801号房. . .内心深处的心声

Zaha Hadid, as we all know is a de-constructivist, with very distinctive line works. However, the 2004 Pritzker Prize winner has seems to change her approaches towards design language. Recent projects done by her have clearly show signs that she has exchanged her clear cut idiosyncratic frontier for a more smooth and tranquil lines. One of the recent changes towards such design language could be seen clearly for her proposed Louvre’s department for Islamic arts. Clear smooth curves were cut out and craved into the setting of the local contextual and religion.

If we examine the line works carefully, we could understand the flow of it. Speed seems to have clearly illustrated itself in this set of exhibition. The design flow of Hadid’s creation allows a series of spaces which gradually open up, as you negotiate the space. Why “Speed” seems to have an effect on the design? This is because, as we observe, the curves, as they started off from the smooth flat starting point,

the curve language tends to be more flat and chubby. As the line starts to go towards a certain angle, it seems to have speeded up during the process and the angle or curve line gets thinner and sharper and more precise. It seems that there is a sense of urgency during the journey or maybe it could be interpreted as form of journey that Hadid wanted us to experience and feel the dynamics of unfolding spaces that has no clear definition of boundaries; so as to say the boundaries has been blurred. However, the demarcation of boundaries seems to have little or no effect on the art work.

Hadid’s seamless stream line design has a great language used against the new and the old. The line works are of this centuries whereas the architecture of former St Joseph’s Institute. (The Former St Joseph’s Institution which today houses the Singapore Art Museum was founded in 1852, by 6 La Salle Brothers. The first school building was in the form of a chapel, but with rapidly expanding student population within a year, an attap hut had to be built to accommodate the increasing numbers. Still the figures increased, and the cornerstone for a new school building was laid on 19 March 1855, on the Feast Day of St Joseph. The building and expansion of the school building was overseen by Brother Lothaire in the early years, and in the years leading up to the Great War, by Brother Michael Noctor and the Reverend Father Charles Nain. Father Nain was an architect by training, and may be credited with the design of the two curved blocks the flank the driveway of the museum today. The design of the classical grand façade and dome was inspired by Bernini’s Colonnade in front of the St Peter’s Basilica in Rome. When the school relocated in 1987, the premise was gazette as a national monument and restoration work commenced in 1992. The museum officially opened in January 1996. Before the commencement of conversion works was carried out, a feasibility study showed that some people felt that the building was unsuitable and too small to meet the needs of a museum intended for contemporary art. Restoration work was done by local architect Wong Hooe Wai.) There is a huge contrast between the old and the new.

Hadid’s work in the courtyard space also deems to be in stokes of the brushes or strokes derived from the painting. She is able to demonstrate the lightness of the “strokes” by using cable lines to secure the line works. Such actions deem enough to knock off the sense of heaviness instill in the cylinder alike foam work and installed a sense of lightness in it.

What is most interesting in the works of Hadid here is that comparison to the Biopolis at One North done by Hadid, where stiff line works are a huge contrast as compare to the one done at Singapore Art Museum. What could have caused her to change her approach towards her design language and philosophy? As we negotiate the inner gallery, it is not hard to miss the “egg-shaped” alike structure. However, as you walk, you are drawn invisibly by an unseen force of nature that makes you walk the inner “tunnel” or “opening” created by Hadid. What about the spaces the other side of this structure? Has no one ever walked the aisle? Not even me, as I tried to walk through the space again, it just failed to make me walk the side aisle of it. Maybe this is the type of unfolding spaces that the architect wants the end-users to experience and feel.

The space like capsule in the interior itself has created a centre in the front gallery. The centre itself is further reinforced by boundaries of the gallery wall. Thus creating a strong centre in the interior itself. Hadid made use of the tall full height gallery glass to foster the illusion of oneiric.

Lightness is clearly exemplified here, as defined by the strokes by the paint brushes. Unseen forces of nature seems to draw you inwards by the huge curves that is craved out to serve as entry points into another space.

However, during this 2hours in the gallery itself, I have not seen anyone sit down on the huge foam reinforced structure at level 2. According to the architect, her intention is to allow people interaction between her line works and the art pieces on display there. Now we have walked inwards the gallery and we tried to walk backwards towards the entry point where Zaha Hadid starts her work.

The entire spatial feeling is different. You start to see how the line slowly transforms itself towards the different forms that you can’t visualize from the entry point.

Well, I have come to the end of this posting here, and I hope that you can continue to share your viewpoints on Hadid’s work.