Sci arc architecture final 2015 2016 by Hashim Badar

Hashim Badar Architecture portfolio 2015_2016 M. ARCh 2 | SCI_Arc

Hashim Ibraheem Badar

A skilled designer with a practical experience in designing in various types of projects. My attention to detail, excellent problem solving skills, being able to manage critical situations while learning quickly ensure that every project I work on, is done accurately and to the highest possible standard.

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OVERVIEW

A highly motivated person with good communication skills willing to work as part of team, looking for a good career. Cooperation, respect, integrity and team spirit are the four most important values which I learned from my study in the college and which I experienced in the field of work.

EDUCATION Bachelor degree in Architecture, King Abdulaziz University, GPA (3.59/4.00) June 2013

TRAINING & PERSONAL DEVELOPMENT •Saudi IKEA: (Nov 2008 – Sep 2009) Worked as a part time Salesman as well as an Interior Designer.

•AMB Engineering Consultant Office: (Jul 2011 – Sep 2011) During this summer training I learned to read and understand the technical drawings and compare them with the completed work on the site. I also completed different type of architectural concepts and design proposals along with the architecture design team in the office.

•Saudi Arabian Oil Co. (Saudi Aramco): (Jun 2012 – Aug 2012) During this summer training I worked in Ras Tanura Aramco Camp for different maintenance agencies. I learned how to deal with contractors and vendors as well as evaluating the quality of the maintenance of architectural, mechanical and electrical projects.

•Zuhair Fayez Partnership Consultant: (Aug 2013 – Jan 2014 ) Worked as Design Architect.

COMPUTER SKILLS

REFERENCES

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Dr. Adnan Adas,

LANGUAGES ARABIC / Mother Language. ENGLISH / Very Good.

Head of Architecture Department, Faculty of Environmental Design, KAU. Email: aaadas@kau.edu.sa Tel: +96612-640-2000 Ext.66615 Mobile: +96650-552-2424

Mohammed Maghlouth, Manager of Community Services, Saudi Aramco. Email: maghma0e@aramco.com.sa Tel: +96613-678-6368 Fax: +96613-673-3628

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Autodesk Maya. Autodesk Revit. Rhino. 3D-Coat. KeyShot. AutoCAD 2D/3D. Adobe Photoshop. Adobe Illustrator. Adobe InDesign. Adobe After Effects. Microsoft office.

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Index

2GAX_ FALL 2015

DS 1201 “COMPLEX MORPHOLOGIES” P# 08

AS 3200 “ADVANCE TECTONICS” P# 20

VS 4200 “MODELING, TOOLING AND COMPUTATION” P# 28

CS 2201 “THEORIES OF CONTEMPORARY ARCITECTURE 1” P# 38

2GBX_ SPRING 2016

DS 1201 “GENERATIVE MORPHOLOGIES” P#

AS 3201 “ADVANCED BUILDING SYSTEM” P#

AS 3302 “ADVANCED STRUCTURE SYSTEM” P#

VS 2538 “EXACT FORMS” P#

CS 2200 “THEORIES OF CONTEMPORARY ARCITECTURE 2” P#

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d 8

1200

COMPLEX MORPHOLOGIES

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Course Description.

The studio interrogates the potential of medium specific appearnce-making in architecture, di ferentiating between realism as a representational mode, involving degrees of representational accuracy, and reality–that which is represented. The work also reflects on the potential to create degrees of ‘weird contextualism’ in architecture through a processing of the environment relying on representational modes that engage both various forms of abstraction as well as conventional forms of rese blance, although, fully aligning with neither. The project is therefore a collusion between objects and im ges in the production of architectural form.

Instructor:

M.Casey Rehm

The first part of this studio was a chance for us to experiment with free 3D modeling. We utilized several softwares in the making of this exercise. The candy jar seen, has assorted candies with different colors and textures. I selected them, with anticipation of how theywould be manipulated through Processing.

The nature of the script embedded in the Processing creates a seamless texture that is generaed in a behavior, which runs differently in every iteration. It was a matter of selecting (with percision) the most suitable texture for this exerciseâ&#x20AC;&#x2122;s execution.

The model has then has developed much complexly. The areas I was most interested in were the double and triple layering of the exterior. Moreover, I started combining other models with the existing one. The surfaces started to intersect and interlock, leaving a very intricate reading of the model. Looking at it from different sides, it creates an ambiguous reading to the model.

With the model being finely detailed and finalized, I applied the procedural texture, with replacing white instead of the black background, in order to give it a stronger contrast in color. Since the geometry is complex, the texture accentuates the the model overall complexity and ambiguity.

