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 wasnt 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 Sketching
She lets the movement of the hand determine the
form
And 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 of
overlaps, rhythms and textures, like an
artificial landscape
Deconstructivism
Vitra Fire Station
The 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 Station
Exterior
Second floor
Interior
Second 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 Interior
The 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 Italys 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- Germany
3. JS BASH CHAMBER MUSIC
HALL- UK
4. RABAT GRAND THEATHRE- Morocco

1
2
3
4
1 2
3 4
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 Londons
Hungerford bridge was called
MALEVICHS TECTONIK
After 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 Hadids 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.
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 (20012006), 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, (20062008)
Bridge Pavilion (2008), Zaragoza, Spain
J. S. Bach Pavilion, Manchester International Festival (2009), Manchester, UK
CMA CGM Tower (20072010), Marseille, France
Pierres vives (20022012), Montpellier, France. Project architect: Stephane
Hof
MAXXI - National Museum of the 21st Century Arts (19982010), 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 Universitys
School of Design, Sullivan Chair at the University of Illinoiss 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 Dsseldorf and West Berlin also failed to materialize.
Hadids 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 Hadids 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





.

Hadids 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 ski- jump.
Ground 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.
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 BMWs real estate and facility management group separately housing
the fabrication of raw auto bodies (645,000 square feet (59,900 m
2
)), the paint
shop (270,000 square feet (25,000 m
2
)), and the final assembly
hall(1,075,000 square feet (99,900 m
2
))

. 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.
Hadids 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 m
2
)
Total Area: 270,000 square feet (25,000 m
2
)
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 m
2
)
foot facility that makes up only 250,000 square feet (23,000 m
2
)of the 540-
acre (2.2 km
2
) 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 Caf 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
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 Pavilions 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 buildings 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 Zaragozas 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 overlapping
shingles. Some shingles can rotate around a pivot, allowing
for temporary opening or closing of part of the faade. 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.