[中] [ENG] 香港建築師對談文化地標的可持續發展

對談：楊建邦、黃德明

文：賴閃芳

左：楊建邦，右：黃德明 （照片由國際演藝評論家協會（香港分會）提供）

Left: Bong Yeung ; Right: Humphrey Wong (Photo provided by International Association of Theatre Critics (Hong Kong))

近年各行業有關ESG（環境、社會及管治）的討論愈來愈多。因應《巴黎協定》的死線迫近，全球需要最遲於2025年前達到溫室氣體排放峰值，並於2030年減少43%（以2019年為基準），將升溫幅度控制在攝氏1.5度以內。減碳是全球人類面臨的最大挑戰與目標，文化藝術界也不能例外。當談及減碳措施時，我們不能忽略探討文化地標的可持續性。香港綠色建築議會於2009年創立，設立「綠建環評」（BEAM Plus）的評估工具，以提高本地建築物的環保效益，降低碳排放。西九文化區及其戲曲中心等新建項目，亦獲得該認證。是次專題邀請到Meta4 Design Forum的聯合始創人黃德明（Humphrey）和小市山設計的首席設計師楊建邦（Bong），交流對文化地標的可持續發展的看法。前者是賽馬會創意藝術中心改建活化工程的主要設計師，後者參與了多項藝文創作和社區營造項目。不同年代的兩位建築師卻有著相似的看法：著重更宏觀的可持續發展。

是次的討論聚焦在環境和社會方面的可持續發展。Bong提到：「除了加裝太陽能板等外置方式，可持續發展包涵幾個範疇——除了環境，還有社會和文化這些公共層面，甚至財政也是至關重要的一環。」Humphrey以新加坡建築事務所WOHA的建築理念為切入點，觀照香港文化建築的可持續性。

綠植比例（Green Plot Ratio）：在有限的土地上，提升綠植的範圍，「花園城市」新加坡就是以垂直綠化作為可持續發展的策略而聞名。而西九文化區以大範圍的公園設計，顯著改善空氣質素和市民福祉，而獲得「綠建環評」鉑金級認證。

生態平衡（Ecosystem Contribution Index）：單純種植樹木是不足夠的，更要顧及生物的多樣性。採用多元樹種，鼓勵栽種原生植物，為昆蟲花鳥提供居所。Humphrey為嘉道理農場暨植物園設計的賽馬會自然保育中心，將建築與自然融合，嘗試為野生動物創造棲息地。另外，建築物減少使用玻璃幕牆，可大大減低雀鳥撞倒而意外死亡的機率。顯然，可持續性不能只由人類角度出發，而應以整個生態平衡為依歸。

自給自足（Self-Sufficiency Index）：分為食物、能源及水源三方面，就地取材可減少運輸和發電等高碳排放活動。例如高山劇場新翼除了天台花園外，更設有雨水收集管道，循環作灌溉或沖廁水之用。太陽能、風力發電等為大眾認識的環保能源，應用亦廣。至於城市農莊及養蜂等活動在香港仍處於起步階段。

公共空間比例（Community Plot Ratio）：意指在建築物內預留作公共空間的比例。除了集中在地下，能否每一層也預留共用空間？其實相比私人物業，許多香港文化地標如戲曲中心、大館、香港文化中心均有高比例的公共空間。

公眾友善（Civic Generosity Index）：與公共空間比例稍有不同，公眾友善的空間應該鼓勵及激發城市的活力。充裕且免費的公共空間，讓大眾自發地創意使用，促進社群連結。

高山劇場新翼（照片由康樂及文化事務署網頁提供）

Ko Shan Theatre New Wing (Photo provided by the website of Leisure and Cultural Services Department)

