The Complete ee en a. CRE: bs —CONTENTS Irroducion BEYOND 89 DEGREES Aaron Belsky [MUSEUM OF THE NINETINT CENTURY Loco 1977-78 [DUTCH PARLAMENT EXTENSION Ie M294, 1975-79 RSH DEIME MNISTER'S RESIDENCE Dui. 1979-80 ‘WH PEAK Hoy ong, 1902-89 ‘HE WORD (89 DEGREES) 3 ‘eRAND AUNDINGS |e 1885 wauan PACE Loon, 1888 meiauny COURT Loven, 1985 TENTS AND CUTAN 40" 1985 KYOTOINSTAILATIONS Kyoto 1985 2 CATHCART ROAD Lenco. 1985-85 aMaume DOCKLANDS Janu. 1986 KURIDRSTENDAMN 70 Sei, 1905 TBA HOUSING Eorin, 1886-35, ATARUTUBAN Toijo, 1985 TOMOAYA Too, 1985 west Hourwoon me cine Los Anges 1987 [AL WAHDA SPORTS CENTRE PC 19883 [MerRoPOUS Loco, 1988 ‘ataun 2000 1888 [ANEW BAREHLONA 1909 TORTO FORUM Tok, 1988 HAFINSTRASSE DEVELOPMENT "sb, 1959 MOONSOON Sups00 lps, 1985-80 JoUY 9 O's, 1989-90 lusceseR SQUARE Lovdon, 1989 LITRA FRE STATION el 27 keh Sema, 1390-34 68 ART AND MEDIA CANTRE Disco, (989-93 72 muse WOEO PAVIUON Groningen, The Netelnd 1996 75, INTERRUN 91. Gendt, Gemany, 1990 76 LONDON 2068 60 78 THe MAGUE VMLAS The Hace 1991 2 Mie onearUTOMIA ti ork 1062 bs VION FoR MADM 1252 Be BNLI STRAUSS ARE MOTEL NIP, Genny, 1992 87 CONCERT HALL Copenhagen, 1982-88 8 RHENAUHAFEN REDEVELOPMENT Coloore, 1592 9 eaRMUNTUM Vienna, 1993 10 LYCHE FRANCAIS CHARLES DE GAULLE on" 155% 105 PANCRAS LANE Loven, 1896 106 49N0 STREET HOTEL New York. 1695 10 BIUEPRINT PAVILION Simeachiry Ergon 1995 16 PRADO MUSEUM EXTENSION Nod, 1996 118 CARDIFF BAY OPERA HOUSE Caro vais, 1991-96 124 ROLERHOUSE EXTENSION, VICTORIA AND ALBERT MUSEUM on, 1999, 20 WISH MACHINE WORLD INVENTION enya. 1296 133 PAPER ARE Our, Germany, 1596 155 MASTINS SECTION Venice emt, Venice, 1995 135 RABMABLE BRIDGE London, 1996 10 A FENKE Vence 195 15 PHIMARMOMIE HALL Loxerbcu9. 197 151 AANDESOARTENSEHAU 1999 el am Ahn, Germany, 1997— Ib MUSEUM OF ISLAMIC ARTS Do's, C2, 1997 163 WACKNEY EMPIRE London, 1957 164 CAMPUS CENTRE nosis of Technolgy Chicago, 1998 168 CONTEMPORARY ARTE EMRE Cnc 1808 70 FURNITURE AND OULKeXE 174 faites 75 RbieatoneInvoducton BEYOND 89 DEGREES ‘Aaron Betsky ‘retin.on te one nana extends ou comprehension of thenecesstis which le ur fen the ater hd it ranegesto assure ws ofan emmente and unewpectd el of scion, Our avers ar our tronaitan sees, our ofces and fsa roms, ou raltad stators and eu factors anoeared to have us lcted up codes. Then ‘eae the tim anebutst this prsenweris uncer by te dyramte of te eto asecnd, thet now, inthe nds of fa-tung rus end dbs, weeny and adventurous 9 waeling. Wththe dateup, space epands vith dow maton, movant etre The eniarement of asrarsht des nt inply reer mere pecs what in any cst was vile. tough une treed ertely new sructrl formations of he subject $0, 19, Slow motion not ony preset amie quate of movement bu reveal em ently Unknown ans wich a ‘to looking ike etree rep moveeots, gi the elect of snguy giing,Nastng supernatural motions det aliferent nature apa ff othe comes than perso the naked eye =I ey because 2 unconscious penevared spaces subsite fora spice corsco.l export men. The Explosion of a Tenth of a Second ‘Zana Hadia i a great cinematographer. She sees tke 2 camera, She perceives the ait in slow motion, in pans, swoops and close-ups, in jumpeuts ane nar ‘ative rhythms. As he draws the world around he, she draws outs urcore SscouS spaces. She ings wrat Is latent Inthe consructons of our modern ‘world and strybozrds them into Ltepss. She boidly explores, she dows down ard acocrates the rhythms of everyday Ife, an she subjects her enve ronmentte th sug exooston of arctecur a a form of representation she bules the expleson of a terthof a second, “This does not mean that she isnot an archtect. Zaha Had aims to bul and her images ae art ofthe erocess that moves toads constuction. She ‘does rol, homever, propose Inserting an autonomous object nto blenk ste Instead, her Dulrgs are intensfietions that lad to extensions. She com ‘resell the energies hat cause the bung to aoper, fom fs progrenne to its teemnclogal infrasiructure. Her bulings are fee to reach out fom ‘is deriy to create spaces that ae free of encumbrances. Where there wat ‘once the potental