Aravena polished off his beer when a stranger sidled up to the table. It happens all the time now. Drivers in passing cars stop him in the street. Shop clerks, politicians, long-lost acquaintances and schoolteachers ask for selfies with him. They all say the same thing. “Thank you,” the stranger said to Aravena, who smiled and posed arm in arm with the man for a picture. Thank you — as if the Pritzker prize...had been awarded on behalf of everybody in Chile. — nytimes.com
Michael Kimmelman, architecture critic for the New York Times, profiles Alejandro Aravena's projects in his native Chile, on the cusp of this year's Venice Biennale opening (which Aravena is also directing). The profile largely focuses on Aravena's social practice, and its attempts at coordinating efforts among the Chilean government, construction companies and actual citizens – most prominently, after the 2010 earthquake in Constitución.
For a comparative take on Aravena, from before he won the Pritzker or was named director of the 2016 Venice Biennale, check out Carolina A. Miranda's (art critic for the Los Angeles Times) piece profiling Chile's emerging group of promising and talented architects.
For more on Aravena and the Chilean architecture scene:
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