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15, 2002
Photo Booklet
The photo booklet contains a photo of Glenn Murcutt and a selection of full color
reproductions of his works. This does not represent a complete catalogue of the Laureate’s
work, but rather a representative sampling. They are all 200 line screen lithographs printed
on high gloss stock. These replace the need for using black & white continuous tone prints.
They may be re-photographed using 85 line screens for black & white newspaper
reproduction, and they can be re-sized, either 50% larger or smaller with no degradation
in the image quality or moire effect. The same holds true for the B&W images in the media
text booklet. For color reproduction, you have a choice of digital scanning, requesting color
slides or a CD of hi-res images. You may also download image files. We can provide high
resolution (1200 dpi) TIFF or EPS files of the images using ZIP or HQX archive formats
for uploading directly to your FTP server or via e-mail. Call the Media Office listed below.
Unless otherwise noted, all photographs/drawings are courtesy of Glenn Murcutt. Permission is
granted for media use in relation to the Pritzker Architecture Prize. They may not be used for any
other advertising or publicity purpose without permission from the individual photographers. Photo
credit lines should appear next to published photos as indicated in these media materials.
The Hyatt Foundation
Media Information Office
Attn: Keith H. Walker
8802 Ashcroft Avenue
Los Angeles, CA 90048-2402
phone: 310-273-8696 or
310-278-7372
fax: 310-273-6134
e-mail: jenswalk@earthlink.net
http:/www.pritzkerprize.com
M
EDIA
C
ONTACT
Note to Editors: For complete details on the history of the Pritzker Prize
and previous laureates, see www.pritzkerprize.com.
Media Text Booklet
Previous Laureates of the Pritzker Prize ................................................. 2
Media Release Announcing the 2002 Laureate ................................. 3-6
Members of the Pritzker Jury ................................................................... 7
Citation from Pritzker Jury ....................................................................... 8
Comments from Individual Jurors ........................................................... 9
About Glenn Murcutt ........................................................................ 10-17
Description of Simpson-Lee House .................................................. 17-18
Fact Summary – Chronology of Works, Exhibits, Honors ............ 19-22
Drawings and B&W Photographs of Murcutt’s Works .................. 23-28
2002 Ceremony Site – Rome, Italy ................................................. 29-30
History of the Pritzker Prize ............................................................. 31-32
M
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K
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ANNOUNCING
THE
2002
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1979
Philip Johnson of the United States of America
presented at Dumbarton Oaks, Washington, D.C.
1980
Luis Barragán of Mexico
presented at Dumbarton Oaks, Washington, D.C.
1981
James Stirling of the United Kingdom
presented at the National Building Museum, Washington, D.C.
1982
Kevin Roche of the United States of America
presented at The Art Institute, Chicago, Illinois
1983
Ieoh Ming Pei of the United States of America
presented at The Metropolitan Museum of Art, New York, New York
1984
Richard Meier of the United States of America
presented at the National Gallery of Art, Washington, D.C.
1985
Hans Hollein of Austria
presented at the Huntington Library,
Art Collections and Botanical Gardens, San Marino, CA
1986
Gottfried Boehm of Germany
presented at Goldsmiths’ Hall, London, England
1987
Kenzo Tange of Japan
presented at the Kimbell Art Museum, Fort Worth, Texas
1988
Gordon Bunshaft of the United States and Oscar Niemeyer of Brazil
presented at The Art Institute, Chicago, Illinois
1989
Frank O. Gehry of the United States of America
presented at Todai-ji Buddhist Temple, Nara, Japan
1990
Aldo Rossi of Italy
presented at Palazzo Grassi, Venice, Italy
1991
Robert Venturi of the United States of America
presented at Palacio de Iturbide, Mexico City, Mexico
1992
Alvaro Siza of Portugal
presented at the Harold Washington Library Center, Chicago, Illinois
1993
Fumihiko Maki of Japan
presented at Prague Castle, Czech Republic
1994
Christian de Portzamparc of France
presented at The Commons, Columbus, Indiana
1995
Tadao Ando of Japan
presented at the Grand Trianon and the Palace of Versailles, France
1996
Rafael Moneo of Spain
presented at the construction site of The Getty Center, Los Angeles, CA
1997
Sverre Fehn of Norway
presented at the construction site of The Guggenheim Museum, Bilbao, Spain
1998
Renzo Piano of Italy
presented at The White House, Washington, D.C.
1999
Sir Norman Foster of the United Kingdom
presented at the Altes Museum, Berlin, Germany
2000
Rem Koolhaas of The Netherlands
presented at The Jerusalem Archaeological Park, Israel
2001
Jacques Herzog and Pierre de Meuron of Switzerland
presented at Thomas Jefferson’s Monticello, Virginia
P
REVIOUS
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Los Angeles, CA — An Australian architect, Glenn Murcutt, who
works as a sole practitioner, primarily designing environmentally sensitive
modernist houses that respond to their surroundings and climate, as
well as being scrupulously energy conscious, has been named to receive
the 2002 Pritzker Architecture Prize. The 66 year old Murcutt lives and
has his office in Sydney, but travels the world teaching and lecturing to
university students.
In announcing the jury’s choice, Thomas J. Pritzker, president of
The Hyatt Foundation, said, “Glenn Murcutt is a stark contrast to most
of the highly visible architects of the day — his works are not large
scale, the materials he works with, such as corrugated iron, are quite
ordinary, certainly not luxurious; and he works alone. He acknowledges
that his modernist inspiration has its roots in the work of Mies van der
Rohe, but the Nordic tradition of Aalto, the Australian wool shed, and
many other architects and designers such as Chareau, have been
important to him as well. Add in the fact that all his designs are
tempered by the land and climate of his native Australia, and you have
the uniqueness that the jury has chosen to celebrate. While his primary
focus is on houses, one of his public buildings completed in 1999, the
Arthur and Yvonne Boyd Education Centre, has achieved acclaim as
well, critics calling it ‘a masterwork’.”
Pritzker Prize jury chairman, J. Carter Brown, commented, “Glenn
Murcutt occupies a unique place in today’s architectural firmament. In
an age obsessed with celebrity, the glitz of our ‘starchitects,’ backed by
large staffs and copious public relations support, dominate the headlines.
As a total contrast, our laureate works in a one-person office on the
other side of the world from much of the architectural attention, yet has
a waiting list of clients, so intent is he to give each project his personal
best. He is an innovative architectural technician who is capable of
turning his sensitivity to the environment and to locality into forthright,
totally honest, non-showy works of art. Bravo!”
The formal presentation of what has come to be known throughout
Australian Architect
Becomes the 2002 Laureate of the
Pritzker Architecture Prize
For publication on or after Monday, April 15, 2002
4
the world as architecture's highest honor will be made at a ceremony on
May 29, 2002 at Michelangelo’s Campidoglio in the heart of Rome. At
that time, Murcutt will be presented with a $100,000 grant and a bronze
medallion. Murcutt is the first Australian to become a Pritzker Laureate,
and the 26th honoree since the prize was established in 1979. His
selection continues what has become a ten-year trend of laureates from
the international community. In fact, architects from other countries
chosen for the prize now far outnumber the U.S. recipients, nineteen to
seven.
Bill Lacy, who is an architect spoke as the executive director of the
Pritzker Prize, quoting from the jury citation which states, “His is an
architecture of place, architecture that responds to the landscape and the
climate. His houses are fine tuned to the land and the weather. He uses a
variety of materials, from metal to wood to glass, stone, brick and concrete
— always selected with a consciousness of the amount of energy it took to
produce the materials in the first place.”
Lacy elaborated, “Murcutt’s thoughtful aproach to the design of such
houses as the Marika-Alderton House in Eastern Arnhem Land; the Marie
Short House in New South Wales; and the Magney House at Bingie Bingie,
South Coast, New South Wales, are testament that aesthetics and ecology
can work together to bring harmony to man’s intrusion in the environment.”
Ada Louise Huxtable, architecture critic and member of the jury,
commented further saying, “Glenn Murcutt has become a living legend,
an architect totally focused on shelter and the environment, with skills
drawn from nature and the most sophisticated design traditions of the
modern movement.”
Another juror, Carlos Jimenez from Houston who is professor of
architecture at Rice University, said, “Nurtured by the mystery of place
and the continual refinement of the architect’s craft, Glenn Murcutt’s
work illustrates the boundless generosity of a timely and timeless vision.
The conviction, beauty and optimism so evident in the work of this
most singular, yet universal architect remind us that architecture is
foremost an ennobling word for humanity.”
And from juror Jorge Silvetti, who chairs the Department of Archi-
tecture, Graduate School of Design at Harvard University, “The archi-
tecture of Glenn Murcutt surprises first, and engages immediately after
because of its absolute clarity and precise simplicity — a type of clarity
that soon proves to be neither simplistic nor complacent, but inspiringly
dense, energizing and optimistic. His architecture is crisp, marked and
impregnated by the unique landscape and by the light that defines the
fabulous, far away and gigantic mass of land that is his home, Australia.
5
Yet his work does not fall into the easy sentimentalism of a chauvinistic
revisitation of the vernacular. Rather, a considered, serious look would
trace his buildings’ lineage to modernism, to modern architecture, and
particularly to its Scandinavian roots planted by Asplund and Lewerentz,
and nurtured by Alvar Aalto.”
The purpose of the Pritzker Architecture Prize is to honor annually
a living architect whose built work demonstrates a combination of
those qualities of talent, vision and commitment, which has produced
consistent and significant contributions to humanity and the built
environment through the art of architecture.
The distinguished jury that selected Murcutt as the 2002 Laureate
consists of its founding chairman, J. Carter Brown, director emeritus
of the National Gallery of Art, and chairman of the U.S. Commission
of Fine Arts; and alphabetically: Giovanni Agnelli, chairman emeritus
of Fiat from Torino, Italy; Ada Louise Huxtable, author and
architectural critic of New York; Carlos Jimenez, professor at Rice
University School of Architecture, and principal, Carlos Jimenez Studio
Houston, Texas; Jorge Silvetti, chairman, department of architecture,
Harvard University Graduate School of Design; and Lord Rothschild,
former chairman of the National Heritage Memorial Fund of Great
Britain and formerly the chairman of that country's National Gallery
of Art.
The prize presentation ceremony moves to different locations around
the world each year, paying homage to historic and contemporary
architecture. Last year, the ceremony was held in Charlottesville, Virginia
at Thomas Jefferson's home, Monticello, which the former president
and author of the Declaration of Independence, as well as accomplished
architect, designed. In 2000, the ceremony was held in Jerusalem in the
Archaeological Park surrounding the Dome of the Rock.
Philip Johnson was the first Pritzker Laureate in 1979. The late Luis
Barragán of Mexico was named in 1980. The late James Stirling of
Great Britain was elected in 1981, Kevin Roche in 1982, Ieoh Ming Pei
in 1983, and Richard Meier in 1984. Hans Hollein of Austria was the
1985 Laureate. Gottfried Boehm of Germany received the prize in
1986. Kenzo Tange was the first Japanese architect to receive the prize
in 1987; Fumihiko Maki was the second from Japan in 1993; and Tadao
Ando the third in 1995. Robert Venturi received the honor in 1991, and
Alvaro Siza of Portugal in 1992. Christian de Portzamparc of France
was elected Pritzker Laureate in 1994. The late Gordon Bunshaft of the
United States and Oscar Niemeyer of Brazil, were named in 1988.
Frank Gehry was the recipient in 1989, the late Aldo Rossi of Italy in
6
1990. In 1996, Rafael Moneo of Spain was the Laureate; in 1997
Sverre Fehn of Norway; in 1998 Renzo Piano of Italy, in 1999 Sir
Nor man Foster of the UK, and in 2000, Rem Koolhaas of the
Netherlands. Last year, two architects from Switzerland received the
honor: Jacques Herzog and Pierre de Meuron.
The field of architecture was chosen by the Pritzker family because
of their keen interest in building due to their involvement with developing
the Hyatt Hotels around the world; also because architecture was a
creative endeavor not included in the Nobel Prizes. The procedures
were modeled after the Nobels, with the final selection being made by
the international jury with all deliberations and voting in secret.
Nominations are continuous from year to year with over 500 nominees
from more than 40 countries being considered each year.
# # #
Ball-Eastaway House 1980-1983
Glenorie, Sydney, NSW
Photo by Anthony Browell
7
T
HE
J
URY
C
HAIRMAN
J. Carter Brown
Director Emeritus, National Gallery of Art
Chairman, U.S. Commission of Fine Arts
Washington, D.C.
Giovanni Agnelli
Chairman Emeritus, Fiat
Torino, Italy
Ada Louise Huxtable
Author and Architectural Critic
New York, New York
Carlos Jimenez
Professor, Rice University School of Architecture
Principal, Carlos Jimenez Studio
Houston, Texas
Jorge Silvetti
Chairman, Department of Architecture
Harvard University, Graduate School of Design
Cambridge, Massachusetts
The Lord Rothschild
F o r m e r C h a i r m a n o f t h e B o a r d o f T r u s t e e s , N a t i o n a l G a l l e r y
F o r m e r C h a i r m a n , N a t i o n a l H e r i t a g e M e m o r i a l F u n d
L o n d o n , E n g l a n d
E
XECUTIVE
D
IRECTOR
Bill Lacy
S t a t e U n i v e r s i t y o f N e w Y o r k a t P u r c h a s e
P u r c h a s e , N e w Y o r k
8
Citation from the Jury
Glenn Murcutt is a modernist, a naturalist, an environmentalist,
a humanist, an economist and ecologist encompassing all of
these distinguished qualities in his practice as a dedicated
architect who works alone from concept to realization of his
projects in his native Australia. Although his works have
sometimes been described as a synthesis of Mies van der Rohe
and the native Australian wool shed, his many satisfied clients
and the scores more who are waiting in line for his services are
endorsement enough that his houses are unique, satisfying
solutions.
Generally, he eschews large projects which would require him
to expand his practice, and give up the personal attention to
detail that he can now give to each and every project. His is an
architecture of place, architecture that responds to the landscape
and to the climate.
His houses are fine tuned to the land and the weather. He uses
a variety of materials, from metal to wood to glass, stone, brick
and concrete — always selected with a consciousness of the
amount of energy it took to produce the materials in the first
place. He uses light, water, wind, the sun, the moon in working
out the details of how a house will work — how it will respond
to its environment.
His structures are said to float above the landscape, or in the
words of the Aboriginal people of Western Australia that he is
fond of quoting, they “touch the earth lightly.” Glenn Murcutt’s
structures augment their significance at each stage of inquiry.
One of Murcutt’s favorite quotations from Henry David Thoreau,
who was also a favorite of his father, “Since most of us spend our
lives doing ordinary tasks, the most important thing is to carry
them out extraordinarily well.” With the awarding of the 2002
Pritzker Architecture Prize, the jury finds that Glenn Murcutt is
more than living up to that adage.
9
"Glenn Murcutt occupies a unique place in todayís architectural firmament. In an age obsessed
with celebrity, the glitz of our ëstarchitects,í backed by large staffs and copious public relations
support, dominate the headlines. As a total contrast, our laureate works in a one-person office
on the other side of the world from much of the architectural attention, yet has a waiting list of
clients, so intent is he to give each project his personal best. He is an innovative architectural
technician who is capable of turning his sensitivity to the environment and to locality into
forthright, totally honest, non-showy works of art. Bravo!"
J. Carter Brown
Chairman, Pritzker Jury
ìGlenn Murcutt has become a living legend, an architect totally focused on shelter and the
environment, with skills drawn from nature and the most sophisticated design traditions of the
modern movement.î
Ada Louise Huxtable
Pritzker Juror
"Nurtured by the mystery of place and the continual refinement of the architectís craft, Glenn
Murcuttís work illustrates the boundless generosity of a timely and timeless vision. The
conviction, beauty and optimism so evident in the work of this most singular, yet universal
architect remind us that architecture is foremost an ennobling word for humanity."
Carlos Jimenez
Pritzker Juror
"The architecture of Glenn Murcutt surprises first, and engages immediately after because of
its absolute clarity and pecise simplicity ó a type of clarity that soon proves to be neither
simplistic nor complacent, but inspiringly dense, energizing and optimistic. His architecture
is crisp, marked and impregnated by the unique landscape and by the light that defines the
fabulous, far away and gigantic mass of land that is his home, Australia. Yet his work does
not fall into the easy sentimentalism of a chauvinistic revisitation of the vernacular. Rather, a
considered, serious look would trace his buildingsí lineage to modernism, to modern
architecture, and particularly to its Scandinavian roots planted by Asplund and Lewerentz, and
nurtured by Alvar Aalto."
Jorge Silvetti
Pritzker Juror
ìGlenn Murcuttís buildings embrace both simplicity and elegance, but with a social and
environmental conscience. Although most of his work is small in scale, it is remarkable for its
purity and adherence to the guiding principles of modern architecture.î
Bill Lacy
Executive Director
T he bronze medallion awarded to each Laureate of the Pritzker Architecture Prize is based on designs of Louis Sullivan,
famed Chicago architect generally acknowledged as the father of the skyscraper. On one side is the name of the prize. On
the reverse, three words are inscribed, “fir mness, commodity and delight,” T hese are the three conditions referred to by
Henr y Wotton in his 1624 treatise, The Elements of Architecture, which was a translation of thoughts originally
set down nearly 2000 years ago by Marcus Vitruvius in his Ten Books on Architecture, dedicated to the Roman Emperor
Augustus. Wotton, who did the translation when he was England’s first ambassador to Venice, used the complete quote
as: “T he end is to build well. Well-building hath three conditions: commodity, fir mness and delight.”
Note to editors: The following are some additional comments
from individual Pritzker Prize Jurors:
10
Note to editors: It would be impossible in this brief media kit to provide a
complete biography or to outline and discuss all of Glenn Murcuttís work. Rather
an attempt is made to highlight some important aspects of his life, and some
of his projects and thoughts on architecture. A detailed chronological list of
his projects and honors is provided in another section of this kit. A selected
bibliography is also provided for anyone wanting further research.
…about Glenn Marcus Murcutt
Glenn Murcutt is either one of Australia’s best kept secrets, or one of the
world’s most influential architects. Perhaps, both. On the other hand, we should
temper “secret” somewhat since he has been the subject of numerous books and
magazine articles throughout the world. One of the first definitive works was Glenn
Murcutt Works and Projects by Françoise Fromonot, first published in 1995. In
that book, she describes Murcutt as the “first Australian architect whose work has
attracted international attention.”
His relatively low profile can best be explained by the fact that he works
alone, primarily for clients who want houses that are not only environmentally
sensitive, but provide privacy and security in a structure that pleases all the senses.
In stark contrast to many of his contemporaries, Murcutt has declared, “I am not
interested in designing large scale projects. Doing many smaller works provides me
with many more opportunities for experimentation. Our building regulations are
supposed to prevent the worst; they in fact fail to stop the worst, and at best frustrate
the best — they certainly sponsor mediocrity. I’m trying to produce what I call
minimal buildings, but buildings that respond to their environment.”
“I have had to fight for my architecture. I have fought for it right from the
outset because councils have clearly found the work a threat. For many designs I put
to council, we either had to resort to a court for the outcome or better, negotiate a
satisfactory result, always trying to avoid a compromise. I have had the greatest
trouble with planning, building and health department staff, many of whom have
backgrounds unrelated to architecture, but offer very conservative judgments in
taste and aesthetics.”
What manner of man and architect is this who could so openly state his
opposition to the people who exercise so much control over what and how things
should be built? A look at his colorful family, as well as how and where he was
raised is a partial explanation. And “colorful” is a mild adjective in this application;
Murcutt’s life is the stuff of which movies are made.
Glenn Murcutt today readily credits his father as being a strong influence
toward his architectural career. This brief reflection of family history further explains
some of the influences that have shaped his work.
His father, Arthur Murcutt was born in Melbourne in 1899. By the time he
was thirteen, he ran away from home, seeking something more than what he would
describe later to his son, “the ugliness of life.” He worked at odd jobs, from station
hand to well sinker to sheep shearer before shipping off to Port Moresby, New
11
Guinea, which had just been declared an Australian Mandated Territory at the end
of World War I. There he worked as a bootmaker and saddler, as well as learning
carpentry, before setting off with a partner on an adventure to prospect for gold in
New Guinea. When they failed to find the precious metal, he landed work as
superintendent of a plantation and builder of houses, and even had time to indulge
his interest in music, buying a gold-plated saxophone.
When he returned to Port Moresby, he teamed up with another of his mates
to build a yacht in which the two of them would sail across the Pacific. The mate
was a fellow Australian, Errol Flynn, before he achieved his movie stardom in the
United States. Their cruise was canceled when the boat sank shortly after being
launched. As his father related the story, it sank due to sabotage to prevent Flynn
from leaving the country owing money.
By the time 1932 arrived, Arthur Murcutt was operating a sawmill in Wau
(still in New Guinea), but gold lured him and another partner into a second venture
in prospecting, this time with enough success that it made him a fairly wealthy man.
Two years into his gold mining days, he met and married Daphne Powys, the
daughter of a photographer from Manly, Australia.
In 1936, with things going well in the gold business, Arthur Murcutt and his
pregnant wife decided to go to the Berlin Olympics. During a stopover in London,
their first son, Glenn Murcutt, was born. Their return to Australia was via the
Aquitania to New York, and then a cross-country car trip to Los Angeles where
they sailed the Pacific to reach home. With such round-the-world travels under his
belt before the age of one, it’s no wonder that Glenn Murcutt would later visit
nearly every continent as a lecturer or visiting professor at leading universities. Of
this, he says, “Teaching has proved a wonderful way to learn. Not only have my
students provided challenges, but they are sounding boards for ideas, and my
association with other teachers has provided great stimulus.”
But back to 1937, when the Murcutt family go into the wilds of New Guinea
where they remained until the approaching Japanese at the outset of World War II
drove them back to Australia in 1941. Those first five years of life in New Guinea
had a profound influence on Glenn, whether actual memory or family recollections.
That family now included a brother and sister for Glenn, Douglas and Nola.
Glenn’s mother recounted to him how his father would take several books
with him each day when he went up to the gold mining area, and his father confirmed
that when Glenn was older, telling him, “I got my education in the forests of New
Guinea because I had time to read.” Jung, Freud and particularly Henry David
Thoreau were his father’s favorites, and the latter became one of Glenn’s as well.
“There is no doubt my father was a compulsive reader. He had many of Freud’s
first publications.”
Glenn quotes a passage from Thoreau, “But the civilized man has the habits
of the house. His house is his prison, in which he finds himself oppressed and
confined, not sheltered and protected. He walks as if the walls would fall in and
crush him, and his feet remember the cellar beneath. His muscles are never relaxed.
12
It is a rare thing that he overcomes the house, and learns to sit at home in it, and the
roof and the floor and walls support themselves, as the sky and trees and earth.”
Murcutt wanted to experience his Marie Short house for a 24-hour period,
which he did starting after the evening meal and every two hours going to a different
part of the house to see what was happening. Says Murcutt, “It was wonderful to be
there. I was in command. I was able to say if I wanted the wind to come in or not.
I wasn’t enslaved by the building. I could hear the frogs, the crickets; I could tell the
day was coming by the sounds of the birds waking. The moon came through the
skylight — patches of blue light entered the room. You can’t experience that easily
in the forest because you would be eaten by mosquitos. Here I was in a man-made
environment that is insect meshed, but able to experience ninety per cent of the
outside environment. I could open up the house and freeze or close it and stay
warm. That’s what a house should do — to operate the building like sailing a boat.”
He continues, “I also say that we should, as architects, observe how we dress
according to our different climates. We layer our clothing, put more on when its
cold, take more off when its hot — and I think our buildings should equally respond
to their climates. Very few of my buildings have air conditioning. To my very good
Finnish friends, I point out that they tend to put on more clothes, and we in Australia
think more about taking them off — that’s of course what most of my buildings
do.”
Glenn remembers their home in New Guinea, built by his father, with a
roof of light weight corrugated iron, and perched on stilts a full story above ground
to keep water and reptiles out, as well as affording some protection from quite
dangerous local people, who at least once were discouraged from attacking when
his mother fired a rifle over their heads. He elaborates, “The local people were very
angry about our living in their land; we simply occupied it and took from it. Yes,
they were dangerous. They were known as the Kukuku people, feared also by other
national New Guineans, and even today, they are still feared.”
Another childhood memory is that of aviation, which was a primary means
of transportation, as well as the delivery of mail and materials. Glenn quotes the
statistic that in the 1930’s, the Wau and Bulolo airports in New Guinea had three
times the number of passengers and cargo arriving and departing as any other
airport in the world. Many of the planes were Junker G/31 and W/34 models
whose wings and fuselage were covered with corrugated duralumin.
At one point, Glenn says he was concerned that he was becoming known as
the “corrugated Gal Iron King.” He points out that he hasn’t used galvanized iron
just to be using it as a gimmick. He says, “I use it because it’s an important material
for the things I want to do. It’s capable of giving me that thinness, that lightweight
quality, an edge, a fineness, economy and strength and profile. I’m able to bend it
and curve it in two dimensions. I love it because it reflects the quality of the light of
the day and surrounding colors. On a dull day, the building dulls down; on a bright
day, the building is bright. When laid with the ribs horizontal, the upper surface of
the corrugation picks up the sky light and the lower surface, the ground light —
13
accentuating the horizontal. That’s a material which responds to its environment.”
Speaking further about his use of corrugated iron, Murcutt says, “Horizontal
linearity is an enormous dimension of this country, and I want my buildings to feel
part of that. Take the iron sheeting on outside walls, for example, generally it runs
vertically, and I believe it should run horizontally. It’s not only logical in terms of
the material itself, but it’s logical in terms of a stud frame to fix it horizontally. If it
runs vertically, it competes with the trees. I don’t want to compete with trees, let
them complement the horizontality of the man-made iron sheets.”
But to return to earlier history, his father, Arthur Murcutt, proved to be an
astute business man, investing his gold earnings in land in Sydney, Australia, so
when World War II was over, he established a joinery shop in Manly Vale, having
learned carpentry from his work in New Guinea and in the Royal Australian Air
Force. He became increasingly interested in architecture, subscribing to Architectural
Forum, where he saw Mies van der Rohe’s Farnsworth house, and was so impressed
by it that he made it required reading for Glenn, who studied the article three times
before being quizzed by his father about the design.
This Miesian influence on the architecture of Glenn Murcutt would prove
to be long-lasting. He whole-heartedly adheres to the well-known principle “less is
more,” and another that “form is not the aim of our work, but only the result.” In
1974, when designing the Marie Short house in Kempsey, Murcutt protected the
house from insects, snakes and large lizards during floods when they would swim to
the high ground. He says, “A house set on the ground would see frogs, snakes, etc.
inside; being off the ground provided a place below the floor for these creatures
and dry, reptile free platform for human habitation.” There is a similarity to the
way Glenn suspended the wooden floor above ground for this house to the way
Mies had done with Farnsworth house to protect it from floods of the Fox River in
Illinois. His father also introduced him to the work of Frank Lloyd Wright, Gordon
Drake, the Keck brothers, Harry Weese, Edward Larrabee Barnes, Schindler, Philip
Johnson and Charles Eames, as well as some of Australia’s post-war modernists
such as Sydney Ancher and Arthur Baldwinson.
Murcutt senior designed and built several houses for his family (as well as
several speculative houses) over the years — all of which are evidence of his interest
in modern architecture. When Glenn was 13, his father assigned him the task of
making of a model house of where they lived at the time, and then photographing
it. Anyone looking at the model could see further evidence of his father’s efforts to
design in what would now be called a modernist idiom.
Glenn remembers that his father had a keen awareness of the environment,
saying, “He would take me up the hillside and analyze a plant with me. We’d do
that with all manner of species of plants and trees. He tried to stop people from
cutting the trees, and when he couldn’t stop them, he’d go out and plant seeds for
more.”
