The exhibition, presenting seventy works – in all media – from each period of the artist’s career, honors five decades of the gallery showing Schwitter’s work. Hadid’s design is a reflection on the artist’s well-known, but destroyed, Merzbau, a sculpture that filled the artist’s workspace from 1923-1937. According to the Hadid’s office, “[Merzbau was] a living, inhabited collage, ever-shifting and expanding, and this was the starting point for [Zaha’s] exhibition design which pushes beyond mere random collage to embrace the unpredictable richness and the complex variegated order found in nature.” The design builds on an established relationship between Hadid and Galerie Gmurzynska; Merz following in the footsteps of an earlier exhibition space designed for another of the architect’s inspirations, Kasimir Malevich.
The Moinian Group announced that they had been collaborating with the late Zaha Hadid to develop a “visionary” new project for New York City. The project, at 220 Eleventh Avenue in West Chelsea, is a multi-residential apartment building with a cultural institution at street level.
This announcement comes after Zaha Hadid Architects pledged to complete all 36 projects that were in construction or design development at the time of her death, as her office continues her powerful legacy.
Orange Barrel Media with Tom Wiscombe Architecture and MoCA – West Hollywood Belltower. Image Courtesy of City of West Hollywood
The visual identity of West Hollywood’s Sunset Strip has been synonymous with billboard advertising since the 1960s. Over time, different eras have been displayed through the advertising; from the rock bands and cigarette brands of the 60s and 70s, to the highly commercialised signage of today. As part of an initiative to probe the value of this signage as both an identifier and a valuable public asset, The City of West Hollywood (WeHo) launched The Sunset Strip Spectacular Pilot Creative Off-Site Advertising Sign Competition.
The competition sought a multi-dimensional, kinetic billboard “spectacular,” and attracted firms from advertising, marketing, design, architecture and engineering backgrounds. A pool of nine entrants has been narrowed down to four finalists: JCDecaux/Zaha Hadid Project Management Limited; Orange Barrel Media/Tom Wiscombe Architecture/MoC; Outfront Media/Gensler/MAK; and TAIT Towers Inc. Following public presentations in May, the proposals are now visible to the public before the jury make their recommendation later this month.
In their semester-long project at Zaha Hadid’s final studio course at the Yale School of Architecture, students Lisa Albaugh, Benjamin Bourgoin, Jamie Edindjiklian, Roberto Jenkins and Justin Oh envisioned a new a high density mixed-use project for London's Bishopsgate Goodsyard, the largest undeveloped piece of land still existing in central London.
In celebration of the four decade career of the late Zaha Hadid, Fondazione Berengo will host an exhibition of her paintings, drawings, and models at the 16th century Palazzo Franchetti in Venice, coinciding with the 2016 Venice Biennale. The exhibition will display the full range of Hadid's design work from built projects, to those under construction, and others ultimately never realized. Some of the early, unrealized work that will be represented includes Malevich’s Tektonic, a bridge concept for the Thames River, which Hadid developed while she was still a student at the Architectural Association School in London (1976-77), as well Peak Club, Hong Kong (1982-83), Hafenstrasse, Hamburg (1989), Grand Buildings, Trafalgar Square, London (1985), the Victoria City master-plan for Berlin (1988), and the Cardiff Bay Opera House (1994-95).
Architectural disAssociation - A reflection on the state of the education of architecture at the AA. Open discussion inviting everyone with an opinion of the school - students, tutors and alumni alike to retrospectively reflect on the state of the AA's unit system and speculate the possible future of its education. This discussion will have no panel as it is an open floor discussion.
Zaha Hadid Architects has 36 projects underway in 21 countries, and four of them will be completed this year. The Salerno Maritime Terminal will open later this month, the Port House, Antwerp, in September, the King Abdullah Petroleum Studies and Research Center (KAPSARC) in Riyadh, in October, and the Mathematics Gallery at the Science Museum in London, in December.
In spite of the untimely death of the practice’s namesake last month, the firm has pledged to continue with its slate of projects, stating, “Zaha is in the DNA of Zaha Hadid Architects. She continues to drive and inspire us every day, and we work on as Zaha taught us – with curiosity, integrity, passion and determination.”
Following the death of Zaha Hadid on March 31st of this year Section D, Monocle 24's weekly review of design, architecture and craft, hones in on the role of women in architecture and design. They discuss why, despite an almost 50:50 gender split in undergraduate architecture courses, women are still grossly underrepresented at senior levels within the profession by featuring conversations with two leading female architects, Angela Brady OBE and Amanda Levete. The episode also looks back over the lives of some of architecture's overlooked heroines.
Since Zaha Hadid’s death two weeks ago, we’ve been thinking a lot about her legacy. Hadid’s accomplishments in architecture are impressive not only because of her innovative designs, but because she succeeded in a male-dominated profession, and undoubtedly experienced sexism along the way. In our webcomic, Architexts, we use humor to cope with various aspects and stereotypes of the architectural profession, including negative ones. With our forthcoming book, Architects, LOL, we hope to share the stories--your stories--that paint a more realistic picture of the profession, rather than an idealistic one that most of us can only dream of.
Zaha Hadid’s prolific, admired, and influential body of work led to hundreds of invitations to lecture around the world. Through her contemporaries’ heartfelt introductions, we can appreciate her groundbreaking architectural approach in a world which often appeared to be one step behind her ideas and enthusiasm.
https://www.archdaily.com/785459/reflections-on-zaha-hadid-a-compilation-of-introductory-remarksAD Editorial Team
Of course, the top story in recent weeks has been the sudden death of Dame Zaha Hadid, who passed away last week in Miami. At just 65 years of age, and at the height of her powers as an architect, the news of Hadid’s passing was a shock to many and unsurprisingly was met with grief from many of our readers. Read on to see what tributes those readers left, along with opinions on other stories from recent weeks.
Zaha Hadid's sudden passing has led to an outpouring of heartfelt tributes from some of the profession's most prominent figures. A "brave and radical" trailblazer, and the first woman to win the Pritzker Prize, Hadid's significant impact on the world of architecture is undeniable. She will be missed.
"We are all shocked and devastated that we lost Zaha today, a most beautiful individual, talent, leader and friend," Patrik Schumacher, Director of Zaha Hadid Architects, wrote on Facebook.
We will continue to update this link as more tributes come in.
The Iraqi-born British Architect Dame Zaha Hadid, DBE (1950-2016) has died aged 65, in Miami, Florida. According to reports from the BBC, Hadid was being treated in hospital for bronchitis when she suffered a heart attack. Earlier this year she became the first sole woman to receive the RIBA Royal Gold Medal at a ceremony in London.
Read on for the official statement from Zaha Hadid Architects:
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.
With recent advancements in building technology, Revolution Pre-Crafted 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?
.jpg?1463150672 "The Peak, Hong Kong. Image © Zaha Hadid Architects")
