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NHUT NGUYEN


on being nostalgic and obsessively in love

Private Project Finalist. UIA-HYP Cup 2016 International Student Competition: Beijing, China Submission to Drawing of The Year 2016, Aarhus School of Architecture: Aarhus, Denmark Published on Urban Design Environment (UED) Magazine: Beijing, China

for Joseph Cornell

I found an old secret box at my new flat when I was trying to clean up the basement. On the outside of the box etched a single line, simple but beautiful ‘to Dorothy’ . Inside was a bunch of notes, sketches, a letter, and a blue-print. The box is from Mir(r)cae, a nostalgic guy. So nostalgic that he decided to invent a nostalgia machine that he could carry around in his suitcase, visiting spaces and projecting his personal memories onto them to re-enact every single events that had ever happened in his life. The letter is for his lost love, Dorothy. This project is a personal attempt to learn how to make, on dealing with the subjects of nostalgia in architecture, on dealing with the variety of scales in the way we observe built environment. The imperfection of recalling memories is emphasized, of how differences original events are recalled every time we try to remember something from our memory. I have yet to find Dorothy. Conceptual Approach on Nostalgia


Mir(r)cae Letter to Dorothy


He (re)imagined Dorothy every single day. Each version of her was different.

Mir(r)cae Fragments


Mir(r)cae Fragments


Mir(r)cae Blueprints for the Nostalgia Machine


The Nostalgia Machine in A Suitcase


on being curious and forgetful

THE TRAGIC WORLD OF VANCEUX SOLANGE, THE JOYOUS INVENTOR Academic Project. VUW 2015: Year 3, Trimester 2

Special Mention.d3 Unbuilt Visions 2015: New York, USA Finalist. AAA Visionary Architecture Awards 2015. Conceptual Category: Auckland, New Zealand 3rd Place. Warehouse Journal’s Truth(s) Competition: Manitoba, Canada Exhibited at Auckland Art Gallery, 16th-18th November. 2015: Auckland, New Zealand Exhibited in VUW School of Architecture End of Year Exhibition. 2015: Wellington, New Zealand Exhibited at aceartinc. 2016: Winnipeg, Manitoba, Canada. Published in Warehouse Journal #25: Manitoba, Canada

1. INTRODUCTION: The project practices the intrinsic function of a museum: an architecture of objects, a personal architecture of memories and remembrances. The project sees the journey of Vanceux Solange, a joyous inventor, trying to piece together several objects and stories left behind by his lost friends to generate his own museum celebrating the ordinary and personal stories of individuals. 2. TOWARD AN ARCHITECTURE OF OBJECTS AND REMEMBRANCES: It is the question of Object Architecture that drives the project forward: How to turn something completely ordinary like tea pots or a pinball machine into Architecture? Can an object be meaningful? What is really Objects As Architecture? Also, it is the intrinsic function of a museum that is questioned: How can Architecture represent memories and remembrances? Remembering something is always about retrieving fragments rather than perfectly reproducing an exact piece of memory. How can an Architecture of Museums represent that fragmentary and imprecise nature of remembrances? The story of Vanceux Solange sees the connection between Objects and Remembrances. His friends associate personal stories within their personal objects. In order to remember them, Vanceux relies on the objects that they left behind. The design process to generate memorials sees different final content and meaning to the initial piece of information. It is the question of whether the memorials contain the true meanings of the initial texts and objects or not that concludes the project with emphasis on the fragility of remembrances and the loss of meanings through interpretation. 3. DESIGN METHODOLOGY: TEXTS (OBJECTS), DRAWINGS (INVENTIONS) AND BUILT FORMS (MEMORIALS) The methodology starts with Vanceux collecting objects. The original objects are associated with the personal stories of eight characters. The objects are reinterpreted into inventions through the form of projection drawings. Geometry, mechanism, rituals, functions, and imagination are considered. The inventions have different meaning and functions than the original objects The process then follows Vanceux’s attempt to generate memorials from the inventions. The imaginative nature of the inventions is re-de-constructed into several parts, each represents different role in terms of tectonic languages. The inventions are turn into memorials. Each memorial represents a specific drawing, a specific character, and a specific object from the eight characters. The memorials have different meaning and functions than the inventions and the original objects. The methodology gives perfect means to explore the overall concept: Stripping away original content from the stories of the objects and drawings of the inventions to give new meaning and content as physical built forms that represent the original content. Objects as Architecture is not too literal anymore, but becomes somewhat meaningful through a process of reinterpretation and deconstruction, with architectonics as an important mean. 4. CONCLUSION It is not the final physical representation of the museum that is considered. The process is more emphasized, trying to generate a common methodology for further exploration into the problems of Objects, Architecture, and Remembrances. Further issues about relationship between texts, drawings, and built forms, narrative in design process, subjectivity and scale, the role of the environment in a person as well as a person in the environment are also investigated.

