2024 Pritzker Architecture Prize
RIKEN YAMAMOTO
Larger housing projects also embody relational elements, assuring that even residents who live alone don’t dwell in isolation. Pangyo Housing (Seongnam, Republic of Korea 2010), a complex of nine low-rise housing blocks is designed with nonprescriptive transparent ground floor volumes that catalyze interconnectedness between neighbors. A communal deck across the second floor encourages interaction, featuring spaces for gathering, playgrounds, gardens and bridges that connect one housing block to another.
“One of the things we need most in the future of cities is to create conditions through architecture that multiply the opportunities for people to come together and interact. By carefully blurring the boundary between public and private, Yamamoto contributes positively beyond the brief to enable community,” explains Alejandro Aravena, Jury Chair and 2016 Pritzker Prize Laureate. "He is a reassuring architect who brings dignity to everyday life. Normality becomes extraordinary. Calmness leads to splendor."
Civic buildings achieving specific functions also affirm public purpose and assurance. The Hiroshima Nishi Fire Station (Hiroshima, Japan, 2000), appears entirely transparent, with its glass louvered façade and interior glass walls. Visitors and passersby may view through to the central atrium to witness the daily activity and training of firefighters, and are encouraged to grow acquainted with the civil servants who protect them in the many designated public areas of the building. Fussa City Hall (Tokyo, Japan 2008) is conceived as two mid-rise towers, rather than one high-rise to compliment the surrounding neighborhood of low-rise buildings.
Concave bases invite visitors to recline and rest, while green public rooftop and lower levels are designated for flexible public programming.
Saitama Prefectural University (Koshigaya, Japan 1999), specializing in nursing and health sciences, is composed of nine buildings connected by terraces that transition into walkways leading to transparent volumes that allow views from one classroom to another, but also from one building to the next, encouraging interdisciplinary learning. Such fellowship is fostered even within the youngest generations at Koyasu Elementary School (Yokohama, Japan 2018) which features generous, undivided terraces extending learning spaces, permitting sights into and from each classroom, and encouraging relationships amongst students across grades levels.
He considers the user experience first, designing Yokosuka Museum of Art (Yokosuka, Japan 2006) as both a destination for travelers and a daily reprieve for locals. While the inviting serpentine entrance evokes the surrounding Tokyo Bay and nearby mountains, many of the galleries are underground, providing those who approach with a clear, undisturbed visual experience of the natural geography. Visitors may view through to the landscape and other galleries from round cutouts in all common spaces, uniting these otherwise distinctive environments so that those inside are impressed upon not only by the artwork, but by the activity of others in the spaces alongside them.
His career has spanned five decades and his projects, ranging from private residences to public housing, elementary schools to university buildings, institutions to civic spaces, and city planning, are located throughout Japan, People’s Republic of China, Republic of Korea and Switzerland.
Yamakawa Villa 1977. Nagano, Japan
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GAZEBO 1986. Yokohama, Japan
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Hotakubo Housing 1991. Kumamoto, Japan
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Iwadeyama Junior High School 1996. Ōsaki, Japan
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Hiroshima Nishi Fire Station 2000. Hiroshima, Japan
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Future University of Hakodate 2000. Hakodate, Japan
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Jian Wai SOHO 2004. Beijing, People’s Republic of China
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Yokosuka Museum of Art 2006. Yokosuka, Japan
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Fussa City Hall 2008. Tokyo, Japan
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Koyasu Elementary School 2018. Yokohama, Japan
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Nagoya Zokei University 2022. Nagoya, Japan
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