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Tag Archives: drawing

Zaha Hadid was born in Iraq, studied at the Architectural Association School of Architecture in London in which later she started teaching as an Instructor, in architecture. Later was she became an honorary member of the American Society of Architects. A great story of success she experience in the arena of architecture, she recieved a lot of prices until she came to a state of being referred as a modernist architecture through her references from futuristic paintings and painters in her architectural works. Her architectural drawings are counted as artworks or paintings to be more clear, by many, rather than being technical drawings.

Two competing sides of modernism in architecture can be called as the Bauhaus and the avant-garde De Stijl in Russia, which Hadid’s framework is more referring to. De Stijl, compared to the industrial-based Bauhaus, is more aiming for creating new radical forms for and of a society. Malevich, being a headliner in this arena, is one of the biggest influences on Hadid’s early drawings.

Malevich's Arkitekton,1923

Malevich is the creator of the Suprematist movement in painting. His abstraction was in a higly mode of “change”, a spiritual change we are mostly talking about. Hadid was strongly amused by this suprematism, about which she has written her thesis, as a beginning point, choosing her territory as London, where she educated herself.  “Placing it along and across the Thames in central London, she left no doubt—to the cognoscenti, at least—as to her ideological position: she was reviving a neglected, almost stillborn modernist ideal and inserting it into the contemporary world.”

Hadid- Malevich's Tektonik London Project,1977

Zaha Hadid, Office Building, Berlin, 1986
Zaha Hadid, Vitra Firestation design stidy, 1990

 

“The change in Zaha Hadid’s drawings—fragmentation giving way to fluid form—was already evident in her drawings analyzing the farming landscape around the Vitra factory site for the Firestation project. These impart a linear dynamic that comes together in the powerful thrust of the little building. The vision here is no longer about breaking up and scattering. Rather, it is about gathering together and directing. It is also about the making of unified, and unifying, forms. As with other questions about which she has given no explanation or insight, we are left to puzzle out the reasons for this change in her drawings and the designs they describe.”

— Lebbeus Woods

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“My name is Victor Timofeev, and these are some of my drawings. I started drawing when I got injured three years ago. Alone with a lot of newfound free time, I picked up a pen and pencil and started sketching. The images evoked were always on the dark side, only because my soul was full of negative energy I needed to release. The process of creation became therapeutic, as well as a daily necessity. Looking back, I am almost glad I got hurt and discovered this new life. Everything happens for a reason, right?”

— Viktor Timofeev

august 27th 2007. Section of a house revealing the form within .9.5 x 13.ink and graphite on Ingres paper.

 

Art happens. It happens by chance, by mistake, by wish, by sorrow, by extreme anger. Victor Timofeev‘s art happened to be by this last one. Not long ago, Timofeev found himself drawing after a dreadful skateboard accident. He subjected the event and its after effects in his art, reflecting all his inside frustrations and thrust. He had his red-black period, yet in time he got to incorporate architectural geometry patterns with sprayful, illustrative illusions. They sum up to create a an obsessive poetry on paper. Likewise, in his early works he used text repeatedly, as obsessive, to create a background pattern. He has his times for his colors.


august 7th 2007. Abstract forms derived from the study of the plans for the Museo della citta contemporanea di Venezia .9.5 x 13.ink and graphite on Ingres paper.