Ticketing information: https://www.popticket.hk/architekture-in-motion
Presenter
Film Culture Centre (Hong Kong)
Supported by
Hong Kong Arts Development Council
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米蘭奇蹟 Miracle in Milan
導演 Director： Vittorio De Sica
編劇 Screenplay：Cesare Zavattini, Vittorio De Sica, Suso Cecchi D’Amico, Mario Chiari, Adolfo Franci
攝影 Cinematographer：G.R. Aldo
演員 Cast：Francesco Golisano, Emma Gramatica, Brunella Bovo
1951｜意大利 Italy｜黑白 B & W ｜96min
英語、意大利語對白，中英文字幕 In English and Italian with Chinese and English subtitles
個子矮小、性格樂觀的陶陶離開孤兒院流落米蘭，輾轉走到廢空地，那裏無依靠者開始結集。陶陶天生是「城市規劃家」，街道廣場規模形成，一時間繁榮起來，他的夢中情人艾蔚也出現。怎料地底噴出石油，資本家覬覦，派警察圍攻，已故養母露羅丹顯靈贈予靈鴿讓夢想成真。第昔加的窮人快樂頌，向克萊亞及差利卓別靈喜劇風格致敬。
那談判的片段出現厚牆宏大的法西斯建築，結尾也在米蘭主教座堂廣場升空，然而建築主角還是鐵皮木板屋，第昔加以奇蹟加持新寫實主義之餘，在抒發反建築訊息嗎？叫觀眾勿忘搭一個家的暖意初心。
After leaving his orphanage, Totò ends up on a vast, barren field among other homeless people. Totò turns out to be a naturally gifted “urban planner”: he transforms the place into a structured and flourishing town with streets, and even encounters his dream woman Edvige. When oil is found in this shantytown, capitalists intend to take over their property and the police forces them to evacuate. Using the wish-granting powers by his stepmother Lolotta who passed away, Totò finally makes his wishes come true. De Sica creates this heartwarming tale for the poor, and pays tribute to the comedic style of Charlie Chaplin.
The scene of negotiation shows thick-walled Fascist buildings and ends with a scene at the Milan Cathedral. In addition to this neo-realist fable, one may wonder if De Sica is spreading an anti-architectural message to remind the audience of what makes a warm home is more than the building.
獎項Awards： 1951Cannes Film FestivalGrand Prize
1951 National Board of Review AwardTop Foreign Films
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心靈築動 Columbus
導演／編劇 Director／Screenplay：Kogonada
攝影 Cinematographer：Elisha Christian
演員 Cast： John Cho, Haley Lu Richardson, Parker Posey
2017｜美國 USA｜彩色 Colour ｜104 min
英語、韓語對白，中英文字幕 In English and Korean with Chinese and English subtitles
進趕往印第安那州哥倫布市立醫院，守候到此演講卻昏迷病倒的父親，本地少女紀思是建築迷，知道他是這建築學者的兒子，勇敢上前攀談。她以有「大草原上的雅典」美譽的哥倫布市為榮，充當進滯留期間的嚮導；在眾多出色現代建築前，二人交流人生；進談及與父親親密過後疏離的關係，紀思則把照顧身心脆弱的母親生活裹足不前，孤獨、無力感一一分享。
導演是美國韓裔二代，與妻子遊歷哥倫布後念念不忘，萌生這部處女作的構思。他參考安東尼奧尼及小津的空間手法，暗中在表面上不均衡的構圖，放置簡潔平衡線條，默默安撫兩個主角的內心躁動。
Arriving at a hospital in Columbus, Indiana, Jin stays to watch over his father who has fallen into a coma while being in town to deliver a lecture. Casey, who is a fan of architecture, strikes up a conversation with Jin, knowing that he is the son of the renowned architect. Casey is proud of Columbus, which is known as the “Athens of the Prairie”, and acts as Jin’s guide during his stay. Jin and Casey open up about themselves to each other in front of these modern architectural works. Jin reveals his estranged relationship with his father, while Casey confesses that her life restriction as taking care of her mother — the two share mutual feelings of loneliness and powerlessness.
