Emmanuelle Moureaux’s ‘Slices of Time’ exhibition at Now Gallery

Posted on February 10, 2020 by Toothpicker

I have been a fan of Tokyo-based French architect Emmanuelle Moureaux and her colour-driven architecture for some time. Since 1996, she has been living in Tokyo where she established Emmanuelle Moureaux architecture + design in 2003. I have never actually seen Moureaux‘s architecture and installations in real life, so I was really looking forward to seeing her first art/design exhibition “Slices of time” in London.

Moureaux invented the concept of shikiri, which literally means ‘dividing (creating) space with colours’. She uses colours as three-dimensional elements, like layers, in order to create spaces, and her work ranges from art, design to architecture.

Inspired by the location of the gallery, near the Greenwich Meridian, “Slices of Time” expresses the past, the now and the future through 168,000 numbers cut out from paper. The cut-outs are hung in the gallery space, as a representation of the round earth floating. 100 layers of numbers in 100 shades of colours visualise the next 100 years to come (2020 to 2119), while 20 layers of numbers in white represent the past 20 years (2000 to 2019).

On the preview night, I headed to NOW Gallery on the Greenwich Peninsula, and a long queue had already formed outside of the gallery. At the door, we were assigned a timeslot and when it was our turn, we had to queue (again) outside of the exhibition area. We were allowed to walk around the installations for a short period before being hurried out to let the next group in.

It was wonderful to see the striking installations from above and up close. I am also glad that the architect has chosen paper as her medium – the installation truly reveals the beauty and power of paper. I only wish that I was given more time to linger, but since I was going to be away for several months, this was the only opportunity for me to see the exhibition before leaving. And for those who don’t live in London, there are currently two other exhibitions being held in Taipei (“Forest of Numbers” ) and New York (“100 colors”) where visitors can be stimulated by vast array of colours.

Hong Kong heritage: The Mills (Part 1)

Posted on May 27, 2019 by Toothpicker

Interesting 1950s-60s architecture

If you take the MTR in Hong Kong, you are most likely to encounter the name ‘Tsuen Wan’ because one of the main lines is the Tseun Wan line (red) and its station is at the end of the line in the New Territories. Around 100 years ago, this area used to be a village by the bay where pirates would pass through frequently. Then in the 1940s, many Shanghai industrialists from Mainland China moved to Hong Kong and then established textile factories (Hong Kong used to be renowned for its textile and denim industry) to manufacture textiles and garments for export. The area started to change when the Hong Kong Government developed it into a new town, building new housing estates to accommodate the growing population. Sadly, the textile industry started to decline around the 1980s, and the 33 mills gradually shut down; although some factory buildings still remain, the city’s textiles history has long been forgotten.

Traditional shops in Tseun Wan

One of the prominent factories here was Nan Fung Cotton Mills, established in 1954 by Chen Din Hwa (from Ningbo in China), who was known as the ‘king of cotton yarn’. Six mills were built between the 50s-60s, but Mill 1, 2 and 3 were knocked down in the 80s, and only Mill 4, 5 and 6 survived. In 2008, the mills ceased operation and a revitalisation project was annouced in 2014 to convert the factories into a destination for innovation, culture and learning. The project was initiated by Chen’s granddaughter, Vanessa Cheung, the managing director of Nan Fung, who wanted to preserve the site and its heritage. Four years later, The Mills was born.

I have witness numerous failures with the Government-backed conservations/restorations projects in Hong Kong, so I try not to have high hopes these days. However, since the HK$700 million-plus project was privately funded by the Nan Fung Group (now a major property developer and shipping company), I was slightly more optimistic before my visit. And unlike other heritage sites in Hong Kong, the attraction of this project is not its architecture, but its history and heritage that was tied to Hong Kong’s textiles industry.

I have never been to Tseun Wan before, but I found the walk from the MTR station to the venue utterly fascinating. I had to walk through a neighbourhood full of 1950s architecture including housing estates, schools and tradtional specialist shops selling dried seafood, hardware, stationery and groceries etc. It was really interesting to see elderly and children hanging out in the area; the neighbourhood seemed laidback and authentic.

I have read very mixed reviews about the venue before my visit, and they are mostly based on one’s expectations… it would be unfair to summarise or judge this place until you see it for yourself. I was actually quite pleasantly surprised by it, and I think it has exceeded my expectations (but like I said, I had very low expectations beforehand).

The 2,400sqm (260,000sqf) L-shaped site is huge, and it is not easy to nagivate around if you are here for the first time/enter from the side entrance. The company’s in-house architects, Boris Lo and Gary Ng, worked with Billy Tam, the partner at Thomas Chow Architects Ltd (also responisble for transforming PMQ in SoHo) on this project, and they have managed to keep much of the industrial look and architectural details in a respectable manner.

4th row: The old gate (with rows of golden cup motifs) of the factory has been preserved and now sits behind the reception area.

There are three pillars at The Mills: Centre for Heritage, Arts and Textile (CHAT), The Mills Fabrica (a techstyle incubator) and The Mills Shopfloor (an experiential retail space). CHAT is an exhibition and studio space that focuses on contemporary art, design, science, heritage, community and craftsmanship. There are also regular artist talks and workshops that are related to textiles, craft and design.

