March 31st, 2014
Rendering of M+
In Hong Kong, a city with an increasingly toxic political atmosphere, where the future looks uncertain and just about every small endeavour is greeted by controversy, M+ is one of the few bright spots on the horizon. That’s not to say the 60,000-square-metre, HK$5 billion museum of visual culture has enjoyed a smooth ride; there has been grumbling about its entirely foreign cast of curators, its aloofness when faced with the political sniping of the local art scene and its ability to work with a budget that seems increasingly inadequate, given rising construction costs. But this is Hong Kong’s best chance at seizing its moment in the cultural spotlight, when the art market is booming and global attention is shifting away from the West – and, so far, M+ has been striking the right notes as it composes its identity as a fresh-thinking, innovative institution.
That was in evidence in its recent architecture exhibition, Building M+, a showcase of the museum’s future home and a sneak peek at its growing architecture collection. Hosted last January at Artistree, a cavernous exhibition space in the bowels of corporate Taikoo Place, the show greeted visitors with a procession of models depicting the six finalists in the international competition for the museum’s design. These were followed by a large scale model of the winner, by Swiss architects Herzog & de Meuron, which came in for ribbing because of its stark, tombstone-like form. But it is clearly the best of a sorry bunch; somehow, despite the talent involved in the competition—including Toyo Ito, Renzo Piano, Shigeru Ban, Snøhetta and SANAA—most entries were haphazard and even goofy, with little regard for the interdisciplinary focus of M+, which aims to bridge art, architecture, design and film. (One of the designs actually consisted of boxes stacked upon one another like Lego pieces, as if to emphasize the difference between these different fields.) Though unexciting, the winning design at least offers the museum programmatic flexibility. “They won because they understood the importance of creating dialogue between these different platforms for culture instead of just compartmentalizing everything,” says museum director Lars Nittve.
March 25th, 2014
As the tram lurched past the dried seafood shops of Des Voeux Road, a cool breeze passing through its open windows, passengers were served a round of cocktails. “Do you reckon this is the best tram in the world at the moment?” asked one woman sipping an Old Fashioned. “I think so,” replied another.
Needless to say, this was no ordinary tram journey. For ten days last December, four of Hong Kong’s double-decker trams were made over for Detour, an annual art and design festival. One tram was converted into a classroom; another was transformed into a giant camera obscura; a maintenance tram became a mobile radio station and concert venue. The fourth was the Eatery tram, whose teak-framed upper deck was fashioned into a sleek dining hall, blond wood and brass railings bracketed by strips of soft LED lights.
“To make the space feel bigger, we removed all hand holds and rails that obstructed the line of vision, made all the tables and benches out of light-colored pine, painted the walls and ceilings white and put in light-colored wood veneer flooring,” says Billy Potts, who designed the interior with partners Albert Tong, Cara To and Sjors van Buyten.
March 20th, 2014
For decades, neon has defined Hong Kong’s cityscape, bathing its skyscraper canyons in rainbow hues that have provided a memorable backdrop to films like Chungking Express
and The World of Suzie Wong – and inspiration for classics such as Blade Runner.
But Hong Kong’s neon signs are starting to vanish, which has prompted the city’s future museum of visual culture, M+, to launch an online exhibition dedicated to the city’s neon heritage. Mobile M+: NeonSigns.HK goes live today and will be continuously updated over the next three months.
“These signs are starting to disappear quickly, and as the saying goes, you don’t know what you’ve got until it’s gone,” says M+ architecture and design curator Aric Chen. “What we can do is help people appreciate the value of neon signs.”
That is a situation M+ hopes to redress. NeonSigns.HK includes a video documentary about neon signmaking, a crowd-sourced map of neon signs and contributions from cultural luminaries like photographer Wing Shya and cinematographer Christopher Doyle. There will also be a series of real-world events over the next three months, including nighttime bus tours, workshops and self-guided audio journeys through Hong Kong’s neon landscape.
Chen says the catalyst for NeonSigns.HK was the iconic cow-shaped neon sign outside Sammy’s Kitchen, a family-run steakhouse on Queen’s Road West. Though the sign has loomed over the street since 1977, its removal was ordered last year after the government’s Buildings Department found it contravened local building codes.