Zaha hadid

2
Presented to:
Ar. T.R. Warsi
Presented by:
 Deepak Kumar (11-ARB-564)
 Ahmad Faraz (11-ARB-567)
Presented by:
Deepak Kumar
Ahmad Faraz
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

A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ 3
 An Introduction to Zaha Hadid
 Architectural Background
 Architectural Philosophy
 Architectural Style- Deconstructivism
 Concept of Fluidity
 Architectural Works
 Awards & Recognition
 List of Awards & Honors
 Museum Exhibitions
 Critics
Contents
 Seminal Works
I. Vitra Fire Station, Germany
II. MAXII: Museum of XXI Century Arts, Italy
III. Phaeno Science Centre, Germany
IV. Guangzhou Opera House, China
V. London Aquatics Centre, United Kingdom
VI. Heydar Aliyen Centre, Azerbaijan
 Other Architecture Related Works
 Conclusion
 Zaha Hadid’s Team
 Bibliography

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. 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.
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE & THE COMPLETE BUILDINGS AND PROJECTS BY THAMES AND HUDSON

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.
Zaha Hadid was awarded the Pritzker Architecture Prize (considered to be the Nobel
Prize of architecture) in 2004 and is internationally known for both her theoretical and
academic work. Each of her dynamic and innovative projects builds on over thirty
years of revolutionary experimentation and research in the interrelated fields of
urbanism, architecture and design.
Hadid’s work constantly tests the boundaries of architecture and design. She
introduced the concept of fluidity in her designs.
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE & THE COMPLETE BUILDINGS AND PROJECTS BY THAMES AND HUDSON
A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ

Architectural Philosophy
Hadid's first building was a fire station near the German-Swiss border, for the furniture
company Vitra. Since then Hadid has been widely quoted as saying that since there are 360
degrees, she sees no reason to restrict herself to just one), on the grounds of the Vitra
Furniture Company in Weil am Rhein. The building consists of numerous irregular angles
(which others considered as negative spaces).
Hadid remains ahead of her time, and responsive to emerging social demands, in the sense that the
world is becoming a series of concentrations of wealth and power, which express themselves through
lavish, singular trophies. To this extent there is a reality to the work. But it is different from the ideals
she used to express, or of her achievements at their best. There has always been conflict, or tension,
between her artistic ego and her public spirit, which is what made her interesting, but it's getting
hard to see the latter.
Vitara fire station near the German-Swiss
Border
The main components of philosophy behind her design are-
 DECONSTRUCTIVISM
 Fluidity
 Gravity-Defying
 Fragmentary &
 RevolutionaryInsight
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID

Architectural Style- 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.
The finished visual appearance of buildings that exhibit deconstructivist "styles" is
characterized by unpredictability and controlled chaos. The beginning of it goes back to late
1980s. Deconstructivism was started by the group of people called deconstructivists, who
were attracted by the theories of French Philosopher Jacques Derrida. According to his
philosophy, architecture is nothing but one of many ways of communication.
Libeskind Imperial War Museum North in
Manchester by Architect Daniel Libeskind is
one of the prime examples of
Deconstructivism
The term "Deconstructivism" in contemporary architecture is opposed to the ordered rationality of Modernism
and Postmodernism. Deconstructivism took a confrontational stance to architectural history, wanting to "disassemble"
architecture. While postmodernism returned to embrace the historical references that modernism had shunned, possibly
ironically, deconstructivism rejected the postmodern acceptance of such references, as well as the idea of ornament as an
after-thought or decoration.
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID, DECONSTRUCTIVISM

Cont’d…
Guangzhou Opera House (2010) Guangzhou,
People’s Republic of China is one of the Prime
Example of Deconstructivism in Buildings
by architect Zaha Hadidc
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.
4) She is an architect known worldwide for her talent in various disciplines such as
painting, graphic arts, three-dimensional models and computer design.

