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City as fashion: urban transformation of Causeway Bay
Lo, Mun-sze, Anita.;

Lo, M. A. []. (2002). City as fashion : urban transformation
of Causeway Bay. (Thesis). University of Hong Kong, Pokfulam,
Hong Kong SAR. Retrieved from
http://dx.doi.org/10.5353/th_b3198668
2002
http://hdl.handle.net/10722/26407
The author retains all proprietary rights, (such as patent rights)

and the right to use in future works.
CITY as
FASHION. urban transformation of causeway bay
j
I!]
Thesis Supervisor: Professor David Lung

by Lo Mun Sze Anita
M(Arch) II 1996024141
L.II f
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U!L'LII! II LAI,)! L'I! I !LJI!L'II L'I LL4IJWLJ)( L'LJy
Acknowledgements
acknowledgements
would like to acknowledge with great appreciation from the following persons and
organizations for providing me with valuable information and comments on the Hong Kong
I
fashion design:
Hong Kong Trade Development Council

Hong Kong Fashion Designers' Association
The Swire School of Design, the Hong Kong Polytechnic University
Angela & Fanny, fresh fashion design graduates from the the Swire School of Design, the
Hong Kong Polytechnic University
Coney Ko, Jenny & Mr. Cheng, local fashion designers
Mr. S.Y. Yim, Director of Hong Kong Heritage Museum
I would also like to thank my supervisor, Prof. David Lung for his sincere guidance, valuable
advice and generous support in the development of my thesis project. I like to express my
gratefulness to him.
Furthermore, I like to thank the panel members, Dr. T.Kvan, Ms. JA. Karakiewicz, Dr. B.S.
Jia, guest critics, Mr. Leung Kam Sing for their advice in the juries. I also like to thank Mr.
RC. Garcia for his advice on the structural issue.
Lastly,would like to thank my family and my friends for their great support.
Department of
CITY as FASHION - Urban
Transformation of Causeway Bay
CD
)
-'
CD
LO Mun Sze, Anita
Thesis Report
2001/2002
Bachelor of Arts in ArchitecturI StudieS

Master of Architecture
Master of Lndcpe Architecture

Master of Urban flesin
Department of Architecture . The University of Hong Kong

Pokfulam Road, Hong Kong . Tel 1852) 2e592133 . Fax (852) 25596484
C/TV as FASHION, urban transformation of causeway bay
ii
Synopsis
synopsis
Fashion reflects culture, a sense of one's own identity, constitutes to the generation of our
society. Experience of fashion shopping and theatrical quality of catwalk show are derived as
fashion performances, which it requires various stages to take place.
The local fashion design in Hong Kong, although has already gained international reputation, the
fashion community is still need more excited advertisement to foster Hong Kong as fashion
capital. The proposal of the establishment of the fashion centre aim at encouraging excellent
design and to increase the exposure of good fashion design to the public. The major theme of the
thesis is to introduce fashion designers' houses and fashion show spaces into the urban fabric
where not only the fashion community, but also the public or tourists, can enjoy a new type of
public place integrated with the programme of fashion, functions as a promotional media,
enlighten the quality of the urban life.
C/TV as FASHION urban transformation of causeway bay
Content
content
-
acknowledgements
synopsis
chapter One
-I1iiT.I.i.1I.iI
Background information, site analysis and design programme
chapter Two -
chapter Three -fm1t1I11fl.L'J

Preservation, addition and alteration of tenement buildings
chapter Four Spaces for the performances of fashion within the urban context
15jury record
2nd
3rd
Jury record
jury record
chapter
One
background information, site analysis and design programme
C/Pr' as FASHION ubon trans formation of causeway bay

Thesis Proposal: Background Inforrnaton, site ana ysis & design programme
contents
IIti
1.0
1.1 Background
1.2 Hypothesis
1.3 Objectives
rillmn1r
2.0
2.1 Definition
2.2 Fashion, Communication & Culture
2.3 The Functions of Fashion
5
5
6
T1fashiori iii honci kon
3.1 Fashion Industry

3. 1 .
I Historical Development
3. 1 .2
Present Situation
Into the Future

3.2 FashIon Design
3.2.1 Fashion Design History
3.2.2 Overseas Recognition
3.2.3 Local Recognition
3.3 Present Effort
3.3.1 Government Proposal
3.3.2 Deficiencies in Hong Kong
3. 13
10
!flaualitv of lashion dslc

4.1 FashIon in 'Contained" Context
Indoor Fashion Show
4. 1. 1
4. 1.2 InteriorArohitecture as Display Background
4.2 Fashion n Urban Context
4.2. 1 From Stage Show to Street Show
4. 2.2 Urban Context as Display Ground
4.2.3 Fashioning the City
5.0 lira
s.:liIff7
73
73
fltii
5.1 Fashion District in Los Angeles

5.2 Fashion District in New York
5.3 World Fashion Centre in Amsterdam
15
15
16
and cc
6.1 Location
6.2 Choice of Site
6.3 Justification of Site
6.4SitePhoto
6.5 Brief History of Causeway Bay
6.6 BuIlding Age Analysis
6.7 Land Use Pattern
6.8 Traffic Flow Pattern
6.9 Pedestrian Flow and TransportPattern
6.10 Conclusion - Constraints and Potentials
17
17
77
78
21
22
22
23
23
24
C!7V as FASHION urban transformation of causeway bay
Thesis Proposal: Background Information, site analysis & design programme
7.0 tt.JJIsIf'1..1IirI
7.1 Assumptions
7.1.1
The development
7.1.2
26
The users
7.2 Schedule of Activities

7.3 Schedule of Accommodation
1.4 Structure of inter-relationship of spatial requirement
27
28
30
Appendix I
31
Bibliography
32
C/Pr' os FASHION urban transformation of causeway bay

1.0
1.1
BACKGROUND
Fashion reflects our culture and lifestyle. It is a communicative phenomena, which enables
individuals to construct their own identity. It constitutes to the production and reproduction of
our society.
Fashion retail shops have occupied the greatest percentage of shop fronts along ny major
pedestrian street in the Central Business Districts. Therefore, fashion has already diffused
into urban context, enlightening our urban life. Fashion has followed contemporary art,
shadowed the relocation of galleries within the city, emulated its architecture and design and
even started exhibits and installation within its own shop floors.1
Fashion, is an important driving force in the economy of Hong Kong. Clothing industry is a
major export earner, among all other manufacturing industries.2 However, the local fashion
industry is now undergoing a change from being manufacturing based to being more designed
orientated. Moreover, Hong Kong is now facing keen competition in production cost from
other developing countries.
Furthermore, with the introduction of protectionism ir the
developed countries, the local fashion industry has to shift higher quality and better design.
With the mainland China as a low cost production line, Hong Kong should make herself stand
out as the hub of fashion design and research centre.
Helen Castle, Architectural Design (vol 70 no 6) - Fashion + Architocture. New York, Wdet-Academy 12000]
AppendIx I, Hong Kong Trade Performance
CiTY as FASHION. urban transformation of causeway bay

Thesis Proposal: Background nformatlon. site analysis & design programme
1.2
HYPOTHESIS
The success of a city in becoming a fashion capital lies in the combination of several factors,
namely, the city's cultural background, the history and development of its fashion industry, the
promotion and appreciation of the Jacal fashion design and finally, the general taste of its
citizens. The textile industry of Hong Kong has started before the Second World War.3
However, Hong Kong to become a fashion capital, perhaps,
is still
lacking in proper
promotional media and adequate facilities support. The thesis propases the establishment of
a Fashion Centre in an attempt to foster excellent design and to increase the exposure of
good fashion design to the public.
Moreover, fashion is not only an influential factor of economy, but also important tools of
cultural and entertainment in the urban context. The unique identity of fashion can form a
starting point for the implementation of the proposal. The fashion centre should also achieve
a dynamic, inner complex that functions as 'public place', regenerating the old fabrics of the
chosen site and acting as a 'living gallery' that continuously enhance our quality of urban life.
1.3
OBJECTIVES
The proposed Fashion Designed Complex is intended to be a place for training of fashion
designers, an information and research centre and a promotion centre with spaces for fashion
show, fashion retail, exhibition, gathering and interaction for the fashion community and the
public.
The project aims at:

. Establish the image of Hong Kong as the leading fashion capital in SE Asia through the
project and the activities so generated
a
Provide environmentfortraining offashion designers;
s
Providing place for idea of exchange, both between the fashion community and with the
public:
.
.
.
Provide a showcase for product exposure and design promotion in a fashion street
setting;
Provide adequate fashion show venues to enhance communication between the fashion
designers and the public;
Provide supporting facilities and information centre for the fashion designers;
providing a new type of integrated cultural, educational, commercial and entertainment

ground for the local fashion industry and the public.
Hao Wu. Hong Kong Fesh,on His,y Hong Kong: The Committee on Exhibition of Hong Kong F9ston History [1994]
CITY as FASHION urban transformation of causeway bay

2.0
DEFINITION
The word "fashion' relates it back via the Latin fact/o,
which means making or doing, to facere, which means to
make or to do. The original senses of fashion referred to
2. 1
activities; fashion was something that one did.
The
original sense of fashion also refers to the idea of a fetish

or fetish objects, facere also being the root of the word
fetish. Items of fashion and clothing are the most fetished
commodities produced and consumed within capitalist

society.4 Since the sixteenth century it has also (and
now, primary) meant the spectrum of appearances
acceptable at any one moment in time. Like the French
and German word Mode, "fashion" connotes ephemerality
and taste, implying a cycle of rapid stylistic change,
however repetitive the process of novelty itself might be
i'
r'
come.5
Fashion and some of its many facets, is performing a role

in the reflection of our culture and social structure - the
processes by which it diffuses within among societies, the
purposes it serves in social differentiation and social
integration, the psychological needs t is said to satisfy,
and its implications for modern economic life.
2.2
FASHION, COMMUNICATION AND CULTURE

Fashion, is a medium or channel, in which one person sends messages about oneself with
the fashions one wears. The designer might also possesses his/her intention in the
production of the garment. Even if the intention of the designer or the wearer does not reach
the receiver, that receiver will always manage to construct some meaning for the garment or
outfit. This implies, fashion is a communicative phenomena, it enables the individuals to
construct an dentity by means of communication. Thus, fashion contributes to one's feelings
of self-acceptance, self-respects and self-esteem for enhancement of the self. It is a kind of
self-expression.
Fashion, as communication, are cultural phenomena in that culture may itself be understood
as a signifying system, as the ways in which a society's beliefs, values, ideas and experiences
are communicated through practices, artifacts, and institutions. In this case, fashion are the
artifacts, practices and institutions that constitute a society's beliefs, values, ideas and
experiences. According to this view, fashion are ways in which people communicate, not only
things like feeling and mood, but also the values, hopes and beliefs of the social groups of
which they are members. They are, then, the ways in which society is produced and
reproduced. Fashion, is thus constitutive of those social groups, and of the identities of
individuals within those groups, rather than merely reflective of them.
Malcolm Barnard. Fastiion as Communication, London Routledge [1 996

Mary McLeod, Understanding Architecture. F8sh,on. Gender, and Modernity, Arci(ecture in Fashion, New York Pnnceton
Architecturai Press [1994]
,

2.3
THE FUNCTIONS OF FASHION
(1). Protection
The prime function of clothing is protection. It responses
to the basic physical needs of human beings, which is the
basic need of bodily comfort. Clothing protects the body
from the environmental change, accidents incidental to
dangerous occupations and sports, human or animal
enemies, and physical or psychological dangers.
7.
(2). Attraction
The motivation for wearing clothes is that of exhibitionism.
Fashion, is intended to display and enhance the sexual or
social attractiveness of both men and women.
(3). Individualistic Expression

Fashion depends upon the conflict between adaptation to
society and individual departure from its demands.
Fashion is the way that individuals can differentiate
il
themselves as individuals and declare some form of

uniqueness.
Attraction
(4). Social Worth or Status

Fashion are often used to indicate social worth or status,
and people often make judgements concerning other

peoples social worth or status on the basis of what those
people are wearing. Status may result or accrue from
various sources, from occupation, the family, sex, gender,
age or race.
(5). Economic Worth or Status

Fashion may indicate productive or occupational roles
within an economy. Fashion may reflect the sort of
economic organization that one lives in, as well as one's
status within that economy.
(6). Recreation
Fashion may be used as recreation and it serves to
improve the quality of human life. To point out that
fashion has a recreational aspect is partly to indicate that
they may be the occasions of pleasure, that they may
simply be fun, ways of deriving pleasure. Many people
derive pleasure from the feel of certain fabrics and

textiles.
Many people may also gain pleasure from
looking at attractive people dressed in lovely clothes,
appeal of fashion photography, fashion magazines and
fashion shows.
Recreation
C/Pr'
as FASHION. urban transformation of causeway bay

LIII
fashion n hong kong
3.1
FASHION INDUS TRY
3.1.1 Historical Development

The earliest cloth factory in Hong Kong was established in
the 1920's.
appeared.
1932, family operated cottage mills

In 1941, Hong Kong was occupied by the
In
Japanese; all industrial activities came to a halt. After the
Second World War, the Indian Chamber of Commerce
made use of its sales network to open up the Middle

Eastern
market
and
this
revived
the
garment
manufacturing business.
In the early 50's, many textile industrialists swarmed into

Hong Kong from Shanghai with a great number of skilled
They brought in the latest machines directly

imported from the United Kingdom and established
workers.
factories, which set up a strong base for the textile and

clothing industry of Hong Kong.
In the 60's, the clothing industry began to develop rapidly.
However, under the newly introduced quota system,

clothing export was restricted in growth. Both the traders
and manufactures understood that they had to move to

up-market products to survive. They worked closer
together on product specification, production space

booking and quality control.
During this time, foreign
investors provided
great
investment
in
plants
and
equipment to produce a greater variety of higher quality
products and the Hong Kong clothing manufacturers

started to build up long term relationship with overseas
customers.
In 70s and 80s, the clothing industry has become the

largest export earner among all other manufacturing
industries in Hong Kong and Hong Kong has become the
top manufacturer of garment in the world at that time and
contribute a lot to the tremendous economic development
of Hong Kong.
CITY as FASHION. urban transformation of causeway bay

3. 7.2
Present Situation
Starting from 80's, China's open door policy attracted a large number of clothing
manufacturers to set up production units on the mainland. Moreover, as the labour costs in
Hong Kong have risen. The majority of clothing manufacturers have set up offshore
production facilities in an attempt to reduce operation costs, get hold of quotas available in
these investment destinations, and gain better access to markets where business
opportunities would otherwise be curtailed by trade barriers. Relocation of production facilities
offshore has however resulted in a steady decline in the number of clothing manufacturers in
Hong Kong.
lnduLrt Features
No. uf Etab1ihments
1mploinent
I,5o2 manufacturrng) M at Mar 2001
(npoP-eade)asatDec 2000
i77l (manufacturing) as ai Mar2001
189,809 (import-export trade) as at Dec 2000
ro
Output (!9?9)
Value Addi (1999
JIHKs 39,503 million (rnariutduring)
,: Inthn SI'WLSICS rrfer InprodI4ctl(rn rn
3.1.3
IPHK$ 10385 million (maiufacturn)
Wong Kung n
Into the Future
The long term growth of Hong Kongs fashion industry lies in its capacity to produce higher
quality products, to diversify and to penetrate new market.
The recent trend of local
manufacturers shifting the production line to China means that Hong Kong now plays the role
as the administrative centre, which purchases products and establishes production bases in
Mainland China. Hong Kong can focus on developing high technology in manufacturing
garments, make use of the professional management experience and market acquaintance
and develop its own designed-brands so as to become the hub of design and research centre.
CIJY as FASHION. urban transformation of causeway bay

