Showing posts with label Zaha Hadid. Show all posts
Showing posts with label Zaha Hadid. Show all posts
Saturday, October 1, 2011
Saturday, December 13, 2008
ZAHA HADID @ Sonnabend Gallery
Zaha Hadid
'masterplan’
'masterplan’
Zaha Hadid
‘stalactites’
‘stalactites’
ARTmostfierce caught this show on its last day...WOW!. This Iraqi born Architect is not only one of the most brilliant and talented Architects in the world ...she is also an amazing artist!
Her designs transcend Design and Architecture into true ART. Her works were one of the most sought after by World class art collectors during Miami Art Basel 2008.
This show ended today at Sonnabend Gallery with an additional exhibition space @ 110 Tenth Ave. Sorry folks if you did see it ...you missed a good one.
Don't worry ...you will see more of her magic very soon!
Tuesday, October 21, 2008
Art and Commerce Canoodling in Central Park
Photos -NY Times
Times Topics: Zaha HadidDesigned to display artworks that were inspired by Chanel’s 2.55, a quilted chain-strap handbag, the pavilion certainly oozes glamour. Its mysterious nautiluslike form, which can be easily dismantled and shipped to the next city on its global tour, reflects the keen architectural intelligence we have come to expect from its creator, Zaha Hadid, the Iraqi-born architect who lives in London.
Yet if devoting so much intellectual effort to such a dubious undertaking might have seemed indulgent a year ago, today it looks delusional.
It’s not just that New York and much of the rest of the world are preoccupied by economic turmoil and a recession, although the timing could hardly be worse. It’s that the pavilion sets out to drape an aura of refinement over a cynical marketing gimmick. Surveying its self-important exhibits, you can’t help but hope that the era of exploiting the so-called intersection of architecture, art and fashion is finally over.
The pavilion, made of hundreds of molded fiberglass panels mounted on a skeletal steel frame, was first shown in Hong Kong in February. From there it was packed up in 55 sea containers and shipped to Tokyo, closing there in July and heading to New York, where it will be on view through Nov. 9. Chanel is paying a $400,000 fee to rent space in the park and has made a gift of an undisclosed amount to the Central Park Conservancy as part of the deal.
The company’s money couldn’t have bought a prettier site. The pavilion stands on Rumsey Playfield, near Fifth Avenue and 69th Street, on a low brick plinth at the edge of the park’s concert grounds. Groves of elm and linden trees frame the pavilion to the north and south; a long trellis draped in wisteria flanks it to the west, with the Naumburg Bandshell rising immediately behind it. The area is carpeted in colorful fall leaves.
Visitors arrive at the site along a low brick staircase where Chanel employees collect their tickets. (The tickets are free but must be reserved in advance on the Internet.) When you reach the top of the staircase, the pavilion’s white shell seems suddenly to peel open, as if to lure you inside. A broad ramp and a few shallow steps lead up to a small terrace. The long, curved form of the ticket booth frames the terrace’s outer edge, its tail-like shape stretching back to envelop the composition as if it were an embracing arm.
As with all of Ms. Hadid’s best work, the forms are not just decorative but also direct the pattern of movement through the site, collecting the energy surrounding it and channeling it into the building. Visitors enter one at a time, catching a brief glimpse of the interior before emerging into a narrow lobby. A guide instructs you to sit down and fits you with an MP3 player. The husky voice of the French actress Jeanne Moreau then invites you to stand up, before guiding you through your “personal journey.”
A series of curvaceous forms, finished in a pearlescent white car paint, are used to break down the pavilion’s interior into discrete galleries without interrupting the sense of flow. A staircase leads up to a small balcony, where you can gaze back down into one of the galleries and orient yourself. (Most of the artwork, which includes a life-size S-and-M teddy bear and scenes of a Japanese model tied up in gold chains, is completely mundane: tame clichés laboring to be provocative.)
