Zaha hadid

2

Presented to:

Ar. T.R. Warsi

Presented by:

Deepak Kumar (11-ARB-564)

Ahmad Faraz (11-ARB-567)

Presented by:

Deepak Kumar

Ahmad Faraz

I don't think that architecture is only about shelter, it is only about a very simple enclosure. It should be able to excite you, to calm you, to make you think… -Zaha Hadid

A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ 3

An Introduction to Zaha Hadid

Architectural Background

Architectural Philosophy

Architectural Style- Deconstructivism

Concept of Fluidity

Architectural Works

Awards & Recognition

List of Awards & Honors

Museum Exhibitions

Critics

Contents Seminal Works

I. Vitra Fire Station, Germany

II. MAXII: Museum of XXI Century Arts, Italy

III. Phaeno Science Centre, Germany

IV. Guangzhou Opera House, China

V. London Aquatics Centre, United Kingdom

VI. Heydar Aliyen Centre, Azerbaijan

Other Architecture Related Works

Conclusion

Zaha Hadid’s Team

Bibliography


An Introduction

Personal Life Zaha Hadid was born on 31 October 1950 in Baghdad, Iraq. She grew up in one of Baghdad's first Bauhaus inspired buildings during an era in which "modernism connoted glamour and progressive thinking" in the Middle East.

Education Alma Mater: American University of Beirut, Architectural Association School of Architecture She read mathematics at the American University of Beirut before moving to study at the Architectural Association School of Architecture in London, where she met Rem Koolhaas, Elia Zenghelis and Bernard Tschumi. She worked for her former professors, Koolhaas and Zenghelis, at the Office for Metropolitan Architecture, in Rotterdam, the Netherlands; of which she became a partner in 1977.

Teaching Dame Zaha Hadid has taught at the Harvard Graduate School of Design, where she was the Kenzo Tange Professorship and the Sullivan Chair at the University of Illinois at Chicago's School of Architecture. Zaha was named an honorary member of the American Academy of Arts and Letters and an honorary fellow of the American Institute of Architects. She has been on the board of trustees of The Architecture Foundation. She is currently professor at the University of Applied Arts Vienna in Austria.

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE & THE COMPLETE BUILDINGS AND PROJECTS BY THAMES AND HUDSON

5

Architectural Background

Zaha Hadid is an architect who consistently pushes the boundaries of architecture and urban design. Her work experiments with new spatial concepts intensifying existing urban landscapes in the pursuit of a visionary aesthetic that encompasses all fields of design, ranging from urban scale through to products, interiors and furniture. Best known for her seminal built works (Vitra Fire Station, Land Formation-One, Bergisel Ski Jump, Strasbourg Tram Station and Rosenthal Centre for Contemporary Art in Cincinnati) her central concerns involve a simultaneous engagement in practice, teaching and research.

Zaha Hadid was awarded the Pritzker Architecture Prize (considered to be the Nobel Prize of architecture) in 2004 and is internationally known for both her theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary experimentation and research in the interrelated fields of urbanism, architecture and design. Hadid’s work constantly tests the boundaries of architecture and design. She introduced the concept of fluidity in her designs.

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE & THE COMPLETE BUILDINGS AND PROJECTS BY THAMES AND HUDSON

A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ


Architectural Philosophy

Hadid's first building was a fire station near the German-Swiss border, for the furniture company Vitra. Since then Hadid has been widely quoted as saying that since there are 360 degrees, she sees no reason to restrict herself to just one), on the grounds of the Vitra Furniture Company in Weil am Rhein. The building consists of numerous irregular angles (which others considered as negative spaces).

Hadid remains ahead of her time, and responsive to emerging social demands, in the sense that the world is becoming a series of concentrations of wealth and power, which express themselves through lavish, singular trophies. To this extent there is a reality to the work. But it is different from the ideals she used to express, or of her achievements at their best. There has always been conflict, or tension, between her artistic ego and her public spirit, which is what made her interesting, but it's getting hard to see the latter.

Vitara fire station near the German-Swiss Border

The main components of philosophy behind her design are- DECONSTRUCTIVISM Fluidity Gravity-Defying Fragmentary & Revolutionary Insight

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID


Architectural Style- Deconstructivism

Deconstructivism is a development of postmodern architecture that began in the late 1980s. It is influenced by the theory of "Deconstruction", which is a form of semiotic analysis. It is characterized by fragmentation, an interest in manipulating a structure's surface, skin, non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit deconstructivist "styles" is characterized by unpredictability and controlled chaos. The beginning of it goes back to late 1980s. Deconstructivism was started by the group of people called deconstructivists, who were attracted by the theories of French Philosopher Jacques Derrida. According to his philosophy, architecture is nothing but one of many ways of communication.

Libeskind Imperial War Museum North in Manchester by Architect Daniel Libeskind is

one of the prime examples of Deconstructivism

The term "Deconstructivism" in contemporary architecture is opposed to the ordered rationality of Modernism and Postmodernism. Deconstructivism took a confrontational stance to architectural history, wanting to "disassemble" architecture. While postmodernism returned to embrace the historical references that modernism had shunned, possibly ironically, deconstructivism rejected the postmodern acceptance of such references, as well as the idea of ornament as an after-thought or decoration.

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID, DECONSTRUCTIVISM


Cont’d…

Guangzhou Opera House (2010) Guangzhou, People’s Republic of China is one of the Prime

Example of Deconstructivism in Buildings by architect Zaha Hadidc

Insight

1) Her style is Deconstructivism (breaking architecture, displacement and distortion, leaving the vertical and the horizontal, using rotations on small, sharp angles, breaks up structures apparent chaos).

2) Deconstructivisum is an approach to building design that attempts to view architecture in bits and pieces. The basic elements of architecture are dismantled.