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. One might ask, then, What is it that flows? Is it architecture’s material manifestation
or its stream of inhabitants, information or building systems? Is it to be found in the
structuring of space or in the space itself, or the inhabitant’s experience of the space?
Underlying these questions is an implied split over whether architecture’s materiality forms
flows, or forms channels in which something else flows.
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.
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; WIKIPEDIA- ZAHA HADID , FLUIDITY CONCEPT

Architectural Works
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)
 Bridge Pavilion (2008), Zaragoza, Spain Pierresvives
Montpellier, France.
 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.
 Jockey Club Innovation Tower (2013), Hong Kong
 Dongdaemun Design Plaza (2008–2014), Seoul, South Korea

Cont’d…
Ongoing Projects [16]
 Salerno Maritime Terminal (2007–2013), Salerno, Italy
 King Abdullah Petroleum Studies and Research Center,
Designer and main consultant, (under construction),
Riyadh, Kingdom of Saudi Arabia
 Mandarin Oriental Dellis Cay, Villa D (2012) (private
home under construction), Dellis Cay, Turks & Caicos
Islands Napoli Afragola railway station, Italy
(completion delayed to 2013)
 Citylife office tower (Storto) and residentials, Milan,
Italy (to be completed by 2014)
 Nuragic and Contemporary art museum (2006) (on
hold), Cagliari, Italy
 d'Leedon, Singapore (2011)
 Eleftherias Square in Nicosia, Cyprus
 Wangjing SOHO in Beijing, China
 New Century City Art Center, Chengdu, China
 520 West 28th Street, New York City, United States
 National Olympic Stadium (Under
Redevelopment Project), Tokyo, Japan
 Dominion Tower in Moscow, Russia
 Iraqi Parliament Building in Baghdad
 2013 Bottle designed by Zaha Hadid
 2014 Qatar 2022 FIFA world cup stadium design
 Japan National Stadium by Zaha Hadid

Awards & Recognition
 In 2002, she won the International Design Competition to design Singapore's One North Master Plan. In 2005, her
design won the competition for the New City Casino of Basel, Switzerland.
 In 2004, Zaha became the first female and first Muslim recipient of the Pritzker Architecture Prize, architecture's
equivalent of the Nobel Prize. In 2006, she was honoured with a retrospective spanning her entire work at the
Guggenheim Museum in New York; that year she also received an Honorary Degree from the American University of
Beirut.
 In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women".
 In 2010, she was named by Time as an influential thinker in the 2010 TIME 100 issue. In September 2010, the British
magazine New Statesman listed Zaha Hadid at number 42 in their annual survey of "The World's 50 Most Influential
Figures 2010". Hadid was appointed Commander of the Order of the British Empire (CBE) in 2002 and Dame
Commander of the Order of the British Empire (DBE) in the 2012 Birthday Honours for services to architecture.

Cont’d…
 She was listed as one of the fifty best dressed over 50s by the Guardian in March 2013.
Three years later, she was assessed as one of the 100 most powerful women in the UK
by Woman's Hour on BBC Radio 4.
 She won the Stirling Prize two years running: in 2010, for one of her most celebrated
works, the Maxxi in Rome, and in 2011 for the Evelyn Grace Academy, a Z-shapes
school in Brixton, London. She is also the designer of the Dongdaemun Design Plaza &
Park in Seoul, South Korea, which was the centrepiece of the festivities for the city's
designation as World Design Capital 2010 which was later completed in March 2014.
 She became the 41st Winner of the Veuve Clicquot UK Business Woman Award in the
year 2013.
 She was elected as International Member, American Philosophy Society in the year
2013.
Zahad Hadid with the Pritzker Prize way
back in 2004