3.2
FASHION DESIGN
3.2.1 Fashion Design History

Strictly speaking, Hong Kong did not have its own fashion
designers until 1960s.6 During 1967 - 1977, there was
the advent of Hong Kong Festival together with parties,
popular singers and beautiful models.
And most
importantly, Hong Kong has own fashion designers who
were not greatly influenced by Western media or local
entertainment scene and so each could build up his own
style. They included Bobby To, Eddie Lau, Judy Mann,
Benny Yeung, David Sheekwan, Magaret Tancock and
others.
During 1977 - 1987. there was not only Hong Kong

Fashion Festival, but also there was Young Fashion
Designer Contest. This started the emergence of young
designers. Apart from fashion designers, there was also
VidaI Sassoon-trained hair stylist and beautiful wellknown models. This was a period of new rich and
everybody could afford new trendy clothes. Fashion
designers were regarded as trendy and sharp-minded.
However, the emigration wave started from 1983 in the
wake of since British negotiation triggered a decline in
purchasing power and so there was nearly no emergence
of young designers. During 90's, more and more Hong
Kong fashion designers won recognition both locally and
William Tang
Young Talent Award 2000
internationally.
3.2.2 Overseas Recognition

In the past, local manufacturers have conspired with a
fast return on investment. They mainly produce with an
imported design in contract basis or with minimal design
input based on a well responded style. lt is until 80's that
well-established local manufacturers have stepped up
marketing efforts including the promotion of their branded
items and the involvement
in
direct selling of their
products in overseas markets.
Hong Kong's fashion designers have gained growing
Hong Kong fashion designers

participate in "Tokyo Collection
2000"
reputation in the world's fashion markets for their quality

workmanship, sensitivity to current trends, and ability to
blend commercialism with innovativeness. Medium to
high-priced fashion clothing bearing Hong Kong designer
labels s being sold in renowned department stores
overseas such as Bloomingdale's, C & A, Harrod's,

Macy's, Marui, Mitsukoshi, Nieman Marcus and Seibu.
WIam Tang, Peter Wong, Hong Kong Fashion Allure 50 Years, Hong Kong: Hong Kong Arts Centre 11997]

lo
3.2.3 Local Recognition

The economic growth in the last few decades of Hong
Kong has brought about the increase n affluence, leisure
time and exposure to foreign influences. Nowadays,
fashion is for the mass. People, by the large, have

recognized that fashion is a means of self expression
other than mere function. Some local manufacturers
started to recognzed the potential of the local market and
started to design and produce for
it.
Even the local
designers who mainly designed for exports started to run

their own boutiques in Hong Kong. However, the lack of
promotion media of the local design-branded products,
still make the majority of people depends on brand-names
of the foreign designers for assurance in quality and

design.
Vivienne Tam, graduated from

the Swire School of Design of
Hong
Kong
Polytechnic
University, has established her

label both in local and overseas
market
3.3
PRESENT EFFORTS
3.3. 1
Government Proposal
In the 1998 Policy Address, the Chief Executive introduced the policy objective of developing
Hong Kong into a 'world class design and fashion centre'. As the products and designs of
local designers have reached internationally acclaimed standard in recent years. The works of
local fashion designers have also stamped their mark in the international market. This has laid
a solid foundation for Hong Kong to develop into a world-class design and fashion centre.
3.3.2
Deficiencies n Hong Kong
Lac k of Centralized Estabhshment

There is insufficient communication between different
sectors, e.g. designers and manufactures, within the
industry.
Manufacturers often underestimate the
importance of cooperation with the designers. There is a
lack of gathering place that can encourage interflow and
(
communications,
even
the
Hong
Kong
Fashion
Designers' Association (HKFDA) does not possess its

own headquarter.
CITY as FASHION, urban transformation of causeway boy
11

(2)
Lack of Proper Image
Although Hong Kong was the largest exporter of garment

in the world since 1973, the majority of the garment were
In recent
manufactured instead of designed locally.
years, the local fashion designers are making impact on
international fashion world and have gained

reputation from the overseas market. Locally, more and
more local designers started to establish their own
boutiques with their own brand-name.
the
The TDC and some major manufacturers have put much

effort in promotion of Hong Kong's fashion design and
their works are of great value. However, the Hong Kong
Fashion Week is only organized half-yearly and cannot be
accessed by the public. The majority of the public has
little appreciation of local design.
Lack of Education and Research Facilities

There is no proper Fashion Library and Fabric Library in
the present institution provided for them and most of the
(3)
technical back up is too out-dated. The present TDC

Fashion and Design Library is too small and poorly
equipped and there are very few users.7 In order to
provide an environment for creation and further research,
facilities like computer and technical back up for
experiment should be provided.
Caney Ko, graduated
at the
Hong
ong
Polytechnic
University
in
1998,
has
established her own boutiques
"Maison de Conee" in the Rise

CommE
Student works by Swire School of

Design. Graduate Show 2000
Interviewed with Angela and Fanny, fresh fashion design graduates from the Swire School of Design

12
Lack of Design Showcase

Many of the young fashion and talented local designers
find t difficult to showcase their works or to establish their
(4)
Most of designers boutiques are just

scattered around n Tsim Sha Tsui or Causeway Bay
own
abel.
without a main focus to the public. The location of some

boutiques are quite remote from the normal pedestrian
flow.
(5)
Lack of Suitable Venue
For High-Fashion
The Hong Kong Convention and Exhibition Centre

(HKCEC) as fashion shows venue mainly cater for the
half-yearly Hong Kong Fashion Week. Besides, hotels as
fashion shows venue suffer inadequate space and
technical support.
For Street-Fashion
There were fashion shows held in the previous
Government Suppliers Department n Oil Street. As the
closing of the Oil Street venue, t s difficult to find suitable
venue for fashion shows of street fashion.8
Designers boutiques in the upper

floor of the old tenements
J ji
Fashion
shows in
HKCEC,
Fashion Week Spring / Summer,
2001
nterv,ewAd with Ange
and Fanny. fresh fashion design graduates troni the Swire School nf Design

4.1
13
FASHION IN "CONTAINED" CONTEXT
4.1.1 Indoor Fashion Show

The showing of clothes on live models involves staging
not only for the purpose of dramatizing the merchandise,
but also entertaining the audience. Though the theme of
each
setting
differs
from
one
another,
with
the
assembling' of the breakdown architectonic elements

(steps, stage, platform, runway, planes, bridges) in the
presentation of a fashion parade, emphasize the quality of
change' in a given spatial container.
4.1.2 Interior Architecture as Display Background

Architecture is to enrich fashion and fashion is to enrich
architecture. Fashion retails has taken the initiative from
commercial art galleries: from their design in their shops,
shadowing their geographical location in the city and even
incorporating exhibitions in their shop floors.
4.2
FASHION IN URBAN CONTEXT
4.2.1 From Stage Show to Street Show

Fashion can be illustrated n form of a 'Stage and
'Platform'. With the changing of one's need, fashion is no
longer limited to a kind of 'stage show' approach. No
doubts, eccentric young stylists are taking their inspiration
directly from the street. 'Down there at street level,
fashion is a living thing.
Fashion today is already in the street, forming one of the
elements in our urban streetscape. This a provision that
could display itself in the context of urban street life may
well be suited to the need of local people and street

passer-by.
_* ----.-:
CITY as FASHION. urban transformation of causeway boy

4.2.2
Urban Context as Display Background
Shop fronts constitute as major elements in the creation

of a street faade. With the seasonal changes of the
fashion collection, the display of clothes changes, it gives
a dynamism and flexible outlook to the streetscape.
Instead of an indoor runway show, the city environment
provides a naturally glamorous setting for an open-air
show in which clothes are displayed in real life.
4.2.3
Fashioning the City
For in shopping for clothes, one is searching for a sense
of one's own identity, for a layer in which to establish

one's self-image in relation to the city outside. City, in a
sense that in wandering and interacting with others one
may find another new space, shop or item. Urbanism
means multiplicity, not the multiplicity within one bounded
place, but the possibility or true multiplicity in the city as a
totality.9
Therefore, the realm of fashioning the city, is
about finding different ways to mediate the relationship
between self, clothing, place of purchase and urban
context as a whole.
Helen Castle, Architectural Design [vol 70 no 6] - Fashion + Architecture, New York: Wiley-Academy 12000]
14

15
5.0
5.1
FASHION DISTRICT IN LOS ANGELES
The fashion district is located in the heart of the

downtown Los Angeles, which is a multi-faceted hub of
fashion-related businesses serving both the trade and the
general public. Manufacturers, wholesalers, retailers,
sewing contractors, pattern makers, designers, and
apparel marts all converge n this 82-block business

improvement district to create a vibrant and eclectic
business center.
/
4
/F*,*4ICtd
DISTRICT
/
L
The Fashion District (formerly known as the Garment

District) houses the largest concentration of fashionrelated businesses in the Western United States. The
District attracts millions of wholesale and retail buyers
every year. The symbiotic relationship and diverse range

of fashion businesses (covering every stage of apparel
production from design to manufacturing) makes the

District an ideal incubator for small to midsize businesses.
5.2
FASHION DISTRICT IN NEW YORK

The Manhanttan's garment dstrict offers wide range of
fashion resources within a concentrated area. lt s the
YAWT1
heart of America's fashion industry from designers to

All parties are in
manufacturers and suppliers.
neighbourhood. Many of the top designers call New York
BWAY[
8m
6Th
Tm
home and their contributions boost our economy and

provide spark and creativity which makes New York so
[ThJt
alluring.
The Fashion Center Business Improvement District, a

non-profit corporation, was established in 1993 to
promote New York City's apparel industry and to improve
the quality of life and economic vitality of Manhattan's

garment district. Through programs in the areas of
marketing
and
promotions,
economic
development,
physical and aesthetic improvement, and community

service, efforts are aimed at ensuring New York's position
as the fashion capital of the world.
The fashion district provides the best selection in fashion

for the buyers. lt offers a wide of choices. The buyers
can search for a new contemporary resource, view top
designers' new bridge line or look to expand into career
casual.
1:tho BuI
Fashion comnetI
Accesoros and Jow4cy
Ttnrn4n, Mig. Waro,ou$e, Office
Ap
BuI
CITY as FASHION, urban transformation of causeway bay

5.3
16
WORLD FASHION CENTRE IN AMSTERDAM
The World Fashion Centre in Amsterdam is the largest fashion wholesale centre in the world,
with over 400 showrooms and a multitude of national and international brand names. In the
World Fashion Centre there are agents, importers, manufacturers, wholesalers, purchasing
organizations, designers and always the latest trends in fashion and accessories. There is
also a number of supporting sector organizations. The World Fashion Centre is a meeting
point of the fashion branch for clothing in the middle and higher segments n particular. The
World Fashion Centre attracts hundred thousands of fashion retailers every year from home
and abroad. For fashion tenants this means a flow of purposeful retailers able to find their
way easily around the diverse centre and, thus, able to purchase efficiently.
CI7Y as FASHION. urban transformation of causeway bay

17
LOCATION
The proposed site for the thesis is
located at Causeway Bay. Causeway
6.1
Bay s located on one end of the CrossHarbour Tunnel, on the northern part of
Hong Kong Island.
6.2
A.
B.
CHOICE OF SITE
Transformation of the post-war
building with six to 12 storeys
height.
The redevelopment will
maximize the potential and carry the
existing lively character of streets.
Transformation of the podium part
of the two residential buildings (Yee
On & Chee On Building), which is

now the New Face Sogo, as
extension
6.3
[1].
of
the Excelsior Plaza.
JUSTIFICA TIOH OF SITE
Fashion requires a consumer system, consumer systems require fashion.1 There is a

long development history of Causeway Bay as a commercial area, and shopping and
entertainment oasis. It has retained a character as a shopping district in Hong Kong
Island.
[2]. The chosen site located at the centre of urban magnets with immediate adjacency for
cohesive pedestrian connection. It is characterized by its high pedestrian
flow
all through
the day, probably due to its focal location in relation to the commercial, shopping and
10
VaI Warka. In Arhtecture: Obsetv;ng the Mechanisms of Fashion. Architecture In Fashion. New York: Princeton Architectural
Press [19941

18
entertainment establishments within the locality and its adjacency to the main transport
route.
[3]. More local designers established their own boutiques scattered around in Causeway Bay,
such as the upper floor of the old residential buildings and in the Island Centre. This gives
a strong fashion design character for establishment of Fashion Design Complex. lt 's
aimed to concentrate the local designer brand boutiques, provided with other supporting
facilities to create a fashion district.
6.4
From A
SITE PHOTO
O,
4\
IB
p'
-
-O
4-'
!L
p-,
b
i,
JL
-m"
.
-
-..-
--
--,;
III
'j
--
--_,. -
il__-y
--
:' 1'1'
t)
tf:j 'p.-
-.
t
-

From C
From F
20
CI7Y as FASHION urban transformation of causeway bay

21
From G
From H
6.5
BRIEF HISTORY OF CAUSEWAY BAY
1950s
The area was occupied by Jardine Methason's Godown since 1841 and small local retail
shops that have no definite center of development. In 1951, the government reclaimed the
old typhoon shelter as present Victoria Park.
1960s
The taking up of the plot at the Junction of Paterson Street and Great George Street by the large
Japanese department store n 1960 and the redevelopment of the vicinity have made Causeway Bay
grow rapidly to become one of the major shopping and entertainment areas in Hong Kong. With the
projected construction of Cross-Harbour Tunnel, a new planning policy was adapted for the development
in Causeway Bay En 1968, by which commercial activities were encouraged.
1980s
Upon completion of the MTR Island Line in 1985, another stage of consumer development emerged.
Upper station developments adjacent to the proposed site have attracted an even larger amount of user
weekdays and holidays alike.
P resent
With growing tourism, both from overseas and from Mainland China, still larger number of
pedestrians are expected to join the already crowded scene shopping and related activities.

22
BUIWING AGE ANALYSIS
6.6
I1.
Under
ConetrucUon
$1.70
7140
s1.
$1.present
LAND USE PATTERN
6.7
The
area
is
zoned
as
"Commercial/Residential" and shows a

mixed-use pattern of unrelated plot by
plot buildings. Major commercial and
hotel development are dispersed over
the area, converging on the junction of
JP\\
Hennessy Road and Great George

-
' 9.:
.
.-- T
Street. In relation to the linear transport

route results in heavy pedestrian
crossing at the point of convergence.
Comm. rc
Comm.rCIjI
S
R
sConstructron S*,

Thesis Proposal: Background InformatIon, site analysis & design programme
6.8
TRAFFIC FLOW PATTERN

t. \ -_:;-
ij --
_-:-:::_
i'1
'.
Major traffic flow in east-west direction

through Hennessy Road and Yee Wo
'-C
3\\:\
\'
T_-j
Street
:-
\\
.-
-.- \
iii:r
--
j -..
--
\\t\\\
'
___
'
permanent
%
--
.-
'
--
\
.
' ._-;---''.c\
6.9
.'
pedestrianization
system
Part of the Lockhart Road and part of

the East Point Street
assigned
the
pedestrianization system
has been
temporary
which are
indicated as pale orange colour on the
sbi '
r.
of
colour on the map.
/EE-z-,
'a.'
distribution
which are indicated as bright orange
-.
--
linear
Some roads have been assigned the
r-:.-
-- .
'
with
:;; business along.
23
;S
/4
Friday and whole day for Saturday,

Sunday and Public Holidays.
PEDESTRIAN FLOWAND TRANSPORT PATTERN

Owing to the proximity of Cross
Harbour Tunnel, the area is the
converging point for the whole of the

cross-harbour public bus network.
The Mass Transit entrance locates
reinforced the east west axis of
transport.
Public minibus service brings in a large
population, as Causeway Bay is the

changeover point for east-west minibus
service.
__
MTR
uMini
N8us Stop
SLaton

24
6.10
CONCLUSION - CONSTRAINTS AND POTENTIALS

After the investigation and analysis of the site and the context, the following constraints and
potentials for the proposed development are summarized:
6.10. 1 Contraints
Stalutory Requirement
According to the OZP, the zoning of the proposed site is
classified as corn mercial/residential.
Integration of old buildings of 50's, 60's & 70's

In order to integrate the fashion community, including
fashion designers' houses, fashion show spaces and
other supporting facilities, into the urban fabric as a whole
complex, the building age must be taken into
consideration, in terms of structure and justification of

renovation or demolition. As the present condition of the
old buildings are too fragmented and too enclosed,
therefore the strategy I or such an integration will be

challenging.
6.10.2 Potentials
Accessibility
Highly
accessible
by
all
means
of
transportation
mode and the newly defined
pedestrianization of part of the Lockhart Road from 4:00 p.m. to 12:00 am. everyday that
bring along the great volumes of pedestrian flow.
Partial Pedestrianization and Extension of the Excelsior Plaza

As mentioned in the previous section, part of the Lockhart Road will be pedestrianized for
several hours everyday and together with the Excelsior Plaza just in front of the World Trade
Centre where public show will be frequently held, provide a social gathering space for both the
fashion community and the public and become a seedbed for the growth of the local fashion
culture.

