Yung Chung Kwong & Chiu Hang Mei Mary Grace

we would like to display our sketch books, not because we have done some brilliant sketches, excellent photos... we, as architects, simply treat our sketch books as our "media of expression", as a novel to a writer and photos to a photographer, it is a reflection of our life. so what are we trying to reveal is not something fancy, but something "spontaneous" and "honest". all sketch books look different as they are bought at each country we have been; all photos bear different tone of color as they are developed locally; all pages got different texture as they may be soaked by rains or deformed by our packed bags.... all these inconsistency, imperfection are resulted from different situations encountered, different social culture visited and different emotions felt. they are so unique to us and become beauty from the eyes of architects.

These sketch books are the reinterpretation of the particular moments of the architects' daily life. Fragments of memories are extracted, purified and magnified forming basis of the works. It is like a montage of the architects' thoughts. the public “see” what the architects had “seen” through the architects' eye. sometimes even the architects did not fully reveal their own inner space when they were sketching. but through recomposing the fragments in the sketch books, the inner belief and thinking of the architects is revealed.

Adrian Lo

Architecture itself is a formalized representation of functional creativity, unlike any pure fine art pieces; it always pivots around the edge of imagination and the practical performance. “Eyes Which Do Not See”, a chapter of le Corbusier manifesto: “Vers une Architecture Towards”, expressed the importance of the fundamental need of creation in architecture: being able to “SEE – to ENVISION”, thus I took this theme to be an initiator for my advertisement design.

Visions, Architectures are great visions for tomorrow. Architects are the ones to see beyond the horizon, and who prophet our future built environment. Architects have to look deep, with high level acuity, into the cultural, historical, social and environmental issues within the complexly interwoven urban fabric, in order to craft a creative master piece.

Visions are always the beginnings to open up towards the logic of dynamic and the complexity of our time.

Alex Lui

Hong Kong is my hometown, and I love it. Hong Kong people I've met are nice, friendly, helpful and refined. I love Hong Kong streets. They truly reflect the city characters, interesting and diverse. Some are full of actions and some are quiet and serene. They are wonderful places in every sense. I enjoy wandering on streets and wallowing in the ever changing environments unfolding in front of my eyes. People make streets lively. It is fascinating to join with them or to talk to them and see how they think. Have a cup of coffee or a dim sum lunch. I like street views, for these are valuable assets to be shared by all of us in Hong Kong. From Kennedy Town to Shaukeiwan, and from Yau Tong to Tsim Sha Tsui one can always find delightful havens among the bustling city neighborhoods. I hope I can draw and share with my friends the nice side of our city and feel blessed in our hearts.

Barrie Ho

The understanding of Architecture is often based on one’s life experience through travel and reflection. This collection of architecture sketches and drawings by Mr. Barrie Ho includes major classical architectures in various regions at Europe and Asia. The differences in the forms and features of the architecture aptly illustrate how architecture is designed peculiarly and distinctively in response to the local social and cultural context, historical values and economy condition. These pieces of artwork aim to arouse audience the fundamental values of architectures and how reflect the relationship between architecture and indigenous wisdom.

The technique of this visual presentation relies on the coordination of the artist’s body functions – that is the combination of the artist’s observation through the eyes, feeling the subject through the heart and brain, and the final touch and drawing by the hand. Such an expression of the 3 elements is the key threshold to reveal creativity on architecture.

Stephanie Lo

Density Hypothesis
In architecture, the measurement for physical density is the population and building density. The character of city itself reflects how the individuals perceive density in the environment. It also represents the values of time and society of the city. The spatial and cultural character is also contributed by the intense interaction among the individual, built forms and environment. In this series of paintings, the high density morphology is imaginatively applied to the context of different exotic cities, which are reshaped into the density hypothesis and express their unique urban and cultural character. Dramatically, density is recognized as contemporary and energetic in Hong Kong, as historical and cultural in Dubrovnik, and as religious in Tibet.

Maggie Hui

This habit of making quick sketches has become a way of retreat since my stay in Boston last year. It is a mean to connect with my innerself, my past and my present. I carry this pocket size sketch book and a twelve colour pencil pack everywhere I go. While I am on the train, at the museum, in the park, or have just woken up, they are always done intuitively. I never know how they may look at the end whenever I put down the first stroke. They help me to dislocate my logical thoughts and complete my unfinished emotions. They reveal. They are me. They are love.

Esmond Tam

See the World through our eye.
Listen to the World through our ears.
Reach the World through our hands.
Smell the World by our nose.
Understand the World through talking with others.
Feel the world by our heart.

In this hustle and bustle metropolitan city, we are fully engaged with job and family life. Our heart is bound by emails, queries, Facebook, What App or We Chat. Releae our mind and think about what we want. See, listen, touch, smell, understand and feel the world in a different way.

Painting is an expression of feeling and view of an artist. It may not necessarily be right or wrong, just a personal opinion.

It provides a chance to communicate between the drawer and the viewer. If a painting touches your heart by chance, you are then linked with the drawer in some way poetically.

Edward Leung

In Pair One: Capture two well known scenes of HK, but from unusual angle, interwoven with people / car, to reveal the buildings in real urban context of HK. In Pair Two: Two views from Europe of famous architecture, but deliberate deviate from usual post card view, but glimpsed through an array of buildings and structures of the cities. In Pair Three: Two views of two of the most famous architectures of London, but placed amongst commonly overlooked urban features, to create contrast of hard and soft. In Pair Four: Two pieces of fine vernacular heritage scenes, interrupted by usual ad-hoc works. In Pair Five: Two World Heritage Sites: Kaiping and Macau, but with the famous architect not cleanly displayed in middle, but half hidden behind trees and common flats, which reveal actually more realistic than post card views. In Pair Six: Two scenes in Lei Yu Mun fishing villages, where the structure and paths drawn at that time are now gone, implying that art reveals the real evolution of the city.

Amanda Ho

Human figures have always been the focus of my art work, long before my architectural trainings. I am curious that the interaction between human bodies and the building itself is often neglected during design stage nowadays, due to many factors such as economic and statutory reasons. Human bodies generate movements within the static building, unlike the mechanical devices, with a sense of intimacy and delicacy.

A canvas confines and creates space of a painting, while the subject within the canvas suggests possibilities beyond the visible on the canvas. I would like to argue that art can be seen as a form of architecture that it is also playing with the juxtaposition of space. Through painting, I am looking at the impact of space to human figures and the response of these bodies to different elements of a space such as the scale, material and form, whether physically connected or disconnected.

