Zaha Hadid was an Iraqi-British architect known for her innovative deconstructivist designs. She studied at the American University of Beirut and the Architectural Association School of Architecture in London. Some of her most notable completed projects include the Vitra Fire Station in Germany (1993), MAXXI Museum in Rome (2009), Guangzhou Opera House in China (2010), London Aquatics Centre for the 2012 Olympics, and the Phaeno Science Centre in Germany (2005). Her designs were characterized by non-orthogonal angles and fluid, curving forms intended to evoke a sense of fluidity and movement.

4. 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.

5.  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.

6.  ZAHA Hadid’s style is boldly contemporary, organic and innovative .
 The architect pushes design through new technology and materials
and never does ordinary.
 She was inspired by yohji yamamoto and his asymmetry.
 Her creations 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 color is black. But with different testures.

7.  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)
 Using light volumes, sharp, angular forms, the play of light and the
integration of the buildings with the landscape.
 Integrated into their architectural designs using spiral forms.
 She is an architect known worldwide for her talent in various
disciplines such as painting, graphic arts, three-dimensional models
and computer design.

8.  GRAVITY-DEFYING
 FARGMENTARY
 REVOLTIONARY
A MAIN THEME OF HADID’S DESIGNS
EXHIBITS THAT A BILIDING CAN FLOAT
AND DEFY GRAVITY.

9. Know for its distinctive architecture and flowing, curved style that reject
sharp angles.
Established a continuous, fluid relationship between its surrounding
plaza and the building’s interior.
Principally consists of two collaborating systems: a concrete structure
combined with a space frame system.
Has become a signature landmark of modern Baku due to its innovative
and cutting-edge design

10.  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)

11.  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.

12. PROJECT-1 VITRA FIRE STATION
 WEIL AM RHEIN,GERMANY
Project-II MAXXI: Museum of XXI
Century Arts Rome, Italy
Project-III Guangzhou Opera House
Guangzhou, China

13. Project-IV London Aquatics Center
London, United Kingdom
Project-V Heydar Aliyev Centre Baku,
Azerbaijan
Project-6 Phaeno Science Centre
Wolfsburg, Germany

14.  Project Title: Vitra Fire Station
 Location: Weil am Rhein, Germany
 Year: 1990-1993
 Client: Vitra International AG
 Status: Completed
 Area: 852 meter square
It was a simple project from Zaha Hadid’s
point of view but an important one as it
marked the beginning of her career.

15.  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.

16. 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.

18. 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.

19.  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.

20.  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

21. 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.

22.  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.”

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.  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

29.  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.

31.  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

38.  Project Title: London Aquatics Center
 Location: London, United Kingdom
 Year: 2005-2011
 Client: Olympic Delivery Authority
 Status: Completed
 Area: 36 875 meter square

39.  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

40.  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

41. 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.

42.  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.

43.  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.

47. North
Elevation
West Elevation

48. Longitudinal
Section
Cross Section

51. North Elevation
West Elevation

52. Cross Section
Details of the Roof

54. 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)

55.  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.

57.  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

59.  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

63.  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

64. THANK YOU