3) Deconstructivist buildings may seem to have no visual logic. They may appear to be made up of unrelated, disharmonious abstract forms.

4) She is an architect known worldwide for her talent in various disciplines such as painting, graphic arts, three-dimensional models and computer design.



Concept of Fluidity

Although architecture’s image of fluidity presents itself as fully manifest, its forms and logics seemingly apparent, the question of what fluidity designates remains unproved. As a material and spatial practice, however, architecture is able to manifest fluidity in ways not readily allotted other fields. What most distinguishes the architectural question of flow, then, is not architecture’s ability to form flows, but its capacity to question its own spatial image of fluidity. One might ask, then, What is it that flows? Is it architecture’s material manifestation or its stream of inhabitants, information or building systems? Is it to be found in the structuring of space or in the space itself, or the inhabitant’s experience of the space? Underlying these questions is an implied split over whether architecture’s materiality forms flows, or forms channels in which something else flows.

Fluidity, however, elicits a set of complex relations in and through architecture that rejects any such divisive split; asking of architecture, not what flows or how to form flows, but “How does fluidity form relations between spatial, social, material and experiential forms?” This reformation moves beyond explaining how architecture forms flows to offer clues to why fluidity appears as a defining image at the onset of the twenty first century. While under modernism, architecture had developed according to various tropes of progress from the dialectical to that of the machine, the past two decades have seen the rise of architectural generation based less in models of progress than in ones of fluid models of ongoing formation that reject both production as repetition or the drive towards predetermined ends.

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID , FLUIDITY CONCEPT


Architectural Works Conceptual Projects [02]

Cardiff Bay Opera House (1995), Cardiff, Wales – Not Realised Price Tower the extension hybrid project (2002), Bartlesville,

Oklahoma – Pending

Completed Projects [25]

Vitra Fire Station (1994), Weil am Rhein, Germany Bergisel Ski Jump (2002), Innsbruck, Austria Rosenthal Center for Contemporary Art (2003), Cincinnati,

Ohio, USA Hotel Puerta America (2003–2005), Madrid, Spain BMW Central Building (2005), Leipzig, Germany Ordrupgaard annexe (2005), Copenhagen, Denmark Phaeno Science Center (2005), Wolfsburg, Germany Maggie's Centres at the Victoria Hospital (2006), Scotland Hungerburgbahn new stations (2007), Innsbruck, Austria Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong,

New York, London, Paris, Moscow, (2006–08) Bridge Pavilion (2008), Zaragoza, Spain Pierresvives

Montpellier, France.

MAXXI National Museum of the 21st Century Arts (1998–2010), Rome, Italy. Stirling Prize 2010 winner.

Guangzhou Opera House (2010), Guangzhou, China Sheikh Zayed Bridge (2007–10), Abu Dhabi, UAE Galaxy SOHO in Beijing, China. London Aquatics Centre (2011), 2012 Summer Olympics,

London, United Kingdom Riverside Museum (2007–11) development of Glasgow

Transport Museum, Scotland CMA CGM Tower (2004–11), Marseilles, France Evelyn Grace Academy (2006–10) in Brixton, London, UK. Roca London Gallery (2009–11) in Chelsea Harbour, London. Heydar Aliyev Cultural Centre (2007–12) in Baku, Azerbaijan. Eli and Edythe Broad Art Museum (2010–12), East Lansing,

Michigan, USA Library and Learning Centre of the Vienna University of

Economics & Business Campus. Jockey Club Innovation Tower (2013), Hong Kong Dongdaemun Design Plaza (2008–2014), Seoul, South Korea



Cont’d…

Ongoing Projects [16]

Salerno Maritime Terminal (2007–2013), Salerno, Italy King Abdullah Petroleum Studies and Research Center,

Designer and main consultant, (under construction), Riyadh, Kingdom of Saudi Arabia

Mandarin Oriental Dellis Cay, Villa D (2012) (private home under construction), Dellis Cay, Turks & Caicos Islands Napoli Afragola railway station, Italy (completion delayed to 2013)

Citylife office tower (Storto) and residentials, Milan, Italy (to be completed by 2014)

Nuragic and Contemporary art museum (2006) (on hold), Cagliari, Italy

d'Leedon, Singapore (2011) Eleftherias Square in Nicosia, Cyprus Wangjing SOHO in Beijing, China New Century City Art Center, Chengdu, China 520 West 28th Street, New York City, United States National Olympic Stadium (Under Redevelopment Project), Tokyo, Japan Dominion Tower in Moscow, Russia Iraqi Parliament Building in Baghdad 2013 Bottle designed by Zaha Hadid 2014 Qatar 2022 FIFA world cup stadium design Japan National Stadium by Zaha Hadid



Awards & Recognition

In 2002, she won the International Design Competition to design Singapore's One North Master Plan. In 2005, her design won the competition for the New City Casino of Basel, Switzerland.

In 2004, Zaha became the first female and first Muslim recipient of the Pritzker Architecture Prize, architecture's equivalent of the Nobel Prize. In 2006, she was honoured with a retrospective spanning her entire work at the Guggenheim Museum in New York; that year she also received an Honorary Degree from the American University of Beirut.

In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women".

In 2010, she was named by Time as an influential thinker in the 2010 TIME 100 issue. In September 2010, the British magazine New Statesman listed Zaha Hadid at number 42 in their annual survey of "The World's 50 Most Influential Figures 2010". Hadid was appointed Commander of the Order of the British Empire (CBE) in 2002 and Dame Commander of the Order of the British Empire (DBE) in the 2012 Birthday Honours for services to architecture.



Cont’d…

She was listed as one of the fifty best dressed over 50s by the Guardian in March 2013. Three years later, she was assessed as one of the 100 most powerful women in the UK by Woman's Hour on BBC Radio 4.

