the multiplied ground. a new waterfront for lisbon by verena santer

the multiplied ground a new waterfront for lisbon.

verena santer

the multiplied ground a new waterfront for lisbon.

verena santer

Master Thesis of the requirement for the degree of Diplom-Ingenieur supervised by O.Univ. Prof. DI M. Peter Trummer Jose Carlos L처pez Cervantes Institut f체r St채dtebau Institute of Urban Design at Leopold-Franzens-Universit채t Innsbruck Faculty of Architecture Innsbruck, May 2019

one.

from abstraction to architecture. abstraction in arts.

two. three. four. five. six.

from arts to architecture.

formulating a new ground.

methodology.

the multiplied ground vs. Zaha Hadid.

from a surface to space.

site.

localization.

surrounding.

waterfront evolution.

program.

104

six points.

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surrounding.

114

project.

118

diagrams.

120

floorplans/elevations/sections.

130

visualizations. perspectives.

154

sources. bibliography.

contents

160 162

text sources.

166

image sources.

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abstract. The ground as the stage for architecture. A stage where figures are positioned. Figures defined by envelopes, consisting of walls, floors, roofs and openings. Elements that define the boundaries between public and private, and predetermine the way we inhabit space and navigate in buildings.

inhabitable space. Pursuing her visions of novel tectonics through abstraction, I would like to articulate a broader concept based on the multiplicity of those ground surfaces, the multiplied ground, which opens up new perspectives and questions in the architectural discourse.

Another approach to architecture is possible, when the ground plays the main role in the previous definition. The ground as a solid element from which figures are emerging. The ground as an envelope without concretising its components. The ground as a solution of a continuous public space.

By applying this methodology to a specific site, located at the waterfront in Lisbon, I want to speculate about a new formal approach that can solve architectural problems. In this case the problem of the barrier between the city and the river, caused by the evolution of the waterfront over time.

Based on Zaha HadidÂ´s works, influenced by the movement of Suprematism, my thesis investigates a new perspective on how to work with the ground as a building by turning non-objective elements into an

The multiplied ground creates a link between Lisbon, the river and the people, being a place for inventiveness, creativity and imagination.

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from abstraction to architecture. To understand the strategy of the multiplied ground, we have to take a look on the aspects it is based on: abstraction in architecture and a new approach on how to work with the ground. This idea derives from the visions of Zaha Hadid, who got inspired by the works of Suprematist artists, like Kazimir Malevich, and transformed it into architectural objects. Furthermore, she used this methodology to create new forms of interaction between

building and ground. This approach allowed her to create her unique identity in the architectural world. In the next chapters we will take a more indepth look on the principle of abstraction and the importance of the ground in architecture. Starting with the idea of abstraction in arts, with the example of Kazimir Malevich, and then the transformation from arts into architecture, with the example of Zaha Hadid.

one.

from abstraction to architecture.

abstraction in arts. 8

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from abstraction to architecture.

One of the earliest and most radical movements in the history of abstract arts, was the Suprematist movement, founded by the Russian artist Kazimir Malevich .1

fig. 01 Kazimir Malevich (1879 - 1935) Suprematism. Two Dimensional Self Portrait 1915. Oil on canvas, 80 x 62 cm

Kazimir Malevich was born in Ukraine and started to draw by the age of 12. With an artistic career in his mind, he attended several art schools, the Kiev School of Art in 1895, being the first one. Influenced by different art movements such as Impressionism, Post-Impressionism, Symbolism and Art-Nouveau throughout his

fig. 02 Kazimir Malevich, Morning in the Village after Snowstorm, 1912. Oil on canvas, 31 3/4 x 31 7/8 inches (80.6 x 81.cm). Solomon R. Guggenheim Museum, New York 52.1327

educational years, he later on held membership in artistic groups, which focused on Primitivism, Cubism and Futurism. In 1913, Malevich was part of the design group for one of the most important artistic collaborations at that time: the set design for the opera „The Victory over the Sun“. It was the starting point of his new founded art movement, called Suprematism, on which he published in 1915 his manifesto „From Cubism to Suprematism“. From that point on he abandoned figurative elements in his drawings, and solely focused on abstraction.2

The name Suprematism, has its origin in Malevich´s belief in art being the supremacy of pure feelings and perception and this new movement being superior to all the other forms of arts before. The idea behind Suprematism was to reach the „degree zero“ in arts, by using non-objective geometrical elements such as square, rectangle and circle. In 1915 Malevich presented thirty-five of his suprematist paintings at the Exhibition „0.10“ in Petrograd. Starting with the black and white paintings. Later on Malevich also

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from abstraction to architecture.

fig. 03 Installation view of paintings by Kazimir Malevich at The Last Futurist Exhibition of Paintings: â&#x20AC;&#x153;0.10â&#x20AC;?, Galerie Dobychina, Petrogarad, 1915 12

fig. 04 Kazimir Malevich, Suprematism No. 55 (Spheric Evolution of a Plane) 1917. Oil on canvas, 25 7/8 x 19 inches (55.6 x 48.3 cm). Kawamura Memorial Museum of Modern Art, Sakura, Japan

fig. 05 (right page) Kazimir Malevich, Alpha Architekton, 1920 (1925 - 26). Plaster, 12 3/8 x 31 3/4 x 13 3/8 inches (31.5 x 80.5 x 34 cm). State Russian Museum, St. Petersburg

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started to use color, to create a more dynamic expression in his paintings, which is sometimes called „Dynamic Suprematism“.3 In 1922 Malevich then turned from two-dimensional paintings to three-dimensional objects. With his „arkhitektony“ series he tried to turn the visions of the Suprematist art form into architectural elements.4

In 1926 he finally wrote down his ideas on Suprematism in the manifest „The Non-Objective World: The Manifesto of Suprematism“.5 Here his article about Suprematism:

from abstraction to architecture.

Kazimir Malevich Suprematismus “Unter Suprematismus verstehe ich die Suprematie der reinen Empfindung in der bildenden Kunst. Vom Standpunkte des Suprematisten sind die Erscheinungen der gegenständlichen Natur an sich bedeutungslos; wesentlich ist die Emp14

findung - als solche, ganz unabhängig von der Umgebung, in der sie hervorgerufen wurde. Eine sogenannte ,,Konkretisierung” der Empfindung in dem Bewußtsein bedeutet im Grunde eine Konkretisierung der Reflexion einer Empfindung durch eine reale Vorstellung. Solch eine reale Vorstellung ist in der Kunst des Suprematismus - wertlos . . . Und nicht nur in der Kunst des Suprematismus, sondern in der Kunst überhaupt, denn der bleibende, tatsächliche Wert eines Kunstwerks (welcher ,,Schule” es auch immer angehören mag) liegt ausschließlich in der zum Ausdruck gebrachten Empfindung. Der akademische Naturalismus, der Naturalismus der Impressionisten, der Cézanneismus, der Kubismus usw. - dies alles sind gewissermaßen nichts als dialektische Methoden, die an sich den eigentlichen Wert des Kunstwerkes in keiner Weise bestimmen. Eine gegenständliche Darstellung - an sich (das Gegenständliche als Zweck der Darstellung) ist etwas, was mit Kunst nichts zu tun hat, jedoch schließt die Verwertung des Gegenständlichen in einem Kunstwerk den hohen künstlerischen Wert desselben nicht aus. Für den Suprematisten ist demnach immer jenes Mittel der Darstellung das gegebene, das die Empfindung - als solche möglichst voll zum Ausdruck bringt und das Gewohnte der Gegenständlichkeit ignoriert. Das Gegenständliche - an sich ist ihm bedeutungslos; - die Vorstellungen des Bewußtseins - wertlos. Die Empfindung ist das Entscheidende . . . und so kommt die Kunst zur gegenstandslosen Darstellung - zum Suprematismus. Sie gelangt in eine ,, Wüste”, in der nichts als die Empfindung zu erkennen ist. Alles, was die gegenständlich-ideelle Struktur des Lebens und der ,,Kunst” bestimmte: Ideen, Begriffe und Vorstellungen ... alles hat der Künstler verworfen, um der reinen Empfindung Gehör zu leihen. Die Kunst der Vergangenheit, die (zum mindesten nach außen hin) im Dienste der Religion und des Staates stand, soll in der reinen (unangewandten) Kunst des Suprematismus zu einem neuen Leben erwachen und eine neue Welt – die Welt der Empfindung – aufbauen…

Als ich im Jahre 1915 in meinem verzweifelten Bestreben, die Kunst von dem Ballast des Gegenständlichen zu befreien, zu der Form des Quadrats flüchtete und ein Bild, das nichts als ein schwarzes Quadrat auf weißem Felde darstellte, ausstellte, seufzte die Kritik und mit ihr die Gesellschaft: ,,Alles, was wir geliebt haben ist verloren gegangen: Wir sind in einer Wüste ... Vor uns steht ein schwarzes Quadrat auf weißem Grund!” Man suchte nach ,,vernichtenden” Worten, um das Sinnbild der ,,Wüste” zu verscheuchen und auf dem ,,toten Quadrat” das geliebte Ebenbild der ,Wirklichkeit” (,,die reale Gegenständlichkeit” und die seelische ,,Empfindung,,) zu erblicken. Das Quadrat erschien der Kritik und der Gesellschaft unverständlich und gefährlich . . . und das war ja auch nicht anders zu erwarten. Der Aufstieg zu den gegenstandslosen Höhen der Kunst ist mühselig und voller Qualen . . . aber dennoch beglückend. Das Gewohnte bleibt immer weiter und weiter zurück . . . Immer tiefer und tiefer versinken die Umrisse des Gegenständlichen; und so geht es Schritt um Schritt, bis schließlich die Welt der gegenständlichen Begriffe - ,,alles was wir geliebt hatten - und wovon wir lebten” unsichtbar wird. Keine ,,Ebenbilder der Wirklichkeit” -, keine ideellen Vorstellungen - nichts als eine Wüste! Die Wüste aber ist erfüllt vom Geiste der gegenstandslosen Empfindung, der alles durchdringt. Auch mich erfüllte eine Art Scheu bis zur Angst, als es hieß, ,,die Welt des Willens und der Vorstellung” zu verlassen, in der ich gelebt und geschaffen hatte und an deren Tatsächlichkeit ich geglaubte hatte. Aber das beglückende Gefühl der befreienden Gegenstandslosigkeit riß mich fort in die ,,Wüste”, wo nichts als die Empfindung Tatsächlichkeit ist ... - und so ward die Empfindung zum Inhalte meines Lebens. Es war dies kein ,,leeres Quadrat”, was ich ausgestellt hatte, sondern die Empfindung der Gegenstandslosigkeit. Ich erkannte, daß das ,,Ding” und die ,,Vorstellung” für das Ebenbild der Empfindung gehalten wurden und begriff die Lüge der Welt des Willens und der Vorstellung. Ist denn die Milchflasche das Sinnbild der Milch?

Der Suprametismus ist die wiedergefundene reine Kunst, die im Laufe der Zeit durch die Anhäufung der ,,Dinge” nicht mehr zu sehen war. Mir scheint, daß die Malerei Raffaels, Rubens, Rembrandts usw. für die Kritik und die Gesellschaft nichts als eine Konkretion von unzähligen ,,Dingen” geworden ist, die den eigentlichen Wert - die veranlassende Empfindung - unsichtbar macht. Bewundert wird ausschließlich die Virtuosität der gegenständlichen Darstellung. Wenn es möglich wäre, die zum Ausdruck gebrachte Empfindung - also den tatsächlichen künstlerischen Wert - aus den Werken der großen Meister herauszuheben und zu verstecken, so würde die Gesellschaft mitsamt der Kritik und den Kunstgelehrten dessen gar nicht gewahr werden. Es ist also durchaus kein Wunder, daß mein Quadrat der Gesellschaft inhaltslos erschien. Wenn man ein Kunstwerk nach der Virtuosität der gegenständlichen Darstellung - nach der Lebhaftigkeit der Illusion - beurteilen will und in der gegenständlichen Darstellung als solcher das Sinnbild der veranlassenden Empfindung zu erkennen glaubt, so wird man nie des beglückenden Inhaltes eines Kunstwerkes teilhaft. Die Allgemeinheit (die Gesellschaft) ist bis heute überzeugt, daß die Kunst zugrunde gehen muß, wenn sie die Nachbildung der ,,heißgeliebten Wirklichkeit” aufgibt; und so sieht sie denn mit Schrecken, wie das verhaßte Element der reinen Empfindung - die Abstraktion - immer mehr und mehr um sich greift. . . Die Kunst will nicht mehr im Dienste des Staates und der Religion stehen, sie will nicht mehr die Sittengeschichte illustrieren, sie will nichts mehr von dem Gegenstande (als solchem) wissen und glaubt ohne das Ding (also ohne die ,,langbewährte Lebensquelle”) in sich und für sich bestehen zu können. Aber das Wesen und die Bedeutung des künstlerischen Schaffens werden immer wieder verkannt, so wie das Wesen der gestaltenden Arbeit überhaupt; denn es ist doch immer und überall einzig und allein die Empfindung der Ursprung jeglicher Gestaltung. Die Empfindungen, die in dem Menschen lebendig werden, sind stärker als der Mensch selbst . .

