Hong Kong Archive 2037 by Patrick Hwang

HONG KONG ARCHIVE 2037 Architecture in the emergence of alternative facts

THE CHINESE UNIVERSITY OF HONG KONG MASTER OF ARCHITECTURE DESIGN STUDIO

PATRICK HWANG STUDIO

香港檔案館 2037

HONG KONG ARCHIVE 2037 Architecture in the emergence of alternative facts

Hong Kong from Space HKSARG

One of the most potent places for collecting and keeping the curious things of the past is, besides the museum, the city itself. In the space of the city, the alien is incessantly assimilated into the existing and the known. Cities are documents of the processes by which differences are redeemed and negated. Omar Akbar, The Memory of a City, 2007 The past and the future become, for Paul Valery, a â&#x20AC;&#x153;production of absent things.â&#x20AC;? To remember the past is to reconstruct a former present, now distortedly seen, from the point of a more immediate present. Regardless of imposed transformations, the past remains firmly embedded in objects made. The record they hold remains precise and accurate, autonomous from any later fabrications of meaning. Ricardo Scofidio, Education of An Architect, 1991

Google Data Center Annoymous

THE CHINESE UNIVERSITY OF HONG KONG MASTER OF ARCHITECTURE DESIGN STUDIO SPRING 2018 PATRICK HWANG STUDIO CHEUNG, Kat Fu Eric YAU, Chun Yin Luke WONG, Ching Nam Carol TANG, Wan Ting Wendy SEDZIAK, Urszula ZHAO, Shule Sherry CHIU, Chun Kit Patrick YANG, Shen Yanson MAI, Jiajie Key

Cenotaph Turenne Etienne-Louis BoullĂŠe

Foreword Typology . Act 1 Narrative . Act 2 2.1 THE MAP 2.2 THE FILM

Architecture .`Act 3 3.1 SECTIONS 3.2 RENDERINGS 3.3 MODELS

Outtake 4.1 PROCESS STUDIES 4.2 BEYOND THE STUDIO

Colophon 5.1 SCHEDULE 5.2 BIBLIOGRAPHY 5.3 ACKNOWLEDGEMENT 5.4 BOOK EDITING 5.5 CREDITS 5.6 BIO

Archisculpture antigravity 021 Beomsik Won

Foreword In the age of alternative facts , different constituent groups compartmentalised their belief system to fit within a subjective silo of the universe, such that false claims are being labelled as ‘facts’ to counter against the truth that they do not agree with. This condition is partly propelled by the rise of social media, where people are systematically walled off from those who hold dissimilar views with the help of powerful algorithms. Such phenomenon further strengthens the argument for the need to protect those events and artefacts that define the core values of our society. The archive holds the potential in safeguarding the truth while its architecture serves as a vehicle for narrating its content. It is the building type that Ricardo Scofidio refers to as the “former present, which remains autonomous and resists any later fabrication of meaning.” Questioning the idea of the archive forms the basic premise of this Master’s studio. Situated within the quasi-fictional context in the year 2037, the studio aims to tell the story of Hong Kong not through the perspective of a grand narrative from the point of view of the state but rather through the lens of everyday fragments of the city. As an example, in Lee Ou Fan’s essay “Walking along Kowloon Streets: A Personal and Semi-Theoretical Reflection”, he argues that naming of the streets does not occur accidentally; instead, the names emerged out of a particular social and political context. In the case of Hong Kong, such context can be traced back to the British government and the ways in which street names are implicitly strategised to highlight the superiority of the ruler. A subject on street naming (or many others) inspired by the city could form the beginning of a project. The architectural motivation will be to design and craft an archival building that stores, displays and communicates the past with the present and serve as a reflection to the future. The studio design process involves the following: a focused study on the typological traits of the archive building; in search and the research of archival content of the project; a tectonic and material formalisation of the concept through the specificity of the corner; contextual analysis of the site; and finally the culmination of the architectural proposition. Additionally, there are assigned theoretical readings to be discussed in studio seminars to complement the design process.

