// Architectural Research Seminar | ARCT4470 Dissertation
61. Zaha Hadid: Success by Transcending the Nature of Femininity?
ARCT4470: Architectural Research Seminar Semester 2 2010 Part 3 Major Submission Essay Briallen Roberts
Zaha Hadid is recognised as a highly influential and successful architect. To what extent has her gender and racial background affected her status within the profession? What have been the catalysts for this success in a field predominately led by her male colleagues? The architectural profession is defined as the art and science of design, with innovative and experiential spatial concepts being at the forefront of contemporary architecture.1 The success of the architect is often achieved through significant competition wins, new design techniques or their contribution to the progress of architecture. This essay will discuss the success of the female architect, Zaha Hadid and the ways in which her success has been determined. The subordination of woman in the canon of architecture, due to the social and political oppression of woman and the representation as the “other” in Western culture, are significant to this dissertation. Through the analysis of the feminist philosophy of Moira Gatens and the anthropologist studies of the late writer, Edward Said, the extent to which Hadid’s gender and background have defied the canon of architecture will be discussed. I will elaborate on this assertion, through the use of case studies to determine whether contemporary theory on the success of Hadid is through the transcendence of her femininity.
Image One: Chanel Pavilion www.zaha-hadid.com/design/zaha-hadid-une-architecture/ Image Two: Portrait of Zaha Hadid www.archdaily.com/tag/zaha-hadid/
// MAS ETH in Urban Design | Application Portfolio 2013
// Zaha Hadid | Transcending the Nature of Femininity
Zaha
Hadid occupies a unique position within the hierarchy of the architectural profession as a result of her gender and Middle Eastern heritage. As a woman architect, she has been subjected to the socioeconomic prejudices accepted in society. As the only female architect at the end of the 20th century, whose architectural practice equalled that of her male colleagues, Hadid’s reputation is strong and well established2. Moira Gatens’ analysis of the subordination of woman within the canon of architecture is underpinned by the social and political oppression of woman in both philosophy and art3.The representation of the “other” is pertinent to Gatens study as well as Edward Said’s book; Orientalism, which deals with the Middle East’s inferiority to Western culture. Through Gatens’ and Said’s theories, an examination of the prejudices against Hadid will be explored. Gender Politics and the dualism found between masculinity and femininity are to be addressed in respect to the conceptual, digital and avant-garde designs of Hadid. Through these case studies an observation on the transcending nature of femininity within architecture to achieve international success will be analyzed. Born to aristocratic parents in Baghdad, Iraq in 1950, Hadid’s parents were interested in the industrialization and housing issues of Iraq, exposing her to value one’s culture and heritage. Educated in Christian teaching, Hadid’s educational experience was centred around the amalgamation of Islamic and Arabic culture4.This untraditional Muslim upbringing paved the way for the “dissension between Arab and Western influences”5 to reoccur in her development and study of architectural style. Studying both in Switzerland and England, Hadid was first educated in mathematics at the American University in Beirut from 1968 until her entrance into the Architecture Association (The AA) of London in 1972 and studying here till 1977. There, she was mentored by the architect Rem Koolhaus and become intrigued by the paintings of Russian Constructivists such as Vladimir Tatlin. Described as having a “different type of educational experience,”6 The AA’s emphasis was on social programs, structure and materiality7.It is these three elements that have reoccurred in her later architectural work. In 2004, Hadid was the first ever female to be awarded the prestigious Pritzker Architecture Prize for her outstanding contribution to the art of architecture8. Previous to this, Hadid’s sense of marginality in the architectural profession has been discussed briefly in her own words; “I think being a foreigner in London in the seventies was also a very interesting period because it was after the sixty-eight revolution, people were much more liberal. They did not equate ideas to making money. This notion of displacement, being displaced is a very liberated experience. More and more because I was a woman, non-British and it kind of confused the people there. The more became confused about me the more they left me alone”9. (Hadid 1995) Her success, particular with young architects and architect students shows the amount of support that is behind her and her architectural style. The success she has generated over the past thirty years is a testament to her ability to break down barriers of accepted social conceptions and beliefs drawn from the origins of philosophy and art. At the University of Western Australian, the intake of female architect students is at its all time high. Out of a total of 980 students enrolled in the faculty of Architecture, Landscape and Visual Arts for 2010, 528 of them are women10. This statistic is surprising, compared to the percentage of registered Female Architects in Australia being only at 15%. This statistical data is not only subjective to the University of Western Australia or Australia