[2020 - 2023] FOLIO | Kolkateka K. Nguon

PORTFOLIO | JOURNAL | MANUAL

Kolkateka K. Nguon

Conceptual Artist for Living Design

2020-2023

On Architecture, Arts, Planning, and Living Design.

Through the medium of drawings, photography, painting, and storytelling.

Kolkateka K. Nguon | Folio

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K. KOLKATEKA NGUON

Residence:

213, 14C, Sensok, Phnom Penh, Cambodia

Email: nkolkateka@gmail.com

Phone: +855 11 679 168

Language: English / Khmer (Cambodian)


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2019 (Gradu-

Education

Logos International School

Honor Roll, GPA: 3.7/4.0 (Unweighted)

Relevant Coursework: Art, Digital Design, Digital Storytelling, AP Computer Science, AP

Calculus, Digital Photography. Physics, Philosophy

2022 (Expected)

Monash University of Melbourne 2022

High Honour GPA: 3.92/4.0

Course: Architectural Design

Relevant Coursework: Architectural Performance, Architectural

Communications, Architectural Studio,

February, 2021

Experience

Senior Peer Mentor

Monash University

- Coordinated Peer Mentoring Team - assisted the mentor’s counselling for first year mentees,

aiding them with their transition into university.

- Organized and Planned Meetings with Mentoring team.

July, 2021-2022

Jean De Spegieler Studio (Part-Time)

- Conceptual Development: The Pursat Circle Residence

- Conceptual Development: Chinese Pavillion Project

Oct, 2021

CUMULUS Studio (Part-Time)

- Architect Assistant: Wellington Marina Eco Resort

April, 2021 - 2022

Khmer House Project (Personal Project)

- Designed and Engaged with a team of traditional Khmer arpenters.

April, 2019-2022

Nov 2022 - May 2023

University Student Development Program (USDP)

SmartEdu for Cambodia Program

- Closely Interacted with university students nation-wide to come up

poineering business strategies to aid Cambodian Development.

- Won the final business development challenge.

SIRI Asia

Management of the Architectural Studio:

- Recruit and engagea a team of architects, interior designer, MEP

manager, and contractors

- Direct the conceptual and art direction of each projects to ensure

- Monitor tasks in progress and working timeline to keep the project in line

with the given time and budget.

- Procure contractors materials and finishings from start to finish of each

projects.

- Monitor site progress to ensure the project final outcome .

Skills:

ADVANCED

Rhinoceros

ADVANCED Adobe Photoshop

ADVANCED Procreate

MEDIUM Adobe Premier Pro

MEDIUM

Adobe Illustrator

MEDIUM Adobe Indesign

BASIC Adobe Xd

BASIC Autocad


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Kolkateka K. Nguon | Folio 5

INDEX

Under-Grad Studio Works

Crash at Xanadu - Out of Earth Shelter

Musueum of Old and New Clay

The Urban Sanctuary

How to Read A Room

The Office

Authoritarian Burreau

Working Experiences

Wellington Marina Eco-Resort

Chinese Ancestral Pavillion

Wooden Khmer House

Oxygen Media Group Headqaurter

Koh Smach Yacht Club

About me | Personal Hobbies

Oil on Canvas

Photography


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Architectural Studio 01

Year: Semester 01, 2021.

Studio Coordinator: Edwina Brisbane, Matilda Parolini.

Location: Planet Xanadu - Crash Landing Site.

Role: Individual Thesis.


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C R A S H

LANDING ON

XANADU.

“In the civilizations I have created we track the setting of the sun and

the paths of the planets across the skies. It is in the act of tracking

and the gazing into the sky at night that the mix of imagination and

precision intermingle. This mindset is key in the course of applying

memory to the future and drawing lines of experience into the vast

array of possibilities unseen in the unknown.”

Creating Civilizations - Robert Strati, 2013

The iterative development of a series of complex and layered

composite drawings has helped you to refine a clear and consistent

narrative. We now know a lot more about how the single-occupant

capsule to be designed in Task Two will need to operate.

This is a good moment to return to the diagram.

A new version of a capsule functionality diagram can help you

to articulate a clear set of design priorities for this project. Be as

specific as possible - what does the capsule that you’ll be designing

need to do? How does the structure need to relate to the inhabitant

and the mission’s broader deep space context?


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Architectural Portfolio


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2020 | The Crash at XANADU

The “Life After Earth” design proposal is derived from the narrative of Swift

Carraway, a space traveller who had made her way to an unknown planet -

Xanadu - through the crash-landing of her space capsule. To her surprise, this

earth-like planet would be a place she calls home.

The project proposes the design of a shelter that does not only pose as an

asylum, but also as a healing sanctuary for the inhabitant to relinquish and

reconcile with her distant past on Earth.


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Fabricated from the crash-landing fragments of her space craft, agglomerated

with mud and existing substances found on the earth-like

planet of Xanadu, Swift found herself a place she calls home.

As a mimicry,


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NGUON K. Kolkateka | 2021

NGUON K. Kolkateka | 2021

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Architectural Studio


Studio Coordinator: Dr. Laura Harper.

Location: West Melbourne, Old Arden Quarry.

Role: Project Coordinator (Team: Kheng Hong, Jijing Chen, Reddy Lei)


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MUSUEM

of OLD and

NEW

CLAY.

Clay is one of the most enduring and adaptable of building materials.

We associate it with the ancient world, as well as the present

– with the fantastical as well as the mundane. The amazing material

properties of clay mean that it can be moulded, extruded, fired,

sculpted, poured, rammed, stacked and even 3d printed to create

an infinite array of tectonic expressions and constructions that continues

to grow and transform.

The aim of this studio is to simultaneously learn about the history,

properties and characteristics of building with clay, but also to use

clay as a medium through which to test an architectural process of

recursive tectonic exploration.

We will refer to architects/makers/tinkers/scultors such as Bloc,

Gaudi,Heatherwick, Odonell & Tuomey, Furness, Shechet, Teresa

Esteban, and others who use recursive formal and tectonic processes

rather than theoretical frameworks or strategic concerns to

develop ideas, characteristics, atmospheres and outcomes.


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ARC2001 | Museum of Old and New Clay

NGUON Kolkateka


The Museum of Old and New Clay

The museum is an agglomeration of a catalogue of bricks, masonry techniques, and emerging clay technologies, that are accumulated

through both on-site and online research. Its design is informed through a series of tectonic explorations which were undertaken from week

01-05. These exploration process are not done not replace the old by the new - to juxtapose and contrast them in ways that both new and

old clay samples have their own meaning of existence.

The contrasting catalogue of brick and clay samples were presented with great challenges as well as opportunities for the creation of a

design that is unique to its process of research. Details such as colour, forms, and expression of the created space is solely an homage to the

rich variety presented within the catalogue. Much like a series puzzle, brick modules and structures are pieced together, broken apart, and

then recombined again multiple times to test out new and old possibilities of constructing with the humble material. This engaging process is

alluded in the drawing above is similar to that of natural selection, this micro museum is a fusion of the most successful selected parts.


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ARC2001 | Museum of Old and New Clay

NGUON Kolkateka

NGUON NGUON K. Kolkateka K. | 2021 | The (Micro) Museum

of Old and New Clay

The museum is an agglomeration of a catalogue of bricks, masonry

techniques, and emerging clay technologies, that are accumulated

through both on-site and online research.

Its design is informed through a series of tectonic explorations which

were undertaken from week 01-05. It is to note that the fusion is done

not replace the old by the new - to juxtapose and contrast them in

ways that both new and old clay samples have their own meaning of

existence.

79


19

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precedents.