Eventually you spiral around to an interior courtyard that serves as the pavilion’s social heart. Light pours down through skylights made of soft, pillowy panels, illuminating a gigantic reproduction of a quilted Chanel handbag tipped on its side.
The sequence of spaces is masterly choreographed. The flow of movement slows at certain points, only to speed up again before thrusting you back outside. The design’s structural refinement also reflects a high level of control. Although the building’s steel ribs vary in size, they all radiate from a central point, so that you sense an underlying order in the form. The pavilion has the taut, finely crafted look of a luxury sports car, a winking echo of Modernism’s centurylong obsession with the assembly line.
It’s not that hard to see why Ms. Hadid accepted the commission. One of architecture’s most magical aspects is the range of subjects it allows you to engage, from the complex social relationships embodied in a single-family house to the intense communal focus of a concert hall. Great talents want to explore them all; it is what allows them to flex their intellectual muscles.
But traumatic events have a way of making you see things more clearly. When Rem Koolhaas’s Prada shop opened in SoHo three months after the World Trade Center attacks, it was immediately lampooned as a symbol of the fashion world’s clueless self-absorption. The shop was dominated by a swooping stage that was conceived as a great communal theater, a kind of melding of shopping and civic life. Instead, it conjured Champagne-swilling fashionistas parading across a stage, oblivious to the suffering around them.
The Chanel Pavilion may be less convoluted in its aims, but its message is no less noxious. When I first heard about it, I thought of the scene in the 1945 film “Mildred Pierce” when the parasitic playboy Monte Beragon sneeringly tells the Joan Crawford character, a waitress toiling to give her spoiled daughter a better life, that no matter how hard she scrubs, she will never be able to remove the smell of grease. We have been living in an age of Montes for more than a decade now. For strivers aching to separate themselves from the masses, the mix of architecture, art and fashion has had a nearly irresistible pull, promising a veneer of cultural sophistication.
Opening the pavilion in Central Park only aggravates the wince factor. Frederick Law Olmsted planned the park as a great democratic experiment, an immense social mixing place as well as an instrument of psychological healing for the weary. The Chanel project reminds us how far we have traveled from those ideals by dismantling the boundary between the civic realm and corporate interests.
The pavilion’s coiled form, in which visitors spiral ever deeper into a black hole of bad art and superficial temptations, straying farther and farther from the real world outside, is an elaborate mousetrap for consumers. The effortless flow between one space and the next, which in earlier projects suggested a desire to break down unwanted barriers, here suggests a surrender of individual will. Even the surfaces seem overly sleek by Ms. Hadid’s normal standards; they lack the occasional raw-material touch common to her best buildings, which imbued them with a human dimension.
One would hope that our economic crisis leads us to a new level of introspection and that architects will feel compelled to devote their talents to more worthwhile — dare I say idealistic? — causes.
ARTmostfierce loves the marriage between Art , Design , Fashion & Architecture. Zaha Hadid embodies all of it. One of my favorite Architects, the Iraqi born Zaha, designed this amazing pavilion for The House of Fashion Chanel and you have to check it out!
Take a stroll through the park and while watching the changing foliage you, will discover this gem.
Only in New York City folks~!
See review and NY Times article
By NICOLAI OUROUSSOFF
Published: October 20, 2008
The wild, delirious ride that architecture has been on for the last decade looks as if it’s finally coming to an end. And after a visit to the Chanel Pavilion that opened Monday in Central Park, you may think it hasn’t come soon enough.
The Chanel Pavilion in Central Park
By NICOLAI OUROUSSOFF
Published: October 20, 2008
The wild, delirious ride that architecture has been on for the last decade looks as if it’s finally coming to an end. And after a visit to the Chanel Pavilion that opened Monday in Central Park, you may think it hasn’t come soon enough.
