瑞士建築師 Peter Zumthor 獲頒 2009 Pritzker Architecture Prize

[eaGer]

瑞士 BASEL 真是個好地方！出了 Jacques Herzog 與 Pierre de Meuron 這一對建築師，現在又有一位 BASEL 出生的建築師獲得建築界最高榮譽：Pritzker Architecture Prize(普立茲克建築獎)。

暨獲得 2008年高松宮殿下紀念世界文化賞後，現年65歲的瑞士建築師 Peter Zumthor 接著獲得頒發 2009年 Pritzker Architecture Prize(普立茲克建築獎)。

對許多人而言，在瑞士默默耕耘的 Peter Zumthor 早就該得到 Pritzker Architecture Prize 這座相當於建築界諾貝爾獎的肯定，如今主辦單位 Hyatt Foundation 總算將獎項頒給 Peter Zumthor，可說是實至名歸！Peter Zumthor 將於2009年5月29日在阿根廷首都布宜諾斯艾利斯所舉辦的典禮上受頒獎章以及10萬美元的獎金。

2009年 Pritzker Architecture Prize(普立茲克建築獎)評審團成員包括：評審團主席 Lord Peter Palumbo、智利建築師 Alejandro Aravena、日本建築師阪茂(Shigeru Ban)、瑞士建築學者 Rolf Fehlbaum、美國建築師 Carlos Jimenez、芬蘭建築師 Juhani Pallasmaa、義大利建築師 Renzo Piano、建築評論家 Karen Stein、執行董事Martha Thorne(沒有投票)。

65歲的 Zumthor 和其他明星建築師們非常不同，因為他的成就並非建基於聳立在各大都市、舉世矚目的大型建築物之上，而是跑到人跡罕至的偏遠地區，例如阿爾卑斯山區，發揮他的才華，而他設計出來的作品，大多數是嬌小玲瓏，極少龐然大物。

雖然如此，由 Zumthor 設計的每一座建築物都是一絲不苟，巧奪天工，充份發揮他的創作和藝術才華，當中包括小型教堂、博物館、護老院和溫泉度假區等，在一般人眼中，這些建築物可能毫不起眼，也未必引起廣泛注意，但由建築師、評論家、和學術界人組成的評審團卻對 Zumthor 讚不絕口，讚揚他的作品不受時間和文化的界限影響，而且尊重建築物週遭的環境。


↗ Peter Zumthor 設計的 EXPO 2000 瑞士展覽館屋頂

1943年4月26日，Peter Zumthor 出生於瑞士巴塞爾(Basel)，他的父親是一位專門製作家具的木匠，1958年時，Zumthor 曾在一位木匠那邊以學徒的身份學習木工相關技術，因為有這層關係，一般認為 Zumthor 從他的父親身上學習到許多事物以及對於材料的瞭解等，Zumthor 自己也體悟到那種不畏艱難的心裡，認為工匠應該要克服技術上的問題，然後將作品以最完美的形態呈現出來；1963年，Zumthor 二十歲時進入了巴塞爾藝術與工藝學校 (Kunstgewerbeschule - Basel school of arts and crafts) 學習設計，其後到了美國紐約的普瑞特學院（Pratt Institute）學習，在那被嚴格的工藝訓練清楚瞭解到現代主義的想法和感覺。

Peter Zumthor 的作品尺度都不大，但是他的每一棟建築物都對於基地和整體的計劃有很周詳考量 去反應出不同的感受 每一個作品都反應出人對於建築物基本元素 位置、材料、空間和光線的感覺。

在他早期工作裡，大部份的作品都位於瑞士最東邊一個名為「Graubunden」的州，在那裡的環境和文化是呈現出一種多種族混合的文化，在這裡拉丁人和條頓人（Teutonic）的文化被混入，也是臨接羅蔓斯人（Romansch）和德國人的邊境，Graubunden 下與義大利相接，所以在此區域呈現著非常多樣性的文化，並且 Peter Zumthor 早期也是在這裡的州政府紀念建築維護部門工作了12年，所以他非常的瞭解整個Graubunden 區域的城鎮廣場和拱廊，以及有著大山牆的鄉村房屋與穀倉， Zumthor 本身是一個地方主義者（regionalist），但他也充分的瞭解到過去的舊有建築物已經非常的好了而不能只是從舊有建築上模仿或複製，也在舊建築上學習到材料、氣候和配置的想法，而在他24歲的時候他去了許多戶外大自然的地方去調查學習感受一些自然的事物。

