Archive for the Society and Culture category
July 6th, 2015
Maboneng Precinct, Johannesburg
The skies threatened rain, but the streets in Braamfontein were buzzing. On De Beer Street, crowds spilled out of the ground-floor bar of the Bannister, a hotel with retro 60s signage. Across the street, the scene was even more intense at the Neighbourgoods Market, which every Saturday transforms a parking garage into the most fashionable spot in Johannesburg. Downstairs, a crowd danced to a raucous jazz band. Upstairs: cocktails, street food and clothes made by local designers.
This was not the South Africa I had been warned about by people fed on a steady drip of news stories about violence, corruption and urban decay. Johannesburg in particular has been the subject of countless sensational stories about crime and abandonment, but my visit to the city revealed something far more compelling: rebirth. For all its troubles, Johannesburg felt like a city on the up and up, a place with the hustle and energy of a great metropolis in the making. What wasn’t clear was how widely the fruits of its renaissance will be spread.
In Braamfontein, I wander into Dokter and Misses, a design studio run by Katy Taplin and Adriaan Hugo. The ground floor is a slick showroom for their colourful, eclectic furniture, most of which is made in a large workshop downstairs. “When we started here about five years ago, there was almost nothing,” said Taplin. “Then the market opened up and the critical mass started. Bars, students, cool kids, then the Nike and Puma pop-ups. It’s a spirit of creativity and expression that’s going on here.”
June 3rd, 2015
Last month, when Space Invader was looking for friendly walls to mount his tile-based art, the French street artist found an enthusiastic response in a place far from the galleries and graffiti of Sheung Wan: Sham Shui Po. “The reception was really good,” says Lauren Every-Wortman, a curator at the HOCA Foundation, which sponsored Space Invader’s most recent trip to Hong Kong.
Stanley Siu was one of those who invited the street artist to work on his building’s façade. “It’s the biggest piece he’s done in Hong Kong so far,” he boasts. Sieu recently moved the art gallery he runs with two friends, 100 Square Feet, to a first-floor space above the teeming Apliu Street market. “I sent him a picture of the exterior and he said, ‘Wow.’ He liked Apliu Street.”
Space Invader isn’t the only one enthusiastic about Sham Shui Po. Ask many Hongkongers about the neighbourhood and they’ll tell you it’s a good place to shop for electronics – but be sure to watch your bag. These days, however, a new generation of creative entrepreneurs are finding the working-class Kowloon neighbourhood is a haven of low rents and friendly neighbours.
That’s especially true in the textile district south of Nam Cheong Street, where many wholesale shops have been forced out of business as their source factories flee the Pearl River Delta for cheaper pastures. Some holdouts have been replaced by new businesses run by young designers that have banded together to help promote the neighbourhood in a newsletter and on social media.
“This whole fabric district is turning into something special,” says Michael Tam, the owner of Sausalito, a coffee shop that opened in the heart of the fabric district last November. “You can really feel it’s almost a second coming.”
April 30th, 2015
Hopare working in Sheung Wan.
This photo and all others from HK Walls
Night falls over Stanley Market and a small crowd of people gather in a back lane, staring at the pristine aluminium of a drawn shop shutter. One of them is 4Get, a prolific street artist who travelled here from his home in Tuen Mun to cover the shutter in paint. Someone asked him what his idea for the mural was. He looked at the shutter and took a drag on a cigarette. “I’m planning,” he says. “I’m thinking about it right now.”
This wasn’t a covert bombing; the mural was commissioned by Print House, a custom screen-printing t-shirt shop, in collaboration with HK Walls, a group that connects street artists with Hong Kong’s willing walls. In March, HK Walls will held its second annual street art festival in Sheung Wan, with live graffiti writing and mural painting by around 20 local and international street artists. As 4Get worked on the Print House mural, the group watching hoped it would convince Stanley shopowners to stage another edition of the festival in the South Side neighbourhood.
“There’s a lot of really bad work on the shutters here, a lot of tagging, and people just don’t care,” says Print House’s owner, Hughie Doherty, who grew up in Stanley and still lives nearby. “I’m hoping this will open up a lot more for HK Walls working in Stanley. People could come at night and walk through this public gallery. Stanley needs something now. It used to be really cool.”
