Title

Author(s)

Citation

Issued Date

URL

Rights

Artists village-place (space) for artists in Yau Tong Bay, Yau

Tong

Leung, Lo-ming.; .
Leung, L. []. (1999). Artists village-place (space) for artists
in Yau Tong Bay, Yau Tong. (Thesis). University of Hong Kong,
Pokfulam, Hong Kong SAR. Retrieved from
http://dx.doi.org/10.5353/th_b3198530
1999

http://hdl.handle.net/10722/26522

The author retains all proprietary rights, (such as patent rights)

and the right to use in future works.

Thesis Report 1999/2000

For
Thesis Design Project:

Artist Village

Placeispacel for Artists in Vau Tong Bay, Yau Tong

by

Leung Lo Ming

Artisi Vilisge
Place(SpaceJ for Artists

in Yau Tong Bay, Yaz, Tong

Acknowledgement

Acknowledgement

The author is greatly grateful to all those individuals and organizations who had offered their
assistance, guidance and patient in the preparation of this report, and would like to express her
words of thanks particularly to the following persons, without whose help this study could never
have been completed:-

Mr. Man Wai Ki, Jeff (gallery Coordinator) of OP Fotogallery

Ms Zoe Li (coordinator) of ParalSite art space
Ms Fion Ng (General Manger) of the Videotage

Ms May Fung (artist) of Zum Icosahedron

Mr. Andy Ip ofEdwan Earthasia Ltd.

Special thanks is dedicated to

Mr. R. C. Garcia for acting as my thesis supervisor &

Mr. W J Wang for him generous advices and helping in the development of the thesis
and report.

j____

(v)

r
Q

Department of
Artists Village

PJaceLsp.ce]
for Artists in Yau Tong Bay

Yau Tong
CD
)

LEUNGLoMing

Thesis Jeport

1999/2000

Bachelor of Arts in Archilectural Studies

Master of ArchitecWre
Master of Landscape Architecture
Master of Urban Design

Department Df Architecture The University Df Hong Kong

Pokiulam Road, F-lang Kong . Tel (8521 28592133 . Fax 852l 25596484

M'f

2N

Arti%t Ville
Pf ace j Space! for Arljsts i Yn Tong Bay Yau Tong

Copilepyt

Content
Acknowledgement
Forward
Synopsis
L1.O

Iniroduction
1.10
1.20
1 .30

I .40

2.0

3 .20

3.30

5.0

1-i

p.15

& Field Work

7.20
7.30

p.20

Art'Art-'

Definition. Nature, Reason. Style & Form

Culturc Mainstream vs Alternative Art
I

CaseStudyOl

(Tachelesinilerlin)

Case Study 02
Case Study 03

(Baumann Studio-Gallery, Vienna)

(Mattress Factory, Pittsburgh)

Artist Village (temporary) in Oil Stree, North Point

(Former Government Supplies Department Building)
Visit I Interview with Artists at Oil Stiet
Visit I Interview with Artists at Other Places

Bibliography

p.31

Appendix
7. 1 0

GeneraI Information
Rationale Behind Choice of Site
Site Analysis
Site images
Villages Community

CaseStudy
6.10
6.20
6.30

7.0

P.S

Master Program Components

Relationship Diagram
Schedule of Accommodation

Research

5.10
5.20

Deficiencies
Objectives
Research Methodology
Design Hypothesis
Design Concept

The Site

4.10
4.20
4.30
4.40
4.50

p.1

Tenninology & Definition

Background
Art Trend w Hong Kong
Characteristics ofModern Arts Development of Hong Kong

Design Programming
3.10

L4.o

Architectural Interpretation & Intention

2.10
2.20
2.30
2.40
2.50

3.0

p.391

Artist ViIIgc --

lorward

PlacefSpace/lor i rusts in Yar Tong Bay, Yau Tong

If ......

TO LEON WERT!!
I ask the indulgence of the children who may read this book for dedicating it to
a grown-up. i have a serious reason: he is the best friend I have in the world. I
have another reason: this grown-up understands everything, even books about

children. i have a third reason: he lives in France where he is hungry and cold.

He needs cheering up. If all these reasons are not enough. will dedicate the

book to the child from whom this grown-up grew. All grown-ups were once
children - although few of them remember it. And so I correct my dedication:

TO LEON WERTH
when he was a little boy

is the forward of Le Petit Prince by Antoine de Saint-Exupery. then the following will be the
one of this thesis (report) by its

TO T. C. HO
I ask the indulgence of the artists who may read this thesis for dedicating it to a
layman. i have a serious reason: he is the best friend have in the world. I have

another reason: this layman used to understand life. care about others' lives,
even though he has forgotten in this moment. I have a third reason: he lives in

Hong Kong where he is alone and cold. He needs cheering up. If all these
reasons are not enough, I

will

dedicate the thesis to when he still care about the

quality of life. All were once care. their own life and others - although few of
them remember and still insist. And so I correct my dedication:

TOT.C. HO
when he still cares about the quality of life

Ju:-'

Artist Village --

Place/Spacetfth t rusts in Fou ing Bay. tau long

Synopsis

Synopsis
l'his is a thesis about art, or a place for art. The enquiry of art, especial that of a particular place,
is interesting because it tells us something about the HEART, perhaps the hidden heart, of this
place.

However, there is a general lack of recognition of the importance of the art in the community. For

the general public, art is nothing more than entertainment. One may go to theater for a ballet
performance for leisure, just like go to cinema to enjoy a bubble film show.

Entertaining, of course, is one of the most important elements of art, but there is certainly
something more and deeper in the achievement of art.

In developing the thesis, a 'bottom up" approach is adapted. Before the start of any analysis, or
development of any design concept, the author visits a number of local young artists in Oil Street
as well as in other places in Hong Kong in order to understand their present conditions, needs,
problems and ideal working spaces and so on.
The author believes, by understanding the HEART of these artists as well as their art, more solid
clues for the sequential design could be obtained.
Hopefully, a paradise-like artists' space will be created, both for the artists and the society.

Such an enquiry is also an instructive exercise for understanding the conditions for artistic
creativity in similar high-velocity, high-yield metropolises. Perhaps in spite of itself, Hong Kong
has now become the model city for China, and the problems that beset the creative arts here will
be illuminating for similar new urban centers ofthe future.

Ai1tVIU.grPf ace(Spacej for Arctc in You Tong ay, You Tong

1.0

introduction

1.10

TermInology & Definition

mrothwlion

In this report, some words or expressions could be interpreted as follows.

Artist

-who professes & practices an imaginative art; one skilled none of the fine arts

-the artists to have ...... a distinguished sensibility ...... a unique and private vision of the
world.

-the artist is in many ways like a child. He seems happy, because his life is spontaneous,
yet he is not competent to secure his own good2
-one to live and feel and then to express
--the creative process of an artists is usually a process where passions unfold.3

Village

--a settlement

-an incorporated minor municipality

--place where people share some common characteristics likes origins. beliefs,
surnames, beliefs, religions, interests etc. stay together.

Workshop tSiaceJ

--a small establishment where manufacturing or bandicrafis are earned Out

--where dreams of artists come truth
--place gives/provides ones with great freedom

Read. HE. TheMewthigofAif, FaberandFabr. !972, p33

George Santayana. Reawn in An, Collier Books 1962, p.149
3

Fic Otto Wear, Lisa Chewig. Private Cowieni. Ithlk

w oiththmi m Hou Kow4M &
Docwiintc from the Exkibiaoi RWided E.wosur Hoig Kong Fringe Fcsiival 1997, p.46

Artt Villige PfacejSpacejfor Artisu in }au Tong ay Yau Tong

1.20

nIrod?4ction

Background

Hong Kong is a most unsympathetic piace for ans; arts in Hong Kong have not enjoyed balanced
development over the years. The problem stems from its historical & cultuzal background, social
background and the government's policy.
1.21

Historical & Cultural Background

"Perhaps we frai,

and righlly so, that our character

would

scatter like powder ( we did not pack it into a publicly

approved container."
-Robert Musli, Binoculars

Maybe even from per-historical epoch. "politeness" or "proper behavior' is one of the main
"requirement" from the Chinese towards the others, especially the senior generation towards the
young generation. The Chinese deeply concern al,out doing the right things at the right moment.
or saying the right wonis on the right occasion. No one challenges taboos and there arc already
model answers for everything, one only needs to follow. This cult of "PROPRIETY" greatly
prohibits "Expression" and "Creation" from individual which are the most cnicial elements in art
development.
1.22

Social Background

Hong Kong is cauldron that bubbles and boils with economics wizardry. The Hang Seng Index
and the selling prices of government lands together with the retail prices of residential flats
measure the pulse of a bnstling thriving, intense business climate The most important matter is
the economy and materials, not culture or art.
1.23

Political Background

Unfortunately, the government policies carried out concems mainly on

development of art is not the main theme of the government policy.

the

economic sectors. The

A set of art policies has emerged in 1981, which resulted in the formation of a number of
professional companies; setting up ofthe CounciL for the Perfonning Arts (CFPA). establishment
of the Hong Kong Academy for Performing Arts (HKAPA) in 19M and opening of a series of
theaters and museums including the Hong Kong Arts Center, the Hong Kong Cultural Center and
Hong Kong Museum of Art. Despite these, full development of art within the general public did
not happen.
It

is because the Council is only for 'performing arts" and no similar funding body for

contemporary local visual arts or other alternative arts. Hence this only leads to the development
ofperforming art solely. Also, these institutions are too "high-sounding" as only a minority could
squeeze into the HKAPA. The theaters and museums are too formai to be accessed by the general
public especially the low-income group.

Besides, the museum' s attitude towards local art from the government is not supported by
domestic artists .The opening of the new Hong Kong Museum of Art at the Cultural Center bas

provoked much discussion in the Hong Kong art world, with many artists expressing
dissatisfaction over this matter. Not many local artpieces are suitable for museum, what's
important, not many local arts could be displayed in the museum. They need places [spaces] for
practices before they can reach the 'museum standard".

Artist Villige

Phzc4SpaceJfor Arum in Yaz Tong aj Ion Tong

1.30

nfrothicon

Art Trend in hong Kong

In this section, the development of Hong Kong modernist art for the past half-century is discussed
and introduced as a whole. As this is served as an introduction and background information for
the thesis, only a very brief and general picture is shown and many may be over-simplified by
some means, intentionally OT not. The true picture is certainly somewhat more complicated.
1.31

General Characteristics:

Because of its unique geographical and historical background, the arts developed in Hong Kong

are generally recognized as "Arts between East and West's. The art trend is the process of
"Negotiations with Tradition and Modernity".

The development of art has evolved through spontaneous individual artists movement
spontaneously as well as the government's participation.
1.32

Trend:
Times

Significances/special event:
1960s

In the early years, Cukural life in Hong Kong centered mainly

on various amateur groups and there were few cultural venues
besides the City Hall.

Traditionalists:
Rise ofVisual Ail

'fl most distinct grouping of painters and sculptors to appear

so far in Hong Kong art came to prominence from the 1960s
onwards. This group, which is made up of artists who were
either born in China or had strong links to that country's high
cultural heritage, tended to position their work as a continuation

of the Chinese ink-painting tradition. Lui Shou-kwan is the

earliest ofthesc artists, as well as the best known.
Organization:
Tao Ait Association (which first exhibited in 1968) and the One
Art group (which was formed in 1970) were established.
1970s

The role of the Government in arts development as a

coordinator and catalyst. as well as a provider of the necessary
Government's Role
City Con1cmporazr Dance Company
(CCDC) ws established in 1979 by

privatebody
Rise ofPerfcwming Art

Council for the Perfonning Arts

(CFPA) was estsblithed in 1952

Zuni lcosahedroi was founded in l92 by

private body

Hong Kong Academy ofPerfonning Arts

(1-IKAPA) wa established in 1984

1flffliS1TUCtUft

and a promoter, providing where necessary,

financial or other assistance to nurture budding artists or new art

t'01Th was identified in 1977.
1980s

Under the arts policy laid down by the Executive Council 1981,

a clear set of policy objectives for development of the arts

emerged. The government was to focus on the development of
the performing arts through the expansion of educational and
community participation opportunities. and through partnership
with the Municipal Councils, provide the necessary
1flfrStflICtUIal support in terms of building cultural venues and
offering performance opportunities for the various performing
arts groups.

Artist Village -I'Iacef Space/for Artists in

lau

introduclion

Tong Bay, lau Tong

Significances/special event:

Times

From the Arts Policy Report 1993, the government accepted the

comment from various art groups and visual artists, and

Museum of Art

recognized the limited financial support and promotion that had

been put forward in the visual art field. As a positive response to

opened in 1991

the public feedback, the Government established the Hong

Kong Arts Development Council (HKADC) for the further
development of the arts, including the Iiteraiy, performing,

Hong Kong Cultural Conter

Opened in 1993

visual and film art in Hong Kong.

Set up of the I-long Kong Arts
Development Council

(HKADC)
in 1994

Five Year Plan in 1995

Following a series of consultation with the public and the arts

community, HKADC drew up its first Five-year Strategic Plan
in December 1995 which setting the blueprint for the
development of the arts in the next five years.
Modern artists:

Many modernist artists consciously rejected a concern with the

art of the past, sought to create a break with it in their own

work. For such artists tradition was perceived as a burden.
Anti-museum trend

Viammek, for instance, wrote: "I never go to museums. avoid

their odour, their monotony and severity.
Instalkiiion art artists:

Rise of Installation Ari

Undoubtedly, the most popular art form among Hong Kong's

young artists in the I 990s had been lnstal1ation art". For many
artists in Hong Kong, installation is a great liberation and the
making ofpainting and sculpture suddenly seems old-fashioned.

The popularity of this installation art is, in a way, a natural

outcome of the dramatic rise in the real estate market in the late
I 980s, which simply made it impossible for young artists to

afford their own studio space. Art making became urban

- I

Installation art display from Mr

Keung, at Z+. Oil Street

guerrilla warfare; artists would make art wherever there was an

opportunity and a venue. Utilizing ready-made objects and

working directly on the exhibition sites, the highly flexible
character of installation art resolved the critical space problem.
Organization:

Para/site (which was found in I 996) and other individual

installation art artists like Mr. Kum Chi Keung. Mr. Ha Bik
Chuen.

Opening ofthe Kwai Tsing Theatre

Nov. 1999

(IL)

Yuen Long Theatre

te completed by 2000)

Main media:
Ready-mades materials ofany kinds, forms and shapes.

Artist Village --

PlacefSpace/for .1rtistc in lau Tung Bay. lau Tong

1.40

Introduction

Characteristics of Modern Arts Development of Hong Kong

Anti-Museum Trend-

1.41

Result from the Site-Specificit' in Recent Art

Traditionally, museums tend to present themselves as neutral
containers for art. Paintings, photos and sculptures are displayed
against bare white walls with proper lighting. An even, regular
spacing prevails, an isolation of objects from one another, as
Purity

well as from life.

Even performance could be happened in most of the standard

theaters and actually "theater" is the museum for performing art.

Painters and sculptors. as well as dancers and performers then

tend to be created with no place in mind. with an obliviousness
to what is happening outside their frame and all these artworks
are suitable for displaying in the museums.

The museum. in order to fit, and to be fit, for most of the

potential displays, so often presents itself as a qualityless,
Museum

non-space. rather than as the historically specific kind of

siteor frame forati it is.

neutral

This kind of non-space characteristics of museum discourages

development of certain art. A desire/trend to escape from the
museum space and create in the environment became popular
since I 960s in the world and since I 980s in Hong Kong. The
rise ofthis trend is due to:
I.

Artists felt that by finding new sites for art they could
establish a new role and relevance for art.

2.

Art would survive in the contemporary world by

"ENGAGEMENr', rather than by withdrawal int

hermetic "PURITY"
3.

There are many ways in which a work of art can be

said to have a special relationship to a particular place.

In short, special sites with certain qualities would

certainly stimulate
PASSIONS.

the

artists

with

encouraging

4.

Place outsides museum provides the artists with great

freedom" that never been enjoyed by them before.

5.

The rise in the popularity of installation art which is

extremely site-specific when compare with any other
style I form of arts that ever exist in the history. The
workplace of installation art is in fact the display area
of it!

o.

Some of the modern arts are not suitable for, or even

could not be displayed in the museums, the earthwork.
for instance.

Artist Village
Place/Space/for 1 rusts in lau Tong Bay. lau Tong

1.42

Introduction

The Zuni IcosahedronAlternative performing art group in HK

Vision:

The slage should be a place you feel able lo

touch, and not

Itrict&fturii's past performance:

fusi relaie lo in fantasy.

-1)anny Yung.

t
Zuni s art istic founder & Director

The Romance of the Rock 987

Zuni icosahedron is one of the major features of the Hong Kong

Cultural Periphery. Founded in 1982, they have been a vital

force on the locai scene.

Even they arc being labeled as "minimalist", "structuralist".

"post-modern". surrealist" and avant-garde". Zuni deserves and
defies these description.

They embed themselves in the life of the community. They

produce works addressing issues of politics and voice "minority
interests" like women and gay rights. in the territory.
The Decameron 1988

Also, they set out to defend Hong Kong's self-image against the
cultural domination of China and the West. They are in fact of
"Hong Kong Context", creating art of our own.
Zuni's performance pieces combine dance and theater.

The use of everyday movements in place of a specialized

The Deep Structure of
Chinese Culture 1990

vocabulary of steps taken from the resources of formal dance is

certainly a hallmark of Zuni's, and is best viewed as stemming

from their concern to demystify the stage. Not only does it

J

widen access to the stage for performers but also it enables the

audience to think of the stage as a place that they too might

occupy.

Zuni often draw attention to the stage and its conventions and a
deconstructive impulse is al work here, a desire to be explicit

about the constraints, the parameters within which they are

Two or Three Things Events
of no Significance. Hong Kong
1995

operating.

The setting of stage for the performances of Zuni is simple.

Non-narrative fragments which are repetitions of opaquely
similar images, gestures and words, which tend to be more
visual than verbal. are the main strategy.

Zuni's productions suggest arenas of social knowledge and

feeling.
Feeding the Hungry Ghosts 996

Journey to the East '97 997

Ari Ist %illige

introduction

Place/Space//or 4rlisLc in }au Tong Bay. au Tong

1.43

The Para/SiteAlternative installation ari group in 11K

Vision:
The Para/Site aims at promoting contemporary

ari which is response io a specific space and

time.
I-1appening

in Para/Site

Para-Site is a non-profit art space founded by seven local young

artists in the beginning of 1996; it was temporarily located in
Kennedy Town for a four-month project called Artists-inWestern". They have moved to this site in April 1997. The main
aim of Para/Site is to extend the artistic possibilities of visual

mediums to a multi-media art form. With various special

projects organized by different guest curators and artists, a new
vision of l-1K visual arts could be projected.

Parallel with the rise in the popularity of "Installation Art'

among the local young artists in the past two decades. Para/Site
exists as a response to:

the limitation of the development of local visual

arts scene

I k o Hong K mg I

the restriction of conventional exhibition and

workshop space in Hong Kong.

Instead of being labeled as avant garde. contemporary. modern

(or postmodem). . . Para/Site strives to construct a narrative of

local arts in order to promote dialogues between various forms

of art, in opposite to anything regarded as old-fashioned.

conservative or traditional.

The program of Para/Site is mainly divided into two parts:

CREATION & CRITICiSM".

Creation:

Young local artists are encouraged to produce quality new

works in Para/Site as part of the development of contemporary
Hong Kong art.

Within the 150 m2 shop space. the young artists could do

whatever they like. to express their own idea. Different ideas.
materials. colours, forms or styles are applied without any hard
lines restrictions.
Criticism:

They try to address the issues of limited communications among

artists and between artists and audience. Open forum and

publications are organized to arise art discussion atmosphere
and public's attention.

Different atmospheres are created

in the same places

The Para/Site serves as an experimental space for 'training'.

'practicing", "sharing' and "displaying" for the young local
artists and general public.

Artist Villige-

PhzcefSpQceJfor Artisis in Yau Tong ay You Tong

Archileciural Inferpreia ion & nieniion

2.0

Architectural Interpretation & Intention

2.10

Deficiencies

2.11

GeneraI Lack of Public Concerns in the Importance of Art to Society

1-Long Kong is at a critical moment in its history. The speed and scope of social, economic,
political and technological change is breathtaking. The arts are a part of that change.
The arts serve a number of key purposes in our community. They educate. enhance our capacity
for learning, and improve the quality of life.
However, there is a general lack of recognition of the important of the arts in the community. This

problem is partly cultural, partly historical and partly the result of a lack of properly planned
promotional activities, of which are already been discussed in the previous section.

