Posts tagged with "Zaha Hadid Architects":

Placeholder Alt Text

Zaha Hadid Architects completes twisting tower with the world's tallest atrium

The long-held title of "world’s tallest atrium" has jumped from a building in Dubai to a new tower in Beijing. The recently-opened Leeza SOHO by Zaha Hadid Architects (ZHA) boasts a 623-foot-tall twisting, open-air interior that beats out the Burj Al Arab hotel by 23 feet.  Located in the southwest corner of the city, the 45-story skyscraper sits in the heart of the burgeoning Lize Financial Business District near the area’s main transit hub. It features 1.8 million square feet of commercial office space spread across the two bisected volumes, connected by four sky bridges within the adjoining structural rings. The area in between the two halves makes up the full-height atrium, which spirals upward at a 45-degree angle in order to maximize the amount of light able to reach every floor.  ZHA had to slice the interior of Leeza SOHO in half due to ongoing work on the nearby subway. The building sits at the intersection of five new lines and is atop a below-grade service tunnel. From the outside, the structure doesn’t necessarily look divided; double-insulated, low-e glazing encases the entirety of both volumes like a shell, reducing energy consumption and emissions. During the day, however, the sun shines through the middle of the facility and reveals the void in its center.  Other sustainability interventions include a high-efficiency heating and cooling system, as well as a greywater-collection method. The project is on track to receive LEED Gold certification.  Construction on the project began in April 2015 and took just over four years to complete. ZHA co-developed the building with SOHO China and worked with The Beijing Institute of Architectural Design as the architect-of-record. The tower was one of the final projects designed by Zaha Hadid before her passing in 2016.
Placeholder Alt Text

An architectural exhibition will dialogue with Zaha Hadid's first U.S. building

The first Zaha Hadid-designed building in the United States will host an exhibition that pays homage to the architect’s liberated geometric forms. Later this month, the Cincinnati Contemporary Arts Center (CAC) will present its winter exhibition, Props, by mixed-media artist and trained architect Lauren Henkin. The CAC moved into its current home in 2003, centered around a spacious, multistory atrium that creates a sense of free circulation. In a 1998 profile of the museum as a work-in-progress, the Los Angeles Times remarked that “Hadid is erasing boundaries—between inside and out, between a controlled and private inner world and the chaotic energy of public life.” Hadid herself described the building as a “jigsaw puzzle” of exhibition spaces—connected by zig-zagging skywalk staircases, the CAC's layout allows for new modes of exhibiting artwork. Henkin will present a series of eight sculptures scattered throughout the museum, each engaging with site-specific elements of Hadid’s architecture. Props will utilize more than 3,300 cubic feet of “unintended” exhibition space, making use of spaces in the museum which have not been previously used to display artwork. “Hadid so often blurs the line between architecture, furniture, and landscape,” Henkin explained. “It was important to me to extend that uncertainty by pushing the boundaries of how we engage sculpture, while also upending common perceptions of how to experience art in a museum setting. In many cases, the way the ‘props’ are experienced is atypical, placed purposefully in circulation spaces where one can only see the work from above or below, or while climbing or descending stairs.” Along with the unconventional use of space, Henkin makes it clear that she does not consider the sculptures to be the main attraction. Rather than to evoke beauty, the sculptures are meant to serve as catalysts to get viewers thinking about Hadid’s built environment and one's place within it. Additionally, Props will pose important questions about the context of objects displayed in institutional settings, for in addition to the unusual placement of the works, some of which are comprised of objects found in the building’s utility closets. “We’ve all had the encounter of walking into a contemporary art space and wondering if something that looks ‘half-way’ is intentional art or just a chance clustering of items, a renovation on pause,” said Steven Matijcio, curator of Props. “Lauren mobilizes that idea to loosen the absolutes of Hadid’s geometry and materials, and to amplify to more porous and fluid dimensions of the building’s design.” Props will be on view from November 22 through March 1, 2020, at the Contemporary Arts Center in Cincinnati.
Placeholder Alt Text