one. . sie müssen um jeden Preis heraus - sie müssen Gestalt annehmen - sie müssen mitgeteilt oder untergebracht werden. Es ist nichts als die Empfindung der Schnelligkeit . . ., des Fluges . . . - die, indem sie nach einer Gestalt - einer Form - suchte, das Flugzeug entstehen ließ. Denn das Flugzeug ist nicht dazu erbaut, um Geschäftsbriefe von Berlin nach Moskau zu tragen, sondern um dem unwiderstehlichen Triebe der gestaltwerdenden Empfindung ,,Schnelligkeit” Folge zu leisten. Freilich muß der ,,hungrige Magen” und die in dessen Dienst stehende Vernunft stets das letzte Wort haben, wenn es darauf ankommt, den Ursprung und den Zweck eines bestehenden Wertes nachzuweisen . . . aber das ist ja eine Sache für sich. Und so ist es denn in der Kunst genau so, wie in der gestaltenden Technik . . . In der Malerei (ich meine hier natürlich die anerkannte Kunstmalerei) sieht man hinter der kunstgerechten Abbildung des Herrn Müller oder einer genialen Darstellung der Blumenhändlerin am Potsdamer Platz nichts mehr von dem eigentlichen Wesen der Kunst - nichts von einer Empfindung. Die Malerei ist die Diktatur einer Darstellungsmethode zum Zwecke der Darstellung des Herrn Müller, seiner Umgebung und seiner Begriffe. Das schwarze Quadrat auf dem weißen Feld war die erste Ausdrucksform der gegenstandslosen Empfindung: das Quadrat = die Empfindung, das weiße Feld = das ,,Nichts” außerhalb dieser Empfindung. Doch die Allgemeinheit (die Gesellschaft) sah in der Gegenstandslosigkeit der Darstellung das Ende der Kunst und erkannte nicht die unmittelbare Tatsächlichkeit des Gestaltwerdens der Empfindung. Das Quadrat des Suprematisten und die aus diesem Quadrat entstehenden Formen sind den primitiven Strichen (Zeichen) des Urmenschen zu vergleichen, die in ihrer Zusammenstellung kein Ornament, sondern die Empfindung des Rhythmus darstellten. Durch den Suprematismus tritt nicht eine neue Welt der Empfindungen ins Leben, sondern eine neue unmittelbare Darstellung der Empfindungswelt – überhaupt. Das Quadrat verändert sich

und bildet neue Formen, deren Elemente nach Maßgaben der veranlassenden Empfindung auf diese oder jene Weise geordnet werden. Wenn wir eine antike Säule betrachten, deren Konstruktion, im Sinne der bautechnischen Zweckmässigkeit, für uns keine Bedeutung mehr hat, so erkennen wir in ihr die Gestalt einer reinen Empfindung. Wir sehen in ihr nicht mehr eine bautechnische Notwendigkeit, sondern ein Kunstwerk als solches. Das,,praktische Leben” dringt, wie ein obdachloser Vagabund, in jede künstlerische Form und glaubt die Ursache und der Zweck der Entstehung dieser Form zu sein. Aber der Vagabund weilt nicht lange an einem Ort, und wenn er wieder fort ist (wenn die Verwertung eines Kunstwerkes für ,,praktische Zwecke” nicht mehr zweckmäßig erscheint), gewinnt das Kunstwerk seinen vollen Wert wieder. Man bewahrt in den Museen antike Kunstwerke und behütet sie sorgsam, nicht um sie für den praktischen Gebrauch zu erhalten, sondern um das Ewig-Künstlerische in ihnen zu genießen. Der Unterschied zwischen der neuen, gegenstandslosen (,,unzweckmäßigen,,) Kunst und der antiken Kunst liegt darin, daß der volle künstlerische Wert der letzteren erst dann zum Vorschein kommt (erkannt wird), wenn das Leben auf der Suche nach neuer Zweckmäßigkeit sie verlassen hat, während das unangewandte künstlerische Element der ersteren dem Leben vorauseilt und vor der ,,praktischen Verwertung” die Türen schließt. Und so steht denn die neue gegenstandslose Kunst da als Ausdruck der reinen Empfindung, die keine praktischen Werte, keine Ideen, kein ,,gelobtes Land,, sucht. Der antike Tempel ist nicht deswegen schön, weil er einer gewissen Lebensordnung oder der entsprechenden Religion als Schlupfwinkel gedient hatte, sondern weil seine Form aus einer reinen Empfindung plastischer Verhältnisse entstanden ist. Die künstlerische Empfindung (die durch den Bau des Tempels Gestalt wurde), ist uns für alle Zeiten wertvoll und lebendig, die Lebensordnung hingegen (die einst den Tempel umgab) - tot.

from abstraction to architecture.

Das Leben und seine Erscheinungsformen sind bisher von zweierlei Gesichtswinkeln betrachtet worden: dem materiellen und dem religiösen. Man sollte meinen, daß die Betrachtung des Lebens vom Standpunkte der Kunst zum dritten, gleichberechtigten Gesichtswinkel werden müßte; in der Praxis aber wird die Kunst (als Größe zweiten Ranges) in den Dienst derjenigen gestellt, die unter einem der zwei ersteren Gesichtswinkel die Welt und das Leben betrachten. Dieser Zustand steht in einem merkwürdigen Verhältnis zu jener Tatsache, daß die Kunst immer und unter allen Umständen die entscheidende Rolle in dem gestaltenden Leben spielt und daß nur Kunstwerte vollkommen und von ewiger Lebensdauer sind. Mit den primitivsten Hilfsmitteln (Kohle, Borsten, Modellierholz, Darm- und Stahlsaiten usw.) schafft der Künstler, das, was die raffinierteste, zweckmäßigste Mechanik nie zu schaffen imstande sein wird. Die Anhänger der ,,Zweckmäßigkeit” glauben die Kunst als Apotheose des Lebens (und zwar des zweckmäßigen Lebens) ansehen zu dürfen. Im Zentrum dieser Apotheose steht ,,Herr Müller” - oder vielmehr die Abbildung des Herrn Müller (d. h. das Ebenbild des ,,Ebenbildes,, des Lebens). Die Maske des Lebens verdeckt das wahre Gesicht der Kunst. Die Kunst ist uns nicht das, was sie uns sein könnte. Dabei könnte die zweckmäßig mechanisierte Welt tatsächlich zweckmäßig sein, und zwar wenn sie dafür sorgen wollte, daß wir (jeder einzelne von uns) so viel ,,freie Zeit” als irgend möglich gewinnen könnten, um der einzigen tatsächlichen Verpflichtung, die der Mensch der Natur gegenüber übernommen hat, gerecht zu werden - d. h, Kunst zu machen. Diejenigen, die die Tendenz der Konstruktion nützlicher, zweckmäßiger ,,Dinge” fördern und die Kunst bekämpfen oder versklaven wollen, müßten daran denken, daß es keine zweckmäßigen, konstruierten ,,Dinge” gibt. Hat denn die Erfahrung der Jahrtausende nicht bewiesen, daß die Zweckmäßigkeit der ,,Dinge” nicht lange zweckmäßig bleibt?! Alles, was in den Museen zu sehen ist, spricht

unzweideutig dafür, daß nicht ein einziges ,,Ding” wirklich zweckmäßig (d. h. bequem) ist; - sonst würde es ja nicht in dem Museum stehen! Und wenn es früher einmal bequem und zweckmäßig erschien, so schien es eben bloß so, weil man damals noch nichts Bequemeres kannte... Haben wir denn die geringste Ursache anzunehmen, daß die uns heute zweckmäßig und bequem erscheinenden ,,Dinge” morgen nicht überholt sein werden . . . ? und gibt denn die Tatsache, daß die ältesten Werke der Kunst heute wie vor vielen tausend Jahren ebenso schön und selbstverständlich wirken, nicht genügend zu denken? Die Suprematisten haben nun auf eigene Faust die gegenständliche Darstellung der Umgebung fallen lassen, um auf die Spitze der wahren ,,unmaskierten” Kunst zu gelangen und von dort aus das Leben durch das Prisma der reinen, künstlerischen Empfindung zu betrachten. In der Welt des Gegenständlichen steht nichts so ,,fest und unerschütterlich”, wie wir es in unserm Bewußtsein zu sehen glauben. Wir erkennen in unserm Bewußtsein nichts à priori - und für alle Ewigkeit Konstruiertes. Alles ,,Feststehende”, Gewohnte läßt sich verschieben und in eine neue (zunächst einmal ungewohnte) Ordnung bringen. Warum sollte man es nicht zur künstlerischen Ordnung bringen können?! Die verschiedenen komplementierenden und kontrastierenden Empfindungen, oder vielmehr die Vorstellungen und Begriffe, die aus diesen Empfindungen heraus (als deren Reflexe) in unserm Bewußtsein visionär entstehen, kämpfen unausgesetzt gegeneinander; - die Empfindung Gottes gegen die des Teufels, - die Empfindung des Hungers - gegen die des Schönen. Die Empfindung Gottes ist bestrebt, die Empfindung des Teufels zu besiegen - - - und zugleich den Leib. Sie versucht die Vergänglichkeit der irdischen Güter und die ewige Herrlichkeit Gottes ,,glaubhaft zu machen”. Auch die Kunst, soweit sie nicht im Dienste des Gotteskultus (der Kirche) steht, wird verdammt . . . - Aus der Empfindung Gottes entstand die Religion – und aus der Religion die Kirche. - Aus der Empfindung des Hungers entstanden

die Begriffe der Zweckmäßigkeit - und aus diesen Begriffen: Gewerbe und Industrie. Die Kirche sowohl als auch die Industrie versuchten nun die Fähigkeit des künstlerischen Gestaltens, die immer wieder zum Ausdruck kommt, für sich in Anspruch zu nehmen, um wirksame Lockmittel für ihre Erzeugnisse (für die Ideell-materiellen sowohl als auch für die rein-materiellen) zu gewinnen. Auf diese Weise wird, wie man zu sagen pflegt: ,,Das Angenehme mit dem Nützlichen verbunden”. Die Gesamtheit der Reflexe verschiedenster Empfindungen in dem Bewußtsein bestimmt die ,,Weltanschauung” des Menschen. Da nun die in dem Menschen wirkenden Empfindungen wechseln, beobachten wir die merkwürdigsten Veränderungen der,,Weltanschauung”: der Atheist wird gottesfürchtig, der Gottesfürchtige ungläubig usw. …Der Mensch ist gewissermaßen einem kombinierten Radio-Empfangsapparat zu vergleichen, in dem eine ganze Reihe verschiedener Empfindungswellen aufgefangen und realisiert werden, deren Gesamtheit die erwähnte Weltanschauung bestimmen. Die Beurteilung der Werte des Daseins ist somit durchaus veränderlich. Nur die künstlerischen Werte trotzen dem Wechselspiel der Urteilstendenzen; so daß beispielsweise Heiligen, oder Gottesbilder, so weit die in ihnen gestaltgewordene, künstlerische Empfindung erkennbar ist, anstandslos in den Museen der Atheisten aufbewahrt werden können (und auch tatsächlich aufbewahrt werden). Wir haben also immer wieder Gelegenheit, uns davon zu überzeugen, daß die Anordnungen unseres Bewußtseins - die zweckmäßige ,,Gestaltung” - stets relative Werte (also Wertlosigkeiten) ins Leben rufen, und daß nichts außer dem Ausdruck des unter- oder überbewußten reinen Empfindens (also nichts außer der künstlerischen Gestaltung) absolute Werte ,,greifbar” machen kann. Eine tatsächliche Zweckmäßigkeit (im höheren Sinne des Wortes) könnte somit nur dadurch erreicht werden, daß man dem Unter- oder überbewußtsein das Privileg der gestaltenden Anordnung zuspricht. Unser Leben ist ein Schauspiel, in dem die gegen-

standslose Empfindung durch die gegenständliche Erscheinung dargestellt wird. Der Patriarch ist nichts anderes als ein Schauspieler, der eine religiöse Empfindung (oder vielmehr die religiöse Gestalt eines Reflexes der Empfindung) durch Gebärden und Worte in einer zweckmäßig gestalteten Umgebung mitteilen will. Der Kontorist, der Schmied, der Soldat, der Buchhalter, der General ... dies alles sind Rollen aus diesem oder jenem Theaterstück, die von den entsprechenden Leuten gespielt werden, wobei die ,,Schauspieler” dermaßen in Ekstase geraten, daß sie das Theaterstück (und ihre Rollen darin) für das Leben selbst halten. Das eigentliche Gesicht des Menschen bekommen wir so gut wie gar nicht zu sehen; und wenn man jemanden fragt, wer er sei, so erhält man die Antwort: ,,Ingenieur”, ,,Bauer” usw. - also die Bezeichnung der Rolle, die von dem entsprechenden Menschen in diesem oder jenem Schauspiel der Empfindungen gespielt wird. Diese Bezeichnung der Rolle ist auch in dem Passe neben dem Vor- und Zunamen notiert und beglaubigt; wodurch die überraschende Tatsache, daß der Inhaber des Passes der Ingenieur Iwan und nicht der Maler Kasimir ist, außer Zweifel gestellt wird. Im Grunde weiß ein jeder auch von sich selbst sehr wenig, denn das,,wahrhaftige menschliche Gesicht” ist hinter der erwähnten Maske, die für das ,,wahrhaftige Gesicht” gehalten wird, nicht zu erkennen. Die Philosophie des Suprematismus hat alle Ursache, sowohl der Maske als dem ,,wahrhaften Gesicht” skeptisch gegenüberzustehen, denn sie bestreitet die Wirklichkeit eines menschlichen Gesichts (einer menschlichen Gestalt) überhaupt. Die Künstler haben sich in ihren Darstellungen stets mit Vorliebe des menschlichen Gesichts bedient; denn sie sahen in demselben die beste Ausdrucksmöglichkeit ihrer Empfindungen (die vielseitige, elastische, ausdrucksvolle Mimik). Die Suprematisten jedoch haben die Darstellung des menschlichen Gesichts (und des naturalistisch Gegenständlichen überhaupt) aufgegeben und neue Zeichen für die Wiedergabe der unmittelbaren Empfindungen (nicht des ,,gestalt-

