FA I T H PA N G Undergraduate Portfolio Wa s h i n g t o n U n i v e r s i t y i n S t . L o u i s 2015 - 2019
Faith Pang faithsamanthapang.com faithpang@wustl.edu
Education Wa s h i n g t o n U n i v e r s i t y i n S t . L o u i s
Experience mada s.p.a.m
Bachel or of Fi ne Ar t s, m i nor i n Ar t Hi st or y St . Loui s, MO / 2015 - 2019
Ar chi t ect ur al i nt ern Shanghai , Chi na / 2 0 1 8
Santa Reparata International School of Art
Vi s u a l R e s o u rc e s C e n t re W U S T L
St udi o Ar t , Renai ssance Ar t Hi st or y, Ar chi t ect ur e Fl or ence, I t al y / 2017, 2019
Harvard Graduate School of Design Desi gn Di scover y, Ar chi t ect ur e Cam br i dge, MA / 2018
Milton Academy
Mi l t on, MA / 2011 - 2015
Recognition Peter Marcus Printmaking Prize Washi ngt on Uni ver si t y / 2019
Cum Laude
Washi ngt on Uni ver si t y / 2019
D e a n ’s L i s t
Washi ngt on Uni ver si t y / 2015 - 2019
Vi s u a l Aw a rd s P r i z e Mi l t on Academ y / 2015
Li br ar y St aff Assi s s t an t Kr anzberg Ar t & Arch i t ect u re Li b rary St . Loui s, MO/ 2 0 1 5 - 2 0 1 9
Arader Galleries
Gal l er y I nt er n New Yor k Ci t y, NY / 2 0 1 5
B T R Wo r k s h o p
I nt er i or Desi gn In t ern Hong Kong, HK / 2 0 1 4
Skills Proficient
Adobe CC Phot o s h o p , Il l u s t rat o r, In Des i g n , Mi cr osof t Off i ce Engl i sh, Mandar i n C h i n es e an d C an t o n es e For m er Com pet i ti v e S wi m m er, PADI-cert i fi ed Rescue Di ver, BS AC cert i fi ed Ad v an ced Op en Wat er Di ver, I YT I nt er n at i o n al C rew S ai l i n g
Wo r k i n g K n o w l e d g e
Exhibitions let the good times Des Lee Gal l er y St . Loui s, MO / 2018
(ex/in)hibited
Des Lee Gal l er y, Thesi s Show St . Loui s, MO / 2019
Adobe Pr em i er P ro C C , Aft er Effect s , Au t o C ad ,
Contents
G h o s t s
o f
C o l o n i a l i s m
0 6
Re-education: Students, Listen Up! Plan of Segregated District, 1924 Where am I from?
S h i b o r i ,
R e c o n c i l i n g
Wa t e r e d d o w n u n t i l t h e y w e r e l o s t
The images in this portfolio are symbolic of my journey — from art to architecture; I am exploring n o t i o n s o f c o n f l i c t , m e m o r y, i d e n t i t y a n d h e a l i n g . I n each project, I perceive — acknowledging the larger themes of the global, connected world — and input, c o n n e c t i n g w i t h t h e n a r r a t i v e i n a p e r s o n a l w a y.
t h e
Wa r
12
My Favourite Handkerchief
P o l i t i c s
o f
t h e
S c h o o l
U n i f o r m
From Convent Days to Freedom
I n
S e a r c h
o f . . .
Te m p o r a r y C i t i e s
16
2 0
Garden Sanctuaries
C a m p u s
The Canyon
C a t a l y s t
I n t e g r a t i o n
f o r
For the Willing
2 8
E m o t i o n a l
H e a l i n g
36
monoprint & collage
06
GHOSTS OF COLONIALISM {The Spirit of Colonialism is not Dead}
Academic, 2018 / The B ook as Object and Artifact — Sculpture / Buzz Spector Hong Kong is the hybrid child of the British and the Chinese. But in reality, we are the prize won from a war; the city is a political battlefield for two opposin g forces. In 1997, Hong Kong was returned to the motherland, China. Yet the power dynamics have simply shifted. My series, The Spirit of Colonialism Is Not Dead, addresses the remnants of our colonial past that are embedded within the city, and the power that now rules the metropolis today.
Re-education, Students Listen Up! Upon first encounter, the viewer is confronted with a solitary desk facing a map, resembling the strict environment of an academy — one could almost imagine rows and rows of desks.
Where am I from?
Colonial flag / Independence flag
Colonial-style desk / Carved To p o g r a p h i c a l L a n d s c a p e / T h e H i s t o r y o f H o n g K o n g b y F r a n k We l s h , 我们香港这些年 {Since 1977: Hong Kong Memory} by 徐天成
The inherent notion of a flag suggests unity. This double sided flag is anything but. Though the independent red should be a proxy for freedom, it is the colonial blue that represents liberty.
