If you walk through San Lorenzo, currently one of Rome’s most “trendy” neighborhoods (even if it’s also said to be “underground”) you will probably come upon this very old wall while jumping off of Tram no. 19.
Top: Istanbul airlifted to the beaches of Rio de Janeiro;
Bottom: São Paulo set in Cappadocia
Imagine this: you’re walking down a side street in Midtown Manhattan and turn onto Fifth Avenue, facing uptown. But there, instead of the void of sky that usually greets the vista north toward Central Park, a massive mountain blocks the view, crowned with an uncharacteristic religious symbol. Then it strikes you: you’ve seen this rocky mass before. It looks every bit like Rio de Janeiro’s Corcorvado peak, topped with its famous statue of Christ the Redeemer. And that’s because it is Rio’s Corcorvado mountain — moved right into the heart of New York.
Welcome to the world of Ciro Miguel. The São Paulo architect spends his spare time dreaming up landscapes in which familiar urban landmarks from around the world collide. The images he’s kitbashed together are his own; most involve elements from his home country, Brazil, or New York, where he was a graduate student. Others encompass his world travels. It’s in the way Miguel’s collages represent the places and ways many travel now, in fact — reflecting trends in trade and politics driven by globalization — that they can be seen as more than mere dreamscapes, representing connections and evoking experiences that have become very real.
Renato Guttuso, Spiaggia, 1955-1956
J’embarquai dès le matin dans ce fantasme au bord de la Mer de Rome et qui traine toujours avec moi, comme un paysage qui me harcèle.
Ce n’est qu’un paysage, une carte postale tragiquement exotique – et qui me fit revenir en mémoire avec force l’oeuvre Spiaggia de Guttuso, le peintre sicilien mort à Rome. Seulement un panorama, de ruines et de routes ceinturées par ces pins parasols, et qui, tel les bras du Tibre, se jettent dans la mer azure qui borde la cité de Rome et son antique port d’Ostia.
On commence par prendre ce train, à la Basilique San Paolo, et qui nous mène au travers des banlieues pavillonnaires jusqu’à ces paysages de la campagne romaine. Nous ne sommes pas encore à la mer, que déjà nous accroche le Quartier Euro et où le souvenir du fascisme nous domine et crée cette étrange amertume d’une époque que pourtant je n’ai pas connu, mais qui me fascine comme tout architecte cherche à comprendre cet homme nouveau que le modernisme souhaitait façonner. La Rome nouvelle et le romain moderne imaginés par Mussolini. Cet échec d’une recherche de la perfection, idéologique.
Alors que les débats sont parfois lourds dans l’administration municipale lorsque vient le moment de voter des budgets d’aménagement, l’on constate qu’en quelques années, Montréal a réussi à altérer l’image de plusieurs de ses rues commerciales avec des idées simples et peu dispendieuses.
Après avoir passé les derniers mois à débattre et à préparer des projets de réaménagement de l’espace urbain et des rues de Montréal, nous avons constaté que trois éléments ont eu un impact réel sur la qualité de nos rues, à savoir l’implantation de terrasses sur les trottoirs (qui créées des milieux de vie animés), la multiplication des plantes et autres éléments de végétalisation de l’emprise (la plupart des éléments étant temporaires et versatiles) ainsi que le changement culturel chez les montréalais, à savoir le raisonnement selon lequel désormais on ne peut plus accepter que la rue soit un simple axe de circulation des biens et personnes.
Ici quelques exemples de la rue Dante, qui semble désormais un petit jardin en pleine ville et où les terrasses et plantes rappellent finalement la douceur de la Méditerranée…
Though street art is not as pervasive in Hong Kong as it is in European and North American cities, it is very common in certain neighbourhoods. Sheung Wan is one of them. In the district’s many back lanes and quiet streets, just about every spare surface is covered with a tag, stencil or poster.
