Archive for the Heritage and Preservation category
April 14th, 2014
Hong Kong’s design scene is thriving, but like many of this city’s creative endeavours, it exists beyond the spotlight, in old factory buildings and back alley studios. That could soon change. After two years of renovations, the former Police Married Quarters on Aberdeen Street has been reborn as PMQ, a design hub that aims to raise the public profile of local design by giving designers more opportunities to build their own brands.
“It’s a project that nobody has done before,” says William To, the PMQ’s creative director, who is also project director at the Hong Kong Design Centre. “It will attract all sorts of designers from different disciplines to come and interact with each other and the public.”
Built in 1951 to house police officers and their families, the PMQ now contains 130 design studios, along with shops, restaurants, a library, exhibition space, a rooftop garden and outdoor gathering areas. When it is fully open next month, it will contain a mixture of well-known brands like Vivienne Tam alongside up-and-comers such as Hoiming, a leatherworking studio.
Studio spaces are small — about 450 square feet — but To says the goal is to foster a community, not to create an office complex. Spacious open-air corridors in front of each unit will be used for exhibitions and pop-up events; there will be a co-working space and units for overseas designers-in-residence; and tenants must keep their doors open to the public between 1pm and 8pm every day.
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.
February 12th, 2014
The week I moved to Hong Kong, I went to the Peak. It’s what you’re supposed to do when you’re a first-time visitor or recent arrival to the city: take the tram, bus or (if you’re a little more savvy) minibus up to the cluster of shopping malls that has risen from what was once a retreat for British colonials yearning for the mists and cool winds of home. The view from the Peak is exactly what you expect it to be, because it’s the view that has become the photographic flag-bearer for Hong Kong: a porcupine’s back of skyscrapers riven by the churning waters of Victoria Harbour, mountains rising and falling in all directions. It’s the scene that accompanies news reports on Hong Kong’s stock market, or the latest worries about swine flu. On particularly smoggy days an obscured version of the view is used to bemoan Hong Kong’s chronic air pollution.
It was not smoggy when I visited the Peak. In fact, it was one of those brilliant late-August days when an ocean breeze clears the sky. It would have been possible to see all the way to China, if it weren’t for the mountains on the horizon; in Hong Kong, views are never limitless. As the sun slipped below the horizon, the city lights flickered to life and the harbour glowed turquoise, its surface criss-crossed by barges and ferries that looked from the Peak’s elevation like so many toys. From below, you can always spot the Peak lookout because it seems to sparkle – the result of hundreds of camera flashes igniting at any given time.
As tourists gathered around, cameras chirping and flashing, I turned and walked to a less popular lookout, this one facing west, where the green hills of the Pok Fu Lam Country Park roll towards the East Lamma Channel. That was where I encountered another set of photographers, only this time they weren’t interested in the view – they were taking photos of two young women, one dressed in a short black shirt and low-cut teal top, blonde hair extensions forming curls around her cleavage; the other was dressed like a schoolboy, with an electric blue wig matching the lapels on her uniform. They pranced around the lookout, the blonde girl caressing the blue-haired one, who played indifferent to her advances. The whole performance was being documented by a half-dozen men dressed in jeans and t-shirts, their hands clutching professional-grade Nikons mounted with flashes and reflectors.
January 26th, 2014
Two weeks before Chinese New Year, the floor creaks as Sunny Yim walks through the bamboo theatre he has helped build. A few of his wiry colleagues stand on a platform, making adjustments to the lattice of bamboo rods that is holding this cavernous structure aloft, but the work is mostly done. Yim, a compact man with a ruddy face, looks up at the vast ceiling with satisfaction. “I’ve been doing this for 40 years, since I was 15,” he says. “I only build theatres. This is my passion.”