in particularly, but also internationally. Over a twenty six year period, both the American Institute of Architecture (AIA) and Royal Institute of British Architects (RIBA) recorded the ratio of registered woman architects in America and Great Britain. The following table is from the book, Woman Making Art: Women in the Visual, Literacy and Performing Arts since 1960, and shows the gradual increase of registered female architects in the profession. Moira Gatens is a social and political philosopher whose commentary on ethics and feminism in the 17th century, as well as in contemporary society, are pertinent to the study of the architectural success of Zaha Hadid. A Professor at the University of Sydney, Gatens’ study of the philosophical canon and the exclusion of woman from it, causes confusion and doubt over whether one’s own ambitions can be realized as there is apparently no exemplar to rely on. The subordination of woman within the canon of architecture is underpinned by the social and political oppression of woman in both philosophy and art11. Relative to Gatens’ theory that just because there is a limited female presence within the canon of architecture doesn’t necessarily mean there shouldn’t be such a presence. A compendium of literature, the architectural canon is based on tentative judgments and socio-logical prejudices on the important qualities and viewpoints of the time12.
Philosophers such as Aristotle and Rousseau believed that women were “unsuited” to be the subject of rational reflection and their “natural” adornment were attributes of providing intellectual men with “emotional and domestic comforts”13. This dichotomy is a subjective thought due to rationalities masculine coding. The “western intellectual habit”14 of gender coded dichotomies that give structure to thinking, clearly portray biological subjectivity within society. Gatens writes “only when ‘woman’ can signify something other than ‘not man’ can equality be fruitfully pursued”15. Additionally, writers John Stuart Mill and Simone de Beauvoir imply that authenticity will only be achieved by woman if they transcend their biology, as according to them, women are associated only with the “body”16. Gatens mentions that historically these accepted prejudices are a product of the political power of the dominant cultural group of the time. The canon of architecture has been theorized by Western European males and these cultural biases are as a result17. In addition to Gatens’ theory on the construction of the “other”, Edward Said’s book, Orientalism, makes a tentative comment on a series of Western, Eurocentric attitudes and theologies on Arabic-Islamic culture and society18. Said states that his book is, “fundamentally a political doctrine willed over the Orient because the Orient was weaker than the West, which elided the Orient’s difference with its weakness...As a cultural apparatus Orientalism is all aggression, activity, judgment, will- to-truth, and knowledge”19. He studies the false assumptions of Western thought towards Asia and the Middle East, which is underpinned by the literacy discourse of the 19th century. His skepticism about the false or inappropriate representation of the Orient has both political and cultural implications on post colonial studies. The representation of the “other” in respect to Said, refers to the Middle East’s inferiority to Western culture. Framed by political influences, dualism between the West and the East is evident. Furthermore, Said discusses The West’s depiction of the Arab and Muslim cultures as “irrational, menacing, anti-western, dishonest and perhaps most importantly-prototypical”20. This theory is pertinent to the study of the success of Hadid through the way, in western philosophy, Hadid is constructed as “The Other”. Hadid’s success shows the breakdown of barriers in Western philosophy and art, as well as going against the canon of architecture. The feminist architect; Leslie Kanes Weisnam characterised the career paths of female architects into two categories. The first composes of woman, like Hadid who, “stayed single and developed independent practices of extraordinary high professional standards”21. This group of architects is in contrast to the married female who forms “professional partnerships in which their work [is] largely attributed to their husbands”22. Taking the architect Denise Scott Brown as the latter, contrasts between the two women are seen in both their professional decisions and architectural style. In partnership with her husband Robert Venturi, Denise Scott Brown forms one half of the architect firm; VSBA, which is often inferior to the success or “star”23 quality of Venturi. Architectural academics such as Peter Eisenman have been largely critical of Denise Scott Brown’s opinions on the gender politics within the profession. In her essay, Room at the Top? Sexism and the Star System in Architecture, Denise Scott Brown positions herself as an activist with regard to the politics and hierarchy in the profession. Hadid’s absence with regard to this debate, suggests her disinterest in fuelling or promoting segregation between her female and male colleagues. In contrast to Denise Scott Brown, who has openly discussed her opinions, Hadid has only briefly responded with the claims, “It is not overt but I feel it...But I ignore it.”24 This is relevant to her stance that “she has little to say about being a woman because she doesn’t know what it is like to be anything else.”25 This does not suggest Hadid’s denial of the gender politics within architecture, as it is apparent, but shows her disinterest in her opinions defining her position