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e designed work,

esture in itself - one

ence. With that said,

nt, I aspire to be a

f the consequences

s of realized

tand the impact it

THE UTOPIAN STUPA , 2021

The underground consists of the pillar-arch elements from week02, while simultaneously

creating support for the structure above. A victorian chimney is used as a pathway to descend to

the underground, connecting the below and above ground.


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<ADD Tectonic Assign Study #> 03

points

the 4-hole brick is interesting in

howcase certain elements/

could not be seen if it was laid

w the roof can be more

to the structure - it appears to be

within this design iteration.

w the statue and the sabin can

esive with the overall structure.

ng risky, color pallete is potent,

sful in conveying evocative

oving Forward

ow the roof and the sabin

e made to become a part of the

ure.

n precedents: Thomas

, Joseph Sarah Fian, Marry

n.

ther iteration of your experiment

ken

as been done to understand the

Self-Assessment

In response to the accumulation of experiments, research, and tectonic studies from the weeks

prior, THE along UTOPIAN with the help of the catalog, STUPA this tectonic | 3D-PRINTED study experiments with the FAREWELL

mixture

between all of the disparate elements from different ends of the time period.

The culture of housing the dead in stupa is still vastly prevalent within a developing nation like Cambodia. Through

The 4-hole brick masonry from week01 is chipped and carved away to reveal its alluring pattern

that

the

is

studio

not seen

of

in traditional

Old and

masonry.

New Clay,

Week03's

I ought

research

to

had

experiment

sparked my interest

with contemporary

the 3D

forms of stupa construction and fabrication:

printing of clay as I ponder on the possibility of implementing the method for the inlay of

traditional roof tiles. Clay is directly extruded onto the roof, supported by formwork, to create a

canopy that is

one

free

of

of labour.

which

The

is

3D-printing

3D extruded

of statues

stupa

alludes

- alluding

to the future

to

of

the

such

future

traditional

of construction within a traditional context.

artform, in which is supported by the loadbearing-polybrick from Jenny Sabin.

Along with the stacking of the 4-hole brick, The 4-hole brick masonry (a common brick style in Cambodia) is

chipped and carved away to reveal its alluring pattern that is not seen in traditional masonry. The 3D printing of

clay is experimental, as I ponder on the possibility of implementing the method for the extrusion of traditional roof

tiles. The 3D-printing of statues alludes to the future of such traditional Cambodian artforms, in which is interwoven

and supported by the load-bearing polybrick inspired by Jenny Sabin.


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Team: Kheng Hong Ly, Jijing Chen, Difeiyang Lei, Kolkateka K. Nguon

Analytique Drawing - The Brick Narrative | Museum of Old & New Clay


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2021 | The Brick Narrative

The MONC&Factory aims to re-establish the presence of Artisan Brick within Melbourne

- proposing brick as a sustainable building block of rich narrative, that is locally derived

and sustainably made. With the vision of establishing the museum as West Melbourne

industrial tourism destination to market the site-made Artisan Brick to the surrounding

suburb.

New Clay

Manifesting itself as an embodiment of an exhibition, the museum is designed to not

replace the old by the new but to juxtapose and contrast them in ways that both new and

old brick samples have their own meaning of existence. Comprising a collection of both

interactive and static dwellings, the museum is designed to enhance the clay experience


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ARC2001 FINAL PROJECT | MONC&FACTORY

Team: Kheng Hong Ly, Jijing Chen, Difeiyang Lei, Kolkateka K. Nguon


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Kolkateka K. NGUON | Y2S1

wait i’m textin mom.


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Studio Coordinator: Alex Mcglade.

Location: Cremorne, Melbourne, Victoria.



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CREMORNE

U R B A N

FUNCTION(S)

Cremorne has an identity Crisis - as for so long, its developments

has been linear in a way that newfound technologies

are often deployed as varnishes to offset the old.

The Balmain Street Project proposes a different way of

building on Cremorne not only for the general improvement

of design richness but with the inteiton of re-introducing

Cremorne back its character - the osmotic relationship of

the old and new, along with their purpose, technology and

character of the suburb, that aims to rediscover the dynamic

of the site.

Integrated into the past industrial site of cremorne, the

project re-imaines the relationship between a site and its

neighborhood. The interplay between the old and new radiates

through the manipulation of the perforated brickwork

as it is juxtaposd with the new-found potential of the polycarbonate

sheets. The site pursues the common lanaguages

of a sense of lightness and translucency as the corrugated

polycarbonate sheets perform as light-filtering envelopes,

both for the interior and theexteior while simultaneously

offering both public and intmate spaces.


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[1.1] WEEK01 Ma

Overview o

Mapping Exercise

With thorough research it became apparent

to me that Cremorne is indeed of a suburb of a

mixture of industries, background, and cultures.

From Textile industries, to power stations, Cremorne

is a chaotic blend of change throughout

different periods of Melbourne.

The Map aims to visualize the direct and indirect

relationship between Cremorne, its people

and Melbourne as whole.


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Y1S2 Lens01 | Developing a Situation

pping Exercise

f Cremorne

Feedback: How does each

component of the map counterplay

with one another? How

do they relate? How to enforce

the relationship/establish connections?

NGUON Kolkateka | 23


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[5.2][WIP] Week06: GRIDS + GRADATION

Placement of Shelters

Through the grid exercise, the final shelter placement was concluded to the one visualized

above. In order to understand the prevailing site conditions (view/visibility, Implied spaces,

Access balance, and consistency), a hand-drawn diagram was create to at the same time,

visualize and explore these possibilities.

Along with this, I went on to block in the shelter locations into the already-made elevations

to further test out the views and visibilities from both access points.


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Y1S2 Lens03 | System Stories



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[


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Y1S2 HOUSE+ | System Stories

NGUON

Y1S2 HOUSE+

[WIP] Collages of Moments

Approach + Inside

Feedback + Insight:

- Make more concise.

[WIP]

Experiential Collage:: Urban Sanctuary

Through this series of collages, I attempt to visualize/capture the experience of

how one would approach the project site.

Feedback + Insight:


- Consider how to tie these collages into the common

thread within the project.

- How do each of them relate to one another?


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Exploded Drawing of “The Urban Sanctuary”


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2021 | The Urban Sanctuary

Composited into a collection of dwellings ranging from spaces catered

for public engagement, to sleeping capsules that are designed for private

retreat, the Urban Sanctuary Hostel offers the choice for one to engage or to

retreat from the busy urban scape of the Cremorne suburb.

The white color of hostel juxtaposes itself with the busy suburb during daytime,

offering a sense of serene calmness to both the passerby and those

inside, while consequently illuminates light during the night time, bringing

life into its structure and its surroundings. The translucent characteristic of

the facade opens an opportunity for the composition of a space that is not

alienated from the suburb but ties itself to urban fabric through its minimal

gesture and the complexity offered by the material. This is done not only to

aid the general improvement of public wellness and design richness, but with

the intention of re-introducing Cremorne back its character - the symbiosis

relationship between the old and new, along with their purpose, technology,


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NGUON NGUON K. Kolkateka K. | 2021 | Kolkateka K. Nguon | Folio

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Studio Coordinator: Kate Finning & Colby Vexler.

Location: non-specific.



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HOW

READ

TO

A

R O O M .

The history of rooms is written as a succession of styles. However,

an alternate reading of architectural history can be told through

the plan, particularly of housing, and its evolving representations

and modes of use. Here the role of architectural elements such

as; walls, windows, doors, and floors seem to be obvious points

of discussion, but instead we will broaden our studies to include

the ordinary arrangement of things that actually inhabit the room.

While a functionalist plan, and its oft mentioned but little understood

misnomer “program”, may indicate the services to a room, it

is in fact through the loose items within a space that a way of life is

revealed. If the reading of an architectural plan is a form of literacy,

then a consideration of its loose acts of assemblage and arrangements

could be considered a form of reading the lived-reality of

the architecture of domestic space.

