The dome-like, glass structures of the original plan, however, have been replaced with a “photovoltaic integrated canopy skin” that drapes over the buildings like a tent. The canopy skin will allow for the generation of renewable energy on the site, and regulates “indoor climate, air quality and sound.”
Focusing on creating a sustainable campus, the proposal features a heavily landscaped master plan, as well as a focus on walkable, bike-friendly circulation throughout the campus.
As a whole, the reduced scale of the plan demonstrates a friendlier, more intimate scale than the previous proposal – perhaps in response to earlier concerns from Mountain View regarding business diversity and appropriateness to site.
The Iraqi-born British Architect Dame Zaha Hadid, DBE (1950-2016) has died aged 65, in Miami, Florida. According to reports from the BBC, Hadid was being treated in hospital for bronchitis when she suffered a heart attack. Earlier this year she became the first sole woman to receive the RIBA Royal Gold Medal at a ceremony in London.
Read on for the official statement from Zaha Hadid Architects:
It is with great sadness that Zaha Hadid Architects have confirmed that Dame Zaha Hadid, DBE died suddenly in Miami in the early hours of this morning. She had contracted bronchitis earlier this week and suffered a sudden heart attack while being treated in hospital.
Zaha Hadid was widely regarded to be the greatest female architect in the world today. Born in Baghdad in 1950, she studied mathematics at the American University of Beirut before starting her architectural journey in 1972 at the Architectural Association in London.
By 1979 she had established her own practice in London – Zaha HadidArchitects – garnering a reputation across the world for her ground-breaking theoretical works including The Peak in Hong Kong (1983), the Kurfürstendamm in Berlin (1986) and the Cardiff Bay Opera House in Wales (1994).
Working with office partner Patrik Schumacher, her interest was in the interface between architecture, landscape, and geology; which her practice integrates with the use of innovative technologies often resulting in unexpected and dynamic architectural forms.
Zaha Hadid’s first major built commission, one that affirmed her international recognition, was the Vitra Fire Station in Weil Am Rhein, Germany (1993); subsequent notable projects including the MAXXI: Italian National Museum of 21st Century Arts in Rome (2009), theLondon Aquatics Centre for the 2012 Olympic Games (2011) and the Heydar Aliyev Centre in Baku (2013) illustrate her quest for complex, fluid space. Buildings such as the Rosenthal Center for Contemporary Art in Cincinnati (2003) and the Guangzhou Opera House in China (2010) have also been hailed as architecture that transforms our ideas of the future with visionary spatial concepts defined by advanced design, material and construction processes.
In 2004, Zaha Hadid became the first woman to be awarded the Pritzker Architecture Prize. She twice won the UK’s most prestigious architecture award, the RIBA Stirling Prize: in 2010 for the MAXXI Museum in Rome, a building for the staging of 21st century art, the distillation of years of experimentation, a mature piece of architecture conveying a calmness that belies the complexities of its form and organisation; and the Evelyn Grace Academy, a unique design, expertly inserted into an extremely tight site, that shows the students, staff and local residents they are valued and celebrates the school’s specialism throughout its fabric, with views of student participation at every turn.
Zaha Hadid’s other awards included the Republic of France’s Commandeur de l’Ordre des Arts et des Lettres, Japan’s Praemium Imperiale and in 2012, Zaha Hadid was made a Dame Commander of the Order of the British Empire. She was made Honorary Member of the American Academy of Arts and Letters and Fellow of the American Institute of Architecture.
She held various academic roles including the Kenzo Tange Chair at the Graduate School of Design, Harvard University; the Sullivan Chair at the University of Illinois, School of Architecture. Hadid also taught studios at Columbia University, Yale University and the University of Applied Arts in Vienna.
Zaha Hadid was recently awarded the RIBA’s 2016 Royal Gold Medal, the first woman to be awarded the prestigious honour in her own right. On the occasion, Sir Peter Cook wrote the following citation:
“In our current culture of ticking every box, surely Zaha Hadid succeeds, since (to quote the Royal Gold Medal criteria) she is someone “who has made a significant contribution to the theory or practice of architecture…. for a substantial body of work rather than for work which is currently fashionable.” Indeed her work, though full of form, style and unstoppable mannerism, possesses a quality that some of us might refer to as an impeccable ‘eye’: which we would claim is a fundamental in the consideration of special architecture and is rarely satisfied by mere ‘fashion’.
And surely her work is special. For three decades now, she has ventured where few would dare: if Paul Klee took a line for a walk, then Zaha took the surfaces that were driven by that line out for a virtual dance and then deftly folded them over and then took them out for a journey into space. In her earlier, ‘spiky’ period there was already a sense of vigour that she shared with her admired Russian Suprematists and Constructivists – attempting with them to capture that elusive dynamic of movement at the end of the machine age.
