See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/283347344

Zaha Hadid Form Making Strategies For Design

Thesis · May 2013

DOI: 10.13140/RG.2.1.4949.7040

CITATIONS READS

0 8,290

1 author:

Amatalraof Abdullah
Universiti Teknologi Malaysia
9 PUBLICATIONS   4 CITATIONS   

SEE PROFILE

Some of the authors of this publication are also working on these related projects:

BIO-MIMETIC THERMOREGULATORY ARCHITECTURAL DESIGN View project

Zaha Hadid Form Making Strategies for Design View project

All content following this page was uploaded by Amatalraof Abdullah on 01 November 2015.

The user has requested enhancement of the downloaded file.

 i

ZAHA HADID
FORM MAKING STRATEGIES FOR DESIGN

AMATALRAOF ABDULLAH ABDALWAHID

Supervisors

Associate Prof. Ismail Bin Said & Dr. Dilshan Remaz Ossen

A thesis submitted in fulfillment of the

requirements for the award of the degree of
Master of Architecture

Faculty of Built Environment

Universiti Teknologi Malaysia

May 2013
 ii

I declare that this thesis entitled ―Zaha Hadid Form Making Strategies
for Design” is the result of my own research except as cited in the
references. The thesis has not been accepted for any degree and is not
concurrently submitted in candidature of any other degree.

Name : Amatalraof Abdullah Abdalwahid

Date : May 2013
 iii

To my‘ great father, mother, sister Enas and lovely family

 iv

ACKNOWLEDGMENT

All praise and thanks to God who blessed me with a wonderful father,
affectionate mother, great sister Enas and warm family. I would like to express my
great gratitude to Prof. Ismail Bin Said who sincerely does his work and generously
gives us his time, efforts and very precious comments. Also I would like to thank Dr.
Dilshan Remaz for his smart directions as well the encouraging words.

All my sincere loyalty and love for my country YEMEN

 v

ABSTRACT

A considerable number of architectural students, architects, and designers of

fashion and furniture around the world who admire Zaha Hadid‘s works generally
find it difficult to understand her way of designing form. Therefore, this study‘s
aims are to find out her techniques of generating creative forms and to investigate
whether there are any form patterns in her works. Moreover, the study emphasises
her strategy of designing architectural form as well as the principles she uses.
Research methodology was a qualitative study using descriptive, analytical, and
exploratory methods. Since there is a lack of academic sources on this topic, the
data largely came from her published interviews, whether videos from internet or
from magazines and books. A content analysis for Hadid‘s interviews was done
through categorizing her words and phrases under different themes, clustering and
partitioning them into variables. A study of her drawings, projects images, and their
descriptions was done for 208 projects in regard to form notion. Through noting,
quantifying, and tabularising the prevailing features of project‘s form, it is indicated
that 53 percent of Hadid works was influenced by suprematism. While 24 percent
of them was characterized by fluidity, 7 percent has organic features, 6 percent was
inspired from the surface form of topography, and 10 percent was shapely designed
in parametric manner. It is shown that Hadid often works within framework of five
patterns for the project‘s shape notion based on their dominant characteristics that
are suprematist, topographical, fluid, organic, and parametric. The content analysis
has contributed in exposing main themes such as her strategy of design, form
notion, and her techniques which this study has focused on. Moreover, it showed
the techniques Hadid usually uses to generate form which are abstraction,
landscaping the surrounding context, play of light, idea of the ground and gravity,
layering, seamlessness and fluidity. It is expected that through understanding these
patterns and techniques, many things might be clarified and these might help those
who are interested in designing Zaha Hadid‘s architecture.
 vi

TABLE OF CONTENTS
TABLE OF CONTENTS

CHAPTER TITLE PAGE

DECLARATION ii
DEDICATION iii
ACKNOWLEDGEMENT iv
ABSTRACT v
TABLE OF CONTENTS vi
LIST OF TABLES xiii
LIST OF FIGURES xiv

1. INTRODUCTION 1

1.1. Introduction 1
1.2. Research Background 3
1.3. Problem Statement 9
1.4. Research gap 10
1.5. Aim of the Study 10
1.6. Research Questions 11
1.7. Research Objectives 12
1.8. Significance of the Study 13
1.9. Scope of the Study 14
1.10. Organization of the thesis 15
 vii

2. LITERATURE REVIEW 16

2.1. Introduction 16
2.2. Zaha Hadid Background 26
2.3. Architecture from the viewpoint of Zaha Hadid 28
2.4. The Architectural Form 30
2.4.1. Sources of Architectural Form 31
2.4.2. Principles of Form: Aesthetics 31
2.4.2.1. Rhythm 33
2.4.2.2. Unity 33
2.4.2.3. Scale 34
2.4.2.4. Decoration and Embellishment 35
2.4.2.5. Balance 36
2.4.3. Patterns of Architectural Form 37
2.4.4. Techniques of Generating Form 38
2.4.4.1. Relationship between plan and section 39
2.4.5. Strategy of design 39
2.5. Suprematism 41
2.5.1. Definition of Suprematism 41
2.5.2. Background of Suprematism 42
2.6. Deconstructivism 45
2.6.1. The Roots of Deconstructivist architecture 47
2.6.2. Deconstructivism from the standpoint of Derrida 48
2.6.3. Derrida‘s Theory Application in Architecture 48
2.7. Parametricism 49

3. RESEARCH METHODOLOGY 54

3.1. Introduction 54
3.2. Methodology of the Research 55
3.3. The Main Domains of the Study 56
3.4. Data Collection 57
3.5. Data Analysis 58
 viii

3.5.1. Content Analysis for Zaha Hadid‘s Interviews 60

3.5.2. Analytical and descriptive study for Zaha Hadid‘s
Techniques in design 61
3.5.3. Qualitative study of identifying Hadid patterns in
designing form 62
3.5.4. Qualitative analysis of Hadid patterns 65
3.5.5. Comparative analysis for the general characteristics 66
for four projects of each pattern 55
3.5.6. Drawing Analysis for The Used and ignored
principles by Hadid in Designing Architectural Form 68
3.6. Reliability and Validity 68
3.7. Sampling Procedure 70
3.8. Research Limitation 72
3.9. Conclusion 72

4. ANALYSIS AND DISCUSSION OF THE FINDING 73

4.1. Introduction 73
4.2. Zaha Hadid Strategy of Design 76
4.2.1. Introduction 76
4.2.2. Hadid Strategy of Design 76
4.2.2.1. Personal Investigation and the Journey 77
4.2.2.2. The Formal Notion of the Project 78
4.2.2.3. Applying Hadid Techniques of Design 78
4.2.2.4. Circulation Movement &Function 79
4.2.2.5. Embedding Form with The Context 80
4.2.2.6. Interior Design 81
4.2.3. Hadid‘s Perception of Architecture as an Art 83
4.2.4. Strategy Similarity between Hadid & Derrida 84
4.3. Form Notion 85
4.3.1. Site 86
4.3.2. Nature and Phenomenological events 86
4.3.3. Art 87
4.3.4. Architecture 87
 ix

4.3.5. Computing programs 88

4.4. Zaha Hadid Techniques in Design 89
4.4.1 Abstraction and Fragmentation 92
4.4.1.1 Collision 93
4.4.1.2 Explosion 94
4.4.1.3 Shattering 94
4.4.1.4 Fragmentation 95
4.4.1.5 Abstraction 96
4.4.1.6 Distortion and Deformation 97
4.4.1.7 Folding 97
4.4.1.8 Twisting 98
4.4.1.9 Erosion 99
4.4.1.10 Melting 99
4.4.1.11 Throwing 100
4.4.2 Idea of the Ground and Gravity 101
4.4.2.1 Mass Cantilever 102
4.4.2.2 Ground Extension 103
4.4.2.3 Carve the Ground 104
4.4.2.4 Inclined Columns 104
4.4.2.5 The Ground Manipulation 105
4.4.2.6 Deep Emanation for Some Masses 108
4.4.2.7 Inclined Mass from The Inside Out 108
4.4.2.8 Erosion: Making Building Porous 109
4.4.2.9 Mass Manipulation 110
4.4.2.10 Liberate the ground 111
4.4.3 Landscaping the Surrounding 115
4.4.3.1 Elevating the Ground Floor 116
4.4.3.2 Vanishing 117
4.4.3.3 Topographying the Project 119
4.4.3.4 Using one colour for the building 119
4.4.3.5 The Pavement of the Project 119
4.4.3.6 Lines Formation 120
4.4.3.7 Using Glass in the Ground Floor 121
4.4.3.8 Landscaping the Roof of the Project 123
 x

4.4.3.9 Gardening Open-Interior Spaces 123

4.4.3.10 Wall Extension 124
4.4.3.11 Forming the Project According to the
Current Urban Grids 125
4.4.3.12 Designing the Building in Parallel with
Land‘s Shape 127
4.4.3.13 Melting the Building to Meet the Ground 127
4.4.3.14 Landscaping the Project in Multiple Ways 128
4.4.4 Layering 129
4.4.5 Play of Light 132
4.4.5.1 Juxtaposition 132
4.4.5.2 Overlapping 133
4.4.5.3 Fragmentation 134
4.4.5.4 Accumulation 134
4.4.6 Seamlessness and Fluidity 135
4.4.7 Sub-Techniques 136
4.4.7.1 The Formative Relationship between
Plan and Elevation or Section 136
4.4.7.2 Reflecting the Project‘s Form in the
Interior Design of Space 136
4.4.7.3 Distorted addition and Subtraction 138
4.4.8 Perceived Contradictions in Hadid Techniques 138

4.5 The Patterns of Form in Zaha Hadid Architecture 140

4.5.1 Introduction 140
4.5.2 Hadid‘s Patterns of Designing Forms 141
4.5.2.1 Suprematist Forms 142
4.5.2.2 Topographic Forms 146
4.5.2.3 Fluid Form 149
4.5.2.4 Organic form 153
4.5.2.5 Parametric Form 156

4.5.3 The Analysis of form patterns 161

4.5.3.1 Hadid‘s Patterns of Architectural Form 162
 xi

4.5.3.2 The Mixed Form Patterns 163

4.5.3.3 The Occurrence of Patterns Though Years 164
4.5.4 The Emergence of Form Patterns 165
4.5.5 The formative Relationship between Plan and
Elevation or Section 166
4.5.5.1 The Peak project 166
4.5.5.2 Heydar Aliyev Cultural Centre 167
4.5.5.3 Exhibition Centre of Cairo Expo City 167
4.5.5.4 Regium Waterfront Museum 168
4.5.5.5 Design For Proposed Museum in Vilnius 169

4.6 Principles of Architectural Form 170

4.6.1 The Ignored Principles by Hadid in Designing
Architectural Form 171
4.6.1.1 Symmetry 171
4.6.1.2 Decoration and Embellishment 171
4.6.1.3 Idea of Motionless and Stable Ground 172
4.6.1.4 Rhythm 172
4.6.2 The Used Principles by Hadid in Designing
Architectural Form 173
4.6.2.1 Unity 173
4.6.2.2 Balance 176
4.6.2.3 Scale 178
4.7 Hadid and Suprematism 181
4.7.1 Introduction 181
4.7.2 Hadid Painting 182
4.7.3 Hadid Contribution to suprematism 184
4.7.4 Interview Analysis 185
4.7.5 Analysis of the Peak 188
4.8 Some of the Underlying Reasons of Hadid‘s Trend 191
4.8.1 Taking Suprematist trend 191
4.8.2 Creating Fluid Architecture 192
 xii

5 CONCLUSION AND RECOMMENDATIONS 194

5.1 Introduction 194

5.2 Summary of the Findings 196
5.3 Implication 200
5.4 Significance of the Finding 202
5.5 Recommendations 203
5.6 Directions for Further Studies 204
5.7 Conclusion 205

REFERENCES 206-215
Appendices A-D 216-220
 xiii

LIST OF TABLES

TABLE NO. TITLE PAGE

3.1 Methods of Data Analysis 59

3.2 A Template for the Analysis of Hadid‗s patterns of Form 65
3.3 A Template for the qualitative analyzing for the general
characteristics of the projects under one form pattern 67
4.1 Examples of Suprematist Pattern and Its General Characteristics 144
4.2 Examples of Suprematist Pattern and the General Characteristics 145
4.3 Examples of Topographic Pattern and the General Characteristics 147
4.4 Examples of Topographic Pattern and the General Characteristics 148
4.5 Examples of Fluid Pattern and the General Characteristics 151
4.6 Examples of Fluid Pattern and the General Characteristics 152
4.7 Examples of Organic Pattern and the General Characteristics 154
4.8 Examples of Organic Pattern and the General Characteristics 155
4.9 Examples of Parametric Pattern and the General Characteristics 159
4.10 Examples of Parametric Pattern and the General Characteristics 159
4.11 The Used and Ignored Architectural Form Principles by Hadid 170
 xiv

LIST OF FIGURES

FIGURE NO. TITLE PAGE

1.1 Summary of the thesis structure 15

2.1 Pablo Picasso: Landscape in prismatic expression 19
2.2 Christopher Nevinson dynamic and energetic painting 20
2.3 Hafenstrasse Office and Residential Development 20
2.4 The covered study areas in literature review 25
2.5 The systematic rhythm in Cathedral of Amiens in France 33
2.6 The perfect unity in some of residential buildings in Old Sana‘a 34
2.7 The rich embellishment in some of residential buildings in Sana‘a 35
2.8 The three conditions of conceiving balance; symmetry, duality, 36
and asymmetry.
2.9 Yakov Chernikhov Drawing 1. 43
2.10 Yakov Chernikhov Drawing 2. 43
2.11 Malevich Painting Presented in 2D 44
2.12 El Lissitzky Painting Presented in 3D 44
2.13 The Roots of Deconstructivist Architecture from the view point of 47
Hadid
2.14 The parametric design of Kartal-Pendik master plan in Istanbul 52
2.15 Zaha Hadid 27
3.1 Model of data coding 61
3.2 Content Analysis for Zaha Hadid‘s Interviews 63
3.3 Methodology of Figuring Out Hadid Patterns in Designing
Form 64
3.4 Sampling procedures 71
 xv

4.1 Structure of Chapter 4 75

4.2 The Operational Cycle of Hadid Strategy of Design 82
4.3 Zaha Hadid Techniques in Design 91
4.4 Vitra Fire station 93
4.5 Gmurzynska Gallery 94
4.6 Peak‘s surroundings architecture in Hong Kong, China 95
4.7 The Peak 96
4.8 The Hague Villas 96
4.9 Victoria City Arealin 97
4.10 Maggie‘s Centre Fife 98
4.11 Madrid Civil Courts of Justice in Madrid 98
4.12 Beko Masterplan. Belgrade, Serbia (2012). 99
4.13 Middle East center, ST Antony's College 100
4.14 Maxxi: National Museum of XXI Century Art 102
4.15 Guggenheim Museum 102
4.16 Villa for golf and spa resort 103
4.17 Ordrupgaard Museum Extension 103
4.18 Regium Waterfront 104
4.19 Collins Park Garage Miami Beach 105
4.20 Car Park andTerminus Strasbourg, France 105
4.21 Edifici Campus Barcelona, Spain 106
4.22 Billie Strauss Hotel Nabern, Germany 106
4.23 The orthogonal projection for peak project 107
4.24 Pierres Vives Montpellier, France 108
4.25 Eli and Edythe Broad Art Museum Michigan state university, USA 109
4.26 Maggie's Centre Fife Kirkcaldy, Scotland 109
4.27 The erosional form of King AbdUllah House of Culture and Art 110
4.28 Opus Office TowerDubai, UAE 110
4.29 Dance and Music Centre the Hague, Netherlands 111
4.30 Ground liberation-Phaeno Science Centre Wolfsburg, Germany 112
4.31 Phaeno Science Centre Wolfsburg, Germany 112
4.32 Jesolo Magica Jesolo, Italy 113
 xvi

4.33 Surfers Paradise Transit Center Site 114

4.34 The landscaping Jesolo Magica project through elevating the ground 117
4.35 Abu Dhabi Performing arts Centre Abu Dhabi, UAE 118
4.36 E.ON Energy Research Department 118
4.37 Vilnius Museum Vilnius, Lithuania 120
4.38 Cairo Expo City Cairo, Egypt 121
4.39 Kusnacht Villa Zurich, Switzerland 122
4.40 Nassim Villas Singapore 122
4.41 Dongdaemun world design park and plaza 123
4.42 King AbdUllah petroleum studies and research centre 124
4.43 Heydar Aliyev Culture centre Baku, Azerbaijan 125
4.44 Stone Towers Cairo, Egypt 125
4.45 Maxxi: National Museum of XXI Century Art- Perspective image 126
4.46 The site of Maxxi: National Museum of XXI Century Art 126
4.47 Regium Waterfront, multi-functional building Reggio, Italy 127
4.48 Next Gene Architecture Museum Taipei, Taiwan 128
4.49 The plan of Next Gene Museum Taipei, Taiwan 129
4.50 Museum for the Royal Collection Madrid,Spain 130
4.51 layering manipulation,Darat King AbdUllah art cultural center 131
4.52 Darat King AbdUllah art cultural center 131
4.53 Landesgartenschau 1999 Weil am, Germany 133
4.54 The Habitable Bridge London, Britain 133
4.55 Zollhof 3 Media park, Germany 134
4.56 La Fenice London, Britain 135
4.57 The formative relationship in Maxxi Museum 137
4.58 The formative relationship in Maggie's Centre Fifein 137
4.59 The Peak Hong Kong 144
4.60 Vitra Fire Station Weil am, Germany 144
4.61 Cardiff Bay Opera House Cardiff, Wales 145
4.62 Lois &Richard Rosenthal Center for Contemporary Art 145
4.63 Landesgartenschau 1999 Weil am, Germany 147
4.64 Dubai Opera House Dubai, USE 147
4.65 E.ON Energy Research Department 148
4.66 Heydar Aliyev Culture Centre Baku 148
 xvii

4.67 Guggenheim Museum Taichung Taichung, Taiwan 151

4.68 High-Speed Train Station Napoli Afragola, Naples, Italy 151
4.69 Cairo Expo City Cairo, Egypt 152
4.70 Jesolo Magica Jesolo, Italy 152
4.71 Maritime Terminal Salerno, Italy 154
4.72 Regium Waterfront Reggio, Italy 154
4.73 Maldives Luxury Resort, Munandhua, Island, Maldives 155
4.74 Golf and spa resort, Dubrovnik, Croatia 155
4.75 Kartal-Pendik Master plan Istanbul, Turkey 159
4.76 Madrid Civil Courts of Justice Madrid, Spain 159
4.77 Sunrise Tower Kuala Lumpur, Malaysia 158
4.78 Sunrise Tower Kuala Lumpur, Malaysia 160
4.79 Vilnius Museum Vilnius, Lithuania 160
4.80 Zaha Hadid patterns of form notion 162
4.81 Mixed Form Notions within Suprematism 163
4.82 Trends in Zaha Hadid Form Design 164
4.83 The formal rectangular relationship in The Peak 166
4.84 The formal rectangular relationship in Heydar Aliyev Centre 167
4.85 The formal rectangular relationship in Cairo Expo City 168
4.86 The formal rectangular relationship in Regium Waterfront Reggio 168
4.87 The formal rectangular relationship in Vilnius Museum 169
4.88 The seamlessness and fluidity of Regium Waterfront Reggio 175
4.89 The unity of Vilnius Museum form, Vilnius 175
4.90 The asymmetrical balance in The Peak 176
4.91 The asymmetrical balance in Heydar Aliyev Culture Centre 176
4.92 The asymmetrical balance in Cairo Expo City 177
4.93 The asymmetrical balance in Regium Waterfront Reggio 177
4.94 The asymmetrical balance in Vilnius Museum 177
4.95 The logical scale design in The Peak 178
4.96 The logical scale design in Heydar Aliyev Culture Centre 179
4.97 The logical scale design in Cairo Expo City 179
4.98 The logical scale design in Regium Waterfront Reggio 180
4.99 The logical scale design in Vilnius Museum 180
 xviii

4.100 The suprematist Tektonic project for Malevich 182

4.101 Hadid graduation project ―Malevich Tektonik‖ 182
4.102 Grand Building in Trafalgar Square, London 183
4.103 A New Barcelona in Spain 184
4.104 Irish Prime Minister‘s Residence Ireland 187
4.105 The fragmented form of the Peak and the abstractive way of 188
presenting the Peak‘s Surroundings Architecture
4.106 Perspective view for The Peak project in Hong Kong, China 190
4.107 Plan for the Peak presented in abstractive suprematist manner 190
4.108 Tree embedd-ness with the surrounding context 116
4.109 Parametric design by Yale studio; Patrik Schumacher 157
5.1 Zaha Hadid Strategy of Design 199
5.2 The conceived Contradiction through Hadid‘s Techniques and
Form Principle 201
 1

CHAPTER 1

1.1 Introduction

Nowadays, humans live in an era characterized by change, instability, and a very

high technology that gives the opportunity to largely develop every sector and even
touch very small details within each issue. With all changes happening around,
architecture has assumed a new way of expression both in its general form and
philosophy. The past few years have seen increasing technological advances in building
structures and materials which have more privileged properties such as flexibility,
easiness of configuration, elasticity, rigidity, and beauty of appearance. Hence, these
facilities encourage architects to be more creative in design without fear of the
difficulties that might face them in carrying out their designs.

Actually, the technological advancement particularly computer programs have

done a shift in many sectors including architecture. Human mind has become more
imaginative and sophisticated in responding to the chaotic thinking of this era coming
up with new inspiring ideas. This is reflected in the works of some practicing architects
and the architectural students‘ projects. As a result, there is new trend in architecture
which is considered as a development of modernism architecture called
deconstructivism (Straeten, 1997). The architects of this trend design projects as if they
 2

are in another planet characterized by antigravity, non-geometry, complexity, and

fragmentation (McLeod, 1989).

Deconstructivism is an architectural style appeared in the late of 1970s

characterized by excitement, mystery, and full of life. It is assumed that the emergence
and establishment of this style is the Architectural Association in London where
majority of the deconstructivist architects got their architectural degree (Hadid, 2006).
Zaha Hadid is one of this movement pioneers. Her projects characterized by
fragmentation and abstraction, however; the idea behind her architecture lies on the in
depth study for the exterior form ideas, inspiration, and language which presents notion
through design. Hadid‘s architecture tells the project‘s story and produces the
architecture that Le Corbusier (1928) in Toward New Architecture described it as a real
architecture.

There are some scholars wrote about Hadid‘s architecture, however, almost of
them do not have a clear methodology; they describe her works in a stuffy way without
mentioning the methodology of conducting their studies. A few of these scholars have
discussed the strategy of conducting their studies such as The Text of Free-Form
Architecture written by Joseph Wong (2009);. Wong‘s research methodology was based
on grounded theory that is used when there is ―limited previous research to formulate
established theory as hypothesis for verification or testing‖ (Wong, 2009; p.242). He
has studied the major factors considered by four famous free-form architects in design
and summarized them into five factors: context, language, exploration, industry, and
inspiration; each of these factors has many sub-factors that differ from one architect to
another.

Another study is for Serap Durmus and Sengul Gur (2011) who studied what the
title explained The Methodology of Deconstruction in Architectural Education from the
 3

viewpoint of Derrida started with introduction for the definition of this trend. They have
answered the question pasted by them “how a building can be re-read by means of
concepts considered within the scope of the philosophy of deconstruction‖ (Durmus and
Gur, 2011; p.1589). The authors strongly recommended those who want to design in a
deconstructive way to be highly sophisticated on the different architectural discourses.

The focus of this study is Zaha Hadid architectural form that is roughly a new
domain in both practice and theory of architecture. People started to be involved in such
architecture and carry it out to the world. This thesis studies form because it is
considered the contribution of Hadid in architecture. It is expected to be an input in this
domain as endeavour to answer the question pasted by many architects that is how could
Hadid generates such creative forms.

1.2 Research background

Deconstructivism movement found its way to reality in 1988 in the Museum of

Modern Art (MOMA), New York. It was exhibition under the name of deconstructivist
architecture where seven of the most contemporary architects showed their projects
(Wong, 2009; McLeod, 1989). These architects are Coop Himmelblau, Peter Eisenman,
Frank Gehry, Zaha M. Hadid, Thom Mayne, Daniel Libeskind, and Bernard Tschumi.
Their works are characterized by the ideas of instability and multiple sharp angles which
could be described as an anti-Vitruvius works (Straeten, 1997). In this exhibition, as
Bart Van mentioned in The Uncanny and the Architecture of Deconstruction, the
participated architects could be divided into two groups. First, are the architects who
follow Derrida‘s philosophy of deconstruction. The second are the non-Derridians
architects who were influenced by the Russian constructivism and the other movements.
 4

Deconstructivist architecture related to Hadid works is traced to suprematism; an

artistic movement that started in Russia around 1915 when Russia was trying to
reconstruct and achieve advances in sciences, arts and other sectors after the First World
War (Mertins, 2006). Suprematist movement of art was lucky to appear at that time
because it had been supported by the country. As known, architecture has a strong
relationship with art; consequently, a new trend of architecture called Russian
constructivism appeared with new architectural principles inspired its notions from
suprematism. This trend has affected many architects around the world; one of them
Rem Koolhaas who was a lecturer in Architectural Association in London where many
deconstructivist architects were his students.

In 1962, the French philosopher Jacques Derrida started to publish his

deconstruction philosophy in Origin of Geometry; however, only in 1967 it got echo
among some philosophers (Powell, 2006). Derrida‘s philosophy of deconstruction is
considered as "an ongoing structural event, a continuous displacement of structure that
cannot be evaluated in traditional terms because it is the very frustration of those
terms‖; its nature could also be understood through Heidegger quotation "there is no
safe place to begin"; deconstruction "makes the institution tremble." (Wigley, 1993; p.
266 - 267). Although Derrida tried to avoid giving especial answer about the origins of
deconstruction, he declared once in one of his interviews that ―one of the gestures of
deconstruction is to not naturalize what is not natural, to not assume that what is
conditioned by history, institutions, or society is natural‖ (Derrida, 2008). He is trying
to argue the notion that whatever produced by human such as architecture or
philosophy, they are still human-made. Therefore, we should not conceive them as
natural things which whatever out of them could be unnatural or dismantling to the
natural and that is the reason of envisioning such architecture as a deconstructivist.
 5

This kind of architecture has been criticized by numerous architects who have
made many complaints about it, especially those who are interested on reviving the
traditional and vernacular architecture. As an example of that is Salingaro and Masden
who described it as ―architecture of appearances‖ and who said;

―Detached from the world of lived experience, architecture as image reveals

itself as nothing more than a fashionable commodity. As such, it is subject to
the rules of constant change characteristic of the fashion marketplace. This type
of architecture cannot respect the physiological needs of human beings.
Looking around us verifies that these recent architectural practices have
effectively erased the design and building traditions of the past, and with them
the vital web of urban culture in society‖ ( Salingaros and Masden, 2007; p.49).

Some time it comes to anyone‘s mind that the anti-deconstructivist architects

cannot be blamed because of the obtained thoughts and background they have of
Derrida‘s philosophy. Derrida‘s philosophy on deconstructivism stands on unjustified
deconstruct, destroy all the logical principles of architecture (Wigley, 1996).
Deconstructivism ―ideologically derived from helter-skelter linguistic analysis‖ in his
book the Truth in Painting (1978) (Kosinski, 2010; p.152). Deconstructivism in his
view cannot be defined because none of definitions could promote to the level of its
mysterious and unique nature. However, according to him, it can be described as a
"continuous displacement of structure …, Deconstruction is not a method, a critique, an
analysis, or a source of legitimation. It is not strategic. It moves very precisely, but not
to some defined end" (Wigley, 1996; p.266). However, we cannot generalize Derrida‘s
philosophy for all deconstructivist architects. There are international works for Zaha
Hadid, Frank Gehry, and Rem Koolhaas that have privilege deconstructivist features
and are functionalized in a very well and creative manner.
 6

In spite of extensive campaign against such architecture, it has become the

supreme, popular, and attractive to the most of the people. Moreover, it becomes as a
measurable sign of the luxury and advancement for the countries incubator for such
projects. Deconstructivist projects have taken place in the world and have a good
reputation because of their extraordinary trend and inventiveness.

In contrary to Derrida‘s view of conceiving architecture, Zaha Hadid said

―Architecture does not follow fashion or economic cycles - it follows the inherent logic
of cycles of innovation generated by social and technological developments. Mies van
der Rohe said: "Architecture is the will of an epoch, living, changing, new".
Contemporary society is not standing still - and architecture must evolve with new
patterns of life to meet the needs of its users‖ (Didero, 2012). Therefore, Hadid deals
with the architectural work from reasonable, logical, responsible viewpoint while
Derrida deals with it from viewpoint of facing the inexperienced and unfamiliar
whatever the results.

Consequently, this research focuses on studying the architectural form of Zaha

Hadid projects; the most famous architect ever in the contemporary architecture
(Giovannini, 1996). According to her website, Hadid won 92 international prizes such
as Scottish Design Award, American Institute of Architects (UK) Award, RIBA
Sterling Award and, the prestigious Pritzker Prize for architecture in 2004. She has
designed many projects distributed through 44 countries around the world and many of
them under construction such as Pierres Vives building in France, the Masterplan of
One-North in Singapore, and Abu Dhabi Performing arts Centre in UAE. Some built
projects designed by her are aquatics centre in London which inaugurated in 2012,
Maggie's Centre Fife in Scotland (2006), Guangzhou Opera House in China (2009), and
Maxxi Art Museum in Italy (2009).
 7

Zaha is categorized under the deconstructivist architects since her graduation

project, Malevich‘s Tektonik, in 1976-1977. It is a hotel on the Hungerford Bridge,
influenced by Malevich thoughts of anti-gravity and using pure geometric forms in
painting. His artistic movement, suprematism, is as Detlef Mertins described ―a new
system of pure painting. Its systemic character lay in the permutation of elemental
shapes in black white, and red beginning with the square ,then the circle, cross
,rectangle, trapezium, triangle, ellipse, and combinations of all these‖ (Mertins, 2006;
p.33). Kasimir Malevich is the one who wrote in 1928 ―we can only perceive space
when we break free from the earth, when the point of support disappears‖
(Designmuseum, 2007); this belief becomes later Zaha‘s main principle of design.

Hadid‘s works were described as vaguely and incomprehensible especially the

early works such as peak project when shown in MOMA exhibition, 1988
(Designmuseum, 2007). Therefore, this research is conducted as an attempt to clarify
some obscure issues about her architecture in particular what is related to the formal
features of her works such as form patterns, characteristics, used principles and
techniques, and her strategy of designing such forms. It addresses the related sections
that might contribute on production such unique forms. As Detlef Mertins (2006) said
―for Hadid, the special contribution that an architecture of form –abstract and dynamic-
can make is to stand in for that totality, which eludes every effort, every model, and
every allegory that seeks to represent it, in science as in philosophy, theology ,and
art‖(Mertins,2006; p.38 ).

As a contemporary architect whose works are characterized by fluidity and

utilizing creative free-forms, Hadid‘s architectural style is one of the most prominent in
the world. Hadid said in describing her works ―My architecture takes the fluid
dynamism of the sketching hand as a literal option for an architecture that is driven by
new developments in digital design and enhanced manufacturing capabilities‖ (The
 8

New Yooxer, 2010). Her works generally considered as a kind of spatiality and new
contribution in conceiving space (Designmuseum, 2007).

Through analyzing the works of Zaha Hadid, it could be recognized that her
works are rightly placed under deconstructivism because she has broken main principles
in conceiving inherited architecture. However, they are at the same time a prototype of
good architecture that considers the needs of human being as a respect to the function
and as a shelter that offers privacy and safety. As quoted by Gopnik (2011), Hadid said
―I don‘t think that architecture is only about shelter, is only about a very simple
enclosure. It should be able to excite you, to calm you, to make you think‖. She also
said ―Buildings should have an impact on the street life and they should draw people to
them‖ (Hattenstone, 2010). She believes on Le Corbusier description of architecture
―you employ stone, wood, and concrete, and with these materials you build house and
palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart,
you do me good. I am happy and I say: this is beautiful. That is architecture, art enters
in‖ (Ching, 1996; p.375).

Hadid is the most imaginative architect among her colleagues in

deconstructivism based on the number of projects she has, the number of prizes she got,
and the richness of various concepts she conducts. Her professor, Rem Koolhaas,
describes her as ―a planet in her own orbit‖ (Designmuseum, 2007), therefore, her
architectural forms are the field of this study.
 9

1.3 Problem Statement

One of the research problems is that a considerable number of architects,

architectural students, and fashion or furniture designers around the world who admire
Hadid works usually find difficulties to understand her drawings and the way of
designing that resulted into such creative forms. They are eagerly searching for
everything new about her designs in order to catch the inspiring clues and sources of her
wide imagination.

Another problem is the misconception among architects and architecture

researchers about Hadid projects. Many think that her designs are merely artistic works,
fashion, formal whim, and she designs the architectural form arbitrarily without taking
any considerations or attentions; in other word, she does not have a clear strategy to
follow in design (Salingaro and Masden, 2007).

Actually, these thoughts could be evaluated as normal consequences because

people get used to the traditional architecture; the perfect model that is resulted from
various studies in order to let human live in a better environment. This inherited picture
is stuck in their minds; the picture of the architecture that has certain standards, laws
and whatever out of these standards cannot be conceived as architecture. Hadid also
justified that and the delay of appearing in the real field to two reasons ―the primary
reason is because people were not used to them and second, there is an element of
prejudice and an element of resistance." (Hattenstone, 2003)
 10

1.4 Research gap

There are many studies have been done in the architectural works of famous
architects such as Organic Architecture and Frank Lloyd wright In Turkey (2006), Le
Corbusier: an Analysis of Form (1996), Form follows function for Meis Van Der Rohe,
Frank Lloyd wright to 1910 (1958), and Precedents in Architecture (2005, 3rd Ed.) and
others. However, there is a shortage in the written journals, books and articles related to
the systematic analyzing for the architectural works of Zaha Hadid. Although, there is a
notable interest in practice for this domain, there is no equivalent activity in the
academic field.

