The essay “Hong Kong: Culture and the Politics of Disappearance” by Ackbar Abbas delves into the relationship between architecture and the disappearance of Hong Kong culture.
Due to its post-colonial context, the architecture of Hong Kong is a combination of many styles, ranging from “colonial, modernism to post-modernism”. While diversity communicates inclusivity and heterogeneity, it also makes Hong Kong an ‘open city’. Abbas puts it succinctly – Hong Kong has a ‘floating identity’ where it doesn’t have its own style. Hong Kong’s uniquely fluid identity has ramifications on cultural conservation. For instance, the lack of a clear definition makes it difficult to determine whether a specific building contributes significantly to the local heritage.
Moreover, Abbas stressed the ineffectiveness of the so-called cultural sites. Although the buildings were conserved for the purpose of promoting cultural heritage, the author stated that they only had a visual impact, i.e., as decoration, but insignificant actual benefit. Take the Clock Tower as an example, which is situated near the Hong Kong Cultural Centre. It is selected to symbolize the rich cultural background of the area. However, as Abbas mentioned, a sharp discontinuity and disconnection exists between the Cultural Centre and the tower. Rather than bringing together a community, the tower is overshadowed by the center, trivializing its cultural richness. Instead, the focus of conservation projects should be building a sense of community based on the culture embedded within these landmarks.
– Li Mei Yiu Belinda, 3036179273