1/9 18/10/ 藝術總監 : 胡恩威 Artistic Director: Mathias Woo 主辦 : 進念 二十面體 Presenter: Zuni Icosahedron 香港文化中心 20 周年誌慶節目

Transcription

1 1/9 18/10/2009 藝術總監 : 胡恩威 Artistic Director: Mathias Woo 主辦 : 進念 二十面體 Presenter: Zuni Icosahedron 香港文化中心 20 周年誌慶節目 Programme commemorating the 20th Anniversary of the Hong Kong Cultural Centre 進念 二十面體為香港文化中心場地伙伴 Zuni Icosahedron is the Venue Partner of the Hong Kong Cultural Centre 進念 二十面體由香港特別行政區政府資助 Zuni Icosahedron is financially supported by the Government of the Hong Kong Special Administrative Region

2 主辦 PRESENTER 場地伙伴 VENUE PARTNER 進念 二十面體為香港文化中心場地伙伴 Zuni Icosahedron is the Venue Partner of the Hong Kong Cultural Centre 合辦 CO-ORGANISERS 香港當代文化中心 Hong Kong Institute for Contemporary Culture 節目贊助 PROGRAMME SPONSORS 節目合作 PROGRAMME PARTNER 香港特別行政區政府 The Government of the Hong Kong Special Administrative Region 城市文化交流會議贊助 大紫禁城展覽及教育活動贊助 大紫禁城及紫禁城遊記贊助 City-to-City Cultural Exchange Conference Sponsor "The Forbidden City" Exhibition and Educational Programme Sponsor "The Forbidden City" & "A Tale of The Forbidden City" Sponsor 學術研究及合作機構 Academic support 創意媒體及娛樂科技高級文憑 Higher Diploma in Creative Media & Entertainment Technology 指定網上電台 OFFICIAL ONLINE RADIO 多媒體器材贊助 Multimedia equipment sponsor 舞台及製作藝術學院 製作科藝設計 School of Theatre and Entertainment Arts, Department of Entertainment Design & Technology 指定酒店 OFFICIAL HOTEL 伙伴書店 Bookstore Partner 指定印刷 OFFICIAL PRINTING 服裝贊助 Costume sponsor "Looking for Mies" & " Corbu and Kahn" 贊助 Sponsor 全力支持 Support from WHITESPACE 媒體伙伴 Media partners 鳴謝 AcknowledgEments 香港建築師學會 The Hong Kong Institute of Architects 瑞安物業管理有限公司 Shui On Properties Management Limited 1

3 目錄 Index 概念 Concept 概念 Concept 第三部份 : 甚麼是城巿漫遊? Part 3: What is City Odyssey? 建築是藝術節是一個以建築為主題的藝術節 讓我們以生活和藝術的角度, 認識建築, 理解建築, 學習建築 ARCHITECTURE IS ART FESTIVAL IS AN ART FESTIVAL WITH ARCHITECTURE AS THE CENTRAL TOPIC. 5 9 參與創作人及策劃人 Artists and Participants 胡恩威 : 我們究竟能不能用不同的角度去看建築? Mathias Woo: Is it possible to look at architecture from different perspectives? 音樂 + 漫談 : 城巿漫遊 Music + Dialogues: City Odyssey 會議 : 城市文化交流會議 - 文化空間與文化發展 Conference: City-to-City Cultural Exchange Conference - Cultural Space and Cultural Development 我們活在建築裏面, 但是我們對建築的理解往往只是停留在經濟的層面 建築的本質不是經濟, 是藝術 建築影響著我們的官感世界 : 聲音 顏色 氣味 空氣 光線 中國和西方的傳統一直視建築為藝術, 並創造出不同的空間美學系統, 中國的四合院, 西方的歌德式教堂, 都是以建築空間建構人和天和地的關 We live amongst architecture, but our understanding of architecture always remains in the economic dimension. The essence of architecture is not economy, but art. Architecture is everywhere, in every aspect of our world of the senses sounds, colours, smells, 黃耀明 : 建築和音樂都可以用一個很科學化的方法去計算, 但畢竟都是關於美感和感情的 Anthony Wong: Both architecture and music could be approached in a very scientific manner, but in the end, it all boils down to aesthetics and emotions. 第一部份 : 甚麼是建築? Part 1: What is Architecture? 多媒體音樂演出 :Looking for Mies Multimedia Music Performance: Looking for Mies 演出 :Corbu and Kahn Performance: Corbu and Kahn 展覽 : 我的現代建築師 Exhibition: My Modern Architects 音樂 + 演談 : 建築是... 音樂對話 Music + Lecture: Architecture is... Discourse with Music 第二部份 : 甚麼是中國建築? Part 2: What is Chinese Architecture? 有關紫禁城的小故事 趙廣超 A Little Story About The Forbidden City Chiu Kwong Chiu 第四部份 : 甚麼是西九? Part 4: What is West Kowloon? 演出 : 東宮西宮八之西九龍珠 Performance: East Wing West Wing 8 - West Kowloon Dragon Balls 展覽 : 再思再創, 我們的文化海旁 Exhibition: Rethinking the Cultural Waterfront 節目表 Programme Calendar 進念藝術教育計劃 Zuni s Arts Education 進念 二十面體介紹 About Zuni Icosahedron 香港文化中心及場地伙伴 HKCC & Venue Partner 票務及場地資料 Ticketing and Venue Information 係, 但是, 在近百年資本主義全球化, 市場經濟主導的環境中, 全球化的建築已經越來越一體化, 變成只為經濟效益服務, 只著重金錢回報 建築只可以是藝術, 不可以是其他, 正如電影也只可以是藝術 所謂經濟效益必須由藝術效果衍生出來, 現在被市場扭曲了的建築本應是藝術的本質, 本末倒置地淪為單純的投資和投機, 若果建築失去了作為藝術的本質, 建築不再是藝術的話, 建築也不再是建築 我們有的只是很多投機炒賣的豪宅和樓盤 沒有建築的藝術, 沒有由藝術思維發展出來的建築, 建築對人類還有甚麼意義? 建築是藝術節 將會從藝術角度重新檢視建築, 以不同的藝術形式展視建築的各種藝術可能 節目分為四個部份 : 第一部份 : 甚麼是建築? 第二部份 : 甚麼是中國建築? 第三部份 : 甚麼是城市漫遊? 第四部份 : 甚麼是西九? lights and the air. Architecture has always been considered as art in Chinese and Western traditions; and has created various aesthetic systems for spaces. Both the Chinese Siheyuan or quadrangles and the Western gothic churches use architectural spaces to draw relationships between people, heaven and earth. However, with the globalisation of capitalism in the last decades, under the environment of our economy being dominated by the market, architecture all over the world has become more integrated, serving for economic benefits only, and focusing solely on monetary returns. Architecture should only be art, and nothing else, just as cinema should only be art. Economic benefits should evolve from artistic effects; but now the nature of architecture is distorted by the market. If the true nature of architecture is lost, and architecture is no longer art, then architecture is no longer architecture. What we are left with is luxury apartments and properties for sale and speculation. What is the meaning of architecture for the human race, without the art of architecture? What is the meaning of architecture when architecture does not evolve out of art? 多媒體音樂演出 : 大紫禁城 Multimedia Music Performance: The Forbidden City 展覽 : 大紫禁城 Exhibition: The Forbidden City 神遊紫禁城 張弘 A Mind-visit to the Forbidden City Zhang Hong 崑劇 : 紫禁城遊記 Kunqu Opera: A Tale of The Forbidden City 公開演講座談及講座系列 Public Seminar and Lecture Series 大紫禁城國民藝術教育計劃 The Forbidden City National Arts Education Programme Architecture is Art Festival will re-examine architecture from an artistic point of view, manifesting various artistic possibilities of architecture with different art forms. THE PROGRAMME OF THE FESTIVAL IS DIVIDED INTO FOUR PARTS: Part 1: What is Architecture? Part 2: What is Chinese Architecture? Part 3: What is City Odyssey? Part 4: What is West Kowloon? 2 3

4 參與創作人與策劃人 ARTISTS AND PARTICIPANTS 藝術總監 / 導演及設計 ARTISTIC DIRECTOR / DIRECTOR / DESIGNER 1 胡恩威 MATHIAS WOO 進念. 二十面體行政總裁 Executive Director of Zuni Icosahedron 顧問 ADVISORS 2 靳埭強 Kan Tai Keung 設計師 汕頭大學長江藝術與設計學院院長 Designer, Dean of Cheung Kong School of Art & Design, Shantou University 3 何培斌 Ho Puay Peng 香港中文大學建築學院教授及院長 中國建築研究室主任 Director & Professor, School of Architecture; Director, Centre for Chinese Architecture and Heritage, CUHK 4 杭間 Han Jian ( 北京 Beijing) 清華大學美術學院教授 及副院長 Professor & Vice Dean of the Academy of Arts & Design, Tsinghua University 5 許焯權 Desmond Hui 香港中文大學文化及宗教研究系教授暨文化及發展研究中心總監 Director, Centre for Culture and Development; Professor of Cultural and Religious Studies Department, CUHK 大紫禁城 創作顧問 CREATIVE ADVISOR, THE FORBIDDEN CITY 6 趙廣超 Chiu Kwong-chiu 大紫禁城 作者 設計及文化研究 ( 香港 ) 工作室負責人 Author, The Grand Forbidden City-The Imperial Axis ; Person in charge of Design and Cultural Studies (Hong Kong) Workshop 再思再創, 我們的文化海旁 項目策劃 CURATOR, RETHINKING THE CULTURAL WATERFRONT 7 鄭炳鴻 Chang Ping-hung 香港中文大學建築學院副教授 Associate Professor, School of Architecture, CUHK 特邀演出 SPECIAL GUEST ARTISTS 8 黃耀明 Anthony Wong 歌手 音樂創作人及監製 人山人海 創辦成員 Singer, Composer and Producer; Founding Member of People Mountain People Sea 9 甘國亮 Kam Kwok Leung 殿堂級傳媒工作者 編劇 演員Media Veteran; Scriptwriter; Artist 特邀崑劇藝術家 KUNQU OPERA ARTISTS 10 張弘 Zhang Hong ( 南京 Nanjing) 崑劇編劇 國家一級編劇 National Class One Playwright of the PRC 11 石小梅 Shi Xiaomei ( 南京 Nanjing) 崑劇演員 國家一級演員 National Class One Performer of the PRC 12 李鴻良 Li Hongliang ( 南京 Nanjing) 崑劇演員 國家一級演員 National Class One Performer of the PRC 展覽 / 視覺創作 VISUAL ARTISTS AND CREATION 13 黃炳培 Stanley Wong 又名又一山人, 八萬四千溝通事務所創作總監 (alias anothermountainman) Creative Director & Founder, Communications 14 林嘉欣 KArena Lam 藝人 演員 Artist 15 Tobias Gremmler ( 慕尼克 Munich) 德國 Digital Media 藝術總監及設計師 Art Director and Designer, Digital Media in Germany 16 利志達 Li Chi Tat 設計師及漫畫家 Designer, Comic Artist 17 黎達達榮 Lai Tat-tat Wing 漫畫創作人 Comic Artist 特邀講者 GUEST SPEAKERS 18 程建軍 Cheng Jianjun ( 廣州 Guangzhou) 華南理工大學建築學系教授 Professor, Department of Architecture, South China University of Technology 19 王維仁 Wang Weijen 香港大學建築系副教授 Associate Professor, Faculty of Architecture, The University of Hong Kong 20 陳瑞憲 Ray Chen ( 台北 Taipei) 十月設計公司建築設計總監 Founder & Design Director of Ray Chen International Ltd. 21 劉家琨 Liu JiaKun ( 成都 ChengDu) 家琨建築事務所主持人 Person in charge, Jiakun Architects 22 朱小地 Zhu Xiaodi ( 北京 BeiJing) 北京市建築設計研究院院長 Dean & Chief Architect, Beijing Institute of Architectural Design 23 張雷 Zhang Lei ( 南京 Nanjing) 張雷建築事務所主持人 南京大學建築學院教授 Person in charge, Atelier Zhanglei Architecture Design Institute; Professor, School of Architecture, Nanjing University 19 5

5 24 王澍 Wang Shu ( 杭州 Hangzhou) 中國美術學院建築學院院長 Dean & Department of Architecture, China Academy of Art 25 姜珺 Jiang Jun ( 北京 BEIJING) 城市中國 主編 城市問題專家 獨立藝術家與策展人 Chief Editor, Urban China; expert of urban problems and individual artist and curator 26 黎文 Li Wen ( 廣州 Guangzhou) 城市畫報 副主編 長期致力於發現及推動中國城市創意新文化 Deputy Editor-In-Chief, City Pictorial; passion in promoting creative culture in China 27 陳旭軍 Chen Xujun ( 廣州 Guangzhou) 生態旅遊專家 撰稿人 綠色環球 21 組織中國諮詢專家 Expert of Ecotourism; Writer; Chief Representative of Green Globe 21 in China 28 張曉舟 ZHANG XIAOZHOU ( 北京 BEIJING) 樂評人 演出策劃人 體育評論員 Music Critic; Performance Curator; Sport Critic 文字創作 CREATIVE WRITING 29 何秀萍 Pia HO 又名何利利 進念創團成員, 現為商業一台創作總監 Founding Member, Zuni Icosahedron; Creative Director, Hong Kong Commercial Radio 音樂 / 聲音創作及現場演出 Music / Sound Creation & Live Performance 30 人山人海 Yu PMPS 音樂創作人 人山人海 創辦成員 Composer; Founding Member, People Mountain People Sea 31 許敖山 Steve Hui (Nerve) 音樂創作人 實驗電子音樂組合 VSOP 成員 Composer; Member, experimental electronic music group VSOP 32 VSOP 由 Kim Lam 及許敖山組成 Formed by Kim Lam and Steve Hui (Nerve) 33 人山人海 Jason PMPS 音樂創作人, 人山人海 創辦成員 Composer; Founding Member of People Mountain People Sea 34 孔奕佳 Edgar Hung 音樂創作人 der Fluss 創辦成員 Composer; Founder, the multimedia group der Fluss 35 林灒桐 Lam Tsan Tong 香港無極樂團音樂團長 Music Manager, Wuji Ensemble 36 鄭旭 Cheng Yuk 香港演藝學院初級音樂課程笛子導師 Lecturer, The Junior Music Programme, the Hong Kong Academy for Performing Arts 37 周展彤 Chau Chin Tung 香港小交響樂團敲擊樂首席 Principal Percussion, the Hong Kong Sinfonietta 38 人山人海 Gaybird@ PMPS 獨立組合 Multiplex 的主腦人物 The kingpin of individual group Multiplex 39 徐程 Xu Cheng ( 上海 Shanghai) 獨立聲音創作人 Independent Sound Artist 40 姚大鈞 Dajuin Yao ( 台北 Taipei) 聲音藝術家 唱片製作人 策展人 電台主持人 藝術史研究員 Sound Artist; Music Producer; Curator; Radio Host; Art Historian 41 陸正 Zen Lu ( 深圳 Shenzhen) 實驗電子樂手 聲音藝術家 We Play! Records 及 Neo Sound ( 離騷 ) 新藝術團體創辦人 Experimental Musician; Sound Artist; Founder, We Play! Records and Neo Sound group 42 Sin:Ned 樂評人 實驗電子音樂 聲音藝術創作人 Music Critic; Electronic Music and Sound Artist 43 A lok 實驗音樂廠牌 Lona Records 創辦人 Founder, the alternative experimental music brand Lona Records 44 潘德恕 Pun Tak Shu 聲音 / 音樂 錄像與劇場創作人 Multimedia artist in sound/music, video, graphic and theatre 45 Joao Vasco Paiva 聲音 / 音樂創作人 Sound/ Music artist 46 Aenon Jia-en LOO 聲音藝術家, 從事電聲樂即興創作 Sound Artist in electronic music live performance 47 KWC 即興電聲學二人組合 No One Pulse 及筆記本組合 iii 之成員 Member, the electronic music live band No One Pulse and the Laptop trio iii 48 假音人 Gayamyan 由馬立賢 鍾澤明和陳浩峰組成 Formed by Ma Lap-yin, Chung Chak-ming and Cedric Chan 創作 / 演出 ARTIST / PERFORMER 49 陳浩峰 Cedric Chan 進念駐團演員 樂隊假音人成員 Resident Artist, Zuni Icosahedron; Member, the local band of Gayamyan 50 楊永德 David Yeung 進念創團成員及駐團演員 Founding Member & Resident Artist, Zuni Icosahedron 51 黃大徽 Dick Wong 編舞及創作演員 Choreographer; Creative Performer 52 鍾家誠 Carson Chung 創作演員 Creative Performer 53 陳淑莊 Tanya Chan 立法會議員 創作演員 Legislative Counselor; Creative Performer 54 伍嘉雯 Carmen Wu 進念駐團演員 Resident Artist, Zuni Icosahedron 55 葉燕芳 Shirley Yip 創作演員 Creative Performer 56 曾兆賢 Albert Tsang 創作演員 Creative Performer

