{"id":26758,"date":"2025-03-05T09:29:03","date_gmt":"2025-03-05T09:29:03","guid":{"rendered":"https:\/\/exagono.es\/el-arquitecto-chino-liu-jiakun-ganador-del-premio-pritzker-2025\/"},"modified":"2025-05-09T09:40:45","modified_gmt":"2025-05-09T09:40:45","slug":"chinese-architect-liu-jiakun-winner-of-the-2025-pritzker-prize","status":"publish","type":"post","link":"https:\/\/exagono.es\/en\/chinese-architect-liu-jiakun-winner-of-the-2025-pritzker-prize\/","title":{"rendered":"Chinese architect Liu Jiakun, winner of the 2025 Pritzker Prize"},"content":{"rendered":"<p class=\"eplus-wrapper eplus-styles-uid-14f563 wp-block-paragraph\">Liu Jiakun&#8217;s path to architecture was neither linear nor predictable. Born in 1956 in Chengdu, People&#8217;s Republic of China, he spent much of his childhood in the corridors of the Second Chengdu People&#8217;s Hospital, founded as Gospel Hospital in 1892, where his mother was an internist. He credits the environment of the Christian medical institute with cultivating his religious tolerance. Although almost all members of his immediate family were doctors, Liu showed an interest in the creative arts, exploring the world through drawing and literature, and a teacher suggested that he choose a career in architecture.<\/p>\n\n\n<figure class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-embed alignwide is-type-video is-provider-vimeo wp-block-embed-vimeo eplus-wrapper\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"A Person, An Architect\" src=\"https:\/\/player.vimeo.com\/video\/1062077310?dnt=1&amp;app_id=122963\" width=\"1400\" height=\"788\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><\/figure>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-072622 wp-block-paragraph\">At seventeen, Liu was part of China&#8217;s Zhiqing, or <em>educated youth<\/em> programme assigned to vocational peasant farming in the countryside. Life, at the time, seemed inconsequential to him, until he was accepted to attend the Chongqing Institute of Architecture and Engineering (renamed Chongqing University) in 1978. Admittedly, he did not fully understand what it meant to be an architect, but &#8220;<em>like in a dream, I suddenly realised that my own life was important<\/em>&#8220;.<\/p>\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\">Liu graduated with a Bachelor of Engineering in Architecture in 1982 and was one of the first students of the generation charged with rebuilding China during a time of transformation for the nation. Early in his career, he worked for the state-owned Chengdu Architectural Research and Design Institute and volunteered to move temporarily to Nagqu, Tibet (1984-1986), the highest region on earth, because &#8220;<em>my main quality at that time seemed to be my lack of fear of anything and, in addition, my painting and writing skills<\/em>&#8220;. During those and the following years, he was an architect by day, and a writer by night, deeply absorbed in literary creation.<\/p>\n\n\n<figure class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-embed alignwide is-type-video is-provider-vimeo wp-block-embed-vimeo eplus-wrapper\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"West Village: A Megastructure, A Masterpiece\" src=\"https:\/\/player.vimeo.com\/video\/1062090159?dnt=1&amp;app_id=122963\" width=\"1400\" height=\"788\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">West Village: a megastructure, a masterpiece.<\/figcaption><\/figure>\n\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\">He almost gave up on his architecture career until he attended the 1993 solo architectural exhibition of Tang Hua, a former university classmate, at the Shanghai Art Museum, which rekindled his passion for the profession and fuelled a new mindset that he too could deviate from social aesthetics.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote eplus-wrapper is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"eplus-wrapper wp-block-paragraph\">Liu believes that this transformative realisation &#8211; that the built environment could serve as a means of personal expression &#8211; was the moment when his architectural career truly began.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\">He would soon experience his most formative years of intellectual growth, debating the purpose and power of architecture with contemporaries such as the artists Luo Zhongli and He Duoling, and the poet Zhai Yongming.<\/p>\n\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\">&#8220;<em>I always aspire to be like water: to permeate a place without carrying a fixed form of my own and to seep into the local environment and the site concerned. Over time, water gradually solidifies, becoming architecture, and perhaps even the highest form of human spiritual creation. However, it still retains all the qualities of that place, both good and bad<\/em>&#8220;.<\/p>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\">He established <a href=\"https:\/\/www.jiakun.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jiakun Architects<\/a> in 1999 in Chengdu, strongly advocating the transcendental power of architecture, understanding it to be a product of community, spirituality, tradition and the existing. &#8220;<em>Identity is as much about the individual as it is about the collective sense of belonging to a place. Liu Jiakun revisits Chinese tradition without a nostalgic approach or ambiguity, but as a springboard for innovation. He creates a new architecture that is at once a historical record, a piece of infrastructure, a landscape and an extraordinary public space<\/em>&#8221; comments the Jury that awarded him the Pritzker Prize 2025.<\/p>\n\n\n<figure class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-embed alignwide is-type-video is-provider-vimeo wp-block-embed-vimeo eplus-wrapper\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Connecting Past, Present and Future\" src=\"https:\/\/player.vimeo.com\/video\/1062087860?dnt=1&amp;app_id=122963\" width=\"1400\" height=\"788\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Conectando el pasado, el presente y el futuro<\/figcaption><\/figure>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-45ebd5 wp-block-paragraph\">Liu has participated in international exhibitions such as Experimental Architecture by Young Chinese Architects &#8211; The 20th UIA World Congress of Architects (1999, Beijing, China); TU MU Young Architecture From China (2001, Berlin, Germany); Urban Creation, Shanghai Biennale (2002, Shanghai, China); the 1st, 3rd and 7th Shenzhen Biennale of Urbanism\/Architecture (2005, 2009 and 2017, Shenzhen, China); the 11th, 3rd and 15th International Architecture Exhibition of the Venice Biennale (2008 and 2016, Venice, Italy); the 56th International Art Exhibition of the Venice Biennale (2015, Venice, Italy); the 56th International Art Exhibition of the Venice Biennale (2015, Venice, Italy); the 56th International Art Exhibition of the Venice Biennale (2015, Venice, Italy).and 15th Venice Biennale International Architecture Exhibition (2008 and 2016, Venice, Italy); 56th Venice Biennale International Art Exhibition (2015, Venice, Italy); Now and Here &#8211; Chengdu | Liu Jiakun: Selected Works (2017, Berlin, Germany); and Super Fusion &#8211; Chengdu Biennale (2021, Chengdu, China).