Newsletter No. 38

CUHK Newsletter No38 January 1993 The addition of a metallic framework covering the four comers of the building also creates a certain degree of shadow- play, constantly changing the tone of the building at different times of the day, so as not to create one single colour that is similar to, or distinctly different from, the non-descript colour of fair-faced concrete in the surrounding. A conservative attempt at 'Postmodernism' and 'Neo-classicism' has also been used rather evasively yet subtly so as to avoid too commercial a feel. ‘The Tin Ka Ping Building looks like a robot,’ some critics claim. Others have likened it to a factory building. Well, the Hong Kong Bank with its turrets looks like a battle ship or even a fishbone as some claim; the Bank of China building like a rocket, and the list is endless. There is a great deal of symbolism in architecture. Although the symbol that the architect uses is to a certain extent personal, it is usually reflected on the outlook of the finished product, but on many an occasion it has been misconstrued or even created by the eye of the beholder. Design capabilities, choice of materials, and the quality of finishing and workmanship meantime depend a lot on the adequacy of capital investment. Compared with most commercial ventures outside, the new developments on campus have achieved reasonably good standards to say the least, considering the meagre resources that one has had to content oneself with. For that, I am full of commendation for my colleagues. The barrage of sniper attacks on the Tin Ka Ping Building from self-proclaimed design critics not only dampens creative attempts but also evokes a sense of hopelessness in creating for a crowd whose comments are unfounded if not merely personal in nature. (Editor's note: The above article has been written in response to a letter to the editor, published in the Chinese version of the CUHK Newsletter in December 1992.) Art Gallery Exhibition on 'Elegant Vessels for the Lofty Pavilion' The Art Gallery will present at its west-wing galleries an exhibition on 'Elegant Vessels for the Lofty Pavilion - The Zande Lou Gift of Porcelain with Studio Marks' from 17th January to 14th March. The exhibition will feature Chinese porcelain of the Ming and Qing periods with studio marks. The core pieces were donated by Zande Lou to the Art Gallery in 1987. The exhibits comprise a great variety of underglaze blue, underglaze red, polychromes and monochromes, etc., mainly the production of Jingdezhen of Jiangxi province. The studio marks - usually inscriptions with dates, good wishes and eulogies — are important primary source materials for research on the identity of the owners or users, and the stylistic evolution of ceramic forms and decorations. Barn Dance Barn dance has become a rather rare activity nowadays, yet members of the University can still have the chance to take part in such dances on campus each year, thanks to the efforts of the Sir Run Run Shaw Hall. This year, the barn dance presented by the Sir Run Run Shaw Hall took place on 16th December. On that evening, participants were pleasantly surprised by the new look of the hall: the front stall seats were cleared to make room for a huge dancing floor, and scarecrows and Western country decorations created a warm and festive ambience. The Junk, the only band around performing music for barn dances, was invited to provide live music on the spot. Among the participants were students, staff members as well as alumni, many of whom have shown up in the annual dance for many times. A ll had an enjoyable time. After the barn dance, the Sir Run Run Shaw Hall w i ll hold a Chinese culture fair — The Fifteenth Night - on 6th February 1993 from 6.00 to 11.00 p.m. There will be games, performances, food stalls, and displays of Chinese lanterns. A ll are welcome. 10