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1944 | Rotterdam
"Well, unlike most architects, I had a profession before I was an architect, I think that being a journalist had an important effect. Journalism is ironically one of the few professions that is almost completely immune to frame. There are almost no famous journalists. The journalist is driven by an insatiable curiosity coupled with the ability to find and condense information quickly. That experience coupled with the fact that I started relatively late in Architecture-I was twenty-five before I even started studying architecture- made it relatively easy for me not to feel intimidated by the architecture practicing as an architect was that it helped me get work. But it was bad because it meant that my subsequent work had to meet and unusually heavy burden of proof. I think that my experience exposed me to a number of unspoken prejudices that still operate in the current cultural moment, there’s a strange prejudice that says you cannot both think and do architecture at the same time.
"In my own mind, I am as much a writer as an architect.
The Netherlands Dance Theatre, completed in 1987, was originally conceived in 1980 as an extension to a circus theatre in Scheveningen, a seaside resort in The Hague. In 1984, the design was adapted for a new site - the Spui Complex - in the centre of The Hague.
https://oma.eu/
https://oma.eu/
Inevitable in a museum of sports is the collection of worn out football pants, used track shoes and obsolete cups of championships.
In this design the total of these ‘obligations’ is located in a continuous ‘vitrine’, that leads along the different elements: entrance, video archives, exposition space, library, artificial rock, sports and demonstration hall, from the passive to the active, video games, indoor sports.
Outside – partially on the roof – different kinds of sports can be practiced and enjoyed in an intensified way, cross-country skiing, baseball, golf, mountaineering.
https://oma.eu/
https://oma.eu/
https://oma.eu/
The Seattle Central Library
De Rotterdam complex,
Beijing CCTV headquarters
The cantilevered Seoul National Museum of Art
Zaha Hadid
1950-2016
"I was very fascinated by abstraction and how it really could lead to abstracting plans, moving away from certain dogmas about what architecture is.
From the beginning of her career Zaha Hadid was influenced by the artist , who led her to use paint as a tool for architectonic exploration.
Supremacist Composition
Kazimir Malevich
In Hadid's early work, such as The Peak Blue Slabs (1982/83), the visual connections to Malevich's strict, regular shapes and lines are evident.
Russian Constructivism
https://www.archdaily.com/798362/the-creative-process-of-zaha-hadid-as-revealed-through-her-paintings?ad_medium=gallery
Tate
Dynamic Suprematism
The World (89 degrees)
Vitra Fire Station
https://www.archdaily.com/798362/the-creative-process-of-zaha-hadid-as-revealed-through-her-paintings
In her paintings of "The Peak,"1983 Hadid proposed a landmark as a respite from the congestion and intensity of Hong Kong, developed on an artificial mountain.
Proposals for an architectural
landmark to stand apart above
the congestion and intensity of
Hong Kong – centred on the
creation of a ‘man made
polished granite mountain’.
Excavated subterranean spaces,
distinctive horizontal layers and
floating voids house the club’s
various activities within a unique
‘geology’, symbolizing the high
life
Programmatic inventiveness was required to imagine a building which reflected, but also provided relief from the city itself – a structure set above and apart, but at the same time integrated with the land and water below.
In response, designs for the The Peak proposed what is almost a ‘Suprematist geology’, using a range of materials to realize a design that cut through the landscape like a knife and rejected traditional principles of organization.
Integral to the concept was the proposed excavation of rock at the site’s lowest point – to be polished and used to create a ‘man made polished granite mountain’, exploiting excavated areas within the natural topography to house a range of ‘hedonistic’ activities. Above these subterranean spaces, the building itself was to be layered horizontally and feature horizontal beams, balconies and interconnecting corridors.
The club itself constituted a 13 metre void – suspended between the building’s second and penthouse layers, within which various elements – exercise platforms, entrance decks, circulation areas, snack bar and library were to ‘hover’. A number of these – including the swimming pool, which featured a number of floating platforms and ramps – were to be set in the open air. The building also featured four separate penthouse apartments above the club void.
