Nearly two decades ago, Zaha Hadid's vision for a building that housed art, but more broadly worked to catalyze an urban redevelopment effort in Cincinnati, was to create a structure that made art accessible to the public. She delivered on her goal as a spatially complex series of stacked galleries piled up high over a tight infill site. Accentuated on the ground level by virtually no threshold between the city and institution, Hadid's Contemporary Arts Center (CAC) has since become defined by it's airy public lobby, an "urban carpet" that transitions seamlessly from sidewalk floor to gallery wall, and Corbusier-inspired stairways that form a vertical street, tapping into a set of galleries floating seemingly impossibly overhead. It is only fitting that a show like Props could emerge in a space that set out to reimagine the idea of what a white box gallery could be. Props is a set of eight experimental sculptures from architecture-trained mixed media artist Lauren Henkin, who has found new productive uses for underutilized space in the 16-year-old building. Her solo exhibition joins two other compatible shows concerned with spatial awareness: Confinement: Politics of Space and Bodies, and Cincinnati-based photographer Tom Schiff's Surrounded by Art. The trio of exhibitions will remain open through March 1, 2020. Steven Matijcio, former curator of the CAC, and the current director & chief curator at the Blaffer Art Museum at the University of Houston curated the work. "Lauren [Henkin] and I wanted to challenge and expand the typical locations of artistic presentation at the CAC," said Matijcio. "By its very nature, Lauren's series of "Props" was meant to skew the habits, conventions, and assignments that coalesce in even the most avant-garde of structures." Each of Henkin's Props is assembled from an ad hoc material palette—concrete, PVC, wiring cable, plaster scraps, and so on. In one case, scrap wood was pulled from the CAC's basement and piles of debris discarded by installers of the concurrent exhibitions. The development of the work relied heavily on photographic documentation, drawing, and visits to the building. Henkin worked between her Maine-based studio, the CAC, and a nearby Kentucky-based fabrication studio. Props intentionally undermines the programming of the CAC's formal gallery spaces. Why have work in the gallery when it can exist outside of the gallery? Lacking any formalized infrastructure for art viewing (lights, art labels, etc.), the work feels at home amid and within the architecture of the building. The pieces dissolve into walls, hug corners, and playfully grow out from the floor. In this regard, the Props do not come off as menacing or insulting in any way. Instead, they feel like discreet, optimistically friendly characters, producing compelling moments of their own that stop us in our tracks. With no labels or signage, there seems to be a real possibility that some of these Props could be overlooked during de-installation and hang around the museum indefinitely. Henkin, whose background is in architecture, says movement is the organizational force underlying Props: "These pieces are meant to be viewed while in motion where the viewer is moving up and around the work." Henkin flips our traditional relationship to art: the work becomes static, while the viewer is set in motion. However, beyond Zaha's stair, Props can be spotted hiding out in spaces less trafficked, like the entrance to the fourth-floor women's restroom or a forgotten corner of a hall leading to a fire stair. Formalized art galleries offer no escape for visitors who become immediately incorporated into the spatial logic of the institution: you must walk up these stairs, and you must view the work in this order. Henkin, Matijcio, and co. offer an alternative to this. You inevitably pass Henkin's work, but it operates as a filter, or primer, for the other work in the galleries. "The element of play, whimsy, and revelry played an important role in the conception and execution of the project. Lauren's sculptural interventions in the CAC are meant to disorient and befuddle, and provoke," said Matijcio. "Some are imposing and seemingly precarious; others are quizzical and slightly comical. Each one is different, but the unifying thread was to reimagine the structure's non-gallery spaces as fertile terrain to reconsider and activate." While this iteration of Henkin's Props likely won't travel elsewhere due to its site-specificity, the show might still have a legacy. The problem that Henkin's show exposes is that austere, raw, underutilized display and circulation spaces of today's art museum do have the opportunity to be more critically used. What would it look like for an exhibition to spill out into these spaces? What trouble would this cause, between issues of security, lighting, and liability? However, what opportunities this could create, to reimagine the broader curatorial flow to the institution! Props beg us to consider and reinvent our normative, intuitive, choreographed movements through the museum, especially in Cincinnati, where 16 years of exhibitions have begun to familiarize and dull this incredibly significant architectural space. In an institution that prides itself as a "non-collecting" contemporary museum showing "work of the last five minutes," Props exist as a welcome sideshow to the CAC's ongoing spirited circus of traveling acts. Henkin reminds us that a white room can fit only so many paintings before overflowing.