他最為膾炙人口的作品包括位於瑞士 Vals 的溫泉旅館(Thermal Baths Vals)、奧地利 Bregenz 美術館(Art Museum Bregenz)，以及2007年完工位於德國的 Cologne 美術館(Art Museum of the Archbishopric Cologne)。

如 Peter Zumthor 曾經說過「在找尋答案時，與其討論風格，還不如去探討方法或者特定的覺醒」，所以他的建築存在一種內省的特質，重視材料、構造與細部的理解，真實的面對材料特性、感官性等建築本質。而其構造形式則來自他所堅持的「custom-made architecture(客製建築)」理念，強調建築要與基地環境相融合，回應自然環境與滿足建築機能。

例如他在奧地利Bregenz 的Bregenz 美術館(Art Museum Bregenz)簡潔地利用玻璃的接合方式及混凝土的質感豐富地表達了低調但空間氛圍豐富的室內空間及立面造形，成功地轉化光線於其展示空間之中。

儘管設計自然樸實卻又令人驚豔，但因為生為金牛座的 Peter Zumthor 性格內斂、作風低調，使他雖被許多人士尊崇，卻從未在建築明星的舞台上佔據一角，此次獲得2009年 Pritzker Architecture Prize(普立茲克建築獎)可謂是遲來的肯定。

>>Peter Zumthor 作品列表

1983年 Elementary school Churwalden, Churwalden, Graubunden, 瑞士
1983年 House Rath, Haldenstein, Graubunden, 瑞士
1986年 羅馬考古基地保護所 Shelters for Roman archaeological site, Chur, Graubunden, 瑞士
1986年 Atelier Zumthor, Haldenstein, Graubunden, 瑞士
1989年 Saint Benedict Chapel 教堂(Sumvitg Church in Sogn Benedetg), Sumvitg, Graubunden, 瑞士
1990年 Art Museum Chur, Graubunden, 瑞士
1993年 Residential home for the elderly, Masans, Chur, Graubunden, 瑞士
1994年 Gugalun House, Versam, Graubunden, 瑞士
1996年 Spittelhof housing, Biel-Benken, Basel, 瑞士
1996年 Hotel Therme Vals, Vals, Graubunden, 瑞士
1997年 Art Museum Bregenz, Bregenz, Vorarlberg, 奧地利
1997年 Topography of Terror, International Exhibition and Documentation Centre, Berlin, 德國
1997-2000年 瑞士展覽館 Swiss Pavilion EXPO 2000, Hannover, 德國
1997年 Villa in Kusnacht am Zurichsee Kusnacht, 瑞士
1997年 Lichtforum Zumtobel Staff, Zurich, 瑞士
1997-2000年 Kolumba - Erzbischofliches Diozesanmuseum, Cologne (Koln), 德國
1999年 Cloud Rock Wilderness Lodge Moab
2007年 Bruder Klaus Kapelle(Bruder Klaus Chapel), 德國
2007年 Cologne 美術館(Art Museum of the Archbishopric Cologne), 德國

>>相關討論
::建築修行者彼德‧玆姆特 Peter Zumthor::
::瑞士建築師 Peter Zumthor 獲頒 2008年高松宮殿下紀念世界文化賞 Praemium Imperiale prize::
::Peter Zumthor 設計之羅馬考古基地保護所 Shelters for Roman Archaeological Site::
::Peter Zumthor 設計 - Saint Benedict Chapel 教堂(Sumvitg Church in Sogn Benedetg)::
::Peter Zumthor 帶你去泡湯 - Thermal Baths Vals 溫泉旅館::
::Peter Zumthor - Kunsthaus Bregenz (Bregenz Art Museum 美術館)::
::Peter Zumthor - 瑞士展覽館 (Swiss Pavilion Expo 2000)::
::Peter Zumthor 的小教堂 - Bruder Klaus Kapelle (Bruder Klaus Chapel)::
::Peter Zumthor - Cologne 美術館(Art Museum of the Archbishopric Cologne)::

>>相關網站
::Pritzker Architecture Prize | 普立茲克建築獎::
::Praemium Imperiale Prize | 高松宮殿下紀念世界文化賞 ::

