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institutional

institutional ISSN 1022-5609

9 771022 560001

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DESIGN

Publisher =- George Lam Administration & Business - Olivia Ko

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Layout -=Tao Li

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Editor

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SPACE is Published quarterly by PACE Publishing Limted. © 2003 All rights reserved. No part of SPACE, written or pictorial, may be reproduced or published without the prior written permission of the Publisher. ! !"#$%&'()#*+#,-.#"/*0123456789: 27/F Neich Tower, 128 Gloucester Road, Wanchai, Hong Kong. !"#$% NOU OT Tel: (852) 2897 1688 Fax: (852) 2897 2888 www.pacebase.com

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It was a challenge to give a title to this issue because of the variety of projects included. Although the projects vary in nature, they do share something in common: that they either serve the general public or are semi-public community spaces operated by the government or non-profit making organizations. These include museum, school, church, clinic, rehabilitation centre and community centre. To call it ‘Institutional SPACE’ may best suit its magnitude.

The museum projects covered in this issue bring a broad perspective. It spans from major architectural reconfiguration to specific room design, exhibition layouts, display facilities, and down to signages, lighting, display items and allocation of audio-visual systems. Besides the museum/gallery in the first section, other projects are put together according to their spatial nature for readers’ reference and comparison.

‘Institution’ in itself has certain implications for regulations or restrictions, and the nature of institutions is seemingly rigid and dry. However, you will need to get rid of the conventional impression that ‘institutions are r i g i d ’ t o c o m p re h e n d a n d a p p re c i a t e t h e e x t re m e l y c o l o u r f u l a n d delightful library, the stylish community centre, and the hospitable clinic.

You will experience the out-of-the-box designing concepts for lively public facilities. Some of those projects include complete revamps that brought forward distinct new images acknowledged by the general public.

The biggest challenge for designers has always been the breakthrough against traditional and conventional perspectives.

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The Pola Museum of Art is dedicated to an extensive personal collection of impressionist paintings, oriental ceramics and toiletry items that the owner had hand picked over the years.

The site, located in the Fuji-Hakone-Izu National Park, is surrounded by a deep forest which nurtures over 300-year-old beech trees and a plethora of tall stewartia plants. With such a magnificent natural surrounding, the primary goal of the museum design was to achieve coexistence with the environment in its unique floral ecological system. The intention was to create a building that settles into its surroundings in a timeless limit.

The museum sits on a disk-shaped foundation 74m in diameter with three levels underground resiliently supported by 16 bearing points on laminated lumber. The round footprint of the building allows ground water to flow unhindered providing a high degree of stability against earth pressure.

Floating the entire building provides a base isolated structure which not only protects people and art works from earthquakes but also provides direct access to all parts of the building. The design allows replacement of the exterior wall and other building parts that are factory-made, thus ensuring that the museum building will exist long into the future.

Upon arriving at the front door, visitors will be led across a long, narrow approach bridge extending through a thick growth of tall stewartia plants into the glass entrance hall of the museum. Once in

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the entrance hall, they are greeted with a magnificent view of Kozukayama to their left and are able to grasp the overall layout of the museum via a panoramic view downward through the atrium, extending to the second underground level.

The atrium lobby showers visitors with light that penetrates the entire height of the museum from the second floor above ground down to the second level underground, permeating the place with colours of the blue sky and the greens of the forest. The skylight, like the spine of the museum, is made of laminated surface glass supported also by laminated glass beams. It allows natural light to come in which changes the lobby’s spatial statement at every moment.

Following the line of the gentle elevation on which it sits, the building is kept to a height of 8m. With most of its volume underground, the museum appears to blend into the surrounding forest scenery.

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The Museum of Fantasy in Bernried on Starnberger See houses the entire collection of Lothar-Gunther Buchheim. This collection comprises, along with numerous important Expressionist paintings, folk objects, all kinds of curiosities and personal memorabilia. The museumâ&#x20AC;&#x2122;s setting in the beautiful Bavarian landscape, its orientation and also its intrinsic order have lent themselves to a design that stretches like a spine along which the various building elements are located. Each element has been developed freely according to its function, its own order and shape. From almost every interior space the visitor is able to view and enter the landscape. _bekfp`eI=_bekfp`e=C=m^oqkbo

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The spine begins at the entrance and ends in a pier overlooking the lake.

To the left and north of this spine are galleries for paintings and sculptures.

Works requiring darkness are set back into the hill at a lower level. To the south and right of the spine are more open areas, including the circular cafeteria, which produce a kind of “buffer effect” shielding the building core with artworks from the influences of the outdoor climate.

Compartmentalization and ‘ideal’ viewing conditions, hallmarks of a conventional museum, take second place to connections to the surroundings, low-tech flexibility, and a casual but evocative juxtaposition of ‘high’ and ‘low’ art.

Everything is part of a fluid progression, offering voyages of discovery. Views of the landscape are exploited and the building is intended to be light and unobtrusive, letting the drama of the setting speak for itself.

Shorter and longer tours can be chosen via the two-storey ‘spine’ and also via a return route through the park.

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The Shanghai Jiao Tong University has an established programme in maritime and naval engineering. It was considered appropriate to set up a museum of China maritime history within the campus. Therefore, a historical building was renovated and transformed into a museum with a permanent exhibition to commemorate the late Tung Hao-Yung (better known as CY Tung), visionary founder of OOCL who established the first international merchant fleet of Chinese origin.

The existing heritage building was a student dormitory built in 1909 with a central light well between the 2-storey wings for natural light and ventilation. It also featured a timber roof truss supported on a timber structural frame. The load-bearing masonry walls were stabilized by added reinforced concrete columns and beams to comply with current building regulations. Similarly, the original timber columns of the external balconies were replaced by precast concrete columns with timber pattern from the formwork that resemble the original material. Brick cladding was repaired and/or replaced, and mortar joints were extruded to match the original.

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While the building exterior is comprehensively restored, significant changes are brought to the interior space including a new internal staircase, new lavatories, building services, new timber flooring in dark walnut, as well as gallery spaces with built-in display cases and freestanding exhibits. A special new glass skylight was added to create a central atrium space.

This skylight, however, cannot be seen from outside. The existing balcony doors are all preserved and open to the art galleries flanking both sides.

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The renovations achieve a seamless integration of the existing building in its historical context. The newly introduced architectural elements and building services are notable for their minimal visual impact while at the same time creating new usage for the old structure.

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In addition to its primary purpose as a museum, the renovated building extends the maritime tradition of the University and serves as an important cultural centre in an institution defined profoundly by its achievements in science and technology.

