PROFILE of LAM HIU CHING ,ARCHIE 林曉澄

PORT FOLIO

2018 2023

SHIH CHEIN UNIVERSITY

林曉澄

ARCHI TEC TURE

LAM HIU CHING

CONT ENTS

ACADEMIC

01 MATAMORPHOSIS 2018 • AUTUMN-SPRING Yen Chung Hsien

02 R • EVOLVE 2019 • AUTUMN Shen Ting Tseng

03 JIA JUN SALON 2020 • SPRING Lu Zhao Min

04 HOUSE IN YOKOHAMA 2020 • AUTUMN Chi Jr Gang

05 FLOATING GALLERY 2021 • SPRING Lin Bo Yang

06 BRIDGE HOUSE 2021 • AUTUMN Thomas Han Yong Kyong

07 IN THE MOOD OF SIGN 2022 • Spring Wang Yu Hsiang Studio MSA

08 YAU4 NI1 DOU6 HEUI3 DOU3 GWO2 DOU2 2022 • AUTUMN Chi Jr Gang

MATAMORPHOSIS OSIS 2018 • AUTUMN-SPRING Instructor •Yen Chung Hsien

REORGANIZATION OF LIMBS

1. Disassembly and exploration Using wool and cowhide as the main materials, trying to weave new limbs, The process is like dismantling your own body, Such as face, arms, shoulders, palms, etc., come out one by one, Put the stump back together again, form my second body.

Use Kitting Yarn

Reassemble

Building A New Limbs Rebuild A New Self

SIZE 50 x 70 MEDIA Knitting Wool Hemp Rope

01

Like A New Organ Cling To The Body

REASSIGNMENT SURGERY Hidden Ravelling

Bondage

Pull

SIZE

50 x 100

MEDIA Leather Needle and Thread

2. Remodeling During the restructuring process, Constantly modeling my body, somewhat close to reality, But sometimes it seems to continue weaving in order to get closer to an idealized but unreal state (series) , the completed second body, It somehow highlights my second personality, subconscious or ideal self, So he's based on an ideal look that's almost reshaped from reality.

02

PULL

SIZE 60 X 70 MEDIA Needle and Thread

Suspend the body in mid-air for 2 minutes with knitted wood as the medium

03

HAIR PROJECT

3. Hanging braids Also use wool as the main material, tailor-made a tool and experiment for yourself to carry your own body

4. Pull yarn, Both familiar and uncertain materials, form and method, Take it as the weight that can bear your own body, How much yarn you use and how you weave each step will affect the pain level of scalp pulling, It even fell off, but in fact, it uses some kind of exercises, Not generally designing the structure of a building, that is unique, Only you can know, Because only you know your own body, Heavy or light, more or less hair volume, degree of pain...

Like an experiment tailored for myself, The moment you hang your braids, Only you can know whether the experiment is successful or not.

Is the degree of knowing oneself anticipating that? Is it right?

One to two minutes after hanging up, you will fall into a contradictory state, In the face of the process and results of the experiment, At the same time, the pain will also make me fall into some kind of psychological warfare.

Have a conversation with yourself.

04

EYES

SIZE 76 x 104 MEDIA Embryo Ink and Brush

5. Draw a big face try out new materials,Gray cloth and brush,Practice from the eyes,Slowly to other organs.

Looking in the mirror while drawing,draw your own outline,It is also a modeling process.

07

PLASTIC SURGERY

SIZE 110 x v1000 MEDIA Embryo Ink and Brush

08

MAKEOVER

1

SIZE 350 x 1000 MEDIA Embryo Ink and Brush./Scrub

6. Facial plastic surgery When familiar with the material,Start to use d i f f e re n t f o r m s a n d methods to increase the emotions on the face.

09

The detailed parts such as characteristics and personality,Because in a descriptive way.

Therefore, compared with knitting wool, Cheng Xianʼs second self, which is more specific,The self that is close to the real and vague with the imaginary part.

PLASTIC SURGERY

Detail

10

R • EVOLVE 2018 • AUTUMN Instructor •Shen Ting Tseng

R EVOLVE

Outer Structure

Inner Structure

Base

EXPLORDED VIEW

A tea room where people can come inand take a rest,The moving line from the entrance to the exit is from big to small,It means that people's thoughts start from before entering,To enter this space where people drink tea and meditate,until the departure changes.

