ZAHA HADID

‘SPACE FOR ART’

Presentation on Zaha Hadid.

 Now, nature must be challenged by the necessity for

architecture to continue its critical relationship with
contemporary social and aesthetic categories. Since
absolutism has been indefinitely suspended from
current thought on the issue of art presentation, it is
towards the idea of the 'maximizing exhibition' that we
drop. The 'signature' aspect of an institution is
sublimated into a more pliable and porous organism
that promotes several forms of identification at once.
Presentation on Zaha Hadid.

 On the international stage, architecture has a wealth of

players, very most of them men. “Under what
conditions can women architects assert themselves
and contribute to changing the world dominated by
men?”
 This wasn't very simple approach for Zaha to challenge,
but her strong faith in art and architecture made it
possible. All of it.
Presentation on Zaha Hadid.

 About Zaha Hadid

 Clothed in fashion design and as big in personality as any
of her visions for the landscape, Zaha Hadid has been
called a diva of architecture. But her designs have long
suffered from the perception of being incredible but
impractical, in one critic's phrase, "brilliant, but
unbuildable".
 Her gravity-challenging ideas, with her resistance to right
angles and celebrations of movement, have often failed to
make it off the drawing board.
 projects from Cincinnati to Singapore under her designer
belt, Zaha finally emerged into an architectural superstar.
Presentation on Zaha Hadid.

 Her great phrase which made her strong over years…’all

strong ideas never fall’

 "buildings should keep you dry and feed the soul".

 Zaha Hadid has revolutionized architecture through her

radically new conception, in a departure from any existing
typology. Her extraordinary personality and her originality
have earned her star status, which is unique in the history
of women architects.
Presentation on Zaha Hadid.

 Bibliography
 Born in Baghdad and educated by French nuns, Hadid
came to England in her twenties, and studied at the
Radical Architectural Association.
 She started out as a member of the Office for Metropolitan
Architecture, and is driven by the same ideas as Rem
Koolhaas, i.e. creating close relationships between
theoretical research, architectural practice and cultural
contexts, at every level. That philosophy continued when
she set up her own practice, a few years later and taught
in the most known universities.
Presentation on Zaha Hadid.

 In 1980 she established her own London-based practice.

 Zaha has been working on her own since 1979,

participating in many competitions and exhibitions.

 The fire station for Vitra brought her to the attention of a

wide audience. A few years ago, Zaha Hadid’s career
really took off. The design of the North Terminal at
Hoenheim ( Strasbourg) earned her the European Union
Prix for Contemporary Architecture awarded by the Mies
van der Rohe Foundation.
Presentation on Zaha Hadid.

 In all her projects, Zaha Hadid is constantly pushing

forward the boundaries of architecture. Free, lightweight
shapes in zero gravity condition, inclined planes, jagged
lines, dynamic volumes, random rhythms run throughout
her composition, from the cityscape to furniture.
 Her work deals with new spatial concepts in visionary
aesthetics.
 Her inimitable manipulations of walls, planes and roofs,
with its fluid, interlaced and transparent spaces, is the
brilliant proof that architecture is not exhausted or lacking
in imagination.
Presentation on Zaha Hadid.

 'I love painting, but the idea of art has changed from
painting. The spaces in these centers don't have to be
defined by the need for walls to hang pictures on. We can
and should get away from the box, from ninety-degree
angles. Minimalism, conceptualism, performance,
installation art have sought to disrupt the chain that leads
from artwork to commodity to collecting institutions. The
legacy of 'objectless' art production must be confronted in
any attempt to conceive of a new museum or gallery.‘
 Her word about her museums design conceptions, as she
compared the design to that of art.
Presentation on Zaha Hadid.

 Projects..
 Rosenthal Center For
Contemporary Art, Cincinnati,
OHIO
 RCCA is one of the premier
institutions in the United States
dedicated to the contemporary
visual arts.
 The degree of unpredictability in
the scale and medium of the
exhibited artworks is manifest in
the design of the spatial
possibilities and configurations of
the galleries. The fact that public
art institutions have wide
obligations and functions to fulfill
is architecturally embodied in a
number of programmatic
Presentation on Zaha Hadid.

 Location/site
 The RCCA is situated on a
dynamic urban site at the corner
of Walnut Street and east six
streets in down town Cincinnati.
The design rates to the
movement of people within the
city, creating the sense of the
dynasty of urban and cultural life.
 Urban carpet
 Given the potential dynamism
and density of the corner site, the
lobby of the new RCCA positions
itself on the pedestrian level of
the city as a fluid continuum of
existing public paths and places.
The lobby space, fully glazed and
opened to the city is seen as a
kind of public square, drawing in
pedestrian movement through the
creation of .
Presentation on Zaha Hadid.