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The Buffalo Bill Historical Center is widely regarded as America’s finest Western-themed museum. It is located in northwestern Wyoming on a bluff overlooking the Shoshone River, 52 miles from Yellowstone National Park’s East Gate. The Center’s goal and brief to the architects was to create a new image of itself for future generations. And because the Center embodies a comprehensive essence of the west that is unmatched anywhere in the United States, it sought to redefine its image on a monumental and heroic scale.

The Draper Museum of Natural History joins the Center’s four internationally acclaimed museums - the Whitney Gallery of Western Art, the Buffalo Bill Museum, the Plains Indian Museum, and the Cody Firearms Museum - as the final element in a comprehensive portrayal of the West.

Fentress Bradburn Architects’ design solution for the Draper Museum is responsive to the program, sympathetic to context and distinctive in expression. The new museum and each of the Center’s future phases are designed to actively contribute to the strength of Yellowstone’s tourism industry, as well as stir interest in natural history on both a local and national level.

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While the Draper Museum wing mirrors the Firearms Museum in plan and elevation, its circular form creates an embracing effect at the front door dropoff and provides a counter element to the Center’s otherwise linear massing.

The interior space is akin to a smaller version of the Solomon R. Guggenheim Museum in New York, with four quadrants that cascade vertically down from the main level to the lower level. The levels are developed in response to the Yellowstone-area natural habitat from Alpine at the top, through Forest and Meadow, to Plains at the bottom level.

Presented with a humanities touch, the museum’s interactive exhibits, state-ofthe-art displays and mood lighting create an exciting environment for people of all ages.

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The Smithsonian Institution’s Kenneth E. Behring Family Hall of Mammals is an extraordinary gallery at one of the most visited museums in the world. The gallery presents a stunning restoration of the original architecture along with thought provoking installations of unique mammal stories. To achieve the final product, hundreds of specimens, tons of steel, half an acre of glass and extensive multi-media have been choreographed around the themes that have direct meaning to the visitor. Visitors are encouraged to “meet” their mammal relatives while learning about mammal characteristics, diversity and adaptation.

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The interdisciplinary team of Reich + Petch Design International developed the design from the concept through to completion in a breathtaking 34 months. The company has been developing museums for 16 years and in that time they have developed hundreds of galleries and exhibition projects all over the globe. This new 2,200 sq m gallery at the Smithsonian Institution is the largest gallery project that the National Museum of Natural History has completed in over 90 years.

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By utilizing interactive exhibits and animating the gallery with multimedia, visual and aural special effects, Reich + Petch were able to translate scientific research, educational goals, and historic collections into a human experience. The design, therefore, focuses on the most compelling, relevant content; creating experiences that are successful within the context of the building’s restored architecture. In contrast to conventional technique for the design of detailed dioramas, which often present specimens in ‘static’ settings, the visitor encounters mammals in a dynamic environment that is engaging, lending a strong experiential quality to the space. This has assured its popularity, making it the must-see gallery at the museum on the Mall in Washington, DC.

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Located on the ground floor of the Children Discovery Gallery at the Hong Kong Heritage Museum is a foyer of about 2,000 sq ft originally enclosed by three plain walls. Edit Design & Public Art was commissioned to convert this foyer space into a mini-gallery to display kids’ artworks and accommodate small seasonal events.

The designer picked the ‘box’ as a basic functional module and made it the prominent design feature repetitively applied on the homogenous surfaces. Some boxes are used to display drawings, sculptures as well as causal objects; some are used for video screening or hiding computers; some house signage while some serve as seats or tables.

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The boxes are transformed into different sizes, orientations and disposition in order to fulfill various functions, for example, certain boxes are illuminated for showcasing sculptures. The diversity of box arrangements along the wall allows various artwork displays.

These boxes become an efficient system for display but at the same t i m e t h e y p o s s e s s i n h e re n t aesthetic quality. When there is no exhibition, the unique composition of boxes in itself can be a ‘display’. In other words, it is a wall for display and it is also a display in itself.

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Interstoff, the largest textile show in the world, invited James Law to create a revolutionary gallery to exhibit the works of leading textile designers. By developing an innovative concept of sculpting space with textiles, James proceeded to create a labyrinth of tunnels and galleries using exoskeleton of fabric walls and space structures to bring the visitors into a world of fabrics.

The soul of the design is centred around a series of core spaces in the venue. An exo-skeleton composed of

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a complex steel matrix is morphed into the available space within the site. The exo-skeleton, cladded with tensioned Lycra material, forms a sexy filigree almost akin to tight stockings on women’s beautiful legs.

entire passage, casting two million colour combinations onto the skin of the tunnel. When more people travel through, the lighting pulses and changes. In effect, it becomes a fabric Cybertecture space that detects visitors moving through, making changes in its lighting, rhythm, and spatial behaviour.

After passing through the tunnel, visitors enter into a spacious gallery hall where numerous fabric silos that resemble the missile silos on a nuclear plant or the large wine vats of a vinery are placed. These silos give accents to the space, and contrast to the linearity of the tunnel.

Visitors are encouraged to journey around these silos to explore their content.

The journey begins with a tunnellike space made of this exoskeleton. An infra detector is installed every five metres to track the number of visitors in the tunnel. Various signals are then sent to a computer programmed to monitor the patterns of a series of LED lights installed along the

Actually each silo is a home to a textile designer. It is a studio where the designer presents his own world of works. The silos are again designed to be generic. Framed with steel and covered with fabric, they allow some degree of transparency and an air of mystery.

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At the back of the gallery is a ‘House’ (house in the house) - a digital gallery of works posted on the internet by thousands of textile designers around the world. The house is designed in an orthogonal manner with a diagonal fabric wall dividing it into two triangles. The front triangular space is the digital gallery with holographic projections, and the back is a gallery for design students to show their talents. The diagonal wall is an interesting spatial divider in which only until you reach the end of the diagonal wall can you enter into the next space; however, you can see people at the next triangle at all times.

It is James’ intention to break the stereotype of a conventional gallery.

Here, the visitor is enveloped in a dark space illuminated by LED lighting that forms the objects of architecture. The nature of the artistic objects extend from physical to digital, and the house allows its little world to be taped beyond the physical constraints of the location.

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Harvelt Kindergarten of Shanghai is a bilingual school. Its western outlook brings out the characteristics of an international school. With a specially designed school badge which resembles the royal nobility of United Kingdoms, the designer positioned the kindergarten as a noble institute of Great Britain.

The kindergarten is a place for young kids, so the design has to cater for their needs from both physiological and psychological standpoints.

The size of furniture and display items are of significant importance.

The facilities of the bathrooms, for example, have to accommodate the body height of young children, making it necessary for a separate adult bathroom apart from student bathrooms. Children are all fond of bright colours. The designer has therefore boldly employed delightful patches on the wall creating a colourful campus for the kindergarten.

