Scribd Logo
Upload

Welcome to Scribd!

  • Zaha Hadid - The Complete Buildings and Projects - Thames & Hudson (2015)

    Uploaded by

    Ludwig Szoha
    6 views144 pages

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    6 views144 pages

    Zaha Hadid - The Complete Buildings and Projects - Thames & Hudson (2015)

    Uploaded by

    Ludwig Szoha

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 144
    The Complete ee en ape “BE by - CONTENTS Irroducion BEYOND 89 DEGREES Aaron Selshy [MUSEUM OF THE NINETIENT CENTURY Loco 1977-7 [DUTCH PARLAMENT EXTENSION fe Ha94%, 1975-79 RSH DEIME MNISTER'S RSDENCE Dulin. 1979-80 ‘WHE PEAK Hor Kong, 1902-89 "HE WORD (89 DEGREES) 3 ‘eRAND AUIDINGS |>eion 1885 aun ACE London, 1888 meiouny COURT Londen, 1985 TENTS AND cuRTABYS 42 1985 KYOTOINSTAILATIONS Kyoto, 1985 2A CATHCART ROAD London. 1985-85 aMaume BOCKLANDS Janu. 1986 KURIDRSTENDAMN 70 Sei, 1905 TBA HOUSING Eorin, 1886-35 ATAAUTUBAN Toijo 1985 TOMOAYA Too, 1985 west WoUrwooD eMecinRE Los Anges 1987 [AL WAHOA SPORTS CENTRE PC 1988 [MeTRoPOUS Loncor, 1988 ‘taun 2000 1888 [ANEW BAREHLONA 1909 TORTO FORUM Tok, 1988 HAFINSTRASSE DEVELOPMENT "smb, 1952 MOONSOON Sups00 lpn, 1985-80 foUY 9 O's, 1989-90 luscesreR SQUARE Lovin, 1989 LITRA FRE STATION Vel 27 Khe Sema, 1990-34 68 ART AND MEDIA CANTRE Disco, (989-93 72 muse WOEO PAVIUON Groningen, The Netelnd 1996 75. INTERRUN 91. Gerda, Gemany, 1990 76 LONDON 2068 160 78 THE HAGUE VMLAS The Hace, 1991 2 Mie onearUTOMIA Nw York 1962 bs VION FOR MADMD 1252 EARL STRAUSS ARF MOTEL NIP, Germ, 1992 87 CONCERT HALL Copenhagen, 1982-88 8 RHENAUHAFEN REDEVELOPMENT Colooe, 1592 0 eamMUNTUM Vienna, 1993 10 LYCHE FRANCAIS CHARLES DE GAULLE on" 155% 105 PANCRAS LANE Loven, 1896 106 49N0 STREET HOTEL New York. 1695 0 BIUEPRINT PAVILION Simeachiry Egan 1995 116 PRADO MUSEUM EXTENSION Nod, 1996 NB CARDIFF BAY OPERA HOUSE Caro vas, 1991-96 194 ROLERHOUSE EXTENSION, VICTORIA AND ALBERT MUSEUM on, 1998 20 WISH MACHINE WORLD INVENTION enya, 1296 133 PAPER ARE Our, Germany, 1596 155 MASTINS SECTION Venice emt, Venee, 1995 135 RABMABUE BRIDGE London, 1996 10 A FENKE Vence 195 15 PHIMARMOMIE HALL Loxerbcu9. 197 151 AANDESOARTENSEHAU 1999 el am Rhos, Sema, 1997— IS MUSEUM OF ISLAMIC ARTS Do's, C2, 1957 163 WACKNEY EMPIRE London, 1957 164 CAMPUS CENTRE nosis of Technolgy Chicago, 1998 158 CONTEMPORARY ARTE CEMRE Cnc 1808 70 FURNITURE AND OULKeXE 174 faites 75 Rbieatone Invodcton BEYOND 89 DEGREES ‘Aaron Betsky ‘netin.on te one nana extends ou comprehension of thenecessis which le ur eon the ater hd it raregesto assure ws ofan emmente and unewpectd Sel f scion, Our avers ar our tronatan sees. our ofces and fsa roms, ou alread stators and eu factories anoeared to have us lcted up codes. Then ‘eae the tim anebutst this prsen-weris uncer by te dyramte of te eto asecnd, thet now, inthe nds of fa-tung rus end dbs, we cml and adventurous 9 wating. Wththe dateup, space epands vith dow maton, movant etre The enorme of asrarshat des nt inply reer mere precise what in any cst was vile. tough une it reed ertely new sructrl formations of he subject $019, Slo motion not ony preset amie quate of movement bu reveal rem ently Unknown ans wich a ‘to ook ike etree rep movers, gi thee of snguy giing,Nastng supernatural motions ‘ide aliferent nate apa fel othe camera than pers tthe naked eye =I ey because 2 unconscious penevare spaces subsite fora spice corsco.l export men. The Explosion of a Tenth of a Second ‘Zana Hadia ia great cinematographer. She sees tke 2 camera, She perceives the aii slow motion, in pans, swoops and close-ups, in umpreuts ane nar ‘atv rhythms. As he draws the world around he, she draws outs urcore ScouS spaces. She ings wrat is latent Inthe corsructons of our modern ‘world and storyboards them into utepss. She boidly explores, she dows down ac acocorates th rhythms of everyday Ife, an she subjects her enve ronmentte the sug exooston of arctectur a a form of representation. she bules the explesion of a terthof a second, “This does not mean that she isnot an archtect. Zaha Had ams to bul and her images ae part ofthe process that moves toads constuction. She ‘does rot, homever, propose Inserting an