Peter Reyner Banham Fellow, Buffalo School of Architecture and Planning, University at Buffalo
Ang Li is an architect and Visiting Assistant Professor at the University at Buffalo. Previously, she worked for a number of architectural practices in the US and Europe, including David Adjaye (New York), Marge Arkitekter (Stockholm) and Allies and Morrison Architects (London). Her professional experience includes projects across a range of scales from exhibition design to cultural institutions. She holds a B.A. in architecture from the University of Cambridge, and a M.Arch from Princeton University, where she was awarded the Suzanne Kolarik Underwood Prize. She also served as an editor of the architectural journal Pidgin Magazine.
Her work explores questions of material agency and cultural production in contemporary aesthetic practice. Her most current research in Buffalo focuses on the role of the industrial monument as a trope in architectural culture through experiments in reference and reproduction. She has participated in exhibitions at the 2013 Lisbon Architecture Triennale, and Storefront for Art and Architecture. Her work has been published in Pidgin, Clog, Manifest, Abitare, Wired, and Blueprint.
A Wall and A Column: 2 Projects
"A wall and a column...what they have in common is an interest in looking at the cultural agency of traditional building materials and their ability to speak."
In A Wall and A Column: 2 Projects from PechaKucha Buffalo Vol. 16, architect and University at Buffalo Peter Reyner Banham Fellow and Visiting Assistant Professor Ang Li presents a pair of site specific installations that explore the cultural agency of vernacular building materials. Horror Vacui is an installation in Lisbon, Portugal that examines the ability of building facades to “speak” through the medium of the Portuguese “azulejo” - hand-painted ceramic tiles often depicting scenes from historic or civic events. The piece explores the narrative potential of bricks and mortar within contemporary image sharing and crowdsourcing platforms. No Frills is an installation in Buffalo, New York that stems out of an interest in the industrialized production of terracotta in the 19th century as a new kind of ornamental language. In a semi-abandoned Chevrolet Factory by the architect Albert Kahn, a 13-foot column interrupts the existing grid of the assembly floor, acting as a bridge between the vast scale of obsolete industry and the human scale of the architectural ornament.