ultramarinus – beyond the sea

Posts tagged “art

OASES IN THE CULTURAL DESERT, Hong Kong Arts Centre (香港藝術中心) & Academy of Performing Arts (香港演藝學院), Wan Chai (灣仔), Hong Kong

When I was a kid, my parents used to take me to the children art workshops at Hong Kong Arts Centre (香港藝術中心) in Wanchai. I don’t remember much about my earliest ”artworks”, but I do remember bits and pieces about the Arts Centre building in the 1980’s: ceiling consisted of small triangles, exposed yellow air ducts, staircase with yellow handrails spiraling up the atrium which took me forever to climb. Today, after series of renovations, the iconic yellow ductwork and stair handrails are gone, but the Arts Centre remains as a prominent non-government institution for art exhibitions, theatre shows, film screenings, and children workshops. As a competitive commercial city where people spent most of their time working to earn a living, Hong Kong is reputed for being a cultural desert. In the 1970’s, some Hongkongers tried to do something to advocate the development of art and culture, including the late architect Tao Ho (何弢). Graduated from Harvard’s Graduate School of Design, Ho studied and worked under Walter Gropius, the master of Modernist architecture and founder of the Bauhaus School in prewar Germany. Tao Ho returned to Hong Kong and established TaoHo Design Architects in 1968. In 1971, Tao Ho, Bill Bailey and King-man Lo came together to form the organization Hong Kong Arts Centre. After negotiations with the government and series of fundraising campaigns, construction of the building began in 1975 and completed in 1977. As chief architect, Tao Ho’s challenge was enormous. In a 10,000sf triangular site, Ho needed to incorporate galleries, theatre, rehearsal rooms, auditoriums, classrooms, restaurants, offices, and a four-storey atrium plus disabled facilities (first in Hong Kong) within a 16-storey building, all under a limited budget from donors. A triangular system was adopted from spatial planning, structural modules to facade treatment. From the use of functional forms, simple colour scheme, industrial materials, holistic design language, to incorporating geometric shapes into architecture, the spirit of Bauhaus is clearly shown. Since opening, Hong Kong Arts Centre has become a cultural icon in the city, exhibiting works by masters like Paul Klee and Zao Wou Ki as well as supporting the local art scenes. Before his death in 2019, Tao Ho was also responsible for a number of design projects in Hong Kong and China, including Hong Kong Pavilion for the 1986 World Expo in Vancouver, Tsuen Wan MTR Station, renovation of Hong Kong Governor House, Panda Pavilion in Ocean Park, Wing Kwong Pentecostal church, the Bauhinia emblem and the Hong Kong flag, etc.

In 2019, we finally got a chance to visit Hong Kong Academy of Performing Arts (HKAPA-香港演藝學院) to watch 887, a solo play by renowned playwright, actor and stage director Robert Lepage from Quebec. Before the show, we wandered a little bit in the atrium hall, where a model of the building complex was on display, showing the two triangular blocks: the academy and theatre blocks separated by a driveway. Serving as both the main campus for performing arts education and a venue for theatre performances, the HKAPA has been a prominent establishment in Hong Kong since 1985. It was founded as the city’s only place that offers professional education on music, dance, drama, technical arts, film and television. Equipped with state of the art acoustics and stage equipment, its Lyric Theatre and other performance halls have served the audience well throughout the last three decades. Like the Arts Centre across the street, HKAPA was conceptualized during the reformative decade of Governor Murray MacLehose (麥理浩), who dramatically improved the social welfare of Hongkongers by introducing new ordinances and policies, and boldly transformed the city into a diverse metropolis with a wide range of public projects, from the metro system to satellite towns, country parks to the Ocean Park (amusement park), Jubilee Sport Centre to the HKAPA. In 1981, architect Simon Kwan (關善明) won the design competition for HKAPA. Restricted by underground utilities, Kwan uses a driveway to break the complex into two triangular volumes, academy and administrative block on one side and theatre block on the other.

The bold geometry, prominent outlines, functional planning, industrial materials, and modular structure of the Arts Centre can be traced back to the Bauhaus. [2022]
After 45 years, Hong Kong Arts Centre remains as a non-government establishment that promotes arts in the city. [2021]
Architect Tao Ho stacked a wide range of spaces including theatre, classrooms and galleries into a 16 storey building. [2021]
Despite the yellow vertical ductwork and handrails are long gone, the 4-storey atrium remains as the prominent point of arrival. [2021]
The atrium stair of the Arts Centre also serves as an exhibition space. [2021]
Many choose to climb the stairs over taking the lifts at the Arts Centre. [2021]
The triangular waffle slabs and light fixtures are pretty unique in Hong Kong. [2021]
Despite land reclamation in recent years, the Arts Centre still enjoys fine views of Victoria Harbour. [2021]
Comparing to the government managed Hong Kong Museum of Art, exhibitions at the Arts Centre are more catered for art lovers, instead of families or couples looking for selfie opportunities. [2021]
The Arts Centre building is like an artwork of architect Tao Ho, where visitors are free to explore spatially. [2021]

***

Along Gloucester Road, windows of the teaching rooms and structural bracing of the Academy Block create a geometric presence to the urban scenery of Wan Chai. [2022]
At the age of curtain walls, the simple, solid and geometric beauty of HKAPA stands as a unique example of Late Modernist architecture in Hong Kong. [2022]
Bamboos go well with the verticality of the wall cladding of HKAPA. [2022]
Bold lines on the facade and soft tree shadows form the basic aesthetics for the building elevation. [2022]
Since 1980’s, HKAPA becomes a humble beginning for many successful actors, directors, playwrights and all kinds of theatre professionals in the city. [2022]
Interlocking triangular volumes form the basis of the architectural massing of HKAPA. [2022]
A grand atrium provides a sense of arrival in the theatre block of HKAPA. [2021]
Most theatre visitors would take the escalators up to the performance halls. [2019]
At the atrium, a stone plaque says “The Hong Kong Academy for Performing Arts was funded and built by the Royal Hong Kong Jockey Club on land granted by the Hong Kong Government.” [2021]
Three glass elevators stand as the focal point in the atrium of the theatre block. [2021]

THE GOLDEN GOOSE OF VICTORIA HARBOUR: Central Harbourfront (中環海濱), Central (中環), Hong Kong

Between April 2021 and March 2022, land sales have generated an HK$91.6 billion (US$11.7 billion) income for the Hong Kong government, out of which HK$50.8 billion (US$6.5 billion) came from a 47,967 sq.m lot at Central Harbourfront, the prestige waterfront in the city’s financial district. Like many business areas in the city, this land is created from a massive land reclamation project. Every time a massive reclamation project along Victoria Harbour is completed, the government would increase its land supplies and potential sources of income. The city’s iconic skyline would undergo another phase of transformation, and the harbour would once again get narrower. This new piece of land comes from Phase 3 (2003 – 2018) of the Central and Wan Chai Reclamation project, the last major plan (first initiated in 1985) that altered the waterfront between Central and Wan Chai. Land sale has always been a major revenue source for Hong Kong ever since early colonial times. Due to the limited land supply and continuous growth of the population and economy, reclaiming land from the sea was a cost effective way for urban expansion given the city’s rocky and mountainous terrains. Since 1840’s, about 7000 hectares (70 sq.km) of land has been reclaimed. Compared to 59.1 sq.km of Manhattan Island, 70 sq.km is a decent piece of land housing 27% of Hong Kong’s population and 70% of its businesses. While the search of flat land has always been a challenge, voices against land reclamation among the public has gained momentum in recent decades. Given the negative impact to the environment and Victoria Harbour, many now consider land reclamation as an unsustainable solution that would likely do more harm than good.