Hong Kong Public Records Building Architectural Service Department

Typology According to Etienne-Louis Boullée, the 18th Century French Revolutionary and visionary architect, a public building conveys a sense of character and holds the capacity to produce meaning. Depending on its function, the architecture must reflect the nature of its character by communicating its presence in the public realm. The notion of relating building to character is further elaborated through his theory on architecture parlante or “speaking architecture”. Under this premise, what is the principal character of an archive? What role does it play in the public domain?

1:2000 Context Plan 1. Netherlands Institute for Sound and Vision â&#x20AC;&#x201C; Neutelings Riedijk Architects 2. Sun Yat-Sen Memorial Hall â&#x20AC;&#x201C; Da-Hong Wang

1:2000 Context Plan 1. Hong Kong Central Library – HKASD 2. The Presidential Archive of Korea – Samoo Architects & Engineers

1:500 Ground Floor Plan 1. State Archive of the Evangelical Lutheran Church – GMP 2. Netherlands Institute for Sound and Vision – Neutelings Riedijk Architects 3. Archive Depot 4. Historical Archive of the Basque Country – ACXT

1:500 Ground Floor Plan 1. Essener Geschichte Archive Building – Ahlbrecht Felix Scheidt Kasprusch 2. The National Library of France 3. Hong Kong Central Library – HKASD 4. Beinecke Rare Book & Manuscript Library – SOM

1:500 Principal Section 1. Beinecke Rare Book & Manuscript Library – SOM 2. Sainte Genevieve Library – Henri Labrouste 3. State Archive of the Evangelical Lutheran Church – GMP 4. Netherlands Institute for Sound and Vision – Neutelings Riedijk Architects

1:500 Ground Floor Plan 1. Archive Depot 2. Historical Archive of the Basque Country – ACXT Façade 3. The National Library of France 4. Netherlands Institute for Sound and Vision – Neutelings Riedijk Architects

Narrative The identity of a city can be characterised and defined by its attitude towards the past, present and future. What and how a city chooses to collect and narrate its artefacts directly influence the cultural practices and experience of its people. As the year 2047 approaches, what new and old contents and performances should we anticipate from the archival architecture?

In the following pages, each number identifies the work produced by the individual student.

1 CHEUNG, Kat Fu Eric 2 YAU, Chun Yin Luke 5 SEDZIAK, Urszula 6 ZHAO, Shule Sherry

3 WONG, Ching Nam Carol 4 TANG, Wan Ting Wendy 7 CHIU, Chun Kit Patrick 8 YANG, Shen Yanson

2.1 THE MAP The archive content for the design is derived from the city. Each student begins his research through a geographic boundary as defined by the studio â&#x20AC;&#x2DC;Hong Kong Archive mapâ&#x20AC;&#x2122;. Student may choose any topic of interest (historic, political, natural, cultural etc.) as the content of the archive which originates from the geographic location.

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2.2 THE FILM In a 60 second film, students narrate their ideas, observations and propositions derived from the previous analysis of the city and reflection of an archive. Through the film, students explore the depth of seeing, and translate the conceptual to the material. The films are available online on https://www.youtube.com/playlist? list=PLqaaY8ezlMXcbOHnU4OUmcLFTuYCSDxyV

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Architecture Based on the research generated from the studies and experiments, students design and develop Hong Kong Archive 2037. Students develop architectural specificity by collaborating both form and content. The information gathered from the site drawings to further understand the site with respect to its history, surrounding built environment, circulation networks and neighbourhoodâ&#x20AC;&#x2122;s constituents. Evaluate the latent opportunities that exist in the site. The proposed Hong Kong Archive 2037 is approximately 8,000 sq. meters.