6 胡恩威 : 我們究竟能不能用不同的角度去看建築? Mathias Woo: Is it possible to look at architecture from different perspectives? 楊 : 楊凡 ( 撰稿人 ) 胡 : 胡恩威 ( 建築是藝術節 藝術總監 ) PART Ⅰ 關於建築是藝術節 楊 : 建築是藝術節 的構思是從甚麼時候開始的? 胡 : 我在進念做 建築系列 的時候已經在想這個事情了 現在世界上很多藝術節都有點程式化的, 譬如愛丁堡藝術節 香港藝術節, 有古典音樂 歌劇 什麼都有一點, 變成所謂上流社會, 或者有錢階級的高尚娛樂活動 我想起小時候的電影節, 從前香港電影節有一個很大的特色, 就是以呈現一種多元化的電影文化為核心價值, 所以我們會看到很多不同形式 不同類型的電影, 或者很實驗性, 或者很探索性 藝術節其中一個主要功能, 就是刺激大家思考和探索一些新的美學, 或是新的社會議題 社會現象, 但這種八十年代的精神隨著所謂資本主義全球化擴展, 慢慢變成一種消費活動而多於文化活動 於是我就想, 有沒有比較純粹的藝術節呢? 它探索一些比較嚴肅的話題, 同時它又是一個新的類型 楊 : 這次的 建築是藝術節 由四個問題組成 第一個問題就是 甚麼是建築? 胡 : 現在大部分人都是受現代主義建築影響, 但我們對現代主義建築的源頭有多瞭解呢? 所以我們選了三個建築師 :Ludwig Mies van der Rohe Louis I. Kahn 和 Le Corbusier 譬如 Le Corbusier, 他相信現代主義建築應該令更多人得益, 他認為工業革命帶來的所謂生產能力, 應該是要造福更多的人, 而不僅是資產階級可以享用的 在西方建築裏, 直至現代主義出現之前, 大部分建築都是為權貴而建的 現代建築最大的特色就是提倡為社會而建的所以他們認為大量生產的房屋, 也應該考慮優質設計 楊 : 你提到建築描繪了人 神 大地的關係, 這是不是你對建築的終極理解? 胡 : 宗教總是通過建築讓我們跟神有一個接觸, 所以建築一直有一個很獨特的功能, 就是讓人和神溝通 所有宗教都要建一個廟 一個教堂, 甚至現在的娛樂產業也是, 假設它有宗教成份, 便需要一個空間去承載它, 譬如紅館 所以那個建築空間有很特別的東西在其中 楊 : 第二個問題是 甚麼是中國建築? 胡 : 我選了趙廣超的著作 大紫禁城 作為基礎去發展 我覺得這是近年來很重要的一本書 近年因為中國經濟開始強大, 很多人講中國文化復興 文藝復興, 趙廣超提供了一個新的角度讓我們認識中國文化, 不是以前那 種一面倒的 感性地, 或是很技術性地看中國傳統文化, 可以說是用現代的方式, 去認識我們的傳統文化 紫禁城是唯一留下來比較完整的中國建築群, 它彙集了那麼多朝代的宮廷建築, 或是建築語言在其中, 代表了中國建築美學上的一個頂峰, 我們通過認識它去瞭解自己的文化 甚麼是中國建築空間? 它是怎麼來的? 我們從趙廣超這本書發展一套新的演繹方法, 純粹地用美學的角度看設計, 看它如何受政治和社會變化的影響? 作為設計的語言, 它本身有甚麼特色? 跟西方建築有甚麼分別? 楊 : 第三個問題是 甚麼是城市漫遊? 胡 : 建築構成了城市, 於是就出現了很多場景 我們可以用怎樣的方式通過這些場景去理解這個城市? 有人坐巴士, 有人坐地鐵, 有人走路, 有人坐船, 有人就照相而已 現在流行用相機去看東西, 而不是用眼睛去看東西 而當你坐在旅遊車上照相時, 你有沒有留意到這座城市的聲音呢? 楊 : 這個角度很有趣, 這個想法是怎麼來的? 胡 : 我很小的時候本來是住在尖沙咀的, 六年級前後, 我爸無緣無故在新界西貢買了一套房子, 全家人就搬進去住 到了那裏, 我聽到和城市裏完全不同的聲音 蟋蟀 青蛙 小鳥的聲音 其實每個城市都有自己特別的聲音和味道, 有敏感的觸覺, 你就會分得出來 現在很多時候我們已經不懂得去享受在一個城市的居住, 只會通過物質生活去處理我們在城市生活 : 購物 唱 K 其實城市裏還有很多生態我們是可以去享受 去理解, 卻不用花一分錢的 譬如紐約的中央公園, 任何人都可以去跑步, 去打球, 去聽小鳥的聲音 而在裏面, 都有很多不同的聲音出現, 通過理解一個地方的聲音, 你會知道多一點城市的另外一面 楊 : 你一直在做 香港漫遊 系列, 你是從甚麼時候開始留意 漫遊 這個詞的? 胡 : 我很喜歡 2001 太空漫遊 (2001: A Space Odyssey) 那部電影 2000 年我做過 2001 香港漫遊, 找來八對電子組合, 每對做一個跟香港有關的聲音, 再配合影像 我還出版一本同名書 那個時候剛剛有數碼相機出現, 數碼相機和膠片機 寶麗來都不同, 它不需要思考, 不需要構圖, 能看到即時的效果 從那個時候開始, 我一直在做漫遊系列 電車 巴士 9

7 的士 坐船 走路 甚麼交通工具我都嘗試過, 我還租過一架直升機在半空拍香港 色就是重視社區環境的營造, 那個時候鄰舍關係很好, 雖然生活條件及不上現在, 但大家的互助精神和社區感製造了很多正能量 現在因為 中國未來的建築方向到底應該在哪裡? 現在我們被西方理論帶著走, 怎麼樣可以走出一條自己的路? 我認識很多第三世界的建築師, 他們開 architecture would bring benefits to more people, and that the so-called productivity brought about by the Industrial Revolution should benefit more 設計上不鼓勵社區互助精神的營造, 造成隔膜和焦慮 這個例子恰好說明 始對本土文化有所認知, 並且對於通過建築解決實質的社會問題, 很有 people, and it should not be exclusively enjoyed by the bourgeois. Prior to 楊 : 你的第四個問題是 甚麼是西九龍? 這是不是一個比較社會化的 了社會跟建築的關係 積極性 而在香港, 房地產趨勢仍然是照顧中上階層的需要, 中下階層的 the Modernist movement of architecture, most architectures in the West 議題? 胡 : 這其實是接觸到一個核心, 討論文化建築能承擔怎樣的社會角色 城市規劃和建築是息息相關的, 兩者互為影響 我們選西九龍, 是因為這個會是香港未來一百年裏最大的建築群, 它會影響整個香港的城市景觀 我們找來許多建築大師, 也請來中國的年輕建築師, 這裏面有很多社會議題 美學議題, 通過西九龍可以看到社會文化藝術跟公共空間的關係是怎麼樣的 楊 : 這四個問題包含了廣義的對建築的探討, 有中國的內容, 也有香港本土的內容 你怎麼看這四部分在結構上的關係? 胡 : 我們生活在西方建築的空間裏面, 我們要理解西方建築基本理念, 然後對比中國傳統建築, 思考它可以跟現代生活有甚麼關係 ; 再看回我們用些甚麼方式去閱讀這個城市, 怎樣跟城市產生關係 ; 最後展望未來的建築空間, 在新的城市區域, 作為一個公民 一個建築師 一個藝術家, 我們可以用甚麼角度去參與? 我們天天在各個建築物出入, 但我們對建築的歷史 理論 模式知道的太少 我希望可以借著這樣一個藝術節, 讓大家去認識建築和生活的關係 我們到底能不能用不同的角度去看建築? 楊 : 香港的經濟架構常常被稱作由地產經濟主導, 在這個背景下, 在香港舉辦 建築是藝術節 會不會能使香港人對建築有多一些的關注? 胡 : 這真的不知道 香港人雖然花很多錢買房地產, 但他們的建築知識很貧乏, 對建築的認識也不是很深刻, 學校沒有教, 媒體也不主動 反觀內地, 因為奧運 地震和近幾年經濟發展的關係, 衍生了很多新建築, 並且在建築文化上, 很多人都用不同方式去探討建築與社會的關係 香港因為社會穩定, 對建築文化的創新和認識反倒越來越狹窄 我覺得這跟香港回歸以來沒理順的文化定位是有關係的 香港仍然沉浸於八十年代的成功, 所以還在建八十年代的建築, 沒有幫城市思考新陳代謝的問題 問題怎麼處理? 從整個社會的健康發展來看, 建築是有決定性的, 因為 建築空間影響很多人的行為和社會結構 "Architecture is the loudest form of communication. The buildings that make up every city is the most telling." were built for the wealthy and influential. The most prominent feature of Modernist architecture is its advocacy in building for the public, for society. To the Modernist architects, the concern for quality in design should also be taken into account in the making of mass-produced apartments. Y: You once mentioned that architecture manifests the relationship between man, God and the earth. Is it your ultimate understanding of architecture? W: Through architecture, religions enable us to find some connection with our god/s. Throughout history, architecture has always provided a unique function allowing humans to communicate with their god/s. There are temples and churches in every religion. Even for the entertainment industry nowadays, if there is a religious angle in the event, there must be a space to accommodate this side of the event, like the Hong Kong Coliseum. Hence, there are some very particular things contained in that architectural space. 楊 : 說說參與是次 建築藝術節 的嘉賓? 胡 : 這次參與的朋友類別是很廣闊的 譬如黃耀明會參加 甚麼是中國建築 那部分的 大紫禁城 演出 ; 我們也會邀請香港和內地一些建築學術界的專家參與論壇 ; 來自香港 上海 深圳和臺北四個城市一些做電子音樂的朋友會為藝術節演出一場主題為 城市漫遊 的電子音樂會 ; 另外邀請了歐洲的朋友來和我們做一些交流活動, 這部分是跟數碼影像有關 ; 石小梅老師 張弘老師圍繞紫禁城的主題, 創作了新的崑劇 ; 香港本地的藝術家黃炳培 利智達和黎達達榮也會加盟我們的藝術節 ; 演員林嘉欣在藝術節裏會有一個展覽和出版項目 楊 : 林嘉欣具體是做什麼? 胡 : 一個展覽 她用幾年時間, 拍了很多 Le Corbusier 的建築作品照片 楊 : 這是她自己的興趣, 還是因為你給她佈置的功課? 胡 : 她自己一直對建築都感興趣 PART Ⅱ 關於建築是不是藝術? 楊 : 你當初是讀建築的, 除此之外, 還有沒有其他因素令你選擇建築這個話題? 胡 : 在中國社會, 建築很多時候是經濟投資行為多於文化行為, 建築總是和房地產連繫在一起 買樓, 就是為了結婚或是保值升值 建築的文化價值常常被忽略了 我是從這個出發點去做藝術節的 很多人花一生的積蓄買一套樓, 但作為居住者的消費者, 有沒有一些基本知識去認識建築呢? 是不是只有有錢人才可以住得好一點, 低下階層有沒有提倡居住素質的權利呢? 如果每個人都瞭解基本的建築知識, 理解可以如何通過建築去改善人的生活, 我們的生活素質就會有實質的改善 現在社會焦慮和矛盾很多時候是跟建築空間相關的, 而對建築空間的思考可以降低社會成本 譬如香港早期的公共房屋, 有個很重要的特 這又回到另外一個問題了, 在資本主義社會, 如果消費者的基礎教育做得不好, 市場就會出現一些惡性循環的情況, 而不能夠產生優質的市場 香港在房地產業和娛樂產業都出現這個問題 香港的公民基礎教育有問題, 作為一個公民, 你懂不懂得賺回來的錢應該怎麼使用? 水準高的消費者, 能促進發展商更積極主動地去尋找更多創新 而這些創新未必跟錢有關 人們常常有一個誤解 : 好的設計就是貴的 這是不一定的, 好設計跟時間 心思有關的, 很多經典建築都是用經濟實惠的方式做出來的, 好像 Le Corbusier 在法國做的很多公共房屋, 用很簡潔 很簡單, 不花俏的方式, 營造很多美好的生活空間 楊 : 對你而言, 建築是藝術節 最有挑戰性的地方在哪裡? 胡 : 一個是公眾會怎麼樣看, 傳媒會怎麼處理? 香港對文化有這麼多的恐懼, 它會怎麼樣處理這個問題? 我們能夠怎樣刺激大家思考? 讓大眾持續地去認識建築, 理解建築, 重新檢視香港建築的狀況 我們能夠做到的啟蒙作用在哪裡? 楊 : 啟蒙的工作總是很艱巨的 胡 : 建築本來是一點都不艱深, 不過是一些邏輯 這麼多人覺得艱澀是教育體制有問題, 建築師沒有面向社會, 只是在為資本消費主義服務, 利用建築來做 show 楊 : 這不是建築界的問題, 整個創意產業很大程度都有這種傾向 胡 : 所以歐洲現在開始重視那些實在做事, 而不是靠媒體炒作的人 只不過亞洲傳媒, 還處於初級階段, 對老外有特別的 過份的興奮 就像很多人熱衷於買名牌, 究竟 LV 袋是不是真的適合自己呢? 不知道 建築現在最大的問題, 就像師奶追捧 LV 袋 去年南方都市報做的公民建築比賽, 我覺得特別重要, 因為他們是在表揚那些為基層 為社會做的設計 Y: Yang Fan (Correspondent) W: Mathias Woo (AIAF Artistic Director) PART I About Architecture is Art Festival Y: When did the concept of Architecture is Art Festival start to take shape? W: I already had this idea when I was working on the architectural theatre series with Zuni Icosahedron. Art festivals around the world have become stylized these days. Look at the Edinburgh Festival and the Hong Kong Arts Festival. They have a bit of everything, from classical music to operas, becoming more like high-class entertainment for the weathly people in society. I remember the Hong Kong International Film Festival when I was young. The Film Festival used to have special features, aiming at presenting a diversified film culture as the Festival s core value. So we were presented with a diversity of forms and genres of movies, some were experimental, some were exploratory. The main function of an art festival is to trigger our mind to be in quest of some new asethetics, or investigate on some latest social issues and phenomena. However, this cultural spirit of the 1980s has been gradually eroded by the globalization of capitalism, making cultural events more akin to consumer activities. Therefore I thought about whether there could be the possibility of a relatively pure art festival. Such a festival will investigate some more serious topics, and at the same time also be a new genre in itself. Y: The Architecture is Art Festival is structured upon 4 questions. The first question is What is Architecture? W: Many people nowadays are influenced by Modernist architecture. However, how much do we know about the origin of Modernist architecture? We have selected three architects, Ludwig Mies van der Rohe, Louis I. Kahn and Le Corbusier. Take Le Cobusier for example, he believed that Modernist Y: The second question is What is Chinese Architecture? W: I have chosen the book The Grand Forbidden City by Chiu Kwong Chiu as a basis to develop from. I consider it one of the very important books of recent times. Owing to the latest economic growth of China, we could see a revival of Chinese art and culture - a kind of Chinese Renaissance. Chiu has offered a new angle for us to look at our culture, no longer the one-sided, sensational, or purely technical way of looking at Chinese traditional culture as in the past. It can be said that we are using a modern approach to understand our traditional culture. The Forbidden City is the best preserved palace and the largest imperial structure of our legacy. A culmination of diverse architecture essences and various architectural languages contained therein from different dynasties, signifying the apex of aestheticism in Chinese architecture. Through it, we come to understand our own culture what exactly is Chinese architectural space? From Chiu s book, we are able to develop a new way of interpretation, using purely aesthetic perspectives to look at design, and to examine how it is affected by political and social changes What is its intrinsic feature as a language of design? How is it different from Western architecture? Y: The third question is What is City Odyssey? W: Cities are formed by architecture. So there are many scenes in a city. What are the ways to understand a city through these scenes. Some of us through riding on buses, some of us through taking the subway, some of us through going about on foot, through taking the ferry, taking photos the popular way to look at things now is through a camera, not through our eyes. When you are travelling on coaches and taking pictures with your camera, are you also aware of the sounds of the city? 10 11