Under/Unbalance Development of Arts

2.12

The arts in Hong Kong have not enjoyed balanced development over the years. Before 1980s, art
development was not supported by the government at all. Even a series of art policies have been
carned out by the government since I 981, the focus is mainly on performance art. Other arts.
especially alternative arts, have difilculties thriving and developing under such prejudice.

213

Mis-Defined Role of Art Museums & theaters

Although the government continuously puts effort in supporting the development of art in Hong
Kong, the result is still disappointing and frustrating. One of the reasons is the government has
mis-defined the role ofart venues in the course ofthe development of arts.
the past two decades. over a dozen

'

uciiow 01

FW4AL PROOtICTS 05
(el.

nsc.I)

-\.

mur1c

?)

04

of art museums and theaters are built by

the government as a means to "promote
art". However. these venues are for the
"final products" only, which is in the fmal
stage of the art development course. There
is no institution for art education and art
wodshnp/studio place.
Even there is the Hong Kong Academy of
Performing Arts; it is the only government
inStitution for applied art in Hong Kong.
Also, it is for performing art only and no
other similar institution for visual arts or
other alternative art.

Art development modcl

2.14

Inadequate Academic Facilities

Further to 2.13, another deficiency for art development in Hong Kong is inadequate academic
facilities. According to the art deveiopment model, education is one of the main elements in
developing a particular art form, style and artpiece. However, apart from the 1{KAPA, there is no
other government institution for other applied art like visual art and installation art.
The two universities in Hong Kong bave courses for fine art studies but the main emphasis is on
history, theory and interpretation of art. Unswprisingly, the pace of art development, especially
that of alternative arts is extremely slow.

Artist Village-

Place/Space/for Artists n You Tong Bay, You Tong

2.15

Architectural

interpretation & Intention

Limitation of the Present Art Venues

Under-provision of the ari venues

Provision of Museum fart venues

lop /1000

401)

Although our government continuously puts effort in

supporting the development of art in Hong Kong and
investigate hugh sum of money in building the theaters at
Kwai Tsing and Yuen Long respectively (Each of them cost
$4 billions!), the result is still disappointing. For example,
when compare with other countries, Hong Kong still has a
extremely high population to museum /art venues ratios.

30)
304)

250
2011

Obviously, the provision of art venues in tenn of quantity by

the government is serious not sufficient when compare with
the huge population size.

ISO
lOO

40

-'

ii

Lack of variation in the forms of the art venues

The art venues provided by the government are of similar

nature---the museum-like environment. However, this type of

non-space is just suitable for displaying some ordinary

paintings and sculptures. A lot of artpieces like earthwork
and installation art as well as multi-media art could not be
"displayed" in this non-space.

Consequently, modern art works being displayed in

"strange" place is vety common under such circumstance.

In order to solve such deficiencies, other spaces for these arts

should be provided.
held in Sam Tung Uk Museum
(a historical building)?

iii

Lack ofFlexibility ofihe Art Venues

Another deficiency of the present museum-type art venues is lack of flexibility. Being designed
with solid enclosure, with professional lighting and air-conditioning systems together with pre-set
opening hours, the artists need to make their artpieces "fit" to be displayed there. For examples,
the height of the exhibits could not exist the headroom of the venue. Also, one could not repaint
the whole museum or demolish a partition wall for a special exhibition.

Some modem art forms such as land art and earthwork, which require open space and great
freedom could not be displayed in museum at all!

In addition to museum, other fonns/types of art venues should be developed in order to promote
full development ofvarious art forms and types in Hong Kong.

Artist VilkgeP!acefSpcicej for Artists in

2.16

io

u Tong Hay lau Tong

Archftec&ral inWrpretation & Inlention

Isolated Nature of the Art Venues

May be it is not the intention of the government but the inherent isolated nature of the art venues
in Hong Kong stretches the distance between art and public.

Our government takes art venues as icons of success in art and culture, sometimes may also
technology development. The government builds very expensive/high-tech theaters and displays
the artpieces in some grand buildings, museums and centers to promote art culture in Hong Kong.
Conversely these grand entrances, cool white bare walls and the sickbay-like clean, silent and
tidiness do not promote friendly environment which in fact ai discouraging the general public
(especially for the low income group of the society) from getting in.
2.17

Lack of Focal Point for Local Artists

Hong Kong art culture is dominated by its "underground" nature and the artists arc somehow
called the "secret artists". There is no dominant art scene or central art organization in Hong
KoDg. Most of the art groups are founded by individuals spontaneously. They squatter anywhere
within the territory, mostly in the deteriorated industriallcommercial buildings in Kwai Chung,
Kwun Tong and the city periphery.

spontaneous artist village formed in the Former Government Supplies Department Building
at Oil Street, North Point is a good start, at least this is already made some artists "visible" and
arouse public attention. However, the artists are forced to leave the Oil Street before February of
2000 and this valuable focal point is relinquished.
The

Artist

iIhge

PIaee/Spaee/f, Ir/isis in Fou Tong Bay. }au Tong

2.20

Architeciural Interprelalion

Inienzion

Objectives
l'o set up a focal point for the local artists,

To set up the artist village in Hong Kong help address the existing deficiencies
of art (especially alternative art) development in Hong Kong.

To achieve a more balanced development of alternative arts, that is the visual

arts, performing art and installation art in Hong Kong.

To promote the importance of art and arise both public and government
attention towards the development of alternative art.

To provide studios/workplace [space] for the local young artists with great
freedom and accessibility and a place with great pleasure for the public to
understand and enjoy arts.

To set up a sustain art atmosphere in the sense that the three basic elements of

the art development course model---place for education. practices and final
products are happened in the village.

EDUCATION-To promote art education in the village by:

i

ii

Promoting interactions among artists. and even the general public as a

means ofactivc art education for the young artists and the public.

Providing a space which enhance the opportunity for stimulation.

inspiration and conception, that is the passive art education.

PRACTICES-To promote art practices in the village by:

-To provide place[spacel in the village for the artists to practice" and
"create" art.
FINAL PRODUCTS-To promote occasions for art final products in the village
by:

-To provide exhibition, display and performing venues for the

modernlalternativc arts, including indoor or outdoor areas.
2.30

Research Methodology

In order to have a comprehensive analysis, both primary and secondary data is collected in
composing the report.

At the very beginning ofcomposing the report. a bottom up design approach is already adopted. A
series ofvisits/interview with local young artists, as well as the art places are conducted. Through

understanding the potential users' rationales. beliefs, theories and needs. the direction and
findings of the thesis are confirmed and reinforced. All these visits/interviews have been
concluded Sessions 1, 2 & 3 and the Appendix.

Information from books, journals and brochures is obtained. All these have been list out in
bibliography.

Artist ViItage
Place! SpaceJ for Art/sir in Tau Tong Uay You Tong

2.40

Architectural Inierpretation & Intention

Design Hypothesis

Hypothesis 01
I

Development of Art

education

practice + exhibition

As stated before, the full development of a particular art form or style could only be achieved by a

combined process of repeating edueation, practice and exhibition. Without even one of them
would certainly undermine the development.

Hypothesis 02
Visual art;
Performing art;
Installation art

Alternative arts

There are countless alternative art forms exist in Hong Kong such as multi-media, films, video
and so on. Among them, the visual art, performing art and installation art are the most popular and
common but there is seriously lack of place[space] for these art forms in Hong Kong. For the
purpose of this thesis. the scope of the alternative arts is limited to visual art, performing art and
installation art.
Within the three art forms,

Visual art
Performing art

(mainly) Paintings. photographs & Sculptures

Installation art

(mainly) Music/Band, small scale dramas, modem dance....

(mainly) Indoor installation, land art and earth work

Hypothesis 03

Gathering place of people with similar faiths

Artist Village

residential

(beliefin art)
The propose artist village is a place[space] for the artists to gather, practice and sharing as well as
for the public to understand and enjoy arts. Housing the artists is beyond the scope ofthe thesis.

Hypothesis 04
Artist Village

Village

Low-rise

Despite being under the OZP the proposed site is scheduled within the CDA zone but the idea of
the "Village Type Development" is adapted as a coherent with the nearby Lei Yue Mus Village
and Yau Tong Industrial Village.

Ar*is1VitIge

Architeciural Interpretation & Intention

P&zce(Spacej for Artists in Yau Tong Bay, Yan Tong

Hypothess 05
I

Social-egaed art

Workspace

Exhibition / Performing space

maybe?

The boundary between the workspace [study & practismg space] and the exhibition/performing is
blurred.

Visual art is no longer necessary to be displayed in formal gallery/museum while performance

need not be happened in grand theater.
Workspace for installation art is actually the exhibition space.

Hypothesis 06
I Artworks only make sense when they are internreted

Exhibition + feedback

Traditional museums and galleries just displayed the artworks and let them to the spectators. No
feedback and interaction from the spectators is expected. Under such practices the development

of a particular art form is extremely low and painful as the artists are tried and improved
themselves by errors.

In the thesis, a concept of interaction among the artists, as well as the public is introduced based
on the assumption that artworks only make sense when they are interpreted.

Hypothesis 07
L

Mgingf art & life

artists

Spectators

maybe?

The roles of artists and spectators are blurred. Ideally, the spectators could take parts in the art
activities. At least, the spectators could come in touch with the artists, sharing their feelings and
attitudes on the artpieces. Likewise. the artists themselves could be the spectators ofthe other.

Artht Village

14

PaceJSpticejforArtL

2.50

in You Tong Roy, You Tong

Architectural Interpretation &

!nlention

Design Concept

Reasoning:

are

Artists in Oil Street are

permitted within the site for

forced to leave there at

early 2000

Temporary

uses

a duration of 5-10 years

Modern art forms (visual art,

performing art & installation
art) required great flexibility

Processing:

Rapid assembly structure is preferred

Flexible structure
is preferred

because of the time constraint

Resultant:

R2pid assembly prefabricated structure (with modular system)

which provided great flexibility is adapted
Duration
partitioning:
Relatively

prmanence

Relatively

temporary

structure

structure

(niay last for 10 years) for

(may last for a few months

or years) for relative

relative permanence uses.

e.g.

-formal gathering place,

-caf /pub.

Temporary structure

temporary uses,

( may just last for a few weeks

to a month) for temporary
uses

e.g.

e.g.

-informal
performing
place[space)
for those
required greater flexibility,

-display or performing area for

a special function or festival,

-display or performing area

-workplace[space] for those
required less flexibility,

-workplace[space] for those

required greater flexibility,

required
extremely
flexibility,

-others

-others

-temporary exhibition venues

-others

A successful artist village is created

high

Artist Vi113ge-

Placeispiwe/for Artists in You l'ong Bq You Tong

3.0

Dcsiwi Programmina

3.10

Master Program Components

Design Programming

Based on the design concept and hypothesis discussed in the previous sections, the major master
program components are concluded as follows.
3.11

Workspace

Different workspaees are provided for perfomiing art, visual art and installation art
respectively. These workspaces serve as working studios for visual art and installation
art artists and rehearsal places for performers. Also, the planes could also serve as the
informal exhibitions and performing venues as well as gathering and sharing places.
3.12

Formal Exhibition Gallery & Theater

Formal exhibition venues and performing theaters are provided within the village, both

open-air and indoor. The word "formal" is used in the sense that rather permanent
structures will be designed and constant events will be held there, unlike that of
individuai workspace. New types of venues for the modem alternative art forms will be
deliberated and traditional museum-like venues or grand theaters are not projected.
3.13

Sharing Place
Art sharing plane is one of the main components of the main program as interaction and
sharing among artists as well as public is strong encourage.
Small and large, formal and informal sharing places are planned for different users.

3.14

Pub/Caf
Pub/caf provides the artists and the public with space of expression, gathering. sharing
and enjoying. Also, it is a place for refreshment.

3.15

Shop/Retail

The shop/retail provides mean of financial support to the local artists settled at the
village.

3.16

Functions areas
This refers to the necessaiy spaces for the running of the whole village comfortably -Entrance, reception area, waiting area, administration area, circulation, linkage, carpark
etc.

Artist VilLage

Design Programming

PlacefSpaceJ for Artists in Yau Tong Bay. lau Tong

3.20

Relationship Diagram

Base on the hypothesis and the master program, the following diagram representing the
preliminary relationship among the major functions of the artist village.

Information Counter

Main Entrance

Carpark

Main Concourses Area

(Reception, waiting area. etc.)

Retail /shop

H
Space for short

Formal
Exhibition
Gallery &
Theater area

term exhibition
& performance
(Temporary
structure)

Space for sharing

(Temporary
siruclure)

Space for sharing

(Relatively
temporary
structure)

Street Gallery/
Outdoor
performing area
(serve
as
linkage)

Workspace for
who
users
less
demand
flexibility
(Relatively
permanence
structure.)

Space for sharing

(Relatively
permanence
structure)

Caf /pub

Workspace for
who
users
demand greater
flexibility
(Relatively
temporary
,rtructure)

Artist Village--

I?

Design Programming

PlacefSpaee/ fir 1rlis:s n }'au l'ong Bay, You Tong

Schedule of Accommodation

3.30

In designing the schedule of accommodation, both real-world information and assumption are
adopted as the guidelines.

The fundamental idea is. in order to have a balance development of the alternative arts in the
artists village, spaces for each alternative art (performing, visual and installation arts) are more or
less the same or similar in terms of size and number.
i.

No. ofpotential

users:

Fact:

There are over 30 art groups in the Former Government Supplies department
Building at Oil Street and they are forced to leave before February 2000.

Assumption:

There are 35 art groups in Oil Street looking for

another location to settle.

1.

75% of them will move to the

proposed artist village

35 x 75%

Some art groups in other places will be attracted and

moved in this newly built artist village, says

2.

= 10

No. of workspace needed

ii.

Area of the Workspace & Display Area

Fact:

Base on the visits to present art groups and interview with local artists.
(Refer to appendix 01)

Item

Type of Accommodation

Remarks

= 26

No. of

=36

Area (sq.m.)

Units
Artists workspace[placel

A.
i

ii

-visual art

-performing art

Including painters,
sculptors. architects. etc

15

Including dramas, dancers.

Chinese opera, etc

iii

-installation art

@150-500

total:5,000

15

i)500-l200
total:5,000
().l00-700

total:5,000
Sub-total for item A:

36

15,000

Artist
i)esign /'rogramming

PIacfSpuce/for Artists in Yau Tong Bay. lau Tong

Item

Type of Accommodation

Remarks

No. of

Area (sq.m.)

Units

Indoor
Exhibition
Perfonning Area

B.

-visual art I installation art

Galleries

@3,000

total:3,000
ii

-performanceart

Mini-theater
backstage &
area)

(including
preparation

@l.50()

total:J.500

Sub-total for item B:

Exhibition
Outdoor
Performing Area

C.

ii

iii

4,500

-visual art

Street Gallery

-performance art

Amphitheater

-installation art

Street Gallery. earthwork

Sub-total for item C:

As appropriate
As appropriate
As appropriate

NIA

Space for Sharing

D.
i

ii

Indoor

Including formal (lecture

rooms etc.) & informal
sharing I gathering space

3-5

'50-l500
total:2,500

Outdoor

As appropriate

Sub-total for item D:

2,500

Administration Area

E.
i

ii

Reception / Entrance

Including
counter,
area

information
waiting/seating

Office

Sub-total for item E:

800

200

1,000

Artist Village Design Programming

Place/Space/for .4rtists in lau Tong Bay, lau Tong

Item

Type of Accommodation

Remarks

No. of
Units

Area (sq.m.)

Others

F.
i

Caf/pub

Including outdoor & indoor

I .00()

Sub-total for item F:

I 000

Sub-total for items A-F

24,000 sq.ni

Miscellaneous

G.
i.

ii.

& M. Services and 24,000 x 15%

Circulation
Pier

3,600 sq.m

For transport large pieces art

works & visitors

As appropriate

iii.

Carpark & Loading

As appropriate

iv.

Landscape Area & Open

As appropriate

Space

Total C.F.A.:
Site Area: (approx.)

27,600sq.m.

20,000 sq.m.

Artist Villiige

20

P1uce/Space/fr 4rIisL in lau Tong Bay. lau Tong

4.0

The Site

4.10

CeneraI Information
(a)Location:

(b)Distiict:
e >Site Area:

(d)Land OwneTship:
(e)Zonirig Condition:
(f)Lease Restriction:
(g)Plot Ratio:

I:

h)HeightResthction:
Site

(i)Class of Site:
(j)Existing Use:

.t!Il \1.l

1k) Nearby Use:

\trI.

The Site

Ko Fai Road, Yau Tong Bay, Yau

Tong, Kowloon
Kwun Tong Distiict,
East Kowloon
Approx. 20.000sq.rn.
(including open area)
Private Owners I IIKSAR

CDA according to the OZP

N/A
4 (for non domestic use)
N/A

Class W
Ship (Repairing) factories, wood
factories,
unoccupied
buildings and mud land
Mainl industrial

factory

'ht

'.4'

Artist Village

2!

Place/Space/for 4 rI isLc in lau Tong Bay, lau Tong

4.20

Rationale Behind Choice of Site

4.21

Cultural Identity

The

Sue

The site is chosen for the proposed artist village is mainly because of its own unique identity and
two major factors contribute to this.

Historical & Cultural Background

Firstly. it is "old". Hong Kong was originally a small fishemuin port/village and the site was
flourished with shipbuilding (repairing) factories and wood factories during the early
development period of Hong Kong.
When time goes, Hong Kong develops into one of the most important financial metropolitan in

the world nowadays but secondary industries in Yau Tong Bay was declined and over 80% of the
site is deteriorated into mud land and empty factories building now. The decline of the Yau Tong
Bay was because:

side view

The decline oft/ic primary industry in Hong Kong.

2.

The Government plans to fill up the hay and builds a Western Coast Road
linking East Kowloon and Tseung Kwan O. bui all these are still under studied
and noi yet confirmed

3.

The MTRC Station al lau Tong to he completed at 2002.

Because ofthe above, the development at the chosen site is pending for speculation.

According to the OZP issued at mid-1999 for the chosen site. temporary uses (expected to be 5
years or less) [usually could be renewed once time] ofany land or buildings are permitted...
Hence, the Yau Tong Bay was chosen for the proposed ARTIST VILLAGE.

ArthtVIIge

22

P1acefSpiceJfor Araste in Yau Tong 8ay }m Tong

The Site

Geographical Location/Advantages

The site has 'watcr". It is not only along the coastline but also bas "sea" inside it! A site adjacent
to the waterfront has a 'public sea" which could only be enjoy (view) but the chosen site has a
bay, that is a "piivate sea" which could be eqjoy and use (view & action).

Also, the coastline has always been a place where people gather, particular to watch theatrical
perfonnances, to enjoy arts, to create and express oneself idea as well as to interaction.
For this reason, we are not surprise to find that the Sydney Opera House of Australia, the Hong
Kong Atta Center and the Cultura! Center of I-long Kong are located along the waterfront and
people gather at the Taira Sha Tsui East Promenade chatting with each other.

Because of 4.21 & 4.22, the chosen site created by itself a unique "cultural identity" which
could not be found in anywhere.

The long span of its history and its dramatically changes has left people with memories of places
where important events, collective or individual. formal or informaI. joyful or sad. short-term or
long-term, great or tiny, have taken place. The chosen site had its tremendous importance in the
context of the territory as in the memory of the local people. lt is a place" deep-rooted in the

minds of long Kong people, as least in the minds of the affected people from prosperity to
decline.

Mathematically, this unique "cultural identity" comprises TIME & MEMORY:

Cultural identity=
Time

Memory

Time + Memury
=

History
Place

The cultural identity is essential for art creation as all arts arc site specificity.

4.22

Government Concern

The Government's the Central-East Kowloon Development Statement (from the Temtonal
Development Strategy Review -1 999) has stated that,

There also severe shortfalls of public open spaces and a range of community
facilities, especially recreational facilities;
ii.

Another land use issue of some significance is the future role of longestablished industrial areas at . . .Yau Tong, which once flourished as
manufacturing centers but now are undeioing restructuring to serve more as
"head-office" areas in support both of industria! operations that bave moved to
South China and ofother economic functions in Hong Kong. Such areas have a
considerable redevelopment potential for that purpose and certain peripheral
locations also might lend themselves to rezoning for other purposes.

Hence, this thesis services as a response to the above deficiency and parallel to the government
planning and strategy.

AtVikge-

Pf ace!SpceJ for Amsis in Yw Thng Bay Tau Tong

4.23

The Site

Hum&n Flow

Spectacularly huge human flow is expected on the chosen site because,

i.

Tremendous Increase in Population

According io the 1996 By-Census statistics, the population of the Area' was about 78,692
persons. The population is estimated to be about 195,200 persons upon liii] development.

(The forecast increase in population is due to several proposed large-scale private and public
residential projects including comprehensive redevelopment of Yau Tong Bay, Yau Tong
Industrial Area, Yau Tong Estate and Ko Chiu Road Estate, and public housing developments at
Lei Yue Mmi, Cha Kwo Ling Kaolin Mine [CKL Sitel and a site to the east of Eastern Harbour
Crossing Portal [EHC 511cl).

Improvement in the Transportation Network

The site was already quite easily be accessed by mean of private vehicles and public transport
including bus and public light bus. The Eastern Harbour Crossing nearby serves as linkage with
the 1-long Kong Side. Its accessibility is further improved

by

the following.

Extension fMTR Network

The proposed MTR Station (Yau long Station) Tseung Kwan O Extension will connect
Tseung Kwan O New Town with Kwun Tong District and Hong Kong Island. The Yau
Tong Station will be completed by the end of 2002.
Western Coast Road
An elevated Kwun Tong By-pass linldng Kwun Tong to the north and Tseung Kwan O
to the east runs along the site is under study.

Human flow and SUperIOT accessibility is another essential clement for the artist village to attract
audience I public to go there.

The Area refer to the Planning Scheme Arca Iocatcd in East Kowloec within the Kwun Tong District bounded by Lei
'(Lie Mun Rond. Black Hill, Chlu Keng Wm Shsn and Pau Tio Shan (Dcvii's Peak) to die north-east and castLei Yue
Musi Point lo the south; the Vicious Harbour, Wai Yip Street and cha Kwo Ling road to the west and Kwun Tong ByI

pass to thc nortb-wes*.

-coded freni Ihe "NOTES" of the DiIt Cha Kwo Ling, Yau Tons. Li Yue Mini
Outline Zoning Planning No. 5/Kl 5/lO

Artlit Village -

PlacefSpace/ for f rthls in Van Tong Bar. Van Tong

The Site

4.30

Site Analysis

4.31

Site Context

SOLID & WATER

GRID

AXIS

Artist

Vilisge -The Sue

Place/Space/for Arusis in lau Tong Bv, lau Tong

MASSING

OLD & NEW BLJLLLMNGS

GREENERY

Artist ViIIge Place/Space/for Artists in lau Tong Bay, lau Tong

The Site

Outline Zoning Plan

The site is scheduled as CDA zone.
With this zone the following could
be developed under Column 2 (uses
that may be permitted with or without
conditions on application to the Town
Planning Board)
I.
2.
3.
4.
5.
6,
7.
8.
9.
IO.

Place of Recreation, Sports or Culture

/ Public Entertainment;
Private Club:
Service Apartment;
Showroom excluding for Motorvehicle:
Restaurant / Fastfood shop:
Photographic Studio:
Public Library;
Retail Shop/Market;
Flat

Il.

Office;
Ancillary/public car park:

12.

Pier. etc.

Accessibility & Circulation

The site is easily accessed by:

1. Roads

Lei Yue Mun Road. running in a

north-west

and

south-east

direction, is a primary distributor

in the area, whereas Cha Kwo Ling

Road. linking Wai Yip Street in

Kwun Tong is a major district

distributor. Pik Wan Road is a

local road providing access to the
public housing estates. A number
of local access roads are also
planned to augment the existing
road network.
Mifli-liUs

IOp

_____________
I

t_tp_j,_-

2. Eastern Harbour Crossing

The El-IC links Cha Kwo Ling in
East Kowloon with Quarry Bay on

Hong Kong Island. On Kowloon

side. the tunnel landing. toll plaza
and the tunnel administration area
are located on the northern side of
the site. Bus lay-bys with covered

walkways and waiting area are

provided on both sides of the toll

plaza. An access road

is also

provided around the toll plaza for

3. Mass Transit Railway
The MTR system had been developed as part of the
El-IC scheme to reduce the journey time between East
Kowloon and Hong Kong Island.

The proposed MTR Tseung Kwan O Extension (Yau

Tong Station) will connect Tseung Kwait O New Town
with Kwun Tong District and Hong Kong Island.

The Yau Tong Station is in progress and to be

completed by end of 2002.

tunnel operation purpose. An

approach road has been built

leading from the toll plaza to join

Lei Yue Mun Road and Kai Tin
Road by means ofan interchanges.

Ai-tisi Village --

27

Place/Space/for Artists in You long Bay, You Tong

4.40

The Site

Site Images

!!j
I.

to left

11L.1'
Building

forms

,r4

From
above

-1

Artist

Village

Place/Space//or irlgsLc in lau long 8a

Ilk Site

lau Tong

condthon

Within
the
bay

Water
front

OPP:ee

w'

Artist Village --

29

Place/Space/for Artists in lau Tong 8ay, lau Tong

J),e Site

430

RES$DENTIAL

Villages Community

01

The chosen site is in fact situated within a "zone of villages".

Each of these villages has diverse distinctive function and hence

IDENRESIDEN7

is

independent and exclusive from each other. There are.

namely.
A.

NOUSTRIAL
01

Residential Village:(Estimated poputation:195,200

persons upon full development)
I.
Laguna City & Sceneway Garden (private).
2. Yau Tong Center (PSPS);
3.

Hong Nga Court, Hong Pak Court & Ko Chun

Court (I-lOS);

02

USTRDUSTR

4.

Yau Tong Estate, Kwong Tin Estate & Ko Yee

5.

Estate (Public rental housing estates);

Proposed Lei Yue Mun Housing Site. etc

SEAFOOD

RE SA Ii RANT
01

B.

Industrial Village:
I.
Yau Tong Industrial Center:
2. Gloria weaving & Knitting Factoiy Ltd.:
3. Chung Pak Commercial Building;
4. Union Godown; etc

C.

Seafood (fisherman) Village:

Lei Yue Mua Seafood (fisherman) Village
I.

sAM KA

YUE MUN
VILLAGE

TYPHOON
LTE R1j

02

RESIDENTIAL
01

U ST

02

S EA. O
ISHERM

VILLAGE 034

iii

Building
Forms
Building
Height

Organiiaton
Material

However. these "villages" co-exist, within a place, for a long

time, somehow are interdependent with each other and form a
larger community with unique quality and characteristics that do
not exist in any other place of 11K.

Residential Village
Most of them are standard public
housing
Mostofthcm exceed 30 storcys
(exccpl Yau Tong Estate)
Properly planned. uniform pattern
Reinfa.ced Concrete

Industrial Village

SeSIOOd (fisherman) Village

Mass blocks with saine varic*ies

Temporaiy squatter with pitch

Less than IO stoecys

roof
I-ass than 3 stnreys

Not unifonu but align with road

network
Reinforced Concrete

Spontaneous. without planning or

obvious guidelines
Timber, Stone and others

.4rtit %iflage
30

mace/Space/for 4 rI isIs in lau Tong Bay, Tau ong

he Site

4.51

Village images

11H

Industrial Village

1YA1 iri

-1

Artist Village
Place/Space/for ArisLc in lau Tong Bay. lau Tong

5.0

Research & Field Work

5.10

Art

Research & Field work

Definition, Nature, Reason, Purpose, Style & Form

5.11

Definition of Art

This question would have been answered differently in almost

every epoch of human history and every race.

What is ait?

cES?

The word "ART" comes from Latin ars. meaning skill, way, or
method.

Many philosophers and artists had tried or are trying to define

ART but none of them could provide a conclusive one because

ofthe indefinite nature ofthe word itself.

--'--

Whom are art for"

MAYI
ENJOY
ART?

ARTISAGIFT
FROM Gob.

NOT FROM
THE KING.

In the scope of this thesis report. art is defined according to the

following statements:
Art is expression. whereas expression is the basic creative act
in all the arts." according to Benedetto Croce. 2
Ari is inluilion!
5.12

NatureofArt

'I

Art is experimental. and to be sought, with fear and trembling.

5.13

Reason in Art

e
We are born to need art. just like we need fresh air. food and

water. Art is not for minority but for all. All art has an
instinctive source and a material embodiment expressed in
different styles and forms.
'Arts are no less automatic than instincts "- Aristotle

Art is action which transcending the body makes the world a

When do ait bcgth?

more congenial stimulus to the soul. Art is a mean to understand

life and to truth.
Art, is one of the major elements in human life which consists in
modifying its environment the better to attain its end. art may be

expected to subserve all parts of the human ideal. to increase

man's comfort, knowledge. and delight.

Art is not fashion; the history of art is prehistorically. Only the

styles and forms ofarts are changing.

Frederick I larfl, Arv-.I Ilisiory o[Painting, Sculpture. Architecture. Thames and Hudson. London I 976, p. I I
Herbert Read. The Meaning oAn, Faber & Faber, 1972, p.24
tI

Santayana. (i.. Res.on in afl, Collier Books. New Vork,1962. p.10

Artist Village -I'IacelSpace/ for 4,-lisis in }au Tong Bay. lau Tong

Research & lield work

5.14

Purpose of Art

01

Art is the "words" or the "media" of the artists to

express their emotion, or state of mind' to the

audiences. In art more directly than in other activities

man's self-expression is cumulative
and
finds
an
immediate reward. When an artist creates a painting, for
instance. it is not to make a picture; the purpose is to create a
feeling or
mood. The picture is just the final result that
constitutes some kind of emotion told by the
author to the spectators. Emotion and
expression
are then an organic unity that cannot
be separated.
Ari is aform of language, is a media for
conducting emotion and idea.
What is resulted?

02

in a better sense, is promoting a condition

of happiness. The value of art lies in making
Art,

people happy:

first in practicing the art.

then in possessing its product,

last in enjoying in it.

A happy result can be secured in art.
The ultimate sanction of art is HAPPINESS;
ari is the best instrument ofJIAPPINESS4

5.15

Style of Art

Style is meant the constant form--and sometimes the constant

elements, qualities, and expression-in the art of an individual or
a group.
What is the different?

Style is a system of forms with a quality and a meaningful

Fou rTrees
('laude Monet

(l840-192()
Impressionist
art

expression. lt is distinctive, through which the personality of the

artist and the broad outlook of a group are visible and

recognizable.

"A style is like a language. with an internal order and

expressiveness. admitting a varied intensity or delicacy of
statement."

Dadd
Longlegs of the
Evening-.

hope!
Salvador Dail
I 1904-1989)
Surrealist art

5.16

Form of Art

Form is defined as 'shape, arrangement of parts, visible aspect."

It can be 2-dimemsional (surface). 3-dimensional (volume) and

4-dimensional (including time element). The form or the

number of form is changing or increasing: We have painting.
sculpture and music from ancient time and film and computer
art in modem time.

Form is the "media" of the media of the artists to express their

passion to the audiences.

Santayana. G .. Reon in Art. Collier Books. New York. I 962. p- I 54- I 55

Donald Preiosi,

The -Irr ofAri Hisiar': a Critical Inthoioj'y, Oxford University

Press. I 998. p. I 48

At-tisi Village -

33

Place/Space/for Artists in >au Thn Bay. Fau long

5.20

Research

Field wont

Art - Culture, Mainstream vs Alternative Art

5.21

Cultural, Art, intra- and inter-relationship

Culture is the complex whole includes knowledge, belief,

Culture

religion, art, law, moral and any other capabilities and habits
acquired by a person as a member of a particular group of
people. lt is the patterns of thinking and doing that govern. EX)th
consciously and unselfconsciously. the activities and behavior

of a group of people and distinguish them from all other

peoples.

In other words, art is part of culture. Culture determinates the

development. styles and forms of art. Some features of a

particular culture supply greater chance to the development of
some conscientious styles and forms of art.

For example. the 'calmness' nature of Japanese culture leads to

the development of the "sand garden" art form that does not
exist in another culture and society.
'-.and (larden

However. great art styles and movements can affect or even

change the culture of a society. Renaissance art movement
eventually changed the whole environment of Europe at that
time is definitely an excellent example for this thought.

Culture and art are intra- and interrelated. There are changing
through times independently and interdependently, even the
process is extremely slow some how.
5.22

Mainstream vs Alternative Art

All mainstream arts are once alternative arts!

Art is a categoty of global production of objects, images.

environments
ALTERNATIVE

ART

OAYI
MAIN5 TREAM
AR T

DAY2

and

pertbrmances,

which

are

created

and

presented by artists and are generally marketed through art

dealers. galleries and museums. Those art works the make up
the most stable and least speculative market are often termed
'mainstream art', while those new art forms, which make up the
high risk, speculative contemporary' art market, or which have
yet to be introduced into the market. are often termed
'alternative art'.

lt is useful to realize that virtually all mainstream art has grown

out ofthe alternative art ofan earlier generation. and much of it
was at one vilified as vulgar and non-art by the press and other
artists. People are often uncomfortable with new cultural forms
and express their unease through some tbrm of' public
condemnation. It has been said, although the notion is a bit
simplistic. that alternative art is the 'research and development'
arm ofmainstreant art.

Artist Village -PlaceiSpace/ (or -lrusLc in lau Tong Bai. >au long

5.30

Research & Field

work

Alternative Art - Scope, Meaning and Condition (in Hong Kong)

5.31

Visual sr

Alternative Art - Scope

As discussed before, for the purpose of this thesis report, the

scope of alternative art is limited to the follows:

A. Visual Art
B. Performing Art
C. Installation Art
lnstallati

The meaning and definition of each of the above will be

introduced in the following sections.

5.32

Alternative Art - Meaning

A.

What is Visual Art?

The history of visual art could be traced back to per-history

period. Paintings and sculptures are the most common forms of
visual art though any forms of art "addressed specj/cally and
primarily Io the sense ofsight " are visual art.
Even though there were so many 'TERMS" describing different

styles of visual art: Mannedsm, Classicism, Neo-classicism,

Romanticism,
Impressionism,
Neo-impressionism.
Expressionism,
Suprematism,
Neo-Plasticism,
Abstract
Expression, Surrealism. . .the basic elements and components
behind are still unchanged.

Basically. visual art includes two-dimensional artpieces such as

drawing and painting and also three-dimensional artpieces such
as sculpture and architecture. Some ofthese should doubtless be
called visuo-tactuai art: buildings are ordinarily touched as well
as seen, sculptures could be more fully appreciated if touched as

well as seen, as even paintings may sometimes have enough

three-dimensionality to repay touch experience. At any rate, all
these arts appeal first and foremost, though not exclusively, to

the sense of sight; and the artifact is an object in the visual

medium.

( Philip Alperson. The PhiIosoph (libe

sual4rtc. New York Oxford University Press.

1992 p.3

Artist Vilt2ge

35

Reseorch

Place/SpaceJ for Artisis in lau Tong Bay, lau Tong

B.

Field work

What is Per[orming Art?

The history of performing ait again like that of visual art. could

be traced back to per-history period. The early forni of

performing art (dancing. singing, etc.) was usually associated
with witch activity" or celebration in both East & West history.

All societies engage in some form of ritual performative

behaviour. RITUALS are a "coUective representation' that
exists to individual minds by combination'S and in society.
Rituals are tormal actions which set the sacred apart from the
profane. reinforcing the power of totems (sacred things) or
taboos (forbidden actions generally associated with sexuality.

death and power relations). Whether sacred or profane, rituals

can function as either a conservative force in society or as a
"means of demonstrating socia!, political or cultural

Rites of passage or life-cycle rituals enable

resistance".

biological change in individuals or a generation "io be made

socially meaningJr, and to integrate those undergoing the
change with the society (as in birth, or puberty rites), or to
acknowledge the continuance of the social group following a
crisis. e.g. when someone dies.
Rituals generally fall into three main categories:
-Social.
-Religious and
-Aesthetic.

However, the three categories commonly overlap. Aesthetic

rituals (dance. drama, etc.) often re-present current or earlier
held socio-religious beliefs and incorporate elements from the
other two categories. Rituals arise around disruptive. or
turbulent

interactions

that

almost

always

accompany

negotiations of hierarchy. territory and sexuality/mating. The

purpose of ritual is to assure communication in moments of
social crisis, when communication is most difficult to maintam.
Rituals help societies to adjust to internal changes.

Performing art which is one variety of modernist aesthetic ritual.

found in urban, industrial or post -industrial societies seems to
flourish in times of social disruption, instability and rapid social

change (often accompanied by a loss of confidence in social

conventions).

For example. Italian Futurist, Dadaist and Russian Futurist

performance art began just before and during World War 1.
Japanese performance art was born out of the ruins of World
War IL. as were Happenings and the Black Mountain School in
America. The spring thaw of Soviet Stalinism under

Khrushchev was accompanied by the Samizdat and Apartment

Art movement in the Soviet Union. The crises of the I 960's in

the U.S. (the Vietnam War. the Civil Rights Movement and
Feminist Movement) saw the efflorescence of American
performance art of the late '60s and '70s. Tiananmen Square
marked the extraordinary rise ofChinese

pop.

Artist Village

36

PloceiSpace/for ArIisL in lau Tang &v, lau Tang

Research & Field work

Not all performing art recalls ritual, however. Performances and

actions can be philosophical, didactic or purely formalist in

intent. Performance might be a series of intimate gestures or
large-scale visual theatre, lasting from a few minutes to many
hours: it might be performed only once or repeated several
times, with or without a prepared script, spontaneously
improvised, or rehearsed over many months." (Goldberg).
Performing art defies easy definition.
As an aesthetic form it synergistically brings together theatre.
dance, music, rhetoric, visual and electronic art.

It draws its themes and material from religious, social and

aesthetic rituals of the past and the present, and as in other ritual

forms, "behaviour is arranged, condensed, exaggerated and

made rhythmic" (Turner).

Now a very broad category that was come that to include any art
PERFORMANCE before a live audience, performing art
developed out of the early 20th Century influence of Dada.

Still a viable GENRE today, performing art is an effective

FORM for artists interested in social protest. Most recently. it
has proved an especially effective vehicle for artists'
commentaries on PORNoGRAPHY and censorship. Among
contemporary performing artists who have dealt with issues of
PORNOGRAPHY are Karen Finley and Annie Sprinkle.

lt is a form of EXPRESSIO1 that incorporates music,

theater, and dance and takes pLace DURING A PERIOD
before a LIVE AUDIENCE.
Performing art 'requires the physical presence

of

trained or

skilled human beings whose demonstration of/heir skills is the

performance7" lt relies on strong psychological interaction

between the performers and the audience. Power relationships

are fluid, with the performer and audience constantly
exchanging power with each other.

Power exchange between spcct-aetors

Marin Carson. Performance-a critical infrodudion. London; New Yotk:Routledge. I 996 p.3

Artist Village -

Research ct Held work

Place/Space/for Artists in Yau Tong Bay. Thu Tong

C.

What is insiallalion Ari?

Unlike visual art and performing art, installation art is a recently

emerged art form.

lt was in the late 1910s that the modem aspects of installation

art started appearing in the work of those artists who wanted to
go beyond the conventional concepts of painting and sculpture.
In the late 1950s, Allan Kaprow. an American performing artist
and art theorist, invented HAPPENING, an artistic event. The
ENVIRONMEN1S that Kaprow and other artists created

provided a starting point for what later became known as

INSTALLA TIONART.

Artists of the Russian CONSTRUCTIVISM. German

BAUHAUS and Dutch de Stijl movements believed that art and

crafts be integrated into architecture and design, and the

domestic environments could be improved through a unified
artistic approach based on pure geometric form.

Working in a more anarchic spirit, French-American artist

Marcel Duchamp (1887-1968) crafled several early examples of
works that fill and transform a chosen space. He invented the
ready-mades -common mass-produced objects chosen not for
aesthetics reason but its usual context and brought into the
gallery as works of art" - with the purpose of profaning,
ridiculing the concept of art.

Marcel Duchamp's action challenged the basis upon which we

distinguish the world ofart from what lies outside it. The idea of
placing the "fountain" in the gallery as an artpiece" is one of
the example of this kinds.
Installation art blurs the boundazy between ait and life.