one. gewordenen” Reflexes der Empfindung) gefunden, denn der Suprematist betrachtet nicht und betastet nicht, - er empfindet. Wir sehen also, daß die Kunst auf der Grenze des 19. und 20. Jahrhunderts den Ballast der ihr aufoktroyierten religiösen und staatlichen Ideen von sich wirft und zu sich selbst - zu der ihrem eigentlichen Wesen entsprechenden Form - gelangt, und neben den zwei erwähnten ,,Gesichtswinkeln der Weltanschauung” zu einem dritten, selbständigen und gleichberechtigten ,,Gesichtswinkel” wird. Die Gesellschaft ist zwar nach wie vor davon überzeugt, daß der Künstler unnötige, unzweckmäßige Sachen macht; sie denkt nicht daran, daß diese unnötigen Sachen viele Jahrtausende hindurch bestehen und ,,aktuell” bleiben, während die notwendigen, zweckmäßigen Sachen nur wenige Tage alt werden. Die Gesellschaft ist sich dessen durchaus nicht bewußt, daß sie den eigentlichen, tatsächlichen Wert der Dinge nicht erkennt. Dieses ist auch die Ursache des chronischen Mißerfolges aller Zweckmäßigkeit. Eine wirkliche, absolute Ordnung in dem Leben der Menschen mit- und untereinander wäre nur dann zu erreichen, wenn die Menschheit die Gestaltung dieser Ordnung im Sinne der unvergänglichen Werte durchführen wollte. Augenscheinlich müßte demnach das künstlerische Moment in jeder Hinsicht als das entscheidende angesehen werden: solange dies nicht der Fall ist, wird in dem Leben der Menschen untereinander statt der ersehnten Ruhe der ,,absoluten Ordnung” die Unruhe der ,,provisorischen Ordnungen” herrschen, denn die ,,provisorische Ordnung” wird mit dem Maße der jeweiligen Zweckmäßigkeitserkenntnisse gemessen, und dieses Maß ist, wie wir wissen, im höchsten Grade veränderlich. Vor der Hand sind demnach auch alle Kunstwerke, die im ,,praktischen Leben” stehen oder die von dem praktischen Leben in Anspruch genommen werden, gewissermaßen ,,entwertet”. Erst wenn sie von dem Ballast der praktischen Verwertungsmöglichkeit befreit werden (also wenn sie in die Museen kommen)

wird ihr eigentlicher künstlerischer (absoluter Wert) erkannt. Die Empfindungen des Sitzens, Stehens oder Laufens sind vor allem plastische Empfindungen, die die Entstehung der entsprechenden ,,Gebrauchsgegenstände” veranlassen und auch ihre Gestalt im wesentlichen bestimmen. Der Stuhl, das Bett, der Tisch sind nicht Zweckmäßigkeiten, sondern die Gestalt plastischer Empfindungen, so daß der allgemein üblichen Ansicht, alle Gegenstände des täglichen Gebrauchs seien das Resultat praktischer Erwägungen, falsche Voraussetzungen zugrunde liegen. Wir haben genug Gelegenheit, uns davon zu überzeugen, daß wir nie eine tatsächliche Zweckmäßigkeit der Dinge zu erkennen imstande sind und daß es uns nie gelingen wird, einen tatsächlich zweckmäßigen Gegenstand zu konstruieren. Wahrscheinlich können wir das Wesen einer absoluten Zweckmäßigkeit nur empfinden; da nun aber eine Empfindung immer gegenstandslos ist, so ist alles Suchen nach einer Erkenntnis der Zweckmäßigkeit des Gegenständlichen - Utopie. Das Bestreben, die Empfindung in einer Vorstellung des Bewußtseins einzuschließen oder gar durch solch eine Vorstellung zu ersetzen und in eine konkrete utilitäre Form zu bringen, hat die Entstehung all jener unnützen ,,zweckmäßigen Dinge” zur Folge, die von heut auf morgen zu Lächerlichkeiten werden. Man kann es nicht oft genug wiederholen: nur auf dem Wege des künstlerischen Unter- oder überbewußten Schaffens entstehen absolute, reale Werte. Die neue Kunst des Suprematismus, die durch das Gestaltwerden der malerischen Empfindung neue Formen und Formverhältnisse geschaffen hat, wird, indem sie diese Formen und Formverhältnisse von der Fläche der Leinwand in den Raum überträgt, zu einer neuen Baukunst. Das Element des Suprematismus ist, sowohl in der Malerei als in der Architektur von jeder sozialen oder sonstigen materialistischen Tendenz frei. Jede soziale Idee, so groß und so bedeutungsvoll sie auch sein mag, entsteht aus der Empfind-

from abstraction to architecture.

ung des Hungers; jedes Kunstwerk, so klein und bedeutungslos es auch erscheinen mag, entsteht aus der malerischen oder plastischen Empfindung. Es wäre doch wohl die höchste zeit, einzusehen, daß die Probleme der Kunst und die des Magens und der Vernunft weit auseinanderliegen. Nachdem nun die Kunst durch den Suprematismus zu sich selbst - zu ihrer reinen unangewandten Form - gekommen ist und die Unfehlbarkeit der gegenstandslosen Empfindung erkannt hat, versucht sie eine neue wahrhaftige Weltordnung, eine neue Weltanschauung aufzurichten. Sie erkennt die Gegenstandslosigkeit der Welt und bemüht sich nicht mehr darum, Illustrationen der Sittengeschichte zu liefern. Die gegenstandslose Empfindung ist zwar zu allen Zeiten die einzige Möglichkeit der Entstehung eines Kunstwerkes gewesen, so daß der Suprematismus in dieser Beziehung nichts Neues bringt; jedoch bot die Kunst der Vergangenheit, ohne es zu wollen, durch die Verwertung des Gegenständlichen einer ganzen Reihe ihr wesensfremder Empfindungen Unterkunft. Aber was ein Baum ist - das bleibt ein Baum, auch wenn die Eule in seiner Höhlung sich ein Nest gebaut hat. Durch den Suprematismus werden der bildenden Kunst insofern neue Möglichkeiten eröffnet, als durch den Fortfall der sogenannten, Zweckmäßigkeitsrücksichten” eine auf der Bildfläche wiedergegebene, plastische Empfindung in den Raum übertragen werden kann. Der Künstler (der Maler) ist nicht mehr an die Leinwand (an die Bildfläche) gebunden und kann seine Kompositionen von der Leinwand in den Raum übertragen.” Malevich, Kazimir: Suprematismus, in: Wingler, Hans M. (Ed.): Die gegenstandslose Welt. Mainz 1980, 64-98

â&#x20AC;&#x153;There is movement and movement. movements of great tension and there is also a can be felt. In art this state is called dynamic movement. as a new and hitherto unknown phenomenon in art, a

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from abstraction to architecture.

There are movements of small tension and movement which our eyes cannot catch although it This special movement was discovered by the futurists phenomenon which some Futurists were delighted to reflect.â&#x20AC;? (Kazimir Malevich, 1915)

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from abstraction to architecture.

from arts to architecture. 22

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fig. 06 Zaha Hadid (1950 - 2016)

from abstraction to architecture.

Zaha Hadid was born in 1950 in Baghdad, Iraq. She studied mathematics at the American University of Beirut and moved then to London to study architecture at the Architectural Association School. In 1977, she was awarded the Diploma Prize. After her own studies she had a teaching profession at the AA School until 1987, furthermore she held several chairs and guest professorships at different schools and universities all over the world, such as Harvard, Columbia, the University of Applied Arts in Vienna and Yale. In 1979 she founded her own office Zaha Hadid Architects and already in 2004 she was the winner of the Pritzer Architecture Prize. 24

fig. 07 Zaha Hadid The Peak Leisure Club, Hong Kong, 1982 - 83 Day View from courtyard, painting

fig. 08 (left) Zaha Hadid The Peak Leisure Club, Hong Kong, 1982 - 83 Blue Slabs (Night), painting San Francisco Museum of Modern Art 25

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from abstraction to architecture.

Zaha Hadid´s outstanding projects and ideas have always been an important input for the architectural world. Her contributions gave her several awards and prizes, such as the Forbes List of the „World´s Most Powerful Women“, the „Praemium Imperiale“ of the Japan Art Association, the Stirling Prize, the „Artist for Peace“ from UNESCO and TIME magazine including her in the „100 Most Influential People in the World“ and the world´s top thinker in 2010.6 Zaha Hadid´s visions were a redefinition of architecture in the 21st century and had a worldwide impact. To understand and experience her projects, one must understand that seeking for beauty was not her only goal. The beauty and elegance in her works goes always hand in hand with meaning. Generating public spaces that are inventive and intuitive are part of her architectural language.7 To understand her ideas and concepts we have to look back, starting with the design proposal of her graduation project, Malevich´s Tektonik, where she turned the abstract object, designed by the Suprematist artist Kazimir Malevich, into an architectural building. The proposal was a project for a bridge over the Thames in London, presented through abstract paintings, rather than

fig. 09 Zaha Hadid Malevich´s Tektonik, London, 1976 - 77 Horizontal Tektonik, painting San Francisco Museum of Modern Art, Agnes E. Meyer and Elise Stern Haas Fund and Accession Committee Fund 26

architectural drawings or models. Zaha Hadid got inspired by Malevich´s vision of a new art form, called Suprematism, which should become a form of pure art. Her design idea transforms the abstract and imaginary visions of Malevich into architecture, and therefore turning it into an abstract reality. The image of something non-existing, something pure, turns into a space, with functions and specific use.8 Another project of her, inspired by Suprematist art, was the design for The Peak Leisure

Club in Hong Kong. Here she did not use a specific art piece and transformed it into a building, rather she designed it by using abstract, personal forms. Next to the iconic characteristic of using abstract shapes, another aspect, that made Zaha Hadid´s architecture unique, is the aspect of geology. In The Peak project she demonstrates in her paintings how the buildings is landing on the mountaintop, hovering over the city of Hong Kong.9 As Brett Steele describes in his article „An-

ecdote as Evidence: Zaha´s World“: „For her, the relentless displacement of conventional drawing habits was a way to shake up familiar architectural problems like orderly figure-ground relationships, the truthiness of perspectival space, and a presumed realism and consistency of rendering, all of which Zaha disassembled, rewired into entirely new formal repertoires, and set in motion.“ 10

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One of her first built projects, where her visions became reality, was the Vitra Fire Station in Weil am Rhein, Germany (19901994). Part of the design process was again, representing the proposal in paintings, creating an interaction between image and project. The flow of the surrounding path system on the Vitra complex was an important aspect in defining the shape of the building, existing of different tilted, sliced and cutted surfaces. As seen in the paintings, the different interweaving paths, seem to freeze into a

piece of art, creating the design proposal for the Fire Station.11 Described by Zaha Hadid Architects: „Conceived as the end-note to existing factory buildings, the Vitra Fire Station defines rather than occupies space – emerging as a linear, layered series of walls, between which program elements are contained – a representation of `movement frozen’- an alert` structure, ready to explode into action at any moment.“12

from abstraction to architecture.

fig. 10 (left) Zaha Hadid Vitra Fire Station Weil am Rhein, Germany, 1990 - 94 Aerial site plan, painting fig. 11 Zaha Hadid Vitra Fire Station Weil am Rhein, Germany, 1990 - 94 Photography by Christian Richter

Detlef Mertins The Modernity of Zaha Hadid „During the heyday of postmodernism in the 1980s, as architects turned to historical styles, urban traditions, and popular culture to rebuild the public support that modernism had lost, Zaha Hadid declared that modernity was an incomplete project that deserved to be continued. This was an inspiring message, and its bold vision was matched by projects such as the competition-winning design for The Peak in Hong Kong (1982-83). Hadid´s luminous paintings depicted the city and the hillside above it as a prismatic field in which buildings and landform were amalgamated into the same geological formation of shifting lines, vibrant planes, and shimmering colors, at once tangible and intangible, infused with the transformative energy that Cubist, Futurist, and Expressionist landscapes had sought to capture [Fig. 02]. The figure of her building – a hotel – was barely discernible within this field. It was composed of three long prismatic bars – overlapping, rotating, and sliding above one another, as if detaching themselves from the earth or, alternatively, landing from outer space, anchored by vertical staffs, hovering momentarily on terraces cut into the hillside. These images sent ripples of excitement through the architectural world, evidence that modernism was not a dirty word after all. It was alive, larger than life, and totally seductive. Hadid´s was a different modernism than we had become accustomed to, no longer utilitarian, blandly corporate, or aggrandizing of technology. Her vision of Hong Kong offered a powerful wish image, at once futuristic and archaic, geometric and geomorphic. Hadid tapped into the largely forgotten vein of Russian Constructivism and infused its revolutionary heroics with cosmopolitan urbanity. She rekindled the flame of modernity with this new cocktail of desires. The word „Constructivism“ came into usage in the early 1920s, in art most notably with the

Working Group of Constructivists formed in Moscow in 1921, of whom Alexander Rodchenko and Varvara Stepanova became the best known.1 Yet the term ha soften been associated with the work of Vladimir Tatlin, whose reliefs, beginning already in 1913, launched a sustained but also diverse field of experimentation into new nonrepresentational modalities of artistic production, for which „Constructivism“ has served as an umbrella concept. 2 In the field of architecture, the term was initially associated with the Union of Contemporary Architects, including Moisei Ginzburg and Alexander Vesnin, as well as others such as Konstantin Melnikov. During the late 1920s, a younger generation appeared on the scene, including Ivan Leonidov, whose work on new building and urban types employed the visual language of elemental geometry in a more extreme way than architects had before. At the same time, Yakov Chernikov demonstrated through his teaching that an abstract, graphic (rather than painterly) language of lines, planes, volumes, and color could be employed to generate an extraordinary diversity of things, from machines to engineering works, buildings, and cities.3 Though initiated prior to 1917, these lines of research in art and architecture became aligned with the Russian Revolution´s radical politics and served as instruments for the reorganization of life after the overthrow of the tsar. Art was enlisted to create festivals in the street, propaganda on railway cars, and didactic programming in theaters and cinemas. Working at times in parallel with the artists and at times independently, Constructivist architects devised new building types that would be commensurate with the forms of social organization desired in the new Communist state. From apartments to social clubs, theaters, and stadiums, they reconceptualized buildings as social condensers, catalysts for new forms of collective living. During the early 1920s, these various trajectories coalesced into the challenge of defining a new paradigm that would unite art and life and transform the world into a new artistic reality.