8 Y: This is a very interesting angle. How did the idea come about? W: Our family used to live in Tsimshatsui when I was a kid. When I was a something like a Primary Six student, my father, for no reason at all, bought a house in Sai Kung and moved the entire family there. When we moved there, the sounds I heard were completely different from those in the city including the sounds of crickets, frogs, and birds. In fact every city has its own unique sounds and tastes. When you have the sensitivity, you can tell the difference. W: We must first understand the basic concepts of Western architecture because we now all live in spaces created by Western architecture. Then we try to contrast it with Chinese traditional architecture and reflect on how it can be related to modern city life. And then we examine what ways we can employ to look at this city, and how we can develop a relationship with it. And finally, we will look ahead to future architectural spaces. From what perspective should we get ourselves involved in the new spaces of the city? Y: Can you talk about the guests of this Architecture is substantial improvement. The anxieties and conflicts in society nowadays are often related to architectural spaces. The reflection on architectural spaces will ultimately reduce the costs to society. For example, look at the public housing of Hong Kong in the earlier days, which used to value the promotion of community spirit. Although living conditions were not as good as that of nowadays, the community was filled with the spirit of mutual helpfulness and being good neighbours, creating lots of positive energy in the community. Modern architectural designs do not encourage the strengthening of community ties, but produce estrangement and anxiety instead. This illustrates well the relationship the case. Good designs have more to do with time and ideas than with money. Many classics of architecture were created in a very cost-effective way. For example, Le Corbusier s public housing estates in France are well-known for their no-frills simplicity, and created many pleasant living spaces. Y: For you, what is the most challenging thing about the Architecture is Art Festival? W: One is how the public will look at the Festival, and how the mass media will respond to the Festival. In Hong Kong, people have a lot of phobia for Nowadays we no longer know how to enjoy living in a city. We only manage our lives in the city through all kinds of materialistic pursuits such as shopping and singing karoke. Actually there is still ecological diversity in the city which we can enjoy and understand without spending a penny. For example, Central Park in New York City is free for anyone who wants to go jogging, play ball games or listen to the birds singing there is a multitude of sounds in a place. Through understanding the sounds of a city, you could know more about, or the other side of, the place. Art Festival? W: The friends who participate in this project come from very diverse backgrounds. For example, Anthony Wong will be involved in the performance part of What is Chinese Architecture?. We have also invited architectural scholars and professionals from Hong Kong and the Mainland to take part in discussion forums. And then, electronic music composers from the four cities of Hong Kong, Shanghai, Shenzhen and Taipei to collaborate in an electronic concert with City Odyssey as its theme. Besides, we have invited friends from Europe for some exchange between society and architecture. Every day we get in and get out of all kinds of architecture. Yet we know so little about the history, theories and modes of architecture. I hope this Festival will enable us to understand what it is between architecture and living. Is it possible for us to look at architecture from some different perspectives? Y: Hong Kong s economic structure is oftern described as culture. How will the issues be handled? How can we stimulate people to think more? We hope to encourage the public to have a continued interest in the pursuit and understanding of architecture, and to review the situation of architecture in Hong Kong. How could we be more inspiring and enlightening as artists and curators? Y: It s not an easy job to be inspiring and enlightening. W: Architecture is not that difficult. It is just logic. The difficulty and obscurity felt by many is caused by our problematic education system Y: You have been producing the series of Hong Kong Odyssey. When did you start to be aware of the term Odyssey? W: I like the film 2001: A Space Odyssey a lot. I have produced a multimedia performance entitled 2001: A Hong Kong Odyssey in 2000 where 8 pairs of electronic musicians were invited, and each pair is to produce some sound effects related to Hong Kong, and then these sounds were blended with digital images. And then I have also published a book of the same title. At that time, digital cameras were a new gadget. Unlike film cameras and Polaroid, digital cameras do not require users to have much thinking or composition beforehand, and the results are presented instantaneoulsy. Since then, I have been working on a series of odysseys, involving trams, buses, taxis, ferries and walking. I have tried almost every kind of transportation means. I have even hired a helicopter to take shots of Hong Kong from above. programmes on digital images. Kunqu master Shi Xiaomei and Zhang Hong have created a new work on the Forbidden City. Hong Kong local artists Stanley Wong, Li Chi Tat and Lai Tat-Tat-Wing will also participate creatively in the Festival. Actress Karena Lam will be engaged in the exhibition and publishing parts of the Festival. Y: What specifically is Karena Lam s role in the Festival? W: She is a participating artist of an exhibtion. For the past few years, she has taken a lot of photos of the architectural works of Le Corbusier. Y: Is it her own interest, or is it some homework you assigned her to do? W: She has always been interested in architecture. Part II About whether architecture is art? a real estate economy. Against this backdrop, will the promotion of the Architecture is Art Festival in Hong Kong arouse more concern on architecture from Hong Kong people? W: I honestly don t know. Although Hong Kong people spend a lot on property, their knowledge of architecture is so thin and poor. No courses on architecture are offered in schools, and the mass media is not proactive in talking about architecture. However when we look at the Mainland, due to events like the Olympics, earthquakes and the recent economic development, there is a growing interest in architecture and many new architectures have been created. On architectural culture, there are also many attempts to investigate on the relationship between architecture and society. But in Hong Kong, as a result of relative social stability, we see less and less innovativeness and understanding of architectural culture. I believe this is related to the unsorted cultural positioning of Hong Kong after the handover. Hong Kong still deeply indulges itself in the booming which leads to architects serving consumerism rather than society, using architecture for putting up a show. Y:This is not just a problem within the architectural industry, but the entire creative industry has shown such a tendency to a great extent. W: In Europe, there is a growing respect for those who really work, unlike those who only rely on hyping by the mass media. However, in Asia, mass media development is still at its initial stage. There is a strong sense of over reacting and over excitement for anything foreign. For example, a lot of people are crazy about brand names. Yet how many would give thoughts to whether an LV bag really becomes them? The biggest problem of architecture is parallel to the phenomenon of the manic pursuit of LV bags by housewives. That s why it is so important to have messages like the civic architectural award competition held by Nanfang City News last year as it commended those whose designs are made for the grass-roots and Y: Your fourth question is What is West Kowloon? Is this a more social topic? W: It actually touches upon an axis, that is to discuss what role cultural architecture can play in a society. City planning and architecture are closely linked and mutually influence each other. We have chosen West Kowloon because it is going to be the largest architectural complex for Hong Kong in the coming 100 years. It will inevitably affect the overall cityscape of Hong Kong. We have invited many masters of architecture, and also young architects from the Mainland to explore the complexity of the social and aesthetic issues involved. Through West Kowloon we can see how public space is associated with the social, arts and cultural life of a city. Y: You studied architecture. Apart from this, is there any other reason for you to choose architecture as a topic to explore? W: In Chinese societies, architecture is more of an economic and investment activity than a cultural behaviour. Architecture is always associated with real estate. Buying a property is either for the sake of getting married or for preseving or increasing one s assets. The cultural value of architecture is often being neglected. This is why I started my journey of creating this Festival. Many of us spend our life s savings to buy an apartment. As a flatdweller and consumer, do we possess some basic knowledge to enable us to understand architecture? Is it true that only wealthy people can success of the 1980s, and hence we are still building architectures of the 1980s, and not giving thoughts to the issues of metabolistic changes in the city. Here we come to another issue. In capitalist societies, whenever basic education for consumers is poorly provided, vicious cycles appear in the market. Hence, without quality consumers, it is not possible to have quality markets. This problem manifests itself well in both the real estate and entertainment businesses in Hong Kong. There are problems in the basic education for the citizens of Hong Kong. As a citizen, do you know how to spend your wisely? When the standard society at large. What is the direction of future Chinese architecture? Right now we are being led by Western theories and concepts. How can we find and develop a path that is intrinsically ours? I know a number of architects from developing countries who have become more aware of their own local cultures, and attempt to solve social problems using architecture as a means. They are indeed very proactive. Yet here in Hong Kong, property development still caters very much for the needs of the upper middle class and the upper class. How to cater for the needs of the lower middle class and the lower class? Architecture plays a crucial role in social well-being because architectural spaces affect social structure and the behaviour of Y: These four questions involve investigations into architecture in the general sense, including in the Chinese and Hong Kong contexts. What do you think is the relationship of these 4 issues structurally? live in nice places, whereas the people from the lower class have no right to ask for some better quality living spaces? If everyone has some fundamental understanding of architecture and knows how to improve our quality of life with architecture, the standard of our living will have some of expectation from consumers is high, it will encouarge developers to be more innovative in their planning and designs. Innovative and creative designs do not necessarily mean higher costs. People often have a misunderstanding that good designs are expensive. It is not necessarily many people. (Translated by Moyung Yuklin and Vicky Leong) 12 13

9 黃耀明 : 建築和音樂都可以用一個很科學化的方法去計算, 但畢竟都是關於美感和感情的 Anthony Wong: Both architecture and music could be approached in a very scientific manner, but in the end, it all boils down to aesthetics and emotions. 楊 : 楊凡 ( 撰稿人 ) 黃 : 黃耀明 ( 參與創作人 / 演員 ) 楊 : 關於 建築是藝術節 這個議題, 策劃人胡恩威最早是如何與你溝通的? 黃 : 胡恩威告訴我這是一個與建築和藝術相關的藝術節 最早他讓我幫忙做城市漫遊電子音樂會的顧問, 後來聊著聊著, 他又說, 不如你上台幫我演出 大紫禁城 吧, 我就答應了 我此前已經很久沒有在進念的舞台演出, 也很久沒有做劇場作品了 楊 : 你和進念的關係非常密切, 有過很多合作 就這次演出而言, 你覺得最大的挑戰性在哪裡? 黃 : 這次的表演不像 石頭記, 或者 十日談, 那些會有清晰的藍本, 有敘事 這次的主題是建築, 這個議題對我來說是陌生和抽象的 建築本身不抽象, 是一個很結實的存在, 但是作為舞台演出對象的建築, 是抽象的, 尤其當它是用聲音和旋律表現的時候 這是一個很大的挑戰 楊 : 你怎麼形容音樂和建築之間的關係? 黃 : 音樂和建築都是科學, 有人說建築是關於設計和計算, 但建築也需要很多和諧的東西在其中 音樂亦如是 也許有一些實驗性音樂不是, 但大部分音樂, 尤其是古典音樂, 都在追求和諧的美感, 在計算上面是很完美的 所以說, 建築和音樂都可以用一個很科學化的方法去計算, 但到了最後, 卻都是關於美感和感情的 楊 : 關於這次演出, 主創人員間討論的焦點主要集中在哪些方面? 黃 : 我們看了一些書, 包括關於紫禁城的 胡恩威提出一些想法, 他講了一個詞 天圓地方, 我們一直在想這個詞怎麼表達 這是一個皇帝的宮殿, 所以音樂裡會有很多禮儀的音樂 另外我還在想, 解構建築是很西方的議題, 用西方的議題探討紫禁城, 討論這個最中國的建築, 所以音樂上應該是中西合璧的 就整個演出來說, 這不是我的音樂會, 我未必會唱很多 屆時將會有其它許多音樂, 包括各種樂器, 我只是其中一個發聲人 楊 : 在 大紫禁城 項目中, 除了剛才說的這個音樂會, 另外還有一部分的演出是崑劇 你是怎麼樣看不同藝術形式的共存? 黃 : 之前人山人海有參與進念的一些崑劇合作項目, 但我還沒有機會親身體驗 我對這個題材當然很有興趣, 重訪紫禁城, 重訪崑劇, 對我來說都 很重要, 兩者都是很值得保存的文化 無論在香港或者內地, 很多年輕人對傳統的文化形式都不了解 有藝術團體, 譬如進念, 不斷用新的方法將傳統文化呈現出來, 這種文化保育很重要 所謂 文化保育, 有時令人感覺很嚴肅 很沉悶, 我希望因為人山人海, 或是進念的加入, 能讓這些東西變得生動一點, 有趣一點 楊 : 你在 建築是藝術節 裡參與的另外一個項目是 城市漫遊 這是最早想到邀請你參與的部份? 黃 : 是的 一開始就是讓我做顧問, 做電子音樂會這部份 選一些不同城市的電子樂隊, 用音樂去呈現不同的城市景象 楊 : 選擇樂隊的標準是什麼? 黃 : 我希望這些樂隊的作品有新鮮感, 甚至帶有實驗性 同時, 由於這次演出同時涉及視覺演繹, 所以樂隊除了要處理音樂, 也要處理影像部分, 這也是一個準則 最終參與的樂隊來自香港 上海 台北 深圳四個城市, 不同地方的年輕人一起參與, 我想這樣大家可以去對照, 不同中國城市的人是怎麼樣看自己城市的建築? 他們眼中的城市風景是怎麼樣的? 楊 : 你對上海 台北 深圳的電子音樂發展狀況了解嗎? 黃 : 認識其實是不夠的 現在資訊很發達, 各地的獨立樂手很少有機會聚在一起, 聽到彼此的作品 所以我很期待藉這次的平台, 可以認識不同地方的音樂人, 尤其是認識一些所謂比較冷門的電子音樂, 譬如 laptop 我們這次玩的音樂, 不是尋常會在跳舞的地方能聽到的, 是比較實驗性的電子音樂, 所以是很難得的機會 楊 : 和國外相比, 中國電子音樂的發展現在屬於什麼階段? 黃 : 據我所知, 我們其實是不差的, 但是 我想中國流行音樂的蛋糕挺大的, 但蛋糕裡是同一樣東西, 沒有很多不同的款式 我知道越來越多年輕人對電子音樂很熱衷, 但電子音樂也還沒有變成一個很主流的方式, 跟國外比還有一段距離 但我覺得現在很多中國人, 無論是香港還是內地, 技術或是意念都緊貼世界潮流, 但真的機會不夠多, 沒有足夠多的機會演出 交流, 只停留一個很小的圈子裡面 楊 : 進念從創辦之初就很鼓勵實驗性創作, 包括這次一些項目的設置, 也很具有實驗性 你怎麼看進念這個角色在香港的作用? 黃 : 進念一直在衝擊主流文化, 有先鋒的作用 如果一個社會只有 15

10 單一的文化, 那是一個很乏味, 很沒有民主精神的社會 所謂 民主, 就 是允許不同類型的聲音和文化同時呈現 我所認為的理想社會, 是大眾能 享受主流的文化 音樂 生活方式, 而小眾喜歡的東西也能得到尊重和認 可 另一方面, 很多時候大眾文化是從小眾創作的生活方式裡獲取到很多 靈感, 反過來再去沖擊大眾, 這一點很重要 進念這麼多年來不斷扮演先鋒者的角色, 有時候它偏主流一點, 有時候它 偏小眾一點 ; 有時它讓大眾很容易明白, 有時它顯得有點艱深, 它一直在 尋找一個平衡點 楊 : 你個人跟進念的淵源實在是很久遠, 你怎麼形容進念在你成長階段裡 面的角色? 黃 : 我覺得它是我最親的朋友 人的家庭成員, 通常是爸爸媽媽, 或是兄弟 姐妹, 再遠一點, 是叔叔阿姨 但總會有一些人, 和你沒有血緣關係, 卻跟 你很親密 進念的很多朋友, 在創作精神和生活看法上跟我很接近, 大家 經常會聚在一起, 補充彼此的創作養分, 或是在人生哲學上有所交流 Y: Yang Fan (Correspondent) W: Anthony Wong (Participating Artist) Y: How did you and Mathias Woo, the Curator of Architecture is Art Festival first come to talk about the Festival and the topic? W: Mathias told me it would be a festival about architecture and arts. At first, he asked me to be the advisor of one of the programmes, the City Odyssey: Music + Dialogues ; and as we progressed, he suggested that I should also be a performer in the theatre performance of The Forbidden City. I thought, why not. It has been quite a while since I performed for Zuni, and also it has also been a long time since I last participated in a theatre production. Y: You and Zuni go back a long time and have been very close, and you have worked with them for many times. What do you think would be the biggest challenge for you this time round? Y: In addition to the concert you just mentioned, there would be another performance that would involve Kunqu (Kun opera) in The Forbidden City project. What do you think of the co-existence of different art forms? W: Before this, People Mountain People Sea had collaborated with Zuni on some Kunqu performances, but I was not personally involved. Of course, I am very interested in the subject, and to me, revisiting the Forbidden City and revisiting Kunqu are very important because these two are cultural heritage that we should treasure and preserve. Both in Hong Kong and in the mainland, young people do not know much about traditional cultures. Some arts organisations like Zuni are trying their best to manifest and promote traditional cultures with new concepts, and this kind of cultural conservation is very important. Sometimes, when we hear the term cultural conservation, we would think serious and boring ; and that is why I hope that with the participation of PMPS and Zuni, it would help lighten things up, and make it more fun. there are not too many different flavours. I know that more and more young people are interested in electronic music, yet this kind of music is still far away from the mainstream. There is still a long way to go when compared to other countries. I think that a lot of Chinese musicians, in Hong Kong and the mainland, are quite sophisticated musically and very much in line with the trend of the world in their techniques and concepts. All they lack are opportunities, opportunities to perform and to exchange because they remain in the same small circle. Y: Zuni has always been very active and encouraging in promoting experimental creativity, and there is no exception with this project. What do you think is the function of the role that Zuni plays in experimental arts in Hong Kong? W: Zuni has always been in the forefront in making impacts on mainstream culture. If a society were homogeneous in its culture, it would be very monotonous, and it would not be a society with a spirit of democracy. When I say democracy, it means the accommodation of various voices 音樂和建築都是科學, 有人說建築是關於設計和計算, 但建築也需要很多和諧的東西在其中 W: This time, it would be very different from Romance of the Rock and Decameron, both of which had very clear blueprints and narratives. The theme of this Festival would be architecture. To me, this is an unfamiliar and abstract topic. Architecture itself is not abstract, and has a very strong presence. But as a topic for the stage, it is abstract, especially when it is manifested with sound and rhythm. This would be a great challenge for me. Y: How would you describe the relationship between music and architecture? W: Both music and architecture are sciences. Some people say that architecture is about design and calculation, but it also involves a lot of other elements that have to work harmoniously together. It is the same with music. It is the pursuit of a sense of beauty in harmony, a sense of perfection in calculation. Maybe, it is not the case with some experimental music, but it is true with most music, particularly classical music. Thus, both architecture and music could be approached in a very scientific manner, but in the end, it all boils down to aesthetics and emotions. Y: In the Architecture is Art Festival, there is another programme City Odyssey. Is that the programme in which they initially invited you for collaboration? W: Yes. At first, they wanted me to be the advisor of an electronic concert, and hoped that I'd help them pick some electronic groups from a number of cities, to represent the different urban scenes of those places. Y: Are there any criteria in selecting these groups? W: I hope the works of these bands would be fresh, or even experimental. At the same time, I would like them to be visual too, since it would be a performance involving visual interpretations, and the bands have to deal with both the music and the visuals. That s the other requirement. In the end, we picked four groups from the four cities of Hong Kong, Shanghai, Taipei and Shenzhen. I hope that when you put young people from different Chinese cities together, you could compare the similar and different ways they look at the architectures of their own cities, and thus could see what the cityscapes and urban sceneries in those cities are like through the eyes of these young people. and cultures that are different and diverse in nature. I think that in an ideal world, the majority could enjoy mainstream culture, music and life-style while the choices and preferences of the minority could be recognised and respected. Very often, the creativity of the minority could inspire and enlighten mainstream culture, bearing great impacts on the majority. This is a force to be reckoned with. Over the years, Zuni has always played the role of a pioneer, inclining a bit to the mainstream occasionally, and leaning towards the minority most of the time. Sometimes, they make it easy for the public to understand, and sometimes they make it seem very puzzling and difficult to grasp and finding a balance in between is what they have been trying to do. Y: You and Zuni go back a very long way. How would you describe the role that Zuni played in your journey of growth to maturity? W: I consider Zuni to be my closest friend. One s family is usually one s parents or one s brothers and sisters, or it could be extended to one s uncles and aunties. But there are always some people who are very close to you, yet they are not related to you in blood. In Zuni, I have many friends Y: What is the focus of discussion among the creative personnel regarding this performance of The Forbidden City? W: We read some books, including some on the Forbidden City. Mathias Woo raised some questions, and mentioned the concept of Tianyuandifan, literally meaning the heaven / sky is round and the earth is square, and we were thinking how we could convey this idea through music. The Forbidden City used to be a royal palace, and thus there would be a lot of ritualistic elements in our music. And I was thinking, since it is a western concept to analyse architecture, and so it would be appropriate to look at this construction, the epitome of Chinese architecture, and represent Y: Are you familiar with the development of the electronic music scene in Shanghai, Taipei and Shenzhen? W: Actually, not well enough. Access of information on music is very easy and convenient now, and so very few independent musicians in different places come together to hear each other s work. Thus, I look forward to meeting musicians from different places through this platform, especially those playing some independent electronic music, such as laptop music. The kind of music we are going to play this time would not be the usual music you hear on the dance floor, it would be some experimental electronic music. This event would be one rare opportunity. who share the same or similar creative spirits and values with me. We always hang out together, and we inspire each other, or you may say we share the same philosophy in life. (Translated by Vicky Leong) it with both Chinese and western music. As to the performance, since it is not my solo concert, I won t be singing a lot. There would be plenty of music, with numerous of different instruments, and mine would be only one of the many voices. Y: When compared to other places, to what stage has China arrived in the development of electronic music? W: Not bad at all, as far as I know. I think Chinese pop music is like a very big pie, but every piece of the pie tastes more or less the same, 16 17

11 1. 甚麼是建築? WHAT IS ARCHI- TECTURE? 西方古典傳統認為 建築是藝術之母, 因為一切的藝術都是在 建築空間 中展現 工業革命和社會主義帶來的現代主義建築, 到了今天資本主義全球化數碼化, 建築的本質是不是已經改變? 此部份由三位建築師 Ludwig Mies van der Rohe, Louis I. Kahn 和 Le Corbusier 的創作理念開始, 以光 影 聲 空間的多媒體實驗, 尋找現代主義建築的源頭和意義 Frank Lloyd Wright once said, The mother art is architecture. Without an architecture of our own we have no soul of our own civilization. There are three multi-media music performances in this part devoted to the three great master-builders of our time, Ludwig Mies van der Rohe, Louis I. Kahn and Le Corbusier. These experimental productions demonstrate the theories and aesthetics of architecture through the use of lights, sound, music and space. 節目 Programmes 多媒體音樂演出 Multimedia Music Performance: Looking for Mies 演出 Performance: Corbu and Kahn 音樂 + 演談 Music + Lecture: 建築是 音樂對話 Architecture is Discourse with Music 展覽 Exhibition: 我的現代建築師 My Modern Architects 19

12 多媒體音樂演出 Multimedia Music Performance LOOKING FOR MIES 香港文化中心大劇院 Grand Theatre, HKCC 票價 Ticket Price: $320, $260, $180, $120 30/9 Wed 1/10 Thu * 2/10 Fri 8:15pm 3pm 8:15pm Director and Designer: Mathias Woo Music, Sound Design and Live Performance: VSOP Digital Image Design: Tobias Gremmler (Munich) Illustration Artist: Li Chi Tat Performer: Dick Wong 導演及設計 胡恩威 音樂 聲響創作 演奏 VSOP This is a multimedia music performance on Ludwig Mies van der Rohe. 影像設計 Tobias Gremmler (慕尼黑) 圖像創作 利志達 of free flowing spaces and simplified architecture have made major 演出 黃大徽 Mies is a pioneering figure in Modern Architecture. His concepts contributions to architectural philosophies, and become his greatest legacy. His famous phrase, Less is More has become the essence of mid 20th Century architecture, and a classic signifier of Modernist 這是一個有關德裔現代建築師密斯 凡德羅(Ludwig Mies van der Rohe) Architecture and Minimalism. 的多媒體建築音樂劇場演出 密斯的建築理念是 如何找出及應用不同物 料的特色 Less Is More 是他的格言 即以最簡約的 最忠於物料特 In Looking for Mies, the stage itself is a universal space, containing 性的手法來設計 建造在美感上超越時間與潮流限制的 經濟實用的建築 different combinations of sets and lights, with different stories taking 物 密斯以他的建築精神 開創了現代建築高樓類型的典範 其由物料架 place on it. Mies said, God is in the details. The concept of universal 構理性出發的現代建築語言 成為了大都會高樓的設計指引 現代主義建 space is not a space for architecture only but a personal space within. 築的理念 And a lot of thoughts and ideas could be developed within this space. Looking for Mies 的創作概念源自密斯的建築理念及作品 空間和聲 Ludwig Mies van der Rohe ( ) 音是主角 形式本身就是內容 當代舞台科技不再只是為佈景替換而服務 Ludwig Mies Van der Rohe was born in Aachen, Germany. He was trained in 的機械裝置 劇場的原結構成了會說話的演員 演出以電子音樂為結構 his father's stone-carving business before deciding to become an architect and 多媒體為形式 重建和反思密斯的建築空間和想像 joining Peter Behrens studio in Mies is famous for his dictums 'Less is 密斯 凡德羅 More' and 'God is in the details'. Mies was the Director of Bauhaus from 1930 until the school's closing in In 1938 he became Director of Architecture at the Illinois Institute of Technology. In 1958 Mies built what has been regarded as 密斯 凡德羅一八八六年生於德國亞琛 童年隨父親學習石工手藝並以此為職業 直 the ultimate expression of the International Style of architecture, a large glass work, 至一九零五年於柏林先後跟隨多位建築師實習 一九零八年起在建築師彼德 貝倫斯 the Seagram Building in New York. His later works provide a fitting denouement 處工作 一九二九年密斯受委於 巴塞隆納世界博覽會 中設計德國館 其簡潔 明 to a life dedicated to the idea of a universal, simplified architecture. 晰的設計成為現代建築的轉捩點 五十年代於芝加哥伊利諾理工學院建成的克朗 樓 及於紐約建成的西格蘭姆大樓 世界上第一棟高層玻璃帷幕大樓 最能展現他的 創作原則 密斯曾於一九三零年獲委任為包浩斯設計藝術學校的第三任校長 一九 三七年到達美國擔任伊利諾理工學院建築系主任 服裝贊助 Costume Sponsor: 粵語及英語演出 附中 英文字幕 In Cantonese and English with Chinese and English surtitles. 演出約長90分鐘 不設中場休息 Running time is approximately 90 mins without intermission. * 公眾假期 Public Holiday Logo Designed by: Mono( Graphic Designed by: Pollux Kwok Illustrated by: Li Chi Tat 21

13 演出 PERFORMANCE Corbu and Kahn Director and Designer: Mathias Woo 香港文化中心劇場 Studio Theatre, HKCC Corbu and Kahn is a performance in 2 parts built around the ideas of 票價 Ticket Price: $320, $240, $140 16/10 Fri 17/10 Sat 17/10 Sat 18/10 Sun 8pm 3pm 8pm 3pm the two master architects. The 1st part is on Le Corbusier and the 2nd part is on Louis I. Kahn. Part One: Une Petite Maison 的情與理 演出分為上下半場 上半場關於 Le Corbusier 下半場關於 Performer: Cedric Chan Music: Yellow Cow Photo: Karena Lam Louis I. Kahn Une Petite Maison is a text on the design philosophy of Le Corbusier 上半場 小房子 A house is a machine for living in. Le Corbusier believed, and the 導演及設計 胡恩威 Corbu and Kahn 以兩位建築師的理念 重新認識現代主義建築 based on the idea of a little house he built for his parents in 演出 陳浩峰 音樂創作 黃巨牛 相片 林嘉欣 arrangement is practical and spatially economical, with a minimum use 小房子 以勒 柯比意( L e C o r b u s i e r )後期的 同名的建築文本為 of space for each function. These are the concept and conditions for 創作基礎 小房子 是勒 柯比意為父母親建造房子時的創作筆記 說明 the plan of the little house. 了他的設計哲學及情懷 經過歲月的洗練 柯比意最終看透了建築的本質 與人與大自然與社會制度的各種互動 由房子選址 湖水的光影 遠處山 Part Two: The Life and Times of Louis I. Kahn 景的重重綠綠 一片藍天 小房子的文本 小房子的設計 就是柯比意建築 Guest Performer: Kam Kwok Leung Music Director and Live Performance: Jason Choi 理想的實踐 Louis I. Kahn could be seen as a philosopher on Modernism. He 下半場 路易簡的時代和生活 lectured on the philosophy of architecture with passion and emotions. 特邀演出 甘國亮 音樂總監 創作及演奏 蔡德才 路易 簡(Louis I. Kahn)是現代主義的哲學家 一個完全人文精神的建築 Kahn s writings on architecture are like hymns and poetry, and every sentence is compact with meticulous thoughts, inspiring us, such as, 師 他創作了多項文化建築 包括博物館 大學和圖書館 亦於大學進行 Without light, there is no architecture, and The reason for living is to 演說 沒有光 就沒有建築 生存的理由就是要去表達 學習的靈 express. Local showbiz veteran Kam Kwok Leung is invited to play the 感源自生活 他求的是 變 思維的 變 演出由甘國亮飾演年老 role of Louis I. Kahn, allowing audience to catch a glimpse of the life 的路易 簡 場景是一個建築講堂 內容是簡永恆的建築文字與演說 蔡 this master architect of humanism. The performance will be made more 德才莫札特的音樂 以文字錄像音樂語言建構一個完全路易 簡的舞台 poignant with the participation of Jason Choi, who will experiment on 經驗 the music of Mozart. 勒 柯比意 ( ) Le Corbusier ( ) 路易 簡 ( ) Louis I. Kahn ( ) 路易 簡是一九六零年代一位最具啟發性的建築師 其創作理念及建築作品 對其 Louis I. Kahn was a poet architect, a philosopher architect. To Kahn, an architect 勒 柯比意出生於瑞士 是二十世紀初奠定國際風格的其中一位重要人物 是現代主 Born in Switzerland, and is one of the most famous architects, designers and 後的建築師產生了強大的影響 改變了八 九十年代的世界建築美學 安藤忠雄 諾 was like a religious worker, guarding the noble spirituality of architecture. In 義大師中著書立說最豐富的一個 最突出的理論是以家作為 生活機器 (machine writers of the 20th Century. A house is a machine for living, he wrote. He 曼 科士打 邁可 格拉福斯或多或少都是受著路易 簡的影響 被稱為 建築師中的 1947 Kahn was appointed Professor at Yale University, and he continued to for living) 他否定設計上的復古主義和折衷主義 強調機械的美 早於二十年代初他 discovered the potential of reinforced concrete which allowed him to explore 哲學家 簡同時致身教學 曾於耶魯大學等著名美國學府任教 teach throughout his architectural career. Kahn s architecture and theories on 便使用新的工業材料與技術 取代了先前幾十年間廣泛使用的混凝土 留給後人對 unusual shapes. He was interested in mass-produced urban housing and town architecture altered the aesthetics of international architecture in the 80 s and the 建築產生新的啟發 planning. He disseminated his ideas in a host of theoretical writings on architecture 90 s. He exercised a profound and prevalent weight of influence on latter 20th that laid out guidelines for urban planning. Le Corbusier s influence on modern century world architecture. architecture is enormous. 服裝贊助 Costume Sponsor: 粵語及英語演出 附中 英文字幕 In Cantonese and English with Chinese and English surtitles. 演出約長105分鐘 設有中場休息 Running time is approximately 105 mins with intermission. Graphic Designed by: Pollux Kwok Photo by: Liu Chenhsian (Taiwan) Illustrated by: Lai Tat Tat Wing 23