>>相關圖片


↗ Peter Zumthor 設計之 Bregenz美術館(Art Museum Bregenz)位於奧地利 Bregenz 市


↗ 教堂 Saint Benedict Chapel, Sumvitg, Switzerland


↗ Peter Zumthor 設計之溫泉旅館 - Therme Vals 位於瑞士 Vals


↗ Peter Zumthor 設計之溫泉旅館 - Therme Vals 位於瑞士 Vals

[eaGer]

請不要問我怎麼知道今年 Pritzker Architecture Prize 得主是 Peter Zumthor，為了保護消息來源，我不能透露，請見諒！

[eaGer]

出處：NYTimes

Pritzker Prize Goes to Peter Zumthor

By ROBIN POGREBIN
Published: April 12, 2009

He is not a celebrity architect — not one of the names that show up on short lists for museums and concert hall projects or known outside of architecture circles. He hasn’t designed many buildings; the one he’s best known for is a thermal spa in an Alpine commune. And he has toiled in relative obscurity for the last 30 years in a remote village in the Swiss mountains, out of the limelight and away from the crowd.

But on Monday, the Swiss architect Peter Zumthor, was to earn the highest recognition of his profession: the Pritzker Prize.

“He has conceived his method of practice almost as carefully as each of his projects,” said the citation from the nine-member Pritzker jury. “He develops buildings of great integrity — untouched by fad or fashion. Declining a majority of the commissions that come his way, he only accepts a project if he feels a deep affinity for its program, and from the moment of commitment, his devotion is complete, overseeing the project’s realization to the very last detail.”

For Mr. Zumthor, 65, winning the Pritzker, which is awarded annually to a living architect and regarded as architecture’s equivalent of the Nobel, is a kind of vindication. “You can do your work, you do your thing and it gets recognized,” he said in a telephone interview from the village of Haldenstein, Switzerland, where he lives and works. “This is beautiful.”

Mr. Zumthor is the 33rd laureate to receive the prize, which consists of a $100,000 grant and a bronze medallion and is awarded at a different architecturally significant location each year. This year’s ceremony is to be held on May 29 in Buenos Aires.

Perhaps the project most closely associated with the architect is the spa he designed at the Hotel Therme in the Alpine village of Vals, Switzerland, which was completed in 1996. Using slabs of quartzite stone that evoke stacked Roman bricks, Mr. Zumthor created a contemporary take on a the baths of antiquity.

The Pritzker jury praised Mr. Zumthor’s use of materials. “In Zumthor’s skillful hands, like those of the consummate craftsman, materials from cedar shingles to sandblasted glass are used in a way that celebrates their own unique qualities, all in the service of an architecture of permanence,” the citation said, adding, “In paring down architecture to its barest yet most sumptuous essentials, he has reaffirmed architecture’s indispensable place in a fragile world.”

The architect said his projects generally originate with materials. “I work a little bit like a sculptor,” he said. “When I start, my first idea for a building it is already with the material.

“I believe architecture is about that,” he added. “It’s not about paper, it’s not about forms. It’s about space and material.”

No two of Mr. Zumthor’s projects are quite the same.

For his Field Chapel to St. Nikolaus von der Flüe, completed in 2007, in Mechernich, Germany, Mr. Zumthor formed the interior from 112 tree trunks configured like a tent. Over 24 days, layers of concrete were poured around the structure. Then, for three weeks a fire was kept burning inside, so that the dried tree trunks could be easily removed from the concrete shell. The chapel floor was covered with lead, which was melted on site and manually ladled onto the floor.

For his Kunsthaus Bregenz museum a four-story cube of concrete, steel and glass in Bregenz, Austria, that opened in 1997, Mr. Zumthor used glass walls that at night can become giant billboards or video screens.

His Kolumba Art Museum in Cologne, completed in 2007, rises out of the ruins of the late gothic St. Kolumba Church, destroyed in World War II. The Pritzker jury called the project “a startling contemporary work, but also one that is completely at ease with its many layers of history.”

Mr. Zumthor says he has deliberately kept his office small— no more than 20 people. “That’s the way it’s going to be so that I can be the author of everything,” he said.

“I’m not a producer of images,” he added. “I’m this guy who, when I take on a commission, I do it inside out, everything myself, with my team.”

