Live from home by Mathilde Gattegno

LIVE FROM HOME

Mathilde Gattegno 1

It has been around a year now that I have seen Seasons for Change play for the first time. It was a show in the warehouse of Aberdeen, kind of a secret address. Since then I have seen them play more than ten times and have shot more than two thousand pictures of their shows but also the community around. During the last 3 months I got focused even more on the struggle they are facing in Hong Kong, and how so many people are looking for a more stable home through the practice of music across the city. Places are rare, small and donâ&#x20AC;&#x2122;t last long. During the time of my project, the main stage, Hidden Agenda was forced to close for the fourth time but this time without a new spot to open again. If the government is building music facilities in the new Kowloon West, indie music community doesnâ&#x20AC;&#x2122;t feel concerned by the new concert hall. Even with this difficult context, they keep playing with passion, dedicating their free time to do what the love with the people they love. If I picked the topic of indie music, it is not only by friendship, it is also because music is one of the universal language. In Hong Kong where so many different people cohabitate they still have only a few places where they can really meet. Most people remain in their own culture in free time, in cultural activities as well as in sports. But when it comes to make or enjoy music, it is always a moment where everyone can come together. The fact that suddenly language is not a barrier anymore is quite rare in Hong Kong, and certainly an advantage to grow a home feeling. It is also a community with bonds that extend beyond the limits of Hong Kong, exchanging with Taiwan, China, other countries of Asia and even to other continents. Indie music community is always changing scale, from the tiny practice room to a global exchange network. I think the work of a designer is to empower the life and practice of other, and I definitely felt like there is a lot to say and to do about music in Hong Kong.

WHAT IS HOME FOR HONG KONG MILLENNIALS PURPOSE OF HOME HOME AND IDENTITY THE RISE OF THE THIRD PLACE

7 10 12 14

HIGH POTENTIAL FEW OPPORTUNITIES TAIWAN EXPERIENCE NIGHT CONVERSATION HONG KONG SITUATION

17 18 22 24

CONNECTING THE COMMUNITY FOUR LAYERS NETWORK ONLINE COMMUNITY NEEDS SPREAD OFFLINE NETWORK A PROGRESSIVE GROWTH

29 30 32 34 35

SETTLING A MULTI FACETS HOME CENTRE OF GRAVITY - Community beacon HEADQUARTERS - Street museum LANDMARK - Forgotten space reactivation SECONDARY NETWORK - Making accessible POP-UP SPOTS - Reaching out

37 38 40 42 46 48

INTERWEAVE SCALES IMPLEMENTING HOME CARACTERISTICS COMMUNITY IN CHARGE ENABLING HABITS CONNECTED TO FOTAN AND HONG KONG NEW ECOSYSTEM FOR FOTAN CULTURE OSMOSIS CO_POLICY

53 53 54 55 56 57 58 59

THE PENTHOUSE EACH FUNCTION A CIRCULATION LIGHT ROOF STRUCTURE

61 67 68

APPENDICE ICONOGRAPHY BIBLIOGRAPHY SPECIAL THANK

74 75 76 78

WHAT IS HOME FOR HONG KONG MILLENNIALS

In Hong Kong I have met a lot of people coming from different places, having different stories and different feeling about coming living here. Some were happy, some were torn, some were missing home. On the other side local people were also showing a complex relationship towards Hong Kong. With them I wondered what makes a home. And soon I wondered if millennials in general are looking for a home. To be specific what is home for millennial in Hong Kong ? First I started looking for a definition of home through the work of sociologists, writters and architects. Questionning the concept of home has been around for a long period of time without anyone have found a proper complete answer yet. Then I briefly went through one of the particularity of Hong Kong : its population. Hong Kong identity is on one part built on the complex diversity of its inhabitants and this since the beginning. Within this frame I could start creating a portrait of the millennials. This population born during the eighties and nineties is in rupture with previous generations, facing a more complex world where population are now in movement. In this part I decided to get interview of millenials of Hong Kong, asking them their feeling about their home and the city. This three months work bring an overview of a few complexe problematics revolving around the millennials, Hong Kong and the concept of home, rising at the same time bigger questions like the definitition of a person, city or country identity.

