由呢到去到果到(從這裡到那裡）：重塑香港電車走過的築蹟

從這裡到那裡：重塑香港電車走過的築蹟

由呢到去到果到

Remoulding The Traces Of Hong Kong's Tram Wheels

“DING DING”GETTING FROM HERE TO THERE

由呢到去到果到

由呢到去到果到：重塑香港電車走過的築蹟從這裡到那裡：重塑香港電車走過的築蹟

3 CENTS ADULT

憑此票乘搭

各個有關連的地圖疊加在未來的地圖上，再以叮 叮車作為存放記憶載體，透過自身的記憶和感情重新 篩選跟重組這些堆疊的紋理，重構一個游離於過去跟 未來，真實與虛構之間，而且不但橫跨各個地區，還可 以跨越時間和空間的場域（街道），重新探討假如再一次 ，我們會選擇什麼保留下來延續到未來，他們會以什麼 樣的形式/角色與未來社會共存著，重新找到建築存 在的價

始研究叮叮車跟海岸線與都市變遷的關係。在實 地考察中，坐在叮叮車上，感覺彷如叮叮車本身在 城市中的存在一樣，誇越了119年的時和空間，從 窗戶往外看，沿途看到的建築，他們不只保留著不 同時代的歷史紋理與脈絡，同時也殘留著不同的場 域痕跡與集體記憶，隨著城市變遷，這些疊加在一起的痕跡，有些不免會被消逝或被遺忘。

希望以叮叮車的軌跡為基準點，將19到21世紀

Studying the Relationship Between Hong Kong Trams and the City

的紋理與獨特性。

圍繞著叮叮車軌跡，從重繪城市的空間圖，開

以及跟社會建立新的關係，構建城市屬於香港

Surrounding the tram tracks, the research begins by mapping the city's spatial layout and studying the relationship between trams, the coastline, and urban transformation. During on-site investigations, sitting on the tram, one feels as if the tram itself exists within the city, transcending 119 years of time and space. Looking out of the window, the buildings along the route not only retain the historical textures and context of di erent eras but also bear traces of di erent sites and collective memories. With urban development, these overlapping traces may inevitably disappear or be forgotten

Constructing Hong Kong's Unique Urban Texture

We hope to use the tram tracks as a reference point and overlay maps from the 19th to the 21st century onto future maps. Using the tram as a vessel of memory, we aim to reevaluate and reorganize the layered textures through our own memories and emotions. By reconstructing a space that transcends the past and the future, reality and ction, and not only spans di erent areas but also transcends time and space (streets), we can explore once again what we would choose to preserve and carry forward into the future, in what form/role they would coexist with future society, and rediscover the value of architectural existence and establish new relationships with society. This process aims to construct the unique texture and distinctiveness of the city belonging to Hong Kong.

“DING DING”GETTING FROM HERE TO THERE

Remoulding The Traces Of Hong Kong's Tram Wheels

壹.研究香港電車與都市的關係貳.構築屬於香港獨特的都市紋理

THE MAP OF HK TRAMS AND UBAN ARCHITECTURE

香港叮叮車所走過的軌跡見證了很多香 港這個地方很多的在與不在。這張地圖疊 加著從過去到現在以及到未來的香港，在 城市中，有些不曾曾存在過的，但印證了 這 座城市的聚變；有些曾經存在過的，但 敵 不過時代巨輪的輾壓，還是隨著各種因 素 而消失；有些可能會存在，但因應各種 的聲音或阻礙，而沒辦法落實。 坐在叮叮上，以每小時45公里的速度，放 慢回看這座城市，彷彿看到這座城市的 「人生 馬燈」，在某瞬間發現它的消逝， 能辨識自己所認知的那座城市的事物越來越 少，突然有種微妙的陌生感，從昔日到現在 ；從那時候的那 ，到現在的這 ，時間跟 空間開始亂序了，我們的下一站到底是 ？

The tracks traversed by Hong Kong trams have witnessed the presence and absence of many aspects of this place. This layered map encompasses Hong Kong from the past to the present and extends into the future. In the city, some elements never existed before but validate the city's transformation. Some existed in the past but succumbed to the overwhelming forces of time and various factors. Some may exist in the future but face challenges and obstacles that hinder their realization.

Sitting on the tram, moving at a speed of 45 kilometers per hour, one can slow down and look back at the city. It feels as if witnessing the "carousel of life" of the city, and in a eeting moment, realizing its ephemeral nature. The recognition of familiar aspects of the city diminishes, and there's a sudden subtle sense of unfamiliarity from the past to the present. Time and space have become disordered, and we wonder where our next destination will be.