She won the Stirling Prize two years running: in 2010, for one of her most celebrated works, the Maxxi in Rome, and in 2011 for the Evelyn Grace Academy, a Z-shapes school in Brixton, London. She is also the designer of the Dongdaemun Design Plaza & Park in Seoul, South Korea, which was the centrepiece of the festivities for the city's designation as World Design Capital 2010 which was later completed in March 2014.

She became the 41st Winner of the Veuve Clicquot UK Business Woman Award in the year 2013.

She was elected as International Member, American Philosophy Society in the year 2013.

Zahad Hadid with the Pritzker Prize way back in 2004



List of Awards & Honors

1982: Gold Medal Architectural Design, British Architecture for 59 Eaton Place, London

1994: Erich Schelling Architecture Award 2001: Equerre d'argent Prize 2002:Austrian State Prize for Architecture for

Bergiselschanze 2003: European Union Prize for Contemporary

Architecture for the Strasbourg tramway terminus and car park at Hoenheim in Strasbourg, France

2003: Commander of the Civil Division of the Order of the British Empire (CBE) For services to Architecture

2004: Pritzker Prize 2005: Austrian Decoration for Science and Art 2005: German Architecture Prize for the central building

of the BMW plant in Leipzig 2005: Designer of the Year Award for Design Miami

2005: RIBA European Award for BMW Central Building 2006: RIBA European Award for Phaeno Science Centre 2007: Thomas Jefferson Medal in Architecture 2008: RIBA European Award for Nordpark Cable Railway 2009: Praemium Imperiale 2010: RIBA European Award for MAXXI 2012: Jane Drew Prize for her "outstanding contribution

to the status of women in architecture" 2012: Jury member for the awarding of the Pritzker Prize

to Wang Shu in Los Angeles, CA. 2013: 41st Winner of the Veuve Clicquot UK Business

Woman Award 2013: Elected international member, American

Philosophical Society



Seminal Works

1) Vitra Fire Station,1993

2) LFOne/ Landesgartenschau, 1999

3) Bergisel Ski Jump, 2002

4) Rosenthal Center for Contemporary Art,

2003

5) BMW Plant Central Building, 2004

6) Hotel Puerta America (Interior), 2005

7) Ordrupgaard Museum Extension, 2005

8) Phaeno Science Center, 2005

9) Museum of Art, XXI (MAXXI), 2010

10) Guangzhou Opera House, People's

Republic of China, 2010

11) London Aquatics Centre, 2011

12) Heydar Aliyev Centre, 2012

13) Beijing Airport, New Terminal, China, In Progress

14) Al Wakrah Soccer Stadium, Qatar, In Progress

Now, we will be discussing few of the projects by Zaha Hadid in detail



Project-I Vitra Fire Station

Weil am Rhein, Germany


Vitra Fire Station

Vitra Fire Station

Project Title: Vitra Fire Station

Location: Weil am Rhein, Germany

Year: 1990-1993 Client: Vitra International AG

Status: Completed

Area: 852 meter square

Conceived as the end note to existing factory buildings, the Vitra Fire Station defines rather then occupies the space- emerging as a linear, layered series of walls, between which program elements are contained- a representation of

“movement frozen”- an “alert” structure, ready to explode into action at any moment.

It was a simple project from Zaha Hadid’s point of view but an important one as it marked the beginning of her career.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/VITRA-FIRE-STATION-2/


Cont’d…

Conceptual Graphics of the Vitra Fire Station by Architect Zaha Hadid

Completed in 1993, the Vitra fire station was Hadid’s first realized project of her career.

In this project Hadid’s showcased work that delves into the deconstructivist theoretical language that she developed

through her paintings as a conceptual mediator of finding spatial relationships and form.

It was built within the factory complex in order to protect all Vitra buildings after fire demonstrated the need for one. Concept They started the project with an intention to deploy elements of the project

so that would not be lost among the huge sheds of the ships that make up the factory. They also used these elements to structure the entire site, giving identity and rhythm to the main street that runs through the complex.

It was conceived as a longitudinal garden, as if it were the artificial extension of the linear patterns of the adjacent farmland and vineyards.



Cont’d…

Conceptual Sketches of the Vitra Fire Station by Architect Zaha Hadid

Functional Layout The design unifies two very different parts of the program: the housing of fire trucks

and the provision of various facilities for the firefighters. The concept of the stacked walls encompasses both parts, whereby a break or bend

in the line of the building expresses the intersection of the two. The entrance to the building is precisely at this junction.



Cont’d…

Perspective View of the Vitra Fire Station by Architect Zaha Hadid

Functional Layout The fire station is a composition of concrete planes that bend, tilt, and

break according to the conceptual dynamic forces that are connecting landscape and architecture.

Concrete “shards” and planes slide past one another creating a narrow, horizontal profile. The sense of instability is intensified as horizontal planes slip over one another, while another projects out over the garage bay. Always in a state of constant uneasiness, the concrete planes embody a heavy, opaque quality that restricts views into the building except for when the walls begin to split from the building.



Cont’d…

Interior Views of the Vitra Fire Station by Architect Zaha Hadid

Interior View The building is not only unique from the exterior side, but also from the

interior the materials choice and the color combination is itself speaking of its class and the amount of time Zaha Hadid has devoted on it.

The interior of the fire station is just as complex formally and spatially as the exterior of the building.



Cont’d…

Perspective Views of the Vitra Fire Station by Architect Zaha Hadid

Layout Features The second floor is slightly off balance with the ground

floor, which creates a sense of spatial instability within.

As the planes slide past one another and begin to manipulate according to program, visitors are subject to optical illusions that the angles and glimpses of color begin to create within.



