Zaha Hadid

Certaines configurations de formes architecturales contestent une notion idealiste de l'espace et du temps, et creent une multiplicite de cellules espace-temps. Le rapport au monde qui se definit dans cette exploration par touches, par creusements successifs de l'espace du paysage, est celui du choix des temporalites dans notre rapport aux choses. Bien qu'affirmant leur geometrie lineaire (des lignes droites et des surfaces planes qui priment sur la matiere), les lignes narratives se repondent, et ce sont des styles de chemins qui se dessinent. Le repere apparait comme element figural preponderant, sans qu'une forme precise ne soit materiellement le point de centration de la vision. Cette cristallisation a-centree du repere est une structure spatiale et temporelle fragile et furtive, mais l'espace entre les reperes acquiert ainsi un sens pour le regardeur. La coexistence entre les reperes dans la perception permet la construction de chemins complexes de developpement de l'espace. Par cette esthetique des reperes, les formes n'apparaissent pas seulement dans leur presence monumentale, mais aussi par leur capacite a creer des espaces entre formes. Le repere definit plus qu'une difference de profondeur, mais une articulation entre differents espaces. Il signifie la distance aux formes et la maniere d'habiter l'espace interstitiel. La visibilite est un potentiel, une qualite qui habite non pas les choses mais provient d'entre les choses. Par le repere, c'est la relation entre formes dans l'espace qui donne son sens a l'apprehension.

NB: by "chicanery," I refer to Morocco's record of corruption and lack of oversight and enforcement of its laws, which could use reinforcement.

On nearly the eve of hosting the twenty second Conference of the Parties to the United Nations Framework Convention on Climate Change (COP 22) in Marrakesh on November 7-18, 2016, the Moroccan government authorized a new group of constructions in the Bou Regreg River Valley. The constructions include a Zaha Hadid Ateliers designed theater, the Grand Théâtre de Rabat, in addition to luxury hotels, residences, a museum, and a park. The theater and park will join the Aga Khan award winning Zaha Hadid Ateliers Bridge to Salé, a city across the river and just north of the worksite. Signs around the construction state that the complex will add to the appeal of Rabat as a city of culture. The buildings are placed in what might be considered a floodplain with the same or similar characteristics of nearby Northern Moroccan Ramsar designated wetlands and classified National Parks and Reserves, some of the former of which are on the tentative list for United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Status. The Zaha Hadid Ateliers construction is also placed in close proximity to sites with significant historical and cultural value recognized in the UNESCO classification documents for Rabat, among others. 

In the following paper, I present briefly the socio-environmental histories of the construction and adjacent sites in the Rabat-Salé-Zemmour-Zaër region and propose how accentuating certain aspects of the environment can be valuable additions to the contemporary Moroccan economy, specifically its two pillars of tourism and agricultural production and exports.

IASTE 2016 Online Program Poster: http://iaste.berkeley.edu/iaste/wp-content/uploads/2012/09/2016/05/IASTE2016_Poster.pdf

"In the last decades we have seen a wide development of computer technologies applied to architectural design.
The first CAD (Computer Aided Design) software that architects ad engineers have been using since the ’90s are now fused on BIM (Building Information Modelling) technologies, resulting in tools that give the possibility of a total control on the project.
The evolution of this kind of software, called parametic, has showed such a wide horizon that nowadays the attention is focused not only on the descriptive process but also on the generative one: influencing the evaluation of the building site’s characteristics and potentiality, the material’s choice, and moreso the compositive phase.
Franco Purini in 2003 said that architectural design trough digital tools first moved along “tool’s field”, later along “creative field”, arriving to the “utopian field” where the designer leaves all physical references discovering innovative sceneries.
This thesis is a comparison of some of the main “parametric” software and a study of the implications of the new approach that Patrick Schumacher (Zaha Hadid Architects) calls Parametricism, defining it as the new architectural style after modernism. The way that it is changing Urban Design, in particular, is analysed through three projects that belong to deeply different realities, reaching interesting reflections on how the architect should use at the best the new technologies in his hands."

Introduction: It is originally considered that a pavilion is a ‘portable accommodation; tent; hut; isolated construction, in the centre or on the sides of the main body of a building…’ Encyclopaedia Verbo (Siza 2005:5). Unlike other ordinary pavilions, however, the Serpentine Gallery Pavilion, which is a series of contemporary architectural exhibition, has played an active role in creating various cultural and social occasions for the public every summer. Moreover, it has gone through some major challenges including costly construction process without allocated budget, a creation of large fund through sponsorship deals, and consultation with many expert advisory panels under the statutory regulations every year. Having undergone the complexities of the project system, it has become one of the cultural landmarks in the centre of London for the past decade.

