哇!原來可以這樣用畫的來說故事

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高雄第一社區大學繪本班的同學

旗育真的多才多藝.

攝影技巧佳曾因拍高雄l世運主場館

被紐約時報錄用

讓世界看見台灣高雄之光

這天去繪本班看到他的繪本.更是讓我欽佩之至...

原來畫圖可以如此生動!

 

恭喜 "旗育".我們都為你感到驕傲
Dear friends,
前陣子紐約時報的記者透過flickr找到我在"高雄世運主場館"拍的照片,並向我取得照片的使用權,
剛發現我的攝影作品已經被刊登在"紐約時報"(The New York Times)的Art & Design專欄了,
透過影像,高雄向世人展現了進步與繁榮的一面
而建築美學則是替城市大大的加分,同時體現了城市的深度
在此與各位分享這份喜悅~
my other photos:
看到自己的攝影作品登上紐約時報,感覺很不真實,
像個熱愛棒球的小男孩,登上洋基球場投手丘般,感到無上光榮...
自己此刻才深深體會"影像的力量"真是無遠弗屆
在這偉大又純樸的城市游走,肉眼所看到的一切,都先引發內在感動,才進而按下快門.
其實是因為那美麗的世運主場館發光發熱,因為許多在背後努力的人,自己才得以沾一點光.
當然,與好友們的分享更是無價!
願此喜悅化作金色光芒持續照耀著,看顧著高雄子民,台灣子民...
旗育

Architecture Review

Stadium Where Worlds Collide, Humanely

Published: July 15, 2009

KAOHSIUNG, Taiwan — For some of us, entering a vast sports stadium is always an anxious pleasure. Behind the electrifying anticipation of the game there’s the nagging feeling that every stadium contains the seeds of mass hysteria — that it can, in extreme times, become a place of terrifying intensity.

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Marc Bibo

The World Games stadium in Kaohsiung, Taiwan, designed by Toyo Ito of Japan. The opening ceremony of the facility is on Thursday.

Related

Architecture: Inside His Exteriors (July 12, 2009)

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Agence France-Presse — Getty Images

The new stadium in Kaohsiung, Taiwan, designed by the Japanese architect Toyo Ito, features a flow from its outsize plaza to its indoor field. The site will hold this month’s World Games.

Designed by the Japanese architect Toyo Ito, the World Games’ main stadium, which will be unveiled at an opening ceremony here on Thursday, is shaped by a sensitivity to those conflicting sensations. It is not only magnetic architecture, it is also a remarkably humane environment, something you rarely find in a structure of this size.

The World Games, which have international sports competitions not included in the Olympics, don’t attract as much attention as those more famous games, and there has been considerably less buzz about Mr. Ito’s stadium than there was about the Bird’s Nest, the lavish Olympic Stadium by Herzog & de Meuron that opened in Beijing last year. Nor does it have the same symbolic ambitions.

Yet for those who have been privileged enough to see Mr. Ito’s creation, the experience is just as intoxicating. Clad in a band of interwoven white pipes, the structure resembles a python just beginning to coil around its prey, its tail tapering off to frame one side of an entry plaza. Unlike the Bird’s Nest it unfolds slowly to the visitor and is as much about connecting — physically and metaphorically — with the public spaces around it as it is about the intensity of a self-contained event.

The stadium, with more than 40,000 seats, is surrounded by a vast new public park, its grounds sprinkled with palm trees and tropical plants. Most of the trees are young, but in a few years, when they are fully grown, they should create the impression that the structure is being swallowed by a dense tropical forest. In essence the coiled form becomes a tool for weaving together opposing energies: the concentrated intensity of the stadium on the one hand, the plaza’s chaotic social exchanges on the other, the unruly forest all around. What brings the design to life is that Mr. Ito is able to convey this experience physically, not just visually.

Visitors arriving from downtown via public transportation, for example, walk down a broad boulevard before turning into the plaza. From there the stadium’s tail, which houses ticket windows and restaurants, guides them toward the entry gates. The plaza itself gently swells up to meet that area. Once inside, the surface drops down suddenly, transforming into a sloping patch of lawn that looks over the field. Mr. Ito imagines that during many events the lawn will be open to the public, letting visitors drift in and out without buying a ticket.

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