The curve applied as a dogmatist element. Zaha Hadid‘s intervention on the grounds of the former textile factory Beko Belgrade, Serbia, does nothing but confirm design criteria stagnant systematically repeated in each of the interventions of the past few years.
The multifunctional complex Beko is only 500 meters from the historic center, on the banks of the Danube, and was conceived as the centerpiece of the revitalization a key area for the development of the city. In 2007 a company bought the old factory building and the adjacent open plot, site where develops the set, which will provide a huge variety of services to the residents of this area of Belgrade.
The mixed-use program includes housing, office, retail, a hotel, a convention hall and underground parking for residents and visitors, totaling an area of about 94,000 square meters. A pedestrian bridge wills candid and fluid integration between the residential areas of the two banks of the Danube.
The proposal preserves the building that was used by the textile firm until it closed. The proposed contact Hadid between the new building and the existing structure is successful, respects the morphology of the building and it integrates to one side making contact with flowing lines emerging from the rigid box and provide its formal integration.
But when the design delves into the plot, the maddening use of curved planes and infinite vanishing points corrupts good intentions outlined in contact with the existing structure. The design wanders in the composition of public spaces ambiguous, cloistered among tortuous forms, leaving exposed the colossal covering undulating surfaces.
The new building responds poorly to consolidated weft, altering the space of the street and creating a shadow cone of the project itself reveals in his images. Similarly, the internal spaces suffocate in their own ellipses, omitting the human scale and cover of shadows, which make the area Public outdoor use in damp spaces and obscure, inadvisable for a city of habitual low temperatures.
This messianic invocation to how malleable, parametricism exegesis, merely cover all possible architectural intent, transforming the design into a recurring discursive game, unnecessary, predictable and lacking a proposal flatly habitable. Hadid’s work for this century thrives as a pamphlet design vacuous that positions it increasingly closer to media circus and increasingly away from the architecture.
by Marcelo Gardinetti
Credit images: www.zaha-hadid.com