Archive for the Europe category
February 27th, 2013
Not too long ago, on a particularly glorious Sunday afternoon — the kind of sunny but cool day that happens all too rarely in Hong Kong — I took the MTR out to Po Lam station in Tseung Kwan O. Leaving the station, I walked along a linear park built atop the MTR tracks, which led me to another path that meandered under a series of elevated highways and then down to the waterfront near Tseung Kwan O station, a couple of stops away from Po Lam.
Lots of people were out enjoying the afternoon. I passed by plenty of cyclists — kids with training wheels, lycra types on road bikes, middle-aged women on rusty beaters with groceries in the front basket. There were skateboarders, teenagers playing guitars, an old man playing the erhu, joggers, people pushing strollers, an old woman selling potato chips and Yakult on the side of the path. There was even a makeshift mosque set up beneath a highway flyover where Indonesian maids sat listening to a sermon broadcast over a crackly radio. It was the kind of diverse urban activity you find on a truly dynamic street.
But none of this was taking place on a street, or even in a real park. The paths where all this activity took place are entirely removed from the surrounding commercial and residential areas. Most of them are lined by rows of trees and shrubs, beyond which are fences, walls or embankments. The paths are not unpleasant, thanks to the greenery, but the heavy pedestrian traffic on that Sunday afternoon existed in a kind of void: a lot of people passing through nowhere to go nowhere in particular.
December 27th, 2012
On the morning of my single day in Palermo — a city that left a real impression on me, despite the short amount of time I spent there — I came across a vacant lot near the harbour that was overgrown with vegetation. The funny thing is, I didn’t realize it was a vacant lot at first, because it didn’t look particularly weedy or ratty. Under the bright May sun, grass gone to seed, flowers blooming, it looked a lot like the fields I had encountered the day before on the south coast of Sicily. An unintentional incursion of the countryside into the city, I guess.
December 12th, 2012
Despite the fact that I’ve never owned a car, and I drive only a couple of times a year, I’ve always had a fascination with car design. When I was a kid, I knew all the marques. I would sit in the back seat of my parents’ van, naming the cars that went by, a copy of the Consumer Reports car guide on my lap. Even today, when I’m stuck on traffic on the bus here in Hong Kong, I’ll gaze out and catalogue my fellow travellers: the bulbous Nissan Marchs, hulking Toyota Alphards, the endless varieties of 3-Series BMWs and C-Class Mercedes that are so common in Hong Kong.
Of course, my interest isn’t limited to private automobiles. When I visited other North American cities with my family, I noted with interest how New Flyer buses were common in the west, Novabuses in the east. I learned to appreciate the classic New Look buses that served as workhorses on so many Calgary Transit routes, retro-stylish even as they struggled up the long hill to my house, ancient engines moaning in protest.
I bring this up because of Thomas Heatherwick, who delivered a very animated and entertaining talk last weekend at the Business of Design Week forum in Hong Kong. Heatherwick is a British designer whose London-based studio has produced, among other things, the “Seed Cathedral” at the 2010 Shanghai Expo and the spectacular cauldron of the 2012 Olympic Games. Heatherwick is also the designer of the New Bus for London, which he highlighted in his talk at BODW.
When the bus was unveiled last year, there was some sense that it was at best a vanity project, at worst an attempt to indulge nostalgia, since the new bus was meant as a revival of the iconic Routemaster bus, which was produced until 1968, retired from regular service in 2005 and known for its hop-on, hop-off open back end. The typically rancorous peanut gallery at Dezeen blasted Heatherwick’s design as “steampunky art nouveau” and a “glorified student project” that put “fashion over function.” One cranky commenter insisted that “the bus should be practical above all else,” as if Heatherwick had produced a three-wheeled jitney that ran on the distilled essence of gold.
November 20th, 2012
The Venice Biennale of Architecture closes this week, which has given me opportunity to think back to its opening days in late August. I was there to cover the Hong Kong exhibition, but I had a bit of time to soak up the rest of the show. It was big, unruly and dramatically uneven, but it was clear enough that this year’s curator, British architect David Chipperfield, was eager to capture the zeitgeist of grassroots urbanism and do-it-yourself architecture. The theme, “Common Ground,” was meant to reflect the importance of everyday urban environments, which are “created in collaboration with every citizen,” according to Chipperfield.
But Venice is not a city that embraces change, and neither does its biennale. Big names and established players still dominated the event. This year’s show “mostly just glides over issues like public housing and health, the environment, informal settlements, economic decline and protest,” wrote New York Times critic Michael Kimmelman. “It suggests above all an uncertainty about how to unpack, evaluate, present and tame the messy, multilayered social, political, economic and architectural processes that go into making good buildings and places today.”