The destabilization of mass and the blurring of the horizon having a disruptive reading of gravity and solidity. On the one hand lâ&#x20AC;&#x2122;m kind of producing this kind of mono-listic heavy figure. On the other hand it doesnâ&#x20AC;&#x2122;t behave like that visually, it behaves like something much lighter. So there is a little bit of contradiction between the for morality and the mono-listicy of the piece.

I paint along the chrome, l needed the vertical element of the chrome to further destabilize the horizon as by reflecting its context up through the mass so its kind of destabilizing the normal relationship between mass and horizon.

The way I treat the glazing is always resect into the mass so that glazing itself just becomes a kind of like a carving into the mono-list which actually reenforces everything in the mono-listicy like while the texture doesnâ&#x20AC;&#x2122;t.

s 3200

media-ict building

ADVANCED TECTONICS

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Course Description.

The course study looks at the new ability of architects to design, devlop and produce structural assemblies for highly specific performance and applications. Also, explores new materials, as well as the integral manner in wich building systems and structurs are produced - from desgin idea to fabrication and erection - to precisely fit designers specifications and to provide optimized performance. Morover, the study has emphasised on tectonic understanding of glass for Elbe-Philharmonic building. It has covered the processing and manufacturing analysis of float glass, fiber glass and its implication on the building envelope for this project.

Instructor:

Maxi Spina

Partners:

Omar Busbit, Zach Falor Mohammad Soleimanifeijani

Detail 1 A. ETFE CUSHION TYPE 1 SYSTEM B. ETFE CUSHION TYPE 2 SYSTEM

A B

Detail 2 1. 2. 3. 4. 5. 6. 7. 8. 9.

1 2 3 4

METAL DECKING STRUCTURAL BEAM CEILING SYSTEM RAISED FLOOR SYSTEM GLAZING GLAZING FRAMING STRUCTURAL TRUSS ETFE FRAMING ETFE CUSHION TYPE 2

5 6 7 8 9

1 2 3

4 5

Detail 3 1. STRUCTURAL CONNECTION TO BEAM 2. MULTI-CONNECTOR STEEL PLATE 3. TUBE STEEL 4. ETFE CUSHION TYPE 1 FRAMING 5. ETFE CUSHION TYPE 1

DETAIL 4 A. ETFE CUSHION TYPE 1 SYSTEM B. ETFE CUSHION TYPE 2 SYSTEM

A A

DETAIL 5 1 2 3 4

5 6

7 8

1. ETFE CUSHION TYPE 2 FRAMING 2. ETFE CUSHION TYPE 2 3. ETFE CUSHION TYPE 2 INTERNAL STRUCTURE 4. TENSION CABLE 5. STRUCTURAL BEAM 6. ETFE CUSHION TYPE 2 SYSTEM MID-SPAN CONNECTION 7. TENSION CABLE CONNECTION 8. ETFE CUSHION TYPE 2 SYSTEM BOTTOM-SPAN CONNECTION

Detail 6 1 2 3 4 5 6

1. ETFE CUSHION TYPE 1 FRAMING 2. ETFE CUSHION TYPE 1 3. TUBE STEEL 4. MULTI-CONNECTOR STEEL PLATE 5. STRUCTURAL GIRDER 6. METAL DECKING 7. CONCRETE SLAB 8. GLAZING

4200

MODELING TOOLING & COMPUTATION

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Course Description.

The course study explores new seftware technologies that allow variable of time, reproduction, variation and repetion. The intention is to question the relationship of architecture to geometry and the idea of representation as static orgnization of concepts. Also, to search for the possibilities offered by tools of design, thought and producta. So, geometry is considered no longer as a static cartesian system, but as encompassing an array of articulated geometrical variations, affected by new instrumental abilities.

Instructor:

M.Casey Rehm

Partners:

Khalid Alattas

= = = Whatâ&#x20AC;&#x2122;s happening here is that the software is treating each pixel in a certain behavior separately from other pixels. What I was aiming here for in this script code was to blend sea and land to make them feel like theyâ&#x20AC;&#x2122;re one composition and speculate a new reality.

After being familiarized with the softwareâ&#x20AC;&#x2122;s logic and understanding, here I aimed to start experiencing with multiple scripts running simultaneously under one experimentation.

The background of the canvas replicates the centered formâ&#x20AC;&#x2122;s three distinct textures but have a pixel manipulation behavior rather than playing a video clip of their instances. Each time the centered form moves away from its original location, the previous instance pixel blends with the background. Overall, the whole intent of this exercise was to experiment with colors and shapes and their complicated relationship.

