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.