January 28th, 2013
When artist-activist John Bela wandered around Wan Chai, Hong Kong’s melting pot neighbourhood of historic shophouses, packed street markets and hooker bars, he encountered a sense of déjà-vu. “I felt like a prisoner in a cage surrounded by leering cars and trucks,” he says. “This is the case in many cities where traffic engineers have dominated the design of streets.”
For years, Bela has fought for more humane public spaces in his hometown of San Francisco, where he helped launched Park(ing) Day, a now-global initiative to convert street parking spaces into miniature public parks. When he came to Hong Kong to curate the latest Detour design festival, he was dismayed by the city’s “twentieth century” approach to designing streets, which treats them as traffic funnels instead of public gathering spaces.
With the help of co-curator Justine Topfer and Detour creative director Aidan Li, Bela assembled an international crew of designers to challenge Hong Kong’s approach to public space in engaging ways. The result was “Design Renegade: Prototyping Public Space,” a two-week event held last December at the recently-decommissioned Wan Chai Police Station. In addition to lectures, concerts, a design market and exhibits inside the police station, a vacant lot across the street was transformed into an urbanist’s playground.
Detour from above. Photo courtesy the organizers
September 26th, 2012
Eaton’s in 1984. Photo by Gregory Melle
Columnist Alan Fotheringham called it an “unending urinal wall.” That somehow filtered down to the Vancouver population as “the upside-down urinal” or the “great white urinal.” But the name-calling won’t last for much longer. Next year, the great white windowless box that dominates the corner of Robson and Granville will celebrate its 40th anniversary with a dramatic makeover for Nordstrom, its new tenant.
The box was built in 1973 for Eaton’s, the now-defunct department store chain, and it was designed by César Pelli, an architect known otherwise for corporate skyscrapers like the Petronas Towers in Kuala Lumpur and One Canada Square in London. Its façade consists on large white marble panels and, to some extent, it really does look like the tile backsplash of some department store washroom.
There are plenty of reasons why it looks the way it does. Eaton’s was built as part of Pacific Centre, a large mall whose sentiment is suburban even if its location is not. Department stores at the time followed a strategy of making their stores difficult to navigate in order to trap customers, so it’s likely Eaton’s requested that the store have no windows. Pelli would have been happy to oblige, since he’s an awfully obliging architect — I mean, just look at his buildings. They aren’t exactly monuments to innovation.
Still, I’ve always had a soft spot for the white box. Its minimalism is clumsy and its presence is brutish. In other words, it is everything that Vancouver is not, so its overbearing, featureless presence serves as a nice foil to the glassy, earnestly humane architecture that surrounds it. Vancouver is “nice.” This building is not. Its obstinance is almost refreshing.
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.
July 20th, 2012
Not long ago, I was wandering around Kwun Tong trying to find an Indonesian restaurant. I arrived outside its front door only to find the shutter drawn, with a notice from the Urban Renewal Authority announcing that the property had been acquired for redevelopment. Then I looked around: nearly every storefront on the street was the same. I took my phone out and looked for another nearby restaurant on OpenRice — the local equivalent of Yelp — and walked a few blocks away to find it. Same story.
Built in the 1950s as Hong Kong’s first suburban New Town, Kwun Tong is a gritty, thriving working-class neighbourhood with a short but colourful history. This was Hong Kong’s industrial heartland, where the plastic flowers and fluorescent toys that earned the city its first fortune were made. It was home to Hong Kong’s longest-running Communist cinema, a legacy of the days when the political opposition in Hong Kong was made up not of liberal democrats but leftist revolutionaries. When I first visited the tight web of streets around Man Yee Square in 2005, they throbbed with red minibuses, neon pawn shop signs, old men playing chess, teenagers with plastic bags full of street market clothes.
