Search results for "zaha hadid"

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A Land for Luxury

Zaha Hadid’s Nile Tower, the tallest building in Africa, will rise in Cairo
Zaha Hadid Architects’ design for Africa's tallest tower is reportedly breaking ground after nearly a decade of delays by the Egyptian government, according to Forbes. The 70-story Nile Tower will rise along the Nile River in central Cairo as part of an upscale new downtown district. The project is expected to spur growth and investment in a previously neglected area that currently houses middle-class and low-income residents. The 1.3 million-square-foot Nile Tower was first envisioned by the late Hadid in 2007 and so far, design details haven’t changed. The rectangular structure will house residential and hotel components inside a thin, twisting volume. Apartments will be built out on the top 36 floors with views of the nearby pyramids, while the middle 18 floors will include a hotel with 230 rooms. Other floors will feature a casino, nightclub, spa, health club, and shops.  The luxury property is set to be marketed toward higher-income tenants, who in recent years have moved to the outskirts of Cairo into newer developments. Nile Tower will be a focal point of the aforementioned upcoming neighborhood that its developers hope will spark an influx of wealthy residents back into downtown Cairo. Zaha Hadid Architects isn’t the only starchitect firm set to build in the planned district. Foster + Partners designed a mixed-use project for the site as well, which will go atop a recently-demolished lower-income housing complex in the neighboring Maspero Triangle. Critics of both projects say the displacement of Cairo’s poorest and most vulnerable people is already a huge issue. Apart from its controversial setting, one major reason for the Nile Tower’s postponement was the national shake-up Egypt experienced in 2011 when its long-time president Hosni Mubarak was removed from office and tried for corruption and abuse. Mubarak was an avid supporter of the Nile Tower and the plans for creating an upscale new residential and business district. The country couldn’t get it back on track amidst all the political and economic unrest. Under Egypt's current president, Abdel Fattah al-Sisi, the project is once again a top priority for the country as well as for Cairo’s development. Ashraf El Tanani, president of the site's developer Living In Interiors, told Forbes that President Sisi’s government is actively involved in getting the height clearance for the project as well as making it a financially viable project. As of now, the tower will cost $600 million, though it’s likely to rise by $150 million due to the weak Egyptian pound which is making building materials much more expensive than planned. Despite the hefty price tag, the project is expected to make a significant return for the domestic economy with increased construction jobs, as well as its potential for enhancing the housing and tourism sectors once complete. The groundbreaking has been set for the near future, but no date has been officially named.
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Data, Algorithms, and Robots