Viewed from Hong Kong, the mountain cliff provided a backdrop to the club’s suspended leisure and intellectual resources. In its entirety, the building itself constitutes a unique, modern geology, symbolizing in many respects the ‘high life’ inherent in both club and city.
https://www.archdaily.com/798362/the-creative-process-of-zaha-hadid-as-revealed-through-her-paintings?ad_medium=gallery
http://www.zaha-hadid.com/architecture/the-peak-leisure-club/
1986-1993
Berlin
An innovative solution to the limitations imposed by both an infill and repair strategy and stringent building regulations requiring 5-storeys – our design fused housing block and corner tower to amalgamate residential, commercial and social program elements within a unique
structure.
http://www.zaha-hadid.com/architecture/iba-housing/
The Creation of new social housing for IBA Berlin faced two fundamental issues – an imposed infill and repair strategy; tight building regulations for social housing, which contradicted modern, open-plan solutions.
In addition, surrounding buildings represented a wide range of different types and periods, making it virtually impossible to make a seamless ‘insertion’, required to contain an ‘average’ of 5-storeys.
Hadid honoured this restriction by creating a long, 3-storey block, terminating in an 8-storey tower at its outer corner. Lower floors contain commercial premises, with standardized dwellings above; the roof functions as both garden and children’s playground. The sculpted tower, clad in anodized sheet metal houses three wedge-shaped loft dwellings on each floor.
Buildings nominated
Evelyn Grace Academy, London (winner – 2011)
MAXXI, Rome (2010)
Nordpark Cable Railway Station, Innsbruck Austria (2008)
Phaeno Science Centre, Wolfsburg Germany (2006)
BMW Central Building, (2005)
Bernard Tschumi
1950-2016
Swiss-French
Architect, theorist, and academic
Son of the well-known architect Jean Tschumi
Studied in Paris and at ETH in Zurich, where he received his degree in architecture in 1969
As part of an international competition, 1982-83, to revitalize the abandoned and undeveloped land from the French national wholesale meat market and slaughterhouse in Paris, France, Bernard Tschumi was chosen from over 470 entries including that of OMA/Rem Koolhaas, Zaha Hadid, and Jean Nouvel.
Tschumi, wanted the park to be a space for activity and interaction that would evoke a sense of freedom within a superimposed organization that would give the visitors points of reference.
La Villette could be conceived of as one of the largest buildings ever constructed — a discontinuous building but a single structure nevertheless, overlapping the site’s existing features and articulating new activities. It opposes the landscape notion of Olmsted, widespread during the 19th century, that “in the park, the city is not supposed to exist.” Instead, it proposes a social and cultural park with activities that include workshops, gymnasium and bath facilities, playgrounds, exhibitions, concerts, science experiments, games and competitions, in addition to the Museum of Science and Technology and the City of Music on the site. At night during the summer, the broad playing fields become an open-air movie theater for 3,000 spectators. The park currently accommodates around eight million visitors a year.
Tschumi’s lines are essentially the main demarcated movement paths across the park. Unlike the follies, the paths do not follow any organizational structure; rather they intersect and lead to various points of interest within the park and the surrounding urban area.
Of the 135 acres, 85 acres are dedicated to the green space, which are categorized as surfaces. The large open green spaces give Parisians space to interact, play, relax, and gather. The open space is typically used for large gatherings and even in the summer it becomes a large open air cinema.
Daniel Libenskind
1946
Daniel Libeskind Thinks Buildings Should Tell Stories
Much of Libeskind's work is instantly recognizable for its angular forms, intersecting planes, and frequent use of diagonally-sliced windows, a style that he has used to great effect in museums and memorials—but which he has equally adapted to conference centers, skyscrapers, and shopping malls.
Jewish Museum, Berlin | 1999
In 1987, the Berlin government organized an anonymous competition for an expansion to the original Jewish Museum in Berlin that opened in 1933. The program wished to bring a Jewish presence back to Berlin after WWII. In 1988, Daniel Libeskind was chosen as the winner among several other internationally renowned architects; his design was the only project that implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust.
For Libeskind, the extension to the Jewish Museum was much more than a competition/commission; it was about establishing and securing an identity within Berlin, which was lost during WWII. Conceptually, Libeskind wanted to express feelings of absence, emptiness, and invisibility – expressions of disappearance of the Jewish Culture. It was the act of using architecture as a means of narrative and emotion providing visitors with an experience of the effects of the Holocaust on both the Jewish culture and the city of Berlin.
Garden of Exile