On the other hand, while the irregular patterns crafted on the door have added visibility to the school, the lovely cartoons on the glass doors make the institute a lively place to be in.

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The operation of Harvelt is in line with other established inter national kindergartens. The facilities of the school have to match international standards which make it different from regular kindergartens of the norm. One of the typical examples is the rows of lockers on the hallway for students to keep their clothes and shoes. There are also cabinets in the classrooms for students to keep the boxes that store their toys. This helps young kids develop good habits of taking care of their own personal items. All in all, the provisions of the school help facilitate the educational objectives of the institute.

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With high accessibility to internet and availability of multi-media resources, learning has become open, flexible, and interactive in Learning Resource Centre. Students are encouraged to engage in research, discussion, self-learning and team-learning in a wellfacilitated environment that combines teaching, learning and technology together. The establishment for a flexible learning centre becomes the trend among schools, especially tertiary institutions like The Hong Kong Institute of Vocational Education (IVE).

This project aims at building a prototype for a flexible learning centre for all IVEs. This Learning Resource Centre in Morrison Hill campus is the debut of the scheme.

The original library and canteen located on the fifth and sixth floor of the main building were converted into a centre occupying 30,000 sq ft.

The designer first opened up the floor slab to add a staircase linking up the two floors, fostering a sense of wholeness. There are Independent Learning Centre, Education Technology Unit and library

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on the upper floor, providing rooms for self and group learning, presentation and group discussion with facilities like AV system, IT infrastructure with software and learning kits. Library collections are stored and displayed mainly on the lower floor.

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The design criteria are user-friendly, fresh, bright, low-cost and easy-to-manage by limited resources. Firstly, neutral colours like beige and wooden tone are employed. With indirect lighting, a soft and comfortable environment is created. In some areas, bright colour patches are applied as accents to create a subtly stimulating environment. Secondly, different colours are used to represent different functions of the space; such as green for sourcing/reading area, and orange for activity area. The fully open ceiling maximizes the space visually avoiding the feeling of a trapped traditional classroom. Last but not least, the designer has properly laid out the routing and centralized management staff in the core area on the sixth floor to enhance efficiency of the working team and save cost.

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The College of Higher Vocational Studies, Telford Annex is an adjunct campus for the City University of Hong Kong. Converted from a secondary school through extensive renovation, the site consists of academic blocks range from two to six storeys, with an internal floor space of approximately 5,000 sq m and external covered area of 3,000 sq m.

The covered plaza is comprehensively redesigned to encourage students to meet informally and exchange ideas. It is now an open area for seating, studying and relaxing. In addition, there is a reception kiosk where course information is available.

The original complex has two large floor areas at ground level and four levels for classrooms above, in between is a covered outdoor podium.

The architect has assigned the two lower floor levels to functions that require easy public access, which include administrative and teacher offices, meeting rooms and visitors offices, a student union, library, computer labs, a large lecture theatre (200 seats) and a student hall (300 - 400 seats).

The building exterior is also re n o v a t e d e x t e n s i v e l y w i t h textured paint finishes and brand new windows. Metal sunshades are added while building services are upgraded to provide better air-conditioning, lighting and fire services.

The upper levels are occupied by teaching spaces such as small lecture rooms (135 seats), standard classrooms and tutorial rooms, as well as a language lab and a digital/video design studio.

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The British Council education and research facilities in Hong Kong are a 7,850-sq-ft project by international interior architect M Moser Associates in which design and technology were combined to expand space.

An existing floor of the architecturally distinctive British Council building was transformed into a multi-purpose platform for offices, exhibitions, training, education, collaborative meetings, social events, professional gatherings and a library collection.

Rationalizing the total area was the key challenge. Simply, there were many activities that required accommodation and limited area to do so. The functional requirements demanded a flexible design solution comprised of simple, spontaneous space and mobile elements - space that could be utilized during the day or in the evening for radically different purposes. This defining condition influenced the planning in direct ways, such as strategic placement of data and power outlets, resilience of materials and finishes, a modular lighting scheme, state-of-the-art computer and networking equipment and versatile furniture selection.

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Mobile items such as bookshelves, display cases, and organically shaped furniture sets can be variously grouped, dispersed and rearranged within a free zone. The result is a dynamic, adaptable open space designed for a range of business, cultural and educational functions that seizes full advantage of its internal limits and external influences. The space enables the British Council to accommodate clients, students and visiting performers who seek to explore and exchange ideas in a distinctly British environment that warms quite well to its local context.

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With 4-metres high ceilings and unrivalled views of the city, the facility is an oasis within the bustle of Hong Kong’s dense urban environment.

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The Life Style Library is part of a school library located on the first floor of a six-storey block. In designing this project, the designers redefined the library as being not only an information container, but also a vessel of knowledge comprising of printed text, interactive media and interpersonal contact.

The library features five main design elements: the reading streets, media corridor, music box, magazine playground and internet cafe. Each individual component is like an alphabet leading to the next deliberated text.

The original bookshelves which were so packed and undesirable that they were re-configured into three types of modules: the book niches for regular books, suspended display boxes for new arrivals, and long timber benches. With rows of these new bookshelves installed, various paths are formed - the reading streets where lounging and sitting are encouraged.

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The audio-visual library is designed as a media corridor, and a surreal theatre. By interplaying the solid and punctuated wall planes, the v i e w e r s i n t h e AV l i b r a r y unwittingly become actors participating in a theatrical performance.

The music box is a partlyshielded and partly-welcoming ‘black container’ (a room displaying CD), broadcasting music that acts as a catalyst, enriching the environment where people can enjoy reading.

The magazine reading zone, which is decorated like a playground where ‘free form’ fur niture is casually placed, allows people to sit and relax in reading magazines and newspapers.

With online internet computers located at the rear of the library, the internet cafe is intended to serve as both the beginning and final visit of the entire library - a place where visitors are likely to meet, chat, or search for books.

Through re-engineering these five components, the most interesting programmes within the library are condensed to create a socialized space where books are kept on the upper floors. Such a space encourages interactions through the various programmes in the library.

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Mural Design All individuals, no matter what age group they are in, are immensely attracted by ‘HUNG’ - the colourful patches of rainbow displayed in the Children’s Library inside the Fanling Public Library. This 42m x 3m wall display is the winning entry of the Public Art Scheme Open Competition.

The former library design has room for improved functionality and pragmatism. The intent of the wall refurbishment is to breakthrough the monotonous and institutional setting. Knowing that a mere decoration can only bring short-term stimulus, the designers have

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The artistic impact of â&#x20AC;&#x2DC;HUNGâ&#x20AC;&#x2122; stimulated by its choice of colour, layout, and imagery has made it a gigantic masterpiece of art.