List of Awards & 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

Seminal Works
1) Vitra Fire Station,1993
2) LFOne/ Landesgartenschau, 1999
3) Bergisel Ski Jump, 2002
4) Rosenthal Center for Contemporary Art,
2003
5) BMW Plant Central Building, 2004
6) Hotel Puerta America (Interior), 2005
7) Ordrupgaard Museum Extension, 2005
8) Phaeno Science Center, 2005
9) Museum of Art, XXI (MAXXI), 2010
10) Guangzhou Opera House, People's
Republic of China, 2010
11) London Aquatics Centre, 2011
12) Heydar Aliyev Centre, 2012
13) Beijing Airport, New Terminal, China, In Progress
14) Al Wakrah Soccer Stadium, Qatar, In Progress
Now, we will be discussing few of the projects by Zaha Hadid in detail

Project-I Vitra Fire Station
Weil am Rhein, Germany

Vitra Fire Station
Vitra Fire Station
 Project Title: Vitra Fire Station
 Location: Weil am Rhein, Germany
 Year: 1990-1993
 Client: Vitra International AG
 Status: Completed
 Area: 852 meter square
Conceived as the end note to existing factory buildings, the Vitra Fire Station defines rather then occupies the space-
emerging as a linear, layered series of walls, between which program elements are contained- a representation of
“movement frozen”- an “alert” structure, ready to explode into action at any moment.
It was a simple project from Zaha Hadid’s point of view but an important one as it marked the beginning of her career.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/VITRA-FIRE-STATION-2/

Cont’d…
Conceptual Graphics of the Vitra Fire Station
by Architect Zaha Hadid
 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.

Cont’d…
Conceptual Sketches of the Vitra Fire Station
by Architect Zaha Hadid
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.

Cont’d…
Perspective View of the Vitra Fire Station by
Architect Zaha Hadid
Functional Layout
 The fire station is a composition of concrete planes that bend, tilt, and
break according to the conceptual dynamic forces that are
connecting landscape and architecture.
 Concrete “shards” and planes slide past one another creating a
narrow, horizontal profile. The sense of instability is intensified as
horizontal planes slip over one another, while another projects out
over the garage bay. Always in a state of constant uneasiness, the
concrete planes embody a heavy, opaque quality that restricts views
into the building except for when the walls begin to split from the
building.

Cont’d…
Interior Views of the Vitra Fire Station by
Interior View
 The building is not only unique from the exterior side, but also from the
interior the materials choice and the color combination is itself speaking of
its class and the amount of time Zaha Hadid has devoted on it.
 The interior of the fire station is just as complex formally and spatially as the
exterior of the building.

Cont’d…
Perspective Views of the Vitra Fire Station by
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.

Cont’d…
Perspective Views of the Vitra Fire Station by
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.

Cont’d…
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.
Materials Used in the Vitra Fire Station by

26A PRESENTATION ON ARCHITECT “ZAHA HADID” BY DEEPAK KUMAR & AHMAD FARAZ

Project-II MAXXI: Museum of XXI Century Arts
Rome, Italy

MAXII: Museum of XXI Century Arts
MAXXI: Museum of XXI Century Arts by
 Project Title: MAXXI: Museum of XXI Century Arts
 Location: Rome, Italy
 Year: 1998-2009
 Client: Italian Ministry of Culture, Rome, Italy, MAXXI
 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.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/MAXII-MUSEUM-OF-XXI-CENTR /

Cont’d…
Description
 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

Cont’d…
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.
Perspective View of the MAXXI: Museum of
XXI Century Arts

Cont’d…
Bird Eye View of the Project- MAXXI: Museum of XXI Century Arts by

Cont’d…
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

Cont’d…
Interiors
Interior Views of the MAXXI: Museum of XXI Century Arts by Architect Zaha Hadid

Cont’d…Floor Plans
Ground Floor Plan

First Floor Plan

Second Floor Plan

Cont’d…
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.
Interiors of the MAXXI: Museum of XXI
Century Arts by Architect Zaha Hadid