Patrik Schumacher claims limiting work hours could paralyze offices

In an era where work-life balance and workplace culture have become major issues in the design industry, Patrik Schumacher says we have nothing to worry about. During a panel at Dezeen Day in London last week, the principal of Zaha Hadid Architects (ZHA) clashed with Pratt Institute School of Architecture dean Harriet Harriss, claiming that measures to limit the exploitation of employees could lead to the “paralyzing” of firms like ZHA. "This is a competitive place where people are eager, have passionate and want to succeed and want to do something," said Schumacher. "But you can't do that if you're told that if work beyond eight hours you can observe exploitation, and something is wrong with you." Schumacher’s comments came in response to Harriss’s claim that overtime culture actually curtails productivity. "It's very important to just bust the myth here that longer hours equals productivity," Harriss remarked, adding that “What we are doing, arguably, is making permissible forms of labor exploitation, and creating work-life balance that often triggers mental health [issues]. And we know this is a pretty serious issue in education at the moment.” “I don’t like your philosophy,” responded Schumacher, claiming that it is a slippery slope for a “socialist world of stagnation” that he has observed in European labor culture. The panel discussion, Fixing Education, also included Neil Pinder, architecture and design teacher at Graveney School in London, and Stacie Woolsey, a young designer who came to prominence after creating her own master’s degree program in response to the lack of affordability in institutional programs. The four professionals were brought together to discuss how to better prepare architecture and design students for the demands of the profession. The comments were not Schumacher’s first foray into criticizing the trajectory of design education. Over the summer, he published a Facebook manifesto entitled “13 theses on the crisis of architectural academia,” citing issues such as teachers without sufficient professional experience, generally uninspiring portfolios from graduates, and a sense of detachment between education and the profession. The ZHA principal has also come under fire for his stance on unpaid internships, as he claimed in 2016 that such work is "the result of a well-functioning market." In an agree-to-disagree resolution, Harriss dismissed Schumacher’s views as outdated, adding that the long-hour discussion is only a small piece of a larger the larger problem of accessibility within the industry.
Placeholder Alt Text

Zaha Hadid Architects and COX Architecture unveil Australia's future largest airport

Zaha Hadid Architects (ZHA) and COX Architecture are slated to officially design a new airport in Western Sydney, Australia. After winning an international design competition featuring 40 firms, the London-based practice and local Sydney studio will together lead the charge in creating a sustainable transportation hub for the burgeoning region surrounding Parkland City. Known officially as the Western Sydney International (Nancy-Bird Walton) Airport (WSA), the $5.3 billion project is expected to become a catalyst for growth in Western Parkland City, one of the capitol’s new three urban centers (Greater Sydney is officially broken up into three cities). It will be built out in four expansion stages, the first of which will be completed by 2026 and will serve 10 million passengers annually.  According to the design team, the vision for the upcoming terminal takes cues from the lush Australian bush: WSA will be a low-lying greenfield airport with nature-filled interiors. Vertical gardens featuring local flora will line the walls, slatted timber ceilings will undulate overhead, and ample daylight will spill in from outside during the day. David Holm, project director at COX, and Cristiano Ceccato of ZHA explained the 4,398-acre site will have an “unmistakable regional identity.” “The design is an evolution of Australian architecture past, present, and future,” said Ceccato in a press release. “It draws inspiration from both traditional architectural features such as the veranda, as well as the natural beauty of the surrounding bushland.”  ZHA/COX beat out five other shortlisted teams in the competition for the airport bid. Among them were Foster + Partners, Gensler, Hassell, Pascall+Watson, and Woods Bagot. According to The Sydney Morning Herald, it wasn’t just the highly-localized design that won over the jury, it was the way ZHA/COX presented the importance of the customer’s experience as they journey through the terminal. As the airport expands using modular-based construction, it’s expected that the facility will be able to accommodate up to 82 million passengers a year by 2060—outpacing every other airport in Australia.  These numbers coincide with the increased population of Sydney’s greater metropolis as well. In the next 20 years, it’s estimated that Greater Sydney will likely become home to 9 million people. By the time all of the sections of the airport are complete, Parkland City itself will boast well over 1.5 million, according to the Greater Sydney Commission.  Construction is slated to begin in 2022. 
Placeholder Alt Text

Beijing opens its gargantuan new airport by Zaha Hadid

It’s official: Zaha Hadid Architects' massive design for the new Beijing Daxing International Airport (PKX) is open to the public and expected to see up to 45 million passengers a year, with hopes of accommodating 72 million by 2025. Envisioned by the late Hadid herself in conjunction with French construction engineering firm ADP Ingénierie, the sprawling “starfish” structure is now considered the largest terminal building in the world at 7.5 million square feet. It was built in less than five years in an effort to relieve air traffic from the nearby Beijing Capital International Airport (PEK), a 2008 design by Foster + Partners. Located at the opposite end of China’s capital to the south, PKX sits on the outskirts of the Daxing District.  Earlier today at 4:23 p.m. in China, the first commercial flight took off from the airport and headed to Guangzhou. Six other domestic flights departed from the four runways on site before 5 p.m. Over the coming weeks and months, several flight routes will be transitioned from PEK to PKX while some airlines, like British Airways, will move their entire Chinese operations to Daxing. In total, the airport is currently slated to handle 630,000 flights annually.  AN previously reported on the terminal’s sweeping interiors and its many signature-Zaha design moments. From the curved white walls and ceilings to the slick, polished floors, the airport is arguably one of the most visually complex in the world. It features radial skylights that extend out from the center of the structure down the length of its legs. A copper-colored skin clads the airport’s roofs and from above, it truly looks alien. From the inside, it takes on almost a new-age modernist tone.  The airport's grand opening comes just days before the 70-year anniversary since the founding of the People’s Republic of China. French construction engineering firm ADP Ingénierie led the design and build-out with ZHA.
Placeholder Alt Text

Digitally tour Zaha Hadid Architect's 7.5-million-square-foot airport near Beijing

Zaha Hadid Architect’s sprawling Beijing Daxing International Airport (PKX) in Daxing is nearly complete. Design lovers can get a preliminary peek inside of China’s largest, otherworldly terminal, and ZHA's first airport project, thanks to news organization CGTN, which produced a 360-degree walkthrough of the shiny new space. Slated to open in late September, the 7.5-million-square-foot structure is expected to take on upwards of 45 million passengers a year. Within six years, it’s projected that the facility will handle 72 million people. Aiming to accommodate up to 630,000 flights per year across four runways, PKX hopes to relieve traffic from the Beijing Capital International Airport, a 2008 structure on the opposite end of the city, designed by Foster + Partners. According to CGTN, a phased plan will transfer several flight operations from the existing airport to PKX at the southern tip of Daxing. Based on initial visuals, visitors can get a sense of how the throngs of passengers might flow through the airport’s unique layout. ZHA created a single structure with a six-pier radial design—as they call it—that features a core transfer and check-in space infused with natural light thanks to large windows and several skylights. The late Hadid’s signature slick and sweeping white ceilings, as well as curvaceous walls, are evident in CGTN’s insider photography. From above, the architecture appears web-like, and narrow skylights extend from the central public area out to the edge of the terminal legs.  AN will report further details on the design of PKX upon its opening on September 30th.
Placeholder Alt Text

Zaha Hadid's completed One Thousand Museum joins the Miami skyline

Zaha Hadid’s exoskeletal skyscraper in downtown Miami has officially opened for business. One Thousand Museum, the late architect’s final residential tower in the United States, is the newest high-end condominium to grace Biscayne Boulevard in the city’s cultural core, and its 84 units are now available for sale.  Standing 707 feet tall, the building boasts the status of being the fourth-largest structure in Florida and rises 62 stories above Museum Park, a 30-acre urban greenspace that houses the Pérez Art Museum and the Philip and Patricia Frost Museum of Science. The massive project incorporates Hadid’s signature curves both within the interior and along the exterior—it’s most distinctive feature is the white-painted concrete “web of flowing lines” that meander up the facade.  The exterior scorpionlike "exoskeleton," an expressive inclusion that was also designed as structural support, has resulted in some nicknaming the building the “Scorpion Tower.” The bracing is further texturized by the lower and upper floor terraces and the podium, which includes even thicker columns that splay out and round off at the corners.  According to the architects, the glass cladding behind the exoskeleton includes a “folded, faceted, crystal-like facade” that will play off of the Miami sun and uniquely interact with light both from inside and outside the building. Just as important, the structure is strong; it’s resistant to forceful hurricane winds thanks to the diagonal bracketing system created by the design team.  Within One Thousand Museum, the interior floor plate is almost entirely column-free, allowing residents full views of Biscayne Bay and Miami Beach beyond. The lobby, communal spaces, and living units each embody Hadid’s futuristic style and sensibilities—the interior cladding, flooring, furniture, lighting, and ceiling designs all feature sleek, curved elements. Amenities include a spa, sunbathing deck, a double height aquatic center, sky lounge, multiple fitness areas, and private helipad. 
Placeholder Alt Text

Heavy hitters of U.K. architecture declare a “climate emergency”