13

STREET FURNITURE

SIZE 250 x 300 x 340 MEDIA Bamboo Hemp Rope

The View From The Inside

14

R EVOLVE

SIZE

250 x 300 x 340

MEDIA Bamboo Hemp Rope

Base On The Green Space

Bamboo is used as the material, hoping that people who enter the tea room can have the same state of mind as the tea room, and be in contact with nature, so we choose to use green space as the base.

15

STREET FURNITURE

16

R EVOLVE

Materials : Hemp Rope

Each bamboo is connected with hemp rope, The materials selected are mainly to shape the Street furniture that can be in harmony with nature.

Connect the bamboo in three ways 1 Bottom Part : Square Lashing

2 Upper Part : Sheer Leg Lashing

2 Middle Part : Diagonal Lashing

17

STREET FURNITURE

DETAILS SIZE

250 x 300 x 340

MEDIA Bamboo Hemp Rope

18

R EVOLVE

2 PLAN

SIZE 85 x 118 MEDIA Tracing Paper

19

ELEVATION

STREET FURNITURE

EXPLORDED

DETAIL

20

JIA JUN SALON 2019 • SPRING Instructor •Lu Zhao Min

TINY ARCHITECTURE

Jia Jun Salon

Jiajun Hair Salon is run by Auntie Jiajun, a ha ir s tyl is t a nd adm i n i s tra tor of S h i h Chien Universityʼs mail room.

Antie Jia Junʼs Living Life Pattern

Auntie Jiajunʼs home is near the school.

She lives with her 90-year-old mother.

Every morning at 8:45 a.m., Auntie will ride a bicycle to work at school, and she will ride a bicycle back to her home at five or five in the afternoon to runs her hair salon.

Starting Jia Jun Salon Project

Starting this plan because ever y time I went to Jiajun and Auntieʼs house, I felt that Auntieʼs mother was always affected by the guests and couldnʼt rest well, so I hope to design a place where guests and Auntieʼs family can coexist at the same time without interfering with each other.

21

JIA JUN SALION

22

TINY ARCHITECTURE

SIZE

100 x 120

MEDIA Model Board

SIZE 100 x 120 MEDIA Model Board

23

JIA JUN SALION

SIZE 100 x 120 MEDIA Model Board

24

TINY ARCHITECTURE

East Elevation

North Elevation

West Elevation

South Elevation

SIZE

42 x 59

MEDIA Tracing Paper

25

JIA JUN SALION

2 nd Floor Plan SIZE

1 nd Floor Plan

42 x 59

MEDIA Tracing Paper

26

3

TINY ARCHITECTURE

Interior View SIZE 42 x 59 MEDIA Tracing Paper

27

JIA JUN SALION

Interior Section SIZE 42 x 59 MEDIA Tracing Paper

28

HOUSE IN YOKOHAMA 2020 • AUTUMN Instructor • Chi Jr Gang

GO hASAGAWA

House in Yokohama FOUNDED: 2005 DESIGN STAFF: 5 PRINCIPALS:Go Hasegawa.

29

CASE STUDY

1 / 50 MODEL SIZE

100 x 120

MEDIA Model Board

30

GO hASAGAWA

1 / 50 MODEL SIZE 100 x 120 MEDIA Model Board

31

CASE STUDY

32

1 st Floor Plan SIZE

38 x 52

MEDIA Dense Cardboard

33

2 nd Floor Plan SIZE

38 x 52

MEDIA Dense Cardboard

A-Aʼ Section SIZE

38 x 52

MEDIA Dense Cardboard

34

4

FLOATING GALLERY 2020 • SPRING Instructor • Lin Bo Yang

WASSILY KONDANSIKY

33

CASE STUDY

34

FLOARTING

Staggered different routes study / model -2D transfer to 3D -3D transfer to 2D

35

Curved surface study / mrdel -Uneven ground -Blur direction

CASE STUDY

CONCEPT MODEL SIZE 25 x 25 MEDIA Model Board

36

FLOARTING LOOR

Early Concept

37

CASE STUDY

38

5

THREE ELEMENT

39

Line with different angle

Circle

Colour

Multi-directional

No scene of weight

Floating / Unlimited

CASE STUDY

light and shadow make the object seems like floating

40

FLOARTING

41

CASE STUDY

Base Climate Conditions

42

FLOARTING

Spatial Study -divided into 3 floors -First floor can only absorb light and sound from upper part through the courtyard

