ArchiCreationArchiCreation36 λ৵喑⮱͗ϧ㏼侹ڠ \ MY PERSONAL EXPERIENCES ABOUT ZAHA HADID
⒅ᇖ \ Pan Yan 㔨䃾喟Ვᄜ \ Translator: Yang Jun
γܳᲽ喑ᣏ䃕γ৵⮱䌢҉ͧ⣝АͨͶ䌢⮱᱙䉕ᆋᕔ喠ᄦλ৵e৵䔗ᓤᐧܧಸ䶦Ⱋ䔈㵹ϟࢳ㔰ᄌ⮱ധ̷ևڥ͗܍ᦅ㺮喟᱙᪴ᄦλ৵e৵䔗ᓤ㕹͇⩌⋜̻θߎࣾᆂ⮱̺ह䭣⃢⮱ ࡃহ྿Ҁߖᣕ̸䊲፥㻱⮱倅䕌ࣾᆂ喑Ꭳᄦ䔆ᐧま䃫䃎⤰ڕま䌢⮱ᐭ - 䌢⌽䊸⛌ - ䷻ᵩࡃ⮱⬂䔦݊ₒϔ⩌ - ䷻ᵩࡃᐭͧͨᄩ䔆ᵤ⮱ࣾᆂ㏬㉏䔈㵹γᣏ䃕喠ᎣՌₑ䃕䃧γᐧまጵౕ γᕊ㔰ȡౕ䔆ऻ喑䃧䔝ఋᑿݝ৵e৵䔗ᓤ͗ϧᄦλᐧま⮱᱗Გ⮱ᙌჅ⮱⾬䔼߈喑Ꭳᄦλ᱗Გ⮱ᐧまጵ喑ᐧまⵁ⾣㔲ຯ҂॥ᩣ喑ⵁ⾣৵e৵䔗ܧጯ౧ᐼᄦλᐧま䃫䃎ⅡᎠ⮱ᒞ৺և ᓤ⮱ᐧま䖄ϔևܧγᆂ᱈ȡ ABSTRACT: Based on the author’s personal visiting experiences, the essay analyses several typical projects in different stages of Zaha Hadid’s architect career, demonstrates the modernism nature of Zaha Hadid’s architectural practice; following the clue of Zaha Hadid’s personal career development and the institutional evolution of Zaha Hadid Architects, the research identifies four stages of Zaha Hadid’s architectural practice: practice beginning, gradually matured practice, Zaha style emerging, Zaha style dominating; accordingly, the essay discusses contemporary architects’ unconventional high-speed development levered by globalisation and mass media, and addresses the issue of new architectural design market’s influences on architectural design. Furthermore, the essay probes into Zaha Hadid’s extraordinary perceptional vision in architecture, raises up the questions of how to absorb and research Zaha Hadid’s architectural legacy for future architects, architecture researchers.
䩛䃺喟৵e৵䔗ᓤ喑㒻႓喑⣝АͨͶ㔲喑৵䷻ᵩ喑ᐧま䌢喑ᕊᘠ㔲喑㜗⩞喑ᙌჅ⾬䔼߈ڠ KEYWORDS: Zaha Hadid, aesthetics, modernist, Zaha style, architectural practice, liberty, perceptional vision
͚ఫܳㆨत喟TU-086 ᪴⡛ᴴ䃳喟A ᪴」㑃त喟1004-8537(2017)01/02-0036-17 ArchiCreationArchiCreation
:➖喟ȨZaha Hadid❴ܧλ৵⮱䛺㺮ڠࡃহ྿Ҁ䄊䄚ᱰ߈̸⮱ಸᐧまጵࣷᐧま䌢⮱ᐼȡ䓦ᰶ̶᱙⤰ڕఋ䶫৵⮱㕹͇⩌⋜喑Йⰸݝ The Complete Buildings and Projectsȩ喑ȨZaha Hadid 1983-2004 El CroquisȩহȨHadid喑Complete Works 1979-2009ȩ喑ᖝສܳݘ 䒙ᢏ喑ϻす̭᱙Γ⮱ច䗓ᐼ⮱ᐧまᕊڕλ 1998 ᎡȠ2004 Ꭱহ 2009 Ꭱ喑᱙Γ䬡䯁 5 嗣 6 Ꭱȡౕ̺ツ䪬⮱䬡䯁͚喑ᄦλ৵⮱㶕䔝䛺◦Ⴙ❴ܧ ᐧまϔ͇䨫͚⮱̭͗ప䭲䶣㏔⩌ϔ㔲ȡᄦλ৵⮱䄊䷅ᒵ䯫ౕ̭̭͗㜡⮱ᴴ۳⤰ڕݝ 2009 Ꭱጟ㏼ͧںᰶ͝ჹ䌢⮱ᐧまጵ喑ڤ㔰㔲䓲䕌䒙ᢏͧ ̸䔈㵹䃕䃧喑䔆ᒵ๔⼸Ꮣ̷ᅞᲒ㜗λ䔆䏘Ъ䒙ᢏፓᲒ⮱⪾䬛喟৵e৵䔗ᓤ喑䌢ᐧまጵ৵e৵䔗ᓤ喑৵e৵䔗ᓤᐧまጵθߎ喑⾣「ਗ̭͗
Ꭱ䛹喑ᕽᕂ䔆ψᅯ䲏⮱οߕ⇎㘪ᰶᱧчࣾᆂ̭ͧⰥᄦధჇ⮱҉⩕ᐼ喑܍λᐧま⮱ਗ̭͗ᅯ䲏⮱۠Ⴧ喤ౕ৵䌢⩌⋜下䕌ࣾᆂ⮱̓㏗ϑ⮱ڠ㖴γ
㔹৵⮱͗ϧ㞟ᒖࣵ᭜ຯₑᑧ◵喑㺮ܳ⌲䔆ψᅯ⁎䔈㵹䃕䃧喑⻨ᐭγᒀθϧ⮱ӈ䔝ᅞᰡ᭜Ჶ♣ȡ In retrospect of Zaha Hadid's career, we could somewhat observe the rise of new architectural practice and approach, especially under the discourse of globalization and mass media. There happen to be three of the retrospective publications on Zaha Hadid right next to me: Zaha Hadid: The Complete Buildings and Projects, ‘Zaha Hadid 1983-2004’ El Croquis, and Hadid, Complete Works 1979-2009, which were published in 1998, 2004 and 2009 respectively, with approximately 5 years intervals. Within a relatively short period of time, there is a drastic shift in Zaha’s narratives through her works: from the ‘Zaha’ with rather utopian architectural thoughts in the first book, shifting rapidly to ‘Zaha’ who has completed plenty of built works, and finally by 2009 ‘Zaha Hadid’ as one of the top international players in the whole global architectural industry. If we base on a stagnated datum, it would become rather difficult to discuss Zaha’s work, in fact the shifting identities throughout her career seem to suggest so: Zaha Hadid as academia, Zaha Hadid as a practitioner, and Zaha Hadid Architects as a world
ArchiCreationArchiCreation 37 ©Pan Yan + Li Zhen
㐡➦៶⊵䭟〆 Vitra Fire Station
renowned office. Which of these identities had a crucial impact on her design approach? Zaha’s practice swiftly developed only in a few years at the turn of the millennium, where these approaches might not have developed into methodologies but rather remain as temporal reaction. While Zaha’s stylistic aura being so exquisite, it would only be a rather vain attempt to try and discuss her architectural approach on a clarified manner without her own clarification.
ᐧま䌢ȡ৵e৵䔗ᓤ᭜̭͗ᏋᱯႼ๔⮱䄊䷅喑᱙᪴ϲڣ䗐͵喑᱙͚᪴Йगᰶఋݝ৵⮱ᐧまহ㡶ఫ᱙䏘喑䕇䓴ψ䶦Ⱋノ⿒৵⮱ᐧま႓̻
㈨喠৵̻৵䷻ᵩ喠৵ౕ͚ప⮱䌢ᄦλ৵হ͚ప⮱ᘼͶ喠ڠ䬛䷅ᐭᣏ䃕喟৵হ⣝АͨͶ⮱͗܍䔆͗ヴ፲㘪์䔝ࣷ⮱䲏ϲϲ䄂ఫᅞຯ̸ౕ ৵ࣨγ喑⮱ⵁ⾣হ䌢ਗψթᓄЙឬ㐔㔹㐔㐚ݺ㵹ȡ In this article, I try to have a scrupulous glimpse of Zaha’s architectural practice through her buildings and drawings. The discussion on Zaha Hadid is a vague and complicated one, within the limited length of this article, I am going to focus the scope of the discussion on the following points: 1. the relationship between Zaha and Modernism; 2. Zaha and the Zaha style; 3. The significance of Zaha’s Chinese practice for Zaha and China; 4. What we can inherit from Zaha’s research and practice after she left us. ArchiCreation ৵⮱ⶻ❴ ArchiCreation HER FRAGMENTATION
㐡➦៶⊵䭟〆᭜৵す̭͗Ꭼͧϧⴒ⮱ᐧᐧま䶦Ⱋȡౕ䔆͗䶦Ⱋ䛹৵ᣏ䃕γᐧま̻๔ౝ⮱㶁ᣒᐼ喑Вᣒ䓾ⶻ❴ࡃ⮱䄚㼭䌢γ䪬ᐧまⵁ⾣ ϔ⩌⮱̭䘕ܳᘠ∂喑ᎣႹγϻ㏥̷ݝ䌢ᐧま⾧䬡⮱䒙ᢏȡजВᘠ䆎ᄦλ 1979 Ꭱጟ㏼⠙⿸ᐭ͇Ƞѳᅇ᱗ᰶᐧまᐧ⮱৵Გ䄡喑䰭㺮႓ф็ⴒ ᓄВ⣝ȡ䔆Ꮤᐧま⮱Ҭ⩕㔲ÿ⊵䭟䭌অЙ喑ڣλຯ҂ᄳ㜗ጞ⮱ᘠ∂㶕䓫㐆䶦Ⱋ⊶ࣷ⮱䲏䲏⮱ϧВҬڠλᘠ∂ݝ⾧䬡⮱䒙ࡃ喑ڠλᐧ䕍喑ڠ䃳ÿ
䲋፥ٶ㜗ጞ䶱⮱⾧䬡ϔ⩌⮱ఝᗾ喑㔹䔆ఝᗾₐ᭜৵䌢⮱䨸ݖัȡ䮑γ㻯㔲⮱Ⱪܧᄦ䔆Ꮤᐧまᰶᒵ็ᕕ [1]喑䔆ᕕᰡ็Გ㜗ᮛ䕇ϧᄦλ䊲
ڙऐ䬕হ͑͗ाϑ㏴⮱䧏ᲱУ॥ᑂ喍䔆̭◦Կ᭜凉ᰶϧᕕ喎喑ᰡ็⮱➦ᐯᕔᲒ㜗λ䔉䔉ᐣᆂλᐧまͨҀใ⮱౧ౝጰ㒛হڒ㝙⮱̭❵ܭღᭀ㷘
䘕⮱ऱ䘕ܳ䬡ぶڲ㈨Ƞᐧまڠใ⮱㻯ᔢȠᐧま̻ᮜ㻯⮱ڲ䘕䗐ψ䬗ϛ⮱叾▝㞟⮱㔨䒙ᐭᲒ⮱䛾ᆋܳ䯁ෆҀȡౕ䔆䛹喑৵ౕᄦλᐧまڲ喑Вࣷڤუڞ
ᆂγᐧまᄦ౧ౝ⮱ᒞ৺喑हᬣ᠀ڤუڞڙ⮱⣝АͨͶ⤳ᔢȡݖ⩕ใ䘕⮱ڥ䲏喑䘪ᠾᝅγᐧま䃑ⴒ⮱э㐌喑ѳहᬣࣵ๔๔ౝ㐔ឬγᐧま⮱䔼ᬻᕔ䔆̭㏼
䯁ෆٶҀ಄ᒏᵳ᳣喑叾▝㞟ࣺౌ܊⌤䘕䯁ෆ䨽㻿⮱䓦㑅ᯄγᐧまᒏҀ⮱⌽अᕔᐭ喑Вڲ㈨⮱ιܳ∂ȡВᐧま⮱ᅃ䨽ᒏᔮВࣷڠ♣㼐γᐧま̻㜗⪻
ᕔ⮱⣝АͨͶ⤳ᘠȡڞڙ͚ȡҀᕔᐧまᱽ᫆⮱༬ᔮ̻㶕䲏⮱ࣺᄱ喑䕍ᄦ䔼ᬻᕔ⮱⾧䬡ᙌჅ࢝䆎喑ᎣВₑ҉ͧᩜᦾ喑䌢ᐧまڣ⾬
λĄᕕą䄡∂喑Გ㜗λ㐡➦៶ᄩ⍥⮱⣝౧䃟㼐ȡڠ 1
