Robert Venturi

For more information on Robert Charles Venturi, visit Britannica.com.

Beginning in the 1960s American architect Robert Venturi (born 1925) spearheaded the "Post-Modern" revolt against the simplicity and pure functionalism of modernist architecture. In both his buildings and his writings he championed an architecture rich in symbolism and history, complexity and contradiction.

The son of a fruit grocer, Robert Venturi was born in Philadelphia, PA, on June 25, 1925. In 1943 he graduated from the Episcopal Academy in Philadelphia. He entered Princeton University and received a bachelor of arts (summa cum laude) in 1947 and master of fine arts in 1950.

At Princeton, Venturi received a traditional architectural education under the direction of Jean Labatut, a French architect trained at the Ecole des Beaux Arts. From Labatut, Venturi learned not only how buildings are created in the mind of the architect, but how they are perceived by the person on the street. Venturi also studied architectural history with noted scholar Donald Drew Egbert. Later, Venturi's keen knowledge of architectural history would provide a vital source of inspiration.

Between 1950 and 1954 Venturi worked successively in the architectural offices of Oscar Stonorov and Eero Saarinen. Then, in 1954, he won the Prix de Rome. This award enabled him to spend two years at the American Academy in Rome where, in the company of Louis Kahn, he came to admire the city's Mannerist and Baroque buildings. In the work of Michelangelo and Borromini in particular, Venturi picked up some ideas about freely using a traditional architectural vocabulary of columns, arches, and pediments to create structures of great originality.

Upon his return to Philadelphia in 1956, Venturi entered the office of Louis Kahn. In 1958, he began his own architectural practice as a member of the firm of Venturi, Cope and Lippincott. In 1961 he entered into a brief partnership with William Short. Then in 1964 he and Philadelphia architect John Rauch established a firm. The Zambian-born designer Denise Scott Brown, who married Venturi in 1967, became a third partner in Venturi, Rauch & Scott Brown in 1977.

A Seminal Book on Architecture

Between 1951 and 1965, while Venturi was establishing his practice, he taught courses on architectural theory at the University of Pennsylvania. These courses formed the basis of his watershed book Complexity and Contradiction in Architecture, published by the Museum of Modern Art in 1966. Hailed as "the most important writing on the making of architecture since Le Corbusier's Vers une Architecture of 1923, " Venturi's book encouraged architects to turn away from the rigid "form follows function" doctrines of modernists like Walter Gropius and Mies van der Rohe and to look instead to the rich architecture of the past - to the works of Michelangelo, Hawksmoor, Soane, Lutyens, Aalto; to ancient and medieval buildings, and to architecture that reflected local and popular culture. To Mies' famous maxim "Less is more, " Venturi countered "Less is a bore, " and wrote: "I like elements that are hybrid rather than 'pure, ' compromising rather than 'clean, ' distorted, rather than 'straightforward, ' ambiguous, rather than 'articulated, ' perverse as well as impersonal, boring as well as 'interesting,' …I am for messy vitality over obvious unity. I am for richness of meaning rather than clarity of meaning; for the implicit meaning as well as the explicit function."

Complexity and Contradiction in Architecture became a rallying point for young architects around the world who had become disillusioned with the stylistic limitations of the International Style. In effect, the book provided a manifesto for the Post-Modern movement in architecture.

The ideas in Complexity and Contradiction were given concrete form in Venturi's earliest buildings, including his first major work, the Guild House, an apartment building for the elderly in Philadelphia (1960-1963). In the Guild House, Venturi created a sense of artistic tension, or contradiction, by mixing high-art aesthetics with motifs drawn from popular culture. Constructed of brick walls pierced by double hung windows, the Guild House looks at first glance like an ordinary six-story Philadelphia apartment building. But a closer examination reveals a peculiar main entrance, seemingly far too small for the building, yet marked by a massive black granite column, a huge frame of white glazed brick (reminiscent of a 1930s movie house), and a sign rendered with giant supermarket-style lettering. Although later removed, a gold television antenna was prominently displayed on top of the building directly over the entrance; Venturi claimed it was "a symbol of the aged, who spend so much time looking at TV." Despite the purposeful banality of these motifs, they were skillfully composed within a symmetrical facade and were intended to be understood as high-art objects. Contemporary "Pop" artists such as Andy Warhol had an unmistakable influence on this sort of design.

