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  #41  
Old Posted Nov 23, 2009, 9:06 AM
edluva edluva is offline
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haha i know i'm rude. but you know there is truth to my rudeness.

seriously though a country's strength lies in its ability to demonstrate it's own unique imagination through the arts. to create a cultural center of gravity. taiwan has difficulty achieving a sense of nationhood because of this deficiency
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  #42  
Old Posted Nov 23, 2009, 10:21 AM
Razqal Razqal is offline
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Originally Posted by edluva View Post
haha i know i'm rude. but you know there is truth to my rudeness.

seriously though a country's strength lies in its ability to demonstrate it's own unique imagination through the arts. to create a cultural center of gravity. taiwan has difficulty achieving a sense of nationhood because of this deficiency
i know but you cant just blame the taiwanese people because that is too easy to do. you cannot disregard taiwan's history, development and evolution as a quasi-nation - and that's what she is - because that will explain how taiwanese developed such lack of care and disregard for things like art and architecture. we all know taiwan's evolution is unique and not the same as other countries that have had a long tradition of developing their culture.

you say that taiwan has difficulty achieving a sense of nationhood. of course! you know why? because most taiwanese don't even know if they are a nation or not. you know why? because they've been forced into isolation by most of the world by the u.n., by china, by the west and even by the u.s., her most important and staunchest ally. so how can the citizens of a nation want to achieve greatness for their nation when many dont even perceive themselves as a nation therefore they lack nationalism? i have hope for the taiwanese to one day officially be recognized by the world for what she is - a sovereign nation. i also have hope that all taiwanese will develop that sense of nationalism that would push them to develop great ambition and creativity and imagination that you criticize them for lacking. it might take some time but i have faith they can achieve it. in the meantime, we can criticize these individual architectural projects for what they are without crucifying the entire population and country along with them! crucify the architects and developers instead.
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  #43  
Old Posted Nov 23, 2009, 10:25 AM
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williamchung taiwan williamchung taiwan is offline
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Originally Posted by Razqal View Post
what about some of the nice innovative architecture in neihu and hsinchu science park?
Nangang is also good, for example China Trust Bank Heaqarters.
Taichung, Kaoshiung also have beautiful buildings in these few years.
==========================================================

For me as Taiwanese,I think the real problem is many unique projects in Taiwan are designed by international architectures. This is the thing we need to learn and improve.

New Panchiao district doesn't have any projects designed by international architectures. And most of them are residentail buildings. I don't think developers will spend a lot of money to employ international architecture with low housing price. (It is in Taipei County and our government is trying to stem the housing price right now.) Therefore, it looks so normal and ugly compare with other new districts in Taiwan even other countries.

How to improve it? Make Taiwanese architeture cooperate with international architecture is a good way, that is what our government doing right now. More and more projects are going for international competition, and our government is asking these international winner must cooperate with local architectures. And more international architecture invite by government or public to give lesson for our young generation.

=========================================================
Actually another thing I am very interesting as I look so many residentail projects around the world, especially in Aisa. If the projects is go for middle class or general family, do we see a lot of well-design buildings? No! And most residentail buildings are designed by local architectures, and these people usually are not the one we normally see in international projects in Dubai or China.
Just like Hong Kong, does you see any beautiful buildings design by local architecture? I will say no unless it is luxurious apartment or huge commercial developments.

I feel that only rich people can live or own these buildings ....
However, it is not the thing we are discussing in this thread.
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  #44  
Old Posted Nov 23, 2009, 10:37 AM
Razqal Razqal is offline
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boo
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  #45  
Old Posted Nov 23, 2009, 10:38 AM
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  #46  
Old Posted Nov 24, 2009, 3:18 PM
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Originally Posted by duabi View Post
yeah no country is perfect...but tw is far from perfect and has a lot to improve..

the problem is "when will we learn?"

All the problems we have discussed had been mentioned 10 ...20 years ago.... no/very few lessons learned... the Panciao case is a very good example right here.
Taiwan has improved beyond recognition in the last 20 years. Think about a time when there was no MRT, HSR, Xinyi, Neihu, or Banciao... and trash pickup was not standardized in Taipei if anything, the Taiwanese government prioritized public infrastructure first, and its only recently that we now have completely paved roads, underground powerlines, consistent flow of water, electricity, incinerators, stadiums, etc. If you were to blame people, blame the housind development of the 60-70s that flooded the landscape with ugly concrete blocks that we're still slowly recovering from.