C 38

s 2201

AWKWARD POSITIONS

THEORIES OF CONTEMPORARY ARCITECTURE1

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Course Description.

The seminar study focuses an emergent from of post-vanguard practice that empoloys testing and prototyping to create design knowledge, or design intelligence. it deatails the emergence of this new intelligence paradigm through reading drawn from a variety of contemporary debates in philosophy, science, strategic gaming and other areas, before turning to a series of firm-specific case studies that explicity address the role of intelligence in contemporary design practice.

Instructor:

Marcelyn Gow

AWKWARD POSITIONS Andrew Zago

- Contortionist Clifton Gerry III

Hypothesis: The focus question to ask is to what extent can we abstract an object in such ways that it does not lose its identity, to make it look awkward. My approach to answering the question stated will be by switching different objects, that has its own identity, to figure out, if the object will still keep its identity, or will it lose it. Introduction: Who are we to criticize about what is Awkward and what is not Awkward? As the saying goes, “All is fair in Love and War” and nowadays, in my opinion, all is fair in SCI_Arc, in other words, SCI-Arc is open to new ideas and suggestions granting students the ability to think outside of the box. Firstly, I will take the step to identify the word awkward. Awkward comes in different forms, contexts, shapes, and sizes. However, people agree to disagree about what does Awkward refer to. People comprehend the word Awkward differently, although, some will think that awkward is “unique” and it is compared to the words mastery and authentic. In order to be convincing to others about anything you invest your time in, you should be passionate about it. In addition, having background knowledge

on the topic, you present to your readers. According to Zago, “the architect should have some measure of talent, intelligence, industriousness, and experience, the notion of mastery suggested more than a combination of these attributes.” (Zago page 210) nothing comes easy and Zago states “at the novice level, a small increase in expertise can bring about a significant improvement in the work, while, at the master level, enormous advances in knowledge bring work only asymptotically closer to perfection.” (Zago page 211). With every experience or knowledge you gain, it adds something to your work and brings you closer to your goal. Moreover, in architecture, for example, we look at buildings or statues that people may not necessarily accept, but the shape, size or form of an object stands out making it look unique; leading to limitations.Trying to be the master, not the follower. Our culture has taught us two things, and that is, if something does not withhold our beliefs we must fear it or be cautious and if it does we must like it. Leading that to the limitations of our imaginations. In comparison to architecture,

we may not be accepting of awkward things, objects, shapes or sizes but having an open mind and background knowledge can lead to a better understanding and acceptance of the art of architecture. To others, the awkward position is a matter that remains the same to some people. However, they try to gain beneficial knowledge for their own experience. In this case, when I first see or experience something entirely different I would try to acquire helpful knowledge in order for me to understand the concept behind it. The matter of the awkward position varies depending on what you make of it or how you interpret it. In my understanding an awkward position can be applied to many forms: it could be to architecturally or culturally. An awkward position affect could either be positive or negative regarding to the surroundings acceptance. I will test this hypothesis by switching different example of things.

Discussion: First, let me start by illustrating the awkward position in cultural context. The first example, a building can be awkward within some cultural context but not in other. Marc Kushner, who is an architect that did a Ted talk about how buildings are shaped be it surroundings, he give an example of two libraries that were built in the same year, 2004. Library number one, was built in his hometown, which was a small countryside, traditions were the main focus, modernism was not a big interest of that community people went to libraries for reading only, and because of the nature of that community it reflected on the buildings in he area, he said while showing a photo of an old looking library building : “This is the Livingston Public Library that was completed in 2004 in my hometown, it’s got a dome and it’s got this round thing and columns, red brick, and you can kind of guess what Livingston is trying to say with this building: children, property values and history. But it doesn’t have much to do with what a library actually does today.” he then compared the old library building to another building that was built in that same year, in 2004, on the other side of the country,

It was built in Seattle, however the library looked so different from the one that was built in his hometown, Marc Kushner said, referring to the second library “This library is about how we consume media in a digital age. It’s about a new kind of public amenity for the city, a place to gather and read and share” (Marc Kushner). an old looking library building : “This is the Livingston Public Library that was completed in 2004 in my hometown, it’s got a dome and it’s got this round thing and columns, red brick, and you can kind of guess what Livingston is trying to say with this building: children, property values and history. But it doesn’t have much to do with what a library actually does today.” he then compared the old library building to another building that was built in that same year, in 2004, on the other side of the country, It was built in Seattle, however the library looked so different from the one that was built in his hometown, Marc Kushner said, referring to the second library “This library is about how we consume media in a digital age. It’s about a new kind of public amenity for the city, a place to gather and read and share” (Marc Kushner).