PURPOSE OF HOME

After going through diverse interviews and higlighting the differences between foreigners and hongkongers, I noticed they have a common vision of home. Where everyone agree is to see home as a place where they can express their true identity. Where they can be themselves in a confident and safe way, without restriction. Because of the Hong Kong lifestyle (either small individual flats, either proximity with the family) most of the millennials have the need of at least a second place where or they can express themselves.

PURPOSE OF HOME

EXPRESSION OF SELF IDENTITY

CULTURE

FAMILY

INTEREST

CARACTERISTICS OF HOME HAPPINESS BELONGING RESPONSABILITY SELF EXPRESSION CRITICAL EXPERIENCES PERMANENCE PRIVACY TIME PERSPECTIVE MEANINGFUL PLACES KNOWLEDGE PREFERENCE TO RETURN

PHYSICAL STRUCTURES EXTENT OF SERVICES ARCHITECTURAL STYLE WORK ENVIRONMENT SPACIALITY TYPE OF RELATIONSHIPS QUALITY OF RELATIONSHIPS FRIENDS + ENTERTAINMENT EMOTIONAL ENVIRONMENT

HOME AND IDENTITY

THE RISE OF THE THIRD PLACE From the theorical part, we had a first approach of the close relationship between home and place, as home is presented as a specific place. But if for a long time home was considered as the first place where the family is, my work may have bring a variation on this thesis. Hong Kong Millennials, from the city or elsewhere share a new way of making home. No longer a single place as it used to be for previous generations, home is now scattered not only in different places but can also take the shape of an object. The other difference is that the familly house is no longer central in their life, even if it is still needed for some, but spaces called third places are now a priority. As housing condition in Hong Kong is so congested and pushes families in small spaces, millennials canâ&#x20AC;&#x2122;t develop their full identity within the apartment. Even in the case of the most family oriented interviews (Angel / Tak), they still need third places for their own life. In other cases, instead of having a full space where they can express themselves, millennials invest an object like an inner third place, an artefact with the same caracteristic as a third place but at a smaller scale. IDENTITY EXPRESSION Home is a mental perception of who we are so home is directly linked to our identity. This is why an identity crisis leads to a home crisis. As well as a home crisis can create an identity crisis. If there is no place to anchor the mind, this one will drift and get sick. People only attached to people through internet connection may have a lack in their life as the mind cannot find a safe space but

only a safe mental position. Ultimately those people will need to create a space around them to feel secure and rested. At larger scale the identity of the environment also needs a certain definition.If a neighborhood, a city, a country having an identity is having a crisis this can threatened the home feeling of the inhabitants, leading the population sometimes to relocate (as the retrocession of Hong Kong did for the Hongkongers). The identity of the place needs to overlap the identity of the people living in it. In the case of Hong Kong, its diverse identity both allow all kind of people to settle but may weakened the sense of belonging of long time installed population. The question now is how can home feeling can be reinforced for people who struggle build it in Hong Kong ? And how can it be secured for people who feel it weakened as life goes on ? Hong Kong is certainly facing a new chapter of its history rising new challenges for the inhabtitants and their home.

MILLENNIAL MILLENNIAL

IDENTITY

FAMILY

CRISIS

IDENTITY

HOME

MILLENNIAL

THIRD PLACE OR INNER THIRD PLACE

As home is no longer large enough, millennials needs (inner) third places to express their identity

THIRD PLACE

CITY

If the identity of the millennial is aligned with his surroundings, the home feeling is possible

If the identity on one of the elements is not longer aligned, then a crisis occurs

THIRD PLACE

If the identity on one of the elements is not definied of if an element has a rupture in its identity, then a crisis occurs

THE RISE OF THE THIRD PLACE Third places have been a concept to characterize space where people socialize and feel familiar with and which are not family home or work place. Those spaces can be places like cafes, libraries, schools, barber shops1... The importance and the social construction of those places change according to the culture of the population taken in account but exist in most civilization of the world in a certain way. They are important for interractions and help the people to create a sense of belonging.

