Urban Laboratory
AboutDiscussionFurther References

The city acts as a laboratory: social, economic and political forces converge with land pressures and other variables to test the built environment and its effect on how people and communities function, interact and transform.

Urban strategies can manifest in any number of ways, whether highly-planned, as with Wong Tung’s comprehensively-designed Mei Foo Housing Estate; surgical, as with Urbanus’s speculative Urban Village studies; or informal and extra-legal, as with the Kowloon Walled City. They can also produce inventive approaches to infrastructure and spatial efficiency, at scales ranging from Andrew Lee’s space-saving Scissor Staircase to DLN’s “stacked” ATL Logistics Centre. On the other hand, Tao Ho’s unauthorised Container Office helps illustrate the frictions that sometimes arise between design and bureaucracy in a highly regulated environment.

Introductory Discussion

Restrictions and constraints at times invite people to push boundaries and think outside the box to come up with great design solutions. Discuss your views on the notion of freedom and control in relation to creativity. Would you prefer to respond to certain parameters as a way to stimulate ideas, or would you rather have complete freedom in creating? Think in terms of a number of creative fields including art, writing, and performance.

When considering Hong Kong as a site for construction, what sort of restraints do the unique features of the city impose?

How do architects respond to our cityscape through their projects? How do these finished designs reflect the living conditions of Hong Kong? Consider elements of density, verticality and efficiency that are distinctive of Hong Kong’s built environment as a response to regulations, lack of space and resources. While natural or man-made, can some of these restrictions be avoided through planning and consideration of land allocation policy?

What is the architect’s role facing such restraints? How do they shape the city in this regard? How can restrictions and challenges be transformed into assets?

Futher Reference

“Town Planning”, Planning Department, Hong Kong SAR Government, June 2013, link

“Urban Design Guide for Hong Kong”, Planning Department, Hong Kong SAR Government, November 2002, link

“Becoming a Planner: What Planners Do?”, American Planning association, link

Place- Making
AboutDiscussionActivityFurther References

Architecture and locality exist in a state of tension, with each defining the other through a range of complex mechanisms.

In its iconic, highly-mediated form, architecture plays a central role in the image-making of a city, as contemplated in Andreas Gursky’s photograph of the HSBC building and Iwan Baan’s image of Beijing’s Bird’s Nest stadium. Architecture also draws, and sometimes improvises, on indigenous materials, typologies and techniques—for example, Rocco Yim’s Bamboo Pavilion, Urbanus’s Urban Tulou, and Ai Weiwei’s Caochangdi Home and Studio—while providing responses to the immediacy of a localised situation; Jiakun Architects’ Rebirth Brick project was a rapid reaction, using the materials at hand, to the 2008 earthquake in Sichuan province.

Introductory Discussion

How is an image of a building created through photographic representation? How are elements emphasised and for what purpose?

How does architecture represent and shape the identity of a city? Consider the qualities that various iconic buildings are designed to embody and represent of their place. Why are some buildings more “iconic” than others?

What are other reasons for creating an impact with architectural projects? Are there different ways of telling the stories of architecture? Are there other purposes that the making of architectural “images” can serve?

Activity

Pick a well-known building. Present the building to others with a selection of five images. Focus on why you have selected these particular five images to represent the building. How do you think they best represent the building?

How does a photograph present an architectural building as an object, as part of a city, on its own, and in terms of utility? Focus on the viewing distance, the presence or absence of human activity, how the photograph is framed etc.

Futher Reference

Dear Deyan, “Can we still believe in iconic buildings?”, Prospect Publishing, 26th Mar 2005, link

Rich Heap, "Iconic Buildings: Only We Can Decide", The Global Community for 21st Century City Decision Makers, 14th Jun 2013, link

Dessen Hillman, "How To Make Architecture, Not Art", ArchDaily, 1st Mar 2013, link

Fred Kent, "Toward an Architecture of Place: Moving Beyond Iconic to Extraordinary", Project for Public Spaces, link

Crossed Transfers
AboutDiscussionFurther References

Architecture transcends geographic and cultural borders, morphing and evolving as it shifts among them.

By looking at the discipline’s complex flows of ideas and influences—for example, the impact of European and American modernism on Hong Kong and Asia; its localised adaptations, as seen in Chung Wah Nan’s Peak Tower and Tao Ho’s Hong Kong Arts Centre; and the appropriation, in turn, of vernacular typologies by designers from abroad, as exemplified by Paul Rudolph’s Wisma Dharmala Sakti — one can begin to understand how a multiplicity of architectural narratives has shaped our interconnected global condition.

Introductory Discussion

Make a list of architectural works that were designed by architects not native to Hong Kong. Are there any such examples in the part of the city you live in? Do you think the nationality of an architect matters? Does it imply anything when the nationality of an architect is or is not emphasised?

Consider the various as examples of cultural exchange shown in our exhibition as case studies. Think in terms of the context where these architectural projects took place, and the education and professional background of the architects.

Connections and contacts between different cultures are natural occurrences in architectural practice. Reconsider the concepts of “local” and “global” in the field of architecture. What does it mean to be local vs. international? Do you think it is necessary to make a distinction between the two?

Do these case studies change your views on the nature of influence in architectural practice between West and East? Do they disrupt the common hierarchy of “international” over “local”, or is such a distinction irrelevant?

Futher Reference

“Does the quest to participate in the emerging global, imported context have to be at the expense of local knowledge?
” -- Mark Hoisted, “A Global Context for Local Architecture”, Reports on AIA Committee Visit, Places/Design History Foundation and American Institute of Architects, October 2001, link

“Localization [is] the other face of globalisation … Localisation is closely associated with the politics of identity”
-- Robert Adam, “Architecture and Globalisation” (June 2007), Architects’ Review, February 2008, link

 
Digital Reality
AboutDiscussionActivityFurther References

The digital age has transformed architecture, not only in practice, but also in how it’s conceived, consumed, produced and conceptualised.

Computer-aided design has made possible forms that previously weren’t achievable, such as the undulating curves of MAD’s Absolute Towers, while generating new architectural meanings, as with the barcode- and circuit board-evoking Digital Beijing by Studio Pei-Zhu and Urbanus. Elsewhere, digital fabrication techniques have combined with online platforms to redistribute architectural expertise and production, as can be seen with davidclovers’s Immuring. The digital construction of space has also produced entirely virtual cities, whether they be analytical tools— as with Hong Kong’s 3D Spatial Data—or fictional, simulated realities like Cao Fei’s RMB City.

Introductory Discussion

How does digital technology affect the design, representation and construction of buildings nowadays? Why do you think it is important to continue exploring new boundaries? How do you think the role of architects, their craftsmanship and professional skills shifts according to these changes in technology?

Computer-generated visualisation is one of the commonest means of presenting designs to clients, planning committees and the media. While initially developed by the military, computer-aided design (CAD) was soon extended to replace drawing boards in most architectural offices as they enable better organisation and updates of the thousands of documents in large projects. While model-making and hand-sketching are still important, CAD has almost completely taken over the production of the working drawings phase of architectural design.

Some would lament the loss of hand-drawing skills in light of such changes. What are your views? At the same time, why do you think sketching and model-making are still taught in architectural schools?

Activity

Technological advances constantly break through ideas which were once considered impossible. What do you think architectural practice will look like in the future? How can an architectural design that may be impossible nowadays be designed, presented and constructed in the future? Share with other your version of what it will be like to be an architect in the future.

Futher Reference

Matthew Allen, “Archeology of the Digital”, Domus, 15th May 2013, link

Timothy Carter, "Smart cities: The future of urban infrastructure", BBC , 22nd Nov 2013, link

Emilie Chalcraft, "In the future we might print not only buildings, but entire urban sections", Dezeen, 21st May 2013, link

“Archaeology of the Digital, 7 May to 27 October 2013”, The Canadian Centre for Architecture (CCA) website, 2013, link

Critical Futures
AboutDiscussionActivityFurther References

The future has a long history in architecture—as an attempted reality, in the imagination, and as a utopia and its dystopian opposite.

Fluctuating between fictive and real, and progressive and subversive, many architectural propositions reflect on the present by projecting into the future. MAD’s Beijing 2050 and OPEN Architecture’s 2nd Ring Beijing 2049 envision radical changes to China’s capital at a time of mounting social, environmental and other problems. Steven Holl’s Linked Hybrid complex and Turenscape’s Shenyang Jianzhu University Rice Campus offer their own, differing visions of idealised scenarios— though enacted in the present. Meanwhile, critical observations like MAP Office’s Homes for China and Homescapes and anothermountainman’s Lanwei photographs show how architecture can emblematise both aspiration and overreach.

Introductory Discussion

What was housing like in various time periods in history? Research typical shelters and building types from as early as the Stone Age. What types of housing is built today? What will tomorrow’s dwellings look like? Why do you think styles and trends changes through time?

Architects do not just design and build cities; they also re-imagine them. In doing so, they expand the limits of what is possible while offering visionary ideas and, sometimes, critiques and provocations.

Consider Beijing 2050 and the 2nd Ring Road. How and why do you think the architects decided to come up with such proposals and urban solutions for China in 2050? What aspects of the current situation do you think the architects are commenting?

Activity

How has the future imaged by others besides architects? Look for other representation of the future in other fields and discipline such as movies, art or writings. Which one is the most convincing to you? Share with others these examples and why they are convincing scenarios.

Futher Reference

Rachel Nuwer, “Will we ever... live in underwater cities?”, BBC, 30th Sept 2013, link

“Life in 2050: How much space will you have to live in?”, BBC, 29th May 2013, link

Postcards From The Future Website, link

Collecting Architecture
AboutDiscussion

How do we document and represent buildings, whether still existing or lost, space, or even an entire city?

A building or an architectural project can be represented by a multitude of documentation materials, which may include drawings, photographs, models and newspaper clippings. Each of these records tells a story about various aspects of the project. These materials, forming an archive or a collection, are often best kept in places where they can be accessed by the public, such as a library, museum or other research institution.

Various types of materials reflect the different features and aspects of an architectural project. These include its background, its conception, design and construction process to the final outcome and reception by the public. Architects may use drawings and models to explore and visualise their ideas, or to put their ideas into reality.

Introductory Discussion

How can architects express their ideas, for themselves, clients and builders?

What different materials and media did you see in the exhibition? Make a list of all the materials you remember. Think of how each one presents information about the building project in different ways for different audience. Each type of medium has its specific function. Discuss the advantages and disadvantages of each of the materials

Which of the exhibits were the most memorable? Discuss the most memorable, arresting, unusual, or interesting exhibits you found in the show. What strikes you as so special about them?

Refer to the following various types of materials that can be seen in the gallery, what do they reveal about the process of designing a building? What aspects of the project are illustrated through these materials? The tools an architect uses depend on the different stage of the design process, the budget, the needs and expectation of their clients, as well as the materials that are available to actualise their ideas. Can you think of more possible tools that help illustrate an architect’s ideas?

Drawings

There are different types of drawings that make up the architectural design process.

First sketch ideas are quick drawings put down at the start of a project as a study or as the basis for possible ideas. Often, sketch books are used for collecting and researching ideas.

Steven Holl Architects/Steven Holl (United States, b. 1947)
Filmic loop study for Linked Hybrid (2003-2009), Beijing, China
2003
watercolour on paper

Drawings

More detailed drawings or technical drawings are used to present more concrete designs. Whether it is the building’s exterior form or the details of the interior design, technical drawings play a crucial role as communication tools that help transform ideas into reality in the design and construction process.

Palmer & Turner (P&T Group)(Hong Kong)
Back elevation for Electric House (Kennedy Road Substation)
1967
print on paper
Image courtesy of P&T Group

Models

Model-making can be a process by which an architect examines various issues or specific features of the design such as its shape and form.

Sou Fujimoto Architects (Japan) / Sou Fujimoto (Japan, b. 1971)
One of 15 concept study models for Nature/Architecture, Serpentine Gallery Pavilion, London, U.K.
2013
various materials

Models

Presentation models show the architect’s ideas in the most direct and representational way. These can be models of a building, or a site plan or even an entire city.

Tao Ho Design (Hong Kong) / Tao Ho (Hong Kong, born China, 1936)
Site model for Metroplan, West Kowloon Reclamation Concept, Hong Kong
1988/2013
acrylic and card stock

Plans

Presentation models show the architect’s ideas in the most direct and representational way. These can be models of a building, or a site plan or even an entire city.

Showing a series of horizontal layers of the layout of a building from above, floor plans are one of the most common types of drawings an architect uses for working out how rooms and spaces relate to each other.

Wong Ng Ouyang & Associates (Hong Kong)
Typical floor plan of Hong Kong Adventist Sanitarium-Hospital (1967 – 1971), Hong Kong
1968
print on paper
Gift of the Architects

Plans

A site plan is a top-down view of a building in its surrounding context, including other buildings, streets, plants, and driveways. They are often used to show the relationship of the building with other buildings and facilities in the neighbourhood.

Masterplan of Mei Foo Sun Chuen
1973
documentation print on paper
Image courtesy of Wong Tung & Partners Ltd

Presentation materials and publication

Other presentation materials include publications and notes produced by the architects where they explain a design to an audience such as a client.

Tao Ho Design (Hong Kong) / Tao Ho (Hong Kong, born China, 1936)
Publication portfolio for Hong Kong Arts Centre (1968 – 1977), Hong Kong
1981
photographic prints on card board

Documents

Other documents such as correspondence and paperwork reveal unknown aspects of the design and construction process that perhaps other materials would not ordinarily address.

Tao Ho Design (Hong Kong) / Tao Ho (Hong Kong, born China, 1936)
One of five letters between Tao Ho and the Building and Lands Department on the Container Office (1989 - 1992)
1986-1989
print on paper
Gift of the architect

Newspaper Cuttings

Newspaper clippings about the project provide a different angle in which the project is represented and perceived.

Chinese media coverage of the Peak Tower in 1967.

Photographs

Photographs are used to document and present the architectural project. They can be used as a reference on the site condition, or to present the completed building.

Chung Wah Nan Architects Ltd (Fitch & Chung)
Site-study Photo, Peak Tower (The Upper Terminal of the Peak Tramway), Hong Kong
1967- 1972
18.5 x 26 cm
Gift of the architects

Video documentation

Video recordings are another way to document the physical space as one explores it, and are often used for research and documentation purposes.

Suenn Ho (United States, born Hong Kong, 1961)
Research Footage of Kowloon Walled City, Hong Kong
1991
video
Duration: 90’ 00’’
Loaned from Cole Roskam

Digital renderings

Computer-generated renderings are often used to present a virtual rendition envisioned by the architect, or to reconfigure a lost structure in digital format.

Cao Fei (China) The Birth of RMB City video simulation 2007
Imperial Hotel, Tokyo, Japan
AboutAuthorDiscussionActivityFurther References

About Imperial Hotel (1916-1923), Tokyo, Japan

In 1913, the renowned architect Frank Lloyd Wright began work on one of the largest, most complex and significant projects of his career: a new building for the Imperial Hotel in Tokyo. Designing everything from the building and its ornaments to the interiors, furniture and dinner sets, Wright, who is considered a quintessentially American modern architect, showed his inventive originality, but also his capacity for absorbing outside influences; while not directly attributable, traces of Japanese and other traditions can be seen in Wright’s work. With the Imperial Hotel, Wright left an imprint on Japan. But it can also be said that Japan and other cultures left an imprint on Wright.

Detail for ornamental block of the theatre balcony stone railing, Imperial Hotel
(1916 – 1923), Tokyo, Japan

c. 1920
graphite and coloured pencil on tracing paper
Main entrance with frontal pond. Photo courtesy of Imperial Hotel.

About Frank Lloyd Wright (b. 1867- 1959)

Best known for his projects including the Guggenheim Museum in New York and the Fallingwater residence in Pennsylvania, Wright’s “Prairie Style” architecture was influential to American modernism and urbanism on numerous levels.

Wright was particularly known to be an admirer and avid collector of Japanese art, especially Ukiyo-e woodblock prints, helping the Metropolitan Museum of Art and other American institutions develop their collections. When Wright made his first trip outside the United States in 1905, it was not, as one might expect, to Europe, but instead to Japan.

Frank Lloyd Wright and staff in front of Imperial Hotel, 1922
Photo courtesy of Imperial Hotel.
Garden View
Photo courtesy of Imperial Hotel.

Discussion

What does the drawing reveal about the cultural ties and relationship between the American architect and the Japanese team?

Wright is just one of countless examples of how trans-cultural influences have long shaped architecture, a discipline that has only become more global ever since. What makes architecture “local” or “global,” and what does that distinction mean? Are the terms “local” and “global” really contradictory in meaning as they might appear? Are these terms relevant to a time when architectural practice is increasingly collaborative and trans-bordered?

Detail of ornamental stone carving for stairwell, Imperial Hotel (1916 – 1923), Tokyo, Japan
c.1920
graphite and coloured pencil on tracing paper

In this drawing appear some handwritten lines of a Chinese poem at at the corner, scribbled in non-native Chinese, probably by one of Wright’s Japanese workmen or colleagues. Drawings reveal different aspect of the design process as one look closer to the details.
Drawing for stonework, underside of eaves, Imperial Hotel (1916 – 1923), Tokyo, Japan
c. 1922
graphite and ink on vellum
Diagram of soffit, Imperial Hotel (1916 – 1923), Tokyo, Japan
c. 1920
graphite and coloured pencil on tracing paper

Activity

Go out and sketch buildings in Hong Kong, whether modern or historic. Are there elements showing influences from other culture? Who are the architects behind these designs?

View of promenade
Photo courtesy of Imperial Hotel.
Photo of the Theater
Photo courtesy of Imperial Hotel.
View of the Banquet Halls
Photo courtesy of Imperial Hotel.
Drawing for ornamental block of the foyer fireplace, Imperial Hotel (1916 – 1923),
Tokyo, Japan

c. 1920
graphite and coloured pencil on tracing paper

Further Reference

“Frank Lloyd Wright – Wright in Japan”, The Westcott House Foundation, link

Kathryn Smith, “Frank Lloyd Wright and the Imperial Hotel: A Postscript”, The Art Bulletin, link

Collage of New York Times Square and Mies’s Friedrichstrasse Skyscraper
About

About collage of New York Times Square and Mies's Friedrichstrasse Skyscraper (1987)

As professor, chair and dean at the school of architecture at the University of Hong Kong from1976 to 2000, Eric Lye Kum Chew was a pivotal figure in architectural education in Hong Kong and the surrounding region. Among other things, Lye helped bring international architectural ideas—as can be seen in his collage of Ludwig Mies van der Rohe’s Friedrichstrasse skyscraper proposal superimposed on New York’s Times Square—into the discourse in Hong Kong.

Eric Lye Kum Chew (Hong Kong, 1934–2003)
Collage of New York Times Square and Mies’s Friedrichstrasse Skyscraper
1987
photographic collage on paper
Gift of the architects
Court House Studies
About

About Court House Studies (1931-1938)

In the 1930s, the preeminent modernist architect Ludwig Mies van der Rohe undertook a series of “court house” studies investigating the relationship between interior and exterior space.

Ludwig Mies van der Rohe (Germany and United States, 1886-1969)
Plan and interior perspective for Court House Studies (1931–38)
1933
ink on paper
Chinese Professor’s Court Yard House
About

About Chinese Professor's Court Yard House (c. 1954)

Jackson Wong Chack Sang, who founded the prominent Hong Kong firm now known as Wong & Ouyang, was a member of the first class at the University of Hong Kong’s school of architecture. As a student, he took inspiration from many sources, including American popular culture and European and American modernism. His drawing of a proposed Chinese Professor’s Court Yard House shows his early attempt to reconcile traditional Chinese architecture with a modern vocabulary evocative of the work of Ludwig Mies van der Rohe.

Jackson Wong Chack Sang (Hong Kong, 1930–1994)
Drawing of Chinese Professor’s Court Yard House
c. 1954
ink and graphite on paper
National Theatre and Opera House, Tokyo, Japan
About

About National Theatre and Opera House (1986-1987), Tokyo, Japan

Reacting against postmodern formalism, the influential theorist and architect Bernard Tschumi became known in the 1970s and 80s for insisting that architecture be defined by the events, activities and movements happening within. In 1986, Tschumi participated in the competition to design a new National Theatre and Opera in Tokyo with a scheme that incorporated notational elements of experimental dance and music.

Bernard Tschumi (France and United States, born Switzerland, 1944)
Interior view of lobby, International Competition for the National Theatre and Opera House (1986–1987), Tokyo, Japan
1986
ink, pencil, spray and gouache on paper
Wisma Dharmala Sakti (Intiland Tower), Jakarta, Indonesia
AboutAuthorDiscussion

About Wisma Dharmala Sakti (Intiland Tower) (1983 – 1985), Jakarta, Indonesia

The Wisma Dharmala Sakti tower in Jakarta is an important example of the American architect Paul Rudolph’s significant body of work in Southeast Asia in the 1980s. It was during this period, when he was facing professional difficulties in the United States, that the innovative modernist also designed the Bond Centre (now Lippo Centre) in Hong Kong and the Colonnade and Concourse in Singapore.

The building exemplifies the virtuosic forms, urbanistic concerns and climatic sensitivities for which Rudolph was known. Its rotated floor plates and deep, canted overhangs, borrowed from indigenous Indonesian dwellings, shield offices from direct sunlight and provide terraces on all floors while giving the tower its striking silhouette. Planters cascade towards the forest of paired structural columns supporting the podium-level atrium, making the building a vertical garden within Jakarta’s central business district.

