(Blue Lotus Gallery. 2019)
The Early “Aura” of Hong Kong
Hong Kong was mainly a fish village in the ancient past until Hong Kong was leased
to Great Britain. Hong Kong Island was a main port in Asia for trading and business
with the mainland China during and after the First Opium War in the early 19th
centuries. (MacKeown. 2010) Over thousands of Chinese migrants settled in the
colony. Under the Britain’s command, Hong Kong rapidly developed to a thriving
coast area where Agriculture, Fisheries, Manufacture and Trading were the main
industries throughout the late 19th to the early 20th centuries. (Lin. Ho. 1980) Which
was also the starting point of transforming Hong Kong from a rural district to a
bustling city with bilingualism and multiculturalism today. Coming back to the
discussion of the term “Aura”. Even though the origin of Hong Kong was a fish
village, however, it is not appropriate to define that the Aura of Hong Kong is the
time when Hong Kong was still only a place of wetland. The aura of Hong Kong
should be around 1950s to the 1980s, when Hong Kong was a fertile ground for
entrepreneurs, full of opportunities and adventurers in a magical place where the
Hong Kong dwellers shared the glories of economic revivals. (Huan. Morgan. 2011)
Figure 1.1 (Grundy. 2019)
1950s’ Fashion & Entertainment
It was very common to see famers, fisherman and boatman wearing the asian conical
hat with plain Chinese attire around the 1950s. See figure one. That was the costume
in which identify the occupation within social classes. The smell of the fabrics are the
same as the smell of tablecloth in the traditional Chinese restaurant with a mix of the
smell of sea. (Yau. 2011) At which, the fashion with the style of nostalgia including
the smell of its fabrics and patterns have also become one of the common memories
to the older generation living in the age before Hong Kong turned into a city. At that
time, people were proud with prides of working at the coast. Almost everyone know
each other in the area. (Rowley. 2013) Which has given an geniality warm affability to
the simplicity of country living. However, this type of fashion are now being
recognised as the lower class in today’s society. Folk costumes not being seen as
traditions. (Yau. 2011) The position of fisherman and boatman which has also been
downgraded throughout the continuous development and expansion of Hong
Kong’s economic structural transformation with a huge economic progress in the
next three decades.
Figure 1.2 (Lcsd.gov.hk. 2019) Chinese Opera
Performance in the era of 1950s.
In addition, Chinese Opera is another big part of traditional culture which has been
being slowly extinguished throughout the era. During the 1950s, Chinese Opera was
the very main entertainment in town, mainly taken place at the Sunbeam Theatre or
the contemporary scaffolding stages. (Angela. Lo. Albert. Li. 2003) The act
incorporated in various forms in performing arts, such as music, singing, dancing,
acrobatics and dramas with wide ranges of material arts, masks, hairstyle set-up,
stage design and literary art forms in the traditional style of Xiqu. The approaches to
Chinese opera are deductive and celebrate our dedication to the Chinese gods. (Kuo-
Lin. 1995) The traditional Chinese opera and their performance were deep in the
heart of audience whether the stage effects, the performance, the sound and
lightings, clothing, make up, or the decorations or even the smell of smokes and
burning foods at the performance places. (Tan Gudnason. Gong. 2001) They have given the common ground and shared interests to the early Hong Kong society widespread.
Living in this modern era of media, there are cult of distraction including various city
attractions, social medias and events. “Modernity” involved an intensification of the
nervous stimulation. It transformed in both the physiological and psychological
features of modern urban culture. (Benjamin. 2005) According to Blasé, urban
dwellers possess the outlook of indifference towards the values that distinguish
things. (Defazio. 2016) For instance, the beauty of traditional Chinese Opera has been
slowly devalued by the new generation. In which, it is not a secret that Xiqu became
a big part of the materials of the haunts. (Angela. Lo. Albert. Li. 2003) The Chinese
Opera transformed to the rituals for sacrifices the Chinese gods or exorcism instead
of entertainment. The public shows only run a few times on the Chinese festivals
including the Chinese new years, the dragon boat festival, Spring festival, the Tombsweeping
Day, the double ninth festival, the Yue Lan Festival, or the Birthday of Buddha and Tin Hau. (Kuo-Lin. 1995) Even though the tactility of Chinese Opera still existed in today’s Hong Kong society, the lack of aura of its objectivity could never be reproduced within the collective memories that belongs to the 50’s Hong Kong dwellers.
