A sneak peek at the trophies for this year’s Women in Architecture awards, made by Madelon Vriesendorp – these will be presented to Elizabeth Diller and Hélène Binet, as well as the winners of Architect of the Year and the Moira Gemmill Prize for Emerging Architecture, who will be announced later today!
Nestled amongst Madelon Vriesendorp’s enormous collection of objects, these small sculptures echo the artwork Vriesendorp made for the cover of this year’s March issue. Commissioned by the AR specifically for these awards, along with the issue’s cover, the trophies take four forms – photographed in Vriesendorp’s own home by Luke Hayes, the brick-like variation appears as a mortared colossus to two industrious Tintins; elsewhere, it stands part of a skyline that dwindles down towards its severed thighs, in a scene reminiscient of Vriesendorp’s New York Series.
Winners of the awards will each be presented with a trophy at the Women in Architecture awards luncheon at the Savoy, London, on 1 March. We will hear from Elizabeth Diller and Hélène Binet, this year’s respective winners of the Jane Drew Prize and Ada Louise Huxtable Prize, and the winners of the Architect of the Year and Moira Gemmill Prize for Emerging Architecture will be announced – few tickets are still available so book now or click here for more information about the event.
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Madelon Vriesendorp was the winner of the 2018 Ada Louise Huxtable Prize, an award that recognises individuals working in the wider architectural industry who have made a significant contribution to architecture and the built environment. Vriesendorp co-founded the Office for Metropolitan Architecture with Rem Koolhaas, Elia and Zoe Zenghelis in 1975, before taking a step away from architecture and focusing instead on the design of costumes, objects, illustrations, exhibitions and short stories. You can watch her speech at the 2018 awards here, and an interview following the awards here.
While she is best known for her paintings, these are often misattributed, and frequently associated with Rem Koolhaas for their illustration of Delirious New York. ‘It’s not that they didn’t’, writes Sam Jacob in an interview last year, ‘but they existed in their own right prior to and outside of the book. Neither were they commissioned by OMA, or painted by other people, as recent books by current OMA partners have erroneously and unforgivably claimed.’
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Photography by Luke Hayes