 
Paul Rudolph
(United States, 1918–1997)
Exterior perspective of Wisma Dharmala Sakti (Intiland Tower) (1983–1985), Jakarta, Indonesia
1984
ink on vellum

About the Paul Rudolph (United States, 1918 – 1997)

Paul Rudolph was one of the most prominent architects of the 1950s and 1960s whose complex interior spaces and brutal use of concrete helped define the modernism of that period. Having gained renown for his home designs early on while living in Florida, his best-known work is perhaps the building for the Yale School of Art and Architecture (1964), where he served as dean from 1958 to 1964. Among his students at Yale happened to be Norman Foster. By the late 1970s, however, he turned his attention to Southeast Asia, where his brand of modernism, and its suitability for tropical climates, was embraced while his work had fallen out of favour in the US. Significant projects in this region include the Wimsa Dharmala Tower (1988), Jakarta, the Bond Centre (now Lippo Centre) in Hong Kong (1988), and the Colonnade (1987) and Concourse (1994), in Singapore. With their intricate, interlocking spaces and atria, these buildings have influenced numerous other designs throughout the region.

Exterior perspective of atrium of Wisma Dharmala Sakti (Intiland Tower) (1983 – 1985),
Jakarta, Indonesia

c. 1983
coloured pencil on tracing paper

Discussion

Paul Rudolph looks to local and vernacular architecture for inspiration for his designs. Why do you think it is important to study traditional architecture as a reference? What can we learn from buildings derived from a long history of design and metamorphosis? Do you think an architecture that reveal the culture, history, or the identity of the place offer a deeper bonding with the people?

Can you think of other modern buildings that reference traditional building design and features? Gather such examples and discuss whether the merging of the traditional with modern design works. Think of the intention of such approach, the function and aesthetic of the result.

Indonesian landed tropical villages

Paul Rudolph’s buildings in Hong Kong have a direct impact on the subsequent work of Wong and Ouyang group, which was Rudolph’s local design partner on the Bond Centre.

Compare the design of these two buildings. In what ways do the designs reference Rudolph’s style? Discuss your views on the cultural exchange between foreign architects and those at local firms. As architectural practice is increasingly cross-boundary in nature, what does it mean to be labelled “local” or “international”? Are these terms relevant nowadays?

Select an ancient building form that interests you most and study its features. Think of new ways these features could be incorporated into a new building in our contemporary era. Come up with your own design, and present it with drawings, models or other materials. Explain how you could learn from previous designs.

Perspective Drawing of Bond Centre (Lippo Centre)
Teatro del Mondo, Venice, Italy
About

About Teatro del Mondo (1979), Venice, Italy

A founder of postmodern Neo-Rationalism, the architect and theorist Aldo Rossi is best known for his monumental reinvention of building typologies rooted in memory, history and place, especially those of his native northern Italy. His ideas influenced architects around the world, including in Hong Kong. One of Rossi’s most iconic works, the Teatro del Mondo, was a floating theatre built in Venice in 1979.

Aldo Rossi (Italian, 1931–1997)
Drawing of Teatro del Mondo (1979), Venice, Italy
1980
ink and crayon on paper
Peak Tower, The Upper Terminal of the Peak Tramway, Hong Kong, China
AboutAuthorDiscussion

About Peak Tower, The Upper Terminal of the Peak Tramway (1967– 1972), Hong Kong

The now-demolished Peak Tower designed by Chung Wah Nan was a key landmark of Hong Kong, and one of the city's most daring and highly engineered structures at the time of its completion. While clearly in the modern idiom, it was also designed to evoke the watchtower of an ancient Chinese wall, firmly anchored at its base but seemingly floating at the top.

The news of its commissioned came about in 1967, providing a much needed boost and discussion point for the city at a time when it was politically and economically strained by the Cultural Revolution occurring in China.

When it officially opened on 29 August 1972, the Tower’s ‘restaurants-in-the-clouds’ and indoor-outdoor observation decks immediately made it not just a major tourist lure but also a dramatic part of the Hong Kong skyline. Reported to symbolise the city's 'sky-high confidence in the future', the Tower was celebrated by having its image printed on the 500 HKD note.

W. N. Chung Chartered Architect (Chung Wah Nan Architects Ltd) (Hong Kong)/ Chung Wah Nan (Hong Kong, b. 1931)
Model of Peak Tower, The Upper Terminal of the Peak Tramway (1967-1972), Hong Kong
c.1969/2013
various materials

About Chung Wah Nan (Hong Kong, b. 1931)

After graduating from the Bartlett School of Architecture in London in 1959, Chung started private practice in 1964 and later teamed up with British architect Alan Fitch, one of the designers of City Hall, to form Fitch & Chung. The partnership lasted until 1985. While working in the modernist vein, Chung, who is also known for his writings on traditional Chinese architecture and landscape design, has been influential in attempting to infuse modernism with historical Chinese concepts.

 

Discussion

What do you think of the design? Did you know the Peak Tower looked like this? What are the similar elements between the Peak Tower and a Chinese watchtower? Discuss how the architect has modernise the ancient building type by adopt the features to its design of a viewing tower. Why do you think he decide to reference and adopt such design features?

Also refer to Hong Kong Arts Centre as another comparative case study on this topic.

What sort of impact does a high-profile building project have on a city? Can you think of other buildings or architectural projects of similar impact? What effects will they have on the city? What messages do these projects, whether they are in the stage of merely being announced, in construction or completed. Refer to media coverage of such architectural projects, how are they described and represented?

 
Newspaper cuttings on the announcement of the building of Peak Tower in 1969
Hong Kong Arts Centre, Hong Kong
AboutAuthorActivityFurther References

About Hong Kong Arts Centre (1968 – 1977), Hong Kong

Having been given only a small piece of reclaimed land measuring 30 m2, Tao Ho managed to realise a vision of the centre for contemporary arts in the city. The reclaimed land was too soft for construction, and the reinforced-concrete building was finally constructed atop of a 2-metre thick concrete raft supported by more than 300 piles.
Ho managed to pack and stack a 200-seat recital hall, a 100-seat studio theatre, a rehearsal room, a 463-seat theatre, a sizable exhibition gallery with sculpture terrace, spaces for restaurants, a member’s club, artists’ studios, musical practice rooms, and offices functioning as rentable spaces to support the arts centre.
Sandwiched between two large buildings, there is no access from two sides. In response, Ho created a plan with an L-shaped service core that runs on two sides to accommodate staircases, lifts, lavatories, mechanical equipment, and storerooms. With this plan, an impressive vertical and asymmetrical foyer was also created.
In this promotional book published by the Hong Kong Arts Centre, one can find some of the elements that contributed to the design, along with still shots of the building and its interior when it opened in the late 1970s.

Tao Ho Design (Hong Kong)/ Tao Ho (Hong Kong, born China, 1936)
Publication Portfolio for Hong Kong Arts Centre (1968–1977), Hong Kong
1981
31 photographic prints on cardboard

About Tao Ho (Hong Kong, born China, 1936)

Dr. Tao Ho attended Williams College, majoring in art history. He went on to pursue a master degree in architecture at Harvard University and was once a personal assistant to Bauhaus founder, Walter Gropius. After a decade of architecture practice in the US, he returned to Hong Kong and became a lecturer at the Chinese University of Hong Kong, bringing the design infrastructure and sophistication he found in the States to Hong Kong. He also played a key role in the development of the Hong Kong Institute of Architects (HKIA). In 1968, he founded Taoho Design, Hong Kong’s first native multidisciplinary design studio. Moved among various disciplines and thrived in combining an active public life with wide-ranging personal interests, he is one of the world’s most renowned architects as well has having been a prolific contemporary artist while in Hong Kong.

Activity

Faced with the difficulties of a site with limited space and asked to design a complex containing shops, galleries, theatres, studios rooms, and office space, Tao Ho realised his innovative and ingenious design solution for the Arts Centre that stacked up various spaces in this small corner footprint. Select a three-dimensional object and trace its form, viewing it from the sides, on a piece of paper. Now consider the shape as the elevation of a complex building. Decide what the building’s function will be: a residential complex, university, hospital, shopping mall or other. Use the sketch to create a cross-section of the building. Plan the use of space within the building. Think of what spaces will be needed, how people will use them and the relation between different spaces and the circulation of people.

Activity

Tao Ho’s design references a Chinese pagoda in its stacking design. Shown in his publication porfolio are references that inspired his design for the Arts Centre. Look for magazine spread with elements that interest you, and write down what strikes you about the images. Take an element and convert it into an idea for a structure. Keep a scrapbook of ideas whenever you are designing and creating. Ideas and inspiration often comes from the most unexpected places.

Further Reference

Tao Ho Design Website, link

“Milestone, History of the Hong Kong Arts Centre”, Hong Kong Arts Centre, link  

42 Sassoon Road Houses, Hong Kong
About

About 42 Sassoon Road Houses (1977–1979), Hong Kong

Built on a steeply sloping waterfront site in Pokfulam, the 42 Sassoon Road Houses comprise twelve three-storey, split-level garden houses designed by architect Remo Riva of Palmer & Turner. Known for deriving variation from within systems of geometric order, Riva articulated the buildings’ formal compositions based on a rigourous grid plan.

Palmer and Turner (P&T Group)/Remo Riva (Hong Kong)
Axonometric drawings for 42 Sassoon Road Houses (1977-1979), Hong Kong
1977
colored pencil and ink on paper
Hong Kong University of Science and Technology Campus, Hong Kong
About

About the proposal for Hong Kong University of Science and Technology Campus (1987), Hong Kong

The 1987 proposal by Eric Lye Kum Chew and Joan Leung Hing Yee for the campus of the new Hong Kong University of Science and Technology (HKUST) responded elegantly to its site in Sai Kung. Creating a “constructed ridge”, the main academic centre consisted of building modules organised linearly along two parallel axes and a large central space. Dormitories for students and staff, as well as other facilities, followed the site’s natural contours as they spilled down towards the waterfront. Referencing both Chinese landscape paintings and humanistic readings of the relationship between nature and science, the scheme won the competition to design the campus, though a different proposal was ultimately built.

Eric Lye Kum Chew (Hong Kong, 1934–2003) and Joan Leung Hing Yee (Hong Kong, b. 1949)
Site plan and Section and details, Proposal for Hong Kong University of Science and Technology Campus, Hong Kong
1987
felt tip on tracing paper
Gift of the architects
Electric House (Kennedy Road Substation), Hong Kong
AboutAuthorDiscussionActivityFurther References

About Electric House ( Kennedy Road Substation) (1967 – 1970), Hong Kong

Conceived by architect James Kinoshita and structural engineer Heinz Rust of Palmer & Turner (now P&T Group), Electric House was an electrical substation consisting of two piers supporting a horizontal building that elegantly bridged a valley, with a stream running beneath. On top, two parabolic hoods received and protected high tension cables coming from the surrounding hills. Palmer & Turner (P&T Group) (Hong Kong)

During the building’s early stages of construction, directors of Hong Kong Electric, the client, decided to move the company's headquarters to Electric House, turning what was meant to be a purely pragmatic switching station into a point of company pride.

Palmer & Turner (P&T Group) (Hong Kong)
Model for Electric House: Kennedy Road Substation (1967–1970), Hong Kong
2013
various materials

About James H. Kinoshita

James H. Kinoshita is a Japanese Canadian architect and traveller, born in Vancouver, Canada. He received a Bachelor of Architecture from the University of Manitoba, and Master of Architecture from the Massachusetts Institute of Technology. He worked for three years in America before setting off for Hong Kong.

In Hong Kong, he got a job with Palmer and Turner, an established international architectural engineering firm with a practice widely respected in the South East Asia. He has been involved in projects in Indonesia, Singapore, Hawaii, and Sydney. When China started to open its doors in 1978, he became involved in China, recalling the firm's past glory of the many buildings they designed along the Bund in Shanghai. His significant projects in Hong Kong include the Hong Kong Hilton, America International Assurance, Jardine House, the Hong Kong Polytechnic University, and the Landmark. He is now retired and lives in Hong Kong.

Image courtesy of P&T Group
Image courtesy of P&T Group

Discussion

What is the relationship between the form and function of a building? Can you think of buildings that are remarkable for overcoming structural and technical challenges while also being striking in their form?

Image courtesy of P&T Group
Palmer & Turner (P&T Group)(Hong Kong)
Back elevation for Electric House (Kennedy Road Substation)
1967
print on paper
Image courtesy of P&T Group

Activity

Using two different cards, each person comes up with a building design and a location. Imagine the type of building, as well. Will it be located in a valley, in the middle of the ocean? Will it be a hospital, a school, a residence? The sky is the limit.

Behind each respective card, jot down qualities of the location and the building including site limitations, and specific building features.

Collect the two sets of cards and shuffle them.

Each person draws a card from each pile.

Design a building according to the location and the building type, responding to the limitations set out on the back of the selected card.

Image courtesy of P&T Group

Further Reference

P&T Group Website, link

ATL Logistics Centre Phase 1 and Phase 2, Hong Kong
About

About ATL Logistics Centre Phase 1 and Phase 2 (1984-1992), Hong Kong

Reflecting both the “stacking” phenomenon prompted by Hong Kong’s intense land pressures and the city’s role as one of the world’s busiest container ports, the ATL Logistics Centre is an innovative example of industrial infrastructure. Its highly functional design—an integrated network of enormous ramps, extensive parking bays, and internal roadways—set a new standard for logistics buildings by enabling continuous vertical access and rapid loading and unloading of cargo by container trucks. This alleviated frequent traffic back-ups in the port area while optimising land use. According to the Guinness Book of World Records, it was the world’s largest multilevel industrial building in 1994.

Dennis Lau & Ng Chung Man Architects (Hong Kong)
Model for ATL Logistics Centre Phase 1 and Phase 2 (1984-1992), Hong Kong
c. 1985
various materials
Hong Kong Academy for Performing Arts, Hong Kong
About

About the Hong Kong Academy for Performing Arts Building Design (1981–1985), Hong Kong

The Hong Kong Academy for Performing Arts building comprises an ensemble of triangular volumes arranged in elegant response to the constraints of the site—namely, an underground MTR tunnel and water and sewer mains. The building design was selected in one of Hong Kong’s earliest international architectural competitions.

Simon Kwan & Associates Ltd (Hong Kong)
Competition model for the Hong Kong Academy for Performing Arts Building Design (1981–1985), Hong Kong
c. 1981
acrylic and cardboard
Scissor Staircase
About

About Scissor Staircase (2006)

The Hong Kong Academy for Performing Arts building comprises an ensemble of triangular volumes arranged in elegant response to the constraints of the site—namely, an underground MTR tunnel and water and sewer mains. The building design was selected in one of Hong Kong’s earliest international architectural competitions.

Andrew Lee King Fun & Associates–Architects Ltd (Hong Kong)/Andrew Lee King Fun (Hong Kong, b. 1933)
Scissor Staircase
2006
plaster, spray paint, wooden frame and plastic sheet
Mei Foo Sun Chuen, Hong Kong
AboutAuthorDiscussionActivity

About Mei Foo Sun Chuen (1965 – 1978), Hong Kong

When it was largely completed in 1978, the Mei Foo housing estate comprised 99 blocks of 20-storey apartment buildings for over 80,000 residents, and was pioneering in terms of its scale, scope, and planning concepts. It was then the world’s largest private high-density housing development and Hong Kong’s first self-contained residential community, in which accommodation, transport, retail and recreational facilities were stitched together via an elevated continuous podium, making it a “city within a city”. Also innovative were its double-cruciform-shaped towers, accessed from the three-storey podium, which employed “scissor stairs” that provided the multiple means of egress required by building codes while using the minimal amount of space/

4th–19th floor plan of Mei Foo Sun Chuen (1965 – 1978),
Hong Kong

1966
print on paper
Gift of the Architects

About Wong and Threadgill Architects & Engineers (Wong Tung & Partners Ltd, Hong Kong)

Wong Tung & Partners was founded in Hong Kong in 1963 by Shanghai-born Americans, Bill Wong and Albert Tung. It has affiliated practices around the globe. The company made its mark internationally in the late 1960s when it was commissioned to create a master plan and design for the Mei Foo Sun Chuen housing estate (1965 – 1978).

Image courtesy of Wong Tung & Partners Ltd

Discussion

Why it is important to consider the context in which a building will be built? How does urban planning affect people’s daily lives?

Image courtesy of Wong Tung & Partners Ltd

Discussion

The double-cruciform-shaped floor plan design allows each residential unit to have at least two or three sides that open out, allowing circulation and access to daylight. It also places service facilities including stairs, elevators, and garbage collection at the centre of each cross, eliminating the need for wasteful narrow corridors that were common in previous residential building designs.

This design solution is a direct respond to the dense living condition of Hong Kong by creating a more effective use of space. Such examples of creative solutions are all around us. Look for any kind of such gestures, small or large, that improve our way of life.

Refer to the Kowloon Walled City for comparison on such urban strategies. Think about intention and unintentional design solutions, and the planned and unplanned organisation of communities.

Masterplan of Mei Foo Sun Chuen
1973
documentation print on paper
Image courtesy of Wong Tung & Partners Ltd

Activity

A building is not an island, but should be considered in terms of its context and surrounding community.

How does your home or estate relate to what's around it? Draw a map of your neighbourhood to understand these relationships. Start by visually tracking your daily routines on the map.

Look at what makes up this particular neighbourhood and evaluate your neighbourhood from the point of view of urban planning by making notes of how the roads, shops, houses and other facilities are planned.

What makes an environment comfortable and what annoys you? What is ingenious and what leaves you unimpressed? Is there room for improvement? What suggestions can you make?

Hong Kong Adventist Sanitarium–Hospital, Hong Kong
About

About Hong Kong Adventist Sanitarium-Hospital (1967–1971), Hong Kong

The first hospital design by Hong Kong firm Wong & Ouyang, the Hong Kong Adventist Sanitarium-Hospital conformed to its hilltop site with a novel circular tower. The building’s radial, panoptic plan reflects a humanist medical planning approach that was gaining currency at the time; perimeter wards ring the central nurses’ stations, minimising the need for support spaces while allowing direct sightlines between caretakers and patients.

Wong Ng Ouyang & Associates (Hong Kong)
Typical floor plan of Hong Kong Adventist Sanitarium-Hospital (1967–1971), Hong Kong
1968
print on paper
Hollywood Terrace, Hong Kong
AboutAuthorDiscussionActivity

About Hollywood Terrace (1987– 1999), Hong Kong

The dense and textured fabric of Hong Kong’s Central-Western District calls for a careful response to the urban environment, and an intricate appropriation between private and public realms. A system of public spaces is developed in the form of a series of landscaped gardens and terraces that, together with the punctuating stairs and lifts, form an elaborate twenty-four-hour pedestrian access connecting Queen’s Road Central with Hollywood Road through and within the site. As the public thoroughfare interweaves spatially with private pathways, movement remains physically independent, connected only through an interesting play of visual empathies.

Rocco Design Architects (Hong Kong)/Rocco Yim (Hong Kong, b. 1952)
Model for Hollywood Terrace (1987–1999), Hong Kong
1999
various materials

About Rocco Yim (Hong Kong, b. 1952)

Rocco Yim is one of Hong Kong’s most prominent architects, known for buildings that respond sensitively and inventively to the topographical, urbanistic, and infrastructural conditions of their context, especially in Hong Kong. Graduated from the University of Hong Kong, Yim initially joined the firm of Spence Robinson before starting his own practice in 1979. Soon thereafter, in 1983, he earned international attention as one of three first-prize winners in the competition to design the new Bastille opera house in Paris.

Yim’s buildings are studies in geometry and spatial relationships, evolving through addition and subtraction in response to programmatic, aesthetic-compositional and urbanistic requirements. Strong volumetric solids shift alongside voids; spaces become multi-layered, linked from both within and without. Yim has also investigated the reconciliation of his modern design vocabulary with historical Chinese practices and references. His Bamboo pavilion of 2000, in Berlin, created a decidedly contemporary expression of traditional bamboo construction. More recently, he has explored courtyard typologies, as is the case with his Distorted Courtyard House (2002) in Beijing, and metaphorical devices, as seen in his Guangdong Museum (2010).

Discussion

What does public space really mean? Discuss this term from the government, developers, and citizen’s perspectives. How could we strike a balance between their views?

Documentaiton prints of the site plan of Hollywood Terrace

Activity

As a group, select a district in Hong Kong.

Visit the district and sketch an overview map. Consider choosing a landmark as a starting point for exploration, and a central point for the map.

As you wander the city, think of how public and private places are connected and defined by the spatial and architectural designs. How are different spaces “created” in a dense district?

Notice human activities as you visit, such as the circulation and movement of people, and their interactions with the many spaces in the area. What effects does spatial design have on human activities?

Evaluate and examine the planning of the district, is there room for improvement?

Container Office, Hong Kong
About

About Container Office (1989–1992), Hong Kong

From 1989 to 1992, the Container Office in Kowloon Tong served as the studio for the prominent architect Tao Ho. Built by stacking 24 used shipping containers around a central atrium courtyard, the nevertheless highly-finished, two-storey structure provided ample natural light and ventilation and became a case study for Ho’s research into sustainable design. However, the Container Office did not conform to Hong Kong’s building codes and was accordingly dismantled. A series of correspondences between Ho and the Buildings and Lands Department lends insight into the tensions that sometimes exist between design and regulation.

One of five letters between Tao Ho and the Building and Lands Department on the Container Office (1989–1992)
1991
print on paper
Taikoo Shing, Hong Kong
About

About Taikoo Shing (1972-1988), Hong Kong

Occupying the site of the former Taikoo dockyards, Taikoo Shing was designed by Wong, Tung & Partners, which drew from the firm's earlier experience of planning the Mei Foo housing estate to create an integrated residential and commercial development. Taikoo Shing’s 61 cruciform- and diamond-shaped residential blocks are mostly linked by a rhizomic podium to facilitate pedestrian movement, with open landscaped areas helping to alleviate the “concrete jungle” effect. Shops and malls, in particular the City Plaza commercial and entertainment complex, became nodes connecting residential, office, recreational and other areas with roadways and public transport via sky-bridges and sheltered walkways.

Comprehensive and pedestrian movement plans for Taikoo Shing (1972–1988), Hong Kong
1973
print on paper
IBA Lützowstrasse Social Housing Competition, Berlin, Germany
About

About the IBA Lützowstrasse Social Housing Competition (1980), Berlin, Germany

Elia and Zoe Zenghelis’s 1980 competition proposal for social housing on Berlin’s Lützowtrasse is an important early work by OMA, a firm that has had wide influence, including in China. The competition was part of a broader effort to revitalise areas of what was then West Berlin, with OMA’s third-place scheme exemplifying the firm’s radically tactical and programmatic approach to architecture and urban planning.