Austrian architect Wolf Prix went even further than Kimmelman and savaged this year’s biennale for promoting “compromise” with authorities instead of outright resistance to the status quo. “It is no longer about lively discussion and criticism of topics in contemporary architecture, but rather about empty, conservative and perhaps populist shells that are charged with feigned meaning,” he wrote.
October 26th, 2012
Piazza San Domenico Maggiore, au coeur du dédale du vieux coeur greco-romain napoliain.
Assis à la terrasse du Gran Caffè Napolis, un mouvement soudain de vie me surprend par son intensité. C’est vrai que les cloches sonnent l’arrivée de la longue pause de la mi-journée.
De nombreux ménestrels nouveau genre envahissent un bon cinquième de la place et chantent une sorte de trame sonore vaguement inspirée par les différentes cultures qui ont tour à tour choisies de faire de Napoli leur capitale. Et ils sont nombreux à avoir rêver de posséder la baie légendaire, des grecs aux bourdons d’Espagne, en passant par les romains et les normands. Même Napoléon a savourer les lumières de Campanie. De toutes ces cultures, je crois que la cité est demeurer la Neapolis héllénistique de ses origines.
October 26th, 2012
Il est très tôt encore, le matin du septième jour, alors que j’écris à la hâte ces quelques lignes trop diffuses sur cette cité si complexe. Pourtant, j’en suis à mon cinquième séjour en autant d’années.
Napoli, le nom évoque la mer, le volcan, les mioches qui trainent la rue dans Montecalvario. Une cité qu’on apprend, au fur que les jours passent et que les découvertes s’accumulent, à désirer. Et puis, alors que l’on quitte une des nombreuses ruines de la baie, au détour d’une falaise qui projette le regard loin dans cette mer turquoise, l’on se prend de nostalgie pour ces visiteurs des siècles derniers. Le concept même du voyage n’est-il pas ce qui à survécu du Grand tour que ces nobles anglais et allemands accomplissaient afin de parfaire leur éducation intellectuelle et sexuelle ?
October 20th, 2012
For a few days, I walked all around Turin, talking to locals, enjoying the unique light you find there.
Most people asked me why I came to Turin. I couldn’t say. I told them I came without purpose, except perhaps to spend some time doing nothing else than having a caffè, eating well and observing people so that I could write about how they live in this northern Italian metropolis.
Turin strikes you less for its individual monuments than with the overall impression it gives you. There’s nothing special to say about its architecture, other than realizing how perfectly built the streets and public spaces were back in the old days.
October 19th, 2012
Marchant dans les pas de Mark Twain, Nietzsche et bien d’autres, je parcours Turin, longeant d’un rythme paresseux ces rues longues et rectilignes, encadrées d’arcades si émouvantes de par leur charme démodés et franchement surannées.
Je trouve quelques chemises, dans une de ces nouvelles boutiques qui pullulent de plus en plus, jouxtant de vieilles échoppes aux façades noircies.
J’entends les pas qui résonnent, amplifiés mille fois par ces voutes qui me surplombent : l’Italie est une patrie où l’élégance est digne d’une dramaturgie grecque.
La perspective bute soudainement sur une vaste place qui forme une sorte de demi-lune étirée sur la longueur. Puis je devine le serpent d’eau que forme la Po, écrasée sous la masse informe des collines alpines. Un pont et une église ronde un peu pompeuse.
October 8th, 2012
We’re happy to introduce our newest contributor, Yin Khvat. Yin was born in Manchester in the UK and has lived in Australia for the last six years. She is currently on a short stay in Taiwan and has a particular interest in Cambodia.
Photo by Bo Nielsen
A woman is selling green coconuts off the back of her motorbike on the dusty street. With a scythe, she deftly chips the head of the coconut into a point, then guillotines the tip to reveal the sweet juice and tender white flesh inside. Next to her, a barber has set up on the pavement, his shop made up only of bare necessities: a mirror and chair. Young men in makeshift stalls, with car parts hung up on tarpaulin walls, observe you languidly as you watch them, curiosity returned for curiosity. On the corner, policemen in blue on their motorbikes look a little seedy, restricted in their uniforms, smoking cigarettes and surveying the traffic.
This is a typical street scene in Phnom Penh: a living, breathing cross-section of life in the Cambodian capital. Some look at this and see disorder, or a blight on the city’s beauty. Others see freedom, vibrancy, and the right of everyone — including the poor — to make a living. The city council has attempted to “reorganise” these small stalls — sometimes known as “romantic stallss” — believing they are messy or unhygienic. But for the time being, at least, it seems their efforts have not succeeded. Phnom Penh remains a capital city where the poorer sections of society can sell and provide services as the market demands, without the need to lease expensive commercial space.