Posts tagged with "Zaha Hadid":
Galerie Gmurzynska is proud to present “AMAZONKI,” a selection of works by women artists of the Russian Avant-Garde. With this project, Galerie Gmurzynska consolidates one of its main programmatic lines, dedicated since its origins in 1965 to women artists – a pioneering approach for that time. After putting together several solo shows on women artists, Krystyna Gmurzynska organized the acclaimed exhibition “Women Artists of the Russian Avant-Garde” in 1979, the first ever exhibition to concentrate on the women of the Russian Avant-Garde. More recently, the Malaga branch of the State Russian Museum hosted the well-received show “Graphic works by Russian Women Artists from the collection of Krystyna Gmurzynska,” still on view until September 2019. The exhibition in Zurich features some of the most remarkable women artists of the Russian Avant-Garde such as Maria and Xenia Ender, Natalia Goncharova, Liubov Popova, Olga Rozanova, Nadezhda Udaltsova, and Varvara Stepanova. The selection of works includes both visual and applied forms of art, from graphic works and theater designs to decorative projects. “AMAZONKI” is the Russian word for the mythological “Amazons,” and it was first applied to the female Russian Avant-Garde artists by the Cubo-futurist poet Benedikt Livshits, who described them as “real Amazons, Scythian riders.” An iconic exhibition, entitled “Amazons of the Russian Avant-Garde” was held at the Solomon R. Guggenheim Museum in 1999-2001, to which Krystyna Gmurzynska was invited as the only non-institutional private lender in recognition of her famed 1979 exhibition “Women Artists of the Russian Avant-Garde.” The work of these pioneering women artists was extremely influential in the world of the Avant-Garde and was highly significant in defining modernism as a whole. There was a remarkable boom in women’s creativity in early-20th century Russia, where the rapid modernization of society changed the status of the female artist and marked the beginning of women’s integration into cultural areas that were formerly the preserve of men only. Never before in the history of Western art had women played such an important role in the formation of new art movements or the redefining and reconfiguration of cultural spaces. Their influence can be clearly seen throughout the 20th Century. “AMAZONKI” thus continues with a separate exhibition of the preeminent female artist of Russian origin in the US: Louise Nevelson. Though the “Amazons” were distinguished by their tremendous energy and a great force of will, they at no time constituted a single, uniform group formed through a common support of “feminist” ideas. Possessing a bright talent, each offered her own vision and direction to the development of Avant-Garde art, playing a vital role in larger artistic circles, where they were as individualistic, productive and exceptional as their male colleagues such as Kazimir Malevich, Mikhail Larionov and Alexander Rodchenko.