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The Vitra Fire Station is the first well-known built project of Zaha Hadid, in which she explored the cohesiveness where architecture connects with the ground. Through the fragmentation of architectural language in her experiment, she was able to transform her conceptual drawings to the built work, which forms one of the most constant ideas of her architectural approach. One can imagine, that Zaha who just began her independent practice in 1979, but not yet had any built work, needed to equip herself with a diverse knowledge – architectural construction, the way to transform ideas into space, project collaboration and coordination. The firefighters, as the users of the building, had quite a lot of complaints1, which came from a kind of confusion, a confusion where space exceeds the expectation of the users. And such confusion is precisely where Zaha demonstrates the poignancy of her practice. Apart from how our attentions are quickly attracted by the ‘blade’ of the entrance porch and the interwoven steel components (which few complain), the alienating affect comes from its ground and public furniture stretched from the main building, as well as those shiny black grey metallic partition walls within the building. Here, Zaha managed to challenge the common concepts of architecture by questioning the ideas of inside and outside, architecture and landscape, and the integral parts within the building, but at the same time, inherited a classic modernist idea - ‘transparency’. The use of external public furniture extends the effect of building onto the site, and questions the dichotomy between architecture and nature. The faceted forms and the sharp edges of the interior partitions imply the gradual transformation of the architectural form, from the concrete structural frame to the dark grey reflective walls intermingled among the frame. The combination of tangible materials and reflective interior surfaces creates a spatial impression of transparency, on the basis of which the modernist ideal of publicness is achieved. ҉ͧす̭͗㥪⮱ᐧま䶦Ⱋ喑ႰᆂγБϧᗷद⮱⛌ᕔȡ䔆⛌ᕔͨ㺮Ҁ⣝ౕ喑㮪♣䕇䓴䔆͗ᐧま৵ᰶᒵ็䄊㺮䃟喑ѳ᭜Ⴐ㐊̺᭜ᐧま⤳ArchiCreationᔢ ᰶ̭͗ᐧま㜗䏘⮱⩌প喑䅀⤳ᔢ➏➏ౝ䮽㫼ౕᱽ᫆Ƞ⾧䬡Ƞߌ㘪㏱㏴ᵩᅭ喍program喎䔆ψᐧま⮱᭫ᕔ䃛䷅ऻȡᅞ̭͗ڤ⮱⾧≋⮱ព䴠கȡႰ ᎡА⮱ݺژ⛌⮱ᄩ⑁ч䃖͗⑁অ⋸⑀ᅪ㜡ౝࣾᡒݝᲮ㜡喑㔹̺᭜䃖ЃЙຯह᱕֣̭㝙ប㵹ᄩ⑁ᄦ̭䷓̭〾⮱䶱ȡ䔆Ҭ৵̻̭ឦArchiCreation20 ̓㏗̰Ƞ ࢘ᐧまጵ喍䔆͗ऺࢂ᭫♣࠲᠙ќ㏠ᓤeᅵㆠȠᒩᓄe㞫ḛᰩぶϧ喎ϻ᱙䉕̷ࡧܳᐭᲒ喑ΌҬϧЙⰥԎ̺ϲ᭜ᐧまᕊ㔰㔲喑Όч᭜ь๔⮱䌢ᐧまጵȡ As the first completed project, the maturity of her work was rather surprising. It is clear that, although she had a lot to say through this building, it is by no means an amplifier of vague architectural concepts. Its maturity was embodied in the way how materials, space and programmatic arrangement enriched each other, which expresses its own liveliness. Like a mature director, she would give the possibility for every actor to approach to their own extreme, rather than treating them as puppeteers by controlling every single emotion to her own expectation. This distinguishes Zaha Hadid from the group of avant-garde architects from the 1970s and 1980s (including Bernard Tschumi, Peter Eisenman and others), where she was not only an architectural thinker, but would also be a great practitioner.
䄡᭜ౕ㗏㼐ᐧま⮱ڣ৵ౕ 1980 ᎡА҉ͧ㼐ᲱͨͶᐧまጵͧϧЙⴒ喑㔹Ϸ๖喑㼐ᲱͨͶ䔆͗ᴴカ䘪̺๗ᰶϧ䄵䊤γȡᘠᄦλ৵㔹㼭喑̻ λᐧま㏱䘕ܳ⮱䶱䃫喑λ᭜ⅡᎠ䲏Ƞڠ䘕⼸ᐼࡃ⮱㏓ჇԄ喑ᄳᄦ⾧䬡ٰ㉍⮱䰭Ⅿ䔅࣌ݝ⾧䬡ٰ㉍喑㔹̺᭜ᄳႰЙ㑇λڕ䄚㼭喑̺ຯ䄡᭜កⵡᐧま
λᐧ⿸㔹̺᭜⊵㼐⮱喑࣌ᰶ⮱Ⴧڠ㖁ᘼͶ喑ͧᐧまःᓄᰡ๔⮱㜗⩞ȡᐧまᰭ㏵᭜ڠ᫉䲏Ƞᰟ䲏ᰬАγౝ䲏Ƞෆ䲏䔆ᵤ⮱ܿܳȡः⊵䔆ψᐧまᲱУ⮱࣌ᰶ
Ͷ㷘ޟ䮑Ƞកⵡ喑ΌᅞᘼঠⱭ䰭㺮⮱㒻႓∂݆Გ㐌ᓎ䔆ψ㷘䛷ᩫ⮱ᒏᔮȡ৵ᄦλϷ๖ᐧま႓⮱̭͗ጕ๔䉎⡛ΌᅞౕλͧⵡⶻȠ䓽ߕ䔆ψ㜗♣͚ႅౕ
ፚౝ喑ᰡ̭ڣ⮱ᒏᔮহϧㆨᓰ⤳≨ߕ͚ႅౕ⮱ᗲ㐗喑䔆ψ๖♣̻ᐧま⮱⽠ჇᕔⰥᗃ⮱䄚㼭喑䔆ψэ㐌ᐧま႓ᬍัႶᩫ⮱Ꭺ▢喑̺ϲౕᐧま⤳ᔢ̷䉸ε
1 According to the Vitra tour explanations.
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ࣾᆂγ̭ຄҀ⮱ᐧま䄚㼭㶕䓫Ⴐ⮱ᐧまឭᱜ喑ᄳႰЙ࠲क़⮱㒻Фթॵ⣝ౕЙ⮱䲏ݺ喑๔๔ౝ᠀ᆂγЙϷ๖⮱ᐧま႓䄚ⅴȡ Although in 1980s Zaha was once known as one of the Deconstructivists, nowadays the tag ‘Deconstructivism’ does not get mentioned often. I believe that, rather than aiming to disassemble architectural languages, what Zaha was really trying to achieve was to break the stylized conventions of architecture at the time. By returning to the basic needs of spatial elements, instead of predicting them as a pre-set architectural component, she offered an alternative to the rigid division of ‘ground’ and ‘wall’, namely the horizontal, inclined and curved planes. Her architecture gained more freedom from breaking the original relationship of those building components. However, architecture is ultimately about assembling rather than disassembling. That means, once the original definition was removed or broken, new aesthetic principles are needed to govern the emancipated formal components. Perhaps Zaha’s biggest contribution to contemporary architecture is not only to associate the concepts of ‘fragmentation’ and ‘motion’, concepts which take form fundamentally in nature and are alive in human’s emotions, paradoxically together with the rather static architectural language of ‘permanence’, but also to give forms to these rather vague concepts by developing an architecture language to realise their constructional techniques. While it expresses an alternative aesthetic value of those concepts which the traditional architecture is helpless with, it greatly expands the architectural vocabulary.
ᐧま䶦Ⱋ喑ڲ䒰ₑ䶦Ⱋᰡߍࢀ䊷⮱㞧ᱜⅡ۳喑䔆ᅞ᭜ᬒ᱙ᱚ፹⮱ Moon Soon 丽亳ȡ҉̭ͧ͗ბܧ⣝㔹ౕ䔆ݺ⮱ओ̭͗䶦Ⱋ䛹喑৵ᅞጟ㏼ᆂ ᒏᔮͧᬒऻᒵ็ڣՌ͗ϧᲮ〜ᑧᖺ⮱㒻㘪߈侫侚ⱭБϧ䰴᧩⮱㒻ᙌ喑ܚȠ䯁Ƞष䶣⫝̸⟯⮱រᰟȡڤ৵Ϻ♣Ԋᠮγᄦ⾧䬡⾬䔼ᕔ⮱ᣏ㉏喑უ
䃫䃎⮱࣌ಸ喑仃ᅯহιᅯ䬡⾬䔼⮱㳧Ҁ⩇㜠܍ͻ࣌ᄮ̺ߕౝ⩕҉⮱ष▜䃫䃎ȡ Before the Vitra fire station, Zaha had already shown her artistic excellence in another project, the MoonArchiCreation Soon Restaurant in Sapporo, Japan. As an interior project, Zaha remained attentive towards investigating on spatial penetrability, through the rather bizarre twist of furniture, as well as partitions and ceiling.ArchiCreation The stunning beauty arises with her incredible ability to control the extremely complicated forms, which has become the prototype of many of her later designs. For example, the spiral form which penetrates the ground and first floor was taken with little modification as her chandelier design later.
