Zaha Hadid have landed!

I was fortunate to be in Singapore to see this exhibition. First, its because I didn't know that, Zaha Hadid was exhibiting her work. Second, it was 2006 and I've just quit my tormenting 'brain-draining' job. I'm leaving everything behind and gambled my future by heading back down South to my Uni. Third, burned and worned out, I need a spark to regained back my faith towards design and revitalizing the path to be a researcher & designer. Any sign whether theory, research and design are significantly
needed for the developments of the society and where do exactly I fit in.

Upon arrival, I feel like a small kid again, jumping with joy *(...not literally, well, ok. a little bit). This is the closed at this particular moment of my life that I'm able to experienced a work of an idol in person. Before this* (before the era of wikipedia, google books, amazon, flickr and blogs), our only access is from books and deeply relying on our own imagination in visualizing how it feels like to be in a space created by these 'Idols'.

The installation began right in front of the Museum. It was like Zaha Hadid have thrown a 'white blob' all the way from Germany and it have crashed landed at the museum drop off point, creating a massive crater, explosion splashing ripples frozen in time.


'Point of impact', facing the main road

'Mini droplets' of the other mini 'white blob'.

A part of this splashes from the main crater, 'flew' away and entered the museum. Creating a teasing gesture towards the public to enter the museum.

Then it swirls in between the ceilings and columns of this Colonial building structures. I wasn't aware that during my journey in following this 'floating swirling plain' I am passing through the lobby and the ticket counter.

Yu can't continue any further, unless yu pay.

Zaha then rewarded her audience. There it was, after the ticket booth, right smack in the middle of the courtyard, three suspended rods in mid-air like it was about to flew to somewhere. But, Zaha still want yu to continue the discovery. The floating plains continues away from the courtyard. I paused for awhile, thinking whether I should continue on or linger in the courtyard for awhile.

I decided to continue my journey, following the floating plains which is now have entered a glass room. Here is where I began to run into a problem. A sign of, no camera is allowed inside this gallery and across the gallery hall, I could see a security guards eying around all the visitors who might be potentially disobeying. Now, the floating plain swirled sideways and have become a wall then a floor then back again to wall, it then climbed upwards towards the stairs to the first floor. On these walls, several paintings, sculptures, artworks are placed. Due to these soft rounded white surface, most artwork frames which are not following the curvature 'pop-out' and overwhelmed by the 'white splash'.

Frankly, all I want is to continue following the 'white splash', disregarding any elements (other 'non Zaha Hadid' artworks) on it.

A tube, popping out of the wall and hovering over the staircase leading towards the first floor. I'm sorry Mr. Security Guard, I'm about to break your rule here, I can't turn off my passion. I'm might not gonna have a chance like this anytime soon.

Beyond this point it's all 'click camera and run' moment in between not just me, but several other similar enthusiastic visitors versus the security guard.

I was unable to capture a 'knife-like' plain raised a few feet above the first floor gallery. Yes, Yu are allowed to sit on it to test its strength. The 'white splash' then continues all the way to the end of the hall and counter back ,towards the staircase, lowering down, punching back through the glass window facing the courtyard.

Eventually, connected back to the three floating 'rods' in the courtyard, back to Zaha's studio/ works across the other side of the world.

Sitting underneath, looking at these frozen 'flight path'.

.. I began to feel, revived.

Thank Yu Zaha Hadid.

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