Very excited by the HK Design Week. Obviously, I’m interested in formulation of the most effective team to facilitate this or any project that is at cross point of social ambition, public alignment, economic accumulation and lastly management endurance. It seems that societies that are sophisticated fail to achieve all of them at once. It is a test if HK is real sophisticated. But I am afraid this test is a painful dilemma: if it fails, HK is truly sophisticated, if it succeeds, HK is not sophisticated.
Campaign for a conglomeration of culture facilities seems to bear dubiety. Not only because Dubai has killed this phenomenon by making the biggest of this kind at all times, not only because Hong Kong has had a few of this kind, but also because of its disadvantageous location not mentioning it incompatibility to and blockage by the almost completed project called ARCH.
Above all of these, the traditional sense of cultural facility, marked by their huge belly, fair skin, bare circumstance, free posture, and rare uses does not fit Hong Kong’s urban value. As much we understand Hong Kong’s anxiety to advance its cultural profile and urgency to boost its art market, a transplant of a cultural lump is not the kind of creativity which will fundamentally break away from Hong Kong’s stereotypical image to the outside world/isn’t this what the site represents?/ forget about culture and art, let's get to the basis of Hong Kong’s creativity, which in my view, resides in the very notion of amphibian and hybrid. It is the creativity of interface and dichotomy. It is not the culture and art as we have come to known and bored with, but that can be produced and reproduced.
Therefore, new paradigms must be envisioned. Firstly, it is hybrid between housing and culture. They make symbiotic relation and proximation between art and living in orders as art living, living art and -l-a-l-a-l-a- so on and so forth. Secondly, the site should be traded with a few areas with high density, to resolve their deadlock situation and enable critical regeneration projects. Consequently, the site will be made, not much different from the ARCH project, into high value mix use commercial developments. The higher the commercial value it creates, the more central areas it will replace, the higher public/cultural values it will promise. Since the first seems to be an architectural solution, and I take a liberty to sketch and photoshop imageries to provoke more thoughts. I run into Rocco, last month and mumbling how easily this can turn into a formula for desastor. This is my quick remedy, maybe worse formula!?
Also, in the comments section of the blog is only one comment I can read, but it includes this, which I think is a fantastic question for all practitioners to contemplate:
1. Among all the projects you did, there must be one house which is already built up and one which is not. Describe briefly the two projects and talk about why you think the two projects have led to different results.
it is about a hong kong project rem proposed.
qm is from there.
he has some concerns about the project.
the sketches of the project looks like piles of shit.
we don't know if rem did them or chinaman did.
author knows rem.
author proposes his plans to (rem)?
hong kong's creativity discussed. (city's creativity levels... hmm!)
lalalala.
ARCH project (we don't know)
the letter is written to rem. not us.
desastor is like transistor!
hahaha...
but you forgot these parts which are more explosive...
Can we plan a city? The fact that every time we build a city under so called master plan, we screwed the city. Aside from a temporary match between money, population, production and maybe a little bit of political vision/ambition, every plan is expired as it is made and approved. No wonder Chinese call “Gui Hua”, Chinese translation of planning, ghost marks, also “Gui Hua” in Chinese. A city can only be curated, not planned, I am afraid, because curation brings different values at one time, or same value in different times. This is a life cycle of mutation from urban expiration to regeneration, in which public reserved land, PRL, plays an exchange role and 20 years are life span, with landscape that are also temporary.
Besides the 'dumpling' or 'shao mai' strategy, meaning Housing wrapping culture, this is the second strategy n which public owned land will be put in a cycle to allow urban expiration and enable regeneration. Public reserve land should be located on the West Kowloon site, all the numbered urban expiring parts should add up the size of the PRL.
If i'm not mistaken, english is definitely Ma's second language and I would also assume he didn't start speaking it that much until he came to arch grad school here in the states (GSD if i'm not mistaken). It's funny to me a person who comes to arch school here with english as his second language will emerge from said arch school a couple years later with maximum "archi-speak" potential. He spits mad fire with the best of 'em. I'd like to see him debate Eisenman.
