{"product_id":"giovannini-joseph-zaha-hadid-judith-turner-a-dialogue-9783936681918","title":"Zaha Hadid, Judith Turner: A Dialogue","description":"The juxtapositions of Zaha Hadid’s architectural models and drawings\nand Judith Turner’s photographs of the architect’s buildings\nin this volume reveal that Hadid and Turner are complicit. There is\na clear agreement of sensibilities. Each understands the other.\nIn the first decades of Hadid’s career, during which she collided\nforms and designed in the fall-out, Hadid did not design wholes,\nbut buildings composed of fragments. Like Hadid – but unlike\nmost architectural photographers, trained and paid to document\nbuildings –Turner also does not photograph the whole, and rarely\nincludes the context: her camera sees fragments instead, a collage\nof parts. Turner’s photographs from this early period of Hadid’s\nwork are fragmentary views of Hadid’s fragmented buildings.\nHadid’s vision lends itself to Turner’s.\nHadid does not design with complete geometries in stable configurations,\nbut designs instead with incomplete or distorted geometries\nthat are dynamic and visually unstable. Turner does the same\nin her photographs, cropping before a form completes itself in a\nframe that leaves the rest of the form suggested outside the frame.\nHadid’s work is abstract – a permutation of Modernism’s trifecta\nof point, line and plane. Turner’s photography, too, is abstract\nso that Turner’s photographs of Hadid’s buildings compound\nthe abstraction, arguably intensifying the three-dimensional\nabstraction by compressing it into two. Hadid’s neutral palette\nof materials, especially concrete, takes on value in Turner’s graphic\ncompositions of black, white and gray, counterintuitively giving\nneutrality subtle intensity.\nHadid structures her designs dynamically with diagonal lines\nand oblique planes playing with and against each other in threedimensional\nfields. Likewise Turner works on the diagonal, always\npositioning herself obliquely to buildings, shooting glancingly rather\nthan frontally: her diagonal position further dynamizes Hadid’s\nalready energized diagonals. Often Turner doubles down on the\ndiagonality by cranking the camera’s lens off its up-down axis to\nheighten the architectural dynamism. Turning her photographic\nangle lofts Hadid’s already anti-gravitational architectural system\noff the ground.\nJoseph Giovannini heads Giovannini Associates, a design firm\nbased in New York and Los Angeles. He holds a Master in Architecture\nfrom Harvard’s Graduate School of Design. He has taught\nat various Universities, among them Columbia University, University\nof California in Los Angeles, and University of Southern California.\nA graduate of Yale University, where he did his B.A. in English,\nGiovannini also holds a Master of Arts degree in French language\nand literature from the Université Paris-Sorbonne.\nSee also: Judith Turner, Seeing Ambiguity. Photographs of\nArchitecture, Edition Axel Menges, 2012.","brand":"Edition Axel Menges","offers":[{"title":"Used - good","offer_id":53130074292566,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0925\/5829\/5382\/files\/product_image_9783936681918_1.jpg?v=1777734149","url":"https:\/\/www.momoxbooks.com\/products\/giovannini-joseph-zaha-hadid-judith-turner-a-dialogue-9783936681918","provider":"momoxbooks","version":"1.0","type":"link"}