A group of 17 architecture firms from across the United Kingdom, including Foster + Partners, Zaha Hadid Architects, David Chipperfield Architects, Rogers Stirk Harbour + Partners, released an open letter affirming their commitment to heading off climate change and building a more equitable future for their profession. The planet is in "twin crises," the letter declares, under the heading "UK Architects Declare Climate and Biodiversity Emergency." The full list of founding signatories, all 17 of which are RIBA Stirling Prize winners, is as follows: Alison Brooks Architects; Allford Hall Monaghan Morris, AL_A, Caruso St John Architects, David Chipperfield Architects, dRMM, Feilden Clegg Bradley Studios, Foster + Partners: Haworth Tompkins, Hodder + Partners: Maccreanor Lavington, Michael Wilford, Rogers Stirk Harbour + Partners, Stanton Williams, WilkinsonEyre, Witherford Watson Mann, and Zaha Hadid Architects. Together, the group declared that as the construction and maintenance of buildings account for 40 percent of the world’s energy-derived carbon dioxide production, the architecture and construction industries have a responsibility to change their practices. Their list of demands compiles practical changes that can be taken to mitigate further climate change, and to stem the ecological destruction that comes with new construction and urban sprawl. “For everyone working in the construction industry,” reads the Architects Declare statement, “meeting the needs of our society without breaching the earth’s ecological boundaries will demand a paradigm shift in our behavior. Together with our clients, we will need to commission and design buildings, cities, and infrastructures as indivisible components of a larger, constantly regenerating and self-sustaining system.” Those measures include collaborating with engineers, clients, and contractors throughout the project’s lifecycle to reduce waste: retrofitting older, existing structures instead of razing them for new construction whenever possible; enacting whole-lifecycle carbon and occupancy analysis; minimizing waste; sharing knowledge with colleagues whenever possible on best practices; incentivizing climate change and biodiversity loss mitigation through awards, and many others. At the time of writing, 155 U.K.-based firms had signed the pledge. Earlier this week, Foster + Partners became the first architecture studio in the world to sign on to the Net Zero Carbon Buildings Commitment, meaning that all of their projects would be carbon neutral by 2030.
Placeholder Alt Text

Eavesdrop: Hadid, Jahn, Venturi, and the Soho Grifter

This post is part of our years-long running Eavesdrop series (think Page 6 for architecture gossip). It’s your best source for insider stories and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.

Strong foundation

If you have been following the saga of Anna Delvey, the so-called “Soho Grifter” in the news, you might have come across the great profile of her in New York magazine. Long story short, Delvey, whose real name is Anna Sorokin, conned rich New York socialites into supporting her lavish lifestyle and her extravagant Soho House–like private club, the Anna Delvey Foundation. She was convicted on May 26 of two counts of second-degree larceny and one count of first-degree attempted larceny. In the trial proceedings, more details have been in the news, including an ARTnews report that displayed a range of slides from the presentation that she used. One of the more exciting ones for us at Eavesdrop is slide 68, which outlines design director Gabriel Calatrava’s role and background. Also, Santiago Calatrava and developer Aby Rosen were board members, while Daniel Arsham of Snarkitecture was listed as an advisory partner of the “foundation.” A spokesperson for Arsham told AN, “Daniel had no role and was as surprised as everyone else to see his name listed in her foundation materials.”

Here's who said it

In last month's Eavesdrop we asked who quipped, “Details wag da dog” in response to Mies van der Rohe’s oft-repeated maxim, “God is in the details.” We all know Robert Venturi’s retort to Mies’s “Less is a bore.” But even more playfully, it was the master of Manayunk himself who said, “Details wag da dog."

Zaha Hadid (doesn’t) sell out

A slowdown in the New York City luxury market seems to have claimed another building. According to Crain’s, the ZHA-designed 520 West 28th has only sold 40 percent of its units, and even less than that when measuring in square feet.

Despite the curvaceous building’s prime location along the High Line, there actually aren’t too many neighborhood institutions, like grocery stores and movie theatres. The building’s sky-high prices and large unit sizes haven’t helped either, and the $60 million double penthouse has sat vacant since the building’s opening.

It appears developer Related is changing its marketing approach, as an eagle-eyed AN editor spotted a massive “ZAHA HADID” banner across the building’s top level while walking the High Line. Now that Hudson Yards is open nearby, Related hopes the extra neighborhood amenities will entice potential buyers.

Helmut’s Langer

Chicago’s decision to award the new $2.2 billion O’Hare Global Terminal and Global Concourse building to the Studio Gang–led team has stirred criticism, and some of it is from a surprising source. Legendary Chicago architect Helmut Jahn released a handwritten note blasting the winning design, saying that he hoped the next mayor of Chicago would roll it back.

