英國建築師Richard Rogers 獲頒 2007 Pritzker Architecture Prize


英國建築師Richard Rogers 獲頒 2007 Pritzker Architecture Prize

文章Chin-Ming Chang 發表於 2007-03-29, 10:39

British Architect Wins 2007 Pritzker Prize

Three decades after his Pompidou Center in Paris turned the architecture world upside down and brought him global fame, the British architect Richard Rogers has been named the 2007 winner of the Pritzker Prize, the profession’s highest honor.

In the citation accompanying its decision, to be announced on Thursday, the Pritzker jury saluted Mr. Rogers for his “unique interpretation of the Modern Movement’s fascination with the building as machine, an interest in architectural clarity and transparency, the integration of public and private spaces, and a commitment to flexible floor plans that respond to the ever-changing demands of users.”

In a telephone interview from London, the architect, 73, said he did not see the award as overdue. “Its not when it comes, it’s the gift that matters,” Mr. Rogers said. (Renzo Piano, his co-architect on the Pompidou Center, received the Pritzker in 1998.)

The award — a $100,000 grant and a bronze medallion — is to be presented to Mr. Rogers at the Banqueting House in London on June 4.

Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Center, with its exposed skeleton of brightly colored tubes for mechanical systems. The Pompidou “revolutionized museums,” the Pritzker jury said, “transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.” Similarly, his 1986 Lloyd’s office building in the heart of London’s financial district features an inside-out design, with a soaring atrium surrounded by external escalators and elevators.

Asked to describe his own stylistic signature, Mr. Rogers said he was recognized for “celebrating the components and the structure.”

“That’s how we get rhythm and poetry out of it,” he said. He added that he would like to be known for “buildings which are full of light, which are light in weight, which are flexible, which have low energy, which are what we call legible — you can read how the building is put together.”

Other high-profile projects by Mr. Rogers include the sprawling Millennium Dome in Greenwich, England, suspended from steel masts and secured by steel cable (1999), and the law courts in Bordeaux, France (1998) — seven “pods” clad in cedar wood surrounded by glass walls under an undulating copper roof.

Mr. Rogers’ most recent major undertaking was the $2.2 billion new terminal at Barajas International Airport in Madrid (2005), featuring waves formed by wings of prefabricated steel and a roof covered in bamboo strips. Earlier he designed Terminal 5 at Heathrow Airport, outside London.

While he had been largely absent from New York, Mr. Rogers now has four projects under way in the city: an expanded Jacob K. Javits Convention Center on Manhattan’s Far West Side; a tower at the World Trade Center site; a complex at Silvercup Studios in Long Island City, Queens; and a redesign of the East River waterfront.

Not all of these designs have been well received. Appraising Mr. Rogers’s vision for the Javits Center in The New York Times, Nicolai Ouroussoff said its boxy design was “a decent but not particularly dazzling work of architecture.”

But the critic offered glowing praise for the architect’s re-imagination of Manhattan’s East Side waterfront, designed in collaboration with Gregg Pasquarelli of SHoP Architects and the landscape architect Ken Smith.

“The idea is to create a seamless, contemplative environment along the waterfront that embraces both the fine-grained scale of the surrounding communities and the monumental scale of the freeway,” Mr. Ouroussoff wrote. “In doing so, the architects shrug off the conflict between Modernists and historicists that absurdly still defines so many urban planning debates in New York.”

Mr. Rogers said he was gratified by his New York commissions. He described the Javits project on the Far West Side as “the most complex, but also the most exciting potentially — as a public space that could create the regeneration of a large area which is very depressed.”

Over the years, the architect has become well known for his philosophy as well as for his buildings. His London firm, Richard Rogers Partnership, has adopted bylaws specifying that the directors get no more than six times the salary of the lowest-paid architect, with the rest of the money going to profit-sharing, charities or investment. “I don’t believe in the ownership of work,” he said.

