Zaha Hadid was an Iraqi-British architect known for her innovative deconstructivist designs. Her MAXXI Museum of 21st Century Arts in Rome, completed in 2009, exemplifies her style through fluid, curving forms that blur indoor and outdoor spaces. Key aspects of her philosophy included fluidity, using light and sharp angles to create a sense of dynamism. She received many awards throughout her career for pushing the boundaries of architecture and was the first woman to receive the Pritzker Prize in 2004.
Less is more
OUTLINE
Intro
Biography
Pioneers of Modern architecture
Philosophy
Style
Features
Traditionalism to Modernism
Characteristic features
Furniture
Works
Chicago school
Barcelona pavilion
S.r crown hall
A brief description on Le Corbusier's life, design philosophies & some projects including a detailed case study. I recommend viewers to download the presentation and then view it bcoz many slides (slide 12) are apparently useless without animation!!
- Rakesh Samaddar
Dept. of Architecture
IIT Kharagpur
India
Less is more
OUTLINE
Intro
Biography
Pioneers of Modern architecture
Philosophy
Style
Features
Traditionalism to Modernism
Characteristic features
Furniture
Works
Chicago school
Barcelona pavilion
S.r crown hall
A brief description on Le Corbusier's life, design philosophies & some projects including a detailed case study. I recommend viewers to download the presentation and then view it bcoz many slides (slide 12) are apparently useless without animation!!
- Rakesh Samaddar
Dept. of Architecture
IIT Kharagpur
India
HISTORY OF ARCHITECTURE
"MODERN ARCHITECTURE"
Le Corbusier
Frank Lloyd Wright
Ludwig Mies van der Rohe
Walter Gropius
Louis Sullivan
C.R. Mackintosh
Edwin Lutyens
Antoni Gaudi
Chicago’s architecture is famous throughout the world and one style is referred to as the Chicago school.
In the history of architecture the first Chicago school was a school of architects . active in Chicago at the turn of the 20th century .
They were among the first to promote the new technologies of steel-frame construction in commercial Buildings.
A “second Chicago school” with a modernist aesthetic emerged in the 1940’s through 1970’s.
Which pioneered new buildings technologies and structural system such as the tube-frame structure.
ZAHA HADID
"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
HISTORY OF ARCHITECTURE
"MODERN ARCHITECTURE"
Le Corbusier
Frank Lloyd Wright
Ludwig Mies van der Rohe
Walter Gropius
Louis Sullivan
C.R. Mackintosh
Edwin Lutyens
Antoni Gaudi
Chicago’s architecture is famous throughout the world and one style is referred to as the Chicago school.
In the history of architecture the first Chicago school was a school of architects . active in Chicago at the turn of the 20th century .
They were among the first to promote the new technologies of steel-frame construction in commercial Buildings.
A “second Chicago school” with a modernist aesthetic emerged in the 1940’s through 1970’s.
Which pioneered new buildings technologies and structural system such as the tube-frame structure.
ZAHA HADID
"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
Deconstruction is a relatively asinine and senseless approach to understanding the relationship between text and meaning. It was originated by the philosopher Jacques Derrida (1930–2004), who defined the term variously throughout his career.
It is a development in POST-MODERNISM that started in late 1980s.
It views architecture in bits and pieces.
It has no visual logic.
Buildings may appear to be made of abstract forms.
The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.
The ideas were borrowed from the French philosopher, Jacques Derrida.
Architects involved –
Zaha Hadid
Bernhard Tschumi
Rem Koolhaas
The term ‘Critical Regionalism’ was first coined by Alexander Tzonis and Liane Lefaivre and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical Regionalism : Six points of an architecture of resistance”
According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual.
According to Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways.
Critical regionalism is different from Regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.
It is considered a particular form of post-modern response in developing countries, not to be confused with postmodernism as architectural style.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
2. • 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
3. INTRODUCTION
• Born 31 October 1950
Baghdad, Kingdom of Iraq
• Died 31 March 2016 (aged 65)
Miami, Florida, US
• Nationality Iraqi, British
• Occupation Architect
• Parent(s) Mohammed Hadid
Wajeeha Sabonji
• Practice Zaha Hadid Architects
• Buildings MAXXI, Bridge
Pavilion, Maggie's Centre,
Contemporary Arts Center
zaha hadid's parents
4. 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.
5. 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.
6. 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.
7.
8. 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 FORMSSHARP ANGULAR FORMS
INTEGRATION OF
BUILDING WITH
LANDSCAPE
10. 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.
11. 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.
13. • 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
14. 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.
15. 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
17. • 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.
18. MAXXI National Museum of XXI Century Arts, Via Guido Reni, 4/a, 00196
Roma RM, Italy
LOCATION
19. 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
20. 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.
21. 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
26. 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
27. • Walls constantly intersect and
separate tocreate both indoor and
outdoor spacesMinor Streams
Connections &
Bridges
Major Streams
• strip Footing
-basement floor
(retaining wall)
- 3 storey heights
•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
28. 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.
29. 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.
30. 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
31. 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.
33. • 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.
34. 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.
35. 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
36. 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.
37. PLAN OF AQUATICS CENTRE
(OLYMPICS MODE)
MAIN COMPETITION POOL
DIVING POOL
TRAINING POOL
ATHIETES LOUNGE
PHYSIO
AND
MASSA
GE
AREA
ATHIETES CHANGE
DOPING CONTROL
ATHIETES FINAL CALL ROOM
DIVER WARM UP
TIMING AND RESULTS
CONTROL
ATHIETES MIXED ZONE
38. TOILET
PLAZA BRIDGE
OLYMPIC FAMILY LOUNGE
CONCESSIONS
MAIN ENTRANCE STAIRS
CONCOURSE AREA
MAIN COMPETITION POOL
DIVING POOL
CONCESSIONS
TOILET
CONCOURSE AREA
39.
40. Elevation and section of aquatics
centre (Olympics mode)
NORTH ELEVATION WEST ELEVATION
41.
42. 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.