Field Trip 1: Rooftops

11. Serial – Current circuits Zoom This photograph was taken at the first rooftop, and the subject of mechanisms for electrical work, found on the floor near the corner of the wall. There were multiple of these units in the close vicinity of each other. I was drawn to them, at first thinking they were air conditioner units or architectural models of buildings. I crouched down to get on the eye level, and on closer inspection, I found that the ridges had circular holes and patterns. The view I saw reminded me of architectural photography, as these units paralleled to

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FIELD TRIP 1 – [ Street in Wanchai ]

Bowrington Road Market 21 Bowrington Rd, Wan Chai               SERIALITY – TIME CAPSULE IN A TINY SPACE In the wet market, people of all ages, all nationalities, all social backgrounds come together. It is a vibrant place where young meets old, and where night meets day. Its warmth cannot be compared with the stone-cold skyscrapers that encircle it. As each day progresses, all sorts of people live their lives in this small space. Old men come together for a good game of chess, while domestic helpers meet to chatter as they shop to prepare for

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Workshop 1 Wan Chai Wet Market

Wide-Angle shows the overview of the wet market horizontally Focus emphasizes on the freshness of the seafood by blurring other objects Zoom magnifies the hand movements of the meat stall owner Crop The cover of boxes placed on the roadside has cropped the image Bird’s eye show the plan and organisation of a space from above Worm’s eye makes the meat stall looks taller First person view shows what vivid color of meat hung for sale in meat stalls View Frame emphasizes how the warm light affects the atmosphere of the stall by limiting the frame of the image Skewed

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Workshop1 Interview (Hour25 Production)

Question1: The theme of inception broke the rule of gravity, that’s why in the video an existing architecture (Knowles Building) can be framed from a different perspective. For example, the vertical and horizontal components were reversed, plans can be seen as sections and vice versa. Did such new perspectives bring any ideas to your designs? Answer1: Indeed rewriting familiar spaces in daily life, (as was the experience of drafting the script of 惑SECTION) could unleash your imagination and open up new perspective to mundane spaces in our surrounding. This is especially important for architects-to-be: to develop the sensitivity to “see” beyond the

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Workshop Interview (Hour25 Production)

First Question: In Inception, Cobb’s totem keeps spinning and the ending of the film didn’t include whether it falls or not. So Cobb could be still in his dream or is back to reality. When you base 惑SECTION on Inception, are you trying to imply that architectural students cannot escape from their dream as well? If yes, why? Reply: The story of 惑SECTION was a narrated conclusion to the experience of studying architecture at HKU for 5 years. It was conceived at the beginning of the thesis year. At that particular moment, there were both excitement and nervousness in preparing a

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Interview: Hour25 Production

Sun Yub: 1) Besides the team’s masterpiece, 惑SECTION, are there any key identities that the team always tries to implicate or merge with each projects that you works on? 2) What is the definition of ‘good’ design for Hour25 Production? 3) What are the strengths that differentiates Hour25 from other design teams?   UID: Kim SUN YUB 3035550561

Interview: Hour25 Production

  Question: In the movie clips, I saw that you broke apart the Knowles Building very creatively using frames. When incorporating existing architecture in film, how do you maintain the integrity of architecture and make sure that it remains one of the main points of the film? How do you ensure that it still leaves an impact on people’s minds, other than the plot and the dialogues? Reply: The story of 惑SECTION was a narrated conclusion to the experience of studying architecture at HKU for 5 years. In the very beginning, it is the script writers’ intention to include all locations

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Workshop Interview (Carman Liu)

Image from office(2015 Hong Kong film) Question : Is there a reason for using vertical designs for the film? Carman Liu : We were actually thinking about the… we decided a spiral staircase that is usually utilized in a very grand design where you have a chandelier in the middle. So, we decided that we wanted to make it more minimal. This kind of radioactive design was what we concluded on and tried these kinds of vertical railings and all these vertical screens, but not an actual wall in order to match the shape of the chandelier. Interviewee : Carman

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Workshop Interview (Kenrick Wong)

Image from Kenrick Wong, Frame at Mirador Mansion Question: I would like to know more about your physical model of this masonry. How does it help to frame the building in the film? Is there anything you couldn’t understand from the real building so that you have to make a physical model? Kenrick: I think in reality, if you imagine different programs that can be rearranged with time, it is hard to interpret by just filming them in the actual world. The using of physical model is quite subtle in the film, but this kind of frame (hanging out for

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Workshop Interview (Kenrick Wong)

Question: You mentioned the clothes hanging outside the courtyard and how that affected your shot of the mansions. I was wondering how important you think the role of nature and community is when framing a shot, and whether their involvement is integral to it? Kenrick Wong: I think these roles are quite significant as primarily without these kinds of objects, the architecture of the building is just a shell, with no content in it. I think that’s interesting — when I have to go on a journey at different times, during the day or at night, the clothes or any objects

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