Six years on: Peng Chau revisited

Posted on November 29, 2020 by Toothpicker

After my trip to Japan was cancelled due to COVID19, I was stuck in Hong Kong for many months… and like many locals, I felt rather claustrophobic after spending days on end indoor. Luckily, unlike the U.K. and many Western countries, there was no lockdown in the city, hence it was still possible to roam around town – at your own risk.

When the covid cases dropped and the hot summer was over ( I found it hard to cope with Hong Kong’s humid summers), I was able to do more outdoor activities again. I decided to revisit Peng Chau after a six-year gap (see my earlier blog entry here), as I thoroughly enjoyed the island’s tranquil and unspoilt environment. Has the island changed over the last six years? Yes, certainly, but currently it is still less ‘developed’ than other islands such as Cheung Chau and Lamma Island.

One notable difference from my last visit was that there were considerable more visitors due to the global travel restrictions. Stuck within the small city, many lcoals are starting to appreciate nature and fresh air, and they are desperate to get out of the urban jungle – who can blame them? In the past, Peng Chau was probably the least visited Outlying Islands in Hong Kong as it is the smallest and the least commercial. However, the pandemic changed everything, and even Peng Chau has become a hot spot for local tourists.

When I visited six years ago, the island’s eateries were divided into two categories: big seafood restaurants or small cha cheng tengs. Western-style cafes were almost non-existent, let alone bars… now there are a few more cafes including a cosy Island Table Grocer Cafe (9 Peng Chau Wing Hing St) and a tiny Japanese tea room, Daruma Chaya (38 Wing On Street).

There was not much to see at the dilapidated Grade III listed former leather factory six years ago aside from a plaque commermorating the island’s once booming manufacturing industry. But over the past few years, a local resident, Sherry Lau, rented the 4000 square metres factory and began to convert it into an art hub filled with junk collected from the island. An alleyway off the Wing On Street would lead you to ‘My secret garden’, featuring some interesting junk art, street art murals, and an antique shop (also an Airbnb). It is very unusual to see junk yards like this in Hong Kong, and I am glad that Ms Lau took the initiative to transform the derelict space into something so unique. It seemed very popular with local tourists as it certainly was a selfie hotspot during my visit…

‘My secret garden’/former leather factory

Since Peng Chau is a very small island (0.99 square kilometres to be exact), it is easy to walk around the island within a few hours. I went up to Finger Hill first, the tallest point of the island, but the view here is a bit disappointing, so don’t get your hopes up too high. Personally, I prefer walking along the Peng Yu Path, a coastal path where you would pass by many empty sandy beaches with Hong Kong’s skyline as the backdrop.

One significant change took place since my last visit and it is the new addition of residential developments on the island, notably the row of luxury residential houses overlooking the sea near the pier. I can’t say that I am surprised by this because property development is contantly taking place in Hong Kong. But I am wondering if the island will lose its charm as more (wealthy) outsiders move here. Will the island become another Discovery Bay, which is full of expats, upmarket restaurants and bars? Six years ago, I was charmed by the island’s unspoilt, low-key and calm environment, but I wonder if this is under threat now – I sincerely hope not.

When I headed back to Central at around 5pm, the waiting area at the pier was completely packed and social distancing was all out of the window. And to my surprise, every seat of the ferry was taken despite the fact that this was a weekday afternoon… Not being able to travel meant that bored Hong Kongers are seeking out local sights to visit, and hiking has become one of the most popular activities during the pandemic. It would be fine if people respect nature and the environment, but many of them don’t, which is very frustrating. I think the pandemic has made many people realise the importance of nature in our lives, but outdoor ettiquette needs to be followed too.

I wonder how Peng Chau is going to evolve in the future, especially if more people are looking into moving out of urban areas after the pandemic. Perhpas its limited infrastructure is stopping people from moving here, I guess only time will tell.

Peng Chau’s tree, plants and flowers

“100 years of Bauhaus” celebration in Hong Kong

Posted on June 10, 2019 by Toothpicker

A hundred years ago, German architect Walter Gropius founded an art and design school in the small town of Weimar in Germany. The Bauhaus, subsequently became one of the most influential art and design educational institutions of the 20th century. Although the short-lived school only operated from 1919 to 1933, its influence and impact on art, design, craft and architecture can still be seen 100 years later.