“There were lessons to be learned from dad every day,” continues Glenn,
“whether it was the landscape, nature, music, swimming, woodworking, and
14
household chores. I had learned to swim by the time I was two and a half. Dad
taught us to be disciplined, and how to accomplish a lot in every day. Yes, he scared
all five children, but he was also very warm.”
Glenn admits to doing rather badly in elementary school and the early years
in high school, but later on in high school, he had what he describes as some really
great teachers, singling out one particular piano teacher as being the best and most
gentle in Sydney. “I became quite reasonable at performances and started to play
some really interesting classical compositions by Bach, Liszt and Beethoven.”
At university, he remembers “the most gruelling experience” he’d ever had.
“Sixty students,” he recalls, “undertook the final year five-day design exam. At the
end of the third day, three fourths of them had ‘designed’ and completed some
beautiful final drawings. By day four, only six of us were still there. By the end of
that day, only three of us remained. On the fifth day, I found a worthwhile idea and
went on to complete seven large freehand drawings.”
Murcutt continues, “What I learnt from that experience was that architecture
often requires time to evolve if it is to be of any consequence. I recall that those who
completed the design examination quickly, presenting some beautiful drawings, were
somewhat short on thinking!”
With a diploma awarded in December of 1961, he took a walking tour of
Tasmania with a school friend before starting work. A year later, he was able to
take a trip to Europe where he visited Italy, Yugoslavia, Greece, France, Holland,
Germany, Poland, Denmark, Sweden and Finland over a two year period. It was
on this journey that he saw his first Alvar Aalto building, a cultural centre in
Wolfsburg, Germany. He found it “remarkable in its sections, planning, use of
materials, detail and form.” He went on to Bremen to see Aalto’s 22-story high-rise
apartments. Glenn’s reaction: “Everything Aalto did started from first principles
and had a quality of being thoroughly thought through.” Little did he know that in
1992 he would be presented with the seventh Alvar Aalto Medal.
The jury for that award, specifically praised Murcutt’s work for “the
convincing synthesis of regional characteristics, climate-conditioned solutions,
technological rationality and unconstrained visual expression.” Glenn has since
commented that he thought it significant that Jørn Utzon, Alvaro Siza and Tadao
Ando were all previous winners of the Aalto Medal, and in his words, “all of them
sought to marry modern architecture to the place, the territory, the landscape.”
Following that trip to Europe, Glenn returned to Sydney to work in the firm
of Ancher, Mortlock, Murray & Wooley, until 1969 when he founded his own
architectural firm. He had long ago decided when he was still at university that he
would prefer to work at his profession as a sole practitioner, which he has done ever
since. He feels that by working alone, figuring where that next dollar is coming from
is far less pressing than in a large firm. “When the need arises,” he says, “such as a
very good project offered requiring more input than one person is able to do alone,
I work in association with other architects whom I greatly respect. This rather than
15
employing staff — that way, we share an equality. Further, as a one-man office, I
have been able to experiment with wind patterns, materials, light, climate, spaces,
and the characteristics of the site.”
As a result of a travel grant awarded to him by Royal Australian Institute of
Architects for “a degree of creativity in upgrading older houses using new techniques
without destroying them,” he made a second tour of Europe in 1973. It was on
that trip that he first saw the Maison de Verre by Pierre Chareau and Bernard
Bijvoët in Paris. Murcutt describes his visit there as “a liberating experience.” On
the way to Europe, a stopover in Mexico afforded him the opportunity to see Mies
van der Rohe’s Bacardi office building, which he described as “beautifully put
together.” He notes, “I saw some beautiful sculpture, water gardens in Mexico
City, but didn’t find out that they were by Luis Barragán until I returned home.”
Barragán has been another continuing influence on Murcutt. Another highlight of
that trip was a visit to Chicago where he saw Robie house (by Frank Lloyd Wright)
and a trip to Racine, Wisconsin to see the Johnson Wax administration building
and research tower. He also saw more of Mies’ and Louis Sullivan’s works.
Visiting Boston, he had the opportunity to visit Walden Pond, and the site
of Henry David Thoreau’s home. “I lived 25 years in one day, in terms of memory
and what my father had talked about concerning Thoreau,” says Glenn. “I was so
excited, I was tearful.” His father had read Thoreau and responded positively to
his philosophy, passing much of that on to Glenn.
In New York City, which he found incredibly exciting, but somewhat
frightening, he was, to quote him, “really impressed with the Chrysler Building,
Rockefeller Centre and the Ford Foundation Headquarters by Kevin Roche and
John Dinkeloo; to produce that environment in an office building was terrific.”
His travels have continued over the years, particularly as he has become a
much in demand lecturer and visiting professor in architecture schools all over the
world, visiting some twenty countries. In 1997, Murcutt married Wendy Lewin, a
fellow architect with whom he has worked on a number of projects. He has two
sons by a previous marriage: Nicholas, 37, who is an architect; and Daniel, 35, who
is an assistant library technician; and a step-daughter, Anna Lewin-Tzannes, 13.
Some seventeen years ago, in the foreword to a book by Philip Drew, titled
Leaves of Iron and sub-titled Glenn Murcutt: Pioneer of an Australian Architectural
Form, Murcutt wrote: “Landscape in Australia is remarkable. I have learned much
from scrutinising the land and its flora. There is an over-riding horizontality. The
flora is tough. It is in addition, durable, hardy and yet supremely delicate. It is so
light at its edges that its connection with the deep skyvault is unsurpassed anywhere.
The sunlight is so intense for most of the continent that it separates and isolates
objects. The native trees read not so much as members of a series of interconnected
elements, but as groupings of isolated elements. The high oil content of so many of
the trees combined with the strong sunlight results in the foliage shimmering silver
to weathered greys with an affinity towards the pink browns to olives. The foliage is
16
not dense generally and the shadows are therefore a dappled light. This distinguishes
our landscape from that of most other countries where the soft light serves to connect
the elements of the landscape, rather than separate them. My architecture has
attempted to convey something of the discrete character of elements in the Australian
landscape, to offer my interpretation in built form.”
And further, “When I consider the magic of our landscape. I am continually
struck by the genius of the place, the sunlight, shadows, wind, heat and cold, the
scents from our flowering trees and plants, and, especially the vastness to the island
continent. All these factors go to make a land of incredible strength combined with
an unimaginable delicacy.”
So it is not surprising when his words go on: “I am stirred to the point of
anger when I see what continues to be done by so called progress. The destruction
of the flora, the displacement of the fauna and all of it with the blessing, if not
active collusion of our subdivision regulations. I am not rejecting urbanization. I
am not seeking a kind of utopia in the bush — far from it. I am involved with and
recognize the importance of a varied milieu. I am opposed to the total taming of
this land and the loss of the wildness of the native scene. The land appeals for care
and we need to become friends with the landscape and not be threatened by it.”
But his design decisions are not simply based on aesthetics, his houses are
designed using materials that have consumed as little energy as possible in their
manufacture, and will consume as little as possible in the operation of the house.
His houses respond to all manner of climatic conditions, producing their own shade,
ventilation and in most cases function without air conditioning or heating other
than a fireplace. Some houses in the colder regions have back-up under-floor heating
which is not often used.
The Aboriginal people in Western Australia have a saying, “to touch this
earth lightly,” which is a plea for man not to disturb nature any more than necessary.
Because Glenn Murcutt’s architecture conveys that thought with his houses that
float above the land, if not on stilts a full story high, but on footings that disturb the
land minimally. It is not surprising to find another book authored by Drew in 1999,
titled Touch This Earth Lightly, and subtitled Glenn Murcutt in His Own Words.
A typical passage from that book about the Marie Short farm house illustrates
his passion for fitting the architecture to the site: “It gave me the opportunity to
really begin to understand what Australia was like. What its climate was like, the
humidity level, the amount of shade we require, the wind pattern, the sort of
evaporative factor we require in order to be comfortable in shade, in a climate such
as ours. One of the main discoveries was that anything less than a fully opening
wall was inadequate in our climate (at Kempsey). In my opinion, an opening wall
for summer conditions is essential to cooling all spaces. In summer and the change
of season, everyone, without exception, has commented on what a delightfully
temperate building it is, even on the most extreme days.”
The Australian bush fires are world-famous, and while Murcutt acknowledges
fire is important in his country especially for the propagation of many plants, he
17
has to plan ways to save his structures if they encounter fire. In the Simpson-Lee
house at Mt. Wilson, there is a pool alongside the entrance walkway that holds part
of the water necessary for the built-in sprinkler system in case of fire. (It also provides
a reflective medium for the sunlight that bounces onto the ceiling of the interior of
the house.) In the Munro farm house at Bingara, he devised a plan that had two
wells to collect the roof water. These supplied enough recirculated water to sprinkle
the house for 5-6 hours a day during the hottest season.
Controlling how much sunlight penetrates his houses and manipulating the
breezes at various times of the year and the day is another important facet to his
design process. He’s re-introduced in Sydney storm blinds, a version of Venetian
blinds for outside that are made of metal. He had learned in his school days that
once the heat entered a building, there was little else one could do but air-condition
the building so the sensible solution was to provide a system of screens or blinds
that prevents the sun from reaching the glass in the first place. Murcutt has developed
forms of slatted timber and metal screens for sun control which also achieve privacy
yet maintain the movement of air.