14 展覽 音樂 + 演談 MUSIC + LECTURE Exhibition 建築是... 音樂對話 我的現代建築師 Architecture is Discourse with Music My Modern Architects 香港文化中心大堂 Foyer, HKCC 免費活動 Free Admission 14/9 11/10 Participating Artists: Karena Lam (Actress), Lai Tat Tat Wing (Comic Artist), Li Chi Tat (Illustration / Comic Artist) Three creative practitioners from different disciplines will express their 參與創作人 林嘉欣 (演員) 黎達達榮 (漫畫家) 利志達 (插畫 / 漫畫家) 香港文化中心劇場 Studio Theatre, HKCC 票價 Ticket Price: $120 30/9 Wed 1/10 Thu * 2/10 Fri 3/10 Sat 8pm 8pm 8pm 8pm views on What is Architecture? through some designs and images Karena Lam will show her love for Le Corbusier with her photos, Lai Tat Tat Wing will interpret Louis I. Kahn with a strip of comics, and 林嘉欣用攝影手作與勒 柯比意傳情達意 黎達達榮用四格漫畫演繹路易 Li Chi Tat will imagine the 3-D space of Ludwig Mies van der Rohe with 簡的格言 利志達用黑白插畫想像密斯 凡德羅的立體空間 三位從事不 some black and white illustrations. These works will be published and 同類型創作的創作人 分別以三位現代建築大師勒 柯比意 路易 簡及密 displayed in the exhibition. 斯 凡德羅的作品及文字為素材 透過平面創作 表達他們對 現代建築 的一些感覺 音樂創作/演出 節目A (30/9, 1/10) Aenon Loo Alok KWC 節目B (2-3/10) João Vasco Paiva Sin:Ned 潘德恕 Music Creation & Performance Programme A (30/9, 1/10): Aenon Loo, Alok, KWC Programme B (2 3/10): João Vasco Paiva, Sin:Ned, Pun Tak Shu Guest Speakers: 30/9 Liu Jiakun (Chengdu), 1/10 Zhu Xiaodi (Beijing), 2/10 Wang Shu (Hangzhou), 3/10 Zhang Lei (Nanjing) 演談講者 30/9 劉家琨 (成都) 1/10 朱小地 (北京) 2/10 王澍 (杭州) 3/10 張雷 (南京) Co-organisers: Domus China, People Mountain People Sea Music Curator: Steve Hui (Nerve) Music Advisor: Anthony Wong 合辦 Domus China 人山人海 音樂策劃 許敖山 音樂顧問 黃耀明 Architecture is... Discourse with Music is an experiment and a creative 建築是...音樂對話 是一次對話交流實驗 由 建築 開始 以 建築 為 創作靈感 基礎 本地創作人透過發現建築 認識建築 感覺建築 實驗電 子音樂的創作和演奏 展開一系列有關音樂與建築的對話 與此同時 四位 中國建築師 以 甚麼是建築 為題 帶動觀眾對建築的無限聯想 dialogue between music and architecture. Beginning with electronic music, local artists will share their feelings and experiences of architecture with the audience through the three stages of exploring architecture, getting to know architecture and feeling architecture. Four architects from the Mainland will be invited to participate and lead the audience to embark on an adventurous journey to the magical world of architecture. 演談以普通話進行 Conducted in Mandarin. 演出約長105分鐘 不設中場休息 Running time is approximately 105mins without intermission. * 公眾假期 Public Holiday Graphic Designed by: Pollux Kwok Photo by: Karena Lam Illustrated by: Lai Tat Tat Wing, Li Chi Tat Graphic Designed by: Pollux Kwok 25

15 有關紫禁城的小故事 A Little Story about the Forbidden City 趙廣超 Chiu Kwong-chiu 2. 甚麼是中國建築? WHAT IS CHINESE ARCHI- TECTURE? 創作顧問 : 趙廣超, 大紫禁城 王者的軸線 原著作者顧問 : 靳埭強博士 何培斌教授 杭間教授 許焯權教授 協辦 : 香港中文大學建築學院設計及文化研究工作室 贊助 : 康樂及文化事務署 ( 展覽及教育計劃 ) 合作及支持 : 清華大學美術學院長江設計研究中心汕頭大學長江設計學院香港專業教育學院香港兆基創意書院 Creative Advisor: Chiu Kwong Chiu Author, The Grand Forbidden City Advisors: Dr. Kan Tai Keung, Prof. Ho Puay Peng, Prof. Han Jian, Prof. Desmond Hui Co-organisers: School of Architecture, CUHK Design and Cultural Studies Workshop Sponsor: Leisure and Cultural Services Department (Exhibition & Education programme) With the Support of: Academy of Arts & Design, Tsinghua University Cheung Kong Design and Research Centre, Cheung Kong School of Art and Design of Shantou University Hong Kong Institute of Vocational Education (IVE) HKICC Lee Shau Kee School of Creativity 最大的宮殿, 最長的記憶 - 紫禁城 - 承載著多少中國人 的生活藝術與智慧, 中國文化不應只有唐餐和旗袍, 國民 教育從來不能只叫口號, 而是解放胸懷, 實實在在的, 用 眼看, 用耳聽, 用手碰, 用尺度, 用心想, 認識我們的過去, 再創現在與未來 此部分從中國建築基本步出發, 學習中 國建築藝術, 認識中國人的生活藝術與智慧 The Forbidden City, the largest ancient palatial structure in the world, represents the essence of the traditional Chinese architectural accomplishment. The palace is known for its harmonious layout and we can learn from this structure of the past for building our present and future. This part of the festival introduces the audience to some basic cultural ideas, and some of the cultural attitudes and mentalities in traditional Chinese architecture. 節目 Programmes 演出 Performance: 大紫禁城 The Forbidden City 崑劇 Kunqu Opera: 紫禁城遊記 A Tale of the Forbidden City 展覽 Exhibition: 大紫禁城 The Forbidden City 公開演講座談 Public Seminar: 故宮的保護, 展現及現代意義 The Conservation, Presentation and Significance of The Forbidden City 講座系列 Lecture Series: 中國建築美學 Aesthetics of Chinese Architecture 大紫禁城國民藝術教育計劃 The Forbidden City National Arts Education Programme 我在 03 年離開香港理工大學到北京, 準備寫個有關紫禁城的小故事 整個暑假, 我每天隨著旅客在故宮博物院裡轉, 企圖尋找昔日紫禁城的歷史情調 幾個月過去, 都沒有太大收獲 直至一個早上凌晨四時左右, 我沿著東華門大街一路走到午門, 許是遇上空氣素質較佳的日子, 難得寂靜的宮門頂上掛著繁星, 忽然幾陣微風, 仿彿一下子便送來過去的初秋 當時心裡不期然在想, 皇上大概是時候從承德避暑山莊回宮吧 寅正己過, 大臣怕早就在值房候詔了 我帶著這丁點感觸, 趕緊回去將午門的這一個既寂寥且動人的清晨畫下來, 然後在兩年裡陸續串出一條中軸 0 5 年 大紫禁城 王者的軸線 匆匆成書 我在 07 年初開始參與故宮紫禁城出版社一系列推廣故宮文化藝術的策劃工作 在著名設計師陸智昌兄襄助底下, 加上馬健聰 陳漢威和吳靖雯幾位同樣來自香港的年青人, 工作小組得以在宮中從專家 學習行走 大紫禁城 出版後, 胡恩威兄提出將為主題作展覽和演出的構思, 最後在康樂及文化事務署的支持底下落實今年九月間在香港文化中心舉行 另外又蒙南京戲劇專家張弘先生寫了一個以明崇禎皇帝為題材的崑曲劇本, 那是明代亡得胡裡胡塗的一天 清人筆記形容這一天, 宮女投水無數, 御河幾乎斷流, 實在驚心動魄 紫禁城在六百年中兵燹迭起, 能夠保留到今天, 不能不算是奇蹟, 更不能不好好珍惜 In 2003, I left the Hong Kong Polytechnic University for Beijing, where I prepared myself for writing a short story about the Forbidden City. For the entire summer, I followed the steps of tourists and roamed around in the Forbidden City, hoping to feel connected with the place and be inspired by the history and past glory of the palace. Yet months went by without much success. Then one early morning at 4am as I was walking along Dong Hua Men Street heading towards the Wumen (the Noon Gate), suddenly, I felt the arrival of early autumn coming from the past, brought forth perhaps by the exceptionally fresh air, as well as the rare starry sky above the quietude of the Palace s gate. It dawned on me that it should have been about time the emperor returned to the palace after a summer retreat at the Summer Palace in Chengde. It should have been past 4 o clock in the morning. The ministers would have already gathered at their offices to be summoned by the emperor. With this faint stirring of emotion, I rushed back home to make a sketch of this early morning scene at the Wumen - a moment so quiet and touching. In the following two years, an axis gradually took shape. In 2005, the book The Grand Forbidden City The Imperial Axis was completed. In 2007, I began to work with the Forbidden City Press in the planning of their promotional series on arts and culture related to the Forbidden City. With support from the renowned designer Luk Chi-cheong, together with several young people from Hong Kong, namely Ma Kin-chong, Chan Hon-wai and Eileen Ng, the work team started on the exploratory journey by consulting Palace experts. After The Grand Forbidden City was published, Mathias Woo proposed an exhibition and performance based on the theme. Finally with support from the Leisure and Cultural Services Department, the project was confirmed to be realized at the Hong Kong Cultural Centre in September, Furthermore, Zhang Hong, a veteran playwright from Nanjing, had written a Kunqu operatic script with the theme of the Ming Emperor Chong Zhen, focusing on the day when the Ming Dynasty ended up in a crazy mess. On that particular day, according to Notes of a Qing Writer, the flow of the Imperial River was almost cut off due to the countless number of imperial maids plunging to their deaths, making it a most horrific scene. The Forbidden City has been continuously plagued by turmoil and warfare over the past span of 600 years. In fact it is a miracle that the palatial structure is still here now, and hence, it should be well preserved. (Translated by Mo-yung Yuklin and Vicky Leong) 26 27

16 多媒體音樂演出 Multimedia Music Performance 大紫禁城 The Forbidden City 香港文化中心大劇院 Grand Theatre, HKCC 票價 Ticket Price: $1000 (慈善門票 Charity ticket) $420, $350, $280, $180, $120 25/9 Fri 26/9 Sat 26/9 Sat 27/9 Sun 8:15pm 3pm 8:15pm 3pm 導演/設計/文本 胡恩威 特邀演出 黃耀明 特邀崑曲演出 石小梅 (南京) 音樂 歌詞/文字創作 何秀萍 陳浩峰 影像設計 Tobias Gremmler (慕尼黑) 現場音樂演奏 周展彤 (敲擊) 鄭旭 (笛子) 孔奕佳 (鋼琴) 林灒桐 (琵琶) Director / Designer / Text: Mathias Woo Guest Performer: Anthony Wong Guest Performer (Kunqu Opera): Shi Xiaomei (Nanjing) Music: Yu Yat PMPS Lyrics and Creative Writing: Pia Ho, Cedric Chan Digital Image Design: Tobias Gremmler (Munich) Live Music Performance: Chau Chin Tung (Percussion), Dennis Cheng (Dizi), Edgar Hung (Piano), Mavis Lam (Pipa) The Forbidden City is a brand new production of the Multimedia Architecture Music Theatre Series by Mathias Woo. The splendid architecture of the Forbidden City is the best-preserved palace and the largest ancient imperial structure in the world. It was symmetrically built along the north-south central axis of the capital city of Beijing. The Forbidden City is deemed to be the summit of Chinese architecture. 大紫禁城 是胡恩威 多媒體建築音樂劇場系列 的全新作品 以紫禁城 的建築概念開始 運用音樂 劇場空間 影像 文字 崑曲唱做等不同媒體 Audience would be led into appreciating the aesthetics of the structure for a taste of Chinese history and culture. 的互動組合 再現紫禁城的美學與文化 Anthony Wong plays the role of a swallow flying over the palace, 黃耀明飾演燕子 飛越空間和時間 經歷紫禁城的天 圓 地 方 從這一 witnessing the various emotions with the passing of the seasons and the 御座 這一中軸線 見證石小梅飾演九五之尊 王者居中 感慨春夏秋冬 passing of dynasties in this imperial structure; beholding birth, sickness 生老病死 計算前朝後廷 天數地數的陰陽平衡 論述中國傳統建築匾額 and death, and the splendour of the emperor/s played by Kunqu Opera 上的正 大 光 明 artist Shi Xiaomei; and discoursing on the concept of being just and open as written on the traditional signboard for the throne room. 本演出贊助 This performance is sponsored by: 此音樂作品於2009年由進念 二十面體委約 費用由 CASH音樂基金 贊助 Commissioned by Zuni Icosahedron in 2009 with sponsorship from CASH Music Fund. 普通話及粵語演出 附中 英文字幕 In Cantonese and Mandarin with Chinese and English surtitles. 演出約長90分鐘 不設中場休息 Running time is approximately 90 mins without intermission. Graphic Designed by: Stanley communications 29

17 展覽 Exhibition 大紫禁城 The Forbidden City 香港文化中心大堂 Foyer, HKCC 免費活動 Free Admission 17/9 3/10 Creative Advisor: Chiu Kwong-chiu Curator: Mathias Woo Design Director: Stanley Wong The Forbidden City is the largest ancient palatial structure in the world. It 創作顧問 趙廣超 策劃 胡恩威 was home to 24 emperors of the Ming and Qing Dynasties. The palace 設計總監 黃炳培 city of Beijing, and since it was the residence of the emperor, the son of was symmetrically built along the north-south central axis of the capital heaven, ordinary people were forbidden from the divine structure and it 紫禁城為世上現存最大的宮殿建築群 雖建於北京城中心 然而其用料與 is why the Forbidden City is so called. 工匠 卻是來自全國各地 集結天下的良土與民間智慧 The splendid architecture of the Forbidden City represents the essence 紫禁城保存了中國人最悠久的歷史回憶 雖建於不過六百年前 然而其設 and culmination of the traditional Chinese architectural accomplishment. 計與佈局 卻承襲了周易的陰陽五行思想 先秦儒家的倫理秩序 秦漢以 In spite of its countless complex structures and buildings, the imperial 來的宮殿建築與美學傳統 以至歷代文哲先賢的警世良言 反映了中國數 city is known for its harmonious layout and deemed to be the summit of 千年的文化歷史 Chinese architecture. 紫禁城之大 不只在於其建築規模之浩瀚 更在於其蘊涵的記憶之長 Everything is impressive about the Forbidden City the sheer size of 取材之廣 匯聚了一個國家最光輝的文化成就 表現了一個國家最宏大的 its successive empty courtyards and buildings, or the large steps with 氣魄 carved stone bas-reliefs. The Chinese also believed in the mystical symbolism of numbers, and assimilated them into the palace. The 認識紫禁城 就是認識中華文化的好方法 展覽將從基本的建築概念出 palace was decorated with many motifs and symbols of imperial power. 發 從一到十介紹紫禁城玄妙的設計布局 再從其歷史 結構 匾額楹聯 These are architectural expressions of Confucian ideology. Nearly 600 木石磚瓦等等發掘古代中國人的心思與智慧 years after it was built, the Forbidden City is still undoubtedly one of the greatest wonders of the world. 贊助 Sponsor: Graphic Designed by: Stanley communications 31