Last March, I wandered through the area and recorded some of what I saw. It’s very much a reflection of Hong Kong’s current state of mind. One of the pieces depicts a jasmine hawker selling jasmine flowers, a reference to both the Arab Spring and the response of Chinese activists to the increasingly harsh crackdown on mainland China intellectuals, human rights lawyers and dissidents. Another criticizes the Hong Kong government’s aloofness and unaccountability. One pokes fun at the ascendant Chinese art market, which has led to the concentration of major international galleries and auction houses in Hong Kong.
“Tribute in Light,” a September 11th memorial, seen from Brooklyn.
Photo by Chris Arnade
It’s almost Mid-Autumn Festival here in Hong Kong, a time of year when people gather outside to light lanterns and stare up at the full harvest moon. As with all Chinese festivals, there’s a story behind it — in this case, a woman is said to have swallowed a pill of immortality and found herself stranded on the moon, which happens to be home to a rabbit — but mainly it’s an excuse for families to play outdoors at a time when they’d normally be watching TV at home.
Mid-Autumn always reminds me of another story, which comes from the Logo Cities project a few years back. Late on a winter night, a young man was out in downtown Montreal when he remarked upon an exceptionally low-hanging moon, only to realize a second later that it was actually the corporate logo on the top of the Complexe Desjardins. The same thing happened to me when I was in Montreal earlier this summer — “Wow, the moon is low tonight,” I thought. There’s something about the white and green colours of the logo that is surprisingly lunar.
There’s always a lot of talk about the way that urban light pollution obscures the night sky. Looking up at night, I’m lucky to see a few stars, but at this latitude, I should be able to see the entire sweep of the Milky Way. Instead, there’s the moon — and all the artificial sources of light that serve as false moons. Sometimes, when the sky is exceptionally hazy, the sun is so weak that it, too, begins to resemble the moon, small and weak enough to stare at with the naked eye.
Know which leafy block to turn down off the numbered avenues of Brooklyn’s Park Slope, squint past the bright spots of sun and deep shadows dappling the ground late into a summer day, and you can puzzle them together — a series of portraits, “ghostly apparitions” as the New York Times called them — spanning the steps of front stoops of the brownstones lining a short span of Bergen Street.
This is an improbable venue for a public protest against the wildly expensive and potentially transformational real estate development several blocks north, let alone a global art sensation, yet the photos on Bergen Street manage to be part, nevertheless, of both. They’re intended as a demonstration of solidarity with immigrant shop owners, the subjects of the portraits, whose businesses, local residents fear, are in danger of displacement in the wake of the Atlantic Yards project, an effort to develop several blocks wedged between Park Slope and the adjacent neighborhoods of Fort Greene and Prospect Heights into a basketball arena surrounded by skyscraping office buildings and condo towers.
But the portraits have drawn more attention as a prominent local iteration of “Inside Out,” a worldwide participatory street art project orchestrated by JR, a seminonymous French photographer who rocketed to Banksy-level fame for his work, which began as a guerilla effort to bring portraits of marginalized suburban youth to the affluent streets of central Paris and grew to include pasting “supercolossal” photo portraits covering the roofs and walls of largely impoverished urban neighborhoods from China to Kenya to Brazil.
2010 was a good year for Muse magazine. Three years after its launch, its mix of long features, short fiction and cultural criticism had earned it respect as one of Hong Kong’s most insightful cultural journals. It was sponsoring public lectures, film screenings and a search for Hong Kong’s up-and-coming cultural talents. In September, it made its first real foray into the digital world by launching an iPad edition.
So it came as a surprise when publisher Frank Proctor announced, at the end of the year, that the December edition would be Muse’s last.
“I didn’t see it coming,” says Leo Lee Ou-fan, a scholar of modern Chinese literature who wrote a regular column for Muse. “Muse had become Hong Kong’s representative to the outside world, but the sad part is that right at the point where it was being noticed, Frank couldn’t afford to continue.”
