The history and culture that has been imprinted on the facades of the walls of buildings, are only just beginnings to their story. The facade of architecture only serves as a first impression, preparing a spectator’s journey to the spaces within. When the interior spaces speak for itself, it suddenly becomes a narrative, a story and an experience. Spaces that transport people from one reality to a utopia, serve as inspirations to the pursuit of my passion and love for Interior Architecture. I constantly try to search and discover the unseen and faded, in order to relive and revive the norm and see more than what meets the eye.
January, 2015 Emily Pun
INHALE
EP EMILYPUN
http://www.emipun.com +1 (401) 451 8858 epun@risd.edu Elizabeth Building 1 North Main Street Providence 02903 RI, USA Malaysian
EDUCATION Konstfack, Stockholm, Sweden International Exchange in Interior Architecture and Furniture, 2014 – 2015 Rhode Island School of Design, Providence, Rhode Island Bachelors of Interior Architecture, 2012 – expected 2016 West Island School, Hong Kong International Baccalaureate and IGCSE, 2009 – 2012
INTERNSHIP EXPERIENCE Staffan Tollgard Design Group, London Summer Internship, Interior Design Intern
July – August 2014
• Joined head designers to client meetings and discussion about mock up moderations. Scheduling agendas and organizing documents and presentation boards before and during client meetings. • Making decisions on AutoCAD and SketchUp to finalize interior designs for residential houses and refining drawings after consultation. PMC Associates Limited, Hong Kong Summer Internship, Assistant Designer
July – August 2012
• Assisted the head designers on adapting floor plans and AutoCAD modeling. Experienced with mood boards and choice of materials, colours and textures. Material sampling and organizing data on the database for collections. Gave a fresh outlook and opinion to previous projects. • Replied and sourced emails from outside manufacturers for various material collections. Met presenters from up and coming FF&E companies, and developed deeper knowledge in the industry.
SKILLS Adobe Photoshop // Adobe Illustrator // Adobe InDesign Adobe LightRoom // Microsoft Office // Keynote AutoCAD // SketchUp // Rhino // 3DStudio Max // Revit Leadership // Organizational // Team Building
LANGUAGES Mandarin (Native) // English (Fluent) Cantonese (Fluent) // Malay (Fluent)
I Arkitektonisk รถppning: In depth research on architectural openings 2014 Fall Semester : Research : Sergio Montero Bravo Completed 26th October
II Form Abstraction: Paper folding form exploration 2014 Fall Semester : Studio : Asa Conradsson Completed 5th November
III Contour: Space intervention for the ballet
2014 Spring Semester : Studio : Aaron Brode and Eduardo Duarte Completed 19th May
Arkitektonisk รถppning
In depth research on architectural openings
Arkitektonisk รถppning
In depth research on architectural openings
Is it a frame surrounds it? Or is it its usability? The core essence of an opening serves as a metaphorical and physical portal for one self to transport one other into another physical realm. It is an instant vehicle to move a body to another space. It is a resting place, where a body finds its peace and equilibrium. It is an eye of a structure, the eye that overlooks everything beyond itself. It completes a house, and transforms it into a living machine, instead of a dead box.
The mind wanders often to a world beyond our own, windows serve as a vehicle. The more openings, the better; it makes people feel comfort and safe. It leads to the unknown and unfamiliar, often subjects that are mysterious. Familiar openings to private spaces, are most likely imprinted, whereas openings in public spaces are often unfamiliar and causes discomfort. Doors and windows are often disregarded as a key element to a structure, most often overlooked completely. It is a first impression and, the last, and it is an element that should be emphasized to control and alter human movement and emotion in a building. As one of the most important and significant features to a building, it is only just to emphasize these elements. Openings that create a experience and a narrative almost seem to resonate with me more than a simplistic door or window. It is the experience that brings an individual to admire. Openings serve to accentuate and not distract.
“When you buy a camera, you are determined to take photographs in the crepuscular winter of Paris... how do you do it? You
 use a diaphragm. Your glass pan, your horizontal windows are all read to be diaphragmed at will. You will let light in wherever you like.�
- Le Corbusier
Arkitektonisk รถppning
In depth research on architectural openings
Form Abstraction Paper folding form exploration
Form Abstraction
Form abstraction leads to a result of simple shapes. Whether or not it challenges complex forms, it is still the origin of all architecture. The combination of each shape creates a space within and in between, and creates a tension. The push and pull between these simple shapes are evident on a flat surface, but once brought to the third dimension, it creates a space. It is a metamorphisis of shapes in space, using a form in an existing space to create the outcome of the end product, and in this case, it was Tensta. It is human nature to ignore simplicity and have an impulse to absorb more than necessary. Once complexity is taken away , only the simplistic forms remain. Tensta is a space with a specific identity, and it serves as an aesthetic chamber. The atmospheric mood is set immediately once stepped into the triangular vault. The ceilings suddenly disappear and the natural light gazes in. The elementary shapes are highlighted under the skylight and instantly captures the forces acting upon each other.