Office for Metropolitan Architecture (OMA) (Netherlands) /Elia Zenghelis (United Kingdom, born Greece, 1937) and Zoe Zenghelis (United Kingdom, born Greece, 1937)
Drawing for IBA Lützowstrasse Social Housing Competition, Berlin, Germany
1980
oil on paper
Metroplan, West Kowloon Reclamation Concept, Hong Kong
About

About Metroplan,West Kowloon Reclamation Concept (1988), Hong Kong

A striking example of visionary architecture for Hong Kong, Metroplan, West Kowloon Reclamation Concept was developed in 1988 by architect Tao Ho with architecture and urban design students at the University of Hong Kong. It was undertaken in response to a request by the Hong Kong government for alternative ideas for a proposed land reclamation project in the area now roughly occupied by the West Kowloon Cultural District site.
Instead of infill, Ho and his students called for building an extended deck over the harbour, supported by caissons and forming an arm linking Yau Ma Tei with Tsim Sha Tsui. While creating a central spine for transportation and other services, the deck would support flexible and modular commercial development alongside cultural and recreational amenities. The plan is reminiscent of Japanese Metabolism—which in the 1960s had proposed transformable, floating megastructures—as well as vernacular waterfront architecture. In seeking to create an iconic attraction while supporting area land values, Ho’s proposal was responding to the commercial and market imperatives of Hong Kong at the time.

Site model for Metroplan, West Kowloon Reclamation Concept, Hong Kong
1988/2013
acrylic and card stock
Kowloon Walled City, Hong Kong
AboutAuthorDiscussionActivityFurther References

About Kowloon Walled City

Due to a historical anomaly, the now-demolished Kowloon Walled City existed under the full jurisdiction of neither the Chinese nor British colonial governments. This made it an extraordinary enclave, known for its lawlessness and unregulated development—but also for its vitality as a community of migrants, refugees and others inhabiting what was thought to be the most crowded piece of land in the world. The Kowloon Walled City was one of the most remarkable architectural and urbanistic developments, informal or otherwise, to have been part of Hong Kong’s built environment.

Ian Lambot (England, b. 1953)
Aerial view from south-west of Kowloon Walled City, Hong Kong
1989/ 2013
bubble jet print on Moab gloss art paper and Perspex

About aerial view from south west of Kowloon Walled City, Hong Kong, 1989

Beginning in 1988, the photographer Ian Lambot spent four years documenting Kowloon Walled City, an enclave in Hong Kong that was claimed by both the British colonial and Chinese governments and consequently existed under the actual jurisdiction of neither. Accordingly, it became known for its lawlessness and unregulated development—but also for its vitality as a community of migrants, refugees and others inhabiting what was thought to be the most crowded piece of land in the world. Lambot’s aerial view captures Kowloon Walled City’s dense, informal development before its demolition began in 1993.

About Ian Lambot, (England, b,1953)

Ian Lambot is a British-born architecture photographer who originally trained as an architect. He moved to Hong Kong in 1979 and remained in the city for 20 years. During his time here, he worked for Norman Foster and Partners on the early stages of that firm’s design of the HSBC building, and set up an architectural model-making studio before becoming a freelance architecture photographer. In his latter role, he documented the construction of the HSBC building extensively. Collaborating with Greg Girard, he spent four years exploring the Kowloon Walled City before its demolition, and published the book City of Darkness: Life in Kowloon Walled City, which features 320 photographs, 32 extended interviews, and an essay on the City’s history and character.

Discussion

The vertical village structure of the Kowloon Walled City manifested organically as the tenants and landlords altered and shaped their living environment as a natural response to the high level of living density that the place was famous for.

Think of growth in terms of a city: cities grow and adapt to changes to suit various needs of the community and society. Straddling a position between chaos and order, what can an architect learn from an exceptional case of organic growth that is the Kowloon Walled City?

Activity

Interview members of your family’s older generation regarding their impressions of the Kowloon Walled City. Ask them about the reputation of the place, and what the place was like.

Draw your impression of the Walled City according to what you have heard and seen. What is your impression of the famous Kowloon Walled City?

Refer to the photograph by Ian Lambot and video by Suenn Ho and compare how you imagined the place with the documentation materials.

What is the importance of these documentation materials? If these materials did not exist, how else could we perceive the demolished city? Is it important to keep records of places like the Kowloon Walled City?

While there is a need to develop and regenerate the city, whether for regulatory or economic reasons, what factors must be considered when deciding to tear down buildings and structures that might have historical and cultural value?

Further Reference

Barbara Basler, “Hong Kong Journal; The Walled City, Home to Huddled Masses, Falls”, The New York Times, 16th Jun 1992, link

EDW Lynch, “Photos of the Final Years of Hong Kong’s Notoriously Overcrowded Kowloon Walled City”, Laughing Squid, 24th Sept 2013, link

Rebekah Rhoden, “Kowloon Walled City Photographed by Greg Girard and Ian Lambot”, Lost At E Minor, 27th Sept 2013, link

Julian Ryall, "Arcade brings Kowloon Walled City back from the dead … in JapanKowloon's infamous slum is recreated in an amusement park in Kawasaki - from its eerie, narrow corridors right down to the rubbish", South China Morning Post Publishers Ltd., 1st Oct 2013, link

Kowloon Walled City, Hong Kong
AboutAuthorDiscussionActivityFurther References

About Kowloon Walled City

Due to a historical anomaly, the now-demolished Kowloon Walled City existed under the full jurisdiction of neither the Chinese nor British colonial governments. This made it an extraordinary enclave, known for its lawlessness and unregulated development—but also for its vitality as a community of migrants, refugees and others inhabiting what was thought to be the most crowded piece of land in the world. The Kowloon Walled City was one of the most remarkable architectural and urbanistic developments, informal or otherwise, to have been part of Hong Kong’s built environment.

Suenn Ho (United States, b. Hong Kong, 1961)
Research Footage of Kowloon Walled City, Hong Kong
1991
video
Duration: 90’ 00’’
Loaned from Cole Roskam

About research footage of Kowloon Walled City, Hong Kong, 1991

While as a Fulbright Scholar in 1991– 1992, the architect Suenn Ho undertook a 10-month research project studying Kowloon Walled City. Included was over fourteen hours of video footage taken while Ho meandered through the densely-packed community as part of a “video mapping” exercise. Ho’s route offers voyeuristic glimpses, interspersed with snippets of conversation with various shopkeepers, at a time when Kowloon Walled City’s occupants were beginning to relocate prior to its demolition.

About Suenn Ho (United States, b. Hong Kong, 1961)

Suenn Ho, an American architect and urban designer, received her Bachelor of Arts from Williams College and her Master of Architecture from Columbia University. Ho was the designer and public outreach coordinator who helped redo Old Town/Chinatown along 3rd and 4th Avenues in Portland. In 1995, Ho received a research grant from the National Endowment for the Arts to investigate the distinct physical and visual patterns of historic urban Chinatowns in Boston, New York, Philadelphia, San Francisco, and Los Angeles. As one of the founding members of Northgate Group LLC, she was actively involved in the first Asian-friendly senior housing project in Portland's Chinatown Pacific Tower. She has also served on the board of the Portland Classical Chinese Garden and was a board member of the Chinese American Citizens Alliance as well as Transition Project Inc. In 2004, she joined MulvannyG2 Architecture as a Senior Architect. Besides her roles as an architectural and urban designer, Ho has also taught architecture at Columbia College, and the University of Hong Kong, University of Oregon, and Portland State University.

Discussion

In the preface to her research publication, An architectural study on the Kowloon Walled City: Preliminary findings, Ho notes her

interests in studying “the interrelationship between the Walled City’s architecture and its inhabitants” , a reminder of the people who live there that gave vitality to the place, and who shaped the environment.

What stories have you heard about the Kowloon Walled City? What are your impressions of it as a “non-designed” place? In what ways do you shape your own environment? Please write down and share examples of other spaces that are used in ways that are perhaps unintentional.

Activity

Interview members of your family’s older generation regarding their impressions of the Kowloon Walled City. Ask them about the reputation of the place, and what the place was like.

Draw your impression of the Walled City according to what you have heard and seen. What is your impression of the famous Kowloon Walled City?

Refer to the photograph by Ian Lambot and video by Suenn Ho and compare how you imagined the place with the documentation materials.

What is the importance of these documentation materials? If these materials did not exist, how else could we perceive the demolished city? Is it important to keep records of places like the Kowloon Walled City?

While there is a need to develop and regenerate the city, whether for regulatory or economic reasons, what factors must be considered when deciding to tear down buildings and structures that might have historical and cultural value?

Further Reference

“3D 九龍城砦 kowloon walled city”, We are making 3D model of Kowloon Walled City, 5th Oct 2013, link

"MulvannyG2 Architecture Welcomes Suenn Ho as Senior Designer", MulvannyG2 Architecture website, link

“Suenn Ho Champions Old Town Chinatown”, Old Town Chinatown Crier: The Crier, Old Town Chinatown Neighborhood Association, Fall Edition, 2005, link

Rice Campus, Shenyang Jianzhu University, Shenyang, China
About

About Rice Campus, Shenyang Jianzhu University (2003–2004), Shenyang, China

Built for Shenyang Jianzhu University, the Rice Campus by landscape architect Yu Kongjian of Turenscape incorporates a fully functioning, productive rice growing field as its centrepiece. The project is one of the most prominent examples of Yu’s environmentally and ecologically conscious design, which advocates working in conjunction with, instead of against, natural systems.

Turenscape (China)/ Yu Kongjian (China, b. 1963)
Model of Rice Campus, Shenyang Jianzhu University (2003–2004), Shenyang, China
2009
mixed materials
Gift of the architects
Turenscape (China)/Yu Kongjian (China, b. 1963)
Rice Campus, Shenyang Jianzhu University (2003–2004), Shenyang, China
2009
mixed materials
Urban Village, Shenzhen, China
About

About Urban Village (2004–2005), Shenzhen, China

Focused on the once-rural villages enveloped by the rapid growth of Shenzhen, Urbanus’s Urban Village studies comprise an ongoing series of more than ten case studies focusing on how architectural insertions, subtractions and linkages can address the social and structural impacts of urbanisation.

Urbanus (China)
Model for Urban Village: Fuxin Village (2004–2005), Shenzhen, China
2005
foamed plastic, plastic plate, spray paint and plexiglass
Digital Beijing, Beijing, China
About

About Digital Beijing (2004–2007), Beijing, China

Asserting China’s growing international profile, Digital Beijing, along with the Bird’s Nest and Water Cube, was one of the main buildings constructed at Beijing’s Olympic Park for the city’s 2008 Summer Olympics. The building served as the control, data and technical support centre for the Olympic Games, with a design intended to symbolise the country’s technological ambitions, while using “low tech” construction techniques and materials, such as reinforced concrete and steel. Chosen in an international competition, the building evokes bar codes and circuit boards when seen from different sides.

Studio Pei-Zhu (China) and Urbanus (China)
Model of Digital Beijing (2004–2007), Beijing, China
2004
acrylic board and ABS board
Simulation of 3D Spatial Data Viewer of Public Housing Estates and Surroundings in Hong Kong
About

About 3D Spatial Data Viewer of Public Housing Estates and Surroundings in Hong Kong (2006–), Hong Kong

The 3D Spatial Data Viewer of Hong Kong is a digital modeling tool embedded with the 3D Spatial Data of Hong Kong, developed in 2013 by the Hong Kong Lands Department. It provides an interactive spatial map of all the buildings, terrain and surface infrastructure of Hong Kong. An example of how advanced technology is being utilised in land and urban planning, the continuously-updated data used in the Viewer allows users—among them, architects, developers, engineers and others—to perform building analyses relating to noise and visual impact, sun and shadow effects, airflow and other environmental factors, while supporting a range of other applications including civil works maintenance, emergency and rescue operations, and even game development.

PIXEL
About

About PIXEL (2005–2007/2013)

MAP Office’s PIXEL series follows an imaginary particle named PIXEL as it travels throughout the Pearl River Delta region. In an array of narrative vignettes, the scaleless, mercurial and ever-shifting particle takes on the role of outside observer and commentator as it witnesses and participates in scenarios describing a region in flux. Though rendered in a flat, highly consistent manner, the drawings invite the viewer to unravel the layered heterogeneity of places and stories within.

The Birth of RMB City
AboutAuthorFurther References

About RMB City

Launched in 2008, RMB City is a virtual city created by the artist Cao Fei in the online world of Second Life. Examining the relationship between the physical and virtual realms, users and their avatars interact in this digital manifestation of China’s hyper-development, populated by dystopian versions of well-known buildings and landmarks from throughout the country.

The Birth of RMB City
video simulation
2007
Gift of Sigg Collection

About Cao Fei (China, b. 1978)

Cao Fei's photography, video installations and new media works look at aspects of role play, fantasy and simulated reality within today's media-saturated society. Her artistic practice poignantly captures the ways in which others imagine themselves amidst the hyper-transformative and often disillusioning context of contemporary China. Her recent project RMB CITY (2008 – 2011) has been exhibited in Deutsche Guggenheim (2010), Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), and Yokohama Triennale (2008). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), 52nd Venice Biennale (2007), Chinese Pavilion, Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d'Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). She was the finalist of Hugo Boss Prize 2010, and won the 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award).

Further Reference

Cao Fei Webpage, link

Beijing 2050
AboutAuthorDiscussionActivityFurther References

About Beijing 2050. 2006

Beijing 2050 proposes three hypothetical scenarios for China’s capital in the year 2050: a network of cloud-like structures hovering above the Central Business District; the transformation of Tiananmen Square and Chang’an Avenue into, respectively, a park and green boulevard; and the insertion of “bubbles,” housing public facilities and amenities, throughout the city’s historic hutong alleyway districts. Evolving from a project that MAD co-founder Ma Yansong began as a graduate student at Yale, Beijing 2050 is a speculative take on the future based on a critical awareness of both historical and contemporary social, structural and ideological developments in Beijing. In 2009, a fully functioning, full-scale “bubble” was constructed in a traditional courtyard house in the city.

Beijing 2050: Floating Island over the Central Business District
2006
wood, plastic and paint

About MAD (China)

Beijing-based MAD is one of China’s most widely recognised, leading-edge contemporary architectural practices. It was founded in 2004 by Ma Yansong, a graduate of the Beijing Institute of Civil Engineering and Architecture who later received his Masters in Architecture from Yale University. Having worked for Zaha Hadid, Ma is known for employing daring and wildly futuristic forms in exploring contemporary interpretations of Eastern notions of nature. His firm often employs conceptual methodologies that can be critical of its current-day Chinese context. In 2006, MAD became the first Chinese firm of its generation to notably win an international design competition when it was commissioned to build the Absolute Tower, in Mississauga, Ontario, the success of which prompted the addition of a second tower. The firm has been published and exhibited extensively, including at the 2008 Venice Architecture Biennale. In addition to the Absolute World Towers, its built projects include a museum in Ordos, Inner Mongolia, and the Hutong Bubble 32 in Beijing.

Beijing 2050: Tian’anmen Square
2006
wood, plastic and paint

Discussion

While it’s unlikely such proposals will be realised—though one of MAD’s “hutong bubbles” was, in fact, constructed in 2009—what is the value in putting them forward?

Model for Beijing 2050: Hutong Bubble
2006
wood, plastic and paint

Activity

What will your home look like in the future? Re-imagine your home and think about how you will live in the future. Will houses float in the air, be unusual in shape or require rooms for alien visitors and hover-cars?

Draw or make models of houses, buildings or cities that fit with your vision of the future. Picture yourself in the future you envisaged. What is your daily life like in this future and how is the built environment differ accordingly? Why do you think the future will look like this?

Further Reference

MAD Architects Website, link

leeji choi, “MAD architects: 'hutong bubble 32', Beijing”, desingboom, 23rd Aug 2009, link

Sarah Housley, "Hutong Bubble 32 by MAD", Dezeen, 14th Sept 2009, link

Brendan McGetrick, "Hutong Bubble", ICON, November 2009, link

Nicole Saieh, “Beijing Hutong Bubble / MAD”, ArchDaily, 24th Feb 2014, link

Immuring
AboutAuthorFurther References

About Immuring, 2008 – 2010

Immuring is an explorative prototype for the cladding system of Lunar House, a 2,300 square-foot speculative house sold through Hometta.com. Users can purchase plans, as well as other aids for building the home, online. Embedded with dense networks of LED-lit, computer-generated lines, Immuring's three full-scale Corian panels for Lunar House reflect the architects’ interest in examining the threshold between two-dimensional and three-dimensional forms via digital design and fabrication.

Immuring
2008–2010
three full scale façade prototypes for Lunar House; etched and embossed
Corian®, LED lighting

Project credits: Immuring was developed and created with support from: DuPont China Ltd and SpeedTop Ltd (Hong Kong). Collaborators include: E-Grow (Shanghai), William Koh and Associates (Los Angeles), Inhabit (Hong Kong), AHL Lighting and Media Facades (Shenzhen) and Tortoise Industries (Los Angeles)

About davidclovers (Hong Kong)

davidclovers was founded by David Erdman and Clover Lee in 2007 in the United States. They have collaborated in designing and completing residential homes, interiors and exhibitions. As both academics and practitioners, their projects emphasise architectural massing and its material effects. The way they work and develop projects reflects both the thoughtful research of their academic backgrounds and their fastidious innovative capabilities as a practice. Combining digital modelling, prototyping and fabrication with standard construction methods each project integrates basic elements including ceilings, windows, lighting and structure in unique ways affecting space and inhabitation. In 2009, davidclovers relocated to Hong Kong where they have since completed a number of projects. David and Clover have lectured widely and have been published in numerous architectural journals, newspapers and books throughout Asia, Europe, and the US. Their work has won several international awards, and has been exhibited at leading arts institutions and in significant group exhibitions including the Venice, Beijing, and Korean Biennales.

Further Reference

David Clovers Website, link

Linked Hybrid, Beijing, China
About

About Linked Hybrid (2003–2009), Beijing, China

Architect Steven Holl’s Linked Hybrid was one of the most significant architectural projects to rise in Beijing during the period around the city’s 2008 Summer Olympics. It proposes a more urbanistic alternative to the private gated developments seen throughout the city, while also exemplifying Holl’s interests in phenomenology, a mode of architectural thinking that emphasises the sensorial nature and ephemeral qualities of built space.
The 220,000 square-metre complex includes a ring of towers linked by aerial bridges that form a “filmic loop” while accommodating a number of public and semi-public functions. Built around the towers were parks, a school, and a hotel, cinematheque and viewing platforms placed among reflecting pools. Over 600 geothermal wells were installed to help heat and cool the project. As an ideal, Linked Hybrid’s mix of uses was aimed at creating a vibrant and “porous” urban space—begun, like all Holl projects, as a series of watercolour studies, and translated in an interplay of light, colours, overhangs and floating volumes.

Steven Holl Architects/ Steven Holl (United States, b. 1947)
Study model for Linked Hybrid (2003–2009), Beijing, China
2004–2005
chipboard, acrylic, paint, foam core
and wire
Steven Holl Architects/Steven Holl (United States, b. 1947)
Linked Hybrid (2003–2009), Beijing, China
Image by Shu He, courtesy of Steven Holl Architects
Absolute Towers
AboutAuthorFurther References

About Absolute Tower (2006 – 2012), Mississauga, Canada

Led by Ma Yansong (China, b. 1975), Beijing-based MAD first earned widespread attention in 2006 when it won an international competition to design a condominium tower in Mississauga, near Toronto. Eventually consisting of two highrises, the Absolute Towers exhibit the organic, curvaceous forms that have continued to make MAD one of the most prominent experimental architecture firms in China.

MAD (China)/ Ma Yansong (China, b. 1975)
Model for Absolute Towers (2006–2012), Mississauga, Canada
2006
wood, plastic and foam

About MAD (China)

Beijing-based MAD is one of China’s most widely recognised, leading-edge contemporary architectural practices. It was founded in 2004 by Ma Yansong, a graduate of the Beijing Institute of Civil Engineering and Architecture who later received his Masters in Architecture from Yale University. Having worked for Zaha Hadid, Ma is known for employing daring and wildly futuristic forms in exploring contemporary interpretations of Eastern notions of nature. His firm often employs conceptual methodologies that can be critical of its current-day Chinese context.

In 2006, MAD became the first Chinese firm of its generation to notably win an international design competition when it was commissioned to build the Absolute Tower, in Mississauga, Ontario, the success of which prompted the addition of a second tower. The firm has been published and exhibited extensively, including at the 2008 Venice Architecture Biennale. In addition to the Absolute World Towers, its built projects include a museum in Ordos, Inner Mongolia, and the Hutong Bubble 32 in Beijing.

Image by Iwan Baan, courtesy of MAD
Image by Iwan Baan, courtesy of MAD

Further Reference

“MAD architects: absolute towers completed”, designboom, 12th Dec, 2012, link

Image by Iwan Baan, courtesy of MAD
Image by Iwan Baan, courtesy of MAD
2nd Ring Beijing 2049
AboutAuthor

About 2nd Ring Beijing 2049 (2009 – 2011)

2nd Ring Beijing 2049 calls for the transformation of the city’s congested Second Ring Road into a “green lung” by the year 2049, the prospective centennial of the People’s Republic of China. Traffic would be diverted underground, replaced by a linear network of parks and cultural, recreational and athletic facilities. The Second Ring Road follows the former path of Beijing’s historic city walls, which were razed soon after the 1949 establishment of the PRC. Though not explicitly, OPEN's proposal evokes the Chinese architect Liang Sicheng's well-known, but unsuccessful, effort at that time to preserve the walls as a park.

