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zaha hadid

Home Tag zaha hadid
yvonne farrell and shelley mcnamara of grafton architects awarded 2020 pritzker prize.

yvonne farrell and shelley mcnamara of grafton architects awarded 2020 pritzker prize.

Mar 4, 2020

above/below > utec – universidad de ingenieria y tecnologia by grafton architects won the very first riba international prize in 2016. photography: iwan baan


the first two women business partners and first irish architects yvonne farrell and shelley mcnamara of dublin, ireland, have been selected as the 2020 pritzker prize laureates, announced tom pritzker, chairman of the hyatt foundation, which sponsors the award that is known internationally as architecture’s highest honor.

the other three women architects since the first award in 1979 are, in 2004 the late zaha hadid – the first women not part of a team; in 2017 co-winner carme pigem along with partners rafael aranda and ramon vilalta; in 2010, kazuyo sjima with her partner ryue nishizawa; below left to right > farrell and mcnamara

in a press statement announcing their selection, farrell wrote, “architecture could be described as one of the most complex and important cultural activities on the planet. to be an architect is an enormous privilege. to win this prize is a wonderful endorsement of our belief in architecture. thank you for this great honor.”

to which mcnamara added, “within the ethos of a practice such as ours, we have so often struggled to find space for the implementation of such values as humanism, craft, generosity, and cultural connection with each place and context within which we work. it is therefore extremely gratifying that this recognition is bestowed upon us and our practice and upon the body of work we have managed to produce over a long number of years. it is also a wonderful recognition of the ambition and vision of the clients who commissioned us and enabled us to bring our buildings to fruition.”

as architects and educators since the 1970s, farrell and mcnamara create spaces that are at once respectful and new, honoring history while demonstrating a mastery of the urban environment and craft of construction. balancing strength and delicacy, and upholding a reverence of site-specific contexts, their academic, civic and cultural institutions, as well as housing developments, result in modern and impactful works that never repeat or imitate, but are decidedly of their own architectural voice.

above > universita luigi bocconi / photo courtesy alexandre soria // below > universita luigi bocconi / photo courtesy federico brunetti

above/below > institut mines télécom, photo courtesy of alexandre soria

above> town house building, kingston university / photo courtesy of dennis gilbert // town house building, kingston university / photo courtesy of ed reeves

above/below > loreto community school, photo courtesy of ros kavanagh

[ pritzker architecture prize jury citation ]

yvonne farrell and shelley mcnamara have practiced architecture together for forty years in a way that clearly reflects the objectives of the pritzker prize: to recognize the art of architecture and consistent service to humanity as evidenced through a body of built work.

co-founding their professional practice, called grafton architects, in dublin, ireland in 1978, they have consistently and unhesitatingly pursued the highest quality of architecture for the specific location in which it was to be built, the functions it would house and especially for the people who would inhabit and use their buildings and spaces.

they have an oeuvre that includes numerous educational buildings, housing and cultural and civic institutions. pioneers in a field that has traditionally been and still is a male-dominated profession, they are also beacons to others as they forge their exemplary professional path.

many of their buildings are located in their home country of ireland, but through competitions, they have won major commissions for other places around the world, such as italy, france and peru. with a profound understanding of place gained through their research, keen powers of observation, open and ever curious explorations and deep respect for culture and context, farrell and mcnamara are able to make their buildings respond to a setting and city most appropriately, while still being fresh and modern.

this deep understanding of “spirit of place” means that their works enhance and improve the local community. their buildings are “good neighbors” that seek to make a contribution beyond the boundaries of the building and to make a city work better. their north king street housing in dublin (2000) is one example of this: it creates an inner courtyard and a welcome respite from the adjacent busy streets.

their approach to architecture is always honest, revealing an understanding of the processes of design and construction from large scale structures to the smallest details. it is often in these details, especially in buildings with modest budgets, where a big impact can be felt. for example, the urban institute of ireland (dublin, 2002) employs what the architects call a “crafted skin” to create a visually interesting building through changes in materials responding to openings, folds, needs for shade and other concerns.

at the same time, it employs common sense, good-practice environmental control methodologies for an efficient, sustainable building. on a particularly sensitive site in dublin, the masterful offices for the department of finance (2009) attests to their knowledge and care in the selection of materials and construction techniques with a carefully handcrafted bronze railing and gate and sanded limestone on the facades.

the architects are skilled and successful working at many scales—from large institutional buildings to a house of only a little more than 100 square meters. without grand or frivolous gestures, they have managed to create buildings that are monumental institutional presences when appropriate, but even so they are zoned and detailed in such a way as to produce more intimate spaces that create community within. in their large buildings such as the university campus utec (2015) in lima, peru or the school of economics building (2008) at universita luigi bocconi, they have achieved a human scale through the composition of spaces and volumes of different sizes. the dialogues they create between buildings and surroundings demonstrate a new appreciation of both their works and place.

a constant in their approach, the architects have an understanding of how to design complex sections of buildings in such a way that views connect deep interior spaces with the larger exterior realm and allow natural light to penetrate and animate spaces deep inside a building. often light streams from skylights or upper story windows throughout the interiors of their buildings, providing warmth and visual interest, helping the inhabitants easily orient themselves in the spaces, and providing the ever necessary connection to the exterior.

for their integrity in their approach to both their buildings, as well as the way they conduct their practice, their belief in collaboration, their generosity towards their colleagues, especially as evidenced in such events as the 2018 venice biennale, their unceasing commitment to excellence in architecture, their responsible attitude toward the environment, their ability to be cosmopolitan while embracing the uniqueness of each place in which they work, for all these reasons and more, yvonne farrell and shelley mcnamara are awarded the 2020 pritzker architecture prize.

