2011年9月8日 禮拜四 街道的變化

今天去了桃園一趟，在回程的時候我仔細觀察了台北車站附近的環境，司馬遼太郎在《台湾紀行》中提到他對台北的第一印象：像是日本的九州。而司馬遼太郎是１９９０年代初期來台，『台湾紀行』是司馬遼太郎『街道をゆく』的第40巻，在這２０年的期間，同時也是我生長的歲月，而這段時間街道的變化又是如呵呢？

台灣之斯德哥爾摩症候群

讓我淺談一下何謂「中華民國在台灣」：目前台灣已經患臨了斯德哥爾摩症候群，又稱為斯德哥爾摩綜合症、人質情結、人質綜合症，是指犯罪的被害者對於犯罪者產生情感，甚至反過來幫助犯罪者的一種情結。台灣島在１９４５年時，即被中國當局綁架，以非法的手段控管台灣島，甚至以「光復」的謊言欺瞞台灣島民，凝造回歸中國的假局勢。（當時台灣地位在國際法上尚無定論，台灣實為受中國所託管，非回歸中國。）

但台灣島內人民渾然不知此為非法行為，仍放任非法政府資意妄為。國民黨當局遂進行了第二、第三項犯罪，也就是將台灣的物資、糧食大幅運送至中國內陸；並於台灣島內徵兵，將台灣捲進國共內戰之漩渦當中。就國際法而言，這些行為皆屬非法，其託管國家不可於托管地徵兵，應幫助建立起自治政府。

緊接著是由於經濟問題以及政策失當所導致的二二八事件，陳儀致電於蔣介石要求派兵來台，最後蔣介石下令「清鄉」，陳儀趁機採取高壓手段大肆屠殺，釀成悲劇。而高雄要塞司令彭孟緝亦對高雄市區展開砲擊與掃射，甚至使用國際上禁止使用的「達姆彈」，所謂的達姆彈是一種不具備貫穿力但是具有極高淺層殺傷力子彈。此乃台灣受中國政府的第四次犯罪，還是嚴重的屠殺罪。

最後的即是國民政府遷移來台之事，將黨國體制與威權統治強施於台灣島上。說來可笑，流亡政府居然建立於托管地，重點是託管地人民還受所謂黨國教育所洗腦，居然同情「加害者」，並受所謂的中國殖民政府所擺布。中國殖民政府的政策實與日本總督府當局無異，甚至有過而不及，其改姓名、學國語、愛國心、以及不受憲法所限制的動員戡亂體制等，皆是活生生的實例。台灣島受中華民國的強姦與監禁，已經長達六十餘年，台灣島被強姦懷孕後之產物，即是「中華民國在台灣」，也是台灣患臨斯德哥爾摩症候群的最佳證明。

2011/08/01 by Naoki ho

Wei-Wu-Ying Center for the Arts

Mecanoo’s Wei-Wu-Ying Center for the Arts has broken ground in Kaohsiung with a festive public celebration hosted by President Ma Ying-jeou and attended by Architect Francine Houben. The new cultural complex will be the largest in Asia at 141,000 sqm, featuring the most modern in theatre technology, housing a concert hall with 2000 seats, an opera house with 2250 seats, a playhouse with 1250 seats, a recital hall with 500 seats, a public library and studios for music and dance.



The Wei-Wu-Ying Center for the Arts sits in the northeast corner of the metropolitan park, which functions as a great green lung for Kaohsiung. The center is not only the first performing arts facility in southern Taiwan, but also the largest investment in culture and the arts made by the Taiwanese government in the last two decades. The center promises to be the new icon for the 2.7 million residents of Kaohsiung and marks the transition from a port city to a modern, cultural metropolis.



Francine Houben, founding architect and creative director of Mecanoo, based her design on Dutch architectural concepts which involves the seamless integration with the surrounding landscape. Inspired by the lush banyan trees in Wei-Wu-Ying Park, she created the organic and liberal theme for the Center’s design. The tree trunks, aerial routes and shade create a space dotted with openings which allow fresh air to flow. Through the integration of the open space, the green belt and the vast area itself, the Center and the Park become one.



The great roof provides shade and protection from Taiwan’s tropical climate and forms an informal public space where city residents can stroll, practice Tai Chi, meditate or just relax. Inspired by ancient Greek theatre, an outdoor seating area on the roof was created, just at the point where the roof dips to the ground. The surrounding park in turn becomes an informal stage. The park features light slopes, valleys and water pools creating intimate public spaces.



Programme: Theatre complex of 141,000 sqm in the Wei-Wu-Ying Metropolitan Park with a total capacity of 6,000 seats: Concert Hall 2,000 seats, Opera House 2,250 seats, Playhouse 1,250 seats, Recital Hall 500 seats, public library of 800 sqm, 1,000 sqm of rehearsal/education halls for music and dance and stage building workshops.

National place museum - Chiayi. (故宮南院)

Here is the 2nd place winner "Daniel Libeskind"'s design on National place museum - Chiayi. (故宮南院)

He is also the winner of the new 911 world trade center rebuilding project.





Personally, I really like his style.

2011年9月8日 禮拜四

今天去了桃園一趟，在回程的時候我仔細觀察了台北車站附近的環境，司馬遼太郎在《台湾紀行》中提到他對台北的第一印象：像是日本的九州。而司馬遼太郎是１９９０年代初期來台，『台湾紀行』是司馬遼太郎『街道をゆく』的第40巻，在這２０年的期間，同時也是我生長的歲月，而這段時間街道的變化又是如呵呢？