Its functionality and practicality deems it a piece of huge furniture.

The designersâ&#x20AC;&#x2122; co-ordination between architectural and spatial concept has created a crafty art of its own. Its response to practicality and cultivation of spatial atmosphere makes it a vital part of the interior design.

decided to utilize the walls on all sides for a spatial design that caters for permanent functionality and long lasting comfort. In other words, the concept is for a 3-dimensional spatial design on 2-dimensional walls.

The ideal environment for children besides being colourfully delightful, should also be able to stimulate their creativity and imagination. A series of spontaneous reading spaces are generated by layers and layers of waved features (rainbow pads) which can be extended or contracted to create artistic images. Its proportion, measurements and materials also provide clues for children to interpret its functionality - seats, benches, steps and shelves for sitting, lying, hiding or climbing. The designers have provided opportunities for children to expand their imagination, and let them create a reading world of their own.

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Corridor Leading to the Extension Activities Room Upon completion of ‘HUNG’, the designers were invited to work on improvement of the corridor leading to the Extension Activities Room.

The 30-metre-long corridor separates the Extension Activities Room from other library facilities. The location is too remote to be found, thus disabling updated programs to reach their potential candidates.

In view of this shortcoming, the designers tried to transform the corridor into an information booth for regular events and special programs and made it part of the Extension Activities Room.

MDF is used as the major material for the new concept. The designers first placed the sign for ‘Extension Activities Room’ at the beginning of the corridor, then wooden blocks are placed vertically or horizontally along the wall leading to No. 1 Activities Room at the end of the walkway.

Some of the wooden blocks in the middle feature unique patterns that co-ordinate with the Children’s Library across the hall, while some are used as bulletins for posters, timetables and program information.

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The British Council Malaysia is located in the lowest three floors of a 20storey block close to Kuala Lumpur’s twin towers in the central business district. Regarded by the Council as key forum for its work and ideas, a number of striking new features are introduced, including the unification of staff from different workstreams in open plan workspaces; the integration, within one area, of the English Teaching Centre with the delivery of other Council services in the arts, governance, science, and education; a Knowledge and Learning Centre which provides a broad spectrum of services ranging from lending and online libraries to university placement advice, UK tourist information, internet access and video conferencing facilities.

The double height entrance provides space for the reception and enquiry area, with seats for those wishing to enjoy magazines and newspapers.

Above, neon lighting slowly changes the colour of the back-lit, stretch fabric ceiling. Circulation between floors is facilitated by a giant new steel helical stair, assembled in Sussex and shipped all the way to Malaysia.

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Public spaces are arranged at ground level and include a lending library, digital interactive zones, a children’s area, education and research space, a videoconferencing facility, a classroom of the future, a computer self-access centre, and a cafe. The first floor mezzanine has been extended to accommodate 100 workstations. The second floor houses the Council’s teaching centre. Classrooms are arranged around the perimeter of the floorplate to maximise the penetration of daylight. A sense of spaciousness has been introduced by setting all the classrooms behind glass partitions.

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The palette of materials was selected to radiate space and light and to act as a backdrop for the brightly coloured furniture, the coloured lighting and, above all, to emphasise the human protagonists. Tom Craig-Cameron, the Director of British Council Malaysia, says: “The whole place looks open, bright, lively, fun and friendly.”

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This project is the result of alterations and additions made to the original building built in the early 1970s. The old structure was portrayed with the popular ‘pseudo’ high tech imagery of that time which now appeared outdated both in terms of the architectural language as well as spatial provisions.

The building is characterised by a bulbous roof dotted with circular windows and corridors lined with nautical railings. Corners are smoothened into curves and modern materials like sheet metal are used to give a futuristic impression. A rigorous symmetry is presented by an imposingly protruding front framed by two identical wings staggering down to each side, thus defining the ‘civic’ place in its boundaries and giving it an authoritative monumentality.

The fundamental intervention is the introduction of a ‘forum’ space across the front of the original building, projecting a new elevation along the main road. A sheltered edge is now presented to the community instead of a flat facade. h^jmlkd=hbj_^kd^k=`ljjrkfqv=`ir_

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In a stroke, the classical symmetry and its old-fashioned architectural statement is obscured and rewritten by an immense shed raised upon tall slender poles. The building is then conceived as a structure composed of a solid and a void.

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The solid section houses a multipurpose hall raised to the third level above the forum space, while the void is lined with thin perforated metal mesh that resembles a delightful diaphanous curtain hanging from the roof.

The main effect of the shed is to totally dissolve the architectural elements into a series of amorphous spaces the ground level no longer has a front or back, it opens up to connect to its external surroundings. Large weddings and festival banquets can now take place under this 4-storey

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shed. Lion dancing rehearsals can be held along the edge between the open court and the shade, while indoor exhibitions can be accommodated in the more enclosed hall of the original building.

Yet, none of these programmes are set in stone - the modulation of space is rich in suggestions.

In addition, corridors are widened and walls realigned to open up visual connections and improve circulation.

The linkage to the public housing estates through the back is also made more generous and visually transparent. The opening of these spaces brings about improved light and ventilation which enhances the spatial porosity between the centre and its surroundings.

To inscribe a ‘social element’ in architecture requires an immense act

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of sensitivity and confidence. Such architecture should be given to the future, to participation, to living - to the community in the making. But too often attempts to design for a community turns into designing a community. In this case, a humble yet radical addition to the original building has given the centre an entire facelift, emphasizing on the community rather than celebrating itself. Kampong Kembangan Community Club is an interesting example of what a well designed architecture can offer to the community.

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The HYWCA Jockey Club Tuen Mun Integrated Social Service Centre is located on the ground floor of an old square-shaped public housing characterised by a common light well at the centre. However, fearing of objects falling from above, the courtyard is seldom used in general.

The present site has been used as a social service centre for almost 20 years. Without any major renovation since its opening decades ago, a major facelift to match its suitability to the present world is critical for the centre.

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With the majority of visitors being youngsters, durability, low maintenance and freshness must be taken into account in the design. The centre can be considered as a space composed of six layers. Each layer was studied individually in terms of its nature, roles and areas for improvement. They were designed in the same direction to bring about a collaborated new space.

