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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)
Kolkateka K. Nguon | Folio
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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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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
Kolkateka K. Nguon | Folio
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Kolkateka K. Nguon | Folio 7
Architectural Studio 01
Year: Semester 01, 2021.
Studio Coordinator: Edwina Brisbane, Matilda Parolini.
Location: Planet Xanadu - Crash Landing Site.
Role: Individual Thesis.
Kolkateka K. Nguon | Folio
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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?
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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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
75
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Architectural Studio
Year: Semester 02, 2021.
Studio Coordinator: Dr. Laura Harper.
Location: West Melbourne, Old Arden Quarry.
Role: Project Coordinator (Team: Kheng Hong, Jijing Chen, Reddy Lei)
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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ARC2001 | Museum of Old and New Clay
NGUON Kolkateka
Architectural Portfolio
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.
Kolkateka K. Nguon | Folio
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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
Kolkateka K. Nguon | Folio
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Assign nic Study #> 03
eflection
y the author,
m a good
esses a thought.
" (Wittgenstein 1980,
hat gesture am I
ed works? What
xpression of
might argue that an
be untruthful as it is
- one could choose
gesticulator for
weeks of tectonic
ations, it has become
merely constraint by
it is evident that the
highly crucial for
s alike.
Week 04 Thu
Feedback
- The use of
its ability to s
qualities that
traditionally.
- Consider ho
integrated in
too disparate
- Consider ho
be more coh
- Despite bei
but is succes
emotions.
Actions M
- Reflect on h
statues can b
overall struct
- Research o
Heatherwick
Mahony Griffi
- Have a ano
Actions Ta
- Research h
precedents.
Formative
hing from the present
anticipating the future
owing that back to
eking and reforming
er, 1989, 92)
similiar, as the
merely a "gesture",
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.
Kolkateka K. Nguon | Folio
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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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Architectural Portfolio
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Kolkateka K. Nguon | Folio 23
Team: Kheng Hong Ly, Jijing Chen, Difeiyang Lei, Kolkateka K. Nguon
Analytique Drawing - The Brick Narrative | Museum of Old & New Clay
Kolkateka K. Nguon | Folio
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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
Kolkateka K. Nguon | Folio
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ARC2001 FINAL PROJECT | MONC&FACTORY
Team: Kheng Hong Ly, Jijing Chen, Difeiyang Lei, Kolkateka K. Nguon
Kolkateka K. Nguon | Folio
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Kolkateka K. NGUON | Y2S1
wait i’m textin mom.
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Architectural Studio
Year: Semester 02, 2021.
Studio Coordinator: Alex Mcglade.
Location: Cremorne, Melbourne, Victoria.
Role: Individual Thesis.
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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.
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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Y1S2 Lens03 | System Stories
NGUON Kolkateka | 50
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Kolkateka K. Nguon | Folio 35
[
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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:
NGUON Kolkateka | 77
- Consider how to tie these collages into the common
thread within the project.
- How do each of them relate to one another?
Kolkateka K. Nguon | Folio
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Architectural Portfolio
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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Architectural Portfolio
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NGUON NGUON K. Kolkateka K. | 2021 | Kolkateka K. Nguon | Folio
43
Architectural Studio
Year: Semester 01, 2022.
Studio Coordinator: Kate Finning & Colby Vexler.
Location: non-specific.
Role: Individual Thesis.
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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Long Section
A Formal Analysis
Kolkateka K. Nguon | Folio
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Floor Layout
Kolkateka K. Nguon | Folio
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Front Elevation
PART 01
Formal Analysis of Peter Markli’s
Haus Kuehnis, 1982.
Kolkateka K. Nguon | Folio
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Second Floor Plan
First Floor Plan
Basement Plan
Kolkateka K. Nguon | Folio
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PART 02
A Formal Analysis Through Furniture Study
Peter Markli’s Haus Kuehnis, 1982.
Kolkateka K. Nguon | Folio
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Peter Markli’s Haus Kuehnis, 1982.
Images via Heinrich Helfenstein
and Petr Šmidek.
Kolkateka K. Nguon | Folio
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Interior Elevation
Interior Elevation
PART 02
A Formal Analysis Through Furniture Study
Peter Markli’s Haus Kuehnis, 1982.
Kolkateka K. Nguon | Folio
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Interior Elevation
Interior Elevation
Kolkateka K. Nguon | Folio
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Architectural Studio
Year: Semester 02, 2022.
Studio Coordinator: Stephen Hawkin
Location: Bendigo, Melbourne, Victoria.
