Director: Cheng Brian Mikael Dytianquin
Script writer: Cheng Brian Mikael Dytianquin
Original footage and photography by Cheng Brian Mikael Dytianquin
Vocals: Cheng Brian Mikael Dytianquin
This video focuses on the liminal spaces found in Tung Cung, Yat-tung housing estate. Since most people past by these spaces, they’re often overlooked. Initially, even I thought there wasn’t much to say other than the space’s simplicity. But, upon closer observation, these spaces carry a lot of history and life. Since Hong Kong as a whole deals with the issue of ‘not having enough space,’ you can start to see how people make use of these liminal spaces for different purposes and functions. The video title is under the ‘disappearing city’ title because it features liminal spaces, which may be known for mundane, ordinary spaces that get overlooked by it’s common nature, have history behind them; all spaces created by people must serve a purpose, otherwise why would the space be created? So the video features the possible history and functionality of these everyday liminal spaces based on personal observation. I video is a simple one; consisting of raw footage of liminal spaces around the housing estate, and instant Polaroid shots to capture the moment, and give the spaces a natural old, sort of retro feeling to them. The shots seem under exposed due to lack of lighting in the spaces, but I decided not to edit them (increasing exposure) because I felt like it would lose its natural, old feeling.
Initially, I didn’t have any idea on what to film for my assigned site (housing estate). I was planning to film people using public housing facilities, such as playgrounds and fitness zones, in a way that was not the facilities’ intended purpose. However, after sessions of walking around trying to find something interesting, I came across nothing. Then I spot a middle-aged man parking his bike in a corner behind one of the housing estates. There were already around three bikes there before his bike, so I thought it’s just a space where people park their bikes. But then I realise that there’s no bike racks or rails for you to properly lock up a bike to prevent it from getting stolen. That is when I got the idea to film liminal spaces around the housing estate and observe how those spaces are, or were, being taken up by people in the past and in the present.
I observed that no one stays around these spaces, as these are ‘transitional spaces.’ So it was awkward standing around observing the spaces and the people passing by it as no one stays in those spaces for too long; so to people passing by, they probably thought I was crazy or lost.
I recently got my hands on a Polaroid camera. It’s a modern model that still functions like that of an original Polaroid. I thought taking Polaroids of these spaces would help capture the history of the space; as Polaroid cameras were popular in the 70s, so looking at Polaroids just naturally give off a vintage, old-time feel to it.
The Polaroid however has a hard time taking photos of dimly lit areas, which are most of these spaces. So even with the flash on, a lot of the photos came out to be under exposed and it becomes hard to make out what’s in the photo; and that’s the reason why these cameras stayed in the 70s. But, I thought if that’s how it was back in the 70s, maybe the under exposed parts of the space help capture the old, vintage feel of these spaces. It even gives off an eerie feeling; since the photos are dark, it’s hard to make out if anyone is actually in the photo.
A master thesis from the University of Cincinnati helped me understand liminal spaces and their symbolic meanings behind them in architecture; usually shown in films. As liminal spaces are spaces between one destination and the next, symbolically they represent the stage of transition. In the video, these places are just spaces that you walk past by everyday when you want to get to someplace in the estate, but these spaces on their own are constantly in the limbo of transition. The spaces don’t serve a singular purpose or function, its role from bike parks, markets, lounging areas was, and is always present, it just depends on the people around the spaces. Therefore, these ‘transitional spaces’ are also in its own way, in constantly in transition from purpose to purpose; which gives these liminal spaces, although overlooked, lots of history from the different people using these spaces.
REPENNING, SARA. “AN ARCHITECTURE OF LIMINALITY.” Master’s thesis, University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1068668764
Brian Mikael Cheng
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I really enjoy your video Brian. As a student who has never living in house estate before, I must admit have never pay any attention to those liminal spaces as well, even when I was walking by. Your camera shots are also great in capturing the evidences of human activities for example, footage of the stone table tennis and backdoor areas . Especially when photos are shown in the video, allowing audience to compare “now” with “then” was a brilliant idea.
I guest why people would intentionally neglect the area is because it is that too abstract to understand. They are undoubtedly presence in building’s blueprints yet were being hidden in the shadow, which gives a sense of uncertainty to anyone walk by. Another thing is the city myth that our parents told us to teach us not to go there because ghosts and bad guys could kidnap us at any time. So I guess the disappearance of these liminal transitional area is a rather complex cause and effect to discuss.
All in all, I think your video demonstrates an profound understanding of and the ability to apply and synthesise research, concepts and key issues relating to the topic.