Ferna Shum

The subject of traditional Chinese painting was predominately natural landscape of misty mountains amidst the cloud and water. Gone are the old days and as urban dwellers in Hong Kong, our cityscape is predominated by high-density high-rise living. The blue and green shades of nature are gradually blurred by a continuous succession of skyscrapers and highways. The tall buildings form vertical layers of our “mountain’ backdrop while the original waterfront is eroded by horizontal layers of “ flowing cascades” of vehicles and people commuting along the busy flyovers and bridges. This Cityscape series reveal a visual account of contemporary architecture and urban space in Hong Kong with reference to the vocabularies of traditional Chinese landscape painting.

Edward Ho

Water + Color
Because of its simple applications, using only a brush, colour and water, watercolour painting is the purest form of graphic expressions. The beauty of watercolour painting is in its simplicity and spontaneity. For that reason, it is a ‘democratic’ art form, as anyone can do it with a little practice. Most of my paintings are images of places in my travels, images that are interesting and memorable for me torecall. I have not been concerned with techniques, trends and styles. I started very late in life and I paint for my own pleasure, but I hope that my work can encourage more people to share in the pleasure of painting and travel.

Patrick Lau

'Drawings may not be a form of art. But Art cannot be formed without drawings.'
modified quotation of Le Corbusier

This series of sketches are from the sketch book of Patrick Lau.

World Heritage - Renderings of historic relics selected by UNESCO for having outstanding values for preservation.
Declared Monuments - Examples of Hong Kong Architecture protected by the Antiquities & Monuments Ordinance.
Vanished Architecture - These drawings represent significant buildings in Hong Kong that had been demolished.

Ada Fung

香港房屋署書晝尚友會名譽會長，興趣遍及中外書晝及陶藝。幼承庭訓，熱愛藝術，隨國晝大師林建同先生學習，喜繪晝山水。師承林老師教誨，以「創造何須問古人」右銘，晝風簡樸爽潔，祟尚自然，並揉合中西藝術神髓於作品中。

William Tseng

『建築』可否作為『創意』的一個介面呢？她又是否『建築師』對『城市肌理』表達的迷思與『創意』的一個突破呢？

城市存在的價值從來與她的過去和歷史是互不可分割的，香港是一個沿海之都，從海邊的一個小漁港發展到國際大都會，都是緊貼著維港而生，但大部份的市民卻鮮有與海接觸的機會，作為一個土生土長的建築師，作者近二十多年的專業生涯中也從沒有一個貼海而建的作品。

到底『建築』、『創意』、『城市』又怎樣互為因果呢？一切都好像是不踏實的浮影！打破這個似是而非的迷思，還是要返璞歸真。。。。

自小响往海的氣息，就讓我心愛的大海把『建築』、『創意』、『城市』的浮光略影連在一起吧！

這次參展的作品為一系列漁船與海的剪影，嘗試捕捉在急促城市化影响下而日見式微的當代漁港風貌，其中包括了作者近年在本地及海外旅行的所見所聞。

全系列十餘幀皆為水彩及木顏色紙本素描。

Tony Lam

Tony Lam is a practicing architect and founding director of AGC Design Ltd. He has been the design architect for over two decades and involved in various type of projects. He is also a conservation architect working on various heritage conservation projects in Hong Kong. Being a member of Antiquities Advisory Board and the past chairman of the heritage & conservation committee, HKIA, Tony is familiar with the heritage conservation issues and active in architectural conservation. He is the author of the book《山林之樂：摩星嶺公民村》(Joy of Nature – Kung Man Village, Mt. Davis) and his paper “From British Colonization to Japanese Invasion: The 100 years architects in Hong Kong 1841-1941 “received the HKIA Journal Best Research Paper Award 2006.

Alexander Ng

It is a study of SPACE and FORM, of solid and void--- their creation, existence, articulation and flow; remembering Lao Tzu’s referring form, function and space as “the tangible is what we hold but we make use what is not there.”(Examples given by him are the empty space within the wheel’s hub that makes it turn, the empty space of vessel, and windows and doors cut into an empty room. In Chinese : “三十輻共一轂，當其無，有車之用。埏埴以為器，當其無，有器之用。鑿戶牖以為室，當其無，有室之用 – ref. Dao De Jing Chapter 11 道德經 - 第11章) It’s a study of the ‘interiorization’ and ‘exteriorization’ of space; the aesthetics of nature, architecture and image (picture, photo etc.); a search of new medium and technique of painting, an attempt to seek any new potential in “abstract expressionism”, not “action painting” of the ‘Jackson Pollock’ type but with a Chinese mind in the perception of Nature/landscape; a study of the innovation methodology comprising nurturing and capturing the sub-conscious mind and interacting with the conscious “創作藝術的意圖與非意圖”. The painting had been exhibited at the “Music and Fine Arts in Hong Kong 1967” Exhibition presented by the Urban Council to celebrate the 5th Anniversary of the opening of the City Hall./p>

Chen Yue

No. 1,3,4
(Blue House, Central, and Tai O)
This series include three sketches of different kinds of traditional houses in Hong Kong. By looking at environment around us, recording the ever-changing cityscape, it encourages people to look at houses in an aesthetic point of view rather than a functional one, and aims to reveal the beauty within everyday life.

No. 2
(Courtyard House)
Architecture is my threshold to look at and understand the world. From the buildings one could easily picture the life style of the people living there. This is one of the sketches I did during my trips depicting a courtyard house in a small village in JiangXi.

No. 5
(Threshold)
Architecture being framed;
Architecture as a frame.
The essence of reveal is the ambiguity of the states.

Wong Kai Ming

I would like to share with the public my art project, Rhapsody on a Theme of Colour, Preludes, in the captioned exhibition. These art works are a collection of my latest experimental pieces through observation. The works share a same story. I was first stirred and touched by the beauty and harmony of the colourful buildings in Stockholm. Their beauty left an unforgettable impression on me and urged me to use art as a media to replicate it.

Actually, I like painting, but the elements that I learned in my architectural training such as materials, light and shadows jumped into the works. So, the art works include printing on fins to create visual illusions, acrylic paint on timber boards to highlight texture of the materials, and sculptural forms with metal and fabric to express the depth of light and shades, etc.

I intend to let viewers imagine and experience freely, which I believe would be achieved by Chapter 1
of the exhibition, namely allowing viewers to make their own association with art and architecture,
thereby letting their own interpretation emerge.

Frank To

SENSE IN REPETITION(repetition reveals)

Repetition reveals Habit
Habits are routines of behaviour that are repeated regularly and tend to occur subconsciously. They create every aspect of life including the built environment.