 Sculpture/Materiality
 The RCCA’s corner situation
leads to the development of two
different, but complementary
facades. The south facades along
the sixth street are integrated with
the city by expressing program
panel. These individually reflect
the scale of the city planed
collectively form a compressed
vertical aggregate-a dense urban
bundle. The volumes appear
heavily and raw, as so individually
cast, and tentatively over the
lobby place defying gravity.
 The RCCA mediates the world of
contemporary art to the public
world of the city offering a
multiple serious of interior events’
dictated buy the dynamism of the
urban fabric.
Presentation on Zaha Hadid.

 ROME - CONTEMPORARY
ARTS CENTRE
 The Centre for Contemporary
Arts addresses the question
of its urban context by
maintaining indexical to the
former army camp. This is in
no way an attempt at
topological pastiche, but
instead continues the low-
level urban texture set
against the higher level
blocks on the surrounding
sides of the site. In this way,
the Centre is more like an
'urban graft', a second skin to
the site.
Presentation on Zaha Hadid.

 Mind Zone –
Millennium Dome
 Completed in December
1999. Zaha’s largest
construction to 1999.
Comprising a unique
undertaking, OZH have
designed both the
curatorial aspects and the
architectural scheme.
 The design represents the
dichotomy of the subject
matter.
Presentation on Zaha Hadid.

 BMW PLANT LEIPZIG -

CENTRAL BUILDING
 This planning strategy
applies to the cycles and
trajectories of people -
workers and visitors - as
well as for the cycle and
progress of the production
line which traverses this
central point - departing
and returning again
Presentation on Zaha Hadid..

 Terminus Honorable car

parking, France
 The city of Strasbourg has been
developed a new tram-line
service to combat increasingly
congestions and pollution in the
city center.
 The overall concept towards the
planning of the car park and the
station is one of overlapping
fields and lines that knit together
to form a constantly shifting
whole.
Presentation on Zaha Hadid.

 Science center,
Wolfsburg, Germany
 The magic box
 The science center, the
first of its kind in
Germany, appears as a
mysterious object giving
rise to curiosity and
discovers. The visitor is
faced with a degree of
the complexity and
strangeness which
however is ruled by a
very specific system.
Presentation on Zaha Hadid.

 Vitra Fire Station, at Weil

am Rhein, Germany,
1993.

 The project seems to

challenge the assumption
that a building must be
composed of walls at ninety-
degrees.
Presentation on Zaha Hadid.

 The Mind Zone, Millennium, London  New public archive, library and
sport center ,Montpellier, France
 Building for BMW, Leipzig, Germany
 The Peak Club, Hong Kong, 1983
 Science Center, Wolfsburg,
Germany  Office Building, at Berlin-Charlotte
burg, Germany, 1986.
 The Price Tower Arts Center,
Bartlesville, Oklahoma.  IBA - Hochhaus (Wohnhof), Berlin-
Kreuzberg, Germany, 1987 to 1994.
 Master Plan for Bilbao, Spain
 Moonsoon Restaurant, Sapporo
(1990)
 Guggenheim Museum ,Taichung,
Taiwan
 High speed train station , Naples
Presentation on Zaha Hadid.

 Abu Dhabi Hotel, Abu Dhabi, 1990...  Art hotel Billie Strauss, Kirchheim
unter der Teck, Germany, and 1992 to
 Al Wahda Sports Center, 1990. 1996.

 Azabu Jyuban Building, 1990.  Opera Cardiff, at Cardiff, Wales,

United Kingdom, 1994.
 Tokyo Cultural Center, Tokyo, Japan,  Exhibition Hall, at Weil am Rhein,
1990. Germany, 1999.
 Hafenstrasse Building, Hamburg,  LFone/Landesgartenschau ,
Germany, 1990. exhibition building, 1999
 Office Building Berlin-Kreuzberg,  Hoenheim-North Terminus & Car
1990 Park, stainburg, France (2001)

 Bergisel Ski Jump, at Innsbruck,

Austria, 2002.
Presentation on Zaha Hadid.