The firm, which was founded in 1977 and has offices in Barcelona, Madrid and Tokyo, will be renamed Rogers Stirk Harbour + Partners next month. “It’s time to start to broaden the top,” Mr. Rogers said.

He has also been in the forefront of the sustainable architecture movement, designing buildings with the environment in mind. His building for the National Assembly for Wales in Cardiff cut in half the parliament’s energy consumption, the architect said; as chief adviser on architecture and urbanism to the mayor of London, he has encouraged the construction of more compact developments around mass transportation.

“It’s always been part of our work,” he said. “I don’t think we realized the limited number of years before were going to have such serious problems, that mankind might be wiped off the earth. Certainly it’s become much more urgent.”

Mr. Rogers, the 31st Pritzker laureate, was born in Florence, Italy, in 1933. His father was a doctor and his mother had a great interest in modern design, he said. In 1938, the Rogers family moved to England, where he struggled through the public school system; many years later, he received a diagnosis of dyslexia. “I was called backward,’” Mr. Rogers said. “We didn’t know dyslexia.”

Just as he was completing secondary school in 1951 — and seriously considering a career in dentistry — the Festival of Britain introduced him to modern architecture. He was captivated by some of the temporary buildings thrown up along the South Bank.

A two-year stint in the British military took him to Trieste, where he became acquainted with the work of his father’s cousin, Ernesto Rogers, one of Italy’s prominent architects, and decided to attend the Architectural Association School in London.

In 1961, Mr. Rogers traveled to Yale University on a Fulbright scholarship to pursue a masters degree in architecture. There he developed an interest in Frank Lloyd Wright (“My first god,” the architect has said).

After working for Skidmore, Owings & Merrill in New York, he returned to England to start his first practice, Team 4, with his first wife, Su Brumwell; Norman Foster; and Wendy Cheeseman.

Mr. Rogers and Mr. Foster each struck out on their own in 1967. By 1971, Mr. Rogers had joined forces with Mr. Piano to create Piano + Rogers. That year they won the commission to design the Pompidou, where Mr. Rogers’ work will be featured in an exhibition this fall. Mr. Piano and Mr. Rogers split in 1978.

Over the years, Mr. Rogers has racked up plenty of accolades, including a life peerage in 1996. But the honors have not convinced him that architects deserve the rock-star status that so many enjoy. Richard Rogers Partnership employs more than 100 people, he pointed out, and he could not achieve what he does without them.

“You are leading a team,” Mr. Rogers said. “I’ve never really understood how architects can think of themselves as an individual.”

::Richard Rogers Partnership 建築師事務所::

↗ Richard Rogers 設計之 Leanenhall Building 外觀

↗ Leanenhall Building 剖面圖

↗ Leanenhall Building 基地平面圖(click for larger image)
Chin-Ming Chang

文章站長eaGer 發表於 2007-03-29, 12:47

唉...........Calatrava 一直都拿不到這個獎項,我也懶得報導這件事情哪......

richard rogers 這兩年得的獎實在是......太多太多了。 :twisted:

文章kschen 發表於 2007-03-29, 14:50

五百零五公尺義大天悅景觀高塔 簽約設計

高雄縣觀音山將興建世界第三高塔 08年完工
http://big5.xinhuanet.com/gate/big5/new ... 554506.htm

文章GODFATHER 發表於 2007-03-29, 16:58

這兩年Richard Rogers 拿到的主要大獎有(不知道還有其它的嗎?)
British Architect Wins 2007 Pritzker Prize
RIBA Stirling Prize 2006(英國皇家建築協會史特靈獎)
Richard Rogers 獲2006威尼斯雙年展頒發之金獅終身成就獎


英國建築師Richard Rogers 生平簡介

文章籃覺社第壹工友eaGer 發表於 2007-03-30, 01:25

Rogers, Richard 生平簡介

Rogers 於1933.07.23出生在義大利的弗羅倫斯,這個地方伴他渡過了早期的童年時候,他是住在意大利家境富裕的英國貴族家庭。1938年法西斯的風氣在義大利逐漸惡化,便毅然的決定移民英國,也將其精華的壯年時代奉獻於此。