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Ewneaznald, Vanceux’s homeland, filled with his inventions


An Anatomical Chart Of Love Pains And Happiness For Pierre/ The Counselling Device For Broken-Hearted People

Colourful Tea Devices For Madam Maulers/ A Cheap And Tacky And Terrible Christmas Cracker Joke Generator

A Pinball Machine For Hugo/ The Big Bad Ball

An Old Pedal Pusher Singer Sewing Machine That Can Only Sew Red Strings For Carnelian/ The Universal Inner Thoughts Tele-Communication Device

Pierre’s Infinite Tape Confession Booth

Hugo’s Personal Emotion Exhaustion System

Madam Maulers’ Medicated Tea Relaxation Pourer

Nayr’s Perpetual Motion Sorting Tragic Pendulum

Carnelian’s Tragic Terrible Vertical Distillery Tower

Hermann’s Anti-Tragic Crease Ironing Device and

A Lazy Cat For Nayr/ The Anti-Relaxation Generator Emotional Terminator

A Typewriter For Hermann/ The Diagramatical Habitual Looping Thought Patterns

From 2D Drawings: Objects and their personal stories

to 3D Built Forms: Follies dedicated to the objects and their stories Mabelle’s Tragic WashawayWater Wheeled Purifier

An Album Full Of Orchidaceae Petals For Mabelle/ The Automatic Garden For Day-Dreamers

A Flute For Lola/ The Passion Aural Maker

Lola’s Steam Boiler That Happened To Whistle


Plans, Sections, Elevations and Perspective


From 2D Drawings: The Mind Map of Vanceux At Its Most Primitive Stage

to 3D Built Forms: The fragility of remembrance and the loss of meanings through interpretation


THE BRIEF: POOL

on figuring out who am I

Academic Project. VUW 2015: Year 3, Trimester 1

RITUALS

GEOMETRY

WATER =FLUIDITY

MACHINES =FLUIDITY

LUDDITE

TECHNOCRAT

IMAGINATION

LOGIC

ARCHITECTURE

BUILDING SCIENCE

Water with its sense of moving freely through any kind of surface.

THE BRIEF: Designing a pool along Wellington water edges to explore geometry and rituals of bathing MY PROCESS: _TELLING: a story about the conversation between Alice and Franz: Alice – the whimsical Icelandic girl and Franz – the boring German technocrat. As different as they are, they want to connect to each other through letters, drawings, postcards, and photographs. _DRAWING: explorative drawing of geometry (Franz) and rituals (Alice) of a Bathing Pool. _MAKING: the drawings. Breaking and putting objects together to understand the essence of architectonic languages. THE POINTS OF ALL THIS: Finding a common architectural language between two different, seemingly contradictory notions of Architecture: Alice – the fun part, the whimsical part, the colourful part, the creative part (we all want to revolutionize architecture, saving the world, becoming star-chitects in the future). And Franz – the lame part, the boring part, the logic, the structure, the function, the real architecture. Creative dialogues in architecture school also suffer from the same problem: of how to combine the two different sides into one. We love doing beautiful, fun, creative designs – but we also have to worry about the logical, the technical aspects at the same time.

WHIMSY

SOLEMNITY

ALICE = a British girl, no, an Icelandic girl, with curly hair, no, with a pony tail, yes, a really messy pony tail, and her hair is naturally brown, with green eyes. She has nice pointy chin, wearing oversized rounded oval lens 1980’s glasses. She always wears a colourful (red, or yellow, or pink, or blue) striped T-shirt, with a green coat. Red or yellow or pink or blue scarf, potentially. She likes Bjork, evidently. Nah, she’s probably more into weird old school kind of music – maybe Lady June, or Kevin Ayers. She does drugs, occasionally. She reads a lot. She likes fairy tales and children books – illustrated versions. She smiles all the time. No, she suffers from bipolar disorder (I once talked to a Norwegian girl. She said the weather up there can influences your moods a lot. How can you ever be happy up there is beyond my knowledge). She still smiles all the time, though. She rides bicycle. She likes wandering around the city. Her favourite food is strawberry cake. Maybe just strawberries. Or cake? She likes collecting objects, quirky + whimsical ones. She likes the perspective of depression. She likes to look at the clouds and imagine things. She day-dreams. She’s flippant. The sky was pink when she met Franz in Paris, a rainy day.