之所以開始這個題目，是因為在我18歲暫時離開了香 港，來到台灣生活，後來2019年遇上疫情，接近五年沒 回去家 ，到2023年回去，我事隔多年再次坐上叮 叮車，那種感覺讓我想到一部1987香港電影《 脂扣》

The reason I started this project is because temporarily left Hong Kong at the age of 18 and came to live in Taiwan. In 2019, we encountered the covid-19, and I hadn't returned home for nearly ve years. Until 2023, went back and a chance sitting on the 'DING DING' again,I witnessing many things and that feeling reminded me of a 1987 Hong Kong lm called "Rouge."

Our city has experienced several years of uctuations,when saw the buildings that carry a sense of di erent eras and hear a mix of languages in the environment, there is a strong faint sense of being lost and worried However, we are not as fortunate as the main character in the movie. What we may face together is the potential of losing our 'DING DING' WW, which remains as a scarce carrier of cultural memory.

從叮叮往外看 於2022-2023年拍攝

那一年正正是宣布1997年香港會歸還給中國 ，並且對香港實施一國兩制的政治原則，

承諾50年不變

那部電影 所架構了一個1930到1980年

香港地景的變遷和對照，

比如風月場所倚紅樓已成幼稚園、

太平戲院則變成7-11等

主角來自30代的女鬼梅艷坊再次回到80代的香港 所感受到的在與不在，

以及對於這50年都市建築風貌快速的變動

感到的迷惘與恐懼 其實隱隱約約的在滲透出某種質疑， 真的會50年不變嗎?

顯然不是，

唯一能讓女鬼跟現代都市連接的就只有叮叮車

今年是回歸第25年，這座城市經歷了幾年的波動，環繞著

具時代 感的建築物，聽著環境中混雜的語言，心中隱隱 約約浮現出迷失，擔憂的情緒，但我們沒有 電影中女鬼 那麼幸運，我們同時會面臨的可能 是失去這個所剩無幾 的文化記憶載體 叮叮車。

Our city has experienced several years of uctuations,when I saw the buildings that carry a sense of di erent eras and hear a mix of languages in the environment, there is a strong faint sense of being lost and worried However, we are not as fortunate as the main character in the movie. What we may face together is the potential of losing our 'DING DING' WW, which remains as a scarce carrier of cultural memory.

WHAT HAVE WE MISSED?

當招牌，繁體字，霓虹燈，廣東話，叮叮車.....

隨著時間，時代消失，我們剩下什麼？

As time and eras pass, what do we have left when signage, traditional Chinese characters,neon lights, Cantonese, and trams disappear?

香港叮叮車在1904年開始為香港島這座島 嶼服務，而最具紀念性的就是這台「120」號 電車，目前在香港只剩一台，車身全部菜用木製， 而最具歷史價 值 和意義的是，車廂所用的顏色 「墨綠色」

The Hong Kong tram, commonly known as the "Ding Ding," began serving the island of Hong Kong in 1904. The most iconic tram is the "Number 120," which is the last remaining tram of its kind in Hong Kong. Its body is entirely made of wood. The color associated with the tram car, which holds signi cant historical value and meaning, is "dark green" or "emerald green.

因為當時要準備打仗，工廠囤積了大量戰 爭需要用上墨綠色。在戰後50、60年代，香 港沒有條件發展消費式經濟，所以政府管 理的公共設施需以經濟為原則，就選用最 便宜 油漆也就是戰時用剩的顏色

During that time, as preparations for war were underway, factories stockpiled a large amount of paint in the color of dark green, which was needed for wartime purposes. In the post-war 1950s and 1960s, Hong Kong did not have the conditions to develop a consumer-based economy. As a result, the government had to prioritize economic considerations when managing public facilities. They opted for the most a ordable paint available, which happened to be the leftover wartime colors, including dark green. This choice was made to ensure cost-e ectiveness and practicality.

資訊來源：1903電車地圖及現時電車路線圖

叮叮在香港街道上，彷如一座 會移動的建築， 它高 4 米 9， 2米，車身長8米9，穿越 街道， 跟大大小小的招牌和陽 台擦身而過，無形之中， 有種 曖昧又緊張的刺激感。

"Ding Dings," resemble moving buildings on the streets. With a height of 4.9 meters and a width of 2 meters, their body length spans 8.9 meters. As they traverse the streets, they brush past signs and balconies of various sizes, creating an intangible yet exhilarating sense of ambiguity and tension.

資訊來源：香港地政總處2017年地形圖

HONG KONG ISLAND

九龍半島KOWLOON PENINSULA

軌道寛 106 CM

wESTBOUND

時速45KM/HRS 叮叮車路軌全程全29.5公里， 以每小時45公里行駛，軌道 106公分，主要在香港島 東西兩側來回行走，途中經過 多座具代表性的建築物。

The tram tracks cover a total distance of 29.5 kilometers, and the trams travel at a speed of 45 kilometers per hour. The track width is 106 centimeters.The trams primarily operate on both the eastern and western sides of Hong Kong Island, shuttling back and forth. Along the way, they pass by numerous iconic buildings that represent the city's character and heritage.

