The Pritzker Prize is the most important award in the field of architecture, awarded to a living architect whose built work "has produced consistent and significant contributions to humanity through the art of architecture." The Prize rewards individuals, not entire offices, as took place in 2000 (when the jury selected Rem Koolhaas instead of his firm OMA) or in 2016 (with Alejandro Aravena selected instead of Elemental); however, the prize can also be awarded to multiple individuals working together, as took place in 2001 (Herzog & de Meuron), 2010 (Kazuyo Sejima and Ryue Nishizawa of SANAA), and 2017 (Rafael Aranda, Carme Pigem, and Ramon Vilalta of RCR Arquitectes).
Alvaro Siza: The Latest Architecture and News
This year, architecture’s highest honor, the Pritzker Prize, has been granted to Grafton Architects, a Dublin-based architectural firm mainly ran by female partners Yvonne Farrell and Shelley McNamara. For the first time ever in its 42-year history, due to the constraints set by Covid-19 global pandemic, the organizers of the Pritzker Prize decided to use Livestream the award ceremony. Having reached the end of 2020, ArchDaily has summed up what current and previous Pritzker Prize winners have accomplished during this turbulent year.
Mortality defines both architecture and human experience. Throughout time, funerary structures have been designed across societies and civilizations to ground personal and shared beliefs. The idea of the afterlife shapes how these buildings are made, from symbolic monuments to vast tombs and crypts. Now a new range of modern architecture has been designed for remembrance and reflection.
Álvaro Siza was born in 1933, on the same year that the Bauhaus closed its doors. He is perhaps the last living modernist or, at the very least, the most significant voice to carry out the unfinished modernist project all the way into the 21st century. 'Siza – Unseen & Unknown' showcases this continuity through 100 sketches, as well as its contradictions. These drawings are from his most personal archive, in addition to small collections of close friends and family. Hence, they focus not only on the professional legacy but also on the familial one, where Maria Antónia Siza (1940–1973)
Álvaro Siza and Carlos Castanheira have announced a new project for the Haishang Museum in the Jiading district of Shanghai. The proposal includes a building for the museum and three other smaller structures; a pavilion, a tea house and a bridge. As Castanheira says, the project will be many projects within one.
One of the most highly regarded architects of his generation, Portugese architect Álvaro Siza (born 25 June 1933) is known for his sculptural works that have been described as "poetic modernism." When he was awarded the Pritzker Prize in 1992, Siza was credited as being a successor of early modernists: the jury citation describes how "his shapes, molded by light, have a deceptive simplicity about them; they are honest."
The Tchoban Foundation - Museum for Architectural Drawing in Berlin shared with us this article about the exhibition Siza: Unseen and Unknown curated by architect António Choupina together with Dr. h. c. Kristin Feireiss. According to them, "this exhibition was conceived as a family show, not in the sense of an architectural dynasty but rather as a lyrical collection of drawings from the architect’s private surroundings". The selected drawings are from the Siza family’s own collection and include sketches from known and less well-known projects, as well as architectural fantasies.
Álvaro Siza was born in 1933, on the same year that the Bauhaus closed its doors. He is perhaps the last living modernist or, at the very least, the most significant voice to carry out the unfinished modernist project all the way into the 21st century.
Siza: Unseen and Unknown showcases this continuity through 100 sketches, as well as its unavoidable contradictions. These drawings are from his most personal archive, in addition to small collections of close friends and family. Hence, they focus not only on the professional legacy but also on the familial one, where Maria Antónia Siza (1940-1973) takes centre stage. His wife will draw him, he will draw her and the loving embrace of the human body will be transversal to architecture, art, life.
There are at least as many definitions of architecture as there are architects or people who comment on the practice of it. While some embrace it as art, others defend architecture’s seminal social responsibility as its most definitive attribute. To begin a sentence with “Architecture is” is a bold step into treacherous territory. And yet, many of us have uttered — or at least thought— “Architecture is…” while we’ve toiled away on an important project, or reflected on why we’ve chosen this professional path.
Most days, architecture is a tough practice; on others, it is wonderfully satisfying. Perhaps, though, most importantly, architecture is accommodating and inherently open to possibility.
This collection of statements illustrates the changing breadth of architecture’s significance; we may define it differently when talking among peers, or adjust our statements for outsiders.
Italian artist Federico Babina has published the latest in his impressive portfolio of architectural illustrations. “Archivoid” seeks to “sculpt invisible masses of space” through the reading of negatives – using the architectural language of famous designers past and present, from Frank Lloyd Wright to Bjarke Ingels.
Babina’s images create an inverse point of view, a reversal of perception for an alternative reading of space, and reality itself. Making negative space his protagonist, Babina traces the “Architectural footprints” of famous architects, coupling mysterious geometries with a vibrant color scheme.
Dealing with the context of a project’s site is an essential part of architecture, be it by denying or incorporating preexisting elements and the environment’s conditions in the design. However, understanding what lies around as an active agent of the decisions and space organization goes beyond simply considering the good views, natural ventilation, solar orientation, etc; it is about seeing these conditions as co-authors.
These cases are most notable when practices think of the architecture's surrounding environment as an active agent.
During the second half of the twentieth century, architects all over the world, specifically from Europe, produced a legacy of renowned, modern works in Brazil. Following the principles of masters such as Le Corbusier, names like Lina Bo Bardi, Hans Broos, and Franz Heep held an undeniable influence on Brazilian architecture.
In recent years, the country has been welcoming a variety of buildings designed by foreign architects. Below, we have compiled 10 iconic works by international architects.
If the surest sign of summer in London is the appearance of a new pavilion in front of the Serpentine Gallery, then it’s perhaps fair to say that summer is over once the pavilion is taken down. The installations have gained prominence since its inaugural edition in 2000, acting as a kind of exclusive honor and indication of talent for those chosen to present; celebrated names from the past names include Zaha Hadid, Rem Koolhaas, and Olafur Eliasson.
Portuguese architectural photographer João Morgado shared with us a series of images from Álvaro Siza's latest project, the Capela do Monte. This chapel is located in Barão de São João, in the Algarve region of Portugal. Part of the Monte da Charneca complex, Capela do Monte was commissioned in 2016 by a Swiss-American couple residing there.
Inaugurated in March of this year, the sandy colored, 10.34 x 6.34-meter structure was built at the highest point of a hill and can only be accessed by foot. Its monolithic geometry suggests, from outside, a serenity from the inner space. The wooden furniture within the chapel were all designed by Siza and manufactured by Serafim Pereira Simões Successors of Porto.
Lasting for close to two decades now, the annual Serpentine Gallery Pavilion Exhibition has become one of the most anticipated architectural events in London and for the global architecture community. Each of the previous eighteen pavilions have been thought-provoking, leaving an indelible mark and strong message to the architectural community. And even though each of the past pavilions are removed from the site after their short summer stints to occupy far-flung private estates, they continue to be shared through photographs, and in architectural lectures. With the launch of the 18th Pavilion, we take a look back at all the previous pavilions and their significance to the architecturally-minded public.