FRANZ = He’s German, obviously. He is boring, no, I can’t say that – no character is boring. But he’s definitely quite formal. He’s a mechanic, no, he’s into machines – definitely a technocrat but he’s not too professional about it. Maybe he is an accountant. He likes cranes, the machine, not the animal. He wears blue suits all the time? Even when he sleeps. He doesn’t dream. Dreams don’t come to him anymore after he had that car accident when he was 8, in Berlin. He saw the fall of Berlin wall. He’s more into communism? He has short silver hair. He reads Nietzsche. I think he just loves the writing, not the ideas themselves. Humans are weak – machines do not have mental problems – at all, Franz often thinks of that. But sometimes he wishes they did. His mom listens to Piaf and Vivaldi. He doesn’t listen to music. He loves sitting alone in a corner enjoying his black coffee. He is depressed, always has been. The sky was blue when he met Alice in New York, an overcast day.

A CONVERSATION BETWEEN THEM EXPOSES POSSIBILITIES EXISTING BETWEEN THE EXTREME.

Alice and Franz: A Conversation Between Whimsy and Solemnity sees two fictional characters having conversations to each other: Alice – the whimsical Icelandic girl and Franz – the boring German technocrat. The final goal of the project is to find a common language between two different, seemingly contradictory notions of architecture: Alice – the fun part, the whimsical part, the colourful part, the creative part; and Franz – the lame part, the boring part, the logic, the structure, the function, the real architecture. The narrative = the development of the conversation between Alice and Franz drives the whole project forwards through drawing and modelling process.

Water is like machines, it moved to the end point through a series of points that were linked together logically - one point activates the others simultaneously and sequentially .

ARE THEY THE SAME OR ARE THEY DIFFERENT?

Alice & Franz: A Conversation Between Whimsy and Solemnity


Letters between Alice and Franz throughout the years


CAN LOGIC BE EXTRACTED FROM WHIMSY?

Alice’s understanding of things is whimsical and fun, showing things as fluid, fun, and free


“EVEN THE MOST WHIMSICAL THINGS CAN BE EXTRACTED INTO MACHINES” - FRANZ

Franz’s understanding of things are logical. He extracted the natures of the most whimsical things into geometry, logic and connection


DRAWING STEP 1: EXPLORATIVE EXERCISING IN COMBINING THE TWO Alice and Franz wanted to understand each other through drawings. Each image makes sense in its own way to them. The drawings are meant to explore on how to combine whimsy and solemnity together. They couldn’t understand each other’s languages at the end. The lost in translation is seen here.

Franz’s interpretation of the Pool: Water is just like a machine, it moved to the end point through a series of points that were linked together logically - one point activates the others simultaneously and sequentially .

Alice’s interpretation of the Pool: Imagination, fanciful and free

Alice’s interpretation of the Site: Imagination, fanciful and free

Site Photos as Analysis. B&W Photos Are Franz’: Cranes. Coloured Photos Are Alice’s: Small Objects

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Franz’s interpretation of the Site: The city as a big machines.


DRAWING STEP 2: FAILURES AND FRUSTRATION LEADING TO DIVISION

Realizing that they had failed to understand each other, Alice told Franz, “ How about we make it a contest? We will divide the site into a board game, with six square pieces. You will mainly develop two of your own squares. I will mainly develop two of my own squares. And the remaining two will be the combination of our own proposal? It’s like the surrealist game, Exquisite Corpse. ” The site is seen as an initial tool to generate similarities in two extremities.

Franz development of the first two squares on site sees fragments organised into a simple truss-like geometry Alice was so surprised to see Franz’s final two squares. It looked better than she had thought. Her process began when she started to trace out the important geometry and mechanism in Franz’s work to interpret in her own whimsical way.


