RAW Magazine 06 by Random Art Workshop

Fal l 2013

RA W MAGAZINE

By Joyce Yung

The RAW Magazine TEAM Joyce Yung

Derek Ting

Joyce founded Random Art Workshop in 2009 to expand upon her passion for photography, art and to build a community of like-minded individuals that can come together to share their creative insights. The past several years has seen her involve her career in professional photography and championing everyday arts. With an affinity for discovering new avenues to give the rest of Hong Kong their dose of the unexpected and imaginative, RAW Magazine is her brainchild. She finds inspiration in traveling, loves the water, and is particularly fond of all things spiral.

Co-founder of Random Art Workshop, Derek has always been an ardent supporter of the arts. He caught the acting bug while studying in New York and subsequently, his interests have led him into the art of acting and further producing for CNN and other well received short-films. With a Producer’s role for a feature film under his belt, Derek continues to tirelessly pursue his passions. He enjoys quick witted conversations and running. He hopes RAW will help others find their callings.

Alba Ma

Matina Cheung

Art has always played an important role in Alba’s life. Upon completing her Bachelor’s Degree in Art History, Alba was a luxury travel PR manager before breaking out as an editor and writer for various lifestyle publications. She’s currently the deputy editor and freelance writer based in Hong Kong.

Matina is RAW’s resident design and graphics wizard. Responsible for RAW Magazine’s innovative and distinct aesthetic identity, she celebrates her passion for design along with art mediums such as photography and sculpture. An upcoming visual artist, Matina’s art involves itself with the concept of intimacy and perception. She is also a yoga afficcionado with an intense love for aliens and gremlins.

Contributing Writers: Leanne Norman

Claire Johnson

Writer and editor by trade, Leanne is a Hong Kong native and arts and culture enthusiast. She enjoys reading, drinking coffee and finding new and interesting things to do in the city. Follow her on Twitter at @lemirandilla.

Claire is a professional dancer and teacher as well as a keen writer. She enjoys all aspects relating to the arts and is also a fashion blogger for AnyWearStyle.com.

Foreword My partner, Derek, and I started the concept of Random Art Workshop when we got past the hustle and bustle of Hong Kong and past its hard outer shell. Many people come here to make their money and leave, but we see things a little differently and feel that Hong Kong deserves more permanence, especially in the field of art. We also felt that being an accountant, lawyer, and banker does not preclude you from being an artist, nor make you any less creative. We started RAW to plant a seed that would grow into a community where people could learn about art and an outlet for their creativity, without the confines or limits that society places on us. RAW Magazine is a natural progression of this emerging community. “As an architect you design for the present with an awareness of the past, for a future which is essentially unknown.” - Norman Foster Architecture is the perfect combination of art and science, expressed through balancing creative and technical components as well as visual and practical expertise. It is an art form that directly relates to how we experience the world. Although we are surrounded by architecture and urban planning, oftentimes we take it for granted - not taking a single glance at the buildings all around us. In this issue RAW slows down its pace and takes note of the minds behind the design of our physical world. We catch up with award-winning architect Nicholas Ho on what matters most to stay ahead in the business of architecture and design. Restauranteur and chairman of Ambassador of Design Alan Lo talks more about the idea behind his art and dining hub Duddell’s, while we spotlight a handful of Hong Kong designers including blogger JJ Acuna and interior design maven, Irene of Casa Capriz. Making their home in a city that is constantly making out with the old and in with the new, we present Hong Kong’s finest talents who are forging new grounds for innovation in design and architecture.

Creative Director RANDOM ART WORKSHOP 4

Contents SPOTLIGHT 6

STUDIO VISIT: 22 NICHOLAS HO We speak to Nicholas Ho of HPA about what he

Our picks of notable and upcoming Hong Kong based architects and interior designers

loves most about architecture

STUDIO VISIT: ALANTheLO OF DUDDELL’S 32 co-mastermind behind Duddell’s that com-

BINOCULARS: 40 GREGORY MOORE We sift through what’s been going on around the

bines his love for food, design, and architecture

globe art-wise, and share what caught our eye

COLUMN 42

Architect and interior design instructor at Raffles, Victor Serrano, compares 3 Hong Kong buildings

