[ 12 ] 12 Unexpected Sets of Hong Kong
Tsz Lok TO - 16038311 P30035 - Research-Led Design 05 May 2017 Supervisor - Mike Halliwell | Igea Troiani
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[ Content ]
Beginning
Site
6 10
Set Jan
28
Feb
40
Mar
52
Apr
64
May
76
Jan
88
Jul
100
Aug
110
Sep
120
Oct
132
Nov
144
Dec
156
Reflective Sprose
168
Undefined Moment
172
Appendix
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178
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Beginning 6
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Rule [ Redefine the Set of Wong Kar Wai ]
[ Environmental emotion ]
[ Off Screen : Sound ]
[ In between Space ]
Wong Kar wai is a filmmaker from Hong Kong. Most of his films emphasises a strong relationship with space and time. This porject seeks to use Wong Kar wai different dialoguew from his movies to redesign them into a series of architectural film sets.
In a film, architecture is a background to build up the story, meanwhile, environment is the part of the background to boost emotion. In reality, choosing a special day or time gives the ‘set’ another meaning.
Using sound as a techniqe to arise the experience, each ‘Set’ has different orders of spaces to create a sense of hunting for the next moment.
As studied Bernard Tschumi and Jacques Derrida, this project tries to give a new definition of ‘in between space’ and ‘becoming space’ with Wong’s way in connecting different scenes in the film.
[ Time Days in different years ] Day and Number are the usual way to mark the existence of time in Wong’s films. In this project, ‘time’ itself is related to the weather to enhance the emotion of the moment in each ‘Set’.
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[ On Screen : Sign ] [ Site] 12 chosen site is related to the climate condition directly or in directly. Each site is related with different situations and each of them can visually connected to others.
Each ‘Set’ are visually connected to each other. At the same time, sound is equally important. Therefore, the main design principal is to create a sense of hunting.
[ Set : Moment ] All ‘Sets’ are located at different ‘in betweeen spaces’ of Hong Kong. Each ‘Set’ are designed for a moment rather than a space for function.
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1 Site
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[ Location ] Coherent : Visual Axis 12 Film Sets locate in different situations and netvigate people from one to another one. Scene : Space Each space inspires by a ‘Scene’. Each ‘Set’ interacts with different events in Hong Kong. It could be set in extreme weather conditions or special events throughout a year, etc.
[ View from North to South ] This image is a diagram to show the visual connecrions in between the vertical city.
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January March
May
December
October
February November July August
April
1:50000 location plan
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Jane
September
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[ Annual Climate of Hong Kong ]
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10/03/2017
Lion Rock Google Maps
Lion Rock
Image capture: Dec 2015
© 2017 Google
See inside - Dec 2015
January
https://www.google.co.uk/maps/place/Hong+Kong/@22.3504673,114.1814039,3a,90y,142.78h,84.24t/data=!3m7!1e1!3m5!1skq5Pnno3PpxLJRAZufaVnQ!2e0!3e2!7i13312!8i6656!4m5!3m4!1s0x3403e2eda332980f:0xf08ab3badbeac97c!8m2!3d22.396428!4d114.109497!6m1!1e1
1/1
February
March
July
August
September
Jane
October
November
December
嘉樂苑
Image capture: Jun 2016
Images may be subject to copyright.
KNOWS GOD Street View - Jun 2016
April
May
[ Site and Time ]
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嘉樂苑 Lion Rock Google Maps
January
July
March
May
Jane
Image capture: Jun 2016
Image capture: Dec 2015
February
December
November
August
September
April
October
Images may be subject to copyright.
KNOWS GOD
© 2017 Google
Street View - Jun 2016
1skq5Pnno3PpxLJRAZufaVnQ!2e0!3e2!7i13312!8i6656!4m5!3m4!1s0x3403e2eda332980f:0xf08ab3badbeac97c!8m2!3d22.396428!4d114.109497!6m1!1e1
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1/1
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Imagery ©2017 DigitalGlobe, Google, TerraMetrics, Data SIO, NOAA, U.S. Navy, NGA, GEBCO, Landsat / Copernicus, Map data ©2017 Google
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Imagery Š2017 DigitalGlobe, DigitalGlobe, Google, TerraMetrics, Lan
2 Site
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1
Slow Swing 1th January 8co 17:00
It is a restless moment. She has kept her head lowered... to give him a chance to come closer. But he could not, for lack of courage. She turns and walks away. In the Mood for Love (Wong, 2004)
在從前，當一個人心裡有個不可告人的秘密，他會跑到深山里，找一 棵樹，在樹上挖個洞，將秘密告訴那個洞，再用泥土封起來，這個秘 密就永遠沒人知道。
In the Mood for Love (Wong, 2004)
Our relationship is like swinging, sometimes, it is very close, sometimes, it is very far. 28
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1
t to o the r se
3
1:1000 Site Plan 1. This Set overlooks to most of other ‘Sets’ from North to South. 2. This location is one of the peaks that represents Hong Kong.
