建築 工程 測量 都市規劃及園境界諮詢會議 Consultation Session (Architectural, Engineering, Landscape, Planning and Surveying)

Transcription

1 建築 工程 測量 都市規劃及園境界諮詢會議 Consultation Session (Architectural, Engineering, Landscape, Planning and Surveying) 日期 : Date: 時間 : Time: 地點 : Venue: 22/02/ 展城館多用途廳香港中環愛丁堡廣場 3 號 Multi-purpose Hall, City Gallery 3 Edinburgh Place, Central, Hong Kong Mr Gerard Tsang, Moderator: 大家好, 歡迎大家出席西九文化區管理局香港故宮文化博物館嘅諮詢會議, 就呢個新館嘅初步構思提供寶貴嘅意見 本人係今次會議嘅主持 Gerard 曾柱昭, 我有 30 年策劃同埋營運不同博物館嘅經驗, 亦都曾經任呢個香港舞蹈團行政總監五年, 我個人嘅興趣就為香港藝團編寫劇本, 好高興今次喺呢個展城館同建築專業界嘅代表見面 各位入場嘅時候, 都會獲發一張發言嘅意向卡, 如果各位想喺稍後發表意見, 請你喺卡上面填上你嘅姓名, 將卡對接, 然後放喺收集箱裏面, 我哋嘅工作人員係會收集之後, 稍後我會以抽籤嘅形式決定邀請大家發表嘅次序 今日會議嘅整個過程, 都係會被錄音嘅 而且會交由一個獨立嘅研究機構進行分析, 報告稍後會呈交俾西九文化區管理局嘅董事局作呢個詳細嘅考慮 大會為各位預備咗粵語同埋英語嘅即時傳譯, 如果需要呢項服務嘅話, 請向場內嘅工作人員示意, 我哋呢就會俾個傳譯耳機俾你 事不宜遲, 我首先要介紹今日出席呢個諮詢會嘅西九管理局代表, 佢哋分別係西九文化區管理局行政總裁栢志高先生 營運總裁陳惠明博士, 以及香港故宮文化博物館設計顧問嚴迅奇先生 首先我哋請栢志高先生幫我哋講幾句 Mr Duncan Pescod, Chief Executive Officer, West Kowloon Cultural District Authority: Thank you Gerard! First of all, thanks for coming, I know 6:30 is probably a bit early for too many people but it s good to see a few people here. I do want to thank you all for coming to this is the second consultation session for people from the architecture, engineering, planning and other professional groups. This is one in a series of sessions is that better, can you hear me out there this is the second in this series but it s one of the series of sessions that we put together in the last few weeks, really to try [to] hear what people have to say on the development of the Hong Kong Palace Museum. It s very clear there is a lot of interest in this project and that people do hold different views. We hope that through sessions like this and the ongoing collection of public opinions, we can ensure that views are heard from all sides. You may be aware that we recently announced an extension of the consultation period by 2 weeks which would take us up roughly to 8 th March and that we hope will give even more people an opportunity to comment and pass their views to us. I got to be transparent and direct as to my own view on this and what I said before, I really and truly believe this is a great opportunity not just for the WKCD but for Hong Kong. And I think it is important [that] we don t lose sight of one fundamental point, which is that this opportunity is unprecedented, it really is unique and it s something which I think we need to consider very carefully how we respond. Within the international museum world, there are several examples of institutions establishing relationships that are beyond their normal sphere of influence, so that their collections can be seen by a much wider audience. The Guggenheim, through the Guggenheim Foundation in New York, works with the Basque government in the Spanish city of Bilbao to achieve exactly this. The Louvre in Paris 1

2 has a branch museum the Louvre-Lens in the southern part of France as well as formal agreement with the city of Abu Dhabi, the Louvre Abu Dhabi. Victoria and Albert Museum closer to home has developed a partnership arrangement to have a dedicated gallery for the V&A collection to be displayed in the Shekou Design Museum in Shen Zhen, which will open in October of this year. This collaborative and open exchange between cultural institutions is the norm and is one that we should all welcome. What s truly remarkable about this opportunity is the unique freedom that we will be given not to create a branch museum, I keep stressing this is not a branch museum of the Palace Museum but instead an independent Hong Kong Palace Museum with its own Hong Kong-based Board, its own staff, its own curatorial policy. That is really quite unique even within these international collaborations. I am sure many of you are aware that the Leisure and Cultural Services Department has held exhibitions in Hong Kong previously, featuring works from the Palace Museum Collection. They ve shown the breadth and depth of the collection but only a tiny fraction of that collection have been seen publicly. I think it is fair to say the exhibition has been quite extremely popular with the Hong Kong public. And I think it shows that a permanent Hong Kong Palace Museum here in Hong Kong operating to the highest international standards will be a valuable addition to the environment and to the context both in Hong Kong and particularly in WKCD. I am sure you are aware the Museum itself will sit on a wonderful location at the edge of the Art Park. And it will form a counter point to the M+ museum, which deals with 20 th and 21 st century visual culture, creating in one place with three significant public attractions that will animate the site and draw, I believe, a large number of visitors -- the Hong Kong Palace Museum, the M+ and the Art Park. Some people suggest this location is remote, but honestly, if you ever come down to any of our Freespace Happening event or you ve gone to M+ Pavilion, you know for yourself it is not difficult to get to this location. And when we add all the additional access routes the new bridge into Elements and the Artist Square, hopefully in future ferry piers, additional road networks, it will be clear this is not a remote location at all. In fact, it will be at the heart of the District. The two museums would be well connected across the park along the waterfront promenade by roads with links with buses, mini-buses and taxis of course through the U-shape development which surrounds the Western Harbour Tunnel that would lead people towards Elements and the Kowloon Station. So I challenge the claim that this is a remote location. And while I am on the subject of the museum s location at the western end of the District, I should also clarify an important issue regarding the selection of that site for this project. Namely to state once again, the decision to haul the MPV project that was previously earmarked for site was made completely independently and before the decision was made to have a Hong Kong Palace Museum within the District. Decision to replace the MPV, which would have liberated exhibition facilities, with a proper exhibition centre with the capacity to host performances, was based on sound commercial reasons. In fact we have recently, I believe, submitted to the Legislative Council the reasoning behind that decision. It should be remembered that this site was always going to be developed through some form of public-private partnership and was not the Authority funded. So creating a viable market driven project was essential to even get it off the ground. And it s quite clear that a well-design, fit-for-purpose exhibition centre is going to be a far more positive use of the site. And indeed I would remind you that this would accommodate performances of a significant scale up to 12,000 seats. I think it is going to be far more viable, and therefore much more likely to attract the necessary private investment to get it built. And the two, Palace Museum and the exhibition centre, together with the hotel and offices around the U shape site will provide another focus of the district. Finally, as I said before, I would like to remind everybody the consultation goes on to 8 th March and I really do encourage everybody to share their views either by filling in the questionnaire this evening or online on the website. We are recording this event as you know so 2