within the profession. An example of this gender hierarchy is seen through the exclusion of female architects at the 1982 conference at the University of Virginia, where twenty-five international architects were invited to discuss and deliberate their success. Eisenman, an organizer of the conference, backed the decision with the response that no female architect was of the correct calibre.26 The exclusion is suggested to have been prompted as a result of their status as “wives of architects.”27 Similarly, Hadid too has had to deal with the gender politics of the profession. Establishing herself as an internationally acclaimed architect has been a challenge, as it is for any architect. Her entries in architectural competitions were the beginning factors of her success, particular on an international level. The Peak Club project in Hong Kong was the first competition won by Hadid in 1982.
// Briallen Roberts | Preliminary Dissertation
// Architectural Research Seminar | ARCT4470 Dissertation
The proposed residential and sports complex was to occupy a unique site on Hong Kong’s Victoria Peak which saw 539 designs enter for the lucrative +$100,000 prize money and international recognition . Hadid’s design, labelled the “Suprematist Geology”28 was initially sidelined due to its inability to follow the competitions specified design brief. Hadid’s intriguing presentation paintings, (figure one) that accompanied her competition entry were untraditional in their delivery of unusual angles and stages of the design. Its unique expression and horizontal form, which would be partially set into the face of the peak, justified its re-‐evaluation. Arata Isozaki, a Japanese architect who was one of the six jury members, recognised the potential of Hadid’s design. Geometrically, the design consisted of four differently sized rhomboids layered on top of each other; expressing a series of layered “undecorated horizontal volumes”29. In collaboration with this, her interpretative use of the Russian Suprematist philosophy of the 1920s presented the design as opposing the canon of architecture30. The design rejected the use of solely traditional design principles such as the celebration of structure for an eclectic use of principles and individual intrigues. Her rejection of the canon, was at first unpopular within the architectural community, however it is evident that in fact her ability to go against the normality of architectural style of the time, enabled her to develop and extend her skills and persona. From her competition entries, Hadid knew who she wanted to be and what she wanted to design. Her ability to design, and design well, was seen and acknowledged. Developing and understanding what you want to be seems to be a valuable tool in being successful within the profession. At this point in her career, her gender did play a role. It is suggested that the project was unrealised as a result of the public’s unfamiliarity with her and the fact she was a woman. The Peak is a significant unrealised design, as it caused controversy in the way in which an unknown, female architect won the lucrative design competition. Today it is recognised as her first ever competition win, a significant achievement regardless of its un-‐realisation as it was a major international architectural competition. What made her successful was the way she developed her style and her status in the architectural profession. Even today, as one of the leading architects, Hadid still develops conceptual designs that will never be realised. The depiction of conceptual designs has progressed over the past decade through the development of new graphic techniques that showcase an architect’s design in a more accurate and abstract way. The development of computer programs has addressed the need for contemporary architecture to articulate a more complex and abstract style31. Concerned with imagery, screens and skin, digitisation is a major element to the development of Hadid’s architectural designs. In the book, Good Looking: Essays on the virtue of Images, the author writes, “new graphic techniques widen the possibilities of articulation within the given medium and provide greater subjective choice in what one [is] able to see”32. This in mind, Hadid has positioned herself as a firm competitor to her male colleagues within contemporary architecture through the practice of her digital designs. The representation of gender in architecture is pertinent to the development of the digital style. Through history, the distinction between femininity and masculinity has been tied to the issue of “dualism” positioned between them. Underpinned by other divisions such as nature and culture and rationality and irrationality, philosophy and art have been the underlying causes of this outcome. The solid, monolithic forms of neo-classical German architecture, which reflected the, “male-orientated militaristic aspects of Nazi society, one in which woman were regarded as second class citizens,”33 demonstrated the masculine characteristics of the style. In contrast to this, the diminutive architectural forms of art nouveau which were delicate and highly ornamental portray the styles’ feminine characteristics34. Digitisation’s ability to develop architectural skins and structure, which until now have been unrealised due to the complexity of designs, shows a collaboration or break down of gender representation in architecture. Hadid’s success is harvested through her ability to compete with her male colleagues such as Frank Gehry in the use of digitisation as a prominent tool in design. The SOHO Galaxy building in Beijing showcases Hadid’s use of technology and digital medium to achieve accuracy throughout the buildings conceptual and design processes. Currently under-construction, once completed will house a mix of retail and office spaces for private and public use. Due to the buildings unusual and complicated design, state of the art software is used such as Building Information Modelling (BIM) from Dassault Systems partner, Gehry Technologies. This technology enables functional, environmental and sustainable aspects of the building to be
