Earthly Passage - graduate thesis project by Ian Wong and Sue Choi. Thesis advisor: David Eskenazi. Image courtesy of Ian Wong and Sue Choi.

Thesis projects aim to push students outside of their comfort zones and foster new versions of architectural thinking. For our latest installment of Archinect's Thesis Review series, SCI-Arc M.Arch graduates Ian Wong and Sue Choi discuss the architectural tones and typologies of cemeteries and funerary customs in their project, Earthly Passage.

Winners of the 2022 Gehry Prize for best thesis project, Wong and Choi explained, "Earthly Passage is a new model of funerary architecture." While their topic may seem unconventional, the duo explains the importance of exploring and respecting these spaces for the deceased. Their project exhibits a place for "funerals to take place, as well as subsequent visits," highlighting improved experiences for mourners to pay their respects. They continue by adding, "culturally, our thesis highlights a program or function of space/architecture that is often uncomfortable, or taboo, to talk about."

During this interview, they discuss their motivation to explore such a topic, how it influenced their design perspectives, and what they look forward to as they prepare for professional practice. 

Can you share a summary of your thesis/final project?

Earthly Passage is a new model of funerary architecture: a cemetery in Hong Kong that centralizes funerary sites whilst memorializing and refining the bygone funerary traditions and architecture of the city. It commemorates the canonical terraced landform cemeteries of the 19th century and upholds the tradition of the funeral procession. Where the processional path was once a result of logistic necessity, this path is purposeful, intentional, figural, and defined; a clear passage through the various sites of the funeral, but condensed into an abstraction of Hong Kong that evokes a procession through the city with all the distractions filtered out.

The project is conceived of as a terraced landform massing juxtaposed with interior voids that invert the relationship between what is typically above ground with what is now underground. Inside, the figural path punctures through the surface of the landform above, reproducing the meandering quality of the procession through the streets of the city. This is represented in the thesis exhibition using two models: a massing model, and a model of the interior spaces shown as “mass” – revealing the labyrinthian interior. 

Earthly Passage is a new model of funerary architecture: a cemetery in Hong Kong that centralizes funerary sites whilst memorializing and refining the bygone funerary traditions and architecture of the city. 

What motivated you to pursue this topic?

We were both motivated to pursue this topic because both of us had lived in Hong Kong, and had encounters with the city’s funerary traditions in our own way.

Ian: I lived in Hong Kong up until I was seven. And in that time, it had never occurred to me that the funerary infrastructure of Hong Kong was unique. The huge swaths of concrete hillside terraces always seemed strange because it was so starkly different from everything else in Hong Kong. But apart from that, I never thought much of it. It was long after I had relocated from Hong Kong and lived in other cities that the recollection of my early childhood made me think of the uniqueness of Hong Kong’s funerary infrastructure.

Sue: Having grown up in Hong Kong, I am naturally drawn to dense, walkable cities. However, when moving to Los Angeles, the absence of pedestrian life made me realize the benefits of experiencing architecture through walking (or, in this case, walking in the architecture). I’ve also had first-hand experience with funerals in Hong Kong as a child, and I remember very vividly how fragmented the experience was and how little attention was paid to the needs of the mourners. Proposing an architecture that encourages the movement of bodies in space whilst paying respects to the procession and the traditional funerary customs of Hong Kong seemed to be a very fitting topic for our thesis. 

...it had never occurred to me that the funerary infrastructure of Hong Kong was unique. – Ian Wong

...I remember very vividly how fragmented the experience was and how little attention was paid to the needs of the mourners. Proposing an architecture that encourages the movement of bodies in space whilst paying respects to the procession and the traditional funerary customs of Hong Kong seemed to be a very fitting topic for our thesis. – Sue Choi

How would you describe your thesis to someone who doesn’t have an architecture background?

We would describe the cultural context in the same way we would with someone in architecture. But we would probably describe the architectural or formal strategies through a series of analogies. 

Like, imagine the project as a chunk of Swiss cheese, where each hole in that cheese represents a room or space in the project. And imagine the processional path as a necklace of charms, and the procession follows the trajectory of that necklace, kinks and all. (Fun fact, the analogy of the necklace was actually something our advisor helped us develop early in our thesis)

Also, the way we draped the perimeter of the “inverted voids” model with silk is meant to evoke a casket. And the model of the terraced massing is meant to suggest the idea of a monument as opposed to a building. 

How would you describe your thesis project to a family member during the holidays?

Ian: I would probably say, “Oh, you probably wouldn’t get it,” then explain it in the most convoluted way possible.

Sue: But on a serious note, we would introduce the name of the project in Chinese, 亡 遊花園 (literally translated as “deceased-journey-garden”). And follow by explaining the project as a subterranean processional path for the living and the dead. It is a place for the events of funerals to take place, as well as subsequent visits like those during the grave-sweeping festival. The path is curated with the options of long or short walks depending on the needs of the mourners. 

...our thesis was conceived to highlight very specific ideas like the procession, the funerary traditions, and the terraced form [...] culturally, our thesis highlights a program or function of space/architecture that is often uncomfortable, or taboo, to talk about.

Does your thesis fit within the architecture discipline, or does it challenge it?