FROM THE SEASIDE TO THE "CONCRETE JUNGLE"

從海邊 到「石屎森林 ｣

在英治時期，英國人跟少部分外國商人都 居住在維多利亞城，因此至今香港島一帶都 留下了很多英式建築，到後面則出現了中英 混合的建築樣式，例如：和昌大押

During the British colonial period, British residents and a small number of foreign merchants lived in Victoria City, which is why there are still many British-style buildings in the Hong Kong Island area today. As time went on, a blend of Chinese and British architectural styles emerged. One example is the Woo Cheong Pawn Shop, which showcases a mix of Chinese and British architectural elements.

1841-1898

MAP OF VICTORIA CITY 維多利亞城地圖

1930年代香港電車途徑灣仔風景，乘客在電車上可觀海

街道剖面圖

WHEN THE TRAM ENCOUNTERS A PEDESTRIAN FOOTBRIDGE

另外，我認為叮叮車跟橋的關 係是最 迷人，一搬橋高 5 米 4，叮叮車的高 度 4 米 9 ，無論是 站在橋上或是坐 在叮叮車上，那種若即若離的感覺，

既緊張 又曖昧，我覺得這體驗必須被

強調並且保留 ，所以我在研究時把叮

叮會經過的橋的位置都紀錄下來。

Additionally, nd the relationship between the tram and bridges to be the most fascinating. On one hand, the bridges stand at a height of 5.4 meters, while the tram has a height of 4.9 meters. Whether standing on the bridge or sitting on the tram, there is a sense of proximity and distance, creating a tense yet ambiguous feeling. I believe this experience must be emphasized and preserved. So, during my research, I documented the locations of the bridges that the tram passes through

於銅鑼灣怡和街圓環天橋拍攝，目的想捕捉 叮叮穿越人行天橋時的距離和畫面

would like to capture the distance and composition of trams crossing the pedestrian bridge at the roundabout on Yee Wo Street in Causeway Bay

「香港街」 2047開幕

再 我們的香港 現 現

重述香港時代故事的街道

街道原貌 2023

留著屬於我們的香港

，過去，現實跟未來疊加，跟交錯，同時 壓縮在一個空間裡。並且試圖從新敘說 屬於我記憶中的時代故事。

著大大小小的城市故事與歷史痕跡。

The site extends from the former Empire Theatre, located between Queen's Road and Power Plant Street. The Empire Theatre itself was built in 1953 and, like the tram, has witnessed the presence and absence of di erent eras in Hong Kong, leaving imprints of various urban stories and historical traces.

候到甚麼時候 ?我想把，這種 虛跟實

穿越橋本身一個時間跟空間的過 度，當 中

基地是從皇都戲院延伸，介於英皇道 和電廠

街中間，皇都戲院本身建於

在。像是回到過去，卻又

Furthermore, I have constructed three bridges on the street because crossing a bridge represents a transition of time and space, making one aware of di erent states of existence. It feels like going back to the past, yet it is also the future. So, where does one go from and to? When does one arrive? intend to overlay and intertwine this mixture of reality and illusion, the past, the present, and the future, compressing them into a single space. Moreover, attempt to retell an era's story that belongs to my memories.

是未來，所以是從 ，甚麼時

陪伴叮叮走過半世紀 印證港產片輝煌時期

即日 TODAY 放映

昔日 FORMERLY 放映

只剩軀殼 保留全球獨一無二的「飛拱」桁架

跟叮叮車一樣，皇都戲院一直備受爭議，隨時面臨被清拆的危 機於2020年，建商宣 擬定重構表演藝術場地，但只留整個戲院 建築以及復修天台俗的「飛拱」桁架結構。換句話說，我們能留下 來的只剩軀殼，裡面的時代故事以及不同年代的集體生活記憶還 是逃不過被 坑的命運

但幸運的是他還是以某種行事下繼續跟行的時代的社會並存著， 即將於2026年重新開幕，為香港寫下行的時代故事，拼湊著新的 生活紋理

Similar to the trams, Emperor Theatre has been embroiled in controversy and constantly faces the threat of demolition. In 2020, the developers announced plans to redevelop the site into a performing arts venue, preserving only the entire theater building and restoring the iconic " ying arch" truss structure on the rooftop. In other words, what remains is just the shell, while the stories of di erent eras and collective memories of past lives within its walls are destined to be lost.