The director, Kogonada, is a second-generation Korean-American. After traveling in Columbus with his wife, he is mesmerized by the town and is inspired to produce this debut film. With reference to the spatial juxtapositions of Antonioni and Ozu, Kogonada subtly places simple and parallel lines within seemingly asymmetrical compositions, as a way to quietly calm the inner struggles of the two protagonists.
獎項Awards：2018 Chlotrudis Awards – Best Cinematography
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博塔：神遊空間 Mario Botta. The Space Beyond
＊香港首映 Hong Kong premiere screening＊
導演 Director：Loretta Dalpozzo, Michèle Volontè
攝影 Cinematographer：Mauro Boscarato, Ariel Salati, Chris McMillon
2018｜瑞士 Switzerland｜彩色 Colour ｜78 min
意大利語、法語、英語、韓語、普通話對白，中英文字幕 In Italian, French, English, Korean and Mandarin with Chinese and English subtitles
瑞士建築巨匠馬利奧博塔與雕刻家梵奇合作，在韓國南陽建造的聖母玫瑰堂已經動工，期間他又獲邀請去銀川視察建清真寺，而在籌備個展時，他的家人翻閱舊照片，跟觀眾一起回顧他的「聖堂之路」，一切從他在瑞士家鄉Genestrerio建教區小屋開始。導演黛普梭和活露緹當然沒有遺漏特拉維夫大學及莫諾的聖施洗約翰教堂，身處其中皆叫人屏息靜氣。
博塔得獎無數，其作品不追求超越性的技術，不沉醉多功能性，在獨家標記的磚牆弧形立體中，總去尋找神聖與世俗平衡，有限形態與天地無極相接。
This architectural documentary follows the life of Swiss architect Mario Botta: his collaborative work with Giuliano Vangi, the Church of Our Lady of the Rosary in Namyang, South Korea, has commenced its construction; he is invited to Yinchuan to inspect and build a mosque; audiences are reviewing Botta’s “journey to sacred spaces” while looking through old photos with Botta’s family, which all began with his first construction of a Parish house in his hometown Genestrerio. The directors also feature the Cymbalista Synagogue and Jewish Heritage Center of Tel Aviv University as well as Chiesa di San Giovanni Battista in Mogno, all of which have a breathtaking presence.
A recipient of numerous prizes, Botta’s works neither pursue progressive technicality, nor indulge in multifunctionality. Within his signature design of curvilinear brick walls, Botta seeks to find the balance between sacred and secular, and the connecting point between the confinement of shapes and the infinity of heaven and earth.
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森山君住好啲 Moriyama-San
＊香港首映 Hong Kong premiere screening＊
導演 Director：Ila Bêka, Louise Lemoine
攝影 Cinematographer：Ila Bêka
2017｜法國 France｜彩色 Colour ｜63min
英語、日語對白，中英文字幕 In English and Japanese with Chinese and English subtitles
森山君跟萍水相逢的伊拉比卡談起日本前衛音樂，帶他回「森山邸」展示他的大友良英全集，伊拉比卡立刻提出拍攝要求，逗留一周，拍森山君示範表演「住」的藝術，愛閱讀的他「一支公」隨處躺、隨處睡，在窗前、在樹下、在天台、在地庫，在建築美意下遊走家居，出入社區。導演伊拉比卡和露易絲莉慕妮（《築起無限快樂》（2015）、《庫哈斯住宅生活》（2008））被紐約時報稱為「歐洲建築界的前衛象徵人物」，他們沒有「迷失在翻譯」中，拍下追求自然自由的城市蝴蝶想像。
「森山邸」是日本中生代建築師西澤立衛2002至2005年完成的作品，在東京大田區一塊長方形住宅地上建造十棟相似又性格獨立的白色盒形樓房，青草地彼此鄰近，沒有圍牆半開放，森林小族群聚居概念在大都會實踐。
Moriyama San and Ila Bêka, who met by chance, were discussing Japanese avant-garde music when Moriyama decided to bring Bêka back to the “Moriyama House” and show him his collection of Otomo Yoshi albums. Seeing this extraordinary architecture, Bêka immediately requested a filming and stayed at the house to document one week in the life of its owner, who perfectly demonstrated the art of “living”. Living by himself, the film depicts the book-loving Moriyama lying and sleeping wherever he wants— wandering between his domestic space and the communal space. Bêka and Lemoine (The Infinite Happiness (2015), Koolhaas Houselif (2008) were described by the New York Times as the “cult figures in the European architecture world”. They did not get “lost in translation”, and managed to capture the free spirit of the city dweller.