DRAWING STEP 3: EXQUISITE CORPSE

Franz’s Final Drawing of A Pool

Alice’s Final Drawing of A Pool

Franz and Alice’ Final Drawing of A Pool

ARE THEY THE SAME OR ARE THEY DIFFERENT?


MODEL-MAKING STEP 1: COLLECTING

MODEL-MAKING STEP 2: BREAKING

Alice’s personal objects: fun, whimsical, and odd

Franz’s personal objects: logical, machinary, and connective

Breaking and Making Things. Can things be translated into different things? Can Alice and Franz compromise? Can Allice’s objects be connected or translated or turned into Franz’s objects?


MODEL-MAKING STEP 3: MAKING

The Whimsical Machines: Alice and Franz’ objects are integrated, forming machines that part-whimsical, part-solemn. Alice and Franz’s personal objects are reinterpreted out of their original contexts and functions

Details of How Different Parts are connected together


on being a child and day-dreaming

THE HOUSE OF BROTHERS GRIMM (2015) Academic Project. VUW 2015: Year 2, Trimester 2 Jacob Grimm and Wilhelm Grimm are two soon-to-be famous German in New Zealand. They just arrived in Newtown, Wellington. They bike everyday throughout Newtown, hearing, collecting, linking stories and events happening in the suburb. They reinvent them. They make the stories alive in their House. They spread it out to a wider audience in their Theater. People call their places the House and the Theater of Fairy Tales. People bless their talents. Their tales are told by the people of Newtown through their daily routine across the cycleway. Soon, the stories and Brothers Grimm will be famous across New Zealand. A fairy tale can suggest several lessons about black or white, moral or immoral. They are thought to be for children. However, the process of creating fairy tales is connected to several conceptual architectural problems. Those will be dealt with in the designs of the Infill House (of Fairy Tales).

Sketching Process

Site and Context


Elevation , Section

Interior Perspective

Axo

Construction Guide


on getting lost

THE STRANGELY SHAPED GARDEN WHERE LIENEKE GOT LOST (2016) Private Project Submission to Drawing Futures 2016, The Bartlett School of Architecture, UCL: London, UK 3rd Place. Warehouse Journal’s Truth(s) Competition: Manitoba, Canada Exhibited at aceartinc, Winnipeg, Manitoba, Canada. 2016. Published in Warehouse Journal #25 Manitoba, Canada Drawing is a self-indulgent tool to speculate thoughts from personal imagination and memories. The problem of drawing architecture and built environment lies in the translation process from imagination – drawings to real life – built forms. The project explores that complexity in understanding drawing as architecture, and architecture as drawing. The project starts with drawing imagination. The act of drawing gives way to the most personal memories and the craziest imagination. Drawing lends the initial point images from my past, drawing resources and inspiration from the surrounding world. The act of drawing, at this stage, tortures the conventional rules of architectural projection, where perspective, section, plan and axonometric are fused together. Speculation happens. The project then tries to turn the drawing into architecture by investigating how to make those imagination into built form. The act of making gives way to translate those imagination into architectonic languages – the ways things are put together. Making is like inventing, a childish obsession with figuring out how things work. The curiosity of the act of making lends unexpected and unorthodox methods of construction. Speculation happens.


on obsession

Fly-catchers: Anger Management

Tears Dryer and Maker

ALLEBELLA AND THE OBSESSION DECELERATOR (2016) Private Project

Never-too-Happy Rug

Junks Shoes and Boxes of Shoes

For Looks Only

Submission to Blank Space’s Fairy Tales 2016: New York, USA The project follows the process to decelerate the obsession with the colour red from a girl named Allebella, following Five Steps to Decelerate an Obsession:

Insecure System

Step 1: Understanding the obsession. Call it X. Step 2: Detaching X from any significant meanings. X is seen as a primitive concept. Step 3: Understanding X through association. Step 4: Kicking the obsession. Step 5: Squeezing X into an autonomous, abstract formal concept. Abandoning X. The project responds to the brief to write and illustrate an architectural fairy tale. It follows my personal obsession with being obsessive, my personal obsession with whale as a lonely animal, my friendship with a girl who has a personal obsession with red, my possession of Haruki Murakami books at home and his strange characters who are obsessed with strange details. The project uses different shades and tones of red to illustrate the narrative. It also is an early attempt to tell a story through page-structure and minimalist yet impact images.

Red Donation Box Welcoming Bridge: Guess the Colours!