// MAS ETH in Urban Design | Application Portfolio 2013
more closely realised, thus providing more sufficient visual and emotional responses from the building’s patrons. Lisa Iwanto, author of, Digital Fabrications writes, “Digital practices have the potential to narrow the gap between representations and building, affording a hypothetically seamless connection between design and making”35. In addition to this, Hadid’s practice is also dissolving the “dualism” between masculinity and femininity in architectural design. Three Dimensional modelling, generative forms and scripted modulation systems are just several of the digital tools employed by Hadid’s practice in the design of the SOHO Galaxy36. Largely necessitated in the design process due to the buildings complex geometry, through programs such as BIM and Digital Projects, the buildings mechanics, cost criteria and regulations are automatically identified in the early stages of the building’s design, allowing for the designs impact within its context to be analysed37. Here, the role of the architect has expanded due to the possibilities of digital tools that enable Hadid to have control over the construction management of the building38. Her focus on the fabrication of the building’s structure and skin allows for “design and fabrication, prototype and final design [to] become blurred, interactive and part of a non-linear means of innovation”39. Coined by some critics as superficial, debate has arisen over the way in which a digital design is only as good as the tools used to design it. Hadid’s use of these tools does not show these limitations, rather it allows more accurate control of the architectural process. The brief for the project called for the building to become an integral part of Beijing’s community and be inspired by the city’s grand scale. The building’s form is made up of five curvaceous volumes that are connected through internal courtyards and bridges. Based on traditional Chinese architecture, in which internal courtyards create individual and personalised microcosms, the design is further enhanced by its panoramic and fluid composition. Fly-throughs and photo-realistic visualisations of the three dimensional model of the building are used to enable all stakeholders in the design to have the ability to interact and view accurate images of the building to suit their needs. The following image, is a computer render of the building and gives us an idea of what the building will accurately look like when it is completed. These representations have great potential in impacting our understanding of architecture and their experimental qualities. The evolution of Hadid’s architectural language of sculptural fluidity and coherent formal logic is a testament to the digital modelling tools made available for the realisation of her avant-garde designs40. The Chanel Contemporary Art Container of 2008 was designed and constructed to showcase the sophistication and elegance of the iconic 2.55 quilted, gold chain handbag. This moveable exhibition was exhibited in Hong Kong, Tokyo and New York City and housed artwork by twenty artists inspired by the brands most famous icon. Contemporary avant-garde architecture is concerned with the development and on-going adaption of the discipline in the current urban and socio-economic environment and it is with the advancement of technology that design systems of this complexity have been realised. Patrik Schaumacher, a member of Zaha Hadid Architects writes that avant-garde architecture should “aim to construct new logics... that gear up to organize and articulate the new level of dynamism and complexity of contemporary society”41. As a result, Hadid’s pursuit for visionary aesthetics in the fields of urbanism, architecture and design are being realized in the new spatial concepts. The “cross-fertilization”42 of fashion and architecture is a new concept of design and has made a significant contribution to the conventional ideologies of each of these fields. Karl Legerfeld, the head designer for Chanel, commissioned Hadid as the sole and only possible designer for the traveling pavilion. It was his intention to reaffirm Chanel’s attachment to creativity and to the avant- garde through the development of a “new form of exhibition conceived as a sensual voyage”43. In the official press release, Legerfeld describes the traveling exhibition to be, “like a perfect pearl”44 which will adapt to the different environmental conditions it will face on its travels as a result of its curvaceous and continuously fluid form. Referred to as “Mobile Art,” this type of design has not been attempted before. In recent years, high-end fashion labels have commissioned architects to design their flagship stores in an attempt to arouse curiosity and generate hype as well as change contemporary thought on the superficiality and fragility of fashion45. Fashion and architecture are both concerned with the expression of identity, whether that is political, personal, religious or cultural. Similar too, is their connection with the human body and their origins in providing means of protection and shelter46.
