One of the things that makes Hong Kong’s incessant concrete and frequently bland architecture so bearable is that public spaces attract a kind of cultural detritus the way a bookshelf attracts dust. It only takes a few years for newly-built spaces to feel well-used and lived-in.
Bus stations are a good example. Often built beneath shopping malls or housing estates, they are deeply unpleasant places that trap noise, exhaust and heat. But bus drivers and supervisors must make their living there and, as a result, you’ll find desks, sofas, random discarded furniture and, most important of all, Chinese altars.
In this video by Thomas Lee, a feng shui master is called to a bus station that has suffered a string of traffic accents. He will perform a hoi dei tsu ceremony to invite a god to watch over and protect the station. It’s a good look at how even an inhospitable space like a bus station can be humanized.
Container gardening is the ultimate form of urban greening: space-efficient, low-maintenance and productive. People in Hong Kong have been doing it for generations.
Last summer, on a sunny but oppressively hot day, I found myself on the roof of a 1960s-era highrise apartment building in Kwun Tong. Among the lines of billowing laundry were several clusters of potted plants maintained by the building’s residents. Though most were decorative plants, there were some fruits being grown, including kumquats and tomatoes. Anyone interested in growing their own herbs or vegetables could have easily done so.
Unfortunately, informal rooftop gardens like this are set to become a rarity. The Kwun Tong building on which these photos were taken will be demolished next year for a massive redevelopment project. Newer buildings tend to have smaller roof areas and no room for plants. My building has just two flats per floor, for example, which makes for a very small roof, most of which taken up by stairwell entrances and an elevator machine room. Even if I tried to start a container garden up there, it’d probably be cleared away by the building management.
The government is pushing developers to include green features in new developments. The public housing authority, whose buildings house more than a third of Hong Kong’s population, is experimenting with green roofs, vertical greening and community gardens. But there’s something to be said for giving people a bit of empty space and letting them do what they want with it.
This is a collection of pictures of the last night the infamous Tongren Road strip was open and functioning.
Tongren Road runs right through the commercial heart of the Jing An district in Shanghai. A very small strip (like half a block) of this road was one of many red light districts that are scattered through out the city. What made this particular strip interesting was that it existed for a quite a long time surrounded by some of the most expensive real estate in Shanghai and China. On December 17th, this notorious half a block was shut down in preparation for the Expo in 2010. There is also a billion-plus-dollar development going up right across the street. The new Kerry Center office complex and a Shangri-La hotel will open in two years.
While I don’t normally frequent areas like these, I have to admit that I always had a soft spot for Tongren Road. It was its long-lasting grittiness and sleaziness amongst the immediate gentrification that surrounded it that made it unique.
Air conditioning is a bit like a narcotic: once it claws its way into your life, you begin changing yourself to accommodate its demands. When air conditioning became common in Hong Kong, it changed the very fabric of the city, shrinking windows, destroying verandahs, turning streets into dripping, humming corridors meant to serve the useful space, which moved indoors.
In the past, Hong Kong architecture emphasized shade and ventilation, with arcaded sidewalks and large windows. The new architecture of A/C turned its back on these traditional ways of coping with a hot climate, eventually creating a city that struggles with a severe urban heat island effect and wall-like buildings that block the wind and trap pollution.
In the most remote corner of the Hong Kong-Shenzhen Bi-City Biennale’s West Kowloon site, three architects, Kingsley Ng, Syren Johnstone and Daniel Patzold, are digging up Hong Kong’s heritage from virgin land. The concept: it’s several centuries into the future and an old street market has been discovered, leading to an archaeological race to save what remains of it.
Artifacts from the Central street market are scattered around the dig, including an old green market booth the team brought in from Gutzlaff Street. It now sits incongruously in an open plain with the giant glass-and-stall wall of the just-built International Commerce Centre rising incongruously behind it.
“When something like this is in the market, you don’t notice because it’s a shitty old thing, but when you move it here, you start seeing all of the details. There’s a lot of stories here,” says Johnstone. “If we found an old market 350 years in the future, we would want to preserve and protect the ruins. Why not today for the markets that still exist?”
Last Sunday, Clara Lee and her nine-year-old daughter Hoi-ching were wandering through the craggy grass and gnarly trees that make up the West Kowloon site of the Hong Kong-Shenzhen Bi-City Biennale of Urbanism and Architecture.
“It’s big here!” exclaimed Hoi-ching. “I don’t often go to the countryside.”
“Actually,” said her mother, “this is not the countryside. We’re in the city.”
Hoi-ching looked up, perplexed. “But it feels like the country.”
She could be excused for being mistaken. After it was created from landfill fifteen years ago, parts of West Kowloon were developed with malls and highrises, while a narrow strip of waterfront was recently converted into a public park and promenade. But most of it was simply fenced off and left fallow; land reclaimed from the sea was gradually reclaimed by nature. With the totems of Hong Kong finance soaring at either end of the site, it’s an odd experience to wander along a dirt road past wild grass, untamed shrubs and the sound of crickets buzzing in the sun.
There’s several different names in English for small, secondary streets that run between blocks or behind major roads. Alley and lane are the words most often used in North America, but there’s significant variation in the UK, where regional words like vennel, chare, wynd, twitten and jigger are common.
