CUHK 2022 MArch Thesis | Weaving the City-scape by Julie Fong

WE AVING THE CIT Y-SC APE

Thesis Book \ Julie Fong

A WOVEN ARTISAN HUB AT LADDER STREET

2021-2022 WE AVING THE CIT Y-SC APE CAN HONG KONG STILL MAKE THINGS? FONG LAI SUM, JULIE 1155150328 ADVISOR - PETER W. FERRETTO

CON TEN T

PROLOGUE

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OBSERVATION IN THE CIT Y

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- MAKING IN METHOD - MAKING IN MATERIAL - MAKING AS AN ANALOGUE

RESE ARCH

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- WE AVING - MISE-EN-SCÈNE

SITES

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- SITE COMPARISON - SITE STUDY

CASE STUDY

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- JOSE VASCONCELOS LIBR ARY

DESIGN NARR ATIVE

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- CONCEPTUAL STR ATEGY - WE AVING MAQUETTES - CIT Y MODEL

DESIGN PROCESS (MICRO)

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- DR AWING SECTION - SPATIAL COMPONENTS

DESIGN PROCESS (MACRO) - DESIGN SKETCHES - PROCESS MODELS

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SYNTHESIS

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- COMPONENTS - SPATIAL SEQUENCE

WE AVING THE CIT Y-SCAPE

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REFERENCE

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ACKNOWLEDGMENTS

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P R O L O GU E After observing different kinds of “making” in the city, it

tirely of stone steps with few flat spaces in between. The

introduces me to see making through the lens of weaving

street itself was listed as Grade 1 Built Heritage in 2009,

(編織). As Tim Ingold (2000, as cited in Dudley, 2012)

and it helps connect some popular landmarks such as

stated the notion of weaving could be adopted more

Man Mo Temple and Dr. Sun Yat-Sen Museum.

broadly than is customary in which skill, has a narrative quality that grows rhythmically out of the one before

The proposal built upon the methodology of weaving

and lays the groundwork for the next. So, cities are never

and theatricality of the street from early exploration.

static objects. It is growing through a rhythmic continu-

Using the existing section of the Ladder Street as a start-

ous energy flow of humans and transformation in which

ing point, the plot within the Circular path and Ladder

landscape and building are not permanent structure but

Street and its topography are woven to form a piece of

transitional manifestations (Berger, 2007). Through my

new walking fabric on the site. The whole movement

lens, they weave and connect differing layers of mak-

aggregates the ground together with public communal

ing together which also leads me to the complex ladder

space and street market forming a new spatial juxta-

streets area in Hong Kong.

position with the surroundings. The towers consisted of a few connected programmes, pathways and staircase,

Ladder streets maintain a typical historic trace in Hong

amplifying public space and providing leisure activities

Kong due to the natural landscape condition. It is hilly

to facilitate the movement of visitors. The tower design

to mountainous with steep slopes, especially around the

is a continuation of this ladder street experience and

Central and Western districts. Streets of steps become a

also a form of weave in the vertical spectrum of the city.

crucial function of the economic efficiency of the dense,

Through this new integration of exposing the craftsman-

hilly city-scape. This structure of commute transferred

ship of the city, pedestrians can enjoy an authentic re-

the street into an interesting walkway, allowing people

lief from the commercial grain of the city and rebuild

to explore the city’s rhythm when are moving every day.

connections to the neighborhood and service a seamless

This thesis explores making through the spatial quali-

cultural experience to the community.

ty of Ladder Steet and attempts to evolve its condition by weaving it into the abandoned plot around Circular Path in Sheung Wan. Built in 1850, the whole Ladder Street (樓梯街) is a series of steep steps ascending the hill from Queen’s Road Central to Caine Road, crossing Hollywood Road en route with a total length of 350 meters. It comprised en-

Observation in the City

The whole studio begins with several field trips in Hong Kong which aim to collect ideas and inspiration on different kind of makings in the city. Throughout the process, I found a few elements that I am most attached with and create my own interpretation by “making”.

