The book describes the transition from drawing to computing in the work of Zaha Hadid. The hallmark of Zaha Hadid's early work was the innovation and expansion of graphic media to be utilised as new design techniques. On this basis a new architectural language and conception of space was developed. The analog techniques employed - like interpenetraion, isometric and perspectival distortion, dynamic bending and warping - anticipate the possibilities currently offered by advanced animation software. Intermediate techniques like distortion and "smearing" using the xerox machine established a fertile ground for the quick assimilation of the new digital tools in the process of form finding. The book elaborates a series of recent projects where various digital techniques have become an essential ingredient of the project development.
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3D modeling 3ds max abstract abstract art allow analogy archi architectural project ART CENTER articulation Arup avant-garde building canopy Client coherence complex composition concept construction curve-linear Davis Langdon deconstructivism Digital Architecture digital design Digital Hadid digital model Dillon Lin discipline of architecture distortion drawing dynamic elements emerges engineer FAST TRAIN STATION field fisheye perspectives floor floorplate fluidity formal functions geometry Gianluca Racana graphic Guggenheim Museum Hadid with Patrik Hadid's oeuvre Hanif Kara Hoare Lea innovation integration interarticulation ISBN Jeff Kipnis language layers manifesto Maurizio Meossi means move offers operations organic organic architecture orientation Ove Arup overall Paolo Patrik Schumacher Perez perspective projection plane platonic Project architects Project team QUEBEC NATIONAL radical repertoire representation seamless spatial structural studio surface TAICHUNG techniques tectonic systems tectural Thomas Vietzke tion Tom Barker transparent UNIVERSITY OF CONNECTICUT urban various vertical Vitra volumes walls Zaha Hadid Architects