25
Utilization of the backlanes and podium

The back lanes interwoven within the proposed site and
the podium levels of the residential buildings are now
abandoned or use of services. Such negative space can
be utilized as an interesting space.
Old Buildings as the site
The old buildings can be utilized to inscribe the new

fashion community, such as low-price studio space,
fashion designer's houses, etc.
According to the
condition of individual building, different degree of
renovation will be taken place. Their structure will be

preserved and the internal circulation or linkage between
the buildings will be strengthened.

26
7.0
7.1
ASSUMPTIONS
7.1.1 The development

The development of the proposed Fashion Centre will
make an assumption that the Government grants the
whole piece of land which is to be defined as an urban
renewal development as the centre will be transformed
from the old buildings. The proposed client will be the
Hong Kong Trade Development Council and the Hong
Kong Fashion Designers Association.
fashion designers' houses
It is assumed that the present Fashion Library under the

Trade Development Council would be expanded to form a
Fashion Research and Development Section which

administers and operates the Fashion Centre. The
school of fashion design will provide training courses for
the fashion designers. The promotion centre and the
designers' houses within the Fashion Centre will
be
opened for public use.
fashion seminar by HKTDC
The construction of the project would be jointly financed

by the URA, TDC and corporate sponsors, and operated
on its own funds generated from admission, seminars,
courses and membership fees, sales profit and rental
income.
lilT!:
trade exhibition by HKTDC
7.1.2 The Users

General Public
The general public is welcomed to the fashion designers' houses, fashion exhibition hall,
showing hall, catwalk caf and open plaza. They can enjoy fashion shows and participate in
seminars and presentations.
Overseas Visitors
Tourist and overseas buyers can access the fashion designers' houses. Fashion designers
will be invited and guest lectures will be conducted in the school's lecture rooms or the lecture
theatre.
Students
Students can use the facitilies n the school and the Research and Information Centre. They
can also display the sell their work in some of the designers' houses.
Fashion Designers
Individual designers or manufactures can apply to display and sell their work in the fashion
houses for promoting excellence n local fashion design.
dY as FASHION. urban transforma flan of causeway bay
27
The&s Proposal: Background lnforrnaflon, &te ana ysis & design programme
7.2
SCHEDULE OF ACTIViTIES
Fashion Institute
students
design studio
design, drawing,
teaching staffs
lecture & seminar rtoms
drafting, discussion
research staff
cnt rooms
teaching, discussion,
administration
workshops
demonstration
staff
school office
presentation, critique
acquiring technical
skills
Fashion lnfoCentre
fashion
fashion library
study & research on
coordinators
audio-visual library
overseas market
research staff
fabric library
trends
designers
information centre
fabric supply & latest
students
seminar rooms
technology
teaching staffs
conference rooms
information provision
buyers
computer data storage
retailers
seminars&
public
discussions
interested
interfiow of experience
press relations
Fashion Showcase
Showing Facilities
sales staff
. designers'
general public
. catwalk caf
houses
. commercial activities
business transactions
tourists
design gallery
buyers
bookshop
causal fashion shows
show organizers
auditorium showing halls
presentation of fashion
show staffs
waiting foyer
shows
models
VIP rooms
backstage crew
control rooms
audience
backstage
dressing room
storage
I
Adminlstrahve
Centro
press centre
administrative
IDO research &
management and
staff
development services office
administration of the
executive
comrittee
of
H KF DA
HKFDA beadoff ice
centre
general office
publication o newsletter,
guest office
design magazine, posters
press office
equipnient store
Supporhng
students
Facilities
staff
pubrc
. service rooms
maintenance services
a
furniture storage
refuse room
toilets
circulation
Services and circulation
C/fl' as FASHION urban transformaflon of causeway bay
28
Design Studios
Lecture rooms
Seminar rooms
Cnt rooms
School office
Workshops:
pattern cutting room
garment room
knitting room
screenprint
photographic studio
750
180
72
200
200
750
90
24
200
200
150
loo
8-12
80
25
I
I
1
I
sub-total
Fashion Library
Audio-visual library
Fabric Library
Multimedia Centre
200
60
10
60
30
15
100
100
Designers' houses
Model training centre
Catwalk caf
60
200
100
I
I
I
I
sub-total
25
I
5
sub-total
Main Auditorium
Exhibition Hall
Control room
Backstage
Storage
Press Centre
VIP room
Scene workshop
TOC R&D office

HKFDA headoffice
Reception area
Conference room
Guest office
Press office
Equipment store
500
500
50
200
1000
1000
5-15
60-1 50
I
I
I
2
I
I
120
40
20
16-24
48
12
200
15
100
loo
415m2
1500
200
500
2200 m2
500
500
50
400
20
15
50
75
sub-total
1610m2
2-4
100
150
100
100
100
1952 m2
1
1
1
sub-total
Total
120
40
20
48
30
20
20
298 m2
6475 m2
ciras FASHiON urban transformation of causeway bay
29
Summary oI Schedule of Accommodation

Total Floor Area
40% Circulation & Service Area
Total G.F.A.
Total Site Area
Piot Ratio
= 6475m2
= 2590 m2
9065 rn2
= 5324 rn2
= 1.7
The low plot ratio of the development is justified by preserving the existing residential units
above the transformed podium and part of the old tenement buildings, therefore the resulted
plot ratio will be higher. Moreover, it is also justified by creating an internal plaza under the
transformed podium as an extension of the excelsior plaza, making more open spaces within
the dense urban area of Causeway Bay.

7.4
STRUCTURE OF INTER-RELATIONSHIP OF SPATIAL REQUIREMENTS
B.ckstag.
Co*
wockthop
Open Plaza
Main
Auditorium
Fab.c
Ubrry
Fa9hIon
Oit ro
om
LJ1
TOCR&DI
LMray
Lsctuc
-j
Uvip.
L! i
,Q,
Cafe
L
Sthoo
I!
Design studio
=HHLH L
Designers' boutiques
& studio
30
CITY as FA SH ON . urban transformation of causeway boy

Thesis Proposal: Background information, site analysis & design programme
31
Hong Kong's External Trade Performance - Statistical

Highlight
%
2000
2001
00/99
N-A1G
(UK$ Mn)
(HK$ Mi,)
1O.%7
1t29)
O1/
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]75j 9
34,72i
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27
CiTY as FASHiON urban transformation of causeway bay
32
Thesis ProposaI: Background InforrnatFon, stte analysis & design programme
bibliography
books
Agins Ten, The End of Fashion : the mass marketing of the clothing business, New
York : William Morrow, 1999
D. Fausch, P.Singley, R.ElKhoury, ZR. Efrat, Architecture in Fashion. New York:
Princeton Architectural Press [1994]
Finkelstein Joanne, Fashion : an introduction New York: New York University Press
[19981
Fred Davis, Fashion Culture, and Identity, Chicago: University of Chicago Press
[1992]
Hao Wu, Hong Kong Fashion History, Committee on Exhibition of Hong Kong
Fashion History, Hong Kong: the committee [1992]
Jernigan Easterling, Fashion Merchandising and Marketing, New York: Macmillan

[1990]
Kondo Dorinne, About face : performing race in fashion and theater, New York:
Routledge [1997]
Malcolm Barnard, Fashion as Communication, London; New York: Routledge [1996]
William Tang, Peter Wong, Hong Kong Fashion Allure 50 Years, Hong Kong: Hong
Kong Arts Centre [19971
periodicals
Helen Castle, Architectural Design [vol 70 no 6] - Fashion + Architecture, New York:

Wiley-Academy [2000]
reports
Yuan Hua-qI, Urban redevelopment in a capitalist society: analysis, evaluation, and
implications: a case study of Causeway Bay in Hong Kong, n.p.: n.publ. [1985]
thesis reports
Chan Lai Man, Kitty, Hong Kong Fashion Centre, HKU, Dept of Architecture [1992]
Nip Kam Cheong, Eddie, Fashion Design Centre,
Dept of Architecture [1997]
Lui Tat Man, Fran kie, New Consumer Place -The Transformed HiC Streetscape,
HKUP
HKU, Dept of Architecture [1997]
homepages
www.tdctrade.com
www. hkfda.org/index.htm
www.fashioncenter.com
www.fashiondistrict.org
www.worldfashioncentre.nI
Hong Kong Trade Development Council

Hong
Kong
Fashion
Designers'
Association
The Fashion Design Centre New York City
Fashion District of Los Angeles
World Fashion Centre
chapter
iwo
CuY as FASHION, urban transformation ot causeway bay
Case Study
contents
Ticase studies
- foreic
1.1 The Spiral
1.2 GallerIa Akka
1.3 Bureaux et Showroom World Co.

1.4 Tokyo Design Centre
6
8
2.0 oilrT1l
2.1 The Swire School of Design
17
2.2 Beverly Commercial Centre & Rice Commercial Building
13
Bibliography
75
CITY as
FASHION. urban transformation of causeway bay
Case Study
1.0
THESPIRAL
1.1
THE SPIRAL
Minato, Tokyo
Architect: Fumihiko Maki
Background
The Wacoal Corporation has grown into one
of Japans largest manufacturers of women's
lingerie.
In
part to improve its corporate
image, the company has recently expanded

program into an active arts
including fashion, art, and music.
its
centre,
Programme
multi-storied atrium for exhibitions
retail shops of fashion designers'
collections
theatre for various performances and

activities
video studios for art and design-related

activities
Tra truene
,(cTlnn
5 Offt
/ CI
3 8earz
,g/a
Vrder ,tad,or
9 FpId
/3 .4t,n
/4
10 Ref ii ,hp
Reia,a:
7 foyr
Ii Rt,oe
/1aagnrar4er
8 7An,:er
12 Caft
1t
Rei.ran:
IS Gtrte
16 ThnlJa,1,ii

Case Study
Solution
Maki achieved a unity through collage of
diverse geometrical elements over an

underlying grid that give the scale. The
variety of spaces are arranged in a rising
--
succession linked by a spiral street.
Analysis
Layer of
spaces
are
joined
up
by
circulation of continuation of movement

without a definite centre or terminus.
Instead of a climax, there is a series of
incident, one of concatenation of spatial
The internal environment is

fragmented but that constantly renews its
vitality precisely through its state of
fragmentation.
events.
CuYas FASHION urban transformation of causeway bay
Case Study
GALLERIA AKKA
1.2
GALLERIA AKKA
Osaka, Japan
Architect: Tadao Ando
Bac kg round
Galleria Akka is yet another commercial project of Tadao Ando's in which, as a Calvino-esque
carver of imaginery cities, he continues his determination to subvert into it concrete
twonscapes of his own making.
cTTh
TTT''L
p.-
ii
Section
Programme
Fashion boutiques and an art gallery under one roof
Within an oblong site: 730m by 39m, a ratio of almost

1:5
CITY as FASHION
urban transformation of causeway bay
Case Study
Solution
The two separated blocks located at the ends of the site linked by a curved staircase. A sky-lit
atrium is created along the route to the art gallery over the curved staircase.
Analysis
The curved wall n Galleria Akka s both a texture
and a matrix, revealing itself to the dweller as a

path between the primordial darkness of the city
foundations and the ethereal light of the sky above
it. The curved wall itself, along the extension of its
imaginary circumference, imply the notion of a

larger whole, which exceeds the confinement of the
concrete box. When visitors progressing through
the stair along the curved wall, they are celebrated
like fashion models on the catwalk. Moreover, the
fair faced concrete s employed to give a neutral,

scaled background for the display of fashion and
art.
1TV os F.AS1-ilcTV. ,r?,cr fror,sfor
tic,r
f oous .-.,oy oy
c.se StuOy
13
BL/REA WC ET SI-lVi'RCM !..V)RW
BURE.U)C ET SHWRaQt%#1 WRL
klD.
Jciicr1
Arhltt:
Artril
Bo
lttri
This biiilding was originally designed t hold admiriistrati..,e offloes. When World Co IroLIght
it. the foundations were already above ground level so there was no way of changing the layout or construction system Therefore it decided to concCntrate ori interior architecture. The
new cc,nstrLjctian on Fashion Island - the kobe peninsula devoted entirely to the fashion
industry - will become a large creativo centra far stylists.
P.ormm
-
rive levels f officeS and Showrooms totalling 1OOO square meters for the society of
JapaneSe ready-to-wear faShion as a manifestation of the corporate identity.
r1
Li:
______
=
-
V.