A fuller picture of Patrik Schumacher’s battle with the three other executors of the late Zaha Hadid’s estate has come to light courtesy of a series of legal documents obtained by BDonline. In the 20-page document, Schumacher lays out a series of allegations against his co-trustees, including claims that he was “forced” to drop Hadid’s name from her practice and that he was barred from speaking at her 2016 memorial service. The divisions between Schumacher and the other trustees of Hadid’s $90 million estate—her niece Rana Hadid, friend Brian Clarke, and developer Lord Peter Palumbo—first emerged on November 14 of last year. Schumacher, a principal at Zaha Hadid Architects (ZHA), had gone before London’s High Court and issued a claim asking that he be authorized as the estate’s sole trustee. His fellow executors and colleagues penned an open letter in response, claiming that Schumacher was operating in his own interest, not that of the estate. In a follow-up, Schumacher took to AN’s comment section to defend himself, claiming that his detractors weren’t aware of the full story. Now more of his claims have come to light. Schumacher claims that the other three trustees “forced” him to remove Hadid’s name from her eponymous practice. He also alleges that the studio, referred to in the documents as Zaha Hadid Limited (ZHL), was forced to move $9.8 million to a holding company owned by the other executors. Schumacher writes that he was coerced into going along with the will of the executors under the threat of being removed from ZHA. His continued participation in the firm’s business was included in a “letter of wishes” written by Hadid at the same time as her will in April of 2015, although Rana Hadid claims that Schumacher received that concession by barging into a meeting between Zaha Hadid and her lawyers (a claim he denies). In an excerpt from the documents held by BDonline, Schumacher wrote: “ZHL is a major asset of the estate. It is evident from the ‘letter of wishes’ that Dame Zaha intended it to be transferred to Mr Schumacher and its employees as a going concern. Rather than honouring that wish, the defendants have delayed the transfer and have acted and continue to act in a manner detrimental to ZHL. They have transferred cash and other assets to ZHH [ZHL's parent company] and the foundation despite reducing ZHL’s capacity to carry out business. “Further, they have sought to undermine Mr Schumacher’s ability to lead and control ZHL as envisaged by the ‘letter of wishes,’ and have taken steps to control ZHL directly by means of taking control of its sole shareholder ZHH. “Given Mr Schumacher’s role in ZHL, the defendants’ personal animosity towards him has coloured their decision-making with regard to ZHL and has resulted in their taking decisions that have been manifestly to ZHL’s detriment.” For their part, the other executors have claimed that they’re only acting in good faith, writing in November that they were personally chosen by Hadid to represent and further her best interests. A statement from Zaha Hadid Architects on the matter was provided as follows: "We hope this matter can be settled quickly and amicably, to the satisfaction of all parties. After another successful year, the practice goes from strength to strength and our business is unaffected by the subject matter of the dispute. We remain focused on serving our clients and building on the achievements of Dame Zaha."
To the Editor: We are a group of close friends, fellow and former students, and employees of Zaha Hadid. We wish to express our utmost concern at the recent legal action by Patrik Schumacher against Zaha’s fellow executors. We strongly support Lord Peter Palumbo, Brian Clarke, and Rana Hadid’s efforts to fulfill Zaha’s wishes regarding the settlement of her estate, determining conclusively the future structure and governance of her office (ZHA), and the development of the Zaha Hadid Foundation, all as stipulated in her will. Schumacher’s public behavior and proclamations since Zaha’s passing are well known and they speak for themselves. What is not publicly known is the extent to which he has been attempting to thwart Zaha’s last wishes. Zaha’s unique legacy must be protected. It is of paramount importance that the Zaha Hadid Foundation is established and fully endowed to fulfill the promulgation of her educational vision. Hadid’s internationally acclaimed status is based on her oeuvre. The Foundation must be an autonomous body responsible for this unique archive comprising drawings, models, sketches and project-related material from her student days until her untimely death. The Foundation’s role is twofold: to safeguard the material and to make it the foundation of any future academic inquiry both of her contributions and equally, academic investigations inspired by it. Signed by: Mya Manakides Nicholas Boyarsky Lisette Khalastchi Robert Cole Sand Helsel Michael Wolfson David Gommersal Brian Ma Siy Alastair Standing Graham Modlen Kathleen Peacock Ban Shubber Rodney Place Miska Lovegrove
Zaha Hadid Architects (ZHA) principal Patrik Schumacher issued a claim in London’s High Court earlier today in an attempt to remove the other three executors of Dame Zaha Hadid's will from her $90 million estate. Those executors include Zaha’s niece, Rana Hadid, artist and friend Brian Clarke, and developer and current Pritzker Prize jury chairman Lord Peter Palumbo. The three executors, all trustees of the Zaha Hadid Foundation, immediately released a joint statement slamming Schumacher’s decision. It was stressed that before her death, Hadid chose the three executors to oversee her estate based on the closeness of her relationship to each.
