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FROM THE EDITOR
I
t’s refreshing to see a non-‘starchitect’ winner of the Pritzker Architecture Prize, the accomplished but unshowy Liu Jiakun of China being this year’s recipient. Looking at his buildings, reputed to “celebrate the everyday lives of people,” they embody strong materiality, but also a certain modesty, especially given the “freedom from any aesthetic constraint” that the Pritzker jury claim his work demonstrates.
Sometimes sculptural, Jiakun’s buildings also offer a variety of carefully considered responses to their context, lacking an overbearing ‘signature’ in favour of a softer, more permeable character. He describes this as the result of an aspiration to “be like water – permeate through a place without carrying a fi xed form of my own and to seep into the site itself.” And his re-making bricks from straw and rubble left after the 2008 Chengdu earthquake was a brilliant bit of reuse that’s been rightly celebrated.
Liu is the 54th ‘laureate’ of the Prize, considered the most signifi cant in international architecture. He was chosen, said the judges, in recognition of how he has “placed people and communities at the forefront throughout his four-decade career.” He’s only the third Chinese architect to have won the prize, (one of the other was Chinese-American – IM Pei, the other Wang Shu who founded Amateur Architecture Studio).
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With a similarly sized pool of architects, the UK has done slightly better over the years, with fi ve big names winning (Stirling, Foster, Hadid, Rodgers and Chipperfi eld). The UK’s long tradition of international achievement might have led you to expect a couple more awards to be distributed outside of these household names. But US architects have only won the prize seven times, and produced no winner since 2005. This only reinforces the credibility of the competition, at least in terms of its country-diversity and global perspective, and possibly also refl ects a change in focus away from prestige projects to something more ‘holistic.’
The criteria for such international prizes are probably even more arcane and elusive than other national prizes. However, they always succeed in focusing attention toward the impressive results of committed individuals, and help us to realise the signifi cant recent of the profession over recent decades.
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Put into relief by International Women’s Day recently, the lack of female representation in the Pulitzer Prize is stark, but it’s also a sign of how the profession still fi nds it troublingly diffi cult to allow female designers to rise to the top. It took 25 years for the prize to be awarded to a woman, the late Zaha Hadid. And only fi ve women have won since, two of whom (Yvonne Farrell and Shelley McNamara) had to share the prize in 2020, as they were deemed ‘equal counterparts’ at Grafton Architects. There is still a lot to do.
James Parker, Editor
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