Sample Art Research Paper on ZahaHadid

Modern structure and building functionalities are among the primary elements that capture the true designer more intensely than traditionally. This is precise because right at the core of those functionalities the architect’s imagination can grow more independently (Anna 2). Building owners and contractures now allow architects more freedom than before. People live in an era typified by change, instability, and technological aspects that provide the opportunity to largely reconstruct structures in unprecedented approaches. With numerous changes occurring, architecture and urban places have taken different paths to express their general configuration and philosophy (2). Technological advances have encouraged designers and architects to become even more creative in design without fear of any challenge they might encounter during the design process. As a result, there is a new concept in architecture which is regarded as a growth of modernism known as deconstructivism(3).
Modernism is the underlying movement of twentieth-century architectural work. Today’s buildings aid deepens people’s sense of place and connection between history and the present. But every now and then, crucial arts in modern architecture are challenged as insignificant and inappropriately altered, or simply ignored. Many are challenged by physical deterioration, perceived functional or economic outmodedness, or politics. Besides, the very aspects that always enable define them as crucial triumphs in the history of art and architecture – innovative, and in most cases, experimental design aspects, materials, technologies – are themselves even more challenges to their preservation.
The architects of the deconstructivism trend have come out as some of the most enthusiastic and effective agents for the preservation of modern urban structural designs. With a twist in focus from material authenticity to adhering to classically architectural objectives, architects have taken the lead in exploring and understanding the values represented by the landscape. Hadid’s opuses areas if they are in another world exemplified by anti-gravity, non – geometry and intricacy. Designers and architects are more and more becoming the leading force behind responsive, economically viable intercessions that reveal and recapture the bearing of these building structures.
Deconstructivism paved its path to reality back in 1988 in the Museum of Modern Art, New York where many architects displayed their work (Zaha 13). Zaha Hadid was one of those featured architects. Her work was exemplified by the intricacy, ambiguity, fragmentation, and antigravity.
Zaha Hadid
Zaha Hadid has grown from an architect who couldn’t see her designs put into application to someone who cannot stop building. Over the last decade, she couldn’t get anything built. Even though she wore the commission to design the opera house two times, local critics took every move to ensure they got other architects in practice.
Today, she is the superstar in architecture, who constantly pushes the borders of art, architectural work, and urban design. She is amongst the professionals best known and pointed after several designs in Japan, Saudi Arabia, China, and Europe. With her enormous personality, effortlessly suitable to the 21stcentury taste for reputable architects, Iraq – born architect and painter Zaha Hadid is the epithet of both art genius and the noble grandeur that always brings it. Her designs experiment with the novel spatial ideas that intensify the existing urban topography in the interests of a visionary aesthetic that includes every aspect of design, varying from urban scale through to products, interiors, and furniture.
Raised in an Iraqi wealthy, liberal family, Zaha Hadid took a different path exploring novel ways of doing things. She dates her interest in art and architectural work back to a childhood visit to the ancient Sumerian urban in Iraq. She was primarily inspired by the fluid topography of the Middle East. Other than political matters her parents exposed her to various cultures while always emphasizing the significance of her heritage as seen in her designs (Zaha 8). Her parents motivated her interest and took her to several architectural exhibitions. Hadid’s earlier experiences heartened credence in open communication between various groups of people. She has resided in London for over four decades she considers it home.
Zaha Hadid graduated with a diploma in architecture from the Architectural Association in 1977. She became an associate of the Office for MA architecture, lectured at Architectural Association. She then headed her first studio at Architectural Association until 1988. Earlier on she was a student at the American University of Beirut in Lebanon where she graduated with a Bachelor of Science in Mathematics in 1971. Her education subjected her to various cultures including Christianity. Hadid’s fascination to take on art and architecture was still quite prominent. However, the main turning point came while she was a student of Architectural Association in London.
After her school, she became involved for years in junior projects and exhibition designs. Surprisingly, most of her competition remained on paper and couldn’t get built. She was considered rather a paper architect whose work could not be executed and put into application. Phrases that she “only excels in academics and cannot put her academics into practice” became a usual gossip (Zaha 9). However, her work becomes more popular in different exhibitions and museums.
ZahaHadid’s first success story came when she was to design a fire station for a German furniture factory; Vitra Furniture. This was criticized to be a triumph on an aesthetic level. Conversely, this building was later converted over as a museum for chairs instead of the initial plan as a fire station. However, she affirmed that this didn’t make the building a failure since it was always premeditated as a multi-functional building (Nicolai). The fire station was later acknowledged as one of the creative structures of late-twentieth-century architectural work.
Criticism couldn’t stop this greatly talented and very persistent strong lady. ZahaHadid even become stronger and began receiving commissions from the Arab community for her originality. She has since been breaking the mold, upturning the applecart to find fluid solutions to rectangular problems. She is a success story everyone wants to tell. She has become well-known as she remains to win the competition after another. She always struggles to get her very original competition entries built while honing her exceptional talent in developing an architectural idiom like none before. Her office supports over five hundred staff and approximately one thousand projects in forty-four countries. Her work includes vast developments such as the Vitra Fire Station, the Rosenthal Centre for Contemporary Art in Cincinnati, Land Formation-One, the BMW Central Building in Leipzig among others.
