Mint Graduate Portfolio CV by Mint Pham

SONG NGAN PHAM

2019

INTERIOR DESIGNER

PO RT

FO LIO

SO NG

NG AN

GRADUATE INTERIOR DESIGNER

-FULL NAME

-D.O.B

-LOCATION

Song Ngan Pham

26 November 1995

Bankstown. NSW 2200

-PREFERED NAME

-PHONE

-EMAIL

Mint Pham

+61450261195

bongmap.1995@gmail.com

HOBBIES -----

LANGUAGE ----Vietnamese 1st Language English IELTS 7.5

FB: Song Ngan Pham

IG: @mmint.p

G N

GRADUATE INTERIOR DESIGNER

SONG NGAN PHAM 02 EDUCATION ----2014 - 2015 Diploma of Visual Communication ----- UTS: Insearch 2015 - 2017 Bachelor of Design in Interior Architecture ----- University of Technology Sydney [ GPA: 3.5/4 ] . International Postgraduate Academic Excellent Scholarship 2018 - 2019 Bachelor of Design in Interior Architecture (Honours) ----- University of Technology Sydney [ GPA: 3.63/4 ]

03 EXPERIENCE ----2017 Tutor Assisstant ---- University of Technology Sydney Reference: Gonzalo Valiente University of Technology Sydney Faculty of Design, Architecture and Built Environment School of Interior Architecture Honours Program Director Gonzalo.Valiente@uts.edu.au

DESIGN SKILL -----

ATTRIBUTES ----Hand Drawing

Fast & determined to learn

CAD Drawing

Great Attention to details

Analog Modeling

Dedicate and reliable

Graphic Presentation

Open & able to critique

Conceptual Design

Excellent Team Work

06 TECHNICAL SKILL -----

PHOTOSHOP Level : Intermediate

Rhi

RHINECEROS Level : Advanced

ILLUSTRATOR Level : Intermediate

INDESIGN Level : Advances

Arc

ARCHICAD Level : Intermediate

MICROSOFT OFFICE Level : Advanced

C N ABOUT ME ----Born and raised in Vietnam, having been aware of my surroundings and fascinated with the sight and personality of the city, It has always been my dream to pursue a career in the design industry. The Vietnam i had in mind was the East Pearl, thriving to lead. With those thoughts I have in mind I left for Australia when I was 18. When I first came to Australia, I applied for a course in Visual Communication at UTS:INSEARCH in order to familiarised myself to the new advanced and very different teaching and studying method in this new environment while adopting graphic skills that would compliment my later study. I developed my own style of graphic and take pride on it still to this day. After that, I continued my study with a Bachelor Degree in Interior Architecture at UTS. With excellent result, I was invited to Honours where I completed my study as the only International student in Interior Architecture. The courses has given me the opportunity to develop my ability to be technically prepared and to think conceptually, and critically. Through my projects, I have established skills that allows me to confidently work in an independent as well as a multi-scaled co-working environment with strong leadership role to maximise myself in each of

every projects with details and precision. I now pride myself in striving to exceed limitation and redefine human interaction with space to provoke emotions and curiousity while respecting the designâ&#x20AC;&#x2122;s surroundings. I am looking forward to gain practical experience in an Interior Architecture Environment to familiarise myself to the industry while furthering my skills in drafting, rendering, conceptual development and complicated programs to further assist with document production. Up Next is an in-depth list of my project over the years, Iâ&#x20AC;&#x2122;m looing forward to be working with you in the near future.

CO NT

01A

OTHERNESS -----

WINTER ENLIGHTMENT -----

The great Australian Silence.

Winter Zen Garden. [ 06 - 07 ]

[ 32 - 37 ]

01B

FRAGMENTED LUXURY -----

HEALING CAMP -----

Unachieveable luxury through the lense of modern media.

Correctional Rehabitation Centre.

[ 08 - 15 ]

[ 38 - 43 ]

01C

HOUSE OF UNSUAL LUXURY -----

MICRO INHABITATION -----

Cultural constructed luxurious dwelling.

Compact living space.

[ 16 - 21 ]

[ 44 - 49 ]

THE VOYAGE -----

EAMES HOUSE -----

A public bath house featuring sacred bathing rituals.

A thorough study of the case study through remodelling.

[22 - 27 ]

[ 50 - 53 ]

THE CUBIK -----

GRAPHIC REFERENCE -----

Transformative and multifunctional Theatre.

A Selection of Graphic Design throughout the years.

[ 28 - 31 ]

[ 50 - 53 ]

TE NT

20 18

01A

OTHERNESS: The Great Australian Silence Every epoch, nation, culture and political structure have signature forms of violence. Since the end of the cold war, communism, the last significant barrier against the hegemonic consolidation of global capitalism, was tackled, discredited and later commodified (in the form of ‘Sharing Economies’). A new geopolitical map has liberated capital and goods from early political, financial and tributary frontiers, whereas human bodies, culture and knowledge are now submitted to taxative regimes of control that limits intensity, direction and temporality of their flows. Today Australia feels proud and strong. Our nation has achieved its historical aspiration of catching up with occidental progress. We are one of the wealthiest countries in the world. Government and corporations are investing in technological advance, medical research, environmental science, telecommunications, transportation, surveillance and security. But from the early steps of our

colonial history, the obsession with replicating the geographically and culturally far occident, governments have ruled against the possibility of an enriching coexistence with the other. Aliens, monsters, communists, boongs!! Any different cultural expression or political structure other than the white-occidental capitalist has been neglected from historical narratives, contested by propaganda, and restricted by past and present racist and anti-migration policies or restrictive prohibitions like Sydney’s recent lockout law. All of them, chronologically disconnected, share a narrative of order, control and hyper regulation againstenancipated diversity. In our attempt to become a ‘global power’, we’ve stepped from being a bureaucratic extension of the British extractive empire to pay homage to the mandates of global financial markets. In our new global status, the other is represented by an actor, action or idea that opposes with negativity

the ultra positivist mandate of success. Within our urban landscapes, achievement, entrepreneurship and competitivity, are the imaginary aspirations and the individualistic keys to access lifestyles full of packed experiences, positive events, and why not, beauty.

