Pin-Hsuan Hung 洪品璇| Portfolio

Pin-Hsuan Hung 洪品璇

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Content

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Camera Obscura

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Open House

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Shape of Sound

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Spatial Matrix

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Object Reinterpretation

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Light Nest House

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Pleats

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時移。石亦 Carved by Time

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品 Pin

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Camera Obscura

Like a camera obscura, the window acts as the tiny hole that brings in selected views and produce subjects.

There are five particular windows at five specific spots, each offering a unique view of the sky. The positions and the angles of the walls, the height of each floor, and the ridges of the roofs are all determined by these outward sightlines, indicating how users and activities are oriented according to these views.

Inspired by the idea of a window as a device that selects a view of the outside world, I designed several types of windows that allow people to see only the sky between buildings and alleyways.

The site is surrounded by residential buildings, creating sky pieces framed by buildings and alleyways.

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windows looking outwards

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windows looking inwards

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The positions and angles of the walls, the height of each floor, and the ridges of the roofs are all determined by the sightlines, indicating how users and activities are oriented according to these views.

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Open House

OPEN HOUSE embodies the concept of ‘OPEN THE COURTHOUSE.’ The vacant land freed by the underground railway project presents a unique opportunity to stitch the urban fabric back together. Our vision is to transform the courthouse from an unreachable institution into an accessible plaza for daily life. By opening the courtrooms, we invite the public to witness and explore, fostering curiosity and encouraging active civic participation.

Collaborators: 許嘉俽, 曾仁美, 謝宇璿

Identifying visual engagement as a common thread between theatre and courthouse typologies.

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The central image depicts the Formosa Incident trials. While judicial processes have become transparent over time, the physical spaces of the court remain restrictive and enclosed.

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The design utilizes scroll drawings to investigate spatial spectatorship and the convergence of sightlines with movement.

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Dispersed courtroom units fragment the overall mass, creating a porous environment where judicial functions intersect with other programs, enabling diverse visual dialogues to occur site-wide.

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Opening the rear wall of the courtroom to establish a new public vantage point. This visual permeability allows passersby to observe judicial operations, demystifying the courthouse through spatial transparency.

By integrating multiple floor levels, the design establishes a series of distinct entrances, each acting as a threshold to a unique spatial atmosphere. This vertical complexity invites users to discover various environmental qualities as they navigate through the building

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Shape of Sound

I designed an instrument that encourages users to shift perspectives by inhabiting different roles while collecting ambient sounds. The device captures surrounding audio, which is then transformed by the user’s voice, creating ripples on a built-in vibration plane.

The experience shifts through six roles—from walls down to dead leaves—as the user’s physical perspective gradually lowers toward the ground.

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Material Box

Holding Part

Vibration Plate

Overview

Folded Version

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Spatial Matrix

The process began with the study of canonical architecture, represented in a ‘Critical Section’ that captures the project’s essence. This foundation led to a design method using architectural collage, blending both experiential and formal elements. Through collaboration and the mixing and sampling of these case studies, new architectural forms were extrapolated from the initial analytical drawings.

I explore the hybridization of architectural elements from the Guggenheim Museum and the Jingliao Holy Cross Church. Then, by converting collective drawings into a spatial matrix, I created a continuous loop that guides visitors through various visual and spatial experiences. The project investigates how framing and geometry control the field of vision, enhancing the dynamic interaction between architecture and its occupants.

Scroll Drawing Collaborators: 溫仁暄, 林芃, 謝宇璿, 蔡昀臻, 周匯芯, 林彥利, 施登穎

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Object Reinterpretation

This project translates the geometric essence of the Hoberman Ball by reinterpreting its structure as a dodecahedron. By analyzing the motion trajectories and scaling states of its components, I established a dynamic spatial system centered on visual ambiguity.

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The Horbarman Ball is characterized by its 1/8 spherical symmetry. To emphasize this geometric precision, the plan is represented using two mirrors to reflect its symmetrical properties.

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A grid system is employed to document and analyze the states of transformation.