Victoria Harbour is a vital component for the economic success of Hong Kong since the founding of city. It is a safe, all-weather and deep harbour, a perfect place to establish an international port as history has proven. Yet, 180 years of land reclamation has narrowed the water to such a great extent (distance between Wan Chai and Tsim Sha Tsui has been halved) that the natural potentials of Victoria Harbour has been diminished. On the other hand, many began to recognize the significance of waterfront planning and its impact on shaping the city’s identity. Up until 1980’s, the harbour was developed mostly for the purposes of infrastructure, with wharfs, piers, godowns, warehouses, and dockyards occupied most of the harbourfront, leaving only pockets in Central and Tsim Sha Tsui for public and commercial uses. Under such context, the Protection of the Harbour Ordinance was passed in 1997 to recognize that Victoria Harbour is more than just a safe port. The law acknowledges that “the harbour is to be protected and preserved as a special public asset and a natural heritage of Hong Kong people, and for that purpose there shall be a presumption against reclamation in the harbour.” First covering only the waters around Central, then expanding to the entire harbour in 1999, the law basically put a stop to land reclamation in Victoria Harbour. If the law is here to stay, then the HK$50.8 billion land at Central Harbourfront would be one of the last available plots of waterfront land in Central. Meanwhile, plans for creating a more accessible harbourfront for all to enjoy have begun to realize, with the completion of various waterfront promenades on the Island’s north coast in recent years. Also from the Phase 3 of Central and Wan Chai Reclamation, the lot east of the HK$50.8 billion lot remains unoccupied in the past decade. Designated as Central Harbourfront Event Space, this land has been a vital public space at the heart of the city, hosting events from music festivals and sporting events, to large scale art installations. After this lot is developed, would the 180 year transformation of Central Harbourfront can finally call it a day, or would the Protection of the Harbour Ordinance be reverted one day due to economic and political pressure? The future is anyone’s guess.

Stretched from the General Post Office to the Ferris Wheel at Central Pier, the HK$50.8 billion (US$6.5 billion) lot is one of the last pieces of reclaimed land in Central. [Photo taken from footbridge connection of Central Piers, 2019]
Included in the HK$50.8 billion (US$6.5 billion) lot, the current General Post Office (4th generation) will likely be demolished in the near future. [Photo taken from footbridge connection of Central Piers, 2020]
The same piece of land seemed like a large construction site about a decade ago. [Photo taken from footbridge connection of Central Piers, 2012]
The HK$50.8 billion (US$6.5 billion) land has been idled as an empty lawn for almost a decade already. [Photo taken from footbridge connection of Central Piers, 2020]

***

The year 1873 saw the completion of Praya Reclamation Scheme phase 1, extend the waterfront from Queen’s Road Central to Des Vouex Road Central. [Photo by John Thompson, 1873, Illustrations of China and Its People, public domain]
After completing the second phase of Praya Reclamation Scheme, the Central waterfront was extended to Statue Square and Connaught Road Central. [Hong Kong skyline in 1920’s. Wikimedia Commons, Public Domain]
In the subsequent decades, land reclamation in Central pushed the waterfront to the current City Hall and General Post Office. [Skyline of Central in 1970’s. Image courtesy: ken93110, wikimedia commons, CC BY-SA 3.0]
Central and Wan Chai Reclamation began in 1993 and ended in 2019, adding the Terminal of Airport Express, the International Finance Centre (IFC) complex and Central Piers in 1996, the government headquarters in 1999, a series of commercial buildings and waterfront promenade in 2008, and the submerged Central-Wanchai Bypass in 2019. [Photo taken at Ocean Terminal, Tsim Sha Tsui, 2020]
Most of the business district of Central is located on reclaimed land created from the Praya Reclamation Scheme in the 19th century, several smaller projects in mid 20th century, and the Central and Wan Chai Reclamation Scheme between 1993 and 2018. [Photo taken from The Cenotaph, 2020]
In late 19th century, Paul Chater (Hongkong Land) and James Johnstone Keswick (Jardine Matheson) carried out the Praya Reclamation Scheme that dramatically transformed the north coast of Hong Kong Island, while their companies remain as the largest landlords in Central today, owning a large amount of commercial buildings including Jardine House, Mandarin Oriental Hotel, Prince’s Building, Chater House, Alexander House, etc. [Photo taken from Statue Square, 2020]
Owned by Hongkong Land, the luxurious Landmark Atrium is another icon in Central. [2020]
Illustrated on the ground floor pavement of the HSBC headquarters, the shoreline of Central has undergone multiple transformations throughout the past 180 years. [2020]
Commonly known as the original northern shoreline on Hong Kong Island, Queen’s Road now lies somewhere between 500m to over 1km (in Wan Chai) inland from Victoria Harbour. [Photo taken at Intersection of Queen’s Road Central and Ice House Street, 2020]
Des Voeux Road Central was constructed after phase 1 of the Praya Reclamation Scheme. [Photo taken outside of Central Market at Des Voeux Road Central, 2021]
Named after Prince Arthur, Duke of Connaught and Strathearn, Connaught Road was completed in 1890 as a waterfront thoroughfare. Today the road is completely landlocked after a series of land reclamation. [Photo taken outside of Exchange Square at Connaught Road Central, 2020]
The towers and shopping mall of International Finance Centre (IFC) are resulted from the Phase 1 of Central and Wan Chai Reclamation project (1993 – 2019). [2020]
Phase 3 of Central and Wan Chai Reclamation project includes the Central-Wanchai Bypass, which starting from 2019 connects Central to Causeway Bay via a tunnel under the harbour. [2020]

***

Much of the reclaimed Central Harbourfront is designated as an open space for public events such as the Hong Kong Marathon. [2017]
Hong Kong ePrix, an international Formula E race, is also held at the Central Harbourfront Event Space. [2019]
Between 2016 to 2018, Clockenflap Music and Arts Festival, the city’s biggest annual music festival, was held at Central Harbourfront Event Space three years in a row. [2017]
In 2017, British trip hop and electronic band Massive Attack was the final guest of the three day Clockenflap festival. [2017]
Before the pandemic, the Clockenflap events were some of our most memorable nights we spent at the Central Harbourfront. [2017]
During the pandemic, the Central Harbourfront Event Space was used occasionally for fairs and large scale art installations. [2021]
Inspired by Victoria Harbour, American Artist Patrick Shearn from Poetic Kinetics covered a large strip of the event space with a colourful kinetic sculpture that waved in the wind. [2021]

CULTURAL CENTRE AT FORMER EXPLOSIVES MAGAZINE, Asia Society (亞洲協會), Admiralty (金鐘), Hong Kong

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.

