protect therefo to the up allowin winds outside of offset for with ng wouldnorth provide simple re views g whilstion circles, able 360° of stargaz s be of timber keeping the the out a sheltereviews. to hidden one ing watch site. over frames. it from Seated the d them space woods view undistu inside, for of and a wildlifethe rbed.

and

Existing Stone Wall

Accessible

Meado

Parking

North

Sto

Sit

neh

Site

1:100 Metres Yards

aug

Plan 1 2

2 3

4 4 5 5

Flo Sta r Ga or zing Pla She n lter 10

All measurements to be verified on site

Acc

ess

Path

Stonehaugh Star Gazing Shelter

Outer

Visualisations

Nature Watchin

North

Circle

Inner

Floor

1:50 Metres Yards

Star Gazing

Plan 1

Circle

1 2 2 3

3 4

4 5

3. Night view from the meadow

4. Courtyard’s view from inside

Existing Stone Wall

Accessible

Meado

Parking

North

Sto

Sit

neh

Site

1:100 Metres Yards

aug

Plan 1

2 3

4 4 5 5

Flo Sta r Ga or zing Pla She n lter 10

All measurements to be verified on site

Acc

ess

Path

Stonehaugh Star Gazing Shelter

Outer

Visualisations

Nature Watchin

North

Circle

Inner

Floor

1:50 Metres Yards

Star Gazing

Plan 1

Circle

1 2 2 3

3 4

Sedum Roof Roof board

Primary Structure - Beams

Structure - Noggings acting as main bracing for posts and beams

Primary Structure - Posts

Floor Joists with Timber decking sitting on top

Crushed Gravel

Structural Stone Wall to put the shelter on Drawing is diagrammatic and structural build-up is still in developmental stages All measurements to be verified on site

Stonehaugh Star Gazing Shelter

Structural Build-up Larch Timber

Left: new/treated Larch cladding. Precedent: St Mary’s school hall in Essex.

Stone Wall

Below: Precedent: VillaLola in Iceland by Reykjavik studio Arkis. Both the roof and walls of the building are clad in Larch that has been pre-weathered to give it a muted grey colour. A sealer will be applied to the posts on the inner circle, whereas the Larch on the outer circle will be left unsealed. So that they age at different rates to give a visual differentiation.

Inspired by the stells in the North of England, a circular stone wall is included. It lifts the timber structures off the ground to reduce its risk of rotting. Considering that the star gazing shelter will sit next to an existing stone wall, the circular stone wall base allows the new structure to disappear into the surrounding. The aim is to source as much of the timber from the local area, reducing transport miles and embodied energy. Among Douglas Fir, Scots Pine and Sitka Spruce (timbers that are available in Stonehaugh), Larch seems to be the best choice because of its durability, cost and appearance. The heartwood of Larch are classed as ‘moderately durable’ and do not need preservative treatment for external use.

Green Roof

They improve the durability of waterproofing materials, provide flora and fauna, also they reduce rainwater run-off into the inner circle, so there is less drainage requirements and potential puddling.

Crushed Gravel

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

North

Materials

West-East Section 1:50 Metres Yards

1 1

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

North

Stargazing Field of View

Site Plan

The wildlife hide at the front of the shelter overlooks the new meadow and the countryside beyond

NTS

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

Wildlife Observation Field of View

OUT

VIEW

AWAY

SA C

THE MEADOW

IV A

North

PR PR

D B VE Y E XISTIN G

T IO

The positioning and the design of the shelter orientates the visitors view away from the village. Gazing up at the stars and out over the meadow. The existing trees provide a privacy boundary, the shelter doesn’t overlook nearby houses

Locale Plan NTS

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

Privacy to Neighbouring Properties After consideration and consultation with the Parish Council and at previous consultation evenings, the decision has been made to site the shelter on amenity land at the western end of the village. This location is visible on entry into the village and can take advantage of parking at the picnic area to the west, but is close enough for the village hall and campsite to benefit. Visitors stay at the campsite & walk to the village hall & then to the shelter

North

Visitors park at the picnic site & walk up to the Shelter

Village Plan

Accessible Parking in the lay-by by the shelter

NTS

Visitors park at the village hall rent telescope, have a drink then walk to the shelter

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

Location within village

North

67°

South-North Section 1:20 Metres Feet

.1 .2 .3 .4 .5 0.5 1

The stargazing seats have been designed with a 67° slope and 2m distance from the roof height to prevent attempts to climb onto the roof.

All measurements to be verified on site

Stonehaugh Star Gazing Shelter

Seat Heights

Link Research / Testing Ground 202 - 203 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 3

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1 Planning application documents 2 First meeting with the community 3 Last meeting with the community

GA2 1 2 3 4 5 6 7

Link Research / Testing Ground

On site construction 204 - 205 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

Link Research / Testing Ground

On site construction 206 - 207 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

Link Research / Testing Ground

1 view from the path 2 Internal view

208 - 209 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3

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Link Research / Testing Ground

1 View from the hill 2 View of the inside

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After Image 212 - 213

AFTER IMAGE Part I Thesis

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After Image

In the second phase of the project we were encouraged to use the ‘afterimage of the car park’ that we had produced and transform it into a new form of architecture that carries a significant relationship to the designing was really new and challenging for me, and so it raised questions for the way I operated in my design process. about designing something ‘new’ after doing research togain understanding about a subject and applying it to the site, to transforming the initial subject, the initial forms and ideas, literally, right from the beginning of the design process through many iterative developments, many times over so that an understanding of the subject is gained gradually and incrementally, and these steps are repeated until we reach a point of satisfaction. Although a new methodology for me, transforming my analytic ‘afterimage’ model into a new structure was in some ways a straightforward task. The transformation wasn’t done once but many times, and every time it was altered it was more exciting, something new revealed itself, and looking back I can see that every step was connected coherently from beginning to end. I used different patterns where different urban grids met, overlaying them, rotating them, aligning them, finding the geometricalsimilarity between them, connecting them and rotating and aligning them again… little bit by little bit, the fragmented details of the layered urban condition, the layered car park and layer of structure exposed when the excavator demolished the building became involved in my sequences of transformation. What came up in the end was exciting for both my tutors and me. My proposal was in some ways a more imposing structure than even the previous Brutalist structure. But unlike the car park, my building is a living, breathing, growing vertical neighbourhood.

214 - 215

The project named ‘Afterimage’, addresses the recently demolished iconic Trinity Square car park in Gateshead, commonly known as the ‘Get Carter’ Car Park. ‘Through studies of the volumetrics and morphology of the previous building, and its architectural relations with the city, we will develop proposals for a new architecture that works through a kind of oscillation or reflection between past and present’. The term Afterimage, in science, refers to the phenomena of a visual image that persists after the visual stimulus causing it has ceased to act. In the first stage of the project, we were asked to express our personal remembrance of the car park; this expression would be presented through a range of visual media as a kind of ghost image. I expressed my fascination in the layering structural relationship between the concrete, monumental car park and the surrounding industrial collaged cityscape of Gateshead. Sited within 500m of the river bank, near the top of a deep slope, the building is surrounded by infrastructural connections where railway bridges overlap road bridges, where one urban grid meets another, and historical buildings, church sites and low rise council housing come together. These layers of infrastructure and architecture set up the particular urban character of Gateshead which fascinated me. It seemed that the car park held everything together, and I wanted to provide something to the urban condition to recreate this purpose. I produced an analytic model of the city where information was separated into different layers piled up on top of each other, geography, transport and infrastructure, building facilities, and so on. This layering proved very influential to my final design.

CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

1. Model of central Gateshead 2. Mapping of different urban layout pattern

After Image 216 - 217 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 2

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1 & 2 Analytic model of urban pattern

After Image 218 - 219 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 2

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After Image

Exploration of urban patterns in research of a reconstituted city. 220 - 221 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

After Image

Stacking up layers of urban pattern Reconstitution of a vertical neighbourhood 222 - 223

1. Elevations of reconstituted city 2. Axo of reconstituted city

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After Image 224 - 225

Site section of the vertical neighbourhood within its industrial context

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After Image 226 - 227 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

After Image

1. South elevation 2. West elevation

228 - 229 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 2

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After Image

1. Example floor plan, floor 25th 2. 3D section throught the building and context 3. Diagram of building program

230 - 231 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3

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After Image 232 - 233 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 2

1. North elevation 2. The square

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After Image 234 - 235 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 2

1. Section looking West 2. Inside the velorome

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After Image 236 - 237 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 3

1 & 2 Testing model 3 Final model

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After Image 238 - 239 CG 1 1 2 3 CG 2 1 2 3 CG 3 1 2 3 CG 4 1 2 3 CG5 1 2 3 CG6 1 2 3 CG7 1 2 3 CG8 1 2 3 CG9 1 2 3 CG10 1 2 3 CG11 1 2 3 GA2 1 2 3 4 5 6 7

n.l.nguyen-tran@newcastle.ac.uk 07806817101

CURRICULUM

55 Cleveland Square Flat 79 W2 6DB London

EDUCATION

EXPERIENCE x

06 04

2014

x x

Stonehaugh Timber Pavilion Fabrication and Construction

Stonehaugh Timber Pavilion Competion

05 04

2013 x

NEWCASTLE UNIVERSITY Newcastle, England Architecture Study BA(Hons) + President Bronze Medal Nomination + 1st Class Honour Degree + Professor Douglas Wise Memorial Prize: Exceptional Performance + HB Saint William Bell Memorial Prize: Best Major Design Project + RIBA North-East Hadrian Student Award 2012 Part 1 Winner

06 05

Environmental Award 2013 Newcastle University

Thuan Thien Design & Construction Ho Chi Minh, Vietnam Architect Assistant

2012

2011 x

09 08

2010

01 12 10

x x

07 06

Thuan Thien Design & Construction Ho Chi Minh, Vietnam Architect Assistant NHS Stepping Hill Hospital Stockport, England Officer at Estate Department (work experience)

2009 09

2008

CONDE ART COLLEGE Lyon, France Interior Design Studies + European Bachelor of Science in Interior Design

03 02

ALLIANCE FRANCAIS Lyon, France French Studies + TCF French Language Diploma

Thuan Thien Design & Construction Ho Chi Minh, Vietnam Architect Assistant

Nuits Sonores Music Festival Design Competition Lyon, France + Recomendation Prize

2006

2005

VANLANG UNIVERSITY Ho Chi Minh, Vietnam Architecture studies

Atelier Arcade - Thomas Al Hakim Architect Lyon, France Architect Assistant

Cafe des Art Design Competition University of Architecture of Lyon, France + 2nd Prize

2007

UNIVERSITE CATHOLIQUE Lyon, France French Studies + DEF French Language Diploma

RIBA North East Hadrian Student Award 2012 Part I Winner CTBUH 2011 Student Tall Building Design Competition

07 06

MANCHESTER CENTRAL SCHOOL OF ENGLISH Manchester, England + IELTS 7.5

COMPETITIONS / EXHIBITIONS / AWARDS ZEALOUS Exhibition London Bargehouse

NEWCASTLE UNIVERSITY Newcastle, England Architecture Study M Arch

VITAE

05 04

2004 x

Thuan Thien Design & Construction Ho Chi Minh, Vietnam Architect Assistant Nokia 2100 Design Competition “Make it yours” Ho Chi Minh, Vietnam + Recomendation Prize

CURRICULUM

V ITAE

COMPUTER SKILLS High Proficiency / Frequent Use

Moderate Proficiency / Occasional Use

Autodesk Revit Architecture Autodesk AutoCAD

Autodesk Revit Structure Autodesk Ecotect Autodesk Inventor Autodesk 3Ds Max

Adobe Photoshop Adobe Illustrator Adobe Indesign Rhino Ceros

Adobe After Effect ArchiCAD Sketchup Grasshopper

LANGUAGE English: Fluently + IELTS - International English Language Testing System - Band 7.5 / 9.0 + TOEIC - Test of English for International Communication - 735 pts / 900 French: Fluently + TCF - Test de Connaissance du Francais + DEF - Diplome Dâ&#x20AC;&#x2122;Etudes Francais Vietnamese: First language

THANK

YOU

lam.nguyentran@live.com