Soon it will all be gone. Most of the shops have closed, the apartments vacated, the streets quieter than they have been in 50 years. The buildings will follow suit to make way for a HK$20 billion redevelopment project spearheaded by the URA, which will transform Kwun Tong’s town centre into a glossy shopping and business hub for East Kowloon. Plans call for a series of malls and highrises connected by gardens and plazas. It’s the kind of tabula rasa urban renewal that was common in Europe and North American until it fell out of favour in the 1980s. It looks like it will be a disaster.
July 10th, 2012
Treasure Hill, Taipei. Photo by the Kozy Shack
When Chou Yu-jui was growing up near Yongkang Street, an old part of Taipei near two of the city’s universities, it was a quiet neighbourhood of wooden Japanese cottages, small shops and back alleys filled with potted plants. Ten years ago, it started to change. Small cafés, boutiques and bakeries opened and lent the area an eclectic charm.
“It’s interesting, because you have a lot of shops that sell things you won’t find in a department store,” says Chou, an industrial designer who specialises in products made from recycled and sustainable materials.
Last October, Chou was leading a group of foreign designers on a tour around Yongkang Street and nearby Treasure Hill, an old squatter’s village that has been transformed into an art district. Similar tours were happening around the design shops of Zhongshan, inside the Red House creative centre and at the wholesale market around the Taipei Rear Train Station, where industrial designers hunt for raw materials.
The message from the tours was clear: Taipei’s creative scene is not only alive and well, it’s changing the very face of the city. The transformation began just over a decade ago and has accelerated in recent years. In 2007, a century-old public market known as the Red House was renovated to include a theatre, music venue and retail space for emerging local designers. 2010 saw the conversion of Treasure Hill, an informal village once threatened by demolition, into a collection of exhibition spaces and studios. Most recently, an old tobacco factory was restored and reopened last year as Songshan Cultural and Creative Park, home to the Taiwan Design Museum and the focal point of the 2011 World Design Expo — a coming-of-age event for Taiwan’s design industry.
The new creative spaces have been accompanied by the growing involvement of artists and designers in Taipei’s urban life, especially the informal city of night markets, street hawkers and illegal structures that thrives in the Taiwanese capital, something the Finnish urbanist Marco Casagrande described as the Instant City, in contrast to the Official City.
May 22nd, 2012
It’s a familiar story: old industrial area becomes creative hub. What makes OCT Loft different is that the entire process took just six years — and it’s on the vanguard of Shenzhen’s transformation from factory town to Chinese creative superpower.
In the mid-1980s, a swath of farmland in the newly-established Shenzhen Special Economic Zone was developed into the OCT East Industrial Park, one of first of many new factory districts. Over the next 20 years, they helped transform Shenzhen into one of the wealthiest and largest cities in China.
Then, in the early 2000s, as labour costs and real estate prices soared, most of the factories left for cheaper pastures in Shenzhen’s suburbs and other parts of the Pearl River Delta. The industrial zone was slated to be bulldozed and replaced by a luxury housing complex, but a new policy that encouraged the development of creative industries led OCT Properties, which owned the land, to hand it over to artists and designers.
OCT hired Shenzhen-based Urbanus Architecture and Design to facilitate the transformation. The first order of business, in 2004, was to make a home for the OCT Contemporary Art Termial (OCAT), a Kunsthalle-style exhibition hall and research centre.
The building they chose for OCAT was a 3,000-square-metre shed. “It was hardly a building,” says Urbanus partner Liu Xiaodu. “It had a tin roof and there wasn’t even any insulation. So we were very free to do anything.”
May 10th, 2012
Tin roofs of a hawker’s bazaar in Kwun Tong, Hong Kong
When I first came across Charles Labelle’s ongoing Buildings Entered project, I was intrigued by the questions it raised about how we relate to the spaces we inhabit. This led me to think about one of the things that has most fascinated me since moving in Hong Kong in 2008: the informal use of urban space, or to put it another way, how people adapt the city to their own ends.