Mr. Alexander: It is a process which brings order out of nothing but ourselves; it cannot be attained, but it will happen of its own accord, if we only let it.
Repetition reveals Homogeneity
Mr. Han: The Chinese education system tries to create homogenous personalities, just like making chopsticks. For chopsticks to work properly, you have to make them all exactly the same length.
Repetition reveals Pattern
Architecture of Patterns, or Patterns of Architecture?
Repetition reveals Stereotype
Mr. O’Brien: But that’s the way it goes in a world of billions. You feel like a replicate, a molecule. Facebook says, “Not the John Doe you were looking for?”
Repetition reveals Joy
Prince: Holding someone is truly believing that:
There’s joy in repetition,
There’s joy in repetition,
There’s joy in repetition…

Vivian Cheung

Architecture gives us a space-time experience. Spaces are like dialogues which mean less before engaging with their users. They communicate with all senses: seeing, smelling, listening, touching, etc.Creativity starts from how weinterpret and react with spaces and film is one of the expressions of space revelation.

Film is a miniature form of space-time experience. It is also a borderline space, a skin between an existing space and a sequence of spaces that are beyond imagination. From there, we are separating and at the same time connecting to one another, contemporaneously within and outside of the immediate world, which could be truly real spaces and absolutely unreal spaces, a place and a non-place.I would say my films are under the influence of my beloved director Michel Gondry. The manipulation of camera movement and orientation is the soul throughout the journey of space interpretation.

Creativity is a talent with which one multiplies perceptions like a kaleidoscope. Just like the relationships between us and their surrounding environment are never fixed, they are in fact vibrantly ever-changing and constantly being reinvented. Through the looking glass, I wish to reveal a sense of magical realism in parallel realities to my audience.

Nina Lai

These drawings were inspired by the Hong Kong – Shenzhen border space - Sha Tau Kok. The unique architecture displays the development of the two cities, and reveals the relationship between the architectural elements and the historical influences.

The real beauty is found in the ‘layers’ of its development, the collage of various building types and vast differences in materials and structures. Each architectural element creates a visual collage of the two cities' history, as evidenced by the overlay of the materials, the oxidised-corrugated metal, the interwoven wires and the addition of metal structures. The addition and subtraction of materials over time, and the influence of the two cities, has left the buildings with unique structures and appearances.

Chen Yue

Radiographer VS Architect: I might once have been a radiographer but architecture in my blood.

Raymond Fung

「六拾」故名思義，解讀為「六個十年中"撿拾"回來的人生歷程」，畫中喻意今日的香江情況，在烏雲下， 一眾屏息，靜待黎明。

This is a set of ink painting in 6 compositions, titled "6TEN", has painted my life pursuit for the (6X10) 60 years. In Chinese, the word "拾" means to collect or a collection, that are humbled as one's encounter in the past 60 years. This painting is a landscape of Sai Kung or typical Hong Kong islands. The moody notation depicts the circumstance of Hong Kong's present, yet for all, to silently awaiting for the breaking of dawn.

Janus Li

As an architect, the way of seeing defines you. It is the uniqueness, insight which no one can take away from you. “It is essential to an architect to know how to see—to see in such a way that vision is not overpowered by rational analysis." -­‐ Luis Barragan The installation displays the lines being seen and extracted from the Winterscape, which reveals the 3-­‐dimensional directly from the natural linearity. Creativity lines between the natural environment and the built environment, depending on the way of seeing. Janus Li Ka Yan

Stan Lai

Traditional Oriental paintings have always been unrealistic in terms of perspective. That is why the poetic space can be expressed within the picture frame. Through the apertures of exhibit, the spectators are directed to view the artworks from specific perspectives. The artist tries to instill into the plywood the essence of Oriental water ink landscape paintings. The layering structural characteristic of plywood is utilised for the expression of poetic space. Instead of using precious timber materials from the diminishing forests, dilapidated plywood tables abandoned by “cha chaan teng” are reused to create these artworks.

Anita Lo

WATER, with its qualities of reflection, transparency, movement and life generation, has been the focus of my painting. The water keeps me fresh with endless energy and possibilities.

REFLECTIONS are ubiquitous. They can appear as images seen in mirrors, on glass, water, or any shiny, reflective surface. Reflections often alter reality, transforming it into the stuff of fantasy. To me, REFLECTIONS has two folds of meaning, optical reflection as well as human self-­‐reflection.

I found REFLECTIONS as a way to express ideas, and even transform reality into entirely new forms of expression. Reflected light and images often go unseen, taken for granted. Out of my numerous art works I selected my REFLECTIONS series in relate to our built environment to notice them, recognizing their potential meaning, and then celebrating them as another way of seeing. In this gallery, my selected works are based on reflected images and light through my daily observation of architecture and its water reflections.

Our perception of architecture, space and art is largely defined by LIGHT and SHADOW. The master Louis I. Khan had delivered numerous lectures on architecture in praise of the quality of light. How, the quality of light and shadow, the reciprocal relation of it, and the relative intensity of each quality affect our perception is studied through my oil painting.

While architecture is largely human artifacts, nature is a constant source of our inspiration. I see there is a co-relation in between the two to celebrate the beauty that inherit in them and how they affect each other simultaneously. Through the appreciation of REFLECTIONS and exploring the two folds, I find the possibility of art and architectural design is with diversity and infinite meaning.

Herman Lee

The use of algorithm to visualize form has revolutionized our practice. Not only we can assimulate nature through computational display but also deepen our understanding of nature through the use of mathematics principles. The “revealing” of natural phenomenon with algorithmic equations make us a multi-discipline practice that blurs the medium of architecture and art. The projects shown in the exhibition demonstrate the sharing of such disciplines which produce quasi-art/architectural drawings- Architectural forms that blend in with artistic expression and art drawings that reveal architectural order.

- The “united pattern of currency” was selected for the Seoul design fair 2010 exhibition through international competition: design for all future technology and daily living.
- Quantum Polis was among the six projects selected for exhibition in the US through international design competition: Revenant: the Undeath of Ideas in Architecture Exhibition 2013.
- The tablet of Ashes was shortlisted for international design competition: design for death architecture

Jenny Ng

in a different light – light installation to reveal upcycling creativity and transform space

This installation is built primarily from upcycled architectural printing excess material – the leftover cardboard tubes of plotter paper rolls collected from architecture offices and printing company that we work with. Together with reusable samples of energy‐efficient LED lamps sourced in the region, these discarded cardboard tubes are transformed into an eco‐friendly light installation.

Just as functional as a commercial light fitting, the installation showcases interdisciplinary design innovation in upcycling the excess material of architectural drawing production into a designer product. As an artwork, it unleashes the hidden potential of creative adventure where the end of one journey leads to the beginning of another.

In this case, it is a journey of the humble cardboard tubes. A conveyor of building design information to
create space turning into a carrier of light to transform space‐‐ architecture is revealed in a different light.