৵⮱๔䃎ܿ HER BIG PLAN
ᰶĄᎠ䲏ąহĄ䃎ܿą⮱ࣹ䛺क़Ͷȡ৵ᄦλĄplaną䲋፥ⰸ䛺ȡౕᬖ⮱҉৮䛹喑Ąplaną᭜ф็䃛䷅⮱䊤◦喑Ό᭜ڤ㠞䄚䛹喑Ąplanąౕ ᕔ⮱⤳ᘠ喑ఋᏁγ➦₷౧ౝ⮱➦₷䬛䷅ȡ䕇䓴ᄦĄplaną⮱ᕊ㔰喑৵ᐧ⿸γ̻ф̺ह⮱ᐼఋᏁᐧま⮱㺮㉍ȡڞڙᰶ㼐め⮱⼜㖇ัȡႰҀ⣝γᐧま 䔆ψᕊ㔰ϔ⩌⮱ฺᱯᕔ喑䕇䓴ᅯ̻ᅯ⮱⼜㖇䒙ࡃ̭ͧ͗᪡Ҁᕔ⮱х䯲ᒏᔮ喑Ꭳ㐆ܧ䊲ܧ፥㻱ᕊ䌜⮱㼐めȡౕ৵⮱ф็ᐧま䌢䛹喑ᓤప⮱䉦䄧႓͚
ᓰহᎬጋ⁹ޔ䮏᭜䔆͗ጒ҉ᕊ䌜⮱͑͗㐊Ҡ㠰Ҹȡ䲏ᄦጯ喑̭͗ᄳᐧま⮱ͨҀᩜᦾౕ⌤܊ౌ⮱Կ⿸ళ䩒̷喑ओ̭͗В䲏ᄦ䲏⮱Ꭰझ䔋ᣒ܍͗ᐧま
ጯ喑ᅪ߈ڒ䮏ᵵ喑ᄳᐧまҀ䛼ܳ᪐ᐭᲒ喑Ҭᐧま䔈̭ₒޔ䮏ᰡ᭜䃖ϧᘠ䊤৵ᬖ⮱ࢎ䔗๘⁹ޔᕔ⮱⤳ᔢ喑Ꭼጋ๔ڞڙҀ䛼ȡႰЙ䘪䌢γᐧま
ᕔ⮱ᘠ∂喑ᰡ䔈̭ₒᣏ䃕γᮜ㻯̻ᐧڞڙᐭᩫ⮱Ꮒᅯ䮑γ䌢ጯڕф⮱ᣒ㼓䲏ȡ䉦䄧႓͚ᓰ݆᭜৵䲋፥䛺㺮⮱̭͗䶦Ⱋ喑᳣⾧ȠႹڙព๔ᐧま̻ ま⮱㲺व̭Ҁ喑Ҭౝ䲏ͧጕ๔⮱Ąanimated landscapeąȡᄦλ䔆ψႼ๔⮱㻯ᔢ喑৵ևܧγߴࣵܳᰶ᩵⮱ᣏ㉏ȡ In English, the term ‘plan’ has the meanings of ‘plane’ and ‘project’. The idea of ‘plan’ was very important to Zaha. In her early works, the ‘plan’ is the start and focal point of many of her architectural issues, and is also where all the solutions lay. It embodies the architectural ideal of publicness, while responding to the specificity of the sites. Through studying ‘plan’, Zaha established an alternative way to respond to various architectural
ArchiCreationArchiCreation40 © Iwan Baan ©
Ꭼጋ⁹ޔ䮏 The Guangzhou Opera House
aspects. The complexity in her treating ‘plan’ leads to a holistic elegant form, a transformation through the accumulation of layers which provides an unconventional solution. Among many of Zaha's built works, there are two great examples for such approach, the Phaeno Science Centre and the Guangzhou Opera House. One presents itself with its main body supported by an inverted concrete cone, while the other connects several volumes through creating a platform facing the river. The architectural idea of publicness has been practiced in both of them. Guangzhou Opera House is reminiscent of Zaha’s earlier project, the Cardiff Bay Opera House, especially in dispersing the building mass, which allows the building to be better integrated into the city and enlarges the contact surface of the building for the public. In the case of Phaeno ArchiCreationScience Center, the counter- levering opens up the ground floor completely, which, apart from providing public space, further investigates the integration between landscape and architecture by transforming the ground into aArchiCreation huge ‘animated landscape’. Regarding these rather vast architectural ideas, Zaha indeed tried to find her own architectural solution with courageous and effective adventure.
䔆͑͗䶦Ⱋ⮱䃫䃎䘪⩌λ৵θߎ倅䕌ពᑍ⮱݊喑Й䔅᭜जВⰸܧᒀᬣθߎౕᐧま䌢䲏⮱㏼侹ᰶ䭽ȡ䉦䄧႓͚ᓰౕ䔆ᵤ⮱ᐧま⤳
ᔢᑂ䶳̸喑ᮜ㻯䃫䃎अᓄܳ䛺㺮喑㔹䔆ₐ᭜䔆͗䶦Ⱋ䃫䃎ᓄᰭ̺㏼ᓰ⮱ౝ喟ౝ䲏䨧䃫᭜ᰭͧᮛ䕇⮱⇒䱿喑⇎ᰶϭ͵ᮜ㻯䃫䃎喠⩕Გ䭽ჇȠᑂᄩϧ≮
ᰶ㏼䓴Ш҂Ჱᘠȡᐧま᱙䏘㮪♣℁䒰Ⴙ᪡ౝ㶕䓫γ৵⮱ᘠ∂喑ѳ᭜ࣵ䃖ϧ䲋፥ღᭀ⇎ڕ⮱ᴼᱳևጒ㇄㈆ᓄ͗ࡃጒࢯ喠ౝ䲏̷⮱⇱Ⅱႁ䮼ᘼ䃫㒛喑Ⴙ
䘕⾧䬡⮱㥒䕍̷喑䘪ツڲ䮏ౕ᪡Ҁბใ⾧䬡হޔ䘕⮱̭ܴ喑ᐧま㑧ͼ㜗䏘⮱⩌প喑䔭ࡃγ⤳ᔢ⮱ఫ㼐ȡᎬጋ๔ڲ≹ౝ䶱喟ⰸݝγใ㻯喑๔㜡ᅞ㘪ᣕ
҂ᒏᔮхࡃ̺ݝѺΌ᭜䛺㺮࣌ȡᰶ㏼侹⮱ᐧまጵчᵦᢛጒ܍Вใ喑ڠᓄ̷ߌ喑ѳ᭜ᎂෆ䖚䕴γ͇⩹фকⴒ⮱ᡘ䉒ȡ䮑γ̻ߍጒࢯহጒఫ䃫䃎ᰶ
Ꮣռጛ㔹๔፲Ꮣߍ䲏̻䲏⮱ϑᣒ㑊হ䲏Წ⮱܍ߍጒ⮱䭽ݣ喑䔶ः䯫Ꮣহ㶕⣝߈䬡ᰭສ⮱Ꭰ㶎◦喑㔹̺чͧγಇᠮᐧま಄䲏䬡㖶Ⱪ䯫Вᄌ㻶⮱͇
ㆨȡ䔆ψ䘪ࣺγ৵ౕθߎ倅䕌ពᑍ͚⮱䯱ᓰ̻ᬍȡ Both of those two designs arose during the early period of the rapid expansion of Zaha Hadid Architects, and it is obvious to tell that the buildings suffer from limited practical experience. While Phaeno Science Center was constructed based on such ambitious ideas, such as merging architecture with surrounding landscape, its landscape design becomes extremely important, which, precisely, is where this project pays the least attention to: laying the ground with the most common asphalt, with barely any landscape design; making the handrail that guides the flow of people as rough as those in a chemical factory; randomly placing drainage outlets on the ground with merely thoughtful consideration. The building itself has more or less expressed Zaha’s conceptual ideas, but done without much surprise: one could almost speculate its interior by observing its exterior. The building seems lacking its own life and regressing back to a diagrammatic concept. The Guangzhou Opera House seems successful in creating a holistic indoor and outdoor space, but the curtain wall has suffered a failure. Apart
ArchiCreationArchiCreation 41 © Pan Yan + Li Zhen
䉦䄧႓͚ᓰ Phaeno Science Centre
from the problem of accuracy in terms of the shop drawings and the panel manufacture, the inability to optimize the geometric form could be another crucial reason contributing to its failure. Experienced architects would find a balance between expressiveness and construction difficulties based on the limits in manufacturing. But instead, she insisted on avoiding the deviations of a few degrees in the joints of panels, which naked eyes can hardly detect, by increasing the types of panels and the subsequent joints. All these reflect the ambitions and frustration which Zaha Hadid suffered in the period of rapid expansion. ㈨⮱ⰸ∂ȡ৵⮱ᒵ็ᐧま᭜ϻ㜗♣ᒏᔮ͚ᓄ喑̺ϲϲ᭜ᒏᐼЬ喑ౕऻᰡВ࣯ࡃArchiCreationڠ䔆͑͗䶦ⰛΌजВߖЙ⤳㼐৵ᄦᐧま̻㜗♣⮱ ःȠܳᲽ㜗♣ᒏᔮ⩌⮱࣌⤳喑Გ⩌ᐧま⮱ᒏᔮȡѳ᭜喑Йᅲ♣ᗷౝⰸݝ৵⇎ᰶ̭͗ᐧま᭜ౕ̻ⱌ⮱㜗♣ٰ㉍οߕ喍ᝃ᭜ᄦ㜗♣ٰ㉍⮱⃢ ह䊤㝋喑ᅞ䃥็⣝АͨͶ๔ጵև⮱̭ᵤȡᰡ็⮱᭜ϧͧౝ݈䕍̭͗ᒏѩ㜗♣⩹⮱⾧䬡ArchiCreation喑Გ䓫ڞȠ䷻ȠⅡȠᴾ᱕ٶ䄍䛷喎ȡЙⰸ̺ݝ⮱ᐧま̻ں ⏾㶕䲏ᱽ᫆ȡ⩇㔹㜠λౕ䭬ጰ℁㶕⑁㞧ᱜ͚ᓰٶ⾧䬡㏱㏴⮱⌽अ喠̺ϲ̺̻㜗♣ٰ㉍ϔ⩌ఋᏁ喑ౕ䔶ᱽ̷⩇㜠䊷Გ䊷ռ❞ᆮᰵ䯫В⪆̸⬂䔦⮱⮪㞟
λϭ͵ᵤ⮱㔰㭾喤ܧ䔆ᵤ⮱ः㜺ܧ䔆ᵤ̭͚͉͗䶦Ⱋ͚喑ៈᐰγᄦλᐧまั⮱̭㝙ᕔݑ喑ౕ͚͉ᬒ⚔ᑧ◵⮱⇆ౝፓ䃫䃎γ̭䬡ϧጒ⍖ბȡ৵և
ᐧま᭜㜗䏘ᒏҀ㶕䓫Ხ㜡⮱͝ჹᕔ喑䔅᭜ӈ̭͗ᰭჹᰶ▢≨ᕔ⮱Ꭰझ喑ౕ̻㜗♣ȠҬ⩕㔲οߕ͚ϔ⩌ᬍ℁⮱͝ჹᕔ喤䔆̺ϲ᭜৵⇎ᰶⰡᣒ㼐め⮱䔪
䬛喑ᰡ᭜䌢ᐧまጵᄦ㜗ጞ⮱䔪䬛ȡ Those two projects can help us understand Zaha’s approach to the relationship between architecture and nature. Many of Zaha’s works derive from forms in nature, not only from the imitation of nature, but also from analyzing and generating natural forms through parametric tools. However, it is rather surprising that her works have almost no connection or interaction with real natural elements (or no reinterpretation of natural elements), not much playing with light, wind, water, or trees, unlike many other Modernist masters. Rather she worked more on the artificially created nature-like spaces, to achieve a kind of gradual changes in spatial organization. Not only that her works do not respond much to nature, but she also started to favour white smooth surface materials, which leaves no trace of time. Furthermore, in the project of Abu Dhanbi Performing Art Center, she seemed to completely abandon the fundamental judgment on climatic conditions, and proposed a gigantic manmade greenhouse in the Middle East desert. Out of what reasons did Zaha made such a decision and sacrifices? Is architecture about the diversity in its formal expressiveness, or to achieve a diversity through creating a platform which would allow interactions with nature and its users? Not only was Zaha questioned (unanswered directly by her), but all architects that are still practicing should be questioned.
