With a sad heart I thought I would share some quotes, some posts and just a smattering of the rich legacy Zaha left behind….
Zaha Hadid: ‘Would they still call me a diva if I was a man?’
By Sheena McKenzie, CNN
“Zaha Hadid’s work transcended a specific gender, religion, culture or space.”
SyndiGate.info http://www.albawaba.com/via dezeen.com bit.ly/1WoibNy & pinterest
Zaha Hadid 1950-2016: following the death of Zaha Hadid, we’ve updated our Pinterest board dedicated to her buildings to include more of the Pritzker-Prize winning architect’s ambitious and critically-acclaimed work. https://www.pinterest.com/dezeen/zaha-hadid-architects/ #architecture #pritzger #architects #zaha #zahahadid #starchitects
Images via Dezeen and Pinterest
“Her architecture was modern and futuristic with very noticeable sensuous lines, she brought a femininity to Modernism.”
Rem Koolhaus “I think she made an enormous contribution as a woman, but her greatest contribution is as an architect.”
“Step into one of her best buildings, and you feel anything is possible” Amanda Baillieu
Nick Hufton and Allan Crow have shared their favourite images
Zaha Hadid 1950-2016 ParadigmGallery/facebook April 4,2016images via Dezeen : bit.ly/1RWTqF3Nick Hufton and Allan Crow have shared their favorite images of her buildings…via Spotlight Zaha Hadid
(Virgile Simon Bertrand, Courtesy of the RIBA Architecture & Zaha Hadid Architects)
(Christian Richters, Courtesy of the RIBA Architecture & Zaha Hadid Architects)
“There are 360 degrees, so why stick to one?” Zaha Hadid
“As a woman, I’m expected to want everything to be nice and to be nice myself. A very English thing. I don’t design nice buildings – I don’t like them. I like architecture to have some raw, vital, earthy quality.” Zaha Hadid
A is for Aulenti
Gae Aulenti 1927-1912
We begin this retrospective with Gae Aulenti (December 4, 1927 – October 31, 2012) an Italian architect, lighting and interior designer, and industrial designer. She was well known for several large-scale museum projects, including Musée d’Orsay in Paris (1980–86), the Contemporary Art Gallery at the Centre Pompidou in Paris, Palazzo Grassi in Venice (1985–86), and the Asian Art Museum of San Francisco (2000–2003). Information via Wikipedia
Quote: “advice to whoever asks me how to make a home is to not have anything, just a few shelves for books, some pillows to sit on. And then, to take a stand against the ephemeral, against passing trends…and to return to lasting values.”
Sparsal Rocking Chair 1962
Gae Aulenti Italian Architect , Industrial Designer
Sparsul Rocking Chair 1962
Gae Aulenti Italian Architect and Industrial Designer
tavolo con ruote
Tour Table by Gae Aulenti
Available through: www.mintshop.co.uk
Architect and Industrial Designer at Home
Architect and Industrial Designer at Home
Ms. Aulenti was one of the few Italian women to rise to prominence in architecture and design in the postwar years. Her work includes villas for the rich, showrooms for Fiat, shops for Olivetti, pens and watches for Louis Vuitton, and a coffee table on wheels that is in the collection of the Museum of Modern Art in New York.
“I’ve always worked for myself, and it’s been quite an education. Women in architecture must not think of themselves as a minority, because the minute you do, you become paralyzed. It is most important to never create the problem.” Gae Aulenti
Brandt will forever be associated with the ‘Bauhaus’. During the mid to late 1920’s Marianne Brandt was at the peak of her creative flow. She produced numerous designs, in quick succession, that are now considered icons of ‘Bauhaus’ design.
She was born in Germany in 1893. In 1911, Marianne went to study painting and sculpture at the Grand-ducal College of Fine Arts in Weimar, and remained there for seven years. Following her schooling, Marianne married a Norwegian painter named Erik Brandt.
The couple lived in Norway and the South of France, before joining the Weimar Bauhaus in 1923. At Bauhaus, Marianne became a student of László Moholy-Nagy, a Hungarian modernist theorist and designer, in the metal workshop. Erik Brandt returned alone to Norway, and the couple would eventually divorce 12 years later.
“(Our furniture is) suited to our existence, in proportion to our rooms and in accordance with our aspirations and feelings.” -Eileen Gray
Unlike most of the other women who made an impact on early 20th century design, Irish-born Eileen Gray did not have the advantage of working with a powerful male mentor. As a woman, Eileen Gray was also denied access to the supportive networks from which her male contemporaries benefited.
Even facing such challenges, Eileen Gray distinguished herself and is now regarded as one of the most important furniture designers and architects of the early 20th century. In addition, she has been one of the most influential women in these fields. Her distinctive design style has inspired both modernism and “Art Deco”.
Eileen Gray initially sought after a career in drawing and painting. When she was 20 years old, she attended classes at the Slade School of Fine Art in London. After several years, and moves to Paris, Ireland, then back to London, Gray found that her drawing and painting courses were becoming less satisfying. She took an interest in lacquer work after coming across a lacquer repair shop in Soho.
“(California design) is not a superimposed style, but an answer to present conditions. It has developed out of our own preference for living in a modern way.” —Gretta Grossman
Greta Magnusson Grossman often appeared alongside midcentury greats. She designed houses, interiors, and furniture, and gained a loyal and following that remains to this day.
Though she never gained the same level of fame as that of many of her contemporaries, she maintained a prolific forty-year career on two continents, Europe and North America, with achievements in industrial design, interior design, and architecture. Her work is remains admired and sought after by people around the world.
Greta Magnusson Grossman was a Swedish born architect and designer. When she landed in California in 1940, she declared that she needed “a car and some shorts.” As a new immigrant, it was the most American idea she could think of. At this point, Grossman was already an accomplished interior designer in her native land of Sweden.
She’d taken on numerous commissions in Stockholm, designing unique furniture and interiors. She’d garnered abundant press attention and accolades, and her work was exhibited frequently at “Galerie Moderne”, a cultural mecca in Stockholm at the time.
“We know immediately that we are in the presence of a force of nature, a woman of no uncertain opinions, a person possessed of deep convictions and profound spiritual experiences.”
– Excerpt from ‘Marion Mahony Reconsidered’
Born in Chicago, Illinois, Marion Mahony graduated from MIT in 1894, and was one of the first women to receive a degree in architecture. Her work in architecture began with the encouragement of her first cousin, Dwight Perkins, who had completed a program in MIT’s Department of Architecture three years earlier.
Though Marion was extremely talented, she struggled at times with her place in both society and the field of architecture. At MIT, she was unsure of her ability to complete the thesis required for her bachelors degree. However, her professor, Constant-Désiré Despradelle, pushed her forward.
After graduating from MIT, Mahony worked in her cousin’s architecture firm, which shared space with many architects, including Frank Lloyd Wright. In 1895 Mahony was the first employee hired by Frank Lloyd Wright. During her time working with Wright, Marion designed a variety of works, including: