SUBMITTED BY : ARCHANA KALSI

ZAHA HADID

ZAHA HADID

Biography Name : Dame Zaha Mohammad Hadid Nationality : Iraqi-British Birth : October 31, 1950 (age 62), Baghdad Education : 1968 - 1971 Trained Maths at the American University of Beirut

1972 - 1977 Studied architecture at the Architectural Association school Practise : Joined OMA (office of metropolitan architecture) and became a partner (1977).Own practice 'ZAHA HADID office' (from 1980).

CAREER

•After she graduated she worked with Rem Koolhaas

•Started her own firm in 1980

•Her Ideas were in more of demand than her designs

•She won many competitions but a lot of them were never built

•Despite her influences, was often dismissed as a dreamer, whose work was unrealizable and impractical

•She taught at the Architecture Association

•Almost wanted to give up Architecture after facing a huge rejection for her design for the Cardiff Bay Opera House in Wales.

•Her design was chosen but local opinion ran against it so it was rejected basically because it wasn’t traditional enough. (1994)

•She has been known as DIVA and difficult to work with at times, but people who admire her would praise her for her personal style.

•ARCHITECTURAL STYLE•DECONSTRCTIVISM MOVEMENT

•Her style is Deconstructivism, or Deconstruction, is an approach to building design that attempts to view architecture in

bits and pieces. The basic elements of architecture are dismantled. Deconstructivist buildings may seem to have no visual logic. They may appear to be made up of unrelated, disharmonious abstract

forms. Deconstructive ideas are borrowed from the French philosopher Jacques Derrida

•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.

"I'm trying to discover - invent, I suppose - an architecture, and forms of urban planning, that do something of the same thing in a contemporary way. I started out trying to create buildings that would sparkle like isolated jewels; now I want them to connect, to form a new kind of landscape, to flow together with contemporary cities and the lives of their peoples.“ - Zaha Hadid

Philosophy

Concept "gravity-defying", "fragmentary" "revolutionary"

A main theme of hadid's designs exhibits that a building can float and defy gravity.

Through SketchingShe lets the movement of the hand determine the formAnd is trying not draw something pre figured.

•The Vitra Fire Station was Zaha Hadid's first built project. •The building functioned as a firehouse until the fire district lines were re-drawn. •The building is now used by Vitra as a showplace for part of its permanent collection of chairs.

Vitra Fire Station

• asymmetrical and irregular shapes, which allows multiple entries into the building- use of distortion makes the walls seem to melt and floors seem to curve- the ceilings are generally appeared to be compressed, bended, and/or expanded- her work represents how nature was established and developed by means ofoverlaps, rhythms and textures, like an artificial landscape

Deconstructivism

Vitra Fire StationThe Model

“The whole building is movement, frozen.It expresses the tension of being on the alert;and the potential to explode into action at any moment.”

Front View

- the intersection of each shape is carefully calculated each parts of the building complement each other

Back View

- composition of jutting, irregular, sharp concrete planes- emphasizing the horizontal plane

Vitra Fire StationExterior Second floor

InteriorSecond floor

Linear, layered series of walls which appear to slide past each other, while the large sliding doors literally form a moving wall

Second floor InteriorThe lines of light direct the necessarily precise and fast movement through the building.Roof of 1st floor becomes patio for 2nd floor

MAXXI,ROME by Zaha Hadid

Total site area : 29,000 m2 Exterior spaces : 19,640 m2 Interior spaces : 21,200 m2 Display space : 10.000 m2

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.

THE ARCHITECTURE OF MAXXI

Two principle architectural elements characterize the project:

the concrete walls that define the exhibition galleries and determine the interweaving of volumes;

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.

CENTRE FOR CONTEMPORARY ART

Professional breakthrough came in 2003 with the successful construction of her challenging design for the museum in Cincinnati, Ohio.

This was her first building in the United States.

Which made her become known internationally.

Karl Lagerfeld, Creative Director for Chanel, personally sought Zaha for her vision and sense of style.

CHANEL MOIBLE ART PAVILLION

Location: Hong Kong, Tokyo, New York, Paris

Materials: Fibre Re-inforced Plastic, Structural Steel

•Chanel Pavilion is a celebration of the iconic work of Chanel•the steel structure has been designed to be built in under one week, which is essential for an ephemeral pavilion.

1. ABU DHABI PERFORMING ARTS CENTRE-Dhabi

2. BEETHOVEN CONCERT HALL- Germany3. JS BASH CHAMBER MUSIC HALL-

UK4. RABAT GRAND THEATHRE- Morocco

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1. Limited Edition LACOSTE shoe (2009)2. Louis Vittion ICONE BAG (2006)3. Skein Sleeve Bracelet (2009)4. Zcar II (2008)

Product designs

1977 Graduation Project, a hotel on London’s Hungerford bridge was calledMALEVICH’S TECTONIKAfter the suprematist Kasimir Malevich who wrote in 1928:“we can only perceive space when we break free from the earth, when the point of support disappears.”

Zaha Hadid’s architecture follows suit, creating a landscape which metaphorically, and perhaps, one day literally..seem to take off.

Sometimes been compared to Frank Lloyd Wright for her futuristic designs and her visionary rethinking of the relationship between humans and buildings

Zaha Hadid has defined a radically new approach to architecture by creating buildings with multiple perspective points and fragmented geometry to evoke the chaos of modern life.

COMPLETED

PROJECTS

Vitra Fire Station (1994), Weil am Rhein, Germany Hoenheim-North Terminus & Car Park (2001), Hoenheim, France. Project

architect: Stephane Hof Bergisel Ski Jump (2002), Innsbruck, Austria Rosenthal Center for Contemporary Art (2003), Cincinnati, Ohio BMW Central Building (2005), Leipzig, Germany Ordrupgaard annexe (2005), Copenhagen, Denmark Phaeno Science Center (2005), Wolfsburg, Germany Maggie's Centre's at the Victoria Hospital (2006), Kirkcaldy, Scotland Tondonia Winery Pavilion (2001–2006), Haro, Spain Eleftheria square redesign (2007), Nicosia, Cyprus Hungerburgbahn new stations (2007), Innsbruck, Austria Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York,

London, Paris, Moscow, (2006–2008) Bridge Pavilion (2008), Zaragoza, Spain J. S. Bach Pavilion, Manchester International Festival (2009), Manchester,

UK CMA CGM Tower (2007–2010), Marseille, France Pierres vives (2002–2012), Montpellier, France. Project architect: Stephane

Hof MAXXI - National Museum of the 21st Century Arts (1998–2010), Rome,

Italy Guangzhou Opera House (2010), Guangzhou, People's Republic of China

PERSONAL CHRONOLOGY:

1977: Completes study at Architectural Associates, London; becomes partner with Office for Metropolitan Architecture

1980: Establishes Zahra Hadid Architects 1982: First accepted project, The Peaks Spa, Hong Kong (never built) 1993: Vitra fire station in Weil-am-Rhein Germany opens 1994: Teaches in the United States: the Kenzo Tange Chair at Harvard

University’s School of Design, Sullivan Chair at the University of Illinois’s School of Architecture, and Master Studio at Columbia University; design for Cardiff Bay Opera House accepted, then rejected

2000: Honorary Fellowship, the American Institute of Architects 2001: Begins teaching at University of Applied Arts Vienna 2002: Hoenheim-North Terminus and Car Park opens in Strasbourg,

France; opening of Bergisel Ski Jump, Innsbruck, Austria; receives CBE from British government; receives Austrian State Architecture Prize and the Tyrolian Architecture Award

2003: The Richard and Lois Rosenthal Center for Contemporary Art opens in Cincinnati, Ohio

2004: Awarded the Pritzker Prize 2007: Awarded the Thomas Jefferson Medal in Architecture

Influences and Contribution

As a person, Hadid was influenced by the liberal and cosmopolitan upbringing she had in Iraq and Europe. Even as a child, she was exposed to a broad outlook on life: attending school in Baghdad with Muslim, Christian, and Jewish classmates, for example. As an architect, she was influenced by the designs of Russian suprematist architecture, as well as constructivist artists. She also has stated that she admires the particular work of architects Ludwig Mies van der Rohe, Erich Mendelsohn, and le Corbusier (Charles-Eduard Jeanneret).

Success came slowly for Hadid. Her first accepted design was for The Peaks, a spa in Hong Kong, in 1982, but it was never built because the developer went bankrupt. Projects in Düsseldorf and West Berlin also failed to materialize. Hadid’s first completed project, the Vitra fire station in Weil-am-Rhein, Germany, did not come until 1993. Even then, the fire department ultimately left the building, which later became a museum. She then designed the Hoenheim-North Terminus and Car Park, which opened in Strasbourg, France, in 2002. That same year, the Bergisel Ski Jump overlooking Innsbruck, Austria, was unveiled. In 2003 Hadid’s career broke wide open. The Richard and Lois Rosenthal Center for Contemporary Art in Cincinnati, Ohio, which she designed and which opened that year, helped put to rest her reputation as someone who produced daring designs that never could be built

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Vitra Fire Station

Hadid’s first completed project, the Vitra fire station in Weil-am-Rhein, Germany, did not come until 1993. Even then, the fire department ultimately left the building, which later became a museum

Hadid's interplay of angles and use of color makes the building's interior as visually interesting as the outside without making it unnecessarily busy.

Plan Of Vitra Fire Station

Bergisel ski jump

Plan of ski- jump.

Ground Floor Plan

Floor Plan

The new Bergisel Ski Jump is a sweeping, geometric run that fits in perfectly against the background of the towering Alps. It is like a cross between a tower and a bridge — 295 feet (90 meters) long and almost 165 feet (50 meters) high.

  The slim tower design incorporates the cafe and viewing

terrace at the top. Two lifts take visitors up to the cafe, 130 feet (40 meters) above the peak of Bergisel. There, spectators enjoy views over a beautiful alpine panorama, and from this privileged viewpoint they can observe the athletes flying across the Innsbruck skyline.

  The structure and shape of the project was developed in collaboration with structural engineer Christian Aste. To coordinate the construction process, the architects needed to set up precise logistics on the building site, taking into consideration the difficult topographical conditions of the mountain and the high technical demands of the building, all coming together within a short construction schedule.

Design was complicated by the coexistence of three different kinds of construction: underground, surface, and aerial. Structurally the ski jump consists of a vertical concrete tower, a green-metal bridge integrating the ramp and the cafe, and the foundation dug into the Bergisel Mountain. 

But conceptually, the structural elements are not different systems, just parts of the total construction. It was important for the project to create a uniform architecture, a fluid building. To support this image of fluidity, the building was covered with metal sheets marked with fine vertical grooves that follow the curves and reflect light differently depending on time of day. 

At night, lights trace the cafe and the track of the ramp. The inside of the ramp, which has a U-shaped cross section, and the inside of the cafe are lit by strips of light that change color. Lighting the interior makes the tower's appearance at night quite different from that of daytime.

In a sense, the ski jump represents an interactive viewpoint. On one hand, it attracts attention to itself; on the other hand, it offers a view onto the landscape and town of Innsbruck. Let's hope that the public areas of the structure will be used not only by tourists but also by locals and that it inspires valley residents to visit their Bergisel Mountain.