On the occasion of Bauhaus’ centennial celebration, the Goethe-Institut in Hong Kong, collaborated with various local partners to present “100 Years of Bauhaus – Rethinking the World“, a special programme consisted of exhibitions, films, lectures, symposium, and creative workshops etc.

At Goethe-Institut in Wan Chai, I visted the “Picturing Bauhaus: Erich Consemüller’s Photography of the World’s most famous Design School” exhibition featuring historical photographs of life and work at Bauhaus from the Klassik Stiftung Weimar institute.

Photographer Erich Consemüller (1902–1957) originally trained as a carpenter before moving to Weimar to enrol in the Bauhaus School, where he studied from 1922–1927. Consemüller was commisioned by Walter Gropius to photo-document the building, his fellow students and their design work, and around 300 photographs were thus taken from 1926 to 27.

Aside from the photographs, some ensembles of the Bauhaus furniture made by the Frankenberg-based furniture company Thonet were also on display. Founded in 1819 (a hundred years before the Bauhaus) by Michael Thonet, the company pioneered bentwood furniture using veneers, and later a cheaper solid-wood alternative. The company produced furniture designed by the Bauhaus architects Mart Stam, Marcel Breuer, Ludwig Mies van der Rohe; these designs – the tubular steel chairs and tables – later became modernist classics, and are still in production today.

My personal favourite, though, is the avant-garde costumes designed by German painter, sculptor, designer and choreographer, Oskar Schlemmer for his own ballet production, Triadic Ballet (Triadisches Ballett) , first performed in Stuttgart in 1922. Schlemmer described his playful costumes as “artistic metaphysical mathematics” and a “party in form and color.”

A clip of the ballet was shown at the exhibition, while visitors were encouraged to try on the costumes and play with the props. I managed to find a reconstruction of the ballet on YouTube, which is still inspiring, unique and mesmorising to watch even after 100 years (see below)!

Triadisches Ballett von Oskar Schlemmer – Bauhaus posted by Aitor Merino Martínez

Besides the Goethe-Institut, the exhibition was also on view at HKU and City U. I only managed to go to the University Museum and Art Gallery (UMAG), which displayed more of Erich Consemüller’s photography works on the Bauhaus school, its interiors and works of the students.

In German, the word ‘bau’ means building and ‘haus’ means house. The teaching programme developed by Walter Gropius in 1922 placed ‘building’ at the centre of all the activities. Hence the school building played a significant role in this context.

Another influential aspect of Bauhaus was its teaching method, which replaced the traditional pupil-teacher relationship with the idea of a community of artists working together across different disciplinaries. Gropius aimed to create “a new guild of craftsmen”, and the school followed the ‘apprentices and masters’ structure similar to the traditional model that trained craftsmen and artisans.

Although I have never been to the Bauhaus building in in Dessau (it is on my list), I have visited the Bauhaus Archive/Museum für Gestaltung (Museum of Design) in Berlin twice. The small but intriguing-looking museum was designed by Walter Gropius but was not completed until after his death. It has a good collection of furniture, products, art work, photography, architectural drawings and models, jewellery, and textiles featuring many famous names, such as Walter Gropius, Paul Klee, Marcel Breuer, Vassily Kandinsky, Josef Albers, Anni Albers, Oskar Schlemmer, László Moholy-Nagy and Ludwig Mies van der Rohe etc. Besides the permanent collection, there are also temporary exhibitions and a design shop, so I highly recommend a visit to this museum if you are a fan of Bauhaus.

“HKDA Global Design Awards 2018 Awards” Exhibition at PMQ

Posted on June 7, 2019 by Toothpicker

It would be fair to say Hong Kong’s design industry has come a long way in the last two decades. Once upon a time, Hong Kong design was regarded as ‘copycat’ with little originality and creativity. Before the handover, Hong Kong design was highly influenced by Japanese design; lacking its own identity, it was either too Japanese or too kitsch. Yet things started to change after the handover. Perhaps the struggle to find its own identity has made the designers in Hong Kong reflect and explore deeper – instead of looking outwards, they began to look inwards, and the results are revealed in their design works.