It is difficult to find a spacious, bright and airy venue in Hong Kong, so I particularly liked the spaciousness and relaxing ambience at The Mills. At the Fabrica Atrium, the original columns have been removed and parts of the roof replaced by skylights to create a long and naturally lit space, which I think works very well.

One feature that stands out at the site is the creation of The Park on the rooftop, a formerly vacant concrete space that has been transformed into an urban public space for the neighbourhood. The 4m x 23m wavy weaving wall mural, inspired by Hong Kong’s textile history, was created by Hong Kong artist, Lam Tung Pang and design consultancy Collective. When you look up, you can also see the restored signage of the former factory that says: Nan Fung Textile Co., Ltd.

To be continued…

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Hong Kong heritage: Tai Kwun 2010 vs 2019

Posted on May 25, 2019 by Toothpicker

Since its opening in mid 2018, Tai Kwun (means ‘big station’ in Cantonese) has become the hottest heritage destintation in Hong Kong. Located at the eastern end of Hollywood Road, the 300,000sq ft compound comprises three declared monuments: the former Central Police Station, former Central Magistracy and Victoria Prison. The revitalisation project is the biggest conservation project in Hong Kong –costing HK$3.8 billion– was led by The Hong Kong Jockey Club in partnership with the Hong Kong Government. The aim was to redevelope the site into a world-class heritage and arts centre.

Swiss architects Herzog & de Meuron, who are also responsible for the city’s M+ museum of visual culture (opens in 2020), worked with UK conservation architects Purcell, and local firm Rocco Design Architects to revitalise 16 historic buildings, a prison yard and parade ground dating between 1864 and 1925. Aside from restoring the old buildings, two new buildings – JC Contemporary and JC Cube – were added to house an art centre dedicated to contemporary art, and a 200-seat auditorium, respectively.

After the restoration (2019)

Interestingly, I was lucky to have visited the compound just before the restoration works began in 2011. In 2010, the annual deTour creative festival (which coincides with the Business of design week) took place here, so I was able to explore the site and record the exteriors and interiors before the restorations began.

When you look at the photos, you would notice that no significant structural changes were made to the 16 heritage buildings aside from new paint, the removal of wires and some essential restoration works. It is never easy to restore heritage sites, especially a compound with 16 buildings, and I think this project has to be one of the most sucessful cases in Hong Kong (if you look at the disastrous 1881 Heritage in Kowloon, then you would know what I mean).

The exterior of the site in 2010

Entrance – Before and after

The two new buildings are clad with a façade unit system made from 100% recycled cast aluminum, and the units create a contrast with the historical masonry blocks underneath. The the cast aluminum units have a distinctive roughness and texture, which helps to reduce the reflectivity and glare during the daytime. At night, light emitted from the building would be partially screened by the façade units, but without creating light pollution. The new additions have certainly made the site even more ‘instagrammable’ among visitors.

The new JC contemporary & JC Cube designed by Herzog & de Meuron

Wandering inside the JC contemporary building, I was reminded of the new extension at Tate Modern in London, which was also designed by the same architectural firm. The use of concrete and the design of the spiral staircases are very similar. The catch with employing starchitects is that they like to apply their signature styles onto most of their works; the best example is Norman Foster‘s airports – honestly, the world doesn’t need another cloned Foster-style airport! I do hope that the new M+ museum is not going to be a replica of Tate Modern.

Inside the JC Contemporary building: the spiral staircase

Art exhbitions: 1st & 2nd rows – Wing Po So’s 6-part practice; last row: Wong Ping’s animation

The 177-year rich history of the heritage complex reflects Hong Kong’s ups and downs during the British colonial era. Not only Ho Chi Minh was imprisoned here for 2 years in 1931-33, it was also used as a Japanese army base during the Second World War. Visitors can find out the history of the complex at the heritage storytelling spaces, and free guided tours are available daily.

As always, shopping and restaurants play a major role in a complex like this. Thankfully, the shops and restaurants here are mostly independent and local rather than chains like Starbucks or Pizza Express. A cultural centre needs alternative shops and restaurants to differentiate it from other shopping malls, and Tai Kwun has achieved this.

The heritage storytelling space, the former prison cells and a former court room

Although I think the architects of the project have successfully restored and revitalised the complex, I can’t help feeling that ‘something’ is lost in the process as well. Perhaps this is inevitable due to the scale of this project.

When I look at the photos taken inside the prison in 2010, the place had a slightly eerie and atmospheric feel, whereas now, the prison looks more polished and embellished. It is a shame that many of the fascinating old signage and inmate call system were removed too. Without these details, the prison looks more like a film set, and the authenticity is lost. But then again, as most Hong Kongers would say: “Hong Kong is a city with no memory” (old buildings are constantly being torn down and replaced daily), so when it comes to conservation, this probably is the best that you could ever hope for.

