THOMPSON N G U Y E N

B.A.S. DESIGNSELECTED WORKS 2014

IN ORDER TO UNDERSTAND AN ANCIENT CIVILIZATION’S VALUES, WE LOOK AT WHAT THEY DESIGNED IN THE PAST AND HOW THEY DID IT. FRAGMENTS OF THEIR KNOWLEDGE AND IDEAS TRANSFER INTO THE OBJECTS, BUILDINGS AND SYSTEMS THEY CREATED.

DESIGN IS BOTH VERY HUMAN AND SOCIAL. THIS IS WHAT FASCINATES ME ABOUT THE PROFESSION. THIS IS WHY DESIGN MATTERS.

DESIGN HAS THE POWER TO TEACH, HEAL, AND CONNECT HUMANS ACROSS DISTANCES, LANGUAGES AND TIME ERAS. TOGETHER WE ARE CONNECTED THROUGH OBJECTS, TOOLS, SPACES, ARCHITECTURE AND EXPERIENCES CRAFTED BY OUR ANCESTORS.

RESUME

CONTACT INFO

PORTFOLIO

1. THE TIDE ON BANK - TOWERS2. BLUES INSTITUTE AT 31 STORIES3. HONEYCOMB - CCA CHARRETTE4. BABA YAGA5. ISTANBUL YOGA AND WELLNESS CENTRE6. WHERE IS CHANGE?7.THE NATIONAL BATH HOUSE8. DINNER SERVED / RSVP 9. BUILT WORKS 10. GRAPHIC DESIGN

4 THOMPSON NGUYEN | 2012 | PORTFOLIO

THOMPSON NGUYEN | 2014 | RESUME4

THOMPSON N G U Y E N

Bachelor of Architectural Studies, B.A.S. DesignCarleton University, Ottawa, Canada [2009-2014]• Graduated with Distinction, Co-op, and Study Abroad

• Directed Studies Abroad trip in Beijing & Shanghai in China [February 2014]

• Dean’s Honour List [2009-2014]

International Exchange Student Program Istanbul Technical University, Istanbul, Turkey February 2012 to June 2012

• Completed a semester abroad in Istanbul, Turkey

AWARDS EDUCATION

TECHNICAL SKILLS

Autodesk Revit

AutoCAD

Adobe Illustrator

Photoshop

InDesign

Dreamweaver

HTML/CSS

PHP

Fluency in the following software:

• Canadian Centre for Architecture Charrette 2014 Interuniversity Prize winner : 2nd Place - ‘HONEYCOMB | ECONOMY OF KNOWLEDGE’

• Selected works published in Building 22 (school wide publication):• “Water Room” [2010] , “Where is Change?” [2011], “Institute for the Unfinished” [2012], “Istanbul Yoga Studio” [2012]

Rhinoceros

Google SketchUp Pro

Microsoft Word

Excel

Powerpoint

Outlook

iWork (Pages, Keynote)

Wordpress / CMS

5THOMPSON NGUYEN | 2012 | PORTFOLIO

THOMPSON NGUYEN | 2014 | RESUME 5

ACE Services Group Inc. In-house Graphic Designer June 2011 to August 2011

• Designed and implemented web and print media for the company, including full Wordpress webpages, brochures and portfolio packages

Turner Fleischer Architects Inc.Junior Architectural Technologist August 2012 to August 2013

• Completed and revised permit and tender packages in AutoCAD and Revit for over 15 commercial/retail projects across Canada

• Issued and approved revised shop drawings, change orders, site instructions and other communication documents during construction and contract administration phases for various retail projects

WORK HISTORY

VOLUNTEER EXPERIENCE

LANGUAGES INTERESTSEnglish, Vietnamese, French Theatre, Writing, Urbanism

• Azrieli Architecture Students Assocation - Vice President [2011-2012], Fourth Year Representative [2013-2014]

• Canadian Architecture Students Association - Carleton Representative [2011]

• Makeshift 22 - Interdisciplinary Workshops Coordinator [2012]

• Food Forward - Designer for various campaigns & initiatives [2014]

Thompson Nguyen is a Canadian designer with a proactive and diligent attitude towards every task at hand. Raised in the Toronto suburbs, he was an engaged student leader at the Azrieli School of Architecture and Urbanism at Carleton University in Ottawa and is dedicated to merging Toronto’s social, cultural and hard services by contributing to good city building.

THOMPSON NGUYEN | 2014 | PORTFOLIO6

L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E

E N G L I S H

F R E N C H N O N O F F I C I A L L A N G U A G E S

F A M I LY D E M O G R A P H I C S

2 - PA R E N T F A M I L I E S

M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N

S I N G L E PA R E N T

F A M I -L I E S

P O P U L AT I O N B Y A G E ( Y E A R S O L D )

0 TO

9

1 0 T O 1 9

2 0 T O 2 9

4 0 TO 4

9

5 0 T O 5 9

6 0 T O 6 9

8 0 +

3 0 TO 3 9

7 0 T O 7 9

91.1%

5.5% 3.3%

3.73%3.66%

52.17%

13.2%

35.07%

13.4%

11.88%

11%

16.84%

15.36%

11.82% 12.35%

C

mixed use

mixed

use

Shoppers

1

7

7

5

5

5

148

97

140

9899

BANK St.

RIVER

SIDE D

r.

SUNNYSIDE Ave. RIV

ERD

ALE

Ave

.

RIDEAU RIVERTM

$

$

$

BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE

SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD

EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT

RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES

1. 2. 3. 4. 5.

SECTION THROUGH SITEN

N

RETAIL AND RESTAURANTS

GARDEN AND

LOOKO

UT

B A N K S T R E E T

MARKET

STORE

FOOD

SKIP STOP

FLATS

FLATS

FLATS

FLATS

COUR T

-

Y A RD

&MAISONETTES

CIRCULATION

CIRCULATION

CIRCULATION

CIRCULATION

SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.

THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.

THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.

12 1BR

23 1BR W/ SHARED LIVING

1 1BR MAISONETTE

10 2BR

3 2BR + DEN

1 2BR MAISONETTE

2 3BR

THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.

THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.

GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:

WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH

WITHIN 7 STOREYS

52

40

24 1BR

4 1BR MAISONETTE

8 2BR

4 2BR MAISONETTE

2 3BR

TOTAL UNITS

92 9944sqm A(107,036sqft)

COURTYARD NIGHT RENDERING

GROUND FLOOR PLAN 1:300

THE TIDE TOWERS & FLATS

THE TIDE TOWNHOUSES

LOCAL GOODS MARKET

GARDEN AND LOOKOUT

CEDAR’S GROCERY

VIEW LOOKING SOUTH EAST ON BANK STREET

THE TIDET O W E R S & F L A T S

SITE MAP - 1: 5000

WRAPPED TO THE SOCIAL AND URBAN FABRIC

THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.

UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.

THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.

WOOD POSSIBILITIES

THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.

AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.

THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.

THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.

AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.

ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.

THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.

COURTYARD ELEVATION (EAST FACING)

BANK STREET ELEVATION (SOUTHWEST FACING)

THE TIDE ON BANKTOWERS & FLATSDESIGN STUDIO 6 | FALL 2013

THOMPSON NGUYEN | 2014 | PORTFOLIO 7

L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E

E N G L I S H

F R E N C H N O N O F F I C I A L L A N G U A G E S

F A M I LY D E M O G R A P H I C S

2 - PA R E N T F A M I L I E S

M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N

S I N G L E PA R E N T

F A M I -L I E S

P O P U L AT I O N B Y A G E ( Y E A R S O L D )

0 TO

9

1 0 T O 1 9

2 0 T O 2 9

4 0 TO 4

9

5 0 T O 5 9

6 0 T O 6 9

8 0 +

3 0 TO 3 9

7 0 T O 7 9

91.1%

5.5% 3.3%

3.73%3.66%

52.17%

13.2%

35.07%

13.4%

11.88%

11%

16.84%

15.36%

11.82% 12.35%

C

mixed use

mixed

use

Shoppers

1

7

7

5

5

5

148

97

140

9899

BANK St.

RIVER

SIDE D

r.

SUNNYSIDE Ave. RIV

ERD

ALE

Ave

.

RIDEAU RIVERTM

$

$

$

BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE

SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD

EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT

RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES

1. 2. 3. 4. 5.

SECTION THROUGH SITEN

N

RETAIL AND RESTAURANTS

GARDEN AND

LOOKO

UT

B A N K S T R E E T

MARKET

STORE

FOOD

SKIP STOP

FLATS

FLATS

FLATS

FLATS

COUR T

-

Y A RD

&MAISONETTES

CIRCULATION

CIRCULATION

CIRCULATION

CIRCULATION

SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.

THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.

THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.

12 1BR

23 1BR W/ SHARED LIVING

1 1BR MAISONETTE

10 2BR

3 2BR + DEN

1 2BR MAISONETTE

2 3BR

THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.

THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.

GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:

WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH

WITHIN 7 STOREYS

52

40

24 1BR

4 1BR MAISONETTE

8 2BR

4 2BR MAISONETTE

2 3BR

TOTAL UNITS

92 9944sqm A(107,036sqft)

COURTYARD NIGHT RENDERING

GROUND FLOOR PLAN 1:300

THE TIDE TOWERS & FLATS

THE TIDE TOWNHOUSES

LOCAL GOODS MARKET

GARDEN AND LOOKOUT

CEDAR’S GROCERY

VIEW LOOKING SOUTH EAST ON BANK STREET

THE TIDET O W E R S & F L A T S

SITE MAP - 1: 5000

WRAPPED TO THE SOCIAL AND URBAN FABRIC

THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.

UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.

THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.

WOOD POSSIBILITIES

THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.

AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.

THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.

THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.

AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.

ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.

THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.

COURTYARD ELEVATION (EAST FACING)

BANK STREET ELEVATION (SOUTHWEST FACING)

L A N G U A G E S M O S T O F T E N S P O K E N AT H O M E

E N G L I S H

F R E N C H N O N O F F I C I A L L A N G U A G E S

F A M I LY D E M O G R A P H I C S

2 - PA R E N T F A M I L I E S

M A R R I E D / C O M -M O N L A W W I T H -O U T C H I L D R E N

S I N G L E PA R E N T

F A M I -L I E S

P O P U L AT I O N B Y A G E ( Y E A R S O L D )

0 TO

9

1 0 T O 1 9

2 0 T O 2 9

4 0 TO 4

9

5 0 T O 5 9

6 0 T O 6 9

8 0 +

3 0 TO 3 9

7 0 T O 7 9

91.1%

5.5% 3.3%

3.73%3.66%

52.17%

13.2%

35.07%

13.4%

11.88%

11%

16.84%

15.36%

11.82% 12.35%

C

mixed use

mixed

use

Shoppers

1

7

7

5

5

5

148

97

140

9899

BANK St.

RIVER

SIDE D

r.

SUNNYSIDE Ave. RIV

ERD

ALE

Ave

.

RIDEAU RIVERTM

$

$

$

BLOCKED OUT MASSING TO SUIT SETBACKS ROTATED HOUSING BLOCKS TO ALIGN WITH EXISTING GRID OF CAMERON AVENUE

SET UNITS BACK TO CONTAIN WITHIN THE SITE AND ALLOW FOR MAXIMUM POTENTIAL OF COURTYARD

EXTRUDED HEIGHTS OF TOWNS + TOWER/FLATS TO INCREASE DENSITY AND MAXIMUM SOLAR INPUT

RESULTING MASSING FRAMES THE MARKET SPACES AND ADDRESSES BOTH URBAN AND SUBURBAN STREETSCAPES

1. 2. 3. 4. 5.

SECTION THROUGH SITEN

N

RETAIL AND RESTAURANTS

GARDEN AND

LOOKO

UT

B A N K S T R E E T

MARKET

STORE

FOOD

SKIP STOP

FLATS

FLATS

FLATS

FLATS

COUR T

-

Y A RD

&MAISONETTES

CIRCULATION

CIRCULATION

CIRCULATION

CIRCULATION

SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.

THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.

THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.

12 1BR

23 1BR W/ SHARED LIVING

1 1BR MAISONETTE

10 2BR

3 2BR + DEN

1 2BR MAISONETTE

2 3BR

THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.

THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.

GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:

WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH

WITHIN 7 STOREYS

52

40

24 1BR

4 1BR MAISONETTE

8 2BR

4 2BR MAISONETTE

2 3BR

TOTAL UNITS

92 9944sqm A(107,036sqft)

COURTYARD NIGHT RENDERING

GROUND FLOOR PLAN 1:300

THE TIDE TOWERS & FLATS

THE TIDE TOWNHOUSES

LOCAL GOODS MARKET

GARDEN AND LOOKOUT

CEDAR’S GROCERY

VIEW LOOKING SOUTH EAST ON BANK STREET

THE TIDET O W E R S & F L A T S

SITE MAP - 1: 5000

WRAPPED TO THE SOCIAL AND URBAN FABRIC

THE DEVELOPMENT IS CENTERED AROUND THE LOCAL GOODS MARKET AS A MEANS OF OFFERING AN ALTERNATIVE LIFESTYLE TO EXTREME SUBURBAN AND EXTREME URBAN LIVING.

UNITS IN THE THREE BLOCKS OF STACKED FLATS FACE ONTO BANK STREET TO ALLOW FOR A CONNECTION WITH THE URBAN FABRIC. UNITS ALSO HAVE OPENINGS ON THE OPPOSITE SIDE LOOKING INTO THE COURTYARD AND MARKETSPACE.

THE TOWER UNITS ARE A SERIES OF FLATS AND MAISONETTES WITH SKIP/STOP CIRCULATION, ALLOWING FOR MORE UNITS WITH DOUBLE ORIENTATION AND CROSS VENTILATION.

WOOD POSSIBILITIES

THE DEVELOPMENT USES CROSS LAMINATED TIMBER AS ITS PRIMARY STRUCTURE FOR RESIDENTIAL HOUSING.

AT GRADE, RETAIL AND COMMERCIAL SPACES USE TRADITIONAL CONCRETE FRAME CONSTRUCTION, ALLOWING FOR A PODIUM FOR THE WOOD TO SIT ON.

THE CLT IS SHOWCASED NOT ONLY TO THE PUBLIC, BUT ALSO USED AS AN EXPOSED FINISH WITHIN THE UNITS.

THE TIDE ON BANK IS LOCATED IN OLD OTTAWA SOUTH, SOUTH OF THE RIDEAU CANAL AND NORTH OF THE RIDEAU RIVER.

AS ONE OF OTTAWA’S OLDEST SUBURBS, THE TIDE ON BANK IS HOME TO MANY AGING FAMILIES OF A PARTICULAR AFFLUENT DEMOGRAPHIC.

ITS PROXIMITY TO DOWNTOWN OTTAWA PROVIDES A UNIQUE OPPORTUNITY FOR GREATER DENSIFICATION.

THE TIDE TOWERS & FLATS AIMS TO ACCOMMODATE NEW FAMILIES, STUDENTS, YOUNG PROFESSIONALS AND SENIORS THAT WOULD WANT TO LIVE AT THE CUSP OF URBAN AND SUBURBAN FABRIC.

COURTYARD ELEVATION (EAST FACING)

BANK STREET ELEVATION (SOUTHWEST FACING)

At the cusp of urbanity and suburban sprawl, this housing development in Old Ottawa South stitches together the two planning fabrics with greater density and integrated food and market amenities.

THOMPSON NGUYEN | 2014 | PORTFOLIO8

Birds eye view of entire developmentThe Tide Towers & Flats (along Bank)and The Tide Townhomes (along Riverdale)(Urban design phase developed with KF)

THOMPSON NGUYEN | 2014 | PORTFOLIO 9

Below: Bank Street Elevation, Courtyard ElevationBottom left: Corridor elevationBottom right: Courtyard night view

THOMPSON NGUYEN | 2014 | PORTFOLIO10

RETAIL AND RESTAURANTS

GARDEN AND

LOO

KOUT

B A N K S T R E E T

MARKET

STORE

FOOD

SKIP STOP

FLATS

FLATS

FLATS

FLATS

C O U R T -

Y A R D

&MAISONETTES

CIRCULATION

CIRCULATION

CIRCULATION

CIR

CUL

ATI

ON

SHARED CORES PLACED AT THE JUNCTIONS BETWEEN MASSES GREATLY INFLUENCE THE CHOREOGRAPHY OF MOVEMENT WITHIN THE DEVELOPMENT.

THE TIDE IS A MIXED USED RESIDENTIAL DEVELOPMENT LOCATED IN OLD OTTAWA SOUTH.

THE ARTICULATED CIRCULATION INFORMED THE PLANNING OF UNITS AND AMENITIES TO HARMONIZE LIVING AND SOCIAL INTERACTION.

12 1BR

23 1BR W/ SHARED LIVING

1 1BR MAISONETTE

10 2BR

3 2BR + DEN

1 2BR MAISONETTE

2 3BR

THE LOCAL GOODS MARKET IS INTEGRAL TO THE SOCIAL AND ECONOMIC FABRIC OF THE DEVELOPMENT. ADJACENT TO THE EXISTING LOCAL GROCERY STORE (CEDARS) AND OTHER COMMERCIAL SPACES AT GRADE, IT BECOMES TO CORE TO PROMOTE STARTUPS, SMALL BUSINESSES AND COMMUNITY ENGAGEMENT.

THE GARDEN AND LOOKOUT IS AN ANCHOR TO THE DEVELOPMENT. ACTING AS AN ENTRY WAY TO THE RESIDENTIAL TOWER, IT IS A PAVILION THAT FUNCTIONS AS A SEMI-COVERED GREEN HOUSE AND A VIEWING PAVILION TO THE RIDEAU RIVER.

GROSS FLOOR AREA OF TOWERS +FLATS +RETAIL:

WITHIN 3 BLOCKS OF FLATS, 2-3 STOREYS EACH

WITHIN 7 STOREYS

52

40

24 1BR

4 1BR MAISONETTE

8 2BR

4 2BR MAISONETTE

2 3BR

TOTAL UNITS

92 9944sqm A(107,036sqft)

Unit Breakdown, circulation diagram and amenities briefsTotal gross area of development: 2500sqm.

THOMPSON NGUYEN | 2014 | PORTFOLIO 11

Construction assemblies and details;This project integrates Cross-laminated timber construction in both the towers and flats. The retail level uses reinforced concrete construction.