A lawyer representing the three issued the following statement:
Wow. Patrik Schumacher has issued a claim in the high court to have Zaha Hadid's three fellow executors (including her niece) removed as executors of her estate pic.twitter.com/ehZWdbRsdy— Olly Wainwright (@ollywainwright) November 14, 2018
The attempt to remove these three executors is totally unjustified and misconceived. Unlike Mr Schumacher (who is seeking to gain financially from the estate), the three executors have no personal financial interest. They have at all times acted properly and in good faith with the desire to do their best for the estate given their friendship with Zaha Hadid.Rana Hadid was more pointed in her rebuttal, adding: “My aunt, Zaha, would have been devastated to learn what Schumacher is doing and we feel obliged to resist his claims in order to defend her great name and legacy.” A spokesperson for Zaha Hadid Architects told the Architect’s Journal that “this is a matter relating solely to the executors of Zaha Hadid’s estate.” This isn’t the first time Schumacher and the executors have butted heads, as the three took the ZHA partner to task after a speech at the World Architecture Forum in Berlin in 2016. In that speech, Schumacher called for the abolition of all social and affordable housing and getting rid of government land use policies. The executors and the rest of ZHA weren’t amused with Schumacher professing his libertarian views on a world stage while representing the firm, and they spoke out afterwards, saying his views were completely at odds with Hadid’s legacy. AN will update this story as more information becomes available.
Zaha Hadid Architects has been chosen to build the new Sverdlovsk Philharmonic Concert Hall in Yekaterinburg, Russia. The city of Yekaterinburg, home to the world-renowned Ural Philharmonic Orchestra, has established itself as a cultural and artistic center of Russia. The Philharmonic is known for its sold-out performances in the existing Sverdlovsk Philharmonic building, which dates back to 1936. The orchestra’s new home will serve as an inspiring auditorium and public plaza for the people of the city. The new Sverdlovsk Philharmonic Concert Hall is characterized by its flexibility, unpredictability, and audacious architectural aesthetic. The design of the building was inspired by the physical characteristics of sound waves: floors, walls, ceilings, and canopies seem to flow, vibrate, and intertwine with one another in effortless and continuously smooth motions. Zaha Hadid Architects’ design incorporates a 1,600-seat concert hall and a 400-seat chamber music hall, all burrowed within the undulating surface of the suspended canopy, which will extend above the lobby and enclosed urban square. Within the lobby, massive glazed facades blur the boundary between interior and exterior, calling visitors to experience the artistic spaces within. Above the canopy, a public rooftop terrace overlooks the city’s Church of All Saints. “Russia has been a formative influence on Zaha Hadid Architects’ creative work,” said Christos Passas, project director at Zaha Hadid Architects, in a statement. “From very early in her career, Zaha was attracted to the Russian avant-garde who conceived civic spaces as urban condensers that catalyze a public realm of activity to enrich creativity and community; allowing space itself to enhance our understanding and well-being.” These principles of urban creativity and ingenuity are embedded within the design of the new concert hall, which utilizes a series of public spaces to strengthen the bond of inner-city residents. Sverdlovsk’s Ministry of Construction and Infrastructure Development organized the design competition with the help of the charity for the Ural Philharmonic Orchestra.