You are right very interesting idea.
That the city cannot be planned (well nothing new there) but that it can be curated (aha!).
I particularly like teh way in which this combines with his idea of switching out land use from use to non use, private to public et al over decades.
Seems liek this would make the idea of the city as a living, organism even more explicit, at least within the planning codes/structure...
Interesting, per Apu's comment, that "the chinaman" is (to my ears) much more offensive than "chinaman", which is how Orhan phrased it. Yeah, calling someone from China (or Hong Kong) "the/a chinaman" is rude. How Orhan said it it's more like a nickname or endearment.
Also Orhan picked up another phrase I liked a lot: The fact that every time we build a city under so called master plan, we screwed the city.
It sounds to me like QM is calling for less "Grands Projets" thinking, more incremental and local solutions, and noting that there is less possibility for embarrassment with the latter.
if i charged everybody 1 dollar who calls me 'turk', i'd be fine now enjoying my time in hong kong with my chinaman buddies eating fine chinese cuisine in a newly purchased loft overlooking the hk bay...
i also want a chinese funeral when i die. with the band of chinatown playing the turkish march by beethoven and my portrait on my casket and free shumai's and mai tai's for all the attendants at hop lui's. i need to write this one in china ink!
i know you're never the one to be pc orhan, and it's no biggie to me personally, but i still politely correct people when they call me 'oriental'. i know they mean nothing by it most of the time, but i also think it's important for people to know the history of what these words mean...as with chinese/chinaman, turkish/turk, latino/hispanic, etc.
Funny, i make a combo post with dammson about a movie reference (which i saw last night BTW) and everybody thinks i'm being politically correct.
Personally, I really don't like lumping asians into one massive group, like they're all the same with similar histories, which is why I hate the term "Asian-American". The reason I thought Chinese people always really, really hated being called "oriental" is because it lumped them in the same group with Japanese people, whom, for many, they have a historical resentment to.
dot, surely i agree with you.
i know very well when to 'crush' somebody who calls me 'turkey', my friends (or anybody), "ch..g, nig..r, fag.ot, fuc..ng arab, eurotrash, whitetrash, jew, muslim, terrorist, etc..," with an ill will, even it is coming from somebody with english as a second language. we have to. i have to.
but we cannot 'ban' words without making that distinction. it is an extra work but i like to distinct. i happen to associate chinaman with confucius instead of railroad workers (read-slaves) executed.
maybe because, first time i saw a chinese person in the izmir international trade fair republic of china pavillion, i was 12 years old and mesmerized with fascination and could not take my eyes of the person for a while. i thought i finally saw confucius about whom i read in the school books.
by the way dot, i e mailed you on something else last week. do you check 'dot' mail?
*******************************
anyway, let's get back to transistor letter to rem.
anybody decoding that one so far?
when i came back to japan after finishing m.arch. i walked into city hall to visit friend who works there. offices in japan are open plan so he saw me from like a block away, stands up and points, shouts out TALIBAN! and then rushes over to shake my hand.
that was september 15. 2001.
it was so strange i couldn't help but laugh.
point is for some people race and culture prejudice is so far away they don't even know it matters. i swear i am 3/4 scots and 1/4 germano-russian but somehow that combo makes me look either arabic or jewish (you wouldn't believe the looks i got).
except in japan where i look like robin williams.
anyway, the content of the letter is interesting in spots but is so hard to understand that i didn't even notice it until someone else pointed it out. i think it is a lethal combination of self-importance combined with bad english that converts intelligent ideas into pure pile of undigested methane. pity because it might be worth reading.
This person is a dean of an architecture school? How trendy and useless! I guess there are enough fools to pay for his expertise. USC is full of Chinese students and they have tons of Chinese investments. Figures.
Is he also correcting OMA's proposal?
Get the f................................................. out!!!!!!!!!
MDZ, Qingyun Ma and Rem are close colleagues. If I'm not mistaken, Ma worked for OMA before he started his own practice in shanghai. The letter reads to me more like friendly professional suggestions/critique rather than an outright "correction" of OMA's propsal.