O bs er vat ion

M A K I N G I N M ET H O D - W E AV I N G The Place - Bamboo Steamer Manufactory Tuck Chong Sum Kee has been operating for more than 60 years and the current owner, Lam Ying Hung, is the fifth generation descendant of the founder. Bamboo steamer is a traditional Hong Kong cultural product that could be easily seen when having the Cantonese tradition - “yum cha”. Except tradition bamboo crafting, the small factory will also offer customization on bamboo products and collaboration with different artisan. The making of bamboo steamer has a strong link to the cultural history of Hong Kong esapecially with technique of weaving from the lid to the internal rack.

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Crafting on photo

A Blurred City

O bs er vat ion

Some interesting scenery were spotted in the trip which made up the district of Sai Ying Pun. Photography can only capture them all in one static motion, but in reality, those activities are happening simultaneously. By weaving the pictures together, it formed a fictive but yet true authentic moment of the city.

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O bs er vat ion

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M A K I N G I N M AT E R I A L - C O P P E R The Maker - Luk Brothers Luk Shu-choi and Luk Keung-choi are two of the rare traditional coppersmith that still working in Hong Kong in their 80s. In reminiscence, it was an idea to acquire new skill and inherit the business that they tried to learn copper forging from their father. Since then, they have tied a close bound with copper. During Bruce Lee era and the rising herbal tea period, copperware are the very popular. However, technology and wider choice of material has taken over the position of copper in recent years. I visited the shop to find out how exactly the thing is made by the hands of two coppersmiths. The shop is divided into two where the front part is the workshop and the back is a storage area. From the appearance, the working space looks messy and chaotic. Equipments and tools are placed all over the floor leaving a narrow central pathway. However, they are mange to locate the tools when they need it.

O bs er vat ion

By looking at the surface of the copper ware, not only you can sense the texture of the copper, but also can imagine how it was made in your mind. Hammering is essential procedure in deforming and shaping copperware which reflected the surface of the copper. Through understanding the making process, there is an interesting correlation between human hands and copper. Copper is cold and rigid while hands are warm and soft. Thus, the series of pictures on the right captured the haptic experience copper and hands, its’ motions and the process. The materiality of copper also changes with its exposure to air and times, it affects the oxidization level, color, bending ability etc.

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O bs er vat ion

Haptic E xper ience

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Self-made copper plate 17

O bs er vat ion

M A K I N G A S A N A N A L O GU E - T H E AT R I C A L I T Y The Place - Kung Chan Cycle During the visit to the bike shop in Shum Shui Po, we were standing around the shop front and looked at the maker as if it was a performance. Since the making is publicly exposed on the street, it naturally changes the space between the shop, the street and the people. It is special because the making is not bounded within the shop boundary but rather welcoming to the public. Metaphorically, making is a performance, they share a lot of similarities. For example, the maker represents the maker, the tools represent the props, etc. In a wider scope of context, performance and city are indivisible.

The street, which remains the most beautiful part of Hong Kong, is a performing stage that changes everyday. It varies from a noisy crowded street market in the daytime to a lively neon-light scenery at night, but it is often neglected by us. Thus, I begin dissecting the image to recall the faded memory hidden in our minds.

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O bs er vat ion

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O bs er vat ion

ST R E ET T HE AT R E A N AT OM Y

The collage weaves the similarities between the act of bicycle repairing and the criteria of performance into one. It evokes an imagination between making and the act separating the front and the back that also begins to shape a series of spaces within the order.

Research

The early exploration has opened a few doors for me as a beginning of a design narrative but I am particularly attached to the concept of weaving and the theatricality of the city. Thus, a further research was carried out to find a deeper understanding of the topics.

R e s ear ch

We av i n g

What is weaving? From our daily experience, weaving could be seen as just a medium of making. This chapter reveals the process of weaving and begins to explore deeper on its philosophy. I was also trying to capture how weaving could develop to a three-dimension spatial quality.