The prison cells before the restorations (2010)

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Japonismes 2018: ‘Tadao Ando: The Challenge’ exhibition at Centre Pompidou

Posted on November 2, 2018 by Toothpicker

In my opinion, French people have always been fascinated by Asian culture and art, much more so than the English. Japonisme and Chinoiserie were extremely popular in Europe during the 18th and 19th centures; and thanks to globalisation, Japonisme is making a comeback. Officially.

To celebrate the 160 years of friendship between Japan and France, the Japonismes 2018 festival was launched to bring Japanese art and culture to Paris from July 2018 to February 2019. One of the major events is a major retrospective of world-renowned Japanese architect Tadao Ando at Centre Pompidou.

36 black and white photographs taken by Ando, 1984

‘Tadao Ando: The Challenge‘ focuses on four main themes – the simplicity of space, the urban challenge, project genesis and dialogue with the past. The exhibition covers Ando‘s fifty major projects over five decades via 180 drawings, 70 original plans and numerous slideshows. As soon as I walked in, I was captivated by the striking black and white photographs taken by Ando of his own architecture. The use of smooth concrete, natural light and simple geometry is highlighted in these photos, and there is no need for captions or descriptions.

The exhibition reminded me of an incident at Toto Gallery Ma in Tokyo ten years ago when my friend and I went there to see Ando’s exhibition. We had no idea that the architect was giving a talk on the day, and was surprised to see him there. However, we were stuck inside for ages due to the crowd – it was quite chaotic by Japanese standard! I didn’t see the architect this time, but at least I got to see the exhibition without leaps of people around me.

Besides his famous works like the Church of Light and Azuma House, there are also models and drawings of his unbuilt work, including his rejected plan for Tate Modern, and Nakanoshima Project II, featuring an egg-shaped shell within Osaka City Hall – which I think is quite ground-breaking.

There is also a model of Ando‘s new project in Paris: Bourse de Commerce – Pinault Collection. With an estimated budget of $170 million, Ando was commissioned by François Pinault, the founder of the luxury group Kering and the investment company Artémis, to renovate the 19th-century former stock exchange and transformed it into a contemporary art venue. Even though there is no shortage of art venues in Paris, it is still exciting to see Ando‘s new work in Paris – can’t wait to see it.

Houkusai & Hirashige’s ukiyo-e exhibition at MOA Atami

Posted on October 22, 2018 by Toothpicker

After my visit to Kyu Hyuga Bettei, I headed back to the train station to take a free shuttle bus to the MOA Museum of Art situated on the top of hill that overlooks the sea. Like Miho Museum in Kyoto, this private museum was opened in 1982 by the Mokichi Okada Association (MOA) to house the art collection of the multimillionaire and religious leader (Church of World Messianity) Mokichi Okada (1882–1955).

There are 3,500 paintings, calligraphy works, sculptures, lacquerware and ceramics focusing on Japanese and Chinese art. The museum reopened in 2017 after a major renovation by contemporary artist Hiroshi Sugimoto and architect Tomoyuki Sakakida.

Interestingly, in order to reach the entrance of the museum, visitors have to go up a series of long escalators in a tunnel-like setting with colour-changing lighting. And when visitors reach the top, there is a dome showcasing some projected imagery with sound installations. The whole experience (before you even reach the museum) is immersive and uplifting, which makes you anticipate and look forward to what is to follow.

Finally, after I left the first building, I was out in the open with the sky and sea on one side, and a massive pinkish contemporary building on the other. And before stepping onto the the long and wide staircases, I was greeted by Henry Moore’s bronze work, “King and Queen”. I was incredibly lucky with the weather, and the view of the sky and sea was spectacular on the day of my visit.

I was also fortunate enough to have been able to see the special exhibition: “Hokusai and Hiroshige―The Thirty-six Views of Mt. Fuji and the Fifty-three Stages of the Tokaido“. Although I have seen several exhibitions on the ukiyo-e by Hokusai and Hiroshige, I have never seen the two complete series side by side, so I was really excited about it.

Thirty-Six Views of Mount Fuji by Katsushika Hokusai

Published in 1831 by Nishimura Eijudō press, Katsushika Hokusai’s (1760-1849) 36 woodblock print designs were published initially, with 10 more added later on. The two most famous prints are “The great wave of Kanagawa” and “A mild breeze on a fine day” or The Red Fuji”, and they both depict the power and calmness of nature. In every print, the revered Mount Fuji can be seen from different angles, sizes and colours.

“Fifty-three Stations of the Tokaido” by Utagawa Hiroshige

The Hoeido press published Utagawa Hiroshige’s (1797-1858) “Fifty-three Stations of the Tokaido” in 1833-4 after his expedition with the Shogun from Edo to Kyoto the previous year. The series of woodblock prints feature the landscape of the 53 post stations along the The Tokaido route, which connected Edo with the then-capital of Kyoto. If you want to learn more about this, you can check out this map that features the locations and prints by Hiroshige.

The compositions, the use of colours and tones, and most importantly –humanity– are expressed vividly by the two great masters. It was a real treat to be able to see the complete sets at this exhibition.