2nd Ring Beijing 2049 (2009–2011)
2011
digital print on paper

About the OPEN Architecture (China)

OPEN Architecture is a Beijing-based firm founded in 2006 by Li Hu and his wife, Huang Wenjing. A graduate of Tsinghua and Rice universities, Li was previously in charge of the New York architect Steven Holl’s Beijing office, overseeing high-profile projects including the Linked Hybrid (Grand MOMA) in Beijing, the Vanke headquarters in Shenzhen, the Sifang Art Museum in Nanjing, and Raffles City in Chengdu. At the forefront of its generation of contemporary Chinese practices, OPEN is known for its experimental typologies that promote progressive urbanism and the social and sustainable potential of architecture. Widely published, the firm’s notable projects include the Gehua Youth and Cultural Center in Qinghuangdao, a planned ocean research centre for Tsinghua University, and a forthcoming high school outside Beijing.

2nd Ring Beijing 2049 (2009–2011)
2011
Dual–screen video
Duration: 9’ 58”
Cold and Warm Bodies
About

About Cold and Warm Bodies (2003/2012)

Cold and Warm Bodies presents multiple juxtapositions of two surreal rooftop scenes in Hong Kong, each shot from various angles and distances. Lacking any clear narrative, the viewer is left to ponder the relationship between urban density and alienation.

Aernout Mik (Netherlands, b. 1962)
Cold and Warm Bodies
2003/2012
dual-screen, three channels
digital video
Duration: 17’ 24” and 18’ 52”
Homes for China
About

About Homes for China (2005/2013)

Homes for China offers a critical reading of the repetitive, upscale residential highrises that dominate the cityscapes of Hong Kong and China. Its title, methodology and magazine format reference Homes for America, the artist Dan Graham’s 1966–1969 analysis of the standardised housing then being built throughout the United States. Transporting Graham’s research from American suburbia to Hong Kong, Homes for China dissects the formulas and tactics used to recalibrate architectural uniformity as mass luxury.

MAP Office (Hong Kong) / Laurent Gutierrez (Hong Kong, born Morocco, 1966) and Valerie Portefaix (Hong Kong, born France, 1969)
Homes for China
2005/2013
offset print and 10 brochures
Homescapes
About

About Homescapes (2006)

A continuation of MAP Office’s Homes for China project, Homescapes overlays sprawling photographs of housing developments with catchphrases borrowed from developers’ sales brochures. Drawing from the imagery and lexicon of real estate marketing, the work point to the sometimes disjunctive ways in which notions of “home” are manufactured and conflated with middle class aspiration.

MAP Office (Hong Kong) / Laurent Gutierrez (Hong Kong, born Morocco, 1966) and Valerie Portefaix (Hong Kong, born France, 1969)
Homescapes
2006
C-prints
Lanwei
About

About Lanwei

Lanwei (“rotten end”) is a series of photographs depicting failed and abandoned buildings that were begun—but never completed—during recent property booms throughout Asia. Existing in a kind of limbo, these empty shells become relics hinting at miscalculation, hubris, and the vagaries of economic systems.

anothermountainman (Hong Kong, b. 1960)
Lanwei 50/Wonderland 01/The Space Station/Beijing
2012
archival inkjet print
Nature/Architecture, Serpentine Gallery Pavilion, London, U.K.
About

About Nature/Architecture, Serpentine Gallery Pavilion (2013), London, U.K.

In 2013, Sou Fujimoto was awarded the commission for the Serpentine Gallery Pavilion, a series of temporary structures designed each year by a different well-known architect for Kensington Gardens in London. Fujimoto’s final, built pavilion consisted of a cloud-like grid. However, it was preceded by numerous study models that revealed his well-noted design process and ongoing dialogue with lightness and permeability, complex spatial permutations and, especially, the relationship between architecture, humans and nature.

Sou Fujimoto Architects (Japan) / Sou Fujimoto (Japan, b. 1971)
15 concept study models for Nature/Architecture, Serpentine Gallery Pavilion, London, U.K.
2013
various materials
Bird’s Nest #3
AboutAuthorDiscussionFurther References

About Bird’s Nest #3

Iwan Baan is known for revealing the multiple and layered stories of architecture in his images of buildings and cities. This photograph of the Bird’s Nest stadium, taken while it was still under construction for the 2008 Beijing Olympics, shifts attention from that famous structure to the workers who are building it. In this way, Baan gives pause for reflection: largely anonymous, invisible and forgotten, the labourers can be seen watching television, taking a break from erecting an iconic building that is itself being built, in large part, for media consumption.

 
Birds Nest #3
2007
C-print
Image courtesy of Iwan Baan and Perry Rubenstein Gallery, Los Angeles

About Iwan Baan (Netherlands, b. 1975)

Iwan Baan is perhaps the most prominent and sought-after architectural photographer of his generation. Instead of approaching buildings as isolated and detached objects, he established a technique that positions even the most iconic examples of architecture in their human and spatial contexts. Working frequently for architects from Wang Shu and Ma Yansong to OMA/Rem Koolhaas, Zaha Hadid, Herzog & de Meuron, and Steven Holl, Baan has, perhaps more than any of his peers, documented the astonishing development of architecture in China, and in other parts of the world, at the turn of the 21st century.

Discussion

Search for other representations of the Bird’s Nest and compare it with this image. What are the similarities and differences? What different stories does each image tell of the same building?

Through his lens, the photographer invites you to look at buildings differently. What are the stories of these construction workers? Who are the other behind-the-scenes people who make buildings like the “Bird’s Nest” possible? Imagine what they think of the building that they are constructing. Does considering their roles make you think about buildings differently?

Putting the focus on different types of audiences, to whom do you think the image of these iconic buildings are “made” for?

Focus on a number of high-profile building projects. Discuss the nature of image-making, and the impact it has on architural practice, nowasdays.

What do you think of the nickname “Bird’s Nest”? What other buildings have nicknames? Can you think of any? How do they help create an image of the building? For example, The Absolute Tower in Case Study 15 was nicknamed "Marilyn Monroe" tower due to its curvaceous, hourglass figure. Think of other buildings with which you can associate with something else.

Further Reference

Iwan Baan Website, Preview of the construction of the National Stadium - The Main Stadium for the 2008 Olympic Games in Beijing, link

Karen Burshten, “Top 13 Nicknames for Iconic Buildings”, The Daily Traveller, 18 May, 2012, link

Guangzhou Opera House #1
AboutAuthorDiscussionActivity

About Guangzhou Opera House #1

Iwan Baan’s architectural photographs approach even the most iconic building as not isolated and detached objects, but as sites of human activity. Baan’s images of two of the most famous examples of contemporary architecture in China – Herzog & de Meuron’s “Bird’s Nest” stadium in Beijing and Zaha Hadid Architects’ Guangzhou Opera House—attest to Baan’s observational acuity, capturing the sometimes disjunctive relationship between architectural ambition and reality.

 
Guangzhou Opera House #1
2010
C-Print
Image courtesy of Iwan Baan and Perry Rubenstein Gallery, Los Angeles

About Iwan Baan (Netherlands, b. 1975)

Iwan Baan is perhaps the most prominent and sought-after architectural photographer of his generation. Instead of approaching buildings as isolated and detached objects, he established a technique that positions even the most iconic examples of architecture in their human and spatial contexts. Working frequently for architects from Wang Shu and Ma Yansong to OMA/Rem Koolhaas, Zaha Hadid, Herzog & de Meuron, and Steven Holl, Baan has, perhaps more than any of his peers, documented the astonishing development of architecture in China, and in other parts of the world, at the turn of the 21st century.

Discussion

Baan has also taken photographs of the same building without the audience. Search for the image and compare the two. Discuss the differences in styles and messages presented. Take a photo of the same building at varying distances with and without people, and then compare the differences.

How do scale and the relation between the human and the building affect the feel of the photograph?

Have you ever considered why photographs of buildings are often devoid of people and human activity? What difference does it make?

Do you prefer the grandeur of the architectural object glorified by the photographic medium, or the real life stories that are associated with the building revealed through the mediated lens of the photographer? What different purposes do these two approaches serve?

Activity

Study the people in the image. What do you suppose these people are thinking? Think of how they might react to the design of the space. Write a script of their thoughts and act it out.

Exchange Square I, II & III, Hong Kong
About

About Exchange Square I, II & III (1981–1985), Hong Kong

Acting as a transportation and circulatory fulcrum for Hong Kong’s Central district, the near-identical commercial towers of Exchange Square I and II exhibit the sculptural geometries for which their architect, Remo Riva of Palmer & Turner, is known. The towers’ symmetry and striated facades are vividly expressed in Riva’s characteristically bold sketches and paintings.

Palmer and Turner (P&T Group) (Hong Kong)/Remo Riva (Hong Kong, born Switzerland, 1946)
Study drawing for Exchange Square I, II & III (1981–1985), Hong Kong
c. 1981
ink, pencil and colour pencil on paper
Hong Kong and Shanghai Bank 1994
AboutAuthorDiscussion

About Hong Kong Shanghai Bank 1994 (1994), Hong Kong

The renowned photographer Andreas Gursky’s image of the HSBC building in Hong Kong inverts that architectural icon by capturing it at night. The innovative structural system that makes the building instantly recognisable becomes lost in the shadows, supplanted by its grid of windows, which are lit from behind to reveal the activities inside. Taken in the large format for which the artist is known, the photograph points to Gursky’s rigorous approach and interests in sites of globalisation.

Andreas Gursky (Germany, b. 1955)
Hong Kong and Shanghai Bank 1994
1994
C-print

About Andreas Gursky (Germany, b.1955)

Andrea Gursky is a visual artist who currently lives and works in Dusseldorf, Germany. Gurksy studied photography in Folkwangschule in Essen under Otto Steinert between 1978 and 1981, then at the Kunstakademine Dusseldorf in Germany from 1981 to 1987 under Hilla and Bernd Becher. Andreas Gursky has participated in numerous solo and group exhibitions at major cultural institutions including “Andreas Gursky” at the Stiftung Museum Kunstpalast (Dusseldorf, 2012), “50 Artists, 50 Years” at the MOMA (New York, 2012), “The Inverted Mirror” at the Guggenheim (Bilbao, 2012), “Postmoderism: Style and Subersion, 1970 to 1990” at the Victoria and Albert Museum (London, 2012), Venice Biennale in 1990 and in 2004, the Biennale of Sydney in 1996 and 2000. He is exhibiting two solo shows at the National Art Center in Tokyo (2013) and at the National Museum of Art in Osaka (2014).

Discussion

What new perspectives and impressions does this photograph of one of Hong Kong’s iconic buildings provide you? With his play of light and darkness, the photographer distils the building, which is often represented it its iconic skeletal form, to an abstraction that highlights its interior activities. Take photographs of other iconic buildings in your part of the city from unexpected angles or with unusual composition to produce images that differ from the usual representation of the building. Think of what you are emphasising beside the architecture. Are there stories and messages you want to tell others with this image?

Bastille Opera, Paris, France
About

About the International Competition for Bastille Opera (1986–1987), Paris, France

Rocco Yim first gained international attention in 1983 when, at the age of 31, he was named one of three first-prize winners in the competition to design the l’Opera de la Bastille in Paris. Fulfilling a desire for a new popular, national opera house, the building was one of then-President Francois Mitterand’s ambitious Grand Projets for remaking the French capital. Its location on the Place de la Bastille, the site where the French Revolution began, was historically significant, as was its intended completion date: the Revolution’s bicentennial. Though a different winning scheme was eventually built, Yim’s proposal deftly called for preserving the area’s ethos by maintaining its scale and radial street pattern while creating a vibrant new public thoroughfare that would cut through the opera complex. A high level of transparency would reveal the facility’s inner workings, engaging visitors and passersby in a spirit of openness.

Rocco Design Architects (Hong Kong) / Rocco Yim (Hong Kong, b. 1952)
Model for the International Competition for Bastille Opera (1986–1987), Paris, France
1983
acrylic and cardboard
Bamboo Pavilion, Berlin, Germany and Hong Kong
About

About Bamboo Pavilion (1999–2000), Berlin, Germany and Hong Kong

Giving an innovative, highly-engineered expression to the traditional Chinese craft of bamboo, the Bamboo Pavilion was a temporary outdoor enclosure built in Berlin for the “Festival of Vision: Hong Kong in Berlin” in 2000.

Rocco Design Architects (Hong Kong)/Rocco Yim (Hong Kong, b. 1952)
Model for Bamboo Pavilion (1999–2000), Berlin, Germany and Hong Kong
2000
wood and plastic
Ladders, Venice, Italy
About

About Ladders (2006), Venice, Italy

Ladders was included in Hong Kong’s first participation in the Venice Architecture Biennale, in 2006. Exploring architecture as an installation medium by reappropriating common features of Hong Kong’s urban landscape, it consisted of five hundred bamboo ladders painted in black lacquer and manually knotted into a gate-like volume spanned by 30 red neon tubes.

CL3 Architects (Hong Kong)/William Lim (Hong Kong, b. 1958)
Model of Ladders, Venice, Italy
2006
various materials
Image courtesy of CL3 Architects
258 Caochangdi Studio, Beijing, China
About

About 258 Caochangdi Studio (1999), Beijing, China

The artist Ai Weiwei is also known for his architectural work, especially in Caochangdi, the area of Beijing that he helped pioneer as an artist community when he moved there in 2000. Beginning with his own home and studio, Ai improvised on the abilities of local construction workers, using their concrete frame and brick infill construction techniques to develop an architectural vocabulary that he has since employed in dozens of buildings throughout the area and elsewhere.

Ai Weiwei (China, b. 1957)
Model of 258 Caochangdi Studio, Beijing, China
1999
steel
Hebei Education Publishing House, Hebei, China
About

About Hebei Education Publishing House (2000–2004), Hebei, China

Founded in 1993, Atelier FCJZ is the first independent architecture practice to have been established in post-1949 China, with its founder, Yung Ho Chang, known for adapting progressive ideas to China’s particular circumstances. One of the firm’s earliest realised projects, the Hebei Education Publishing House building was designed for a client whose operations required only three storeys, though economic pressures called for additional rental offices, conference and exhibition facilities, a hotel, and restaurants. To house the disparate programmes, Chang divided the building into three relatively independent components, with the client’s publishing house at the top and a range of in-between spaces—including a cafe, art museum and indoor basketball court—open to the public. The project was a significant, large-scale attempt in realising Chang’s vision of "micro-urbanism" by creating an urbanistic condition within a single edifice.

Atelier FCJZ (China)/Yung Ho Chang (China, b. 1956)
Model for Hebei Education Publishing House (2000–2004), Hebei, China
2004
balsa wood and acrylic
Sifang Art Museum, Nanjing, China
About

About Sifang Art Museum (2003–2013), Nanjing, China

For the Nanjing Sifang Art Museum, the centrepiece of a larger development with buildings by well-known architects, Steven Holl responded to the surrounding natural landscape by taking cues from the use of parallel perspective in traditional Chinese paintings. The building’s base of bamboo-formed concrete supports a twisting, rectilinear tube that rises and hovers above the ground, its angles creating a play on parallel perspective while helping to frame views.

Steven Holl Architects/Steven Holl (United States, b. 1947)
Presentation model for Sifang Art Museum (2003–2013), Nanjing, China
2004
acrylic, chipboard, wood, paint and wire
Urban Tulou, Guangzhou, China
About

About Urban Tulou (2005–2008), Guangzhou, China

Constructed in Nanhai, near Guangzhou, the Urban Tulou affordable housing project borrows the circular configuration of the traditional tulou communal dwellings of the Hakka people of southern China. As such, Urbanus’s building offers a community-oriented approach aimed at facilitating social interaction through culturally-rooted, typological reinvention.

Urbanus (China)
Model for Urban Tulou (2005–2008), Guangzhou, China
2007
wood and plastic
Gift of the architects
Urbanus (China)
Urban Tulou (2005–2008), Guangzhou, China
Image courtesy of Urbanus
Rebirth Brick
AboutAuthorDiscussionFurther References

About Rebirth Brick (2008 –)

The Rebirth Bricks project started as a response to the 2008 Wenchuan earthquake in Sichuan province. Developed to assist the rebuilding effort, especially in rural areas, the project allowed for the onsite making of new bricks by mixing debris from collapsed buildings – which had often been of substandard construction – with wheat branches and concrete. In attempting to decentralise the means of production, the project invokes multiple suggestions of renewal that extended beyond its recycling of materials. Since the earthquake, Rebirth Bricks has continued, though using rubble from demolition sites.

Image courtesy of Jiakun Architects

About Liu Jiakun (China, b. 1956)

Liu Jiakun is the Founder and Chief Architect at Jiakun Architects. His projects have been selected in world-wide exhibitions including “Chinese Young Architects’ Work Exhibition” in Germany, “Chinese Contemporary Architecture Exhibition” in France, “NAI China Contemporary Architecture”, “International Architecture Exhibition in Russia”, and “International Architecture Exhibition” at the Venice Biennale. He won the Honor Prize of the 7th ARCASIA, Chinese Architecture & Art Prize 2003, Architectural Record Magazine China Awards, Far East Award in Architecture and Architectural Design Award from Architectural Society of China, Audi Arts Design Award. His projects have been published by architectural magazines such as A+U, AV, Area, MADE IN CHINA, and AR. He has lectured at MIT, the Royal Academy of Arts, Palais de Chaillot in Paris and many universities in China.

Discussion

How do we pick up the pieces from ruins resulting from natural disasters? When do homes become ruins? Can we find elements that can help form homes from ruins?

How can architects re-evaluate their roles under unfortunate circumstances such as natural disasters?

Think of other examples of architectural responses to natural or man-made disasters.

Further Reference

Jiakun Architects Website, “Rebirth Brick Proposal”, May 2008, link

OFFICINA ALESSI Website, link

Andrea Chin, "venice architecture biennale 08: 'rebirth brick' in the chinese pavilion", designboom, 15th Sept 2008, link

Richelle db, “liu jiakun: rebirth brick project”, designboom, 12th Dec 2011, link

Start

Building M+: The Museum and Architecture Collection

Welcome to Building M+ Online Learning Platform!

Designed to illustrate the interrelationship and thematic discourse between the exhibited collections in the exhibition, “Building M+: The Museum and Architecture Collection” (10 Jan – 9 Feb, 2014), the online platform serves as a teaching and self-learning tool for those with an architectural enthusiasm.

At the centre, you will find the thematic guides that reference the loosely-organised and overlapping “signposts” in the exhibition, showing the intricate interconnection of the exhibits. As you explore the platform, descriptions of each exhibit can be found by clicking the individual project. 16 focused case-studies, highlighted with thumbnails, contains additional background information, reflective discussion points and extension activities for those who are interested to find out more about the exhibition.

M+, West Kowloon Cultural District Authority
Website designed and developed by Studio Hato

About the Exhibition

The fifth in the Mobile M+ exhibition series, “Building M+: The Museum and Architecture Collection” presents a preview of Hong Kong’s new multidisciplinary museum for visual culture, as seen through the lens of architecture. Offering a closer look at the future M+ building, scheduled for completion in late 2017, the exhibition tracks the ongoing development of the building’s design by the renowned Swiss firm of Herzog & de Meuron, with TFP Farrells and Ove Arup & Partners HK, and for the first time, reveals the other shortlisted proposals from which it was selected in an international competition held last year.

The exhibition also marks the debut of the museum’s growing, and unprecedented, architecture collection, illustrating some of the many approaches that M+ will take in conceptualising, collecting and representing the built environment. We hope that in these ways, “Building M+” will shed light on the important role of architecture—at the museum Museum collections are perpetually evolving, and are never finished nor complete. However, they do have beginnings.

In its first ten months of collecting architecture, M+ has acquired hundreds of architecture-related works to form the first collection of its kind in Asia.

Including drawings, photographs and print and video documentation, along with models, installations, digital animations and other archival materials—many previously unseen—the collection will help uncover, preserve, interpret and revisit the myriad narratives of the 20th- and 21st-century built environment. It will do so from our vantage point in Hong Kong, China and Asia, while linking these diverse geographies, and their histories and futures, with each other and the rest of the world.

By also including works from the museum’s visual art holdings and providing loosely-organised and overlapping “signposts” as thematic guides, this exhibition illustrates some of the museum’s various approaches to conceptualising and collecting architecture. Along the way, we hope it offers insight into the richness of the discipline as an expression of, and vehicle for, cultural aspirations and intellectual pursuits; economic, political and historical forces; social relations and value systems; and the constraints, possibilities and, sometimes, unintended consequences that help shape the world we inhabit. With an initial emphasis on works from post-World War II Hong Kong and contemporary China, as situated within broader global frameworks, we are pleased to present this first look at a collection that will continue to grow in scope and depth in the coming years.

都市實驗場
關於導論伸延閱讀

城市本身是一個實驗場:社會、經濟和政治力量, 再加上土地資源的壓力和其他變數,對建築環境及其對人及 社區的運作、互動和改造方面的影響均構成考驗。

都市策略可以透過各種不同形式體現。有的高度規劃, 如王董建築師事務所設計周詳的美孚新邨;有的尖銳精準及 純理論性,如城中村研究;也有非正式和法律範圍以外的, 如九龍寨城。這些計劃同時能帶出處理基礎建設和提升空間 效率的創新手法,規模可小如由李景勳設計、節約空間的 「 剪刀型樓梯」,大至劉榮廣伍振民建築師事務所設計、 「層疊式」的亞洲貨櫃物流中心。另一方面,從何弢設計、 沒獲批准興建的貨櫃箱辦公室則說明在高度監管的環境下, 設計和官方之間有時會出現摩擦。

導論

限制有時能令人打破思想困局,想出絕妙的解決方案。請就創作的「自由」和「管制」這概念發表己見。你喜歡以局限來激發思考,還是寧願有完全的創作自由?請從任何創意範疇的角度出發,例如藝術、寫作及表演等去思考這問題。

香港的城市特質對於在本地展開的建築工程帶來甚麼局限和障礙?