Established in 1972, the Hong Kong Designers Association (HKDA) is the first of its kind in Hong Kong for practising designers and design administrators, HKDA Global Design Awards (GDA) is a biennial design competition organised by HKDA since 1975. The competition included 4 main design categories including Digital, Graphics, Product and Spatial.

The exhibition at PMQ’s Qube showcased the high quality competition entries across the four categories. By embracing its unqiue ‘East meets West’ heritage, Hong Kong design has found a new and confident voice – one that is different from other East Asian countries. Yet this voice is also a global one, which transcends language and culture. The designs no longer scream out ‘Made or designed in Hong Kong’, because we live in a globalised world today, and good designs should be global, not local.

I look forward to seeing more interesting work in the future.

Product design

Packaging

Typography

Exhibition

Posters

Tsz Shan Monastery & Buddhist Art Museum, Hong Kong

Posted on June 3, 2019 by Toothpicker

Of course we all know this: money can’t buy you happiness. But for Li Ka-shing, Asia’s riches man, money can buy him a Buddhist Monastery, and possibly nirvana. I have wanted to visit Tsz Shan Monastery funded by the Li Ka Shing Foundation since its opening four years ago. However, the online booking system only permits visitors to book one month in advance and it was always fully booked when I tried. After learning about the opening of the new Buddist art museum in May, I was determined to pay the site a visit. And finally, I was able to book a morning slot – honestly I was a bit surprised by the popularity of this monastery.

Then I had to work out how to reach there, as it is located in the rural parts of Tai Po under the hills of Pat Sin Leng. I opted for public transport, taking both MTR and train, followed by a taxi ride uphill from the train station. It was easier than I had expected.

The Tang dynasty-style monastery covers 500,000 sq ft of land, took over 12 years to build and costs HK$3 billion (US$384.6 million). It features a 76 metres (250 feet) tall bronze-cast statue of Guanyin, the Buddhist Goddess of Mercy, which is twice the height of the Big Buddha on Lantau Island.

The layout of this monastery reminds me of Chi Lin Nunnery, which is another Tang style Buddhist temple located in Diamond Hill. It is one of my favourite spots in the city, and I particularly like The Nan Lian Garden, a Chinese classical garden also built in the style of the Tang dynasty.

There is no scenic garden at Tsz Shan Monastery because its location is scenic enough. According to Feng Shui principles, a house is more valuable if it faces water while backed by a hill or higher land; this probably explains why this site was chosen.

Although I complained about the online booking system, I also appreciated that the limitation of visitors policy has helped to keep the place sparse and tranquil. In a city where you are constantly being bombarded by noises, you are most likely to experience serenity here. And best of all, there is no incense burning here, so it is smoke-free, too.

Tsz Shan features a Grand Buddha Hall, a Universal Hall, a Great Vow Hall, a lecture hall, and a new Buddhist art museum which opened only a few days before my visit.

Located underneath the Guan Yin Statue, the 24,000 sq ft museum houses precious Buddhist artefacts and objects from different parts of Asia, and many of which come from Li Ka Shing‘s personal collection. This is the first and only museum in Hong Kong that is dedicated to Buddhist art and relics. The Museum is set within a circular enclosure with very dim lighting, and there are staff scattered around to explain the history and origins of the artifacts. The exhibits comprise 100 Buddha statues and 43 hand-copied sutras on permanent display. Visitors can scan the barcodes near the artifacts with their smart phones and download the information to learn more about the works. I am not a big fan of this technology as the lighting there was too dim to read, and I couldn’t save the info to be read later either. I think the museum should have some printed information for visitors to learn more about the historical significance behind the artifacts if their aim is to educate the public.

Inside the Buddhist Art Museum

Although there are an estimated 1 million Buddhists in Hong Kong, according to the Hong Kong Buddhist Association, many of them (esp. elderly) tend to associate Buddhism with superstitious rituals such as burning incense for blessings, and they do not practice mediation. With the interest in Buddhism is growing in recent years, mindfulness and meditation have sparked the interest of the younger generation. At Tsz Shan Monastery, they offer activities such as meditation and sutra copying, educational workshops, as well as seminars, which hopefully would make Buddhism more relevant to the younger generation.

