WAD 2014

FRIDAY 29 AUGUST 2014

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Riverside Museum, Glasgow, United Kingdom 
Wednesday 15 Jun 2011
 
Hadid still has the edge 
 
Culture & Sport Glasgow (Museums) 
 
Your comments on this project

No. of Comments: 13

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22/06/11 Dushko, Auckland
Reply to "15/06/11 nova, new" - What does where I live have to do with the subject matter?? And what do you actually know about my opus to describe me as 'mediocre'? Please offer an intelligent commentary, not shabby 'colonial outpost' insults.
Let me help you - explain what is 'daring' and 'iconic' about this design? And why is that good - for Glasgow, and for the world?
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22/06/11 Kim, Melbourne
While certainly emblematic and important in cultural relam of Glasgow celebrating itself as an industrial port.... may I comment about the article itself?
From images provided, I cannot appreciate it's presence in its river/port context, and an image as such would have been useful....AND... why is it whenever I read an article on a Zaha Hadid design, the "journalist" never fails to comment on Ms Hadid's attire? Is this critical to the architectural discourse? And if so, perhaps more comment as to our male counterparts' attire
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22/06/11 Michael, Budapest
Architecture is Art, all great Art is revolutionary, and formal complexity is the appropriate response to contemporary demands. All 3 are fallacies. In fact the complexity of Hadid's buildings is only apparent. True complexity derives from the relationships between relatively simple elements in a given situation, which may change over time.
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22/06/11 Gilberto, Vancouver
It is time for the genial Mrs. Hadid to give the world a break, the more I see her projects the more convinced I am that for her the sites and the environment around them does not count, her projects are the same no matter where they are carried out.
22/06/11 Arvind, Trivandrum
A marked departure from the usual gravity defying hyper-dance forms, but I guess the lady didnt get it right this time. Still we are all waiting for the next one.
15/06/11 paulina, London
The building does nothing for me in terms of scale and engagement with the public realm. It will not encourage a chance walk-in with all the dense black glazing (which all museums could do with) and I fail to see how the 'economic decline graph' façade connects with the 'rounded warehouse' at the rear. Is the £74m part of a PR campaign? I'm not sure its worth it.
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15/06/11 Allan, Crawley, UK
Another architect's dream, or should I say nightmare. As someone involved in facilities mangement I find that architect's generally pay very little attention to the cost and practicality of ongoing building maintenance.
15/06/11 alex Njoo, St. Kilda, Victoria, Australia
If the Glasgow project is anything like the MAXXI, it is certainly a masterpiece to be experienced. I look forward, one day, to visit Hadid's latest creation. Congratulations to all the protagonists who made it possible.
15/06/11 anthony, haiku
I am not seeing 74M of great architecture. If this is what you get for 74M, then the great cathedrials of Europe are priceless.
15/06/11 nova, new
While the recession bites and the planet fries? Its exactly what the planet needs, a little daring. Congratulations to office Zaha for another iconic project. Time mediocre architects in colonial outposts got rid of their addiction to whinging.
 

Editorial

Zaha defies her critics with first major public commission in the United Kingdom 


One of the most eagerly awaited cultural buildings in Scotland (and possibly the UK) finally opened its doors last week – for a sneak preview at least – following an almost 10 year gestation, 4 years construction, and at a cost of £74m. And as architectural events go Glasgow’s new Riverside Museum by Zaha Hadid Architects, which stretches and soars out of the ashes of this former Clyde side shipyard, is no anti-climax. In fact this must be as good as it gets in terms of visceral museum experiences.

As home to the city’s transport, engineering and shipbuilding legacy, it’s fitting that the new museum (literally) rises to the occasion as a hub for one of the most important – and best loved by many locals – municipal collections of this ‘Second City of the Empire’. With the glazed peaks of its huge vertical gables glinting and gleaming when the sun manages to make a brief appearance out of the charcoal grey sky, the new museum emerges from its still slightly blighted post-industrial waterfront setting like a Koh-I-Noor in the rough. Indeed it’s hoped that the building will have a rejuvenating effect on the stop-start regeneration of this area of the Clyde Waterfront, which is a big ask for a cultural building. But if any can pull it off, it’s this.

Of course the building has also been attracting a fair amount of attention for reasons other than its architectural prowess, mainly by dint of the fact that its Pritzker Prize winner and UK-based Zaha Hadid’s first major public commission in her adopted country, with a general feeling of disbelief that it’s taken so long. Although that’s not to say that this particular commission wasn’t without its critics, as many believed that a local rather than ‘Starchitectural’ solution might have been sought when the appointment was made in 2004. Reports also emerged throughout the build of cost-cutting exercises, compromising the grand overall vision.

However, the emergent building shows little sign of penny pinching, design dilution or discord. It undoubtedly bears the hallmarks of a Zaha Hadid Architects design in its thrusting, dynamic and streamlined form. But it is also site sympathetic, reflecting the industrial aesthetic of the jagged roofed warehouses further downstream. And the Z shaped form of the building, whooshing towards the water’s edge like some elaborate, excited skid, seems to emblematically echo the collection within, much of which was built for speed.

The detailing of the building is remarkable. The smooth zinc skin with ‘invisible’ guttering reflects the passing overhead clouds; and the snaking spine of the roof, which incorporates most of the building’s plant, provides seamless and spectacular support to what is effectively a column-free monumental shed.

The collection itself – which features 3,000 exhibits and over 150 interactive displays telling the city’s 'Clyde Built' story – is arranged around the building almost like some grand scale industrial doll’s house, with locomotives cheek by jowl with Ford Capris, trams, fire engines and ship models. And all set against an ‘Everything’s Gone Green’ painted backdrop, which has proven to be one of the main talking points of the building - particularly as it comes from an architect synonymous with a Minimalist, pared-down palette when it comes to colour. Project architect Johannes Hoffmann shares with the assembled audience that the actual colour used to define the interiors is ‘Decorous Lime’.

And ‘decorous’ pretty much sums up Zaha Hadid’s appearance at the midday press conference held at the new Riverside Museum; a polite and fairly short affair that saw the architectural Grande Dame experience a fever pitch of deference (‘Maam’) from one clearly overwhelmed representative from Glasgow City Council. Hadid was on fine, and clearly relaxed, form at an event hosted later in the evening by Glasgow Museums at the Art Gallery and Museum, Kelvingrove, which saw the designer in conversation with her architectural champion and pal Deyan Sudjic, Director of the Design Museum and former Director of Glasgow 1999, Year of Architecture and Design.

Resplendent in satin, leather and fur, Hadid was generous in praise of her Glasgow City Council clients at the Riverside Museum, and the close nature of their collaboration: “We should all be on the same side but I’m often perceived as being on the other side,” confessed Hadid. The architect also described her fondness for Glasgow and her love for the ‘intensity’ of cities in general: “I holiday in cities,” she admitted. And perhaps the highlight of the evening came when Sudjic quizzed the architect as to whether she could sense a younger generation of architects coming up behind her, only to receive a fairly unequivocal ‘No’, to the delight and amusement of the packed audience. Who perhaps didn’t need too much reminding that it would indeed take a good one (and an audacious one to boot) to step into Zaha’s Manolos.

The Riverside Museum opens to the public on 21st June.

Caroline Ednie

Key Facts

Status Completed
Value 0(m€)
Zaha Hadid Architects
www.zaha-hadid.com

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