Cont’d…

Perspective Views of the Vitra Fire Station by Architect Zaha Hadid

Layout Features The second floor is slightly off balance with the ground

floor, which creates a sense of spatial instability within.

As the planes slide past one another and begin to manipulate according to program, visitors are subject to optical illusions that the angles and glimpses of color begin to create within.

Inside and outside the Vitra fire station is a series of complex spatial arrangements that evoke a sense of illusive instability while still retaining some semblance of stability and structure. Yet all the while exhibiting simple, clean lines that converge together to create a compositional complexity throughout the station.



Cont’d…

Materials The whole building is constructed with

reinforced concrete in situ in the light, avoiding any added that distort the simplicity of its prismatic form and the abstract quality of the architectural concept, paying particular attention to the sharpness of the edges.

The lack of detail was also applied on the inside, rough opening frames, polished aluminum sliding planes that close the garage area, guard rails or lighting design, maintaining a consistent language that gives meaning to the whole. Materials Used in the Vitra Fire Station by

Architect Zaha Hadid


26 A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ


Project-II MAXXI: Museum of XXI Century Arts

Rome, Italy


MAXII: Museum of XXI Century Arts

MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid

Project Title: MAXXI: Museum of XXI Century Arts

Location: Rome, Italy

Year: 1998-2009

Client: Italian Ministry of Culture, Rome, Italy, MAXXI

Status: Completed

Area: 30 000 meter square

MAXXI super cedes the notion of the museum as ‘object’ or- presenting a field of buildings accessible to all, with no firm boundary between what is ‘within’ and what is ‘without’. Central to this new reality are confluent lines- walls intersecting

and separating to create interior and exterior spaces.

In 2010 she got the RIBA European Award for underdoing MAXXI: Museum of XXI Century Arts.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/MAXII-MUSEUM-OF-XXI-CENTR /


Cont’d…

Description The building is a composition of bending oblong

tubes, overlapping, intersecting and piling over each other, resembling a piece of massive transport infrastructure.

It acts as a tie between the geometrical elements already present.

It is built on the site of old army barracks between the river Tiber and via guido reni, the centre is made up of spaces that flow freely and unexpectedly between interior and exterior, where walls twist to become floors or ceilings.

The building absorbs the landscape structures, creates dynamism and gives them back to the urban environment for getting absorbed into the city.

Perspective View of the MAXXI: Museum of XXI Century Arts



Cont’d…

Fluid & Sinuous Shape The fluid and sinuous shapes, the variety and interweaving of spaces and the modulated use of natural light lead to a spatial and functional framework of great complexity, offering constantly changing and unexpected views from within the building and outdoor spaces.

Perspective View of the MAXXI: Museum of XXI Century Arts



Cont’d…

Bird Eye View of the Project- MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid



Cont’d…

Zaha Hadid’s Statement Zaha Hadid stated, "I see the MAXXI as an

immersive urban environment for the exchange of ideas, feeding the cultural vitality of the city.

It's no longer just a museum, but an urban cultural centre where a dense texture of interior and exterior spaces have been intertwined and superimposed over one another.

It's an intriguing mixture of galleries,

irrigating a large urban field with linear display surfaces.”

Conceptual Analysis of the MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid



Cont’d…

Interiors

Interior Views of the MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid



Cont’d… Floor Plans

Ground Floor Plan




First Floor Plan




Second Floor Plan



Cont’d…

Galleries, Walkways and Materials Located around a large full height space

which gives access to the galleries dedicated to permanent collections and temporary exhibitions, the auditorium, reception services, cafeteria and bookshop.

Outside, a pedestrian walkway follows the outline of the building, restoring an urban link that has been blocked for almost a century by the former military barracks in Rome.

Materials such as glass (roof), steel (stairs) and cement (walls) give the exhibition spaces a neutral appearance, whilst mobile panels enable curatorial flexibility and variety.

Interiors of the MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid



Project-III Phaeno Science Centre

Wolfsburg, Germany


Phaeno Science Center

Phaeno Science Centre by Architect Zaha Hadid

Project Title: Phaeno Science Centre

Location: Wolfsburg Germany

Year: 2000-2005

Client: Neuland Wohnbaugesekkschaft mbH for the city

Status: Completed

Area: 12 000 meter square (9000 ms for exhibition & 15 000 ms for underground parking)

Described variously as “an architectural adventure playground” and “the magic box”. Phaeno realizes our continuing vision of creating ‘complex, dynamic and fluid spaces’- from the gently undulating artificial hills and valleys created below the

main elevated structure, to the crater-like museum floor, naturally lit spaces and accessible funnels within.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/EL-PHAENO-SCIENCE-CENTER-3/


Cont’d…

Conceptual Analysis & Description It is located in Wolfsburg, Germany. This being the biggest factory in Europe, employing more than 50,000

people, is home to some 120,000 inhabitants. And receives an average of a million and a half visitors a year. Located in the city centre, in an area between the commercial and

office.

Conceptual Analysis of the Phaeno Science Center by Architect Zaha Hadid

Conceptual Analysis of the Phaeno Science Center by Architect Zaha Hadid



Cont’d…

Science Museum In seeking to be more than the "city

volkswagen" the government commissioned to launch the idea of creating a museum dedicated to engage children and young people to the world of physics, biology and chemistry, in a didactic way.

This offers a different option for visitors, with its traditional theme park Autostadt and the Volkswagen museum.

The building appears in the landscape as a connecting element between the two parts of the city, establishing a direct relationship with the city.