新建的項目當然可在設計上更環保，但現有的建築物又該如何提升可持續性？「回到最基本的3Rs：Reduce（減少）、Reuse（重用）、Recycle（回收）」，Bong指出香港的高度發展時期已過去，怎樣重用或改建現有的城市肌理（Urban Fabric）是出路，亦是世界的潮流。香港有很多因社會轉變而變得過時的建築物，這些建築可否轉化成文化空間、商業或住宅空間，賦予它們新的用途？畢竟推倒重建會製造大量建築廢料，重用才能真正從源頭減廢。Humphrey認為設計師可根據空間的特色，以配對方式去設計：「這個位置不適合做一千人的音樂表演，就找別處。若這個位置（只）適合一個戶外表演，就是二百人坐在一個草地上，看看怎樣做一個配對。」這種配對與新設計一樣有挑戰性，但更能保留地方文化。Humphrey 自嘲說：「有時要壓抑一下建築師的自我——（想）要建多一些新的東西⋯⋯大家要警惕一下自己。無論你是設計師、客戶抑或空間使用者，都要留意這些想法。」筆者早前參觀由香港話劇團牽頭，本地建築師葉頌文改建的二級歷史建築「賈梅士學校」，改建工程包括打通班房，改為較大的排練室及展廳，拆除的舊玻璃窗重製為玻璃磚，作為室內裝飾，並保留了當年小學的建築外貌及校名招牌，將其轉型為戲劇教育中心，唯教學的使命不變。今年巴黎奧運以「永續」為宗旨，開幕典禮儼如一次巨型的場域特定演出，沿塞納河展開。兩位受訪者不約而同地盛讚巴黎奧運的設計，Bong欣賞它的策略，紫色和藍色遍佈整個城市，與舊建築物的啡色和灰色形成有趣的對比，「令人覺得就算用舊的城市，也有一種全新的觀感。」Humphrey則欣賞它的策展，聰明地配對地點及內容。文化地標的永續，如何不由盤點開始？重新審視香港已有的資源和文化資產，加以升級改造，3Rs的概念同樣可以發揮得很精彩。

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賴閃芳

戲劇顧問，畢業於英國艾賽特大學舞台實踐藝術碩士， 涉足戲劇及當代舞蹈。

Dialogue with Hong Kong Architects on the Sustainable Development of Cultural Landmarks

Dialogue: Bong Yeung, Humphrey Wong

Text: Zoe Lai

Translator: Eva Kan

左：楊建邦，右：黃德明 （照片由國際演藝評論家協會（香港分會）提供）

Left: Bong Yeung ; Right: Humphrey Wong (Photo provided by International Association of Theatre Critics (Hong Kong))

In recent years, there have been increasing discussions on ESG (environmental, social and governance, which refers to responsible investment) across various industries. The deadline for the Paris Agreement is approaching, meaning greenhouse gas emissions on the planet must peak before 2025 at the latest and decline by 43% by 2030 (2019 as the benchmark year), in order to limit the global temperature increase to under 1.5°C. Carbon reduction is the greatest challenge and goal facing all humankind, and the arts and cultural sector is no exception. When talking about carbon reduction measures, exploring sustainability for cultural landmarks should not be overlooked. Established in 2009, the Hong Kong Green Building Council set up the BEAM Plus assessment to enhance the environmental benefits of local buildings and reduce carbon emissions. New buildings in the West Kowloon Cultural District, including the Xiqu Centre, have already obtained this certification.

To discuss this topic, we invited Humphrey Wong, the co-founder of Meta4 Design Forum, and Bong Yeung, the Design Principal of Littleurbanmountain Design, to exchange views on the sustainable development of cultural landmarks. The former was the lead designer for the conversion and revitalisation of the Jockey Club Creative Arts Centre, while the latter has been involved in various arts and cultural creations, and community building projects. While they come from different generations, the two architects have similar ideas, focusing on a broader view of sustainability.

The discussion focused on both environmental and social sustainability. “In addition to external methods such as installation of solar panels, sustainable development covers a number of aspects—not only the environment, but also public aspects like society and culture. Even finances are crucial,” Bong says. Humphrey uses the design concepts devised by WOHA, a Singapore-based architectural firm, as an entry point to look at the sustainability of Hong Kong’s cultural buildings.

Green Plot Ratio: This term refers to the increase of green space area within a limited plot of land. Singapore, the “Garden City”, is famous for using vertical greening as a strategy for sustainable development. The West Kowloon Cultural District has been awarded the platinum certificate from the BEAM Plus assessment for its extensive park design, which has significantly improved air quality and public well-being.