44 MOMENTS Exceptional snapshots from everyday life

SPOTLIGHT

Tania Willis Illustrator, Designer

tell my students it’s crucial to develop a strong personal visual language for yourself, protect it and respect other people’s style too,” she says. Teaching hasn’t dampened her art production, though, and she continues to work out of her Lantau studio. Hong Kong continues to be her muse and a constant source of inspiration. Her works take on a distinctive Asian flair, and she has exhibited in both London and Hong Kong. If pressed to choose, her favourite map would be the Wanchai Insider in which she documents historic buildings and heritage sites in the age old neighbourhood. “Maps have great potential to use a common geography to tell different stories,” she shares. “The classic world map has always been one of my favorite images, it’s full of romance and possibility.”

Cartography may seem like a thing of the past but for Hong Kong-based illustrator and designer, Tania Willis, her love of maps happened quite haphazardly. Over a decade ago she accepted a freelance assignment from The South China Morning Post which involved mapping vineyards from around the world. What she didn’t know at the time was that her work for the weekly wine supplement would lead to a career-defining passion. “Every week for two to three years I sighed over French chateaus, Greek olive orchards and Australian cheese artisans,” recalls Tania. “I was an armchair traveller. ” Born in the UK and a graduate of The Royal College of Art, Tania’s illustrated maps have appeared in travel magazines from around the world, including The Telegraph and Condé Nast Traveller. Her signature artworks and designs have appeared on a variety of mediums, from t-shirts, book covers and homeware to airplanes (Tania designed the 2005 special uniform worn by staff on Dragonair’s 20th anniversary plane).

taniawillis.com

She is now the professor of illustration at SCAD. “I always

Written by Claire Johnson Images provided by Tania Willis 6

Hong Kong map

SPOTLIGHT

Washington map

KidsGo! series - New York map

Liverpool map

Sheunghai map

SPOTLIGHT

Montpellier map

SPOTLIGHT

Patricia Choi Interior Designer

Skip the cheaply made, run-of-the-mill furniture. Ambassador of Design representative, Patricia Choi, and her partner Dennis are the ingenues behind Yuen Yeungâ&#x20AC;&#x201D;an edgy, locally-based furniture workshop that takes stylistic cues straight from the streets of Hong Kong. Founded in 2012, the atelier is named after a popular local coffee and milk tea drink, tying the brand to iconic symbols of its hometown.

lively cosmopolitan city, and itâ&#x20AC;&#x2122;s not unusual to find traditional Chinese elements mixed in with modern design. With the aim of creating a harmony between old and new, refined and raw, pragmatic and emotional in every piece of designer furniture, Yuen Yeung is definitely a brand to look out for. yuenyeung.org

Yuen Yeung has never lost sight of their roots and continues to source design materials from the city, including random objects found in wet markets. Their creative vision is derived from the

Written by Joyce Yung Images provided by Patricia Choi 10

SPOTLIGHT

JJ Acuna Wanderlister Architect, blogger

the physical representation of cultural signifiers very intriguing.”

JJ Acuna (aka The Wanderlister) is best known for his engaging blog that covers the world of design, fashion and lifestyle in Hong Kong. Though he may seem to have the life of a free-spirited bon vivant, he’s actually a practicing architect and interior designer for design and project architecture firm, LWK.

His blog, Wanderlister.com, keeps JJ at the pulse of design in Hong Kong and across Asia; it’s an outlet where he can express himself to his vast readership. “It provides a window in which I can take my architect hat off, to live and play in a city where creativity is everywhere, and then report my experiences to readers who are searching for the same things I am searching for. The blog is a creative journey for me.”

Growing up in Fort Worth, Texas, JJ was greatly influenced by local architecture, such as the Kimbell Museum by Louis Khan and The Modern Museum by Tadao Ando. As a student, he was interested in creative ventures and knew he wanted to study architecture right after high school. “I knew that of all creative fields, architecture had a certain social impact that I was intrigued by,” says JJ. “I found the scale of a building’s design and

wanderlister.com

Written by Alba Ma Images provided by JJ Acuna- Wanderlister+ 14

Shenzhen Podium

SPOTLIGHT

CASA CAPRIZ Interior Designer

a showroom where furniture is sold, but it is also a space that hopefully encourages people to be more interested in design and bygone eras.”

Italian-Malaysian interior design maven Irene Capriz was born and raised in Italy, and her connection to her home country is reflected in her European tastes. Most of the unique vintage and antique furniture offered in her shop, Casa Capriz, are sourced from Belgium, the UK, France and Italy - of course. Much of the pieces are handpicked by Capriz herself on trips abroad. “I tend to decide on items by instinct,” she explains. “Many times it is love at first sight and I end up getting them without really thinking of whether they could work in Hong Kong, but I have to say that luckily up until now the majority of choices have been great finds.”

With this aim in mind, Capriz has signed her shop up plenty of events since the shop’s opening early this year, like art and design weekend Chai Wan Mei, where artists and other members of the Chai Wan creative community opened up the doors of their studios and businesses to visitors. Since Capriz shares the space with director of Platform China Creative Art Institute and the founders of fashion label Tangram, shoppers can also view the furniture in context with sartorial pieces and objets d’art, which makes for an interesting experience indeed.

Step into Casa Capriz and you’ll find Louis Vuitton trunks, 1950s armchairs and even old pieces repurposed and transformed into something completely different. “What I love at the moment is a beautiful smoking set designed by Joe Colombo, made in very thick transparent and purple glass,” she says. And instead of merely stepping into the 2,600 sq ft space, grabbing their chosen items from a shelf and checking out immediately, Capriz aimed to create an open, comfortable atmosphere that would encourage shoppers to linger and appreciate the unique pieces of homeware on display. “I wanted to share my passion for design and vintage furniture in a slightly different way than a normal shop,” she says. “Casa Capriz is the result of this. It is

As Casa Capriz becomes more well-established, Capriz hopes to run more events facilitating serendipitous connections between like-minded, artistically inclined folk. “Maybe a private dinner for 40 people in a very unexpected place, with a table full of vintage china, cups and cutlery,” she muses. “A bit of a Mad Hatter kind of party. It would be incredibly fun!” 8D, Reality Tower, 4 Sun On St., Chai Wan, 9318-1730

casacapriz.com

Written by Leanne Norman Images provided by Casa Capriz 18

SPOTLIGHT

Umbrella Stand

Capriz House

Cocktail Bar

Capriz House

Nicho

olas Ho

STUDIO VISIT

AW chats with Nicholas Ho at HPA (Ho and Partner’s Architects) headquarters. The rising star was recently voted one of Perspective magazine’s ’40 under 40’ in Architecture. Returning from his studies in London and working under the wing of Zaha Haidid, Nicholas has returned to Hong Kong to follow in the footsteps of his father, who founded HPA 32 years ago, and brings a fresh new take on architecture to the familyrun company.

Written by Joyce Yung Photography by Matina Cheung Selected Images provided by Nicholas Ho

RAW: When did you know you want to be an architect? Nicholas Ho: I did struggle with whether to do it or not. I was always interested in design. The whole problem solving style was actually what drew me to it. In architecture, sculpting is good fun but seeing things being built and solving problems along the way are even more satisfying. I have been by my father’s side observing since I was 10 years old. RAW: What did you learn from observing him? NH: He went through the real estate boom and different market cycles, so I got to observe the way he worked through changing times. But if I compare him to Zaha Hadid, I can see that there’s definitely a different way of working. Having trained in London and worked with Zaha, it certainly gave me a different perspective. I can see how to work with both approaches. RAW: Did you play with building blocks at a you ng age? NH: I started playing with Lego at the age

of six up until I was about 15 years old. Lego is a great toy with limitless possibilities while teaching the child fundamental principles of architecture. It provided strong concepts for structure and component systems – now I make real models! RAW: What aspect do you enjoy the most of the architectural process? NH: I enjoy it when it’s done! When I walk in and it’s all finished. But seriously, when I’m on site, it gets challenging. A lot of people can come up with the conceptual design, but it’s really about the follow through and how you treat every detail. Your problem solving skills is actually the main asset. How you deal with subcontractors, and how you solve real time issues are what really differentiates yourself with others. We classify ourselves as design and build architects so we come up with the design and make it work. RAW: Do you work with other design and architectural firms? NH: Yes. For the MTR Kowloon station at the Elements, we worked with Terry Farrell architects. We did mostly the local requirements and onsite supervision. It’s still one of the largest MTR stations in Asia. Nowadays we mostly work in China on larger structural projects.