Perhaps Venturi's best known building is the house he designed for his mother, Vanna Venturi, in Chestnut Hill, PA. (1962). Here again the aim was to create a building that would not only be functional but also capable of producing a sense of artistic tension. To do this, the architect mixed contradictory features: the exterior shape of the house is simple, yet the interior plan is complex; and while the overall facade is symmetrically conceived, symmetry is broken by unbalanced windows and an off-center chimney. Moreover, although the scale of the house is quite small, many of the details (doors, chair rails, fireplace mantels) are huge.

A Second Controversial Book

Venturi's willful playfulness with features derived from traditional architecture and his attacks against orthodox modernism did not win him many commissions during the 1960s. He continued to teach, however, and between 1966 and 1970 served as the Charlotte Davenport Professor of Architecture at Yale. Out of his teachings at Yale came his 1972 book Learning from Las Vegas (co-authored by Steven Izenour and Denise Scott Brown). This work, too, stunned the architectural world. It treated the gaudy, sign-filled Vegas strip not as an architectural aberration, but as a vernacular art form worthy of serious study. Venturi felt that the "Decorated Shed" and other types of roadside buildings offered design lessons that could not be ignored, and he argued that architects needed to respond to the reality and symbolism of the popularly built environment with buildings corresponding to that environment.

In the early 1970s Venturi's practice began to thrive, and after that the architect turned his attention more towards design than teaching and writing. Always refreshingly different, Venturi's buildings continued to reveal an interest in the vernacular and the historical. His Trubek and Wislocki houses in Nantucket, MA (1970) have the same pitched roofs and shingle-clad walls as the many nearby 19th-century Shingle-style houses. The curved facade of the Brant House in Greenwich, CT (1971-1973) reflects the influence of 1930s Art Deco. The Tucker House in Katonah, NY (1974), is reminiscent of some turn-of-the-century English arts and crafts work. Eighteenth-century Polish synagogues provided the inspiration for the wooden vaults in the Brant-Johnson House in Vail, CO (1975). Giant 1960s wallpaper-style flowers decorate the front of the Best Products buildings in Oxford Valley, PA (1977). Gothic touches can be seen in the "Treehouse" in the Philadelphia Children's Zoo (1981-1984).

In 1986 Venturi was selected to design an extension to the British National Gallery of Art's neoclassical building on Trafalgar Square, London. He chose a classically modern stone-faced structure. Venturi's firm also designed the Biology building at Princeton University (1983), a new Parliament House in Canberra, Australia (1979), the Laguna Gloria Art Museum in Austin, TX (1983), the Westway Riverfront Project in New York City (1979-1985), and several large exhibitions at museums in Washington, New York, Philadelphia and other cities.

Further Reading

The extensive literature on and by Venturi from 1960 to 1982 is listed in Pettena and Vogliazzo, eds., Venturi, Rauch and Scott Brown (1981). Another bibliographic listing on VRSB, with three scholarly essays and many fine photographs, is available in the December 1981 issue of Architecture + Urbanism (extra edition). Besides Complexity and Contradiction in Architecture and Learning from Las Vegas, Venturi also published, with Denise Scott Brown, A View from the Campidoglio: Selected Essays, 1953-1984 (1984). See also C. Mead, The Architecture of Robert Venturi (1989); A. Sanmartin, ed., Venturi, Rauch and Scott Brown (1986), and S. von Moos, Venturi, Rauch and Scott Brown: Buildings and Projects (1987).

