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2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第1张图片

Portrait of Toyo Ito
“虽然伊东先生在他的职业生涯中创作了大量的建筑,但在我看来,他一直都投身在一个项目上——推动建筑的边界。为了实现这一目标,他不惜放手他之前的成就”—— 2013年普利兹克奖评委张永和
“Although Mr. Ito has built a great number of buildings in his career, in my view, he has been working on one project all along, — to push the boundaries of architecture. And to achieve that goal, he is not afraid of letting go what he has accomplished before.” — Yung Ho Chang, Member of the Pritzker Jury for 2013

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Toyo Ito has been announced as the Pritzker laureate for 2013. Ito is the thirty-seventh recipient of the Pritzker Prize and its sixth Japanese recipient.
The Pritzker jury applauded Ito for his ability to synthesize many architectural languages and functionalities in the expression of one personal “syntax,” inspired by the organic structures found in nature and the sensual nature of the human user.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第3张图片

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第4张图片

普利兹克委员会认为伊东丰雄是一名“永恒建筑的缔造者”,并称他“将精神内涵融入设计,以及其作品中所散发出的诗意之美。”在这些作品当中,委员选出了:仙台艺术媒体中心,他利用管柱结构有力地证明了这一点,从而使其内部出现新的空间品质;TOD‘S旗舰店,“建筑的外表也成为建筑的结构”; 东京的多摩美术大学图书馆等许多鼓舞人心的建筑。
Calling him a “creator of timeless buildings,” the Pritzker Jury further praised Ito for “infusing his designs with a spiritual dimension and for the poetics that transcend all his works.” Among those works, the Jury singled out his Sendai Mediatheque, whose innovative use of structural tubes “permitted new interior spatial qualities,” TOD’S Omotesando building in Tokyo, “where the building
skin also serves as structure,” and Tokyo’s Tama Art University Library as particularly inspiring.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第5张图片

In response to the accolade, the highest award in the profession of architecture, Ito humbly expressed that, with each project, he only becomes more “painfully aware of [his] inadequacy, and it turns into energy to challenge the next project.” For that reason, Ito professed, “I will never fix my architectural style and never be satisfied with my works.”
Read more of the Jury’s selection of Toyo Ito as the 2013 Pritzker Laureate, after the break…

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第6张图片

Sendai Mediatheque / Toyo Ito. Image © Nacasa & Partners

While the Jury stressed Ito’s conceptual innovation as the reasoning for his selection, they also mentioned his commitment to the mentorship of young architects (his studio has nurtured many renowned architects, including 2010 Pritzker Prize Laureates Kazuyo Sejima and Ryue Nishizawa) as well as his social responsibility, giving mention to his work on the “Home-for-All” project, providing small communal spaces for those affected by the earthquake in Japan in 2011.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第7张图片

正是这个项目迫使伊东重新定义什么是建筑,建筑是为谁而做的。就像伊东在普林斯顿出版社发行的<< Toyo Ito – Forces of Nature>>提到:“在现代,建筑最受关注的部分是它的独创性,因此,最原始的主题——建筑为何而建?为谁而建?都已经被忘了。一个失去了所有的灾区,为我们提供了一次以新的眼光重新思考什么是真正的建筑。“共有家园”包含了小型建筑物,但它强调了在现代什么形式的建筑才是最需要——甚至质疑了最原始的主题,建筑的真正意义。”
It is this project that Ito actually holds most dear, as it forced him to re-conceptualize what is architecture and who it is for. As Ito says in Toyo Ito – Forces of Nature, published by Princeton Architectural Press: “In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes—why a building is made and for whom—have been forgotten. A disaster zone, where everything is lost offers the opportunity for us to take a fresh look, from the ground up, at what architecture really is. ‘Home-for-All’ may consist of small buildings, but it calls to the fore the vital question of what form architecture should take in the modern era—even calling into question the most primal themes, the very meaning of architecture.”

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实际上,伊东丰雄在威尼斯双年展上接受采访时和我们分享道:“建筑首先要考虑的是它要服务的人群。在现代社会,我认为99%的建筑已经成为了经济活动 的工具,我对这感到非常遗憾。”
Indeed, as Toyo Ito shared with us in an interview given at the Venice Biennale, for him, architecture is first and foremost for the people it serves: “In contemporary society, I think that 99% of architecture has become the instrument for economical activities, and I am very sorry for that. Because I think that architecture is supposed to be something that links people to other people, architecture has to become a form of cooperation, a co-operational body for people. It should not be something that is controlled by economy, but that creates a relationship of trust among people. This is what architects are supposed to do when they create architecture.”

