As a common staff in a company and a get-common-salary staff, most of the time I can only see the world through the internet.
Zaha Hadid is a famous female architect. I've seen many of her architecture design on the internet. At the same time, our company has a cooperation with her on creating
architectural rendering and
architectural visualization. Today I saw Robert Landon's article about his experience exploring Zaha Hadid's newly completed Eli and Edythe Broad Museum in Michigan.
The architecture is the complex, light-catching carapace that first reels in the eye — a fine shock after the brick, neo-Gothic buildings that define the rest of the Michigan State University campus. Draw closer and its undulating fins, opening and closing in rhythmic asymmetries, begin to seduce the mind. In some places scrunched up into sharp angles and in others allowed to breathe for longer stretches across the low-slung facade, the fins seem to be the expression of some higher, grid-bending equation.
In a half-conscious attempt to solve the math, you begin to circle the building. At certain points, the fins spread wide enough for generous glimpses inside, but as you move keep moving, the inner secrets vanish again behind the metal lattice. In the same way, the relentlessly kinetic carapace tantalizes with, but ultimately eludes, any logical or definitive summing up. What is certain, though, is that, by the time you’ve come full circle, you’ll have grown quite curious to see what is going on inside.
The footprint of the two-story building is relatively small. In response, Hadid said at the museum’s opening that she deployed trapezoidal shapes to “explode the site and stretch the space in a hidden corner of the campus. Rather than solemnity, silence and reverence, we wanted to create a sense of dynamism.”