1997, Ma met Rem in Havard and then he was invited as the guest consultant of Havard Urban research project: "great leap forward"
But they do have close relationship since Rem always visit Ma's Office in Shanghai and sometimes put some stuff working in his office when there are collabtional project like Shanghai EXPO research or Bejing CBD proposal.
actually, the letter is very simple and quite typical of someone who knows a particular city well and objecting the whole or parts of a proposal for that city.
i have seen many similar op-eds of that nature and this particular one falls into that category. it is hard for me to intelligently take it apart because i know almost nothing about hong kong and transformation issues they are dealing with. i don't know the players and i don't know the other ARCH project q. ma talking about either. we don't know what eventually who he is speaking for and what situation his alternative proposal will remedy.
his english is fine and he sounds concerned about a city, i guess he knows well.
how many of you tried to write in a foreign language? it has a funny bend to it but i saw him speak in public one day and he has a great sense of humor.
he is raising some serious questions and questioning of ideas about cities pushing for cultural identities and development patterns as such. rem koolhaas is very familiar with those issues. city of amsterdam, for example, pushing an agenda as a "creative city."
rem and others in the senior project team would very well know what the author of the letter is talking about and i am sure perhaps they would have a response.
i am interested in that and will particularly look up for, what is going on in hong kong since the peak competition years ago and after chinese people's republic took over its mandate...
anyway, etc...
i guess this is a more serious explanation of my first post.
i write in a foreign language every day. i don't expect people to forgive me because it is not my native language. my wife in particular is harsh critic. she says you are living in japan and if you can't write properly in japanese then you won't be taken seriously. i don't know if she is right, but it sure keeps me on my toes.
rem is an amazingly clear writer in his second, or maybe it is is his third or fourth language (my dutch partner speaks 5 languages, i guess rem does too).
mr. ma is a good thinker but doesn't have the ability to set his ideas out clearly. i know how hard this is and can sympathise, but i am not inclined to wade through his syrupy frothy language to get to the good stuff.
i know, i am lazy. but should good ideas be hard work? personally, i don't think so. isn't it always that the best ideas are the ones that are most elegant?
i sure am forgiving jump. i guess it is my own fear as well, to a degree. i get, thank god, corrected at home too. i do write in two languages and sympathetic to people who get over the fear of embarrassment of writing, thinking they are not adequate. i think writing has a lot to do with elegantly saying what feels and transpires, among other explanations.
q.ma is a little vague in his ideas and seems to claim certain ideas for 'new' cities within his elite mind. i am not sure if he is not 'pro business and gentrification at some cost to others.' he doesn't say.
if he is not going to explain to public what he is writing about in his private letter now public, what is the point? so he discusses large transformation projects with OMA?
i always wonder if the people who use the word 'strategy' too much, also like to fist fight when necessary?
in my experience they usually stick their tail between their legs and run away as fast as they can strategize, if there is no power gain and money involved. i guess i should post this last bit to another thread called, 'phrases that make me cringe.;.)
Xing does know shxt about hongkong and the west-kowloon project... any local architect knows better than this USC chinaman tourist.
btw, is totally fine to call chinaman, because there is china, taiwan and hongkong and they are three very different type of ppl, u call him chinaman so ppl knows he is from china... simple as that.
the same u call england man, scotland man or ireland man...
aspect, do you prefer your nonsense to be homegrown? ;-)
orhan, your english is not always smooth but then you don't try to say things in complicated way (i mean that as compliment) so it reads nicely/charmingly, and the unusual use of language seems more like style than being incorrect. so its cool. not so sure about mr. ma.
jump> i was the first one who object the west kowloon project neither homegrown nor foreign made.
architect are inherently optimistic about building things to solve social needs, however most of time becomes part of the problem... if u want citizen be more culture, start with education not building theatre.
before you make a judgment of my knowledge of hongkong and this project, check all replies firstly: does any single word of hongkong or this project that you could find here came from my opinion?
if not, hold your shxt words and give some respect to the people you do not even know.
