Zaha Hadid - website magazine

“THERE AR

E 360 DEGREES SO WHY STICK TO ONE?” - ZAHA HADID

Fluid, running, continuous, organic, rolling, sl

iping & sliding.
Like a mountain, the landscape of Baku seamlessly crawls
up the Heydar Aliyev Culural Center. The explosion of
white against the dark grey backdrop of rigid soviet block
architecture shows a more sensual side to Azerbaijan. Three
buildings effortlessly flow into one another, and around
every corner awaits an astonishing new surprise from Zaha
Hadid .

31 Oct 1950 – 31 Mar 2016
Zaha Hadid was an Iraqi
born, London based architect
who was famous for her
unique architectural style.
“People think that the
most appropriate building
is a rectangle, because
that’s typically the
best way of using space.
But...the world is not a
rectangle!” - Zaha Hadid
Fluid, gravity defying,
chaotic & in flux...these
are just a few words that
have been used to describe
Hadid’s designs. Her multiperspective
approach and use
of fragmented geometry was
unprecedented, reminiscent of
the dissarray, that is modern
life (Design Museum, 2014).
Although initally swept
up in the movement of
deconstructivism, Hadid’s
developments and advances
in the field were so groundbreaking
that in order to
classify her designs, a new
style had to be created. And
so Parametricism came into
fruition. This terminology was
devised by Patrik Schumacher,
Zaha’s business partner.

QUEEN
OF THE
CURVE

PARAMETRICISM

Imagine being able to push and pull the
formation of materials to within breaking
point, while still maintaing structural
integrity... well that’s parametricism!
Parametricism’s influence on modern design
can be largely attributed to Hadid. The
movement itself was popularized by her design
company, and brought into modern culture. This
latest form of architecture goes beyond the
conventional use of rigid shapes. Instead,
it pushes the boundaries of traditional
architecture through non-linear formations.
Thanks to advances in computer technology,
information can now be fed into parametric
programs, and multipilized and randomized to
create a myriad of design possibilities. In
this way, parametricism has revolutionized
architecture. Without computer automation, these
possibilities could not be comprehended, let
alone graphically depicted at such a rapid rate.
Elements are interlinked, one change informing
the next and so on. These elements will
not repeat and always vary, replicating
the way nature deals with complexity.

FROM THE
BEGINNING:
BAGHDAD
TO
LONDON
Family
By 11 years old Hadid already knew she would become an architect.
Although unusual at this age, this career path was not uncommon for
women of during this time. From an early age Hadid was interested
in design, and being from a supportive upper class family in a
liberal society, was allowed the opportunity to express this.
She did so through clothing creation (although deemed by Hadid
as unsuccessful) and the interior decoration of the family home,
which it was insisted she replicate for other family members.
“When I was growing up in Iraq, there was an unbroken
belief in progress and a great sense of optimism. It
was a moment of nation building.” - Zaha Hadid
Islam, the main religion in Iraq, and their curvaceous style of
calligraphy and architecture are also inherent in Hadid’s later work.

Iraq
Hadid was born in Baghdad, in a
time when the city was re-inventing
itself. Architecture was an
integral part of this reinvention.
Invitations to contribute to the
changing cityscape were extended
to the likes of Frank Lloyd
Wright, Alva Aalto, Le Corbusier
and Walter Gropius. By the 1960s,
Baghdad was a modern city,
teeming with life and culture.
Iraq’s inspiration extended
beyond Baghdad, as did Hadid’s,
an inspiration growing as she
travelled widely with her family.
Most notably Hadid was interested
in the Marsh Arabs in southern
Iraq. Initially she had admired
photographs of their unique
floating villages. Later she was
taken there by her father to
see first hand how the villages
were constructed in simbiosis
with the nature to cope with the
harsh landscape. Hadid would
later replicate this integration
of nature into her own work.
Zaha Hadid in the room of her family home that she designed

