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1. • 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
ZAHA HADID
2. INTRODUCTION
• Born 31 October 1950
Baghdad, Kingdom of Iraq
31 March 2016 (aged 65)
Miami, Florida, US
• Died
• Nationality
• Occupation
Iraqi, British
Architect
• Parent(s)
• Practice
• Buildings
Mohammed Hadid
Wajeeha Sabonji
Zaha Hadid Architects
MAXXI, Bridge
Pavilion, Maggie's Centre,
Contemporary Arts Center
zaha hadid's parents
3. EARLY LIFE AND ACADEMIC CAREER
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.
4. 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.
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.
6.
7. ARCHITECTURAL
PHILOSOPHY
The main components of philosophy
behind her design are-
• DECONSTRUCTIVISM
• Fluidity
• Gravity-Defying
• Fragmentary &
• Revolutionary
• Using LIGHT VOLUME, SHARP
ANGULAR FORMS and THE PLAY OF
LIGHT
PLAY OF LIGHT
SHARP ANGULAR FORMS
INTEGRATION OF
BUILDING WITH
LANDSCAPE
9. 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.
• 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.
10. ARCHITECTURAL STYLE
Zaha Hadid's is boldly CONTEMPORARY, ORGANIC and INNOVATIVE.
The architect pushes design through new technology and materials and never does
ordinary.
Her creation are more to do with topography and landscape, emulating a natural form.
As well as creating architecture the architect is a celebrated painter, designer of furniture
and interior products + fittings such as bowls and chandeliers.
Her favorite colour is BLACK, but with different texture.
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.
12. • 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.
Guangzhou Opera House (2010)
Guangzhou, People’s Republic of China is
one of the Prime Example of
Deconstructivism in Buildings by architect
Zaha Hadidc
13. HER INSPIRATION
• she was inspired by Yohji
Yamamoto and his asymmetry
• She was also inspired from the
RIVERS, and DUNES
Yohji Yamamoto is a Japanese fashion
designer based in Tokyo and Paris.
14. LISTS OF AWARDS AND 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
16. • 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
• Climate : warm temperature
• 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.
17. MAXXI National Museum of XXI Century Arts, Via Guido Reni, 4/a, 00196
Roma RM, Italy
LOCATION
18. DISCRIPTION
• 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
19. 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.
20. 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
22. • FIRST FLOOR
PLAN
EXHIBITION SUITE 2
EXHIBITION SUITE 2
EXHIBITION SUITE 3
EXHIBITION SUITE 3
EXHIBITION SUITE 4
EXHIBITION SUITE 4
EXHIBITION
HALL
AUDITORIUM
25. CONSTRUCTIO
N
•Load bearing wall
-no column
•Steel structures
On the ceiling, deep, evenly spaced
fins of glass-fiber-reinforced
concrete (GFRC) parallel the
gallery side walls, accentuating the
effect of every curve
Fixed Shading System
The carefully designed
external
steel ribs oriented to the
south,
active louvers, as well as
internal
roller blinds to cut down on
radiant energy and create
26. • Walls constantly intersect and
separate tocreate both indoor and
outdoor spaces
•In-situ steel
formwork
For continuity, the
walls of the MAXXI
were cast on-site in
self-compacting
concrete,
representing one of
the most
challenging aspects
of the construction
process – with casts
up to 50m long
Minor Streams
Connections &
Bridges
Major Streams
• strip Footing
-basement floor
(retaining wall)
- 3 storey heights
27. 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.
28. MATERIALS
• Fair-faced concrete
Plain concrete (As-
cast Finish Concrete /
Bare Concrete)
•Also known as
decorative concrete, is
named for its highly
decorative effect.
• Exposed-concrete walls
provide the primary
structure of MAXXI.
•It belongs to a casting
moulding, without any
decoration, place concrete
used directly as a result of
natural surface finishes
Glass fibre reinforced concrete
(GFRC)
•Glass fiber concretes are mainly
used in exterior building façade
panels and as
architectural precast concrete.
•GFRC fins that hang below the
beams into the interior space.
29. MATERIALS
• Glass (roof, floor & window)
• • The use of glass in buildings is a transparent
feature to allow light to enter into rooms and
floors, illuminating enclosed spaces and framing an
exterior view through a window. It is also a
material for internal partitions and external
cladding.