Flat area Tai Wai MTR

After show restaurant

Restaurant

Band practice room Ngau Tau Kok MTR

1 Oldenburg, Ray (1989). The Great Good Place: Cafes, Coffee Shops, Community Centers, Beauty Parlors, General Stores, Bars, Hangouts, and How They Get You Through the Day. New York: Paragon House

Because it feels like I have more freedom in here and I can just play guitar anytime, and I can sleep sometime and I donâ&#x20AC;&#x2122;t have to do any house work.

HIGH POTENTIAL FEW OPPORTUNITIES

I had the opportunity to go with Seasons for Change to Taiwan for a emo festival in Taiwan. Over a weekend I could discover the differences and similarities between to two groups through observation but also some interviews. It was interesting to see how the highlight the difference not only in the lifestyle of each countries but also in the music or bands appearance. Making them talk was instructive not only for myself but also for them as the could exchange their vision. The overall result show that Hong Kong scene has a lot of energy, with a straightforward style that keep only the essential, reflect of the difficulties they have to play while Taiwan keep a more laid back but sophisticated attitude. Two things from it: Taiwan example shows that not only there is a way to develop indie music in a sustainable way, but that there is also a public for it. Nevertheless, Hong Kong is far behind when in comes to place to play but not when it comes to musicians.

TAIWAN EXPERIENCE

TAIWAN

HONG KONG

Aesthetic

Straightforward

More professionnal - Venues - Team - Look

Focusing on local market Pretty satisfied More Livehouses Less bands

Bands treated as amateurs Side activity of people

Comparing to the world Hungry for better Less Livehouses More bands

Korea Japan TAIPEI 20 livehouses TAICHUNG 3 livehouses CHIAYI 1 livehouse

Hong Kong

TAINAN 5 livehouses KAOHSIUNG 5 livehouses

TAIWAN LIVE HOUSES

BBQ Party aph studio

Restaurant

10min walk

LEGACY Taichung

Tea shop

10min walk

Ful Won Hotel

Convenient store

Our Town Live House

A WALKABLE AREA

Chicken rice restaurant

Singer restaurant

Taichung civic square

SIM card shop

Tea shop

celebrating

sleeping

working

A SPECIFIC SCHEDULE

NIGHT CONVERSATION

魏小 - OBSESS (Taiwan)

Dennis - Seasons for Change (Hong Kong)

What are the differences in the band scene, the community between Hong Kong and Taiwan? For Hong Kong the competition is quite big, there is a lot of bands and there is a lack of venue. For Taiwan scene people are not very passionate in their music community because compared to Hong Kong where you have one venue for one hundred bands, in Taiwan you have a lot of venue and not much Taiwanese band. It’s supply and demand, so, about Taiwan on the music scene, people are not as passionate as Hong Kong. That’s what I heard from other people too, that Taiwanese people start a band to look cool and that it is more about the attitude and someday they stop and never go back. They can still be cool by saying “I used to be in a band”. While in Hong Kong they have to be passionate to keep going. Some people, not me. Hong Kong scene whatever the music industry is or the scene, the quality is more mature than Taiwan. Maybe? I don’t agree with that. He is not the first one from Taiwan saying that overall Hong Kong bands are better. Is true. I don’t agree with it. Hong Kong bands are truer to what they want to do, because it is very hard for them to carry on and so the mentality is quite different. HK bands have an international view, much bigger than Taiwan. For example, if I am doing a band and my friend is doing a band, we will compare to the Japanese bands, or European or American. Just like when we play some shows we may play with the same quality, but we will think “I can do better than you”. So, HK bands always compare to the foreigners. Taiwan bands are more focused on the Taiwan scene. And to play as a band in Taiwan is quite easy. How complicated was it to organise this festival? It’s all about money. We find some sponsorship. Beer companies. Actually, there is quite a lot of mainstream brands like beers or Nike, which wants to come in the band scene and have a part of it. It is supposed to be an easier way to have sponsorship. But in my opinion in Hong Kong there is less brands willing to do it. It is easier in Taiwan, because the band things there is a priority and Taiwan is higher than Hong Kong. Because in Taiwan they are near the mainstream, but for us it’s pretty independent. I know in Europe, Redbull is moving from extreme sports to parties and music now. And in France they started supporting music events, even with students. At the beginning they only give drinks but later in the partnership they start giving money too. There is a Redbull case for Taiwan market, but they are just exploring. If they think the events have potential, they will do the same thing. But for Hong Kong they don’t give a fucking shit. On my campus there was a student that was making the link between redbull and the associations, we just had to go to him and talk about our project. Yeah I use to be the representative, for commercial events they just give the drinks. It really depends on the level of the event. If we do a band show in Hong Kong, whatever you are doing, they just give you the drinks.