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Anni Albers Draft notation for a plain weave,1965

History and Tradition Weaving meaning two distinct sets of strips are interlaced at normally right angles to form an object. The longitudinal lengths are called the warp and the lateral lengths are known as the weft . The method in which these strips are woven affects the characteristics of the finished piece.

Bauhaus’s weaving The weavers embodied the Bauhaus’s functionalist rhetoric through a profound understanding of the loom and its functional (and profitable) applications. Aligning with Bauhaus principles, Anni Albers and Gunta Stölzl declared that the way toward mass production must come through an understanding of the craft.

R e s ear ch

Albers started to develop a style that intricate abstraction in the thread that carries meaning: Pictorial weaving (Dickson, 2017). Whether it is the silhouette of the architectural structure rising from the metallic ribbon in Black-White-Gold 1 (1950) or the hazy outline of roof and windows in City (1949), she tried different materials in order to blur the line between traditional craft and modern art design. Tactile Sensibility Her weaving goes beyond a 2D textile perception that considers human sense. Thus, looking at the textile in architecture is neither a piece of fabric hanging on a wall nor a pattern for a facade. It requires a sense of touch and also imagination in our minds.

Anni Albers Black-White-Gold 1, 1950 Cotton, lurex and jute

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Anni Albers City, 1949 Linen and cotton

R e s ear ch

Mi s e- en -s c è ne

What is put into the scene? From the theatricality of the street, I begin to question how to composite a scene. The phrase “mise-en-scène” represents the stage design and arrangement of actors in scenes for a theatre or film production, both in visual arts through storyboarding, visual theme, and cinematography, and in narrative storytelling through direction.

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S ET D E S I G N Lighting Adolphe Appia’s (1862-1928) revolutionary stage design captured the perceptions of the relationship between performance space and lighting. Appia believed light, space and body are malleable commodities which integrated to be a unified mise-en-scène. He was one of the first designers that take the potential of stage lighting beyond illuminating actors and painting scenery.

R e s ear ch

Space In echo of Appia’s work, Josef Svoboda also keen to incorporate architectural elements into designs, such as majestic staircase and platforms. However, he uses light to strategically permeate and punctuate the darkness upon the stage. Svoboda also tried space effect, projections and closed-circuit television monitor which allow scenes to be multiplied in space and time.

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COMPOSITION Wes Anderson Wes Anderson has his distinct style on storytelling and film making. It is shown primarily through colour, costumes and set design which are meant to act as representations of either the characters or the story. He aims to place the viewer inside a storybook when watching his film so he made sure the settings are also characters. Each of his film has its special colour palette. Anderson uses of pastel shades supports

his vintage sensibility. He’s infavour of bold and associative colour with high saturation and brightness.

R e s ear ch

Cinematography Wes Anderson is also known for his symmetrical framing, but more importantly, a huge part of his shot is how he frames for mise-enscène. So he uses composition, blocking and camera movement to create a complex idea, a cinematic Goldberg machine. He loves to use wide-angle and close-up shots to create a contrasting visual impact.

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OVERE X POSED Diller Scofidio + Renfro . 1995 This early work from DS+R enclosed a darker perception of Manhattan’s culture. There is an obsession with surveillance intruding the private space with CCT V and architecture is a movie screen, a window reveal the most intimate human existence.

a performance screen” (Holt & Looby, n.d.). It provokes me with how the streets of Hong Kong can demonstrate the local culture and craft become like a cinematic film.

In a sense, DS+R treated Manhattan city as a public stage, the windows that captured the movement of people representing the lifestyle of the city, as they quoted”

Sites

Two sites were selected at the end of field trips marking the beginning of the potential design site for the next step. Through my lens, Sheung Wan and Shau Kei Wan contain their own distinct characteristics which match my interest in the three elements from the early exploration.