In the years following World War II and the Chinese civil war, hundreds of thousands of people moved from mainland China to Hong Kong, which was then a British colony. A decade after the war, Hong Kong’s population had doubled to more than three million. There wasn’t enough housing for the newcomers, so many built homes for themselves in shantytowns that rose on the hills above Kowloon and Hong Kong Island. At the same time, migrants made work for themselves by selling things on the street: cheap food for factory workers, fruits and vegetables, surplus stock from factories. This continued for nearly three decades after the war. By the 1970s, there were more than 50,000 hawkers in the streets. All of this existed outside the framework of the law: shantytowns were built illegally on government-owned land and most hawkers operated without permits and without paying rent.
April 25th, 2012
It’s as predictable as the tide. Every morning, thousands of commuters stream down the Central Mid-Levels escalator, bound for offices, buses and crowded subway cars at the bottom of the hill. Then, at 10:30am, the escalator reverses itself. Now the crowds flow uphill. Helpers return from the market with bags full of choi, the lunch crowd trickles up to Soho restaurants. When evening arrives, work-weary commuters are carried up to drink, dinner and bed.
Nearly two decades after the completion of the Central-Mid-Levels escalator, it’s hard to think of Hong Kong without it. Its network of covered escalators, moving walkways and footbridges spans a distance of 800 metres from Queen’s Road Central to Conduit Road, making the trek up steep hillsides—135 metres in elevation from bottom to top, about the same as a 40-storey building—as easy as a walk through a shopping mall.
It’s certainly popular. When it opened in 1993, the escalator was expected to carry 26,000 people per day. It is now used by nearly 43,000. Its popularity with pedestrians has prompted the government to plan similar escalator links in 20 other locations around Hong Kong. The first of these will open later this year on Centre Street in Sai Ying Pun, while another escalator, on Pound Lane in Sheung Wan, is being planned.
But the use of escalators as a form of public transportation is being met with an increasingly critical response from design critics, academics and activists. “Is this an appropriate use of technology?” asked urbanist Min Li Chan on the international urban issues blog Polis. “Is this simply a shiny new idea with press value that leaves unintended social consequences in its wake? How should we measure its impact on people’s lives, and its return on the city’s investment?”
These are the questions being raised by residents and business owners in the sleepy neighbourhood around Pound Lane, where the government is planning to build a 200-metre escalator from Tai Ping Shan Street to Bonham Road. Along the way, it will pass by Hong Kong’s first public toilet, schools, temples, tenements and Blake Garden, Hong Kong’s oldest public park, which was built after the bubonic plague swept through the area in 1894, killing more than 3,000. Proponents say it will reduce traffic and provide relief to the neighbourhood’s many elderly residents. Opponents say it will destroy the peaceful, low-key ambiance that sets this part of Sheung Wan apart from the development frenzy of Central and the Mid-Levels.
April 16th, 2012
The lower Main in 1997. Photo by Kate McDonnell
One of the defining features of Montreal’s cityscape is the abundance of vacant lots. Weedy, gravelly blocks of land, they can be seen in every neighbourhood, in some areas on every street, delineated by rows of misshapen concrete blocks, like boulders left behind by the retreat of urban development. (The concrete blocks, required by municipal law, serve to prevent illegal dumping.) Ten years ago, as the real estate market boomed, many of the lots were transformed into new apartment buildings and hotels. Streetcorners defined by the absence of buildings were reworked into the urban fabric.
Despite the progress, however, new vacant lots are still being created. Part of the reason is the alarming tendency for Montreal buildings to burn down. But mostly it comes down to a lack of foresight by City Hill and a far too cosy relationship between politicians and developers. It’s never hard to find an example. Here’s a recent one: the block of St-Laurent between Ste-Catherine and René-Lévesque.
For decades, this stretch of the lower Main was seedy but lively, and it embodied the schizoid character of Montreal’s downtown core. Under the elegant gaze of the Monument National marched a procession of strip clubs, peep shows, restaurants and dive bars, as including some venerable institutions: Canada’s oldest Middle Eastern grocery store, founded in 1903; the Montreal Pool Room, which had served classic Montreal-style hot dogs since 1912; and Café Cléopâtre, a classic strip club with a flair for the burlesque. It was grimy and past its prime, but it worked in that typically ragtag Montreal way. It was a place where you could get a steamed hot dog, attend Pecha Kucha Night, spend your change on a peep show, buy some smoked paprika and stumble out of a Club Soda concert at midnight — whatever.
