[中] [ENG] 從細節開始：西九文化區可持續發展之路

文：林喜兒

探討藝術文化的可持續發展，可說是近年的全球大趨勢。從創作上引入環保概念、製作上減廢、營運上的節能等等，都是藝術文化機構不能忽視的環節。這方面，香港與世界有沒有接軌？西九文化區作為當前香港的重要文化地標，近年隨著各個文化設施相繼開幕，最新的演藝綜合劇場亦預計於未來一至兩年落成。從一個演藝場地的角度思考，在建設和營運上，將如何邁進可持續發展的目標？

軟件與硬件

「環保是非常重要，你看，今年是歷史上全球最熱的一個暑假，整個感覺就是我們這樣一路走下去，地球很快會消失。環保是人人有責任，而我更相信，從事文化藝術工作的人，其實是社會的先鋒，有責任比其他人行先一步。」西九文化區管理局表演藝術行政總監譚兆民坦言，環保是眾人之事。關於環保議題，演藝場地可以從兩個層面出發。「一個就是場地本身，硬件上的問題，另外就是軟件，演出上的思考。先說軟件，在外國已經談論了很久，就是巡演的環保問題，因為坐飛機的碳排放量很高，所以很多歐洲國家也會要求團體進行碳排放的審計，只有達到零碳排放才可以得到政府資助去做巡演。暫時香港很難做到這個層面，當然不是不想做，但是一定要有一個循序漸進的方法。那現在可以怎樣？首先要思考，為甚麼要做這個巡演？是否有一個很清晰的目標？然後在這個過程裡，如何將碳排放量降到最低。此外，人工智能是否一個新的可能性？當然不是要完全取代現場演出，但如果巡演具有教育元素，相對地人工智能是否比較可行，以另一個模式帶給觀眾，或者是近年劇場常用到的虛擬現實技術，我覺得大家也很在意想方法來減低碳排放量。」

談到西九文化區的環保措施，最初的設計方案已考慮到相應的規劃和設施，可持續性策略建基於三大原則：減少能源消耗、減少碳排放、減低維修保養成本。當中最關鍵的措施為（1）廣植樹木以減少水土流失、過濾空氣污染；（2）節流設計如自然採光配合高效能照明系統、天然通風以及節能系統和設備，均有助減低整體能源消耗；（3）區域供冷系統可以為區內建築物的空調系統提供冷水，減少用電量及用水，這個系統每年可減少七千噸的溫室氣體排放，同時亦減少七十萬平方米的用水量；以及（4）盡量使用可再生能源，例如在建築物頂及其他地方安裝光伏電池板，提供太陽能發電，和在建築物安裝太陽能熱水爐，為設施供應熱水等。譚兆民特別提到西九的建築方案，「Norman Foster的設計概念是興建一系列也有其獨特藝術特色和個性的演藝場地，而不是一幢超級大型演視藝中心。現在西九文化區的設計由很多不同的建築組成，可以想像如果整個西九像一個超級大商場，這樣設計的空調用電量會是多麼驚人。現在大部分空間都是露天，場地之間有共享的公共空間設施，包括空地和綠化區域等等。Norman Foster說，就算下雨也沒所謂，這就是大自然，一個理想的城市綠州。」另外，「悠遊西九」是的一個單車共享計劃，鼓勵以單車代步，在園區內漫遊。譚兆民續說：「將來從戲曲中心到西九文化區將有一條名為『The Avenue』的通道，屆時會有無人駕駛的巴士和單車，讓參觀者除步行外，可以方便快捷往返兩邊。」