08
The desk itself dates back to the 1800s and originally sat in a Catholic classroom. The books that are placed on the desk detail the history of the Hong Kong; they are altered and, thus, are not meant to be read. I incise into the Chinese book, slicing away the pages. I form the scraps into little pellets that vaguely resemble ‘tea leaves’ and insert them into the open pages of the English book that sits on the table top. I reclaim the concept of Western colonisers‘re-educating’ an Asian populace by reinforcing Hong Kong’s topography throughout the project.
Original map of The Peak from 1924
Plan of Segregated District, 1924 T h e w o r k u s e s a r o a d m a p o f Vi c t o r i a Peak—and surrounding residential areas during British colonisation in the 1900s— as a source to indicate structures of wealth based on residential patterns. Height characterises wealth; thus, a density of hand-sewn jewels denotes a more affluent area while single rows of scattered beads indicate less wealth. The term “segregated” has a dual meaning: while the British imposed a law that prohibited any person
of Chinese descent to step foot on the h i l l , i n a w a y, t h e c o l o n i s e r s i s o l a t e d , segregated themselves from the colonised. The absence of a current map, while analysing past histories pose a question: do contemporary power and wealth structures operate in the same way? My stance is that they do; those who are in charge have changed, but the us and the them still remain and social hierarchy is still represented by residential location.
Plan of Segregated District, 1924 Silk screen / Beads / Gold, black and white embroidery floss
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S H I B O R I , R E C O N C I L I N G T H E WA R {Enso}
Academic, 2018 / Propoganda to Decoration — Printmaking / Sage Dawson With every generation, true accounts of the Sino-Japanese war, turn into dilute d, generalised versions, until the first version is lost and all that’s left is a deeply rooted prejudice, transcending generations. In Watered down until they were lost I tell true stories from both sides, in an attempt to give back humanity in some way and to show a more nuanced view than what history might suggest. The book narrates two tales: one of a sympathetic Japanese man who fervently denounced the Japanese Imperial Army’s invasion into China and the other, my
My Favourite Handkerchief / Rug hooking / Hand-dyed indigo yarn
grandmother ’s traumatising encounte r with Japanese soldiers. Similarly, My Favourite Handkerchief attempts to reconcile this tension by conflating Japanese dyeing techniques with Chinese design. Revealing the underbelly of the rug, symbolically exposes the phantom histories that were hidden because of fear. The centre holds an abstracted version of the Chinese double happiness character while the bats represent luck, forming a ring around the middle. The origin of the design reflects a hopeful, symbiotic nature.
Wa t e r e d d o w n u n t i l t h e y were lost / Stitch-bindin g / Shibori dyed fabric
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These stories cannot be found in history books; they are fragmented and collected. The substrates printed on are shibori dyed fabrics, indigo dyed paper and Japanese rice paper, while the front and back covers are wood, reminiscent of the shibori dyeing process I used. The recurring blue and white motif refers to the Japanese man, whose geisha told his story through the shibori fabrics she designed. The words on the pages move with the rhythm of the stories, the format and font dictated by the content.
Silkscreen, hand dyed paper & fabric
The book is hand-bound, using a stabbinding method; it reads from right to left; it is hand dyed and the words are screen printed. Their pages are not uniform, their edges, raw.
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POLITICS OF THE SCHOOL UNIFORM
primary school
fa the r
{From Convent Days to Freedom, or what seems like freedom} F a l l 2 0 1 8 , A c a d e m i c / E x t r a - D i m e n s i o n a l P r i n t m a k i n g / To m R e e d
sister josephine
Through the reimagining of my old school uniform, this project addresses how Hong Kong’s colonial past is conflated with identity of a modern Chinese woman. While boys’ uniforms imitate the British grammar school style, the girls’ uniforms are usually a tight, mid-length cheongsam— traditional Chinese dresses— with side slits exposing the thigh. I reconstructed my hyacinth coloured school uniform into a lantern—to give the metaphorical discomfort of school a physical form and to allude to a form associated with tradition. The outside is plain, highlighting the simplicity and elegance of what the uniform should look like. However, as the viewer crouches and emerges into the narrow, one person space—simulating the experien ce of dressing oneself— the loosely attached panels suggest an ill fitting uniform and reveal imagery that challenges the idea of propriety.
no earrings
S CP PCSS
s is te r
the corner, the name & the power of the ruler
no jewelry
the sweet days of girlhood
Pronto plate printing on dyed fabric {right} Hanging work with occupant {left}
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Sketch of lantern form, graphite
Details
A
B C D E
The notion of a school uniform is the introduction into the dominion of employment. It levels out the playing field—at least superficially, we all appear the same.