•The glass roof is protected on the exterior by a steel
mesh that screens light and ensures easy
maintenance.
Steel (staircase, column, etc)
•Controls qualities such as
the hardness, ductility,
and tensile strength of the
resulting steel.
•Aesthetical value, modern &
contemporary styles
30. MATERIALS
Plasterboard
•Panel made of gypsum plaster
pressed between two thick sheets
of paper. It is used to make
interior walls and ceilings
•Plasterboard connected with
concrete walls creates the
technical cavity that contains the
museum's complex mechanical
systems.
32. • Architect: Zaha Hadid.
• Location: London, England.
• Client: Olympic Delivery Authority.
• Main Contractor: Balfour Beatty.
• Project Team: Alex Bilton, Alex Marcoulides, Barbara
Bochnak, Carlos Garijo, Clay Shorthall, Ertu Erbay, George
King, Giorgia Cannici, Hannes Schafelner, Hee Seung Lee,
Kasia Townend, Nannette Jackowski, Nicolas Gdalewitch,
Seth Handley, Thomas Soo, Tom Locke, Torsten Broeder,
Tristan Job, Yamac Korfali, Yeena Yoon.
• Structural and services engineers: Ove Arup &
Partners
• Project Area: 15,950 sqm (Legacy), 21,897 sqm
(Olympic).
• Project Year: 2011.
33. 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.
34. 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
35. STRUCTURE
• 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
infilled with a glass façade in
Legacy mode.
36. PLAN OF AQUATICS CENTRE
(OLYMPICS MODE)
MAIN COMPETITION POOL
DIVING POOL
ATHIETES LOUNGE
PHYSIO
AND
MASSA
GE
AREA
TRAINING POOL ATHIETES CHANGE
DOPING CONTROL
ATHIETES FINAL CALL ROOM
DIVER WARM UP
TIMING AND RESULTS
CONTROL
ATHIETES MIXED ZONE
39. Elevation and section of aquatics
centre (Olympics mode)
NORTH ELEVATION WEST ELEVATION
40.
41. MATERIAL
• Steel roof.
• Plain white tiles and concrete walls.
• Concrete ceiling.
• 2,800 tonnes of steel were needed to give the 160-metre-long and 80-metrewide roof its light and floating
look.
• The design demonstrates the precast-concrete skills with by exposing the concrete finish rather than painting
or cladding which was provided by Peri.
• The unique six-board diving platform is made from 462 tonnes of concrete.
• 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.
42.
43. ⦿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 center, in an area
between the commercial and office.
44.
45. ⦿In seeking to be more than the "city
volkswagen" she was 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.
⦿It receives 180mil visitors annually.
46. The building appears in the landscape as a
connecting element between the two parts of
the city, establishing a direct relationship with
the city.
47. ⦿ 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 Center captures the surrounding landscape
dynamics in elongated form off the groundthat 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.
48. 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.
49. ⦿ 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.
50. ⦿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.
52. REFERENC E S
AIELLO T. (2005). “HEAD-FIRS T THRO UGH THE HO LE IN THE ZERO : MA-LEVICH ’S S UPREMATISM, AND THE DEVELO PMENT
O F A DEC O NS TRUC TIVE AES THETIC , 19 08– 1919 ”.
ART JO URNAL
URL:HTTP:/ / EMA JARTJO URNAL.FILES.WO RDPRESS .C O M/ 2 012 / 08/ THOMASAIELLO.PDF.
BEDELL G. (2003 ). “S PAC E IS HER PLAC E”. ART.
THE GUARDIAN MAGAZINE.
URL:HTTP:/ / WWW.GUARDIAN.C O .UK/ ARTANDDESIGN/ 2003/ FEB/ 02/ ARC HITEC TURE.ARTS FEATURES.
DIDERO M. C . (2 012 ). “ZAHA HADID AND S UPREMATISM”.
DO MUS MAG A-ZINE
URL:HTTPS :/ / WWW.DOMUSWEB.IT/ C O NTENT/ DO MUSWEB/ EN/ REVIEWS / 2 01 2 / 0 7 / 2 7/ ZAHA-HADID-AND-S UPREMATISM.HTML
HADID Z. (2 011 ). “LIKE A BREATH O F FRES H AIR”.
C HINA DAILY US A NEWS PAPER
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