He also uses slats set at particular angles as screens above glass not only as
sun control, allowing the entry of winter sunlight and excluding it in the summer,
but also to allow for the appreciation of the sky from within the house day and
night and seasonally. Even the pitch of the roof is variable according to the latitude
and climate of the region. In some areas, he does overlapping layers of roofs so that
the air can move between the layers, extracting roof space summer heated air.
Murcutt says, “A building should be able to open up and say, ‘I am alive and
looking after my people,’ or instead, ‘I’m closed now, and I’m looking after my
people as well.’ This to me is the real issue, buildings should respond. Look at the
gills of a fish, or animals when they become hot. When we get hot, we perspire.
Buildings should do similar things. They should open and close and modify and re-
modify and blinds should turn and open and close, open a little bit without
complication. They should do all these things. That is a part of architecture for me,
the resolution of levels of light that we desire, the resolution of the wind that we
wish for, the modification of the climate as we want it. All this makes a building
live.”
One of Glenn’s favorite quotations, which he is not quite sure whether it
comes from his father or from Thoreau, whom his father was so fond of quoting:
“Since most of us spend our lives doing ordinary tasks, the most important thing is
to carry them out extraordinarily well.”
# # #
A detailed description of one of Murcutt’s houses will afford some further insight
into his design process. The following is an excerpt from the book by Françoise
Fromonot titled Glenn Murcutt - Works and Projects.
18
The Simpson-Lee House
Mount Wilson, New South Wales 1989-1994
With demanding clients, a spartan program (a sanctuary for a retired couple
of intellectual bent seeking withdrawal from the world), a magnificent site in the Blue
Mountains (150 kilometres north-west of Sydney) comprising two isolated plots and
some three hectares (approximately 7.5 acres) in total, a rich variety of flora, and an
extraordinary panorama of hills and forests, the conception and realization of this
project took nearly six years.
Backing on to the west and south-west winds, the house faces to the views of
the east and north-east. Following the rocky massif that impedes extension to the rear,
the residence’s two pavilions stand on either side of a pond in a linear sequence.
Murcutt designed the plan as a striking horizontal progression from the access path to
the house. The path skirts the smaller studio pavilion, re-emerges as a walkway down
the length of the pool, crosses the residential pavilion, and finally escapes down the
stairway on the east side. As the path progresses, the ground beneath it slopes away, so
that the house gets further and further from the ground. This dramatizes the progression
and accentuates the sense of gradual detachment from the world sought by the
inhabitants, allowing Murcutt to terminate the building with a fine isolated vertical
member.
In the residential pavilion, the living room is symmetrically flanked by two
vestibules and two bedroom suites on either side of the kitchen, which is reduced to a
long strip of appliances. In the passage along the principal façade Murcutt reversed
his customary plan: the bedrooms, tucked under the lowest part of the roof, have
intimate proportions and very controlled light penetration. The north-east façade is
relatively dense owing to the interplay of six glazed bays, the sliding inset screens and
balustrades; the electrically operated aluminium Venetian blinds are guided by steel
braces that are tapered and lightened by perforations. With the exception of the solid
wood steps on the staircase and walkway, the house is wholly mineral: silver-painted
steel and aluminium for the structure, casings and large sloping planes of the roofs;
pale grey polished concrete on the floors; whitewash on all brick and plasterwork; and
glass. The construction system and main façade are similar to those of the Meagher
house; the back façade’s sloping glass panes and ventilation slats recall the Bingi (Bingie
Bingie) house.
The pressure from his clients pushed Murcutt to the limit of his architectural
principles. The spare design, simplified to its utmost, is almost monastic. The strongly
articulated longitudinal passage incorporates the elements in the landscape as much
as leads through the living spaces, turning it into the building’s raison d’etre. The
crystalline legibility of the spaces, barring only the two hidden bedroom units, asserts
the role of the principal actor: the site. The house also confirms Murcutt’s evolution
towards a sort of abstract expressionistic façade — a precious ribbed screen that
responds to the rhythms of the great trees filtering the sun and the view.
# # #
Concept sketch of the Simpson-Lee house by Glenn Murcutt on page 22.
1 9
Glenn Murcutt
2002 Laureate, Pritzker Architecture Prize
Biographical Notes
Birthdate and Place:
July 25, 1936
London, England
Education
D i p l o m a o f A r c h i t e c t u r e
U n i v e rs i t y o f N e w S o u t h Wa l e s
Te c h n i c a l C o l l e g e
S y d n e y, A u s t r a l i a
Awards and Honors
1973
Gray and Mulroney Award - RAIA
1973-1999
Received 25 Royal Australian Institute of
Architecture Awards (RAIA) - New South Wales
(NSW) and Northern Territory (NT)
State Awards
1973-1999
Two Sulman Awards for Public Housing NSW
Six Wilkinson Awards for Housing NSW
One Tracy Award for Public Buildings NT
One Burnett Award for Housing NT
National Awards
1973-2000
One Timber in Architecture Award
One Steel in Architecture Award of the Decade
Two Sir Zelman Cowan Awards for Public
Buildings
One Sir Zelman Cowan Commendation for
Public Buildings
Two Robin Boyd Awards for Housing
One Robin Boyd Commendation for Housing
One National Jury Special Award for Aboriginal
Housing
International Awards and Honors
1982
Biennale Exhibition - Paris, France
1985
Commonwealth Association of Architects (CAA)
Award for an Architecture of its Place and
Culture
1988
Jury member - AIA/Sunset Magazine Western
Division AIA Awards
1990-1991
Jury member - international competition for the
Jean-Marie Tjibaou Cultural Centre, New
Caledonia - conducted by the Mission
Interministerielle des Grande Travaux - Paris,
France
1991
Biennale Exhibition - Venice, Italy
1992
Alvar Aalto Medal - Helsinki, Finland
Gold Medal - Royal Australian Institute of
Architecture
1993
Life Fellow - Royal Australian Institute of
Architecture
1995
Honorary Doctorate of Science - University of
New South Wales
1996
Biennale Exhibition - Venice, Italy
Order of Australia (AO)
Chair, international jury for student competition
for a shelter for Alvar Aalto's boat, Jyvaskyla,
Finland
1997
Honorary Fellow - American Institute of
Architects
Honorary Fellow - Royal Institute of British
Architects
F
ACT
S
UMMARY
1997-1998
Chair, International jury for a competition -
Peace Park - Gallipoli Peninsula, Turkey
1998
Richard Neutra Award for Architecture and
Teaching from the Neutra Foundation and
CalPoly, Pomona, California, USA
1999
The Green Pin International Award for
Architecture and Ecology from the Academy
of Architects, Denmark
2000
Kenneth F. Brown Asia Pacific Culture &
Architecture Design Award
Jury Member - National Competition - Forum
Lake Burley Griffin, Canberra, Australia
Jury Member - Spirit of Nature, Wood
Architecture International Award, Finland
2001
Chair, Jury for the Aga Khan Award
Thomas Jefferson Medal for Architecture -
Monticello, Charlottesville, VA, USA
Honorary Fellow of the Royal Canadian
Institute of Architects
2002
Jury Member - Thomas Jefferson Medal
New International Award for an Architect who
has influenced thinking in Architecture from
the Royal Danish Academy of Fine Arts
Teaching
1970-1979
Design Tutor, University of Sydney
1985
Visting Professor, University of New South
Wales
1989-1997
Visiting Critic, Master of Architecture,
University of Melbourne
1990
Visiting Critic, Graduate School of Fine Arts,
University of Pennsylvania
1990-1992
Visiting Professor, University of Technology,
Sydney, Australia
1991-1995
Adjunct Professor, Graduate School of Fine
Arts, University of Pennsylvania
1991
Visiting Distinguished Architect, University of
Arizona, Tucson, Arizona
1992
Visiting Professor, PNG University of
Technology, Lae PNG
1994
Visiting Professor, University of Technology,
Helsinki, Finland
1995
Visiting Professor, University of Technology,
Sydney, Australia
1996
Visiting Professor, University of Hawaii,
Honolulu
1997
O'Neill Ford Chair, University of Texas,
Austin, Texas
Visiting Professor, PNG University of
Technology, Lae PNG
1998
Thomas Jefferson Professor, University of
Virginia
1999
Visiting Professor, School of Architecture,
Aarhus, Denmark
2000
Visiting Professor, University of California at
Los Angeles
2001
William Henry Bishop Visiting Professorial
Chair - Yale University, New Haven, CT, USA
2002
Ruth and Norman Moore Visiting Professor,
Washington University in St. Louis, Mo
Distinguished J.L. Constant Lecturer,
University of Kansas, Lawrence
2 0
Addresses and Lectures
1974-1999
Addressed all Schools of Architecture and
RAIA in all states of Australia
1985
Architectural Association London, UK
1987
Colegio de Arquitectos de Mexico, Mexico
City
1988-1991
Architectural League New York, USA
1988
Visiting Architect, Architecture Week,
Auckland, New Zealand
Waigani Seminar, Port Moresby, Papua, New
Guinea
North Solomons Province University,
Bougainville, Papua, New Guinea
1988
Royal Australian Institute of Architects
Conference
1989
OAF Oslo and Trondheim, Norway
RIBA, London and Winchester, UK
Danish Academy/Institute of Architects,
Copehagen, Denmark
Finnish Association of Architects SAFA,
Helsinki, Finland
University of Milan, Italy
1990
ACSA/AIA Conference, Cranbrook Academy,
MI, USA
GSFA, University of Pennsylvania;
University of Texas, Austin, RISD; Arizona
State University, Phoenix; Harvard Graduate
School of Design; CalPoly Pomona, CA and
CalPoly San Luis Obispo, CA; University of
New Mexico, Albuquerque; University of
Virginia, Charlottesville; Frank Lloyd Wright
Foundation, Taliesin West; Parsons School of
Design New York; Architectural League,
Vancouver, Canada
1992
Papua New Guinea University of Technology,
Lae Papua, New Guinea; PNG Institute of
Architects, Port Moresby, Papua, New Guinea
Alvar Aalto Symposium, Helsinki, Finland
1994
Virginia Polytechnic Institute/State University
Blacksburg, USA; Virginia Design Forum;
GSFA University of Pennsylvania; Bartlett
School, London, UK; University of
Technology, Helsinki, Finland; School of
Architecture/SAFA Oulu, Finland; Architecture
School/Association of Architects, Stockholm,
Sweden; Association of Architects, Basel,
Switzerland
1995
AIA/Rice Design Alliance, Houston, Texas;
AIA Salt Lake City; Pompidou Centre, Paris;
Architectural Association London, UK;
Schools of Architecture in Tubingen,
Darmstadt, Karlsruhe, and Kaiserslautern,
Germany and Venice, Italy; Alvar Aalto
Symposium, Jyvaskyla, Finland
1996
Hawaii University; Jerusalem Seminar in
Architecture, Israel
1997
Mississippi AIA; University of Texas,
Austin;Texas A&M; University of Florida;
University of California at Berkeley;
University of Mississippi; PNG Institute of
Architects, Port Moresby, Papua, New Guinea
1998
CalPoly Pomona, University of Washington,
Seattle; Alaska Design Forum, Anchorage and
AIA Fairbanks, Alaska
1999
Danish Academy of Architects/School of
Architecture, Copenhagen, Denmark and
Aarhus; Columbia University/AIA New York;
Montana State University/AIA, Bozeman, MT;
Lloyd Rees Lecture Museum of
Contemporary Art, Sydney; Canberra
Museum and Gallery
2000
Maki Lecture, Washington University, St.
