![]() 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. It’s been a long, hard road and a travesty that she had to pay the price of discrimination in a profession that should know better.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. Her company employs more than 400 people and works on projects globally with a turnover of £44m a year. But she had to fight the establishment at great personal cost. Zaha was single and often worked all-nighters. Alarmingly, many drop out after seven years’ training and a decade in practice, juggling families. Today, 40-odd years later, they make up 24%. When Zaha was at the AA about 6% of the profession were women. There is still enormous prejudice though.” It’s changed – 30 years ago people thought women couldn’t make a building. Zaha told the Architects’ Journal: “There is still a stigma against women. She was the first woman in her own right to be awarded Riba’s royal gold medal, almost 100 years after the suffragette Ruth Lowy forced the AA to accept female students. Her drawings and paintings are like Le Corbusier, Scharoun and El Lissitzky on speed – full of colour and oscillating from earth-shattering shards to dynamic fluid space. From childhood she was experimenting with space and form, fashion and furniture. She was not only an architect but a designer in every sense of the word. For Muslims, minorities and women, Zaha is a shining torch beaming into the dark minds for whom a few tiles falling off a building seemed a justification to dismiss her work. Very few people realise the misogynistic, racist and anti-architect environment she had to navigate in Britain. ![]() Jealousy and prejudice failed to bar her way, but it took its toll. She did not fit the stereotypical white male profession of registered architects. Zaha was an outsider and upfront about the unfair treatment she experienced as a woman, a foreigner and a designer of expensive, weird-looking buildings – a triple whammy. Her work wasn’t considered good enough and she stormed out of that office determined to “show them”, and show them she did – winning the coveted AA Diploma prize in 1977 the Pritzker prize in 2004 the Royal Institute of British Architects’ Stirling prize in 20, and last year the Riba royal gold medal. Zaha appeared, tears streaming down her face, angry and shaking. ![]() I will never forget the day I sat outside the principal’s office hearing raised voices. Z aha Hadid was a few years ahead of me at the Architectural Association (AA). ![]()
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