Zaha Hadid Architects exhibit presents promise and peril of parametric design
  To the late Zaha Hadid, “math was like sketching.” Since her death, this attitude to architecture and design has been continued by her firm, ZHA, chiefly through ZHCODE, a computation and design research offshoot set up in 2007, the work of which is currently on display at The Building Centre in London. Borrowing theorist Mario Carpo’s terminology, the exhibition at The Building Centre is titled Digital Turn and showcases ZHCODE’s methods and ideas while exploring how digital tools have changed our ways of making and thinking. This is the second of two in a series of exhibitions. Earlier in the year, Digital Turn had showcased the academic work of The Bartlett’s Design Computation LabDigital Turn is divided into two parts: tectonism and semiotics. The former looks at the structure and geometry of digital fabrication, while the latter examines the physical results of this and its relationship to various contexts. This setup essentially translates into parametric design versus algorithm and data-driven urbanism. Visitors to the gallery are welcomed by full-scale white EPS foam offcuts, called "foam grottos." The undulating formwork, made from robotic hot wire cutting, is indicative of ZHA’s sinuous style and serves as a threshold to the exhibition space while being a cue for what is to come. "ZHCODE have been a perfect fit for the show; they are a research team within a professional practice so the narrative worked well, offering a mix of live projects and theoretical ideas," a spokesperson for The Building Center told The Architect's Newspaper. "Inspiring exhibits such as Thallus and the Mathematics Gallery at the Science Museum initially caught our attention, and in conversation with ZHCODE we realized we could display a range of ideas not yet exhibited." Part of the exhibition is dedicated to the recently completed Winton Gallery at London’s Science Museum. Building on the work of Frei Otto, ZHA’s studies into the “minimal surfaces” of 3-D objects informed the design, with a triangle-based pyramid being “reduced” (read: imploded) to a curvaceous hanging module which served as a circulation device, as shown in image at the top of the page. Wile nonetheless interesting and insightful, some physical design aspects of Digital Turn feel as if they belong in the past, in a similar vein to the most recent ZHA projects which still feel like a vision of the future from the 1990s. Robotic hot wire cutting has been around for more than two decades and though it has advanced, it’s hardly a groundbreaking fabrication method. One wonders if the visionary British-Iraqi architect were still alive, how the studio would have moved on. In response to this, The Building Center said that "parametricism isn’t the focus of the show…We also wanted to understand what was next from the practice that coined this term." Showcasing the Winton Gallery, however, also reveals how parametric design does more than just produce fancy curves. It also serves as an organizational tool. The aforementioned floating module was used in tandem with a circulation strategy derived from the airflow around a biplane. Naturally, this airflow diagram produced countless curves, but it also allowed ZHCODE to produce massing studies for objects in the gallery that align with it. This kind of design process has also been scaled by ZHA in urban studies that derive from an algorithmic input. In one example, a computer program located potential infill sites in London, identifying “end of block” plots of land, or sites that can be found at the edges of tower blocks. As a result, it proposed that housing be built on these underutilized areas. Another notable example is an exploration into modular housing. By using a uniform lattice structure, residents can customize their dual-aspect unit’s facades, adding balconies or changing the window type in the process. It’s basically Alejandro Aravena’s half houses scheme but for the wealthy. And it’s that latter notion which, when coupled with derisory remarks from the current head of ZHA, Patrik Schumacher, on social housing and desire to privatize cities, leaves a bitter taste in the mouth. Furthermore, the often overtly abstract nature of parametric architecture, an architecture reserved for museums, corporate headquarters, luxury hotels, and extravagant condominiums, doesn't counter this sense of elitism either. A welcome palate cleanser can be found in another exhibition at The Building Center from Royal College graduate Hannah Rozenberg, who won this year's Student Prize for Innovation. Her book, Building Without Bias: An Architectural Language for the Post-Binary illustrates how artificial intelligence isn’t always right and is even sometimes racist, as demonstrated by Microsoft’s "Tay" bot which ended up making racist, misogynistic, and genocidal remarks on Twitter. If a Twitter bot can do that, who’s to say an urban planning bot wouldn’t start redlining?  Does Digital Turn subsequently highlight that, while parametric design may be an incredibly useful design tool for both making and thinking, its urbanistic potential is something to be wary of?  The Building Center responded to this. "ZHCODE’s algorithmic design work on display in Digital Turn showcases the most advanced algorithmic design taking place today," it said. "For example, the computational study series exploring housing liveability measures shows how advanced algorithmic methods of design generate a formal outcome that guarantees multiple desired conditions are synthesized in a single solution to a particular site. The digital design method therefore provides the designer/architect with sophisticated options to site-specific problems.

"Still far from an autonomous design bot, relinquished of the architect's control, the project showcases the potential of algorithmic design. Hannah’s work recognizes the importance of these methods, but highlights that we are at a juncture where we need a robust analytical response to ensure we design and build our future for everyone."

Digital Turn  On view through September 14 The Built Environment Trust's RCA Student Prize for Innovation On view through August 29 The Building Centre Store Street London, U.K.
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Bee in the Honeycomb

Zaha Hadid Architects releases flythrough of crystalline desert complex
Zaha Hadid Architects (ZHA) recently revealed a new video of the King Abdullah Petroleum Studies and Research Center (KAPSARC), offering new perspectives for those who can’t make it to Riyadh, Saudi Arabia to see it in person. The sprawling complex spans 750,000-square-feet and is a nonprofit research institution focused on studying the relationship between energy policy and social well-being around the world. King Abdullah Petroleum Studies And Research Centre (KAPSARC) from Zaha Hadid Architects on Vimeo. Its design riffs off of structural and formal themes the architect developed over her career. Hadid was inspired by honeycombs found in nature and also designed it in response to the environment of the Riyadh landscape. The building features irregular hexagonal shells structured around open courtyards, with a skylight oculus over each courtyard to offer strategic lighting and shading. Other passive and active environmental solutions have led to a LEED Platinum certification from the United States Green Building Council. The video showcases the building’s unique structure and gives an impression of how it feels to walk under the honeycomb-like cells. A walk-through in the video reveals the crystalline forms and modularity of the structure, which holds an energy knowledge center, energy computer center, conference center with an exhibition hall and 300-seat auditorium, a research library, and the Musalla, a place for prayer. The building was completed in 2017 and was one of the final projects that Hadid oversaw before she passed away. It was also featured in AN’s recent Saudi Arabia’s feature.
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Enter the Void