43

CASE STUDY

Exploded View

44

NTU Agricultural Exhibition Hall

South Elevation

B-Bʼ Section

45

Open the Agricultural Exhibition Hall

West Elevation

A-Aʼ Section

46

NTU Agricultural Exhibition Hall

47

Open the Agricultural Exhibition Hall

MAKEOVER

20

1 st Floor Plan

48

NTU Agricultural Exhibition Hall

49

Open the Agricultural Exhibition Hall

50

NTU Agricultural Exhibition Hall

51

Open the Agricultural Exhibition Hall

2 nd Floor Plan

52

NTU Agricultural Exhibition Hall

53

Open the Agricultural Exhibition Hall

B-Bʼ Section

54

NTU Agricultural Exhibition Hall

3 rd Floor Plan

55

Open the Agricultural Exhibition Hall

A-Aʼ Section

56

NTU Agricultural Exhibition Hall

57

Open the Agricultural Exhibition Hall

58

BRIDGE HOUSE

2021 • AUTUMN Instructor • Thomas Han Yong Kyong

Bridge House

North Elevation The project is mainly investigate how does structure affect form?

59

XYX House

Section Architecture as a problem of structure is form and form is structure

60

Bridge House

1.Garage 2.Storage Room 3.Platform 4Living Room 5.Washroom Room 6.Bedroom 7.Atelier 8.Water Tower

UP

DOWN

1

DOWN

UP

3

2

First Floor Plan

First Floor Plan

0

50

100

150

Second Floor Plan

Second Floor Plan

During thinking the design , we focus on how do materials affects form and structure , and the quality of space ?

61

0

50

100

150

XYX House

5

DOWN UP

6

DOWN

7

UP

4 7 8

third Floor Plan

Third Floor Plan

0

50

100

150

fourth Floor Plan

0

50

100

150

Fourth Floor Plan

62

Bridge House

Site

63

XYX House

Site Plan

64

Bridge House

6 Perspective View

65

XYX House

Perspective View

66

Bridge House

East Elevation

North Elevation

67

XYX House

Perspective Drawing

Architecture is not only as a material thing with material and structure contains and possibilities, but as a particular kind, and set ,of Problems and Questions.

68

Bridge House

69

SIZE 10 x 10 MEDIA Copper Sheet and Wood

SIZE 10 x 10 MEDIA Wood and Epoxy

SIZE 10 x 10 MEDIA Wood and Metal

SIZE 10 x 10 MEDIA Wood , Concrete and Metal

XYX House

SIZE 10 x 20 MEDIA Wood and Arcyclic

SIZE 10 x 20 MEDIA Wood , Concrete and Metal

70

IN THE MOOD OF SIGN 2021 • Spring Instructor • Wang Yu Hsiang Studio MSA

“沈浸在痕跡與記憶中的符號“

71

“In The Mood Of Sign”

“

72

我們周遭的符號

73

Symbols Around Us

74

在城市裡能找到什麼樣的標誌

18

75

What Kinds Of Sign Can Find In The City?

76

建築的記憶

7 20

77

Architecture Vestigial

21

78

符號如何影響我們 為什麼我們有意識地認為事物本身具有預定的形象？

77

How sign affect the citizen in the urban city?

Why do we consciously think it has a predetermined image?

78

既定事物

21

79

Established Object

80

一個人的空間

81

A Room Of Oneʼs Own

1981

2008

82

裂縫牆的背後

83

Behind The Dismantled Wall

84

從裂縫滲透出來

85

Creeping Out Of The Cracks

86

沒有建築師的建築

87

Architecture Without Architects

88

蔓延到城市中

89

Shrouded City

90

不屬於自己的空間

91

A Room Of No Oneʼs Own

37

91

「超現代建築」 -插件

92

Ultra-Modern Architecture - Plug in + Community

93

無界廣場

他們產生的化學反應就是定義空間、構成日常生活節律、形成記憶和身體經驗 和社區内社會關係。 所以建築記憶所構造的不只是建築本身 更是構成了社會的在地文化符號。

of daily life, form memory and bodily experience and social within the community relation.

Therefore, architectural memory constructs not only the building itself, but also the local cultural symbol that constitutes the society.

