Sang Pham | Selected Work (update)

SANG PHAM Selected Works

CONTENTS

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LIVING OVER THE SHOP DEXTER ROWING CENTER HOUSING BOOTCAMP Courtyard Housing Row Housing Two Portland Blocks

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REBUILDING CORNERSTONES

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NOYO MARINE SCIENCE CENTER

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UO DINNING PAVILION THE PINEAPPLE HOUSE AWAITING DEATH

LIVING OVER THE SHOP Studio Critic: Landry Smith

3 Bradbury Street London

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5

The conception of the project stems from the lively activities that have been established at the square. The new structure is conceived as an extension of the square with the aim to increase its activities and provide affordable housing. In

order to maximize the limited space the building configuration was done in an interlocking fashion, which provides occupants with both views to Bradbury street on the Southern side to Gillett square on the Northern side.

6

The Shop On the ground floor a flower shop and a coffee shop are deployed with the coffee shop occupying the square facing portion. The shop open widely to Gillett square with double height space optimal for social activities. Walls are also reserved to provide spaces for art, giving the space an opportunity to facilitate cultural and creative events.

1F Not to scale

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The Dwelling Units

Configuration setting

Type 1 (with coffee shop)

The tunnel-form apartment units create dynamic views for its adjacent site while at the same time providing occupants with the chance to transform the unit into an outdoor-indoor living condition by opening the window and door on the two ends.

Having all circulation internalized and hidden from plain view allows the building to become more experimental on the notion of privacy, while also increase the connection between shop and residential level by visual mean. The private spiral stair case and bathrooms are placed at the center of the unit, which allows the two spaces at either end a certain degree of flexibility. Residents can enter their unit by the rear entry staircase on Bradbury street away from the noises from the shops and the square.

Type 2 (with flower shop)

Type 3

Type 4

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2F Not to scale

2F Not to scale

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3F Not to scale

DEXTER ROWING CENTER Studio Critic: Tom Hahn

Dexter Reservoir Lowel, Oregon

5'

Warm NW Wind 1 May - 31 Sep 17 mph | 79 F | low frequency (315h)

0'

+/ -6 95 (AP 'LA ROX KE IMA 696' LE TE VE L)

70

Warm Northern Wind 1 May - 31 Sep 22 mph | 97F | high frequency (630h)

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Regatta: Mid Feb - early June

Car Engine Warm Northern Wind 1 Oct - 31 Dec 16 mph | 75 F | Low frequency (378 h)

Fishing: Year round

Regatta

Drag boat racing: June + August + September

Warm SW Wind 1 May - 31 Sep 16 mph | 80F | Low frequency (315 h)

Activity Zone

Pickniking + Swimming + Jogging: Summer

Boat bell clanking

Lake Cool Southern Wind 1 Oct - 31 Dec 22 mph | 68F | high frequency (630h)

Paving Coniferous Deciduous Grass Cool Wind Train

Warm Wind Winter Sun Path Spring/Fall Sun Path Summer Sun Path

Site analysis

Storm water path

Distance Mountains

Water Line

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Rowers heading toward the finish line

Located at Dexter reservoir, which is known for its best condition for sport rowing, the boat house is introduced as an opportunity and a foyer not only to foster the growth of the rowing team but also to engage with both the local landscape and its people, the residents of Lowell. The building offers an additional space to the site that enriches its existing experience with the introduction of shifting planes and oblique view

Study model of horizontally shifting plane

that allow different scenes of the landscape to be experienced anew.

On the vertical plane, the building brings together the rowing team and the community of Lowell by weaving the two different volumes and atmosphere via visual access.

In between spaces and program gardens and plazas are brought in to enhance to interior experience.

Study model of oblique views

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15

South Elevation Not to scale

Athlete circulation Spectator/community circulation

Served space Circulation + viewing space

Outdoor space Servant space

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The Community

Community Center + Workout Spaces Not to scale

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Sectional Perspective at Community Space

Not to scale

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Sectional Perspective at Athletes Space

Not to scale

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The Athletes For convenience and privacy of the athletes the boat program is sunken into the ground, forming a direct relationship to the water and enriching the rower daily training activities.

