扎哈·哈迪德（Zaha Hadid）英国人，2004年普利兹克建筑奖获奖者。 1950年出生于巴格达，在黎巴嫩就读过数学系，1972年进入伦敦的建筑联盟学院AA学习建筑学，1977年毕业获得伦敦建筑联盟(AA，Architectural Association)硕士学位。此后加入大都会建筑事务所，与雷姆·库哈斯和埃利亚·增西利斯一道执教于AA建筑学院，后来在AA成立了自己的工作室，直到1987年。哈迪德至今一直从事学术研究，曾在哥伦比亚大学和哈佛大学任访问教授，在世界各地教授硕士研究生班和各种讲座。
2010年4月 广州歌剧院（Guangzhou Opera House）
2006年－2010年 伊芙琳·格雷斯学院（Evelyn Grace Academy）
2005年－2010年 达飞轮船有限公司总部（CMA CGM Headquarters）
1993年 维特拉消防站（Vitra Fire Station）
1996年－1999年 莱茵河畔威尔城园艺展览馆（Landesgartenschau / Landscape Formation One）
2004年－2007年 Nordpark火车站（Nordpark Railway Stations）
1997年－2003年 Lois & Richard Rosenthal当代艺术中心（Lois & Richard Rosenthal Center for Contemporary Art）
2000年－2005年 Phaeno科技中心（Phaeno Science Centre）
1998年－2001年 Hoenheim-Nord总站及停车场（Hoenheim-Nord Terminus and Car Park）
2007年－至今 Heydar Aliyev文化中心（Heydar Aliyev Centre）
2009年－至今 望京SOHO（Wangjing Soho）
2004年– 2011年 格拉斯哥河畔运输博物馆（Glasgow Riverside Museum of Transport）
2008年– 2010年 香奈儿流动艺术展馆（Mobile Art Chanel Contemporary Art Container）
2005年– 2011年 伦敦水上运动中心（London Aquatics Centre）
2001年– 2005年 宝马中央大厦（BMW Central Building）
2001年– 2005年 Ordrupgaard博物馆扩建（Ordrupgaard Museum Extension）
2001年– 2006年 Maggie的中心Fife （Maggie’s Centre Fife）
2009年 巴赫室内演奏厅（JS Bach Chamber Music Hall）
2003年– 2005年 普埃尔塔美国酒店（Hotel Puerta America）
2005年– 2008年 萨拉戈萨桥馆（Zaragoza Bridge Pavilion）
1999年– 2002年 Bergisel滑雪跳台（Bergisel Ski Jump）
2003年– 2006年 宝马展示厅（BMW Showroom）
2009年 伯纳姆馆（Burnham Pavillion）
2006年– 2011年 首都山住宅（Capital Hill Residence）
2004年–至今 城市生活Milano（CityLife Milano）
2007年–至今 首尔东大门公园和广场（Dongdaemun Design Park & Plaza）
2008年–至今 Dorobanti大厦（Dorobanti Tower）
2006年–至今 Edifici Torre Espiral
2007年–至今 Eli & Edythe Broad艺术博物馆（Eli & Edythe Broad Art Museum）
2008年–至今 Fraunhofer ISC Technikum III
2009年–至今 银河SOHO（Galaxy Soho）
1986年– 1993年 IBA住宅（IBA Housing）
2008年–至今 图书馆和学习中心（Library and Learning Center）
2009年–至今 国王阿卜杜拉石油学习和研究中心（King Abdullah Petroleum Studies and Research Center）
2003年–至今 那不勒斯-Afragol高速列车站（Napoli-Afragola High Speed Train Station）
2008年–至今 Next Gene 建筑博物馆（Next Gene Architecture Museum）
2001年–至今 One North总体规划（One North Masterplan）
2002年–至今 Pierres Vives 大厦（Pierres Vives Building）
1999年– 2012年 萨勒诺海上码头（Salerno Maritime Terminal）
2008年–至今 Symbiotic 别墅（Symbiotic Villa）
未知 新校园中心（New Campus Center）
巴林国际赛道（Bahrain International Circuit）
宏伟的建筑物-特拉法加广场（Grand Buildings, Trafalgar Square）
Kartal Pendik总体规划（Kartal Pendik Masterplan）
伦敦2066 （london 2066）
山顶休闲俱乐部（The Peak Leisure Club）
“房子”俱乐部（Home House Club）
艺术边框墙纸（Art Borders Wallpaper）
Belu 长凳（Belu Bench）
2007威尼斯双年展：沙丘形态（Dune Formations, Venice Biennale 2007）
动中形式（Form in Motion）
Genesy 灯（Genesy Lamp）
ZH系列门把手（Series ZH Door Handles）
Zaha Hadid Becomes the First Woman to Receive the Pritzker Architecture Prize
Los Angeles, CA—Zaha Hadid, an Iraqi born British citizen has been chosen as the 2004 Laureate of the Pritzker Architecture Prize marking the first time a woman has been named for this 26 year old award. Hadid, who is 53, has completed one project in the United States, the Richard and Lois Rosenthal Center for Contemporary Art in Cincinnati, Ohio; and is currently developing another to co-exist with a Frank Lloyd Wright structure, the Price Tower Arts Center in Bartlesville, Oklahoma.
