Pri Tzker Architecture Prize 普里茲克建筑學(xué)獎(jiǎng)獲獎(jiǎng)建筑設(shè)計(jì)作品集ZAHA HADID 2

1/1PriTzkerArchitecturePrize普里茲克建筑學(xué)獎(jiǎng)獲獎(jiǎng)建筑設(shè)計(jì)作品集ZAHAHADID220meforsomanyyears,whosharemypassionforarchitecture,andwhocontinuetoencouragemeinmyambitions.ThankyouallIreallyappreciatethis.TherearesomenamesIshouldmentioninparticular:RemKoolhaasandEliaZenghelishavebeencrucialasmyteachers.Theirunderstandingandenthusiasmforarchitecturefirstignitedmyambitionandtheirencouragementtaughtmetotrustevenmystrangestintuitions.ThelatetheAlvinBoyarskithefantasticchairmanoftheArchitecturalAssociationduringmystudentyearsandyearsasteacherofferedmemyfirstplatformtoexposemyideas.Hecutaclearingintotheprofessionalworldofarchitecturetoerectaplatformforexperimentation.ThelatePeterRicedeservesacknowledgementasabrilliantengineerwhogavemehisweightysupportandencouragementearlyon,atatimewhenmyworkseemeddifficulttobuild.IwouldliketothankRolfFehlbaumforhiscommitmentandfaithastheclientwhograntedmethetimeandartisticfreedomtocastmyvisionofspaceintoconcreteforthefirsttime.Naturallymyoeuvreistheworkofmanytalentsandmanymorehardworkinghands.Astheworkexpandsoneoftheprimetasksistoforgeagroupofinspiredcollaborators.(MichaelWolfsonandBrianMaSiyatthebeginning,MarkusDochantschiCurrentlymyteamleadersincludeamongothers:GrahamModlen,WoodyYao,JimHeverin,ChristosPassas,StephaneHof,SarahKlomps,GianlucaRacana,PaolaCattarin,KenBostockandJanHbener.)FinallyIwouldliketoacknowledgethetremendouscontributionofPatrikSchumacher.Asacongenialcollaboratorformanyyearsandyearstocome,hebringsasubstantialinfluencetothework.Therearemanymorepeoplewhohaveashareintheeffortswhichhavebeenawardedwiththisgreatprize.Manyofthoseareheretoday.ThankYouall!BeforeIoutlinemycurrentambitions,Iwouldliketoreflectuponsomeformativeinfluencesinthedevelopmentofmycareer.ThefirstthingImightmentionismysecularmodernupbringinginIraq.Ihavetothankmyparentsfortheirenlightenedopen-mindednessandselflesssupport.Asinsomanyplacesinthedevelopingworldatthetimetherewasanunbrokenbeliefinprogressandagreatsenseofoptimismaboutthepotentialofconstructingabetterworld.Althoughthehistoricalmomentumofthisperiodcouldnotbesustained,Ineverlostthisunderlyingsenseofoptimism.Itseemedmyelderbrotherssharedthisspirit.IwonderwhichcluesinspiredthemwhentheysuggestedthatIshouldbecomeIraqsfirstwomanastronaut,orstudyarchitectureinRussia.Thespiritofadventuretoembracethenewandtheincrediblebeliefinthepower21ofinventionindeedattractedmetotheRussianAvant-Garde.ThiswaswhenIjoinedRemandEliasstudioattheAAinLondoninthemid-seventies.StudyingtherevolutionaryRussianworkIrealizedhowModernarchitecturebuiltuponthebreak-throughachievedbyabstractartastheconquestofapreviouslyunimaginablerealmofcreativefreedom.Artusedtobere-presentationratherthancreation.Abstractionopenedthepossibilityofunfetteredinvention.TheengagementwithMalevitchandElLissitzktyinmyearlyworkattheAAallowedmetorelivethisexhilaratinghistoricalmoment.Itwasimportanttogobacktothisoriginalfountainofenergythathadinspiredmodernarchitecture.Infact,herewasanunbelievableenthusiasmandanunexpecteddiversityofapproaches.