94

Disboundary Square

95

“DING DING”GETTING FROM HERE TO THERE

Remoulding The Traces Of Hong Kong's Tram Wheels 2023 • AUTUMN,SPRING Advisor • Chi Jr Gang

香港電車走過的城市築跡

度

度 97

壹.研究香港電車與都市的關係

憑此票乘搭

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 fiction, and not only spans different 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.

圍 繞 著 叮 叮 車 軌 跡 ︐從 重 繪 城 市 的 空 間 圖 ︐開 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 1 1 9 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︒

Constructing Hong Kong's Unique Urban Texture

貳.構築屬於香港獨特的都市紋理

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 different eras but also bear traces of different sites and collective memories.

With urban development, these overlapping traces may inevitably disappear or be forgotten .

希望以叮叮車的軌跡為基準點︐將19到21世紀 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 在的價值以及跟社會建立新的關係︐ 構建城市屬於香港 的紋理與獨特性︒

Studying the Relationship Between Hong Kong Trams and the City

“DING DING”GETTING FROM HERE TO THERE Remoulding The Traces Of Hong Kong's Tram Wheels

從這裡到那裡：重塑香港電車走過的築蹟

果

呢

3 CENTS ADULT

由呢到去到果到

車 電 港 香

由呢到去到果到： 重 塑 香 港 電 車 走 過 的 築 蹟

NO.002047

THE MAP OF HK TRAMS AND UBAN ARCHITECTURE

香港電車走過的城市築跡

THE MAP OF HK TRAMS AND UBAN ARCHITECTURE

4

1 THE PEAK 1983 3 中環街市

1939 5 香港摩天輪

1904 4 香港終審法院 1997 6 香港大會堂

11

7

5

3 2

1

2 太平戲院

從這裡到那裡， 這裡是哪裡？ 那裡又是哪裡？ 」

12

2

6

10

8

2014 7 香港會展中心 1997 9 藍屋

1962 8 太平戲院

1904 10 和昌大押

9

1922 11 怡和街圓環天橋1963

1888 12 皇都戲院

「

1953

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 「人生跑馬燈」，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 ；從那時候的那𥚃，到現在的這𥚃，時間跟 空間開始亂序了， 我們的下一站到底是哪𥚃？

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 fleeting 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.

98

胭脂扣

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 回去家𥚃，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《胭脂扣》

The reason I star ted this project is because I temporarily left Hong K o n g a t t h e a g e o f 1 8 a n d c a m e t o l i v e i n Ta i w a n . I n 2 0 1 9 , w e encountered the covid-19, and I hadn't returned home for nearly five years. Until 2023, I 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 film called "Rouge."

Our city has experienced several years of fluctuations,when I saw the b u i l d i n g s t h a t c a r r y a s e n s e o f d i ffe re n t e r a s a n d h e a r a m i x o f languages in the environment, there is a strong faint sense of being lost and wor r ied . However, we are not as for tunate 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

99

ROUGE1997

胭脂 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

扣

ROUGE 1997 那部電影𥚃所架構了一個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

100

我們錯失了什麼

WHAT HAVE WE MISSED? 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 fluctuations,when I saw the b u i l d i n g s t h a t c a r r y a s e n s e o f d i ffe re n t e r a s a n d h e a r a m i x o f languages in the environment, there is a strong faint sense of being lost and wor r ied . However, we are not as for tunate 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.

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?

101

WHAT HAVE WE MISSED

2023

1950S

1951

1930S

1935

2020S

102

戰後古董叮叮120

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 便宜嘅油漆也就是戰時用剩的顏色

叮叮型號120模型

8 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 o f H o n g K o n g i n 1 9 0 4 . Th e m o s t i co n i c 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 significant historical value and meaning, is "dark green" or "emerald green.

D u r i n g t h a t t i m e, a s p re p a r a t i o n s fo r w a r w e re u n d e r w a y, f a c t o r i e s s t o c k p i l e d a l a r g e a m o u n t of paint in the color of dark green, which was needed for war time 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 affordable paint available, which happened to be the leftover wartime colors, including dark green. This choice was made to ensure cost-effectiveness and practicality.

資訊來源：1903電車地圖及現時電車路線圖

103

POST-WAR ANTIQUE DING DING 120

叮叮在香港街道上，彷如一座 會移動的建築， 它高 4 米 9，寬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.