建築師如何透過其項目回應香港的城市面貌?這些項目如何反映香港的居住條件?試從香港地少人多,缺乏天然資源,又有相關的建築安全規定,令香港的居住環境變得密集,建築物大多向高空發展,工程及居住設備講求效率這觀點作討論。這些天然或人為的局限能透過悉心規劃或土地分配而避免嗎?

面對這些局限,建築師擔當怎樣的角色?在這方面,他們如何塑造城市?如何能把限制和挑戰化為有用資源,轉危為機?

導論

<Town Plannng>, 取自香港政府規劃署網頁:連結, 2013年6月。

<Urban Design Guide for Hong Kong>,取自香港政府規劃署網頁: 連結, 2002年11月。

<Becoming a Planner, What Planners Do>,取自American Planning Association網頁: 連結, 2013年10月。

地方營造
關於導論活動伸延閱讀

建築與其所在地存在著一種角力,通過一系列複雜 的機制互相定義。

憑著標誌性、備受傳媒關注的形式,建築對城市的形象能起著 關鍵作用,從Andreas Gursky的香港上海匯豐銀行照片、 Iwan Baan的「鳥巢」體育場的照片中可見一斑。建築亦能 利用當地的材料、類型和技術進行創造或即席取材,例如 嚴迅奇的竹亭、都市實踐的土樓公舍和艾未未的草場地工作室 和寓所。建築同時能發揮即時作用,應對地方出現的特殊情況,如家琨建築設計事務所的《再生磚》計劃,在2008年四川 大地震就地取材,迅速應對當時的狀況。

導論

一幢建築物的形象,如何透過照片被塑造出來?建築元素如何被強調,其目的何在?

建築物如何代表和塑造一個城市的自我身份?考慮一下某些地標建築物的特質,它們都是為了體現和代表所在國家或城市。為甚麼這些建築物相對上更有「代表性」?

除此之外,為建築項目建立形象還有其他別的原因嗎?有沒有其他方式訴說建築物的種種故事?除建立建築物的「形象」外,還能達到甚麼目的?

活動

請選擇一幢為人熟悉的建築物。選擇五張有關這建築物的圖片,並展示給其他人看。試解釋這些圖片最能代表這幢建築物的原因。

一張照片如何呈現建築物作為一件物件、作為城市的一部份或作為一幢有功能性的大樓等不同面貌?你可以留意一下照片的拍攝距離、照片中是否包括人的活動,及照片如何被剪裁,以強調主體的特點。

伸延閱讀

Dear Deyan,<Can we still believe in iconic buildings?>。取自 Prospect Publishing網頁:連結,2005年3月16日。

Rich Heap,<Iconic Buildings: Only We Can Decide>。取自 The Global Community for 21st Century City Decision Makers網頁: 連結, 2013年6月14日。

Dessen Hillman,<How To Make Architecture, Not Art>。取自ArchDaily網頁: 連結,2013年3月1日。

Fred Kent,<Toward an Architecture of Place: Moving Beyond Iconic to Extraordinary>。 取自Project for Public Spaces網頁:連結。

交流轉換
關於導論伸延閱讀

建築超越地理及文化界限,在游走於兩者之間的 過程中不斷演變和被重新定義。

通過審視當中錯綜複雜的意念與其相互影響,我們可從中理解建築敘事多樣性所形成並緊密相連的世界。例如歐美現 主義對香港及亞洲的影響,體現於本地建築的例子有鍾華楠建築事務所的太平山頂觀景台及何弢的香港藝術中心;反過來,外國建築師也有挪用民居建築類型,如Paul Rudolph的印尼雅加達大馬集團總部大廈就是典型的例子。

導論

試列出一個由外地建築師設計的建築物名單。你居住的城市有沒有這樣的例子呢?你認為建築師的國籍重要嗎?你認為強調建築師的國籍與否,分別帶著甚麼暗示呢?

請看看展出展品作為文化交流的例子。想一想這些建築項目所在地的文化底蘊,以及建築師的教育和專業背景。

在建築實踐中,不同文化之間互相交流和聯絡是十分自然的。請再仔細想想在建築範疇上「本土」和「國際」這兩個概念,兩者有何含意?你認為這種分野有必要嗎?

這些展品有沒有改變你對東西方建築實踐互相影響的看法?它們有沒有擾亂「本土」和「國際」之間的分野和層次,還是說,其實這種分野根本不存在?

伸延閱讀

「追求在全球一體化的新興風潮佔一席位,本土知識是否必須犧牲,以迎接外來語境?」——Mark Hoistad 〈A Global Context for Local Architecture〉(本土建築的全球語境,英語) 網上版(PDF檔):連結

「本土化是全球一體化的另一個面貌⋯⋯跟『身份政治』有密切關係。」——Robert Adam 〈Architecture and Globalisation〉(建築與全球一體化,英語,2007年6月),2008年2月刊於《Architects’ Review》 網上版(PDF檔):連結

 
數碼現實
關於導論活動伸延閱讀

數碼年代不但為建築的實踐帶來了轉變,同時亦 影響了對建築的理解、消費、建造和概念化。

電腦輔助設計令從前無法實現的建築形式變得可能, 如MAD的夢露大廈的起伏曲線;它也能產生新的建築含義, 像朱建築事務所和都市實踐共同設計的數字北京, 就令人想起條碼和電路板。此外,數碼製造技術結合網上平台 令建築專業知識和生產方式得以重新分配,如davidclovers 的《Immuring》。數碼建構的空間製造出完全虛擬的城市, 可以用作分析工具,如香港三維空間數據;也可以是一個虛構、模擬現實的城市,如曹斐的《人民城寨》。

導論

今天數碼科技如何影響建築物的設計、呈現和施工?請討論一下在二十一世紀,技術如何影響建築設計和施工。為甚麼你覺得繼續探索新的範疇十分重要?

你覺得建築師的角色、手藝和專業技術如何因應這些科技變化而有所轉變?

電腦數碼模擬已成為最普及的方式,將設計展示予客戶、規劃委員會和傳媒。「電腦輔助設計」(Computer Aided Design,簡稱CAD)最初為了軍事目的而開發,後來卻迅速發展,取代了大部份辦公室裡的繪圖板。這種方式能整合大型項目裡數以千計的文件,並可以隨時更新內容。雖然,設計的初期依然會使用模型或手繪圖來幫助構思,但CAD已幾乎完全取代建築設計過程中的生產或工作藍圖的人手繪圖。

有些人會為了手繪技巧的失傳而感到惋惜。你有甚麼看法呢?草圖素描和製作模型依然是建築學院和專業考試中的關鍵要素,你覺得為甚麼這些技術有其重要之處嗎?

活動

科技進步不斷突破極限,令不可能變得可能。你覺得未來的建築實踐會怎樣?今天,有甚麼建築項目是不可能被設計、呈現和建成的?試想像在未來當建築師會是甚麼樣子的?

伸延閱讀

Matthew Allen,<Archeology of the Digital>。取自Domus網頁: 連結, 2013年5月15日。

Timothy Carter,<Smart cities: The future of urban infrastructure>。取自BBC網頁: 連結, 2013年11月22日。

Emilie Chalcraft,<In the future we might print not only buildings, but entire urban sections>。取自Dezeen網頁: 連結,2013年5月21日。

<Archaeology of the Digital, 7 May to 27 October 2013>。取自The Canadian Centre for Architecture (CCA)網頁: 連結, 2013年。

預「建」未來
關於導論活動伸延閱讀

「未來」的概念在建築領域中向有悠久的歷史 — 將想像化為現實或烏托邦,同時也可以是反烏托邦。

許多建築提案游弋於虛構與真實、漸進與顛覆之間,透過對未來的投射反映現狀。MAD的《北京2050》和開放建築的《二環2049,北京》展現了在社會、環境和其他問題下,中國首都出現翻天覆地轉變的想像;Steven Holl的當代萬國城和土人設計的瀋陽建築大學稻田校園實現了對理想的願景;建築同時可帶有具批判性的觀察,如MAP Office的《Home for China 》和《Homescapes》及又一山人的《爛尾》照片,展示建築既可以是渴望的象徵,也可以是過火的標記。

導論

不同年代的人,他們住的房子是怎樣的?請由石器時代開始,搜集一下不同年代的典型住處或房屋種類。今天的房屋是怎樣的?明天的房屋又會是甚麼樣子的呢?你認為,為甚麼風格和趨勢會隨著時間而轉變?建築技術的進步很可能正是風格轉變的其中一個原因。有關這個題目,請參看第六章。

建築師不單設計與興建城市,還會重新構想城市,以此突破界限,提供有遠見的觀點,有時也包含批判及挑釁的成分。

參看「北京2050」和「二環路」的個案。你認為,為甚麼建築師會為2050年的中國想出這樣的設計和城市解決方案?建築師在他們的未來計劃書中,針對今天的甚麼狀況提出意見?

活動

除了建築師以外,其他人對未來的形象有怎樣的想法?試從其他媒介,例如電影、藝術或文字等尋找它們表現未來的方式。你認為哪一些最有可能發生?試與別人分享這些例子並解釋原因。

伸延閱讀

Rachel Nuwer,<Will we ever... live in underwater cities?>。取自BBC網頁:連結,2013年9月30日。

<Life in 2050: How much space will you have to live in?”>。 取自BBC網頁:連結,2013年5月29日。 Postcards From The Future網頁:連結

。
收藏建築
關於導論

我們如何訴說屬於建築物的逸聞軼事?

我們如何去紀錄和表述一幢建築物、一個空間甚至一個城市,不管它們是否依然存在?一幢建築物或一個建築項目能以很多不同的紀錄文獻資料表現出來,包括繪畫、照片、模型及剪報等,它們各自呈現建築項目的不同面貌。這些資料組成一個資料庫或藏品庫,而其最合適的棲身之所往往是保存在公眾能夠查閱的地方,例如圖書館、博物館或其他學術研究機構。

不同種類的資料反映一個建築項目的不同特點和層面,包括背景、概念、設計、施工過程以至落成的建築物和公眾的迴響等。建築師可用繪畫和模型探索自己的意念,將其形象化,或把意念變成現實。

導論

建築師如何向自己、客戶和建築工人解釋自己的想法?

你在展覽裡看到甚麼不同的物料和媒介?請列出你記得的所有物料。想一想,每種物料如何以不同的方式表述其建築項目。每種媒介都有其獨特的功能,請討論各種物料的長處和短處。

對你來說,哪件展品對你印象最深刻?請討論一下,展覽中最難忘、最引人注目或最有意思的展品。它有何特別之處?

參考不同媒介的展品如何表達建築師設計一幢建築物的過程。建築師在設計過程的不同階段中必須使用的物料、客戶的財政預算、要求和期望,以及可以用來實踐意念的東西。這些東西表述了建築項目的哪些層面和角度?你能想到更多可以幫助建築師去闡釋意念的物料嗎?

繪圖

建築設計過程中使用的不同繪圖類型

速寫是項目初期的一些草圖、筆記或研究,以紀錄所可行的點子或研究方向。建築師通常會用素描本收集點子,加以研究。

Steven Holl Architects/Steven Holl(美國,1947年出生)
當代萬國城迴環研究(2003–2009),中國北京2003
水彩紙本

繪圖

更多細節的繪畫或技術繪圖則用來呈現更具體的設計,由建築物的外型以至室內設計的細節不等。技術繪圖或工程圖扮演著一個關鍵的角色,有助把構思轉化為現實,在設計和施工過程的溝通方面十分重要。

巴馬丹拿(P&T Group)(香港)
堅尼地道電力變壓站後視圖(1967 –1970),香港
1967
印刷紙本
圖片由巴馬丹拿集團提供

模型

製作模型是其中一種最直接的立體溝通工具。不同種類的模型反映計劃的不同階段,有著不同的作用。

研習模型是當建築師研究設計的各種問題或特點(如建築物的外型時)的其中一種方式。

藤本壯介建築設計事務所(日本)/
藤本壯介(日本,1971年出生)
15 個蛇型畫廊展館《自然/ 建築概念》概念研習模型之一,英國倫敦
2013
混合素材

模型

作為介紹之用的模型會以最直接具象的方式展示建築師的想法。一幢建築物、一個工地規劃甚至一個城市,都可以用模型來呈現。

何弢設計(香港)/
何弢(香港,1952年生於中國)
大都市計劃— 西九龍填海概念模型,
香港
1988/2013
亞加力及卡紙

平面圖

平面圖又稱鳥瞰圖,是以從上而下的視角繪畫一幢建築物或一個工地。

樓層平面圖這種建築物橫切面的鳥瞰圖是其中一種最常見的圖則,建築師用來構思和決定樓層內房間和空間的佈局。

王歐陽有限公司(香港)
香港港安醫院地面層平面圖(1967–1971),香港
1967
印刷紙本
由建築師捐贈

平面圖

工地平面圖也是由上而下的鳥瞰圖,繪出建築物和周遭環境,包括其他建築物、街道、植物、行車道等,通常用來展示建築物跟鄰近建築物和設施的關係。

王董建築師事務有限公司(香港)
美孚新邨總規劃圖
1973年
印刷紙本
圖片由王董建築師事務有限公司提供

介紹材料及出版物

當建築師要向客戶或用家講解設計意念時,這些介紹材料,建築師亦會製作出版物及筆記,用來向客戶或用家講解其設計及意念。

何弢設計(香港)/
何弢(香港,1936年生於中國)
香港藝術中心發報資料冊頁(1968–1977),香港
1981
31 張照片及紙板

文件

來往信函和文件可反映一些設計和施工過程時鮮為人知的一面。

何弢設計(香港)/何弢(香港,1936年生於中國)
何弢與屋宇地政署就貨櫃辦公室事宜五封往來函件之一(1989 –1992)
1986–1989
印刷紙本
由建築師捐贈

剪報

有關建築項目的剪報能提供另一個角度,去呈現項目以及公眾的反應。

1967年太平山頂觀景台的報章報導。

照片

照片可以用來紀錄和反映整個建築項目,用作工地狀況的參考,或者用以呈現落成的建築物。

鍾華楠建築事務所
太平山頂觀景台建築工地照片
1967- 1972
由建築師捐贈

錄像紀錄

錄像紀錄
錄影是另一種能把訪者體驗記錄下來的媒介。

何巽(美國,1961年生於美國)
九龍城寨研究錄像,香港
1991
錄像
片長:90’ 00’’
由Cole Roskam借出

數碼模擬圖

電腦生產的數碼模擬圖常常用來呈現建築師腦海中的設計場景,或者用來重現一個不再存在的建築結構。

曹斐(中國)
《 人民城寨的誕生》
模擬錄像
2007
希克藏品捐贈
帝國酒店,日本東京
關於創作者討論活動伸延閱讀

關於帝國酒店(1916–1923),日本東京

1913年,著名建築師Frank Lloyd Wright開始設計他一生中其中一個最龐大及最複雜的設計項目—為東京帝國酒店設計新的大樓。Wright常被形容為典型的「 美國現代主義者」,不過,從他為帝國酒店設計的室內裝潢、細部雕花、傢俱、餐具以至大樓的裡裡外外,可以看出他兼收並蓄、推陳出新的能力。不同文化的影響未必是Wright的作品中最顯而易見的特點,但其設計不論是帝國酒店或其他建築項目,仍透露日本及其他傳統的痕跡。Wright以其設計的帝國酒店在日本留下印記,但日本及其他文化也對他影響甚深。

帝國酒店大堂壁爐上的裝飾性石塊之圖則(1916–1923),日本東京
約1920
炭筆及彩色鉛筆紙本
前塘正門
圖片由帝國酒店提供

關於 Frank Lloyd Wright
(美國,1867–1959)

二十世紀最重要的建築師之一。紐約古根漢美術館及賓夕法尼亞州落水山莊(the Fallingwater)等企劃令其聲名鵲起,其「大草原風格」(Prairie Style)對美國現代主義和城市化有著不同層次的影響。

Wright醉心日本藝術,熱衷收藏日本藝術品,特別鍾情於浮世繪木刻版畫,曾助美國大都會藝術博物館及其他美國機構發展浮世繪藏品。1905年首次出國旅行,目的地正是日本,而非一般人想的歐洲。

1922年Frank Lloyd Wright 及職員於帝國酒店門前

圖片由帝國酒店提供
花園景觀

圖片由帝國酒店提供

討論

這幀繪圖如何透露更多有關美國建築師和日本團隊之間的文化聯繫和資訊交流呢?

跨文化影響一直塑造建築的發展。時至今日,建築更日趨全球化,Wright只是無數例子之一。香港云云重要建築當中,無論年代遠近、由本地或國際建築師的設計,甚麼因素可以令其被定義為「本土」或「國際」?兩者之間的分野又意味著甚麼?你對兩者逐漸傾向團隊合作並且跨越國際的建築實踐有何看法?

帝國酒店樓梯間石刻裝飾細部(1916 –1923),日本東京
約1920
炭筆及彩色鉛筆紙本

這幀草圖上,有幾行潦草的中文,寫得不甚道地,很可能是Wright其中一位日本工人或建築師同事寫的。當我地近距離地觀察草圖,可以見到圖中反映設計過程的不同面向。
帝國酒店屋簷內側石工部分之圖則(1916 –1923),日本東京
約1922
炭筆及墨水筆紙本
帝國酒店拱腹之簡圖(1916 –1923),日本東京
約1920
炭筆及彩色鉛筆紙本

活動

出外素描香港的現代或歷史建築。有沒有一些元素可反映其他文化的影響?你知道是誰設計這些建築物嗎?

徊廊景觀 圖片由帝國酒店提供
劇院景觀
圖片由帝國酒店提供
宴會廳景觀
圖片由帝國酒店提供

伸延閱讀

<Frank Lloyd Wright – Wright in Japan>。取自 The Westcott House Foundation網頁: 連結,2013年11月1日。

Kathryn Smith,<Frank Lloyd Wright and the Imperial Hotel: A Postscript>。取自The Art Bulletin網頁:連結,1985年6月。

紐約時代廣場及Mies的弗里德里希大街摩天大樓拼貼
關於

關於紐約時代廣場及Mies的弗里德里希大街摩天大樓拼貼(1987)

黎錦超,1976至2000年間先後出任香港大學建築學系教授、系主任和院長,是香港及鄰近地區建築教育界之翹楚。他致力研究國際建築,從他將Ludwig Mies van der Rohe的弗里德里希大街摩天大樓草圖拼貼在紐約時代廣場的照片之上,可見一斑;並同時探索怎樣可以將這些理念 應用於本地的問題和情況。

黎錦超(香港,1934–2003)
紐約時代廣場及Mies 的弗里德里希 大街摩天大樓拼貼
1987
照片拼貼紙本
由建築師捐贈
庭院住宅研究
關於

關於庭院住宅研究(1931–1938)

在二十世紀三十年代,傑出的現代主義建築師Ludwig Mies van der Rohe進行了一系列「庭院住宅」研究,探討室內與 室外空間的關係。

Ludwig Mies van der Rohe (德國與美國,1886–1969)
庭院住宅研究平面及內部透視圖 (1931–1938)
1933
水墨紙本
中國教授的四合院
關於

關於中國教授的四合院設計繪圖 (約1954)

王澤生是香港著名建築師事務所王歐陽之創辦人及香港 大學建築學院第一屆畢業生。在學期間他已從四方八面吸取靈感,包括美國流行文化及歐美現代主義。從其設計之 《中國教授的四合院》圖則,可見他於早年已嘗試將現代感性融入傳統中國建築之中,令人不期然想起Ludwig Mies van der Rohe的作品。

王澤生(香港,1930–1994)
中國教授的四合院設計繪圖
約1954
墨水筆及炭筆紙本
國立劇場國際建築比賽
關於

國立劇場國際建築比賽(1986–1987),日本東京

Bernard Tschumi是一位影響深遠的理論家和建築師, 對後現代形式主義作出反思,提出建築的定義應由當中發生的事件、活動和運動決定,在七八十年代因此而聞名 於世。1986年,Tschumi以實驗性的舞蹈和音樂符號融入 設計方案,參加東京新國立劇場設計比賽。

Bernard Tschumi(法國與美國,1944年生於瑞士)
國立劇場國際建築比賽大堂內視圖(1986–1987),日本東京
1986
墨水筆, 鉛筆, 定色噴彩及水彩紙本
大馬集團總部大廈,印尼雅加達
關於創作者討論

關於大馬集團總部大廈(1983–1985),印尼雅加達

印尼雅加達大馬集團總部大廈是美國建築師Paul Rudolph於80年代在東南亞眾多重要建築項目中的經典之作。

在此期間,儘管當時他的事業在美國遇到挫折,這位富有創新精神的現代主義者設計了香港奔達中心(現名力寶中心)和新加坡科倫納柱廊和鴻福中心 。

此項建築盡顯大師風範,體現其匠心獨運的形式,以及對城市規劃的考量和對氣候的敏感度。其旋轉樓板和傾斜的拱上空間,靈感來自印尼的本土民居,有效遮擋陽光,避免直射辦公室,兼且為每一樓層提供陽台,令建築物的輪廓更形突出。層層疊疊的花槽一路向下伸延,直至由一對對結構柱支撐的中庭平台,令建築物成為雅加達市中心商業區裡一座垂直的花園。

 
Paul Rudolph(美國,1918–1997)
大馬集團總部大廈外部透視圖 (1983–1985),印尼雅加達
1984
墨水筆紙本

關於 Paul Rudolph (美國,1918–1997)

Paul Rudolph是二十世紀五十至六十年代其中一位最重要的建築師,當時流行的現代主義以複雜的內部空間結構及粗獷地運用混凝土結構為特點。早年居於美國佛羅里達州,以其房屋設計成名,最著名的作品莫過於耶魯大學藝術及建築學院大樓(1964),當時Rudolph在1958至1964年間任職院長,Norman Foster曾為其學生。 七十年代末,其作品在美國的吸引力開始稍遜,他遂將注意力轉移至東南亞,其獨家的現代主義十分適合當地的熱帶氣候。廣為人知的建築設計包括1988年雅加達的Wisma Dharmala 大樓、1988年香港奔達中心(今力寶中心)、新加坡The Colonnade住宅大廈(1987)及鴻福中心(1994)。以上作品錯綜複雜、環環相扣的空間處理,影響著東南亞地區的不少建築師。

大馬集團總部大廈中庭外部透視圖( 1983–1985),印尼雅加達
約 1983
彩色鉛筆紙本

討論

Paul Rudolph從本地和民間建築師身上取得設計靈感。你認為為甚麼研究傳統建築如此重要?建築物經過歲月洗禮,歷盡變迭,我們能從這些建築物身上學到甚麼?你認爲可以反映文化、歷史、映照地區身份的建築物,更能造成與當地人更深的連繫嗎?