One of the most influential figures in American Postmodernist architectural and design theory, practice, and education, Venturi is often remembered for his substitution of the Modernist adage ‘less is more’ with the phrase ‘less is a bore’. Venturi's work draws on a wide and eclectic miscellany of styles ranging from the historical to the forms of contemporary popular culture. This ranged from his blend of traditional and modern in his mother's house in Pennsylvania (1961-4), the creative exploration and reinterpretation of the Gothic, Sheraton, Chippendale, and Art Deco styles for his series of chairs for Knoll Associates (1978-84), or the blend of traditional Japanese architectural features and an iconography of the commercial contemporary streetscape in his design for the Hotel Mielmonte Nikko Kirifuri in Nikko, Japan (1992-7). At the outset of his career Venturi studied architecture at Princeton University, graduating in 1947 and completing his Master's thesis there in 1950. He went on to work as a Prize Fellow at the American Academy in Rome from 1954 to 1956 where he experienced at first hand the emotional and expressive language of Baroque and Mannerism. After his return to the United States he worked in the architectural offices of Eero Saarinen, Louis I. Khan, and Oscar Stonorov and taught architectural theory in the School of Architecture at the University of Pennsylvania, where he met Denise Scott Brown. She was a fellow teacher and he went on to marry her in 1967, becoming her business partner in 1969. His first book, entitled Complexity and Contradiction in Architecture, proved highly influential. The Museum of Modern Art in New York, where he first delivered its ideas as lectures, published it in 1966. In it he argued for an architecture that promoted elements that were ‘hybrid rather than “pure”, compromising rather than “clear”, distorted rather than straightforward’ and reflected the complexities of the urban environment. His second book Learning from Las Vegas of 1972, co-authored with Denise Scott Brown and Stephen Izenour, drew attention to the vitality of the commercial vernacular of the city street and the importance of the symbol and mass culture for contemporary architecture. Such ideas may be related to contemporary avant-garde design interests in Pop and Kitsch evidenced in the contemporary work of Anti-Design designers in Italy. A further collection of essays by Venturi, entitled A View from the Campidoglio: Selected Essays, 1953-1984, was published in 1984. His interest in Michelangelo's designs for the Piazza del Campidoglio in Rome had surfaced in his Campidoglio Tray of the early 1980s for the Italian housewares manufacturer Alessi (1983). Venturi also worked in ceramics with designs for the fashionable Swid Powell company, including his patterned Grandmother four-piece porcelain crockery set of 1984 and four-piece Village tea and coffee set of the following year. The latter drew on the design of a peasant's cottage for the sugar bowl, the Pantheon in Rome for the teapot, a Tuscan tower for the coffee pot, and a Renaissance palazzo for the milk jug, revealing aspects of the stylistic and cultural eclecticism that pervaded his work. For more than 30 years the firm of Venturi, Scott Brown and Associates (VSBA) has been prolific in its architectural output including the Eclectic House Series (1977), the Sainsbury Wing extension of the National Gallery, London (1985-91), and the Art Museum in Seattle (1988-91). The firm's work was celebrated in a comprehensive exhibition entitled Out of the Ordinary: The Architecture and Design of Robert Venturi, Denise Scott Brown and Associates held at the Carnegie Museum of Art in late 2002 and early 2003. It included architectural photographs, drawings, and models as well as examples of textiles, furniture, and the decorative arts. Venturi has lectured at many of the leading institutions in the United States including Yale, Harvard, Princeton, and UCLA and, in 1991, was awarded the Pritzker Architecture Prize.

American Post-Modern architect. He set up his own practice with John Rauch (1930– ) in 1964, later (1967) joined by his wife, Denise Scott Brown (1931– ), and later still by Steven Izenour (1930– ). His early buildings include the Vanna Venturi House, Chestnut Hill, PA. (1961–5). In 1966 his Complexity and Contradictions in Architecture proposed (among much else) that ambiguity, tensions, and intricate complexities should replace the blandness of International Modernism (getting in a dig at Mies van der Rohe's pronouncement that ‘less is more’ by stating ‘less is a bore’), and the book made his reputation. He drew attention to the sources of meaning in architecture, insisted that architecture should deal in allusion and symbolism, and was critical of Functionalist dogma. With his wife and Izenour he wrote Learning from Las Vegas (1972, 1977) which suggested that architects should draw on what ordinary people (such as American capitalist roadside vulgarity), rather than impose pre-determined forms on the public.