fr) prvate ati, wal and pipes, there are now sarc and planes that sce through the landscape to open up a space we de not now could ext Hac has constructed hee caver in architecture in a smlar manne. She has folded the memories ofa YouT spent on woven carpe no @ ining et London's Architectural Association. She has used the forms of early twent- ‘eh-century arts a the building Blocks out of which she has erected her palaces of absvacted memories. She has craw the energies ofthe city and the heavy conjous of the landscape eround her ke 9 ook, ond then vse that force atthe stating point for eeporations into an unknown terry ‘towards which her angular forms pont 6 (One might say thet Zaha Hac is © modems, desigring lots ted to tech ological cores as 9 celebration of the new Hadid has no tuck with typolo- es. apnled orders. implied assumptions or gravity: she Delees that We oulé and should ud a beter word, ove marked by freedom, above all se We would be betes from th past, rom the constrains of sil con- Aertion. fom physical lans, and free of our bodies. Arcee, for mas criss sch as Hag, te lays tagmenary corstuction of such a werd ‘The Three Modes of Modernism “rctinaly, there ae tree aspects fo such modernism. Fs, its adherents eleven new structures. 8y harnessing tecnclogy, e good modest posts, we can us our resources including ourselves) moe ecient to cea the ‘maximum amount of sutlus, whether of space or of value, This "too much’ s ‘hat wien she heroic welty ofthe ebnays new, the future, the utopian Is that which hes ne shape and comes bout by reducing form soit minimum. Second, the modernist belewes in new ways of seeing. Ferhaps the word is already rew, but we ust dont recognize It es such, We see ony what we have been trained fo perceive, # aly We can lookin fresh ways, we can change the vod by ust that act. We need 0 open our eyes, our ears an ‘ur minds to the realites of our existence. Then we will akeady be free. Third, the modernist wishes te represent the realty of modernity. Fusing the frst 00 aspects, sha or he transforms our new percentos into representations forthe forms we have created, Such shapes are the prototypes fr @ realty in ‘ich things have become reavenged and disicved tothe pont that al but the nen deappaars By representing new thngsin new ways, we can bul & ewword ard mai i cniy wih our eyes itis this third agpest that ehacterizes Zaha Hadid She does rot invent‘ver apan they sought to capture the energy of al our changing ates ty teliog stoves about them, and so dong added a narrate viewport to the attempt to gve shape to modernity Whether the works vere arecdotel and comolute (schumi, a mythical collage (Keolnaad or a marifeto (Cock ‘ey al incorporated muliple perspecwves, sweeping anc exgressve forms, ard technolegeal frameworks into images whase representation described rather than defined, Condensed Cellages 1s mthis context that Zahe Has wok took chap, Her fst notable pro {2% her thesis desgn for bridge over the Thames (Malevich's Tektoik, 1876-77; p. 16)'s undoubtedly indebted to her asocation with Fem Koo! /ass—she cllaborated with the Office of Metrepltan Architecture for threw srs ~ In Te way in which tforegrourds @ opemety reduced tos eserce, teal evcking the Suprematist ork of Malevich. Her panting of he ridge ‘0k: ke the Nala airplanes that could ako be sculptures or hemes. The etal of the image is intertionl as she saw the building a 2 'socalcon- ervey, 10 use a phrase then popular at te Architectural ASidation, The ulaing call ca medic lof that flde back on ise te bring diferent romramme elements (which she doesnot actualy show) into cbse contact cv each oer What astounds us s Vewers, Rowever, are not the project's tional aspirations or ts quottins ofthe pas, ut the image itself & olds the page and eye wih a resolute statement of the rw. i several projects aftr ner rasvavion, Had continues to develop her “rate stance more fly nto spatial language, The forms cf 59 Eaten Place 1981-82: p. 19) an apariment design for her brother, diac euoke an Re somo mat had exladedon he ste, Te caning ise an exloson, and the ‘erertsitplceson the page ae fagments from ths meat madem release of ereray In what was to become 2 central thome in Hadi’ architecture, the oct condense andthe city's forms tum inte furniture. These inter pieces ‘hen move back out eke ther place as Pop Ar ements a sage set fr the ‘e-ccupstiono amadan iy. "edd develooed the 59 Eaton Place drawings further into her viion of ok Place (1985; p. 26. Ina rooftop view, the viewer soars abo the eaves ‘he cys romhouses to havea Peter-Pan wow of a ety coming apart atthe ‘220, 8 perspective that lets Had’ fragments of a modernist tenia 1 rabies historical fons, adid’s proposal for the new residence for the lish Prme Minster 1979-80. p18 intoduced colage rte her work. Reprosentatona elerents es, Jobe, bricks) populate a simple cube through which along curving pen up the projets narrate. stead of teling us about the brogiamime cr the ste, Hadd evotes the cosmopolitan nature ofthe re ce: rather than gve us the plo, she sets he scene er proposal for he Grend Bulkings Oct London's Tatalgar Square 1985, ©. 25) summarzes mary af her achievements ard shown her abity * reimagine the urban landscape. The panting isa iptych that depicts = bulging from at least fe perspectnes. Italo shows the ct peeling away fom its in beth 3 ightside-up and » borter-up view, crestg unstting effet of not krowing whats the rellection and what ferred ground of the paintng. By combiring the cleverness of 29 E::"= drawing withthe aspeations of a Constctivst compastion, Hadid oe nates the cty Heald hes a programmatic rationale fr this manner of reoress ‘he Grand Buildings project was something that would put the act and forts of Tafalaar Square into a derse compostion that woul se layers of open spaces to allow the ciy to breathe ino the builng se aggresive shapes moved out into tho urban terrain. Opening ue n= the seams, where the realty we experience ard the fantasy cf anew or tion oF buliding meet, became 4 recurent subject of her paintings.» instance she accomplished ths within the image ize, leaving Trot Square to ts ver-touisted realty ard her building in the uosien rea ofufiled fantasies. ‘Tha summation ofthese ery weeks tok two fers. The frst was co ing that presented all of her projets to that point, The World (89 Dass (1983; p. 24) In t Hed imagines our clobal realty asa calecion or designs os we might see them irom a helicopter oo missle shoot of space As the world tums, is lanekcape heaves up into fragmento ‘Geomerris. Te rel world becomes Hadiclane, where graity issro perspective warps lines converge, and theres no deiniton of scale oo 1. This not a spade sane of function and for, but a costelat possiole compesitions that together form a veritable landkcape: = Shaped by human hard into an artificial delcion of the psa! ew rent in which we lve ‘The second summation made Hac farrous. Her winning entry for Hong Kong Peak competion (1983; p. 20) proved ta thousands ot ero 2nd design students Greusing the author) thatthe techriques she has be developing were 2 new form of arcitectue, Stuatad atthe highest ‘of the colony, he project was ise 3 summation cf the ste as we! a all those programmes that jetsored the mundane demends of exstence in favour of a purey hedonistic collection of forms. The buleing factity nat aimed to eight and dicibine the body na form that zoe socaly aceotable Hat's architecture embocied the progranime and site in tuber stacked up on top ofeach ofr ike ail of wooden beams on & cos tio site. They extended the vertically of the ste in cantevers ars spaccs. The interstices of the forms articulated the Peak’'s function 3 20 ib where acivtes intersected, while the beams’ movement seered 19 ‘re and solty the taecry of bodies in mation. t was @ bulaing :” brought human and mountain together to test each othe. It ded not ‘crown the brow’ it puled the very Peak apart so that we, lke [ster tans, coule bo bate witht. Hadi lal out ts vsion in a set of very lage paintings tat seemes spre to the scale of the Peak salt Although the architec: emahaese> rational nature of her constructon the drawings piled the pans and p<