Louis, MO; University of California, Los
Angeles; Portland Museum, Maine;
Federation of Icelandic Architects,
Reykjavik, Iceland; Alvar Aalto
Symposium, Jyvaskyla, Finland.
2001
Lectures in Caracas, Venezuela;
Lecce, Italy; University of North
Carolina, Raleigh; University of
Virginia, Charlottesville; Buenos Aires,
Argentina; Santiago and Valparaiso,
Chile; Royal IArchitectural Institute of
Canada, Halifax, Nova Scotia
2002
Lectures in Bangkok, Thailand;
University of Washington in St. Louis,
Mo; University of Arizona, Tucson;
University of Kansas, Lawrence;
Danish Academy of Fine Arts,
Fredericia, Denmark; TAF
International Celebration of
Architecture, "RÿROS 2002" Norway
Chronological List of Selected
Projects and Built Works
1960-1962
Devitt house, Beacon Hill, Sydney
(altered since completion)
1968-1972
Daphne Murcutt house, Seaforth,
Sydney
1968-1969
Glenn Murcutt house, Mosman, Sydney
(alteration/addition; altered since
completion)
1968-1970
Glenn Murcutt house, Beauty Point,
Sydney (project)
1969-1972
Douglas Murcutt house, Belrose, Sydney
1970
Robertson house, East Killara, Sydney
(alteration/addition; altered since
completion)
Hinder house, Gordon, Sydney
(alteration/addition to a Syd Ancher
house)
1971
Lowy house, Mosman, Sydney
Walker house, Killara, Sydney
(alteration/addition to a Syd Ancher
house)
1972
Needham house, Woy Woy, Sydney (in
association with Guy Maron)
Restaurant Paragon, Katoomba, New
South Wales (renovation)
Omega Project house for Ralph
Symonds Homes
Cullen house, Balmain, Sydney
(completed 1974)
Armstrong house, Grenfell, NSW
(completed 1980)
1972-1973
Laurie Short house, Terrey Hills,
Sydney, NSW
1973
Luscombe house, Bayview, Sydney
Wallis house, Manly, Sydney
(renovation/addition)
1974
Marie Short house, Kempsey, New South
Wales (completed 1975)(extension 1980)
Hetherton house, Balmain, Sydney
(completed 1982)
1975
Jureidini house, Mosman, Sydney
(alteration/addition of Murcutt's former
house)
Leaves of Iron - Glenn Murcutt by Philip Drew
Three Houses - Architecture in Detail by E. M. Farrelly
Glenn Murcutt - Works and Projects by Francoise Fromonot
Touch This Earth Lightly by Philip Drew
Glenn Murcutt by Flora Giardiello Postiglione
Glenn Murcutt - A Singular Architectural Practice
Practice Images Group - to be published May 2002
Publications
2 1
1975
Meehan house, Kempsey, New South
Wales (completed 1977)
Redmond house, Giralang, Canberra
(completed 1977)
1976
Stitt house, Longueville, New South Wales
(alteration/addition; completed 1977)
Done house, Mosman, Sydney (alteration/
addition; completed 1978)
1977
Ockens house, Cromer, Sydney
(completed 1978)
Reynolds house, Woollahra, Sydney
(completed 1979)
Nicholas farm house, Mount Irvine, New
South Wales (completed 1980)
Berowra Waters Inn, Sydney (phase 1,
completed 1978)
1978
Young house, Jindabyne, New South
Wales (alteration/addition; completed 1980;
since altered)
Carruthers farmhouse, Mount Irvine, New
South Wales (completed 1980)
1979
Project house for Devon-Symonds Pty
Ltd, North Rocks, New South Wales
Isherwood house, Mosman, Sydney
(alteration/addition; since altered)
Hawksford Point Piper, Sydney (project)
Nielsen Park Kiosk, Vaucluse, Sydney
(project)
Crouch house, Cobbity, Sydney (in
association with Wendy Lewin and Alec
Tzannes; project)
Offices for Marsh & Freedmann,
Woolloomooloo, Sydney (conversion,
completed 1980, since altered)
Hornery house, Warrawee, Sydney (in
association with Civil & Civic, completed
1982)
1980
Competition for the renovation of the
'Engehurst' villa designed by the architect
John Verge, in association with the
conference 'Pleasures of Architecture'
organized by Royal Australia Institute of
Architects, Sydney
Markovic house, Palm Beach, Sydney (in
association with Wendy Lewin and Alex
Tzannes; project)
Fountain house, McMahons Point, Sydney
(in association with Wendy Lewin and Alec
Tzannes)
Uther house, Hunters Hill, Sydney
Murcutt-Robertson house, Kempsey, New
South Wales (extension to Marie Short
house)
Carpenter house, Point Piper, Sydney
(completed 1983)
Zachary's Restaurant, Terrey Hills,
Sydney (completed 1983)
Ball-Eastaway house and studio, Glenorie,
Sydney (Graham Jahn and Rad Milatich,
assistants; Alec Tzannes, site visits;
completed 1983)
1981
Ward house, Hornsby Heights, Sydney
(project)
Maestri house, Blueys Beach, New South
Wales
Museum of Local History and Tourist
Office, Kempsey, New South Wales
(phase 1 completed 1982)
Fredericks house, Jamberoo, New South
Wales (Wendy Lewin, assistant;
completed 1982)
New Catholic Presbytery and Community
Hall, Mona Vale, Sydney (Graham Jahn,
assistant; completed 1983)
Munro house, Bingara, New South Wales
(Graham Jahn, assistant; completed 1983)
Rabbit house, Merewether, New South
Wales (Graham Jahn, assistant; completed
1983)
1982
Ramsden & Kee house, Blackheath, New
South Wales (completed 1983)
Newport house, Hunters Hill, Sydney
(addition)
Berowra Waters Inn, Sydney (phase 2;
Graham Jahn, assistant; completed 1983)
Magney house, Bingie Bingie, South Coast,
Sydney (completed 1984)
1983
Finlay house, Hallidays Point, New South
Wales (John Smith, assistant; Alec
Tzannes, site visits; completed 1984)
Littlemore house, Woollahra, Sydney
(Wendy Lewin, assistant; completed 1986)
Aboriginal Alcoholic Rehabilitation Centre,
Bennelong's Haven, Kinchela Creek, New
South Wales (project 1983-85)
Pratt house, extension of Raheen, Kew,
Melbourne (in association with Melbourne
architects Bates, Smart & McCutcheon;
completed 1994)
1985
Edwards-Neil house, Lindfield, New South
Wales (project 1985-88)
Herbarium and Visitors Centre, Botanical
Gardens, Wollongong, New South Wales
(project)
1986
Field Study Centre, Cape Tribulation, Far
North Queensland (project 1986-87)
Harrison house, Waverley, Sydney (in
association with Alec Tzannes; phase 1
completed 1989; phase 2 completed 1991)
Magney house, Paddington, Sydney
(renovation; James Grose, site assistant;
Andrew Mc Nally and Sue Barnsley,
landscape architects; completed 1990)
1987
Carey house, Springwood, New South
Wales
Minerals and Mining Museum, Broken Hill,
New South Wales (project 1987-89; Reg
Lark, assistant)
Museum of Local History, Kempsey, New
South Wales (phase 2, completed 1988)
Cultural Centre for the University of North
Solomon, Arawa, Papua, New Guinea
(project 1987-88)
Offices for Marsh & Freedman, Redfern,
Sydney (renovation/conversion, completed
1989)
1988
Done house, Mosman, Sydney (Reg Lark,
assistant; completed 1991)
Meagher house, Bowral, New South Wales
(Andrea Wilson, assistant; James Grose,
site assistant; completed 1992)
Muston house, Seaforth, Sydney
(completed 1992)
1989
Simpson-Lee house, Mount Wilson, New
South Wales (completed 1994)
1991
Marika-Alderton house, Aboriginal
Community, Yirrkala, Eastern Arnhem
Land, Northern Territory (completed 1994)
1992
Preston house, St. Ives, Sydney (Sue
Barnsley, landscape architect;
(completed 1994)
Landscape Interpretaion Centre, National
Park of Kakadu, Northern Territory (in
association with Troppo Architects,
Darwin; completed 1994)
2 2
Murcutt guest studio, Kempsey, New
South Wales
1993
Conversion of Customs house
(architects Mortimer Lewis, James
Barnet, Walter Liberty Vernon, then
George Oakschott) Circular Quay,
Sydney (in association with Wendy
Lewin of Lewin Tzannes Architects)
Williams house, Pearl Beach, New South
Wales
1996
Douglas Murcutt house, Woodside,
Adelaide, South Australia (completed
1999)
Olsen house, Norton Summit, South
Australia
Ken and Judy Done Gallery, Mosman,
Sydney
Hardeman-McGrath house, Birchgrove,
Sydney (extension with Nicholas
Murcutt)
Taylor house, Barrington Tops, New
South Wales
Another Aboriginal house, Yirrkala,
