Tilting the Lens

引言

FOREWORD In September 2010, more than a dozen photographers, designers and heritage conservationists made Sham Shui Po their home. They came to document the cityscape, to study its architecture and history, to record the faces and lives of its people, to touch and taste and see it with new eyes. They undertook such meaningful work because the built environment of a city tells us much about what it means to be human. And they chose Sham Shui Po because they were students at the city’s newest university: scad Hong Kong, nestled in the heart of the district. These students walked the streets of Sham Shui Po from fall to spring, cameras and journals in hand, and this book is the result of their creative efforts.

Through it all, these artists and scholars have created far more than a pictorial ethnography of the district: they have cultivated a deep, deep love of the people and places of Sham Shui Po. This love is shared by the professors, staff, and hundreds of other students who work and study alongside them at scad Hong Kong. The students of scad Hong Kong come from across the world—New York, San Francisco, Tokyo, Paris, Berlin, Hong Kong, and beyond—and they have fallen in love. They have chosen to become a part of Asia’s World City, the burgeoning crossroads of creative industry in the East, while enrolling at 6

foreword | 引言

the finest arts university in the world. They study illustration, animation, motion media and other illuminating subjects.

This book is more than a student research project: it is a testament to scad’s commitment to renewing and restoring communities, as the university has done and continues to do in the u.s. and France. scad is a world leader in heritage conservation, urban renewal, adaptive reuse and sustainability on a macro level. The university believes that rigorous education and creative industry can bring new life to historic buildings and to established communities. This belief is our founding hope for Sham Shui Po, and we are grateful to its residents and the Hong Kong Government for making us a part of the community. We have made it our home. scad Hong Kong has much to celebrate. In the first year alone, scad has hosted dozens of creative companies to collaborate with our students— representatives from Shaw Studios, Hong Kong Disneyland, Yves Saint Laurent, and more. scad has created and staged dozens of exhibitions and events for the public at Moot Gallery, as well as at scad Gallery in Central. scad has presented dozens of lectures by artist Simon Birch, Pulitzer Prizewinning photographer David Hume Kennerly,

2010年9月，十多位攝影師、設計 香港分校工作和研習的數百名師生 師和古蹟保育人士以深水埗為家， 及職員也對深水埗有一份鍾愛。薩 用鏡頭捕捉它的都市景觀；研究它 凡 納 藝 術 設 計 大 學 香 港 分 校 的 學 的建築物和歷史；記錄區內居民的 生來自世界不同角落，包括紐約、 面貌與生活；從全新角度接觸和品 三藩市、東京、巴黎、柏林、香港 味 這 個 社 區 。 這 是 一 宗 別 具 意 義 等，他們都不約而同地喜歡上深水 的項目，目的是探知城市環境對人 埗。他們決定成為這個亞洲國際都 的喻意。他們選擇深水埗，因為他 會的一分子，處身東方創意產業蓬 們是薩凡納藝術設計大學香港分校 勃發展的十字路口，與此同時把握 的學生：這所香港最新的大學正位 難得的機遇，入讀全球最優秀的藝 於深水埗的中心地帶。從秋天到春 術大學。他們修讀的學科包括平面 天，學生拿着攝影機和日誌在深水 設計、動畫、動態媒體和其他精采 埗街頭感受生活，而本書就是他們 新穎的科目。 的創作成果。 本書不僅是一宗學生研究專案，它 透過這一切，學生不僅製作了深水 顯證薩凡納藝術設計大學矢志更新 埗的攝影民俗誌，還對深水埗的居 復甦社區的誠意，正如大學在美國 民及地方產生了深厚情感。同樣， 和法國的分校也以此為使命。薩凡 跟他們一同在薩凡納藝術設計大學 納藝術設計大學是文物保育、市區 foreword | 引言

7

and other luminaries. scad Hong Kong also earned placement for all its programs on the Qualifications Registry of the Hong Kong Council for the Accreditation of Academic and Vocational Qualifications. All these wondrous moments are taking place right here in Sham Shui Po, one of Hong Kong’s oldest and most storied districts.