[ jury members ]

stephen breyer (chair) / u.s. supreme court justice / washington, dc
andré aranha corrêa do lago / architectural critic, curator and brazilian ambassador to india / delhi, india
barry bergdoll / architecture historian, educator, curator and author / new york, new york
deborah berke / architect and educator / new york, new york
sejima kazuyo / architect and 2010 pritzker laureate / tokyo, japan
benedetta tagliabue / architect and educator / barcelona, spain
wang shu / architect, educator and 2012 pritzker laureate / hangzhou, china
martha thorne (executive director) / dean, ie school of architecture & design / madrid, spain

[ pritzker architecture prize ]

zaha hadid associates opens airport with world’s largest airport terminal in beijing.

zaha hadid associates opens airport with world’s largest airport terminal in beijing.

Sep 26, 2019

beijing daxing international airport is a new airport in the daxing district 28/miles/46km south of the city center (20 minutes by express train).

developed to alleviate congestion at the capital’s existing airport, beijing daxing will be a major transport hub for the region with the world’s fastest growing demand for international travel and is fully integrated within the country’s expanding transport network.

initially serving 45 million passengers per year, the airport will accommodate 72 million travelers by 2025 and is planned for further expansion to serve up to 100 million passengers and 4 million tons of cargo annually.

beijing daxing’s 7.5 million square feet/700,000 square meters passenger terminal includes an 861,000 square feet/80,000 square meter ground transportation center offering direct connections to beijing, the national high-speed rail network and local train services, providing a catalyst for economic development in tianjin and hebei province.

[ zha official project description ] recently assigned the airport code ‘pkx’ by the international air transport association, beijing daxing sets a new standard in air transport services, serving the region’s growing population within a compact and efficient passenger terminal that is adaptable for future growth.

top > terminal hub / photo > nkchu // above> central courtyard / following photos courtesy of zha

echoing principles within traditional chinese architecture that organize interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multi-layered meeting space at the heart of the terminal.

six flowing forms within the terminal’s vaulted roof reach to the ground to support the structure and bring natural light within, directing all passengers towards the central courtyard. natural light also enters the terminal via a network of linear skylights that provide an intuitive system of navigation throughout the building, guiding passengers to and from their departure gates.

structural spans of up to 100m create the terminal’s generous public spaces and allow the highest degree of flexibility for any future reconfiguration.

the compact radial design of the terminal allows a maximum number of aircraft to be parked directly at the terminal with minimum distances from the centre of the building, providing exceptional convenience for passengers and flexibility in operations. 79 gates with airbridges connect directly to the terminal which can rapidly process the passengers of six full a380 aircraft simultaneously.

five aircraft piers radiate directly from the terminal’s main central court where all passenger services and amenities are located, enabling passengers to walk the comparatively short distances through the airport without the need for automated shuttle trains. as a result, the terminal’s compact design minimizes distances between check-in and gate, as well as connections between gates for transferring passengers. this radial configuration ensures the farthest boarding gate can be accessed in a walking time of less than 8 minutes.

photovoltaic power generation is installed throughout the airport to provide a minimum capacity of at least 10mw. beijing daxing’s centralized heating with waste heat recovery is supported by a composite ground-source heat pump system incorporating a concentrated energy supply area of nearly 2.5 million m2.

the airport also implements rainwater collection and a water management system that employs the natural storage, natural permeation and natural purification of up to 2.8 million cubic meters of water in new wetlands, lakes and streams to prevent flooding and counter the summer ‘heat island’ effect on the local microclimate.

[ project credits ]
client > beijing new airport construction headquarters
architects/joint design team > zaha hadid architects (zha) and adp ingeniérie (adpi)
design (zha) > zaha hadid, patrik schumacher
project directors (zha) > cristiano ceccato, charles walker, mouzhan majidi
project design director (zha) > paulo flores
project architect (zha) > lydia kim
project coordination (zha) > eugene leung, shao-wei huang
project team (zha) > uli blum, antonio monserrat, alberto moletto, sophie davison, carolina lopez-blanco, shaun farrell, junyi wang, ermis chalvatzis, rafael contreras, michael grau, fernando poucell, gerry cruz, filipa gomez, kyla farrell, natassa lianou, teoman ayas, peter logan, yun zhang, karoly markos, irene guerra
beijing team (zha) > satoshi ohashi, rita lee, yang jingwen, lillie liu, juan liu
local design institutes > biad (beijing institute of architecture & design) + cacc (china airport construction company)
consortium team (competition stage) > pascall + watson, burohappold engineering, mott macdonald, ec harris consultants, mckinsey & company, dunnett craven, triagonal, logplan, sensing places, spada