The former explosives magazine site was designed for the home of Asia Society in 2002. The project took a decade to complete and opened as the cultural centre of Asia Society in 2012. [Asia Society, Justice Drive, Admiralty, 2021]
A manmade waterfall marks the dramatic entrance of the cultural centre and draws visitors up to the rooftop sculpture garden. [Asia Society, Justice Drive, Admiralty, 2021]
Stones from Southern China were chosen by the architects as the main facade cladding. [Asia Society, Justice Drive, Admiralty, 2015]
The roof garden is one of the main feature at the Asia Society complex. Long Island Buddha, the 2011 sculpture made of copper and steel by artist Zhang Huan, is one of the permanent sculptures in the garden. [Asia Society, Justice Drive, Admiralty, 2021]
A miniature Zen garden defines the heart of the roof garden. [Asia Society, Justice Drive, Admiralty, 2017]
Chloe Cheuk’s crystal balls installation, named “…Until I am Found”, is an interactive piece offering distorted image of the city’s skyline. [Asia Society, Justice Drive, Admiralty, 2017]
The double decker bridge is an architectural delight linking the two parts of the site. [Asia Society, Justice Drive, Admiralty, 2015]
From the upper deck of the bridge, visitors can peacefully enjoy the skyline of the business district of Admiralty. [Asia Society, Justice Drive, Admiralty, 2021]
The lower site is mainly occupied by the multi-function hall where most of the talks and events are held. [Asia Society, Justice Drive, Admiralty, 2021]
Old tracks for weapon carts are preserved at the upper site, where an office, gallery and theatre are housed in three historical buildings. Outdoor artworks are also on display around the site. As contemporary representation of Chinese tradition, Zhan Wang’s Artificial Rock artworks often appear as stainless steel versions of scholar’s rocks commonly found in Suzhou gardens. [Asia Society, Justice Drive, Admiralty, 2021]
Several granite military lot markers were found when the site was taken over by Asia Society. Dated to 1910, these stones were installed by the Royal Navy to mark the boundary of the former Victoria Barracks. [Asia Society, Justice Drive, Admiralty, 2021]
Historical cannons were unearthed at the site during the renovation work. [Asia Society, Justice Drive, Admiralty, 2021]
The former weapon laboratory has been transformed into offices. [Asia Society, Justice Drive, Admiralty, 2021]
Dated from 1880, the former Magazine A has been transformed into an art gallery that feature temporary exhibitions. Recently, a retrospective show of the works of late French artist Lalan (謝景蘭) was on display. [Asia Society, Justice Drive, Admiralty, 2021]
Yukaloo by renowned James Turrell in 2019 was the first show of the American artist in Hong Kong. His powerful LED installations led spectators into a dreamy experience of space, light, colour and time. His works filled the former weapon magazine with an aura of infinity. [Asia Society, Justice Drive, Admiralty, 2019]
Outside the gallery, a covered walkway leads visitors further into the former Magazine B, which is currently occupied by a theatre. [Asia Society, Justice Drive, Admiralty, 2021]
The fine combination of a small fountain and planter could have been inspired by the traditional Suzhou garden. [Asia Society, Justice Drive, Admiralty, 2021]
Known as a “horizontal building in a vertical city”, the essence of horizontal and sequential movement can be clearly felt. [Asia Society, Justice Drive, Admiralty, 2021]
The contrasting materials of the canopy and the historical building present no confusion on which is old and new. [Asia Society, Justice Drive, Admiralty, 2021]
Heading back down to the Multi-function and reception hall, we often take the lower deck of the double decker bridge. [Asia Society, Justice Drive, Admiralty, 2021]
It is always a pleasant journey to walk through the lush green rainforest at the Asia Society. [Asia Society, Justice Drive, Admiralty, 2021]
Since 2017, Adrian Wong’s Untitled (Grate XI: Electric Bauhinia) has occupied the niche near the entrance of the Multi-function Hall. [Asia Society, Justice Drive, Admiralty, 2021]
Below the Multi-function and reception hall is Ammo, an atmospheric Italian Japanese fusion restaurant overlooking the lush green nullah that separates the upper and lower site of the complex. [Asia Society, Justice Drive, Admiralty, 2021]

STREET ART, Central-Sheung Wan (中上環), Hong Kong

For 50 years, lampposts, electrical boxes, concrete pillars, pavements, benches, planters, and retaining walls on the streets of Hong Kong could be seen as one large canvas for the “King of Kowloon” (九龍皇帝) to leave his unique calligraphy works. Sometimes, he wrote to proclaim his ancestral land ownership of the Kowloon Peninsula before the British rule, while at other times he would write about his family. Seen by many as acts of a crazy man, the “King of Kowloon” or Tsang Tsou Choi (曾灶財) was probably the most well known graffiti artist the city had seen in the 20th century. Fined by the government numerous times, insulted by neighbours, and even disowned by his own family, Tsang Tsou Choi was mocked by Hong Kong for decades. Whenever his calligraphy was washed or painted over by the authorities, he would restore the works right after. His works were largely seen as public nuisance until the 1990’s, when local artists, fashion designers, art directors, interior designers, furniture makers, graphic designers, musicians began to use Tsang’s unique calligraphy on design products. In his final years, Tsang’s works finally began to gain public recognition with successful shows both in Hong Kong and abroad, including the Venice Biennale in 2003, and even went for auctions at the Sotheby’s.

A decade after Tsang’s death (2007), street art in Hong Kong has already entered a new chapter. Far from the vibrancy and sophistication of London’s or New York’s, street art is nonetheless much widely accepted and welcomed by the public in Hong Kong nowadays. In recent years, the city has been frequented by international street artists, such as Invader from France, who has secretly put up his iconic pixelated 8-bit video game images all over the city. In December 2019, the popular show “Banksy: Genius or Vandal?” arrived in Hong Kong and created quite a stir on the social media. The free spirit, unique artistic expression, cool character, coupled with satirical imagery, political controversy, and social criticism of street art have been welcomed by the young generations, especially in the era of social media when everybody has something to say and share.

