Environment: Shifts in To Kwa Wan

ENVIRONMENT:

TO KWA WAN

土瓜 灣

ARCH2058 Modern Architecture ASSIGNMENT 3: GUIDEBOOK

| Fall 2021

Environment: Shifts in To Kwa Wan Chuah Hao Feng (3035718383) Santoso Ivan Ardian (3035666956) Tam Chin Fung (3035702475)

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To Kwa Wan MTR and selected sites

To Kwa Wan

With the most modern path as the start, the railway towards the A exit of its MTR Station, it is an 8-minutes-walk before we reached our sites. Yet, the path of our journey already starts tracing the history of To Kwa Wan. Along the asphalt roads, they connect the mixtures of residences and industries. Eventually, passing through the widest road, the only highway and the Kai Tak Tunnel, where the beginning of connections of To Kwa Wan to other areas in Hong Kong. As we are closing in towards the site, the paths are narrowing down, emphasizing on intimacy, where the ambience of To Kwa Wan’s past is even stronger.

Like the cattle depot, with stone brick and wooden paths together with the gas plant next to it, facilitating the daily activities inside and outside. The end of our destination, 13 Streets, in which the alleys until now still has a semblance of the past, with car repair shops and small businesses, connecting back in time of the happenings in To Kwa Wan.

Image Source: Photo Taken by Author, Published in Google Maps for public use.

The walking tour can be enjoyed in two ways. One, through the traditional ways of walking around from one site to another.

On the other hand, from the point above, one can also enjoy all three sites just by standing

at one point and doing a 360° Panoramic Turn.

Enjoy your own 360° Panoramic Virtual Tour by clicking the link below or simply scanning the QR Code. https://www.google.com/maps/@22.3207796,114.1922268,3a,75y,89.87h,101.3 2t/data=!3m7!1e1!3m5!1sAF1QipNEsWkUPyBSUdYLaKVoQ8ImRlpjAiXAnvZ828x7!2e10!3e12!7i11264!8i5632

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Image Source: Photo Taken by Author

Offering a new way of looking at To Kwa Wan: Through the many different allies that show evidence of developments over the last century.

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1.5 Allies out of the 11 Allies in 13 Streets 2. Ally between 13 Streets and Cattle Depot Artist Village 3. Allies inside Cattle Depot Artist Village 4. Ally between Cattle Depot Artist Village and Mau Tau Kok Gas Plant

Image Source: Photo Taken by Author

1. 13 Streets After the British took over New Territories, villages in To Kwa Wan were demolished. A rope factory was constructed at the current location of “13 Streets” in 1924, and after WWII, it was transformed into the Nanyang Cotton Mill. Due to the increasing population increase, landlords were forced to build dwellings in 1959.

Today, To Kwa Wan’s “13 Streets” area is a well-known landmark. There are 11 short streets with fanciful names that are tied directly to animals - namely dragon, phoenix, deer, unicorn, eagle, lark, egret, cicada, swallow, horse, and crane – bordered by Kowloon City Road and To Kwa Wan Road. Regardless of their charming names, visitors will be disappointed to see the dirty buildings on either side of each of the small lanes. One of the most striking elements is the widespread presence of illegal structures on the roofs of all 83 structures with a total of 2,500 residential units and 418 street-level shops.

Image Source: Photo Taken by Author

2. Cattle Depot Artist Village Built in 1908, the cattle depot is the only prewar slaughterhouse left in Hong Kong, which is now a Grade II historical heritage. The depot was originally a slaughterhouse and animal quarantine centre. It includes a slaughterhouse, animal sheds and offices. In the late 20th Century, To Kwa Wan was developed into an urban residential area, population grew rapidly and the cattle depot was closed in 1999 due to hygienic concerns. Slaughtering activities were relocated to Sheung Shui and the site was revitalised into an artist village.

The site was transformed into studios and office spaces leased to art groups who were previously working at Oil Street in North Point. The rent of the village is comparatively affordable which benefits the artists economically. The Artist Village plays a vital role to emphasise the importance of Hong Kong contemporary art, which has the potential to lift social connection and become an art and cultural landmark in Hong Kong.

Image Source: Photo Taken by Author

3. Mau Tau Kok Gas Plant Even with 2 existing gas plants, in Hong Kong Island and Yau Ma Tei, the supply of town gas is still insufficient to cater for the demands in the 19th century. Hence, the construction of Ma Tau Kok Gas Plant is proposed at the present-day Grand Waterfront. An additional gas plant was also built in 1956 at the intersection of To Kwa Wan Road and Sun Shan Road which is the one that is still operating today. All the town gas in Hong Kong was provided by these plants in the 1960s. Now, being the only 1 of 2 gas plants left in Hong Kong, it supplies about 5% of town gas in Hong Kong. It is primarily a storage facility with a small gasification plant as a backup.

