An intemperate fluency | Marcelo Gardinetti

Environment of the Center Heydar Aliyev, Zaha Hadid | Photography: Iwan Baan

Most of the works realized in the last years by Zaha Hadid turns out to be works structured under decisively singular bosses of design, where the rough lines of his formal statement constitute the axis of his emblems, over any other variable. These generatrices applied of a strict way in his works, produce works of extravagant figures that can be weighted or be discredited by the same emphasis without none of two valuations leaves margin for doubts.

Between the mentioned works, the design for the Center Heydar Aliyev fits perfectly with these definitions. The used grafía promotes the sculptural impulse that allows the project to define his univocal character, characteristic that is out of discussion. Nevertheless, the distance between both disciplines, architecture and sculpture, does appearance in the rest of the variables of analysis.

The character of the building comes out the characteristics of the site, decision that can be shared or not, but that does not invalidate it for yes same. This one is another characteristic in Hadid’s work: the building proposes a disagreement with his environment to accentuate the kindness of his designs, but in this decision also nake all his lacks.

Center Heydar Aliyev, Zaha Hadid | Photography: Iwan Baan

The Center emerges of the soil as a natural fold expanded as element arisen from the nature, though it does not correspond with the kindness of this one. The difference between the paradoxical emulation of the natural forms and an integration established with the site, it confirms the duality of criteria expressed previously. In this aspect, the widespread surfaces attack the gardens of the center to formulate his scenery on the soil, but in this operation it conceals the kindness of the nature under surfaces without use.

This continuity expressed between the site and the building, the exterior and the interior, which expresses in wavinesses and structural folds, results so seductora in the accesses to the center as like expulsiva in the rest of the sides. The communion of the program with the used profiles offers opaque and formless wings where the visitor turns out to be driven of the sides of the object for the improper character of the forms.

A gesture propitiated in one of the sides of the building allows to accede to a foyer that includes all the heights. This space is subdued by the principal stairs, plastic entity that turns out to be an element distinguished from design, probably most achieved inside the Center.

The continuity of the exterior surfaces inside the building accentuates the tensions created by the improper density of become warped lines. These qualities depress the spatial wealth generated in the escalonamiento of the balconies and the changeable points of view that the tour offers. Likewise, the material used in the coatings offers an ossified, uniform and slippery texture, which composes a tactile language lacking in warmth and slightly sensitively to the visitor.

Interior of the Center Heydar Aliyev, Zaha Hadid | Photography: Iwan Baan

The lighting applied on the surrounding one as split cracks highlights the whitish sheen of the coatings, event that emphasizes the glassy characteristics of the surfaces.

The structural genesis of the building is composed by a secret structure of concrete inside a grid of steel. This alliance allows to make concrete the projected geometries and to achieve free suitable surfaces for the functioning of the museum, the audience and the library of the Center.

The use of fiber of glass reinforced as exterior coating grants to the set this unusual plasticity and allows to exhibit a changeable appearance of agreement at the moment of the day, product of the reflection of the solar light or the filtration of the light from the interior during the night.

Interior of the Center Heydar Aliyev, Zaha Hadid | Hufton&Crown

Hadid’s new work turns out to be a suggestive building dominated by an intemperate, improper character in the use of the same resource. The used geometry dazzles for the plasticity of his forms, but his architecture, since in the majority of his works, continues avoiding qualitative solutions and ends up by coordinating expressions without another purpose that his own paradox.

Marcelo Gardinetti. architect

La Plata. december 2013

Marcelo Gardinetti

No voy a hablar de la penumbra, mejor voy a ver si puedo despertar.

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