1.5 Aim of the Study

The number of the professional architects, architectural students and even the
educated elite from various majors interested in Hadid architecture are increasingly
growing. Involving in such trend lets their latent imagination to come up with new ideas
that attracts people‘s attention makes them standing astonished like what exactly we do
when we see her works.

Lars, an employee in Hadid office, was asked about the underlie reason of
Hadid works success; she said ―I think because we are always pushing the boundaries of
how architecture is perceived and what architecture could be. What spaces are; it is mix
of functionality and the formal aspects of space‖ (Hollingsbee, 2009). The aim of the
research is to examine these pushed boundaries, study the underlying causes of her
projects‘ uniqueness, inspirations, the radical concepts and her strategy of design in
 11

order to encourage architects to be more curious and knowledgeable about it. In

addition, this study is going to be helpful for those architects who are interested in
Hadid works and interested in producing a similar architecture.

1.6 Research Questions

The questions below are formulated in order to clarify the obscured issues of
Hadid architectural form. Also to find out a detailed answer for the question which the
study contents are playing minor or main contribution to make a complete and clear
picture about it; the question is how Zaha Hadid could produce such a unique
architecture. To answer it, there are some raised questions should be answered. They
are as follows;

1. What is Zaha Hadid‘ strategy of design?

2. What are the inspiring clues for Hadid to conduct such architecture?

3. What are Zaha Hadid techniques in designing form?

4. Are there any patterns through Hadid works?

5. What are the design principles of the architectural form ignored by Zaha Hadid
that classified her works under deconstructivism?

6. What are the architectural design principles of form considered by Hadid that
qualified her projects as tangible and good architecture?
 12

1.7 Research Objectives

The aim of this study is accomplished by concentrating in the following research

objectives;

1. To find out Zaha Hadid‘ strategy of design, as well the inspiring notions;

2. To identify Hadid techniques in designing the architectural form;

3. To investigate whether there are any patterns of form through Hadid works;
and

4. To investigate the architectural design principles of the form broken by Zaha

Hadid that classified her works under deconstructivism and the considered
ones that qualified her projects to be tangible and good architecture.
 13

1.8 Significance of the Study

The significance of the study lies in the findings that expose some obscured
issues about Hadid‘s architectural form. The findings helps the architects and students
of architecture who are interested in her works and are trying to follow her steps in
design as a successful model in architecture. They are especially helpful for those
students how are asked by their professors to design in Hadid way. Fan Ling, an
architecture teacher at Beijing‘s Central Academy of Fine Arts, commended that Zaha
Hadid is now ―the most influential international architect in China‖ (Platt, 2012).

This research studies the fragmentation and abstraction of the exterior form in
her works and their inspiration in details for the purpose of taking out students‘ fears
while designing in her manner. It is through helping them to recognize her architecture
nature and encouraging them to release their latent talent to be exposed into touchable
works. This study reveals how Zaha Hadid could produce such a unique architecture
that influence and inculcate the culture of this era through her projects and her fans
architects‘ works.

The results will make the students studying and immersing with enjoyment
while learning her architecture. The study is beneficial for architects in two ways; first,
after studying her works, they will be more imaginative in their designs that would be
interpreted into real works. Second, when each architect designs in his own way in a
manner that is not constrained by any limits, the creativity will emerge and will be
translated into the existence producing a variety in the general view of the city. This will
create diversity in architecture that establishes a good ground for flourishing the tourism
industry. As we know, tourists always search for everything new especially the
architecture of the country to get some entertainments.
 14

1.9 Scope of the Study

This study covers most of the architectural issues related to Hadid design of
form. It is focusing in studying her works‘ form not another thing because Hadid in
general is well known for the abnormality of presenting the architectural form. It
examines Hadid way of design as one of deconstructivist pioneer in architecture and the
principles of architectural form in order to find out what principles are broken to
generate such creative forms and categorize her works under deconstructivism.
Moreover, it covers the used principles that qualified her works to be successfully
utilized and applicable. It demonstrates her techniques, the inspiring notions, as well the
patterns of Hadid architectural form.

The study does not cover the architectural form since early ages of architecture
as it was supposed to be because Hadid way of designing form is totally unrelated to
what is in the past. But it includes studying three schools which are strongly related to
Hadid works; they are suprematist art school, deconstructivism and parametricism
schools of architecture as they are explained in the next chapter.

1.10 Organization of the thesis

The study consists of six chapters as shown in Figure 1.1. This figure is an
illustration for the summary of the thesis structure which started with the introductory
chapter including research gap, significance, aim and objectives of the study. Followed
by literature review chapter and the theoretical framework that discusses the related
subjects to this study as well the recent and related schools to the architectural form; the
 15

schools are suprematism, deconstructivism and parametricism. Then, Chapter 3

discusses the research methodology, data collection, procedures of data analysis, the
reliability and validity of the research methods. Chapter 4 includes the findings and
discussions for Hadid‘s strategy of design, inspiring ideas, techniques, patterns of form,
the used and ignored principles. The final chapter compasses the conclusion,
recommendations, implications and directions for Further Studies.

CHAPTER 1
Plan of the study
Introduction

CHAPTER 2
The Distinguished Schools in Hadid‘s Works and the
Theoretical framework/ Architectural Form
Background of study

CHAPTER 3
Data collections and Research Methodology
Data analysis

Finding and discussions for Hadid’s CHAPTER 4

strategy of design, inspiring ideas, Analytical, descriptive and exploratory study for
techniques, patterns, used and Hadid‘s works
ignored principles

CHAPTER 5
Conclusion, Recommendations and Conclusion and Recommendations
Directions for Further Studies

Figure 1.1: Summary of the thesis structure

 16

CHAPTER 2

LITERATURE REVIEW

2.1 Introduction

Since the theme of this research is about Zaha Hadid‘s architecture, a critical
outlook on accessible articles, journals, theses, and books addressed this topic are
discussed. It discusses the methods of conducting some similar studies as well their
findings. Then, a brief of her background and her perspective of architecture are
highlighted. In addition, the architectural form definition is addressed as well its
sources, patterns, principles, techniques of generating form, and the strategy of
architectural design from viewpoint of different individuals and resources . Finally, this
section demonstrates three architectural styles repeatedly materialize and distinguish
Hadid‘s works through different episodes that are suprematism, deconstructivism, and
parametricism. Therefore, at the end of this chapter, a good and encompassed
background of thesis topics will be illustrated.
 17

As an Arab, Muslim woman and Britain based architect, Hadid‘s works are a
combination of the culture, identity of Iraq and the new thoughts; architectural and
artistic schools in Europe (Aref, 2011; Woods, 2008). This could be touched through
her works since early stages in which she married between the fragments thoughts of
suprematism, deconstructivism, and the fluidity of Arabic calligraphy. According to
Aref (2011), Hadid has 80 projects completed or in their way to be finished throughout
the world, ten of them in Arab countries.

Leslie Reid (2009) in Zaha Hadid: The Female Modernist of the Twenty-First
Century highlighted Hadid role in reformulating the framework and theoretical concept
of modernist architecture and the large influence she leaves in the new generation of
architects. She examined the effects of Hadid‘s architectural design in the surrounding
by discussing the energetic role the Cincinnati Contemporary Arts Museum plays in
New York life as a case study. The descriptive study exposed one of the goals underlies
the design which Hadid always keen to offer it in every project that is creating
architecture characterized by activist sociality, connection, forming new kind of
landscape (Glancey, 2006).

The versions of Zaha Hadid; the Complete Building and Projects books were
introduced by an essay written by Aaron Betsky (2009). He referred the modernity of
Hadid‘s styles to the understanding of its roots; that are believing in new structures,
seeing things in new ways, and representing the reality of modernity (Hadid, 2009; p.6);
this reflects her comprehension to human new needs because of the grant revolution of
technology. Moreover, he outlined Hadid success to the painting presented in her early
works and winning the international completion of Peak project in Hong Kong (1982-
83). This project did a shift in her professional life due to its unique and odd way of
abstractive presentation.
 18

Actually, what offered Hadid a better environment of innovation that resulted in

her success is the pedagogy of AA Architecture Association directed by Alvin Boyarsky.
It was based on ―collection and, placing exhibitions, books and drawings central‖
(Marjanović, 2010, p.165) instead of well-known strategy of curriculum and regular
examinations. Boyarsky declared that this strategy had offered a rich table for students
to select their interest and desired domain and then develop from it (Marjanović, 2010).
Boyarsky was aware of Venturi‘s belief who insisted in the importance of freedom in
design that may produce something new out of the pored, repeated rhetoric and mass
construction aesthetics which could be seen manifestly in modernism and post-
modernism (D‘Anjou, 2011). Hadid way of design could be described as a typical
example of what Jean-Paul Sartre tried to explain in his philosophical theory
Existentialism: Existentialism Is Humanism. It is based on freedom of choice in design
and subjectivity with considering of design responsibilities and this topic was critically
discussed by Philippe D‘Anjou in An Ethics of Freedom for Architectural Design
Practice. Consequently, the factor of freedom in choosing the study or design direction
preferred by students is important to guarantee graduating creative and independent
generation.

Therefore, the liberty in design expression has given the opportunity for Hadid to
find her call suprematism which from Hadid has developed some of her techniques. Her
interest in suprematism refer to its innovative and bold way of presenting things which
stands on abstraction, purity and bushing the limits of conceiving painting (Aref, 2011).
Some of these pushed limits are painting some forms hovering in the canvas with
ignoring the gravity factor, in addition to painting in an abstract way through using pure
geometric forms rather than painting the literal embodiment of natural views. Kauw
(1998) has given brief history of the Avant-garde art movement: generative art including
suprematism and some of modern artistic and architectural schools such as Bauhaus and
De Stijl. He confirmed that suprematism style appeared in the early of 1900s within a
sequence of liberal artistic styles started with expressionism.
 19

Complementing to Kauw‘s demonstration, Detlef Mertins (2006) in The

Modernity of Zaha Hadid exposed another reason of how she gets involved in such
movement. It was through her teachers at AA Architecture Association, Rem Koolhaas
and Elia Zenghlis who were interested in Russian constructivism. Mertins declared that
Hadid painting of landscape is a skill acquired from mixing between the cubism‘s
prismatic expression for landscape and the futurist expression of dynamic energies
(Mertins, 2006). Figure 2.1 shows painting for the cubist artist Pablo Picasso in which
the landscape is expressed in prismatic forms, while Figure 2.2 shows Christopher
Nevinson painting expressing the arrival in dynamic and energetic way. Figure 2.3 is a
painting for Hafenstrasse Office and Residential Development in Germany by Zaha
Hadid which is a mixture of techniques used in both last two figures.

Figure 2.1: Landscape in prismatic expression for Pablo Picasso. Source: http://art.wmmhs.org
 20

Figure 2.2: dynamic and energetic arrival; painting for Christopher Nevinson
Source: http://www.time.com

Figure 2.3: Dynamic suprematist painting for Hafenstrasse Office and Residential Development
in Germany by Hadid. (Source: http//unconventionalstorage.blogspot.com)

Regarding to Hadid painting and drawing, Lebbeus Woods (2008) has discussed
their effects on her architectural ideas. Creating novel method of projection, Hadid
drawings were so ―systematic and obsessively analytically constructed‖ that ―reveal
complex and subtle rearrangements and reinterpretations of what most of us would call
reality‖ (Woods, 2008, p.31). Parviz Mohassel as well in Husserl: Phenomenology of
Architectural Drawings has examined her drawing and basically the validity of Husserl
theory in drawing concepts and imagination; whether they are phenomenological
reflective to the inner intention of artist or architect. In other words, they tell the story of
project development as a design and ―transcend the manifold presentation of identity‖
(Mohassel, 2008, p.ii). Philosophically, he has described in general her impressive
drawing that look like as if they are ‗computer-generated‘ because of their accurate way
 21

of painting even in regard to small details. In general, Hadid early paintings were
universally recognized by their precision, professionalism, and creativity. She declared
that painting in abstractive way is a better way for exploring ―space, form and the spatial
and organizational arrangements‖ rather than drawing (Michaud, 2011).

The intentions and factors considered in the design process by Hadid and other
three free-form architects of this era were highlighted by Joseph Wong. Using grounded
theory and based on their words in both writing and interviews, he divided their
intentions and factors into five major categories that are inspiration, exploration,
language, context and industry, each category has sub-themes and collected them in one
diagram which explains them clearly; it is attached in Appendix A. Then he illustrated
each architect in separated figure referred to individuality in set of considerations. This
study would be even more efficient if it addressed the strategy of those architects in
designing free-forms.

One of the similar studies is Le Corbusier: An Analysis of Form done by

Geoffrey H. Baker (1996). The study is divided into four stages; each one discusses the
formative years outline for Le Corbusier architectural form. The sixteenth examined
projects were selected according to their ability to demonstrate the main propositions.
Each project is analyzed according to the different variables that contributed to
formulate the projects shape with pointing and giving some focus to the developmental
stages. The analytical and exploratory study has demonstrated the architect strategy of
design, the different factors which affect the design like site forces, and inspiring notions
such as nature; the explanations are illustrated by sketches.

In regard of Frank Lloyd Wright, Grand Carpenter Manson (1958) has written
about the formation of his architecture and the events that form his ideas. The author
describes it as a radical, so personal, and Wright‘s born architecture that came from
 22

within. He interpretatively referred it to inheritance and the environment which is about

family and place he grew up; training period and Oak Park that is Wright‘s home and
studio. Through his discussion, he is descriptively trying to illustrate the concept of
Within that the architecture of Wright is a result of accumulative personal events, work
experiences, independence, as well his intelligence.

As a pattern of design, the organic architecture is addressed by Sonmez (2006) in

which he studied the reflection of Frank Lloyd Wright‘s organic architecture on housing
design in Turkey. the study is conducted through two stages, firstly, doing a content
analysis for Wright‘s words to come up with the complete meaning of organic
architecture and examining them through photographs and drawings of his projects.
Secondly, he conducted a survey and comparative analytical study for the organic design
of the architectural context in Turkey that are some vernacular, local and contemporary
samples of Turkish architecture. The author found that there are some similarities
between the basis of Wright‘s architecture and the vernacular and the local Turkish
architecture; however, this thing is not clearly embodied in the contemporary samples of
Turkish architecture due to the misunderstanding of the term Organic through Turkish
architects with some exceptions to professional individuals (Sonmez, 2006).

Francis D. K. Ching (1996) in his turn has demonstrated the stages of form
development started from point and line ended with ordering principles that are axis,
symmetry, hierarchy, rhythm, datum, and transformation. It is a descriptive and
analytical study for space and form‘ elements, properties, organization, and principles in
a detailed way. The study is not limited for specific projects or individuals; however, it
includes the projects that serve the purpose and clarify the explanations.
 23

Clark and Pause (1985) in Precedents in Architecture analyzed and studied the
formative ideas in architectural design. The study has two sections; the first one used
analytical method to inspect the similarities in 64 designs of built projects for 16 well-
known architects such as Alvar Aalto, Robert Venture, and Frank Lloyd Wright; the
analysis included four projects for each architect. While the second one dedicated to
identify the formal ideas of these designs. The projects were selected in order to
represent different eras, styles and functions, in addition to being restricted by the
availability of information (Clark and Pause, 1985). The authors found some formal
ideas that could be generalized to architects works; they are the relationship between
plan to section, unit to whole, repetitive to unique, additive and subtractive, symmetry
and balance, geometry, progressions, and reduction.

As mention above in this section there are some studies were conducted to
demonstrate the architectural works of some architects and precedents but none of them
has addressed the architectural work of Zaha Hadid. Also in a level of articles and
journals related to her, there are many journalists have written about particular or
individual project such as Douglas Spencer who wrote about BMW's plant at Leipzig in
2005 and Reid (2009) about the Cincinnati Contemporary Arts Museum; however, it is
assumed that the formal aspects of her projects generally have not been addressed yet.
Consequently this study has taken this mission as a research gap in which the domain is
the architectural form of Zaha Hadid. Trying to find out whether her projects could be
categorized under specific patterns although they are characterized by variety and
complexity. Moreover, this study investigated the special techniques Hadid uses or
follows to generate creative forms.

To answer these inquires; this chapter discusses Hadid background that portrays
the connection between some important events in her life and her career developments.
It also addresses the meaning of architecture from her viewpoint that in its turn would
illustrate briefly her rationality of conceiving architecture. Figure 2.4 illustrates the main
 24

study areas covered in literature review. Since this research is about the architectural
form of Zaha Hadid, it is essential to define the form, its‘ principles, strategy of design
and the sources of inspiration. Through reviewing the academic sources about Hadid
and her description to works, it is assumed that to comprehend the analysis and
discussion in the next chapter , it is required to address three interesting domains which
have strongly and visibly appeared in her works; they are suprematism,
deconstructivism, and parametricism.

Suprematism is the inspiring art movement for all of Hadid early works and
some of her recent projects (Dezeen, 2010). Then, deconstructivism as an architectural
movement which dramatically changes the trajectory of logical architecture to totally
new one that admits no previous rules, principles, or any of building laws (Hadid, 2006).
Hadid is one of deconstructivist pioneer architects in this movement based on the
exhibition done in New York (1988) under the name of deconstructivist architecture.
Finally, parametricism is a new architectural movement launched by Zaha Hadid
Architects in 2008. Hadid said about it ―parametricism assumes that all elements of
architecture are parametrically malleable and thus able to adopt to each other and to the
environment via scripted correlations‖ (Futagawa, 2010, p.6).
 25

Architectural form Suprematism Deconstructivism Parametricism

 Definition  Definition  Definition &  Definition

 Resources  Background Properties  Background &
 Forms patterns  Principles of  Background development
 Principles form &  laws
Classifications  Characteristics
 Techniques  Techniques
 Resources
 Strategy of
 Deconstruct-
design ivism of
Derrida
 Derrida
Theory

To know To know To know To know

The way of The art The general The general

analysing forms & contributions to features of this features of this
generalizing architectural form trend and its nature trend and its nature
theories of Hadid

Hadid has done a As well, she has Hadid was one of Zaha Hadid
radical shift on largely its pioneers Architects office
contributed in principles has established
the way of
this new
conceiving this artistic style
architectural
architectural in regard of a style
form major
development of its
principles

Figure 2.4: The covered study areas in literature review

 26

2.2 Zaha Hadid Background

Full of rebel, mysterious thoughts, rejection of what is norm, and strong will of
gaining success, Zaha Mohammad Hadid now is considered as a new architectural
school in the 21st century followed by eager generation for scientific innovation and
artistic creation. She was born in 31 October 1950, in Iraq, in one of Baghdad's
precedent Bauhaus-inspired houses (Forrest, 2008). Hadid grew up in a Muslim, rich
family who believes and defends democracy. In 1968, she studied mathematics at the
American University in Beirut for four years where she became fascinated to geometry
(Belogolovsky, 2008). Then she moved to London in 1972 to study architecture at the
Architectural Association where she got diploma prize (Hadid, 2006). In 1977, she
worked as a partner with her teachers Rem Koolhaas and Elia Zenghelis at OMA (Office
of Metropolitan Architecture) for three years.

Later in 1980, Hadid opened her own office-Zaha Hadid Architects. One year
later, she visited many cities in China where she learned about traditional architecture
and art especially what is regarded to space, layering, and creative landscape (Hadid,
2011). Coming back to London, Hadid won the international competition of the peak
project in Hong Kong (1983) in which she got her first global reputation. She even
becomes more famous through her subscription of this project in Museum of Modern
Art, MOMA, in New York (1988). Her project where described as non-buildable,
obscure, and difficult to understand ―most MOMA visitors found the new shapes,
particularly Hadid‘s baffling. She presented her ideas in impressionistic, abstract
paintings, designed to get across the feel of her spaces‖ (Designmuseum, 2007). In this
project, she applied what she had already learned in China accompanied with some
techniques of suprematist art (Hadid, 2011). However this project never built and
because of that she was described as a paper architect (Hadid, 2005). Her first built
project was Vitra fire station in Weil-am-Rhein, Germany (1993).
 27

Due to her reputation of creative ideas, she was asked by some of the prestigious
universities through the world to teach her innovative notions in architecture and art
such as Harvard University‘s School of Design, Columbia University, AA in London,
and University of Applied Arts Vienna. She got many prizes but the most significant one
was the Pritzker Prize in 2004 and she is the first female to get this award. After this
important event, Hadid got many projects and her works nowadays are distributed all
over the world. In addition, she has been chosen as one of the first and most 100
influential personalities in the world by TIME Magazine, as well she is named as UK
artist of peace by UNESCO (Designboom, 2010).

Hadid talent was enhanced by her parents who encouraged and motivated her
with different kinds of supports such as visiting exhibition and furniture studio,
travelling, and letting Hadid decorate her room (Belogolovsky, 2008). Her interest in
architecture started in her eleven ages (Designboom, 2007). Hadid mother taught her
drawing and she used to practices it a lot (Barber, 2008).

Figure 2.15: Zaha Hadid. Source: http://www.vogue.com/

 28

2.3 Architecture from the viewpoint of Zaha Hadid

Since the first sight to Hadid projects, one may suspect in the perfection of the
project‘s functional performance because she always cares about the exterior appearance
and puts it in her priorities in design. However, going through project spaces, one could
recognize that the project has done its functional tasks in the same level the traditional
one does accompanied with the element of exciting, exploring, and eagerly desiring to
see what is next.

Hadid believes that architecture has main affective role in human mood, the
quality of human life, and the way of perceiving world. She claimed that architecture is
not only a closed structure that holds the activities it built for but it also should make its
users calm, think, and as she said ―Buildings should keep you dry and feed the soul‖
(Hattenstone, 2003). Furthermore, she insists that architecture should be a unique thing
leaving its influence in the area life and attracting people to experience them
(Hattenstone, 2010). She wants her building ―to connect, to form a new kind of
landscape, to flow together with contemporary cities and the lives of their peoples‖
(Glancey, 2006).

Hadid‘s dislike for repetition principle pushed her to use new techniques such as
layering and fragmentation in order to rebel and break down many architectural rules
which resulted in producing repetitive architecture; she described such architecture like
mass production of the industrial period (Hattenstone, 2010). She considers her trend as
a continuation of modernism mission in regard of breaking the inherent rules merging
that with the learned principles from suprematism: avant-garde movement in art
(Belogolovsky, 2008).
 29

Creating architecture characterized by fluidity and complexity was her ambition

and was the goal that she is looking forward to achieve in her works (Designmuseum,
2007). This ambition has been achieved successfully by imitating forms in the rich
source; the nature and qualified her works to be harmonically as a completed part of the
general scene. Hadid considers architecture as a product that ―follows the inherent logic
of cycles of innovation generated by social and technological developments‖ (Didero,
2012). She referred her success to going through the unknown place as she said ―It is not
possible to achieve an advance without an element of uncertainty and without an
enticing embarkation into the unknown‖ (Hadid, 2002).
 30

2.4 The Architectural Form

Since this research is about the architectural form of Zaha Hadid, it would be
beneficial to give a background about form definition; patterns, principles and inspiring
sources. Architecture is formulated in responding to a set of conditions such as function,
purpose, society, economy, politic, and climate (Ching, 1996). Based on these variables
and conditions, each city has its own architectural characteristics. Architecture is also
about comprehending ―the vocation of the space‖ and collecting ―the properties of the
place and bring them close to man‖ (Norberg, 1980, P.23). In general, it could be used as
an indicator and parameter for society interests, ―its organizational skills, affluence or
poverty, the kind of climate and the attitude towards technology and the art‖ (Baker,
1989; p.xix). To guarantee the success of architectural design, it should fulfill its three
essential tasks that are distribution, construction, and decoration discussed by Augustin-
Charles d‘Aviler (Schumacher, 2012). These are originated from Vitruvius tripartite
divisions of architecture that are function, structure, and beauty. This research is in
charge of studying the beauty side for the architecture of a famous contemporary
architect ever, Zaha Hadid.

The architectural form is the exterior structure or configuration of the building

which plays main role in the evaluation of project success. It is the part where art enters
in and makes project more attractive and communicative (Le Corbusier, 1986). This
piece of art resulted from the interaction of designer with the site factors in order to earn
the project unity, balance, and harmony with the surrounding (Arnheim, 1974). With the
facilities acquired by advanced technology, the architectural form started to take new
path of expression that is dealing with a building as sculpture pleasing sight, body, and
at the same time do the equivalent function done by the traditional architecture.
 31

2.4.1 Sources of Architectural Form

This part illustrates the inspiring sources for the architectural form notions.
According to Gelernter (1995), there are general five theories about form notion that
are: firstly, the architectural form is configured according to project function. Secondly,
it is a result of architect creative imagination and it is assumed that this theory is
applicable to Hadid works. Thirdly, the building form follows the prevailing spirit of the
age such as the architecture of the international style. Fourthly, the other forms depend
on the prevailing social and economic conditions. Finally, the architectural form is
resulting from ―timeless principles of form that transcend particular designers, cultures,
and climates‖ (Gelernter, 1995; p. 14). Wong (2009) has briefed the inspiring sources of
four deconstructivist architects to art, architecture, and objects whether they are natural
or man-made. Thus, the architectural form notion generally depends on the architect and
project focus. It also relies on the desired language or story the architect need to show in
order to serve project purpose.

2.4.2 Principles of Form: Aesthetics

Form principles are a set of guiding rules to generate acceptable and rational
architectural design, they are applicable in the form of plans, facades, and the general
configuration of the building. Moreover, principles are considered and used as a material
in evaluating the success of the architectural designs. Howard Robertson (1924) in The
Principles of Architectural Composition emphasized that unity, masses, contrast,
proportion, scale are important and controlling elements in architectural design. Zunde
and Bougdah (2006) argued that aesthetics are a combination of both a philosophy
focusses of questioning beauty and ―consideration of the rules governing art‖ (p. 119).
 32

They also added to the principles addressed by Robertson that balance could be achieved
in three ways that are symmetry, duality, and occult or asymmetrical balance, and the
other additive principle are rhythm, style, decoration and color.

Another set of principles is established for the organic architecture by Frank

Lloyd Wright. The principles were demonstrated by Sonmez (2006) under three themes
that are: firstly ―The functional paradigms of nature in architecture‖ (p.17) which are
simplicity, unity, and harmony. Secondly, the design features that are plasticity,
continuity, character, integrity, discipline, and tenuity; it is a term indicates tiny and slim
features referred to structure lightness by using glass and steel. Finally, the physical
aspect of the project starting with freeing space; landscaping the project as a reflection
of topography and natural features of the site; reflecting project nature in the form that is
form follows function; considering human scale in design; and materials are essential
elements that articulate form and space (Sonmez, 2006).

However this study is addressing the common principles which could be found in
more than two sources studied this topic in details such as Ching (1996), Robertson
(1924), and Zunde and Bougdah (2006). The explanation is accompanied with some
examples to illustrate and clarify the meaning of principles that are rhythm, unity, scale,
decoration and embellishment, and balance.
 33

2.4.2.1 Rhythm

Rhythm is about a sequential repetition of elements in a dynamic way that could

be in regular or irregular recesses (Ching, 1996; Zunde and Bougdah, 2006); these
elements could be masses, windows, embellishment or any architectural parts. This
principle plays important role in determining the aesthetics of architectural form. Figure
2.5 shows the rich and systematic rhythm in Cathedral of Amiens in France in which the
windows and other architectural elements recurred in a regular manner.

Figure 2.5: The systematic rhythm in Cathedral of Amiens in France. Source:

http://www.theworldisyourpassport.com

2.4.2.2 Unity

Unity is a sensation of a harmonious coherence goes through all parts of the

project. It could be achieved through considering some issues that are color, texture,
materials, shape, scale, and dynamic (Zunde and Bougdah, 2006). The example projects
are some residential buildings in the old city Sana‘a, Yemen (Figure 2.6). There are a
 34

perfect unity through the facades and forms in general and this refers to the unity in the
used materials that are Alaageor for built purpose and plaster for decoration. There is
harmony in the colors of the materials as well their textures. In addition, the architectural
elements such as windows and the units of decoration were used and distributed in a
rhythmic manner with considering their rational variety in size and form. The used
shapes are coherently joining each other in a dynamic and symphonic way. It is clear
that these building were designed according to human scales as well his activities.

Figure 2.6: The perfect unity in some of residential buildings. Old Sana‘a, Yemen
Source: http://www.p-yemen.com

2.4.2.3 Scale

According to Ching (1996), scale ―refers to how we perceive or judge the size of
something in relation to something else‖ (p. 313). It is generally confirmed in design by
considering the standards of space height as well height of the buildings which basically
were designed to meet human requirements in a studious and suitable way.
 35

2.4.2.4 Decoration and Embellishment

Since the early ages of architecture, architects rely so much on embellishments to

add touches of beauty to the buildings such as the decorations and drawings founded in
the interior walls of pyramids in Egypt. For long decades, embellishment plays main
role in the façade and interior design in order to complete the desired image of the
luxurious project. Decorative elements or units varied and diversify according to their
motif, meaning, significance, and location (Kamarudin, 2011). In traditional
architecture, embellishment has a meaning and symbolism; however, Zunde and
Bougdah (2006) insist that the overall forms must be appreciated before small details
such as embellishment. Figure 2.7 shows the rich embellishment embodied in the facade
giving it more dynamic and life rather than the solid surfaces.

Figure 2.7: The rich embellishment in some of residential buildings. Old Sana‘a, Yemen.
(Source: http://www.flickr.com)
 36

2.4.2.5 Balance

Balance is the responsible factor for the static condition of the form. It can be
understood by conceiving ―each element of the composition as a weight, to be
counterbalanced by another‖ (Zunde and Bougdah, 2006; p.127). According to them
there are three kinds for balance that are symmetry, asymmetrical, and duality.

Symmetry occurs when the first half of the form or façade is exactly the same of
the second. Duality is similar to symmetry; while duality is the term used to describe
balance happening between two equal separated forms, symmetry is used to describe the
perfect similarity between two halves of one form (Zunde and Bougdah, 2006).
Asymmetry is another condition in which the balance and equilibrium could be
evaluated only by sight. Figure 2.8 is a depiction for the three cases of balance, the
first one is a typical symmetry in architecture which the right side of the form is exactly
the same in the left while the second and third drawings are consecutively the duality
and asymmetry balance cases.

(a)

(b)

(c)

Figure 2.8: The three conditions of conceiving balance; (a) symmetry, (b) duality, and (c)
asymmetry. (Source: Integrated Strategies in Architecture)
 37

2.4.3 Patterns of Architectural Form

While Evans (1975) and Gelernter (1995) analyzed and categorized the patterns
or styles according to the different eras over time such as Renaissance and Antiquity,
Pause and Clark (2005) categorized form patterns based on the relative disposition of
parts and the way of organization that are linear, central, cluster, nested, concentric,
binuclear and double-centered. These varieties in determining form patterns underlie the
difference in origins of form time, notion, sources, and author‘s perspective of
evaluation. The coherent properties of form could govern its pattern and compositional
elements; these properties are form position or location in relative to the surrounding
architectural masses, form orientation, and visual inertia; ―the degree of concentration
and stability of a form‖ (Ching, 1996, p. 35). Architectural patterns are powerful clues
for architecture origins, time and orientation of society, ―the concepts of character and
expression‖ in the orientation has underlain purpose behind it (Schumacher, 2009). As
language of expression, a character has a relationship with project function and this
character generates the impression of project nature such as the formal design of Dance
and Music Centre in The Hague, the Netherlands design by Hadid that reflects its
energetic functional nature—see Figure 4.29. Although the styles have huge differences
in their appearance, they have at the end the same purpose that is enhancing the formal
architectural language and achieving notion communication (Kulic, 2001). Lately, a
massive number of architectural forms appear as a result of the architectural digital
programs such as parametric design system which it‘s ―parametricist patterning is the
move from adaptive compensation to the amplification of differences‖ (Schumacher,
2009). Such programs give the opportunities for designers to unleash their imagination
and translate them into real projects.
 38

2.4.4 Techniques of Generating Form

This part discusses some techniques used and helped to generate form.
Technique is the way or procedure of achieving work. Ching (1996) discussed some of
these techniques such as using regular and irregular forms, transformation of form
whether additive or subtractive or dimensional manipulation, collision of geometry,
rotated grid, and form articulation. Such techniques are used to generate traditional
architectural forms that characterized by simplicity. However, the architecture of this era
that featured by spatial complexity and ambiguity cannot be generated by this simple
ways; example of this architecture is embodied in Hadid and Thom Mayne works . This
complexity could not be achieved except with the assistance of new architectural
programs which translate the imagination of architects to applicable projects. There are
three methods mentioned by Kulic (2001) to enriching the variety of form complexity
that are superimposition, deformations, and curves. These methods are some applicable
tactics in recent architectural programs such as Grasshopper and Rhino. They constitute
the underlie reasons of the revolution in both sectors; architecture and civil
engineering. Some formative ideas were discussed by Clark and Pause that could be
helpful in making some advances in the process of designing form such as the
relationship between plan and section or elevation, unit to whole, repetitive to unique,
additive and subtract, and others. These formative ideas are a result of analyzing 64
projects for different architects. They are generalized as a theory that could be applicable
to other architects works. They could be used as helpful sub-techniques to generate
form, organize decisions and direct architect in design process; in other words, they
facilitate design operation by giving directions.
 39

2.4.4.1 Relationship between Plan and Section

The relationship between plan and section or façade could be helpful if an

architect uses it as ―an identifiable correlation between the horizontal and vertical
configuration‖ (Clark and Pause, 1985; p.139). Therefore, whatever a kind of
configuration is used in one should affect the other in regardless of which is designed
first. The authors have addressed five kinds of interactive, formative relationships that
are: firstly, equal relationship between them ; whatever configurative line or form is
used in the plan, it also used typically in the section or elevation and vice versa.
Secondly, one to one-half relationship is the configuration which is embedded 100
percent in one and 50 percent in the other. Thirdly, analogous relationship occurs when
the configurative line is similarly found in both of them. Fourthly, proportional
relationship is the one existed when one configurative form is embedded in the other
with some difference in the formal proportions. Finally is the inversely occurrence of
relationship that happens ―when the configuration of one is connected to some opposite
condition in the other‖ (Clark and Pause, 1985; p.160); see the illustrative examples
attached in Appendix D.

