SotA Anthology 2015-16
same attitude, alternating
between
double
page
spreads printed in black
and white and colour. Being
quite a complex project, the
images work with the text
and the plans reinterpret
the imaginations of the
reader. Interestingly, there
are no sketches from Hadid,
however there is a painting
of hers that was done before
the project. It was originally
in colour but is printed in
black and white, therefore
making this original concept
sketch just as important as
the drawings and models.
We are then compelled to
read the next chapters and
are given a glimpse into
her other projects, such
as Tomigaya and Azabu
Jyuban, both in Tokyo. The
article starts by criticising
Japan as a city, comparing it
to the futuristic movie ‘Blade
Runner’. However, there is
never a real criticism of the
projects: the article merely
describes the architecture
with lots of metaphors and
enticing imagery. Again the
images lead the text and
explain the project; the
readers are immediately
drawn to the images.and
are then incited to read the
article. The images shown
are ones that its architect
readers should be able to
comprehend, making this
article quite effective.
Twenty-three years on, in the
January 2014 Architectural
Review, Hadid had enjoyed
a very successful career
and had finished her latest
project, in Azerbaijan. In
this issue, the completely
white image invades the
whole front cover (see
below). There is neither title
nor any information, but
immediately we recognise
the style and are intrigued,
and continue to flick though
the pages to see the rest of
the images enclosed. Inside
we encounter another bright
white image, however this
one is crowded with people
in the left-hand corner,
and in the opposite corner
a huge title, ‘Peak Flow’.
Again there is no mention
of the architect, only the
country - Azerbaijan, a
country of money! Flicking
the page, we are confronted
with a very powerful image
which shows the full extent
of the Zaha aesthetics, the
exterior shelll of the
building against the desert
background and blue sky.
The next five pages are
purely images and plans,
and clearly indicates the
need for them because
all seven floor plans are
shown; the images are not
showing any architectural
quality but rather, a well
composed, purely aesthetic
photograph.
However,
unlike
the
previous article, the text
does not correspond with
the images. Nor does it
describe the spaces and
what the intentions behind
the design are, other than
to produce something that
does not conform to the
generic rules of architecture;
but by now, shouldn’t the
reader know this already?
The imagery in the article
is very repetitive: the front
cover is similar to the first
image in the article, which
also finishes with one very
similar. They all show a
sweeping white whirlpool of
what seems to be the main
space. There is no indication
of any space because, as
if we are up in the clouds,
walls, floors and ceilings
do not exist. As a finished
Figures 2-5: AR January 2014 cover, and inside spread