λᱽ᫆Ƞ㏳㞯⮱๔ጵ喑⮱ᐧま႓⮱⠙ݝัౕ̺λₑȡᄦᐧま⮱ᘠ∂ᰡ็᭜Ჱ᳣ᕔ⮱喑㔹̺᭜㼓㻶ᕔ⮱ȡౕ䃶䄥λᙌჅᬣ喑ڠ৵̺᭜
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㣞℁䩎侙ጒࢯ BMW Central Building
䲏⮱ᙌⴒҀ侹ȡ䔆̭◦হ⦋ธȠ㦎㤱➆⮱ࡿចȠ㺬ͧА㶕⮱๔ឦх⻭ᐧまጵ䲋፥̺ह喑ࢠӬ᭜̻৵᱙ϧ䲋፥⁐䉼⮱䊘ڕΌᰡիाλ㻳㻶喑㔹̺᭜
ᅁѽᵩ̻ᓤᶲ䮳θߎ [2] Όᰶ᭫㦄ጛᐯȡ Indeed Zaha Hadid is not the master of materials and details. Her original architectural gene was more organizational rather than sensual. With regards to senses, she seems to prefer creating the visual aspect rather than to engage the holistic perceptive experience. In this regards, she was utterly different from her Swiss and Portuguese peers Peter Zumthor or Alvaro Siza, even of significant difference when compared to Herzog and de Meuron that Zaha quite admired2. ArchiCreation
⣝АͨͶ㔲 ArchiCreation A MODERNIST
Ꮤ፥㻱⮱ⴖᒏࢯᝬ䬡喑㔹䶦Ⱋ⮱ߌ܍৵䏘̷⮱⣝АͨͶ㔲ᆋᕔ喑ౕ㣞℁䩎侙ጒࢯ䔆͗䶦Ⱋ̷जВ䄡䓫ݝγ̭͗ዲምȡ䔆͗䶦Ⱋ⮱ധౝัλ
ߕ䔋ᣒக≩ڞڙᝬȡ䔆ᵤ喑৵☚㶤⮱䃖ᐧまͧ⩕ڙᰶノᣔߌ㘪⮱ߋڤ㘪ᅞ᭜䔋ᣒ䔆ψ̺ह⩌ϔጒ㞧⮱䒓䬡喑Ҭ⩌ϔ≮⼸ᓄВ䔋㐚ࣾ⩌喑Ꭳጰ㒛
᭜̭⤳ᘠͨͶ⮱ᙬ᱈喑㔹अγౕ⮱ᓲ䶨ȡ৵䕇䓴ݺ⮱ắᔢ䃫䃎হᄦ⛌⮱㏬ᕔ䃫䃎䄚㼭⮱䌢ᣏ㉏喑ͧ䔆ᵤ̭ߌ㘪ጰᅭں⮱䃛䷅ᅞ̺ ᅯᎠ܍㐂喠䒓䒳ᬍฝᬍᖜౝ䓽㵹λऱ͗ࢯᝬ䬡喑⣜ٶᴞ㓑̸䊝䔈๔ࢲ喑⮪㞟⮱䛾ᆋ䓽䓀㏬⩞㨊ౌ܊⌤喍program喎ᰭສ⮱㼐めȡϻ᱗ᲒͨͶ䕍ಸ⮱ ⮱ጕ๔ẩᷜಎ䖀喍ẩᷜ䔅᭜ಎ䖀䔅᭜䘪ᰶ喤喎Вࣷᰡߍ㇄ᬤ⮱䧏ݣᅸ᳣喑℘̺ᣖ亝ౝឦ䱟Ɑጒ͇ᐧま⮱ⱌⰥ喠ౌ܊⌤झ㏬ᕔౝऍवλ倅๔⮱⾧䬡̷喠
ͻ܍Გ⮱㏳㞯喑ౕᓤపጒϧ㏳ౝጒऻ喑⩞ᓤపጒ҉ϧঅܧბ㠞Йౕहᵤ㜡⮱⣨⦰ᅼ䷻ऻ䒨ᔘౝ᧺҉Ɑᅼᎂȡᓤపᕨឬ࠲ੳࣾᆂڙⱭ㜡⮱ߋ⾬ γजӈ᧺҉⮱Ԏᖜȡ䔆ᏔᐧまͧĄ䊝ाᐧまą⮱ᐧა㼭喑᭜ 21 ̓㏗⮱Ąᦖ⮨ᬣАąȡڒ⧵ᬍฝౝ䓽㵹Ɑȡ⩌ϔ≮㏬⮱䕨䒾ͧᐧま⾧䬡⮱䕨䒾 The Modernist characteristics which Zaha Hadid embodied reach a peak in the project of BMW Central Building in Leipzig, Germany. The building is situated amongst several common rectangular plants, and its main program is to provide a control office to manage and connect
2 Ą৵e৵䔗ᓤ 1883 嗣 2004ą喑ȨEl Croquis ᐧま㉍ȩ52+73+103, p.26. 2 'Zaha Hadid 1983-2004', El Croquis, 52+73+103, p.26.
ArchiCreationArchiCreation 43 © Pan Yan + Li Zhen
㣞℁䩎侙ጒࢯ BMW Central Building
different programs of the production lines in those plants, assuring the continuous streamline production. In this case, Zaha’s devotion to making architecture as a connecter of urban public activities became no longer an ideal, but a substantive necessity. Her previous paper architecture and mature use of linearity as an architectural language, helped provide a perfect program to respond the necessity. Walking into the lobby through the futuristic-looking concrete columns, white metallic conveyor belt is surrounded with blue lights; vehicles travel quietly through plants, while layers of platforms are stacked horizontally over the tall space; the huge concrete staircase and rather robust steel skeleton do not hide their industrial characteristics at all; office workers with slick suits operate on the monitors behind the equally slick glassArchiCreation screens. The whole workshop, full of details developed by the German contractors, after being meticulously manufactured by German workers, is operated silently by its German officers. The production streamline becameArchiCreation the legible logical underline of the architectural space. This building could be seen as a built work for Le Corbusier’s manifesto ‘Towards A New Architecture’, or the 21st century real-life ‘Modern Times’ by Charles Chaplin.
喑᭜ᱽٵ⮱̭㈨݄ั⤳ᐼ喑ౕ৵Вݺ⮱҉৮͚Ხͧᄾ㻮喑ౕВऻ⮱䌢͚Όൗ⼝㐊ぁȡ仃⣝ܧϻᐧま㻿Ꮣ䃟喑ᰡͧ䛺㺮⮱᭜喑ౕ䔆͗ᐧま͚ ᫆⮱⌤व喟䧏̻⌤܊ౌȠ็䧏ᱽ⮱ϑ䩆喑Ꭳͧ㶕䲏Ѻ㒛⮱̺हВ⮪Ƞⴠ㨊Ƞ▝㨊ぶ̺ह䷉㞟喠ᎠᲬ⣨⦰ȠU ಸ⣨⦰Ƞᴾ㘯ぶ็䔼ᬻȠࡷ䔼ᬻ ͚↪䒓⩌ϔ㏬㜡⮱๔䌕Ꮣ㐀ڣᰟ㏬喠ౌ܊⌤喑ᐧ䕍ᐼ⮱⌤व喟፥㻱ጒ͇ᐧまᐼ⮱ᅸ䶣Ƞ䊲ឭᙌ⮱↪䒓⩌ϔ㏬Ƞ৵ᴴᔄᕔ⮱⁎ڣᱽ᫆⮱ϑ㏴ȡ
ۼᰶᑧ◵⮱ᱧᷝ㷲䙺ᙌȡ৵ౕऻ⮱䶦Ⱋ͚喑⩞λࣾᆂγ̭ຄ䔋㐚㶕䲏⮱䄚㼭喑ᒵ๔⼸Ꮣ̷ᐰγ็ᱽ䉕হ㐀Ჱ⮱⌤व喑⩞λ̺हᱽ᫆ϑᣒ⮱ڤᲱ
䨸ᕔऄݝᬣА⮱䧊ࡃ喑ᅞ᭫ᓄ็ᄾᰶψ⾧≋ȡ㔹ͧγ㐡ᠮ䔆䄚㼭喑๔䛼⮱ᰟ䲏⩞亝䲏ᲬᲱ喑ᰡٵᄾ喑ࣺ㔹Ҭ㏳㞯⮱ั⤳अᓄᑞࡃȡ̭ᬓ≮Ҁ䄚㼭⮱
λ̭͗㏜ۭ≮ߕҀ⮱մᘠ喑ᣒऄγ䘕ܳᲱУጒ͇ࡃ⣝⟣⮱ॵ⣝喑ڠⱌᕔ⮱㶕䓫ȡ৵ౕ䔆͗䶦Ⱋ͚ಇᠮγ䓽ߕᙌ喑Ꭳᮯᬣᩫ̸γౕڲߍݷᑞγᄦλᐧま
⮱ߴ⅁হⱌȡ̺᭜ᢿ̓⩹⮱ⱌⰥ喑㔹᭜᠒Ⴐ喑⩕㒻⮱݈䕍ᄳⱌⰥ̻ᙬᮜवι̭ͧ喑⩞ₑ䓫ݝϧ⮱㼐ᩫহ᱙䉕⮱㜗⩞喆⣝ںҀ⣝γऻ䶦Ⱋ͚䯫В
䔆͗ᬣ喑͗ϧ䃑ͧ᭜৵ᐧま҉৮⮨ም䕍Ხ⮱ᬣݨ喑ᰡ۳ౝ䄡喑ᅞ䰂ൾ㞧ᱜ͚ៀः⮱ϧ➖䰂ͫ䊤䛺䩑ࢠᄳⵥ̸ݺȠᅞ㺮ݝ䓫䶣◦㔹䔅᱗ݝ⮱
䗐͗ᬣݨȡ More importantly, from the architectural perspective, the architectonic treatments applied in this building, came quite rarely in Zaha’s previous projects, and have almost disappeared in her later practices. First of all, the composition of materials: the interweaves between steel and concrete and even between a variety of steel, painted with different colors (white, blue or grey blue) according to the different locations of use; the interweaves of the different levels of transparency and translucency through the uses of plane glass, U-shaped glass and resins. Secondly, the mixture of constructional methods: regular industrial construction in the roof, high-tech in auto-mobile streamline production, and Zaha’s iconic concrete curvature; within which, the large-span roof structure over the production lines has a
ArchiCreationArchiCreation44 © Roland Halbe Roland ©
ἰ̭㏗పუ㞧ᱜࢇ➖亳 MAXXI
strong sense of mechanical fabrication. In later works, she almost abandoned these innovative use of mixed materials and structures, due to the development of her iconic language of continuous surface. It reduces the transition of different materials, as well as the tentative treatment given to details. Once the criticality of her language of fluidity regresses into a form of Zeitgeist, it begins to seem empty in its form. In order to maintain this architectural language, large amounts of curve forms are constructed with decorative exterior panels, which further reduces the expressiveness of its architectural authenticity. In the BMW project, Zaha insisted onArchiCreation the idea of motion, and suspended her usual impulse of imagining a pure continuous fluid form. In the true presentation of the industrial components, I find it much more courageous and truthful than mostArchiCreation of her later projects. Perhaps the true emancipation and freedom come, after embracing the reality and merging it with personal vision together with creation, instead of ignoring the truth of our world! I think that was the prime moment of Zaha’s architectural practice, or more precisely, like the frozen moment when a sculptural figure lifts his heavy hammer and about to strike, fully charged but not yet at its climax.
