当代艺术中心

扎哈哈迪德创作思想及其作品浅析目录一、扎哈哈迪德1.简介2.主要作品二、哈迪德的建筑思想与手法1.哈迪德的建筑思想（1）空间的透明性（2）空间的流动性2. 哈迪德的空间创造手法（1）拼贴与破碎——水平方向的空间组织（2）层叠与转换——垂直方向的空间组织（3）折叠——水平与垂直的空间交融3. 哈迪德的建筑与时尚三、哈迪德主要作品收集与分析1. 广州歌剧院2. 辛辛那提当代艺术中心3. 银河SOHO四、个人启发一、扎哈哈迪德：1.简介：扎哈·哈迪德（Zaha Hadid），2004年普利兹克建筑奖获奖者。

1950年出生于巴格达，在黎巴嫩就读过数学系，1972年进入伦敦的建筑联盟学院AA学习建筑学，1977年毕业获得伦敦建筑联盟(AA，ArchitecturalAssociation)硕士学位。

此后加入大都会建筑事务所，与雷姆·库哈斯（Rem Koolhaas）和埃利亚·增西利斯（EliaZenghelis）一道执教于AA建筑学院，后来在AA成立了自己的工作室，直到1987年。

1994年在哈佛大学设计研究生院执掌丹下健三（Kenzo Tange）教席。

2.主要作品：扎哈·哈迪德（Zaha Hadid）的建筑作品使她在学术界和公众中赢得了广泛声誉。

她所设计的注明日期的最优秀最著名的工程是：（1）德国的维特拉（Vitra）消防站（2）位于莱茵河畔威尔城（Weil am Rhein）的州园艺展览馆（1993/1999 ）, （3）英国伦敦格林威治千年穹隆上的头部环状带( 1999 )，（4）法国斯特拉斯堡的电车站和停车场（2001 ),（5）奥地利因斯布鲁克的滑雪台( 2002 )，（6）美国辛辛那提的当代艺术中心（2003）。

（7）中国首都北京地标建筑银河SOHO（8）广州歌剧院她还完成了如下的家具创作和内部装饰:（1）伦敦的Bitar( 1985 )，札幌的Moonsoon餐馆( 1990 )（2）由Sawaya and Moroni制造的Z－游戏( 2002 ) 和Z－景观（Z－Scape，2000）的家具（3）Alessi的茶城与咖啡城(2003)她所设计的临时建筑物包括:大阪的Folly（1990 ）, 荷兰格罗宁根（Groningen）的音像馆(1990)，伯明翰的Interbuild蓝图杂志馆( 1995 )，意大利罗马美蒂奇（Villa Medici）安装网（installation Meshworks，2000），英国伦敦盘旋形画廊的夏亭( 2000 )，以及西班牙巴塞罗那的R. Lopez de Heredia Vina Tondonia亭阁( 2001 )。

成都现代艺术之旅参观尤伦斯当代艺术中心成都一直以来以其浓厚的文化底蕴和独特的艺术氛围而闻名。

作为中国西南地区的艺术中心，成都拥有众多的艺术机构和画廊，并受到国内外艺术家和艺术爱好者的热爱与推崇。

尤伦斯当代艺术中心（UCCA）作为成都最著名的现代艺术场所之一，不仅承载着丰富多样的艺术展览和文化活动，还成为了当地艺术教育和交流的核心。

尤伦斯当代艺术中心位于成都市锦江区，是一座集艺术展览、学术研讨和公共教育为一体的综合性艺术机构。

中心拥有超过5000平方米的展览空间，采用现代化设计风格，以其独特的空间结构和艺术装置成为了该地区的地标建筑。

从建筑外观到内部装修，充满了现代感与艺术品味，给人一种令人耳目一新的感觉。

在尤伦斯当代艺术中心参观期间，我有幸欣赏到了多个精彩的艺术展览。

其中，最让我印象深刻的是一场名为“回望·未来”的主题展览。

这场展览旨在通过对当代艺术发展的回顾和对未来艺术趋势的展望，引导观众思考和讨论当代社会与艺术的关系。

在展览中，我看到了不同风格和媒介的艺术作品，包括绘画、雕塑、摄影等。

这些作品不仅呈现了艺术家们对社会现象的反思，也展示了他们对未来的畅想和探索。

通过与艺术家的互动和作品的解读，我更深入地理解了现代艺术的多元性和丰富性。

除了展览，尤伦斯当代艺术中心还定期举办艺术家讲座、学术研讨和艺术家驻地项目。

这些活动吸引了国内外众多艺术家、学者和观众的参与，促进了艺术界的交流和互动。

在这里，我参加了一场由当代艺术家主讲的讲座，他分享了自己的艺术经历和创作理念。

通过与艺术家的交流，我更加深入地了解了他们的创作动机和艺术观念，也对当代艺术的发展和趋势有了更全面的认识。

尤伦斯当代艺术中心作为成都现代艺术的重要场所，一直以来都致力于推动当代艺术的发展与普及。

中心定期举办的公共教育项目，如艺术讲座、工作坊和儿童艺术课程，为广大观众提供了学习和体验艺术的机会。

这些活动不仅满足了观众对艺术的热爱和渴望，也丰富了当地的文化生活和艺术氛围。

解读伽利逊当代艺术中心[摘要]本文通过对阿尔瓦罗西扎及其作品伽利逊当代艺术中心的分析介绍；以建筑历史发展的眼光看待西扎以及他的作品；对于探寻中国建筑本土文化和世界建筑发展主流相契合的我国建筑师具有重要启示。

[关键词]阿尔瓦罗西扎；伽利逊当代艺术中心[abstract] this article through to alvaro alvaro siza and their works and the analysis of the contemporary art center was introduced; in the construction of the development of history look at alvaro siza and his works; to seek the building indigenous culture and the world building development in steps in the mainstream, is an inspiration to the architect.[keywords]alvaro siza; the contemporary art center of the hudson中图分类号： j0文献标识码：a文章编号：在全球化的今天，当今世界崇尚回归历史、建筑强调与周围环境及问脉的关联性。

引发我们对现代建筑的反思和进一步探索。

基于此，本文对伽利逊当代艺术中心的分析解读具有现实意义和历史意义。

当我们阅读伽利逊当代艺术中心时，建筑简洁的体量的塑造、当地材料的运用我们意识到人——建筑——历史共生的有机模式。

二、伽利逊当代艺术中心产生的历史背景：伽利逊当代艺术中心的生成，具有偶然性和必然性的双重因素。

偶然性是建筑基地所处的环境及位置，必然性是伽利逊当代艺术中心所处的现代建筑发展时期。

20世纪20年代到20世纪70年代占统治地位的是现代主义建筑。

国内非营利性艺术机构OCT当代艺术中心性质：非营利性艺术组织英文名：OCT-Contemporary Art Terminal简称：OCAT成立时间：2005年1月28日地点：深圳（上海分展区）（北京上海武汉西安将建）理念和口号：做中国当代艺术的航空港核心任务：以整合海内外当代艺术资源，推动中国当代艺术与国际接轨、互动为目标；通过举办展览、学术论坛和建立国际当代艺术工作室交流计划等项目，把OCAT建构成既具有中国本土特色，又具有专业化、国际化水准的独立当代艺术机构。

OCAT隶属于何香凝美术馆，它是中国唯一一所隶属于国家级美术馆的非营利性当代艺术机构。

OCAT徽标源于“补给站”、“交通网”、“起飞点”。

这一“做中国当代艺术的航空港”的基本理念。

徽标元素来自达·芬奇的《人体标准比例图》和飞机模型设计，前者象征OCAT以人文精神作为中国当代艺术的基本底蕴，后者象征OCAT的当代属性，两者共同构成对OCAT理念的展示。

