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ABOUT ZAHA HADID – Architect + Artist + Designer + Extraordinary Woman
Dame Zaha Mohammad Hadid DBE RA (31 October 1950 – 31 March 2016) was an Iraqi-British architect.
She was the first woman to receive the Pritzker Architecture Prize, in 2004. She received the UK’s most prestigious architectural award, the Stirling Prize, in 2010 and 2011.
In 2012, she was made a Dame by Elizabeth II for services to architecture, and in 2015 she became the first and only woman to be awarded the Royal Gold Medal from the Royal Institute of British Architects.
She was described by The Guardian of London as the “Queen of the curve”, who “liberated architectural geometry, giving it a whole new expressive identity”. Her major works include the aquatic centre for the London 2012 Olympics, Michigan State University’s Broad Art Museum in the US, and the Guangzhou Opera House in China. Some of her designs have been presented posthumously, including the statuette for the 2017 Brit Awards, and several of her buildings were still under construction at the time of her death, including the Al Wakrah Stadium in Qatar, a venue for the 2022 FIFA World Cup.
The architectural style of Hadid is not easily categorised, and she did not describe herself as a follower of any one style or school. Nonetheless, before she had built a single major building, she was categorised by the Metropolitan Museum of Art as a major figure in architectural deconstructivism. Her work was also described as an example of parametricism. An article profiling Hadid in the New Yorker magazine was titled “The Abstractionist”.
When she was awarded the Pritzker Prize in 2004, the jury chairman, Lord Rothschild, commented: “At the same time as her theoretical and academic work, as a practicing architect, Zaha Hadid has been unserving in her commitment to modernism. Always inventive, she’s moved away from existing typology, from high tech, and has shifted the geometry of buildings.”
The Design Museum described her work in 2016 as having “the highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life”.
Hadid herself, who often used dense architectural jargon, could also describe the essence of her style very simply: “The idea is not to have any 90-degree angles. In the beginning, there was the diagonal. The diagonal comes from the idea of the explosion which ‘re-forms’ the space. This was an important discovery.”