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View to other set
Vie w
Vie w
to oth e
r se
t
2
1:100 ROOF Plan 1. Set 1 is situated in between the slope and trees around the hiking path. 2. The organic form is designed based on the existing contour. 3. Set 1 creates moments by the reflecting the opposite in the direction that reflect the back of the Set.
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Aerial View
1 : 100 Section
Swing
Framed views and reflection object
Performance space
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External view
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Internal view
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Internal view
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Sound of Sunset 1th February 8co 17:00
2
He remembers those vanished years. As though looking through a dusty window pane, the past is something he could see, but not touch and everything he sees is blurred and indistinct. He has been yearning everything of the past. If only he could break through that dusty window, he would have gone back into the vanished years. In the Mood for Love (Wong, 2004)
那些消逝了的歲月仿佛隔著一塊積著灰塵的玻璃看得到，抓不著…… 他一直在懷念著過去的一切，如果他能衝破那塊積著灰塵的玻璃，他 會走回早已消逝的歲月。
In the Mood for Love (Wong, 2004)
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4
to View r Set
Othe
ew Vi O to the et
Existing building
r Set
Othe
rS
to View
Existing building
3
Plant
Performance space
2
1
1:500 Site Plan 1. The void between Set 1 and the existing building gives an accurate angle to see other Sets. 2. Set 1 locates in a narrow street-scape which enhance the sound during the scene.
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1:100 ROOF Plan 1. Camera pans from the existing building > plants / stair > performance space 2. Camera captures the second character walk in (the mirror at the back reflects the performance space) 3. Camera frames the other Sets through the dusty blurred glass and the reflection from the back. Then the image combines the spaces from the front and the back. 4. Wide Shot taken from the street level. 43
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Glass Panel frames to the other Sets
Existing building roof top Rythumic structure based on the existing view and lead to the other sets abstractly.
Existing building
Bird View from the roof
1 : 100 Section Existing building
Mirror with reflection to the performance space and the plant. Frame create a limited view into the corridor which allow audience focus on the performance.
A plant gives a sense of nature in between the urban Skyline. Angled panels improves the echo for the performance 44
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Performance space
Stair for the performer
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Set 4
Side view
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Close-up view from South
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Wide Shot from street level Narrow streetscape for the set enhances the sound of the performance.
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Day before April Fool 31th March 20 c o 23:59
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Would you let a person on board with a boarding pass like this? It’s dated today, but it got blurred in the rain. I don’t know where it’s taking me. Do you? Chung King express (Wong, 1997)
有個事想問你，如果有人給你這樣的登機證，你會不會讓他上飛 機？日子是今天，可惜弄濕了，又不知道去哪兒的，你知不知 道？ “
Chung King express (Wong, 1997)
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View to Other Set
Set View into the courtyard from roof top
Courtyard Set View to roof top from the courtyard
Existing building View
r he
2
t
Se
View to Other Set
ew Vi
Ot to
er Set to Oth
1:2000 Site Plan 1. This is a typical housing in Hong Kong. It is rare that it is not being built again now. 2. Many Hong Kong directors uses deep internal courtyard as one of their sets for their films. 3. Due to the strong visual connection within the block, it suggests many unexpected moments.
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1:500 ROOF Plan 1. Main part of Set 3 is located on the roof top of a social housing of Hong Kong. 2. The depth of looking down to the courtyard gives a strong feeling and focus. 3. Other parts of the Set 3 is placed at the bottom, their view are set to target to the top, as well as a mirror view of the roof top set. 55
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1:500 section
Aerial View
1 : 200 Section
Framed the view to the other set at the bottom
Entrance from roof top
Existing Building
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View from roof top
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View from ground
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View to the bottom on middle level
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Midnight Poison 1th April 25 c o 23:00
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When you coopreate with someone too long, you will get used to his hobby. I remember this perfume, but I don’t get used to caught a whiff from other girls.