In Hong Kong, one of the most popular areas to see interesting street art is Central-Sheung Wan (中上環). Thanks to HKwalls, the non-profit organization who has been organizing annual street art festival since 2014, several neighbourhoods in Hong Kong have already become hotspots showcasing the talents of local and international artists. In their debut year of 2014, HKwalls paired artists with properties owners in Sheung Wan and successfully added 17 street murals in the neighborhood, then another 50+ works in Sheung Wan and Stanley Market in the following year. The event moved to Sham Shui Po in 2016, Wong Chuk Hang in 2017, then returned to Central and Western District in 2018 before moving on to Wanchai (2019) and Sai Kung (2021). HKwalls has successfully brought in great artistic talents from all over the world to Hong Kong, transformed the urban scenery of old neighborhoods, and raised public appreciation of street art to a whole new level.

For a city well known of its quick, dramatic and relentless urban changes, the impermanent and transient beauty of street art suit perfectly to echo the ephemeral spirit of Hong Kong. Here if you see an interesting street art, you better document it right away. Next time around, the mural may be gone forever.

Most of the street art by Tsang Tsou Choi (曾灶財) did not survive. After public outcry, the government finally agreed to preserve the last few remaining works by the King of Kowloon (九龍皇帝), including the one at the Star Ferry Terminal in Tsim Sha Tsui (尖沙咀). [Star Ferry Terminal, Tsim Sha Tsui, 2020]
Renowned French undercover artist Invader has left his marks in 79 cities worldwide, including Hong Kong. [Forecourt of Harbour City Mall, Tsim Sha Tsui, 2020]
In December 2019, the Banksy show came to Hong Kong and was quite a hit among the younger generation. [A mock up of Banksy studio at the “Banksy: Genius or Vandal?” show, Kowloon Bay, 2019]
Often referred to as the Instagram Wall, local artist Alex Croft created one of the most photographed street art in the city. Depicting the fast disappearing tenement apartments on Graham Street, the famous mural stands proudly across the street from GOD (Goods Of Desire), a local lifestyle store that was one of the first design business to incorporate Hong Kong street art into merchandises. [Junction of Graham Street and Hollywood Road, Central, 2020]
Renowned British street artist Dan Kitchener participated in the annual street art festival by HKwalls in 2018. Kitchener often takes inspirations from urban sceneries of Tokyo and Hong Kong to create his works, which appear in many cities in Europe, Asia and North America. [Junction of Graham Street and Hollywood Road, Central, 2020]
Kitchener’s murals often depict imaginary urban scenery inspired by a fix of streets scenes from Hong Kong and Tokyo. [Junction of Hiller Street and Bonham Strand, Sheung Wan, 2020]
For the show Street Art Challenge on Insight TV, British artists Dan Kitchener and Charles Williams created this wall mural with a juxtaposition of a natural and an urban scene, and a Chinese message saying “don’t let it go to waste.” [Junction of Elgin Street and Caine Road, Central, 2020]
In Sheung Wan, Tank Lane (水池巷) is one of the best spot to check out graffiti art. Brazilian artist Alex Senna was another street art superstar participated in HKwalls 2018. Appeared in many cities around the world, his black and white (and different shades of grey) human figures depict various scenarios of human life, and are often open for interpretation. [Junction of Tank Lane and Bridges Street, Sheung Wan, 2020]
Known as the King of Graffiti in his home country, South Korean artist Xeva (Yoo Seung-baik) painted a multifaceted Bruce Lee for HKwalls 2015. Xera often collaborates with different commercial brands in both Korea and abroad. [Tank Lane, Sheung Wan, 2020]
Further down Tank Lane from Xeva’s Bruce Lee is another eye-catching piece, a stylish woman face painted by Hopare from France for HKWalls 2015. [Tank Lane, Sheung Wan, 2020]
Well known for his deconstructed pop icons from Mickey Mouse and the Simpsons in America to the Astro Boy and Dragon Ball characters of Japanese anime, LA based Matt Gondek has also left a melting Mickey Mouse (and also Donald Duck) in Sheung Wan. [Junction of Tank Lane and Lower Lascar Row, Sheung Wan, 2021]
Apart from Tank Lane, the nearby Water Lane (水巷) and the lane between Upper Station Street and Sai Street are also the must-sees for street art lovers. [Lane between Upper Station Street and Sai Street, Sheung Wan, 2020]
Begins from a traditional Chinese landscape painting, then evolves into geometric shapes and ends with a dragon head, artist WEST & Megic from Foshan of China made this long mural for HKwalls 2018. [Lane between Upper Station Street and Sai Street, Sheung Wan, 2020]
Detail of the dragon head made by WEST & Megic. [Lane between Upper Station and Sai Street, Sheung Wan, 2020]
From billboards to planes, British artist 45RPM from Bristol is a multi-disciplinary artist who has collaborated with many international brands. He has also left his mark in Sheung Wan for HKwalls 2018. [Water Lane, Sheung Wan, 2020]
Since 2015, Portuguese artist Alexandre Farto (Vhils) has been making street art in Hong Kong. Known as “Scratching the Surface projects”, one of his signature art creation methods is to remove paint and plaster from the wall to expose the concrete inside. [Sai Street and Water Lane, Sheung Wan, 2020]
At Water Lane, the 2014 HKwalls mural by Stern Rockwell and 4GET from New York creates a big contrast to the adjacent historical shrine for a local deity. [Near junction of Water Lane and Tai Ping Shan Street, Sheung Wan, 2020]
Danish artist Christian Storm made this eye-catching koi fish mural for HKwalls 2018. Recently, the mural has been replaced by a new painting depicting a large rhino. [Junction of Shing Wong Street and Hollywood Road, Sheung Wan, 2020]
In SoHo, Barcelona artist Cinta Vidal Agullo created this Inception-like mural for a wine cellar/bar as part of HKwalls 2018. [Junction of Aberdeen and Staunton Street, Central, 2019]
La Bouffe, a French resturant, Seoul Brothers, a Korean restaurant and Yuk Yip, a dai pai dong street eatery commissioned a French artist to create this mural in the street corner where the three businesses are located. [Junction of Elgin Street and Hollywood Road, Central, 2020]
Local artist KristopherH created this 6-face animal for La Cabane Bistro and wine cellar to capture the attention of pedestrians. [Junction of Shin Hing Street and Hollywood Road, Sheung Wan, 2020]
The same wall of La Cabane has been repainted recently with a treasure map also by KristopherH and calligraphy by Woodnink. [Junction of Shin Hing Street and Hollywood Road, Sheung Wan, 2021]
Japanese celebrity Shingo Katori (香取慎吾) has created this mural underneath the Central-Mid Levels Escalator in 2018. [Junction of Shelley Street and Hollywood Road, 2020]
One street down from Hollywood Road, locally based French artist Elsa Jean de Dieu painted this delightful mural for Bedu, a cosy Middle Eastern restaurant popular with expats. [Junction of Gough and Shing Hing Street, Sheung Wan, 2020]
Also by Elsa Jean de Dieu, this laughing woman outside Uma Nota restaurant has become an icon for SoHo. [Junction of Peel Street and Hollywood Road, Central, 2020]
For HKwalls 2018, Elsa Jean de Dieu is also responsible for a large mural next to the shop of Lush, the British cosmetics retailer. [Junction of Cochrane Street and Lyndhurst Terrace, Central, 2020]
Local artist Joe Yiu and his team of Creative Master Group has created this large mural at the popular tourist attraction of historical Pottinger Street. [Junction of Pottinger Street and Wellington Street, Central, 2020]
Sometimes, a surprised encounter of an anonymous graffiti art is more delightful than purposefully checking out a large scale mural commissioned by a certain business. This “ET nun” caught my eye when I walked pass the in one afternoon. [Near Lan Kwai Fong Amphitheatre, Central, 2021]