2.4.5 Strategy of design

In De Architectura, one of the earliest ten surviving Roman books by Vitruvius

since first century CE, Vitruvius insisted on the presence of three important elements in
the architectural design to ensure its success that are firmitatis (durability), utilitatis
(utility), and venustatis (beauty) with previous consideration for function over aesthetic
(Zhou, 2011). This concept of considering priorities in process design was also believed
 40

by the precedents of modern architecture in the twentieth century. Le Corbusier

announced his thinking as functionalist in 1921 after a long and deep study to
architectural philosophy. He declared that ―house is a machine for living", in addition to
Mies van der Rohe, Walter Gropius, Alvar Aalto and other modernist architects who
insists that form follows function (Kornberger and Clegg, 2004).

Since the strategy is a plan or process architects use to achieve the architectural
design task, the study addresses the strategy used by Derrida‘s architects as a
contemporary example of deconstructivist architecture. Mark Wigley has explained
the philosophy of Derrida as a strategy of questioning and approach for critical thinking;
re-reading. It creates new meaning through mutually- functioning concepts and reversals
of logic of both traditional constructions and concepts of architecture (Durmus and Gur,
2011). According to Derrida‘s philosophy, theory application in architecture is the
incompletion presence of both deconstruction and architecture in building. Peter
Eisenman has translated Derrida‘s Strategy of Deconstruction into architectural theoretic
process used to produce deconstructivist architecture (Patin, 1993). To do so, architect
should conceive the building as a text consists of opposed binary metaphors and try to
reread from his imaginary vision with applying the following steps. Firstly, architect
should consider the present and absent principle which gives the opportunity of creating
something unusual through eliminating some necessary parts of building such as column
or corner. Secondly is applying reversal of hierarchy principles by using the opposite
binary metaphors such as form and function or exterior and interior. One of
deconstructivist principle is to reverse the usual order of the metaphors: the second one
takes the role of the first one. Thirdly is observing the in-between through used
oppositions by dealing with opposed metaphors. Using such way would create many
unexpected problems which cannot be faced if work in traditional way. Therefore, in-
between indicates finding solutions for these problems in a way that would satisfy the
viewers by fulfilling the factors of aestheticism and function. Finally, applying
interiority principle in which the architect textually gives his attention to what is inside.
Here, Eisenman applied the reverse of the center and margin roles as Derrida did. The
 41

center implies to the prominence, and certainty where one can find all activities, while
margin indicates uncertainty and insignificant (Durmus and Gur; 2011).

As the first stage of designing- writing a text, Derrida‘s architects create

solutions in their imagination by using the quality of metaphors which basis on the
oppositional terms. They do not follow a concrete method to solve problem but
experiment solutions parallel by conceiving a design problem; they come with solution
in the early stage of a design (Durmus and Gur; 2011).

2.5 Suprematism (Non-Objective Painting)

Since Hadid has declared frequently that her early projects are inspired from
suprematism (Dezeen, 2010; D‘Apuzzo, 2011; Glancey, 2006). This chapter discusses
its definition and background as well a slight focus is given to the suprematism
principles.

2.5.1 Definition of Suprematism

Suprematism is Russian art movement established by the artist Kazimir Malevich

in 1915, which is based on painting in an abstract geometric way (Mertins, 2006). It is
associated with thoughts of spiritual purity and independence. Painting in this way is
difficult to identify what it is about because it mostly conveys the artist inner state in an
 42

abstract manner rather than obvious one (Kauw, 1998). Hadid in the exhibition in
MOMA Museum of Modern Art presented her project in abstract painting whereby she
could express her feeling and imagination of the radical and fluid spaces (Mertins,
2006).

2.5.2 Background of Suprematism

As stated in Generation of Abstract Geometric Art Based on Exact Aesthetics,

Gestalt Theory, suprematism roots can be traced to expressionism which is the basis of
the late modernism movements in art. In 1860s, expressionism was the first movement
that started to take new way of expression in painting; abstract art rather than classical
one that portrays things as it is in realty (Kauw, 1998). As a sequence, new trends of art
appeared to be more abstract in expression like impressionism, cubism, futurism, and
suprematism.

Starting as a futurist artist, Malevich converted to establish Suprematism that is

as he claimed has no roots from cubism and futurism (Aiello, 2005). Almost of his work
were about searching of the original (pure) and what is uncontaminated (Bowlt, 1976,
p.133). His black square on a white canvas was the first start point of his philosophy
about suprematism. He wrote about it ―I have transformed myself in the zero of form,
and through zero have reached creation, that is, suprematism, the new painterly realism-
non-objective creation‖ (Bowlt, 1976, p.133). He regarded the black square as a symbol
of perfection and the base of all new forms whatever they are. Malevich said in
describing form in suprematism ―forms of Suprematism have nothing in common with
the technology of the earth's surface" (Crowther and Wünsche, 2012, p. 60).
 43

In the early of 1920s, some Russian architects have applied suprematism in their
architectural works such as Vladimir Tatlin, Yakov Chernikhov (Mertins, 2006). These
architects were the main members of constructivism; new Russian movement in
architecture. They actually made a shift in the overall view of architecture in the
country making it appear in a different and abstract way (Belogolovsky, 2008).
Figure 2.9 and 2.10 show some projects designed by Chernikhov expressing this style.

Figure 2.9: Suprematist project by Yakov Chernikhov featured by anti-gravity and using pure
geometrical forms. (Source: ethel-baraona.tumblr.com)

Figure 2.10: Constructivist project by Yakov Chernikhov characterized by deriving project form
from machine‘s shape. (Source: bartlettyear1architecture.blogspot.com)

Malevich, who started as a fauvist artist then worked in the cubism manner, was
searching for purity of form (Ruddley, 1970). As stated in Essays on Art, 1915-1933,
vol. I and vol. II. Kazimir Severinovich Malevich, suprematist art aim was to produce an
art that would make the viewer an active part of the art work while he is trying to
 44

understand and interpret the painting. Figure 2.11 is 2D painting for Malevich and
Figure 2.12 is 3D painting for El Lissitzky.

Figure 2.11: Abstract Painting Presented in 2D pure geometrical forms by Malevich. (Source
@ lightinthebox.com)

Figure 2.12: Suprematist Painting Presented in 3D employing Anti-gravity feature by El

Lissitzky. (Source @ http://citrinitas.com)
 45

2.6 Deconstructivism

This part of study sheds light on deconstructivism because Hadid is one of its
pioneers. After modernism and because of the fast development of science and
technology, architects have the desire to give the real picture of their time and reflect it
in their building (Hattenstone, 2010). The period of the mid of 1900s was featured by
chaos and uncertainty and that was appeared in works of some architects such as Coop
Himmelblau, Peter Eisenman, Frank Gehry and others as discussed in The Uncanny and
the Architecture of Deconstruction by Bart Van. However, the first appearance of
deconstruction could be traced to 1917, the period of the First World War, when the
Russian artist Vladimir Tatlin had drawn a new painting called constructivism that was
really abstract and different (Mertins, 2006). According to Mertins, at that time, Russia
had signed protocol to end this war and announced the end of the Tsarist autocracy and
beginning of the Soviet Union. Russia tried to recover from the huge damages befalling
on it. With the strong desire of setting a new democracy and building the most advanced
union in the world, it had launched a vast campaign: revolution in every sector such as
science, economy ―art and architecture became aligned with the Russian Revolution's
radical politics and served as instruments for the reorganization of life after the
overthrow of the tsar .Constructivist architects devised new building types that would be
commensurate with the forms of social organization desired in the new Communist
state‖ (Mertins, 2006; p.33).

This development in Russian architecture has influenced the vision of many

architects around the world; one of them is Rem Koolhaas, the teacher of Zaha Hadid in
Architecture Association in London. As one fan of the Russian constructivism, he taught
it for his students encouraging them to produce like architecture by giving them the
freedom in designing, expression and they were provided with the best teachers
throughout the world. Therefore, Hadid had earned her architectural diploma in an
 46

environment full of differentiation and creation. They offer them inspiring atmosphere
of deconstructing what is usual and producing everything new and extraordinary
(Marjanović, 2010). This helps her to take her potential talent out and qualified her to
subscript in MOMA for the first exhibition of deconstructivist architecture, which gave
her international recognition for the strange design of the Peak in Hong Kong.

Deconstructivism aims were to destroy all the logicality of what postmodernism

calls for, such as the imagery of historical buildings. It was described as the inhumanism
architecture that is conceptually based on deconstruction, fragmentation, and
extermination (Salama, 2007).

Under the supervision of Philip Johnson and Mark Wigley, seven architects that
were known for their deconstructivist style were invited to MOMA Exhibition (1988) in
New York (Straeten, 1997). They have established a new architectural movement based
on limitless and liberated form which its strategy totally reverses the modernism‘s
principles of design. The architects were classified into two groups, the first one were
those who inspired their ideas from different resources such as Hadid from suprematism,
Rem Koolhaas from constructivism and Frank O. Gehry from nature; organic.
Generally, these architects conceive architecture as a creative image or sculpture. The
second group were the Derridean architects who deconstruct philosophically in text then
reflect it in their works like Peter Eisenman, Bernard Tschumi, and Daniel Libeskind
(Straeten, 1997). The first group is more reasonable and realistic than the second one;
the causes are explained later in this section.
 47

2.6.1 The Roots of Deconstructivist Architecture

As mentioned in suprematism background section that constructivism is an

evolved movement from suprematism. Hadid in her interview with Alvin Boyarsky; the
director of Architecture Association has emphasized repeatedly that the abstractive art
movements in the early twenties-century such as Futurism, Cubism, and Suprematism
have inspired their ideas from primitive and figurative art which are Arabic and Chinese
calligraphy, African art, and geometric design (Hadid, 2006; Didero, 2012). Then,
these avant-garde art movements were the seminal inspiration and motivation for new
architectural movement such as constructivism and deconstructivism as demonstrated in
Figure 2.13.

Arabic &Chinese Calligraphy

African Art Primitive and Figurative Art

Geometric Design

Inspired early-twenties-century
Avant-garde movements in art
which injected them with
fragment abstraction
Deconstructivist architects
from AA
Ex;
Zaha Hadid
Constructivist architects

Figure 2.13: The Roots of Deconstructivist Architecture from the view point of Hadid
 48

2.6.2 Deconstructivism from the Standpoint of Derrida

Jacques Derrida, the French philosopher has announced his philosophy of

deconstruction in the early of 1970s. Identifying the enigmatic nature of deconstruction
as a difficult task, Derrida and Mark Wigley have redundantly explained it from their
philosophical vision in a way that could evaluated as hallucination and this could clearly
be observed by reading Derrida‘s book The Architecture of Deconstruction: Derrida's
Haunt. Deconstruction started as new theory in philosophy; gradually professionals
from different sectors have shown their interest on this theory by applying it in their
works and thoughts. In his theory, he assumed that the text in language has an infinitive
number of meanings justified that by the difference of people thoughts (Wigley, 1993).
He attributed this to the variety of understanding that differ from person to another
according to many factors such as the level of education, culture, race, religion and
because of this there is no start or end point of comprehending such nature (Bowlt,
1976). Deconstruction as Mark Wigley grasped is "ongoing structural event, a
continuous displacement of structure that cannot be evaluated in traditional terms
because it is the very frustration of those terms." (Wigley, 1993; p.266)

2.6.3 Derrida’s Theory Application in Architecture

Peter Eisenman describes deconstructivism as ―an expansion beyond the

limitations presented by the classical model to the realization of architecture as an
independent discourse, free of external values-classical or any other; that is, the
intersection of the ‗meaning-free‘, ‗the arbitrary‘ and the timeless in the artificial‖
(Eisenman, 1984; p.166). Eisenman and Derrida worked together in writing ―L‘Oeuvre
 49

Chorale‖ article about deconstructivism which merged between philosophy of Derrida

and Eisenman vision about the future architecture (Straeten, 1997). His programmatic
texts are good models of deconstructivism philosophy. The meaning of deconstructivism
from viewpoint of Derrida‘s architects could be observed through Eisenman article The
End of the Classical: The End of the Beginning, the End of the End. Another example is
Bernard Tschumi in his project Parc de la Villette in Paris; he conceived the park in
unprecedented way eliminating important park‘s elements like monuments and straight
axis. As well, Denial Libeskind in the Jewish Museum in Berlin has designed unjustified
tight passages, unsteady axes and deadend stairway (Straeten, 1997).

2.7 Parametricism

It is a new style in architecture and urban design. As stated in Parametricism - A

New Global Style for Architecture and Urban Design, the early emergence of
parametricism could be traced to the mid-1990s in the digital animation techniques. This
style has been launched by Zaha Hadid architects, namely Patrick Schumacher who is a
lecturer at Architectural Association in London, the main activist in establishing such
trend and Zaha's partner architect in many of her designs especially the latest ones.
Zaha Hadid architects interest in the techniques of the digital animation encourages them
to profoundly involve and deal with the advanced parametric design system. Their
effective roles extend to become one of the advanced groups in developing such system
in order to meet what they looking forward to achieving their optimum goals.

According to Schumacher (2008), parametricism as a mature style is the

reasonable candidate to become the epochal architectural style of the 21st century after
modernism. He assumed that all of postmodernism, deconstructivism, and minimalism
 50

were just a transitional and short lived episodes which were resulted of the uncertainty
and confusion left by modernism (Schumacher, 2008; Futagawa, 2010).

This architectural style is based on innovative design research programs which

develop gradually and parallel with the advanced progresses occurring in the
computational sector. These programs: MEL-Script, parametric modeling, and Rhino-
Script give variable and different innovative forms that could be enhanced by the
aesthetical sense of the architect or designer (Leach, 2009). Forms generated by these
programs are featured by morphing and dynamic change which grabs our minds to the
ones used in science fiction films. These programs have the ability to ingeniously
connect the design of the interior spaces with the exterior form and even within a large
domain such as the form of landscape and urban planning to portrait them as a one
system. A good example of that is Kartal-Pendik master plan in Istanbul, Turkey, 2006
(Figure 2.14). The competition was won by Zaha Hadid Architects office. From the first
sight one could see the fluidity goes through the master plan creating seamless and
harmonious picture. Sight is automatically drawn with the studious, flowed curvy road
networks composed by Maya hair-dynamic tool6 to the (I, L, Z, U) blocks which rise
gradually from the ground to meet the cross towers escalating into the sky of the city.
Schumacher said in describing avant-garde movements in architecture ―Styles represent
cycles of innovation, gathering the design research efforts into a collective endeavor.
Stable self-identity is here as much a necessary precondition of evolution as it is in the
case of organic life‖ (Schumacher, 2008).

Zaha Hadid Architects and AADRL; Architectural Association Design Research

Laboratory are working together in parametric design tools and programmatic scripts to
come up with adaptive and completed architectural program (Leach, 2009). The
program is characterized by achieving design tasks and solving problems that usually
face the architect. It has the feature of auto guiding the work in a scientific way. The
form in these programs could be manipulated to get various numbers of new forms
 51

because of the malleability feature of the form afforded by the program until getting the
desired results (Futagawa, 2010); ―Form-finding process actually is a process that
exterior forms fit interior structures‖ (Yuan and Yi, 2012).

As this system enhancing the number of new imaginary forms, it prevents the
designer to work within areas; Schumacher called them taboos. Taboos are paths that
might trap the architect and make him involving back in the old styles. Briefly, these
taboos are working with pure geometric forms, using simple repetition, and finally
juxtaposition for unrelated forms (Schumacher, 2008).

Commenting on this strategy, it is suggested to not deal with the idea of taboos
and make it optional for designer or architect in order to guarantee the continuity success
of this style. It is essential to offer freedom principle in order to create suitable
environment of innovation. Although fluidity adds beauty to the scenery in the level of
one project, however it is supposed that it cannot be achieved with the same degree of
prettiness in urban planning scheme. For the reason that the beauty of designing building
in parametric pattern come into view with the existing of contrast principle embedded in
curvy line of parametric project and straight lines of neighborhoods.

The parametric design system is designed based on a set of quantitative data

connected with qualitative one. Therefore, any changes in the quantitative data will
translate into a modification in the form and drawing. Moreover, this system offers an
optimal feature that is rarely could be found in other system; it is the using of scientific
experiments which provide the system with strong, carefully studied solutions and
facilitate many things for the designer.
 52

Figure 2.14: The parametric design of Kartal-Pendik master plan in Istanbul, Turkey.
Source: zaha-hadid.com

To sum up, this chapter discussed the accessible articles, journals, theses, and books
addressed Zaha Hadid‘s architecture. It mentioned the similar studies in this domain in
order to know the conducted methods for accomplishing their objectives. The studies
showed that the architectural form for the works of many modernist architects has been
studied. However there is no systematic analytical study addressed the architectural
form of Zaha hadid‘s works in which this research has taken it as a gap to be filled. An
outlook on her biography is done to highlight some events contributed in orienting her to
architectural field. It discussed her perspective of architecture and showed her rationality
on perceiving space and its functionality. A study is conducted on the architectural
form‘s definition, sources, patterns, principles, techniques and strategies of designing
form for the purpose of knowing the methods of analyzing form as well generalizing
theories. Finally, this chapter addressed three important architectural and artistic schools
appeared obviously through Hadid‘s works which are suprematism, deconstructivism
and parametricism. It showed their historical roots, characteristics and principles with
addressing the similar studies in these domains. It also illustrated the gradation of
Hadid‘s involvement in such schools; from one who is interested in suprematism and has
contributed a tangible development and revival for this movement to one of the most
 53

prominent pioneers of deconstructivism and lastly, to become the one who with her
architects have established the new architectural style of this era; parametricism. Not
overstatement, Hadid has done a shift in the architectural world as well in art. The next
chapter discusses the methods used by this study in order to achieve its objectives and
answer its questions.
 54

CHAPTER 3

RESEARCH METHODOLOGY

3.1 Introduction

This chapter discusses the research methods used to investigate the architectural
form designed by Zaha Hadid. The investigation handles the architectural form patterns
based on its theoretical concept, as well the techniques Hadid uses to generate such
ingenious projects. Furthermore, it examines the architectural design principles of the
form ignored by Hadid that classified her works under deconstructivism and the
considered principles qualified her projects to be tangible and genuine architecture.
Since this study has discussed in Chapter 2 the three styles apparently affected the
formal designs by Hadid that are suprematism, deconstructivism and parametricism.
Therefore, the methods of analyzing forms, generalizing thoughts, and applying them in
Hadid‘s work are the main focus of this chapter.
 55

3.2 Methodology of the Research

The research methodology uses a multi-qualitative study. It uses descriptive,

analytical, and exploratory methods to answer the questions of the research pasted in
Chapter 1. In this section of study, the methods of identifying characteristics,
classification, principles of architectural form, and strategy of design were studied as
well as the resources of form notion. Each part has used the method that guarantee
getting the hopeful result of this study.

The tactics of the main method follows the exemplar study mentioned in
Architectural Research Method written by Groat and Wang (2002). It uses a descriptive
and analytical methods in which the qualitative study started by noting pattern and
themes through the context. Then, with considering seeing plausibility, one could cluster
ideas by making a group of similar things. It ends with making metaphors; the way of
describing her works. The other method used to figure out the formative relationship
between plan and section or elevation follows the paradigm of Clark and Pause (2005) in
Precedents in Architecture. The qualitative part in regard to form patterns has employed
the processes presented by Majid et al. (2007). Since the research aims are looking for
ideas, hypotheses, techniques and the architectural form patterns design by Hadid, then
according to Groat and Wang (2002), such research is also categorized as an exploratory
research.
 56

3.3 The Main Domains of the Study

The first aspect this study focuses in is Zaha Hadid‘s techniques in designing
form. This part is one of the main themes derived from Hadid‘s interviews which could
be categorized under basic or pure research. Her main and sub-techniques of generating
creative form are discussed using the tactics of Groat and Wang (2002) as mentioned
previously in section 3.2. An extensive illustration to these techniques is done in
Chapter 4 based on studying the application of each technique through different projects.
Therefore each part of this study is conducted to achieve one goal that is clarifying
Hadid design of architectural form.

The second aspect addresses the architectural form patterns through Hadid
projects. It addresses the method of identifying and noting form patterns through Hadid
works. Then, based on form prevailing characteristics and Hadid‘s description to its
notion, an analytical study is done on 208 accessible works to find out the occurrence of
patterns and percentage of each pattern through the total works of her. Followed by
analyzing four projects categorized under one pattern and this way is applied to all
patterns. Finally, the study conducted an analysis for the used and ignored principles by
Hadid in designing architectural form and this is applied in all exemplar projects
represented their patterns.
 57

3.4 Data Collection

Data collection covers the resources related to the architectural form of Zaha
Hadid. It includes all accessible projects in books, magazines and websites. Part of data
specifically depends on analyzing the photographs and models of Hadid‘s projects from
her official website www.zaha-hadid.com that also offers information about projects like
location, inspiring notion, and function. Another source was a series of books of Zaha
Hadid; The Complete Building and Projects (last version 2009) which were the key
sources for identifying projects‘ patterns. They showed a short description of the
components and ideas of each project demonstrated personally by Hadid and are
attached by some project‘s pictures. Other important data used as clues of her genius
notions are her drawings and paintings which some of them afforded in the books and
magazines. As a primary source, Hadid‘s written interviews in magazines and websites
and the video ones obtained in YouTube as well other websites are the main sources of
identifying key themes about Hadid architecture. They are very helpful to find out
many things about her, such as her strategy of design, consideration, and the inspiring
ideas. Moreover, data were collected from the accessible, written and sophisticated
resources, journals and articles, in the official and trusted websites in the internet which
are few in this domain of study.
 58

3.5 Data Analysis

This stage demonstrates the used methods of analyzing data as shown in Table
3.1. Each one differs from the others based on the required information. It identifies
the main themes related to Hadid‘s architectural form such as Hadid‘s strategy of design,
patterns, organizational techniques and the underlining reasons of her innovation
depending on the analytical, exploratory method demonstrated by Groat and Wang
(2002). Therefore, all of these methods are clarified individually accompanied with
comprehensive explanation for the reasons they used for. The study of the application
ways of Hadid techniques follows the analytical and descriptive style used in Le
Corbusier: an Analysis of Form, while the used and ignored principle are examined
based on the description of Ching (1996) and Zunde & Bougdah (2006). An analytical
study is used to find out the percentage of patterns and their incidence through career
years of Hadid; the analysis follows the strategy described by Majid et al. (2007). The
study of the formative idea, plan to section relationship for the exemplar projects which
each of them represents form of one pattern, has followed the strategy used by Clark
and Pause (2005) in Precedents in Architecture. It aims to find out one of the helpful
sub-techniques and formal ideas clues to generate Hadid‘s architecture-like. The
following part discusses the different methods of analyzing her architecture.
 59

Table 3.1: The employed methods for data analysis

No Objective Study Author/Year Method

1. Main themes related to Hadid Architectural Groat& Wang Qualitative study:
Architectural Form Research Methods (2002)  Content analysis
e.g.
 Hadid Techniques as
headlines.
 Form notion
 Underlie reasons of
Hadid‘s innovation

2. Qualitative study:
 Zaha Hadid strategy  Content analysis
of design with representing
design knowledge
in diagrams
3. Hadid Techniques Le Corbusier : an Baker (1996) Qualitative study:
Analysis of Form  Analytical study
 descriptive study
4. Form pattern Architectural Groat& Wang Qualitative study:
4.1 Patterns shared Characteristics Research Methods (2002)  Content analysis
 Analytical study
for her projects
4.2 Patterns occurrences and Academic Report Norazman Qualitative study:
percentage Writing Majid et al.  Analytical study
(2007)
4.3 The Used and ignored Integrated Zunde & Qualitative study:
principles in Designing Strategies in Bougdah  A descriptive study
Architectural Form Architecture (2006) of architectural
form principles
Architecture Ching (1996) Qualitative study:
Form, Space,  Analytical study
Order
4.4 The formative Relationship Precedents in Clark & Pause Qualitative study:
Between Plan and Elevation Architecture (2005)  Analytical study
based on drawings
 60

3.5.1 Content Analysis for Zaha Hadid’s Interviews

Since there is a lack of the academic sources specialized in Hadid‘s way of

designing form, this research largely depends on her published interviews as a reliable
and primary source for analyzing whether videos from internet or from international
magazines and her books. Based on these sources, this study includes a content analysis
of her view, comments, feedbacks and thoughts. The content analysis of her words has
answered totally the first objective that is her strategy of design and answered partly the
second and third objectives that are identifying her techniques and the patterns of her
architecture in designing form. Analyzing Hadid‘s interviews has followed the tactics of
the qualitative study explained by Groat and Wang (2002) and Wong (2009).

After collecting numerous numbers of interviews and going through reading, the
information that may relate directly or indirectly to the research topic was highlighted.
It could be noticed that she had discussed various items repeatedly and this variety could
be categorized under main themes and titles such as inspiring notions, techniques, and
process of design and based on that data are coded. One should write a note next each
word that is related to specific theme as explained below in one of Hadid‘s dialogue with
GA Japan‘s architectural series books under the title Zaha Hadid Recent Projects (p.8)
(refer to Figure3.1).

The next step is separating each theme with all Hadid‘ sayings and words related
to it. By the end of this stage, a good picture is illustrated for each theme. However, each
theme is analyzed in a different way by partitioning variables, noting relationship
between them, subsuming details into general and mentioning the source Hadid has
inspired from. The final stage is given explanation and drawing conclusion for the
 61

provided data; representing data in diagrams synthesizing the finding into a textual
exploratory. This stage is illustrated in Figure 3.2.

Figure 3.1: Model of data coding. (Source: GA Magazine: Zaha Hadid Recent
Projects .p.8).

3.5.2 Analytical and Descriptive Study for Zaha Hadid’s Techniques in Design

To achieve the second objective of this study that is identifying Hadid‘s

techniques in design, the researcher has used the qualitative study explained by Groat
and Wang (2002). It is about data collection, data coding, providing explanation and
conclusion; it is the method used to identify the main themes one of them is Hadid‘s
techniques in designing form which this research deeply conducted. It is through
analyzing Hadid‘s interview and works. The techniques are derived from her words as
 62

headlines and through them, a holistic analytical and descriptive study has been
conducted for all her projects to find out how these techniques were applied in regard to
the general conception of each one. The way of describing techniques application
through her works follows the style of Le Corbusier: an Analysis of Form by Baker
(1996). However, Baker has analyzed the effective variables in producing project‘s form
for various works of Le Corbusier, this study analyses Hadid‘s techniques of generating
the architectural form with providing examples.

3.5.3 Qualitative Study of Identifying Hadid Patterns in Designing Form

Based on Hadid‘s books, articles, project‘s Images and Videos, a qualitative

method is used to identify form patterns in respecting of projects idea that is the third
objective of this study (Figure 3.3). The prevailing characteristics of the project‘s
exterior form and Hadid‘s description to its notion enable the study to figure out some
patterns that Hadid usually works within their frameworks. It is throughout noting
repetitive incidences through her words while describing projects, --see Appendix B.
The repetitive features and words are categorized under five recognized patterns that are
suprematism, topographic, fluid, organic, and parametric form, --see Appendix C1 and
C2.
 63

Data Collection: Hadid‘s

Words

Texts & Transcripts Videos

From books, From different
magazines & websites
websites

Highlight all related information

Categorize this information under

metaphors representing different
Themes themes

 Hadid Techniques Collect all Hadid‘s words and phrases

under one theme (clustering)
 Hadid‘s strategy of
design
 Organizational
Techniques Partitioning variables
 Form notion
 Underlie reasons of
Hadid‘s innovation
Noting relationship between variables
E.g. the affection of Hadid‘s strategy
of design on the final form

Subsuming details into general &

collect them into fine writing

Figure 3.2: Content Analysis for Zaha Hadid‘s Interviews

 64

Zaha Hadid‘s Form Patterns

Modes Project‘s Images Hadid‘s Books, Articles &

Video

Form‘s Prevailing Form notion

Characteristics
From Hadid‘s words

Repetitive features mentioned in

AppendixC-1 & C-2 which are
categorized under

Different Form‘s Patterns

Suprematist Topographic Fluid Organic Parametric

Form Form Form Form Form

Figure 3.3: Methodology of figuring out Hadid patterns in designing form

 65

3.5.4 Qualitative Analysis for Hadid Patterns

After identifying form patterns, based on noting the prevailing characteristics of

Hadid‘s forms and also her description to form notion, an analytical study is conducted
to identify the percentage each pattern occupies in the total of the accessible projects that
are 208 works. In addition, it is used to figure out their occurrence through years of her
long journey in architectural design which are 36 years till 2012. The total set of data
and the huge amount of information has been presented and translated into clear charts.
This strategic method uses the study presented in Academic Report Writing by
Norazman Majid et al. (2007). Table 3.2 shows a sample of two projects information
recorded such as project name, location, function and form pattern which are required
for the study.

Table 3.2: A Template for the Analysis of Hadid‘s patterns of Form

Project‘s Location Year of Function Prevailing character- Form Notes

name design ristics of The form Notion‘s
(form pattern) kind
1- London 1967- hotel Suprematist: supremati Her
Malevich‘s 1977 Malevich‘s st Graduation
tektonik Tektonik project
2-Dutch Nether- 1978- Parliame -Fragmentation,Break supremati Designed
parliament lands 79 nt free from the ground, st with Rem
Extension Building presented in Koolhaas and
Suprematist-like Elia
painting Zenghelis
3-
4-
.-
.-
208-
 66

3.5.5 Comparative Analysis for the General Characteristics of Four Projects for
Each Pattern

This stage looks at the commonality of form‘s features and notions between four
projects within each pattern. It is conducted in order to see whether there are some
unusual techniques applied or notions used to facilitate producing such pattern by
architects and architectural students. The analysis included Hadid‘s accessible projects
that considered good representative of their category. This method has been used by
Clark and Pause (2005) to find the formal principles and characteristics that are
commonly used and shared by many architects. Table 3.3 presents an analytical sample
for two projects in order to find out the similarities between them. The analysis depends
on comparing between the general features of the project‘s exterior forms and its notion.
This stage is conducted through analyzing projects images.
 67

Table 3.3: A Template for the qualitative analyzing for the general characteristics of
the projects under one form pattern

Project name, Location, and Date Notion of the Function General characteristics
form
Project (1) Project‘s notion Museum. 1. All of four projects
was based on erode- wear down – to
considering the meet the ground
museum as ―an
ever-changing 2. They are Smoothly
event space‖- elegant, or gracefully
kinetic space flowing
Guggenheim Museum Taichung. (Hadid, 2009;
Taichung, Taiwan p.145). This fluid 3. They have curvy
2003-2006 space, fluid surfaces
Competition system of
It is designed in collaboration with circulation as a 4. Generally they have
Patrick Schumacher. result creating non- orthogonal walls
Source@ http://www.zaha-hadid.com/ fluid form
Project (2) The concept Train
generated from Station and
the necessity of bridge
having wide
concourse bridge
to suitably contain
both all platforms
High-Speed Train Station Napoli
and passengers
Naples, Italy
(Hadid, 2009).
2004-14
It is designed in collaboration with
Patrick Schumacher.
Source@ http://www.zaha-hadid.com/
Project (3)

Project (4)
 68

3.5.6 Drawing Analysis for the Used and ignored principles by Hadid in
Designing Architectural Form

This section testifies the matching of Hadid‘s works to the principle of

architectural form that is the last objective of this study. It filtrates the ignored principles
which categorized her works under deconstructivism from the used ones which qualified
them to become real structural projects. The examined form principles are unity,
rhythm, symmetry, balance, scale, embellishment and decoration. Based on the
descriptions of Zunde and Bougdah (2006) and the ones of Clark (2005) and Ching
(1996), the study examines their matching to Hadid architectural form of projects.

3.6 Reliability and Validity

This part discusses whether the used methods measure the desired objectives
successfully. It views the accuracy of the study‘s outcome. In addition, it examines the
degree of method‘s reliability. This study uses reliable, systematic methods to conduct
its goals.

The main themes of the study have been figured out by following the same
tactics of qualitative study illustrated by Groat and Wang (2002) which uses descriptive,
analytical, and exploratory methods. It carries out a multi-qualitative studies depending
on the required results; using suitable way of analysis that clarify the finding and make
them comprehensible and useful. The used and ignored principle follows the description
of Zunde and Bougdah (2006) and Ching (1996). The study of the formative idea, plan
 69

to section relationship for the exemplar projects, has followed the strategy used by Clark
and Pause (2005) in Precedents in Architecture to get the idea. Therefore the study has
used the suitable and related methods from reliable sources in this domain.