Hong Kong never had much of a street art culture compared to cities in North America and Europe, but things are changing, thanks to organisations like HK Walls, an influx of expat artists and the attention generated by international artists like Space Invader, whose bombarded the city with video game-inspired tilework last year, only to have much of it quickly removed by the government.
“In the past four years, it’s taken off,” says Stern Rockwell, a veteran graffiti writer from New York who moved to Hong Kong five years ago. Hong Kong is riding on the tail of a global wave in street art that began in 1970s New York and exploded in popularity with the internet, as photos of works from the streets of New York, London and Berlin were circulated around the world. Some of the most famous artists in the world are now street artists; Banksy is virtually a household name. It’s also big business: in January, a replica of one of the Space Invader pieces removed by the government, a kung fu fighting dog modelled on the 1970s cartoon character Hong Kong Phooey, was auctioned by Sotheby’s for HK$1.96 million.
None of that seemed possible when Rockwell was growing up in 1970s Brooklyn. He was fascinated by the graffiti that covered the subway. “I asked my mom, ‘How did they do that?’” he recalls. By the time he reached high school, he was joining other graffiti writers in the Park Slope subway layup. “Some nights you could catch 100 cars parked on the tracks,” he says.
A lot of graffiti writers at the time wanted to be “all city,” meaning they had bombed all 34 of the city’s subway lines, but Rockwell’s interest expanded to other kinds of art and design. He eventually studied apparel design and worked for brands like Cartier and Fendi. Those early escapades into subway layups had proved fortuitous – New York’s crack epidemic in the 1980s and 90s made the city a rough place. “People were dying, people were getting locked up,” says Rockwell. “I was poor but I was able to make a living doing graffiti. It saved my life.”
March 30th, 2015
It has been more than four months since Occupy Hong Kong’s pro-democracy encampments were cleared away, but the Umbrella Revolution continues to evolve. More than a protest in favour of genuine universal suffrage, the 79-day occupation sparked a “revolution in public consciousness.” Among the notions being overturned: Hong Kong’s neoliberal approach to managing the urban environment, which has for so long deprived the city of genuine public space.
I was away for the first three weeks of Occupy, and by the time I returned to Hong Kong, the occupied areas had become entrenched. When I first visited the Admiralty site, located on a normally traffic-clogged highway called Harcourt Road, I was astonished to see it had become a self-organized tent city. Volunteer carpenters used scrap furniture and bamboo rods to create staircases across highway barriers. One traffic lane was occupied by a makeshift study centre, complete with desks and generator-powered lights, that was always filled with teenagers and university students hunched over their books. A library emerged near the entrance to the Legislative Council, Hong Kong’s equivalent of a parliament, with donated bookshelves filled with pop culture magazines and works of political philosophy. Art was everywhere. There were portraits of activists and cartoons denouncing Hong Kong’s chief executive, CY Leung (whom activists see as a puppet of Beijing). The area around a wood sculpture of a man holding a yellow umbrella came to be known as Umbrella Square. Nearby, a curving concrete staircase was covered in messages of multi-coloured Post-It messages of support; it was called the Lennon Wall, after the late Liverpudlian peacenik.
If Admiralty was personified by middle-class students and office workers, Mongkok was their chain-smoking, van-driving cousin. The atmosphere was edgier than Admiralty but in many ways more vital, because the neighbourhood is such a crossroads of different people. There were always lively discussions and passersby reading the posters that had been affixed to every surface. (Mainland Chinese tourists always seemed especially curious.) The Mongkok site extended down Nathan Road, a major artery that had been liberated from the diesel fumes that normally cloud its air. There was a makeshift altar to Kwan Yu, the Chinese god of war, which attracted worshippers who planted fresh incense throughout the day. Just a few metres away, a group of Catholic protesters had built a shrine that came to be known as St. Francis’ Chapel on the Street. There was an ad hoc library and a space for nightly film screenings.
March 3rd, 2015
Kowloon Station, 1981.