Among the paradigmatic buildings of the firm, Guild House Retirement Home, Philadelphia, PA (1960–4), the Humanities Building of the State University of New York at Purchase (1968–73), the Dixwell Fire Station, New Haven, CT (1970–4), Franklin Court, Philadelphia (1972–6), the Allen Art Museum, Oberlin College, OH (1973–6), the Brant-Johnson House, Vail, CO (1975–7), the Gordon Wu Hall, Butler College, Princeton University, NJ (1980–3), and the Seattle Art Museum, Seattle, WA (1984–91), may be mentioned. In 1986 the firm won the competition to design the Sainsbury Wing, National Gallery, London (completed 1991), a building with a partial continuation of the Classical Order of Wilkins's rather dull elevation facing Trafalgar Square. Other recent works include the Museum of Contemporary Art, San Diego, La Jolla, Calif. (1986–96). Scott Brown saw the façade as a ‘communication piece’ that was therefore ‘functional’ as a ‘study in urban communication’. Taking their cue from Las Vegas, the Venturis have noted that, especially in America, we live in the landscape of sheds and paper-thin architecture that is really a billboard advertising what is within. Thus the Sainsbury Wing is a ‘billboard done in Portland Stone’, an architecture that is about the external language for what goes on within the building. Although the Venturis have been landed with the label of Post-Modernism, they have vehemently denied they are, or ever were, associated with that movement, but drew precedents from an eclectic mix, including what might be described as commercial-vernacular themes. Claiming that, for example, High-Tech is a return to an ‘industrial vocabulary in a postindustrial age’, they see their own work as far more truly representative of their own times, at once tolerant and pluralist, without dogmatic assumptions. Other recent works include the Museum of Contemporary Art, San Diego, La Jolla, CA (1986–96).

Bibliography

• Building Design (19 Mar. 2004), 10
• Belluzzi (1992)
• D. B. Brownlee et al. (2001)
• Diamonstein (ed.) (1985)
• Drew (1972)
• Drexler (1980)
• Kalman (1994)
• Jodidio (1993, 1997)
• Klotz (1988)
• Mead (ed.) (1989)
• Moos (1987, 1999)
• Placzek (ed.) (1982)
• Stern (1977)
• V.J.Scully (1974)
• Jane Turner (1996)
• Vaccaro & Schwartz (1992)
• R.Venturi (1966, 1996)
• R.Venturi & Rauch (1978)
• R.Venturi et al. (1977)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

Robert Venturi
Born	June 25, 1925(1925-06-25) Philadelphia, Pennsylvania
Nationality	American
Field	Architecture
Awards	Pritzker Prize (1991)

Freedom Plaza in Washington, D.C. was designed by Venturi in 1980

Robert Charles Venturi, Jr. (born June 25, 1925 in Philadelphia) is an American architect and founding principal of the firm Venturi, Scott Brown and Associates. Robert Venturi and his wife and partner, Denise Scott Brown, are regarded among the most influential architects of the twentieth century, both through their architecture and planning, and theoretical writings and teaching. Venturi was awarded the Pritzker Prize in Architecture in 1991.^[1] He is also known for coining the maxim "Less is a bore" as antidote to Mies van der Rohe's famous modernist dictum "Less is more". Venturi lives in Philadelphia with Denise Scott Brown. They have a son, James Venturi.

Contents 1 Education and Teaching 2 Writings 3 Architectural Practice 4 Selected works 4.1 Other works 5 Awards 6 Bibliography 7 References 8 External links

Education and Teaching

Venturi attended school at the Episcopal Academy in Merion, Pennsylvania. He graduated summa cum laude from Princeton University in 1947 and received his M.F.A. there in 1950. In 1951 he briefly worked under Eero Saarinen in Bloomfield Hills, Michigan, and later for Louis Kahn in Philadelphia. He was awarded the Rome Prize Fellowship at the American Academy in Rome in 1954, where he studied and toured Europe for two years.

From 1954 to 1965, Venturi held teaching positions at the University of Pennsylvania, where he served as Kahn's teaching assistant, an instructor, and later, as associate professor. It was there, in 1960, that he met fellow faculty member, architect and planner Denise Scott Brown. Venturi taught later at the Yale School of Architecture and was a visiting lecturer with Scott Brown in 2003 at Harvard University's Graduate School of Design.

Writings

A controversial critic of the purely functional and spare designs of modern orthodox architecture, Venturi has been considered a counterrevolutionary. He published his "gentle manifesto," Complexity and Contradiction in Architecture in 1966, described in the introduction by Vincent Scully to be "probably the most important writing on the making of architecture since Le Corbusier's 'Vers Une Architecture', of 1923." Venturi received a grant from the Graham Foundation in 1965 to aid in its completion. The book has been translated and published in 18 languages.