THOMPSON NGUYEN | 2014 | PORTFOLIO12

Below: Second Floor Plan, Units with Local Goods Market and new grocery store space for local business (Cedar’s Foods)

Typical floor plan of two bedroom unit

Cyril Leeder Prize in Urban Design Finalist 2013 - ‘The Tide on Bank’ Branding and Development

old ottawa south:

notjust for yuppies.

alternativeaffordableriverside living

the tide on bank

THOMPSON NGUYEN | 2014 | PORTFOLIO 13

Below: Third Floor Plan, Units for Flats and Tower

Typical floor plan of shared bachelor units

THOMPSON NGUYEN | 2014 | PORTFOLIO14

1 THE BLUES INSTITUTE OF THE UNFINISHEDDESIGN STUDIO 5 | FALL 2011

The Blues Institute is designed to be constructed in three phases as a means to support and coexist with the historic First Baptist Church in downtown Ottawa. Time is a key design factor to consider with new interventions that impacts historic buildings in our nation’s capital. The Blues Institute evolves from the east ribs of the First Baptist Church up to the sky on Elgin Street and Laurier Avenue. Sitting in the transition zone between Ottawa’s Centretown, the National Arts Centre and the downtown core, the Blues Institute serves as an artistic hub that merges commercial, residential, and institutional programs at 93m high, expanding both the blues and the church.

THOMPSON NGUYEN | 2014 | PORTFOLIO 15

This project explores how considering time in the development of a high-rise mixed-use project could impact and add value to a historic site. Over time, The Blues Institute continually evolves as a working structure.

THOMPSON NGUYEN | 2014 | PORTFOLIO16

Project featured in ‘Building 22 Edition 12’ - School publication [2012]

Below - Concept Model and Perspective View

As the Blues Institute expands, so does the First Baptist Church. Each institution provides spaces that can be used for each other; Performance and rehearsal spaces in the church can be shared with blues students and performers and vice versa.

THOMPSON NGUYEN | 2014 | PORTFOLIO 17

Galleria space, connecting the Baptist Church and the Blues Institute

Smoker’s Rooftop Garden

Below - Section Through Baptist Church & Blues Institute, Interior and tower views

Throughout construction, a connection back to the First Baptist Church is valued.

THOMPSON NGUYEN | 2014 | PORTFOLIO18

1HONEYCOMBECONOMY OF KNOWLEDGE

CCA CHARRETTE 2014 2ND PRIZE WINNERHONEYCOMB

AN ECONOMY OF KNOWLEDGE | EDUCATION IN TRANSIT

A SOCIAL SERVICE INTEGRATED INTO PUBLIC INFRASTRUCTURE

“KNOWLEDGE IS THE CURRENCY TO RIDE THE SYSTEM. TAKE IT WITH YOU, SHARE IT, AND BE GRANTED WITH TRANSPORTATION TO YOUR DESTINATION.”

$$

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

University of Ottawa campusRideau CentreMackenzie King BridgeConfederation Park / National Arts CentreNature MuseumCarleton University Campus

Ottawa Train StationBillings BridgeAlgonquin College CampusAirport

Museum of CivilizationNational Art GalleryCanal locksArboretum

War MuseumBronson McDonaldsRaw Sugar - Chinatown Hintonburger

CARLETON

CONFEDERATION

CARLING

CAMPUS

Mobile Collective Community Hubs

Educational hubs integrated along major transit routes

Map of Ottawa (2014) highlighting major educational hubs

Major cultural institutions may grant free admission with participation to Honeycomb transit trivia questions

BOARD ANY TRANSIT VEHICLE WITH YOUR HONEYCOMB TRANSIT PASS. GRAB A USBee TO RECEIVE DAILY INFO AND TRIVIA QUESTIONS

TAKE/INSERT USBee AFTER ANSWERING THE TRIVIA QUESTIONS. IF ANSWERED CORRECTLY, YOU ARE GRANTED A FREE RIDE & POINTS FOR YOUR ‘HOOD!

SCREENS WILL DISPLAY THE POINTS FOR TOP COMMUTERS OF EACH NEIGHBOURHOOD AND SHARE COMMUNITY INFORMATION OF THE LOCAL AREA

AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING, THOMPSON CONG NGUYEN,

1

2

3

42team

little italy centertown(nature museum)

(war museum)

gatineau

ottawa

chinatown

sandy hill

hintonburg

westboro

CORRECT!+ 3 0 0

POINTS!

HONEYCOMBAN ECONOMY OF KNOWLEDGE | EDUCATION IN TRANSIT

A SOCIAL SERVICE INTEGRATED INTO PUBLIC INFRASTRUCTURE

“KNOWLEDGE IS THE CURRENCY TO RIDE THE SYSTEM. TAKE IT WITH YOU, SHARE IT, AND BE GRANTED WITH TRANSPORTATION TO YOUR DESTINATION.”

$$

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

University of Ottawa campusRideau CentreMackenzie King BridgeConfederation Park / National Arts CentreNature MuseumCarleton University Campus

Ottawa Train StationBillings BridgeAlgonquin College CampusAirport

Museum of CivilizationNational Art GalleryCanal locksArboretum

War MuseumBronson McDonaldsRaw Sugar - Chinatown Hintonburger

CARLETON

CONFEDERATION

CARLING

CAMPUS

Mobile Collective Community Hubs

Educational hubs integrated along major transit routes

Map of Ottawa (2014) highlighting major educational hubs

Major cultural institutions may grant free admission with participation to Honeycomb transit trivia questions

BOARD ANY TRANSIT VEHICLE WITH YOUR HONEYCOMB TRANSIT PASS. GRAB A USBee TO RECEIVE DAILY INFO AND TRIVIA QUESTIONS

TAKE/INSERT USBee AFTER ANSWERING THE TRIVIA QUESTIONS. IF ANSWERED CORRECTLY, YOU ARE GRANTED A FREE RIDE & POINTS FOR YOUR ‘HOOD!

SCREENS WILL DISPLAY THE POINTS FOR TOP COMMUTERS OF EACH NEIGHBOURHOOD AND SHARE COMMUNITY INFORMATION OF THE LOCAL AREA

AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING, THOMPSON CONG NGUYEN,

1

2

3

42team

little italy centertown(nature museum)

(war museum)

gatineau

ottawa

chinatown

sandy hill

hintonburg

westboro

CORRECT!+ 3 0 0

POINTS!

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

Modular white birch panel system to create Honeycomb Transit Hubs and Walls

Honeycomb wall systems at Transitway stations Honeycomb system panel content

Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,

THOMPSON CONG NGUYEN,

Knowledge illuminated on the Honeycomb network

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

42team

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

Modular white birch panel system to create Honeycomb Transit Hubs and Walls

Honeycomb wall systems at Transitway stations Honeycomb system panel content

Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,

THOMPSON CONG NGUYEN,

Knowledge illuminated on the Honeycomb network

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

42team

HONEYCOMBAN ECONOMY OF KNOWLEDGE | EDUCATION IN TRANSIT

A SOCIAL SERVICE INTEGRATED INTO PUBLIC INFRASTRUCTURE

“KNOWLEDGE IS THE CURRENCY TO RIDE THE SYSTEM. TAKE IT WITH YOU, SHARE IT, AND BE GRANTED WITH TRANSPORTATION TO YOUR DESTINATION.”

$$

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

University of Ottawa campusRideau CentreMackenzie King BridgeConfederation Park / National Arts CentreNature MuseumCarleton University Campus

Ottawa Train StationBillings BridgeAlgonquin College CampusAirport

Museum of CivilizationNational Art GalleryCanal locksArboretum

War MuseumBronson McDonaldsRaw Sugar - Chinatown Hintonburger

CARLETON

CONFEDERATION

CARLING

CAMPUS

Mobile Collective Community Hubs

Educational hubs integrated along major transit routes

Map of Ottawa (2014) highlighting major educational hubs

Major cultural institutions may grant free admission with participation to Honeycomb transit trivia questions

BOARD ANY TRANSIT VEHICLE WITH YOUR HONEYCOMB TRANSIT PASS. GRAB A USBee TO RECEIVE DAILY INFO AND TRIVIA QUESTIONS

TAKE/INSERT USBee AFTER ANSWERING THE TRIVIA QUESTIONS. IF ANSWERED CORRECTLY, YOU ARE GRANTED A FREE RIDE & POINTS FOR YOUR ‘HOOD!

SCREENS WILL DISPLAY THE POINTS FOR TOP COMMUTERS OF EACH NEIGHBOURHOOD AND SHARE COMMUNITY INFORMATION OF THE LOCAL AREA

AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING, THOMPSON CONG NGUYEN,

1

2

3

42team

little italy centertown(nature museum)

(war museum)

gatineau

ottawa

chinatown

sandy hill

hintonburg

westboro

CORRECT!+ 3 0 0

POINTS!

THOMPSON NGUYEN | 2014 | PORTFOLIO 19

This ideas competition entry proposes a pollination of educational hives integrated into public transit infrastructure. Honeycomb learning systems encourage learning while traveling in an urban context.

Animation video available for view! Click on the thumbnails above!