Photo by Loose Grip 99
It’s one of those mid-summer days when it seems impossible to escape the heat, so it comes as a relief to step into the air-conditioned room that houses Sparkle! Can We Live (Together), an oddly-named exhibition that explores the relationship between artists and the communities in which they live. It’s interesting stuff, especially the documentation of art collective Woofer Ten and designer Michael Leung’s work with urban farmers around Yau Ma Tei. But my attention is also drawn to the venue of the exhibition: the original headquarters of the Royal Hong Kong Yacht Club, built in 1908. Last year, it was carefully renovated and converted into Oi!, a community art centre whose name is a goofy reference to its location on Oil Street.
Oi! is one of many historic buildings that have been converted into cultural venues in recent years. It’s a remarkable turn of events, because for most of its history, Hong Kong never cared much for its past. There were no lessons in Hong Kong history at school, no concern for the origins of local delicacies like pineapple buns and milk tea. And there was certainly no care for the old stone buildings that thronged the shores of Hong Kong Island and Kowloon, their mouldy façades and fussy balustrades seen as little more than impediments to property development – property being the only surefire way to become rich in this city with such little soil and so much sea.
Of course, Hong Kong is no longer the grab-and-dash frontier it once was. With maturity comes hindsight and a sense of regret. Last year, I had lunch with a well-to-do businessman with a lifelong passion for architecture. “When I was a boy I used to stare up at the old post office,” he said, recalling the Victorian pile of ornate stonework that once stood on Pottinger Street. “Then Li Ka-shing fucked it up.” World Wide House rose in its place, remarkably unremarkable in appearance, notable only for the Filipino shopping arcade that occupies its lower floors. The fact that it evoked such passion in an otherwise even-tempered businessman says a lot about the long-suppressed emotions that have recently come to surface.
December 27th, 2014
My first visit to Baishizhou was a bit surreal. I had already visited Shenzhen a number of times — the sprawling Chinese city is just 40 kilometres and a border crossing away from my home in Hong Kong. But my previous visits had been spent along the city’s vast boulevards and shopping malls, and in the outdoor barbecue restaurants of Xiangmihu, a low-slung entertainment complex where raucous groups of friends consumed lamb by the kilogram and Tsingtao beer by the case.
Baishizhou was different. Walking north from the Holiday Plaza shopping mall and the Windows of the World theme park — which boasts a one-third scale replica of the Eiffel Tower, looming incongruously over a European Bar Street plucked from the centre of Munich — the streets grew narrower and busier, the buildings more densely packed. Stray spaniels skittered away from electric scooters; steam rose from the carts of street vendors hawking sugarcane, skewered meat and sugar-glazed fruit. A young Muslim man with a white skullcap and a wispy moustache stood next to a steaming pot, stretching a thick piece of dough until it broke into a loose skein of noodles.
Making my way through a series of dark, busy alleyways, I arrived in a concrete plaza, where a group of women huddled over an open well, washing clothes. Behind them was a video arcade; in front, an assembly of pool tables lit by overhead fluorescent tubes, young men hunched over their cues, cigarettes dangling from their lips, tall bottles of Snow beer resting on the ground.
October 24th, 2014
The HSBC Building under construction
It was a typically busy morning at Chek Lap Kok. Thousands of passengers swarmed beneath the vast sweep of the airport’s white roof, duty free bags in hand, squirming children in tow. The line for Starbucks inched ever longer. Yet a cool tranquility reigned over the terminal. That was especially true inside the first class section inside Cathay Pacific’s Wing lounge, where besuited travellers rested against a Carrara marble bar, gazing out to a row of jets sitting idle on the apron. Beyond that, the mountains of Lantau rose against a grey sky.
When the airport first opened, Cathay’s flagship lounge was one of the boldest and most intriguing in the world, with an unapologetically minimalist design by British architect John Pawson – one far removed from the wood panelling and grandfatherly armchairs of most airport lounges. Fifteen years of wear and tear meant it needed an overhaul, and the architecture firm Cathay chose to oversee the redesign was a natural fit: Foster and Partners, the same practice responsible for the airport itself, which opened in 1998. “The airport looks fresher and more modern than many airports built in the last five years,” says Cathay executive Toby Smith, who oversees the airline’s product offerings.