(Iverymuchhopethatthesetreasuresoftheearlyavant-gardearchitecturecansurvivethecurrentsurgeofeconomicexpansionwearewitnessinginRussiatoday.)OneconcreteresultofmyfascinationwithMalevitchinparticularwasthatItookuppaintingasadesigntool.Thismediumbecamemyfirstdomainofspatialinvention.Ifeltlimitedbythepovertyofthetraditionalsystemofdrawinginarchitectureandwassearchingfornewmeansofrepresentation.Theobsessiveuseofisometricandperspectiveprojectionledtotheideathatspaceitselfmightbewarpedanddistortedtogainindynamismandcomplexitywithoutloosingitscoherenceandcontinuity.Despiteitsabstractness-thisworkwasalwaysaimedatarchitecturalrealityandreallife.OneofthetasksIsetformyselfwasthecontinuationoftheunfinishedprojectofmodernism,intheexperimentalspiritoftheearlyavant-garderadicalizingsomeofitscompositionaltechniqueslikefragmentationandlayering.Themeaningoffragmentationistoopenthehermeticvolumes,toofferporosityinsteadoffortification.Ihavealwaysbeenconcernedwiththeanimationofthegroundcondition.Thegroundhasthehighesturbanpotentialandhasbeenneglectedbytraditionalarchitecture.Thegroundplaneshouldopenupandmultiply.Iusetheconceptofartificiallandscapeandtopographyasameanstoimpregnatethegroundwithactivitieswithoutlosingthefuildityandseamlessnessoftheurbangeometry.Ultimatelyarchitectureisallaboutthecreationofpleasantandstimulatingsettingsforallaspectsofsociallife.However,contemporarysocietyisnotstandingstill.Spatialarrangementsevolvewiththepatternsoflife.AsMiesvanderRohesaid:Architectureisthewillofanepoch,living,changing,new.Ithinkwhatisnewinourepochisanewlevelofsocialcomplexity.Therearenosimpleformulaeanymore.Noglobalsolutionsandlittlerepetition.Ibelievethatthecomplexitiesandthedynamismofcontemporarylifecannotbecastintothesimpleplatonicformsprovidedbytheclassicalcanon,nordoesthemodernstyleaffordenoughmeansofarticulation.Wehavetodealwithsocialdiagramsthataremorecomplexandlayeredwhencomparedwiththesocialprogramsoftheearlymodernperiod.22Myworkthereforehasbeenconcernedwiththeexpansionofthecompositionalrepertoireavailabletourbanistsanddesignerstocopewiththisincreaseincomplexity.Thisincludestheattempttoorganizeandexpressdynamicprocesseswithinaspatialandtectonicconstruct.Thisambitionoperatesonmanyscales:fromtheorganisationofwholeurbanfields,viavariousbuildingscales,downtotheinteriorspaces.Theinitialsenseofabstractnessandstrangenessisunavoidableandnotasignofpersonalwilfulness.Myprimaryconcernhasalwaysbeenwithorganizationratherthanwithexpression.Atthesametimeasarestlesssocietypushesarchitecturebyposinganewsetofcharacteristicproblems,thenewdigitaldesigntoolspullarchitectureintoanunchartedterritoryofopportunity.Thisisoneofmycurrentpreoccupations:thedevelopmentofanorganiclanguageofarchitecture,basedonthesenewtools,whichallowustointegratehighlycomplexformsintoafluidandseamlesswhole.Theexcitingthingisthattheseambitionshavesincemovedfromthecanvasontovariousconstructionsites.AndIhopethismilestoneofthePritzkerPrizewillgivemeafurtherpushinthisdirection.PhotobyAlexanderBelenky23FollowingtheawardceremonyintheStateHermitageMuseum,areceptionanddinnerwasheldatthePeterhofPalace.Thebeautifulfountainsgreetedtheguestsontheirarrivalandclosedtheeveningcrownedwithfireworks.Thethroneroomwasthesettingfordinner.T(above)CindyPritzkerwhofoundedtheprizewithherlatehusbandJayA.Pritzkerchattedwith2002LaureateGlennMurcuttwhotraveledfromAustraliatocelebratethe2004award.(below)ZahaHadidwasflankedbythecurrentjurychairman,LordRothschild,onherleft,andonherright,LordPalumbo,whowilltakethepoststartingin2005.h(photobelowlefttoright)MikhailPiotrovsky,Mrs.ThomasJ.Pritzker,Mrs.Piotrovsky,andThomasJ.Pritzker.PhotobyAlexanderBelenkyPhotobyAlexanderBelenkyPhotobyAlexanderBelenkyPhotobyAlexanderBelenkyPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.Jensen24(above)Participatinginthepressconferencewere(righttoleft)thechairmanofthePritzkerJury,LordRothschild;theStateHermitageDirector,MikhailPiotrovsky;the2004PritzkerLaureate,ZahaHadid;ThomasJ.Pritzker,thepresidentofTheHyattFoundation;thevicegovernorforarchitectureandconstructionofSt.Petersburg;andtheheadarchitectofSt.Petersburg,OlegKharchenko.(left)Simultaneoustranslationkepttheparticipantsbusywiththeirearpieces.(lefttoright)ThomasJ.Pritzker,thepresidentofTheHyattFoundation;2004PritzkerLaureateZahaHadid;andMikhailPiotrovsky,directoroftheStateHermitageMuseum.Thatsameday,allofPritzkerguestswereinvitedtoaprivatetouroftheStateHermitageMuseum,beginninginthefamedtreasureroomwheresomeofthemostvaluablejewelsandartifactsaredisplayed.PhotobyAlexanderBelenkyPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.JensenEarlierintheday,apressconferencewasheld,gainingaresponsefromthemediathatwasthelargestthattheHermitagePressOfficehadeverreceived,over150journalistsfromalltypesofmedia.25Astheceremonylocationsareusuallychoseneachyearbeforethelaureateisselected,thereisnointendedconnectionbetweenthetwo.Retrospectively,buildingsbyLaureatesofthePritzkerPrize,suchastheNationalGalleryofArtsEastBuildingdesignedbyI.M.Pei,orRichardMeiersGettyCenterinLosAngeles,andFrankGehrysGuggenheimMuseuminBilbao,Spainhaveallbeenawardsites.Thereisatraditionofmovingtheceremonytositesofhistoricand/orarchitecturalsignificancearoundtheworld.ItwasheldtwiceinItaly,thefirstbeingin1990atthePalazzoGrassiinVenicewhenthelateAldoRossireceivedtheprize.Thesecondtimewasin2002whenGlennMurcuttreceivedtheawardinMichelangelosCampidoglioSquareinRome.Insomeinstances,placesofhistoricinterestsuchasFrancesPalaceofVersaillesandGrandTrianon,Todai-jiBuddhistTempleinJapan,orPragueCastleinTheCzechRepublichavebeenchosenasceremonyvenues.Someofthemostbeautifulmuseumshavehostedtheevent,includingthealreadymentionedPalazzoGrassi:ChicagosArtInstitute(usingtheChicagoStockExchangeTradingRoomdesignedbyLouisSullivanandhispartner,DankmarAdler,whichwaspreservedwhentheStockExchangebuildingwastorndownin1972.TheTradingRoomwasthenreconstructedinthemuseumsnewwingin1977).NewYorksMetropolitanMuseumofArtprovidedthesettingin1982usingLaureateKevinRochespavilionfortheTempleofDendur.InhomagetothelateLouisKahn,theceremonywasheldinFortWorthsKimbellArtMuseumin1987.CaliforniasHuntingtonLibrary,ArtCollectionsandBotanicalGardenswasthesettinginl985.In1992,thejust-completedHaroldWashingtonLibraryCenterinChicagowasthelocationwhereAlvaroSizaofPortugalreceivedtheprize.The20thanniversaryoftheprizewashostedattheWhiteHousesinceinaway,thePritzkerPrizerootsareinWashingtonwherethefirsttwoceremonieswereheld.ThefirstbeingatDumbartonOaks,whereamajoradditiontotheoriginalestate,hadbeendesignedbyyetanotherPritzkerLaureateinfact,thefirstlaureate,PhilipJohnson.TwootherWashingtonvenues,TheNationalBuildingMuseumandthealreadymentionedNationalGalleryofArthavebothhostedtheprizeceremony.In2003,theKingandQueenofSpainpresidedovertheceremonyintheRoyalAcademyofFineArtsofSanFernandoinMadrid,whentheDanisharchitectJrnUtzonwashonored.In2000inJerusalem,theHerodianStreetexcavationintheshadowoftheTempleMountprovidedthemostancientofthevenues.Justtwoyearsago,theceremonywasheldatMonticello,thehomedesignedbyThomasJefferson,whowasnotonlyanarchitect,butthethirdpresidentoftheUnitedStates,whoalsoauthoredtheDeclarationofIndependence.PhotobyAlexanderBelenkyPhotobyRobertW.JensenPhotobyRobertW.JensenPhotobyRobertW.Jensen26PhotobyHeleneBinetPhotobyHeleneBinet27VitraFireStationWeilamRhein,Germany1991-1993(thispageandopposite)PhotosbyHeleneBinetPhotobyHeleneBinetPhotobyHeleneBinet28PhotobyHeleneBinet29LFoneLandesgartenschauWeilamRhein,Germany1996-1999(thispageandopposite)PhotobyHeleneBinet30PhotobyHeleneBinetPhotobyRogerRothan31CarParkandTerminusHoenheimNorthStrasbourg,France1999-2001(thispageandopposite)PhotobyHeleneBinetPhotobyHeleneBinetPhotobyHeleneBinet32PriceTowerArtsCentreBartlesville,Oklahoma2002PhotobyHeleneBinetPhotobyHeleneBinetPhotobyHeleneBinet33PriceTowerArtsCentreBartlesville,Oklahoma2002PhotobyHeleneBinetPhotobyHeleneBinet34THEARCHITECTUREOFZAHAHADIDBYJOSEPHGIOVANNINIARCHITECTANDCRITICVeryfewbuildingscanstanduptotheAlpswithoutretreatingintomodesty,butZahaHadidsdynamicandlyricalBergiselSkiJumpinInnsbruck,Austria,completedin2002,confrontsthesurroundingmountainswithanequivalentarchitecturalmajesty.Atthetopofahill,thestructureoccupiesthesky,afree-standingsilhouette.Withinthebowlofavalleyringedbyhillsandvertiginousmountains,theturningformoftheclubhouseseemstogatherandfunneltheaerialenergyofthemountainscapetothelong,bowedrampthatloftsjumperstowardthecitybelow.Hadiddesignedthesweepingstructurefromtoptobottomasonefluidgesturethatbothsummarizesthesurroundinglandscapeinasweepofmovement,andsendsskiersdownajumpconceivedinanactoffluidgeometricempathyakintoflight.AsinMichelangelosSistineCeiling,whereGodnearlytouchesAdamshandtosparklife,Hadidhasprovidedtheindexfingerthatmakesavisualconnectionbetweentheskyandtheground.Herethesparkoflifeiscompletedinthejump.Thesensuousformsvisualizeandpoeticizetheleap,spiralingthemountainscape,skyandgroundintoafluidcontinuum.AirisHadidselement:shefloatsbuildingsthatresidealoft.Atatime,intheearly1980s,whenarchitectswereconcernedaboutmanifestingthepathofgravitythroughbuildings,Hadidinventedanewanti-gravitationalvisualphysics.Shesuspendedweightinthesamewaydramatistssuspenddisbelief.In1983,shewonamuch-publishedinternationalcompetitionforasportsclubonthePeakaboveHongKongwithacrystallinestructurethatseemedtoexplodefromthemountainside,creatinginthefragmentaryfall-outastructurethatevadedanysenseofaunitarywhole.Eruptionratherthangravitywasthedefiningforcedirectingthepathofabuildingthatthrivedintheair.Floorplaneswerenolongerextrudedupfromasinglefoundation,stackedatoponeanother,butbeamedoutindifferentdirections,shiftingastheyroseinacomplexsection.Ahighwaycurvedthroughthebuildinginthespacebetweenthesplayed,airbornevolumes.Historically,theproposalbrokenewgroundinthefield,anddidsoradically.Asoriginaltoarchitectureasthetwelve-tonescaleoncewastomusic,thedesignrepresentedarchitectureofawhollydifferentandveryunexpectedorder.Whateverthemetaphorexplosion,implosion,fragmentationthedesignfavoredopenformsratherthanclosed,hermeticvolumes;itofferedbreathingporosityratherthansealedfortification.Thedesignquicklyprovedafoundationalthesisforarchitecture,anunexpectedprecedentforshiftingModernismsparadigmfromsimplicitytocomplexity.Thetheorybehindthebuildingmovedawayfrommodernismsideasofmassproduction,receivedtypologiesandthenormative,toamorecomplexorderofakindthatprivilegedtheuniqueandthefragmentary.Theschemesignaledashiftinsensibilitiesnotonlyfromtruismsofthepastbutalsofromsettenetsofindustrialmodernism,towardanindeterminatecomplexitysitedonshiftinggroundsomewherebetweenorderandchaos.Inthe1980s,manypeoplemistakenlybelievedthatthePeakwasinfluencedbytheuseofthecomputer.Buttheinfluencewashistorical,andinthecontextofthePritzkerPrize,awardedthisyearinSt.Petersburg,coincidental.TheimperialRussiancapitalwastheseatoftheRussianAvantGardeartistswhoinspiredHadidveryearlyinhercareer.35GuangzhouOperaHouseRenderingMontpellierRenderingTaichungRendering36VladimirMalevich,whopursuedamysticfourthdimensioninhispaintingsandarchitecturalschemes,hadstudiedhere,andheandhispupilElLissitzkyembarkedonaremarkablejourneyintospatialmysteryinthe1910sand20s.TheirpromisingexperimentswereabortedbyaSovietstatethatadoptedSovietRealisminartasofficialpolicy,andabombasticversionofclassicisminarchitecture.Theflameofdiscoverywentoutfordecades.Inthe1970s,however,Hadid,astudentattheArchitecturalAssociationinLondon,tookMalevichsabstractcompositionsand,givingthemscaleandfunction,turnedthemintoarchitecturalprojectsthatgavelifeagaintothevision.Courageouslyshesetoffonacoursetorealizeideas,suchasfragmentationandlayering,neverbuiltbytheSuprematiststhemselves.InspiredbyMalevichsetherealpaintings,shetookupthebrushasadesigntool,andforher,paintedtableauxbecamealocusofspatialinvention.Withthismethodology,appliedintheelusivepursuitofalmostintangibleform,sheescapedtheprejudicelatentinsuchdesigntoolsastheT-squareandparallelrule,traditionallyusedbyarchitects.Hadidcameoffthedrawingboards,muchasFrankGehrydidwhen,influencedbyartists,heleftbehindtheusualdrawingstoconceivehisbuildingssculpturally,oftenwithhishands.HadidabandonedtheregularityoftheT-squareandparallelruleinbuildingsemancipatedfromtherightangle.AdoptingisometricandperspectivaldrawingtechniquesusedbytheSuprematiststoachievestrangelyirrationalspacesthatdidnotadduptoRenaissancewholes,sheenteredanexploratoryrealmwhereshedevelopedformsdistortedandwarpedinthethroesofEinsteinianspace.Hadidtransformedtraditionaldrawingconventions,sometimesgraftingseveraltechniquesandviewpointstogetherinthesamemulti-dimensionaltableau.Sheoftenlayereddrawingsdoneonsheetsoftransparentacrylic,creatingvisualnarrativesshowingseveralspatialstratasimultaneously.ApplyingSuprematistpaintingapproachestoreconceivearchitecture,shedevelopedanaestheticthatseemedtochallengetheinertiaofmaterialreality,withdynamicformssubjecttovisualaccelerationandasenseoftake-off.Justastheentasisofaclassicalcolumnconnotesthefeelingofweightcarriedbytheshaft