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This year’s Pritzker Prize, often referred to as the “Nobel Prize for Architecture,” went to a man who actively eschews a recognizable style.
Liu Jiakun has spent much of his four-decade career designing understated academic buildings, museums, and public spaces in his hometown of Chengdu in southwest China. His hyperlocal and, by his own admission, “low-tech” methods have come at the expense of a distinctive aesthetic.
In an era of architectural excess in China, Liu has instead quietly thrived by allowing each place—and the history, nature, and craft traditions that surround it—to shape his projects, rather than the other way around. Whether reusing earthquake rubble or creating voids in which local wildlife can thrive, methodology is more important than form.
“I try my best to penetrate and understand the place… then when the time comes, it will solidify and the idea of the building will emerge,” he told CNN. “A fixed style is a double-edged sword. It can make others remember you quickly, but it also ties you down and makes you lose a certain freedom.”
Liu’s firm, Jiakun Architects, has completed more than 30 projects—all in China—in nearly as many years. The architect has often looked to his country’s history for inspiration.
“I focus on the themes that tradition focuses on, rather than the forms that tradition presents,” he explained.