Rigour and poetry: Selected works (1985–2021 ) and anecdotes Godsell’s friends, colleagues and clients reflect on his singular vision, his evolving architecture and the experience of collaborating with him, both inside and outside the office.
After almost 25 years working in Sean’s practice, it is difficult to find a single anecdote to reflect and celebrate such an important achievement as the Gold Medal.
“Draw more, talk less” was chalked on the office blackboard for quite some time. It is a sentiment that reflects the rigorous work and critique to which every project is consistently subjected. The work speaks for itself. Sean works bloody hard – I don’t know anyone who works harder. His commitment, perseverance, dedication and stamina are to be admired. After all, in his own words: “You can’t complain if you haven’t drawn the detail,” and “There’s nothing better than a fresh sheet of tracing paper and a 1:20 section.”
I have, over the years, kept a record of notable quotes from the office that includes the following gems:
“There’s nowhere to hide when you’re a professional.”
“Buildings exist on sites, not in exhibitions or on walls.”
“The first rule of architecture is get the client’s name right.”
“That’s not a failure; a failure would have been keeping those drawings!”
Sean has been my teacher and role model, and I thank him for his contribution to architecture and to my own training (even if I have been fired more times than I can count!).
With my greatest respect and admiration,
Hayley Franklin Associate Director, Sean Godsell Architects
Sean’s work is, like Sean, one of a kind. Congratulations to him. Richly deserved. I am a big admirer. His architecture is super-refined, open to the world and to nature, uncompromising.
Michael Kimmelman Architecture critic for The New York Times
I first met Sean when he worked with my firm soon after his graduation. The abilities that have contributed to his outstanding architectural career were clear at that time – a focus and a determination to produce high-quality building design. He was eager to learn about construction and architectural practice, and he had a keen interest in historical precedents, particularly from the twentieth-century masters.
Sean’s buildings
