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汉斯·霍莱因——1985年普利兹克建筑奖获奖者
汉斯·霍莱因(Hans Hollein)1934年出生于奥地利维也纳。就读于维也纳艺术学院、芝加哥伊利诺理工学院、加利福尼亚大学伯克利分校。从他早期求学期间,他表现出绘画天份。但他选择了建筑作为他的职业,他的许多作品都是全世界公私收藏。“建筑是一种由建筑物来实现的精神上的秩序。……建筑活动是人类的一种基本需求,这种需求首先并不是体现在建立保护性的屋顶,而是体现在创造神圣的建筑和预示人活动的焦点——城市的兴起。一切建筑都是有宗教意义的。”
来源:普利兹克建筑奖官方网站

获奖揭晓


Announcement

New York, April 3—Hans Hollein, an Austrian architect whose work is acclaimed around the world, was today named the 1985 Laureate of the Pritzker Architecture Prize. He is the seventh architect to be so honored, and the third from outside the United States.

Consisting of a $100,000 tax-free grant and a bronze sculpture by Henry Moore, the international Pritzker Architecture Prize was established in 1979 to reward a creative endeavor not honored by the Nobel Prizes.

Jay A. Pritzker, president of The Hyatt Foundation that sponsors the prize, presented the check to Hollein today at the Museum of Modern Art. The sculpture will be presented in a formal ceremony at the Huntington Library, Art Collections and Botanical Gardens in San Marino, California on May 10.

The distinguished international panel of jurors that made the selection this year consists of J. Carter Brown, director of the National Gallery of Art in Washington, D.C., who served as chairman; Giovanni Agnelli, chairman of Fiat in Torino, Italy; J. Irwin Miller, chairman, executive and finance committees of the Curnmins Engine Company of Columbus, Indiana; Thomas J. Watson, chairman emeritus of IBM Corporation; and three architects, Ricardo Legorreta of Mexico City; Fumihiko Maki of Tokyo; and 1982 Pritzker Prize Laureate, Kevin Roche of Hamden, Connecticut.

In making the presentation, Pritzker quoted from the jury’s citation which describes Hollein as “an architect who is also an artist… one who with wit and eclectic gusto draws upon the traditions of the New World as readily as upon those of the Old, ” and further, saluting him “as a superb teacher, who urges the young by his example to take big chances, and yet making sure that the designed remains of paramount importance, not the designer.

Brendan Gill, noted author and journalist who is secretary to the jury, in announcing the Laureate, praised Hollein as “that comparatively rare thing in contemporary architecture, an artist-architect, combining great technical prowess with a gift for astonishing the ‘ eye. His buildings, like his drawings, have a playful seductiveness. One is happy in their presence.”

Hollein, who is 51, recently won international competitions to design the Museum of Modern Art in Frankfurt, and the Cultural Forum in Berlin. One of his most famous commissions is the Municipal Museum Abteiberg at Monchengladbach, near Dusseldorf, completed in 1982.

His first commission in 1965 was the small Retti Candleshop in Vienna, which gained him worldwide recognition. He has since done a number of stores, including two Schullin Jewelry Shops in Vienna, and a Beck Department store branch in Trump Tower in New York. Another example of his work in New York is the Richard L. Feigen Gallery completed in 1969. He currently has projects in development for an apartment house in Berlin, a social housing project in Vienna, and office buildings.

Although his architecture is relatively rare in the United States, he received his Master of Architecture degree from the University of California, Berkeley in 1960, and had previously studied with Mies van der Rohe at the Illinois Institute of Technology in Chicago, as well as Frank Lloyd Wright in Wisconsin. He credits a Harkness Fellowship, which he won in 1956, with making it possible to travel to this country following his graduation from the Academy of Fine Arts, Vienna.

He is a frequent visiting professor at Yale University in New Haven and Washington University in St. Louis. He is an active teacher in his own country as well, being a professor at the Academy of Fine Arts, School of Architecture in Dusseldorf, and head of the Institute of Design, Academy of Applied Arts in Vienna.