HONG KONG SITUATION

PROFESSIONAL PLACES

UNIVERSITIES

Kowloon Bay International Trade & Exhibition Centre E-MAX Music Zone

The University of Hong Kong The Chinese University of Hong Kong The Hong Kong University of Science and Technology City University of Hong Kong The Hong Kong Polytechnic University Hong Kong Baptist University Lingnan University The Education University of Hong Kong

FOR THE COMMUNITY Hidden Agenda Opened in 2009, CLOSED 300 standing people YOUNG ORIENTED PLACES The Warehouse Teenage Club Building opened in 1995 (association in 1992) Practice room Frank White Studio : 150 standing people Youth Outreach The Hangout Opened in 2002 Band practice room Recording studio Concert played in a gymnasium 300+ standing people

Opened in 2012 400+ standing people MOM Livehouse Opened in 2016 200 standing people or 70 seated Focal Fair Opened in 2014 100 standing people

Fringe club

GOVERNMENT RELATED

Open in 1983 Promote all arts Room up to 120 standing people

ROCK JOURNEY 2.017 CULTURAL CENTRE, TST

HOUSE OF VANS CENTRAL HARBOURFRONT

CLOCKENFLAP CENTRAL HARBOURFRONT

Indie music community is not only about the musicians, but also about technicians that make shows work, public that comes every time and close friends always there to support by taking picture, making food or just cheering.

CONNECTING THE COMMUNITY

A lot of elements already exist in Hong Kong but their have a hard time connecting to each other. Websites are outdated and canâ&#x20AC;&#x2122;t keep up with the actuality of the bands and above struggle to reach their potential public. This is why one part of the project is oriented to develop the online community, giving more access to information but also a better visibility for the bands. In mirror, the offline community offer places to gather to practice or enjoy music. This network is barely existing in Hong Kong today and would deserve a special attention to grow over the years. Some essential places are more made to last a long time while part of the network can adapt to the always changing city.