[ consultants ]
security system + baggage systems design > china ippr international engineering co
information and weak power systems design > china electronics engineering design institute + civil aviation electronic technology co
high speed rail design > the third rail survey and design institute group corporation
subway design > beijing city construction design research general institute co
viaduct/bridge design > beijing general municipal engineering design & research institute co
fire performance design > arup
public art > central academy of fine arts
green technology > beijing tsinghua tongheng urban planning and design institute
bim design > dtree ltd.
architecture facade > xinshan curtainwall + beijing institute of architectural design (group) co –complex structure division
metro system > lea+elliott
lighting > gala lighting design studio
identification/signage system > east sign design & engineering co
landscape > beijing institute of architectural design (biad) landscape design division

expo chicago 2019: expression vs communication look #1.

expo chicago 2019: expression vs communication look #1.

Sep 20, 2019

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

what is the difference between art and design? i think it comes down to function. design can have many functions, whereas art has one single function. the function of art.

the question of what’s the difference between art and design often comes up at art expositions, perfect launchpads for such a confabulation. in this instance, DesignApplause submits that architecture, design, and engineering are one and the same.

> “what is the difference between art and design? as it applies to graphic design, i will say that the difference between art and design or artist and designers, is expression vs communication. … expression is about the artist and their view, design is about the audience and viewer. expression can be abstract and intangible but design has to be clear for the most part.” ~ anonymous

> “when one attempts to define art, there will be an artist to prove it wrong. ‘art is beautiful’ art becomes ugly. ‘art is emotional’ art becomes emotionless. ‘art is form’ art becomes idea. that’s the problem, art will always shatter definitions.

having said that, i will ignore my own advice and take a crack. i think it comes down to function. design can have many functions, whereas art has one single function. the function of art. digging deeper, the art concept can be portrayed in many different ways. the function of art isn’t singular, its endless.

so design is applied art? or maybe an eames chair is a design object when you’re trying to sell it or sit in it, and an art object when you’re observing it, etc. ~ anonymous

DesignApplause asked galleries if their artists in this show pursued any architectural or design studies in their background. 25 of 39 (64%) galleries point out the following:

physichromie no. 2406 / carlos cruz-diez / ascaso gallery (miami, caracas) – booth 442 / 2002

carlos (1923 – 2019) was an artist and designer.

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cadeira tripe de ferro / lina bo bardi / bergamin & gomide (sao paulo) – booth 311 / 1948-89

pmr chase longue / mendes da rocha / bergamin & gomide (sao paulo) – booth 311 / 1985

patrona alta / oscar niemeyer / bergamin & gomide (sao paulo) – booth 311 / 1971

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above > a fake history of humanity / octavio abúndez / galeria curro (guadadalajara) – booth 101 / 2019

galeria curro‘s proposal deals with knowledge and its representation and reception throughout the history of art and science. octavio abúndez’s new painting project a fake history of humanity offers alternative versions of history to our post-truth era, while deconstructing and creating a tribute relationship with the richter’s color charts. octavia is an architect.

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above > holiday greetings / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1941

above > the measure of man: a study in perspective / herbert bayer / stephen daiter gallery (chicago) – booth 143 / 1940

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above > coffee table ‘megalith in motion’ / david libeskind / david gill gallery (london) – booth 105 / 2018

above > shelves ‘dune’ / zaha hadid / david gill gallery (london) – booth 105 / 2007

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above > highway with mountain / theaster gates / richard gray gallery (chicago) – booth 139 / 2019

theaster gates is a chicago social practice installation artist, designer with a b.s degree in urban planning and ceramics.

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above > we hold these truths / bob faust / kavi gupta (chicago) – booth 121 / 2019

bob faust is a chicago graphic designer.

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above > chair ‘abrigo’ / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2019

above > cafofo / mameluca studio (rio de janeiro, miami, new york) – booth 440 / mercado moderno / 2015

gallery mercado moderno is based in rio de janeiro, miami and new york. founded in 2001 by alberto vicente and marcelo vasconcellos, mercado moderno is a gallery dedicated to brazilian design from the 1950s to 80s and contemporary design-art.

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above > untitled / richard koppe (1916-1973) / richard norton gallery (chicago) – booth 275 / 1951

above > postcard of chicago restaurant well of the sea

richard was the first design student for lazlo moholy-nagy at the new bauhaus chicago. he later turned to painting and some interior design where he created murals and chandeliers for a famous chicago restaurant well of the sea.

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above > various paintings / danielle tegeder / carrie secrist gallery (chicago) – booth 137 / 2017

dannielle is chicago artist integrating languages of architecture, planning and design, and urban construction. inspired by her father who was a pipe fitter in commercial architecture.

