Arch Daily

House in Bernolákovo / Zitnansky Gonda architects
Gucci Hub / Piuarch
Tiny Office Pavilion Vught / studio PROTOTYPE
The Country House / 1+1>2 Architects
Ivanhoe House / Chiverton Architects
From Digital to Reality: A Comparison of FALA Alelier's Collages to the Actual Buildings
Eco-Friendly Insulation Offers Thermal Performance, Sound Absorption and Fire Resistance at the Same Time
MS House / Studio Arthur Casas
18 Fantastic Permeable Facades
Look Inside a Collection of Barcelona-Based Architecture Offices, Photographed by Marc Goodwin
Obervedere / Collectif Etc
Who Has Won the Pritzker Prize?

House in Bernolákovo / Zitnansky Gonda architects

Posted: 25 Feb 2018 09:00 PM PST

Architects: Zitnansky Gonda architects
Location: Bernolákovo, Slovakia
Architects In Charge: Márius Žitňanský, Peter Gonda
Area: 173.0 m2
Project Year: 2017
Photographs: Matej Hakár

Text description provided by the architects. The project was not a standard investor-architect assignment as one of the authors is also the investor with his partner. Both had dreamt of a non-standard housing in a smaller village near the capital city.

The aim was to use the potential of the surrounding gardens and view to the countryside. Inside of the house, an emphasis is placed on the functional, material and artistic aspects with an inspirational environment for creation, as both investors are creative professionals.

The house itself is on a plot of size 446 m² set in the northern part along with a stand for 2 cars, a garage and house entrance. The front south half is a lawn and garden connected barrier-free to the interior. The house is not closing itself from its environment, it is communicating with it.

The two-storey family house layout is divided into a ground floor with a living area with an open gallery, toilet, garage and technical room and the first floor with a study, relaxation zone, bathroom and toilet. When designing the layout, emphasis was placed on the maximum openness inside-out. The night-time part of the house is orientated to the eastern side, with the morning sun. The residential part on the ground floor is oriented to all the world sides. This way the interior is illuminated throughout the day.The overhang roof on the south side of the house helps shade the house out of the strong sun during the summer months. In winter months the solar rays are sinking into the interior and this way the house gains more energy.

Since the object was built independently, it was designed from easily accessible and labor-friendly materials. The ground floor is an open space, where the 1st floor is supported with two load-bearing walls, separating the residential part from the garage and the technical room. The floor is designed as an open space and is divided only by traverse walls - the wooden roof is not supported and lies only on the perimeter masonry.

The façade is designed in white acrylic with details around windows glazed façade cladding in a black gloss finish. The windows openings are in an aluminum system. The windows are in a black, glossy finish with internal white textile shading.

The uniqueness of the design of the house supports the surface treatment of a roof made of a white liquid membrane. The unification of facade and roof surfaces unifies the shape of the house and helps to express the architecture of the house itself.

The interior has an austere material solution. Each room has a basic white chroma, and is always complemented by a wooden detail.

A great importance was placed on the element of the interior and the exterior lighting - in its design, function and technical aspects. Lighting becomes the jewel of the house, bringing home high-quality lighting and emotion through various lighting scenes. The lighting is the author's own solution as all the lights have been developed and made to measure.

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Gucci Hub / Piuarch

Posted: 25 Feb 2018 07:00 PM PST

Architects: Piuarch
Location: Milan, Metropolitan City of Milan, Italy
Architects In Charge: Francesco Fresa, Germán Fuenmayor, Gino Garbellini and Monica Tricario
Area: 30000.0 m2
Project Year: 2016
Photographs: Andrea Martiradonna

Text description provided by the architects. The old Caproni factory, built in 1915 in the eastern suburbs of Milan, has been brought back to life thanks to a renovation and redevelopment project transforming this old plant into the new Milan offices of the famous fashion brand Gucci. The premises in via Mecenate, which were used for designing, assembling and testing airplanes, have now been developed into a large complex holding offices, showroom and spaces for holding fashion shows and operations connected with graphics, as well as a canteen and restaurant.

The project, based on renovating this industrial site, focuses on enhancing the stylistic features of the 1920s' architecture.

