It is worth mentioning that she withstood the temptation to use luminaire design to heighten visual effects and rather concentrated on the light itself as an important dimension of architecture. Image © Iwan Baan / Courtesy of Perry Rubenstein Gallery Save this picture! Guangzhou Opera House, 2010, Guangzhou / China. But she did not use dramatic grazing light to render forms or texture more vibrantly. Meanwhile, her diffuse illumination created a soft atmosphere, in which the energy of the space stems from the fluid forms.
Formz zaha hadid full#
Thus, her earlier lighting looked more like an expression of graphic design than an exploitation of the full potential of light to interpret architecture. Deep-rooted in the visual language of suprematist paintings, Hadid often converted geometrical lines into diffuse luminous light lines and respectively curves. Similarly, her interiors changed from raw concrete, via a purist white to glamorous gold for key spaces. Matt façade surfaces were then supplemented or replaced by reflections and the architecture started to mirror its surroundings. This step was also translated into a new language of light. Looking back at the career of Zaha Hadid, we can identify a decisive turning point regarding her design strategy, manifest in the Nordpark Railway Station, where continuity and fluidity pushed her deconstructivism and fragmentation aside. Save this picture! Dongdaemun Design Plaza, 2013, Seoul / South Korea.
Quite obviously the relationship of solid to luminescent surfaces have shifted towards the side of light here. The dotted ceiling in the grand hall signifies a distinct luminous pixel aesthetic, in which the star ceiling at Guangzhou turns into luminous discs in Nanjing. Hundreds of small holes in undulating lines follow the dynamic interior geometry for illumination. In contrast to the grand halls at the Heydar Aliyev Center and Guangzhou Opera House, where the illumination was discretely integrated into the ceiling or looked liked a starry sky, the Nanjing Centre shows an almost offensively luminous surface. The interior presents another advancement of fluid luminosity. Rhomboid panels-reminding us once again of the patterns at the Phaeno Science Centre-gradually transform from transparent glass to fiber-concrete panels. The recent Nanjing International Youth Cultural Centre (Nanjing, 2016) demonstrates not homogeneity like the Heydar Aliyev Centre, but instead a dynamic transition from vertical glass towers to a horizontal concrete podium. Save this picture! Nanjing International Youth Cultural Centre, 2016, Nanjing / China. However, in the lobby, the scattered light lines irritate with their strict edges when compared with the continuous flows of the rest of the structure. Additional cove lighting underlines the diffuse play of light on the fluid forms. In opposition to the starry-sky luminaire arrangement at the Guangzhou Opera House, the lighting in Baku is subtly integrated into the wooden ceiling and walls-almost out of view of the audience. Consequently, the fluid lines in the auditorium reveal soft brightness graduations as well. At night, the interior light flows onto the exterior surfaces and exterior floodlights enhance the building geometry. The flat glass facades mirror the surrounding environment. During the day, the volume reflects the light and the overall shadow pattern of the sun dominates, with no sub-textures interfering in the smooth surfaces. Striving for homogeneity at the Heydar Aliyev Centre (Baku, 2012) led to a softer graduation of light and shadow. Save this picture! Heydar Aliyev Center, 2013, Baku / Azerbaijan. Thereby the visitors perceive a holistic formal approach encompassing both daylight and artificial lighting. In order to form a coherent exterior surface, the rhombus contour has also been applied to the underside of the elevated museum. In contrast to earlier projects with sharp edges, Hadid's forms here took on curved shapes, marking a transition to fluid designs.
Formz zaha hadid windows#
The diagonal building structure has been translated into rhombus-shaped windows for the façade. As a counterpoint, diffuse ceiling luminaires intervene in the dim atmosphere. The elevated concrete structure generates a large shaded area, with the view to daylight on one side intensifies the impression of a dark void. The windows and luminaires in the building's surface share the same form, creating a holistic design approach and thus moving on from Hadid's earlier period of lines and sharp corners. The Phaeno Science Centre (Wolfsburg, 2005) was a decisive turning point in Hadid's lighting imagination. Image © Werner HuthmacherĬoherent Forms Flow From Windows to Ceiling Save this picture! Phaeno Science Center, 2005, Wolfsburg / Germany.
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