Our history and our present are full of unexplained events and shreds of micro and macro violent allergic reactions against the other. However, the map of subjectivities that configure our everyday reality is complex and rich in nuances, tones, aromas, ideologies and subjectivities that require a new political project The 2017 revision of our 1985 Multicultural act based in respect, validation and non-commercial calls for “a strong, united and successful Australia”. celebration of their difference. It is urgent that Failure, weakness and dissonance are the new an alternative multicultural plan reflects and feared other. We hide racial, cultural, religious, embraces our deep cultural complexity. It’s time sexual and gender discrimination behind opaque to embrace multidirectional policy frames, positive propaganda and political cultural and political infections. But the first correctness. We consume and love the exotic step to do it is recovering from our history the products brought by increasing migrant communities contradictions and the dysfunctional acts of from East Asia and the Middle East among other violence that shaped our current perspectives. regions, but we expel thousands of humans who Honouring Australian anthropologist W.E.H attempt to arrive in our safe coasts running away Stanner, we can call this mural ‘The Great from war, prosecution, hunger, and climate and Australian Silence’. The greatest silence in our financial disasters; most of them caused by our history and our time is otherness. voracious economic system.

20 18

01B

FRAGMENTED LUXURY -----

TYPOLOGY

LOCATION

Mansion

La Joie de Vivre 68 Minkara Road, Bayview, NSW

How do we invert luxuryâ&#x20AC;&#x2122;s ideology of individualism and use the very element of the Bachelor show to introduce a different political stand on collective subjectivities? Collectivity that accepts differences and accumulate identities.

Of the mansion typology and the focal study of the Bachelor Mansion, our findings has concluded that the contemporary media has focus entirely on the body, creating individual aspirations rather than collective being. We surrender ourselves to the body away from space. Self is alienated and disconnected from the world and others to avoid any possibility of conflicts and aliances and exclude ourselves from the political realms. However, conflicts arise from this concentration of subjective individualism. The lack of political collective subjectivity excludes the idea of togetherness and differences, creating individual distance or individualistic idea with the fascination of luxury. The show depoliticises the self and individualises our own exclusion for an existance that awarded certain people and condensed others creating a seductive and profitable narrative. As the space is becoming unachievable and nonconsumerable, cheaper alternative are politicised to relocate the body into space conceptually as a result of human adjustment to aprocess of increasing precariousness, for example Mcmansion, Airbnb and Tinder. Though this, individuals inhabit space through technology, which leads to the expulsion of the body from reality. This luxury is achived vicariously, where it becomes a moment of encounter of will and aspiration, but also sign of distance and impossibility.

Vicarious Spatial Inhabitation

AXONOMETRIC: UPPER FLOOR

1 INVITATION GATHERING 5

ROSE CEREMONY

GROUND FLOOR

4 3

GOSSIP SESH

COCKTAIL DATE

SECRET ENCOUNTER

LOWER GROUND FLOOR

SOCIAL RENDEZVOUS

GOSSIP SESH

ENTERTAINMENT QUARTER

ROSE CEREMONY

SECRET ENCOUNTER

MIDNIGHT BASH

SOCIAL RENDEZVOUS

COCKTAIL DATE

POOL PARTY

SECRET ENCOUNTER

COCKTAIL DATE

INVITATION GATHERING

MIDNIGHT BASH

POOL PARTY

EROTIC DEN

COCKTAIL DATE

INVITATION GATHERING

ROSE CEREMONY

ROSE CERE

SOCIAL REN

COCKTAIL DATE

INVITATION GATHERING

POOL PARTY

EROTIC DEN

SECRET ENCOUNTER

COCKTAIL DATE

GOSSIP SESH

MIDNIGHT BASH

POOL PARTY

ENTERTAINMENT QUARTER

-BACHELOR + PLAYBOY COMPARISON Mansion Typology has become a shell and have almost no spatial valued merely because itâ&#x20AC;&#x2122;s nonconsumerable. Through the media, Spaces are now transformed and conceived through fragmented reality, redecirated solely for its profitable purposes , creating a distorted belief of viewer on the tmentioned typology.

ROSE CEREMONY

ROSE CEREM

INVITATION GATHERING

SECRET ENC

EROTIC DEN

MIDNIGHT BA

-FRAGMENTED REALITY - LIVING ROOM Living Space transformed into the Invitation Gathering Space for the Bachelor Mansion. Spaces are overly decorated with mediaâ&#x20AC;&#x2122;s definition of luxury where it became distorted to compliment the only achieveable value within, the body.

-FRAGMENTED REALITY - BALCONY Functioning Space is turned against it built purpose to showcase mediaâ&#x20AC;&#x2122;s definition of romance and luxury. Desirable quality are heavily embedded in very closed frame of the media, resulted in unrealistic expectation and dissapointment within our society.

i WATERFALL AND SWIMMMING AREA i BATHROOM

i BABY NURSERY

i BEDROOMS i GAME ROOM i CREATION ROOM

1957 Los Angeles

SUNSET BOULEVARD

1971

- JAYNE MANSFIELD Pink Palace was a 40-room Mediterranean-style mansion bought and refurbished by actress Jayne Mansfield in 1957. Mansfield had the house painted pink, with cupids surrounded by pink fluorescent lights, pink furs in the bathrooms, a pink heartshaped bathtub, a pink heart-shaped swimming pool and a fountain spurting pink champagne, and then dubbed it the “Pink Palace”. It was, according to

California her, a “pink landmark”.

MAGAZINE

PLAYBOY MANSION

1962-2015

i BLOFELD LOUNGE

i TANAKA’S OFFICE

i WHITE’S PENTHOUSE

i CLASSIC ROMANTIC

JAMES BOND MOVIE

2012-2017 Bayview Glenorie

- HUGH HEFNER The Playboy Mansion is the former home of Playboy magazine founder Hugh Hefner [1974- 2017]. The mansion became famous during the 1970s through media reports of Hefner’s lavish parties. The mansion has 29 rooms including a wine cellar (with a Prohibition-era secret door), a screening room with built-in pipe organ, a game room, three zoo/ aviary buildings (and related pet cemetery), a

-ICONIC MANSIONS A glimp of luxury portraited by the media throughout history featuring Pink Mansion, Playboy Mansion, James Bond Pictorial Mansions, House of Versace and scenery from the famous reality show Housewives of Sydney and our model luxury in Keeping Up with the Kardashian.

tennis/basketball court, a waterfall and a swimming pool area (including a patio and barbecue area, a grotto, a basement gym with sauna). Landscaping includes a large koi pond, a small citrus orchard and two well-established forests of tree ferns and redwoods. MAGAZINE

DR NO: Tanaka’s underground office has one very distinctive entrance. Visitors are “chuted” from a tube corridor to a waiting couch.The exit to Tanaka’s office leads to his private train YOU ONLY LIVE TWICE: Ernst Stavro Blofeld sinister lair—inside a volcano in Japan that doubled as a rocket-launch station. Adam’s design an 1-million dollar movie sets with a monorail, a helipad, a

command station, and a rocket launchpad. DIAMONDS ARE FOREVER: Ernst Stavro Blofeld’s lair has its massive concrete domed roof looming over an indoor-outdoor swimming pool. The Elrod House was designed by John Lautner, an apprentice of Frank Lloyd Wright. MOVIE

BACHELOR MANSION

La Joie de Vivre, the mansion in Bayview in wh the first 2013 season of Australia’s ‘The Bach was filmed in is a French Provincial-style hou where the nation’s first reality TV Bachelor, Chiropractor Tim Robarbs found love with Lawye Anna Heinrich. The 4091 square meter property where their love began. It includes seven bathrooms, a granite kitchen

hich helor’ use,

er is

n with

i OLD AND RENOVATED BEDROOM

i BATHROOM i DOG AND CAT WEDDING

i DINNER PARTY

i VOGUE YOUTUBE INTERVIEW i VOGUE YOUTUBE INTERVIEW

i BOHEMIAN STYLE

i ‘FAKE’ FACADE

2013 Miami double ovens, butler’s pantry, pool, championshipsize tennis court, temperature-controlled wine cellar, ballroom-size living area, large sandstone terraces for entertaining plus a well-manicured garden. Given the size and scale of the luxury estate and its views of Pittwater, it’s a unique home amongst others in the Northern Beaches. In 2016 the mansion sold for just over $7 million.

REALITY SHOW

MOVIE

HOUSE OF VERSACE Known as ‘The Villa Casa Casuarina’, located at 1116 Ocean Drive, Miami Beach, the unique Spanish architecture style house built in 1930 is also known as the House of Versace. In 1992, Gianni Versace purchased the original house and the lot next door, an old art deco hotel called the Hotel Revere, which he demolished to put in the garden, swimming pool and south wing.

2017 After Versace was killed on the front steps of the house in 1997, his younger sister Donatella Versace sold the property in 2000 to Peter Loftin, who used the house as a private residence as well as a hotel, membership club and private events venue from 2001 to the end of 2009. SOCIAL MEDIA

REAL HOUSEWIFE OF SYDNEY The volatile reality show depicting the everyday lives of wealthy Sydney housewives displays several luxury homes throughout the season. All of these homes are generally located in the Eastern suburbs, with suburbs like Dover Heights, Woollahra, Bellevue Hill and Bondi Beach. A lot of these luxury homes are, what the cast has described as, reflections of their own personalities. They are

2007-NOW all quite private with not a lot of footage of the exteriors, while the interiors contain diverse character and are generally quite new and modern in design.

REALITY SHOW

KEEPING UP WITH THE KARDASHIAN The well-known ‘Jenner House’ as seen on TV show Keeping up with the Kardashians, actually uses a different mansion for the exterior shots of the home for security reasons. Known as Iredell Estate, the Italian-meets-Mediterranean 7,843 square foot property is located in Studio City, California, about an hour from the actual Jenner House, which is located in the gated community known as Hidden

Hills, California. The Mediterranean estate which interior is highly familiarised on the show, measures at 8,860 square feet, boasting 6 bedrooms and 7.5 bathrooms, with the famous entryway and signature black and white flooring leading to a grand, wrap around staircase adorned with luscious greenery. SOCIAL MEDIA

20 18

01C

HOUSE OF UNUSUAL LUXURY -----

TYPOLOGY

LOCATION

Public Infrastructure

Strickland House 52 Vaucluse Rd, Vaucluse NSW

In the current high achievement society, the mansion typology rendered through the media has create an imaginary with a completed focus on individuals aspirations, neglecting the collective wellbeing. Social trends of individualisation has relocated the body into an alienated sphere of precariousness to avoid the possibility of conflicts and alliances, creating individual distance and individualistic idea with the fascination of luxury. The notion of luxury becomes a moment of encounter of will and aspiration, but also sign of distance and impossibility. The House of Unusual Luxury proposed a reformulation of the mansion into a public infrastructure by injecting public programs into the enclosed domestic space while extending its domesticity to the adjacent landscape. The project is deconstructing the relationship between interior and exterior to create alternatives to domesticity and offers free access to unachievable luxury. The violent penetration of the public realm in the mansion stretches its interiors, fracture its volume to create a collection of spaces of excess that re-evaluate the traditional mainstream idea of luxury as luxury isnâ&#x20AC;&#x2122;t attached to a certain aesthetic but rather cultural construction.

SITE PLAN:

Punlic infrasstructure

-SEMI EXTERNAL INTERNAL PROGRAMS A public infrastructure that oenetrate the mansion with public programs and expanding beyond the limit of the mansion to colonise the adjacent landscape. Challenging the limit of domestic cale, deconstructing the relationship between interior and exterior to create alternatives to domesticity.

MODEL :

1:1 construction of luxury

CURATED EXHIBITION --

TYPOLOGY

LOCATION

Mansion

‘Futures Histories’, Level 3 B06 UTS.

