PROFILE of LAM HIU CHING ,ARCHIE 林曉澄

FOLIO PORT ARCHI TEC TURE

MATAMORPHOSIS

2018 • AUTUMN-SPRING Yen Chung Hsien

R • EVOLVE

2019 • AUTUMN Shen Ting Tseng

JIA JUN SALON

2020 • SPRING Lu Zhao Min

HOUSE IN YOKOHAMA

2020 • AUTUMN Chi Jr Gang

FLOATING GALLERY

2021 • SPRING Lin Bo Yang

BRIDGE HOUSE

2021 • AUTUMN Thomas Han Yong Kyong

IN THE MOOD OF SIGN

2022 • Spring Wang Yu Hsiang Studio MSA

2022 • AUTUMN Chi Jr Gang

MATAMORPHOSIS OSIS

2018 • AUTUMN-SPRING Instructor •Yen Chung Hsien

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.

Building A New Limbs Rebuild A New Self

SIZE 50 x 70

MEDIA Knitting Wool Hemp Rope

Like A New Organ Cling To The Body

Use Kitting Yarn

2. Remodeling

SIZE 50 x 100

MEDIA Leather Needle and Thread

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.

Bondage

Pull

Ravelling

MEDIA Needle and Thread

SIZE 60 X 70

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

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.

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.

SIZE 76 x 104

MEDIA Embryo Ink and Brush

SIZE 110 x v1000

MEDIA Embryo Ink and Brush

1

SIZE 350 x 1000

MEDIA Embryo Ink and Brush./Scrub

6. Facial plastic surgery

When familiar with the material,Start to use different forms and methods to increase the emotions on the face.

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.

2

R • EVOLVE

2018 • AUTUMN Instructor •Shen Ting Tseng

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.

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.

SIZE 250 x 300 x 340

MEDIA Bamboo Hemp Rope

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

SIZE 250 x 300 x 340

MEDIA Bamboo Hemp Rope

DETAILS

2

SIZE 85 x 118

MEDIA Tracing Paper

DETAIL

EXPLORDED

JIA JUN SALON

2019 • SPRING Instructor •Lu Zhao Min

Jia Jun Salon

Jiajun Hair Salon is run by Auntie Jiajun, a hair stylist and administrator of Shih 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 every 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.

SIZE 100 x 120

MEDIA Model Board

SIZE 100 x 120

MEDIA Model Board

SIZE 100 x 120 MEDIA Model Board

SIZE 42 x 59

MEDIA Tracing Paper

East Elevation

North Elevation

South Elevation

West Elevation

SIZE 42 x 59

MEDIA Tracing Paper

2 nd Floor Plan

1 nd Floor Plan

3

SIZE 42 x 59

Tracing Paper

Interior View

SIZE 42 x 59

MEDIA Tracing Paper

Interior Section

House in Yokohama

FOUNDED: 2005

DESIGN STAFF: 5

PRINCIPALS:Go Hasegawa.

1 / 50 MODEL

SIZE 100 x 120

MEDIA Model Board

1 / 50 MODEL

1 st Floor Plan

SIZE 38 x 52

2 nd Floor Plan

SIZE 38 x 52

MEDIA Dense Cardboard

MEDIA Dense Cardboard

A-Aʼ Section

SIZE 38 x 52

MEDIA Dense Cardboard

FLOATING GALLERY

2020 • SPRING Instructor • Lin Bo Yang

Staggered different routes study / model

-2D transfer to 3D

-3D transfer to 2D

Curved surface study / mrdel

-Uneven ground -Blur direction

CONCEPT MODEL

SIZE 25 x 25

MEDIA Model Board

Early Concept

5

Line with different angle Multi-directional Circle No scene of weight Colour Floating / Unlimited

light and shadow make the object seems like floating

Base Climate Conditions

Spatial Study

-divided into 3 floors

-First floor can only absorb light and sound from upper part through the courtyard

Exploded View

South Elevation

B-Bʼ Section

West Elevation

A-Aʼ Section

1 st Floor Plan

A-Aʼ Section

BRIDGE HOUSE

2021 • AUTUMN Instructor • Thomas Han

Yong Kyong

The project is mainly investigate how does structure affect form?

North Elevation

1.Garage

2.Storage Room

3.Platform

4Living Room

5.Washroom Room

6.Bedroom

7.Atelier

8.Water Tower

North Elevation

East Elevation

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.

10 x 10

SIZE 10 x 10

10 x 10

SIZE 10 x 10

SIZE

MEDIA Copper Sheet and Wood

MEDIA Wood and Metal

SIZE

MEDIA Wood and Epoxy

MEDIA Wood , Concrete and Metal

SIZE 10 x 20

MEDIA Wood and Arcyclic

SIZE 10 x 20

MEDIA Wood , Concrete and Metal

IN THE MOOD OF SIGN

2021 • Spring Instructor • Wang Yu Hsiang Studio MSA

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？

How sign affect the citizen in the urban city? Why do we consciously think it has a predetermined image?

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 th e community relation.

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

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

2023 • AUTUMN,SPRING Advisor • Chi Jr Gang

由呢到去到果到

NO.002047

從這裡到那裡：重塑香港電車走過的築蹟

憑此票乘搭

貳.構築屬於香港獨特的都市紋理

壹.研究香港電車與都市的關係

ADULT

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

中環街市 1939

香港摩天輪 2014

香港會展中心 1997

香港終審法院 1997

香港大會堂 1962

太平戲院 1904

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 reason started this project is because I temporarily left Hong Kong at the age of 18 and came to live in Taiwan. In 2019, we encountered the covid-19, and hadn't returned home for nearly ve 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 lm called "Rouge."

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.

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

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?

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

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.

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？

WHAT HAVE WE MISSED?

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

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

叮叮型號120模型

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」

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.

街道剖面圖

當叮叮遇上行人天橋

WHEN THE TRAM ENCOUNTERS A PEDESTRIAN FOOTBRIDGE

電車路線

公路路線

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, I 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, 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

重述香港時代故事的街道

「香港街」 2047開幕

我們的香港

承載回憶

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。

候到甚麼時候 ?我想把，這種

街道原貌 2023

這座城市不同年代的在與不

穿越橋本身一個時間跟空間的過 度，當

著大大小小的城市故事與歷史痕跡。 另

基地是從皇都戲院延伸，介於英皇道 和電廠

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.

街中間，皇都戲院本身建於

同 的 在 與 不 在。像是回到過去，卻又 是未來，所以是從

Furthermore, 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.

POINT

印證港產片輝煌時期

FORMERLY

陪伴叮叮走過半世紀

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.

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。

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.