Moriyama House is the work of Japanese architect Ryue Nishizawa, constructed between 2002 and 2005. Built on a rectangular residential site in Ōta, Tokyo, the house consists of ten similar yet separate box-shaped volumes in white, with grass covering the connected land and has no walls in between. Moriyama House showcases a metropolitan version of living within small communities in rural areas.
獎項Awards：2019 London Architecture Film Festival – Best Documentary
2018 Perpignan Festival International du Livre d’Art et du Film – Golden Award
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舞踏屋 Butohouse
＊香港首映 Hong Kong premiere screening＊
導演 Director：Ila Bêka, Louise Lemoine
攝影 Cinematographer：Ila Bêka
2020｜法國 France｜彩色 Colour ｜34min
英語、日語對白，中英文字幕 In English and Japanese with Chinese and English subtitles
伊拉比卡機不離手朝聖丹下健三的科威特領事館，在同一條街上被一棟未完成、粗獷風味，卻帶童趣線條（令人想起高第）的獨立屋吸睛著，他走進去見到岡啟輔一個人在製水泥，問準後靜靜旁拍，及時記錄他在被逼停工前完成的「希望石階」。岡啟輔唸建築卻是個舞踏表演家，寓肢體運動於建築中，令他十七年來以窩牛慢行速度，融入即興性去建屋，如今屋子外型已有舞者扭動的想像，伊拉簡單叫它做「舞踏屋」，岡啟輔早為未來的石宅起名「蟻鱒鳶ル」，蟻漫行鱒魚自游鳶乘空翱翔，這一早是個擁有高度精神性的建築哲學企劃。
所謂「自力造屋」可以遠追至江戶時代，沒有建築經驗及經費，攔不到農民胸襟打造自家木宅。近代日本建築界在藤森照信等人鼓勵下自力建宅之風又吹起，岡啟輔在高山建築學校獲得啟蒙，2003年參加建築雜誌主辦的提案比賽好評入選，遂開展困難重重，卻樂在其中，長達二十年（也未完成）的建築理想。
While visiting the Kuwait Embassy designed Kenzo Tange and taking pictures for that building he admired greatly, Ila Bêka’s eyes were suddenly drawn to an unfinished, rugged house on the same street. It was a house featuring childlike line design similar to the style of Antoni Gaudi. Ila Bêka went into the house and met Keisuke Oka, who was at the time making cement by himself in that house he built. After receiving permission from Keisuke Oka, Ila Bêka quietly recorded him and the house, including the ‘Stone Steps of Hope’ that Keisuke Oka completed before the construction was forced to stop, on camera. Keisuke Oka used to study architecture but later became a butoh dance performer. He took the last seventeen years to build his house at a snail’s pace, incorporating improvisely the idea of physical movement into construction. The silhouette of the house imitates dancers‘ moving bodies as imagined by Keisuke Oka. The stone house is named ‘Ari-masu-tonbi-ru’ (蟻鱒鳶ル), as it symbolizes spirits of roaming ants, swimming trouts and eagles flying in the sky. This is a highly spiritual architectural project with philosophical significance.