F
G H
When applied to the context of power play, however, the uniform further plays the role of reforming education into the desired standard.
I J
K
L
M N O
R
Q S
The story is narrated as a series of six panels. Drawn with the innoncence of childhood in mind, I created a system of symbols that encoded the drawing—a map to my mind.
P
T
U
V
As the project looks back at my primary school experiences, the pattern, rather than sitting on top of the fabric, seeps into the material itself. It is barely discernable, like a hazy memory.
W X Y Z
Pronto plate printing on dyed muslin, wooden frame, silk cord
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IN SEARCH OF { Te m p o r a r y C i t i e s } La Citta Temporanae, San Ferdinando Ghetto Academic, 2019 / Designo : Encounters in Public Spaces / Igor Marjanovic Su m me r Stu d i o i n F l ore nc e, It a ly The map tracks and analyses the visual journey of a migrant worker with that of my own travels. The project seeks commonality — constant motion. Growing up, I moved from city to city, country to country; moving was the norm. A piece of my heart still belongs to Hong Kong, my home. This begs the question: how can one find home in a foreign land?
Pen and graphite on mylar, collage
36 year old migrant worker, Thierno, began a treacherous journey from Senegal to the San Ferdinando Ghetto, in Calabria, Italy in 2015, hoping that Europe would provide a better tomorrow for his daughter. Constant movement is represented by blurring borders — countries are overlaid on ocean beds and lines merge into one another. He is among the 1,000 residents that occupy this temporary city. Thierno toiled away his days, earning less than 2 Euros an hour. This was not the Italy he had dreamt of, for his only comfort was his make-shift dwelling, an amalgamtion of rescue tents and cargo containters as materials — he was forced to accept this as ‘home’
Monoprint {right}
22
Without the labour of these migrants, Italy’s manufacturing would be disrupted; the country’s food production would be severely threatened. San Ferdinando ghetto was the largest of its kind in Italy. The anxiety of always searching and never settling is suggested by pockets of concentrated areas; the lines are drawn in a manner as if echoing the shadow of the line bef ore it.
Pen and graphite on mylar, collage
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IN SEARCH OF {Garden Sanctuaries} C a s t e l l o d e l Vo l t e r r a i o Academic, 2019 / Designo : Encounters in Public Spaces / Igor Marjanovic Su m me r Stu d i o i n F l ore nc e, It a ly In collaboration with Meret Baumann / equal partnership from conceptualisation to final drawings Thierno embodies thousands of other migrant workers and refugees, craving for stability and longing for a piece of home; the community focused programme of Garden Sanctuaries aims to present hope and renewed life. Flora from all across the Mediterranean are planted in terraces that cascade down onto the slopes that surround the site; the shapes are like water, they are fluid, rippling d own from Castello del Volterraio. Plants are categorised—trees, flowers, herbs and shrubs are placed in large pockets of land. Within each grouping, a mélange of species— Rosemarinus Officinalis and Lavandula Stoechas—grow harmoniously in the same terrace while fruit bearing trees —Adansonia Digitat, which bear the Baobab fruit, and Olea Europaea, the olive— grow adjacent.
Pen and graphite on mylar, collage Collaboration with Meret Baumann
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high up in the
The interior of the Volterraio Castle echoes the undulating landscape. Wooden panels shift from the ground to become furniture resembling a bench; the panels then straighten themselves to create a partition that separates an alcove from the rest of the continuous landscape. Among the terraces are slopes that lead to an elevated winding pathway, which meanders slowly towards the Volterraio Horticultura, a greenhouse structure with a canopy above that undulates like the sloping landscape.
sky
safety
vegetation
Vo l t e r r a i o H o r t i c u l t u r a community canopy
interaction
Verticle text indicate scientific names of flora and the countries they are native to.
Pen and graphite on mylar, collage Collaboration with Meret Baumann
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C A M P U S I N T E G R AT I O N The Canyon C e n t r a l S q u a r e — Boston, Massachusetts A c a d e m i c , 2 0 1 8 / H a r v a r d G S D , D e s i g n D i s c o v e r y / Ya n M a Site: Central Square — Boston, Massachusetts
Over the years, the greater Cambridge community has felt unwelcome towards Harvard because of the university’s apparent exclusivity. The Canyon attempts to battle this dissatisfaction by emphasising free-flow circulation with pathways that pulls the outside world into the space of the project. The original site consisted of many retail shops; a thorough analysis showed that these shops were frequented by residents in the area and thus, being sensitive to the community a nd underlining these businesses could help reduce the growing contempt.