Architecture ZahaHadid’s Perspective.
Do you believe that the most arrogate building structure is a rectangle? Perhaps, this is the best way of using space, right? For Hadid, it is a different path altogether. At the first sight of her work, you may distrust the perfection of the structure’s functionalities performance. She puts great significance on the exterior form and puts it as a priority during the design. Conversely, you could recognize that her project has achieved its functional tasks in the same way the classical one does. Her projects are exemplified with the element of excitement, exploration, eagerness, and curiosity to see what is next.
Hadid’s structural work is very swishy, bold, and shamelessly flamboyant that they really run the danger of putting experimentation on top of functionality. Zahasays that “we don’t deal with normative ideas and we don’t make nice little buildings” (23). Zaha Hadid’s buildings are different. They are constructed around different organizational patterns which prove that landscape is indeed not a waste of space. “I am trying to discover, invent, I suppose architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their people” (Zaha 25). Her opus cannot be best placed than in the misshapen reality of her arts. She has pursued what has been undeveloped in architecture; vertical, horizontal, perspective, and curves. Zaha does not believe in the common notion that “architecture is only a closed structure that holds the activities it is built for” (23). She insists that architecture should make people calm, think, keep them ‘dry’ and encourage the spirit (27). “Architecture should be the unique thing that leaves its influence in life area while attracting people to experience it”.
Hadid’s work has become a brand that replicates no complex connection to their context while fearlessly demanding the overbearing status of an icon. While sketching, modeling and interpretation have always been integral in the design process of coming up with great architecture, ZahaHadid succeeded in taking quite a different perspective. What makes her oeuvre so unique and fascinating is the manner in which art is used to explore space, form, and the three-dimensional and organizational arrangement. She has used her paintings to deconstruct conceptualization in a reversed sense. Earlier technology did not allow Zaha to effectively pursue and apply various features of her design project. She had to perceive her art from a new perspective. Applying new forms of technology in three-dimensional computer modeling and translation, she uses acrylic on canvas or cartridge paper and silver paint. Her art conveys a complexity of spatial space on a 2D medium with a clean depiction of Hadid’s style through Deconstructivism.
Suprematism and Non-Objective Art
ZahaHadid has pushed the very buttons of Architectural and urban structural designs to new levels. She continues to explore visionary concepts regardless of the fact that most of them have not taken physical form. Her style includes using different appearances of things relative to one another as depicted by their distance from the eye showing the state of extreme mix-up of today’s life. As pointed out by herself, her strength is a curse since “only strong character can make clients run for the hills” (Zaha 49). She portrays her independent concepts on architecture while nurturing to incubate. She damages both the original formal, “principle bound modernism of Le Corbusier and Van der Rohe, and the classic rule of space walls, ceiling, front and back, right angle” (Nicolai). Taken together, she gives them a whole new perspective by reassembling them into what she describes as “a new fluid, kind of spatiality” (Carl), taking a fragment of geometry that is extremely designed to exemplify the disordered fluidity of modern life. Her style denies its own solidness. She delineates the solid structures to make people understand place. Her style communicates different theories while wearing her cultural identity.
Supremacist paintings detail a number of main components that Zaha has shown, such as using color white to represent infinity. This is demonstrated in the scattered pieces of geometry within Malevich’s Tektonik, a final graduation project she pursued at the AA school of Architecture. She denotes “form, space and tectonics with different colored layers of the central complete piece” (Zaha 125). As pointed out by Marshall Cavendish Co., suprematism paintings seek to produce an art that would make the viewer an enthusiastic aspect of the artistic work in an attempt to understand and interpret the art (199). Most of these artists were about seeking the original, pure, and uncontaminated aspects. Having an unending fascination with this trend, ZahaHadid has pursued it in almost all her works, producing pieces of artistic architecture in a studious manner to defy gravity such as the Grand Building in London.
Technique Designs
This section will explore Zaha’s own developed design techniques which she applies in her projects. Her work shows how good she is at observing art, nature, architecture as well as the effective surrounding aspects. Her endless journey to seek the sources of arts’ aesthetics and fundamental aspects that attract people to them qualified her to establish her own techniques (Carl). By putting these techniques into practice, she portrays an unprecedented range of projects exemplified by both uniqueness and creativity.
Abstraction and Fragmentation
Through extensive research in designing space, ZahaHadid discovered Abstraction and Fragmentation as fundamental principles helpful in developing and making use of innovative spaces. Abstraction refers to breaking down the ordinary illustration of perceived objects and the way of dealing with it (Marshall Cavendish Co. 226). Painting with this principle involves portraying objects in volumes and geometrical shapes while trying to manipulate the entire organization through aggregation or overlap. On the other hand, fragmentation involve breaking classical rules of known illustrative architecture, resulting into same structure such as industrial mass production (Marshall Cavendish Co. 229).
These are the most fascinating concepts used by Zaha to develop deconstructivist structures and creative spaces. She applies them in different ways to create form and space such as exemplifying phenomena’ occurrence and representing their act process as a form notion for buildings. For instance, the Vitra Fire station in Germany was configured by generating collision of two primary geometric forming the surface and the alignment of the factory complex within the surrounding and the street (Nicolai). Another instance is the BekoMasterplan in Belgrade where she exemplified melting fashion as a key concept. She also portrayed an explosion concept for the interior design of the Gmurzynska Gallery project in Zurich.