The House of Allebella, A girl Who Is Obsessed WIth Red


The Radio singing names, false names...

The House Feels Like An Empty Vessel.

ALLEBELLA= ALLEBELLA

“WHALES ARE LONELY, OH SO LONELY !”

RED:

Allebella’s Childhood: The Monster Who Kipnapped Red

Adult Association: How Allebella’s Obsession With Red Developed


on the scales of imagination

FINDING HELGA FRIÐRIKSDÓTTIR (2016) Private Project Submission to Cheltenham Illustration Awards: Tales of Nonsense 2016: Cheltenham, UK Published on eatsleepdraw.com Who is actually Helga Friðriksdóttir? On the largest scale, he is a sad island. On the large scale, he is an obsessive city. On a medium scale, he is a lost room, filled with misplaced objects. On a small scale, he is a nostalgic machine, tragically trying to get over his nostalgia by re-enacting every single moments ever happened in his life. Helga is sad, tragic, obsessive, lost and misplaced. Helga is, eventually, me, of course. The goal of the project is to create a tale that has whimsical, colourful, nonsensical images in reaction to the brief, yet is also deeply personal, dreamy and tragic. Several books and projects that serve as great inspiration for the images, such as Schalansky’s Atlas of Remote Islands, the works of Madelon Vriesendorp, Susan Stewart’s On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, and Jean Paul Satre’s obsession with the moon as a mythical satellite.

Helga. They asked. What are you? What is he? He asked himself. An ontological question An isolated walking island. With a half-cut patronizing finger pointing upwards What is a man without any urge to break his heart apart with a strong phallic-like mannequin arm? Like in Clockword Orange. Stanley Kubrick bends his teeth into a universal multiple dimension. What is a man without any love for obscure fabric, hard and soft, with a bit of steam blown off its edge. Soft Machines. Empty Souls. Square Moon. Purple Sky. Above him, rain dropping geometrical drops. And the fireflies know him well. According to them, he is the saddest island alive. Helga. They asked. What are you. Yeah. What is he? He asked himself. An ontological question An well-litcity obssessing with kidnapping the source of all life - the circular moon. The bastards touched it the first time on July 20, 1969. The moon lost its myths. A purity lost. Everynight after that, he cried non-stop for five years. The plan to kidnap the moon was executed in the most melancholic day of 1970. When he finally touched the moon, he realized that he only liked the circular shape of it. Helga. They asked. What are you. Yeah. What is he? He asked himself. An ontological question A collector of lost objects he gazed at them the 45 degrees angle he measured them to find out the distance and scales of his tiny collection of objects that (naturally) can’t be measured he tries though he put them together, side by side but they kept acting naughty they expanded and contracted Wow ! They are really lost, he said eventually, he put them in their own places let us be, they said Sometimes you need to get lost to find a way. Joseph Cornell sings lovely songs of obsession