This house can be categorized as “self-made dwelling”, which can be traced back to the Edo period. Such buildings were made by farmers who had an unstoppable determination to build their own houses despite their lack of construction experience or money. In modern times, “self-made dwelling” regained popularity in the Japanese architectural community due to promotion by architects including Tenrunobu Fujimori. Keisuke Oka studied architecture at Takayama Architecture Seminar School. After his proposal was selected in a competition organised by an architecturethe magazine in 2003, Keisuke Oka embarked on the arduous yet enjoyable journey to realize his architectural ideal, which is still incomplete after twenty years of work.
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涅雲奴 Nirvenue
導演 Director：吳家龍 Kal Ng
攝影 Cinematographer：吳家龍 Kal Ng
2018｜香港 Hong Kong｜彩色 Colour ｜75min
粵語對白，英文字幕 In Cantonese with Chinese and English subtitles
年輕建築師李宏寫信給分手女友李冰，夾在勒柯比意的《西行記》中，概歎走不出相識曖昧眷戀冷淡的兩性困運。對電腦說出失敗話時，屏幕出現集體智能版「李宏」，同一模樣不同處世態度，「他」邀請他進入虛擬世界，跟多個版本「李冰瑩」發展感情關係，一到樽頸可重設再來。「李宏」又教李宏發明「虛擬旅館」軟件，現實裏入住70 平方呎的小室像船體，從回憶庫裏提取美滿旅程。吳家龍延續《夢之旅》（1999）的流徙與在尋覓主題。雙城視覺再走一步，無人的多倫多與淨化的香港在出席與缺席之間引動流轉和想像。
吳家龍深受巴贊的「全電影神話」說法影響，覺得電影的出現是為了去將人類早已存在深層的體驗表現出來，換個角度可以看成電影未發明，有待我們先去將目前的影像體系完全探索盡致。他的探索方向是空間的承載度，人在風景景物中每每有敘事事態以外更多的情感訊息。
A young architect, Li Wan, wrote a letter to his recently broken-up girlfriend, Li Bing. In this letter, which was tucked between the pages of Le Voyage d’Orient by Le Corbusier, Li Wan lamented that the two of them cannot escape the destined cycle of love, which starts with encounter, flirtation and passion, but always ends in estrangement between lovers. While Li Wan was typing on his computer, a virtual version of himself (created by collective intelligence) appeared on the screen, who looked exactly like the real Li Wan but had an opposite attitude towards the world. This virtual version of Li Wan invited him to enter the virtual world, where he could develop relationships with multiple versions of “Li Bing Ying” and start all over each time these virtual relationships hit a snag. Moreover, this virtual version also taught Li Wan to invent a software called “virtual hotel”, which transformed the 70-square-foot room that Li Wan lived in into a boat that could take him through all the good memories stored in the database. This film shares the common theme of migration and search with Kal Ng’s 1999 film Dreamtrips, while further visualizing the two cities of Toronto and Hong Kong. We can see in this film an empty version of Toronto and a purified version of Hong Kong, which appear and disappear on the screen alternately and create a world of constant flux and imagination.
Influenced by André Bazin’s ‘myth of total cinema’, Kal Ng feels that the ultimate purpose of cinema is to re-present a priori experience of human existence deep down inside. In other words, cinema is never a fully developed invention, but a progressive movement that continuously explores the imagery system. Through his films, Kal Ng focuses on exploring the spatial dimension of how emotional messages are conveyed beyond the narrative through the interaction between human beings and landscape.