This plant is unique as it is the only plant that remains in the urban area of Hong Kong. Its special form, together with adjacent office buildings that were built in 1956 modern style, has become an interesting icon in To Kwa Wan district.

“LAYERINGS OF INFRASTRUCTURE THROUGH TIME” Hao Feng, Chuah

Hong Kong always gives people an impression of a metropolis with numerous skyscrapers, its districts, like Central is vital in contributing to becoming the worldclass centre of business, culture, and trade.

However, not all districts are said to possess the same characteristic. To Kwa Wan is a district that was quoted to escape from commercialization and gentrification.[1] It shows a strong historical connection, where it is less materialistic and could serve as an ideal example to preserve a semblance of history.[2]

Nevertheless, as much as we value preservation, that is not always the case.

Humanity strives for improvement, we

tend to sacrifice the old for the new, such as replacing traditional buildings with commercial buildings to cater for unlimited needs.[3]The same could start applying to To Kwa Wan, as more development plans are being proposed for the future.[4] Would these modernizations affect the sense of identity in To Kwa Wan? Here we would analyse the evolution of infrastructure of To Kwa Wan since the past and how much impact it has towards the face of To Kwa Wan district.

The name of To Kwa Wan stands for Potato Bay. This origin traces itself back to its inland shaped like a potato. This area was also said to be famous for cultivating by the Hakka villagers that settled here a few hundred years ago.[5] To Kwa Wan starts to have more injections of life after the construction of the granite quarry in 1841. Granite quarry played a very important role in the industrial past of Hong Kong. As stones are heavy and difficult to transport, the quarries are normally located near the sea, where rocks could be transported

through the boats to their destinations.

[6] Being located at the eastern shore of Kowloon, To Kwa Wan contributes to the early stages of the industrial zenith of Hong Kong.

Apart from transporting around Hong Kong locally, granite probably became the first Hong Kong product exported to other parts of the world, for example, California, New South Wales, Thailand, and southern China.[7]

To Kwa Wan Quarry is responsible to produce concrete for the then Kai Tak Airport.[8] The role of the quarry does not change much throughout the years but is instead utilized in different ways during the unstable situation due to wars. An instance is where the Japanese used it to expand Kai Tak Airport for their aerodrome during their occupation in the 1940s.[9] Quarries have always been a vital part of the modernization of Hong Kong, pouring concretes, paving the way for the exponential increase of highrise residence in Hong Kong[10] even until the late 20th century. Yet, its sophisticated

operation and environmental impact do not align with the public in this era and most of them have been demolished with only some footprints and traces left behind.[11]

As much as quarries are significant in To Kwa Wan back in the day, the gas plant is also an important infrastructure that powers the modernization of Hong Kong. The difference is where the gas plant in To Kwa Wan still stands today and is functioning. The gas industry has been set up during the British occupation with the name “Hong Kong and China Gas Company Limited” since 1862[12], with pipelines connecting the districts, powering up the streetlights and buildings. With the construction of Ma Tau Kok Gas Plant 1st phase in 1935 and 2nd phase in 1956, To Kwa Wan contributes to the comfort of people not only in the district but throughout Hong Kong.

This public utility has been a staple in To Kwa Wan until now although some (1st phase) is demolished and redeveloped to the current residence, The Grand Waterfront.[13] This case

slowly emphasizes the gradual changes of To Kwa Wan from a district that are majority industrial factories to a hybrid area with a mixture of residence and industrialization.

Public factories are not only the working forces that exist in To Kwa Wan, but many private factories were also set up by the locals themselves to help with their living necessities, such as electric water heater factories and garment factories or even acid factory, controlled by the Japanese during their occupation.[14] It is interesting to see the significance of such a city with no high rise in the past could help in many of the modernization of Hong Kong through its factories, be it public or private. To Kwa Wan district itself does have its city planning to facilitate the industrial processes, together with the housings of the locals. The urban fabric has a unique element of two sets of rectangular grids converging together to form a triangular lot like between To Kwa Wan Road and Ma Tau Wai Road.[15] As the

rectangular grid is a common element in Kowloon such as the 13 Streets, the triangular element adds in a nice quality to create a focus of the area. However, this quality is losing its essence due to the development of high rises that disturb the harmony of the old buildings that are only 7 to 10 storeys high and causing the uniqueness of To Kwa Wan district to slowly fade away. The Outline Zoning Plan (OZP), showing the clusters of residence blocks are slowly dominating the area, with facilities and open space being sparsely distributed around the area.[16]

Talking about the residence, I will briefly touch upon a factor that contributes to the major evolutions of To Kwa Wan. With the relocation of the airport to Lantau Island, the initial height restriction is removed,[17] hence it is inevitable that this scenario would be utilized to build high-rise residences. Factories are demolished to make way for them, like the demolition of Nanyang Cotton Mill in 1957.[18] The initial slow development due to

the proximity of the old airport is no longer a hurdle for government and developers investing in its development, in which we can see the latest addition of the new To Kwa Wan MTR station. This could signify the beginning of the makeover of To Kwa Wan.