Vitra Fire station in Germany
Concept of the Ground and Gravity.
ZahaHadid has dedicated her effort to attain the task of pursuing the incomplete concept of modernism. She uses the concept of the ground and gravity to break free from the ground. She breaks the common notion of the ground floor by allowing some parts of it to stay without support. Her projects portray this by making the ground absorbent with the intent to let some parts work independently. Zaha employs the use of title columns, fluid, and sloping surfaces in place of using the right – angles. She defends this by saying “There are 360 degrees, so why should we be glued to one?” She affirms that people can only perceive space when they decide to break free from the earth, and “when the point of support disappears” (Zaha 25). Her project which has exaggeratedly portrayed this technique is the Guggenheim Museum in Taiwan. In the Italian Regium Waterfront project, she twists the ground up the sky as if the structure is free off the land and flies.
Further, Hadid applies these techniques to energize the structure façade. The PierresVives project in Montpellier shows some part of block excessively radiate from the building to depict their rebellion to gravity. The ground manipulation idea seen in Edifici Campus project in Barcelona is yet another fascinating technique. The ground of different floors is manipulated to create a multi-grid view.

The design for the Edifici Campus depicting Hadid’s concept of Gravity and the Ground.

Hadid has always relied on intense research done on the site and its environment. Landscaping structures involve elements that make a building as a complementary part of the urban zone image. She embeds and melts the project within the subject by taking consideration of all the possible articulated relationships such as landscape and topography. She drives different features from the subject to project and vice versa throughout the design project. This way, she guarantees harmonic combination into practice. These techniques, such as wall extension as a form of landscaping, affects both the general form and orientation of the structure (Nicolai). In the Stone Towers in Cairo, the walls are expanded and folded to create the pavement of the site designed in a manner to render a sense of affiliation to the origin.

The Stone Towers in Cairo with walls are expanded and folded to form the pavement.
Seamlessness, Fluidity and Play of Masses.
Seamlessness and fluidity are noticeably widespread features in most of Zaha’s projects. She uses concrete to get the intended seamless curves. She avoids commonly used right – angle while designing her work by bending the surface in order to render the sense of continuity in fluid space. This technique is achieved by inclining surfaces towards the interior or exterior. It gives more convertible and exposed surfaces which enable the natural light to enter deeply through the building. Example is the Michigan’s Eli and Edythe Art Museum. Another example where people can experience fluidity is displayed in MAXXI Museum in Rome.
In addition, Zaha applies the factor of daylight intensively adding motion to shadow elements and life to the elevation. She uses this form by manipulating masses organization rendered in blocks as fragmentation, overlap, articulation, and juxtaposition (Zaha 203).
I believe very much in the power of mythic imagery. It is one of the fundamental mechanisms implicated in the design process. Architects have a variety of imagery that are mixed and buried deep into others’ subconscious which they apply unconsciously during the design process. ZahaHadid is becoming a world leader in this. Her design is unbelievably astonishing. Everybody would fall in love with the MAXXI museum at first sight, especially with its overlapping walkways and disheveled concrete limbs. Her best constructs are sensual and intoxicating. ZahaHadid is an extraordinary force of nature. She is “the kind of new flesh for the new century.” For her critics, however, ZahaHadid is something else. Today the world considers her as an impressive architect who has endured to pursue hubristic and convoluted fantasies.

Work Cited
Hadid, Zaha. ZahaHadid. New York: Guggenheim Museum Publications, 2010. Print.
Lewis, Anna M. Women of Steel and Stone: 22 Inspirational Architects, Engineers, and
Landscape Designers. Chicago: Chicago Review Press, 2014. Internet resource.
Marshall Cavendish Co. Islamic Beliefs, Practices, and Cultures. Tarrytown, N.Y: Marshall
Cavendish Reference, 2010. Print.
Ouroussoff, Nicolai. “ZahaHadid: A Diva for the Digital Age.” Art and Design. The New York
Times, 2 June 2006. Web. 9 April 2014.
Swanson, Carl. “The Zaha Moment.” The New York Art. 14 July 2013. Web. 9 April 2014.