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Sure, we live in a global culture,
显而易见的是，我们生活在全球文化大环境中，
and there will always be an interest in international collaborations in China.
中国一直对于国际合作有着浓厚兴趣。
But the days of Chinese architects sitting in the background
但是，过去中国建筑设计师坐在幕后
with the task of working out the construction details of someone else’s vision are quickly coming to an end.
兢兢业业为别人的梦想而打点细枝末节的日子就要一去不复返了。
Wang’s award is a very positive sign for China.
王澍的获奖对中国来讲是个好兆头。
Who can interpret the regional and cultural forces better than those living among them?
除了中国人自己，还有谁能更好地诠释中国的地域与文化魅力呢？
Perhaps we are witnessing a turning point,
也许我们正见证着一个转折，
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.
在这个时代中，中国不再依赖于国外人士对其理念和文化的阐释，转而寄希望于本国的文化制造者。
I am particularly pleased that, of all the great architectural talent in China, Wang was given the nod.
让我尤其感到高兴的是，在中国众多的建筑奇才中，王澍得到了认可。
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.
在我看来，他最大的贡献在于他是如何运用自己的创造力和有独特品味的个人视角，找到了诠释地域和文化影响的平衡点。
His designs are bold contemporary solutions,
他的设计可称为是大胆的现代解构，
yet tap into the memory and history of place.
同时又发掘了当地的历史和记忆。
I am sometimes troubled by what I see being built in cities like Beijing, Shanghai, and elsewhere in China,
我有时会为自己在北京、上海及其他一些中国城市所看到的在建项目而忧虑，
which have almost become a foreign architect’s playground.
因为那些地方俨然已成了外国建筑设计师的游乐园。
The designs are often featureless,
王澍的设计通常都没有地域限制，
and could easily have been built in Houston, Amsterdam, or Vancouver.
完全可以被移植到休斯顿，阿姆斯特丹或者温哥华。
Wang’s work stands as an example of what China needs to be doing more of:
王澍的作品堪称是中国建筑新时代的样本——
providing buildings that speak to the land, culture, people, and sense of place.
我们需要更多地可以与土地、文化、人类和地域感对话的建筑。