In 1972, with Denise Scott Brown and Steven Izenour, Venturi wrote Learning from Las Vegas later revised in 1977 as Learning from Las Vegas: the Forgotten Symbolism of Architectural Form. The book published studies of the Las Vegas Strip undertaken by a 1968 research and design studio Venturi taught with Scott Brown at the Yale School of Architecture. Learning from Las Vegas was a further rebuke to orthodox modernism and elite architectural tastes. The book coined the terms "Duck" and "Decorated Shed" as applied to opposing architectural building styles.

Architectural Practice

Venturi created the firm Venturi and Short with William Short in 1960. John Rauch replaced Short as partner in 1964, changing the name to Venturi and Rauch. Venturi and Denise Scott Brown were married on July 23, 1967 in Santa Monica, California, and Scott Brown joined the firm as partner in charge of planning in 1969. The firm became known as Venturi, Rauch and Scott Brown in 1980, and, finally, after Rauch's resignation in 1989, Venturi, Scott Brown and Associates. The firm, based in Philadelphia, was awarded the Architecture Firm Award by the American Institute of Architects in 1985. Recent work has included many commissions from academic institutions, including campus planning and university buildings, and civic buildings in London, Toulouse and Japan.

Venturi is a Fellow of the American Academy in Rome, the American Institute of Architects and an Honorary Fellow of the Royal Institute of British Architects.

Selected works

Sainsbury Wing of the National Gallery, London

Inside the Seattle Art Museum

Wu Hall (left), designed by Robert Venturi, at Princeton University

• Episcopal Academy Chapel; Newtown Square, Pennsylvania (2008)
• Dumbarton Oaks Library, Harvard University; Washington, D.C. (2005)
• Undergraduate Science Building, Life Sciences Institute and Palmer Commons complex, University of Michigan; Ann Arbor, Michigan (2005)
• Biomedical Biological Science Research Building (BBSRB), University of Kentucky; Lexington, Kentucky (2005)
• Baker/Berry Library, Dartmouth College; Hanover, New Hampshire (2002)
• Frist Campus Center, Princeton University; New Jersey (2000)
• Rauner Special Collections Library, Dartmouth College; Hanover, New Hampshire (2000)
• Perelman Quadrangle, University of Pennsylvania; Philadelphia (2000)
• Provincial Capitol Building; Toulouse, France (1999)
• Gonda (Goldschmied) Neurosciences and Genetics Research Center, UCLA; Los Angeles, California (1998)
• Mielparque Nikko Kirifuri Resort; Nikko National Park, Japan (1997)
• Museum of Contemporary Art, San Diego; San Diego, California (1996)
• Charles P. Stevenson, Jr. Library, Bard College; Annondale-on-Hudson, New York (1994)
• Children's Museum; Houston, Texas (1992)
• Gordon and Virginia MacDonald Medical Research Laboratories, UCLA; Los Angeles, California (1991)
• Sainsbury Wing, National Gallery, London; United Kingdom (1991)
• Seattle Art Museum; Seattle, Washington (1991)
• Restoration of the Fisher Fine Arts Library, University of Pennsylvania; Philadelphia (1991)
• House in East Hampton, Long Island, New York (1990)
• Lewis Thomas Laboratory, Princeton University, New Jersey (1986)
• Gordon Wu Hall; Princeton University, New Jersey (1983)
• House in New Castle, Delaware (1983)
• Coxe-Hayden House and Studio; Block Island, Rhode Island (1981)
• Best Products Catalog Showroom; Langhorne, Pennsylvania (1978)
• Allen Memorial Art Museum modern addition, Oberlin College; Oberlin, Ohio (1976)
• BASCO Showroom; Philadelphia (1976)
• Franklin Court; Philadelphia (1976)
• Dixwell Fire Station, New Haven, CT (1974)
• Brant House; Greenwich, Connecticut (1972)
• Trubek and Wislocki Houses; Nantucket, Massachusetts (1971)
• Fire Station #4; Columbus, Indiana (1968)
• Vanna Venturi House; Philadelphia (1964)
• Guild House; Philadelphia (1964)
• Institute of Fine Arts, New York University, interior renovation (The James B. Duke House); New York (1958)

Other works

• The Vanna Venturi House in Philadelphia's Chestnut Hill neighborhood, designed for Venturi's mother, was recognized as a "Masterwork of Modern American Architecture" by the United States Postal Service in May 2005.
• The Lieb House located in Barnegat Light, New Jersey was designed by Venturi and his wife Denise Scott Brown and built in 1967. It is best known for the huge number 9 on its front, and the sailboat-shaped window on one side. A Long Island, New York couple purchased this home in early March 2009 for just $1 to save it from demolition, paying at least $100,000 to move it on a barge to Glen Cove, Long Island.^[2]