,Hadidsformswereideated:sheshapedformstocultivateaperceptionofspeedcommunicatedbytheeyetothebody.Concepttranslatedtoexperience:theshapesconveyedasenseofphysicalthrillasthebodyempathizedwithform.SupersedinghermentorsMalevichandElLissitzky,Hadidanticipatedrealbuildingsinhergraphicexplorations:shewasthefirsttobringSuprematismintothree-dimensionalspaceasabuildableproposition.Shedemonstratedtheleapinanowlegendary1992installationattheGuggenheimMuseuminNewYorkforanexhibitionontheRussianAvantGarde.TakingaMalevichpainting,thearchitectinvadedthemuseumbysuperposingtheabstractcompositiononFrankLloydWrightsplan,creatingacompositeplan.ShespatializedtheSuprematistcomposition,expandingitintothethirddimension,movingthepartsinabstractformations,likeiceflows,throughthewholemuseum.Whatseemedgraphicallylikeanobjectemergedasafieldofobjectsmovingthroughtheexistingbuilding,adaptedtoitscirculargeometry.Themovementwasfluid,andspatial:theformsdroppedandrosethroughoutthestructure.Thematicallyappropriatefortheshow,theinstallationwasalsooneofthemostinspiredwithinalonglistofattemptstomediatebetweenWrightsstructureandanexhibition.WhileHadiddrewinspirationfromearlyproponentsofartisticabstraction,herownrestlessandindependentintelligenceledheralongapathofresearchthatwasferociouslyinquisitiveandinventive.Competitionsoftenprovidedtheoccasionfortheresearch.InacompetitiontodesigntheIrishPrimeMinistershouseanditsattendantStateGuestHouseoutsideDublin,Hadidpredicatedthedesignoncollision,anothernotionofforce.Sheproposedhittingtheperimeterwallsofagardeninthecompoundwithablowtransmittedbythethrustofadrivewaycollidingwiththehouse,breakingopenitsclosedrectangularform.Inthehypotheticalimpactofthedriveonthehouse,partsbrokeintoashowerofdynamicformspropelledchaoticallyintothewalledspace,generatingavocabularyoffragmentedforminaradicallyre-orderedsyntacticrelationship.Inthisnewspace,staticspacebecame,andremained,dynamicandfluid.If,asLeCorbusiersaid,theplanwasthegenerator,shewasinventinganewplanthat37Malevich’sTektonikLondon,UK1976-197738was,simultaneously,asectionbecauseofthethree-dimensionalityofforcefieldsinwhichfragmentsflew.Thecollisionfreedtheplanfromgravityastheorderingforce.CompetitiondesignsforthePeakandthePrimeMinistershouse,thoughintendedforbuilding,remainedstudies,buttheymarkedafundamentalshiftawayfromtheBauhausstrainofModernismdominantformuchofthecentury.Thedesignspositedadirectrelationshipbetweenmatterandenergy.ForHadidspaceitselfwasnolongerconceivedasaNewtonianvoidbutanactiveEinsteinianmediumtransmittingforce.Eschewingconventionalgravityactingininertvoids,shecastspaceasavectorialforcefieldwarpingandpropellingformsintodynamicconfigurations.Withstrongbutrefinedbuildingsthatweresomanifestlybeautiful,formaloneseemedtoemergeasthesubjectofherbuildings.Butthesubjectisreallyspace-forminextricablylinked,mutuallyformativeanddeformativeagentsactinginsimultaneousself-generation.Theartsprogressatdifferentspeeds,andusingdrawingandpaintingasaformofarchitecturalresearch,Hadidacceleratedherdevelopmentatafasterpacethanfeasibleinamoreconventionalpractice,wherecompletionofaprojectoftenoccursyearsaftertheinitialdesign.Whenshewasfinallyaffordedanopportunitytoconstructhervision,itwasmature:shebui