Zaha Hadid, who was named as the the first sole woman to be awarded the UK's highest honour for architects in her own right in 2015, received the Royal Institute of British Architects (RIBA) 2016 Royal Gold Medal at a ceremony in London yesterday. Hadid, who was appointed a Dame of the British Empire in 2012, received the Pritzker Prize in 2004. Her practice also took both the 2010 and 2011 RIBA Stirling Prizes.
Following the recent trend of luxury pre-fabricated structures like Muji’s recent three huts, Robbie Antonio’s “Revolution PreCraft” is a collection of pre-fabricated pavilions by 30 top designers and architects, including Zaha Hadid, Sou Fujimoto, Daniel Libeskind and Gluckman Tang. Some have already been built, being exhibited at Design Miami, while others are planned for the future.
With recent advancements in building technology, Revolution PreCraft hopes to democratize the design of pre-fab structures, offering a line of products that incorporate the distinct spatial and social brands of the designers. See a selection of the Revolution Precraft line after the break.
In the latest Tokyo National Stadium news, Kengo Kuma is firing back to Zaha Hadid's allegations regarding the "similarities" of the two designs by insisting that his "concept is completely different." As reported the Architects' Journal, the Japanese architect agrees there are some natural similarities due to appropriate sightlines and regulations, however the actual design and concept are radically different.
"I believe that the design by Zaha Hadid was excellent, with a unique shape and demonstration of her philosophy," said Kuma in a press conference. "When we consider the design is being created within the same land, using the same tracks and under the same laws it is natural and almost automatic that there are some similarities which will arise."
"And despite the technical details being similar, the concepts and designs are completely different," he added, referring to Hadid's "saddle-style" design and his flat-roofed proposal.
Zaha Hadid is facing new hurdles regarding her scrapped Tokyo National Stadium design; according to the architect, the Japan Sport Council (JSC) is withholding an overdue payment until ZHA agrees to relinquish ownership of their original designs.
After working on the design for more than two years, the British practice was decommissioned from the project over cost objections last summer. Since, Japanese architect Kengo Kuma has been reassigned the project, offering a design that ZHA says is suspiciously similar to their original proposal "in the structure, layout and numerous elements."
Now, the JSC has requested ZHA agrees to new "Compliance Rules" that would allow the stadium's new architect to "use any product of work ... regardless of its copyright."
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?
For its fall season of architecture events, the Royal Academy’s working theme is “Architecture and Freedom: a changing connection,” in a program conceived and organized by Architecture Programme Curator, Owen Hopkins. One of these events was a recent lecture by Patrik Schumacher, Director of Zaha Hadid Architects, and ardent promoter of Parametricism. In his lecture, what starts out with a brief exercise in damage control over the barrage of criticism recently endured by the firm, emerges as an impassioned discussion of architectural politics, design philosophies, and social imperatives.
Pritzker prize-winning architect, fashion designer and artist Zaha Hadid (born 31 October 1950) has become one of the most recognizable faces of our field. Revered and denounced with equal aplomb for the sensuous curved forms for which she has become known, Hadid rose to prominence not solely through parametricism but by designing spaces to occupy geometries in new ways. Today, her work continues to push boundaries both creative and technological, and her fearless media presence has cemented her place in society as a woman who needs just one name: Zaha.
The Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL) has launched a competition for the design of a new modern and contemporary art museum in Beirut, Lebanon. Architects of Lebanese origins based in Lebanon or globally are invited to submit entries for the yet-to-be-named museum, which is set to open in 2020.
It's only logical that Rotterdam, one of Europe's leading cities for architecture and architectural practice, has a biennial film festival. Since its inception in 2000, the city's homage to architectural cinema now claims to be the biggest architectural film festival in the world. Featuring over one hundred international documentaries, feature films and shorts—as well as debates, lectures and seminars—this year's festival plans to "provide a podium for discussing the city and future of spatial development." From cinematic journeys into the world of the illusive Böhm family to Zaha Hadid, Chinese ghost cities to London's Barbican estate, this year's programme circles around the theme of the Global Home.
With the eighth incarnation of the Architecture Film Festival Rotterdam (AFFR) opening next week (running from the 7th - 11th October 2015), we've selected our five top picks from this year's schedule.
Photographer Laurian Ghinitoiu has shared with us this sneak peek of Zaha Hadid Architects' latest completed work, the Dominion Tower in Moscow. Led by Project Director Christos Passas, the building's eight rectilinear stories are each staggered and cantilevered over the one below and feature ribbon windows with a trademark Zaha Hadid twist, while the interior features a dramatic top-lit atrium criss-crossed by stairs. Read on to see Ghinitoiu's full photo set.
The Royal Institute of British Architects (RIBA) have revealed that Dame Zaha Hadid will receive the 2016 Royal Gold Medal — the first sole woman to be awarded the UK's highest honour for architects in her own right. Previous female winners (Sheila O’Donnell in 2015, Patty Hopkins in 1994, and Ray Eames in 1979) were each recognised alongside their husbands and practice partners.
Given in recognition of a lifetime’s work, the RIBA Royal Gold Medal is approved personally by Her Majesty The Queen and is awarded to those who have had a significant influence "either directly or indirectly on the advancement of architecture." Other notable Royal Gold Medallists include Frank Gehry (2000), Lord Norman Foster, Baron of Thames Bank (1983), Ludwig Mies van der Rohe (1959), Le Corbusier (1953), and Frank Lloyd Wright (1941). The medallists' names are engraved into the marble wall at the RIBA's headquarters in London.
