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.
In case you missed it, we’re re-publishing this popular post for your material pleasure. Enjoy!
To celebrate the recent launch of our US product catalog, ArchDaily Materials, we’ve coupled six iconic architects with what we deem to be their favourite or most frequently used material. From Oscar Neimeyer’s sinuous use of concrete to Kengo Kuma‘s innovative use of wood, which materials define some of the world’s best known architects?
Originally published in Metropolis Magazine as “Inside the Homes and Workspaces of 8 Great Architects“, this article shows the spaces occupied by some of the best-known architects in the world. Documented for an exhibition that will be featured at the Milan Design Week 2014, the images give a glimpse inside the private worlds of some of our favorite designers.
It’s a cliche that architects have messy workspaces. From chaos comes creation, so the phrase goes. But an upcoming exhibition at this year’s Salone del Mobile intends to dispel the myth. Where Architects Live will present glimpses into the personal spaces of eight significant architects: Shigeru Ban, Mario Bellini, David Chipperfield, Massimiliano and Doriana Fuksas, Zaha Hadid, Marcio Kogan, Daniel Libeskind and Bijoy Jain of Studio Mumbai.
Curator Francesca Molteni interviewed each of the designers in their private homes and came away with one finding: architects are actually quite tidy. The studios are all pristinely ordered; books are neatly stowed away, figurines and objets astutely displayed, and table tops swept clean. The photographs below are part of the exhibition materials, produced with the help of scenographer Davide Pizzigoni, which faithfully document the physical environments in images, video, and audio. These will be used to recreate the architects’ “rooms” at Salone del Mobile in April.
Where Architects Live is not limited to satisfying our curiosity about what these architects’ homes look like. Richard Rogers’ affirmation that “a room is the beginning of a city” resonates with the project’s aim in trying to articulate its subjects’ personal tastes and obsessions, and how those are reflected in their architectural work.
Read on to see more images of the inside of architects’ homes and studios
When The Guardian recently asked Zaha Hadid about the 500 Indians and 382 Nepalese migrant workers who have reportedly died in preparations for the 2022 World Cup in Qatar, the architect behind the al-Wakrah stadium responded:
“I have nothing to do with the workers. I think that’s an issue the government – if there’s a problem – should pick up. Hopefully, these things will be resolved.”
Asked whether she was concerned, she then added:
“Yes, but I’m more concerned about the deaths in Iraq as well, so what do I do about that? I’m not taking it lightly but I think it’s for the government to look to take care of. It’s not my duty as an architect to look at it. I cannot do anything about it because I have no power to do anything about it. I think it’s a problem anywhere in the world. But, as I said, I think there are discrepancies all over the world.”
Do you think it’s an architect’s duty to concern him/herself with the rights of the construction workers building their designs? Let us know in the comments below.
In an exclusive interview with TIME, Zaha Hadid has finally responded to the claims – voiced most notably by Jon Stewart - that her design for the Al Wakrah Stadium (what will be Qatar’s stadium for the 2022 World Cup) resembles female genitalia (Stewart in fact called Hadid the “Georgia O’Keeffe of things you can walk inside“).
“It’s really embarrassing that they come up with nonsense like this. What are they saying? Everything with a hole in it is a vagina? That’s ridiculous.” Hadid also goes on to suggest that “if a guy had done this project,” these “lewd” comparisons would not have been made. Read the full story at TIME.com.
Zaha Hadid has collaborated with the Hamburg-based shipbuilders Blohm+Voss to design a new concept for a family of superyachts: a 128-meter master prototype that will eventually spawn five, fully-engineered, 90-meter “Unique Circle Yachts.” According to Hadid, the overall design is informed by “fluid dynamics and underwater ecosystems, with hydrodynamic research shaping the design of the hull.”
More from the architect, after the break.
UPDATE: The Washington Post reports that Japan’s minister of education, Hakubun Shimomura, has announced a plan to trim the budget proposed for the Olympic stadium (now expected to cost $3 billion) designed by Zaha Hadid Architects. While he did not reveal the details of the scale-down, he maintained that the “design concept will be kept.”
Pritzker Prize laureate Fumihiko Maki has rallied together a number of Japanese architects – including Sou Fujimoto, Toyo Ito and Kengo Kuma – to oppose the massive scale of Zaha Hadid’s competition-winning National Stadium. Planned to be Tokyo’s main venue for the 2020 Olympic and Paralympic games, Hadid’s 290,000 square meter stadium is accused of being “too big and too artificial” for the surrounding context.
The list of architects that have collaborated with Zhang Xin’s development company, SOHO China, reads like the roster of an architectural dream team (which includes Zaha Hadid, Yung Ho Chang, Bjarke Ingels, Kengo Kuma, Kazuyo Sejima, Herzog & de Meuron, Thom Mayne, David Adjaye, Toyo Ito and others). So it’s no surprise that the self-made billionaire lectured to a packed house at Harvard University’s Graduate School of Design last Thursday. Xin spoke about her commitment to and love of design, explaining that her company’s mission is to bring a variety of architectural languages to China. And though SOHO’s projects are certainly experimental, Xin contends that her developer mindset actually helps meliorate the architect’s propensity to take the experiment too far—all without sacrificing the impressive and iconic forms of SOHO’s building portfolio.
Watch Zhang Xin link her practice in real estate to larger global issues and catch a glimpse of two Zaha Hadid-designs currently under construction: Wangjing SOHO and Sky SOHO.
Scheduled to open its doors in 2016, the new office building and hotel designed by Zaha Hadid for Dubai is already under construction. Dubbed “Opus,” the new tower will be the first mixed-use building to be developed in the city as two individual structures, conceived as a single cube formed by a conventional slabs stacked vertically and served by a circulation core.