On the night of 11th November 2006, some 150,000 Hongkongers showed up at Edinburgh Place Pier to bid farewell to the third generation of Star Ferry Pier in Central, before the Modernist building was dismantled to make way for land reclamation. Politicians, opposition parities, environmentalists, conservationists, activists, NGOs, professional groups and Hong Kong Institute of Architects joined force to urge the public to fight for preserving one of the iconic structure. Their noble effort failed to stop the government’s bulldozers removing Edinburgh Place Pier and, a year later, Queen’s Pier from the urban scenery of Hong Kong. The government insisted that the 49-year-old Star Ferry Pier was not “old” enough to be classified as “historical”. But the authorities greatly underestimated the public sentiment towards the Modernist landmark, not because its architectural value could rival the most iconic world heritage, but because it was a familiar urban symbol featured well in the collective memories of many Hongkongers. The extraordinary public outcry and intense media coverage have dramatically raised public awareness about heritage conservation in Hong Kong, and eventually contributed to the preservation of the Former Police Married Quarters (PMQ) and Former Central Police Station Complex (Tai Kwun) in a few years’ time. In 2007, the same year as people were protesting about the dismantling of the Queen’s Pier, the Heritage Conservation Policy was finally passed “to protect, conserve and revitalize” historical and heritage sites and buildings in Hong Kong.
For generations before the demolition of Star Ferry Pier and Queen’s Pier, not much tears were shed in the city when old buildings were torn down to make way for new developments. To the government and real estate developers, land sales and redevelopment of old neighborhoods are often the most efficient way to make money. As the former British colony entered its post colonial era, the search of a collective identity and preservation of the collective memories have gained significant ground among the general public. Hongkongers became much more aware of how their familiar urban scenery were disappearing fast. Losing a cultural heritage is like losing a piece of precious memory in the collective psyche. In the process of strengthening a sense of belonging and self reflection of collective identity, heritage architecture plays a crucial role as tangible mediums connecting to the past. These buildings are evidences of the creativity, prosperity and memories of a bygone era, and a unique East-meet-West culture that has defined the urban diversity and architectural beauty of the city.
As the heart of the former Victoria City (維多利亞城), it is unsurprisingly that Central (中環) hosts a relatively high concentration of heritage buildings in Hong Kong. Due to limited land resources, high population density and sky high property prices, incentives for property owners to preserve historical buildings is often low in face of the lucrative rewards from redevelopment projects. In Central, however, one may notice that the surviving historical structures often serve as pleasant breathing pockets in the midst of glassy skyscrapers. These heritage buildings would introduce an exquisite character to the streetscape, and in return push up land value of the surrounding area. At the same time, successful adaptive reuse projects such as Tai Kwun, PMQ, Asia Society and Hong Kong Park, all have proven to be magnificent urban magnets and popular tourist destinations. These projects consolidate Central and surrounding areas as the historical, political and commercial heart of Hong Kong, just like how it always was since the Mid-19th Century.
Six years before the handover of Hong Kong to China, Taiwanese songwriter and singer Lo Tayou (羅大佑) published a song called “Queen’s Road East” (皇后大道東) in 1991. Emerged as a satirical reflection of Hongkongers’ collective feelings in the eve’s of the handover, the song became an instant hit. Even today, the song still offers an interesting cultural reference to understand the city’s unsettling moment before 1997. In the face of Hong Kong’s social uncertainties and imminent changes in near future, lyricist Albert Leung (林夕) made use of a wide range of symbols in the song, from “portrait on the coin” and “noble friend” to signify Queen Elizabeth II, to “waves of pedestrians” to suggest the mass exodus of Hongkongers. But the biggest symbolism is in fact the name “Queen’s Road East” itself. Physically divided into three sections, namely Queen’s Road East, Queen’s Road Central, and Queen’s Road West, Queen’s Road was used in the song to symbolize the three main players in the city’s story: “East” for Hong Kong, “West” for Britain, and “Central” for China (in reference to “Middle Kingdom”, the Chinese name of China). While “Queen” is unmistakably a reference to the city’s colonial past, the historical and economic significance of Queen’s Road has suggested a meaning way beyond colonialism. It is in fact a symbol of the city’s success story. As Hong Kong’s first main road, Queen’s Road was home to the first city hall, first post office, first luxury hotel, first bank headquarters, first residences of government officials, first business district, etc. After almost 180 years of urban transformations, its importance in the commercial heart remains vital to this date. The rich history and symbolism of Queen’s Road has made it a sensible choice for Lo Tayou and Albert Leung in their iconic song, and a reference point to tell the story of Hong Kong.