Chong Ho Wang Alex

My artwork express a feeling at a certain place and time. The year was 2002, after a visit to Greenwich Market London, I come up with a word 'Suction' to describe my feeling towards this place. A place of attraction and gathering.

Victor Tai

The changes of era are often marked with the use of new material or new production process. Entering into the digital i-era, rapid prototype, also known as 3-D printing, is state-of-the-art production process with revolutionary use of existing material in a new order. The application of this technology progresses quickly from product design to architectural design. While seemingly the use of such technology renders the architect more distant from his design, yet in the digital i-era, everyone’s handicraft is in punching the keyboard and touchscreen. Computer generated rapid prototype creative works may faithfully reveal more individualities of its creator than with any other medium, no matter how true or fake those characters are in revealing the true self-identity. However, I have been told many times that an architect cannot hide his architect identity in his creative work regardless of form and medium. Can you tell from the Digital-i-Masks?

Fanny Ang

Architecture is all about Juxtaposition of Form & Space, Solid & Void. So as ceramic & other forms of arts. Inspired by the Ming & Ching Dynasties Chinese Antiques 多寶格, "The Jewelry Box" was a study on Architectonics, the first thing Fanny learnt from her architecatural studies. It was a furniture design exercise as well in certain extent. The process of moulding during the ceramic making is somehow similar to concrete construction in architecture, in which you have to know the material well. All forms of arts, design & craftmenships are inter-related.

Stanley Siu

As a continuance of the “Crafting Sky” exhibition in May 2013, Stanley Siu continues to explore new perspectives in seeing three dimensional spaces in relation to architecture and attempts to break through the limitations of two dimensional paintings, integrating architectural design and art creation to experiment new angles in understanding and perceiving space and volume.

With the application of computer modeling programme, Stanley has previously designed three dimensional forms of irregular shapes canvas for oil paintings. The work of a set of three on display, in cubic meter as their volume unit, depicts the sky and clouds in different time of a day. Details of architecture are not presented but only the contour is delineated. The sky is carried, sectioned and shaped. Under different viewing angles, the contour of the three dimensional work and the lines in the painting work together and subtly lead to new possibilities in reading two dimensional surfaces. Viewers are inspired to observe and understand space from various points of view.

In this Reveal exhibition at ArtisTree, Stanley would explore the same frame work with different materials, a material that has a closer relationship with architecture. Aluminium is one of the popular materials in the building industry, they come in different texture and shape which give different feeling to the audience, and for example polished aluminium will able to reflect its surrounding onto its surface that allows the artwork to merge with surrounding. Aluminium windows are often seen on the building façade, mostly in rectangular shapes, but what if we reframe the shape of the window and give it another form of appearance? Stanley is using these kinds of architectural materials to redefine volume and space, as to reflect the urban context, massing in architecture, city’s boundary and skyline.

Tony Yip

作品展現城市及建築設計的脈絡，讓公眾見、觸建築師的設計思維。城 • 間 • 人 - 日與夜智者，為時間爭取生命；能者，為生命爭取時間; 愚者，為時間爭取時間。連椅 - 四合院與發水樓古居，面對面，以家為先，聚人為本；現樓，背對背，以景為先，各自修行。

The artwork “reveals” the arteries of our city life from urban contexts to a building scale. One can walk through the architect's thoughts with one's own sight & touch. Urban Walkers - Day & Night The wise, time for lifestyle; The capable, living for time; The fool man, lifetime for time. Link Chairs - Courtyard Houses & Inflated Apartments Old houses • face-to-face • family-centric • gathering Generations live together with flats open inwards onto a courtyard - a central place for family gatherings - the family core. New towers • back-to-back• view orientated • own desire Tower residents long for best city views - a pleasant enjoyment - one's own pride.

David Wong

As an architect who designs building, I am interested in exploring the relationship between the form, material and forces, in particularly the imaginative relationship between the form and its dynamic movable structure. Unlike the visual digital world, the pure mechanical nature of the installation gives a sense of dynamic and enjoyable legibility. This is a study of drawing arts, form, craftsmanship and materials. The idea of “Writing Machine” seems very imaginative, yet, it is realistic, and I find this a very interesting means to bring the general public closer to the minds of architects, to the theme of" Revealing: Architecture as Threshold of Creativity”

Yip Chun Hang and Otto Ng, in collaboration with Ricci Wong, Geoff Chan, Kenneth Cheung and Hugo Ma

ARCHITREE attempts to reveal the two major paradigms in the architectural industry through a medium of art - first what you wish to design, and second, what you can physically construct.

ARCHITREE is a collection of “Terrarium” carried by an aggregation of steel branches. Each Terrarium is a glass bottle that represents a tiny world - a living utopia of our design wish.

The construct of ARCHITREE reveals our dedication in advancing fabrication and transforming the way the industry builds. This is made possible by the seamless hybridization of our digital fabrication technology including 3D-printing and CNC, and an in-house team of seasoned metal-smiths and carpenters - all under the same roof. The synergy has enabled us to realize a wide range of art and architecture ideas with unusual design and method of making.

In LAAB, we believe in “design through making” - The fabrication machines are our new studio desks.

So Kwok Kin

This work explores the relations of human and environment, and human and nature, as manifested in architecture and art. Nature has a first person narrative voice here. We are part of the nature or being nature ourselves.

Angus Ngai

The spirit of Chinese architecture is deeply rooted in Nature , which is represented as an abstract order revealing as art forms by the wisdom of ancient people.

Those art forms acts as a medium to blend people, architecture and nature together as ONE harmonic system. The beauty of harmony is not either perceiving one out of those three, but it is an imitate relationship and interaction evolved by time.

Space is understood with particular consciousness to the natural environment. The space in front of a house is conceived as part of the living space; the house is hence being entered even before the porch; the column and the door is in fact the reincarnation of the tree.

The Inverted Pyramid is a realization of the relationship between nature, man and order, which a tree trunk rises from the ground and transformed into a the DouGong, which is the most foundational element of the scale of living space. Human wisdom is sublimated into the form of a man, rooting his feet firmly on the ground, and supporting the DouGong highly up in the sky, illustrating the ideal virtue of a Chinese man...

Larry Chan

Radiographer VS Architect: I might once have been a radiographer but architecture in my blood. Unlike most architects, I had a profession before I was an architect. Being Radiographer is ironically one of few professions that are almost completely requiring the obedience. However, I found I am not satisfied with the monotony of life and working environment. As a child I had been an artist at heart, constantly doodling and making sketches of people and things around me. Over the years I had entertained several career choices though architecture was always the priority. During the monotony of working as a radiographer, I was later excited to discover my second profession through the part-time architectural studies. Graduated from the diploma programme with distinction at HKU SPACE was just one of many feats on the journey to becoming an architect.