雖然他舉家遷移至英國,但他仍然時常去拜訪他義大利的堂兄 Ernosto Rogers,也因 Ernesto Rogers的工作室使他決定成為一位建築師。之後他向Smithson拜師學習。Smithson是 New Brutalism 基金會的創辦人之一,這個組織主要是在推廣建築界的革新運動,在設計中清楚、明白的展現獨特的風格而這也是他後來所致力的方向。

他在1959年收到倫敦AA建築學院所發之證書後,即短暫的在Middlesex County Council的事務所工作一段時日,在這段期間他的表現就像個聰慧的學者,但在耶魯大學畢業前(1961)他就離開了這個事務所。在大學時其他從他的老師中領悟到許多觀念,並影響了他的理念與學說,就連他的歷史老師Vincent Scully也深深影響著他。Vincent Scully介紹他跟過Frank Llyd Wright ,Serge Chermayeff 還有Craig Ellwood工作,在跟隨Craig Ellwood的這段期間,他獲得一次良好機會使他能對戰後加州的鋼骨建築作通盤的了解,而也在這同時他遇見他畢生的好伙伴Norman Foster,並與他共同參與學校的設計專案,專心一致的研究美國當代建築史,在完成學業前,他再次搬家到舊金山,並在 SOM建築師事務所(Skidmore Owings & Merril)工作。

1962年他學成回英國之後的幾年裡,他創立了四人工作室,成員是兩對夫妻,Rogers和他的妻子Su Rogers、Norman Foster 和他的妻子Wendy Foster,這四人建造了一籮筐有創意、符合人性並融入了感情與傳統設計,像在1963年 Feock,Cornwall的一隅就佇立著他們的作品,靜靜的正等待著白馬王子的到來,來感受這藝術品所帶來的驚豔;尖銳不規則形的房間組合安排上綿延精緻的藝術天窗,在配合靈活有致的屋頂設計,或時而優美的房屋連結或如身臨懸崖峭壁,如此美妙的設計使他們在1969年得到了一座英國皇家建築師學會建築獎項,證明了他們傑出得能力,也開始了Rogers一生的豐功偉業。

1966年他在Radlott, Hertfordshire 建了一間名為 Jaffe House 的高空間利用性房屋,其空間利用原理有如器石塊,他將空間設計成許多容易使用與變更的單位,使空間的利用可大可小,變得相當有彈性,相較於傳統設計,他的作品可謂是,以激發潛能之建築物,是高密度得小房間所組成,這個觀念也成為他在往後的作品中潛在的原則。

這四人組另有一件非常重要的代表作,是1967年在Swindon, Wiltshire 的 Reliance Controls 電子工廠,僅僅一層樓的空間,卻提供了相當活用的空間設計,而這精巧的設計卻是安排在明顯可見的鋼骨建材內,可別以為這是建築師在偷懶,如此大膽前瞻的設計再加上Rogers的鬼斧神工,使外露的斜撐成為美麗的對角線,也為冰冷的金屬增添了人性的柔美,更令人稱羨的是他的作品完全符合了經濟、快速、美觀…等優點於一身。這四人小組不懼世俗傳統所帶來的壓力,跳脫依樣畫葫蘆的槽臼,並且馬上想出應用有系統的組裝來增進工程進度,同時還可保有活用的空間設計,使建築物能配合未來需求而改變。這棟建築物的外觀靈感是來自 Alison 和 Peter Smithson在Norfolk所設計的 Hunstanton School;而經濟實惠的標準則來自他的好友Ray 和 Charles Eames 所謂他們自己建造房子的經驗,如此理念的建築觀正符合了Reliance Controls的理念,而這棟建築物也不辱所託的受到Financial Time Award所推薦為最傑出的商用建築物,而這也是 Rogers在建築生涯中最具代表性的傑作。

文章Pedro Hsieh 發表於 2007-03-31, 01:01

準建站長eaGer 寫:唉...........Calatrava 一直都拿不到這個獎項,我也懶得報導這件事情哪......