重建、活化再用和宏觀可持續發展的

以創意善用有限空間、古老風俗與

國際翹楚。大學深信積極發展教育及

營商手法隨時代變奏、21世紀都市

創意產業可為歷史建築物和現有社區

環境下的生活、新移民和難民共融

注入新生命，這正是我們在深水埗

演進下的社會風俗等，最重要的還

創校的主導信念。我們很感激深水埗

有深水埗居民打不死的精神和他們

居民和香港政府接納我們為社區一分

面上的喜悅。

I truly thank everyone who contributed to the success of this book, most especially to the Hong Kong Government, who invited scad to make a home here through the Revitalising Historic Buildings Through Partnership Scheme. The North Kowloon Magistracy at 292 Tai Po Road is a delightfully enriching residence for scad, the University for Creative Careers. This book, we hope, reveals what scad students and professors have seen with their own eyes in Sham Shui Po: the imaginative use of limited space, the adaptation of ancient customs and business practices to a dynamic 21st century urban environment, the evolution and admixture of immigrant and refugee social customs, but most importantly, the indefatigable spirit of its people and the wellspring of joy in their faces.

子—現在深水埗成了我們的家。

Paula Wallace scad president and co-founder

薩凡納藝術設計大學校長兼聯合創 新開辦的香港分校剛跨過一周年，這

辦人

一年來佳績紛至沓來，誠然值得慶

Paula Wallace

祝。單是創校首年，薩凡納藝術設計 大學已成功安排數十間創意企業與學 生合作，當中包括邵氏影城、香港迪 士尼樂園、Yves Saint Laurent等機 構的代表。此外，校方於Moot lery及位於中環的SCAD

Gal-

Gallery藝廊

製作舉辦數十次公開展覽和活動，另 並舉行數十場講座，講者包括藝術家 Simon Birch、普立茲新聞攝影獎得主 David Hume Kennerly及其他知名的 傑出人物。同年，薩凡納藝術設計大 學香港分校所有課程均獲香港學術及 職業資歷評審局列於資歷名冊。以上 所有賞心美事都發生在香港最舊和具 豐富典故的地區—深水埗。 我謹在此向協助和支持本出版項目的 各方致謝，其中特別感謝香港政府透 過「活化歷史建築伙伴計劃」邀請薩 凡納藝術設計大學在深水埗建校。座 落於大埔道292號的北九龍裁判法院 是非常理想的選址，豐富了薩凡納藝 術設計大學的教學氛圍，讓我們盡情 發揮培育創意事業人才的重任。我們 冀盼本書可展示薩凡納藝術設計大學 學生和教授們在深水埗的所見所聞：

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foreword | 引言

foreword | 引言

9

INTRODUCTION

序

Just across the water from Hong Kong Island, where the southernmost peaks of the Asian landmass touch Victoria Harbor, sits one of the oldest and proudest districts of Hong Kong: Sham Shui Po. This district is situated just north of Hong Kong Island and south of the Pearl River Delta, where goods of Chinese manufacture depart for distant ports around the world via the South China Sea. Sham Shui Po, with a population of more than 350,000, covers approximately ten square kilometers on the northwestern edge of the Kowloon Peninsula comprising seven neighborhoods: Sham Shui Po, Mei Foo, Cheung Sha Wan, Lai Chi Kok, Shek Kip Mei, Yau Yat Chuen, and the West Kowloon Reclamation Area. It is one of the poorest districts of Hong Kong, per capita, but holds a deep cultural heritage and rich built environment. Sham Shui Po celebrates its past, while standing poised for investment, ideas and innovation.

the busiest ports in Asia. This increase in trade had its effect in Sham Shui Po, which grew into a burgeoning harbor town with flourishing markets. In 1861, shortly after the close of the Second Opium War, control of Kowloon was granted to Britain, including the area of Sham Shui Po. Chinese immigrants poured into the new district, bringing social customs, architectural ideas and more. In 1911, as the Qing Dynasty fell and immigration increased, Sham Shui Po nearly burst at the seams.