At the end of my visit, I saw a group of anxious men (who looked like body guards) gathering, and then I heard a few people saying loudly: ‘Hello, Mr Li! How’s your health?’ I turned around and saw a small old man dressed in black suit, smiling and waving to the small crowd nearby. It was Li Ka Shing. He seemed friendly and exchanged greetings with the crowd as he got into a golf cart-like vehicle. According to some reports, this monastery is rumoured to be Li‘s (90) final resting place, and if this is the case, then he has found the perfect spot. Who needs happiness when money can buy you serenity in your afterlife?!

HK heritage: “Once lost but now found” exhibition at Oi!

Posted on June 2, 2019 by Toothpicker

In the middle of a busy commercial and residential district in North Point, a Grade II historic colonial-style building surrounded by highrise looks rather out of place here. Built in 1908, this heritage building was the clubhouse of the Royal Hong Kong Yacht Club located on Victoria Harbour’s foreshore. But the reclamation project in 2009 changed the area’s landscape and now the coastline has since moved northwards.

Located at Oil Street, the building was converted into Oil Street Artist Village from 1990 to 2000, and in 2013, the Government’s Leisure and Cultural Services Department developed it into Oi! art space aiming at promoting arts and providing venue for exhibitions.

It was my first visit to the art venue; from afar the green lawn and outdoor seating area looks like an oasis in the busy district. It also appears to be a popular lunch spots for white-collar workers in the area.

The exhibition “Once lost but now found” explores the geographical history of Oi! and its relationship to the sea. As a witness to the course of time and the evolution of cities, the sea evokes emotions and memories, responds to the development of natural ecology and, at the same time, shapes the cultural ambiance of the city and tells the story of the island.

Four artists Zheng Bo, Leung Chi-Wo and MAP Office (Laurent Gutierrez and Valérie Portefaix) were invited to explore the relationship between nature, culture and society, examining the history, present and its possible future.

Chinese artist Zheng Bo‘s text installation “You are the 0.01%” was inscribed boldly on the lawn. The project is based on two publications: In 2011, economist Joseph Stiglitz’s published article titled “Of the 1%, by the 1%, for the 1%.” He writes, “The upper 1 percent of Americans are now taking in nearly a quarter of the nation’s income every year.” Then in 2018, three scientists published a study in the Proceedings of the National Academy of Sciences titled “The Biomass Distribution on Earth.” They estimated that humans account for only 0.01% of Earth’s biomass, but consume 30% of the biosphere’s total primary production.

Zheng Bo‘s project aims to address the issues of inequality and biosphere inequality. The grass on the lawn reminds us that we are only 0.01%, and we must protect the rest of the ecosystem.

Zheng Bo: You are the 0.01%

In the main gallery, a conspicuous bamboo installation entitled “Ghost Island“, two videos and documentations are installed by MAP Office (Laurent Gutierrez and Valérie Portefaix). Created for the 1^st Thailand Biennale 2018, “Ghost Island” is a 9-metre high bamboo construction covered with piles of ghost fishing nets collected in the sea around Krabi. The installation recalls the particular geology of the surrounding islands formed by the accumulation and stratification of numerous distinct layers. It also addresses waste at sea, and the difficult but necessary labour needed to protect our environment. Reconstructed in Oi! is a smaller version, partially built by Cheung Chau Island fisherman and Hong Kong beach-cleaning volunteers.

One of the video shown at the exhibition records the construction of three artificial islands designed by the artists on a tidal beach near Krabi on Thailand’s Andaman Sea. The other records a fictional day for a fisherman living on the Andaman Sea’s Ghost Island. Both videos are fascinating, and they address environmental issues facing these fishermen, including rising seawater levels due to global warming.

In another room, Leung Chi Wo’s “Scratching on the surface” installation is presented in a dark room with a two-channel video projected on a long wall behind a pool of actual seawater installed in the gallery. The videos are reflected on the pool’s mirror water surface.

The installation is based on the notion of memory—our own memory and water memory—a controversial theory devised by French scientist Jacques Benveniste. Using words and imagery of nature and water, the poetic installation was shot in various locations in Hong Kong and Thailand, all connected ultimately by water, which echoes the fluidity of memory.

