Architectural Partners in Japan Become the 2010 Pritzker Architecture Prize Laureates
Los Angeles, CA—Kazuyo Sejima and Ryue Nishizawa, partners in the architectural firm, SANAA, have been chosen as the 2010 Laureates of the Pritzker Architecture Prize. The formal ceremony for what has come to be known throughout the world as architecture’s highest honor will be held on May 17 on historic Ellis Island in New York. At that time, a $100,000 grant and bronze medallions will be bestowed on the two architects.
In announcing the jury’s choice, Thomas J. Pritzker, chairman of The Hyatt Foundation, elaborated, “This marks the third time in the history of the prize that two architects have been named in the same year. The first was in 1988 when Oscar Niemeyer of Brazil and the late Gordon Bunshaft were so honored, and the second was in 2001, when Jacques Herzog and Pierre de Meuron, partners in a Swiss firm, were selected.”
He continued, “Japanese architects have been chosen three times in the thirty year history of the Pritzker Architecture Prize—the first was the late Kenzo Tange in 1987, then in 1993, Fumihiko Maki was selected, and in 1995, Tadao Ando was the honoree.”
The purpose of the Pritzker Architecture Prize is to honor annually a living architect whose built work demonstrates a combination of those qualities of talent, vision and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.
Pritzker Prize jury chairman, The Lord Palumbo quoted from the jury citation to focus on this year’s selection: “For architecture that is simultaneously delicate and powerful, precise and fluid, ingenious but not overly or overtly clever; for the creation of buildings that successfully interact with their contexts and the activities they contain, creating a sense of fullness and experiential richness; for a singular architectural language that springs from a collaborative process that is both unique and inspirational; for their notable completed buildings and the promise of new projects together, Kazuyo Sejima and Ryue Nishizawa are the recipients of the 2010 Pritzker Architecture Prize.”
While most of their work is in Japan, Sejima and Nishizawa have designed projects in Germany, England, Spain, France, the Netherlands and the United States, under their combined name SANAA. The first SANAA project in the United States began construction in 2004 in Ohio—a Glass Pavilion for the Toledo Museum of Art. Completed in 2006, it houses the museum’s vast collection of glass artworks, reflecting the city’s history when it was a major center of glass production.
While that building was still under construction, the New Museum of New York City broke ground in 2005 at 235 Bowery. Completed in 2007, the building has been described as “a sculptural stack of rectilinear boxes dynamically shifted off-axis around a central steel core.”
The jury citation specifically mentions these projects as well as two projects in Japan: “the O-Museum in Nagano and the 21st Century Muscum of Contemporary Art in Kanazawa.” The Ogasawara Museum was one of their first projects together.
The De Kunstline Theater and Cultural Center in Almere, the Netherlands, and a more recent Rolex Learning Center in Lausanne, Switzerland are also major projects of SANAA. Other works in Japan include the Naoshima Ferry Terminal and the Christian Dior Building in Tokyo.
In Essen, Germany, in 2006, the Zollverein School of Management and Design was inaugurated in a new building designed by SANAA on an historical coal mining site. The building is described as an oversized cube (approximately 114 feet in each dimension) with an unusual arrangement of openings and windows of four different sizes.
The Serpentine Pavilion in London, their first built project in the United Kingdom, was in place for three months on the gallery’s lawn—the ninth such commission in the Serpentine’s series of pavilions. In France, a branch of the Louvre Museum in Lens will comprise some 300,000 square feet of construction.
In Valencia, Spain, SANAA provided a unique expansion solution to IVAM (Valencian Institute of Modern Art) in which their existing building housing eight galleries will be completely enclosed by a translucent skin covering an entire block, and thus creating new indoor/outdoor public spaces between the building and the skin. The proposed skin is a light weight perforated metal that allows daylight, wind and rain to pass through. Construction has not yet begun.
Both architects have extensive lists of completed works and projects as individual architects.
Upon learning that she was being honored, Kazuyo Sejima had this reaction: “I am thrilled to receive such an honor. I would like to thank the Pritzker foundation, the jury members, the clients who have worked with us, and all of our collaborators. I have been exploring how I can make architecture that feels open, which I feel is important for a new generation of architecture. With this prize I will continue trying to make wonderful architecture.”
And a similar reaction from Ryue Nishizawa: “I receive this wonderful prize with great humility. I am very honored and at the same time very surprised. I receive and understand this prize as encouragement for our efforts. Every time I finish a building I revel in possibilities and at the same time reflect on what has happened. Each project becomes my motivation for the next new project. In the same way this wonderful prize has given me a dynamic energy that I have never felt before. I thank you very much.”
The distinguished jury that selected the 2010 Laureates consists of its chairman, Lord Palumbo, internationally known architectural patron of London, chairman of the trustees, Serpentine Gallery, former chairman of the Arts Council of Great Britain, former chairman of the Tate Gallery Foundation, and former trustee of the Mies van der Rohe Archive at the Museum of Modern Art, New York; and alphabetically: Alejandro Aravena, architect and executive director of Elemental in Santiago, Chile; Rolf Fehlbaum, chairman of the board of Vitra in Basel, Switzerland; Carlos Jimenez, professor, Rice University School of Architecture, principal, Carlos Jimenez Studio in Houston, Texas; Juhani Pallasmaa, architect, professor and author of Helsinki, Finland; Renzo Piano, architect and Pritzker Laureate, of Paris, France and Genoa, Italy; and Karen Stein, writer, editor and architectural consultant in New York. Martha Thorne, associate dean for external relations, IE School of Architecture, Madrid, Spain, is executive director.
In addition to the previous laureates already mentioned, the late Philip Johnson was the first Pritzker Laureate in 1979. The late Luis Barragán of Mexico was named in 1980. The late James Stirling of the United Kingdom was elected in 1981, Kevin Roche in 1982, Ieoh Ming Pei in 1983, and Richard Meier in 1984. Hans Hollein of Austria was the 1985 Laureate. Gottfried Böhm of Germany received the prize in 1986. Robert Venturi received the honor in 1991, and Alvaro Siza of Portugal in 1992. Christian de Portzamparc of France was elected Pritzker Laureate in 1994. Frank Gehry of the United States was the recipient in 1989, the late Aldo Rossi of Italy in 1990. In 1996, Rafael Moneo of Spain was the Laureate; in 1997 the late Sverre Fehn of Norway; in 1998 Renzo Piano of Italy, in 1999 Sir Norman Foster of the UK, and in 2000, Rem Koolhaas of the Netherlands. Australian Glenn Murcutt received the prize in 2002. The late Jørn Utzon of Denmark was honored in 2003; Zaha Hadid of the UK in 2004; and Thom Mayne of the United States in 2005. Paulo Mendes da Rocha of Brazil was the Laureate in 2006, and Richard Rogers received the prize in 2007. Jean Nouvel of France was the Laureate in 2008. Last year, Peter Zumthor of Switzerland received the award.
The field of architecture was chosen by the Pritzker family because of their keen interest in building due to their involvement with developing the Hyatt Hotels around the world; also because architecture was a creative endeavor not included in the Nobel Prizes. The procedures were modeled after the Nobels, with the final selection being made by the international jury with all deliberations and voting in secret. Nominations are continuous from year to year with hundreds of nominees from countries all around the world being considered each year.
In 1995, Kazuyo Sejima (born in 1956) and Ryue Nishizawa (born in 1966) founded SANAA, the Tokyo architecture studio that has designed innovative buildings in Japan and around the world. Examples of their, groundbreaking work include, among others, the Rolex Learning Center in Lausanne, Switzerland; the Toledo Museum of Art’s Glass Pavilion in Toledo, Ohio; the New Museum of Contemporary Art in New York, NY: the Serpentine Pavilion in London; the Christian Dior Building in Omotesando in Tokyo; and the 21st Century Museum of Contemporary Art in Kanazawa. The latter won the Golden Lion in 2004 for the most significant work in the Ninth International Architecture Exhibition of the Venice Biennale.
Born in Japan’s prefecture of Ibaraki (northeast of Tokyo), Kazuyo Sejima received a degree in architecture at the Japan Women’s University. Upon completion of her studies, she began working in the office of architect Toyo Ito. In 1987, she opened her own studio in Tokyo, and in 1992, she was named the Japan Institute of Architects’ Young Architect of the Year in Japan. Kazuyo Sejima has taught at Princeton University, the Polytechnique de Lausanne, Tama Art University, and Keio University.
Ryue Nishizawa hails from the Kanagawa prefecture (just south of Tokyo), where he graduated from Yokohama National University with a master’s degree in architecture in 1990. He established the office Ryue Nishizawa in 1997, and he holds a professorship at Yokohama National University.
Together, Kazuyo Sejima and Ryue Nishizawa were awarded the Arnold Brunner Memorial Medal of the American Academy of Arts and Letters in 2002, a design prize from the Architectural Institute of Japan in 2006, and the Kunstpreis Berlin of 2007 from the Berlin Academy of Arts. In addition, they have presented their work throughout the United States and Europe in exhibitions and as visiting lecturers at numerous prestigious universities.
For more than 15 years, architects Kazuyo Sejima and Ryue Nishizawa have worked together in their collaborative partnership, SANAA, where it is virtually impossible to untangle which individual is responsible for what aspect of a particular project. Each building is ultimately a work that comes from the union of their two minds. Together they have produced major commissions, such as the O-Museum in Nagano and the 21st Century Museum of Contemporary Art in Kanazawa (both in Japan), the Glass Pavilion at the Toledo Museum (Ohio), De Kunstline Theater and Cultural Center (Almere, the Netherlands), the New Museum of Contemporary Art (New York, NY), and the recent Rolex Learning Center (Lausanne, Switzerland).
The buildings by Sejima and Nishizawa seem deceptively simple. The architects hold a vision of a building as a seamless whole, where the physical presence retreats and forms a sensuous background for people, objects, activities, and landscapes. They explore like few others the phenomenal properties of continuous space, lightness, transparency, and materiality to create a subtle synthesis. Sejima and Nishizawa’s architecture stands in direct contrast with the bombastic and rhetorical. Instead, they seek the essential qualities of architecture that result in a much-appreciated straightforwardness, economy of means, and restraint in their work.
This economy of means, however, does not become a simple reductive operation in the architects’ hands. Instead, it is an intense and rigorous investigation anchored in hard work and steely determination. It is a constant process of refinement, where each client’s program is fully investigated and multiple design possibilities are explored through numerous drawings and models that check every alternative. Ideas are considered and discarded, reconsidered and reworked until only the essential qualities of a design remain. The result is a deft union of structure and organization, of logical purpose and precise beauty.
It may be tempting to view Sejima and Nishizawa’s refined compositions of lightness and transparency as elitist or rarefied. Their aesthetic, however, is one of inclusion. Their approach is fresh, always offering new possibilities within the normal constraints of an architectural project as it systematically takes the next step. They use common, everyday materials while remaining attuned to the possibilities of contemporary technology; their understanding of space does not reproduce conventional models. They often opt for non-hierarchical spaces, or in their own words, the “equivalence of spaces,” creating unpretentious, democratic buildings according to the task and budget at hand. One example is the Almere project in the Netherlands, with its many simple classrooms and workshops, all presenting privileged views of the sea. Another example is the Rolex Learning Centre in Lausanne, a space to be used by students day and night. Sejima and Nishizawa originally conceived it as a multi-story building, but, in the course of their deliberation, it became a single yet vast, flowing space. The building’s many spaces (library, restaurant, exhibition areas, offices, etc.) are differentiated not by walls but by undulations of a continuous floor, which rises and falls to accommodate the different uses, while allowing vistas across this internal “landscape for people.”
The relation of the building to its context is of utmost importance to Sejima and Nishizawa. They have called public buildings “mountains in the landscape,” believing that they should never lose the natural and meaningful connection with their surroundings. The New Museum in New York feels at home in the rough Bowery area of the city. Their glass-enclosed museums, such as the Glass Pavilion at the Toledo Museum of Art in Ohio, blur the borders between inside and out, providing direct and changing views to the surroundings.
While Sejima and Nishizawa have not published theoretical treatises to date, they are cerebral architects, whose work is based on rigorous investigation and guided by strong and clearly defined concepts. The appointment of Kazuyo Sejima as the director of the 2010 Venice Architecture Biennale is a tribute to this.
For architecture that is simultaneously delicate and powerful, precise and fluid, ingenious but not overly or overtly clever; for the creation of buildings that successfully interact with their contexts and the activities they contain, creating a sense of fullness and experiential richness; for a singular architectural language that springs from a collaborative process that is both unique and inspirational; for their notable completed buildings and the promise of new projects together, Kazuyo Sejima and Ryue Nishizawa are the recipients of the 2010 Pritzker Architecture Prize.
Ceremony Acceptance Speech
Kazuyo Sejima & Ryue Nishizawa
Dear ladies and gentlemen, it is a great honor for us to be invited to this wonderful place. We are extremely delighted to be here with you tonight.