BMW CENTRAL BUILDING

Concept The BMW factory plan, prior to the design

and build of the central building, existed as three disconnected buildings, all of which holding an integral part in the production of the BMW 3 Series vehicles. These three production buildings were designed in house by BMW‘s real estate and facility management group separately housing the fabrication of raw auto bodies (645,000 square feet (59,900 m2)), the paint shop (270,000 square feet (25,000 m2)), and the final assembly hall(1,075,000 square feet (99,900 m2)) . The competition was for the design a centralized building to function as the physical connection of these three buildings. It also needed to house the administrative and employee needs spaces. Hadid‘s design took this idea of connectivity and used to inform every aspect of the building. The building serves as a connection for the assembly process steps and the employees. Designed as a series of overlapping and interconnecting levels and spaces where, the informing idea was to blur all separation between any one part of the complex and another and create a level ground for both the blue and white collar employees, the visitors, and the cars.

DIAGRAMETIC PLAN

Quick Facts Building Name: BMW Central Building Location: Leipzig, Germany Client: BMW AG, Munich, Germany Architect: Zahra Hadid Building Footprint: 250,000 square feet (23,000

m2) Total Area: 270,000 square feet (25,000 m2) Building Cost: $60 million Groundbreaking: March 2003 Completion: May 2005 Employees in Factory: 5,500 Program: Control Functions, Offices/Admin.,

Meeting rooms, Cafeteria, Public Relations Parking: 4,100 Spaces Total Complex Cost: $1.55 Billion

Zahra Hadid's Central Building can only be related to the revolutionary and monumental industrial designs. The BMW Central building is a 270,000 square feet (25,000 m2) foot facility that makes up only 250,000 square feet (23,000 m2)of the 540-acre (2.2 km2) campus. Serving 5,500 employees, the building functions as the most important piece of the factory as it connects the three production sheds. Each day, 650 BMW 3 Series sedans pass through the Central Building on an elevated conveyor as they move from one of the three production sheds to the next. Dim blue LED lights up light the vehicles as they become more and more complete each time they exit one of the sheds. These conveyors not only take the vehicles from one production shed to another, but do so directly through all of the functional spaces of the Central Building. The offices, meeting rooms, and public relations facilities are all inhabited by these elevated conveyors, which creates an interesting relationship between the employees, the cars and the public. Not only is the Central Building an office building and public relations epicenter for the factory, it is also a very important piece of the production process at the factory. All of the load bearing walls, floors, and office levels are of cast-in-place concrete]. while the roof structure is of a structural steel beam and space farm construction The facade is clad in the simple materials of corrugated metal, channel glass, and glass curtain walls

The buildings has received numerous architectural awards, including a 2006 RIBA European Award and a short listing for the Stirling Prize.

The new BMW Museum in Munich fascinates through use of unique, individual solutions in architectural scenography. After 2.5 years of construction, the project opened in June 2008.

There are two entrances into the museum, one past the Museum Shop and one adjacent to the Café Bar M1, both which lead into the exhibition. The entrance hall opens into museum, the BMW Platz. The visitor will walk through several times and experience from different perspectives. The Platz speaks a dynamic, elegant, and urban language. Wide glass facades, polished high-grade steel, and a jointless ground from Bitumen terrazzo (polished asphalt) express a special perception

Plan of BMW

Central Building

Bridge Pavilion

The Zaragoza Bridge Pavilion is organized around 4 main objects, or ‘pods’ that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section – which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.

Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the Bridge Pavilion) +203m, +206m and +207.5m for the upper level.

The diamond section has also been extruded along a slightly curved path. The extrusion of this rhombus section along different paths has generated the four separate ‘pods’ of the Bridge Pavilion. The stacking and interlocking of these truss elements (the ‘pods’), satisfies two specific criteria: optimizing the structural system, and allowing for a natural differentiation of the interiors, where each pod corresponds to a specific exhibition space.

By intersecting the trusses/pods, they brace each other and loads are distributed across the four trusses instead of a singular main element, resulting in a reduction in size of load-bearing members.

The pods are stacked according to precise criteria – aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.

This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters – or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.

Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.

Natural surfaces have been investigated when designing the Pavilion’s exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.

The building’s envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza’s sunshine.

During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlappingshingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures – to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.’