Boat storage (basement) isometric

Concrete shear walls form the basement. At the community center they protrude upward to support the roof.

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Boat storage (basement) Not to scale

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HOUSING BOOTCAMP Studio Critic: Michael FiямБeld

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COURTYARD HOUSING Portland Courtyard Housing Competition

goal, 4 units are designed in an is no longer needed.

Interlocking Interlocking allow bothunits allow both configuration and 2 regular units. In bussiness of urban living. These spaces units have private to have private + gardern + order to achieve the ADA accessible are design for better flexibility towhen car gardern courtyard view courtyard view goal, 4 units are designed in an is no longer needed.

The project aims to create a strong sense of community primarily from diversity both in architectural setting and demographic. The program entails 2 ADA accessible units, 2 units with flexible live-work configuration and 2 regular units. In order to achieve the ADA accessible goal, 4 units are designed in an interlocking

OND FLOOR 2” = 1’0” SECOND FLOOR 3/32” = 1’0”

fashion allowing ownership of private garden as well as view into the main courtyard. Share spaces are focused and enclosed by the units for ease of children Interlocking units allow both observation as well as creating an to have private gardern + courtyard view inwardSECOND environment, contrasting Interlocking units allow both FLOOR SECOND FLOOR Interlocking units to have private gardern + with the urban living.

3/32”business = 1’0”3/32”of = 1’0” courtyard view to have allow both These spaces are design for better private garden + flexibility when car is no longer courtyard view needed.

Interlocking units allow both to have private gardern + courtyard view Interlocking units allow both to have private gardern + courtyard view

Stacked double height unit is ADA accessible on ground level and light-filled volume Interlocking allow bothunits allow both Stacked doubleInterlocking height unit units private to gardern have private + gardern + is ADA accessibletoonhave ground courtyard level and light-filled volumeview courtyard view

Stacked double height unit is ADA accessible on ground level and light-filled volume

ADA Units are placed in the back to provide a sense of inclusive community

Structural planting used to divided the main shared space into 3 sections that Structural planting used can be used for both parking to divided the main shared and communal activities. space into 3 sections that can be used for both parking and communal activities.

Courtyard Facade Not to scale

Street Facade Not to scale

1F Not to scale

2F Not to scale

Stacked doubleStacked height unit double height unit is ADA accessible is ADA on ground accessible on ground level and light-filled level volume and light-filled volume

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Structural planting Structural used planting used to divided the main to divided sharedthe main shared space into 3 sections space into that 3 sections that can be used forcan bothbeparking used for both parking and communal and activities. communal activities.

Structural planting used to divided the main shared space into 3 sections that can be used for both parking and communal activities.

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ROW HOUSING

FRONT ELEVATION (S) 1/4” = 1’0”

Street Facade Not to scale

Back Facade Not to scale

BACK ELEVATION (N) 1/4” = 1’0”

SECOND FLOOR 1/4” = 1’0”

A

A

1F Not to scale

FIRST FLOOR 1/4” = 1’0”

B

B

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C

D

C

D

2F Not to scale

SECOND FLOOR 1/4” = 1’0”

A

B

C

D

28 SECOND FLOOR 1/4” = 1’0” A

B

C

D

Area: 1428 sq.ft Occupants: Family of 4

TYPE 1 Area: 1428 sqf Occupants: Family of 4

Spatial configuration:

Spatial configuration: First floor: Living + kitchen + half bath Second floor: 1 master bedroom, 2 kid bedrooms, 1 master bathroom, 1 bathroom Feature: Top lighting at stair well + double height space, spaces on the second floor are deisgned so that cross vetilation and extra daylight can be achieved

FRONT ELEVATION (S) 1/4” = 1’0”

First floor: Living + kitchen + half bath Second floor: 1 master bedroom, 2 kid bedrooms, 1 master bathroom, 1 bathroom Feature: Top lighting at stair well and double height space, spaces on the second floor are designed so that cross ventilation and extra daylight can be achieved

BACK ELEVATION (N) A 1/4” = 1’0” FIRST FLOOR 1/4” = 1’0”