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

Modular white birch panel system to create Honeycomb Transit Hubs and Walls

Honeycomb wall systems at Transitway stations Honeycomb system panel content

Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,

THOMPSON CONG NGUYEN,

Knowledge illuminated on the Honeycomb network

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

42team

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

Modular white birch panel system to create Honeycomb Transit Hubs and Walls

Honeycomb wall systems at Transitway stations Honeycomb system panel content

Outdoor wall system at Mackenzie King Bridge Bus shelter Honeycomb modification at outdoor O-train stops (Carleton) Education Hub at cultural institutions (Museum of Nature) AARON CHOW, ABBI KUSCH, MACY LAPORTE, AILEEN LING,

THOMPSON CONG NGUYEN,

Knowledge illuminated on the Honeycomb network

WORLD INFO

NEWS OUTLET

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

COMMUNITY RATING

PUBLICLECTURES

+ 600 POINTSCENTRETOWNGLEBESOUTHKEYS

1

2

3

THURSDAY06:30- PHYSICS 10108:30- BLDG SCI10:30- ART CLASS

COMMUNITY EVENTS

SATURDAY

08:30- KOSMICSUPERNOVA!!!

42team

THOMPSON NGUYEN | 2014 | PORTFOLIO20

ISTANBUL YOGA AND WELLNESS CENTREEXCHANGE STUDIO 5 | WINTER 2012

Site Plan - The Centre digs into the southern half of an abandoned roundabout on the intersection of Büyükdere Cd and the Trans European Motorway.

Featured in ‘Building 22 Edition 12’ [2012]

THOMPSON NGUYEN | 2014 | PORTFOLIO 21

Istanbul, known as the city without limits, is a chaotic metropolis growing at an exponential rate. The Yoga and Wellness Centre proposes an urban intervention at a key intersection on one of the cities’ major transit spines, Büyükdere Cadessi.

Reclaiming an unused piece of infrastructure, the centre serves as a cocoon amidst the chaos of the city for the exploration and reconnection of one’s body and spirit.

Sectional PerspectiveFloor -1: Lobby, Daycare, Administration,

Floor -2: Yoga Studio 1 & 2, Change Room, Floor -3: Swimming pool, Turkish Bath, Change Room, Granda Yoga Studio,

Floor -4: Parking

1 MARIONETTE THEATRE

DESIGN STUDIO 5 | FALL 2011

Third year design-build project. Lead as Project Manager, managed materials, finances and rehearsals. Also co-designed the Baba Yaga marionette.

22 THOMPSON NGUYEN | 2014 | PORTFOLIO

Baba Yaga and the set, performed November 2011

AZRIELI ARCHITECTURE STUDENTS ASSOCIATION | 2014 | PORTFOLIO 23

WHERE IS CHANGE?

AASA STUDENT GROUP | FALL 2011

A campaign to discuss the direction of the architecture school lead by students. Organized open forums, created an infographic and forumlated meetings and reports with the faculty.

SIX MEMBERS OF THE CACB (CANADIAN ACCREDITATION CERTIFICATION BOARD) CAME TO VISIT OUR SCHOOL LAST MARCH.

IN SOME ASPECTS OF OUR SCHOOL, WE WERE PRAISED AND GIVEN MANY COMPLIMENTS ON OUR CURRICULUM AND STUDENT WORK. BUT THERE IS STILL A LONG WAY TO GO.

WITHIN THEIR REPORT, THEY OUTLINED A LIST OF CONCERNS AND RECOMMENDATIONS. AS STUDENTS OF THIS SCHOOL, WE HAVE A RIGHT TO KNOW IF THE QUALITY OF EDUCATION WE ARE RECEIVING IS ACHIEVING THESE STANDARDS. HERE IS WHAT THEY HAD TO SAY:

IN ORDER TO BE APPROVED FOR ACCREDITATION, SCHOOLS OF ARCHITECTURE MUST UNDERGO A VISIT FROM THE CACB TEAM EVERY SIX YEARS. MARCH 2011

Carleton University Azrieli School of Architecture and Urbanism Visiting Team Report March 12-16, 2011

Causes of Concern and Team’s recommendations

As noted in the introductory remarks, the School is observed at a transitional and arguably formative moment. Apart from furthering allied academic ambitions, the preoccupation with new academic programs appears to have displaced due attention from full and ongoing review of the 4+2 professional stream.Notwithstanding the enabling of signi�cant resources that accrue from these new programs, the team observes a number of rather speci�c concerns that remain outstanding.

While the team observed signi�cant renewal of the MArch component of the professional stream, the BAS component appeared to have observed very little change over the course of the past cycle of accreditation visits. It is essential that the program observe the professional stream as a whole curriculum.

ORIGINAL TEXT:

TRANSLATION:

1. Continuity of Undergraduate and Graduate components of the professional program

The delivery of technical aspects of the professional curriculum is at present in a state of considerable disarray - characterized by a somewhat confounding con�uence of areas of excellence and those of complete neglect. Given the extraordinary developments in technical and professional realms recently, any degree of neglect can only compromise the ability of graduates to contribute to future professional roles and should be immediately reviewed. More speci�cally, the expertise of recent hires - with their consistent emphasis on the School’s expanded academic needs - speaks to an ethos in which these curricular components are not being given the speci�c attention that is their due.

2. Technical component of professional curriculum

As accreditation visits occur every 6 years, it is safe to assume that such a period of time must be describing a minimum of 12 years.

BAS

MArch

6 yrs

By this, we understand that the accreditation team has noticed a considerable level of improvement and change in the MArch (Graduate) program within the school. Meanwhile, the accreditation team has also noticed that the undergraduate program has seen very little, if not any, progress over a course of time which they de�ne as "the past cycle of accreditation visits".

The Masters and Bachelor programs must therefore demonstrate an ability to operate with a sense of cohesion, as a whole. This entails that both programs should correspond to one other in a style which speaks the same language.

x2 or more without signi�cant change

We understand that the undergraduate student body has shown a degree of polarity in knowledge and expertise regarding technical aspects of the program.

Some students show very advanced levels of skill in technical points (ex: structural and mechanical components, etc.) which many have had the opportunity to learn outside of the school, while a majority of students must rely on the school's program.

At present, insu�cient attention is given towards developing the teaching of technical aspects in all areas of the school. (Ie: Studio Courses - Professors need to address the lack of attention given towards the structural aspects of students' designs).

1

2

ORIGINAL TEXT:

TRANSLATION:

We understand that the Accreditation Team has made note of the lack of attention given towards a teaching style which promotes an ongoing understanding of present-day technology and media.

It is apparent that the current curriculum does not demonstrate a de�ned set of requirements from the students, when regarding to digital work.

We recognize that the school's level of technological advancement is one which must seek to keep up with modern day advancements in the industry. The school of architecture has been attempting to balance both the traditional and contemporary methods of teaching - remaining eclectic with old traditional representation media such as hand-drafting as a pedagogical tool of developing craft, with the emergence of new digital mediums.

However, there appears to be no transition between the two; Students are taught to draw by hand, then are quickly expected to become familiar with the likes of Sketchup, Revit and Rhino.

The responsibility of a contemporary professional program to engage with and embrace digital media and their impact upon the conventions of practice is clear. Notwithstanding the School’s own mission statements, the emphasis in expertise of recent hires and the inability to enact a matter-or-fact daily engagement between these media and the curriculum remains problematic. The team notes that students are not unaware of this issue, and the very recent deployment of improved resources is very likely to aggravate their expectations in this regard.Allied with comments concerning technical components of the curriculum more generally, the team observes that the current preoccupation with infusing incoming students with a sense of ethos might usefully be balanced by providing an operative tool-kit of technique.

ORIGINAL TEXT:

TRANSLATION:

3. Regard for Digital Technology

3

The School’s faculty in their vitae reveal a tradition of privileging teaching accomplishment over research. Whatever the institutional encouragement for such a preference, the role of active, contemporary research in contributing to local collegial discourse, including the enrichment and critical review of curriculum, cannot be overstated. The need for concerted and collective discussions among faculty - particularly among new hires - regarding research interests, potential overlaps, recognition of inter-disciplinary opportunities, etc. is both important and timely. The proposal for an Associate Director for Research with overview of these discussions might go some way to bringing this agenda item forward.

4. Role of Faculty Research

ORIGINAL TEXT:

The student body understands this to be describing a visible lack of relevant research generated in the area of contemporary architectural issues to assist in the professional development of the student body.

This directly a�ects the students and their �uency in current architectural issues, and is crucial in familiarizing the school of architecture with current contemporary practice.

This should serve as a bare minimum requirement in which the faculty should take part in order to bring the school of architecture to the levels of current contemporary practice.

The steps 'above and beyond' which can be taken by faculty include researching the leading issues to allow for a critical re-evaluation of current contemporary practice in order to prepare students for the future of their own practices.

4TRANSLATION:

The team observed an imbalanced sense of empowerment and engagement in School decisions among its faculty. The degree that ‘ownership’ - whether of academic programs or research directions - can devolve to a sense of entitlement is always an issue to be aware of in academic institutions, and the team’s sense is that of a need to more deliberately cultivate open and collegial regard between all members of the faculty.

The circumstances of Ottawa as the nation’s capital are - for any academic program - potentially formidable. The team encourages the program to cultivate this potential.

ORIGINAL TEXT:

5. Program Governance

As noted elsewhere, the motivation for academic expansion does not immediately resonate with the need to assess and renew the core professional program of the School. While human resources - although more in terms of faculty than sta� - have been enriched, it is di�cult to assess the longstanding contribution of this expansion to the success of the program.

6. Resources / Academic Expansion

7. Acknowledgement of Locale

The student body understands this as describing the expansion of the program through the recent addition of the new streams. The new streams have developed further in the last year, and it is evident that there are constant steps being taken to improve these concentrations.

Meanwhile, the Design stream appears to be at a standstill. The recent faculty hires seem to express a level of focus towards History and Theory, while there is an evident need for hires within the digital and technical areas of expertise.