Figure 1.3. am730. (2019). The factory girls working in Hong Kong during
the period of 1960s.
1960s’ Feminism & Capitalism
To the presence generation, the aura of Hong Kong begin to shine during the early
60s. As the majority of male workers are at the role of trading business and rising
buildings, many female labours started their industrial career at manufactures and
factories on stitching and business of producing wigs, garments, batteries or “rubber
flowers”. See figure 2. Everyone could fitted in to the jobs without training or any
qualification. Age and gender was not a matter either. (Lin. Ho. 1980) The rule is the
longer people work in the production, the better money they can earn. Despite social
discontent and labor disputes are spreading among the poorly paid workforce. The
work places served as the educational hubs. A large number of women, young girls
and child celebrate their new careers start-up within the manufacture industry.
(Brown. Vernon. 1983) They all shared the same goals - work for themselves, their
family and the society. Women working at factories became an extremely popular
trend along with the Celebrity endorsement and effects by the song “Long Live
Factory Girls” sung by Connie Chan-Po-Chu. Production and labours became the
capital of Hong Kong’s economic structural transformation and its influence to its
urban culture. Hong Kong labours compensated their close relationship within the
community. Which has brought up the huge impact and phenomenon of capitalist
oriented business for both genders strived for sexual equality in the early Hong
Kong. (Cheung. 1989) This is perhaps one of the factor that help to break through the
traditional Chinese family notion that lead to the era of women’s independence
living in the capitalist society today.
To a certain extent, the image of "The Factory Girls" has had a tremendous impact on
the Hong Kong workforce with an indomitable spirit. (Brown. Vernon. 1983) In
comparison to the old Chinese culture when traditional Chinese females were not
allowed to go to school, or not meant to work for others in full time. This “new”
capitalist system has changed women’s value of workforce. (Cheung. 1989) Our
traditional consciousness of “Woman stay at home” with the Chinese concept of
“Confucius” has been distorted inspired by the early feminism and the feminist
liberation movement. (Roberts. Westad. 2017) Women nowadays take cares of the
family while working equally as men for the society with a full commitment.
Followed by the governance of Great Britain, Hong Kong has transformed to a
society where everyone has the freedom of speech, where Hong Kong citizen
improvised the contribution spirit with full of rights, responsibility and obligation.
(Meyer. 2000) The aura of Hong Kong 1960’s grant the power of unity within the
communities. The conviction of audacity, persistence and endeavours. This spirit,
motivation and belief which are the three “Tactical” ingredients that have improvised
city’s memories of the presence Hong Kong metropolitans. The positive attitude
“gung-ho” which has given Hong Kong metropolitans the spirit of endeavours to
reach incredible levels of success. (King. 2006)
The Emerging Street Culture
The industrial districts such as Kwun Tong, Sham Shui Po and To Kwa Wan during
the 1960s have turned into prosperous streets where the emerging street markets,
restaurants, cinemas and shops were built around in those areas. Many people came
along to those places to sell street foods such as Zhagui and Rice Noodle Roll to the
workers. All the street stalls, markets, restaurants, boutiques and the free
participation of the population that formed the features of the street culture and
Hong Kong food culture without a deliberate arrangement. (Leeming. 1977) People
from all around the city gathered in certain street districts for leisures and works. As
a panorama, the booming city multiplies in illuminated neon signs, miscellaneous
amount of lights and the very crowded street markets. (Fan. 1999) See figure 3. It is
not surprise to hear a lot of bargains, as many people negotiated the price with those
merchants or traders on street. Besides, it was also very common for the peddler or
Figure 1.4. (hkmemory.org. 2019). Hong Kong Shai Hai Street around
1950s to 1970s. The street traders to shout the name of the goods that they were selling in order to
attract the attention of the masses. (Hsieh. Leeming. 1979) The overwhelming of neon
signs, lights and noise which has formed the tactual part of cultural characters of
Hong Kong street culture.