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S ite s

S i te Co mp a r i s o n Sheung Wan - A woven landscape Sheung Wan is a relatively complex area with its hilly topography and densely populated high-rise buildings. There are a lot of narrow alleys and staircases interlocking with the vehicular road. The trees at the parks are almost growing with the gaps of the towers from an aerial view. The conceptual site model reveals the idea of a woven landscape in the whole context of Sheung Wan.

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Shau Kei Wan - A public stage by the sea At the Marina Quay near Shau Kei Wan, there are lots of traces of ship-building history found on site. The geographical near the coast allows it to maintain a close relationship with the shipping industry. In the South, it is next to a highway while facing the sea on the opposite side. The conceptual model captured each shop along the Quay as a different scene. The idea referenced from the project “overexposed” by DS+R during the research. The scenes change when passing the road or moving across the sea. Its’ linear location is also beneficial as a natural screen/stage to the moving vehicles and the public..

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S ite s

Conceptual idea in Sheung Wan The loom of the city, 2022 Acrylic on Canvas, 420x594mm

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Conceptual idea in Shau Kei Wan Craft Exposure, 2022 Acrylic on Canvas, 420x594mm

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S i te St udy Sheung Wan I finally decided to choose Sheung Wan as my design location. The main reason is its intimate connection with weaving relating to its natural site condition. Besides, I felt a strong community and found rich cultural traces with making and crafts after talking to a few residents living around the area. Streets are also very appealing. There are a lot of market stalls operating on the narrow staircase selling with all vintage accessories which recalls a lot of the childhood memory.

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Hollywood Road

Upper Lascar Street (Cat Street)

Hollywood road is one of the oldest streets in Hong Kong island that stretches between Sheungwan and Central. Believe it or not, the name “Hollywood” has no relationship with the Hollywood industry in the US. The reason behind is the rich amount of woodlands around the area with one of the popular tree species called Holly. Taking a detour off the main road to the Ladder Street, there is a famous flea market for ancient artefacts and antiques.

“Meow...” , People are searching goods like cats along the Upper Lascar Row. The flea market is highly saturated with antiques stores which offer Ming vases, furniture and paintings. That is one of the unique street scenes happening around Hong Kong.

Photo along Hollywood road in the 50s

Photo along Hollywood road in 2022

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C O N C E P T U A L S K ET C H E S I N S H EU N G WA N Some of the sketches that I created on different plot of Sheung Wan which helps me to explore the potential design location.

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D E S I G N L O C AT I O N

S ite s

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S ite s

SITE CONDITION

12 3 3

4 7 22

890 2

4 3

1 23

347 890

56 9

3 4 6

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1 Ladder Street (beginning section) 2 Commercial/residential Buildings 3 Public Toilet 4 Scaffolding Shelter 5 Market Stalls 6 Circular Path 7 Upper Lascar Road (Cat Street) 8 Hollywood Road Children’s Playground 9 Man Mo Temple

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H I ST O R Y At the beginning, due to increasing demand of silk and pest infestation of mulberry trees, the silkworm farmers began to rely on human manure. Thus, the Governor introduced a licensing scheme to provide chargeable toilet service in the area. The public toilet service operated til the mid 1920s. Then, the buildings on each sides of Circular path became housing units for low-income family linked by a bridge. Central Mansion(2021) The location of Central Mansion now is actually a former Central Theatre opened in 1930 with 1400 seats capacity. From 1930-1971, it was one of the major movie theatre in Hong Kong. The theatre was also used for stage performance and social function.

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Central Theatre

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Year 1963

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A large part of the area between Hollywood road and Queen’s road have been demolished for redevelopment.

Year 1976

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Circular Path Originally, Circular path began at the junction of Ladder street and Lascar road, ended at Gough street in 1850s. Due to mud slides, a huge retaining wall was built to prevent the issue. It served as a backstreet of workshops for jewelry and paper box manufacturing during 40s and 50s. In late 1990s, the Pathway was shorten to Hiller street due to the construction of Hollywood Terrance. A small portion of land in the middle of the area have been abandoned since then.

