By Hyatt Foundation & Zaha Hadid
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Extra info for The Pritzker Architecture Prize 2004: Presented to Zaha Hadid
When she was finally afforded an opportunity to construct her vision, it was mature: she built a near masterpiece. For a fire station in Germany for Vitra, an avant-garde furniture company whose reputation was based in progressive design, she conjured her plan from lines of force extrapolated from surrounding hills and roads, selecting in their convergence on the site what emerged as a formative sketch for the building. The originality of the design resulted in large part from carrying over illusionist drawing techniques into the built structure.
Gallery, Tokyo, Japan Lectures: Washington University, Washington, USA; St. , USA; RIBA, London Publications: Domus, no. A. Document, no. 13, September 1986 Projects: Hamburg, Munich, Berlin (Aedes Gallery and IBA) Oslo, Stockholm, Copenhagen, New York, Rotterdam, Delft, Eindhoven, Amsterdam, Darmstadt, Zurich, Frankfurt, London and Kassell, RIBA, London Publications: AA Files, no. 6, May; L’Architecture d’ Aujourd’hui, no. , California, USA; RAIA Convention, Adelaide, Melbourne & Sydney, Australia; Universities of Carleton, Waterloo and Toronto, Canada; Katholieke Universiteit Leuven, Congress, Leuven, Belgium; Internationales Design Zentrum, Berlin, Germany 1987 Projects: Sculpture, Rotterdam, The Netherlands Tomigaya and Azabu-Jyuban, Tokyo, Japan Competitions: West Hollywood Civic Centre, Los Angeles, California, USA Exhibitions: Architectural Association, London; “Corbu Vu Par”, Institut Français d’Architecture, Paris, France; “Cities of the Future”, Sao Paulo, Brazil;Max Protetch Gallery, New York, USA Teaching: Visiting Professor of Architecture at the Graduate School of Architecture, Planning and Preservation at Columbia University, New York, USA Lectures: Collegi d’Architectes de Catalunya, Barcelona, Spain Institute of Contemporary Arts, London, UK Architectural Association, London, UK Sao Paulo Conference on Cities, Sao Paulo, Brazil Publications: Architectural Record, June; L’Architecture d’Aujourd’hui, no.
In a form of social activism, Hadid builds an invitation to the street into and through her buildings and thereby increases the public ownership of the private realm. Inside, the whole continuum of space becomes a social catalyst, or what her Russian mentors called a social condenser, which breeds a sense of community through a shared activity. As in many of her buildings, at the CAC visitors become Alpinists sharing the experience of vertiginous stairs leading to the galleries. They are not consumers, processed by escalators and elevators, but actors carving out their own experience in a suggestive space of their own interpretation.