This essay will examine the Serpentine Gallery Pavilion project, focusing on its impacts in the economic, cultural and social context. First, it will assess the appropriateness or raison d’etre of the project. Second, through the assessment, it will evaluate the project in practical and artistic aspects. Third, this paper will discuss the impacts of the arts sponsorship to assess the success of the financial aspects of the Gallery in its economic context. Fourth, it will also attempt to account for the cultural impacts of the project, from the perspectives of transience, uniqueness and immediacy in relation to pop-up cultural events as the current cultural context. The last, it will discuss the social context that the Serpentine Gallery Pavilion has produced and its status as a ‘democratic space’ for the public (Jones 2008: 31). In connection with this notion, this part will examine the audience participation in the Pavilion project.

The following essay sketches varieties of imagination operative in the best architectural work. It was published in Warehouse Journal, a student-edited journal produced annually by the Faculty of Architecture, University of Manitoba. Student editors for Warehouse 25 were, Alena Rieger and Ally Pereira-Edwards.

Kapitalizmin doğumundan günümüze kadar uzanan sürede mimarlık ve sanat yeni bir düşüncenin arayışındadır. Yaşamın sürekli yenilenmesi var olan nesnelliği sürekli yeniden biçimlendirmektedir. Bu değişim kapitalizmi ve içindeki bireyler için bir varoluş mücadelesine hapsetmiştir. Ancak 20. yüzyıl başında Ekim devrimi ve Rus avangartları ile bunun dışında bir yaşam farklı bir yenilik arayışı kendini ortaya koyabilmiştir. Rus avangartlarının anlatılmayan mirası 20. yy mimari ve sanatını büyük oranda etkilemiştir. Kapitalist modernitenin hala ilerici olduğu dönemde Rus avangardı Bauhaus ve Le Corbusier'i etkilemiştir. Kapitalizmin en saldırgan olduğu neoliberalizm döneminde ise çığır açan mimarlar olarak tanınan Zaha Hadid, Frank Gehry, Rem Koolhaas gibi mimarlar aslında Rus Avangartlarının kesintiye uğramış mirasının üzerine doğmuşlardır. Bu etki zaten hem kendilerince hem de mimarlık tarihçilerince kabul edilmiş bir gerçektir. Ama eksik olan iki akımın da devrimci ve avangart tutumlarıyla ortaklaştıklarının birbirlerini takip ettikleri iddiasıdır. Rus Avangardı ile dekonstrüktivistler arasında önemli bir fark vardır: ilki gerçekten anlamı parçalayıp, hayatı değiştirmeyi denerken diğerleri formu parçalamaktan öteye gidememiştir. Metinde Rus avangardı ve eserlerinin anlamı ve pratiği Hegelyan ve Marksist okuma temelli değerlendirilecek sonrasında ise dekonstrüktivistler üzerinden kısa bir karşılaştırma yapılacaktır.

Designed by Zaha Hadid Architects (ZHA), the Issam Fares Institute (IFI) is the American University of Beirut's most controversial building. It drew both praise and criticism due to its contrast with the traditional aesthetics of the neighboring Daniel Bliss Hall, Fisk Hall and Nicely Hall.

The dramatic changes in today"s architecture are inevitable consequences of the sweeping technological advances of the 21 st century. Zaha Hadid is one of the prominent architects who have contributed on conceiving unprecedented, innovative architecture. Generations eager for creativity from among architectural students, architects and products" designers who admire her designs find it difficult to determine the underlying reason for the uniqueness of her works. Although, there is a notable interest in different media for her works, there is no equivalent reaction in the academic field on the systematic analysis for her techniques in designing architectural form. Therefore, this study"s aims are to find out these techniques and to investigate the underlying cause for her works distinctiveness from her other colleagues in architecture. A content analysis is conducted on Hadid"s words in texts and videos of her accessible interviews in internet, books and magazine to accomplish study"s aims as well as to find out how these techniques were applied in regard to the general conception of her projects. The study resulted in exposing the six techniques she uses to design the architectural form which are abstraction and fragmentation; idea of the ground and gravity; landscaping project and the surrounding context; Layering; play of light; seamlessness and fluidity. Moreover, the authors refer her works" uniqueness to employing contradiction principle through these techniques.