Case Study
Solution
Humble box-like exterior, intricate
geometry employed in the interior.
The building mass is played with solid
and void using atrium and internal

courtyard. Internal linkage by bridges
and ramp.
Analysis
Movement of users is being expressed
by means of bridges and ramp within
the sky-lit atrium as well as visible

spiral staircase. Fashion on display is
left to stand out using simple treatment
to the building faade and the interior.
ir
flj
CITY as FASHION urban transformation of causeway boy

Case Study
1.4
TOKYO DESIGN CENTRE
TOKYO DESIGN CENTRE
Tokyo, Japan
Architect: Mario Bellini Associates
Background
The Tokyo Design Centre is a considerable contribution tot he task of making city life more
exciting and rich in experience. It demonstrates that even in a metropolis like Tokyo, there is
room for new and imaginative treatment of context and shaping of space. The buildings
erected at the foot of a hill end up with a ne9ative, residual space behind them.
14
_JJ \
CI
T!/
Programme
public centre for design
promotion
building area is 1315m2
total floor area is
m2 11373
a
Solution
It is a steel frame and reinforced concrete structure. A discontinuous street - frontage leading
to a split into two due to the U-shaped site. Quiet front faade while the rear side activated
architecturally, with offices and restaurants facing the courtyard. Terraces and stairs at the
C/Was FASHION, urban transformation of couse way bay

Case Slijdy
rear side provide light and air for the courtyard in response to the cliff at the back.
opening that connects the front street to the rear courtyard directly to invite people in.
ri.
roof prl
.Q
..Q
fifih loo.
ricci coo.
.?
',rd tiocir
000000 fr000rrio.it 4foc
floor
frciZ 000SrOOnl flOOr
Large
CI7Y as FASHION,
lo
Case Study
AnoIyss
An inverted strategy of the front (quiet) and back (activated) is successfully adopted in
response to the site constraints. The large opening leading to the courtyard encouraging
people pass through the building fulfilled functional requirement (promotion) successfully.
b
-111111
ti
ii
ti
LI
LI
ti
ii
I)
(j
11
tL
',
,

Case Study
11
2.0
2.1
THE S WIRE SCHOOL OF DESIGN
THE SWIRE SCHOOL OF DESIGN
Hong Kong Polytechnic University, Hung Horn, Kowloon, Hong Kong

Architect: Hong Kong Polytechnic Estate and Development Office
Background
The School was established in 1972. The present premises was built in 1981.
Programme
facilities including studio, workshops, seminar rooms, cnt rooms and staff office
total floor area is 5906 m2
Computer Laboratory
Solution
The facilities are arranged within a
single floor. The podium design
method segregating the pedestrian
and vehicular flow with foot bridge
to secure pedestrian movement
and the services access, loading

and
unloading
and
major
car-
parking spaces at ground level.

vertical
circulation
core for identifying
outside the building.
The school s plugged into the
envelope of the campus and
with
other
facilities
shared
departments.
Grouped
cylindrical
orientation
CITY as FASHiON urban transformation of causeway bay

Case Sludy
12
Analysis
The long corridors result from linear arrangement of space caused orientation problems inside
the building. The linear arrangement of spaces imply maximum use of the interior spaces, but
gives no visual and spatial delight to users. There is no room for further expansion.
_i I
.---4.----
_J
.
.
J_ ;'r-
i j...
[;-gJ]
I
r:
iji1j
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-;
.2
L5
!
r-'--r---1
F T.
s;
-.
Ji[
[:z
J
-.
1
L
2
-
C.
HONG CNG POL(TENIC
PHASE WA
/F PLAN
r-'
'-J
./
-,
z-

Case Study
2.2
BEVERLY COMMERCIAL CENTRE & RICE COMMERCIAL BUILDING
BEVERLY COMMERCIAL CENTRE & RICE COMMERCIAL BUILDING

TSIMSHATSUI, KOWLOON, HONG KONG
Bac kg round
all started n the late 1980's when students

and graduates from the Hong Kong Polytechnic
University were looking for cheap shops to show
their talent, their creativity and their ideas. And
they found the Beverly Shopping Centre. And
they did it within a short 10 years. The
It
designers created their own brands. Some of

the famous designers, like Ruby Lee, still have
their shops there. Because of its success in the
1990's, the Beverly Centre sells more expensive
and
merchandise
today
and
upscale
newcomers with old dreams soon found another
only
place - the Rice Commercial Building
minutes away and charges much cheaper rent.
Like the shops of old at the Beverly Centre, you
will find shops at Rice selling products of
original design.
13

Case Study
Programme
Fashion retails and accessories shops located in
the podium level of the commercial building
Analysis
The location of these two buildings are inside the back
lane, which is not easy to access. The fashion
designers established boutiques inside because of the
low rental fee. However, the internal crculation fails to
provide orientation to the visitors.
Each shops are renovated themselves with stylistic
interior design, render the atmosphere with youthful,
creative and energetic culture. However, the fashion
retails lack other supporting programmes for long-term
survival.
14
C/Was FASHION, urban transformation of cause way bay
15
Case Study
bibuography
books
Ando Tadao, edited by Francesco dal Co, Tadao Ando : complete works, London:
Phaidon Press [1995]
Beilini Mario, edited by Ermanno Ranzani, Mario Bellini, architecture 1984-1995,
Basel: Birkhauser [1996]
Clorra Pippo, Antonio Citterlo, Terry Dwan : ten years of architecture and design,
Basel : Birkhauser Verlag [1995]
Fitoussi Brigitte, Antonio Citterio & Terry Dwan, architecture & design: 1992-1979,
Zurich : Artemis [1993]
Maki Fumihiko, Fumihiko Maki : buildings and projects, New York: Princeton
Architectural Press [1997]
a.
Technical Study
&jq
4t
,.,
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.-t ,
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o
rj
o
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llO
ir
r;
--
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- - --
- -
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...
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transformation of ccxiseway bay

Techncar Study: Preservallon, Addition and Alteration of the Tenement Bulldlns
CITY as FASHION. urban
contents
1 .0
1.lBulldlngtype
1.2 Verandah type
1.3 Cantilevered living quarters type
1.4 Rectangular mass type
1.5 PodIum tower type
2
2
4
I!1JstructuraI analysis of the buildings in the chosen site

i
Xm]structural design consideration of alteration & addition works
!flrerairiria reinforced cc
4.1 Fail of reinforced concrete
4.2 repairing methodology
4.3 programme of investigation
17
/J
12
Ticase study of ioint detc

5.1 Addition of steel structure of the faade
5.2 Addition of steel structure within the buIldings
5.3 Addition of steel structure for circulation -. bridge and staircase
14
BIbliography
19
16
17
cIW ce FA5F-1Jt
c,r8c,-, trcrsfo,-,-r,et!c,,-,
Ac1cjWJrlr-1
TeoI-rliocI St.cFy: Preser-,c,flc,r-.
c,f crc,se-.'ey
teroflorr c,f the Terwmer,t BIcings
onci
2
i _o
1 i
li-i
BLlIWliV
TYPE
gerierel tEiere ere foiir stegee rl del'eIoprner1t of
tii.iilding typc,Ic,gy ir E-long Kong:

1
irideEi type (1920 -)

reotsrigulsr mess type (1970 -)
oeritile%'ered li..ing q&Jerters type (1950-1960)
4-.
podiLim tower type (1980 -)
VERA 1.J4I1 TYPE
Ty'e O i
&jiIt srotjnd I 903 to 1936. these meirily three stories
high bijildings hes floor eroe rengos from 4-60 to 650
sqiiero foot with o I5feetf.-ontoge
They howe ris rrow belcor.ios. ercitnd 2 feet wide. with
ron railings end sipported by wroLight iron pales. rEio
000khaLJse farms the whole roer portion of the trtJilding
separated from the living area with e light well
inoe
the sito is Icing and that the depth of th li,irig area
was rostricted by U-ic tDrdinanee. the light well pr0,ides
a reason for the kitchen to be treated as a separate
block, and
it
pro'ides the only opening for the
,,Ontilaticin of the kitchon
rhey ware constwcted on 18 inches load bearing brick

party walls with round fir joist spanning them.
plan & section of verandah type
CiTY as FASHION. urbar transforma?ion of causeway bay
Technical Study: Preservation, Addition and Alteration of the Tenement Buildings
Type 02:
The verandah type forms the majority of the tenement
buildings, built around the end of the 19th century.
_____
r4
These two to four storeys high buildings, with the

floors about 13 feet high (4 meters) and the ground
floors vertical clearance of 16 feet (5 meters), have
..
average area of around 550 to 700 square feet. Often
the top floors of the 4 storey buildings are set back

from the street.
The verandah projected over the whole width of the

pavement supported by brick piers forms a covered
arcade at street level. The cookhouse again takes up
the complete rear part of the building, with openings to
JL
plan of typeOl
the back lane. separated from the living area with a

wail and a staircase. Ventilation across the room is
weak, since it is completely blocked by the kitchen.
The balustrade is mostly composed of clay pots as
balusters, a western influence, supporting a piece of
granite slab above.
Similar to pervious type except that most of the

verandahs are built with stone or reinforced concrete,
whereas the older ones are of timber. To enclose a
verandah as a living space was a breach of the 1856
Ordinance.
The 1878 verandah regulation was
enforced to further ensure fire safety and structural
stability. lt limited the projection to 7 feet 9 inches
wide and not less than 12 feet high.
.
L
iii
11
pan oftype 02
1
Type 03:
This type was built after 1903 and many were done in
the 1920s. They, mainly 3 storeys in height found
usually at narrower streets, are much smaller than the
.. .
first two with an average floor area of about 450
square feet. lt has neither balcony nor verandah.
Unlike the previous ones, the kitchen occupies only

half the width of the building flanked by a light well with
window opened to the living area. The light well is of
little help in terms of light or ventilation since it

enclosed by wall width only small opening.
is
J
plan of type03
cw os F.S!-flrV. &,,Oor, tror,sfo,mo-flc,r) of oos'ov L,oy

Tehriiccl Study Rreseotc,r.
rOtlOn f trie Ter,emerit BJilrigs
dlfior ord
Ty
04:
orage aire of this type is 650 square feet Yhe

balcony. The kitchen takes up the whole rear portion
of the building without any light welL It has a pitched
roof over the living area, arid flat over the kitchen.
The
faade of each floor is recOssed to fcirrn5 2-feet
1.3
ITIL.EVERE
LIt1I.l
L/.AE7ERS TYPE
tiiese are of muh lst. period, aro...nd 153-55, with

an average floor area ranging from 550 to 700 square
feet. there ere latest of the traditional tenement
buildings found.
the frontage of the building is about 16 feet. but
boca use of the staircase, the width f the living area

us reduced to 1 2 feet. Here reinforced concrete is
used rather than brick and timber beams, there are
no belconio. Kitchen, located at the beck, takes up
half of the width of the building with the remaining as
an open light welL tJnlike the other types. tho kitchen
is flanked by a lavatory. Because they are built in the
much later period. sanitary fittings are included.
In most cases. accessed from the front street. a doglegged staircase, shared by tw blocks, has a helf
landing to give natural righting and ventilation. 'This is
resulted from restrictions of the 1 935 rdinanco,
though built with a different construction matrial, the
principle idea behind and the basic load-bearing
constructiOn of a tenement house is still kept.
I-
plan & section of cantile'vered

living quarters type
cIW os FS,-1lc,,'I. u,t,cn tror)Sfo,motio,-, of oo.,sewo. oy

Technicol Study: preservoflor.. ft.dditior. or.cj Iterflc,r. of the Te.emer'.t Buildirlds
RETAf.JLJLAR MASS TYPE

14
lhe prototypical housing models employed for early
resettlemerit estates in the 60e' and the 70s' by the
F-lousing
suthority wars predominantly the
P1ark
serres.
im pie shear wall coristwctior. Is fast and ecorlom cal.
conomies of mass construction are achieved by
l-11gb density approach
standardisation rl dasign
provides min im urn c.rcalation space and maie rn urti
number of dwelling units s used.
s s result.
..'
LJ
tt
unpleasant long corridors and tight space allocation

per unit are inevitable. In addition, these blocks are
usually associated with poor lift, plumbing and
drainage services Sanitary provisions are fou od sub-
Standard.
Simple shear wlI structure was employed fr those
blocks The bay sise dimensions are predominantly 11

and 14.6 feet (3353 and 4420mm respectively) and all
the floor-to-floor heights are 8.5 feet (2691mm). Their
dimensional resemblance of the structural frame will
favor the application of a general refurbishment
scheme to dilapidated blocks f the series.
legarding the load resisting capacity of these
structures, they wore designed and built according to
the cOrlsOrvCtive wind codes in the 60e' and 70e'.
.Apart from the 26 structurally defective blocks which
had been cleared, they do have surplus structural
capacity in allowing modifications and additions.
The PAark Series employed the high density approach
which providod minimum circulation space and
masim ui-n number of dwolling un its. Besides the
balcony-approached IViark I arid JI blocks, all other
types adopted the central corridor arrangement.
Etogarding the service installations, it is common for
the plumbing and drainage provisions to be located at
the surface of these linear locks
_I
plan & section of rectangular mass type
/T'y os FAS!-fIC)FV. ,,on troc Sfon-rm-tlo,-, of oousev
Technicol Stud'y Presorveflon.
15
=y
clil1or orcl ,lteroflen of th Tenemer.t Buildings
PUJM TV1E TYPE
F5oint block residential buildir.ga with lifts arid setback

against the building line; give a totally new arid alion
type to the once continuous urban te)CL (3enero Lis
Operi apace contrasts the high density tower, which
begins to transform the urbariacape of l-long Kong.
The
lujm:
Under the existing Building (3rdinance, I OOV site

coverage if a mix-use development is allowed under
16m. This eventually shapes the prototypical Lise of
the podium ii-i residential developments for mix-use
puroses, including lmoppi rig, entertainment arid
restaurants, and it became a standard for most of the
new private urban housing do'velopments

Yhe presence of the podium a intended to enrich tho
life of ti-io urban dweller, forming an additional aone
vertically between the repetitive dwelling units and the
busy streets, and allows a wide range of activitiOs.
nss,OE,.trLAt
E1111111
COMMEP?C#AL --fc LEast

srnucrzJnES
Usually, a system of trnsfor structurO will be used for

transferring the load frOm th residential units to the
podium colum n-structure This can provide a less
column arid ess shear wall space ini the podium for
the accommodation of wider range of activities.
Transfer plate and transfOr beam is the uSual
construction method.
plan 8 section of podium tower type
CuY as FASHION urban transformation of causeway bay
2.0
2.1
BUILDING AGE AND TYPE
The chosen site is mainly composed by tenement buildings built between 1950 - 1970. which
are belong to the cantilevered living quarters type; together with podium of the two residential
buildings built in 70s.
Building age:
*OAO
LY
[ii
CkU*R
50-60
60-70
70-80
Building type:
I1Mi
cantilevered living
quarters type
podium tower type
cil-Y as FASHfON . urban transformation of causeway bay
Technical S1udy Preservation, Addition and A1era1ion of The Tenement Buildings
2.2
CONSTRUCTION TECHNIQUE
For the cantilevered living quarters, they

are mainly 5-6 storeys in height. Only a
Kuflq Cotr
few are 9 to 12 storeys inheight. The

frontage of each building is about 10 to
15m, with a staircase in the middle part.
possess
Most
of
the
buildings
cantilevered structure except those along
517-549 Lockhart Road and 2-4 Cannon
Street.
The construction material is
reinforced
concrete
and
they
were
Malahon .&,portment
constructed on load bearing post and

beam structure.
5G-515
517
L
The podium is constructed on column and
beam structure and the loading of the

residential tower is transferred by transfer
beam to the podium structure. The depth
of the transfer beam is about Im.
FE
1!. .
OCKHART
96-49e
j502
O A
548 151G 1512 j514 15161518 1520
CoQO
East
::;juj Ui
M0y19961
- ------
I 519
framing plan of the buildings of the chosen site
23!
S27
P&nt
Centre
CUY as FASHION urban transformation of causeway bay

3.1
ALTERATION & ADDITION
The thesis would mainly concerned with "alteration & addition works ", though demolition of
some of the existing old buildings of poor structural condition would also be undertaken. The
A&A works would involve interior renovation of the acquired units, with works involving cutting
and trimming of slabs, beams, columns and openings in party walls and replaced or renewed
by new structural elements; while the exterior works would involve restructuring of the faade
as of extension, recladding of recession, and articulation of roof extension. The works would
follow the existing structural grids and the overall structural stability would be considered by
imposing minimal disturbance to the existing structures.
3.2
METHODOLOGY
Since the construction would take place
in
fully
occupied residential area, inevitable inconvenience and

disturbance would be involved due to vehicular access to
site, noise and pollution during site construction. The
concerned disturbance would be attempted to be reduced
to minimum by availing light construction method which
produce minimal noise, air pollution, vibration and visual
impact, as well as space and circulation impact to the
surrounding area. In this sense, the extra sub-structural
work would utilize mini-piling work like pipe pile, which
produce least vibration and access area for machinery.
For additional replacement of structural or non-structural
elements, the light-weight prefabricated material or
proprietary products would be used, as to ensure fast

erection
and
reduce extra
loading on
the
existing
structure. For some additional structure like bridge with

medium span, the additional loading would be shared by1. reduction of existing
loading of the adjoining
buildings, such as removal of slabs
2. additional foundation works.
pipe pile work
CITY as FASH1ON. urban transformation of causeway bay

