Fumihiko Maki calls himself a modernist, unequivocally. His buildings tend to be direct, at times understated, and made of metal, concrete and glass, the classic materials of the modernist age, but the canonical palette has also been extended to include such materials as mosaic tile, anodized aluminum and stainless steel. Along with a great many other Japanese architects, he has maintained a consistent interest in new technology as part of his design language, quite often taking advantage of modular systems in construction. He makes a conscious effort to capture the spirit of a place and an era, producing with each building or complex of buildings, a work that makes full use of all that is presently at his command. Maki often speaks of the idea of creating "unforgettable scenes"—in effect, settings to accommodate and complement all kinds of human interaction—as the inspiration and starting point for his designs.

Maki, who was born in Tokyo on September 6, 1928, studied with Kenzo Tange at the University of Tokyo where he received his Bachelor of Architecture degree in 1952. Maki then spent the next year at Cranbrook Academy of Art in Bloomfield Hills, Michigan. After completing a Master of Architecture degree at the Graduate School of Design (GSD), Harvard University, he apprenticed at the firms Skidmore, Owings and Merrill, New York and Sert Jackson and Associates in Cambridge.

In 1956, he took a post as assistant professor of architecture at Washington University in St. Louis, where he also received his first design commission—for the Steinberg Hall (an art center) on that campus. Following his four years there, he joined the faculty at Harvard's GSD from 1962 to 1965, and has been a frequent guest lecturer at numerous other universities.

In 1965, he returned to Japan to establish his own firm, Maki and Associates in Tokyo. In the 28 years since, his staff has grown to approximately 35 people, with an equal number having passed through to begin their own practices. "I was never attracted to the idea of a large organization. On the other hand, a small organization may tend to develop a very narrow viewpoint. My ideal is a group structure that allows people with diverse imaginations, that often contradict and are in conflict with one another, to work in a condition of flux, but that also permits the making of decisions that are as calculated and objectively weighed as necessary for the creation of something as concrete as architecture."

Japanese Architect Fumihiko Maki Is Named 1993 Laureate of the Pritzker Archtecture Prize

Citing his work as "intelligent and artistic in concept and expression, meticulously achieved," The Hyatt Foundation jury has named Japanese architect Fumihiko Maki the sixteenth Laureate of his profession's highest honor, the Pritzker Architecture Prize.

Maki, whose modernist architectural achievements in Japan have been raised throughout the world as highly successful fusions of the cultures of east and west, is the second Japanese architect to win the Pritzker Prize, and was a student of the first, Kenzo Tange, who received the honor in 1987.

Jay A. Pritzker, president of The Hyatt Foundation, which established the award in 1979, will present Maki with a $100,000 grant and medal at a ceremony to be held at Prague Castle in the recently formed Czech Republic on June 10.

In making the announcement from The Hyatt Foundation's office in Los Angeles, Pritzker lauded the choice of the jury, saying, "Maki's roots are in Japan, but his studies and early work in the United States have given him an unique understanding of both eastern and western cultures evident in his designs. He never loses touch with human scale, whatever the size of the project."

Bill Lacy, secretary to the international panel of jurors that elects the Laureate each year, quoted from the formal citation from the jury: "He uses light in a masterful way making it as tangible a part of every design as are the walls and roof. In each building, he searches for a way to make transparency, translucency and opacity exist in total harmony. He uses detail to give his structures rhythm and scale."

The prize is presented to him, Lacy continued, "For building works that are not only expressions of his time, but that are destined to survive mere fashion."

Lacy elaborated, "A group of young Japanese architects, bound by the past and firmly committed to respect it, but determined to look to the future emerged in the late 1940s. Their architecture was both experimental and modernist with some European overtones that gradually gave way to a more original and uniquely Japanese style. Their work was featured in the international architectural press and soon they were the emulated, not the emulators, with their inventive and artistic new shapes and pioneering use of new materials. Fumihiko Maki was one of the leaders of this new wave that would rebuild Japan."