NH: I don’t have a specific favorite architect, as most people have done

STUDIO VISIT

RAW: Who else influenced your career?

STUDIO VISIT

some great work. But, if I had to pick, I would say that I admire Norman Foster the most. I admire how he started his business, how he weathered through high times and low times, and how he is able to maintain consistency and quality in his work. I think that is really rare as most people compromise or change their style as you go along. I like his Hong Kong HSBC building, it’s one of my all time favorites because of the pioneering concept, engineering and overall concept. I also really like one of his earlier works, the Sainsbury Center for Visual Arts in UK, it’s very original yet has a high consistency in quality. I admire him also because he is always a fighter; he doesn’t give up. He’s gone through cancer, yet he still leads a very active lifestyle. I think that’s very important, each one of us has

to be a fighter. RAW: What are your proudest works? NH: The Artify gallery in Chai Wan. Another one is a serviced apartment in Causeway Bay. It’s a Tong Lau that the client wanted to change into something completely unique. It has five floors and they wanted a different design on each floor. The first floor is like an old Hong Kong style house with traditional bookshelves, wood floors, and a wardrobe. The second floor has an old Shanghai theme, using Shanghainese graphics on the partitions of the rooms. The top floor is very futuristic. The key to a successful project is: convince the client to share their dream and vision, and match it to their

budget. The rest requires problem solving skills in the face of unexpected obstacles. RAW: What has been the most chal lenging project? NH: I find managing human resources a challenge because itâ&#x20AC;&#x2122;s much more difficult to solve than redesigning the size of the window. We are trained to solve architectural problems and not human problems. We deal with China, Hong Kong, and English-speaking clients and it gets confusing. So solving architectural and technical problems is not that difficult in comparison. RAW: Where do you get your inspiration?

STUDIO VISIT

Photo provided by Nicholas Ho

Photo provided by Nicholas Ho 28

Photo provided by Nicholas Ho

NH: I don’t have a fancy concept. My concept is always from the client; how the client perceives themselves or how we see their company. If it’s a small developer and their corporate personality is quite open, then we tap in to that. If it’s a corporate client, then we find a corporate identity that matches their mission and values. RAW: Do you prefer working in an architectural context or designing interiors?

future of architecture in Hong Kong? NH: It’s tough. In Hong Kong, interior design will thrive in the next 5-10 years without a doubt. As for architecture, unless the government embraces a strong urban planning direction with supporting infrastructure, the market will go down. RAW: What’s your dream project? NH: We would like to do a sky scrapper. We’ve done high rises but not sky scrappers. hpahk.com

RAW: What do you feel is the

STUDIO VISIT

NH: Small scale projects are always the best. My ideal project is to design a single building and its interior. HPA ranges from master planning, urban planning, buildings and interiors. When we deal with planning the size of Wan Chai, it’s very interesting but it’s easy to get lost in the scale of it. If you lose track of scale, then you get lost in the proportions of the building and you can get into trouble. It’s very important to keep yourself in check.

Photo provided by Nicholas Ho

STUDIO VISIT - DAY IN THE LIFE OF ...

09:30 15:30

18:00

14:00

09:30 Project review meeting. 11:00 Site visit and coordination meeting. 14:00 Development analysis. 15:30 Design presentation meeting. 18:00 Conceptual design. 31

Photo provided by Nicholas Ho

STUDIO VISIT - DAY IN THE LIFE OF ...

11:00

Alan Lo

STUDIO VISIT

ith his background in architecture, design and food & beverages, restauranteur and Press Group founder Alan Lo is perhaps the best person to serve as co-mastermind behind hot new eatery and arts space, Duddell’s.