where libraries are not just a place for reading, it is more, it is a place that people gather, and socializes, the building was built to reflect the nature of the place it was in. The library was built to reflect the modern city, it had glass mirrors everywhere, it had areas for coffee, and arms for reading only, and another area for people to socialize, it also had a playground for kids. Since the city library was a place for people to enjoy and not just to read. If we decided to switch these two buildings and put the countryside library building in Seattle, and the modern Seattle library in the countryside, even though they both are libraries and serve the purpose of reading, it will be an awkward position. The reasoning behind the awkwardness is not because the building looks different, which never the less, is a factor, but the more important factor is that we changed the surrounding around the library. The people that live in the countryside are used to the library being for reading only, and they will think, why are the does a library has, playground, and coffee place? This awkward positions can be either positive or negative. Positive that if the countryside old

traditional library, switched into a modern library, by people adapting the new style of using libraries as a place for more than reading. The negative impact, however, would b for the city library to be switched the traditional old style library.

- The Livingston Public Library

- The Seattle Central Library

Second, let me illustrate my hypothesis of the awkward position in architectural context. For example, if we switch a mosque and a church they are withholding the same purpose as being a place for worship. If we take a look at the structure of both places, they are designed differently in the sense that the dimension of the church can not be compared to the dimensions of the mosque. In addition, the Mihrab known as a section that is cut into the wall and is faced a certain direction as guidance for the prayers to face the Pilgrimage when praying. Mosques are designed for prayers, and lecture services on Fridays, or on the two Holidays, unlike Churches, where it is for celebrating weddings, and furfurals. In mosques prayers are done in a big open area, where should be no objects that might be I the way of the prayers. So, if we switched these two buildings, the awkward positions will happen in the sense of that activities that are designated for each holy building, will be interrupted. By that I mean, if let say, Muslims went to pay in a church, they will find it hard to pray because of the chairs in the way, on the other side if Christians went to pray in a mosque, the will

find it hard because there are no chairs. This could also be explained with the decoration of both buildings, while mosques have minimum decoration, and only limited with calligraphy are, churches might have statutes, colored glasses, and so on. This might be awkward in the sense that, each of the people belonging to one the holy places will find the other place not suitable for them, but at the same time, it won’t be a negative impact, it is easy to adapt to such examples, by reconstructing the organization of each place. Another sense that falls under the awkward position, is the each holy building have it’s own way of architectural style, for instant, the way the mosque is built, it is strongly shaped by the regional traditions where it was built and to look like a square rather than a rectangular shape.

An addition example that illustrate the architectural awkward positions, are the pyramids. The pyramid in Egypt compared to pyramid in the Louver Museum, Paris. Both these structures are designed exactly the same, they are both pyramids, however, the Egyptian pyramids have it’s own different identity, it is known for being built in the desert as a symbol of how architect was a used since back in the day, on the other hand, the French pyramid are more modern, and they are symbols of modernism. if we switch those tow building, it will a very awkward position to both of them and by switching them they will end up losing their identity and what they are symbolizing.

A similar example, What if France decided to switch the Eiffel tower with the American Statue of Liberty? Even though, both statues could be considered French styles. The statue of Liberty was sent to America as a gift from the French people giving the alliance of France and the United States during the American Revolution, the statute of Liberty represented much more to the american than just a proposed gift, so if we decide to take the Statue of liberty back to its original place, France, it won’t the same. The Eiffel tower has become an image of the brain of France and also became one of the most recognized structures that symbolize France. People from all around the

- The pyramid in Egypt

- The Louver Museum

-Eiffel tower

- Statue of Liberty

world come to visit this monument. Each of the constructions have it’s own identity, any by switching those statues; they will lose what they stand for, it won’t be accepted Culturally. One more similar example, Thanksgiving, is known to be a feast that gathers families together, if we decided to switch the feast that contains a variety of food dishes, mainly the turkey as the main dish, and serve sushi in everyone’s plate, instead, the people will feel that something is awkward, because they got used to something, which is a tradition, and changing it to something that has no relation once so ever. In the case, we changed the identity of Thanksgiving interlay.