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【精選短片 Short Videos】
南角 The Southern End
導演 Director：張偉雄 Bryan Chang
2023｜黑白 Black and White｜18min
粵語對白，中英文字幕 In Cantonese with Chinese and English subtitles
家鄉在遠方，婷住到九龍城南角道，想認識這區這街，街頭偶遇的細碎事物，有很多判別與內心獨白，在晚上寫出「停留的語句」；她逛著逛著，遇上時光留下印記，無數肅靜的牆體。
Ting’s hometown was far away, but now she had made her home on Nam Kok Road (meaning “The Southern End”) in Kowloon City. Ting wanted to go around and know the area. The various trivial things she saw on the streets invoked many inner thoughts and monologues in her. When the night came, she wrote down “words about staying”. While she was wandering on the street, she walked past countless walls of silence where time had left marks on.
Entangled
導演 Director：布澤銘 Anthony CM Po、Adisak Yavilas
2023｜彩色 Colour ｜8min
英語對白，中英文字幕 In English and with Chinese and English subtitles
Keith與Mara對話，Mara憶起父親意外地將熱茶潑到她手臂，Keith質疑是否真實發生過，而他提起一段森林燃燒房子的似夢記憶，意識到當中隱藏著一段童年遺憾。本片大部份影像取樣自人工智能對話室，以形態選擇去建築視覺的新嘗試。
Keith and Mara were having a chat while Mara recalled the time her father accidentally splashed hot tea on her arm. Keith questioned whether the incident actually happened and went on to talk about a dreamlike memory of a burning house in the woods, before he realized the childhood regret hidden in this memory. This film, with most of its images extracted from an artificially intelligent chatroom, is a new attempt of architectural visualization based on morphological choices.
Cavity
導演 Director：潘子懷 Tsz Wai Pun
2023｜彩色 Colour ｜13min
粵語對白，無字幕 Cantonese without subtitles
曾經被說成是世上居住密度最高的九龍城寨，樓宇緊密建在一起形成迷宮，於上世紀九十年代清拆後成為一個公園。一個方格 、一副假牙、一張記憶地圖….；琺瑯質像流失的時空，隱隱閃襯出已消磨的城牆。
Cavity collects traces of a lost city. Once known as one of the most densely populated places on Earth, the Kowloon Walled City was a labyrinth of tightly packed buildings. Demolished in the early 1990s, a park now fills its space. In an attempt to uncover signs of what remains;
a square,
a set of dentures, a map drawn from memory,
Cavity reveals material objects of lost time, lining the walls of absence.
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座談 Seminar
「石屎之詩：認識粗礦主義」Poetry of Concrete: Brutalist Architecture and Cinema
6/5 (六 Sat) ｜4:30 pm ｜ 香港藝術中心 古天樂電影院 Hong Kong Arts Centre, Louis Koo Cinema
關於粗礦主義的視覺規則、來龍去脈、興盛與轉變，兩名香港年輕建築師話你知，從而，你可以去檢視你上課的校舍、你住的屋邨夠不夠粗礦。你亦可以在你看過的電影裏檢視，哪一部心愛著粗礦主義建築，你赫然明白，那也原來是你鍾情《___》（請自行填充）的理由。
In this seminar, two young architects from Hong Kong will tell you about the visual rules of an architectural concept called Brutalism, as well as its origin and the history of its rise and transformation. After knowing what is Brutalism, you may look at the buildings of your school and the housing estate you are living in, and think to yourself whether these buildings are “brutalist” enough. Also, you can take an examination of the films you’ve watched to see if brutalist architecture is featured in any of them. Perhaps, through this examination, you’ll understand the reason you fall in love with ___ (fill in the blank).