“I am embarrassed that some of my most respected colleges [sic] have been missused [sic] to placate a premitidates [sic] decision, not justified by design or experience. Such attitude has not made Chicago a capitol of world architecture. Hopefully the next mayor will turn this around.”

What a world!

Sometimes truth is stranger than fiction. Or is that the other way around? Anyhoo, at a recent roundtable discussion at the United Nations in New York, Bjarke Ingels unveiled a prototype floating city (see front page). In his presentation, he said that his scheme “would not look like Waterworld.” However, one of the two screenwriters of Waterworld was one of the next speakers, Peter Rader. “I bet when Bjarke threw shade at Kevin Costner, he didn’t think the screenwriter of Waterworld was in the audience. This looks exactly what we did in Waterworld,” said Rader.

Placeholder Alt Text

Zaha Hadid Architects’ 2022 World Cup Stadium in Qatar opens

Zaha Hadid Architects' (ZHA) 2022 FIFA World Cup stadium, a billowing, nautically-inspired venue in the coastal city of Al Wakrah, Qatar, is now open to the public. Together with AECOM, ZHA drew on the shape of dhows, long, thin traditional sailing boats, to create the swooping curves of the Al Janoub Stadium’s roof. When the 40,000-seat soccer stadium (collapsible to 20,000 after the World Cup) was first revealed, however, commentators were quick to point out its yonic shape and textures. The supposedly fleshy creases are formally meant to reference large sails, while the curved sections are supposed to approximate dhows turned over on their hulls to provide shelter. Adding further complexity to the roof are the pleated panels that cascade down the sides of the building, connecting at the eaves to bronzed lattices on the lower stories. The lower screens visually depart from the white and off-white panels above, but also reference traditional Islamic crafting techniques through their shape and metallic cover. Inside, the stadium was designed to passively cool its patrons. The fully-operable polytetrafluoroethylene (PTFE) roof, designed by Schlaich Bergermann Partner unfurls along a cable track to protect spectators and players from the harsh summer sun. The underside of the roof continues the nautical styling of the stadium’s exterior, with a coffered ceiling that meets circular, steel rigging at the center that’s crisscrossed with speakers, lights, and screens. Al Janoub Stadium sits on top of a new landscaped podium, with large voids cut into the structure to allow for at-grade entry and vehicle access.
Placeholder Alt Text

Chinese blogger pays penalty after claiming ZHA complex has bad feng shui

Chinese real estate developer SOHO China has won a 200,000 yuan—nearly $30,000—libel case against a blogger who wrote that the Zaha Hadid Architects (ZHA)-designed Wangjing SOHO was bringing bad luck to its tenants. In November of last year, a blog run by Zhuhai Shengun Network Technology wrote that the triple-building office complex in Beijing had bad feng shui. Among the article’s many claims is that the pebble-shaped buildings looked like “pig kidneys” and that they were a “Waterloo” for the companies working within. The post, which was viewed over 100,000 times before being deleted from messaging platform WeChat, went on to say that larger companies should flee the Wangjing SOHO unless they wanted their growth to slow. On April 10, a Beijing district court ordered that the blog operator pay $29,796 and apologize to SOHO China. In its verdict, the court ruled that the article “applies superstition to Wangjing Soho building, which institutes defamation,” according to the South China Morning Post. The blog itself, S Shengunju S, was deleted in November along with 9,800 other accounts as part of a larger social media post and blog purge by the Chinese government. Feng shui is an ancient practice of precisely orienting buildings and their interiors to invite in energy, wealth, and prosperity that still has many modern adherents all over the world. However, regardless of whether the feng shui of the 5.4 million-square-foot Wangjing SOHO is off or not, the complex has been a success by more than one measure; after the complex’s design was “stolen” in 2013, it went on to win several awards and has a 98 percent occupancy rate.
Placeholder Alt Text

Zaha Hadid Design fashions women's activewear collection

Zaha Hadid Design (ZHD) created a women's activewear line in collaboration with Odlo, a Swiss sportswear company. The collection includes black tights, a black bralette, and a translucent gray parka. The pieces feature some signature ZHD elements—think swooping curves and patterns that morph in a gradient field—but little of the spectacular formal gyrations of the firm's most well-known buildings. In many ways, the clothing resembles monotone mesh high-end activewear available from a variety of retailers. ZHD is no stranger to a partnership. Last fall the firm collaborated with Odlo on a line of exercise shirts, with Royal Thai on a line of rugs, and with ETH on a concrete pavilion. The designs, available for sale online in Europe, range from £50.00 for the bralette to £130.00 for the parka.