// Zaha Hadid | Transcending the Nature of Femininity
The fluid design of the traveling pavilion embodies the spatial qualities Hadid believes are beneficial in architecture’s contribution to contemporary society47. Formed by a series of continuous arch-shaped structural elements, the pavilion is able to be dismantled and erected with simplicity. Formed into separate, manageable pieces, the 2.55 metre partitioned elements are brought together to create “seams” along the building’s exterior facade48. This design decision not only heightens the spatial rhythm of the building’s exterior form but also engages its visitors with Chanel’s iconic quilted aesthetics. Centered around a 65 square metre internal courtyard, the visitors move around the exhibition in a continuous, curvilinear way. Described as an “artificial landscape”49 the pavilion reaches 6 metres in height and 29 metres by 45 metres in width. Reflective materials are used on the building’s exterior facade, illuminating Legerfeld’s aspiration for the pavilion to reflect the concept of a “perfect Pearl.” In her article “Chanel Contemporary Art Container By Zaha Hadid” journalist Tanya Malone writes; “Zaha Hadid has developed the fluid geometries of natural systems into a continuum of fluent and dynamic space - where oppositions between exterior and interior, light and dark, natural and artificial landscapes are synthesized. Lines of energy converge within the Pavilion, constantly redefining the quality of each exhibition space whilst guiding movement through the exhibition.” This statement makes a significant point about Hadid’s attention to the breakdown of dualism positioned between important elements of the building’s design. Underlying this is the issue of masculinity verse femininity in design and the representation of gender in architecture. Lagerfeld’s choice in commissioning Hadid as the sole architect for the design, suggests his intent to have one of the most successful and powerful woman in architecture design for one of the most recognisable and luxurious female fashion labels. Chanel’s history is significant in the breakdown of dualism between masculinity and femininity in fashion. The creator of the label, Gabrielle “Coco” Chanel’s contribution to fashion was significant and revolutionary for the time through the way in which she transformed women’s wear of the 1920s from tight fitting corsets and petticoats into comfortable and casual trousers and suits50. Since its launch, the design of the iconic Chanel suit has barely changed, with its braided trim, buttons that resemble coins and a zipper placed on the side of the skirt to enable comfort, still found on contemporary Chanel wear. Through her avant-garde designs, Hadid is presenting herself in the profession as a leading architect regardless of her gender. Her ability to design new and unseen built works based on the exploration of spatial complexities and processes of continuous fluidity ensure her ability to break down the dualism positioned between masculinity and femininity. Hadid’s experience of marginality is a result of the previously accepted cultural attitudes and prejudices within the architectural profession. Her prominent success in the field demonstrates the way in which she goes against the canon of architecture and representation of the “other”. Gatens’ study on the exclusion of the woman from the canon of architecture, with the underlying political and social oppression of woman in both philosophy and art, still continues to cause confusion and doubt over whether one’s own ambitions can be realized. With this in mind, the prominent success of Hadid is evolutionary in the way in which she has begun to breakdown the dualism positioned between masculinity and femininity within the profession. Her representation as the “other” with concern to both Gatens and Said’s philosophy showcases society’s tentative judgments and socio- logical prejudices as result of her gender and Middle Eastern background. Hadid’s characterization as a single and independent architect of high professional standards, places her into one of the two career paths Weisnam discusses. Denise Scott Brown’s architecture, which has often been masked by her professional partnership with Venturi, shows both women’s subjectivity to the Gender Politics of the profession. While this representation does have merit, Hadid has little interest in portraying herself as a gender type within the profession. Rather, her conceptual, digital and contemporary avant-garde designs showcase her success within the profession through the way she has constructed her skills and ability to compete with her colleagues, regardless of her gender and background. Reaching equality in the profession is of great significance to contemporary society, with the portrayal of woman as something other than man being the catalyst for this change. The buildup of Hadid’s strong and unfeminine persona within the architecture profession alludes to the chain of thought that she has succumbed to unconscious gender roles within the profession. This position is significant but not the underlying catalyst of her success.