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[ expo chicago 2019: expression vs communication look #2 ]

elke walter connexxion – presents new work and a zaha hadid tribute at coam madrid.

elke walter connexxion – presents new work and a zaha hadid tribute at coam madrid.

Jul 1, 2018

above > connexxion exhibition images / exhibition open through 30 july 2018

zaha hadid defined a future architecture. a math background evolved into a geometry of planes, shapes, and spirals that wave with a spacial rhythm of time and space. hadid’s design vision extended to both buildings and objects.

zaha achieved a great deal in her lifetime. she was dame hadid. a winner of the stirling prize in architecture in 2010 and 2011. the first woman to win the pritzker architecture prize, in 2004. once described as a “paper” architect, hadid’s plans were once considered unbuildable. she was so ahead of the curve, she had to wait for technology to catch up. hadid’s vision was so strong and defined that her architectural practice continues.

there was one designer who the architect turned to design her clothes, elke walter.

a new exhibit at coam museum in madrid entitled, elke walter connexxion from dresses to sculptures & photography, a tribute to zaha hadid runs from 5-30 july 2018. the show will feature unique garments created during the time that zaha hadid was a client, as well as new directions in walter’s work. as with any visionary, elke walter expands her vision with jewelry, sculptures, and photography.

in a continuum, a young fan of zaha hadid reached out to walter to create the show. designapplause chats with elke walter about their unique relationship with zaha and her new direction.

[DesignApplause] you’re presenting new work at coam as well as a tribute to an old friend and colleague, zaha hadid. how did you meet zaha hadid?

[elke walter] i met zaha for the first time 2006 at luminaire in miami. nargis and nasir kassamali introduced me and my work to her and she immediately liked it. but despite our long relationship, we never became close friends. we respected each other and there was a strong connection between us based on a common taste and the strong will to work in a very singular and different way.

[DA] your style was already developed when you met zaha.
[EW] i’m not influenced by someone or something. it always felt like coming from an inner source, i started with some very rudimentary cuts and then little by little developed my own way of creating garments. i always wanted to do my very own ‘thing’, invent not copy. and when i met zaha, i already did these architectural shapes without having any idea of her’s or other architect’s work.

i am self-taught and created and made my first clothes 1998 when i lived with my husband and our 3 sons in montpellier, france. i’ve found my first clients there and when we moved back to hamburg in 2001, i opened my own store there one year later. in the beginning, i only made one-of-a-kind pieces, mainly in black and white. encouraged by a growing clientele, i started creating collections and showed them on fashion fairs and in showrooms in paris, new york, and milan.

i always preferred staying independent as well in my creativity as in business. i had my own style and felt very much attracted by structured fabrics. in my very personal way of cutting, folding and draping these materials, i created sculptural pieces with sometimes architectural shapes. it was a logical consequence for me to use the same skills for making sculptures and jewelry. almost all my photographs show my work or the material i’m using.

[DA] how did zaha choose pieces in your collection?

[EW] as long as i designed and made her unique pieces i always knew what she’d need and like. she designed extraordinary buildings and i designed extraordinary garments for her. her needs, her great style and her personality influenced my work. in everything i’m creating, in every new challenge i still feel this connection. she was very important to me.

[DA] you had an unusual road into fashion. you are now devoted to sculptures, jewelry, and photography. your fashion feels more like wearable sculpture.

[EW] the structure of the fashion business did not suit me. the repetition felt forced in line with the way l work.

when we moved to france again in 2012 i changed everything and did pop-ups in art and design galleries and architecture offices. several garments in this exhibit were on display at zhd gallery in london when zaha was present.

my sculptural objects are a continuation of my work on garments. i felt the need to create something non-wearable, to study the possibilities of manipulating fabrics, create volume and density. i always start with one small object and then, by making hundreds of them and attach them to each other, the sculpture grows and grows. it’s fascinating and has no limits. for these objects, i love working with pleated polyester fabrics that have a metal optic but feel soft.

[DA] your photos will also be on view.  your photos feature strong and mysterious images. on instagram, you are very minimal and directional with your presentation.

[EW] when i first started taking pictures, it was all about nature and architecture and it was just for fun. i used my samsung note and some apps and posted the result on instagram. @elkewalter

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about 2 years ago, i thought it would be useful to have all my work photographed and systematically took pics of all my sculptures. or just parts of it. i always preferred black and white images, and it became a real pleasure to use filters and try new techniques. i only use my smartphone, that’s my personal challenge. i don’t want to think too much about it, just do it, quickly, in my studio, while i’m working. the show will feature photos of the fabrics i am using in my work.

i like to alienate these materials by using filters. often you don’t know if what you see on the image is organic or artificial. photography became a part of my universe, my very personal way of seeing and showing my creations.

[DA] the show at coam is called ‘connexxion’. there are so many invisible threads between your work and zaha including the formation of this show.