Awards

• Design Mind Award, Cooper-Hewitt National Design Awards; 2007 (with Denise Scott Brown)^[3]

• Vincent J. Scully Prize, National Building Museum; 2002 (with Denise Scott Brown)^[4]

• Commandeur de L'Ordre des Arts et Lettres, Republique Française, Ministère de la Culture et de la Communication; 2000

• National Medal of Arts, United States Presidential Award; 1992 (with Denise Scott Brown)^[5]

• The Pritzker Architecture Prize; 1991 ^[6]

• Elected to the National Academy of Arts and Letters; 1990

• AIA Twenty-Five Year Award, to the Vanna Venturi House; 1989^[7]

• Commendatore of the Order of Merit, Republic of Italy; 1986

• AIA Architecture Firm Award, to Venturi, Rauch and Scott Brown; 1985

• AIA Medal for Complexity and Contradiction in Architecture; 1978

• Fellow in the American Institute of Architects, 1978

• Rome Prize Fellow, American Academy in Rome; 1956^[8]

Bibliography

• Complexity and Contradiction in Architecture, The Museum of Modern Art Press, New York 1966. ISBN 0870702815
• Learning from Las Vegas (with Denise Scott Brown and Steven Izenour), MIT Press, Cambridge MA, 1972, revised 1977. ISBN 026272006X
• Iconography and Electronics upon a Generic Architecture : A View from the Drafting Room, MIT Press, 1998. ISBN 0262720299
• Architecture as Signs and Systems: for a Mannerist Time (with Denise Scott Brown), Harvard University Press, 2004. ISBN 0674015711

References

1. ^ Goldberger, Paul (14 April 1991). "ARCHITECTURE VIEW; Robert Venturi, Gentle Subverter of Modernism". The New York Times. http://query.nytimes.com/gst/fullpage.html?res=9D0CEEDD1338F937A25757C0A967958260. 
2. ^ La Gorge, Tammy (2009-03-13). "To Save a Venturi House, It Is Moved". New York Times. http://www.nytimes.com/2009/03/14/nyregion/14lieb.html?_r=1. Retrieved 2009-03-15. 
3. ^ Design Mind AwardCooper-Hewitt National Design Awards; 2007
4. ^ Vincent Scully Prize National Building Museum
5. ^ List of MedalistsNational Medal of Arts
6. ^ Robert Venturi 1991 Laureate Pritzker Architecture Prize
7. ^ Twenty-Five Year Award Recipients The American Institute of Architects
8. ^ Directory 1951 to 1960 Society of Fellows of the American Academy in Rome

External links

Wikiquote has a collection of quotations related to: Robert Venturi

• Venturi, Scott Brown and Associates, Inc. firm web site
• Robert Venturi biography on the Pritzker Prize web site
• Online profile of Venturi, Scott Brown and Associates, Inc.
• The Vanna Venturi House in Philadelphia
• Design Strategies of Robert Venturi and Denise Scott Brown

v • d • e Pritzker Prize laureates Philip Johnson (1979) · Luis Barragán (1980) · James Stirling (1981) · Kevin Roche (1982) · I. M. Pei (1983) · Richard Meier (1984) · Hans Hollein (1985) · Gottfried Böhm (1986) · Kenzo Tange (1987) · Gordon Bunshaft / Oscar Niemeyer (1988) · Frank Gehry (1989) · Aldo Rossi (1990) · Robert Venturi (1991) · Álvaro Siza Vieira (1992) · Fumihiko Maki (1993) · Christian de Portzamparc (1994) · Tadao Ando (1995) · Rafael Moneo (1996) · Sverre Fehn (1997) · Renzo Piano (1998) · Norman Foster (1999) · Rem Koolhaas (2000) · Herzog & de Meuron (2001) · Glenn Murcutt (2002) · Jørn Utzon (2003) · Zaha Hadid (2004) · Thom Mayne (2005) · Paulo Mendes da Rocha (2006) · Richard Rogers (2007) · Jean Nouvel (2008) · Peter Zumthor (2009)

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