<\/p>\n\n\n<figure class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-embed alignwide is-type-video is-provider-vimeo wp-block-embed-vimeo eplus-wrapper\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Luyeyuan Stone Sculpture Art Museum: Coexisting with Nature\" src=\"https:\/\/player.vimeo.com\/video\/1062081976?dnt=1&amp;app_id=122963\" width=\"1400\" height=\"788\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Luyeyuan Stone Sculpture Art Museum: Coexisting with nature.<\/figcaption><\/figure>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-072622 wp-block-paragraph\">He is currently a visiting professor at the School of Architecture, Central Academy of Fine Arts (Beijing, China), and has previously lectured at the Cit\u00e9 de l&#8217;architecture et du patrimoine (Paris, France), the Massachusetts Institute of Technology (Cambridge, Massachusetts, USA), the Royal Academy of Arts (London, UK) and leading institutions in China. His awards include the Far East Architectural Design Award (2007 and 2017); ASC Grand Architectural Creation Award (2009); Architectural Record China Awards (2010); WA China Architecture Awards (2016); Building with Nature, Architecture China Award (2020); Sanlian Lifeweek City for Humanity Awards for Public Contribution (2020); and UNESCO Asia-Pacific Awards for Cultural Heritage Conservation, New Design in Heritage Contexts (2021).<\/p>\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\">Liu continues to practice and reside in Chengdu, China, giving priority to the daily lives of his fellow citizens through his works.<\/p>\n\n\n<figure class=\"wp-embed-aspect-16-9 wp-has-aspect-ratio wp-block-embed alignwide is-type-video is-provider-vimeo wp-block-embed-vimeo eplus-wrapper\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Materials as Memory\" src=\"https:\/\/player.vimeo.com\/video\/1062085060?dnt=1&amp;app_id=122963\" width=\"1400\" height=\"788\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Materials as memory.<\/figcaption><\/figure>\n\n\n\n<h2 class=\" wp-block-heading alignwide eplus-wrapper\">Selected projects by Liu Jiakun<\/h2>\n\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\"><\/p>\n\n\n<figure class=\" wp-block-image alignfull size-full eplus-wrapper eplus-styles-uid-271b90\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1800\" height=\"1187\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6.jpg\" alt=\"\" class=\"wp-image-26722\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6.jpg 1800w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-300x198.jpg 300w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-1024x675.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-768x506.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-1536x1013.jpg 1536w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-60x40.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Luyeyuan-Stone-Sculpture-Art-Museum_6-600x396.jpg 600w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><figcaption class=\"wp-element-caption\">Luyeyuan Stone Sculpture Museum, 2002, Chengdu, China, photo courtesy of Bi Kejian<\/figcaption><\/figure>\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\"><\/p>\n\n<div class=\"wp-block-columns alignfull eplus-wrapper is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex eplus-styles-uid-e7820b\">\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img decoding=\"async\" width=\"1800\" height=\"1010\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5.jpg\" alt=\"\" class=\"wp-image-26725\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5.jpg 1800w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-300x168.jpg 300w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-1024x575.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-768x431.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-1536x862.jpg 1536w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-60x34.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_5-600x337.jpg 600w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><figcaption class=\"wp-element-caption\">Department of Sculpture, Sichuan School of Fine Arts. Chongqing, China, photo courtesy of Bi Kejian<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img decoding=\"async\" width=\"1283\" height=\"1800\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3.jpg\" alt=\"\" class=\"wp-image-26728\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3.jpg 1283w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-214x300.jpg 214w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-730x1024.jpg 730w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-768x1077.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-1095x1536.jpg 1095w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-60x84.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Department-of-Sculpture_3-600x842.jpg 600w\" sizes=\"(max-width: 1283px) 100vw, 1283px\" \/><figcaption class=\"wp-element-caption\">Department of Sculpture, Sichuan School of Fine Arts. Chongqing, China, photo courtesy of Bi Kejian.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\" wp-block-image alignfull size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1200\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1.jpg\" alt=\"\" class=\"wp-image-26731\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1.jpg 1800w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-300x200.jpg 300w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-1024x683.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-768x512.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-1536x1024.jpg 1536w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-60x40.