Although To Kwa Wan MTR Station comes relatively late compared to other districts, To Kwa Wan does have sufficient transportation infrastructures before. To Kwa Wan had ferries and boats as a medium of transportation in the daily lives of the people there. The connection between Hong Kong Island and Kowloon is extremely important. Thus, back in the days when MTR is not available, ferry and boat services are significant in not only transporting people but also goods, such as the stones from quarries that are mentioned above.[19] The demand for this public transport service is quite popular which results in the construction of public piers like Kowloon City Ferry Pier and Ma Tau Kok Public Pier, connecting North Point,

Wan Chai and Kowloon City.[20] Connections have always been essential in developing cities, transporting goods and people to work, with a well-provided service, it can help to increase the overall productivity and raise the living standard of our environment.

In regard to gravel roads, To Kwa Wan only had a few main roads facilitating high-speed traffic like the East Kowloon Corridor and Kai Tak Tunnel, whereas most of the others are serving residents with local bus routes.[21] It is when the arrival of the new MTR station in 2021 and development like the Western Harbour Crossing in 1997 that some people might criticize as making Hong Kong too connected that further decrease the usage of the piers where some are not functional now[22] although the transportations were already sufficient as said by the locals.[23] These could contribute to the rise of estate prices because of the “extreme connectivity” that makes To Kwa Wan an ideal place with many potentials to develop. The initial impression of To Kwa Wan which is less materialistic and relatively

less commercialised is slowly disappearing where local businesses are unable to handle the increasing rental fees and are forced to close their business or move away.[24]

In conclusion, To Kwa Wan, although it does not have the megapolis atmosphere like Central or Tsim Tsa Tsui, its industrial past is essential in contributing to the rapid development of the other districts that are more advanced and hence it cannot be overlooked. Even so, we can start to see a glimpse of development in To Kwa Wan that is being ongoing and there is a risk that the district might lose its neighbourhood that possesses so many memories and become a city that is no different from other cityscapes of Hong Kong, full of tall residential buildings that are trying to tackle the seemingly endless housing issues of Hong Kong. A balance must be struck to preserve the historical connections of the infrastructures while ensuring the safety and the quality of the neighbourhood are up to a standard. A dialogue needs to be

reached between the old and new structures.

Will To Kwa Wan still be considered as a district that escapes from gentrification?

What about their society and cultures, would there be drastic changes as well?

Layerings of residence on industry of different time period Image Source: Photo Taken by Author

Notes

1. Janice, Chen.

“Neighbourhood Guide: A Sense of Community in to Kwa Wan.” 2018.

2. Yuen, Ching.

“Your Neighbourhood Guide to to Kwa Wan.” 2019.

3. Chu, Cecilia, and Kylie Uebegang. Saving Hong Kong’s Cultural Heritage. P6-7, Civic Exchange, 2002.

4. Lam, Billy. “An Urban Transformation in To Kwa Wan.” 2004.

5. Yuen, Ching.

“Your Neighbourhood Guide to To Kwa Wan.” 2019.

6. Farmer, Hugh. “To Kwa Wan Quarry c1841 and 1944.” 2015.

7. Dewolf, Christopher. “The Rock That Built Hong Kong.” Zolima City Magazine, March 6, 2019.

8. Farmer, Hugh. “To Kwa Wan Quarry c1841 and 1944.” 2015.

9. Farmer, Hugh. “To Kwa Wan “Concrete Factory” during WW2 – Japanese expansion of Kai Tak Airport.” 2017 10. 1Dewolf, Christopher. “The Rock That Built Hong Kong.” Zolima City Magazine, March 6, 2019.

11. Geotechnical Engineering Office, Quarries in Hong Kong § (n.d.).

12. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. p76, Architectural Cultural Heritage Center, n.d..

13. Wong, Richard, “To Kwa Wan in 1982 and 2009.”

Photo Collection.

14. “Small Industries and Community in To Kwan Wan.” Hong Kong Memory.

15. Kwok, Wai Man. Future Heritage: To Kwa Wan Development After the Removal of Airport.

P28-29. Chinese University of Hong Kong.

16. Town Planning Board, Kowloon Planning Area No. 10: Approved Ma Tau Kok outline zoning plan no. S/K10/20 § (2019).

17. Pieris, Anoma, and P.S. Goh Daniel.

“Postcolonial Urbanisms and the Cultural Politics of Redeveloping Kowloon East, Hong Kong.” Abingdon, New York: Routledge, 2019.

