The renown architect has release a volume that reinterprets avant garde Russian art through an architectural lens.
If you’ve ever worked at (or been inside of) a design studio, the first thing you’ll notice are the books. Stacks and stacks of them, they provide and almost never ending reference base for everyone from graphic designers to large scale landscapers. That’s having an eclectic and fully-stocked in house library is one of the most valuable resources a business can have. That being said, tucked in with all the Milton Glasers and the Stefan Sagmeisters, every collection should have at least one tome on Zaha Hadid. The groundbreaking Iraqi-born designer, in addition to her fame as a world renowned architect and Dame, an avid fashion afficionado and sometimes designer (you can check out some of her avante guard foot work for Lacoste here), is also a living treasure for the design community.
For those looking for a weighty and indepth publication of Zaha’s recent work, Galerie Gmurzynska recently announced the new release of Zaha Hadid and Suprematism (September 2012), presenting the groundbreaking exhibition of the same name, designed and curated by Hadid at Zurich’s Galerie Gmurzynska in Summer 2010. For this exhibit, Zaha Hadid translated the warped and weightless space of Russian avant-garde painting and sculpture of Kazimir Malevich, El Lissitzky, and Alexander Rodchenko and refracted it through her very own “architectural language”.
Edited by Galerie Gmurzynska, Zaha Hadid and Suprematism also features texts by art world heavy weights Charlotte Douglas, Krystyna Gmurzynska, Alexander Lavrentiev, Melodie Leung, Andrei Nakov, Hans Ulrich Obrist, Mathias Rastorfer, Kenny Schachter, Patrik Schumacher, and graphic design by Dan Miller.
Click through the images below to see more pictures from the book: