Competition: Dezeen has teamed up with publishers Taschen to give readers the chance to win one of five copies of a new Zaha Hadid monograph (+ slideshow).
Hadid. Complete Works 1979–2013 is a comprehensive catalogue of Zaha Hadid’s architecture and design projects spanning four decades.
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Competition closes 29 November 2013. Five winners will be selected at random and notified by email. Winners’ names will be published in a future edition of our Dezeen Mail newsletter and at the top of this page. Dezeen competitions are international and entries are accepted from readers in any country.
Here’s some more information from the publishers:
Zaha Hadid is a wildly controversial architect whose work remained largely unbuilt for years, despite awards and critical acclaim. Yet in the past decade, Hadid has risen to fame and completed numerous structures like the Rosenthal Center for Contemporary Art in Cincinnati, the Glasgow Riverside Museum, and the Eli & Edythe Broad Art Museum in Michigan. With her audacious, futuristic designs, Hadid now ranks among the elite of world architecture.
Born in Baghdad and educated in London, where her practice is based, Hadid has designed radical architecture for over 30 years. This massive TASCHEN monograph, now available in a specially updated and more accessible edition, covers her complete works to date.
The New National Stadium of Japan—venue of the Tokyo 2020 Olympic Games, and the Serpentine Sackler Gallery in London are both published for the first time. This volume shows the evolution of Hadid’s career—comprising buildings and furniture and interior designs—with in-depth texts, spectacular photos, and her own drawings.
Following the original large monograph, this book is now available in a more accessible trade edition.
The author: Philip Jodidio (born 1954) studied art history and economics at Harvard, and edited Connaissance des Arts for over 20 years. His books include TASCHEN’s Architecture Now! series, and monographs on Tadao Ando, Norman Foster, Richard Meier, Jean Nouvel, and Zaha Hadid. He is internationally renowned as one of the most popular writers on the subject of architecture.
The Magazine is a new restaurant venture, taking up residence in the new addition to the Serpentine Sackler Gallery with the interior, kitchen area, bar and structure itself all designed by Zaha Hadid.
Chef Oliver Lange’s Japanese cuisine is served beneath the undulating fabric roof, which curves down to meet the ground at three points around the periphery.
The entrance to the extension is located on one side of the adjacent 200-year-old brick building formerly used as a gunpowder store, which houses the gallery.
Tables are positioned around the sculptural columns extending down from oval skylights. Diners can enjoy views of the surrounding landscaped gardens through the glass walls that curve around the space.
Photography is by Ed Reeve unless otherwise stated.
The Magazine
Chef Oliver Lange opens The Magazine restaurant at the new Serpentine Sackler Gallery.
Pritzker Prize-winning architect Zaha Hadid’s first designed restaurant space in her first building in central London, will open on 1 November 2013 at the new Serpentine Sackler Gallery in Kensington Gardens operated by celebrated hospitality company K&K London Ltd. At the helm of The Magazine restaurant and bar is Berlin-born chef Oliver Lange, one of the most exciting contemporary chefs in the industry, and a past guest chef for Kofler & Kompanie’s notable Pret A Diner events in London.
The Magazine bar will be serving a small selection of light bar snacks, 10am until 7pm daily, catering for the visitors to the gallery.
The Serpentine Sackler Gallery gives new life to the Magazine, a former 1805 gunpowder store, located five minutes walk from the Serpentine Gallery on the north side of the Serpentine Bridge. With 900 square metres of new gallery, restaurant and social space, the gallery will be a new cultural destination in the heart of London and will present an unrivalled programme of exhibitions and events.
Oliver Lange was brought up in a family passionate about food and so began to cook at an early age. While studying art he realised it was cooking that was his real passion, and so he travelled to learn about the different cuisines of the world. His first great love was Japan: he dedicated his young talent to immersing himself in the tastes, techniques and textures of the Japanese kitchen. He was so successful at incorporating the precision and dedication of Japanese cooking into his own European heritage, that his masters awarded him the name Ollysan.
There is an organic flow to the newly designed structure – the continued movement stems from the membrane roof that playfully undulates and is penetrated only by columns filtering natural light into the room – while clear glass walls give the impression of dining within the surrounding garden, landscaped by Arabella Lennox-Boyd.
Ollysan’s experimental cooking, combined with Zaha Hadid’s inspirational and contemporary architecture, creates an overall distinctive and innovative dining narrative – whilst the marriage of the original building instils The Magazine restaurant’s rich and vibrant history. His vision for the food compliments the two contrasting linked buildings – where the traditional meets the modern. Ollysan brings the philosophy of Japanese cooking into his kitchen – its dedication, respect for the purity of ingredients, balancing of tastes and most importantly kokoro (heart and soul) to British and European cooking.
Zaha Hadid’s competition-winning design for the new 80,000-seat stadium was approved by the Japanese government six months ago, but sports minister Hakubun Shimomura has now backtracked on the decision, telling parliament that that 300 billion yen (£1.8 billion) is “too massive a budget” for the construction.
“We need to rethink this to scale it down,” he said. “Urban planning must meet people’s needs.”
In a statement last week Maki, who was awarded the Pritzker Prize in 1993, said: “The problems I see with the planned stadium all relate to the issue of scale.”
Fujimoto had also voiced his objections to the size, commenting via Twitter: “We are NOT against Zaha. We just think the basic requirement of the competition was too big for the surroundings.”
The Iraqi-born British architect saw off competition from 10 other finalists, including Japanese architects SANAA, Toyo Ito and Azusa Sekkei. The judging panel included Tadao Ando, who commented: “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world.”
Set to replace the existing Kasumigaoka National Stadium, the new building will be located alongside Kenzo Tange’s iconic 1964 Olympic stadium in Tokyo’s Yoyogi Park.
Zaha Hadid Architects previously designed the Aquatics Centre for the London Olympics in 2012.
Hadid‘s design features a fluid decoration embedded in the acrylic and plexiglass form, which appears as ripples that seem to drain into the legs.
First shown in May 2012, the original Liquid Glacial Tables comprised a coffee table and a dining table made from two sections that fit together. The latest version is 260cm long, 160cm wide and 74.5cm tall and has four legs.
“I have always been interested in the concept of fluidity,” said Hadid. “Using all the advances in design, material and construction technologies, we are now able to achieve even greater results in the work.”
Here’s some more information from David Gill Galleries:
Zaha Hadid presents Prototype Liquid Glacial Table at David Gill St James’s, October 2013
David Gill is delighted to present the next evolution of Zaha Hadid’s series of Liquid Glacial tables. The latest version, entitled, Prototype Liquid Glacial table, will be unveiled at David Gill Galleries, St James’s, on October 15 2013 and the show will run until 16 November.
The Prototype Liquid Glacial table is dramatically visual – the flat table top appears transformed by the subtle waves and ripples evident below the surface which seem to pour into an intense vortex that forms the table legs. Like the previous Liquid Glacial tables this new table is milled and hand polished to create an exquisite finish. The design embeds surface complexity and refraction within a fluid dynamic.
When it was launched in May 2012, the Liquid Glacial collection was acclaimed by collectors and press alike and the table was shortlisted by the Design Museum as one of the ‘Best Designs of 2012’.
“I have always been interested in the concept of fluidity,” says Hadid. “Using all the advances in design, material and construction technologies, we are now able to achieve even greater results in the work.”
For the first two weeks of the exhibition, a scale model of a ‘super yacht’ designed by Zaha Hadid for yacht builders Blohm and Voss will be on show. Zaha Hadid’s fluid design language has not been applied in the world of yacht design before and the manufacturers are presenting an entirely new concept to potential yacht owners.
Prototype Liquid Glacial Table Dimensions: 260 x 160 x 74.5cm Material: Acrylic / Plexiglas
London architect Zaha Hadid has designed a family of superyachts for German shipbuilders Blohm+Voss (+ slideshow).
Concept for 128-metre yacht
Zaha Hadid created a concept for a 128-metre yacht, which informed the design of five smaller vessels engineered by Blohm+Voss.
Concept for 128-metre yacht
The upper structure of the design is formed from sinuous shapes connecting the different decks. This conceptual language has been pared down and applied to a series of 90-metre-long Unique Circle Yachts, refined so the vessels meet the technical specifications for ocean crossings.
Concept for 128-metre yacht
“As a dynamic object that moves in dynamic environments, the design of a yacht must incorporate additional parameters beyond those for architecture – which all become much more extreme on water,” said Hadid. “Each yacht is an engineered platform that integrates specific hydrodynamic and structural demands together with the highest levels of comfort, spatial quality and safety.”
Concept for 128-metre yacht
The JAZZ yacht, the first of five in the range, has a sharp solid prow and becomes more open towards the back. The other four boats will be customised to meet the requirements of their owners.
