2025 Pritzker Prize goes to China's Liu Jiakun for architecture elevating ‘everyday lives'
The 2025 Pritzker Prize, dubbed the Nobel for architecture, has been awarded to China's Liu Jiakun, who was recognised for designs that celebrate 'everyday lives'.
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'In a global context where architecture is struggling to find adequate responses to fast evolving social and environmental challenges, Liu Jiakun has provided convincing answers that also celebrate the everyday lives of people as well as their communal and spiritual identities,' the award's jury wrote in a statement.
Born in 1956, Liu has worked on more than 30 projects in China, ranging from academic and cultural institutions to civic spaces and commercial buildings.
In an interview in his office in
Chengdu in China's southwestern Sichuan region, the architect said he had a simple definition of his profession: 'To simplify, the task of architects is to provide a better living environment for human beings.'
Architecture should reveal something – it should abstract, distil and make visible the inherent qualities of local people.
Liu Jiakun, as quoted by Pritzker Prize award jury
'First of all, you do something that is functional. But if it is just like that, it cannot be called architecture. (So) you have to provide poetry,' he said.
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South China Morning Post
05-03-2025
- South China Morning Post
2025 Pritzker Prize goes to China's Liu Jiakun for architecture elevating ‘everyday lives'
The 2025 Pritzker Prize, dubbed the Nobel for architecture, has been awarded to China's Liu Jiakun, who was recognised for designs that celebrate 'everyday lives'. Advertisement 'In a global context where architecture is struggling to find adequate responses to fast evolving social and environmental challenges, Liu Jiakun has provided convincing answers that also celebrate the everyday lives of people as well as their communal and spiritual identities,' the award's jury wrote in a statement. Born in 1956, Liu has worked on more than 30 projects in China, ranging from academic and cultural institutions to civic spaces and commercial buildings. In an interview in his office in Chengdu in China's southwestern Sichuan region, the architect said he had a simple definition of his profession: 'To simplify, the task of architects is to provide a better living environment for human beings.' Architecture should reveal something – it should abstract, distil and make visible the inherent qualities of local people. Liu Jiakun, as quoted by Pritzker Prize award jury 'First of all, you do something that is functional. But if it is just like that, it cannot be called architecture. (So) you have to provide poetry,' he said.
Asia Times
17-10-2024
- Asia Times
At 70, Godzilla's warning to humanity is still urgent
The 2024 Nobel Peace Prize has been awarded to Nihon Hidankyo, the Japan Confederation of A- and H-bomb Sufferers Organizations. Many of these witnesses have spent their lives warning of the dangers of nuclear war – but initially, much of the world didn't want to hear it. 'The fates of those who survived the infernos of Hiroshima and Nagasaki were long concealed and neglected,' the Nobel committee noted in its announcement. Local groups of nuclear survivors created Nihon Hidankyo in 1956 to fight back against this erasure. Around the same time that Nihon Hidankyo was formed, Japan produced another warning: a towering monster who topples Tokyo with blasts of irradiated breath. The 1954 film 'Godzilla' launched a franchise that has been warning viewers to take better care of the Earth for the past 70 years. We study popular Japanese media and business ethics and sustainability, but we found a common interest in Godzilla after the 2011 earthquake, tsunami and meltdown at Japan's Fukushima Daiichi nuclear plant. In our view, these films convey a vital message about Earth's creeping environmental catastrophe. Few survivors are left to warn humanity about the effects of nuclear weapons, but Godzilla remains eternal. By 1954, Japan had survived almost a decade of nuclear exposure. In addition to the bombings of Hiroshima and Nagasaki, the Japanese people were affected by a series of US nuclear tests in the Bikini Atoll. When the US tested the world's first hydrogen bomb in 1954, its devastation reached far outside the expected damage zone. Though far from the restricted zone, the Lucky Dragon No. 5 Japanese fishing vessel and its crew were doused with irradiated ash. All fell ill, and one fisherman died within the year. Their tragedy was widely covered in the Japanese press as it unfolded. The Castle Bravo hydrogen bomb test on March 1, 1954, produced an explosion equivalent to 15 megatons of TNT, more than 2.5 times what scientists had expected. It released large quantities of radioactive debris into the atmosphere. This event is echoed in a scene at the beginning of 'Godzilla' in which helpless Japanese vessels are destroyed by an invisible force. 'Godzilla' is full of deep social debates, complex characters and cutting-edge special effects for its time. Much of the film involves characters discussing their responsibilities – to each other, to society and to the environment. This seriousness, like the film itself, was practically buried outside of Japan by an alter ego, 1956's 'Godzilla, King of the Monsters!' American licensors cut the 1954 film apart, removed slow scenes, shot new footage featuring Canadian actor Raymond Burr, spliced it all together and dubbed their creation in English with an action-oriented script they wrote themselves. This version was what people outside of Japan knew as 'Godzilla' until the Japanese film was released internationally for its 50th anniversary in 2004. While 'King of the Monsters!' traveled the world, 'Godzilla' spawned dozens of Japanese sequels and spinoffs. Godzilla slowly morphed from a murderous monster into a monstrous defender of humanity in the Japanese films, a