Through her ability to continue to design and extend her architectural style, Hadid has paved the way for change in contemporary architecture. As one of the first woman architects to go against the canon of architecture, her affiliations with the orient and discrimination are now becoming less significant. With a competitive persona, Hadid’s architectural designs have proven to be fierce contenders in many international competitions. Furthermore, her use of digitisation means her ability to adapt and develop new forms of representation is highly valuable, while her avantgarde designs showcase the development of new architectural form and style. These skills and abilities are in spite of her gender and show that her success is a result of her determination, constant learning and development and has happened in spite of the gender politics and dualism posited between her gender and racial background with her colleagues. Even though Hadid was marginalized because she was a woman of Middle Eastern background, she is successful because she competed on her own terms, using excellent design parameters and digital techniques. 1. Greenway Consulting. Design Intelligence, “Scenarios Shaping the Next Architect’s Success.” http://www.di.net/articles/archive/2502/ (assessed 3rd October 2010) 2. Deborah Johnson and Wendy Oliver. “Zaha Hadid: The peak Club Competition and the Politics of Architecture (1982).” In Woman Making Art: Woman in the Visual, Literacy and performing Arts since 1960. (New York: Peter lang Publishing, Inc., 2001.) 143. 3. Helen E. Longino, “Review,” The Philosophical Review 102, No. 3 (1993): 405. 4. Amy Watson, “Zaha M. Hadid,” http://www.users.muohio.edu/shermalw/honors_2001_fall/ (assessed 12th October 2010) 5. Amy Watson, “Zaha M. Hadid,” http://www.users.muohio.edu/shermalw/honors_2001_fall/ (assessed 12th October 2010) 6. Longino, “Review,” 406 7. Longino, “Review,” 406 8. Frank Gehry, Pritzker Prize, Pritzker Architecture Award 2004 http://www.pritzkerprize.com 9. Amy Watson, “Zaha M. Hadid,” http://www.users.muohio.edu/shermalw/honors_2001_fall/ (assessed 12th October 2010) 10. Table Re: Student enrolments by Faculty, attendance type and sex, for 2010, University of Western Australia 11. Susan Mendus, “Recent Work in Feminist Philosophy.” The Philosophical Quartley: Special Issue; Philosophers and Philosophies 43, No. 173 (1993): 515. 12. Rebecca Miller, “Artist Hero: Zaha Hadid.” http://www.myhero.com/go/hero.asp?hero=Zaha_ Hadid_07 13.Moira Gatens, Feminist Interpretations of Benedict Spinoza, Penn State Press: http:// www.psupress.org/justataste/samplechapters/justatasteGatens.html (assessed 3rd October 2010) 14. Longino, “Review,” 406. 15. Longino, “Review,” 407. 16. Longino, “Review,” 407. 17. Eleanor MacDonal, “Review: [untitled].” Canadian Journal of Political Science 26, No.1 (1993): 200. 15. Eleanor MacDonal, “Review: [untitled].” 200. 19. Edward W. Said Orientalism (London: Penguin 1995) 205. 20. Edward W. Said Orientalism 198. 18. Lorance, “Zaha Hadid: The peak Club Competition and the Politics of Architecture” (1982) 150. 