3 rest assured your views will be included in our report to the Board to allow them to consider the way forward. I just want to finally end by saying the next step in this process is a formal decision to proceed. We ve signed a MOU but that has to be implemented to take this forward through a collaborative agreement and we need to get the Board s decision on that before we can proceed. So there is still a lot of work ahead of us but I believe this project really is going to be fantastic for Hong Kong. Thank you very much. 我哋而家就請香港故宮文化博物館嘅設計顧問嚴迅奇先生介紹呢個項目嘅設計概念同擬議設施 Mr Rocco Yim, Design Consultant, Hong Kong Palace Museum: 多謝 Gerard 各位, 大家好 就上一次第一場諮詢其實我就已經將我哋個設計概念介紹咗一次嘅喺個紙圖紙上 今次呢我哋係進一步有咗比較落實啲嘅設計意念, 我就唔再好詳細咁講過原身概念咁詳細講啦 我只不過希望大家睇睇有三點比較重要, 就係黃色 highlight 咗出嚟, 我哋話呢個建築將會係一個現代建築, 因為係香港文化有關嘅現代建築, 但係佢會去體現傳統嘅中國視藝文化 傳統嘅中國空間文化 同埋當代嘅香港城市文化 喺我哋做前期研究嘅時候, 考慮嗰個博物館放喺西九文化區嘅西面同一個展覽中心同埋隔離嘅酒店同寫字樓結合嘅時候, 係唔係一個可行 對西九成個區嘅公共空間有冇一個好處呢? 其實呢, 就係去考慮咗好多當代香港都市文化嘅特質 我哋發覺喺個結果出咗嚟之後呢, 將個故宮文化博物館放喺西面嘅盡頭, 同展覽中心同埋附近嘅酒店寫字樓結合咗呢, 其實佢對成個區嘅公共空間體系係完善咗嘅 因為如果大家睇咗呢個圖呢, 就會發覺其實我哋係有一條從東到西嘅公共空間軸線, 由東邊嘅戲曲前地中央廣場, 經過一個林蔭大道, 經過一個藝術廣場, 再經過一條一半喺嗰個寫字樓同酒店下面一個有蓋嘅行人通道, 就會到咗博物館同埋將來展覽中心共用嘅一個廣場, 咁其實即係話所有嘅公共空間連接起來呢, 博物館就形成咗成個西九文化區嘅西邊一個句號 咁因為有咗一個咁完善嘅公共空間網絡, 將來加上會有一條天橋由 Elements 駁通去藝術廣場, 將來亦都可能會有碼頭喺南面同埋喺北面, 咁嘅時候呢, 去故宮文化博物館呢其實就係相當方便嘅 呢一條東西軸線亦都係經過總體規劃裏邊好多條街 巷, 會滲透向北駁通九龍站同埋其他發展, 向南就會駁通嗰個海濱長廊, 咁而故宮文化博物館喺西面個廣場呢, 亦都係有個廣場今次就向西駁通番最盡頭嘅海濱長廊 天橋啦 碼頭啦 同埋將來會有一條車路係駁通 Elements 出邊旋轉橫過嗰個西隧收費站嘅上空然之後落地, 咁變咗將來嘅車就可以直接嚟到博物館同展覽中心嘅地面, 行人固然之好似頭先箭嘴講啦, 天橋可以過嚟, 方便咗, 碼頭可以過嚟, 車呢亦都可以直達到博物館送貨, 旅遊巴 的士 私家車亦都可以喺度落去地庫停車場 咁頭先栢志高先生話其實宜家呢個公園都唔難去, 將來有晒嚟啲嘢加咗之後, 就更加有好大嘅改善, 咁而家其實大家睇到呢正在起緊嘅就有戲曲中心, 有嗰個綜合劇場,M+ 同埋個公園, 公園將會係有個戶外嘅空地, 將來可能係好多戶外嘅表演, 展覽中心會有一個無柱嘅 9000 平方米嘅大廳, 可以用來做室內嘅表演藝術, 咁所以其實呢係將來嘅故宮文化博物館嘅兩面呢, 其實都有結合咗其他嘅表演藝術嘅大型活動喺度 東 西 中呢一個佈局就將會幫助帶活成個西九文化區, 好啦, 咁樣嘅佈局我哋覺得從都市設計角度來講, 其實係比原身只不過有個 MPV 係好好多嘅 人流同埋經常性嘅人流過嚟呢邊呢, 係會比較容易帶活西面嘅環境, 咁但係如果做到我哋頭先咁講有個廣場, 將來有個展覽中心要共用, 亦都呢度有酒店同寫字樓呢, 我哋嘅博物館就相對地一個好緊湊嘅建築物 你會睇到佢係有七層高同埋係嗰個佔地唔係好大嘅, 咁所以呢喺建築設計嚟講, 我哋頭先跟住講過呢, 我哋將會去注重嗰個建築同中國視藝文化嘅關係, 我唔係講緊佢嘅造型, 唔係講緊去模仿任何一個外型或者意象, 但係我哋會追求佢嘅氣質 但係今晚我唔會係講嗰個外型我亦都未係落實個外型, 咁呢度係有兩個原因, 第一個原因呢個始終係一個藝術嘅行為, 藝術嘅創作, 我相信大家都好同意嘅, 呢個我希望我有個相當嘅藝術自主權去做呢件事 ; 第二個原因係, 其實博物館嘅內容呢雖然大致係定咗, 但係呢仲要經過諮詢同埋同西九管理局嘅商量呢不斷去演變嘅 不斷演變嘅時候呢我其實係呢個階段係唔想亦都覺得係唔應該有一個既定嘅 3

