After last year’s successful pick of dark horse Wang Shu (5:1 odds), a continuation of my Pritzker Prize series seems in order. No promises for a similar success this year, but I think that Shu might be a bellwether for changes in the ambitions of the prize. Perhaps the jury as currently composed will be able to set aside the Eurocentrism of decades past and see to it that a more broad array of architects are on the list of nominees.
5:1 – Kengo Kuma (Japanese, b. 1954)
The reason Kuma’s work is so appealing is hard to put your finger on, but I think it’s mostly his experimentation with materials. In the past few years a number of his completed projects have made the rounds of architecture publications, and they have all been wonderfully inventive and quite beautiful. Kuma also strives to make an environmentally conscious architecture that is also aesthetically robust.
5:1 – David Adjaye (British, b. Tanzania 1966)
Adjaye’s profile has never been larger, with the National Museum of African-American History and Culture on the National Mall in Washington, D.C. under construction, and with his studio’s incredible churning of publications. It would be a great boon for the Pritzker to be awarded to an architect of African descent, and Adjaye is the strongest candidate in my opinion.
8:1 – Giancarlo Mazzanti (Colombian, b. 1963)
The Pritzker hasn’t typically rewarded architects whose work has much of a social agenda, but Mazzanti is an example of an architect whose work is aesthetically daring and socially active. South American architects are extremely underrepresented in the Pritzker canon, and Mazzanti would be a great choice to start changing that.
8:1 – Liz Diller (American, b. Poland, 1954) and Ricardo Scofidio (American, b. 1935) of Diller Scofidio + Renfro
Lincoln Center is done. The Hirshhorn Bubble continues to incite controversy. The High Line is ongoing and continues to accrue much acclaim. The Broad and Berkeley Art Museums are under construction, as are several large academic buildings. Now’s the time for DS+R in my opinion.
10:1 – David Chipperfield (British, b. 1953)
In recent years, Chipperfield has built up a significant portfolio of slick minimalist public buildings around the world and in Great Britain, and he just curated the 2012 Venice Architecture Biennale which bade well for Kazuyo Sejima in 2010. That being said, Chipperfield is a well-known British architect at the height of his career, which doesn’t align with the stated ambition to award those whose careers are on the upswing.
10:1 – Alberto Campo Baeza (Spanish, b. 1946)
The Pritzker has recently rewarded architects whose work has maintained consistency and quality over time, and Campo Baeza is a perfect example. Both his small houses and large cultural buildings use the same minimal vocabulary and impeccable detailing. The clarity and reductiveness of his work is seductive but leaves many people cold.
10:1 – Sou Fujimoto (Japanese, b. 1971)
By far the youngest candidate on my list, Fujimoto has been on a meteoric rise the past two or three years, raising his international profile by exhibiting at the Venice Biennale, and promoting his works worldwide through photographs by Iwan Baan and others. It has just been announced that he will be building this year’s Serpentine Pavilion in London, and the vast majority of architects invited to do so were or became Pritzker winners. He has a strong chance.
12:1 – Manuel & Francisco Aires Mateus (Portuguese, b. 1963 & 1964)
Rising fast, the brothers Aires Mateus are nominated for the Mies van der Rohe prize this year, and exhibited an impressive work at the Venice Biennale. Good candidates.
15:1 – Steven Holl (American, b. 1947)
I think Holl has become a long shot. If they were going to give it to him, they would have done so by now. As a world-famous American architect in his 60s, he doesn’t fit the bill for the new Pritzker.
15:1 – Sean Godsell (Australian, b. 1960)
His rather amazing Design Hub at RMIT opened this year, after almost two decades of residential work that has mined the potentials of architectural skins and surfaces. I think he would be a great choice. Boxes have never looked as good.
