智利建築師獲今年普利茲克獎

A Chilean architect who has focused his career on building low-cost social housing and reconstructing cities after natural disasters has been named the winner of architecture’s highest prize, the Pritzker.

今年的普利茲克獎(Pritzker)由一位智利建築師獲得，他的職業生涯致力於建造低成本社會福利房，以及自然災害後的城市重建。

The architect, Alejandro Aravena, the first Pritzker laureate from Chile, received the honor at a time when his fellow architects have been recognized for designing distinctive buildings with regional materials. They include Pedro Alonso and Hugo Palmarola, who in 2014 won the Silver Lion award at the Venice Architecture Biennale, and Smiljan Radic, who that same year designed the annual pavilion at the Serpentine Gallery in London.

這位建築師便是亞歷杭德羅·阿拉維納(Alejandro Aravena)，他是首位獲得普利茲克獎的智利人，與此同時，不少其他智利建築師亦因採用本地材料建造獨特的建築而受到讚賞，其中佩德羅·阿隆索(Pedro Alonso)和雨果·帕馬洛拉(Hugo Palmarola)兩人2014年在威尼斯建築雙年展上獲得銀獅獎；斯米爾耶·拉蒂克(Smiljan Radic)同年爲倫敦蛇形畫廊(Serpentine Gallery)設計了年度展館。

Mr. Aravena’s work “gives economic opportunity to the less privileged, mitigates the effects of natural disasters, reduces energy consumption, and provides welcoming public space,” Tom Pritzker, chairman and president of the Hyatt Foundation, which sponsors the prize, said in a statement. “Innovative and inspiring, he shows how architecture at its best can improve people’s lives.”

阿拉維納的作品“爲窮人和自然災害的受害者提供了經濟機會，減少了能源損耗，提供了友好的公共空間”， 贊助普利茲克獎的凱悅基金會(Hyatt Foundation)主席兼董事長湯姆·普利茲克(Tom Pritzker)在聲明中說。“他的作品充滿創新，極具啓發性，展現了建築如何最大程度地改善人們的生活。”

Indeed, Mr. Aravena, 48, in an interview, described his architecture as being fueled more by public service than by aesthetic design. While many architects aim to create iconic buildings, Mr. Aravena said he was mostly concerned with a project’s underlying purpose.

48歲的阿拉維納在採訪中說，自己的建築更多是服從公共服務的目的，而不是服務於美學設計。很多建築師的目標是設計標誌性的建築，而阿拉維納卻說，自己最關心的是項目的基本目的。

“Sometimes the solution to the forces at play is an economic building; sometimes you need to focus people’s imagination with architecture,” he said, adding that the challenge is “to analyze in a coldblooded way what particular equation is required.”

“有時候，對於各種現存因素的解決方案是一棟經濟實惠的建築；有時候，你需要去關注人們對建築的想像。”他還補充說，挑戰在於“以一種冷血的方式闡述眼下需要哪一種等式”。

He added: “The success, in conventional terms, is less guaranteed — you have less control over the project. But that’s thinking in artistic terms, if you consider your building a piece of art.”

他說：“用老話來說，你對項目的控制越少，成功越沒有把握。但是，如果你認爲自己的的建築是一件藝術品，那就要以藝術的方式去思考。”

Though not a “starchitect,” Mr. Aravena has gained prominence in the profession: He’s this year’s director of the Venice Architecture Biennale and a former member of the Pritzker jury. He also gave a TED talk in 2014.

阿拉維納儘管不是“明星設計師”，但也在行業內獲得了聲望：他是今年威尼斯建築雙年展的總監，亦是普利茲克獎評審委員會的前成員。2014年，他還做過TED演講。

Mr. Arevena’s Santiago-based firm, Elemental, has spearheaded a participatory design-build process it calls “half of a good house,” which allows residents to complete the work themselves later and play an active role in raising their own standard of living.

阿拉維納的公司“Elemental”曾經倡導一種分享式設計建築程序，名爲“半座好房子”，它令居民可以自行完成這棟建築，發揮積極性，努力提高自己的生活水平。

“We transform the lack of resources into a principle of incrementality,” Mr. Aravena said. “Let’s do now what is more difficult. Let families take care of the rest through their own means.”