It’s a similar story in China. Just about every city has a lu (路), which is the word mostly commonly used to describe important roads. And even though there is a basic word for lane — xiang (巷) — there are also many regional variations. In Beijing, it’s hutong (衚衕); in Shanghai, it’s longtang (弄堂) and in Chengdu, it’s xiangzi (巷子).
I don’t know anything about the exact origins of these different words for alley, but I imagine they have roots in local languages and geography. In Guangzhou, for example, a common name for alley is tung jeun in Cantonese (衕津), which literally means “alley dock” and refers to a lane near the Pearl River. Nobody uses this word in Hong Kong, where two other words are used to refer to alleys: fong (坊) and lei (里), which is a Cantonese transliteration of the English word “lane.”
GlobalPost’s Nick Miroff brings us this nice audio slideshow of Havana’s old cinemas — gorgeous Art Deco and Streamline Moderne relics that were once, as he reports, living rooms for the entire city. Some have been converted to other uses, but many still show movies, albeit in a kind of quiet decrepitude, with ticket prices frozen at the same rate as decades past.
“In Cuba, the creative destruction of capitalism isn’t there, so the past never really goes away, it just remains in the present, like the city’s old American automobiles. Cuban socialist aspirations have always been haunted by reminders of a more prosperous time.”
Hong Kong is a city where the creativity of capitalism has been given free reign (unlike creativity of other kinds, which have traditionally been looked down upon). Nearly all of the city’s free-standing theatres and cinemas have been destroyed, though the Yaumatei Theatre, a hybrid neoclassical/Art Deco building that is Hong Kong’s only surviving prewar cinema, is now being restored.
Good street furniture is not one of Hong Kong’s strengths, so when people here can’t find a place to sit outdoors, they do the most logical thing: they bring their own chair.
In natural gathering spots around the city you’ll come across a motley array of household chairs that have been placed outdoors and tied to a post or railing. You can see them at bench-less bus stops, or on steep stairways, sometimes with one leg trimmed so the chair can sit evenly on the steps. I’ve even come across chairs tied to trees in the woods that are never more than a 15 or 20 minute walk from any part of the city.
In the Hong Kong-Shenzhen Biennale of Urbanism and Architecture, which runs until the end of February on a piece of vacant waterfront land, designers Rosly Mok and Vanessa Chan have created a public bench out of discarded chairs.
Queen’s Road, near Noho, in 1930 and today. Photo by HK Man
Noho is Hong Kong’s newest neighbourhood. It’s also one of the oldest. This is, of course, an old part of town that has just recently gentrified and been given a New York-inspired moniker, which stands for North of Hollywood Road and is a counterpoint to the already-trendy enclave of Soho, which as you might guess sits on the other side of Hollywood Road.
Though it might now be known for dining, drinking and shopping, Noho was once associated with a few other things: revolution, prostitution and printing. First developed in the 1850s, shortly after the arrival of the British in Hong Kong, the area around Gough Street was a borderland between the city’s European and Chinese quarters. To the east were the banks, clubs and colonial institutions that served Hong Kong’s elite; to the west was a parallel Chinese city, crowded with migrant workers and merchants from across the harbour.
Living conditions were dire. With the villas and apartments of Central reserved only for whites, space was at a premium, and Chinese families were forced to live seven or eight to a room in squalid tenements.
There is not much to indicate that the rundown shophouse on Shanghai Street in Mongkok houses anything but a pawn shop.
On the third floor, however, is Tong Saam, an unmarked space that has positioned itself on Hong Kong’s creative vanguard. Since it was opened earlier this year by three friends interested in music and art, it has hosted film screenings and performances by underground folk singers such a Beijing’s Zhao Yiran.
“Normally, you’d only be able to find this kind of space in an industrial area,” says one of Tong Saam’s founders, Charlie Wong Liang-yih, a freelance designer. “It’s the perfect size and even has a balcony. Being in Mong Kok makes it even more special because it’s so central and we’re part of a real neighbourhood. Places like the Cattle Depot [Artists' Village in To Kwa Wan] are like warehouses for artists. This is more like a community space.”
For all its ambitions, though, Tong Saam might soon be redeveloped. Shortly after they moved in, Wong and his partners heard rumours that the Urban Renewal Authority was planning a new project on the street. Even if that did not turn out to be the case, it was likely that other URA projects in the area would drive up prices and encourage owners to sell their properties to developers, he said. “We’re surrounded by redevelopment projects,” Wong said.
Tong Saam is not the only new venture to open in a neighbourhood targeted for redevelopment.
When the curators of the 2009 Hong Kong-Shenzhen Biennale began assembling exhibits for the urbanism and architecture showcase, they decided to focus on the theme of sustainability. It turns out that most of the artists, architects and designers who answered their call for submissions had the same idea.
“It’s almost a zeitgeist,” says Eric Schuldenfrei, one of the biennale’s four curators. “When you ask people for new work, the dialogue with nature is very strong. It might be subtle, but if you look for it, there is that element in almost every project in the biennale. It’s curated to an extent, but it’s also what everyone was already working on.”
Sustainability might be a buzzword, but the philosophy behind it goes far beyond a bit of greenery here and there. A scan of the biennale’s lengthy roster of exhibitions, installations, lectures and events shows a preoccupation with the question of how to reduce Hong Kong’s impact on the environment and bring city-dwellers back into contact with nature.
Montreal Apartments