18. Cheng, Po Hung. “Tour on the Development of Hung Hom and Ma Tau Wai.” In Hong Kong History Excursion: Kowloon Peninsula, 184, The Commercial Press, 2020.

19. Farmer, Hugh. “To Kwa Wan Quarry c1841 and 1944.” 2015.

20. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. p99-104 Architectural Cultural Heritage Center, n.d..

21. “Antiquities and Monuments Excavated from Works Site of MTR Shatin to Central Link.” LCQ13: Antiquities and Monuments Excavated from Works Site of MTR Shatin to Central Link, 2014.

22. Town Planning Board, Kowloon Planning Area No. 10: Approved Ma Tau Kok outline zoning plan no. S/K10/20 § (2019).

23. Hillary, Leung. “As Redevelopment Looms, Hong Kong’s to Kwa Wan Neighborhood Counts down the Days.” 2021.

24. Hillary, Leung. “As Redevelopment Looms, Hong Kong’s to Kwa Wan Neighborhood Counts down the Days.” 2021.

“SOCIAL INCLUSION AND MODERNIZATION” Chin Fung, Tam

Introduction Located in the west of the former Kai Tak Airport, To Kwa Wan is an ageing industrial and residential area that people often overlook.

Without any flamboyant residential apartments or fancy clubhouses, To Kwa Wan is hardly a district that can be called a metropolitan. What can be found instead are shabby buildings covered by scaffoldings on their disrepair facades, garages with damaged cars parked on the streets.[1] Yet, with the opening of the To Kwa Wan MTR station, older low rise buildings are starting to be replaced by high rise apartments one by one. This marks the beginning of a bigger redevelopment plan in the district, which also indicates po-

tential drastic changes and transformation in the neighbourhood.[2] As one of the last few places that is untouched by redevelopment and gentrification, To Kwa Wan still holds a lot of invaluable cultural assets and by looking deeply into the history and different development phases in the neighbourhood.

People may discover the unique values of the local community that may soon be gone after redevelopment in a foreseeable future.

Urbanisation – From Rural Villages to a Community of Cultural Diversity With reference to folklore, the origin of the name “To Kwa Wan” can be traced back to the Qing Dynasty. At the time, To Kwa Wan was just rural farmland and village areas along the coast for planting sweet potatoes, which is translated as “To Kwa” in Cantonese. As trading activities started to rise among villagers, the Kowloon area and To Kwa Wan were gradually developed from rural villages to a central market place for people to acquire

food and daily necessities.[3] As urbanisation started to take place, people began to develop their own market culture. Before the British Colonial Period, To Kwa Wan was also a granite quarry providing stone materials for infrastructure construction in the Kowloon Walled City.[4] The granite quarry laid the foundation of industrialisation that would soon transform To Kwa Wan into a completely new district.

In the early 20th century, there was a rapid population growth. Owing to wars and social unrest, there was also an influx of immigrants from China and other Southeast Asian countries, such as Pakistan, India and Nepal.[5] As a result, there were urgent housing needs to accommodate the increased population. Old villages were replaced by new communal spaces, pubic infrastructure and buildings.

Soon, To Kwa Wan became a neighbourhood that accommodates different social groups from different nations and social status.[6] In the past, most of the buildings were constructed with a height restriction of 7 to 8 sto-

reys due to the close geographical location to the Kai Tak Airport.[7] This made the district development unprofitable and therefore the government shifted their focus to other places. This results in much slower urban planning and development in To Kwa Wan compared to other districts. Yet, the undeveloped state actually resulted in lower property price and helped provide more affordable housing for the grassroot citizens in the community.

To Kwa Wan’s image was slowly morphed into a slum which can be seen as the “Third World” in Hong Kong with comparatively inferior economic conditions.[8] Take the 13 Street area as an example, the inhabitants are mainly garage workers, local diners “cha chaan teng” workers, ethnic minorities, and also the ageing population.[9] They have distinctive social backgrounds contributing to an interesting combination as a community.

Although having very limited financial resources, the people here managed to create a self-sustainable micro-economy to support each other. The cha chaan teng serves the ga-

rage workers and the ethnic minorities work in stores that serve the community, etc.[10] It is a harmonious neighbourhood with diverse cultural background. Over the years, people here have developed their unique characters and identities. The close connection between people is the main reason why the decrepit 13 Street area is still running till now.

[11] However, this may not continue for long.