i think a better evaluation would be whether Taiwan is heading in the correct direction in terms of drawing inspiration from foreign influence while still having its own style. And imho, Taiwan is drawing the wrong mix of inspiration.
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  #47  
Old Posted Nov 24, 2009, 3:23 PM
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For me is very simple, in one days, these beautiful projects will not be designed by international architecture, they will definitely design by Taiwanese architecture.
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  #48  
Old Posted Nov 29, 2009, 3:43 AM
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http://taiwanreview.nat.gov.tw/ct.as...36&CtNode=1358

A local cultural critic once said that Taiwan has "multiple personality disorder" as a result of being ruled by five different governments--Spain, Holland, Imperial China, Japan, and the Nationalist Party (KMT) that has been governing Taiwan since 1945--in less than 500 years. Exaggerated or not, that diagnosis reveals the popular sentiment that Taiwan needs a common, deep sense of local culture and spirituality. "The discontinuity of history and culture has produced a difficulty in developing an explicit and effective domain of public discourse in Taiwan," says Rainn Wang, assistant curator in the Curatorial Section of the Dimension Endowment of Art (DEOA). "Most of our feelings find no proper expression. The language that wanders between us poorly serves the function of communication." With regard to aesthetic perception, Taiwan's population is short of relevant training and cultivation. Art education at schools tends to focus on imparting technical aspects and isolated concepts, without paying much attention to developing an overall historical view or to showing the connection between art and life. This situation poses great challenges to public and private organizations alike.

With a territory so densely populated (21.8 million people living in a 14,000-square-mile, largely mountainous area) and so awkwardly inhabited in terms of a discernable recognition of art among the general public, being an art education activist is like going into a wilderness full of apathy and ignorance--and yet there is hope. To look on the bright side, the lack of established thoughts and beliefs in Taiwan's cultural scene represents an open (if not naive) mind, ready to embrace all kinds of ideas and possibilities. As an art education promoter, Wang casts a keen eye on that potential. She points out that there is something to be felt directly and immediately in art beyond temporal and spatial limits. For example, comments about a piece of art from viewers who have no artistic background can capture the very personality of an artist with surprising accuracy. A legitimate explanation is that a person who has never received artistic training and is free of any prejudice or ideology can be very subtle and sensible in their immediate and direct response. But that is hardly enough. "We hope that people learn to consciously appreciate what pleases them, open an aesthetic dimension of life and fashion a lifestyle of their own," says Wang. "In that process of discovery, they will not only find out more things pleasing to them, but also come to know that different people see the same thing differently. This realization is itself an experience of art and beauty. How to love is far more important than what to love."

Established in 1989 and funded by a well-known enterprise, the Taipei-based DEOA (its Mandarin name literally reads "Ti-Men Art Education Foundation") was among the first foundations in Taiwan devoted to art education. For the short term, the foundation seeks to set up an information and materials center, publish art-related books and periodicals, keep abreast of modern art trends developed in Taiwan and abroad, subsidize art creation and research, and hold exhibits of international and domestic art. Regarding the latter, the DEOA has shown works by such diverse artists as Monet and Warhol, and has spon sored showings of works from the Louvre in Taiwan. To sow the basics of art awareness, it also offers camps, appreciation courses, and speeches and discussions on modern art. As to longer-range programs, the organization will call for art volun teers, develop human resources for art education, build an environment conducive to fostering arts critics and arts administra tors, and establish a research center for modern art. Its goals include collecting modern artwork, preserving artistic and cultural properties, orienting people toward international art scenes, and establishing a modern art museum that has a global perspective.

In 1994, DEOA moved to a new site with space for exhibitions. This facility has considerably furthered its dialogue with the public, drawing the foundation and environment closer to each other. "This place is intended to be the locus and center of contemporary art resources," explains Wang. "The artistic expressions issuing from the most subtle and advanced minds will then reach the general public through our various programs, such as providing guided appreciation and extensive courses for community inhabitants and school students." DEOA has invited young artists to display their artwork, which comes in two -dimensional, three-dimensional, and dramatic forms, in its exhibition space. Although art can transcend individual differ ences between members of an audience and directly touch one's heart, it often comes in forms that may militate against ready comprehension. An appreciation guide is supposed to help the audience understand art, but how far should the interpretation go?

With regard to the role that an appreciation guide plays, Wang feels that the person must have some idea of the audi ence's background and experiences, and then find for them credible approaches to artwork. In a room with a piano, gelatin capsules on the floor, and real butterflies (all part of a recent DEOA exhibit held in Taipei), guides must not impose their own or even the artist's interpretation on the audience. Instead, the guide may lead them to the work by directing them to see, listen, feel and speak out what they think about the way the various elements are combined. Then, with the audience's former life experiences in mind, the guide can conduct an in-depth conversation with them. "I think it's this interactive principle of art education that a guide should follow," says Wang.

