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zaha m. hadid : contemporary art museum ..........................................................................................................................................................................
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| zaha m. hadid - and her 'unpredictable' buildings for contemporary art museums |
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| august 2001, zaha hadid is a london-based architectural designer whose work encompasses all fields of design, ranging from urban scale through to products, interiors and furniture. central to her concerns is a simultaneous engagement in practice, teaching and research, in the pursuit of an uncompromising commitment to modernism. from the beginning of her career hadid reworked the concept of how to organize public spaces. art museums' buildings must respond to highly representative and aesthetic demands, while also fulfilling specific requirements with regard to urban design and function. her projects for the here illustrated contemporary art museums are a major contribute to the general discussion on 'how to exhibit works of art'. what attracts you most to the project of designing buildings for contemporary art museums? zaha hadid: 'I love painting, but the idea of art has changed from painting. the spaces in these centers don't have to be defined by the need for walls to hang pictures on. we can and should get away from the box, from niety-degree angles. over the past thirty years, artists have been engaged in a sometimes covert, always critical relationship to the institutions that ultimately house their works. minimalism, conceptualism, performance, installation art have sought to disrupt the chain that leads from artwork to commodity to collecting institutions. the legacy of 'objectless' art production must be confronted in any attempt to conceive of a new museum or gallery.' the white 'neutrality' of most 20th century museums, with its aspiration towards the polyvalent exhibition space is obsolete? zaha hadid: 'now, this disposition must be challenged, not simply out of wilful negation, but by the necessity for architecture to continue its critical relationship with contemporary social and aesthetic categories. since absolutism has been indefinitely suspended from current thought on the issue of art presentation, it is towards the idea of the 'maximising exhibition' that we gravitate. the 'signature' aspect of an institution is sublimated into a more pliable and porous organism that promotes several forms of identification at once.' ---  ------- monthly designboom newsletter ------- ------- ? comments and contact us ? -------  |
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