形象地说，OCAT希望成为中国当代艺术的交通网、补给站和起飞点。

OCAT是中国独立艺术的代名词，它的理念口号就是“做中国当代艺术的航空港”，英文名称更直接地表明了这一理念。

OCAT活动以当代视觉艺术为主体，辐射实验表演、音乐、影视和多媒体等跨界领域，一方面进行多层面的艺术交流活动，另一方面吸引海内外赋有才华的艺术家，为他们的创作提供展示空间和交流平台。

尤伦斯当代艺术中心英文名：The Ullens Center for Contemporary Art简称：UCCA性质：非营利性艺术组织时间：2007年11月地点：北京798艺术区创建人：尤伦斯夫妇目标：致力于持续性地推动中国当代艺术的发展、促进国际交流，为每年到访的近百万参观者呈现最前瞻的艺术和文化。

占地面积：5000平方米UCCA尤伦斯当代艺术中心是一座服务于公众，独立的公益性艺术机构。

它与中国本土及国际范围内的知名和新锐艺术家广泛合作，举办学术性的展览及丰富的公共项目。

Enterprise Development专业品质权威Analysis Report企业发展分析报告当代中国电视艺术制作中心免责声明:本报告通过对该企业公开数据进行分析生成，并不完全代表我方对该企业的意见，如有错误请及时联系;本报告出于对企业发展研究目的产生，仅供参考，在任何情况下，使用本报告所引起的一切后果，我方不承担任何责任:本报告不得用于一切商业用途，如需引用或合作，请与我方联系:当代中国电视艺术制作中心1企业发展分析结果1.1 企业发展指数得分企业发展指数得分当代中国电视艺术制作中心综合得分说明：企业发展指数根据企业规模、企业创新、企业风险、企业活力四个维度对企业发展情况进行评价。

该企业的综合评价得分需要您得到该公司授权后，我们将协助您分析给出。

1.2 企业画像类别内容行业文化艺术业-影视节目制作资质一般纳税人产品服务播电视节目（时政、新闻及同类专题、专栏除1.3 发展历程2工商2.1工商信息2.2工商变更2.3股东结构2.4主要人员2.5分支机构2.6对外投资2.7企业年报2.8股权出质2.9动产抵押2.10司法协助2.11清算2.12注销3投融资3.1融资历史3.2投资事件3.3核心团队3.4企业业务4企业信用4.1企业信用4.2行政许可-工商局4.3行政处罚-信用中国4.4行政处罚-工商局4.5税务评级4.6税务处罚4.7经营异常4.8经营异常-工商局4.9采购不良行为4.10产品抽查4.11产品抽查-工商局4.12欠税公告4.13环保处罚4.14被执行人5司法文书5.1法律诉讼（当事人）5.2法律诉讼（相关人）5.3开庭公告5.4被执行人5.5法院公告5.6破产暂无破产数据6企业资质6.1资质许可6.2人员资质6.3产品许可6.4特殊许可7知识产权7.1商标7.2专利7.3软件著作权7.4作品著作权7.5网站备案7.6应用APP7.7微信公众号8招标中标8.1政府招标8.2政府中标8.3央企招标8.4央企中标9标准9.1国家标准9.2行业标准9.3团体标准9.4地方标准10成果奖励10.1国家奖励10.2省部奖励10.3社会奖励10.4科技成果11土地11.1大块土地出让11.2出让公告11.3土地抵押11.4地块公示11.5大企业购地11.6土地出租11.7土地结果11.8土地转让12基金12.1国家自然基金12.2国家自然基金成果12.3国家社科基金13招聘13.1招聘信息感谢阅读:感谢您耐心地阅读这份企业调查分析报告。