講者：潘浩倫、Bob Pang
主持： 張偉雄
Speaker: Allen Poon, Bob Pang
Moderator: Bryan Chang
潘浩倫，香港註冊建築師，TETRA Architects 創辦人。現任香港建築師學會理事會執事及義務財務長，HKIA雙年展基金會聯席主席。威尼斯建築雙年展香港展 2006策展團隊成員，及2013香港深圳城市建築雙城雙年展的執行策展人。Allen 一直致力於在社區推動建築文化。2022年，他為 MOViE MOViE 策劃了《築動我城 Build Our Dreams》Life Is Art 光影藝術祭；過去十年，他亦持續協助薄扶林村社區推行保育運動。
Allen Poon, a Registered Architect in Hong Kong and founder of TETRA Architects, currently serves as an Office Bearer and Honorary Treasurer of the Hong Kong Institute of Architects (HKIA), as well as the co-chair of the HKIA Biennale Foundation. Allen was part of the Curatorial Team for the 2006 Venice Architecture Biennale Hong Kong Exhibition and served as the Executive Curator for the 2013 Hong Kong-Shenzhen Bi-City Biennale of Urbanism\Architecture. He is also dedicated to promoting architectural culture within the community. In 2022, he co-curated the “Build Our Dreams” Life Is Art Festival for MOViE MOViE. Over the past decade, he has been actively involved in conservation efforts for the Pok Fu Lam Village community.
Bob Pang為本地駐冊建築師，曾於倫敦、維也納及上海生活。2011-2012期間於日本建築大師磯崎新工作室任項目建築師。2017年 “40 under 40” 優秀設計師得獎者。15年的建築與設計實踐曾贏得多個殊榮，如亞洲MIPIM最佳住宅設計金獎、日本Good Design Award Best 100獎等。近年獲Design Trust與 Leigh and Orange資助，持續研究本地粗獷建築歷史達三年之久。2021年的展覽《粗! －未知的香港粗獷建築》成功引起公眾注意，吸引逾二十家媒體報導。該展覽曾獲香港建築師學會年獎、台灣金點獎標章及英國Dezeen Awards 評審獎。Bob Pang曾受邀在香港M+、大館及倫敦C20 Society分享粗獷建築歷史研究。
Bob Pang is a registered architect in Hong Kong and has lived in London, Vienna and Shanghai. From 2011 to 2012, he worked as a project architect at the studio of Japanese architect Arata Isozaki. In 2017, he is being awarded as “40 under 40” Outstanding Designer Award. With 15 years of architectural and design practice, he won notable awards, including the MIPIM ASIA Best Residential Design Gold Award, and Good Design Award “BEST 100” in Japan. In recent years, he initiated and advocated a research about local Brutalist architectural history for three years, funded by Design Trust and Leigh and Orange. The 2021 exhibition “BRUTAL! – Unknown Brutalism Architecture in Hong Kong” successfully attracted public attention and more than 20 media reports. The exhibition won the Annual Award of the Hong Kong Institute of Architects, the Golden Pin Award in Taiwan, and the Judging Award of the Dezeen Awards in the United Kingdom. Bob Pang has been invited to share his research at M+, Tai Kwun in Hong Kong and C20 Society in London.
放映及座談 Screening & Sharing
「空間電影宣言」 A Spatial Cinema Manifesto
導演 Director：吳家龍 Kal Ng
剪接 Editor：吳家龍 Kal Ng
2023｜香港 Hong Kong｜彩色 Colour ｜30min
粵語對白，英文字幕 Cantonese with English subtitle
吳家龍為「建築在動」拍這部筆記短片。他回應巴贊提出的「全電影神話」，撿視他個人發掘到的一段電影小史，帶我們漫步一下空間電影反映現狀的軌跡，虛擬現實一而再之在發生，重新定義電影經驗及驚艷。
It is a review of spatial films through the period of film history since Andre Bazin proposed ‘A Myth of Total Cinema’, a reflection of the present state of such a trajectory when virtual reality is happening and may redefine the experience of cinema once again.
7/5 (日 Sun) ｜7:30 pm ｜ 香港藝術中心 古天樂電影院 Hong Kong Arts Centre, Louis Koo Cinema
講者：吳家龍 (獨立電影人，香港大學建築學博士）
Speaker: Kal Ng（Independent Filmmaker）