How do we invert luxury’s ideology of individualism and use the very element of the Bachelor show to introduce a different political stand on collective subjectivities? Collectivity that accepts differences and accumulate identities.

A 1:1 scale physical exhibition space was designed and constructed in a collaborative group of three, to display each of our individual projects and our understanding of the Bachelor Mansion as well as its typology both physically and metaphorically. We created sn immersive spatial atmosphere where the space itself became the protagonist, meaning that the real life audience became of the body of the space. Luxury was portrayed through the curation and materialism used, with a raw and exposed spatial setting that would be described or viewed as sort of ‘behind the scenes’ / ‘backstage’ media space.

20 17

THE VOYAGE ---RL + 2500 street LeveL: heaven

TYPOLOGY

LOCATION

Public Bathhouse

Paddington Reservoir 251-255 Oxford St, Paddington NSW

[

forest

]

RL + 0 street LeveL: entrance/exit

[

reaLity

]

Heterotopias are most often linked to slices in time - which is to say that they open onto what might be termed, for the sake of symmetry, heterochronies.... the experience is just as much the rediscovery of time, it is as if the entire history of humanity reaching back to its origin were accessible in a sort of immediate knowledge” Forcault.

The bathhouse is a step back in time to Paddington’s history starting from the petrol station, transitioning to reservoir and ending at the forest. Implemented features from an historic precedent, the Roman Baths, where water us idolised flowing from a sacred pond, and where bathing becomes a spiritual experience as preparation in larger journey to the temple to find piece of mind. The journey is divided into three different spaces including Earth, Sacred, and Heaven with the following programs, prep, wash and meditation correlates to a stimultaneous journey through the site’s history. The experience is a separation from the temporal and physical reality of the visitors’ lives. It is designed as a walk into a deepening heterotopic space with references and symbolisms drawn from site and an observed historic precedent. Guests are ushered through a sequence of spaces that gradually detach themselves from their outside reality and their physical selves. to a purified and idealised alternative space and self.

RL - 5500

Lower

LeveL: transition

[

reservoir

]

RL - 5500

Lower

LeveL: sacred

reservoir

]

RL - 5500 encLosed chamber: earth

[

petroL station

]

Spatial Separation as Rituals

AXONOMETRIC:

the journey

Meditation - Change - Exit

the journey

Cold Cleanse - Sacred Fall - Transition

[ THE VOYAGE ]

In the lecture series ‘Of Other Spaces’, Michael Foucault expressed the understanding of heterotopias as the concept of time based on various historical events as its experience is described as a rediscover of time. Heterotopic spaces exist in between virtuality and reality that one practice with individual understanding and connection to its elements. The bathhouse is a step back in time to Paddington’s history starting from the petrol station, transitioning to reservoir and ending at the forest. I implemented features of an observed historic precedent, the Roman Baths (Bath, England), where importantly water is idolized flowing from a sacred fond, and where bathing becomes a spiritual experience as preparation in larger journey to the temple to find piece in mind. The journey is divided into three different spaces including Earth, Sacred, and Heaven with the following programs, prep, wash and meditation. This bathing journey is re-implemented onto Paddington. (change, oil, steam, scrape off, hot bath, warm bath, cold bath, temple/ meditation) and correlates to a simultaneous journey through the site’s history. At the transition of Sacred to Heaven, I created a waterfall that cascades from upper floor to the lower ground pool, people would have to climb up the waterfall to reach the end stage of the journey which is the recreated forest for meditation. Experience of my bathhouse is about separation from the temporal and physical reality of the visitors’ lives. It is designed as a walk into a deepening heterotopic space with references and symbolism drawing from the site and observed historic precedent. Guests are ushered through a sequence of spaces that gradually detach them from their outside reality and their physical selves, to a purified and idealized alternate space and self.

the journey

Entrance - Oil/Prep -Steam - Hot wash

Song Ngan Pham (Mint) _11917933

DIAGRAMS :

Circulation + Program Performances

-STREET LEVEL PLAN Mental Clarification through meditation to prepare one self to go back to reality on the pathway surrounded by water at the end of this sacred journey.

-UNDERGROUND PLAN Physical Clarification through Roman bathing rituals including change, oil and sauna with a series of pools ranging from hot to cold leading to upper level.

HOT BATH

SPIRITUAL ASCENDING

Public and Individual Cleanse in higher temperature water as a recreation of the Roman Bath.

Transitional space between Physical Clarification and Mental Purification.

-PERSPECTIVE SECTION Cut Section of visitors’ experience as a temporal separation from visitors’ physical reality in a idealised alternative space only to prep themselves for physical and mental cleanse.

MENTAL CLARIFICATION

BACK TO REALITY

Public Meditation Programs promotes Mental Clarification preping visitors after their journeys.

Cascading waterfront delivers participants back to reality through stone-paved pathway.

20 17

THE CUBIK -----

TYPOLOGY

LOCATION

Multiform Theatre

Bare Island Fort, La Perouse, NSW.

An thorough understanding of â&#x20AC;&#x2DC;traditionalâ&#x20AC;&#x2122; theatre is fundamental to explore the possibilities that the multiform provides and challenges. The Oslo Opera House and Taipei Performing Arts Centre has been chosen as two leading examples of this specific theatre type.

Mimicking the surrounding landscape, the articulated form dictates one interaction with space through horizontal and sloping surfaces. Interior and exterior is interdependent, resulted in the highly articulated internal space. Through a series of programatic operation, production facilities are hidden from the public, securing buildingâ&#x20AC;&#x2122;s flexibility and functionality without disturbing the architecture. Demolishing the existing structure, the design form is embedded within the island and spill out onto the landscape. Back of House is hidden underground while keeping its vertical connection with theatre infrastructure. Users weave through selective pathway leading to the intended program. Adopted the complexity and flexibility within constraint of rigidly geometric form, the architecture creates a diagram for theatre making, a machine which response to current programs, potential for future uses and unimagined theatrical use. Curated circulation introduce public to the programs rejecting the old- fashioned boundary between public and private as it is trajectory through theatre infrastructure and space of production. Within the new context of Bare Island, the existing fortification has been partly demolished and converted to entrances as the building is directly located and hovers above it exposing a smooth transition into the space. Automated storage and retrieval system which allows linear movements is chosen as the technological system. Forced movement in the first precedence is create through the computer based system situated in the public tunnel sandwiched

between programs in order to delivered people to intended area, securing separation between public and production. In the second case study, theatrical programs are fitted into cubes within a designated grid, surrounding a central core. This technology is implied to displace and reconnect programs infinitively as a response to theatrical uses.