广西科技大学Zaha Hadid Architects 2003Rosenthal Center for Contemporary ArtCincinnati, Ohio USAThe Rosenthal Center for Contemporary Art is Prize-winning architect Zaha Hadid’s first building in the United States,and the first major American museum designed by a woman. It is also notable for its sophisticated interior spaces and the warm embrace of environment---all achieved for the relatively modest price of $20.5 million.—The center is not a collecting institution: It organizes and displays temporary exhibitions,installations, and performances. The institution had rented space in unceremonious locations throughout the city since its founding in 1939 as the Modern Art Society. Its new location on a prime corner in downtown Cincinnati—across the street from Cesdar Pelli’s Aronoff Center for the Arts—was a chance to increse its profile in city._Hadid wanted to draw the energy and activity of the city into the lobby and up into its galleries. To that end, she created an “urban carpet,” a concrete floor that sweeps in from the sidewalk through the lobby and folds up like a skateboarding ramp to frame the backdrop of a dramatic atrium. The skylit atrium, exending the full six-story height of building, features a kinetic, self-contained circulation spine. Ramplike stairs wrapped in steel box-beams energetically zigzag their way up through the skylit space to reach galleries on four floors._Hadid’s intent was to put everyone who uses the circulation spine in contact with all of the 87,500-square-foot(8,113-square-meter) building’s functions. The ground floor contains the lobby, reception area, and museum shop; an underground level houses a black-box performance space. The third floor and part of the fourth are given over to the museum’s offices and a staff lounge. The building’s uppermost level contains a children’s space, called the UnMuseum. The rest of the floors contain a variety of galleries-from double-height spaces to small and intimate rooms._The exterior elevations revesl the building’s interior organization. Hadid orchestrated volumes clad in precast concrete and anodized black aluminum into a dynamic massing of overlapping and intersecting blocks that stands out among Cincinnati’s staid downtown buildings. On the south facade each floor level is clearly articulated with bands of precast concrete, glass, or anodized steel. The long,striated blocks align respectfully with the cornices and floor lines of an adjacent historic building. Hadid challenged the logic of gravty by placing blocks of steel and concrete above bands of glass. On the building’s short side elevation, the exterior explodes with an energetic push-and-pull. The cantilevered ends of the individual volumes projecting begond each other and over the street create a sculptural urban bas-relief. The upward thrustof the urban carpet is clearly visible as the concrete sidewalk moves into the ground-floor lobby and up against the adjoining building, extending up the full six stories. Hadid’s building energizes the city, as well as the art within it._Opposite:The Rosenthal Center’s east-facing Walnut Street elevation is an energetic,abstract assembly of precast concrete and black anodized steel volumes cantilevering beyond each other. The volumes appear to float above the glass-enclosed lobby at street level.Oswald Mathias UngersGallery of Contemporary ArtHamburg, 1986—1996A museum is really just a piece of architecture, nothing more. Nothing more? If one takes it seriously, that’s no small thing. Every building commission is public by nature. It finds its audience in an environment that is mostly urban and with which it communicates:by way of its own function, by way of the demands of the other participants in the dialogue, by way of the place and its history,and—last but not least —by way of the act of building itself.In this regard every building commission possesses its own symbols and its own history.The museum, too, the vessel for art or other entities on show, is always something more than the bare envelope, more than a container or a black box. Certainly, one may demand that it withdraw into the background with regard to the art on exhibition. But what does this really mean? Must one really emphasize this, considering that the last ornament already disappeared decades ago from the outermost edges of the exhibition surfaces?A museum cannot disappear either. And here the paradoxical tenet of architecture is valid as well: the more the wall as relief withdraw into the background, the more substance and structure capture the foreground. One will always perceive them,just like the proportions and the atmosphere of the space. One must recognize that it is exactly here, in the emptiness of the museum, that the building exhibits itself.Briefly put: a museum is always a museum of architecture as well. Yet it’s still a long way from being a forged work of art attempting to compete with the works on exhibit. What, then, could cause an architect to become disconcerted here?Oswald Mathias Ungers has always worked on the most direct relationship between the envelope and its symbolism. The same design methodology that can entice countless variations from the square grid can at once appear simple, and in another moment precious:from the pragmatic convention centers for Frankfurt and Berlin to the representative residence of the German ambassador in Washington. What does this mean for the museum as such and—posed more concretely—where can the Gallery of Contemporary Art in Hamburg rightly take its place here?On could initially take the question literally; then it points at the relationship to the core of the whole, to the old and noble Kunsthalle. The beautiful and unusual masonry building in forms from the neo—Renaissance is now over 130 years old. It was already expanded once, at the begining of this century, with the cubical and classical addition in light limestone connecting directly toward the main train station. The otherside remained for the Gallery of Contemporary Art, a long plateau with a view of the dam between the Binnenalster and Aussenalster