䷻ᵩ㖴 START OF HER STYLE
䃫䃎ౕᒵ๔⼸Ꮣ̷ᐣ㐚γ㏬ᕔ⾧䬡⮱և∂ȡϻ䃫䃎ݝ㥪喑ₐ㏼ࢳγڣ㒄侙ἰ̭㏗పუ㞧ᱜࢇ➖亳䃫䃎ᐭλ 1998 Ꭱ喑㥪λ 2009 Ꭱ喑 ࡃ⮱䓴⼸喑ₑ喑䔆͗䶦ⰛजВⰸ҉᭜̭͗ᬣ⛌⮱ᴴᔄহ͑͗ᬣ䬡⮱䒙ៅ◦ȡ⤰ڕ৵θߎϻᄼݝ๔Ƞݝ The project of MAXXI in Rome began in 1998, completed in 2009, with its main approach continuing her practice of linear spaces. It is from design to completion that ZHA went from a small practice to a large globalized office. In this sense, this project could be considered as a symbol of the formal period reaching mature, as well as a turning point that connects the latter period.
㏬ᕔҀ䛼⮱ϑ㏴喑ఋ͗܍喑৵Ҭ⩕γ⛌㏰侫侚⮱㏬ᕔᐧま䄚㼭喑䔆䄚㼭㏼ࢳ㠒͗㥪ᐧま⮱ᣏ㉏喑ጟ㏼᭜䛺㺮⮱ᐧま࣌ಸ̭ȡ⁎̭ں
ҀٶᰶⱭᲮ倅㺮Ⅿ⮱㒻ᱜ亳䶦Ⱋ喑ᅸ䶣⮱̭ຄฺᱯ⮱䛴ٶҀ䛼䬡⾬ᷚ喑Ꭳ㏱व㠒̺ह⮱࣯㻯ᐼȡ҉ͧᄦ䛴͗܍Ꮑγ౧ౝক䓦⮱⟣ۢ喑࣯㻯≮㏬ౕ
ᰟ䲏䒙ៅ⮱ᣕ喑Ⴙౌ܊⌤᭫γᐧま⮱㏬ᕔ䄚㼭喑ͧ䔆͗䶦Ⱋ⮱ᴴカ̭ȡᄦܥ䛼ᣔݣВࣷᬒ้⚔ᬻ䒙ᢏ⮱䬛䷅喑Ꭳᰶ߈ౝٶ⮱䖛ᡎȠٶ㈨㼐۠γⱖ
䄰⮱倅⾧䬡䛹⾬ᷚ㱬㰿ȡͨͧౌ܊⌤䶣Ჱ倅ࣺጛ⮱ᄦ℁喑ౕٶ䘕⮱̸ࣾڣ㏬⮱叾㞟ẩ̻ᷜ≯͗܍㒻ݝѺ喑ጒ㏳㚨ȡᐧま⮱๔ࢲ䔋ᣒ
ArchiCreationArchiCreation 45 © Zaha Hadid Architects Hadid Zaha © © Roland Halbe Roland ©
ἰ̭㏗పუ㞧ᱜࢇ➖亳 ἰ̭㏗పუ㞧ᱜࢇ➖亳 MAXXI MAXXI
Once again, the linear architectural language is applied, which Zaha already mastered in a number of completed project and already became one of her architectural prototypes. Several linear volumes are interwoven in response to its site conditions. The circulation penetrates those volumes, forming different ways of visiting. As a museum that requires specific quality of light, the complex roof skylight system offers a solution to issues such as daylight glare blocking, control and day/night lighting switch, and apparently emphasizes the linear volumes. The almost scrutinized detailed fluidity of the concrete curve surface is constructed to its perfection.ArchiCreation The black staircases, connecting the lobby, create a strong contrast with the top lit ceiling while weaving through the tall greyish concrete space. 䔆᭜̭͗䲋፥倅Ⅱ۳⮱䶦Ⱋ喑᭜ᆋλ৵⮱ᬣА喑ᆋλ৵㒻႓⮱Ხ㜡ȡౕ䔆䛹喑৵ᬖ⮱۟⾮ȠⴈⰫ㏵λࡃ㼐ͧ≮⩲⮱䓽ߕ喑ᬖ䌢͚⮱ArchiCreationक़ 喑Ⴙ㒻ౝᐧ⿸γใౕҀ侹ȡѳ᭜喑۟⾮̺ϲϲ᭜ఝධ⮱Аऺ䃺喑⾮ౕ۟ڲ䘕⮱ڕ᱙喑৵㏵λౕ䔆͗ᐧま͚ࡃ㼐γޔ᪈হ็Ͷ㏵λअ㏼侹ధჇ⮱ڲȠ⌤
䮖হᅊ䄂ȡᄦλ㵹ߕ͚⮱ᐧまᕊ㔰㔲㔹㼭喑۟⾮̺ч䮼䃫䃎ڿ⮱ϔ⩌Გ㜗λ㜗⮱̺䔪䬛喑Გ㜗λߴ⮱⾮ౕ۟ڲႰᰡ᭜ᕊᘠᓄВݺ䔈⮱ߕ߈ȡͧ
Ⅱ۳⮱ࡰ䩑⮫◩㔹⊵喑गчͧᄦ㜗⮱䭽ݣ㔹ᮯᬣ䮽㫼ȡ䔆͗㒻ᱜ亳᭜̭͗ᴴᔄᕔᐧま喑ͧ䔶᠖䔆ᵤ̭ॵ⣝ᐼ喑䄡ᬻ৵θߎᄦλ̭͗Ⴖ
喑ᠾᝅ䯫ͧ喑ᄦλᐧま႓⮱ᣏ㉏ࢠᄳ㺮㷘㐡ᠮ̭㒻ສᒏᔮ⮱ߗ߈ःА喑৵θߎںȠ㒻ͪ⮱ᒏᔮ⮱䃶Ⅿጟ㏼䊲䊷ᄦλ㜗䏘ᠾᝅ⮱⓭ᗲȡ⓭ᗲ̺ڕ
ౝౕ䔆͗ᬣВऻᐭγȡٺा䷻ᵩࡃ⮱䒙ा̺ज䖬 This is a project completed with a very high standard, which marks the peak of Zaha Hadid and her aesthetics in its perfection. In it, all the conflicts and contradiction in her early works smoothen into a fluidity; the complex, implicit quality and multi-meanings all transform into a scripted and stagnate experience. Zaha almost resolved all the internal conflicts, and constructed a perfect external experience. However, the idea of conflict is not only associated with difficulty, but more so with the motivation that provokes progressive thinking. Such conflict gives rise to the never ending criticality from oneself, through adventurous experiments. For a practical architectural thinker, this sense of conflict would never vanish even at the level of design perfection, though it could hide as a background due to the architect’s self-limitation. With no doubt, MAXXI is a landmark for ZHA, in such a way that Zaha chose familiarity and beauty over the passion of challenging the conventional architecture and herself. No passion, no more challenge. By that time, her architectural adventure was about to be replaced by the effort, to maintain the beauty of its perfect form, and that is when ZHA almost unavoidably turned stylized.
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৵䷻ᵩ ZAHA STYLE
㏗ВᲒ喑䮼Ɑ̭ឦใపᐧまጵౕ͚ప⮱ᐧま䶦Ⱋ㥪喑ౕ͇⩹হ๔фᐭႅౕ̭͗Ꭼͧ≮э⮱䄜㼐喟͚పͧγ̓⩹ᐧまጵ⮱䄂侹౧ȡ̓ 21 ڒ䔈 䔆͗䃑䃳⮱ϔ⩌Ꮑ䄒Გ⎽λᒩᬣ͚ప⮱ᐧまఫᮜ̻̓⩹⮱็䛺䩆Ѻȡ็Ꭱ䯁㐊λ̓⩹ᐧま⮱ݺ࢘䌢ใ喑Ҭ 1960 ᎡА⣝АͨͶ䷻⒛ऻ⮱ᐧまᣏ㉏ 㺮Вऱͨڲф⩇㜠ᐧま⩹䘪ᄦ䔆ψᐧま䄚㼭⮱Გ⎽ⴒ⩇ᄾȡ̻పڙڲ͚పᬣ喑పౕ⣝ܧ䌢ᄦλ͚పᐧま⩹Გ䄡ܳ䭹⩌喑ₑ喑ᒀ䗐ᵤ⮱҉৮̻
๔పᰶ䃫䃎䮏㜗㵹ࣾᆂ⮱̭ຄ䃫䃎䄚㼭Ⱕ℁喑䔆ψᐧま⮱➦ᐯᕔࣵᎬ∈ౝᩜᦾγ䔆͗䄜㼐ȡВϔ⩌γ̭㛳ᘠ喟పใ䘪⇎ᰶᱧч㥪ౝ⮱⫝̸⟯⮱ᐧま
㡿䄋ᕔȡڣ䌢䘪Გݝ͚పγȡ䔆͗䄡∂喑ϻ࣌⤳ܳᲽ⮱ᅯ䲏হࢂ㏜҉৮㼐䄨⮱ᅯ䲏喑䘪̺䯫㻮ݝ Since the 21st century, a large amount of foreign architects have had their projects built in China, and there began a widespread misunderstanding in China: China has become the testing ground for international architects. Perhaps such a misconception has its root in a complex of layers of mismatches between the architectural visions in China and the world during previous decades, even centuries. China has been isolated for many years from the international avant-garde movements, which makes the waves of Modernist architecture since the 1960s seem rather strange for the Chinese, while the origins of those new international architectural languages have remained unknown to the public including architects. Compared to the architectural language developed by Chinese state-owned design institutes, the specificity of those architecture brought in by foreign architects seems to support the rumor in a way. Hence, there comes a fictional conclusion that outrageous architectural projects all come to China for their experiments which could not be made possible elsewhere.ArchiCreation This conclusion is, in either logical analysis or interpretation of architecture, absolutely absurd. Ό᭜ܳԊႵহիArchiCreationाλڲᲒ͚ప⮱ప䭲๔ጵЙ็ឬ៲⮱᭜๔ಸపᰶᝃੳ͇ᐧま䶦ⰛȡᕨҀᲒ䃟喑䔆ψ䶦Ⱋ⮱ᝤㆨ㓑̺ϲౕ͚పȠᅞ᭜ౕ̓⩹㠰డ 䔈㵹ڲߴ⅁ȡओ̭䲏喑ౕ͚ప喑䶦Ⱋᮛ䕺⮱ѻ䶱ツহⴚক喑ΌҬ㐊๔็θߎᬍ߈ౕ䶦Ⱋক̻ٶ㻱䖬䷻䮖⮱喑็⇎ᰶឬ៲ᐧまᣏ㉏ᕔ䶦Ⱋ⮱Ⱪ
⮱ᣏ㉏ȡ䭲̷喑͚ప̺ϲ̺㷘ప䭲ᐧまጵ҉ͧ䄂侹౧ⰸᒲ喑㔹ᵦ᱙ᅞ᭜䄂侹ߌВऻ䔈㵹ᣕᎬ⮱๔ጯ౧ȡ䔆᭜ప䭲θߎᄦ͚ప䶦Ⱋ⮱ᮛ䕺ჇѺȡ It is large state-owned or commercial projects that most international starchitects started with in China, of which the type of clients in both China and the West usually tends to be relatively conservative and to avoid risks, lacking the courage for avant-garde experiments. On the other hand, with relatively low budgets and tight schedules in China, foreign architectural offices are normally not able to work on experimental ideas. Hence, in fact, China is not considered as the experimental ground at all, but rather a huge market to expand and promote their successful experimentation in. This is indeed what most international architectural practices aim to achieve in China.