Regenerating the old facilities has resulted in a modern office complex, which manages to meet modern-day needs and requirements in a construction with powerful historical connotations. The abandoned industrial warehouses, set out in a regular pattern across the site and featuring modular structural bays, have been renovated and enhanced: covered by a shed-style roof that lets zenith light flow into the interiors and featuring exposed-brick facades, the spatial layout of these buildings creates seamless interaction between the inside and the outside. The large hangar has been transformed and can now host events and fashion shows, thanks to the careful renovation project. Inside the regular layout of structures, a central pedestrian path connects the axis along via Mecenate to a large covered space: this internal plaza, covered by thin metal structures engineered back at the start of the century, sets out the various functions inside Gucci's Milan offices. Pedestrian paths tun between the buildings, which are mainly located on the ground floor, in a sequence of solid structures and empty spaces in which landscaping plays a key role: running right across the site and smoothly interacting between the old buildings and green spaces. The large plaza, surrounded by exposed brick fronts, is livened up by carefully positioned trees, while a thick wood of lime trees gives the project a distinctly "green" feel, focusing on sustainable design. The project incorporates a six-storey tower in its industrial fabric of warehouses, which interacts closely with the old constructions. This volume, surrounded by a glass façade and covered with a regular pattern of sunscreens, breaks down the site's symmetry and tends to draw together all the different functions. Constructed out of a glass surface, the structure is covered with a web of vertical elements made of a dark-colored metal that shelter the interiors from the sunlight: this tall modern building sets up powerful chromatic relations with the red-colored exposed bricks of the low-level warehouses.

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Tiny Office Pavilion Vught / studio PROTOTYPE

Posted: 25 Feb 2018 06:00 PM PST

Architects: studio PROTOTYPE
Location: Vught, The Netherlands
Lead Architects: Jeroen Spee, Jeroen Steenvoorden
Project Team: Mitchel Verkuijlen, Janne van Berlo, Ries van den Bosch, Elisa Cardinali
Area: 64.0 m2
Project Year: 2017
Photographs: Jeroen Musch

Contractor: De Wit en van Loon B.V.
Interior Realization: Houtwerk
Garden And Landscape Design: Andrew van Egmond

Text description provided by the architects. Studio PROTOTYPE completed an office pavilion located in the garden of a villa. The villa was built in the thirties out of the characteristic red bricks of that time and is situated in a park-like environment at the Rondeweg in Vught.

As a concept, the contextual character of the park has been continued within the plot of the villa. As part of the interior park, two pavilions were added, that elegantly communicate with the existing house. Although the pavilions have their own identity and materiality, they together form a unity within the overall concept. It is the first of the two pavilions that have now been completed.

The main structure of the office pavilion consists of a facility block which is strategically positioned within a free space. The block functions as a servant space and contains facilities like a cupboard bed, pantry, toilet and fireplace. The hipped roof, cladded with copper sheets, has been hollowed from the inside at several places. As a result, an interior roofscape is created that enhances the specific spatial qualities of every space.

Iroko wooden window frames were used for the all-glass facade, which results in a strong inside-outside relation between the interior and the surrounding garden. The Iroko window frames and all Iroko wooden finishing of the interior together create warm and welcoming spaces and a clear layout for the office pavilion.

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The Country House / 1+1>2 Architects

Posted: 25 Feb 2018 04:00 PM PST

Architects: 1+1>2 Architects
Location: Bien Hoa, Vietnam
Architects In Charge: Hoang Thuc Hao, Nguyen Van Tuan, Nguyễn Trọng Đức
Area: 440.0 m2
Project Year: 2016
Photographs: Son Vu

Interiors: Toko Studio
Collaborators: Son Vu, Nguyen Binh Minh, Duong Van Manh
Client: Mai Phu Phong

'SPONGE' STRUCTURE

Regarding the building structure, functional rooms are located between open spaces: Large curved corridor, garden, courtyard and atrium are arranged flexibly. Open terrace spaces are covered by thatch roofs and edged by trees. The whole building structure considers human measurements.

CONSIDERING FOLK ARCHITECTURE

Based on traditional experiences, the interaction between the inside and the outside within spacious architecture plays an important role. The lamellar solar protection made out of wood and appears along the corridor, with the roof, it creates a curved surface. Besides, the natural grey color of the thatch roof melts together with the garden.

CONVENIENCE BY CLIMATE AND ENERGY

The entire functional spaces are covered by a thatch roof and wooden lamellae system. The wall covered two layers of adobe including an ecological insulation. Each room has at least two sides interacting with the nature which creates a comfortable and fresh indoor climate.