從細節開始

譚兆民直言，暫時西九文化區雖有可持續發展的具體策略，「但我們在很多範疇也會思考如何做到再環保一點，怎樣令到我們的製作減低碳排放，並在細節上慢慢去調教。」他提到自己在三、四年前加入西九後，首先取消了印刷節目場刊。「當然，有時確實需要印刷品，但整體來說，不需要印就不印，如今很多藝團也開始慢慢減少印刷場刊。其實很多時印刷場刊都是為了鳴謝贊助商，而我們則想到了其他方法，例如利用banner（橫幅），甚至是LED投影。」譚兆民也談到舞台設計的環保措施，「其實現在很多製作在自由空間多數採用LED技術，而不是傳統的實體工藝設計佈景道具，當然自由空間的節目可能比較適合這種形式。至於新場地演藝綜合劇場以舞蹈和音樂劇為主，也會積極研究在製作上如何減低碳排放。」

價值和觀念

面對經濟大環境的轉變，環保既能減低資源，但涉及的科技同時也是很大的投資。面對財政壓力的西九團隊便盡力在營運方面作調整。「所以我們目前在很多很細微且不顯眼的地方節能，例如戲曲中心有一組電梯是由地下到二樓，如果不開電梯的話，每年可省下七位數字的電費。其實電梯的耗電量很高，因此我們沒有演出時會關掉這組電梯，這樣既環保也可減低營運費用。但升降機是繼續開放，有需要的話觀眾可選擇乘升降機。」最後譚兆民說到在香港推行環保最困難之處，其實是價值和觀念。「我想，大家對『方便』的重視是個問題，很多時候環保跟方便和舒適是反比，這視乎觀眾對舒適方便的重視程度。但作為一個場地供應者卻是正比，少開一點電，也在營運上省了錢。現在我們很積極去研究如何可以進一步將營運費用再壓縮，既環保也省錢。」

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林喜兒

曾任本地報章雜誌副刊記者及編輯，從時裝潮流到旅遊玩樂，從藝術文化到人物專訪。現為自由文字工作者，著有《七層足印－李鄭屋徙置區口述歷史》及合著作品《拾舞話：香港舞蹈口述歷史五十至七十年代》、《好景：魯師傅與香港舞台》、《屋宇平民誌》。2020年榮獲「第十三屆香港書獎」評審推薦之新晉作家之一。

Starting from the details: West Kowloon Cultural District’s path towards sustainable development

Text：Venus Lam

Translator: Chermaine Lee

Sustainable development in the arts and culture sector has become a hot button topic worldwide. Incorporating environmentally-friendly concepts in art pieces, reducing waste in production and saving energy in operations are topics that art and culture organisations cannot ignore. Has Hong Kong been keeping up with this worldwide trend?

The West Kowloon Cultural District (WKCD) is an important cultural landmark for Hong Kong. It has opened  a number of different cultural facilities in recent years and is due to launch the Lyric Theatre Complex within the next two years. How does a performance venue set about achieving sustainable development goals in terms of construction and operation?

Software and Hardware

“Environmental protection is of paramount importance,” Paul Tam, West Kowloon Cultural District Authority’s Executive Director, Performing Arts, told dancejournal/hk. “This summer is the hottest on record, and it feels as if the earth is soon going to disappear if we keep on going like this.”

“Protecting the environment is incumbent on every one of us. I believe that people working in the arts and culture sector are at the forefront of this and should strive to be one step ahead of others.”

Performing arts venues can start with two aspects. “One is the venue itself, so that’s the ‘hardware’. The other one is ‘software’, which is what needs to be considered regarding performances.” Tam says.

“Let’s talk about software first. This has long been a topic in overseas countries. A big issue is sustainability when touring performances. Flying generates high carbon emissions, so many European countries require organisations to audit their emissions, and will only allocate public funding if they can reach net zero.

“For now, it’s hard for Hong Kong to achieve this level. That’s not because we don’t want to do so, but because we have to take it step by step. So what should we do? First, we need to think about why we want to do the tour. Is there a clear goal? How can we minimise carbon emissions in the touring process?

“On top of that, can AI bring new possibilities? Certainly we don’t mean this should replace live performances entirely. However, if the show includes educational elements, can AI offer an alternative way to bring the content to the audience or can we employ virtual reality technology, which these days is widely used in theatres? We are all interested in looking for ways to reduce carbon emissions.”