Fallen Angles (Wong, 1994)
跟一個人合作久了，你的習慣或多或少會受他的影響。 雖然我很熟悉這種香水，可是我怎麼也不習慣從別的女人身上 聞到。 Fallen Angles (Wong, 1994)
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ew Vi O to er th Se t
ew Vi O to er th Se t
1
Ex
ist in gb ui
Sta i
ldi
ng
4
rq ue
ue
to clu bb in g
Plant
Pe rf
um eV oid
Ex
ist in gb ui
ldi
ng
2
e nc tra En
3
C of g bin lub
Ex
ist in gb ui
1:500 Site Plan 1. The void between Set 2 and the existing building gives an accurate angle to see other sets. 2. The narrow street-scape boosts the sound and smell in the scene. 3. The scene is set at the narrow street of a nightlife area. 4. The smell of perfume from girls will fill in the street. 5. During daytime, it is filled in with the smell of flowers, meanwhile, during nightie, it is full of the smell of perfumes. 66
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ldi
ng
1:100 ROOF Plan 1. Camera pans to the character from the existing building > queuing stair. 2. Camera locates at the upper level, Set 4 captures the perfume from the lower level. 3. A plant gives a sense layering in-between the set and the existing building. 4. Character walks into the set then smell a hint of perfume of the others from the Perfume Void. 67
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Existing building roof top
Existing building
Bird View from the roof
1 : 50 Section
Existing building
The curved mirror reflects the ground
The panel frames the view of outside for character within the set Seating area for character to see the whole view
Seat
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Walkway
The void that captures the perfume from the ground 69
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Side Internal View
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Internal View
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Side view
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View from ground level
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Expired Joke 1th May 25 c o 00:01
5
we split up on April Fool’s Day, so I decided to let the joke run for a month. Every day I buy a can of pineapple with a sell-by date of May 1st. May loves pineapple and it is my birthday. I tell myself, once I have buy 30 cans, but she still not coming back, our relationship is expired.
我們分手的那天是愚人節，所以我一直當她是開玩笑，我願意讓 她這個玩笑維持一個月。從分手的那一天開始，我每天買一罐5 月1號到期的鳳梨罐頭，因為鳳梨 是阿可能最愛吃的東西，而5 月1號是我的生日。我告訴我自己，當我買滿30罐的時候，她如 果還不回來，這段感情就會過期。
Chung King express (Wong, 1997)
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Spy room
2
Reflection of hidden passage Hidden passage to backyard
Backyard of the School
3
Framed to the backyard Slide to the Set
4
Existing S
Entrance
chool 1
1:500 Site Plan 1. The school is not open on first of May. 2. Set 5 is able to access from the backyard of the school or, people can throw something from the set.
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1:200 ROOF Plan 1. Camera pans to the character from the existing hiking path > the slide to Set 5 2. The second camera captures when the character enter the hidden passage to the backyard 3. Camera sets on the ground of the backyard of the school 4. People will receives the dropping ball from Set 5 during the scene. 79
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1:150 Side Elevation
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Aerial View
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View from the corridor of existing school
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View from top of the set
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View from the backyard
Frame the view
Swing
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Damp Dock 31th June 30 c o 20:00
6
All the memories are damp
Chung King express (Wong, 1997)
所有的記憶都是潮濕的.
Chung King express (Wong, 1997)
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Entrance
1
d the Frame e skylin
2
Vi ew
Sunrise
3
th er
Se
t
ave und W the so
e theatr Wave
d Frame
e am Fr
set un S o dt
to O
4
Sun
set
et her s to ot View
1:5000 Site Plan 1. Set 6 locates at a dock with a rock that separates the heavy and the still waves. 2. Set 6 offers a wide view angle of Hong Kong skyline next to the waterfront that can amplify the echo of waves while it sets back from the high density skyline.
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1:750 ROOF Plan 1. Camera pans the character from the entrance, then blocked by the wall and the view reveals. It gives a rhythmic visual connection to the nature and surrounding. 2. A glance to the framed view of sunset through a long linear hole. 3. The narrow space captures the sound of wave hit on the rocks, the rhythmic opening gives an echo with the wave. 4. Final, a door frames the sunset view after all the sound exprience 91
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Viewing Frame
Frame Within frame View Box
Opening that face to sea. Enhance echo
1 : 50 Section throught the Wave Theatre
Aerial View Light and structure
Echo space
Layering Object
Wall blocked view
Wave Echo corridor Opening faces down to sea which amplify the echo
Blocked wall amplify the echo of waves
Beginning of the journey
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1 : 50 Sectional perspective through the long linear hole to the sunset view
1:100 Sectional perspective Toward the end of the journey
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View to the sky through the linear hole
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View to the wave theatre from the rocks
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Longest Summer 31th July 30 c o 20:00
7
Sometimes I think ears are more important. you see better with your ears. you can pretned to look happy but your voice reveals the truth. if you listen closely, you understand.