In fact, street culture reflects the most realistic part and the authenticity of Hong
Kong’s early urban culture. This is due to the fact that the formation of the streets
were constructed completely in natural. (Hsieh. Leeming. 1979) In other words, the
street districts were unplanned and the development of the street were not taken in
control by the government or the organisational authorities before the estate and
financial industry were taken over place. All the street stores run at discretion
without licenses. There was no restricted rules. It was all about “feel free to walk
freely”. There are numerous of distinctive streets in the city that has carried this
particular atmospheres that reflects Hong Kong urban culture. (Leeming. 1977) Such
as the Temple street, Quebec street, Wedding Post Street, Ladies Street, Bird street,
Ap Liu Street, Jade Street or the Sneaker Street. The characteristics of the street were
entirely out of the cultural soil of Hong Kong. As these natural cultural atmospheres
and its effect that could never be achieved by deliberately managed urban planning.
As all these streets including the buildings carried the most truthful and precious
memories of Hong Kong. The aura of the city atmospheres could never be
reproduced or to replaced again.
The era of ‘Pearl of the Orient’
Reflecting on Hong Kong capitalism and high consumer demand for housing and
property - The "high land prices policy" suggested to be one of the main factors
affected the degradation of the urban environment of Hong Kong city. There were a
large amount of industrial factories had moved northward to mainland China at that
time. Which has brought up a huge impact of structural unemployment to the Hong
Kong's industrial sectors. (Wong. 2015) The majority of industrialists have turned to
invest in the real estate sectors. The government highly invested to boost Hong
Kong’s economy through the consumption power of foreigns and continental
tourists within the tourism industry. Along with the trading and development of
investment banking which have also energised Hong Kong became the international
financial city. (Hazell. 1968)
It can be said that Hong Kong was gloriously titled with “the pearl of the orient”
along with the continuity of Hong Kong’s structural transformation and economic
development during the 70s, 80s and 90s. It was one of the most magical place in
Asia that offered full of possibilities, opportunities with fertile ground for
entrepreneurs. (MacGregor. 1997) The government advocates that there is a need to
create more tourist attractions, that to mitigate the excessive regulation of Hong
Kong’s public space for the purpose to empower Hong Kong tourism development.
(Ltd. 1999) Indeed, the tourism development of Hong Kong have achieved an
incredibly success as the city has been particularly well-known for “Food Paradise”
and “Shopping Paradise”. The whole city development offered full of vitality. The
variety of cultural features offered a rich quality of urban development possibilities
at that three decades. Every shops and streets were full of gimmicks. (Tsang. 2005)
There were iconic neon signs with huge printed Chinese characters of the name of
shops all over the streets. See Figure 1.6. (Blue Lotus Gallery. 2019) The city
panorama and composition of the streets layout with full of colourful neon signs and
thousand of layers, and every streets have had the different themes. Such as the bird
streets that are integrated with the majority of bird shops. Or the Temple street was
somewhere that people could go and asked for divination and fortune telling.
(MacGregor. 1997) Hong Kong was a place that is hardly to get bored of. Whereas,
the whole city expanded way too pressing. The fish village reached to a population
of a total 5 Million in 1980s only within three years after the second world war. As
urbanisation and skyscrapers continue to grow massively in our cities, our space
constraints not only push buildings closer together, but also upward development.