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Light Nest House

Orange light guides the public circulation, marking the path invited into the interior. Meanwhile, blue light projects the rituals of daily life, sharing the domesticity of the residence. As one moves through the space, light reveals and conceals itself, shifting with the rhythm of daylight. These glows define accessible paths while blurring the boundaries between public and private realms. The traces of light, visible from both inside and out, constantly interact with the site.

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The public and private zones are positioned in close proximity yet remain physically distinct.

The studio opens its doors to the public during the 'golden hour,' when the space is bathed in the orange glow.

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Pleats

Drawing from the logic of pleating, the project investigates the translation of textile folds into spatial configurations. This system utilizes a precise grid of points and connections to generate organic yet highly ordered morphologies. By employing a network of ‘pleated’ channels as the primary circulatory framework, the design blurs the distinction between the mundane and the extraordinary—integrating the health center into the fabric of daily life.

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1 Waiting Area 2 Health Screening 3 Social Services 4 Consultation 5 Counseling Room 6 Staff Office GF

7 Pantry 8 Mobile Service Space 9 Community Centre

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時移。石亦 Carved by Time

As part of a curatorial studies course at the Graduate Institute of Creative Industries, this project explores the intersection of natural history and aesthetic appreciation. Motivated by my grandfather’s lifelong passion for 雅石 (natural stones sculpted by elements), I undertook the role of curator to present his collection.

The scope of this project encompassed site identification, precise spatial surveying, and the comprehensive design of the exhibition layout, transforming a personal collection into a public narrative.

Theme: 時移。石亦 Carved by Time Curator: 洪品璇 Pin-Hsuan Hung Artist: 洪金飛 Jin-Fei Hung

Venue: 衛屋茶事 Sputnik Lab, Tainan, Taiwan Date: 0619.2025-0621.2025

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策展論述： 在恰巧發現前，千萬年時間裡，風悄悄刻了幾刀，水偷偷沖走了幾個稜角，雨趁人不注意綴了 幾點。

雅石之美出自時間之手，而在某刻透過「發現」成為藝術。從石中看見、聽見其中的故事，會意 大自然從好久好久以前累積下來的信息。 Curatorial Statement Long before we ever noticed, time was already at work. The wind carved here and there, the water quietly stole a few sharp edges, and the rain, when no one was watching, left its faint marks. That is how these stones came to be—not by hands, but by time; not by force, but by chance. And when we finally see them, in that small, accidental moment, they become something more: a mountain hidden inside a stone, a story left unsaid, and a message from nature, carried quietly across thousands of years.

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品 Pin

During a one-month artist residency in Keelung, this exhibition was developed as a reflection on identity and artistic exchange. Centered on the character “Pin” ( 品)—a name representing my own identity—the project explores the act of “Pin” as both a physical gesture and a metaphorical engagement. The exhibition invites visitors to participate in a circular process of exchange, transforming the gallery into a fluid space where art is not merely observed but actively shared and re-interpreted.

Theme: 品 Pin

Artist: 洪品璇 Pin-Hsuan Hung

Venue: 永晝海濱美術館 Zhengbin Harbour Museum of Art, Keelung, Taiwan Date: 0207.2026-0225.2026

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創作理念： 品，洪品璇的品。記得名字中最先學會的一字就是品，最一開始是三個圈圈，然後慢慢變成三 個方方，後來變成了飄逸的三個方方，偶爾偶爾她在一連串的名單裡又會變回一個圈圈，給自 己填空。 Pin down: 每個人都可以選一張最最喜歡的作品帶回去細細品、慢慢品； Pin up: 然後用你/妳的方式在同一個位置，填空。 Artist Statement

品 (Pin). It was the first character I ever learned to write. It began as three simple circles, slowly evolving into three structured squares, and eventually into a fluid, expressive form. Sometimes, amidst a long list of names, it reverts to a single circle—an empty space awaiting completion.

Pin down: Visitors are invited to select their favorite piece to take home, to savor and contemplate.

Pin up: In its place, they are invited to fill the void with their own creation.

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Keelung Diary Jan. 13th- Jan. 21

Keelung Diary Jan. 22nd- Feb. 12