This post appeared in a previous blog and is here for posterity’s sake.
At what point do designers start recycling themselves, or take their iconoclastic style to the breaking point? How do you break out of a style, like Frank Gehry or Richard Meier, when clients come to you for the next Guggenheim or Getty Center? Or conversely, what happens when you become a chameleon flirting with styles from year to year? Philip Johnson quipped that, “After 50 years, you shouldn’t do the same thing,” but there seems to be a fine line between steady refinement and abject oscillation.
Case in point: Pritzker winner Zaha Hadid is world-renowned for her idiocentric style and design sense, and yet there are distinctly similar motif’s in the following projects; first the Centre for Contemporary Arts, Rome begun in 2003 and the Dancing Towers in Dubai, a mixed-use series of three towers combining a hotel, speculative office space, and residential space.
It is superficially easy to say that the Dubai project is merely the Rome project turned 90 degrees. It is hard not to pass judgement on Hadid’s projects from a merely visual standpoint: her projects are so iconoclastic and surface/skin dependant that it makes superficial critique easy.