3.1 SECTIONS In the most basic sense, Plan, Section, Elevation and Axonometric are descriptive graphic notations associated with objective representations of a potential construct. The intention of these drawings is to provide instructions to build. Their exactitude therefore directly affects the outcome of the construct. Descriptive drawing: the abstract, distant and projected lines are the subject of translation in becoming the tangible, present and immediate elements of a building.

Central, the heart of the Victoria City, is a place with transit itself as its destination. As history there are full of instances where place is constantly shifting, you may not sure of what the city is being hand over, whether it is the place itself or its sovereignty, knowledge, fantasy, or memory. However, Aldo Rossi, a well renowned architecture theorist, suggests a way to reorganize a place by considering city itself is the locus of the collective memory. If so, by understanding the development of a city, it could be a way to reveal parts of the collective memory of a place. To serve as the content of the Archive, we propose a giant house that could open up and explore the multiplicity. A storehouse in the very idea recording both the government perspective and public reaction to the development of the Victoria City, is made accessible in different ways. It allows the visitors to walk along the archive common ground, to embark on an obsessive quest, wander around with multi layers of narrative in mind in order to generate a new interpretation on the sense of city collective memory. As an City Archive combining both retrospective past and prospective future, is supposed to be no longer objective. The architectural form itself explicit the conflicts between the community wills and government reaction on the development of the city. Walking through the underground level connecting with the future MTR route, coming across the common ground and the debating zone, Visitors final end up his journey on the public observation deck. Looking around the city, we can imagine that the present is well planned and the future is celebrated. 76

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On Archival Content—Red The city is about colour and light, they are the explicit visualizations of the vibrancy and life of a place. Without colour, Hong Kong or any other city for that matter, is nowhere but a place with just concrete boxes. This project proposes to archive the colour of RED as its archive content. The particular colour is chosen for this historic connection to the Chinese heritage. Red is intangible, but an archive building is seeking for tangible objects. Therefore, a materialized carrier is needed. The major archival content of the archive is artefacts in red colour. For the unarchivable reds, which refers to buildings and scenes, would be digitalized as supplementary archival content. On Site—An Enclave of time An enclave is a geographical concept, referring to a territory entirely surrounded by the territory of other states. The site is a collage of different historical layers and memories. Though locating at the point where history and future converge and intersect, the site is an island with a palimpsest of history. Being isolated the site is, physical but also in the sense of time, it becomes an appropriate empty container to encapsulate any content. On Building—An Underground Public Building The archival content and the isolation of the site become the major driven forces to shape the architecture. Taking the very immediate context, the flyovers through the site, as the basic constraint, the proposed project assert itself in the subterranean level. As an island, the site is connected to the surrounding with underground tunnels. The principal access would be the one leading to the future Sung Wong Toi MTR Station The proposed project tries to redefine the concept of “ground”. The lower level, or the MTR level becomes the very “first ground” for the public. The connection allows the archive, as a public building, to become more accessible to the community. 88

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Sound of the City: Archive of Activism “Wherever we are, what we heard is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.” - John Cage Activism is empowered when sound of people resonates. In a city, social movement is a place for citizens to perform, who narrate the value and things that the local society truly treasure. History of activism is important because the results of history are still with us. The Archive of Activism is a place where diachronic events are transformed to synchronic connection. It is a community archive provides space for alternative historical narratives by local people. It is an archive from ‘below’, activists are users and at the same time, the contributors. Despite storing the records of local powers, more significantly is that the archive can be activated as empowerment tools: a space for activists to learn from and learn with one another. Sound produced by people is crucial and most symbolic element in activism. The archive is sound generated, with the sound records as major content, and supplemented by visual contents for further learning. Through exploring the dynamic soundscapes of the site in Kowloon City, sound would not only be the content of the archive, but also the unique experience throughout the journey in the repository. The Archive of Activism is an on-going social repository as long as activisms are still able to happen with freedom in Hong Kong, which is an uncertainty after the year of 2037..