與香港島只有一水之隔的維港彼岸，

聚居。1842年，第一次鴉片戰爭結

在亞洲大陸最南端山脈徐徐入海之

束，香港島割讓予英國，小埠不久

處，是香港歷史最悠久及最令人驕傲

便發展成為亞洲最繁榮的都市。隨着

的地區—深水埗。深水埗位於香港島

貿易昌旺，深水埗也演變成為繁盛

以北、珠三角以南，後者是中國產品

的海港市鎮。第二次鴉片戰爭結束後

經南中國海運往世界各地港口的通

不久，連深水埗在內的九龍半島亦於

衢。深水埗地處九龍半島西北角，面

1861年割讓予英國。隨後大量內地

積約10平方公里，人口逾35萬。該

移民湧至，為新區帶來多元化的風

Overnight, this small fishing village grew into a bustling city. Soon, shophouses and stalls lined the streets. The colonial government introduced Sham Shui Po’s first city plan in the early 1920s, and the district served as an ideal landing site for immigrants, given its proximity to Hong Kong Island and the completion of the new Sham Shui Po Ferry Pier in 1919, which offered direct service between Central and Sham Shui Po. After World War ii, the population continued to soar.

Villages of squatters and shanties gave way to public housing. Throughout the 1950s and 1960s, cotton, textile and plastics factories rose up across the district. Growth stagnated in the 1980s and 1990s. In recent years, creative institutions have taken a deep interest in the history and milieu of Sham Shui Po, as evidenced by the establishment

區由7個社區組成：深水埗、美孚、

俗、建築意念和其他新意。1911年

長沙灣、荔枝角、石硤尾、又一村和

清朝滅亡引發移民洪潮，深水埗人口

西九龍填海區。按人均收入計算，深

激增，幾乎不勝負荷。

Sham Shui Po began as a rural fishing village across Victoria Harbor from Hong Kong Island, and the district’s Lei Cheng Uk Han Tomb (of the Eastern Han Dynasty) suggests that people have been living in the area for at least 2,000 years. The end of the First Opium War in 1842 resulted in the control of Hong Kong Island by Britain, and Hong Kong soon emerged as one of 10

introduction | 序

水埗是香港最貧窮的地區之一，然而 其文化底蘊與建築環境豐碩多采。深

小漁村一夜之間變成繁華城市，街道

水埗沐浴於昨日的光輝、向新的投

商舖攤檔林立。1920年代，殖民地

資、意念和創意展開懷抱。

政府製作第一份深水埗市區圖。由於 該區鄰近港島，而且1919年建成深

深水埗原為港島彼岸一條漁村，由

水埗渡輪碼頭，居民可乘渡輪直接

近代出土的李鄭屋漢墓(東漢時代)可

往來中環，所以是內地移民的最佳落

見，早於逾2,000年前這裡便有先民

腳地。二次大戰結束後，區內人口 introduction | 序

11

of the Jockey Club Creative Arts Centre in neighboring Shek Kip Mei on Pak Tin Street and the opening of scad Hong Kong, a new arts university, just around the corner on Tai Po Road.

Sham Shui Po represents rich cultural traditions in architecture and observes distinct social customs while adapting to the 21st century. Monumental developments and high-rises tower over prewar shophouses and sidewalks, where vendors sell digital components alongside hot bowls of congee. This book is a study of that diversity, the manifold social and architectural expressions to be found in a community that continues to evolve, adapt and surprise.

繼續膨脹，政府收回多條寮屋和木屋 村落，開始興建公共房屋。在1950和 1960年代，深水埗出現了許多棉紗、 紡織和塑膠工廠，工業十分蓬勃， 直至1980及1990年代發展才開始停 滯。近年不少創意機構均對深水埗的 歷史和環境深感興趣，好像賽馬會創 意藝術中心便選址於毗鄰深水埗的石 硤尾白田街，還有薩凡納藝術設計大 學香港分校進駐不遠處的大埔道，為 香港帶來一所新的藝術大學。 深水埗的建築物突顯多姿多采的文化傳 統，許多獨特的社會習俗也在21世紀 的新意象下存續。在宏偉建築物和高樓 大廈的腳下，可見戰前的前舖唐樓和騎 樓行人路，商販售賣各式各樣的貨品， 從數碼元件到熱騰騰的粥品都有供應。 本書正是探討深水埗社區百花齊放的社 會和建築形態，透視它如何演變適應， 每每帶來意想不到的驚喜。