Perspective and Interior Views of the Phaeno Science Center by Architect Zaha Hadid



Cont’d…

Landscape It appears as a mysterious object that arouses curiosity and discovery. The terrain passes underneath the volume as an artificial landscape with rolling hills and valleys that stretch around the square. The Centre captures the surrounding landscape dynamics in elongated form off the ground that give the illusion that the building is moving. The public path leads bridge-like woodworm-hole inside the building, promoting interaction between the inside and outside which enables, as in floor, a fusion of both.

Spaces

The building allows people to walk and climb down one part of the pavement to get inside. In other places, the ground floor takes visitors to a public square. Downstairs open broad prospects, exposing the context of the city, between the concrete cones.

Artificial Landscape of the Phaeno Science Center by Architect Zaha Hadid



Cont’d… The “Cones” So called piles, appointed by the architect as cones, which are widening as they rise. There are 10 of them

and each one is identified by its curvature and tilt. These piles are inhabited with windows, and sliding glass doors.

The building does not tread the earth completely. Much stands on a square with a series of large inverted conical shapes with rounded corners that act as legs and give an effect of weightlessness.

The “Cones” of the Phaeno Science Center by Architect Zaha Hadid



Cont’d… Plan, Section and Elevation

Plan of the Phaeno Science Center by Architect Zaha Hadid Section & Elevation of the Phaeno Science Center by Architect Zaha Hadid



Cont’d… Materials and Techniques

The building is made in exposed concrete. The roof structure is made of steel. Glazed Areas: They used large glass shades. Furthermore you can see skylights, respecting the diamond

pattern was made in the concrete. 27 cubic meters of concrete and more than 3,500 steel beams were used in construction.

Interior Views of the Phaeno Science Center by Architect Zaha Hadid



Cont’d… Construction Methodology

Images taken during the Construction of the Phaeno Science Center by Architect Zaha Hadid



Project-IV Guangzhou Opera House

Guangzhou, China


Guangzhou Opera House

Guangzhou Opera House by Architect Zaha Hadid

Project Title: Guangzhou Opera House

Location: Guangzhou, China

Year: 2003-2010

Client: Guangzhou Municipal Government

Status: Completed

Area: 70 000meter square At the heart of Guangzhou’s cultural sites development, a lasting, state-of-the-art monument to the new millennium

overlooking the Pearl River. Its contoured profile, unique twin boulder design and approach promenade enhances urban function, opens access to the riverside and dock areas and creates a new dialogue with the emerging town.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/GUANGZHOU-OPERA-HOUSE-13/


Cont’d…

Design Concept Like pebbles in a stream smoothed by erosion, the Guangzhou

Opera House sits in perfect harmony with its riverside location. The Opera House is at the heart of Guangzhou’s cultural development. Its unique twin-boulder design enhances the city by opening it to the Pearl River, unifying the adjacent cultural buildings with the towers of international finance in Guangzhou’s Zhujiang new town.

The design is evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature; engaging with the principles of erosion, geology and topography. The Guangzhou Opera House design has been particularly influenced by river valleys – and the way in which they are usually transformed by the natural process of erosion.

Conceptual Analysis of the Guangzhou Opera House by Architect Zaha Hadid



Cont’d… Site Plan

Site Layout



Cont’d…

Description The 1,800-seat auditorium of the Opera House houses the very

latest acoustic technology, and the smaller 400-seat multifunction hall is designed for performance art, opera and concerts in the round.

Fold lines in this landscape define territories and zones within the Opera House, cutting dramatic interior and exterior canyons for circulation, lobbies and cafes, and allowing natural light to penetrate deep into the building.

Smooth transitions between disparate elements and different levels continue this landscape analogy. Custom moulded glass-fibre reinforced gypsum (GFRC) units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness, which can be described in other words as typical Zaha Hadid’s Style.

Interior of the Guangzhou Opera House by Architect Zaha Hadid



Cont’d… Description The Guangzhou Opera House has been the catalyst for the development of cultural facilities in the city including new museums, library and archive. The Opera House design is the latest realization of Zaha Hadid Architects’ unique exploration of contextual urban relationships, combining the cultural traditions that have shaped Guangzhou’s history, with the ambition and optimism that will create its future in context and in relation with the past.

Interior of the Guangzhou Opera House by Architect Zaha Hadid



Cont’d… Interior Views

Interior Views of the Guangzhou Opera House by Architect Zaha Hadid



Cont’d… Auditorium Views

Auditorium Interior Views of the Guangzhou Opera House by Architect Zaha Hadid



Cont’d… Plan at 0.00M Level

Ground Floor Plan



Cont’d… Plan at 5.00M Level

Pseudo Ground Floor Plan



Cont’d… Section of the Building

Longitudinal Section



Cont’d… Construction Images



Project-V London Aquatics Center

London, United Kingdom


London Aquatics Center

London Aquatics Centre by Architect Zaha Hadid

Project Title: London Aquatics Center

Location: London, United Kingdom

Year: 2005-2011

Client: Olympic Delivery Authority

Status: Completed

Area: 36 875 meter square

A concept inspired by the fluid geometry of water in motion, creating spaces and a surrounding environment in sympathy with the river landscape of the Olympic Park. An undulating roof sweeps up from the ground as a wave, enclosing the

pools of the Center with its unifying gesture.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/LONDON-AQUATICS-CENTER-1/


Cont’d…

Design Concept Its principle shape within the detachable wings of siting

its like water in motion, creating spaces and a surrounding environment that reflect the riverside landscapes of the Olympic Park.

Its roof sweeps up from the ground as a wave enclosing the spaces within the structure.

The Aquatics Centre is designed with an inherent flexibility to accommodate 17,500 spectators for the London 2012 Games in ‘Olympic’ mode while also providing the optimum spectator capacity of 2000 for use in ‘Legacy’ mode after the Games.