Technical Study: Prsivo11on, Addition and Alteration of the
The temporary shoring works for some of the existing

structure may need further handling of removal after
construction in conventional practice. But due to the
limited space available on site as foreseen, an attempt
IO
Tenement Buildings
Sequence of removal of slabs:
01
would be taken to incorporate these shorrng work

elements into the permanent structure.
L
-------*.. --
-,r
__
4',, .
02
03
r
-t
04
..
--,,.------- .;-,'-- -

11
4O
4.1
FAIL OF REINFORCED CONCRETE
Reinforced concrete is essentially specified and judged

on average, but fails in particular - especially when
problems arise from corrosion of the reinforcement.
Corrosion problems are typically the result of either loss
of alkalinity due to carbonation of the cover, or the ingress
of significant levels of chloride: ions from some external
source. Factors such as low cover, locally misplaced

steel, honeycombing and cracking can all have a
profound effect on how long the reinforcement can resist
the urge to return to its oxide roots. In general, structures
do not exhibit reduced serviceability due to the average or
crick n concrete with crack

meter mounted over the crack
typical characteristics, but as a consequence of local

deficiencies and defects.
Some of the most interesting and innovative approaches

to increasing the durability of reinforced concrete are
associated with the repair of existing structures.
Techniques such as cathodic protection, re-alkalization,
extraction and corrosion inhibition have all

become quite widely accepted and increasingly applied.
Cathodic protection and the application of corrosion
chloride
11111 liii
111111111
inhibitors have both been comprehensively employed by

other industries for a long time.
spalling concrete on balcony
balustrade panel
4.2
REPAIRING METHODOLOGY
By employing a combination of experience, good engineering sense and the body of
information reported in the literature, it is usually possible to identify the areas in a reinforced
concrete structure where destructive reinforcement corrosion is most likely to be occurring.
Where the primary cause of corrosion s the ingress of chloride ions, any detail where saltladen water can gather and concentrate is at greater risk. Little can be achieved without
actually examining the structure and performing simple tests to target the risk areas and
select appropriate techniques for further examination. Similarly, those areas under the
greatest threat of loss of structural integrity can usually be identified in advance, so allowing
any investigation to be correctly targeted. Where both the risk of corrosion and the loss of
structural integrity coincide, the potential for serious failure is so high that the prospective
investigator must ensure the problem can be adequately identified and quantified.
Having identified what is corroding, why it is corroding and how fast it is corroding, it is then
necessary to decide what, if anything, can be done to stop the corrosion and make good the
damage. When selecting a method of repair it is essential to know whether the 'owner'
expects the renovated structure to be:
better than new:
CITY as FASHON. urban transformation of causeway bay

Technical Study: Preservation, Addition and Aiterallon of the Tenement &iiIdings
12
as good as new;
not quite as good as new but better than it was;
prevented from going worse: or
made to degrade more slowly.
Typically, the first option is expected and the last option specified.
Each of the five
approaches s valid in the appropriate context, and a large part of the skill in concrete repair is
in correctly identifying and matching methods and service requirements, usually within
restricted budgets.
For the majority of degrading structural elements constructed from plain or reinforced
concrete, a number of remediatiori options can be considered:
Do nothing/monitor
Such an approach is appropriate for areas that have the potential for corrosion but are
presently not actively corroding. Requires commitment.
Simple patch repairs

This approach is seldom effective with chloride-induced corrosion, as adjacent areas will
typically start to show active corrosion within one to three years (incipient anode behaviour).
Full patch repairs

Very effective for dealing with discrete areas of chloride contamination but usually impractical
and expensive for highly contaminated concrete.
Patch plus Inhibitor
In damaged reinforced concrete with sporadic or low-level chloride contamination, the addition
of an inhibitor can reduce the risk of incipient anode behaviour. Likely to have reduced life at
high chloride levels.
Cathodic proteclion
Long-lasting and reliable but requires specialist design, installation and monitoring. May not
be suitable with alkali-reactive aggregates or post-tensioned steel.
Chloride extraction
More sensitive to AAR and post-tensioned steel than cathodic protection, less effective at very
high chloride levels (e.g. above 2%) and not tolerant of recontamination.
Re-alkallzatlon
Can be an attractive and cost-effective solution for carbonated concrete where extensive
corrosion of the reinforcement has not yet occurred. Retains original material but may require
anti-carbonation coating to ensure longevity.
Elecfro-osmosis
The latest pulsed system is relatively new and only just becoming commercially available, Of
particular interest where reinforcement has poor continuity.
4.3
PROGRAMME OF iNVESTIGATiON
A programme of inspection is required for the understanding the problems. lt is necessary to
establish the scope of work and which parts of the building are to be investigated. A thorough
physical investigation will be required to quantify the physical damage. Mapping of defects
such as spelling, delamination, cracking, depth of friable surface layers, and other defects, will
offer information about the nature and extent of the problem. The survey should also help to
determine the likely cost of rehabilitating the building. Consideration should initially be given to
investigating the following:
Concrete frame
The skeleton of the building, including foundations and roof. Is it sound?
urban transformation ofcauswaybay

TchnicI $tuc: Prseivat/on. Addition and AJtral1on of th9 Tenem9nt
I3
C/TV as FASHION.
Buildings
Concreto condition
it is necessary to establish the overall condition of the concrete. Is it discoloured, poorly
compacted, cracked, spalled or delaminated, for example?
Cortoslon of steel
Is the steel reinforcement corroded or in poor condition? if so, how serious is the problem?
Concrete degradation
Is the problem concrete degradation? If so, this could be caused by one or a combination of
the following factors:
. alkali-silica reaction;
poor quality aggregate;
poor compaction;
low cement content;
high water - cement ratio.
Coaling degradation
Is the problem limited to coating degradation, and therefore purely cosmetic?
Inadequate drainage
One of the most common problems. Does water run off in the wrong place, pool or collect in
specific locations?
Peripheral components
Is the problem associated with drainage pipes, gutters, balconies, chimneys, fixings, windows,
doors, and so forth? Can replacement of these items or revised detailing help? lt should be
noted that changes that affect the actual appearance of listed buildings might not be
acceptable.
Several repair strategies are available for reinforced concrete, some traditional and some
using modem technology. lt is unlikely that any one of the repair options would be sufficient
on its own and the most appropriate would probably be a combination of more than one.
14
C/Was FASHION. urban transformation of cause way boy

Technical Stuy: Preservo flan,
Addition and Altera fon of the Tenement Buildings
5.0
5.1
ADDITION OF STEEL
sD
STRUCTURE OF THE
5r
50
FACADE
magrnS c&Pwom
3
flF4nIpJ.9H*
4 47rn50,0
S,'0 h
5
Case Study 01:
W0{1
OD rr.] del4.
Model Ecological
7 ,n4orred . flr%F
Refurbishment
t.
4Qr50 d.
D55
1
This
section
shows
addition
of balcony
the
and
r5'
Oso
05bV
building
material
using steel as the
43
W .r.aC&Cc'CTOfl
h1;
i
:
rs 0.hD
5Drnr' r0FD,
rD
staircase on the faade of a
.JDQ/5
rr
r.
N9 5 ,
pr5O0r0I,rrD,4,rr
,strfl.vI
9 o4ib..' wraua
a. SrgDJ 01.WWS!t .91
and
demonstrates
construction detail on how to

fix the steel structure onto a
D.r.rr.r F1,1D
5'
23
ai
concrete building.
::
cross sectional detail of cutting through the additional steel

balcony and staircase onto the faade.
CITY as FASHION. urban transformation of causewaybay

Technical Study: Preservation, Addifion and Alterafflort ofthe
15
Tenement Buildings
Caso Study 02:
Baum wall, Hamburg
This is also a detail showing

the combination of a steel
cantilevered structure with the
concrete building along the
one of its facade. The balcony
incorporates a sun-screening
fabric together with the steel

balcony structure. This shows
a clean, simple and elegant
joint detail of the attachment of
a light steel structure onto

concrete structure.
7 :.
..-
...
:. . :j
.......:.
...
.:
:.
.
_!
L j
:;L
T
i__L
-1
.:
4.::
.:, ............ _.
11
sectional detaii of the balcony
..:
faade of the building

5.2
16
ADDITION OF STEEL
STRUCTURE WITHIN
-s:: -
r7'
THE BUILDINGS
Case Study 01:

Museum for Pre-and Early
History, Frankfurt
This
involves
building
an
combination of steel decking

structure and steel staircase
within the internal area of the
concrete building. This is a
..
good demonstration of the

joint details on how to erect an
additional
structure
steel
within an existing structure.
T1T
section, floor plan and details of the building
-J
-'.--,
le
'o
Jj.
4.
,a,3I
irr._:
1
Io
3:
__.._*1
&* ..'ax
atm
al*.,*,.,',SiP*,4m
I!
JO'.
LYt'PJ
ItS 4flJVfl&lCtQOW
Ia.' a,,
p_
Ittt
a
S'
,*.,., tt,s a,,?
n.
section and floor plan details in staircase area
-'-r,
--. - -,
17
CITY as FASHION, tuban transformaflon of causeway bay

Technical Study: Preseivatlon. Addition and Alteration of the Tenement Buildings
5.3
ADDITION OF STEEL
STRUCTURE FOR
CIRCULATiON -
BRIDGE AND
STAIRCASE
ELt
Case Study 01:

I
Chemistiy Building, Technical
University. Berlin
This is a construction of an
additional steel bridge inside a
concrete building. The bridge
imposes an additional loading
onto the existing building.
Since it is constructed by
a..,
steel, the imposed loading is

very small.
L.;.
___L.JL_.
::
.
T L:
:;
D.,. na 'r
_('?
s flrt
4 w_s
,
section, axonometric and details of the steel bridge

Case Study 02:

EVA JIRICNA ARCHITECTS
26 Sloane Street, London
internal stair to retail store
1989
-J
This is an internal stair inside

a retail store. The staircase is
made by steel and glass,

which shows an elegant detail
design. Each steel member is
very light which emphasize the
transparency of the staircase.
T
detail of the staircase
18
CITY as FASHiON - urban transformation of causeway bay
Technical Study:
Preservation, Add/fan and Alteration of
19
the Tenement Bulldlns
bibliography
books
Ito Koban, Hong Kong: Alternative Metropolis, Tokyo (1992]
Michael S pens, STAIRCASES - DETAIL IN BUILDING, London: Academy Editions
[1995]
Susan Macdonald, Preserving Post-War Heritage, The care and conservation of

Mid-twentieth-Century Architecture, United Kingdom: Donhead Publishing [2001]
period cals
Detail : Zeitschrift fr Architektur & Baudetail & Einrichtung, Munchen : Institut fur
internationale ArchiteKtur-Do Kumentation GmbH (PT.2 1990] (Vol. 3-4 2000] (VoI. 46 1991]
thesis report
Hul Lung Nm, Human, A Speculative Study of Urban Housing Revitalization in Ma
Tau Kok, Dept of
Arch1
HKU [2001]
Sin Vat Lun, Marcone
Experimental Studio of Cinema Topography in Temple
Street - An Urban Subtext, Dept of Arch, HKU [2000]
chapter Four
spaces for the PERFORMANCES OF FASHION within the urban context
Cfl'( as FASHION, urban transformation of causeway bay
Special S1udy Spaces for the PERFORMANCES OF FASHION w{ltiin the urban context
contents
1.OrK'2
1.1
ObJectives
1.2
Method and scope of study
2.0
2.1
What is fashion performances?
2. 1. 1
2. 1. 2
Catwalk show as Fashion Performance

Fashion shopping as Fashion Performance
2.2
FashIon performances VS Audience
2.2.1
Catwalk show and audience
2.2.2
Fashion shopping: programmes and audience

Self as audience
Shopping sales as audience
Shopping companion as audience
Propriety as audience
2.3
2.3.1
Fashion performances VS Stage outfitting
10
Stage ouffitting of catwalk show

Stage and run ways
2.3.2
Runway shapes
The dressing area
Seating Patterns
Lighting
Stage outfitting of fashion shopping
Exposed
Empty
Urban landscape
Cross Programming
3.0
3.1
Relationship with urban fabric
3.1.1
3.1.2
3.1.3
3.1.4
3.2
3.3
Figure-ground theory
Linkage theory
Place theory
Useful Spatial Elements
Changing urban context

ConclusIon
Bibliography
17
20
20
21
C/fl' as FASHION urban transformation of causeway bay
Special Study: Spaces for the PEPFORMANCES OF FASHION within the urban context
mi
bjective
Li
OBJECTIVES
The objectives of this special study are to

supplement the thesis design, by means of
investigating the philosophical basis, the theories
and the references of the related issues.
As the major theme of the thesis is to introduce
fashion designers' houses and fashion show

spaces into the urban fabric where not only the
fashion community, but also the public or tourists,
can enjoy a new type of public place integrated
with the programme of fashion, enlighten the

quality of the urban life
In this special study, will derive the experience

of fashion shopping and the theatrical quality of
I
catwalk show as performances of fashion and
the outfitting of the fashion stages for the

fashion performances will be studied. Leading
to another issue, which is how the spaces for
the performances of fashion related to the

urban context.
I
(*1
1.2
METHOD AND SCOPE OF STUDY
The study is comprised of the following parts:
2.
The theoretical understanding of the performances of fashion as event of the fashion

cultures is studied
The physical relationship between the stages and the fashion performances is
derivied,
3.
The relationship of the spaces of the performances of fashion communicate in the

urban context.
CITY as FASHION
Special Study: Spaces for the PERFORMANCES OF FASHION within the urban context
2.0
2.1
WHAT IS FASHION PERFORMANCES?
New and more complicated code of dress'

developed, for in the metropolis everyone was in
disguise. incognito, and yet at the same time an
individual more and more was what he wore"1
Elizabeth Wilson
She points to the interdependent ambiguities of

modern fashion and the modern city - both can
be vita, alluring and liberating, yet both are
potentially
oppressive,
manipulative
and
exclusionary. Wilson again emphasized the way
in which clothing has the potential to lend

theatrical
and
play-acting
aspect
to
the
hallucinatory experience of the contemporary

world'2. Fashion works as within a wide range of
local
cultures
each with
different
codes
of
behaviour and rules of ceremony and social

position.
spac
J
Whatever the nature and style of the performance is, it requires the space and event for
which to take place. The space, as stage in fashion performances, could be in any size
and shape and could be outdoor or indoor. The event, theoretically, could be the
expression of the meaning of the fashion as well as individual's identity and the actual
understanding of what is represented.
The space and event of the fashion performances requires the interaction of the
individuals and the audience for the interplay between the clothes and the identity.
Stella Bruzzi and Pamela Church Gbson, Fashion Cultures-Theories, explorations and analysis, London and New York: Roufledge of
the Taylor & Francis Group [2000] p 11
2
Stella Bruzzi and Pamela Church Gibson, Fashion Cultures-Theories, explorations and analysis, London and New York: Routledge of
the Taylor & Francis Group[2OOO] pli