One of Mr. Zumthor’s best-known designs never came to fruition. In 1993, he won the competition for a museum and documentation center on the horrors of Nazism to be built on the site of Gestapo headquarters in Berlin. Mr. Zumthor’s submission called for an extended three-story building with a framework consisting of concrete rods. The project, called the Topography of Terror, was partly built and then abandoned when the government decided not to go ahead. The unfinished building was demolished in 2004.

Born in Basel, Switzerland, Mr. Zumthor as a teenager served a four-year apprenticeship with a cabinetmaker. He studied at the Kunstgewerbeschule, Vorkurs and Fachklasse and at Pratt Institute in New York. In the 1970s, he moved to Graubunden to work for the Department for the Preservation of Monuments. He established his own practice in 1979 in Haldenstein, where he and his wife, Annalisa Zumthor-Cuorad, raised their three children.

The architect said the location had been an inspiration and a refuge. “It helps you concentrate,” he said. “And also collaborators coming here are not distracted by all the things of the big city. To come up with me, you’re in the Alps — it’s sort of a commitment. It’s a beautiful feeling. Of course you have to like the mountains.”

[eaGer]

出處

A little-known Swiss architect gets the Pritzker Prize; Zumthor mixes the material and the spiritual

Zumthor Architecture's top prize often goes to a buzz-generating star designer like Rem Koolhaas or Zaha Hadid. But on Monday, a Swiss architect who quietly goes about his business in a remote village in the Alps will be named this year's winner of the Pritzker Architecture Prize.

While little known to the public, 65-year-old Peter Zumthor (left) is a legend within the profession, renowned for his reclusive, monk-like image and for buildings, mostly small in scale, that are filled with spiritual overtones even if they aren't overtly religious.

Among them: an art museum in Cologne, Germany that gracefully incorporates the ruins of a Gothic church destroyed by Allied bombs during World War II (below, left), a tiny field chapel in the German countryside and a popular thermal bath house in Zumthor's home Swiss canton of Graubünden.

Kolumba 「In paring down architecture to its barest yet most sumptuous essentials, he has reaffirmed architecture's indispensable place in a fragile world,」 reads the citation of the eight-member Pritzker Prize jury, which includes 1998 winner Renzo Piano.

The prize, bestowed annually by Chicago's billionaire Pritzker family for 「significant contributions to humanity,」 comes with a $100,000 grant and a bronze medallion.

Zumthor is the second Swiss recipient, following design partners Jacques Herzog and Pierre de Meuron, who shared the award in 2001. European architects have dominated the Pritzker in recent years, winning seven of the last 10 times.

Reached on his cell phone Thursday as he surveyed two houses that he designed high in the Swiss Alps, Zumthor said the award vindicated his unusual career path, adding that it holds a lesson for young architects.

「I would hope that it would teach them that you can carefully do your thing...that you don't have to do what other people expect of you,」 he said, the Alpine wind audible in the background.

He will be awarded the prize on May 29 in Buenos Aires, the first time the Pritzker ceremony has been held in South America.

The son of a cabinet maker, Zumthor studied at New York's Pratt Institute and worked in his canton's preservation department before beginning his own practice in the Swiss village of Haldenstein in 1979. His office has 20 people.

BrotherKlaus-chapel His body of work ranges in scale from the environmentally-sensitive Swiss pavilion at the 2000 world expo in Hanover, Germany, which was constructed of wood cut from Swiss forests without using glue or nails, to a no-frills home in Switzerland that has a separate 「granny flat.」

In recent years, critics have lavished praise on his Art Museum of the Cologne Archdiocese, where he carefully threaded modern elements through ancient ruins and the remains of a bombed Gothic church. Also winning plaudits: his German field chapel, a monolithic light well whose interior walls were formed by tree trunks (left).

Vals But Zumthor's most famous project is the Thermal Baths in the Swiss village of Vals, which is built on the site of a hot spring and has walls lined with thin stone cut from local quarries (left).

As people swim in the baths, light flickers across the waters, making 「this cavelike structure seem alive—a nonsacral place imbued with an atmosphere of pantheist devotion,」 author Layla Dawson wrote in a 2008 Zumthor profile in Architectural Record. (A YouTube video handsomely illustrates this point.)

