記得上次臉書停權事件，館長一口咬定是政府背後操縱，被沂婆打臉後，馬上開直播說明
，他的理由大意是：
「我跟韓國瑜直播完隔一天就被停權，我當然會懷疑有問題嘛，你們政府可以正式要求美
國臉書提供檢舉帳號的名單，看看有多少是黨工還是假帳號，這樣不就可以證明你們清白
了嗎？怎麼不敢呢？............」
WTF???????
這簡直比中國施壓外國企業還狂了，他竟然認為一個國家的政府需要為了一個人的停權事
件，而去要求臉書做出提供帳號這樣破壞個資跟網路自由的事，他晚上開直播會不會也「
合理」懷疑英國衛報是跟綠營有關？感覺已經被館粉捧到有點過度膨脹了，感覺就是為反
而反，他最近的言行已經都是用意識形態在分化族群了，捐的錢遠遠無法彌補這些言行對
社會造成的傷害
※ 引述《yf15114915 (just)》之銘言：
https://tinyurl.com/y76f35sr
英國衛報用大篇福報導高雄衛武營的藝文中心
雖然有些只有練肌肉沒有練腦的人把衛武營嫌東嫌西
(對，我真的滿生氣的)
但是衛武營的落成已經引起國際主流媒體的注意和報導
英國衛報(The Guardian)用大篇福的介紹報導衛武營
以下是報導內容：
(看有沒有好心人要協助翻整篇的)
Epic scenes: the biggest arts venue on Earth lands in Taiwan
Kaohsiung, Taiwan
Boasting the largest organ in Asia and four theatres, this enormous
performing arts venue invites people to exercise, nap and even break
into song.
Oliver Wainwright @ollywainwright
Fri 19 Oct 2018 13.19 BST
Last modified on Fri 19 Oct 2018 22.39 BST
Shares 5,252
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National Kaohsiung Centre for the Arts.
‘We wanted it to feel as informal as seeing a performance in a
park’ … the National Kaohsiung Centre for the Arts.
Looking like the colossal love child of a container ship and a
whale, writhing above the treetops of Weiwuying park in the southern
Taiwanese city of Kaohsiung, the world’s largest performing arts
centre has a suitably immense presence. By turns galumphing and
graceful, the roughly ￡260m hulk contains an opera house, concert
hall, theatre and recital hall, seating up to 7,000 people within
its curvaceous shell. As Taiwan faces ever more pressure for
assimilation from mainland China, whose cultural building boom has
led to a new museum or concert hall open practically every week in
recent years, the National Kaohsiung Centre for the Arts, AKA
Weiwuying, is a monumental statement that this plucky nation means
business on the international cultural stage.
Gaping openings in the building’s hefty flanks beckon you into a
cave-like landscape, where the floor rides up in great waves as the
ceiling plunges down to meet the ground, forming a world of tunnels
and canyons. The glossy-white steel skin is sliced open in places,
bringing shafts of light into the space and offering intriguing
glimpses of the venues within. It provides cooling respite from
the tropical heat of this coastal city, channelling the breeze beneath
its bulging belly to make a welcome place for picnics, tai-chi, yoga
classes and some exhilarating swings.
“We were struck by the informality of the performing arts in Taiwan,”
says Dutch architect Francine Houben, whose practice, Mecanoo
(designers of the Birmingham Library), won the competition for the
project in 2007. “Chinese opera has its origins in street theatre,
so we wanted to make a place that would feel as casual and informal
as going to see a performance in the park.”
Cooling respite … a yoga class at the National Kaohsiung Centre.
The venue’s ambience is more that of a leisure centre than an opera
house, particularly compared with Taipei’s national theatre and
concert hall, each built in 1987, which stand on either side of the
capital’s central square, like a pair of regal temples from the
Forbidden City. By contrast, Weiwuying’s artistic director, Chien
Wen-Pin, hopes people will spill into its theatres from the park,
and treat it as their living room. “We had over 50,000 people turn
up to our open day,” he says. “People occupied the space in a way
were weren’t planning or expecting, taking their shoes off, doing
exercise, lying in the shade, even breaking into song as they entered
the concert hall.”
Featuring the largest organ in Asia, designed as two thickets of
bamboo with more than 9,000 pipes, the concert hall is a swirling
symphony of oak and champagne-coloured seats, with a 22-tonne acoustic
reflector dangling ominously from the ceiling. Despite its 2,000-person
capacity, it feels surprisingly intimate, the furthest seat being
30 metres from the conductor. The Parisian magician of acoustics,
Albert Xu, built a 1:10 model of it to ensure it provides the perfect
reverberation time for everything from a classical orchestra to the
twanging of the Taiwanese aboriginal mouth harp. He also worked his
magic on the other three spaces, each designed with a distinct
character and calibrated to accommodate a variety of art forms.
Pipe up … the centre’s concert hall, home to Asia’s largest organ.
Facebook Twitter Pinterest Pipe up … the centre’s concert hall,
home to Asia’s largest organ.