A personal example I would like to use is my 2GAX project for Fall 2015, it was the first time for me to build up a building using three different pictures, that are from the surrounding around the building I was planing. I would like to consider the idea, as if we built a hut in a forest using woods from the trees souring the hut, everything goes together, because they are all from the same environment. even though the hut is not from nature, but because of the usage of woods from the trees it will make it look like it always has been there. I used a photo of The Panthéon in Paris, a photo of Saint-Étienne-du-Mont church and a photo Bibliothèque Sainte-Geneviève library. I created an interlay different building from combining those three different photos of the constructions, and wand up with a building that match the surrounding. The idea seemed to look like what Zago did with his chair, when he decided to use different objects including the little pony outline. This example is how we can use many abstract objects, and at the same time, we can end up creating our own signature. This example is different from the other past example in the form off not having to switch

anything, but using new objects and combining those new objects and replacing it identity completely to form a new awkward positions, in this sense, I would call it, “Unique” because by changing somethings identity, I still got away with creating my own signature identity.

- 2GAX project for Fall 2015

Conclusion: From examining the switching examples, I found out that, sometime by switching things, we can come up with a better alternative, as in the case of switching the old library with the new modern one. The switching could also be useless, as in the case, of the old library switching it by the modern library. The switching can make something loses its identity, as in the case of the Statue of Liberty and the Eiffel Tower. By switching many forms and combining them, we could come up with new ideas, or we create our own signatures. By switching I also noticed, that sometime an awkward position does not have to be implied on the object it self, looking different or, not fitting the style of the surrounding, awkward positions can be resulted because of people reactions and how they perceive things, for the example of the libraries, the building were not the issue, the sounding was what made the structure be perceived as awkward, because they did not get used to it. To sum up, as Zago said, “A post-ironic authenticity could begin by posting techniques that are, by intention, incorrect. Where traditional mastery strove for a perfection of form,

new mastery stumbles into an awkward position” also “abstraction was seen as a necessary feature of authenticity”. So, do not judgment anything and do not say awkward like it is a bad thing because you need to see all the picture before judge and I quote “The awkward requires the architect to perform contrary to his or her best judgment”.

- Jeff Koons, Balloon Dog series, Installation view of Re-Object, Kunsthaus Bregenz, 18 February–13 May 2007

- Table, Greg Lynn FORM’s Toy Furniture

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1201

la courthouse

GENERATIVE MORPHOLOGIES

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Course Description.

Instructor:

David Ruy

Partners:

Thamer alsubie

s 3201

Seattle Public Library

ADVANCED Building Systems

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Course Description.

Climate change impacts and depletion of natural resources are destroying the delicate balance of natural systems that make life on earth possible. Buildings contribute significantly to these problems and therefore require a more integrated approach with natural systems. The appropriation and reinvention of uses for these resources constitute our responsibility and challenge. A deeper understanding of human needs and our natural s ystems is required to inform sustainable design and facilitate the integration of systems. In this class we will explore the concepts of sustainability, efficiency and performative architecture, as they relate to building systems.

Instructor:

Randy Jefferson

Partners:

Omar Busbit, Kiran Nayak Omar Baqazi, Sali Al Chikh Bahareh Tabatabaei

Hyper-rational Process of Design The Seattle Public Library was designed by Rem Koolhaas and Joshua Prince-Ramus of the Office of Metropolitan Architecture (OMA), in collaboration with seattle-based LMN Architects. The design is the result of a ‘hyper-rational’ design process - that takes rationality to an almost ‘absurd level’. While at first, the buildings shape may seem random and arbitrary, it is the result of a series of very calculated decisions and design strategies that led to the organization the interior space.

At Seattle, OMA challenges the high modernist notion of ‘shotgun flexibility’, which proposed the creation of singular spaces that allowed for anything to happen within them. The operational costs of this kind of flexibility, however, dwarf the capital costs. Instead, OMA uses a strategy called compartmentalized flexibility, designing to very specific ‘points’ along the program spectrum. These compartmentalized program ‘points’ can be pushed off-center, forming eccentric conditions, while forming a more successful operational strategy than modernism could.

Seattle - Postmodern Precedents The initial proposal for the library aroused tremendous public outcry. Earlier projects, like Venturi’s Seattle Art Museum and Gehry’s Experience Music Project had tarnished the appeal of postmodernism in Seattle. In the end, It was OMA’s hyper rational approach that sealed the fate of the project, in addition to the strong backing of the client. Like Louis Kahn’s attitude to a building’s plumbing system, revealing it in order to neutralize its harm, Koolhaas makes the building out of its organizational requirements, thereby preventing them from interfering with his architecture. By making the clients need fundamental to the aesthetic, their capacity to ruin the effects is neutralized.