Constraints: Parcel size: 200’ by 150 ‘ approx. 30,000 sq feet Building footprint: 25% of total land Building height: 70’ max. Project Objective: While the Harvard campus can sometimes feel like an exclusive space, this project aims to rectify that and engage both Harvard studen ts and Cambridge residents through a mixed-use civic building. The Canyon hopes to provide transparency, calling typical assumptions into question.
The Canyon consists of multiple programmes for different demographic groups. Programmes geared towards individual activity such as a theatre, dormitory, market and retail centre are placed in the two distinct cliff-like structures.
Given Programme: Dormitory, theatre, lobby, retail space, educational centre/museum, supermarket, dining area, plaza
Mass Models, at 1” = 300’
30 M
plan iii
DORMITORY
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T A
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T H E A T R E plan ii plan i
L O
B
DI NI NG
B Y
bu ildin g i individual activities
M A R K E T
building ii individual activities
circulation
Section/Programme
A deep chasm exists between these two spaces as a metaphor for the existing issue. However, the motif of bridges counteracts this separation—stairs leading from one roof to another become a c ontinuous landscape as the occupant steps onto an e levated plaza that is connected by a glass platform, that eventually leads down onto the other side of the street. A second raised pathway meanders through the lower levels where the outside pedestrian can observe the indoor activities within The Canyon.
Final Model, at 1” = 25’
plan i, circulation
A continuous landscape, from the dormitory to the shopping centre, creates purposeful interaction between the student body and the Cambridge community while the individual structures reinforce independence of each group. The Canyon promotes free-flow circulation by creating new pathways, moving from a public domain, to semiprivate space and then the outside world again.
ma
ss
ac
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ma se
tts
av
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site plan, modified
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hu
se
tts
av
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site plan, original
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lobby
market dining
library study room
plan i
theatre
market library
plan ii
dormitory
retail
plan iii perspective sketch, graphite
rooftop
Experiential Section
The rooftops are a series of green spaces where occupants are encouraged to gather. Ramps and staircases on either side of the entranc es allow for easy circulation.
The original building on site is much shorter than its surroundings. by doubling its height, the new multiuse civic space engages and interacts with the community on an equal plane.
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03
tamar park, site plan 02
EMOTIONAL HEALING F o r T h e Wi l l i n g
01. 02. 03. 04. 05. 06. 07. 08.
07
Tamar Park, Hong Kong
Fall 2019, Pers onal
This project doesn’t propose a solution, it is a platform and catalyst for discussion, striving to remain neutral as it highlights a greener future for tomorrow’s Hong Kong. Architecture has this the ability to facilitate important public conversations.
01. 02. 03. 04. 05.
05
04
We are headed into the sixth consecutive month of protesting in Hong Kong. This project is a way for me to reflect and respond to what is happening around me, by utilising architecture and space as a catalyst for emotional healing.
Yellow. Blue. Pro-people. Pro-establishment. Cockcroaches. Dogs. These are assuming labels. It has become an ‘us vs. them’ situation, where tension, argument and violence arises whenever opposing parties confront one another. The project aims to unpack the notion of the group and reintroduce the idea of the individual. In Hong Kong, we have forgotten the meaning of humanity. The project aims to re-establish compassion, and hopes to, one day, bring about positive change. The city of Hong Kong itself is a politically active location; therefore, to emphasis a neutral view, I chose, Tamar Park, a place where both parties have expressed their opinions and have not marked as their own.
site harcourt road elevated walkway tim mei avenue tim wa avenue lung wo road central government complex legislative council complex
Agency While the architecture is uniform, the landscapes is a tool for play and is placed without constraint and order. Occupants have the agency to control their surroundings; opening and closing walls or moving the landscape. The return to play, memory, and simpler times is embedded within the project.
08 01
06
plan m a k i n g 01
03
site central district admiralty wan chai victoria harbour
01. 02. 03. 04.
kitchen dining art studio exhibition hall
language 02
09
05
04
10
07
02
04 06
03
recording sharing lobby auditorium
09. landscape puzzle 10. path
05
01
05. 06. 07. 08.
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38 views, pen on paper
open-wall the status of the wall is not stagnant. it can reveal sunlight, or act as an open curtain, framing the view of the participants 01. dining
10. path
09. landscape puzzle
02. auditorium
topography
topography elevation
While none of the activites explicitly engage political conversations, the four programmes stimulate communal bonding. It is much easier to break bonds by breaking bread, much more intimate to listen to the whisper of stories being told, rather than shouting across the street and not hearing a single word the other is saying. These programmes give citizens the opportunity to commit oneself to the right mindset; it is for those who are willing to set aside differences.
close-wall
module axonometric
mound elevation
collage {front and back cover}