䮑γ⩞λ͚పጕ๔⮱ϧऐϔ⩌⮱ጕಸᐧまᅧᏓፓᲒᓲ㺮⮱ᣏ㉏Вใ喑͚ప⮱䶦Ⱋᒭᒭᄦλప䭲ᐧまጵЙͼज䭵ȡᰡܴౝ䄡喑᭜䉱᱙㔹̺᭜ᐧ
まᣏ㉏侞ҬЃЙᲒݝ͚ప䔈㵹䌢ȡ䔆ፓᲒγࣹ䲏⮱᱈喑͚ప⮱྿ҀȠ䃱䃧ϧ㏼፥䄵䊤䔆͗䄊䷅喑ᙌदใపᐧまጵᲒݝ͚పऻ䃫䃎㑖Ⅱȡใపᐧま
䃫䃎ࢂѺࣷᐧまϔ͇䙺ຄ⮱ѻᴴ۳ȡ㻯ౝ䄡喑ᒵ䯫䄡᭜ਗ̭ڠጵθߎ݆⌞ᗌ䉦⩕⮱ᰶ䭽Ƞᬣ䬡⮱̺जᕊ䃛Ƞᝤ۠䃛হ䶦Ⱋノᣔ⮱̺͇̀喑ВࣷⰥ
͗䲏⮱䬛䷅喑ᝃ䃥᭜͚పౕ䔆͗㏼≻হчࣾᆂ䭣⃢⮱ᓲ♣ȡ Apart from the necessary experiments on mega-structure as an apparent need due to the large population in China, it remains unfavourable for challenging designs for most foreign architects. More specifically, it is the drive of capital rather than architectural exploration that brings them to practice in China. The disappointment arises in two ways: on the one hand, Chinese media and critics often discuss how architecture designed by foreign architects falls short of their standards; on the other hand, the disappointment comes from the architects themselves, after realizing various limitations such as budget, the short time frame, the unprofessional project management and
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the relatively lower construction standard in the industry. All in all, it is rather difficult to pin point precisely where the problem is, or perhaps these are parts of the unavoidable consequences of China’s rapid economic and social development.
⚔ȡ䔆̭㈨݄䃫䃎ۆ৵⮱䨣⇠ SOHO 䶦ⰛВࣷᣒ̸Გ⮱᱈ϙ SOHOȠ۹⾧ SOHO হͪ∪ SOHO喑ₐ᭜䔆͗ᬣใపݺ࢘θߎౕ͚ప⮱̭͗ ឫݝ̭͗Ąх䯲⮱ą⾧䬡Ą䃎ܿą喍plan喎喑 㔹 ᭜ Вں᭜ᄳऱฺᱯᕔ⮱ܳᅯȠ⼜㖇ںࣾᆂγ̭∂喑㘪์Ⱕᄦ㏼≻ౝ⣝ጟ㏼ᣏ㉏⛌⮱ᘠ∂ȡ̺ В̶ں喑ϔ⩌ᅯ̻⾧䬡ȡᄳ็ᐧ䕍ᣔݣౕι㐡Ҁ㈨̸喑ޟ䔈㵹ܴڣВこव⾧䬡Ҭ⩕㻱݆⮱Ꭰ䲏ᄦںᄩ⮱Ҁ䛼ắᔢ喑ٵ⩌थᴴᔄᕔ⮱ᒏᐼև∂ϔڙ̭
ڤ㐡ᰟ㏬⮱㶕⯛࠲㸦喑В䒰ͧэ㐌⮱㐀Ჱឭᱜߍ̷̭䘕ܳᐧ䕍⮱ಸ㶕⯛ឭᱜ喑ౕ࣯ࡃ䃫䃎хࡃ̸喑℁䒰⣝ౝౕ͚పᒀ̸⮱ጯ౧͚Ⴙ̭͗͗
ᰶ➦Ⴧ䷻ᵩ⮱θߎȡڤᰶᴴ۳Ą৵ᙌ㻶ą⮱ᐧまȡ䔆Όϻ̭͗Ӕ䲏࢝䃮喑䓾ᎡᲒ喑৵θߎጟ㏼ϻ̭͗͗ϧ➦ᒮ凉ᬻ⮱ᣏ㉏ᕔθߎ䒙ᢏ Zaha’s works of Galaxy SOHO, Wangjing SOHO, Sky SOHO and the upcoming Leeza SOHO could be seen as a portrait of how foreign avant-garde architects operate in China during this period. A design method has been developed for this series of projects, which could help realize the matured ideas of Zaha in a relatively economical way. It is no longer about layering and accumulating the complexity and then finding an ‘elegant’ spatial ‘plan’, but to generate the building volumes with the preconceived iconic forms developed by ZHA, then slice the volumes according to its functions in order to generate layers and spaces. They manage to operate mostly within a conventional two-dimensional construction system, then wrap it with the iconic three-dimensional curve skins. With this combination of conventional construction techniques topped with digital and parametric skin treatment, they are able to render each of these projects as standard ‘Zaha’ architecture with economic efficiency in China. In a way, these projects provide another evident which suggests that, ZHA has turned from an experimental office into a firm with a specific style. ArchiCreation ䷻ᵩ喑ᒀႰ⮱݈䕍㔲䔈㵹࣌݊ᕔ݈䕍ᬣ䕇፥ᄦႰ̺ߍ⤳ч喠㔹ౕ̭⃢ᬣ䬡⮱ᣏ㉏㐀ऻ喑ᒏᐼధჇౕ̭⟣ᔮ͚喑䔆⟣ᔮহᒏᐼ喍㔹̺᭜ϔ⩌䔆 ⟣ᔮ⮱ᕊᘠহ∂喎喑ͧЃϧ႓হ㐔ឬ⮱㠰ᐼ喑λ᭜䷻ᵩᅞϔ⩌γȡຯ䄡Ą䷻ᵩ᭜ᕊᘠ⮱ಌවąᰶψₓ⮱䄊喑䷻ᵩ㜠ᄾ᭜䌢͚⮱̭ArchiCreation͗Ąᢤ ᒱą喑ౕప䭲θߎ͚䊤ݝᣔݣ᱙̻কȠᎣԊᠮ̭Ⴧ৮䉕⮱҉⩕ȡ The creators of style often do ignore it when they undergo experimental research; once the research period is over and the formal language arrives at a stagnated state, where people no longer pay attention to methods and thinking to generate such forms but the forms themselves, it comes a style. If it is arbitrary to say that ‘style buries the thoughts behind’, at least we can say that style is a kind of ‘shortcut’ in practice, which operates as a quality and budget control criteria in an assembly line production.
䔅᭜ጕ๔⮱喑ᰟ䲏ᐧ䕍䰭㺮⮱ጒ㞧ȠᐧまȠ㐀ᲱȠᯃ䕇䃫ิВࣷᎂෆ⮱᪡व⼸Ꮣ喑ᄦ䶦Ⱋ⮱ܨфহᐧまϔ͇⮱۟ڙ亣᭜ຯₑ喑䨣⇠ SOHO ᄦ͚ప ⇠фᓰⰛ͚ߍ⌞γᄦ৵䷻ᵩ⮱Ҁ侹ȡ̺ᓄ̺䄡喑҉ͧ䒰ᬖ㥪⮱䨣ڙ䙺व䘪᭜̭౧㔰侹ȡ㔹ι⣜䓦⮱᩼ᙌౝፓ㥪ຯₑЬ҈๖ใᲒ⮱ᐧま喑Όౕ 䘕͚Ꮪ̻ใ䘕ੳ͇㶄⮱㏱वΌӈγᰡ͝ჹ⮱⾧䬡Ҁ侹ȡ㙞⻨ᐭ৵᱙ϧ喑21 ̓㏗ใపᐧڲЃ͑͗䶦ⰛԊᠮγᰡ倅⮱䃫䃎হጒⅡ۳喑ڣSOHO ℁䒰 ᰶᬻ᭫⮱䷻ᵩࡃիा喍ज㘪䮑γ OMA ⮱ CCTV হ䊘ᅁѽᵩহᓤᶲ䮳⮱卌ጏใ喎ȡຯᰶ̭๖喑͚పⱌ⮱ͧใపᐧڤまጵθߎౕ͚ప⮱҉৮็ ͚ప喑䗐ᄳᴴᔄⱭЙ⮱㏼≻হчᒏᔮጟ㏼ݝγओ̭⪗ධ⩹ȡౕ⣝ܧ㖇ᐧまᕊᘠ㔹̺᭜䷻ᵩࡃ⮱ᐧま܊まጵ⮱䄂侹౧喑๔ឦ Even so with the style as the quality control parameter, the Galaxy SOHO still gives a huge impact on the Chinese and China’s architectural industry, especially when the manufacture of curve surfaces is confronted with the high coordination among craftsmanship, construction, management, structure and other engineerings. It is definitely a challenge for its Chinese partners. Besides, the building landing like an alien in the second ring which is such a subtle historical context in Beijing, also enhances the impression on Zaha’s ‘style’. The Galaxy SOHO, with better design and construction standards, provide a diverse spatial experience by combining interior courtyards and the exterior commercial street. Apart from Zaha, most of the contemporary architects tend to have an obvious tendency of stylizing their works in China
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ArchiCreationArchiCreation 䉊ᅁश䊈ᅁ⏾䰗䌠झܳᲽఫ Bergisel Ski Jump Diagram
(perhaps except for OMA’s CCTV and Herzog and de Meuron's Bird's Nest). If one day China really becomes the true experimental ground of architecture, with an accumulation of buildings as the results of diverse and vivid architectural thoughts rather than of stylization, it will mark the next and new stage of Chinese economic and social development.