Her other completed projects in Europe include a fire station for the Vitra Furniture Company in Weil am Rhein, Germany; LFone/ Landesgartenschau, an exhibition building to mark the 1999 garden festival in that same city; a car park and terminus Hoenheim North, a “park and ride” and tramway on the outskirts of Strasbourg, France; and a ski jump situated on the Bergisel Mountain overlooking Innsbruck, Austria.
She has numerous other projects in various stages of development, including a building for BMW in Leipzig, and a Science Center in Wolfsburg, both in Germany; a National Center of Contemporary Arts in Rome; a Master Plan for Bilbao, Spain; a Guggenheim Museum for Taichung, Taiwan; and a high speed train station outside Naples; and a new public archive, library and sport center in Montpellier, France.
In announcing the jury’s choice, Thomas J. Pritzker, president of The Hyatt Foundation, said, “It is gratifying to us as sponsors of the prize to see our very independent jury honor a woman for the first time. Although her body of work is relatively small, she has achieved great acclaim and her energy and ideas show even greater promise for the future.”
Pritzker Prize jury chairman, Lord Rothschild, commented, “At the same time as her theoretical and academic work, as a practicing architect, Zaha Hadid has been unswerving in her commitment to modernism. Always inventive, she’s moved away from existing typology, from high tech, and has shifted the geometry of buildings.”
Continuing, Lord Rothschild said, “In her fourth year at the Architectural Association in London, as a student of Rem Koolhaas (himself a recent recipient of the Pritzker Prize) her graduation project was called Malevich’s Tectonik. She placed a hotel on the Hungerford Bridge on the Rivers Thames, drawing from suprematist forms to meet the demands of the program and the site. It’s a happy coincidence therefore that this year’s prize ceremony should be taking place in St. Petersburg, Russia, where Malevich lived and worked, a city of extraordinary beauty and originality.”
The formal ceremony for what has come to be known throughout the world as architecture’s highest honor will be held on May 31, 2004. At that time, a $100,000 grant and a bronze medallion will be bestowed in the State Hermitage Museum followed by a reception and dinner in the Grand Peterhof Palace. The prize presentation ceremony moves to different locations around the world each year, paying homage to historic and contemporary architecture.
Juror Frank Gehry, who is also the 1989 Pritzker Laureate, said, “The 2004 laureate is probably one of the youngest laureates and has one of the clearest architectural trajectories we’ve seen in many years. Each project unfolds with new excitement and innovation.” A new juror this year, journalist Karen Stein who is editorial director of Phaidon Press, commented, “Over the past 25 years, Zaha Hadid has built a career on defying convention—conventional ideas of architectural space, of practice, of representation and of construction.”
Rolf Fehlbaum, chairman of the board of Vitra, who also became a juror this year, said, “Without ever building, Zaha Hadid would have radically expanded architectures repertoire of spatial articulation. Now that the implementation in complex buildings is happening, the power of her innovation is fully revealed.”
Juror and architecture critic Ada Louise Huxtable said of the choice, “Zaha Hadid is one of the most gifted practitioners of the art of architecture today. From the earliest drawings and models to current buildings and work in progress, there has been a consistently original and strong personal vision that has changed the way we see and experience space. Hadid’s fragmented geometry and fluid mobility do more than create an abstract, dynamic beauty; this is a body of work that explores and expresses the world we live in.”
Another juror, Carlos Jimenez from Houston, who is professor of architecture at Rice University, said, “Presaged by an inimitable graphic and formal exuberance, Zaha Hadid’s work reminds us that architecture is a siphon for collective energies, a far cry from the stand alone building, perennially oblivious to the vitality of the city.” And from juror Jorge Silvetti, who is a Professor of Architecture, Graduate School of Design at Harvard University, “Zaha Hadid’s buildings are today among the most convincing arguments for the primacy of architecture in the production of space. What she has achieved with her inimitable manipulation of walls, ground planes and roofs, with those transparent, interwoven and fluid spaces, are vivid proof that architecture as a fine art has not run out of steam and is hardly wanting in imagination.”
Bill Lacy, an architect, spoke as the executive director of the Pritzker Prize, “Only rarely does an architect emerge with a philosophy and approach to the art form that influences the direction of the entire field. Such an architect is Zaha Hadid who has patiently created and refined a vocabulary that sets new boundaries for the art of architecture.”