Project-III Phaeno Science Centre
Wolfsburg, Germany

Phaeno Science Center
Phaeno Science Centre by Architect Zaha
Hadid
 Project Title: Phaeno Science Centre
 Location: Wolfsburg Germany
 Year: 2000-2005
 Client: Neuland Wohnbaugesekkschaft mbH for the city
(9000 ms for exhibition & 15 000 ms for underground parking)
Described variously as “an architectural adventure playground” and “the magic box”. Phaeno realizes our continuing vision
of creating ‘complex, dynamic and fluid spaces’- from the gently undulating artificial hills and valleys created below the
main elevated structure, to the crater-like museum floor, naturally lit spaces and accessible funnels within.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/EL-PHAENO-SCIENCE-CENTER-3/

Cont’d…
Conceptual Analysis & Description
 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.
Conceptual Analysis of the Phaeno Science
Center by Architect Zaha Hadid
Conceptual Analysis of the Phaeno Science

Cont’d…
Science Museum
 In seeking to be more than the "city
volkswagen" the government 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.
 The building appears in the landscape as a
connecting element between the two parts of
the city, establishing a direct relationship with
the city.
Perspective and Interior Views of the Phaeno
Science Center by Architect Zaha Hadid

Cont’d…
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 Centre captures the surrounding landscape dynamics in elongated form
off the ground 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.
Artificial Landscape of the Phaeno Science

Cont’d…
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
conical shapes with rounded corners that act as legs and give an effect of weightlessness.
The “Cones” of the Phaeno Science Center by Architect Zaha Hadid

Cont’d…
Plan, Section and Elevation
Plan of the Phaeno Science Center by Architect Zaha Hadid Section & Elevation of the Phaeno Science Center by

Cont’d…
Materials and Techniques
 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.
Interior Views of the Phaeno Science Center by Architect Zaha Hadid

Cont’d…
Construction Methodology
Images taken during the Construction of the Phaeno Science Center by Architect Zaha Hadid

Project-IV Guangzhou Opera House
Guangzhou, China

Guangzhou Opera House
Guangzhou Opera House by Architect Zaha Hadid
 Project Title: Guangzhou Opera House
 Location: Guangzhou, China
 Year: 2003-2010
 Client: Guangzhou Municipal Government
 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.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/GUANGZHOU-OPERA-HOUSE-13/

Cont’d…
Design Concept
 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.
Conceptual Analysis of the Guangzhou
Opera House by Architect Zaha Hadid

Cont’d…
Site Plan
Site Layout

Cont’d…
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.
Interior of the Guangzhou Opera House by

Cont’d…
Description
The Guangzhou Opera House has been the catalyst for the
development of cultural facilities in the city including new museums,
library and archive.
The Opera House design is the latest realization of Zaha Hadid
Architects’ unique exploration of contextual urban relationships,
combining the cultural traditions that have shaped Guangzhou’s
history, with the ambition and optimism that will create its future in
context and in relation with the past.
Interior of the Guangzhou Opera House by

Cont’d…
Interior Views
Interior Views of the Guangzhou Opera House by Architect Zaha Hadid

Cont’d…
Auditorium Views
Auditorium Interior Views of the Guangzhou Opera
House by Architect Zaha Hadid

Cont’d…
Plan at 0.00M Level
Ground Floor Plan

Cont’d…
Plan at 5.00M Level
Pseudo Ground Floor Plan

Cont’d…
Section of the Building
Longitudinal Section

Cont’d…
Construction Images

Project-V London Aquatics Center
London, United Kingdom

London Aquatics Center
London Aquatics Centre by Architect Zaha Hadid
 Project Title: London Aquatics Center
 Location: London, United Kingdom
 Year: 2005-2011
 Client: Olympic Delivery Authority
A concept inspired by the fluid geometry of water in motion, creating spaces and a surrounding environment in sympathy
with the river landscape of the Olympic Park. An undulating roof sweeps up from the ground as a wave, enclosing the
pools of the Center with its unifying gesture.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/LONDON-AQUATICS-CENTER-1/