With their project Exodus, or the Voluntary Prisoners of Architecture (1972, [...]), Rem Koolhaas and Elia Zenghelis with Madelon Vriesendorp and Zoe Zenghelis had already revisited Russian Constructivism at the Architectural Association in London, where Hadid would soon emerge as Koolhaas and Zenghelis´s most talented student.4 This project looked to Leonidov´s proposal for a linear infrastructural city of 1930 in attempting to develop an alternative to „the behavioral sink of a city like London.“5 Seeking to operate at the scale of metropolitan reconstruction, the group turned to Constructivism to strike a path between the legacy of CIAM ((Congrès lnternationaux d´Architecture Moderne), on the one hand, and the more recent artistic urban visions of Superstudio´s Continuous Monument (1969), Archizoom´s Non-Stop city (1969-72), Archigram´s Plug-In City (1962-64), Yona Friedman´s Spatial City (1958-59), and Constant´s new Babylon (1956-). For Koolhaas, the work of Leonidov became a strategic ingredient in an explosive, ironic mixture that also included the raw vitality of the enclave-city of West Berlin, fantasies of decadence in early twentieth-century Manhattan, Surrealist juxtapositions of incongruous fragments, and the typological delirium of O.M. Ungers. It was in this context that Hadid rediscovered the Suprematist and Constructivist precursors to the Utopian artist-architects oft he 1960s, turning specifically to Kazimir Malevich to find her own way of dreaming the future by deliberately tapping into experiments left incomplete. Where Tatlin and the later Constructivists abandoned the medium of painting in favor of materially based reliefs, assemblages, spatial constructions, stage sets, and even architecture – all of which already occupied the same world as the observer – Malevich launched a „new painterly realism“ in 1915, called it Suprematism, and declared it the key to transforming the world.6 His display of over twenty canvases – with Black Square hung in a corner - at The Last Futurist Exhibition of Paintings: „0.10“ in Petrograd (1959, [Fig. 03]) served to demonstrate both the

one. deductive rigor and generative potential of what he considered a new system of pure painting. Its systematic character lay in the permutation of elemental shapes in black, white, and red – beginning with the square, then the circle, cross, rectangle, trapezium, triangle, ellipse, and combinations of all these. Through the show, Malevich attracted students who joined him in developing Suprematism over the following years, and the style soon incorporated greater diversity, movement, and expression [Figs. 04]. Architect Peter Cook once observed that „Malevich´s Architekton [Fig. 05] is constantly being erected as the baseline for Zaha´s own work.“7 Certainly, presentations of Hadid´s oeuvre often, and with biographical inevitability, begin with her graduation project from the Architecture Association – Malevich´s Tektonik of 1967-77 – for which she transformed Malvich´s assemblage of elemental blocks into a hotel on the Hungerford Bridge over the Thames in London. But what kind of origin was this and what kind of repetition did it involve? Where Malevich considered his Black Square of 1915 as the founding origin of Suprematism, the irreducible “degree zero” of painting and seed germ of an entire artistic system, Hadid took up the trajectory of Suprematism already well into its evolution. After five years of developing Suprematism in painting, Malevich and his followers moved from two into three dimensions, from painting into architecture, decorative arts, and even urbanism.8 More precisely, this constituted a return since it was in his stage sets for the Futurist play Victory over the Sun (1913) that he had first discovered the black square. He cast his Architekton series in white plaster, each one different, first horizontal and later vertical, and displayed them together in a black room, as if they were creations ex nihilo, floating in the nothingness of space. He even called them satellites and planets. In contrast, Hadid began with an act o appropriation more reminiscent of Marcel Duchamp´s Bicycle Wheel of 1913 than Malevich´s elementarism. She brought Malevich´s

Alpha Architekton (1920) down to earth, anchored it to the Hungerford Bridge, and opened it for business as a hotel. Somewhat too short to span the entire width of the river, somewhat too wide to be contained by the existing bridge, it remained alien and contingent in its new context. In representing her project as a painting (rather than as a maquette), Hadid folded Malevich´s Suprematist architecture back onto its origins in painting and in the process scrambled the definitions of both mediums. Where Malevich eschewed representations, Hadid´s paintings must be considered representational, though not in a naturalistic sense, since what they depict are potential architecture, not physical realities. They represent her vision of an abstract architecture, or in Malevich´s terms, a nonobjective reality. Moreover, she sets her projects into specific urban contexts that she portrays abstractly as Suprematist landscapes in cities. Since Suprematism itself did not produce such interpretative abstractions, it is necessary to turn to the paintings of landscapes and cities in Cubism, Futurism, and Expressionism (including Malevich´s own, such as [Fig.01] to discern the implications of Hadid´s operation. Drawing on Cubist decompositions of landscapes into prismatic fields, Futurist expressions of dynamic energies, and Expressionist renderings of psychic experience, Hadid transformed Suprematism from an art of building complex structures out of elemental geometric shapes into one that seeks to make visible the elemental nature inherent in the world. Where Malevich declared in 1920 that the forms of Suprematism “have nothing in common with the technology of the earth´s surface”.9 Hadid´s paintings bring mathematical and geological geometries into greater alignment. Hadid created Suprematist paintings of Suprematist buildings in Suprematist landscapes and cities, using architectural drawings – plans, sections, and isometrics – in place of pure geometric figures. The plan of the Architekton-hotel appears several times in different places on the canvas, in solid red and black and in compositions

from abstraction to architecture.

of mixed colors, so that it is transformed into a series of abstract shapes floating in space. In the bottom left corner, the building is decomposed into its constituent planes of color, bringing the painting even close to Malevich. Rather than reinforcing the volumetric integrity of the various blocks that make up the Architekton, Hadid´s application of color decomposes its masses into planes, much as Theo van Doesburg had done for his Maison Particulière project of 1923. Where modernists such as Malevic sought an origin, or ground, for their work in the autonomous properties of different mediums, Hadid´s painting of Suprematist buildings envisions the building of Suprematis paintings. With such beginning - a beginning that denies, but then compounds, folds, and twists the modernist idea of origins, we could say that Hadid took seriously Malevich´s statement that Suprematism was itself merely the beginning of a new art and that he was merely its initial theoretician.10 Or we could also say that she gave Malevich a “monstrous child”, to borrow the image that Gilles Deleuze gave in describing the relationship of his books to those of philosophers with whom he was in dialogue, such as Bergson, Leibniz, and Spinoza.11 In “Mediators”, an essay from1985, Deleuze took issue with the return at that time of the modernist problem of origins and insisted instead that creativity was mediated: “Mediators are fundamental. Creation is all about mediators. Without them, nothing happens. They can be people…but things as well, even plants or animals.... Wether they´re real or imaginary, animate or inanimate, one must form one´s mediators. It´s a series: if you don´t belong to a series, even a completely imaginary one, you´re lost.”12 Deleuze suggested that, in fact, a change of paradigm was underway, exemplified by the shift in cultural preference from sports of energetic movement, such as running and throwing a javelin, which presume starting points, leverage, effort, and resistance, to sports such as surfing, windsurfing, and hang gliding, which “take the form of entry into an existing wave.”13 In employing Malevich as mediator, Hadid en-

tered into an existing wave, on that had already gone beyond Malevich and his pursuit of origins, although Malevich remained a presence in it, as did ideas of new beginnings, first principles, and universal elements. Through interlocutors, such as Vasily Kandinsky [...] revisionist students such as El Lissitzky, and more distant admirers such as László Moholy-Nagy [...], Suprematism had already become a broader, more diverse movement, which explored the potential of new mediums and technologies for creating an abstract landscape of dynamic forms and fluid spaces. When Hadid joined the wave, she inflected it further to include conceptual explorations of language, generative process, totality, and openness. Treating each project as an experiment in the laboratory of new beginnings, she replayed the modernist return to origins but without its fundamentalism or teleology. In translating figures and patterns from two to thee dimensions, Hadid qualified the quest for a universal architectonic language by exploiting the diverse formal experiments already undertaken in Suprematism and other abstract painting. Where Malevich had restricted his architecture to the primary language of prismatic blocks, Hadid used each new project to explore the potential of another formal variant developed in painting. Consider, for example, the differences between The World (89 Degrees), (1983), A New Barcelona (1989), London 2066 (1991), Vision for Madrid (1992), the Victoria & Albert Museum, Boilerhouse Extension (London, 1996), the New Campus Center, Illinois Institute of Technology (Chicago, 1997-98), and Boulevard der Stars (Berlin, 2004). Today, Hadid´s work is at times angular and prismatic (Car Park and Terminus Hoenheim-Nord, Strasbourg, France, 19982001), at other times rectilinear (Lois and Richard Rosenthal Center for Contemporary Art, Cincinnati, 1997-2003), sinuous (MAXXI National Centre of Contemporary Arts, Rome 1997-ongoing), geomorphic (Ordrupgaard Museum Extension, Denmark, 2001-ongoing), plastic (Ice-Storm at MAK, Vienna, 2003), and mixed (BMW Plant Central Building, Leipzig, Germany,

2001-05). While these buildings, and even such formally hybrid ones as the Phaeno Science Center in Wolfsburg, Germany, (1999-2005) – which is part curvilinear, part angular, part distorted rectangles – draw on modernist research into the possibility of a universal language, they also imply that the language of architecture today is more inclusive, mutable, and personal than it was in the past. Hadid continually distorts, morphs, stretches, and stresses the forms she employs – animating them with energy, direction, variability, and speed. As opportunities for building her visions gradually arose, Hadid found for architecture the equivalent of the material and sensuous qualities of Suprematist painting – the effects of Malevich´s handling of pigment, techniques of fading, and combining of colors. Beginning with the Vitra Fire Station (Weil am Rhein, Germany, 1990-94), she has looked to concrete for its formal malleability, structural flexibility, and expressive capacity. Echoing the monumental plasticity of concrete buildings at mid-century by Marcel Breuer, Oscar Niemeyer, and Eero Saarinen, Hadid has often foregone tectonic expression and used concrete to emphasize form and surface, defy gravity, and evade regularity. For furniture and interiors, she often works in fiberglass and plastic for similar reasons and to similar effect. She prefers to mold and cast than to construct and assemble. Hadid´s way of working married the generative permutations of Suprematism with the stepby-step generative design method devised by Ginzburg and other Constructivist architects. Ginzburg´s “functional method” began with the abstract diagramming of given functional requirements and their potential to change over time, and then turned to new industrial materials and methods of construction to “crystallize the social condenser.”14 The resultant spatial form could then be assessed and refined for its ability to “organize perception”, since it was understood to be active with respect to the inhabitant rather than passive. By combining generative processes from art and design, Hadid effectively discharged

the residual methaphysics of form that limited Malevich. She absorbed his formalism into an ever-expanding repertoire of form-generating techniques – the explosion of matter in space, the bundling, of lines an ribbons, the organizing of fields, aggregations, and pixilations, and the warping, bending, twisting, and melting of forms – and put these to work in reorganizing life. Over the course of her career, Hadid has developed a distinctive calligraphic mode of sketching with which she begins her projects. While her lines at times recall those of Kandinsky or Chernikov, they are more spontaneous and probing. Where Erich Mendelsohn´s fluid ink sketches inaugurated the massing and profile buildings such as his Einstein Tower (near Potsdam, Germany, 1919-21), Hadid´s lines explore possible organizations that can gradually be developed into plans, sections, and three-dimensional forms. Likewise, her drawings should not be confused with expressive sketches that seek to manifest the unconscious psyche, such as Coop Himmelblau´s drawing with eyes closed for their Open House of 1983 (Malibu, California). Rather, Hadid´s drawings capture and reveal the intangible forces, flows, and rhythms already at play in the sites that she is to develop and the building briefs that she is given. Like her paintings of urban sites, they speculate from external givens. Most recently she has refined this kind of diagramming through computer modeling, which is capable of handling vast amounts of information as well as producing complex and mutating geometries. By linking the analytical and generative uses of computing. Hadid demonstrates how powerful a tool it can be for designers eager to participate productively in the evolution of physical environments always and already in motion. Hadid insists, like Malevich, on seeing art and architecture as a totality, but figures it more concretely as the urbanization of the planet. Her conception of the whole is dynamic, indeterminate, and emergent, rather than static and resolved. In this, she clarifies something that Malevich himself struggled with. His world-