"the solution for hongkong to help the creative industries should follow korea in the 80's. "
"Government sponsor art student to study aboard, look at them now, their film kick ass in cannes, berlin film festival.
why waste time and money to sponsor USC tourist or dutch tourist to lecture here and propose nonsense to the site?"
aspect, you made sharp words here and simple conclusions. But it is very arbitary and shallow to convince us.
what do you know about hongkong? and how much do you know about korea? what kind of solution you are talking about? Does anybody here know the history of this project, its backgrounds? its power, statuts, influence, and the role? how do you know this project is sponsored by the government? why it is wasting time and money to give a site a proposal and general discussion after investigation?
xing, do you? i really like to know more. i am interested in this thread.
if you have any additional info on these, please post. thanx for starting it.
(i like the way you guys write shxt)
A Recent letter to Rem Koolhaas By Qingyun Ma
Hongkong West Kowloon Cultural Center Thoughts,
Rem,
Very excited by the HK Design Week. Obviously, I’m interested in formulation of the most effective team to facilitate this or any project that is at cross point of social ambition, public alignment, economic accumulation and lastly management endurance. It seems that societies that are sophisticated fail to achieve all of them at once. It is a test if HK is real sophisticated. But I am afraid this test is a painful dilemma: if it fails, HK is truly sophisticated, if it succeeds, HK is not sophisticated.
Campaign for a conglomeration of culture facilities seems to bear dubiety. Not only because Dubai has killed this phenomenon by making the biggest of this kind at all times, not only because Hong Kong has had a few of this kind, but also because of its disadvantageous location not mentioning it incompatibility to and blockage by the almost completed project called ARCH.
Above all of these, the traditional sense of cultural facility, marked by their huge belly, fair skin, bare circumstance, free posture, and rare uses does not fit Hong Kong’s urban value. As much we understand Hong Kong’s anxiety to advance its cultural profile and urgency to boost its art market, a transplant of a cultural lump is not the kind of creativity which will fundamentally break away from Hong Kong’s stereotypical image to the outside world/isn’t this what the site represents?/ forget about culture and art, let's get to the basis of Hong Kong’s creativity, which in my view, resides in the very notion of amphibian and hybrid. It is the creativity of interface and dichotomy. It is not the culture and art as we have come to known and bored with, but that can be produced and reproduced.
Therefore, new paradigms must be envisioned. Firstly, it is hybrid between housing and culture. They make symbiotic relation and proximation between art and living in orders as art living, living art and -l-a-l-a-l-a- so on and so forth. Secondly, the site should be traded with a few areas with high density, to resolve their deadlock situation and enable critical regeneration projects. Consequently, the site will be made, not much different from the ARCH project, into high value mix use commercial developments. The higher the commercial value it creates, the more central areas it will replace, the higher public/cultural values it will promise. Since the first seems to be an architectural solution, and I take a liberty to sketch and photoshop imageries to provoke more thoughts. I run into Rocco, last month and mumbling how easily this can turn into a formula for desastor. This is my quick remedy, maybe worse formula!?
Regards,
Qingyun Ma.
Source: Qingyun Ma blog: http://blog.sina.com.cn/spamaps
Love that phrase.
Also, in the comments section of the blog is only one comment I can read, but it includes this, which I think is a fantastic question for all practitioners to contemplate:
1. Among all the projects you did, there must be one house which is already built up and one which is not. Describe briefly the two projects and talk about why you think the two projects have led to different results.
i have no idea what he is writing about, may be my english is poor.
no kidding man, he is the new dean of USC and taught in Upen before. His English must be good.
xing, thanks for the warning about USC!
can anyone translate into readable english for me?
lets see;
it is about a hong kong project rem proposed.
qm is from there.
he has some concerns about the project.
the sketches of the project looks like piles of shit.
we don't know if rem did them or chinaman did.
author knows rem.
author proposes his plans to (rem)?
hong kong's creativity discussed. (city's creativity levels... hmm!)
lalalala.
ARCH project (we don't know)
the letter is written to rem. not us.
desastor is like transistor!
hahaha...
i like the letter...
ha!
if i were rem this one would go into the trash can.