B

C

D

C

D

TYPE 1: CROSS SECTION 1/4” = 1’0”

TYPE 1: LONGITUDINAL SECTION AA 1/8” = 1’0”

TYPE 1: LONGITUDINAL SECTION BB 1/8” = 1’0”

TYPE 1: AXONOMETRIC 1/4” = 1’0”

SECOND FLOOR 1/4” = 1’0” A

TYPE 2 Area: 1321 sqf

B

1/8” = 1’0”

TYPE 1: AXONOMETRIC 1/4” = 1’0”

29 SECOND FLOOR 1/4” = 1’0” A

B

C

D

Area: 1321 sq. ft Occupants: 2 strangers

TYPE 2 Area: 1321 sqf Occupants: 2 strangers

Spatial configuration:

Spatial configuration: First floor: Living + kitchen + half bath Second floor: 2 master bedrooms, 2 master bathrooms Feature: Designed to provide privacy for 2 individuals who don’t know each other well. Top lighting at stair well + double height space, spaces on the second floor are deisgned so that cross vetilation and extra daylight can be achieved

TYPE 2: CROSS SECTION 1/4” = 1’0”

FRONT ELEVATION (S) 1/4” = 1’0”

BACK ELEVATION (N) A 1/4” = 1’0” FIRST FLOOR 1/4” = 1’0”

First floor: Living + kitchen + half bath Second floor: 2 master bedrooms, 2 master bathrooms

B

C

D

C

D

TYPE 2: LONGITUDINAL SECTION CC 1/8” = 1’0”

TYPE 2: LONGITUDINAL SECTION DD 1/8” = 1’0”

TYPE 2: AXONOMETRIC 1/4” = 1’0”

SECOND FLOOR 1/4” = 1’0” A

B

Feature: Designed to provide privacy for 2 individuals who don’t know each other well.

Top lighting at stair well and double height space, spaces on the second floor are designed so that cross ventilation and extra daylight can be achieved

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LEFT BLOCK Unit Type: Semi detached housing with ADU, flexible housing units.

Total units: 38 Parking: 36 Density: 22.8 d.u/acre RIGHT BLOCK Unit Type: Row housing, multifamily housing Total units: 48 Parking: 32 Density: 28.7 d.u/acre

TWO PORTLAND BLOCKS Not to scale

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Mix use development block | 1/16” = 1’0”

Mixed Use Shop + Multi Family Housing

Mix use development block | 1/16” = 1’0” Elevation | Not to scale

Total units: 26

3F | Not to scale

2F | Not to scale

1F | Not to scale Total: 26 overlaping + interlocking units to provide variety

The large slab block is a direct response to the collector street that it enfronts. The ground floor of the slab block is dedicated to commercial, to provide quick access to commercial good for the residents above as well as the surrounding block whist activating the pedestrian realm on the sidewalk.

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Family unit SC2 (east end) | 1/4” = 1’0”

Studio unit | 1/4” : 1’0”

+2 +3

Family unit (regular) | 1/4” : 1’0”

+2 +3

+2 Family unit SC3 (east end) | 1/4” = 1’0”

Family unit (west end) SC1 | 1/4” : 1’0”

+3 +3

+2 +2

Single Unit

Studio unit 490 sqft 4907 sq.ft Total:

Total: 7 units

Family Unit (regular) Family unit (regular) 1200 sqft 1200 Total: 16sq.ft 2 beds 16 + 2 baths Total: units 2 beds, 2 baths

Family (SC1 Family unitUnit SC 1 (west end) west end)

Family Unit Family unit SC2 (east(SC2 end) east end)

Family Unit Family unit SC3 (east(SC3 end) east end)

1400 sqft 1400 sq.ft Total: 1unit Total: 1 33beds, baths beds + 33baths Note: Support family of 4 or 3 strangers.

Note: Supports family of 4 or 3 stangers.

Parking is provided for the former.