Community-based Redevelopment— Achieving Social Modernization As buildings start to age and structures start to weaken, it is dangerous for the inhabitants which may pose a threat to their safety. In fact, in January 2010, a building in Ma Tau Wai collapsed, causing severe casualties.[12] That was a wakeup call and the Urban Renewal Authority (URA) began their inspection in the district and believed it is necessary to redevelop and renovate the district urgently. Ever since then, the government has been planning for the wholescale redevelopment in To

Kwa Wan. With the rise of the MTR station, various redevelopment proposals are further consolidated and the housing prices naturally began to skyrocket. Yet, there are no signs of any public housing planning in the redevelopment project.[13] This may be good news for the real estate agencies but this also poses a serious challenge for the local community as the grassroot living under the poverty line can barely afford their rent in the past, let alone the price of new private housing after the redevelopment is finished. Worse still, it will come with a hefty price tag for the government to resettle everyone.[14] So, To Kwa Wan citizens will have no choice but to leave.

Rapid transformation of the people can be expected with younger and wealthier class moving in, while the working class, ethnic minorities, older generation will cease to exist in this new, “modernized” To Kwa Wan. This will not only break the existing community but also result in the loss of local identity and culture that have been rooted for decades. This in itself can be seen as a kind of class racism[15],

favouring the rich who can afford the property price while exploiting the poor who can barely afford their daily necessities. They will have no choice but to leave the area, searching for worse yet more affordable places to live in.

The most fundamental problem reflected in the redevelopment proposals is that the urban planning has no relation to the local community. As a process of social modernization, it is not merely about the physical upgrades of buildings nor aesthetics but the total improvement of living environment and urban form. Urban planning should be based on the needs of the people and architecture should be the means to achieve the social mission of egalitarianism, equality.[16] Looking back at the To Kwa Wan citizens’ living conditions, some of them in the extreme cases, live in rooftop slums with only a few pieces of rusty metal as shelters, suffering from rain and hygiene problems, lacking the basic drainage and sanitation facilities.[17] Regarding such situations, the government and URA should renovate the

district to provide better living or working environment for the community, rather than creating a higher-end residential area bonded to unreachable housing prices that force the people to move away, which is socially unmodern.

Cattle Depot Artist Village—Future Urban Planning Reference As a Grade II Historical Heritage and one of the most popular tourist spots in To Kwa Wan, the Cattle Depot Artist Village can perhaps act as a reference project and provide insights for future urban planning directions. Originally a cattle slaughterhouse, it was closed in 1999 due to citizens’ hygienic concerns and was then revitalised in 2001.

[18] The site was transformed into studios and office spaces and were leased to artists and art groups at a cheap rental rate, so that they have a place to sleep and work on their arts simultaneously. Artists came in as an organic process to slowly form an art group and community without much government in-

tervention. Each of them act as an individual unit generating a cumulative growth of the village.[19] This pattern is relatable to the concept of Group Form by Fumihiko Maki in the manifesto of metabolism, which also emphasizes on the order and organic growth of a city arose from smaller and individual elements as a collective form.[20] This dynamic growth of the village can also benef the adjacent sites, especially the 13 Street area.

Indeed, the artist village is still a prototype and an experimental form of urban living mode combining working and residential purposes. Still, it is truly a successful redevelopment project with the active rehabilitation of the architecture and the existing structure in the building complex while preserving its historical and cultural significance.[21] In addition, the artist village has a huge impact on promoting HK contemporary art and it has the potential to become an art and cultural landmark. The expansion of the artist village could set a completely new direction for the

future redevelopment of To Kwa Wan. By expanding the village and promoting this new form of urban planning, more job opportunities as well as more affordable living spaces could be provided for the community, which expands the coverage of different social groups in the area. Apart from the artist group, now even the grassroot working class and ethnic minorities have the necessary assistance to continue their business and work in the neighbourhood. This is not only beneficial for the enhancement of social inclusion but also the raise of cultural and artistic values in the neighbourhood. As a potential cultural landmark, To Kwa Wan can consequently attract more outsiders and tourists to visit and participate in the community, further fostering cultural and social connection.[22] Conclusion In conclusion, it is understandable that an ageing district like To Kwa Wan requires redevelopment. Yet, proper community-based

urban planning is also necessary to preserve the local characters and values. Otherwise, To Kwa Wan will also lose its identity through gentrification and it will soon be unrecognisable. The focus and target groups of the district redevelopment should be more comprehensive, covering all social groups with different origins, occupations and financial ability, protecting the community and their traditions and social activities rooted for decades as they are equally significant as other intangible cultural heritage. Social inclusion and connection should be enhanced by developing a dynamic and flexible urban system rather than the exclusion of grassroot people with pre-set conditions and economic barriers. As an ultimate goal, the redevelopment of To Kwa Wan should aim for the total improvement of the community and achieve social modernisation.

13 Street with garage workers and ethnic minorities Image Source: Photo Taken by Author

Notes

1. “Focus on finding space to make old areas more liveable Recreation areas a pressing issue in To Kwa Wan.” South China Morning Post, May 05, 2009.

