An essay on architecture

Adopting isometric and perspectival drawing techniques used by the Suprematists to achieve strangely irrational spaces that did not add up to Renaissance wholes, she entered an exploratory realm where she developed forms distorted and warped in the throes of Einsteinian space. Hadid transformed traditional drawing conventions, sometimes grafting several techniques and viewpoints together in the same multi-dimensional tableau. She often layered drawings done on sheets of transparent acrylic, creating visual narratives showing several spatial strata simultaneously. Applying Suprematist painting approaches to reconceive architecture, she developed an aesthetic that seemed to challenge the inertia of material reality, with dynamic forms subject to visual acceleration and a sense of take-off. Just as the entasis of a classical column connotes the feeling of weight carried by the shaft, Hadid’s forms were ideated: she shaped forms to cultivate a perception of speed communicated by the eye to the body. Concept translated to experience: the shapes conveyed a sense of physical thrill as the body empathized with form ...

An essay on architecture

an essay on architecture

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