Although the term installation-art is now more broadly applied.

it defines:
Duchamp

"an artistic expressions (artwork) made in direct

response lo a specflc environmenl (space) and its
specjfic culture by incorporate (installation) media
such as painting, sculpture.
video,
fl/rn.
photography, performance, music, sound, and
electronic media."
Installation artists shared an interest in making lernporary use of
evocative spaces for expressive ends. In this art form an entire
exhibition space is transformed into a three-dimensional work of

art. The range of materials used in art-installations. which is

usually ready-made products, is almost limitless.
Some collaborative installations brought together many artists.

Artist Vilbige
PhacelSpace/ for

5.33

ArijOs in }nu long &zv.

Research & Field work

wi long

Comparison Among the 3 Art Forms

The following table shows an initial comparison among the discussed 3 art forms in some general
aspects.

Installation

VLcual art

Performing art

Origins

Expressing ones' ideas

Expressing ones' ideas

General
Forms

Painting & sculpture

Performance
(drama. dancing, opera,
musica.!, live band, concert
etc.)

2-D (painting etc.) &

Horizontal

3-D (Nculphsres etc.)

4-D
(including lime)

ari

Expressing ones' ideas

Installation

3-D and/or
4-D
(may or may not including
time)

Last long

For a short period only

Last for a certain period

Duration

(an oil painting /sculpture

may last over hundred and
even thousandyears!)

Material
use

Very limited
(relatively)

Sensation

Sense ofSight

(during performance
may last for just
a hour - days)

Various including sound

and video

Visual

&

Sense ofhearing

Artists
interactive
with
audience

Important to get response

from the audience

Per-setting

Not really required

Extremely important to get

IMMEDIATE
response from the
audience

(some days to years)

Almost unlimited
(multi-media)

Visual, sense of hearing,

olfaction & taction

Important to get response

from the audience

Required

Not prefer
(Performing space.
backstage and seating for
audience)

Partitioning

Result

Prefer for better circulation

Prefer for separate private

(preparation space etc.) &
public (seating) space

Not pretr

Happiness

Happiness

Happiness

Aillai Village --

Place/Space! jr Ar(isLN in lau long Bay. lau long

6.0

('ave Siud 1)

Case Study
6.10
J

Case StudyOl

Tacheles

a Spontaneous Artist Village

al Oranienburger Street, Berlin-M itie. Berlin

Background:
In the heart of the Berlin Mitte stands Tacheles - considered a
'cultural center', which is the most famous squat for artists in
Berlin.

Appropriately named Mitte (middle). it sits directly in the city

center. and was previously part of East Berlin. In the few years
since the collapse of the wall. Tacheles has experienced some of
Berlin's most volatile history - a story of East-meets-West.
Tacheles is located in what was once the most desolate area of
East Berlin. To a certain degree, it still is.
Overall view

It was built in 1909 in the 'Prussian Style' of architecture.

Because most ofthis style was demolished in the Second World
War, Tacheles is currently a protected monument. The original

ftinction of the building was a department store known as

Passage-Kauthaus' or Passage Shopping Center. The name
came from the building's location which was on the border of

Mitte, the downtown' of Berlin in those days. The building

acted as a passage to the center, and its location made it a very
busy spot. Besides department store, its functions were changed

several times from 1928 to 1980s: its had housed cinemas,

offices. the S. S land registry office ofNAZls, French prisoners
of war, East German schools of art and economics and a unit of
the National Volksaimee at various times.

Severely damaged during the war, it remained in use until the

early I 980s when parts of it along the Friedrich street were
demolished. Aller the East German regime fell from power in
I 990. the new government wanted to tear the building down and
Faade

put in offices because of its location to Mitte which was once

again the center of Berlin, but its architectural and historical
values were noted by artists who squatted the building
immediately to keep it from being tom down.
Spontaneously, the Tacheles became an Artists village.

Structure:

I he passa
- ge

Tacheles is a middle-rise building comprised of two parts with a

passage in between. The entire structural system. including the

2-storey basement and 6-storey super- structure is of simple

reinforced concrete beams & poles.

The passage (one of Europe's largest ribbed cupolas) links the

Oranienburger Street and Friedrich Street.

Artist Village --

Piace(Spcce/ for .4rlisls n lau Tong fiar, hrn Tong

('use Study 01

Function:
The building and the open spaces nearby serve as workshops.
studios, display areas (galleries), mini-theaters, cafs and shops.
Over 100 artists and musicians live and work there.

Different modern arts, particularly the alternative arts like

performance art, visual art, installation art and multimedia art
are happening in this incredible place.

Furthermore, international cultural intertlows are promoted

here, the "Paris-Berlin" program. for instance, is a sculpture
exhibition from young French artists on the 4/F this Autumn.

Detail Programme:
Outdoor

Indoor

Space for

I. Galleries, studios,
performing spaces
& work spaces

["i

2. Visual art

3. Performance art

4. Installation art

ti'
5. Commercial
(shops for selling
art pieces &
cafs)
.

6. Services
( entrance, baths,
stairs & etc.)

ra

r!! iL(.L

Artist

Village -

PlaceJSpace/ for Art& in lau Tong Bai', lau Tong

Cuse Siud (II

Significances:
The significances of the Tacheles artist village are two- folded.

in a macro scale, the Tacheles becomes a sign of contemporary

art in Berlin. This assemblage of power firstly arises social

awareness towards the importance of art from the young
generation. Also, the place becomes one of the most famous
The external wall

focal point for tourism in Berlin.

In a micro scale. the Tacheles is a fantastic place to experience

arts, both for the artists there and the visitors.

The whole Tacheles itself is a piece of artwork done by the

collaborative efforts ofall the artists there.
The walls, the entrance, the staircases, the rooms, the spaces and

the ruins outsides and in-between are magnificent places for

them to create and express themselves freely.

Tacheles is a symbol for adventure and experimentation. There

is a place for them to realize their dreams, the artists' dreams.

Evaluations:

The join effect of the historical background' and Freedom

contributes to the success of the Tacheles.

A work of art, especially the modern art, could be said to have a

special relationship to a particular place. The unique historical
and cultural background of the Tacheles is undoubtedly a perfect
place for this site-specificity'.

The Tacheles itself is a free building'. lt is a ruin and the artists

there do not need to pay for it. lt is extremely important as most
of the art pieces. especially those from the unknown artists. are of
little market values.

In addition. the Tacheles celebrates Freedom of Expression and

Speech'. The artists have free spaces. including indoor and

outdoor spaces, to express and display their works without any
harsh guidelines or restrictions. More important. others are free to

give any comments and their own experiences and attitudes

I he stairs

towards all these. Interfiows among artists are strongly promoted

which is essential for the development of alternative arts.

In conclusion, the Tacheles is extremely successful as an artist

village, it provides a chance for the young artists to practices, to
interfiows and growth and it is definitely a memorable
inspiration.

Duane Philips. Berlin, u guide reten! urehik'cfure.

,ndon

E Ilipsis ; KuIn Konemann.

Artiat Village -

42

Place/Space/for I rIisLc

Case Siuth' 2

in Tau Tong Bay }ai, Tong

Case StudyO2

6.20

Baumann Studio-Gallery (visual ari)

at Vienna 1, Borseplatz 3, V

Austria

Client: Eric Baumann, graphic designer

Architects:
-

Coop Himmelblau: Wolf D. Prix and H.

Swiczinski, with F.M.ascher

Date of Completion: June 1985

iFunction:
c_4

Overall view (tripe-arched arcade)

Visual arts work studio and display area

FloorArea:7lsq.m.
Client Brief:

The client. Eric Baumann, graphic designer and collector,

wanted a studio iii which he could work and also display his
friends' artworks.

Requirement:
l'be client required for an architecture that he could exhibit on
the same level as his friends' work.

-::--

---

___

:_:

;:

/ :_:

i;;:

Design Challenge:
To redesign a small space (a room of 50 sq. meters, 5 meters in
4

J- J--:
,i
.-

It

I-aa1e --li-0m leu to rlgftt:

freestanding
01
sculpture in the

alununum
form of

wings projecting out over the

02

pavement.
access to

the

valuable piece ofViennese real estate.

Strategy:
01

On the Faade

studio-gallery

(lower level)
03

height, with a triple-arched arcade along the faade) in a

access to the raised platform

There are three archways on the faade. The architects made

of them serve as the entranceway. One of these provides
access to a raised platform by means of a galvanized steel
staircase that can be lowered directly onto the sidewalk.

The third archway is rum through by a freestanding aluminum

sculpture in the form of wings projecting out over the pavement.
Significanl:

This three-dimensional element participates

much outside as inside in controlling light and air.

Interior

as

Arlist Village -P!ace/Space/ for -1 rusts in lau Tong B. lau long

Case Study 02

02

Interior

As the site is located in a valuable piece of Viennese real estate.

in order to add spaces for displays and circulations, the

architects envisioned high walls and doorways, removable

staircases, light platforms. bridges and galleries. They also

4f -J

i9

conceived of three bands of pictures along the back wall: two

visible from the floor and a third perceivable from a footbridge.
Significan!:

The original surface area was increased by 20

square meters with the addition of a small platform.

Sketch of the footbridge

The footbridge crosses the center of the space 2.5

meters from the ceiling, leaving the 5 meters of

walls space below free for hanging pictures.

The bridge thus divides the space while making

maximum use of t.

DesignConstruction techniques:
The footbridge rests on three vertical supports - slender metal

columns only one of which is visible, the other two being

Ji

hidden in the walls. Their loads are transferred to the side walls
by an intermediary structural system.

Section

Evaluations:
The Baumann Studio-Gallery's success no only because it has
fulfilled the client's needs, but also it has reached some valuable
achievements.

The sculptural faade serves as the aflraction point". The

"distinctiveness and beauty" of the faade draws the public
attention even at first glance which is very important to a
display gallery.

DetAil

In the interior. the addition footbridge increases the floor area

functionally and expands the horizons (form single-storey to
,__lJ

__s

,_

5 meters of wall space underneath the

footbridge

multi-storey) of the gallery. Also, the footbridge itself is a

sculpture, which provide the visitors with aesthetical enjoyment.

Artist Village

44

Case Study 03

Place/Space/for Artists in lau Tong kv. lau Tong

6.30

I'

O
r

Case StudyO3

Mattress FactoryMuseum of Contemporary Art (Installation)

at Pittsburgh

Location
The museum, Mattress Factory 500 Sampsonia Way Pittsburgh
is located in the historic Mexican War Streets of Pittsburgh's

North Side, a five-minute drive from attractions such as the

Andy Warhol Museum, the Carnegie Science Center, the
Pittsburgh Childre&s Museum, & the National Aviary.

The museum is located in an urban community that is mixed

racially and economically; visitors vary widely in age, race, and
En1rance

socio-economic status. Its two exhibition sites are integrated

into the neighborhood rather than being barricaded from it.
Public access to the galleries and the educational program are
available at no cost to a broad range of visitors.

Brief:
The Mattress Factory is a research and development lab for the
artists. As a museum of contemporary art, the Mattress Factory

commissions new site-specific works, presents them to the

widest possible audience, and maintains selected individual
installations in a distinctive permanent collection. The Mattress
Factory's physical and organizational environments have grown
out ofand in response to a central focus on creativity.
Aims:
500 Sampsonia Way

The Mattress Factory plays an active role in creating a better

environment for its artistic program, and in making the area
more appealing to its visitors.

Building:

The whole museum consists of:

500 Sampsonia Way;
1.
2.
1414 Monterey;
3.
Garden

Although the Mattress Factory is a museum of art, it is different

from most other museums in the world. For one thing, the space
is different. The first building (500 Sampsonia Way) was built
1414 Monterey

around the turn of the century as a mattress factory. lt is six

stories tall, and towers over the houses in the neighborhood
around it. The galleries inside are long and narrow with high
ceilings.

The other building (1414 Monterey) used to be a comer grocery

store. People from all over the neighborhood walked there to

buy their groceries, and the family who ran it lived on the
second and third floors. These spaces look and feel more like
the rooms in a house or apartment.

Artist %'iIIge --

PIacefSpate/fr .lrzists in lau Tong Bai'. >au Tong

Case Study 03

Detail Programme:
500 Sampsonia Way
I .Lower Level

1414 Monterey

NIL

'

1992

2.First Floor

986

3.Second Floor

Ar

I982

4. Third Floor

"4-

'i -,

, w.. ''!'_'
993

_:- t 996

5.Fourth Floor

1997

6.Garden
p-e.

'
'

_._,_
1983

7.Restroom
(for the artists)

1_w
L

Artist Vi1Ige

4ppendfr

P/ac e/SpaceJ Ior .4rlisls in lau Tong Bar. lau Tong

7.0

Appendix

7.10

Artist Village (temporary) in Oil Street, North Point

(Former Government Supplies Department Building)
Location: 12 Oil Street. North Point. U.K.
Function: Artist studio, gallery & gathering place
Brief:

The site including 5 building blocks, open space &

car park.

Blocks B-E are 2-storey height & Block A is 9

storeys.

After the Government Supplies Department moved

out, the site is rent to public at very low price in short
term tenant basis.
Now, there are over 30 art groups including
installation artists, performance artists, multimedia artists and young architects settled there.

1f "cheap price" is the only reason for the settlement

of these art groups, why these kinds of artist villages do
not happen in other place in HK?

Besides economical fators. what make the "Oil

Street" so unique & attractive from the artists'

".
7.20

point of view then?

Visit / Interview with artists at

7.21

ia
:s pace

Oil Street

laspace

Location: I/F, BIk. E, 12 Oil Street, North Point. H.K.

Form: Installation art I visual art
Function: Installation art gallery
Brief:

laspace is an independent, non-profit-making

contemporary visual arts space founded by a

collective of I-1K artworkers. It aim is to promote

the critical dissemination of contemporary visual
arts practices and affiliated artforms through the

I a programs of works drawn from HK and the

international arena.
Area:

About I I 0m2 with two main separated spaces:

01
Gallery
02
Administration area
Main features:
Spacious & high ceiling level
. Large windows
. Flexible panels
. Metal bars fixed to the ceiling for special
fittings

trtit Village -Appendix

Place/Space/for Artists in lau Tong Ray. Fou Tong

7.22

Zuni Icosahedron

Location: 1/F, Bik. B, 12 Oil Street, North Point

Form: Performance + multi-media art

Function: any form of art activities: like installation art

workshop. display & gathering place
Brief:

Zuni - a Pueblo Indian tribe in western New Mexico

(US),
possibly.
as
a
thesis
proposes,
descendants of Chinese wanderers into North
America eons ago. Icosahedron - a chemical crystal. a
polyhedron
having
20
faces.
Also
a

framework or basis for the analyzing and describing

ofbody movement in the theory of Rudolph
Laban.

Founder and director Danny Yung continues to

have Zuni Icosahedron dig, ask, turn over, and look at
essential issues about life, art, politics, identity,
and values, probing every work to unmask delusions
and to create insights.

have moved in Oil Street on 30-10-1998.

This new spaces are for all sorts of alternative
Zuni

arts-even fashion show is held here!

lt is a space for/of experiment.
Area:

(1 large space with some minor

rooms e.g. store room)

about 700m2
support

Reason for Siting:

(gather) 01

art groups gathered together attract public

attention and audiences to come. (the

public can visit the art groups in one time)
(site)

Close to residential area - attract more

02

people to come
Advantages:
(gather) O I

Benefit from grouping with other artists:

Attract public attention
Convenient for public to visit these art groups
in one times

Convenient for join functions & programs

(e.g. Oil Street Festival)
Promote interfiows among art group
(place) 02

Great freedom is provided.

Dream artist village:

(comment from Ms May Fung & Ms Julita Lui)
(site)

01

easily accessible (MTR station prefer)

(site)

02

have good coffee shop/pub nearby

(gallery)03

provide great freedom and flexibility

Artist Village -

Place/Space/for Artists in lau Tong &v. lau long

Appendix

Location: 9/F (roof), Blk. A, 12 Oil Street, North Point

Form: Video +multj-medja art

hleotage

Entrance

Function:

Brief:

atiministration office, watching video,

gathering and sharing place

Founded in 1985, Videotage (the name composed

of the words 'Video" and "Montage") is an
mterdisciplinaxy artist collective that focuses

on

the development of new media in Hong Kong.

Starting out as a facilitator for collaborative projects,

Videotage has evolved into an operation dedicated

to the production, development and study of ftlm,video
and other alternative time-based media arts. As
an
interdisciplinary
artist
collective,
Videotage

regularly collaborates in vedio design projects with

other performing art

groups.

Videotage

supports exhibitions and production by local artists

by means of equipment and administrative support.

Information counter

Product DV Production Packages

services: On location video documentation (e.g. performance,
opening, ceremony, lecture)
Tape transfer:
Dubbing
System conversion
Video publishing / distribution
Rental:Camera, Projector. Media 100, etc.
about 1 50m2 ( I large space shared by 4
including Videotage)

Area:

users

Reason for Siting:

(gather) 01
Other art group (laspace) moved in first
and invited them to join
(site)

02

Close to MTR station, easily accessible.

(site)

03

Close to residential area -- attract more

people to come
Advantages:
Roof View

(site)

01

Comfortable and has sea view

Disadvantages:
(place) 01
Too hot during summer as the office is at
roof level (just installed addition AIC units)
(place) 02

The building is too old. unstable electricity

supply and poor lift operation system

encounter serious problems.

Artist ViUge --

I'

.4ppendi

PlacelSpuce/ for .4rlisls in lau long Bar, lau Tong

7.30

Visit / Interview with artists at

7.31

Other Places

Para-Site

Location: GIF, 2 Po Yan Street Sheung Wan, H.K.

Form: Installation art

Function: installation art workshop. display & open forum

Erurance

Brief:

Para/Site was originally sited at Kennedy Town in

1996 and they have moved to this site

in April

1997.

Area:

about I 50m2 (2-storey with an internal staircase)

Reason for Siting:

(history)O1

The cultural and historical background of

the site(Kennedy Town)attracts the artists
to settle there. ( Installation art requires
strong site-specificity)

(site)

human how: Close to residential area and

easily accessible from Central : attract
more people to come

Gound Floor --Ma'am's Box

02

Advantages:

(site)

01

(gallery)02

the historical and cultural background of

the site & the surrounding provides the
artists with great inspiration with is very
important to installation art creation.
very comfortable space

Second Floor --- Sermon

View towards art I installation art in RK (by Miss Zoe Li):

01

Art should have a specific audience". No art is for

public or there is no such think called "public".

Public art is never existed. All arts are private arts

in this sense.
02

"Criticism" on art pieces is not prevailing.

This is mainly because there is no such education

existed in l-long Kong and not much people have
such knowledge to "write something" about the
secono i- mor - uppon area

dIzrration

Book selves:
For books

selling &
reading

artpieces.
This certainly hinters the development of arts
especial alternative arts in RK as artworks only
make sense when they are inteipreted.

Artist Village -

AppendL

Place/Space! fr Artists in lau long Bar. Fau Tong

7.32

OP fotogallerv

Location: No.5, GIF, prince Terrace. Middle Level. U.K.

Form: Photography art
Function: PhotoGallery - Photos display and selling
Brief:

location map
PKSdSON

the

AD

.fl!ALt

ESCALAOO SIAJOS
AT HAN3 SENG SANK
4')

fldUtTI

Ot YO

r ;O,OOa.Ln

fl

gallery

in

I-1K

devoted

solely

and has a diverse of fine prints by 1-1K

international
photographers.
Modem
contemporary SOs to 70s.

iiNCP
CAjItRD

first

to

photography art. OP is a professionally run gallery

o.O-, .p.:

OP IotogaH.ry

1*AI.

OP fotogallery (1-long Kong) founded in 1998 is

Area:

and
and

About 90m2 with two main separated spaces:

01
Entrance, material display and office
02
Gallery

Reason for Siting:

Easily access: near to the escalator from

Central to mid-level
01

Enan

02

Close to residential area - attract more

people to come
03

Calm - nice play for enjoying art

Disadvantages:
(Comment from Mr. JeifMan, the Gallery Coordinator)
(site)

01

Too far from the city centers or other

art galleries (workshops), not many
people know and willing to visit it.

(gallety)02

The gallery stimulates a museum-like

environment which is not the purpose for
the gallery as it is a "workshop". May be it is
too clean.

(gallety)03

The display area isjust one single space.

the audiences could view all the photos at
one glance then go away.

Dream Photo gallery:

(site)

01

In an area where more people are willing

to come.

(gallery)02

Partitioning is prefer so that movement of

the audiences is guided and predicted.
Above all. the photos displays could not
be viewed in j ust one moment.

(gallery)03

No need to be too neat and tidy, feeling of

workshop space to be promoted.