Parking is provided for the former

1400 sqft 1400 sq.ft Total: 1 3Total: beds +12 unit baths + 1 flex space

1400 sqft 1400 sq.ft Total: 1 3Total: beds +12 unit baths + 1 flex space

3 beds, 2 baths, 1 flex space

3 beds, 2 baths, 1 flex space

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+2

+2

+1

+1

Single Semi-Detached Housing + ADU Total units: 8 House unit: 1400 sq.ft 2 beds + 2 baths + 1 flex space (bed+bath) ADU unit: 400 sqft

This type of unit provides an alternative from a busier lifestyle that is presented from the collector’s street. It is located in the back block closer to the quieter local street. The unit provides housing for a family of 3 with one room unit being flexible an can be convert into a live-work space, adapting to potential future changes. The additional ADU provides extra flexibility and maximizes lot’s potential`

Flexible /Adaptive Unit Total units: 22 House unit: 1000 sq.ft 2 beds + 2 baths

This type of unit acts as a mediator between the busy life close to the collector street and the quieter life of the back local street. It has the highest degree of flexibility and can house either family or strangers.

The units placement focus on creating a sense of community sharing a communal green space. Both the front and back of the house is open and multilayer to engage the interior and the immediate outside.

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Multi Family Housing

Total units: 4 House unit: 1400 sq.ft 2 beds + 2 baths + 1 flex space (bed+bath) ADU unit: 400 sq.ft

This unit type faces the back alley and the local street. Porches with buffer zone is placed on both sides to engage the pedestrian zone, whist providing a higher degree of privacy for ground floor bedrooms.

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Multi Family Housing Unit Corner Condition Total units: 12 House unit: 1400 sq.ft 2 beds + 2 baths + 1 flex space (bed+bath) ADU unit: 400 sq.ft

This unit type is used at the transitional corner to engage the pedestrian zone on both sides. The Ground floor units are set up for ADA accessibility with porches and ample buffer zone for privacy.

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REBUILDING CORNERSTONES Studio Critic: Karen Kubey

113 Sacramento Street, Portland, Oregon

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PORTLAND

OREGON EXCLUSION LAW All blacks residing in the Pacific Northwest between 1853 -1865 lived with the possibility of being expelled at any time.

EVENT

128 - 132 African American and mulattos reside in Oregon

Racist and oppressive prohibition was passed, prohibiting color from voting, qualifying as witness in court cases, and marriage between white and a quarter or more black blood.

OREGON RAILWAY invested in the construction of the Albina rail center.

AMERICAN CIVIL WAR

ABOLITION OF SLAVERY

ATLANTIC SLAVE TRADE brought 400,000 Africans to North America.

Black Portland began to organize politically around 1870s

REDLINNING PRACTICE PREVENTING BLACK FROM OWNING LAND

The railway became a consistent employer of African American.

JIM CROW SEGREGATION LAWS

Dance Hall

Congo Square, New Orleans

Bar Scene

WW I

THE GREAT MIGRATION

Marching Band

Shipyard industry created a massive ten fold influx of black into Portland.

ALCOHOL PROHIBITION

The influx brought African American with passion for jazz, but their options were limited

As Albina population swelled, the music scene intensified.

The area enjoyed visit from many well known musician including Louis Armstrong and Duke Ellington.

SEGREGATION BEGIN TO RELAX

WWII

1920s Bar Scene

SPACE

Church Influence Africans slaves incorporate the harmornic

style of hymns into their music and created spiritual – a form of music that passes Christian value while describing slavery hardship

JAZZ

Slaves in New Orleans gathered for social events at Congo Square where they performed African dances

The Africans were mostly from West Africa and carried strong musical tradition

Increasing number of Black musicians learned to play European instruments Louis Moreau Gottschalk incorporated slave rhythm into salon music.

Desite the segregation Black musicians were able find employment in bar, club and brothel as RAGTIME

developed to be the first African-American music to have impact on popular culture.

BLUE – a transformation from spirituals and work songs emerged from the African American communities.

African American was able to obtain drum instruments

original African-American drum and fife music emerged

W.C. Handy an African-American began

and an

Ragtime was popularized by African

American musicians and performers such as Ernest

African-American began to incorporate

Hogan

Afro-Cuban motif when the habanera became popular.

