James Wines | |
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Born | 1932 (age 91–92) Oak Park, Illinois, U.S. |
Occupation | Architect |
Awards | Smithsonian National Design Award: Lifetime Achievement; 2013[3] Premio di Architettura ANCE (2011) Chrysler Award for Design Innovation; 1995[4] Architectural Record Award for Excellence in Residential Design (1985), The Pulitzer Prize Award for Graphic Art (1955) |
Practice | SITE environmental Design |
Projects | Ghost Parking Lot,[1] Indeterminate Facade, Tilt Building, Forest Building, HighRise of Homes,[2] Highway 86, Laurie Mallet House, Museum of Islamic Arts Proposal, Madison Square Park Kiosk (Shake Shack) |
James Wines (born 1932) is an American artist and architect associated with environmental design. Wines is founder and president of SITE,[5] a New York City-based architecture and environmental arts organization chartered in 1970.[6] This multi-disciplinary practice focuses on the design of buildings, public spaces, environmental art works, landscape designs, master plans, interiors and product design.[7] The main focus of his design work is on green issues and the integration of buildings with their surrounding contexts.
Wines is currently a professor of architecture at Penn State University. In addition to critical writing, he has lectured in fifty-two countries on green topics since 1969. In 1987, his book De-Architecture[8] was released by Rizzoli International Publications. There have been twenty two monographic books museum catalogues[9] have published his drawings, models and built works for SITE.[5] In total, Wines has designed more than 150 projects for private and municipal clients in eleven countries. He has won twenty-five writing and design awards including the 1995 Chrysler Design Award.[10]
Wines explicitly expresses his own "concern for the Earth." Having written at length on new modes of architecture, design, and planning:
The [20th] century began with architects being inspired by an emerging age of industry and technology. Everybody wanted to believe a building could somehow function like a combustion engine. As an inspirational force in 1910, one can understand it. But as a continuing inspiration in our post-industrial world, or our new world of information and ecology, it doesn't make any sense.
- --from the film Ecological Design: Inventing the Future[11]