The baths, which opened in 1996, reportedly inspired a 45 percent increase in hotel bookings in the village. Architecture critics speak of the 「Vals effect,」 a reference to the 「Bilbao effect」 associated with architect Frank Gehry's critically-acclaimed, tourist-drawing Guggenheim Museum in Bilbao, Spain. The museum opened in 1997.

Yet in contrast to architectural stars who export their signature style around the world, Zumthor has almost exclusively kept his commissions in his region of Europe—and he is very choosy about them, regularly turning away clients who are not prepared to endure the long gestation periods required for his buildings or who are simply interested in his name.

The essence of architecture, he said over the phone, 「is to do rooms or spaces for people. If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter ... whether it's a movie theater or a simple log cabin the mountains.」

[eaGer]

早上進到辦公室，我們公司請來的瑞士技師對我說「我們瑞士有位建築師得到建築大獎耶！」，我笑著說「我知道呀！ Peter Zumthor！」，技師非常訝異「你知道他啊？」，我說「當然囉！」

[eaGer]

出處

Originally posted: April 12, 2009
新科普立茲克建築獎得主 Peter Zumthor 簡單訪談

An interview with Peter Zumthor: On the Pritzker Prize, the essence of architecture and hope for young architects

When I caught up with this year's Pritzker Architecture Prize winner, Peter Zumthor, last Thursday, I could hear the wind whipping in the background. Zumthor wasn't in his office, which can be found in the village of Haldenstein in central Switzerland. He was outdoors, meeting with clients for two houses in a little village near Vals, the site of his best-known project, the Thermal Baths.

He was talking on his cell phone and he quickly made me, a Midwestern flatlander, very jealous with his description of his surroundings:

Zumthor：I'm out here on the mountainside high in the Swiss Alps. High up. I'm looking at a beautiful chain of mountains. Blue sky. You should be here.
Zumthor：我人在瑞士阿爾卑斯山的高山上，非常高的地方，我看著一片連綿的山脈，你應該來這裡的！

記者：Indeed I should....Let's tell non-architects about you. Tell me about your office.
記者：是啊，我應該去的！ 我們來談談關於你的非建築部分，談談你的事務所吧！

Zumthor：This office is in the Swiss Alps and we are 20 people from six or seven nations. It's a limited number of people—not more than 20 because we're working in a familiar kind of situation, like in a farmsted in a village. We have a couple of buildings devoted to me and that is where we are working. Life and working are closely connected.

Compared to many of today's "starchitects," you've taken an unconventional career path. Do you feel vindicated by this award?

Zumthor：Oh yes, it's great that you can sort of pursue your thing. Do your thing. It gets recognized. I'm not so keen on publishing. I'm not a networker. It's great that if you do good work, it gets recognized.

When you were studying at the Pratt Institute in New York in the 1960s, did you visit Chicago?

Zumthor：I did. I looked at the work of Mies. I went to IIT (Crown Hall, at left). And then I took a tour through all the famous buildings of the pioneers of the city...I respect Mies a lot.

You have said, "Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings and speak its own language." That's beautifully put, but I want to go deeper. I'm sorry to ask you to answer this on a cellphone, but how would you define the essence of architecture?

Zumthor：I guess it's to do rooms or spaces for people. If you look at the Earth without architecture, it's sometimes a little bit unpleasant. So there is this basic human need to do shelter in the broadest sense of the word, whether it's a movie theater or a simple log cabin in the mountains. This is the core of architecture: To provide a space for human beings.

You've said you are interested in making places, not just objects. How do the Vals Thermal Baths (left) illustrate that?

Zumthor：It's actually built on the site where there is a hot spring. So the water comes out of the mountain right there. I built the whole thing out a local stone which we quarry half a kilometer back in the valley. The building material and the site and the hot water—it's all there. I have to give it a shape.

It sounds like you don't work with many clients who come do you? Do you reject most of them?

Zumthor：True.

Why?

Zumthor：I think my work is about authorship. It's less about rendering a service and even less about implementing ideas of other people. I need a close contact to the client whoever it is and a commitment of the client to go out and do a process together. I want to do the best for him. I need his respect and his patience. I want to work with a sophisticated person who's interested in a good building and not in my name.

What lessons does this award teach young architects?

Zumthor：I would hope that it would teach them that you can carefully do your thing, that you can be yourself, that you can try to solve the problem, that you can concentrate on the essence of your task, that you don't have to do what other people expect of you. There is still a real need for good quality architecture, not paper architecture, but the real stuff.

