A Quote by Zaha Hadid

Two years ago I focused on one apartment to see how many variations you can come up with in a given space with the same parameters. I would work on this repeatedly for days and you see that there is maybe seven hundred options for one space. This exercise gives you an idea of the degree at which you can interpret the organization of space, it is not infinite but it's very large.
In 2009 I went up on the space shuttle. I was in space for 16 days and docked at the space station for 11 days. The entire crew did five space walks, of which I was involved with three of them. When you're doing a space walk, you always have a buddy with you. It's a very dangerous environment when you're doing a space walk.
Space, space: architects always talk about space! But creating a space is not automatically doing architecture. With the same space, you can make a masterpiece or cause a disaster.
The teacher showed us how to see proportions, relationships, light and shadow, negative space, and space between space - something I never noticed before! In one week, I went from not knowing how to draw to sketching a detailed portrait. It literally changed the way I see things.
Space expands or contracts in the tensions and functions through which it exists. Space is not a static, inert thing. Space is alive; space is dynamic; space is imbued with movement expressed by forces and counterforces; space vibrates and resounds with color, light and form in the rhythm of life.
Exercise is very important, first of all if you think about it, especially in a long flight like a six month space flight and on the ISS. If you didn't exercise and used the analogy on earth, it would be like laying in bed. So, just imagine laying in bed for several months, and even just trying to get up and walk, you probably wouldn't be able to. But if you got up and you exercised two hours a day, you'd probably be okay, and that's the same in space.
All changes in space which we see, hear, smell or taste are literally tactile impressions. All our senses are variations of our unique sense of touch. Two approaching objects touch one another when they finally meet without a noticeable space between them. ... This is what happens in any condensing matter in which the outer aspects move towards a centre... Each single part of matter approaches its neighboring part until the two collide, causing an impact or a pressure. It is space, which appears and disappears between and round object and in the movements of the particles of the object.
This moment exhibits infinite space, but there is a space also wherein all moments are infinitely exhibited, and the everlasting duration of infinite space is another region and room of joys.
To view space as, "Well, let's go to Mars now," or "Let's do this now," maybe we should rethink of space as our backyard and have a suite of launch vehicles that can enable any ambition a person has regarding space. It's the same way you can go to buy a car: I want to go offroading, I'll buy this model. I'm a city driver, that's this model. I want to use less fuel, well, that's this model. They're not selling you one car, you have options. So when I think of space, I think of having options.
There's a huge amount of pressure on every astronaut, because when you get right down to it, the experiments that are conducted on a space flight, or the satellites that are carried up, the work that's to be done, is important and expensive work, and you are up there for a week or two on a Space Shuttle flight. The country has invested a lot of money in you and your training, and the Space Shuttle and everything that's in it, and you have to do things correctly. You can't make a mistake during that week or two that you're in space.
On my second space walk, I was riding the Canadarm, heading down toward the payload bay of the space shuttle, and I could see the space shuttle highlighted against the Earth in the background, and there was this black, infinite, hostile void of space. I remember looking down at the Earth and thinking, "Beneath me is a 4½-billion-year-old planet, upon which the entire history of the human species has taken place." That was an incredibly humbling moment, and I had a bit of an epiphany.
In space, you can't see the borders. It doesn't look like a map. We're all like kids fighting in a sandbox, on the political and human side of it. The International Space Station was built in orbit. Each piece hurtled into space at eight kilometres per second. From an engineering point of view, it's madness. It's also a feat of policy - Russia, the U.S., Germany and Japan working together. Do you realize what that means? These countries were sending nukes to each other a generation ago. Space does that. It gives us that amazing big picture.
Over the years, in making art, I have constantly explored issues dealing with space, time, light, and society. I am particularly interested in how the light of a space determines how we see that space and similarly, in how light and color are actually phenomena within us, within our own eyes.
The development of space technology, including space warfare today, is similar in its technological-industrial significance to the development of navies a hundred years ago.
Space can vibrate, space can fluctuate, space can be quantum mechanical, but what the devil is it? And, you know, everybody has their own idea about what it is, but there's no coherent final consensus on why there is space.
My work at MIT had focused on what we could build in space once we had inexpensive space transportation and industrial facilities in orbit. And this led to various sorts of work in space development.
The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.
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