NoHo & SoHo, Central – Sheung Wan (中上環), Hong Kong

Linking a number of tourist attractions like Tai Kwun, PMQ and Man Mo Temple, Hollywood Road is always popular for tourists in Hong Kong. While tourists come for the historical attractions, many locals, on the other hand, come to Hollywood Road for food and drinks. South of Hollywood Road, the narrow Staunton Street (士丹頓街) was once home to wet market vendors, trading offices, family-run stores and small Buddhist convents (庵堂). In fact, Staunton Street was once nicknamed the Street of Buddhist Nuns (師姑街). After the Central – Mid Levels Escalators opened to the public in 1993 and brought an influx of pedestrians from the business district downhill, Staunton Street and the adjacent Elgin Street(伊利近街) have quietly undergone a dramatic transformation. Expatriates started to move into the area. Old shops and Buddhist convents were gradually replaced by bars, pubs, restaurants, comedy clubs, cafes, and wine shops. In 1996, Thomas Goetz, a restaurant owner from Elgin Street, came up with the acronym “SoHo” (蘇豪) for this new entertainment and dining area of Central, referring to the location “South of Hollywood Road”. From then on, the Staunton Street that I used to go as a child to get fresh grocery and pay ritualistic respect to my grandfather at a small Buddhist convent has silently disappeared. Today, SoHo would remain sleepy most of the day, and then bursts into life after sunset. The yell of market vendors and pungent incense smoke have been replaced by causal giggles and laughter, and the smell of beer.

Further away from the Central – Mid Levels Escalators and less than 150m northwest of the buzzing SoHo, Gough Street (歌賦街), Kau U Fong (九如坊) and Aberdeen Street (鴨巴甸街) offer a much more laid-back and tranquil ambience. Once home to family run shops and small printing presses, these sleepy back streets have become a hipper cousin of the nearby SoHo. Known as NoHo for “North of Hollywood Road”, this area is particular attractive to locals who come for the foodie scene: Chinese cuisine, dai pai dong dishes, beef brisket noodles, Japanese ramen, sushi, Western fine dining, unadon, Vietnamese pho, hand-drip cafes, bubble tea, chocolate, etc. Despite its abundance of dining options, the shops here remain small and peaceful. Compared to its noisier neighbour, NoHo is much more low key, as if deliberately staying away from the public limelight. Here visitors would enjoy a sense of discovery and intimacy that is hard to find anywhere else in Central.

Looking down from PMQ, the stepped Shin Hing Street (善慶街) marks one of the entrances into Gough Street from Hollywood Road. [Junction of Hollywood Road and Shin Hing Street, NoHo, Sheung Wan, 2020]
An old furniture store still occupies the corner of Hollywood Road and Shin Hing Street. [Top of Shin Hing Street, NoHo, Sheung Wan, 2020]
Many love the tranquil and “European” feel of NoHo, which is a rarity in urban Hong Kong. [Shin Hing Street, NoHo, Sheung Wan, 2020]
Art installation related to the history of Sun Yatsen, the Father of Modern China, has become a playground for children. [Junction of Shin Hing Street and Gough Street, NoHo, Sheung Wan, 2020]
Before the pandemic, the steps of Shin Hing Street was often turned into a stepped seating and drinking area in the evening and during weekends. [Shin Hing Street, NoHo, Sheung Wan, 2020]
At Mee Lun Street (美輪街), a small ladder street just a few shops away from Shin Hing Street, a simple dai pai dong street eatery has been a pedestrian magnet for years. Opened in 1959, Sing Heung Yuen (勝香園) dai pai dong is a big attraction in NoHo. Before the pandemic, there would always a long queue (mainly tourists and young couples) whenever the eatery is opened. [Junction of Mee Lun Street and Gough Street, NoHo, Sheung Wan, 2020]
One of the most famous dishes at Sing Heung Yuen (勝香園) is tomato beef and egg noodles. [Junction of Mun Lun Street and Gough Street, NoHo,Sheung Wan, 2020]
Sasa the cat of Sing Heung Yuen (勝香園) is a popular member of the Mun Lun Street neighbourhood. Without tourists during the pandemic, Sasa got a little more freedom to linger around. When the eatery is busy and all seats are taken, the owner would take Sasa back to their apartment nearby. [Junction of Mun Lun Street and Gough Street, NoHo, Sheung Wan, 2020]
Kau Kee Beef Briskets(九記牛腩) is another tourist favourite in NoHo. Kau Kee’s business during the pandemic is greatly affected. [Gough Street, NoHo, Sheung Wan, 2021]
Apart from food, design shops such as Homeless offers another crucial aspect of urban living in Hong Kong. [Gough Street, NoHo, Sheung Wan, 2020]
One street downhill from Gough Street, Kau U Fong (九如坊) offers another clusters of tranquil options for foodies. [Kau U Fong, NoHo, Sheung Wan, 2020]
As chill as SoHo but with smaller crowds, that is the real beauty of NoHo. [Kau U Fong, NoHo, Sheung Wan, 2020]
In recent years, one of the most well known establishments in Kau U Fong is The Chairman (大班樓), a Michelin 1-star Chinese restaurant that uses mostly organic ingredients from small local suppliers and fishermen. [Kau U Fong, NoHo, Sheung Wan, 2020]
The most famous fish at The Chairman is undoubtedly steamed crab in aged Xiaoxing wine with Chan Village rice noodles. [The Chairman, Kau U Fong, NoHo, Sheung Wan, 2020]
Perpendicular to Gough Street and Kau U Fong is the sloped Aberdeen Street. Despite its slope, the street is also filled with new restaurants and cafes, including Tenkai, a Japanese fine dining restaurant specialized in tempura omakase. [Aberdeen Street, NoHo, Sheung Wan, 2020]
Further downhill, the more causal Ode has also attracted a constant queue outside. The restaurant is specialized in ramen in sea bream fish broth. [Aberdeen Street, NoHo, Sheung Wan, 2020]
The relatively new and sleek looking Aesop store at Gough / Aberdeen Street is a neat addition to the NoHo neighbourhood. [Junction of Aberdeen Street and Gough Street, NoHo, Sheung Wan,2020]