Soon, the theatre will be filled with chairs, red lanterns and the wail of Cantonese opera as 800 people converge to celebrate the new lunar year. Chinese New Year is a time for traditions, even in aggressively modern Hong Kong: families reunite for dinner and lunch, freshly-swept homes are filled with exuberant bouquets, the crash and clamour of lion dances herald good luck in the months to come. Bamboo theatres, strangely enough, have never been part of New Year festivities, at least not in the city centre. But this is a new tradition, the West Kowloon Bamboo Theatre, that was launched to great success in 2012. Its first edition featured five days of opera, films and art. This year, the festivities will last for nearly a month. “We’ve moved the theatre next to the waterfront,” says Louis Yu, performance director for the West Kowloon Cultural District. The schedule is more packed than ever: not just Cantonese opera, but 10 of its counterparts from across China’s cultural spectrum, plus free screenings of Chinese opera films.
Hong Kong is never more alive than in the weeks before the new year, which culminates in a frenzy of all-night activity on New Year’s Eve, which this year falls on January 30. On the old stone steps of Ladder Street, under the spindly vines of a banyan tree, neighbourhood residents ask for good-luck banners penned by a calligrapher. Kung hei fat choi is the classic message — “Wishing you prosperity” — but there are plenty of others, too, like Yat fan fong shun (“May everything go smoothly”). In Victoria Park and a handful of other spots around the city, round-the-clock new year fairs are stocked with novelty gifts, many inspired by the coming year’s zodiac sign. (Expect a lot of cute horses this time around.)
January 19th, 2014
Jardine House (right). Photo by See-ming Lee
It’s late on a Monday afternoon and James Kinoshita is sitting at home in Hong Kong’s Sai Kung district with his son, Andrew. Overhead is a tile roof that slopes towards a garden of blooming azalea and bougainvillea; just beyond are the placid waters of Port Shelter. James bought the property in 1976 with his wife, Lana, when he was a partner with Palmer and Turner, Hong Kong’s oldest architecture firm, and Lana was a sought-after interior designer.
“It was a weekend home at first,” says James.
“A work in progress,” adds Andrew.
Needless to say, Sai Kung was a very different place in the 1970s. It was only a fraction as developed as today, though the Small House Policy had recently been enacted, leading to a spread of three-storey village houses across the district.
“I didn’t like the Spanish type of red tiles that all the houses had,” says James. “They didn’t look like Chinese village houses. So what I wanted to do was to have a pitched roof and use black tiles.”
Achieving that meant dealing with a building code designed to encourage the construction of identical boxes, not anything unique. There was a height restriction of 25 feet; no single floor of the house could be larger than 700 square feet. James solved the problem by building two houses and linking them together with a covered terrace.
James is no stranger to dealing with constraints. Though the public would be hard-pressed to recognize his name, the octogenarian architect was responsible for many of Hong Kong’s most famous buildings, including Jardine House, the Polytechnic University campus and the late (and often lamented) Hong Kong Hilton, most of which were built under tight deadlines that would shock many contemporary architects. In an era of starchitects, where every new building seems to be accompanied by pompous self-justification, James Kinoshita stands out as much for his modesty as his enduring modernist legacy.
January 15th, 2014
If UABB Hong Kong was greeted by a storm of controversy, its counterpart in Shenzhen went off without a hitch. “Cocktails and happiness! No protest at all!” wrote one participating artist on Facebook.
This year, UABB Shenzhen — which bills itself as the “world’s only biennale dedicated exclusively to the themes of urbanism and urbanization” — is being held in the Shekou Industrial Zone, which was the first free-trade zone in China when it opened in 1979. Much of the action is concentrated in the Value Factory, a former glassworks that now houses installations, workshops, two cafés, a restaurant and a farm that will be harvested when the biennale closes at the end of February. Participants were told to “do almost nothing” to their spaces inside the factory, giving it a raw presence that pervades every aspect of the exhibition.
Like all of the land in the Shekou Industrial Zone, the Value Factory is owned by state-owned China Merchants Holdings, which is now transforming Shekou into a high-end office, entertainment and residential district. The company is also the primary sponsor of UABB Shenzhen. Curator Ole Bouman says he wanted to make the venue more than just the backdrop to a show. “The building becomes not just a protagonist of the biennale but of Shekou itself,” says curator Ole Bouman. He hopes to use the Value Factory as a wedge to insert art and culture into Shekou’s development. “The next chapter of Shekou can’t just be about revenue,” he says.