[or perhaps i would send him an autographed picture.]
but you forgot these parts which are more explosive...
Can we plan a city? The fact that every time we build a city under so called master plan, we screwed the city. Aside from a temporary match between money, population, production and maybe a little bit of political vision/ambition, every plan is expired as it is made and approved. No wonder Chinese call “Gui Hua”, Chinese translation of planning, ghost marks, also “Gui Hua” in Chinese. A city can only be curated, not planned, I am afraid, because curation brings different values at one time, or same value in different times.
This is a life cycle of mutation from urban expiration to regeneration, in which public reserved land, PRL, plays an exchange role and 20 years are life span, with landscape that are also temporary.
Besides the 'dumpling' or 'shao mai' strategy, meaning Housing wrapping culture, this is the second strategy n which public owned land will be put in a cycle to allow urban expiration and enable regeneration. Public reserve land should be located on the West Kowloon site, all the numbered urban expiring parts should add up the size of the PRL.
If i'm not mistaken, english is definitely Ma's second language and I would also assume he didn't start speaking it that much until he came to arch grad school here in the states (GSD if i'm not mistaken). It's funny to me a person who comes to arch school here with english as his second language will emerge from said arch school a couple years later with maximum "archi-speak" potential. He spits mad fire with the best of 'em. I'd like to see him debate Eisenman.
the chinaman is not the issue here...
i believe the correct nomenclature is "Asian-American"
Orhan,
You are right very interesting idea.
That the city cannot be planned (well nothing new there) but that it can be curated (aha!).
I particularly like teh way in which this combines with his idea of switching out land use from use to non use, private to public et al over decades.
Seems liek this would make the idea of the city as a living, organism even more explicit, at least within the planning codes/structure...
Interesting, per Apu's comment, that "the chinaman" is (to my ears) much more offensive than "chinaman", which is how Orhan phrased it. Yeah, calling someone from China (or Hong Kong) "the/a chinaman" is rude. How Orhan said it it's more like a nickname or endearment.
Also Orhan picked up another phrase I liked a lot: The fact that every time we build a city under so called master plan, we screwed the city.
It sounds to me like QM is calling for less "Grands Projets" thinking, more incremental and local solutions, and noting that there is less possibility for embarrassment with the latter.
i think it's a misunderstanding of second languages and intentions, but for the record, 'chinaman' is a derogatory term used in any context.
even in loved and celebrated movies?
[this is one of the funnier threads i've read on archinect recently.]
if i charged everybody 1 dollar who calls me 'turk', i'd be fine now enjoying my time in hong kong with my chinaman buddies eating fine chinese cuisine in a newly purchased loft overlooking the hk bay...
i also want a chinese funeral when i die. with the band of chinatown playing the turkish march by beethoven and my portrait on my casket and free shumai's and mai tai's for all the attendants at hop lui's. i need to write this one in china ink!
i know you're never the one to be pc orhan, and it's no biggie to me personally, but i still politely correct people when they call me 'oriental'. i know they mean nothing by it most of the time, but i also think it's important for people to know the history of what these words mean...as with chinese/chinaman, turkish/turk, latino/hispanic, etc.
Funny, i make a combo post with dammson about a movie reference (which i saw last night BTW) and everybody thinks i'm being politically correct.
Personally, I really don't like lumping asians into one massive group, like they're all the same with similar histories, which is why I hate the term "Asian-American". The reason I thought Chinese people always really, really hated being called "oriental" is because it lumped them in the same group with Japanese people, whom, for many, they have a historical resentment to.
dot, surely i agree with you.
i know very well when to 'crush' somebody who calls me 'turkey', my friends (or anybody), "ch..g, nig..r, fag.ot, fuc..ng arab, eurotrash, whitetrash, jew, muslim, terrorist, etc..," with an ill will, even it is coming from somebody with english as a second language. we have to. i have to.
but we cannot 'ban' words without making that distinction. it is an extra work but i like to distinct. i happen to associate chinaman with confucius instead of railroad workers (read-slaves) executed.
maybe because, first time i saw a chinese person in the izmir international trade fair republic of china pavillion, i was 12 years old and mesmerized with fascination and could not take my eyes of the person for a while. i thought i finally saw confucius about whom i read in the school books.
by the way dot, i e mailed you on something else last week. do you check 'dot' mail?