2. Hillary, Leung. “As Redevelopment Looms, Hong Kong’s to Kwa Wan Neighborhood Counts down the Days.” 2021.

3. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. Architectural Cultural Heritage Center, n.d..

4. Farmer, Hugh. “To Kwa Wan Quarry c1841 and 1944.” 2015.

5. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. Architectural Cultural Heritage Center, n.d..

6. Janice, Chen.

“Neighbourhood Guide: A Sense of Community in to Kwa Wan.” 2018.

7. Jennifer Ngo. “To Kwa Wan: Rundown but in high spirits.” South China Morning Post, August 10, 2012 8. Varsity. “Video: Where will they go? To Kwa Wan’s unique culture threatened by redevelopment.”

Hong Kong Free Press, January 15, 2017.

9. “Small Industries and Community in To Kwan Wan.” Hong Kong Memory.

10. Varsity. “Video: Where will they go? To Kwa Wan’s unique culture threatened by redevelopment.”

Hong Kong Free Press, January 15, 2017.

11. Lam, Billy. “An Urban Transformation in To Kwa Wan.” 2004.

12. Architectural Services Department. “Heritage Impact Assessment for Rear Portion of the Cat-

tle Depot.” AGC Design LTD, September, 2015.

13. Yoyo Chow.

“Goodbye, To Kwa Wan.” The Young Reporter, June 01, 2019.

14. Cathy Adams. “The Story of Hong Kong’s Cattle Depot Artist Village.” Cathay Pacific, March 09, 2018.

15. Serhat Karakayali, “Colonial Modern: Aesthetics of the Past, Rebellions for the Future.” Black Dog Publishing, 2010.

16. Kevin Bone, “Lessons from Modernism: Environmental Design Strategies in Architecture 1925-1970.” The Monacelli Press, 2013.

17. Varsity. “Video: Where will they go? To Kwa Wan’s unique culture threatened by redevelopment.”

Hong Kong Free Press, January 15, 2017.

18. Architectural Services Department. “Heritage Impact Assessment for Rear Portion of the Cattle Depot.” AGC Design LTD, September, 2015.

19. Anita, Milaković, Nevena, Novaković, and Aleksandra, Djukic. “Group form reconsidered: Physicality and humanity of collective spaces.”

FACTA UNIVERSITATIS, December 19, 2019.

20. Zhongjie Lin, “Metabolist Utopias and Their Global Influence: Three Paradigms of Urbanism.” SAGE Journal of Urban History, 2016.

21. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. Architectural Cultural Heritage Center, n.d..

22. Kwok, Wai Man. “Future Heritage: To Kwa Wan Development After the Removal of Airport.” Chinese University of Hong Kong.

“EVOLUTION OF BUILDING CODES AND ITS SIGNIFICANCE TO SUSTAINABILITY” Ivan Ardian, Santoso

In the current times, the widespread occurrence of promoting sustainability in district developments is the biggest it has ever been.

This adaptive reuse of heritage buildings was a new approach in developing a cluster that could provide added value to the site. However, both the site’s historical significance and practical use were underestimated. There is a pattern of exclusivity seen in promoting sustainability in the developments of To Kwa Wan. The adaptive reuse of most architectural components leftover from the industrial

period into various cultural, commercial, creative milieu, and residential applications meets current requirements without jeopardizing future generations’ capacity to satisfy theirs.

However, existing guide maps and walking tours mentioned materials and sustainability in the environment of To Kwa Wan in a very exclusive and isolated manner, neglecting connections between buildings and sites.

This essay will first focus on the developments of To Kwa Wan in the last century through a lens of sustainability, followed by discussing the evolution of local building codes and its impact on the change of approach in sustainability implemented in To Kwa Wan. The essay will then address existing approaches in sustaining a healthy environment in To Kwa Wan before finally discussing the effectiveness of current development plans.

Buildings can offer a pleasant and secure living environment. However, in Hong Kong, it is relatively usual to come across some decaying structures, notably in old districts like

To Kwa Wan [1]. These structures frequently do not have a repair and maintenance fund to provide routine management and appropriate preservation [2]. Inability to uphold and restore facilities regularly may harm inhabitants and public safety and lower property values. Because there is a connection between the living environment and the residents’ health [3], fixing this long-standing problem should be a top priority.

Site planning is the most minor scale in terms of urban growth and sustainability. According to Lynch (1971), site planning entails: The art of structuring the external physical environment to facilitate human activity is known as site planning [4]. At the neighborhood scale, the sustainability concern stresses “design with nature,” which poses several challenges in sustainable site design, such as how development affects the landscape, how it drives community engagement, and how it affects inhabitants’ everyday life [5]. The Cattle Depot, on the other hand, was unable to main-

tain the artistic spirit or community that had been established and was widely criticized for lacking vitality and providing a meager income due to its low utilization rate and rejection [6]. After WWII, many immigrants flocked into Hong Kong, and To Kwa Wan blossomed into a thriving area due to the city’s substantial economic and industrial expansion. Tenement residences were erected along the way to fulfill the increased demand for housing [7].