Role: Individual Thesis.
Kolkateka K. Nguon | Folio
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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?
Kolkateka K. Nguon | Folio
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THE OFFICE | Stephen Hawkins
Kolkateka K. Nguon | Folio
56
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.
Kolkateka K. Nguon | Folio
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BENDIGO
COMMONS
Kolkateka K. Nguon | Folio
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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.
84
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.
Kolkateka K. Nguon | Folio
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Hawkins KOLKATEKA NGUON | Week 09
THE OFFICE | Stephen Hawkins KOLKATEKA NGUON | Week 09
KOLKATEKA NGUON | Week 09
Concept Sketch / Design Study
THE OFFICE | Stephen Hawkins KOLKATEKA NGUON | Week 09
ncept Sketch / Design Study
Concept Sketch / Design Study
THE OFFICE | Bendigo Commons | 30423447
Kolkateka Nguon
Concept Sketch / Design Study
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
Final Presentation (Project Introduction)
Kolkateka K. Nguon | Folio
60
Kolkateka K. Nguon | Folio 61
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:
Final Presentation (Project Introduction)
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.
Kolkateka K. Nguon | Folio
62
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.
Kolkateka K. Nguon | Folio
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DESIGN TASK:
Final Presentation
Kolkateka K. Nguon | Folio
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Kolkateka K. Nguon | Folio 65
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.
Kolkateka K. Nguon | Folio
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Kolkateka K. Nguon | Folio 67
Architectural Studio
Year: Semester 01, 2022.
Studio Coordinator: Dr. Eduardo Kairuz.
Location: Phnom Penh, Cambodia.
Role: Individual Thesis.
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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
Kolkateka K. Nguon | Folio
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Destruction of The National Bank of Cambodia
Kolkateka K. Nguon | Folio
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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)
Kolkateka K. Nguon | Folio
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(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)
Kolkateka K. Nguon | Folio
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
Kolkateka K. Nguon | Folio
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PLAN &
SOUTH ELEVATION
The Authoritarian Bureau
Kolkateka K. Nguon | Folio
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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
Kolkateka K. Nguon | Folio
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THE WINDOW
Artefact 02
THE JOINERY
Basic Cambodian House Construction
System,
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio
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Axonometric Drawing: 1:50 @ A4
Kolkateka K. Nguon | Folio
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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)
Kolkateka K. Nguon | Folio
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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.
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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
Kolkateka K. Nguon | Folio
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
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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?
Kolkateka K. Nguon | Folio
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ANTI-CADBLOCKS
Cataloguing People and Culture
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.
Kolkateka K. Nguon | Folio
89
ANTI-CADBLOCKS
Cataloguing People and Culture
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.
Kolkateka K. Nguon | Folio
90
ANTI-CADBLOCKS
Cataloguing People and Culture
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.
Kolkateka K. Nguon | Folio
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ELEVATION OF PROPOSED
TOWER AND SETTLEMENTS
Kolkateka K. Nguon | Folio
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PHNOM PENH, 1902
Wat Phnom and Settlements
Kolkateka K. Nguon | Folio
93
INTERIM SKETCH OF PANEL
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
95
1:150 @ A4
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio
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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.
Kolkateka K. Nguon | Folio 100
Kolkateka K. Nguon | Folio119101
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Architectural Expression
Year: April, 2021.
Location: Wellington Marina, South Australia.
Role: Architect Assistant / Architectural Visualizer
Kolkateka K. Nguon | Folio 106
WEILLINGTON
M A R I N A
ECO-RESORT.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 108
Kolkateka K. Nguon | Folio109
WELLINGTON MARINA ECO RESORT TOURISM
ACCOMMODATION, WELLINGTON EAST, SOUTH AUSTRALIA
Kolkateka K. Nguon | Folio 110
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Kolkateka K. Nguon | Folio 112
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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.
Kolkateka K. Nguon | Folio 114
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.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 116
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.
Kolkateka K. Nguon | Folio
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
Kolkateka K. Nguon | Folio 118
Kolkateka K. Nguon | Folio119
Preliminary Work / Concept Development
Kolkateka K. Nguon | Folio 120
Kolkateka K. Nguon | Folio121
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
Kolkateka K. Nguon | Folio 122
a
Phsar Touch | Jean De Spiegeleer, Olivier Duqué, Teka N
Phsar Touch | Jean De Spiegeleer, Olivier Duqué, Teka Nguon
Kolkateka K. Nguon | Folio
123
Kolkateka K. Nguon | Folio 124
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Architectural Design & Construction
Year: April, 2021 - Completed.
