近日,美国知名建筑网站Architizer总编汉娜•菲尼亚克(Hannah Feniak)发表文章——《十位能够且应该赢得普利兹克奖的建筑师》。以下为全文译文。

2023普利兹克奖已揭晓,大众对奖项结果反应不一。一些人称赞戴卫·奇普菲尔德爵士(Sir David Chipperfield)的设计保持着永恒的优雅与简洁,而另一些人则质疑颁奖机构为什么会做出如此的“安全选择”、传达了怎样的价值观,还有一些人则提出了他们心目中的获奖人名单。

The 2023 Pritzker Prize has been announced and the winner’s reveal was met with mixed reactions. While some lauded the timeless elegance and simplicity of Chipperfield’s designs, others questioned why the institution would choose to elevate the “safe choice” and what values that conveys. For those in the latter camp, who met the announcement with a sigh, part of the constructive commentary was brainstorming architects who they’d like to see win.




While the Pritzker’s culture of naming a single figure rather than the teams of professionals who work to produce contemporary architecture remains questionable (the rules explicitly state that the prize must go to “a living architect or architects, but not to an architectural firm”), there are arguments for celebrating industry visionaries whose creative leadership guide the profession. Indeed, the prize is meant to “encourage and stimulate not only a greater public awareness of buildings but also inspire greater creativity within the architectural profession.” That said, the definition of architecture does not simply encompass buildings (scroll to see some landscape architects who have certainly “produced consistent and significant contributions to humanity and the built environment through the art of architecture.”).



玛丽娜•塔巴苏姆 | Marina Tabassum

左:玛丽娜•塔巴苏姆,右:孟加拉拜特乌鲁夫清真寺(Bait Ur Rouf Mosque)


气候、材料、场地、文化,以及当地历史都是玛丽娜•塔巴苏姆作品的标志性特征。2005年,塔巴苏姆在她的家乡孟加拉国达卡成立工作室,而其最著名的作品——拜特乌鲁夫清真寺(Bait Ur Rouf Mosque)是她毕生多样化设计方法的缩影。在那里,“光之交响曲”以出乎意料的方式在裸露的赤土墙上弹奏光阴,充满浓浓诗意。同时,她也有更实用的设计作品,例如Khudi Bari——这是她专门针对孟加拉气候影响设计的模块化可移动住房单元,重量轻,便于组装。她的建筑扎根于过去,且面向未来。相较于纪念性和象征性的设计,我们需要赞美这种充满革新精神和人道主义的设计。

Climate, materials, site, culture, and local history are hallmarks of Marina Tabassum’s output. Her Dhaka-based studio was founded in 2005, and the Bangladeshi architect’s most famous work, the Bait Ur Rouf Mosque epitomizes the approach that she takes across her diverse oeuvre. There, a symphony of light sings in a rhythm of unexpected beams and bursts against the exposed terracotta walls. It’s pure poetry. But then, there are her more practical designs like Khudi Bari, a modular mobile housing unit that is light weight and easy to assemble and specifically designed for climate victims in her native Bangladesh. Hers is an architecture rooted in the past and built for the future. We need celebrate this type of innovative and humanitarian approach to design over and above the monumental and symbolic.



塔蒂亚娜•毕尔堡 | Tatiana Bilbao




We live in a time of crises. While the term “Housing Crisis” is used universally, the plagues most countries in distinct and different iterations. Mexico City-based architect Tatiana Bilbao has a long history of engaging with this crisis as it manifests in her hometown. Since having worked as an adviser for the Ministry of Urban Development and Housing in Mexico City for two years early in her career, Bilbao has acted as a leader of architectural discussions and research into affordable housing — and not the anonymous cookie-cutter type that might come to mind. Beyond affordability, her designs consider how to build sustainable communities that are rooted in their locale. Tell me this doesn’t “demonstrates a combination of those qualities of talent, vision, and commitment,” that the Pritzker awards.



俞孔坚 | Kongjian Yu




While architectural enthusiasts outside of China may be less familiar with landscape architect Kongjian Yu, it’s time they started reading up. The founder of Turenscape has been on the forefront of adapting cities for a changing climate, and a longtime advocate of reversing assumptions about urban and regional development planning. Having coined the term “Sponge City,” his body of work is driven by an ecological approach to recovering the natural landscape of cities, and working with water rather than against it. While these projects may be rooted in ecology, the designer’s touch for adding a flare of tasteful manmade drama in a natural environment underlines the root belief of his studio; indeed, it is embedded in its name. The “Tu” refers to dirt, earth and land. Meanwhile, “Ren” denotes people, man and human beings. Together, “Turen” means earth man. This is the type of thinking all builders today must take.



