architect's life & her projects.

2. Zaha was born on October 31, 1950 in
Baghdad, Iraq.
 She
studied mathematics at the American
University of Beirut (Lebanon) in 1968.
 In 1972 she moved to London (UK), to join the
Association of Architecture where she graduated
with honors in 1977 and served as a teacher soon
after.
 After her first building was commissioned and built
in 1994, the Vitra Fire Station in Germany, her
career took a leap forward.
 In 2004, she was bestowed with Pritzker prize and
the stirling prize in 2010 and 2011.


3.  Her
style is deconstructivism, that encourages
radical freedom of form and the open
manifestation of complexity in a building rather
than strict attention to functional concerns and
conventional design elements (as right angles or
grids).
 Using
light volumes, sharp, angular forms, the
play of light and the integration of the buildings
with the landscape.

4.  "GRAVITY-DEFYING",
London aquatic s
centre
 "FRAGMENTARY"
 "REVOLUTIONARY"
rosenthal center for
contemporary art
Farrer court
, singapore.
Signature towers

5. Seminal Works:

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Vitra Fire Station 1993
LFOne/ Landesgartenschau 1999
Bergisel Ski Jump 2002
Rosenthal Center for Contemporary Art 2003
BMW Plant Central Building 2004
Hotel Puerta America [interior] 2005
Ordrupgaard Museum Extension 2005
Phaeno Science Center 2005
Museum of Art, XXI (MAXXI), 2010
Guangzhou opera house (2010), , People's Republic of
China.
London aquatics centre,2011

7.  Completed
in 1993, the Vitra fire station was
Hadid’s first realized project of her career.
 It is 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.

8.  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.

9. Painting by zaha hadid

10. The entire building is freezing motion. This
expresses the tension of being on the alert, and
the potential to explode into action at any time. The
walls seem to glide past each other, while large
sliding doors are literally a moving wall.
 The partition is minimized, articulating the spaces
with three longitudinal stainless steel cabinets that
separate the transparent area of the service area.
 The second floor is rotated with respect to the
bottom and it is accessed by an independent
stepladder. It has a club composed of a staff
training room and conference room.


12.  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.

13. 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.


14.  The
interior of the fire station is just as
complex formally and spatially as the
exterior of the building.

15.  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.

16.  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.

17. 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.


19. stands for Museum of arts of 21st
century(National Museum of 21st Century
Art).
 The museum became 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.
 MAXXI

21.  The
building is a composition of bending oblong
tubes, overlapping, intersecting and piling over
each other, resembling a piece of massive
transport infrastructure
 It acts as a tie between the geometrical elements
already present.
 It is built on the site of old army barracks
between the river tiber and via guido reni, the
centre is made up of spaces that flow freely and
unexpectedly between interior and
exterior, where walls twist to become floors or
ceilings.
 The building absorbs the landscape
structures, dynamizes them and gives them back
to the urban environment.

23.  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".

24. Materials such as glass (roof), steel (stairs)
and cement (walls) give the exhibition
spaces a neutral appearance, whilst mobile
panels enable curatorial flexibility and
variety.

29. MODEL- MAXXI

30. 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.


31. 
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.

33.  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 center, in an area
between the commercial and office.

35.  In
seeking to be more than the "city
volkswagen" she was commissioned to
launch the idea of creating a museum
dedicated to engage children and young
people to the world of physics, biology and
chemistry, in a didactic way.
 This offers a different option for
visitors, with its traditional theme park
Autostadt and the Volkswagen museum.
 It receives 180mil visitors annually.

36.  The
building appears in the landscape as a
connecting element between the two parts
of the city, establishing a direct relationship
with the city.

37. It appears as a mysterious object that arouses
curiosity and discovery.
 The terrain passes underneath the volume as an
artificial landscape with rolling hills and valleys that
stretch around the square.
 The Center captures the surrounding landscape
dynamics in elongated form off the groundthat 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.


38. 
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.

39. 


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.

40.  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.

41. section

PLAN -EL PHAENO

42. Among them develop various
functions as a
library, conference rooms and
an auditorium for 250 people.

43.  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,

44.  She
has also undertaken some high-profile
interior work,as creating fluid furniture, and the
Z.CAR hydrogen-powered, three-wheeled
automobile.
 In 2009, she worked with a clothing brand, to
create a new, high fashion, and advanced boot.

45.  Moon
system sofa
Liquid glacial table

46.  Zaha
hadid-the complete buildings and projects;
thames and hudson
 www.wikipedia.com
 www.greatbuildings.com
 www.zaha-hadid.com/
Submitted byDevyani shekhawat
2010uar147