One of DEOA's most successful projects is an artist-in-residence program it has established at elementary schools and high schools. "We are one of the pioneers in trying to connect educational units and the art circle. These had been two distinctly separate systems, each with its own preoccupation and operation mode," explains Wang. It is a common practice for many colleges and universities to invite visiting professors or host writers-in-residence, but students in primary and second ary schools rarely see such a practice. At elementary and high schools, where artistic activities are usually rather discontinu ous and archaic, an artist's creativity and social sensitivity can act as a very inspiring complement. While many teachers follow old teaching patterns and remain indifferent to this project, some open-minded teachers have had lively dialogues with resident artists. These teachers have profited a lot from that interaction, which in turn will help fashion a more "artistic" or creative relationship between instructor and student. "Artists have their own unique personalities," says Wang. "Direct con tact with the real person is itself very instructive, for both students and teachers."

Elementary- and high-school education is also a major concern for Yu Sheng-tsun, a ceramist and member of the Hsichih Culture and Art Association's (HCAA) standing committee. "The problems existing at such schools are not those of hard ware, but those of software; that is, there has been a shortage of properly certified technical teachers," observes Yu. As a result, taking ceramic art as an example, nearly every school has pottery equipment that does not work because there is no one at school who possesses the skills to keep it in good condition, even though teachers have been invited from outside to give the appropriate courses. In the morning of the day of this interview, Yu and HCAA's other leading members, including Ho Chi-cheng and Lin Mao, visited an elementary school that has an exhibition room but lacks the resources to maintain it beyond hosting some unscheduled displays. "The school wants to make the most of that space, and we will do our best to help it," explains Lin. "It's part of our efforts to enlarge our relevance to the local artistic and cultural scene."

Set up in 1997, HCAA, based in Taipei County, aims to strengthen liaisons between artists in Hsichih, increase their opportunities to view and learn from each other's work, stimulate art creativity, promote adult art education, and help elemen tary and high schools carry out their art instruction. "There are numerous artists who have their own well-outfitted workshops in Hsichih," says Ho. "We just put them under the name of an association and try to get together artistic resources in Hsichih. Operating in an organized way instead of fighting like a guerrilla, we can win more trust." HCAA has recently undergone a major committee reshuffle. Its management will switch from a hierarchical orientation to a democratic one, and the relations between its members will be strengthened. Moreover, the association will be divided into groups, each with its own artistic skills such as photography, calligraphy, ceramics, painting, sculpture, and folk art. In the long run, each of these groups may well grow into an association on its own.

Seeking to make art a way of life and life a kind of art, HCAA has been devoted to both the cultivation of professional skills and the melioration of the artistic climate among the general public. "We want to conduct extensive social education in order to raise people's consciousness," says Lin. "As a result, increasing concerns for cultural and artistic affairs will put pressure on the government, because it has continually marginalized such aspects of civil life, at least in terms of budgeting." He points out that although Hsichih's annual budget exceeds NT$1 billion (US$30 million), only NT$500,000 (US$15,000) goes to cultural and artistic activities. Another disproportionate distribution of government resources lies between Taipei County and Taipei City, and between the eastern and western parts of Taipei County itself. "There are numerous museums and social education organizations in Taipei City, but you can't find one single exhibition space in good condition in Hsichih," complains Lin. "We feel like second-class citizens, in comparison with those living in Taipei City." As for Taipei County, the government has built cultural centers in Panchiao and Hsinchuang, both situated in the western part of the county. The suggestion is that the government set up cultural foundations in proportion with the population. For example, one cultural center could be designated for every 500,000 people.

One of the projects to be launched by HCAA is the training of local tour guides. Many people living in Hsichih moved there from other places because of the town's lower land prices and well-developed traffic facilities leading to Taipei City. "A great flow of early risers going out of town to work has made breakfast shops one of the most prosperous businesses in Hsichih," observes Lin. "Many inhabitants, having lived in Hsichih for years, still have no idea of what the town is like." Responsible for the tour guide project, Ho Chi-cheng points out that a knowledge of local culture and history forms the basis of inhabitants' sense of pride and identification. "In a secluded alley there may be some treasure to be found," remarks Ho. "What is art? Art consists of the most basic, common things in life." HCAA sees that an integral living circle must be established for Hsichih inhabitants to build up a local consciousness, to find a true habitat for their lives.