autonomous object nto blenk ste Insten, her Dulirgs are intensfetions that lad to extensions. She com ‘resell the energies hat cause the bung to aoper, fom fs progrenne to its teehnclogcal infrasiructure. Her bulings are fee to reach out fom ‘is derity to create spaces that ae free of encumbrances. Whee there wa ‘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 know could ext Hac has constructed hee caver in architecture in a smlar manne. She has folded the memories ofa your spent on woven carpe no @ reining et London's Architectural Association. She has used the forms of early twent- ‘eh-centry 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 conious of he 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 roloical cores as celebration of the new? Hadi has no tuck with typolo- es. apnled orders. implied assumptions or gravity: she believes that we oulé and should Bud a beter word, ove marked by fredam, above all se We would be betes from the pat, rom the constrains of sil con- Aertion. fom physical laws, and free of ur bodies. Arcee, for mos ceri sch as Hag, te alaystagmenary corstuction of such a ward ‘The Three Modes of Modernism “rctinaly, there ae tree aspects fo such modernism. Fs, its adherents eleven new structures. 8y hanessingtecnclogy, 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 ‘that wien she heroic welty ofthe ebnays new, the future, the utopian Is that which hes ne shape and comes bout by reducing form soit irimum. Second, the modernist Beles in new ways of seeing. Ferhaps the word is already rew, but we lust 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, ou 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 wo aspects, sha or he trandfams our new percents into representations forthe forms we have created, Such shapes are the prototypes fr @ realty in ‘ich things have become rearenged 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 ehaacterizes 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 comoluted (schumi, a mythical collage (Keolnaad or a marifeto (Cock ‘ey al incorporated mulipleperspecwves, sweeping anc exgressve forms, and technologeal frameworks into images whase representation described rather than defined, Condonsod Cellages 1s this 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 toregrourds @ 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 .=ratve stance more fly into spatial language, The forms cf $9 Eaton Place 1981-82: p. 19) an apariment design for her brthet, diac esoke an Re Some mat nad exladedon the ste Te caning ise an exlason, and the ‘ements itpleeson the page ate fagments fom ths meat madem release of energy In what was to become 2 central thome in Hadi’ architecture, the oct condense andthe city's forms tum inte furniture. These inter ieces ‘hen move back out eke ther place as Pop Ar ements a stage set fr the ‘e-ccupstiono amada iy. add develooed the 59 Eaton Place drawings further into her viion of ok Place (1985; p. 28. Ina rooftop view, the viewer soars abo the eaves ‘he cys romhouses to havea Peter-Pan wow of a ety coming apart atthe ‘220, 3 perspective that lets Had’ fragments of a modernist tenia 1 orabittheis historical fons adid’s proposal for the new residence forthe lish Prime Minister 1979-80; p18 intoduced olage irta her work. Reprosentationa elements "es, Jobe, bres) 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 ret esc: rather than gve us the plo, she sets he scene er proposal for he Grand Bulkings POC London's Tatlgar Square 1985, ©. 25) summarzes mary af her achievements ard shown her abity % reimagine the urban landscape. The panting isa iptych that depicts = bulding from at least fe perspectnes. It aio shows te ct peeling away fom its in beth 3 ightside-up and » boter-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 manne’ 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 a 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 week tok to fers. The frst was = c ing that presented all of her projets to that pint, The Wo (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 tis vsion in a set of very lage paintings tat seemes apr to the scale of the Peak tat Although the architec: emahaeise> rational