展館常代表曇花一現(xiàn)之美和一種近乎擬人的維度：它們程式化地出現(xiàn)在“錯(cuò)誤”的地點(diǎn)，轉(zhuǎn)瞬即逝，卻仍可以（也許）成功地使人們產(chǎn)生正確的意識(shí)。建筑的物質(zhì)性消失了，取而代之的將是其重要意義——這是一種可與寫(xiě)作相媲美的現(xiàn)象。文字，無(wú)論是打印、鐫刻或繪制的，都擁有某種紀(jì)念性的特點(diǎn)。當(dāng)一個(gè)個(gè)字母被組織為詞匯、語(yǔ)句和文章段落時(shí)，字母便消失了，轉(zhuǎn)而為文字的含義所替代。這座展館和文字的聯(lián)系也產(chǎn)生了內(nèi)涵?！酰ㄐ熘m 譯）

Pavilions represent the beauty of transience,an almost anthropomorphic dimension: They are stylised, transitory appearances at the 'wrong' place but can still, possibly, succeed in creating a correct consciousness. The physicality of the building disappears to be replaced by its significance - a phenomenon comparable with that of writing.Lettering, whether typed, chiselled or painted,possesses a certain monumental character which,when the letters are arranged to form words,sentences and texts, disappears to be replaced by meaning. The pavilion and the lettering are engaged in a relationship which produces meaning. □

業(yè)主/Client: 奧地利共和國(guó)/Republic of Austria

合作者/Collaborator: Eric Red

1 外景/Exterior view（攝影/Photo: Margherita Spiluttini）

2 剖面/Section

3 平面/Plan

4 外景/Exterior view

5 外景/Exterior view

6 內(nèi)景/Interior view（4－6 攝影/Photo: Margherita Spiluttini）