Man vs Nature
Hadid’s designs are influenced by the
environment and purpose surrounding
the building. Hadid wanted to
design places which made people
feel good, but the functionality
of the building, coupled with the
purpose of the building were at the
forefront of her designs.
Hadid initially had an extreme
distaste for nature, she said, “For
many years, I hated nature. As a
student, I refused to put a plant
anywhere - a living plant, that is.
Dead plants were OK.”
Eventually she would draw inspiration
from nature, even describing
designs as rivers frozen in time
or mountains seamlessly connecting
with the earth.
It is clear that Hadid was influenced
by a number of different factors,
her experiences in Iraq and London,
the Russian constructivist and
supremacists she was taught about,
nature itself and the integration
of form and function. The support
she received both from the people
around her as well as the society
at the time in general, allowed her
to believe she was capable of doing
anything, enough so that she was
able to overcome the Cardiff Bay
Opera House experience and use it to
her advantage.

Teoriedelprogetto15, n.d.

London Architectural Association School of Architecture

The 70s
Hadid’s travel extended to studying
abroad, most notably she travelled
to London to attend the London
Architectural Association School of
Architecture (AA). The experimental
nature of 1970’s society was
reflected in the school allowing
students to try every class, leaving
the decision in their hands. Elia
Zengehlis & Rem Koolhaas (who she
would later work with at the Office
for Metropolitan Architecture
Rotterdam Netherlands and remain
lifelong friends) stood out to
Hadid. Through their teachings she
discovered the likes of Russian
abstract painter Kazimir Malevich.
Malevich’s compositions were
inspirational to Hadid, and she even
incorporated one of his Architektons
(experimental architectural models)
into one of her paintings. Malevich
was also a pioneer in the Russian
supremacism art movement, which
would later influence Hadid’s work.
Russia also played a further part
in Hadid’s inspiration, through
the constructivists, and more
specifically, the works of Erich
Mendelsohn, Mies van der Rohe,
and Le Corbusier were particularly
influential.
UN building - North by Northwest
“I love drivin
it’s always fu
ly, I don’t dr
be driven.”- Z
After completing her studies, she went on to
teach at the same school she attended. Hadid
would paint in the evenings and when she was
not engrossed in Richard Gere’s American
Gigalo, she would have North by Northwest, an
Alfred Hitchcock film on in the background. It’s
interesting to note the similarities between
the mock up set design of the UN building and
Hadid’s later works.
The 1970s also saw the rise of the Punk movement,
and although this was not seen as an exciting
time by Hadid in terms of architecture, the
rebellious nature of challenging the status
quo as is associated with this movement, is
clearly evident in her work.
Cardiff Design Propo

Cardiff
Malevich’s Architekton
However, not all Hadid’s
experiences
were
positive. One of the
most important learning
experiences was the
events surrounding the
Cardiff Bay Opera House.
Although Hadid won
this competition, the
project failed to gain
the financial support
it required to come to
fruition. Hadid being
a female architect of
Iraqi background, as
well as the fact she
was situated in London,
would have attributed to
this lack of support.
This stigma followed
Hadid for over a decade,
with her losing most
competitions in this
time. She used this time
to expand her repertoire,
testing every option
and entering every
competition. She didn’t
sleep for days on end and
relied on the support
of colleague Schumacher
(who would remain
supportive throughout
Hadid’s career). This
is a great stretch
from the the beginning
of their relationship,
as initially they
clashed heads, and
Hadid threatened to fire
Schumacher on a regular
basis.
g around east London -
ll of surprises. Actualive
myself - I like to
aha Hadid
sal by Zaha Hadid
Zaha Hadid and Rem Koolhaas

