Recipients 1994


Schelling Architecture Prize 1994
Zaha Hadid

„An architecture of imagination and weightlessness is the message, by now also a reality.”

Milestones in architectural history are oftern dwarfish buildings. It was not the grand symphonies of the cathedrals and palaces that have inspired the history of ideas but the chamber musical building forms. Even in the case of a fire station for a furniture factory in the state of Baden, its creator Zaha M. Hadid has at once realized her ambitious, almost presumptuous architectural concept. Zaha Hadid is the most rigorous embodiment of a new spirit in architecture which simultaneously opposes late and post-modernism, high-tech and high-touch positions. The motive of this architecture is neither the rediscovery of history nor the beginning of a new modesty, neither the historistic cult of the dead nor the purist migration of the souls, but the foundation of an independent formal language free of imitations and utterly contemporaneous.” Michael Mönninger


Schelling Architectural Theory Prize 1994
Wolfgang Pehnt

“Right up to our times, he renders the transformation in the field of architecture understandable as the history of art.”

As an art historian who is equipped with the profound knowledge of historical developments, cultural cross connections and personal interrelations, Wolfgang Pehnt is subtly able to subject architecture to the immanent observation as a work of art and to interpret concepts and designs against a background of an ideal gestation. Subsequent to the critical evaluation of a work and its designer, Wolfgang Pehnt consistently and systematically changes the frame of reference with regard to his architectural criticism by altering the scale so as to simultaneously investigate individual buildings from a cultural semiotic perspective as elements of heterogeneous structures for their ruptures, contradictions, asynchonicities. By speaking about invisible matters, about manners of use, people’s feelings, desires and fears, further dimensions are opened up, which leads his critique from the field of architecture to that of culture and society. His widely framed intellectual structures offer reflections and previews across decades. Werner Durth