One of the core activities of the Sikkens Foundation is to award the Sikkens Prize once every few years to people and institutions who the board considers make a special contribution to the aim of the Sikkens Foundation. The first Sikkens Prize was awarded in 1960 to the architect Gerrit Rietveld. This award was for his entire oeuvre, “insofar as this contributed to the achieving the synthesis between space and color.” In this respect the commission was thinking primarily of Rietveld’s first important structure, the Rietveld-Schröderhuis in Utrecht, in which the elements of composition were emphasized by the use of primary colors, revealing their architectural significance. Furthermore the use of color was consciously used as an architectural element in all his later buildings. He was followed by, amongst others, Le Corbusier (1963), Theo van Doesburg (1968) and Donald Judd (1993). A summary of the Sikkens Prizes awarded in the past decades shows that the majority were awarded to individual artists and architects known for their groundbreaking work in the field of the use of color. This also applies for the artist Krijn de Koning, who received the Sikkens Prize in 2007. However, the Sikkens Foundation does not restrict itself to the visual arts and architecture, but sees color, which is after all a universal phenomenon, in a very broad context. This is revealed, for example by the prize being awarded to The Hippies (1970), the State Department for the IJsselmeerpolders (1979), the film maker Ettore Scola (1983) and the cleaning department of the city of Paris (1995). Awarding the 2004 Sikkens Prize to the HEMA was also entirely in line with this approach. Download text as pdf
2012 BRIDGET RILEY For the way in which she has enriched her work with colour. The purity, subtlety and precision of her use of colour have led to a sensational oeuvre from which a new generation of artists is drawing inspiration. — — — 2010 DAVID BADE His lust for life, dynamism, humor and use of color give his work a playful character, but at the same time his work is abrasive, cheeky and in your face. Bade cannot help trying to establish contact with society. — — — 2007 KRIJN DE KONING For artworks in which color and form, as well as feeling and atmosphere evoke a sensory experience of space which raises the interaction between the public and the built-up environment for discussion in an entirely individual way. — — — 2004 HEMA For the remarkable use of form and color in different retail concepts (from product packaging to publicity, the layout of shops to the design and organization of the website) of the department store. — — — 1999 INTERNATIONALE BAUAUSSTELLUNG EMSCHER PARK For the way in which this event accompanied the transition from a former industrial area to a new type of cultural landscape on the basis of many different sorts of projects. CLAUDIO MAGRIS For his contribution to the exploration of the cultural landscape of Europe and its signifcance for the European debate on identity. — — — 1997 JOHN GAGE On the basis of his research into and publications on the role and signifcance of color in the history of Western culture. — — — 1995 PROPRETÉ DE PARIS For the consistent use of the color green in materials and clothing, which led to an awareness of the problems of waste and the environment in the population of Paris, and to an identity with more dignity for the people working in the department. ADRIAAN GEUZE For his alert response to the changing view of the city and nature, with designs which do not shun experimentation, for his thoughtful ingenuity and his surprising aesthetic vocabulary. JAN DIBBETS For his designs for stained glass windows for the cathedral in Blois and the Sint Gertrudis Church in Wijlre, which, like his free work, concentrates on the controlled balance between form and background – in this case: light. — — — 1993 DONALD JUDD For a brilliant oeuvre and its characteristic moral clarity and determination, from the overall form to the smallest details of construction and coloration. — — — 1991 SEAMUS HEANY/REINBERT DE LEEUW To underline the importance which color and shading can have, unhampered by the material limitations of the strictly visual. — — — 1989 ORIOL BOHIGAS For his role as the supervisor of the reconstruction and urban development of Barcelona, for his historical architectural research with which he returned to the city an awareness of its rich architectural heritage, and for the important role which he attributed to art, philosophy and literature in the under- standing, interpretation and organization of public space. — — — 1987 LUCIANO FABRO For the unique way in which he indicated that color is not abstract in his work, but is an optical experience which also depends on the atmospheric conditions in the place where it is seen. — — — 1985 GERMANO TAGLIASACCHI & RICCARDO ZANETTA For their remarkable research into the color scheme for the city of Turin during the period 1800-1850, which is historically unique. BENNO PREMSELA For the great social service he provides and has provided by concentrating on product innovation as a designer, advisor and stimulator in a very personal, creative and fundamental way. — — — 1983 CAREL WEEBER For his innovative designs in the field of urban development and architecture and his infuential contribution to the cultural dimension of contemporary buildings. ETTORE SCOLA For the use of color and its development in his films Una giornata particolare, Passione d’amore, and La nuit de Varennes, accompanied by the complexity of these works.
1981 JAAP DRUPSTEEN Because he found the medium to express himself in a very individual way in images, movement and color, using television. — — — 1979 RIJKSDIENST VOOR DE IJSSELMEER- POLDERS For the landscape of the IJsselmeer polders, which is characterized by a functional organization that reflects the changes over time and reveals the characteristics of the Dutch landscape (also in color). ARMANDO For his visual work, which has had an extremely creative impact at various moments in recent art history. — — — 1971 RICHARD PAUL LOHSE For his art and the composition techniques developed in it, which provide enormous opportunities for contemporary building, in which the composition of industrially manufactured standard components require new techniques. — — — 1970 DE HIPPIES For the exuberant use of color as a playful aspect in human society, making a real contribution to the integration of color and space. — — — 1969 JOSEF SVOBODA For his theatre sets and for his work in the Czech Pavilion at the 1967 World Fair in Montreal. — — — 1968 THEO VAN DOESBURG For his pioneering work for a synthesis of color and architecture both in practice and in writing. — — — 1967 MAURICE AGIS & PETER JONES For their conception of spatial structures, characterized by the interrelationships between planes, lines and colors, which determine the spatial orientation, inspiring human movement within this. — — — 1966 PETER STRUYCKEN For his intensive research, both theoretical and visual, into the laws governing the relationship between form and color. JAN SLOTHOUBER/WILLIAM GRAATSMA For the penetrating way in which they derived a link between space and color from the correspondence between the triangular planes of a cube and the six ele- mentary colors. — — — 1965 JOHANNES ITTEN For his fundamental contribution to the integration of space and color as the basis of the Vorkurs of the Bau- haus and for his contribution to the theory of color in Kunst der Farbe. — — — 1964 LIVINUS VAN DE BUNDT For his experimental “photo paintings” for which he de- signed a machine with which he “paints with light”. — — — 1963 LE CORBUSIER For his use of color as an active element in the spatial and plastic impact of architecture. — — — 1962 DICK VAN WOERKOM/JEAN GORIN/ CHARLES BIEDERMAN/ JOOST BALJEU/STRUCTURE For the revival of constructivism and the presentation of universal laws in the line of De Stijl with the aim of achie- ving the complete renovation of our social environment, from the home to the city. — — — 1961 ALDO VAN EYCK/JOOST VAN ROOJEN For Aldo van Eyck’s Burgerweeshuis (orphanage) and for the cooperation of both artists in the integration of color in the built- up space: the children’s playground on the Amsterdam Zeedijk. — — — 1960 ALDO VAN EYCK/CONSTANT NIEUWEN- HUYS For the manifesto “For a spatial colorism”, and its demonstration at the exhibition, “A space in color” (Stedelijk Museum, Amsterdam 1952). 1959 GERRIT RIETVELD For his entire oeuvre insofar as he contributed in this to the realization of the synthesis between space and color.