ONLINE COMMUNITY

international network

STAKEHOLDERS

musicians

helpers

public

government

FOUR LAYERS NETWORK

international network

OFFLINE COMMUNITY

CENTRE OF GRAVITY LANDMARK

HEADQUARTERS

ONLINE COMMUNITY NEEDS REACHING PUBLIC

ACCESSIBLE through languages

GATHERING BONDING

UPDATED latest news

PLAN special events

ONLINE COMMUNITY

EXCHANGE within the community

website + app

SHARING

PROMOTE other events

CLASSIFIED ADS services and gears STREAM local bands

SELL music and goodies

3,9K

500

17M

8,5K

124K

155K

1,4k

84K

48,5K

31,8K

20K

720

FACEBOOK PAGES DECEMBER 2017

SPREAD OFFLINE NETWORK

SECONDARY NETWORK

Make it accessible LANDMARK

POP-UP SPOT Bonding with the neighborhood

Festival oriented place

CENTER OF GRAVITY Strengthten the community

HEADQUARTERS

Relation with government

A PROGRESSIVE GROWTH

Appears when the community is established

SPINE

Extention for new services

HEADQUARTERS

Full capactiy at the beginning CENTRE OF GRAVITY

Ponctual events

Change location to allow growth

Until reaching max capacity

LANDMARK

Can change location every few years

Network expanding with time

Appear and disappear

Network expanding with time

SECONDARY NETWORK

POP-UP SPOT

SETTLING A MULTI FACETS HOME

A network doesnâ&#x20AC;&#x2122;t come with only one element repeated a certain number of time, but by different pieces coming together. Also, a home has to respond some criteria to be able to function properly. In the case of Hong Kong, five typologies seem essential to balance the needs of the community but also its interaction with other stakeholders like the government or even the direct surroundings of each places. If three of the typologies present a single place (Landmark, Headquarters, Centre of gravity), the two other are more on the changing form kind of space. The Secondary Network and the Pop-up Spots are opportunistic kind of places. Moving according to the space available, answering specific needs of a neighborhood. They can grow big enough to gather a hundred of people, or remain small to accommodate two or three bands in their practice.

CENTRE OF GRAVITY - Community beacon

WALL ART Visibility from the MTR PAINTED FACADE Regeneration of the floors WRAPPING Live house acoustic protection

SHAN MEI STREET FO TAN

PERSONNAL Exchange platform for the community TIME PERSPECTIVE

PERMANENCE RESPONSIBILITY

HAPPINESS

routine

community in charge

BELONGING SELF EXPRESSION

MEANINGFUL PLACES

PREFERENCE TO RETURN

PRIVACY

routine

SOCIAL Professional relationships

QUALITY OF RELATIONSHIPS

TYPE OF RELATIONSHIPS

RANGE OF RELATIONSHIPS

PROFESSIONAL CASUAL ART

PROFESSIONAL <> PUBLIC

local

COMMUNITY <> COMMUNITY

FRIENDS + ENTERTAINMENT

EMOTIONAL ENVIRONMENT

SIDE ACTIVITIES POSSIBLE WITHIN THE BUILDING

INFLUENCE OVER THE NEIGHBORHOOD SYMBOL OF THE COMMUNITY

international

HEADQUARTERS - Street museum

ART INSTALLATION Unique art for the building PHOTO EXHIBITION Events from Hong Kong STREET ART EXHIBITION Artist from the community

CARNARVON ROAD TSIM SHA TSUI

PERSONNAL

Framed by policy TIME PERSPECTIVE

PERMANENCE RESPONSIBILITY

CRITICAL EXPERIENCES

SOCIAL

Professional relationships QUALITY OF RELATIONSHIPS

FRIENDS + ENTERTAINMENT PROFESSIONAL

TYPE OF RELATIONSHIPS

RANGE OF RELATIONSHIPS

PROFESSIONAL <> PROFESSIONAL

local

STREET DISPLAY OF ART

EMOTIONAL ENVIRONMENT STREET MUSEUM

international

LANDMARK - Forgotten space reactivation

FESTIVAL AREA Rise awarness about the land NEW PIER Second entry ABANDONNED CHURCH All year anchor

SAI SHA ROAD MA ON SHAN

PERSONNAL Exist for ponctual events TIME PERSPECTIVE

BELONGING SELF EXPRESSION

PREFERENCE TO RETURN

HAPPINESS

SOCIAL Professional relationships

QUALITY OF RELATIONSHIPS

TYPE OF RELATIONSHIPS

RANGE OF RELATIONSHIPS

PROFESSIONAL CASUAL

PROFESSIONAL <> PUBLIC

local

COMMUNITY <> COMMUNITY

FRIENDS + ENTERTAINMENT

EMOTIONAL ENVIRONMENT

SIDE ACTIVITIES INVOLVING OTHER ASPECT OF THE COMMUNITY

REDISCOVERING FORGOTTEN PLACES OF HONG KONG

international

EXPLORATION Rediscorvery of the island INDOOR FESTIVAL Lasting equipments for the community PLACE OPPORTUNITY Using already existing facilities

GREEN ISLAND OUTLYING ISLANDS

BUILDING OPPORTUNITY Investing a big infrastructure REMOVABLE STRUCTURES Giving back the building after the event TWO YEARS EDITION Getting the event started