In terms of the accuracy of the findings, majority of them are based on Hadid‘s
words especially what is related to the main themes such as form patterns, techniques
and strategy of design. They are achieved by using content analysis for her interviews
and the descriptions of projects by her words. According to Pole and Lampard (2002),
content analysis is a set of process for achieving reliable and valid inferences. In regard
to the reliability of the qualitative method used to identify form, it also largely depends
on Hadid description to each project in addition to the general characteristics of project
exterior form. Based on that, projects are categorized under the feature of five patterns
scholarly and sensibly known that are suprematist, topographic, organic, fluid, and
parametric form. Her techniques of designing form are taking literally from her,
however; their applications through her projects are identified sometimes through her
description and others through analyzing her projects in comparison with techniques
application to the general conception of each one.
 70

3.7 Sampling Procedure

Although the projects designed by Zaha Hadid Architects reached 950 projects
since 1976 until 2012 and this is according to her official website http://www.zaha-
hadid.com, the analytical study has included only 208 works. The study covers this
specific number of projects which constitutes 22 percent of the total works by her office
because it is the number of accessible projects both in description and images through
websites and other different resources. The analysis used to figuring out the shared and
common characteristics of each pattern includes four represented projects. The projects
are chosen based on these criteria: choosing the most creative and artistic projects
among the rest within the same pattern; utilizing those projects which purely symbolize
the pattern form notion‘s characteristics; and considering choosing the projects which
were designed in different stages of her career journey. For examining the matching of
form principles to her works as well the formative relationship between plan and section
or elevation explained by Clark & Pause (2005), the study was confined to five projects
which accessibly have data and complete architectural drawings such as plans, façade,
and section as well each project represents one form pattern of Hadid‘s works. Figure
3.4 shows the sampling procedures for the projects used in form analysis of Hadid works
to achieve research objectives.
 71

Purpose No Items Sampling

Identifying Form’s patterns Numerous Interviews, Hadid’s The Accessible interviews

words in descripting
project’s notion

Patterns occurrence 208 Projects The Accessible projects

Percentage of each pattern

The common characteristics of 20 Projects The project that:

each pattern
1- Purely symbolize the pattern
2-The most creative and artistic
3-Designed in different stages of
4 projects 4 projects
for Pattern 1 for Pattern 5 her career journey& represent
4 4
4 different kinds of function

1 1 1 1 1

Examining the matching Being restricted by the

5 projects
availability of information
1. Form principles to her works
2. The formative relationship between
plan and section or elevation
 72

3.8 Research Limitation

This study was restricted by paucity of Hadid designs in regard to her

sketches, plans and comprehensive information of projects. The difficulty underlies
the scarceness of getting a complete data required for the study in respecting to one
project. It strongly emerges when the study touched the examination for the
principles used or ignored by Hadid in the level of form patterns; each pattern should
have an exemplary project representing its features. Therefore, these limitations
have played main role in directing the study and not touching some important aspects
related to Hadid‘s forms such as the degree of relationship between her sketches and
the final forms of projects.

3.9 Conclusion

The above discussion addressed the research methodology employed by this

study to achieve its objectives. It views the difference of used methods depending on
the used data and in the kind of expected finding. It discusses the data collection and
their sources besides to highlighting the analytical methods of the main two issues
this study focuses on that are Hadid‘s form patterns and the techniques of generating
architectural form. In addition, it shows the reliability of the outcome and validity of
the research methodology. The next chapter shows how this data have been
interpreted into worthy and effective discussions that resulted into study finding.
 73

CHAPTER 4

ANALYSIS AND DISCUSSION OF THE FINDING

4.1 Introduction

This chapter discusses the qualitative data analysis resulted from applying the
methods explained in Chapter 3. Figure 4.1 is an illustration for the structure of this
chapter. It includes seven important sections giving a holistic depiction about the
architectural form of Zaha Hadid. The first section highlights Hadid strategy of
design derived from the content analysis of her interviews. The second section
addresses the sources of project‘s form notion. The third section discusses the
techniques used by her to conduct creative works. The fourth section investigates the
architectural patterns through her works in regard of form notion. The fifth section
examines the used and ignored principles by Hadid in designing the architectural
form. The sixth section highlights some issue related to Hadid works and the
inspiring trend suprematism. Finally, the last section introduces some explanations
and suggestions for the reasons that pushed Hadid to work within specific trends.
 74

Through doing a content analysis for many of Hadid interviews, one could
get a lot of information regarding to her architecture. There are core themes have
been derived from her own words such as her strategy of design, inspiring form‘s
notions and her techniques in designing form. This section presents the analysis of
these subjects accompanied by Hadid saying and an explanation of the effective role
each one plays in formatting the final form of Hadid works. It studies Hadid
techniques of designing form. It exposed the unique techniques distinguished her
works from the rest of architects in the world. These six techniques are derived as
headlines from her interviews, and then this study examines the techniques
application in her works. It is suggested that if an architect has applied them in his
work, he might produce Zaha Hadid architecture-like. There are also sub-techniques
have been noticed through some of her projects that might also be helpful in
achieving such mission. One of the main sections of this chapter covers the studies
about Hadid‘s form patterns respecting form concept. This section consists of:
firstly, it handles the characterstices which based on them and Hadid description, the
patterns are identified and noticed. Secondly, a discussion presents the analysis of
208 works designed by Zaha Hadid office. It includes studying the occurrences of
each pattern through years and the percentage of each one from the total of these
works. Fourthly, a complete study is conducted for Hadid patterns of designing
forms which includes a comparative study for four examples of each pattern.
Finally, the formative relationship between plan and elevation or section is done for
five projects; each one representing one pattern. Therefore, this section gives
comprehensive information about the formal patterns of Hadid‘s architecture.

To sum, seven key issues are presented in this chapter started with discussion
two main themes derived from Hadid interviews that are her strategy of design and
form notion. Then, the used techniques by the architect in designing creative forms
are exposed. In addition, it studies the different issues related to her form patterns,
used and ignored principles, and the suggested reasons of taking such areas of
designs. Consequently, at the end of this chapter, a comprehensive and rich
background is going to be illustrated about the architectural form of Hadid. The
chapter starts with carrying out the strategy of Hadid in design.

4.1 Introduction
4.2 Hadid Strategy of
Design
1- Personal Investigation
2- The Formal Notion of the
Project
3- Applying Hadid
Techniques
4- Circulation & Function
5- Embedd-ness
6- Interior Design
7- Hadid’s Perception of
Architecture as an Art
8- Strategy Similarity
between Hadid & Derrida
4.3 Form Notion
1-Art
2- Site
3 -Nature
4- Architecture
5- Computing programs
75
4.5 Hadid’s Patterns of Form
The Structure of Chapter 4
1-suprematism 2-topographic
3-fluid 4-organic
4.4 Hadid Techniques in Designing Form 5-parametric
The analytical study of 208 projects
4.4.1 4.4.2 4.4.3 4.4.4
Fragmentation & Defying Gravity Landscaping the Layering The formative Relationship
abstraction project between Plan and
Elevation or Section in details
1. Collision 1.Mass Cantilever 1. Elevating the 4.4.5
2.Ground Extension
2. Explosion Ground Play of light
3.Carve the Ground 4.6 Principles of Architectural
3. Shattering 2. Vanishing Form
4. Fragmentation 4.Inclined Columns 3.Topographying 1. Juxtaposition
5.Abstraction 5.Ground 4. Using one colour 2.Overlapping
Manipulation 4.6.1 The Ignored Principles
6. Distortion & 5.The Pavement 3.Fragmentation
Deformation 6.Deep Emanation 6.Lines Formation 4.Accumulation
7.Inclined Mass 1.Symmetry 2.Simple Geometric
7. Folding 7.Transparency
8.Erosion Addition& Subtraction
8. Twisting 8.Landscaping the
9.Mass 3. Decoration & Embellishment
9. Erosion Roof 9.Gardening
10.Manipulation 4.Idea of Motionless and Stable
10.Melting Open-Interior Spaces
11.Liberate the Ground 5.Rhythm
11.Throwing 10. Wall Extension
ground 11.Urban Grids
4.4.6 4.6.2 The Used Principles
12.Land’s Shape
4.4.7 Sub-Techniques 13.Melting Seamlessness
1. Unity 2.Balance 3.Scale
14.Multiple Ways &fluidity
1. Formative Relationship between Plan 4.7 Zaha Hadid & Suprematism
and Elevation
2.Reflecting the Project’s Form in the
Interior Design 1. Hadid Painting 2. Hadid
Contribution to Suprematism
3. Interview & project analysis
Figure 4.1: Illustration for the structure of Chapter 4
 76

4.2 Zaha Hadid Strategy of Design

4.2.1 Introduction

This part achieves the first objective of this study that is finding out Hadid
strategy of design. It also shows some conclusions derived from studying the
sequential procedures of her strategy of design as well her considerations. The last
part discusses the similarity between Hadid strategy and Derrida‘s.

4.2.2 Hadid Strategy of Design

―My work is operating with concepts, logic and methods that examine and
organize the complexities of contemporary life patterns‖ (Hadid, 2011; Didero,
2012)

As a result of the content analysis of Hadid interviews, this strategy has

been formulated according to her statements and declarations. It takes this way of
processes arrangement; however, it often happens that in one of any stages, some
modifications could be done to meet the requirements affecting the project‘s form
as explained in the Figure 4.2. Therefore, there are many factors playing main role
in forming the exterior shape of her projects. Her strategy is continuous
procedure of self-investigation in design through the whole processes
(Designboom, 2007). Through the content analysis of her interviews that
demonstrated in Figure 3.2, the sequential steps of her design strategy are derived.
Hadid strategy can be summarized into six processes that are personal
 77

investigation and the journey, form notion, applying Zaha Hadid techniques of
design, embedding form with the context, circulation movement and natural
lighting, and finally interior design and other supplements.

4.2.2.1 Personal Investigation and the Journey

Rigorous research is the first step done by Hadid in the project‘s site,
nature, environment, neighbourhoods, function, the political and the social history
of the city (Designboom, 2007). She even studies people‘s ambition about the
future of their area (Hadid, 2005). Hadid referred the success of her projects to
demanding research in all of project‘s aspects. When her office won the
competition Japan National Stadium (2012), she said "Our three decades of
research into Japanese architecture and urbanism is evident in our winning
design‖ (Frearson, 2012). Therefore, Hadid does not start doing anything except
after having a comprehensive knowledge about project‘s nature. Afterwards, she
launches to start her unfamiliar journey with that project. She always encourages
her students to get through the unknown place, place of invention, imagination
and discoveries; to forget the barriers created by living in realty and stop
accepting receiving things as they are. She claimed that architecture is similar to
science ―If you do not do lab research, you are not going to discover the cures‖
(Hadid, 2005; p. 132). She also declared that ―if certain things had never been
unravelled, never dug into or researched, the discoveries would never have
appended‖ (Belogolovsky, 2008). Doing such a critical thinking is an attempt to
receive the architecture from new angle that reflects the nature of this era and our
life. Going into this adventurous journey has qualified her to be one of the best
architects in the world, if not the best one ever (Giovannini, 1996). The site and
project investigation is considered as the first step in this long journey.
 78

4.2.2.2 The Formal Notion of the Project

After an intensive self-research on everything related to the site and

project, form notion comes up to her which is often related to site‘s variables.
Hadid always thinks about the best notion that really will serve the project from
all aspects. There are many alternatives and models done for one project but only
that smart option is going to be displayed. Therefore, her ideas do not come
arbitrary but as a result of having an inclusive overview in all project parameters.
The inspirations of Hadid‘s ideas are generally discussed later. In this stage also
Hadid takes into account the distribution of functions in zones within the building;
section 4.4 is about Hadid techniques of designing form that includes many
examples of the projects formal notion accompanied with the justification for
these choices.

4.2.2.3 Applying Zaha Hadid Techniques of Design

After getting the form idea, Hadid starts to apply some techniques on that
form manipulating it to something new and non-preconceived. This stage requires
mentioning two of these techniques to guarantee successful gradation steps of the
strategy.

1. Lightness: Play of Light

It is to figure out what to do with play of light technique by manipulating

building masses. Hadid used this technique to get rid of using cladding and paint
for project façade and make it exciting with building material, concrete, such as
 79

the play of masses in Maxxi: National Museum of XXI Century Art in Rome,
Italy (Figure 4.45).

2. Flight: Defying Gravity

It is to find out what could be done with this technique by breaking free
from the ground; an intensive explanation about the technique of defying gravity
is studied later in section 4.4.2.

Lightness and flight techniques are important because they are mostly
applied in majority of Hadid projects especially the early once from 1977until
mid-2000s. Hadid cannot be famous architect except of being unique in her
designs. The uniqueness underlies her self-developed technical ideas. This part is
deeply studied and discussed in the second section of this chapter in which an
elaborative demonstration is conducted on technique‘s applications. Moreover, the
sources Hadid learned or inspired from are addressed.

4.2.2.4 Circulation Movement, Function, and Natural Lighting

Hadid studies the circulation movement as if she moves personally inside

the building. This stage is considered as one of the strengths that distinguishes her
from others; production fluid space. To create such space, she applies the
technique of layering to portray the way of the circulation movement and the
space form and this step generally is accompanied with appropriate distribution
for project‘s functions. She tries to do every part in details through letting herself
 80

imagine moving throughout spaces, resting her body and observing every corner
in the building (Bedell, 2003). Circulation and the fluid movement of the visitors
or users is an important factor Hadid considers in her design. It may sometimes
form the space, as well the external configuration of the project; like what we see
in Maxxi museum in Rome, Italy in which the interior space was designed like a
river delta. Her studious way of designing circulation keeps visitors move
automatically and smoothly through fluid spaces passing all desired places
without any distribution or misleading that makes the building efficiently
performs the function it is built for (Futagawa, 2010). After studying circulation
and function, she starts to think about natural lighting by applying skin-
penetration in a way that offers natural, studious light and goes seamlessly with
the notion of project form and this could be seen clearly in her latest projects such
as the design for proposed museum of Vilnius (2007) and Maldives Luxury
Resort(2007).

4.2.2.5 Embedding Form with the Context

It is the stage that betting on the success and continuation of the project.
Hadid diligently tries to qualify the form to meet all standards of successful
project; one of them is applying the principle of embedded-ness. Embedded-ness
as Hadid explain ― is attempt to embed an object into context with a whole series
of articulate relationships - trying to draw out features from the context so that in
the end there is a sense of ―embedded-ness‖, and ―fit-ness‖ into the context‖
(Belogolovsky, 2008). She designs building characterized by engagement,
integration and adaption with the surrounding breaking the division resulted from
the repetition of 20th century architecture (Hadid, 2011). This operation occurs by
taking in consideration some points such as imitating natural forms, dealing with
the site topography and the landscaping of the surrounding context. In addition, it
is essential to consider climate, good connection and circulation; study movement
 81

within the site and surroundings. The orientation of the building is an important
factor in regard to lighting, view, and the entrance.

Hadid in design processes always gives more attention to this juncture

because it is a crucial stage for the success of the project; she said ―We focused so
much on the connection between program and site‖ (Hadid, 2005; p. 133).The aim
of this phase is the desire of merging project to the surrounding and forming ―a
new kind of landscape, to flow together with contemporary cities and the lives of
their peoples‖ (Glancey, 2006). In responding to Hadid childhood memories, she
applies embedded-ness principle in her projects to meet the beauty of the seamless
scenery of Sumer villages and the marshes in Iraq (Barber, 2008).

4.2.2.6 Interior Design and Other Supplements

It is the last stage that affects the form of the project. It is well-known that
if Zaha Hadid Architects are in charge of designing project, they also take the
mission of designing the interior spaces in order to offer a complete picture of the
work and its notion. They apply the form design techniques in the interior design
and the products. This stage affects the form because Hadid in many of her
designs tries to make the interior space continues to the exterior form creating
continuity and transparency between inside and outside; for example Darat King
AbdUllah in Amman, Jordan (Figure 4.52). Evidently, visitors could see porous
and seamlessness goes through the whole project as declared by Hadid in
NBM&CW Magazine (Oct/Nov 2006). The last step of design is to see what to do
with the other supplements such as materials. It is useful to mention that even
supplements such as technological infrastructure, studying of sound and seats of
the hall may affect the space form as well project form.
 82

Figure 4.2 illustrates briefly Zaha Hadid strategy of design started with
doing intensive research and going through unknown journey and then figuring
the form before anything else. Each stage may affects the final conceivable form
of the project in which Hadid is unique and well known.

Doing
FINAL
intense
FORM
research

Interior
design & FORM
supplement NOTION
Zaha Hadid
Strategy of
Design

Embedded- Function in
ness Zones

Movement
& Applying
Function Z.H
Back to Logic Techniques Liberation stage

Figure 4.2: The operational cycle for Hadid strategy of design

 83

4.2.3 Hadid’s Perception of Architecture as an Art

Through studying Hadid strategy of design which takes these steps to

conduct the final work: doing intense research; choosing the form notion with
considering function in zones; applying Hadid techniques; designing circulation
and functions; applying embedded-ness through the design; and doing interior
design which is the final stage of producing the project‘s form, it can be
concluded that Hadid considers the form over all the other factors. It is noticed
that the process starts with form rather than function and ends with form that is
doing the interior design. Therefore, Hadid perceives architecture as an art which
could be employed to meet the needs of people and the requirements of building‘s
function.

Architecture‘s function from her point view is not only about shelter but it
also should provide a place which excite, calm, and make its users think;
architecture that has ―an impact on the street life‖ and draws people to it
(Hattenstone, 2010). It should reflect the soul of this era which every day adds
new things in all sectors. People always want to see what is new and unique.
Architecture should make them feel well and enthusiastic; it affects their way of
perceiving life and conducting duties as Hadid said ―I believe that inventive
architecture can affect the quality of human life.‖ (D‘Apuzzo, 2011). Therefore,
Hadid way of conceiving architecture has created new kind of works which meet
the requirements and the new equipment resulted from the fast developments of
various sciences.
 84

4.2.4 Strategy Similarity between Hadid and Derrida

Although Hadid is not from those architects who applied Derrida‘s theory
in their work, there are some common features between her strategy of design and
his. The similarities underlie in the desire of breaking what is normal and
inherited. It is well known that Hadid gives precedence in design for form instead
of function which equivalent Derrida‘s principle, the reversal of hierarchies.
Another analogy is Hadid breaking free from the ground and denying gravity
factor in her work which corresponds Derrida‘s absent or present principle.
However there is vast difference between them in perceiving vision or meaning of
architecture. Architecture from Hadid‘s viewpoint has meaning and value. She
also has added to what architecture supposed to provide some new values as
explained by her ―I don‘t think that architecture is only about shelter, is only about
a very simple enclosure. It should be able to excite you, to calm you, to make you
think‖ (Gopnik, 2011). She believes that architecture has main role in affecting
human life quality (D‘Apuzzo, 2011). However, Derrida conceived architecture as
Mark Wigley stated ―The Deconstruction of Architecture; The Haunt of
Architecture; The Deconstruction of Architecture; The Haunt of Architecture;
Haunt of Deconstruction; Derrida's Architecture‖ which give a brief summary of
architecture meaning in deconstructivism from Derrida‘s viewpoint (Wigley,
1996; p.266). Even Derrida‘s architects, Peter Eisenman, Bernard Tschumi, and
Denial Libeskind, perceive architecture from angle of destroying what is logic by
throwing what they learned in their architectural schools away.
 85

4.3 Form Notion

As an important part to be addressed, the roots of Hadid‘s inspiring ideas

are discussed, accompanied by studying her creativity and investigating the
underlying intellectual and social drivers of innovation. Inspiration is about the
roots and sources she inspired, simulated from in order to create her architectural
style. One of Hadid‘s strengths is her deep meditation in nature in order to inspire
from its countless forms (D‘Apuzzo, 2011). All of us enjoy nature, however;
Hadid diligently searches for the sources of thing‘s beauty and aesthetics. She
infers the splendid view of the mountains to the difference of their forms which
offer a manipulation of light falling on them. She works with this inference in her
projects by playing of mass shapes (Hattenstone, 2003). Furthermore, she has the
courage and strong will to reflect it in her architecture by drawing more than 100
sketches in the same formal research with the purpose of embedding the form with
the context (Designboom, 2007). It is important to mention that Joseph Wong in
The Text of Free-form Architecture has intelligently discussed this topic in short
for four famous architects of this era including Hadid, however there are minor
adjustments through it resulted from the deep studies for all available projects of
her works and her words.

―My ideas come from observation: of the site, of nature, of people moving in
the city‖ and ―The idea always comes from the same source, creation changes
according to the focus, the technique, and the project‖ (NewYooxer, 2010)

Zaha Hadid

Through studying to Hadid projects notions as well the content analysis of

her words, the inspiration of ideas could be confined in five areas that are site,
nature and phenomenological events, art, computing programs and architecture.
 86

4.3.1 Site

Landscaping and topography of the area, skyline, land form,

neighborhoods, circulation, orientation, roads, history of the city and the political
events which shaped city‘s history, all of these could be a rich environment for
inspiring ideas. The multiplicity of ideas is due to the difference of project‘s
nature, variance of sites and their parameters. An example of a project which its
form is inspired from the land form is Regium Waterfront, multi-functional
building in Reggio, Italy (Figure 4.47).

4.3.2 Nature and Phenomenological events

Hadid observation to the nature especially what is related to project‘s site

helps her so much in eliciting ideas. Recently, many of her projects fall under this
type; she said that Zaha Hadid Architects ―often look at nature's systems when
creating built environments; at her coherence and beauty‖ (Hadid, 2011). These
are some examples of the natural ideas inspire her in designing projects such as
topography contours, dunes, sedimentology, sea creature, living organisms, and
the phenomenological once like earthquake, hurricane and others. Some similar
examples are given in section 4.5.2.2.
 87

4.3.3 Art

―I am an architect who really was inspired by art, as a starting point‖ she

says (Gopnik, 2011). Hadid early works till mid 1990s were influenced by
suprematism: the art of geometrical abstraction which cannot be understood
easily, in particularly Kasimir Malevich and El Lissitzky works. As Muslim
Arab, Hadid well known curvy lines have the same cruise of Arabic calligraphy
and the Islamic art which qualified her to produce her architectural print: fluid
spaces and building. Her trip to China has significantly left its effects in her
productions. She had learned from Chinese traditional painting how to paint layers
space into infinity giving the sense of endless freedom. Moreover, she learned the
way architecture and gardens harmonically intervene with nature which qualified
and developed her skills of landscaping (Hadid, 2011; Greenway, 2011). Hadid
also has inspired from the artistic works of the suprematist sculptor Naum Gabo
and the painter lászló Moholy-Nagy in both designing fluid architecture and
furniture (Hadid, 2006).

4.3.4 Architecture

Through some of Hadid early works, one could visibly recognize her
influence by the Russian constructivism, in particular the architecture of Yakov
Chernikhov. She did not influenced his way of imitating machine‘s design but his
way of creating dynamic spaces that is full of energy. Hadid declared that her
works is developed out of some early modernist architects such as Mies van der
Rohe, Frank Lloyd Wright, and Oscar Niemeyer (Hadid, 2006). She also refers to
the effective role of Chinese traditional Architecture in her conceptual vision of
conceiving architecture as natural part of the surrounding by using the principle of
embedded-ness or fitness ‖the way the architecture is harmoniously embedded
 88

into the great theatre of the natural landscape‖ (Hadid, 2011 and Greenway, 2011,
p.73).

4.3.5 Computing Programs

It is the last inspiring clues for Hadid to generate unique forms. The recent
developments in computing sector have facilitated many things in this domain; in
regard of conceiving and generating complex and porous forms, in addition to
qualifying them to become real projects. Nowadays, parametric design system is
the architectural program developed and used intensively by the architects of
Hadid office to design forms. This program gives the architect the freedom of
forming the shape because it easily makes the form supple and malleable that
resulted in a numerous alternatives for one project. The form in this program is a
result of an interaction operation between two factors: the first one is the
comprehensive data of the project and the second is the aesthetic sense of the
architect. Some similar examples are given in section 4.5.2.5.
 89

4.4 Zaha Hadid Techniques in Design

Hadid is famous by pushing boundaries of space, design, architectural

convention. She creates her radical rules of design that are resulted from
admixture of her experiences of long journey in design and rationalism. As
mentioned earlier in Section 4.3, because of being a good observer of art, nature,
architecture and effective surrounding aspects, she searches for the sources of
their aesthetics and factors that attracting people to them and then applies them in
her works. This eager of searching helps Hadid to obtain some primary skills
diligently developed by her to became her own techniques.

Hadid architecture is the one which defies the rules, pushes the limitations,
and builds what used to be unbuildable. As a result, her buildings nowadays are
considered one of the most attractive architectural styles in the world such as
Heydar Aliyev Culture Centre in Azerbaijan and Guangzhou Opera House and
Galaxy Soho in China. Her architecture attracts people and media and it is
considered as an indicator for the strength of the country‘s economy incubated
such projects such as China. This research is done to clarify Hadid architecture
and to investigate the underlying reasons of its uniqueness. It is meanly conducted
to answer the questions from architects and architectural students about the
enigmatic techniques used by her to generate such unprecedented architecture.

Techniques terms are derived literally from Hadid words by employing

content analysis method explained in section 3.5.1. In addition, the sub-titles
under each technique are a mixture of using her words in describing project form
notion as well utilizing the descriptive and analytical way by Baker (1996) in Le
Corbusier: an Analysis of Form.
 90

In this section, Hadid‘s self-developed techniques in design are exposed,

in addition to the sources she inspired or learned from. Each technique has
various ways applied in different projects. At the end of this part, there are two
sub-techniques have been noticed occurring repeatedly through some of Hadid
works. They also facilitate designing some parts such as the interior design. It is
important to remind that using such techniques could result in producing Hadid‘s
architecture-like. The techniques are abstraction and fragmentation, landscaping
the project, defying gravity, layering, play of light, and seamlessness and fluidity.
Figure 4.3 shows these techniques and the different ways of their application
through design.
 91

Zaha Hadid’s Techniques in Designing Form

Seamlessness &Fluidity Defying Gravity

Layering

 Space  Ground Extension

 Blocks Landscaping the Project  Carve the ground
 Inclined columns
 Vanishing  Emanation
Abstraction & Fragmentation  Land’s shape  Using two bases
 Urban grids  Inclined mass
 Erosion  Topographying the project  Arcs forms
 Explosion  Landscaping the roof  Using cones
 Melting  Wall extension  Masses cantilever
 Collision  Melting  Masses manipulation
 Shattering  Lines formation
 Throwing  Gardening open-interior spaces
 Distortion  Using one color Play of Light
 Deformation  Pavement Organizational Techniques: Bundles
 Folding  Landscaping in multiple ways  Juxtaposition
 Abstraction  Elevating ground  Overlapping
 Twisting  Fragmentation
 Fragmentation  Accumulation
Figure 4.3: Zaha Hadid’s Techniques
 92

5.4.1 Abstraction and Fragmentation

They are the first techniques used by Hadid to produce deconstructivist

projects and creative spaces as stated by her ―my discovery of abstract as a principle
of research and discovery of space‖ (D‘Apuzzo, 2011). Abstraction is to break down
the normal illustration of perceiving thing and dealing with it. To paint in an abstract
way is to portray it in volumes and geometrical shapes and try to manipulate their
organization by overlapping or aggregation. As well fragmentation is to break the
rules of known illustrative architecture. Hadid describes the fragmentation as an
application follows these processes ―Break the block, make it porous‖ then it appears
―organisational patterns which imply a new geometry‖ (Meades, 2008). To make
architecture abstract is to portion, tend, and dismantle it into parts which led to create
porous and new geometrical building characterised by multiple perspectives masses.
Applying abstraction principle of suprematism imbues architecture by deconstructive
features resulted in generating Hadid unique print in architecture. It is also to break
free from applying architectural laws which lead to producing the same architecture
like an industrial mass production as Hadid described it (Hattenstone, 2010).

As being one pioneer in deconstructivism architecture, Hadid applies

fragmentation as a main principle used in almost of her early projects. She learned
abstraction from the canvases of the suprematist Kazimir Malevich who used abstract
and geometric forms to present his paintings. She considered fragmentation and
abstraction as a tool of discovering space, principle of research, and a way to
unbound invention (Michaud, 2011; Greenway, 2011). She claimed that abstraction
offered her ―a way to study how lines intersect‖; and that her works are generated by
having the eagerness ―to capture a line, and the way a line changes and distorts when
you try to follow it through a building, as it passes through regions of light and
shadow‖ (Michaud, 2011). Example for that is Maxxi: National Museum of XXI
Century Art in Rome, Italy Figure 4.45. While she is designing this project she tries
to imagine going through such deviated tracks which enable her to design studious
 93

circulation. Therefore, this part covers a description of the ways that Hadid uses to
apply abstraction and fragmentation in her various projects.

It is well known how Hadid ideas and their presentations are strange and
unusual. Her ideas characterized by fragmentation and deconstruction which were
injected with the enigmatic nature of suprematism that is using the abstract
presentation for the underlying meaning of painting. This part discusses the
application ways of abstraction and fragmentation by Hadid.

4.4.1.1 Collision

It is known when a collision happens between two things, the damage and
devastation will affect one or both causing thereby a deformation in the general
appearance of them. That is what Hadid tries to illustrate in the notion of Vitra Fire
station (1990) as shown in Figure 4.4. The building form was generated by a
collision of two main geometries forming the area; the orientation of the factory
complex within the surrounding and the street (Hadid, 2009).

Figure 4.4: The surrounding geometries collision resulted into generating Vitra Fire Station
form in Weil am Rheine, Germany (1990-93). (Source@ http://www.zaha-hadid.com)
 94

4.4.1.2 Explosion

Another kind of Hadidian deconstructivist notion is explosion. Naturally,

When explosion happens, it starts from focal point to radially causing damages
everywhere around. A smart depiction of such act has been translated in the
Gmurzynska Gallery in Zurich (2010). As seen in Figure 4.5, the explosion was
expressed in a white and black painting at the walls, ceiling, and ground creating a
sense of going through outburst.

Figure 4.5: Explosion depiction as a notion of the interior design of Gmurzynska Gallery
Zurich (2010). (Source@ http://www.zaha-hadid.com)

4.4.1.3 Shattering

Smashing thing usually resulted in breaking it down into scattered fractions.

Hadid used this envisage as a notion for nightclub in Malevich Tektonic project. She
ruined a real model of ship and made the literal shipwreck form as a notion for the
 95

project when she was in the fourth academic year at Architectural Association
(Hadid, 2006, the image is not available).

4.4.1.4 Fragmentation

The fragmentation notion of the peak project was a result of presenting the
geology of the site in a suprematist manner which was in a mountain as seen in
Figure 4.6 (Hadid, 1998). This project was the first turn point in Hadid career in
which she won international competition for spa project (1982-83) in Hong Kong
and opened her own office Zaha Hadid Architects. Figure 4.7 shows the Peak‘s
surroundings architecture portrayed in Hadid‘s way of deconstructive depiction.
Hadid said in describing her presentation to this painting ―the architecture is like a
knife slicing through the site, cutting through traditional principles of
organization…, defying nature and taking care not to destroy it‖ (Hadid, 2009).

Figure 4.6: The deconstructive illustration for the Peak‘s surroundings architecture in Hong
Kong, China (1982-83). (Source: http://www.zaha-hadid.com).
 96

Figure 4.7: The Peak in Hong Kong, China (1982-83).(Source: http://www.zaha-hadid.com)

4.4.1.5 Abstraction

Hadid applies abstraction in her works by designing in a novel way has not
yet been conceived or imagined. Example of this technique is her notion for the
Hague Villa‘s space in which she said ―The villas abstract the conventional
configuration of domestic spaces‖ (Hadid, 1998). She designed two abstract
paradigms, one of them has the cross form and the other is the one in Figure 4.8.

Figure 4.8: The abstractive depiction for the Hague Villas in Hague, Netherland
(1991).Source: The complete Zaha Hadid.
 97

4.4.1.6 Distortion and Deformation

Such a technique could be done by drawing in a perspective way. Hadid in

majority of her early projects used to conceive the building in a perspective of three
points and deal with this distortion of dimintions in the real structure of the project.
An example of that is Victoria City Areal in Berlin, Germany (Figure 4.9). Its notion
was reviving the site by intensifying it with architectural blockes qualifying it to be
busy with different activities (Hadid, 2009).

Figure 4.9: The perspective form of Victoria City Arealin in Berlin, Germany (1988).
Source: The complete Zaha Hadid

4.4.1.7 Folding

In Victoria Hospital Kirkcaldy Scotland, Maggie‘s Centre Fife form is an

extension of the ground folded to form project‘s walls and ceiling. The notion is to
make a transition from the natural landscape in one side to the car park in the other
side (Hadid, 2009)--see Figure 4.10
 98

Figure 4.10: The folded form of Maggie‘s Centre Fife in Kirkcaldy, Scotland (2001-06).
Source: http://www.zaha-hadid.com

4.4.1.8 Twisting

Hadid has employed the squeezing and twisting techniques to generate the
formal concept of Madrid Civil Courts in Spain. The form configuration draws the
visitors to enter as if it is welcoming them (Hadid, 2009) —see Figure 4.11.

Figure 4.11: The twisted form of Madrid Civil Courts of Justice in Madrid, Spain (2007).
Source: The complete Zaha Hadid
 99

4.4.1.8 Erosion

Erosion in nature is the process of a gradual wiping for things such as stones
by natural factors like wind and rain. Hadid uses this natural process as an inspiration
to generate some of her designs; examples for this method are discussed in Section
4.4.2, defying gravity technique.

4.4.1.10 Melting

One of the latest projects for Hadid is Beko Masterplan in Belgrade, Serbia
(2012), Figure 4.12. Its notion is to regenerate the site and integrate it as much as
possiple with the surroundings and that is the reason of using these melted forms. It
is a luxurious resort and hotel in a very strategric site that is according to Zaha
Hadid website ― at the intersection of key cultural projects‖ of the city.

Figure 4.12: The melting form of Beko Masterplan. Belgrade, Serbia (2012).
Source: http://www.zaha-hadid.com
 100

4.4.1.11 Throwing

According to Hadid in NBM&CW Magazine (2006, Oct/Nov), this technique

could be applied “by throwing convention to the winds, nearly changed the way
space is perceived‖. It is assumed that this technique is used to generate the form of
Middle East center, ST Antony's College in University of Oxford, England (2006) --
see Figure 4.13. In addition, this project concept is standing in being a connective
bridge between current buildings.