Art Work No. 1 X-Ray Film Collage: Size: 2m high x 2m high X-ray film collage mounted by S.S. wire (with spotlight preferred) This Artwork is showing creative idea captured from our nature. It responds to Chapter 1 - Revealing - Before Architecture. What is Art? According to the Greeks, art is an imitation of reality. Art is imitative or representational: it copies something in the real world - OUR NATURE. Perhaps this is the simplest and earliest view on the nature and meaning of art. Learning From my dual professional - medical and architectural field, in this Art work, we like to open a platform for public to visualize the connection between nature and design/architecture. To feel the SCALE, FORM and PATTERN creatively both in the view of architecture but also the nature.

Corrin Chan in collaboration with Lowdi Kwan

Coming soon

Francis Neoton Cheung

Architecture is incredibly connected with other fine art such as music, poetry, painting and sculpture.

I am fascinated by the nature of porcelain at the various stages of its production – its plasticity, perseverance and glamour. The clay carries the memory of the artist’s creativity and craftsmanship which are reflected in the messages the artifacts convey. This is very similar to the process of creativity in architecture whereby the architect molds ideas and explores options in clay, shapes the preferred form in cheese, breathes in the spirit with glazes and purifies the art work with fire. In my “ET Orchestra”, you’ll see how the ensemble of individuals forms the urban landscape.

Edith Li, Eva Chan, Haynie Sze and Sophia Ip in collaboration with South Ho

“Projecting The Projecting Window”

If “The Projecting Windows”, our previous artwork exhibited in the 2009 Hong Kong & Shenzhen Biennale of Urbanism/ Architecture Bi-City Biennale at West Kowloon Harbour, was originally designed to project a view in speculation of the future of the generic architecture and urbanism, “Projecting the Projecting Window” is a continuous projection of the same view transformed into a memorial and tribute to the extinction of 500mm deep bay windows being the prominent architectural elements in domestic buildings since the change of statutory requirements in 2011. Comprised of photos and video projection, it records the complete process of “Invasion and Infringement”, an event in collaboration with Photo Artist, South Ho Siu Nam on the last date of the exhibition in 2009. During the event, the surfaces of one of the 8 precast concrete bay windows was infringed by posters, stickers, advertisements and notices until there was no space left, hence., reproduced a common urban phenomenon and provoked the conventional perception of an art exhibition. In turn, the event had transformed the “The Projecting Windows” from an art exhibit into an undefined urban object.

Tammy Chow

My work is a series of “functional eye-candies” which includes pottery, jewelry and broach bouquet. Although they are of much smaller scale in comparison to space planning, the making involves a lot of juxtaposition of form and volume.

By DIY-ing, these things become representations of me and my imagination, which is the most beautiful thing about creation…a pleasure yet to be found in my career in architecture.

Frankie Lui

Chinese calligraphy and Chinese painting using brushes demand contemporary exploration under the context of globalization.

Here I investigated these art forms from an architectural point of view. I hope that a reciprocal inspiration could be created that is beneficial to our understanding of architecture and Chinese art.

Change of scale: calligraphy writing has different font sizes, scale that resembles the similar effect of architecture that affects our reading of space, or even the appreciation of it.

Only Chinese characters have the most diverse types of ‘enclosure’ defined. Is it worth to explore that ‘enclosure’ in relation to architecture? Here I studied the three-dimensional expression and comprehension of Chinese art in relation to architecture and vice-versa, in order to find emerging possibilities of Chinese art studies.

Vincent Lai

Man is the creator of art, but what if computers can play a part? The world of digital abstract art leads to another dimension constructed by arrays of light and colors. It's abstract and it's not measurable, yet it's there, revealing itself with energy and dynamics. Created by different software and painted by me in Photoshop, each piece of artworks triggers your imagination as there is no definite meaning or subject, permitting the abstract architecture to go on forever in your mind.

Atelier J-AR

This artwork is designed by the Hong Kong-based research & design alliance Atelier J-AR. It is an unpublished art installation inspired by mundane architectural element that can be found in every domestic building, i.e. the window hinge, as the threshold of our idea. With reference to the movement mechanism of the hinge, we designed a foldable landscape. The material of the structure, bamboo/timber, intends to serve as public furniture, which evokes a sense of mobility as well as creating a “natural landscape” in the exhibition area.

Through placing this installation in the central area or near the recess area graced with focal spot lighting, we hope the visitors could engage in a tactile experience of touching and sitting relaxingly on this foldable landscape. The generic movable components allow the installation to stand alone without other structural supporting. We believe that not only does this installation serve a display function alone in the exhibition hall, but also enhancing the visitor’s experience in enjoying the surrounding exhibition works.

Mo Kar Him & Li Ming Wai

A skyline is the artificial horizon created by a city’s impersonal architecture. Hong Kong’s world-renowned urban skyline continues to reflect its prowess in global finance. But in its relentless drive for economic development, Hong Kong has ended up with many social and environmental imbalances. With perennially murky skies and unacceptably high level of air and water pollution, how can we reinterpret the fragile yet essential thread linking the city’s skyline with its socio-environmental quality of life? How can we begin to relate such a remote, abstract phenomenon such as the skyline to individual citizens?

Sky-lines inverts the normal recognition of the solid / void relationship between earth and the sky. Instead of representing the sky as void and earth as solid, Sky-lines literally “draws out” the “figure” of the sky with a dense array of suspended blue threads. Their layered and undulating tips from the intimate points of contact at the horizon. Earth is now left as void. Raised to shoulder height, visitors can now touch the abstract undulations of horizon, re-mould and inhabit the void of earth. Sky-lines emphasizes the horizon’s tangibility through this material inversion, provoking visitors to rethink their understandings of horizon.

Wong Yuk Yeung Eddie

Save the World Project
This is a not a story about how to save the world or in what ways to save the world. This is a story about a boy who has a dream and how he runs for it. The boy’s name is Nick and his dream is Save the World. To achieve the goal, he practices and learns everyday. He believes that one day the world will need him. This is Nick’s dream and what is yours? Have you ever had a dream as big and difficult like Save the World? Have you ever run for your dreams like Nick does? Nick will never give up and so do you. Let us follow Nick to run for our dreams.