Zaha Hadid’s exoskeleton-wrapped Morpheus hotel opens in Macau
  The Morpheus Hotel, designed by Zaha Hadid Architects, opens today in Macau. The 40-story, 770-room hotel is part of the City of Dreams resort complex and rises out of a foundation laid for an abandoned condo project. ZHA used this existing foundation and “extruded” the building up from it, creating a sculpted structure in part inspired by jade carving traditions. The building is fundamentally two separate towers connected by floating passages. The central voids carved out of the structure offer a visual connection to the surrounding urban area while maximizing views for guest rooms. Mirroring the outside structural elements, the “world’s first free-form high-rise exoskeleton,” the interior public spaces are filled with lattices sculpted into ZHA’s signature biomorphic forms. Apart from the guest rooms, there are ample public spaces, meeting rooms, event spaces, gaming rooms, a restaurant, a spa, and a rooftop pool. The bridges traversing the voids form spaces for the hotel’s various restaurants, bars, and lounges. More than a singular, striking structure, however, ZHA project director Viviana Muscettola says that the hotel’s unique parametric design “will radically change how our built environment is planned and constructed.”
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All Made Up

Zaha Hadid Architects designs pop-up pavilion for Il Makiage
Makeup brand Il Makiage has opened up a new Soho pavilion designed by Zaha Hadid Architects to coincide with the launch of their new 800-product collection. The pavilion’s angular tunnel of ribbons with alternating gloss and matte finishes mimics the makeup’s packaging in exploded form. Each of the ribbons is slightly different and lighting is installed in them and around the mirrors, helping shoppers accurately choose the right color and tone. Kar-Hwa Ho, head of interiors at Zaha Hadid Architects, said that they “wanted to create an environment defined by the woman celebrated by Il Makiage,” adding that the pavilion is intended to be a “personal space that’s all about her.” The mobile pavilion will be open in Soho for six months and a second New York City pavilion will be opening in Flatiron this summer. Zaha Hadid Architects is also developing the permanent Il Makiage New York boutique, as well as locations in D.C. and Miami.
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Lonely at the Top

Zaha Hadid Architects paid women employees about 20 percent less in 2017
Following a 2017 change to U.K. law that required firms with 250 or more employees to report their gender pay gaps, Zaha Hadid Architects (ZHA) has released data showing their female employees were paid 20.86 percent less on average in 2017. The firm’s pay gap reflect a general trend across the industry, although some firms have an average pay gap as low as ten percent, according to the Architect’s Journal. Through an in-house report produced by ZHA (available here), the firm compared the median incomes earned by both men and women–the middle-most figure–to calculate the pay disparity. Men were paid 20.86 percent more on average and received bonuses 64.94 larger on average, while only 75.6 percent of women received a bonus in 2017 versus 84.05 percent of men at the studio. Across the firm’s 310 U.K. employees, 37 percent are women. ZHA has chalked this imbalance up to the higher percentage of men in leadership positions, who have been with the firm the longest and command bonuses that are tied to the company’s revenue. According to the report:
“This pay gap exists because [a] higher proportion of our longest-serving team members who grew the practice with Zaha Hadid over the past 30 years are male and have continued to lead the company since her passing in 2016. We therefore currently have a smaller proportion of women than men in higher paid senior positions.”
In an effort to address these imbalances, ZHA has increased the company’s maternity pay and partnered with the Architect’s Journal’s Women in Architecture forum. A mentorship program has also been established throughout the firm. Still, even as firms are motivated by public exposure to address the imbalances in pay between men and women, studies have shown that the pay gap is widening. Foster + Partners, AECOM, and other big names have disclosed similar figures, though they claim that the imbalance also results from having more men at the top and not as an equal pay issue. Foster + Partners has, for their part, also committed to broadening gender diversity at the senior level, while AECOM pledged to create a more inclusive workforce. Transparency in the field has become a pressing topic as of late, as more and more women have been coming forward with their experiences regarding harassment, discrimination, and general misconduct. A full list of U.K. companies who have disclosed their pay and bonus gap data is available here. Companies have until April 4 to disclose their pay gap report, and more industry figures will be forthcoming.
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Double Density

