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Today’s News - Thursday, March 2, 2017

EDITOR'S NOTE: Tomorrow and Monday will be no-newsletter days. We'll be back Tuesday, March 7.

•   As promised more poetic Prtizker Prize prose (with some politics mixed in for good measure):

•   Hawthorne says selecting the Spanish trio is "a nod to the forces that gave rise to Brexit and Trump," with the jury "looking for architecture - both to encourage a new set of priorities in the profession and to send a distinctly political message."

•   Rhodes sees the Pritzker pick as "an oblique commentary on global politics" - RCR Arquitectes "stands in as a metaphor for appreciating otherness in the world."

•   Mafi sees the selection "to be highly political," acknowledging "the importance of collaboration in an increasingly divided world and a tacit rejection of exclusionary policies."

•   Glancey cheers the Catalan trio that has "shaped one exquisite modern building after another, each one a delight for the senses."

•   Heathcote hails the winning trio for not being afraid of the "slightly suspect concept of beauty" by creating "some of the most ethereal, exquisite and, yes, beautiful architecture of modern times" (may - or may not - be behind a paywall; we got to it 2 out 3 tries).

•   Budds minces no words: "RIP, starchitecture. And good riddance" - the Pritzker pick "illuminates a path forward for an industry struggling with identity and communication."

•   Lange had never heard of RCR Arcquitectes, but she's pleased the jury picked "three!" collaborators - and "added another woman. This is how architecture is really practiced so, thank you."

•   Pritzker Prize Executive Director Thorne re: why the jury selected three people: "because they have a very special form of working together," and their architecture "is very experiential."

•   McGuigan mulls the proliferation of awards programs, and how much they really matter: "if your project is honored along with hundreds of others, how big a deal can that be?"

•   Morris ponders "doing the right thing in an upside down world of Trump and Brexit": against the odds, "we are grass roots, community based, collaborative, cooperative - we are the place makers; we are the community builders."

•   Buday calls for putting "narrative back into architecture," which "has spent the last 75 years searching to regain the public's interest, to reconnect buildings to culture, to rediscover its social purpose. It is still looking."

•   Goldhagen dives deep into how "New York's waterfront park-building campaign epitomizes a reorientation of major cities around the globe toward their aquatic edges."

•   A debate arises from a study about the relationship between compact development and driving, "leading to a muddled understanding about the true impact of compact development."

•   Weekend diversions:

•   Iovine cheers "Architecture of Independence: African Modernism" at NY's Center for Architecture that offers 80 "underappreciated gems built to embody exuberant hope, calculated anti-colonialism, ambition, and liberation."

•   New-York Historical Society celebrates Women's History Month in anticipation of Jiricná's new Center for Women's History, opening late April.

•   "Smarter Buildings: At the Intersection of Architecture, Design, and Technology" is the result of AIA Seattle's Emerging Professionals Travel Scholarship, showcasing Miller Hull's Eckhardt's search for the world's smartest buildings.

•   "Road to Revolution: A 30-Day Journey Across Cuba" at BSA Space in Boston charts the 560-mile trek Shepley Bulfinch's Gordon took across the island.

•   Riley cheers "Robert Adam's London" at Sir John Soane's Museum (but this "clever and expository" show is on view only 'til March 11).

•   Moore gives thumbs-up to Webb's "Building Community New Apartment Architecture" that "mines a rich seam since, for both good and questionable reasons, architects love playing around with blocks of flats."

•   Moonan marvels that "Michigan Modern: Design That Shaped America" makes the most excellent "case that Modernist architecture and design was developed in Michigan, not imported from Europe between 1900 and 1970."

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