Through this course students will first be introduced to the history

and principles of the functionalist plan and the typical or open plan

of housing. Through a series of seminars and analytical drawing

tasks students will study and re-evaluate acts of planning within

domestic space including the role of furniture, fixtures, fittings, appliances

and objects within the room. The unit has the less humble aim

of questioning the restrictive logic of the practical in favour of ideas

of comfort and use.


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Long Section

A Formal Analysis


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Floor Layout


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Front Elevation

PART 01

Formal Analysis of Peter Markli’s

Haus Kuehnis, 1982.


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Second Floor Plan

First Floor Plan

Basement Plan


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PART 02

A Formal Analysis Through Furniture Study

Peter Markli’s Haus Kuehnis, 1982.


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Images via Heinrich Helfenstein

and Petr Šmidek.


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Interior Elevation

Interior Elevation

PART 02

A Formal Analysis Through Furniture Study



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Interior Elevation

Interior Elevation


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Studio Coordinator: Stephen Hawkin

Location: Bendigo, Melbourne, Victoria.



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THE OFFICE.

P o s t p a n -

demicWorkspace.

The COVID-19 pandemic has provided us with an extraordinary opportunity

to re-imagine the narrative around what our working lives should look like. As

architectural practitioners, our role within the cultural and societal shift will be

crucial. Our informed critique and speculative design will have the potential to

inform the direction of not only future workplace cultures, but also wider shifts

in behavioral patterns.

‘The Office’ acknowledges research projects by architectural practices and

‘thinktanks’ that explored the immediate impact of the COVID-19 pandemic on

workplace design. However useful, this research was in many cases limited to

overtly pragmatic solutions that could be rolled out across generic commercially

driven projects. For many, this is where the conversation ended.

‘The Office’ is a reaction against this complacency, against the formulaic, the

general and the overall. It is the reintroduction of disorderliness, selfdetermination

and failure into the lives of everyday workers. A figurative and literal

urban scaffold, the intention of this studio is to develop projects that perform

as a mechanism to inject architectural diversity back into the workplace and

re-vitalize public discourse on the possibilities of the ‘future city’. What is

required is an architectural argument that captures the social, cultural and

political ambitions of the post-COVID-19 era. Perhaps then, rather than completely

reconfiguring the urban fabric of the city, the future workplace line in the

gradual establishment of an ideology that seeks to re-engage with popular

capitalist objectives, rather than reject them entirely.

Ultimately, this studio will ask:

What do you want your future workplace to look like?


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THE OFFICE | Stephen Hawkins


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The project ai

and living spa

of working in

through the c

The project

of work and

lenge on ou

daily interac

of sharing e

The Bendigo

diversified c

ly, it sets to

agglomerate

corporate.

INDIVIDUAL RESEARCH TASK

KOLKATEKA NGUON | Week 09

IDEOGRAM:

The ideogram is to reflect on the notion of work in relation

to the Mid-semester project.

THE OFFICE | Stephen Hawkins

Given the synopsis of the studio, The Office, I began to

question the blurred and the clear boundaries between

work and life and where it became segregated from

our daily lives. Spatially, this surfaces the question of

whether we should limit the working environment to

an office space, and to what extent the boundaries can

be blurred.

The Bendigo C

project

32

to the

is succoured b

This blueprint

in execution.


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BENDIGO

COMMONS


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THE OFFICE | Stephen Hawkins KOLKATEKA NGUON | Week 10

WORK LESS

WORK-LIKE

“working lifestyle”

an ally of lifestyle-tourism

A Manifesto: The notion of work must not be attached to the

spatial confinement of an office. Instead, work itself is a complex

system of tasks, and should also be translated and practised spatially

to suit the needs of a collaborative eco-system.

Tourism involvement was conceptualised as a multidimensional construct consisting of centrality to lifestyle, attraction,

self-expression, and food and wine.

Mixed-use innovation and creative hub cultivating the

next generation of entrepreneurs, makers and creative

professionals of the City of Greater Bendigo.

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The project aims to rediscover the delimitation of work

and living spaces; to reflect and challenge on our ways

of working in relation to our daily interactions induced

through the concept of sharing economy. T

he Bendigo Commons visions itself to become a pilot

project to the concept of a working neighbourhood that is

succoured by a system of sharing values and goods. This

blueprint seeks to be radical in nature, yet adaptable in

execution. The Bendigo Commons is designed to host a

diversified

collection of functions. Quantitatively, it sets to host 1000

workers across the site. It agglomerates functions of both

recreational and corporate.


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Hawkins KOLKATEKA NGUON | Week 09


KOLKATEKA NGUON | Week 09

Concept Sketch / Design Study


ncept Sketch / Design Study


THE OFFICE | Bendigo Commons | 30423447

Kolkateka Nguon


Conceptual Sketches of Spatial & Volume Design

BENDIGO COMMONS

THE OFFICE | Bendigo Commons | 30423447

Kolkateka Nguon | Stephen Hawken | Y3S2

BENDIGO COMMONS

Mixed-use innovation and creative hub cultivating the next generation

of entrepreneurs, makers and creative professionals of the City of

Greater Bendigo.

Mixed-use innovation and creative hub cultivating the next generation

of entrepreneurs, makers and creative professionals of the City of

The

Greater

project

Bendigo.

aims to rediscover the delimitation of work and living spaces;

to reflect and challenge on our ways of working in relation to our

The project aims to rediscover the delimitation of work and living spac-

daily es; to reflect interactions and challenge induced on our ways through of working the in concept relation to our of sharing economy.

daily interactions induced through the concept of sharing economy.

The Bendigo Commons visions itself to become a pilot project to the

The Bendigo Commons visions itself to become a pilot project to the

concept of a of working a working neighbourhood neighbourhood that is succoured that by a is system succoured of by a system of

sharing values and goods. This blueprint seeks to be radical in nature,

sharing values and goods. This blueprint seeks to be radical in nature,

yet adaptable in execution.

yet adaptable in execution.

The Bendigo Commons is designed to host a diversified collection of

functions. Quantitatively, it sets to host 1000 workers across the site. It

The Bendigo Commons is designed to host a diversified collection of

agglomerates functions of both recreational and corporate.

functions. Quantitatively, it sets to host 1000 workers across the site. It

agglomerates functions of both recreational and corporate.

DESIGN TASK:

Final Presentation (Project Introduction)

Work itself is a complex system of tasks, and should also be translated and practised spatially to

suit the needs of a workspace. Work is life. How do we make work less work-like

Nguon 3 Work itself is a complex system of tasks, and should also be tran

DESIGN TASK:

132

suit the needs of a workspace. Work is life. How do we make w



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Y

INTANGIBLE ASSET: Connection

ommons | 30423447

(Knowledge, Ideas, Networks)

ed

HE OFFICE | Bendigo Commons | 30423447

SIGN TASK:

SHARING ECONOMY IN THE CO-WORKSPACES YOU ?

Coworking-space

access to shared p

al Presentation (Project Introduction)

Interactive

Bouncken, Ricarda B, and Reuschl, Andreas J. “Coworking-spaces: How a Phenomenon of the Sharing Economy Builds a Novel Trend for the Workplace and for Entrepreneurship.” Review of Managerial Science 12, no. 1 (2018): 317-34.

Bendigo Commons

Interactive

Co-working Spaces

Bendigo Commons

Co-working Spaces

Bendigo Commons

Bendigo Commons

Traditional Office Space

Rental Platforms

Independent Office Space

Traditional Office Space

Bendigo Commons

Independent Office Space

Shared Office Space

Rental Platforms

Shared Office Space

Bendigo Commons

Bendigo Commons

Work-From-Home

YSICAL ASSET: Resources

pace, Equipments, Facilities)

TANGIBLE ASSET: Connection

nowledge, X

PHYSICAL ASSET: Resources

Ideas, Networks)

(Space, Equipments, Facilities)

FICE | Bendigo Commons | 30423447

Y

(Project Introduction)

Work-From-Home

INTANGIBLE ASSET: Connection

(Knowledge, Ideas, Networks)

SHARING ECONOMY IN THE CO-WORKSPACES

Secluded

Free-lancing

YOU ?