Just as in Hong Kong, though, critics see the Shenzhen biennale as a way to give a kind of cultural legitimacy to the property development machine. “There’s something about putting cultural events in factories and warehouses that are almost immediately appropriated,” says Shenzhen-based critic and curator Mary Ann O’Donnell. “There’s no room for critical engagement because it commodifies everything. This is clearly part of a massive upgrading and restructuring of Shekou that has as its goal a massive increase in property values.”
December 18th, 2013
Even if you don’t follow street art or hip hop, you might have heard the news: 5 Pointz is dead. Technically, the old warehouse in Long Island City is still standing — though it is slated for redevelopment — but its essence as an art space was stripped away in the early hours of November 19, when 20 years worth of graffiti was covered with white paint. Since 1993, 5 Pointz has been a mecca for artists and graffiti writers from around the world. Inside, 200 artists worked in subsidized studios, while the exterior of the building became an enormous canvas for just about every kind of street art you can imagine, from throw ups to paste ups to elaborate murals.
The building was sold to property developer David Wolkoff, and in August, the New York City Planning Commission approved its demolition. Though the new development will include low-cost housing and a “curated” space for graffiti — along with 1,000 condominiums — the 5 Pointz community has been vigorously fighting against it. The whitewashing was the developer’s attempt to make a point: we own this space now, not you, so fuck off. When I first heard what had happened, I was reminded of the Taliban’s destruction of the Buddhas of Bamiyan, and while that might seem like an extreme comparison, the two actions come from the same wellspring of contempt for cultural difference.
Not long after the whitewashing, I was emailed by Eric Lau, a New York-based designer and photographer. He wanted to share with me some photos he had taken at the last hip hop battle that occurred at 5 Pointz. The photos were taken on black and white film. Here’s a lightly edited version of what he told me about his experience.
December 3rd, 2013
Victoria Peak seen from Kellett Island
Last week, an exhibition of images by 19th century Scottish photographer John Thomson opened at the Hong Kong Maritime Museum, including 22 photos of Hong Kong in the 1860s that have never been exhibited here before. I’ve written a story about the photos and their journey to Hong Kong for the Wall Street Journal, which you can read here.
The photos are remarkable not only because they are rare — photography was still in its infancy — but also because, despite the technological handicap, Thomson was able to create some very engaging landscapes and portraits. When I spoke with curator Betty Yao, she told me her initial attraction to Thomson’s work came from his sensitive images of women in China, whether a rich Manchu girl or a Cantonese boatwoman. But his images of everyday urban life are just as striking, capturing as they do a Hong Kong that is recognizable only in its broadest outlines. Below, a selection of images; you can see more here, and if you happen to be in Hong Kong sometime before February 16, it’s well worth a trip to the Maritime Museum to see the rest of the collection, which also includes some very intriguing photos of the cities once known as Canton (Guangzhou), Swatow (Shantou) and Amoy (Xiamen).
October 8th, 2013
Treasure Hill. Photo by Wunkai
It’s a scorchingly hot afternoon in Taipei and cicadas are buzzing loudly outside the Treasure Hill Temple. A man in cycling gear stops to take a swig of water before turning towards the temple’s statue of Guanyin, the Chinese goddess of mercy. He clasps his hands and bows three times, paying his respects.
A few metres away, Travis Hung stands watching. “This temple was built a few hundred years ago in the Qing Dynasty,” he tells me. “It used to be one of the most important temples around Taipei.” When the Japanese took over Taiwan in 1895, they deemed the hilly area around the temple to have exceptionally good water and banned development. For years, only six families lived nearby. Then came the Kuomintang, the Chinese Nationalists who placed Taiwan under martial law after fleeing from mainland China in 1949. More than 200 ex-soldiers and their families flocked to Treasure Hill, where they built houses and small farms, creating a unique rural community just a stone’s throw away from central Taipei.
