Architecture Is Like Writing. You Have To Edit It Over So It Looks Effortless

ARCHITECTURE IS LIKE WRITING.
YOU HAVE TO EDIT IT OVER SO IT

LOOKS EFFORTLESS.
ZAHA HADID
AN INTRODUCTION-
Zaha Hadid was born on 31 October 1950 in Baghdad,
Iraq. She was the first woman to receive the Pritzker
architecture prize, in 2004.
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.
She was described by The Guardian of London as
the "Queen of the curve“, who "liberated architectural geometry, giving it a whole
new expressive identity"
•Education
Hadid once mentioned in an interview how her early childhood trips to the ancient
Sumerian cities in southern Iraq sparked her interest in architecture. In the 1960s
Hadid attended boarding schools in England and Switzerland.
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.
IDEOLOGY-
In 1972, to London to study at the Architectural association school of architecture.

There she studied with Rem koolhaas, Elia Zenghelis and Bernard tschumi .
Her former professor, Koolhaas, described her at graduation as "a planet in her own
orbit." She had spectacular vision.
Zenghelis described her as the most outstanding pupil he ever taught. 'We called her
the inventor of the 89 degrees. Nothing was ever at 90 degrees.
Her fourth-year student project was a painting of a hotel in the form of a bridge,
inspired by the works of the Russian suprematist artist kazimir malevich.
INTEGRATION OF BUILDING SHARP ANGULAR FORMS

PLAY OF LIGHT WITH LANDSCAPE
He recalled that she was less interested in details, such as staircases. "The way she
drew a staircase you would smash your head against the ceiling, and the space was
reducing and reducing, and you would end up in the upper corner of the ceiling.
All the buildings were exploding into tiny little pieces.
She couldn't care about tiny details. Her mind was on the broader pictures—when
it came to the joinery she knew we could fix that later. She was right.
THE GALAXY SOHO BUILDING DIPICTING THE LIBRARY AND LEARNING CENTRE
REVOLUTIONARY DIPICTING FRAGMENTARY
Architectural Philosophy
The main components of philosophy
behind her design are-
 Dconstructionivism
 Fluidity
 Gravity-Defying
 Fragmentary &
 Revolutionary
DIPICTING GRAVITY -DEFYING

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 ZAHA HADID BUILDINGS
DIPICTING FLUDITY
interesting, but it's getting hard to see the latter.
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 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.
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 Guangzhou Opera House (2010) Guangzhou,
elements of architecture are dismantled.People’s Republic of China is one of the Prime
Example of Deconstructivism in Buildings
by architect Zaha Hadid
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.
• 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
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.
 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 Conceptual Graphics of the
protect all Vitra buildings after fire demonstrated
Vitra Fire Station by
the need for one.
Architect Zaha Hadid
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
 It
thewas conceived
linear asthe
patterns of a longitudinal garden,
adjacent farmland as if it were the
and vineyards.
artificial extension
of the linear patterns of the adjacent farmland and vineyards.
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 trucksand the
provision of various
facilities for the
firefighters.
 The concept of the stacked walls encompasses both parts,

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.
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.
THANK YOU!!!

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What was Zaha Hadid's educational background?

How did Hadid's early designs reflect her architectural philosophy?

ARCHITECTURE IS LIKE WRITING.

YOU HAVE TO EDIT IT OVER SO IT

In 1972, to London to study at the Architectural association school of architecture.

INTEGRATION OF BUILDING SHARP ANGULAR FORMS

DIPICTING GRAVITY -DEFYING

 Project Title: Vitra Fire Station

 Location: Weil am Rhein, Germany

 Client: Vitra International AG

 Area: 852 meter square

 In this project Hadid’s showcased work that delves

 The concept of the stacked walls encompasses both parts,

 The fire station is a composition of

 Concrete “shards” and planes slide

 The whole building is constructed with

 The lack of detail was also applied on

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