The Pritzker Prize is the latest in a succession of prestigious awards for Ito, who also received the 22nd Praemium Imperiale in Honor of Prince Takamatsu in 2010; The Royal Institute of British Architects’ Royal Gold Medal in 2006; and the Golden Lion for Lifetime Achievement for the 8th Venice Biennale International Exhibition in 2002.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第9张图片

2013年评委会的成员包括:英国的评委会主席帕伦博勋爵,他是世界知名的建筑资助人,现任蛇形画廊信托公司董事长,曾担任英国艺术委员会和泰特美术馆主席,纽约现代艺术博物馆密斯•凡德罗档案馆前任董事;亚历山大•阿拉维那,智利建筑师和埃勒门达建筑公司常务董事;美国最高法院大法官斯蒂芬•布雷耶;中国著名建筑师和教育家张永和; 来自澳大利亚的2002年普利兹克建筑奖得主格伦•马库特;来自芬兰的尤哈尼•帕拉斯马是一名建筑师、教授和作家;常务理事玛莎•索恩西班牙马德里IE建筑学院对外事务副院长。
The 2013 Prizker Jury was made up of The Lord Palumbo, internationally known architectural patron of London, chairman of the trustees, Serpentine Gallery; Alejandro Aravena, architect and executive director of Elemental in Santiago, Chile; Stephen Breyer, U.S. Supreme Court Justice, Washington, D.C.; Yung Ho Chang, architect and educator, Beijing, The People’s Republic of China; Glenn Murcutt, architect and 2002 Pritzker Laureate of Sydney, Australia; and Juhani Pallasmaa, architect, professor and author of Helsinki, Finland. Martha Thorne, associate dean for external relations, IE School of Architecture & Design, Madrid, Spain, is the executive director of the prize.

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2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第11张图片

University Library / Toyo Ito

Throughout his career, Toyo Ito has been able to produce a body of work that combines conceptual innovation with superbly executed buildings. Creating outstanding architecture for more than 40 years, he has successfully undertaken libraries, houses, parks, theaters, shops, office buildings and pavilions, each time seeking to extend the possibilities of architecture. A professional of unique talent, he is dedicated to the process of discovery that comes from seeing the opportunities that lie in each commission and each site.

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2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第13张图片

Whoever reviews Ito’s works notices not only a variety of functional programs, but also a spectrum of architectural languages. He has gradually developed and perfected a personal architectural syntax, which combines structural and technical ingenuity with formal clarity. His forms do not comply with either a minimalist or a parametric approach. Different circumstances lead to different answers. From the outset, he developed works that were modern, using standard industrial materials and components for his lightweight structures, such as tubes, expanded meshes, perforated aluminum sheeting and permeable fabrics. His later expressive works have been formed using mostly reinforced concrete. In a truly extraordinary way, he is able to keep structure, space, setting, technology, and place on equal footing. Although the resulting buildings seem effortlessly in balance, they are the result of his deep knowledge of his craft and his ability to deal with all the aspects of architecture simultaneously. In spite of the complexity of his works, their high degree of synthesis means that his works attain a level of calmness that ultimately allows the inhabitants to freely develop their activities within them.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第14张图片

“创新”一词经常被用来描述伊东丰雄的作品。2002年建于布鲁日的临时展馆及2004年建于东京的 TOD’s 表参道店都集中体现了这一特质,因为它们的外表同时也是其建筑结构。伊东丰雄的创新还体现在他对于传统材料的非传统运用。例如,建于新加坡的怡丰城购物中心就使用了钢筋混凝土来表现流动的有机形式。此外,在他的建筑里还可以看到很多新的技术发明,比如位于大馆的树海巨蛋还有横滨的风之塔。这种创新来源于伊东丰雄在提出设计方案之前对各个层面缜密及系统的分析。
Innovative is a word often used to describe Toyo Ito’s works. This is apparent in the temporary pavilion created in Bruges in 2002 and the TOD’S building in Tokyo in 2004 where the building skin also serves as structure. Innovation can also be demonstrated through his use of traditional materials in non-conventional ways, such as using concrete to create flowing organic forms as he did in the commercial development of VivoCity in Singapore. In addition, his buildings abound with new technological inventions, as can be seen in the Dome in Odate or the Tower of Winds of Yokohama. This innovation is only possible through Ito’s process of carefully and objectively analyzing each situation before proposing a solution.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第15张图片

伊东曾经说过,他力求建筑的流畅,而不受制于现代建筑的局限。在2000年建成的仙台媒体中心,他利用管柱结构有力地证明了这一点,从而使得其内部出现新的空间品质。在台中大都会歌剧院,水平与垂直交错的空间网络提供了交流与相遇的机会。在僵死的网格结构中寻求自由,伊东非常注重关系 – 房间之间的,内外之间的,建筑与环境之间的。伊东丰雄作品的灵感来源于大自然的规律,这一点从其建筑的有机结构和表皮的高度统一中显现出来。
Ito has said that he strives for architecture that is fluid and not confined by what he considers to be the limitations of modern architecture. In the Sendai Mediatheque, 2000, he achieved this by structural tubes, which permitted new interior spatial qualities. In the Taichung Metropolitan Opera House, the horizontal and vertical network of spaces creates opportunities for communication and connection. Seeking freedom from the rigidity of a grid, Ito is interested in relationships — between rooms, exterior and interior, and building and surroundings. Toyo Ito‘s work has drawn on inspiration from the principles of nature, as evidenced by the unity achieved between organic-like structures, surface and skin.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第16张图片