SHARING ECONOMY IN THE CO-WORKSPACES

Bendigo Commons

Free-lancing

YOU ?

THE UTILIZERS THE LEARNERS THE SOCIALIZERS

Ricarda B, and Reuschl, Andreas J. “Coworking-spaces: How a Phenomenon of the Sharing Economy Builds a Novel Trend for the Workplace and for Entrepreneurship.” Review of Managerial Science 12, no. 1 (2018): 317-34.

DESIGN TASK:


Secluded

Kolkateka Nguon | Stephen Hawken | Y

Coworking-spaces refer to the idea of a

access to shared physical assets and the

Cowo

acces

Bouncken, Ricarda B, and Reuschl, Andreas J. “Coworking-spaces: How a Phenomenon of the Sharing Economy Builds a Novel Trend for the Workplace and for Entrepreneurship.” Review of Managerial Science 12, no. 1 (2018):

Utilizer use coworking-spaces to profit

from the technological infrastructure.

Learner use coworking-spaces to acquire

knowledge, visit events, and exchange with

peers.

Socializer search for recognition and acknowledgement

in coworking-spaces.


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BENDIGO COMMONS

Axonometric Drawing

Dus quis magnima gnimaiore des et

asperfe rchitas prerfero tem vendae.

Caboriame nossunt essum eos

quias alic te delique non re voluptae

cupturi aestrum quam, nobissitatem

faccus nemodis parchit isciae et quis

doloratiis volorei citamet exerci dus,

sunt pore des eos ut dentis quis explit

ditata parit incto tiis volorei citamet

exerci dus, sunt pore des eos ut den-

The Bendigo Commons aims to not only blur

the bounda-ries between work and life, but to

also blur the boundaries between segregated

centralised workplace, and induce a sharing

economy mindset to the occupation of space and

living. One aspect of coworking-spaces is the

sharing of of-fice space; another is the sharing of

social spaces. Both give rise to social interactions

and thus knowledge and idea ex-changes which

might provide more than a mere sharing of working-spaces

but of entrepreneurship or of incubation.

Coworking-spaces stimulate the finding of

mates for teams, projects, and entrepreneurship.


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DESIGN TASK:

Final Presentation


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BENDIGO

COMMONS

LIVECREATELIESURE

“Co-working allows flexibility and

social interaction that can stimulate

their members’ in-spiration, the

exchange and development of ideas

among coworking users, the development

of teams and projects in the

coworking-space, the autonomous

collaboration among coworking-users

and incumbent firms—all improving

learning among coworking-users

fos-tering personal satisfaction,

venturing, and/or business model

development.


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Studio Coordinator: Dr. Eduardo Kairuz.

Location: Phnom Penh, Cambodia.



68

PUNK:

THE

AUTHOR-

ITARIAN

BUREAU.

“Punk is unimaginable in London today.”

Mark Fisher (†)

Lecturer in Visual Cultures at Goldsmiths, University of London

Author of Capitalist Realism: Is there no Alternative? (Zero Books)

This studio offers the opportunity to explore how architectural design can be exercised as a form

of political resistance. Inviting students to engage with the design process through civilised forms

of dissent and disobedience, the studio seeks to find if architecture can become a tangible manifestation

of counterculture, as well as an effective instrument for political activism.

What’s the point? In a historic time marked by increasing marginalisation and inequality, the

studio suggests that architecture, first and foremost, must attend the basic needs of the most

vulnerable social groups. These include migrants, the poor, the young, and other segregated

minorities, who are more likely to be affected by austerity, deregulation, bigotry, racism, and

trickle-down economics.

So, how to do this? Students will be invited to debate their points of view, and discuss the relevance

and validity of the studio’s central argument. Then, they will investigate several of the

correlations that exist between neoliberal politics and the post-capitalist configuration of public

and private space — for instance, did you know that currently in the UK less than 1% of architects

work in the public sector, as opposed to 50% in 1970s? We will discuss the implications of this

kind of alarming facts, particularly for architecture, the city, and culture at large.


69

Proposal

2022 Architectural Studio

PUNK BUILDINGS

Authoritarian Bureau

Wat Phnom, Phnom Penh

Acts:

(Acts 1-5) Site of the speculative project is hosted by the post-destruction

ghost of Wat Phnom: a founding temple of the city, once a symbol of the

city’s culture and living heritage. The parasitic structure of the Authoritarian

perches onto the temple with the attempt to repair and beautify the

worn down remnant.

The bureau houses the heroic police force who deems themselves crucial

for the success of the city and its development: displacement of commons

that may threaten the image of the city (E.g. The White Building, Beong

Kak, Koh Pich...,)

(Act 6) The tower situates itself central within the old town: overlooking

two sides of the city: the beautified, and the soon to be beautified. Hence,

the bureau became a transit-protesting point for those who had lost their

home to the beautifying city.

Amenities:

Watch Room

Light House

Department of Beautification

Brothel

Hostel

Brewery

Wat Phnom


70

Destruction of The National Bank of Cambodia


71

Darden was convinced that it was only through the ironic

and rhetorical device of reversal that architecture’s hidden

depths could be unearthed, turned over, and revealed.

Darden used three texts as the pre-texts, contexts, and

sub-texts for Sex Shop. The first was the story of Adam

and Eve’s enticement, disobedience, shame, and expulsion

from the garden in Genesis

The mythologies of longing, prohibition, denial, desire,

nakedness, shame, sensuality, sexuality, carnality, power,

judgment, sinfulness, sorrow, and loss embedded in these

stories establish the ground on which Sex Shop’s rhetorical

territory was then mapped. Darden developed a

mapping device he called the “dis/continuous genealogy”

for each of his ten projects. Each genealogy is a dense representational

and textual montage; a superposition of

a set of carefully chosen and named figures establishes the

mythopoeic agenda for representation that informed the

conceptual and formal development of the project.

(Peter Schneider, 2004)


72

(dis)continuous genealogy

“to consciously set out to falsify their work . . . based

on the classic game of cross reference . . . constructing

a space in which encyclopedic listing carried to excess

ruins classical representation.”

a trope,

a device that “turns” meaning, resulting in a twisting or

even a reversal of meaning.

(Michael Chapman and Michael J. Ostwald, 2004)


73

(dis)continous genealogy

Saramani, Danseuse Cambodgienne, 1919

Remnants of White Building 2017

Crematorium of King Sisowadh 1927

Le sommet de la Tour Eiffel. M. Rouillard, 1889.

Dante Striking against Bocca Degli Abati - William Blake, 1826.

Royal Entertainer, 1922


74

PLAN &

SOUTH ELEVATION

The Authoritarian Bureau


75

61

A Reflection:

“Beautiful” Architecture(?)

Built culture gives a city its Identify. Not

only the building itself, the sense of place/

building can only be achieved if the urban

heritage is still intact and preserved whilst

accommodating for new development.

“Beautiful” buildings do not have an unequivocal

definition. It has several components,

which co-exist to varying degrees.

These include:

• Cultural and Historic Artefacts

• Intrinsic and in-use values

• Symbolic values

• The relationship between the Building

and its Location.

A building may have little glamour as a

property but is significant because momentous

events transpired there. “Beautiful”

buildings fulfil important demands for

cultural experiences and leisure, and create

benefits for tourism.