Year 1996

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Circular Path From the photos, we can see the changes on the site over the years. It used to be a lively neighbourhood in the past and it is sad to see a valuable area being left in ruins now. This is one of the reasons I pick this area among the other plot in Sheung Wan district.

1950s A lively neighbourhood

1970s

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Current condition The abandoned plot remains deserted

Case Study

Jose Vasconcelos Library . Mexico Alberto Kalach

C a s e S t udy

Completed in 2007, this “megalibrary” is known for its size and the sense of importance conveyed by the structure. It is located in the Buenavista area in northern Mexico. The floors of the interior are a bit mismatched at each level. And the intricate paths and balconies within the repeated bookshelf let readers get lost in this world of knowledge. This quality resembles the tension that I would like to create on Ladder Street with the staircase

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Breaking City Grid The overall orientation of the library deliberately counteract with the natural grind of the city in order to have a better natural correlation with the sun. It is immersed in a botanical garden which contain Mexicos endemic plants. The garden wrapped around the skeleton of books successfully navigates people around with culture and nature.

PROGR AMME

2-4 Levels

Ground Level

Underground Level

C a s e S t udy

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Book Storage Study Area Theatre Major Circulation Office/ Lounge Parking

C a s e S t udy

Tension In addition to the main structure, there are three volumes supporting the operation of the library which are two offices and a North auditorium. The auditorium could be access at a basement level through a narrowed path. The huge void from the library was compressed into a long 3m narrowed pathway opening up to a moderate theatre space. It created an interesting tension with this circulation.

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Design Narrative

D e sig n Nar rat iv e

C O N C E P T U A L ST R AT EG Y Woven Urban Fabric The concept works closely with its natural site condition. The topography of the land provides it with opportunities for views and a theatrical setting. The woven gesture comes in exploring circulation through plans and sections.

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Anni Albers City, 1949 Linen and cotton

Sectional Sketch

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D e sig n Nar rat iv e

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C I T Y C L U ST E R The city model explores the relationship between the building and SheungWan. The existing site condition provide an unique characteristic on its circulation and cultural history. The staircase next to the plot provides natural access to the site. The hierarchy of land also creates an opportunity to the view of the city and better cultural transition from the uphill to the downhill urban context.

D e sig n Nar rat iv e

Design idea of a cultural linkage

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D e sig n Nar rat iv e

W E AV I N G M A Q U ET T E S ( P L A N )

Weaving & Wrapping around

Weaving & layering

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Weaving on axis

D e sig n Nar rat iv e

W E AV I N G I N S EC T I O N

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D e sig n Nar rat iv e

W E AV I N G A S A W H O L E Mering three dimensionally The series variation model could be seen as layers of circulation at different levels. By merging the plans and sections, it forms some potential spaces along with the context. Conceptually, by weaving the horizontal and vertical circulation, it also opens up some new possibility between the building and the context of the site.

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Design Process (Micro)

D e sig n Pr oc e s s I

D R AW I N G S EC T I O N The design process starts with the section. The section reveals the complex topography of the level changes on the plot so it provide a better vision to design the circulation. It also helps determined the proportion and scale relative to its existing context.

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Layer - Topography

D e sig n Pr oc e s s I

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Layer - Existing Context

D e sig n Pr oc e s s I

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Layer - Weaving

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Layer - Space

First Sectional sketch

D e sig n Pr oc e s s I

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D e sig n Pr oc e s s I

S PAT I A L C O M P O N E N T S From the section, two spatial areas were selected to carry on further development of the details. The models are used for studying threshold - the experience between inside and outside(staircase), connectivity - the use of staircase to create a sense of theatrical atmosphere and to contextualize internal spatial quality.

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Entrance from Circular Path to the building. The tunnel-like entrance creates infinite extension of the Upper Lascar Road, bringing people into the left-over land.

Public access through existing narrow pathway. The mid-level land of the plot is beneficial for theatrical elements due to the slight level changes.