Happy together (Wong, 1997)
有時候，耳朵比眼睛還重要，很多東西用耳朵聽比用眼睛看好， 一個人假裝開心，但聲音就裝不了。細心一聽就知道了。
Happy together (Wong, 1997)
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Radio + Projector
3
ew Vi
to
r he Ot
t
Se
4
Off Screen Theatre
1
View to Other Set
Performance Chair
1:750 Site Plan 1. A theatre for sound and limited visual experience on a empty mountain. 2. Experience the space through the mirror and the hole on the wall in front of the performance space. 3. Audience can see the other sets through the framed area. 4. This derelict site has a rare view to enjoy the skyline of Hong Kong. 102
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2
1:250 ROOF Plan 1. Character walks to the sitting area from the ground level. 2. People notices someone be hide the off screen theatre. 3. A wall blocks the view to the off screen theatre, but people can see from the mirror at the top of the performance space.
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Aerial View
1 : 200 Section
View to other Sets and the Skyline of Hong Kong
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Performer seat
Mirror and Performance space
Frame
Audience Sitting area
Radio + Projector
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View behind the performance space
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Aerial View from the projector
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8
415 Metre 15th August 19 c o 13:00
That night, electricity stops suddenly. “Shit.” “Don’t set fire to anything. Watch those candles.” “This is your fault. What’s gotten into you lately? Why didn’t you pay the elctricity bill? Where have you been getting to everyday?” “I went to see doctor.” “Really? You haven’t been taking medicine.” “Of course I have. You just didn’t notice.” “And did the doctor tell you when you’d get better?” “Anytime now.” Chung King express (Wong, 1997) 晚上，午夜特快突然停電。 “糟了，糟了” “小心火，小心火啊” “當心，當心，蠟燭粘牢一點，當心著火” “我真不明白你最近幹什麼？電費也不交，好了吧，現在電也被人剪了” “你每天下午都去哪了？” “我看病去了” “看醫生？我怎麼沒見你吃藥啊” “我吃了啊，你沒看見嘛” “是的，我沒注意，那麼醫生說你什麼時候會好呀？ “快好了，他就快好了” Chung King express (Wong, 1997)
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other s et View to View to Other Set
View to
t
r se
Vie
Set Other
the oo wt
Existing building 3
r he
t
Se
2
View to Other Set
ew Vi
Ot to
1:5000 Site Plan 1. Set 8 locates at the one of the most iconic skyscraper of Hong Kong. 2. Set 8 is parasites to the building. 3. Set 8 is visually connected to the other sets. 4. Set 8 is designed for experiencing extreme nature. 112
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View
to o t
her se
t
1
1:500 ROOF Plan 1. Set 8 got the highest view than others. 2. Set 8 is most visible by the public. 3. Set 8 is adapted to the high-rise building.
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Aerial View
1:500 side Elevation
View to Victoria Harbour
Pathway from Existing building
Existing Bulding
View from 400 Metre
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External View
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Day of lightning
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Hidden outside 15th September 18 c o
9
some days I go home for lunch, there’s always a chance she’ll be back. I know you’re in there. come out. I count three... She used to leap out of the closet to scare me. But she’s stopped doing it. I guess the game palled after a while. Can she is hiding in the toilet?
Chung King express (Wong, 1997)
時候我會回家吃飯，因為每一次回來我都可以有個希望。 梁走到衣櫃前，對衣櫃說：“我知道你回來了，你快點出來啊，我 數三下，一，二，三” 她以前很喜歡從衣櫃裡跳出來嚇我，可是最近少多了，哼，說的 也是，玩的多也會厭啊。那她會不會藏在廁所呢
Chung King express (Wong, 1997)
This set is about a new space outside at the house. where the character can hide himself, and surupise others . 120
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Pe rf
View to Other Sets
Firework view
um eV oid
2
View to Other Sets
1
1:500 Site Plan
1:100 ROOF Plan
1. This location one of the film location of Wong Kar Wai in Chungking express.
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1. The character looking for another characters during the scene. 2. Set 9 is a new space for hiding outside the house. 3. The red character is waited for character blue to find herself outside the block.