A smart electronic system regulates all the electronical devices depending on the personal needs in a ecological, economical and efficient way. Solar ceels producing 5Kw electricity/ day are located on the top of the roof and reduce consumption by cable transferred electricity. A 370m² big water tank collects rainwater which is enough to water plants in the garden. Furthermore, the roof made of thatch also regulates the indoor climate.

All the projects evoke images that are both familiar, folk and modern. The urban house as a hint to inherit the core architectural values from the countryside.

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Ivanhoe House / Chiverton Architects

Posted: 25 Feb 2018 12:00 PM PST

Architects: Chiverton Architects
Location: Melbourne, Australia
Lead Architects: Barnaby Chiverton
Area: 303.0 m2
Project Year: 2017
Photographs: Tatjana Plitt

Builder: Andrew Pradel of Built Marc
Engineer: Keith Long and Associates
Building Surveyor: Anthony Middling and Associates
Sustainability: Fadi Shafiq of Keystone Alliance
Land Surveyor: Breeze Pitt Dixon
Cost Estimator: Percy Licen

Text description provided by the architects. The client's brief was to design an extension to a Victorian house that would work as a multi-generational home and make a better connection to the garden. 'I grew up in a Merchant Builders house which was heavily influenced by mid-century Danish modernism' notes the client 'and I wanted the new house to be influenced by this'.

This translated itself into a building that uses simple forms, natural finishes and plenty of natural light. Exposed brickwork is used to give texture and warmth is gained by oak floors and cedar windows – all oiled with a matt finish. Formally the house tumbles down the site to maintain a close connection to the garden so that it is possible to step out from the kitchen to grab some vegetables or go for a swim from the living area on a hot day. The result is an airy house that feels uncomplicated and light to be in.

Key to the ethos of functionality was a focus on sustainability. The house is orientated to maximise solar gain in winter, yet it is shaded by moveable and fixed external screening in summer. The sun provides hot water and power, and rainwater is collected under the building for the pool, toilets, laundry and garden.

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From Digital to Reality: A Comparison of FALA Alelier's Collages to the Actual Buildings

Posted: 25 Feb 2018 08:00 AM PST

To avoid hyperrealistic renderings we have witnessed the emergence of other options for architectural representation which seduce the viewer, not for their overwhelming resemblance to reality but rather the opposite, its resemblance to everyday life's textures presented through unpretentious drawings inspired by collage, watercolor, and painting. Digital collage and other similar representation tools have gained more popularity when discussing how architecture can be communicated.

Among the practices already working with this kind of representation, is FALA Atelier, a Portuguese studio lead by Filipe Magalhães, Ana Luisa Soares and Ahmed Belkhodja based in Porto. The trio described themselves as "a naïve architecture practice" working in different scales, "from territories to birdhouses," merging "formal languages, references, quotations, and themes" and ruled only "by an obsession for clarity."

This obsession is made evident when we compare the digital images produced by the studio and the photographs of the completed buildings. The level of resemblancy is surprisingly high (could it be considered higher than hyperrealistic renders?) and make a statement: FALA's collages are not merely stylistic but powerful tools for representing and designing.

Below, you can find a comparison of FALA's architecture "before" and "after" completion. By seeing the collages followed by the photographs we understand the potential of these humble representations that leave no room for doubt - FALA's nonchalance regarding realism can be anything but "naïve".

Apartment in Graça; Lisbon, 2015. Photo © Fernando Guerra | FG+SG

Exhibition "Anticlimax"; Lisbon, 2013. Photo © Fernando Guerra | FG+SG

Garagem House; Lisbon, 2015. Photo © Fernando Guerra | FG+SG

Apartment in Príncipe Real; Lisbon, 2014. Photo © Fernando Guerra | FG+SG

Real Estate Agency; Porto, 2015. Photo © Flávio Pires

Apartment in Chiado; Lisbon, 2015. Photo © Fernando Guerra | FG+SG

Apartment in Graça; Lisbon, 2015. Photo © Fernando Guerra | FG+SG

House in Faria Guimarães Street; Porto, 2015. Photo © Ricardo Loureiro

Apartment in Chiado; Lisbon, 2015. Photo © Fernando Guerra | FG+SG

Factory in Abragão; Penafiel, 2016. Photo © Fala

All images are courtesy of FALA Atelier. Some of the photos may be an inferior quality due to the GIF format; to view them in high definition, go to the FALA website.

