![]() Her fifth year scheme conceived a museum of the 19th century, designed as a chain of buildings emerging from Charing Cross station, like the carriages of a train derailing as they charged across the river towards the South Bank. Her fourth year project, inspired by Russian suprematist artist Kazimir Malevich, imagined a 14-level hotel on top of Hungerford Bridge, made up of pixelated cubic forms. ![]() It begins with her student work, featuring two projects she produced at the Architectural Association in the 1970s that reimagined parts of the capital’s transport infrastructure as densely occupied, hybrid hubs of public activity. Given the volume of material available – and the impenetrable nature of much of it – the students have done an admirable job of piecing together a show telling the story of Hadid’s relationship with her adopted home city with impressive clarity. It was exciting, but also totally overwhelming.” “We were given total access to her archive of 12,000 drawings, paintings, models and sketchbooks, with free rein over what to make of it. “It was like discovering a treasure trove,” says Rachel McHale, one of the students involved in curating the exhibition. Going up … the 14-storey hotel imagined for Hungerford Bridge. ![]() “I think that through a set of drawings,” Hadid said, “one discovers certain things which would not have otherwise been possible.” Getting free rein over her archive of 12,000 works was totally overwhelming Combining plans, sections and distorted aerial perspective views – long before computers aided the creation of such complex visions – it was typical of her intricate, multilayered style of image-making, using the process of painting as a way of generating new ideas. The late Iraqi-born architect painted this warp-speed vision in 1991, at the request of Vogue magazine, projecting 75 years into the future to imagine what the capital might look like in 2066. The irresistible force flexing London’s urban fabric was Zaha Hadid. Tangled webs of arteries fan outwards from the centre of London, breaking through the M25 and surging eastwards, meeting in a crescendo of coloured shards that look ready to accelerate off the page. A blood red River Thames hurtles across a long sheet of black paper on the wall, splicing through a fractured landscape of city blocks that twist and sway as if commanded by some irresistible force.
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