LONDON YEARS
In 1980 Hadid embarked on her own
London architectural practice. It
started as one small room with four
people and now employs hundreds at
offices all over the world. London in
the 80’s was a place of vast social and
economic change. Unemployment soared,
the political climate was tumultuous.
Large soviet-esque council housing was
built, and towered over the classical
architecture of an older London. In
part, Hadid’s designs were born of a
desire to challenge this industrial
style that was pervading the city. She
seeked to equalise industry and the
environment, by creating designs in
harmony with nature.
Through this initial practice she made
extensive contributions in the form
of designs both paper and realized,
some of the most notable being:
•
(1982) (bottom Left), winning
this put her on the map but
unfortunately was never built.
• (1993) (top
right) a decade after winning the
peak, was her first to be built
(a far stretch from the chair she
was originally commissioned to
design by Rolf Fehlbaum)
• (1994)
(bottom right), previously
discussed.

“I am equally proud of all of my architectural
projects. It's always rewarding to see an ambitious
design become reality.” - Zaha Hadid

Evelyn Grace Academy
The Breakthrough
Hadid struggled for almost a decade, followed by the stigma of events at
Cardiff. Eventually her hard work and persistance paid off and the flood
gates opened, with the following projects ensuing:
• Bergisel Ski Jump (2002), Innsbruck, Austria
• Rosenthal Center for Contemporary Art(2003), Ohio, US
• BMW Central Building (2005), Leipzig, Germany
• Phaeno Science Center (2005), Wolfsburg, Germany -
• Maggie’s Centres (2006), Kirkcaldt, Scotland
• MAXXI – National Museum of the 21st Century Arts (2010), Rome, Italy
• Evelyn Grace Academy (2010), London, UK
“I don't think that architecture is only about
be able to excite you, to calm you, to make yo
GROUND
BREAKING
Nordpark Railway station

Technology & Transition
From shards of breaking ice to ice
sculpture, the design for Nordpark
Railway station (2004-2007) marked
an extreme transition in Hadid’s
style. The sharp angles and rigid
shapes of Hadid’s previous works had
been replaced with one seamlessly
fluid structure. This was made
possible through advances in
technology both in terms of design
and construction. Parametricism
and Hadid’s push to understand
gravitational forces allowed the
building to stretch former physical
limits. This new style shaped her
future works, such as:
• Heydar Aliyev Cultural Centre
(2007–12), Baku, Azerbaijan.
• The floating roof extension to the
Serpentine Gallery.
• Dongdaemun Design Plaza & Park
Seoul (2014), South Korea
In addition to her contributions
directly to the architectural field,
she also contributed by way of
teaching at the London Architectural
Association School of Architecture,
and through the furniture and product
designs developed as extensions of
her architectural practice.
MAXXI – National Museum of
the 21st Century Arts
shelter... It should
u think.” - Zaha Hadid
Achievements
These contributions were
recognized by official accolades,
most notably:
- Pritzker Architecture Prize –
2004 (architecture’s equivalent of
the noble prize)
- Stirling Prize – 2010 & 2011
- Dame Commander of the Order of
the British Empire – 2012
- Business women of the year –
Verve Clique
- RIBA Gold Medal – 2015

LEGACY
“You can’t teach architecture.
You can only inspire people” -
Zaha Hadid
Alt
her
con
in
por
fel
who
her
at
to
Her
tec
But
to
imm

hough Zaha recently passed away,
legacy and lasting impact on
temporary architecture will live on
many forms. She and her extensive
tfolio will be remembered by her
low designers, students and all
knew her. The works produced by
business partners and colleagues
Zaha Hadid Architect will continue
influence fledgling designers.
contributions to Parametricism
hnology continue to be instrumental.
perhaps her greatest contribution
contemporary architecture is the
ense inspiration
created by her life and designs both paper and realized.

In a tribute to Zaha Hadid, the format of this
magazine has been designed to specifically reflect
the the organized chaos present in her work.
These stylistic dedications have been chosen
precisely, right down to the fonts used in the
work, which closely align with Zaha Hadid Sans,
a font created for and only to be used by her
architecture practice.