4 外型嘅框框去框着, 係唔應該嘅, 我好相信喺建築設計來講, 特別係呢種博物館建築呢, 有好多程度係由內而外, 因為我強調嘅呢係參觀者嘅空間體驗, 亦都係個場所嘅適合性同埋個啟發性, 所以我哋比較着重今晚嘅呢就唔係講緊呢啲造型, 呢啲造型大家睇到其實同我哋第一次展板擺嘅已經係有咗唔同, 可能你哋唔覺嘅咋, 呢啲係不斷喺度探索緊, 但我哋今晚着重嘅就係個空間文化, 喺傳統嘅空間文化裏面點樣攞靈感 咁我哋發覺傳統空間文化俾我哋有兩個現象好值得去參考嘅, 第一個就係層次, 無論係自然景物 畫畫或者係書法裏面啲負空間嗰種層次感, 我哋覺得佢係好飄逸引人 第二呢, 其實係空間嘅序列, 係好流暢有序嘅序列, 呢樣野特別體現到我哋傳統嘅公共建築, 包括故宮 如果大家去故宮就會發覺, 除咗建築物之外俾你印象最深嘅呢, 就係嗰一進一進嗰種空間嘅序列感覺, 喺故宮來講呢種序列係平面嘅, 因為佢有嘅係地, 頭先大家睇到我哋呢個故宮文化博物館, 喺西九呢個地區我哋係逼住係要比較緊湊, 要騰多啲公共空間出嚟, 所以我哋係疊高, 頭先講係七層, 所以我哋嘅空間序列呢係採用垂直做法, 係有三個中庭, 係咁搭高, 咁但係亦都做到呢一種流暢有序嘅呢一種咁樣嘅序列, 咁就唔淨止係咁, 因為頭先睇到嗰個故宮文化博物館嘅位置周圍嘅環境係唔一樣嘅, 所以我哋除咗搭高嘅中庭呢, 亦都每個中庭嘅朝向係唔同嘅, 最低嘅中庭係朝向東個入口廣場, 中間個中庭朝南啦睇到香港島嘅天際線同埋個公園, 最高嗰中庭朝西睇到大嶼山 即係話我有三個中庭, 第一搭高 第二錯摩 第三就係旋轉, 咁呢一個咁嘅手法我就希望做到一種引人入勝 一步一驚喜呢一種係傳統空間嘅現象攞嘅靈感而來, 適合香港呢個都市文化嘅空間體驗 咁所以將來嘅建築物其實就係會結合咗呢一個空間嘅組織而體現係外型嗰度, 利用呢個空間組織去做一個建築嘅其中一個原因, 就係我哋可以提供一個展品同公眾嘅比較好嘅交流嘅場所 所以呢跟住落嚟就會介紹下大家, 每一層嘅平面佈置佈局大約會係點樣 博物館係七層, 最低嗰層其實係路面唔係地下唔係地牢, 路面係停車嘅地方 落客地方, 呢一層主要呢就係教育設施, 譬如有演講廳啦 有活動室啦, 向海嘅呢就會有餐廳對住海濱長廊, 主入口就係喺地下上層亦即係林陰大道一路過嚟經過藝術廣場嗰個高度, 咁就入到去主入口大堂, 有兩層展廳中庭圍住 在上一個中間嘅中庭另外有兩層展廳最高呢就一個比較淨空較高嘅主題展覽廳, 亦都係有一個中庭, 咁所以呢最低嗰層呢大家見到車落到嚟就可以落車, 有足夠地方停旅遊巴 停的士, 亦都有地方落貨, 亦都可以將來同展覽中心嘅落去地下停車場同埋展覽中心嗰邊嘅公共交通嘅 transport interchange 可以係合用 入到嚟有個比較細嘅接待大堂, 主題呢因為呢層係一啲教育設施 人嘅演講廳, 三個活動室, 有兩個餐廳對住海濱長廊, 呢個就係個 400 人嘅展覽廳大概係咁嘅尺寸, 呢個係其中一個活動室, 啱啱係喺公園嗰個延伸入嚟嘅嗰個視覺 咁上咗一層呢個係主入口啦, 行人入口就係嗰個林蔭大道一路過嚟就係啦, 如果你喺公園呢就會經過一個坡道比較一個好寫意地行嘅坡度上埋去個廣場, 入到呢個首層或者係地面高層嘅大堂呢, 主要就係有一個展廳, 係介紹故宮文化嘅, 咁將來呢個故館文化係講建築啦, 或者係講生活啦, 或者係講空間啦, 呢個就要慢慢同策展人慢慢商量, 呢個主要係介紹故宮文化 咁而呢一個大堂其實主要用嚟俾人自由去用, 可以入嚟係一個叫做 orientation space, 即係入到嚟睇下自己喺邊度諗下去邊層, 一邊係禮品店一邊係活動室, 入到去就係第一個中庭啦, 呢個中庭其實樓高有兩層展廳但係因為啲展廳係比較高嘅, 所以呢基本上呢如果係計平常嘅樓高大約有四層高, 但係嗰個橋妙呢就係喺盡頭嗰度係會有個空間一路咁升上去嘅, 亦都係上邊有光線滲入來, 咁你一入到去呢就好自然除咗呢個空間之外啦, 你就會感受到, 咦上邊仲有天地喎, 係唔係應該繼續去上面去探索呢, 有一個咁樣嘅引度或者係誘引等你一路去探索 咁呢一個中庭可以做唔同嘅活動, 譬如係展覽開幕啦, 同埋我哋亦都好建議呢個中庭係一個好好嘅場所放一啲現代裝置藝術喺度, 就唔係故宮嘅展品, 因為故宮嘅展品實在太過寶貴同太過要受保護, 喺唔可以放喺呢啲咁開放嘅空間 咁如果我哋放一個現代嘅裝置藝術係用故宮藏品主題做嘅呢, 咁我哋就可以製造到一種現代同傳統嘅一種對話 一種衝擊, 咁但係呢一個將來真係點樣做得好, 亦都係要同策展人慢慢磨合嘅 甚至有啲時候再現代化少少, 再做啲投影響四周圍嗰啲隔紗度亦都得, 所有呢啲都係一啲意念嘅啫, 即係話呢個博物館希望係有啲比一般嘅傳統, 或者展示傳統文物博物館係應該有啲新意嘅, 係有啲唔同嘅展示或者係同觀眾溝通嘅辦法, 咁無論點都好我哋都希望有啲人俾佢一引就引咗去上邊啦, 上邊中層嘅中庭係另外一種性質, 係以活動為主, 我哋向南望其實就可以望到香港嘅天際線同公園, 呢個中庭可以亦都擺設啲裝置藝術, 亦都可以用來做啲非正式嘅演講 講座或者係甚至係表現, 呢一層向南嘅中庭圍著呢開始係唔同主題嘅展廳, 4