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Eco-Friendly Insulation Offers Thermal Performance, Sound Absorption and Fire Resistance at the Same Time

Posted: 25 Feb 2018 06:00 AM PST

With the aim of promoting more efficient ways to isolate and protect building envelopes, the Chilean team Rootman has developed Thermoroot; a biodegradable and 100% natural insulation made from roots without genetic modifications or chemical additives. These roots make up what the company is calling a Radicular Mattress which, in addition to thermally and acoustically insulating the walls, floors, and ceilings of buildings, it is fire resistant.

Manufacturing this mattress takes between 10 to 15 days and is developed inside isolated chambers, where the hydroponic cultivation of oat or barley grain seeds is produced, using trays that define the required thickness of the roots. This germination process can be carried out in any climate and geographical location, leaving a low ecological footprint by presenting minimum energy and water requirements.

In terms of fire resistance, its application in the envelope of a building gives its inhabitants a margin of 1 hour to leave the rooms before being consumed completely.

The polystyrene takes three seconds to burn, the fiberglass takes 15 seconds and the polyurethane 1 minute. The radicular mattress, on the other hand, only begins to burn after 60 minutes of exposing itself to the flames, say its creators.

The product has been patented internationally and can completely replace conventional insulators such as Expanded Polystyrene, Polyurethane or Mineral Wool, seeking to become an effective alternative to high-cost natural insulators, synthetic insulators derived from petroleum, or other toxic, harmful to the environment and health.

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MS House / Studio Arthur Casas

Posted: 25 Feb 2018 05:00 AM PST

Architects: Studio Arthur Casas
Location: Fazenda Boa Vista, Brazil
Author: Arthur Casas
Design Team: Marillia Pellegrini, Alexandre Kayat, Renata Adoni, Regiane Khristian, Fernanda Muller
Area: 990.0 m2
Project Year: 2014
Photographs: Ricardo Labougle

Landscape: Renata Tilli
Lighting : Migrone
Structure: Stec Project
Scaffolding: Panoramah
Intalations: Grau

Text description provided by the architects. This summerhouse near São Paulo was built for a couple with three grown-up daughters. It had to conciliate the dichotomy between framing astonishing views to a golf course and woods towards the dark south and seeking abundant light on the street side, towards north. The solution was to arrange the spaces following the latitudinal axis of the plot in a manner that would provide framed views to the landscape and bring the sunlight altogether.

The house is divided in two sections: on one side there are four bedrooms for the daughters and guests. They open towards a long corridor with a glass wall facing south and are protected by wooden louvers in front of a dense garden facing north. On the other side, social areas form one single common space integrated with the surrounding context. The dry climate of the region led to the creation of a small pond that embraces the house. It is 50 centimeters deep, containing fishes and plants able to keep the water naturally clean.

Several rocks create a particularly astonishing atmosphere and part of the pond was deepened to be used as a swimming pool. The wood flooring in the private areas is replaced by rough stone in the common areas. The living room has a high wood ceiling of 3.6 meters that brings warmth to the house and extends to the outside, connecting interior and exterior. A lower wooden volume next to the living room holds a powder room and a cellar. The horizontality of the space is highlighted by a succession of layouts that comprehend an entrance hall, a living room with a hearth and a dining room, all along the exterior terrace. A continuous zenital slit that lightens the opposite side of the space is a technical prowess with no beams crossing its path.

The connection between both spaces is enhanced by glass doors that slide within the walls and disappear from view. Further, next to this room, a gourmet kitchen and a home theater can also be integrated through sliding walls. Outside, the wooden deck conceals a Jacuzzi underneath the floor. Next to it, a ground hearth made of stone stands as the perfect spot for gathering on clear nights.

The stairs that lead to the master suite and the atelier on the first floor becomes a sculpture with its floating steps underneath a large glass ceiling, transforming the atrium into a courtyard. The volume of this floor, covered with vertical wood louvers of different widths, contrasts with the long horizontal lines of the brick walls of the first floor. The rusticity of the house is highlighted by the washed tones of the bricks, playing with the shadows under the strong tropical light. All the frames employed in glass doors and windows are very narrow, with a 2 cm square section, becoming almost imperceptible, even when closed.

The interior design result in an innovative composition that allies strong and iconic American works with discrete Italian furniture. Sculptor Michael Coffey handcrafted a bespoken set of dining table and chairs in a lengthy process that lasted 8 months, working with wood trunks. Icons by Paul Evans, Warren Platner and Richard Schultz share the space with neutral designs by Paola Lenti.