[黃冠博]

吼!!現在還有即時簡訊通知.大手筆喔!!

[eaGer]

吼!!現在還有即時簡訊通知.大手筆喔!!

呵呵....這麼振奮人心的消息，一定要的啦！普天同慶咩！

我正期待看聯合報記者陳宛茜姊姊寫的報導呢！ 宛茜姊姊一定是太忙了，所以聯合報至今都還沒有報導。

[Marco]

吼!!現在還有即時簡訊通知.大手筆喔!!

呵呵....這麼振奮人心的消息，一定要的啦！普天同慶咩！

我正期待看聯合報記者陳宛茜姊姊寫的報導呢！ 宛茜姊姊一定是太忙了，所以聯合報至今都還沒有報導。

自由時報隔天就報導了耶

[eaGer]

她...終於寫了！

建築八卦陣》普立茲克獎的黑馬
【聯合報╱本報記者陳宛茜】
2009.04.17 02:48 am

建築界最高榮譽普立茲克獎上周日公布，結果大出意外。呼聲極高的伊東豐雄、卡拉特拉瓦中箭落馬，反倒跑出一匹大黑馬─65歲的瑞士建築師彼得˙祖姆特（Peter Zumthor）。

祖姆特是瑞士第三位／組摘下普利茲克獎的建築師。上一組掄元的瑞士建築師，是以「鳥巢」聞名的赫爾佐格與德梅隆。比起這些聲名如雷貫耳的得獎前輩，祖姆特「低調、神秘」到不行，若非去年九月他才拿到日本頒發的「高松宮殿下紀念世界文化賞」，恐怕連建築教授也叫不出他的名號。

普利茲克獎提供的照片中，祖姆特一身黑色布衣，目光寧靜堅定；配上作品中那些彷彿凝固於時光之中的山間木屋、石頭教堂，就像是一位修道院中的僧侶。當庫哈斯等同行當起空中飛人，奔走於各國參加競圖之際，30年來，祖姆特默默隱居於偏僻遙遠的瑞士山城Haldenstein中，手工藝人般一刀刀雕塑他的建築作品。

祖姆特位在荒遠山城的事務所，人數始終控制在20人以下。在他的職業生涯中，前20年的作品環繞著他所居住的山城，後10年的作品也不曾離開歐洲。祖姆特認為，這種規模和距離讓他可以全盤掌握一棟建築物，像照顧自己的花園一樣。

「我不是一個意象的製造者！」他告訴紐約時報：「我的願望是當自己所有作品的作者（The auther of everthing）」。普利茲克評審形容他「專注、不妥協、意志堅定、不被流行干擾」，是「建築師中的建築師」

在這個強調視覺的時代，祖姆特的作品是個驚奇。他被公認的代表作是一座溫泉會館Vals，它不像鳥巢、北京中央電視台，一眼就教人驚心動魄。它的外表平凡無奇，你必須泅泳其中，慢慢感受空間中的水流、光影與聲響。

創立於1970年代的普立茲克，除了創辦初期曾頒給名不見經傳的美國建築師，多頒給在國際舞台上展露頭角的知名建築師。

進入全球化與媒體時代，普利茲克獎更像是為明星打造的舞台，翻開新世紀以來的名單：庫哈斯、札哈哈蒂、尚努維勒…他們擁有動輒上百人的建築團隊，頭牌建築師提著公事包飛行於五大洲競圖、監工，再飛回事務所在員工的設計圖上簽名蓋章。在這個時代，建築師一旦成名，便被迫「縮小功能」成為一個橡皮圖章。

然而這一波「全球化」建築潮終也踢到鐵板。金融風暴掃過後，多座地標性建築喊停、八爪章魚般抓住世界地圖的大型建築事務所則頻傳裁員。北京中央電視台的被火紋身更讓人質疑，國際建築師是否「罩得住」在地文化？

手工藝人般照顧每一件作品的祖姆特，就在這時異軍突起，成為普利茲克的黑馬。

普利茲克獎評審諸公這次令人跌破眼鏡的出手，究竟是一次隨興、一記警鐘，抑或是下一波建築伏流在水面搖起的小小漣漪，就等著時間來驗證了。

【2009/04/17 聯合報】@ http://udn.com/