For its architecture and luxury shops, Queen’s Road Central is indeed a popular destination for both foreign visitors and local Hongkongers. Constructed between 1841 and 1843, Queen’s Road was originally named Main Street (大馬路). It ran through the first business district in the city between Sai Ying Pun (西營盤) and Central (中環). The road was soon renamed as Queen’s Road in tribute to Queen Victoria. As the road further extended in the west and east direction, Queen’s Road was eventually divided into three main sections: West, Central and East. Connecting Sheung Wan (上環) and Central along the island’s original shoreline, Queen’s Road Central (皇后大道中) has long been considered as a synonym of Downtown Hong Kong. Subsequent land reclamations in the next 180 years pushed Queen’s Road Central further and further inland. The business district has long extended way beyond its original extent around Queen’s Road Central. Yet, buildings along the road continue to be sold, torn down and replaced by taller replacements, from the 19th century Neo-classical structures to the 20th century Modernist buildings, and then to the contemporary glassy skyscrapers. Due to its historical significance, Queen’s Road Central is probably one of the most documented street in Hong Kong. Having the historical photographs in hand while taking a brief tour of Queen’s Road Central offers a fruitful way to understand the tale of constant changes, and endless cycle of deconstruction and reconstruction in one of the fastest growing metropolises in modern history.
Dr. Sun Yat-sen (孫中山), Father of Modern China, delivered a public speech at Hong Kong University in 1923. Began with a rhetorical question “Where and how did I get my revolutionary and modern ideas?” Sun’s answer was Hong Kong, the British colony where he came 30 years prior at the age of 17 and stayed for 9 years as a high school and medical student. During his time in the city, Sun was impressed by the architecture, urban order and public safety of Hong Kong, and the efficiency of the government. Whereas just 50 miles away in Heungshan (now Zhongshan), Sun’s home village in Qing China, government officials were highly corrupted and incompetent. His experience and knowledge obtained in Hong Kong had inspired Sun’s ideas of the Xinhai Revolution (辛亥革命) and strengthened his will to establish a modern China.
Sun Yat-sen spent most of his time in the core area of Victoria City, now the area of Central-Sheung Wan. In 1996, the Hong Kong Government began to promote a tourist route called Dr. Sun Yat-sen Historical Trail (孫中山史跡徑) to commemorate the famous visitor. 16 spots related to Sun were identified along the 2-hour historical walk in the Central-Western District. Nine local artists were commissioned to design unique plaques that can be seen as urban artworks. These spots include the locations where Sun attended schools, places he lived, venues he met with his political partners, and sites where his organizations engaged in revolutionary activities. In 2006, the Edwardian Classical Kom Tong Hall in the Mid-Levels was converted into Sun Yat-sen Museum. Not only does the museum provides another focal point in the city to learn about Sun’s story, it also offers the perfect reason to preserve the 1914 building. Kom Tong Hall was the former mansion of businessman Ho Kom-tong (何甘棠), the younger brother of Robert Ho Tung (何東), the richest man in Hong Kong at the turning of the century. Listed as a declared monument, Kom Tong Hall (甘棠第) was one of the first buildings in Hong Kong to use reinforced concrete structure and fitted with concealed electrical wiring. The historical architecture itself is well worth a visit. The story of Sun Yat-sen remind us that Hong Kong, as a melting pot between East and West, and the old and new, has been a source of inspirations and a window to the outside world for the Chinese community in the modern era.
In late 1970’s and early 1980’s, the former Victoria Barracks at Admiralty have been torn down to make way for commercial developments, government buildings, and transportation infrastructure. Only a handful of the 19-century structures have been preserved and renovated with modern usage in today’s Hong Kong Park. East of the park, the abandoned Explosives Magazine Compound awaited its fate as rain forest gradually takes over the site. Two decades have passed. In 2002, the site was granted to Asia Society to establish their new home in Hong Kong. Founded in 1956 by John D. Rockefeller III in New York, Asia Society is an organization that promotes cultural exchange between Asia and the United States. In 1990, Asia Society arrived in Hong Kong to establish its Hong Kong Centre. After granted the site of the former Explosives Magazine Compound, Architects Tod Williams and Billie Tsien were chosen to oversee the design and transformation of the site, erecting new structures and converting four former weapon production and storage buildings into one of the most fascinating cultural venues in the city.
As the New York based architects described, the 1.3 hectares site was overgrown with banyan trees and lush green vegetation despite its central location adjacent to the British consulate and Pacific Place Shopping Centre. In 2012, after a decade of construction work, Asia Society’s 65,000 s.f. new home was opened to the public. Seen as one of Hong Kong’s most successful adaptive reuse and heritage conservation project in recent years, Asia Society regularly host talks and exhibitions. The complex is separated by a nullah into two parts. Where the former explosive magazine buildings are located, the upper site houses a gallery, offices, and theatre. The lower site is occupied by a visitor centre, multi-function hall, gift shop, restaurant, and offices. Connecting the upper and lower sites, Tod Williams and Billie Tsien designed a double decker bridge that zigzags over the sloped rain forest. The upper deck is a pleasant open walkway offering great views of the adjacent commercial district. Combined with the roof of the visitor centre, the open walkway also serves as a sculpture garden.