[EW] last year, i was contacted by juan antonio fuentes, an architectural student in madrid. juan reached out to me on social media and i enjoyed his work and followed him as well. he ordered a coat and then asked me if i’d ever come to madrid. as i told him that i’ve no contacts there, he proposed to care for this. juan showed my work to one of his teachers, guadalupe cantarrero, and together they had a meeting at coam, the chamber of architects.
coam’s vice dean carlos lahoz valacio knew my work. he agreed immediately to give me the opportunity for a solo exhibition in the context of my years of creating one-of-a-kind garments for zaha hadid.

[ elke walter ] has been creating sculptures as fashion since 1998. her fabrics are produced in a small rural france mill, using old techniques mixed with modern knowhow. there she gets her fabric ideas realized: pleated, twisted and finally dyed delicately on the structured outside. elke has always employed fabric as a medium for her creative expression, one which has been evolving from one-of-a-kind fashion to an increasingly sculptural work. 

elke walter’s sculptural work creatively references the late zaha hadid, a person that she not only admired for her creative impetus, but with whom she had a personal relationship. elke walter was zaha hadid’s favorite designer for many years – understandably, as both considered fashion to be architectural. or intergalactic.

[ coam ] the official college of architects of madrid is the public law corporation that represents and defends the interests of architects.

charlotte olympia launches limited edition collaboration with zaha hadid design.

charlotte olympia launches limited edition collaboration with zaha hadid design.

Nov 21, 2017

in tribute to the late visionary zaha hadid, charlotte olympia launches two limited edition pieces, a platform wedge shoe and a clutch bag, both featuring fluid forms in perspex with rose gold metal accents. in conjunction to these, special packaging was created to echo the sculptural qualities of the designs.

combining the unmistakeable design language of the renowned architect with the creative hallmarks of the british luxury shoe and accessories brand, the partnership began when zaha and charlotte first met in 2015 and agreed to collaborate on a collection. zaha hadid design and charlotte olympia have meticulously realised these pieces as zaha originally envisioned.

launching on 21st november, the two pieces will be available exclusively at charlotte olympia retail stores and online, priced at £1,600 for the shoes and £2,600 for the clutch bag. to mark the occasion, a reception will take place at christie’s on the day of launch with charlotte olympia dellal taking part in a panel discussion. charlotte will also be at the brompton cross store on 22nd november to sign the purchased limited edition designs.

“zaha hadid was a phenomenal person to have known and her work and aesthetic are constant sources of inspiration for me. it was an honor and privilege to have worked with her and to continue working with her fantastic team on this dream collaboration.”
charlotte olympia dellal, founder and creative director of charlotte olympia

“we are always delighted to work with clients who share our passion for bold design and pristine craftsmanship. charlotte olympia and her team have masterfully translated our ideas into reality in two fantastic pieces of superb quality.”
maha kutay, director of zaha hadid design

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citco takes part in the first edition of salone del mobile. milano shanghai.

citco takes part in the first edition of salone del mobile. milano shanghai.

Nov 8, 2016

investing in the potential and competitive energy of the chinese furnishings market, marked by a very positive trend, represents an opportunity for citco – a recognized point of reference for the design of marble – to reinforce and confirm its role of leadership on the international scene in the field of excellence made in italy, taking part in the first edition of salone del mobile.milano shanghai: from 19 to 21 november 2016 at the shanghai exhibition centre, a space of 4000 square meters will present the best design and the best aspects of the italian lifestyle.

the verona-based firm that focuses on the personality and customization of all its offerings, has always created inlaid marble surfaces that generate dramatic, exceptional impact through the most contemporary languages, in site-specific projects that address precise priorities, case by case. citco has organized its stand around the design collection, enhanced by the latest new creations based on an increasingly fertile combination of the firm’s know-how with the creative flair of internationally acclaimed designers, to invent exceptional furnishing complements.

from the hadrian and hadriana tables designed by norman foster to enigma, the table in white carrara marble by daniel libeskind sculpted in a three-dimensional matrix; from the organvase collection of vases to the splash lamp in black and white, where the marble seems to melt before the eyes of the observer, both designed by arik levy; from the ductile nature of marble that is the protagonist of the totem lamp by ferruccio laviani, in large and small versions, to the valle shelves, the luna table in polished white marble, the quad collection of tables with a forceful naturalistic look, the mercuric limited-edition collection in white, with organic forms, the tau series of vases and the tela shelving system, all created by the visionary genius of zaha hadid.

for citco, the salone del mobile in shanghai represents an opportunity to continue to grow on the chinese market, consolidating relationships through participation in prestigious trade events like this one, offering chinese professionals and consumers a first-hand experience of the excellence of the company’s products.

zaha hadid’s unfinished projects set to open in 2016.

zaha hadid’s unfinished projects set to open in 2016.