3
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View to Victoria Harbour
External View
Pathway from Existing building
Existing Bulding
1100 side Elevation
Existing Building
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External View
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External View
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External View
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Bowen Rd Fitness Trail
Firework 1th October 10 c o 20:00
10
Actually, she did go to California that evening. But it was the other one. We were in different Californians with a 15-hour time difference between us. It must be 11:00 a.m. in California, USA. I wonder if she will remember our 8:00p.m. Date here. Chung King express (Wong, 1997)
其實他不是沒有來，只是走錯了地方。那天晚上，我們大家都在 加州，只不過我們之間相差了15個鐘頭，現在是他那邊早上11 點。不知道今天晚上8點，他會不會記得約了我呢？
Chung King express (Wong, 1997)
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View to Other Sets
Firework view
View to Other Set
3
Pe rf
um eV oid
2
1
Existing
1:1000 Site Plan 1. Set 10 locates at the highest hill, and the hiking path way to the top of the hill. 2. This location can see the annual firework in Hong Kong where the firework bloom at the same level height. 3. People can experience the firework upon the skyline 4. The echo of the firework is surround by the new wall. 134
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drainage
1:100 ROOF Plan 1. Existing trees frames the view of the firework. 2. The new wall helps amplifying the experience and block the view before people reach the most beautiful point.
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Aerial View
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1 : 50 elevation Elevation
View to Victoria Harbour and skyline of Hong Kong from 450 Metre
Transitional sapce
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Side View
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Close-up View
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Firework moment
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Floating November 14 c o
11
Every one going to 2046 are looking for losing memories, Because in 2046 is nothing change at all. No one know is it real, because no one have been come back. 2046 (Wong, 2004)
每個去2046的人，都只有一個目的，就是找回失去的記憶，因為 在2046，一切都不會改變。沒有人知道這是不是真的，因為去過 的人，沒有一個回來過。
2046 (Wong, 2004)
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ew Vi O to er th Se t
Vi sua
la
xis
to oth e
rs
et
1
dow n up
3
1:2000 Site Plan 1. Set 11 locates at the harbor. It floats thus visitor can access by boat only. 2. Set 11’s design is referenced to the film ‘2046’ by Wong Karwai. 3. Set 11 floats to nowhere. 4. Set 11 is set as a ‘in between object’ for other sets. 146
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1:100 ROOF Plan 1. While the characters think they will meet at the stair. 2. They find out there is a gap that never connects 3. Floating represents a sense of flexibility and instability, just like Room 2046 in the movie
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Aerial View Aerial View
1 : 200 Section Transitional Space
The curved wall reflects the echo of waves
Framed views for other Sets and the Skyline of Hong Kong
The thick wall gives a quiet moment contrasts to the outside
Frame the view of the sea
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Internal View
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External View
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Internal View
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12
24/25 th December 4co 23:59-00:00
Area of 1224 - 1225 is a chilliness area. In deed, the meaning of 1224 - 1225 is the day of Christmas. on that night, many people need more warmth than usual. 2046 (Wong, 2004)
1224-1225區是一個特別寒冷的地區 . 其實所謂1224-1225就是現實裡的平安夜。 每年到了那個晚上，很多人都會特別需要多一點溫暖。
2046 (Wong, 2004)
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t View to Other Se
t View to Other Se
Re fle t to on c ti d he ct ire t igh
l sun ow
4
a te ea Cr
d ha ds gir
3
2
Existing building
Reflec
tion to
the gr ou
nd
1
t
View to Other Se
1:500 Site Plan 1. This set locates at the roof top of one of the most busiest street. 2. The scene is set on the Christmas day. 3. Chungking Mansion is one of Wong Kar Wai’s film locations. 4. The character is lonely and the busy scene on the street triggers his idea to spy on the street. 158
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1:100 ROOF Plan 1. A lonely person can spy someone from Set 12. 2. The reflection object offers protection to the spy.
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The steel mesh and the mirror gives another layer to protection for the view from the ground
Aerial View
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Refection to the sun light Gives a darker space for the viewer
The structure creates a hidden feeling To the passage
Entrance from the Roof top
1:50 Elevation
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Street View
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Street View from bottom
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Close-up top View
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Close-up view
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3
Undefined moment 168
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4
Reflective prose 172
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This project is seeking an answer for a question of how architect directs a film and enhances the story by using architectural elements and different senses that we saw in film.
Through designing different site specific set. By using architecture language to enhance or reduce the sense in order to tell the story. Picking a special day in a year, it gives another layer of weather condition. Each ‘Set’ are designed to consider the human sense like sound / view. Also, the experience throughout the journey and how can the design be site specific. Through the thinking process of making architecture as a film, making space is like constructing the experience of a scene in a movie. Designing the journey is similar in deciding a camera movement. Therefore, designing space is like how director construct a moment for the film. Wong is good at the sense of hunting to connect those space, to what extent, architect can connect spaces, both visual and emotional.
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5
Appendix 178
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To be continue 188
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