D e sig n Pr oc e s s I

The bottom component demonstrates the internal quality of a gallery space, which is influenced by Adolphe Appia’s stage design in the earlier research. Stairs are used to create a feeling of “stage” and to tackle the multi-level differences on the plot. It is a form of communication allow visual connection within the gallery and to the street as a visual platform.

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D e sig n Pr oc e s s I

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D e sig n Pr oc e s s I

The other component is dedicated to a school for craftlearning. There is an outdoor garden area below a cantilever for resting and relaxation. It also demonstrates potential balconies opening facing the staircase which could interact with walking pedestrians. Another crucial element is the central public staircase which also acts as a sitting area. When there is a small lecture event happening, it then becomes a public theatre for people on all floors.

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D e sig n Pr oc e s s I

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Design Process (Macro)

The study on section and the detailed spatial quality is valuable but it loses the tactile feeling of weave in the design. Thus, I tried to develop further based on the maquettes at the conceptual stage.

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D e sig n Pr oc e s s II

S K ET C H E S A N D M O D E L S On top of studying the circulation as in the maquettes, the models also consider programmes, volumes and proportion on the site. It provides a better view of working on the connection with adjacent streets and facilities.

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D e sig n Pr oc e s s II

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Exploring fluidity

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D e sig n Pr oc e s s II

Through making models, I accidentally found out that the mono-pitched roof created an interesting tension with the adjacent volumes, which could generate a more playful central circulation.

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Synthesis

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Sy nth e si s

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T H E A RT I S A N H U B The proposal is a cultural complex dedicated to arts and crafts. By exposing local craftsmanship, it allows people to recall their old cultural and historic memory of Sheung Wan. The notion of weaving appears in the landscape of the plot. The existing part of the staircase from Ladder Street is extended into the plot and blurs the boundary. At the level reaching Hollywood Street, the staircase is squeezed and provides a central gateway to the Man Mo Temple. The terracing landscape at the middle level consists of two levels of market space and greenery for commercial and leisure purposes. The landscape shares three unique spatial qualities as weaving stated: Sprawl Overlook Wrap-Around The three towers carry the main programmes of the proposal. The gallery space is at the bottom part facing Queens Road as it has the most pedestrian flow. Above the gallery space is the cafe area supplementing the needs of the visitors. On the left, it is a learning hub that holds classes for teaching. It also consists of a library and a theatre space with a capacity of serving 400 people. On the right, there is a community workshop equipped with tools and facilities for the artisan who wants to rent a larger space for work. The three connected programmes integrate with the landscape and create an engaging cultural experience.

Bird-eyed Site Plan

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Sy nth e si s

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Long Section 119

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Plan at Middle Level

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Exploded A xonometric Drawing

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COMPONEN TS

Bottom: 2 floors of gallery space

G/F: Library and entrance

Middle: Take-away coffee bar with seatings

1/F: Reception and commu

Top: Semi-public cafe area

2-4/F: Classrooms Roof: Public garden

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e to the theatre

unal space

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G/F: Reception 1/F: Large-scale tool storage area & photography studio 2-3/F: Studio space ( public) with balcony 4/F: Private studio room

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View from outdoor cafe area

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View to marekt space

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View from library (inside learning hub)

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View to interior workshop space

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Aerial Perspective

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S PAT I A L S EQ U E N C E

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Sy nth e si s

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12 . 05 . 2022 Final Thesis Critque

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Weaving the City-scape

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E pi lo g ue

W E AV I N G T H E C I T Y- S C A P E Conclusion

“ Weaving” is not purely a making method for a thing/ product, but an unceasing growth of the skill that you

The role of the artisan hub is not merely suggesting a

explore through the process. And yet, that is how our city

design proposal for the area, but rather a thesis to raise

is “Made”.

concern for the abandoned land/craft and to provoke a new way of looking at our city. All the empty and left-over lands in this hyper-capitalist world undoubtedly bury the rich cultural history of the past that requires thorough planning and a new design strategy. It reveals the loopholes hidden in the current urban architectural design. The unused plot becomes a loose thread that is unable to strengthen the connection between residents and the local community. The artisan hub interplays with the abstraction of weaving and a realistic spatial dimension in Sheung Wan. It regenerates a lively and exciting cultural atmosphere for the district. The new movement from the iteration of the staircase act as a “third space” that alters the daily scenery of the public. Weaving is not only used as a metaphor in the design narrative but also derived into a profound theory in viewing the Word. In an urban vision, connecting cities will be as easy as crossing a road in the future. Integration of layers such as transportation, dwelling, etc. will be a crucial factor for a new urban design typology.

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REFERENCE Books/Journals - Dudley, S. (2012). Museum Objects: Experiencing the Properties of Things. 1st ed. Routledge. - Berger, A . (2007). Drosscape: Wasting Land in Urban America. New York: Princeton Architectural Press. - Smith, T., & Project Muse. (2014). Bauhaus weaving theory : From feminine craft to mode of design (UPCC book collections on Project MUSE). Minneapolis, MN: University of Minnesota Press. - Dickson, A . (2017). Anni Albers: Picking Up the Thread. The New York Review. Retrieved 4 January 2022, from https://www.nybooks.com/dai ly/2017/11/21/anni-albers-picking-up-the-thread/. - Holt, M., & Looby, M. Diller Scofidio + Renfro: The Suspension of Disbelief. Retrieved 20 December 2021, from https://architizer.com/blog/prac tice/tools/diller-scofidio-renfro-the-suspension-of-disbelief/. - Adrià, G., et al. (2007). Biblioteca Vasconcelos = Vasconcelos Library (1.st ed.). México, D.F.: Consejo Nacional para la Cultura y las Artes, Dirección General de Publicaciones : Editorial RM : Arquine.

Others - Lucarelli, F. (2013). A Revolution in Stage Design: Drawings and Productions of Adolphe.... SOCKS. Retrieved 7 February 2022, from https:// socks-studio.com/2013/12/13/a-revolution-in-stage-design-drawings-and-productions-of-adolphe-appia/. - Fabrizi, M. (2015). Light, Shadows, Projections: Set Design by Josef Svoboda. SOCKS. Retrieved 7 February 2022, from https://socks-studio. com/2015/10/10/light-shadows-projections-set-design-by-josef-svoboda/. - S.C, L. (2021). Wes Anderson’s Directing Style Explained. StudioBinder. Retrieved 28 December 2021, from https://www.studiobinder.com/blog/ wes-anderson-style/#:~:text=Wes%20Anderson%20films%20are%20predominantly,will%20eventually%20direct%20the%20picture. - Dewolf, C. (2016). Stair Culture: Digging Into the Past and Present of Hong Kong’s Ladder Streets. Zolima City Magazine. Retrieved 14 January 2022, from https://zolimacitymag.com/stair-culture-digging-into-the-past-and-present-of-hong-kongs-ladder-streets/. - Ladder Street: Hong Kong’s historic stone staircase. The Loop HK . (2018). Retrieved 14 February 2022, from https://www.theloophk.com/ladderstreet-hong-kongs-historic-stone-staircase/. - Vasconcelos Library/Alberto Kalach. ArchDaily. (2010). Retrieved 8 February 2022, from https://www.archdaily.com/98584/vasconcelos-li brary-alberto-kalach. ISSN 0719-8884. - Kroll, A . “AD Classics: Kunsthal / OMA”. (2011). ArchDaily. Retrieved 8 February 2022. from https://www.archdaily.com/102825/ad-classics-kuns thal-oma. ISSN 0719-8884.

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ACKNOW LEDGMEN TS Many thanks to all the makers who have been in touch which allows me to be mesmerized by all the valuable craftsmanship in the city. Special thanks to Peter for guiding me and supporting me all the way even when I do not believe in myself. Melody for all the late-night companionship and conversation we had.

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The Chinese University of Hong Kong

Advisor \ Peter W. Ferretto