Zaha Hadid Architects’ design for Africa's tallest tower is reportedly breaking ground after nearly a decade of delays by the Egyptian government, according to Forbes. The 70-story Nile Tower will rise along the Nile River in central Cairo as part of an upscale new downtown district. The project is expected to spur growth and investment in a previously neglected area that currently houses middle-class and low-income residents. The 1.3 million-square-foot Nile Tower was first envisioned by the late Hadid in 2007 and so far, design details haven’t changed. The rectangular structure will house residential and hotel components inside a thin, twisting volume. Apartments will be built out on the top 36 floors with views of the nearby pyramids, while the middle 18 floors will include a hotel with 230 rooms. Other floors will feature a casino, nightclub, spa, health club, and shops. The luxury property is set to be marketed toward higher-income tenants, who in recent years have moved to the outskirts of Cairo into newer developments. Nile Tower will be a focal point of the aforementioned upcoming neighborhood that its developers hope will spark an influx of wealthy residents back into downtown Cairo. Zaha Hadid Architects isn’t the only starchitect firm set to build in the planned district. Foster + Partners designed a mixed-use project for the site as well, which will go atop a recently-demolished lower-income housing complex in the neighboring Maspero Triangle. Critics of both projects say the displacement of Cairo’s poorest and most vulnerable people is already a huge issue. Apart from its controversial setting, one major reason for the Nile Tower’s postponement was the national shake-up Egypt experienced in 2011 when its long-time president Hosni Mubarak was removed from office and tried for corruption and abuse. Mubarak was an avid supporter of the Nile Tower and the plans for creating an upscale new residential and business district. The country couldn’t get it back on track amidst all the political and economic unrest. Under Egypt's current president, Abdel Fattah al-Sisi, the project is once again a top priority for the country as well as for Cairo’s development. Ashraf El Tanani, president of the site's developer Living In Interiors, told Forbes that President Sisi’s government is actively involved in getting the height clearance for the project as well as making it a financially viable project. As of now, the tower will cost $600 million, though it’s likely to rise by $150 million due to the weak Egyptian pound which is making building materials much more expensive than planned. Despite the hefty price tag, the project is expected to make a significant return for the domestic economy with increased construction jobs, as well as its potential for enhancing the housing and tourism sectors once complete. The groundbreaking has been set for the near future, but no date has been officially named.
As preparations and celebrations unfurl for the 2018 FIFA World Cup kick-off in Russia tomorrow, AN has rounded up our favorite up-and-coming projects (and new sports venues) across the country. From James Bond-esque houses and parachute-themed neighborhoods to massive new developments, Russia has provided a playground for high-profile firms to experiment with new forms. Below are some of the wildest and most ambitious projects announced or completed recently, including the venues for the games themselves: Silhouette Location: Moscow MVRDV The modular Silhouette was the result of a design competition that concluded in January of this year and will serve as a “gateway to Moscow” once completed. The 256-foot-tall, mixed-use complex contains a bit of everything—luxury apartments on the top floors and a roof terrace, offices, a sports center, and a grocery store at its base. The pixelated tower block will be clad in a red ceramic tile, and the form takes cues from abstractions of Moscow’s skyline and the constructivist Ministry of Agriculture building across the street. The extrusions and sculptural cuts at the building’s base were carefully planned to create an inviting presence at ground level. Tuschino District Residential Development Location: Moscow Steven Holl Architects and Kamen Steven Holl Architects and Kamen Architecture Art-Group have proposed a new “Parachute Hybrids” typology for their residential development in Moscow’s Tushino district. Drawing inspiration from the site’s history as a former paratrooper airfield, the vertically-oriented slabs and horizontal bases have been run through with circular cuts reminiscent of parachutes drifting through the sky. Tushino will offer residences of every type and target every income bracket, while a new kindergarten and elementary school will serve residents in the development. “Tushino can be an important urban model for 21st century high density living, shaping public open space,” said Steven Holl. “The new building type we have proposed here, inspired by the site’s history, is unique to this place.” Capital Hill Residence Location: Moscow Zaha Hadid Architects The recently completed Capital Hill Residence was the only private house designed by Hadid herself, and the towering form bears all of the late architect’s signature biomorphic curves. Rising above the tree line of the Moscow’s Barvikha Forest like an emerging submarine, the