DIAGRAMS :

Public Access + Circulation

AXONOMETRIC:

Mechanical Movement

-PLAN + THEATRICAL COMPOSITIONS Adopted the complexity and flexibility within constraint of rigidly geometric form, the architecture creates a diagram for theatre making, a machine responding to current programs, potential for future uses and unimagined theatrical use.

-SECTIONAL PERFORMANCES Theatrical programs are fitted into cubes within a designated grid, surrounding a fixed central core. This technology is implied to displace and reconnect programs infinitively as a response to theatrical uses.

20 16

WINTER ENLIGHTMENT -----

TYPOLOGY

LOCATION

Zen Garden

No Where

The purpose of the Winter Enlightment is to create a space of specu-lation and serenity while also achieving a sense of haziness. The gar-den is designed for very limited traffic, and with one directional glass the occupant can feel small inside an infinite space while the general public can see through the garden from the outside and experience the space in a different way. The interior atmosphere is a product of multiple agents that are arranged to achieve a reflective, wet, hazey and winter like Zen Garden. The upper floor, that is the zen garden, is slightly warmer compared to the lower level to create a more serene space. While the occupant is in the garden they are shrouded by fog and rain inside a reflective space where they can feel lost but also peaceful.

SYSTEMS .HAZE

Liquid In 5.

Diagram 1. Smoke Machine

12. 13. 1. 135

12.

11.

Smoke out

3. 13.

10. 135

315

14.

11.

Smoke out

9. 10.

315

14.

Diagram 2. Smoke Machine

5. 2. 3.

4000

5. 2. 4.

Main Unit Cutaway

4000

Main Unit Cutaway

Main Unit

6000

1. Fluid

Diagram 1. Main Unit Smoke Machine 2. Heating Chamber 3. Nozzle 4. Handle 5. Reservoir 6. Level Sensor 7. Valve 8. Inlet 9. Ceramic Rod (Resistance Heater) 10. Heat Insulating Layers 11. Exhaust Pipe 12. Actuator 13. Controller 14. Remote Control 6000 Notes: Duration of transformation from liquid to smoke depends on vaporization temperature of fluid or volume. Fluid : Water with glycol, glycerin and/or mineral oil with varying amounts of distilled water (Some may experience skin iritation with glycol fog but otherwise is safe) Fog will rise quickly with above fluids, coolers can be used if low lying fog is desired. Diagram 2. Air Conditioning System 1. 1. Evaporater 2. Blower 3. Condenser 4. Compressor 5. Fan 6. FilterDiagram 7. Thermostat Smoke Machine Notes: 1.Cooling Fluid coils 2. Heating Chamber 3. Nozzlefrom 4. Handle 5. Reservoir remove heat and humidity the air using refrigerant.6. Level Sensor 7. Valve 8. Inlet 9. Ceramic Rod (Resistance Heater) 10.over Heatthe Insulating Layers 11. Exhaust Pipe air.12. Actuator 13. Controller 14. Remote Control A blower circulates air evaporator, dispersing the chilled Notes: Hot coils release collected heat into the outside air. Durationthe of transformation liquid to smoke on vaporization temperature of fluid or volume. A pump moves refrigerant between evaporator andfrom the condenser to chilldepends the indoor air. Fluid : Water with glycol, glycerin mineral oil with varying amounts of distilled water A fan blows air over the condenser to dissipate the heatand/or outside. (Some may experience Located in the air conditioning unit to remove particles skin fromiritation the air. with glycol fog but otherwise is safe) rise quickly above fluids, coolers can be used if low lying fog is desired. A control system to regulateFog thewill amount of coolwith air that is distributed. Diagram 2. Air Conditioning System 1. Evaporater 2. Blower 3. Condenser 4. Compressor 5. Fan 6. Filter 7. Thermostat Notes: Cooling coils remove heat and humidity from the air using refrigerant. A blower circulates air over the evaporator, dispersing the chilled air. Hot coils release collected heat into the outside air. A pump moves refrigerant between the evaporator and the condenser to chill the indoor air. A fan blows air over the condenser to dissipate the heat outside. Located in the air conditioning unit to remove particles from the air. A control system to regulate the amount of cool air that is distributed.

SYSTEMS .WET

Constructional Analysis

Diagram 1. Smoke Machine

AXONOMETRIC:

SYSTEMS .HAZE Liquid In

SYSTEMS .WET

5. 1. 4. 3.

400

120 3600

1. 4. 3.

400

120

1. 640

2. 2100

1. 640

4. 5.

6. 7. 8.

9. 4. 5.

6. 7.