Secondly, the Accreditation Team alludes to the improvement and expansion of speci�c human resources, which appear to neglect the need for successful expansion within the educational program. We understand that CIMS has received much of this attention and funding towards research, while demonstrating a degree of inaccessibility to students in the program.

6

TRANSLATION:The Student Body understands this to mean that there is a sense of imbalance in decision-making between faculty members.

It is important that the students are aware of this issue and discontinuation in communication between faculty.

For example, the visible level of disorganization which took place during the ARCS 2106 Studio course in 2011 had greatly a�ected the level of academics produced in the 2011 winter term.

At the moment, the lack of cohesion between faculty members is causing the disconnect which loses focus and our ability to become a leading edge institution within the �eld of architectural pedagogy.

5

The Student Body understands this as acknowledgement of the potential advantage the students have, residing in the Nation's Capital. We believe that the school has the funding and resources to ful�ll this potential, but that we are not taking full advantage of this context.

7

SIX MEMBERS OF THE CACB (CANADIAN ACCREDITATION CERTIFICATION BOARD) CAME TO VISIT OUR SCHOOL LAST MARCH.

IN SOME ASPECTS OF OUR SCHOOL, WE WERE PRAISED AND GIVEN MANY COMPLIMENTS ON OUR CURRICULUM AND STUDENT WORK. BUT THERE IS STILL A LONG WAY TO GO.

WITHIN THEIR REPORT, THEY OUTLINED A LIST OF CONCERNS AND RECOMMENDATIONS. AS STUDENTS OF THIS SCHOOL, WE HAVE A RIGHT TO KNOW IF THE QUALITY OF EDUCATION WE ARE RECEIVING IS ACHIEVING THESE STANDARDS. HERE IS WHAT THEY HAD TO SAY:

IN ORDER TO BE APPROVED FOR ACCREDITATION, SCHOOLS OF ARCHITECTURE MUST UNDERGO A VISIT FROM THE CACB TEAM EVERY SIX YEARS. MARCH 2011

Carleton University Azrieli School of Architecture and Urbanism Visiting Team Report March 12-16, 2011

Causes of Concern and Team’s recommendations

As noted in the introductory remarks, the School is observed at a transitional and arguably formative moment. Apart from furthering allied academic ambitions, the preoccupation with new academic programs appears to have displaced due attention from full and ongoing review of the 4+2 professional stream.Notwithstanding the enabling of signi�cant resources that accrue from these new programs, the team observes a number of rather speci�c concerns that remain outstanding.

While the team observed signi�cant renewal of the MArch component of the professional stream, the BAS component appeared to have observed very little change over the course of the past cycle of accreditation visits. It is essential that the program observe the professional stream as a whole curriculum.

ORIGINAL TEXT:

TRANSLATION:

1. Continuity of Undergraduate and Graduate components of the professional program

The delivery of technical aspects of the professional curriculum is at present in a state of considerable disarray - characterized by a somewhat confounding con�uence of areas of excellence and those of complete neglect. Given the extraordinary developments in technical and professional realms recently, any degree of neglect can only compromise the ability of graduates to contribute to future professional roles and should be immediately reviewed. More speci�cally, the expertise of recent hires - with their consistent emphasis on the School’s expanded academic needs - speaks to an ethos in which these curricular components are not being given the speci�c attention that is their due.

2. Technical component of professional curriculum

As accreditation visits occur every 6 years, it is safe to assume that such a period of time must be describing a minimum of 12 years.

BAS

MArch

6 yrs

By this, we understand that the accreditation team has noticed a considerable level of improvement and change in the MArch (Graduate) program within the school. Meanwhile, the accreditation team has also noticed that the undergraduate program has seen very little, if not any, progress over a course of time which they de�ne as "the past cycle of accreditation visits".

The Masters and Bachelor programs must therefore demonstrate an ability to operate with a sense of cohesion, as a whole. This entails that both programs should correspond to one other in a style which speaks the same language.

x2 or more without signi�cant change

We understand that the undergraduate student body has shown a degree of polarity in knowledge and expertise regarding technical aspects of the program.

Some students show very advanced levels of skill in technical points (ex: structural and mechanical components, etc.) which many have had the opportunity to learn outside of the school, while a majority of students must rely on the school's program.

At present, insu�cient attention is given towards developing the teaching of technical aspects in all areas of the school. (Ie: Studio Courses - Professors need to address the lack of attention given towards the structural aspects of students' designs).

1

2

ORIGINAL TEXT:

TRANSLATION:

We understand that the Accreditation Team has made note of the lack of attention given towards a teaching style which promotes an ongoing understanding of present-day technology and media.

It is apparent that the current curriculum does not demonstrate a de�ned set of requirements from the students, when regarding to digital work.

We recognize that the school's level of technological advancement is one which must seek to keep up with modern day advancements in the industry. The school of architecture has been attempting to balance both the traditional and contemporary methods of teaching - remaining eclectic with old traditional representation media such as hand-drafting as a pedagogical tool of developing craft, with the emergence of new digital mediums.

However, there appears to be no transition between the two; Students are taught to draw by hand, then are quickly expected to become familiar with the likes of Sketchup, Revit and Rhino.

The responsibility of a contemporary professional program to engage with and embrace digital media and their impact upon the conventions of practice is clear. Notwithstanding the School’s own mission statements, the emphasis in expertise of recent hires and the inability to enact a matter-or-fact daily engagement between these media and the curriculum remains problematic. The team notes that students are not unaware of this issue, and the very recent deployment of improved resources is very likely to aggravate their expectations in this regard.Allied with comments concerning technical components of the curriculum more generally, the team observes that the current preoccupation with infusing incoming students with a sense of ethos might usefully be balanced by providing an operative tool-kit of technique.

ORIGINAL TEXT:

TRANSLATION:

3. Regard for Digital Technology

3

The School’s faculty in their vitae reveal a tradition of privileging teaching accomplishment over research. Whatever the institutional encouragement for such a preference, the role of active, contemporary research in contributing to local collegial discourse, including the enrichment and critical review of curriculum, cannot be overstated. The need for concerted and collective discussions among faculty - particularly among new hires - regarding research interests, potential overlaps, recognition of inter-disciplinary opportunities, etc. is both important and timely. The proposal for an Associate Director for Research with overview of these discussions might go some way to bringing this agenda item forward.

4. Role of Faculty Research

ORIGINAL TEXT:

The student body understands this to be describing a visible lack of relevant research generated in the area of contemporary architectural issues to assist in the professional development of the student body.

This directly a�ects the students and their �uency in current architectural issues, and is crucial in familiarizing the school of architecture with current contemporary practice.

This should serve as a bare minimum requirement in which the faculty should take part in order to bring the school of architecture to the levels of current contemporary practice.

The steps 'above and beyond' which can be taken by faculty include researching the leading issues to allow for a critical re-evaluation of current contemporary practice in order to prepare students for the future of their own practices.

4TRANSLATION:

The team observed an imbalanced sense of empowerment and engagement in School decisions among its faculty. The degree that ‘ownership’ - whether of academic programs or research directions - can devolve to a sense of entitlement is always an issue to be aware of in academic institutions, and the team’s sense is that of a need to more deliberately cultivate open and collegial regard between all members of the faculty.

The circumstances of Ottawa as the nation’s capital are - for any academic program - potentially formidable. The team encourages the program to cultivate this potential.

ORIGINAL TEXT:

5. Program Governance

As noted elsewhere, the motivation for academic expansion does not immediately resonate with the need to assess and renew the core professional program of the School. While human resources - although more in terms of faculty than sta� - have been enriched, it is di�cult to assess the longstanding contribution of this expansion to the success of the program.

6. Resources / Academic Expansion

7. Acknowledgement of Locale

The student body understands this as describing the expansion of the program through the recent addition of the new streams. The new streams have developed further in the last year, and it is evident that there are constant steps being taken to improve these concentrations.

Meanwhile, the Design stream appears to be at a standstill. The recent faculty hires seem to express a level of focus towards History and Theory, while there is an evident need for hires within the digital and technical areas of expertise.

Secondly, the Accreditation Team alludes to the improvement and expansion of speci�c human resources, which appear to neglect the need for successful expansion within the educational program. We understand that CIMS has received much of this attention and funding towards research, while demonstrating a degree of inaccessibility to students in the program.

6

TRANSLATION:The Student Body understands this to mean that there is a sense of imbalance in decision-making between faculty members.

It is important that the students are aware of this issue and discontinuation in communication between faculty.

For example, the visible level of disorganization which took place during the ARCS 2106 Studio course in 2011 had greatly a�ected the level of academics produced in the 2011 winter term.

At the moment, the lack of cohesion between faculty members is causing the disconnect which loses focus and our ability to become a leading edge institution within the �eld of architectural pedagogy.

5

The Student Body understands this as acknowledgement of the potential advantage the students have, residing in the Nation's Capital. We believe that the school has the funding and resources to ful�ll this potential, but that we are not taking full advantage of this context.

7

THOMPSON NGUYEN | 2014 | PORTFOLIO24

THE NATIONAL BATH HOUSESTUDIO 7 - WINTER 2014

Series of layered drawings and models produced by collaging of canary trace, strathmore and plotter paper, card stock, and 4 years of drawing materials.