Which makes the urban scale of high density in Hong Kong. The city and its urban
environment has been non-stop transforming everyday with its metropolis and the
mental life in the era of the developing Hong Kong. (Mottershead. 2004)
Nonetheless, the aura of Hong Kong has actually begun to extinguished since Hong
Kong development has reached to the pit of prosperity. Not because of the economic
development nor the political factors, but the unique cultural characteristics and
authenticity that was only belongs to Hong Kong.
Figure. 1.6. (Atlas Obscura. 2019) Hong Kong Kowloon district at
the time in 1980s to 1990s.
Reminiscence of the loss of space
Speaking of the authenticity of Hong Kong, it is hard not to mention the dark side of
the city since many things were unrestricted at that time. Given an example, The
Kowloon Walled City was famous for a largely ungoverned district that was full of
criminal activities. There were many rumours about this area such as the city was
taken controlled by the Criminal Organisation. Where the opium dens, heroin stands,
Figure. 1.6. (Atlas Obscura. 2019) Hong Kong Kowloon district at
the time in 1980s to 1990s.(Smart. 2006) On the other
hand, there are also a great amount of comment reviewed by people who claimed
themselves as the former resident of the Kowloon walled city. "People who lived
there were always loyal to each other. In the Walled City, the sunshine always
followed the rain.” The overall comments mainly pointed out that even though
people were poor but they were very happy during the time living in the Kowloon
Walled City. (Harter. 2000) Most of the people get along with each other really well
and have had a close relationships with their neighbourhoods. Might not everyone
be friendly or amiable, but it was much easier to understand each other without any
barriers. The dwellers build up deep impressions and strong connection with their
neighbours and that they do not classified each others with multiple social standards.
It was more about interpersonal relationships in terms of emotions and susceptibility
within the communities. (Fraser. Li. 2017) The solicitude between neighbours and
neighbours are the most valuable shared memories to the former residence of the
Walled City.
Cultural Heritage of Kowloon and City
Henceforth, the Kowloon walled city ended up demolished by the government after
a several attempts until the late 1980s. As the Kowloon walled city was replaced by
the Kowloon city, which is now known as the area of “Kowloon”. (Smart. 2006) As a
matter of fact, no one ever could imagine or to fully understand how is it really like
living in somewhere like “The city of darkness”. Except the dwellers who actually
lived in that area and be wised to the true story and real history. (Harter. 2000) After
the dismantlement of the Walled City, the community have also been disintegrated.
Yet, the spirit of its community remains as part of their most precious memories
despite they have moved to different part of the city or another places in the world.
Not only the Kowloon Walled City, but also the whole living experience and the
relationships and connections to their former neighbourhoods. The memories of the
Kowloon that they shared could not be deliver to the new generation anymore. As
that particular atmosphere is no longer existed in this society. (Lim. 2002)
When it comes to the shared memories, the Kowloon Walled City was much more
than about criminals. For instance, there was a long period before Kai Tak airport
was demolished. (Sung. 2005) Former dwellers who based in Kowloon, especially
those former residents must have remembered those time when the planes flew
through the gap between buildings. When people got on the roof to watch the planes
flew only a certain distance above them before the plane landed on Kai Tak Airport.
Its attitude was so close to the city centre and that the noise they made were
ridiculously disturbing. The planes were extremely noisy. The emotion of watching
the landing was either excited or trembled with fears. (Lim. 2002) The Kai Tak
Airport has no chance but to demolish in 1998 since it rose a serious safety issues to
the cities. Nevertheless, this appropriation brought up a real tactical experience
regarding to the memories of Hong Kong Kowloon. (Harter. 2000) The noise of the
plane which have given them this “Shocked” feelings was part of their collective
urban memory. According to Baudelaire “The price for which sensation of the
modern age may be had the disintegration of the aura and the experience of shock.”