The 434-seat recital hall has an asymmetrical seating layout, “so
more people can see the pianists’ fingers”, say the architects,
while its panelled walls can rotate to provide different levels of
absorption, whether it’s hosting harsher classical Chinese music or
jazz, or softer baroque chamber music. The playhouse, with deep blue
seats, can accommodate an orchestra to the side of the stage
(important for Chinese opera, where there must be a direct line of
sight between the musicians and performers). Meanwhile, the deep red
2,236-seat opera house enjoys a humungous backstage, four times the
size of the auditorium, conceived as a “theatre machine” that can
contain the scenery and equipment for five different shows at once.
“It’s even bigger and better equipped than Beijing’s opera,” Houben
whispers conspiratorially about an important point of national pride.
If the auditoria are exemplars of their kind, then the circulation
and foyer space between them feels a little like an afterthought.
With the four ovoid venues set in a rectangular volume stretching
225 metres long by 160 metres wide, there is a lot of leftover space,
mainly decked out with acres of grey carpet, plasterboard walls and
suspended ceiling tiles, every surface painted black or white, giving
it a rather bleak, monotonous feeling. Within the building there is
little of the spatial drama promised by the undulating plaza outside.
Instead, it has the air of a deep-plan office block with theatrical
ambitions.
The architects are quick to point out that the budget is actually
very tight for a project of this scale, which necessitated some of
the prosaic fittings. While Jean Nouvel’s Philharmonie de Paris
cost ￡340m, and Herzog & de Meuron’s Elbphilharmonie in Hamburg
was a whopping ￡690m (each housing a single auditorium), Mecanoo
has provided four theatres in one for a fraction of the price.
Rough and ready … an exterior view of the recently completed
Weiwuying.
The robust, rough-and-ready quality is also somehow appropriate
for the nature of this no-nonsense port city. “We wanted it to have
the detailing of a cargo ship, not a luxury yacht,” says Houben,
referring to the visible steel welding joints between the panels
of the building’s billowing white hull. Those who aren’t told
of the container ship allusion might just think it is badly finished,
but various nautical markings reinforce the seafaring air.
The bigger question is if this city of three million, which has
enjoyed a single 1,600-capacity theatre until now, has the ability
to fill such an enormous complex on a regular basis. The director
of the ￡106m National Taichung theatre, another ambitious cave-like
opera house, an hour away by train and built by Toyo Ito in 2015,
admits it is struggling to sell tickets to its current run of
Wagner’s Siegfried, after the novelty of the venue’s opening has
worn off. Taipei, meanwhile, awaits the opening of its long-delayed
￡133m performing arts centre designed by OMA, another theatre,
concert hall and blackbox auditorium combined in a thrilling
multilayered transformer of a building.
It is an extraordinary abundance of venues for one country to be
opening in the span of a few years, all planned in the mid-2000s
by different regional and national administrations. As China
picks off Taiwan’s allies with dollar diplomacy (only 17 countries
now recognise the island as independent, thereby disqualifying
themselves from formal relations with China), it seems as if
cultural diplomacy is one of the few weapons it has left.
If the palpable level of excitement in Kaohsiung on the opening
night of Weiwuying last week is anything to go by – when tens
of thousands gathered in the park for a spectacular gala performance
staged on the building’s outdoor amphitheatre, complete with
an aerial ballet of drones – there’s an eager population waiting
to fill its great halls with life.
我想這麼大篇福的報導應該可以把館長的臉打到都腫了！
對了，為了怕看不懂英文而且缺乏知識常識的館長說他沒聽過衛報
https://zh.wikipedia.org/wiki/%E8%A1%9B%E5%A0%B1
這是衛報中文的維基百科
《衛報》與《泰晤士報》、《每日電訊報》同為英國三個著名的高級報紙。
衛報是英國除了泰晤士報外排名第二的高級報紙
為了怕館長連什麼是高級報紙（High Quality Newspaper ）都不懂
先跟館長解釋一下，高級報紙又稱作上層報紙，嚴肅報紙
高級報紙的讀者對象和廉價報紙不同，主要是給社會中上層，
如政界、工商界和知識界的人士看的(客層就不是館長這種練肌肉不念書的)
它們的新聞則主要是以嚴肅、客觀的新聞為主，內容主要是有關政治、經濟、
軍事、社會等方面的重大內容，文字嚴謹。
(就不像館長的直播內容，只會罵髒話連基本的常識都缺乏)
英國衛報和泰晤士報以及美國紐約時報、華盛頓郵報、日本朝日新聞等報紙
這些報紙因為他們的報導的品質和內容，在全世界有著舉足輕重的影響力
(就不是台灣大多數垃圾報導的水準)
我實在不想口出惡言，但如果你覺得高雄真的又老又窮，
覺得高雄都是乞丐，你支持館長失智等級的言論，你就投他挺的人
如果你和衛報一樣肯定高雄的衛武營，期待更多進步和感謝這些推手
你就給那些曾經在這個建設備後努力的人一些掌聲吧
謝謝
(請參考我之前的兩篇貼文)
https://www.ptt.cc/bbs/Gossiping/M.1539523733.A.79A.html
https://www.ptt.cc/bbs/Gossiping/M.1539665707.A.797.html