The Chanel Pavilion in Central Park
Times Topics: Zaha HadidDesigned to display artworks that were inspired by Chanel’s 2.55, a quilted chain-strap handbag, the pavilion certainly oozes glamour. Its mysterious nautiluslike form, which can be easily dismantled and shipped to the next city on its global tour, reflects the keen architectural intelligence we have come to expect from its creator, Zaha Hadid, the Iraqi-born architect who lives in London.
Yet if devoting so much intellectual effort to such a dubious undertaking might have seemed indulgent a year ago, today it looks delusional.
It’s not just that New York and much of the rest of the world are preoccupied by economic turmoil and a recession, although the timing could hardly be worse. It’s that the pavilion sets out to drape an aura of refinement over a cynical marketing gimmick. Surveying its self-important exhibits, you can’t help but hope that the era of exploiting the so-called intersection of architecture, art and fashion is finally over.
The pavilion, made of hundreds of molded fiberglass panels mounted on a skeletal steel frame, was first shown in Hong Kong in February. From there it was packed up in 55 sea containers and shipped to Tokyo, closing there in July and heading to New York, where it will be on view through Nov. 9. Chanel is paying a $400,000 fee to rent space in the park and has made a gift of an undisclosed amount to the Central Park Conservancy as part of the deal.
The company’s money couldn’t have bought a prettier site. The pavilion stands on Rumsey Playfield, near Fifth Avenue and 69th Street, on a low brick plinth at the edge of the park’s concert grounds. Groves of elm and linden trees frame the pavilion to the north and south; a long trellis draped in wisteria flanks it to the west, with the Naumburg Bandshell rising immediately behind it. The area is carpeted in colorful fall leaves.
Visitors arrive at the site along a low brick staircase where Chanel employees collect their tickets. (The tickets are free but must be reserved in advance on the Internet.) When you reach the top of the staircase, the pavilion’s white shell seems suddenly to peel open, as if to lure you inside. A broad ramp and a few shallow steps lead up to a small terrace. The long, curved form of the ticket booth frames the terrace’s outer edge, its tail-like shape stretching back to envelop the composition as if it were an embracing arm.
As with all of Ms. Hadid’s best work, the forms are not just decorative but also direct the pattern of movement through the site, collecting the energy surrounding it and channeling it into the building. Visitors enter one at a time, catching a brief glimpse of the interior before emerging into a narrow lobby. A guide instructs you to sit down and fits you with an MP3 player. The husky voice of the French actress Jeanne Moreau then invites you to stand up, before guiding you through your “personal journey.”
A series of curvaceous forms, finished in a pearlescent white car paint, are used to break down the pavilion’s interior into discrete galleries without interrupting the sense of flow. A staircase leads up to a small balcony, where you can gaze back down into one of the galleries and orient yourself. (Most of the artwork, which includes a life-size S-and-M teddy bear and scenes of a Japanese model tied up in gold chains, is completely mundane: tame clichés laboring to be provocative.)
Eventually you spiral around to an interior courtyard that serves as the pavilion’s social heart. Light pours down through skylights made of soft, pillowy panels, illuminating a gigantic reproduction of a quilted Chanel handbag tipped on its side.
The sequence of spaces is masterly choreographed. The flow of movement slows at certain points, only to speed up again before thrusting you back outside. The design’s structural refinement also reflects a high level of control. Although the building’s steel ribs vary in size, they all radiate from a central point, so that you sense an underlying order in the form. The pavilion has the taut, finely crafted look of a luxury sports car, a winking echo of Modernism’s centurylong obsession with the assembly line.
It’s not that hard to see why Ms. Hadid accepted the commission. One of architecture’s most magical aspects is the range of subjects it allows you to engage, from the complex social relationships embodied in a single-family house to the intense communal focus of a concert hall. Great talents want to explore them all; it is what allows them to flex their intellectual muscles.
But traumatic events have a way of making you see things more clearly. When Rem Koolhaas’s Prada shop opened in SoHo three months after the World Trade Center attacks, it was immediately lampooned as a symbol of the fashion world’s clueless self-absorption. The shop was dominated by a swooping stage that was conceived as a great communal theater, a kind of melding of shopping and civic life. Instead, it conjured Champagne-swilling fashionistas parading across a stage, oblivious to the suffering around them.