Minstrel shows featured Europeans-American in blackface popularized the music internationally.

to incorporate blue into popular music form. His Memphis Blues in 1912, Saint Louis blues along with his other blues became the

standard for jazz.

Many early jazz musician played in bar and brothels.

The instruments played by marching bands and funeral band were later become the instrument of jazz.

Jelly Roll Morton an Afro-Creole loosen ragtime rigid rhythmic feeling and employed a swing feeling, which became the most enduring African-based rhythmic technique in jazz.

In the early 1900s Jazz was performed mostly by African American and Mulatto community (who were born under interacial family)

Illicit speakeasies became a venue for the Jazz age.

Jazz expanded its market as dance music popularized

by American orchestras such as

Louis Armstrong joined Fletcher Henderson dance band as feature soloist. At this tie Armstrong was already a trailblazer in the new phase of jazz.

Armstrong was a significant figure in making jazz the offical language of the 20th century.

Paul Whiteman.

Jazz began to be recognized as a notable musical form.

Tom Turpin who published “Harlem Rag” – the first rag to be published by African American.

The Original Dixie Jass

Band made the first jazz recording “Livery Stable Blue”

Creole and African-American musician played in vaudeville shows and carried jazz to cities in the western and northern parts of the US.

New Orleans brass bands

are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whist

helping black children escape poverty.

After Whiteman, African American jazz muscian begun to find more success

In New Orleans

Scott Joplin produced an international hit called Maple Leaf Rag, which was used as the structure for many other rags.

19th

Tracing jazz history + jazz spaces

bandleader named

Papa Jack Laine intergrated both American and African American into his band

20th

band begin to recruit interacially and became the popular period for SWING JAZZ.

swing jazz became the music that is representative of the nation culture. Swing band traveled with the U.S military oversea and became popular in Europe. In the US however, the war effort limited the music distribution

Small groups of young musician continue to develop and experiment with jazz into it newer bebop form. Key figures included Thelonious Monk, Bud Powell, Max Roach, Kenny Clarke, Charlie Parker and Dizzy Gillespie.

Bebop switched jazz

from a danceable music to a challenging musician’s music with fast tempo and complex chord progression with rapid chord changes.

39 Jazz Demographic v.s Portland Demographic

PDX

Age

Education

36.8

Some college graduate school

77.4% white 5.7% black

50.5 Female 49.5 Male

Some college graduate school

81% white 17% black

46% Female 54% male

<45

Average Family Size

PDX

3.03

Race

Gender

While Jazz attenders were mostly white this is only reflective of the majority of white population.

When comparing in rate of attendance Jazz is the only art form where African Americans are more likely to participate than Americans.

The Cotton Club

When asked to express a desire to attend more concert only 25.2% white American did while for African American it was 49%. This projects the statistic of black attenders to 22%

Average Household Size

Poverty Rate

Median Income

Marrital Satus By Race

2.35

16.22 %

$ 80,212

Black 25.2 % married 51.7% never married

Black 36.77 % Native 32.32 % White 12.55 %

Black-Owned Businesses | MLK Blvd

Nationally 35 % of Black households pretax income fall between $12,500 -$37,499. housing $13,530 (37.4%) transportation $5,946 (16.4%) food $5,825 (16.1%) Personal insurance $3,678.55 (10.2%) 0.5% is spent on alcohol, 0.7% on tobaco and smoke supply, 3.8 % on entertainment.

Restaurant

The project defines spatial justice as giving space and care to those who have been historically denied of it. In this case the Davis specifically and in general the African American population in the Albina neighborhood who have been experiencing the effects and consequences of the discriminatory spatial practice of redlining. Architecture, in this light, can provide the ground and means through which social problems can make progress through exposure.

