For nearly the past two decades, cities around the world embraced "starchitecture"—futuristic, eye-catching buildings designed by globally renowned architects. In China, this trend was particularly pronounced as rapid urbanization fueled the construction of iconic megastructures like Zaha Hadid's Galaxy SOHO, OMA's CCTV Headquarters, and Herzog & de Meuron's Bird's Nest Stadium in Beijing. At the time of their construction, these were all celebrated as symbols of progress and global ambition. However, architecture worldwide has begun shifting toward a more context-driven, human-centered approach, with China emerging as one of the key contributors to this transformation. This year, Liu Jia Kun's 2025 Pritzker Prize further underscores that shift.
This time the jury's decision is highlighting work that leads towards a more human-centered approach to architecture, one that values local culture, sustainability, and social engagement over aesthetic grandeur. Liu's work focuses on humility, tradition, and site awareness while embracing a quiet integration that responds to local needs. It focuses on letting the environment, history, and culture shape each project.
The Pritzker Prize has not always rewarded this context-driven architecture. In the late 20th century and early 2000s, the award often celebrated bold, sculptural designs. This "Starchitecture" era was dominated by Pritzker laureates such as Frank Gehry (1989), Rem Koolhaas (2000), and Zaha Hadid (2004). All of them were the authors of celebrated architectural icons that helped put many cities on the map. Such is the case of Gehry's Guggenheim in Bilbao, inspiring the "Bilbao Effect" but raising questions about whether such projects truly benefit cities. Similarly, Koolhaas's CCTV building became a symbol for Beijing but later sparked debates over how megastructures serve everyday users. During this era, aesthetic innovation and formal experimentation seemed to be the primary criteria for winning the Pritzker.
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Liu Jiakun: Get to Know the 2025 Pritzker Winner's WorkThis rise of starchitecture also coincided with a time when architectural software such as BIM and modeling programs like Sketchup and Rhino were transforming the design process, allowing architects to push the limits of form and experimentation in previously unimaginable ways. These buildings were, in many ways, a testament to what architecture could achieve through digital innovation, leading to structures that redefined urban skylines worldwide. While they have faced criticism for their practicality and long-term impact, many have also brought economic and cultural benefits to their cities. For example, according to Spanish media, the Guggenheim in Bilbao played a key role in the city's regeneration. Since its inauguration, it has helped to generate around 777.6 million euros in demand, supporting 14,236 jobs, and contributing an additional 105.5 million euros to the Basque Country's economy.
By the 2010s, however, a noticeable shift became apparent in the award's criteria. The jury began recognizing architects who balanced innovation with social and environmental responsibility. This can be observed through the list of Pritzker awards from recent years, as environmental and community-centered design began to define the characteristics of the new laureates' work.
Several examples demonstrate this shift, such as Wang Shu in 2012, who was the first Chinese laureate. He favored traditional Chinese materials and handcrafting techniques. Then in 2016, Alejandro Aravena was recognized for his socially conscious architecture, particularly his incremental housing projects. In 2019, Arata Isozaki was celebrated for his deep sensitivity to historical and cultural contexts, while in 2021 Anne Lacaton & Jean-Philippe Vassal were awarded for their "never demolish" principle, which focuses on adaptive reuse and resource efficiency. Further highlighting this new focus, in 2022 Diébédo Francis Kéré became the first African laureate, recognized for his humanitarian approach and use of local materials in climate-responsive schools and civic buildings. Together, these laureates depart from the high-budget "starchitecture" era, demonstrating the value of emphasizing community, environmental responsibility, context, and social engagement, a new set of criteria slowly becoming the basis of internationally recognized architectural excellence.
This evolution is reaffirmed this year with Liu Jiakun's recognition. Instead of promoting a "personal style", he relies on evaluating the specific characteristics and requirements of each project. By taking a closer look, it is possible to paint a general picture of the design approach that got him the prize for celebrating the lives of ordinary citizens. In the West Village – Basis Yard in Chengdu, Liu redefines high-density development by blending public and private space, proving that even in dense cities, community spaces can remain open, inclusive, and engaging. Also in the same city, the Luyeyuan Stone Sculpture Art Museum harmonizes with the environment using shaded walkways, water elements, and natural ventilation to reduce energy consumption.
In the Suzhou Museum of Imperial Kiln Brick, he demonstrates his sensitivity to cultural preservation, integrating ancient kiln ruins into a modern exhibition space that actively engages visitors. Finally, his Wenchuan Earthquake reconstruction projects, including the Rebirth Bricks initiative, highlight how architecture can serve as a force for resilience and remembrance. His approach showed how disaster debris can be turned into durable, sustainable materials that rebuild not only structures but also a community's sense of identity.
The work of Liu Jiakun is not just a collection of well-designed projects; it represents a broader shift towards an architecture that prioritizes people and context. The Pritzker Prize represents a reflection of this change of attitude within the international design community, bringing forward approaches that aim not to be an expression of the self, but a platform for social cohesion and environmental consciousness while not disregarding the aesthetic qualities of architecture. It suggests that the greatest impact comes not from monumental gestures but from its ability to serve people, respect history, and respond to the natural context. Liu's work offers a perspective for a future where architecture is more than just an object of admiration, but an integral part of life.
We invite you to check out ArchDaily's comprehensive coverage of the Pritzker Prize.