Ecosystem Contribution Index: This takes into account not only tree planting, but also biodiversity. Planting a greater diversity of tree species and encouraging the planting of native species helps provide habitat for plants, insects and birds. The Jockey Club Nature Conservation Centre, designed by Humphrey for the Kadoorie Farm and Botanic Garden, blends in with nature in an attempt to create habitat for wildlife. In addition, reducing the use of glass panels on buildings can significantly lower the risk of birds being killed by crashing into glass walls. It is clear that sustainability cannot be achieved from the human perspective alone, but should be based on a balanced ecosystem.

Self-Sufficiency Index: This covers three aspects—food, energy, and water. Drawing on local materials can reduce high-carbon activities such as transportation and the generation of electricity. For example, in addition to having a roof garden, Ko Shan Theatre New Wing was built with rainwater collection pipes which recycle water for irrigation or flushing toilets. In Hong Kong, while renewable energy like solar power and wind power is well known and sees a wide application, activities such as urban farming and beekeeping are still in their infancy.

Community Plot Ratio: This is the amount of community space allocated within a building. Rather than concentrating the communal spaces on the ground floor, could each floor of the building have such spaces as well? In fact, compared to private properties, many of Hong Kong’s cultural landmarks such as the Xiqu Centre, Tai Kwun and the Hong Kong Cultural Centre have a high proportion of community space.

Civic Generosity Index: Slightly different from the community plot ratio, spaces with civic generosity should encourage and stimulate the vitality of the city. Ample free public space which allows spontaneous and creative use by the public can promote community connection.

While new buildings can certainly adopt more environmentally friendly designs, how can sustainability be enhanced for existing buildings? “Let’s go back to the basic 3Rs: Reduce, Reuse, Recycle,” says Bong. He points out that Hong Kong’s era of high development is over and finding ways to reuse or reconstruct the existing urban fabric, something which is a worldwide trend, offers a solution. There are many buildings in Hong Kong that have become outdated as a result of social change. Can these buildings be transformed into cultural, commercial or residential spaces and given new purpose? After all, demolition and redevelopment would create a tremendous amount of construction waste; only reuse can truly reduce waste at the source.

Humphrey believes that designers should create designs based on matching the characteristics of the spaces: “If one location is not suitable for a musical performance for 1,000 spectators, then find somewhere else. If a location is (only) suitable for an outdoor performance—for 200 people sitting on a lawn—let’s see how to match the site to the purpose.” This kind of matching is as challenging as creating new designs, but can better preserve local culture. Humphrey laughs at himself, “Sometimes you have to suppress the architect’s ego—(wanting) to build more new things…you have to be on your guard. Whether you’re a designer, a client or a user of a space, it’s important to be aware of these thoughts.”

賽馬會自然保育中心的模型（照片由香港賽馬會網頁提供）

A model of the Jockey Club Nature Conservation Centre

(Photo provided by the website of The Hong Kong Jockey Club)

Earlier I visited the Escola Camões school, a Grade 2 historic building which underwent a site renovation led by the Hong Kong Repertory Theatre and designed by local architect Tony Ip. The renovation works included opening up the classrooms and converting the spaces into larger rehearsal rooms and exhibition halls. The old glass windows which were removed were remade into glass tiles for interior decoration. The primary school’s original façade and the signboard with its name have been preserved. Although the school has been transformed into a theatre education centre, its mission of teaching remains unchanged.

This year the Paris Olympics pursued a mission for sustainability. The opening ceremony was a kind of mega site-specific performance along the River Seine. Both interviewees heaped praise on the design of these Olympics. Bong appreciated its strategy. Using purple and blue colours all over the city created an interesting contrast to the browns and greys of the older buildings. “Even if there is an old city,” he comments, “You can give it a new look and feel.” Humphrey admired the curation of the Games, which cleverly matched locations with content.

When we talk about the sustainability of cultural landmarks, we need to start with an inventory of what is already there. By re-examining Hong Kong’s existing resources and cultural assets, and by upgrading and transforming them, the 3Rs concept can be used to great effect  in our city.

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Zoe Lai

Graduated with a Master of Fine Arts in Theatre Practice at the University of Exeter in the UK. She works as a dramaturg in theatre and contemporary dance.