Ꭱ䛹喑৵ϻᐧま႓㔲ݝ䶣㏔ప䭲θ➖݈ϧ⮱䖀䌜̷喑䰭㺮႓Ƞ䲏ᄦȠ⾬䊷็ᄾ͗ᅯ䲏⮱ੳߎ䄵ݑȠ䶦ⰛノᣔȠ䃫䃎䉕܍ᒵ䯫ᘠ䆎ౕⴚⴚ⮱ ćć҉ͧВ AA 䔆ᵤ⮱䆎➆ඁͧധౝ⮱ᐧま႓㔲喑ຯₑф็̺䰭㺮㔰㭾⮱㍮⤽θᗲ喑ᄦλ̭͗䔆ᵤ㏔ݘ⮱θߎ㔹㼭ࢡ᭜ڠڙ䛼ᣔݣȠᐧ䕍ノ⤳Ƞప䭲 ᰭᮛ䕇⮱ᬒ፥ȡ䷻ᵩࡃᅞͧᩜᦾ䔆ᵤጕ๔ᠾᝅ⮱व⤳ᕔ䔶᠖ȡ It is hard to imagine what Zaha had to go through in a rather short period of time to obtain all these skills, to be able to transform from an architectural academia to the director of an international renowned office: skills of business negotiation, project management, quality control, construction management, design documentation, international public relations, etc. For a scholar who came from the architectural ivory tower such as Architectural Association, all these mundane and tedious coordination became daily operation of such an office, perhaps then stylization was the rational choice to support this radical challenge she had to face.
ArchiCreationArchiCreation 49 Source: BBC Documentary 'Who dares wins' ©Pan Yan + Li Zhen
ArchiCreation n Yan + Li Zhen a © Zaha Hadid Architects ArchiCreation© P 䉊ᅁश䊈ᅁ⏾䰗䌠झ Bergisel Ski Jump
㜗⩞⮱৵ THE FREE ZAHA
䉊ᅁश䊈ᅁ⏾䰗䌠झ喑2008 ᎡᲒݝ䔆䛹喑ࣾ⣝γ᱗㷘⣝ౕᐧま្䖀䛺㻳⮱䛺㺮⾧䬡ٰ㉍ÿ䗐̭❴డ㐂䌠झധᏔ⮱Ძᴾ᳄ȡᲫᴾᣒ䓾ಯⰡ⮱ 㜗♣〃ा㏬喑ᑧࡃγ䌠झ䶣䘕⮱ 360 Ꮣ㻯ᮜझ⮱㻳㻶᩵ȡᐧま᪡ҀᒏᔮБϧ࢝䆎⌞ݨ⮱ᅞ᭜⏾䖀⮱ᰟ㏬喑㏼䓴こव➖⤳䓽ߕ䒕䔦⮱݊ₒൾ䕍হ ᓰ⮱ऻԛಸ喑䊸λႹ㒻ȡ⏾䰗䌠झ᭜็͵ᰶ䋐⮱ႅౕ喑Ռߖ䛺߈ߖЙҀ侹㙞⻨䛺߈㑇⮱䗐̭ⳙ䬡ȡౕ䔆ᵤ̭͗➦Ⴧ⮱ᐧま͚喑৵ℂ⩌䔪Ⅿ⮱
㜡喑ۭݖ㥪⮱ᒏᔮ᭜ຯₑ⮱ຯ䛷䛺䉌喑䃖ϧᓰᗲ⩲ᔘౝ䮼下ा๖⾧ȡౕ̭ڲĄ㜗⩞⮱ᐧまą㏵λᓄݝγ̻ߌ㘪䰭Ⅿ⮱ I visited the Bergisel Ski Jump in 2008, and found an unreported but essential element of this building — the pine forest, which surrounds the ski jump platform. The verticality of the pine trees strengthens the panoramic vision from the platform. What left the strongest impression is undoubtedly the curve slide of the ski jump, which seems almost perfectly sculpted after carefully calculating the physical motion trail. What makes the ski jump interesting and rather paradoxical, is the moment where we are liberated from gravity with the help of
ArchiCreationArchiCreation50 © Lee Ewing
हθₐౕͧĄь๔⮱ច䗓ąևゃᆂጒ҉喑1992ڣ䨸㞧ᱜ 1915 嗣 1932ą喑1992 ৵e৵䔗ᓤࣷٵĄь๔⮱ច䗓喟ӱపࣷ㟼㖁⮱ The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932 , 1992 Zaha Hadid and collaborators working on the exhibition design Source: guggenheim.org for The Great Utopia,1992
gravity. In such a specific building, Zaha finally achieved ‘free architecture’, which she devoted her life towards, through a perfect combination of form and function. The symbolic form suggests such a moment of relief, from which the people submerge themselves with the sky.
ᕊᘠ㏼፥㷘㼭䄚⌦⇎喑݈࣌ᕔ⮱ᕊ㔰ᰡ᭜ᒵ䯫㷘ጟ㏼ధჇ̸Გ⮱䃺䄚㐅喠ຯͧγӬλэ᧚㔹ᓲ䶨䔈㵹䔝喑݆㏼፥䩆䄜ౝ䭽ݣȠ⩇㜠䄜ᄩγ
⩇λᐧま႓⮱ᕊᘠ喑ᰡ᭜㏼፥㷘㼭䄚হᐧま➖ࣹ䛺㺳Ⰳȡ䧌❞⮱৵喑̺᭜䗐͗҉ͧᐧま䃫䃎㔲⮱৵喑㔹᭜҉ͧᐧま႓ᕊᘠ㔲Ƞڠⱌ⮱ᕊᘠȡ㔹
ⴒ⮱৵ȡЙ䰭㺮ఋݝ৵࣌݊⮱ᕊ㔰喑ϻ⮱㐅⩨͚䄂ఫࣨ⤳㼐হࣾ⣝䗐ψ⇎㘪㷘⮱ᐧま㶕䓫হ䌢⮱ࢀ䊷ᕊᘠȡٵ㜠 Thoughts are often buried in words, and thoughts of originality are even harder to be described in our stagnatedArchiCreation languages. If we must put the thoughts into words in order to facilitate communication, words are often misleading and limited. Thoughts on architecture are even misled by both words and buildings themselves.ArchiCreation The Zaha whom I love, was not the one as a practitioner, but rather as a thinker, a prophet. In order to trace Zaha’s original thinking, we must go back to her sketches and drawings to rediscover what has been left unnoticed.
Й็͵ᰶᎥ喑ౕ䔆͗ᬣА喑ᰶ䔆ᵤ⮱̭͗ϧ喑⩕⮱ᓰ▢Ⱪ䓽㵹ౕ๖䭲喑Ԝⳝ̓⩹喑ⰸݝЙ᱗㘪ⰸݝ⮱ᝃᙌⴒݝ⮱̭͗ࢠᄳᲒ͡⮱̓⩹ȡ
ᄦλ৵⮱្䖀็В侙݄㐡⮱㜠̷ͨͶ㞧ᱜ喑ᝃ㔲ᰡ۳ౝ䄡喑ВĄ㜠̷ͨͶ㞧ᱜą䔆͗䃺ⅴ҉ͧ㼐䛷৵ᄦᐧまᒏᔮ䉎ڲᓲ䶨䄡⮱̭◦᭜喑Ⱪ̸ప
㖁喤ౕᄦ㜠̷ͨͶⴒ⩇ᄾ⮱͚ప喑ᠬ䔆ᵤ̭̺͗๗ͧϧⴒ⮱႓ڠᰶڤࣾ◦ȡѳ䔆ᬍ∂ఋめ̭͗䬛䷅喟ͧϭ͵৵䃑ͧ㜠̷ͨͶ㞧ᱜ̻ᐧま႓ܧ⮱⡛
ᱜऺ䃺Გキࢂఋめ৵ᐧまᒏᐼ⮱䊤⎽䬛䷅喑⩇᭜㡶⢴Ƞ᪤㵺γθȡᰡ҂ۢ喑䃫䃎͚䅀⮱Ą▢ᙌąᄦλ䃫䃎⮱҉⩕ᱧݣ喑ϻᲒᅞ᭜ᕊᘠВ̭͗㼓ࣾ ◦҉ͧ䌠झ⮱̭⁎䌠䋰喑᭜̭⁎䋰䓮⮱⩌ࣾ㔹̺᭜䕨䒾ᣕᄩȡᓲ䶨ᠴܧ喑ᒞ৺γ৵⮱㞧ᱜ䓽ߕ㐊̺ϲϲ᭜㜠̷ͨͶȡ1992 Ꭱ৵ౕऑᵦ⊤㒻ᱜ亳 䨸㞧ᱜ 1915 嗣 1932ą喑ᆂ㻵ϻ 1992 Ꭱ 9 ᰵ 25 ᬒᠮ㐚ݝ 1993 Ꭱ 1 ᰵ 3 ᬒȡᆂٵևγ㜠̷ͨͶ̻㼐ᲱͨͶᆂ㻵ÿĄь๔⮱ច䗓喟ӱపࣷ㟼㖁⮱ ᄦ৵ᰶ᱙䉕⮱ᒞ৺喑ᘠ喑䮑γҀ⣝ౕ㐅⩨ᝃ㔲䄡㐅ఫᒏᐼᙌ⮱ᒞ৺⋣ڲᄦλ 20 ̓㏗݊㟼ӱݺ࢘㞧ᱜᎬ∈㔹⌞ݨ⮱⤳㼐ȡຯ䄡㜠̷ͨͶ⮱ܧ ৵ౕᵎ҉৮Ą侙݄㐡⮱ᐧᲱą⮱ᒏᐼ䄚㼭喑ΌౕⰥᒀ⼸Ꮣ̷ऄݝγᏀ৵⮱ᒞ৺喎喑ᰡͨ㺮⮱᭜㜠̷ͨͶᄦλ㏜ᙌჅ㐊ᄦ㜠̷ڣใ喍
㵹⮱䄡∂喑৵ౕ็ᬣٵλ䭬៶ќ᪴ࡃᄦ⮱ᒞ৺ぶ䄥็ͧ䊲⮱ᒏᐼᙌᄨⅯ㼐め⮱㻯ᔢڠ⮱⤳ᔢȡहᵤ⮱喑ᄦλ᭜㼐ᲱͨͶА㶕ϧ➖Ƞ
Ն̺㒛ज॓ȡग㘪䄡ᬻ䔆ψ䄡∂᭜ݘϧᄦ⮱̭䃑䃳ᝃ⡉≸ȡλ㔹㼭喑䔆ψ䘪̺᭜ᰭ䛺㺮䄊䷅ȡ䗐͵喑ϭ͵᭜䃑ͧ䛺㺮⮱喤ÿĄ㜗⩞ą[3]ȡ We should be glad that we have someone like her in our generation, who uses her ‘inner eyes’ to see our world and the world which was yet to come. One thing worth mentioning is that, the current analyses on Zaha Hadid mostly associate her work with Malevich's Suprematism, or rather, they associate her contribution to architectural forms with Suprematist art as her departure of architectural form. But it leaves one important question unanswered: why did Zaha Hadid think Suprematist Art has anything to do with architecture? For those who have hardly heard the term ‘Suprematism’, especially in China, trying to conclude the starting point of Zaha’s work with just one academic term seems
ArchiCreationArchiCreation 51 ©David Heald ©David ©Zaha Hadid Architects
䨸㞧ᱜ 1915 嗣 1932ą喑1992ٵλĄь๔⮱ច䗓喟ӱపࣷ㟼㖁⮱ܧ䨸㞧ᱜ 1915 嗣 1932ąጰ ᆂ և ۳ ิ ⩨҉ᆂٵ৵e৵䔗ᓤͧĄь๔⮱ច䗓喟ӱపࣷ㟼㖁⮱ Zaha Hadid with Proposed site-specific intervention for the Paintings exhibited on The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932, 1992 Guggenheim’s 1992 exhibition The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932
rather hasty and irresponsible. The way the so-called ‘inspiration’ affects design works as a platform from which the idea sparks and makes a jump. It has always been a generative leap rather than a logical deduction. It must be noted that what influenced Zaha was more than Suprematism. In 1992, Zaha organised an exhibition on Suprematism and Deconstructivism in Guggenheim Museum, ‘The Great Utopia: The Russian and Soviet Avant-Garde, 1915-1932’. It lasted from 25 September 1992 to 3 January 1993, showing her profound understanding of the early 20th century Russian avant-garde art. Suprematism has fundamental influences not only on her formal language of her paintings and patterns (in fact, the formal language of Zaha’s school work Malevich's Tektonik was relatively influenced by RemArchiCreation Koolhaas as well), but also on her devotion to the absolute supremacy of pure senses. Similarly, on those tags given to her, ‘Deconstructivism’ or ‘Arabic Culture’, which are thought to contribute to her extraordinaryArchiCreation forms, Zaha often had no comment. To her, tags are not important at all. What then, did she think is important? ‘Freedom’3.