Northern Territory (completed 1998-99)
1995-98
Schnaxl house, Newport, Sydney
1998
House at Mt. White, New South Wales
(project)
1996-98
Beckwith/Deakins Terrace house,
Paddington, Sydney
1996-99
'Bowali' Visitors Information Centre,
Kakadu National Park, Northern Territory
(with Troppo Architects, Darwin, NT)
Arthur & Yvonne Boyd Education Centre,
Riversdale, New South Wales (in
collaboration with Wendy Lewin and
Reg Lark)
1997-2001
House Bowral, Southern Highlands, NSW
1997-2000
C. Fletcher & A. Page house, Kangaroo
Valley
1997-
Lightning Ridge Community Facility
2002-
Works in Progresss or Under Contruction
New house, Yorke Peninsula, South
Australia
New house, Merewether, Newcastle, New
South Wales
Winery, Lake George, New South Wales
Sales Outlet, Winery, Mudgee, New
South Wales (in association with Wendy
Lewin)
Eco-Hotel, Great Ocean Road, Victoria
(in association with Wendy Lewin)
Convention/conference/accommodation
facility, Barrington Tops, New South
Wales (in association with Wendy Lewin)
New house, Kew, Melbourne, Victoria
Extensions to two houses at Mt. Irvine,
New South Wales (early farmhouses
designed in 1978 by Glenn Murcutt)
Extension to farmhouse at Jamberoo,
designed by Glenn Murcutt in 1981-82
Concept Sketch of the Simpson-Lee House
by Glenn Murcutt
Mount Wilson, New South Wales
1989-1994
Films/Videos
Touch the Earth Lightly by Peter Hyatt,
Melbourne, Australia
The Tin Man by Catherine Hunter,
Channel 9 Network Australia
fig.
11
23
Ball-Eastaway House
Glenorie, Sydney, NSW
Drawings and Sketches by Glenn Murcutt of Selected Projects
C. Fletcher & A. Page House
Kangaroo Valley, NSW
Magney House
Paddington, Sydney, NSW
fig. A1
fig. A2
fig. D2
fig. D1
fig. C2
fig. C3
24
Minerals and Mining Museum
Broken Hill, NSW
fig. F2
fig. F1
fig. F3
157b
Photo by Glenn Murcutt
The model for the entrance to the Museum.
25
'Bowali' Visitors Information Centre
Kakadu National Park
Northern Territory
(Project in collaboration with
Troppo Architects,
Darwin, Northern Territory)
Marika- Alderton House
Yirrkala Community,
Eastern Arnheim Land
Northern Territory
fig. B3
fig. B2
fig. G2
fig. G3
fig. G1
26
Littlemore House
Woollahra, Sydney, NSW
Photo by Max Dupain
Photo by Max Dupain
Herbarium and Visitors Centre
Botanical Gardens
Woolongong, NSW
fig. 25D
25C
25A
Nicholas Farm House
Mount Irvine, NSW
27
Laurie Short House
Terrey Hills, Sydney
1972-1973
Photo by Max Dupain
Photo by Max Dupain
Photo by Max Dupain
27A
27C
27B
28
Glenn Murcutt on tractor for his
other activity, farming.
Magney House
Bingie Bingie
South Coast, NSW
1982-1984
Photo by Anthony Browell
28A
Photo by Max Dupain
28B
29
"Michelangelo is often thought of principally as a sculptor and painter, rather
than as an architect," says J. Carter Brown, chairman of the jury that selects the
Pritzker Laureate each year. "But right in the religious and political center of Rome,
he was commissioned to design a remarkable architectural project at the top of the
Capitoline Hill, the Campidoglio, Rome's ancient Capitol Hill. It is a place spanning
more than 2000 years of history. In 1471, Pope Sixtus IV donated large bronze statues
to the Campidoglio, creating what is now arguably the oldest public museum in the
world. The She-wolf suckling the two traditional founders of Rome, Romulus and
Remus, was placed inside the Palazzo dei Conser vatori, and became the symbol of
the city. With Papal authority, Michelangelo moved the equestrian statue of Marcus
Aurelius to the center of the plaza, and created a magically beautiful star-shaped
pavement design. (His design was not in fact actually completed until 1940; and to
conserve the statue, one of the great monuments of antiquity, the original has been
moved into the adjoining museum, and a faithful replica installed in the center of the
plaza, following Michelangelo's design.)"
The guests assembling from around the world for the Pritzker Prize will walk
up the monumental ramp (cordonata) to the top of the Capitoline Hill, where chairs
will be placed on the piazza facing the central building (the Palazzo Senatorio which
today houses the offices of the mayor and the city council chambers), where, in front
of the fountain, the ceremony will take place to present the $100,000 Pritzker
Architecture Prize to Australian architect Glenn Murcutt. On either side of the piazza
is the Palazzo dei Conser vatori and the Palazzo Nuovo, both of which comprise the
Capitoline Museum.
Following the ceremony, guests will be transported to the Palazzo Colonna
for a reception and dinner. The first historical information on the Colonna family
residence dates from the 13th century. Since that time, the family has provided
numerous princes of the Catholic Church, including several Cardinals and Popes.
Today, the family home doubles as a private art gallery for the art collections that
span six centuries.
The international prize, which is awarded each year to a living architect for
lifetime achievement, was established by the Pritzker family of Chicago through their
Hyatt Foundation in 1979. Often referred to as “architecture’s Nobel” and “the
profession’s highest honor,” the Pritzker Prize has been awarded to seven Americans,
and (including this year) nineteen architects from thirteen other countries. The
presentation ceremonies move around the world each year paying homage to the
architecture of other eras and/or works by previous laureates of the prize.
Thomas J. Pritzker, president of The Hyatt Foundation, in expressing gratitude
to the Mayor of Rome, Honorable Walter Veltroni, for making it possible to hold
the event in this remarkable setting, stated, “Last year, we were in Monticello, the
home designed by one of the fathers of our country, Thomas Jefferson. It is relevant
that Jefferson's American architecture talents owed a primary debt to Italy. He was
very much inspired by the 16th century Italian architect Andrea Palladio's book, I
Quattro Libri dell'Architettura; and the dome of Monticello was modeled after the
ancient temple of Vesta in Rome, just as the dome of the library of his University of
Virginia was inspired by Rome's Pantheon." Pritzker went on to describe how Jefferson
wrote to a friend,, "Roman taste, genius, and magnificence excite ideas." "This year,"
Michelangelo's Campidoglio in Rome
Will Be the Setting for the 2002 Pritzker Prize Ceremony
30
Pritzker continued, "we will be in Rome, virtually the cradle of much of our western
civilization, and more specifically, in a space designed by Michelangelo in the 16th
century that is still functioning today as the seat of government for this great city.
And this magnificent setting overlooks the heart of the ancient city, the Roman
Forum."
Coinciding with the Pritzker Architecture Prize ceremony being held in Rome,
the American Academy in Rome will host a Pritzker Symposium on New Centur y,
N e w Wo rl d , T h e G l o b a l i z a t i o n o f A r c h i t e c t u r e.
The co-chairs of the event are Bill Lacy, executive director of the Pritzker
Architecture Prize and Adele Chatfield-Taylor, president of the American Academy
in Rome. Participants will include: J. Carter Brown, Charles Correa, Rolf Fehlbaum,
Anthony Grafton, Zaha Hadid, Dogon Hasol, Ricardo Legorreta, and Karen Stein.
The Pritzker Prize has a tradition of moving the ceremony to sites of
architectural significance around the world. This is the second time the ceremony
has been held in Italy, the first being in 1990 at the Palazzo Grassi in Venice when
the late Aldo Rossi received the prize. As the sites are chosen each year before the
laureate, there is no intended connection beyond celebrating architectural excellence.