Layer 1 - External Walls Since the centre is located on the ground floor and exposed to all four sides, substantial heat gain increased the room temperature. The external walls were completely demolished and replaced with a new facade that incorporates large aluminium sliding windows to maximize natural light. An adjustable aluminium louver system is installed to control the amount of light and air that comes into the centre. The louver system, which was custom-designed and fabricated specifically for this project, also serves as a security measure to prevent vandalism. The louvers can be adjusted from a totally closed position to a horizontal position to enhance natural cross ventilation. The fins not only block direct sunlight as a sunshade but also at a horizontal position, they reflect the sunlight to the ceiling to induce a gently lit interior. piel=C=^ppl`f^qbp=iqa

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Layer 2 - Activity Space Each activity space is designed to cater for its unique functions. The multi-purpose activity rooms and drop in rooms are finished with plastic laminate for high durability. In areas like offices and library where extra storage is required, a raised steel platform is erected. With the space under the platform mainly for storage, the upper level accommodates workspace in the office and stack of bookshelves for the library. Additional storage space is created by the introduction of integrated storage/ lighting strips, which are suspended from the ceiling.

A corridor finished in fair face concrete on one side and stainless steel panels on the other connects to the three theme rooms - Peace, Cube and Spiritual. The Peace room is laid with tatami and filled with tranquility.

The Cube is covered with rubber tiles.

With light tones varying from hot red to cool blue, seven different auras can be created. The light emitted from this room through the tempered glass strips on the door acts as a tone setter for the essentially neutral-decor corridor. The Spiritual room with an illuminated crucifix on the end wall is designed as an interview room to accommodate both formal and informal meetings. It can also be transformed into a meditation room where visibility can be veiled for privacy.

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Layer 3 - Partition Walls The partition walls separating the rooms from the corridors were dismantled. A new set of cabinets fitted with translucent twin wall polycarbonate panels are installed. This allows more natural light to filter into the corridor and increases the level of openness for better surveillance.

Layer 4 - Circulation Corridor Lights installed above the grid ceiling and those diffused through the partition walls from the rooms are the main illumination for the single loaded corridor which links up all the spaces in the centre.

Layer 5 - Courtyard walls The glass wall is framed by matt black window frames in a scale that people can lean on casually for conversation. Only the top vent is operable to allow air exchange.

Layer 6 - Internal courtyard The framed glazed wall outlines the movement and activities carried out in the centre. The activities, the people passing by, the light that changes according to the time of the day, all contribute to an ever-changing, kaleidoscopic facade for the internal courtyard.

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The centre, which is located on the podium level, sits between two residential towers in Shatin. It is in a district of high population density. The centre has been serving the community for over a decade. Since the original rigid layout did not offer much flexibility and had been in the state of dilapidation due to high level of usage, it called for a major facelift to satisfy current demands, attract new members, and provide room for an ever expanding quest for services and activities.

The fixed partitioning limited the type of activities to be carried out in the centre. In order to enhance its flexibility, all areas except those that are essentially unchangeable, (like the back office, library, washrooms, special purpose playroom) are demarcated by movable panels, allowing free configuration within the premise.

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The three activity rooms each seats 14 people, are separated by sliding partitions. When all partitions are retracted, an elongated room is formed. The “info-egg”, enclosed by a curved glazed wall, is the centrepiece of the place. It can also be opened up completely to give an unhindered space of 300 sq m for big events.

The existing ceiling is only 2.8m in height and the effective clear height in parts are as low as 2.2m due to the structural beams and fire fighting sprinklers, posing a hectic environment. The plan is in a squared form, when all partitions are locked in position to separate individual rooms, the central area lacks natural light. Accordingly, a ceiling with evenly placed inverse pockets is newly built providing space for the installation of soft and indirect lighting.

Externally, to distinguish the centre from the residential environment and yet not to alienate itself from the surrounding, hairline stainless steel panels are used in conjunction with large windowpanes. Natural plantations are placed in front of the windows to add a further layer of depth while creating a more pleasant vista.

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The predominant member group and visitors to this place are teenagers who spend their free time socializing with friends, participating in activities, or s e e k i n g a d v i c e f ro m s o c i a l workers. Whatever the reasons, the designer wants to create an atmosphere unlike the world outside, a place where possibilities can be explored.

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Hong Chi Fanling Integrative Rehabilitation Complex

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The ex-Fanling Hospital was vacated for the conversion to the Rehabilitation Complex for people with mental handicap. The exhospital premise consisted of a 5-storey High Block of 1,800 sq m, a 3-storey Low Block of 1,900 sq m, two 2-storey Staff Quarters each of 150 sq m, and a 1-storey Pharmacy of 140 sq m.

The design of this conversion project is to provide a cheerful environment for the experience of ‘Love & Care’ among the three major user groups - ‘The Three’: the rehabilitants, their families and the staff.

The core ideas are to create a ‘Village’ with community spirit, to draw in nature, to display artworks by the rehabilitants, to stimulate senses of rehabilitants; and to create a home for them to live, play, and learn.

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A ‘Village’ with Community Spirit The Complex is an abstraction of its physical characteristics, the form and space of a ‘Village’. The communal space of a village which comprises of streets and plazas linked by buildings and landmarks is minimized as common areas along corridors on each level connected to different functional rooms. A plaza is formed in front of the Community Centre, which is the landmark of the ‘Village’. All these communal spaces created throughout the campus encourage social interactions among its users.

Drawing in Nature The site enjoys a good natural environment with lots of trees and greenery. Thus, the design emphasizes the integration of indoor activities with the outdoor; and mixing of the space inside with the natural environment outside. In order to avoid sense of containment, large glazing windows are used to allow ample natural daylight to permeate into the interiors while views of the surrounding greenery can be enjoyed at the same time. In addition, lots of landscaping elements are placed around the building blocks forming a green path along which ‘The Three’ can experience nature.

Display Artworks by the Rehabilitants Art is a powerful means of communication. Artworks by the rehabilitants in the form of wall paintings are displayed at dominant locations throughout the Complex to form some prominent and unique features.

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Stimulating the Senses The Sensory Garden is the major landscape feature of the Complex.

Designed to stimulate the five senses of the rehabilitants and characterized with different sensory equipment. This Garden becomes an educational, interactive and playing venue for the rehabilitants.

Use of colours is one of the major design considerations. Besides the visual stimulation they produce, colours also arouse different atmospheres in various areas of the campus. One colour theme is assigned to each floor. Together with the symbols and graphics specially designed for easy recognition for users, the different colour themes help the rehabilitants to orientate themselves. These symbols and graphics also serve as educational guiding tools for the rehabilitants to enhance their self-mobility within the Complex.

Home Sweet Home The Hostels are designed as the Home for the rehabilitants, rather than clinical or institutional accommodations. The layout of the rooms, design of space for individuals, and selection of materials, colours, textures and lighting are all aimed at creating a warm and homely atmosphere for the rehabilitants to live in.

All in all, ‘Sharing’, ‘Nature’, ‘Art’, ‘Sensation’ and ‘Home’ are the spirits of the Complex.

