ZAHA HADID- THE COMPLETED

BUILDINGAND PROJECTS
CONTEMPORARY ARCHITECTURE THEORY AND PRACTICE
O S H I N B A L A S I N G H I M. ARCH
OSHIN BA LA SINGH I M. ARCH
 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)

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.

SUPREMATIST TOPOGRAPHICAL FLUID ORGANIC PARAMETRIC

OSHIN BA LA SINGH I M. ARCH

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Drawing and painting were
fundamental to Hadid’s practice.
Influenced by Malevich, Tatlin and
Rodchenko, she used calligraphic
drawings as the main method for
visualising her architectural ideas.

For Hadid, painting was a design

tool, and abstraction served as an
investigative structure for imagining
architecture and its relationship to
the world in which we live. These
works on paper and canvas unravel
an architecture that Hadid was
determined to realise in built
structures and is seen in the
characteristic lightness and
weightlessness of her buildings.

OSHIN BA LA SINGH I M. ARCH

PAINTING AND DRAWING AS DESIGN TOOLS

OSHIN BA LA SINGH I M. ARCH

 LANDSCAPES IN MOTION

Many of Hadid’s paintings pre-empt the potential of digital and virtual reality.
Utilising the potential of multiple and layered perspectives through transparency
and abstraction, first through the dynamism of drawing and then through the x-
ray possibilities of 3D modelling and digital technologies, Hadid pursued
principles of fragmentation, explosion and fluidity in the process of
conceptualising buildings and spaces.

OSHIN BA LA SINGH I M. ARCH

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VITRA FIRE STATION
OSHIN BA LA SINGH I M. ARCH
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.

OSHIN BA LA SINGH I M. ARCH

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.

OSHIN BA LA SINGH I M. ARCH

The design unifies two very different parts othe
f 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.

OSHIN BA LA SINGH I M. ARCH

 Museum of Art, XXI
(MAXXI), Rome, Italy.

OSHIN BA LA SINGH I M. ARCH


• "GRAVITY-DEFYING",
• "FRAGMENTARY"
• "REVOLUTIONARY"
• A MAIN THEME OF HADID'S
DESIGNS EXHIBITS THAT A
BUILDING CAN FLOAT AND
DEFY GRAVITY.
CONCEPT:
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".
OSHIN BA LA SINGH I M. ARCH
• The museum became the joint home of the
MAXXI Arts and MAXXI Architecture and MAXXI ROME
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.

• The design had a flexible, interdisciplinary

arena for the exhibition of contemporary art
and architecture and for live events.

OSHIN BA LA SINGH I M. ARCH

 URBAN EFFECT
• The building absorbs • It is built on the site of old army barracks
the landscape between the river
structures, dynamizes tiber and via guido reni, the centre is made up
of spaces that flow freely and unexpectedly
them and gives them between interior and exterior, where walls twist
back to the urban to become floors or ceilings.
environment.

•VIEW OF MAXXI ROME WITH URBAN DEVELOPEMENT

OSHIN BA LA SINGH I M. ARCH

MOVEMENT

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Shape and Form

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 SHAPE AND FORM

• 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.

OSHIN BA LA SINGH I M. ARCH

 • 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.

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.

Overlapping staircases with intersections

OSHIN BA LA SINGH I M. ARCH

Two principle architectural
elements characterize the
project:
• the concrete walls that define
the exhibition galleries and
determine the interweaving of
volumes;
• and 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.

R.c.c walls, glass facades

OSHIN BA LA SINGH I M. ARCH
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