waterways. The dreary boxes of the Kunsthaus and the Kunstverein,which had stood here since the sixties and degraded the exclusive site to the level of a service court, were able to be razed in 1992 in order to commence with construction of the gallery. Five years earlier,and one year after it won the competition.Ungers’s project was even presented at the Documenta in Kassel as the “museum in a box.” The explanatory text itself was already provocative in its lapidary self-demarcation:“As architecture,the museum is wall-space-light. The wall bounds the spaces. The flow of spaces effects the transformation between generosity and intimacy, uniformity and free form, light and dark, confinement and expanse, as well as inside and outside.The room sequence-the enfilade-is a museum.”Ungers advanced the new Gallery of Contemporary Art up to the front row and made it the terminating element in the row of buildings bordering the water of the Binnenalster like an inner-city square. The manner in which the radiant solitary is placed in this panorama while retaining is own exclusive distance is just as precisely fine-tuned as its relationship to the Kunsthalle.The beveled base of red Swedish granite plays with the memory of the Glockengiesserwall (bell foundry rampart) that once ran through here. The bevel belongs in equal measure to the street space as well as to the museum. Sitting on top and identical on all four sides is the cube, clad in light-colored Portuguese limestone, Joints and window divisions trace the spuare as design module on the facade while a rising window axis establishes the building midsection.Slightly raised, the base reaches to the front of the Kunsthalle, with the artificial island rising once more and crystallizing into a connecting platform. Ian Hamilton Finaly inscribed the base-in Roman type, and in four languages-with the fist work of art: “Homeland is not a country; it is a community of feelings.” What is blowing here, then-in the heavens above us, and in the art before and behind us-is the wind of enlightenment. Although only its wind, this is not a place of assembly for fraternal convocation. Rather, it is a place of sentimental empathy for humanity, which now finds its highest expression and hope solely in art.The seismic uplifting of the tectonic plates is a hint as well of that which iles hidden beneath. The more appropriate entrance into this underworld offers itself, then, not through the foyer in the cube, but once again through the point of departure, the Kunsthalle.From here, Jenny Holzer’s light band draws us down the long stair to the lowermost exhibition level, into a labyrinthine and cavernous space for the exhibition of art. Despite the considerable room height, one cannot filly forget the oppressiveness and the constriction unique to both genuine and false underworlds. An enfilade would have opened a passage and a view to the cube, had Richard Serra not blocked the path with an installation titled Splashig Seeing is Believing. “Art fist!” is another disarmingly ambiguous message in this small intervention.The black floor, made from industrial ceramic tiles, patiently cooperates even with works like this one in poured lead. Possible damages to the floor can be easily and inexpensively repaired. The floor appears at once workshop-like and then againelegant. For this reason one will find it in (nearly) every space in which art is on exhibition while ascending through the cube.Nonetheless, our first impression would have been much different had we chosen the stately, ground-level entrance into the gallery. Once inside, the central hall directs our view upward through all levels to the very top, where it is drawn out by a house-like skylight. Two Flights of stairs, leading upward while knowing nothing of each other, wrap themselves simultaneously around this space. Here, too, their proportions are steep and nearly sublime in nature. The exhibition spaces from a second outer circuit-white, of coures, and with the possibility of flexible division.The light changes from floor to floor. On the ground floor, with its floor-to-ceiling fenestration, a first gallery space lies between the bistro and the auditorium. Here, Ungers already suggests that he won’t hesitate to project art into the city: art as a part of the museum once again becomes a part of the urban culture whence it arises. This is particularly evident on the second floor, where the windows reach from the floor up to half of the room height, admitting light rich in effect around the sides. Even when pure artificial light from above and skylights supplemented with artificial lighting illuminate the uppermost floor, the continuons fenestration of the middle axis always establishes contact with the outside world and with the inside world via the central hall running straight through the building. At least as long as the sensor-driven cloth sunshading remains open, the Gallery of Contemporary Art is also a compass, offering orientation and a lookout tower replete with perfect picture-postcard views.Here in the cube the square as the unit of measurement is omnipresent, from the ground plan to the flooring and the furnishings up to the sunken lighting fixtures, including those for the emergency exits. The fire extinguishers and other installations have, like much else, disappeared into the walls. Everything is already in place in the concept. That offers quietude and the necessary concentration, without the design degenerating into meek incognizance or an unconscious collection of unrelated solutions.If the interconnectedness with the outer world holds out to the domain of artistic self-reference that there is indeed life outside art, then it can be interpreted within the wealth and diversity of the elementary realm, that there is equally an idea of architecture that withdraws from art (and life). But only when art is in this triangulation does it, too, receive that of which it is needful: resistance and free space.Ulrich Maximilian Sduimann扎哈·哈迪德建筑师事务所2003年罗森塔尔当代艺术中心美国俄亥俄州辛辛那提罗森塔尔当代艺术中心是获普利兹奖建筑师扎哈哈迪德在美国设计的第一个建筑物。