Figure 4.13: Middle East Centre, ST Antony's College. University of Oxford, England
(2006,13). (Source: http://www.zaha-hadid.com)

To sum up, the different applications of abstraction and fragmentation

techniques through Hadid projects have been studied and clarified. She learned the
roots of abstraction from suprematism movement which has been developed by her to
establishing Hadid deconstructive style of architectural presentations. She considered
abstraction ―as a heuristic principle to research and invent a new kind of space‖
(Hadid, 2011; Greenway, 2011). She also refers the success of her early works to
these two techniques (Designboom, 2007).
 101

4.4.2 Idea of the Ground and Gravity

Hadid is the most well-known architect who used this technique; the
technique of breaking free from the ground. The idea of the ground is a critical issue
for most of her projects. She shakes the frozen notion of the ground floor by letting
parts of it stay up without support and sometimes she makes it porous in order to let
some elements to work individually. Therefore her works ―could impose themselves
more assertively on the urban condition‖ (Hadid, 1998). In regard to the idea of the
ground, Hadid usually tries to defy gravity in her designs. This was the reason of
pasting her the name of paper architect who designs the unbuildable. Generally in her
works, she does not deal with right-angles; she instead uses tilted columns and fluid
surfaces characterized by motion, power, and energy. She justified that by saying
"There are 360 degrees, so why stick to one?" (McCready, 2012). She declared that
the static idea of the ground was the reason of trapping modernist architects in
producing the same architecture for a period of time (Hattenstone, 2003).

Hadid learned the technique of defying gravity from suprematism.

Kazimir wrote ―We can only perceive space when we break free from the earth,
when the point of support disappears‖ (Bedell, 2003). These words have largely
affected Hadid conceiving of architecture and many of her works are characterized
by defying gravity and breaking free from the ground. She understood liberating and
employing the ground in an active way from Mies van der Rohe particularly from his
project Barcelona Pavilion; how he elevated the ceiling in limited slices of separated
walls (Hadid, 1998). Since Hadid has devoted her efforts to achieve the task that is
―the continuation of the unfinished project of modernism‖, she has diligently
generated many ways to represent this technique. The followings are the application
ways of breaking-free from the ground through Hadid designs. In addition, it
includes the used ways to liberate the ground and let some parts within the building
operate individually. Each part is accompanied with examples to illustrate these
methods.
 102

4.4.2.1 Mass Cantilever

In these projects, Hadid defies gravity by designing extended blocks: deep

cantilever without support that cannot be constructed easily. Figure 4.14 shows
Maxxi: National Museum in Rome which used as an example in some positions
because it shows many ideas related to the architectural form of Hadid. An
exaggerated cantilever is shown in Figure 4.15; however, this building has not yet
been built.

Figure 4.14: The deep cantilever in Maxxi: National Museum of XXI Century Art Rome,
Italy (1998). (Source: http://www.yatzer.com)

Figure 4.15: The exaggerated cantilever in Guggenheim Museum in Taichung, Taiwan

(2003). (Source: The complete Zaha Hadid)
 103

4.4.2.2 Ground Extension

Generally if the topography of the site is not flat, the architect either
excavates the land to make it flat and base on that he does the plans or designs the
building to go parallel with the nature of the ground. Hadid in this case break these
usual visions by leaving the natural topography as it is and make the ground extend
defying gravity and creating an extraordinary view for the project. Figure 4.16 shows
a villa that is one of two samples Hadid designed for golf and spa resort in
Dubrovnik. The resort composed of 400 villas, hotels and a golf course in which the
villas are ―developed to help define the architectural style of the resort‖ (Dezeen,
2011). Figure 4.17 is an extension for Ordrupgaard Museum in Copenhagen,
Denmark.

Figure 4.16: The ground extension in Villa for Golf and Spa Resort. Copenhagen, Denmark
(2011). (Source: http://www.dezeen.com)

Figure 4.17: Stretching for the hall ground in Ordrupgaard Museum Extension in
Copenhagen, Denmark (2001). (Source: http://www.zaha-hadid.com)
 104

4.4.2.3 Carve the Ground

In Regium Waterfront project, Italy, Hadid carves the ground up to the

sky as if the building wants to get free from the land and fly. The form of the
building was inspired from the physical shape of starfish--see Figure 4.18.

Figure 4.18: The curving ground for Regium Waterfront wings. Reggio, Italy (2007).
(Source: http://www.zaha-hadid.com)

4.4.2.4 Inclined Columns

As a means for defying gravity and the architectural rules of conceiving

building, Hadid uses sloping, non-orthogonal columns to support the blocks and free
the ground. Best examples of that are two car parks, one is a vertical park that is
Collins Park Garage in Miami Beach (Figure 4.19) and the second is designed
horizontally that is Car Park and Terminus in Strasbourg, France (Figure 4.20).
 105

Figure 4.19: The inclined columns in Collins Park Garage. Miami Beach (2012)
(Source: http://miami.curbed.com)

Figure 4.20: Using inclined columns for holding the ceiling of Car Park &Terminus.
Strasbourg, France (1998-2001). (Source: http://www.zaha-hadid.com)

4.4.2.5 The Ground Manipulation for Different Floors (Multi-Grid)

One of the ways Hadid uses to defy gravity is the ground manipulation for
different floors within the same building. If doing an orthogonal projection for such
projects, it can be seen more than two grids managing the plans. One example of that
is the Peak project (1982) which considered being the first project uses such
technique-- see Figure 4.23. Other examples are Billie Strauss Hotel, Nabern,
Germany (Figure 4.22) and Edifici Campus, Spain (Figure 4.21). Shapely Edifici
 106

Campus is similar to La Fenice Opera house (figure 4.56) in the way of accumulating
different geometries over each other in layers. The Campus form notion represents
―the transition between the forum and the campus, between Barcelona waterfront
area and the qualification of the delta‖ (Hadid, 2009).

Figure 4.21: The multi-ground of Edifici Campus form in Barcelona, Spain (2006)
Source: The complete Zaha Hadid

Figure 4.22: The multi-plans and grids of Billie Strauss Hotel in Nabern, Germany (1992).
Source@ Zaha Hadid Complete Works
 107

Penthouse
Apartments
Spa Pent

Void height:
13-meter
Club consist
of (library,
snack bar,
exercise
platform)

Penthouse
Apartments
Spa Pent

Figure 4.23: The orthogonal projection for peak project examining the ground
manipulation for different floors
 108

4.4.2.6 Deep Emanation for Some Masses: Cantilever

As a way of energizing the building facade, Hadid in Pierres Vives project

makes some blocks excessively emanate from the building to show their rebelling to
gravity—see Figure 4.24.

Figure 4.24: The mass deep emanation in Pierres Vives in Montpellier, France (2002-12).
(Source: http://www.e-architect.co.uk)

4.4.2.7 Inclined Mass from the Inside Out

What is unique about Hadid architecture is the variety of presenting new

forms that have not been conceived before. One of these various ways is tilting the
building to one side in a diagonal manner as if the building was bushed by a strong
wind to one direction while the ground is still stick in its position. A diagonal design
is one of the early ideas Hadid uses till now which give the ability to conceive new
space; free from right angles and corners. Eli &Edythe Broad Art Museum in the
Michigan state is an example of such technique (Figure 4.25). In addition, Maggie's
Centre Fife in Scotland was designed in the same way (Figure 4.26).
 109

Figure 4.25: The inclined form of Eli &Edythe Broad Art Museum. Michigan State
University, USA (2007-12). (Source: http://www.dezeen.com)

Figure 4.26: The withdrawal walls of Maggie's Centre Fife. Kirkcaldy, Scotland (2001).
(Source: http://www.zaha-hadid.com)

4.4.2.8 Erosion: Making Building Porous

Fluidly and topographically, Hadid makes her designs porous giving the
sense of continuation between inside and outside the building and defying gravity.
This technique as mentioned previously in fragmentation part is inspired from the
erosion of natural things in nature. Figure 4.27 shows king AbdUllah house of
culture and art in Amman which its form was inspired from the Petra Mountain and
the fluid erosion principle (Hadid, 2009). According to Zaha Hadid website, the form
of Opus Office Tower in Dubai (Figure 4.28) was erosion generated by a free-form
void.
 110

Figure 4.27: The erosional form of King AbdUllah House of Culture and Art
Amman, Jordan (2008). (Source@ http://www.zaha-hadid.com)

Figure 4.28 Opus Office Tower in Dubai, UAE (2007). (Source: http://www.zaha-
hadid.com)

4.4.2.9 Mass Manipulation

Shaking the static condition of building visualization and stability is another

way Hadid uses to defy gravity. This could be done by revolving and manipulating
the exterior form of the building. An example of that is Middle East Center in ST
Antony's College, University of Oxford, England (Figure 4.13). The building form
resembles a linkage and bridge between 68 and 66 Woodstock road ―where the
architecture turns into itself, morphology of dynamic tensions‖ (Futagawa, 2010).
 111

Figure 4.29 shows Dance and Music Centre, Netherlands (2010). The building form
expresses the nature of the project as if it dances with the rhythm of music
interestingly ignoring the factor of gravity and breaking down the motionless image
of envisaging architecture.

Figure 4.29: The musical mass manipulation of Dance and Music Centre form in The
Hague, Netherlands. (Source: http://www.zaha-hadid.com)

4.4.2.10 Liberate the ground

This part addresses some of Hadid methods used to liberate the buildings
from the ground with the purpose of letting ―different elements to operate
independently‖ (Hadid, 1998) and making the ground floor work more lively.
Energizing and liberating the ground could be achieved by elevating the building in
different ways. Applying such method offers lobbies, public spaces and different
entrances which facilitate performing ground function in a better way. Another way
of liberating the ground is excluding in-between elements like what Hadid did in
Irish Prime Minister‘s Residence in Ireland (1979-80); this way could be used only
for one story building. The following techniques are some of Hadid ways to
liberating the buildings from ground.
 112

 Using Cones

Hadid in Phaeno Science Centre Wolfsburg, Germany used conical blocks to

elevate the building, see Figure 4.30. The cones were employed as follows, one as
main entrance, another cone as a lecture hall, one for storing, and three of them are
exhibition spaces merged with the upper main concourse (Hadid, 2009). Figure 4.31
shows the energetic role that cones play in the main façade.

Figure 4.30: Ground liberation through using cones in Phaeno Science Centre in
Wolfsburg, Germany (1999-2005). (Source: http://www.studyblue.com)

Figure 4.31: The conic forms in the main façade of Phaeno Science Centre in Wolfsburg,
Germany (1999-2005). (Source: http://www.arcspace.com)
 113

 Using Arc Forms

Jesolo Magica is a multifunctional project in Italy, it contains offices,

restaurants, hotel, retail spaces and other activities ( Hadid, 2009). Because of that,
Hadid tries to find a form that encompasses all these activities and offer convenient
and separated entrances. To achieve this mission, Hadid designs the hotel and the
retail center as two stretched arcs like a sculpure petals of flower as descriped in her
website that fluidly flows to superficially connect the other components as seen in
Figure 4.32.

Figure 4.32: Ground liberation by using two arcs in Jesolo Magica in Jesolo, Italy (2010-
14). (Source: http://www.zaha-hadid.com)
 114

 Using Two Basis: Z Form

Surfers Paradise Transit Center in Australia is one of the most creative towers
designed by Hadid—see Figure 4.33. To make each part operated individually, she
innovatively supports the structure by two separate basis points. The residential
tower over the exposed columns has a separated entrance from the commercial part
which constitutes the rest of the building. Therefore this part discusses the different
ways Hadid used to break- free from the ground as well to employ it in a dynamic
and lively manner.

Figure 4.33: Ground liberation by using two separated bases in Surfers Paradise
Transit Center Site in Queensland, Australia (2007). (Source@ The complete Zaha
Hadid )
 115

4.4.3 Landscaping the Surrounding Context and Project

People usually wonder at the compatibility of Hadid buildings with the

surrounding although they totally have different characters in both form and
materials. The secret underlies in the intense research Hadid does in the site and
environment. Landscaping the building is to not deal with the project when designing
as an isolated thing but to try to make it as a complementary part of the urban zone
image. She tries as much as possible to embed and melt the project within the
context by considering all possible articulated relationships such as topography and
landscape stretching them to go seamlessly with the site landscape (Colegio, 2012).
Through design process, Hadid tries to derive some features from the context to
project and vice versa to guarantee a harmonic combination into each other.

Hadid learned this technique from Chinese landscape and architecture and
apply it in her architecture. In describing such experience, she said that she admired
―the way Chinese gardens manipulate and integrate intensive elements of nature; and
the way the traditional architecture is embedded within the great theatre of natural
landscapes‖ (Platt, 2012). Using this method affects both the general form and
orientation of the building.

If one return back to her early projects till mostly the mid of 2000s, it could be
realized that she put all her efforts to generate the form. Lately, she gives part of her
consideration to landscaping the project. She declared that in the early works, her
aim was to create a sculpture buildings shine like isolated jewels, however; she is
recently working on making them dissolve and shape a new kind of landscape ―to
flow together with contemporary cities and the lives of their people‖ (Glancey,
2006). Hadid designs the landscape in a way that dissolves the building in the
surrounding. Metaphorically, landscaping the project with the surrounding context is
like the tree in Figure 4.108 in which its roots embed with the surrounding by taking
the same shape of the pavement around. In this part, her methods of applying this
technique are discussed in details.
 116

Figure 4.108: Tree embedd-ness with the surrounding context

These are some ways Hadid uses to landscaping the project and surrounding
merging them together to form one image and scenery. It is exactly like what
Shaimaa Kamel tried to explain in Architecture as a Second Nature, she said
“landscape is no longer a neutral background that serves to highlight architectural
elements‖ (Kamel, p.1) but it is dissolved with the architecture; each has
characterized by the features of the other one. These are the different methods Hadid
uses to landscaping the project and design.

4.4.3.1 Elevating the Ground Floor or Part of it

Hadid‘s designs usually characterized by elevating the ground and

making it porous which resulted in offering a continuation for the surrounding
landscape to the interior spaces of the project. Through access to Chinese
architecture, some of the houses have a terrace elevated on columns which give the
sense of garden extension and make the building part of the natural view, so it is
assumed that she learned this technique from Chinese architecture. Figure 4.34
shows how the landscape flows seamlessly inside the building, Jesolo Magica in
 117

Italy, as if the landscape and building intimately combined to paint a natural image of
the site.

Figure 4.34: The landscaping Jesolo Magica project through elevating the ground. Jesolo,
Italy (2010-14). (Source@ http://www.zaha-hadid.com)

4.4.3.2 Vanishing

Hadid commonly uses fading idea in several of her projects. It is considered

as a new kind of landscaping the building because it draws sight gradually from the
site to the building making a strong connection between them. Metaphorically,
vanishing gives the project the feature of being a land born; the building grew up
from the site to be part of it. Hadid learned fading technique from the Chinese
Painting; she learned how ―painting layers space into infinity, giving us a sense of
unexplored depth and boundless freedom‖ (Hadid, 2011). She cleverly has translated
this technique from painting to the most difficult application; architecture. Hadid
usually employs the faded part of the building as an entrance and as a strong directed
pedestrian corridor toward the main space of the project. Abu Dhabi Performing
 118

Arts Centre (Figure 4.35) is an example for this technique in which the corridor
constitutes a direct axis and linkage between Sheikh Zayed museum and the sea
(Hadid, 2009). The other example is E.ON Energy Research Department in
Germany. The building formed a connection between two parts within RWTH
Aachen University in Germany-- see Figure 4.36.

Figure 4.35: Landscaping by Vanishing used in Abu Dhabi Performing arts Centre. Abu
Dhabi, UAE (2008). (Source: The complete Zaha Hadid by Hadid, 2009).

Figure 4.36: Vanishing technique applied in E.ON Energy Research Department. Aachen,
Germany (2006). (Source: The complete Zaha Hadid )
 119

4.4.3.3 Topographying the Project

This technique could be applied by following the same lines and forms of the
site topography to form the exterior shape of the project. Hadid has successfully
melted the design of many projects within their sites and surrounding context; a
complete explanation about that is explained Tables 4.3 and 4.4.

4.4.3.4 Using one colour for the building

Since landscaping architecture is about reducing human interference on the

land to keep the picture of nature still exist as mentioned by Shaimaa Kamel in
Architecture as a Second Nature, Hadid usually uses only one colour in the exterior
forms of her projects. Majority of her projects have the white colour, other mixed
with large expanses of glass, and the rest have a concrete facade in which she prefers
letting building shows its natural material. Therefore, this way is assumed to be as a
factor of reducing interventions in the site and making it connected in harmony with
the surroundings.

4.4.3.5 The Pavement of the Project

It is notice that Hadid usually uses pavement that has the same colour of the
building which gives the uncertainty about the existence of the meeting line between
building and site. Moreover, it contributes the building the feature of belonging or of
being an extension of the ground. Figure 4.37 shows the proposed design for Vilnius
 120

Museum, Lithuania; it is one of the early projects which their form concepts are
generated by parametric design system (Hadid, 2009).

Figure 4.37: Merging pavement with the project, Vilnius Museum, as a way of
landscaping. Vilnius, Lithuania (2007) (Source@ The complete Zaha Hadid)

4.4.3.6 Lines Formation

Recently, Hadid uses the same formative lines of the building to design and
coordinate the landscape of the site. If the building design uses spiral lines, the
landscape design also takes the same manner such as pavements, green zones, lakes
and stairs. This creates a strong relationship between the building and the land as if
they merge to form one picture. Figure 4.38 is Cairo Expo City in Egypt that could
be shown as an example of this kind of landscaping.
 121

Figure 4.38: Landscaping project through using the same formative lines for and project
form of Cairo Expo City. Egypt (2009). (Source: http://www.zaha-hadid.com)

4.4.3.7 Using Glass in the Ground Floor: Transparency

As a way of landscaping the project, Hadid uses wide tracts of glasses in the
ground floor in order to confirm the transparency between nature and the building
spaces. Examples of this technique are Kusnacht Villa, Zurich (Figure 4.39) and
Nassim Villas, Singapore (Figure 4.40).These two projects of villas are designed in a
unique way as if they withdraw the nature toward their interior spaces. In the front
and main façade of these two villas, there is no separation between their spaces and
the surrounding except the glass walls. Hadid learned this way of landscaping from
Barcelona Pavilion by Mies van der Rohe.
 122

Figure 4.39: Exposing building to nature through transparency in Kusnacht Villa in Zurich,
Switzerland (2006). (Source: http://www.zaha-hadid.com)

Figure 4.40: Landscaping through transparency Nassim Villas. Singapore (2007). (Source:
http://www.zaha-hadid.com)
 123

4.4.3.8 Landscaping the Roof of the Project

It is through planting the roof of the building which gives the sense of
landscape‘s extension and continuation throughout the project. A good example of
that Dongdaemun world design park and plaza in Korea (Figure 4.41)

Figure 4.41: Gardening the roof of Dongdaemun World Design Park and Plaza
Seoul, Korea (2007). (Source@ http://www.zaha-hadid.com)

4.4.3.9 Gardening Open Interior Spaces

In King AbdUllah petroleum studies and research centre ( Figure 4.42) Hadid
landscapes some of the open-interior spaces by using palm trees, tree icon of the
kingdom. So, she withdraws the landscape into the building.
 124

Figure 4.42 Inserting nature through open spaces within the form of King AbdUllah
petroleum studies and research centre. Riyadh, Saudi Arabia (2009). (Source: Recent Project
Zaha Hadid/ GA series books)

4.4.3.10 Wall Extension

In some of her projects, Hadid expands the walls of the building to form the
pavement of the site. This technique is used in Heydar Aliyev Culture centre,
Azerbaijan-- see Figure 4.43. In this project, the wavy walls folded to meet the
ground forming the pavement of the surrounding; designing in such way gives the
sense of affiliation to the origin: the Earth. Figure 4.44 shows the Stone Towers in
Cairo in which the walls of the towers refract to form the roof of retail parts which
continue to form the Delta landscape. On the contrary, Museum of Islamic Arts
form in Doha, Qatar (1997) is generated as a land extension and jut appears in the site
and starts gradually fading to return back the land.
 125

Figure 4.43: The integration of projects wall and pavement in Heydar Aliyev Culture
centre. Baku, Azerbaijan (2007-12). (Source: http://www.zaha-hadid.com)

Figure 4.44: Landscaping through wall extension in Stone Towers. Cairo, Egypt (2008).
(Source: http://www.profilerz.com).

4.4.3.11 Forming the Project According to the Current Urban Grids

Hadid uses the current urban grids of the site neighbourhoods to generate
project form as well to landscape the project. The example project is Maxxi museum
in which she said through her website ―Maxxi integrates itself with its surroundings,
re-interpretation urban grids to generate its own geometric complexity‖. Figure 4.45
 126

shows Maxxi site in which the building form is composed of bundles started to take
normal orthogonal direction of the land then part of it veered to take the same
direction of the site‘s back street. Then another bundle companion to the last one
turned to go parallel to the land outline. Using such way allows the project to
position itself within the urban structure to become a complementary part of the
current existing fabric as shown in Figure 4.46. The form of Price Tower Arts Center
in Bartlesville, USA (2002) was generated by using such technique.

Figure 4.45: Perspective view for Maxxi: National Museum of XXI Century Art-
Rome, Italy (2009). (Source: http://www.zaha-hadid.com)

Figure 4.46: Landscaping through employing the current urban grids in the site of Maxxi:
National Museum of XXI Century Art in Rome, Italy (2009). (Source: http://www.zaha-
hadid.com)
 127

4.4.3.12 Designing the Building in Parallel with Land’s Shape

The aim of this technique does not mean designing the building according to
site topography but designing it by following in parallel to the formation of the land
outline. Although many architects considered this as a restricted factor, Hadid in
contrary to them has invested it cleverly in generating the project‘s form idea. An
example of this technique is embodied in Regium Waterfront, multi-functional
building in Reggio, Italy, --see Figure 4.47.

Figure 4.47: Forming project according to land shape, Regium Waterfront, multi-
functional building in Reggio, Italy (2007). (Source: http://www.zaha-hadid.com)

4.4.3.13 Melting the Building to Meet the Ground

It is a double technique; as an abstract one that addressed previously in page

78 and as a method of landscaping projects. Figure 4.12 shows the sculpture project
of Beko Complex redevelopment in Belgrade, Serbia. The project is designed in
the purpose of integrating it with the surrounding neighbourhoods which are a
combination of traditional cultural projects. This was achieved by making the
building walls melt to meet the ground and form part of its landscape. In addition,
 128

the greenness zones in the site move to take their places in the building creating a
role model in the sustainable architecture.

4.4.3.14 Landscaping the Project in Multiple Ways

In Next Gene Architecture Museum in Taiwan (Figure 4.48), Hadid has

harmonized and adapted the project with the surrounding landscape by using
multiple ways. For instance, she used a reflective skin, so the greenness of the
surrounding landscape is reflected in the project as a mirror creating a continuation
of the natural scenery. What also enhances the beauty of landscape is in some parts
around the building, there is a direct connection between the green land and building;
there is no in-between pavement. Its conic formal walls generate ―a distinctively
fluid circulation system‖ embedding the project into site topography (Zaha Hadid
website). Moreover, elevating two corners of the building to let the wavy lines of
pavements to get through it creates a strong connection between the surrounding
landscape and project. These wavy lines are inspired from the contour lines in the
site formulated to fit the desired portrait as seen in Figure 4.49.

Figure 4.48: Nature‘s born project, Next Gene Museum in Taipei, Taiwan (2008).
(Source:http://www.zaha-hadid.com)
 129

Figure 4.49: The harmonious integrating between the Next Gene Architecture Museum and
the site topography in Taipei, Taiwan (2008). (Source: http://www.archinnovations.com)

4.4.4 Layering

This technique enables Hadid to create amazing voids and spaces which meet
her aspirations of architectural space. Complex and fluid space is one of the tasks
Hadid committed herself to carry out and this is achieved by applying layering
technique (Belogolovsky, 2008). This technique stands behind creating amazing
fluid interior spaces by manipulating the interior wall borders especially the main
foyer of the building. Fluid large foyer is assumed to be Zaha Hadid main imprint in
majority of her large projects which she considered the main factor of socializing
project (Futagawa, 2010).

Layering in painting is to apply more than one layer of colour to give the
painting sensible depth. While layering in this part of study means to deal with
building floors as separated layers or levels; to lightly ignore the grid of the lower
floor. It is like what Zaha stated in her article at China Daily USA Newspaper ―I
believe the complexities and dynamism of contemporary life cannot be cast into the
 130

simple orthogonal grids and blocks of the 20th Century architecture of Henry Ford's
era‖ (Hadid, 2011). Therefore, layering is manipulating the floors positions in terms
of superposition to create energetic form such as Peak project.

Hadid learned this technique; the way of conceiving space in layering from
the painting of Chinese art. Hadid admires their way of painting space in layers ―into
infinity, giving us a sense of unexplored depth and boundless freedom‖ (Hadid,
2011). Both layering and vanishing techniques has been inspired from the same
source that is the faded painting of traditional Chinese art, nevertheless they are
applied in different ways; layering to generate the form of interior main voids and
vanishing to create exterior project form.

A good example of this way is Museum for the Royal Collection in Madrid
which its design was ―inspired by the morphology of erosion‖ (Hadid, 2009). It is the
first project designed by Hadid with regard to apply layering technique to generate
fluid space. Figure 4.50 shows the bold manipulation through the ground of building
floors resulted in generating amazing interior fluid foyer

Figure 4.50: Generating fluid space through layering, Museum for the Royal Collection
Madrid,Spain (1999). (Source: http://www.zaha-hadid.com)
 131

Another example is Darat King AbdUllah art cultural center in Jordan (2008).
Hadid inspired its erosional fluid lines from the monument of Putra depicting how
architecture could simulate nature and create the art of coexisting with it (Futagawa,
2010). Figure 4.51 illustrates how the foyer has gained its form by using the layers
manipulation from ceiling to the ground floor. Figure 4.52 shows the creative
interior foyer from the outside of the building; facilitated by transparency factor
portraying another architectural monument for the city.

Figure 4.51: Space creation through layering manipulation, Darat King AbdUllah Art
Cultural Center in Amman,Jordan (2008). (Source: http://www.zaha-hadid.com)

Figure 4.52: The creative space and the great integration between outside and inside in
Darat King AbdUllah Art Cultural Center. Amman,Jordan (2008).(Source: http://www.zaha-
hadid.com
 132

4.4.5 Play of Light

Play of masses under the factor of daylight is one of techniques used

intensively by Hadid wherein the element of shadow adds motion and life to the
elevation. Play of masses could be achieved by using buckling, sinuosity, extrusion,
fragmentation, abstraction, and making the building porous. Most applications of
these ways are explained in previous part of fragmentation. She commented on that
by saying ―If you consider changes in the play of light on a building before it was
built, you can vary the colour and feel of concrete by daylight alone‖ (Glancey, 2006).

Hadid inspired this technique from her meditation of nature; she knows the
reason that attracts people to mountains; it is because of the simple meandering in the
mountains and the light factor which work together to portray a beautiful view
(Hattenstone, 2003). Hadid learned also that in China through her studying to
traditional painting art. She learned that light and shadow factors are important
elements for any artistic work and she assumed that technique could be achieved in
architecture as well (Platt, 2012). In addition to the ways mentioned in the previous
techniques, she applies this technique through manipulating masses organization
which this part addresses some of them. The following are some of Hadid‘s
organizational and compositional techniques presented in bundles.

4.4.5.1 Juxtaposition

It is organizing blocks in parallel to each other. The example of that is

Landesgartenschau in Weil am, Germany (Figure 4.53). Its form concept inspired
from the contour lines of the site topography.
 133

Figure 4.53: The Parallel lines forming Landesgartenschau 1999 in Weil am ,Germany
(1996-99). (Source: Google earth)

4.4.5.2 Overlapping and interweaving

In some of Hadid designs used juxtaposition organization, one juxtaposed line

departs its path to intersect another breaking the boredom of normal forms
organization. Good example of that is Maxxi: National Museum of XXI Century Art
in Rome, Italy (1998-2009) -- see Figure 4.45. The Habitable Bridge in London
(Figure 4.54) is another example in which Hadid described as ―a horizontal
landscaper‖ containing a lot of activities (Hadid, 1998; p.135).

Figure 4.54: The Overlapping masses bundles of The Habitable Bridge in London, Britain
(1996). (Source: Zaha Hadid. ed.1998)
 134

4.4.5.3 Fragmentation

Fragmentation is another way of combining blocks which Hadid is well known

in. Figure 4.55 is the redevelopment of Düsseldorf‘s harbour; Zollhof 3 Media park
project in Germany (1989-93). The redevelopment includes two sites, one in the
corner of street and the other located in a gap or strip site in the 19th- century block
(Hadid, 1998). Hadid designed the two projects forms based on the objective that was
―to create links running across the strips and transform the embankment into a
recreation area‖ (Hadid, 1998).

Figure 4.55: The fragmented form of Zollhof 3 Media park in bundles, Germany (1989-93)
Source: Croqus Zaha Hadid (1992-1995)

4.4.5.4 Accumulation

Accumulation or superposition is a vertical technique of organizing blocks. It

is assumed that Hadid learned it from the Russian constructivism particularly Yakov
Chernikhov. Figure 4.56 shows the formal design of La-Fenice opera house
generated to simulate the city‘s roofscape (Hadid, 2009). Other examples are 42nd
Street Hotel in New York, USA (1995) and Lois &Richard Rosenthal Center for
Contemporary Art in Cincinnati, USA (1997-2003) which described by New York
Time as "the most important American building to be completed since the cold war‖
(Muschamp, 2003).
 135

Figure 4.56: The accumulation organization for La Fenice form in London, Britain (1996)
Source:The complete Zaha Hadid

4.4.6 Seamlessness and Fluidity

The last technique is applying the feature of seamlessness to go through every

part of the project. Seamlessness and fluidity are prevalent characteristics in almost
of Hadid projects especially recent ones and anyone could notice them easily. She
inspired this technique from the natural seamless flow of the landscapes in Sumerian
village, Iraq which happens between reeds, water, and sand to create an amazing
view (Glancey, 2006). Concrete is the most used substance which could achieve the
desired seamless curves. She usually tries to avoid using L shape or 90 degree
corners by curving the surfaces in order to give the sense of continuous fluid space
and sometimes by inclined surfaces toward the inside or outside; this depends on the
architect‘s aesthetic sense. The technique of curving surfaces is learnt from ―the
intricacy and beauty of natural forms‖ (Pulse, 2011). Moreover, it offers more
convertible and exposed surfaces which allow the natural light enter deeply through
the building. Actually, the feature of fluid space in Hadid projects makes the visitor
unconsciously wants to walk, move, and see what is next (self-movement), so no
need any more for an introductory guide and even for signage.
 136

4.4.7 Sub-Techniques

These are sub-techniques have been noticed through some of Hadid

architectural works which might contribute assisting those who are interested in
producing Hadid architecture-like.

4.4.7.1 The Formative Relationship between Plan and Elevation or Section

There is a formative relationship between plan and elevation or section; this

subject is discussed in the next section in which the study has covered five projects;
each project represents one pattern -- see section 4.5.5.

4.4.7.2 Reflecting Project’s Form in the Interior Design of Space

Another secondary technique is reflecting the project‘s form or plan notion in

the interior design of space whether in designing the vertical elements of
communications, foyer design, furniture, penetration, electrical light and so on. For
example, in Maxxi: the National Museum of XXI Century Art in Rome, Italy
(Figure 4.57a), Hadid employs the same formative lines of the building shape to
design exposed stairs in the foyer which add energy to the space and make it perform
its function more lively as seen in Figure 4.57b .
 137

(a) (b)

Figure 4.57: The formative relationship between the interior design of Maxxi: National
Museum of XXI Century Art in (a) and its exterior configuration in (b), Rome, Italy (2009).
(Source: http://www.zaha-hadid.com)

The other example is Maggie's Centre Fife, Victoria Hospital in Kirkcaldy,

Scotland (2001-06), in which Hadid has used the same shape of the plan to form
windows and lighting slots; as shown in Figure 4.58 a and b.

(a) (b)
Figure 4.58: The triangular relationship between the plan of Maggie's Centre Fife in (a) and
its interior design in (b), Kirkcaldy, Scotland (2001-6). (Source: http://www.zaha-hadid.com)
 138

4.4.7.3 Using Distorted Addition and Subtraction Technique Accompanied with

Strong Justified Notion

It is well recognized in architectural design that addition and subtraction are

helpful techniques in generating new forms; Ching (1996) simply demonstrates these
principles in details. They were used extensively by modernist architects like Ludwig
Mies van der Rohe and Le Corbusier. As noticed in Hadid works, simple geometric
addition and subtraction are not enough for her to produce the prospective
architecture that reflects the spirit of this era. She instead merges in some of her
works between additions or subtraction with distortion or twisting resulted in
producing new and unusual forms: Hadidian architecture. Madrid Civil Courts of
Justice in Madrid, Spain (Figure 4.11) is a good example of such case in which the
form is twisted to emphasis project entrance as if it welcomes people as well it offers
some shadow for both parts the upper side and bottom.

4.4.8 Perceived Contradictions in Hadid Techniques

Contradiction is the underlying reason of Hadid works‘ uniqueness. Paradox

in the used techniques has created integration in conceiving and achieving the
innovative and rational architecture. Hadid has her self-developed techniques to
produce unprecedented works. These techniques are a mixture between liberation
and logic; rational and irrational; and strangeness and harmony. The liberating
techniques for form are fragmentation and abstraction; defying gravity; layering; and
play of light, while the others that return form to logic and qualified it to be real,
friendly, and harmonic project are landscaping the project; seamlessness; and
fluidity. Ignoring form principles and using others are also another factor of
generating interested forms such as ignoring symmetry and considering balance and
asymmetry.
 139

The roots of Hadid techniques have been learnt from different domains,
cultures, and countries. This interpreted the familiarity of her architecture at the
global level. For example, abstraction is a technique enhanced by Hadid through
studying mathematics, while defying gravity is the one developed by her through
studying the Russian art suprematism, Chines architecture, and Mies van der Rohe
projects. In addition, fluidly and seamlessness are gained techniques through
observing the fluidness of Arabic calligraphy and organic things in nature, whereas
landscaping the project, play of light and layering are skills learnt from Chines art
and landscaping. Therefore, her architecture is a result of many experiences, studies,
efforts of generating what is novel.

The six techniques have been enhanced through travelling to many countries
around the world such as China and Istanbul. She emphasizes on the importance of
travelling through ―her vision as an architect and extols the importance of
worldliness‖ (Eldin, 2006).
 140

4.5 The Patterns of Form in Zaha Hadid Architecture

4.5.1 Introduction

It is well known how Hadid projects characterized by variety and

differentiation. She has conducted a large number of works; each work has its special
form and its unique philosophical concept. However, through conducting this study,
it has been noticed incidence of words repetition through Hadid interview and also
through using some features in the exterior form of her projects --see Figure 3.3 and
Appendix B. This section includes three important subjects related to architectural
form of Hadid that are her patterns of designing forms, a formative analysis for her
works, and the formative relationship between plan and elevation or section.

In this part, Hadid‘s patterns of designing form are discussed. In addition, it

provides a complete explanation for form features which based on them and the
project form notion described by Hadid, the patterns are identified. It includes a
study for four example projects representing each pattern; this for all five patterns. It
is assumed that at the end of this part, the reader would be convinced with the idea of
patterns existence through her work and be able to identify the pattern of any Hadid
future work.

The second part covers the qualitative analysis for Hadid works which
includes 208 works representing different stages of Hadid professional life. It
provides the percentage of the five patterns and the occurrence of these patterns
though years. Therefore, important details are exposed in this part accompanied with
rationalization for the changing appearance in her style.
 141

The third part discusses the observed formative relationship between plan and
elevation or section according to Clark and Pause (2005) in Precedents in
Architecture. It is the sub-technique mentioned in section two of this chapter which
suggested being a helpful point through proceeding in design.

To summarize, this section would be helpful for recognizing Hadid patterns

in designing form and learning how these patterns are identified. It also studies the
percentage and happening of them through Hadid‘s career journey. The technique
of the formative relationship between plan and elevation is studied for five projects
on behalf of each pattern. Therefore, this part is important to understand and obtain
a complete understanding of her works through years.

4.5.2 Hadid’s Patterns of Designing Forms

Based on the prevailing characteristics of projects form and Hadid description

to project‘s form notion, the patterns are identified. It has been noticed that she
frequently works within five dominant patterns. They could be appraised and
identified by the prominent features of the project which generally categorized under
different well-known form configurations not in architecture but in the other domains
of life like nature; as demonstrated in Figure 3.3.

Appendix B shows some of Hadid words while describing the architectural

form notion of the projects. These words have been categorized under recognized
themes as seen in Appendix C-1 and C-2 and based on that the patterns are classified.
Hadid‘s patterns in designing form are suprematist, topographic, fluid, organic, and
parametric forms. This part demonstrates the features of these prevailing patterns
which arranged chronologically according to their appearance.
 142

4.5.2.1 Suprematist/ Deconstructivist Forms

As mentioned previously in Chapter 2, Hadid early works stand on the radical

notions of avant-garde Russian art that is presenting designs in abstract painting
using fundamental geometric forms. Because of using such degradation technique in
suprematism, the canvas would have numerous interpretations for its meaning giving
the sense of ambiguity and confusion. Another notable feature of this trend is
employing limited number of colors and sometime two hues of one color like the
white square on white canvas for Malevich in which he expressed the purity of
feeling.

Hadid referred her using of painting as method of presenting her early

designs to the better opportunity afforded by painting rather than drawing in
conceiving space, she also said ―the paintings really came because I thought the
projections required a degree of distortion and defamation at the time, but eventually
it affected the work itself‖( Belogolovsky, 2008).

The evaluation and classification of Hadid‘s projects under this trend are
done based on suprematism principles and the features of her deconstructivist style.
Her deconstructivist style developed from suprematism; however, it is injected with
ideas of fragmentation and deconstruction. Suprematism style also includes the very
few early projects which their forms have some constructivist features.
Constructivism is architectural movement originally inspired from suprematism
(Cooke, 1995). One of Hadid project under this style is Museum of the Nineteenth
Century in London (1977). Some of constructivism features this study referred to in
evaluating projects under it are the fenestration and having nude structure.

Suprematism has some principles could be recognized and identified through

painting. One of these principles is utilizing analogous forms in order to offer
harmony feature through painting. This feature is found in many of Hadid early
 143

projects; however, she used to draw deformed rectangles; a perspective of three

points such as Zollhof 3 Media park in Germany (1989-93)--see Figure 4.55. It is
also perceptible in suprematist painting the existing of supremacy for some shapes,
with the purpose of attracting the attention of spectators to artist‘s intention.
Examples of such pattern are Malevich‘s Tektonic, London and Irish Prime
Minister‘s Residence, Ireland and almost of her works from 1976 until the mid of
1990s. Another important feature in suprematism is the notion of anti-gravity; flight.
Therefore, the projects which their main form notion are based on defying gravity,
abstraction, and fragmentation, they are categorized under suprematist pattern.

Tables 4.1 and 4.2 show four sample projects categorized under suprematist
pattern. The general characteristics are derived from noting the similarities between
the exterior forms of these projects. These characteristics could be used as a guide to
determine the suprematist pattern.
 144

144
TABLE 4.1 Examples of Suprematist and Deconstructivist Pattern and Its General Characteristics

Project 1 & 2 Notion of the Form Function Pattern General Characteristics

The Peak consists of Through analyzing the forms of the

Figure 4.59 shows the Peak project four project, it has been noticed that
1. Spa, Club (library,
in Hong Kong. Its notion is there are some common features
snack bar, exercise
relatively a mixture of the between projects under suprematist
platform)
suprematist geology, gravity pattern; they are as follows
2. Penthouse
defying and fragmentation (Hadid,
Figure 4.59: The suprematist form of 3. Apartments
The Peak in Hong Kong (1982-83). 2009).
Source: http://www.zaha-hadid.com
The project consists of 1. The four projects consist of

Figure 4.60 is Vitra Fire Station in abstract and fundamental

Germany. Form notion is resulting 1. Fire Station geometric forms that are

from a collision between two main 2. Boundary walls for harmonically similar to each

organizing geometries in the site; factory‘s land other.

the street and factory complex 3. Bicycle shed

Figure 4.60: The suprematist form of (Hadid, 2009).

Vitra Fire Station in Weil am, Germany
(1990-94). Source: http://www.zaha-
hadid.com
 145

145
TABLE 4.2 Examples of Suprematist and Deconstructivist Pattern and the General Characteristics

Project 3 & 4 Notion of the Form Function Pattern General Characteristics

Figure 4.61 is Cardiff Bay Opera The project consists of 2. They are characterized by
House in Wales. The concept of defying gravity and elevating
the project ―is based on the 1. Opera House the ground.
architectural expression of the 2. Auditorium
hierarchy between serviced and 3. Plaza 3. They have the impression of
servicing spaces‖ (Hadid, 2009; 4. Rehearsal studios fragmentation.
p. 83).
Figure 4.61: The suprematist form of Cardiff 4. They are perceived as
Bay Opera House in Cardiff, Wales (1994-96)
Source@ http://www.zaha-hadid.com prospective masses of three
points.
Figure 4.62 shows Lois and The Art center consists
Richard Rosenthal Center for of 5. They are featured by
Contemporary Art in manipulating the ground of
Cincinnati. The notion of the 1. Galleries different floors.
project is to withdraw and attract 2. Exhibition spaces
the pedestrians to come, see and 6. They are characterized by
experience the building and the porosity connecting the inside
exhibitions (Hadid, 2009). with outside
Figure 4.62: The suprematist form of Lois
&Richard Rosenthal Center of Contemporary
Art in Cincinnati-USA (1997-2003)
Source@ http://www.zaha-hadid.com
 146

4.5.2.2 Topographic Forms

It is the second pattern used by Hadid. She said ―The idea always comes from
the same source‖ (NewYooxer, 2010). This pattern is characterized by inspiring from
the features of the earth‘s surface shapes. It is a translation of land contours with
consideration of site inclinations and their directions. Architect can derives many
ideas existing in the natural diversity of earth topographic forms, for instance ridge,
dunes, floodplain, moraine, peneplain, cliff, and plateau. If anyone looks at the
Google earth program, he would see a rich variety of natural land formation. God
has innovatively created this diversity in nature for human being in order to enjoy,
contemplate and inspire from it.

There are numbers of important projects by Hadid their form notions are
inspired from topographic forms. For example, Glasgow riverside museum of
transport in United Kingdom which its form notion is inspired from the ripples of
dunes in desert, in addition to the detour in form resulted from being in unique site
that metaphorically resembles transmission link between Clyde and Glasgow. Other
examples are Landesgartenschau 1999, Germany and E.ON energy research center
which their notions are inspired from the existing contours in the site with the
intention of creating a harmony with the surrounding landscape.

Tables 4.3 and 4.4 demonstrate four model projects categorized under
topographic pattern. The general characteristics are derived from noting the
similarities between the exterior forms of these projects. These characteristics should
be taken in consideration if anyone wants to design in such way or even identifies the
category of any project under this pattern.

TABLE 4.3 Examples of Topographic Pattern and the General Characteristics
Project 1 & 2
Figure 4.63: The topographic form of
Landesgartenschau 1999 in Weil am,
Germany (1996-99)
Source: http://www.zaha-hadid.com
Figure 4.64: The topographic form of
Dubai Opera House in USE (2006).
Source: http://www.designboom.com
147
147
Notion of the form Function General characteristics
Through analyzing the forms of
Figure 4.63 shows Landesgartenschau 1999 the four project, it is observed
Landesgartenschau 1999 in Weil am, consists of that there are some mutual
Germany. As pointed in the drawing, characteristics between projects
the project is integrated with the site 1. Exhibition halls for under topographic pattern, they
and surrounding because its form is gardening are as follows
inspired from contour lines of the
site.
1. Their exterior forms are
Figure 4.64 is Dubai Opera The building consists of inspired from the natural
House in USE. The building notion landscape formation ( site
is inspired from nearby sand dunes 1. Opera House topography); the project forms
which distinguish the topographic 2. Play house take the surface outline and
land of Dubai as a desert (Hadid, 3. Performing arts school features of the earth
2009). 4. Art gallery
5. Six-star hotel

TABLE 4.4 Examples of Topographic Pattern and the General Characteristics
Project 3 & 4
Figure 4.65: The topographic form of
E.ON Energy Research Department in
Aachen, Germany (2006-10)
Source: The complete Zaha Hadid
Figure 4.66: The topographic form of
Heydar Aliyev Culture Centre Baku in
Azerbaijan (2007-12)
Source: http://www.zaha-hadid.com
148
148
Notion of the form Function General characteristics
Figure 4.65 is E.ON Energy Research Department 2. All projects fade to join the earth
Research Department in consists of giving the sense of affiliation to
Germany. The generating idea of the 1. laboratories the site in which they were built.
form is an interpretation for the 2. academic band:
direction and contours of the site Library and 3. They have seamless and fluid
(Hadid, 2009). meeting rooms surfaces.
3. open gallery
4. They have the characteristic of
Figure 4.66 illustrates Heydar Aliyev The Culture Centre
withdrawing which usually Hadid
Culture Centre in Azerbaijan. The consists of
employs to strengthening the
notion of its form is withdrawing
entrance of the building and
landscape of the site into four 1. halls for
movement direction.
topographically formed slices which Conferences
merged horizontally to fold again 2. 3-auditoriums
5. Lighting slots smoothly take
composing the sculpture form of the 3. library
place in parallel to the form of
building (Futagawa, 2010). 4. Museum
the building.
 149

4.5.2.3 Fluid Form

It is called also kinetic architecture or water architecture because of the

symbolic similarity in the dynamic qualities. Smooth, outflowing, shapeless,
amorphous and continuously seamless are some features of this pattern. It is also
considered as multipurpose architecture (Methanoia, 2010). It can be employed as
desired because its interior design is changeable. Although fluid form is a permanent
feature of mostly of Hadid recent works and even includes other patterns such as
organic and parametric designs, fluid form is categorized based on the form concept
generated by Hadid fluid sketches. She said ―My architecture takes the fluid
dynamism of the sketching hand‖ (NewYooxer, 2010). Fluid pattern is neither
based on simulating organic things nor generating form by the feature of malleability
in parametric design system.

Fluid architecture is mostly established and precedential recognized through

Hadid‘s works especially with regard to fluid space. Hadid said that fluid form ―is a
part of my architectural prints today, and space. The connection is in deconstruction
and fragmentation‖ (D‘Apuzzo, 2011). She notably started to work in this prototype
in the mid of 1980s especially what is related to furniture and interior design such as
24 Cathcart Road in London and she is working with this style till now. She
frequently announced her ambition of creating fluid space reflecting the speed of
technology in every life sectors ―From my first days at the AA, I explored the
concepts of fragmentation, abstraction, and explosion…, but my ambition was
always to create fluid space‖ (Hadid, 2011; Greenway, 2011).

Hadid inspired this type from the fluid and kinetic lines of Arabic calligraphy
which combines all the features mentioned under this pattern; Doris Bitter (2006) has
studied this in Inside Arabic Calligraphy from Alef to Zaha: an Artist’s View. One of
Hadid strengths is her very well curvy lines which characterized by fading. Rem
 150

Koolhaas referred her mastering in producing fluid lines to being Arab who are
talented in creating nice calligraphy (Hadid, 2006).

Hadid fluid designs are characterized by having smooth, seamless, and

watery external surfaces which are convenient for sight. She also uses fading
techniques in this pattern earning the projects a nice withdrawal for scene from earth
to sky. Fluid architecture could offer a better view to the surrounding
neighbourhoods; it also allows light to come into the building in a better way than the
cubic designs do.

Four projects categorized under fluid pattern have been illustrated in Tables
4.5 and 4.6 for the purpose of finding the general characteristics of this pattern in
regard of exterior form. These characteristics should be taken in consideration if
anyone wants to design in such way or even identifies the category of any project
under this pattern.
 151

151
TABLE 4.5 Examples of Fluid Pattern and the General Characteristics

Project 1 & 2 Notion of the form Function General characteristics

Figure 4.67: The fluid form of Guggenheim Museum
Taichung in Taichung, Taiwan. (2003)
Source: http://www.zaha-hadid.com
Figure 4.67 shows Guggenheim The Museum The analyzing of the four projects
Museum in Taiwan. Project consists of forms resulted in observing some
concept is based on considering shared features between projects
the museum as ―an ever-changing 1. Exhibition under fluid pattern; they are as
event space‖; kinetic space (Hadid, halls; two follows
2009). Using this kind of design gallery wing
results in creating smooth and 2. Platforms 1. All projects have continuous,
fluid form as well creating fluid watery, amorphous (formless)
circulation and spaces. surfaces. In other words, as

Figure 4.68 is High-Speed Train The project Hadid described in NBM&CW

consists of Magazine (2006) that fluid space
Station in Napoli, Italy. Its
concept generated from the 1. Train could be conceived by
Station throwing thing to the winds so
necessity of having wide
platform
concourse bridge to suitably its shape smoothly started to take
Figure 4.68: The fluid form of High-Speed Train 2. Bridge the figure of new thing the has
contain both all platforms and
Station Napoli Afragola in Naples, Italy ( 2004-14)
passengers (Hadid, 2009). not perceived yet.
Source: The complete Zaha Hadid

TABLE 4.6 Examples of Fluid Pattern and the General Characteristics
Project 3 & 4
Figure 4.69: The fluid form of Cairo
Expo City in Cairo, Egypt (2009)
Source@ http://www.zaha-hadid.com
Figure 4.70: The fluid form of Jesolo
Magica in Jesolo, Italy (2010-14)
Source@ http://www.zaha-hadid.com
Notion of the form
Figure 4.69 is Cairo Expo City
in Egypt. The concept is
inspired from the fluid
movement of Nile delta as if it
withdraws and orientates the
life toward Cairo city from the
airport side (Futagawa, 2010).
Figure 4.70 illustrates Jesolo
Magica in Italy. The notion is
based on creating composition
for both reinvention and
regeneration in fluid spaces.
152
152
Function General characteristics
The Expo City consists of 2. They gradually faded to join the
earth.
1 Exhibition
3. Their forms are smoothly elegant
2 Halls for
and gracefully flowing.
3 Conferences
4 Business hotel
4. They are characterized by
continuous curved surfaces.
5. Fluid architecture characterized by
Jesolo Magica consists of kinetic interior designs which could
serve as multipurpose and
multifunctional spaces.
1. Shopping mall
2. Office complex 6. In this architecture, rarely Hadid
uses corner and orthogonal angle.
3. Nightclub
4. Hotel with a
7. The penetration of windows and
conference center
entrances take the same fluid form
5. Health spa and a of the masses.
gym
6. Restaurant & gallery
 153

4.5.2.4 Organic form

In this study, organic pattern is called for project which its form notion is
standing on simulating any creature or thing in nature. Some forms of Hadid works
are inspired from phenomena and nature such as animal, plant; sometime it reaches
to emulate tiny details could reach to the level of cells. Recently, she shows an
interest in biological morphology such as Abu Dhabi Performing arts Centre in UAE.
Generally, majority of organic forms are characterized by having irregular curvy
surfaces and this underlies using no corners and orthogonal walls in some of her
works.

Hadid fondness of nature started since she was child. Under her urgent
request on her parents, she went with her school friends Sumer villages in the
southern Iraq where the oldest civilization of Mesopotamia took place (Glancey,
2006). The vision of the marshes where the nature is totally embodied in a splendid
view without the intervention of the machine and technology has never left her. This
guides her to inspire from nature and even it gives her the curiosity to know how
things adjust and simulate with its environment. The adjustment to natural
environment stands behind the diversity of creatures from one type; as well this
could be applied to the diversity in Hadid works.

As known, everything in nature was created perfectly to adjust its

environment; Hadid way of designing organic forms is stimulated from this
technique. She always inspired the project form from site and then she tries hard to
adapt it to the context with the vital relationships ―trying to draw out features from
the context so that in the end there is a sense of ―embedded-ness‖, and ―fit-ness‖ into
the context‖ (Belogolovsky, 2008). Hadid when she decides to inspire form notion
from nature, she works in the principle of embedded-ness with using the latest
technological solutions in order to meet all requirements of successful architecture.
Table 4.7 and 4.8 shows four projects under this pattern accompanied with the
common features derived through analyzing the physical appearance of the projects.

TABLE 4.7
Project 1 & 2
Figure 4.71: The organic form of
Maritime Terminal in Salerno, Italy (2000-
12).
(Source:The complete Zaha Hadid
Figure 4.72: The organic form of
Regium Waterfront in Reggio, Italy(2007)
Source: http://www.zaha-hadid.com
154
154
Examples of Organic Pattern and the General Characteristics
Notion of the form Function General characteristics
Figure 4.71 shows Maritime Terminal Maritime Terminal Through analyzing the four projects
in Salerno, Italy. consists of forms , it could be notice that there
The project form simulates the robust are common characteristics between
shell of the oyster. The concrete celling 1. Offices projects under organic pattern, they
is employed as a protector from sun ray 2. ferry terminal are as follows
of the coast (Hadid, 2009). 3. cruise-ship
terminal 1. Projects notions are inspired
Figure 4.72 is Regium Waterfront in The Museum consists from nature such as from the
Reggio, Italy. The shape notion of the of configuration of animals or
project is inspired from the physical plants. However, through these
form of starfish. It is chosen because 1. Exhibition spaces examples, it is noticed that they
starfish form has branches which could 2. restoration all are inspired from sea
formulate a suitable configuration to facilities creatures and gravel beach.
contain variety of spaces and offer a 3. archive & library
unique circulation, as well a good 4. aquarium 2. The have irregular surfaces and
communication. often asymmetrical.
 155

155
TABLE 4.8 Examples of Organic Pattern and the General Characteristics

Project 3 & 4 Notion of the form Function General characteristics

Figure 4.73 is Maldives The Resort consists of

Luxury Resort in Maldives.
Project form concept is not
mentioned but visibly
shape is suggested to
Figure 4.73: The organic form of inspired from the physical
Maldives Luxury Resort, Munandhua,
Island, Maldives (2007)
form of a fish.
Source: The complete Zaha Hadid
Figure 4.74 illustrates Golf Golf and spa resort consists
and spa resort in Dubrovnik, of
Croatia. Villas form concepts
are inspired from the organic
form of gravel beach and the
Figure 4.74: The organic form of Golf other prototypes are inspired
and spa resort, Dubrovnik, Croatia (2009)
Source: http://www.zaha-hadid.com from shell.
3. They have fluid, seamless, and curvy
1. onshore and surfaces except Golf resort inspired
the offshore guest villas from gravel; it takes the sharp
be 2. private spa features of stone.
3. sauna areas
4. The projects are intimately merged
within the context and site because
of the familiarity of their notions
with the nature of the site.
5. Windows slots, entrances and
1. 400 villas
swimming pool take the same form
2. hotels
of masses.
3. A golf course
 156

4.5.2.5 Parametric Form

Project form notions under this pattern are generated through the facilities
offered by the parametric design system such as making a variety of new forms from
a triangular. The parametric form continually changes creating living forms. Because
of the malleability feature in this system, triangular becomes new interesting form
exactly like Sunrise Tower. It is important to mention that many projects under
different patterns have been designed by parametric design system as a design tool;
however, this study has categorized patterns based on project form notion.

Parametricism is a new style established by Zaha Hadid architects in 2008

(Futagawa, 2010). Forms produced by this style could be recognized by its melted,
beautifully distorted, and non-purified geometric forms as seen in Figure 4.109. It
also characterized by connecting the urban projects in a very well and harmonized
manner. The work technique of this trend stands basically on form rather than
functionality. Then both the system and architect work together to achieve all the
requirements of successful building such as functionality, and sustainability. The
operation idea of this keen system is developed from the observations of a lot of
creatures systems in nature in regard to imitates their adaption to the surrounding
environment and applies that through architectural system which is responsible to all
data related to that project (Belogolovsky, 2008). According to Schumacher, forms in
parametric pattern are ―parametrically malleable; differentiate gradually‖ which
resulting in a large number of alternatives (Schumacher, 2008). Hadid also stated that
―We are always interested in expanding our repertoire and doing different things in
different contexts - but there are some principles, which we always adhere to‖
(Belogolovsky, 2008).
 157

Figure 4.109: Parametric design by Yale studio; Patrik Schumacher (2013).

(Source: https://fbcdn-sphotos-a-a.akamaihd.net).

A good model example for such pattern is the suggested paradigm for Sunrise
tower in Kuala Lumpur, Malaysia 2009 as shown in Figure 4.77. The form notion is
designed and constructed by this system. A lot of interesting alternative could be
designed through the malleable feature; the last one in right is the suggested
paradigm. This differentiation not only depends on the aesthetic sense of architect
but also in the adaptive process to environment and functionality as Schumacher
(2008) said that this system ―follows the design of nature as process‖. It also has an
application for new techniques to urbanism that guarantees a strong connection
between different forms, in addition to other techniques qualified buildings to be
environmentally friendly and successfully achieved the mission which they were
built.
 158

Figure 4.77: Mass‘s parametric manipulation for Sunrise Tower in Kuala Lumpur,
Malaysia (2009). (Source: Recent Projects Zaha Hadid. GA)

Tables 4.9 and 4.10 show four parametric projects accompanied with the
general shared characteristics between projects under this pattern. Since the form
notions of these projects depend on parametric system, all of them have the same
notion born; malleability trait of parametric design system.
 159

159
TABLE 4.9 Examples of Parametric Pattern and the General Characteristics

Project 1 & 2 Notion of the form Function General characteristics

Projects form notions under this Master plan encompasses The analyzing of the four
pattern are based on the facilities 1. Central business distract projects forms resulted in
offered by the parametric design 2. High quality residential observing some shared
system. The form could be generated zone features between projects
by manipulating the malleability 3. Cultural facilities under parametric pattern,
feature of form. As a result of 4. Concert halls they are as follows
adapting building with the context, a 5. Museums

Figure 4.75: The parametric form of Kartal-
Pendik Master plan Istanbul, Turkey (2006)
Source: http://www.zaha-hadid.com
lot of alternatives could be achieved. 6. Theatres-marine and 1. Forms are parametrically
resort hotel flexible which
These are some factors affecting the The project consists of differentiate
form in parametric design: progressively to meet all

1. Civil Courts the requirements of

Orientation (view and  successful architecture.
entrances)
Functions 
Figure 4.76: The parametric form of Madrid Site determinants 
Civil Courts of Justice Madrid, Spain (2007)
Source: The complete Zaha Hadid
Structure loud 
 160

160
TABLE 4.10 Examples of Parametric Pattern and the General Characteristics

Project 3 & 4 Notion of the form Function General characteristics

Climate such as natural  The Tower consists of

light and shading. 2. The projects under this pattern
Urban fabric  1. residential characterized by having fluid,
New technology and  2. hotel compressed, torsional, and
interventions 3. offices
twisted forms.
4. retail
Circulation system 
5. parking
Embedded-ness the 
3. They are highly responsive to
surroundings
environmental program.
Figure 4.78: The parametric form of Sunrise
Tower in Kuala Lumpur, Malaysia (2009)
Source: The complete Zaha Hadid Only Kartal-Pendik, as a master
4. A significant proportion of
plan, has additional idea to the The museum consists
projects have a reticular,
malleable feature of the of
perforated skin.
parametric design system; the 1. Galleries
2. Media center
notion is mixed with the 3. Theatre
combination of both current 4. Restaurant/ cafe
5. Education
grid of the city and calligraphic center/office
Figure 4.79: The parametric form of Vilnius 6. Museum shop
Museum inVilnius, Lithuania (2007) topography (Hadid, 2009).
Source: http://www.zaha-hadid.com
 161

4.5.3 The Analysis of Form Patterns

In this part of the research, data collection and analysis are based on the data
gathered from the books description of Hadid works by her words and the general
prevailing characteristics of project form as explained in the last section; the patterns
of form. The study covers the accessible projects that are 208 works since Hadid was
student in her graduation year at Architectural Association until 2012. It covers the
patterns of form notion, project location, date, and function.

The study uses the method explained by Norazman Majid et al. (2007) which
depends on Microsoft Excel program as a medium; this program interprets and
illustrates the large quantity of projects data into clear, readable charts. The projects
are categorized into five patterns in regard of form notion that are suprematist,
topographical, fluid, organic, parametric form. This is achieved through reading
Hadid description to the notion of 208 works, as well evaluating the prevailing
characteristics of each project and matching them with the features of these patterns.

The first figure determines the percentage of each pattern through Hadid
works while the second figure identifies the percentage of the mixed form notion
within suprematist pattern. The third figure illustrates the occurrences of these
patterns through her work years in architecture domain. The following pages give a
comprehensive explanation of these charts.
 162

4.5.3.1 Hadid’s Patterns of Architectural Form

As explained in the first part of this section, Hadid usually designs form
notions under five patterns; suprematist, topographic, fluid, organic, parametric
forms. Figure 4.80 explains the proportion of each pattern out of the total projects
which have been studied. It can be seen that 53 percent of Hadid projects are
suprematist forming the majority over all, then come the fluid design as the second
pattern commonly used by her by 24 percent. While 10 percent of these projects are
parametric, seven percent are inspired from the organic forms in nature. It is
followed by 6 percent for topographic forms which constitutes the lowest proportion
in the collection. Although parametric design is the recent form used by Hadid, it
takes the third place in ranking within short time which indicates that this style
would be the prominent one in her future works.

Figure 4.80: Zaha Hadid patterns of form notion

 163

4.5.3.2 The Mixed Form Patterns

The fifty-three percent of suprematist pattern actually has 29 percent mixed

form notion with other patterns. Figure 4.81 shows that the form notions of 71
percent out of 111 projects are purely categorized under suprematist pattern. While
fluid features are the most pattern used with suprematist properties. Then come the
constructivist as a second rank; lesser rank are topographic and organic. It can be
seen that suprematism is not used any more with parametricism maybe this could be
referred to the difference in basic principles they have; suprematism is based on
dealing with pure geometrical forms while this principle is from taboos in
parametricism. As stated in suprematist pattern last section that constructivism is an
architectural trend developed from suprematism and that is the underlying reason of
annexing it under the mother style; suprematism.

Figure 4.81: Mixed form notions within suprematism

 164

4.5.3.3 The Occurrence of Patterns Though Years

From the analysis of the data in Figure 4.82, it can be seen that suprematist
pattern is still dominating through years of Hadid practicing excluding 2012 and this
clearly shows through the period between 1976 and 1993. Fluid designs began to
appear in her works in 1985 when she designed three different schemes that are
Kyoto Installations, the interior design of Melbury Court and Cathcart Road. Then
this design disappears until the late of 1990s, Hadid started again to increasingly
work with it to include 7 fluid projects within 3 years. It surprisingly reached 18
projects for 2000-2005; it is the period when computing facilities began notably to
take place in architectural major. Topographic form appears separately with the same
number in both periods 1994-1999 and 2000-2005 and reaches 5 projects in the
period of 2006-2011. Only in the last two periods, organic began to emerge taking a
significant proportion in the late of 2000s. Although parametric design appears lately
in the period between 2006-2011, the number of projects under this pattern reaches
19 projects. Therefore, it can be inferred from such results that parametric design
might become the promising and prominent design for Hadid‘s future architecture
and designs.

Figure 4.82: Trends in Zaha Hadid form design

 165

4.5.4 The Emergence of Form Patterns

Through analyzing the occurrence of patterns though years in Figure 4.103, it

is concluded that the sequence emergence of Hadid patterns refers to her desire to
catch up with what is new and to make her projects merging with the surroundings in
harmony. Let‘s take this stage in details: in 1982, Hadid won the competition of the
Peak which characterized by fragmentation style of Hadid and abstraction of
suprematism. This style qualified her to be one of those pioneers in deconstructivist
architecture of the 1980s. As she mentioned several times, her ambition since she
was a student at AA is producing fluid architecture. This style appeared in three
interior designs (1985) and disappeared because of the limited abilities of presenting
the complex nature of fluid space by drawing or painting. As a way of changing and
integration with the surrounding landscape, Hadid in the second half of 1990s started
to design in topographic style such as Landesgartenschau in Weil am, Germany
(1996-99).

In the early 2000s, she intensified working in fluid design not only in interior
design but also in level of projects such as High-Speed Train Station in Napoli-Italy
(2004-14) and that is referred to the appearance of computing facilities. At the
beginning, the abilities of architectural programs were too limited, however; due to
technological developments, there are many facilities encourage Hadid to be even
more creative and make her imaginary curvy design to be realistic. The appearance
of organic pattern also started in the early 2000s such as Guangzhou Opera House in
China (2003-09). One of the latest achievements of these architectural programs is
parametric design system, which makes the form malleable for architect so the
architects could do any form without difficulties. In this program, two things
determinate the final form of the project that are the aesthetic sense of the architect
and the project‘s data such as weather, sun directions, surroundings‘ data and
anything related to project design. Therefore, the serialization of Hadid patterns
appearance returns to adopting the architecture to recent developments. This stage
recalls Hadid‘s advice to her architectural students to be unique by keeping ―pace
with the ongoing changes in the world‖ (Aref 2011, p. 113).
 166

4.5.5 The formative Relationship between Plan and Elevation or Section

This study follows the formative relationship described in Precedents in

Architecture in which Clark and Pause studied this relationship for many projects to
the most famous architects in the world through different eras. The study covers the
formative relationship between plan and elevation or section for five projects
representing the five patterns.

4.5.5.1 Suprematist Pattern: The Peak project in Hong Kong, Japan (1982-83)

The relationship between plan and elevation as explained is mostly equal

because 70 percent of the plans are rectangular like the one shown in Figure 4.83a;
as well the rectangular is portrait in each level of the façade as seen in Figure 4.83b.

(a) (b)
Figure 4.83: The formal rectangular relationship between the plans of The Peak in (a) and
its façade in (b), Hong Kong, China (1982-83)
 167

4.5.5.2 Topographic Pattern: Heydar Aliyev Cultural Centre in Baku,

Azerbaijan (2007)

In this project, some of the dominant exterior lines of the elevation in

(Figure4.84b) are reflected in the half part of the borderlines that composing the plan
in Figure 4.84a.

.
(a) (b)

Figure 4.84: The proportional relationship between some configurative peripheral lines in
the plan of Heydar Aliyev Culture Centre (a) and the red bolded lines in project façade (b),
in Baku, Azerbaijan (2007-12)

4.5.5.3 Fluid Pattern: Exhibition Centre of Cairo Expo City in Cairo, Egypt
(2009)

There is an analogous relationship between plan and façade embodied by

the bolded multi-curvilinear in the plan; Figure 4.85a and the one resembles the main
formative line in the façade; Figure 4.85b.
 168

(a) (b)
Figure 4.85: The analogous relationship between the configurative wavy lines in the plan of
Cairo Expo City (a) and the bolded lines in the façade (b), Cairo, Egypt (2009).

4.5.5.4 Organic Pattern: Regium Waterfront Museum in Reggio Calabria,

Italy (2007)

A proportional and inverse relationship exists between plan and façade.

Although there is analogy between the general line of the elevation in Figure 4.86b
and that one explained in the plan in Figure 4.86a. The resemblance happens
inversely and the dimension and the depth of the curvy line differs from each other.

(a) (b)
Figure 4.86: The inverse relationship between the configurative curvy lines in Regium
Waterfront Reggio plan (a) and the bolded one presented in the elevation, Italy (2007)
 169

4.5.5.5 Parametric Pattern: The Design for Proposed Museum in Vilnius,

Lithuania (2007-11)

The outline of the upper half of the plan in Figure 4.87a is approximately
similar to the configuration line of the section in Figure 4.87b with simple
differentiations.

