ZAHA HADID

Born on October 31, 1950, in Baghdad, Iraq, Zaha Hadid was influenced heavily by the Left-Liberal
views of her father. She received mathematical education at the American University of Beirut, yet,
later on, she decided to choose architecture as the main field of future explorations. Thus, Hadid
moved to London to enroll in the Architectural Association School of Architecture in 1972.

After graduation, Hadid started her organization, designing unique projects that challenged the
traditional perception of architecture. Some of her works include the extension of the Ordrupgaard
Museum (completed in 2005), the London Olympics Aquatics Centre (completed in 2011), and the
Innovation Tower in the Hong Kong Polytechnic University (completed in 2014). Hadid‟s original
ideas that incorporated the elements of neo-futurist and promoted luxurious architecture make her
and her works a particularly interesting object of study.

Figure 1 Ordrupgaard Museum (completed in 2005)

Figure 2 the London Olympics Aquatics Centre (completed in 2011)

ZAHA HADID ARCHITECTURE PHILOSOPHIES

Hadid expressed that her architectural designs were not expected as an individual stamp on the
world or a demonstration of pomposity. Or maybe, tending to 21st-century difficulties and openings
is the foundation of Zaha Hadid‟s style and manifestations.

Architecture, she asserted, “must add to society’s advancement and eventually to our individual and
aggregate prosperity.” The structures conceived of her vision and the aggregate virtuoso of her firm
Zaha Hadid Architects may here and there appear to be fantastical, victorious, and even somewhat
noisy, however, they all come from architecture‟s base capacity – to encourage and even perform
regular day to day existence.

Hadid managed to reinvent the entire approach toward architecture by shifting the focus thereof to
the area where form meets function and expands it, thus creating unique and inimitable architectural
art pieces. Herein lies the rational for choosing Zaha Hadid as the focus of the paper; she pushed the
boundaries of architecture, causing a shift toward a brief yet glorious moment of Neofuturism.

Another philosophy of her is a mantra says “form follows function”.

SOME OF HADID’S ARCHITECTURAL PRODUCTION
HEYDAR ALIYEV CULTURAL CENTER

Designed by Zaha Hadid and named after Azerbaijan's national leader, the Heydar Aliyev Center
has become a cultural behemoth in a short period of time. “It is a multipurpose building
symbolising modernity,” containing exhibition spaces, a library, a museum and concert venues
as well as a theatre.

Practical view of the theorist

Viewed from the top, the building resembles a wave-like ascension from the ground towards the sky
followed by a gradual descent back to the earth. In a departure from other architecture in the city,
the Zaha Hadid creation is a fine example of post-modernism, reflecting the world-renowned late
Iraqi-British's idea of architecture as a tool for philosophy. The wave-like ascension of the Heydar
Aliyev Center reflects the eternal cycle of life. Hadid, who passed away in 2016, herself described it
as a “dream design.”

 Therefore in this building she explained her philosophy of society’s advancement and collection
of prosperity through eye-catching and luxurious architecture in out loud and victorious use of
curves.

MAXXI NATIONAL MUSEUM OF THE 21ST CENTURY ARTS | ROME

MAXXI National Museum of the 21st Century Arts is a multifaceted space dedicated “to
experimentation and innovation in the arts and architecture.” In 2010, this building of overlapping
tubular forms won the RIBA Stirling Prize for Architecture. Since then the Guardian has declared it
“Zaha Hadid’s finest work built to date.” The curling tunnels, wide interior avenues, and
intersecting walkways give the building an aesthetic rhythm rarely seen in architecture today.

Buildings by ZHA are just as dramatic inside as they are out. The entrance to the MAXXI Museum
in Rome is defined by a spectacular web of floating black stairs set against an all -white interior. The
firm has said of the project: “It is „not an object-container, but rather a campus for art‟, where flows
and pathways overlap and connect in order to create a dynamic and interactive space.”

In addition to two museums – one devoted to 21st century art, the other architecture – the complex
includes an auditorium, library and media library, bookshop and cafeteria, spaces for temporary
exhibitions, outdoor spaces, live events and commercial activities, and places for study and leisure.
The elaborate programming is bound by Hadid‟s love for concrete curved walls that create what she
described as “a new fluid kind of spatiality designed to embody the chaotic fluidity of modern life.”

 In this building Hadid managed to reinvent the entire approach toward architecture by
shifting the focus thereof to the area where form meets function and expands it, thus creating
unique and inimitable architectural art pieces through dynamic and interactive space of
concrete curved wall and brutalism architecture.

CONCLUSION

In designing her architecture, Zaha Hadid applies innovation, defying convention and social
connection. She considers the form over all the other factors where the process starts with form
rather than function and ends with form represented in interior design. It is suggested that Hadid
perceives architecture as an art that could be employed efficiently to meet the needs of users and the
requirements of a successful architecture. Her way of design is a result of having an inclusive
overview in all of project‟s parameters with respecting to rationality aspects. It is a continuous and
interactive research on form, function, society, culture and novelty. Her way of design changes the
general conception of perceiving architecture and space taking its place in history of architecture. In
general we can note that her interest is to fulfill the requirements of function, adaptability,
sustainability, urban and social connection, and additionally she applies what she often preaches in
her design.