In 2017, the 4th generation Union Church (佑寧堂) at 22A Kennedy Road, a 68-year Grade III listed historical building, was brutally torn down for a highly controversial real estate redevelopment. Despite efforts from conservation groups, architects, politicians, church members, media, and local community groups, the government refused to list the church as a Grade I historical building, and the Union Church refuses to back down from the project. The upcoming 22-storey mixed use building, which includes a new worshiping space and 45 luxurious apartments split between real estate developer Henderson Land Development (恒基兆業地產) and Union Church, exemplifies another bitter defeat of architectural heritage conservation in Hong Kong. Perhaps no government in 1890 (the time when Union Church acquired the site) could predict how insanely expensive land prices would become in a hundred years’ time, especially in the affluent Mid-Levels district. The original reasoning for letting missionaries to acquire land at relatively low cost may no longer be justified. Today, this has become a convenient tool for any religious institution to secure commercial profit by selling its own properties. Union Church is not the first such case and certainly won’t be the last either.
The scene of a lonely Gothic Revival church encircled by highrise apartments or commercial towers ten times its height is not uncommon in Hong Kong. Well known for its high urban density, many neighborhoods in Hong Kong appear like monotonous forests of highrise buildings. Engulfed in glittering reflections of curtain wall glazing, old churches in the city have become precious features. Each architectural detail is full of history, collective memories, and a melancholic beauty. Well worth checking out, several churches in the Mid-Levels represent some of the oldest surviving structures in Hong Kong. Churches were some of the first permanent buildings constructed after the British arrived in 1841. The 180-year heritage of church architecture tells the story of Christianity in Hong Kong, which is as old as the city itself. Early missionaries, both Protestant and Roman Catholic, built churches and used Hong Kong as their base to spread the gospel in China and beyond. They also set up local charity networks, schools and hospitals, at a time when the colonial government had little interest in lives of the locals. Today, about 1.2 million Hongkongers or roughly 16% of the population are Christians. While churches and their affiliated institutions continue to thrive, some churches, like the Union on Kennedy Road, have reached the dilemma on how to compete and expand in the era of tremendous commercialism and sky-high property value. Each big decision a church makes may lead to the daunting risk of losing a part of Hong Kong’s architectural heritage. Every time a historical church is being torn down and moved into one of the city’s 9000+ highrise buildings, it represents one irreplaceable loss for not just today’s Hongkongers, but for the next generations to come.
A few years ago, Dutch photographer Marcel Heijnen published a beautiful photo book Hong Kong Shop Cats. The book was an instant hit and captured the heart of people both in Hong Kong and abroad. Lovely images of cats and shop owners with backdrops of traditional shops in Sheung Wan and Sai Ying Pun manifest a certain universal charm even for non cat lovers. It is the affection between shop cats and their owners that truly touch people, revealing a kind of human-animal bonding enrooted in the old shopping streets of Hong Kong. In the old neighborhoods, shop cats that linger at shopfront often become magnets that draw people from close and afar. Thanks to the social media, some celebrated shop cats (and owners) are even appear in foreign magazines or websites. While the need of mouse catching fades, the role of shop cats have shifted to sunbathing at shopfront, napping on cashier counter, patrolling the back alleys, and serving as social ambassadors to promote the business.
Other than old dried seafood or herbal medicine shops, cats also fit in well with all sort of businesses in the younger generation. Recent TV shows “Cat Shopkeepers” reveal that shops cats have become quite a phenomenon spreading to many businesses: bookstores, cafes, gyms, music schools, nail polishers, design shops, dance studios, musical instrument workshops, you name it. The cool yet lovely character of cats somehow become a perfect compliment to the warm-hearted and neighbourhood friendly identity of local small business. For returning customers or chance pedestrians, surprised encounters of shop cats may feel like discovering some sort of momentary antidotes to their otherwise stressful and monotonous daily life.
In a spring Saturday afternoon, we went to a familiar stall at Graham Street Market (嘉咸街市集) to pick up some fruits. While the male owner gathered the fruits we wanted, his wife was busy feeding a big cat tuna-like snacks with a small spoon. The cat sat gratefully on the table to chew on its snacks with its eyes closed. The lady gently stroked the cat’s back and proudly praised about its silky fur. We soon found out that the cat actually didn’t belong to the fruit stall owners. It was a guest from the adjacent dried goods stall. Like many other cats in the open street market, the lucky one we encountered that day would roam freely and welcomed by different stall owners in the area everyday.
Such beautiful human-cat relationship is not uncommon in the old neighbourhoods of Central-Sheung Wan (中上環) and adjacent Sai Ying Pun (西營盤), where decades old shops and market stalls provide the perfect havens for cats to linger. In return for all the food and love from shop owners, the cats would catch mice, attract pedestrian’s attention, and most importantly, keep the shop owners company during the day. Similar to Japan, where the belief of maneki-neko or “beckoning cat” (招き猫) has been around since the Edo Period, shop cats in Hong Kong are often regarded as an integral member of the business. In recent years, these shop cats are often referred to as “feline shopkeepers” (貓店長). These cute shopkeepers have become beloved mascots of the old neighbourhoods, where shop doors are always kept open to the street from morning till dusk.