Many factories were built at this time. On Ma Tau Kok Road, the large-scale Ma Tau Kok Gas Plant was erected in 1953, marking the beginning of To Kwa Wan’sWan’s industrialization [8].

As the economy developed, the neighborhood morphed into a mix of housing and industrial areas. The area’s core industries were light manufacturing, such as plastics, silk screen printing, and textiles. To Kwa Wan’sWan’s industrial period faded as a large number of textile and plastic industries closed in the 1980s, and it became an old neighborhood with an aging society. [9]

The well-known’ 13’13 Streets,” which consists of low-cost housing built between 1958 and 1961, is located just across the Cattle Depot. Building height was restricted in To Kwa Wan neighborhood due to the closeness to the former Kai Tak Airport in Kowloon City; structures developed in the 1960s were only allowed up to 5 to 7 stories. [10] The placement of these dwellings next to each other, sharing the load-carrying structure to form apartment blocks, results in high densities. The municipal effect of such structures can still be observed along numerous streets with building construction, with its five-meter sections of the former façade. [11] At the moment, modest shops, local stores, and over 200 vehicle repair facilities may be found at the base of the residential blocks.

Despite the fact that the Cattle Depot Artist Village was in a far better position than the last public slaughterhouse, which had

unpleasant smells and deafening noises, [12] the artist village had not developed a close relationship with the nearby neighborhood.

The first method of regulation, implemented in the late 1990s, focuses on basic safety precautions, such as the building code and the lease, which are used to divide buildings and regulate urban expansion. [13] The lack of a long-term development strategy for Cattle Depot’sDepot’s distinctive typology is a significant source of worry for creative practitioners. Clearly, the Hong Kong government had no clear strategy for Cattle Depot’sDepot’s future. [14] Buildings must comply with an innovative mold put out by the building code in order to maximize the developable capacity of the floor area. As a result of this building regulation, there are patterns in buildings’ outward shape and floor layouts. [15] Despite the fact that the government invested a significant amount of money in refurbishing the property, the amenities seemed inadequate for a local creative center. There were

only about 20 conventional apartments available for creative professionals [16]; thus, accommodation was scarce for them. With such a small number of units, a robust art scene is unlikely. Kong (2012) went on to point up several practical issues with utilizing the historic buildings as a creative environment. To properly utilize the facility, tenants had to make several changes. [17] In 1856, the Hong Kong government adopted the first legislation to address the health and safety issues linked with such crowded urban living. After that, the Code was revised multiple times. Building height was limited to 76 feet by the 1889 Buildings Ordinance. [18] Through an alteration to the Building Code in 1969, a new proposal on building shape known as the “Street shadow area” was implemented. By projecting the structure onto the road as if it were a 76-degree sun, the ratio “F x W/2” was the restriction towards the street shadow of a structure.

[19] It is evident how changing building codes really impacted society and subconsciously impacted how sustainability was approached.

The regulation over structural form through the building regulation has been discovered to be noticeable and apparent to create physical architectural features that have been distinguishable of particular time and place by revealing the specific building codes at various times and mapping them with the suitable building structures at that time. [20] Because Cattle Depot is geographically immersed in the local society, it has a distinct spatial dimension that distinguishes it from other cultural and creative clusters in Hong Kong.

The government’s desire to stimulate the creative industries and transform the architectural heritage into a new creative industries hub can be seen in the significant funds set aside for redevelopment [21]. Preservations of old features from the industrial era are evident throughout To Kwa Wan, especially inside the Cattle Depot. Numerous materials from the old slaughterhouse have been adapted into its new purpose in the artists’ house, keeping the architectural elements. There are granite

corbels in the main entrance, the metal brackets that support the wide eaves, as well as the double-roll Chinese tiled roof, protecting the interior from heat. The complex is mainly constructed of red brick, some walls already adopting the edged bricks motifs. Granite is probably used a lot here to cope with erosion and weathering. One exciting aspect of the architectural features worth mentioning is the Dutch Gable; a wall made up of one or more corves with a pediment at the top. This particular feature is also found in other public buildings such as the Old Tai Po Police Station, constructed around the same time [22]. Some metal rings and metal chains for securing the cattle are also kept, installed at the base of the old water trenches for securing cattle.

This old property was repurposed to give a new venue for modern art. Low rents, spacious indoor and external areas, and a sense of community are perfect conditions for engaging in creative endeavors. [23]. A lot of illegal structures can also be seen around the “13 Streets” area, most likely due to unresolved

regulations with little observations. These illegal structures cause the district to be dirty and lose attractiveness to visitors and potential residents. For the sake of hazard mitigation, development was severely limited, negatively impacting foot traffic around the site.