“我們把資源短缺變成了一種邊際原則，”阿拉維納說。“我們先做比較困難的部分，讓家庭自己來按照自己的方法，做完剩下的部分。”

The firm developed this approach in northern Chile in 2003, building housing for 100 families with just $7,500 per family in government subsidies to cover the land and construction. For inspiration, Mr. Aravena drew on favelas and slums, building small housing units that can be easily expanded, while working closely with local residents.

2003年，他的公司在智利北部推廣了這種方式，靠着平均每個家庭7500美元的政府土地與建設津貼，爲100個家庭建造了房屋。阿拉維納從貧民區中尋找靈感，與本地居民密切合作，建造容易擴展的小型居住單元。

He applied this same strategy in 2010, when, after Chile’s earthquake and tsunami, Elemental was given 100 days to come up with a master plan for the city of Constitución — including infrastructure, public space and buildings — by working with the population on solutions.

2010年，智利地震與海嘯災害之後，有關部門就給了Elemental公司100天時間，爲孔斯蒂圖西翁市設計一項城市規劃的專家方案，包括基礎建設、公共空間和建築。阿拉維納也採取了同樣的策略，與全體市民合作，完成解決方案。

“We asked the community to identify not the answer, but what was the question,” Mr. Aravena said. This, it turned out, was how to manage rainfall, so the firm designed a forest that could help prevent flooding.

“我們讓人們尋找問題，而不是答案，”阿拉維納說。最後，最大的問題就是如何應對暴雨，於是公司設計了一片森林，可以防止洪水。

Elemental has also completed its share of public buildings, including several for Mr. Aravena’s alma mater, the Universidad Católica de Chile.

Elemental公司還參與建造了許多公共建築，包括阿拉維納的母校，智利天主教大學。

His office building for the health care company Novartis in Shanghai is under construction. And Mr. Aravena designed dormitories at St. Edward’s University in Austin, Tex.

阿拉維納爲藥企諾華(Novartis)在上海設計的辦公樓正在建設之中。他還爲得克薩斯州奧斯汀的聖愛德華大學設計了宿舍樓。

For the Venice Biennale, Mr. Aravena plans to focus on the challenges ahead in the built environment, such as migration and climate change.

在威尼斯雙年展上，阿拉維納準備關注建築環境所面臨的挑戰，包括移民和氣候變遷。

His buildings are often modest and understated. They do not necessarily command attention or grab headlines.

他的建築通常是平易近人、容易理解的。它們並不一定能夠吸引關注或是登上報紙頭條。

“He understands materials and construction,” the Pritzker jury said in its citation, “but also the importance of poetry and the power of architecture to communicate on many levels.”

“他理解材料與建設，”普利茲克獎評審團在頒獎詞中說，“而且他理解詩歌的重要性，以及建築在很多層面上所發揮的溝通力量。”

Mr. Aravena’s unorthodox approach started with his unconventional introduction to the profession in the late 1980s, the final years of Augusto Pinochet’s repressive dictatorship, when information was limited.

阿拉維納非傳統的工作方式始於20世紀80年代末，他亦是以非傳統的方式進入這個行業，當時正值奧古斯托·皮諾切特(Augusto Pinochet)的壓迫獨裁統治末期，信息非常有限。

Mr. Aravena said that he began by “looking at pictures of buildings that were supposed to be important,” and then went to Italy with a sketchbook and measuring tape “to learn from the buildings themselves.”

阿拉維納說，他靠着“研究那些可能非常重要的建築的照片”起步，之後帶着一個速寫本和一個捲尺去了意大利，“向那些建築本身學習”。

“By drawing, you build the buildings again,” he said. “Measuring — you’re in front of a blank page again.”

“通過素描，你可以重新搭建起那些建築，”他說。“通過測量——你又要面對空白的紙頁了。”

Mr. Aravena graduated in 1992 and two years later established his own practice.

1992年，阿拉維納從學校畢業，兩年後開始執業。

In 2000, as a professor at the Harvard Graduate School of Design, Mr. Aravena examined how to redefine quality in social architecture, which made him realize, “we had to create a company to go beyond the academic realm.”