***

Near Hollywood Road, the vivid wall paintings at Graham Street remind visitors that we are now about to enter an interesting and fun neighbourhood. [Junction of Graham Street and Hollywood Road, SoHo, Central, 2014]
Since 1993, the world’s longest covered escalator system has brought tens of thousands of pedestrians up and down the slope of Central, from 34,000 daily usage in 1996 to about 85,000 in 2010. This influx of energy has directly contributed to the development of the SoHo District. [Junction of Shelley and Staunton Street, SoHo, Central, 2014]
The Central – Mid Level Escalators was the unexpected driving force behind the creation of the entertainment district of SoHo in Central. [Junction of Shelley and Staunton Street, SoHo, Central, 2014]
Restaurants and bars cascade up along the escalator system of Shelley Street. [Shelley Street, SoHo, Central, 2020]
Staunton has become the central axis of SoHo entertainment district. [Staunton Street, SoHo, Central, 2014]
Staunton Street ends at Old Bailey Street where Tai Kwun, the former Central Police Headquarters is situated. [Junction of Staunton and Shelley Street, SoHo, Central, 2020]
A simple restaurant serving British food marks the eastern entrance of SoHo at Old Bailey Street. [Junction of Old Bailey and Staunton Street, SoHo, Central, 2020]
From crafted beer to high end whiskey, sake, and wines, Staunton Street offers plenty of options to anyone looking for fun after work. [Staunton Street, SoHo, Central, 2020]
A constant queue from morning till dusk, Bakehouse is the clear winner of SoHo during the Covid 19 pandemic. Operated by Grégoire Michaud, a renowned baker who has an impressive resume of work experiences in high end hotels and restaurants, the famous bakery has become an urban sensation in the past few years in Hong Kong. [Staunton Street, SoHo, Central, 2020]
The former shops and Buddhist convents below old apartment blocks have been converted into restaurants and bars. [Staunton Street, SoHo, Central, 2021]
The ambience of Staunton Street would dramatically transformed as evening approaches. [Staunton Street, SoHo, Central, 2021]
One street further uphill from Staunton Street, Elgin Street is also at the heart of the bar hopping circuit of SoHo. [Elgin Street, SoHo, Central, 2014]
Like other old neighborhoods in Hong Kong, there is a deity shrine in SoHo that protects all in the community. [Junction of Staunton and Peel Street, Soho, Central, 2021]
Across from the shrine, a bar specialized in shesha water pipes has an interesting wall painting at its door. [Peel Street, SoHo, Central, 2020]
During the Covid 19 pandemic, many bars and pubs were asked to temporarily close their doors. The restaurants remain opened have to follow strict regulations for number of customers per table, distance between seats, shorter opening times, stringent mechanical requirements for air changes, regular disinfection of spaces, etc. [Peel Street, SoHo, Central, 2020]
SoHo is not all about fine dining and bar hopping. Other businesses such as custom tailor and second hand bookstore have also left their marks. [Flow Books, Hollywood Road, SoHo, Central, 2014]
The true beauty of SoHo is about how people with different backgrounds may come and mingle in a few small streets uphill from the business district of Central. [Flow Books, Hollywood Road, SoHo, Central, 2014]

VICTORIA PRISON (域多利監獄), Tai Kwun (大館), Central (中環), Hong Kong

The former Victoria Prison or Gaol is the third main component of the Tai Kwun Centre of Heritage and Arts. Built in August 1841, some say the prison was the first permanent Western architecture constructed in Hong Kong. It served as the city’s first prison until 2006, when the complex was decommissioned for good. Today, the prison halls are largely preserved as listed historical buildings. Some are opened to the public to showcase the history, while some are being converted into restaurants and bars. But it’s the Prison Yard, the tranquil courtyard in the midst of the prison compound that is the real gem. Under the shade of Frangipani and Candlenut trees, movable beach chairs are provided for relaxation. In the evening, the courtyard is dimly lit to maintain a peaceful ambience.

At either end of the Prison Yard, renowned architect Herzog de Meuron has left their mark by erecting two cubic structures that appear to be floating in mid air above the prison walls. Serving as a theatre, one of the cubic structure is known as JC Cube. The other cube, named JC Contemporary, is a sleek looking museum of contemporary art. Beneath the JC Cube lies the stepped plaza Laundry Steps, where movie screening and live performances would regularly be held. Echoing the brick and stone masonry of the heritage structures, the cast aluminium facade of the cubic structures offer a dramatic contrast between the old and new.

If the Parade Ground courtyard at the lower platform is reserved for the vibrancy of retail and dining activities, the Prison Yard at the upper platform is all about the venues for cultural exhibitions and performances. While the Central Police Headquarters on Hollywood Road and Central Magistracy on Arbuthnot Road were all about establishing an authoritative image to the public, the unpretentious buildings of the Victoria Prison, which have been walled off from the city ever since 1841, offers the perfect setting for contemporary culture and architecture to establish a new identity for the compound. Converting the cold prison blocks into a welcoming urban oasis has so far proven to be successful.

