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In recent years, earthen construction has gained renewed attention in architecture. Materials such as adobe, rammed earth, and compressed earth blocks, once mainly associated with vernacular traditions, are increasingly being explored by contemporary architects. Rather than representing a simple return to the past, this renewed interest reflects a broader reconsideration of how architecture engages with materials, local resources, and environmental conditions.

For centuries, building with earth was part of everyday construction across many regions of the world. Techniques such as adobe, rammed earth, cob, and other soil-based systems developed gradually through adaptation to climate, available resources, and local construction practices. These methods responded directly to environmental conditions while shaping cultural ways of building. This knowledge circulated through collective practices rather than formal architectural education, allowing techniques to evolve through continuous experimentation.

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The 2026 Pritzker Price Award has been awarded this year to the Chilean architect of Croatian descent, Smiljan Radić Clarke. Born in Santiago, Chile, in 1965, his practice evokes a geography of extremes, shaped by the tectonic tension between the staggering weight of the Andes and the seismic instability of the territory. After graduating from the Pontifical Catholic University of Chile and pursuing further studies in aesthetics in Venice, Smiljan Radić Clarke established his base in Santiago. From there, he has developed one of the most singular visions in contemporary architecture. His work privileges the intensity of the moment through a fragile architecture. Within it, the building operates as a temporary and tactile refuge that places the spectator in a state of aesthetic uncertainty, oscillating between ancestral ruin and avant-garde artefact.

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Smiljan Radić Clarke, the 2026 Pritzker Prize winner, is a contemporary Chilean architect known for his experimental approach to design, with a practice that balances the elemental with the intimate, the monumental with the fragile. Over the course of more than three decades, Radić has developed an architecture that resists repetition and conventional stylistic categorization, favoring instead deeply site-specific, materially attuned, and culturally reflective interventions.

His work negotiates between permanence and impermanence, memory and imagination, creating buildings that are as much about human experience and emotion as they are about structure and form. Across residences, cultural institutions, and temporary installations, Radić's architecture foregrounds the interplay between context, materials, and the subtle gestures that shape how spaces are inhabited and perceived.

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