Structure, in its learned shape, is neither the imaginative and prescient or the exertions of a novel particular person. This can be a observe which is inherently crew and firm-oriented in its processes. However structure as we realize it is handiest celebrated after it’s finished, and could be very infrequently celebrated for the way it will get made. Few awards acknowledge the huge community of people who allows the ones on the very most sensible of the sphere to place their title to finished works.
Contemporary controversies have handiest thrown extra gentle in this situation—from the petition to have Denise Scott Brown retroactively identified for the paintings that gained her husband Robert Venturi the Pritzker Prize in 1991 (which was once in the long run rejected by means of the Pritzker) to revelations previous this yr about the way in which architects like Richard Meier have abused the ability afforded to them by means of their non-public good fortune.
In a piece of writing just lately revealed by means of City Mag, Katie Okamoto offers her tackle why we will have to believe new tactics to acknowledge the observe of structure as an entire. As she in the long run describes it, “The career is chock filled with creativity; it’s time to incentivize professionalism.” Within the increasingly more various and collaborative box of structure, is it time to recognize the massive crew effort in the back of essentially the most spectacular constructions, fairly than the figurehead that branded them?
Learn Okamoto’s take at the reevaluation of architectural prizes at City Mag.