Conceptual Analysis of the London Aquatics Center by Architect Zaha Hadid



Cont’d…

Layout The Aquatics Centre is planned on an

orthogonal axis that is perpendicular to the Stratford City Bridge.

All three pools are aligned on this axis.

The training pool is located under the bridge with the competition and diving pools located within the large pool hall enclosed by the roof.

The overall strategy is to frame the base of the pool hall as a podium connected to the Stratford City Bridge.

Site Layout of the London Aquatics Center by Architect Zaha Hadid



Cont’d…

Layout The pool hall is expressed above the podium by a large roof which arches along the same axis as the pools. Double-curvature geometry has been used to generate a parabolic arch structure that creates the unique

characteristics of the roof. The roof undulates to differentiate between the volumes of competition pool and the diving pool.

Pool Section of the London Aquatics Center by Architect Zaha Hadid



Cont’d…

Structure and Material Selection Structurally, the roof is grounded at 3 primary positions with

the opening between the roof and podium used for the additional spectator seating in Olympic mode, then in-filled with a glass façade in Legacy mode.

Roof: Steel roof

Walls: Plain white tiles and concrete walls

Ceiling: Concrete ceiling

Steel Used: 2,800 tonnes of steel were needed to give the 160-metre-long and 80-metre-wide roof its light and floating look.

Diving Platform: The unique six-board diving platform is made from 462 tonnes of concrete.

Construction Work of the London Aquatics Center by Architect Zaha Hadid



Cont’d… Structure and Material Selection The design demonstrates the precast-concrete skills with by exposing the

concrete finish rather than painting or cladding which was provided by Peri.

The aluminium roof covering was provided by Kalzip. The steel structure was built in cooperation with Rowecord Engineering, of Newport, Wales. The ceiling was built with 30,000 sections of Red Lauro timber. The three pools hold around 10 million litres (2.6 million gallons) of water.

Area Analysis: (Olympic Part Only)

Basement: 3 725 meter square Ground Floor: 16 387 meter square Seating Area: 7352 meter square (17500 Capacity) Footprint Area: 21 897 meter square Capacity: 17500 spectators The Legacy Part Area differs slightly which will be discussed later on.

The Front Glazing between the Podium and the roof of the London Aquatics Center by Architect Zaha Hadid



Cont’d… Plans of the London Aquatics Center (Olympics Mode)

Ground Floor Plan




First Floor Plan




Second Floor Plan



Cont’d… Elevations of the London Aquatics Center (Olympics Mode)

West Elevation

North Elevation



Cont’d… Sections of the London Aquatics Center (Olympics Mode)

Cross Section




Cont’d… Plans of the London Aquatics Center (Legacy Mode)

Ground Floor Plan



Cont’d… Plans of the London Aquatics Center (Legacy Mode)

First Floor Plan



Cont’d… Elevations of the London Aquatics Center (Legacy Mode)

West Elevation

North Elevation



Cont’d… Sections & Details of the London Aquatics Center (Legacy Mode)

Details of the Roof

Cross Section



Cont’d… Details of the London Aquatics Center (Legacy Mode)

Details of the Structure



Project-VI Heydar Aliyev Centre

Baku, Azerbaijan


Heydar Aliyev Centre

Heydar Aliyev Centre by Architect Zaha Hadid

Project Title: Heydar Aliyev Centre

Location: Baku, Azerbaijan

Year: 2007-2012

Client: The Republic of Azerbaijan

Status: Completed

Area: 101 801 meter square (Building: 57 519 mt sq, Site: 111 292 mt sq and Footprint: 15 514 mt sq) As part of the former Soviet Union, the Urbanism and architecture of Baku, the capital of Azerbaijan on the Western coast

of the Caspian Sea, was heavily influenced by the planning of that era. Since its independence in 1991, Azerbaijan has invested heavily in modernizing and developing Baku’s infrastructure and architecture, departing from its legacy of

normative Soviet Modernism.

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/HEYDAR-ALIYEV-CENTRE/


Cont’d…

The Setting The Heydar Aliyev Cultural Centre is one of many buildings

that will be erected in Azerbaijan, and it is one of several projects exhibiting progressive design elements and cutting-edge engineering solutions.

The ambitious yet expressive nature of these new structures represents a move away from the country’s Soviet-dominated past and toward a national identity.

The cultural centre, named in honor of the late Heydar Aliyev, National Leader of Azerbaijan, is located close to the city center.

It is part of a larger redevelopment area and is expected to be a bellwether of the city’s intellectual and cultural life.

Conceptual Analysis of the Heydar Aliyev Centre by Architect Zaha Hadid



Cont’d… Site Plan



Cont’d… The Vision Zaha Hadid Architects created a building form that appears to emerge from

the topography. The skin of the building – a single curving surface – rises, undulates, and wraps inward at its base to completely envelop the building’s various volumes.

The curved surface allows a freedom of form that can simultaneously differentiate and unite the Heydar Aliyev Cultural Centre's three distinct programmatic elements. Its inward curl is formed into stairways and ramps that connect the lower floors to mezzanine levels; other circulation paths also emanate from the curves of the building envelope. An elevated bridge connects the library to the conference hall.

The Heydar Aliyev Cultural Centre's conference hall contains three auditoriums. In order to accommodate the necessary inclined seating, this portion of the building protrudes into the cultural plaza. Here the mass of the structure undulates away from the wave-like peaks that define the other two zones of structure; at its edges it flows down to the walking surface of the plaza.

Interior View of the Heydar Aliyev Centre by Architect Zaha Hadid



Cont’d…

The Reality Zaha Hadid Architects’ vision of sublimity presented some very

material challenges for the engineers and builders.

The curve of the building’s exterior, meant to convey the aspirations and identity of the Azerbaijan people, needed also to function in more prosaic terms. It was necessary to construct a building that could seal out the elements and bear high wind and seismic loads without relying on interior support columns (which would have impeded the flow of space).