Artist ViUge --

Appendix

PlacelSpace/ for Artists in lau long &v, lau Tong

7.33

E-Side Modern Dance Company

Location: Rin. D, 14/F, Fook Cheong Building, Kwun Tong

(industrial building)
Form: Performance art (modern dance)

Function: modem dance performance, practice. course

& sharing
EnUance

Brief:

Modern
Dance
an
E-Side
Company
is
independent company and subsidized by the HKADC
on project basis.

Modem dance courses, like Hip Hop. Jazz Dance.

Street Jazz and Tap Dance are held regularly to

fmance the company and promote modem dance
inHK.
Area:

About 160m2 with 1 main dance practicing space

Reason for Siting:

Waiting and changrng area

(site)

Easily access: near to the Kwun Tong

01

MTR Station

i..

(place) 02

Cheap and spacious

Main features:
s
s

.
.

During lesson

Waiting & Changing area (reception area)

Mirrorwall
Dancing barwall
Clean and flat Iloor
Metal bars fixed to the ceiling for special
staging during performing.

Advantages:
01

Near to the Kwun Tong MTR station and

hence easily accessible.

(place) 02

The rectangular space which is free from

from columns or any obstacles is suitable
for performance art.

(place) 03

Flat

(site)

Additional Fans are required for better

wall

surfaces are requested for

installing the mirrors and dancing bars.

ventilation

Disadvantages:
01

No in-house changing rooms & toilets. the

users need to share these facilities with
other occupants.

02

The ventilation system is noi good which

is especially important to performance art
as it involves great movement. Addition
electric fans are required for better
ventilation during lessons and activities.

II1I_IIIII_!l_!I!!IHJIu,I

I: = :J. 1

I!_!II_u1lI_

I-..I---'I--.I-.-I-.-I--.I-uIiii

I_____1 ._ .IIuIuu.I...1u.uI______
'--'--'.--I..'--'--I--'--'--I
I--I-.-I-.I

IIulj

I. - - i - . a-l.a - -

fl

1111

I!!I F1

!! !!1i11

s s t 1

rT FTr.

T!. i

u.

Spec it Study .eprt I 999 t2000

rhesi Lesigji P.-cjt:

Awtist rrngc -

1IcIspccJ fur

tist

ii.

Lwtg

ti Fcrng

by

Lctrng J

N4mg

Artt Villige
PfacelspaceJ for Artis in Ym TonS Bay, Yai TonS

Special udy-Conieni

Content
I

1.0

2.0

Objectives

3.10
3.20
3.30

5.0

p.8

LeModulor

Background
Case Studies
Modular Houses

r .v I

Cladding Materials

Appendix
6.10

P.!6

Background
Portable Buildings
Deployable Buildings
Demountable Buildings

Envelope
5.10

6.0

Temporary Prefabricated Structure

4.10
4.20
4.30
4.40

p.1

The industrial Revolution

(Relative) Pennaneni Prefabncated Structure

4.0

k round
2.10
2.20

Transportation

Bibliography

p.36

ArMtVilhigePlace(SpaceJfor ArtL1s in Yau Tong Bay, Yp4 Tong

1.0

Special Sii4I -Objeclives

Objectives

the urgent need of the a place to accommodate the artists whom are forced to leave Oil
Street at early 2000 and the short rental period of the site (just 5-10 years according to Outline
Zoning Plan), rapid assembly system and structure will be a feasible approach for the construction
of the artist village. This special study is an investigation of the various t}pes and aspects in rapid
assembly systems, structures and mateiials. Special attention will be paid to certain technology
especially appropriate to the proposed artist village with an aim to arrive at an appropriate system
and materials to be exploited in the design. Various sinictural concepts, examples and case studies
will be quoted to study the possibilities allowed by the new technology in relevant design issues.

Because of

Within the special study, a lot of examples and case studies are quoted in addition to the theory to
create a clear picture and show the general practices and applications in the real world.
In this special study, the following areas will be examined:

Standardization BUMIIIg System

After the Industrial Revolution at l8 Century, the traditional in-situ "timber formwork &
concrete" building methods can now be taken over by modernized factory-made prefabrication.
The construction process can be wholly indUstrialized and various building systems can be
ado. Different building systems possess digerent flexibility and constraints. Steel structure,
tent, membrane and so on,in temporary and permanent structures, with be discussed in this study.

Materials
in assembly construction will be discussed. Among
them, steel structures and metal cladding system will be deeply examined, as these structures are
one ofthe most possible solutions for the proposed artist village.
Different kinds of popular material adopted

Transportation Methods

One of the problems that assembly structures may encounter is transportatiolt Different
transportation means available in Hong Kong will be briefly inspected at a solution to this
problem.

Artist Village --

Place(Space/for Artists in )au irng Bay. lau long

2.0

Backl!round

2.10

The Industrial Revolution

Special Study-- Background

The single great technical innovation to take place in building at the

I
Century was the
invention of cast and wrought iron. This made the concept of substantial lightweight buildings
possible. The casting technique meant that the requirements of prefabrication. the ability to make
dimensionally coordinated repetitive parts. were readily achieved. Cast iron began to be used
extensively in the construction of buildings though, at first. only in those of a thoroughly practical
nature which served the new industries ofthe Industrial Revolution.

The structural use of cast iron in buildings continued to develop gradually during the l8 Century
but it was not until the early 19th Century that rolled sections were produced and real progress was
made.

One of the most significant events to inspire confidence in the new technology was the
competition for the Great Exhibition of 1851. lt attracted innovative designs form some of the
greatest engineers of the time and resulted in the construction of Joseph Paxton's Crystal Palace
in Hyde Park.

Crystal Palace for the Great Exhibition, English

by Joseph Paxion

The building, constructed almost entirely of cast iron. timber

and glass enclosed the largest volume of space ever up to that
time, with the lightest construction and highest technology
available. lt was an engineering masterpiece. which set a
precedent for a new kind of architecture.

The Crystal Palace was built in just six months. A complete

revolution in building methods had to be introduced in order to
achieve this remarkable objective.

The overall size ofthe building was vast. measuring 563 x I 39m
and covering a ground area of 7.3ha. The building was designed

on a 7-meter module and incorporated 3,300 iron columns,

2,150 iron girders. 372 roofbeams, 38.6 km ofgutter, 402km of

sash bar, and 293,635 glass panels. The roof was glazed by
operations working from specially designed trolleys that ran in
the grooves ofthe glazing bars like railway lines.
At the I 85 1 Exhibition, the exhibition building itself became the
prime attraction. lt was not only innovative in the field of large

spans. iron construction and the use of glass. hut also the
unprecedented use of a component system : modular
construction. standardization. mass production. in building

manufacture and site assembly (prefabrication) which allowed

its rapid construction. remote from its manufacture and the

subsetuent dismantling on another site. Every item of the
building's construction was meticulously planned for reuse in
the new structure: even the temporary timber fencing was reused
as floorboard inside.

l'he feature ofthe ('rystal Palace. which makes it unique to this

day, is that it is still the largest building to have been designed
to be specifically demountable. and to prove its practicality
unequivocally. lt is the "world's greatest prefabricated building"
still after nearly 150 years. lt is a great precedent for designers

of today who wish to design lightweight, movable building

system.

Artist Village

Place/Space/for .4rtisls in Fau long &iv.

au Thng

Special Study-

J!

IJ?
.

i//I

.,

1F

,2'?L.4

,il/

!!J,\\":1i:1

= - - -

Background

Artist Village

PlacefSpaceJ for Artists in You Tong Bay. lau Tong

2.20

Special Stud'.' - Background

Le Modulor
2.21

Domino System

The concept of modulaI' or 'standardi7.ation" which was

widely adopted in modem prefabrication architecture was
introduced and reinforced by Le Corbusier.

Here. in 1941. was a conception of a system of construction,

which envisaged the problems of post-war reconstruction.

In order to build houses and necessaxy infrastructure buildings

as soon as possible after war, a structural system. which was

Domino System

introduced by Le Corbusier. was conceived-a frameworkcompletely independent of the floor plans of the house: this
frame carried the floors and staircases. lt was to be fabricated
out of standardized elements to be attached to one anotherpermitting great variety in the grouping of the houses.

Jf 9

The reinforced concrete was to be made without formwork: to

be more exact, there would be a special arrangement set up on
the site which would permit ofabsolutely smooth and level floor

slabs by means of a simple scaffolding of double T-beams

': 11.;.

fastened temporarily to collars fixed to the top of each columnz

columns of reinforced concrete poured at the

the

rfl

commencement of the work would be aligned by the above

system of scaffolding. The contractor would deliver the frames
marked and grouped upon the order of the architect-planner or,
more simply. upon the order ofthe client.

Plan

Another contractor would flimish all the additional elements.

which could be mass-produced: the windows, doors, etc.
- - -- -- -- - - - - - -- -- --.- -- ----

II

This would result in a completely new method of construction:

I
I
I
_l- --- --- I
I

the windows would be attached to the structural frame; the

doors would be fixed with their frames and lined up with wall

Section through the ceiling

_I
L1

panels to form partitions. Then the construction of the exterior

walls could begin.
The Domino system provided a complete fresh idea of constru

At-list Village

Place/Space/for Artists in >au

long

Ikiv, lau

Tong

2.22

Special Study - Background

Le Modulor

Further to the introduction

of "standardizatiorf' in
modern architecture. Le
Corbusier invented "te

Modulor' in 1974 as a
"solid
solution
standardization.

iii
Le Modulor

t10

.
-

-.

for

lt was only to be expected

that the problems of mass

production could not be

tackled without a range of
dimensions. Le Modulor
proposes such a range.
Le Modulor is a harmonic
measure to the human
scale,
universally
applicable to architecture

and mechanics. In I 948

the first book appeared:

I.

"Le

Modulor".

Even

ii-.
u

without the aid of any

- -SI

i.iIIii

propaganda "Le Modulo?'

has spread over the world.

It has been adopted with

-I'.Duuu.u=!i

enthusiasm
by
many
designers. and everywhere
by the young generation.
Modulor
also
conciliates feet and inches
Le

._

with the metric system.

__a r.;

introducing automatically

d;!:.:.:

-'
- u
a-U

i\

'e

____

Sketches showing variation" in "standard

components by Le Cot-busier

into feet and inches the

decimal
system
calculation.

for

r-_c\ir[
E'_

Artist Village -Pine el Space/Jr Artists in lau long 8ay. lau Tong

Golden Section of Nature

2.23

[il
's

All directions of extension

Special S1uai -- Background

The Museum of Unlimited Extension

The problem of extension of buildings is a task of our time, for

which, until now, no solution has been found.

The Museum of Unlimited Extension was an attempt by Le

Corbusier to search for a solution for the problem of extension
under standardization.

A series of studies over a period of ten years has led to a notable

result: complete standardization of the structural elements:
I.

one column

2.

one beam;

3.

one ceiling element;

4.

one illumination elemen1fi.r the dav;

5.

one illumination elementjr the night.

The construction of the museum under conditions which are not

arbitraty, but on the contrary. follow the natural laws of growth
in the order in which organic life is manifested:The totality is
laid out according to golden Section and permits an unlimited
number of harmonious combinations. The fundamental principle

of this Museum is that it is built on columns. the entrance at

ground level is in the center of the building complex where the
main hall is located, a true hall of honor. destined to house
several masterpieces.

The museum can be started without money. lt can be started by

just one new hall. lt can be continued by one, two of four new

halls, during the following months or two or four years

afterwards. as desired.

The square spiral which starts from there makes for a

discontinuity in the flow of circulation, extremely favorable for
attracting the required attention form the visitors. The means of
orienting one's self in the museum is provided by the rooms at
half-height which form a "swastika"; every time a visitors, in

Entrance

the course of his wandering. finds himself under a lowered

ceiling he will see on one side, en exit to the garden. an on the
opposite side, the way to the central hail.
The Museum can be developed to a considerable length without
the square spiral becoming a labyrinth.

A modular element about 6.5m wide and 4.2m high assures

perfect. uniform lighting on the side walls encompassing the
square spiral.

-Ip
Roof

Standardization not only introduces economy is this case. but

also a wealth of combinations necessary for the proper
organization of a Museum.

Artist Village

Place/Space/for Artists in lau Tong Bai'. lau Tong

2.24

Spacial Study-- Background

Exhibition Pavilion Zurich 1967

Standardization do not necessary imply

i.P
I

J.

boring" and the

Exhibition Pavilion at Zurich by Le Corbusier proved it.

e

This was a project for the construction of a house in a park in

Zurich. which is to serve in the double function of a private
museum and a place where Le Corbusier's painting. sculpture,
graphic. graphic work books are to be made available to the
public.

The building is constructed of prefabricated steel elements. The

The roof frame is made of sheet metal 4mm thick and painted in

batileship-grey. The exterior is of weather-resistant materials

such as aluminium of coloured porcelain-enamel panels. The
interior demonstrates the practical, constructive and plastic
Bi lateral symmetri

capabilities of dry construction. Only the ramp. Which is

separated from the rest of the building, is of reinforced concrete.

The pavilion has a full basement. Most of the basement rooms.

constructed in reinforced concrete. are also used as exhibition
space. They are half under the water table.

The pavilion is a standard solution for the standardization".

Firstly, it is a solution evolves without reference to particular
site conditions.
Orthogonal grid

Secondly it is a very simple standardized structure that the three

elements contrast with each other and each function is clearly
identified-a protective roof. an enclosing pavilion. with a ramp
giving vertical access.

1]lnhreI)d [(t

Using the Modulor proportional system and the ordering of the

symmetrically organized orthogonal grid. the design is based on
unity and a harmonious relationship between all the elements.

Even it is based on repetitive of typical modules. the pavilion

itself is not boring because of the exciting colourful panels on
the facades. Colour is used in a positive way to animate the
pavilion (the cubic modules are stove enameled in primary
colours).

Concrete ramp identifies circulation and

adds to contrast

i.1

ArtIst VHIge -

Special SIw -Perinoneni Prefabrlcaledsfructure

Pkce(SpaceJ for ArtLSt in Tau Tong Bay, Tau Tong

3.0

(Relative Permanent

Prefabricated Structure
3.10

BackEround

The 2 half of 2O Century has seen a series of evolutionary

changes in the requirements of building, which as always, have
been directly related to the technological developments. One of
the most fundamental changes has been the move from an age
dominated by the Machine" to a life dependent on elecfromc
wizanlry. The move into the electronic age was prompted by

WW 11 with the acceleration of research into radar and

electronic systems.

At the same time the building boom, which followed expansion

of industry and the port-war population growth, encouraged the

use of new structura] concepts, materials and construction

techniques, whilst the need for speed and economy prompted
the development of prefabricated systems for structural frames
and the building enclosure.

1-ligher levels of mechanical and electrical seMces were

Extruded Shed

required to provide greater environment controls for the new

generation of industrial buildings designed for the assembly of
electronic components. The ambiguity of the building user
requirements for management and assembly workers

encouraged the design of flexible buildings able to accept

change in use and levels of servicing plus the capability to
expand.

The need for "well-serviced" spaces have became one of the

most significant building forms in the post-WW II era.

The key design factors arei function. flexibility, economy.

integration of structure and services, speed of erection,
Cool Box

extendibility and use of tecirnology. Traditional details, which

relied on craftsmanship. have had to give way to component
assemblies designed to the coned tolerances and performance
specification. The multi-disciplinary design team evolved to
ensure that alt the functional requirements of the building were

accommodated and a new form of architectural language

evolved which expressed the functions of structure. services and
technology.

Since WW II developments in the basic forms of prefabricated

light-weight structures, many different lines have followed

which can be broadly grouped into three categories:

Fabric Structures

Special Structures

1.

Extruded shed:

2.

Coolbox;

3.

Fabric structures &

4.

Special structures

Artist Village PlaceiSpace/for 4rtiss in lau Tong flay. lau Tung

3.20

Case Studies

3.21

Extruded shedIBM Traveling Pavilion, Italy

w..,.

l'ermuneni Prefabricated cg ructure

by Renzo Piano

Ihe cxtruded shed was made possible by the development of

structural welding techniques for steel frames after WW IL The
rigid frame had several advantages over the fink or warren rood
trusses for it no longer required a steep pitched roof. and the
loading capacity could be increased economically.

IP

Special Studi

This provided greater flexibility for the design and the shape of
the roof which led to experiments in north lights and monitor
roof lights to achieve more even daylighting distribution.

Il

The IBM Traveling Pavilions real precedents were the

. ,

greenhouse

as developed

in

the

19th

century and

the

contemporaneous and demountable exhibition pavilion. the

Crystal Palace. As with these. its transparency and purity of
form were animated by the repetition of identical precision

components. In this case though. many of the components were

of sculpted bioniorphic form. and some of these carved in wood.

The structure was very simply. It was a pristine barrel vault of

transparent polycarbonate pyramids with shapely wooden struts
and metal joints, the whole poised above the grass on its raised
structural floor. All the services arc planned under floor to allow
great transparency at sides and roof.

The pavilion essentially was a transparent vault, 48 meters long

by 2 meters wide and 6 meters high. made up of 68 half aches
(forming 34 three-pin arches) each consisting of six
polycarbonate pyramids held together by laminated timber struts
with cast aluminium joints. The half arches were in fact threedimensional trusses. with the polycarbonate serving as both the
cladding membrane and the structural web between inner and
outer chords.

Section-- typical module

However. theoretically. the building could achieve unlimited

expansion by repeating the same modules without affecting the
overall stability.

Longitudinal Section(showing possibility

unlimited expansion)

of

iti R

Plan

000;. --

::'

:42
-

.A.
. .

Artist ViIIge Place/Space/for Artists in lau Tong Bai', lau Tong

Special Study - Permanent l'refabricaied structure

Although Piano's use of polycarbonate as both cladding and

structure was ingenious and conceptually elegant. it presented
Peter Rice with a tricky engineering problem because the rates
of expansion of it, the wood and the metals are so different.

Yet the eventually solution devised to take up these differential

rates was simple: a spacing bolt between the based of the

pyramid and the inner chord of the truss where it was flexibly
mounted into the cast-aluminium element that connected
consecutive wooden struts.

Interior

The structure itself is strong enough to act as a permanent

building but on the other hand it is demountable and portable
because of its simply and lightweight characteristics.

.
Construction -itot labour intensive

The originally design was to be of complete arches with slottogetherjoints in which the aluminium ends ofeach strut fitted
into cut-outs in an aluminum disc. Although this solution was
conceptually as elegant as te individual joints. which would
otherwise have been too distractingly dominants, this would
have resulted in modules that were not easily dismantled and
transported.

This complete arch was too large to move, individual pyramids

too labour intensive. For these and other structural reasons the

half arch was chosen. resulting in a large unit that could be

quickly and disassembled and yet easily manipulated by a
couple of workmen.

These half arches also stacked against each other for easy
transport in the 1 8 specially built trailers, two of which always

remained by the functioning pavilion. One contained the

mainframe computer; the other. air conditioning and other
electrical plant.

Once erected in any new location. a process that typically took

three weeks. a computer simulation was run of outside light and

thermal conditions. taking account of the orientation of the

pavilion. position of shading trees and so on. This determined
the exact placing ofopaque pyramid elements. which were fixed
inside the transparent ones. and of mesh screens. Together these
controlled glare and heat loads.
The great popular and critical success ofthe pavilion led IBM to
commission the visiting of 20 cities in i 4 European countries in
three years times.

Joints details

Artist Village

ii

Place/Space/for Artists in >'au Tong Bay. lau Tong

3.22

Special Study - Permanent Prefabricated structure

Cool Box -

IBM Technical Park, London, UK

by Foster & Partners

The "Cool box" describes the form of flat-roofed shed designed

on a rectangular grid of multiple spans, which is characterized
by the refined and understated details ofMies can der Rohe. It is
originated in the USA with the wartime black-out factories were

deep plan, window-less spaces were built for aircrafi and

armaments manufacturing. High levels of productivity were
achieved in a totally closed environment with the aid of good
artificial lighting and air conditioning.

This technical park in West London, four miles from Heathrow

Airport, builds on themes first announced in the Newport

School Competition designs and developed at IBM Cosham.
The Park was consiructed in the period of 1977-79 with the total
area of23,400 m2.