The program contains three primary

segments: housing, business and ARTchive. The housing component involves affordable housing and market rate housing, providing a diversed household size with a focus on family of three, which the common African American household in Portland. The project aims to ameliorate the tension between the different cultures with the introduction of the central flexible atrium, featuring a sculptural staircase and 7-floor mural that acts as the spine for all programs. As visitors and residents move through

the building different businesses slowly unfold; from the sunken jazz bar to the food court that offers small rental spaces for the local African American food scene on the ground floor, to the art gallery, community spaces and garden that are sandwiched between housings on the upper levels. The culminating moment at the 7th floor sit the Mayo housing acting as the ARTchive as well as a symbolic cornerstone for the renewal of Albina black community.

Grocery

Cafe

Food Truck

Jazz Club (old)

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Exploded Axon

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6

9

7

10

8

13

11

12

2F |

1/8” = 1’0”

3F |

1/8” = 1’0”

6. Class room 7. Art Gallery 8. Art Studio

Bend for light + art

4F |

5F |

1/8” = 1’0”

6F |

1/8” = 1’0”

9. Community Kitchen 10. Community Garden 11.Community Living Room 12. Community Laundry Space

Complete Program

Jazz Bar

7F |

1/8” = 1’0”

9. Community Kitchen 10. Community Garden 11.Community Living Room 12. Community Laundry Space

Food

Soft Space

Housing

Art

Community

1/8” = 1’0”

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Sectional Perspective

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NOYO MARINE SCIENCE CENTER Studio Critic: Hajo Neis

Frort Bragg, California

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48

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Site map

Historically the site was first illegally occupied by the lumber mill industry, displacing both the natural wetland habitat as well as the Pomo Indian.

While to the locals of Fort Bragg such act of privatization imposes a disconnection of public access to natural landscape, to the Pomo Indian and the ecology, it is a loss of culture, tradition and homes.

The mill, a representation of unsustainable mean of economy and industrialization, partially left Fort Bragg in the 50s contaminated.

Forward to present day Fort

Bragg, with the departure of the Mill and great recovery effort from soil contamination the site is now ready for a new phase, yet suffers still from severe disconnectivity and global climate challenge. The kelp population, which has long been closely tied with the city of Fort Bragg as an economic mean, bringing both annual migratory whale pattern as well as the prized abalone season, is endangered to complete disappearance by global warming and the ever increasing population of the purple sea urchin.

Museum Complex | Not to scale

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Blue Whale Museum + Conference Hall Axon | Not to scale

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Orca Museum

Pomo Indian Museum

Orca Museum Axon | Not to scale

Pomo Indian Museum Axon | Not to scale

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in inches

The driving force of the design is light. Thin members were chosen to reduce obstruction preventing wood from absorbing most of the light. Where wood meet light at the South, members are oriented to intentionally catch light to provide accent lighting. At the center of the meeting hall, polycarbonate panels are placed as a light receiver, acting

as both a sculpture and a lighting vessel spreading even ambient light to the bottom portion of the room. On the two sides, the roof is over hang so as to catch light from below, the intention is to make the roof seem weightless and almost floating.

UO DINING PAVILION Experiment On Expressive Structure Course Instructor: Mark Donofrio

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The tower is an experiment on using primitive mean of construction as well as nominal sized member to produce modern adaptation of structure. Here a diagrid system is used as a mean to provide optimal structural stability whist reducing structural member. The aesthetic of the tower is the result of the efficient system.

Preliminary Design / Joint Design

THE PINEAPPLE Experiment On Expressive Structure Course Instructor: Stephen Duff

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The house is designed for a hypothetical old couple at the end of their life, looking again at the house (space) as the agency for catharsis.

The aim is not to create a logical house, but to create spaces that understand and value the mundane and fragile nature of its inhabitant.

The drawings made for this project serve as means to explore different moods and feeling of space, which aid the process of understanding the nature and relationship between the people, their ritual, the site and the architecture.

HOUSE AWAITING DEATH Experiment On Design Media Course Instructor: James Givens

A Room of Many Names Studies for a house awaiting death

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Feeling of Landscape Studies for a house awaiting death

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Intimacy and Connection Room studies exploring how spaces can reserve intimacy whist belonging to a larger whole. Here intimacy is achieved in the specificity and clarity of program occupation where connectivity is achieved via openings, framing the rituals that take place at others spaces.

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SANG PHAM sangp@uoregon.edu 503 481 3269