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在港島上的移動建築

資訊來源：香港地政總處2017年地形圖

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MOBILE ARCHITECTURE ON HONG KONG ISLAND

A 島 L SU 半ENIN P 龍OON L 九KOW

在港島上的移動建築

軌道寛 106 CM

29.5公里km

wESTBOUND

東行

EASTBOUND

西行

時速45KM/HRS

香

港

島

HONG KONG ISLAND

叮叮車路軌全程全29.5公里， 以每小時45公里行駛，軌道 寬1 0 6 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.

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從海邊到「石屎森林」

從海邊 到「石屎森林｣

FROM THE SEASIDE TO THE "CONCRETE JUNGLE"

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 t h e H o n g K o n g I s l a n d a r e a t o d a y. A s t i m e went on, a blend of Chinese and British a rc h i t e c t u r a l s t y l e s e m e r g e d. O n e e x a m p l e is the Woo Cheong Pawn Shop, which showcases a mix of Chinese and British architectural elements.

1841-1898

維多利亞城地圖 MAP OF VICTORIA CITY

篇

從海邊到「石屎森林」 FROM THE COAST TO THE “CONCRETE FOREST”

¯

車

¯

電：圖 ˋ

ˊ

地

ˋ

城

ˊ

港

ˇ

香

¯

多利 R IA C

城 亞 ITY

TO

維 VIC

1930s 香港製造

MADE IN HONG KONG

林曉澄繪 中華民國七十一年（1982 年）繪

107

維多利亞城 *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

香港電車路線圖

1970s — 1990s 1950s — 1960s 1900s — 1930s 1840s — 1890s *香港填海演變時程

FROM THE SEASIDE TO THE “CONCRETE JUNGLE”

CHANGING OF HONG KONG COASTLINE

香港填海演變地圖

從維多利亞城 到香港島

BEFORE 1840

1840-1899 1900-1949

1950-1969

1970-1989

街道剖面圖

1970-1999

1930年代香港電車途徑灣仔風景，乘客在電車上可觀海

（張順光提供）

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當叮叮遇上行人天橋

電車路線 公路路線

另外，我認為叮叮車跟橋的關 係是最 Additionally, I find the relationship between the tram and bridges to be the most 迷人，一搬橋高 5 米 4，叮叮車的高 fascinating. On one hand, the bridges stand 度 4 米 9 ，無論是 站在橋上或是坐 at a height of 5.4 meters, while the tram has height of 4.9 meters. Whether standing on 在叮叮車上，那種若即若離的感覺， athe bridge or sitting on the tram, there is a 既緊張 又曖昧，我覺得這體驗必須被 sense of proximit y and distance, creating a 強調並且保留 ，所以我在研究時把叮 te nse ye t a mbig u ou s feel in g. I b el ieve t h is experience must be emphasized and preserved. 叮會經過的橋的位置都紀錄下來。 So, during my research, I documented the locations of the bridges that the tram passes through

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當叮叮遇上行人天橋

WHEN THE TRAM ENCOUNTERS A PEDESTRIAN FOOTBRIDGE

WHEN THE TRAM ENCOUNTERS A PEDESTRIAN FOOTBRIDGE

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

110

香港街2047

再現 我們的香港

「香港街」 乘 搔 蔽 ャ 泊 磧

街道原貌 2023

畴

Furthermore, I have constructed three bridges on the street because crossing a bridge represents a transition of time and space, making one aware of different 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?

I 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, I attempt to retell an era's stor y that belongs to my memories.

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 1953 年︐ 跟叮叮 車一樣︐ 見證香港 這座城市不同年代的在與不 在︐ 印記 著大大小小的城市故事與歷史痕跡︒

晨

The site extends from the former Empire Theatre, located between Queen's Road and Power Plant Street. The Empire T h e a t r e i t s e l f w a s b u i l t i n 1 9 5 3 a n d, l i k e t h e t r a m , h a s witnessed the presence and absence of different eras in Hong Kong, leaving imprints of various urban stories and historical traces.