A wide range of activities - double height warehousing,

workshops, offices, staff facilities and an air-conditioned
machine ball - are organised beneath a continuous roofline and
sheathed in ribbed aluminium sheet or fully glazed facades. The
design was a careful and considered response to the site and

brief. At a late stage in the design of the single warehouse

enclosure (UK Distribution Centre), incorporating double height
and mezzanine space, the client in America altered the brief to
include an Installation Support Centre (ISC) to house IBM's
veiy large computers for demonstration purposes.

The entire building programme was compressed into a 32-week

contract period; steelwork was ordered and foundations laid

even before the disposition of accommodation had been fully
decided. Great care was taken to integrate the ISC with the
distribution centre by means of a high level bridge building
across a central service road. Office areas were stretched across
the space at high level to form a continuous link between the
two buildings with a pedestrian ramp suspended below.

The heart ofthe ISC is its double height machine ball with onemetre deep warren trusses bolted to universal steel stanchions
forming a two-way portal structure; the glass curtain
ll is
freestanding; connections with mullions and stanchions provide
lateral windbracing only.

The UKDC's cross-section varies structurally to match the

activities under its continuous roof zone. Thus, the I 2-metre
high, vety narrow aisle warehouse spaces are enclosed by a steel

framewithlathcebeamsona8x27metregiidwhile,inthe
office area, small parts storage and workshops, a reinforced
concrete frame is topped by a single storey steel roof structure
thai is carried across into the ISC building.

Both the ISC and the UKDC were finished on schedule. In

1985, the Foster studio was invited back by IBM to further

develop the masterplan of the site and to provide a new

administration building.

r.

Artist Village -

Placef SpaceJ for Art isIs in lau long Bay, lau Tong

3.23

Special Study

Permanent Prefabricated structure

Fabric structuresMillennium (Dome) Experience, Greenwich, UK

by Richard Rogers

Selected in Februaiy 1996 by the Millennium Commission from

57 competing UK locations, the Millennium Experience site lies

on the northern tip of the 50-acre Greenwich Peninsula. The

peninsula, on the south bank of the River Thames, had lain
derelict for more than two decades. Formerly owned by British

Gas, the site was purchased and remediated by English

Partnerships.

The total Design & construction period was from May 96 to

Sept

1999 and the cost per square metre was 430.

To design the site and structures for the Millennium Experience

and its internal and external facilities including catering and

welcoming facilities. parks. riverwaiks, piers. linking canopied
walkways, and the principal structure, the l00,000m Dome
which will contain the majority of Millennium Experience
exhibits and celebrations. The Experience will open on 31
December 1999 and run for at least one year.

The Dome has a circumference of one kilometer, measures

365m in diameter and 50m at its highest point. It is suspended
from a series oftwelve 100m steel masts, held in place by more
than 70km of high strength cable. The building's roof is made of
Teflon coated glass fibre (PIFE). At the heart of the Dome is a
central arena conceived as an open, flexible theatrical space.

With appropriate inspection and maintenance the principal

structure and roof cladding should have a life span of several
decades.

Work on site began in June 1997 with the driving of8.000 piles
for the foundations followed by the digging of services trenches,

'

\'

site drainage and the construction of a concrete ring-beam

marking out the circumference of the Dome. I .600 tonnes of
steel sections arrived in August 1997 which were welded
together on site to form the masts, all twelve of which were
erected in October 1997. Construction of the cable net and the
attachment of the roof skin were carried out in the first half of
I 998. The Dome enclosure and service cores were handed over
to the client for exhibition fit-out in Autumn 1998, with the
faade erected by early I 999. The main shell and enclosures are
now complete, including floor finishes for the exhibit sites.
Structural frames for the exhibits are nearing completion. The
central area is largely finished and is currently being fitted out.
Early technical rehearsals and trials have already taken place
and two circular suspended gantries have been lified into place
underneath the central section of the roof. The Dome, intended
to accommodate 12 million people during 2000 with 35,000
visitors anticipated each day, was handed over to the client, on
schedule, on 30th September 1999.

The 2.1 million cubic m. of air contained within the Dome is

heavier than the above-ground construction of I 800 tonnes

I .000 m of door area

will

allow fresh air to ventilate the

structure The Eiffel Tower would comfortably fit horizontally

within the Dome!

Arti3t Village Special Study - Permane,,I Prefabrica'ed structure

Plat efSpace/ for Ar1Lis in Yau Tong Bay. Yau Tong

Special Structures

3.24

Renault Distribution Centre, Swindon

by Foster & Partners

At the start of the 1980s in Britain there was a move away from

the away from the simple industrial shed and towards more
expressive, complex structural solutions. it is hard to define
exactly what prompted this interesting occurrence, and it is
almost certainly not due to any one event but to a number of
interrelated factors. However, the eventual solution maintains
this concept but with a continuous portalized structure of
undulating beams supported from tubular steel masts with
tension rods. A series of exciting masted structures initially
from the offices of Richard Rogers, Norman Foster and Michael
Hopkins are resulted.

Renault Distribution Centre was a masted structure by Foster

and Partners was built at 1982 with the total GEA. of about
25,000m2.

As requested by the client, the Renault (UK) Ltd., the main

function of the building is to provide spacious indoor space for
displaying vehicles.
The building

stands

on

an

irregular

sloping plot

of

approximately I 6 acres on the western edge of Swindon. The

local planners were so delighted with the proposed scheme that

they agreed to raise their earlier limit on site development

coverage from 50 to 67 per cent, enabling Renault to increase
their floor area by I 0,000 square metres.

All activities at the Centre are contained within a single

structure, made up of modules 24 x 24 metres square in plan,
with an internal height of 7.5 metres rising to 9.5 metres at the
apex and suspended from I 6-metre masts. Forty-two modules
accommodate a warehouse, distribution centre and regional
offices, a showroom for cars and trucks, a training school and

'

workshops, restaurant and an entrance canopy.

The hugh building (300m x i 08m) with I 6m high masts

adorned with hugh steel castings for the tension rod joints, and
the expressive structure evocative of some of the best Victorian
engineering, is designed with I 00% expansion capacity.
The yellow-painted structural steel frame has been carried

___
-

outside the external wall panels so that its complex assembly of

arched steel beams suspended from hollow steel masts can be
made plain and visible.

The roof cover, a continuous reinforced PVC membrane is

yr1

4GT

pierced by clear glass panels at each column thus combining the

benefits of natural top light inside with views of the structural
masts and tension rods outside.

Artist Village --

P!ace/Space/jr Artists in lau Tong Bay. lau Tong

Modular [louses

3.30

by Heritage

Special Study - Permanent Prefithricated structure

Buildings co.

The modular houses by Heritage Buildings Co. are one of

the examples of the modem trend of modular housing in
U.S. as well as Europe.

lt is a metal frame building with the construction materials.

both structural and non-structural, are factory-made and

standardized. The whole construction process is not labour
intensive (just 2 or 3 persons are involved) and not heavy
machinery is needed.

The modular houses, with their simple structure and

construction method, provide a possible solution for rapid
erected and cheap accommodation.

m.stria lion process.

L Connect Watt (juts

3. Erect Endwall Frame

5. Connection at I-launch

6. Fork

i,

is Easier

9. Install Roof Purlins

7. Center Cor

IO. Plumb Endwall

Lift

Il. Itase Angle Layout

12. Install Concrete \nchors

14. Vinyl Hack Insulation

15. Cut Window Opening

Artist Village

Place! Spacelfor Artists in >au Tong Bar. >'au l'ong

Special Study -- Permanent Prefabricated structure

,L1Uf!
16. Install Window Trim

17. Self Drilling Wall Screws

Screws

IR. Install Door Frames

21

22. Apply Mastic Seal

23. Instail Ridge Cap

24. Install Gutter Supports

25 Install Guitar

26 Install Rake Trim

27. Corner Box Connection

29. Install Peak Box

30. Completed Building

Artist Village -

Place/Space! foi-

4.0

t6

ArlisLc in lau lang llar. lau Tong

Special Study Ephemeral Portable Architecture

Temporary Prefabricated Structure -Ephemeral I Portable Architecture

4.10

Background

Ephemeral architecture is that which lasts for just one "

Martin Heidegger.

The more accurate definition of the ephemeral, or ephemeral

experience is transition" or "transitory". However, though they
may be temporary in duration, their impact can be lasting: the
fleeting memory from childhood may become an individual's
most potent recollection and its power be such that it helps
focus, or destroys. an entire life. lt is therefore the power of the
experience rather than its duration that is more important in
gauging its meaning and effect.

In term of architecture, even the most ephemeral structure has

the power to form a sign that we identify as "place", which in
turn is linked intricately with other powerful concepts of
occupation and definitions of temtory.

As temporary structures were the first forms of architecture to

be erected, they have the potential to make a direct connection
with every person's ability to make architecture in way that
more complex forms cannot. They also therefore have the power
to encapsulate, in the most immediate way, the primal act of
building.

The experience of making and remaking architecture is

significant, both for those involved and for those watching the

process. The erection of a building that takes place over a

comfortable attention time-span has more power to he retained
in the memory as an event,

Temporary structures, built quickly and in connection with a

specific occasion, have this intrinsic connection with the
establishment of event phenomena. for they tap into essential
"of the day" ephemeral qualities. Such structures appear to have

a latent energy encoded within their fabric-when dissembled

there is the potential foe erection into a usable for; when in use,
there is the knowledge that one day soon they may be taken
apart.

Portable IMovable architecture have a strictly ephemeral

nature-that are movable in some form, and are designed
specifically for deployment in different situations and I or
locations. Portable architecture, made to he erected repetitively,
uses forms of construction that are linked most intimately with
its essence- in many cases its form is therefore expressive of its

structural system, materiality and erection process. lt can be

argued convincingly that the form and character of these

buildings are therefore easier to read for those involved in their
operation and use.
As portable architecture provides possibility of "destruction" in
short period. it can be perceived as relating more to the cyclic
quality of life, for in their destruction lies their ultimate rebirth
- the ebb and flow ofconstruction destruction, the cycle found
in living world.

rtisI Village

Piace/Spacci for

Artists in

lau Tong Bay. lau long

Special Study

-Ephemeral / Portable Architecture

Though some possess characteristics from more than one

category, temporary building systems can be simply divided into
three specific types, namely,

Portable Buildings;
Deployable Buildings;
Demounrable Buildings.

3.

4.20

Portable Buildings

Portable buildings are those that are transported whole and

intact. Sometimes they include the method for transport within
their own structure (wheels. hull) and can be towed or carried.
However, the dividing line between building and vehicle then
becomes binned, a few can be described as self-powered.
Mobile Home in Transpoil, Kansas. I 994

4.21

4.211

Case Studies
La Bais-o-Drome

by Joep j/

Lieshout

Rotterdam-based
van
Lieshout

Atelier
was

established in 1995 by the

uIuuup-

artist Joel, van Lieshout

(born in Ravenstein, 1963)
after
gained,
in
he
collaboration with the
acclaimed architect Rem
international
Koolbass,

recognition for the design

Front view

of several bars and sanitary

units for the prestigious
Grand Palais in Lilie
(1994).

Side View

Perhaps Van Lieshout's

most charismatic work is the
creation of a series of
provocative mobile homes La Bais-o-Drome, Survivial
Unit Autocrat, and Modular
House Mobile - which have

inhabited art galleries and

roadsides
in
Cologue.
Rotterdam,
Reykjavik.
Pails, New York, Log
Angeles and Winnipag.

Although these trailers do

contain
conveniences,

pragmatic
such
as

toilets, sinks and kitchens.

the interiors and exteriors
also communicate exotic
and romantic ideas about the

possibilities for a portable

dream home with fur-lined
or slick and shiny spaces.

T
b

Art Villige Placelspacejfor Arases in Y

4.212

Tong Bay. Tau Tong

Mobile Campus in New York City

Special u

-Ephemera1/Po1abIe Architeclure

by FTL Happold

In New York City, overemwding in school facilities has been caused by a sudden surge in the school

population. This population surge will move through the school grades, requiring short-term
elementaxy. intermediate and high schools.

To build conventional struc1ures only to find them unused a few years later is absurd and wasteful.
The school authorities also need 'swing space"-classroom space on-site at existing public school
grounds. where students can temporarily be relocated in order that portions of the existing building (a
few classrooms at a time) can be evacuated for renovation or upgrading.

in response. the New York City School Construction Authority established the requirement for
temporary deployable classrooms that can augment school fucilities at a specific location and move
on after they are no longer needed.

CuiTent state-of-the-art temporary classrooms consist of double-width mobile home units that are
expensive and not truly mobile as they need to be set in place by crane. The environment these
facilities provide for education has also been cticizctl widely.

Eu

F1'L, in collaboration with the client, has explored the potential for a much better solution to replace
fac existing so-called "mobile" classrooms. In addition, the practice has extended the brief so that the
new facilities can form an entire campus for 300 students, with classrooms, administration offices a
library, room for art/music, science and computer work, a cafeteria and a gymnasium.

These facilities could also of the project is that the buildings are deployed form a staging area (a
dedicated Irailer truck yard as they are based on modified truck trailers) and are capable of canying
all of their own infrastructure, including power generation, heating and air conditioning, toilets. water
storage, fuel storage, etc. This makes them entirely independent of public services and the utility grid.
Over a hundred New York City public school sites within a 15-mile radius will be serviced by these
wheeled buildings. The prototype design utilizes a 25-fool-long semi-trailer with walls that unfold to
create a 28 x 25 foot classroom. The expected setup time is approximately 24 hours. Special features,

such as exterior walls decorated with dramatic graphics and the luminous fabric roof serve Io
contradict the notion that a temporary classroom is a poor substitute for the permanent building.

designers' objectives were to create an appropriate environment for teaching (Safe, secure,
temperate and well-lit) that could be produced at a lower price than existing equipment. lt was also
crucial that the image of the portable buildings was identifiable with beneficial change. facilitating
the rapid and efficient improvement ofthe city's existing educational buildings.
The

Arti3t

20

Place/Space! for Arhsls in lau long Bay, lau Thng

4.30

t'

Special Siudy Iiphemera1 Ponable Archileaure

l)eloyable Buildings

Deployable buildings are those that are transponed in parts but

are assembled at the site almost instantly into usable built form.
These are almost always carried but in a few limited cases may
have part of their transportation system incorporated into their
structure. The main advantage of this type is that it can provide
space almost as quickly as the portable building without the
restriction in size imposed by transportation.

Tent structure, is one of the best example of this type. Tent

structure is not a new technology: on the contrary, the tent is one
of the earliest forms of architecture. Because it is still in active
use today. it can be said to have survived longer than any other
form of building. The tent form possesses great potency as a
worldwide symbol of shelter regardless of cultural boundaries.
"In the vasi deseri area he lent of a nomad is the unique shelter
/r anybody coming across he wastes... The lent... is a relic of
the symbolic nature ofa sheller in he traditional sense

The tents of the nomadic peoples of North Africa have been

developed over thousands of years. The transient culture of the
nomadic peoples requires lightweight and portable possessions:
the nomadic way of life necessitates moving camp every two or
three weeks, and probably more often.

The tent construction possesses great flexibility in the way it is

used. The walls of the tent can be raised to allow the passage of
cooling winds. or be fully enclosed in a storm. The tent can be
split into many compartments ofleft as a single large space.

Those peoples who built and used these movable buildings

expressed a sophisticated awareness of the essential
characteristics ofa sense ofplace and the importance ofhome as

a concept. They perceived their buildings as an essential

component in the generation and continuation of those ideas. To
them, portable buildings though temporary in location were not
temporary in use. Their portability was precisely what makes

them non-disposable. The fact that they can be reused means

that they can be an efficient use of materials and resources and
should therefore be designed with care-high quality products
tuned lo a specific need if not a specific location.

t Fritz Morgenthalei.

Refler-Alodernization in Tribal Societies. Paul Oliver,

1975 p. I 52

Artist Village Place/Space/for Arlisis in }au Tong Ba;, }au Tong

Special Study Ephemeral Portable irchitecture

Another example for relocatable building is pneumatic structure.

Pneumatic structure achieves its stability from a skin under

tension, which is provided by air pressure.
Pneumatic structure has the advantage of being capable of large
speedy erection without specialist equipment.
However, pneumatic (as packaged volume) offers a choice as to

spans and

whether a structure is there or not, but once erected, the

structure is inflexible in terms of physical response, apart from a
limited expansion by addition.

The quality of the product is based on the quality of the skin

material used (generally an impervious PVC or PIFE coated
polyester), the nature of the tie-down system for the building.
and the reliability and efficiency of the inflation device. These
buildings can be very easy and light to transport and simple to
deploy. however. problems are associated with making the
building resistant to wind load (which can lead to catastrophic
destruction) and accidental deflation in the event of puncture or

air-input failure. They also require a constant reliable power

supply, though this can be associated with heating and cooling
requirements. Pneumatic structures have the capability to cover
large areas more cheaply than any other system and because up
until recently it was not generally possible for them to be made
without competent engineering advice. there have been
relatively few failures. However, it is now becoming possible to

buy impervious material direct from the manufacturer. to

Single Layer Air-Supported

assemble or buy-in inflation devices. and make and install a

structure without expert advice or quality control. Consequently,
calls are now being made to regulate this type of building.

When used for structures pneumatics fall into two basic

categories: single layer air-supported and air-inflated structures.

Single layer air-supported structure

A flexible menibrane is supported in tension by a compressed

Cush Rn

fluid. which reacts against a load-bearing surface (usually

ground). The used volume is usually at a slightly higher pressure
than that outside - 11500th atmosphere.

Air-inflated structure

Li:L)

Air-inflated structure is a membrane completely enclosing

compressed air. Cushion. double-layer and inflated ribbed
structures are of this type.

Double Layer Air-Supported

Apertures for double-layer can be where you want them. Greater

themial and acoustic control is possible. Self-deployment is a

particular advantage. The structure does not require an air seal
to the ground; inflation is rapid.

tA

High-pressure inflated ribbed structures provide great freedom

of structural form. The membrane is independent of the tube

----T

frame. lt can be changed easily. allowing greater control of heat.

'-

'.-

High Pressure Ribbed Structure

light. and sound. Inflation is instant. Initial air input is very

small. High pressure, however. requires high performance
joints, seals. and fabric.

Artlt Village Place/Space/for Artists in You Tong Bay. You Tong

431

Case Studies

4311

Tent Project, London

Special Study -Ephemeral Portable Architecture

by Architectural Association

The Tent Project, run by First Year Unit 3 at the architectural

Association in London for the past II years, has a variety of
ancestors, living relations and disparate offspring. It was started

in 1987 as a response to the First Year Technical Study

requirement for students to execute in the AA workshop a full
size detail of one of their designs for a building. The concept

was to both introduce students to an understanding of the

physical craft involved in architecture and illustrate that the
detail of a building could contain the ethos of the whole.

The tents have to be capable of being transported to a field and

erected easily and last for four days in the cold darkness of the
English countryside in mid winter.
A budget of 50 to 70 for materials for the Tent Project limits
the indulgence of an idea and encourages a hungry eye for the
opportune. Methods of construction are not prescribed and new
ways are often chanced upon during the construction process, or
are developed from the experiences of previous expeditions.

It isan initialconceptthatisallowedtodreamandgrowthatcan
accommodate the details for true portability. Assembly details
are a crucial element in the development of these structures, as
they should rely only on themselves for the best effect.
The requirement of the project have much to do with developing

an ability to explore the ramifications of making an idea

physical, and potentially functional, in a previously unknown
site that by inhabitation becomes extremely well known and
tempered. The object in the landscape projects often seeks to
draw some inference from the site as a way ofjustilting their
presence upon the site. This may be indicative of the modem
dilemma concerned with context and the acknowledgement of a
pre-existing set of architectural rules. It also harks back to the
architect's mythical freedom to build and design in isolation
like a pioneer staking his claim in foreign lands.

The experiments carried out by the students of Unit 3 attempt to

bear out in their application ofan imagined future situation, with
a flexible range of skills and materials available. The

imagination of expressing a structural concept is where the

individual flavor of the structures shown begins to make the
architecture. The possible combinations of the structures, with
an urban arrangement in mind, give an uncertain aspect to the
eventual placement. The imagination has to be as the structure is
portable. and there is the crux of the dilemma. The intelligence
to survive on the move is not judged by physical death, as in the

past, but by the public reception of the image it beholds. In

reality, the product is of a crude hand-crafted, thrown-together
nature on close inspection; but it is one that, regardless. realizes
the full plethora of architectural potential.