The color palette employed seeks orange and terracotta tones found in the surrounding landscape. It reconciles the warmth of the wood with the freshness of the stone. Fabrics such as the striped cushions and the Nepalese carpet in the living room highlight the effort to create an atmosphere that transits from being monochromatic to playing with earthly tones. Antiques and artworks from the clients' collection, such as ceramic plates by Picasso and Burle Marx, give a final touch to the cozy ambiances.

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18 Fantastic Permeable Facades

Posted: 25 Feb 2018 04:00 AM PST

Recently, a new trend in architecture has emerged: Several of the latest projects highlighted by ArchDaily, including some winners in the Building of the Year Awards, are using permeable facades as an attractive option for their exterior finishes.

Better lighting, ventilation, and visibility are some of the advantages brought by this type of façades. Below is a selection of 15 images from prominent photographers such as Andrés Valbuena, Pedro Nuno Pacheco, and Koji Fuji Nacasa & Partners Inc.

Rasmus Norlander, Ariel Huber

Crematory in Basel / Architekturbüro Garrigues Maurer

Koji Fuji / Nacasa & Partners Inc

Optical Glass House / Hiroshi Nakamura & NAP

Iwan Baan

Guardian Art Center in Beijing / Büro Ole Scheeren View from Drop Off

Nguyen Thai Thach

KOI Cafe / Farming Architects

Timothy Hursley

Magnolia Mound Visitors Center / Trahan Architects

Xia Zhi

The MaoHaus / AntiStatics Architecture MaoHaus Night

Sanrok Studio

Bima Microlibrary / SHAU Bandung

Hiroyuki Oki

The Modern Village Office / Ho Khue Architects

Patrick Lopez

Saint Peter House / Proyecto Cafeína + Estudio Tecalli

Aitor Ortiz

REE Campus in Tres Cantos / IDOM

Gonzalo Viramonte

Catalinas Houses / Agustín Lozada

Pedro Nuno Pacheco

Dos Plátanos School / Murmuro

Fernando Guerra | FG+SG

Emiliano RJ / Studio Arthur Casas

Andrés Valbuena

Santa Fe de Bogotá Foundation / El Equipo de Mazzanti

Pedro Nuno Pacheco

Dos Plátanos School / Murmuro

Fernando Guerra | FG+SG

Emiliano RJ / Studio Arthur Casas

Andrés Valbuena

Santa Fe de Bogotá Foundation / El Equipo de Mazzanti

Hiroyuki Oki

The Lantern / VTN Architects

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Look Inside a Collection of Barcelona-Based Architecture Offices, Photographed by Marc Goodwin

Posted: 25 Feb 2018 01:30 AM PST

Architectural photographer Marc Goodwin captures the unique workspaces of architects around the world. So far, Goodwin's photography has helped us imagine what office life might be like as an architect in London, Paris, Beijing, Shanghai, Seoul, the Nordic countries, and now, Barcelona. Read on to see the spaces where architects from Ricardo Bofill to Fermin Vazquez design solutions that impact our world.

Ricardo Bofill Taller de Arquitectura

In this Space Since: 1975
Number of Employees: 60
Former Use of Space: Cement factory
Size: 5000sqm (floor) 500sqm (house)
Program: Architectural offices, archives, model laboratory, exhibition space, Bofill's apartment, guest rooms, and gardens.

Miralles Tagliabue EMBT

In this Space Since: 1997
Number of Employees: 50
Former Use of Space: Residence for Spanish Navy senior officials / Fabrics company
Size: 1000sqm

ESTUDIO DE ARQUITECTURA ALONSO, BALAGUER

In this Space Since: February 2015
Number of Employees: 25
Former Use of Space: Architecture studio
Size: 361sqm

Office of Architecture in Barcelona, SLP (OAB)

In this Space Since: 2004
Number of Employees: 4 partners, 10 employees
Former Use of Space: Purpose built office, gallery space formerly retail space
Size: 420sqm (studio) 200sqm (gallery)

ARQUITECTURA-G

In this Space Since: 2015
Number of Employees: 10
Former Use of Space: Artist studio
Size: 235sqm

ESTUDIO CARME PINOS

In this Space Since: 1982
Number of Employees: 13
Former Use of Space: Private residence
Size: 480sqm

MAIO

In this Space Since: 2012
Number of Employees: <10
Former Use of Space: Laundromat
Size: 200sqm

vora

In this Space Since: 2005
Number of Employees: 2 associates, 2 architects, 3 interns
Former Use of Space: Wholesale warehouse
Size: 100sqm

b720 Fermin Vazquez Arquitectos

In this Space Since: April 2015
Number of Employees: 20-30
Former Use of Space: Real estate agency
Size: 503sqm

MESURA

In this Space Since: January 2018 (Under construction during shoot)
Number of Employees: 25
Former Use of Space: Industrial workshop
Size: 350sqm

L35 Arquitectos (S.A.P.)