Earlier versions of Victoria Prison have long gone, including the one with a radial plan dated to 1858. [Photo: University of Bristol – Historical Photographs of China reference number: NA16-009. Image from an album in The National Archives. 1860’s]
Today, the JC Contemporary cantilevers over the granite walls of Victoria Prison and red brick facades of the Central Police Headquarters along Old Bailey Street. [Tai Kwun at junction of Old Bailey Street and Staunton Street, Central, 2021]
At the junction of Old Bailey Street and Chancery Lane, the Blue Gate (now painted green) marks the main entrance of Victoria Prison. From my childhood home just a dozen of steps away, my curiosity would explode whenever a police truck arrived with new prison inmates. Back in the 1980’s, the prison was actually used as a transit and repatriation centre for Vietnamese refugees. [Blue Gate of Victoria Prison at junction of Old Bailey Street and Chancery Lane, Tai Kwun, Central, 2021]
The southern extent of Victoria Prison is bounded by the granite wall along Chancery Lane. [Prison wall at Chancery Lane, Central, 2021]
I remember most walls of the Victoria Prison were topped with glass pieces when I was a child. Today, only a small amount of glass is left. [Former prison wall at Chancery Lane, Central, 2021]
The JC Cube overhangs beyond the prison wall along Arbuthnot Road. [Tai Kwun at Arbuthnot Road, Central, 2021]
From Central Magistracy, a small chapel decorated with wall paintings marks the entrance vestibule into the former Victoria Prison. [Tai Kwun, Central, 2021]
Herzog de Meuron chose a cladding design contrasting to the heritage masonry buildings for the new cubic buildings. [Former Victoria Prison, Tai Kwun, Central, 2021]
The Victoria Prison was damaged during WWII, and has gone through extensive restoration after the war. [Hall B, Victoria Prison, Tai Kwun, Central, 2021]
In the 1970’s and 1980’s, Hong Kong was declared a port of first asylum for Vietnamese refugees. The prison was used as a transit and repatriation centre. [Former Victoria Prison, Tai Kwun, Central, 2021]
The Victoria Prison has imprisoned all kinds of people in its 165 years of history, including some well known figures such as Vietnamese revolutionary and politician Ho Chi Minh. [Former prison hall, Tai Kwun, Central, 2018]
One of the prison buildings was used to showcase projections of Chinese and Italian sword fighting techniques as part of the Way of the Sword: Warrior Traditions in China and Italy exhibition. [Former prison hall, Tai Kwun, Central, 2021]
The Laundry Steps serves as a connection point between the platform of Central Magistracy and Prison Yard. [Laundry Steps, Tai Kwun, Central, 2018]
Beneath the JC Cube is Laundry Steps, a welcoming stepped plaza designated for live performances. [Laundry Steps, Tai Kwun, Central, 2020]
The Laundry Steps is a great place for movie screening. [Laundry Steps, Tai Kwun, Central, 2020]
During the pandemic, beach chairs were removed from the Prison Yard. Only the Frangipani and Candlenut trees remain as the main features of the courtyard. [Prison Yard, Tai Kwun, Central, 2021]
Live performances would occasionally be held at the Prison Yard. [Prison Yard, Tai Kwun, Central, 2018]
Built in 1913, and modified in 1931 and 1948, Hall F was considered to have less historical value compared to other buildings in the compound. Left of Hall F is the passageway leading to the Blue Gate. [Prison Yard, Tai Kwun, Central, 2018]
Built in 1858, the 3-storey D Hall of former Victoria Prison is the oldest surviving structure in Tai Kwun. [Prison Yard, Tai Kwun, Central, 2018]
The first floor of D Hall was once used as a hospital and psychiatric ward, while the second floor housed youth detainees. Today, the ground floor is converted into a causal restaurant managed by a NGO. [Prison Yard, Tai Kwun, Central, 2020]
Design by Herzog de Meuron, a cast aluminium cladding system made from recycled vehicle wheels in Australia is used for the outer skin of JC Contemporary and JC Cube. [JC Contemporary, Tai Kwun, Central, 2021]
The slit of glazing reveals the spiral stair up to the exhibition floors of the JC Contemporary. [JC Contemporary, Tai Kwun, Central, 2021]
A minimalist base of concrete and glass lifts the JC Contemporary up beyond the prison wall. [JC Contemporary, Tai Kwun, Central, 2021]
The spiral staircase in the JC Contemporary is a popular selfie spot today. [JC Contemporary, Tai Kwun, Central, 2021]
Wet Feet_Dry Feet:Borders and Games by Belgian artist Francis Aly was one of the many exhibitions hosted at the JC Contemporary recently. [JC Contemporary, Tai Kwun, Central, March 2021]
The small Artist’s Book Library on the second floor of JC Contemporary is a pleasant place to take a break. [JC Contemporary, Tai Kwun, Central, 2021]

TEMPLE • SCHOOL • RESIDENCE • DESIGN CENTRE – REINCARNATION OF THE PMQ (元創方), Sheung Wan (上環), Hong Kong

Between Sheung Wan and Central lies a tranquil stepped alleyway known as Shing Wong Street (城皇街). In Chinese tradition, “Shing Wong” is the guardian deity of city wall, or in a broader sense, the patron saint of the neighbourhood. Shing Wong Street reminds us that there was once a Shing Wong Temple (城皇廟) stood at the site bounded by Shing Wong Street (城皇街), Staunton Street (士丹頓街), Aberdeen Street (鴨巴甸街), and Hollywood Road (荷李活道), a relatively large plot of land in the old Victoria City. Probably built in 1843 or earlier, some consider the former Shing Wong Temple the oldest temple in colonial Hong Kong. Its importance was soon overtaken by Man Mo Temple (文武廟) further down Hollywood Road. In 1870’s, Shing Wong Temple was temporarily converted into a mental health asylum. And then in the 1880’s the government bought the temple and redeveloped it into the new campus of Central School (中央書院), the city’s first upper primary and secondary school to provide modern education. The school was later renamed as Victoria College (維多利亞書院) in 1889 and later the Queen’s College (皇仁書院). Merchant tycoon Sir Robert Ho Tung, and Sun Yatsen, the Father of Modern China were some of the well known graduates from the college’s early years. The Neo-Classical college building was one of the most expensive construction projects in 19th century Hong Kong.

For half a century the splendid Queen’s College building stood proudly in Upper Sheung Wan, until 1941 when the school was forced to close down due to WWII. The building suffered devastating destruction during the war and became nothing more than ruins and rubble when the city was liberated from Japanese occupation. In 1948, the ruins were cleared to make way for a new era. In 1951, a functionalist building was erected for a completely different purpose: residential compound for the police force. Sitting on four levels of platforms, the Police Married Quarters offered about 170 dwelling units. The functionalist compound served its intended purpose for another half a century, until the last residents moved out in 2000. Subsequently the government rezoned the site for private residential development. The heritage site was at risk to be lost forever.

“Save the Trees” was the first slogan local resident Katty Law put up in 2005 to protest against the felling of the Hollywood Road “stone wall trees” of the Police Married Quarters. Among a few other residents from the local neighborhood, Law found a NGO known as Central and Western Concern Group (中西區關注組). The neighborhood group successfully persuaded the government to consider removing the site from residential redevelopment and engaging in archaeological examination of the site. The government agreed to study the site. This eventually led to discovering the historical foundation of the former Queen’s College. In 2009, the government finally announced preserving the former Police Married Quarters and revitalizing it into a hub for art and design that is known as PMQ today. In 2014, the PMQ reincarnated one more time. A glass canopy was constructed over the central court, where public events would now be held. The former residential units were retrofitted into studio spaces for selective tenants including designers, artists, galleries, fashion designers, jewellery designers, lifestyle shops, vintage stores, cultural institutions, cafes, bakeries, and restaurants. A new hub for tourists and art lovers has been reborn upon the legacies of a temple, school and police residence.