珍妮•甘 | Jeanne Gang

左:水塔和芝加哥瑞吉酒店(The Aqua Tower & Vista Tower),右:珍妮•甘


由女性设计的世界最高建筑——芝加哥瑞吉酒店(Vista Tower)即出自珍妮•甘及其工作室之手。当该楼2020年竣工时,在此之前,由女性设计的世界最高建筑是同样由她设计的水塔(The Aqua Tower)。这一事迹表明了珍妮•甘的雄心壮志,而与之相匹配的是她惊人的创造力。她对21世纪摩天大楼的贡献无需赘述——她的设计工作室总部位于芝加哥,那里是摩天大楼这种建筑类型最早被发明的地方——然而,甘工作室的作品并不仅限于高层建筑(尽管他们已经设计出了许多更具革新精神的塔楼),美国自然历史博物馆扩建项目是博物馆类建筑的一个经典作品,而在最新的适应性再利用项目中,他们也对未来做出了充满美好想象的展望。

The world’s tallest woman-designed building, St. Regis Chicago, was constructed by Jeanne Gang and her studio. When it was completed in 2020, the tower that it overtook to gain its title was none other the Aqua Tower, designed by the same architect. This simple fact speaks volumes about Jeanne Gang’s ambition, which is paired with seemingly limitless creative energy. Her contribution to 21st century skyscraper is undeniable, so it is fitting that she is based in Chicago, where the typology was first invented. Studio Gang’s portfolio is not limited to highrises, however. (Although, her team has masterminded plenty more innovative towers!) For example, their latest adaptive reuse project makes a hopeful statement about the future while their addition to the American Museom of Natural History is an signifiant contribution to museum typology.



MVRDV韦尼•马斯、雅各布•凡•里斯及娜莎莉•德•弗里斯 Winy Maas, Jacob van Rijs, and Nathalie de Vries)




Since it was founded in 1993, this Rotterdam-based studio have been challenging public perceptions about what architecture can be and how it can evolve our definition of what a city is. Mixing typologies, upending formal expectations and urban relationships, and pushing the envelop of construction possibility, MVRDV does work that is anything but safe. Each project in their portfolio is delightfully unique, also challenging the traditional notion of an architect or firm developing an identifiable style. Instead, their projects are deeply rooted in an analysis of how buildings can activate (or re-activate) the urban fabric and the public, resulting in architecture that is place-specific, even if not rooted in tradition (subverting a common preconceived notion about contextual design). They also model how urban density does not need to come at the cost of traditional community bonds.



詹姆斯•科纳(James Corner)



作为一个突破性的景观设计师,詹姆斯•科纳已经成为第一个获得传统上为建筑设计师保留的少数奖项的人,他完全有能力成为第一个获得普利兹克奖的景观设计师。他位于纽约的公司以他自己的名字命名,精心营造着绿地和城市环境。除了生态效益,他的设计还以对社会和经济的深切关注为基础。科纳身处后工业景观思考前沿,他与Diller Scofidio + Renfro建筑事务所以及皮特•奥多夫(Piet Oudolf)合作的著名的高线公园等设计使他处于该领域的领导地位,并重新定义了更广泛的公众是如何看待景观设计师和建筑的。从那时起,他的公司持续推动公众和行业对城市公共空间和生态修复的理解,将老化的基础设施重新想象为“令人陶醉的地方”。

As a path breaking landscape architect who has already been the first of his ilk to receive a handful of awards traditionally reserved for building designers, James Corner is well positioned to be the first landscape designer to win a Pritzker. His New York-based firm, which takes his name, crafts urban environments that are more than just green spaces; in addition to ecological benefits, his designs are undergirded by a deep concern with the social and the economic. Corner was at the forefront of thinking about post-industrial landscapes, and designs such as his famous High Line (in collaboration with Diller Scofidio + Renfro and Piet Oudolf) positioned him as a leader in the field, and redefined how the broader public view landscape architects and architecture. Since then, his firm has continued to push the bounds of public and industry understanding about urban public space and ecological remediation, reimagining aging infrastructure as “places to enchant.”



弗里达•埃斯科贝多(Frida Escobedo)



2018年,弗里达·埃斯科贝多作为有史以来受邀设计蛇形画廊的最年轻的建筑师(也是第二位女性),从而一举成名,她上榜应该不足为奇。然而,这并不是她值得被授予普利兹克奖的原因。当提名她从今年获奖者手中接手美国大都会博物馆侧馆设计时,博物馆馆长麦克斯•霍莱恩(Max Hollein)赞扬道:“在埃斯科贝多的实践中,她将建筑作为一种方式创造强大的空间和社区体验,显示出使用材料时的优雅与机敏,同时对当今的社会经济与生态问题给予真诚的关注。”除了博物馆扩建项目以外,她的作品涉及从酒店和宾馆的修复到室内商业项目及住宅设计——所有委托项目都是大多数建筑师的“面包和黄油”,来自于日常生活,而不是明星建筑师典型的高额文化项目。

Having skyrocketed to global fame in 2018 when she was named the youngest architect ever invited to design the Serpentine Pavilion (and only the second woman to do so), it should come as no surprise that Frida Escobedo is on this list. However, this is not why she deserves to be given the Pritzker. When she was named to takeover the MET wing design from this year’s laureate, the museum director Max Hollein put it best, saying “In her practice, she wields architecture as a way to create powerful spatial and communal experiences, and she has shown dexterity and sensitivity in her elegant use of material while bringing sincere attention to today’s socioeconomic and ecological issues.” Beyond the museum addition, her portfolio ranges from hospitality and hotel restoration to interior commercial projects to residential design — all commissions that are the bread and butter of most architects, making up the fabric of the everyday, as opposed to the big-ticket cultural projects typical of starchitects.



大卫•阿贾耶(Sir David Adjaye)



对于许多建筑师和评论家来说,问题不在于大卫•阿贾耶爵士是否会赢得普利兹克奖,而在于何时会。作为最著名的黑人明星建筑师,这位加纳裔英国设计师的建筑包括从挪威奥斯陆的诺贝尔和平中心到赢得Architizer A+奖(A+Awards)的佛罗里达冬季公园图书馆和活动中心。普利兹克奖设立的目标是表彰那些“激发公众对建筑更多认知”的人,而阿贾耶设计的位于美国华盛顿特区的美国非洲裔国家历史和文化博物馆正是做到了这一点。不过,如果阿贾耶获奖,那不只是因为一栋建筑。除了与众多艺术家合作,以及他相当多的面向社区的作品,阿贾耶的设计材料特征鲜明,代表了对建造颇有远见的一种思考方式。

For many architects and critics, the question is not whether Sir David Adjaye will win the Pritzker, it when. As the best-known Black “starchitect,” the Ghanaian-British designer’s buildings range from the Nobel Peace Center in Oslo, Norway to the A+Awards-winning Winter Park Library and Events Center in Florida. The Pritzker was founded with the aim of celebrating figures who “stimulate a greater public awareness of buildings,” and Adjaye did just that with the design of the ​​National Museum of African American History and Culture in Washington, D.C. Yet, if Adjaye received the award it wouldn’t be for just one building. In addition to collaborating with numerous artists and the considerable output of community-oriented work in his portfolio, Adjaye’s designs are also materially distinct, representing a visionary way to think about construction.



森俊子(Toshiko Mori)

左:康涅狄格州的房子之二(House in Connecticut II),右:森俊子


出生于日本,居住在纽约的建筑师森俊子因其对现代建筑风格的诗意把握而声名鹊起,并深深扎根于形成材料创新与常识性可持续的研究中。在过去四十年里,她和与其同名的公司,在世界各地建造了深受人们喜爱的建筑,并致力于教育方面而在职业生涯中成为行业领袖。尽管普利兹克奖认可的是建筑产出而不是思想领导力,但从成为哈佛大学第一位获得终身职位的女教授,到在世界经济论坛城市未来全球议程委员会(World Economic Forum’s Global Agenda Council on the Future of Cities)对设计中的可持续性的调查,再到通过“人类建筑”倡导社区参与,她对整个行业的积极影响不应被轻视。这些研究兴趣也可见于她的建筑作品中,包括“THREAD:艺术家驻地与文化中心”,在这里她使用参数化设计来扩大非洲本土住宅的结构可能性。

The Japanese-born and New York-based architect Toshiko Mori made a name for herself by her poetic takes on modern architectural style, deely rooted in research that produced material innovation and common-sense sustainability. Through her eponymous firm over the past four decades, she has constructed beloved buildings around the world and built a career as an industry leader through her dedication to pedagoy. While the Pritzker recognizes built output, and not thought leadership, from becoming the first female professor given tenure at Harvard to her investigations into sustainability in design on World Economic Forum’s Global Agenda Council on the Future of Cities to her advocacy for community engagement through Architecture For Humanity, her positive impact on the profession shouldn’t be taken lightly. These research interests are also visible in her built output, including THREAD: Artists’ Residency and Cultural Center where Mori used parametric design to expand the structural possibilities of the vernacular African home.



玛丽亚姆•伊素福•卡马拉(Mariam Issoufou Kamara)




If Mariam Issoufou Kamara were to win the Pritzker next year, she wouldn’t be the youngest laureate in the prize’s history (that bar was set by Ryue Nishizawa was aged 44 in 2010), although she’d be damn close. The founder and principal of atelier masōmī, in Niamey Niger and the Seattle-based collective united4design, is known for harnessing low-cost, local materials, including raw earth and recycled metal. One example of this is her Hikma Community Complex, a building that has been lauded for its sustainability specs and that draws on local construction techniques and evolves them. Bringing three programs—a mosque, a library and a community center—under one roof, the Kamara’s design bringing “secular knowledge and faith” together “without contradiction.” Perhaps she needs time to build out her portfolio before the Pritzker comes her way, it would be thrilling to cast the spotlight on someone “designing culturally, historically and climatically relevant solutions to spatial problems inherent to the developing world.”


作者:Hannah Feniak

Author: Hannah Feniak
Translation: zhouzhou
Link to original article: https://architizer.com/blog/inspiration/stories/which-architects-should-win-the-pritzker-prize/