Terence Conran asked nine of his friends in the design world “What have you always wanted in your home, but have never been able to find?” The result is The Wish List, a set of ten projects dreamed up by big name designers such as Norman Foster, Zaha Hadid and Richard Rogers, but designed and crafted in collaboration with emerging designers.
Sponsored by the American Hardwood Export Council, the only restriction was that the product had to be made of wood, leading to designs ranging from Foster’s modest geometric pencil sharpeners to Paul Smith‘s dream garden shed.
Despite her position as one of the world’s most prominent and successful architects, Zaha Hadid yesterday revealed that there is one thing she feels is missing from her portfolio: a skyscraper in London. Speaking to BD at the announcement of her Science Museum competition win, Hadid said ”I’d love to do a tower in London but it hasn’t arrived.” More of Hadid’s comments after the break.
Zaha Hadid has been featured in a 30-minute BBC Secret Knowledge film based on Kazimir Malevich: The Russian Revolutionary: Zaha Hadid on Kazimir Malevich. One of Hadid’s greatest influencers, the Russian painter and theoretician inspired the Dame’s AA graduation thesis which transformed Malevich’s 1923 Arkitekton model into a 14-story hotel that stretched across London’s Hungerford Bridge. You can watch the film online (here) through September 16.
For those that follow the ins and outs of architectural criticism, it will have been hard to miss the news this week that Zaha Hadid is suing the New York Review of Books, claiming that the critical broadside launched by Martin Fuller against Hadid in his review of Rowan Moore’s book Why We Build was not only defamatory but also unrepresentative of the content of the book. Hadid’s lawyers demanded a retraction of the review, which they claimed had caused Hadid “severe emotional and physical distress.”
Hadid’s lawsuit did manage to elicit an apology from Filler, but probably not the one she was hoping for: Filler posted a retraction admitting that his review confused the number of deaths involved in all construction in Qatar in 2012-13 (almost 1,000) with the number of deaths on Hadid’s own Al Wakrah stadium (exactly zero). However, much of Filler’s comments criticizing Hadid’s cold attitude to conditions for immigrant workers in Qatar remain unaddressed.
Throughout the week, a number of other critics took this opportunity to pile more criticism on Hadid, unanimously agreeing that the lawsuit was a bad idea. Read on after the break to see the six reasons they gave explaining why.
Last week Zaha Hadid filed a libel lawsuit against critic Martin Filler, after Filler’s review of Rowan Moore’s book “Why We Build: Power and Desire in Architecture” for the New York Review of Books included a scathing section on Hadid. In the article Filler said she had shown “no concern” for the death of construction workers in Qatar, where she designed a stadium for the 2022 World Cup. Now, Filler has admitted to a significant error in the article he wrote, The New York Times has reported. In an amendment to his article Filler acknowledges that the quotes he used from Hadid were taken out of context and had “nothing to do” with the Qatar stadium she designed. Read Filler’s full statement in the New York Times article, here.
In this 2001 lecture titled “Architecture is Propaganda,” seminal architect, educator, and co-founder of OMA Elia Zenghelis discusses the development of ideologies that shape architectural discourse vis-a-vis architectural education. Arguing that architectural education is motivated by religious, socio-political, and economic principles, Zenghelis makes the case that the war-torn 20th century has been an era of upheaval and conflict, resulting in the loss of historical context and a confused state for artists and architects. Proposing the idea that architecture is a servant of power, and is thus intrinsically intertwined with political and societal trends, Zenghelis urges a return to a contextualized understanding of architectural history in order for contemporary architects to develop a sensitive and nuanced approach to their practice.
Discussing his relationships and collaborations with former students and colleagues Zaha Hadid, Rem Koolhaas, and Peter Eisenman, as well as the political and architectural legacy of such giants as Le Corbusier and Mies van der Rohe, Elia Zenghelis provides a compelling conversation about the inherent role of architecture in political discourse.
Don’t miss the other lectures in The Berlage Archive series:
Zaha Hadid will be awarded an honorary degree and fellowship from Goldsmiths College, at the University of London, during the college’s graduation ceremony in September. Hadid was chosen because of her “inventive approach, and eagerness to challenge conventions which have pushed the boundaries of architecture and urban design,” Architects’ Journal (AJ) reported.
Among Hadid’s work in London is the Aquatics centre for the 2012 London Olympics, which has been shortlisted for the 2014 Stirling Prize, which recognizes a building that has made the greatest contribution to British architecture in the past year. Zaha Hadid Architects was also behind the design for London’s Roca Gallery and was selected to develop plans for a new airport in London.
Hadid is one of six other creative professionals receiving honorary degrees from Goldsmiths College.
