最近一段时间在建筑、设计领域,“王澍获得普利兹克奖”成了一个大新闻。笔者就在很多场合被人问及对王澎作品的评价。尽管对于王澍及其作品很早之前就有所关注,也曾实地到过一些他设计的建筑参观,但坦率地说,笔者个人并不认为王澍代表了中国建筑师的最高水准,更无法代表中国当代艺术的最高成就,他只是在中国实验建筑这个比较前卫的领域中比较早的一批探索者和代表人物之一。中国当代建筑虽然容易因其体量和公共性吸引公众的注意力,但中国实验建筑师在艺术审美方面大多依赖于个人才情而缺乏训练,从艺术感觉方面来说还远远滞后于其他领域。本期林木的文章更深一步地揭示了“普利兹克奖”背后的西方趣味以及中国实验建筑师对它的迎合,文中中肯的批评,值得当今建筑师与盲目追捧普奖的媒体、公众三思。 In the recent period of construction and design, Wang Shu won the Pritzker Prize and became a big news. On many occasions, I was asked about the evaluation of Wang Peng’s works. Although Wang Shu and his works have long been concerned before, but also to visit some of his buildings to visit the field, but frankly speaking, I personally do not think Wang Shu represents the highest standards of Chinese architects, but not On behalf of the highest achievements of contemporary Chinese art, he is only one of the earlier explorers and representatives in the relatively avant-garde field of experimental architecture in China. Although contemporary Chinese architecture tends to attract the attention of the public due to its mass and public nature, Chinese experimental architects mostly rely on their personal talents and lack of training in artistic appreciation, lagging far behind other areas in artistic sense. This issue of the tree further reveals the western taste behind the Pritzker Prize and the catechism accorded it by the Chinese experimental architects. It is worth noting that contemporary architects and the blindly sought after media, the public Think twice.