Airports are some of the most loathed spaces in the world: crowded, confusing and beset by increasingly onerous security restrictions that make them feel like some unholy cross between a shopping mall and a prison. But even after a decade and a half of intense use—nearly 60 million people passed through last year—Chek Lap Kok is praised for its durability and, even more importantly, its usability. “It’s absolutely efficient,” says architect Eric Schuldenfrei, who travels frequently for work and conferences. “Even aesthetically, the airport feels light, and the materials are good, so it won’t age badly.”
October 22nd, 2014
What surprised me most was the silence. Here I was, standing on what is normally an eight-lane funnel of angry traffic, and the only sounds I could hear were footsteps and the soft murmur of voices. Free of diesel exhaust, the briny scent of the harbour lingered in the air, and a warm breeze ruffled the nylon shells of tents laid out in tidy rows along the sides of the road.
I’ve been away from Hong Kong for six weeks. It seemed like a good time to get away, as the muggy heat of summer dragged on interminably, but two weeks after my departure, a student strike was met with tear gas and suddenly the city was occupied. This wasn’t just Occupy Central, the campaign of civil disobedience that had been promised for a year if Beijing and the local government failed to institute reforms that would allow free elections for Chief Executive in 2017. That campaign had become more of a bogeyman than anything else, a cudgel wielded by autocratic, unaccountable leaders whose box of governance tools consists of fear and intimidation and little else. I had doubts it would even happen. Instead, a much larger and more unwieldy phenomenon occurred: students and their supporters erected barricades in Admiralty, Causeway Bay and Mongkok, effectively wresting control of these important neighbourhoods from the government and placing them in the hands of a loosely affiliated band of citizens.
If you’ve been following the news, you know what happened next: a remarkably peaceful occupation was later attacked by bands of organized thugs, who beat protesters and destroyed their shelters as police shamefully stood by. The next day, protesters rebuilt their encampments and carried on. Each time the occupation seems to be waning, something comes along to jolt it back to life, be it triad attacks, police bullying or the spectacularly tone-deaf leadership of Chief Executive CY Leung, a Beijing puppet who recently told international media that Hong Kong can’t have real democracy because it would give too much power to the city’s many poor people.
August 30th, 2014
It was a hot afternoon as a crowd gathered in the courtyard of Hong Kong’s pavilion at the 14th Venice Biennale of Architecture, the world’s largest and arguably most important architectural event. They were there to discuss Asia’s role in the exhibition – and it didn’t take long for someone to say what was on everyone’s mind. “I counted the number of countries from Asia participating in the biennale, and there are six countries out of sixty-five,” said Dongwoo Yim, one of the contributors to Korea’s pavilion. “It’s not a lot.”
Of course, the picture is more complicated than that. Asia might be underrepresented in some ways, but it has certainly not been ignored. Korea, under the curatorship of Minsuk Cho, won the Golden Lion for best national exhibition, with a thoughtful examination of modernism on both sides of the 38th parallel – and how North and South resemble each other more than one might think. That followed Japan’s award for best pavilion in the 2012 biennale, for an exhibition curated by Toyo Ito that documented reconstruction efforts after the Tohoku earthquake and tsunami in 2011.
Still, it is hard to deny that Asia’s presence at the biennale is felt much less strongly than its demographic and economic weight would suggest. “The pendulum has swung from West to East,” says architect Ivan Fu, who curated the Hong Kong exhibition along with Alvin Yip and Doreen Liu. “Asia is emerging. It’s the way forward. But the Asian participation [in the biennale] is quite scattered.”
This latest edition of the biennale, which opened in early July and runs until November 22, is the most anticipated in years. Iconoclastic architect Rem Koolhaas agreed to curate the show on the condition that he be given two years to prepare, instead of the usual six months, and he vowed to shift the focus away from individual “starchitects” to the fundamentals of architecture. 65 countries are participating and there are dozens of satellite exhibitions and other events, including film screenings and dance performances.