Fortunately, it will continue to exist in some capacity alongside the changing times. It is set to reopen in 2026, weaving together new layers of life and contributing to the ongoing narrative of Hong Kong's history, creating a tapestry of fresh urban texture.

第一站 FIRST STATION

這條街道像電影場景一樣，是叮叮 車陪伴香港 119 年的縮影，街道從 窄到 ，從從前到未來，從海邊到 「石屎森林」...... 我嘗試加入香港不同風格建築元素， 並且以叮叮車的尺度開始構 想，試圖 為三座橋設定不同的角色。

This street, like a movie scene, is a condensed representation of the 119- year companionship between the tram and Hong Kong. The street transitions from narrow to wide, from the past to the future, from the seaside to the 'concrete jungle.' Additionally, I am attempting to incorporate architectural elements from di erent eras in Hong Kong and envisioning it starting from the scale of the tram.

從第一座形式像牌樓的橋進 去，粗獷式的外型希望建構一 個空間時間跟氛圍轉換的過渡 點。

在英國殖民時期，不同地方的 交 界或在大型慶典時，都會建一 個牌樓，因為當時是英治政府，牌 樓的立面不是傳統大 所認知 的中國式建築，是中英文化混雜

的樣式，所以它彰顯的時間線跟

空 間感知是疊加更印證了兩個

政 權交替的香港 因此，在這條街道的入口中，我

所設計的牌樓立面同樣也希望

藉由不同時期的建築元素 模糊 時間線跟削弱人的空間感知， 預告即將進入不一樣的場 域

Entering through the rst bridge shaped like a traditional Chinese arch, the rugged exterior aims to create a transitional point where space, time, and atmosphere intertwine.

During the British colonial era, gateways or arches were erected at the borders of di erent regions or during grand celebrations. As Hong Kong was under British governance, the facades of these arches di ered from the traditional Chinese architectural style and showcased a fusion of Chinese and British in uences. The overlapping timeline and spatial perception of these arches a rmed the alternating reigns of the two powers in Hong Kong.

Therefore, at the entrance of this street, the design of the arch facade aims to blur the timeline with di erent architectural elements and diminish the observer's sense of space, hinting at the forthcoming entrance into a distinct realm.

The second structure is envisioned as a bridge-shaped station located in the middle of the street, designed with the majority of its structure exposed to echo the arched truss of the Emperor Theatre.

Furthermore, the two intersecting pedestrian bridges connect Electric Road and King's Road, rede ning the previously indeterminate blurred zone.

In addition to that, the structure incorporates Hong Kong's urban features such as neon lights and clock towers. The exposed structure allows for the neon lights to be modi ed or adjusted according to the changing times. It is hoped that this structure can continuously transform and coexist with future society in new forms and roles, adapting to the ever-changing time and space.

最後第三座橋，為街道的出口 外型具未來感，牆面高五米，前

半段長 1米6 ，它橋坐落於香港 島最原始的海岸線上，所以在設 計的設定中，當叮叮車穿過橋，

會像時光倒流一樣回到從前的

維多利亞港上 所以在橋中我希望透過時間

和空間的轉換，從入口的轉彎再

到出口總共需要6到8分鐘，從

闊的街道，到狹窄的牆面，從

高樓大廈到海岸上，整個過程 刻意的營造出一種未知的緊張 感。 而紅白色除了彰顯未來感，同 時也象徵香港一國兩制得政治 原則。

he nal third bridge, serving as the street's exit, has a futuristic appearance. Its walls are ve meters high, and the front half is 1.6 meters long. The bridge is located on the original coastline of Hong Kong Island. Therefore, in the design concept, when the tram passes through the bridge, it feels like a journey back in time to the former Victoria Harbour.

Thus, within the bridge, I hope to create a sense of tension through the transformation of time and space. It takes a total of 6 to 8 minutes from the entrance, through twists and turns, to reach the exit. The transition goes from a wide street to narrow walls, from tall buildings to the coast. The entire process deliberately cultivates an atmosphere of the unknown.

The choice of red and white colors not only accentuates the futuristic feel but also symbolizes the "One Country, Two Systems" political principle in Hong Kong.

進入街道後所看得的，體驗到的，像是回到過去，卻又是未來， 所以是從 裡到 �� ，甚麼時候到甚麼時候 ？我想把，這種虛 跟實，過去，現實跟未來疊加，跟交錯壓縮在一起，看起來想是在 香港，卻又不像在香港。

Upon entering the street, the experience feels like a journey to the past, yet it is also the future. So, where does it start and end? When does it take place? I aim to create a fusion of the virtual and the real, intertwining the past, present reality, and future. It appears to be in Hong Kong, but at the same time, it doesn't quite feel like Hong Kong.