Paper folding form exploration
Form Abstraction
Paper folding form exploration
After exploring the different possibilities and combinations, the abstraction led to the second step of selecting the most intriguing and interesting shapes the forms can create. Testing different combinations led to the finalization of 3 potential forms that will deliver the essence of this project more successfully. When the forms were decided on, the next steps were to play with the scale against human interaction. How were these forms informing and engaging occupance to move around the space? How was it different compared to a surrounding wall? The dynamic and angular planes create an abnormal spatial surrounding. Due to the increased movement this form has created amongst viewers, the engagement and awareness of this space increases with it. The planes would be made out of metal, with a rustic finish, it will give the space it occupies a more lasting impression.
Form Abstraction
Paper folding form exploration
Material consideration came into play when creating these forms, and the decision to use metal derived from the usage of these forms. As these forms don’t have a site specific use, human interaction could be a key element. Metal can be resistant to long term weathering and these sculptures will not need to be replaced on a regular basis. Steel, copper and aluminium were chosen as the three base materials to create these forms out of. These forms will not be able to stand alone without the other components supporting each other conceptually.
This project was an exploration regarding space and shapes, the insertion of these forms were inspired but the simple act and grand difference of a geometric shape. The installation was derived from the spatial qualities Tensta Konsthall had, and resulted in the exploration of geometric forms affecting another. The forms, without being site specific, can be inserted as an installation to the public or the private. As long as the material and forms stand true to their own, the site is no longer as significant as the spatial qualities they have.
Contour
Space intervention for the ballet
Contour
With the initial exploration of tension and compression, the concept was quickly established between the push and pull within the layers of fabric. The points of intersection created new opportunities and signified as a point of convergence. When the points meet, it initiates a change of surface and the role it plays. Exploring the ballet, specifically at nutcracker, it was important to disect the dance alone and reiterate in form. As there are 3 important components to the ballet - performers, audiences, orchestra - it was translated into the 3 layers that made the form of the structure itself. The theater space I have created consists of the 3 components to a theater, the stage, the seating and the orchestra pit. With the hierarchy of individual relationships, the audience space is situated at the top, stage in the middle, and orchestra at the bottom. With the form of the structure speaking for its elegance and fluidity of the dance itself, it also programmatically diagrams itself where it is appropriate.
Space intervention for the ballet
Initial plaster modeling to experiment with tension and compression. After the exploration with fabric and its capacity to stretch and pull, the understanding on form has driven me to create spaces within the creases and peaks. After the mold dried and casted the plaster in place, in exploration of how to use the result of plaster, the insertion of human figures made the forms clearer. Different size figures utilized the space very differently and made the surface reveal differently.
Contour
A
A
B
B
Space intervention for the ballet
The final plans are sections were modified and developed after several conceptual decisions. The three layers of ground, stage and seating used contours as a form of tool. There were also three functions of this space that needed to be fitted; the orchestra, the stage, and the audience. As the concept grew stronger and more present, the model morphed into a more functional space. As the audiences are seen to be elevated off the ground, almost a suspension of both the drama and the hierarchy. The hierachal system within this project was kept from the start, it needed to have a distinct difference between orchestra, audience and dancers. The different levels were to represent the system of this space, how one component needed to work with the other, and without it, the ballet could not happen. As most ballet theaters have a very tradtional set, with the stage infront, orchestra in the middle, and audience at the back, it was time to redefine these boundaries, and see how a conventional space can push the limits of modern architecture.
Section A
Section B
Contour
Space intervention for the ballet
These were initial models with more experimental and free form contouring, without considering the functions of each layer, there was a hierarchy established and still achieved what I was looking to convey. The forms were less important as long as there were the three layers I intended to place within the space, at this stage, the function was less considered but more related on the aspect of form. The significance of layering was evident.
Contour
Space intervention for the ballet
EXHALE
EP EMILYPUN
Rhode Island School of Design Bachelor of Interior Architecture +1 (401) 451 8858 epun@risd.edu Elizabeth Building 1 North Main Street Providence 02903 RI, USA Full portfolio can be found: http://www.emipun.com
Copyright Š 2015 Emily Pun All rights reserved. No parts of this book including texts and images may be used or reproduced without the author’s formal written consent.
EP
EMILYPUN