Zaha Hadid, the starchitect behind this sand-dune inspired headquarters in the United Arab Emirates, a high-design billboard in London, a parametric casino in China, and these uncomfortable-looking high heels, has introduced a new line of lighting fixtures for the Italian lighting company SLAMP. It's being called "Aria Transparent" and the fixtures take the form of icicles, or as Hadid's people put it—a dematerialized volume "where illumination and lightness blend, defining natural design, becoming almost aquatic." Yes, it is very Hadidian. The chandeliers, which come in small, medium, and large, have 50 transparent, droopy surfaces positioned on an axis to each uniquely catch the LED glow. In the video below, which be forewarned has some funky sound issues, Patrik Schumacher, a partner and director at Zaha Hadid Architects, explains that the line is intended to have a "beautifully filigreed, lacy sensibility." So the pieces definitely take Hadid's signature swoopy shape, but they have a much, ahem, lighter materiality than most of her built work around the world. Take a look at the video to learn a bit more. https://vimeo.com/129005669
Posts tagged with "Zaha Hadid Architects":
Zaha Hadid Architects (ZHA) has unveiled the design for its first building in Mexico, a 981 unit, mid-rise housing project in Monterrey. The original brief called for 12 towers, but ZHA proposed the alternative plan that includes a large open green space surrounded by three buildings in a rectangle. The scheme is one of Hadid’s more nuanced, as individual units are expressed as such in a pixelated, morphing grid. Each unit is styled in the firm’s signature curved massing. Usually, their buildings main function is to look like a late '90s/early 2000s basketball sneaker, namely the Adidas Crazy 97, the Jordan XV, or the Reebok Preachers. However, the so-called Esfera City Center attempts to engage with its urban surroundings, namely the two adjacent neighborhoods that are very different in character. The project is designed with ample open space to create a safe environment where both residents and passers-by feel welcome. The interconnected public zones include a café, gym, reading room, and amphitheater. The project will be built in three phases and the first is scheduled for completion in 2018.
What happens when you enlist four architects and a designer to create a shoe? That's the task handed to Zaha Hadid, Ben van Berkel, and others. The result is an ethereal-looking sculpture wrought by selective laser sintering that vaguely recalls the giant dusters at a carwash. Given free reign to “reinvent” the high-heeled shoe for Milan Design Week 2015, household-name architects Zaha Hadid, Ben Van Berkel, Fernando Romero, Michael Young, and Ross Lovegrove teamed up with United Nude, an expert in technologically advanced women’s footwear. The resulting edgy shoe is rendered in hard nylon combined with a soft rubber material—a technique which United Nude, through a longtime collaboration with 3D Systems, discovered as a solution for combining diverse printed parts to create functional footwear. United Nude’s other footwear forays with 3D Systems include creating an interactive touchscreen console that enables users to 3D print their own shoe designs, and conceiving the 3D printed Coral Shoes, designed exclusively for Vogue Fashion Dubai Experience at Level Shoe District by Rem D. Koolhaas and his team at United Nude. Inspired by sea corals, the shoe consists of a 3D-printed wedge with holes through its sides, a small 3D-printed buckle and textile ribbons for strapping the shoe on. Re-inventing Shoes is on show at Teatro Arsenale via C. Correnti 11 within the 5Vie Art + Design Quarter during Milan Design Week 2015.
One of the biggest architectural head-to-head matches of 2014 has come to an amicable end. As AN reported last fall, Zaha Hadid sued New York Review of Books critic Martin Filler for defamation for comments he made about her in a review of Rowan Moore’s Why We Build: Power and Desire in Architecture. In his piece, Filler knocked the starchitect's record on workers' rights, writing that an "estimated one thousand laborers” had died working on the Al Wakrah Stadium (above) she designed for the 2022 World Cup in Qatar. As it turned out, construction on that project hadn't even started yet. Filler acknowledged his error and apologized. Now, Hadid has withdrawn her lawsuit and the two parties have settled out of court. While we don’t know the amount of the settlement, we do know that Hadid and Filler are making a donation to “a charitable organization that protects and champions labor rights.”
It was announced in July of 2014 (very quietly evidently) that Zaha Hadid had been commissioned to design a new headquarters for real estate/oil and gas conglomerate The Richland Companies in Houston. Why had we not heard about this? Well, thanks to Vladimir Kagan, we are now in the know! The legendary furniture designer not only tipped AN off about the commission, he was also responsible for introducing Ms. Hadid to Suzanne Klein and Edna Meyer-Nelson, the Richland execs who promptly hired the Pritzker Prize winner to plan their mixed-use HQ. No design has been released yet, but we’ll be waiting with bated breath to see what sort of swooping, eccentric forms Zaha cooks up for the project—that is, unless falling oil prices put a lid on this baby before it’s hatched!
Until the end of time, people will disagree on the architectural merits of Zaha Hadid's work. Honestly, nobody gets AN's comment section going quite like the Queen of Swoop. But there is one thing that everyone can agree on when it comes to Hadid: pieces of her buildings should not just fall off. But, well, that's exactly what happened this week in Vienna. Austrian newspaper Die Presse reported that a 176-pound piece of concrete cladding came crashing down from Hadid's Library and Learning Centre at the Vienna University of Economics and Business. You would want to write this off as a freak accident, but it's actually the second time a piece of the building has detached since it opened in October 2013. As Die Presse noted, back in July, a roughly 80-pound piece of fiberglass-reinforced concrete took a dive as well. That accident was blamed on "selective assembly error." Contractors are reportedly looking into what caused the latest event and are expected to issue a report on Thursday. In the meantime, the building remains open, but parts of it have been cordoned off. Luckily, nobody was injured in either accident. [h/t FastCo]
Zaha Hadid will lend her futuristic style to the strip along the Copacabana Beach in Rio de Janeiro, with an 11-story luxury condo building, dubbed Casa Atlântica—the first project in Brazil for the London-based architect. Newly released renderings show a soaring, spine-shaped facade reaching up to roughly 136 feet, abutting two other high-rises. The building will consist of 30 apartment units, each including 6-star hotel services, in addition to a spa, cinema, and rooftop pool with views of the beach and of the iconic Burle Max–designed promenade. The project, commissioned by Brazilian businessman Omar Peres, is only steps away from other high profile projects, such as Diller Scofidio + Renfro's Museum of Image and Sound. Construction is slated for the spring of 2015.
The Queen of Swoop, Zaha Hadid, has unveiled her latest project: the upcoming headquarters for Bee'ah, a waste management company based in the Middle East. The roughly 75,000-square-foot structure, in the city of Sharjah in the United Arab Emirates, keeps a low-profile in its desert environment by taking the form of the surrounding sand dunes. "The formal composition of the new Bee’ah Headquarters building has been informed by its desert context as a series of intersecting dunes orientated to optimize the prevailing Shamal winds, and designed to provide its interiors with high quality daylight and views whilst limiting the quantity of glazing exposed to the harsh sun," Zaha Hadid Architects said in a statement. The two main "dunes" of the structure rise out of the sand and intersect, creating a courtyard, or what Hadid calls "an oasis." This is intended to create a meeting space that also maximizes indirect sunlight and enhances ventilation. The "oasis" is part of the firm's overall strategy to create a LEED Platinum building that produces zero waste. "Zaha Hadid Architects will collaborate with engineer Buro Happold and environmental consultant Atelier Ten to ensure the project minimises material wastage and energy consumption," reported Deezen. "A ventilation energy recovery system will reduce the need for mechanical cooling systems, while photovoltaic cells will be integrated in the surrounding landscape to provide the building with solar power." Bee'ah will use its headquarters as an educational center that teaches the community about caring for the environment. Hadid won an international competition for the commission last year.