2.1. 1
Catwalk
show
Fashion
as
Performances
The catwalk show should be an entertaining and
rewarding experience for the show participants
and audience. lt s an exciting and theatrical
presentation of apparel and accessories on live
models conducted on many market levels - from
haute conture designers, presenting their latest
innovations,
to
the
ultimate
consumer
extravaganza held by community groups and

retail stores. The catwalk show helps to make an
authoritative visual statement about fashion,
making it one of the most exciting and dramatic of
fashion performances. The significance of the
catwalk show is well recognized.
"however broad the theatrics, very often a show

will contribute something to the changing way we
see fashion and the way we are likely to be

seeing fashion in the future. Somewhat less
frequently. it even te/ls you something about the
way everyone wi/I dress and look and feel about
what they wear at the some point twelve to

eighteen months in the future. '
-
Frey
There are two central elements that go to make

up the catwalk show: the spatial setting of the
runway(space) and the role of the model(event).
2.1.2
shopping
Performances
Fashion
as
Fashion
Contemporary fashion cannot be contained only

in the garments we wear. Where you shop and
what you surround yourself with have also

become a means of expressing certain values
and attitudes. Fashion enables people to mark
themselves out from the anonymity of the city and
align themselves with a particular group.'4
Sally Mackereth
Stella Bruzzi and Pamela Church Gibson, Fashion Cultures-Theories, explorations and analysis, London and New Yori: Routledge of
the Taytor & Francis Group [2000] p 114
Helen Castle, Architectural Design fr01 70 no 6) -Fashion + Architecture. New York Wiley-Academy [2000]: p 61
CITY as FASHION.
Fashion is an experience rather than a disembodied and unpiaced act of customer

choice and purchase. The pleasures of shopping are of continuing significance in the
fashion process. For the individual consumer, the significance and meaning of a
particular item are bound up with the process of shopping. lt is a practice of defining and
"The surface of the body seems everywhere to be

treated, not only as the boundary of the individual
as a biological and psychological entity but as the
frontier of the social self as well... The surface of
the body becomes the symbolic state upon which
the drama of socialization is enacted, and bodily
adornment becomes the language through which
if is expressed"
Turner
consideration to
program their clothes as part of their expression.
This programming activity is essentially a
Individuals,
therefore,
take
backstage activity conducted in the privacy of

Conceptually and
one's dressing space.
substantively, trying on clothes in a fashion house
and retail space is necessarily part of the
programming activity as the decision to purchase
is based on the imagined stages and audience

that an individual might have to respond to when

a selection of the purchased items are presented

as a programmed configuration.
is the experience of shopping in a significant

place emphasized the way that fashion is
performing. The role of fashion retail spaces
It
becomes the sites for human creation and action,

in which the interplay between dress codes and
identity is central.
By the power of threedimensional space in the form of fashion retail as
a sensory experience of the shopper, creating a
journey of theatre and illusion, which transforms
the street and the city.
There are also three central elements that make

experience as fashion
up the shopping
performance: the physical and visual experience
of the imagined stages (space) and the fashion
programming
(events).
2.2
activities
of
the
individuals
FASHION PERFORMANCES VS
AUDIENCE
The audience forms and essential part of the

fashion performance, without whom, the role in
conveying the underlying meaning of clothes from
the designer and expression of unique identities
of individuals s not performing. By creating the
stage that communicates a universal language, a
consistent thematic approach can be stimulating
to a discriminating audience can be stimulating to
the audience. That is, the presence of the
audience to the surrounding space is
\
!
,'
'
L.
p
.
Catwalk show and audience
The catwalk show is a public event, a marketing

exercise, where each show guards and maintains
its own aura of exclusively. Such exclusivity is
part of its very marketability, where the audience
forms part of the spectacle and the product

portrays an image that is reflected only in its
semblance:
)/
fundamental to our making of architecture.

2.2.1
.-'
\.
Ii
.:.I_._E
L:

"The absence of the final consumer at fashion

shows meant that the designers were destined to
see their messages ever interpreted, either in the
pages of magazines - where film from the

runway shows is clipped apart and rearranged, or
where the clothes are simply reshot with an

editors notions of styling firmly in the fore - or in
stores - where only sampling of the whole

collection if purchased.. '
-
Frey
The distance between the work of the designer

and
the
audience
might
be
interpreted
as
representing the gap between the meaning and

the actual understanding of what is represented.
The catwalk show is set play an integral role as a
communication medium between the designers
and the general public.
Many times the audience will determine the

purpose of the event.
The audience may take
different forms, guaranteed or created

audience. An audience that is established before
the show is organized is considered a guaranteed
audience individuals who will attend the show
An
regardless of the fashions displayed.
two
audience which is established after the show is

planned as a result of publicity advertising is
considered a created audience.
Stella Bruzzi and Pamela Church Gibson, Fashion Cultures.Theones, explorations and analysis. London and New York, Routledge of
the Taylor & Francis Group (2000) p 117

2.2.2
FashIon shopping: programmes and

audience
The process of putting together the components

is
conceptualized
as
of
appearance
programming; programs one's appearance
according to the identity one desire to project.

This programming is necessary, a backstage
activity.
The fashion shop is a place in which one gets in

and out of clothes without incurring any
embarrassment. In the shop, clothings are tried
on and assessed in terms of its "fit" with one's
self-image and of its "appropriateness" for
situations. The shop is an experimental stage in
which clothing configurations are tried out and
changes made, where the programming is taken
place.
Clothes
are
presented
visually,
directly
to
potentially an infinity of audience. This infinity of

audience
is
situationally
reduced
to
an
anticipated audience for a particular event in

which the individual is to present oneself.
The
significant
others to which the individual is oriented. The
anticipated audience and the event itself help the
individual in the formation of identity and self
expression.
anticipated
audience acts as
the
LI
SELF AS AUDIENCE6
The self is always the first audience that must be
satisfied. This self-referencing is captured in the
fashion
understanding
of
psychoanalytic
consciousness as a symptom of narcissism - "the
tendency to admire one's own body and display it
to others, so that these others can share in the

admiration"
Flu gel
shopping floor
Chue Bong Huat, Fashion Shopping, Programs. Stages end Audience. Singapore Dept of Sociology. Nationa' University of Singapore
119901 p 14

SALES PERSON AS AUDIENCE7

The sales people have an institutionalized,
important place in the social organization of
fashion. "Their job is fo interpret the couturier's
idea, as demonstrated in the Collection and to

supervise the fittings of the customer"
-
Amies
The sales people believe that understanding

clients style is essential to selling clothes. The
sales person, therefore, not only an audience in
situ at the shop floor but also a gate-keeper" of
shopping floor
the client's clothes closet, so to speak.

SHOPPING COMPANION AS AUDIENCE8
Individuals are often accompanied by others and
the companions will offer their comments. The
significance attached by the client to these
comments depends entirely on the social
relationship she has with the companion, i.e. a

reflection of the companion's status
audience to the clients self-image.
as
an
lor
shopping
PROPRIETY AS AUDIENCE9
This attention is oriented to a sense of the
generalized others" as audience. Rather than a
concern with only the evaluations of the audience
peror
present at a specific occasion, this is a concern

with the infinity of possible audience who may
see the individual in the configuration.
propriety
specific occasioni
Chua Bang Huat, Fashion Shopping: Programs. Stages and Audience, Singapoce Dept of Sociology, National university of Singapore
b19901 p 16
Chus Beng Huat, Fashion Shopping, Programs. Stages and Audience, Singapore Dept of Sociology, National University of Singapore
p 17
Chua Beng Runt, Fashion Shopping, Programs. Stages and Audience, Singapore' Dept of Sociology. National University of Singapore
[19901 p22

2.3
lo
FASHION PERFORMANCES VS STAGE

OUTFITTING
2.3.1 Stage Ouffitting of catwalk show

Setting the atmosphere for the presentation
comes together in the staging framework -the

layout of the physical facilities. The general
architectural
setting
for
the
staging
and
background for the show depend on the type of

show being presented and the location chosen.
An informal modeling of fashions will not require

any special physical staging considerations. A
large production show may require a great deal of
concentration on staging and background effects.
A theatre may provide various elevated runways.
These may be constructed
in
'4
a number of
r.
different configurations, depending upon the size

of the audience and room capacity.
Some fashion designers may wish to emphasize certain images of illusions. The fashion
presentations in Paris are particularly known for their theatrical staging and backdrops.
For examples, Yohji Yamamoto, a minimalist designer, projected his image through his
staging. He constructed a spartan set with a narrow, unfinished wooden runway,
reinforcing the austere purity of his designs.
STAGE AND RUNWAYS
The stage is the background

area where the models
typically enter and exit. The
runway us an extension if the
stage or a freestanding unit
that generally projects into

audience.
t varies
according to the needs of the
show
produced
and
physically
produced
and
physical facilities.
the
cl

Specat Study: Spaces for the PERFORMANCES OF FASHION wfthin the urban context
11
Runways vary in both size and height. When deciding on the type of runway to use, the
following must consider:
timing for models to enter the show area from the dressing area
walking route and traffic flow
Height, size and shape as it relates to the room and audience visibility.
Regarding timing, the pattern and route the model follows should allow enough time to
present the garment to the audience and for the audience to react, but not be bored.
The pace should be quick enough time to provide interest, without being drawn out too
long. The length of the runway also contributes to this aspect.
The distance of the dressing room to the runway should not be ignored.
In an ideal
setting the dressing area and the stage are adjacent to one another, which eliminates the
need for additional models to compensate for time lost travelling tot he stage from the
dressing area.
One of the most important details in staging is audience visibility. lt is essential that the
models be seen from every seat in the audience. Attention to pillars, curtains or other
architectural obstructions must be noted.
The height of the runway should increase the ability of the viewers to see the
performance without being so high as to make viewing difficult,
between 18 and 36 inches.
Runways are often constructed from plywood,

measuring 4 feet by 8 feet, runways are
frequently multiples of these measurements.
Typical trade show runways are 32 to 40 feet in

length. This provides adequate space for models
to exhibit the clothing and also allows enough
time for the audience to review the line.
The width of the runway will determine the

number of models who may appear side by side
at any given time. If the runway is four feet wide,
only two models should be walking together. The
width of the runway may be doubled by putting

two sections side by side. When the runway is
six feet or eight feet wide, three or four models
can be comfortable walking en masse, adding
visual impact.
Ideal heights are
CUYas FASHiON. urban tronsformation of cause way bay
12
Special Study: Spaces for the PERFORMANCES OF FASHION within the urban contexl
RUNWAY SHAPES
The actual runway shape may be built in a variety of shapes, but the most common
configurations include the T, I, X, H, U orZ.
One of the most frequently used runway shapes is the T shape, which s a combination
of a stage and an extended runway. lt is the most simple runway shape and perhaps the
least exciting.
A variation of the basic T shape is the I formation.

This runway shape adds a platform extension to
the extended runway, parallel to the stage. This

extension allows models to spend more time on
the runway, closer to the audience to feature the
garments in a more interesting manner.
The X or cross shape runway is a unique and

fascinating formation, consisting of two platforms
that are placed at 90 degree angles, generally

used without a stage. This is a unique and
fascination formation. Models enter and exit from
doors in the room or auditorium, bringing them
closer to the audience.
The Y and U patterns are very similar to each

other. The Y shape has two angled projections
form the basic runway. The U shape has a
curved extension, which brings the models out
into the audience using a philosophy similar to
the theatre in the round.' These formations cari
also be very engaging and add diversity to a
show.
The Z or zigzag configuration is a simple yet

complex shape conducive to a collection of
different routines and movements. The models
can turn arid change direction to effectively show
different views of the garment.

13
THE DRESSING AREA
The dressing area should be large enough to

accommodate clothing racks, accessories tables
chairs, full-length mirrors, the number of models,
and the necessary support personnel. Clothing
needs to be spaced on the racks to prevent
,s-
IITI IIITI
wrinkling and allow easy access by the dressers.
Each model should have an assigned space in

the dressing area. Space should be reserved for
models to apply makeup or style their hair or for
makeup artists and hair stylists. The dressing
area should have a clearly defined entrance and
exit to prevent awkward movements that may be
seen by the audience.

SEATING PATERNS
There are two styles of seating arrangements to

accommodate the audience.
They may be
seated in a theatre pattern or at tables.
Theatre seating involves placing chairs side by

side and next to the stage and runway. Theatre
seating generally provides the best view of the
show pieces since
all
the members of the
audience are seated facing the runway.
A table seating arrangement is used at a show

with some sort of meal service. There are some
visibility problems with this type of seating. Often
a round table is set, holding as many as eight to
ten people. Some people will not be able to see
the stage or runway.
LIGHTING
Good lighting is necessary to show clothing to its

best advantage, to set the mood of the show, and
to accentuate the theme of the show. Raising
and lowering the house lights adds to the

theatrical nature of fashion shows.
Spotlights or
track lighting placed above the runway can be

used to highlight the models while they are on the
runway. Spotlights in a darkened room can be
used to introduce, emphasize or close a
segment. Spotlights should be located as high as
possible. They should not "blind" the audience.
Theatre seating
II
CI7Y as FASHION urban transformation of causeway bay

Strobe lights were popular effects used to create
a mechanical look during the 1960s.
In the
1970s and 1980s such theatrical productions as
Phantom of the Opera, Cats,
and
Starlght
Express created by Andrew Lloyd Weber led to

dramatic lighting and staging effects. These
influences can be seen in some of the more
complex and expensive fashion shows held
during this period.
Many designers incorporate colored lights into

their shows. Colored gels have been used to
accentuate a particular look.
2.3.2
Stage outfitting of fashion shopping
For retail design, the architect is able to shape

and form the space using contrasting materials,
light and drama to create a journey of theatre and
illusion,
While fashion is by its very nature contradictory

and transient, architecture is about permanence
and longevity."
"lt s better for architects tackling retail design to
embrace and enjoy the fact that they are dealing
with what is essentially disposable space. They
need to instill the same sense of event and thrill
of occasion in their architecture as there is in a
20-minute catwalk show"1
Sally Macke ret h
10
Helen Castle, Architectural Design [vol 70 no 6) - Fashion + Architecture, New York Wiley-Academy [20001 p61
14
15
In the 1980's, a flowering of high design fashion houses - conceived in perfect harmony
with their contents - appeared around the world, signaling the mutations of the times.
The architecture of the store is primary: it becomes the medium, which communicates
the culture of specific target groups. These fashion retail spaces, whose configurations
are increasingly subject to artistic expression as well as architecture, interior design,
scenography, graphic design, audiovisual effects, and animation.
EXPOSED
Certain of these fashion houses, protected by a

unique skin of glass in a metal frame, no longer
have display windows. Almost slipping outside
the shop, the naked interiors present superb

stage sets and different sales scenarios: the
entire interior is exposed, becoming itself a
window.
Ji
EMPTY
These showrooms are almost empty: the stock of

clothes or products have disappeared in favor of
a stark display. Influenced by the Japanese, 'The
empty has replaced the full" an ultra-
sophsticated version of the modernist slogan