In addition to his architectural accomplishments, he is a designer of not only furniture and products, but of exhibitions. One of the latter has just opened to critical praise in Vienna, titled “Dream and Reality,’ an exhibit of Viennese cultural history. He has many other exhibition design credits, including one, for the opening of the Cooper-Hewitt Museum in New York.

Art works by Hollein are in collections of the Museum of Modern Art, New York; the Foundacion Miro, Barcelona; the Municipal Museum, Monchengladbach; and the Padiglione dlArte Contemporanes, Milan; as well as many private collections.

Hollein’s numerous other awards include two Reynolds Memorial Awards in the U.S., the City of Vienna’s Architecture Prize, the German Architecture Award, and the Austrian State Award for Environmental Design.

简历


Biography

Hans Hollein was born in Vienna, Austria in 1934. From his earliest school days, he manifested a talent for drawing. Although he chose architecture as his profession, his works of art are in many public and private collections around the world.

He has been described as far more than an architect—artist, teacher, author, and a designer of furniture and silverware. He graduated from the Academy of Fine Arts, School of Architecture, in Vienna in 1956. He was awarded a Harkness Fellowship which afforded him the opportunity travel in the United States. He undertook graduate work at the Illinois Institute of Technology in Chicago, and completed his Master of Architecture degree at the University of California, Berkeley in 1960. During those same years, he was able to meet and study with some of the architects he most admired, including Mies van der Rohe, Frank Lloyd Wright and Richard Neutra.

It is characteristic of his curiosity and humor that when he learned there are seven towns or cities in the United States, all bearing the name, “Vienna,” he took the time to visit all of them. This was while touring the country in a second-hand Chevrolet.

After working in architectural firms in Sweden and the United States, he settled in Vienna where his first commission in 1965 was what Architectural Forum magazine described as “even smaller than most first commissions: a shop and showroom 12 feet wide for a candle maker.” They added however that “it brought him an enthusiastic client and a prominent location on a fashionable Vienna street.”

Known as the Retti Candleshop, Hollein’s accomplishment of this minor commission brought him international attention, including the $25,000 Reynolds Memorial Award. It was the first time in a decade that the award had gone to a work that cost less than the prize.

In 1970, he won praise for his first commission in New York, the Richard Feigen Gallery. The February, 1970 issue of Progressive Architecture headlined an article about the building, “Architectural Faberge,” and further that Hollein’s design combined “an architect’s sense of space with a goldsmith’s sense of craft to produce an exquisite ambiance for art.”

The same article called Hollein “one of the few contemporary architects with the skill, the wit, and the financial backing to recreate the intimate luxury of Versailles’ private chambers,” and harked back to the Retti Candleshop as “Hollein’s earlier masterpiece.” Not surprisingly, other commissions in this very specialized genre of shops followed, including two jewelry stores for Schullin in Vienna, which again gained international acclaim. More recently, he completed a retail shop for the Beck Company in the Trump Tower in New York.

Gradually, his numerous proposals and studies yielded other types of structures as well, from single family residences, to apartment houses, offices and museums. In 1978, he completed a Tourist Office in Vienna. By 1982, he had completed the Municipal Museum Abteiberg, in Monchengladbach near Dusseldorf. This major work brought further acclaim and additional opportunities for projects of a similar nature. The same year that he was named Pritzker Laureate, he won two international competitions, one for a Museum of Modern Art in Frankfurt and another for a Cultural Forum in Berlin. Also in that same year, he designed a major exhibition on Viennese culture, entitled “Dream and Reality,” which opened in Vienna and then made several other stops around the world. One of his best-known exhibits was for the opening of the Cooper-Hewitt Museum in New York, “MANtransFORMS,” on the aspects of design.

Hollein has recently proposed, according to Bill Lacy, secretary to the Pritzker Prize Jury “an audacious subterranean design for a branch of the Solomon R. Guggenheim Museum in New York for Salzburg. With its hybrid manmade and natural forms of sheer cliff like rooms and with spectacular light shafts, Hollein has once again demonstrated his penchant for the elegant and the dramatic.”