In the case of Kai Tak Airport, the disturbing sounds and that “shocking”
atmosphere was part of the cultural characteristic of the Hong Kong Kowloon’s
culture. (Sung. 2005) At which, Hong Kong city dwellers however have trained
themselves to always be alert but also have their shields of mediation raised to cope
with the environment. The “shock” of Kai Tak as well as the adoption of its city
culture at that time was unique to Hong Kong and the metropolis living in the age of
city Kowloon. (Harter. 2000)
Figure 1.7. (andyyeungphotography.com. 2019) The project
“Urban Jungle” with a series of photographs produced by Andy
Yeung. Hong Kong artist.
Urban Scale and High Density
Living in 2018, the atmospheres of the streets are incomparable to the traditional
Hong Kong street culture. The excessive government intervention which have
impaired the development of the aura of Hong Kong. Hong Kong’s urban landscape
has undergone profound changes under the intervention of the government, estates
and the authorities of the organisation over the past few decades. (Meyer. 2000) This
leads to reconstruction of the old quarter, urban development, tourism development
and other urban projects that found by the large institution. Critics have drawn
attention to the administrative intervention of the re-construction of the city space.
(Yeh. 1987) That Hong Kong is losing its uniqueness and features as traces of historic
buildings that were demolished. As this is due to the fact that the commercial and
residential units that have built large numbers of new skyscrapers, buildings and
malls that will often whittled down the Hong Kong city and its urban space. At
which, this is transforming the city’s memory by reproducing the city’s appearance
in Hong Kong. However, the overloaded reconstruction projects will only undermine
the cultural characteristic of the urban features, and lead to a distortion of the city
spirit behind Hong Kong metropolitans. (Lim. 2002)
No doubts, Hong Kong is a place where is densely populated. The more tourist
attraction that had built the more streets and natural features of Hong Kong that will
have to variance. There were a high number of streets had taken by large commercial
establishments in various reconstruction projects as to rebuild large residential
estates and shopping centres. (Heritage conservation in Hong Kong. 1990) The loss of
street were substituted by various malls and new skyscrapers that are with different
outlooks but the very similar intervals. For instance, apart from the composition of
the location or the bathroom, the principle of the boutiques and restaurants do not
share much different. It is like a series of shopping malls that are lack of personality
and vitality. Which are the same type of common boutiques in any other consumer
spaces all over the world. It is the mass ornament and the cult of distraction,
according to Siegfried Kracauer. (MacGregor. 1997) He views the city through the
notion of ornament and condition of the subjective experience of city life by viewing
fragments of the city, such as the numbers of amusement parks, theatres or the malls
as urban microcosms. For Kracauer, the city is a filled with a milieu of distractions.
To apply his concept in our discussion above, the overloaded shopping malls
appears to be the distraction of urban development in Hong Kong urban culture in
terms of ornaments. All this new shopping malls seems to replace features of the
streets by the overloaded “Indoor bridges” cross around the numerous of Shopping
centres. “Indoor” seems to be the new phenomenon of Hong Kong city development.
(Shiqiao. 2013)
The Reproduction of Urban Features
Given an example, the former Hong Kong government Donald Tsang announced to
the new urban development project of West Kowloon Cultural District with the vast
cover of the entire area followed by the “1998 Hong Kong Chief Executive's Report”.
(Commission. 1998) The main idea was to build an artistic and stylish venue that
integrates a series of world-class culture, art, fashion, consumption and mass
entertainment. The government aimed to create a whole new cultural monument to
make up the Hong Kong city with the title of “The international artistic and
intercultural metropolis”. (Raco. Gilliam. 2012) By making use of the new
Guangzhou–Shenzhen–Hong Kong Express Rail in the West Kowloon District, the
government hope to strengthen the relationship between Hong Kong metropolitans
and the continental tourists from mainland China. See figure 1.8. The majority of new
buildings in West Kowloon District have invited a large number of internationally
renowned architects in participation in the multiple minimalist design projects. Most
of these new features of architectures applied with the Bauhaus style -
“minimalistic”, “Simple”, “Functional”. The intention is to establish numerous
internationally renowned architectures that will help to boost a high international
Figure 1.8. (AECOM. 2019) A design image of the new Guangzhou–Shenzhen–Hong Kong Express Rail in the West Kowloon District recognition of Hong Kong tourism and multiculturalism. (Abby. 2008) In
consequence, along with the huge controversy of the unnecessary overhead
expenditure and unrealistic urban features, the proposal was discarded in 2005 and
ended up with the alternative urban projects such as building more shopping malls
and residential buildings. (Raco. Gilliam. 2012)
In recent years, Hong Kong government continuous to clean up the existing culture
in Hong Kong, such as the street culture we mentioned above. Many old street
districts have involved in various reconstruction projects in terms of gentrification.