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The Private Suite, Singapore

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The Private Suite is an obstetrician and gynaecological clinic at KK Womenâ&#x20AC;&#x2122;s and Childrenâ&#x20AC;&#x2122;s Hospital, Singapore. It is a clinic that primarily serves women.

It is intended to create an environment that every visitor would feel comfortable. All too often, a visit to the doctor is not a pleasant experience as the sterilized and cold environment discourages any interaction and makes it a dreaded trip. The design, therefore, has taken into account of what suits the users (especially women) in terms of ambience, privacy, quality of environment, senses of comfort and convenience.

Firstly, instead of banal tones of pastel blues and baby pink, a warm palette is applied through the use of table lamps and materials like cotton, corduroy, wood and soft leather that are delicate in texture. It creates the effect that when a woman waits for her turn to consult a doctor, she is embraced by warm undertones that make her feel assured. Even the consultant rooms are lit with warm ambience.

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The reception area is an open space without any nooks so the staff can see and greet patients directly as they enter the clinic. It is a welcoming space that makes people feel light-hearted and secure. Moreover, it allows patients to provide their medical history to the nurses away from curious eyes and ears.

In the waiting area, Thai cotton screens with soft patterns are used to segment intimate spaces and enable daylight to penetrate. Sofas with firm backing and comfortable cushions are desirable for pregnant women.

Cozy settings and seating arrangements allow visitors to sit alone, or talk to each other. In addition, silk curtains are used in the examination area.

The curtains match the mild finishing and help project a homey feeling that is uncharacteristic of a hospital setting.

The Private Suite is a departure from the standard norm, which is so prevalent in most hospital settings. But with proper planning and functional clinic setting, the Suite meets the needs of doctors and medical staff. This project proves that it is indeed possible to put human introspection into the environment. ‘We catered to the basics of providing good health care, and what’s more, we have designed for the human spirit. Equanimity, health and introspection, they all have found their place here.’ said the designer.

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The Guangdong Hospital of Traditional Chinese Medicine is an â&#x20AC;&#x2DC;Aâ&#x20AC;&#x2122; grade, third level medical centre located in the busy city heart of Guangzhou.

The medical complex is expanded on its original site with the facility continued to be open to the public.

It is comprised of outpatient section, patient wards, and operating theatres. The interior design focuses on customer friendly layouts by using open and low counters for registration, cashier and pharmacy where patient contacts take place. The common utilities for hospitals are placed in the overhead cabinet above the headboard, making the wards as tidy as a residential home. With the use of translucent glass, light toned stone and face bricks which are decorated with sandstone reliefs, black walnut finishes and artistic glassware, the simplicity brings out an air of traditional Chinese classics.

The design for the outpatient section is based on one consultation room per medical practitioner. The waiting area is centralized in the entrance

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halls of specialized divisions. With a minimized hallway, only two chairs are placed outside the consultation rooms for the next patient in line.

This has greatly improved the environment by avoiding the hustle and bustle of packed outpatients waiting for medical consultation.

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The ground level of the complex is vacated for a podium garden.

Together with roof and terrace gardens, atrium with greenery injected, the designer has created more recreational space for both practitioners and patients to relax during their leisure time.

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Through the simultaneous designs for architectural construction, outdoor leisure components, and interior design, the building and its decor are well matched and coordinated. The medical centre is not only a complex which satisfies its functionality, but is also contemporary and pleasing in appearance.

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Cyberport, a multi-function project, is located on a 24-hectare site along Telegraph Bay on Hong Kong Island. It is jointly developed by the government and Pacific Century CyberWorks Ltd (PCCW). The project includes three intelligent office towers, a retail mall, a 176-room hotel, and residential towers. Being an information infrastructure development intended to attract IT companies and professionals to Hong Kong, office towers are equipped with the latest IT/IS facilities along with work out facilities like spa and fitness, educational and entertainment amenities.

The heart of the Cyberport office lifestyle is the IT Street, an interior concourse at podium level that replicates an urban environment linking the cores of the three office towers.

IT Street is more than a shared lobby space for tenants; it provides IT/ IS companies with equal access to a variety of shared facilities, services and social gathering spaces that support the demands for a 24-hour IT workday. Along the zigzagging ‘street’ are multimedia lab, production studios, an IT court and gallery, exhibition hall, teleconferencing suites, presentation theatres, and a business centre. Co-located with these shared facilities are lounges, cafes and common areas where workers can relax, eat and socialize with one another.

The shared facilities can be found in the ‘pavilions’ of the street.

‘Pavilions’ for various functions can be found in different materials and colours. For example, the relatively private conference rooms are made of metal panels while the meeting rooms that requires lower privacy are made of a translucent coloured laminated glass. As the entire street is 500m long and in such a zigzagging corridor that people might, while experiencing its compactness, easily lose their way. For this reason, the street is divided into sections demarcated by the seven

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rainbow colours and six lift cores enabling the user to easily locate where he is.

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The IT shared facilities serve one of the three purposes: to assist in the production of web-based services or products, to provide a forum for exhibition of new products and technologies, and to allow access to Cyberport’s vast data bank.

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Above all, the iResource Centre located on the IT Street is a business and technology information research facility providing mainly digital information. There is also provision for storage and display of some reference materials including books, journals, periodicals and compact discs in the reference counter.

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All these accesses to state-of-the-art facilities make Cyberport an extremely attractive destination for IT/IS companies.

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Due to the increase in the number of worshippers, the Wanchai Baptist Church acquired vacant areas for expansion. The Church now occupies four floors of different sizes in a 36-year-old hybrid architecture with residential units on the upper floors and commercial space on the lower levels.

The new design for the Church is geared towards meeting the challenges of creating a harmonized religious establishment in the midst of a chaotic environment. The design attempts to reach out and keep a close connection with the local people while procuring a calm and peaceful sanctuary environment for the ‘House of God’.

‘Light’ is the dominating symbolic and religious element throughout the whole designing scheme. Through the use of natural and artificial lighting; direct, reflected and diffused lights, people’s hearts and spirits are lifted. ‘Light’ is also experienced through a variety of materials with different levels of transparency and translucency. For instance, the stained glass in the Church Hall projects a sense of religious spirit; the integration of translucent and clear glass creates prominent light patterns and symbols; the perforated metal panels at the entrance facade respond differently to the lighting at various times of a day, changing from opaque to translucent.

Lighting effects are enhanced by careful positioning and orientation of light sources and selection of colour temperatures. The abstract art paintings are made visible by the contrast of translucent and clear glass against a lit background. Specially designed light fittings which symbolize an abstract crucifix help project a spiritual ambience.

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‘Light’ is also experienced through the existence of shadows. The abstract religious symbols and graphics are made to stand out when light casts shadows, and shadows entail variations.