JAZZ yacht (left) next to the 128-metre concept yacht
Keep reading for more details from the design team:
Zaha Hadid designs Superyacht for Blohm+Voss
Pritzker prize-winning architect Zaha Hadid has collaborated with the renowned Hamburg-based shipbuilders Blohm+Voss to design a new superyacht.
The design concept, launched at the latest exhibition of Zaha Hadid’s work at the David Gill Gallery in London, is based around the sculptural form of a master prototype conceived for a 128m yacht. In addition, The Unique Circle Yachts by Zaha Hadid Architects for Blohm+Voss is a family of five individual 90-metre yachts that creatively explore the design philosophies of the master prototype within the technical requirements of a fully-engineered yacht design.
JAZZ yacht
The overall design is informed by fluid dynamics and underwater ecosystems, with hydrodynamic research informing the design of the hull. The exoskeleton structure of the upper section is an interwoven network of supports that vary in thickness and lend a natural aesthetic to the yacht’s external appearance; evoking the organic structural systems found in natural marine formations. This exoskeleton connects the various levels and decks of the ship seamlessly via expressive diagonals. Whereas traditional yacht designs adhere to a strict horizontal order, Hadid has created an intense connectivity between the various decks and elements of the design. The fluid design language of the master prototype has been applied to subsequent variations of the Unique Circle Yachts 90-metre yacht concepts, creating a coherent design with the highest correlation between the various design options.
The 90m JAZZ yacht is the first of the five Unique Circle Yachts that has been technically specified and detailed by the naval architects at Blohm+Voss. Its lineage from the 128-metre master prototype is evident, with further technical refinements to address the specifications required for ocean crossings.
JAZZ yacht
In addition to JAZZ, four further 90-metre yachts have been designed to fulfil the different requirements and individual requests of their designated owners. Each design will vary in layout according to the owner’s preferences.
The design process was very much a collaborative one, with Blohm+Voss and ZHA working together to address the practical challenges of designing a yacht while remaining true to the strong iterative design language of the master prototype. The resulting designs are the synergy of Hadid’s design vision and the technical expertise of Blohm+Voss, allowing a flexibility and customisation in the eventual design of the yacht.
JAZZ yacht
“As a dynamic object that moves in dynamic environments, the design of a yacht must incorporate additional parameters beyond those for architecture – which all become much more extreme on water. Each yacht is an engineered platform that integrates specific hydrodynamic and structural demands together with the highest levels of comfort, spatial quality and safety,” explained Zaha Hadid.
Blohm+Voss has the proven experience, the in-house technical expertise, and the capacities to offer tailor-made solutions for the most demanding buyers in the superyacht market. The naval architects of Blohm+Voss are forever pushing the boundaries of technology and innovation. In recent years Blohm+Voss has built many of the world’s most prestigious mega yachts. These include the groundbreaking 394-foot “A” designed by Philippe Starck and the “Eclipse”, designed by Terence Disdale, which at 533 feet (162.5 metres), is the world’s second largest private yacht. Other Blohm+Voss superyacht projects include, the “Mayan Queen IV” and the “Palladium”.
JAZZ yacht
Dr. Herbert Aly, CEO and Managing Partner of Blohm+Voss says: “On an aesthetic level a superyacht is a great design task as everything is customised down to the last detail. A superyacht is by definition an exercise in total design, where every detail is looked at with attention and refinement. In the past, in the era of steam liners, there has been an attempt of utilising ship building elements in architecture. Zaha Hadid and her team have taken this ethos and created a bold new vision and a new benchmark in the design of superyachts.
“The idea of the Unique Circle Yachts allows for variation of a genotype and its phenotypes, offering a range of possible solutions based on an cognate platform. As a result Zaha Hadid’s design is malleable to suit the very individual wishes and needs of a potential customer which lies at the heart of Blohm+Voss’ approach to yacht design. The strength of the design lies not just in its functionality and form, but also its effortless adaptability.”
Zaha Hadid Architects and Blohm+Voss have transformed yacht design; creating an innovative concept and developing this vision into a fully seaworthy design that offers dynamic new possibilities for naval architecture.
Product news: London architect Zaha Hadid has designed a curvaceous wine bottle for Austrian winemaker Leo Hillinger.
Zaha Hadid created the limited-edition design for Leo Hillinger‘s Icon Hill 2009 vintage red wine, of which 999 bottles were made.
One side has a concave indentation with the same curve as the back of the bottle so a row of them can interlock. A dimple in the base allows sediment to gather and provides a thumb hold for pouring.