拯救地球計劃
這不是一個關於如何拯救地球，怎樣拯救地球的故事。這是一個關於追尋夢想，和追尋夢想所要有的態度的故事。故事的主人翁力克有著一個夢想，就是希望有一天能夠伸張正義，拯救地球。於是他努力不懈，堅持夢想。他深信終有一天會拯救地球。那你的夢想呢？你又會否為著你的夢想努力追尋？你的夢想又會否像力克拯救地球那樣沉重磊大？就讓我們一起跟著力克去追尋夢想。

Allen Poon

Skeleton In The Closet is a design-art installation with the vision to design a sculptural piece that will also function as a clothes hanging device originally designed for a charitable properties-swapping recycling event. Named in the English idiom meaning ‘hidden secret’, the name of the installation plays a double entendre with the skeletal form and the idea of strangers revealing personal belongings from their wardrobe. The design comprises a string of sculpted pieces suspended in mid-air morphing in shape to perform different hanging functions. An opening allows users to enter into the enclosed space to allow users a different spatial experience. While designed in response to the original design brief--to maximize the potentials of materials, which must also be flat-packable and ultimately recyclable, the creative and production processes also explored the possibilities of 3D modelling softwares commonly used in the architectural industry, together with the application of Computer Numerical Control (CNC) milling technologies, on low-cost mediums--4' x 8' plywood--the most ordinary construction material.

Wong & Ouyang group

From the Looking Glasses of an Architect
Architects use different means to visualize the design of a space, a room and a building.

We propose an art installation of about 6m by 4m where fragmented ideas/elements in an architect's mind assemble. The fragmented ideas/elements are materialized in form of realistic and surrealistic building elements, dotted dimensional gridlines, distorted planes, drawing marks, material samples, scaled persons, etc. We propose to make the space look as if it is in the middle of a design process.

The art installation is intended to look spontaneous and fun. It reflects the creative process of an architect in a creative, wild and visionary way, yet real and physical.

It communicates and interacts with the public about the inner world of an architect, providing a glimpse into the design process of a space.

So Kwok Kin, Stanley Siu Kwok Kin, Calvin Leung Chi Hoi and Winnie Chan Yuen Lai

"Sugar Treasure"

Sugar denotes sweet and childhood; It is impermanent, fragile and dissolvable.

Sugar cubes building blocks compose the fairy tale Candyland – a white, imaginary landscape of old, vanishing architecture in pass Hong Kong.

Water drops slowly from above via a device. Participants are invited to control the device that moves around. However, the device does not always move according and sometimes move involuntarily. In other words, the building vanishes by the double acts of man and god in the passage of time.

An object can be found hidden inside the building. In order to search for that object, participants need to search over, demolish part of or even the entire block. It symbolizes the paradox of preservation and curiosity.

The project is therefore a journey to the memorable past.

HOUR25 PRODUCTION

About me
HOUR25 is the lives of architect. There is not much of a life outside an architect office. 24 hours a day never seems to be sufficient for them to fulfill their appetite to create. At 25:00, architects continue their struggle, through exploration of the uncharted realm that is beyond the status quo of our built environment. HOUR25 PRODUCTION is a young and independent research and design collective working at the 25th hour and beyond to experiment ideas of space and time, and to venture alternative realms of architecture. The core members of HOUR25 PRODUCTION are recent graduate of Master of Architecture of University of Hong Kong and currently working at separate Architecture Offices in Hong Kong 24 hours a day. They continue their exploration at the 25th hour.

About my Artwork
Our work is beyond architecture as building. Apart from the daily 24 hours working in architectural practices, we explore the possibilities of creation beyond architecture. Starting from 25:00 we think, design, and produce – through films, book design, text, furniture, installation art and executing exhibition – the abstract form of architecture is hence expressed.

我們的主展品將是一個解釋及深化HOUR25理解的裝置藝術。HOUR25 – 全名為 HOUR25:HKU Architecture Papers Vol.1 – 是我們為香港大學設計及出版的一本學生作品集。HOUR25亦有幸獲得多個本地及國際的設計及印刷獎項，當中精心的設計概念及表達方式將在這次的展覽中首次以投影的方式去逐一表述。圖中的是HOUR25一書的實物拍攝，展示了其純粹及簡約的設計，內裏錯綜複雜的設計及閱讀方式便是我們是次展品的目的。

Sherry Fung

Little Green Plank

Architectural training on understanding of material and fabrication techniques make possible the materialization of imagination. With creative manipulation of material and sensitive touch, architecture could be a media of interesting physical encounter. The installation is a miniature landscape which embraces moss garden and tea setting, attempting to create tangible encounter with material and nature.

Tim Li

帶著摺床離家出走，由私人空間走到公共領域。非一般的城市景觀旅程，就由一張朝行晚拆的摺床開始。摺床沒有家，但好像一直存活在家裡。

The journey of this extraordinary city landscape sets off by a nylon bed which unfolds at night and folds up during the day.The nylon folding bed is homeless, but it always seems to be living in our home.

Danny Tang

There are thousands of interpretations about Architecture. Architecture is art, culture, history, science… I see Architecture as a threshold of human activities, Architecture houses the moments of living, touching, working, exciting, heart-breaking, creating…No matter how much happened in Architecture, Architecture itself is stable and steady just like photographic. The Gallop of Architecture series is an attempt to capture the glamorous and stunning moments of Architecture by freezing a certain moment by photographic...

By taking photos from different traveling Medias with different shutter speeds of camera, stunning and inspiring images are recorded. Some of the images are very calm while some of them are energetic and exuberant. Whatever the images recorded, they represent both the relationship between the traveling Medias and the architectures.

Sunnie Lau

Architecture is art. Architecture is a form of art that performs its dance between objects, subjects and nature.Photography is an act of filtering excessive information and enlarging desirable qualities one particularly response to. Thus,I see photography as an inspirational exercise that helps revealing internal logic of how I see the built environment and rediscovering theseintrinsic relationships between human, architecture and its urbanity.

The first series of black and white photographs explores the notion of “light and space”; how spatial experience is enriched by the rich contrast of shades of grey.Second series—“loneliness”; reveals viewers’/ humanistic experience when wandered between abandoned infrastructures in different American cities (Berkeley, San Francisco and Boston). The third series—“Highrise”;reveals the space-between the dominant single architectural typology in one of the densest urban Asian city- Hong Kong.

Wilson Lee

As we frequently hear this question from time to time, “What does an Architect do?” I’d always love to explain this to my friends. In my opinion, architect’s role is to serve the community, the public. We have a duty to share our view / vision to them through our creations. The question is, what is that “threshold”? The word “Reveal” gives a good hint to the answer.

The word “revealing” means:
- make (previously unknown or secret information) known to others:
- cause or allow (something) to be seen

The public always sees the end product, while the process and the thinking behind are just as important. I asked myself, what accompanied me most since the beginning of my architectural study till now? The most straightforward answer jumped out from my head is tracing paper. It records everything in my brain related to design matters. In this exhibition, I’d like to reveal what’s in an architect’s brain during his career life and shows to the public, in a primitive way.