Artist Villige Place/Space/for Artists in lau Tong Bay, Tau l'ong

4.3 12

Power House: UK, London

Special Studi

by Bransnn

phemera( / Portable Architecture

('oales

Temporary exhibition structures are fertile ground for the exploration of unusual forms in
architecture. In this case, the exhibition theme, "cutting edge design", enhanced the designer's remit

to explore the project's potential to the full, but also added the responsibility of creating an
appropriate "cutting edge" building image.

The architectural practice Branson Coates has extensive experience in designing for dramatic effect
and image, exemplified not only by exhibition projects such as Living Bridges at the Royal Academy.
and Erotic Design at the Design Museum, in London. but also by their Japanese work: for example.
the Art Silo and the Wall Building.

The commission from the Department of Trade and Industry was to create a showcase of the best of

innovative British Design-for presentation primarily to the European and Asian Heads of
Government and business attending the ASEM 2 meeting in early April 1 998, as well as to the public.
The building was to be open for only three weeks with a one-week set-up period and was to include

many different aspects of innovative design expertise: computer graphics, media special effects,
automotive design. genetic engineering and furniture design.

The site at Horse Guard's Parade is a high-profile destination,

on tourism agendas for the daily ritual ofChanging ofthe Guard

and special events each June when it forms the setting for
i

Beating the Retreat and Trooping the Colour. The ceremonial

nature of the site makes it especially suitable for temporary
structures, which must attract visitors not only by their advance
publicity but also by being adjacent to a recognizable "address".

The range of traditional formal government buildings: that

formed the backdrop to Powerhouse: UK was an interesting foil
to the exhibition's transient and dynamic nature.

Artist Vithige

24

Place jSpacej for Artists in lau long Bai', lau l'ong

Special Study Ephemeral Portable ,irchiiecture

The structure was composed of four I 6-meter-diameter drums,

positioned symmetrically around a central crossing in response
to the symmetry of the site. The symmetry was enhanced further

by four ramps leading towards a central circulation space.

providing visitors with the choice of visiting the exhibition areas

in any order. Each

of

the spaces focused on one area

of

creativity-lifestyle,
communication,
learning
and
networking-although the exhibits themselves expressed the
interconnectivity of' the design process.

creativity in
lifestyle

creativity in
networking

The steel-framed structure was clad in silver coloured, inflated

fabric, matched by the exhibition hostesses' silver "Michelin
Man" jackets. In darkness, the building glowed from within,
gently illuminating 1-lorse Guard's Parade and the surrounding.
comparatively somber buildings.

One problem of' large-scale temporary buildings is that they

:i__:iIIIi

''

cannot make use of conventional foundations either for support

or restraint. In this case, engineering consultants Buro 1-lappold
advised that the four ramps be made of concrete to anchor the

building against wind loads. The main steel structure used

simple sections and connections to avoid complicated erection
processes.

The membrane was inflated with small electric fans and

creativity in

creativity in
communicating

learning

connected to the steel ribs with extruded aluminium sections. A

tensile membrane covered the central space using well-tested
fabric structure detailing to accommodate both tensile forces to
maintain its shape and rigidity and imposed compression forces
resulting from wind lad.

The main design requirements for the Powerhouse: UK

exhibition were that it be easy and quick to erect and dismantle,
and economic to manufacture. This resulted in a building that

was comparatively heavy for a temporary structure-60 toes

in the steel work alone. a fact, which is at odds with its apparent
lightweight image!

Elevation

I_i.

Powerhouse: UK made use of a site not usually associated with

easily accessible drop-in public events; something that should
be encouraged. lt also highlighted one of the problems of
integrating temporary event structures into existing urban
infrastructures: the relationship with statutory, government and
civil authorities. Unfortunately, the installation of a standard
concrete-based, galvanized metal fence around the entire

structure (enforced by the security advisors) diminished the

exhibition's impact as a wholly designed environment:
somewhat deflating the image of a wonderfully designed object
temporarily visiting, and enhancing, the qualities ofthe site.

Interior

Artisi ViIIige

26

PlacejSpace/for Artisis in >au Tong flay. >au Tong

4.40

Special Study -Ephemeral / Portable Archifreture

Demountable Buildings

Demountable buildings are those that are transported in a

number of parts for assembly on site. They are much more
flexible in size and layout and can usually be transported in a
relatively compact space. They have sorne of the limitations that
site operations bring to a conventional building and, depending
on the sizes, complexity. and ingenuity of the system, are not as
instantly available.

Demountable systems buildings are generally derived from

permanent building construction techniques and can take many
diverse forms. Demountable buildings of this type use familiar.
bolt-together components in order to produce a building that can

also be disassembled for relocation. The implementation of

these systems is usually the result of a manufacturer for the
same tooling. All the products use steel of aluminium based
structural systems in coordination with a range of cladding
materials such as glass. PVC, plastic, metal and timber.
4.41

Case studies

4.411

Modular Office Erection

I Complete modular office package as

delivered.

kv Heritage Buildings C'o.

2. Layout floor track then check

s.

Fit panel then add the next wall stud.

IO. Install window in wall stud track.

Extruded aluminum wall studs are

8. All panels are pre-cut and numbered.

I . Secure header panel above window.

6. Note. door hinges factory titled on

tirst panel.

9. 1-laIf panel for window location.

Artist

Village --

26

Placet SpaceJ for Artists in lau Tong Bay, }thi Tong

13. Insert last wall panel.

Special Study Ephemeral Portable I rchiteciure

4 Attach top track on four sides.

15. Snap wall stud cover plates.

L
l6. Erect ceiling supportjoist into

17. Attach ceiling track to walls.

18. Install pre-wired conduit in wall

brackets.

9 Fit wall stud cover plates to secure

Irnenor wall coscring

outlets,

20. Cornpk
with outlet.

22. Attach roof panels with self drilling

23. Install tie wires for ceiling grid.

24. Insert ceiling cross tees.

lj,*
25. Place ceiling tiles into grid system.

26. Snap together pre-wired electrical

27. Plug in light fixture,

28 Install lighting fixture Into ceiling

grid.

'i,

later.

Artist

Vilisge

27

Place/Space/for ,4rtists in hrn

lang Bay.

lau long

Special Study -Envelope

Envelope

5.0

The domino system and the Crystal Palace only provided the solutions for the skeleton of rapid
assembly building. however, supplied not hint for the outer skin. What will be the envelope? I low
will be the faade constructed?
In this section, some common dry fixing and cladding methods as well as materials used will be
discussed. These methods and materials discussed in this special study report and will be applied
to the purposed artist village will be characterized by:
1.

('heap:

2.

Rapid assembly:

3,

Flexible:

4.

Aesthetic appearance:
Easily be transported on site:
Lightweight.

5.
6.

C1addin Matenals

5.10

si i
.
.

Above: mould
waxing prior tO
moulding
Below: Rolling
OUI the lay-up to
remove are
bubbles

f- - -

Glass-reinforced Polyester (CRP)

Many different materials have been used to form composites

within the field of reinforced plastics. The concept is to combine
a strong tensile fibrous material. to give tensile strength, with a

resinous binder to hold the material together and provide

compressive strength. Thus GRP is a composite of durable resin
with glass-fibre reinforcement.

Principal characteristics:-

Methods of GRP preparation:-

It has a high strengTh and low density. leading to

lightweight products. Despite its high tensile strength.
however, it has a low modulus of elasticity. and

therefore high loads can be sustained only at the

expense of large deflections.

a) contact moulding

GRP has good corrosion and weather resistance,

making it suitable for long-term use in external
conditions.
Its

most

useful

characteristic

is

that,

being

thermosetting material. it can be moulded without the

use of pressure or high temperature. This characteristic
makes the moulding of relatively short runs of large

J1

shapes possible. lt also gives GRP its

versatility of appearance as, in theory, almost any

awkard

colour or texture can be produced.

GRI is more expensive on a volume basis than other building

materials. and it is therefore essential to use it in thin sections to
achieve cost comparability.

Corner
panels at

Panel Stffening:-

Winwick
Quay by
Nicholas
Grimshaw
Partership

Because of the aforesaid defects of GRP. three basic ways of

stiffening panels in common use are as follows:Shaped Profiles:
Panels can be designed for stiffness in a geometric form. Even

for a nominally flat panel. a shallow profile. pyramid, dome or

dish can make a considerable improvement to its stiffness.

Artist Vilhage'

2R

Pe(SpaceJforArlisLs in Tau Tong Bay Tau Tong

Methods of stiffening GRP pane1:

Special Sludy -Envelope

Ribbed ConNfrucaon:
Single-skin construction can be stiffened by a system of ribs on

the back of the panel. Ribs are nonnally made form ORF
laminated over a rib former in a mould, but they can also be
formed by incorporating another material of appmpnate shape
and stiffness into the paneL Polyurethane foam or cardboard

Shaped profile

tubes can be used as rib formera.

Ribbed oonstniction

Sandwich Construction:
The advantages here are that the insulation is integral within the
panel, cutting down on the number of site pmcesses involved,

thereby saving time, and the whole skin is manuctured to the

F1

Ti4IM1

same tolerances and quality control within the factor. In

Sandwich constniction two skins of GRP are separated by an
insulating core. The edge of the panels is usually formed by
bringing the two laminates together.

Jointing:Most problems of jointing GRP cladding panels occur at the

external panel-to-panel joint, particularly at the crossover
situation. These external joints and their jointing materials must
be able to accommodate the thermal movements and deflection
movements of the mouldings under maximum denti and live
load conditions, as well as allowing for manufacturing

tolerances and errors in erection. Three type of joints are

Neoprestejointing gaskets

commonly used:

Mastic Sealant JointsThe performance ofthis type ofjointdepcnds onthe skill of the

site applicator. There have been a number of examples of

L.

Typical back sealed joints between GRP

units

sealant failures with t3RP panels. This type of failure is often

due to insuflicient account being taken of the expected thermal
and moisture movement at the design stage, and in some cases is

caused by failure to remove all traces of releasing agent at the

panel edge before sealant is applied.
Gasket Joints-

This type of joint normally incorporates a neoprene-extruded

section; because they alu factoiy produced, they are not so
dependent on the site operative for their successfiul application.
Neoprene gaskets work best when they are compressed within
the joint, normally on the backside of the panel edge profile.
Open-D rained Joints-

This type of joint is not in widespread use with GRP panels.

This may be because of the difficulties that can be experienced
in casting the necessary depth of baffle groove. Other problems

have been experienced in fixing the baffles at the top of the

Section

pane] to prevent them from sliding down the groove.

Conclusion:-

Plan
Open-drained joint detail

GRP. in its simplest form, laying up layera of glass fibre is

relatively easy. However, the process required to design and
fabricate a product to satisfy its function for many years in a
hostile environment is much more complicated. Likewise,
jointing and fixings must be carefully considered to take account
of any thermal movement and inaccuracies (spacing, plumbing

and alignment) of the required standards of manufacture,

assembly and repair are essential.

Artiat Village PlaceiSpace/for 1rtisc in lau Tong Bay. lau long

5.12

Special Stud

bnvdope

Formed Metal

Formed metal includes steel or aluminium sheeting, profiled.

pressed or formed to impart stiffness and hence strength to thin
and otherwise flexible skins.

Forming of metal can be carried in four different ways. namely.

folding. rolling. stamping and deep drawing.

I:

l3oth steel and aluminium offer a wide variety of sharper

Panels

Superform

by

Aluminium

Financial Times Building

at

(trapezoidal) profiles. and can be used horizontally or vertically

with patent bending processes available for specially formed
corner junctions. The selection of either steel or aluminium may
be a personal choice. Aluminium is nominally more expensive
but, on the other hand, is lighter and therefore, in theory, needs
less framing.
Profiled steel and aluminium sheets are available in:

Sinusoidal
Where crests and troughs are symmetrical and have the
shape of a sine curve;
Symmeirical trapezoidal Where crest and troughs are the same width. and the
sloping sections are at a constant angle;
Stani

aluminium panels

Asymmeirical trapezoidal--

Where crests and troughs are unequal in width. The

CTl be used with either surface outside
provided the organic coating is on the correct side.
SUCtiOn

SirtjsoidaI

Symmetncal trapzoidaI

Jointing:-

Primary
I_

Firings:-

Primaiy fixings attaching meta cladding to steel rails are

Aimet,icl trapezoidal

commonly self-tapping screws.

-i

Secondary Fixings:Blind light rivets are usually used for secondary fixings in metal
selftapping
screws

!-

bs4oe

Side laps of one corrugation will generally prevent driving rain

passing through the outer cladding. but when exposure is

t

"severe". an increased lap may be needed.

&.g

s" .,.pd

Rivets

for
secondazy

______
0

aluminium sheeting should be aluminium alloy.

Joints Between Sheet:-

:1..-

R,.t il Ssd tiN

claddings. For steel sheeting. cadmium-plated Mond metal

rivets should be used. not cadmium-plate mild steel. Rivets in

fixings

Side laps may sometimes need to be increased locally to avoid

Cutting sheets at corners and openings. Such laps are easy to
increase with regular profiles, but are difficult with irregular
profiles and sheets with bonded insulation.

End-lap joints on walls will normally be 100mm. and on roofs

150mm, but when exposure is severe the end-lap should be
increased to 200mm.

Arftst VillagePlat c/Spat ej fr 4rlisls in lau Tong Bay.

30

lau Tong

Special Study Envelope

Sealing of lap joints with mastic is generally not used in vertical

sheeting for weather protection. However, sealed side-laps are
required for pitched roof-cladding below 150 pitch.

Over-sheet comer flashings usually need to be wide in relation

to the profile of the main cladding and tend to conflict with it in
scale.
ovcr-shcc comer flashing

Using over- and under-sheet comer Ilashings. these can be

shaped to match the profile of the main cladding. The uptumed
lip of the main cladding is also covered, offered a betier water
check.
With under-sheet flashings. in order to avoid the exposure of an
upturned lip, one of the cladding sheets has to be reversed.
Compatibility with other

under-sheet comer flashing

materials:-

Compatibility with other materials is also an important

consideration, particularly when using aluminium.

Aluminium is particularly susceptible to electrolytic corrosion

with dissimilar materials. With an organic coating, it is liable to
attack

if pierced or cut, and anodized aluminium

is as

susceptible as the untreated and zinc or between zinc coatings

and galvanizing.

under-sheet corner flashing

Aluminium sheeting. whether organically coated or not. suffers

attack from many building materials. Direct contact should be

avoided by good detailing and efficient drainage to prevent

Various methods of corner detailing using
flashings

water mn-off. Organic coatings on hot-dip zinc-coated steel are

unaffected by all common building materials, unless they are cut
or pierced, when they behave similarly to hot-dip zinc-coated
sheet.
Conclusion:-

In general, the mean value for airborne sound reduction through

profiled sheeting is not better than 28dB unless additional

insulation is provided with a back-up construction of mineral
wool. in which case it is possible to achieve 36dB.

In considering strength, steel and aluminium protiled sheeting

can be designed to withstand a deflection of span/90. Because

the performance of cladding is oBen determined by the

deflection criterion, the limit chosen is important. Most

manufacturers now consider that a limit of span/90 does not

represent good roofing practice, and is likely to lead to troubles
from leaks developing at laps. Thus moves are being made to
introduce more stringent controls for roof sheeting.
Resistance

to

hard

body

impact

is

another

important

characteristic of metal cladding systems, and manufacturers

should be asked for results of impact tests.

One of the advantages of profiled sheet metal cladding is that.

with care, the fixing subcontractors can adjust the setting out of

their sheets to take account of inaccuracies in the structural

framing. Fixers prefer to pull on rather than bend sheets to fit an

overall dimension. and thus the mean size of the sheets in

manufacture is normally below the target size.

Ar*itVilhige-

31

Special $1,4 -Envelope

Phu,eJSp.wejfor Amsis in lau Tong Bay, Tau Tong

11

A combination of predictable thermal and structural

performance quickly lcd architects to sec the benefits of using
composite metal panels. Composite construction is the bonding
together of layers of materials to form a rigid structure.

n it-Wm
I I

Sheet Metal, Composite Metal & Rain Screens

5.13

.#fs

ii

U.

_-__

- _

kU

There are essentially four types of sheet metal and composite

panel system:-

-,--

rolled fias sheet panels mounted onto a supporting

framework:(sheet metal)

__*_ 4-I -

rii ''

1*

- _
o_ .w.

box-type panels (including proprietary panels), usually

with foamed cores(composite metal)

laminated panels; (composite metal)

rain screen panels

Rolled Sheet Pane&

1.j

'1tLIIi [IIdLIJ

oi

c:i::j i

E L
l

It-.

This type of panel consists of 3-6mm sheet metal fanned into a

metal panonthe outside fice, eitherbycuttingand welding the
metal into a fray or, more usually, by spot-welding angles that
form the edge to the tray. The stiffness of the panel thus depends
upon the thickness of the metal and the number of stiffening
angles.
The panel

is supported by a fixing rail or some form of

secondaiy framing, and the insulation is normally applied

loosely on site, although in some cases it can be glued to the
back of the panel in the factory. The inside face is finished
either with another metal sheet or with a conventional interior

I n,

finish material such gypsum plasterboard.

J-

The essential difference between the type of panel and the other
types is that the insulation and inner linings do not add to the
total stiffness of the panel. One problem in manufacturing such

panels is that of avoiding the rippling of the surface of "oil

Panels at the Bronx Ceitre

causing effect" and ensuring that the sheet metal is perfectly flat

and smooth, which also influences the thickness of the metal

used

The maximum size of miled sheet panels tends to relate to the

size of sheets available, and the weight of units when

a
"-'o

assembled. Panels at the Bronx

Centre,

which were mainly

3.45m wide x O.75m, l.5m and l.35m high, made nears

maximum use of available rolled sheet sizes. Some curved

panels were also used on the projecting staircase enclosures.
3 .6m high x 0.862m wide.

4 'o"

s-

1w-p"T>pical joint design

A.rtt WiUage

FzacsIS,.aceJfo.- AnLn.r a.,

rz.., n,. ra.. rang-

Sfle.,iat Sw4,' --,tap..

siE Mt..I JLr

rb priacipo.t fm af ..ampasita atr',oti',r

is twa tbir. sitsots bald apart by a Iigt'twoight

caro ta wbi',h tbay ara b,,adad. lt is spa..irg

iso twa shts tbat is mairdy rosparmibla
f',r is', riidity af tI,', lir,a1 c,ompasito tk,a
witt',', tha spaciog-. tho g-r tar tha spmmirg
capabilitias f Iba fimshad prodact.
Campasita parals -sara also a',d by Fasta,- at

Self-tapping fasteners
saoo frs., a ng-O
a 75 mO. teemed
eeel permis

Iba Ltarm,,lt Caatra. wb',ro 75mm thick pmrola

spari -4m bal'oca tbo vartical 1ddiogsapport Fha paon systam. 'which was ballad
to isa vartical cm,tiJo-vnrnd cohmms by titra',
tiiog-s at osait cad of Ihn parmi. pro'aidod a
'very low-cost etevation A. lar-g-e neoprone

SOS a,a. a 165 aIm

eladding rm.Illoa

skirt takes op the deflection at the top of tite

assembly-.

'Iitere m-e now essentially t'wt, typos of composite paneL Fheso

- ,Fwro,gj,oiyin",thaast ,panrals
-

ElifForont typas and Ihicimess of sheet material and foam can be

asad for tite insulation cores for composite pancls 'fltese are:
-Mineral wool.'
-f loneyconib aper core;

-ea.Jpol,yefl'rena riial sheet;

-iD polyst3'rene ri,g'ia sheet;
-Fol,y.arethaneJban,

-ri.', aaom,mias of coing matai composita oit standardiaatian of unit sia',... and it is perhaps cot

sm'pr,si.tg- that their use tends to be assoaiated 'with a systam ofaoorditmtad dimensions.
rita ose of proprietary composite panels for icdostrial boilding-s bas been more widespread. whore
standard-width panels are bolted back to a simple steoctarel framework. and where tite faade has

no. or only' a few. windows. Uypically a isade mtit of this type consists of a profited sheet.
thermal insolation and at. internal lining-. either prodoced as a compasito soit in the factory or
assembled separately on site.

Some composite panels. parlicatarly those with a fonmad insolation care. failed in lita past

baaa.,.sa of delamination of the onto,- ski,, from tire insaistiac to which titey were bonded. 'l'bis ir.
tam radtwad tite spanning- characteristics of the panel. beaaasa tira matariats were no lang-or actingin a composite fashioe in otter to edoce the etI'act of the thermal ma'vement. Some design
factors are sag-gastod as follows:ithe edges of tite panel are free to bend as tite panel bows ant and ara not restrained by the
adjacent panels or the method of flaing-.
2_
..,ee light coloms on tite toter skin to redone the heat gain orn the skia.
3. FittingS it. the center ofpanels sltonld be avoided.
4. The adhesive and type of insolation core should be acicalad to take accremt of stresses
set ttp by thermal movement.
5. If the inner skin has a higher coeflicient of eapmtsior. titan the outer. the n the effeet of
thermal movement wirt be tedoced.