Born in Baghdad Iraq in 1950, Zaha Hadid commenced her college studies at the American University in Beirut, in the field of mathematics. She moved to London in 1972 to study architecture at the Architectural Association and upon graduation in 1977, she joined the Office of Metropolitan Architecture (OMA). She also taught at the Architectural Association (AA) with OMA collaborators Rem Koolhaas and Elia Zenghelis.
She began her own practice in London in 1980 and won the prestigious competition for the Hong Kong Peak Club, a leisure and recreational center in 1983. Painting and drawing, especially in her early period, are important techniques of investigation for her design work. Ever since her 1983 retrospective exhibition at the AA in London, her architecture has been shown in exhibitions worldwide and many of her works are held in important museum collections.
Known as an architect who consistently pushes the boundaries of architecture and urban design, her work experiments with new spatial concepts intensifying existing urban landscapes and encompassing all fields of design, from the urban scale to interiors and furniture.
She is well-known for some of her seminal built works, such at the Vitra Fire Station (1993), Weil am Rhein, Germany, the Mind Zone at the Millennium Dome (1999) Greenwich, UK, a ski jump (2002) in Innsbruck, Austria and the Rosenthal Center for Contemporary Art (2003) in Cincinnati, Ohio. Parallel with her private practice, Hadid has continued to be involved in academics, holding chairs and guest professorships at Harvard University, Yale University, the University of Illinois at Chicago, Columbia University, the University of Visual Arts in Hamburg and the University of Applied Arts in Vienna.
The architectural career of Zaha Hadid has not been traditional or easy. She entered the field with illustrious credentials. Born in Baghdad, she studied at the highly regarded Architectural Association in London, was a partner in the avant-garde Office of Metropolitan Architecture with Rem Koolhaas, and has held prestigious posts at one time or another at the world’s finest universities including Harvard, Yale, and many others. Much admired by the younger generation of architects, her appearance on campuses is always a cause for excitement and overflowing audiences.
Her path to worldwide recognition has been a heroic struggle as she inexorably rose to the highest ranks of the profession. Clients, journalists, fellow professionals are mesmerized by her dynamic forms and strategies for achieving a truly distinctive approach to architecture and its settings. Each new project is more audacious than the last and the sources of her originality seem endless.
Ms. Hadid has become more and more recognized as she continues to win competition after competition, always struggling to get her very original winning entries built. Discouraged, but undaunted, she has used the competition experiences as a “laboratory” for continuing to hone her exceptional talent in creating an architectural idiom like no other.
It is not surprising that one of the architects whose work Ms. Hadid admires is another Pritzker Prize winner, the preeminent South American author of Brasilia, and other major works—Oscar Niemeyer. They share a certain fearlessness in their work and both are unafraid of risk that comes inevitably with their respective vocabularies of bold visionary forms.
The competition winning phase of Ms. Hadid’s career gradually began to result in built works such as the Vitra Fire Station, the LFone in Weil am Rhein, the Mind Zone in the Millennium Dome and reached a recent high point with the opening of the critically acclaimed Rosenthal Center for Contemporary Art in Cincinnati, Ohio.
The full dimensions of Ms. Hadid’s prodigious artistic outpouring of work is apparent not only in architecture, but in exhibition designs, stage sets, furniture, paintings, and drawings.
The jury is pleased to acknowledge one of the great architects at the dawning of the twenty-first century by awarding the 2004 Pritzker Architecture Prize to Zaha Hadid, to commend her extraordinary achievements, and to wish her continued success.
Ceremony Acceptance Speech
Dear Cindy Pritzker, Tom Pritzker and Pritzker Family, dear members of the jury, friends and colleagues, ladies and gentlemen, this is a great honor, and to be honest … it is a delicious pleasure to receive this very special award.
We all have to thank the Pritzkers for promoting innovative architecture in this special way.
When I met Jay and Cindy Pritzker with the Palumbos at Mies’s Farnsworth House seven years ago I had no idea that I myself would one day be able to enjoy their generous sponsorship of architecture.
The honor of this prize comes at a very busy time, and affords me a welcome break for reflection.
I would like to take this moment as an opportunity—I guess long overdue—to thank my family, friends, teachers, students, collaborators and clients—who supported me for so many years, who share my passion for architecture, and who continue to encourage me in my ambitions. Thank you all—I really appreciate this.
There are some names I should mention in particular: Rem Koolhaas and Elia Zenghelis have been crucial as my teachers. Their understanding and enthusiasm for architecture first ignited my ambition and their encouragement taught me to trust even my strangest intuitions.
The late Alvin Boyarsky—the fantastic chairman of the Architectural Association during my student years and years as teacher—offered me my first platform to expose my ideas. He cut a clearing into the professional world of architecture—to erect a platform for experimentation.