Cont’d…
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.
Conceptual Analysis of the London Aquatics

Cont’d…
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. Site Layout of the London Aquatics Center by Architect Zaha Hadid

Cont’d…
Layout
 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.
Pool Section of the London Aquatics Center by Architect Zaha Hadid

Cont’d…
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.
Construction Work of the London Aquatics Center by

Cont’d…
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.
The Front Glazing between the Podium and the roof of the
London Aquatics Center by Architect Zaha Hadid

Cont’d…
Plans of the London Aquatics Center (Olympics Mode)
Ground Floor Plan

Cont’d…
First Floor Plan

Cont’d…
Second Floor Plan

Cont’d…
Elevations of the London Aquatics Center (Olympics Mode)
West Elevation
North Elevation

Cont’d…
Sections of the London Aquatics Center (Olympics Mode)
Cross Section

Cont’d…
Plans of the London Aquatics Center (Legacy Mode)
Ground Floor Plan

Cont’d…
Plans of the London Aquatics Center (Legacy Mode)
First Floor Plan

Cont’d…
Elevations of the London Aquatics Center (Legacy Mode)
West Elevation
North Elevation

Cont’d…
Sections & Details of the London Aquatics Center (Legacy Mode)
Details of the Roof
Cross Section

Cont’d…
Details of the London Aquatics Center (Legacy Mode)
Details of the Structure

Project-VI Heydar Aliyev Centre
Baku, Azerbaijan

Heydar Aliyev Centre
Heydar Aliyev Centre by Architect Zaha Hadid
 Project Title: Heydar Aliyev Centre
 Location: Baku, Azerbaijan
 Year: 2007-2012
 Client: The Republic of Azerbaijan
(Building: 57 519 mt sq, Site: 111 292 mt sq
and Footprint: 15 514 mt sq)
As part of the former Soviet Union, the Urbanism and architecture of Baku, the capital of Azerbaijan on the Western coast
of the Caspian Sea, was heavily influenced by the planning of that era. Since its independence in 1991, Azerbaijan has
invested heavily in modernizing and developing Baku’s infrastructure and architecture, departing from its legacy of
normative Soviet Modernism.
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE/HEYDAR-ALIYEV-CENTRE/

Cont’d…
The Setting
 The Heydar Aliyev Cultural Centre is one of many buildings
that will be erected in Azerbaijan, and it is one of several
projects exhibiting progressive design elements and cutting-
edge engineering solutions.
 The ambitious yet expressive nature of these new structures
represents a move away from the country’s Soviet-
dominated past and toward a national identity.
 The cultural centre, named in honor of the late Heydar
Aliyev, National Leader of Azerbaijan, is located close to the
city center.
 It is part of a larger redevelopment area and is expected to
be a bellwether of the city’s intellectual and cultural life.
Conceptual Analysis of the Heydar Aliyev
Centre by Architect Zaha Hadid

Cont’d…Site Plan

Cont’d…The Vision
 Zaha Hadid Architects created a building form that appears to emerge from
the topography. The skin of the building – a single curving surface – rises,
undulates, and wraps inward at its base to completely envelop the building’s
various volumes.
 The curved surface allows a freedom of form that can simultaneously
differentiate and unite the Heydar Aliyev Cultural Centre's three distinct
programmatic elements. Its inward curl is formed into stairways and ramps
that connect the lower floors to mezzanine levels; other circulation paths also
emanate from the curves of the building envelope. An elevated bridge
connects the library to the conference hall.
 The Heydar Aliyev Cultural Centre's conference hall contains three
auditoriums. In order to accommodate the necessary inclined seating, this
portion of the building protrudes into the cultural plaza. Here the mass of the
structure undulates away from the wave-like peaks that define the other two
zones of structure; at its edges it flows down to the walking surface of the
plaza.
Interior View of the Heydar Aliyev Centre by