俄罗斯当代艺术发展历程作者：王斐来源：《电影评介》2014年第07期【作者简介】装置作品《从房间飞向空中的人》（伊利亚·卡巴科夫）一、俄罗斯当代艺术的现状（一）艺术反映现实在苏联解体20多年之后，俄罗斯的现代艺术家们已经开始渐渐的在艺术品当中对现实问题进行剖析，并且将其展现在大家面前。

在首都莫斯科的一家艺术展示中心，展示出了一段行为艺术影像，这段行为艺术影像名为“White Canvas”，18位年轻的艺术家将白色的画布放在克里姆林宫当中，一部分画家在画布上绘画，另外一些人则在旁边。

这段行为艺术看似荒诞，其实是对俄罗斯政府的谴责，他们认为俄罗斯政府没有做任何的实事，甚至连基本的责任也没有承担。

该艺术中心的总监是这样介绍的，这座艺术展示中心是20世纪30年代的时候，一位建筑师所创造的，其建筑物本身就具有艺术感。

有一位叫Anastasia Khoroshilova的年轻艺术家，他将创作的重点聚集在了移民生活上。

莫斯科和很多的大城市一样，都吸引了许多移民。

这位艺术家的艺术品被展示了出来，他展示的是在莫斯科工作的一些移民肖像，所有人在照片当中都紧闭双眼。

在俄罗斯工作的外来移民的生活非常辛苦，而且俄罗斯法律也并没有真正的保护这些外来移民，甚至根本不愿意承认他们对俄罗斯经济的贡献，连他们的基本权益也无法满足。

此外，这些移民甚至还要受到当地人的鄙视和嘲笑，所以经常发生冲突。

最为严重的是移民的医疗、安全、教育问题得不到合理的解决。

一些本地人甚至根本不和移民打交道，有些粗暴的本地人还对移民使用过暴力。

所以该艺术家想要用这样的方式将移民者的状态体现出来，对于他们而言，生活就是闭着眼睛的黑暗。

同时也有一些对历史进行调侃的影像作品，比如在俄罗斯近年来的一部微电影当中，讲诉了一名男子在家里冲洗美女的裸照，希望将这些照片卖出去。

在接头的地方，“黄牛”把黑色的大衣掀开了，照片也贴在了上面，一些顾客非常惊奇。

这时忽然传来一声警哨，一批人赶紧跑了，如果不跑，就会以流氓罪论处。