TUNG DINH NGUYEN Architecture Portfolio
01
STUDENTS PAVILION
02
OBJECT OBSCURATION
03
INDEXICALITY
04
CAMBODIA FLOATING STRUCTURE
05
CIVIC CENTER
06
CONTEMPORARY ARTS MUSEUM HOUSTON
STUDENTS PAVILION JUNIOR STUDIO. SPRING 2017 INSTRUCTOR. CRAIG BABE INDIVIDUAL PROJECT
This project takes place at Texas A&M University. The project was to design a new student pavilion on campus. Students were asked to choose the best location for the pavilion. After working with the University Architects and doing several forms of research, we found out that there are several new constructions, as well as renovations that will happen on campus in the up coming year. Therefore, this project is a proposal for any new construction that happen on campus. This pavilion is going to be an iconic campus landmark that would offer flexible, non-programmed spaces that would become a social hub on campus. By creating the pavilion on ground floor, students can use these places for personal use, group meeting, as well as a place to eat and relax between classes. In the future, this will be the model for new construction on campus: the ground floor will become a pavilion space for student, and other functions such as offices and classrooms will be on the upper floor.
Following the regulating lines from the surrounding buildings and the circuit concept, the building was extruded from the ground to create different spaces, including interior and exterior spaces. The atrium reserves the main axis and major pathway from the plaza. This allows an easy access for students in and out of the building, The atrium also serves as the connection between all the levels of the building, The section below shows the ground floor as the students pavilion. All of the upper floors are suggested spaces for classrooms.
section
The flow of the electricity current is represented in the landscape. The metaphor behind this concept is each of the students is an electron that travels through the current pathway to electronic hub - the pavilion. The other reference that influences this project is the labyrinthine shape by Piranesi. There are several staircases throughout the building, connecting different levels, at the same time creating a double high ceiling in order to bring more natural light into the interior. The openness of the glass curtain wall system establishes a strong connection between the interior space and the landscape, encouraging activities with the pavilion to flow out into the quad.
ground level
OBJECT OBSCURATION SOPHOMORE STUDIO. T4T LAB. SPRING 2016 INSTRUCTOR. ADAM FURE & GABRIEL ESQUIVEL IN COLLABORATION WITH JUSTIN ZUMEL, MARIA FUENTES &ELINE VERHOEVEN
Within the realm of representation, a resolution occurs during the transition between mediums: creating the possibility of emulating new objects. Through the process of photogrammetry, we rediscovered the idea of flattening. The camera was a marker between physical to digital; there is a loss of information that creates formal and textural discrepancies. For the methodology, reproducing these objects in the digital form can be controlled through the amount of photos used. The categories of objects in our mereology consisted of: physical natural rock, physical synthetic rock, and rocklike object. Through that process, these object’s unequivocal qualities dissolved into the same field to a point of obscured qualities between the three categories. The idea of flattening is not only a production of the photogrammetry, but also a production between the pure digital, pure physical, and translation between the physical to digital. In this project there are two autonomous forms that create the illusion of a dichotomy rather than a visual articulation of cohesion. In a trivial notion, this illusion represents these flat planes as a form of disruption through the splitting of these objects, but what these planes are argued to do, is create a plane in which the objects have a relationship with the ground. This contains the idea of figure and ground and that all of the objects are on the same field of different degrees of flattened representations.
low poly mesh count - 10,000 polygons
medium poly mesh count - 450,000 polygons
high poly mesh count - 1,000,000 polygons
INDEXICALITY SOPHOMORE STUDIO. FALL 2015 INSTRUCTOR. GABRIEL ESQUIVEL INDIVIDUAL PROJECT
The process begins with iteration of diagrams. The analog model represents the idea of cubic painting. There is the moment of phenomenal transparency, and there is the idea of depth. The idea of depth to field is represented by solid, void, and transparency. Moving from the analog model to the building, it is the articulation ideas of flattening the three dimensionality into a two dimensional by exercising the lines. It becomes the moment between the 2D and 3D drawing by breaking the line. The colors and patterns of this project were inspired by the Pop Art Movement, especially the painting from Roy Liechtenstein. The idea of pop moment and pixelation reflects in the convention of representation by different scales. When looking at an object from far away, the object becomes blurry/blended colors. When you start to zoom in, the only thing you get is the dotted line, but when you zoom out, there are patterns and figures. By playing with different scales of patterns, colors, and lines, the moment of depth to field is represented in the object. The 2d drawing/3d model was designed with the multilevel of depth via the ideas of patterns.
CAMBODIA FLOATING STRUCTURE FRESHMAN STUDIO. SPRING 2015 INSTRUCTOR. JULIE ROGERS IN COLLABORATION WITH SCOUT WINGATE
This harvester is designed to provide sustainability for the Chong Khneas community by conserving the natural resource of rainwater. Focused on sustainability, this structure minimizes waste of resources and materials in a povertystricken community. Its butterfly roof catches a maximum amount of rain for the area of the raft, and the water is filtered through the barrels underneath. To completely utilize resources, overflow water runs down a ramp in between the two rows of barrels and is stored for local use. Additionally, the storage at one end of the raft holds extra water for the dry season. Use of bamboo in the design exemplifies the vernacular and material precedents of traditional Cambodian structures and also economizes the cost of construction. Bamboo is also lightweight, making it easy to carry onto the site, which makes this design feasible. The centralized and open design of the barrels welcomes villagers from all four sides of the raft. The boat docking spaces and walking paths around the linear raft allow for circulation and accessibility for the villagers. By reflecting tree trunks and leaves, the columns and the surface articulation on the back walls incorporate the concept of natural resources.