KOWLOON MOTOR BUS DEPOT KOWLOON BAY

SECONDARY NETWORK - Making accessible

WALL ART Visibility from the street MULTI USAGE BUILDING Live cafe + practice room STREET STAGE Ponctual events to neighborhoord agenda

fit

the

EXAMPLE : TAI HING TAI RD CHEUNG CHAU

PERSONNAL Community lifestyle PERMANENCE

BELONGING

SELF EXPRESSION

MEANINGFUL PLACES

PREFERENCE TO RETURN

PRIVACY

HAPPINESS

KNOWLEDGE

SOCIAL Professional relationships

QUALITY OF RELATIONSHIPS

WITHIN THE COMMUNITY

TYPE OF RELATIONSHIPS

RANGE OF RELATIONSHIPS

FRIENDS + ENTERTAINMENT

EMOTIONAL ENVIRONMENT

COMMUNITY <> COMMUNITY

local

PRACTICE WITHIN FRIENDLY SURROUNDING

FREE TIME HANGOUT

international

POP-UP SPOTS - Reaching out

URBAN OPPORTUNITY Investing any available spot OPEN EVENT Open the community to another public STREET STAGE Ponctual events to neighborhoord agenda

fit

the

EXAMPLE : SAN WAI TSAI VILLAGE TUEN MUN

PERSONNAL Opening to the neighborhood BELONGING

HAPPINESS

SOCIAL Professional relationships

QUALITY OF RELATIONSHIPS

CASUAL CURIOSITY

TYPE OF RELATIONSHIPS

RANGE OF RELATIONSHIPS

FRIENDS + ENTERTAINMENT

EMOTIONAL ENVIRONMENT

MUSICIANS <> CROWD

local

GATHERING WITH PEOPLE FROM OUTSIDE THE COMMUNITY

ADVANCED BUSKING

international

INTERWEAVE SCALES IMPLEMENTING HOME CARACTERISTICS

Home exists within a context. The physical structure needs to be comfortable and have enough characteristics on his own to be identified as unique, but flexible enough to offer appropriation in decorations and uses. It also needs to be linked to a neighbourhood as a context framing the building itself. But what is also important is third place as a home exist in a certain expand of time. This relation with space and time can be read through the twenty characteristics of home and set parameters for the design. In the case of the Centre of Gravity, its position in Fo Tan has an impact on its direct surroundings like the village or the old industrial buildings, but also echoes at the scale of Hong Kong.

COMMUNITY IN CHARGE NT

E NM

V GO

ITY

N MU

PERMANENT

TEMPORARY

music school music association 54

perfomance exhibition workshop

rented band practice rooms

SSION

ENABLING HABITS

SELF EXPRESSION

BUILDING VERSATILITY

PERMANENT ACCESS

ITY

N MU

MEANINGFUL PLACES

PREFERENCE TO RETURN

PRIVACY

G EI

O RH

HAPPINESS

routine

building appropriation event planning

flexibility of schedule

different spaces accomodates all events

kind

CONNECTED TO FOTAN AND HONG KONG

BUS HUB

PEDESTRIAN ACCES

CAR ACCESS

MTR station pedestrian bicycle to river 56

important axis

both ways

NEW ECOSYSTEM FOR FOTAN

NEEDS

restaurants services lifestyle community related brands tourism

MUSICIANS

BUSINESS OPPORTNITIES

SERVICES

NEW SPECIALIZATION HOUSING

Fo Tan music school job opportunities study opportunities

LIFESTYLE rehabilitation of industrial buildings 57

CULTURE OSMOSIS

BRINGING OUT

Fo Tan lifestyle culture knowledge

BRINGING IN

diversity culture knowledge

CO_POLICY ENABLE transferring knowledge ALLOW performativity FACILITATE giving spaces and tools

FROM LAB_ING OF JACKY AU & JACKY CHAN

MUSICIANS

SOCIAL INNOVATION

CO POLICY BOTTOM UP

LOCAL

GOVERNMENT / INSTITUTION ENHANCE CONNECT EVOLVE

THE PENTHOUSE

The Penthouse is not only a live house but a lace for the community to gather and spend time together, to practice and experiment around music. With its large proportion, the Sui Fai Factory Estate can offer various space to play and perform. The Penthouse is designed with a holistic approach, shaping space with different sized room and various lighting system. It also offers enough services for the community to feel comfortable while being welcoming for potential new comers. The other floors would progressively home more and more artists of different practices. Spaces like the Common Ground on the first floor or the place in front of the building would welcome event blending communities in the building and the neighbourhood, offering the possibility for Fo Tan to reinvent a unique lifestyle.