- Robert Venturi’s Seattle Art Museum (1991)

- Location: Seattle, Washington - Architectures: Koolhaas & OMA - Square Footage: 362,987 square foot - Project Year: 2004

- Frank Gehry’s Experience Music Project (1999)

- The library is located in Downtown Seattle . That has view from Mountain, Port and Highway.

Design: This diagram shows the position piece about the book that shift on top of each other, to say: â&#x20AC;&#x2DC;books are technologyâ&#x20AC;&#x2122; Books are a form of technology that will have to share its dominance with any other form of truly potent technology or media.

Traditional Library It is the third Seattle Central Library building to be located on the same site. The problem of traditional library organization is flatness.. This diagram is contemporary libraries that used high-modernist flexibility, so any activity could happen anywhere. Programs are not separated, rooms or individual spaces not given unique characters.

- Uniform Flexibility

Seattle Library The New Diagram is `Compartmentalized flexibilityâ&#x20AC;&#x2122; stands out as in favor of protecting â&#x20AC;&#x2DC;the responsibilities for social roles for the libraryâ&#x20AC;&#x2122; in contrast with the highmodernist proposition.

- compartmentalized Flexibility

s 3302

ADVANCED Structural Systems

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Course Description.

Instructor:

Greg Otto

+ - Moses Mabhida Stadium

The intent of this project is to use the structural concepts studied in class and deploy these concepts to develop a long span structural solution. For this project, I used (2) precedent projects to assist my with the development of my long-span concept. Using the precedent work and the concepts taught in class, I prepared a long-span design concept that creates enclosure for a structure free interior space (no structural obstructions within the interior space) to house a football venue. Using a plan of a football pitch, add 75â&#x20AC;&#x2122; on each side of the field to establish my structural perimeter.

- London 2012 Olympic Stadium

The Hangzhou Tennis Center: A Case Study in Integrated Parametric Design.

The parametric definition of the exterior geometry allowed the design team to efficiently explore design alternatives and variations within the conceptual constraints. Parametric control of the point cloud was the primary means of controlling the form.

KING ABDULLAH SPORTS CITY NATIONAL STADIUM

Structure and architecture are completely integrated. Running round the stadium is a ribbon of bracing and tie-down V-frames which express the structure and echo the mashrabiya screens of traditional Arabic and Islamic architecture and design.

The exterior envelope is composed of a 12 truss modules arrayed around a circular arc. Referred to as â&#x20AC;&#x2DC;petalsâ&#x20AC;&#x2122;, the trusses create a large-scale repetitive pattern which encloses the stadium seating bowl. A truss centerline model was parametrically driven from the ruled surface control geometry. Parameters were established to allow control over structural member spacing and truss depth.

253

MODELING TOOLING & COMPUTATION

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Course Description.

Instructor:

Garet Ammerman

C 100

s 2200

Zaha Hadid Architects

THEORIES OF CONTEMPORARY ARCITECTURE2

101

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Course Description.

Building on the base of ideas established in Theories of Contemporary Architecture 1, this course will examine in detail recent and historical texts on architecture, philosophy, literature, music, and art. Through these texts, a diversity of approaches to architectural theory and practice will be examined and interrogated within broader social, cultural, and historical contexts from the 1950s to the present. Through analysis of and critical writing about these texts as well as buildings and projects of the period, students will develop new vocabularies for contemporary architectural discourse.

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Instructor:

Todd Gannon

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Zaha Hadid is regarded to be the uncrowned queen of modern architecture. Her buildings practically shout, “I am Hadid”. She is undoubtedly the most famous woman in the world in starchitect stratosphere strangely in the power of her male colleagues. Since her student’s days in London in the Architectural Association School of Architecture, Iraqi-British architect Zaha Hadid has been strongly anxious about the change of our general concepts of space - not only in physical sense, but also and in socially and culturally. Hadid’s projects are characterized by their dynamic formal qualities of twisting, bending forms or crystallized striations. It can be summed up as the result of some kind of new Baroque, and it is more than bright and attractive type of architecture. Hadid’s projects during the end of the 1970s and 1980s were noted by deep understanding of the beginning of artists of vanguard of the 20th century and architects. Her projects expressed utopian ideals in attempt to reconstruct and make relevant again the formal investigations of the Russian Constructivism and the Italian futurism (Shariff, 2016).