评语


Jury Citation

The Pritzker Prize Jury honors Hans Hollein as a master of his profession—one who with wit and eclectic gusto draws upon the traditions of the New World as readily as upon those of the Old. An architect who is also an artist, he has the good fortune to design museums that are then eager to place within their walls works of art from his hand, whether in the form of drawings, collages, or sculpture. In the design of museums, schools, shops, and public housing, he mingles bold shapes and colors with an exquisite refinement of detail and never fears to bring together the richest of ancient marbles and the latest in plastics. The Jury salutes him as a superb teacher, who urges the young by his example to take big chances and yet make sure that not the designer but the thing designed remains of paramount importance. Unflaggingly, he continues to practice what he proclaimed upon behalf of his fellow architects a quarter of a century ago, at the beginning of his distinguished career: “We give back to man the joy of building.”

获奖感言


Ceremony Acceptance Speech

Hans Hollein

I am deeply honored to have been elected by a distinguished jury to be the seventh recipient of the Pritzker Prize. I feel both proud and moved that my endeavors and intentions in art and architecture have been understood and appreciated in such a wonderful way at this point in my life and career.

This is a great moment and I am particularly happy that it happens here, in Los Angeles, in the United States, this great country with which I have had close ties since the late fifties-witnessed also today by the many friends who are here to join in the celebration.

I want to thank the Pritzker family, not only for instituting this prize—a prize which in its short run has come to be considered the world’s major architecture award, but also for the detailed care they have taken to make the formal presentation a real celebration and an event that will be imbued in our memories. Years of intensive work receive joyful recognition in a setting that could not be more appropriate.

I—naturally—want to thank the jury for their choice and also the officers of the award for selecting such a prominent and diversified panel. That architects, eminent art-historians, as well as international business leaders make the judgment together, makes their verdict so valuable and impressive vis-à-vis a wider public.

Thanks and praise also goes to the persons who administer the award, in particular to Brendan Gill, whose impeccable prose and demeanor embellishes this event, and Arthur Drexler, who since my early beginnings has shown interest in my work and given encouragement.

I also want to thank all those people who have been instrumental in my development, above all the teachers—both formal and informal ones, both abroad and in this country, some of whom are here today. And, also very importantly, I want to thank the clients who have given me the opportunity to carry out the work that is now lauded. I am particularly moved that some of those clients came over the Atlantic especially to be here today for this event, an event which is also their day.

I am happy and proud that so many friends are here today who have gone a long way beside me. The recognition I receive today is proving them right, proving them right in giving me support, encouragement and opportunity.

The work I have done could not have been realized without the help of my close collaborators and staff members. To them, I offer my sincere thanks on this occasion.

Even though the Pritzker Prize is an award of the world, and I accept it as an Austrian, and a Viennese, it is also an American prize, and I want to make use of this occasion to acknowledge the profound effect the encounter with this country has had on me and my work. Not only have I studied in this country, but more important to me were the people and the spirit of this country, its wide expanses and its persuasive landscape that have played a major role in the formulation of my thoughts and attitudes about architecture.

It is a fitting coincidence that my first two stations in this country, after deciding not to disappear in the ivory towers of Ivy League universities, but to confront myself with another—maybe the real—America, have been Chicago and California. Chicago has taught me lessons about the city the people and great architecture. To California, I came out of a longing for its lifestyle and its architectural and urban formulation, which to me was unlike Europe and very much of the second half of our century. Los Angeles, to me, was a fascinating phenomenon, a realization of a new approach, of a new spirit. Of course it also has close invisible ties to Vienna, and one of the reasons to come here in the first place had to do with these ties, when I first advanced my research on Rudolph M. Schindler here.

Equally important to me has been the impact of the American landscape. The vast expanses of this country have given me the impetus and the idea of what it means to make man-made structures in space, a man-made environment that not only is a continuation and a transformation of something already existing, but the creation of something new, the artificial in a dialectic with nature.

I have always considered architecture as an art. To me architecture is not primarily the solution of a problem, but the making of a statement. Within the two poles of architectural activity, architecture as ritual and architecture as a means of preservation of body-temperature, my search is for the absolute, as well as for the needs and constraints, which also generate form.

Similarly, I have tried to expand the scope and the range of artistic and architectural intervention. Therefore my interests dwell not only on the sizeable building proper, but on the utterances you can make on a small scale as well, especially in relation to the needs daily life carries with it; the room, the object you feel and touch. Not only do I deal with eternity, with the permanent, but also with the ephemeral and the temporary.

As an artist, I am only responsible to myself and can make highly individualistic manifestations. As an architect, I am responsible to the needs of man and society. Man continuously designs for survival, for immediate survival and for survival after death. The life and work of an artist and architect mirrors this fundamental human situation.

Maybe this is a very European, very Viennese way of looking at things. This dualistic approach, this Manichaean view has its correspondence in the position of standing with one leg in the old world, in tradition, and with the other in the new world, in the future.

In this spirit, I want to accept the Pritzker Prize, as a reward for the past, and an incentive for the
future. I have always considered architecture as an art. To me architecture is not primarily the solution to a problem, but the making of a statement. Within the two poles of architectural activity, architecture as ritual, and architecture as a means of preservation of body-temperature, my search is for the absolute, as well as for the needs and constraints, which also generate form.

作品选

图1 Retti Candleshop (interior), Vienna, Austria, 1965

图1 Retti Candleshop (interior), Vienna, Austria, 1965
image©Franz Hubmann, Vienna/来源:普利兹克建筑奖官方网.

图2 Retti Candleshop (interior), Vienna, Austria, 1965

图2 Retti Candleshop (interior), Vienna, Austria, 1965
image©Franz Hubmann, Vienna/来源:普利兹克建筑奖官方网.

图3 Jewellery Store Schullin I (façade), Vienna, Austria, 1974

图3 Jewellery Store Schullin I (façade), Vienna, Austria, 1974
image©Studio Hollein/Jerzy Surwillo, Vienna/来源:普利.

图4 Museum of Glass and Ceramics, Teheran, Iran, 1978

图4 Museum of Glass and Ceramics, Teheran, Iran, 1978
image©Heinz Wedewardt, Koeln/来源:普利兹克建筑奖官方网.

图5 Austrian Travel Agency, Main Office, Vienna, Austria, 1978

图5 Austrian Travel Agency, Main Office, Vienna, Austria, 1978
image©Franz Hubmann, Vienna/来源:普利兹克建筑奖官方网.

图6 Austrian Travel Agency, Jewish Welcome Center, Vienna, Austria, 1979

图6 Austrian Travel Agency, Jewish Welcome Center, Vienna, Austria, 1979
image©Franz Hubmann, Vienna/来源:普利兹克建筑奖官方网.

图7 Museum Abteiberg Moenchengladbach (view from the garden), Moenchengladbach, Germany, 1982

图7 Museum Abteiberg Moenchengladbach (view from the garden), Moenchengladbach, Germany, 1982
image©Franz Hubmann, Vienna/来源:普利兹克建筑奖官方网.

图8 Museum Abteiberg Moenchengladbach (view toward the entrance), Moenchengladbach, Germany, 1982

图8 Museum Abteiberg Moenchengladbach (view toward the entrance), Moenchengladbach, Germany, 1982
image©Georg Riha, Vienna/来源:普利兹克建筑奖官方网站

图9 Jewellery Store Schullin II, Vienna, Austria, 1983

图9 Jewellery Store Schullin II, Vienna, Austria, 1983
image©Gerald Zugmann, Vienna/来源:普利兹克建筑奖官方网.

图10 “The Gymnastic Lesson”, Exhibition at the Museum Abteiberg Moenchengladbach, Germany, 1984

图10 “The Gymnastic Lesson”, Exhibition at the Museum Abteiberg Moenchengladbach, Germany, 1984
image©Marlies Darsow, Vienna/来源:普利兹克建筑奖官方网.

 

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