Diagram 3. Water Curtain 8. 9. from Water Tank 3. Divider Panels 4. Body 5. Water Pipe 6. Pipe Notes: Operated by computer and nozzles are programmable Nozzles above the entry way will not be in use Water is run through a loop whereby it falls into the pond below and is brought back up through the water tank

1. Suspension Rods 2. Joint for Suspension

Diagram 4: Pond Filtration System 5. Top Diffuser 6. Filter Tank 7. Underdrain Assembly 8. Molded Drain Plug 9. Base Notes: 360째 rotation of valve to simplify plumbing. Even distribution of water over the top of the sand media bed and full-size internal piping gives a smooth, free-flowing performance. Diagram 3.with only minimal care. Durable colorfast reinforced thermoplastic for dependable, all-weather performance Water Curtainflow of sand. Precision engineered, self-cleaning 360째 slotted laterals gives totally balanced 1.Rugged Suspension Rods 2. Joint forto Suspension 3. Divider and attractively styled provide strong, stable Panels support. 4. Body 5. Water Pipe 6. Pipe from Water Tank Notes: Operated by computer and nozzles are programmable Nozzles above the entry way will not be in use Water is run through a loop whereby it falls into the pond below and is brought back up through the water tank

1. Filter

2. Pump

3. Skimmer

4. Flange Clamp

Diagram 4: Pond Filtration System 2. Pump 3. Skimmer 4. Flange Clamp 5. Top Diffuser 6. Filter Tank 7. Underdrain Assembly 8. Molded Drain Plug 9. Base Notes: 360째 rotation of valve to simplify plumbing. Even distribution of water over the top of the sand media bed and full-size internal piping gives a smooth, free-flowing performance. Durable colorfast reinforced thermoplastic for dependable, all-weather performance with only minimal care. Precision engineered, self-cleaning 360째 slotted laterals gives totally balanced flow of sand. Rugged and attractively styled to provide strong, stable support.

1. Filter

-DOUBLE GLASS Ventilation Purpose

-WATER CURTAIN Isolated Platform

-MEDITATION PLATFORM Hazey Zen Garden

-VENTILATION Circulate hot air from bottom out

-POND FILTRATION Constantly cycle with water from curtain

-AIR CONDITION Produce cool air from the bottom

DIAGRAMS :

2100

Atmospheric System

3600

-PLAN + DETAILS 1. Isolated Platform seperated by a water curtain to disconnect recoonect with natural elements 2. Atmospheric Relaxation is achieved through water audio and the Zen pond.

-ROOF STRUCTURE + SECTION + DETAILS 3. Water Curtains system attached roofing structure that contantly cycle water from the Zen Ponds, providing physical isolation, relaxtion atmosphere. 4. Section showcases Water Curtains Operation

OBJECTIFY

TROPICAL FASHION SHOW

Do You Define Beauty?

Nature Emerge Illusory

FRAGRANCE HAUS Inhale, Consume, Exhale

PRISON ECOSYSTEM Organic Rehabilitation

THE SPRING BATHHOUSE Relax & Rejoice

Atmospheric Boxes in a consumerable world THE HIVE Fashion isnâ&#x20AC;&#x2122;t anything without You

HYDROTHERAPY

N2 Better U

COLLECTIVE SECTION:

DARK MUSEUM Intrapsychic, Claustrophobia, Gloomy

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HEALING CAMP -----

TYPOLOGY

LOCATION

Correctional Centre

John Morony Correctional Complex, Berkshire Park NSW

The key of individual reinhabitation lies in the effectiveness of oneâ&#x20AC;&#x2122;s interaction with their surroundings, their cultural and their connection with the â&#x20AC;&#x2DC;outside worldâ&#x20AC;&#x2122;.

With the belief of the effectiveness in rehabitate individuals through the therepeutic aspect of greenery and interaction with childrens. The development of our Visit centre calls for a regionally contextualised development which embodies the core focus on framing the surrounding landscape while incorporating greenery onto the onsite design and boosting human interaction especially between inmates and youngsters. The emphasis on environmental strategies dictates the form and orientation of parts of the building. The emphasis on sustainable development strategies dictates existing buildings and infrastructure will be retained, reused and adapted to incorporate new programming, exemplary of economic and environmentally sustainable development practices. The material procurement strategies and the contemporary adaptation of traditional construction techniques determined building will be simple, logical, practical and regionally specific. The corresponding architectural language prescribes a seamless integration with the unique landscape suitable for the specific climatic considerations and seasonal variation The integrated onsite design and construction methodology further enhance the site specificity of the development ensuring every room, building and facility to capture the existing landscape taking

advantage of the pristine environment and forest view while remains the direct interaction with the newly created atmospheric landscape within. The development of our Visit Centre is directed to the integration of three zone. Additional program will be added including agriculture session involving both children and adult in order to enhance human interaction with the sepcial bond through the therapeutic greenery.

DIAGRAMS :

Sun Movement

PLAN:

Greenery dominant Healing Space

SECTIONS: Atmospheric Qualities

ELEVATIONS :

Atmospheric Qualities

PERSPECTIVE:

External Relationship

PERSPECTIVE:

Internal Relationship

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MICRO INHABITATION -----

TYPOLOGY

LOCATION

Compact Living

Unknown

A redesigned apartment that focuses on the problems of lacking storages of the current owner. A series of sliding walls with a tracking system hidding underground, providing a flexible space for the clients that fulfils different scenarios. Living, cooking, bathing, sleeping and working is compacted in a 24 meters spuares apartment.

A adaptive space that is both sufficient and spatious considering itâ&#x20AC;&#x2122;s size. Unused space and materials are hidden aways providings space for others. Sliding modules that would provides sitting storage while giving a comfortable sitting area for friends that come over in a dinner party. Open windows and a large platform offers a sense of peace for a reading areas. Meanwhile, storage are hidden underneath, compacted within the platform in order to reduce space. Sliding modules are made out of lightweight wood with wheels in order to flexibly moved accross the room. Used spaces are adjustable offerings adjustable living scenarios currently and for futures used. The design takes consideration of different types of storages in order to allow the necessary scenarios to happened meet the needs of storages for different elements.

MAGAZINE :

Compact Living Scenarios

MAGAZINE : Sliding Module Scenarios

MAGAZINE :

Sliding Module in 1 realistic Scenario

MAGAZINE : Spatial Inhabitation

MAGAZINE :

Spatial Inhabitation

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EAMES HOUSE REMODELLING -----

TYPOLOGY

LOCATION

Residential Housing

Eames House, California US.

The Eames House is a modern residence completed in 1949, consisting of two double-height buildings for residential living and work. Charles and Ray Eames began designing the house in 1945 for the Case Study House Program in Los Angelesâ&#x20AC;&#x2122; Arts and Architecture Magazine which published and built these case study homes that had to focus on the use of new materials and technologies developed during World War II.