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Today, Zaha Hadid Architects create considerable projects for all types of functional programs. Their buildings are never soft or ordinary, but apart from affirmative reports of a certain notion that the world can look really in a different way. Their efforts led to differentiation of nearly one thousand projects on the globe, in each scale, from schemes of city designing to objects and design of furniture everywhere. Together with her strong conceptual and historical awareness of a form, nature appears as the current source of inspiration for architecture of Zaha Hadid. It includes attention to physical contexts and environments, whether, leading to layered structures or strong moving lines, but also researching possible interfaces between samples and construction. Zaha Hadid’s architects covered digital obtaining in the beginning. It made studio capable to throw down a challenge to traditional methods to make architecture. In cooperation with the senior office partner of Patrik Schumacher Zaha Hadid captiously researched possibilities of parametrical design, allowing the

concept and construction of architecture as end-to-end flows of energy and question. Zaha Hadid is the winner of Pritzker Prize of 2004 and the winner of Stirling Prize in 2010 and 2011 (Kamin, 2016). However, in the beginning of Hadid’s career, not everything was smooth. The practicing architects called her an eccentric woman, whose works are too excentric to be implemented. But Kolkhaas did not agree with this opinion, seeing the talent and feeling her creative soul. The daughter of the Iraqi industrialist needed only 3 years to become independent. So in London there was her own firm. First, the architect had to be engaged in small orders. The firm carried out registration of exhibitions, bars and other “small things”. Too radical artistic touches of Hadid frightened off her clients. The mad geometry of Zaha seemed the physics contradicting laws. People did not believe that such buildings can appear in the real world. However, the eccentric architect did not plan to give up. She continued the creative searches and repeatedly won thematic competitions and exhibitions. However, construction of her own projects was not so iridescent,

as their creation. The British-Iraqi journalist and writer Mohammed Aref started writing about Zaha Hadid in the 1980s, and Zaha Hadid’s progress and failures have been published in a number of the scientific magazines devoted to the Middle East. Mohammed Aref’s articles do not depend on news occasions, after all he researches Hadid’s style as a cultural phenomenon, entering it not only in a context of modern architecture, but also in a historical retrospective of development of architecture since the most ancient times up to now. Zaha avoids speaking about the projects in the Arab region though almost all of them are at a construction stage. After all, architecture is limited to expensive contracts and requiring privacy not to become the reason of contention and jurisdictional disputes. However, when Zaha was asked about designing of Issam Fares Institute for Public Policy and International Affairs, she used to begin a long discussion about Beirut — the city which was live in her memory since studying in American University of Beirut. Though, probably, the design of the hall of Institute of Issam Fares became the brightest expression of her passion toBeirut.

As the Iraqi researcher of architecture, Khalid-al-Sultani told, ‘her design is as a personal signature’. About this construction, he wrote, “The reinforced concrete mass of the building is closer to a sculpture. It seems to have strengthened the earth, but thus keeps the feeling of intensity and instability in the inclination of external walls to the East and the powerful console arch which is far leaving the main amount. This free console arch extends from a roof to the second floor and supports two upper floors, making all building an outstanding event among constructions of a university campus”. Disclosure of the Arab aspect in works Zaha Hadid shows her interrelation with a geographical and social environment of that region of the planet which presented great civilizations to the world. She recognized this aspect of creativity. In her opinion, a person is at the same time a product of the place from which he or she come, and of what happens to them. She used to say that the person is not a vessel made in a specific country, and it is rather a mix of everything what occurred in it. Sources can be not always

noticeable, but sometimes they bear a deep symbolical value, making a person such that he or she is (McDermon, 2016). It is recognized that in Hadid’s constructions, it is impossible to separate Sumer, Babylon or Arab-Islamic influence on modern architecture. Zaha is not subject to the Arab region by a label, but understands that through it the East influences world architecture. The abstract principle of the Arab architecture and calligraphy has always been a powerful factor of architecture of the West. It is visible even in the modern construction, using the Arab archetypes: such as the courtyard necessary for air circulation indoors. Zaha is realized by complexity and richness of belonging to different cultures: despite many years in Britain, she never lost the Arab originality. She wanted to make everything possible to open the hidden opportunities and talents of this region. By this, she meant civilization and cultural opportunities, but not material ones. She claimed that the concept of eternity becomes most obvious to her while she enters the yard of an old mosque in any of the Arab cities or when walks

