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        <datestamp>2026-10-13T07:37:08Z</datestamp>
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  <dc:identifier>979-13-87613-03-7</dc:identifier>
  <dc:source>https://www.e-buc.com/fitxa.php?isbn=979-13-87613-03-7</dc:source>
  <dc:title>12th Barcelona International Landscape Biennial. Ribas Piera School Prize</dc:title>
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  <dc:language>eng</dc:language>
  <dc:publisher>Universitat Politècnica de Catalunya. Iniciativa Digital Politècnica</dc:publisher>
  <dc:subject>Paisatgisme: arquitectura i disseny</dc:subject>
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  <dc:description>Twenty-five years ago, just at the turn of the century, the European Biennial of Landscape Architecture was born, promoted jointly by the Col·legi Oficial d&amp;#x02019;Arquitectes de Catalunya (COAC) and the Universitat Politècnica de Catalunya (UPC) through the Escola Tècnica Superior d&amp;#x02019;Arquitectura de Barcelona (ETSAB) and the Màster d&amp;#x02019;Arquitectura del Paisatge (MAP). Since then, the Biennial has grown in scale and recognition, consolidating itself as one of the major international disciplinary events. Among the expressions that regularly structure the content of the editions, two awards stand out with good criteria: the Rosa Barba Prize, for the best professional work, and the International School Prize, for the best academic project. The fact that from this year onwards this important award will be called the Manuel Ribas Piera Prize, in recognition of the man who created the Master&amp;#x02019;s Degree in Landscape Architecture in 1988 (the first event in this discipline in our country), seems to me to be an act of poetic justice, which I am pleased to have been able to help to promote. This simultaneous recognition, from the COAC for good work and from the UPC for academic quality, continues to be, in my opinion, one of the most prized values of the International Biennial of Landscape Architecture. It must be said that the increasingly high quality of the academic proposals (as can be seen in the collection of projects that follows this introduction), as well as the extraordinary progress made in the systems of graphic representation, make it increasingly difficult to distinguish between projects in one category and works in the other. It remains to be seen whether, in the not so distant future, one and the other landscapes, and guardians, will not end up merging in the unassailable territory of the gaze.</dc:description>
  <dc:date>2025</dc:date>
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