“The elongated volume of the bottle has been derived from the profile of liquid droplets,” said Hadid. “A continuous spatial curve was then projected onto the bottle’s surface, defining areas for the concave indentation and suggesting the waves created when droplets break a liquid’s surface.”
The shape was created using NURB-based software, then the glassware was formed in cast-iron moulds.
Icon Hill is an exceptional red wine cuvee of 2009 vintage, produced by the renowned Austrian winemaker Leo Hillinger in a limited edition of 999 bottles that have been designed by Zaha Hadid Architects to reflect the wine’s bold and distinctive character.
The elongated volume of the bottle has been derived from the profile of liquid droplets. A continuous spatial curve was then projected onto the bottle’s surface, defining areas for the concave indentation and suggesting the waves created when droplets break a liquid’s surface.
The concave indentation and the bottle’s surface have the same curvature, enabling a set of bottles to interlock and be perceived as singular whole. A smaller indent and volume has been created at the base of the bottle for correct handling and to accommodate any tartrates.
To achieve the precision and accuracy required for production, the shape of the bottle was created using NURB-based CAD software. The bottle manufacturer directly implemented this 3D master geometry to produce the cast iron moulds for the glass forming process.
Prévu pour 2016, ce projet d’hôtel Me by Melia à Dubaï sera logé au sein de la Tour Opus, proposée par Zaha Hadid Architects. Premier hôtel de l’architecte irako-britannique, cette structure originale de plus de 95 mètres de haut proposera plus de 100 chambres. A découvrir dans la suite.
Sou Fujimoto told the Architects’ Journal (£) that the campaign was set up because Zaha Hadid‘s building will be “too big” in relation to its surroundings, which include Kenzo Tange’s iconic 1964 Olympic stadium.
“I hope that this protest is successful in shrinking the design to fit the context,” he told the magazine. “I’m not fighting Zaha. The competition for the stadium was very rigorous and we can’t overturn everything. But the design could be better.”
The symposium, entitled Re-thinking the New National Olympic Stadium in the historical context of Gaien, takes place tomorrow and will be streamed live via the Ustream website. Other architects involved include Hidenobu Jinnai, Taro Igarashi, Shinji Miyadai and Tetsuo Furuichi.
Zaha Hadid won a competition to design the stadium in November 2012, seeing off competition from 10 other finalists including Japanese architects SANAA, Toyo Ito and Azusa Sekkei. The judging panel included Tadao Ando, who commented: “The entry’s dynamic and futuristic design embodies the messages Japan would like to convey to the rest of the world.”
The library and learning centre is one of seven buildings that make up a new campus at the Vienna University of Economics and Business (Wirtschaftsuniversität Wien), designed to accommodate 24,000 students and 1800 staff.
The most distinctive feature of Zaha Hadid’s 28,000-square-metre building is a large black volume that is perched over the roof and cantilevers out across a public square at the main entrance.
This structure houses the main library, as well as function rooms and an elevated cafe, and is clad externally in Rieder glass fibre-reinforced concrete panels.
To contrast, the rest of the building is finished in white panels and accommodates the non-public areas, including classrooms, an auditorium, workspaces and offices.
The facade is inclined at an angle of 35 degrees, allowing floorplates to increase in size towards the top of the building.
Located in Vienna’s second district, the Vienna University of Economics and Business (Wirtschaftsuniversität Wien) is the largest University focusing on business and economics in Europe, and the new site will accommodate 23,000 students and 1,500 staff.
Open 24 hours a day, the Library and Learning Centre by Zaha Hadid Architects is one of seven buildings that make up the new campus.
The 28,000-square-metre building houses a library, auditorium, workspaces, classrooms, offices, learning support services, book shop, event spaces and cafe.
The animation by Neutral first shows how the volumes of the design are generated, then begins a tour through the spaces.
“The straight lines of the building’s exterior separate as they move inward, becoming curvilinear and fluid to generate a free-formed interior canyon that serves as the central public plaza of the centre,” said the architects.
“All the other facilities are housed within a since column that also divides, becoming two separate ribbons that wind around each other to enclose this glazed gathering space.”
“Searching for a balance between abstract, conceptual narrative and much-expected photorealism, we blend soundscapes with evocative camera movements and traces of inhabitation – revealing time-based architectural design ideas which otherwise wouldn’t be apparent,” Christian Grou of Neutral told Dezeen.
Zaha Hadid Architects won the competition to design the building in 2008 – read more in our earlier story.
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