Necessarily having to disperse effort through a studio production, rather than being a lone artist, she cottoned–on to the potential of the computer to turn space upon itself. Indeed there is an Urban Myth that suggests that the very early Apple Mac ‘boxes’ were still crude enough to plot the mathematically unlikely – and so Zaha with her mathematics background seized upon this and made those flying machine projections of the Hong Kong Peak project and the like. Meanwhile, with paintings and special small drawings Zaha continued to lead from the front. She has also been smart enough to pull in some formidable computational talent without being phased by its ways.
Thus the evolution of the ‘flowing’ rather than spikey architecture crept up upon us in stages, as did the scale of her commissions, but in most cases, they remained clear in identity and control. When you entered the Fire Station at Vitra, you were conscious of being inside one of those early drawings and yes, it could be done. Yet at perhaps its highest, those of us lucky enough to see the Heydar Aliyev Center in Baku in the flesh, can surely never have been in such a dream-like space, with its totality, its enormous internal ramp and dart-like lights seeming to have come from a vocabulary that lies so far beyond the normal architecture that we assess or rationalize.
So we are presenting her with this Medal as a British Institution: and as a Dame Commander of the Order of the British Empire: thus she might seem to be a member of our British Establishment. Yet in reality, many of our chattering classes and not a few fellow architects have treated her with characteristic faint praise, and when she heroically won the Cardiff Opera House competition, blocking the scheme. Or when we awarded her the RIBA Stirling Prize for the school in South London – her second win in a row – we, the jury, were loudly derided by a number of distinguished architects. Of course, in our culture of circumspection and modesty her work is certainly not modest, and she herself is the opposite of modest. Indeed her vociferous criticism of poor work or stupidity recalls the line-side comments of the tennis player John McEnroe. Yet this is surely characteristic of the seriousness with which she takes the whole business: sloppiness and waywardness pain her and she cannot play the comfy
British game of platitudinous waffle that is the preferred cushion adopted by many people of achievement or power. Her methods and perhaps much of her psychology remain Mesopotamian and not a little scary: but certainly clear.
As a result, it is perhaps a little lonely there up at the top, surrounded now by some very considerable talent in the office, but feared somewhat and distanced from the young. Yet in private Zaha is gossipy and amusing, genuinely interested in the work of talented colleagues who do very different architecture such as Steven Holl, and she was the first to bring to London talent such as Lebbeus Woods or Stanley Saiotowitz. She is exceptionally loyal to her old friends: many of whom came from the Alvin Boyarsky period of the Architectural Association: which seems to remain as her comfort zone and golden period of friendship. Encouraged and promoted at an early age by Boyarsky, she has rewarded the AA with an unremitting loyalty and fondness for it.
The history of the Gold Medal must surely include many major figures who commanded a big ship and one ponders upon the operation involved that gets such strong concepts as the MAXXI in Rome – in which the power of organization is so clear – or the Bergisel Ski Jump in Innsbruck where dynamic is at last captured – or the Aquatics Centre for the London Olympics where the lines diving boards were as fluid as the motion of the divers – made into reality. And she has done it time and time again in Vienna, Marseilles, Beijing and Guangzhou. Never has she been so prolific, so consistent. We realize that Kenzo Tange and Frank Lloyd Wright could not have drawn every line or checked every joint, yet Zaha shares with them the precious role of towering, distinctive and relentless influence upon all around her that sets the results apart from the norm. Such self-confidence is easily accepted in film-makers and football managers, but causes some architects to feel uncomfortable, maybe they’re secretly jealous of her unquestionable talent. Let’s face it, we might have awarded the medal to a worthy, comfortable character. We didn’t, we awarded it to Zaha: larger than life, bold as brass and certainly on the case.
Our Heroine. How lucky we are to have her in London.”
Jane Duncan, President of the Royal Institute of British Architects (RIBA), who awarded Hadid the Royal Gold Medal, has said:
This is absolutely terrible news. Dame Zaha Hadid was an inspirational woman, and the kind of architect one can only dream of being. Visionary and highly experimental, her legacy despite her young age, is formidable. She leaves behind a body of work from buildings to furniture, footwear and cars, that delight and astound people all around the world. It was only last month that I had the enviable task of awarding Zaha the 2016 Royal Gold Medal for architecture – she was delighted to receive the recognition and adds the medal to an amazing collection of awards, not least winning the RIBA Stirling Prize two years running. The world of architecture has lost a star today.
Details of Zaha Hadid’s memorial service will be announced shortly.
Range : SSG
Design: SSG Tedlar Kern
Product code: P7953
Fire rating: Bdg Regs Class O & BS476 Class1
Euro Fire rating: Euro Class B when used on a suitable substrate
Width: 130 cm
Pattern Repeat: 0 cm
Pattern Overlap: 7 cm
Pattern Offset: 0 cm
Weight: 547 gsm
Construction Type: Fabric backed
Durability: Impact: 10 Abrasion: 10
Cleanability: EN235 Extra Scrubbable
Marine Rating: BV0062
LRV Value: 11
Lightfastness: Excellent. (7 out of 8 to BSEN20105)
Described by Richard Meier as an architect whose “groundbreaking ideas” have “had a major impact on the thinking of designers and architects,” Austrian artist, architect, designer, theoretician and Pritzker Prize laureate Hans Hollein worked in all aspects of design, from architecture to furniture, jewelry, glasses, lamps – even door handles. Known in particular for his museum designs, from the Abteiberg Museum in Mönchengladbach to the Museum of Modern Art in Frankfurt to Vienna’s Haas House, Hollein’s work manifests a unique, fascinating take on 1950s Modernism.