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-720x480.jpg 720w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_1-600x400.jpg 600w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><figcaption class=\"wp-element-caption\">Jianchuan Clock Museum in Chengdu, China. Photo courtesy of Bi Kejian<\/figcaption><\/figure>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\"><\/p>\n\n<div class=\"wp-block-columns alignfull eplus-wrapper is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex eplus-styles-uid-0f2922\">\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1800\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2.jpg\" alt=\"\" class=\"wp-image-26735\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2.jpg 1200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-200x300.jpg 200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-683x1024.jpg 683w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-768x1152.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-1024x1536.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-60x90.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_2-600x900.jpg 600w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption class=\"wp-element-caption\">Jianchuan Clock Museum in Chengdu, China. Photo courtesy of Bi Kejian<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1800\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3.jpg\" alt=\"\" class=\"wp-image-26737\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3.jpg 1200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-200x300.jpg 200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-683x1024.jpg 683w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-768x1152.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-1024x1536.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-60x90.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Museum-of-Cultural-Revolution-Clocks_3-600x900.jpg 600w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption class=\"wp-element-caption\">Jianchuan Clock Museum in Chengdu, China. Photo courtesy of Bi Kejian<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\"><\/p>\n\n\n<div class=\"wp-block-columns alignfull eplus-wrapper is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex eplus-styles-uid-8f5df5\">\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1200\" height=\"1800\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7.jpg\" alt=\"\" class=\"wp-image-26739\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7.jpg 1200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-200x300.jpg 200w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-683x1024.jpg 683w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-768x1152.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-1024x1536.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-60x90.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Suzhou-Museum-of-Imperial-Kiln-Brick_7-600x900.jpg 600w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/><figcaption class=\"wp-element-caption\">Suzhou Imperial Brick Museum, 2016, in China. photo courtesy of Jiakun Architects.<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column eplus-wrapper is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\" wp-block-image size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1212\" height=\"1800\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4.jpg\" alt=\"\" class=\"wp-image-26741\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4.jpg 1212w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-202x300.jpg 202w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-689x1024.jpg 689w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-768x1141.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-1034x1536.jpg 1034w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-60x89.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Hu-Huishan-Memorial_4-600x891.jpg 600w\" sizes=\"(max-width: 1212px) 100vw, 1212px\" \/><figcaption class=\"wp-element-caption\">Hu Huishan memorial, 2009. Huishan was 15 years old when the Wenchuan earthquake shook his high school. He died under the rubble.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\"><\/p>\n\n\n<figure class=\" wp-block-image alignfull size-full eplus-wrapper\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1200\" src=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6.jpg\" alt=\"\" class=\"wp-image-26744\" srcset=\"https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6.jpg 1800w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-300x200.jpg 300w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-1024x683.jpg 1024w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-768x512.jpg 768w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-1536x1024.jpg 1536w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-60x40.jpg 60w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-720x480.jpg 720w, https:\/\/exagono.es\/revista\/wp-content\/uploads\/2025\/03\/Songyang-Culture-Neighborhood_6-600x400.jpg 600w\" sizes=\"(max-width: 1800px) 100vw, 1800px\" \/><figcaption class=\"wp-element-caption\">Songyang cultural quarter, 2020, Lishui, China. photo courtesy of Arch-Exist.<\/figcaption><\/figure>\n\n\n<p class=\"eplus-wrapper eplus-styles-uid-2e1be5 wp-block-paragraph\"><\/p>\n\n\n<p class=\"eplus-wrapper wp-block-paragraph\">Sources: Jiakun Architects y The Pritzker Architecture Prize.<br>Photos of their authors, indicated in captions.<br>Videos courtesy of The Pritzker Architecture Prize.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cIdentity is tied both to the individual and the collective sense of belonging to a place,\u201d says Liu Jiakun, who revisits Chinese tradition without nostalgia or ambiguity, using it as a springboard for innovation.<\/p>\n","protected":false},"author":1,"featured_media":26706,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","editor_plus_copied_stylings":"{}","footnotes":"","_ppma_block_editor_authors":""},"categories":[624],"tags":[],"ppma_author":[249],"class_list":["post-26758","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture"],"authors":[{"term_id":249,"user_id":1,"is_guest":0,"slug":"amoratinos","display_name":"Ex\u00e1gono","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/95418ef5af1f1a520d5386cfe82ba253c88665f94a4343ec69a36d8df034ab4b?s=96&d=mm&r=g","author_category":"","first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/26758","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/comments?post=26758"}],"version-history":[{"count":0,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/posts\/26758\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media\/26706"}],"wp:attachment":[{"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/media?parent=26758"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/categories?post=26758"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/tags?post=26758"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/exagono.es\/en\/wp-json\/wp\/v2\/ppma_author?post=26758"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}