另 外︐我 在 街 道 上 建 構 三 座 橋︐ 因 為 穿越橋本身一個時間跟空間的過 度︐ 當中的轉換讓人意識到不 同 的 在 與 不 在︒ 像是回到過去︐ 卻又 是未來︐ 所以是從哪裡到 哪𥚃︐ 甚麼時 候到甚麼時候呢?我想把︐ 這種 虛跟實 ︐ 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 一個 屬於我記憶中的時代故事︒

弛

承載回憶 留著屬於我們的香港

謶

111

重述香港時代故事的街道

〕

2 0 4 7 開 幕

HONG KONG STREET 2047

北 角 NORTH POINT

1840前 未填海前的海岸線

街道地圖 2016

112

基 地

THE SITE

皇都戲院

印證港產片輝煌時期

陪伴叮叮走過半世紀

即日 TODAY 放映

昔日 FORMERLY 放映

皇都戲院，前身為「璇宮戲院」，建於1953年，是一座單幢式戲院， 於2017年獲評為一級歷史建築，它最具特色和歷史文化價值的莫 過於其外露式拋物線型混凝土桁架 The former "Empire Theatre," now known as State Theatre, was built in 1953. It is a single-building cinema that was recognized as a Grade I historical building in 2017. Its most distinctive and historically significant feature is its exposed, curved concrete truss structure.

從叮叮車往外拍攝的皇都戲院 資訊來源：香港遺美 Hong Kong Reminiscence

即將 COMING SOON 放映 底圖為1960年代皇都戲院的照片 白線稿為1953年璇宮戲院的數位立體模型

而璇宮戲院座落於電廠街跟曾被譽為「小上海」的北角英皇道交界， 而這個地方同時劃分在北角和炮台山之中，所以他也是處於一個模 糊地帶，好像都屬於，卻又好想無法劃分清楚

The Empire Theatre is located at the intersection of Electric Road and King's Road in North Point, which was once known as "Little Shanghai." This area falls within the boundaries of both North Point and Fortress Hill, creating a somewhat ambiguous zone that seems to belong to both yet cannot be clearly delineated

於2023年，在皇都戲院外的廣告牆所拍攝

113

EMPIRE THEATRE

只剩軀殼 保留全球獨一無二的「飛拱」桁架

2026 從新開幕

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，建商宣佈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 是逃不過被挖坑的命運 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 per forming arts venue, preserving only the entire theater building and restoring the iconic " flying arch" truss structure on the rooftop. In other words, what remains is just the shell, while the stories of different 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.

114

第一站：英皇道牌樓

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 寬 ，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 j u n g l e .' A d d i t i o n a l l y, I a m a t t e m p t i n g t o incorporate architectural elements from different eras in Hong Kong and envisioning it starting from the scale of the tram.

115

FIRST STATION:KING'S ROAD ARCHWAY

從第一座形式像牌樓的橋進 Entering through the first bridge shaped like a traditional Chinese arch, 去 ，粗 獷 式 的 外 型 希 望 建 構 一 the rugged exterior aims to create a transitional point where space, time, 個空間時間跟氛圍轉換的過渡 and atmosphere intertwine. 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眾所認知 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

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

因此，在這條街道的入口中，我 Therefore, at the entrance of this street, the design of the arch facade aims 所設計的牌樓立面同樣也希望 to blur the timeline with different architectural elements and diminish the 藉由不同時期的建築元素模糊 observer's sense of space, hinting at the forthcoming entrance into a 時間線跟削弱人的空間感知， distinct realm. 預告即將進入不一樣的場域

116

第二站：皇都車站

117

SECOND STATION：EMPIRE THEATRE STATION

第二座，它式以橋的形式所構 想的車站，位處街道的中間，希望 藉由結構幾乎全部外露的建築立 面來呼應皇都戲院的拱型桁架 另外，交錯的兩條人行天橋分 別連結電廠街跟英皇道， 重新界定 原本無法劃分的模糊地帶

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, redefining the previously indeterminate blurred zone.

除此之外，裡面包涵了霓虹燈， In addition to that, the structure incorporates Hong Kong's urban features

鐘樓等不同香港城市特色，外露 式的結構賦予霓虹燈可以隨著時 間變化更動或調整的機能，希望它 是能於隨著時間跟空間的變動，不 斷的轉換，不斷以新的形式/角與 未來社會共存著

such as neon lights and clock towers. The exposed structure allows for the neon lights to be modified 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.

118

第三站：新維多利亞港

119

THIRD STATION: NEW VICTORIA HARBOUR

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 寬 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 final third bridge, serving as the street's exit, has a futuristic appearance. Its walls are five 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.

120

香港電車走過的城市築跡

進入街道後所看得的，體驗到的，像是回到過去，卻又是未來， 所以是從哪裡到哪𥚃，甚麼時候到甚麼時候呢？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.

121

THE HOUSE OF HK TRAMS AND UBAN ARCHITECTURE

122