THOMPSON NGUYEN | 2014 | PORTFOLIO 25

The National Bath House is a series of stage sets that fracture, reflect and diffuse the National Arts Centres’s social and political relationships through urban and architectural interventions. Through three different bathing performances imbricated into the building, politicians, performers and publics interact and produce new spaces that challenge psychological and physical thresholds, especially those one may hold at a national performing arts institution. Boundaries between spectacle and audience, opacity and transparency, cleanliness and deviance, and private and public are distorted through the architectonics of distinct bathing experiences.

THOMPSON NGUYEN | 2014 | PORTFOLIO26

DINNER SERVED / RSVP(MOUNTED ON 01.31.2014)

STUDIO 7 - WINTER 2014

THOMPSON NGUYEN | 2014 | PORTFOLIO 27

This work translates the turmultuous governance and funding history of the National Arts Centre into an opulent gala dinner party mounted on display at the Axeneo7 gallery in Gatineau.(Collectively created with AG and GK)

THOMPSON NGUYEN | 2014 | PORTFOLIO28

NESPRESSO TORONTOTurner Fleischer Architects Inc.

DD PHASE IN OCTOBER 2012 - OPENED NOVEMBER 2013

Renderings by Parisotto + Formenton; Photographs and drawings (c) Turner Fleischer Architects Inc.

THOMPSON NGUYEN | 2014 | PORTFOLIO 29

Involved in design development, bidding, contract and construction administration for the first large flagship Nespresso in Toronto, ON. Coordinated with local and international clients and consultants.

THOMPSON NGUYEN | 2014 | PORTFOLIO30

GRAPHIC DESIGN WORKS

VARIOUS DATES, 2013-2014

push fo o d fo rwar d.co m

fb.co m/g ro u ps/fo o d fowar d

poster by th o m pso n n g uyen

Left: Building Roots Poster for Food Forward

Top right: Design Economics branding for housing development

Bottom right: Various academic papers laid out on urban public spaces

THOMPSON NGUYEN | 2014 | PORTFOLIO 31

Piazza del Campo

The Piazza del Campo is Siena’s

main public square and is known

as one of the few preserved

medieval civic spaces in Europe.

Originally a marketplace carved

out from the city at the end of

the 12th century, it is situated in

the centre of Siena on a sloping

site near the intersection of three

hillside districts that formed

Siena. The piazza was and still is

the centre of urban life in Siena

and is sought after as a major

tourist destination, museum

complex, and major event space

(most notably the Palio, the

famous horserace hosted in the

summer, Figure 6) (UNESCO).

Thompson Cong Nguyen [100793376] 2014.03.04

Description The creation of

the piazza dates to its

earliest record in 1169 as a

communal space used for

fairs, markets and public

celebrations run by the

Siena government. The

true urban articulation of

the piazza begins during

the construction of the

Palazzo Comunale (or the

Palazzo Pubblico), created

institution. (Siena Online).

Piazza del Campo

is a very unique public

space, with a great deal

of emphasis on the urban

ground (Figure 2). The

treatment of the sloped

converging paving on

the site forms the piazza

into a big concave shell.

“The paving is made of

red bricks arranged in a

into a sunburst pattern by

nine strips of travertine (in

memory of the Government

of the Nine, who ruled over

the city from 1292 to 1355)”

(ItalyGuides) (Figure 2).

The semi circular

public space is articulated

ground drawing (Figure 5).

At these edges are retail

stores, cafes and bollards

(Kent). The curved edge of

the piazza covers a very

which greatly harmonizes

the urban ground of the

city. (Siena Online)

The building edges

are interrupted by the

paths of the city that

radiate from the piazza. 11

different narrow pedestrian

pathways run from the

piazza to the different

neighbourhood districts of

Siena.

urban node to the fabric

of Italian cities (Fusch).

As it the central and

integral space of Siena,

it is designed with great

prominence. The typical

fabric of the Siena is its

low rise housing seen in

Figure 3. The irregularity

of the orientation of these

dense low rise buildings

is contrasted by the vast

open space of the piazza

as well as the Torre del

Mangia tower (Figure

4). This tower is a key

landmark to the cityscape

to the planning and design

of the piazza. This shows

a great formal connection

from the urban ground to

the urban ceiling (the sky).

The tower is not

the only landmark to the

city. Also in this public

space is the Fonte Gaia,

a white marble fountain

implemented in 1419 by

Jacopo della Quercia

(ItalyGuides) (Figure 1).

The emphasis on water is

01

02

edges

paths

03 districts

04 landmarks

05 nodes

Piazza del Campo

01 Thompson Cong Nguyen [100793376] 2014.03.04

also shown in the planning

of the site, as the slope

of the converging nine

strips of travertine travel

down to a drainage point

(ItalyGuides) (Figure 4).

As a low point to the hilltop

districts, the piazza acts as

a valley to the landscape of

the city where people and

elements are collected.

Analysis The Piazza del

Campo is an interesting

civic space as it is built at

the end of the medieval

period where design

ideas brought by the

Renaissance start to be

articulated. Although it is

clear that the city itself

shows medieval planning

ideas such as irregularity,

informality of the space,

picturesque planning

and punctuated skylines,

the piazza itself shows

order and ideas from the

Renaissance.

The piazza, with its

articulated edges of the

urban space, shows that

a city begins to value the

aesthetics of the Ideal

(Nevola, 100). An overall

civic importance to the

aesthetics of city building

had even manifested an

also known as

the Government of the

Nine.

of nine men dedicated

to enforce development

policies targeted to private

property owners that

of the urban fabric to meet

the criteria of the ornato

(Nevola, 98).

Therefore, it is in

Siena where we begin to

the vision and planning

of the beautiful Ideal city

in the Western world.

The aesthetic ambition of

implementation of orderly

Renaissance ideologies to

the medieval city.

02

Torre del MangiaOriginal use: Bell & Watch Tower

Present use: Observation deck

Pallazzo Pubblico

the Government of the Nine

Present use: Observation

deck

Fonte GaiaOriginal: Marble fountain

originally created by Jacopo

della Quercia

Present: Replica fountain

Original use: Barber shops and

retail

Present use: Retail and cafe

space

Taksim Square

A stage of political redefinitions

Great urban centres showcase a city’s social, political, cultural and economic conditions. Typically one can read a definite locus or identity from these spaces – we get to know what the city is like through this one urban node. For Taksim Square in Istanbul, Turkey, those conditions are changing dynamically every day – and at a speed so rapid that its identity is almost schizophrenic. Located at the heart of the European side of the city, Taksim Square is a space that has been redefined in numerous architectural, political and social ways throughout its history. A negotiation between different parties is in constant discussion; Conflicts between Istanbul’s local government and its people, its Ottoman traditions and Western influences, Turkey and its global partners, and how they occupy this major public space have redefined the identity of one of the most dynamic city squares in the World.

A Genius Loci in Motion

Thompson Cong Nguyen [100793376] 2014.04.01

Istanbul (European Side)

Origins and FunctionsTaksim (distribution) meydani (square) was originally a point where the main water lines from northern Istanbul were collected and branched off to other parts of the city through an infrastructure of aqueducts and dams

BOSPHORUS

Istanbul (Asian Side)

Old City (Sultanahmet)

Beyoglu

Taksim Square

Fig1 - Istanbul, Turkey

(Baykan). It was established in the Ottoman empire during the mid 18th century during the reign of Sultan Mahmut I (Baykan).n the early 19th century (1803-1806) an artillery barracks was built on the Taksim site. Numerous attempts of this artillery barracks were iterated on the site until it was finally demolished in 1940 to make space for a public park (Baykan).The clash of Ottoman and Western spaces manifest around the square during this period as Turkey’s economy opened up to the globe. An allocation of spaces for embassies of Western governments, hospitals, banks, hotels, new businesses and schools developed throughout the historic city making up the cosmopolitan character of Beyoglu (Baykan)After the First World War, the Entente powers occupied Turkey from 1920-1922. Following this, the Ottoman empire had long fallen and thus arose the cultural revolution lead by Ataturk. The Republic of Turkey marked a new modern era in the country’s rich history, and this was symbolized by monuments erected in Taksim Square.Modern Taksim Square was built in 1926 as the first square with a monument to be planned and designed in the new republic of Turkey (Baykan) based on secular and Nationalist ideals influenced by interventions from the West. Throughout time, other architectural and landscape interventions shaped Taksim to be the fluid and dynamic urban node it is today.

Images

File:Piazza_del_Campo,_Siena,_Tuscany_(5772001588).

Figure Ground: see Figure 5

Campo

campo

campo

End Page:

Work Cited

Fusch, Richard. “The Piazza in Italian Urban Morphology.” Geographical Review 84.4 (1994): 424. ProQuest.

Web. 4 Mar. 2014.

N.p., n.d. Web. 04 Mar. 2014.

Thompson Cong Nguyen [100793376] 2014.03.04

Piazza del Campo

01 Thompson Cong Nguyen [100793376] 2014.04.01

Edges The urban edges of Taksim Square have unique qualities of Islamic and Western medieval city planning. Taksim Square is a meydan, an Ottoman style square with the primary function for an open space for circulation, and aesthetic planning and quality is not put at the utmost importance (Baykan). Therefore, the defined edges of this public space are not necessarily organized in a symmetrical geometry as we have seen in Italian or French cities. However, the edges of the space are still evident with the contours of the streets (seen in Figure 6) as well as the geometric landmarks in the landscape (see circular planning of monument in Figure 2). Taksim Square is defined by the edges of these buildings that line the street – which vary in quality and program. There are smaller retail cafes and shops next to the major Ataturk Cultural Centre, which is also close to various high end hotels, a Burger King, lines of kebab vendors, embassies and Gezi Park. The mix of these varying typologies give Taksim Square a heterogeneous edge quality of both stately grandeur but also of rough, unrefined street culture.