The Chanel Pavilion may be less convoluted in its aims, but its message is no less noxious. When I first heard about it, I thought of the scene in the 1945 film “Mildred Pierce” when the parasitic playboy Monte Beragon sneeringly tells the Joan Crawford character, a waitress toiling to give her spoiled daughter a better life, that no matter how hard she scrubs, she will never be able to remove the smell of grease. We have been living in an age of Montes for more than a decade now. For strivers aching to separate themselves from the masses, the mix of architecture, art and fashion has had a nearly irresistible pull, promising a veneer of cultural sophistication.
Opening the pavilion in Central Park only aggravates the wince factor. Frederick Law Olmsted planned the park as a great democratic experiment, an immense social mixing place as well as an instrument of psychological healing for the weary. The Chanel project reminds us how far we have traveled from those ideals by dismantling the boundary between the civic realm and corporate interests.
The pavilion’s coiled form, in which visitors spiral ever deeper into a black hole of bad art and superficial temptations, straying farther and farther from the real world outside, is an elaborate mousetrap for consumers. The effortless flow between one space and the next, which in earlier projects suggested a desire to break down unwanted barriers, here suggests a surrender of individual will. Even the surfaces seem overly sleek by Ms. Hadid’s normal standards; they lack the occasional raw-material touch common to her best buildings, which imbued them with a human dimension.
One would hope that our economic crisis leads us to a new level of introspection and that architects will feel compelled to devote their talents to more worthwhile — dare I say idealistic? — causes.
Tuesday, August 12, 2008
Zaha Hadid's Chanel Pavilion Set for Central Park
ARTmostfierce loves the great and innovative designs of Architect Zaha Hadid. From her building, furniture, paintings and even shoe designs this design diva is a true master of creativity.
Please see below article from Interior Design by Nicholas Tamarin telling us about Zaha's next design wonder.
Zaha Hadid's Chanel Pavilion Set for Central Park
The 20-foot-tall, 95-foot-wide, polymer-clad structure is fashioned after Chanel's iconic 2.55 quilted handbag.
by Nicholas Tamarin -- Interior Design, 8/11/2008
When Chanel’s Mobile Art exhibition touches down in New York’s Central Park on October 20 for a 21-day stay, an as-yet-announced lineup of international artists will be showcased inside a temporary pavilion. But most of the buzz will likely be reserved for the structure itself, conceived and designed by two boldface names who can claim rock-star status in their respective fields: Chanel artistic director Karl Lagerfeld, and Pritzker Prize-winning architect Zaha Hadid.
Resembling a futuristic magnification of Chanel’s iconic 2.55 quilted handbag, the polymer-clad pavilion will land in the park's Rumsey Playfield, near Fifth Avenue and 69th Street. It spans 20 feet tall by 95 feet wide and contains 2,300 square feet of exhibition space, which is wrapped around central court illuminated by a translucent skylight.
"Why did I choose Zaha Hadid? She is a kind of Coco Chanel of today, not in fashion but in architecture," says Lagerfeld. "This all began with a small sketch, a computer drawing a concept. I gave Zaha the general idea in a few moments, and her interpretation and fulfillment of that idea is more than perfect."
Created to examine the relationship between contemporary art, fashion and architecture, the free exhibit embarked upon a two-year, worldwide tour in Hong Kong in February, then moved to Tokyo. Following New York, which is the pavilion’s only American stopover, it travels to London and Moscow before ending in Paris in 2010. As in previous cities, works in the New York exhibition will be selected with the assistance of curator and Beaux Arts editor Fabrice Bousteau.
Tuesday, February 12, 2008
World-renowned Architect Zaha Hadid's Design Selected for MSU's Broad Art Museum
Zaha Hadid is one of my favorite architects.Her furniture , drawings and architectural design are just incredible and considered ARTmostfierce enough to have a solo show at the Guggenheim Museum and win The Pritkzer prize.