one. view was theological and transcendental, yet he sought to account for the evolution of art as part of human history.15 He explained Cubism, Futurism, and Suprematism as adding element to art from the outside, from the world of modern technology and experience. At first the audience, he recalled, was shocked and dismayed by such abnormalities, but then came to accept them, thereby expanding the horizon of perception, and of the perceptible as such.16 He considered individual works to be “constructions” that pushed beyond the closed system of art, which was merely “on its way” toward a future system. Later, after Stalin rejected modern art in favor of Socialist Realism, Malevich painted abstract depictions of peasant life, which he still considered to be Suprematist, suggesting just how much he believed Suprematism to be historically contingent. Hadid extended this contingency into the twenty-first century and understands the relationships of part and whole, one and many, past and future, as immanent. The whole is given but elusive. It does not need to produced through human works, although they participate in its ongoing metamorphosis. For Hadid, the special contribution that an architecture of form – abstract and dynamic - can make it to stand in for that totality, which eludes every effort, every model, and every allegory that seeks to represent it, in science as in philosophy, theology, and art. Like Piet Mondrian and van Doesburg, Malevich believed in a hierarchical relationship between art and utility. He was indifferent to function, even when it came to architecture. But Malevich spoke of his art producing psychological effects, expressing things like the “sensation of flight,” the “sensation of metallic sounds,”the “feeling of wireless telegraphy” and “magnetic attraction.”17 In expressing such sensations, he brought the experience of modern technology into art abstractly, without over representation. He provided an opportunity for the observer to reexperience these feelings directly through perception, which he held to be more capable than the conscious mind of accessing the absolute. As a result, his images are profoundly ambiguous, open to inter-

pretation bus also misinterpretation. They have the poetic character of an open work, which, as Umberto Eco has described, rejects definitive and concluded messages and, instead multiplies possibilities and encourages acts of conscious freedom.18 While Malevich gave priority to form over function and material, he recognized that forms could have applications and utility in quotidian life as teapots, decorated china, textile patterns, clothing, and buildings. While his overly geometrized work in these realms was far from convincing, he suggested in his writings a provocative way to rethink the question of use, which was informed by his expressive conception of art: “a chair, bed, and table are not matters of utility but rather, the forms taken by plastic sensations….[T]he sensations of sitting, standing, or running are, first and foremost, plastic sensations and they are responsible for the development of corresponding “objects of use” and largely determine their form… We are never in a position for recognizing any real utility in things and…shall never succeed in constructing a really practical object. We can evidently only feel the essence of absolute utility but, since a feeling is always nonobjective any attempt to grasp the utility of the object is Utopian.”19 We are accustomed to objects such as furniture having determined and codified uses, when in fact they can be used in different an unexpected ways. This openness is something that Hadid has pursued in her interiors, from the furniture for her owen apartment (originally made for 24 Cathcart Road, London, 1985-86) to her Z-Scape furniture, Iceberg sofa/lounger, and Ice-Storm domestic landscape, which beckons one to lie on it, lean on it, climb on it, slide on it, crawl through it, and eat on it, alone or with others.

from abstraction to architecture.

ten need to serve many at once and when uses change more rapidly than buildings can. Hadid´s buildings, like her furniture, are bigger than their functions, multivalent and multifunctional. They are the infrastructure and support for unexpected events and emergent ways of livings as well as programmed scripts. They tease and enable their inhabitants to experiment with other ways of doing things. The subjects of her buildings are both generators of forms and participants in the life and completion of the work over time. It is this combination of attentiveness and openness that defines Hadid´s social vision. Indebted to the catalytic ambitions of Suprematist art and Constructivist architecture, Hadid´s modernity is fully self-reflexive, aware not only of its devices and the contingency of its dreams, but also the risks it takes. In a world of instability, contrariness, uncertainty, and deception, she produces an architecture that embraces flux and polyvalent mixtures. Urbane, daring, and exuberant, her oeuvre supports a vision of life as an art – lived intensely and expansively, with imagination and style. Like life itself, Hadid´s modernity is constitutively unfinished and always surprising.” Mertins, Detlef: The Modernity of Zaha Hadid, in: Celant, Germano (Ed.): Zaha Hadid. New York 2006, 33-38

Certainly the uses of buildings change over time, often radically and unpredictably. In the 1920s, Mies van der Rohe criticized a friend, the organicist functionalist Hugo Haering, for seeking too tight a fit between form and function – optimizing form for only one function when spaces of-

â&#x20AC;&#x17E;Malevich discovered abstraction as an work to previously unheard levels of invention; this

one.

from abstraction to architecture.

experimental principle that can propel creative abstract work allowed much greater levels of creativity.â&#x20AC;&#x153; (Zaha Hadid, 2007)

one.

from abstraction to architecture.

formulating a new ground. 36

one.

from abstraction to architecture.

The most simplified way to show a cityÂ´s structure is representing it in a figure-ground diagram. The first architect who used this method, was Giambattista Nolli (1701-1756), who drew the famous Nolli plan of Rome in 1748. In his drawing he represented all the buildings in black and the spaces and streets in white. It was a new way of illustrating the urban fabric of a city and replaced the drawings of the Middle Age and the Renaissance, which tried to include single buildings in axonometrical views or folded down elevations.13

fig. 12 Giambattista Nolli Map of Rome, 1748

Especially in the 1960s and 1970s architects went back to the simple figure-ground diagram to describe and understand the cities development and evolution. By easing the illustration of a city by showing build-

Palladio

Ledoux

Loos

Wright

Le Corbusier

fig. 13 evolution of ground in architecture

Mies v. d. Rohe

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from abstraction to architecture. Coop Himmelblau

Rem Koolhaas (OMA)

Peter Eisenman

fig. 14 evolution of ground in architecture

ings in black and „non-buildings“ in white, it helped them to understand the connections between public and private, solid and void. While Nolli´s approach seams rather basic, it actually leads to a change in the thinking of the post-modern architects from designing a single object to focus on the bigger whole. If Nolli´s plan of Rome is not seen as sequence of solid objects, but rather an exposing of the spatial structure of the city, by seeing the void spaces carved out of the solid mass, one stops perceiving a building as a solid isolated object, but is able to expe-

Zaha Hadid

rience the city as an urban fabric. Furthermore, Nolli´s technique allowed comparing single components in size, shape and positioning inside the city´s structure. For the post-modern architects it got the new intellectual tool to break the object-focused theory of the modernist architects. It helped them to play with the idea of figure and ground, private and public and seeing them as solid or void objects or vice versa.14 As seen in the diagram of the evolution of the ground in architecture, based on Peter

Trummer´s Fall 2013 Baumer Lecture series #3 (fig.13/14), modernist architects approached a new way on how to deal with the relationship between building and ground. The question they focused on, was how the objects is standing on the ground and furthermore how and where the public ground emerges. Post-modernist architects pushed this idea of dealing with the public ground then even further, as we can see in the diagram´s of Coop Himmelblau, Rem Koolhaas, Peter Eisenman and Zaha Hadid.15

fig. 15 Zaha Hadid Hoenheim - Nord Terminus and Car Park Strasbourg, France, 1998 - 2001 Relief Studies 41

one.

from abstraction to architecture.

topview

section

fig. 16 figure/ground evolution with Zaha Hadid

perspective

Focusing on Zaha Hadid´s architecture we can already see in her early paintings and drawings, that she was working a lot in combination with the ground. The traditional understanding and relationship of figure and ground starts to change. The building is not a single object, standing isolated on a ground anymore, it starts to build up a relationship with its ground underneath. Through this scenario the figure and ground merge into one element and new spaces arise. This approach of the artificial territory goes along with the building´s program,

which is due to Zaha Hadid more like a choreography of different events placed along movement paths, along a flow of lines. Zaha Hadid pushes the modernist agenda a little further, by not just deliberating the ground, but also activating the new public ground with program, a point that was often missed in the modernist approach.16 As she mentioned in an interview with Alvin Boyarsky: „If you look at all the postwar housing, the CIAM [Congrès Internationaux d´Architec-

ture Moderne] housing, Brasília – it all suffers from this problem of the ground. The ground could be anywhere, but once you establish a ground, you have to operate on it, especially in an urban situation.“17 The merging of the public ground into the building makes it more and more difficult to distinguish between where the city ends and the architecture begins. They start to build a hybrid element, where the qualities of exterior and interior start to blend into each other.18

fig. 17 Zaha Hadid Landesgartenschau / Landscape Formation One Weil am Rhein, Germany, 1996 - 99 Painting fig. 18 (left) Zaha Hadid Landesgartenschau / Landscape Formation One Weil am Rhein, Germany, 1996 - 99 Photography by HĂŠlĂ¨ne Binet fig. 19 (right Zaha Hadid Landesgartenschau / Landscape Formation One Weil am Rhein, Germany, 1996 - 99 Painting 43

one.

On the next pages we will look into some iconic projects of Zaha Hadid where she used this approach of blending the ground into the building to create new spaces and programs. The LFOne pavilion was designed for the international gardening show in Weil am Rhein, Germany and is serving as an exhibition and event space. Getting rid of the approach of a building being an isolated object, the pavilion is embedded inside the existing garden space, emerging slowly from the

lines of the surrounding path network. The different rooms and spaces inside the building are organized along the paths of the building, which take you from ground level, on top of the pavilion. The LFone pavilion is part of several works, where Zaha Hadid explored the qualities that arise from natural landscape forms such as mountains, river deltas, oceans, deserts and further more. Different to other architecture that normally closes, defines and segments, landscape suggests and opens up.19

from abstraction to architecture.

As described on the homepage of Zaha Hadid Architects: „Designed and built for a garden festival, Landscape Formation One rejects the concept of building as ’isolated object’ – bleeding out of and dissolving back into the surrounding landscape – utilizing a network of entangled paths and interwoven spaces to create a structure that contains an exhibition hall, café and environmental centre.“20

fig. 20 Zaha Hadid Hoenheim - Nord Terminus and Car Park Strasbourg, France, 1998 - 2001 Photography by HĂŠlĂ¨ne Binet

fig. 21 (left) Zaha Hadid Hoenheim - Nord Terminus and Car Park Strasbourg, France, 1998 - 2001 Aerial photography by Roger Rothan 45

one.

The car park and Terminus Hoenheim Nord was designed for the city of Strasbourg, to support their plan of developing a new tram line, to minimize the car traffic inside the city center. The design idea behind the project is based on different lines and fields, that overlap with each other and build an overall whole. Those fields and lines come from the network of different movements of pedestrians, bicycles, cars and trams.21 These elements are represented in different ways. Starting as light lines in the

ground, on the ceiling or as furniture pieces, merging altogether from a twodimensional element into a three-dimensional whole. The car park and the tram station work as an ensemble, by managing to create a connection between the ground, walls and space. It seems like an artificial landscape, blurring the borders between open landscape and interior space, between nature and architecture.22

from abstraction to architecture.

fig. 22 Zaha Hadid Hoenheim - Nord Terminus and Car Park Strasbourg, France, 1998 - 2001 Painting fig. 23 / 24 Zaha Hadid Hoenheim - Nord Terminus and Car Park Strasbourg, France, 1998 - 2001 Sketches

fig. 25 Zaha Hadid Heydar Aliyev Centre Baku, Azerbaijan, 2007 - 12 Photography by Hélène Binet

fig. 26 (left) Zaha Hadid Heydar Aliyev Centre Baku, Azerbaijan, 2007 - 12 Section 47

one.