*******************************
anyway, let's get back to transistor letter to rem.
anybody decoding that one so far?
a chinaman took my legs from me in korea but i achieved anyways.
the bums will always lose.
Movie quotes will screw a discussion sure as a master plan will screw a city.
mark it eight, lb.
you're entering a world of pain vado...
when i came back to japan after finishing m.arch. i walked into city hall to visit friend who works there. offices in japan are open plan so he saw me from like a block away, stands up and points, shouts out TALIBAN! and then rushes over to shake my hand.
that was september 15. 2001.
it was so strange i couldn't help but laugh.
point is for some people race and culture prejudice is so far away they don't even know it matters. i swear i am 3/4 scots and 1/4 germano-russian but somehow that combo makes me look either arabic or jewish (you wouldn't believe the looks i got).
except in japan where i look like robin williams.
anyway, the content of the letter is interesting in spots but is so hard to understand that i didn't even notice it until someone else pointed it out. i think it is a lethal combination of self-importance combined with bad english that converts intelligent ideas into pure pile of undigested methane. pity because it might be worth reading.
if anybody could have a chance to re-interpretate it, we might see its "essence".
This person is a dean of an architecture school? How trendy and useless! I guess there are enough fools to pay for his expertise. USC is full of Chinese students and they have tons of Chinese investments. Figures.
Is he also correcting OMA's proposal?
Get the f................................................. out!!!!!!!!!
MDZ, Qingyun Ma and Rem are close colleagues. If I'm not mistaken, Ma worked for OMA before he started his own practice in shanghai. The letter reads to me more like friendly professional suggestions/critique rather than an outright "correction" of OMA's propsal.
Sorry, Ma worked for KPF, but worked with Rem on "The Project on the City", Shenzen Stock Exchange and CCTV.
Ma never works for Rem before.
1997, Ma met Rem in Havard and then he was invited as the guest consultant of Havard Urban research project: "great leap forward"
But they do have close relationship since Rem always visit Ma's Office in Shanghai and sometimes put some stuff working in his office when there are collabtional project like Shanghai EXPO research or Bejing CBD proposal.
actually, the letter is very simple and quite typical of someone who knows a particular city well and objecting the whole or parts of a proposal for that city.
i have seen many similar op-eds of that nature and this particular one falls into that category. it is hard for me to intelligently take it apart because i know almost nothing about hong kong and transformation issues they are dealing with. i don't know the players and i don't know the other ARCH project q. ma talking about either. we don't know what eventually who he is speaking for and what situation his alternative proposal will remedy.
his english is fine and he sounds concerned about a city, i guess he knows well.
how many of you tried to write in a foreign language? it has a funny bend to it but i saw him speak in public one day and he has a great sense of humor.
he is raising some serious questions and questioning of ideas about cities pushing for cultural identities and development patterns as such. rem koolhaas is very familiar with those issues. city of amsterdam, for example, pushing an agenda as a "creative city."
rem and others in the senior project team would very well know what the author of the letter is talking about and i am sure perhaps they would have a response.
i am interested in that and will particularly look up for, what is going on in hong kong since the peak competition years ago and after chinese people's republic took over its mandate...
anyway, etc...
i guess this is a more serious explanation of my first post.
you are much more forgiving than me orhan.
i write in a foreign language every day. i don't expect people to forgive me because it is not my native language. my wife in particular is harsh critic. she says you are living in japan and if you can't write properly in japanese then you won't be taken seriously. i don't know if she is right, but it sure keeps me on my toes.
rem is an amazingly clear writer in his second, or maybe it is is his third or fourth language (my dutch partner speaks 5 languages, i guess rem does too).
mr. ma is a good thinker but doesn't have the ability to set his ideas out clearly. i know how hard this is and can sympathise, but i am not inclined to wade through his syrupy frothy language to get to the good stuff.
