记得上次脸书停权事件，馆长一口咬定是政府背后操纵，被沂婆打脸后，马上开直播说明
，他的理由大意是：
“我跟韩国瑜直播完隔一天就被停权，我当然会怀疑有问题嘛，你们政府可以正式要求美
国脸书提供检举帐号的名单，看看有多少是党工还是假帐号，这样不就可以证明你们清白
了吗？怎么不敢呢？............”
WTF???????
这简直比中国施压外国企业还狂了，他竟然认为一个国家的政府需要为了一个人的停权事
件，而去要求脸书做出提供帐号这样破坏个资跟网络自由的事，他晚上开直播会不会也“
合理”怀疑英国卫报是跟绿营有关？感觉已经被馆粉捧到有点过度膨胀了，感觉就是为反
而反，他最近的言行已经都是用意识形态在分化族群了，捐的钱远远无法弥补这些言行对
社会造成的伤害
※ 引述《yf15114915 (just)》之铭言：
https://tinyurl.com/y76f35sr
英国卫报用大篇福报导高雄卫武营的艺文中心
虽然有些只有练肌肉没有练脑的人把卫武营嫌东嫌西
(对，我真的满生气的)
但是卫武营的落成已经引起国际主流媒体的注意和报导
英国卫报(The Guardian)用大篇福的介绍报导卫武营
以下是报导内容：
(看有没有好心人要协助翻整篇的)
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.
我想这么大篇福的报导应该可以把馆长的脸打到都肿了！
对了，为了怕看不懂英文而且缺乏知识常识的馆长说他没听过卫报
https://zh.wikipedia.org/wiki/%E8%A1%9B%E5%A0%B1
这是卫报中文的维基百科
《卫报》与《泰晤士报》、《每日电讯报》同为英国三个著名的高级报纸。
卫报是英国除了泰晤士报外排名第二的高级报纸
为了怕馆长连什么是高级报纸（High Quality Newspaper ）都不懂
先跟馆长解释一下，高级报纸又称作上层报纸，严肃报纸
高级报纸的读者对象和廉价报纸不同，主要是给社会中上层，
如政界、工商界和知识界的人士看的(客层就不是馆长这种练肌肉不念书的)
它们的新闻则主要是以严肃、客观的新闻为主，内容主要是有关政治、经济、
军事、社会等方面的重大内容，文字严谨。
(就不像馆长的直播内容，只会骂脏话连基本的常识都缺乏)
英国卫报和泰晤士报以及美国纽约时报、华盛顿邮报、日本朝日新闻等报纸
这些报纸因为他们的报导的品质和内容，在全世界有着举足轻重的影响力
(就不是台湾大多数垃圾报导的水准)
我实在不想口出恶言，但如果你觉得高雄真的又老又穷，
觉得高雄都是乞丐，你支持馆长失智等级的言论，你就投他挺的人
如果你和卫报一样肯定高雄的卫武营，期待更多进步和感谢这些推手
你就给那些曾经在这个建设备后努力的人一些掌声吧
谢谢
(请参考我之前的两篇贴文)
https://www.ptt.cc/bbs/Gossiping/M.1539523733.A.79A.html
https://www.ptt.cc/bbs/Gossiping/M.1539665707.A.797.html