Paths Taksim Square is the node that distributes the city into different paths it intersects. Major paths around the square are Cumhuriyet Caddesi (‘Avenue of the Republic’), Siraselviler Cadessi, Inonu Caddessi, Talabasi Blvd, and most importantly Istiklal Caddesi (Liberty Street). Istiklal Cd is the main commercial street of Beyoglu and is one of the longest pedestrian city streets in the world. (See Figure 6) Taksim Square is where people have congregated together for political, economic, and social reasons and that has been articulated in its history and architecture (Baykan). Because of this, Taksim is made up of very informal and waving paths that bleed into the major streets that were aforementioned. Taksim Square is an important meeting point for political processions. Seen in figure 3, this map shows the procession from smaller meydans in the city to Taksim Square in a major political protest in 1977 known as May Day, which redefined the republic square as a space for civic empowerment (Baykan). Taksim Square is also a major transportation hub integrated into the city’s extensive transit system. From Taksim, one can take the metro, the light rail train, various city buses, and airport shuttle buses. Also circulating in the square is a density of taxi cabs and informal taxi buses one can take to different districts. Paths from Taksim Square are not just the intersecting physical streets but also routes in various transit services one could take (see Figure 4).

Districts Taksim Square is on the European side of Istanbul, in the Beyoglu district. Beyoglu has a great deal of history as a Greek

Figure 2 (Top) - Protest at Taksim Square around the monumentFigure 3 (Middle) - Procession from smaller meydans to Taksim Square o n May 1 1977Figure 4 (Bottom) - Transportation hubs from Taksim Square

02

Istiklal Caddesi

Tarlabasi Blvd

Cum

huriy

et C

adde

si

Sira

selv

iler C

d.

Inonu Cd.

Figure 5 - Map of Taksim Square delinating edges, paths, and landmarks:1. Monument of the Republic, 2. Taksim, 3. Gezi Park, 4. Ataturk Cultural Centre, 5. Entrance to Istiklal Caddesi

city when Istanbul was under Byzantine rule, and its major districts were known as Galata and Pera. Over time the region has been redefined by the Ottoman empire, foreign businesses and trade by Western exchange, and the establishment of the modern republic in 1926. Therefore, Beyoglu’s character is a heterogeneous assemblage of the historic, Islamic, and Western cosmopolitan cities (Baykan). Its proximity from the old city (Sultanahmet) and the newer sprawling areas of Istanbul makes Beyoglu a central urban neighbourhood that is a mediating region between the post WWI modern Istanbul and its historic Ottoman quarters. Thus, Taksim square serves as an important place that distributes urban growth and populations of people across the city to various districts in Istanbul.

Nodes Istanbul is seen as the clash of Western

and Eastern cultures, and this is very evident in the planning and use of Taksim Square. This square is known as a meydan, which is the Turkish word for a city square. Much like an Italian or medieval city square, it is a positive space that “signif[ies] an open space between structures and buildings inside the boundaries of a city (Baykan).” More similarly to a medieval square, the meydan “evades the rigidity and the intentionality of the plaza or square’s structural form (Baykan).” Traditionally in Ottoman and Islamic city planning, meydans were not intended for a social aspect but rather were intended for urban circulation. Hence, Taksim Square is a very important node to the flow of people in the city – it is a main destination for the shuttle bus to and from the main airport, it is a subway/light rail/bus/taxi cab stop, it is a meeting spot for locals and tourists before deciding where to venture for the night, and it is where protests begin and end. Although this functional aspect of Islamic city planning is evident, the social and political development

to how it became a Western ‘square’ raises to the surface as it is occupied throughout history. Various famous protests have been held there in attempt for the public to mediate with the state on great inequalities in the municipal system. The most important protest that redefined the square was the May Day tragedy in 1977 which resulted in 38 deaths of protestors caused by the police force (Baykan). Smaller protests occur throughout the year, but the most recent larger protest was the occupation of Gezi Park in 2013, which was a public reaction to development plans to replace this public park with a large shopping mall planned and funded by the municipality (Kimmelman). Although meydans are intended to be more for function than social-political engagement, Istanbul citizens have proven to have a historic impact on the reclamation of public space in the city and Taksim Square is the most important space where these negotiations take place.

Landmarks Taksim Square features the monument of Ataturk, the leader of the new republic of Turkey that lead the cultural revolution and the War of Independence. (Baykan) He stands proud with other key political figures and comrades in this period piece. The statue was created by an Italian sculptor and marks the beginning of a new secular state after the fall of the Ottoman empire. Tourists, in and out of Turkey, visit this monument and are reminded of a nationalistic view of the country that Turkish people are very proud of. Other key landmarks include the Ataturk Cultural Centre, the Hilton Hotel (designed by Skidmore Owings and Merill) Gezi Park, and Istiklal Caddesi (Figure 5).

03

Images

Title Page: http://www.newyorker.com/online/blogs/photobooth/2012/09/2.htmlFigures:1. Istanbul, Turkey Map - http://www.prew.hu/gallery3/index.php/DOT_CD29/Turkey_05/DOT_Turkey_05_Istanbul_Map_12. Protest at Taksim Square around the monument - http://www.prew.hu/gallery3/index.php/DOT_CD29/Turkey_05/DOT_Turkey_05_Istanbul_Map_13. Procession from smaller meydans.. - See works cited, text by Baykan4. Transportations hubs from Taksim Square - www.elsevier.com/locate/optlaseng (from article titled: “Producing 3D city model ... of Taksim Cumhuriyet square “)5. Map of Taksim Square: See works cited, text by Baykan6. Various images for timeline:See works cited, text by BaykanHilton Hotel - http://en.wikipedia.org/wiki/Hilton_IstanbulOccupy Gezi Park Protest - http://www.haaretz.com/print-edition/business/israeli-companies-fear-turkish-backlash-1.293435

Works Cited

Baykan, Aysegul, and Tali Hatuka. “Politics and Culture in the Making of Public Space: Taksim Square, 1 may 1977, Istanbul.” Planning Perspectives 25.1 (2010): 49-68. Web. 29 Mar. 2014

Kimmelman, Michael. “The Power of the Public Space; Istanbul Protests Offer Reminder That There Is No Substitute for the Street.” The International Herald Tribune 8 June 2013: 1. Print.

Thompson Cong Nguyen [100793376] 2014.04.01

Evolution of Functions & Symbolic importance

In the mid 18th century, Taksim Square was first seen as the node for the distribution of lines of water infrastructure, and a meydan, an open space for the flow of people.In 1803, the construction of an artillery barracks began. This building was built, destroyed,

reconstructed and then ultimately demolished where the current Gezi Park is situated now.In 1926, Taksim Square was planned as a declaration of a secular state in the republic era lead by Kemal Ataturk. A Nationalistic state needed to be expressed, and so

“Western ideas defined the cosmopolitan character of Beyoglu and Taksim. (Baykan)” Post WWII – the new political parties focused on culture and economy. Density of the city greatly influenced Istanbul’s morphology. Between 1950-1960, Istanbul reached a

population close to two million. Space was not recognized by political parties as a declaration of the modern nation but instead was seen as “an economic resource for liberal interests.” Development of large boulevards, dense construction, tourism, and Gezi Park was

constructed during this period. A city beautiful approach was taken, although little or no regard for quality, cohesion, or history was considered as several neighbourhoods were erased in this process. (Baykan)

On May 1st, 1977, Taksim became a space of mass politics with the tragedy of a large protest ending in the deaths of 38 civilians caused by the police. The square’s political symbolic importance was redefined by the people as it is regarded as a memorial for the aftermath of public outcry. Today, Taksim Square is recognized as a spectacle of globalization and political rising in the 21st century – most recently, in the situation of Occupy Gezi Park. The currently Prime Minister Erdogan and the city were “determined to clean [Taksim Square] up and make it into a pedestrian zone, with a new mall, mosque and tunnels for traffic to move underground. (Kimmelman)” Although it is true that the surface of the square cannot accommodate the traffic needs of Istanbul’s growing population and tourists, locals argue that “‘The government wants to sanitize [Taksim], without consulting the people.” (Kimmelman). The battle and morphology of Taksim Square has resulted in a great deal of outrage and protests ensued. The discussion – or rather, argument – over the occupation of public space is constant in the city.

Conclusion Taksim Square is the city’s most important meydan – it is “a place where citizens negotiate the transformation of symbols, structures and boundaries.” It is not “bounded with formal spatial definitions and urban restrictions, the meydan as particular typology generates participatory actions and becomes a mediator space between citizens and regime (Baykan).” Since the 90s, Taksim’s identity – although seemingly fragmented and too fluid – is one of dynamism and public engagement. The social conflicts between parties, specifically the state and the public, still play a great role to exercise their “domains of power and resistance [to] produce and recast the political (Baykan).”