house’s prominent “mast” seemingly floats 72 feet above the landscape and provides sweeping views. The building’s base gradually tapers into the earth below and provides a private area for the homeowner to retreat to. The organic shape of the concrete and dramatic change in elevation is meant to give viewers the impression of something fast-moving and fluid. Admiral Serebryakov Embankment master plan Location: Novorossiysk Zaha Hadid Architects and Pride TPO (Moscow) ZHA will be responsible for revitalizing nearly 35 acres of coastal neighborhood along the Black Sea in Novorossiysk at Russia’s largest port. Residents can expect new opportunities for outdoor leisure activities on the Black Sea, a new port, marina, new piers, and a weaving of the new areas into the city’s existing urban. The master plan will also bring nine new buildings to the waterfront, each representing a different stage in a sequential iterative design, creating a sweeping, wave-like skyline in the process. The one million square feet of new space will be used for a hotel, civic and conference spaces, and offices. The project is moving quickly, and construction on the first phase will begin in the second half of 2019. Ekaterinburg Arena Location: Yekaterinburg PI Arena (2015-2017 renovation) Originally built in 1956 as the multi-sport Central Stadium, Ekaterinburg Arena was recently renovated in 2011. Although it was modernized, the arena’s 20,000-seat capacity meant that another round of work would be needed to bring the arena up to FIFA’s 35,000 seat minimum. Another renovation took place in 2015 that saved the building’s historic facade and increased the stadium's capacity, but temporary seating to bring the arena’s capacity up to 45,000 seats was still needed, and has been installed behind both goal areas for the four World Cup games being played there. Volgograd Arena Location: Volgograd Sport-Engineering A spiraling lattice swirls around the base of Volgograd Arena, one of the stadiums built for this year’s World Cup. The project was built on a budget, but the exposed superstructure, squat single-piece form, and colorful cable roof makes it architecturally distinct from many of the Soviet-era venues made from concrete. After the World Cup, Volgograd Arena will have its seating capacity reduced down to 35,000 and the stadium will become the new home of local football club Rotor Volgograd. Nizhny Novgorod Stadium Location: Nizhny Novgorod OAO Stroytransgaz A light and airy stadium at the fork of two rivers, Nizhny Novgorod Stadium was designed with elements of air and water in mind. The white-and-blue color palette and spacious use of columns to create open-air areas helps lend the stadium a feeling of openness. At night, the building emanates light from the top and sides through its semi-transparent facade. The stadium was commissioned for the 2018 World Cup and was completed last year. The building boasts a 45,000-seat capacity and will be handed over to football club Olimpiyets Nizhny Novgorod after the World Cup is over.
The beginnings of digital drafting and computational design will be on display at the Museum of Modern Art (MoMA) starting November 13th, as the museum presents Thinking Machines: Art and Design in the Computer Age, 1959–1989. Spanning 30 years of works by artists, photographers, and architects, Thinking Machines captures the postwar period of reconciliation between traditional techniques and the advent of the computer age. Organized by Sean Anderson, associate curator in the museum's Department of Architecture and Design, and Giampaolo Bianconi, a curatorial assistant in the Department of Media and Performance Art, the exhibition examines how computer-aided design became permanently entangled with art, industrial design, and space planning. Drawings, sketches, and models from Cedric Price’s 1978-80 Generator Project, the never-built “first intelligent building project” will also be shown. The response to a prompt put out by the Gilman Paper Corporation for its White Oak, Florida, site to house theater and dance performances alongside travelling artists, Price’s Generator proposal sought to stimulate innovation by constantly shifting arrangements. Ceding control of the floor plan to a master computer program and crane system, a series of 13-by-13-foot rooms would have been continuously rearranged according to the users’ needs. Only constrained by a general set of Price’s design guidelines, Generator’s program would even have been capable of rearranging rooms on its own if it felt the layout hadn’t been changed frequently enough. Raising important questions about the interaction between a space and its occupants, Generator House laid the groundwork for computational architecture and smart building systems. Exploring the rise of rise of the plotter and production of computer-generated images, Thinking Machines provides a valuable look into the transition between hand drawn imagery and today’s modern suite of design tools. The sinuous works of Zaha Hadid and other architects who rely on computational design to make their projects a reality all owe a debt to the artists on display at Thinking Machines. Thinking Machines: Art and Design in the Computer Age, 1959–1989 will be running from November 13th to April 8th, 2018. MoMA members can preview the show from November 10th through the 12th.
The latest batch of countertops, basins, and faucets come in strong shapes and clean lines. COVE Boffi From the mind of Zaha Hadid, this kitchen model is characterized by sinuous and simple forms and uses malleable materials. It is available in two sizes and in various finishes and materials, including natural stone, wood, melamine-coated, and Corian. Fontane Bianche Fantini In collaboration with Italian design company Salvatori and reinterpreted by architect and interior designer Elisa Ossino, the Fontane Bianche washbasin is made with a square marble block; the contrasting geometries of circle and square are reinforced by the slim tap. Pescara Faucets Franke Pescara faucets are available in four styles: Pull-Down Faucet (comes in three sizes), a Deck Mount Pot Filler, Wall Mount Pot Filler, and Prep Faucet. The Pull-Down Faucets feature: a switch that allows for altering between full and needle spray, water-saving flow rates between 1.75 to 2.2 GPM, and three finishes (polished chrome, steel or satin nickel). Vertical Bar Block Henry Built The Vertical Bar Block was developed to bring function to corners and small spaces, zones that often prove challenging in terms of kitchen design. The product includes an integrated electrical outlet, as well as tailored storage for cutting boards, wine bottles, cooking tools, knives, and trays. OnEdge Chilewich OnEdge placemats are made in Chilewich’s signature Mini Basketweave textile and are available in a varied color palette. LUNA-E Pull-Down Faucet KWC The 15-5/8-inch Pull-Down Faucet features a high-arc single-lever handle (cold water flows when the lever is pulled forward), a pullout spray hose that extends nearly 24 inches, and a swivel range of 360 degrees. Sky-Frame Sliding Doors | A view, not a window. Thanks to its great passion and in-depth understanding of technology, architecture, and spatial design, Sky-Frame is the leading international supplier of frameless sliding door systems. True to the brand promise “A view, not a window”, the flush-fitted glass panels facilitate the fusion of indoors and outdoors into a unique living atmosphere. www.sky-frame.com
A design auction, featuring a few rare and standout pieces by the late architect Zaha Hadid, will take place at one of Europe's largest auction houses, Palais Dorotheum in Vienna, on June 20, 2017. The “Design First” auction focuses on radical designs from the 1960s. Besides pieces designed by Hadid, works from architecture firm Superstudio and Austrian architect Adolf Loos are also up for bidding. Hadid’s “Project in Red” sofa, which is a part of her Wave Collection and was presented at Milan’s nightclub Studio 54 in September 1988, is a highlight. Another design by Hadid that will be in the auction includes a pair of “Monsoon” seats, which were custom-made in the 1990s for the Monsoon Restaurant in Sapporo, Japan. The other Zaha pieces include a tea and coffee set, as well as an ash "Ordrupgaard Bench." The items are now on view at the site before the auction tomorrow. Bidders can also bid online on the Palais Dorotheum's website, which ends in a few hours.
In commemoration of the 13th anniversary of Zaha Hadid winning the Pritzker Prize, the late, Iraqi-born architect has been given a day on the front page of Google. She is shown in front of Heydar Aliyev Center in Baku, Azerbaijan, which she and her team designed in 2014. Hadid has been one of the most popular architects in recent decades, from her early paintings and work at the AA with Rem Koolhaas, to her more recent stardom that has produced some of the most dramatic buildings of the late 20th and early 21st century. Her Rosenthal Center for Contemporary Art in Cincinnati, Ohio and the Vitra Fire Station were early signs of the architect's immense talent, while more recently the Heydar Aliyev Center and the Guangzhou Opera House have cemented her legacy as a groundbreaking, visionary architect. Google's Doodle-knighthood of Hadid adds her to a growing list of architects who have been doodled, including Mies van der Rohe, Kenzo Tange, George Gilbert Scott, and Christopher Wren.