你能想到其他參考傳統建築設計和特式的現代建築物嗎?試搜集有關例子及討論傳統和現代設計結合的可行性,並思考這種方式的意圖、功能及美感。

印尼的熱帶村落

Paul Rudolph的建築在香港直接的影響就是香港奔達中心(今力寶中心),香港的王歐陽建築師事務所正是Rudolph設計奔達中心時的本地合作團隊。

請比較一下兩幢建築物的設計,在哪些方面反映出Rudolph的風格?就有關外地建築師與本地建築公司的文化交流作討論。隨著建築實踐日益跨界,將其標籤為「本土」或「國際」設計意味著甚麼?這些術語在今天仍然適用嗎?

請選擇一種古代建築方式,並研究其特點,想一想它怎樣以舊瓶新酒的方式,融入當代環境的新式建築物之中。而你能從過去的不同設計裡學到些甚麼? .

香港奔達中心(今力寶中心)透視繪圖
世界劇場, 意大利威尼斯
關於

關於世界劇場(1979),意大利威尼斯

後現代新理性主義倡導者、建築師及理論家Aldo Rossi, 以徹底改造建基於記憶、歷史和地方,尤其是祖家北意大利的建築類型學而聞名於世。他的建築理念影響世界各地的建築師,包括香港。建於1979年,位於威尼斯的水上劇院《世界 劇場》,是Rossi最具代表性的作品之一。

Aldo Rossi(意大利,1931–1997) 世界劇場繪圖(1979),意大利威尼斯 1980 墨水筆及蠟筆紙本
太平山頂觀景台(山頂纜車山頂總站),香港
關於創作者討論

關於太平山頂觀景台(1967–1972),香港

由建築師鍾華楠設計、現已被拆除的太平山頂觀景台是當時一個摩登建築地標,也是其中一個最富挑戰性並考驗工程的結構。其外型帶有鮮明的現代建築語言,但同時以中國古代城牆上的守望塔為設計元素——鞏守於基地但又看似懸浮在空中。

當時香港的政治和經濟正受中國內地的文化大革命嚴重影響,社會大眾急需鼓舞人心的消息。於1967年委約興建的第二代山頂觀景台恰好大大促進、提升香港對商業和經濟的信心。

觀景台於1972年8月29日正式啟用。觀景台的「空中餐廳」和室內外觀景平台令其迅即成為旅遊勝地,更成為香港城市天際線中一幕戲劇性的高潮。觀景台的圖象曾經被印於港幣五百元紀念鈔票之上,象徵著城市對未來「與天比高的十足信心」。

鍾華楠建築事務所(香港)/ 鍾華楠 (香港,1931年出生)
太平山頂觀景台模型(山頂纜車山頂 總站)(1967–1972),香港
約1969/2013
混合素材

關於鍾華楠(香港,1931年出生)

鍾華楠是戰後重要的建築師,曾設計戰後好些最具意義的建築物。1959年畢業於倫敦大學巴特萊特建築學院,1964年與英國建築師Alan Fitch合伙創辦Fitch & Chung,後者曾參與設計香港大會堂,二人後於1985年拆伙。鍾氏設計切合現代脈絡,亦以中國傳統建築及環境設計的論著見稱,在融匯現代主義與中國古典概念方面深具影響力。

 

討論

你對這個設計有何看法?你知道山頂觀景台曾經是這個模樣嗎?山頂觀景台和中式守望塔有甚麼相似的地方?試討論建築師如何把古代建築的特色採用於現代化的建築設計上。你認為他為甚麼會參照並採用此設計特色?

請參考何弢的香港藝術中心作為比較。

一個極具名氣的建築項目能對一個城市有甚麼影響?你能聯想到其他有類似影響力的建築物或建築項目嗎?它為城市帶來怎樣的影響?不同建築項目在公佈、動工和落成時,會發放怎樣的訊息?請參考這些建築項目的相關傳媒報導,它們如何描述有關項目?

請參考以下關於1969年宣佈建設太平山頂觀景台的剪報並作討論。

 
1967年太平山頂觀景台的中英報章報導。
香港藝術中心,香港
關於創作者活動伸延閱讀

關於香港藝術中心(1976–1977),香港

有的是一塊只有三十米乘三十米的填海土地,何弢卻遊刃有餘地為香港當代藝術實現了「藝術中心」的願景。這片土地由填海而得,地質鬆軟,不適宜興建大廈。最後,何氏以超過三百根樁子回填,再加上兩米厚的混凝土層板,令土地足以支撐這幢鋼筋混凝土大樓。

何氏把室內空間安排得緊密有序:200個座位的演奏廳、100個座位的小劇場、排練室、463個座位的大劇院、大型展廳及露台,也有空間容納餐廳、會員俱樂部、藝術家工作室、音樂練習室和辦公室等。這些空間可供租用,以資助藝術中心的運作。

香港藝術中心夾在兩幢大樓之間,不能從左右兩邊進出。何氏為此設計出一個「L」字型的外圍結構,放置樓梯、升降機、洗手間、電器設備和儲物室。一個不規則的垂直中庭也因此而生,令人印象深刻。

在香港藝術中心出版的推廣小冊子當中,你可以找到其中一些啟發這個設計的元素,以及一些香港藝術中心大樓於1970年末啟用時的照片。

香港藝術中心發報資料冊頁(1968–1977),香港
1981
選自31 張照片及紙板

關於何弢(香港,1936年生於中國)

何弢年少負笈美國,就讀麻省威廉士學院,主修藝術史,後赴哈佛大學攻讀建築碩士,並曾為德國包浩斯學院(Bauhaus)創辦人Walter Gropius的私人助理。何氏在美執業十年後回港,任職香港中文大學講師,將自己在美國建立的設計基礎結構與複雜概念帶到香港。他亦率先創立香港建築師學會(HKIA)。1968年創辦何弢設計咨詢有限公司,是香港首間本地跨媒介的設計工作室。何弢創作橫跨多個媒介,善於結合其活躍的社交生活及廣泛的個人興趣,是位知名建築師,同時也曾是香港最多產的當代藝術家。

活動

何弢設計的香港藝術中心,原址是塊位於街角的細小土地,一幢綜合大樓的有限空間卻要包含畫廊、劇院、小劇場和辦公室等空間。何氏發揮創意巧思,把這些不同類型的空間排列得有條不紊。

請選取一件立體物件,從旁觀察,並在紙上線描它的外形。然後請把這個形狀當作是一幢多功能建築物的外形。

這幢建築物會是甚麼呢,是住宅大樓、大學、醫院還是商場?請繪出建築物橫截面的草圖。

請計劃一下建築物的空間運用,想想大樓需要有甚麼類型的空間,它們將會怎樣被人使用,不同空間彼此有何關係,以及人在大樓裡的流通問題等。

活動

何弢的堆疊設計參考了中國寺廟中的佛塔。其發報資料冊頁正是設計藝術中心的一些參考文獻。 從雜誌裡搜集一些你感興趣的跨頁圖片元素,然後寫下圖象中最能吸引你的原因。

請你抽取這個元素,並將其轉化為一個建築的設計點子。

當你在設計、構思或創作時,別忘記準備一本剪貼簿,用來收集點子。靈感和點子往往來自最意想不到的地方。

參看山頂觀景台,比較一下建築師如何以傳統建築物作為參照並啟發靈感。

伸延閱讀 <何弢>。取自何弢設計咨詢有限公司網頁: 連結,2004年。

<里程碑>。取自香港藝術中心網頁:連結,2012年。  
沙宣道42號,香港
關於

關於沙宣道42號(1977–1979),香港

沙宣道42號由12座三層高、躍層設計的花園別墅組成,建於薄扶林一處陡峭的臨海山坡,由Palmer & Turner的建築師Remo Riva設計。他擅於從幾何秩序系統中創造變奏,而這些別墅的嚴謹佈局便是建基於一個精密嚴格平面的框架。

巴馬丹拿(香港)/Remo Riva(香港,1946年生於瑞士)
沙宣道42號軸測圖(1977–1979),香港
1977
彩色筆及墨水筆紙本
由建築師捐贈
香港科技大學,香港
關於

關於香港科技大學設計方案規劃圖(1987),香港

黎錦超和梁慶儀於1987年為新成立的香港科技大學所提交的設計方案,精心回應所在地西貢的地理環境。學術中心的主群組,由沿著兩條平行軸線而建的模塊化建築物和一個大型中央廣場組成,形成一條「人工構建的山脊」。學生及教職員宿舍,以及其他設施,則依山而建,散佈至海旁。整個構思參照中國山水畫,對自然與科學之間的關係作出人文詮釋,方案於校園設計競賽中奪標,然而最終建成的卻是另一方案。

黎錦超(香港,1934–2003)和 梁慶儀(香港,1949年出生)
香港科技大學設計方案規劃圖及局部及細部,香港
1987
氈頭筆紙本
由建築師捐贈
堅尼地道電力變壓站,香港
關於創作者討論活動伸延閱讀

關於堅尼地道電力變壓站(1967–1970),香港

堅尼地道電力變壓站是巴馬丹拿的建築師木下一和結構工程師Heinz Rust的構思。設計兩側有支柱,支撐著橫向的建築,形成這個簡單而幽雅的橋狀結構,橫跨山谷中的水澗。上面的突出上方兩個拋物線形的罩則保護及接駁著鄰近山上的高壓電線。

客戶香港電力公司的總監早於工程初期便決定把總公司搬往該建築,原先以功能為首要的電力變壓站最後成為令公司驕傲的設計。

巴馬丹拿(P&T Group)(香港)
堅尼地道電力變壓站模型(1967–1970),香港
2013
混合素材

關於木下一(加拿大)

木下一,加籍日裔建築師和旅行家,於加拿大溫哥華出生。曼尼托巴大學建築學學士,麻省理工學院建築學碩士。在美國工作三年後赴港。

木下在香港受聘於巴馬丹拿(Palmer and Turner),後者是國際建築工程公司,歷史悠久,業務遍及東南亞地區。曾參與在印尼、新加坡、夏威夷和悉尼的建築項目。1978年,中國改革開放,木下開始參與中國的建築項目,巴馬丹拿在上海外灘設計的不少建築物正正反映該公司昔日的光輝。

他在香港的重點設計的項目包括:香港希爾頓酒店、美國友邦保險大廈(今友邦保險大廈)、怡和大廈(康樂大廈)、香港理工大學及置地廣場。木下一現已退休,並居於香港。

圖片由巴馬丹拿所提供
圖片由巴馬丹拿所提供

討論

究竟建築物的外觀和功能之間有甚麼關係?你能想到其他既能突破結構和技術上的挑戰、外型又為之驚嘆的建築物嗎?

圖片由巴馬丹拿所提供
巴馬丹拿(P&T Group)(香港)
堅尼地道電力變壓站後視圖(1967 –1970),香港
1967
印刷紙本
圖片由巴馬丹拿集團提供

活動

每個人各自在兩張卡紙上寫下一個建築地點和一幢建築物的種類。地點在山谷裡還是在海中心?是醫院、學校還是住宅大樓?寫甚麼都可以。

在咭紙的背面,寫上地點和建築物的一些條件,包括工地有甚麼限制,建築物有甚麼特點等。

收集並洗勻兩組卡片。 每個人從兩疊卡各自拿一張。

根據抽到的地點和建築物種類,以及卡紙背面的限制,設計一幢建築物。

圖片由巴馬丹拿所提供

伸延閱讀

<公司簡介>。取自巴馬丹拿網頁:連結,2011年。

香港亞洲貨櫃物流中心一和二期,香港
關於

關於香港亞洲貨櫃物流中心一和二期模型(1984–1992),香港

亞洲貨櫃物流中心是工業基建的一個創新模範,反映出香港土地資源緊拙所衍生的「層疊式」現象,以及香港作為世界上最繁忙貨櫃港之一的角色。其高度功能化的設計─完善的坡道網絡、充足的泊車位和內部車道─令貨櫃車可以川流不息地直達各層,快速裝卸貨物,為物流中心的規格訂定新的標準。這有助紓緩港口地區常出現的交通阻塞,並達致地盡其用。根據《健力士世界紀錄大全》,它於1994年是世界上最大的多層工業建築。

劉榮廣伍振民建築師事務所(香港)
香港亞洲貨櫃物流中心一和二期模型(1984–1992),香港
約1985
混合素材

香港演藝學院,香港
關於

關於香港演藝學院建築比賽模型(1981–1985),香港

香港演藝學院大樓是由一系列的三角體組成,以優雅的佈局解決場地的制肘包括港鐵地下隧道,供水管和污水管。大樓的設計是香港早期一個國際建築設計比賽的得獎作品。

關善明建築師事務所 (香港)
香港演藝學院建築比賽模型(1981–1985),香港
約1981
亞加力及紙板

剪刀型樓梯
關於

關於剪刀型樓梯 (2006)

現今常見的剪刀型樓梯,是由建築師李景勳於六十年代在香港率先採用的。這種樓梯最節省空間、卻又能夠滿足建築物及防火條例的法例要求,即每一樓層必須建有最少兩條出口路線,其原理是在同一樓梯空間,設置一對從相反方向進入、相互重疊而又互不相通的樓梯。2006年香港首次參加威尼斯建築雙年展,李景勳以一座《剪刀型樓梯》大型裝置參展,此乃其參展作品之研究模型。

李景勳、雷煥庭建築師有限公司(香港)/李景勳(香港,1933年出生)
剪刀型樓梯
2006
石膏、噴漆、木框及膠片

美孚新邨,香港
關於創作者討論活動

關於美孚新邨(1965–1978)

美孚新邨於1978年大致落成,共有99座20層高的住宅大厦,可容納超過 80,000名居民,在規模、範疇和規劃理念各方面都是先行者。這是當時世界上最大型的高密度私人住宅發展項目,也是香港首個自給自足的住宅社區,住宿、交通、零售及娛樂設施由高架平台連接起來,成為一應俱全的「城中城」。另一創新之處是其雙十字型塔樓設計,以三層高的平台貫通,並採用「剪刀型樓梯」,提供多個出口,以最少的空間滿足建築物條例的消防要求。

美孚新邨四至九樓平面圖(1965 –1978),香港
1966
印刷紙本
由建築師捐贈

關於王董建築師事務所(香港)

王董建築師事務所成立於1963年,由美籍華裔Bill Wong及Albert Tung創辦,二人生於上海。業務遍及全球,六十年代末以美孚新邨委約設計工程(1965–1978)揚名國際。

圖片由王董建築師事務有限公司提供
圖片由王董建築師事務有限公司提供

討論

考慮建築物的周遭環境有何重要?城市規劃是如何影響人們的日常生活?

圖片由王董建築師事務有限公司提供

討論

美孚新邨雙十字型的樓層設計,讓每個住宅單位都有兩邊甚至三邊窗戶,空氣更流通,也能引進更多天然光。這個設計也把樓宇設施,例如樓梯、升降機和廢物收集管道都放在十字的中央位置,省去以往住宅設計常見的狹窄長廊,減少空間浪費。

這設計方案可以更善用空間,直接回應香港擠迫的居住環境。這些創意的例子就在我們身邊,或大或小,都能改善我們的生活。請嘗試找出其他相似的方案。

請比較美孚新邨跟九龍城寨的城市策略,想一想何謂一個刻意和非刻意的城市設計,而一個有規劃和欠缺規劃的「社區」組織又是怎樣?

美孚新邨總規劃圖
1973
印刷紙本
84 × 119厘米
圖片由王董建築師事務有限公司提供

活動

一幢大樓不是孤島,而是須顧及它的背景及周遭社區。

你居住的屋苑與周遭環境是怎樣構成關係的?試繪畫一幅記錄你日常的行走路線圖,從中理解當中的關係。

請看看構成這個屋苑的特別元素,如:道路、店舖、房屋和其他設施,用城市規劃的角度,評估你居住屋苑的規劃。

周遭環境的甚麼特點會令你感到舒適,又有甚麼會令你感到煩厭?甚麼特點巧妙得令你嘆為觀止,又有甚麼令你無動於衷?有改善空間嗎?你能提出一些建議嗎?

香港港安醫院,香港
關於

有關香港港安醫院地面層平面圖(1967–1971),香港

此乃本地建築事務所王歐陽之首個醫院項目。為配合其位處之山丘地形,醫院採用新穎的圓塔設計。建築物的放射形全景敞視式規劃,反映出當時日漸流行以人為本的醫療規劃方法;病房分佈於外圍,圍繞着中央的護士站,從而節省支援服務所需的空間,但卻能保持醫護人員與病人在彼此的直接視線範圍之內。

王歐陽有限公司(香港)
香港港安醫院典型平面圖(1967–1971),香港
1968
印刷紙本
荷李活華庭,香港
關於創作者討論活動

有關荷李活華庭(1987–1999),香港

香港高密度和複雜的地形,對建築師來說,既是挑戰、也是機遇;由兩座住宅大樓組成,位於稠密的中西區的荷李活華庭,便是一個很好的例子。整個項目的底座連接皇后大道中和荷李活道,不僅有為住戶而設的專屬私家通道,更有一條24小時開放給公眾使用的垂直通道;通過這種具穿透性的都市特質,減低項目發展對鄰近社區的影響。而這種私人和公共領域的多層次結合,更反映出建築師著重的不僅是建築物本身,而是他能怎樣妥善協調各種關係。

許李嚴建築師事務有限公司(香港)/嚴迅奇(香港,1952年出生)
荷李活華庭模型(1987–1999),香港
1999
混合素材
由建築師捐贈

關於嚴迅奇(香港,1952年出生)

嚴迅奇是香港其中一位最著名的建築師,作品別具創意,充分回應所在語境,特別是香港的歷史、城市化及基建設施條件。香港大學畢業,先加入Spence Robinson的馬海建築工程師事務所,後於1979年開設自己的公司。1983年,嚴氏一舉成名,成為巴黎巴士底歌劇院設計比賽三名一等獎得獎者之一,舉世矚目。

嚴氏設計的建築物講究幾何及空間的關係,以減法和加法回應建築程序、審美構圖、城市風格等不同需求。大體積的建築結構在狹小的間隙中挪移;空間化作多層,讓建築物內外均連成一體。嚴氏亦研究如何把自己的現代設計語言跟中國傳統建築實踐和先例融匯貫通。2000年,他在柏林展示的作品「竹亭」,為傳統的竹造結構創立了一個決定性的當代表達方式。 近年,嚴氏開始研究庭院類型學,例如2002年在北京的作品「怪房子」,以及賦予隱喻的作品,如2010年落成的廣東省博物館。

討論

公共空間的實際意思是甚麼?請從政府、發展商和市民的不同角度加以討論。我們如何能在三者觀點之間取得平衡?

荷李活華庭規劃圖印刷

活動

以小組的形式,選擇香港其中一個區域。

跟小組成員一起到訪該區。粗略繪製一幅該區的總覽圖。可以先選擇一個地標作為探索的起點,以及地圖的中心點。

當在城中閒逛時,想一想建築師如何以空間和建築設計連接及定義「公共」及「私人」空間。在一個稠密的區域裡,如何「創造」不同的空間?

當你到訪時,請留意一下居民的活動,例如人流及行走路線,以及他們跟不同空間的互動。空間設計如何影響人的活動和行為?

請評估和檢視一下區內的規劃,有沒有改善的空間?

貨櫃辦公室,香港
關於

有關貨櫃辦公室(1989–1992),香港

從1989至1992年,著名建築師何弢一直以位於九龍塘的 貨櫃辦公室作為他的事務所。由24個舊貨櫃箱,圍繞著中庭庭院堆疊而成的兩層高結構,裝修精美,配備充足的自然 採光和通風,更成為他當時所進行的可持續發展設計研究之真實個案。然而,貨櫃辦公室最終因未能符合香港建築物 條例之要求而被折卸。何弢與屋宇地政署之間的書信來往, 揭示出設計與法規之間時有發生的衝突情況。

何弢設計(香港)/何弢(香港,1936年生於中國)
何弢與屋宇地政署就貨櫃辦公室事宜五封往來函件之一(1989–1992)
1986–1989
印刷紙本
太古城,香港
關於

有關太古城(1972–1988),香港

太古城現址原為太古船塢,由王董建築師事務所設計。王董建築師事務所從早期規劃的美孚邨新吸取經驗,建造出住宅及商業並重的綜合發展。太古城共有61座十字形和菱形住宅樓,大部份由平台層串連在一起以促進人流;開揚的園景有助舒緩「石屎森林」的感覺。商店和商場,特別是太古城中心這座集商業及娛樂一體的購物中心,通過天橋和有蓋行人道,成為連接住宅、辦公、康樂與道路及公共運輸的交匯點。

王董建築師事務有限公司(香港)
太古城整體規劃圖及行人流向圖(1972–1988),
香港
1973
印刷紙本
IBA Lützowstrasse社會住房建築設計比賽,德國柏林
關於

有關 IBA Lützowstrasse社會住房建築設計比賽參賽草圖,德國柏林 (1980)

Elia和Zoe Zenghelis在1980年提交柏林Lützowstrasse 社會住房設計比賽的方案,是OMA的重要的早期作品。OMA具有廣泛的影響力,包括中國。該項比賽是為振興當時仍屬於西柏林的地區而舉辦的活動之一,OMA以其大膽革新的理念進行建築設計和城市規劃名列第三。

Office for Metropolitan Architecture(OMA)(荷蘭)
Elia Zenghelis(英國,1937年生於希臘)和Zoe Zenghelis(英國,1937年生於希臘)
IBA Lützowstrasse社會住房建築設計比賽參賽草圖,德國柏林
1980
油彩紙本
大都市計劃— 西九龍填海概念,香港
關於

有關大都市計劃—西九龍填海概念模型 (1988/2013),香港

建築師何弢及香港大學修讀城市規劃與建築設計的學生於1988年提出的西九龍填海概念Metroplan,是一項極具前瞻性的罕有佳作。當時他們是因應政府的要求,就現時西九文化區位置建議填海計劃以外其他可行的發展方案。何弢及其學生建議在海港興建一度高架平台,從油麻地延伸至尖沙咀,以取代填海。這道平台將會為交通及其他服務開拓一條主要幹線,同時提供地方予文娛康樂設施以靈活、模塊化模式發展。此計劃類近日本代謝派建築—他們早於1960年便提議興建可以變形的巨型浮動結構—與及本地的海濱建築。然而,在追求創建一個地標和提升土地價值的同時,這個建議卻是特別為了回應當時香港商業和市場的迫切需求而構思的。

何弢設計(香港)/何弢(香港,1936年生於中國)
大都市計劃—西九龍填海概念模型,香港
1988/2013
亞加力及卡紙
九龍城寨,香港
關於創作者討論活動伸延閱讀

關於九龍城寨

基於歷史的因由,現已被拆除的九龍城寨當時既不隸屬中國政府,亦不由英國殖民政府所管轄。這令城寨成爲一個非一般的圍城,聞名於其無法治、無監管的發展。當中聚居的新移民、難民等亦令其成為一個富有生命力的獨特社群,更曾為全世界人口最稠密的地方。九龍城寨沒有經過正式規劃,依然是香港其中一個最顯著的建築和城市化發展,跟其他正式發展一樣,都屬於香港建築環境的一部份。

Ian Lambot(英國,1953年出生)
九龍城寨西南面鳥瞰圖,香港
1989/2013
噴墨打印紙本、玻璃纖維

關於九龍城寨西南面鳥瞰圖(1989),香港

Lambot花了四年時間去記錄九龍城寨──一個在香港被英國殖民政府及中國政府雙方均聲稱擁有的飛地,最終卻在無政府管轄下存在,因此變得無法無天和毫無管制而名滿天下。然而,其活力同樣眾所周知,來自於居住在這個被公認為全球最擁擠地區裏的移民、難民和其他居民所組成的社區。Lambot的俯瞰照片捕捉了1993年九龍城寨清拆前,稠密、非正式開發的一面。

關於Ian Lambot (英國,1953年出生)

生於英國,建築攝影師,曾受訓成為建築師。1979年遷往香港,定居二十載,期間受聘於Norman Foster and Partners,參與香港匯豐總行大樓早期設計階段;創辦工作室,負責建築物模型製作。後來,他成為自由業建築攝影師,為匯豐總行大樓的建築工程拍下不少紀錄照片。曾與Greg Girard合作,用了四年時間研究九龍城寨,直至城寨被拆卸,並出版《City of Darkness: Life in Kowloon Walled City》(黑暗之城:活在九龍城寨)一書,內含三百二十幀照片、三十二篇專訪,以及有關城寨歷史及人物的論文。

討論

九龍城寨的「垂直村落」結構(vertical village structure),向上發展,是居民和業主的有機改建,以改變及塑造居住環境,也是對擠迫環境的自然反應。這種結構正是城寨遠近聞名之處。

試想想,以一個城市而言,「生長」意味著甚麼——城市不斷擴大轉變,以適應社區和社會的不同需要。九龍城寨亂中有序,一位建築師能從這種與眾不同的有機生長方式學到甚麼?

活動

請訪問家中的長輩,他們對九龍城寨有甚麼印象,城寨的名聲如何,以及城寨是甚麼樣子的。

然後,請畫出你對九龍城寨的印象。你對這座遠近馳名的九龍城寨有甚麼感覺呢?

請參看Ian Lambot拍的照片和何巽拍的錄像,比較一下這些紀錄照片和錄像跟自己所想像的有何不同。

這些紀錄文獻有何重要性?如果這些文獻都不存在,我們能用甚麼方式了解這座已被拆卸的城寨呢?為九龍城寨這樣的地方保存紀錄重要嗎?

為了監管或經濟原因,城市需要得到發展和活化,我們如何權衡是否拆卸或許有歷史文化價值的建築物?

伸延閱讀

Barbara Basler, <Hong Kong Journal; The Walled City, Home to Huddled Masses, Falls>。取自《紐約時報》網頁: 連結,1992年6月16日。

EDW Lynch, <Photos of the Final Years of Hong Kong’s Notoriously Overcrowded Kowloon Walled City>。取自Laughing Squid網頁: 連結,2013年9月24日。

Rebekah Rhoden, <Kowloon Walled City Photographed by Greg Girard and Ian Lambot>。取自Lost At E Minor網頁:連結,2013年9月27日。

Julian Ryall,<Arcade brings Kowloon Walled City back from the dead … in Japan: Kowloon's infamous slum is recreated in an amusement park in Kawasaki – from its eerie, narrow corridors right down to the rubbish>。取自《南華早報》網頁:連結,2013年10月1日。

九龍城寨,香港
關於創作者活動伸延閱讀

關於九龍城寨

基於歷史的因由,現已被拆除的九龍城寨當時既不隸屬中國政府,亦不由英國殖民政府所管轄。這令城寨成爲一個非一般的圍城,聞名於其無法治、無監管的發展。當中聚居的新移民、難民等亦令其成為一個富有生命力的獨特社群,更曾為全世界人口最稠密的地方。九龍城寨沒有經過正式規劃,依然是香港其中一個最顯著的建築和城市化發展,跟其他正式發展一樣,都屬於香港建築環境的一部份。

何巽(美國, 1961年出生)
九龍城寨研究錄像,香港
1991
錄像
長度:90分鐘
由Cole Roskam借出

關於九龍城寨研究錄像(1991),香港

何巽於1991至1992年間以富布賴特學者的身份,進行了為期十個月的九龍城寨研究計劃,包括逾十四小時的錄像拍攝,作為「視頻映射」練習的一部份。她一邊在稠密的城寨漫遊,一邊拍攝,其路線提供了如偷窺者的視角,穿插着與各種店主交談的片段,記錄了九龍城寨在清拆前、居民開始搬遷的那段時間。

關於何巽(美國, 1961年出生)

美國建築師和城市設計師,威廉士學院藝術學士,哥倫比亞大學建築碩士。何氏曾為美國波特蘭第三及第四街舊城區和唐人街的重建工程作設計師和公共宣傳統籌。1995年,何氏獲美國國家藝術基金會研究獎助金,研究波士頓、紐約、費城、三藩市和洛杉磯市歷史悠久的唐人街獨特的物理和視覺樣式。她為Northgate Group LLC創辦人之一,積極參與位於波特蘭市唐人街首個亞裔長者住屋計劃Pacific Tower。波特蘭蘭蘇園、美洲同源總會及Transition Project Inc董事會成員。2004年加入MulvannyG2 Architecture任職高級建築師。除了作為建築師及城市設計師,何氏亦任教於哥倫比亞大學、香港大學、俄勒岡大學和波特蘭州立大學。

討論

何巽在自己的研究著作《An architectural study on the Kowloon Walled City: preliminary findings》的前言指出,她有志研究「九龍城寨的建築和居民之間的相互關係」 。這部著作提醒我們,城寨裡曾住著一群人,賦予城寨生命力,並改造這個地方。

你聽過有關九龍城寨的故事嗎?你對這個地方「非刻意的設計」有甚麼感想?你又如何塑造你身處的環境?請寫下並分享其他於無意識下被更改用途的空間例子。

活動

請訪問家中的長輩,他們對九龍城寨有甚麼印象,城寨的名聲如何,以及城寨是甚麼樣子的。

然後,請畫出你對九龍城寨的印象。你對這座遠近馳名的九龍城寨有甚麼感覺呢?

請參看Ian Lambot拍的照片和何巽拍的錄像,比較一下這些紀錄照片和錄像跟自己所想像的有何不同。

這些紀錄文獻有何重要性?如果這些文獻都不存在,我們能用甚麼方式了解這座已被拆卸的城寨呢?為九龍城寨這樣的地方保存紀錄重要嗎?

為了監管或經濟原因,城市需要得到發展和活化,我們如何權衡是否拆卸或許有歷史文化價值的建築物?

伸延閱讀

<3D 九龍城砦 kowloon walled city>。取自We are making 3D model of Kowloon Walled City網頁:連結,2013年10月5日。

<MulvannyG2 Architecture Welcomes Suenn Ho as Senior Designer>。取自MulvannyG2 Architecture 網頁:連結,2004年6月2日。

<Suenn Ho Champions Old Town Chinatown: Old Town Chinatown Crier: The Crier>。取自Old Town Chinatown Neighborhood Association網頁:連結,2005年秋季刊。

瀋陽建築大學稻田校園,中國瀋陽
關於

有關瀋陽建築大學稻田校園模型(2003–2004),中國瀋陽

土人設計景觀建築師俞孔堅為瀋陽建築大學而創造的 稻田校園,將全功能和高產水稻種植結合成一件觸目作品。 它是俞氏所倡導的環保與生態主導設計最突出的例子之一。

土人設計(中國)/ 俞孔堅(中國,1963年出生)
瀋陽建築大學稻田校園模型 (2003 –2004),中國瀋陽
2009
混合素材
由建築師捐贈
土人設計(中國)/俞孔堅(中國,1963年出生)
瀋陽建築大學稻田校園模型(2003–2004),中國瀋陽
2009
混合素材
深圳城中村研究,中國深圳
關於

有關深圳城中村研究(2004-2005),中國深圳

深圳市內原來的農村被城市急速的發展包圍,為應對此現象,都市實踐的《城中村研究》包含了一系列持續進行的案例 研究,集中探討建築物的嵌入、消減與連繫如何應對都市化 所帶來的社會性和結構性影響。

都市實踐(中國)
深圳城中村研究福新村模型(2004–2005),中國深圳
2005
發泡膠、膠片、噴漆、玻璃纖維
數字北京,中國北京
關於

有關數字北京模型(2004–2007),中國北京

「數字北京」是2008年北京夏季奧運會的重要建設之一,座落於北京奧林匹克公園,與「鳥巢」和「水立方」鼎足而立,標誌著中國日益提升的國際形象。它是北京奧運會的控制中心,並提供數據和技術支援服務。大樓的設計象徵著國家在科技領域上的雄心,但其建築技術和物料卻偏向「低科技」,如採用鋼筋混凝土和鋼材等。該設計從國際競賽中獲選,大樓的不同角度,令人聯想起條碼和電路板。

朱建築設計事務所 (中國)及都市實踐(中國)
數字北京模型(2004–2007),中國北京
2004
亞加力板及ABS板
香港公共屋邨及環境之三維空間 數據模擬景觀,香港
關於

有關香港公共屋邨及周邊環境三維空間數據 模擬視圖(2006–),香港

香港三維空間數據檢視器是香港地政總署於2013年推出的 數碼模型工具,提供一套包括香港所有建築物、地形和地面 基建的互動數碼地圖,是先進科技應用於土地和城市規劃 的一個實用典範。各式用戶包括建築師、地產商、工程師等, 他們可以利用這個不斷更新的三維空間數據進行有關噪音 和視覺景觀、光影效果、氣流及其他環境因素的建築物分析, 同時它也支援一系列其他應用軟件,包括土木工程支援維修、 緊急救援行動、以至遊戲開發。

PIXEL
關於

有關《PIXEL》2005–2007/2013

Map Office的《PIXEL》系列追蹤一顆名為「PIXEL」 的微粒在珠三角地區的飄遊。在一連串敘事的影像片段之中,這顆永不停步的微粒一直扮演著觀察者和評論員的角色, 見證和參與這個不斷演變的地區的種種場面。

人民城寨的誕生
關於創作者伸延閱讀

關於《人民城寨》(2007)

曹斐於2008年開展一項長期計劃︰《人民城寨》,運用網上遊戲平台「第二人生」(Second Life)建設自己的虛擬烏托邦,並以線上遊戲身份「中國翠西」身兼參與者和觀察者的角色。《人民城寨》當下旨在評論中國城市發展超資本主義的更迭,訴述一個有關改變自我、角色扮演和錯位慾望的廣闊虛擬空間,亦是一個結合藝術、設計、建築、文學、電影、政治、經濟與社會的平台,揭露虛實之間的種種界線。

《 人民城寨的誕生》
2007
模擬錄像
希克藏品捐贈

關於曹斐(中國,1978年出生)

曹斐的攝影、錄像裝置和新媒體藝術作品,探討現今傳媒飽和社會中的角色扮演、夢幻空想和虛擬現實的一面。她的創作中融合其他人的慾望和幻想,尖銳地捕捉各人身處中國當代語境,歷逢巨變,然後在幻想破滅的情況之下對自身的想像。曹斐近期的項目《人民城寨》(2008-2011)分別於德國古根漢博物館(2010)、東京資生堂藝廊(2009)、倫敦Serpentine 畫廊(2008)及在橫濱藝術三年展(2008)展出。她曾參與多個國際性項目和展覽,包括第 17 及 15 屆悉尼雙年展(2006/2010)、第 52 屆威尼斯雙年展(2007)、莫斯科雙年展(2005)、上海雙年展(2004)、第 50 屆威尼斯雙年展(2003)。各地美術館亦有展出曹斐的錄像創作,包括紐約古根漢美術館、紐約國際攝影中心、紐約現代藝術博物館、紐約當代藝術中心、巴黎當代藝術中心東京宮、巴黎市立現代美術館、東京森美術館。與此同時,曹斐也入選了 2010 年 Hugo Boss 藝術獎的提名,並在 2006 年獲得了中國當代藝術獎(CCAA)最佳青年藝術家的獎項。

伸延閱讀

曹斐 網頁:連結

北京2050
關於創作者討論活動伸延閱讀

關於《北京2050》(2006),中國北京

《北京2050》就2050年中國首都的未來發展提出了三大構想:在中央商務區上空建設浮游之島;將天安門廣場及長安大街轉化為公園和林蔭大道;在老城區的胡同裏安裝「泡泡」,提供公共設施。這幅未來的宏圖,建基於對北京無論是過去或當下的社會、結構和思想發展的批判性關注。整個概念是從MAD創辦人之一馬岩松於耶魯大學作為研究生時的一個項目演變出來。2009年,一個設施完備的「泡泡」在傳統的北京四合院中誕生。

《 北京2050:中央商業區上空的浮游之島》
2006
木、塑料及油彩

關於MAD(中國)

MAD於北京創立,是中國其中一家最知名及頂尖的當代建築公司,2004年由馬岩松創立。馬氏畢業於北京建築工程學院,後獲耶魯大學建築碩士。曾與Zaha Hadid共事,以大膽瘋狂見稱,其作品充滿未來感,探索東方對自然本質的定義的當代詮釋。MAD的建築設計常以概念性的研究方向入手,在今天的中國語境中舉足輕重。

2006年,MAD一鳴驚人,成為中國同行中首家贏得一項國際設計大賽的公司,獲委約興建位於加拿大安大略省米西索加的夢露大廈(Absolute Tower,是次工程的成功促成興建另一座雙子塔)。MAD廣泛受傳媒報導,並多次參展,包括2008年威尼斯建築雙年展。除了夢露大廈雙子塔,其他建築工程計劃包括內蒙古鄂爾多斯市一所博物館,以及北京「胡同泡泡32號」。

《 北京2050:天安門廣場》
2006
木、塑料及油彩

討論

儘管MAD的「胡同泡泡」的確曾於2009年被建成實體,這些計劃其實不大可能實行——你認為提出計劃的價值何在?

《 北京2050:胡同泡泡》
2006
木、塑料及油彩

活動

請重新想像你的家,想像在未來、或者下一個世紀時你的生活會如何?房子會飄浮半空嗎?會有不尋常的形狀嗎?會不會有給外星訪客住的房子或者飛翔的車輛?

試以繪畫或模型創作出你想像的未來建築物和城市。在想像的未來世界中,你會在做甚麼?為甚麼你認為將來會是這樣子?

伸延閱讀

MAD Architects 網頁: 連結。

leeji choi,<MAD architects: 'hutong bubble 32', Beijing>。 取自desingboom網頁: 連結, 2009年8月23日。

Sarah Housley,<Hutong Bubble 32 by MAD>。 取自Dezeen網頁: 連結,2009年9月14日。

Brendan McGetrick,<Hutong Bubble>。 取自ICON網頁:連結,2009年11月。

Nicole Saieh,<Beijing Hutong Bubble / MAD>。取自 ArchDaily網頁:連結, 2010年2月24日。

Immuring
關於創作者伸延閱讀

關於《Immuring》 (2008–2010)

Lunar House是一座在Hometta.com出售、面積有2,300平面呎的投機性房產,而《Immuring》就是為其外牆系統而設的探索性原型。用家可以購買平面圖及其他輔助工具,並在網上建造房子。為Lunar House製造的《Immuring》三面原大可麗耐板上,嵌有LED照明和電腦繪製的線條,形成密集的網絡,揭示建築師如何對通過數碼化設計及構造審視二維和三維形式之間關係。

《Immuring》
2008– 2010
Lunar House三面原大立牆原型;蝕刻及浮雕可麗耐®、LED照明

項目鳴謝: 《 Immuring》 項目的發展有賴以下各方支持: 杜邦中國、捷高興業(香港); 合作伙伴:恒豪(上海)William Koh and Associates(洛杉磯), 英海特(香港)、AHL Lighting and Media Facades(深圳)及 Tortoise Industries(洛杉磯)

關於 davidclovers(香港)

davidclovers由David Erdman及Clover Lee 創辦,2007年在美國成立,住宅、室內設計和展覽的設計、策劃和製作。二人既是學者,亦從事創作,其設計項目強調建築的體量和物料影響。發展項目的辦事方式既反映其學術背景的心思慎密、講求數據,也顯現二人作為創作人一絲不苟、著意創新的能力。建築項目結合數碼模型製作和傳統施工程序,將天花、窗戶、燈光和其他建築元素以獨特的方式結合起來,大大影響空間、活動和生活習慣。

2009年,davidclovers遷往香港,並完成九個建築項目。較大型的淺水灣發展項目部分仍在興建之中,包括一幢住宅大樓及三個相鄰的樓宇大堂;而水池「Waterscape」、更衣室、遊樂場和咖啡室「Breakers」均已於近期完工。位於紐約上州的Butterfly House亦預計於2013年落成。中國大型住宅發展項目裡的車房及一個由亭台組成的網絡則預計於2014年完工。二人曾在世界各地擔任講座嘉賓,項目刊於亞洲、歐洲及美國不少建築雜誌、報章及書籍。作品曾多次獲國際大獎,並於頂級藝術機構及重要聯展中展出,包括威尼斯、北京和韓國等地的雙年展。

伸延閱讀

David Clovers網頁:連結。

當代萬國城,中國北京
關於

關於當代萬國城研究模型(2003–2009),中國北京

建築師Steven Holl的當代萬國城是2008年夏季奧運會期間北京最重要的建築項目之一。他提出一種較為都市化的規劃模式,以取代城中常見的封閉式私人發展模式;當中也體現了Holl對現象學的興趣,這種建築思維強調建成空間的知覺本質和瞬間性。佔地22萬平方米的當代萬國城由多座被空中走廊連成一環的塔樓組成,空中走廊形成一齣「循環不息的電影」,卻又同時提供公共和半公共設施。塔樓四周建有公園、學校、酒店、電影中心和設有觀景台的映水池。城內設有超過600口地熱井為整個社區製冷取暖,調節溫度。理想中的當代萬國城,是一個集多元化功能、充滿活力和「多孔」的城市空間-就如Holl的其他項目一樣,由一系列水彩草圖開始,逐漸轉化為光影、顏色、懸垂結構和飄浮空間的交織互動。

Steven Holl Architects/ Steven Holl(美國,1947年出生)
北京當代萬國城研究模型 (2003 –2009),中國北京
2004–2005
硬紙板、亞加力、油漆、發泡芯紙板 及金屬絲
Steven Holl Architects/ Steven Holl(美國,1947年出生)
當代萬國城(2003–2009),中國北京
夢露大厦
關於創作者伸延閱讀

關於夢露大廈(2006–2012),加拿大密西沙加

總部設於北京的MAD,2006年憑著多倫多密西沙加市一座超高層公寓樓的設計方案在國際競賽中奪標,從此嶄露頭角。夢露大廈最終由兩座摩天大樓組成,展露出有機的曲線,令MAD成為中國最具實驗精神的傑出建築事務所之一。

MAD(中國)/ 馬岩松(中國,1975年出生)
夢露大厦模型(2006 -2012), 加拿大密西沙加
2006
木、塑膠及發泡膠

關於 MAD(中國)

MAD於北京創立,是中國其中一家最知名的頂尖當代建築公司,2004年由馬岩松創立。馬氏畢業於北京建築工程學院,後獲耶魯大學建築碩士。曾與Zaha Hadid共事,以大膽瘋狂見稱,其作品充滿未來感,探索東方對自然本質的定義的當代詮釋。MAD的建築設計常以概念性的研究方向入手,在今天的中國語境中舉足輕重。

2006年,MAD一鳴驚人,成為中國同行中首家贏得一項國際設計大賽的公司,獲委約興建位於加拿大安大略省米西索加的夢露大廈(Absolute tower,是次工程的成功促成另一座雙子塔的增建)。MAD廣泛受傳媒報導,並多次參展,包括2008年威尼斯建築雙年展。除了夢露大廈雙子塔,其他建築工程計劃包括內蒙古鄂爾多斯市一所博物館,以及北京「胡同泡泡32號」。

圖片由 Iwan Baan及MAD提供
圖片由 Iwan Baan及MAD提供

伸延閱讀

<MAD architects: absolute towers completed>。取自designboom網頁:連結,2012年12月12日。

圖片由 Iwan Baan及MAD提供
圖片由 Iwan Baan及MAD提供
二環2049,北京
關於創作者

關於《二環2049,北京》(2009–2011)