The intention was for the house to be made of prefabricated materials that would not interrupt the site, be easy to build, and exhibit a modern style. The house is contained by a concrete retaining wall that ties together the two boxes separated by a courtyard. A simple steel frame was used for the structure of the house with each bay rising 17 feet high. The steel frame was filled in with different solid and transparent colored panels arranged to create an ever changing natural light landscape in the house. The foundation of the house was built from concrete, the roof from ashphalt, the frame from steel, and the walls from a mixture of materials. On the rear elevation of the house, the vertical columns of the frame were partially embedded in the high concrete retaining wall while steel decking formed the underside of the roof; perpendicular to the frame. Our model of the house stays true to the materiality of the house in order to provide a true replica.

DIAGRAMS :

Circulation + Program Performances

Eames House. Charles

Context: In

Students: Song Ngan Pham, Zhi Li, Weipeng Yu, Chantelle Cou

Tutor: JorgeValiente // Co

nhabitations

utinho, Anh Duy Phan, Allyson Terry, Demi Bez, Amelia Gartner

oordinator: GonzaloValiente

Spatial Arrangment

SECTION: Furniture used as Spatial Separation

lan

PLAN :

s and Ray Eames. 1949

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-POSTCARD Photo Montage

t h e

n e e d

f o r

d e s i g n

Across the world, a consensus is emerging. Schooling may have delivered in the past, but for many students and in many contexts it’s working at a sub-optimal level today. That’s not hugely surprising, since schooling was established in a different age for a different set of purposes. Too many schools are not giving students the best chance to be successful in today’s global and fastchanging economy, or helping them live their adult lives as responsible and productive global citizens. We are not educating for a digital age or a global society.

s h ou l d

We know that education must equip all young people with the knowledge, understanding, skills and values they need to achieve and be successful. But it should also instill the desire, skills and capacities to learn continuously, so every young person can take advantage of opportunities and challenges with confidence. Research on effective learning methods is a fundamentally important tool for teachers to respond to these challenges, but it cannot take us all the way there. While we have a forming evidence base, we nevertheless do require further inputs for some of the pressing questions in education from education practitioners and a range of sources. New conditions and broader and more complex learning goals, call for a developmental response, drawing on design methods that have been created to develop solutions to urgent problems.

n ot

t a u gh t

Design Thinking requires a breadth of knowledge and experience from various disciplines, which is not present in most K-12 students given the stage of their cognitive development and education background. Neil Stevenson

Lack of knowledge to execute design thinking

“Design thinking isn’t one thing but a bundle of mindsets and philosophies all wrapped up in one term, which obviously has the potential to lead to ambiguity and misunderstanding.” “People tend to come up with an idea early on, and know that this idea is it, the perfect idea, and get emotionally invested in that one thing. Then, when their perfect idea fails, they fall apart,”

t a u gh t

Design Thinking is an approach to learning that focuses on developing students’ creative confidence.Teachers and students engage in hands-on design challenges that focus on developing empathy, promoting a bias toward action,encouraging ideation, developing metacognitive awareness and fostering active problem solving.Students will benefit from studying, biology, mathematics and physics. It is educated, mature students that will be ready to apply Design Thinking—to develop insights from multiple perspectives and solve Wreal-world problems with critical thinking and analytical skills. Thinking carefully and critically about the applicability of Design Thinking is time well spent. Creative Ation Toolkit

Design Thinking process themselves to address challenges in the classroom

Design Thinking is an approach to learning that focuses on developing students’ creative confidence. Teachers and students engage in handson design challenges that focus on developing empathy, promoting a bias toward action, encouraging ideation, developing metacognitive awareness and fostering. active problem solving.

IDEO’s Design Thinking for Educators

Teach students how to use Design Thinking as a problem solving process.

A creative process that helps you design meaningful solutions in the classroom, at your school, and in your community. The toolkit provides you with instructions to explore Design Thinking.

IN PRIMARY

SCHOOLS

-POSTER a. Analysis Manifesto b. Bibliography

DISCOVERY

(RE)FRAME OPPORTUNITY

IDEATE

EVALUATE

PROTOTYPE

TESTING

Choose an affirmative, strategic topic. Develop background knowledge. Understand and empathize with numet needs

Look for patterns and insights. Question assumptions. Frame and define your scope

Experiment. Explore possibilities. Envision a desired future. Co-create in diverse team. Make your ideas visible. Quanitity is encouraged

What is desireable, feasuble, viable about your ideas? what are the constraints

Think big, act small, fail fast: learn from end-users

Evaluate. Learn. Create. Innovate. Modify.

Schools benefit from design thinking as it facilitates a collaborative approach to solve the complex problems they face. By organising the implementation of new ideas in a disciplined way, it saves time and makes changes more likely to be successful. This ultimately improves teacher practice and student outcomes. Design Thinking is a process that systemises the prototyping of ideas and practices to solve problems. Every steps within the design thinking porcess is By taking a structured approach to the creation of ideas and implementation of practices, it maximises the chances of success. Design thinking involves basing new ideas and practices on, which are based on evidence and other successful ideas

Design thinking can be powerful ways of creating new possibilities in education. However, these processes are unlikely to produce the new solutions and opportunities we hope for unless they are carried out with discipline. Implementing them, growing new organisational cultures and system conditions to support them requires careful work and considerable amounts of energy. It is important that ideas are rigorously tested and challenged at every stage of development to ensure that energy is well spent. And the solutions developed need to be evaluated intelligently to determine their impact and outcomes. Fortunately, organisations around the world have developed methods to manage these processes of development and change. By working with design thinking, schools and their partners are increasing their capacity to radically improve their practice in the face of new conditions and challenges

beneficial to student development.

[ Discovery ] - develop background knowledge and a sense of empathy

When designing anything meant to be used by another person—whether that’s a lesson, curriculum, classroom layout, or an imaginary city—the designer must understand what that an “end-user” needs. “The design-thinking philosophy requires the designer to put his or her ego to the side and seek to meet the unmet needs, both rational and emotional, of the user,”

[ Ideate ] - creativity in the generation of insights and solutions to develop the capacity of accepting failure and willingness to iterate.

