I have no idea why I love old cars, those beautiful hunks of steel (before the carbon this that and the other of today.) I think the lines are so easily read in elevation. Imagine a designer taking out the pencil and DRAWING these guys, then moving to clay and transferring the lines into the third dimension. It feels like anything done from top down is purely functional, while everything from the side is aesthetic, (and wind-driven in some cases, I assume.) I'm nostalgic for this time when it seemed everyone was having such fun with it. Regardless, my mind always wanders towards imagining vehicles as buildings, wondering about scaling the ideas up. I guess some of
Ms. Hadid's work translates likewise, a fluidity that transcends static "architecture" into movement territory.
Notting Hill, London
Portland, OR
New York City
San Juan, Puerto Rico
Zaha Hadid
I have no idea why I love old cars, those beautiful hunks of steel (before the carbon this that and the other of today.) I think the lines are so easily read in elevation. Imagine a designer taking out the pencil and DRAWING these guys, then moving to clay and transferring the lines into the third dimension. It feels like anything done from top down is purely functional, while everything from the side is aesthetic, (and wind-driven in some cases, I assume.) I'm nostalgic for this time when it seemed everyone was having such fun with it. Regardless, my mind always wanders towards imagining vehicles as buildings, wondering about scaling the ideas up. I guess some of Ms. Hadid's work translates likewise, a fluidity that transcends static "architecture" into movement territory.
Notting Hill, London
Portland, OR
New York City
San Juan, Puerto Rico
Zaha Hadid
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