Leung Chi Wo: Scratching on the surface

In a separate building, architect team Streetsignhk was commissioned to create the ‘Sign City’ immersive installations, featuring Hong’s Kong’s famous neon signage. Various traditional signage and signboards are installed in s small room covered with mirrored walls and floor. Outside of the room, visitors are invited to create their own signboards and get to know the different aspects of this dynamic building component. The craft of neon signage is dying in Hong Kong, and hopefully this exhibition would bring awareness to this unique heritage that makes Hong Kong’s streetscape so special. You can read more about this topic via my previous post here.

Hong Kong heritage: The Hong Kong Railway Museum

Posted on June 1, 2019 by Toothpicker

After my visit to the Green Hub, I walked downhill and headed towards The Hong Kong Railway Museum located about 10 minutes away. This is a small but very pleasant free open-air museum that is likely to attract railway fans and families with children.

Located at the old Tai Po Market railway station built in 1913, the station buidling is of indigenous Chinese architectural style, with pitched roof and decorative figures on its facade that are commonly found in old southern Chinese temples.

The Kowloon-Canton Railway (British Section) opened in 1910, and Tai Po Market station was erected three years later as one of the stops in the New Territories. After the Kowloon-Canton Railway was electrified in 1983, the station was taken out of service and was declared a monument a year later.

Inside the building, there are permanent exhibits of the station and railway’s history, a refurbished ticket office, and signalling house.

However, the main attraction here is not the exhibits, but the heritage locomotives on display, and the six coaches where visitors can walk through. One of the heritage locomotives is the W. G. Bagnall 0-4-4PT narrow gauge steam locomotive that ran on the narrow gauge Sha Tau Kok Railway line between Fanling and Sha Tau Kok. When that closed, the two steam locomotives were transported to the Philippines to be used by the sugar mills. The locomotives eventually returned to Hong Kong and were restored.

The second locomotive is Sir Alexander diesel locomotive that was introduced in Hong Kong in 1955 to replace the steam ones, and it was named after former Governor Alexander Grantham.

The six other coaches are from different periods: 1911, 1921, 1955, 1964 and 1976. Visitors can walk through each coach to see the changes that took place over the years.

There were very few other visitors while I was at the museum (probably because it was a weekday), and I really enjoyed my visit. From the archive photographs, I could imagine how exciting it must had been when the railways were built and steam locomotives were introduced. Although this is not a major museum, it traces and celebrates the history of Hong Kong’s railway, which has played (and continues to play) a crucial role in the city’s infrastructure. Hong Kong’s public transport system is regarded as one of the best in the world, and ironically it has surpassed the British system decades ago, so if you want to see where it all started, this museum would be a good starting point.

Hong Kong heritage: old Tai Po Police station/ Green Hub

Posted on May 30, 2019 by Toothpicker

Even though Hong Kong is a small city, there are many hidden gems that are off the beaten track, and Green Hub is one of them. I only discovered this place via google map while I was in Tai Po after a visit to the Tsz Shan Monastery. Originally I was simply looking for a place to have lunch, but then I ended up spending hours there, which was completely spontaneous.

Green Hub is situated at the site of the Grade I listed Old Tai Po Police Station up on a Tai Po Wan Tau Tong Hill that overlooks Tai Po. This site was also the location where the British flag-raising ceremony took place, marking the official British takeover of the New Territories in 1899. The Police Station was erected in the same year as the Police Headquarters of the New Territories and lasted until 1949, but eventually closed down in 1987.

In 2010, Kadoorie Farm and Botanic Garden had been selected to transform the Old Tai Po Police Station into a ‘Green Hub for Sustainable Living’. The Hub offers a range of low-carbon living programmes and workshops to help individuals and organisations understand the low-carbon living alternatives to unsustainable consumption that is causing climate change and rapid resource depletion. Opened in 2015, this revitalisation project was recognised with an Honourable Mention in the 2016 UNESCO Asia-Pacific Awards for Cultural Heritage Conservation.

