With construction now well underway on One Thousand Museum in Miami, one of Zaha Hadid's largest projects to be completed posthumously, Curbed has reported that the 62-story tower will be the subject of an upcoming Discovery/PBS documentary covering the creation of complex structures from around the world. Titled “Impossible Builds,” the program will highlight the building’s unique glass fiber reinforced concrete exoskeleton.
The Complex Construction of Zaha Hadid's One Thousand Museum Tower to be Featured in New Documentary
Google Earth is no longer a clunky, data-intensive desktop or mobile application. As of today, one of the tech-giant's flagship (and unrivalled) products has been relaunched as a widely accessible web application for Google Chrome. This means that anyone can now access the full Google Earth product, free of charge, without having to install software or download mobile applications.
As Zaha Hadid’s 520 West 28th approaches completion, photos of the apartment interiors have been revealed for the first time. Shared by developer Related Companies, the images show two of the building’s first completed residences: the massive 4,500-square-foot Unit 20 and the more modest 1,700-square-foot Unit 12. The two units feature the interior built-ins and finishes designed by Hadid alongside interior design schemes envisioned by Jennifer Post and West Chin, respectively.
A year after her untimely passing, we take a look back on one of the hallmarks of Zaha Hadid's career as an architect: her sketches. In October we wrote about how her paintings influenced her architecture. Now, we examine her most emblematic sketches and the part they played in the initial formal exploration of her design process.
This week marks the first anniversary of the death of Zaha Hadid, the most successful and influential female architect in the architectural discipline. Born in Baghdad (Iraq) in 1950, Hadid became the first woman to receive the Pritzker Prize in 2004, and twelve years later received the gold medal from the Royal Institute of British Architects (RIBA).
Hadid's untimely death left a fascinating and inspiring legacy. Meanwhile her firm, Zaha Hadid Architects, continues to work on nearly a hundred projects worldwide. To remember her legacy, Spanish company Deimos Imaging has shared a series of photographs focusing on Hadid's work in five countries.
The images were captured by the Deimos-2 satellite, which was launched in 2014 and designed for very high-resolution Earth observation applications, providing multispectral images of just 75 centimeters per pixel. Hadid's incredible works take on a new dimension when you contemplate their proportions from the sky—or rather, from a satellite.
Zaha Hadid's projects are remarkable not only for her innovative way of handling tangible materials but also for her imagination regarding the medium of light. Her theories of fragmentation and fluidity are now well-known design techniques which enabled her form-finding. However, her advances in using light to render her architecture have often been neglected—even though they became an essential element in revealing and interpreting her architecture. The three-decade transition from minimal light lines at her early Vitra Fire Station to the world's tallest atrium at the Leeza SOHO skyscraper, which collects an abundance of daylight, shows the remarkable development of Zaha Hadid’s luminous legacy.
It was in 1988, at London’s Tate Gallery during the Deconstructivism conference held in anticipation of MoMA’s eponymous exhibition that I first encountered Zaha Hadid in person. She was lecturing among her six co-exhibitors: Peter Eisenman, Rem Koolhaas, Frank Gehry, Wolf Prix, Bernard Tschumi, and Daniel Libeskind. I had encountered her work a few years earlier as a young architecture student (at Stuttgart University) and was stunned and thrilled by the unprecedented degrees of compositional freedom, versatility and dynamism in her work. Up until then I had not been so sure if architecture was such a good career choice for me. I was rather underwhelmed and bored by architecture but, through my encounter with Zaha’s incredible work, architectural design unexpectedly transformed into an adventure. The bounds of architectural possibilities had shifted. Thirty years later, this sense of adventure continues. Zaha changed our field and changed everything for me.
When Philip Johnson curated the Museum of Modern Arts’ (MoMA) 1932 “International Exhibition of Modern Architecture,” he did so with the explicit intention of defining the International Style. As a guest curator at the same institution in 1988 alongside Mark Wigley (now Dean Emeritus of the Columbia GSAPP), Johnson took the opposite approach: rather than present architecture derived from a rigidly uniform set of design principles, he gathered a collection of work by architects whose similar (but not identical) approaches had yielded similar results. The designers he selected—Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and the firm Coop Himmelblau (led by Wolf Prix)—would prove to be some of the most influential architects of the late 20th Century to the present day.[1,2]
In an effort to engage the public in a debate about what makes a great building, the Westminster City Council asked a panel of architects, developers, councilors, and planners to shortlist 12 designs to be voted on by people who live and work in the city, as well as by visitors. Buildings for the shortlist were chosen based on its use of materials, purpose, and impact on the surrounding space.
"Brilliant architectural design should be recognized for all the fantastic benefits it can have in terms of health and wellbeing, sustainability, and the simple pleasure we all take from having such striking buildings lining our routes home, to shop and to work," said Cllr Robert Davis MBE DL, Deputy Leader of Westminster City Council. "The best people to ask about the impact these buildings have are those who see them day in, day out, and so I am delighted that we have been able to engage the public in a debate about what makes a great building and to promote design excellence."
In a recent episiode of Section D, Monocle 24 visit a new exhibition at London's Serpentine Galleries presenting the paintings of Zaha Hadid. The show, first conceived with Hadid herself, "reveals her as an artist with drawing at the very heart of her work." According to the gallery, it "includes the architect’s calligraphic drawings and rarely seen private notebooks with sketches that reveal her complex thoughts about architectural forms and their relationships." This episode takes the listener on a tour of the display with commentary from the exhibition's curator.
As reported by The Guardian and the Architects' Journal, the last will and testament of the late Zaha Hadid—who passed away in March 2016 aged 65—has revealed that the Dame of the British Empire and Principal of Zaha Hadid Architects had a net fortune of £67,249,458 (around $82.5million or €77million). This sum, which was filed in the UK High Court in December last year, will be bequeathed in small parts to nieces and nephews (£1.7million), her brother Haytham Hadid (£0.5million), and her business partner Patrik Schumacher (£0.5million). At the time of her death, Hadid was unmarried with no children.
As we open to a new year, we would like to take a moment and remember one of the most significant lives lost in 2016: Iraqi-born British Pritzker Prize winner Zaha Hadid. While the narrative of Zaha’s trailblazing accomplishments are well-known, architect Rana Hadid celebrates her aunt’s memory from a uniquely poignant perspective in this new piece for the Guardian. Recounting Zaha’s early artistic prowess, fierce ambition, and earnest personality, Rana describes her as “the incredibly warm and generous Zaha who showed us we could do anything we wanted if we worked at it hard enough.”
This week London's Science Museum will open The Winton Gallery, a new space dedicated to the study and exploration of mathematics, designed by Zaha Hadid Architects. While this is the practice's first permanent public museum exhibition, it also represents the first UK project to open since the death of its eponymous founder and director.
Inspired by the Handley Page aircraft, the design of the space was conceived through observing equations of airflow used in the aviation industry. The layout and lines of the gallery therefore represents the movement of air that would have flowed around this historic aircraft in flight – a metaphor which extends from the positioning of the showcases and benches to the three-dimensional curved surfaces of the central pod structure.
The designs of the Zaha Hadid-created statuettes to be handed out at this year’s BRIT Awards have been unveiled. One of Hadid’s final commissions before her death this March, the design consists of a family of 5 interrelated trophies take the form of abstracted female figures representing diversity. One of those family members, meant to represent Britannia, the female personification of Great Britain, will be awarded to musicians for their victories in the BRIT Awards ceremony this February.
On Thursday 17th of November, at the World Architecture Festival in Berlin, Patrik Schumacher gave a lecture offering his theory on how to address London’s Housing crisis. Given Schumacher’s well-known penchant for neoliberal economics, it was perhaps little surprise that his plan included a number of highly controversial ideas, such as the elimination of all forms of social housing and planning, and the privatization of all public space—with Schumacher highlighting Hyde Park as a particularly interesting opportunity.
Though ArchDaily was in attendance at the lecture, we chose not to cover Schumacher’s speech, at least in part because the audible boos from the crowd indicated that this was not a position that the wider architectural profession was interested in giving publicity to. However, the news was picked up by a number of other architectural publications including Dezeen; as a result, Schumacher’s speech became front page news on the London Evening Standard, prompting a response from London Mayor Sadiq Khan who said Schumacher’s ideas were “out of touch” and “just plain wrong.” These developments in turn have prompted an outcry from the architectural profession, causing Zaha Hadid Architects to write an open letter in response to the furore. Read on to see the full letter.
Update [05 January 2017]: the Architects' Journal have published a leaked internal email from Patrik Schumacher which claims that "this letter was sent out by ZHA’s head of press, Roger Howie, without the authorisation of any of the company’s directors."
Watch Harvard GSD Celebrate Zaha Hadid in this Discussion Including Patrik Schumacher and Elia Zenghelis
In October, the Harvard Graduate School of Design (Harvard GSD) hosted “Zaha Hadid: A Celebration,” an evening of presentations and discussion around the extraordinary work and life of the late Zaha Hadid. Six months on from Hadid’s sudden passing in March, the Dean of Harvard GSD, Mohsen Mostafavi, introduced the event as the appropriate time to focus on creative recognition and “an evening of incredible celebration and enjoyment.”
Article 25's "10x10" Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley
In celebration of their 10-year anniversary, Article 25, the world's largest architectural charity, will hold this year's "10x10 Drawing the City London" event on November 29 at the Royal Institute of British Architects. Each year, representatives from UK's top architecture studios and property and design industries gather to raise funds for Article 25's work in developing countries. The event features an auction of artwork by 100 prominent rising artists, designers, and architects; this year's participants include Kengo Kuma, Richard Meier, Antony Gormley, Zaha Hadid Design, and David Adjaye.
The BRIT Awards has announced that the statuettes that will be given during their 2017 awards ceremony have been designed by the late Zaha Hadid.
Hadid had accepted the project in January of this year and developed concepts for the design before her sudden passing in March of this year. The work has since been led by Zaha Hadid Design Director Maha Kutay and the BRIT Awards Niamh Byrne.
“Zaha was truly excited to be doing this,” recalled Kutay. “Her vision was, being an architect, to focus our efforts more on the 3D element, as the statue had previously been used as a canvas for artists to paint on for the last few years. Our design expresses Zaha’s unwavering belief in progress and optimism for the future and a break from the norm. The biggest challenge was to create something different within certain guidelines, yet achieving a result recognisable to the public. You have to respect the existing to create something new.”