8/26/2023 0 Comments Formz zaha hadid![]() ![]() We are going to finish up three programs-a library, congress hall, and a museum-in Azerbaijan. The Aquatics Centre will open for the London Olympics. We are finishing buildings in Marseille and Montpellier. What is up next for you? What are you working on now? We have quite a lot of work in China, in the Middle East. I was very inspired by some Russian photographers, and film had a tremendous impact on me. Many of the artists now, like Anish Kapoor and Richard Serra, like to do very large experiential things in space. I find it interesting how that art movement translated to architecture. When I was a student, the Russian artists inspired me. What or who else inspires you? After abstraction, I was interested in landscape, topography, and geography. You were heavily influenced by the abstract painter Kazimir Malevich. Furniture is difficult, but much easier-though I would say chairs are not so easy to do. When you sit about the table, the edge is cantilevered to give more space so you don’t hit your leg against any of the table’s legs. You can carry some ideas from architecture to furniture, like the cantilever for the Aqua Table (2005). What I like about doing furniture is that you can achieve it rather quickly. Is it difficult to switch from scale like that? No, actually it’s very nice. ![]() You work on small projects like shoes and furniture at the same time as large structures like museums and railway stations. With shoes it’s all about sculpture-how to design a column. That’s why for a long time I liked some of the early Japanese work by Issey Miyake and Yohji Yamamoto-they were so structured that it was like wearing a different material. Fashion is about how you place the object on the person. Architecture is how the person places herself in the space. I am also very fascinated by the way one can transform cloth and make it do things that it doesn’t always do. In a sense, I’m into fashion because it contains the mood of the day, of the moment-like music, literature, and art. Then I lived in London, where it was more about costume and a personal statement of who you are than about fashion. Would you say fashion influences your architecture and vice versa? If so, how? I have been interested in fashion since I was a kid. You have collaborated with Brazilian eco-friendly label Melissa, created the Chanel Mobile Art pavilion in 2008, designed the Tokyo store of Neil Barrett, and have said that you once toyed with the idea of a career in fashion instead of architecture and are interested in the way designers make clothes. What, regarding your own work, would you consider the greatest compliment? Whether people really enjoy and have a special experience being in a space would be the ultimate vindication.īoth architecture and fashion are based on structure and shape and turning basic necessities (like clothing and shelter) into art. Each layer of the building could be quite different and seamlessness made it more complex. What changed dramatically was incorporating topography and creating a special organizational plan to move through the space. Your work has been called “baroque modernism” because it upends the modernism of Mies van der Rohe and Le Corbusier and old rules of space-walls, ceilings, front and back, right angles-but you once said you would describe your style as “virtuoso of elegance.” Would you still? The whole picture of composition and refining and expanding the formal repertoire was to maintain, in a way, modernism, which was very elegant. ![]() This creates a more seamless landscape environment within the exhibit. The carpet follows this idea of striation, and the objects are placed on it because I don’t like putting chairs on planes. Instead of a building within a building, you have a table or a chair against topography, like a hill. There are many layers of architecture within the space. In the show, there are a lot of very large pieces of furniture that could almost be room dividers. How did you conceive of the idea for the show at the PMA? We were trying to create a show on design in furniture and objects, and how to connect all these furniture pieces together against the idea of the interior landscape. The only female recipient of the prestigious Pritzker Architecture Prize, the innovative Iraqi-born Brit recently spoke with : exhibition of the architect’s product design is currently on display at the Philadelphia Museum of Art with a selection of her wild, swooping, techno-fanciful furniture, art, footwear, and jewelry (such as the collection of Swarovski necklaces she made for Lacoste and Melissa). "Zaha Hadid: Form in Motion," the first U.S. From Cincinnati’s sculptural Contemporary Arts Center to Rome’s curvilinear National Museum of the XXI Century Arts, **Zaha Hadid’**s buildings are as strong and striking as they are light and fluid.
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