Monday, March 31st, 2014
Rendering of M+
In Hong Kong, a city with an increasingly toxic political atmosphere, where the future looks uncertain and just about every small endeavour is greeted by controversy, M+ is one of the few bright spots on the horizon. That’s not to say the 60,000-square-metre, HK$5 billion museum of visual culture has enjoyed a smooth ride; there has been grumbling about its entirely foreign cast of curators, its aloofness when faced with the political sniping of the local art scene and its ability to work with a budget that seems increasingly inadequate, given rising construction costs. But this is Hong Kong’s best chance at seizing its moment in the cultural spotlight, when the art market is booming and global attention is shifting away from the West – and, so far, M+ has been striking the right notes as it composes its identity as a fresh-thinking, innovative institution.
That was in evidence in its recent architecture exhibition, Building M+, a showcase of the museum’s future home and a sneak peek at its growing architecture collection. Hosted last January at Artistree, a cavernous exhibition space in the bowels of corporate Taikoo Place, the show greeted visitors with a procession of models depicting the six finalists in the international competition for the museum’s design. These were followed by a large scale model of the winner, by Swiss architects Herzog & de Meuron, which came in for ribbing because of its stark, tombstone-like form. But it is clearly the best of a sorry bunch; somehow, despite the talent involved in the competition—including Toyo Ito, Renzo Piano, Shigeru Ban, Snøhetta and SANAA—most entries were haphazard and even goofy, with little regard for the interdisciplinary focus of M+, which aims to bridge art, architecture, design and film. (One of the designs actually consisted of boxes stacked upon one another like Lego pieces, as if to emphasize the difference between these different fields.) Though unexciting, the winning design at least offers the museum programmatic flexibility. “They won because they understood the importance of creating dialogue between these different platforms for culture instead of just compartmentalizing everything,” says museum director Lars Nittve.
Tuesday, 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.
Thursday, 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.
Monday, February 24th, 2014
It didn’t look like much at first. “Just a bit of snow,” I thought as I gazed at the thick, heavy flakes settling onto the street outside. But Tokyo doesn’t get a lot of snow in the first place, and I should have realized from the way it was sticking to the willow tree outside — or the excited news coverage on TV, whose live-on-scene reporters stood in front of struggling commuters, snow piling up on their sodden heads — that this wasn’t going to be a light dusting. This was snow day snow.
We walked to the metro, plastic umbrella struggling against the wind, passing by grimacing cyclists and buses with chained-up tires thudding ominously down the street. By the time we arrived in Harajuku, half an hour later, the city was already in blizzard shutdown mode. Service on a growing number of train lines was suspended; there was hardly any traffic on the streets. As we passed down one back alley, a car got stuck in a snowy gutter and its driver rushed out and used his hands to dig out snow from beneath one of the tires. “Mondai nai, arigato” — “Don’t worry about it” — he said when we offered to help push the car, so we trudged on down the street, the sound of fruitlessly spinning wheels receding behind us.
Later that evening, as the sun set and we made our way down Meiji Dori to the heart of Shibuya, shops began to close early. Cars rolled past with a muffled crunch; people giggled and smiled as they made their way through snowbanks. Here’s the thing about snow: it makes even the biggest city in the world a very small place indeed. There was a sense of common purpose, a temporary breach in the anonymity of the streets. Grown men and women threw snowballs at one another in front of shuttered department stores. A week later, when Tokyo was blanked with another record-breaking snowfall, people were spotted skiing around Shibuya.
Wednesday, 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.
Tuesday, February 11th, 2014
Jet lag affects everyone differently, but I often hear stories of people waking up in the middle of the night, unable to return to sleep. For me, an inveterate night owl, the effect is to impose a schedule that most other people would consider normal: asleep before midnight, rising not long after the sun. That was the case on one trip to Vancouver, when I took advantage of rare early-morning wakefulness to grab a coffee and walk along English Bay.
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Sunday, 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.)
Tuesday, January 21st, 2014
Richard Florida strides across the stage in a sharply tailored suit, his voice rising and falling with the cadence of a preacher or a motivational speaker. “Every little boy and girl, every one of your sons and daughters, every one of your grandkids, each and every human being has a deep reservoir of creativity,” he proclaims, waving his arm towards a rapt audience. “It’s our font of economic growth, and in contrast to oil or iron or coal, it’s inexhaustible, because it comes from all of us.”