5 可能係陶瓷啦 書畫 金器 青銅 玉器等等, 咁呢啲空間暫時基本上係一個我哋叫 white box 白盒係靈活處理, 但係點樣展示法係用咩新嘅手法展示呢, 我哋希望亦都係同將來策展人商量, 然之後呢啲空間我哋可能會有相當嘅靈活性去再演變來到去內外互相格住, 咁亦都睇到啦呢個係中間中庭嘅上層展廳呢, 有數碼展區 香港藏品展 同埋開始係嗰啲專題展嘅下層, 其他嘅展覽相對係永久, 所謂永久可能係一兩年, 專題展覽呢主要係不停咁樣換嘅, 所謂不停換大致上都係幾個月可能換一次, 咁樣呢啲展廳大家都知尤其是係文物嘅展廳, 通常係要密封嘅, 因為要保護唔可以有紫外光同陽光, 但係我哋呢個博物館呢面就係向海嘅, 所以除咗中庭我哋係有好好嘅景觀, 我哋某啲嘅展廳譬如呢個展廳我哋都會間一個位出嚟俾人坐響度睇海景, 即係休息嘅地方 咁所以你見到呢啲可能係一般嘅展廳啦, 呢啲就係臨海嘅展廳我哋係有個位俾人坐低欣賞海景, 但同時間又要好小心要遮陽要隔熱 再上最頂嘅中庭係向西, 呢個中庭係另外一種氣氛, 因為佢去到頂我哋有個天窗, 所以呢我哋係做到一種比較綠化, 有樹 荷花池 有櫈 有竹林, 係比較寫意喺度悠閑嘅地方, 同中間個中庭有好多活動唔同, 同底下個地下個中庭好靈活性使用亦都唔係好同, 稍為有一種唔同嘅氣氛, 咁向西邊呢就可以望到大嶼山, 出邊亦都有個平台 咁博物館唔係淨係自己掛住自己, 所以我哋亦都利用個博物館係去活化博物館周圍嘅環境, 除咗頭先講話有個廣場入口, 將來係展覧中心同埋博物館共用之外, 博物館最底層係教育設施為主嗰層, 我哋向海有兩個餐廳, 有戶內有戶外嘅餐飲, 然之後博物館同埋將來展覽中心中間嘅空位, 就因為上邊嘅平台由大樓梯落到嚟海邊, 我哋就嚟用個大樓梯前邊做咗個表演台, 所以呢就可以做啲戶外嘅自發性或者係有組織嘅戶外表演, 咁所以係個博物館嘅旁邊嘅大樓梯就可以坐晒人咁睇表演, 而博物館向海嗰邊嘅最低嗰層呢就係餐廳有室內有室外, 呢個環境呢就同海濱長廊嗰個綠化或者嗰個休憩區打成一片, 咁所以成個海濱長廊將來因為有咗個博物館喺度呢, 就會有咗多元化有活力嘅活動 咁一個西, 一個東, 一個中, 三個唔同嘅文化建築我就希望做到一個格局呢, 係可以將中國 國際 本地嘅文化好好咁連繫起嚟, 去融匯傳統同埋當代嘅藝術係適合呢個西九文化區嘅定位 多謝各位 多謝 Rocco 儘管能夠體驗傳統文化嘅雍容內斂, 但係呢又垂直咁樣步移境變, 為觀眾帶來驚喜嘅, 所以係令人非常之期望 咁接住我哋係喺討論嘅部份, 我哋在座列席嘅各位就會同大家分享呢個嘅意見嘅 咁喺邀請第一位參加者發言之前, 我哋首先係想介紹一下基本嘅守則 剛才大家已經將填妥嘅發言意向卡放喺個收集箱裏面, 咁稍後我用抽籤嘅方式係安排大家發言嘅次序, 每次我會抽出兩位參加者, 抽中嘅人士請你舉手示意, 咁我哋工作人員就會遞個咪俾你, 為咗確保有更多參加者可以發言, 咁每人會有一次發言嘅機會, 限時 3 分鐘 希望大家發言嘅時候盡量可以簡潔, 咁如果現場人士喺我哋討論嘅期間都想加入發表意見, 亦都可以隨時向在場嘅工作人員提交發言嘅意向卡, 咁我哋會收集係一併抽籤 最後呢再次提醒大家今日嘅會議成個過程都會錄音, 而且係交由獨立嘅研究機構進行分析嘅, 報告將會呈交西九文化區管理局董事局作詳細考慮, 所以請大家發現嘅時候對準個咪, 亦都係方便我哋即時傳譯嘅人員可以清楚聽到你嘅意見 咁而家係抽奬時間, 首先第一位係 KK Ling 凌先生 Mr KK Ling: 唔該主持人 我係 KK Ling, 係 HKIP [Hong Kong Institute of Planners] 嘅會員 當我聽到呢個故宮博物館香港館嘅建議嘅時候, 我係非常之興奮, 亦都係原則上就非常之支持嘅 就因為我係城市規劃師, 我就睇嗰個館 就係呢個項目嘅選址嗰度我就會比較留心少少 我就覺得喺呢個選址係相當恰當嘅, 佢擺喺整個西九文化區嘅西部, 就剛才嚴迅奇先生就用咗一句字 喺西邊嘅一個完美嘅句號 我就嘗試用另外一個概念, 就係其實佢係喺西部一個好重要嘅磁石, 而家嘅人佢會就咁睇嘅時候, 都會係概念上傾向進入西九文化區係由尖沙咀嗰邊進入, 但係大家可能未必會睇到呢, 將來隨着嗰個交通特別係嗰個行人網絡嘅發展, 其實係好多地方可以進入呢個文化區 而好多時候一個地方嘅係唔係方便, 其實係一個心理嘅影響好大, 而呢個心理影響亦都係需要人嗰個行為嘅改變和習慣嘅建立, 咁當我哋有咗個好有吸引力嘅設施喺呢個文化區嘅西邊嘅時候, 正正就會幫我哋呢改變到呢個人嘅佢嘅思維同埋佢嘅習慣嘅時候呢, 其實呢係會促進到嗰個對呢個文化區咁大嘅空間嘅使用同埋人流嘅分布嘅 第 5

6 二點呢我就亦都係非常支持喺呢個地方擺一個常設性嘅活動, 即係嘅空間, 其實呢如果我哋用一個本來嘅做法係一個表演嘅場地等等呢, 其實佢最大嘅問題呢就係一年唔會有好多嘅活動響度, 當佢唔係好多活動嘅時候呢你就好多時候好難建立人去呢個地方嘅習慣, 反而有一個常設性嘅 設施喺度嘅時候, 佢係能夠幫到更加好使用呢個地方 我知道我發言嘅時間差唔多啦, 咁我期望如果唔係太多人講嘅時候, 可能我會下次發言咁我就對呢個設計概念我都仲有啲意見 多謝主持人 多謝 KK 跟住第二位呢就係 Mr PY Tam, 譚先生 Mr PY Tam: 唔該主持人 我係 PY 譚, 係香港城市設計學會嘅 就上一次第一場我都有參加, 我有啲意見講咗, 我相信都聽咗又錄咗音咁所以我都唔重複啦 其實城市設計呢都幾關注嗰個空間嘅結構, 咁都好高興見到話盡量採用同保留嗰個中軸線, 即係嗰個林蔭大道即係置向故宮博物館嗰個咁嘅做法, 咁可惜這個展示冇啲詳細啲嘅圖, 咁睇呢就唔係太滿足, 因為嗰個景觀廊即係咁嘅睇法都好受兩旁嗰啲建築擠壓咗嘅空間, 即係睇出嚟唔知係點嘅樣呢唔係太過放心, 咁點樣漸進式走過去經過個 U 型嘅又上去, 嗰個坡度又係點樣, 因為嗰坡度如果好斜又或者好唔斜咁嗰個感覺又好唔同, 咁即係呢啲希望喺下一步你可以再多啲展示 咁另外就中國建築嘅元素都有好多種元素你可以抽取或者唔抽取你都冇辦法話要你全部抽取, 不過我感覺除咗話三進呀咩咁樣呢個我都支持, 咁但係有一種元素我覺得俾我個印象好深, 就係其實迴廊嗰啲柱個節奏感其實係好強烈嘅, 即係呢個設計淨係講空間嘅時候就睇唔到呢一種咁嘅感覺, 咁但係你係現代建築即係好滑嘅牆面即係無咗嗰種感覺囉, 咁當然係好啦好光亮但係有少少可惜, 唔該 Mr Rocco Yim: 好多謝 PY 嘅意見啦 嗰個坡度或者係個長廊, 其實就未開始真係仔細設計嘅, 呢個只係一個概念, 但係你講嗰個要注意嘅視覺同埋去坡道嘅舒適感我哋一定係好留意 中國建築元素我唔排除你講嘅嘢㗎, 因為而家我未有定案真係建築語言係點樣, 咁亦都除咗建築嘅本身其實嗰個平台亦都有好多綠化嘅元素, 亦都可能要有啲長廊俾人去有蓋地排隊等等, 咁可能喺嗰啲地方體現到出嚟都未定嘅, 所以呢你頭先話可惜其實未必一定可惜, 其實未最後可以有個決定, 不過你嘅意見我就會參考 第三位就係 Mr Patrick Chan Mr Patrick Chan: Rocco, 今次我代表我當一個 member of HKIA [The Hong Kong Institute of Architects], 咁我係問一問你嘅意見 我好想今次呢個博物館其實係可以都係 a place for all, 即係可以好多人都可以能夠 accessible, 咁包括傷殘人士啦 或者啲人可以扶老攜幼 或者啲比較啲 Young family 有小朋友都可以去得到, 咁所以希望你俾多啲一啲設計上嘅諗法俾多啲 humanity, 或者佢哋可以行到攰嘅時可以休息吓, 或者對一啲年青人嚟講, 佢哋欣賞故宮嘅珍藏嘅時候呢, 可唔可以有啲互動性, 或者 multimedia 咁, 始終因為啲展品都係 static 嘅, 咁我諗大部份嘅年青人都鍾意睇一啲郁得到嘅嘢, 或者一啲失明嘅人士又可以用一啲 3D print 咗嘅 model 比佢哋能夠都摸到, 咁我就覺得可以令到成個社會都有個利益 Mr Rocco Yim: 關於個博物館要好照顧長者或者傷殘人士或者小朋友, 呢一個就其實都有好多朋友表示關注, 咁所以我哋會好留意 除咗話法例上一定要有嗰啲啦, 我哋希望係做到佢哋嚟係好寫意, 唔會好似迫埋一角咁做, 咁其實包括頭先我約略提到亦都要睇到將來博物館賣唔賣飛, 如果好多人嚟點排隊啊, 咁排隊 6

7 啲老人家或者小朋友要點樣, 係咪要種好多樹, 或者有個蓋嘅長廊俾佢, 即係唔會係日頭曬咁嚟排隊, 即係呢啲呢其實係都要照顧嘅 咁博物館裏面其實你頭先都見到我哋嗰啲效果圖, 已經係比起一般香港嘅公共建築多咗好多櫈喺度, 任人坐嘅而家你去到譬如隔離大會堂差唔多係一張櫈都冇嘅, 但係呢一個博物館呢我哋就希望其實係好歡迎好多人行完或者就算佢淨係想入嚟欣賞吓個空間, 都有好多地方可以俾佢留連喺度 至於展覽嘅形式, 其實我都好期望會同各策展人去互動, 即睇吓有乜嘢方法可以跳出好傳統嘅一個一個櫃就咁睇住嘅一種方式去做 Mr Duncan Pescod Maybe I can address a couple of those points. Tickets, we already have a very clear idea that generally for access to the collection that the standing the sort of normal long-term collection there will be no charge. It will be the same for the M+ museum for the standing collection there will be no charge, but for special exhibitions, we do expect to have a ticketing access simply to manage the crowds because we know such exhibitions are very, very popular. In terms of the curatorial policy, I like the idea of interactive elements, you know, in particular exhibitions with visually disabled might be able to get close to it. It will be a balance, some of the more robust items perhaps, but many of the items that we are likely to get from the Palace Museum are very fragile and obviously that contact won t be really feasible. But I do like the idea of interactive virtual reality and indeed if any of you ve been up to the Palace Museum recently, there is a whole section now of virtual reality, as part of that explaining the collections and where what we fully expect to be able to tap into their expertise that the Palace Museum already has, to bring that as part of the what is now normal in every museum. It doesn t matter if you are going to MoMA or if you go to M+ in future or you go the Victoria and Albert, virtual reality is becoming part and partial of what museum offers. 其實不同嘅展品或不同嘅展覽我哋喺發揮佢嗰個教育或推廣方面都有不同的設計, 我記得好耐之前我做羅丹雕塑展嘅時候, 我係專登問呢個羅丹博物館准許某啲雕塑係比失明人士帶咗手套去摸嘅, 即呢啲我哋係會就住不同嘅展覽內容, 係會做一啲詳細嘅設計係方便我哋嘅觀眾欣賞 第四位嘅係 Mr Raymond Kam Mr Raymond Kam 唔該 或者我用英文問, 因為我諗呢條題目都唔係好 address to Rocco. Well, can I ask a question on I am a quantity surveyor. So, I need to ask something about the money side. First of all the first question will be, well, would this project be a project of design to the budget? Or you have to establish the design first and then you establish the budget? Because, you know, there are a lot of hot debates on almost most mega-size projects over-budgeting everything. So, this is the first question that I need to ask. And the second one will be, I understand that this will be a project to be funded by the Hong Kong Jockey Club, but then would there be any other funding from the government to be injected into this project? And my last question will be, would there be any independent cost control on this project? Well, I mean the building construction side. So thank you. Maybe William can answer the last one because that s what his expertise but let me try to deal with the first two. We have a fixed budget, it is well-known $3.5 billion. However, if within that budget that are elements that we think are necessary but uncovered by the budget, there is always a possibility of additional budget, not but I am telling him this. To make it up, but he has got to justify 7

8 it. Essentially, yes, we are requiring them to build to the budget, that s the objective. In terms of the source of funding, as I say, $3.5 billion is the construction budget but of course the operation has to come out of our resources, that s not funded by the Jockey Club. Clearly, because we are going have to operate it, we must make sure that there is very stringent control over the design elements that will cost us money. So, I think that is absolutely, you know these are the conversations that we are just getting into now or essentially as the conceptual design is taken forward, the details and we have been through this with M+, where, you know, we had a design competition in that case and they came up with a great design but then you have to make it practical. You can t just take a design and think it is going to work when in reality it often doesn t. So, those conversations are now part of what has had to happen going forward. Cost control would be William s responsibility. Dr William Chan, Chief Operating Officer, West Kowloon Cultural District Authority: Well, I think, with experience of Rocco and the budget figure, I think we can start our cost planning from very early on, so that we make sure that well Rocco get his design, assume the design is agreed by everybody. It s important that Rocco can commit on to deliver his design but I think we have work together with Rocco to find out where to spend the money. I think we have to spend the money wisely and that is the important point and we can do it because we are still at the very, very early stage. We are already focusing on how to make it work with the budget, I think of course we need the help of quantity surveyor as well. Bear in mind, we also have a team of experienced project managers and Rocco is very experienced in those museums. And we also have the experience in building the M+ so these altogether will give us very good confidence that we can deliver a value-formoney museum that meets everybody s expectation. The experience we have with building the other projects within the WKCD M+ obviously, but Xiqu, Lyric Theatre, etc. We built up a considerable amount of expertise within the organisation and we also use outside third party for checking purposes for, you know, project management, etc. So, that system is already well established. So if there are no more question, we can finish but seriously if you have any question, put up your hand. That s probably the easiest way. So, anyone who have not asked first. Go on. 請你講你嘅名同埋代表機構方便我哋個記錄 Mr Yuet Tsang Chi: 我係乙增志, 係建築師學會嘅, 香港中文大學嘅教授啦, 同埋 HKIUD [Hong Kong Institute of Urban Design] 嘅 member 嚟嘅 咁有幾個提出嘅 design 係真係相當有創意我覺得, 亦都有一個好有心意嘅一個啟發性嘅一個設想, 咁我覺得係好好嘅 咁我就想同 Rocco 討論或請教幾個問題, 第一呢就係話, 嗰個設計嘅圖案嘅觀念係好清楚嘅, 譬如你講三個有兩點嘅我想同你 或者你可以注意下或者可以考慮採納或者去點樣辯證一下你哋嗰個團隊, 第一呢就係嗰個館嘅鄰近好大片嘅公園嘅, 個公園其實係一個好自由嘅一個可以講一個平面嚟嘅, 啲人可以好容易咁佢係你嗰度去舒展佢哋自己嘅活動 咁而家個方案就嗰個向南嗰個館呢就一個比較實啲嘅表現方法, 令到向南嗰個地同埋個館嘅關係變咗就係一定倚靠嗰個坡度, 我諗嗰個都係成功嘅, 但可能都可以諗一諗或者其他方案會唔會一個更加自若 更加輕盈啲嘅方法, 係唔需要將所有人一度都要屈到落去最 直接朝咗東先入到館呢 當然嗰度有一個好處係一個好清楚好 defined entrance, 呢度中間我諗都值得去再討論, 因為一個平面再一個, 一 8