But the stalls are part of a bigger social fabric, one which appears to define the Cambodian way of life. You see it not only in streets lined with people selling their wares, but also every afternoon and evening along the banks of the Tonle Sap River and Chaktomuk — the “four faces” where the Mekong and Tonle Sap Rivers meet. On Sisowath Quay, especially, people spend their free time sitting, walking and dancing with friends and family. They enjoy each other’s company under their city’s skies. Take one of the popular boat trips down the river and it is another episode of this same documentary, in which the delineation between viewer and object is blurred. You are watching them as they are watching you. The social interaction is thrilling, an essential element in a society where social integration is the outcome, binding people together and folding lives in on each other.
No doubt the warm weather and dense population contribute to this phenomenon, as does the economic devastation wrought by the Khmer Rouge and the civil wars through the 1970s and 1980s, from which Cambodia is only now recovering. But what of the social legacy? When I asked how people here can be so warm after the horrors they have faced, I have been told that many Cambodians “live and let live.” That many adhere to Buddhist teachings that there is good and bad in all of us, and that forgiveness is part of living. Many Cambodians want to put those years behind them.
And so perhaps what we get is something I can’t help feel is unique to Phnom Penh. This is city that is unafraid, welcoming, generous and open-hearted. Tourists don’t need to be invited into the homes of Cambodians to interact with real people, or to get a good taste of life here, of what Cambodians do and how they live their lives. This society has a transparent, wonderful, communal feel — even after what it suffered just a generation ago.
September 19th, 2012
HK Farm. Photo by Glenn Eugen Ellingsen
Sweating in the bright Mediterranean sun, Glenn Eugen Ellingsen surveyed a little bit of Hong Kong in Venice. “It’s meant to be very organic,” he said, pointing to an array of wood planters, metal racks, video screens and exposed electrical wires.
Ellingsen is one of the founders of HK Farm, an urban agriculture project on the roof of a factory building in Kwun Tong, and he had spent the week sourcing herbs and soil in order to recreate his farm in Venice. He turned his gaze over to a half-dozen wood planters brimming with rosemary, basil and sage. “They’re similar to what we have on the roof in Hong Kong, just a bit narrower,” he said.
It was the opening day of the Hong Kong pavilion at the Venice Biennale of Architecture, the world’s most prestigious showcase of architecture and urban design, which runs until Novermber 25. In true Hong Kong style, workers were scrambling to finish the exhibition on time, arranging architectural models and painting display cases green — the same colour as Hong Kong’s street market stalls.
The choice of colour was no accident. This year’s biennale is dedicated to “Common Ground,” a theme meant to shift focus away from big-name architects to more grassroots initiatives. Hong Kong’s exhibition, “Inter Cities/Intra Cities: Ghostwriting the Future,” focuses on the future of Kowloon East, a vast swath of city that is home to 600,000 people, Hong Kong’s last remaining factories, a burgeoning office hub and the city’s biggest creative cluster, with hundreds of musicians, designers and artists.
It also includes the former Kai Tak Airport, which is now being redeveloped with housing, offices and a huge cruise ship terminal and exhibition centre designed by Sir Norman Foster. The airport’s redevelopment will be used as a catalyst to transform Kowloon East into the so-called “CBD2” — a new office district that will provide an alternative to the high-priced business hubs of Hong Kong Island.
September 18th, 2012
Security forces intervene during the protests at US Embassy Cairo. Photo by Gigi Ibrahim.
There are probably at least a few in your city, hiding on the upper floods of office buildings, secluded in elegant townhouses, tucked somewhere behind high fences out of view. Nearby cars’ license plates are sometimes their only identifiable feature. Whether embassies in capital cities, consulates elsewhere, most diplomatic offices articulate an architecture that often seems as if it’s striving to be as discreet as the professionals practicing statecraft inside.
The foreign bases of diplomatic heavyweights are another story. In New York, small island states’ representatives to the UN often share the same small office suites, but the Chinese consulate occupies looming concrete monolith along the Hudson River. France’s massive embassy in Berlin is situated right next to the Brandenburg Gate on a square named, appropriately, Pariser Platz (Parisian Square).
US Embassy Abu Dhabi. Photo by Ryan Lackey.