Ian: Our thesis is less of a building and more of an elaborate, three-dimensional diagram. There is intentionally less (or no) attention directed towards tectonics or toilet-to-occupancy ratio. Instead, our thesis was conceived to highlight very specific ideas like the procession, the funerary traditions, and the terraced form. Everything else is secondary or not represented at all. If the stance of the architecture discipline is that a diagram does not constitute architecture, then surely, our thesis challenges it.

Sue: And culturally, our thesis highlights a program or function of space/architecture that is often uncomfortable, or taboo, to talk about. And when it is discussed, there are often limitations to what can be done due to the understandably unyielding nature of grief and funerary traditions. It’s hard to propose a change to a tradition regarding something as sensitive as death but I think one way we can do so is through space and architecture. 

How has your thesis influenced your architectural perspectives?

Sue: It has broadened my understanding of architecture and what architecture can be. I think our thesis influenced the way I would now approach a project. At the beginning of our thesis semester, our advisor David suggested that we reproduce the artifacts of Hong Kong’s funerary customs as a way to research the culture. And doing so not only put us in a mindset of “making,” but it also gave us the opportunity to become familiar with the funerary customs in a very intimate way, helping us set the tone of the project later on. Now, when I get the chance, I’ll find opportunities to do research through “making.”

Ian: I think our thesis also reinforces an idea that we had gradually come to grasp over the course of our education. And by that, I’m referring to the “building” versus the “idea.” Or what some would consider the difference between architecture (with a lowercase “a”) and Architecture (with an upper-case “A”). For the longest time, it was hard for me to separate the two because architecture can be such a visual and technical pursuit. And it’s easy to get lost in that. But to put it simply, imagine a building. And from that building, we remove everything related to its construction and building systems. Mullion details, mounting heights, wall types, structure, mechanical, electrical, and plumbing. All of that is gone. Even its style or aesthetics, we could do without. Now what we’re left with is an idea. And that idea is Architecture with an upper-case “A.” If we strip the building back and we’re left with nothing. Then all that building is architecture with a lowercase “a.” Not that there is anything wrong with the latter. Our world needs a lot of architecture, and it would be impossible for all of it to harbor profound ideas. But I think it’s important to know the difference and to find opportunities to do Architecture as well. 

As a recent graduate, how do you feel about the architecture industry right now?

Ian and Sue: It’s a challenging industry to navigate, with its many facets that include everything from bureaucracy, finances, technical expertise, and finding clients to the coordination between what is often numerous parties involved. That being said, the work that designers and architects do is often undervalued, and we could use more recognition and respect. But otherwise, I feel like a kindergartener about to start school with the big kids. And I can’t wait to be a big kid too. 

What are your next steps? Academically/professionally?

Sue: My next step is to gain more practical experience and eventually get licensed. And to continue the journey of “making” from our thesis, perhaps start with making small objects and explore avenues in the world of design.

Ian: My next steps are to learn how stuff gets built, to get stuff built, and to get licensed. Then we’ll see. 

How has your architectural education prepared you for professional practice and employment?

Ian: I’d say that my architectural education has taught me how architecture today came to be and why it is the way it is. I think that’s valuable, especially going into professional practice, where a lot of that knowledge could easily be overlooked or even forgotten. It has also taught me that architecture can be approached in so many ways and that there’s no one way to do architecture. So, I think it has equipped me to enter the world of practice both inquisitively and undogmatically.

Sue: The preparation will probably be less apparent now, but I have a hunch that down the road, while working professionally, I will be reminded of my architectural education. What we were taught and the way we were taught at SCI-Arc is so deeply rooted in everyone that stepped foot on that commencement stage. And what we learned will come back in ways we don’t even realize. And it can take the form of anything, experimental visualization, conceptual ideas stemming from history/theory, or architecture in a form that crosses other design disciplines (fashion, product design, etc.) 

Archinect's Take 5 with Ian and Sue

What’s an overrated architecture term?

Ian: zeitgeist
Sue: charette 

What music do you listen to when working?

Ian: BALTHVS
Sue: Yo-Yo Ma

Mac or PC?

Sue: PC
Ian: PC for work (and gaming), Mac for all other non-work stuff 

What’s your go-to work outfit? Does it include black?

Ian: neutrals
Sue: sweater and jeans. Black too. 

Favorite thesis/studio memory?

Sue: First semester, the night before the studio final, while putting together my physical model, the power in the entire SCI-Arc building went out. All the renderings at the computer lab stopped. The studio next to us cheered and ran outside to the parking lot, dancing. And me, along with some studio mates, continue to work on our models under the very dim backup lights and our iPhone flashlights. It was a mess but definitely one of the fondest moments in school working physically together pre-Covid. 
Ian: Finishing our big model during thesis. 

Archinect's Spotlight on Thesis Projects: Archinect's commitment to highlighting student work doesn't stop at simply sharing projects. Our editorial team focuses on connecting with students and asking questions to learn their process, architectural perspectives, and their take on the industry as young designers. To support the class of 2022, we've launched our summer series iteration of Archinect's Thesis Review to highlight the work of thesis students during this unique time of hybrid and remote learning. Be sure to follow our 2022 thesis tag to stay up to date as we release new project highlights.