2000年，作爲哈佛設計學院的教授，阿拉維納開始研究如何改進社會福利建築的質量，他發現，“我們得開個公司，超出學術的範疇。”

A year later, Mr. Aravena and Andrés Iacobelli — a transport engineer who has since gone his own way — started Elemental, a so-called do tank (rather than a think tank), with the mandate “Let’s make a company that is able to prove that things can be better.”

一年後，阿拉維納與交通工程師安德雷斯·亞科貝利斯（Andrés Iacobelli，他後來離開了）開創了Elemental公司，這是一個實幹機構(do tank)，而不是一個智庫機構(think tank)，他們的想法是，“讓我們開個公司，證明事情可以變得更好。”

“If we believe we’re good designers, why not try to apply our skills to issues that matter?” Mr. Aravena said. “Social housing is a difficult question and it deserves professional quality, not professional charity.”

“如果我們相信我們自己是好的設計師，爲什麼不試着把我們的本領施展到重要的事情上面？”阿拉維納說。“社會福利房屋是一個棘手的問題，值得擁有專業品質，而不是依靠專業的慈善。”

While such socially conscious work is often done in the margins of a firm, Mr. Aravena said he considered it the primary focus, worthy of top talent’s attention. “We need the best people in the entire chain of production, from the politicians to the social worker to the designer.” He added: “What we’ve been trying to do is communicate that architecture, instead of an extra cost, is an added value.”

這類具有社會意識的設計在其他公司通常處於邊緣地位，但阿拉維納說，他把這類工作視爲重點，認爲它值得一流人才關注。“整個生產鏈上，都需要最好的人才，從政治家到社會工作者再到設計師。”他補充說：“我們努力表明，建築是一種附加的價值，而不是額外的成本。”

Mr. Arevena’s current partners in Elemental are all his former students: Gonzalo Arteaga, Juan Cerda, Víctor Oddó and Diego Torres. “Architecture is a collective discipline,” he said.

目前，Elemental公司的其他合夥人都是阿拉維納以前的學生，包括岡佐拉·阿特亞加(Gonzalo Arteaga)、胡安·瑟爾達(Juan Cerda)、維克多·奧多(Víctor Oddó)和迭戈·託雷斯(Diego Torres)。“建築是一門合作的學問，”他說。

He said he was particularly proud to be working in Chile at a time of critical mass in quality architecture, adding that he “could name maybe 10 architects — and 10 is quite a lot” of whose work he is “envious.”

他說，目前智利有大量優秀建築，讓他感到特別驕傲，他還說，“我或許可以說出十個建築師——這個數字可不小，”他們的作品讓他感到“嫉妒”。

And Mr. Aravena said he was content to continue working in the relative obscurity of Chile, with its population of about 18 million.

阿拉維納說，他滿足於繼續在相對偏僻的智利默默無聞地工作，這個國家的人口只有1800萬。

“We’re very O.K. to be here in the corner of the world,” he said. “We can concentrate and produce, and we’re not missing anything.”

“我們安於呆在這裏，呆在世界的角落，”他說。“我們可以集中精力，努力創作，我們什麼也沒錯過。”

With the Pritzker, however, Mr. Arevena is bound to become the subject of more attention.

然而，獲得普利茲克獎肯定會令阿拉維納獲得更多關注。

But winning the prize does not come with pressure to produce, Mr. Aravena said; instead, it gives him the freedom to experiment. “I guess from now on, we don’t have to prove anything to anybody,” he said. “Now we feel more encouraged to enter fields with an even higher risk of failure.”

但是，他說，獲獎並沒有給他帶來創作上的壓力，相反卻給了他實驗的自由。“我想，從現在開始，我們不用再向任何人證明任何東西了，”他說。“現在我們覺得更受鼓舞，可以進入更有風險的領域。”

“Rather than the responsibility or weight that such a prize could mean, I feel now lighter,” he added, “to be able to start running.”

“我並沒有被這樣一個大獎所帶來的責任或者沉甸甸的分量壓住，而是感覺更輕盈了，”他補充說。“我可以開跑了。”