Just two weeks after the Japan Sport Council launched a second call for New National Stadium proposals, Zaha Hadid Architects and partner Nikken Sekkei have withdrawn from the competition. Although the duo promised to develop a "cost-effective" design that strictly adhered to the new competition's scaled down brief, they were unable to secure a contractor and therefore were forced to step down from the competition.
"It is disappointing that the two years of work and investment in the existing design for a new National Stadium for Japan cannot be further developed to meet the new brief through the new design competition," said ZHA in a press release.
The first woman to receive the Pritzker Prize in 2004, Iraqi architect Zaha Hadid tells newspaper El País that she was fortunate as a child to have traveled with her parents and seen some of the world’s most impressive works of architecture and engineering feats.
Awed by the Mosque of Cordoba, Hadid says that the contrast between the darkness and the marble of the central church left a lasting impression, making this one of her favorite works to this day.
Update: On September 1st, the Japan Sport Council launched a new competition to find another design for Japan’s New National Stadium - this time for a design and build project with more stringent cost restrictions. Today, contractor Nikken Sekkei and Zaha Hadid Architects have confirmed that they will be re-entering the contest together, bringing forward work from their original design. “Our firm is certain that retaining the team of Design Supervisor and designers will deliver the best National Stadium, and we have invited Zaha Hadid Architects to join the design team” said Nikken Sekkei in a statement. “Applying this knowledge and experience of the project, this team can further develop the design to the new brief as a cost-effective proposal to realize the world’s best National Stadium.” The article below was originally published on August 26th.
In mid-July, Japanese prime minister Shinzo Abe declared that ZHA's design for a New National stadium would not be completed and that plans for the Tokyo Olympics-Paralympics stadium would "start from zero." In response Zaha Hadid Architects has just issued a press release and a link to a 23-minute video presentation. The video, ZHA explains, "outline[s] in detail the unique design for the New National Stadium which has been developed over two years to be the most compact and efficient stadium for this very special location in Tokyo. Zaha Hadid Architects welcomes a new contractor bidding process for the New National Stadium to reduce costs and ensure value for money in terms of quality, durability and long-term sustainability."
Watch the video - or if you haven't got 23 minutes, read our synopsis - after the break.
Following the ground breaking last December, construction has begun on Zaha Hadid’s One Thousand Museum in Miami, with 9,500 cubic yards of concrete already poured. Designed in association with the local architect of record, O’Donnell Dannwolf Partners Architects, the residential skyscraper will rise 62 stories, comprising half- and full-floor residences, duplex townhomes, and a single duplex penthouse, overlooking Museum Park and Biscayne Bay at 1000 Biscayne Boulevard. As a burgeoning area, Museum Park—once called Bicentennial Park—is home to the Peréz Art Museum Miami and will soon be home to the Frost Museum of Science.
Zaha Hadid Architects are no longer the architects of the New National Stadium, Tokyo's headline venue for the 2020 Olympic Games. You probably already knew - ZHA have been making quite a fuss about it, with a 1,400-word statement released last month and a 23-minute video released yesterday, both arguing that scrapping their design is a bad idea.
Clearly, brevity is not one of ZHA's strong suits, so for those who don't have 30-plus minutes to chew their way through both video and statement, the basics are as follows: the official reason given by the Japanese government for scrapping the stadium has been the rising costs of the design. ZHA have countered this complaint by saying that the rising costs are not a result of their design but of an uncompetitive tender process for the construction, and of skyrocketing construction prices across the whole of Tokyo. They add that by starting the project from scratch, Japan risks overshooting their 2020 deadline for the Olympic venue.
An extra complication is added by the widespread public dislike of the stadium's design, scale and location - most notably coming in the form of a petition led by Fumihiko Maki and Toyo Ito - which has caused some to speculate that Japan's Prime Minister Shinzo Abe is secretly bowing to political pressure. In response, ZHA's video emphasized the features of the design which were either required by the brief or an attempt to respond to the context, in an attempt to absolve themselves from blame.
However, with the decision to start anew now over a month old, the question remains: will ZHA's attempts to win back the project be enough? More importantly, should this campaign be taken seriously?
Zaha Hadid, Kengo Kuma, Daniel Libeskind, Nieto Sobejano, Denise Scott Brown and Philip Treacy reveal the childhood recollections that have shaped their outstanding visions and work.
Architects and designers are often asked whose work inspired them as students and influenced their thinking, but Roca London Gallery’s autumn show suggests that design inspiration actually goes back much further than this, into early childhood, and can take some unexpected forms.
With the construction of their High Line-adjacent residential building 520 West 28th Street, Zaha Hadid Architects have constructed a temporary construction shelter to protect pedestrians in the event of any falling construction materials. However, as is often the case with Zaha Hadid designs, this is a construction shelter unlike any other, serving as a protective shelter but also as an artistic installation.
Named Allongé, the installation is "is inspired by the connectivity and dynamism of movement along the High Line," allowing visitors to the High Line to move through 34 meters (112 feet) of sweeping metallic fabric supported by a curvilinear steel frame, offering a spatial experience that foreshadows the presence of Hadid's building at the site.