Hollein, who was born in Vienna in 1934, was born into a family of mining engineers. Studying at the Vienna Academy of Fine Arts before heading to the Illinois Institute of Technology in Chicago and the University of California in Berkeley, Hollein dedicated himself to the works of Ludwig Mies van der Rohe, Frank Lloyd Wright, Richard Buckminster Fuller (whom he got to know personally) and became an advocate of Modernism. Throughout the 50s and 60s, he became known for his trailblazing theoretical writings and visionary architectural drawings, models, and collages. Hollein’s unbuilt competition entries – such as his designs for the Guggenheim Museum in Salzburg’s Mönchsberg – have particularly garnered interest.
Hollein’s architectural office in Vienna was established in 1964, his first independent commission being the design of the Retti candle shop. In 1972, he represented Austria at the Venice Biennale with his installationWork and Behavior, Life and Death, Everyday Situations. He then continued to be Austria’s commissioner for the Venice Art Biennale from 1978 to 1990 and commissioner of the Biennale for Architecture in 1991, 1996, and 2000, as well as its director in 1996. The Haas House (1986 – 1990), situated diagonally opposite St. Stephen’s Cathedral in the centre of Austria’s capital, is perhaps Hollein’s best known and also most controversial buildings. Objections centred around placing such a contemporary structure in the city’s historical heart, yet it has become a significant landmark. Most recently, the two-hundred-meter-high SBF Tower is currently under construction in Shenzhen.
The Marvin Ultimate Casement Round Top is a great choice for designs that require large unobstructed views and the elegance of an arched shape. You can select from numerous round top shapes for design flexibility. The window is beautiful enough to use alone as a focal point, as a picture window, or in combination with other Marvin casement windows. The Ultimate Casement Round Top Window is also offered in larger sizes for grand views while still providing energy efficiency.
The fixture emits diffuse light via a high-efficiency acrylic diffuser. The diffuser, which is encircled by a voluminous coloured or white ring, is hidden when viewed from low angles. Angling the inner side of the ring 5° creates a comfortable and decorative graduation of the light from the diffuser. Perforated body discreetly illuminates the other components of the fixture.
White, Blue, Red or Black. Powder coated.
Reflector: Deep drawn aluminium. Diffuser: Acrylic, frosted.
Hung: Cord 5×1.5mm2, 3m.
Max 2,3kg. (Ø260). Max 5kg. (Ø450).
Ingress protection IP20. Electric shock protection I.
LED technology is constantly developing. The specifications given are based on existing technology. Please find updated info on products on our website http://www.louispoulsen.com. For LED replacement kit please do contact Louis Poulsen. Please contact Louis Poulsen for the following versions: LP Circle Ø 450 HO: High output for projects with high ceilings or where high illumination is required. LP Circle Ø 450 with microprismatic diffuser for UGR <19 (CIE 117). If you have special requirements concerning colour temperature, IP class, emergency lighting solutions or other modifications to the LP Circle model, please contact Louis Poulsen.
The driver is built into the fixture All LED power measurements are measured as system power.
View the catalogGo to the Louis Poulsen Lighting A/S International website for more information
A global user study investigating lighting quality in offices launched by Zumtobel Research and the Fraunhofer IAO has produced important findings: in March 2014, even just a few months after this long-term study began, it was becoming apparent that most of the office employees who have been surveyed so far prefer individually controllable, variable-colour temperature LED lighting with a direct/indirect component and illuminance in excess of 800 lx. It is also clear, however, that solutions that cater for these preferences are extremely rare. This underscores the huge need for individually controllable LED lighting solutions in the workplace, solutions that provide appropriate lighting to meet any requirement while delivering optimum lighting quality and energy efficiency.
82.5% of those surveyed prefer direct/indirect lighting
60% of office employees prefer illuminance in excess of 800 lx, this preference becoming less marked with increasing age
Even in summer months, the need for artificial lighting is high
57.4% of those surveyed have no or only limited ability to influence their lighting situation in order to adjust it to their needs
Colour temperature preferences differ widely, ranging from 3000 to 6000 K, with a significant cluster around 4000 and 5000 K
2,643 participants from Europe, Asia, Australia and the USA have been participating in the study since November
While drawing or even writing about architecture can be a great way to be expressive in the field, today architectural photography is by far the most direct and widely-used methods for communicating the true form of the built environment. Capturing the perfect architectural photograph, however, can be far more difficult than one might anticipate. In light of this, we have compiled a list of ten architectural photography tutorials to help you get the right shot every time.
Read on to see how to take architectural photos at twilight, for Instagram, using long exposure, and more.