Cont’d…
The Reality
 Zaha Hadid Architects’ vision of sublimity presented some very
material challenges for the engineers and builders.
 The curve of the building’s exterior, meant to convey the aspirations
and identity of the Azerbaijan people, needed also to function in
more prosaic terms. It was necessary to construct a building that
could seal out the elements and bear high wind and seismic
loads without relying on interior support columns (which would have
impeded the flow of space).
 Ultimately, a system was devised that utilized a space frame as its
main structural element; the cladding is a curtain wall
system comprised of various specially fabricated panels.
A View during construction of the Heydar
Aliyev Centre by Architect Zaha Hadid

Cont’d…
Materials and Construction
 “We focused on easy-to-clean external cladding materials because of the heavy
air pollution. There are oil refineries and such nearby, and the cladding is white.
That's how glass fiber reinforced plastic (GFRP) came up, which is dirt-repellent
itself. In general, all building systems are chosen to have high durability and a
long lifetime and low maintenance efforts."
 According to Winterstetter, the main structure of the Heydar Aliyev Cultural
Centre is a mix of reinforced concrete, steel frame structures, and composite
beams and decks. The space frame is composed of a special steel tube-and-
nodes system (a product of MERO-TSK International).
 For aesthetic purposes, the cladding needed to give the building a monolithic
appearance, not only to make it read as a continuous volume but also to
accomplish the transition to the plaza surface. All visible seams needed to run
parallel to one another, reinforcing the building’s wavelike design. The cladding
material had to meet various practical considerations, such as UV resistance and
light reflectivity.

Cont’d…
Materials and Construction
 Maintenance was a big consideration. The need to focus on the
easy-to-clean external cladding materials because of the heavy
air pollution. There are oil refineries and such nearby, and the
cladding is white. That's how Glass Fiber Reinforced Plastic
(GFRP) came up, which is dirt-repellent itself. In general, all
building systems are chosen to have high durability and a long
lifetime and low maintenance efforts.
 Glass Fiber Reinforced Plastics (GFRP) and Glass Fiber
Reinforced Concrete (GFRC) Panels are the predominant
materials used in the façade system.
 The panels are composed of “various layers of fine-grain high-
performance white cement concrete, reinforced with fiber glass
mats.”

Cont’d…Plans of the Building
Ground Floor Plan

First Floor Plan

Second Floor Plan

Cont’d…Sections of the Building
Cross Section

Cont’d…Elevations of the Building
West Elevation
North Elevation

Cont’d…
Construction Images
A View during construction of the Heydar Aliyev Centre by Architect Zaha Hadid

Project: Bergisel Ski Jump, Innsbruck, Austria (1999-2002)
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BERGISEL-SKI-JUMP-V/

Project: BMW Showroom, Leipzig, Germany (2003-2006)
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BMW-SHOWROOM-1/

Project: University of Seville Library, Seville, Spain (2006-TBC)
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/SEVILLE-LIBRARY/

Project: Abu Dhabi Performance Arts Centre, Abu Dhabhi, UAE (2007-TBC)
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/ABU-DHABI-PERFORMANCE-ARTS-CENTRE-5/

Project: Beijing New Airport Terminal Building, Beijing, China
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BEIJING-AIRPORT-TERMINAL-8/

Project: Al Wakrah Stadium (Under FIFA), State of Qatar
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/BAL-WAKRAH-STADIUM-1/

Project: Casa Atlantica, Rio de Janeiro, Brazil
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-COMPETITION/CASA-ATLANTICA-0/

Other Architecture Related Works
Zaha Hadid has been famous around the Globe for her Architectural Related Works, but along with that she
being a good designer, artist, painter and good in sketching. She has also worked on Z Car Hydrogen Powered
three-wheeled automobile. As a result of which there are some of her works beyond the design of buildings in
some sort of interior related works as follows:
1) Aria Pendant Lamp
2) Celeste Necklace & Cuff
3) The Odrupgaard Bench
4) Tide Shelving
5) Floating Staircase
6) Aqua Table
7) Chandeliers
The inspiration for the ‘Seamless’ furniture collection is the concept of ‘seamless
fluidity’.
The latest development in three dimensional design software and the most cutting
edge manufacturing techniques help to make such furniture a possibility.
Zaha Hadid’s Moon & Crest Sofa
REFERENCE: HTTP://WWW.ZAHA-HADID.COM/ARCHITECTURE-SUNDRY-01/