(a) (b)

Figure 4.87: The analogous relationship between the configurative peripheral lines in the
plan of Vilnius Museum (a) and the bolded configurative lines in project‘s section (b),
Vilnius, Lithuania (2007).
 170

4.6 Principles of Architectural Form

In this part the study answers the last question stated in Chapter 1. It
highlights the principles of architectural form considered by Hadid which qualified
her projects to be tangible and good architecture as well the broken principles that
classified her works under deconstructivism. According to the explanation of Zunde
and Bougdah in Integrated Strategies in Architecture, Ching in Architecture Form,
Space, Order, and Clark and Pause in Precedents in Architecture, the principles have
been examined through five projects of her works; each project represents one
pattern. The analysis includes The Peak in Hong Kong as a suprematist form, Heydar
Aliyev Cultural Centre in Azerbaijan as a topographic form, Centre of Cairo Expo in
Egypt as a fluid form, Regium Waterfront Museum in Italy as organic form, and
Design for proposed museum in Lithuania as a parametric form. Table 4.11 shows
the used and ignored architectural form principles by Hadid. It is assumed that this
part also will be helpful to understand and produce Zaha Hadid architecture.

Table 4.11: The Used and Ignored Architectural Form Principles by Hadid

Presence √ Absence ˟
Symmetry
Unity Stable ground
Balance: Asymmetry Rhythm
Scale Embellishment & Decoration
 171

4.6.1 The Ignored Principles by Hadid in Designing Architectural Form

Through studying the architectural form of Hadid, it is observed that she

ignores using some principles that used to be essential in generating a typical
architecture. This is the underlying cause classified her as a deconstructivist
architect. She breaks down number of the main principles of conceiving usual
building; they are symmetry, decoration and embellishment, idea of the motionless
and stable ground, and rhythm.

4.6.1.1 Symmetry

Symmetry generally occurs in the building when the right half of the
elevation is exactly the same of the left one; whether in its elements, masses, and the
system of window slots. As known, symmetry should be firstly achieved in plans in
order to be accomplished in façade. Nevertheless this principle is obviously not
presented in Hadid works with very few exceptions in only parametric pattern such
as London Aquatic Centre in UK (2003) and Nordpark Cable Railway in Innsbruck,
Austria (2004-07), Changsha Meixihu International Culture and Art Center, Hunan,
China (2013).

4.6.1.2 Decoration and Embellishment

For long decades, Embellishment was considered as an important element of

a good architecture. However, the modernists of the mid 1900s like Frank Lloyd
Wright and Le Corbusier had broken this vision by ignoring using embellishment in
 172

their works. Since that time embellishment became unemployed principle in

modernism movement. Similarly, Hadid has not tried at all to use this principle to
make her works beautiful; instead she depends on her talented ability of blocks
formation and manipulation under the day light which creates attraction better than
embellishments play.

4.6.1.3 Idea of Motionless and Stable Ground

This principle is not mentioned in the architectural books because it is an

inevitable thing in architecture and it is inherently existent by instinct in human
comprehension of any building. Hadid has demolished this principle by creating her
special techniques of forming the ground floor. Le Corbusier was the earliest one
who called for elevating the building on columns to let the scenery of natural
landscape continue without any interruption. This thing is developed by Hadid not
only for landscaping the project as Le Corbusier seeks but also for creating new
architecture; architecture that is not restricted by any of architectural laws or
principles. She tries to produce an architecture which meets the function of the
building and lets their users think, get pleasure, and invent (Gopnik, 2011).

4.6.1.4 Rhythm

Rhythm is repeating shapes such as windows in a certain way to ensure

harmony. Ching stated that ―rhythm refers to any movement characterized by a
patterned recurrence of elements or motifs at regular or irregular intervals‖ (Ching,
1996; p. 356). However through Hadid works, there is no certain rhythm presented
through any façade or form. In general, she designs the natural light system by using
 173

large expanses of glass or using penetrations system which usually designed to

smoothly simulate in parallel the architectural form of the building such as Bahrain
Museum of contemporary art in Al Muharraq, Bahrain (2007-12). Rhythm principle
is not used by Hadid in regard of any elements in the architectural form, because
rhythm occurs only when there is regular or irregular systematic patterned repetition
for one element or form and this condition is not verified through her works.

4.6.2 The Used Principles by Hadid in Designing Architectural Form

Even though Hadid has ignored some architectural form principles in design,
she still uses the rest principles such as unity, balance, and scale. It is assumed that
the used or considered principles by Hadid have qualified her projects to be tangible
and good architecture. Therefore, it is important to consider such principles in
designing form with respect to producing Zaha Hadid architecture-like. The study of
these principles includes 5 projects; each project represents one pattern.

4.6.2.1 Unity

Unity is to find harmony goes through whole parts of the project. It is well
known that Hadid works characterized by fragmentation and abstraction.
Nonetheless the principle of unity still exists and this refers to considering six factors
addressed by Zunde and Bougdah (2006) that are color, texture, material, shape,
scale, and dynamic of the projects.
 174

Through observing Hadid projects, it has been noticed that she considers the
unity of the selected color throughout whole project‘s parts. Hadid learned using only
limited number of colors from suprematism. In her early projects which were
presented in painting, she used three colors and sometime more; one of them is used
to create dynamic touch through painting such as using red color in grey canvas,
however; in the real building in the site she uses only one. This feature is enhanced
when Hadid started to use computer programs as a way of presentation rather than
painting. She carefully selects the color that is harmonically melted with the urban
surroundings and landscape in order to be an integral part of project‘s area. White,
grey: pure concrete color and their hues are the prominent colors used by Hadid in
the exterior forms of real projects. Majority of her projects uses malleable concrete
while others uses titanium, metal, corten steel, or foam protected from weather which
used in Maggie‘s Centre Fife, Victoria Hospital in Scotland (2001-06). In addition to
these colors, she uses sandy color and black for interior design. Unity in her projects
lies behind the usage of the lowest number of colors which gives the sense of
affiliation to project form.

According to the second factor, texture, all of Hadid works are characterized
by their smooth surfaces which reinforce the features of seamlessness, fluidity, and
unity. This plays main role of giving the sensation of relief and satisfaction when
looking at them; as seen in Figure 4.88. The third factor that is used to evaluate
project unity is shape. Figure 4.89 is a demonstrative example for the unity of shape
that could be considered as a model for many of Hadid works. The shape of the
project consists of one coherent mass in which the curvy surfaces make the structure
looked even more articulated and linked like organic forms in nature. Her frequently
usage of curvy surfaces makes form appear as one unified, organic body. In regard
to those projects that body consist of more than one masses, Hadid always used the
same formative lines or forms for all masses; if she uses triangular then the rest of
masses are triangular. However, what acquired such projects uniqueness is her
dynamic way of compositing and collecting these forms in harmonious manner
which is considered one of the main factors of embodied unity through the general
vision of the project; some of her compositional forms are discussed in section 4.4.5.
 175

The last evaluative factor of unity is scale that is discussed in details later in section
4.6.2.3.

Figure 4.88: The seamlessness and fluidity of Regium Waterfront Reggio organic form,
Italy (2007). (Source: http://www.zaha-hadid.com)

Figure 4.89: The unity of Vilnius Museum form, Vilnius, Lithuania (2007)
Source: The complete Zaha Hadid
 176

4.6.2.2 Balance

Although the symmetry principle is not used in Hadid projects, the balance is
still existed. Based on the site plans of the five case study projects, there is
equilibrium in the general configuration that occurs through the unified forms; this is
explained through the bolded line. The formation of the projects is asymmetrical,
however; they show the effect of total rest and stability. This principle is applied in
all projects under all patterns as seen in the Figures 4.90, 4.91, 4.92, 4.93, and 4.94.

Figure 4.90: The asymmetrical balance between the right part from the red dotted line
drawn in the Peak and the left part, Hong Kong, China (1982-83). As a suprematist form

Figure 4.91: The asymmetrical balance between the upper part of Heydar Aliyev Baku site plan and
the bottom one, Azerbaijan (2007-12). As a topographic form
 177

Figure 4.92: The asymmetrical balance between the upper part of Cairo Expo City site plan
and the bottom one, Cairo, Egypt (2009). As a fluid form

Figure 4.93: The balance between the two halves of Regium Waterfront site plan, Reggio,
Italy (2007). As an organic form

Figure 4.94: The asymmetrical balance between the upper part of Vilnius Museum site plan
and the bottom one. Vilnius, Lithuania (2007). As a parametric form
 178

4.6.2.3 Scale

Scale can be examined through studying the sections in which the height of the floors
helps to evaluate whether the scale is reasonable or not. Through studying her
projects, Hadid obviously deals with the scale and height of the building according to
standards and the importance role the building performs through city components.
The following part is analyzing for the sections of the five selected projects.

Figure 4.95 shows the Peak spa and sport club in Hong Kong. As clear
through the section, the height of the first four floors and penthouse apartments
floors located in the higher levels are reasonable through the scale of human figure
and the height of the doors. However the club‘s void depth is 13 meters which
situated in the middle floors of the building. Since this part is considered as an
exterior space: void as seen in Figure 4.106, there is no role or standard has
controlled or addressed such issue in Neufert Architect’s Data by Ernst Neufert.
The club void includes some functions such as library, circulation elements,
exercise areas, and entrance.

Figure 4.95: The logical scale design illustrated through the section of the Peak project,
Hong Kong, China (1982-83). As a suprematist form
 179

In the section of Heydar Aliyev Cultural Centre, Figure 4.96, the functional
spaces are designed logically based on the dimensions sets in the left from section.
Hadid applied the Germany standards of designing theater such as the height of the
highest set in theater should be 3 meters, and the highest set balcony should not be
inclined at an angle greater than 30 degrees from the floor of the theater (Ernst,
2000).

Figure 4.96: The rationality in scale design shown through the section of the cultural centre
Heydar Aliyev Baku, Azerbaijan (2007-12). As a topographic form

As shown in Figure 4.97, the exhibition halls of Cairo Expo City facade
ranges between 13.6-16.7 meters and this height is similar to many of international
expo halls around the world such as the standard used in the American Planning
Association in which the one-story exhibitions halls height ranges from 13.71m to
18.29m.

Figure 4.97: The rational scale design proved through the section of Cairo Expo City Baku,
Cairo, Egypt (2009). As a fluid form
 180

In Regium Waterfront Museum (Figure 4.98), it is visible that the spaces heights are
reasonably designed. The open foyer throughout all level is considered as the imprint
of Hadid works where there is balconies and vertical elements of communication:
stairs, escalators and elevator.

Figure 4.98 : The rationality of scale design evidenced through the section of Regium
Waterfront Reggio, Italy(2007). As an organic form

Figure 4.99 shows the section of the proposal Museum in Vilnius, Lithuania
(2007). The section indicates that the functional spaces heights are designed
according to standard which is between 6-7 meters for exhibition halls in order to
meet the requirements of presentation and exhibitions. Nevertheless the main space
and circulation system of visitors has not followed exactly standards; one factor that
contributes in determining their height is the form of the building.

Figure 4.99: The balanced scale design shown through the section of Vilnius Museum in
Vilnius, Lithuania (2007). As a parametric form
 181

4.7 Hadid and Suprematism

4.7.1 Introduction

―Abstraction, flotation, distortion and fragmentation are things that run

through both Zaha's and the Russian work‖ as Zurich‘s report stated (Domus, 2010).
Since the majority of Hadid works are under suprematist style, this part is
concentrating on this pattern as a mother style. Firstly, this section of study is
showing some of her early works categorized under this pattern as well some
characters of her painting. It also addresses the techniques and experiences Hadid
learnt and gained through designing projects which qualified her to improve her
abilities and produce such architecture. The analysis is chronologically taken to
experience the caught details and get out with the learned lessons that maybe could
contribute to reform the comprehension of Hadid way of designing form.

Hadid interest in suprematism was firstly exposed in her graduation project in

AA, Architecture Association, in London 1976-1977 (Dezeen, 2010). In which she
embodied in painting Malevich Tektonik4 as the concept of her project form. She
said that ―I used apparently random composition of suprematist form to meet the
demand of the programme and the site‖ (Hadid, 2009; p.18). Malevich presented his
Tektonic as an orbit hovering in the space with ignoring gravity factor as seen in
Figure 4.100 while Hadid offered her project as a hotel hanged over Hungerford
Bridge in London (Mertins, 2006) – see Figure 4.101. Interested in this trend, Hadid
practiced it in almost of her early projects generating pieces of artistic architecture in
a studious way specially the once that theoretical notion stand in defying gravity such
as Grand Buildings in London (Figure 4.102), England and Kurfurstendamm 70, in
Berlin, Germany.
 182

Figure 4.100: The suprematist Tektonic project for Malevich hovering with ignoring
gravity factor. (Source @ lebbeuswoods.wordpress.com)

Figure 4.101: Hadid graduation project ―Malevich Tektonik‖ (1976-77) hanged over
bridge. (Source @ lebbeuswoods.wordpress.com)

4.7.2 Hadid Painting

In Hadid paintings, it is hardly to distinguish the project within the same

canvas. The way Hadid used to present her projects makes them difficult to be
understood. Lebbeus Woods (2008) described the complexity of Hadid painting as
―subtle rearrangements and reinterpretations of what most of us would call reality,
portraying new forms of spatial order governing the relationships between sky and
 183

earth, horizon and ground, the artificial and the natural‖. However when one goes
through project‘s description, many things become so much clearer than before. Her
paintings present project as energetic landscape within large domain of the area in
where the project takes place; a good example of that is Peak project as shown in
Figure 4.6. Moreover, she used camouflaged technique by drawing additional lines
and painting unnecessary volumes in a way that portrayed them as an obscured,
mystery stuff like New Barcelona project—see Figure 4.103. In other words, she
paints in an abstract and deconstructive manner embodied on using ―plethora of lines
and words‖ (Marjanović, 2010; p.165). This way of conceiving drawing was also
inspired from Chinese painting of space in layers which gives the sense of infinity as
well as their portrait of gardens that is perfectly merged with nature (Hadid, 2011&
Greenway, 2011). Using this way makes confusion for the observers and difficulty to
find clues of the starting point. It is hard to find where the actual project located
within the stuffy painting in urban area. Moreover, she used camouflaged lines that
move dynamically creating energy through the canvas to show her unknown
intention like the painting of London 2066. It is assumed that Hadid believed in the
art grammar that is a good painting cannot be except by choosing a studious
background. Background always gives value to painting and helps to convey the
message of the painting.

Figure 4.102: One of the early projects of defying gravity by Hadid through elevating the
ground in steel bars and designing deep cantilever hovering around the buildings, Grand
Building in Trafalgar Square, London (1985). (Source: Zaha Hadid the Complete Building
and Projects)
 184

Figure 4.103: A New Barcelona in Spain (1989) presented as a suprematist piece of art.
(Source: Zaha Hadid the Complete Building and Projects)

Hadid was inspired from both suprematism and constructivism (Aref, 2011).
This thing was enhanced even more when she visited Russia at the height of its
development. She declared that the development of architecture in Russia has
affected her vision for the future architecture (Jambox, 2012). Good examples for
the influence from the two schools on Hadid works are Lois &Richard Rosenthal
Center for Contemporary Art in Cincinnati, USA (Figure 4.62) as a constructivist
paradigm characterized by modernity and Vitra Fire Station in Weil am, Germany
(Figure 4.60) as suprematist one that is featured by defying gravity and
fragmentation.

4.7.3 Hadid Contribution to Suprematism

Hadid has added a good contribution to suprematism both in general form

and philosophical conception. This could be touched in her designs until late 1990s.
She has embodied the forms used in suprematism from two dimensional to three
dimensional volumes and into real architectural projects (Mertins, 2006). Lately,
Hadid presented some of her suprematist works in Gmurzynska gallery in Zurich,
Switzerland (Figure 4.5) in a special and unique interior design that reflecting the
 185

nature of this style which is considered as a reviving for suprematism defining it to

the public as well. Moreover, she has applied new style of presenting landscape and
urban planning in an abstract way full of dynamical shapes that make the painting
characterized by fluidity in movement and sharp forms presented by drawing from
multiple perspective points, an example of this is the master plan of London 2066.

She has elaborated the geometrical shapes by manipulating the organization

of the abstract forms such as aggregation, overlapping, and juxtaposition. Interested
in Malevich and El Lissitzky vision of space since she was student, Hadid has
presented and elaborated this visualization from painting into realty. Although their
vision was about box and some bars hovering in the space as explain in the images
below, she has interpreted this into innovative ideas in some of her projects such as
Surfers Paradise tower, Queensland, Australia (Figure 4.33). Hadid also has
influenced from the paintings of Moholy-Nagy, and Naum Gabo‘s sculptures
(Pearman, 2011). In her early works, she merged between the abstraction of
suprematism and the demolishing, fragmentation of deconstruction which capable
her to generate such unique projects.

4.7.4 Interview Analysis

―My original intention was to inject the ideas of suprematism into architecture‖
(Hadid, 2006).

This part is an analysis for the interview done by Alvin Boyarsky with her in
1987. During her studying at AA, Hadid was trying to develop Malevich Tektonic
program and she also was working on a night club project in which she did
shipwreck as a form notion. However, she did not like the motionless plans she did
for Malevich Tektonic and the useless literal presentation of the shipwreck. Diving
deeply in both experiences taught her two things; although the shipwreck already a
 186

fragment form but it ―had to be done abstractly‖ and ―architecture occurs not only on
the level of the tectonic, but also on the level of the diagrams.‖ (Hadid, 2006; p.46).
She learnt that abstraction is not to present the shipwreck literally as it is in its visible
breaking state, instead it should be illustrated in unusual manner and it should meet
the program needs. Hadid applied these learnt lessons on the Peak (1982-83) in
which she marriages between the fragmentation of shipwreck and the program of
Malevich Tektonic resulted in the energetic and unique design of the Peak.

Her graduation project (1976-77) was an implication and embodiment for

Malevich Tektonic—as seen in Figures 4.100 and 4.101. Hadid considered
implication as way of liberating and implicating suprematism into architecture which
helped her to come up with the idea of making the plan free as explained in Section
4.4.2.10 (Hadid, 2006). Such action has created new architecture characterized by
fragmentation and abstraction. It also contributes in reviving the art of early 1920s;
suprematism and embodies its principles in real and exciting architecture.

Irish Prime minister‘s residence in Dublin (Figure, 4.104) could be a good

model for Hadid‘s early suprematist project. Site is a piece of suprematist painting
consisted of some geometrical forms fragmented through the canvas; however, there
is strong notion behind this kind of organization. A studious connection system was
applied with taking into account the sequence of using spaces from public to private.
In this project, Hadid learned how to free the plan horizontally from its static and
traditional way influenced by Mies works and the suprematist painting (Hadid,
1998). It is through creating free space between the different elements of the project
in order to let them operate individually. The house of the prime minister is separated
from his work office, but they are still in the same form (Hadid, 2006).
 187

Figure 4.104: Irish Prime Minister‘s Residence Ireland (1979-80) presented in a suprematist
painting. (Source: Zaha Hadid the Complete Building and Projects)

The idea of antigravity was a critical issue in suprematism. Malevich tried to

apply it in his work by painting his Tektonic hovering in the space. Yakov
Chernikhov is the first architect who applied this technique in the term of
architecture and made it possible in some of his inbuilt projects (Elliott, 2006).
Barcelona pavilion designed by Mies van der Rohe inspired Hadid with the idea of
breaking free from the ground floor and land (Hadid, 2006). It is by elevating the
roof on only four detached disparate walls distributed dynamically. In addition, she
learned the way of occupying part of the ground and leaving the rest directly joins
the surrounding landscape.

As mentioned earlier in Section 4.4.4, through her visiting to China learned

drawing space in layers into infinity that contribute later in producing creative spaces
such as king AbdUllah house of culture and art in Amman, Jordan –see Figures 4.51,
52. She learned also the way integrating the building with the natural landscape of
the site, as explained in Sections 4.4.3.1 and 4.4.3.2.

Therefore, the absorbing fresh lessons that contribute in making some

foreword steps in her works are as follows: notion should be done abstractly in a
fragment organization or in unperceived way; ―architecture occurs not only on the
level of the tectonic, but also on the level of the diagrams‖ (Hadid, 2006, p.46)
 188

regarding function distribution; applying the idea of antigravity; drawing space in

layers into infinity; integrating the building with the natural surrounding landscape.
The Peak project is the candidate work of Hadid to be analysed as a case study for
suprematist pattern because most of the mentioned lessons were applied in this work
making it so unique.

4.7.5 Analysis of the Peak (1982-83)

This project has made a significant shift in Hadid‘s profession. It was

competition for spa and leisure club in Hong Kong. Five hundred thirty - eight
competitors, including the best architects in the world at that time and her teachers
such as Rem Koolhaas, had applied for rival; nevertheless, Hadid aptly won the
competition and by its money she established her own firm Zaha Hadid Architects
ZHA (Barber, 2008). It was spa consists of a club located between some floors of
penthouse apartments (Hadid, 2009).

(a) (b)
Figure 4.105: The fragmented form of the Peak (a) and the abstractive way of presenting
the Peak‘s Surroundings Architecture (b) in Hong Kong, China (1982-83). (Source:
http://www.zaha-hadid.com)
 189

Going through the analysis of this inbuilt project and examining the features
qualified it to be categorized under suprematist pattern. It discusses how Hadid
had applied all the learned lessons in this project.

As a suprematist architect, Hadid used fundamental geometric forms; high

percentages of plans are rectangular and less triangular (Figure 4.105 (a). In
addition, she utilized limited variety of colours which give the sense of harmony. The
energetic and dynamic form of the project referred to designing it as layers, multi-
grounds, accompanied with noticeable withdrawals sometimes backward with some
changes in location as explained through Peak plans.

Therefore, the learnt lessons were applied and this is discussed in the
following points: firstly, the abstraction and fragmentation techniques are embodied
visibly but in the level of layers not in the level of one layer as Malevich presented in
his painting. Secondly, in the level of studying project as diagrams not only as
tectonics, Hadid was clever enough to locate the club in the middle layer where the
level of road from the mountain side meets the area of the club. Moreover, Hadid
designed the club as a 13-meter high void which allows the continuation of view
from mountain side to the beautiful scene toward Hong Kong city and its beach. The
rest floors also have the same view because the long side of the building was
orientated toward the city.

Thirdly, the upper penthouse layer is elevated on four non-orthogonal

scattered columns in the void of the club with some havering masses hanged on them
defying the gravity and showing 3D lively suprematist scene—see Figure 4.106.
Fourthly, club void, withdrawal floors back, and outline of the two spaces roofs
located in the top floor gives the impression of proceeding space into infinity to form
the project as part of the escalating view of the mountain. Finally, Hadid by applying
the last techniques and layering gave the building the opportunity to integrate with
the natural surrounding landscape in which she described it as ―suprematist geology‖
and she also said about it ―the Peak‘s beams and voids are a gentle seismic shift on
 190

an immovable mass‖ (Hadid, 2009, p. 22). She presented the peak and the overview
of the city in a way one could not recognize the location of the building within the
painting as well within the mountain, as seen in Figure 4.105 (b). In term of plans
(Figure 4.107), the great influence from suprematist presenting in painting such as
using lines, cross, and other similar shapes distributed in abstractive way. It is
important to cite that there is some outlines for main masses are not drawn in the site
plan and vice versa, this technique used by Hadid to add some obscurity to her
canvas.

Figure 4.106: Perspective view for The Peak project in Hong Kong, China (1982-83).
Source: http://www.zaha-hadid.com

Figure 4.107: Plan for the Peak presented in abstractive suprematist manner, Hong Kong,
China (1982-83). Source: http://www.zaha-hadid.com
 191

4.8 Underlying Reasons of Hadid’s Trend

Through the content analysis of Hadid interviews, it has been noticed

that Hadid has passed some events in her life that suggested playing role in
determining her works trends.

4.8.1 Taking Suprematist trend

Hadid grew up in a family believes in democracy and freedom. Her father

Mohammed Hadid was democratic and industrial man who came from rich and
luxurious family. He served as minister of finance, he also was known by his serious
political quest for democracy. After the revolution in February 1963, Mohammed
was arrested and tortured for some months moving from one jail to another (Allami,
2005). Later, he moved to London where he spent the rest of his life. There is no
detail mentioned about his family situation at that time. But it is expected that the
situation was not good after these shifts of actions and leaving the native country,
Iraq, on the impact of these events. Rem Koohlaas once asked her about Iraq she
answered ―Tough one. Iraq is very painful for me‖, here she also means the siege and
the war on Iraq (Koohlaas, 2005).

As mentioned previously in Chapter 1, painting is a tool by which artist

expresses his/her inner feeling. It is suggested that Hadid orientation to suprematism
is an expression of her desire of freedom and democratic life which her father from
his side also has expressed by his own way, writing, in the book: The Struggle for
Democracy in Iraq. When Malevich established suprematism, his aim was searching
for purity and freedom through using pure geometric forms and this shift in ideas had
 192

actually happened during the First World War. He did not comply with any principle
of painting forming his own way of expression as well Hadid did.

4.8.2 Creating Fluid Architecture

Through Hadid‘s interviews, she declared the suffering she has faced because
of being a female architect; of not getting the same opportunities men have. In
addition to Cardiff event, 15 September 1994 that is competition for designing opera
house. Two hundred- sixty eight competitors applied their designs, though Hadid
deservedly won it. Due to her abstractive design, the results were cancelled and she
was asked to compete again. Surprisingly, she won again but the project was
abandoned because of Rhodri Morgan claiming that the project design is a
resemblance of the holy Ka'bah in Mecca (Hattenstone, 2010). After this event,
Hadid office did not get any project for approximately five years. She describes it as
a very upsetting time. The situation was described by Ossian Ward

―The Sun newspaper ran a hate campaign and First Secretary of the
Welsh Assembly Rhodri Morgan likened her design to a heretical
version of the Ka‘bah in Mecca, believing that a fatwa would
descend upon Cardiff. ‗Of course it was unpleasant,‘ she says in
hindsight, ‗but it was also an important experience. After Cardiff,
maybe until 1999, was like the dark ages for us. Honestly, we did
not stop and I produced some of my best work then‖ (Ward, 2007)

This period caused a strong pressure, it is expected that this thing has been
translated into her works resulted on creating Hadid‘s architectural signature today.
Architecture of fluid, water architecture is characterized by porosity, open interior
spaces for multi levels expressing the desire of free and pure life. Fluid architecture
that transcends to meet her dreams of easy going, peaceful life such the scenery she
 193

experienced in the marshes of Sumer villages in Iraq in which she said ‖ The beauty
of the landscape - where sand, water, reeds, birds, buildings and people all somehow
flowed together - has never left me." (Glancey, 2006). It is well known when the
water flows, it goes smoothly and passes easily and peacefully to take the shape of
the container it runs in. Hadid perhaps uses architecture as mode of expression like
child when he draws, he portraits his wishes and dreams of perfect world empty of
barriers. It is embodied here the proverb which said ―Suffering generates creativity‖
and hard events create great persons.

Fluid architecture is generated by the fluid drawing and hand sketches

enhanced by being Arabic who is interested and perfect in Arabic calligraphy. As
well, technology also plays main role in translating her fluid designs into reality.
 194

CHAPTER 5

CONCLUSION AND RECOMMENDATIONS

5.1 Introduction

This chapter encompasses a summary for the thesis. This research has studied
the architecture form of Zaha Hadid from different aspects. It provides the inspiring
sources for Hadid and her strategy of design. The study suggests the existence of
patterns through her works according to Hadid descriptions to form notion and the
prevailing characteristics of each project. The techniques used by her to generate
such unique architecture have been exposed with demonstrating the different ways of
their application through her works. The implications of these finding are discussed
in this chapter with providing justifications for such conclusions. Based on the
intense study for this subject, a number of recommendations have been suggested to
be adopted for the architectural pedagogy and other recommendations for
architectural students to directing them through designing Hadid architecture-like.
This chapter concludes with the significant of this study, consequences and
directions for further studies.
 195

A considerable number of professionals through different sectors are

interested in Hadid works and designs. Since the uniqueness of Hadid works is
primarily their forms, this study focuses in the architectural form of Zaha Hadid. The
study had discussed her techniques of generating form as well the different ways of
applying each technique. It demonstrated how her designs are harmoniously
embedded with the surroundings and the various methods of presenting work in a
unique manner. In addition, it provided the root sources inspiring Hadid in designing
form which are art, site, nature, architecture, and computing programs. Since the
proposed patterns are based on shape idea of the project and its features, there are a
strong relationship between them and the five inspiring sources.

The study primarily depends on Hadid words collected from many interviews
available through internet, books and magazines. Although there are large numbers
of articles about her practices around the world, there is no specialized study about
the architectural form of her works. Hadid techniques and her strategy of design have
been presented in theoretical models that implemented from the qualitative research
methodology of content analysis and the analytical study for her projects. Her
patterns have been noticed through the frequent occurrence in the description of
projects notions. Through analyzing her lectures at international host universities, it
is noticed that Hadid do not know that she is working within the framework of these
patterns. The percentage of these patterns and their incidence through years of her
career are obtained by conducting an analytical study for 208 accessible projects. The
following section discusses some of what have been inferred from the results.
 196

5.2 Summary of the Findings

This study is conducted in order to find an answer for the question pasted by
many professionals who appreciate Hadid design that is how Zaha Hadid could
produce such a unique architecture. To achieve this mission, it required a
comprehensive understanding for the various aspects of Hadid‘s architectural form
that are represented in the four objectives of this study; they are Hadid‘s strategy of
design and the inspiring notions; form techniques; form patterns; the used and
ignored principles in designing the architectural form.

Regarding the first objective, Hadid strategy of design starts with doing
rigorous study for site‘s nature, environment, neighborhoods; function of the project,
and anything could be related and affected the project‘s design. Next, she begins to
draw and formulate form notion which usually depends on the focus of the project.
Form notion usually is inspired from site parameters that are enhanced by her
memory accumulators of pictures, her artistic talent in formation, fantasizing, and the
background she has in art, nature, and architecture. She also utilizes the facilities of
computing programs for generating form or achieving the secondary and final
touches in project form; this stage is accompanied with considering functions‘
distribution in zones. After that, she initiates in applying her self-developed
techniques in the proposed form which are fragmentation and abstraction, defying
gravity, landscaping the project, play of light, layering, seamlessness, and fluidity.
Then an interactive study is conducted between circulation, function, natural lighting
and the embedded-ness with the context. Embedded-ness stage involves considering
the following affective factors in design: climate, connection and circulation,
orientation, imitating natural forms, site topography, and landscaping of the
surrounding context. Finally, she turns to the other supplement and interior design
which usually takes into account the fluid connection between inside and outside;
bring the organism into the building. Thus, this strategy ends with a studios model
which meets the physical and psychological requirements desired from project
 197

design. Hadid drawings reach up to 100 sketches in order to get the suitable form and
achieve the satisfied result. This strategy has been illustrated in Figure 5.1.

In regard of form notion, Hadid inspired the notion of project‘s form from
different parameters that are art, site, nature, architecture, and computing programs.
Notion selection depends on the focus as well project‘s nature. The selection is also
stimulated and determined by observing project's surrounding context and people
moving in the city.

For the second objective that is identifying Hadid techniques in designing the
architectural form, techniques are derived as titles from the content analysis of Hadid
interviews while the different ways of applying each technique are gotten through the
analytical study of her projects‘ notions description as well their photos. Hadid self-
developed techniques are abstraction and fragmentation, landscaping the project,
defying gravity, layering, play of light, seamlessness and fluidity. Hadid learned
abstraction from the Russian artistic style, suprematism, whereby she applied it in
different ways such as explosion, melting, collision, shattering, and throwing. The
mentioned ways are phenomenological acts in which Hadid embodied the process of
their occurrence and depicted them as project‘s form notions. Her well-known
recognition in architecture refers to being unique in her designs and this mainly is
achieved through applying defying gravity, play of light, and layering techniques.
Ignoring gravity factor is resulted in generating unprecedented designs while using
layering technique is the reason behind producing her architectural print; fluid
architecture and spaces. Using landscaping technique reflects her awareness in the
importance of integrating project within the current urban design, whereas applying
seamlessness and fluidity through all parts of the project gain her designs the feature
of holistic unity.

The third objective is achieved through applying multi-qualitative study

mentioned in Chapter 3 that involved analytical study for 208 of Hadid works. The
 198

study showed that Hadid mostly works within five patterns that are suprematism,
topographic, fluid, organic, and parametricism. The five patterns are evaluated
according to Hadid description for the form notion of each work as well their exterior
features. Her great influence by suprematism, Russian artistic movement, is apparent
through the large number of projects she designed under this pattern. Although the
fluid pattern has taken the second placed in her overall designs, it is anticipated that
parametric pattern would be the prominent style through her future works due to the
noteworthy number of projects in her latest works.

The projects under the first pattern, suprematism, are characterized by using
analogous fundamental geometric forms and defying gravity. While topographic
pattern includes all projects that their form notions are inspired from the natural land
formation such as dunes and contours lines, organic pattern is called for projects
which its configuration is a simulation to the natural creatures such as sea animals.
Projects‘ forms generated by the facilities available through parametric design
system are categorized under parametric pattern. Finally, fluid pattern is the one
which not under any of the mentioned patterns and generated by the fluid dynamism
of her hand sketching characterized by the seamlessness and outflowing features of
water and Arabic calligraphy.