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along the coast of Tiger or Nile. Zaha considered that work of the architect reflects a set of ‘personal and general’ influences, and said that her architecture should be considered a product of crossing of civilizations of the Arab region and the other parts of the world. Her words that it is necessary to remember that we are a product of two situations which surround us at the same time are important. We shall know our property, understand the cultural identity, and at the same time be open for the whole world. Zaha did not believe that it is enough to only person to watch deep into him or herself. She claimed that we shall proceed from two things at the same time: to manage to pursue changes in the world and to look in ourselves to reveal our best hidden opportunities. It is the difficult purpose, but it can be reached. Iraq is present even the buildings are built far from it — in “exoticism” which the researcher Hilid Al-Sultani means, asking a rhetorical question, “How is it possible to explain emergence of a relief with a winged bull as the creating element of the Assyrian architecture, a spiral minaret of the Big mosque in Samara, or skillful construction

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of a conic dome of the mausoleum of Sitt Zumrud-Hatun in Baghdad?” This exoticism which remained in works of architects of different schools and the periods, Al-Sultani explains with human imagination which “through certain periods phenomenologically inspires history, generating constructions which strike with the complexity, discrepancy, uncertainty and uniqueness of a form as a part of dialectics of a contradiction between order and a disorder, rational and irrational, the rule and an exception. Therefore, production of human creativity is enriched and purchases variety that then to be salvaged from stagnation and tiresome remarks” (Moore, 2013). Zaha Hadid told once, “Places can be read as a person — ancient Romans spoke. — Each place, as well as each person, has the genius who, if to look narrowly, opens himself as a part of soul”. Zaha’s genius is similar to the genius of the ancient Iraqis. And if the western critics look out of borders of antique Greece, they will see that she preceded it. They will see the homeland of the mythological beings representing the earth, sky, rain, winds,

mountains, construction materials and builders. One should not forget about this region, traditions and troubles, which are the integral parts of Zaha Hadid’s architecture. In 2007, during an exhibition of the London Museum of design, “Zaha Hadid, Architecture and Design”, it was written that significantly and uncharacteristically diplomatically she refused to comment on a situation in Iraq. Instead, Hadid allowed the spaces to speak pro se. It is not a simple exercise in an architectural form. Her enthusiasm for shadows and polysemy deeply roots in Islamic architecture while fluidity and openness is politically painted answer to becoming more and more stronger and not democratic modern city landscape. As any Arab woman, she mourned a situation so that “the mountain Hamrin is shaken”. On the mix of Arab and English, she used to say that Baghdad and Al-Rashida Street lie in ruins. Mosul and Basra are destroyed, the country is divided into parts. Embargo is the worst that ever happened to Iraq. War is catastrophic crash, but embargo destroys everything. Asin bullfight, when the

the bull continues to be pricked until he dies. Iraqis do not deserve that situation in which they appeared. This had an incredible influence on her architecture style. For example, London Aquatics Centre (2011) was built for 2012 Summer Olympics in the United Kingdom. The futuristic design of a wavy roof repeats the bends of River Lee on the bank of which there is a stadium. Inside the room reminds the spaceship more, than the sporting venue. In construction of the stadium, the most advanced technologies and building materials were used, as well as the systems of ventilation, lighting and water supply developed on original projects. The center of water sports in London was conceived by Zaha Hadid not only as the Olympic venue, but also as a multipurpose sports construction for many years (Moore, 2013). Apart from the other architecture constructions of Zaha Hadid, there are: - Guangzhou Opera House (2010), Guangzhou, People’s Republic of China . -Sheikh Zayed Bridge (2007–10), Abu Dhabi, United Arab Emirates

- Evelyn Grace Academy (2006– 10) in Brixton, London, UK (Stirling Prize 2011 winner). Perhaps, it is better to estimate architecture of Zaha through cinema, but not through the photo. Cinema look places us in that “Zaha’s space” which exceeds the English and Arab terms “place”, “surface area”, “space”, “interval”, “degree”, “location”, “amount” and even “period” and “time frames”. Complexity of “Zaha’s space”, its “curvature”, “exoticism”, “fluidity”, “deconstruction”, “disintegration”, “fragmentation” are considered the important characteristics of her work, and are not the result of her personal preferences. Zaha did not decide that constructions shall be complex, exotic, fluid or deconstructivist, ahe also did not aim to shake laws of architecture. More likely, these principles constitute the dialectics of her personal architecture, dialectics of a place of her birth producing ideas of the maximum complexity, disintegration and fluidity.

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References : - Kamin, B. (2016). ‘Visionary architect 1st woman to win Pritzker’. Chicago Tribune, 2. - McDermon, D. (2016). ‘Seven of Zaha Hadid’s Most Striking Designs’. The New York Times. - Moore, R. (2013). ‘Zaha Hadid: queen of the curve’. The Observer. - Shariff, Y. (2016). ‘For Muslims and women, Zaha Hadid was a shining torch’. The Guardian.

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