Venanzio Arquilla aa | 2016-2017

135 Pages·2017·60.04 MB·English

850839 | Andrea Smeriglio
relatore | Venanzio Arquilla
a.a. | 2016-2017
Scuola del Design | Politecnico di Milano
Corso in Design del Prodotto per l’Innovazione
Tesi di Laurea Magistrale

| INDEX
| Introduction 8 74 Constructivism |
76 Synopsis
| Zaha Hadid 12 78 Key Ideas
Biography and Achievements 14 79 Concepts and Style
Style 17 81 Beginnings
Significant Works 22 83 Later Developments
84 Graphic Design and Photography
| Suprematism 26 85 Archtecture
Synopsis 28 86 Key Artists
Key Ideas 30 88 Major Works
Concepts and Style 31
Malevich’s vision and later influence 33 96 Deconstructivism |
Key Artists 40 98 Synopsis
Major Works 42 99 Key Ideas
101 Multiple Influences
| Futurism 50 105 Critical Responses
Synopsis 52 106 Key Architects
Key Ideas 54 108 Major Works
Concepts and Style 55
Italian Futurism 57 116 Movement |
Futurist Architecture 62 118 Dictionary
Key Artists 64 119 Movement in Physics
Major Works 66 123 Movement in Graphic Design
Zaha Hadid and the Movement 126 214 Materials & Structure |
Movement in the Nature 130 220 Components
| Kinetic Art 134 230 Instructions for Use |
Synopsis 136
Key Ideas 138 234 User |
Concepts and Style 139
Later Developments 141 240 Benchmarking |
Key Artists 142 247 Comparison with Competitors
Major Works 144
248 Logo |
| Case Studies 154 251 Naming and Logo
Unexpected Movement 158
Static Movement 170 252 Final Considerations |
Developing Movement 176
256 Bibliography |
| The Idea 194
260 Sitography |
| Concept 198
The Evolution 200 264 Images Index |
| LINE 206
Aesthetics 208
Functions 210
INTRODUCTION
00
Dominion Office Building, Moscow - Zaha Hadid
8 9
I’ve practiced an internship in London, in Wolf-
son Design Studio.
I’ve been asked by Philip Michael Wolfson to do
a research on his mentor Zaha Hadid, expecially
on her prime, because he’s writing a book to
celebrate her memory.
Since I’ve always been fascinated by Hadid’s
work, I decided to use this research as a start-
ing point for my thesis.
I’ve investigated the artistic currents that in-
fluenced her the most, to better understand
how her unique forms took life and where did
they come from.
I developed the research around the idea of
movement, that was central in her work.
My analysis is centred on new ways of living
the domestic space, in particular the living
room. My wilt is to melt a strong multifunction-
ality with architectural shapes to fit in a mod-
ern home, where everything optimises space in
a smart way.
This drove me into the design process that end-
ed with LINE: a transforming four-in-one furni-
ture piece.
10 11
ZAHA HADID
01
12 13
¹
| BIOGRAPHY AND ACHIEVEMENTS
‘100 Most Influential People in the World’. In 2012, Zaha Hadid was made
a Dame Commander of the British Empire by Queen Elizabeth II, and in
February 2016, she received the Royal Gold Medal.
Dame Zaha Hadid was described as a “starchitect” - a superstar of ar-
Zaha Hadid’s pioneering vision redefined architecture and design for the
chitecture, specialising in organic, flowing forms which won acclaim in
21st century and captured imaginations across the globe. Zaha Hadid Ar-
Europe, America and the Far East; her career was slow to take off, howev-
chitects’ work sees form and space pulled into breath-taking, fluid spatial
er, and in Britain, which she made her home after leaving her native Iraq,
progressions. Enticingly contextual, these buildings transform notions of
she was dismissed for many years as a fantasist who never actually got
what can be achieved in concrete, steel , and glass; combining her unwa-
anything built.
vering belief in the power of invention and optimism for the future with
Abroad, she won acclaim with a series of startlingly futuristic buildings.
concepts of fluidity and connectivity.
In 2004, she became the first woman to win the Pritzker, architecture’s
The evolution of Hadid’s buildings, from the interlocking forms of the Vitra
equivalent of the Nobel Prize.
Fire Station to the awesome, flowing urban spaces of the MAXXI Museum
Born in Baghdad, Iraq in 1950, Hadid studied mathematics at the Amer-
of 21st Century Art in Rome, London Aquatics Centre for the London 2012
ican University of Beirut before moving to London in 1972 to attend the
Olympics and Heydar Aliyev Centre in Baku, demonstrates a consistent
Architectural Association (AA) School where she was awarded the Diplo-
desire to question and innovate. Form and space are woven within struc-
ma Prize in 1977.
After graduation she went to work for her former professors, Koolhaas and
Zenghelis, at the Office for Metropolitan Architecture, in Rotterdam, the
Netherlands. Through her association with Koolhaas, she met the archi-
tectural engineer Peter Rice, who gave her support and encouragement.
Hadid became a naturalised citizen of the United Kingdom.
She founded Zaha Hadid Architects (ZHA) in 1979 and completed their
first building, the Vitra Fire Station, Germany in 1993, as well as IBA Hous-
ing in Berlin. Hadid taught at the AA School until 1987 and held numerous
chairs and guest professorships at universities around the world includ-