Written by Leanne Norman Photography by Joyce Yung Selected Images provided by Duddell’s

RAW Magazine: How did the initial idea for Duddel l’s come about? Alan Lo: I’ve always had an urge to do something art and food and drink related. The thought of doing something like that has been in my mind for a good four to five years. But it’s never easy to find the right space and the right opportunity in Hong Kong, so it’s been on the back burner for a long time. So when this space became available, it took us maybe five minutes to come up with a big picture idea. This is the gallery district, it’s adjacent to the unofficial creative Sheung Wan hub, so it just all made sense. RAW: This is a very different kind of space compared to a traditional, white cube gal lery – it has a much homier vibe. Why the difference? AL: The idea was to create the feeling of

walking into a curator’s home. It’s not your traditional, formal, concrete, minimal white-wall gallery, it’s like walking into an invisible collector’s living room and seeing their personality. The art you see here is carefully curated – every four months on this [the first] floor and every year downstairs. To me it opens up a whole new platform to feature both local and international art in a slightly different context and doing projects that otherwise wouldn’t be possible for a commercial gallery or a non-profit arts space. RAW: What kinds of artists are you hoping to bring to the space? AL: We’re not specifically tied to gallery representation of specific artists; there’s the freedom of working with basically any curator we want. This first show curated by Pernilla Holmes and Amelie von Wedel from London is an example. As we were talking about the project

they were asking whether there were any parameters in terms of what sort of show we were looking for and we basically said “it’s really up to you. Come see the space and see what you can do with it”. It’s what makes the space so interesting. Subsequently we’ll have a show curated by Ai Weiwei, and a third show next year working with Inti Guerrero. We’re trying to bring in a whole variety – relatively established artists as well as emerging artists and working with private collectors as well. RAW: Can you tel l us more about the Ai Weiwei show? AL: The Ai Weiwei show is going to be a group show of Hong Kong artists. I have absolutely no idea what’s going to happen – Ai Weiwei style. He’s probably not going to be able to make it to the opening, unfortunately, for political reasons, we’ll probably wave to him on Skype or something. RAW: Which other artists wou ld you like to eventual ly bring to the space?

Photo provided by Duddell’s

STUDIO VISIT

AL: There are a couple of really interesting people, one is Danh Vo, a Vietnamese artist who lives in Europe and who was recently featured in the Venice Biennale for a series of rock sculptures he made which were basically sections of the Statue of Liberty. They’re quite amazing! There’s also an artist whose work dates

STUDIO VISIT

Photo provided by Duddell’s

back to the 70s, her name is Kazuko Miyamoto, she lives in New York and is still very much under the radar, but I discovered her work at a smaller fair – really interesting, minimalist work, recently featured in the Daimler Foundation in Germany. I’d be interested to see a lot more of these Asian artists who went abroad and are making a comeback, in a way. RAW: How did you go about creating the “invisible col lector’s living room” feel? AL: We commissioned Ilse Crawford from London to design the space. One of her most seminal projects is the Soho House New York, which is probably one of my favorite spaces in the world. What was really amazing in terms of the whole dialogue and working with her was her understanding of culture and the specific use of the space – how different types

Photo provided by Duddell’s

of people would interact with the space. This space is something that no one in Hong Kong or even the region has done before, so there’s not much reference for us. RAW: How did you overcome some of the chal lenges along the way? AL: From concept to opening, it was maybe a six-month exercise. It was very challenging! By October or November of last year we knew we wanted to open by the time of Art Basel, so we didn’t even have time to tell our friends, we were just working non-stop to make sure we could receive our international visitors on May 20. I think people were really pleased to see what we’ve done. Now that the international community has left town we’re spending a lot more time connecting with the local community, with Hong Kong artists and gallerists – all the stake-

holders in the local scene – to make sure this is a space they’re happy to hang out in. It’s an ongoing learning experience. RAW: You col laborated on this project with Yen n Wong and Pau lo Pong – how did that work? AL: We’ve all done different projects in the past. I was focusing on the art aspect of the project whereas Yenn was very much involved in the design and Paulo’s background is very much in drinks, wine as well as the Chinese cuisine. Amongst the three of us he’s probably the most experienced in dealing with the specificity of Cantonese food. RAW: Speaking of the food, what

STUDIO VISIT

Photo provided by Duddell’s

STUDIO VISIT

Photo provided by Duddell’s

can diners expect from a Duddel l’s meal? AL: We wanted to do something really authentic, almost like Hong Kong people’s home cooking. As much as the audience and design is more towards the international and Western, it’s also part of the overall statement to establish a bit of context of being in Hong Kong. You wouldn’t be so surprised to see a space like this in New York or London or Paris or Berlin, but in a subtle way we also want to find a bit of middle ground [through the cuisine]. RAW: Final ly, what are your thoughts on Hong Kong as an arts hub? AL: That’s the million dollar question! Now that M+ is developing full-on after the government announced the winning architect, it will be an interesting five to ten years seeing how that will develop. But at the same time I think it’s also important to continue doing more outside of West Kowloon and M+. Hong Kong is oftentimes a city that only has a museum or trade environment, but without the backing of the arts scene it can feel kind of empty. It’s definitely something that is still lacking. How many great local artists can you really think of? Four of five, maybe 10 if you really stretch it. I think it’s important to continue to work hard on that. duddells.co Photo provided by Duddell’s