Post-war

Phnom Penh, 1981

Courtesy of Poum Measbondol


76

THE WINDOW

Artefact 02

THE JOINERY

Basic Cambodian House Construction

System,


77

Wooden informal settlements of the White Building. The

settlements that are deemed to be unworthy for the face of

the city, has always been a part of the urban fabric of the

city and its living heritage.


78

Axonometric Drawing: 1:50 @ A4


79

2.0 Cataloguing Cambodia’s “Un-Worthy” Dwellings

Informal Settlements & The City Fabric

Early settlements of Phnom Penh, 1902 (EFOS)

Evicted Beong Kak Settlements, 2014 (Phnom Penh Post)

Evicted Beong Kak Settlements, 2014 (Phnom Penh Post)


80


2.1 Informal Settlements & Traditional Timber Stilt Construction

The resilience in Cambodian Rural Dwellings remains a living

testimony.

Surviving a tropical climate and turbulent political environment:

what are the key factors, contributing to the resilience of rural

Khmer dwellings? Contrary to many other aspects of Khmer

culture, Cambodia’s traditional dwelling remained resilient to

change; The rural dwelling endures, representing a familiar and

efficient shelter within which its inhabitants find refuge. Our

homes retain strong physical and symbol resemblance to those of

our ancestors, reflecting programmatic requirements for needs

of the household, as it also embodies the cultural rituals and

spirituality of the Khmer population, remain fairly unchanged,

even surviving the upheaval caused by the rapid “beautification”

of the city.

Extension of Timber

Dwelling -

White Building, 2017.

Cambodian Stilt

Farm House -

Kampong Cham, 2018.

Rural Khmer Dwelling -

Leszek Stefaniuk,

Cambodian Rural

House, 2014.


82


ARTEFACT 01

Sliding Door

Cataloguing White Building Fragments

The resilience in Cambodian Rural Dwellings remains

a living testimony. Surviving a tropical climate and turbulent

political environment: what are the key factors,

contributing to the resilience of rural Khmer dwellings?

Contrary to many other aspects of Khmer culture,

Cambodia’s traditional dwelling remained resilient to

change; The rural dwelling endures, representing a

familiar and efficient shelter within which its inhabitants

find refuge. Our homes retain strong physical

and symbol resemblance to those of our ancestors,

reflecting programmatic requirements for needs of

the household, as it also embodies the cultural rituals

ARTEFACT 01

Sliding Door

and spirituality of the Khmer population, remain fairly

unchanged, even surviving the upheaval caused by the

rapid “beautification” of the city.

ARTEFACT 01

Sliding Door


84

ARTEFACT 01

Sliding Door

ARTEFACT 01

Sliding Door

ARTEFACT 01 ARTEFACT 01

Sliding Door

Sliding Door

ARTEFACT 01 ARTEFACT 01

Sliding Door

Sliding Door


85

STUDIO PUNK

Mode of Communication:

CAMBODIAN MURAL PAINTING

Drawn based on abstracted geometries,

Cambodian mural paintings are multi-narrative

artefacts. This is an ideal

precedent for my project for it is culturally

charged and is a medium that would

allow me to tell a story of evolving architecture

through time. Therefore, the

drawing here is a cultural artefact that

captures and holds the narrative of built

culture and those who occupies it.


86

ANTI-CADBLOCKS

Cataloguing People and Culture

CRYING CAMBODIANS

Depicting the residents of the white

building: saddens over the loss of

their home and community.

The CARPENTER

Fixing the leaking roof. Red scarf (Kroma)

is used on both his head to retain

sweat and his waist to keep his tools.

The CARPENTER

Drinking is undeniably a large part of the

Cambodian culture. Through these paintings

are drawn without filter, to depict the

Cambodian demeanour and expressions.


87

NEW CARPENTER

He is learning to do his job as a carpenter:

climbing the roof.

OLD LADY

Wearing the fashionable sarong:

a form affordable fabric imported

from Indonesia in replacement for

the more expensive silk.

The PROSTITUTE AND THE

DRUNK CLIENT

Despite being engrained in the culture

for centuries, prostitution still

remains a taboo for Cambodians.

The prostitute puts on her makeup,

getting ready for a new client while

her old one is drunk and asleep.

LADY CARRYING WATER

Farming has been and remains a big

part of the Cambodian culture and

economy: what would people do

without a right to land?


88

ANTI-CADBLOCKS


LADY DOING LAUNDRY

Cambodia remains a patriarchal

country: with household chores still

predominantly seen as a women’s

duty.

DRUNK MEN

Drinking is undeniably a large part

of the Cambodian culture. Through

these paintings are drawn without

filter, to depict the Cambodian demeanour

and expressions.


89

ANTI-CADBLOCKS


CARPENTERS

Wooden working is engrained within

Cambodian Architecture. Until

today, carpentry work remains vital

in rural houses and pagodas construction

throughout Cambodia.

SILKWORM KEEPERS

The man is hanging a branch of maturing

silkworm cocoons for them

to dry off in the sun before boiling

them for silk.


90

ANTI-CADBLOCKS


WOMEN ADMIRING SILK

Silk continues to be a prized commodity

in Cambodia for its quality

and social symbol.

TRADITIONAL CAMBODIAN

DANCERS

For centuries traditional dance was

preserved only for the enjoyment of

the court. Today, the dance is made

public for the commoners by the

royals during special occasions.


91

ELEVATION OF PROPOSED

TOWER AND SETTLEMENTS


92

PHNOM PENH, 1902

Wat Phnom and Settlements


93

INTERIM SKETCH OF PANEL


94

1:150 @ A4

CAMBODIAN WOODEN

DWELLINGS:

Precedented by the communal living

concept of the Cambodian Village,

the speculative proposal aims

to capture a merge of a collection of

dwellings based on a blurred relationship

between neighbours.


95

1:150 @ A4


96

1:150 @ A4

CAMBODIAN WOODEN

DWELLINGS:

The speculative proposal aims to

capture a merge of a collection

of dwellings based on a blurred

relationship between neighbours,

where parts of one dwelling’s floor

becomes another’s roof and a grid

of columns are shared between

them.


97

CAMBODIAN WOODEN

DWELLINGS:

The speculative proposal aims

to capture a merge of a collection

of rural dwellings based on

a blurred relationship between

neighbours, where parts of one

dwelling’s floor becomes another’s

roof and a grid of columns

are shared between them.

The rural dwelling endures, representing

a familiar and efficient

shelter within which its inhabitants

find refuge. Our homes retain strong

physical and symbol resemblance

to those of our ancestors, reflecting

programmatic requirements for

needs of the household, as it also

embodies the cultural rituals and

spirituality of the Khmer population,

remain fairly unchanged, even

surviving the upheaval caused by the

rapid “beautification” of the city.


98

Kolkateka K. Nguon | Folio11799

THE UNFINISHED NARRATIVE

Dialogue between the city, its architecture, and its people.

This project is a journey through the unfinished narrative of the city of Phnom Penh, through the lens of the White Building. It is a narrative of

what is deemed to be beautiful enough for the city as it confronts the continued exclusion of marginalised communities and their right to land. It

proposes a speculative urban and architectural intervention utilising the idea of spatial reclamation and cultural production, to respond to the the

topic of land-ownership and beautification in the Cambodian capital.

Cambodia is a country of contradictions. On the one hand it appears to be burgeoning, industrializing and modernising; yet on the other, behind

the facade of Beautification, there is an ongoing struggle on the part of the poor to claim their dues: recognition, resources and their right to the

city.

The story began with my research of the White Building through various acts: Its rise as an affordable modern housing, its post-war reoccupation,

and its demise to the government’s “beautification” scheme.. This sequence of events that lead to the destruction of this built cultural

artefacts gave rise to the speculation that the city’s cultural icon, Wat Phnom, would be demolished by the authority for the construction of their

surveillance tower. It is through this that this second act of the project takes place: a towering skyscraper of wooden settlements - proposing

possibilities of living, working and adapting to a life without the right to land.