20:1 – Ben Van Berkel (Dutch, b. 1957) and Caroline Bos (Dutch, b. 1959) of UN Studio
Though UN Studio seems to be quiet lately, its collaborative partners are still strong candidates because of the well-considered balance of theorizing and building that makes up their practice. The Mercedes Benz Museum they completed a few years ago remains one of my favorite buildings of the last decade, and seems to have been overlooked at the tail end of our worldwide obsession with iconic architecture.
25:1 – Bijoy Jain (Indian, b. 1965) of Studio Mumbai
Studio Mumbai has increased its international profile in the past couple of years, exhibiting at the Venice Biennale and the Victoria & Albert in London, and recently publishing a monograph in El Croquis. Their work is intensely regional and specific, but its lessons for the West about integration with craftspeople and constructors are invaluable.
I have admitted that it is unlikely Peter Eisenman, Toyo Ito, Daniel Libeskind or Wolf Prix will ever win the Pritzker, so I’ve dropped them from my list. I also think that in the interest of diversification, it’s not likely that a younger North American architect will win this year either. That disqualifies Michael Maltzan, Brad Cloepfil, John & Patricia Patkau, and several others who would have been strong contenders ten or fifteen years ago.
Remember the Villa NM? UN Studio’s house for upstate New York, completed a couple years ago and destroyed by fire not a year after its widespread publication? Haven’t we heard this one before? An impossibly pristine architectural vision is destroyed beyond recognition, only to come to prominence later in life? Like many lost architectures before it, the Villa NM seemed destined for destruction. A little bit too white, too shiny, too pristine to exist in perpetuity. Something like a Barcelona Pavilion for the age of Photoshop, in more ways than one.
Like Mies van der Rohe’s genre-defining collage of space and material, UN Studio’s Villa could serve as a watershed in the brief history of our digital architecture. Odd, then, that it should have its origins in such a simple diagrammatic model, a morphing of plane from horizontal to vertical. So much contemporary architecture is based on over-the-top complexity and excess, but its transformative diagram might have more power as an advance over the three modernist masters’ transformations: Wright’s blurring of inside to outside in his Prairie houses, Le Corbusier’s liberation of the ground in Villa Savoye, and Mies van der Rohe’s performative staging of the Farnsworth House.
UN Studio’s move, then, is the contemporary zero-gravity equation of wall and floor, the single-surface so central to the last two decades of design, but in simple, digestible form. Along with the Yokohama Port Terminal by FOA and perhaps OMA’s Educatorium at Utrecht, the Villa NM assembles a demonstrative canon of sorts, illustrations of the possibilities of the new, folded diagram of the twenty-first century. What does all this have to do with Photoshop, you might ask? It’s a question of collage.
At some point in the nineties, Rem Koolhaas coined the term “Photoshopism” to describe a group of new techniques overturning the hegemony of collage over post-modernity. If transparency and pure form (Analytical Cubism) permeated modernism, the logic of collage (Synthetic Cubism) has permeated all the movements of postmodern architecture since the seventies. Then came Photoshop, the logic of which overturns collage through the instrumentalization of blur, dodge, burn, pixelation, texture, et cetera et cetera.
The wall-to-floor diagram is a blur and a morph, formal as well as conceptual, social as well as political. It’s a connection between the three modernist diagrams, morphing between Wright, Corb and Mies, conflating their political agendas into a postmodern cocktail of libertarianism and socialism and performance. But then one night in early 2008 it disappeared, at least as far as further photographic documentation is concerned. All we have are some overworked photographs, some drawings and a digital model or two. There will be no Savoye-esque farm storage phase, no pilgrimage cycle, no rebirth. It was over before if got started. But maybe that’s perfect for this materialistic, media-saturated age, in which planned obsolescence is a problem as well as a solution.
Such obsolescence was part of the reason Barcelona Pavilion, along with Alvar Aalto’s Finnish Pavilion for New York and Melnikov’s USSR Pavilion among others, became so canonical. Their immortality was perpetuated by the unsustainable level of polish captured by photographs. It’s terribly premature to canonize the Villa NM, but this is just the internet after all, and the halflife of this post is most likely even shorter than the house itself.