評論
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Sure, we live in a global culture,
顯而易見的是，我們生活在全球文化大環境中，
and there will always be an interest in international collaborations in China.
中國一直對于國際合作有著濃厚興趣。
But the days of Chinese architects sitting in the background
但是，過去中國建筑設計師坐在幕后
with the task of working out the construction details of someone else’s vision are quickly coming to an end.
兢兢業業為別人的夢想而打點細枝末節的日子就要一去不復返了。
Wang’s award is a very positive sign for China.
王澍的獲獎對中國來講是個好兆頭。
Who can interpret the regional and cultural forces better than those living among them?
除了中國人自己，還有誰能更好地詮釋中國的地域與文化魅力呢？
Perhaps we are witnessing a turning point,
也許我們正見證著一個轉折，
a time when China can draw upon its own culture-makers, rather than relying on the ideas and cultural interpretations of China from those abroad.
在這個時代中，中國不再依賴于國外人士對其理念和文化的闡釋，轉而寄希望于本國的文化制造者。
I am particularly pleased that, of all the great architectural talent in China, Wang was given the nod.
讓我尤其感到高興的是，在中國眾多的建筑奇才中，王澍得到了認可。
For me, his greatest contribution is in how he uses his creative power to balance the interpretation of regional and cultural influences with his highly artful and personal vision.
在我看來，他最大的貢獻在于他是如何運用自己的創造力和有獨特品味的個人視角，找到了詮釋地域和文化影響的平衡點。
His designs are bold contemporary solutions,
他的設計可稱為是大膽的現代解構，
yet tap into the memory and history of place.
同時又發掘了當地的歷史和記憶。
I am sometimes troubled by what I see being built in cities like Beijing, Shanghai, and elsewhere in China,
我有時會為自己在北京、上海及其他一些中國城市所看到的在建項目而憂慮，
which have almost become a foreign architect’s playground.
因為那些地方儼然已成了外國建筑設計師的游樂園。
The designs are often featureless,
王澍的設計通常都沒有地域限制，
and could easily have been built in Houston, Amsterdam, or Vancouver.
完全可以被移植到休斯頓，阿姆斯特丹或者溫哥華。
Wang’s work stands as an example of what China needs to be doing more of:
王澍的作品堪稱是中國建筑新時代的樣本——
providing buildings that speak to the land, culture, people, and sense of place.
我們需要更多地可以與土地、文化、人類和地域感對話的建筑。