March 16th, 2012
The sun has already fallen behind Hong Kong’s skyscrapers as architect Daniel Patzold stolls through the lower courtyard of the former Police Married Quarters on Hollywood Road. Beneath a row of tall banyan trees, on what was once a basketball court, 70 young designers are gathered to sell their products at Detour, a festival of creative culture held every December.
“Look at this,” says Patzold, gesturing at cardboard stalls of the makeshift market. A young, fashionably-dressed crowd browsed through books, leather goods and jewellery. In the distance, a group of designers took photos of people wearing paper masks that looked like landmark Hong Kong buildings. “This kind of thing should be happening here every weekend,” he says.
That could soon be the case. The Police Married Quarters have sat empty for more than 12 years, except for the occasional festival like Detour. Until recently, the complex was slated for demolition, but lobbying from preservationists and the creative community have saved it from the chopping block. Now work has begun to transform it into the PMQ, a 15,400-square-metre design hub that will open in 2014.
“This project will be a milestone in the development of design in Hong Kong and the entire region,” says Billy Tam, who is the PMQ’s architect-consultant. “There are a lot of talented designers in Hong Kong and they’re just waiting for a chance to develop their reputation and their business. PMQ will become a name that represents design of the finest quality.”
When it was built in 1951, the Police Married Quarters were an anomaly: functional, modern housing in a neighbourhood of old tenements. Located on a steep, terraced hillside, two eight-storey blocks contained 196 living units arranged around a central courtyard. Each unit consisted of a single open room facing a broad open-air corridor with small kitchens and communal spaces for eating and gathering. Below the residential blocks was a clubhouse and recreational space.
“When I was a kid, all of this area here was my backyard,” said Hong Kong Chief Executive Donald Tsang, who grew up in the Police Married Quarters. In a speech two years ago, he waxed nostalgic about the “kung fu shows, fortune tellers, and people telling old folk tales” on the street outside the quarters, where he lived until getting married in 1969.
February 17th, 2012
Take a look at a map of Shanghai and it still jumps out at you — a tightly-wound ball of narrow streets threading through warrens of centuries-old houses. Call it what you will — the neighborhood seems to have no standard English name, and “Old City,” “Round City,” or simply “Old Shanghai” have been used before — but it’s impossible to deny this slice of China’s largest city stands a bit aloof; what’s left of it appears to exist in total defiance of a metropolis that appears ceaselessly hungry for towers that soar high enough to match the gaping width of its newly-broadened boulevards.
Old Shanghai’s uniqueness is a longstanding trend; the last time the neighborhood didn’t buck the rest of the city’s form was during the Middle Ages, when the Round City was Shanghai — a fledgling Ming Dynasty port. But skip forward to the 19th century and Shanghai has grown to become the hub of foreign commerce in China, its cityscape defined by the architecture the colonial powers have brought to their respective concessions — tiny fiefdoms run by local Westerners nominally reporting to overseas capitals.
Somewhat like Hong Hong’s Kowloon Walled City nearly a century later, the Old City, or “Chinese City,” as it began, then, to be called, remained an enclave within these enclaves, a densely-packed and ghettoized dormitory for much of the city’s local workforce. It even remained behind literal, medieval walls — until, during China’s 1911 revolution, they finally came crashing down.
January 21st, 2012
Oil Street. Photo by Eric To
This story was originally published in the November 2010 edition of Muse, the new-defunct review of Hong Kong arts and culture.
