La ciudad genrica de Rem koolhass se trata sobre la prdida de identidad de las ciudades, donde cualquier edificio o ciudad se podra

desplazar en cualquier pas del mundo. La ciudad generica perdi su dependencia, donde ya no se refleja un estudio del contexto y de las necesidades, sino que se desplaza un edificio que no responde a lo real, a lo contextual
The first award is being given to Philip Johnson, whose work demonstrates a combination of the qualities of talent, vision and commitment that has produced consistent and significant contributions to humanity and the environment. As a critic and historian, he championed the cause of modern architecture and then went on to design some of his greatest buildings. Philip Johnson is being honored for 50 years of imagination and vitality embodied in a myriad of museums, theaters, libraries, houses, gardens and corporate structures. We are honoring Luis Barragn for his commitment to architecture as a sublime act of the poetic imagination. He has created gardens, plazas, and fountains of haunting beautymetaphysical landscapes for meditation and companionship. A stoical acceptance of solitude as man's fate permeates Barragn's work. His solitude is cosmic, with Mexico as the temporal abode he lovingly accepts. It is to the greater glory of this earthly house that he has created gardens where man can make peace with himself, and a chapel where his passions and desire may be forgiven and his faith proclaimed. The garden is the myth of the Beginning and the chapel that of the End. For Barragn, architecture is the form man gives to his life between both extremes.

We honor James Stirlinga prodigy for so many yearsas a leader of the great transition from the Modern Movement to the architecture of the Newan architecture that once more has recognized historical roots, once more has close connections with the buildings surrounding it, once more can be called a new tradition. Originality within this tradition is Stirling's distinction: in the old "modern times," 45 degree angles in plan and section; today, startling juxtapositions and transpositions of clearly classical and nineteenth century references.

In this mercurial age, when our fashions swing overnight from the severe to the ornate, from contempt for the past to nostalgia for imagined times that never were, Kevin Roche's formidable body of work sometimes intersects fashion, sometimes lags fashion, and more often makes fashion. He is no easy man to describe: an innovator who does not worship innovation for itself, a professional unconcerned with trends, a quiet humble man who conceives and executes great works, a generous man of strictest standards for his own work. In this award to Kevin Roche we recognize and honor an architect who persists in being an individual, and has for all of us, through his work and his person, made a difference for the better.

Ieoh Ming Pei has given this century some of its most beautiful interior spaces and exterior forms. Yet the significance of his work goes far beyond that. His concern has always been the surroundings in which his buildings rise. He has refused to limit himself to a narrow range of architectural problems. His work over the past forty years includes not only palaces of industry, government and culture, but also moderate and low-income housing. His versatility and skill in the use of materials approach the level of poetry.

We honor Richard Meier for his single-minded pursuit of the essence of modern architecture. He has broadened its range of forms to make it responsive to the expectations of our time. In his search for clarity and his experiments in balancing light and space, he has created structures which are personal, vigorous, original.

The Pritzker Prize Jury honors Hans Hollein as a master of his professionone who with wit and eclectic gusto draws upon the traditions of the New World as readily as upon those of the Old. An architect who is also an artist, he has the good fortune to design museums that are then eager to place within their walls works of art from his hand, whether in the form of drawings, collages, or sculpture. In the design of museums, schools, shops, and public housing, he mingles bold shapes and colors with an exquisite refinement of detail and never fears to bring together the richest of ancient marbles and the latest in plastics.

Gottfried Bhm has reason to recognize the nourishment that traditional ways and means provide in architecture, as in all the arts. In the course of a career of over forty years, he has taken care to see that the elements in his work which suggest the past also bear witness to his ready acceptance, whether in the design of churches, town halls, public housing, or office buildings, of the latest and best in our contemporary technology. Kenzo tange had been selected because he is an inspiring teacher; among the well-known architects who have studied under him are Fumihiko Maki and Arata Isozaki. His stadiums for the Olympic Games held in Tokyo in 1964 are often described as among the most beautiful structures built in the twentieth century. In preparing a design, Tange arrives at shapes that lift our hearts because they seem to emerge from some ancient and dimly remembered past and yet are breathtakingly of today. Gordon burcraft designing masterpieces of modern architecture demonstrate an understanding of contemporary technology and materials that is unsurpassed. His astute perception that architecture is a joint venture between client and designer has generated mutual respect, and creative collaborations producing great building with an appropriate fusion of humanity and functionality for the people who inhabit and use his structures.

Oscar Niemeyer has captured that essence with his architecture. His building designs are the distillation of colors, light and sensual imagery of his native land. Although associated primarily with his major masterpiece, Brasilia, the capital city of Brazil, he had achieved early recognition from one of his mentors, Le Corbusier, going on to collaborate with him on one of the most important symbolic structures in the world, the United Nations Headquarters. Recognized as one of the first to pioneer new concepts in architecture in this hemisphere, his designs are artistic gesture with underlying logic and substance. His pursuit of great architecture linked to roots of his native land has resulted in new plastic forms and a lyricism in buildings, not only in Brazil, but around the world

Gehry's work is a highly refined, sophisticated and adventurous aesthetic that emphasizes the art of architecture. His sometimes controversial, but always arresting body of work, has been variously described as iconoclastic, rambunctious and impermanent, but the jury, in making this award, commends this restless spirit that has made his buildings a unique expression of contemporary society and its ambivalent values. Always open to experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being bound either by critical acceptance or his successes. His buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theatre and the back-stage, simultaneously revealed.

Known for many years as a theorist, philosopher, artist and teacher, Rossi has spent time developing his architectural voice, and pen. Words as well as drawings and buildings have distinguished him as one of the great architects. As a master draftsman, steeped in the tradition of Italian art and architecture, Rossi's sketches and renderings of buildings have often achieved international recognition long before being built.

His book, Architecture and the City, published in 1966, is a text of significance in the study of urban design and thinking. Out of this theoretical base came designs that seem always to be a part of the city fabric, rather than an intrusion. Each of Rossi's designs, whether an office complex, hotel, cemetery, a floating theatre, an exquisite coffee pot, or even toys, captures the essence of purpose.