Author: Marianna Wahlsten

FROM THE ARCHIVE: The first London building by Zaha Hadid

The Aquatics Centre was the only new venue included within London’s bid for hosting the 2012 Olympic Games. Zaha Hadid had won the design competition in 2004, a year before London was chosen to be the host. In this interview she speaks about the East London site, the design process, materials and ideas behind the space.

What was more important as a starting point for the Aquatics Centre, designing a public building in East London or an architectural space for the Olympics?
It was important to develop a strong design that celebrated all the aquatic sports at the Olympics, but the building must also leave an outstanding legacy as a public facility for everyone in London for many generations after the games. The wave-formed roof design is very appropriate for aquatic sports – combined with the large size and high quality of its construction – create an elegant and simple expression of celebration of water – which everyone seems to understand without much explanation.

Once London was awarded the Games, the organizers instructed that they would be the most sustainable Olympics in history. Therefore, the central idea across all the new London 2012 Olympic venues was to design and construct venues for the long-term legacy after the Games. These new venues are then temporarily adapted for use during the Olympics. This is key to the sustainability of all Olympic development – and very important for London, as the city cannot afford to be left with many expensive, oversized and under-used venues.
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Zaha Hadid 1950-2016 – A visionary and creative force

The sudden death of architect Dame Zaha Hadid last Thursday in Miami has been a shock. At the hight of her career, honoured with several awards, including the RIBA Gold Medal in the beginning of this year, she was a pioneering force in a male-dominated profession, occupying a global position as one of the most influential female figures in contemporary culture.

Miami had become Zaha Hadid’s second hometown, a stopover in her busy travel and work schedule. The tropical climate and beautiful light brought out the best in her flamboyant designs. Zaha was the favourite artist of local collector, property developer and Design Miami patron Craig Robins. She was often referred to by her first name, like royalty.
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Urban space and the arts patrons: Prada, Broad, Hirst and Zhukova

Big gestures from powerful patrons shaping cities and tastes

2015 was a year of big gestures in the the global game of arts patronage. On an ever grander scale the urban space was shaped by private commissions from leading architects: in May Fondazione Prada, designed by Rem Koolhaas, opened in Milan; in June Garage Museum, also by Koolhaas, relaunched by Russian entrepreneur Dasha Zhukova in Moscow. Then the Broad in Downtown LA opened in September and Damien Hirst’s Newport Street Gallery in London in October. Read more

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Conceptual wood imagined by Ai Weiwei

Artworks and play with beautiful wood by Chinese artist, architect and activist Ai Weiwei exhibited in Helsinki at the renovated HAM Museum

Ai Weiwei’s freedom to travel was reinstated in the autumn and he was able to attend openings of his big European shows, first in London at the Royal Academy and then in Helsinki at the renovated HAM Museum. Two spaces with very different cultural connotations, something that Ai’s work also plays with. At the moment Ai is travelling around Italy and Greece, helping refugees as well as researching for a forthcoming exhibition in Florence on the meaning of Renaissance architecture.

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Maison Carré near Paris, by photographer Elina Brotherus

‘Les femmes de la Maison Carré’ exhibition inside a late 1950s home by Alvar Aalto

Fine art photographer Elina Brotherus went to imagine life at Maison Louis Carré, the French art collectors home designed by Alvar Aalto. The series has been part of an exhibition at the house, which is now open for the public near Paris.

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Paris Photo, until tragic Friday 13 attacks

Last week 173 galleries from all continents had gathered for Paris Photo inside the great halls of the Grand Palais.

After Friday’s devastating attacks Paris Photo fair did not open for public anymore, as the city shut down in mourning. Openings elsewhere in Paris coincided with the fair and artists were present. Many of those shows will continue. The Grand Palais retrospective on French photographer Lucien Clergue, who was also the founder of the Arles photo festival, will be open until February next year.

On Thursday I spent the day exploring Paris Photo booths and saw vintage prints of magical mid-19th century landscapes as well as famous 60s and 70s fashion photographs. And then the most recent abstract, camera-less explorations, where the ephemeral subject is just light. Spanning 150 years, the fair is a fascinating overview of the human gaze and the framing of the world: buildings, nature, fashions, people.

Palmyra, Louis Vignes, photography, vintage print, Paris Photo — ©Louis Vignes, Syria, albumen print, 1864, James Hyman Gallery

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