22. Lorance, “Zaha Hadid: The peak Club Competition and the Politics of Architecture” (1982) 151. 23. Denise Scott Brown, “Room at the Top? Sexism and the Star System in Architecture.” In Space Design. (309 1990) 55. 24. Scott Brown, “Room at the Top? 56. 25. Lorance, “Zaha Hadid: The Peak Club Competition and the Politics of Architecture” (82) 154. 26. Lorance, “Zaha Hadid: The Peak Club Competition and the Politics of Architecture” (82) 150. 27. Lorance, “Zaha Hadid: The Peak Club Competition and the Politics of Architecture” (82) 151. 28. Unknown, “Design Awards/Competitions: The Peak Architectural Competition.” In Architectural Record. (171 no.11 1983.) 54. 29. Lorance, “Zaha Hadid: The Peak Club Competition and the Politics of Architecture” (1982) 148. 30. Unknown, “Design Awards/Competitions: The Peak Architectural Competition.” 56. 31. Mark Garcia “Diagrams of Architecture: AD Reader” New York: Reader (2008): 267. 32. Barbara Maria Stafford “Visual Pragmatism for a virtual world (Introduction)” In Good Looking: Essays on the Virtue of Images. (Cambridge: The MIT Press, 1996.) 18. 33. Deborah Ascher Barnstone, “From the Zero Hour: Transparency, Gender and Architecture in Post War Germany.” In Art, Nation and Gender: Ethnic Landscapes, Myths and Mother Figures, ed. Tricia Cusak and Sighle Bhreathnach-‐Lynch. (Great Britain: Ashgate, 2000.) 84. 34. Ascher Barnstone, “From the Zero Hour, 84. 35. Lisa Iwamoto, Digital Fabrications: Architectural and Material Techniques. (New York: Princeton Architectural Press. 2009.) 4. 36. Lisa Iwamoto, Digital Fabrications, 5. 37. Imdat As and Daniel Schodek Dynamic Digital Representations in Architecture: Visions in Motion. (New York: Taylor & Francis, 2008.) 180. 38. Lisa Iwamoto, Digital Fabrications, 6. 39. Lisa Iwamoto, Digital Fabrications, 6. 40. ArchiCentral http://www.archicentral.com/chanel-‐contemporary-‐art-‐container-‐Zaha-‐Hadid. (assessed 22nd October 2010) 41. Patrik Schumacher, Parametricism as Style -‐ Parametricist Manifesto: http://www. patrikschumacher.com/Texts/Parametricism%20as%20Style.htm (assessed 3rd October 2010) 42. Brooke Hodge. Mears, Patricia and Sidlauskas, Susan. Skin + Bones: Parallel Practices in Fashion and Architecture. (New York: Thames & Hudson, 2009.) 2. 43. CHANEL, Chanel Mobile Art, http://www.chanel-‐mobileart.com (assessed 1st October 2010) 44. CHANEL, Chanel Mobile Art, http://www.chanel-‐mobileart.com (assessed 1st October 2010) 45. Hodge, Skin + Bones, 2. 46. Hodge, Skin + Bones, 2. 47. Amy Watson, “Zaha M. Hadid,” http://www.users.muohio.edu/shermalw/honors_2001_fall/ (assessed 12th October 2010) 48. ArchiCentral. http://www.archicentral.com/chanel-‐contemporary-‐art-‐container-‐Zaha-‐Hadid. (22nd October 2010) 49. Jonathan, Glancey, “I Don’t Do Nice.” Zaha Hadid on the trials of being a woman architect http:// www.guardian.co.uk/artanddesign/2006/oct/09/architecture (assessed 1st October 2010) 50. Coco Chanel, CHANEL http://womenshistory.about.com (assessed 30th October 2010) 
By Briallen Roberts
// Briallen Roberts | Preliminary Dissertation