(Xue. 2016) Finally, the whole Hong Kong might turn to a “cosmopolitan city” where
have built recognised buildings and leisure malls everywhere. However, wouldn’t it
be too naive to imagine that Hong Kong will really become a first class city in Asia
when the entire story and memories of Hong Kong have been eliminated? Would
that really work to replace the unique cultural characteristics of early’s Hong Kong
by a few internationally renowned letters, new bricks and tiles, more and more
indoor leisure activities or even a giant canopy?
Hong Kong is originally a story with full of emotions, and the whole city were
indelibly shaped by the collective spirits in our memories. Helplessly, city
governments, real estate developers, entrepreneurs, community organisers, and the
neighbourhood residents constantly present and debate ideas about how local
history and cultural characters should be utilised to construct our new urban spaces.
(Lim. 2002) The contemporary Hong Kong metropolitans are now in the position
where vast numbers of people live their lives in a forced or chosen context of
collectivity. The next generation of Hong Kong can only reply on media images to
understand the history of Hong Kong and its past. Living in this new era, Hong
Kong, which is "mediated by the media", is only a "legendary" place, and their
historical identity might have been strengthened. (Jack. Chan. 1990) For those who
have not experienced the development of Hong Kong, which is only a story that has
nothing to do with them, not the history of their city. This perhaps is another reason
why the distance between the generation gaps of Hong Kong dwellers is non-stop
getting wider and wider. No matter early Hong Kong culture such as the Chinese
Opera, or the spirit of endeavours so as the “The Factory Girls”, or even the
emerging street cultures. (Tsang. 2005) The aura of Hong Kong and our cultural
identity was also broken by the destruction of its appearance and the disappearance
of historic carriers.
Figure 1.8. (AECOM. 2019) A design image of the new
Guangzhou–Shenzhen–Hong Kong Express Rail in the West
Kowloon District
The Mission of Cultural Preservation
The reproduction of cultural features or rewriting the story of Hong Kong does not
necessary mean the fact that the authorities can silently suppressing our historical
records. It requires the essence of our cultural characters based on theories that focus
on ecology, political and economic factors or cultural industries. (Chen. Szeto. 2015)
Applied with the concept proposed by George Orwell “"whoever controls the past
will control the future, but whoever controls the present will control the past.” The
presence metropolitans possess the wield power to help protecting the original story
and culture through the reinterpretation and comprehensive understanding of the
urban history. (Oring. 2012) As a matter of fact, there is an essential need to raise
awareness to the new generation to help protect the origins story and culture of
Hong Kong. It is necessary to assert the importance of our collective memory in
understanding the real stories behind the creation and usage of urban spaces and city
culture. (Chen. Szeto. 2015) That is, our cities are not only shaped by collective
identities, shared memories, group cultures and local histories, but the urban culture
is nurtured and thriving in a unique soil. (Corning. Schuman. 2015) The urban
landscape of a city and the cultural heritage are developed in such a way as to
preserve the culture and history of the entire city and that to transmit them to the
next generation. (Jack. Chan. 1990)
All in all, the collective memories of a city depends on the authenticity and the spirits
behind its metropolitan culture. The urban dynamics and the combination of cultural