That sense of an integral life also speaks of the goal of medical treatment perceived by Hung Chien-te, head of the Department of Metabolism and the Diabetes Center at the Taipei Municipal Yang-Ming Hospital. In March 1999, Hung started a painting class for his diabetes patients. Himself a self-taught painter who held an exhibition of his own work last year, he offers a free, two-hour course to his patients every Wednesday afternoon. "I intend a whole-person treatment," says Hung. "What a patient suffers does not always come from the disease itself. Psychological, emotional and social factors are all involved."

Serving in a municipal hospital, Hung has received many socially disadvantaged, aged patients who cannot read and never learned how to paint, but they respond in a sprightly way to his call: "Let's paint!" Many of them give expression to their hidden feelings and thereby solve their emotional problems. They are no longer obsessed by their physical illness because there is a great spiritual expanse to be explored.

"Only when one is mentally, socially and physically healthy can one be really healthy," says Hung. "Art may be a key to true health." Sigmund Freud's psychoanalysis starts from the observation and treatment of mentally suffering patients and then proceeds to a universally relevant system exposing the workings of the human psyche. By the same token, if disease is a metaphor of life, then art therapy is nothing less than a model of artistic activity that helps shape a way of life.
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  #49  
Old Posted Nov 29, 2009, 5:34 AM
duabi duabi is offline
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I blame on bad urban planning, which leads to bad architecture design of residential and office buildings.

That area was developed after Hsinyi. Did they learn from the mistakes of Hsinyi? or it's urban planning and buildings are worse than Hsinyi? That's just me...whenever I see photos of Panchiao I feel like being choked...

About Neihu, it was developed in late 1990's. Yes, there are some nice architectures there, but if you compare Neihu to other new districts around the world, you will find that, Neihu is just OK. Among all those office buildings, you can still see some cheap designs, and buildings with early 1990's designs. Some of them are still being constructed even now believe it or not. I am not even talking about having world class designs!

I blame on we Taiwanese... Just look at our school uniforms! just see how our politicians dress when they are passing our laws... just look at 90% of our apartments and houses(bar windows... billboards)... it's hard to change... Most politicians are foreign educated from top universities... Many Taiwanese have been to other countries. Have we learned?
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  #50  
Old Posted Nov 29, 2009, 7:59 AM
Razqal Razqal is offline
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taiwanese school uniforms are atrocious!! they are oversized tacky colored sweatsuits. poor kids! if i was forced to wear that i wouldnt even want to go to school! they should wear japanese style school uniforms. but then that might turn a lot of taiwanese guys into perverts just like those perverted japanese guys with the sick fetish for schoolgirls!
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  #51  
Old Posted Nov 30, 2009, 6:24 PM
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Don't forget Vancouver:
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  #52  
Old Posted Aug 23, 2010, 8:01 AM
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williamchung taiwan williamchung taiwan is offline
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Taipei Banciao International Hotel BOT

Design by Cy. Lee



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  #53  
Old Posted Aug 24, 2010, 5:52 AM
Razqal Razqal is offline
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what the heck is that blue thang at the top? an emerald or something?
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  #54  
Old Posted Aug 24, 2010, 9:09 AM
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L's vision and imagination!
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Chinese tissue box=Chinese take out box+tissue box.
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  #55  
Old Posted Aug 24, 2010, 6:59 PM
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Is that a button-down collar with a tie? Good god, C.Y. looks like a school boy! As for the others, what's with all the wrinkled trousers?
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  #56  
Old Posted Aug 24, 2010, 8:49 PM
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They don't look very happy to me
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  #57  
Old Posted May 25, 2011, 1:05 PM
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  #58  
Old Posted Oct 25, 2011, 4:37 PM
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GOOD NEWS on the new taipei city museum of art!! they had stage two voting and the jury picked "field of dreams"!! that was the one i preferred!! woohoo!! i'm glad the jury agrees with me!! maybe some of them read this forum and saw what i wrote!! so expressing my opinions here do matter afterall!! now let's just hope they build it. "if you build it, they will come!!"


http://www.ntcart.com.tw/html/result_3_e.html

http://www.archdaily.com/177169/new-...ition-winners/





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  #59  
Old Posted Dec 17, 2011, 5:27 PM
kalifese kalifese is offline
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new telecommunications park in banqiao:



http://www.tpark.com.tw/

http://www.youtube.com/watch?v=mXjDRZSgyqk

http://www.youtube.com/watch?v=mXjDRZSgyqk" target="_blank">Video Link

Last edited by kalifese; Dec 17, 2011 at 5:54 PM.
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  #60  
Old Posted Jun 23, 2013, 9:05 AM
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