ان هذا الفصل وبصرف النظر عن حالة الحزن العميق لفقد المُبدعة المتفردة، لكنه يحتفل بمسيرة واحدة من نخبة العالم الأكثر استثنائية وابداعاً في مجالات العمارة والتصميم والتخطيط العمراني. في يوم 31 مارس 2016 توقف قلب واحدة من اكثر سيدات العالم تفردا، ماتت زاها حديد التي ولدت يوم 31 اكتوبر عام 1950. لم أكن اعتقد ابدا عندما بدأت التعرف على المعمارية الفقيدة، أعمالا وقراءة ثم حواراً، ان صفات التمرد والكفاح والنضال بمستوياتها العميقة والأصيلة يمكن ان ترتبط بمعماري معني بالتصميم والبناء. ماتت الفضولية مدمنة التمرد، دائمة التفكير، عاشقة التغيير. تميزت زاها حديد بما يمكن ان نطلق عليه استدامة الشخصية النضالية. حقا، فمشروعها النضالي لم ينحصر في فترة تعلمها او سنوات ممارستها الاولى، ولكنها حولت حياتها إلى مشروع نضالي جدلي مستمر يحفزها ويحفز كل من حولها وكل من يتعامل مع اعمالها وفراغاتها ومشروعاتها. يعني هذا الفصل بصورة فاحصة بقيمة النضال في رحلة زاها منذ ميلادها وحتى وفاتها. ولذا يتتبع الفصل بمنهج نقدي تحليلي توثيقي مراحل هذه الرحلة النضالية ولحظاتها الفارقة منذ سنوات التعلم الاولى في مدينة ولادة زاها؛ بغداد الخمسينات، إلى سنوات تكوينها وكفاحها للتحول من معمارية امرأة وحيدة مرفوضة إلى قيمة خالدة على الصعيد الانساني والنسوي والمعماري والابداعي.

This paper analyzes parallesism between Zaha Hadid"s genius architecture and computer technologies which was highly contributed her design style. In the last quarter of the 20 th century, parametricism arised with the developed computer technologies and computational design techniques that identified Zaha Hadid"s unique design style. In the contextuality of Zaha Hadid's backround of her latest projects which are created by sophistication of generative computational techniques within a harmonic relevance used flowing forms of nature as important parameter. Backround of conceptual value of her projects that is considering geography and topography also reference to main paradigm of French urbanists"s pragmatists method. In the Zaha Hadid"s latest projects French urbanists"s problem solving pragmatist method observed in the context of the parametricism. Reflecting of her planning strategy of generating regenerative and realistic urbanism her project planned with code of parametricism"s flowing forms. In her latest projects reveals that obvious evidence of application of topographic layers integrated to the urban pattern network by flowing roads, plots and building-blocks forms. Zaha Hadid's computational methodologies within urban scale have a evidence of multidisciplinary design technique from building scale to urban scale. Also, overall designing technique examined the general character of multidisciplinary technological and dialectical form of ascendancy (bottom-up, approach). On the contrary of her previous projects that reflects the parameters of deconstruvism excluding the earth but, her latest projects would be evolved a different way integrated with the old city urban pattern using early 20 th century French pragmatist methods planning cities according to city maps.

In 1988, Philip Johnson brought together a number of architects in an exhibition at the Museum of Modern Art in New York, under the banner of a "deconstructivist" movement, a term borrowed from the philosopher Jacques Derrida. These architects were: Frank Owen Gerhy, Peter Eisenman, Zaha Hadid, Rem Koolhaas, Daniel Liebeskind, Coop Himmelblau, Bernard Tschumi. This nascent movement would soon oppose Postmodernity but also Modernity even if it took as a reference the Soviet constructivist architecture of Vladimir Tatline, Constantin Melnikov and El Lissitzky. Convergences remain with Postmodernity in the rejection of the rationality of Modernism, in the ruptures with history, society, site, technical and figurative traditions. Deconstructivism also claims the ideas of fragmentation, negative polarity, non-linear design processes, non-Euclidean geometry. The oppositions between structure and envelope, between floor and wall, characterize this architecture which rests the problems of contemporary urbanism: stimulated unpredictability and controlled chaos. Deconstructivist philosophy of Jacques DERRIDA Language deconstruction The work of Jacques Derrida, often considered abroad as the jewel of French philosophy, whose influence has given rise in France to a movement of writings marked, to the point of mimicry, by a largely Germanized Baroque style (Philippe Lacoué-Labarthe, Jean-Luc Nancy, George S. Kaufman...), is presented as a process of deconstruction of language. Jacques Derrida thus resumes the process of Western metaphysics by shifting it towards the critique of logocentrism, which has enslaved writing to a word dedicated to the revelation of a presence of Being. Archaeology of language