In this Space Since: 1970
Number of Employees: 55
Former Use of Space: Residences

B01 arquitectes - Amadó Domènech SLP

In this Space Since: May 2015
Number of Employees: 4
Former Use of Space: 85sqm

Bach Arquitectes

In this Space Since: 1998
Number of Employees: 10
Former Use of Space: Residence
Size: 140sqm

La Granja

In this Space Since: 2010
Number of Employees: 16
Former Use of Space: Biscuit Factory
Size: 300sqm

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Obervedere / Collectif Etc

Posted: 25 Feb 2018 01:00 AM PST

Architects: Collectif Etc
Location: Ungersheim, France
Area: 10.0 m2
Project Year: 2017
Photographs: Collectif etc

Text description provided by the architects. The "Ecomusée d'Alsace" commissioned us to imagine and realize a belvedere from a half-timbered resulting coming from a house of the municipality of Oberhausbergen ( 67 ).

The objective of the project was double. On the one hand, proposing a new formal writing from a old half-timbered structure. On the other hand, creating a signal in the museum, at the same time panorama of the agriculture in the museum.

Wood of the half-timbered were sorted out, selected then worked again, to constitute a volume perched on a structure made up by four trunks of locust trees coming from the site of the Ecomuseum.

A secondary skeleton, made up with Douglas of Vosges, came to stiffen the all installation, by proposing a first balcony at the end of a footbridge as well as a main staircase of access to the belvedere. As during our previous residences, the purpose also was to share the whole experience with former people for the Ecomuseum and young volunteers : a beautiful team came to help us and to share with us these strong moments.

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Who Has Won the Pritzker Prize?

Posted: 25 Feb 2018 12:00 AM PST

Pritzker Prize 2017 Ceremony: Ryue Nishizawa, Tadao Ando, Kazuyo Sejima, Rafael Aranda, Glenn Murcutt, Carme Pigem, Ramon Vilalta, Toyo Ito, Shigeru Ban. Image © The Hyatt Foundation / Pritzker Architecture Prize

The Pritzker Prize is the most important award in the field of architecture, awarded to a living architect whose built work "has produced consistent and significant contributions to humanity through the art of architecture." The Prize rewards individuals, not entire offices, as took place in 2000 (when the jury selected Rem Koolhaas instead of his firm OMA) or in 2016 (with Alejandro Aravena selected instead of Elemental); however, the prize can also be awarded to multiple individuals working together, as took place in 2001 (Herzog & de Meuron), 2010 (Kazuyo Sejima and Ryue Nishizawa of SANAA), and 2017 (Rafael Aranda, Carme Pigem, and Ramon Vilalta of RCR Arquitectes).

The award is an initiative funded by Jay Pritzker through the Hyatt Foundation, an organization associated with the hotel company of the same name that Jay founded with his brother Donald in 1957. The award was first given in 1979, when the American architect Philip Johnson, was awarded for his iconic works such as the Glass House in New Canaan, Connecticut.

The Pritzker Prize has been awarded for almost forty straight years without interruption, and there are now 18 countries with at least one winning architect. To date, half of the winners are European; while the Americas, Asia, and Oceania share the other twenty editions. So far, no African architect has been awarded, making it the only continent without a winner.

In terms of gender, only three women have won the award: Zaha Hadid (2004), Kazuyo Sejima (2010, together with Ryue Nishizawa) and Carme Pigem (2017, together with Ramón Vilalta and Rafael Aranda). While in 2012, Lu Wenyu, partner and wife of Wang Shu, rejected the proposal to share the award, saying that "I never wanted a Pritzker."

However, this has not been the case for Denise Scott Brown, who did not receive the award in 1991 alongside her partner and husband Robert Venturi. In 2013, organizations and personalities demanded to give the prize retroactively to Scott Brown, a request that was rejected by Peter Palumbo—then president of the jury—who closed down the discussion by explaining that "a jury can not reopen or criticize the work of a previous jury."