elements which will create the unique cultural characters to born within the urban
environment. (Oring. 2012) As this urban atmosphere will be transformed into
shared stories and collective memories that will only belong to the inhabitants of that
specific place at a given moment. Come back to Peter Ackroyd ideas - “Certain
streets or neighbourhoods carry with them a particular atmosphere over many
generation.” In the case of Hong Kong and its metropolitan, this unique
“atmosphere” perhaps could be referred to the spirit of endeavours and its
community within the early Hong Kong street culture. (Leeming. 1977) Indeed, this
atmosphere have brought up a huge impact over many generation throughout the
era of ‘Pearl of the Orient’. As this idea of collective memory of urban culture is
manifested through the cultural derivation, cultural identities and city fragments
within the society. (Corning. Schuman. 2015) Nonetheless, the overloaded
reproduction and reconstruction of new urban projects with the “Indoor” features,
such as replacing the street district with shopping malls will only damage the unique
characters of Hong Kong urban culture. The city government perhaps should reconsider
the concept of “Gentrification” in terms of urban development, and stop the
devastation of unique urban culture that was once only belongs to Hong Kong. In
addition, it is curial for the new generation of Hong Kong dwellers to reflect the real
problems that we have living in a place under the over-powered city government
and estates authorities. (Meyer. 2000) It requires the participation of the population
and the common construction of the population in order to transform “Spaces” to
“places” and eventually turns it to a “Homeland”. (Cinar. Bender. 2007) To protect
this homeland, it is necessary to convey this message to the next generation of the
Hong Kong metropolitans. The aura of Hong Kong perhaps could never be
reproduced again. However, it is still not too late to preserve the remains cultural
features and our cultural values with the aims to develop our city in rich cultures
that will only belongs to Hong Kong and the metropolitans.
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Media Resources
Resources
Figure 1.1 Grundy, T. (2019). Colourised & Restored Photos of Hong Kong 150 Years Ago.
[online] Hong Wrong. Available at: http://hongwrong.com/hk-150-years-ago/ [Accessed 3
Jan. 2019].
Figure 1.2 Lcsd.gov.hk. (2019). Film Programmes Office - The Double-speared Luk Man-
Lung. [online] Available at: https://www.lcsd.gov.hk/fp/en_US/web/fpo/programmes/
2011mm/film27.html [Accessed 7 Jan. 2019].
Figure 1.3. am730. (2019). ⼯廠妹萬歲 - 特寫 - am730. [online] Available at: https://
www.am730.com.hk/news/%E7%89%B9%E5%AF%AB/
%E5%B7%A5%E5%BB%A0%E5%A6%B9%E8%90%AC%E6%AD%B2-5086 [Accessed 7 Jan.
2019].
Figure 1.4 Hkmemory.org. (2019). The Vanishing Shanghai Street. [online] Available at:
http://www.hkmemory.org/old-shops/en.html [Accessed 7 Jan. 2019].
Figure 1.5. Blue Lotus Gallery. (2019). Keith Macgregor, The Way We Were, pop-up at Usagi.
[online] Available at: https://www.bluelotus-gallery.com/new-events/2018/11/2/keithmacgregor-
the-way-we-were-pop-up-at-usagi [Accessed 6 Jan. 2019].
Figure 1.6. Atlas Obscura. (2019). Remembering Hair-Raising Landings at Hong Kong’s Kai
Tak Airport. [online] Available at: https://www.atlasobscura.com/articles/kai-tak-hongkong-
airport-scary-landing [Accessed 7 Jan. 2019].
Figure 1.7. Andyyeungphotography.com. (2019). Urban Jungle - Andy Yeung. [online]
Available at: https://www.andyyeungphotography.com/UrbanJungle [Accessed 7 Jan.
2019].
Figure 1.8. AECOM. (2019). 投書｜未來城市@天下. 地⼩，讓我們⾛向天空──⾹港蓋起空中
森林 - 未來城市@天下. [online] Available at: https://futurecity.cw.com.tw/article/167
[Accessed 7 Jan. 2019].
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