According to the description of three reliable references, the used and ignored
form principles by Hadid are identified which constitute the last objective of this
research. The study includes five projects; each project represents one pattern. The
results showed that Hadid ignores main principles in designing form that according
to others, architecture cannot be perceived without them and this is one reason of
classifying her under deconstructivism. The unconsidered principles are symmetry;
decoration and embellishment; idea of the motionless, stable ground; and rhythm.
Such an act pasted her the name of paper architect for more than 8 years of her
professional life; however, there are some other principles Hadid considers using
them in designing architectural form helped her designs to be interpreted into real
projects that are unity, balance, and scale.
 199

Zaha Hadid Strategy of

Design

Final form 8. 1. Intense research for

 site
 nature
Other supplement 7.  environment
& Interior design;  neighborhoods
Fluid connection between  function of the project
Inside and outside; bring  the political and the
the organism into the
social history of the
building
city

Embedded-ness with 6. Inspired from

the context 2. Form notion  Art
 site
 climate Depends on  nature
 connection& the focus &
 architecture
the project
circulation  computing
 orientation programs
 imitating natural
forms
 site topography
 landscaping of the
Form Pattern
surrounding
context suprematism 
topographic 
Circulation & 5. fluid 
Function& Natural organic 
Lighting parametric 

Applying Hadid 4. 3. Functions in zones

techniques

 Fragmentation & abstraction

 Defying Gravity
Hadid drawings could be
 Landscaping the project
up to 100 sketches to get
 Play of light the suitable form
 Layering
 Seamlessness &fluidity

Figure 5.1: Zaha Hadid Strategy of Design

 200

5.3 Implication

Hadid‘s desire to catch up with the latest technological advances and

everything new qualified her to be a global architect and this could be comprehended
through observing the sequent emergence of her patterns. She was a pioneer architect
in deconstructivism in the 1980s and lately Zaha Hadid Architect office has launched
the latest architectural program; parametric design system. Parametricism is
suggested to be the epochal architectural style of the 21st century.

Moreover, what make the works of Hadid distinctive is using the concept of
contradiction in both the used techniques and form principles; see Figure 5.2. The
used techniques are a mixture between liberation and logic; rational and irrational;
strangeness and harmony, while some of form principles have been used and the
others were ignored. The origins of these techniques were learnt from different
domains, cultures, and countries that radically developed to produce new kind of
architecture. This inferred the familiarity of Hadid architecture at the international
level.

The sequence steps for Hadid strategy of design infer that she deals with the
architectural work as a piece of art which pleased the viewers and at the same time
meet the requirements of successful architecture; the architecture which not only
offers a shelter but also simulates human‘s mind to meditate, react and motivate him
to invent. Her view of architecture from this perspective qualified her to conduct new
kind of buildings which are accompanied with strong theoretical concepts. Her
sequential successes in competitions have influenced her colleagues in a way makes
them taking the same path of design and this referred to the current giant
developments in this sector. She even has reformulated the meaning of architecture
through her works. In other words, Hadid gives architecture its real colorful picture
and makes her imprint in this sector.
 201

Zaha Hadid’s Techniques in Designing Form

Liberating Techniques Logical Techniques

 Abstraction & Fragmentation  Landscaping the project

Erosion Explosion Melting Vanishing
Collision Shattering Throwing Land‘s shape
Distortion Deformation Urban grids
Folding Abstraction Topographying the project
Twisting Fragmentation Landscaping the roof
Wall extension
 Defying Gravity Melting
Lines formation
Ground Extension
Carve the ground Gardening open-interior spaces
Inclined columns Using one color
Emanation Using two bases Pavement
Inclined mass Arcs forms Landscaping in multiple ways
Using cones Masses cantilever Elevating ground
Masses manipulation

 Layering  Seamlessness &Fluidity

Space
Blocks

 Play of Light
Organizational Techniques: Bundles
Juxtaposition Overlapping
Fargementation Accumulation

Liberation Logic
Irrational Contradiction Rational
Strangeness Harmony

Symmetry Unity
Principle
Stable ground Balance:Asymmetry
Ignored Of Used
Rhythm Form Scale
Embellishment

Figure 5.2: The Perceived Contradiction Through Hadid’s Techniques and

Form’s Principles
 202

5.4 Significance of the Finding

The significance of this study underlies on giving a holistic picture of Zaha

Hadid's architectural form. There is a common idea that Hadid designs are just works
of art and have nothing to do with architecture. This study has clarified the nature of
her works and it is expected that it will make a changes for these incorrect ideas. Her
architecture is truly piece of art; however, it meets all the requirements of the useful
architecture providing thereby two important factors of successful style that are
beauty and function. Hadid has changed the motionless idea of conceiving
architecture to a lively one; architecture that makes you think, enjoy, give you the
desire to invent and keep pace with current developments in the world.

The research is significant for architectural students, furniture designer, and

architects who are interested in producing similar architecture of Hadid‘s ones. It is
also helpful for students who are inquired by their lecturers to generate creative
forms like her works. It provides a comprehensive strategy of her design and shows
her techniques as well her inspiring sources. It provides some sub-techniques and
directions for students which facilitate generating form and plan such as the
existence of a formative relationship between plan and elevation or section. In
addition, it directs them to use and apply principles in their designs and ignore
others. It is assumed that if a student has considered all these directions, he
noticeably will design Hadid architecture-like.

Since many issues about Hadid architecture have been exposed, it is assumed
that the architects are going to apply them through their designs which in the near
future will be a real work in fields. This will create a variety through city view and
life and this in its turn affects positively on the economy of the country. Nowadays,
there is a race between countries to create the most beautiful and sophisticated
country around the world such as China, UAE, Tokyo, Singapore, and Germany.
This competition touches all fields, primarily architecture because it is what tourists
 203

usually looking for. So such study will qualify citizen architects to design such
architecture rather than hiring abroad ones.

5.5 Recommendations

These are some recommendations from the deep study of Hadid works and
her career journey in design, they are as follows:

1. The first two recommendations are for architectural design lecturers. To

guarantee graduating distinctive and creative architects, freedom factor of
choosing the way of design and expression is required. Whatever the
method is strange irrational and inapplicable, encourage and let them
express and then ask them to translate their works as if they are going to be
built. This was the strategy used by Architectural Association AA, the best
school in this domain in the world, which graduated the best architects of
this era.

2. Design studio subject should be a rich table for students that consists of
many architectural and artistic schools or trends and let students choose
their interest domain. In AA at the time of Hadid, Rem Koolhaas and other
famous names, there is no curriculum, but ―a rich table is laid‖
(Marjanović, 2010; p.165).

3. For those architects or architectural students who are interested in

producing Hadid works-like, a clear strategy is illustrated in Figure 5.1.
Moreover these architects should consider the following points through
design process: the used and ignored principles by Hadid; the formative
relationship between plan and elevation or section; reflecting project‘s
form in the interior design of space; nature is a rich source for creative
form‘s ideas, as well the site of the project. Finally always ―Keep pace
 204

with the on-going changes in the world‖ as recommended by Hadid (Aref

2011, p. 113).

5.6 Directions for Further Studies

The following are suggested topics for further studies

1. The language of translating project notion through form or even through

space and circulation; the way of achieving notions to be experienced and
seen through the project and make them acting vividly in projects.

2. The sustainability of Zaha Hadid architecture.

3. Hadid sketches and the degree of their effective role to determining the
final form.

4. Hadid contribution in changing the general conception of conceiving the

architectural space.

5. Analysis of Zaha Hadid projects‘ form in regard of the effecting details

factors; like the study done by Baker in Le Corbusier: an Analysis of
Form.
 205

5.7 Conclusion

Associated with the ongoing technological developments in all areas of life,

architecture is starting to take another turn from the usual ones; it is the architecture
of form and high welfare. The architecture of today is produced by an eager
generation of innovation and creation; Zaha Hadid is at the forefront of them. Hadid
has many impressive projects distributed in the most advanced countries in the
world. She has a high sensation for art and beauty in nature; she even conceives
architecture as an art which meets the requirements of good building that meets the
physical and moral occupation. Her manipulation in employing contradictory
techniques resulted in the emergence of new globally kind of architecture that is
friendly and lovely to people. Hadid willingness to keep up with everything new
makes her always in the lead thus inspiring younger generation of architects and
designers. Not an exaggeration, Hadid has done a shift on the way of conceiving
architecture in the world, she even makes many architects looking back again at their
works evaluating them whether they are reflecting this era with all its properties and
facilities.
 206

REFERENCES

AbitareWeb (2011, Apr 22). Zaha Hadid Politecnico1. Youtube, Retrieved Jan 10,
2013, from http://www.youtube.com/watch?v=No7yDSCG974.
Aiello, T. (2005). Head-First Through the Hole in the Zero: Malevich‘s
Suprematism, Khlebnikov‘s Futurism, and the Development of a
Deconstructive Aesthetic, 1908-1919. Emajartjournal, p.3.1-1.16.
Allami, S. (2005). Reading in the memoirs of Mohamed Hadid. Alitthad magazine,
Retrieved Dec 12, 2012, from
http://www.alitthad.com/paper.php?name=News&file=article&sid=17025
Aref, M. Zaha Hadid, genius of the place. Contemporary Arab Affairs, Taylor &
Francis Journal,2011 (4), 267-287
Arnheim, R. (1954). Art and Visual Perception. The Regents of University of
California: USA.
Baker, H. G. (1989). Design Strategies in Architecture. Van Nostrand Reinhold:
London.
Baker, H. G. (1996). Le Corbusier : an Analysis of Form. 3Ed. London& New
York: Spon Press.
Barber, L. (2008, March 9th). Zaha Hadid. Guardian magazine, Retrieved Oct 18,
2012, from
http://www.guardian.co.uk/lifeandstyle/2008/mar/09/women.architecture
Bedell, G. (2003, Feb 2nd). Space is her place. Guardian magazine, Retrieved
May14, 2012 from
http://www.guardian.co.uk/artanddesign/2003/feb/02/architecture.artsfeatures
Belogolovsky,V. (2008, Aug 31 st ). Zaha Hadid. Russian Architectural
News Agency Retrieved 22 Sep, 2012, from
http://archi.ru/agency/eng/news_current.html?nid=8497
 207

Bowlt, E. J. (1976). Russian Art of the Avant-Garde: Theory and Criticism, From
Cubism and Futurism to Suprematism. London: Thames and Hudson, 1988,
pp. 19–133.
Bittar, D. Inside Arabic Calligraphy from Alef to Zaha: an Artist‘s View. Diwan
Conference. April 1, 2006. Dearborn, Michigan: Arab American National
Museum (2006).
Binet, H. (2000). Architecture of Zaha Hadid in photographs. Helene Binet Baden:
Lars Muller Publishers.
Breisach, E. Introduction to Modern Existentialism. New York: Grove Press. 1962
Broadbent, G. (1991). Interview with Zaha Hadid. In J. Glusberg (Ed.),
Deconstruction: a student guide. London: Academy Editions.
Carlson, A. (1986). Reconsidering the Aesthetics of Architecture. Journal of
Aesthetic Education, 20, 21-27. University of Illinois Press.
Cooke, C. (1995). Russian avant-garde: theories of art, architecture, and the city.
London: Academy Editions.
Ching, D. F.(1996) Architecture _Form, Space, Order. ( 2nd. Ed.). Canada : John
Wiley &Sons.
Clark, H. R. & Pause, M. (2005). Precedents in Architecture. (3rd. Ed.). Jersey,
Canada: John Wiley & Sons.
Clark, H. R. & Pause, M. (1985). Precedents in Architecture. Van Norstrand
Reinhold Company Inc: England
Colegio de Arquitectos del Perú. (2012, Nov 6). Arq. ZAHA HADID - Entrevista.
Youtube, Retrieved Dec 20, 2012, from
http://www.youtube.com/watch?v=hT1Opt3qVCQ
Creswell, W. J. (2009). Research Design: Qualitative, Quantitative, and Mixed
Methods Approaches (3rd Ed.). California: Sage Publications.
Crowther, P and Wünsche, I. ( 2012). Meanings of Abstract Art: Between Nature
and Theory. (1st. Ed.). New York: Routledge.
D‘Anjou, P. (2011). An Ethics of Freedom for Architectural Design Practice.
Journal of Architectural Education. (64): 141-147. Florida Atlantic
University.
 208

D‘Apuzzo, M. A. ( 2011, Jul 8). Interview with Zaha Hadid. DaNS; Društvo
arhitekata Novog Sada / Association of Novi Sad Architects. Retrieved 3
march, 2012 from
http://www.dans.org.rs/index.php?option=com_content&task=view&id=282
&It emid=52
Designboom (2007, Jan15th). Designboom Interview: Zaha Hadid. Designboom
Magazine. Retrieved Jan 2ed, 2012, from
http://www.designboom.com/eng/interview/hadid.html
Dezeen Magazine, (2011, Feb 7th). Concept villas for golf and spa resort, Dubrovnik,
by Zaha Hadid Architects. Dezeen Magazine. Retrieved Feb 4ed, 2012, from
http://www.dezeen.com/2011/02/07/concept-villas-for-golf-and-spa-resort-
dubrovnik-by-zaha-hadid-architects/
Dezeen (2010, July 12). Zaha Hadid and Suprematism at Galerie Gmurznska Zurich.
Dezeen Magazine. Retrieved Feb 23, 2012, from
http://www.dezeen.com/2010/07/12/zaha-hadid-and-suprematism-at-galerie
Designmuseum, (2007, Nov 25th). Zaha Hadid. Designmuseum Organization.
Retrieved Aug 23rd , 2012, from http://designmuseum.org/design/zaha-
hadid
Didero, C. M. (2012, 27 Jul). Zaha Hadid and Suprematism. Domus magazine.
Retrieved Dec 9th, 2012, from https://www.domusweb.it/en/book-
review/zaha-hadid-and-suprematism/.
Domus, (2010, July 19th). Zaha Hadid and Russian avant-garde at Galerie
Gmurzynska. Domus Magazine. Retrieved Feb 12th, 2012, from
http://www.domusweb.it/en/architecture/zaha-hadid-and-russian-avant-
garde-at-galerie-gmurzynska/
Douglass, B. D. (2008). Defining a Sustainable Aesthetic: a New Paradigm for
Architecture. Master of Architecture. University of Southern California.
Durmus, S. & Gur, S. O. (2011). Methodology of deconstruction in architectural
education. Procedia Social and Behavioral Sciences, 15, 1586–1594.
Eldin, S. L. (2006, Sep 1st). Review: Zaha Hadid The Soloman R. Guggenheim
Museum. ArteEast Quarterly. Retrieved January 9,2013 from
http://www.arteeast.org/pages/artenews/article/25/
 209

Elliott, E. D. The New Architecture: Iakov Chernikhov and the Russian Avant-
Garde. A Senior Honors Thesis. The Ohio State University. (2006)
Eisenman, P. (1984). The End of the Beginning, the End of the End. The MIT Press,
21, pp. 154-173.
Ernst, N. et.al. Neufert: The Handbook of Building Types: Neufert: Architect’s
Data . 3th Ed. Oxford, England,UK: Blackwell Science. 2000
Ernst, N. (2012). Neufert: Architect’s Data. 4th Ed. West Sussex, UK: Wiley-
Blackwell.
Evans, J. (1975). Pattern: A Study of Ornament in Western Europe. Hacker Art
Books: New York.
Frearson, A. (2012, Nov 15th). Zaha Hadid to design Japan National Stadium.
Dezeen Magazine. Retrieved Jan 10th, 2012, from
http://www.dezeen.com/2012/11/15/zaha-hadid-to-design-japan-national-
stadium/.
Forrest, S. (2008, Jan 23th). Zaha Hadid. The New York Times. Retrieved Sep 20th,
2012, from
http://topics.nytimes.com/top/reference/timestopics/people/h/zaha_hadid/ind
exhtml?8qa
Futagawa, Y. (Ed.) (2010). An Email Dialogue, July, 2010 Zaha Hadid. In : Y.
Futagawa (Ed.), GA Zaha Hadid Recent Projects. (P6-8).Tokyo: A.D.A.
EditaTokyo.
Gelernter, M. (1995). Sources of Architectural Form. UK: Manchester University
Press.
Giovannini, J. (1996). Portrait: Zaha Hadid, architecture‘s new diva makes an
international scene. Architectural Digest 53,1, 26-35
Glancey, J. (2006, Oct 9th). I Don't Do Nice. The Guardian magazine. Retrieved
April 4th ,2012 from
http://www.guardian.co.uk/artanddesign/2006/oct/09/architecture.communiti
es.
Glaser, G. B. and Strauss, L. A. (2005). The Discovery of Grounded Theory:
Strategies for Qualitative Research. (4th ed). U.S.A.: A Division of
Transaction Publishers.
 210

Gomez, P. (2008, Sep 6 ). Derrida - Defining deconstruction. Youtube . Retrieved

Feb 17th, 2012 from http://www.youtube.com/watch?v=vgwOjjoYtco
Gopnik, B. (2011, Sep 21st). Architecture's Rising Diva. News Week Magazine.
Retrieved May 1st, 2012 from
http://www.thedailybeast.com/newsweek/2011/09/18/design-diva-hits-a-
high-z- zaha-hadid.html
Greenway, O. (2011, July 8th ). I believe in hard work, as it gives you confidence.
Travel Time Magazine, London.
Groat, L. & Wang, D. (2002). Architectural Research Methods. Canada :John Wiley
and Sons.
Guimera, R. and Pardo, M. S. (2006). Form follows function: the architecture of
complex networks. EMBO and Nature Publishing Group. 10.1038.
Guy, S. (2011). Designing fluid futures: Hybrid transitions to sustainable
architectures. Environmental Innovation and Societal Transitions, 1, (2011),
140–145. University of Manchester.
Hadid, Z. (1991). Recent work. In J. Noever (Ed.), Architecture in transition:
between deconstruction and new modernism (pp. 47e61). Munich: Prestel.
Hadid, Z. (1992). Another beginning. In J. Noever (Ed.), The end of architecture?
Documents and manifestos (pp. 25-33). Munich: Prestel.
Hadid, Z. (1998). Zaha Hadid the Complete Building and Projects. London,
United Kingdom :Thames & Hudson.
Hadid, Z.( 2002) Opere e progetti, Rome, 2002. Zaha Hadid Website. Retrieved
June 29th, 2011, from www.zaha-hadid.com/ exhibitions/opere-e-
progetti- exhibition.
Hadid, Z (2005). Zaha Hadid. The MIT Press. 37. pp. 130-135.
Hadid, Z. (2006). Zaha Hadid. New York, USA: Guggenheim Museum Publication.
Hadid, M. Z. (2009). Zaha Hadid-Complete Works. New York, USA: Rizzoli
International Publication.
Hadid, Z. (2009). The Complete Zaha Hadid. London, United Kingdom: Thames
& Hudson.
Hadid, Z. and Aaron, B. (2009). Zaha Hadid The Complete. New York, USA:
Rizzoli International Publications.
 211

Hadid, Z. (2011, Dec 30th). Like a breath of fresh air. China Daily USA Newspaper.
Retrieved Jan 1st, 2013. from http://usa.chinadaily.com.cn/weekly/2011-
12/30/content_14354279.htm
Hattenstone, S. (2003, Feb 3rd ). Master builder. Guardian Magazine. Retrieve June
18th, 2012 from
http:/www.guardian.co.uk/artanddesign/2003/feb/03/architecture.artsfeatures
Hattenstone, S. (2010, Oct 9th). Zaha Hadid: 'I'm happy to be on the outside'.
Guardian magazine. Retrieve May 10th, 2012 from
http://www.guardian.co.uk/artanddesign/2010/oct/09/zaha-hadid
Hewitt, M. (1985). Representational Forms and Modes of Conception: An Approach
to the History of Architectural Drawing, Blackwell Publishing
.Association of Collegiate Schools of Architecture. 39 (2), 2-9.
Hollingsbee, T. (2009, Jan). Interview with Lars Teichmann. UK ADAPTA. Retrieve
Jan 7th, 2013, from
http://www.ukadapta.com/e/architecture/zahahadid.html.
Jambox, (2012, April 30th). Interview: Zaha Hadid at Dezeen Studio. Dezeen
Magazine. Retrieve Nov 22ed, 2012 from
http://www.dezeen.com/2012/04/30/interview-zaha-hadid-at-dezeen-studio/
Johnson, R. (2006). Nanotechnology, Lerner Publications Company, Minneapolis
USA.
Judelman, G. (2004). Aesthetics and Inspiration for Visualization Design: Bridging
the Gap between Art and Science. IEEE, Computer Society. Universität zu
Lübeck, Germany & University of Ottawa, Canada .
Kamel, M. S. Architecture as a Second. Google Scholar. Code AR 4-6-10. Ain
Shams University, Cairo, Egypt.
Kamarudin, B. Z. (2011). Wood Carving in Selected Kelantan and Terengganu.
Doctor of Philosophy. UTM Universiti Teknologi Malaysia.
Kauw, W. M. (1998). Generation of Abstract Geometric Art Based on Exact
Aesthetics, Gestalt Theory and Graphic Design Principles. Master in
Computer Science. University of Amsterdam, Netherlands.
Khan, M. S. (2010). Sethi Haveli, an Indigenous Model for 21st Century ‗Green
Architecture. International Journal of Architectural Research. 4 (1), 85-98.
Kornberger, M. and Clegg, R. S.(2009). Bringing Space Back in: Organizing the
Generative Building. SAGE Publications. 2004; 25; 1095-1114.
 212

Koohlaas, R. (2005). Zaha Hadid. Proquest. 35 (1), 132-135,142.

Kosinski, W. (2010). Architecture Today-On The Invisible Border Between- The
Boundless Past And The Unknown Future. Google scholar. Biblioteka
Cyfrowa Politechniki Krakowskiej.
Krishan, A. (1998). Process of Design for Sustainable Architecture and
Contemporary Solutions. Renewable Energy. I5, 407-412.
Kulic, V. (2001). The Complexity of Architectural Form: Some Basic Questions.
Complexity International. University of Belgrade. 8, 1-10.
Leach, N. (2009). Digital Cities AD: Architectural Design. International house
London: John Wiley & Sons.
Le Corbusier (1986). Towards a New Architecture. Dover Publications: New
York.
Lloyd, B. (1997). Souvenirs of Formalism: from modernism to deconstruction.
National Art Education Association. 50 (3), 15-22.
Los, S. (1998), Integration Between Art and Science in Architectural Design.
Renewable Energy. 15, 171 -176.
Read. A. (2000). Architecturally speaking: practice of art, architecture and the
everyday. London: Routledge.
Reid, E. L. (2009). The Female Modernist of the Twenty-First Century. Master of
Arts. The University of Texas. Pro Guest.
Robertson, H. (1924). The Principles of Architectural Composition. Great Britain
for Architectural Press: Guildford and London.
Ruddley, J. (1970). Association Essays on Art, 1915-1933, Vol. I and Vol. II by
Kazimir Severinovich Malevich Review. National Art Education
Association. 32 (9), 42.
Majid, N. A. et al (2007). Academic Report writing. 2ed Ed. Malaysia: Pearson.
Manson, C. G. (1958). Frank Lloyd Wright To 1910. Van Nostrand Reinhold
Company: New York.
Marjanović, I. (2010). Lines and words on display: Alvin Boyarsky as a collector,
curator and publisher. Architectural Research Quarterly, 14 (2), 165174.
Methanoia (2010, Nov 23rd ). Zaha Hadid Architects: Rabat Grand Theatre.
Designboom Magazine. Retrieved Dec 3rd, 2012 from
http://www.designboom.com/architecture/zaha-hadid-architects-rabat-grand-
theatre/
 213

McLeod, M. (1989). Architecture and Politics in the Reagan Era: From

Postmodernism to Deconstructivism. The MIT Press, 8, 22-59.
McCready, L. (2012, March 25th) Zaha Hadid: Form in Motion. Vogue Magazine.
Retrieved Jan 7th, 2013from:
http://search.proquest.com/docview/898680913/fulltext/13A1A365BB65CE4
F2 90/12?accountid=41678.
Meades, J. (2008, Summer). Zaha Hadid: The First Great Female Architect.
Intelligent Life Magazine. Retrieved April 18th, 2012 from
http://moreintelligentlife.com/story/zaha-hadid
Mertins, D. (2006). The Modernity of Zaha Hadid, Hadid. Z. Zaha Hadid. New
York, USA: Guggenheim Museum Publication.
Michaud, J. (2011, July 18th). Zaha Hadid: The Lady GAGA of Architecture. The
New Yorker. Retrieved June 25th, 2012 from
http://www.newyorker.com/online/blogs/backissues/2011/07/zaha-
hadid.html#ixzz26tUXkm1o
Mohassel, P. K. (2008). Husserl: Phenomenology of Architectural Drawings. New
York: New School University.
Muschamp, H. (2003,June 08). Art/Architecture; Zaha Hadid's Urban Mothership.
The New York Times. Retrieved June 7th, 2012 from
http://www.nytimes.com/2003/06/08/arts/art-architecture-zaha-hadid-s-
urban- mothership.html?pagewanted=all&src=pm
NewYooxer (2010, June 8th ). Zaha Hadid @ Maxxi. NewYooxer. Retrieved on Jun
4, 2012 from
http://www.thenewyooxer.yoox.com/eng/index.php/post/5351/zaha-
hadidmaxxi/
NBM&CW. (2006, Oct/Nov). Zaha Hadid: The Diva of deconstructive architecture.
NBM&CW Magazine. Retrieved on Oct 22nd , 2012 from
http://www.nbmcw.com/articles/architects-a-project-watch/1416-zaha-hadid-
the-diva-of-deconstructive-architecture.html

Neufert, N. (2012). Neufert Architect’s Data. 4th. Ed. Wiesbaden, Germany:

Wiley-Blackwell

Noever, P. (ED.) (1991). Architecture in transition: between deconstruction and new

modernism. Munich: Prestel
 214

Norberg, C. (1980). Genius Loci, Towards a Phenomenology of Architecture.

Rizzoli : New York
Patin, T. (1993). From Deep Structure to an Architecture in Suspense. Blackwell
Publishing. 47 (2), 88-100.
Pearman, H. (2011,Winter). Beyond Utopia. RA Magazine. Retrieved July 18th,
2012 from http://www.royalacademy.org.uk/ra-magazine/winter-
2011/building-the-revolution-beyond-utopia,313,RAMA.html
Platt, H. K. (2012, Sep 12th). Zaha Hadid and the Energy of Change. New York
Times. Retrieved Nov 25th, 2012 from
http://www.nytimes.com/2012/09/13/arts/13iht-rarthadid13.html
Pole, C. and Lampard, R. (2002). Practical Social Investigation: qualitative and
quantitative methods in Social Research. Harlow, England: prentice Hall.
Powell, J. (2006). Jacques Derrida: A Biography. Continuum International
Publishing Group: London.
Pulse, A. (2011, Oct15th). Zaha Hadid Celebrates the Launch of her ThirdLONDON
Project. Asia Pulse. Retrieved Oct 25, 2012 from
https://vpn.utm.my/docview/898680913?accountid=41678.
Reid, E. L. (2009). The Female Modernist of the Twenty-First Century. Master of
Arts. Southern Methodist University & ProQuest.

Robertson, H. (1924). The principles of architectural composition. London:

Architectural Press.
Salama, M. A. (2007). Nikos A. Salingaros: A New Vitruvius for 21st–Century
Architecture and Urbanism. International Journal of Architectural Research.
1(2), p.114-131.
Salingaros, A. N. & Masden, G. K. (2007). Restructuring 21st -Century Architecture
through Human Intelligence. International Journal of Architectural
Research. 1(1), p. 36-52.
Sammicheli, M. (2011). Being Zaha Hadid: a year with Zaha: the teacher, the
architect, la diva. Milan: Abitare.
Schumacher, P. (2004). Digital Zaha: landscapes in motion. Basel: Birkhauser.
Schumacher, P. (2009 . Parametricism - A New Global Style for Architecture and
Urban Design. AD Architectural Design - Digital Cities. 79(4).
Schumacher, P. )2009). Parametric Patterns. AD Architectural Design. 79 (6).
 215

Schumacher, P. )2012). The Autopoiesis of Architecture, Volume II: A New Agenda

for Architecture. John Wiley & Sons, Ltd, Publication: United Kingdom.
Serageldin, I. (1986). Architecture and Society. Architectural Education in the
Islamic World. April 21-26, Granda, Spain: pp. 75-88.
Sonmez, F. (2006). Organic Architecture And Frank Lloyd Wright In Turkey
Within The Framework Of House Design. Master of Architecture.
Middel East Technical University.
Straeten, D.V. (1997) .The Uncanny and the Architecture of Deconstruction,
Magazine of the Visual Narrative. Retrieved Oct 10th, 2012 from
http://www.imageandnarrative.be/inarchive/uncanny/bartvanderstraeten.htm
Ward, O. (2007,Jun 19th ). Zaha Hadid: interview. Timeout Ltd. Retrieved march
9th, 2012 from
http://www.timeout.com/london/art/features/3047/Zaha_Hadid-
interview.html
Wigley, M. (1989). The Translation of Architecture, the Production of Babel. The
MIT Press, 8, pp. 6-21.
Wigley, M. (1996). The architecture of Deconstruction: Derrida‘s Haunt. Journal of
Architectural Education, 49 (4), pp. 266-268.
Wong, F. J. (2009) .The text of free-form architecture: qualitative study of the
discourse of four Architects, Elsevier Ltd, 31, pp. 237-267.
Woods, L. (2008). Drawn into Space: Zaha Hadid. John Wiley & Sons. Archit
Design, 78, 28–35.
Woods, L. (July/August 2008). Zaha-Hadid. In Sheil, B. Protoarchitecture:
Analogue and Digital Hybrids. (pp28-35).United Kingdom: Architectural
Design.
Yuan, C. and Yi, Z. (2012). To Discuss the Application of Parametric Technology
in Architectural Design. Applied Mechanics and Materials. 174-177, pp.
1734-1738.
Zander, C. (ED.) (1996). Zaha Hadid: recent projects 1990-1995. Hamburg:
Galerie Renate Kammer.
Zhou, L. B. (2011). The Evolution of Architectonic Aesthetics in the Context of
Globalization. Trans Tech Publications. 250-253, p. 4026-4029.
Zunde, J. & Bougdah, H. (2006). Integrated Strategies in Architecture. New York:
Taylor & Francis
 216

APPENDIX A Intention and factors considered in the design process

By free-form architects* according to Joseph F. Wong (2009) in

The text of free-form architecture

* Free-form architects are Frank Gehry, Zaha Hadid, Thom Mayne, and
Daniel Libeskind
 217

APPENDIX B

Some of Zaha Hadid’s Description Words for Project’s Form Notion

Malevich Tektonic Topography Organic

Explosion Contours System grid
Seamlessness Landscape Intense Accumulation
Flower petal Biological analogy Swarm
Complex (branches, stems, fruits, Rock
Suprematist geology and leaves) Nude structure
Cellular structure Coral Digital design technology
Curve Piercing Weightlessness, freedom
Slicing Petra Mountain Sloped
Glacial topography Sand Dunes Wrap
Islamic Calligraphy Dynamic Float, suspend
Defying nature Pushing boundaries Boulder
Diamond Landscape carpet Malleable
Shell Lava flow Crystal
Inverted necklace Ice formation, glacial Fluid
Fragment Jewel Layering
Bubbles Organic Free-form
Water movement Mountain ranges Flexibility
Geometries Deconstruction Suprematist
Contradiction Spiraling shapes in nature Capsizing
Kinetic Archaeology Dynamic
Canvas Plastic Broken ice & Flame of fire
Tree trunk Movement Tatlin tower
Canyon Shattering Wave
Parametric Segments Distortion
Ever-changing Iteration of L-shape Dynamic
Oyster Elasticity Distorted grid
Collision Folding Inscription
Mushroom columns Ribbons Sculpture
Fabrication Starfish Painting
Abstraction Spine Interlock
Flow Smooth Bend
Cutting Fold Trapezoid, wedge, spiral
Art box Exasperation Arc
Splintered Bundles Spiral
Interwoven (p. 109) Undulating Shooting
Overlapping lines Twisting Erosion
Scattering Wrapping Triangulated roof
Multi-purpose River‘s curvature Pixilation
Aggregation
 218

APPENDIX C-1

Categorization of Hadid’s Description Words for Project’s Form Notion

Suprematist / Deconstructivist Form Fluid Form

Motion, form notion

Malevich Tektonic Distorted grid Curve

Geometries Art box Islamic Calligraphy
Bundles Folding Fluid
Piercing Intense Accumulation Flexibility
Tatlin tower Swarm Dynamic
System grid Triangulated roof Flow
Twisting Ribbons Wave
Shooting Splintered Bend
Cutting Interwoven Ever-changing
Weightlessness, freedom Overlapping lines Seamlessness
Float, suspend Shattering Bubbles
Explosion Segments Water movement
Suprematist geology Iteration of L-shape Complex
Slicing Trapezoid, wedge, spiral Arc
Defying nature Wrapping Ice formation
Inverted necklace Broken ice & Flame of fire Glacial movement
Painting Spiral Kinetic
Interlock Scattering Fold
Exasperation Capsizing Undulating
Collision Dynamic Multi-purpose
Nude structure Pushing boundaries River‘s curvature
Abstraction Fragment Erosion
Distortion Contradiction Inscription
Layering Canvas
Free-form Aggregation
 219

APPENDIX C-2

Categorization of Hadid’s Description Words for Project’s Form Notion

Topographic Form Parametric Form Organic Form

Lines –volumes

Topography Plastic Organic

Contours Malleable Flower petal
Landscape Sculpture Diamond
Sloped Digital design Shell
Wrap Technology Starfish
Petra Mountain Fabrication Rock
Sand Dunes Elasticity Biological analogy
Landscape carpet Spine (branches, stems,
Glacial topography Dynamic fruits, and leaves)
Lava flow Parametric Organic
Canyon Smooth Spiraling shapes in nature
Mountain ranges Pixilation Boulder
Archaeology Tree trunk
Oyster
Coral
Jewel
Mushroom columns
Crystal
Cellular structure
 220

Appendix D: The Five Types of Formal Relationship between Plan and Section or Elevation
Sources Precedents in Architecture

Project 1: Project 2: Project 3: Project 4: Project 5:

Equal relationship One to one-half relationship Analogous relationship Proportional relationship Inverse relationship

Project1: Pantheon, architect unknown. Project 2: Chapel at Ronchamp, Le Corbusier.

Project 3: Wolfsburg Cultural Center, Alvar Aalto (1958-1962). Project 4: Christ Church, Nicholas Hawksmoor (1715-1729).
Project 5: Weekend House, Edward Larabee Barnes (1963)
View publication stats