STUDIO VISIT

Photo provided by Duddell’s

BINOCULARS

Gregory Moore Written by Leanne Norman 40

Aysh

Jac

LA-based photographer Gregory Moore is the man capturing some of the most beautiful faces in the world. Specialising in editorial fashion photography, Gregory is able to capture the drama and cinematic quality of even the most seemingly straightforward shots. “I get my inspiration from a variety of sources. I see interesting ideas in photography and fashion magazines. I also appreciate painting and art,” he says. “Often, I am in a situation where I need to come up with my own vision on the spot, and the experience of looking at hundreds of thousands of images come into play.”

gregory-moore-0n7a.squarespace.com

Jac

BINOCULARS

Like most photographers, his interest in the medium started in his youth and continued throughout college, when he would photograph friends and collaborate on creative projects. But it wasn’t until 2009 that he first began photographing models—a move that kickstarted his career, and would have his photos grace the pages of fashion magazines and publications across the US. Although his career is on the rise, Gregory continues to seek new opportunities. “I am always looking for innovative designers to work with on fashion spreads and I am just working on a marketing plan to get more commercial work.” It’s a tough business, but Gregory’s dedication to his craft and hunger for more is bound to take him places.

COLUMN

Arch-Hip-Pop-Hop A genre of Architecture By: Victor Serrano

Architecture today is saturated by infinite layers of information design, Frank Gehry incorporates the language of inclined roofs and it is often difficult to discern good from bad design. The typically found in traditional Chinese buildings ranging from terms used here loosely to refer to the aesthetics and functionali- farm houses to temples. In addition the use of columns resemty of buildings in relationship to bles the wooden logs that act as their context from an observer’s pillars in a lot of older buildings. point of view. For the purpose “With cities, it is as with dreams: everything If one was to describe this edifice of this column it will suffice to imaginable can be dreamed, but even the one could say: “it looks like a talk specifically about one city Chinese house in the middle of most unexpected dream is a rebus that and a time frame: the contemassembling itself ”. This is because porary city of Hong Kong with- conceals a desire or, its reverse, a fear. Cities, Gehry utilizes his characteristic in the context of a globalized de- like dreams, are made of desires and fears, style of design reminiscent of his sign world. 3 buildings in Hong own home in California where Kong: The Maggie’s Cancer even if the thread of their discourse is secret, ordinary elements like corruCaring Center by Frank Gehry, their rules are absurd, their perspectives gated metal and wire mesh were Zaha Hadid’s Innovation Tower arranged in an extraordinary deceitful, and everything conceals and the Diocesan Boy’s School fashion. In the Maggie Center he something else.” (DBS) designed by Thomas maintains a humble design with Chow Architects. subtle variations of the form yet he is able to achieve striking ef(Italo Calvino, Invisible Cities) Architecture, like music, is comfects of form, lighting and views. posed of a series of elements As explained in a recent tour of arranged together in harmony. These fragments are often bor- the building, the design incorporates some symbolism between rowed, re-interpreted, re-shaped and used again in new com- the structure of three “therapy” rooms and some stones found positions sometimes more literally than others. In both cases in the surrounding landscape. some particular combinations of materials and sounds produce distinctive and characteristic pieces which define a style. All of the characteristics can surely be identified with a kind of typology dictated by function and thus they become yet another layer related to referencing to be taken into account. However, understanding the various building typologies will make it easier to identify the relevance of many of the design elements that are considered to give the creative and aesthetic value to some projects. On the other hand, some designs can be referential of their designer’s language. In some instances these vocabulary crosses over different building typologies and one must rely on their scale to comprehend their functionality. The size of the fragments in relationship to the whole is a factor to be considered when dissecting buildings because it is the city which sets up the immediate context of places, not only because of the regulations of heights, materials or setbacks among others, but also because buildings both dictate and react to the way in which people live.