1750

1803

1926

1950

1976

2013W A T E R

DISTRI-BUTION J U N C -TION

ARTILLERY BARRACKSNATIONALIST CITY BUILDING)

MONUMENT TO THE NEW REPUBLIC OF TURKEY

L IBERAL AND ECO-N O M I C CITY CEN-TRE - (CIVIC SYMBOLISM IS ERASED BY DE-VELOPMENT)

MAY DAYPOLITICAL DEMON-STRATION SPACE(CIVIC IMPORTANT REWRITTEN BY THE PEOPLE)

#OCCUPY GEZIPARK(PROTEST TO PRO-TECT CIVIC SPACE

(BUILT, DESTROYED, REBUILT THEN FINALLY DEMOLISHED FOR GEZI PARK)

Le Parc Monceau

Once a parcel of land owned by the Duke of Chartres (a cousin of Louis XVI) in 1789, the French landscape architect Carmontelle was commissioned to create what was soon to be Parc Monceau. Carmontelle suggested in designing this park in the style of an English picturesque garden. This being one of the first English style gardens as a green space in Paris, it was an unusual and new proposal for the state. However, Carmontelle’s twist on the park was ultimately made complete with the use of follies that borrowed historic styles and symbols from cultures and time periods

Thompson Cong Nguyen [100793376] 2014.03.19

all over the world (Le Parc Monceau). As seen in figure 1, it is clear the extent of the park in the late 18th century was very grand for the royal and bourgeois class.

Prior to the French revolution, the garden was used for the members of the royal class leaving this huge lavish development to be enjoyed only for the wealthy elite. As Napolean reigned, he took great interest to turn the park into his own private paradise with considerations

for a zoo or a private garden for the King of Rome. (Fondation Napoléon) Although the Duke did empathize with the working class, as it was said that he did understand and share the same values of the revolution, the public did not see him as their own and his ‘folie de Chartres’ was guillotined in the park (Le Parc Monceau). The public had reclaimed this property and the park was nationalized during the revolution in this demonstration of defiance (Jarrassé).

After monarchy was set in place once again and the Duke restored control over the park, the property was severed in parcels for real estate investments and the rest sold back to the city of Paris. The final extents of the Parc Monceau was reclaimed by the city in 1860 with 20 hectares of the site allocated for public use during Haussmann’s renovation of Paris’ city centre with Haussmann and Adolphe Alphand as the key planners (Fondation Napoléon).

Le Parc Monceau

01 Thompson Cong Nguyen [100793376] 2014.03.19

As many public parks had done to great city neighbourhoods, Parc Monceau brought a great deal of real estate value to the neighbourhood when it was “inaugurated on August 13, 1861 by Napoleon III, the park met with immediate success owing to its masterful beauty as well as the surrounding housing

estates.” The aesthetics of the city became an important value for Paris, and it is clear that Haussmann was on the forefront of driving the City Beautiful movement in his renovation. (Fondation Napoléon) As Paris became modernized through Haussmann’s planning, it was clear that it was becoming a

cultural and artistic centre. The Parc Monceau brought a great deal of attention to artists, and we began to see it being documents in Claude Monet’s paintings. (A View on Cities) Today it attracts many tourists and locals alike to enjoy the landscaping, the culturally appropriated follies along with the culture of the

‘Flaneur’ – seeing and being seen – existing in the public realm of Paris’ urban spaces. (A View on Cities)

Design analysis

The Parc Monceau is an interesting urban park as it borrows design strategies from the English garden tradition as well as follies from different cultures. A reading of the park using Kevin Lynch’s five points in ‘The Image of the City’ will help us understand the topology of this urban space.

Districts The Parc Monceau is located in the eighth arrondissement (see Figure 3) of Paris at the intersection of Boulevard de Courcelles, Rue de Prony and Rue Georges Berger. At this junction is the North entrance to the park, which is marked by a Rotunda. (Jarrassé) The area surrounding the park

Figure 1 - Le Parc Monceau c. 1790 with approximate overlay of existing Parc boundaries Figure 2 - Present extent of Le Parc Monceau

Figure 3 - Le Parc Monceau in context to Paris

Key Nodes/entrances

Main entrance/Monceau metro

02

is one that was occuppied by the bourgeois of Paris, as many of them had decided to build their mansions on the Monceau plateau. (Fondation Napoléon) Given this character of the emerging upper class of the city, it is true that this public space must uphold the same aesthetic qualities of the neighbourhood it resides in. In the same way, the park provides an urban identity for this district.

Edges The occupation of the elite class around the Parc Monceau greatly

impacted the boundaries between public and private space. An ample amount of space needed to be provided between the private mansions from the street, and Haussmann enforced a setback of “15 metres of greenery […] required in front of the property as well as gates marking the barrier between public and private space.” (Fondation Napoléon) Hence, the edges of the park’s perimeter were greatly defined and formalized not only by its surrounding streets, but by the gates of the adjacent properties in its district.

Figure 4 - Illustrated map of the follies and paths

Figure 6&7 - Pyramid + Column folliesFigure 5 - Gates designed by architect Gabriel Davioud

The perimeter of the Parc Monceau, like many Parisian parks built at this time, was lined with wrought iron gates. To build a specific image for the new wealth of the city, architect Gabriel Davioud had designed these barricades, seen in figure x. (Fondation Napoléon)

Nodes Although the park itself it an urban node in the city and it is a foci on intersection avenues that change movement, the many entrances to the park from the streets that penetrate it

are key nodes into this public space. The map in figure 2 indicates the key entrances from the street into the park. Most of these entrances are marked with follies in the park, which greatly show a sense of organization in the use of these key markers in the landscape. Particularly the northern entrance with the Rotunda and Monceau metro stop is a key urban node with many streets converging to the gates of the park.

Landmarks (Follies) The follies of the

park really give the public space an interesting sense of character. It is in a sense a “fantasy world” or “amusement park” borrowing from different cultures and eras in time, as stated by the landscape architect Carmontelle (Jarrassé). These follies mark key entrances and nodes in the park, helping pedestrians finding a sense of place in the picturesque landscape. As seen in figure x, it is clear that there is a mismatch of different cultural styles in the follies. These include the Roman-Greco Rotunda and

Colonnade, the Pyramid, various monuments of famous Frenchmen, ruins of a Doric column and other key landmarks. (Jarrassé)

Paths The paths are what really dictate the design and organization of the Parc Monceau. As one can see in figure x, the park is particularly designed in the tradition of a French garden due it is main axes running north-south from ‘La Rotonde’ down to the ‘Monument ’ as well as its east-west axis that is the

Images

Title Page: https://www.flickr.com/photos/karin_in_paris/4331245826/sizes/l/

Figures:1.Le Parc Monceau c. 1790 with approximate overlay of existing Parc boundaries - http://upload.wikimedia.org/wikipedia/commons/4/4d/Plan_du_Parc_Monceau.jpg

2. Present extent of Parc Monceau - http://www.pileface.com/sollers/article.php3?id_article=527

3. Le Parc Monceau in context to Paris - http://1.bp.blogspot.com/_rvHbl_Xm8kk/TURRIzMPptI/AAAAAAAABjo/uTvufn3ANYY/s1600/

4. Illustrated map of folliesand paths - http://sites.duke.edu/french119_parcmonceau/files/2011/12/parc-monceau-mail1.jpg

5. Gates ... - https://www.flickr.com/photos/58708751@N00/8067843188/sizes/l/

6&7 Follies - Columns - http://a395.idata.over-blog.com/3/19/10/25/Paris/028-Le-parc-Monceau.JPGPyramid - https://www.flickr.com/photos/anachronism_unltd/6401494889/sizes/l/

8. Occupation of Parc Monceau - http://landscapelover.files.wordpress.com/

9. Claude Monet painting of Parc Monceau -http://upload.wikimedia.org/wikipedia/commons/2/2e/Monet_claude-au_parc_monceau.jpg

Works Cited

“Histoire.” Le Parc Monceau. N.p., n.d. Web. 20 Mar. 2014. <http://sites.duke.edu/french119_parcmonceau/histoire/>.

Jarrassé, Dominique, and Jacques Lebar. Grammaire Des Jardins Parisiens: De L’héritage Des Rois Aux Créations Contemporaines. Paris: Parigramme, 2007. Print.

“Parc Monceau.” , Paris - A View on Cities. N.p., n.d. Web. 19 Mar. 2014. <http://www.aviewoncities.com/paris/parcmonceau.htm>.

“Parks.” Fondation Napoléon. Fondation Napoléon, 2008. Web. 20 Mar. 2014. <http://www.napoleon.org/en/magazine/itineraries/course/parcs_parcoursparcs_english.asp?id=448743>.

Thompson Cong Nguyen [100793376] 2014.03.19

Le Parc Monceau

Allée de la Contisse de Ségur as key paths of organization and movement. What makes this park more English is its use of more informal pathways that cut across the main axes, around resevoirs and along follies. This allows for a much more playful sense of movement in the park that compliments the formal Cartesian style of Versailles.

However, the scale of these paths are still very wide and formal, like a French garden. As seen in figure x, the width of these paths do not allow for a meandering or picturesque quality like English gardens, and rather focuses on allowing the public to enjoy the space with ample circulation space. It is important to note that although these formal qualities are evident, Carmontelle’s intent was for not to produce an

English garden, but rather a park that is “an extraordinary garden, a pure amusement” rather than something ‘naturalistic’ that many national parks would attempt to produce (Jarrassé).

The Parc Monceau is seen today as a traditional public park but it still widely enjoyed by locals and tourists alike, especially children. (A View on Cities) The playful quality and fantasy-like design that Carmontelle had aimed for is still prevalent today and it is a key example of public green space in modern Western cities.(Images on left:Figure 8 above - occupation of Parc MonceauFigure 9 below - Claude Monet painting of Parc Monceau

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