18 神遊紫禁城 A Mind-Visit to the Forbidden City 張弘 Zhang Hong 元旦剛過, 胡恩威導演邀我去港 見面後, 他遞給我一本書, 我一看書名 大紫禁城, 是趙廣超先生的近作 當晚我讀著文字, 隨著線條, 神遊了一回紫禁城的中軸線 書中有關宮廷建築, 尤其是中國古典建築中的一些文化理念 審美準則和傳統習俗, 是我們曾經熟悉的, 現在卻生疏了 ; 我們曾經瞭解的, 現在卻遺忘了 鑒於此, 胡導約我把 大紫禁城 一書作為依據, 將我的感受用舞台表演藝術的形式寫個劇本 這時, 我才恍然大悟, 原來胡導演約我來港是早有預謀 我一步踏進了故宮, 一腳陷入了迷宮 以故宮建築文化理念為題材, 寫成一個舞台藝術劇本, 我要做的就是塑造出對紫禁城的一樑一柱有特殊情感的人, 去喚醒那些無知無覺的殿宇, 變靜為動, 用人物形象和情感, 去替代建築文化的理論闡述 說到紫禁城, 我們自然想起了它的第一位主人明成祖朱棣 但第一個進入我構思的卻是清朝的末代皇帝溥儀 試想, 溥儀在離宮的瞬間, 他是如何回首投給紫禁城這最後的一瞥呢! 順著這種思路的延伸, 我終於將情節和情感的雙重沸點, 都傾注到了明朝的亡國之君崇禎的身上 在朝代更替的風雲變幻之際, 崇禎從午門撞鐘, 一直到煤山自縊, 他徒步在這條王者的中軸線上, 這條線不長, 僅千步之遙 ; 這條線很長, 崇禎足足走了十七年 在行走中, 崇禎帝看到了很多 ; 聽到了很多 ; 想到了很多 紫禁城的雄偉 壯觀 曾經的繁榮 昌盛 至高無上 萬年永固 在行走中, 崇禎帝甚麼也沒看到 ; 甚麼也沒想過 ; 甚麼也沒聽見 劇本所要表達的古典建築文化理念, 正是通過崇禎這一形象 ; 這一特定的歷程 ; 並借助於崑曲這一古典形式 ; 從而獲得舞台展示的載體 當寫到 遊便是祭, 祭便是遊, 這句臺詞時, 宮祭 這一劇名, 便躍然紙上了 我於建築一門, 有隔山之感 劇本寄出後, 我一直在期待著趙先生的指點 胡導演的批評 Just after the Lunar New Year, I visited Hong Kong with an invitation from director Mathias Woo. When we met, he handed me a copy of The Grand Forbidden City, a book by Chiu Kwong-chiu. That night I paid a mind-visit to the Forbidden City, following the axis of the city, a lead provided by the author. The book is about palatial architecture, focusing mainly on the cultural ideas of classical Chinese architecture, aesthetics and traditional customs that were once so familiar to us yet now seem to be so foreign; that were once known thoroughly by us, but now are forgotten. It was because of this that I was invited to write a play in response to The Grand Forbidden City using the language of theatre for expression. Then I suddenly realized that Woo had some hidden agenda for inviting me to Hong Kong. Once I took a step into the Forbidden City, I walked into a labyrinth. The plan was for me to create a play based on the theme of architectural culture and ideas of the Forbidden City and I was to create the characters that are emotionally attached to every pillar and beam in the Forbidden City, and to wake up the senseless and feeling-less palatial structures, transforming stillness into movements. The characterisation, images and emotions of characters on stage were employed as theoretical exposition on architectural culture. Talking about the Forbidden City, the thing that would come to our mind would be Emperor Cheng Zu of the Ming Dynasty (Zhu Di). However, the first thing that came to my mind was the last emperor Pu Yi of the Qing Dynasty. Just imagine Pu Yi, on his way out the palace, how he turned his head and had the last glimpse of the palace. With this in mind, I projected the peaks of the plot and emotions all onto the last emperor Chong Zhen of the Ming Dynasty. At these great moments of changes between dynasties, Emperor Chong Zhen measured his steps along the kingly axis from Wumen (the Noon Gate) where he sounded the bell to Mei Shan where he hanged himself. The distance was not that long, only about a thousand steps. Yet the road was very long, taking him altogether 17 years to complete. During the walk, Emperor Chong Zhen saw and heard a lot, and many things came to his mind too. The grandeur and magnificence of the Forbidden City, its past glory and prosperity, its supremacy and timelesses Yet during the walk, Emperor Chong Zhen saw nothing, thought of nothing, and heard nothing The cultural concepts of classical architecture are expressed in the play through the characterisation of Emperor Chong Zhen and this specific journey, through the classical form of Kunqu opera, manifesting themselves as a stage presentation. When I wrote the line A Visit is a Memorial, a Memorial is a Visit, the title of the play A Memorial to the Palace came alive on paper. When it comes to architecture, I feel I am worlds apart. After sending out the script, I looked forward to receiving advice from Mr Chiu, and criticism from Director Woo. (Translated by Mo-yung Yuklin and Vicky Leong) Graphic Designed by : Stanley communications 33

19 崑劇 Kunqu Opera 公開演講座談 / 講座系列 PUBLIC SEMINAR / LECTURE SERIES 紫禁城遊記 A Tale of The Forbidden City 故宮的保護, 展現及現代意義 The Conservation, presentation and Significance of the forbidden city 香港文化中心劇場 Studio Theatre, HKCC 票價 Ticket Price: $420, $280, $180 8/10 Thu 9/10 Fri 10/10 Sat 11/10 Sun 8pm 8pm 8pm 3pm 策劃及導演 : 胡恩威特邀崑劇劇本創作 : 張弘 ( 南京 ) 崑劇演出 : 石小梅 李鴻良 ( 南京 ) 音樂設計 : 戴培德 ( 南京 ) 譜曲 : 遲凌雲 ( 南京 ) 英文翻譯 : 廖端麗 紫禁城遊記 是進念繼 臨川四夢湯顯祖 後, 委約創作的全新傳統崑曲劇本, 以傳統崑曲表演形式, 向觀眾介紹中國傳統建築中, 尤其是故宮營造中的基本文化理念和文化心態 明朝末代皇帝崇禎遇上幽靈蒯祥 正是兩百多年前營造紫禁城的蘇州香山工匠, 他們邊唱邊遊, 沿著京城的中軸線, 也是王者的軸線, 從午門一路北徑走出紫禁城, 爬上煤山, 俯瞰這座堂堂方正的宮城, 走完了生命的最後一段路, 明朝三百年的基業就此戛然而止 崇禎在蒯祥的指引下, 重新審視這座皇城的建造意圖, 感歎物質之宮殿與精神之家國間若即若離般的滄桑流變, 完成了別家, 去國, 辭祖, 祭宮的最後儀式 Producer and Director: Mathias Woo Scriptwriter: Zhang Hong (Nanjing) Performers: Shi Xiaomei, Li Hongliang (Nanjing) Music: Dai Peide (Nanjing) Composer: Chi Ling Yun (Nanjing) Translation: Diana Liao A Tale of The Forbidden City is a new commission of Kunqu performance. Kunqu, also known as Kunqu Opera, incorporates singing, dance and literature, and is a showcase of a variety of performing art forms. In 2001, UNESCO declared Kunqu Opera as one of the Masterpieces of the Oral and Intangible Heritage of Humanity. In this performance, the audience will be introduced to the basic concept of Chinese traditional architecture through Kunqu Opera. The Chongzhen Emperor, the last emperor of the Ming Dynasty, meets the spirit of Kuai Xiang, the architect, who designed the Forbidden City Palace. Under the guide of the architect, Chongzhen takes his last stroll along the Forbidden City, before the end of the dynasty revealing the building intention of the world's largest wooden-structure palace city. 香港藝術館演講廳 Lecture Hall, Hong Kong Museum of Art 免費活動 Free Admission * 28/9 Mon 2:30 6pm 策劃 : 何培斌教授 協辦 : 香港中文大學建築學院 邀請美國及兩岸三地學者 建築師 博物館工作者 藝術家, 從故宮的歷 史 保存 展現和現代意義,, 以及他們參與故宮和博物館的研究工作作短 講及研討 歡迎公眾參與 普通話 / 粵 / 英語進行, 提供現場翻譯 In Mandarin, Cantonese and English with simultaneous interpretation. Curator: Prof. Ho Puay Peng Co-organiser: School of Architecture, CUHK Scholars, architects, museum curators, artists from the US and across the Strait will be giving lectures and holding discussions on the history, conservation, presentation and significance of the Imperial Palace, with reference to the research done by these speakers on the topic. The public is welcome to participate. 中國建築美學 Aesthetics of Chinese Architecture 香港藝術館演講廳 Lecture Hall, Hong Kong Museum of Art 免費活動 Free Admission * 5, 12, 19, 26/9 Sats 2:30 4:30 pm 策劃 : 何培斌教授 協辦 : 香港中文大學建築學院 講座從建築 美術 文化的角度介紹中國建築的藝術特色 美學及文化觀念 ( 一 ) 走進中國建築 9 月 5 日 講者 : 何培斌教授香港中文大學建築學院院長及教授 ( 二 ) 中國建築風水 9 月 12 日 講者 : 程建軍教授廣東華南理工大學建築學系教授 ( 三 ) 現代中國建築 : 民族主義或地域主義 9 月 19 日 講者 : 王維仁教授香港大學建築系副教授 ( 四 ) 中國建築美學 9 月 26 日 講者 : 陳瑞憲先生陳瑞憲建築研究室建築設計總監 Curator: Prof. Ho Puay Peng Co-organiser: School of Architecture, CUHK Lectures examining the artistic characteristics, aesthetics and cultural concepts of Chinese architecture from various perspectives: 5/9 Walking Into Chinese Architecture Speaker: Prof. Ho Puay Peng, Director and Professor, School of Architecture, The Chinese University of Hong Kong 12/9 Feng Shui in Chinese Architecture Speaker: Prof. Cheng Jianjun, Professor, Department of Architecture, South China University of Technology, Guangzhou 19/9 Modern Chinese Architecture: Nationalism or Regionalism Speaker: Prof. Wang Weijen, Associate Professor, Faculty of Architecture, The University of Hong Kong 26/9 The Aesthetics of Chinese Architecture Speaker: Ray Chen, Director of Architecture & Interior Design, Ray Chen International Ltd. 本演出贊助 This performance is sponsored by: 附中 英文字幕 With Chinese and English surtitles. 演出約長 90 分鐘, 不設中場休息 Running time is approximately 90 mins without intermission. 贊助 Sponsor: 協辦 Supported by: 香港藝術館 Hong Kong Museum of Art 普通話進行 In Mandarin * 須預先報名參加, 名額有限, 先到先得 查詢各項活動詳情及留座, 請致電 鄭先生 *Limited seats; available on a first come first served basis. Advance booking is essential. For enquiries or reservation, please contact Ricky Cheng at

20 工作坊 / 展覽導賞 Workshop/ EXHIBITION Guided Tour 大紫禁城國民藝術教育計劃 藝術與設計系列 The Forbidden City National Arts Education Programme 大紫禁城創意工作坊 The Forbidden City Creative Workshop 香港兆基創意書院 HKICC Lee Shau Kee School of Creativity 免費活動 Free ADMISSION * 25/10 Sun 1/11 Sun 10am 1pm 大紫禁城國民藝術教育計劃 嘗試以不同的藝術形式, 從藝術創作的角 度, 認識中國傳統建築概念, 當中包括多項創意實驗 : 多媒體音樂演出 以 嶄新角度認識紫禁城的展覽設計 傳統表演藝術與建築概念融合的創新 演出等等 大紫禁城創意工作坊 將以同學於計劃內的觀賞經驗為基礎, 透過聲音 影像 空間 文字的創作過程, 與同學一起探索認識中國傳統 藝術的可能性 ( 註 : 參與 大紫禁城創意工作坊 的同學必須曾觀賞 大 紫禁城展覽 及至少一項 大紫禁城計劃 內的演出活動 ) The Forbidden City National Arts Education Programme is a programme with the aim to introduce traditional Chinese architecture to the audience through various art forms and creative experiments, including multimedia music performances, exhibitions, seminars and workshops. The Forbidden City Creative Workshop, will explore the ways to approach Chinese architecture with students through innovative experiments with sound, video, space and text, to find new perspectives to look at the various facets and phases of traditional Chinese arts. (Note: Students taking part in The Forbidden City Creative Workshop are required to have attended The Forbidden City Exhibition and at least one performance in the The Forbidden City Project ) 粵語進行 Conducted in Cantonese. 10am 1pm 大紫禁城展覽導賞 The Forbidden City Exhibition Guided Tour 香港文化中心大堂 Foyer, HKCC 免費活動 Free ADMISSION * 每節約 30 分鐘 每節人數上限 25 人 凡參與 大紫禁城國民藝術教育計劃 的同學, 可優先報名參加 大紫禁城 展覽導賞, 由藝術節專人帶領同學觀賞展覽內容 本展覽導賞只供學校團體參與 Duration for each guided tour: 30 mins (approx.) Maximum number of people for each guided tour: 25 Guided Tour for The Forbidden City Exhibition led by official Festival Guides are available to schools. 粵語進行 Conducted in Cantonese. 第一節 Session 1 第二節 Session 2 19/9 3/10 每日 Daily 3:30 4pm 4:30 5pm 3. 甚麼是城市漫遊? WHAT IS CITY ODYSSEY? 合辦 : 香港當代文化中心人山人海城市畫報香港兆基創意書院 Co-organisers: Hong Kong Institute for Contemporary Culture People Mountain People Sea City Pictorial HKICC Lee Shau Kee School of Creativity 城市漫遊可以是一種甚麼經驗? 行住坐臥, 耳聞目見, 我們如何閱讀生活中的城市? 城市規劃如何影響著我們? 來自中國多個城市 : 上海 台北 深圳 北京 廣州 香港的 創作人與前線文化工作者將以 城市漫遊 為題, 透過音 樂 影像講談及交流會議, 提升大家的敏感度, 探索城市 特別的聲音和感覺 What can a city planner do to make a city more alive and memorable to its dwellers? What the cityscapes and urban sceneries actually mean to these people who live there? Electronic musicians and frontline cultural workers from different Chinese cities including Shanghai, Taipei, Shenzhen, Beijing, Guangzhou would be invited to make exchanges, with music, image, dialogues and conference, on the topic of City Odyssey in order to explore the special sounds and the particular feel of each of the cities they come from. 節目 Programmes 音樂 + 漫談 Music + Dialogues: 城市漫遊 City Odyssey 會議 Conference: 城市文化交流會議 City-to-City Cultural Exchange Conference 贊助 Sponsor: * 須預先報名參加, 名額有限, 先到先得 查詢 大紫禁城國民藝術教育計劃 各項活動詳情及留座, 請致電 鄭先生 *Limited seats; available on a first come first served basis. Advance booking is essential. For enquiries or reservation of The Forbidden City National Arts Education Programme, please contact Ricky Cheng at