These structures reclaim the authoritarian tower as a means of both negotiation and protest. The scheme is a collection of dwellings precedented

by Cambodian stilt houses. By supporting the displaced community with a living space and a livelihood, the project suggests the act of cultural

production capturing the daily rituals of its occupants SPACE - akin to those in the white building: consisting of silk making, traditional dancing,

carpentry, and prostitution. The project reconsiders what is to be the fate of Cambodia’s heritage sites and built artefacts and those who depend

on them: once these structures are deemed unworthy by those who are in power.

With that said, I am here to argue that Built culture gives a city its Identity. Not only the building itself, the sense of place can only be achieved if

the production of urban heritage is still intact and preserved – whilst accommodating for new development.“Beautiful” buildings do not have an

unequivocal definition. It has several components, which co-exist to varying degrees.

These include:

• Cultural and Historic Artefacts

• Intrinsic and in-use values

• Symbolic values

• The relationship between the Building and its Location.

Just like these wooden settlements and those of the white building- a building may have little glamour as a property but is significant because

momentous events transpired there. SPACE “Beautiful” buildings fulfil important artefacts for cultural experiences and significance. My role

as an architect within this project is that of a storyteller: an apparatus for the telling the story of those within the white building by suggesting

architecture towards a new grammar for informal settlements. Similarly the drawing medium attempts to do that as well: a cultural artefact that

captures and holds the narrative of built culture and those who occupies it.







Architectural Expression

Year: April, 2021.

Location: Wellington Marina, South Australia.

Role: Architect Assistant / Architectural Visualizer


WEILLINGTON

M A R I N A

ECO-RESORT.


107

VISUALISATION WORK:

WELLINGTON MARINA ECO RESORT

TOURISM ACCOMMODATION, WELLINGTON EAST, SOUTH AUSTRALIA

As a visualizer, I ought to capture the serenity of the resort, the harmony

between warm tones of the sun and cool breeze, as the pods

exude an ecological aesthetic with an emphasis on vantage points for

observation and contemplation.

Eco-pods take advantage of the wetland views and are articulated as

petite bird watching structures that accommodate couples and small

groups alike. Luxury pods situated on the marina frontage, capitalise

on lake views and the recreational opportunities available on the

water. It is important for me to capture a the ephemeral atmosphere

of being at the site, as one dwells in the sun overlooking the glittering

wetland.



WELLINGTON MARINA ECO RESORT TOURISM

ACCOMMODATION, WELLINGTON EAST, SOUTH AUSTRALIA





Architectural Design

Year: April, 2021.

Project Team: JDSA Team, Jean De-Spigelier & Olivier Dogue.

Location: Phsar Tauch, Phnom Penh, Cambodia.

Role: Conceptual Direction and Design.


CHINESE-

ANCESTRAL

PAVILLION.

I wish to express my thanks to Mr. Rotanak and Mr.

Jean for this opportunity for me to engage in this

unique project.

When given the task, I ought to design the Ancestral

House with 3 moments in mind: to reminisce one’s

humble beginnings, to reflect on the present, and to

create ongoing memories - a space to be relished

and remembered for years to come.

As my studies call, my contribution has been

shortlived, yet my eagerness to see this vision come to

life remains.

Mr. Jean has been a wise teacher and a patient

listener. I will bring his advices and wisdom (if I could

remember all) with me throughout my career. I aspire

to be like him.


115

Elevation

Section 01

Section 02

CONCEPT WORK: ANCESTRAL PAVILION (un-built)

During my most recent internship, I was granted the opportunity to work closely with a client for his ancestor

hall. The brief was to incorporate both contemporary and traditional elements of Chinese and Asian

architecture into the pavilion.


The hall’s interior embodies both traditional and modern elements drawn from

Chinese influence with a hint of Khmer intricacy.

The Central Hall opts for a place of worship and respect as it is aided by

natural lighting through window screens from all three sides of the shrine. The

shrine would look best during morning as the sunrise from east filters through

the wooden screens that guards the sides of the shrine.


117

Long Section

The hall’s interior embodies both traditional and modern elements drawn

from Chinese influence with a hint of Khmer intricacy.

The Central Hall opts for a place of worship and respect as it is aided by

natural lighting through window screens from all three sides of the shrine.

The shrine would look best during morning as the sunrise from east filters

through the wooden screens that guards the sides of the shrine.

Ancestral Hall | Concept Proposal



Preliminary Work / Concept Development



The Layout

Proposed Plan:

At the utmost centre, upon the main entrance, the ancestor hall receives

the visitors with a low seating area before the ancestor shrine.

Given the use of operable screens as doors/dividers, the central hall

and the left wing can be merged together into one dining hall for main

gathering The events Layout, like the lunar new year as such - where many guests

and family members will be present.

Proposed Plan:

At the utmost centre, upon the main entrance, the ancestor hall receives

Ancestral Hall

the

| Concept

visitors with

Proposal

a low seating area before the ancestor shrine.

Given the use of operable screens as doors/dividers, the central hall

and the left wing can be merged together into one dining hall for main

gathering events , like the lunar new year as such - where many guests

and family members will be present.

On your left, the living/dining area directly opens itself to the lotus

pond - tea for elders can be served warm, as the hall is coupled by

preparation counters as seen on both sides of the ancestor shrine. Te

and meditation room faces itself to the Zen garden where the Buddha

statue resides to remind us of his teachings.

On your left, the living/dining area directly opens itself to the lotus

pond - tea for elders can be served warm, as the hall is coupled by

preparation counters as seen on both sides of the ancestor shrine. Tea

and meditation room faces itself to the Zen garden where the Buddha

statue resides to remind us of his teachings.

Ancestral Hall | Concept Proposal


a

Phsar Touch | Jean De Spiegeleer, Olivier Duqué, Teka N

Phsar Touch | Jean De Spiegeleer, Olivier Duqué, Teka Nguon


123



Architectural Design & Construction

Year: April, 2021 - Completed.

Project Team: Kosal Carpenter Team

Location: Siemreap Province, Cambodia.

Role: Architectural Designer, Project Cooridinator.


THE RECON-

FIGURED

W O O D -

EN

HOUSE.


127

Personal Project: Traditional Khmer House

(2021-Present)

In late 2020, the pandemic had guided me home, to Cambodia, where I was grant

the pleasure of working and engaging with a team of traditional Khmer Carpenters.

They have been building houses this way for centuries, and I have learned a lot from my

experience of working with them. With my hand sketches and crude architecture drawing

skills, we were able to meet in the middle and communicated to one another to fabricate

this wooden house I hold very dear to me and my experience as a young architect.


Khmer roof structure is somewhat primitive, and pure. Its steep angle is most suitable

for the country’s monsoon season and hot climate. The clay roof tiles, as seen in the

third picture, are custom made by hand from a family of local craftsman.


129

December 2021


Traditional Timber Structures Drawings by Architect, and Traditional

Wood Structure

“Working Drawing” executed during the construction process

Researcher

Suntan Viengsima.


131

January 2022

The exposed roof structure can be seen from the interior of the house. Despite the

absence of roof insulation, the room remains comfortable throughout the day as the

peaked roof allows for heat displacement. The intricate lacing of roof tiles can be seen

in the section picture: it is meant to resemble to scale of fish.


December, 2021


133

Architectural Design & Construction

Year: November 2022 - Present.

Project Team: SIRI Asia.

Location: Koh Pich, Phnom Penh, Cambodia.

Role: Conceptual Designer, Project Cooridinator.


OXYGEN ME-

DIA

GROUP

OFFICE.


135


ISLAND vs. WORKSTATION

A series of corridors flows throughout

the office swaddling between a row

of punctured function blobs - which

we call island for its disruptive floating

aesthetic.

The island is a shared social core

of mixed use: hot desks, lounge,

printing, massage, etc.., As one takes

their daily walk to print, or bathroom

run, they are left with no option to

encounter and interact with one

another.


137

A Manifesto:

OFFICE EXPERIENTIAL DESIGN

More than the corporate color

The 21th century office must seek beyond the desks, the chairs, and mere corporate

color. Instead, cater to the professionals who occupy the space, in order

to promote a forward thinking and creative office environment that serves

like-minded solution providers.

Whether it is active, relaxed, or focused, the Oxygen House hosts an agglomeration

of localized spaces where independent professionals work, share

resources and collaborate with one another - fostering a positive environment

of productivity and meaningful interaction.

The project caters to 3 groups of professionals: the Utilizers, the Learners,

and the Socializers. The workstations offer the “Utilizers”a private space with

a direct view outlooking the city of Phnom Penh, aiding creative thinking and

reducing stress. The central strip of lounge, called “islands”, offers a medium

of interaction and collaboration for the “Socializers”, and also as a wall that

blurs between the meeting areas and the workstations. The variety of meeting

spaces of multiple sizes and atmosphere are designed for “Learners” to share

and collaborate in many forms.

“Work” is a complex system of tasks; the Oxygen House is a user-oriented

workspace that taps into experiential design to stimulate creativity and productivity

of its users.


7 Kolka

Kolkateka Nguo

7 Kolka

n)

why do we WORK (?)

We work because we have to, need to, and want to work. We have to work for income,

why

need to work

do

to pursue a

we

purpose, want

WORK

to work because we want to

(?)

achieve our goals.


why do we WORK (?)

need to work to pursue a purpose, want to work because we want to achieve our goals.


what is WORK (?)

The notion of work cannot be limited to set criteria of roles played out

what

within a spatial confinement.

is WORK

Instead, work itself is a complex

(?)

system of

need to work to pursue a purpose, want to work because we want to achieve our goals.

tasks, and should also be translated and practised spatially to suit the

The notion

needs

of work

of a workspace.

cannot be limited to set criteria of roles played out

within a spatial confinement. Instead, work itself is a complex system of

what is WORK (?)


needs of a workspace.

The notion of work cannot be limited to set criteria of roles played out

within a spatial confinement. Instead, work itself is a complex system of


how needs of a workspace. do we WORK (?)

how do we WORK (?)

How do you work? Subjectively & Objectively speaking, work is like gender: it is fluid

without confinment. Work may mean a certain tasks involving a certain suppostion of a

space or of certain group of activities and interactions.


how do we WORK (?)






Given the synopsis of the studio: The Office, the

questions: why do we work, what is work, and h

and objective perception of work and lifestyle. T

Given the synopsis of the studio: The Office, the initial concept

ends at 5, to a stay at home mom it never stops

questions: why do we work, what is work, and how do we wor

and objective perception of work and lifestyle. To an accounta

ends at 5, to a stay at home mom it never stops - and to some

Given the synopsis of the studio: The Office, the i

questions: why do we work, what is work, and h

n)

and objective perception of work and lifestyle. T

ends at 5, to a stay at home mom it never stops


139

Work Stations vs. Island

A series of corridors flows throughout the office

swaddling between a row of punctured function

blobs - which we call island for its disruptive

floating aesthetic.

Main Lobby

Contrary to a traditional office space, the entry

from the elevator is given great significance:

both for the visual and spiritual disconnection

from the outside world.



A variety of seating areas,

both formal and informal are

coupled with an open-adaptive

layout to induce a sense of

comfort and flexibility suited to

their needs of work.


The Colosseum

The sloped stair case is designed to offer an

flexible use area between seminars, a stage,

and an informal lounge.

Zone 02:

The long meeting table serves the purpose as

a waiting/huddling area in front of the meeting

room. A series of corridor space circulates

throughout the office - mediating between public

and private functions.


143

Site Image:

Islands vs. Workstations.

Site Image:

Main Lobby.


Site Image:

The Colosseum.

Site Image:

Zone 02


145

Architectural Design & Visualization

Year: January, 2023.

Project Team: SIRI Asia x JDSA

Location: Koh Smach Cambodia.

Role: Architectural Designer & Visualizer.


KOH SMACH

YACHT CLUB.


147

KOH SMACH YACHT CLUB

A fishing community inhabits the island, with people of Khmer,

Chinese, Thai and Vietnamese descent. Koh Smach as a site of

rich yet humble origins and unique calmness, guides our design

for the Yacht Club; a dedication to accentuate the local culture,

and to meld with the simplicity and comfort of modernity.

The Yacht Club is to be pure and undisruptive in its form; there

is an aspiration to bring out the pioneers in each element the

volume utilizes–light, materials, and craftsmanship. There is a

cosmopolitical urge to fuse a combination of Khmer-Sino Architecture,

Art Deco, and classical proportions together under one

roof. Despite their differences, these elements are extremely

compatible—if you look at Angkor Wat, much like the expression

of Art Deco, it’s all about squares inside of squares and

of nestled volumes. This is also paralleled by the motifs of Art

Deco, and proportions of Palladio. The built space should

reflect its function as a meeting ground of prominent figures

and brightest minds: a place of leisure with modern intricacy

accented by elegant homage to its context.



KOH SMACH YACHT CLUB

Site Plan



4

3

A

B

C

D

E

F

H

I

J

K

1

2

3

4

5

6

4

3

1500

1730

6530

1730

1500

3230

13000

6530

3230

+0.18

+0.36

+0.54

+0.72

For A.C

system

Powder

Guest

Corridor

Room

Ensuite

+0.87

+1.05

+1.20

+0.45

+0.30

+0.15

+1.05

+0.90

+0.75

+1.20

Master

Bedroom

12

11

+1.20

+1.20

+1.05

+1.05

+0.90

+0.90

+0.75

+0.75

+1.20

+1.05

+0.87

+0.72

+0.54

+0.36

+0.18

+0.18

+0.36

+0.54

+0.72

+0.87

+1.05

+1.20

05

04

+1.20

+1.05

+0.87

+0.72

+0.54

+0.36

+0.18

%%P0.00

%%P0.00

+0.75

+0.90

+1.05

1750 1200 1750 2530 2530 2250

1200 1200 2250 1200

6530 6530

+1.20

2 2

2

Guest

Bedroom

Powder

Closet

room

07

06

09

1 1

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

14110 10000 14110

38220

01

02

03

04

05

06

07

08

09

10

11

12

G

Note: tiling grid is for reference only (hatch).