transition that was also reflected in the later US-made films. In 1971, a new, younger creative team tried to define Godzilla for a new era with 'Godzilla vs Hedorah.' Director Yoshimitsu Banno joined the movie's crew while he was promoting a recently completed documentary about natural disasters. That experience inspired him to redirect Godzilla from nuclear issues to pollution. World War II was fading from public memory. So were the massive Anpo protests of 1959 and 1960, which had mobilized up to one-third of the Japanese people to oppose renewal of the US-Japan security treaty. Participants included housewives concerned by the news that fish caught by the Lucky Dragon No. 5 had been sold in Japanese grocery stores. At the same time, pollution was soaring. In 1969, Michiko Ishimure published Paradise in the Sea of Sorrow: Our Minamata Disease , a book that's often viewed as a Japanese counterpart to Silent Spring , Rachel Carson's environmental classic. Ishimure's poetic descriptions of lives ruined by the Chisso Corporation's dumping of methyl mercury into the Shiranui Sea's Minamata Bay from 1932 to 1968 – poisoning tens of thousands of people who ate local seafood – awoke many in Japan to their government's numerous failures to protect the public from industrial pollution. 'Godzilla vs Hedorah' is about Godzilla's battles against Hedorah, a crash-landed alien that grows to monstrous size by feeding on toxic sludge and other forms of pollution. The film opens with a woman singing jazzily about environmental apocalypse as young people dance with abandon in an underground club. This combination of hopelessness and hedonism continues in an uneven film that includes everything from an extended shot of an oil slick-covered kitten to an animated sequence to Godzilla awkwardly levitating itself with its irradiated breath. After Godzilla defeats Hedorah at the end of the film, it pulls a handful of toxic sludge out of Hedorah's torso, gazes at the sludge, then turns to stare at its human spectators – both those onscreen and the film's audience. The message is clear: Don't just sing lazily about imminent doom – shape up and do something. 'Godzilla vs. Hedorah' bombed at the box office but became a cult hit over time. Its positioning of Godzilla between Earth and those who would harm it resonates today in two separate Godzilla franchises. One line of movies comes from the original Japanese studio that produced 'Godzilla.' The other line is produced by US licensees making eco-blockbusters that merge the environmentalism of 'Godzilla' with the spectacle of 'King of the Monsters.' The 2011 Fukushima disaster has now become part of the Japanese people's collective memory. Cleanup and decommissioning of the damaged nuclear plant continues, amid controversies around ongoing releases of radioactive water used to cool the plant. Some residents are allowed to visit their homes but can't move back there while thousands of workers remove topsoil, branches and other materials to decontaminate these areas. Before Fukushima, Japan derived one-third of its electricity from nuclear power. Public attitudes toward nuclear energy hardened after the disaster, especially as investigations showed that regulators had underestimated risks at the site. Although Japan needs to import about 90% of the energy it uses, today over 70% of the public opposes nuclear power. The first Japanese 'Godzilla' film released after the Fukushima disaster, 'Shin Godzilla' (2016), reboots the franchise in a contemporary Japan with a new type of Godzilla, in an eerie echo of the damages of and governmental response to Fukushima's triple disaster. When the Japanese government is left leaderless and in disarray following initial counterattacks on Godzilla, a Japanese government official teams up with an American special envoy to freeze the newly named Godzilla in its tracks, before a fearful world unleashes its nuclear weapons once again. Their success suggests that while national governments have an important role to play in major disasters, successful recovery requires people who are empowered to act as individuals. Amanda Kennell is an assistant professor of East Asian Languages and Cultures at the University of Notre Dame and Jessica McManus Warnell is a teaching professor of management and organization at the University of Notre Dame. This article is republished from The Conversation under a Creative Commons license. Read the original article.
South China Morning Post
01-10-2024
- South China Morning Post
How China's ‘little emperors' went from monarchs to overwhelmed caregivers
Wendy Liu has grown to dread the sound of her phone. These days, most calls mean a parent of the 47-year-old vocational school teacher has been rushed to the hospital. Whether her mother with Alzheimer's disease or her father with cancer, any emergency means a long, anxious drive from work to her home in Guangzhou – a stress-ridden trip she has made on countless nights. Liu and her husband Deng Jie are members of China's first generation of only children. Born in 1977 – only a year after the country instituted a one-child limit for most urban households – they not only have to raise two children, but also care for four ageing parents. Last month's announcement of higher retirement ages and persistent levels of youth unemployment are adding to worries they will need to work longer than their parents did, all the while providing more financial support to their adult children. The dilemma of balancing care for the elderly and the young is becoming more commonplace as this cohort enters middle age. This 'sandwich generation' is being overwhelmed with threefold pressures: a longer life expectancy for their elderly parents, extended dependency periods for their children, and hurdles in their own careers compounded by an economic downturn. Raised without any siblings in the 1980s, China's first batch of only children were once jokingly called 'little emperors' for being the sole focus of their families.