It was a hot night when I sat inside the cluttered studios of the pirate radio station FM 101, six floors up inside an industrial building in Kwun Tong. I was speaking to one of the station’s founders, a rock musician named Leung Wing-lai, when the doorbell rang. Leung excused himself to go open the door. Three people walked in, including Ah Kok Wong, a composer who has been working with Kwun Tong’s artists to lobby the government against a new policy that made it easier for the owners of industrial units to convert their space into offices or hotels.
Wong told me about an Arts Development Council survey that was meant to determine exactly how many artists, musicians and other creative people are making use of industrial space. Unfortunately, few artists received the survey, so Wong and several others had taken to distributing it themselves. “I have my own studio, a band room and a studio used by the radio station, and we didn’t get copies at any of these places,” he said. If not enough artists completed the survey, he told me, the government would have no clear picture of the thousands of creative people that work in low-rent, run-down industrial buildings, and its new industrial “revitalization” policy would lead to unchecked property speculation, pushing out a huge chunk of Hong Kong’s artists, musicians and cultural organizations.
Leung returned to his seat. We talked about FM 101, which focuses mainly on arts, culture and music and was set up to protest against regulations that make it nearly impossible for a non-profit, community-based radio station to get a broadcast licence. A recent crackdown on the station’s fundraising efforts has forced its volunteers to pay for its operating expenses out of their own pocket, which has only been possible because the studio’s rent is low. “Without this kind of space, where would we go?” he asked.
September 8th, 2011
Know which leafy block to turn down off the numbered avenues of Brooklyn’s Park Slope, squint past the bright spots of sun and deep shadows dappling the ground late into a summer day, and you can puzzle them together — a series of portraits, “ghostly apparitions” as the New York Times called them — spanning the steps of front stoops of the brownstones lining a short span of Bergen Street.
This is an improbable venue for a public protest against the wildly expensive and potentially transformational real estate development several blocks north, let alone a global art sensation, yet the photos on Bergen Street manage to be part, nevertheless, of both. They’re intended as a demonstration of solidarity with immigrant shop owners, the subjects of the portraits, whose businesses, local residents fear, are in danger of displacement in the wake of the Atlantic Yards project, an effort to develop several blocks wedged between Park Slope and the adjacent neighborhoods of Fort Greene and Prospect Heights into a basketball arena surrounded by skyscraping office buildings and condo towers.
But the portraits have drawn more attention as a prominent local iteration of “Inside Out,” a worldwide participatory street art project orchestrated by JR, a seminonymous French photographer who rocketed to Banksy-level fame for his work, which began as a guerilla effort to bring portraits of marginalized suburban youth to the affluent streets of central Paris and grew to include pasting “supercolossal” photo portraits covering the roofs and walls of largely impoverished urban neighborhoods from China to Kenya to Brazil.
August 29th, 2011
The walk from the Plaza de Mayo, the political heart of Buenos Aires, to Puerto Madero, its redeveloped waterfront, begins inauspiciously. Cars barrel down multilane boulevards devoid of people; a weed-strewn lot slated to become a monument to the country’s deeply-loved former president, Juan Perón, lies unconvincingly fallow.
Then there are the railroad tracks severing most of the city from the streets near the sea: Puerto Madero’s redevelopment was accompanied by the construction of a new light rail line, helping turn this frustrating barrier into a vital transit link. But here, in the hostile borderland between B.A.’s bustling Microcentro and the waterfront, the ominous sight of Puerto Madero Station inspires little confidence, its relatively new platform facing tracks overgrown by weeds.
The unused station was not meant to serve the light rail line, which blasts past it, but a half-built commuter rail restoration that had never entirely got off the ground. The sight of the overgrown tracks, encapsulating the miserable fate of much of Argentina’s older, conventional rail network — a once sterling, nationwide system now reduced to a few rump lines around the capital — illustrates exactly the sort of broader decline in national prestige that Puerto Madero’s rise was meant to help reverse. However ambitious those intentions, though, they hardly make it less disconcerting that Puerto Madero Station, spotless in its desertion, serves as an appropriate introduction to Buenos Aires’ newly built-up waterfront itself.