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4 Hong Kong Archive 2037 The Disappeared New Territories The 13 Villages in ‘New Kowloon’ “We live in a time and space in which borders, both literal and figurative, exist everywhere....A border maps limits; it keeps people in and out of an area; it marks the ending of a safe zone and the beginning of an unsafe zone. To confront a border and, more so, to cross a border presumes great risk. In general people fear and are afraid to cross borders..... People cling to the dream of utopia and fail to recognize that they create and live in heterotopia.” -Alejandro Morales Walls, in one way, represents a symbolic and literal meaning: a violent exclusion. Besides protecting themselves from rival clans, bandits and pirates, villagers built walls to assure their territory within the area. The wall “marks the ending of a safe zone and the beginning of an unsafe zone”. But as Rem Koolhaas revealed an inverted logic of walls in the Exodus project, walls, in the other way, could represent an alluring object for its audience to jump in. The phenomenon of thriving New Territories villages and demolished Kowloon villages becomes the starting point of the project. When the British-Hong Kong Government decided to re-define a portion of New Territories into New Kowloon in 1937, for acquiring valuable flat lands, the rights and interests of the indigenous inhabitants living in the ‘New Kowloon’ area are at the same time being exploited, with a modification of territories. This is the history when the border, the walls became powerless under an authoritarian authority. It is also the history that marked the starting point when the villages in ‘New Kowloon’ were being demolished one by one. The last one, Nga Tsin Wai Village, were being demolished in 2012. For once, the walls are not defensive. The traces of existence of the 13 villages are no longer bounded by walls that represent exclusion and isolation. The walls are now peacefully welcoming, awaiting to unfold a history-telling journey. As situated in a turbulent site, which is a contrast to the tranquillity of rural villages, this design project aims to maximize the tranquillity of the area by providing introverted experiences with glimpses of the nature. 110

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1. lecture hall 2. function room 3. storage 4. fire escape

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arrival_ gently entering the isolated island

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arrival_entering the history-telling journey

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juxtaposition_the past, the present, and the future

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The era of digitalization with modern information technology and increasing use of electronic devices has contributed to the unstoppable flow of data from various sources. This data - the Big Data, could be preserved as a testimony of peoples action and analyzed to reveal patterns, behaviors, and interactions. A large amount of digital information is created by human activity - especially devices usage and online communication. In Hong Kong with its population of over 7 million people, the smartphone usage is the most widespread among all Asian countries - creating data every day by interacting, chatting, calling, taking pictures, browsing online. By these simple activities, each contributes to the digital collective memory of the city - a unique digital society. Our society also starts to face the problem of the increasing need for data storage. Projections have shown that by 2020 there will be 5,2 TB of information for every person on earth. That number will grow significantly by 2037. Being digital, each piece of data takes a very physical counterpart - the server. At the same time, there is no solution or use for date left in the cloud by a deceased person. This project of the archives settled in the future of 2037 operates at the edge of paradox - in the times when everything is connected like never before, personal data stored in the archives can be found and accessed only there - just like each person individual digital footprint (digital entity) is unique.

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The project showcases the archive as an organized chronicle. The repository of artifacts is regarded as an accumulation of memory across time. Although the building stores archival materials in various time periods, the sense of time layer can only be experienced by travelling inside the building but cannot be judged from its brand new faรงade. Archival shelves are arranged in decadal order, with the old artifacts at lower level and new at upper floors. Voids are created within the dense archival solid and programs are place in these voids. Escalators which penetrate through the archive floors connect the voids in the building. The archive shelves are revealed to the public with the use of glass walls. While one travels on the moving escalator (representing present), he/she can see the archive being frozen on the floor which indicates its time period. The contrast of present and past is brought in terms of movement and stillness, as well as solid and void. The circulation inside the building is to travel within the voids formed by the arrangement of archival shelves, resonates with our mental journey of traveling back to the gaps of time in search of shared memory and values.