nature of her constructon the drawings piled the pans and p< Setting Soil on a Sea of Gocturoe After the ho In the following decade Hed exoanded these themes in buldngs. designs Lc oe Spiraling into Control Ths trarslucent gemike cusiy reached a culmination in Hades proposals for the Hackney Empire theate complex (1997; p. 163) and the Cincinnati Contemporary Ars Cerze (1998; o, 168) Here the shins dsove into neth- Ing more than the interiace between the energy ofthe ct andthe nterot ‘These forces become more and more lraized in ramps ad spicing vo umes. Folding and interlocking, postive forms (wal Foor and eedings) and negative spaces (inhatitabe spaces tur into ese arourd ech othe er never rove dense, and yet Tuly luc, spatial organizations At the same time, the tubular forms of her earer projets tun inte dom rant features They ate bundled together to form the Spitelau Vaducts in Vienna (1984; p, $6] andthe Habitable Bdge pect (1996; 0. 135). Though 1 seme excent the beams recall the sebs of the Peak prec, they ere Now much denser ard more tghty packed: creuston and usable space become ‘ieualy nditinguishable. They aso emphasize the horizontal movement ‘through space over the vertical buloup of form. Inthe 1997 proect fo a lurdscepe exibition in Germany (p. 151, they merged with Hedi’ previous ‘nteasts inthe making of 3 landscape to create a great euned plane Towards @ New Landscape landscape has become « dominant pre-cerupeton in Hadid’ work: the vob umes of her designs are increasingly fui, so ae ther ecaricrs. In projects ‘tke the Museum of lamic sin Qatar (1997; p, 156), the bulking becomes fnomoe ores than a ripple undulating outo the te, moving up to encore pats spaces and then éying back down Inte the ground. Courtyard sots weave space and sold sogether lie a Persian carpe, but aso Ike rivers o” lakes, and move in and cut of land. Lice ils inching or the fos ofthe Verner Panton chairs she adores, thete bugs are maules of the pro- ‘gramme that se up ony as fer as they must to accommodate use, but then ‘reveal the beouy ofthe body inherent in the movement ise Irlde this new wd, Rowever, thor ca diferent realty ene Haak has mast fly explored in such ecent projets as er scheme fran exhibit in the Lordon Milernium Dore (to be completed in 2000), The comple inter \weasing of spaces and forms is smeothed ovr by the landscapelite skis, but with 2 fp ofa wal the contours of landscape become overhanging prows Hadi has not trgotten Per desre to gesture Beyond the limitations of ste 2nd progiamme to create strucutes that seem lager and move open tien we ‘orpect trom 3 confined building, Most of Hadas recent projects thus appear to have reiaced abs, prons 2d blocks wth spas ane tubes. Motion and gesture have replaced form as dominent ements, and the works more open, tentative and yal. Oper- ing up the whan lardscape, unfolding the energies ofthe madern metropolis 2nd ceating a vsonay word, Hadid expioes the spatial posibitis of such an acttectte in for that have thelr own typlogy, stucue and ~ dave one sy istic properties, ‘The manner in which she presents this work pall is intentions, Over the years Hadic ras involved hersat less and fess with the execution cf her pantngs and eawings. She now prefers to wot, like @ Renisance master, {the head of an ataler. She starches and does ‘nl the praise Ines! that fear enV dA Maun 196) \semotio sD Cat 197 indicate her design objectives her co-vorless render the work at 3 lrcer scale ane Sil in the spaces benwwen Her gestures. These is ess dealin the work, les ilferentiston and less clour. Having moved from multcloured ard heaily pated colages to anochreme washes, she now produces patings that are only whieines on beck paper, chass of a ture cy. Sereen Gome Despite her cortinung rantery aporoach, Hadi now also makes se ofthe puter to advance her ams. The lest sftware als hey 10 take the exstng landscape and unfold i to pan, seo, swerve, cut, slew down and ‘paed up. I many ways the compute fills Benjamin’ rome espedaly 35 ‘the separation between perception representaton and relation dscives, "Tre computes & way of regterng facts bout cur envranmers it makes visble forces that ave otherwise