Three months later, another well-respected magazine, C for Culture, published its last issue. Both magazines had suffered from the same simple fate: they ran out of money. Loyal readers and cultural observers were left wondering: does Hong Kong have what it takes to support lively coverage of the arts? And without that coverage, can Hong Kong ever develop a mature artistic and intellectual culture?
Yue Hwa in 2005. Photo by choco_late
The Yue Hwa Chinese Products department store has stood at the corner of Jordan and Nathan roads for decades — and for decades, so did its big neon sign, a sentinel that marked the passage north into the seedy streets of Yau Ma Tei and Mong Kok.
Sometime in 2009, though, without fanfare or even the simplest of announcements, the sign was removed. So was a similar sign further down Nathan Road. Yue Hwa did not respond to inquiries about the signs’ fate. It is not clear why they were taken down or what happened to them.
Heritage activists were nonplussed about the sign’s disappearance. “We put our priority on conserving some historical buildings first due to limited resources,” says Roy Ng, policy officer at the Conservancy Association, which has fought to save numerous historic buildings from destruction.
Katty Law, a heritage activist who successfully lobbied against the redevelopment of the Central Market and Former Married Police Quarters, says she has “never thought about the issue, probably because many of us are upset with the light pollution problem.”
Although neon signs are some of the most characteristic elements of Hong Kong’s streetscape, there has been virtually no effort to research, document or preserve the city’s landmark them. In terms of heritage conservation, they simply aren’t on the radar.
“Neon signs are such a surprisingly under-researched subject,” says Lee Ho-yin, director of the University of Hong Kong’s Architectural Conservation Programme. “We see them every day and yet we don’t know much about them.”
With more and more businesses switching to cheaper, mass-produced forms of signage, neon is steadily disappearing from Hong Kong’s streets. The effect on Hong Kong’s visual identity could be profound. Neon is such an integral part of Hong Kong’s character that the mere mention of the city’s name conjures up images of glowing Chinese characters and streets bathed in a rainbow of light.
It comes to me whenever I am in Vancouver: an urge to watch the sunset. Pulled by memories of blue Pacific waters buffeting a tangerine sky, I make my way to English Bay Beach, where I find a seat on one of the large pieces of driftwood that have been arranged on the sand, and join hundreds of others in the nightly spectacle.
Last month, though, on my final day in Canada, I was taken to watch the sunset from the roof of the new Vancouver Convention Centre, a sharply geometric structure that rises from a broad concrete plaza next to Coal Harbour. As I climbed the metal staircase up to the roof, I was sceptical that it would be anything close to the English Bay experience. When we arrived, I was surprised. Built at a slight angle, covered in wild grass, with a gravel path cutting diagonally across it, the roof feels like a country meadow that has somehow found itself three stories above ground. Watching the sun set from there, over the water of Coal Harbour and the tall fir trees of Stanley Park, was a surprisingly bucolic experience.
On the surface, that sounds reminiscent to other recent experiments in aerial urban greenery, like New York’s wildly popular High Line. But the convention centre’s roof has more local roots. In many ways, it is the latest product of a style of urbanism born in 1978, when Arthur Erickson designed Robson Square, a large civic centre in downtown Vancouver that combined provincial law courts, a municipal art gallery, government offices and a series of public spaces.
Only a block north from the construction barriers surrounding the former site of the World Trade Center, which brim with boastful renderings of progress on the nearly-complete September 11th Memorial, another, less conspicuous hole opens up in Lower Manhattan’s lapidary landscape. Compared to the blocks bordering Ground Zero, it’s a stretch of Church Street that’s relatively empty. Maybe that’s part of why the netting surrounding this construction site was passed up as glossy adspace showcasing the real estate to come and instead given over to art — currently, Israeli artist Maya Barkai’s installation “Walking Men,” which juxtaposes images of pedestrian walk signs from around the world.
In North America, it’s easy not to devote much thought to the design of “walking men”. While the pictograms are relatively new to the US — until recently, it was still not uncommon to come across a spelled-out “WALK” sign on the streets of New York — bright-white walk symbols are now not only fairly uniform across dense American cities, they’re also uniformly ignored by jaywalkers, who normally treat the signals as well-meaning but unnecessary suggestions.