As a student of architecture, the formative years of study are a period of wild experimentation, bizarre use of materials, and most importantly, a time to make mistakes. Work from this period in the life of an architect rarely floats to the surface – unless you’re Zaha Hadid or Frank Gehry, that is. A treasure trove of early architectural drawings from the world’s leading architects has recently been unearthed from the private collection of former Architectural Association Chairman Alvin Boyarsky. The collection is slated to be shown at the Kemper Art Museum, Washington University, St. Louis, as a part of the exhibition Drawing Ambience: Alvin Boyarsky and the Architectural Association from September 12th to January 4th, 2015.
Take a look at the complete set of architects and drawings for the exhibition after the break.
Our friends at Crane.tv have brought you the designers of a fascinating new addition to Azerbaijan’s booming architectural landscape. Istanbul based design firm Autoban undertook the immense challenge to design the entire interior of Baku, Azerbaijan’s Heydar Aliyev International Airport. Following the commitment that “architecture and interior design should tell the same story,” the firm drew inspiration from the structure and form of the building, one of many that, thanks to such stars as Zaha Hadid’s Heydar Aliyev Center and HOK’s Flame Towers, is putting Baku on the global architectural map. Valuing hospitality and the beauty of experience, Autoban designs a terminal that encourages the soaring building to embrace the intimate human scale.
The renderings, first published by Curbed, show the layout of a typical kitchen and master bath in this 11-story sculpted glass and steel apartment. While the kitchen rendering features a curvy island and faucet in the middle, the bathroom appears to have textured walls.
A few years ago London’s Architectural Association held an exhibition called First Works: Emerging Architectural Experimentation in the 1960s & 1970s, which wonderfully gathered together early projects from a host of the most famous names in architecture. In both Zaha Hadid’s gorgeously animated plan/perspectives of the Taoiseach’s Residence and Daniel Libeskind’s intensely unstable drawings of Micromegas, you can already sense a lifetime of formal exploration ahead for the pair; and yet who would ever guess the unique tectonic language to come from the anonymously mundane drawings of the Sequoyah Educational Research Centre by Morphosis?
When I set up the Global Architecture Graduate Awards (GAGAs) at The Architectural Review in 2012, it was with the insight that, at its best, the work produced at the start of a career can be its most daring and projective. At that fertile threshold between the academy and practice, uncertain graduates can be years ahead of more assured and mature colleagues in the creative risks they are willing to take.
In an article for London’s Royal Academy of Arts Magazine entitled Plane Sailing, Zaha Hadid discusses the influence of Russian Suprematist painter Kazimir Malevich on her own design work. In Hadid’s early work, such as The Peak Blue Slabs (1982/83), the visual connections to Malevich’s strict, regular shapes and lines are evident.
Le Corbusier donned signature glasses; Frank Gehry designed footwear; early twentieth-century architect Adolf Loos even wrote “Why A Man Should Be Well-Dressed.” Now Zaha Hadid is making her way into swimwear. But are the nuances of fashion too much for architects to dip their feet into? Read the full article at the Telegraph.
In this episode of KCRW’s Design & Architecture (DnA) podcast, ArchDaily contributor Guy Horton speaks with Frances Anderson about the architect’s ethical responsibility to protect construction workers’ rights, following up on his popular article “Will We Stay Silent? The Human Cost of Qatar’s World Cup.” The episode also features a fascinating look into Shigeru Ban‘s career and Pritzker win as well as the Folk-Moma controversy. Listen here.
The BBC’s Tony Hall has announced that Zaha Hadid will be presenting a 60-minute Secret Knowledge film based on Kazimir Malevich. The Russian painter and theoretician, who founded the Suprematist movement, inspired Hadid’s AA graduation thesis which transformed Malevich’s 1923 Arkitekton model into a 14-story hotel that stretched across London’s Hungerford Bridge. Hadid will be one of many influential art leaders enlisted to participate in the program, which intends to place the arts on “center-stage.”
Zaha Hadid’s unfortunate comments in response to worker deaths on construction sites for the 2022 World Cup has made Qatar the eye of a storm that has been raging globally for decades. But it’s not just about Qatar. This has been an issue for as long as there have been construction sites and for as long as poor people have swarmed to them for a chance at a better life.
Construction booms and migrant construction workers have always been two sides of the same equation, both dependent on the other, and, by the twisted logic of the global economy, both are the reason for the other’s existence. No migrant labor pool = no global city = no fantastic architecture, or something to this effect.
The migrant workers are the silent collaborators in global architecture, the invisible, faceless, “untouchables” who make the cost-effective construction of these buildings possible.