The research goes on giving exemplars for buildings designed by the seven most famous Deconstructivist architects, Frank Gehry, Peter Eisenman, Bernand Tchumi, Daniel Libeskind, Rem Koolhaas, Zaha Hadid and Coop Himmelblau who were the only ones hosted in the New York Museum of Modern Art in 1988, the first time Deconstructivism architects works were ever brought together, one exemplar for each, by showing where such Follies are employed in their buildings to show how the most renowned Deconstructivism architecture buildings gained their fame and social acceptance and appreciations. The method adopted in coming out with this research is theoretical in nature as the Deconstructivism architectural elements, the Follies, are thoroughly studied and analyzed to conclude by describing their distinctive formal profiles. These architectural elements are termed as Follies, without which buildings would not be acquiring a complete acceptance as Deconstructivism architecture. This research aims at shedding light on the most significant contemporary style, Deconstructivism architecture, by defining it, showing the difficulties it faced when began, proofing that it is a style and not a merely fashion and eventually assuring that it has distinctive architectural elements that are employed by all Deconstructivist architects in almost all Deconstructivism architecture buildings. This will change the views on the 20th century development of architectural profession as well as of the Modern Movement culture in Bulgaria. This research underlines the necessity to popularize the pioneer women architects’ creativity in Bulgaria and worldwide through publications and exhibitions, and to introduce information about them into the architectural curriculum of universities. Numerous works and several sensational facts concerning the 20th century history of architecture in Bulgaria were discovered by a research project on the topic. Still, their names are rarely mentioned in publications on 20th century history of architecture and rather small part of their professional experience is familiar to the public. For the entire period between the two world wars, the number of architectural, urban and interior designs that Bulgarian women architects have worked on is over 200. Kliment Ohridski University of Sofia, 8-11 August 2007 Investigations on women architects from the 1980s until the present have pointed out worldwide pioneering figures, however, the analyses on their work are scarce. The information of this paper was delivered at the Conference of the International Federation for Research in Women’s History, Women, Gender and the Cultural Production of Knowledge, St. It is expected that through understanding these patterns and techniques, many things might be clarified and these might help those who are interested in designing Zaha Hadid‘s architecture. Moreover, it showed the techniques Hadid usually uses to generate form which are abstraction, landscaping the surrounding context, play of light, idea of the ground and gravity, layering, seamlessness and fluidity. The content analysis has contributed in exposing main themes such as her strategy of design, form notion, and her techniques which this study has focused on. It is shown that Hadid often works within framework of five patterns for the project‘s shape notion based on their dominant characteristics that are suprematist, topographical, fluid, organic, and parametric. While 24 percent of them was characterized by fluidity, 7 percent has organic features, 6 percent was inspired from the surface form of topography, and 10 percent was shapely designed in parametric manner. Through noting, quantifying, and tabularising the prevailing features of project‘s form, it is indicated that 53 percent of Hadid works was influenced by suprematism. A study of her drawings, projects images, and their descriptions was done for 208 projects in regard to form notion. A content analysis for Hadid‘s interviews was done through categorizing her words and phrases under different themes, clustering and partitioning them into variables. Since there is a lack of academic sources on this topic, the data largely came from her published interviews, whether videos from internet or from magazines and books. Research methodology was a qualitative study using descriptive, analytical, and exploratory methods. Moreover, the study emphasises her strategy of designing architectural form as well as the principles she uses. Therefore, this study‘s aims are to find out her techniques of generating creative forms and to investigate whether there are any form patterns in her works. A considerable number of architectural students, architects, and designers of fashion and furniture around the world who admire Zaha Hadid‘s works generally find it difficult to understand her way of designing form.
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