Besides the temporary exhibitions, there are some exquisite National treasures that can also be found at the museum. One of them is Ogata Korin‘s masterpiece from the Edo period “Red and White Plum Blossoms,” painted on a pair of two-panel folding screens. The other is another Edo period Tea-leaf jar with a design of wisteria by Nonomura Ninsei. And in another room, there are also some photographic works by Hiroshi Sugimoto of the sea shot from Atami.

There is even a Noh theatre inside the museum where performances and concerts are held regularly.

One you step out of side of the building, a path would lead you to the Japanese tea garden, Ippaku-an and Shotei tea houses and the reconstructed Residence of Ogata Korin (a famous Japanese painter, lacquerer and designer of the Rinpa school) based on the documents from the Konishi Archive.

It was incredibly calm and meditative to walk around the garden, and I only wish I had more time to spare here. I would recommend a visit to this stunning museum especially if you want to get away from the hustle and bustle of Tokyo. Although Tokyo offers many world-class museums, it is the beautiful nature and environment that makes this museum stands out from the crowd.

The D.T. Suzuki Museum in Kanazawa

Posted on October 17, 2018 by Toothpicker

Out of all the sights I visited in Kanazawa, my favourite was the tranquil and minimalist D.T. Suzuki Museum, a small museum commemorating the life and works of Suzuki Daisetz Teitaro (1870-1966), a prominent Buddhist philosopher and writer.

Suzuki received his Buddhist training at the Engakuji Zen monastery in Kamakura and later became a professor of Buddhist philosophy at Otani University in Kyoto. Aside from Japanese, Suzuki was proficient in English, Chinese and Sanskrit, and he translated numerous religious texts and scholarly articles. He was also the author of more than 100 works on Zen and Buddhism in both Japanese and English. I have read one of his most popular books: “An Introduction to Zen Buddhism” (1934), which is considered an influential book that brought the teachings of Zen Buddhism to the Western world esp. to the United States.

The museum opened in 2011 and it was designed by well-renowned Japanese architect, Yoshio Taniguchi (also known for his redesign of the Museum of Modern Art in New York). The architecture and landscape is so serene and calming that it is hard not to want to slow down when you enter the museum. There are only a few exhibit rooms showcasing the writings and some photographs of Suzuki, but it is sufficient for visitors to learn about his dedication to Zen Buddhism.

Outside of the main building, there is the Contemplative Space, where visitors can sit in a large room with benches, take time to meditate or contemplate while enjoying the view of the Water Mirror Garden outside.

The Water Mirror Garden outside also embodies the same Zen and tranquil quality found inside the museum and in the Contemplative Space. There is much harmony between the architecture and nature, and in many ways, I think this museum can be seen as a modern ‘Zen temple’.

Here is a quote from “An Introduction to Zen Buddhism” by Suzuki on Zen:

“The idea of Zen is to catch life as it flows. There is nothing extraordinary or mysterious about Zen. I raise my hand; I take a book from the other side of the desk; I hear the boys playing ball outside my window; I see the clouds blown away beyond the neighbouring wood: — in all these I am practising Zen, I am living Zen. No wordy discussions is necessary, nor any explanation. I do not know why — and there is no need of explaining, but when the sun rises the whole world dances with joy and everybody’s heart is filled with bliss. If Zen is at all conceivable, it must be taken hold of here.”

The back exit of the museum can lead you out to the top of the hill where you can get a view of the 21st Century Museum of Contemporary Art. And as you follow the path, you will reach Kenroku-en, one of the Three Great Gardens of Japan.

I.M. Pei’s Shangri-La – Miho Museum

Posted on July 9, 2018 by Toothpicker

“The Peach Blossom Land” was a Chinese fable written by poet Tao Yuanming in 421 CE about a fisherman’s discovery of a hidden valley – an ethereal utopia where contented people lead an ideal existence in harmony with nature, unaware of the outside world for centuries. It is similar to the mystical and harmonious valley Shangri-La described in the novel “Lost Horizon” by British author James Hilton. Interestingly, human beings have always longed for an utopia like Shangri-La, yet we never seem to be able to live harmoniously with nature, and we have irrefutably destroyed countless of Shangri-Las since human civilisation.

If Shangri-La does exist, what would it look like? Chinese/American architect I.M. Pei created his version in the mountains of Shigaraki about an hour outside of Kyoto. A friend strongly recommended the Miho museum to me years ago, but sadly it was closed for months during my last visit to Kyoto a few years ago. During this trip, I met up with a friend who was spending a few months in Kyoto, and she was keen to return to the museum despite having visited it a few weeks earlier. She told me that the museum’s famous cherry blossom was the reason for her to return to the museum, and suggested that we depart early to avoid the crowds. (N.B. the trip to the museum requires a train journey followed by another 50-min bus ride).

It turned out that other visitors had the same idea, so we had to travel with heaps of tourists heading towards the museum. The bus usually departs from the train station at every hour, but due to the unprecedented numbers of visitors, additional buses were deployed to cope with the mass numbers. Several buses full of visitors heading up to Shangri-La was not what I expected, and I doubt Mr Pei would have foresaw this either.