Jennifer Chik

This exhibit aims at exposing how an architect think and start their design process. We, as architects, creates by observing the city, by contemplating the beauty of nature, and are constantly moved by things and people around us. We then start questioning how problem can solved by architecture, how such beauty can be revealed through space, and how feeling could be expressed and transformed into architecture and spatial design.

The creative thinking process inside an Architect’s mind, is not a straight path. There is no magic formula to design. But rather, architects are simulated by the things happening around him everyday and by means of imagination and creativity, he would start to question and formulate theories and start planning on how to experiment or even materialize with architectural means. Such thinking process is a complicated yet interesting journey, achieve by relating things together, generating logics, asking ‘what if’ and ‘why not’. And this is what is meant by creativity. I believe all architects and designers shared a similar creative thinking process.

Henry Leung, Kelvin Kong and Jonathan But

香港，獨特之處在於其極高密度的空間狀態。建築物形式和功能迥異，緊緊地擠在一起，縱橫交錯，互相重疊滲透。香港人置身其中，不論在街上還是家中，都在經歷大大小小無數曖昧不明的空間：或天橋底下、或橫街窄巷、甚或小至家中門後、陽台花棚、地櫃之頂…… 長久以來，我們妥協於這種空間。慢慢地，我們適應了，然後演變成一種獨有的生活文化。空間，注入了文化，成為場所。這些場所，在公共與私密之間、在多種用途之間、在長久與臨時之間、光明與漆黑之間、大小之間、聚散之間......變幻無常。 它們是城市裡一道又一道充滿張力的風景；是設計者推敲以外的、由人們活出來的舞台；它們，代表著人們石縫開花般的生命力。

暗，是色彩繽紛交疊下的結果；

格，是框住了的空間，但也是格調、風格。

暗格，是體積有限的空間，也是意味無窮的場所。

這個網頁亦如一個虛擬暗格，收集來自四方八面的想法。希望大家經過此地，談談生活中關於那些「有限」空間的一切。讓我們以不同角度，探討城市人生活中的「暗格」。

因為，這些都是我們獨一無二的生命力。

Grace Hung, Alan Cheung, Koren Sin

COLOUR.hk is an art installation that calligraphed Hong Kong from an architect's perspective. It is a colour chart of Hong Kong.

The hyper density of Hong Kong generates it's complexity. The growth of city happens in different dimensions in every unexpected ways. It is a city that is full of excitements, possibilities and surprises; a city that is made up of unique culture and history which are all represented through the city fabric’s vibrant colours.

COLOUR.hk aims to offer a new perspective to capture Hong Kong in a new scale, new dimension. Through photographing a zoom-in part of Hong Kong, fragments of the city is arranged in a pantone chart. The chart represents the richness and beauty of Hong Kong which might sometimes be forgotten by the public. A full-scale image of the zoom-in part will be displayed at the back of the pantone image. Visitors will have to flip open each zoom-in pantone colour to discover its original scale. The aim of the installation is to evoke the forgotten beauty of Hong Kong through representing them in a scale that is uncommon to the eye of the general public.

Tris Kee

“An ideal space - 理想私人空間”

With reference to the theme “ARCHITECTURE AS THRESHOLD OF CREATIVITY”, the proposal is an indoor installation which explores possibility of “an ideal personal space - 理想私人空間” to create different possible housing scenarios in the high dense urbanism of Hong Kong. Each small module is a self-supporting pavilion based on a rectangular module system of 800 mm by 1200 mm x 1200-1500 mm (h) with supportive structure. The inner spaces are a creation of personal exposition experiences. Together they form a modular and expandable system that can be configured to match any contextual challenge and any exhibition format.

Thomas Chung, Bill So, Sam Wong

This artwork will creatively rework an architectural / anthropological documentation of Kan Kee Noodle Factory (勤記粉麵廠) in Central’s Graham Street wet market. As the area is currently facing URA redevelopment, Kan Kee’s shop owner has also retired, ending over 30 years of daily fresh noodle-making, and the last authentic noodle factory in Central.

The artwork questions the concept of urban “heritage”, and how it is studied, classified and conserved by professionals and experts. Fundamentally, it questions the way value is measured by different stakeholders on our built environment vis-à-vis the people involved, and how to deal with things that are non-measurable, yet the most valuable to the continuity of a place undergoing dramatic change.

Imaginary scenario:
In the far away future, conservation experts perform a super meticulous ‘scientific’ Survey, Documentation and Drawing on our case study: Kan Kee Noodle Shop. Lots of text descriptions and diagrams will objectively explain each and every part of the shop. The drawing will ‘reveal’ how accurate modern conservation experts can deal with ‘heritage’ as physical artifacts. To complement the drawings and notes, large scale portrait ‘biographical’ photographs of the owner couple (in different situations in relation to the architecture) will be displayed without annotation.

This drawing / photo combination questions the scientific building-autopsy method of analysis of the physical hardware of ‘heritage’ of historical buildings, in contrast to the much neglected attention to “human scale” and values.

Chung Wah Nan

Chinese Calligraphy

In the process of practicing Chinese calligraphy for the past 45 years my knowledge of Chinese history, especially culture, has been enriched naturally and gradually.

I feel honoured and privileged to be a student of such an unique and valuable classical art. I am extremely fortunate to have such a kind and learned teacher.

Chinese calligraphy has given me unlimited pleasure and enhanced both my physical and spiritual life.

Elizabeth Cheng

What is creativity? For many people, being “creative” simply meant you were artistic and that you used your creativity to produce items of visual merit. In terms of architecture, that means designing innovative and aesthetic buildings. After over three decades in the industry, it has become apparent that whilst the building is the very core aspect of architecture, it is not the only consideration. The surrounding is just as important and perhaps even more importantly, the people. Ultimately all building designs are to be used by people and Architecture is a social act and the material theater of human activity.

Eric Lye

1. Icon for City Scape Sky Lounge prepared for HK Art Centre
These light fittings were inspired by silhouettes of the city scape. They were part of an interior design proposal for a cafeteria / lounge on the top floor the Hong Kong Art Centre. At time of its inception, the view from the Art Centre has no building in its foreground. These lights were to be set in groups on varied floor levels to create interplay of the cityscape in the lounge against the backdrop of the harbour view.

2. High Density University Building to preserve beautiful natural landscape
This sketch was done in 1987 to represent the critical essence of Professor Eric Lye’s proposal for the design auniversity campus, accommodating extensive and diverse requirements in a structure, compact for economy of means, for intensive interdepartmental interaction and above all – for appreciation of the beauty of the land given for the development.
The unrelentlessly singular roofline teasing the free form of the natural land, an alternative approach to high and low rise structures.