[24] The disadvantages of the geographical position and the absence of relevant infrastructure may make it extremely difficult to create a creative environment in this creative hub.

To summarize, no matter how hard we strive to conserve To Kwa Wan, our desire for advancement, if left uncontrolled, might ultimately ignore any environmental repercussions on the area, particularly in terms of its financial and material sustainability. While the Hong Kong government is now attempting to improve the standard of living in the city by encouraging more urban greenery and trying to maximize sustainable possibilities during the planning of infrastructure improvements, government actions concerning heritage are being scrutinized more closely by heritage-conscious cit-

izens and better-organized heritage groups, [25] which may be more interested about other areas than To Kwa Wan. Periodic inspection should be carried out to alleviate any issues discovered before they worsen, hence extending the service duration. [26] Following the completion of the preservation projects, ongoing care is required to preserve the historical fabric in excellent condition.

Cattle Depot Artist Village across 13 Streets Image Source: Photo Taken by Author

Mau Tau Kok Gas Plant, seen from inside Cattle Depot Artist Village Image Source: Photo Taken by Author

Notes

1. Choi, N. Y. “Evaluating the feasibility of implementing the mandatory building inspection scheme (MBIS) in Hong Kong.” the degree of Bachelor of Science (Honours) in Surveying, The Hong Kong Polytechnic University, Hong KongApril (2008).

2. Chan, J. K. 2000. Maintenance and Repairs of Old Buildings, Surveyors Times 9: 4-7. www.scopus.com.

3. Schmitt, R. C., L. Y. S. Zane, and S. Nishi. 1978. “Density, Health, and Social Disorganization Revisited.” Journal of the American Planning Association 44 (2): 209-211. doi:10.1080/01944367808976894. www.scopus.com.

4. Lynch, Kevin, Kevin R. Lynch, and Gary Hack.

Site planning.

MIT press, 1984.

5. Wheeler, Stephen.

Planning for sustainability: creating livable, equitable and ecological communities.

Routledge, 2013.

6. Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

7. Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

8. Ho, Puay-peng, Ka Yu Lo Henry, Wan Yee Ng Wendy, and Sze Man Lam Heidi. Rep. Historical Cum Social Study on Kowloon City District in Connection with Kai Tak Area. p76, Architectural Cultural Heritage Center, n.d..

9. Tsang, Ka Man. “The Making of Sustainable Cultural and

10.

11.

12.

13.

14.

15.

16.

17.

Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Wong, Wah. (2016). Effects of the Building Code on Construction and Design of Hong Kong Residential Buildings in the Colony. MATEC Web of Conferences. 68. 13006. 10.1051/matecconf/20166813006.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Wong, Wah. (2016). Effects of the Building Code on Construction and Design of Hong Kong Residential Buildings in the Colony. MATEC Web of Conferences. 68. 13006. 10.1051/matecconf/20166813006.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Wong, Wah. (2016). Effects of the Building Code on Construction and Design of Hong Kong Residential Buildings in the Colony. MATEC Web of Conferences. 68. 13006. 10.1051/matecconf/20166813006.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Kong, L. (2012a). Improbable art: The crea-

18.

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tive economy and sustainable cluster development in a Hong Kong industrial district. Eurasian Geography and Economics, 53(2), 182–196.)

Ordinance for Buildings and Nuisance in Hong Kong Gazette Note 12 of 1856 The Buildings (Amendments) Regulations in the Hong Kong Government Gazette (1969) Wong, Wah. (2016). Effects of the Building Code on Construction and Design of Hong Kong Residential Buildings in the Colony. MATEC Web of Conferences. 68. 13006. 10.1051/matecconf/20166813006.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Hub, Green. “Consultancy For Heritage Impact Assessment For Revitalization Of Old Tai Po Police Station, Tai Po Into.” (2011).

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Tsang, Ka Man. “The Making of Sustainable Cultural and Creative Clusters in Hong Kong.” PolyU Electronic Theses: Home. Hong Kong Polytechnic University, December 5, 2018. https://theses.lib.polyu.edu.hk/handle/200/9627.

Ocón, David. 2018. “The Heritage-Making Conundrum in Asian Cities: Real, Transformed and Imagined Legacies”.

ETropic: Electronic Journal of Studies in the Tropics 17 (1). https://doi.org/10.25120/etropic.17.1.2018.3644.

Architectural Services Department. “Heritage Impact Assessment.” Revitalisation of the Rear Por-

tion of the Cattle Depot at To Kwa Wan, Kowloon, Hong Kong. Accessed December 22, 2021. https://www.amo.gov.hk/en/hia_02.php.

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