Maki who was born on September 6, 1928 took his undergraduate degree in architecture at the University of Tokyo before going on for Masters degrees at both Cranbrook Academy of Art in Bloomfield Hills, Michigan and the Graduate School of Design at Harvard University, Cambridge, Massachusetts.

His first commission was in the United States at Washington University in St. Louis, Missouri-Steinberg Hall, an arts center. It remains his only built work in the U.S. until the completion of the Yerba Buena Gardens Visual Arts Center currently under construction in San Francisco, scheduled to open this fall.

Fumihiko Maki of Japan is an architect whose work is intelligent and artistic in concept and expression, meticulously achieved.

He is a modernist who has fused the best of both eastern and western cultures to create an architecture representing the age-old qualities of his native country while at the same time juxtaposing contemporary construction methods and materials.

His first exposure to modern architecture was in 1930s Tokyo where a few pioneering architects departed from traditional and European styles. Following his graduation from the University of Tokyo, he came to the United States for further study at Cranbrook Academy of Art and at Harvard University's Graduate School of Design under Jose Luis Sert. He later taught at Washington University, where as a young professor, he designed his first built work. These early experiences helped build the foundation for his own unique style that would reflect his cosmopolitan view of the world.

Early in his career, he became a founding member of an avant garde group of talented young Japanese architects calling themselves Metabolists, a word derived from the Greek with various meanings—alteration, variation, revolution—changeability and flexibility being key elements of their view. One aim was never to design in isolation from the city structure as a whole.

Maki has expressed his constant concern for the "parts" and the "whole”—describing one of his goals as achieving a dynamic equilibrium that includes sometimes conflicting masses, volumes, and materials.

He uses light in a masterful way making it as tangible a part of every design as are the walls and roof. In each building, he searches for a way to make transparency, translucency and opacity exist in total harmony. To echo his own words, "Detailing is what gives architecture its rhythm and scale."

There is amazing diversity in his work—from the awesome Nippon Convention Center near Tokyo with its man-made mountain range of stainless steel roofs to his earlier and smaller YKK Guest House or a planned orphan village in Poland.

Prague Castle, Prague, Czech Republic

Prague Castle is a sprawling complex situated atop a large hill on the left bank of the Vltava River. Dating back to the nineth century, several castles have occupied the site of the current Prague Castle, which today is the seat of the President of the Czech Republic, and serves as the historical and political center of both the city and state.

A Romanesque palace was erected there in the twelfth century that was rebuilt in the Gothic style in the fourteenth century, during the rule of Charles IV. The Royal Palace was re-built to the current shape under the ruling Jagellos dynasty at the end of the fifteenth century. At that time, renowned architect, Benedikt Rejt, added the now-famous Vladislav Hall, also in the Gothic style. The castle was enlarged in the sixteenth century. The Spanish Hall, in a new part of the castle, was added during the reign of Rudolf II. Prague Castle took on a classical appearance in the eighteenth century, which it maintains today, during the reign of Empress Maria Theresa, under the direction of architect Nicolò Pacassi. After World War I, the gardens and the interior of the castle were renovated by Slovene architect Jože Plečnik.

From 1920 until 1934, he completed numerous projects at the castle, including the renovation of numerous gardens and courtyards, the design and installation of monuments and sculptures, and the design of numerous new interior spaces, including the Plečnik Hall completed in 1930, which features three levels of abstracted Doric colonnades.

Speakers at the official presentation ceremony of the 1993 Pritzker Architecture Prize were: Václav Havel, President of the Czech Republic; Milan Udhe, President, Chamber of Deputies, Parliament of the Czech Republic; Adrian A Basora, US Ambassador ; Bill Lacy, Secretary to the Jury; J. Carter Brown, Chairman of the Jury; and Jay A. Pritzker, President The Hyatt Foundation.

Read Fumihiko Maki's Acceptance Speech

Read Jay Pritzker's Ceremony Speech

Read J. Carter Brown's Ceremony Speech

Read Milan Uhde's Ceremony Speech

Ceremony Highlights