1981 Pritzker Laureate
In addition to the
Leicester project already mentioned, his other major works at the time he was
awarded the Pritzker Prize included a training center for Olivetti in Hasselemere;
In an article written in 1979 for Contemporary Architects, Stirling said, 'I believe that the shapes of a building should indicate—perhaps display—the usage and way of life of its occupants, and it is therefore likely to be rich and varied in appearance, and its expression is unlikely to be simplein a building we did at Oxford some years ago, it was intended that you could recognize the historic elements of courtyard, entrance gate towers, cloisters; also a central object replacing the traditional fountain or statue of the college founder. In this way we hoped that students and public would not be disassociated from their cultural past. The particular way in which functional-symbolic elements are put together may be the 'art' in the architecture.'
'If the expression of functional-symbolic forms and familiar elements is foremost, the expression of structure will be secondary, and if structure shows, it is not in my opinion, the engineering which counts, but the way in which the building is put together that is important.'
writing in the same publication, said '
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Citation from the Pritzker Jury
We honor James Stirling—a prodigy for so many years—as a leader of the great transition from the Modern Movement to the architecture of the New—an architecture that once more has recognized historical roots, once more has close connections with the buildings surrounding it, once more can be called a new tradition.
Originality within this tradition is Stirling's distinction: in the old 'modern times,' 45 degree angles in plan and section; today, startling juxtapositions and transpositions of clearly classical and 19th century references.
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James Stirling's Acceptance Speech
One of the continuities in the history of Architecture is that every now and again a new patron and benefactor appears, and on behalf of my profession, here and abroad, I would saluteJayPritzker—a most generous friend to Architects.
Somehow I think it might have been easier for Philip Johnson who, on the first occasion of the Prize giving, talked about the importance of the new Prize to the Profession, and maybe easier for Luis Barragan, reviewing a lifetime's work. Perhaps it's more difficult for me—at any rate I feel it that way. I can't talk about the Prize as a new event and I hope I'm not at the end of my work, though I guess I'm somewhere past the midway.
It's always been
difficult for me to see myself. I work very intuitively,
I'm not even sure whether I'm an English Architect, a European or an
International Architect. It is embarrassing to talk about myself and therefore
I will quote from a recent article written by Robert Maxwell especially about
this 3rd Pritzker award. Maxwell was a fellow student at Liverpool School of
Architecture in the 1940's and is now Professor of Architecture at
The `high architectural aspirations' achieved in some of our earlier projects were in a sense accidents —the clients were not necessarily expecting a work of art in addition to a well functioning building—but they got buildings which have ever since been overrun with hordes of architectural students pounding through, something the users didn't anticipate or now appreciate.
However, for me, right from the beginning the `art' of architecture has always been the priority. That's what I trained to do (and incidentally its what students are still trained to do), so it's particularly gratifying to feel that the Pritzker Prize is being awarded anually to Architects who value the art as highest and who have at the same time achieved a consistent sequence of buildings.
I agree with
Maxwell that by and large the UK situation is to rate artistic content as
coming rather far down the line of priorities (or as something which, with a
bit of luck, might just happen) . So how do fine buildings get built in the
Historically, the quality of the art in the architecture, both at time of building and in retrospect, is remembered as the significant element. However, with the advent of modern architecture in this century, sociological, functional and real estate values.
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Prizes in Architecture
Cesar Pelli, architect and Pritzker Juror
address at the Presentation ceremony
The art of architecture is possible only through the understanding of the limitations and possibilities of building. A prize in architecture lauds that understanding, but more, it celebrates the transformation of building into art.
Let us focus on the key stages of this process: a clear understanding of the limitations ofa building problem is a necessary base for the healthy development of a wrk of architecture, but by itself it will produce only a building. Architecture starts with the perception of the potentials of the problem and proceeds by selecting a path through the many possible options. The architect finds or creates that path guided by inner convictions, by aesthetic preferences and by the ideological framework of his or her cultural environment. A good architect modifies that framework to some extent with each design that he or she produces. In some artistic periods we can measure the importance of a work by the extent of the change effected on the theoretical basis of design or in our understanding of architecture. In this manner Architecture is kept alive by being continuously transformed.
A world prize in architecture is given therefore to honor those individuals who have clear minds with which to understand the realities of their building problems, who have the intuition with which to perceive the opportunities inherent in those problems, who have good eyes and hands with which to seize those opportunities and make them art, and who have the knowledge and toughness necessary to carry these intentions into built architecture. In producing this transformation of a building problem into architecture they also transform the Art of Architecture itself.
It is this dual contribution that we honor: First, the specific contribution of the work of architecture, responsible to its site and neighbors, enjoyed by its users and viewers, making its environment better and enriching our experience and our lives. Second, the contribution to our understanding of architecture, affecting in some degree all architects and all buildings and helping to keep Architecture alive and replenished.
Ultimele referate adaugate
- Mihai beniuc - „poezii"
- Mihai eminescu - student la berlin
- Mircea Eliade - Mioara Nazdravana (mioriţa)
- Chirita in provintie de Vasile Alecsandri -expunerea subiectului
- Dragoste de viata de Jack London
|Ion Luca Caragiale
- Triumful talentului… (reproducere) de Ion Luca Caragiale
- Fantasticul in proza lui Mircea Eliade - La tiganci
- „Personalitate creatoare” si „figura a spiritului creator” eminescian
- Enigma Otiliei de George Calinescu - geneza, subiectul si tema romanului
- Arta literara in romanul Ion, - Liviu Rebreanu