maggiescentre.org.hk

A more apparent allusion to the context can be seen in the Innovation Tower by Zaha Hadid. It has been built for the Hong Kong Polytechnic University as a center for innovation in design and like Frank Gehry’s Maggie Center it references the architectural language of the designer. During its construction, where it was covered by the bamboo scaffoldings, it became clear that the construction was following the typology of podium building found everywhere in Hong Kong. Later,

The first building, the Maggie’s Cancer Caring Center, is precisely defined by the idea of the landscape as a way to heal. It applies a series of gardens and ponds which directly reference traditional Chinese gardens and the building itself are linked to the tradition of an old Chinese style of architecture. In his 42

Just like listening to music, architecture has the same kind of power of connecting people with emotions and it is by way of referencing that buildings allow inhabitants to relate to them by way of associations. The question of good or bad design remains, maybe unanswered, and perhaps more confusing now that words like “originality” or “copy” begin to take importance in the discussion. Today, ideas have become disposable and with their refuse the real works of art have also ended up buried in the landfills of information garbage. As a designer, how can one find a reference that is still true to one’s set of values?

as the scaffoldings started to come down a kind of alien body was revealed. Alien, not because it did not belong to the site but, because its glass facade contrasted with the red brick of the existing buildings around the campus. When standing upon this organic body one can feel a certain tension as it appears unbalanced when looked from different angles but, as one moves around and experiences its faces in juxtaposition with the neighboring structures, the horizontal white belts that define its character seem to relate to the horizontal brick bands from the existing buildings. At a glance this reference remains shallow as the brick buildings solids and voids seem to be related to the properties of the materials and their function of bearing the loads but, in Zaha Hadid’s design the white lines look more like a decorative element applied over the class facades.

And as an observer, how can one differentiate between good and bad architecture? The answer to these questions lies in the lessons learned from Italo Calvino’s Invisible Cities. Cities like dreams contain much information which is layered sometimes in chaotic patterns and only by experiencing the city overtime one would be able to really understand it and generate one’s own conclusions. In the end, successful references in architecture evoke emotions and continue a line of thought, already part of the discourse of the city. References: Bergson Henri. (2007). The Creative Mind, An Introduction to Metaphysics. Citadel (September 19, 1997). England: Basingstoke. Calvino Italo. (1978). Invisible Cities. Harcourt Brace Jovanovich. Koolhaas Rem. (1995). Elegy for the Vacant Lot. Koolhaas Rem, S, M, L, XL. New York: Monacelli Press. Machado Rodolfo. (1976). Old Buildings as Palimpsest. Towards a theory of remodeling, Progressive Architecture, 11. Norberg-Schulz Christian. (1980). Genius Loci, Towards a Phenomenology of Architecture. New York: Rizzoli. Rossi Aldo. (1984). The Architecture of the City. The MIT Press. (September 13, 1984)

zaha-hadid.com

Applications like the above mentioned are common and in many cases they become strong and cohesive parts of the building as they begin to carry the function of brise soleil. This kind of applied membrane onto a facade is part of a passive energy system and can be used to protect the windows from the direct sunlight which makes the interior more comfortable and one could argue more eco-friendly. In the Diocesan Boy’s School (DBS) designed by Thomas Chow Architects, such applications are incorporated into the design and create a direct reference to the modernist master Le Corbusier. Similarities can be found between Le Corbusier’s design for La Tourette and the library of the DBS as they both draw a horizontal line from one point in a hill and as the hill falls down the horizontal volumes are complimented by vertical columns that extend down as if the building were standing on the terrain rather than sitting on it. In addition, Thomas Chow incorporates the “picture window” found in Villa Savoye which frames the surrounding landscape. Like the three building described, there are innumerable examples of architecture that uses references in different ways. The intention is to raise awareness about contemporary architecture and to generate curiosity for understanding buildings rather than just looking at buildings.

Links:

maggiescentre.org.hk/en/home foga.com sd.polyu.edu.hk/web/About/JCDISI zaha-hadid.com dbs.edu.hk thomaschow.com.hk

dbs.edu.hk

MOMENTS

The juxtaposition of modern structure and mother nature, in the middle of Hong Kong island. Photo by Joyce Yu ng

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