August 12th, 2014
Soaring above the city on a bike: you can’t deny it would be a cool way to get around. One of the greatest pleasures of urban transport is being the passenger in a car travelling along an elevated highway — being immersed in the city yet removed from it, revealing a perspective inaccessible to you as a pedestrian. Why should drivers get all the fun, especially when their cars are so destructive to the environmental and social fabric of the city?
That’s apparently a question Norman Foster has been asking himself. Late last year, the British architect proposed a network of elevated bicycle highways that would run above London’s railroad tracks, giving cyclists the kind of speedy right-of-way that motorists have enjoyed for so long. 220 kilometres of elevated bike routes would thread through the city, accessible from 200 locations. Like expressways, these would facilitate long-distance rather than local travel; the idea is to make cycling to work a quick and comfortable alternative to cars and trains.
Though it is not the first time an architect has proposed a network of elevated bike paths, the idea has proven controversial. It’s not only because of SkyCycle’s expense — a 6.5-kilometre trial section would cost £220 million — but because of its ideological implications. There is something decidedly old-fashioned about grade-separated solutions to transport problems. Footbridges, pedestrian tunnels, elevated highways: these are the future of the past. We live in an era when highways are being dismantled and replaced by urban boulevards; “complete streets” is the rallying call of today’s progressive planners.
Many urbanists did not take kindly to SkyCycle. Mikael Colville-Andersen, who runs the urban mobility consulting firm Copenhagendize, called the scheme a “city-killing, Blade Runner fantasy.” He writes: “Removing great numbers of citizens who could be cycling down city streets past shops and cafés on their way to work or school and placing them on a shelf, far away from everything else.”
July 31st, 2014
This is the final installment in a three-part series on preservation and urban transformation in Beijing’s hutongs.
Half a kilometre from Tiananmen Square, an unexpected aroma wafts through the Beijing hutongs: fresh-roasted coffee. The source of that smell is just as surprising. Housed in a two-storey structure that was at various times a government-run printing house and a public bath, Soloist Coffee opened in September, part of a new wave of design-led businesses that have opened in Dashilar, one of Beijing’s oldest yet most overlooked neighbourhoods.
“The interior is a tribute back to the industrial age and craftsmen era,” says the coffee shop’s owner, designer and barista, Ma Kaimin, who sourced wood furniture from around the world to create a space that resembles a cross between a factory studio and an old-fashioned schoolhouse, with exposed brick walls, terrazzo flooring and vintage glass light fixtures. The coffee is just as thoughtful, with robust, acidic house blend that Ma describes as having a “nutty hint of orange and aromatic herbs” – a rare feat in a city without much of a coffee culture.
This might sound like the preamble to a familiar story of gentrification: old neighbourhood falls on hard times, attracts forward-thinking entrepreneurs, only to become a high-rent destination that destroys much of the original charm. But Dashilar’s transformation could well prove to be different, part of a deliberate effort by Beijing designers to revitalise the area in a sensitive way. If it succeeds, it would be a remarkable achievement in a city with a poor track record when it comes to preserving its old neighbourhoods.
July 23rd, 2014
It’s not easy to find the Mango King. “Do you want to go the safe way? Or the quick way?” asks Michael Leung, a designer and urban farming advocate, as we walk past the wholesale fruit market in Hong Kong’s Yau Ma Tei district, halfway up the Kowloon Peninsula. We opt for the quick way, which takes us through a tangled web of highway off-ramps and access roads. Two decades ago, this area was open water, but land reclamation and infrastructure works have turned it into an uninviting no-man’s-land next to one of Hong Kong’s most crowded neighborhoods.
Somewhere in this mess of traffic is a leftover parcel of land that has been turned into an illegal farm.
“We call him the Mango King because he loves mangoes so much,” Leung says after we dodge an oncoming taxi. “He’s a real urban farmer, making maximum use of space that would otherwise go unnoticed. He has 700 square feet of sweet potatoes, 45 papaya trees, five mango trees, three banana trees, two lychee trees. It’s amazing.”