Today, Treasure Hill is an altogether different kind of settlement, home to 14 artist studios, exhibition and performance spaces, a café and a youth hostel, along with a handful of longtime residents who maintain the same tile-roofed houses and small patches of farmland they built after 1949. “This is a special place,” says Hung, who works for the non-profit foundation that manages the village.
Treasure Hill is just one part of a cultural renaissance that has swept through Taipei, turning neglected urban spaces into design studios, music halls, craft workshops and independent shops. The Songshan Creative and Cultural Park brings art and design into a former tobacco factory; Huashan Creative Park is former distillery that is now a popular destination for music fans and arts and craft lovers; the Taipei Cinema Park screens films outdoors.
“We are facing competition from China, globalization, climate change, a low birth rate,” says Lin Yu-hsiu, a section chief at the Urban Regeneration Office, which transforms vacant buildings into creative spaces. “We have to think about how to move forward, but in a wiser way than before. We want a better life.”
October 6th, 2013
The photos I posted last week of Hong Kong’s hilly streets reminded me of a conversation I had more than a year ago with Melissa Cate Christ, who works at the University of Hong Kong’s architecture school. Christ is leading an investigation into the many public staircases and “ladder streets” on the north side of Hong Kong Island, where these attempts to negotiate an unforgiving landscape are often the only remaining signs of Hong Kong as it once existed. Many of these steps predate the buildings around them by decades, if not a century; they’re Hong Kong’s last tangible connection to the city of Victorian balustrades and tile-roofed tenements that once existed on these shores.
Officially speaking, however, most of these steps do not exist. As far as the government is concerned, a set of century-old granite steps is no different than an ordinary concrete footpath. There hasn’t been any comprehensive effort made on the part of Hong Kong’s administrators to understand how all of these ladder streets and staircases work in the urban context — how people use them and how they affect neighbourhood mobility, not to mention their historical value. The consequences of that are misguided projects like the proposed Pound Lane escalator, which would install a very expensive and intrusive piece of machinery on a quiet street, encouraging redevelopment and destroying trees and historic walls in the process.
So Christ and her students are doing what the government has not. Earlier this year, they launched a website, Stair Culture, that was accompanied by an exhibition of maps, photos and proposed interventions that would improve the pedestrian environment of Hong Kong’s hilly streets and provide an alternative to the Pound Land escalator. Christ has also been mapping all of the steps from Wan Chai to Pok Fu Lam, which serves to highlight just how vertical Hong Kong is. When she started making her map, Christ was using satellite imagery on Google Maps to find stairs, but she told me recently that the government has started marking steps on a separate layer in the digital versions its official maps, which suggests that it may be taking Christ’s lead and paying more attention to Hong Kong’s steps after all.
September 30th, 2013
Photo by Jens Schott Knudsen
In an unassuming shed next to an elevated highway, Hong Kong’s wood-framed trams are being rebuilt one by one. “They’re icons of the city,” says Emmanuel Vivant, the man overseeing the renewal. Four years ago, Vivant was part of the team that acquired Hong Kong Tramways for Veolia Transport, a French conglomerate that runs dozens of railways, tram systems and bus lines around the world. “What we saw was a lot of room for improvement,” he says.
Hong Kong’s tram network dates back to 1903, when tracks were laid from Kennedy Town in the west to Causeway Bay in the east. Less than a decade later, passenger demand was so strong, double-decker trams were introduced. Though Hong Kong has changed beyond measure in the past hundred years, the trams have remained a constant; there is no better way to see the city than from the front seat on the top deck, windows open to the clamoring streets below.
The tram remains popular, with 230,000 riders every day and an affectionate Cantonese nickname: ding ding. But its acquisition in 1974 by local conglomerate Wharf Holdings led to a long decline. Dedicated tram lanes were given over to cars. Tracks were poorly maintained, lengthening travel times so much that taking a tram across Hong Kong Island is often slower than riding a bicycle. The Millenium Tram, launched in 2000 in an effort to renew the rolling stock, was a widely-scorned flop.