Design Process design process
section
Section
plan
Front Elevation
Floor Plan
Front Elevation
cross elevation
longitudinal elevation
hand drawing documentation
CIVIC CENTER STUDY ABROAD IN ITALY INSTRUCTOR. PAOLO BULLETTI & ELTON ABBOTT IN COLLABORATION WITH SOPHIA KOUNTAKIS, WILLIAM SHEFFIELD & JENIFER NOONAN
As we look towards the future of Castiglion Fiorentino with current trends, we believe there will be a decrease in the local population as well as job opportunities as people move to the cities. Because of this, the designs will need to refine and showcase the value of the town, region, and community to focus on historic preservation, but a modern influx of infrastructure dedicated to younger generations as well as new forms of transportation will become more prevalent. The concept of this building comes from the town itself. The main idea is creating the piazza within the civic center. The second idea is the visual effect created from the houses “tucked” into the hill. This is reflected in the three floating “boxes” in the civic center.
sketch of Castiglion Fiorentino
Castiglion Fiorentino
conceptual sketch
ground level
section
CONTEMPORARY ARTS MUSEUM HOUSTON SENIOR STUDIO. FALL 2017 INSTRUCTOR. CRAIG BABE IN COLLABORATION WITH REUBEN POSADA
Located in the museum district, this proposal CAMH is the link between the existing museums in the neighborhood. The main concept of the museum is using simple form to create contemporary space that challenges the time and become an iconic building for the Montrose area. The idea of expressing monumental structure reinforces the main concept, creating an elegant yet exciting facade for the museum. In order to bring more natural light into the museum, there is a system of daylighting louvers on the roof of the building. The CAMH takes the notion of the promenade and dedicates it to all users as they begin the experience on Montrose Blvd. The transparent facade engages the public by revealing the intersection of the interior volumes, creating the secondary facade of the museum. The monumental facade reflects the culture and architecture in the context. The intersecting cantilever is the place of attraction, increasing the excitement of users. As one enters the museum, they are immediately faced by the large atrium which is open to below, revealing a secondary level of public space. Directly above them, will be the cantilever, holding three main galleries and access to a rooftop sculpture garden.
CAM
H
0' 75'
basic volume
38°
50°
60°
split to create drive-through
70°
split to create different functions
300'
600'
rotate to connect with the main volume
80°
louvers diffuse the indirect light into the galleries from different sun angles
louvers open to the North side for indirect natural light
concrete panel
main gallery
gfrc louvers
education
wide flange beam
administration
wide flange column
public
cantilever frame
core
program axonometric
structure axonometric
0
15
30
roof plan
60
0
45
90
ground level
180
section
section
B
C
D
E
F
G
H
I
J
K
A
L
D
E
F
G
H
I
J
K
L
W54
W54
W54
W54
W54
W54
W54
B7
B8
B9
B10
B11
B12
B13
B14
G7 W54
3
W54
G8 W54*
2
G5
4
W36
5
W36
W18
B5
7
8
8
9
9
10
10
11
11
12
12
W54 B6
W44*
6
7
W44*
G4
B5
B3 B4
W10
G3
W36 W18
6
W10
4 5
G2
G7 W54
W10
B1
W36
B2
G1
W36
3
C
1
1
2
B
G8 W54*
A
W36
W54 W54*
Ground Floor Elevation 0’ Maximum Unbraced Length 30’
ground floor framing plan
Roof Elevation 60’ A1-L6 70’ Maximum Unbraced Length 70’
H2-12, K2-12 W44* Braced Frame H-K W54* Braced Frame W54* Truss Beam 7.5’ Depth
roof framing plan
Steel angle Light frame at top and bottom edges of panel Backer rod and caulking Double track runner W54 beam 3/8” Thin reinforced stone veneer
Glass fiber Rigid insulation Precast concrete
Bituthene W18 column beyond W18 diagonal bracing
Glass mullion
End cap
5/8” CF board Steel channel
Embed steel plate Welded steel plate W54
2”x4” Steel wall framing stud Steel embed plate Steel angle Concrete slab W54 beam
Steel angle
Duct hanger Supply air duct Drop ceiling hanger Drop ceiling and light fixture panel
louver detail
wall assembly detail
Glass mullion Concrete slab Anchor bolts Beam Steel Plate Retaining wall
concrete wall to beam detail
W12 column Anchor bolts Steel embed plate Vapor barrier Masonite 6” Collapsable carton form PVC drain in drainage material 3’ Deep grade beam 6” Collapsable carton form between piers
Longitudinal reinforcement Ties
wall section detail
foundation detail
Floor finishing
Slab with reinforcement top and bottom both directions