The name Shing Wong Street (城皇街) is the only reminder of the former Shing Wong Temple that once occupied the site of the PMQ in the mid-19th century. [Shing Wong Street as seen from the side platform of the PMQ, Sheung Wan, 2020]
Retaining walls surrounding the PMQ date back to the era of the former Queen’s College. [Stone wall trees at PMQ’s retaining wall along Shing Wong Street, Sheung Wan, 2020]
Protecting the stone wall trees on the retaining wall along Hollywood Road was the spark that inspired Katty Law to found Central and Western Concern Group, a NGO that focuses on protecting the neighbourhood heritage of Central and Western District. PMQ’s retaining wall is the most obvious remnant from the era of the former Queen’s College. [Stone wall trees on PMQ’s retaining wall along Hollywood Road, Sheung Wan, 2020]
Bounded by Hollywood Road, Aberdeen Street, Shing Wong Street and Staunton Street, the former Queen’s College was one of the most important construction project in the city during the 1880’s. [Queen’s College along Hollywood Road with the sloped Aberdeen Street on the left, photograph by Arnold Wright, 1908, Public Domain]
A block further uphill from Hollywood Road, the PMQ is also accessible from Staunton Street in SOHO. The functionalist architecture from 1951 reflects a pragmatic and efficient living culture in the postwar era. [PMQ along Staunton Street, Sheung Wan, 2020]
In contrast to the functionalist approach of the PMQ, the Neo-Classical architecture of the former Queen’s College (also named Victoria College) represented a distant era of the bygone Victoria City. [Junction of Staunton and Shing Wong Street, photograph published by Robert Crisp Hurley in 1897. Image courtesy of “Sixty Diamond Jubilee Pictures of Hong Kong”, University of Bristol (www.hpcbristol.net). (CC BY_NC_ND 4.0)]
To deal with the change of levels of the site, the PMQ is situated on a series of platforms defined by stone retaining walls. [The terracing PMQ complex as seen from Aberdeen Street, Sheung Wan, 2020]
Built in 1918, the underground public toilet at the junction of Aberdeen and Staunton Street was the only female underground public toilet in Hong Kong. Listed as an historical building, the facility is no longer in use. [Junction of Aberdeen and Staunton Street, Sheung Wan, 2020]
Serving as the main entrance and event space, the courtyard of the PMQ is accessible from the sloped Aberdeen Street. [The PMQ as seen from Aberdeen Street, Sheung Wan, 2019]
Before the Covid 19 pandemic, the PMQ courtyard often hosts large scale art installations, outdoor exhibitions or handicraft market. Inspired by the Chinese proverb “MAKE HAPPY THOSE WHO ARE NEAR AND THOSE WHO ARE FAR WILL COME,” the Gather for Gifts of Love Pavilion by British designer Morag Myerscough defined the entrance of the 2019 Christmas Bazaar. [PMQ courtyard, Sheung Wan, 2019]
During the Covid 19 pandemic, Littleurbanmountain Design (小市山設計) kept their rotating Christmas Trees in a “social distancing arrangement”. [PMQ courtyard, Sheung Wan, 2020]
Often, the courtyard features an introductory display for the main exhibit housed in the Qube exhibition block on the 2nd floor behind the courtyard. [Installation of the Hanzi Exhibition (漢字展), PMQ courtyard, Sheung Wan, 2018]
Under the glass canopy, large installation can reach up to about four storey high. Kaws, a famous American artist and designer, captured everyone’s attention with his enormous Mickey Mouse like clown figures in 2019. KAWS: Along the Way [PMQ courtyard, Sheung Wan, 2019]
Further into the courtyard, two columns are enhanced with mosaic artwork by French street artist Invader and figure wall painting by local artist Little Thunder (門小雷). [PMQ courtyard, Sheung Wan, 2020]
Historical foundations of the former Queen’s College can be visited by tour. Visitors can also have a peek of the foundations from the glass floor at the courtyard. [PMQ courtyard, Sheung Wan, 2020]
The cover area of the courtyard often hosts handicraft markets or live performances. [PMQ courtyard, Sheung Wan, 2020]
Chairs designed by Prouve, Wegner, Eames, etc. are on display near the main courtyard. [PMQ courtyard, Sheung Wan, 2020]
One level lower than the courtyard, the former Central Junior Police Call Clubhouse is now home to a fancy French restaurant managed by renowned Chef Julien Royer. [Central Junior Police Call Clubhouse, PMQ, Sheung Wan, 2020]
The recreational clubhouse of the former residence was converted into the Hollywood Road Police Primary School in the 1950’s, and then into the Central Junior Police Call Clubhouse in 1981. [Louise restaurant, PMQ, Sheung Wan, 2020]
Several cool looking concrete seats are placed on the lower platform of PMQ. [PMQ, Sheung Wan, 2020]
The stone retaining wall and its adjacent granite steps at the lower platform have been around since 1889. [PMQ, Sheung Wan, 2020]
Step art has been popular with selfies of visitors. The event “Hong Kong on Steps: Tales of Our City” regularly transform the 20 or so staircases into painting canvases. [PMQ, Sheung Wan, 2020]
A handful of new features have been added during the conversion of PMQ into a public building, including signage. [PMQ, Sheung Wan, 2021]
Above the Qube exhibition block, a lush green roof garden on the 4th floor offers a pleasant resting area for visitors. [PMQ, Sheung Wan, 2014]
After a few years, a number of shop have moved out, complaining the lack of visitors at PMQ during weekdays. [PMQ courtyard, Sheung Wan, 2021]
Snacks and drinks are always the most popular way to engage visitors during festivals and events. [PMQ courtyard, Sheung Wan, 2018]
Striking the balance between an NGO and a retail complex has proven to be difficult. Many shops continues to seek for the right business model. Handicraft workshops or children art classes are some of the most popular way for the tenants to generate income. [PMQ, Sheung Wan, 2021]
Many old features, including the window frames and handles, are carefully preserved at PMQ. [PMQ, Sheung Wan, 2014]
We regularly go to Levain Bakery for their artisan sourdough bread. Sometimes, we would sit down at their balcony for breakfast. [Levain Bakery, PMQ, Sheung Wan, 2020]
SOHOFAMA promotes healthy eating and happy living, emphasizing on chemical-free, and local organic food. [PMQ at Staunton Street, Sheung Wan, 2014]
Sake Central has everything about sake, from the handmade cups to the sake products from all over Japan. [PMQ at Staunton Street, Sheung Wan, 2020]