 BMW Central Building,lepzing,

Germany. (2005)

 Ordrupgaard Anexe copenhagen,

Denmark, (2005),

 Phaeno Science Center wolfsberg,

Germany (2005),

 Hotel Puerta America Madrid, Spain

(2006),

 Nordkettenbahn, Innsbruck, Austria

(2007) one of the future projects.
Presentation on Zaha Hadid

 Main events
 1950 - Born in Baghdad, Iraq
1977 - Graduated at the Architectural Association in London
1977 - Worked for the OMA (Office for Metropolitan Architecture) practice.
1977 - Began teaching at the Architectural Association with Rem Koolhaas and Elia Zenghells
1979 - Opened his own professional firm
1987 - Held his own course on Design at the Architectural Association
1982 - Won the Architectural Design Gold Medal for the design of an apartment in Eaton Place, London
1983 - The Architectural Association of London organized an exhibition of his paintings and drawings
1994 - Taught at the Harvard University Graduate School of Design in the chair that Kenzo Tange once held
1997 - Awarded the Sullivan Chair at the University of Chicago School of Architecture
2004 – Laureate of architecture, awarded Pritzker prize 2004.

 Works
1982 - Apartment in Eaton Place, London
1983 - The Peak Leisure Club - Hong Kong Competition, Hong Kong
1985 - Bitar, London
1986 - Office Building Berlin - Charlottenburg
1989 - 1993 - Vitra Firestation, Weil Am Rhein, Germany
1990 - Video-Musical Pavilion, Gröningen, Holland
1990 - Monsoon Bar-Restaurant, Sapporo, Japan
1990 - Tokyo Cultural Center, Tokyo
1990 - Expo 90, Osaka Folly, Osaka
1992-1996 Arthotel Billie Strauss, Kirchheim Unter Der Teck.
1993 - Iba apartment building, Berlin
1994 - Cardiff Opera
1995 - Blueprint Magazine Pavilion at Interbuild, Birmingham
1997-1999 - Lf One Landesgardenschau, Weil Aim Rhein, Germany
1997-1999 - Mind Zone at the Millennium Dome, Greenwich, London
1999-2001 - Tramway Station, Hoenheim-Nord, Strasbourg
1998- 2002 - Contemporary Art Centre, Cincinnati, Usa
1999 - 2004 - Contemporary Art Centre, Rome
1999-2005 - 3rd Bridge Crossing, Abu-Dhabi
Presentation on Zaha Hadid.

 Conclusion
 Now, finally enjoying the rewards of her determination,
individualism and undoubted patience, she is philosophical
about her years in the architectural wilderness.

 Zaha has become more and more recognized as she continues

to win competition after competition, always struggling to get her
very original winning entries built. Discouraged, but undaunted,
she has used the competition experiences as a “laboratory” for
continuing to sharpen her exceptional talent in creating an
architectural idiom like no other.
Presentation on Zaha Hadid.

 The full dimensions of Zaha abnormal artistic expression of

work is apparent not only in architecture, but in exhibition
designs, stage sets, furniture, paintings, and drawings.

 Her theoretical and academic work, as a practicing architect she

has been unswerving in her commitment to modernism. Always
inventive, she’s moved away from existing typology, from high
tech, and has shifted the geometry of buildings. No project of
hers is like the one before, but the defining characteristics
remain consistent.
Presentation on Zaha Hadid.

 Zaha Hadid’s buildings are today among the most convincing

arguments for the primacy of architecture in the production of
space.

 Zaha Hadid is one of the most gifted practitioners of the art of

architecture today. From the earliest drawings and models to
current buildings and work in progress, there has been a
consistently original and strong personal vision that has
changed the way we see and experience space. Hadid’s
fragmented geometry and fluid mobility does more than create
an abstract, dynamic beauty; this is a body of work that explores
and expresses the world we live in.
Presentation on Zaha Hadid.

 Forecast by an inimitable graphic and formal exuberance, Zaha

Hadid’s work reminds us that architecture is a siphon for
collective energies, a far cry from the stand alone building,
perennially oblivious to the vitality of the city. Buildings for Hadid
are thresholds, passageways that reveal or intersect the ever
shifting actions of the city. Her work celebrates this encounter as
the catalyst through which hidden, past, present or future events
revolve.“

 Without ever building, Zaha Hadid would have radically

expanded architecture’s range of spatial articulation. Now that
the implementation in complex buildings is happening, the
power of her innovation is fully revealed among us.
Presentation on Zaha Hadid.

 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 who has patiently
created and refined a vocabulary that sets new boundaries
for the art of architecture.

 These constant challenges in the face of the traditional frontiers

of the discipline, her experimental work and her visionary
aesthetics have inspired many architecture students through the
world, including me.
Presentation on Zaha Hadid

 People, for the real inspiration of the art of

architecture, you shall cheek her out, her
passion, her language and her conception
of architecture through unthinkable but real,
unbuildable but done beside the
psychology of the building to the people.