The wooden planks (pictured above) are actually recycled railway sleepers collected from the nearby Tai Po market station

The site comprises of three buildings: Main Building, Canteen Block and Staff Quarters, and they are arranged around an open lawn. The colonial style architecture is an excellent example of east meets west. It features verandah and louvre windows catered for the hot and humid climate in Hong Kong, and Chinese-styled timber roof structure with double-layered pan and roll tiles that are commonly used in Hong Kong’s colonial buildings. The design of the site reflected a utilitarian approach, which adopted a rather irregular form for the Main Building. The conservation team used archive photographs to restore the architectural details, and even repainted the buildings to match the original colour.

An old Camphor Tree Cinnamomum camphora near the entrance

The Canteen Block has been transformed into the Eat Well Canteen to promote low-carbon food culture. The canteen serves fresh, seasonal, locally-sourced, and fair-trade vegetarian dishes that aim to minimise energy during the cooking process, as well as reduce food waste.

Vegetarian food at Eat Well Canteen

Next to the canteen is the kitchen’s garden where herbs and vegetables are grown, and they are used as the ingredients for canteen, so they are guaranteed to be fresh. And on Saturdays, organic vegetables, herbs, and eggs from the Kadoorie farm and the garden would be available for sale in their eco shop. The Canteen also makes and sells homemade bakery products, seasonal sweet or salty pickles and different styles of sauce. Meanwhile, there are regular cooking classes and farming workshops that promotes the ethos of the hub and farm.

The Kitchen garden and eco shop

After lunch, I found out that there was a free one-hour guided tour of the site, so I signed up for it. The tour was very informative and it enabled us to visit the inner quarter that is normally not open to the public.

We first visited the heritage display of the Old Tai Po Police Station that has been carefully preserved. Visitors can see the typical setting and layout of a colonial Police Station with a report room, retention cell and armoury.

In order to fully appreciate this heritage site, one must join the guided tour as it enables visitors to enter the beautiful inner courtyard that is not normally open to the public. The once unappealing inner courtyard has been redesigned to an Enchanted Garden to enhance natural ventilation within the Main Building. Around the courtyard are the Police Quarters that have been converted into a guesthouse. The guest house have twelve rooms that can accommodate 24 guests, and they are available as single, twin, triple-bed to six-bed rooms at reasonable prices.

Standing in the courtyard, it is easier to appreciate the restored decorative architectural details, such as the Dutch gables, windows with voussoir-shaped mouldings and aprons, ornamented fireplaces, chimneys with moulding and cast iron downpipes with hopper-head.

The inner courtyard

Before the tour ended, our guide took us to the Seminar Room where we could observe twenty or more egrets resting not far from the site. Apparently, the northern slope of the Old Police Station is a nesting and breeding site for egrets and herons. Hence, a bird screen is in place along the walking path at the northern side of the Greeb Hub to reduce disturbance to wild birds that nest in the Egretry. The ecologists here continue to monitor the Tai Po Market Egretry, and in the summer of 2015, they counted more birds nesting nearby than before the renovation began.

After leaving Green Hub, I was curious about the red brick buidling nearby and decided to walk up the hill to explore. Built around 1907, this building used to be the Old District Office North and was the earliest seat of the colonial civil administration of the New Territories. The building also housed a magistrate’s court until 1961, but now it is used by the New Territories Eastern Region Headquarters of The Scout Association of Hong Kong. Although you can’t go inside the building, you can walk around outside to appreciate the architecture and the surrounding nature.

Law Ting Pong Scout Centre

It was very calm and quiet as I walked along the path towards the Tai Po Contour Sitting-out Area located up on a small hill. I was surprised to see so much greenery here, which is a huge contrast from the bustling Tai Po market not far away.

As city dwellers, we often think that we need to escape the city in order to find tranquility, yet we forget that nature may be around the corner from where we live. When we look harder, we would find that nature is really everywhere.

Tai Po Contour Sitting-out Area

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The Mills (Part 2): Art, design & retail

Posted on May 28, 2019 by Toothpicker

One of The Mill’s main attractions is CHAT (Centre for Heritage, Arts and Textile) – a space dedicated to the past, current, and future of Hong Kong and Asia’s textile industry.