This power point presentation reviews the concept of Deconstruction. It provides critical commentaries on the relevance of Deconstructive ideas in the discipline of architecture and professional practices. Relevant international case studies are presented to make a point that the outcomes of 'architectural deconstruction' is subject to the creativity of practicing architects.

notre place dans l'architecture, n'apparaît pas. Les formes, par absence de réel, ont une réalité matérielle "muette". Le peintre Giorgio De Chirico utilise cet effet de surréalité (le mot surréalisme désigne le courant artistique) dans ses toiles. Les choses sont mises à distance, même si la matière en devient d'autant plus présente. Henri Maldiney analyse de cette manière le phénomène fantastique dans Regard Parole Espace. « Là où le non-thématique fait défaut, le climat de l'art est celui d'une "inquiétante étrangeté", dont le malaise spécifique s'apparente à l'aliénation. » 32 Le regardant se sent étranger aux formes qui sont en face de lui ou qui l'entourent. Le sensible peut facilement faire défaut. 33 Le repère est alors inutile pour une compréhension de l'architecture, seules les données géométriques et les données de matière sont traitées dans la perception. « Quand l' organisation hiérarchique de l' espace au privilège de l' oeil et de la vision, quand cette simulation perspective -car ce n' est qu' un simulacre -se défait, autre chose surgit que, faute de mieux, nous exprimons sous les espèces du toucher, d' une hyperprésence tactile des choses, "comme si on pouvait les saisir". Mais ce phantasme tactile n' a rien à voir avec notre sens du toucher : c' est une métaphore du "saisissement" qui est celui de l' abolition de la scène et de l' espace représentatif. » 34 La tactilité des choses en architecture n'est pas une qualité prédominante dans l'analyse perceptive, contrairement aux arts plastiques. Nous percevons ensemble des formes aux qualités tactiles différentes. La problématique de la tactilité n'est pas approfondie en tant que telle. Plus qu'une tactilité, la perception sensible implique un rapport "pathique" aux choses, aux êtres, au monde. Le terme "pathique" vient d'un mot grec qui signifie « ce que l' on éprouve » et exprime une manière d' être affecté, de sentir, de ressentir. La perception n'est pas structurée 32 MALDINEY H., Regard Parole Espace, p. 64 33 L'espace intérieur est plus apte à convoquer l'affectivité, comme le montre l'étendue des imaginations liées à l'intérieur de l'espace chez Bachelard. 34 BAUDRILLARD J., Ibid., p. 90 26 par un sens donné des formes, mais par des directions de sens 35 dans lesquelles nous sommes nous-mêmes engagés. Henri Maldiney définit un « contenu thymique » 36 des formes artistiques. Pour lui, le style fonde le moment pathique en moment esthétique d'une co-présence. Nous reviendrons sur cette proposition importante de Maldiney en approfondissant la notion de présence. L'espace ou les espaces utilisés dans la Daseinsanalyse de Binswanger 37 sont constitués d'un grand nombre de dimensions qui ne sont pas des coordonnées formelles, mais des « moments réels », des structures spatiales, des schèmes de conduite, c'est-à-dire des directions significatives de l'habiter 38 . L'enjeu pour Binswanger est de ne pas s'arrêter à la matérialité des choses, mais d'avoir accès aux directions significatives de l'architecture, qui nous permettent de l'habiter. Ludwig Binswanger, repris par Erwin Straus, ouvre la voie à une psychologie de la 35 La définition du terme "direction de sens" sera précisée plus loin en référence à Ludwig Binswanger. 36 La notion de contenu "thymique" est inspirée à Maldiney par les théories de Binswanger (voir note suivante) sur la notion de Stimmung. En deçà de toute distinction préalable du dehors et du dedans, Stimmung désigne l' ambiance et la tonalité affective de la situation. Ce mot peut être traduit, suivant le contexte, tantôt par "disposition", "tonalité affective", "accord" (affectif) ou "humeur", tantôt par "atmosphère" ou "climat". En général, chez Binswanger, il signifie un état psychique ontique existentiel ou empirique, en opposition à Gestimmtheit qui est la notion correspondante pour la structure existentiale ontologique.