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3.2 RENDERINGS â&#x20AC;&#x153;Architects do not make buildings; they make drawings of buildingsâ&#x20AC;? as proclaimed by Robin Evans. Traditionally, architectural drawings are understood as a means to an end: lines, notations in a series of steps from idea toward built realization, the projected building-to-be. Along the Structuralist way of thinking, drawing is the signifier and building is the signified. Representation therefore can be understood as a series of provisional strategies to mediate between the two different worlds, the imagined and the built. Modes of representation are not simply neutral depictions but a constructed proposition of architecture.

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3.3 MODELS More than a form of representation, model exists on itself. It is architecture in compressed form, conveying ideas of structure, materiality, programmatic relationships, details, space and form. More than drawings, models are testing grounds for perpetual effects, it offers a kind of interactivity and immediacy that no other forms of architectural representations can match. During the course of the studio, models of various scales were made to test its relationships to the city, the fabric and the people.

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4.1 STUDY PROCESS Process is far more interesting than ideas. Ideas are linked to existing codes, operating critically or in alignment with preexisting systems of ideas. Rather than making a project the implementation of an idea, or the scaffolding of an image, what we are interested in is constructing, engineering processes on different levels. A process is the generation of a micro-history of a project, a kind of a specific narrative where the entity of the project forms in a sequence.

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4.2 BEYOND THE STUDIO Expanding learning activity beyond the limits of the classroom is a conscious pedagogical objective. Whether it is visual, intellectual or experiential, learning by doing and engaging with the subject matter ensures a productive process and outcome. Through the avenue of extra activities, students find it much easier to absorb the subject matter, and also foster a sense of commitment to a cause or purpose, students become more engaged as a result.

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COLLABORATION The collaborative studio with National Cheng Kung University began with visits to archives in Hong Kong. The experience offered an inside look to the possibility of what an achive could be. As focused and particular as the Ho Bik Chuen Archive or as institutionally curated as the Hong Kong Film Archive.

NARRATIVE Using design workshop as an platform to trigger ideas was coupled with the use of film as a narration tool. It also provided one of the early moments of cultural exchange between the two groups of students.

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BEYOND THE STUDIO Visits to Ha Bik Chuen Archive in Fotan, accompanied by archive designer Yutaka Yano and Sarah Lee and archivist Michelle Wong. Thumbnails of sketches produced from the workshop.

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REACHNG OUT Experiences beyond the studio allows from external perspectives. Study trip and final design presentation and exhibition in Tainan. Visiting critics of Ines Lamunière from Ecole Polytechnique Fédérale de Lausanne and Eric Howeler from GSD. 275

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Colophon 5.1 SCHEDULE 1 M 08.01 Introduction | Reading #1 Discussion TH 11.01 2 M 15.01 Studio | Reading #2 Discussion TH 18.01 Act 1 Due: Typology Seminar | What makes an archive? Field trip 1 | Asia Art Archive: Fotan 3 M 22.01 Field trip 2 | Hong Kong Film Archive TH 25.01 CUHK + NCKU workshop / pinup 4 M 29.01 Studio | Reading #3 Discussion TH 01.02 Seminar | Classification 5 M 05.02 Studio | Reading #4 Discussion TH 08.02 Act 2 Due: Content Seminar | Architecture from the corner 6 M 12.02 TH 15.02 Holiday: Chinese New Year 7 M 19.02 Holiday: Chinese New Year TH 22.02 Studio | Reading #5 Discussion 8 M 26.02 Act 3 Due: Detail Seminar | What context? TH 01.03 9 M 05.03 Studio | Reading #6 Discussion TH 08.03 10 M 12.03 Studio | Reading #7 Discussion TH 15.03 Act 4 Due: Concept 11 M 19.03 Skype Review | National Cheng Kung University TH 22.03 12 M 26.03 TH 29.03 Mid Review 13 M 02.04 Holiday: Easter TH 05.04 Holiday: Ching Ming 14 M 09.04 Pre-final Review TH 12.04 Studio | Reading #8 Discussion 15 M 16.04 TH 19.04 16 M 23.04 TH 26.04 Act 5 Due: Proposition 17 M 30.04 TH 03.05 Project documentation 18 M 07.05 Excursion - Taiwan T 08.05 Presentation NCKU W 09.05 Excursion - Taiwan TH 10.05 Excursion - Taiwan