An example where Zaha Hadid then moves from not only connecting the building with the ground, but actually making the building itself the ground, is the design for the Heydar Aliyev Centre in Baku, Azerbaijan. The building emerges out of the topography of the natural landscape. One single surface is wrapping around the different spaces and functions inside the center. This allows every element to keep its own identity but also providing a connection between the single entities. The artificial landscape in front of the building grows slowly into architecture and is turning into the outer skin of the build-

ing. It creates the Cultural Plaza for the public and directs visitors through the Centre.23 „The design of the Heydar Aliyev Center establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. The plaza, as the ground surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally public interior space and define a sequence of event spaces dedicated to the collective celebration of contemporary and traditional Azeri culture.“24

from abstraction to architecture.

fig. 27 Zaha Hadid Heydar Aliyev Centre Baku, Azerbaijan, 2007 - 12 Photography by Iwan Baan

Mohamed Sharif Figuring ground: notes on recent work by the Office of Zaha Hadid „On studying the latest monograph dedicated to recent work by the Office of Zaha Hadid (OZH) – El Croquis No.103: „Zaha Hadid 1996-2001“ - one enjoys two distinct sensations: awe and pleasure. Truly remarkable in both number and quality, this collection of sophisticated, poised and delicate projects – some recently realized, others imminent – demonstrates syntheses more sizable and more programmatically challenging than those of the previous 15year period. Indeed, in conversation with Architectural Association Chairman Mohsen Mostafavi, Hadid offers that „a new degree of complexity has been entered“. As Mostafavi notes, the conceptual theme evident in recent work is that of geology. The genealogy of this theme can be read in early seminal works like the Hong Kong Peak Project of 1983, where planarity and spatial compression combined with sculptural tactics, like the carving of existing landscape, to produce public spaces within a newly animated topography. But Hadid comments that more recent projects have tended to another strain of the geological thematic: the volumetric. OZH has diversified its previous spatial repertoire with these volumetric manipulations and attendant fluid spatial qualities. No longer a result of perspectival extrusions and planar collisions, space is now a product of the hollowing and localized dissolutions of emergent landforms. Hadid acknowledges

that the programmatic complexities and increased scale of more recent projects have prompted this kind of shift and underlines the organizational possibilities achievable by volumetric studies as indispensable to the practice. In its ability to capture and manage the particularities of specialized and variegated programmes like those of the Bibliothèque Nationale du Québec in Montreal, the volumetric strategy achieves a densification, or sedimentation, that overcomes fragmentation without forsaking opportunities for complex spatial themes such as overlap and interpenetration. Along with this approach goes a distinct desire to integrate space and structure. Close collaborations with innovative structural engineers such as Hanif Kara demonstrate a commitment to engage structure as a fundamental component of the plastic idea. The competition-winning project for the Science Centre, Wolfsburg, Germany is a clear proponent of this dialogue between structure and space. Should this building be realized it would stand as a tour de force of contemporary urban architecture set in a location that boasts buildings by, among others, Alvar Aalto and Hans Scharoun. The project occupies roughly one half of a triangular site and is both set back from, and emergent of, the sloped forecourt. Like an inflated and urbanized Villa Savoie whose gargantuan pilotis have subsumed vertical circulation and programmatic components, the massive building is none the less an active participant in its context. For these very pilotis, or inhabited cones, are formed as a result of projections of diagonal and axial city circulation at ground level. These reinforced-concrete cones extend and enlarge upwards through the building. With-

in the massive volume, also of reinforced concrete, is carved a fluid yet labyrinthine landscape, organized around a system of two-way waffle slabs with regularized parallelogram waffles and shear walls. The persistent desire of OZH to engage buildings with city-scapes is also observable in ground manipulations like excavation, cutting, peeling, and tilting. Whether in horizontal projects like the Contemporary Arts Centre in Rome, or in vertical projects like the Rosenthal Center for Contemporary Art at Cincinnati, the result is a rich sectional topography - a sort of liberated interior. The city circulation activates an interior landscape of „articulated valleys, erosions and branching systems“: Raumplan emerges from plan libre. And the three-dimensional legibility of this approach is conveyed in a facade language that seems an almost inevitable outcome of the various manipulations. As with previous projects, the heuristic nature of the plans underpins the poetics and significant intentions of the work. This is illustrated in articulations of the geological theme where the plan, or rather the overlaying of plans, reveals latent complex spatialities. Clearly the plan „is a field of experimentation: a complex tool of representation, a totality in itself that can encapsulate all other dimensions of a project“ in Nasrine Seraji-Bozorgzad´s phrase. For OZH the plan is not a surface to be extruded or repeated but rather a means of speculating upon the organization of rich sectional spaces between plates. Indeed the potential for Raumplan-like variations is most evident in the series of origami-like relief models that accompany most projects, or in those transparent acrylic models where the choice of

one. material is itself an instrumental prompt for the intensification of connections between floors and landscape. It is as if Nolli´s schema of public/private, or solid/void, is launched into vertiginous realms. Two completed projects illustrate this approach and ist effects. The first, LFone/ Landesgartenschau, at Weil am Rhein, Germany, is a pavilion in a park or, more correctly, a pavilion of the park. Earthbound volumes, containing an exhibition hall, café, research centre and ancillary spaces, undulate gently and interweave with paths to form a smooth yet differentiated experiential topography. It is a modest building of interlocked, stepped and emergent landforms which describes a broad range of architecture/landscape formations: buried, slightly sunken and lifted; and these conditions contrive to produce intense sections within and around the building – a provocative interpretation of the Corbusian promenade architecturale. The second project is the Car Park and Terminus on the outskirts of Strasbourg, France. Here, the tram station, 800-stall car park and ancillary components are similarly conceived in terms of actions like tilting and lifting. A forest of tilted tubular steel columns supports a thinly profiled concrete roof which emerges from the landscape to become an alert plane that unifies the functions and circulations below. By weaving the gently tilting white lines of the stalls over the black tarmac and engaging them with that portion of the car park extending from the roofscape, many readings of the transport terminus ecology are unfolded. Reminiscent of those multivalent artistic and sculptural practices examined by Rosalind Krauss in

her seminal essay „Sculpture in the Expanded Field“, the arrangement serves as a datum and gives measure in a large territory. Owing to this - almost systemic - endeavour, OZH has continued to operate beyond the strictures of a linguistically bound Post-Modernism. It has developed architecture and episodes that are to be understood phatically - in this context, a word usefully defined by Lauren Kogod as viscerally communicating the space of the collective and its in-between conditions rather than conveying particular object-bound ideas or meanings. Consequently, the research on ground and its figuration is investigated through the agency of abstraction; the result is not so much a set of stylistically consistent objects as a range of procedures that can yield lyrical interrelationships between figure and ground. The strength of this recent body of work derives from its steadfast broadening of Post-Modernist discourses on city form and organization, particularly that strain concerned with city tissue. In striving to extend the threshold between architecture and the city, OZH has contrived an architectural language of calibrated and layered permeabilities. Because these are always conceived in terms of palpable relationships to the ground in, on and through which they operate, the resultant projects possess a kind of intuitive grasp of Habermas´ commentary on the public sphere. They extend institutional typologies into collective realms. In an epilogue to this remarkable collection of work, Walter Nägeli remarks that the latest projects confirm OZH as one of few practices that continues to formulate a praxis and project beyond artistic and ar-

from abstraction to architecture.

chitectural Modernism. But in its persistent and innovative grappling with universal themes (such as the Rowe/Slutzky proposal of phenomenal transparency), the work is part of the continuum – as well as the critical expansion – of avant-garde Modernist practice. Working within the discipline and medium of architecture – never outside it OZH has confirmed the vitality of theoretical research that is concerned not with „what a building, a text or a drawing means, but what it can do: how it operates in - and on - the world“ (Stan Allen`s phrase). Like the work of the late Enric Miralles, this work demands an essential reading – in Kogod´s words, one appreciative that „the personal and intimate [are] emphatically represented alongside the public and the communal“. Edward Said once described the engaged intellectual as living „in a certain sense with the land, not on it ... like Marco Polo, whose sense of the marvelous never fails him, and who is always a traveler, a provisional guest, not a freeloader, conqueror or raider“. Through her collaborations and dedication to the advancement of a libertarian and critical Modernism, and notwithstanding the oft-vulnerable position of the outsider or the marginal, Zaha Hadid has shown this provisional ground to be the most fertile. In its latest imaginative and bold works, her office continues to choreograph a tenacious and poetic advancement of the unfinished legacy of Modernist experimentation – very spatial experimentation.” Sharif, Mohamed: Figuring ground: notes on recent work by the Office of Zaha Hadid, in: Architectural Research Quarterly, 2000, Volume 4, Number 3, 286-288

â&#x20AC;&#x17E;Hadidâ&#x20AC;&#x2122;s buildings, like her furniture, are bigger They are the infrastructure and support for unexpected scripts. They tease and enable their inhabitants

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than their functions, multivalent and multifunctional. events and emergent ways of living as well as programmed to experiment with other ways of doing things.â&#x20AC;&#x153; (Mertins, Detlef: The Modernity of Zaha Hadid, in: Celant, Germano (Ed.): Zaha Hadid. New York 2006, 38)

two. 53

methodology. The idea of the multiplied ground is inspired by Zaha HadidÂ´s approach on treating the ground and its relationship with the surrounding in a different way. The surface, seen as an abstraction of the ground, gets twisted, distorted and multiplied, to create a new artificial landscape. It is serving as a public space and interior space at the same time, blurring the borders of figure and ground, exterior and interior, public and private. Since the multiplied ground is created out of the abstract shape of a simple surface,

a non-objective element, and not out of typical architectural elements such as ceiling, walls, windows, doors, etc., it leaves space for imagination. Through the different techniques of turning the surface into inhabitable space, various visual and physical connections with the surrounding appear. Rooms and functions are not predetermined by architecture, the flow of the surfaces rather inspires the users to inhabit it in new ways, explore it and make it their individual space for the period of time they are inhabiting it.

two.

methodology.

the multiplied ground vs. Zaha Hadid. 56

point

line

surface

volume

fig. 28 basic geometrical elements transition from point to volume 57

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fig. 29 geometrical approach with Zaha Hadid

In an interview with Luis Rojo de Castro Zaha Hadid talked about the topic of the ground: „The main issue is how you deal with building in the city. And, in particular, how you deal with the ground condition. Our interest is about how you open up the ground. It is an issue which has not yet been resolved. I don´t think we can face this problem in a conservative way. It should be investigated and resolved differently. One of the problems with the early moderns was that the

methodology.

fig. 30 geometrical approach with the multiplied ground

ground condition was not programmed. So we try to develop this idea of opening up the ground but, at the same time, not leaving it empty. It should be occupied with different activities, making it possible for people from the city to use the ground, penetrate the site. You have to program it, put things in it to make it work. I think it is a question of how you interpret the civic ground and the site.“25 Like discussed in the earlier chapter „for-

mulating a new ground“, we saw that Zaha Hadid went from connecting the building with the ground, to finally making the building the ground itself. The methodology of the multiplied ground follows the same approach of merging the figure and ground into one element, but not with understanding the figure as one closed shell that inhabits the interior space, but rather understanding it as an accumulation of surfaces, rebuilding the volume (fig. 29/30). 58

fig. 31 evolution of landscape and volume with Zaha Hadid

Instead of starting the design process with the idea of a volume that is turning then into a landscape and merges with the ground, the principle of the multiplied ground works the other way around. Beginning with a surface that evolves through different techniques into a landscape, it turns in the end into a volume, creating the figure that builds at the same time the ground itself (fig. 31/32). Which results then not just in one contin59

fig. 32 evolution of landscape and volume with the multiplied ground

uous ground, but in a multiplied ground that is splitting up, creating different kind of spaces (fig. 33/34).

sults not only in new physical and visual connections with the interior and the exterior, but also with the surrounding (fig.35/36).

Through the splitting up of the ground, the various functions or events that are happening inside the building are then not only happening inside the outer shell, but they begin to overlap and start happening also in in-between spaces, where the interior is suddenly turning into an exterior, creating a shift from private to public. This technique re-

By applying then different thicknesses to the different layers, the idea of the outer surface serving as an envelope for the interior gets dissolved, and the different layers can turn into solid elements, serving as a structure of the building (fig. 37/38).

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fig. 33 the ground with Zaha Hadid

methodology.

fig. 34 the multiplied ground

fig. 35 the event with Zaha Hadid

fig. 36 the event with the multiplied ground

fig. 37 structure with Zaha Hadid

fig. 38 structure with the multiplied ground 60

â&#x20AC;&#x17E;...but once you establish a ground, you have to

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operate on it, especially in an urban situation.â&#x20AC;&#x153; (Alvin Boyarsky Talks with Zaha Hadid. Interview October 1987, in: Celant, Germano (Ed.): Zaha Hadid. New York 2006, 46)

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from a surface to space. 64

fig. 39 Kazimir Malevich Suprematist Composition (with Eight Red Rectangles) 1915, Oil on canvas 22 4/5 × 19 1/10 in, (58 × 48.5 cm)

Seeing the surface as an abstraction of the ground allows creating new spaces in architecture. By stepping away from the use of typical architectural elements such as floors, ceilings, walls, windows, doors, etc. the arising spaces allow the users to explore the building and the landscape in new ways. Starting with the a simple rectangular surface, a non-objective element, seen as a new artificial ground, the technique of shifting, wrapping and folding turns the former two-dimensional element into a three-dimensional space.

The first element evolves from a two-dimensional surface into a three-dimensional element, that creates horizontal and vertical elements and suddenly inhabits space. Floors and walls are one continuous flow, without realizing the border where one turns into the other (fig. 40). The second element is able to separate functions, by splitting up the volume into two pieces, in-between: a new space. Depending on which surface this technique is applied, vertical or horizontal oriented spaces evolve (fig. 41).

The third element creates a loop-like element. Through this technique of connecting the beginning of the surface with the end, smaller spaces are able to be formed, providing areas with different levels of privacy (fig. 42). To allow a connection between the different elements and different spaces, the effect of the „feathering“ is introduced. By multiplying already existing surfaces, circulation elements are built, that allow a smooth transition, where again the borders between horizontal and vertical dissolve (fig. 43).

two.

methodology.

surface - 2D creating ground

surface - 3D creating horizontality creating verticality fig. 40 evolution element 01 66

surface - 2D creating ground

surface - 3D creating space separating functions fig. 41 evolution element 02 67

two.

methodology.

surface - 2D creating ground

surface - 3D dividing space creating privacy fig. 42 evolution element 03 68

surfaces - 3D creating circulation creating privacy 69

fig. 43 feathering effect within the elements

two.

methodology.

surface - 2D creating ground

surfaces - 3D multiplied ground inhabitable space fig. 44 combination of elements 70

„”There are 360 degrees,

two.

methodology.

so why stick to one?â&#x20AC;? (Zaha Hadid, 2003)

three. 75

site. Lisbon is a city, characterized by the Tagus River since its discovery. Next to the seven hills it´s the most important geographical feature that determines the magic of the capital of Portugal. Located in the heart of Lisbon, the intervention area defines an important space embedded between the Oldtown and Downtown of Lisbon. Starting from Praça do Comércio and ending at the new built Cruise Terminal next to the Santa Apolonia train station, it creates a link between different areas of the city. At the moment the area is inhabited by a ferry terminal, that provides sea connections to the city of Barreiro and the metro station „Terreiro do Paço“.