3. Use of preserved market building to create voluminous public urban space in the dense city centre
Sketch made, 1989, in exploration of reuse potential of the vacated Western Market. A voluminous space for butchering on the upper level with delicate roof trusses was a marvel to discover. It was exciting to think this marvel can be enjoyed by the citizens, amidst intensifying urban development.
Within the Edwardian façades of heavy masonry can be an oasis, enjoying light and sky with new glass roofs. At night big torchlights flood the volume with magic.
Leisurely “飲茶” under soft shades of indoor trees, with birds chirping in choice cages, preserves fond memories of life for Chinese merchants in the locality.

Ron Phillips

Untitled/ Acrylic on Canvas

Having had participated in the City Hall’s 50th Anniversary celebrations in 2012, Ron Phillips’ works were generously donated to HKIA. Ron Phillips rarely titles his work and prefers that the viewer comes to it fresh and without explanation. If there is any particular objective in the making of his art at all it is the exploration of its spatial content.

As a painter parallel with his architectural career, the artworks reveal his early dalliance with the life form and the later inevitable influence of his architectural background. His style was largely influenced by the Bauhaus school which held that there should be no separation between architecture and the ‘fine arts.

Rosa Lok

I am Mr. Dolly' relates to the stereotyped response now prevail in majority of the people of Hong Kong, when they are confronted with issues that may jeopardise their self interest. In my daily execution of works and meetingwith various stakeholders, they always demand more than they are ready to offer. We need an inclusive society where we can be more embracive, caring and be more attentive to the needs of the less privileged groups.

Colin Chan

The drawing is titled as “Competitive Hong Kong Architecture”. It is an edited Hong Kong skyline image viewing from Kowloon to Hong Kong Island side. The image shows the status of Hong Kong building skyline during 1998. It was layered into fragment to show a progress of formation of Hong Kong architecture. Buildings along the coast are montaged with scattered dollar sign mahjong. They represent how these buildings were valued by summation of the dollar sign. The corresponding time line from then till present on top accumulates the development of Hong Kong architecture by their financial values. This drawing hence ignites a warning to stop establishing Hong Kong Architecture to be competitive by its monetary value instead of design quality in an ironic way.

Felis Kwong Ka Wai in collaboration with Florence Li Tsz Lam, Celine Chong Wing Chi and Carman Liu Wai Man

My niece once show me her drawing and told me the drawn triangular purple “thing” is the apple which she dreamt of always; She shines whenever she starts telling her stories and drawing her fantasy on paper. I realize the true values and capability of one originated from his imagination. It has no boundary and no judgments in the universe of imagination. “Imagination encircles the world, - by Albert Einstein”; every entity and everything is co-related. Imagination starts with every day’s little thing.

“Own Your Water-the Memories/ Faith Carrier” - aims to reveal the connection between space and spiritual inner soul. The exhibit starts with a plastic water bottle of which everyone has came cross in 7-eleven. Co-relation between necessities in life; one’s emotional tie; and the space enclosed them is the subject of this exhibit. By creating space in artist’s perspectives, of which should be fun and understood by general public, we hope to bring audience closer to creation; architecture and their inner self. To reveal unknown potential of one; to introduce new way to portray space and the surroundings; and to promote engagement in different roles of a society.

Sze Wing Yee Haynie

The art piece submitted is a reflection on the current condition of architecture/ urbanism, as an aesthetic display of the continual construction and demolition process in our city. This continual action on our land itself becomes the ‘urban-scape’ itself, and a starting point of the three dimensional art history. The happenings in the architectural field present themselves as a topic for thoughts in many of my artworks. Are they just an object out of the designers' creativity? Or are these an inevitable process for all citizens’ lives? This is an issue open for different interpretations.

Chan Ching Kan

It is intriguing to understand the profession of Architecture: there is nothing more closely related to everyday life than the built environment; yet there is nothing less to empower the public in the process of making. Architecture is ambivalence; tangible as the stone-cold stainless steel handrail yet evocative as the exuberant glitzing curtain-walled waterfront; ambient as a backdrop to routine happenings yet atmospheric as an inspiration to poetic musings. With the gaze as a historian, the city becomes the tool of the architect to learn about the present. By bridging seemingly unrelated historical events, the work revealed the hidden logic that gave rise to the uniqueness of the city. The exhibit aims to retrieve the dialogue between the public and the operation of Architecture, which is continuously stretched out by social progress and economical stratification within a capitalist society.

Stephen Ip

Hong Kong Property Price Terrain - understanding Hong Kong from its property price
To study a place, one may start from looking at maps to understand its terrain. On them we could find how high our mountains stand, and how wide our harbour spans. In Hong Kong, our handsomest mountain is the Tai Mo Shan, rising 957 metres; and our Victoria Harbour, after many times of reclamation, the narrowest point is now less than a kilometre. These figures however are not as powerful and informative as our property price figures for us to understand Hong Kong, which is heavily "property-driven".

I have therefore selected 100 housing estates in Hong Kong, and found out their average transaction price per square foot in October 2009. Each brick represents a thousand dollars, and placed in respective grid, thus the height shows the property prices in different parts of Hong Kong. I hope this property price terrain could let you understand Hong Kong in a brand new perspective!

磚頭有價
--- 認識香港，由樓價開始
去認識一個地方，我們可以看看地圖，找出她的山有多高，地有多廣；香港最高的是大帽山，高957米；維多利亞港因不停的填海，最窄的距離已不足一公里。然而，這些數字，都不及樓價跟我們息息相關。也許，我們需要另一幅地圖，去認識香港。
我選了港九一百個屋苑，找出她們十月份的平均成交尺價，並以每塊磚頭代表一千元的「高度」，砌出香港的〈樓價地圖〉，讓大家以一個全新角度，認識香港。

Jonathan Yu, Kenneth Sit

Hong Kong is a city of constant change and perpetual motion. We see many buildings rise and fall to meet the demands of its inhabitants. The disposed is easily forgotten, last seen in a dusty graveyard of broken concrete, glass, and steel. This installation will then commemorate the disposed and forgotten!with chopsticks. A city that is on the move is always in need of disposable wooden chopsticks.

It is a symbol of convenience, cheap, and speed to the hungry. In China, about 80 billion pairs of wooden disposable chopsticks are thrown away each year. About 4,000 chopsticks can be carved from a 20-year-old tree, which means we need about 20-million trees each year to just supply one-half of the world. That’s a lot! This installation is not just a response to our carelessness for the environment, but also an awareness to our wasteful culture. Just like the effects of how we feel when smog covers our city, let’s realize this vastness under the casting shadows of the disposed.