ing Columbia, Harvard, Yale and the University of Applied Arts in Vienna.
Hadid’s outstanding contribution to the architectural profession has been
acknowledged by the world’s most respected institutions including the
Forbes List of the ‘World’s Most Powerful Women’ and the Japan Art Asso-
ciation presenting her with the ‘Praemium Imperiale’. In 2010 and 2011,
ZHA’s designs were awarded the Stirling Prize, one of architecture’s high-
est accolades, by the Royal Institute of British Architects.
Other awards include UNESCO naming Hadid as an ‘Artist for Peace’, the
Republic of France honouring Hadid with the ‘Commandeur de l’Ordre des
Arts et des Lettres’ and TIME magazine included her in their list of the BRIT Awards 2017 concept - Zaha Hadid
14 15
ture. These are buildings which emerge from their context and are also
capable of knitting disparate programs together; always surprising and
always making connections.
Zaha Hadid Architects recently completed the Port House in Antwerp,
Salerno Maritime Terminal in Italy and Oxford University’s Middle East Cen-
tre at St Antony’s College. The practice is currently working on a diversity
of projects worldwide including the new Beijing Airport Terminal Building in
Daxing, China, the Sleuk Rith Institute in Phnom Penh, Cambodia and 520
West 28th Street in New York City, USA. Zaha Hadid Architects’ portfolio
also includes cultural, corporate, academic, sporting and infrastructure
projects across Asia, the Middle East, Europe and the Americas.
Each of Hadid’s designs display the innovative research and investiga-
tion that instigates and defines the work. As Zaha Hadid stated in her
2011 conversation with Hans Ulrich Obrist, co-director of the Serpentine
Galleries, “I know from my experience that without research and experi-
mentation not much can be discovered. With experimentation, you think
you’re going to find out one thing, but you actually discover something
else. That’s what I think is really exciting. You discover much more than
you bargain for. I think there should be no end to experimentation.”
“Centre for Contemporary Arts of Rome” painting - Zaha Hadid
STYLE |
The architectural style of Hadid is not easily categorised, and she did not
describe herself as a follower of any one style or school. Despite this,
before she had built a single major building, the Metropolitan Museum
of Art wrote an article, profiling Hadid as a major figure in architectural
Deconstructivism.
Her work was also described as an example of parametricism. An article
profiling Hadid in the New Yorker magazine was titled “The Abstractionist”
1 Information found on ZHA website.
16 17
Her work was described in 2016 by The Design Museum as having “the Hadid herself often used dense architectural jargon and described the
highly expressive, sweeping fluid forms of multiple perspective points and essence of her style very simply: “The idea is not to have any 90-degree
fragmented geometry that evoke the chaos and flux of modern life.” angles. In the beginning, there was the diagonal. The diagonal comes from
the idea of the explosion which “re-forms” the space.
This was an important discovery.”²
Hadid’s concept of architecture and its relationship to space and the city
reflects on Malevich’s Architektons, as well as other works of Suprema-
tism, as formative inspiration for her own practice. The volumetric compo-
sitions of Suprematism such as Architektons were utilised to create new
possibilities for interior space, while Malevich experimented with these
constructions as means for social transformation through radical archi-
tectural form.
The novelty, purity and originality of these works promoted a new psychol-
ogy of perception in both art and architecture.
The link between Zaha Hadid and Suprematism has spanned her entire
career, beginning with her 1976-77 graduation thesis for the Architectur-
al Association, Malevich’s Tecktonik, which takes a visually deconstruct-
ed influence from Malevich and uses it as the starting point for a four-
teen-level London hotel concept design.
Following this interest, in 1993 the Solomon R. Guggenheim Museum in
New York asked Zaha Hadid to create an exhibition design for their en-
cyclopaedic show of the Russian Avant-Garde, The Great Utopia. Hadid
continues to demonstrate her relationship to Suprematism.
Futurism has been another starting point for Hadid especially from an
ideological point of view.
The ideas of movement, speed and acceleration, fully represented in fu-
turistic artwork, have been central in her way to see architecture, design
and art. She was also inspired by Constructivism, that developed side by
side with Suprematism. The shapes she designed were really influenced
in general by the Russian avant-gardes; a lot of references to Russians
are present in Hadid’s work.
To better understand the influence of Russian avant-gardes on Hadid work
we can read what she said about Russians: “The pace, quantity and qual-
ity of the creative work in art, science and design was truly astounding,
MAXXI, Rome - Zaha Hadid
2 Taschen, 2016
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