Opened in 1997, the museum was commissioned by the controversial heiress Mihoko Koyama and her daughter Hiroko to house her private collection of Asian and Western art and antiquities. Mihoko Koyama was the founder of the new religion movement Shinji Shumeikai, which is widely regarded as a cult group. From the museum, visitors can see the headquarters of the group and a bell tower, also designed by I.M. Pei in 1989. I am surprised by Mr Pei’s decision to work for a suspected cult leader, but I guess nothing is quite black or white in our complex world.

Perhaps Mr Pei was impressed by the site, which is located in a stunning nature reserve. There were many challenges that Mr Pei had to overcome, and one of them was to create harmony between the building and its surrounding environment and topography. And he succeeded this by burying eighty percent of the museum beneath the surface of the mountain. The museum itself is reachable through a tunnel and a suspected bridge, and the sight of the cherry trees is spectacular during the cherry blossom season. It is no wonder that so many tourists would make their way out of Kyoto to visit this museum.

The museum collection is not huge, but it is remarkable and fascinating. Best of all, it is complemented by the equally impressive architecture that emphasises on natural lighting and geometric forms – elements that is often seen in Mr Pei‘s works (e.g. Louvre’s Pyramid). I think the elegant and understated style resonates with the traditional Japanese aesthetics. Personally, I think this is Mr Pei‘s masterpiece, and one of the most stunning museums that I have ever visited. It felt like a discovery experience because you are never quite sure what you would encounter next.

After spending some time wandering around the museum, the crowds started to disperse and we were able to enjoy the space more. At lunch time, our stomachs were rumbling and we headed to the restaurant only to be told that lunch had sold out already! The waitress apologised politely and suggested that we go to the cafe near the parking to try our luck. Unsurprisingly, there was a long queue at the cafe and so we ended up buying some bread (not sandwich, but plain bread with no butter or filling) at their bakery as there was nothing else nearby. I was flabbergasted by how ill-prepared the museum was in regards to the high numbers of visitors, and got more agitated when I saw the long line of people waiting for the bus. Packed like sardines for almost an hour, we were transported to the train station, and I felt relieved to finally get away from other tourists.

It was a shame that my visit to the museum was tainted by the overwhelming of numbers of visitors – I think I would have enjoyed it more during the off-peak season. When I remembered my pilgrimage hike in Kumano Kodo just the week before, I realised that I had already found my Shangri-La – it is a tranquil and unspoilt place where nature rules. If men can learn to respect and listen to nature more, then we can see that Shangri-Las are everywhere, and it is not a special place that we have to seek.

Dungeness, Prospect cottage & Hurricane Ophelia

Posted on October 22, 2017 by Toothpicker

One early October weekend, I was checking the weather forecast on my iPad and it showed that Monday would be sunny. The symbol of the sun somehow triggered an urge in me to go to the seaside. I thought of visiting The Folkestone Triennial, but the photos of some contemporary art installations randomly (or not) placed around the seaside town did not really appeal to me. Then I thought of Derek Jarman‘s Prospect Cottage in Dungeness – a National Nature Reserve that I have wanted to visit for years – and within the next hour, my day return train tickets to Rye were booked.

I had no idea how to get to Dungeness from Rye, and after some frantic search on the internet, I found out that I had to take 2 buses to get to this remote and desolate part of Kent.

The Pilot Inn

On the day, with the help of a kind bus driver and a lovely elderly passenger, I arrived outside of The Pilot Inn in Dungeness around lunch time. The pub was surprisingly busy on a Monday afternoon, and after having their famous fish and chips, I began to ramble towards the sea. And soon I found myself alone on the beach. Where were all the people from the pub? It turned out that they all drove to the pub for lunch and left afterwards.

I have read a lot about Dungeness before I arrived, but nothing could prepare me for what I saw and felt while I was there. Dubbed “Britain’s only desert” by the Met Office, the landscape here is truly unique. From the surface, the 468-acre nature estate appears to be barren, it is in fact home to 600 species of plants – a third of all plants found in the UK. And in 2015, the estate was sold to EDF Energy (which owns the nuclear power station on site) for more than £1.5m. And they had been paying up to £100,000 per year to use shingle to protect the power station from the sea!

Yes, I had expected to see a vast shingle beach, but I was surprised to see plenty of abandoned rusty machinery, a few old boats and even disused railway tracks scattered across the site. The rusty machinery on the shingle beach fascinated me, because they are like art installations (I was glad that I chose to spend the day in Dungeness rather than Folkestone), and I began to meander across the site following the trails of the machinery.

During my first hour on the beach, I did not see a single person around. Although I enjoyed the solitude, it did feel slightly strange (perhaps I have lived in London for too long). Eventually I headed towards the sea, and despite the strong wind, the smell of the sea, and the sounds of waves and seagulls made me feel grateful to be so connected to nature.

It is easy to lose track of time and bearing here. I somehow felt like I was in an episode of The Twilight zone. Beguiled by the surroundings, it suddenly dawned on me that time was slipping away and I needed to head towards Prospect Cottage – the purpose of this trip!