An isolated walking island


The Well-Lit City Who Wants To Kidnap The Circular Moon For Himself

The Lost Room Filled With Misplaced-Objects


CONSTRUCTION

10600

2

3

AA

600*600 REINFORCED CONCRETE COLUMNS. REFER TO STRUC ENG DRAWINGS

NEIGHBOR’S WALL CLADDING 600*600 REINFORCED CONCRETE COLUMNS. REFER TO STRUC ENG DRAWINGS

CC

B106

2851

2049

140*45 @600CRS TIMBER FRAMING WITH 1 LAYER OF 90/90/90 16MM GIB FYRELINE ONE SIDE, ACOUSTIC INSULATION

B108

5500

1500

600

1925

1690

1690

2000

AIR EXHAUST DUCTS

PRECAST CONCRETE STAIR IN COMPLIANCE WITH NZBC D1, REFER SPEC

APRON FLASHING: ZINC COATED STEEL SHEET, 0.55mm BMT, GRADE G300 5 DEGREES SLOPE

1050

BB B107

POLYSTYRENE PACKING 90*45@600CRES TIMBER FRAMING WITH 10MM GIB AQUALINE BOTH SIDE

90mm*45mm TIMBER PLATE

1040 42

AIR SUPPLY DUCTS

CLEANERS' CUPBOARD

BIRD BREAK ON FLASHING

90*45@600 CRES TIMBER FRAMING WITH ONE LAYER OF 10MM GIB AQUALINE ONE SIDE

700

500

762

1500 151

BUILDING WRAP

ELECTRICAL/ DB

9025

762

201 762

TOILET DESIGN IN COMPLIANCE WITH NZBC G1, REFER SPEC

TOILET EXHAUST

1121

707

3973

1605

820

820

707

707

PLUMBING

2523

300

TOILET EXHAUST

700

2579

707

BUILDING WRAP

MEMBRANE ROOFING: 1mm ARDEX BUTYNOL PARAPET WALL

PLUMBING

ROOFING: DIMOND G550 STEEL 0.55mm

50mm

FLASHING

1500

600

200MM REINFORCED CONCRETE WALL T&G FORM-WORK FINISH ONE SIDE WITH 1 LAYER OF 13MM GIB AQUALINE ON 20*45 CAVITY TIMBER BATTENS THE OTHER SIDE

10 DEGREES SLOPE

3986

762

500 FIRE

2298

966

1261

1325

700

--/60/60 FRR FIRE RATED DOOR

2579

13 61

UP

200MM REINFORCE CONCRETE WALL T&G FORMWORK FINISH ONE SIDE WITH 90/90/90 16MM GIB FYRELINE THE OTHER SIDE

25mm

BUILDING WRAP

1783

1741

3100

6231

9.0 11

STAIR PRESSURISER

957 608

200MM REINFORCED CONCRETE WALL ON 90/90/90 16MM GIB FYRELINE AND T&G FORM-WORK FINISH ONE SIDE WITH 1 LAYER OF 13MM GIB AQUALINE ON 20*45 CAVITY TIMBER BATTENS THE OTHER SIDE

90*45@600 CRES TIMBER FRAMING WITH ONE LAYER OF 10MM GIB AQUALINE ONE SIDE AND 16MM GIB FYRELINE THE OTHER SIDE

90*45@600 CRES TIMBER FRAMING WITH ONE LAYER OF 10MM GIB AQUALINE ONE SIDE AND ON 90/90/90 16MM GIB FYRELINE AND T&G FORM-WORK FINISH OTHER SIDE

4290

LIFT WELL

IN COMPLIANCE WITH NZBC D1, REFER SPEC

100mm

ANGLED 140mm*45mm @600crs PURLINS ALLOW FOR FALL

300mm

19mm*19mm FILLET

1198

FIXING PURLINS TO RAFTERS: FIXING TYPE T-1/10g SELF DRILLING SCREW, 80mm LONG

90mm*45mm CONTINUOUS BLOCKERS SUPPORTING GUTTER

700 707

707

240mm*45mm RAFTER @600crs

C

600*600 REINFORCED CONCRETE COLUMNS. REFER TO STRUC ENG DRAWINGS

ROOF INSULATION: PINKBATTS SKILLION ROOF R3.6

This design and drawing is the copyright of Nhut Nguyen, Tom Ryan and Russell Forbes and is not to be reproduced without written permission.

Core Construction

08/03/15

Address:

25 Frederick Street Te Aro, Wellington, 6011

Drawing Scale:

1 : 50

Drawing:

PRIMARY CORE PLAN

C

Project No.

B

01

ROOFING: DIMOND G550 STEEL 0.55mm DOUBLE GLAZING, LOW-E, REFER TO GLAZING COMPANY

ANGLED 140mm*45mm 1.2M PREFAB @600crs PURLINS ALLOW SPANDEL PANELS FOR FALL

PRECAST CONCRETE STAIR IN COMPLIANCE WITH NZBC D1, REFER SPEC

L BEAM SUPPORTING UPPER CONCRETE FLOOR, SPECIFIC ENGINEERING DESIGN, SEE STRUCTURAL ENGINEER DRAWINGS

UNISEX TOILET OFFICE

--/60/60 FRR FIRE RATED DOOR

400*300 STEEL UB SECONDARY BEAM

L BEAM SUPPORTING UPPER CONCRETE FLOOR, SPECIFIC ENGINEERING DESIGN, SEE STRUCTURAL ENGINEER DRAWINGS

OFFICE

400*300 STEEL UB SECONDARY BEAM

1A

600*1200 SUSPENDED CEILING REFER TO REFLECTED CEILING PLAN AND DETAIL 1.