Adjacent the Doca da Marinha, an old navy dock, inhabited by the portuguese marine. The issue this area is facing right now is the barrier these facilities are creating between the city and the river. The only connecting path for bikes and pedestrians from the Downtown to the Oldtown, the Cruise Terminal or the Santa Apolonia Train Station leads along the Avenida Infante Dom Henrique, a street with high traffic. Along this path the physical and visual connection to the Tagus River gets cut off and the waterfront area cannot cope with the rest of the valuable spaces the city provides. Following the methodology of the multiplied ground, the connection with the city and the river can be re-established and the barrier gets dissolved. 76

three.

site.

localization. 78

Elv

three.

site.

Est

fig. 45 1 I 10.000

fig. 46 view of the current metro and ferry terminal

three.

site.

fig. 47 walkway along the dock

fig. 48 view from the street onto the river 83

three.

site.

fig. 49 abandoned navy dock 84

three.

site.

surrounding. 86

Est

Elv

a Praç

rcio

omé

do C

site.

Sa Tr nta ain Ap St olo a t n ia ion

three.

Alfama (Oldtown)

ina

is ru

fig. 50 surrounding 1.5000 88

The western border of the site is specified by the Praça do Comércio, still known as Terreiro do Paço (Palace Yard), because it was the location of the Paços da Ribeira (Royal Ribeira Palace), before the great Lisbon earthquake in 1755 destroyed most of the city. After the earthquake the square was rebuild in the course of the new reconstruction of the whole Downtown of Lisbon coordinated by King Dom Jose I´s Prime Minister Marquis Pombal. The new given name „Praça do Comércio“ should indicate the new function of the square as a place of economy and trade. The centre of the square forms the statue of King Jose I, the first ever monumental sculpture dedicated to a king of Lisbon. The side facing the city centre ends with the Arco da Rua Augusta and creates the connection to the Rua Augusta and the Rossio square. The southern end facing the river ends in the Cais das Colunas, which was earlier the impressive entrance to those who arrived in Lisbon by sea. Since 1901 Praça do Comércio is officially a National Monument of Portugal and one of the biggest sightseeing attractions in Lisbon.26

fig. 51 Praça do Comércio 89

three.

fig. 52 Alfama (Oldtown)

The northern border of the intervention area adjoins to Alfama, the Oldtown of Lisbon. It is the oldest and most typical district in Lisbon, since it is the only neighborhood that was not destroyed by the Great Earthquake in 1755. Being one of the most problematic areas of the city during the 1980s, especially regarding drug traffic, it started recovering and turned into an example for historical areas of Lisbon, being followed by neighborhoods such as Bairro Alto and Intendente. Alfama is considered as one of the safest

site.

areas in the capital and inhabits a really small and rather old community, reminding of an old village, rather than a city. A network of small narrow pathways leads to â&#x20AC;&#x17E;Miradourosâ&#x20AC;&#x153; (viewpoints) which offer spectacular views over the city and the river, such as the Portas do Sol and Miradouro Santa Luzia. On top of the hill the Castelo de SĂŁo Jorge is located, fortress and royal palace until the 16th century. Next to the Cathedral, the Church of St. Stephen and the Church of St. Vincent de Fora it attracts most of the tourists.27

The Eastern border is defined by the New Cruise Terminal designed by the Portuguese architect João Luís Carrilho da Graça and the Santa Apolonia Train Station. Carrilho da Graça won the international competition in 2010 to build Lisbon´s New Cruise Terminal.28 „facing both the tagus river and alfama’s slope, the proposal presents a building designed as a simple volume, responding to the desire of liberating the surrounding area for the general public. the building is assumed towards the park and the city as a pavilion, an overflow system. it appears to be a floating volume, as it is broken, generating tension zones and inflections that suggest entry and exit points for the building. a path/promenade surrounds the building, allowing a slow discovery of the surroundings while passing through the different facades. this path culminates in the roof that assumes the features of a stage, relating with the river and the city without any obstacles, such as a plaza.“29 (carrilho da graça arquitectos, 2010)

fig. 53 Cruise Terminal by João Luís Carrilho da Graça 91

three.

fig. 54 Santa Apolonia Train Station

The Santa Apolonia Train Station is located in the district of the Oldtown and is the oldest train terminal in Portugal. It was inaugurated in 1865 to provide a connection from Lisbon to Spain and allow passengers from Europe to offload to ships for America. Since the 20th century the Portuguese rail service â&#x20AC;&#x17E;Comboios de Portugalâ&#x20AC;&#x153; operates different train lines, starting with suburban routes, to national and international, for example connecting trains to Madrid or Paris. Today Santa Apolonia Train Station is one

site.

of several land transport hubs, next to Gare do Oriente, Rossio, Cais do Sodre and Entrecampos and since 2007 it inhabits a Metro Station with the same name.30 Next to the influence of the surrounding buildings and areas, the site got shaped by the evolution of the waterfront over time. Lisbon went through different stages regarding the relationship between city and river, which we will discuss on the following pages.

three.

site.

waterfront evolution. 94

Lisbon is one of the oldest cities in the world and Western Europe.31 With first settlements in the Phoenician Times the capital is relatively ancient, compared to other European port-cities. Until the beginning of the industrial revolution the port and the city could be seen as one single element, dependent and profiting from each other, while during the first industrial revolution a first separation could be discovered. As not only seen in Lisbon, but in the majority of European port-cities, new emerging

technologies were the reason for severe changes in the urban infrastructure. The old port facilities did not seem enough anymore, and a process of redefining the waterfront slowly started. Focussing on Lisbon, there was one specific event which can be seen as the cause for the changes in the urban structure of the city and the separation of the port from the city. As any traumatic event can change a relationship and their further developments, for Lisbon this traumatic event was the Great

Earthquake. When on the 1st of November in 1755 an earthquake of 8,75 degrees occurred, accompanied by a fire that lasted multiple days and a tsunami that stroke the city, big parts of the city were completely destroyed, especially the â&#x20AC;&#x17E;Baixaâ&#x20AC;&#x153;, the downtown of Lisbon. After this natural disaster all efforts and resources were focused on reconstructing the city. One of the most important figures of this time was MarquĂŞs de Pombal, the minister of the capital. He organized compe-

three. city

site.

port

medieval 19th century. primitive port/city

19th - early 20th century. expanding port/city

mid - 20th century. modern industrial port / city

1960s - 1980s. retreat from the waterfront

1970s - 1990s. redevelopment of waterfront fig. 55 (left) quay of AlcĂ˘ntara dock, 1936, unknown author

fig. 56 the port-city interface model from Hoyle based on Hoyle (1989)

1980s - 2000s. renewal of port / city links

titions and coordinated the whole rebuilding process of the downtown. The winning proposal for the new downtown was developed by Manuel da Maia, EugĂŠnio dos Santos, Carlos Mardel and Sebastian Poppe with two big main squares, the Rossio Square and PraĂ§a do ComĂŠrcio Square at the river. The new proposal has one specific characteristic that different authors discovered as the main reason for the changes in the relationship between the waterfront and the city.

As the population was in fear of another natural disaster at this time, the main development axis of the city changed from East-West to South-West. So when the city before was growing in the axis following the river, Lisbon now grew constantly away from the Tagus River. This decision of changing the axis was crucial for the development of the city and determined it in the following decades and centuries. The industrial revolution and the changes it brought with it arrived later in Portugal than in other countries. The first vapor powered

boat embarked in the 1820s and the first railway line was built in the 1850s. However, these new inventions caused severe changes in the last decades of the century. Through the use of landfills the waterfront of Lisbon experienced severe changes, as the capital wanted to compete in the international market with a world class port and its accompanied infrastructure. Starting with the Boavista Landfill, as one of the first large landfills in the history, a whole plan for the waterfront started being developed.

three.

fig. 58 reconstruction plan for the Baixa by EugĂŠnio dos Santos, Carlos Mardel and E. S. Poppe fig. 57 (left) situation before the great earthquake

This first landfill also included the opening of the 24th of July street, which today represents a big problem in creating a barrier between the river and the city. By the end of the century with the development of the great port plan and the creation of the Cascais railway line, the definite separation between the city and the river began.32 In 1887 finally the beginning of the realization of the great port plan began. The plan of the winner, the civil Engineer

site.

Hildernet Hersent, contained four different sectors, with the first sector in the center of the waterfront, from Santa ApolĂłnia until AlcĂ˘ntara. The different sections of the waterfront included railway infrastructures, docks and port facilities. Not only the trade policy, but also the passenger traffic was an important aspect for the new port plan. Therefore ,three maritime stations were planned, although just two of plans were carried out. These two stations represented the main connection with other countries until the

airport in the North of the city was realized. After that, they remained welcoming ports for cruise ships. Since not just the passenger traffic of people from foreign countries was increasing, but also more people started crossing the river from north to the south, the city decided to build two ferry terminals, the one next to Praça do Comércio, the intervention area of this project, and another one in Bélem. Until the end of 1974 the waterfront of Lisbon was undertaken several changes. With the Expo of the Portuguese World in Belém in 1940 another big landfill project was carried out. Furthermore, the Salazar Bridge, today bridge 25 de Abril, which connected the 99

South with the North of the river and a connecting highway until the airport was planned. All this were key moments that changed the city character from a local industry to an international industry.33 Since the 1980s the former just on trade and economy focused waterfront changed with several new emerging private projects. These buildings contained different functions from office spaces, to housing buildings and industrial facilities. Furthermore, due to changes in the maritime and industrial sector, abandoned areas in the waterfront caused another change in the development of the urban

structure. The city saw them as an opportunity to regenerate the image of the port and the waterfront area. To solve the problem of the separation of the city and the river and develop new ideas for these areas the Architectural Association organized a competition in 1988: “Lisboa, a Cidade e o Rio” (Lisbon, the city and the river). In the second half of the 20th century a new emerging interest in the topic of water could be discovered. Rivers and seas could be used to increase the value of a property or an area. Not only in Lisbon but also in the rest of Europe and in the USA new waterfront projects tried to get in touch with the water again and use it as a new concept of

three.

site.

development. An example for these new interest in the waterfront ist he Expo, held in Lisbon in 1998. It was the time when Lisbon was trying to achieve international recognition and their chance to show that they can compete with their European partners. The city decided to host the exhibition in the eastern section of the city and create a new landfill for this purpose. It was a big urban intervention, which tried to build a new Expo area, which will still be valuable for the population after its ending. The Tagus River was always the heart and center of Lisbon. It inspired several artists and was the welcome point for kings from foreign countries. It was the reason why the Phoenicians wanted to settle there back in the ancient times and it always was the provider for food, work and transport for the city. The most important square, Praça do Comércio, opens up to the riverside and communicates the image of a barrier free connection to the water. As a consequence of industrial activities in the waterfront area, this image of free access to the river gets cut, visually and physically. The new landfills changed the so important connection between the city and the river, increasing the distance between them.34

fig. 59 (left) Boavista Landfill. Extract from the “Atlas da carta topográfica de Lisboa: n.º 50”, Folque (1856) fig. 60 competition poster 100

1785.

the watefront after the reconstruction of the â&#x20AC;&#x153;baixaâ&#x20AC;?downtown

1857.

the first big extension into the river - the boavista-landfill

101

three.

site.