《二環2049,北京》旨在於2049年前,將擁堵的北京二環路改造成「市肺」,這將是中國冀盼的未來百年。馬路將被轉移至地下,地面會由公園、文化、康樂及體育設施組成的綠化帶所取代。二環路是依照北京歷史悠久的老城牆而建,老城牆在1949年中華人民共和國成立不久便已夷為平地。雖不明確,但「開放建築」的建議,令人想起中國建築師梁思成當時推動保護城牆用作公園這個著名卻未成功的計劃。

《 二環2049,北京》(2009 –2011)
2011
數碼印刷紙本
由建築師捐贈

關於OPEN建築事務所 (中國)

OPEN建築事務所設於北京,由李虎及其妻子王文菁於2006年創辦。李虎畢業於清華大學及美國萊斯大學,曾主理紐約建築師Steven Holl北京辦事處,統籌知名建築工程如北京 Linked Hybrid(當代MOMA)、深圳萬科中心、南京四方美術館、成都來福士廣場等。作為當代中國建築實踐的一代翹楚,OPEN以其實驗類型學見稱,推動進取的城市規劃,著重建築的社會及可持續發展的潛能。其作品廣受報導,著名計劃包括秦皇島歌華營地體驗中心、清華大學海洋研究中心,以及北京外圍一座即將完工的高中校舍。

《 二環2049,北京》(2009 –2011)
2011
雙屏幕錄像
片長:9’ 58”
由建築師捐贈
Cold and Warm Bodies
關於

關於《Cold and Warm Bodies》 (2003/2012)

《Cold and Warm Bodies》是由香港兩個超現實的 多組天台場景並置組成,每一幕都是從不同的角度和距離 拍攝。沒有任何解述,留待觀眾自行細味城市密度與 疏離感的關係。

Aernout Mik(荷蘭,1962年出生)
《Cold and Warm Bodies》
2003/2012
雙屏幕三頻數據錄像
片長:17’ 24”及18’ 52”
中國家庭
關於

關於《中國家庭》(2005/2013)

《中國家庭》對充斥於中國和香港城市景觀中重複又 重複的豪宅大廈,作出批判性的解讀。無論是作品標題、 手法,以至雜誌格式,都是參照藝術家Dan Graham 於1966年分析當時美國盛行的一式化房屋而創作的作品 《美國家庭》。 《中國家庭》將Graham的研究從美國城郊 搬到香港,剖析重新調校建築統一性而至成為大眾奢侈品 的公式和策略。

MAP Office(( 香港)/ Laurent Gutierrez ( 香港,1966年生於摩洛哥)和 Valerie Portefaix(香港, 1969年生於法國)
《 中國家庭》
2005/2013
平版印刷
Homescapes
關於

關於《Homescapes》(2006)

《Homescapes》是《中國家庭》項目的延續,藝術家在 密密麻麻的樓宇照片之上疊加發展商售樓書中的宣傳標語。從地產廣告挪用的影像和辭彙,帶出糅合中產家庭期望的 「家園」在現實和理想之間的距離。

MAP Office( 香港)
Laurent Gutierrez ( 香港,1966年生於摩洛哥)和 Valerie Portefaix(香港, 1969年生於法國)
《Homescapes》
2006
彩色照片
爛尾
關於

關於《爛尾》

《爛尾》是一系列荒廢建築物的照片,它們是近年亞洲 房地產熱下的產物,竣工無期。剩下來的空殼,雖然存在, 卻形同虛設,暗暗道出背後失誤的計算、狂妄的野心, 與及變幻莫測的經濟體系。

又一山人(香港,1960年出生)
《爛尾50/神奇樂園01/火箭發射台/北京》
2012
噴墨打印
蛇型畫廊展館《自然/建築》,英國倫敦
關於

關於蛇型畫廊展館《自然/建築概念》概念研習模型 (2013),英國倫敦

2013年,藤本壯介獲蛇形藝廊委任設計倫敦肯辛頓花園的 臨時展館,此乃一年一度之盛事,獲邀的都是國際知名的建築師。藤本壯介的設計是一個雲狀網格構成的展館。在創作過程中製作的多個研習模型,揭示了他出色的設計理念和思路 歷程。他擅於營造輕盈通透、複雜的空間結構,更非常注重 建築物、人與自然之間的關係。

藤本壯介建築設計事務所(日本)/藤本壯介(日本,1971年出生)
15 蛇型畫廊展館《自然/建築概念》概念研習模型,英國倫敦
2013
混合素材
鳥巢#3
關於創作者討論伸延閱讀

關於鳥巢#3

著名荷蘭攝影師Iwan Baan擅長透過拍攝建築物及城市以層次豐富的方式訴說有關建築的故事。這幀照片攝於2008年,當時鳥巢體育館尚在興建之中,攝影師將觀者的注意力由著名的建築物轉移到建築工人身上。停頓的時空予人反思:寂寂無名、被人遺忘的工人忙裡偷閒,坐在體育場工地前看電視;而背景的建築物則是本身正在建造中、在某程度上主要為了傳媒消費而興建的北京地標。

 
鳥巢#3
2007
彩色照片

關於Iwan Baan (荷蘭,1975年出生)

Iwan Baan也許是同輩建築攝影師中最受追捧的佼佼者。他的攝影技巧別樹一幟,鏡頭下的建築物,哪怕最具標誌性的建築物,都不是抽離於人群的個體,而是人文植根於空間的情境之中。曾跟不少建築師緊密合作,包括王澍、馬岩松、OMA/Rem Koolhaas、Zaha Hadid、Herzog & de Meuron、Steven Holl等,其跨度之廣,令他得以傲視同儕,廣泛紀錄二十一世紀初中國以至其他地區建築的驚人發展。

討論

請找出另一張拍攝鳥巢的照片,並跟這作品比對一下。兩者有何異同?同一座建築物,兩張照片各自訴說著甚麼不同的故事?

攝影師透過他的鏡頭,邀請你用另一個角度去看建築物。這些建築工人有著怎樣的故事呢?誰在背後實現像鳥巢這樣的建築工程?試想像建築工人在建造的時候在思考甚麼?當你考慮過他們擔當的角色後,會對建築物有不一樣的想法嗎?

現在請把焦點轉到不同類型的觀眾。你認為這些地標建築的形象是為誰而「製造」的?

想想一系列的著名建築項目,討論「形象建造」的本質以及其對於今天建築的影響。

你覺得「鳥巢」這個暱稱如何?你能舉出其他有別名的建築物嗎?這些別名或暱稱如何有助塑造建築物的形象?請聯想其他跟這照片有關的建築物——是不是看來像巨人的家?

伸延閱讀

<Preview of the construction of the National Stadium – The Main Stadium for the 2008 Olympic Games in Beijing>。取自Iwan Baan 網頁:連結。

Karen Burshten,<Top 13 Nicknames for Iconic Buildings>。取自The Daily Traveller網頁:連結, 2012年5月18日。

廣州歌劇院 #1
關於創作者討論活動

關於廣州歌劇院 #1

Baan拍攝Zaha Hadid設計的廣州歌劇院中的觀眾,捕捉了中國現時建築界種種野心之間存在的諷刺、矛盾和割裂。觀眾的舉止和沉悶的表情跟歌劇院充滿動感和戲劇感的設計相映成趣,形成強烈對比。

Baan的作品把歌劇院放進觀眾的語境之中,反映現實中一般人如何看待這些遠近聞名的建築項目,突顯理想和現實之間的差距。

 
廣州歌劇院 #1
2010
彩色照片

關於Iwan Baan (荷蘭,1975年出生)

Iwan Baan也許是同輩建築攝影師中最受追捧的佼佼者。他的攝影技巧別樹一幟,鏡頭下的建築物,哪怕最具標誌性的建築物,都不是抽離於人群的個體,而是人文植根於空間的情境之中。曾跟不少建築師緊密合作,包括王澍、馬岩松、OMA/Rem Koolhaas、Zaha Hadid、Herzog & de Meuron、Steven Holl等,其跨度之廣,令他得以傲視同儕,廣泛紀錄二十一世紀初中國以至其他地區建築的驚人發展。

討論

Baan也曾拍攝過沒有觀眾在場的歌劇院。請找找看,並比對兩張照片,討論兩者風格的差別,以及所表達的不同訊息。試從不同距離拍攝同一幢建築物,當中有人和無人各一。比對一下兩張照片的不同之處。

建築物在畫面中的大小,以及人跟建築物之間的關係,如何影響照片的感覺?

你有沒有想過,為甚麼建築物的照片裡,畫面總是沒有人或缺乏人的活動痕跡?這會構成甚麼分別?

你喜歡用攝影手法頌揚建築物的宏偉,還是透過攝影師操控的鏡頭揭示跟建築物有關的真人真事?這兩種拍攝方向,作用有何分別?

活動

請檢視畫面裡的人。你認為他們在想甚麼?想像一下他們可能對這個空間設計有甚麼反應。寫下他們腦海裡的想法,並把劇本演繹出來。

交易廣場1、2 及3期,香港
關於

關於交易廣場1、2及3期(1981–1985),香港

交易廣場是香港中區交通及人流的樞紐,其中1期及2期 兩座商業塔樓的外形相約,展示出幾何彫塑風格,此乃Palmer & Turner的建築師Remo Riva的著名特色。塔樓 對稱的外形,以及橫紋設計的外立面,從Riva一貫大膽 作風的草圖和彩繪中生動地表現出來。

巴馬丹拿(香港)/Remo Riva (香港,1946年生於瑞士)
交易廣場1、2及3期研究草圖(1981–1985),香港
c. 1981
墨水筆、鉛筆及色鉛筆紙本
香港上海滙豐銀行1994
關於創作者討論

關於香港上海滙豐銀行1994(1994),香港

著名攝影師Andreas Gursky選擇在晚上拍攝香港上海 匯豐銀行,顛倒這座標誌性的建築。原本最令人觸目的 創新大樓結構在黑暗中消失,最而代之的是一排排燈火通明 的窗格,揭示室內的種種活動。照片以藝術家著名的大幅 尺寸呈現,充分顯示他對受全球化影響的地方的濃厚興趣 和尖銳的觸角。

Andreas Gursky( 德國,1955年出生)
《 香港上海滙豐銀行1994》
1994
彩色照片

關於 Andreas Gursky (於德國,1955年出生)

Andreas Gursky是一名視覺藝術家,目前在德國杜塞道夫生活及工作。1978至1981年間就讀埃森福克旺藝術大學(Folkwangschule)專攻攝影,師承Otto Steinert;1981至1987年間於德國杜塞道夫國立藝術學院(Kunstakademine Dusseldorf)受教於Hilla and Bernd Becher夫婦,二人作品個性鮮明,擅長以冷靜、有系統的分類手法拍攝工業機械及建築物。這對Gursky影響甚深,引發他發展出大幅彩色相片的拍攝風格,以俯視角度拍攝建築物及風景照片。曾於多個主要文化機構參與個展及聯展,包括德國杜塞道夫藝術皇宮基金會博物館同名展覽(Stiftung Museum Kunstpalast,2012)、紐約MOMA「50 Artists, 50 Years」(2012)、畢爾包古根漢美術館「The Inverted Mirror」(2012)、倫敦維多利亞與艾伯特博物館「Postmoderism: Style and Subersion, 1970 to 1990」(2012)、1990及2004年威尼斯雙年展、1996年及2000年悉尼雙年展。2013年東京國立藝術中心個展,2014年大阪國立國際美術館個展。

討論

藝術家鏡頭下的這幢香港地標建築給你甚麼新角度和印象?

這幢建築物的照片把焦點集中於其獨特的骨架結構。攝影師玩弄光影,淡化了外在特徵,讓大樓變得抽象,把注意力集中在室內的活動之上。請用意想不到的拍攝角度或不尋常的布局,拍下城中其他地標建築,為建築物塑造一個與眾不同的形象。試想想,除了建築物本身,你還希望強調甚麼?你有沒有甚麼故事或訊息希望透過這張圖片告訴別人?

巴士底歌劇院,法國巴黎
關於

關於巴士底歌劇院國際建築比賽(1986–1987),法國巴黎

1983年,年僅31歲的嚴迅奇於巴黎巴士的歌劇院設計 比賽中獲勝,成為三位一等獎得獎者之一,揚名國際。時任 法國總統密特朗推行「大建設計劃」,雄心壯志改造首都 巴黎,而該項目便是計劃的一部分,目的是建造一座既現代 而又平民化的國家歌劇院。其選址巴士底廣場正是法國 大革命之發源地,具有重大歷史意義,而預計落成日期也同樣別具深意-法國革命二百週年紀念日。雖然最終建成的是 另一得獎方案,嚴迅奇的方案卻巧妙地保留了該區的精神、 維持周邊建築的原有尺度和輻射式街道網,並破格地注入 一條新的充滿活力的公共通道,貫穿歌劇院大樓。高透明度 的設計,令內部運作一目了然,劇院以開放的氣氛迎接 訪客和大眾。

許李嚴建築師事務有限公司(香港)/嚴迅奇(香港,1952年出生)
巴士底歌劇院國際建築比賽模型(1986-1987),法國巴黎
1983
亞加力及紙板
竹亭 , 德國柏林及香港
關於

關於《竹亭》(1999–2000),德國柏林及香港

《竹亭》是為在柏林舉辦的「香港柏林當代文化節」而建的 一座臨時展覽場所,其後重現於香港。它以創新的手法及技術精湛的設計重新演繹中國傳統竹棚工藝。

許李嚴建築師事務有限公司(香港)/嚴迅奇(香港,1952年出生)
《竹亭》模型(1999–2000),德國柏林及香港
2000
木及塑膠
竹梯,意大利威尼斯
關於

關於《竹梯》(2006),意大利威尼斯

香港於2006年首度參加「威尼斯建築雙年展」,而《竹梯》正是參展作品之一。此作品探索建築作為裝置媒體的可能,重新詮釋香港城市景觀中常見的元素。五百把髹上黑漆的竹梯,以人手綁結方式紮成一座門型裝置,三十條紅色霓虹燈橫跨左右兩側。

思聯建築設計(香港)/林偉而(香港,1958年出生)
《竹梯》模型,意大利威尼斯
2006
混合素材
258號草場地住所及工作室,中國北京
關於

關於258草場地住所及工作室 (1999),中國北京

藝術家艾未未也以建築著名,尤其是北京草場地,2000年 他遷居於此,並協助建立起一個藝術家群落。由他自己的住所及工作室開始,艾未未參照本地建築工人的技巧,利用混凝土建造房子的框架,以砌磚方式打造牆身,從而開拓出一種 獨特的建築語言,並將之應用於草場地及其他多處建築物。

艾未未(中國,1957年出生)
258草場地住所及工作室模型,中國北京
1999
鋼
河北教育出版社大樓,中國河北
關於

關於河北教育出版社大樓(2000-2004),中國河北

非常建築成立於1993年,是中國自1949年後第一家獨立的 建築事務所,創辦人張永和以擅於將先進的概念應用於 中國的特殊環境見稱。河北教育出版社大樓是事務所最早期建成的項目之一,出版社的運作原只需三層的空間,但由於 經濟壓力,故此要加入出租的辦公空間、會議及展覽設施、 酒店和餐廳。為了容納這些不同的空間需求,張永和將建築物分成三個相對獨立的部分,出版社位於最高層,其下的空間 則夾雜著一系列向公眾開放的設施,如咖啡室、美術館和室內籃球場。此乃張永和一項重大的嘗試,在單一座大樓內營造一個城市的環境,實踐了他的「微型城市」願景。

非常建築(中國)/張永和(中國,1956年出生)
河北教育出版社大樓模型(2000-2004),中國河北
2004
輕木及亞加力
四方當代美術館,中國南京
關於

關於四方當代美術館(2003–2013),中國南京

南京四方當代美術館是一項集全球頂尖建築師作品之大型 發展項目的焦點。因應美術館四周的自然美景,建築師Steven Holl從傳統國畫常用的平行透視法中摘取靈感。 建築物的基座以竹模混凝土建成,支撐著懸浮於半空、曲折 的管狀展覽空間,管道轉動的角度採用了平行透視法,產生 「移步換景」的效果。

Steven Holl Architects/Steven Holl(美國,1947年出生)
四方當代美術館展示模型(2003–2013),中國南京
2004
亞加力、硬紙板、木、油漆及金屬絲
土樓公舍,中國廣州
關於

關於土樓公舍(2005–2008),中國廣州

土樓公舍建於毗鄰廣州的南海,借用了中國南部傳統客家土樓的圓形結構。由此,都市實踐通過文化層次和類型化的改造,提供了能促進社會互動的廉租住宅。

都市實踐(中國)
土樓公舍模型(2005–2008), 中國廣州
2007
木和塑膠
由建築師捐贈
都市實踐(中國)
土樓公舍(2005–2008),中國廣州
圖片由都市實踐提供
再生磚
關於創作者討論伸延閱讀

關於《再生磚》(2008–)

《再生磚》是2008年四川省汶川大地震後,旨在協助當地災民——尤其是農村地區的災民,利用廢墟中的瓦礫展開重建工作的一個計劃,用麥、混凝土、沙及倒塌樓房的碎片( 這些樓房往往是不合規格的)就地製成新的磚塊。在這種下放的生產過程之中,《再生磚》啟發了各種物料再生的可能性,超越了一般的物料循環再用。該項目在汶川大地震後仍繼續進行,但物料已改為使用被清拆了樓房的瓦礫。

由家琨建築設計事務所提供

關於劉家琨(中國,1956年出生)

劉家琨是家琨建築設計事務所創辦人兼首席建築師。設計項目曾於國際多地展出,包括德國「中國青年建築師作品展」(Chinese Young Architects’ Work Exhibition)、法國「中國當代建築展」(Chinese Contemporary Architecture Exhibition)、「NAI中國當代建築」、俄羅斯國際建築展(International Architecture Exhibition)、威尼斯建築雙年展。第七屆亞洲建築師協會ARCASIA榮譽獎、2003年中國建築藝術獎、建築實錄中國獎、遠東建築獎、中國建築學會建築創作大獎、奧迪藝術設計大獎。項目於不少建築雜誌刊出,如《A + U》、《AV》、《Area》、《MADE IN CHINA》、《AR》等。曾於世界各地學院任講座嘉賓,包括麻省理工學院、皇家藝術學院、巴黎夏佑宮和中國不少大學。

討論

當天災摧毀一切,我們如何能從廢墟中重建家園?我們能不能從廢墟中找到一些元素,讓我們能重建家園?

建築師如何在諸如天災之類的不幸情勢中,重新評估自己的角色?

試想想其他回應天災人禍的建築方案例子。

伸延閱讀

<Rebirth Brick Proposal>。 取自家琨建築設計事務所網頁:連結,2008年5月。

<Jiakun Liu, Alessi designer>,取自OFFICINA ALESSI 網頁:連結。

Andrea Chin,<venice architecture biennale 08: 'rebirth brick' in the chinese pavilion>。 取自designboom網頁: 連結,2008年9月15日。

Richelle db,<liu jiakun: rebirth brick project>。取自designboom網頁:連結,2011年12月12日。

開始

構。建M+:博物館設計方案及
建築藏品

歡迎瀏覽「構。建M+」 網上學習平台!

此網上學習平台以顯示「構。建M+:博物館設計方案及建築藏品」(2014年1月10日至2月9日)展品之間的相互關聯為主要設計概念,是一個可供教學和自修、適合任何熱衷於建築的人仕使用的工具。

平台的中央是展覽中帶有主導性作用的「路標」,反映了展品之間、零散佈置而重疊的微妙關聯和脈絡。請盡情探索這平台,你可以點擊每項展品以瀏覽其資料。擁有圖像的展品為十六個重點個案研究,其內容涵蓋了更詳盡的描述,包括背景介紹、反思性的討論議題及伸延活動等,讓有興趣的人仕能進一步發掘及了解展覽的内容。

西九文化區管理局M+ 視覺文化博物館
網頁由Studio Hato設計及製作。

關於展覽

「構。建M+:博物館設計方案及建築藏品」是「M+進行」系列的第五個展覽,從建築的角度,介紹香港全新、跨界別的視覺文化博物館M+。展覽展示了由著名瑞士建築師事務所Herzog & de Meuron聯同TFP Farrells與香港奧雅納工程顧問公司共同參與的博物館建築設計過程,讓觀眾進一步認識將於2017年年底落成的博物館大樓。此外,展覽亦首次展出去年國際比賽中入圍的建築設計作品。

是次展覽亦標誌著M+不斷增加以及前所未見的建築藏品的首次展出,展現了M+如何構想、收藏和表述建築環境的其中一些方法。我們希望透過 「構。建M+」彰顯建築之於博物館、香港以至視覺文化的重要性。

博物館收藏是不斷進展、永不完結或圓滿的。然而,收藏總有個開端。M+在首十個月已增添了數百件與建築相關的作品及材料,建立了亞洲首個建築館藏。

藏品包括圖則、相片、印刷品、錄像紀錄、模型、裝置、數碼動畫及其他文獻資料,當中很多都未曾公開展示過。這些藏品有助揭示、保存、詮釋和重溫20和21世紀建築環境的各種敘述,從香港、中國及亞洲這個有利位置,連繫不同地區及其歷史,以至世界每個角落。

透過展出博物館的藝術藏品,並以零散佈置而重疊的「路標」作主題性導賞,我們希望能讓觀眾瞭解建築蘊藏豐富的意涵。建築承載著人類對文化和知識的追求;反映經濟、政治和歷史的影響;體現人際關係與價值體系,以及各種限制、可能性和影響當今世界格局的意外後果。是次展覽展示了M+構想及收藏建築的各種方式。我們很高興能為觀眾呈獻M+的首個建築展覽,在全球的大框架下,從二戰後香港和當代中國的作品出發,讓各位一睹這個未來無論在廣度和深度上都將不斷增長的建築館藏。