Institutional Public Space
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Presented at the NTUA Conference 2024 Dialectics of Cultural Values: Dialogue and Practice, Taipei | This presentation draws from my ongoing research about cultural architecture and public life – specifically, the typology of the CULTURE CENTRE. While debating about the dichotomy of cultural architecture as a “palace” for elites – or – an everyday space
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2024/25 CUHK Knowledge Transfer Fund | [Project Description] The world-famous artists and musicians performing in Hong Kong every year have inspired many young people to be interested in musical performance. However, while they take it as an extracurricular or leisure activity, pursuing a professional music career is a much harder path, especially in the start-up
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| forthcoming monograph publication in the Routledge Research in Architecture Series | Book Description Recent developments have attracted global attention to Hong Kong’s cultural and architectural scene, with the new iconic buildings at West Kowloon and the heritage regeneration projects such as Tai Kwun and the Asia Society, which have seen much publicity in both
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Mar 2023 | Presentation at Cultural Studies Association Taiwan annual conference and Department of Architecture, NCKU. Our understanding of “cultural infrastructure” is usually the landmark architecture like the museum or the opera house, such as the Lincoln Centre in New York City constructed in the 1960s. It is a grand structure sitting on the high
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Abstract: The public space at museums, theatres, or cultural centres overlaps with everyday urban space, but it possesses a different quality than the nominal public streets or plazas. Through spatial design and operation, the exterior and interior public spaces associated with cultural buildings are carefully curated to manifest the cultural institution’s vision and value, which is
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Abstract: “Cultural center” is a new type of architecture and institution that has emerged since WWII and has become a model for many contemporary cultural institutions. It reflects the physical realization of the European welfare-state cultural policy, especially in Britain and France. With reference to the European cases, this paper examines three major cultural centers
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In February 1974, a Cultural Complex sub-committee under the Standing Committee of the Whole Council of Urban Council was setup to coordinate the overall project that was originally under three separate Select Committee (Museum and Art Gallery Selection Committee, Recreation and Amenity Select Committee, City Hall Select Committee). As the master plan was drafted by
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Inaugurated with a full month of celebratory festival in November 1989, the Hong Kong Cultural Centre marks its significances as the cultural and architectural landmark of the city’s most prosperous development period at the end of the 20th century. The project span over two decades in its making, from early proposals of a new museum
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Since the time of its opening in November 1989, the Hong Kong Cultural Centre (HKCC) has been a subject of debate as the new cultural landmark of the city. Situated along the Victoria harbour front, it was criticised by the public for its windowless facade, while initial acoustic quality of the concert hall was also
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The Cultural Centre is a new building and institution typology developed during the post-war European welfare state governance, where culture was regarded as a social instrument with same standing as sanitation or education. Public building is an embodiment of the policy, and the physical space often reflect the institutional intention. With the intention to provide
threshold 內外之間 