Islamic culture is what makes Arab societies unique and it is what inspired Arab architecture. The Arab architectural identity is characterized by the originality of the various Arab cultures. Projects such as the Holocaust Memorial by Peter Eisenman in Berlin, Los and Richard Rosenthal Center for Contemporary Art in Cincinnati, the MAXXI and the world (89 degrees) by Zaha Hadid, The CCTV Building by Rem Koolhaas and Golden Fish Sculpture in Barcelona, The Guggenheim Museum in Bilbao, Walt Disney Concert Hall in Los Angeles, Louis Vuitton Foundation in Paris by Frank Gehry. This essay explores the relationship architecture shares with art with explicit examples of work by architects such as Zaha Hadid, Peter Eisenman and Frank Gehry and exploring the relationship of their work with sculpture, painting, music and other artistic mediums. Where architecture and art intersect is also where an inquiry of technology, media and new material arise and are the prime focal point and this makes the relationship an urgent one to explore and address. The increasing importance of art museums is a part of this conjunction, as governments and corporations and institutions turn to the art-architecture collaboration to attract business, to attract tourism and brand their cities with festivals and centers of art and the likes.
Sometimes, a competition or as a collaboration, In our cultural economy the alliance of these two mediums is a site of image shaping and space making. In the last five decades or so artists have opened up sculpture, film and painting to architecture which surround them and similarly architects are indulging in art which is visual. It is expected that through understanding these patterns and techniques, many things might be clarified and these might help those who are interested in designing Zaha Hadid‘s architecture. Moreover, it showed the techniques Hadid usually uses to generate form which are abstraction, landscaping the surrounding context, play of light, idea of the ground and gravity, layering, seamlessness and fluidity. The content analysis has contributed in exposing main themes such as her strategy of design, form notion, and her techniques which this study has focused on. It is shown that Hadid often works within framework of five patterns for the project‘s shape notion based on their dominant characteristics that are suprematist, topographical, fluid, organic, and parametric. While 24 percent of them was characterized by fluidity, 7 percent has organic features, 6 percent was inspired from the surface form of topography, and 10 percent was shapely designed in parametric manner. Through noting, quantifying, and tabularising the prevailing features of project‘s form, it is indicated that 53 percent of Hadid works was influenced by suprematism. A study of her drawings, projects images, and their descriptions was done for 208 projects in regard to form notion. A content analysis for Hadid‘s interviews was done through categorizing her words and phrases under different themes, clustering and partitioning them into variables. Since there is a lack of academic sources on this topic, the data largely came from her published interviews, whether videos from internet or from magazines and books. Research methodology was a qualitative study using descriptive, analytical, and exploratory methods. Moreover, the study emphasises her strategy of designing architectural form as well as the principles she uses. Therefore, this study‘s aims are to find out her techniques of generating creative forms and to investigate whether there are any form patterns in her works. Iwar Agger, Hedvig Carlin, Elinor Entell, Aron Fidjeland, Karin Hedlund, Crissie Håkansson, Lisa Laursen, Hseng Tai Lintner, Martin Löfqvist, Agnes Mührer, Joar Nordvall, Ebba Schröder, Stefan Svedberg, and Axel Wolgers.A considerable number of architectural students, architects, and designers of fashion and furniture around the world who admire Zaha Hadid‘s works generally find it difficult to understand her way of designing form. He is senior a lecturer in spatial design at Konstfack University of Arts, Craft and Design in Stockholm and a member of Architects Sweden (SAR/MSA). He has previously worked for Anders Wilhelmson and Ghilardi+Hellsten. He is senior lecturer in architecture at Chalmers and a member of Architects Sweden (SAR/MSA).Įinar Rodhe studied architecture at the KTH Royal Institute of Technology in Stockholm (MArch 2009) and at the Royal Academy of Fine Arts in Copenhagen. He has previously worked for Greg Lynn FORM, Zaha Hadid Architects, and Kjellander Sjöberg. Daniel Norell studied architecture at Chalmers University of Technology in Gothenburg (PhD), at University of California Los Angeles (MArch 2006), and at the KTH Royal Institute of Technology in Stockholm.
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