“For us, the Millenium Tram was a warning sign that we had to be very careful in handling the icon,” says Vivant. “They looked too modern, too new, too much like a bus. People in Hong Kong really like their trams, so we decided we had to keep their heritage.”
After buying the tramway, Veolia launched a consultation exercise to find out what passengers wanted from their trams. The first discovery was that most passengers thought the windows should stay open; one of the biggest complaints about the Millenium trams was that the front windows were sealed shut. Passengers also had a soft spot for the trams’ wood frames, which the Millenium trams had discarded with little sense of nostalgia.
August 29th, 2013
Like a fever dream or a David Lynch film, Wun Dun begins with a journey into the unknown. Push through an unmarked door into what appears to be a bathroom, where an elderly attendant spritzes you with cologne. Squeeze past him, stumble down a flight of stairs and emerge into an uncanny, neon-lit bar that dwells in the subconscious of Hong Kong’s identity.
Open for a week last May during the inaugural edition of Art Basel Hong Kong, Wun Dun was the brainchild of Adrian Wong, the fourth artist selected by the Absolut Art Bureau to create an ephemeral art bar. Like most of Wong’s work, Wun Dun was a carefully choreographed performance that marries the mundane with the surreal: in this case, the visual language of everyday Hong Kong spaces mashed up into something at once recognizable and alien. “The interior unites so many disparate threads of Hong Kong design culture,” writes art critic Robin Peckham, “the feeling is akin to taking high tea in a grimy dive bar, or pounding shots at a truckstop breakfast counter.”
It started, in a sense, with nothing. “Wun Dun is the Taoist concept of the formless state of the universe before things came into existence,” says Wong. Confucianism took the concept even further by imagining that chaos as a “singing, dancing, orifice-less sac” who was struck by lightning, transforming it into the world as it exists today. “It reminded me of this sort of formless state of Hong Kong,” said Wong. “Its long colonial history sets up a situation where the real history of objects, forms, styles, tastes and cuisines are so mixed up and misdirected, they lose their point of reference. I wanted to create a primordial Hong Kong.”
July 26th, 2013
The Devonian Gardens in 2007. Photo by norrix
The Devonian Gardens were a wonderland. Located on the top floor of the TD Centre mall in downtown Calgary, the gardens were a fully-enclosed greenhouse of tropical plants and — best of all for a kid — a million nooks and crannies to explore. It seemed like every path led to something fascinating: a hidden alcove surrounded by palms, a wood-framed playground teeming with children, a pond filled with turtles and goldfish, ringed by little coin-operated dispensers that spat out fish food instead of candy. There was an outdoor terrace, too, and in the winter it was exhilarating to emerge from the warm, soupy air of the gardens into the stingingly dry cold.
Built in the late 1970s and donated to the City of Calgary by the Devonian Group of Charitable Foundations, the gardens were operated as an indoor public park, open without restriction for most of the day. It was a popular spot for office workers to eat their lunch, munching on sandwiches as nannies and mothers pushed their babies down the brick paths. Men gathered in the afternoon to play chess near the gardens’ front entrance. There were more than 135 species of plants, many of them tropical, and in a dry prairie city that is brown for most of the year, the gardens felt almost surreal in their lushness, a feeling enhanced by the contrast between the jungly vegetation and the banal artificiality of the design: brown bricks, brown metal railings, faux stone waterfalls that looked like they came from the set of a cheap dinosaur movie.
Five years ago, on a February trip to Calgary, I made a point to walk through the Devonian Gardens when I spent an afternoon photographing the Plus-15 network of interconnected second-floor spaces that spans most of the downtown area. I had no idea it would be the last time I saw the gardens in their original state. Shortly after my visit, TD Centre and two adjacent malls closed for a years-long renovation that included a makeover for the gardens. When they reopened last summer, it became clear that it was much more than a makeover: it was a complete gutting of everything that had made the gardens special.