Aria Pendant Lamp
A light piece that is charged with Hadid’s dramatic sense of motion combined with the intrinsic weightlessness of
technically advanced materials. With its 50 layers of Crystalflex®, this suspension light has a complex harmonic yet
fluid contemporary quality. With its translucent black overly, a fascinating sculpture in light.
Typology: Suspension Lamp
Dimensions: Diameter 90cm x h 130cm
Material: Lentiflex® and Cristalflex®
Color: Black Fade
Lighting: 6 X 52W max - E27 Halogen +1 X 100W
Manufacturer: Slamp & Co.
Zaha Hadid’s Aria Pendant Lamp

Celeste Necklace & Cuff
The Celeste Necklace and Cuff was designed by Zaha Hadid in 2008 and with the collaboration of Atelier
Swarovski.
Materials Used: Blackened Pure Silver & Other Stones, White Topaz, Smoky Quartz and Black Spaniel.
Necklace: Length 43cm & Width 40cm
Cuff: Length 45cm & Width 10cm
Images of Celestre Necklace and Cuff

The Odrupgaard Bench
This bench in solid ash was designed by the Iraqi born architect, Zaha Hadid in 2005, as part of the interior
of the annex she designed for Ordrupgaard Museum in Charlottenlund just north of Copenhagen.
The bench became part of PP Møbler´s collection in the spring 2006. PP Møbler has made ten pieces of the
bench with four benches in the museum and one bench sold privately. The last five benches were used at
the COP15 conference in Copenhagen in December 2009.
Images of The Oprupgaard Bench

Tide Shelving
Architect Zaha Hadid developed this project starting from the idea of a light
shaped object, which could express the transition from the solid traditional
furniture to the slight thickness of plastic: from this starting point the idea of
going back to the algorithm of the minimum surfaces.
A minimum surface is a surface whose points have a medium radius
equivalent to zero. An example of this is represented by the soap bubbles
coming out when a string is dipped in a soap solution.
This idea took the shape of a symmetric module creating different
compositions through various rotations on itself.
The possibility to build and rebuild up the module to fit to the space around
or to the different needs makes this project an unity, where full and empty
spaces follow each other without interruption.
Images of Specimens of Tide Shelving

Floating Staircase
Architect Zaha Hadid gave the concept and design of the Floating Staircase.
The new floating staircase maintains the lightness of the gallery space. Each suspended step is articulated
as a separate ribbon cast from Ductal®, an ultra-high performance concrete with exceptional structural as
well as aesthetic qualities. The tensile strength of Ductal® allows the ribbons to remain relatively thin with
each tread cast from a single adjustable mold that was engineered in Italy by Il Cantiere.
Images of Floating Staircase

Aqua Table
Architect Zaha Hadid gave the concept and design of the Aqua Table, which was a different and beyond
the imagination of many other architects/designers of that time.
The enigmatic liquid form of the Aqua table awakens one’s curiosity. ---The user is invited to explore the
forces of motion that created such a form.
1) The form is blurring the relationship between the horizontal top and vertical legs
2) The three blisters bulging out to form legs below the table surface register as indentations
at the top surface
3) The Aqua table is an organic body flowing within space.
4) Rather than being static, it implies motion by adopting the dynamic gestures of liquid to
form a continuous surface.
5) The table’s asymmetrical, irregular tabletop and varying edges create an ergonomic solid
that offers endless relationship possibilities with its user and its environment