The deconstructivist thoughts of the early 1980s architecture were carried out by architects who believe in change, possibility, and limitlessness. Their rebellion
to what is conventional has fundamentally contributed in formulating the 21st century architecture where one of the key differences between them and others
is the methodology of design. This paper addresses Zaha Hadid’s strategy as a significant pioneer in this movement who has large followership around the
world from among architects and designers. A qualitative study is conducted using content analysis for her accessible texts and videos as a reliable source of
data. Hadid’s sequential procedures of design imply that she perceives architecture as an art which could be sufficiently employed to fulfill the requirements
of a good architecture and clientele

ABSTRACT (it) & (en)
Questo articolo fornisce il primo Statuto di Architettura e Museologia liquida facendo seguito al primo tentativo di definizione da me proposto nel 2014.
Prendo atto che presso il grande pubblico e particolarmente in Italia il concetto di liquidità è stato completamente frainteso mentre in ambito critico internazionale è stato invece correttamente svolto e ha potuto affermare propria incisiva presenza nello spazio della cultura d’avanguardia. Come noto infatti Marcus Novak propone nel 1993 il termine Architettura Liquida in relazione alla realtà virtuale nell’era dell’informazione telematica e Zygmunt Bauman applica il concetto di liquidità nel 2000 nella sfera sociologica sondando i rapporti tra architettura e territorio mentre Salvatore Rugino propone una rassegna dei rapporti tra architettura e liquidità nel 2008 e altri autori seguono su questo corretto filone esegetico.

Per approfondire la definizione critica internazionale di architettura e museologia liquida ho proposto nel 2014 di considerare il concetto di “liquido” nell’arte come erede del concetto di anticlassico già individuato da Giulio Carlo Argan, prima nel 1930, in riferimento alle osservazioni di Milizia nei confronti di Andrea Palladio, e poi nel 1984 seguito da Bruno Zevi nella sua monografia del 1973.

In seguito alla creazione, sempre nel 2014, di un Gruppo di Ricerca alla Sapienza su Architettura e Museologia liquida mi è sembrato importante proporre in questa sede di considerare fondamentale per l’individuazione dei caratteri liquidi nell’architettura e nella museologia quattro elementi tipologico-simbolici fondamentali: specchio, labirinto, frattali e mostro e ribadisco che la concezione di “anticlassico”, dalla quale nasce negli anni Novanta del Novecento quella di “liquido”, è presente anche in ambito archeologico come proposto da Graziella Becatti e dimostrato da Enrico Ascalone, entrambi facenti parte del Gruppo di Ricerca della Sapienza su Architettura Liquida. Cfr. E. Ascalone, L’anticlassico che diventa classico. Sostituzione, elaborazione e affermazione di nuovi codici di propaganda al tempo dei Sukkalmakh (ca. 1900-1520 a.C.), 8 Novembre 2016, n. 821 http://www.bta.it/txt/a0/08/bta00821.html


This article provides the first Statute of Architecture and Museology liquid further to the first attempt at definition proposed by me in 2014.
I note that among the general audience and especially in Italy, the concept of liquidity has been completely misunderstood while in international areas has been properly carried out and instead was able to affirm its effective presence in space of the avant-garde culture.

As previously noted, Marcus Novak proposes in 1993 the term liquid architecture in relation to virtual reality, in the telematic information era, and Zygmunt Bauman applies the concept of liquidity in 2000 in the sociological sphere probing the relationship between architecture and landscape.
Salvatore Rugino, instead, offers an overview of the relationship between architecture and liquidity in 2008 and other authors followed his correct exegetical trend.

To study the critics international definition of liquid architecture and museology, I proposed in 2014 to consider the concept of "liquid" in art like a heir to the concept of anti-classic, identified by Giulio Carlo Argan, first in 1930, in reference to the comments of the Militia against Andrea Palladio, and then in 1984, followed by Bruno Zevi in ​​his monograph of 1973.