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Integration of art and architecture in the design of the Church is achieved through a smart interpretation of religious arts. There is no exaggerated ornament. Instead, lots of abstract and symbolic artworks are presented in a subtle manner. The artworks are displayed on walls, windows, ceilings, furniture, doors and gates with different detailing.

Wall panels are crafted with abstract religious symbols like the fish, cross, chalice and pigeon. There are also graphics highlighting important religious events like the Last Supper. All the graphics and artworks are extracted from the Bible and presented in a simple and abstract; yet direct and clear manner.

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A feature staircase is erected to link up all the floors. It is highly transparent and featured with religious graphics in a designated sequence delivering the message of salvation through the death of Jesus Christ. The staircase not only provides means for internal traffic, but is also a symbol of union between different elements within the Church.

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a=b=p=f=d=k=b=o p m=o=l=c=f=i=b Name Projects Awards

Contact

Arquitectonica Festival Walk, Kowloon Tong, Hong Kong AmericanAirlines Arena, Miami, Florida, USA Dijon Performing Arts Center, Dijon, France The Westin New York at Times Square, New York, NY, USA AIA Award of Excellence (Cyberport) Gold Bienal Award (Cyberport)

clee@arqhk.com

Axiom Oval Partnership Ltd www.axiomoval.com / kelvin@axionmoval.com

Behnisch, Behnisch & Partner Genzyme Center, Cambridge, MA, USA Norddeutsche Landesbank, Hannover, Germany Institute for Forestry and Nature Research, Wageningen, The Netherlands Landesgirokasse bank building “Am Bollwerk”, Stuttgart, Germany Technology Building for the University of Ilmenau, Ilmenau, Germany RIBA Award for Architecture (Landesgirokasse “Am Bollwerk”) Du Pont Benedictus Awards Honorable Mention (Norddeutsche Landesbank) Trophee Sommet de a Terre et Batiment Paris (Institute for Forestry and Nature Research) BDA-Preis Bayern (Museum of Fantasy), AIA Cote Top Ten (Genzyme Center)

www.Behnisch.com

Edit Design & Public Art HUNG, Interior at Children Library, Fanling Public Library SHAN.SHI, Sculpture at Yuen Long Theatre Winner (Fanling Public Library), Public Art Scheme Open Competition 2002 Winner (Yuen Long Theatre), Public Art Scheme Open Competition 2002

contact@editdesign.net

209

Eric Design Architect Ltd Hong Chi Fanling Integrative Rehabilitation Complex, Fanling, Hong Kong.

Hong Chi Fu Shin Centre, Tai Po, Hong Kong.

‘TECA’ Restaurant at Happy Valley, Hong Kong Abundant Life Christian Church at Hunghom, Hong Kong.

Alliance Joyful Peace Kindergarten / Church at Ma On Shan, Hong Kong CSD Hong Kong Design Award 1997 (By The Chartered Society of Designers)

www.edarch.com.hk / info@edarch.com.hk

Fentress Bradburn Architects Ltd National Museum of Wildlife Art, USA; National Cowboy and Western Heritage Center, USA; National Museum of the Marine Corps, USA; Incheon International Airport, South Korea; Denver International Airport Passenger Terminal Complex, USA First Place, National Design Competition, 1992 for NATIONAL COWBOY AND WESTERN HERITAGE MUSEUM First Place, National Design Competition, 1991 for NATIONAL MUSEUM OF WILDLIFE ART First Place, National Design Competition, 2001 for NATIONAL MUSEUM OF THE MARINE CORPS Historic Restoration Merit Award, United States Institute for Theatre Technology, 1998; National Preservation Award of Honor, National Trust for Historic Preservation, 1997 for PEERY’S EGYPTIAN THEATER

www.fentressbradburn.com / studio@fentressbradburn.com

Hugh Broughton Architects Congress House refurbishment for the Trades Union Congress, London Blair Castle Visitor Facilities, Scotland Scottish National Gallery of Modern Art, Scotland British Council Madrid, Spain Barristers’ Office Building, London Award for Architecture 2000 Award for Architecture 2001 Civic Trust Award 2001 Civic Trust Award 2002 Young Architectural Practice of the Year 2002 (Finalist)

www.hbarchitects.co.uk / hugh@hbarchitects.co.uk

James Law Cybertecture International TVB TV-City Television Complex, Hong Kong Dickson Cyber Express Cyber Shopping Mall, Hong Kong China Telecom Cybertecture Museum, China PCCW Cybertecture Multimedia Shop Chain, Hong Kong Palace IFC Cinema, Hong Kong Royal Institute of British Architects, International Designer Award

www.jameslawcybertecture.com / James_law@jameslawcybertecture.com

210

Joey Ho & Ambrose K C Lim Joey Ho from Point Architects Ltd, Hong Kong joey@pointarchitects.com.hk Ambrose K C Lim from Brosniq Design, Singapore mbrose@singnet.com.sg

LOOK Architects SIA Architectural Design Award 2003 - House at Seletar Hills Drive - Honorable Mention Grand Egyptian Museum International Competition - Distinctive Entry The ARCASIA Awards for Architecture 2001-2002 - Honorable Mention BCA Construction 21 Best Practice Awards 2001 - Award Winner SIA Architectural Design Award 2001 - Gemmill Lane Mix Development - Award Winner

lookbg@lookarchitects.com.sg

M Moser Associates Consulate General of Switzerland (Hong Kong), 2003 Embassy of Iceland (Beijing), 2003 American Chamber of Commerce (Singapore), 2003 Universitas 21 Global (Singapore), 2003 Consulate General of The Federal Republic of Germany (Shanghai), 2002 Honor Award for Interiors (2003) - American Institute of Architects (HK Chapter) Merit Award for Interiors (2003) - American Institute of Architects (HK Chapter) Honorable Mention - Corporate Offices (2003) - Asia Pacific Interior Design Awards Finalist - Best Small Office (2003) - FX International Interior Design Awards

www.mmoser.com

211

Nelson Chen Architects Ltd University of Hong Kong Art Gallery (1996) Fairview Park Alliance Church (2001) Tao Fong Shan Christian Centre (2001) C Y Tung Maritime Museum (2003) General Elecric Global Research Centre (2003) AIA Chapter Architecture Firm Award (1999) HK Artists Guild Architect of the Year Award (1999) AIA Chapter and Regional Awards - 13 nos. (1998-2003) HKIA Award for Work Outside Hong Kong (2003) HKIA President’s Prize (2003)