656

2992

600

25MM COATED STEEL CAT-WALK 240mm*45mm RAFTER @600crs

500mm 200MM HOLLOWCORE SLAB WITH 65MM CONCRETE EXTERNAL TOPPING , 18MMFASCIA BOARD PLYWOOD FLOORING

COATED STEEL SUSPENSION BRACKET

240mm*45mm FLY RAFTER @600 crs

B109

DOUBLE 90mm*45mm TIMBER TOP PLATES

3700

2992

2712

ROOF INSULATION: PINKBATTS SKILLION ROOF R3.6 DOUBLE GLAZING, LOW-E, REFER TO GLAZING COMPANY

SOFFIT

Level 2

140*45 @600CRS TIMBER FRAMING WITH 1 LAYER OF 16MM GIB FYRELINE ONE SIDE, ACOUSTIC INSULATION

600

400*600 STRUCTURAL CONCRETE BEAM, REFER TO STRUC ENG

50MM STEEL I-BEAM, ANDODIZED

TIMBER BEAM, TREATED H1.2 13mm GIB 45X45 BRACELINE CEILING GRADED SG8 @400CRES DIAPHRAM ON 70mm*35mm CEILING BATTENS

UNISEX TOILET

200MM REINFORCED CONCRETE WALL T&G FORM-WORK FINISH ONE SIDE WITH 1 LAYER OF 13MM GIB AQUALINE ON 20*45 CAVITY TIMBER BATTENS THE OTHER SIDE

200MM HOLLOWCORE SLAB WITH 65MM CONCRETE TOPPING , 18MM PLYWOOD FLOORING

PARAPET WALL AND INTERNAL GUTTER 1:5@A3

BARGE FLASHING: ZINC COATED STEEL SHEET, 0.55mm BMT, GRADE G300

B107

600*1200 SUSPENDED CEILING REFER TO REFLECTED CEILING PLAN AND DETAIL 1.

D08

B104

600*600 REINFORCED CONCRETE COLUMNS. REFER TO STRUC ENG DRAWINGS

BB

656

BUILDING WRAP

B

600

1925

NEIGHBOR’S WALL

200MM REINFORCED CONCRETE WALL ON 90/90/90 16MM GIB FYRELINE AND T&G FORM-WORK FINISH ONE SIDE

2579

--/60/60 FRR FIRE RATED DOOR

2 B110

1.2M PREFAB SPANDEL PANELS

SCOTIA MOULD 200MM REINFORCE CONCRETE WALL T&G FORMWORK ONE SIDE

INTERIOR WALL LINING: 13mm PLASTERBOARD 25MM COATED STEEL CAT-WALK

CONTINUOUS SEALANT AIR SEAL RETAIL

RETAIL

BUILDING WRAP

200MM HOLLOWCORE SLAB WITH 65MM CONCRETE CLADDING: JSC TIMBER BEVEL BACK WEATHERBOARD TOPPING , 18MM 32mm LAP ON RIGID AIR BARRIER PLYWOOD FLOORING

Level 1 0

COATED BRACKET, 2xM12 BOLTS

PBS ETERPAN 4.5mm RIGID AIR BARRIER

20mm H3.1 TREATED RADIATA PINE CAVITY BATTENS BASEMENT

BASEMENT

D04

400*600 STRUCTURAL CONCRETE BEAM, REFER TO STRUC ENG

This design and drawing is the copyright of Nhut Nguyen, Tom Ryan and Russell Forbes and is not to be reproduced without written permission.

Core Construction

08/04/15

Address:

25 Frederick Street Te Aro, Wellington, 6011

Drawing Scale:

1 : 50

Drawing:

SECTION AA

Project No.

01

ROOF/ WALL JUNCTION 1:5@A3 500*400 STEEL T-BEAM, BOLTED INTO THE CONCRETE BEAM BY M12 DYNABOLTS

B106

This design and drawing is the copyright of Nhut Nguyen, Tom Ryan and Russell Forbes and is not to be reproduced without written permission.

Facade Design

13/10/15

Address:

25 Frederick Street Te Aro, Wellington, 6011

Drawing Scale:

1 : 20

Drawing:

CUTAWAY FACADE DETAIL

Project No.

3

B101 A106


PERSONAL ACHIEVEMENTS: EXHIBITIONS

aceartinc, Winnipeg, Manitoba, Canada. 2016

Auckland Art Gallery, New Zealand. 16th -18th November. 2015



Portfolio draft nhut Nguyen