Hong Kong is one of the world’s most densely populated cities, famous for its skyscraper canyons and gritty, neon-lit streets. But most of its 1,100-square-kilometre territory is actually undeveloped — country parks alone account for more than half of the city’s land area. Instead of fostering a close connection between city-dwellers and nature, though, the opposite has happened: Hong Kong today is a city largely devoid of greenery, surrounded by an often spectacular procession of green mountains and craggy shorelines.
The city’s disconnect with nature has broad implications. In the early 1990s, a full third of Hong Kong’s fruits and vegetables were produced locally in the New Territories, the hinterland that stretches from urban Kowloon to the border with mainland China. Today, that number has plummeted to 2.3 percent, with nearly everything imported from mainland China and beyond: apples from the United States, kiwis from Italy, oranges from South Africa. Recent years have seen a resurgence of interest in local organic agriculture among young people born in the 1980s and 90s, but with a steady supply of cheap, imported produce arriving daily in Hong Kong’s port, changing the attitudes of the broader populace has been a struggle.
July 7th, 2014
When I arrived in Beijing on the third day of the Chinese New Year, I was expecting the city to be quiet, and it was, except on Nanluoguxiang, a long alleyway near the Drum and Bell Towers that is lined by small shops, cafés and restaurants. Nanluoguxiang was busy — swarming with people, in fact. On my previous two trips to Beijing, in 2009 and 2010, it hadn’t been nearly as crowded. I chalked it up to the holiday.
When I returned to Beijing last month, though, I found Nanluoguxiang just as busy. Not only that, but many of the independent shops I remembered from my first visits were gone, replaced by chain bubble tea outlets and souvenir stores. Dozens of hawkers had set up camp along the street, most of them selling useless tchotchkes with blinking LED lights. It is still a charming street, but it has clearly made a leap from eccentricity to mass-market tourism. There’s even a Starbucks.
(Quick aside: the Nanluoguxiang Starbucks had the lowest food safety rating I saw in Beijing — a “C”. I can’t decide whether that is funny or terrifying, considering the standards in most Beijing kitchens.)
In some ways, it’s hard to begrudge Nanluoguxiang’s success when the alternative is demolition and redevelopment, which has been the case for so many other Beijing hutongs. In China, the normal process of gentrification is thrown out of whack by the sheer scale of everything: you can either go upmarket, which means really upmarket — Maserati dealers and that sort of thing — or mass market, which means an unceasing crush of weekend tourists and trinket vendors. The period of being a pleasantly polished enclave, which lasts for years or even decades in the life-cycle of North American and European neighbourhoods, is astoundingly short in Beijing.
June 19th, 2014
Halfway through director Heiward Mak’s new short film, SAR², Eric Tsang takes a tumble in front of a propaganda sign in Shenzhen’s Qianhai new development zone. “Supported by Hong Kong, Serving the Mainland, Facing the World,” reads the billboard, reflecting the area’s goal of attracting 100,000 Hong Kong permanent residents to live and work there.
In the film, Tsang plays Lee To, a Hong Kong man who has retired to Qianhai, where he falls in love with Lady Cheung, played by Taiwanese actress Kelly Tien, a native Shenzhener whose oyster farming village was cleared for land reclamation. In one intimate scene, Cheung asks Lee if he misses living in Hong Kong. “I can’t really say,” he replies. “Hong Kong is not my home anymore.”
SAR² is a story of alienation and ambiguity: Lee and Cheung live in spacious, comfortable apartments, but they are surrounded by vast construction sites and cut off from their families. Their romance seems to be as much a salve for loneliness as it is based on any kind of mutual attraction. “They’re wondering, ‘What am I looking for?’” says Mak.
It’s a natural project for Mak, whose acclaimed 2008 debut, High Noon, dealt with a similar kind of rootlessness. And while her notoriety has so far been limited to Hong Kong, SAR² made its debut far from these shores, in Italy, where Hong Kong is participating in the 14th Venice Biennale of Architecture, the world’s largest and most venerable showcase of the built form. 65 countries have mounted exhibitions in the biennale, which runs from June 7 to November 22, along with hundreds of other shows and events taking place throughout the island city.