i know, i am lazy. but should good ideas be hard work? personally, i don't think so. isn't it always that the best ideas are the ones that are most elegant?
i sure am forgiving jump. i guess it is my own fear as well, to a degree. i get, thank god, corrected at home too. i do write in two languages and sympathetic to people who get over the fear of embarrassment of writing, thinking they are not adequate. i think writing has a lot to do with elegantly saying what feels and transpires, among other explanations.
q.ma is a little vague in his ideas and seems to claim certain ideas for 'new' cities within his elite mind. i am not sure if he is not 'pro business and gentrification at some cost to others.' he doesn't say.
if he is not going to explain to public what he is writing about in his private letter now public, what is the point? so he discusses large transformation projects with OMA?
i always wonder if the people who use the word 'strategy' too much, also like to fist fight when necessary?
in my experience they usually stick their tail between their legs and run away as fast as they can strategize, if there is no power gain and money involved. i guess i should post this last bit to another thread called, 'phrases that make me cringe.;.)
Orhan Ayyüce> thanks for translation.
Xing does know shxt about hongkong and the west-kowloon project... any local architect knows better than this USC chinaman tourist.
btw, is totally fine to call chinaman, because there is china, taiwan and hongkong and they are three very different type of ppl, u call him chinaman so ppl knows he is from china... simple as that.
the same u call england man, scotland man or ireland man...
the solution for hongkong to help the creative industries should follow korea in the 80's.
Government sponsor art student to study aboard, look at them now, their film kick ass in cannes, berlin film festival.
why waste time and money to sponsor USC tourist or dutch tourist to lecture here and propose nonsense to the site?
aspect, do you prefer your nonsense to be homegrown? ;-)
orhan, your english is not always smooth but then you don't try to say things in complicated way (i mean that as compliment) so it reads nicely/charmingly, and the unusual use of language seems more like style than being incorrect. so its cool. not so sure about mr. ma.
strategizers and fist-fighters....lol.
Jeez aspect, what's with the hostility?
I've read a few interviews with Q. Ma and his english is pretty good from my knowledge, but again he is given to archi-babble.
aspect, there you go! that was my underlying motivation of writing/producing this.
jump, thank you.
jump> i was the first one who object the west kowloon project neither homegrown nor foreign made.
architect are inherently optimistic about building things to solve social needs, however most of time becomes part of the problem... if u want citizen be more culture, start with education not building theatre.
Apurimac> well, part of my tax money goes into these lecturer's hotel expenses, red wine, dinning in hongkong...etc...
i get it aspect. i tend to agree. social problems are not amenable to architectural solutions, usually. i guess it can be a component.
ma worked at zaha too, which i think was the last job before setting up MAD, didn't know he worked at KPF...
do architects really believe in social engineering anymore? where's that pruitt igoe pic????
I thought USC was a completely private school...
aspect,
before you make a judgment of my knowledge of hongkong and this project, check all replies firstly: does any single word of hongkong or this project that you could find here came from my opinion?
if not, hold your shxt words and give some respect to the people you do not even know.
"the solution for hongkong to help the creative industries should follow korea in the 80's. "
"Government sponsor art student to study aboard, look at them now, their film kick ass in cannes, berlin film festival.
why waste time and money to sponsor USC tourist or dutch tourist to lecture here and propose nonsense to the site?"
aspect, you made sharp words here and simple conclusions. But it is very arbitary and shallow to convince us.
what do you know about hongkong? and how much do you know about korea? what kind of solution you are talking about? Does anybody here know the history of this project, its backgrounds? its power, statuts, influence, and the role? how do you know this project is sponsored by the government? why it is wasting time and money to give a site a proposal and general discussion after investigation?
......
j'aime,
Ma Yansong of MAD worked at Zaha's office
MA Qingyun of MADA spam is dean of USC
two different Chinese men
xing, do you? i really like to know more. i am interested in this thread.
if you have any additional info on these, please post. thanx for starting it.
(i like the way you guys write shxt)
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