12

introduction | 序

introduction | 序

13

CONSTRUCTION OF A CITYSCAPE

14

construction of a cityscape | 構建城市景觀

構建城市景觀

15

22

construction of a cityscape | 構建城市景觀

tong lau | 唐樓

23

100

sidewalk emporium | 騎樓百貨

markets | 街市

101

SHOPS AND TRADES The tradespeople of Sham Shui Po display a richness of imagination and a wellspring of innovation in their work. They build, tailor, weld, design, compose, repair, reuse and recycle on a human scale, creating functional objects that keep Hong Kong humming. Smiths at Ho Chung Kee Metal, for example, can replicate delicate metalwork from a simple sketch on a sheet of paper, completing high-end commissions simultaneously with more quotidian projects, such as the repairing of ducts, bowls and buckets.

Craftspeople know how to make the most of their workspaces, too, maximizing every square centimeter to full effect. The fabrication of furniture typically requires an expansive studio, but in Sham Shui Po, craftsman Liu Tat-Shing creates custom furniture with rattan in a snug alley workspace, weaving the thin pliable strands into elaborate patterns and forms. Mr. Liu’s creative use of space is common, and a testament to the vigor of his family trade, operating for more than six decades.

Proprietors of the Yick Ping Frame Shop, another longstanding family firm in the district, have transformed their prewar tong lau into an architectural advertisement for their business.

Most tong lau of Sham Shui Po present a 102

sidewalk emporium | 騎樓百貨

conventional façade of neutral colors that sink back into the cityscape, but the façade of the Yick Ping Frame Shop blazes in bright white with punchy red characters. Inside, the owners use even the loft ladder to display miter joints and frame styles.

Adaptive reuse, recycling, and sustainable fabrication are nothing new in Sham Shui Po, where broken household goods are repaired rather than thrown away. Yau Kee Wooden Cart, a workshop near Boundary Street owned by husband and wife Mr. and Mrs. Lee, has produced custom carts for more than 50 years. They fabricate each cart from discarded planks, discarded casters, used rubber tires and ball bearings. On Yen Chow Street, Mr. Fung resurrects damaged electric fans with a trove of recycled fan components, working diligently in a modest storage area between two shops.

Small shrines sit quietly at the bases of storefronts in Sham Shui Po, where every morning proprietors and craftspeople burn incense and offerings for health and prosperity in trade. This dutiful act of faith, coupled with an unwearied spirit of industriousness and imagination, serves as a witness to the unwearied spirit of the people of Sham Shui Po.

商舖和民間百業 深水埗的商販極具想像力和創意，他

一平畫框是深水埗區另一間歷史悠

們以人為本地建造、度身訂造、焊

久的家族商店，這一代傳人把戰

製、設計、組構、修理、再用和循環

前唐樓變成店舖的廣告板。深水

再造，創出各樣實用物品，讓香港不

埗的唐樓面牆多採用低調的傳統色

斷更新轉變。好像何忠記的金屬師傅

調，在城市景觀中不太顯眼，而一

便可憑着一張簡單的草圖製成顧客專

平畫框的舖面則用了明亮的白色，

門訂造的高檔金屬製品，此外也承造

再寫上紅色大字，非常奪目。東

其他日常金屬器皿工程，例如修理金

主連店內的閣樓樓梯位置也沒有

屬管、盆和桶等。

浪費，在這空間擺設接榫和畫框 樣本。

這些工匠也很懂得善用工場空間， 每平方厘米面積也被物盡其用。傢

其實在深水埗，靈活再用、循環再

俬工場一般地方寬闊，可是深水埗

造及可持續製造並非甚麼新意念，

的藤器師傅廖達成便有本事在狹窄

居民不喜歡浪費壞掉的家居用品，

的小巷造藤具，把一根根柔韌的藤

常會修理再用。界限街附近的友記

枝織成不同的精美圖案和形狀。廖

車仔，東主是一對李姓夫婦，製造

先生靈活運用空間的創意，讓我們

木頭車已有50多年。每架木頭車都

明白他這門家族生意為甚麼生生不

是用廢木板、舊輪子、橡膠輪胎和

息，迄今已傳承了60年。

球軸承製成。欽州街的馮先生是壞 shops and trades | 商舖和民間百業

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