I am not sure why it took me so long to visit Derek Jarman‘s famous garden, especially because I learned about this place when I was still a student. It was my cousin who suggested that we should go and watch his feature-length film, The Garden, at the ICA. I remember the cinema was almost empty and we both nodded off during the film. However, after all these years, some imagery of the cottage and garden still remained in my memory.

Twenty-three years after his death, the appeal of the multitalented British artist/filmmaker still endures. His garden book became a best-seller; his former cottage and garden became a mecca for gardeners, artists, designers, poets, and film buffs etc. This is not Stonehenge, so you will not see coaches of tourists flocking here. Instead, you are likely to meet individuals making their own pilgrimages to pay their respect to a visionary artist. In our trend-driven world today, Jarman‘s influence still lingers because he never followed trends; he only followed his heart and his garden reflects that.

Although this is a private property (now occupied by Jarman‘s former lover Keith Collins), visitors can walk around the garden and appreciate a distinct garden that truly unqiue. Maintained by Collins and Jarman’s good friend Howard Sooley, a gardener and photographer (of his book), the postmodern style garden blends exceedingly well with the dystopian surroundings.

There is a poem on the black timber wall of his cottage from John Donne‘s ‘The Sun Rising‘ and it reads:

Busy old fool, unruly Sun,
Why dost thou thus,
Through windows, and through curtains, call on us ?
Must to thy motions lovers’ seasons run ?
Saucy pedantic wretch, go chide
Late school-boys and sour prentices,
Go tell court-huntsmen that the king will ride,
Call country ants to harvest offices ;
Love, all alike, no season knows nor clime,
Nor hours, days, months, which are the rags of time.
In that the world’s contracted thus ;
Thine age asks ease, and since thy duties be
To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere ;
This bed thy center is, these walls thy sphere.

Walking around the garden, it reminded me of the Zen gardens that I visited in Kyoto. The rusty installations, the rock circles, and choices of plants seem to capture the essence of wabi sabi. Inspired by dolmens, the garden’s rustic style and laidback attitude reflect the director’s distaste for perfectionism. In his garden book, he criticised The National Trust’s gardens as being too manicured and said: “If a garden isn’t shaggy, forget it.”

While I was there, three cars stopped by (one after another) and coincidentally, three elderly ladies with cameras got out of the car and spend 5 minutes walking around taking photos while their husbands (I assumed) waited for them inside the cars. And as soon as the ladies got into the cars, they were off in no time. I thought this sequence was rather amusing.

Walking away from the cottage, I was surprised (again) to pass by some rundown bungalows with abandoned furniture and suitcases scattered outside. Yet not far away, there are some intriguing contemporary houses like The Shingle House designed by a young Scottish practice, NORD for Living architecture which is available for holiday rental. Another holiday rental house is Pobble house designed by British architect Guy Hollaway. A recent addition is the North Vat by Rodić Davidson Architects, a shed-like structure that replaced the site’s fisherman’s cottage.

There are also two lighthouses here, one is the Grade II listed Old Lighthouse opened in 1904, and a newer one built in 1961. The landscape here is full of contrasts, contradictions, and nothing seems to make much sense, but this is also the reason why it is so unique.

Top row: The Shingle House; 2nd row: Pobble House; 3rd row: North Vat

As I started to head backwards, the sun gradually turned bright orange and so did the sky. I was completely confused as it was only three o’clock and yet it looked as if the sun was setting. Seeing the nuclear power plant and lighthouses against the hazy orangy sky and sun made the landscape look even more surreal and apocalyptic. It was only later I learned that the unusual phenomenon was caused by Hurricane Ophelia pulling up Saharan dust, which was then reflected and refracted in longer wavelengths, giving an orange colour to the sun and sky.

Could I have picked a better day to visit this desolate site? I couldn’t believe my luck. The day felt like an adventure; it was memorable and full of pleasant surprises. I love Dungeness and will surely make another trip back to explore further afield.

Hauser & Wirth & Drawing Matter in Somerset

Posted on October 5, 2017 by Toothpicker

Hauser & Wirth Somerset

One day I receive an interesting newsletter from Architecture Foundation regarding a day trip to Somerset, visiting Hauser & Wirth and the nearby Drawing Matter. I had no idea that The 2014 Serpentine Pavilion designed by Chilean architect Smiljan Radić had been relocated to Hauser & Wirth Somerset in 2015. It is one of my favourite pavilions, so I was glad that it found a new home in a beautiful environment. Since both venues are difficult to reach without a car, it was a good opportunity to kill two birds with one stone.

The weather was rather inconsistent throughout the day, and at one point, the sky turned grey and rained quite heavily. Luckily, the sky cleared before we reached the destination, and we even drove by the famous Stonehenge.

Driving past Stonehenge

Often Londoners live in the ‘London bubble’ and are slightly oblivious of the world outside of it. I am no exception. Luckily, I have lived in different parts of England before, so I do enjoy venturing out of the city and explore other parts of the U.K. And since I went to a boarding school in Somerset for two years when I was a teenager, I have some fond memories of this area. Interestingly, I also attended my good friend’s wedding in the nearby Bourton in June, so I felt nice to be back here.