৵В᭜৵喑̺᭜ͧᄦᐧま႓⮱⤳ᕔ᧺҉喑㮪♣䔆̭䘕ౕܳᅞ㜗ጞ⮱䖀䌜̷̭Ⴧࣾᡒ䓴҉⩕喠ⱌₐ䃖ͧ৵⮱喑᭜ᙌჅ⮱⾬ 䔯̺ڕ⮱̓⩹喑ႹܧहᲱ䕍⮱Ⱕᱧ喑ౕЙⱩ͚⮱ 24 ፔȠ䖢ᓗ䔼㻳∂ȠჇᵩែᄱ̺ڕ䔼߈ȡᝃ䃥ⱌ⮱χѓe䉊㡕ധ [4] 䄡喑৵᭜̭䘕̻ЙႹ Ѓϧ㔹㼭㡘♣ᬍⴒ⮱⺋⼅̓⩹喑䔆⺋⼅̓⩹ᄦλЙᲒ䄡倅⌞㣘≸喑㔹ᄦλڣλ৵喑㘪์ᢂᡶݝ̭㝙ឭᱜ⤳ᕔใȠ24 ፔ䬡Ƞ̭̭͗͗ᄦλ⩕ ⱌₐ⮱㜗⩞হ㼐ᩫȡڒ৵݆᭜ᰭౕͧ⮱ᓲ♣ȡ䔆ᓲ♣喑ݧⵡ⣝̓⩹ⰸѩव⤳Ƞ䕨䒾͒ჳ⮱㮇Ꭸጽᎂ喑ᄳЙᑂ What makes Zaha Hadid the Zaha Hadid we knew does not come from her rational operation towards architecture, although she had already proven her capability of doing so, but was her creation that penetrates our senses. Perhaps as Aaron Betsky4 suggested, if everyone was a camera, then Zaha was made completely different. Something as common to us as the 24 frames or conventional perspective did not apply to her. What she captured was the inexplicable world, beyond the common technical rationality, which was perhaps unknown to us, but to Zaha was real. Her ‘real’ world would eventually burst from the rationality and logic of ours, and led us towards the true freedom and emancipation.
थ喑1998喑p6喠৵e৵䔗ᓤ 1983 嗣 2004ȨEl Croquis ᐧま㉍ȩ52+73+103, p.35ȡڙχѓe䉊㡕ധ喑Ȩ৵e৵䔗ᓤ喟ᐧᐧまহ䶦Ⱋȩ喑∝ᮑธহ৵ᓤ䔷 3 3 Aaron Betsky, Zaha Hadid: The Complete Buildings and Projects, Thames and Hudson Ltd, 1998, p.6; 'Zaha Hadid 1983-2004', El Croquis, 52+73+103, p.35.
थ喑1998喑p6ȡڙχѓe䉊㡕ധ喑Ȩ৵e৵䔗ᓤ喟ᐧᐧまহ䶦Ⱋȩ喑∝ᮑธহ৵ᓤ䔷 4 4 Aaron Betsky, Zaha Hadid: The Complete Buildings and Projects, Thames and Hudson Ltd, 1998, p.6.
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䨸㞧ᱜ 1915 嗣 1932ąᆂ 㻵 ࢂ ᢛٵĄь๔⮱ច䗓喟ӱపࣷ㟼㖁⮱ Documents of the Exhibition The Russian and Soviet Avant-Garde, 1915-1932 Source: guggenheim.org
ऻ䃝 AFTERWORD
৵ᄦ⮱ᒞ৺᭜䔆ᵤ⌞䔉ࣵᬍ∂㼭䄡ȡ͗ϧϻ᱗̻৵ᰶ䓴Ш҂Ⱑᣒϑ≮ȡ҉̭ͧऺ 20 ̓㏗ 90 ᎡА᱘͚పᐧま䮏ᵎ⮱႓⩌喑ౕ႓ᵎ䬡ᅞ 㷘৵⮱ᐧまᒏᔮȠ㶕䓫ᐼ䰴᧩Ƞᒮ喠21 ̓㏗݊Გݝѓ᪓喑ౕ̻ AA ह̭๔㶄ओ̭⮱ UCL ๔႓ጡ➦䰤➦႓䮏႓喑ᓄВ䓾䌊⻨ѳ᭜䬡ڕႹ ᭜㏥̷ఫ❴喑㔹अ̭͗͗जВࣨҀ侹Ƞࣨࣾ⣝⮱౧ȡᐭⰥԎ㜗ጞں䒙ᢏ⮱ᬣȡ๔ጵऺ҉̺ޔᣒౝ㻯ᄌ৵ȡ䔆͗ᬣ喑Ό᭜⮱ᐧま㻯ᔢᕒ
䋐◦Ό䮼䒙ᢏȡᐭౕ⁔≟⍥ࢳ喑ࣨࣾ⣝ȠҀᄌ৵䃫䃎⮱ⱌ⾧䬡喑ΌౕᐧまȠឭᱜȠᐧま̻чȠڡ⮱ᙌჅᄦλⱌ⾧䬡⮱ݑ喑ᄦλᐧま⮱
Ѓθߎጒ҉ᬣᄦλ৵⮱ᓰᓰᔢᔢ喑⩇㜠㷘हθ䄰ҰĄ䏘ౕᰦ㥒ᓰౕⅶąȡ̺ノ᭜႓䔅ڣᐧま̻㜗♣Вࣷᓰ▢ᅯ䲏ᕊ㔰৵喑ᰶ̺䃑ह喑Όᰶౕ
喠ϻᄳ㜗䏘⮱ᐧま⤳ᘠែᄱλѺ๔ጵ̷喑ݝ㜗⿸ౝ䔪ᄨ㜗ጞ喑䔆ψ㥒ڨ͚喑̺ౝᕊ㔰হ↟ः㥒⧵ڠᎡ⮱ᐧま⩌⋜喑ౕᄦλ৵⮱܍᭜ࣺᕊ喑 Ɑȡ㜠 2016 Ꭱ喑㕄эᲒ喑ᐧま⩹䛺䛼㏔ܷ➖Ȩᐧま݈҉ȩࣾ̀त䃕䃧Ƞ㏗ᔢ৵ȡᘠ喑䔆᭜̭͗䔅է⮱ᬣݨγ喑ᄳϻ৵䗐䛹㣤ः⮱ArchiCreationڨ⏸ڨ ą喑ౕᣒٶᲒ喑Вӈᰡ็ϧ䃕䃧ȡᒵजᘉ⮱᭜喑⇎ᰶⰡᣒ̻৵ᣒ㼓喑ࣵᰶψᎳᎥ䔶᠖γ䔆䓾䌊⻨⮱䬡ᣒ㻯ᄌ喑䔆ᝃ䃥䉸εĄᐯΎϧ⮱Ⱪܧ䃟䔝 ᰶ㻮䓴⮱ϧⵁ⾣হ䃕䃧喑㔹⮱҉৮̻ArchiCreationᕊᘠᄳ⇎ڕ㼓す̭䉱᫆⮱हᬣԊᠮ㻯ᄌ⮱᩼ᙌᕔȡⰥԎ喑৵҉ͧຯₑь๔⮱ᐧまጵ喑ౕ᱗Გч㷘ᰡ็Ⴙ 㣤ᓄᰡߍᠮͲ⮱⩌পȡԋᎠќᎣ᱗㻮䓴ᰦ䰗㟦喑㔹Ȩ㏏ẩᷓȩ̺ᱪ喆 Although I had never came into direct contact with her personally, the influence that Zaha Hadid had on me has been profound yet inexplicable. As a Chinese architectural student of the late 1990s, I was absolutely stunned by photos of her work seen in school. Then I went to study at the Bartlett School of Architecture, University College London in the beginning of the 21st century, where I finally got the chance to observe her work closely, since Bartlett is on the same street with Architectural Association where she taught. During this period my understanding towards architecture took a drastic turn, as those masters’ works were no longer read in books but could be visited and experienced. I started to travel, exploring the built space with my own senses, and trusted what I actually experienced in her buildings. I try to understand her works through different levels of architecture, technology, society, nature, and even at a spiritual level. There were disagreement from me, but also my passion in studying her even when I was working for other offices (some of my colleagues even called me a ‘traitor’). Through the last decade of practice and self-examination, I continued to seek help from Zaha’s works, either in following an ideal figure as my path, or in searching my own DNA. Her works nurtured me. After the grief hit us in 2016, ArchiCreation proposed to do a special issue for Zaha Hadid. I think maybe it is time to pay the debt I owed her, in order to continue her legacy in the future. It is unfortunate that I have never met Zaha in person, but also glad that therefore I could observe her practice from distance, to have first-hand information while maintaining critical. I believe that, a great architect like Zaha Hadid, will continue to be studied in the future by generations who never have chance to meet her, in a way that her works will be given new life and meanings. It is just like the great literature The Dreams of the Red Mansion remains timeless, with Pingbo Yu, the famous Chinese literati, giving it a great study without knowing the author Xueqin Cao in person.