Few of these countries lay claim to more conspicuous diplomatic real estate than the US. Ottawa’s American mission stretches the width of a neighborhood. In London, the US Embassy has long been considered a blunt statement of the most disfigured principles of American foreign policy. And perhaps no diplomatic complex in the world is as infamous as the Green Zone, Saddam Hussein’s palace-cum-fortress from which Iraq’s long, bloody occupation was run; the current US compound in Baghdad is as large as Vatican City.
For all its recent stumbles and whispers about its relative decline, the US remains the world’s sole superpower. The size of its embassies reflect that fact — and so do measures taken to protect them. Walking through Cairo’s Garden City, home to some of Egypt’s largest foreign delegations, it was always impossible for me to avoid feeling intimidated — even as a US citizen — by the American Embassy’s fortresslike ramparts, its deep setback, and the security forces who manned roadblocks at either end of the street that ran between it and Britain’s also very fortified (if more elegant) facility. That lasting impression left me all the more shocked when, last week, protesters breached the compound’s walls; in Egypt, only military bases had ever seemed less vulnerable.
September 13th, 2012
There’s always a disconnect between the way a city is portrayed on screen and the day-to-day reality of its existence. New York isn’t actually surly taxi drivers and whistling construction workers; you can’t see the Eiffel Tower from every street in Paris.
But Venice is the exception. There is nowhere else like it. What’s more, it never changes, at least in the physical sense, except to gain a few more layers of patina, a few more cracks in the bricks of its foundations, the water of the canals lapping a little bit higher with every passing year. The evening I arrived in Venice, after taking shelter from a momentous thunderstorm, I walked along a canal in Cannaregio, past polished wood motorboats and old women watching from the windows, and thought: is this place for real?
Of course, even if the Venice of our imaginations coincides uncannily with the Venice of real life, there is far more to it than meets the eye. The biggest surprise was how few tourists stray from the beaten path. Here is a place with a small and dwindling population, where visitors far outnumber locals, and it never takes long to venture into a quiet street where kids are playing soccer and some old timers are taking their first spritz of the day. One evening, walking through Santa Croce, I stumbled across a neighbourhood block party sponsored by the local Communist Party. Hundreds of people — families, mostly — sat on long wood tables, munching on fried seafood and zucchini flowers while they drank beer from plastic cups. A few tourists wandered by, looking a bit mystified, before opening their maps and wandering away.
You can’t be rushed in Venice. Unless you own a motorboat, the fastest way to get around is to walk — it takes less than an hour to walk from one end of the city to the other, and about the same time if you go by water bus. Many streets are silent but for the sound of sloshing canal water and footsteps. It takes awhile to get used to the pace, but once you do, it’s hard to go back to normal life.
September 13th, 2012
August 12th, 2012
Wait, that’s not an Olympic sport! Photo courtesy UK Department of Culture, Media, and Sport
Texted, tweeted, teasing browsers of a hundred “sneak preview” slideshows ─ in short, serving as the centerpiece of endless international speculation for weeks prior to its debut ─ the verdant green fields on which the curtain of the 2012 Olympics lifted may remain their opening ceremony’s most salient image. Director Danny Boyle’s show brought this rural idyll to life with braying livestock, maypole dancers, and tunic-swaddled peasants playing pickup games of cricket, their hushed reverie set to the hymn of Sir Hubert Parry’s “Jerusalem,” the scored version of William Blake’s famous poem (often called by the same name) rung in by childrens’ choirs from several equally emerald-hued corners of the UK.
Boyle’s opening was a tear-jerking, if hushed, sonata of nationalist sentimentalism ─ and as such, better received in England than elsewhere. Where, the rest of the world impatiently wondered, was the mass, masked extravaganza of drumbeats and leotards that would be the West’s answer to the chest-beating martial pageantry intimidatingly performed four years earlier in Beijing?
Danny Boyle’s “Dark Satanic Mills”. Photo by Shimelle Laine.
Olympic ceremonies typically affect pomposity meant to impress the billion-member international audiences they attract. But London 2012 faced its most skeptical reception closest to home. The intimate, provincial tableau with which he began made clear that Boyle was preoccupied with cutting short this crisis from the beginning: to flatter the country with coded symbolism, to allow Britons to feel that the Games were being staged for them, first and foremost, and not as an alienating global spectacle bound up in their government’s pretensions.
Just as crucial to this effort were the contrasts that followed. Soot-spotted workers emerged, uprooting the stage’s saccharine storyland to install the billowing smokestacks and fiery forges of a steampunk industrial complex. To the beat of thundering drums (meant “to frighten people,” according to musicians who scored the segment), those hoping for a mass spectacle were mollified at last; the Arcadian Albion of placid pastureland had been displaced by a Dickensian dystopia.