Project Team: Kosal Carpenter Team
Location: Siemreap Province, Cambodia.
Role: Architectural Designer, Project Cooridinator.
Kolkateka K. Nguon | Folio 126
THE RECON-
FIGURED
W O O D -
EN
HOUSE.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 128
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.
Kolkateka K. Nguon | Folio
129
December 2021
Kolkateka K. Nguon | Folio 130
Traditional Timber Structures Drawings by Architect, and Traditional
Wood Structure
“Working Drawing” executed during the construction process
Researcher
Suntan Viengsima.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 132
December, 2021
Kolkateka K. Nguon | Folio
133
Architectural Design & Construction
Year: November 2022 - Present.
Project Team: SIRI Asia.
Location: Koh Pich, Phnom Penh, Cambodia.
Role: Conceptual Designer, Project Cooridinator.
Kolkateka K. Nguon | Folio 134
OXYGEN ME-
DIA
GROUP
OFFICE.
Kolkateka K. Nguon | Folio
135
Kolkateka K. Nguon | Folio 136
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.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 138
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.
We work because we have to, need to, and want to work. We have to work for income,
why do we WORK (?)
need to work to pursue a purpose, want to work because we want to achieve our goals.
We work because we have to, need to, and want to work. We have to work for income,
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 (?)
tasks, and should also be translated and practised spatially to suit the
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
tasks, and should also be translated and practised spatially to suit the
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 you work? Subjectively & Objectively speaking, work is like gender: it is fluid
how do we WORK (?)
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 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.
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
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 140
Kolkateka K. Nguon | Folio141
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.
Kolkateka K. Nguon | Folio 142
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.
Kolkateka K. Nguon | Folio
143
Site Image:
Islands vs. Workstations.
Site Image:
Main Lobby.
Kolkateka K. Nguon | Folio 144
Site Image:
The Colosseum.
Site Image:
Zone 02
Kolkateka K. Nguon | Folio
145
Architectural Design & Visualization
Year: January, 2023.
Project Team: SIRI Asia x JDSA
Location: Koh Smach Cambodia.
Role: Architectural Designer & Visualizer.
Kolkateka K. Nguon | Folio 146
KOH SMACH
YACHT CLUB.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 148
Kolkateka K. Nguon | Folio149
KOH SMACH YACHT CLUB
Site Plan
Kolkateka K. Nguon | Folio 150
Kolkateka K. Nguon | Folio151
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
Kolkateka K. Nguon | Folio 152
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
Kolkateka K. Nguon | Folio
153
Visualized 3D
Kolkateka K. Nguon | Folio 154
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
Kolkateka K. Nguon | Folio
+0.60
155
5250
4460
2900
1500
3300
3400
3300
1500
7230
5380
Section
Elevation
Kolkateka K. Nguon | Folio 156
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.
Kolkateka K. Nguon | Folio
157
Kolkateka K. Nguon | Folio 158
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
Kolkateka K. Nguon | Folio
159
Kolkateka K. Nguon | Folio 160
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
Kolkateka K. Nguon | Folio
161
Personal Hobby/Passion.
Kbach Arts Competition
Yamada / ADA Art Exhibition
American Chamber of Commerce - Art Exhibtion for Charity
Sra’art Gallery Phnom Penh
Kolkateka K. Nguon | Folio 162
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.
Kolkateka K. Nguon | Folio
163
Kolkateka K. Nguon | Folio 164
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.
Kolkateka K. Nguon | Folio
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
Kolkateka K. Nguon | Folio 166
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
Kolkateka K. Nguon | Folio
167
Kolkateka K. Nguon | Folio 168
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.
Kolkateka K. Nguon | Folio
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.
Kolkateka K. Nguon | Folio 170
Kolkateka K. Nguon | Folio171
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.
Kolkateka K. Nguon | Folio 172
Childhood Ponder
Kolkateka K. Nguon | Folio
173
Harmonious Chaos
Kolkateka K. Nguon | Folio 174
Lost Gate
Kolkateka K. Nguon | Folio
175
Kolkateka K. Nguon | Folio 176
Broken Smile
Kolkateka K. Nguon | Folio
177
Kolkateka K. Nguon | Folio 178
TO BE CONTINUED.
Kolkateka K. Nguon | Folio
179
On Architecture, Arts, Planning, and Living Design.
Through the medium of drawings, photography, painting, and storytelling.
Kolkateka K. Nguon | Folio 180