Ultimately, a system was devised that utilized a space frame as its main structural element; the cladding is a curtain wall system comprised of various specially fabricated panels.

A View during construction of the Heydar Aliyev Centre by Architect Zaha Hadid



Cont’d…

Materials and Construction “We focused on easy-to-clean external cladding materials because of the heavy

air pollution. There are oil refineries and such nearby, and the cladding is white. That's how glass fiber reinforced plastic (GFRP) came up, which is dirt-repellent itself. In general, all building systems are chosen to have high durability and a long lifetime and low maintenance efforts."

According to Winterstetter, the main structure of the Heydar Aliyev Cultural Centre is a mix of reinforced concrete, steel frame structures, and composite beams and decks. The space frame is composed of a special steel tube-and-nodes system (a product of MERO-TSK International).

For aesthetic purposes, the cladding needed to give the building a monolithic appearance, not only to make it read as a continuous volume but also to accomplish the transition to the plaza surface. All visible seams needed to run parallel to one another, reinforcing the building’s wavelike design. The cladding material had to meet various practical considerations, such as UV resistance and light reflectivity.




Cont’d…

Materials and Construction

Maintenance was a big consideration. The need to focus on the easy-to-clean external cladding materials because of the heavy air pollution. There are oil refineries and such nearby, and the cladding is white. That's how Glass Fiber Reinforced Plastic (GFRP) came up, which is dirt-repellent itself. In general, all building systems are chosen to have high durability and a long lifetime and low maintenance efforts.

Glass Fiber Reinforced Plastics (GFRP) and Glass Fiber Reinforced Concrete (GFRC) Panels are the predominant materials used in the façade system.

The panels are composed of “various layers of fine-grain high-performance white cement concrete, reinforced with fiber glass mats.”




Cont’d… Plans of the Building

Ground Floor Plan




First Floor Plan




Second Floor Plan



Cont’d… Sections of the Building

Cross Section




Cont’d… Elevations of the Building

West Elevation

North Elevation



Cont’d…

Construction Images




Project: Bergisel Ski Jump, Innsbruck, Austria (1999-2002)

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BERGISEL-SKI-JUMP-V/


Project: BMW Showroom, Leipzig, Germany (2003-2006)

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BMW-SHOWROOM-1/


Project: University of Seville Library, Seville, Spain (2006-TBC)

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/SEVILLE-LIBRARY/


Project: Abu Dhabi Performance Arts Centre, Abu Dhabhi, UAE (2007-TBC)

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/ABU-DHABI-PERFORMANCE-ARTS-CENTRE-5/


Project: Beijing New Airport Terminal Building, Beijing, China

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BEIJING-AIRPORT-TERMINAL-8/


Project: Al Wakrah Stadium (Under FIFA), State of Qatar

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BAL-WAKRAH-STADIUM-1/


Project: Casa Atlantica, Rio de Janeiro, Brazil

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/CASA-ATLANTICA-0/


Other Architecture Related Works

Zaha Hadid has been famous around the Globe for her Architectural Related Works, but along with that she being a good designer, artist, painter and good in sketching. She has also worked on Z Car Hydrogen Powered three-wheeled automobile. As a result of which there are some of her works beyond the design of buildings in some sort of interior related works as follows:

1) Aria Pendant Lamp

2) Celeste Necklace & Cuff

3) The Odrupgaard Bench

4) Tide Shelving

5) Floating Staircase

6) Aqua Table

7) Chandeliers

The inspiration for the ‘Seamless’ furniture collection is the concept of ‘seamless fluidity’. The latest development in three dimensional design software and the most cutting edge manufacturing techniques help to make such furniture a possibility.

Zaha Hadid’s Moon & Crest Sofa

REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-SUNDRY-01/


Aria Pendant Lamp

A light piece that is charged with Hadid’s dramatic sense of motion combined with the intrinsic weightlessness of technically advanced materials. With its 50 layers of Crystalflex®, this suspension light has a complex harmonic yet fluid contemporary quality. With its translucent black overly, a fascinating sculpture in light. Typology: Suspension Lamp Dimensions: Diameter 90cm x h 130cm Material: Lentiflex® and Cristalflex® Color: Black Fade Lighting: 6 X 52W max - E27 Halogen +1 X 100W Manufacturer: Slamp & Co.

Zaha Hadid’s Aria Pendant Lamp



Celeste Necklace & Cuff

The Celeste Necklace and Cuff was designed by Zaha Hadid in 2008 and with the collaboration of Atelier Swarovski. Materials Used: Blackened Pure Silver & Other Stones, White Topaz, Smoky Quartz and Black Spaniel. Necklace: Length 43cm & Width 40cm Cuff: Length 45cm & Width 10cm

Images of Celestre Necklace and Cuff



The Odrupgaard Bench

This bench in solid ash was designed by the Iraqi born architect, Zaha Hadid in 2005, as part of the interior of the annex she designed for Ordrupgaard Museum in Charlottenlund just north of Copenhagen. The bench became part of PP Møbler´s collection in the spring 2006. PP Møbler has made ten pieces of the bench with four benches in the museum and one bench sold privately. The last five benches were used at the COP15 conference in Copenhagen in December 2009.

Images of The Oprupgaard Bench



Tide Shelving

Architect Zaha Hadid developed this project starting from the idea of a light shaped object, which could express the transition from the solid traditional furniture to the slight thickness of plastic: from this starting point the idea of going back to the algorithm of the minimum surfaces.

A minimum surface is a surface whose points have a medium radius equivalent to zero. An example of this is represented by the soap bubbles coming out when a string is dipped in a soap solution.