9 個平面可以隨便行同埋一個館點樣兩個可以接合你哋建築學上嘅諗法 第二個呢就係講嗰個中軸線嗰樣嘢係非常之 inspiring 呢樣嘢就好少人可以夠膽咁樣諗, 正正因為中軸線其實譬如故宮嘅中軸線或者其他地方嘅中軸線建立係基於同方向嘅, 一進一進去係個腦海裏面建立出嚟嘅, 咁而家呢以一種旋轉式嘅, 咁呢種重方向感呢點樣可以可以在響旋轉的過程中可以維持係腦海裏面呢, 咁樣我就覺得實驗性太強, 而家暫時方向當中就唔一定可以體驗得到住, 或者你可以等往後再做嘅時候就只係呢個 第三條關於展覽嗰個展品嘅經歷同埋嗰個人係個中庭呢兩樣嘢可能要好小心地協調嘅, 因為故宮嗰啲 artefacts 都係細嘅, 而家都係好寧靜嘅環境入邊好細心咁好小規模個人咁去睇, 同埋喺個中庭入邊嘅人比較集體啲或者甚至係活動點樣, 喺出入之間個連貫同個相呼應係點樣做囉, 係值得下一步再探討 Mr Rocco Yim: 好多謝你嘅好多好多好多意見呀, 我諗主要我係想回應一點, 嗰個博物館同公園嘅關係, 其實好多朋友都提出呢個問題, 我哋嘅睇法呢就係咁嘅, 呢個公園係現實嚟講其實係已經設計好晒已經施工緊 咁而佢個公園呢其實佢有啲使命佢要達到嘅, 第一就要有好多樹啦, 咁所以而家睇到呢而家個設計個公園靠住個博物館嗰邊其實係好多樹種晒喺度, 然之後呢有個空地係呢個位, 呢個叫做 Freespace 將來就好多唔同嘅活動會發生嘅, 咁所以呢我哋採取嗰個博物館廣場同公園嘅連接就係東邊, 咁呢一個一方面呢又要有空間做到連貫呢, 但同時又要尊重返公園裏邊嘅自己嘅活動, 我覺得係需要嘅, 咁但係建築物同呢一個公園雖然喺地面嗰度我哋就唔可以話大開中門咁等人入嚟, 因為咁就破壞晒公園嘅功能亦都可能個比例同我哋呢個建築未必協調, 咁但呢個建築嚟講向住公園呢便嘅呢我哋一定要有啲對話 有啲呼應, 咁暫時你係睇唔到嘅, 因為呢個係一個周圍密室嘅 box 又唔係咁嘅, 咁呢一樣嘢我哋係諗緊嘅, 咁究竟一個視覺上體型上呢個博物館同埋呢個平面嘅公園其實關係最好係點呢, 咁呢個係要係仲諗緊嘅諗緊嘅, 至於你另外一提嗰點我都覺得好重要, 就係啲展館同中庭嘅氣氛, 所以呢我哋會有一個過度空間, 希望有一個, 出嚟唔係一出來就呱呱嘈係要有少少過度空間, 咁呢個亦都係值得留意嘅, 多謝你意見 Maybe I can comment on this, the nature of the artefacts that might be on show. I need to remind people that there is something like 1.8 million different types of artefacts from huge, huge pieces of concrete stone, whatever jade, they are enormous pieces right down to individual pieces of jewelry which are very small, very fragile and in the middle is all sorts, clothing which is quite large, there is all sorts. So I think the mandate is to accommodate that range from the very large to the very small. And I think as we get into more detail in the design, we, from the museum side, will be having that discussion, to refine the nature of the gallery spaces. But remember, gallery spaces are box, the exhibition, the professionalism is brought to the exhibition is how that box decorated and how the boxes set up to show what the collection is. Honestly, this is not my expertise but I am learning from the small exhibition that we put on at the M+ Pavilion, every time you go to an exhibition it s different. The layout is different, the rooting is different, the context is different, depending what you show. And I fully expect that to be the same. So, what we really need are flexible spaces that can be adapted to suite the different type of exhibition. 其實故宮博物館有 180 萬件呢個文物藏品, 咁係呢個日軍侵華嘅時候, 大約有 24 萬件 pack 咗 1900 幾個箱由呢個北京一路落到來去到上海, 跟住去到重慶跟住呢又再兜返上去南京, 其中有一件藏品叫做大禹治水嘅玉山, 喺南京朝天宮嘅孔廟裏面大到終於搬去台灣都冇搬到嘅, 留低咗係北京裏面, 咁嗰件係最大最矜貴嘅展品, 但其實睇下你點樣去安排個展覽, 有好多你以為唔係珍貴嘅嘢, 但係同其他嘅嘢配合嘅時候亦都會做到一個好好嘅環境, 咁所以係每一個展覧都係一個不同嘅 case, 即係正如 9