I actually didn’t know about the existence of Hauser & Wirth Somerset until this trip, and apparently Bruton –where it is situationed– is now one of the most sought-after town in Somerset.

Opened in 2014, Hauser & Wirth Somerset is a farmhouse-converted contemporary art gallery and multi-purpose arts centre. The land consists of a group of Grade II listed farm buildings including a farmhouse, cow sheds, stables, a piggery, a threshing barn, fields and woodland. As well as refurbishing the dilapidated farm buildings, two new wings were added to connect the buildings by Paris-based and Argentinian-trained Luis Laplace, and the result is very impressive.

Laplace has done a remarkable job in restoring the farm buildings and in creating a contrasting but harmonious balance with the new additions. I love the wooden roof beams, stone walls, barn doors and bright gallery space. Currently, there are two exhibitions showing at the gallery: Josephsohn/ Markli’s ‘A Conjunction’ and Rita Ackermann’s ‘Turning Air Blue’ (both until 1st January 2018).

Top & 2nd left: Swiss Sculptor Hans Josephsohn’s sculptures; 2nd right & 3rd row: Swiss architect Peter Markli’s architectural drawings; Bottom row: Rita Ackermann’s ‘Turning Air Blue’ exhibition

Aside from the art galleries, there is a bookshop and another shop selling artisan crafts and designs that are made locally. Roth Bar & Grill is a restaurant/cafe/bar focusing on sustainable and seasonal produce from the on-site farm and kitchen Garden. And at the back of the lawn is the restored six-bedroom 18th century Durslade Farmhouse which is available for rental.

For me, the highlight of the venue is the stunning garden designed by Piet Oudolf, the internationally-renowned landscape designer from the Netherlands. Oudolf is a leading figure of the “New Perennial” movement, and is responsible for New York’s famous High Line.

I am not a gardener or a garden expert, but I do love his naturalistic approach to gardening. The variety of species and combination and his method of planting differ from the classical European and English gardens, and it is a real joy to wander around the unostentatious and relaxing garden.

Situated at the back of the garden is the Radić pavilion, which I think looks splendid in Oudolf‘s garden. Inspired by the primitive nature of Romantic-style follies, the pavilion is an odd-looking structure made of fibreglass. The structure is unlike any architecture that I have seen before, and it breaks many ‘rules’, so I am sure it does not appeal to everyone. Personally, I find the bulbous shape comforting and enchanting; it is playful, archaic and futuristic at the time. It doesn’t seem to belong to any time period, which I think is quite groundbreaking.

Sadly, our time at Hauser & Wirth was limited and we had to take the coach and head towards our next destination: Drawing Matters.

Founded by Niall Hobhouse – a collector of architectural drawings, sketches and models – loosely based on the master plan by Cedric Price, Drawing Matter focuses on architectural drawings and models from the 16^th to the 21^st century, assembled over the last twenty-one years.

Located at Shatwell, the site comprises a small collection of buildings around a working farmyard in a valley. We visited the Archive on its open day, otherwise it is usually open by appointment to tutor-led groups of students, architects, and researchers only.

Unlike the more polished Hauser & Wirth, this farm site is an ongoing project and there isn’t much to see except for The Archive, the Hadspen Obelisk by Peter Smithson, and a shipping container that has been converted into a mini library full of books on architecture and landscape design.

Since most of the people in the group were architects, they were ecstatic to see hand-drawn architectural drawings by famous architects such as Frank Lloyd Wright, Le Corbusier, and models by contemporary architects. The drawings on display at the Archive on the day were just a small selection of work, which are part of their current curatorial and exhibition projects in the UK and abroad. And if you want to see the vast collection, you can check out their online collection via their website.

Top: the Archive, 2nd row: Frank Lloyd Wright (1867–1959), Drawing for the ‘Eaglefeather’ estate for Arch Oboler in the Santa Monica Mountains, 1940. 3rd row: Androuet du Cerceau; 6th row: Nobuo Sekine‘s ‘Phase of Nothingness’; Bottom row: the office

After spending some time going through the drawings, we were treated with free coffee and cakes by the friendly owner of Chapel Cross coffee room. Then we wandered around the site, and came across Alison and Peter Smithson’s Obelisk. Originally conceived in 1984 for an urban site in Siena, then reworked in 1994 as a woven spiral called the Inlook Tower. Another chapter in the work’s history saw it erected on the estate of Hadspen House, Castle Cary in 2002.

Before we set off, I walked up to the top of the valley and ramble across the fields. The view of the Somerset countryside from the top of the valley was breathtaking. As the dark clouds started to approach us and rain started to fall, it was finally time to leave.

The architecture-related trip was a rewarding one, and it reminded me how interesting life can be outside of London. I have visited many parts of the U.K. this year, and I will continue to do so in the future because there is just still so much to see and explore.