Welcome to the Spinning Factory! is the inaugural exhibition designed by Turner Prize winning U.K. architect collective Assemble and UK/HK design firm HATO. Set within the former cotton spinning mills of Nan Fung Textiles in Tsuen Wan, the exhibition tells the story of the cotton industry and the role it played in shaping Hong Kong’s past, present and future. The interactive exhibition features old machinery, vintage cotton products and archival documents and objects. Visitors can also experience the manual cotton-spinning process using traditional spinning instruments, and design and create cotton labels at the workshop stations.

‘Welcome to the Spinning Factory!’ exhibition at the The D. H. Chen Foundation Gallery

An interesting piece of artwork caught my eye outside of the gallery and it was a long piece of knitted textile on a table titied Fabric of CHAT. It was the work by Hong Kong-based artist/designer Movana Chen. Movana is known for her KNITerature, which combines stories by knitting books from people she encounters during her travels. When she first visited the construction site of The Mills, she discovered stacks of old discarded documents, so she shredded and knitted them into a new art form that contains the history and memories of the factory.

Fabric of CHAT by Movana Chen

CHAT’s inaugural exhibition, Unfolding : Fabric of Our Life, curated by Takahashi Mizuki showcases the works and performances by 17 contemporary Asian artists and collectives who use textile as a testimony to articulate forgotten histories and repressed lives through textile production. The thought-provoking exhibition reveals the region’s colonial capitalist exploitation through the use of fabrics and garments. One work that I found quite powerful is called ‘Day Off Mo?‘ by Filipino artist Alma Quinto, who invited Hong Kong’s Filipino domestic workers to speak out about their experiences through a video and their DIY craft book.

Dayanita Singh’s ‘Time measures’, 2016

Norberto Roldan’s ‘Incantations in the land of virgins, monsters, sorcerers and angry gods’, 1999 – 2018

Jakkai Siributr’s Fast fashion, 2015/19

Reza Afisina’s ‘Under Construction as Long as You’re Not Paying Attention’, 2018–19

Alma Quinto’s ‘Day Off Mo?’, 2018–19

I was also intrigued by Vietnamese artist Vo Tran Chau‘s ‘Leaf picking in the ancient forest’, 2018-2019. The name of the artwork is inspired by the title of a monk’s manuscript. Buddha, taking a few leaves in his hand, said to the monks: “All that I have seen and encountered are numerous, just like leaves among the grove, yet my teachings which I have revealed to you are but little, just like this handful of leaves in my palm…”.

The artist collected abandoned clothing from second-hand clothing stores to create her abstract mosaic chamber. Each quilted mosaic references historical photographs of Vietnamese textile factories and reflects the distinct cultural and political climates of North, Central and South Vietnam at different periods of time. The quilts reflect only blurred images as if a metaphor for the fate of the textile factories. Inside the chamber, one sees another side/story in these historical images.

Vo Tran Chau’s Leaf picking in the ancient forest, 2018-2019

One encouraging aspect of The Mills is that the retail outlets here differ vastly from other shopping malls in Hong Kong. Instead of international chained companies, the shops here are mostly independent and with a strong focus on sustainability.

I was glad to see that Book B (which we have worked with previously) has found a new home here. The space is inviting and it also has a nice cafe inside. I think this is one of the best independent book shops in Hong Kong, and I hope it will continue to thrive.

KoKo Coffee Roasters

Book B

Another surprise was to see a garment upcycling shop called Alt:, which is a partnership between HKRITA (The Hong Kong Research Institute of Textiles and Apparel) and Novetex (a leading textile firm), together with funding from HKSAR government, H&M foundation and The Mills.

A garment-to-Garment (G2G) Recycle System is placed in the shop for the public to learn how old clothes can be upcycled and made into a new ready-made garment in 4 hours, with the aid of the innovation of upcycling technology. The on-site mill can upcycle up to 3 tons of textile waste per day, which hopfully will help to tackle the city’s fashion waste issue.

Alt: – the upcycling garment shop that can turn your unwanted clothing into something new

Overall, I enjoyed my visit to The Mills; I think it offer an alternative retail experience (which is much needed in Hong Kong), and the new textile centre is an exciting cultural space that showcases Hong Kong’s textile heritage while looking forward to the future.

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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.