PRACTICE ROOMS

COMMON GROUND

PARKING

EXCHANGE FLOOR - 1

SCHOOLS

LOBBIES FLOOR - 0

SCHOOLS

23 - EXHIBITION FLOOR

BAND PRACTICE ROOMS

LIVE HALL

TECHNICAL ROOM

EXHIBITION SPACE

MUSIC SCHOOL

CAFE

MUSIC SCHOOL

22 - SOCIAL FLOOR

BAND PRACTICE ROOMS

LIVE HALL GREEN ROOMS

FOYER

EACH FUNCTION A CIRCULATION

LIGHT ROOF STRUCTURE

As the concert room is a rehabilitation in a building I have little information about, I chose to install it on the two last floors. The main reasons are about fire security and the possibility to escape on the roof but also on a structural point of view. The alternative was ground floor where the structure is tight and with low possibility of modification due to the heaviness of the building. Here I chose to open one floor and add a light steel structure as a roof that come to suspend the outside corridor. The goal is to keep only vertical compression in the existing wall without any lateral effort that could stress the concrete. The shape of the beam also allows the structure to contain all the technical parts needed like the vents but also a proper lightning system. Finally, the roof can be made with acoustic panels to have an optimal sound in the room but also prevent the sound from escaping outside.

APPENDICE

ICONOGRAPHY

Pictograms are from The Noun Project, https://thenounproject.com/ Creators list : Michael A. Salter, Luis Prado, Marie Van den Broeck, Creaticca Creative Agency, Dairy Free Design, Becris, Pham Thi Dieu Linh, Jules Dominic, Paweł Gleń, Barracuda, Tresnatiq, Eucalyp, Adnen Kadri, iconsphere, Vladimir Belochkin, Genius Icons, Creative Mania, Akın DEMİR, 2007 ruli, Aneeque Ahmed, Yo! Baba, Mangsaabguru Posters from the events Youth Outreach - https://www.facebook.com/YouthOutreach/ House of Vans - http://www.vans.com.hk/en/houseofvans/ Clockenflap - http://www.clockenflap.com/ All the photos and other illustrations belongs to Mathilde Gattegno

BIBLIOGRAPHY

Chan, Jacky and Au, Jacky, FoTan_SQUARE - Fo Tan Cultural District, 2015, Hong Kong Gattegno, Mathilde, What is home for Hong Kong millennials, 2017, Hong Kong Oldenburg, Ray (1989). The Great Good Place: Cafes, Coffee Shops, Community Centers, Beauty Parlors, General Stores, Bars, Hangouts, and How They Get You Through the Day. New York: Paragon House Sixsmith, Judith, 1986, The meaning of home: an exploratory study of environmental experience, Journal of environmental psychology, London https://www.facebook.com/EmoPunch https://www.facebook.com/OBSESSTW https://www.facebook.com/SeasonsforChange https://www.indievox.com http://undergroundhk.com/news https://uniteasia.org

SPECIAL THANK

First, I would like to thank the members of Seasons for Change for their inspiring music, their welcoming attitude and for taking me with them on their adventures. I am also thankful for all the people they have introduced me to. Thanks to all the people I have met in Taiwan for answering my questions even if it wasnâ&#x20AC;&#x2122;t always easy to communicate. And as always, thanks to Jacky for the good advices and support through the all postgraduate.

THE HONG KONG POLYTECHNIC UNIVERSITY URBAN ENVIRONMENT DESIGN 2017 81