Open House 2017: Highgate

Posted on September 20, 2017 by Toothpicker

Highgate’s hidden gem – Omved gardens

Honestly, I am finding it harder to enjoy London these days, and it is partly due to the city being overcrowded. The worst time is June and July when tourists and school children from abroad flock over here – it is a nightmare. September used to be pleasant, but not anymore. Once upon a time, the Open House weekend used to be a well-kept secret, but now it has become a major event in London where every ticketed events are sold out weeks in advance.

Hence I decided to focus on neighbourhoods outside of zone 1, hoping that I would not have to spend hours queuing or being turned away when I arrive. On day one, I headed up to Highgate village to visit a well-hidden and delightful Omved gardens, which is not normally open to the public.

A few years ago, the sloping site of a former garden centre was bought by developer Omved International hoping to convert the site into luxury homes, but locals protested and the council later rejected the plans (thank god!). Later, London-based architectural firm Hasa Architects was hired to transform the six derelict glasshouses into a multi-functional events venue.

This garden project aims to explore the possibilities of a forgotten piece of land, and how it could be rejuvenated. It was a collaboration between architects, structural engineers, landscape architects, artists, artisans and craftsmen; and the result is very impressive. Besides the glasshouses, the community garden is lovely as well, and it offers a nice view of the local area.

A temporary exhibition at the Omved garden focusing on the architecture in Highgate and the planning and building process of the garden

Built in only 6 weeks, the architects have retained the frame and construction of the original building. They used birch plywood panels for the platforms, joinery and walls for the space, as well as sliding doors, while the original metal frames and glazing of the structures have been restored.

The truth is that London actually has a lot of derelict buildings and lands, but instead of regenerating these wastelands, the local councils and property developers are constantly gentrifying areas in London that do not require it. I think London desperately needs more innovative projects like these rather than the current social cleansing projects that are ruining the city and pushing out poor Londoners from their homes.

The nearby Highgate School

My second destination was 8 Stoneleigh Terrace in Highgate New Town, a social housing estate that I have always been curious about every time I passed by it. In recent years, I became interested in London’s post-war social housing, and I have visited several estates at the Open House in the past like the Alexandra and Ainsworth Estate, Golden Lane estate and Balfron Tower. If we could ignore the grim and untended concrete exterior, we would pleasantly surprised by the functional and thoughtful layout and designs of these buildings. Do not judge a book by its cover. I think the demise of the English social housing scheme (and NHS) is quite tragic because some of the architects and planners behind these projects were visionaries and pioneers who made a difference during the difficult post-war period.

Located next to Highgate Cemetery, 8 Stone Terrace – within the grade II listed Whittington Estate – was designed in the 1970s by the architect Peter Tabori (who used to work for Ernö Goldfinger) during Camden Council’s ‘golden age’ of progressive social-housing development under Borough architect Sydney Cook. Inspired by architect Neave Brown‘s designs for Alexandra and Ainsworth Estate, and has a similar ziggurat-style exterior.

The estate is also know as Highgate New Town stage 1, and like most housing estate at the time, concrete was used as the main material. There are 273 dwellings, varying from one-bedroom two-person flats to six-bedroom eight-person houses. Due to overspending (4 times the original estimate) at this estate, therefore the houses at Stage 2 and 3 of the estates nearby were assigned to Bill Forest and Oscar Palacio with less flattering exteriors.

Our host/resident at the estate gave us a tour around the estate and provided us with fascinating history and information about it. Being a musician, his home is filled with Scandinavian mid-century furniture and decor that look harmonious with the modernist style flat. Interestingly, the entrance leads to first floor where the living room, kitchen and terrace are situated, while the bedroom, study and another terrace are located downstairs on ground/road level. Although the flat is not very big, the heedful layout and design created a space that is livable, functional and very cosy. It is no wonder why flats like this from this estate has become very fought-after by modernist lovers in recent years.

My last stop of the day was another Grade II listed building – Acland Burghley School – in Tufnell Park. The comprehensive school was built in 1963-7 and designed by the foremost post-war architectural practices at the time: Howell Killick Partridge & Amis (behind the Young Vic theatre).

The Brutalist style school was listed in 2016 for the following principal reasons: “the design’s bold elevational treatment and skillful handling of precast concrete components and their finishes confer a strong aesthetic while respecting the wider Victorian townscape. The jewel-like, top-lit assembly hall is a particularly notable feature where the use of timber and concrete gives a rich texture. Plan-form: the innovative plan, comprising three towers radiating from a central administration core with the linked assembly hall, remains relevant and fit for purpose, affording permeability and appropriate levels of accessibility combined with practical and humane functioning spaces.”

Although inspired by the ideas of the iconic French architect Le Corbusier, the school’s Brutalist gloomy concrete exterior is probably not everyone’s cup of tea. But inside, the departments are divided by a clever colour scheme with spacious public area and bright classrooms due to natural light from the large and roof windows. The school’s emphasis on the arts can also be seen from the art work on the walls throughout the school.

I was particularly impressed by the former hexagonal assembly hall which had been refurbished in 2010 by Studio Cullinan And Buck Architects into an experimental teaching/learning laboratory. The 490m² floor space can be used as a a large classroom or as a theatre with raised platforms and seating area. The new lighting scheme of vertical and horizontal strip lights are also highly innovative.