'less is more". Inside these dramatic spaces, the
framework of the dcor
is
graphic and very
composed: it highlights the lease movement of an

article of clothing.
Brigitte Fitoussi, Showrooms, New York, Pnnceton Architectural Press [1989] p 5
CITY as FASHION.
16
URBAN LANDSCAPE
Other showrooms, on a different scale, reflect the

urban landscape. Spaces on two or three levels,
Their ambiance, closer to the stages of cinema

than theatre, fascinated by the lights, the music,
the arrangement of certain furniture or pieces of
architecture, from staircase to framework,
everything supports the scenography.
--
.__-_-_
-;
-.
}\f
CROSS PROGRAMMING
Fashion houses offer services closer to leisure

activities: a caf, a restaurant/bar, electronic
games, videos, rest spaces, and so on,
integrated into the sales space.
GE
STREET
TRADING
FLOOR
LIBRARY
CAFE
SHOWROOM
cir os FSF4!fV.
,,t,or, troosfc,r,r,otlor, of croJsswov L,c,
S,sooI StjcJy: Sooss for tho PERFRI1NJCES (DF FASHIC)NI w1tir th .JrOor' oortxt
1 7
3.0
Pftr
derstsr')ditg th whst is fsshiar. p&r-forrrisrice arid its rIstios-'tship with th
sLIdiSrlce sr-id stsgs. this ohs ptsr is thri fot.jsd ari haw shaLitci
fshiti
rformirig
srid hrig
haw th
pscs reIstod ta au.jr tjrbsz-. fs1rFcujr-tsri
rIstiari the ir-isertlar. af tI-iene eees
ri
3 I
RELA TIAtSI1IP WITI-I 711E IJRBAAI FABRI
By mas ris of ti-ia irwastigatiar. of r-eIstd ttiaariSs

of Ljrbsr-. pis ririir.g, t s to arisjra th ir.s5rtiari of
tha propasad fshiori parfarmni rig s pacas ras pact
arid correspond witt-i th esisting city fabric
3 7. 7
Flwe-Waw fl,e,-
The flgLJra-gro.Jnd theory is foUnded ori th study

of the relstrve Ind coverage of buildings as solid
mass (fgure') to operi 'iaida (graurid )'.
A4ap of oma -1 7-4 8- rhis

t-,caI ?gu,re-groorrd i!ft,strafioo wtricb makes rho putbiic space
cart,ed oIJt of ti-ia ,ovate tissoa; the cirCdamiristrit field' s a d'eose cooti,ii3Oos mass. aliOvi'hig apeo
space to become a figiaral ,,-oid'
72 aebefl t,anclic, Three theories of USan SpSbei Oaeig. 5)009,9 Lost Sao New York: 'Van Nostrand fleintiold [1980] p97
18
C/fl' as FASHiON uttan transform at! on of causeway bay
Special Study: Spaces for the PERFORMANCES OF FASHION withIn the urban context
The study of the figure-ground relationship is to

clarify the structure of urban spaces by
establishing a hierarchy of spaces of different
sizes. By adding, subtracting or changing the
physical geometry of the pattern, a new spatial
design can be approached.
Solid and void relationship can take on many

configurations. In our city, Hong Kong, there are
many varieties of such configurations.
The insertion of proposed fashion performing

spaces is to take on the character of the existing
urban solids and voids relationship and to ensure
they dialogue is complete and perceivable.
Otherwise, disjointed fragments will be resulted,
forming a so-called 'lost space13.
3.1.2 LInkage theoiy
Simply speaking, the linkage theory is derived

from lines connecting one element to another.
The lines are often streets, pavements, linear
open spaces that physically connect those
fragments. In other words, the movement system
and circulation are the main concern in this
theory.
An example of illustration was done by Maki. He
defined three different formal types of urban:

compositional form, megaform, and group form.
Compositional form, the said, consists of
individually tailored buildings in abstract patterns
Compositional form
that are composed in a two-dimensional plan.

is implied rather than overt, and
reciprocal tension is a product of the positioning
and shapes of freestanding objects. Structures in
megaforrn are connected to a linear framework in
a hierarchical, open-ended system where linkage
is physically imposed. The last one, group form,
Linkage
results from an incremental accumulation of

structures along an armature of communal space,
and linkage is naturally and organically evolved.
The historical towns were often developed in this
Mega form
Robert Trancik, Three theories of Urban Spatial Design, Finding Lost Space. New York: Van Nostrand Reinhold (19861: p.106
19
C/TV as FASHION urban transformation of causeway bay

Special Shjdy: Spaces for the PERFORMANCES OF FASHION within the urban context
form
If the proposed fashion performance spaces
inserted are to form a collected image of district

overwhelming with fashion cultures, they should
be properly connected and linked, so as to

achieve the collected image, avoid fragmented
environment, and to ensure a convenient
movement system among those spaces.
Group form
3.7.3
PIace theory
Place theory adds the components of human

needs and
contexts.
cultural,
Usually
historical,
additional
and natural
richness is
incorporated to give unique forms and details

indigenous to the setting. Each place is therefore
unique, with their own characteristics that may

consist of material substance, shape, texture and
colour', cultural associations, as well as a certain
patina given by human use over time.
As a new function adding to the existing urban

fabric, the proposed fashion performance spaces
should have their own unique character, which
will give a clear image to the public.
Human
perception and experience should therefore be

considered, and further special design elements
can be added.
3.1.4
Useful Spatial Elements
When inserting new elements into urban fabric,

we have to consider their spatial qualities with
respect to the existing. According to Kevin Lynch
in his Image of City, the presented his theories in
three aspects: legibility (the mental picture of the
city held by users on the street), structure and
identity, (the recognizable, coherent pattern
urban blocks, buildings, and spaces) and
imageability seems to be a system that contains
a set of organizing structures of psychological

significance to the people. A mental map was
formed for each individual of the environment, in
which
paths,
edges,
district,
nodes,
and
Spatial design using three different
theories
C/P/as FASHION. urban transformation of cause way bay

SpecaI S.idy: Spaces for the PEIFORMANCES OF FASHION within the urban context
landmarks give important reminders of physical

and psychological orientation.
3.2
CHANGING THE URBAN CONTEXT
The cultural critic Frank Mort emphasized the

performance of fashion in his influential reading
of the change urban context of London's Soho.
While the reinvention of Soho during the past
twenty years cannot be understood without
reference to wider economic and political
processes, its success has also been dependent
upon the performance of fashionability on its

streets. The new Soho is not just a collection of
shops from a particular segment of the fashion
market, or just a centre of media-related
industries, it is a place in which the interplay
between dress codes and identity is central.
The transformation of Carnaby Street and the

King's Road in Chelsea in the I 960s was also
dependent on their role as performative spaces these were not simply collections of boutiques but
places where fashion was displayed, watched,
imitated and transformed.
3.3
CONCLUSION
From the above theories, many of them suggest

that human perceptions and their experiences are
important to be considered in city planning, in

order to give the 'place' a unique character,
according to the Place theory and Kevin Lynch's
theory. This is even more crucial in the design of
proposing fashion performance space within an
existing urban fabric like causeway bay so that it
will become a place for the individualistic
expression through the medium of fashion, and
hence to popularize the awareness and
appreciation of the general public towards the

local fashion cultures.
20
CiTY as FASHION. urban transfo,mation of causeway bay
21
SpecaI Study: Spaces for the PERFORMANCES OF FASHION wFthln the urban context
bibliography
books
Brigitte F1touss, Showrooms, New York Princeton Architectural Press [1989]
curators, Germano Celant, Luigi Settembrini, Ingrid Slschy ; general catalogue
edited by Germano Celant, Looking at Fashion, Milano: Skira editore (1996]
Joanne
Fashion: An Introduction, New York: New York University Press
[1996]
Finkelsteln1
Judith C. Everett & Kristen K.Swanson, Guide to Producing a Fashion Show, New
York: Fairchild Publications [19931
Lee Widdows & Jo McGuinness, Catwalk: Working with Models, London: BT Batsford
Ltd. [1996]
OMAJAMO Rem Koolhaas, Projects for Preda Part I, Milian: Fondazione Prada Edizioni
[2001]
Robert Trancik, Three theories of Urban Spatial Design, Finding Lost Space, New York:
Van Nostrand Reinhold (1986]
Stella Bruzzi and Pamela Church Gibson, Fashion Cultures-Theories, explorations

and analysis, London and New
York: Routledge of the Taylor & Francis Group [2000]
periodicals
and Urban/sm Feature: Fashionable Collaborations, Japan: A+U Publishing

Co. Ltd. [2001: 12 No.375]
Helen Castle, Architectural Design [vol 70 no 6] - Fashion + Architecture, New York:
Wiley-Academy [2000]
Architecture
reports
Chua Bong Huat, Fashion Shopping: Programs, Stages and Audience, Singapore: Dept
of Sociology, National University of Singapore [1990]
Department of Architecture
University of Hong Kong
Record of First Jury on Thesis Design 2001/2002
Student Name
Thesis Title
Supervisor
Lo Mun Sze Anita

Urban Stage of Fashion
Prof. David Lung
Date:
12th
November. 2001
Class No.
44
fashion complex n causeway bay
Panel Members
Dr. T. Kvan, Dr. B.S. Jai
Synopsis of presentation
The proposed Fashion Complex aims at fostering good designs and promoting the local
designs to the general public. The existing old fabric of the site will be transformed,
concentrated the local fashion designers' works and collections with programmes of fashion
retails, design studios, showing facitlities and fashion institute. The fashion complex forms the
stage for fashion display, functions as promotional media and public place, enlightening the
quality of urban life.
The proposed site is located in Causeway Bay - the old fabrics in between the Soga
Department Store and World Trade Centre. Causeway Bay has a long development history
as shopping and entertainment district and fashion require a consumer system. Moreover,
the proposed site is located at the centre of the urban magnet with vivid human flow.
Furthermore, more and more local fashion designers established their boutiques in Causeway
Bay which reinforce a strong fashion design character in this area.
The strategy for renewal of the old fabrics for the fashion complex includes demolishing some
of the buildings to create bigger plaza for showing stage, restwcturing the old buildings to
form fragmented volume of spaces for different shops and studios, spaces to be crafted out to
form small showing platform, implementing a new circulation system in the old buildings to
connect the programmes as network, integrating the back-lane with existing circulation pattern
to create a new walking experience and combining the old building structure with some basic
architectonic elements to form variation of spaces.
2. Synopsis of staff observation
The spatial quality of the plaza is not good after demolishing the buildings (Yee On and Chee
On Building) for the plaza as the plaza is surrounded with high-rise buildings. Computer
models should be built to explore the three-dimensional relationship of the urban fabrics. It is
suggested to retain the buildings instead of demolishing them. The existing units at the
podium level can be taken out, leave the ground level empty with only columns and try to
explore new type of plaza with interesting circulation pattern. Wan Chai can be taken as case
study on the pedestrian deck as plaza.
3.
Student's response
I would try to retain the existing buildings (Yee On and Chee On Building) and study their
structure. Instead of demolishing them, I would explore the potential for restructuring podium
level by implementing new circulation system to create interesting pattern with new type of
plaza.
Urban STAGE of FASHION

ohlon rsfl.cts cultui.. o in
l onel own IdnlIty. conitiPutei to the g.n.ratlon ot our socIety.

ashion displays and the sto9ing plottorms together foim the gollerils wIthin city
TIre local fashIon design io Hong Kong. although has already gained international reputation. still i
more excited advertIsement lo tosSer long Kong os toshion capitol. The proposal al the .stoblishr
at the fashion Design Complex aim al encouragIng .xcilent design. high quality production and
ncr.as. th, exposure et good toshion design lo th, public. The local loshion designers works on
collections are conceniraled with the programmes of tashion retads. showing locitities and toshior
nstItutIon. The Fashion Complex functions as promotional medio and public piace enlightening t
quality of urban lit..
The Foshion Design Comptes accommodates soilout fashion aclivitles. Activities connected as
network or retail, showing. research and galiery spaces interaction between Iohion and archilec
to be explored, experience the reiotionship between ieit. clothing. buiiding and urban context for
reestablishment al the public p10cc in o consuming ditiict.
proposed site for the thesis is located of Causeway boy.
(1g. Fohion requires o consumer system. consumer systems
tashion, Theme is a long development hlstoy of

t ,$sti\ require
'Causeway lay os o commercial area. and shopping ond
A
entertainment oasis ii has rCtained o character os o shopping
'3i
' district in Hong kong Island.
The chosen site located at the centre of urban magnets

with Immediate adjacency fo, cohesive pedestrian connection.
lt is charact.rixed by its high pedestrian flow oli through the
day. probably due to lis local location In relation to the
commercial. shopping and entertainment eslobllshmerils
within the tocoilty and its adjacency to the mein transport route.
121.
s
.
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,,
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..
.:
-*.i.
More local designers eslobilshed their own boutiques

scattered around in Causeway boy, Such os the upper floor of
the oid residential buildings and In the Istond Centre. this
gives o strong fashion design character to, establishment of
Fashion Complex. it is aimed to concentrate 1h, local
.d.signers brand boutiques, providsd with other supporting
131
'_x
J'tociiiti.s to create o fashion district.
- p
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_________
fashion complex
SELF
FASHION
DESIGNERS
.n*nn
po
=
n
in
causeway bay
INDIVIDUALISTIC EXPRESSION
p. p,odpIIon
i. o,onng
WEARERS
Ol cIoi.
os csou.s
FASHION + ARCHITECTURE = FASHION ON STAGE

S1o9.
imposionS .I.menl in She fohion exps.piion
!t1
t..PrO boui5qu.. ase
i,
ebb,, d.pIap4ng
singt contum.,,. I *ndi.PC.

i.Shicfl bockig .....
.p.rlm.ei.I st.g. for
wIll. s.l.. 4 cer,p.n,eflS t. ludien.
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0n g tern
/.i.lweik pilltenn \
--
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.t,..t- .....c-by t. .udi.,c.
#..hl., aher eta

pelli. an eudleic.
/I.
ARCHITECTURE MEET FASHION

1h. ipac. would b4com. chineo with the dynamiam of cIottl.nQ depIay
Changing dilplgy background with changing display
obj.cts A cornpl,laly diffirent magia
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11
With hi changing of h. display bickground, diffirint a.sth.ic quality of

Saghion can be achilved
ReIationshp between major programmes

s
op-a
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demolished - to create place for Indoor & outdoor showIng platform
02
revitalizatIon of the old buildings
l.,ll.cIur. IN. old bu,Ildngs.

Ilsgln.nIsd block, of vol.,,,.
Ib.
liais u,. combln.d lo
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fashion lud.n.' ilud. in h. fon, Inni
dhspls0Isg ihn PQdUUIiO,,
CI.Y*li.S. d.slgn.r.'. bouliqu..
Ot
Studio
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clothing
03
cIrculation pattern
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aro Pf
0.lcrCi,iailoo plIl.tn
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Ill. rigin.I eirnulullOn psIlOrn u.d IN.
ISsalad plaza orualn a n.., .stb.sg
sInking us.
with
p,,i.nc. In tlI. di.tlii$
mgi. moot u 50w C,rt,lalltI Sylt..

thu onliling buIldIngs. coei,.clIng
prag.arl.m.s Info neuwerk
03
Basic structure + Basic elements s variation of space

SI,..
arOkiI.sf000 004 I..I.i.n k.np u. vksng.ng. In ad.plubiIlp. ts Ilsuibilily. Ils ,hsag..kiIii0
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51.111
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Department of Architecture
University of Hong Kong
Record of Second Jury on Thesis Design 2001/2002
Student Name
Thesis Titie
Supervisor
1.
Lo Mun Sze Anita
Date:
19th
Februarv.2002
Class No.
44
Urban Stage of Fashion fashion complex n causeway bay

Prof. David Lung
Panel Members
Dr. T.Kvan, Dr. B.S. Jai
Synopsis of presentation
The fashion compiex forms the stage for fashion display, functions as promotioriai media and
public place, enlightening the quality of urban life. Fashion functions as individualistic
expression. Fashion designers possess intention in the production of clothes, while wearers
construct the meaning of clothes. Architecture forms the stage for the expression of fashion.
Both designers' studio, fashion boutiques, catwalk platform arid the streetsoape are the
important stage for fashion.
Design approach:
. Extension of pedestrian flow - connection path extended from normal pedestrian flow.
. Backlane negative vs postivie - create attraction of the backlane culture.
. Transformation - some old buildings being preserved for transformation, some
demolished for efficient use of space and the podium part being deconstructed as open
plaza.
Crossing programming - the complex is mixed with different programmes like stage,
designers' boutiques, library, gallery and caf.

Variation of space - implementation of variation of basic elements within the existing old
Structure.
s
s
Space re-structuring - restructure the internal space of old building.