It’s Business of Design Week (BODW) and Florida is speaking to a full house at the Hong Kong Convention and Exhibition Centre. Several hundred designers, business people and students are in attendance, along with a handful of Hong Kong government officials. Florida’s power of attraction has been well cultivated. After publishing The Rise of the Creative Class in 2002, the American academic transformed himself into one of the world’s most influential urban thinkers. When he isn’t running the University of Toronto’s Martin Prosperity Institute, he travels the world to spread his message that creativity is the fuel of the new economy, and the new economy is driven by a so-called “creative class,” which consists of everyone from artists to designers to scientists and lawyers — anyone whose work is based primarily on knowledge.
“Creativity is our core economic resource,” says Florida. “It’s what each and every one of us has. The key to our future is not that we can build an economy based on a creative elite, it’s to stoke that creative furnace that lies deep within every single individual.”
Much of Florida’s empirical work is centred around a series of indices that evaluate each city’s potential to attract creative workers. Most important are what Florida calls the “three Ts”: talent, technology and tolerance. Creative cities possess a highly-skilled or educated workforce, the technological infrastructure to support innovation and a tolerant culture that encourages diversity. (One of Florida’s most famous measures for tolerance is the “gay index,” which examines the size of a city’s gay population as a proxy for social acceptance.) If cities build the kind of diverse, densely-populated and varied urban environment that creative types enjoy — Lower Manhattan is one of Florida’s favourite examples — they can propel themselves to the fore of the new creative economy.
Sunday, 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.
Wednesday, 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.”
Saturday, December 28th, 2013
It was so cold in Toronto this week that groundwater under the city froze solid, causing a rare “frost quake” — and earthquake-like boom following by trembling earth. But that was only a sideshow to the main event: a debilitating ice storm that cut power and pruned the city’s tree canopy by 20 percent. So maybe, just by way of diversion, it’s worth looking back to a gentler time of year. Last August, I was in Toronto for a weekend wedding. I made good use of the short time I had to roam the city. Here’s what I saw.
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Thursday, December 19th, 2013
Protest at the opening of UABB. Photo by Espen Cook
Last week in Kwun Tong, Kacey Wong stood inside a burnt wood cocoon, explaining the concept behind his painstakingly hand-made installation. “I wanted to create a place where people could meet quietly and have a greater understanding of what’s going on,” he said. To access the space, visitors must duck inside one of two small entrances and make their way to an intimate inner chamber filled with tree trunks; embedded in each tree are books of history and political philosophy that span the ideological spectrum. Wong charred the wood to represent the social and political conflict that now grips Hong Kong. “Fire is a process of transformation,” he said. “It changes material, but if you’re not careful you get burned.”
It was an apt metaphor. Outside the cocoon, the opening ceremony of the Bi-City Biennale of Urbanism/Architecture (UABB) had broken down into chaos after Chief Executive CY Leung arrived to give a closed-door speech. Residents from the surrounding neighbourhood, outraged by the government’s plan to turn Kowloon East into a new central business district, gathered to protest. Banners were unfurled from the highway overhead; “Don’t bulldoze our culture,” read one. Police and security guards clamped down, shutting off access to the exhibition, preventing some of the biennale’s curators and exhibitors from accessing their work. “It’s ridiculous – they won’t even let us into our own exhibition,” fumed one designer.
This is the fourth edition of UABB, which takes place every two years in Hong Kong and Shenzhen. It is normally a sedate, academic exploration of the issues facing cities around the world. This year, however, the biennale finds itself caught in a maelstrom of controversy over the so-called CBD2 project, which the government hopes will transform Kwun Tong, Kowloon Bay and Kai Tak into a high-value business district, but which critics say will kill one of Hong Kong’s largest creative communities by making the area unaffordable for the small creative enterprises that now call it home. The question for the biennale, which opens this weekend and runs until February 23, is whether it can provide a space for dialogue – or whether it will exacerbate tensions that have already reached the boiling point.
Wednesday, 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.
Tuesday, 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).