Can an architectural practice survive the demise of a ‘starchitect’? Recent events have prompted Edwin Heathcote and Simon Nelson to tackle this timely topic.
Hadid rejected postmodernism’s pastiche of architectural styles, instead claiming that modernism was an unfinished project – a vision that was explored in her work in the performing arts sector, including the Guangzhou Opera House (2003–10) and the Heydar Aliyev Centre (2007–12).
“I am sure that as a woman I can do a very good skyscraper,” said the late Hadid, whose work remains a force of creative inspiration in a masculine domain. While high-rise was an important sector for the startchitect, many of her designs don’t look exactly like typical high-rises. This week begins an online architectural retrospective series on Hadid which originally appeared in AR145 – Future.
AR – Future features projects and articles that suggest new ways forward for multi-residential, public space, education and the workplace. It demonstrates how our workplaces aspire to encourage healthier lifestyles and how our built environment is developing to engage communities and support our active ageing population.