too abstract to so; itll us to fom and ‘lor those facts However we choose: it can then quantfy these crtical ep- ‘esentavons ito oulcable qualites. Thus the ew comes out of 2 manipuar ‘on of the represeriation of what already exis What disappears in the proces isthe hand of the maker This Benjamin also predicted, butt woud seem partolry ionic in this cae because of d's terak stance asa maker of outiageous structures. Toa cern extent ths & not something that she cin ovo, The latest computer programs can ‘ond what Had had eenstucted with such cae inthe 1870s and 1980s inte a common mode of resentation. Everyone today sees their builings ‘rom swooping helcoptes, and many desgnessfolow the sess poirts of etl ard store io crete undlatng, ettenaeed and prove sructures. At the sams time, Hadi le respensible for engencring + sty that now forms office buldings, homes and fast‘ood frarciss from Seattle to Singapore. Instead ofthe trrred image, thecal parting or the fm, the mode for her work 3 now the seen that collet the flows of dota into moments of light and davk. The refecion of her own fceis barely sible on that screon [Most of the space is dark, and me Ines pint not cut ofthe cacase of the space of reprezentation but in toners the flows ef information, The ques tion Zaha Hill now faces whether cho can colfy thos fons ints form Can she find the landicape beyond the physical metopots? Can she form the spaces that open up not as moderns lofts, Dut as the fragments of tuned ‘and wired environments suspended in glabelvelatonships? Can she make samathing ral and free out of what is had 0 gras and censtaines by the logic of teehnelogy and capita? \Vihen Haid sume up her an our wes together in 1983, she had core fidence the poner of her panting to reassemble te daparte pices of our realty inte new one, Sho is pond to wealin many of her dreams, and her abity to do so ones a great ded to the tremendous feeder computers have {Q¥en Us Pot ony © image new words but aSO tO constUct them. Even i we mize the vilenary painter of tho oar 1980s, we mut recegrize that the vile evidence of her signature on naper or cans has disappeared exactly a because her Von can naw take canarete shape. As paintings csppear into computer cravings, thee imagined werld begins to apoeae Inher recent proecs Hed Sears ta be mowing beronc landscape into 3 rev kind of space tis one thet i at one dense and open, defined and indefrite, rat and vital. shape i sill nly 2 promise, one that wil soon be realized. What world awats beyond 89 degrees, beyond right anoles and skewed cecreties, and beyond the event horizon in which human actes sally inzo fer, remair or Zaha Hadid to se and then present 1 us inher luscious tins, ‘Wate Seen, etn neg ot Mecanca Repo, A RuRaRES, an Hay Zan New Vr Sele Bess) 96 217-51 28 ‘Sait fee us ton hedtecons tween pogarme, at anspor “eenten the bung Bek nat ey Has wort bt etc cher te font ¢Caoplennaig (ut escent 1 coop Hiri Laden Ate Rv rs, 1290. 5 ies Dei, re folie arate aeqe vans Ter Cel (anal Unesty e Minos re, 93. 2 € SseeninseDe Lane, Noneranc ter inzene 6 romans (You Zoe Pes 1982) 99.1267 2 Ceowenton wth he wate, 1eOncenber 1097. eh yet rans Ces Gavi, tes Ves rs tr poste The Complete Buildings and Projects MUSEUM OF THE NINETEENTH. CENTURY Lendon, 1977-78 One my ft ideoloial and njecual projets, inwhicht sought to establish princes or he role hat rcitecurestoult pay ncites at theendat wertithcentcy Iwas paticulaly ivtresied in he problems of real and cultural conte 2echetypeo thenineteenth: tury ruseum was thus exer wo Ways trough he elabertion of the proce coca scenatio of he metropolian lcaton, an though the splay of» symbole sensiity, an aspect ‘hat appearedt bs absent the workof the contentualstarcitects etihat tine DUTCH PARLIAMENT EXTENSION ‘The Hague, 1978-79 he fen Menon dhe aa om Kaban Es gle ‘Stated within arecangular “ones in the centre of the Hague, ‘he polially cisinctbrarches of the Dutchparlamentand gpierimentwere hovsedina single complex calod the Binnenhaf. To ‘separate thesetwopalially ‘posing branches, atnangular ste vas acquired talon for an exparsionofpariamentay accomodation. Theproaremme therefor volved working within