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5.2 BIBLIOGRAPHY Giulio Carlo Argan, On the Typology of Architecture Richard Sennett, The Fall of Public Man Lee Ou Fan, Walking along Kowloon Streets: A Personal and SemiTheoretical Reflection 董啟章，<地圖集> Edward Ford, The Architectural Detail Rafael Moneo, The murmur of the site Omar Akbar, “The Memory of a City/ The City as a Repository for Memories”

5.4 ACKNOWLEDGEMENT Many thanks to all the students who entrusted me to guide them to explore, even during those times when I was not certain where the road might lead. Special thanks to the participating critics whose comments contributed to the development of this book. COLLABORATOR Elissa Huang_National Cheng Kung University CONTRIBUTORS Yutaka Yano and Sarah Lee_SKY/Yutaka Michelle Wong_Asia Art Archive Janice Leung_CUHK CRITICS TC Yuet_Arch Architects Adam Fingrut_CUHK Sarah Mui_One Bite Design Wallace Chang_HKU Peter Ferretto_CUHK Ines Lamunière_Ecole Polytechnique Fédérale de Lausanne Seng Kuan_CUHK David Dernie_Westminister University Eric Howeler_Harvard University Cheng-Luen Hsueh_National Cheng Kung University

5.5 BOOK DESIGN DESIGNER Calvin Leung Patrick Hwang EDITORIAL ADVISOR Frank Koochumi TYPEFACES Adobe Garamond Pro, Humanst 521, Helvetica Neue, Apple LiGothic, Apple LiSung, Adobe Fan Heiti 279

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5.6 CREDITS No part of this book may be used or reproduced in any manner without the written permission from the publisher or the author. Every reasonable attempts has been made to identify owners of copyright. CHEUNG, Kat Fu Eric CHIU, Chun Kit Patrick MAI, Jiajie Key SEDZIAK, Urszula TANG, Wan Ting Wendy WONG, Ching Nam Carol YANG, Shen Yanson YAU, Chun Yin Luke ZHAO, Shule Sherry

5.7 BIO Patrick Hwang is a registered architect (USA) and Professional Consultant (previously Adjunct Associate Professor) at The Chinese University of Hong Kong. He teaches both graduate and undergraduate level design studios, architectural theory and serve as coordinator of the Thesis Project. Prior to joining CUHK, he was Assistant Professor at the University of Arizona where he taught design studio, building technology and visual representation. His current preoccupation involves developing pedagogical frameworks that establishes an oscillating relationship between analytical thinking and transformative making. He has been experimenting with this methodology in recent design studio as well as during exchanges with partner universities. Born in Taiwan and raised in New York City, Patrick Hwangâ&#x20AC;&#x2122;s professional experience has been with Kohn Pedersen Fox and Rafael ViĂąoly Architects in New York, and Michael Maltzan Architecture and Gehry Partners in Los Angeles. At Gehry Partners he was Associate and a lead architect on the Art Gallery of Ontario, Stubbs Road Residence and Maggie Care Center projects. His other project includes the Fresno Metropolitan Museum in Fresno, Rainbow Housing and the David L. Lawrence Convention Center. Patrick Hwang holds Bachelor of Fine Arts and Bachelor of Architecture degrees from Rhode Island School of Design and a Master of Science in Advanced Architectural Design from the Graduate School of Architecture, Planning and Preservation from the Columbia University of New York.

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