In 2014, a research group of Sapienza University started the study of Architecture and Museology liquid, and it seemed important to me to propose to start to consider, for the identification of liquids characters in architecture and museology, four basic typological and symbolic elements: mirror, maze, fractals and monster.
Besides, I remind that the "anti-classical" concept, from which was born in the nineties of the twentieth century that of "liquid", is also known in archeology, as Graziella Becatti proposed, and Enrico ascalone demonstrated.
They are two of the researchers in the Sapienza University liquid architecture study group. Cfr. E. Ascalone, The anticlassical that becomes classic. Substitution, development and affirmation of new propaganda codes at the time of Sukkalmakh (approximately 1900-1520 a.C.), 8th November 2016, n. 821 http://www.bta.it/txt/a0/08/bta00821.html

(English translation courtesy of Alessandra Bertuzzi)

The 'Art-Architecture Complex' by the art historian Hal Foster argues that the global styles of contemporary high architecture offer inauthentic
spectacle in place of visceral experience. Thomas Wensing meets him to ask what went wrong, and what architecture can learn from art.

الجشطالتThe Project is “One Point controls everything in the room”.
Installation NO. 1 “Everything belongs to One Source in this Universe”
Installation NO. 2“The diameter of the circle is impossible to become parallel lines”.
“The parallel lines meeting at one source “
Installation NO. 3lines meeting in a one-point in everyplace even the spare places in the room

The importance of including Heritage architecture in the development of cities has to do with keeping in mind our history, to grow aware of where we come from and who we are as societies. But for this heritage to mean a real contribution to the future City we must respond to the Continuity represented by Culture, and also to the Changes defined by Economy. Architects must become aware of the necessity to connect the past with our present, but also anticipating the future.
Heritage Interventions should have the possibility to change, to give space to new uses. We must understand that nothing we build today will be definitive, and just as we look to the past for inspiration, we also need to be conscious about the different needs future will bring.
In this process, it is common to fall into the temptation to express the technological capabilities of today. However, it is enough to look back to realize that over time everything changes and must adapt and that the grandiloquent manifestations of the present only generate problems. After all, they only try to express themselves through their image, nevertheless, in dealing with time, we must be able to look beyond the surface.

According to renowned architect Tom Wright, if a simple line drawing of a building gets identified by people or reminds them of a place, then such a building is considered iconic. Iconic buildings are mostly considered as symbols that represent the city or country they are built in. But they are not to be confused with monuments; which are buildings that have a historic value or a connection to the history or culture of a place or person.

Il testo si apre con una breve descrizione divulgativa della biologia della visione, dalla percezione delle linee complesse ai colori, e di come
questa si sia evoluta nel corso dei millenni, da meccanismo pro-sopravvivenza legato all’analisi dell’ambiente naturale e dei propri simili, a strumento di valutazione e apprezzamento della composizione artistica. Indaga le analogie tra lo sviluppo del cervello nei bambini affetti da disturbi dello spettro affettivo e relazionale (autismo) e le rappresentazioni iconografiche degli uomini primitivi, dal paleolitico al neolitico.
Un’ampia sezione descrive dinamiche cerebrali dovute ai cosiddetti neuroni specchio e di come questi influiscono sull’espressione e la fruizione dell’opera d’arte, analizzando le produzioni di due degli artisti contemporanei più famosi: Damien Hirst e Jeff Koons, collegati da una complementarità culturale ancestrale, quella tra eros e thanatos, che affonda le radici nell’arte funeraria etrusca.
Il testo continua con l’analisi neuroestetica della visione e i suoi effetti sull’organismo umano, seguendo l’evoluzione che ha subito il punto di visuale. Dal basso verso l’alto nel barocco, dal basso a “volo d’uccello”
nell’arte futurista e dall’alto verso il basso nella produzione pittorica dell’archistar anglo-irachena Zaha Hadid. Lo stesso punto di vista che fugge i confini della rappresentazione pittorica, fino ad abbandonare
totalmente i confini del corpo e le dinamiche cerebrali nell’arte riferita
al metaumanesimo e transumanesimo

Este artículo desarrolla las diversas metodologías de representación arquitectónica utilizadas por los diseñadores de proyectos de museo para la Fundación Guggenheim; una historia de innovación desarrollada en más de seis décadas y veinte proyectos.

