Unfold (working title): Little Saigon Plaza

Unfold (working title): Little Saigon Plaza
Narrative
In 1981 Thai Thi Kieu Tien hid in the backwaters of
the Mekong Delta having been billeted out to a safe
house by her husband, a local people smuggler. With
her was her 5-month-old child and another woman,
whom she did not know, they crammed into the small
space of a mosquito net in a room that was lit only by
oil a lamp. She did not know exactly where she was;
all she knew was that it was pitch black outside.
The boy was notorious for crying inconsolably, and
there was constant fear that he would give them away
to the authorities. She was, after all committing an act
of treason.
Upon leaving the safe house Tien and her child got into
the bottom of a sampan; covered in banana leaves,
they lay there as still as the dead fish they were being
passed off as. The boy did not make a peep, nursing
the whole way while they slowly made their passage
to the main vessel.
Thai Thi Kieu Tien and her son prior to leaving Vietnam, 1981
For three days and three nights they traveled the
South China Sea, she could not keep her food down
and found it just as hard to sleep. The boy cried for
nourishment but she had stopped lactating from the
malnutrition and constant motion sickness. The vessel
eventually made land on the east coast of Malaysia,
where they resided in Pulau Bidong Refugee camp
before resettling in Australian in 1982.
Aunt, Brother, Mother & Father, Pulau Bidong Refugee Camp 1981
Viewing Pulau Bidong Refugee Camp from a Resort, from the series My Dad the People Smuggler, 2013
Form
The origami sampan has been a consistent motif in my practice. This simple origami structure, taught to
me by my mother, has formed the foundation of several works examining the history and narrative of the
Vietnamese Diaspora, including An Action for Mourning Half a Million Vietnamese, (Rae and Bennett, 2012)
and Article 14.1 (Next Wave Festival, 2014).
Thai Thi Kieu Tien is my mother one of the countless
Vietnamese refugees who fled Vietnam following the
fall of Saigon. Her story is not unique, being replicated
over and over again within the Vietnamese diaspora.
This work is designed to honour the Vietnamese Boat People, to create a respectful gesture toward the
spaces that have been created as a result of the success of their journeys. Just as importantly this work
will also honour those who never completed their journeys. It is a monument to the efforts of the Vietnamese
people and to those who perished at sea seeking the opportunities into which my generation was born.
This work is made in gratitude from one generation to another.
Article 14.1, Next Wave Festival, 2014
Phuong Ngo
Utilising the form of an origami sampan, the proposed
work will narrate the experiences of Vietnamese
Diaspora through a subtle activation of the new plaza
complex proposed for the Little Saigon Precinct in
Footscray. The work will commence at ground level
within the plaza space in the form of a bench or
sculpture alluding to a single sampan, suggesting
the personal and individual experiences held within
the Vietnamese community. Where possible this
component of the work should be constructed from
Australian hardwood, a reference to the journey and
the destination.
Origami Sampan
Abstract geometric shapes taking their cues from the form of a sampan, will be scattered throughout the
plaza floor, a reference to the human displacement following the fall of Saigon. Subtle shifts in the texture
of the plaza floor will also provide hints towards the relationship between the figurative (sculpture/bench)
and the angular cladding of the building facade.
The facade of the building will replicate the form of a series of deconstructed white origami sampans; a visual
representation of the unfolding stories and narratives of the space in which this work will occupy. The choice
of white is in reference to the colour of mourning in Vietnamese culture is a sensitive acknowledgement of
those who were lost at sea. Aesthetically, the angular position of each white ‘folded’ segment will collect
light and shadow that changing throughout the day as the sun shifts, giving the building facade an evolving
depth.
As the facade reaches the upper floors of the building it will begin to disintegrate into the sky in order to
express the fragility of the Vietnamese experience.
At night the building’s facade will be activated through light that will be emitted from the fold lines, continuing
the buildings narrative in darkness. These lights will also provide a functional purpose during festivals, events
and for security of the Little Saigon Precinct.
Deconstructed fold lines
Materiality
Considerations
The materiality of the work is yet to be determined. Initial discussions with parties involve have resulted in a
range of considerations, with an indication of powder coated steel and painted concrete being options for
the car park facade.
• The facade of the building can act as a space for projection during events and festivals
• Commissioned public art within the plaza can be used to enrich the narrative
• Alternative to the plaza floor can be in the form of a map of the main arteries of the Mekong Delta
The bench/sculpture should be constructed from Australian hardwood, preferably sourced from the local
area. Although this is not necessary, it would provide a local connection for the work, which will add to its
resonance within the space.
The light to be used to highlight the fold lines on the building facade will be decided in consultation with all
parties to take into account cost, energy efficacy, on going maintenance issues and environmental impact.
Phuong Ngo
Byron Street Facade
Total Area = 46 x 14 meters
Section Sizes = 3.5 x 2 meters (14:8)
Phuong Ngo