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Zaha M Hadid

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					Zaha M. Hadid

    DESIGN PHILOSOPHY




                SUB BY: VISHAL
                 0608881052
Work
Much of Hadid's early work was conceptual; realized projects include:

      Guggenheim-Hermitage Vilnius, Vilnius, Lithuania, (2008-) - not realized
      Eli and Edythe Broad Museum, Michigan State University, (2008-)
      London Aquatics Centre, London, UK, (2008-2013)
      CMA CGM Tower, Marseille, France, (2007-2009)
      Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris,
       Moscow, (2006-2008)
      Bridge Pavilion (2008), Zaragoza, Spain
      Kartal Urban Transformation (2008) (projected), Istanbul, Turkey
      Riverside Museum (2007-2011) (projected) development of Glasgow Transport Museum,
       Scotland
      Cyprus : Eleftheria square, redesign,(2007)
      Nordkettenbahn (aerial tramway) (2007), Innsbruck, Austria
      Nuragic and Contemporary art museum (2006) (under construction), Cagliari, Italy
      Maggie's centre at the Victoria Hospital (2006), Kirkcaldy, Scotland
      High speed train station of Afragola (2006), Afragola, Italy
      BMW Central Building (2005), Leipzig, Germany
      Ordrupgaard annexe (2005), Copenhagen, Denmark
      Phaeno Science Center (2005), Wolfsburg, Germany
      Bergisel Ski Jump (2002), Innsbruck, Austria
      Price Tower extension hybrid project (2002), Bartlesville, Oklahoma - pending
      Hoenheim-North Terminus & Car Park (2001), Hoenheim, France
      Rosenthal Center for Contemporary Art (1998), Cincinnati, Ohio
      Vitra Fire Station (1994), Weil am Rhein, Germany
      Z.CAR hydrogen-powered, three-wheeled automobile

She has also undertaken some high-profile interior work, including the Mind Zone at the
Millennium Dome in London. Ongoing projects include: The 17,500-seat Aquatics Centre for
London, one of the new venues being constructed for the 2012 Summer Olympics. While she
was previously slated for work in the Docklands area of Melbourne, it has since been announced
that architect Norman Foster will be designing it instead. The MAXXI (National Museum of the
21st Century Arts) in Rome.[3] The Heydar Aliyev Cultural Centre in Baku, Azerbaijan.[4] Zaha
Hadid's project was named as the best for the Vilnius Guggenheim Hermitage Museum in 2008.
Zaha Hadid



   REPORT ON DESIGN
   PHILOSOPHY




                  SUB BY
                  SUDHANSHU

                  06008881045
Zaha Hadid was born October 31, 1950 in Baghdad, Iraq. She
received a degree in mathematics from the American University of
Beirut before moving to study at the Architectural Association
School of Architecture in London. After graduating she worked
with her former teachers, Rem Koolhaas and Elia Zenghelis at the
Office for Metropolitan Architecture, becoming a partner in 1977. It
was with Koolhaas that she met the engineer Peter Rice who gave
her support and encouragement early on, at a time when her work
seemed difficult to build. In 1980 she established her own London-
based practice. During the 1980s she also taught at the Architectural
Association. She has also taught at prestigious institutions around
the world; she held the Kenzo Tange Chair at the Graduate School
of Design, Harvard University, the Sullivan Chair at the University
of Illinois at Chicago School of Architecture, guest professorships at
the Hochschule für Bildende Künste in Hamburg, the Knowlton
School of Architecture, at The Ohio State University, the Masters
Studio at Columbia University, New York and the Eero Saarinen
Visiting Professor of Architectural Design at the Yale School of
Architecture, New Haven, Connecticut. In addition, she was made
Honorary Member of the American Academy of Arts and Letters
and Fellow of the American Institute of Architects. She is currently
Professor at the University of Applied Arts Vienna in Austria.




Awards
     2001: Equerre d'argent Prize, special mention
     2003: European Union Prize for Contemporary
      Architecture
     2004: Pritzker Prize
     2007: Thomas Jefferson Medal in Architecture
   PHILOSOPHY BY HADID
   FIRST. To rediscover, through Malevich, the abstract surge
    upon which the Bauhaus
   drew, Dutch Neo-plasticism, and finally, Mies. It is the
    refusal to deny the modern
   and decisive opposition towards the classical tradition, as
    had been reproposed in
   those years by Graves, Rossi, Krier, and Stirling.
   SECOND. To work with agile, intense and dynamic
    geometries. In short, a return to
   a fluid space marked by points, lines, and surfaces. It also
    recovers not only the
   neo-plastic of Mondrian and Van Doesburg but also the more
    fluid one of
   Kandinsky, with whom Malevich was frequently in touch.
    Also here a return to the
   sources, this time to the origins of the abstract when two
    lines, the rigidly
   geometric of neo-plasticism and the intensely emotional of
    the Russians, were no
   longer separate.
   THIRD. To declare a real disinterest in every dispute of a
    semantic nature. The
   1970s are anguished by the problem of language, by the
    attempt to recover
   meaning from architecture, often through iconic values or
    the reference to signs
   and symbols codified by tradition. Bringing up again the
    Suprematist aesthetic,
   Hadid affirms that the goal of architecture is not linguistic
    but expressive: it is the
   research of formal values, that is, of a new sculptural
    sensibility.
   FOURTH. To declare inconsistent every disciplinary division
    between the arts. If art
   is a pure sculptural sensibility, it no longer makes sense to
    speak of painting,
   sculpture, and architecture as distinct activities because they
    all contribute to a
   single goal: the construction of a space in which every
    difference between figural
   and existential ceases, that is, in which art and life coincide.
    In 1923 Malevich
   conceived a project for PLANITA, a house of the future that
    would have permitted
   living in a rigorously geometric environment. This house
    profoundly touched
   Mondrian and Theo Van Doesburg, who in 1925 had a
    prototype built. Rietveld was
   so influenced by it also in his work that it is difficult to
    determine the borders
   between painting, interior design and architecture. And Mies
    himself, who was
   educated in this cultural environment, had a strongly
    pictorial vision of architectural
   space. Up to this point these are innovative aspects of the
    design. Which is,

   nevertheless, a first attempt not without its ingenuity. Above
    all, for the processes
   of decomposition adopted that more than to stress the
    forces at play, emphasizing
   their intensity and directions, tend to reduce them (the
    forces) to an unstable
   system of balances.

				
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