Design thinking requires designers to generate ideas—lots of ideas—and prototype them. In order for this part of the process to work, students and teachers must be comfortable with failure. “People tend to come up with an idea early on, and know that this idea is it, the perfect idea, and get emotionally invested in that one thing. Then, when their perfect idea fails, they fall apart,” Stevenson said. Design thinking forces students to keep their minds open, to try out lots of ideas early in the process before they let their egos or emotions get too invested in just one. Quantity is encouraged. No idea is far-fetched and no idea is reject. An trial and error process.

[ Evaluate - Prototype- Test ] - rationality in analysing to develop an ability of mutual learning, co-operation,and behaviour change

Once ideas have been prototyped and tested, students begin to work toward one effective, final solution—an end product that can be assessed, presented, displayed, or put to work in their classroom or community. The beauty of the design process, proponents say, is that the value of the experience does not lie solely in the end product. Learning happens throughout the process, from the early research phase to the final presentation. This allows students and teachers to focus on what’s most important in learning: the process,

Stanford d.school

“We believe everyone has the capacity to be creative. The Stanford d.school is a place where people use design to develop their own creative potential.”

The d.school helps people develop their creative abilities. It’s a place, a community, and a mindset. We build on methods from across the field of design to create learning experiences that help people unlock their creative potential and apply it to the world. Design can be applied to all kinds of problems. But, just like humans, problems are often messy and complex—and need to be tackled with some serious creative thinking. That’s where our approach comes in. Adding the d.school’s tools and methods to a person’s skill set often results in a striking transformation. Newfound creative confidence changes how people think about themselves and their ability to have impact in the world.

Lemonade Stand Program

A simple 1-hour design thinking exercise with students to redesign each other’s’ gift giving experiences and routines

The students were instructed to interview each other and pose probing questions provoking thoughtful and emotional responses, before designing ‘magic-wand’ solutions and whittling these down and prototyping the most feasible idea. In the limited time, students only had time to draw their solutions, but ideas ranged from apps that automatically pulled data from a user’s Facebook activities to suggest gifts that a person liked, to automated personal shopping services.

Brisbane primary school teacher, Elisabeth Hales

Used design thinking in exploring the impact of climate change and the 2011 floods on their local communities

They created the topic ‘Burning plains and flooding rains’ to frame their thinking and research. Students explored the news, looked at and compared maps, studied data, watched TED Talks, interviewed people affected by floods, and asked lots of tough questions. Students then addressed their core challenge of ‘How might we help our local community to be flood ready?’. Students generated into lots of ideas and quickly began forming sketched prototypes. One group of girls designed a concept for a Flood Evacuation Kit, received early feedback, made a mockprototype, then ended up pitching it to community members some of whom had been affected by the floods. This made for very memorable learning for everyone.

An example of integrating design thinking into everyday subjects include encouraging students to redesign the classroom and classroom flooring as a way of teaching the concepts of perimeter and area. By getting the students to interact with the space, seeing how these mathematical concepts work in real life and how they can apply these concepts in their own redesigns, students not only can grasp these ideas easier, but also remain more engaged throughout the process.

this? It makes a significant difference to the depth and impact of design thinking when the school community knows how it feels and what it takes to tackle complex problems. By using design thinking processes to plan and design learning, teachers become better at facilitating and networking this knowledge with their students. Design Thinking might at first seem like a nebulous area. However, with the growing success with its application in the K-12 curriculum and the increasing importance for students to be adaptable and have the capacity to think innovatively, design thinking is rapidly playing a more important role in engaging and teaching students.

rather than the product.

Creative and critical thinking have always been crucial skills in learning how to unpack issues and problems. They are certainly even more important now as we deal with the challenges of rapid change in work, life, and the environment that require different approaches and a re-thinking in how to tackle them statistics show millennials will go through as many as 15 jobs different jobs before they’re forty, stay at jobs for only 2 years, and have up to 5 or more career changes, showing necessity of adaptability. Schools, like businesses and industries, are also keen on developing innovation, creativity, and entrepreneurship. Without a proper understanding of the mindsets, the skillsets and tools that can be used, innovation and entrepreneurship very quickly become token buzzwords. When students experience

the process of design thinking effectively, they learn how to ask better questions, see past perceived constraints, generate and filter ideas, and have multiple attempts at prototyping their solutions to discover what works and what wows. Consider the depth and breadth of learning that comes from years of working this way and you’ll begin to see how adaptable, creative, and knowledgeable students can become. Once the methodology of design thinking becomes more familiar, it can be applied to almost any challenging task. Many schools see it as the domain of the humanities or sciences, but it works equally well in any field, even mathematics, languages, or physical education. At its core, design thinking needs learners to make connections, so it is when learning is wellintegrated that real innovation starts.

Australian Institution for Schoold and Leaderships 2014, Learning Through Doing Introduction to design thinking l, viewed 18 September 2017. Li J. nd, How to Use Design Thinking in Schools, Collective Campus, viewed 18 September 2017.

What’s often missed when schools use design thinking approaches, however, is that it becomes another program done to students rather than with them. It’s important to nurture learning environments in which students think for themselves and also have a sense of agency, so when teachers look at curriculum they need to ask themselves: could I also undertake

The Atlantic nd, How Design Thinking Became a Buzzword at School, viewed 18 September 2017. Morrison D. 2013, Why ‘Design Thinking’ Doesn’t Work in Education, Online Leanringing insights, viewed 18 September 2017.

Standford University nd, Taking Design to School, Standford d.school, viewed 18 September 2017. Creativity at Work nd. , Design Thinking as a Strategy for Innovation, viewed 18 September 2017

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-BUSINESS CARD Painting Service Company

SONG NGAN PHAM

-ILLUSTRATION 02 The Voyage Graphic Manifesto

THE VOYAGE HETEROTOPIC BATHHOUSE 2017

SONG NGAN PHAM

THANK YOU ---