01

02

03 10

08

+1.20

+1.20

+0.60

+0.60

%%P0.00

%%P0.00

1750 1200 1750 2530 2530 2250

1200 1200 2250 1200

6530

+9.28

Guest

Bedroom

+1.20

+0.60

%%P0.00

6530

+9.28

+1.20

+0.60

%%P0.00

Floor Plan

Entry

Vestibule

Living Area

Dining Area

Bar Counter

Kitchen

Powder Room

Guest Bedroom

Guest Ensuite

Massage Room

Master Bedroom

Master Ensuite


2 2

+9.61

+7.38

+6.28

+4.60

+3.16

+1.20

+0.60

%%P0.00

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

14110 10000 14110

38220

+10.9

+10.9

+10.9

+10.9

+9.28

+9.28

+9.28

+9.28

+9.61

TV 97''

+1.20

+1.20

+1.20

+1.20

%%P0.00

%%P0.00

%%P0.00

%%P0.00

1500

17301500

1730

6530

6530

1730

15001730

1500

1500

17301500

1730

6530

6530

1730

15001730

1500

3230

3230

6530

6530

3230

3230

3230

3230

6530

6530

3230

3230

13000

13000

13000

13000

1

2

3

4 5

6

1

2

3

4 5

6

+1.20

+0.60

%%P0.00

SECTION 1-1

SECTION 2-2

Scale 1:150 @ A3

Scale 1:150 @ A3

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

14110 10000 14110

38220

1 1

+9.61

+7.38

+6.28

+1.20

+0.60

%%P0.00

5250

4460

2900 1500

3300

3400

3300 1500

7230

5380

14110

10000

14110

38220

A B C D E F G H I J K

FRONT ELEVATION

Scale 1:150 @ A3


153

Visualized 3D


1730

2

1

+1.20

3230

+0.60

%%P0.00

1500

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

14110 10000 14110

38220

+9.61

+7.38

+6.28

+9.61

For A.C

system

For A.C

system

+4.60

+7.38

+3.16

+6.28

Guest

Bedroom

Guest

Closet

Powder

Room

Master

Bedroom

+1.20

+0.60

%%P0.00

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

+1.20

+0.60

A

B

14110 10000 14110

38220

C

D

E

F

G

H

I

J

K

%%P0.00

SECTION A-A

Scale 1:150 @ A3

A

A

+9.61

Guest

Bedroom

Corridor

Corridor

Master

Bedroom

+1.20

+0.60

%%P0.00

5250 4460 2900 1500 3300 3400 3300 1500 7230 5380

14110 10000 14110

38220

+9.61

+1.20

+0.60

%%P0.00

1750 2530 2250

1350 1350

6530

+9.61

3

4

SIDE ELEVATION

Scale 1:150 @ A3

+7.38

+6.28

+1.20

%%P0.00


+0.60

155

5250

4460

2900

1500

3300

3400

3300

1500

7230

5380

Section

Elevation


As evident in the section above, the

living room is situated with significance in

relation to the suites on either sides; the

grandeur is expressed through the lifted

floor level, ceiling, and opening towards

the sea.

The suites is designed for one to choose

between having complete privacy or

opening up to the distant view of the

ocean. The interior showcases a sensitive

mixture between modern comfort and

traditional elegance.


157


ROOF PLAN

A fishing community inhabits the island,

with people of Khmer, Chinese, Thai and

Vietnamese descent. Koh Smach as a

site of rich yet humble origins and unique

calmness, guides our design for the Yacht

Club; a dedication to accentuate the local

culture, and to meld with the simplicity

and comfort of modernity.

0m 2m 4m 6m


159


FLOOR PLAN

A fishing community inhabits the island,

with people of Khmer, Chinese, Thai and

Vietnamese descent. Koh Smach as a

site of rich yet humble origins and unique

calmness, guides our design for the Yacht

Club; a dedication to accentuate the local

culture, and to meld with the simplicity

and comfort of modernity.

0m 2m 4m 6m


161

Personal Hobby/Passion.

Kbach Arts Competition

Yamada / ADA Art Exhibition

American Chamber of Commerce - Art Exhibtion for Charity

Sra’art Gallery Phnom Penh


OIL ON CAN-

VAS & PHO-

TOGRAPHY.

Khun Kolkateka is a Cambodian artist who has a reverence for the

history of the Khmer Kingdom and its culture. His love for Cambodia’s

lavishing style of arts, integrated with his deep interest

towards European art creates a balance between the two worlds

- his kingdom and that of the west.

Born and raised in Phnom Penh, his paintings pay homage to the

colors of his homeland. As his passion for Khmer art started ever

since he was young, his taste for European art history and techniques

were cultivated during his years in middle school and high

school. His distinctive personal style emanates joy and peace and

expresses the vibrant spirit and atmosphere of the Cambodia’s

past. His realistic depictions of the transformative effects of light and

color in the four elements of earth, sky, water and land are life-affirming.

At just 18 years of age, Khun is widely recognised for this works as a

rising young talent in Cambodia. He was named the runner-up of

an international gallery competition in Phnom Penh for his work entitled

“The Show Must Go On”. His artwork is included in numerous

private art collections throughout Cambodia (including the Cambodian

German Embassy) and Canada.


163


PRICE OF INDULGENCE

Oil on Canvas

800mmx600mm

2019

As the composition of the piece is heavily inspired by medieval

religious paintings of the Virgin Mary, the subject is

painted in Khmer traditional costume sewn from Chinese

textile. All of which is accompanied by various Khmer

architecture in the background.


165

The painting depicts a still life of a Cambodian Royal

Dance Mask and Chinese Porcelain Items. Cambodia and

China has been trading for centuries, and Porcelain is one

of the most sought after Chinese goods as it is commonly

used in the household of the wealthy, hence its symbol of

status and opulence. The painting is painted to capture

the Chinese influence towards the Cambodian Society

and Lifestyle.

CHINA

Oil on Canvas

500mmx500mm

2019


Neang Kongrei: The painting depicts a scene from the Cambodian

Legend of Puthisen Neang Kongrei - the story of a giant’s daughter

who was abandoned by her husband. During her attempt to follow

him, she was halted by Puthisen’s magic potion that turned the land

between them into water. Neang Kong-Rei cried herself to death,

and her body turned into the mountain of Kong Rei, which still lies

across the river in Kampong Chhnang province, today. Inspired

by Van Gogh’s strokes of vorticity, Khun effortlessly incorporates

world’s most known classics with the essence of khmer art, creating

yet another spiral into the past.

SLEEPING BEAUTY

Oil on Canvas

600mmx800mm

2019


167


THE SHOW MUST GO ON

Oil on Canvas

600mmx800mm

2018

Depicted in the style of Fernando Botero, a

scene of the Khmer version of The Ramayana

Epic in which Suppanaka (ugly Giant)

attempts to fool Preah Riem by turning into

a ‘beautiful’ woman.


169

AN INFINITY AND A HALF

Oil on Canvas

600mmx800mm

2019

With the topic of ‘“Classic/Avant-Garde of Cambodia”, I

painted with a little twist to the Cambodian Myth of Thunder

and Lighting through the combination of both classical

Khmer art and Botero’s style of Avant-Garde, mixed with

a hint of surrealism. The Khmer classical art style can be

seen not only through the story behind the artwork, but

also through the use of gold details on the costumes. As

shown above, certain details are also playfully replaced

by luxury brand patterns such as Louis Vuitton, Gucci, and

Versace.

This painting was created to preserve, challenge, and

promote Khmer Classical art through the use of the style

of Avant Garde. I sincerely hope that the story of Riem

Eyso and Moni Mekhala depicted here will continue to be

passed on, from one generation to the next, perhaps, for

an infinity and a half to come.



PHOTOGRAPHY

Today’s Catch

My grandma is the inspiration for my project.

I grew up under the comfort of a home: a roof to live under, a complete family with always enough to eat,

and an opportunity for education. My home is in Cambodia. This is the home that my grandparents and

parents fought for me. Giving me what they had lost in the war became their goal.

During every family gathering, my cousins and I would always gather around my grandmother to listen to

the bizarre stories of her life during, and after the Khmer Rouge. From stories of selling candy at the gate to

stories of how my father had to spend his after-school herding buffaloes and go fishing for his own dinner,

these stories never fail to gain my reverence towards them.

I took these images simply out of the urge to render these stories of courage and resilience of the older generation

of Cambodia into a tangible form that has the capacity to have an impact on others just as how it

impacted my life as a young Cambodian. The stories of loss, followed by many more stories of found hope

and bravery.


Childhood Ponder


173

Harmonious Chaos


Lost Gate


175


Broken Smile


177


TO BE CONTINUED.


179

On Architecture, Arts, Planning, and Living Design.

Through the medium of drawings, photography, painting, and storytelling.


[2020 - 2023] FOLIO | Kolkateka K. Nguon

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