\ My Personal Experiences About Zaha Hadid
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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 ArchiCreationArchiCreation38 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. ArchiCreationArchiCreation 39 ࣾ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.