10 我哋問個探長你一般點樣破案架, 其實個個案件都係唔同嘅 大家仲有冇乜嘢可以同我地分享 凌先生 Mr KK Ling: 我有幾點意見同有少少問題可以同大家聽聽大家意見 首先就係喺嗰個建築設計風格嗰度, 我就好高興聽到 Rocco 講呢, 就呢個係一個現代嘅風格, 呢個我絕對同意, 因為我覺得整個西九文化區裏面每一個建築物其實都應該反映番我哋呢個時代嘅建築特點, 總體嚟講可以變成我哋呢個時代建築嘅一個 museum 咁樣, 亦都可以留俾後世作為一個記錄 第二呢我亦都好同意就係嗰個取其意唔係取其型嗰個 approach, 咁呢度我有少少睇法, 或者可以同 Rocco 分享一下或者討論一下, 第一我就覺得, 本來故宮整個 physical setting 其實係好內向嘅, 因為怕保安理由啦簡單嚟講, 所以好內向, 我就希望我哋以呢個香港係一個好外向型嘅城市, 我希望個建築物能夠做到一定嘅外向, 剛才聽到 Rocco 介紹呢, 都有一啲可以向外嘅空間, 視覺上可以向外伸展嘅空間, 咁我就覺得呢點係好嘅, 我希望 Rocco 呢就儘量發揮 第二呢就我覺得中國嘅無論係山水畫 書法 甚至建築有一個好大嘅特點, 就係嗰個留白, 真係留白, 呢啲白係整個藝術嗰個物件嘅好重要組成部份, 咁我就覺得呢個留白空間亦都帶來俾我哋好多將來好多嘅彈性 係另一方面我就想有少少意見呢想大家或者可以討論一下, 第一我就對嗰個 400 人嘅演講廳嘅需要有少少疑問, 因為佢佔據咗好多嘅空間, 就同埋既然隔離亦都有個將來有個 exhibition hall 咁係, 其實係咪有啲嘢我哋可以共用, 而係唔需要一個咁無彈性嘅一個演講廳, 佔據咗中間一個咁大同埋咁嘅位置, 呢度第一點 第二點我亦都會睇到就其實呢個館嘅面積唔係好大, 我都覺得有少少太過細, 我諗我哋要留返一啲彈性, 將來如果好成功我哋可以再 expand 嘅時候, 可能我哋要一個擴展嘅空間, 嗰個擴展嘅空間喺邊到呢, 我自己覺得見到比如底層有啲 loading/ unloading 嘅 facility, 咁其實我覺得係西九文化區有一個咁多文化設施集中埋嘅時候, 其中有一個優勢呢就係有啲呢類服務性嘅設施係可以共用嘅, 即係我哋如果將來係能夠喺隔離嗰個展覽設施即係可能 facing 嘅問題而家做唔到啦, 將來可能如果可以用埋嗰邊嘅 loading/unloading, 咁變咗我哋而家嘅 loading/unloading 將來也許可以改裝做埋一個故宮展覽嘅一啲設施, 咁我覺得呢個空間呢係需要嘅 最後一點就係 curation 嗰方面, 可能呢個都係個政策, 我就覺得故宮嘅藏品有好多我可能冇睇過, 但係我見過嘅故宮嘅藏品好多都係反映咗我哋中華文化嘅農耕文化發展到農耕經濟文化發展到最鼎盛時期嘅一啲作品, 佢好仔細同精細嘅, 咁呢個係反映咗我哋中華文化嘅一部份, 但係另外一部份我就覺得我哋當我哋中華民形成嘅時候即係漢唐嘅文化比較粗獷比較內向外型嘅文化, 我覺得亦都係好有價值嘅, 也許我哋喺呢度都可以留番啲空間有一啲專題嘅展覽, 或者甚至我覺得應該即係呢個故宮係成功嘅時候, 也許我們根本應該同呢個陝西省博物館 山西博物館等等即係去攞一啲我哋中華民族喺嗰個 formation stage 嗰陣時嘅文物作為一個展覽互相係對應, 咁我覺得就可以令到呢一個咁嘅作為一個博物館嘅中心係更加有吸引力, 因為比如如果好似柏林咁樣, 佢嗰個 museum island 都有五個嘅 museum 走埋一齊, 咁佢變咗差唔多係本身就能夠增強嗰個嘅吸引力 多謝 Maybe I will start. 400-person lecture theatre in fact the educational requirement in this museum is very high. It is deliberately intended to have the capacity to get different groups in, you know, not just school groups but elderly groups, students, etc. So, we need to capacity within the museum. It is not going to be possible to share with the exhibition centre because that would be run as a commercial operation, very different style. So, you can t necessarily expect one sort of support the other. That s the problem, it got to be self-contained. We originally have a smaller number within the schedule of accommodation but after discussion with the Palace Museum and some thoughts ourselves, that number increased and hence the sort of spaces that Rocco is now required to provide. The idea of working with other museums than the Palace Museum is certainly something I think we can look at. I think we should to get a well-rounded opportunity to see not just the Palace Museum collection but to put it into some sort of context. Some suggestions we also have is that because 10

11 this is the Hong Kong Palace Museum, what we should show should make some reference to Hong Kong, Hong Kong s development, Hong Kong s position within China, you know 3, 4, 5, 6 hundred years ago as well as 1, 2 hundred year ago. So I think that idea is something we can take forward. The final point I will take up on and I am sure Rocco would have other views on this. As I said, the exhibition space will be a commercial space, in terms of shared space, however, for security reasons, loading and unloading has to be dedicated. Honestly, we have dedicated loading and unloading for the M+ museum for the same reason. The artefacts you bring in are incredibly valuable. You can t run the risk of mistakes happening at that final delivery point. The other thing to bear in mind, when you receive something you have to check it, you have to make sure it has arrived in a fitted state. You have to deal with any problems that cannot take place in a shared space, it has to be a dedicated space. So those practical issues dictate the way this museum is being developed, I am afraid shared space in those areas not possible. One thing we are looking at in terms of shared space, is conservation. Now, let me be quite frank, I don t expect us to do conservation on artefacts from Beijing, they will do it in Beijing. But if something arrives that has been slightly damaged, you need to be able to deal with that in Hong Kong. That we can may be [able to] do in the M+ museum which has a dedicated conservation and storage space. So, we are looking at areas where we can do shared services but it is very limited I am afraid. Mr Rocco Yim: 相信栢志高先生其實都回應咗大部份嘅問題, 頭先 KK 講關於建築嗰邊嘅睇法, 我都好認同, 只不過可能我留咗講一樣嘢, 或者冇強調一樣嘢, 就算呢個係一個現代建築, 呢個肯定, 但係因為佢係故宮文化博物館, 所以呢佢唔可以任何嘅一個好中性嘅現代化建築, 呢個先至係個難處或者呢個先至係需要好動腦筋嘅地方, 即係我哋一方面係要從空間組織出發, 另外一方面將來嗰個建築其實我就希望係同中國視藝文化有啲聯想嘅做到, 乜嘢叫做聯想我而家講唔到, 要從呢個方向, 就唔係純現代建築, 可能就冇乜意思, 就可能太過太過國際化呢亦都冇乜意思, 其實呢個亦都係需要諗嘅 Sorry, I forgot to comment on one point. You said the area is too small. I am afraid that is the area we have, we really don t have the capacity to reserve space. And I am sure you understand, when we went through the planning process for this site, we came up with the development plan which is effectively maximize the use of the space even though relatively speaking it s low density. What we ve done is to try and this comes back to the review of the MPV. When we decided not to proceed with the MPV, we look at what else we can use the site for to maximize the use of the space because we don t want to waste this valuable site. And in this context, the decision was we could effectively share it between the exhibition space and the Palace Museum, but we can t, unfortunately, reserve space for future development. That s just not available. However, the beauty of the arrangement with the Palace Museum is that we can bring the whole collection to Hong Kong, but not necessary at the same time. We can bring the collection in parts over time and that in fact is the intention. It would be difficult for us to demand more from them than they are prepared to give us. Through the discussion we had with the Palace Museum in drawing up the MOU, general agreement was reached on the size that we come up with. So that s really where we are now, I am afraid. Mr PY Tam: 多謝主席俾我第二次講嘢 講開個建築物嗰啲元素, 我啱啱眈天望地望到呢個天花板, 呢個天花板好得意滿天星斗, 咁可能因為現代建築需要一啲服務 冷氣 咁即係但係中國建築比如故宮建築群咁, 另 11

