Zaha Hadid COMPLETEd works
entire contents Š copyright 2011 SFMOMA All rights reserved. No part of this book may be reproduced in any form without written permission from SFMOMA or Taschen. All images in this book have been reproduced with the knowledge and prior consent of the artist concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright of otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will re-solve inaccurate or missing information in a subsequent reprinting of the book. First edition: February 2011 First Published in the United States of America by Taschen Publishing 6671 Sunset Blvd. Suite 1508 Los Angeles, CA 90028 323.463.4441 email: contact-us(at)taschen.com taschen.com Library of Congress Cataloging-in-publication Data San Francisco Museum of Modern Art 151 Third Street San Francisco, CA 94103 Phone: 415.357.4000 www.sfmoma.org Printed in San Francisco Design: LorettaMay Design
“ we can only perceive space when we break free from the earth, when the point of support disappears.� Kasimir Malevich , 1928
Neil Barret Flagship Store Tokyo, Japan 2008
WORK You could call her work baroque modernism. Baroque classicists like Borromini shattered Renaissance ideas of a single viewpoint perspective in favour of dizzying spaces designed to lift the eyes and the heart to God. Likewise, Hadid shatters both the classically formal, rule bound modernism of Mies van der Rohe and Le Corbusier and the old rules of space — walls, ceilings, front and back, right angles. She then reassembles them as what she calls “a new fluid, kind of spatiality” of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life.
The concept of the store plays with the complementary characteristics and the related dualism between male and female. This is echoed in the furniture design on both floors through the formal language and tactile quality of the materials used. The furniture piece on the ground floor is designed as a strong, masculine and dynamic form whilst the piece on the first floor enunciates femininity through more fluid contour lines. The first floor is designed in a more playful manner creating different zones that maintain the perspective view between them. This interplay between male and female is followed through in the general aesthetic concept, setting the furniture piece with a white smooth Corian finish against the raw fair faced concrete surface of the rest of the space. This is further accentuated through the contrast in color and finish of the white matt furniture against a black glossy floor.
Neil Barret Flagship Store Tokyo, Japan 2008
“ A single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience with in an intimate fluid space.” Hadid’s architecture denies its own solidity. Short of creating actual forms that morph and change shape — still the stuff of science fiction — Hadid creates the solid apparatus to make us perceive space as if it morphs and changes as we pass through. Zaha Hadid Architects have created a unique chamber music hall specially designed to house solo performances of the exquisite music of Johann Sebastian Bach. A voluminous ribbon swirls within the room, carving out a spatial and visual response to the intricate relationships of Bach’s harmonies. As the ribbon careens above the performer, cascades into the ground and wraps around the audience, the original room as a box is sculpted into fluid spaces swelling,merging, and slipping through one another. JS Bach Chamber Music Hall Innsbruck, Austria 1999 – 2002
But there is more to Hadid’s architecture than sci-fi imagery. Traditionally, architects have sought to create order out of chaos. Hadid’s generation of selfstyled avant-garde practitioners—among them her fellow Pritzker Prize winner Thom Mayne, and Daniel Libeskind—has upended this metaphor. Instead of order out of chaos, they have strived mightily to create chaos out of order. Her first building in the United States, the Rosenthal Center for Contemporary Art in Cincinnati, was an immediate critical and popular success. It led to major commissions, including the BMW Central Building in Leipzig, Germany; the Phaeno Science Center in Wolfsburg, Germany; Maxxi, the National Center for Contemporary Arts in Rome; and a high-speed train station in Naples.
The center for contemporary art was founded in Cincinnati in 1939 as one of the first institutions in the United States dedicated to the contemporary visual arts. The aim of the new building is to draw in pedestrians and to create a dynamic public space.
Louis and Richard Rosenthall Center For Contemporary Art Cincinatti, Ohio 1997 – 2003
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Louis and Richard Rosenthall Center For Contemporary Art Cincinatti, Ohio 1997 – 2003
Bergisel Ski Jump Innsbruck, Austria 1999 - 2002
Part of a larger refurbishment project for the Olympic Arena, the ski jump on Bergisel Mountain in the Tyrol is a hybrid of a highly specialized sports facility and public spaces, including a cafe and viewing terrace. These different programs are combined into a unified form that extends the topography of the slope into the sky. At a length of about 90 metres and a height of almost 50 metres, the building is a combination of a tower and a bridge. Structurally it is divided into a vertical concrete tower and a green building that houses the ramp and the cafe. Two elevators take visitors to the face, where they can enjoy the surrounding Alpine landscape and watch the athletes below flying above the Innsbruck skyline.
“ It’s about promenading, being able to pause, to look out, look above, look sideways.” For a two-fold program of formal eating and relaxed lounging, we wanted to create an opposition of moods. The result is two synthetic and strange worlds: fire and ice. Inspired by the seasonal ice buildings of sapporo, the ground floor features cool greys Materialized in glass and metal. Tables are sharp fragments of ice; a raised floor level drifts like an iceberg across the space. Above the ice chamber whirls a furnace of fire, rendered in searing reds, brilliant yellows, and exuberant oranges. A spiral above the bar tears through the ground-floor ceiling, curling up to the underside of the upper-level dome like a fiery tornado bursting through a pressure vessel. A plasma of biomorphic sofas accommodates eating and lounging, and allows an infinite configuration of seating types with movable trays and plug-in sofa backs. Monsoon Sapporo, Japan 1980 – 1990
I’m trying to discover—invent, I suppose—an architecture, and forms of urban planning, that do something of the same thing in a contemporary way.” Now a citizen of Britain, Ms. Hadid is active in Europe, Asia and the Mideast. The Solomon R. Guggenheim Museum in New York presented her first major retrospective in the United States, “Zaha Hadid: Thirty Years in Architecture,” in 2006.January 23, 2008
Zaha Hadid