Abstract
The chapter has as its main subject of study the influences of modern art production—mainly the Suprematism and Constructivist art—in the architecture of Zaha Hadid. Also, contextualizes Zaha Hadid’s work within other architectural practices that emerged in the 1970s. Decade characterized by a revision of the totalizing parameters disseminated as a single body of knowledge, named as International Style. A reductive understanding of the architectural Modern Movement of the 1920s. The abstract and systemic models of architectural thinking generated in the formative years of the Bauhaus School reverberates until today within a multiplicity of contemporary architectural knowledge production. Zaha Hadid’s architecture course of work, by its rereading of the abstract model of art and architecture from the Russian Suprematism and Constructivism movements, caused an inflection to the systemic world view produced within the modern project. Parallel also, to the influence of philosophical concepts of deconstructive thought, architectural practices from the 1970s trace an undetermined future, re-viewing the formal and programmatic bases of the modernist project. Malevich’s non-objective principles in painting played a structural shift in the early propositions of Zaha Hadid’s oeuvre towards new modes of inhabiting space.
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Lima, A.R.R., Perrone, R.A.C. (2022). Conceptual Matrices Between Modern Art and Architectural Representation Models in Modern(isms), and Beyond. A Study Based on the Architecture of Zaha Hadid. In: Bartolomei, C., Ippolito, A., Vizioli, S.H.T. (eds) Digital Modernism Heritage Lexicon. Springer Tracts in Civil Engineering . Springer, Cham. https://doi.org/10.1007/978-3-030-76239-1_56
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