We would like to sincerely thank the Pritzker family, especially Mrs. Cindy Pritzker and Tom and Margot Pritzker. Thank you also to the Hyatt Foundation. To the members of the jury, thank you for selecting us. To our dear clients, thank you for giving us the opportunity to think and to realize our works. We would also like to thank all of our staff over the years, together with whom we have gone through many good and hard times. Thank you to all of the consultants and engineers who were involved in our projects—we have been deeply inspired by your expertise and passion. We are overwhelmed with our gratitude to all of you.
We would also like to take this moment to thank two special people in particular: Mr. Mutsuro Sasaki, who is here with us tonight, and Mr. Toyo Ito.
Throughout the years, Mr. Sasaki has been influential in many of our projects for structural planning and almost all of our designs have been realized together with him. Our collaboration cannot be described simply as a business relationship where he calculates the structure and we make the design. It is much more a union of creative visions through which he has helped us to see infinite possibilities. Without Mr. Sasaki, our architecture might have developed into something completely different. So we would like to thank you very much, Mr. Sasaki. We greatly appreciate everything that you have done for us.
As you know, Mr. Toyo Ito has been an immensely influential figure for both of us since we first entered into the world of architecture. Once again, we would like to express our deepest appreciation and respect for Mr. Ito. His wonderful works, words, and critiques have given us direction, which has affected us in immeasurable ways in the past and this will no doubt continue in our future. Words are not enough to express our gratitude and great admiration for Mr. Ito.
It has been fifteen years since we founded an architecture studio called SANAA. Back then, we did not imagine working on so many projects around the world and we did not even dream of standing here tonight to receive such an honor. The reason we started SANAA was because of a competition for an extension at the Museum of Contemporary Art in Sydney, Australia. Since it was our first opportunity to work on an international project, and it being the largest-scale project for the firm until that time, we thought it would be fun to form a team and did so in a rather light-hearted manner. The project was never realized, but together as SANAA, we won competitions for a theater in Almere, Holland, and a museum in Kanazawa, Japan. SANAA continues to exist today because we had the great fortune of working on projects like these.
As we continued, through trial and error, our direction, interests, and passions became clearer as we continued. Looking back, one of the major projects that defined our direction was the design for the 21st Century Museum of Contemporary Art in Kanazawa. This is a museum positioned in the very center of the city. We began with the concept of an “open” museum so that it is not only for art experts but also for the people of the city, who do not necessarily have a professional connection with art. We proposed a museum without a front or back so that people can enter freely from any direction. We also thought carefully about its effect on the surroundings and the relationship of the building with its context, because of the historical background of the region. When the building was completed and we saw that people enjoyed using the museum, we truly realized how wonderful it is for architecture to be “open.” A great deal of our aims became more obvious to us because of this museum; therefore we would like to express our gratitude to the museum, Kanazawa city, the mayor, and the people of Kanazawa for this great opportunity.
Since then, we have been involved in the project for The Toledo Museum of Art Glass Pavilion in Ohio, and here in New York, we were given a fantastic chance to design the New Museum of Contemporary Art. In this project, we wanted to create a building that relates closely to the dynamics of Bowery Street and echoes the philosophy of the museum. The building accommodates the program vertically and has become rather tall because of the limited size of the site. Despite its height, the museum aimed to absorb and respond to the activities of New Yorkers and the animated atmosphere of the city.
The Rolex Learning Center at the Ecole Polytechnique Fédérale de Lausanne (“EPFL”), which opened this year, is a building with a three-dimensional spatial composition. One large room undulates up-and-down and the building itself becomes a landscape whose topography provides various kinds of spaces. Again, our aim was to produce a building that is open to the people and creates different environments. The ideas we had been thinking about since the museum in Kanazawa developed to become a more organic and three-dimensional building.
As well as running the SANAA studio together, we both simultaneously lead our own individual architectural offices. So, there are three studios in total working together, all under one roof—which sounds rather confusing. SANAA works mainly on international projects and competitions and our individual firms work on friends’ houses and private galleries. There are exceptions but it basically works like this. People often ask us why we work in such a complicated way or criticize that it is confusing or does not look very efficient. But we continue to work like this because we like working this way. In the individual firms, we each think about architecture on our own and struggle with our own ideas. At the same time, we inspire and critique each other at SANAA. We believe working this way opens up many possibilities for both of us. The fact that we have both been awarded the prize gives us so much confidence and we are very happy and truly touched. Again, thank you very much.
We understand this award is not only in recognition of our past works but rather an encouragement toward new architectural creations. Our aim is to make better, innovative architecture and we will continue to put forth our best effort to do so.
Thank you very much.