International outdoor advertising and street furnishings firm JCDecaux and Zaha Hadid Architects have proposed a new billboard design for a busy London intersection. The Paris-based JCDecaux has quite the history of collaborating with high-profile architects and designers—Peter Eisenman, Robert Stern, Gae Aulenti, Philippe Starck, and Lord Norman Foster among them. From an improbable aerial view, the project looks promising. But on the ground, its aesthetic traction is questionable. The design is a retread, both in its resemblance to defective tires and with regard to Hadid's canon of mobius-like creations. The pedestrian experience—no pun intended—doesn't look to be enhanced, either, even though the proposed structure is narrower than the existing advertising kiosk. Could a case be made that such eye-catching, animated structures might contribute to distracted driving? The answer to that question depends on who you ask. The U.S. Department of Transportation conducted a study that concluded digital billboards are no more distracting than stationary signage. But an investigation by the Swedish National Road and Transport Research Institute came to a very different finding, which led to the removal of all such advertisements.
In an effort to make math appear exciting, London's Science Museum has tapped Zaha Hadid to design its new mathematics gallery. According to the museum, the new multi-million dollar, Hadid-ian space will "tell stories that place mathematics at the heart of our lives, exploring how mathematicians, their tools and ideas have helped to shape the world from the turn of the 17th century to the present." If that doesn't sound absolutely riveting to you, well maybe some math-themed architecture can help. Good news, that is exactly what Hadid has planned for the space. In a statement, she said, “the design explores the many influences of mathematics in our everyday lives; transforming seemingly abstract mathematical concepts into an exciting interactive experience for visitors of all ages." The centerpiece of Hadid's design is a 1920s-era Handley Page airplane that is surrounded by undulating forms that appear like visualized turbulence. "The gallery's design will bring this remarkable story of the Handley Page bi-plane to life by considering the entire gallery as a wind tunnel for the aircraft," explained the architect. The gallery is expected to open in 2016. [h/t bdonline]
London's Victoria & Albert Museum is preparing to construct an art installation by Zaha Hadid. Called Crest, the oval form takes its name from ocean waves and will appear in the museum’s John Madejski garden as part of the London Design Festival, which takes place later this month. The Crest, as Hadid’s team has named it, will hover over the pond within the V&A's Madejski garden, forming a swooping arc over the body of water. The futuristic pavilion will sport a metallic surface which will reflect the sky above and the water underneath it. The contrast between these two reflected images will play on the clear contrast of the ultramodern installation against the backdrop of the 19th century museum. Despite this contrast, Hadid designed the installation to create a sense that it had always been there. “We envisioned creating a piece that would emerge from the pool which is the centrepiece of the space, both visually and in terms of social interaction,” Hadid explained in a statement. “Crest is intended to offer an exciting new perspective with which visitors experience the courtyard. It will multiply the movements of the water and the historic backdrop within which it is sited. It will capture the attention of visitors as they enter the space and draw them towards exploring the new quality of space created within.” Hadid previously stated the installation would be comprised of a very thin aluminum material, making it light and easily transported. After the London Design Festival concludes, the Crest installation will be transported from the V&A Museum to Hadid's ultra-parametric ME Dubai hotel, where it will stand as a permanent sculpture. The hotel is expected to open in 2016.
The Los Angeles Philharmonic has a thing for star architects. As part of a trilogy of Mozart operas directed by Gustavo Dudamel (himself a global celebrity), in 2012 Frank Gehry designed the set for Don Giovanni, in 2013 Jean Nouvel designed one for The Marriage of Figaro, and this month Zaha Hadid Architects has designed the backdrop for Così fan tutee, the trilogy's finale. The firm's curving white design, evocative of a skateboarding bowl (or a Corian sink?), is meant to represent a large sand dune on the Italian coast. It was called "shape-shifting" by the LA Times. Its steep inclines have presented challenges to performers, but they seem to be adapting in rehearsals. Shows begin on Friday. Costumes were created by British designer Hussein Chalayan, who, like Hadid, is known for edgy, tech-heavy designs. And the director, Christopher Alden, is also known for taking risks. It seems like a combination that should stir things up, and perhaps produce a template for still-rare collaborations across disciplines.