1890.

the execution of the great port plan

today. fig. 61 evolution of the waterfront 102

four. 103

program. Due to the slow retreat of the city from the waterfront mentioned in the previous chapter, the municipality of Lisbon and the department of urban planning composed an intervention plan for the whole waterfront. The main objective of the future interventions is to improve Lisbon as a welcoming city of people and activities and thereby increase the competitiveness as a capital. The basis of the intervention plan is the focus on the main problems the waterfront is facing nowadays and building up an action

strategy to overcome them. The issues that are important for the intervention area of this project are mainly extensive areas that are not accessible for the public, respectively, disqualified public spaces and disconnected paths for pedestrians and bicycles along the riverside. To find a way to renew the link between the city and the waterfront the municipality and the department of urban planning decided to focus on the following six main principles.35

104

105

four.

program.

six points. 106

identity. The focus lies on creating a joint image of the whole waterfront. The city with its seven hills should connect again with the Tagus river and get one element.36

one. 107

four.

program.

critical mass. Overcoming barriers that block the connection with the river. Furthermore, creating pedestrian routes that connect different points of interest along the riverside. Possible attraction points could be recreational areas, sports facilities or cultural institutions, which not only support the tourism but also offer leisure activities for the population. The new public areas should offer an increase in multifunctionality and versatility of spaces.37

two. 108

physical connectivity. Creating a continuous pedestrian walkway and a cycling pathway along the waterfront, which allows privileged views of the city and the Tagus river. Moreover, trying to reduce the traffic along the riverside, especially in the area around PraĂ§a do ComĂŠrcio the traffic should tend to zero.38

three. 109

four.

program.

visual connectivity. Developing a set of different views along the waterfront, creating new perspectives and impulses on the river, but also on the city.39

four. 110

human scale. Giving the river back to the people, by requalifying public spaces and providing different equipment and furniture to support daytime and nighttime activities. Furthermore, improving the network of green structure and the permeability of the city by the river to allow the riverfront to be a public space.40

five. 111

four.

program.

promotion. The riverside should get one of the priority areas for recreation for the population, creating the image of â&#x20AC;&#x153;Lisboa, o Tejo e tudoâ&#x20AC;? (Lisbon, the Tagus river and everything). Moreover, organizing events in different fields like culture, sport, recreation and leisure, involving schools, collectives and civil society.41

six. 112

113

four.

program.

surrounding. 114

Est

Elv

115

four.

program.

cultural attractions

leisure areas

transportation

fig. 62 surrounding 116

five. 117

project. The new design proposal for the waterfront turns the former abandoned navy dock into a social and cultural magnet. By interweaving the paths of different communities, it serves as a leisure area for tourists and local members. The new artificial ground gently molds from a public landscape into five unique elements, one inhabiting the new metro and ferry terminal, two form a public pool, and two turn into a creative space offering a library and working spaces. Although they seem as independent elements with different functions, in the lower level they blend into one space, creating an intersecting fluid path system, that invites to explore differ-

ent ways through the whole building. This design proposal challenges the traditional understanding of a building and a landscape, and blends both of these typologies into one. By manipulating a simple rectangular surface and playing with the abstraction of form, new spaces emerge, which encourage the users to get creative and intuitive on how to inhabit this new area. The applied design strategy of the multiplied ground allows the area to get activated again, without disturbing the relationship between the river and the city. It serves as a connecting link between them, leaving space for physical and visual connections. 118

119

five.

project.

cultural attractions

leisure areas

transportation

fig. 63 localization 120

121

five.

fig. 65 relationship between architecture and the river fig. 64 (left) ground evolution

Starting with the idea of a simple surface, that establishes a new artificial ground on the intervention area, the abandoned dock gets reactivated. By manipulating the surface with the different techniques of folding, shifting and multiplying, described in chapter two, the connection with the actual ground underneath, the river, is re-established. Holes in the ground, that evolve throughout the design process, allow physical and visual connections with the water, embedding the qualities of the river into the architectural design.

project.

The abstract elements used in this methodology process create new spaces without predetermined ways of use and leaving space for imagination. The design proposal for the new waterfront provides new spaces for the local community and tourists, without creating a physical or visual barrier between city and river. The approach of the multiplied ground is able to solve the problem of the separation of river and city and rehabilitates the relationship between water, architecture and people.

122

fig. 66 form evolution 123

five.

project.

fig. 66 form evolution 124

fig. 66 form evolution 125

five.

project.

fig. 66 form evolution 126

129

five.

site plan

project.

fig. 67 1/2.500 130

fig. 68 functions 131

five.

metro and ferry terminal

public pool

project.

library

132

133

five.

floorplan level -2.00

project.

fig. 69 1/1.000 134

135

five.

floorplan level +2.00

project.

fig. 70 1/1.000 136

137

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floorplan level +6.00

project.

fig. 71 1/1.000 138

139

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topview

project.

fig. 72 1/1.000 140

143

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elevation south

project.

fig. 73 1/1.000 144

145

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elevation north

project.

fig. 74 1/1.000 146

149

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project.

fig. 75 section AA 1/1.000 150

151

five.

project.

fig. 76 section BB 1/1.000 152

physical model 157

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physical model 158

six. 159

sources. 160

161

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sources.

bibliography. 162

163

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fig. 01

Suprematism. Two Dimensional Self Portrait, 1915, Kazimir Malevich. https://artforpleasure.blog/2018/02/12/russian-avant garde-art-suprematism-two/ (accessed April 07, 2019, 11:30)

fig.02

Morning in the Village after Snowstorm (Malevich, 1912). https://upload.wikimedia.org/wikipedia/commons/1/1b/Morning_in_ the_Village_after_Snowstorm_%28Malevich%2C_1912%29.jpg (accessed April 06, 2019, 15:16)

fig. 03

0,10 Exhibition, 1915, Petrograd. https://en.wikipedia.org/wiki/0,10_Exhibition#/media/File:0.10_Exhibition.jpg (accessed April 06, 2019, 15:30)

fig. 04

Spherical Evolution of a Plane (1917). http://www.kidskunst.info/linked/kazimir-malevich-artworks-amp-famous-paintings-theartsto ry-6b617a696d6972.htm (accessed April 06, 2019, 15:46)

fig. 05

Architecton, 1923-8, Malevich. http://umk-javorova.blogspot.com (accessed April 06, 2019, 15:48)

fig. 06

Zaha Hadid (1950-2016). http://www.zaha-hadid.com/people/zaha-hadid/ (accessed December 28, 2018, 11:00)

fig. 07

The Peak Leisure Club (1982-1983), Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/the-peak-lei sure-club/ (accessed April 18, 2019, 07:13)

fig. 08

The Peak Leisure Club (1982-1983), Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/the-peak-lei sure-club/ (accessed April 18, 2019, 07:14)

fig. 09

Malevich´s Tektonik, London, (1976 – 1977), Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/malev ichs-tektonik/ (accessed April 06, 2019. 16:52)

fig. 10

Vitra Fire Station (1990-1993), Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architecture/vitra-fire-station-2/ (accessed, April 18, 07:22)

fig. 11

Vitra Fire Station (1990-1993), Photography (c) Christian Richter. http://www.zaha-hadid.com/architecture/vitra-fire-station-2/ (accessed April 18, 07:22)

fig. 12

Map of Rome, 1748. http://www.lib.berkeley.edu/EART/maps/nolli.html (accessed October 28, 15:44)

fig. 13

Peter Trummer - Fall 2013 Baumer Lecture Series #3. https://www.youtube.com/watch?v=NKGObNtd_Ko&t=1736s (min. 28:46) (accessed April 18, 2019, 07:28) redrawn diagram: Verena Santer

fig. 14

Peter Trummer - Fall 2013 Baumer Lecture Series #3. https://www.youtube.com/watch?v=NKGObNtd_Ko&t=1736s (min. 29:33) (accessed April 18, 2019, 07:28) redrawn diagram: Verena Santer

fig. 15

Hoenheim – Nord Terminus and Car Park (1998-2001), Relief. http://studiomaven.org/Course__200c_f13_steinfeld_ses sion_769718.html (accessed April 14, 2019, 11:43)

fig. 16

Verena Santer, Evolution of the ground with Zaha Hadid

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sources.

fig. 17

Landesgartenschau / Landscape Formation One (1996-1999), Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/ architecture/landesgardenschau-landscape-formation-one/ (accessed April 18, 2019, 07:54)

fig. 18

Landesgartenschau / Landscape Formation One (1996-1999), Photography (c) Hélène Binet. http://www.zaha-hadid.com/ar chitecture/landesgardenschau-landscape-formation-one/ (accessed April 19, 2019, 14:06)

fig. 19

fig. 20

Hoenheim - Nord Terminus and Car Park ((1998-2001), Photography (c) Hélène Binet. https://www.arthitectural.com/zaha-had id-architects-terminus-hoenheim-nord-strasbourg/ (accessed December 27, 2018, 13:03)

fig. 21

Hoenheim - Nord Terminus and Car Park ((1998-2001), Aerial Photography (c) Roger Rothan. http://www.zaha-hadid.com/ar chitecture/hoenheim-nord-terminus-and-car-park/ (accessed December 27, 2018, 13:04)

fig. 22

Hoenheim - Nord Terminus and Car Park (1998-2001 Painting (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architec ture/hoenheim-nord-terminus-and-car-park/ (accessed December 27, 2018, 13:04)

fig. 23

Hoenheim - Nord Terminus and Car Park ((1998-2001 Sketch (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architec ture/hoenheim-nord-terminus-and-car-park/ (accessed December 27, 2018, 13:05)

fig. 24

Hoenheim - Nord Terminus and Car Park ((1998-2001 Sketch (c) Zaha Hadid Architects. http://www.zaha-hadid.com/architec ture/hoenheim-nord-terminus-and-car-park/ (accessed December 27, 2018, 13:10)

fig. 25

Heydar Aliyev Centre (2007-2012), Photography (c) Hélène Binet. http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/ (accessed December 27, 2018, 13:15)

fig. 26

Heydar Aliyev Centre (2007-2012), Section. http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/ (accessed December 27, 2018, 13:14)

fig. 27

Heydar Aliyev Centre (2007-2012), Photography (c) Iwan Baan. http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/ (accessed December 27, 2018, 13:14)

fig. 28

Verena Santer, basic geometrical elements, transition from point to volume

fig. 29

Verena Santer, comparison Zaha Hadid with the multiplied ground

fig. 30

ibid.

fig. 31

ibid.

fig. 32

ibid.

fig. 33

ibid.

fig. 34

ibid.

172

fig. 35

ibid.

fig. 36

ibid.

fig. 37

ibid.

fig. 38

ibid.

fig. 39

Suprematist Composition (with Eight Red Rectangles), 1915. https://www.pinterest.com/pin/369858188137642440/ (ac cessed April 14, 2019, 10:31)

fig. 40

Verena Santer, evolution from a surface to space

fig. 41

ibid.

fig. 42

ibid.

fig. 43

ibid.

fig. 44

ibid.

fig. 45

Verena Santer, site plan

fig. 46

Photography, Verena Santer, 2018

fig. 47

Photography, Verena Santer, 2018

fig. 48

Photography, Verena Santer, 2018

fig. 49

Photography, Verena Santer, 2018

fig. 50

Verena Santer, surrounding

fig. 51

Photography, Verena Santer, Praça do Comércio 2018

fig. 52

Photography, Verena Santer, Alfama 2018

fig. 53

Photography, Verena Santer, Cruise Terminal 2018

fig. 54

Photography, Verena Santer, Santa Apolonia Train Station 2018

fig. 55

Ship moored to the Sothern quay of Alcântara dock - 8th of September 1936 - unknown author. https://theportandthecity.word press.com/2016/11/21/evolution-of-the-waterfront-and-the-port-of-lisbon-from-1887-to-1974/ (accessed June 06, 2018, 17:25)

fig. 56

The port-city interface model of Hoyle (2000), based on Hoyle (1989). https://www.researchgate.net/figure/The-port-city-interface- model-of-Hoyle-2000-based-on-Hoyle-1989_fig2_281818614 (accessed April 20, 08:55) redrawn diagram: Verena Santer

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six.

sources.

fig. 57

situation before the great earthquake. https://theportandthecity.wordpress.com/2016/11/07/evolution-of-lisbons-waterfront- from-the-1755-earthquake-to-the-industrial-port-plan-of-1887/ (accessed June 09, 2018, 17:25)

fig. 58

Reconstruction plan for the Baixa by Eugénio dos Santos, Carlos Mardel and E. S. Poppe. https://theportandthecity.wordpress. com/2016/11/07/evolution-of-lisbons-waterfront-from-the-1755-earthquake-to-the-industrial-port-plan-of-1887/ (accessed June 09, 2018, 17:25)

fig. 59

Boavista Landfill. Extract from the “Atlas da carta topográfica de Lisboa: n.º 50”, Folque (1856). https://theportandthecity.word press.com/2016/11/07/evolution-of-lisbons-waterfront-from-the-1755-earthquake-to-the-industrial-port-plan-of-1887/ (accessed June 09, 2018, 17:25)

fig. 60

competition poster. https://theportandthecity.wordpress.com/2017/04/20/evolution-of-the-port-city-relationship-between-1974- and-early-2000s/ (accessed June 09 ,2018, 17:25)

fig. 61

Verena Santer, evolution of the waterfront

fig. 62

Verena Santer, surrounding

fig. 63

Verena Santer, localization

fig. 64

Verena Santer, ground evolution

fig. 65

Verena Santer, relationship between architecture and river

fig. 66

Verena Santer, form evolution

fig. 67

Verena Santer, site plan

fig. 68

Verena Santer, functions

fig. 69

Verena Santer, floorplan

fig. 70

Verena Santer, floorplan

fig. 71

Verena Santer, floorplan

fig. 72

Verena Santer, topview

fig. 73

Verena Santer, elevation south

fig. 74

Verena Santer, elevation north

fig. 75

Verena Santer, section AA

fig. 76

Verena Santer, section BB

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thank you. I would like to express my deep sense of gratitude to

Jose Carlos Lopez Cervantes for your ideas, your time, your patience and enthusiasm Peter Trummer for your belief, suggestions and advises

Johanna for being the best friend during all the years of studying Philipp for always encouraging me and patiently answering all my questions Flo for always being there when I needed help with my studies my friends for your support and motivation my colleagues at work for your help and tips

my parents for their unconditional support and motivation and for believing in me during all the years of studying my siblings Johannes, Christina and Annika for always being there for me

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the multiplied ground a new waterfront for lisbon.

verena santer

eidesstattliche erklärung. Ich erkläre hiermit an Eides statt durch meine eigenhändige Unterschrift, dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Masterarbeit eingereicht.

___________________________________ Datum

___________________________________ Unterschrift

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