4.-tisi Village --

33

Special Study Envelope

P!ucefSpace/ for irlisls in lau Tong Bay, lau Tong

Rain Screen Panels

This panel is in effect a combination of rolled sheet and

r__-1

laminate panel in which a flat aluminium sheet 4-6mm thick

is mounted in front of a laminated paneL, itself designed for
weather resistance with a ventilated cavity between the two

parts of the consuction. As the name "screen" suggests.

these panels are only a firsts-stage barrier. The panels behind

provide the thermal and acoustic performance. and can be

mounted into a carrier system or fixed to secondary framing
in the same way as previously described. The joints between
the rain screen panels should be 10mm or more to allow for

- --

any thermal movement, and it is also advised that the fixing of

Section of Rain screen panels

the outer sheets to the carrier system should allow for

movement.

s -

IH
LI

The size of the panel is limited only by the maximum size of

the sheet metal panel and its ability to span between supports.
However, the outside face of the inner laminated panel must
als.,) be waterproof, and this may limit the size of the overall
assembly ifjoints in this panel are to be avoided. Rain screen
panel principles have also been developed for over-cladding

1H
Fo .

using metal panels mounted onto concrete block back-up

ill!

Typical rain screen detail & typical secret

walls.

fixing using metal pins

These metal panels are fixed to supporting mullions fixed in

turn back to the external building fabric. A cavity is usually

formed between the original and the new fabric. which is

insulated, normally with mineral fibre insulation. Panels are
normally locked to the supporting mullions by stainless steel

tbrming a rain screen mounted on brackets fixed to the

blockwork or brickwork behind.

Joints

Fixings

The joining and fixings of metal

composite panels is critical to
their performance in use.

This system (Aspect II) of inter

changeable faade components
Examples ofjoints between composite units

offrs
the opportunity
rearranging or adapting

of
the

building envelope at any stage

during the construction process
or after the building is occupied.

Aspect II allows panels to be

inter

changed

with

glazed

panels. louvers or doors. Even

loading

bay

doors

can

be

relocated. The panels can be

easily assembled or dismantled
by a skilled fixing team.

Sequence of Erection

Artil Villige

34

FfacejSaceJforAfltsis in Yw. Tong Bay, 1n Tong

5.14

Special Sftc4p -Envelope

Curtain Walling Glazing

Curtain walling may be defined as being non-Ioadbearing walls,

usually suspended in front of a stnictural frame, their own

____I

deadweight and wind oadings being transferred to the structural

frame through anchorage points.
-

-.

Usually they consist of a rectangular grid of vertical of

horizontal framing with infili panels of glass or some other
lightweight panel.

Two forms of palem g(azing

Above: raditional
Below: mverted

There are mainly four system for curtain walling:s

s

Patent glazing;
Pressed or extruded metal box framing;
Suspe nded glass assemblies;

Silicone-bonded glazing

The means of support and the layering of the arrangement can

totally change the appearance of the faade. There is clearly an

interest in providing diversity in the means of support for a

particular project to reduce the visual bulk of the supporting
framework or to achieve a particular span requirement

in metal box framing, the window maillons are the principal

members of the grid; horizontal members rarely from the

support for curtain walls. Vertical members spanning from floor
to floor must withstand axial stresses caused by wind loads. and
it is in this direction that tire mullion must have greatest stiffness
and strength, a principle also illustrated by the 'fin" section of a
patent glazing bar. The depth of the mullion is thus dependent
upon its span and the area of glazing it is required to support
(module spacing).

Two basic approaches to assembling a

box-fumed curtain walIsAbove: stick systcm Below: panel system

The size of the curtain wall grid is determined by the costs of

the vertical members, the section size being weighed alongside
the number of members required. Proprietary systems offer a
module size of between 760mm and 1200mm. Float and sheet

glasses are now available for use with these larger grid
dimensions.

Joints and Connections

__ -

--'-La11

= - j -

The logic underlying the frequency at which prefabricated

-

curtain walling elements are jointed together can be summarized

in terms of manageability (both in transportation and in site

handling) and reduction of movement per joint, particularly

thermal, in the system and between the system and the

supporting framework.

--

Joint to allow thermal movement

The framing members of the curtain wall, which are fixed back
at points to the supporting structure, must be allowed to contact

and expand freely with changes of temperature. There are

-.-

- c

Mullion sections

essentially threetypes of such joints:

-slip joints;
-buttjoints between solid mu/lions and transoms;
-spring connections between adjacent panels

Artist Village

tu

Place/Space/for Arisas in lau lrng &zt lau Tung

Special Siudy Envelope

Weatherproof Joints

Joints between frame and infili panels take the form of beads.
gaskets and sealants.

Suspended glass assemblies using glass as the load-carrying

material were first developed with Foster Associates 1973. The
system is constructed from the top down. The topmost glass
panels are independently suspended from the main structure
using one central bolt, the load being spread across the width of
the glass by means of a top clamping strip.
More recent applications of silicone-bonded glazing that have
caught architect's imagination include the Sculpture Pavilion at
Sonsheck.

Last Crodon Station

There are now many forms of glass and glazing available to

[J
Curved laminated glass used at

Montmartre funicular

provide environmental control and thermal performance. These

include:
. Variable-transmission glazing;
s
Liquid crystal laminates;
s
Elecironchromaiic glass;
. Low-emissivily coatings;
s
Transparent insulation;
s
Screen-printed glazing;
. Fixed shading systems

The weakening effects of nickel sulphide inclusions in glass

have been the source of much debate. Annealed glass

Sculpture Pavilion at Soosbeck

is

unaffected, but in toughened glass spontaneous fracture may

occur in use, because of the expansion of the unstable nickel
sulphide as it changes phase over time. lt is not practical to
detect these inclusions by a non-destructive process. However.
heat soal(ing can be carried out after toughening. This is a
destructive quality control procedure, as panes with inclusions
will shatter during the soaking process. but it is an essential
specification requirement.

At present there is no standard method for heat soaking. but

contrary to rumor there should be no detrimental efiects. and it
should not reduce the compressive stress within the glass below
a specified level.

In applications where thermal shock is considered a xtential

risk, but the strength of toughened glass is not required. it is
possible to specify a heat-strengthened glass. as it has

approximately twice the mechanical and thermal strength of

Pavilion at Aachen Faculty of Architecture

annealed glass.

Developments in laminated toughened glass have allowed

engineers and architects to build an all-glass bridge using a
combination of 10mm clear toughened glass. PVB laminate and

IA
Laminated toughened glass as used at
glass bridge in Rotterdam by engineer
Robert Nijsse

6mm Eco-plus low-F glass for the walls and two layers of
I 5mm toughened glass bonded with a PVB laminate to form the
floor. This is an interesting example of collaboration between
engineer. architect and fabricator. Having produced this all-glass
bridge, Robert Nijssc believes "it would now be possible to

make just a glass tube without the supporting beams". The

challenges of the next generation of suspended and structural
glazing are enormous.

Artisi Village

36

Place/Space//or lrtisls in lau Tong Bay. lau Tong

6.0

Annendix

6.10

Transnortation

Special Sludy Appendix

One of the problems arises from assembly construction when compare with traditional in-situ
construction method is transportation. Special means of transportation are needed for transporting
the bulky factory-made products from the factory to site. Also, special machinery is needed for
erecting and fixing the components.
In this section, some common transportation means and machinery adapted in Hong Kong for
assembly construction will be introduced.
6.11

By Road Surface
Hook Loader System-

Rough Terrain Cranes

Artist Vilisge

37

Special Sludy .4ppendir

Place/SpaceJ for 4r(Isls in Vau long Hay, }'au long

6.12

By Sea

M. V. "Kau Lung/ Tap M un"

Dimension:
Length. overall: 32.5m
Beam. moulded: 9.5m
Depth. moulded: 4.3m
Draft. moulded: 3.2m
(1RT: 267.74T

NRT: Nil/61.l IT

M. V. "Tal O"

Dimension:
Length. overall: 34.2m

1itq.

M. V. "Heung Kong I Kwai Chung"

Beam. moulded: IO.5m

Depth. moulded: 5.278m
Draft, moulded: 4.778m
GRT: 411
NRT: 123

Dimension:
Length. overal 24.6m
Beam. moulded 8.5m
Depth, moulded 4.7m
Draft. moulded 3.5m
GRT 188.12

NRT Nil/54.96

M. V. "Shatin / Tsing Vi / Toto / Ting

Ka u"

4I

Dimension:
Length, overall: 24.6m
Beam moulded: 85m
Depth. moulded: 4.7m
Draft, moulded: 3.5m
GRT: 188.12
NRT: N11154.96

Artist

iIhtge

38

Special Study -Appendix

Place/Space/for .4rtists in Yaz, Tong Bay. lau Tong

M. V. "Hung Horn"

Dimension:
Length. overall: 30.3m
Beam moulded: 8.6m
Depth. moulded: 18m
Draft. moulded: 27m
GRT: 237
NRT: Nil/71T

M. V. "Lam Tong I Tung Lung"

Dimension:
Length. Overall: 261m
Beam Moulded: 8.5m
Depth, Moulded: 4.7m
Draft, Moulded: 3.5m
ORT: 214.4T

NRT: Nil/73.23T

M. V. "Peng Chau"

Dimension:
Length, overall: 29.Om
Beam. moulded: 9.Orn
Depth, moulded: 43m
Draft, moulded: 3.5m
GRT: 267T
NRT: 80T

M. V. "Sung Kong / Ngan Chau"

Dimension:
Length. overall : 34.lOm
Beam, moulded: 10.50m
Depth, moulded: 5.20m
Draft, moulded : 4.1 0m
Draf,maximum : 4.3 1m
GRT : 456T
NRT: 136T

Artist Villige -

Place!SpaceJ for AriLts in Yni Tong Bay, Yau Tong

Bibliography

Bibliogrpby
Books
Alan J. Brookes

Clad4i# of uildws, & FN Spon, 1985

Jan Regterschot

Decizn for C*anie-The Architecture of DEGW. Watermark

Publications.

P.A.Ryan & R.P.

Woistenholme

1998

Dura bililp of Cjpjding-a State of theArl Report. Thomas Telford, 1994

Ephemeral IPortuble Architecture .London ; Aihitectura1 Design. 1998

W. Boesiger & H. Le Corbusier 1910.65, Zurich : Artemis, 1993

Girsberger

Geofiley H. Baker

Le Corbusier -An Anoivszc of Form. Van Nostrand Reinhold,

1989

Geofley H. Baker

Le Corbusier -The Creative Search the formative wears of Charles EdousrdJeanneret, New York : Van Nostrand Reinhold, 1996

1-L. Allen Brooks

Le Modular and Other uildins and Projects 1944-1945,

Garland Publishing. Inc 1983

James B. Hanis & MastedSfructures in Architecture, Oxford; Boston Bufterworih

Kevin Pui-K Li

Architecture, 1996

Wilkinson, Chris

Suvershed: the architecture of lonz-wan la'e volume Buildinis

Oxford : Bufterworth, Architecture, 1996

Andreas C
Papadakis

Andreas C
Papadakis

Free Sp,geA,chitedure, London; Architectural Design Profile No.96,

I 992

Ehemeral/Portuble Architecture, London; Anitecturai Design Profile

No.135, 1998

Web Information
http:Ifwww.heritagebuildings.conil

http://tathoung.conil

-. !VED
Department of Architecture

University of Hong Kong

Record of First Juiy on Thesis Design 1999/2000

Date:19/1 1/9k

StudentNaine : LeungLoMing

Class No.

Thesis Title:
Artist VillaEe -' PlaceiSpacelfor Artists in Yau Tong Bay. Yau Tong

Supervisor : Mr. R. C. Garcia

Advisors: Mr. W J Wanj

i. Synopsis of presentation
u

The background and general deficiencies in Hong Kong towards the development of art.

The demand of an artist village as a response to the above and to provide place/space for
the artists in Oil Street whom are forced to leave there before early 2000.
The general backgroUnd and the rationale behind for the proposed site (Yau Tong Bay).

The concepts and basic elements of "village" and "artists" which are adapted in this
thesis.
o
o
u

Village - gate, steps, bridge, ancestral hail, water, bouses, people...

Artist - installation art, visual art and performing art

Introduction of the concepts of hierarchy of different art types from single function
model (that is smaller place/space just for installation arte viSUJ &t and performing art
respectively) to a higher hierarchy .- multi-function model (place/space for all typesinstallation, visual & performing arts together).

Two existing building structures are kept and transfonned into the formal gathering place
and the cafe/pub (near sea one) respectively.

Two preliminaiy schemes are introduced and a domain bridge, which also is a street

gallery for display, is bmuJt in. This bdge as a main feature and connection
throughout the entire site.

Schemel'-

Three towers act as vertical village for installation art, visual ait and perfomiing
art respectively and these towers together forni a artists community.

The ground floor is nearly free of any structure for public exhibition. A friendly
and causal environment (opposed to museum-type environment) is introduced
for artists to display their works and public to enjoy.

Scheme 02o

Squatters (low rise houses) for each art is set up as a smaller community and a

common space in designed within each squaller. These squafters groups

together form the artist village.

2. Synopsis of staff observation

"Hierarchy of different art types" implies "boundary" which is undesirable/ innecessary

for art and artists.

Relationship I interaction among artists and their behaviors as well as their lifestyles
should be studied.

concept/elements of "village" may not be so important as direct "copy" or abstract

from these may not concluded the best solution.
The

The nature and the context of the site should be studied.

As the site could only last for ten years and the artists demand cheap place/space, low
cost construction and quick installation stnicture should be one of the most driving
factors. Different modules for renting should be studied.
There are common factors between factory building and artists' space, (like high ceiling.
lighting and cheap) the construction of 1rctory building should be studied.

3. Student's Response

Rethink the "hierarchy" ofdiffcrent arts and study their relationship.

Study the behaviors and lifestyles of artists.

Future study of the site especial the existing building fonns and their uses.

Study ofexisting factory building blocks in Hong Kong, low cost construction and quick
installation structure as well as different modules for renting as the special study.
Design modules for cheap, quick installation and flexible structure.

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7.

Department of Architecture

University of Hong Kong

(

Record of Second Jury on Thesis Design 1999/2000

Student Name Leung Lo Mmg

1/0 1/2000

Cias

Thesis Title:

Artist Villafe

PlaceiSDacelfor Artists in Yau Tong Bay, Yau Tong

Supervisor Mr. R. C. Garcia

Advisors: Mr. Desmond Hui

1. Synopsis of presentation

The background and general deficiencies in Hong Kong towards the development of art.

The demand of an artist village as a response to the above and to provide place/space for
the artists in Oil Street whom are forced to leave there before early 2000.
The main theme for the design is two folded:

1. For Individual units

Very simple metal frame structure (8m x 8m x I 2m) is designed as the basic unit for rapid
installation.

This design allows flexible internal spatial arrangement and flexible faade design for each unit
because not load bearing wall is involved. Various materials (metal sheets, glass, block surfaces
etc. ) could be used for both the horizontal (floor slab) and vertical (exterior wall) elements and all
these could be adjusted and changed from times to times.

By different anangements. layouts and combinations among the units. exciting and flexible
spaces for different artists and different uses are resulted.

2. For Master Planning

As arts only make sense when they are being interpreted, a linear spine links through the whole
village is created.

This spine provides a very simple and clear circulation mute from the entrance plaza to the
caf/pub at the end of the site. lt serves as the main circulation path around different indoor and
outdoor display areas as well as the woishops. Viewing platforms and small display pockets are
also linked by the spine at different levels so that the public could enjoy the displays and artpieces
from different angles and different levels.

il shrt the whole village is a combination of various arts [artpieces] together and could be
treated as a piece ofart itself.

2. Synopsis of staff observation

Should think of using or incorporating

the

existing factoly buildings (esp. the ship

repairing building) in some ways as "art is life".

The chosen site is on seaside but nothing had been done on the sea. Do try to "install"
something at / on I above / below sea.

The present unit [module] seems not flexible enough. Very large or very tall space is not
achieved. Various types or combination should be clearly demonstrated.

Meanwhile, the expansion of the unit is limited by the master layout as only one
direction of expansion is allowed [linear].

Vehicular circulation should be provided within site as very bulky sculptures or other
things may need to be transported to site.
3. Student's Response

Incorporating design with the existing building to achieve harmony through the site.
Both functional elements and special features may be incorporated to achieve "art is life"
and "art in life".
Rethinking the master layout to allow for more directions expansion of the unit.
s

Redesigning the unit to achieve more flexible use. More than one type of units are
designed for different uses.

Retreating the shoreline arrangement.

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Department of Architecture

University of Hong Kong

Record of Third Jury on Thesis Design 1999/2000

Student Name Leung Lo Ming

Date:0 1/03/2000

Class No.

Thesis Title:

Artist ViIla!e

PlaceiSnacelfor Artists in Yau Tong Bay, Yau Tong

Supervisor : Mr. R. C. Garcia

Advisors: Mr. J. Bradford

I. Synopsis of presentation

The background and general deficiencies in Hong Kong towards the development of art.

The demand of an artist village as a response to the above and to provide place/space for
the artists in Oil Street whom are forced to leave there before early 2000.
The main theme for the design is two folded:

1, For Individual units

Three types of workshop [workspace] modulus are designed for visual art groups, installation art
groups and performing art groups respectively.

For visual arte

Modulus with "corridor" space ( L shape) with long high wall surface is provided for
displaying painting and internai double volume is for placing sculptures; the mezzanine
floor is private space and resting place for the artists.

For installation ail:

As the workshop is also the display area of the installation art, simple rectangular box
shape room ofdouble and even tribe volume with exposed column and beam is pmvided
for different installation.

Forperforming art:
Modulus with large column-free space is provided for dancing, practicing and rehearsal.
The mezzanine floor is used to over viewing the performing during rehearsal. Small
rooms for gathering and meeting are provided also.

This design allows flexible internal spatial arrangement and flexible faade design for each unit
because not load bearing wall is involved. Varions materials (metal sheets. glass, block surfaces
etc. ) could be used for both the horizontal (floor slab) and vertical (exterior wall) elements and all
these could be adjusted and changed from times to times.

By different arrangements, layouts and combinations among the units, exciting and flexible
spaces for different artists and different uses are resulted.

2. For Master Planning

As arts only make sense when they are being interpreted, interlocking. inter-happening and interviewing are the main theme for the master planning.

The three types of modulus are interlocking with each other so that different art artists could
interact with each other.

Open space and indoor space is interlocking with each other and the open space serves as the
expansion possibilities and display areas ofthe surrounding workshop.
The horizontal circulation and the outdoor display area are interlocking with each other so that the
artists and the general public could enjoy the arts during walking around the village.

The formil display arca and the theater building is

terminal ofthe axis inorderto:

placed at the

end of the main road as the

Encourage the public to visit the workshops before enjoying their final pieces.

Serve as

the symbol of "place of harvest" after long struggling for

belief in art

and

beauty by the artists in the village.

As the government may plan to fill up the bay. cantilever structures over the sea is designed so
that the village will not be affected even during reclamation.
In meantime, these cantilever structures provided spaces/rooms with excellent sea view and make
possible the concept of
"design in the

sea, on the sea(surfaee), beside the sea, and over the sea '

Three towers serve as the main vertical circulation as the image and icon of the village. The tall
towers could serve as the frame for vely high installation and visual art. Besides, these towers
serve as the main structure for the cantilever parts over the sea.

In short, the whole village is a combination of various arts [artpieces] together

treated as a piece of art itself.

and could

be

[.(.

2. Synopsis of staff observation

Should pay attention to the technical parts as well as fixmg details.

The service parts are important in the design.
Should pay attention to the fire regulation on movable I flexible structures, if any.
The structural design of the towers should be revised and carefully studied.
The functions of the open space[pocket space] should be well defined.

3. Student's Response
Refilning the master layout to provide "definition" to pocket spaces.

Refining the materials (esp. the elevation and partition) to

Suit

the overall design and

concept.
u

Refining the towers structural design.

Revising and define the circulations paths/ movement to draw the general public into the
village and workshop.

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