Toyo Ito’s personal creative agenda is always coupled with public responsibility. It is far more complex and riskier to innovate while working on buildings where the public is concerned, but this has not deterred him. He has said that architecture must not only respond to one’s physical needs, but also to one’s senses. Of his many inspiring spaces, the Municipal Funeral Hall in Gifu Prefecture of 2006 or the Tama Art University Library in Tokyo, 2007 or the Serpentine Gallery Pavilion in London in 2002 are but three examples that illustrate Ito’s cognizant understanding of the people and the activities within his buildings. His work in favor of “Home-for-All” or small communal spaces for those affected by the earthquake in Japan in 2011 is a direct expression of his sense of social responsibility.

2013普利兹克奖:伊东丰雄/2013 Pritzker Prize: Toyo Ito第17张图片

为未来培养建筑师也是伊东丰雄一向关注的焦点。这体现在他持之以恒的教学工作以及最近于金治市大三岛重建的银色小屋,作为伊东丰雄建筑博物馆的一部分,以用于工作坊及研究项目。另外,没有比他的工作室再合适不过的例子了,那里就好像一所学校,欢迎年轻的建筑师前来工作和学习。很明显,在力求创新及不断将建筑边界向前推进的过程里,伊东并未将其身后之路封闭。作为先行者,他鼓励人们在他探索的基础上去发现自己发展的方向。可以说, 伊东作为一个真正意义上的大师,他不仅汲取氧气,还制造氧气。
The education of future architects has always been a concern of Toyo Ito. This is apparent in his teaching positions and in the recent rebuilding of the Silver Hut as part of the Toyo Ito Museum of Architecture in Omishima, which is used for workshops and research. Perhaps a more perfect example is his office, which is like a school where young architects come to work and learn. It is evident that while innovating and pushing the boundaries of architecture forward, he does not close the road behind him. He is a pioneer and encourages others to benefit from his discoveries and for them to advance in their own directions as well. In that sense, he is a true master who produces oxygen rather than just consumes it.

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Toyo Ito is a creator of timeless buildings, who at the same time boldly charts new paths. His architecture projects an air of optimism, lightness and joy, and is infused with both a sense of uniqueness and universality. For these reasons and for his synthesis of structure, space and form that creates inviting places, for his sensitivity to landscape, for infusing his designs with a spiritual dimension and for the poetics that transcend all his works, Toyo Ito is awarded the 2013 Pritzker Architecture Prize.

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  • hc880804
  • 2013.10.24 02:42
    感谢楼主 无私共享 精品资料 值得拥有
    • 0
  • 乌衣
  • 2013.07.18 09:57
    • 0
  • Seraphim-Lee
  • 2013.04.08 14:54
    不得不承认 这几代的日本建筑师 都很厉害啊。。但是或许也和人家的整个设计行业环境有关吧。。
    • 0
  • 佩兰-小人物
  • 2013.03.29 08:05
    • 0
  • 建筑小煦
  • 2013.03.27 12:27
    • 0
  • louis.kahn
  • 2013.03.22 14:15
    {:4_86:} 总是很容易从日本的建筑师上面  看到一种接近灵魂的力量, 相比与康的痛侧心扉, 他们总是以一种更轻盈的姿态靠近我们,并感动我们,而我们的出路又在哪里。。。浑浑噩噩 工作两年有余,  得到的远比失去的少太多了,,得到了物质,,   却失去了那么多属于精神上的幸福,,,,方向的失去让人再次遇到这种力量时候     感觉到了痛苦。
    • 0
  • 可可
  • 2013.03.20 23:16
    • 0
  • gentmangaga
  • 2013.03.20 22:12
    • 0
  • vbztccom
  • 2013.03.20 11:31
    • 0
  • Zone
  • 2013.03.19 20:16
    • 0
  • 红色的小蚂蚁
  • 2013.03.19 15:23
    没有沙发!好意外,强了!伊东是我最喜欢的日本建筑师之一,喜欢他的理由有以下几点:1. 他的蛇形画廊,在那么多届里,是最有看头的,2. 他是一个教育家,培养与创新并列进行,并不是所有建筑师都可以做到的。3. 当然,他也是日本迄今为止最帅的建筑师啦。
    • 0

    普利兹克奖 (22 articles)

    伊东丰雄 (40 articles)

    获奖作品 (43 articles)