Retrospectively, buildings by Laureates of the Pritzker Prize, such as the National
Gallery of Art’s East Building designed by I.M. Pei, or Frank Gehry’s Guggenheim
Museum in Bilbao, Spain, or Richard Meier’s new Getty Center in Los Angeles have
been used. In some instances, places of historic interest such as France’s Palace of
Versailles and Grand Trianon, or Todai-ji Buddhist Temple in Japan, or Prague Castle
in The Czech Republic have been chosen as ceremony venues. Some of the most
beautiful museums have hosted the event, including the already mentioned Palazzo
Grassi: Chicago’s Art Institute (using the Chicago Stock Exchange Trading Room
designed by Louis Sullivan and his partner, Dankmar Adler, which was preserved
when the Stock Exchange building was torn down in 1972. The Trading Room was
then reconstructed in the museum's new wing in 1977). New York’s Metropolitan
Museum of Art provided the setting of 1982 Laureate Kevin Roche’s pavilion for the
Temple of Dendur. In homage to the late Louis Kahn, the ceremony was held in Fort
Worth’s Kimbell Art Museum in 1987. Califor nia’s Huntington Librar y, Art
Collections and Botanical Gardens was the setting in l985. In 1992, the just-completed
Harold Washington Library Center in Chicago was the location where Alvaro Siza
of Portugal received the prize. The 20th anniversary of the prize was hosted at the
White House since in a way, the Pritzker Prize roots are in Washington where the
first two ceremonies were held at Dumbarton Oaks, where a major addition to the
original estate, had been designed by yet another Pritzker Laureate, the very first,
Philip Johnson. In 2000 in Jerusalem, on the Herodian Street excavation in the shadow
of the Temple Mount was the most ancient of the venues. The ceremonies have evolved
over the years, becoming, in effect, an international grand tour of architecture.
One of the founding jurors of the Pritzker Prize, the late Lord Clark of
Saltwood, as art historian Kenneth Clark, perhaps best known for his television series
and book, Civilisation, said at one of the ceremonies, “A great historical episode can
exist in our imagination almost entirely in the form of architecture. Very few of us
have read the texts of early Egyptian literature. Yet we feel we know those infinitely
remote people almost as well as our immediate ancestors, chiefly because of their
sculpture and architecture.”
# # #
31
The Pritzker Architecture Prize was established by The Hyatt Foundation in 1979 to honor
annually a living architect whose built work demonstrates a combination of those qualities of talent,
vision, and commitment, which has produced consistent and significant contributions to humanity
and the built environment through the art of architecture. It has often been described as
“architecture’s most prestigious award” or as “the Nobel of architecture.”
The prize takes its name from the Pritzker family, whose international business interests are
headquartered in Chicago. They have long been known for their support of educational, religious,
social welfare, scientific, medical and cultural activities. Jay A. Pritzker, who founded the prize with
his wife, Cindy, died on January 23, 1999. His eldest son, Thomas J. Pritzker has become president
of The Hyatt Foundation.
He explains, “As native Chicagoans, it's not surprising that our family was keenly aware of
architecture, living in the birthplace of the skyscraper, a city filled with buildings designed by
architectural legends such as Louis Sullivan, Frank Lloyd Wright, Mies van der Rohe, and many
others. ” He continues, “In 1967, we acquired an unfinished building which was to become the
Hyatt Regency Atlanta. Its soaring atrium was wildly successful and became the signature piece of
our hotels around the world. It was immediatly apparent that this design had a pronounced affect
on the mood of our guests and attitude of our employees. While the architecture of Chicago made
us cognizant of the art of architecture, our work with designing and building hotels made us aware
of the impact architecture could have on human behavior. So in 1978, when we were approached
with the idea of honoring living architects, we were responsive. Mom and Dad (Cindy and the late
Jay A. Pritzker) believed that a meaningful prize would encourage and stimulate not only a greater
public awareness of buildings, but also would inspire greater creativity within the architectural
profession.” He went on to add that he is extremely proud to carry on that effort on behalf of his
mother and the rest of the family.
Many of the procedures and rewards of the Pritzker Prize are modeled after the Nobel
Prize. Laureates of the Pritzker Architecture Prize receive a $100,000 grant, a formal citation
certificate, and since 1987, a bronze medallion. Prior to that year, a limited edition Henry Moore
sculpture was presented to each Laureate.
Nominations are accepted from all nations; from government officials, writers, critics,
academicians, fellow architects, architectural societies, or industrialists, virtually anyone who might
have an interest in advancing great architecture. The prize is awarded irrespective of nationality,
race, creed, or ideology.
The nominating procedure is continuous from year to year, closing in January each year.
Nominations received after the closing are automatically considered in the following calendar year.
There are well over 500 nominees from more than 47 countries to date. The final selection is made
by an international jury with all deliberation and voting in secret.
The Evolution of the Jury
The first jury assembled in 1979 consisted of J. Carter Brown, then director of the National
Gallery of Art in Washington, D.C.; J. Irwin Miller, then chairman of the executive and finance
committee of Cummins Engine Company; Cesar Pelli, architect and at the time, dean of the Yale
University School of Architecture; Arata Isozaki, architect from Japan; and the late Kenneth Clark
(Lord Clark of Saltwood), noted English author and art historian.
The present jury comprises the already mentioned J. Carter Brown, director emeritus of
the National Gallery of Art, and chairman of the U.S. Commission of Fine Arts, who serves as
chairman; Giovanni Agnelli, chairman emeritus of Fiat, of Torino, Italy; Ada Louise Huxtable,
American author and architectural critic; Carlos Jimenez, a principal of Carlos Jimenez Studio and
professor at the Rice University School of Architecture in Houston, Texas; Jorge Silvetti, architect
and chairman, Department of Architecture, Harvard University Graduate School of Design; and
Lord Rothschild, former chairman of the National Heritage Memorial Fund, and former chairman
of the board of trustees of the National Gallery in London. Others who have served as jurors over
the years include the late Thomas J. Watson, Jr., former chairman of IBM; Toshio Nakamura,
A Brief History of the Pritzker Architecture Prize
32
former editor of A+U in Japan; and architects Philip Johnson, Kevin Roche, Frank Gehry, all from
the United States, and Ricardo Legorreta of Mexico, Fumihiko Maki of Japan,and Charles Correa
of India.
Bill Lacy, architect and advisor to the J. Paul Getty Trust and many other foundations, is
executive director of the prize. Previous secretaries to the jury were the late Brendan Gill, who was
architecture critic of The New Yorker magazine; and the late Carleton Smith. From the prize's
founding until his death in 1986, Arthur Drexler, who was the director of the department of
architecture and design at The Museum of Modern Art in New York City, was a consultant to the
jury.
Television Symposium Marked Tenth Anniversary of the Prize
“Architecture has long been considered the mother of all the arts,” is how the distinguished
journalist Edwin Newman, serving as moderator, opened the television symposium Architecture
and the City: Friends or Foes? “Building and decorating shelter was one of the first expressions of
man’s creativity, but we take for granted most of the places in which we work or live,” he continued.
“Architecture has become both the least and the most conspicuous of art forms.”
With a panel that included three architects, a critic, a city planner, a developer, a mayor,
a lawyer, a museum director, an industrialist, an educator, an administrator, the symposium
explored problems facing everyone — not just those who live in big cities, but anyone involved in
community life. Some of the questions discussed: what should be built, how much, where, when,
what will it look like, what controls should be allowed, and who should impose them?
For complete details on the symposium which was produced in the tenth anniversary year
of the prize, please go the "pritzkerprize.com" web site, where you can also view the video tape of
the symposium.
Exhibitions and Book on the Pritzker Prize
The Art of Architecture, a circulating exhibition of the work of Laureates of the
Pritzker Architecture Prize, which has been touring for ten years, may find a permanent home
in Palm Springs, California. Watch for full information on this development on the web site.
The Art of Architecture had its world premiere at the Harold Washington Library
Center in Chicago in 1992. The European debut was in Berlin at the Deutsches Architektur
Zentrum in in 1995. It was also shown at the Karntens Haus der Architektur in Klagenfurt,
Austria in 1996, and in 1997, in South America, at the Architecture Biennale in Saõ Paulo,
Brazil. In the U.S. it has been shown at the Gallery of Fine Art, Edison Community College
in Ft. Myers, Florida; the Fine Arts Gallery at Texas A&M University; the National Building
Museum in Washington, D.C.; The J. B. Speed Museum in Louisville, Kentucky; the Canton
Art Institute, Ohio; the Indianapolis Museum of Art Columbus Gallery, Indiana; the Washington
State University Museum of Art in Pullman, Washington; the University of Nebraska, and
Brigham Young University in Provo, Utah. Its most recent showings were in Costa Mesa,
California; and museums in Poland and Turkey.
Another exhibition, designed by Carlos Jimenez, titled, The Pritzker Architecture
Prize 1979-1999, which was organized by The Art Institute of Chicago and celebrated the first
twenty years of the prize and the works of the laureates, was shown in Chicago in 1999 and in
Toronto at the Royal Ontario Museum in 2000. It provided, through drawings, original
sketches, photographs, plans and models, an opportunity to view some of the most important
architects that have shaped the architecture of this century.
A book with texts by Pritzker jury chairman J. Carter Brown, prize executive director
Bill Lacy, British journalist Colin Amery, and William J. R. Curtis, was produced to accompany
the exhibition, and is still available. Co-published by Abrams of New York and The Art
Institute of Chicago, the 206 page book was edited by co-curator Martha Thorne. It presents
an analytical history of the prize along with examples of buildings by the laureates illustrated
in full color. The book celebrates the first twenty years of the prize and the works of the
laureates, providing an opportunity to analyze the significance of the prize and its evolution.
# # #
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