Are you familiar with her work?
Let me hear your comments.
EAST LANSING, MI.- World-renowned architect Zaha Hadid of London has been selected as the winner in the design competition for the Eli and Edythe Broad Art Museum at Michigan State University . Hadid joined the Broads at two public events today where MSU President Lou Anna K. Simon announced the winner.
“With today’s announcement of Zaha Hadid as the architect of record for the Eli and Edythe Broad Art Museum at Michigan State University , we take one step closer to bringing this extraordinary project to life,” Simon said. “We were fortunate to have the work of many world-class architects submitted for the competition but Ms. Hadid’s design truly captured the spirit of what this iconic building will represent to MSU’s campus and the Greater mid-Michigan community that will benefit from its presence in the area.”
The announcement is the culmination of a competition that began in June 2007 when the Broads gave a gift of $26 million to help fund the new museum, which will focus on modern and contemporary art. The other finalists were: Coop Himmelb(l)au ( Vienna and Los Angeles ); Morphosis ( Santa Monica , Calif. ); Kohn Pedersen Fox Architects, PC ( New York ); and Randall Stout Architects, Inc. ( Los Angeles ).
Hadid, founding partner of Zaha Hadid Architects, was awarded the Pritzker Architecture Prize in 2004 and is internationally known for both her theoretical and academic work. In addition to the Pritzker Prize, her work has received numerous awards from the world’s most prestigious institutions, including the Mies van der Rohe Foundation of European Architecture; the American Institute of Architects; the Royal Institute of British Architects; the Royal Academy of Arts; the International Olympic Committee; the Austrian Commissions for Science and Art; Columbia University; and Yale University.
Some of Hadid’s best-known completed projects include the Vitra Fire Station and the LFone Pavilion in Weil am Rhein, Germany; the Mind Zone at the Millennium Dome, London; a tram station and car park in Strasbourg, France; a ski-jump and Nordpark Cable Railway in Innsbruck, Austria; the Lois & Richard Rosenthal Center for Contemporary Art, Cincinnati, Ohio; the BMW Central Building in Leipzig, Germany; the Hotel Puerta America interior in Madrid, Spain; the Ordrupgaard Museum Extension in Copenhagen, Denmark; the Phaeno Science Center, Wolfsburg, Germany; and the Maggie’s Centre, Fife, Scotland.
When completed, the Broad Art Museum at MSU will be Hadid’s first building on a university campus and her second completed project in the United States .
“I am absolutely delighted to be building the Eli and Edythe Broad Art Museum at Michigan State University ,” Hadid said. “Art Museums are centers for the exchange of ideas, showcasing the art that feeds the cultural life of the community. I believe we can create buildings that evoke original experiences, inspire people and make them excited about new ideas. The sculptural folds of the Eli and Edythe Broad Art Museum ’s design and enigmatic qualities of its steel and glass surface follow a coherent formal logic, offering a sense of unlimited possibilities.”
The 41,000-square-foot building will comprise three levels, including a basement. It will be constructed of steel and concrete with an aluminum and glass exterior and be adjoined by an expansive outdoor sculpture garden to the east. The museum will stand on the corner of Grand River Avenue and Farm Lane at the Collingwood campus entrance.
The museum will include more than 18,000 square feet of space for the following collections: special exhibitions; modern and contemporary art; new media; photography; works on paper; and the permanent collection -- encyclopedic (pre-1945). Additional space will include an education center, museum shop, visitor café and gathering space and staff offices.
“We are delighted with Zaha Hadid's design and look forward to the construction of a world-class art museum at Michigan State ,” said Eli Broad. “This new museum will create an important cultural connection between the university and the broader Lansing and Michigan community.”
Groundbreaking for the museum is planned for fall 2008 and completion of the project is expected in 2010.
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