The late Peter Rice deserves acknowledgement as a brilliant engineer who gave me his weighty support and encouragement early on, at a time when my work seemed difficult to build.
I would like to thank Rolf Fehlbaum for his commitment and faith as the client who granted me the time and artistic freedom to cast my vision of space into concrete for the first time. Naturally my oeuvre is the work of many talents and many more hard working hands.
As the work expands one of the prime tasks is to forge a group of inspired collaborators: Michael Wolfson and Brian Ma Siy at the beginning, Markus Dochantschi, as well. Currently my team leaders include among others: Graham Modlen, Woody Yao, Jim Heverin, Christos Passas, Stephane Hof, Sarah Klomps, Gianluca Racana, Paola Cattarin, Ken Bostock and Jan Hübener.
Finally, I would like to acknowledge the tremendous contribution of Patrik Schumacher. As a congenial collaborator for many years and years to come, he brings a substantial influence to the work. There are many more people who have a share in the efforts which have been awarded with this great prize. Many of those are here today. Thank you all!
Before I outline my current ambitions, I would like to reflect upon some formative influences in the development of my career. The first thing I might mention is my secular modern upbringing in Iraq. I have to thank my parents for their enlightened open-mindedness and selfless support.
As in so many places in the developing world at the time there was an unbroken belief in progress and a great sense of optimism about the potential of constructing a better world. Although the historical momentum of this period could not be sustained, I never lost this underlying sense of optimism.
It seemed my elder brothers shared this spirit. I wonder which clues inspired them when they suggested that I should become Iraq’s first woman astronaut, or study architecture in Russia.
The spirit of adventure to embrace the new and the incredible belief in the power of invention indeed attracted me to the Russian Avant-Garde. This was when I joined Rem and Elia’s studio at the AA in London in the mid-seventies.
Studying the revolutionary Russian work I realized how Modern architecture built upon the break-through achieved by abstract art as the conquest of a previously unimaginable realm of creative freedom. Art used to be re-presentation rather than creation. Abstraction opened the possibility of unfettered invention.
The engagement with Malevitch and El Lissitzky in my early work at the AA allowed me to relive this exhilarating historical moment. It was important to go back to this original fountain of energy that had inspired modern architecture. In fact, here was an unbelievable enthusiasm and an unexpected diversity of approaches. (I very much hope that these treasures of the early avant-garde architecture can survive the current surge of economic expansion we are witnessing in Russia today.)
One concrete result of my fascination with Malevitch in particular was that I took up painting as a design tool. This medium became my first domain of spatial invention. I felt limited by the poverty of the traditional system of drawing in architecture and was searching for new means of representation.
The obsessive use of isometric and perspective projection led to the idea that space itself might be warped and distorted to gain in dynamism and complexity without losing its coherence and continuity. Despite its abstractness—this work was always aimed at architectural reality and real life.
One of the tasks I set for myself was the continuation of the unfinished project of modernism, in the experimental spirit of the early avant-garde—radicalizing some of its compositional techniques like fragmentation and layering.
The meaning of fragmentation is to open the hermetic volumes, to offer porosity instead of fortification.
I have always been concerned with the animation of the ground condition. The ground has the highest urban potential and has been neglected by traditional architecture. The ground plane should open up and multiply. I use the concept of artificial landscape and topography as a means to impregnate the ground with activities without losing the fluidity and seamlessness of the urban geometry. Ultimately architecture is all about the creation of pleasant and stimulating settings for all aspects of social life. However, contemporary society is not standing still. Spatial arrangements evolve with the patterns of life.
As Mies van der Rohe said: “Architecture is the will of an epoch, living, changing, new.” I think what is new in our epoch is a new level of social complexity. There are no simple formulae anymore. No global solutions and little repetition.
I believe that the complexities and the dynamism of contemporary life cannot be cast into the simple platonic forms provided by the classical canon, nor does the modern style afford enough means of articulation. We have to deal with social diagrams that are more complex and layered when compared with the social programs of the early modern period.
My work therefore has been concerned with the expansion of the compositional repertoire available to urbanists and designers to cope with this increase in complexity. This includes the attempt to organize and express dynamic processes within a spatial and tectonic construct.
This ambition operates on many scales: from the organization of whole urban fields, via various building scales, down to the interior spaces.
The initial sense of abstractness and strangeness is unavoidable and not a sign of personal willfulness. My primary concern has always been with organization rather than with expression.
At the same time as a restless society pushes architecture by posing a new set of characteristic problems, the new digital design tools pull architecture into an uncharted territory of opportunity.
This is one of my current preoccupations: the development of an organic language of architecture, based on these new tools, which allow us to integrate highly complex forms into a fluid and seamless whole.
The exciting thing is that these ambitions have since moved from the canvas onto various construction sites. And I hope this milestone of the Pritzker Prize will give me a further push in this direction.