eating structs while rating the parkament satay autonamncus “Thiswas achieved by creaang a gap In the Bhinenhof thot occupied by ‘wo ssa horizontal element ‘gas-brck poaum that contains varity oF furctonsardthatactase covered fru er political activity - andasmal scrape of oval ors. ‘Thetwosvuctues are unied yan assembly ssce that bags the ‘ere puble and goverment ‘offi, andan aovaiory running tiroughoneslabalowscieulation v7 IRISH PRIME MINISTER'S RESIDENCE 59 EATON PLACE don, 1981-82, exposon atthe Haan Consulate nPtace provided therran 1onforour novation ofan gent tur. she- —— a - Ss = \ HALKIN PLACE MELBURY COURT TENTS AND CURTAINS sa Wennale, 1965 nition gave usthe tunity to ceate modern cast othe Victorian natin ot which so often characterized rio te period. Ou ome inserts aplastic since rin a pre-exsting space. Intenced ve vewed ramabore, he plan embracesthe space ts excision =the coos etectof te enclosure ted by the itoring conan KYOTO INSTALLATIONS voto, 1985 iostalation sa fragment ofthe cess that would each fain he Catheort Red prejet ip. 20), ustas he Osaka Fly ip, 6o] seeds test for design principe ater empoyed at te Vira Fre Station 52), Seeking new naysto articulate ‘pace within contined context, we ssedleuned valsto warp or bend space (ike the Aebury Cour projet (oppose and canooiesto rare 24 CATHCART ROAD HAMBURG DOCKLANDS \ NEW YORK, 4 6 . | MANHATTAN: A NEW CALLIGRAPHY OF PLAN | | i yl =a pia ABETEEED ===) aie — Gh: oto ae Gee VYVY nageet ee TOMIGAYA z g a 3 = a3 a q N 2 < | & & g & a ¢ & 5 8 & a) 8 z 2 = ‘METROPOLIS Institute of Contemporary Arts, London, 1988 ‘The screaming rechess ofthis pang, commissioned fora cexhiiton that explored facets of ‘the metopots, smeantioerpress anexasperationwth the sprawing ‘mess that isLondon. On one ‘eve the painting showstondon as patchwork of vilages, Sut ‘ether han prometingan even eteibution hi uban merging whic hasbeen evoing for centures we arcuate’ the otyspolenvc, where number of metropottancentios condense atciterent focal eit. ‘hisconter the red represen ihe fires fLendon, wherenew setlerentsandnew centres needto beinvertecto replace an exhausted end overworked hear, BERLIN 2000 E & g 8 g > ‘A NEW BARCELONA 1989 The dagoral nes of Cerd's rineteerth-century plan forthe y's expansion's the pivotal element for ourreconstruction oft, Ournew Urban geometry is based ona suttle twisting ofthe siagorainto skewed necking fagrients AS response and multiple stoet ‘actity ineachnechbourhood, 50 TOKYO FORUM HAFENSTRASSE DEVELOPMENT Hamburg, 1989 MOONSOON Sapporo, Japan, 1988-90 jogramme offermal —afumnaceot fie. rendered in ering eating and rearediourgng we ‘205, lla yefowsandenuberant nied to create an ‘oranges spiral above the bar tears moods. Theresut and strange words through the groundoorcelng utieg upte me undersice of the the seasonal iebuldiogs ‘of Sapper, the ground floor features cool greysmateralzedin sjassand metal Tab frag Aetsike an icoberg space, Above the ecramterwhris and plug-nsofabichs FOLLY 3 LEICESTER SQUARE VITRA FIRE STATION Wella Rhee. Gennany, 1990498 se wala the ART AND MEDIA CENTRE Dusen! aneinnateny, 1589-93 MUSIC VIDEO PAVILION fonngen, The Netheians, 1990 HOTEL AND RESIDENTIAL = re ea Ze oo a = a LONDON 2066 THE HAGUE VILLAS The Hague, 1091 Te sogltamiy house a building type that canes tobe censtraiced by convertion. We presented two desgns.as part of 2 Til of eighvilas to belocated no sububot Thetlague. The two vias, ta boconstrcte of enforced concrete, abstract the conventional confgutetion of dome spaces 0 The fst desi = formed tron a goundseve! dium that interacted byt. ‘beams’ that endese mst ofthe fidence. The ower beams into the podiumleul 9 nea forms acourya space Upper bear spose’ housing an open ring are stud space thet late above the podium and rose the courtyard The houseisthusa Superimpostion of two posite iving conditions introverted nd TZ fiw af, ‘ & a VISION FOR MADRID BILLIE STRAUSS HOTEL Naber, Germany, 1992 RHEINAUHAFEN REDEVELOPMENT CARNUNTUM One of he fncinations of archseolegia ste thewayin Vienna, 1998 have merged eta ne lbrdscape ane ase Inthiswoi, archtecture dhs betvedere and museum fof arew

    You might also like