2002年澳洲建筑师默科特获普利策奖,似乎再次证明澳洲建筑已从文化边缘往“中心”发展,而“中心”与“边缘”的对立关系,也愈加简单化了。如果被世界文化的承认是当代建筑存在的唯一理由,建筑也就成了一个文化游戏。在中国建筑急于“走向世界”的背景下,这篇短文建议中国建筑师细心审视澳洲建筑中属于文化游戏之外的“机谋”,例如“神化再造”,“玩世不恭”与“崇拜动手”。 In 2002, the Australian architect Merckt won the Pulitzer Prize. It seems to prove once again that Australian architecture has moved from the cultural edge to the “center” and the antithesis between the “center” and the “margins” has also been simplified. If recognized by the world’s culture is the only reason for the existence of contemporary architecture, architecture has become a cultural game. Against the background of China’s eagerness to “go global,” the essay suggests that Chinese architects carefully examine the “schemes” of Australian architecture that fall outside the cultural game, such as “reincarnation,” “cynicism,” and “worshiping hands.”