With regard to environmental measures at the WKCD, these were taken into account in the initial design. The sustainability strategy was focused on three core principles: reducing energy consumption, carbon emissions and maintenance costs. The most critical points can be classified as (1) Planting trees extensively to reduce soil erosion and filter air pollution; (2) Energy-saving designs such as using natural light combined with high-efficiency lighting systems, natural ventilation and energy-saving systems and equipment to help reduce overall energy consumption; (3) District cooling system, which can provide cold water for the air-conditioning systems of buildings in the WKCD, reducing electricity and water consumption — this system can reduce greenhouse gas emissions by 7,000 tons per year and water consumption by 700,000 square metres; (4) Seek to use renewable energy as much as possible, for example by installing photovoltaic panels on building rooftops and other places to provide solar power and installing solar water heaters in buildings to supply hot water to facilities.

Referring to the architectural plan for the WKCD, Tam says “Norman Foster's design concept was to build a series of performing arts venues with their own unique artistic features and character rather than a mega-sized performing arts centre. The current design of the WKCD is made up of many different buildings. You can imagine how much energy would be consumed by air conditioning if the whole district was like a giant shopping mall. Now most of the area is open-air and there are public space facilities shared between the various sites, including open spaces and green areas.” He adds: “As Norman Foster said, it doesn’t matter if it rains, this is nature, an ideal urban oasis."

Another sustainability innovation is SmartBike, a bicycle sharing campaign, which encourages people to cycle around the cultural district. Tam also notes that “There will be a corridor named ‘The Avenue’ between the Xiqu Centre and the WKCD. Driverless buses and bikes will be available for visitors to go back and forth quickly and easily as an alternative to walking.”

Starting from the details

Tam says frankly that for now the WKCD has a specific sustainable development strategy, “Nonetheless, we are proactively considering how to be more environmentally friendly and reduce carbon emissions in many areas and will then fine-tune the measures bit by bit.”

When Tam joined WKCD about four years ago, his first move was to stop publishing printed programme leaflets. “Of course, sometimes printed materials are indeed needed, but generally speaking, we won't print them if we can avoid it. Nowadays, many art groups have begun to reduce producing printed leaflets, which are often used primarily to acknowledge sponsors. We have found other ways of doing this, such as using banners and LED projections.” 

With regard to applying environmental protection measures to stage design Tam notes that, “Many productions now use LED technology in Freespace instead of traditional physical scenery. Of course, Freespace programmes will benefit from this approach. However, the new venue Lyric Theatre Complex will focus mainly on dance and musicals, so we will also actively study how to reduce carbon emissions for that type of production.”

Values and Concepts

Faced with changes in the economy, protecting the environment can help reduce the need for resources, but the investment required in the relevant technology can be substantial. Under financial pressure, the WKCD team has tried its best to make operational adjustments. “We are currently saving energy in many very subtle and inconspicuous places,” Tam says. “For example, there is a set of escalators in the Xiqu Center that go from the basement to the second floor. Energy consumption for these is very high — if they are not operated, seven figures in electricity bills can be saved every year. We will therefore turn off these escalators when there are no performances, which is both environmentally friendly and reduces operating costs.” Nonetheless, he adds, the lifts will still be available when needed.

Finally, Tam says that the biggest challenge to promoting environmental protection in Hong Kong is actually values ​​and concepts. “I think the importance people attach to ‘convenience’ is a problem. Environmental protection measures often result in less convenience and comfort, so everything depends on how much the audience values having that ​​convenience and comfort. As a venue provider, on the other hand, using less electricity saves money as well as protecting the environment. So we are proactively looking at ways to continue to reduce operating expenses, which is both environmentally friendly and economical.”

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Venus Lam

A former local cultural reporter and editor, Lam is now a freelance writer covering topics ranging from fashion, travel, art and culture to personal profiles. She has written several books on the oral history of monuments and dance in Hong Kong. In 2020, Lam received an award as one of the recommended new writers at the 13th Hong Kong Book Prize.