21 音樂 + 漫談 / 會議 MUSIC + DIALOGUES / CONFERENCE 城巿漫遊 City Odyssey 香港兆基創意書院 - 多媒體劇場 MULTIMEDIA THEATRE, HKICC LEE SHAU KEE SCHOOL OF CREATIVITY 票價 Ticket PRICE: $120 17/10 Sat 18 /10 Sun 8pm 8pm 協辦 人山人海 城市畫報 香港當代文化中心 香港兆基創意書院 音樂策劃 許敖山 音樂顧問 黃耀明 創作/演出 基爵(香港) 徐程(上海) 姚大鈞(台北) 陸正(深圳) 嘉賓講者 姜珺(北京) 黎文(廣州) 陳旭軍(廣州) 張曉舟(北京) 城市的影像影響著不同的藝術創作 藝術創作也影響著我們對城市的記 憶 來自上海 香港 台北 深圳四個城市的電子音樂創作人 將以 城巿漫 遊 為主題進行創作 另外四位來自北京和廣州的嘉賓講者 將分享他們 的 城巿漫遊 經驗 Co-organisers: People Mountain People Sea, City Pictorial, Hong Kong Institute for Contemporary Culture, HKICC Lee Shau Kee School of Creativity Music Curator: Steve Hui (Nerve) Music Advisor: Anthony Wong Music Creation/ Performance: Gaybird (Hong Kong), Xu Cheng (Shanghai), Yao Dajuin (Taipei), Zen Lu (Shenzhen) Guest Speakers: Jiang Jun (Beijing), Li Wen (Guangzhou), Chen Xujun (Guangzhou), Zhang Xiaozhou (Beijing) Cityscape and images of a city shed influence on the artists who dwell there as well as on their works. And the creativity of artists influences the cityscape and our memories of the city. Electronic musicians from Shanghai, Hong Kong, Taipei and Shenzhen are invited to create works on the topic of City Odyssey, through the exploration of Hong Kong s cityscape. Four guest speakers from Beijing and Guangzhou would also be invited to share their experience on urban spaces, namely their personal magical mystery City Odyssey, in this occasion. 城市文化交流會議 - 文化空間與文化發展 City-to-City Cultural Exchange Conference - Cultural Space and Cultural Development 香港兆基創意書院 HHKICC LEE SHAU KEE SCHOOL OF CREATIVITY 17 18/10 Sat Sun 合辦 香港當代文化中心 節目合作 香港兆基創意書院 Co-organiser: Hong Kong Institute for Contemporary Culture Program Collaboration: HKICC Lee Shau Kee School of Creativity A group of scholars, practitioners, critics, corporate executives and policy makers from Shanghai, Shenzhen, Taipei and Hong Kong will gather together to explore and exchange on the issue of Cultural 會議自一九九七年開始 每年以不同主題 輪流在香港 深圳 上海 台北 Space and Cultural Development and the way forward. Details will be 四個城市進行 為這些城市的文化前線工作者 提供各地文化發展資訊 讓 announced Later. 彼此了解共同或個別面臨的挑戰 今年會議將以 文化空間與文化發展 為題 作交流及前瞻 詳情容後公佈 由香港特別行政區政府贊助 Sponsored by the Government of the Hong Kong Special Administrative Region. Graphic Designed by: Pollux Kwok 39

22 4. 甚麼是西九? WHAT IS West Kowloon? 文化建築對一個城市的文化和社會發展有甚麼樣的影響? 西九龍文化區 是目前世界最大的文化建築規劃之一, 它會影響整個香港的城市景觀, 也會影響地區以至世界 的文化發展 此部分將從 九龍文化海旁 的研究開始, 探 討文化場地本身在文化發展 城市規劃 推動知識型經濟 發展文化旅遊及文化產業所扮演的角色 What are the influences of cultural architecture to a city s cultural and social development? The West Kowloon Cultural District is one of the biggest cultural projects in the world. Starting from the research on the cultural waterfront in Kowloon, we will discuss and explore the role of cultural architecture in the development of a city in terms of cultural development, urban planning, knowledge-based economy, cultural tourism and creative industries. 節目 Programmes 演出 Performance: 東宮西宮八之西九龍珠 East Wing West Wing 8 West Kowloon Dragon Balls 展覽 Exhibition: 再思再創, 我們的文化海旁 Rethinking the Cultural Waterfront Every other wednesday timeout.com.hk 41

23 演出 PERFORMANCE 東宮西宮八之西九龍珠 East Wing West Wing 8 West Kowloon Dragon Balls 香港文化中心大劇院 Grand Theatre, HKCC 票價 Ticket Price: $400, $250, $200, $160, $120 18/9 Fri 19/9 Sat 19/9 Sat 20/9 Sun 8:15pm 3pm 8:15pm 3pm 編劇及導演 胡恩威 演出 陳浩峰 陳淑莊 楊永德 黃大徽 孔奕佳 鍾家誠 曾兆賢 伍嘉雯 葉燕芳 音樂總監 于逸堯@人山人海 音樂 于逸堯 孔奕佳 主題曲創作 假音人 Playwright and Director: Mathias Woo Performers: Cedric Chan, Tanya Chan, David Yeung, Dick Wong, Edgar Hung, Carson Chung, Albert Tsang, Carmen Wu, Shirley Yip Music Dirctor: Yu Yat PMPS Music: Yu Yat Yiu, Edgar Hung Theme Song: Gayamyan Unlocking the Mystery of the Total Failure of Land Use Planning in Hong Kong Why are all architectural designs in Hong Kong the same? 揭開香港土地規劃徹底失敗之謎 Why do most public buildings look so hideous? Why does the HKSAR Government make all old trees die under their care? 點解香港所有建築啲設計都一樣 Why is it so freezing cold everywhere in Hong Kong with air conditioning? 點解大部分公共建築都咁核突 Why can t we ride our bike to school and to work? 點解香港政府種死晒啲老樹 Why is the Government making Victoria Harbour smaller and smaller 點解香港度度啲冷氣都咁凍 everyday with reclamation? 點解我地唔可以踩單車返工返學 Why can t we have a decent museum in Hong Kong? 點解政府要填到維港越來越細 Why can t West Kowloon become a world-class culture centre? 點解香港連一個似樣啲嘅博物館都無 Why couldn t Hong Kong ever be London, New York or Tokyo? 點解西九唔會係世界級嘅文化中心 點解香港永遠唔可以係倫敦紐約東京 Zuni's East Wing West Wing is the first-ever celebrated comedy series in Hong Kong aiming at bringing about a Hong Kong-style civic education 東宮西宮 以攪笑 以誠意 一一探討政治 民生 教育等課題 第八集 based on topics of current social and political issues. The forthcoming 西九龍珠 由西九規劃亂局出發揭開香港土地規劃徹底失敗之謎 政府 eighth episode West Kowloon Dragon Balls, a burlesque of the HKSAR 高官天天高叫香港要成為倫敦紐約一樣的國際大都會 但是香港的土地 規劃和公共建築為什麼仍然那麼死板和沒人性 舊區重建不是以人為本 而只是以發展商場豪宅為本 交通政策只是以地鐵巴士為本 禁絕行人和 單車 土地只用來發展豪宅商場 農地成為貨櫃 垃圾堆填區 為什麼香港 Government, focuses on the latest development of the West Kowloon Cultural District, and will continue to explore the urban planning and city development of Hong Kong. 會變成這樣 是政府的錯嗎 是社會的錯嗎 是地產商的錯嗎 是傳媒的 錯嗎 香港人除了七一上街遊行 靜坐絕食 司法覆核 香港人還可以做什 麼 政府除了把責任推在立法會的立法程序身上 有沒有反思可以做什麼 立法會議員除了鬧政府 掟蕉 爆粗 爭取直選 還可以做什麼 我和你除 了可以表達無力和痛心之外 還可以做什麼 粵語演出 In Cantonese. 演出約長90分鐘 不設中場休息 Running time is approximately 90 mins without intermission. Graphic Designed by: MoNiChengShi Photo by: Myke Cheng 43

24 展覽 Exhibition 再思再創 我們的文化海旁 Rethinking THE Cultural Waterfront 香港文化中心大堂 Foyer, HKCC 免費活動 Free Admission 1-13/9 Curator: Prof. Chang Ping-hung Co-organiser: School of Architecture, CUHK Setting out along the waterfront from Tsimshatsui to the West Kowloon Cultural District, covering venues such as the Hong Kong Coliseum and 策劃 鄭炳鴻教授 the Hong Kong Cultural Centre, we shall explore the various possibilities 協辦 香港中文大學建築學院 of developing the community of arts and culture in Kowloon. Through this series of workshops, some proposals on urban planning and design 由尖沙咀至西九龍的海旁 除了規劃中的西九文化區 還包括了紅館 will be drawn by the students of School of Architecture of The Chinese 藝術館 文化中心等建築羣 這些建築如何融合社區環境 如何發展具有 University of Hong Kong. 社區特色的文化藝術生活氛圍 香港中文大學建築學院將透過工作坊 為 我們的文化海旁再思 再創不同城市規劃及設計方案 Envisioning the Cultural Centre in Tsim Sha Tsui along the Cultural Promenade, the research will review under the idea of place-making 展望尖沙咀文化中心在文化長廊的定位 此研究以 場所營造 為前提 and its relationship with the city, the fabric, the harbor, the connection, 檢視其與城市 肌理 海港 連接及文化形象以至西九發展的關係 城市 the cultural image and the development of West Kowloon. While 設計作為創造公共空間 釋放潛在用途和加強 人地互動 的有效方法 可 urban design is an articulated way of making public spaces, releasing 以從土地利用規劃及文化場地設計兩個層面把尖沙咀文化長廊塑造成便 potential uses as well as enhancing 'place-people' interactions, land 捷 愉快及難忘的文化場地 為此 本研究提供詮釋性的理解 展示其在日 use planning and cultural venues design are two tiers to develop the 常運作 多層交道 複合活動 公私交替及週年使用下所面臨的挑戰及機 TST Cultural Promenade into an accessible, enjoyable and memorable 遇 place for cultures. This project is aiming at providing an interpretative 鄭炳鴻教授 daily operations, multi-level circulations, mixed-use activities, public/ understanding of its challenges and potentials amidst complexities of private interfaces and year-round occupancies. Prof. Wallace Chang 鳴謝Thanks to : 'Unit for Community Building, 社區營造學社 led by Prof. Wallace Chang, 鄭炳鴻教授 and supported by Mr William Luk 陸永麟同學 Graphic Designed by: Pollux Kwok 45

25 節目表 Programme Calendar 46 47

26 學生導賞場 Performance for Secondary Students 東宮西宮八之西九龍珠 18/9 下午 3:00 香港文化中心大劇院 East Wing West Wing 8 West Kowloon Dragon Balls 18/9 3pm Grand Theatre, HKCC 大紫禁城 25/9 下午 3:00 香港文化中心大劇院 The Forbidden City 25/9 3pm Grand Theatre, HKCC 崑劇 : 紫禁城遊記 8/10 下午 3:00 香港文化中心劇場 Kunqu Opera: A Tale of The Forbidden City 8/10 3pm Studio Theatre, HKCC Looking for Mies 2/10 下午 3:00 香港文化中心大劇院 Looking for Mies 2/10 3pm Grand Theatre, HKCC Corbu and Kahn 16/10 下午 3:00 香港文化中心劇場 Corbu and Kahn 16/10 3pm Studio Theatre, HKCC 通識及藝術教育活動 LIBERAL STUDIES AND ARTs EDUCATION PROGRAMME 演出詳情請參閱演出介紹 學生講座 Student Talk For the program details, please refer to performance descriptions. 為迎接新高中學制及通識課程, 和推廣藝術教育及培養學生多元化的劇場經驗, 建築是藝術節- 通識及藝術教育計劃 提供最優秀的藝術及創 To assist the launching of the new teaching scheme and liberal studies in secondary school, and to provide multi-experiences about arts and 香港文化中心劇場 STUDIO THEATRE, HKCC Enjoy Electronic Music. Enjoy It Live! What is electronic music? Is it a means of expression, a tool or a style? How about the relationship between electronic music and other kinds 意網絡, 從建築藝術與設計開始, 提升大家對歷史 公民社會 創意產業 theatre for students, half price ticket discount and package ticket 2/10 Fri 3:30pm of music? What skills are required for playing electronic music? Local 及文化藝術的認識 設有全日制學生半價優惠及套票優惠, 並專為中學團 discount will be provided for full time students in the Architecture is electronic musician Pun Tak Shu and Sin:Ned will be performing live and 體設學生導賞場 展覽導賞工作坊及座談會, 在觀賞演出以外, 與老師同學進行導賞 專題分析和討論 Art Festival. Also, performances for students, exhibition guided tours, workshops and talks will be provided to help students as well as teachers to understand specific topics related to the festival. 電樂樂. 奏樂樂什麼是電子音樂? 電子音樂是一種手法? 工具? 還是一種風格? 電子音樂與非電子音樂有什麼關係? 演奏的技巧有什麼不同? 本地電子音樂創作人潘德恕和 Sin:Ned 將與同學分享他們的創作演奏經驗及現場示範 sharing their experience with students. Limited seats available on a first come first served basis. Advance booking is essential. Reservation & Enquiries: Ricky Cheng 須預先報名參加 名額有限, 先到先得 學校團體報名及查詢 : 鄭先生 49

27 進念 二十面體 Zuni Icosahedron 藝術總監: 榮念曾 ARTISTIC DIRECTOR: DANNY YUNG 進念 二十面體 一九八二年成立 為本地註冊非牟利慈善文化團體 以香 Zuni Icosahedron, founded in 1982, is a Hong Kong based non-profit 港為基地 面向世界的實驗藝術團體 從事多元戲劇藝術創作至今 原 charity arts organization and an international experimental theatre 創劇場作品超過一百五十多齣 曾獲邀前住演出的城市遍及歐 亞 美等 company. Zuni has produced more than 150 original productions of 地三十多個城市 二十多年間 一直致力拓展香港文化藝術新領域 積極 alternative theatre and multi-media performances, and has been active 推動國際文化交流 主催藝術評論及文化政策研究等工作 並活躍於藝 in video, sound experimentation and installation arts, as well as in the 術教育和發展電子媒體及跨媒體等新類型的藝術模式 一九九九年起獲 area of arts education, arts criticism, arts policy and international cultural 香港藝術發展局 三年資助 現為香港特別行政區政府資助的九個專業 exchange. Over the years, Zuni has been invited to over 30 cities in 藝團之一 也是香港最具代表性的國際實驗劇團 Europe, Asia, and America for exchange and performances. Zuni is one of the nine major professional arts companies in Hong Kong, and has established itself as a premiere experimental theatre locally, regionally and internationally. 戲劇的力量 Real Time Real Space The Power of Theatre 傳統創新 Reinvent Tradition 經典重現 Reinterpret Classics 多媒體劇場 Recreate Theatre and Media Technology 社會劇場 進念 二十面體 Zuni Icosahedron 香港跑馬地荷塘道15號後座 Rear Part, 15 Hawthorn Road, Happy Valley, Hong Kong Reconnect Theatre with Social Movement 電話 Tel: 傳真 Fax: 電郵 info@zuni.org.hk 網址 Website:

28 伙伴場地 香港文化中心 PARTNERING VENUE HKCC 劇場 STUDIO THEATRE 採用黑盒式設計舞台與座位有多種組合方式, 可變成 單向 三向 中央及橫向舞台, 容納 人 適合演出實驗話劇和舞蹈表演 The Studio Theatre adopted the black box theatre design. It is designed with variable seating formats for thrust, end, arena or transverse stage set-up with seats 香港文化中心 Hong Kong Cultural Centre 歷史背景和建築特色 1989 年 11 月 8 日正式啟用 原址是九龍火車站, 只有鐘樓被保留下來 History and Architecture Opened on the 8th November, 1989 The site was the Kowloon-Canton Railway terminus. The Clock Tower is the last remnant of the terminus The Hong Kong Cultural Centre, Hong Kong Space Museum and Hong Kong Museum of Art, create the Cultural Waterfront of Kowloon Windowless and steep-roof design 進念於二零零八年獲選為香港文化中心的場地伙伴團體, 並於二零零九 年至二零一二年期間進駐文化中心, 透過此計劃與政府建立伙伴關係, 共同推動文化藝術的多元發展, 提升社會的人文素質 In 2008, Zuni was chosen by the Hong Kong Cultural Centre as one of the groups participating in the Venue Partnership Scheme introduced by the Leisure and Cultural Services Department (LCSD) of the Hong Kong Special Administrative Region. In the years , Zuni will become a partner of Hong Kong Cultural Centre to produce a series of It is most suitable for small scale theatre productions and dance performances 文化中心連同毗鄰的香港太空館及香港藝術館, 形成了九龍海旁文化區 無窗戶設計和斜坡形的外貌是文化中心的建築特色 文化中心的定位 有別於其他地區性文娛中心, 文化中心是一個全港性的表演場地 具有國 際級的文化演藝設施, 團體或市民以個人名義都可租用文化中心的 設施 香港文化中心有四個場地伙伴, 分別為進念 二十面體 香港管弦樂團 香港中樂團及香港芭蕾舞團 Positioning of the Hong Kong Cultural Centre Unlike other district venues, Hong Kong Cultural Centre is the premier arts centre in the territory with world class facilities. The Centre is open for public booking. Applications can be made in the name of an individual or an organization Zuni Icosahedron, Hong Kong Philharmonic Orchestra, Hong Kong Chinese Orchestra and Hong Kong Ballet are the venue partners of the Hong Kong Cultural Centre theatre works and outreach education programmes. 行政大樓 ADMINISTRATION BUILDING 四樓有一個面積 287 平方米的展覽館 除了展覽館外, 亦有 2 個會議室 There is a 287m 2 Exhibition Gallery situated on Level 4 of the Administration Building 2 Function Rooms are also located on Level 4 大劇院 GRAND THEATRE 香港最大的劇院, 觀眾席共有 1,734 個座位 備有先進的旋轉換景系統, 可高速旋轉換佈景 設有 26 條由電腦控制的吊杆, 能準確呈現各種舞台效果 可容 110 名樂師的電動升降樂隊池 歌聲魅影 與 孤星淚 都曾在此上演 音樂廳 CONCERT HALL 是香港藝術節及香港國際電影節的主要表演及放映場地 香港最大的音樂廳, 觀眾席採用了 360 度環繞舞台設計, 共有 2,019 個座位 The Grand Theatre is the largest theatre in Hong Kong with a total of 1,734 seats 設有可調校的迥音罩及簾幕, 以配合各類型音樂會的演出 設有一座奧地利製造的管風琴, 具有 93 個音栓和 8 千支音 A stage wagon with revolve enables a change of settings in high speed 管, 是世界上最大的管風琴之一 The oval-shape Concert Hall is the largest concert hall in Hong Kong with 2,019 seats in the two-tier auditorium The hall is fitted with adjustable acoustic canopy and curtains to ensure quality acoustics effect. Installed behind the open stage is a 93-stop, 8,000- pipe Austrian organ, one of the largest mechanical tracker action organs in the world 大堂表演及展覽設施 FOYER 大堂舞台有各類型免費演藝活動 設有 4 個特定展覽場地, 供小型藝術展覽使用 Various kinds of free art performances are held in the foyer stage There are 4 designated exhibition sites in the main foyer for small-scale arts exhibitions 露天廣場 PIAZZA 文化中心露天廣場可用作表演場地用途 The outdoor piazza is suitable for holding performances and big events The 26 computerized flying bars enable a wide variety of stage effects An electrically-operated orchestra pit for up to 110 musicians The internationally acclaimed Les Miserables and The Phantom of the Opera were held in the Grand Theatre It is one of the major performing and screening venues of the Hong Kong Arts Festival and Hong Kong International Film Festival 52 53

29 購票指南 Booking Information 購票方式 門票即日起於各城市電腦售票處公開發售 票務條款及細則 一人一票, 幼童不論年齡亦須憑票入場 ( 須合符年齡限制 ) How to book Tickets are now available at all URBTIX outlets Terms & Conditions One person per ticket regardless of age, subject to age limit specified for each event. 票房購票 歡迎蒞臨各城市電腦售票處購買門票 電話購票 城市電腦售票網信用卡電話購票熱線 : 城市電腦售票網電話留座熱線 : 網上訂票 城市電腦售票網網上訂票 學校購票 如欲查詢學生導賞場資料, 請電郵致 info@zuni.org.hk 或致電 與本團聯絡 優惠計劃 體驗 建築是藝術節 的全部精彩演出, 特設套票優惠計劃 每次購買 建築是藝術節 2 場不同節目的門票可獲九折優惠 3 6 場可獲八五折優惠 7 場即所有節目可獲七五折優惠 特選優惠 每次同時購買 < 城巿漫遊 >10 月 17 及 18 日場次之正價門票 可獲九折優惠 進念之友 進念之友購買正價門票, 可獲八五折優惠 ( 此優惠不適用於網上訂票及 信用卡電話訂票 ) 全日制學生 高齡人士 殘疾人士及綜合社會保障援助受惠人士優惠 全日制學生 六十歲或以上高齡人士 殘疾人士及綜合社會保障援助受惠 人士可獲半價優惠 學生及綜援受惠人士優惠票數量有限, 先到先得, 額滿即止 優惠票持有人入場時, 必須出示可以證明身份或年齡的有效證 件 團體購票優惠 4 9 張相同場次之正價門票可獲九折優惠 ; 張相同場次之正價門票可獲八五折優惠 ; 20 張相同場次之正價門票或以上可獲八折優惠 其他優惠 憑三聯書店優惠証購買正價門票, 可獲九折優惠 憑香港建築師學會 星巴克咖啡會員証, 住好啲發票收據購買正價門票, 可獲九折優惠 特選優惠予九龍酒店旅客! 旅客於購票時出示九龍酒店房咭, 購買正價門票可獲九折優惠 中英之友 中英新丁 CCDC 特級會員 香港芭蕾舞團之友 PIPPIES 及香 港舞蹈團之友購買正價門票, 可獲九折優惠 ( 每場限購門票兩張 ) 學生套票優惠 參加 電樂樂 奏樂樂 學生講座之同學, 將可以特惠套票形式觀賞 建築 是... 音樂對話 此學生優惠套票數量有限, 先到先得, 額滿即止 此優惠 套票並不公開發售, 詳情請聯絡本團及參閱通識及藝術教育活動 門票一經售出, 恕不退換或退款 購買每張門票, 只可享用其中一項購票優惠 所有訂票表格均以先到先得方式處理 進念 二十面體有限公司不能保證所有訂票人士均能訂取門票, 而座位分配將由城市電腦售票網及進念 二十面體有限公司作最終決定 預訂之門票將以郵遞方式寄給閣下 有關票務查詢, 請致電城市電腦售票網熱線 查詢 進念 二十面體有限公司並不負責因顧客提供失效或不正確地址而導致的門票遺失 如因郵遞錯誤以致遺失門票, 顧客必須向警方報失, 及於表演日期最少三個工作天之前聯絡購票通客戶服務熱線 購票通會寄發一封印有顧客姓名 香港身份證號碼及警方報失編號的確認信予顧客, 並會向康樂及文化事務署報告事件 顧客須攜同確認信進場, 但顧客能否進場由場地管理人員作最終決定 進念 二十面體有限公司並不負責任何因郵遞延誤而引致的損失 優惠票 ( 包括但不局限於 60 歲或以上的高齡人士 殘疾人士和全日制學生優惠票 ) 持有人 必須在入場時出示認可的身份證明 學生半價優惠只限於香港本地學生, 持票人士必須帶備有效之本地學生證明文件以供查核, 否則需付全值票價及手續費 殘疾人士門票持有人進場時, 需出示有效的 殘疾人士登記證, 否則需付全值票價及 手續費 學生及殘疾人士半價優惠配額有限, 以先到先得方式處理, 額滿即止 所有節目恕不招待 6 歲以下小童進場 每張門票折扣後的票價將計算至個位數, 不足港幣一元亦作一元計算 倘門票上的資料被刪去或經過塗改, 又或門票遭損毀 污損或變得殘缺不全, 則持票人可能 不獲准入場 進念 二十面體有限公司有權不讓遲到者入場, 亦有權決定遲到者的入場時間及方式 進念 二十面體有限公司有權增減或更換藝人及 / 或更改已公佈的節目 座位編排及容納 觀眾的數目 著數區 盡享咖啡體驗! 憑 建築是藝術節 節目門票或票尾於星巴克惠顧任何中杯裝 或以上之手調飲品, 即可獲享買一送一驚喜 優惠有效期由 2009 年 7 月 30 日至 2009 年 10 月 18 日 優惠只適用於香港星巴克咖啡店 Coffee Concepts (Hong Kong) Limited 保留最終決定權 購物優惠! 憑 建築是藝術節 節目門票或票尾於住好啲消費可獲享 九折優惠 ( 不適用於寄賣貨品 床墊及電子產品 ) 優惠有效期由 2009 年 7 月 15 日至 2009 年 10 月 18 日 優惠只適用於香港住好啲 住好啲保留最終決定權 美食優惠! 憑 建築是藝術節 節目門票或票尾於九龍酒店之龍逸軒 倚窗閣及中間道酒吧消費可獲八折優惠 優惠有效期由 2009 年 8 月 1 日至 2009 年 10 月 18 日 優惠只適用於九龍酒店 ( 香港 ) 九龍酒店保留最終決定權 In Person At any URBTIX outlets Telephone URBTIX Telephone Credit Card Booking: URBTIX Telephone Reservations Hotline: Online URBTIX Internet Ticketing Service Schools To receive information on the Festival schools programme please send to info@zuni.org.hk or contact the Festival on Discount Packages For a full festival experience see TWO or more events and save. 10% discount for each purchase of tickets for 2 different programmes of the Festival; 15% discount for 3 6 different programmes 25% discount for 7 programmes Privilege Booking 10% discount for each purchase of tickets for both 17 & 18/10 City Odyssey Zuni s Friends 15% discount on full-price tickets for each purchase offered to Zuni s friends. (The above discounts are not applicable to Internet Booking and Credit Card Telephone Booking.) Full-time Students, Senior Citizens, People with Disabilities and Comprehensive Social Security Assistance Recipients Discounts Half-price tickets are available for full-time students, senior citizens ages 60 or above, people with disabilities and Comprehensive Social Security Assistance (CSSA) recipients. Tickets for students and CSSA recipients are available on a first-come-first-served basis. Concessionary ticket holders must produce evidence of their identity or age upon admission. Group Booking 10% discount for each purchase of 4-9 tickets of each performance; 15% discount for tickets of each performance; 20% discount for 20 tickets or more of each performance. More Discounts 10% discount on full-price tickets for each purchase offered to Joint Publishing member card holder. 10% discount on full-price tickets for each purchase offered to the holder of The Hong Kong Institute of Architects, Starbucks member card or G.O.D. sales memo. Discount for The Kowloon Hotel travellers! 10% discount on full-price tickets for each purchase offered to The Kowloon Hotel key card holder. 10% discount on full-price tickets for each purchase offered to CY Buddies, CY Kids, Premium Members of CCDC Dance Generation, Friends of Hong Kong Ballet, PIPPIES and Friends of Hong Kong Dance Company. (maximum 2 tickets per performance) Student Special Packs Discounted Package Tickets for Architecture is Discourse with Music will be provided for students who participate in Enjoy Electronic Music. Enjoy It Live! school programme. Tickets for students are available on a first-come-first-served basis. This special pack is not applicable to counter booking. Please see Liberal Studies and Arts Education Programmes for the further information and contact us for details. Tickets sold are non-refundable and non-exchangeable. Patrons can enjoy only one of the discount schemes for purchase of the same ticket. All bookings will be dealt with on a first-come, first-served basis. Zuni Icosahedron Ltd. cannot guarantee the availability of tickets. Allocation of seats will be at the discretion of URBTIX and Zuni Icosahedron Ltd. The Advance booking orders and the tickets will be sent to you by post. Please call URBTIX hotline at to inquire about your booking status. Zuni Icosahedron Ltd. will not be responsible for any lost ticket due to the submission of invalid or inaccurate mailing addresses by customers. In case of lost tickets during the mailing process, customer should report to the police and contact CityLine's customer services hotline at least 3 working days before the show date. CityLine shall issue a "Non-delivery of ticket" letter with customer's name, HKID no., and the police loss report reference number to the customer. The case will also be reported to the Leisure and Cultural Services Department. The customer is required to bring along the said letter for admission to the performance, whereas the admission of which is subject to the absolute decision of the management of the venue. Zuni Icosahedron Ltd. will not be responsible for any loss caused by delay in postal delivery of tickets. Concessionary ticket holders, including but not limited to concessionary tickets for senior citizens aged 60 or above, people with disabilities and full-time students, will be admitted only on production of acceptable proof of identity. Half-price concessionary student tickets are limited to local, full-time students only. Students will be required to produce a valid student ID card for inspection at the admission point. Those who fail to do so will be required to pay the full ticket price and handling charges. People with disabilities must bring the valid 'Registration Card for People with Disabilities' when attending performances. Those who fail to do so will be required to pay the full ticket price and handling charges. Concessionary tickets are limited and bookings will be dealt with strictly on a first-come, first-served basis. Persons below six years old will not be admitted. The price of discounted tickets will be rounded up to the nearest dollar on EACH ticket. A ticket holder may be refused admission if any details on the ticket have been omitted or altered or if the ticket is damaged, defaced, or otherwise mutilated. Zuni Icosahedron Ltd. reserves the right to refuse admission by any late-comers to the event. The management also reserves the right to determine the time at which and the manner in which late-comers are to be admitted. Zuni Icosahedron Ltd. reserves the right to add, withdraw or substitute artists and/or vary advertised programmes, seating arrangements and audience capacity. JETSO ZONE Ticket Stub Redemption REWARD YOURSELF! COME IN FOR A COFFEE TREAT! Present your AIAF ticket / ticket stub at any Starbucks to enjoy a Buy 1 Get 1 Surprise upon purchase of your favourite handcrafted beverage in tall size or above. Offer valid from July 30, 2009 until October 18, Offer applicable to Starbucks Coffee shops in Hong Kong only. Coffee Concepts (Hong Kong) Limited reserves the right of final decision in case of any disputes. 10% OFF SHOPPING AT G.O.D! Present your AIAF ticket / ticket stub at any G.O.D to enjoy 10% discount upon purchase. (Not applicable on all consignment items, mattress and electronic appliances) Offer valid from July 15, 2009 until October 18, Offer applicable to G.O.D. in Hong Kong only. G.O.D. reserves the right of final decision in case of any disputes. 20% OFF DINING & DRINKING Present your AIAF ticket / ticket stub at The Kowloon Hotel Loong Yat Heen, The Window Café and The Middle Row Bar to enjoy 20% discount upon dining & drinking. Offer valid from August 1, 2009 until October 18, Offer applicable to The Kowloon Hotel in Hong Kong only. The Kowloon Hotel reserves the right of final decision in case of any disputes

30 座位表 SEATING PLAN 場地資料 Venue information A ) 香港文化中心查詢電話 : 香港文化中心位於九龍尖沙咀梳士巴利道十號 前往中心的公共交通工具分列如下 : 港鐵 : 尖沙咀站 E 出口 尖東站 J 出口 小輪 : 天星小輪公共巴士 : 九龍巴士 的士 : 尖沙咀天星碼頭的士站鄰近公共停車場 : 海運大廈停車場 中間道停車場 新世界停車場資料只供參考, 如有更改, 以有關機構的公佈為準 B ) 香港藝術館查詢電話 : 香港九龍尖沙咀梳士巴利道 10 號前往藝術館的公共交通工具分列如下 : 港鐵 : 尖沙咀站 E/J/K/L3 出口 公共巴士 : 九龍巴士 C ) 香港兆基創意書院查詢電話 : 九龍聯合道 135 號前往中心的公共交通工具分列如下 : 由樂富地鐵站 B 出口向聯合道方向步行 5 分鐘即可到達九巴顧客服務熱線 : 城巴顧客服務熱線 : 新巴顧客服務熱線 : A ) HONG KONG CULTURAL CENTRE Enquiries: Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong. Patrons can reach the Centre by the following public transport services: MTR: Tsim Sha Tsui station E Exit, East Tsim Sha Tsui station J Exit Ferry: Star Ferry Bus: KMB Taxi: Tsim Sha Tsui Star Ferry taxi station Nearby Public Car Parks: Car Parks in Ocean Terminal, Middle Road Wilson Car Park and New World Centre Car Park Route information is for reference only and subject to change with relevant organizations announcement. B ) HONG KONG MUSEUM OF ART Enquiries: Salisbury Road, Tsim Sha Tsui, Kowloon, Hong Kong Patrons can reach the museum by the following public transport services: MTR: Tsim Sha Tsui station E/J/K/L3 Exit Bus: KMB Ferry: Star Ferry C ) HKICC LEE SHAU KEE SCHOOL OF CREATIVITY Enquiries: Junction Road, Kowloon, Hong Kong Patrons can reach the centre by the following public transport services: MTR: Lok Fu station B Exit KMB Customer Service Hotline: Citybus Customer Service Hotline: First Customer Service Hotline:

31

32

33