These are few concepts wich are often described in her own words
The outdoor courtyard surrounding the museum provides a venue for large-scale works of art.
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.
Hadid's architecture can thus be understood as an intensification of the surrounding space.
Zaha hadid (two projects)
"Only rarely does an architect emerge with a philosophy and approach to theart form that influences the direction of the entire field. Such an architect isZaha Hadid..." -- Bill Lacy, architect Presented by: Kartik Sood 10110026
She was born on October 31, 1950 in Baghdad, Iraq. She studied mathematics at the American University of Beirut (Lebanon) in 1968. In 1972 she moved to London (UK), to join the Association of Architecture where she graduated with honors in 1977 and served as a teacher soon after. After her first building was commissioned and built in 1994, the Vitra Fire Station in Germany, her career took a leap forward. In 2004, she was bestowed with Pritzker.
Pritzker Prize 2004 Seminal Works: Vitra Fire Station 1993 LFOne/ Landesgartenschau 1999 Bergisel Ski Jump 2002 Lois and Richard Rosenthal Center for Contemporary Art 2003 BMW Plant Central Building 2004 Hotel Puerta America [interior] 2005 Ordrupgaard Museum Extension 2005 Phaeno Science Center 2005 Museum of Art, XXI (MAXXI), 2010
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.
Projects Considered for Study: Museum of Art, XXI (MAXXI), Rome, Italy. Phaeno Science Center, Wolfsburg, Germany
CONCEPT: "GRAVITY-DEFYING", "FRAGMENTARY" "REVOLUTIONARY" A MAIN THEME OF HADIDS DESIGNS EXHIBITS THAT A BUILDING CAN FLOAT AND DEFY GRAVITY.
MAXXI, ROME MAXXI stands for ‘Museo nazionale delle arti del XXI secolo’ (National Museum of 21st Century Art). The museum will become the joint home of the MAXXI Arts and MAXXI Architecture and Italy’s first national museum solely dedicated to contemporary arts. Zaha Hadid architects, out of 273 candidates, won the architectural competition to design the building in 1998 with a design that responds to the form and arrangement of existing industrial buildings on the site.
MAXII, ROME 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, dynamizes them and gives them back to the urban environment.
Zaha Hadid Zaha Hadid stated: "I see the MAXXI as an immersive urban environment for the exchange of ideas, feeding the cultural vitality of the city. Its 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. Its an intriguing mixture of galleries, irrigating a large urban field with linear display surfaces".
The architecture of MAXXITwo principle architectural elements characterize the project: the concrete walls that define the exhibition galleries and determine the interweaving of volumes; and the transparent roof that modulates natural light. The roofing system complies with the highest standards required for museums and is composed of integrated frames and louvers with devices for filtering sunlight, artificial light and environmental control.
Galleries, Walkway 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.
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.
LOCATION: 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. A pass around high speed trains, to the Mittelland canal bank.
Science Museum: 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. Receiving a 180mil visitors annually.
Urban Analysis The building appears in the landscape as a connecting element between the two parts of the city, establishing a direct relationship with the city and move through it. Multiple paths pedestrian and vehicle motion is in the terrain place either inwards or through building composing a displacement interconnection routes.
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 Center captures the surrounding landscape dynamics in elongated form off the ground, in aventajamientos crashes and walls 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.
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.
Dentro de ellas se desarrollan distintas funciones como librería, sala de conferencias y un auditorio para 250 personas. Among them develop various functions as a library, conference rooms and an auditorium for 250 people.
Techniques and materials: Concrete. The roof structure is steel. Facade: Has only large portions of concrete. Glazed areas: They used large glass shades. Furthermore you can see skylights, respecting the diamond pattern was made in the concrete. Were used in construction, 27 cubic meters of concrete and more than 3,500 steel beams.
The "cones" So called piles, appointed by the architect as cones, which are widening as 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.
Conclusion: Her works 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. As a woman, her design metaphors has represent the spirit of “sharp-energetic-feminine” figure in architecture.