This question was deepened because she was apprehensive about Arab interest in her work, even as she began receiving regional commissions towards the end of her 40-year career. mine. “My biggest failure was in the Arab world,” she once stated in an interview. “I don’t think the Arabs respect [me] enough, because I’m Arab. Arabs like foreigners…. If I were an American, they would love me. An American man. What’s more, the commission she received had high mortality rates, regime change casualties, oil price fluctuations, budget cuts, and the Arab Spring.
With the Central Bank and later a number of other projects, Arab power brokers in more stable environments appeared around, calling her back to a world that had been marginalized. its own. “She wants to work in the Middle East and is very interested in new opportunities there,” said Sara Sheikh Akbari, an Anglo-Persian director at Zaha Hadid Architects. “She feels at home there.” In fact, her office has seen exponential growth — and exponential popularity — from around 2007 to 2011, and Central Bank Headquarters is one of the half a dozen individual Arab commissions from that period or shortly after are either currently open or nearing completion this winter in an arc extending from Morocco to the Gulf.
Hadid’s fatal heart attack in 2016, at the height of her career and talent, meant she would never live to see nearly half of her major built designs, including all upcoming projects. With about 30 major buildings completed in the last 5 years or in the process of being completed, the architect is said to have excelled in death as well as in life. And despite the anecdotal battles that have surrounded her estate (the executioners have fought in court for years), not since Eero Saarinen’s masterpieces, such as TWA terminal and Dulles International Airport, there is such a successful afterlife of architecture.
Give her new Arab client, Hadid was the right architect at the right time. Her pioneering, world-class buildings are emblematic of a rising Middle East. Leaders are interested in highlighting their country’s profile as a progressive nation, while leaving behind a personal architectural legacy, photogenic monuments are made to elevate the stature. and its cultural footprint. Charismatic in the way Hadid himself is, each “Zaha” professes her individualism and cultural independence: The sluggish liquidity of her classical buildings has break through the rigid classical columns of the colonial era and the modern European boxes, grids and symmetry. Besides, the forms are alluring, flowing like alcohol: If you glance at them, their winding lines are reminiscent of Arabic calligraphy.
One Zaha will guarantee the city’s press and showtimes. Her popularity – she is a world artist and Arab world rock star – will be gone.
Some commissions, like the Iraqi bank building, have a personal aspect. According to Hadid’s office, al-Shabibi told bank executives that there was only one architect to consider for their headquarters. Hadid is the most famous Iraqi alive, admired by many for her global exploits. Her Joan of Arc aura, the pride her countrymen have taken in her success, and the confidence in this historic native daughter (in a country whose relationships have profound implications) all sealed the transaction. After signing the contract at an official ceremony attended by Iraqi diplomats at the Victoria and Albert Museum in London, Hadid said her father was “in the room”.
The 34-storey concrete, glass and steel skyscraper is currently at the forefront in Baghdad on the banks of the Tigris River. The organically shaped rock formations on its heliotropic façade intertwine like tree trunks, geometrically facing the sun’s path to protect the building’s interior from the brutal Iraqi solar loads. . Hadid and her team sculpted the explosion-proof platform in long, coiled contours; the voids inside flowed out like white water. Hadid and her colleagues inferred the forms from the angles of the sun and the flow of rivers. As shaped by nature, it resembles a tall tree growing along the Tigris. Hadid also envisions the high-tech tower as a kind of construction college, where local engineers, architects, builders and artisans can enhance their expertise to international standards. Competitive Economy: Her Iraqi colleagues conducted a crash course on the building.
Her office has been working on the skyscraper during Iraq’s recent tumultuous times, including the ISIS crisis — and since 2014, without pay. “We stayed involved because we wanted to build the building for Zaha,” said Jim Heverin, project director and one of the heads of Zaha Hadid Architects.
Like Frank Lloyd Dainty with a cane, cape, and cap, Hadid personally dressed Yohji Yamamoto and Issey Miyake, distinguished by her fiery red lipstick, gravelly voice, and year-round tan. But her creative designs, not her own, have brought her commissions and popularity. Many projects have won competitions, such as the angular, resilient King Abdullah Petroleum Research and Research Center (started in 2009 and completed in 2017) and the Metro Station underground King Abdullah Financial District in Riyadh, where her designs have achieved high Saudi aspirations. “They wanted the best, most beautiful transportation project in the world,” explains Project Principal Gianluca Racana. “The purpose is ‘symbolism’ – a building that is easily recognizable to the city.
Drivers in this crowded, choking highway capital can now ditch their cars by parking at the bottom of the metro station, a Saharan import building with stacked sand dunes together into a cityscape devoid of trees, no other events. The façade, a foam sunshade with undulating arches, cools and conceals the four floors and six internal rail platforms. The columns were bent and tilted with each wave, straining against the thrust of the decelerating trains. Like wood mashrabiya window coverings of traditional arabian houses, mesh screens shade the interiors, allowing the breezes in, created by swishing of the train. The structure – which combines traffic with shopping, dining and working spaces – breathes like a lung. “The movement of the trains suggests air waves,” says Racana, “recalling the winds that make up the dunes we have evoked in the façade.”
If the architects import the metaphor of the desert in the middle of the capital of Saudi Arabia, they are dealing with the actual desert in the United Arab Emirates for a modern headquarters. in waste management and the environment. In 2013, Sheikh Sultan III of Sharjah, one of the emirates, convened six architects in his manor in Sussex, England, to decide the winner of a competition for the Bee center ‘ah. He began by reviewing Hadid’s design, and the emir never got over her models and drawings; he liked them so much that he had to be coaxed to see others, and during the discussion he investigated moving the site itself to a location where he could see the building from the palace mine.
Hadid and her fellow architects led the desert through the idea of wind. Using 3D modeling software to mimic models in nature, they created a building of intersecting dunes that grow out of the sandscape, forming interlocking shapes surrounded by oases with palm trees and swimming pools. The architects punctured the dunes with computer-generated textures to create dazzling constellations of light, evoking decorative Arabian starlight effects. For all its beauty, Bee’ah checks all the environmental boxes: LEED Platinum certification, low carbon emissions and solar energy captured and stored in Tesla battery packs.
https://www.vanityfair.com/style/2021/11/architect-zaha-hadids-dreams-rise-in-the-desert Dreams Rise in the Desert by architect Zaha Hadid