This idea took the shape of a symmetric module creating different compositions through various rotations on itself.

The possibility to build and rebuild up the module to fit to the space around or to the different needs makes this project an unity, where full and empty spaces follow each other without interruption.

Images of Specimens of Tide Shelving



Floating Staircase

Architect Zaha Hadid gave the concept and design of the Floating Staircase. The new floating staircase maintains the lightness of the gallery space. Each suspended step is articulated as a separate ribbon cast from Ductal®, an ultra-high performance concrete with exceptional structural as well as aesthetic qualities. The tensile strength of Ductal® allows the ribbons to remain relatively thin with each tread cast from a single adjustable mold that was engineered in Italy by Il Cantiere.

Images of Floating Staircase



Aqua Table

Architect Zaha Hadid gave the concept and design of the Aqua Table, which was a different and beyond the imagination of many other architects/designers of that time. The enigmatic liquid form of the Aqua table awakens one’s curiosity. ---The user is invited to explore the forces of motion that created such a form. 1) The form is blurring the relationship between the horizontal top and vertical legs 2) The three blisters bulging out to form legs below the table surface register as indentations at the top surface 3) The Aqua table is an organic body flowing within space. 4) Rather than being static, it implies motion by adopting the dynamic gestures of liquid to form a continuous surface. 5) The table’s asymmetrical, irregular tabletop and varying edges create an ergonomic solid that offers endless relationship possibilities with its user and its environment



Cont’d…

Images depicting the different types of Aqua Tables designed by Architect Zaha Hadid

Table-I

Table-II



Chandeliers

Architect Zaha Hadid gave the concept and design of the different types of Chandeliers. The design idea of these chandeliers are based on fluidity and seamlessness. Their complex curvi-linearity follows a double Helix, connecting its beginning to its end and therefore forming an endless ribbon of light.

Images of Different Types of Chandeliers



Critics

With the type of flowing design Zaha Hadid is famous brings the controversy on almost every one out of five projects which she does. Almost the majority of the present day architects are not of the Zaha Hadid’s philosophy. As a result is always ends up in coming up of the critics. Hadid’s architectural language has been described as "famously extravagant" with many of her projects sponsored by "dictator states". Rowan Moore described Hadid's Heydar Aliyev Center as "not so different from the colossal cultural palaces long

beloved of Soviet and similar regimes". Architect Sean Griffiths characterised Hadid's work as "an empty vessel that sucks in whatever ideology might be in

proximity to it". Arthistorian Maike Aden criticises in particular the foreclosure of Zaha Hadid's architecture of the MAXXI in Rome

towards the public and the urban life that undermines even the most impressive program to open the museum.

Qatar Controversy As the architect of the most distinctive stadium for the 2022 FIFA World Cup, in Qatar, Hadid defended her involvement in the project, despite revelations relating to the working conditions imposed on migrant workers in Qatar. She acknowledged that there was a serious problem with the number of migrant workers who have died during construction work related to the World Cup. She also said that she believed it was a problem for the Qatari government to resolve.

REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; GOOGLE NEWS- ZAHA HADID, FIFA WORLD CUP- QATAR NEWS


Conclusion

Her works both architectural and other related to architecture has revealed that Zaha Hadid is an independent and energetic person who has authentic works and brave enough to speak up about her own taste. The feeling of “Feminism” can be clearly interpreted from her architectural style, with the number of curves and fluidity in her designs representing the feminine part. As a woman, her design metaphors has represent the spirit of “sharp-energetic-feminine” figure in architecture.

"Only rarely does an architect emerge with a philosophy and approach to the art form that influences the direction of the entire field. Such an architect is Zaha Hadid." -- Bill Lacy, architect



Museum Exhibitions

1978 – Guggenheim Museum, New York 1983 – Retrospective at the Architectural Association,

London 1985 – GA Gallery, Tokyo 1988 – Deconstructivist Architecture Show at MoMA,

New York 1995 – Graduate School of Design at Harvard University 1997 – San Francisco MoMA 2000 – British Pavilion at the Venice Biennale 2001 – Kunstmuseum, Wolfsburg 2002 – (10 May – 11 August) Centro nazionale per le arti

contemporanee, Rome 2003 – (4 May – 17 August) – MAK – Museum für

angewandte Kunst (Museum of Applied Arts) in Vienna

2006 – (3 June – 25 October) – Solomon R. Guggenheim Museum, New York

2006 – (1 June – 29 July) – Ma10 Mx Protetch Gallery, Chelsea, NYC

2007 – (29 June – 25 November) – Design Museum, London

2011/2012 – (20 September 2011 – 25 March 2012) – Zaha Hadid: Form in Motion at the Philadelphia Museum of Art

2013–(29 June – 29 September) – Zaha Hadid: World Architecture at the Danish Architecture Center



Zaha Hadid’s Team

Zaha Hadid

Patrick Schumacher Gianluca Racana

Zaha Hadid

Patrick Schumacher

Gianluca Racana

Jim Heverin Charles Walker

Jim Heverin

Charles Walker

Directors & Partners

REFERENCE: HTTP://WWW.ZAHA-HADID.COM


Bibliography

1) Zaha Hadid- The Complete Buildings and Projects by Thames and Hudson

2) Wikipedia- The Free Encyclopaedia (www.wikipedia.com-Zaha Hadid)

3) Google Search Engine & Zaha Hadid Official Website for Works & Images

4) Website- www.greatbuildings.com

5) Zaha Hadid’s Webiste- www.zaha-hadid.com

Contact: Zaha Hadid Architects Studio London 10 Bowling Green Lane London United Kingdom T +44 20 7253 5147 F +44 20 7251 8322

Thank You !!

Zaha hadid

Documents

Transcript of Zaha hadid