Pedro Hsieh

文章memey1218 發表於 2007-03-31, 01:48

Richard Rogers在高雄至少有兩個作品


文章artai 發表於 2007-03-31, 01:58


文章drycat 發表於 2007-03-31, 02:38

Pedro Hsieh 寫:...必須說土木工程師真的遠較建築師偉大...

我想某方面來說, 土木比之建築所處理的結構體都來的龐大吧
橋樑, 水壩等等....只要能夠計算得當, 可行性高, 幾乎都能夠蓋得出來
但相對的, 蓋得好不好看則是另外一回事了

我很喜歡Calatrava, 因為他能夠把橋樑這麼巨大的量體"玩"得很美
總有一天, 這個榮耀會歸於他吧

文章站長eaGer 發表於 2007-06-07, 18:08

Richard Rogers 專訪,點下出處,網頁上方有個Streaming Video,點下去可以看訪問影片。


British Architect Receives Top Honor in Field

The Pritzker Prize, architecture's highest medal, was awarded Monday in London to Richard Rogers. The NewsHour shares highlights of an interview with the winning architect.

JEFFREY BROWN: In his first internationally acclaimed project, the 1977 Pompidou Centre in Paris, British architect Richard Rogers and co-designer Renzo Piano turned the building inside out, exposing structural underpinnings, ducting, service lines, many of the component parts that make a building.

Rogers would go on to design numerous high-profile and acclaimed projects, including the Lloyd's of London office tower from 1984, and his award-winning terminal design for Madrid's Barajas Airport, completed just last year.

Over a career spanning four decades, he's taken on a wide range of projects: offices, homes, schools, cultural centers, and much more. And now, at 73, Rogers, who was born in Italy and educated in London and at Yale, has won the Pritzker Prize, his profession's highest honor.

In its citation, the Pritzker jury said, "Rogers is a champion of urban life and believes in the potential of the city to be a catalyst for change. We celebrate Richard Rogers, a humanist, who reminds us that architecture is the most social of arts."

Rogers has, in fact, played a very public role in Britain, as head of a national task force on planning and development, which released a report called "Toward an Urban Renaissance." And he has long emphasized fitting his buildings into the city life around them. Most of his work to date has been done overseas, but he's had several projects in the U.S., including four currently underway in New York City, one of them, the new Tower 3 at the World Trade Center site.

Exposing the building's structure

JEFFREY BROWN: Richard Rogers heads an architecture firm in London and joins us now from New York.

First, congratulations to you. Why don't you tell us, what was the idea in the Pompidou and Lloyd's and other works of showing the components and the structure of the building?

RICHARD ROGERS, Architect: There are a number of different reasons. One was to get real flexibility within the floors, to have no vertical interruptions. And, therefore, we put all the things that are usually inside a building on the outside; in other words, the elevators, the structure, the mechanical services are all on the outside so that you could use the building for different types of uses over a long period.

Secondly, it was a way to have a play of light and shadow on the mass, which is what architecture is about, and also to have a scale that you could understand, not just a big box, but something which is articulated.

These were all reasons for having that form of architecture, but perhaps the most important thing, as far as the building is concerned, to draw people. And the success of the building has been that it's the most visited building in Europe. It has 7 million people a year. And it's very much a people's palace. It's a place for all people, all ages, all creeds; that was the first line in the competition brief which we wrote.

JEFFREY BROWN: It actually wasn't in the beginning, wasn't it? A lot of people felt quite quizzical about it and weren't quite sure.

RICHARD ROGERS: During its construction, nobody liked it. Once it opened, people queued up or lined up, fortunately, and it became more or less immediately a success.

Creating better cities

JEFFREY BROWN: Now, right after the Pritzker award was announced, you were quoted as saying, "What would I do with the Pritzker? Use it as an excuse to get out there and argue for better cities." What is the problem that you see with our cities?