Cont’d…
Images depicting the different types of Aqua
Tables designed by Architect Zaha Hadid
Table-I
Table-II

Chandeliers
Architect Zaha Hadid gave the concept and design of the different types of Chandeliers.
The design idea of these chandeliers are based on fluidity and seamlessness. Their complex curvi-linearity
follows a double Helix, connecting its beginning to its end and therefore forming an endless ribbon of
light.
Images of Different Types of Chandeliers

Critics
With the type of flowing design Zaha Hadid is famous brings the controversy on almost every one out of five projects
which she does. Almost the majority of the present day architects are not of the Zaha Hadid’s philosophy. As a result is
always ends up in coming up of the critics. Hadid’s architectural language has been described as "famously extravagant"
with many of her projects sponsored by "dictator states".
 Rowan Moore described Hadid's Heydar Aliyev Center as "not so different from the colossal cultural palaces long
beloved of Soviet and similar regimes".
 Architect Sean Griffiths characterised Hadid's work as "an empty vessel that sucks in whatever ideology might be in
proximity to it".
 Arthistorian Maike Aden criticises in particular the foreclosure of Zaha Hadid's architecture of the MAXXI in Rome
towards the public and the urban life that undermines even the most impressive program to open the museum.
Qatar Controversy
As the architect of the most distinctive stadium for the 2022 FIFA World Cup, in Qatar, Hadid defended her involvement in
the project, despite revelations relating to the working conditions imposed on migrant workers in Qatar. She
acknowledged that there was a serious problem with the number of migrant workers who have died during construction
work related to the World Cup. She also said that she believed it was a problem for the Qatari government to resolve.
REFERENCE: WWW.ZAHA-HADID.COM/PROFILE ; GOOGLE NEWS- ZAHA HADID, FIFA WORLD CUP- QATAR NEWS

Conclusion
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.
"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

Museum Exhibitions
 1978 – Guggenheim Museum, New York
 1983 – Retrospective at the Architectural Association,
London
 1985 – GA Gallery, Tokyo
 1988 – Deconstructivist Architecture Show at MoMA,
New York
 1995 – Graduate School of Design at Harvard University
 1997 – San Francisco MoMA
 2000 – British Pavilion at the Venice Biennale
 2001 – Kunstmuseum, Wolfsburg
 2002 – (10 May – 11 August) Centro nazionale per le arti
contemporanee, Rome
 2003 – (4 May – 17 August) – MAK – Museum für
angewandte Kunst (Museum of Applied Arts) in Vienna
 2006 – (3 June – 25 October) – Solomon R. Guggenheim
Museum, New York
 2006 – (1 June – 29 July) – Ma10 Mx Protetch Gallery,
Chelsea, NYC
 2007 – (29 June – 25 November) – Design Museum,
London
 2011/2012 – (20 September 2011 – 25 March 2012) –
Zaha Hadid: Form in Motion at the Philadelphia Museum
of Art
 2013–(29 June – 29 September) – Zaha Hadid: World
Architecture at the Danish Architecture Center

Zaha Hadid’s Team
Zaha Hadid
Patrick Schumacher Gianluca Racana
 Zaha Hadid
 Patrick Schumacher
 Gianluca Racana
Jim Heverin Charles Walker
 Jim Heverin
 Charles Walker
Directors & Partners
REFERENCE: HTTP://WWW.ZAHA-HADID.COM

Bibliography
1) Zaha Hadid- The Complete Buildings and Projects by Thames and Hudson
2) Wikipedia- The Free Encyclopaedia (www.wikipedia.com-Zaha Hadid)
3) Google Search Engine & Zaha Hadid Official Website for Works & Images
4) Website- www.greatbuildings.com
5) Zaha Hadid’s Webiste- www.zaha-hadid.com Contact:
Zaha Hadid Architects
Studio London
10 Bowling Green Lane
London
United Kingdom
T +44 20 7253 5147
F +44 20 7251 8322

Zaha hadid

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