Insertion of open platform - some spaces being crafted out to create open platform for
occasional stage event.
Urban connection - circulation connected to the urban context as internal street.O
2. Synopsis of staff observation
The meaning of the relationship between fashion and architecture should be further explored
and to create space different from shopping mall. Catwalk is notjust a walkway, but a place
for interaction between audience and performers. The real line of catwalk show should be
further studied and to explore whether the old structure can be staged for the fashion show.
The internal connection between the old buildings and the plaza is not adequate. Model
training school to get the models showing fashion, which can act as display for the visitors.
The intellectual framework should be further analyzed and reflect it in the manifesto of the
building, e.g. everything is on show.
3.
Student's response
I would further study the intellectual framework between fashion and architecture and how to
reflect this relationship into the manifesto of the building. As catwalk stage forms an important
element as fashion display, as interaction between the designers intention and the audience.
Therefore, I would further explored the relationship of different fashion programmes with the
catwalk stage and how to connect them together to form a fashion complex that can really
perform the promotion function.
Urban STAGE of FASHION

fashion complex in causeway bay
,i,flIOfl
dI.pIo
reflect, Cijilurt a .fl,. Of

..,d h. tagn9 pIaPto,n.,
1h. ocu$ fOiPiIofl
wn Id.Ot$Iy COflhIIIutt
OR.
a.a I.
IC III.
9fl.te$iOn o oui tacitly
FO,$IOn
UPIa
.Ign n 4ang kong oIIOa9I hai aIIOdv Qoifled nI.naIeaat epatIafl. UhI need ,aae
.aCul.d OdelIt.m..'I to fo,?. Hong laag o faihion capihal. h. p.opaaI 01 th. .obII,sn 01 . Fa,hGn
Oasi;.. Complia ,m nl ncouaglng nc tuent d..Ign .Ih quaII, production and I, i,rc rer. h. opesur. at
good Colirio, dango Io the public Tir. local fashion d.slgner woski and coiI.ciIOn, or. Co,rc.nlroi.d with
III. programm.. ai iaIhon ratait,, showing leciuitI.i and tc,hio, Ia,iiistioar It.. lathiGe Compita (onction, On
pon,oionai rrr.dia one public place. lriIgh$ning lb. quality a? OrbOn ill.
tir. fashion D.,Ign Compie: Occommnrodt., voilou. leOnlOn Oclivlll.l
Aclivill.. C000.ct.d as network o,
r.tail showing. r.I.opch and 90l101y spaces inl.moctian bete... lesbian Ond atchiteclume io b. n.plo'e&
,.p.rinc. tir. ,iatlonship bSiw.05
,.11
D'iris.. buIldinQ Cod urbe, Contest le, tir. e. .labii,hmnont OP Ihn
public plec, in e consumIng 01.1,1cm.
TREET ACTIVITIES
LOCKHART ROAD
EXCELSIOR PLAZA
JAF FE ROAD
_ai -
SELF + FASHION = INDIVIDUALISTIC EXPRESSION

DESIGNERS
po n,,
flt.ol[Ofl
In
'IrS pmcduClIo a! dOur.,
FASHION + ARCHITECTURE
lo9e
on
WEAREPS
cor.nucl It,. mccabe of cloth..
FASHION ON STAGE
mpOftafll Igmenl in hie toshion ecpt.sson
r 'i
.
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flsjnnrs
ogn.mo
$150,0 0 .aptlflmtst.l Slag. tom
ttth,On boutiques o, Cloths. disploymnp

slogo. c0010nmenI 0 504ianc.
tosino, boullqoos us o.psmim.nt.i smog. 10m
woar.t eel.. I companion. a. .110i.nc.
Cl*oih pl.lt.mm
/ n Inhibo olios osog.\
/ public as audience
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AN
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It.. laitUe.. Compiti Ii

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train It,.
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io p.itt At i
4d
NEGATIVE vs POSTIVE
p.tle. spies,
AN
loi IrOniIO,InO!iOn o! spiet
lilla III. bockiGe..
Alo
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A.pO?ICi Opec.
lo islAnd Clitolotion
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eliot. illioCIlOn at Lt.. bockln. cuituis.
BACK
R O S
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D.Co,it,UcIid h. podien o. open spie.
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sCOniIIuCI.d le, ltIcl.nt oli et ieee.
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VARIATION OF SPACE
VARIATIONI OF PRIMARY ARCKITECTONIC ELEMENTS
EXISTING OLD STRUCTURE
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In,piqmnlQfin gP varigil,. al basic Iemnli cgo
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dill.,.,, .9.1101 .pri.nc lo,
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mani OP fashion
SPACE RE-STRUCTURING
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NSERT ION
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compia.
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making IS. shale

On
urban slogo foi
ta,P,lon b.c.,,. pail of Iba
cli!.
Ar
URBAN CONNECTION
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cocn.cI.d io eh. giban

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top view from excelsior plaza
I
connection from plaza to the old buildings
Department of Architecture University of Hong Kong

Record of Third Jury on Thesis Design 2001/2002
Student Name
Thesis Titie
Supervisor
Lo Mun Sze Anita
Date:26th ApriI, 2002
Class No.
44
Fashion Centre . Urban Stage of Fashion . in causeway bay

Prof. David Lung
Panei Members
Ms. Karakiewiez, J A,
Dr. B.S. Jai
I . Synopsis of presentation
The establishment of the fashion complex aim at encouraging exceilerit design and to
increase the exposure ofthe local fashion design to the general public. The major theme is to
introduce fashion designer's houses and fashion show spaces into the urban fabric where not
only the fashion community, but also the public or the tourists, can enjoy new type of public
place integrated with the programme of fashion, function as a promotional media, enlighten
the quality of urban life.
Transformation Stratecly:
. part of the tenement buildings will be demolished and the internal slabs and partitions of
the podium will be removed.
a steel frame structure will be added in between the old blocks and the podium for
supporting the buildings and new space will be imposed, ari open plaza as the extension
of the excelsior plaza.
Transformed internal circulation space will be articulated according to the lines no

following the existing grid.
What is Fashion Prfprmaces?
Experience of fashion shopping and theatrical quality of catwalk show area are derived as
performances of fashion which it requires varies stages to take place. In the design of
proposing fashion performances spaces within an existing urban fabric of causeway bay, it will
become a place for the individualistic expression through the medium of fashion, and hence to
popularize the awareness and appreciation of the general public towards the local fashion
cultures.
Different staQes:
i.
designers' houses as the experimental stage for designers
ii.
shopping floor as experimental stage for wearers
iii. catwalk runway as fashion show stage for conveying designer's intention to the public
iv. streetscape as casual runway for the public
Different audiences:
i.
catwalk show audience that interact with the designers
selfas audience
iii.
sales person as audience
iv. shopping companion as audience
Vpropriety as audience
Setting for fashion rerforrnance siaces
i.
variation of primary architectural elements, the planes, columns, steps, bridges and
platforms with the existing structures to create various fashion performance spaces
ii.
using the form of runway as circulation
iii. sequence of catwalk stage
ii.
-4Jv1 2003
...-.r
2.
.
I
.
.
...
.._
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SynopsIs of staff observation
consider which parties will be responsible for this kind of urban renewal project with the
programme of fashion
to do it practically, should address the constrains of designing a backlane and to study
whether it will be possible to demolished part of the old buildings, example for reference urban transformation in Berlin
should have different scenario of different stages so as to show how to generate the the
whole scheme.
drawings to show the urban transformation
models of existing buildings should be made together with the scheme to show the site
context
3.
Student's response
the fashion community, HKFDA & TDC, & the Urban Renewal Association will be the
parties which responsible for the project development, if the redevelopment make
substantial improvement to the living quality, it is good and justify to do so
study more examples on urban renewal project and work on the details to make the
scheme practically worked
produce more dynamic drawings to illustrate the scheme
F
ill
ash ion Center

causeway bay
r
urban stage of fashion

Faihlon refl.ct. cultur.. u sins. of on.s own dntity. Con,tituIi to h. ginration of our IocI.ty Fashion
displays and th. staging platforms tog.th.r form the aII.ri.s within th. city.
Th. local fashion dIsi9n in Hong Kon9. although has airsudy gainad ntsrnaton.I r.putatlon. h. Induitry
il stilt need mor. sctsd adv.rtis.m.nt to fost.r Hong Kong as fashion captial. The proposal of the
establishment of the fashion Comptix aim it encouraging exceflent de59n and to increase the exposure
of good fashion design to th. public. The major theme of the thesis is to introduce fashion dSstQn.rs'
houses and fashion show spaee into th* urban fabric whsre not only the faxhon community but also the
r I)p uf p&zc pi
public or tourists. can .noy a
ir p.retnte I.h,uL f(l:
,, fr?? the au.Isty 0f the urban FIVe.
Esp.risnc of fashion shopping end th..trle.I quality of Catwalk show ir. d.riv.d 1$ p.rVorme
which I requuex various stages IO take piaci. lo the design of proposing tasIton psrformance
spec. wIthIn an sting urban fabrIc of caus.way bay. lt will become a plac. for fil. IndIvIdualIstic
xpr..sion throuqh the medium of fashion and hence to populariz. the awareness and appr.cat,on ut the
i.n.ral public lowardn the local fashion cultur.S.
LOCKHART ROAD
JAFFE ROAD
EXCELSIOR PLAZA
0].
existing massing
composing of Os & 60s old
tenement buildings and Os
podium
composite
type
building
in divid uali stic expression
diff.t.nt Indlaidual. li.re diff.,.nt ..If pr.sIon through tile medium
of
02
demolishing
part of
the
old
tenement
buildings and the internal

slabs
I partations wil.
undergo partial d.molishlng
0 3
a d d tb
i
aah5on d.aqn.r. houue
xp.rim.nral stage br doign.Cs
s tael fram. structur, for

supporting th, oid blockg
and Imposing new space.
open plaza for extension o1
tile eer,lsior plaza
.hoppong floor
rperiiw.atai stag. for ,ar.rs
.-
LII1
catqalk runway
as fashion show stage
0 4
new lines
lra,ys formed int,rnal spaces
will be articulated according
to
the
lines opposing 1h.
existing Construction grid 10

Cleat. ne spatial
wperience
r ii
-s------
s t rst s caps
as CaCuat runway far t. putlir
fashion
Type O i
show au
L;
. dlst.nc. btwe
th wOt o Ui. dilgnr
and the authenc. miph
be interprIed a
yarjationot space
r.pr.senr,ng the gap betw.,e, 1h. ,r..aninq and
Ihe actual und.rsanduig of what s r.pr..

s.nt.d TP,. ca?wal* show i, sit play an
integral role as a comrnurncatlon medium
betwern the dIgner5 and the general publlc.
ExISTING OLD ITIUCTUSI
Setting 01
I
aahlon Is changing, th.refor. th

,6ht,Ct, tv.I should alio ba
changn9 Impl.m.nfation of various
vaslc l.,n.nta within xlatlng old
afructur. can ct.al. dI(f.r.nt spatial

ip.s-inc..
salt
Type 02
'IiI'
audience
as
j1_
+
VARIATION O
PIIMARY ARCHITTCTONIC ELEMENTS
Th. aff Is always th. flr,S aud,l,ne. ehaf must

b. satisfied. lt Is U,. tend.ncy w admis. on. s
own body or d.sign and thaplay t to olh.rs, so
that u.s. oth.rs can shar in 1h. .dmiratton
shopping floor
de s i g n
s ttid o
I.I. .. dE.,I.,
4.p.y
I* p..s
budg.. . IItII
PIIIIO
II
sales person as audience
TypeO3
ma ,.l.s p.rso,i b&l.v. that u.i*rstandlng

ch.nts' sty!. is .ss.nfial (o s.lfnv clothes The
salesp.,son,fficrrtlor,notonlydnaudlencein
th. situ at 1h. shop floor bui also convey 1h.
d,s,gnrs ln1ohon to fIle cuslom.,
Setting 02
l
u nway as Circulation
slte,j wa$klfle withIn th intrnil circulation. Uly fel llk perlon'tlng Ca(walli
shopping floor
Type 04
shoppny
ornpanion as audience
Individuals ace oltn accompani.d by oth.rs

and Ib. companions will offer thaI, comm.nls.
1h. sgnshcanc. allach.d by fha cliunl fo h...
comments d.p.nds enlirely on 1h, social
relal,onship wllh the companIon.
Setting 03
Sequenceofcatwalk stage
sh.ppng fioo
Type 05
roprIet
as
audience
p.rtor
Massing carv.d ouI 10 cr.a1. voids as fashion p.rlormanc. spac., squ.nc. ol

calwaSk iIg. .nhancng 1h. ?ashon cultures
This alfenton is o,lcn(ed to a ,cn,e of the

g.n.rall,.d oth.r5 as audience. RaIhe than
a concern with only the .aluattons o! the
\\<j)/1
propriety
specific occasion
uth.nce pr.s.nt it a sp.clhc occasion. Chis is

a concern wsth the lnhnity ofpossble audience
who may s.. 1h. indii'lduCI In Ch. configur.tiOn
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cafe
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4 bookshop
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backstage
entrance foyer
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9 school office
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design studio
workShop
12. storage
11.
FI FTH FLOOR
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BASEMENT
13 fabric library
14. fashion library
15. exhibition hail
16. hkfda headoffice
17. tdc r&d office
18 conference room
19. lecture room
20. bridge connecting to
excelsior hotel
21. female toilet
22 male toilet
23. mechanicai room
w..:
THIRD FLOOR

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Title

City as fashion: urban transformation of Causeway Bay

Lo, Mun-sze, Anita.;

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

FASHION. urban transformation of causeway bay

Thesis Supervisor: Professor David Lung

LI,) I IThJI IL.'! 'J

U!L'LII! II LAI,)! L'I! I !LJI!L'II L'I LL4IJWLJ)( L'LJy

Hong Kong Trade Development Council

Bachelor of Arts in ArchitecturI StudieS

Master of Lndcpe Architecture

Department of Architecture . The University of Hong Kong

C/TV as FASHION, urban transformation of causeway bay

C/TV as FASHION urban transformation of causeway bay

Background information, site analysis and design programme

chapter Three -fm1t1I11fl.L'J

background information, site analysis and design programme

C/Pr' as FASHION ubon trans formation of causeway bay

T1fashiori iii honci kon

3.1 Fashion Industry

Into the Future

!flaualitv of lashion dslc

5.1 Fashion District in Los Angeles

C!7V as FASHION urban transformation of causeway bay

Thesis Proposal: Background Information, site analysis & design programme

7.2 Schedule of Activities

C/Pr' os FASHION urban transformation of causeway bay

CiTY as FASHION. urban transformation of causeway bay

However, Hong Kong to become a fashion capital, perhaps,

The project aims at:

providing a new type of integrated cultural, educational, commercial and entertainment

CITY as FASHION urban transformation of causeway bay

activities; fashion was something that one did.

original sense of fashion also refers to the idea of a fetish

commodities produced and consumed within capitalist

Fashion and some of its many facets, is performing a role

FASHION, COMMUNICATION AND CULTURE

Malcolm Barnard. Fastiion as Communication, London Routledge [1 996

CITY as FASHION urban transformation of causeway bay

THE FUNCTIONS OF FASHION

(3). Individualistic Expression

themselves as individuals and declare some form of

(4). Social Worth or Status

and people often make judgements concerning other

(5). Economic Worth or Status

derive pleasure from the feel of certain fabrics and

as FASHION. urban transformation of causeway bay

Thesis Proposal: Background Information, site analysis & design programme

fashion n hong kong

FASHION INDUS TRY

3.1.1 Historical Development

1932, family operated cottage mills

Japanese; all industrial activities came to a halt. After the

Second World War, the Indian Chamber of Commerce

made use of its sales network to open up the Middle

In the early 50's, many textile industrialists swarmed into

They brought in the latest machines directly

factories, which set up a strong base for the textile and

In the 60's, the clothing industry began to develop rapidly.

However, under the newly introduced quota system,

and manufactures understood that they had to move to

together on product specification, production space

equipment to produce a greater variety of higher quality

products and the Hong Kong clothing manufacturers