RICHARD ROGERS: People have been leaving cities, especially after the industrial revolution, for a long time. We're now drawing them back. Cities are secure. You can walk, you can bicycle, you can use public transport, which is also environmentally friendly.

But most important of all, it's a mix of people. We want to avoid cities being ghettos for poor or for rich or for one activity or the other. We're looking at cities where you contain the people inside and discourage them to build a shopping center outside or business parks outside. We more or less create the cities, which are really an invisible wall, which gives them a lot of security, because the most security comes from eyes on the street.

JEFFREY BROWN: So what do you, as an architect, do specifically to address that? How do you judge the success of a building in that context?

RICHARD ROGERS: Well, you may not judge the success of the building, but the success of the city is whether people want to live there rather than to escape from it. And you can tell that because people are beginning to move back.

I was chief adviser, first of all, to Tony Blair, and now I'm the chief adviser to the mayor of London in architecture and urbanism, and we're trying to create cities where people want to come back, and live in them, and meet, and discuss, and have a really good life.

Architecture for public consumption

JEFFREY BROWN: I came across an essay that you wrote a few years ago called, "Beauty is Not a Dirty Word," in which you said, "It seems glaringly obvious to me that raising architectural standards is just as important as raising standards in our schools and hospitals." And I thought, really? Is it that important?

RICHARD ROGERS: I would argue that, without culture, there is no real quality of life. That's really what separates man from animals, that culture is a big thing.

But where do you go on holidays? You go usually to beautiful places. Why do you listen to good music? Can you say that -- you can't really make this comparison, but you can't really say that Beethoven is less important or more important than, let's say, Einstein. Science and art are extremely important, and I think art is absolutely critical to the quality of life.

JEFFREY BROWN: So it often strikes me with someone like yourself who does the grand public architecture that you create these works, and they're really out there for people who see. There's no hiding. And, of course, not everybody loves everything you do, and you've had -- going back to the '80s, you had Prince Charles challenging some of the contemporary architecture that was being made, including yours. What happens? How do you respond when there is this criticism?

RICHARD ROGERS: Yes, I've certainly been criticized, but one then has to remember that modernity has always been difficult. All buildings were modern in their time. Most buildings had great problems in their times. I always tell the story of St. Paul's. Wren couldn't get it built, because people kept on saying, "It's too modern." And that's in the 18th-century building.

JEFFREY BROWN: St. Paul's Cathedral in London?

RICHARD ROGERS: Yes, 17th century, to be exact.

Designing different projects

JEFFREY BROWN: The range of projects that I mentioned in our introduction, is that by design, as well? Is it important to you to take on different kinds of things?

RICHARD ROGERS: I enjoy different types of projects, anything from a small house to designing master plans for a city. But we work with teams. You know, architecture is not about an individual person. Architecture is about working with comrades, working with fantastic clients, with good contractors, and having a dialogue. It's not something you do sort of lying down. It takes a long time to build something. It takes a long time to design something.

But there's a great history of architecture. And when I go to -- I was born in Florence. You know, millions and millions of people go to Florence just to see the quality of architecture. It lifts you up, if it's well-designed. I think it has an important role in giving quality to one's life.

JEFFREY BROWN: Let me ask you finally about the project you're working on at the World Trade Center, the Tower 3, a place that, of course, is so fraught with meaning and a sense of history for so many people. Do you approach it differently because of that?

RICHARD ROGERS: Yes, I think it has tremendous importance in people's memory. Nobody will ever forget it, for thousands and thousands of years. You cannot but be affected by this. You cannot but look at the memorial garden and think, "What is it there for?" And try to relate your building to that memorial garden and to that memory, and in creating something which we will try to make beautiful, it is in itself a form of accepting that we need to memorize, to remember the horrible things that happened there. And that's a form of memorial.

JEFFREY BROWN: Richard Rogers is the winner of the Pritzker Prize for Architecture. Congratulations again, and thanks a lot for talking with to us.

RICHARD ROGERS: Thank you very much.

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