12 外一個好深刻嘅元素就係個藻井, 我諗 Rocco 知我講乜, 但係即係如果你話正話嗰個展示暫時未設計到, 我理解, 不過呢個亦都可能係值得考慮吓嘅, 就唔好整成而家咁囉, 頭都暈晒 Mr Rocco Yim 我哋會留意啦 多謝 Mr PY Tam 我方便嗰個記錄 係, 仲有一位 Ms KY Ng Hi, I am a member of HKIS; Kate Ng, name. And I do agree with Mr Pescod just now that this is a museum in Hong Kong and I appreciate some of the Hong Kong elements will be incorporated in the museum collections. And that other than the thousands or millions of Beijing Palace Collection, we do wish that some of the Hong Kong art collection could be displayed or being demonstrated within this area. And regarding the curator, publicly Cantonese, I do wish that Cantonese will be retained as one of the medium in presenting some of the instructions or some of the guidance to the visitors. Thank you. Let me assure you, it will be trilingual at all times in all of our facilities, that s already a decision, we are struggling a little bit with signage because you have to have simplified characters and traditional characters but we ve already taken that decision. So please rest assured Cantonese will be given equal weighing with English and Mandarin plus probably some other languages just for visitors purposes. In terms of Hong Kong elements, there will be two opportunities, one is the intention there ll be a space available for local collectors to display their collections which I think is quite useful although there are some issues we need to look at that. But yes absolutely, one of the intentions that is behind this is to make sure the Hong Kong element is fully reflected in the way the exhibitions are drawn up. So, I can assure you that will be part of our philosophy. Ms Cheung Hoi Yee: 你好, 我係 Cheung Hoi Yee, 我係一個規劃師, 我係 HKIP 嘅 member 今晚呢好多謝各位提供咗好好嘅資料, 我係明白咗多咗嘅, 但係呢我想提出一樣嘢, 頭先嚴先生你講到有一樣就係, 個 design 係有一個場所嘅適合性, 呢樣嘢我好認同, 但係我想指出一樣嘢就係, 我諗出邊嘅市民對於西九文化區呢個地方, 嘅呢一個咁特別嘅地方呢對公共空間, 市民對公共空間嘅需要性, 都好大嘅需要喺度 佢哋亦都有自己一個好大嘅期望, 甚至個期望未必係我哋而家諗緊嘅故宮博物館嘅一個想像, 即可能係 beyond 一個故宮博物館嘅想像喺呢個 site 裏面, 咁所以我希望就住呢個機會講一講就係話, 好希望你哋嘅團隊同埋西九 WKCDA, 繼續去做呢個公眾諮詢嘅時候, 即係用心去聆聽市民對於呢個地點嗰個諗法, 即係我相信市民去提出意見嘅時候, 必定係 sincere 嘅, 亦都係對呢個地方係熱愛嘅 所以呢希望大家繼續去做公眾諮詢嘅時候留意呢一點, 多謝你 Thank you very much. Let me make two points. This is a formal public consultation exercise which obviously is an important part of the process but it will end after a month. Three weeks more time. If that is the end of the public consultation, the public input to this exercise then frankly that s not good enough. With all of our projects from Xiqu to Museum to Lyric to the Park, we always form advisory boards and advisory committees; we always reach out to the interested parties as an ongoing process. 12

13 We don t stop with a formal consultation. So let me assure you that process will not stop with this exercise. This exercise is for a particular purpose we want to know what people think to the initial idea. Once you move on beyond the initial idea, once that decision is taken to commit through the collaborative agreement to implement the project, then there is a lot, a lot more work that needs to go in in terms of collecting public opinion on how this project will be developed. And I can assure you these sort of briefing will continue not at the pace that we are doing it now because you need to have more time to develop things, but they will continue, there will be ample opportunity for members of public to have that input as we move forward. And indeed, just to give you an example, M+ museum is currently forming a group to help them to develop certain parts of their collection. They are doing that as part of the process leading up to the opening. So I would expect that something to be similar in this context. So thank you for your comment, I can assure you that will continue let her follow up. Ms Cheung Hoi Yee (follow-up) I think it s great to hear that and I think it s very important as well to keep it open to the public members as well as keep it continuous in public because that dialogue is very important, it is not just... it s important to consult different kind of sectors but I think the general public is very important as well. So, please keep this up. Mr Franklin Yu: 唔該主席, 我叫余烽立, 我係 HKIUD 同 HKIA 嘅 member 咁就想問啲都係我相信 architectural 都有關架啦, 就係我明白嗰個中國嗰個視藝文化, 可能會係內斂啲, 咁即係佢而家呢個博物館個位置喺海邊啦, 咁又亦都佢裏面本身嗰個 content 即係佢擺個啲展品嗰個文化深厚程度亦都好高啦, 咁所以即係喺呢度嘅時候呢似乎就會覺得會唔會可能可以做一個地標式嘅建築, 咁但即係譬如係好似 Sydney Opera House 咁樣樣嘅, 又一定唔係嗰種咁嘅風格, 咁但係又喺香港一個大都會咁樣樣, 所以咁呢一方面唔知 Rocco 嗰個考量 嗰個睇法係點樣 Mr Rocco Yim: 呢個好難答嘅問題 首先你講得好啱, 呢個唔係一個好誇張嘅建築, 因為兩樣啦, 我自己唔係好相信好誇張嘅建築, 無厘頭地誇張我自己唔相信呢類建築 ; 第二呢就係中國文化 故宮文化其實唔係講究誇張架嘛, 唔係講究誇張架, 咁所以呢其實嗰個建築物出到嚟呢, 要比較係自然, 可能係收斂啦, 但係咁唔代表佢冇性格, 咁而家我哋其實尋求一個適合嘅性格係去代表佢嘅內容, 亦都係同佢喺海邊或者係呢個公園隔離嘅位置係可以吻合嘅, 而家其實係追求咗呢樣嘢 或者我再答一答之前嗰位女士講個公共空間嗰樣嘢啦, 嗰樣嘢我係好贊成, 亦都其實一開始我都好講究做一個博物館其中一個目的, 就係去更加優化而家嘅公共空間, 但係我想強調就係好多時候公共空間唔好淨係睇過量, 唔好淨係睇幾大, 其實最緊要就係佢設計得好唔好, 佢同建築物個關係係點樣, 佢同呢個空間同第二個空間關係係點樣, 可能係嗰樣嘢呢我覺得係好多時香港係更加忽略嘅呢樣嘢, 唔係淨係講幾多公頃幾多公頃, 咁當然啦我哋係要滿足某啲公頃, 因為呢個西九文化區佢係有個規矩喺度, 咁但係呢我哋係個設計過程好着重嗰個空間嘅質素, 呢一點我係想強調嘅 Can I comment on that one? And I am delighted to hear what Rocco just said about new arts. Our philosophy within the Authority is function over form, that means we want our buildings to be practical to suit the purpose for which they are being designed; to be aesthetically pleasing but not necessary to be extravagant, that s not what we should about, we should be putting our money into value of money. And I think that share with both of us here. So, it would be great to have an iconic building 13

14 but honestly that is something that we want in the District. We have great buildings, M+ will be great building, Palace Museum will be a great building, I think the Xiqu Centre will be an interesting building. But I am not going to look at iconic building that is not our purpose. Great, look as I said, this is part of the process to gathering opinion and views, I really want to thank you for being direct with us, that s important. I just like to remind you we do have the opportunity, if you have any other feedback, pass it to us either in writing or through the website and it will all be collected. You still have a lot of time, 8 th March before we finish this particular part of the exercise. But beyond this of course, there will be other opportunities for your input, so look out for those as well. Thank you very much indeed. 多謝各位參與今日嘅討論, 如果大家意猶未盡或者仲有意見嘅話呢, 仍然可以透過西九嘅網站向管理局提交意見, 多謝各位 14