Apr 6, 2016

the sudden death of pritzker prize-winning architect zaha hadid rocked architecture. though her successes and failures were exposed on almost a weekly basis, this news caused pause, an assurance, that indeed the world endured a loss. whatever your opinion, hadid’s signature pieces will keep her ethos and spirit alive. her firm, zha, has 36 projects in 21 countries under construction or in detailed design development. here are four awaited projects that are scheduled to be completed in 2016.

above / below> king abdullah petroleum studies and research center | rijadh, saudi arabia
the vision is a center focused on technical and environmental concern endeavors. the organic form enables expansion and transformation. a strong protective outer shell concealing soft, porous sheltered courtyards within.

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below> port house | antwerp, belgium
the port house combines a new beam-shaped structure and a former fire brigade building into a new headquarters for the port authority. the articulated glass walls – some transparent, others reflective – in reference to the antwerp diamond trade.

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below> salerno maritime terminal | salerno, italy
the terminal resembles the oyster – its hard shell enclosing soft, fluid elements within. key focal points – ticket desks, restaurant, waiting room – steer passengers from ground level to upper deck. by night, the ‘glow’ of the terminal functions almost like a lighthouse.

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below> mathematics gallery science museum | london
the gallery explores the many influences of mathematics in our daily lives. the gallery’s design and layout is defined by mathematical equations that determine the three-dimensional curved surfaces representing the patterns of airflow that would have streamed around an historic 1929 aircraft at the center of the exhibition.

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[ zha ]

zaha hadid. 1950 > 2016

zaha hadid. 1950 > 2016

Mar 31, 2016

sad news this morning from zaha hadid architects… / portrait bridgette lacombe

it is with great sadness that zaha hadid architects have confirmed that dame zaha hadid, dbe died suddenly in miami in the early hours of this morning. she had contracted bronchitis earlier this week and suffered a sudden heart attack while being treated in hospital.

zaha hadid was widely regarded to be the greatest female architect in the world today. born in baghdad in 1950, she studied mathematics at the american university of beirut before starting her architectural journey in 1972 at the architectural association in london.

by 1979 she had established her own practice in london – zaha hadid architects – garnering a reputation across the world for her ground-breaking theoretical works including the peak in hong kong (1983), the kurfürstendamm in berlin (1986) and the cardiff bay opera house in wales (1994).

working with office partner patrik schumacher, her interest was in the interface between architecture, landscape, and geology; which her practice integrates with the use of innovative technologies often resulting in unexpected and dynamic architectural forms.

zaha hadid’s first major built commission, one that affirmed her international recognition, was the vitra fire station in weil am rhein, germany (1993); subsequent notable projects including the maxxi: italian national museum of 21st century arts in rome (2009), the london aquatics centre for the 2012 olympic games (2011) and the heydar aliyev centre in baku (2013) illustrate her quest for complex, fluid space. buildings such as the rosenthal center for contemporary art in cincinnati (2003) and the guangzhou opera house in china (2010) have also been hailed as architecture that transforms our ideas of the future with visionary spatial concepts defined by advanced design, material and construction processes.

in 2004, zaha hadid became the first woman to be awarded the pritzker architecture prize. she twice won the uk’s most prestigious architecture award, the riba stirling prize: in 2010 for the maxxi museum in rome, a building for the staging of 21st century art, the distillation of years of experimentation, a mature piece of architecture conveying a calmness that belies the complexities of its form and organisation; and the evelyn grace academy, a unique design, expertly inserted into an extremely tight site, that shows the students, staff and local residents they are valued and celebrates the school’s specialism throughout its fabric, with views of student participation at every turn.

zaha hadid’s other awards included the republic of france’s commandeur de l’ordre des arts et des lettres, japan’s praemium imperiale and in 2012, zaha hadid was made a dame commander of the order of the british empire. she was made honorary member of the american academy of arts and letters and fellow of the american institute of architecture.

she held various academic roles including the kenzo tange chair at the graduate school of design, harvard university; the sullivan chair at the university of illinois, school of architecture. hadid also taught studios at columbia university, yale university and the university of applied arts in vienna.

zaha hadid was recently awarded the riba’s 2016 royal gold medal, the first woman to be awarded the prestigious honour in her own right. sir peter cook wrote the following citation:

“in our current culture of ticking every box, surely zaha hadid succeeds, since (to quote the royal gold medal criteria) she is someone “who has made a significant contribution to the theory or practice of architecture…. for a substantial body of work rather than for work which is currently fashionable.” indeed her work, though full of form, style and unstoppable mannerism, possesses a quality that some of us might refer to as an impeccable ‘eye’: which we would claim is a fundamental in the consideration of special architecture and is rarely satisfied by mere ‘fashion’.

and surely her work is special. for three decades now, she has ventured where few would dare: if paul klee took a line for a walk, then zaha took the surfaces that were driven by that line out for a virtual dance and then deftly folded them over and then took them out for a journey into space. in her earlier, ‘spiky’ period there was already a sense of vigour that she shared with her admired russian suprematists and constructivists – attempting with them to capture that elusive dynamic of movement at the end of the machine age.

necessarily having to disperse effort through a studio production, rather than being a lone artist, she cottoned–on to the potential of the computer to turn space upon itself. indeed there is an urban myth that suggests that the very early apple mac ‘boxes’ were still crude enough to plot the mathematically unlikely – and so zaha with her mathematics background seized upon this and made those flying machine projections of the hong kong peak project and the like. meanwhile, with paintings and special small drawings zaha continued to lead from the front. she has also been smart enough to pull in some formidable computational talent without being phased by its ways.

thus the evolution of the ‘flowing’ rather than spikey architecture crept up upon us in stages, as did the scale of her commissions, but in most cases, they remained clear in identity and control. when you entered the fire station at vitra, you were conscious of being inside one of those early drawings and yes, it could be done. yet at perhaps its highest, those of us lucky enough to see the heydar aliyev center in baku in the flesh, can surely never have been in such a dream-like space, with its totality, its enormous internal ramp and dart-like lights seeming to have come from a vocabulary that lies so far beyond the normal architecture that we assess or rationalize.

so we are presenting her with this medal as a british institution: and as a dame commander of the order of the british empire: thus she might seem to be a member of our british establishment. yet in reality, many of our chattering classes and not a few fellow architects have treated her with characteristic faint praise, and when she heroically won the cardiff opera house competition, blocking the scheme. or when we awarded her the riba stirling prize for the school in south london – her second win in a row – we, the jury, were loudly derided by a number of distinguished architects. of course, in our culture of circumspection and modesty her work is certainly not modest, and she herself is the opposite of modest. indeed her vociferous criticism of poor work or stupidity recalls the line-side comments of the tennis player john mcenroe. yet this is surely characteristic of the seriousness with which she takes the whole business: sloppiness and waywardness pain her and she cannot play the comfy british game of platitudinous waffle that is the preferred cushion adopted by many people of achievement or power. her methods and perhaps much of her psychology remain mesopotamian and not a little scary: but certainly clear.

as a result, it is perhaps a little lonely there up at the top, surrounded now by some very considerable talent in the office, but feared somewhat and distanced from the young. yet in private zaha is gossipy and amusing, genuinely interested in the work of talented colleagues who do very different architecture such as steven holl, and she was the first to bring to london talent such as lebbeus woods or stanley saiotowitz. she is exceptionally loyal to her old friends: many of whom came from the alvin boyarsky period of the architectural association: which seems to remain as her comfort zone and golden period of friendship. encouraged and promoted at an early age by boyarsky, she has rewarded the aa with an unremitting loyalty and fondness for it.

the history of the gold medal must surely include many major figures who commanded a big ship and one ponders upon the operation involved that gets such strong concepts as the maxxi in rome – in which the power of organization is so clear – or the bergisel ski jump in innsbruck where dynamic is at last captured – or the aquatics centre for the london olympics where the lines diving boards were as fluid as the motion of the divers – made into reality. and she has done it time and time again in vienna, marseilles, beijing and guangzhou. never has she been so prolific, so consistent. we realize that kenzo tange and frank lloyd wright could not have drawn every line or checked every joint, yet zaha shares with them the precious role of towering, distinctive and relentless influence upon all around her that sets the results apart from the norm. such self-confidence is easily accepted in film-makers and football managers, but causes some architects to feel uncomfortable, maybe they’re secretly jealous of her unquestionable talent. let’s face it, we might have awarded the medal to a worthy, comfortable character. we didn’t, we awarded it to zaha: larger than life, bold as brass and certainly on the case.

our heroine.

how lucky we are to have her in london.”

details of zaha hadid’s memorial service will be announced shortly.

zaha hadid alleges collusion against japanese government and architects over tokyo national stadium.

zaha hadid alleges collusion against japanese government and architects over tokyo national stadium.

Dec 22, 2015

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responding to the winning proposal to design the tokyo national stadium, zaha hadid, who’s design won the juried international competition over two years, accuses the japanese government and local architects of collusion over tokyo national stadium.

[official zha statement] “we were honoured to be selected to design a stadium that would enable japan to welcome the world for the 2019 rugby world cup and bring the 2020 olympic games to tokyo, before becoming a new home for japanese sport for many future generations.

“sadly the japanese authorities, with the support of some of those from our own profession in japan, have colluded to close the doors on the project to the world.

“this shocking treatment of an international design and engineering team, as well as the respected japanese design companies with whom we worked, was not about design or budget. in fact much of our two years of detailed design work and the cost savings we recommended have been validated by the remarkable similarities of our original detailed stadium layout and our seating bowl configuration with those of the design announced today.

“work would already be underway building the stadium if the original design team had simply been able to develop this original design, avoiding the increased costs of an 18 month delay and risk that it may not be ready in time for the 2020 games.”

zaha hadid

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above/below> kengo kuma’s winning concept incorporates the surrounding trees of the jingu shrine to create a stadium of wood and greenery. the roofing is a hybrid structure that uses wood and steel. the plan is for a stadium that cooperates with the surrounding environment and utilizes the latest technology to create a modern interpretation regarding japan’s climate, culture and tradition.

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above/below> what defines toyo ito’s runner-up concept is it’s unique and feathery undulating roof and the 72 wooden pillars. the weight-bearing pillars are symbolic of japan’s tradition of building pillars to honor festivities and also reference japan’s 72 micro-seasons.

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in the end, this project inspired two concepts, one a swank sculptural landmark that connects to the future, the other, a frugal nod to tradition that integrates with an everyday present.

somewhere in the research of this article, it was said that the track surface for kuma’s proposal will not pass olympic standards and the national stadium as is can accommodate the 2019 rugby world cup but not the 2020 olympics. but this is not confirmed.

so, each concept is not without controversy, the first led by credible rival local architects, two of whom were the winner and runner-up for the project. and both the runner-up and winner raise comments from even advocates that this is not their best efforts, suggesting a committee designed solution.

zaha does make a case for collusion with the following statement:

zaha hadid architects with arup sports won the international competition to design the new national stadium in 2012. the design was successfully used by tokyo in 2013 when bidding for the 2020 olympic and paralympic games.

zha and arup sports have been collaborating on the design with the sekkei joint venture that includes four of the largest design consultants in japan led by nikken sekkei.

the team selected in the new, restricted, competition includes azusa sekkei, who were part of the zha supervised original design team and focussed specifically on the seating bowl, and also one of the original contractors, taisei. taisei were contracted to deliver the ‘sunken bowl’ of the original zha/arup design (seating, access strategy, etc) and, along with azusa, had access to all of the detailed drawings, plans and work carried out over 2 years by the original design team.

this includes access to the detailed cost savings proposed (and associated design work) by the zha/arup sport including: reducing permanent capacity to 68k with temporary seats used to reach 80k; removing the retractable roof; removing air-conditioning from under each of the seats; removing the public walkway and viewing points around the venue,removing the permanent running track and removing the non-stadium functions such a convention centre, museum and gym. when zha proposed these changes they were rejected by the client and the team was eventually instructed to cease proposing cost-saving solutions. however, all these cost-saving solutions were adopted in the brief of the new competition.

zha wrote to the client on 21 august 2015 stressing that all the design work to date was the intellectual property of zha.

[ in-depth analysis of original zha stadium ]

limited edition prefab pavilions by zaha hadid and gluckman tang. design miami/ 2015.

limited edition prefab pavilions by zaha hadid and gluckman tang. design miami/ 2015.

Dec 4, 2015

[ revolution ] developed and introduced by real estate developer and art collector robbie antonio, revolution is a collection of limited edition, pre-crafted properties, including homes and pavilions. the project unites over 30 of the world’s preeminent architects, artists and designers with a network of cutting-edge technologies and cost-efficient production systems, democratizing high-design and architecture. the first series of pre-fabricated pavilions have been launched including daniel libeskind-the recreation pavilion, kengo kuma-the aluminum cloud pavilion, sou fujimoto-the infinity ring pavilion, ben van berkel- the ellipsicoon retreat pavilion. most recently and seen at design miami 2015 is zaha hadid- volu and gluckman tang-the model art pavilion. the pieces are displayed by etn design, a new company of new york art dealer edward taylor nahem.

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[ model art pavilion ] conceived by gluckman tang is a simple, elegant structure to experience art in any location – from a beach to a roof deck to a global art fair. it is a sculptural object and a frame for the dynamic presentation of art. the pavilion is made of lacquered solid wood, plywood, and translucent polycarbonate. it comfortably accommodates several paintings or sculptures and a small group of people. the interior is a clean white box, while the exterior is available in a range of colors. slots at the edges of the space introduce reflected, diffuse daylight; access is through a sliding door. like all gluckman tang’s spaces for art, such as the museo picasso málaga and the georgia o’keeffe museum, this compact pavilion elegantly mediates the relationship between the space, the viewer, and the art object. the potential uses of this pre-crafted pavilion extend beyond the art world — it can be used as an intimate music room, meditation space, or work studio. it will be produced in an edition of 10, each priced at $130,000.

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[ volu ] is the name of zaha hadid and patrik schumacher‘s design is a fusion of design, lightweight engineering, and precision fabrication. it is a result of tight integration of computer-aided design, engineering and manufacturing. the strong silhouette of the pavilion, along with the careful coordination of features, materials, and colors is complemented by the bespoke design of the furniture. the design continues a rational, geometric production by embedding the tectonics of manufacture within the form itself.

this limited edition is comprised of a series of structural bands collecting at the spine and expanding overhead, the patterning of the pavilion’s structure and shade structures are guided by the varied structural loading conditions. through analysis of the geometry under load, the pavilion’s topology is digitally re-crafted and optimized to remove unnecessary material, resulting in the lightest possible design solution. this organic structural logic recreates the very same principles found in nature. an edition of 24 priced at $480,000 – it is after all zaha hadid.

volu is installed inside the collector’s lounge at this year’s design miami fair. the sculptural table by janne kyttanen (works also seen at galerie vivid) and loopy chairs by arandalasch.

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