Elsewhere, though, walk signals are much more diverse — and sometimes more meaningful. In Germany, pedestrians who cross against the light aren’t really braving traffic as much as the reproachful glances of those dutifully remaining at the opposite corner. From Munich to Münster, old women wait at otherwise empty street crossings for the signal to change — on principle. Ordnung — the organizing principle of German civilization — begins at the intersection.
Vancouver is working hard to shake off its reputation as a somewhat pious city that values good mountain views over vibrant streetlife. Its architecture has seen a shift away from the back-to-nature style of the 1970s, 80s and 90s towards something bolder and more urban, like the recently-completed Woodwards redevelopment. There seems to be more tolerance for cheeky public art — witness Douglas Coupland’s Digital Orca (which makes up for all the lame whale murals around town) and Ken Lum’s Monument for East Vancouver. And there is more and more playful new street furniture.
Last week, I came across one such piece of furniture in front of the Vancouver Art Gallery. The stretch of Robson Street in front of the gallery had been closed for construction for several weeks; when it reopened, a kind of undulating fake lawn was installed. It had bright yellow “grass” and was shaded by white umbrellas; it was a bright, sunny afternoon and the lawn was thronged with people. I returned later, after the sun had set, and sat down for awhile. A couple of guys laid down on the grass, holding hands, and one of them wondered aloud, “What is this doing here? This is so weird!” But if others thought it was strange, it didn’t show. A couple of people worked on their laptops, faces lit by the screen’s blue glow. Others sat cross-legged, talking to friends. It was as if it had always been there.
Hong Kong’s market booths are typically painted green
Why is Hong Kong so green?
The question came up a couple of months ago when I was having afternoon tea with my girlfriend, Laine, at Mido Café.
“If you had to pick a color to associate with Hong Kong, what would it be?” she asked, looking out the window at Temple Street hawkers setting up for the night.
“I dunno,” I said. “Red?”
“That’s what most people would say, right? But I think it’s green. Not just because of the hills or the trees, but because so many things in the city are painted green, like the street market stalls.”
It was an interesting observation. A few weeks later, I brought it up when I met Hulu Culture co-founder and old Hong Kong expert Simon Go for coffee — also, coincidentally, at Mido Café. He immediately perked up.
“I call this color ‘grassroots green,’” he said, gazing up at Mido’s 1950s-era metal window frames which were, of course, painted green. “The windows, the market stalls, the trams, the Star Ferry. It’s everywhere, in all of the most famous Hong Kong things.”
But why? Go didn’t know for sure. He speculated that the government required market stalls to be painted green as a measure of consistency. I got the same answer from the owner of a paint shop on Wellington Street, in the middle of Hong Kong’s oldest street market.
“The hawkers come here to buy their paint and they choose from a few different shades of green,” he said. “I think it has to do with government policy.”
In Hong Kong, the fate of an old building is virtually predetermined. Worn by years of intense use and little maintenance, it is snatched up by a property developer who waits for the right moment to knock it down and replace it with shoebox apartments, or maybe a cookie-cutter hotel.
Carl Gouw wants to break that pattern. When the young property developer purchased an old building in Wan Chai, he planned to eventually demolish it for a new block of serviced apartments. But that might not happen for two or three years. In the meantime, he thought, why not do something out of the ordinary?
So the Wan Chai Visual Archive was born. Upstairs, twelve renovated apartments rented to long-stay visitors and expatriates. Downstairs, a bar that serves as a neighbourhood gathering space. And in between, a non-profit, community-oriented space for art and design that is subsidized by rent from the commercial and residential units.
“The idea is to bring an element of creativity into the serviced apartment business,” says Gouw. “Instead of just being passive as a property investor and doing nothing with the building until redevelopment, we thought we could create a platform to engage the local culture.”