www.nca.com.hk / architects@nca.com.hk

Reich + Petch Design International Hong Kong Heritage Museum (Hong Kong - Shatin) Saudi Arabian National Museum (Riyadh, KSA) Ondaatje South Asian Gallery (Toronto, Canada) Artworks At the Lowry (Manchester, UK) Art Gallery of Windsor (Windsor, Canada) Neenah Paper Award, 2003 for Smithsonian Institution Mammal Gallery, Washington DC Volkswagen Canada Design Award, 2001 & Eddi Design Award, 2001 for Ondaatje South Asian Gallery, Toronto, Canada Ontario Association Architects Institutional Buildings Award, 2002 for Art Gallery of Windsor (Windsor, Canada)

www.reich-petch.com / petri@reich-petch.com / li@reich-petch.com

SLHO & Associates Ltd Manhattan Heights, Kennedy Town Composite Building, 2C San Lau Street Show Flat - Tower 1, 49F, The Orchards Dr. Wong’s Clinic, Central St. James’ Settlement Chai Wan ICYSC (in progress) Honourable Mention, Design Competition for Office Accommodation/ Vehicle Examination Facilities at Kwai Shing Vehicle Examination Centre, The Hong Kong Institute of Architects

www.slho.com.hk / slho@slho.com.hk

Toh Yiu Kwong Architects tyk_architects@pacific.net.sg

212

fkabu

Company Alex Choi Design Ltd Architectural Services Department Arquitectonica Atelier Kempe Thill UN Studio Contemporary Design House Daniel Libeskind Design Consultants Ltd HEC Architects & Development Ingerosec Corporation & South-China Polytechnic University James Law Cybertecture Kammerer + Belz, Kuche und Partner, Stuttgart Leigh & Orange Ltd Leo A Daly Michael Maltzan & Robertson & Partners OBS Architects & Intergaup Paul Andreu Architect Paul Andreu, ADP Ingenierie - Guangzhou Design Institute Peter T F Poon & Associates Ltd Rafael Moneo & Leo A Daly Steven Holl Architects & Juhani Pallasmaa Architects Team Deco International Ltd The Hong Kong Interior Design Association The Oval Partnership Ltd Wong Wah Sang Architect All Arts Limited Wong Wah Sang Architect All Arts Limited Zaha Hadid Architects Integer

The index provides readers with more Institution projects featured in previous issues of SPACE.

Project GMCC Exhibition Centre Hong Kong Museum of Coastal Defence Urban Centre & Performing Arts Centre Dijon, France Light Building, Rotterdam Stichting Museum Het Valkhof Contemporary Design House Berlinâ&#x20AC;&#x2122;s Jewish Museum The Jockey Club Multi-service Centre for the blind at HKIVE Consumer Council Advice Centre Guangzhou Intl Conference and Exhibition Ctr

Nature Exhibition Space Museum Arts Centre Exhibition Space Museum Gallery Museum School

Issue Oct-99 Aug-00 Apr-99 Dec-01 Feb-00 Apr-03 Jun-99 Nov-02

Advice Centre Conference Centre

Jul-01 Mar-03

RTHK Artificial Intelligence Medialab Embassy of Germany, Beijing The Kadoorie Biological Sciences Building at HKU Council Bluffs Library MoMA QNS Macau Cultural Centre Osaka Maritime Museum Guangzhou Gymnasium Learning Habitat Kindergarten LA Cathedral Museum of Contemporary Arts in Finland Study Hall in Discovery Park Residents Club The Hong Kong Design Centre The HK Planning and Infrastructure Exh Gallery St. Thomas The Apostle Cathole Church Conference Centre of Ming Quan Ju One-North Singapore Science Hub Interger Hong Kong Pavilion

Medialab Embassy Sciences Building Library Exhibition Space Cultural Centre Museum Gymnasium Kindergarten Church Museum Study Hall Design Centre Exhibition Space Church Conference Centre Science Hub Exhibition Space

Nov-01 Mar-00 Sep-01 Jan-00 Aug-02 Jan-00 Oct-00 Oct-01 Dec-00 Nov-02 Jul-99 Apr-99 Oct-02 Jan-03 Mar-00 Feb-99 Apr-02 Mar-02

213

Project Berlinâ&#x20AC;&#x2122;s Jewish Museum Conference Centre of Ming Quan Ju Consumer Council Advice Centre Contemporary Design House Council Bluffs Library Embassy of Germany, Beijing GMCC Exhibition Centre Guangzhou Gymnasium Guangzhou Intl Conference and Exh Centre Hong Kong Museum of Coastal Defence Interger Hong Kong Pavilion LA Cathedral Learning Habitat Kindergarten Light Building, Rotterdam Macau Cultural Centre MoMA QNS Museum of Contemporary Arts in Finland One-North Singapore Science Hub Osaka Maritime Museum RTHK Artificial Intelligence Medialab St. Thomas The Apostle Cathole Church Stichting Museum Het Valkhof Study Hall in Discovery Park Residents Club The Hong Kong Design Centre The HKIVE, The Jockey Club Multi-service Centre for the blind The HK Planning & Infrastructure Exh Gallery The HK University Kadoorie Biological Sciences Building Urban Centre & Performing Arts Centre Dijon, France

Company Daniel Libeskind Wong Wah Sang Architect All Arts Ltd HEC Architects & Development Contemporary Design House Leo A Daly Kammerer + Belz, Kuche und Partner, Stuttgart Alex Choi Design Ltd Paul Andreu, ADP Ingenierie - Guangzhou Design Institute Ingerosec Corporation & South-China Polytechnic University Architectural Services Department Integer Rafael Moneo & Leo A Daly Peter T F Poon & Associates Ltd Atelier Kempe Thill OBS Architects & Intergaup Michael Maltzan, Robertson & Partners Steven Holl Architects & Juhani Pallasmaa Architects Zaha Hadid Architects Paul Andreu Architect James Law Cybertecture Wong Wah Sang Architect All Arts Limited UN Studio Team Deco International Ltd. The Hong Kong Interior Design Association Design Consultants Ltd

Nature Museum Conference Centre Advice Centre Gallery Library Embassy Exhibition Space Gymnasium Conference Centre Museum Exhibition Space Church Kindergarten Exhibiton Space Cultural Centre Exhibition Space Museum Science Hub Museum Medialab Church Museum Study Hall Design Centre School

Issue Jun-99 Feb-99 Jul-01 Apr-03 Jan-00 Mar-00 Oct-99 Oct-01 Mar-03 Aug-00 Mar-02 Nov-02 Dec-00 Dec-01 Jan-00 Aug-02 Jul-99 Apr-02 Oct-00 Nov-01 Mar-00 Feb-00 Apr-99 Oct-02 Nov-02

The Oval Partnership Ltd Leigh & Orange Ltd Arquitectonica

Exhibition Space Sciences Building Arts Centre

Jan-03 Sep-01 Apr-99