From 1993 to 2015 Vincenzo De Luca has been Mayor of Salerno four times. In these years he has promoted an effective strategy to renew the urban structure, based on the new General Plan (PRG, Oriol Bohigas, 1994), but developed entrusting to famous international «archistars» the planning of important public works and buildings. Among them we can remember the Judicial Citadel (David Chipperfield), the Sports Hall (Tobia Scarpa) and the Maritime Terminal (Zaha Hadid) – all still in progress –, in addition to the new marina designed by Santiago Calatrava (Marina d’Arechi Port Village) for a private company. This intense activity aroused very harsh criticism, as always happens in these cases, especially about the “Crescent” by Ricardo Bofill

infine il Palazzo delle Scintille che ospiterà il MUBA (Museo del Bambino). Queste immagini però non approfondiscono l'idea, come la campagna di commercializzazione la definisce, di un «nuovo modo di vivere la città»: l'immaginario riporta in maniera preoccupante al modello delle gated communities.

Starchitect Zaha Hadid won the bid to design one of the planned stadiums for the 2022 FIFA World Cup event in Qatar. Her design for the Al-Wakrah stadium became the centrepiece of a discussion on the role that starchitects play in society. That debate reached a boiling point in August 2014, and resulted in a digital lynching party that sheds serious doubts on the ethics and professionalism of architectural critics and journalists alike.

The work presented below is part of the results of a research project developed at Polytechnic University of Madrid. The Architecture Competitions reveal the aspirations of the participants to present the most attractive proposal that will gain the attention of the jury, in addition to responding to the problems and motivations that originate the call.The graphic communication becomes the link between the viewer and the foreshadowing of something that could become a constructed project. By analysing the graphic instruments used in several calls for architectural competitions supervised by the COAM, the aim of this paper is to show the role of visual communication in reading and evaluating a proposal. The tool of the diagram allows to visualize and find the graphic variables most used by the competitors, as well as to specify which of them are drawn on the awarded projects.

KEYWORDS: COMPETITION, PANEL, COAM, GRAPHIC REPRESENTATION, DATA VISUALIZATION

Developed as a trans-scale reflection that focuses on the relationship between urban peripheries, unprecedented urban transformations, railway architecture and infrastructure in the era of high-speed transport, this article offers insights on a number of contemporary Italian and European projects. By examining several representative case studies, this essay will provide a clearer context for the major changes that are re-orienting these incomparable urban operations, seen as the products of a new economic, administrative and social organization.
In the new perspective of the metropolitan-cities, it is the very idea of the periphery that will be redefined, overlapping with the idea of the extended city as it replaces the countryside and urbanized rural areas.
The amount and breadth of the disciplinary studies concerning the roles in governance responsibility for the transformation of public space by means of infrastructure, is a strong indicator of the relationship between the level of coherence specific to and shared by the figures engaged in the planning process and the synergy between all the actors involved, synergy which is required to ensure the success of the interventions. This context, which redefines the scope of the effects of political and administrative decisions on the territory, will create an even stronger contrast between cities with integrated strategies and a synergy of intent between different actors, and others that suffer from a chronic instability in government, administrative and political processes.

Abstract: Starchitect Zaha Hadid won the bid to design one of the planned stadiums for the 2022 FIFA World Cup event in Qatar. Her design for the Al-Wakrah stadium became the centrepiece of a discussion on the role that starchitects play in society. That debate reached a boiling point in August 2014, and resulted in a digital lynching party that sheds serious doubts on the ethics and professionalism of architectural critics and journalists alike.

Il MAXXI, Museo Nazionale delle Arti del XXI secolo, è stato inaugurato a Roma alla fine di maggio 2010, dopo quasi dieci anni di costruzione.

Il progetto del primo museo dedicato all’arte ed alla architettura contemporanea a Roma si deve allo studio della architetta anglo-irachena Zaha Hadid, vincitrice di un concorso internazionale bandito nel 1998, e sancisce la svolta contemporanea nel recente panorama architettonico della capitale italiana, affiancandosi al vicino Auditorium Parco della Musica dell’architetto italiano Renzo Piano ed al Museo dell’Ara Pacis dell’architetto americano Richard Meier.

Il museo sorge nel quartiere Flaminio, nell’area dell’ex caserma Montello, nei pressi del villaggio olimpico e del coevo palazzetto dello sport di Pierluigi Nervi, costruito a Roma per i Giochi Olimpici del 1960.

Il progetto, ricalcando la traccia delle caserme preesistenti e mantenendone la scala originaria, si relaziona con il tessuto urbano dei contigui edifici residenziali, legando le diverse griglie geometriche con una serie di segni dinamici sovrapposti, che determinano una configurazione alternativa del contesto, ricucendo l’area del quartiere con una grande piazza pubblica a servizio del museo.