Zaha Hadid Architects faces criticism over newly revealed London skyscrapers
Zaha Hadid Architects (ZHA) is facing community backlash over recently unveiled plans to bring a double-pronged, mixed-use tower to Vauxhall, South London. As reported by the Architect’s Journal, the building was submitted for local council approval in December, but has caught the public’s ire over the 53-story and 42-story towers that would rise right on the bank of the River Thames. Linked by an 11-story base, the Vauxhall scheme would hold 257 apartments and 618 hotel rooms across the two towers, as well as seven floors of office space in the base and retail at the ground level. Both the towers and the base will feature a glass curtain wall overlain with a unifying exoskeleton-like façade that stretches and decompresses as the building rises, exposing uninterrupted glass near the top. It would also become the tallest building in the emerging Vauxhall area, with the taller tower potentially topping out at about 607 feet. It would be ZHA’s first major mixed-use residential building in the United Kingdom, and the studio sees it as a “breakthrough project,” according to the Architect’s Journal. Local critics see the development as a “two-fingered salute.” The site had previously won permission for a pair of 41- and 31-story towers designed by London’s Squire & Partners, and residents, as well as non-profit groups, are gearing up to contest the development. “Although these buildings are better ­designed than the Squires ones, this application is attempting to add more height by stealth,” architect Barbara Weiss told the Architect’s Journal. ‘The River Thames is becoming a canyon and the price to the skyline of Boris Johnson’s liberal approach to tall buildings is becoming increasingly clear.” Other than the project’s height, advocates are also outraged over the lack of specific affordable housing promises, the decrease in residential units from the prior Squires plan, and the projected traffic congestion the project would cause. Compounding the controversy is that the ZHA towers would rise next to the iconic Vauxhall bus station, which was designed by ARUP in 2005 and now faces demolition only 13 years later. ZHA has for their part, pushed back against the controversy and claimed that fears of congestion or shadows were without merit. Jim Heverin, ZHA’s director, told the AJ that the studio was still in talks with the project’s developer over finalizing the number of affordable housing units. ‘When we came onto this scheme, it was right that we looked at the heights,’ said Heverin. “We evolved the scheme to create a new public square. Our scheme takes less land on the ground but is higher. There is a lot more density coming into this area. Our project fits within a master plan that has been looked at by Transport for London.” The soaring Vauxhall towers plan would seem to fit well with ZHA head Patrick Schumacher’s fondness for density and what the Guardian has called a propensity for “neoliberal privatization schemes.”
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How the Cookie Crumbles

Gingerbread City draws Zaha Hadid, Foster + Partners and more to London for the holidays
Nearly 50 well known architecture, engineering, and landscape architecture firms have teamed up to bring a massive edible exhibition to life, as London’s Museum of Architecture hosts its annual Gingerbread City show. Master planned and sponsored by Tibbalds Planning and Urban Design, the utopian cookie metropolis is built to 1:100 scale and comprised of four neighborhoods. Old Town, which has twisting, narrow streets and is centered around Crumble Square, an industrialized New Town with a Central Baking District, a waterside energy district, and “eco-town”. The vastly differing styles of each neighborhood allowed the museum to feature every architectural typology, while designers were free to experiment in every style. Participants were asked to design for one of four categories, housing, landscapes, landmark buildings, or bridges, but with the caveat that they had to bake and decorate the gingerbread themselves. Foster + Partners, Zaha Hadid Architects, NBBJ, Periscope, Pitman Tozer, Burwell Deakins and dozens of other studios have all contributed to the Gingerbread City, including several bridges which link the distinct districts together. Zaha Hadid Architects and Foster + Partners were each given entire inidvidual islands in the eco-town to decorate as they wished. Because gingerbread is a finicky material to build with, firms had to find ways to keep their buildings structurally sound, while still being edible. Sugar glass, gumdrops, frosting and melted candy were all turned into supporting elements. But even the most intelligently designed cookie building is vulnerable to the elements. Speaking with CNN, museum director Melissa Woolford said that humidity inside the museum wreaked havoc on last year’s display, and that several buildings had collapsed in 2016’s show. Gingerbread City will be on display at the Museum of Architecture until this Friday, December 22nd.
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ZHAll Together

Zaha Hadid Architects, Arcplus, and Wilson Associates join forces to offer comprehensive project services
Zaha Hadid Architects (ZHA), Arcplus, and Wilson Associates have teamed up to offer comprehensive design, architecture, and engineering services to clients across the globe. With over 7,000 employees, Arcplus is the largest design group in China. The firm focuses on civic and commercial architecture, as well as transportation. Wilson Associates, meanwhile, works primarily in high-end hospitality and interiors. Recent projects include the Hilton Chengdu in Chengdu, China and the Montage Kapalua Bay, Hawaii. And ZHA almost doesn't need an introduction—with offices on three continents, the firm's 400 designers are currently working on more than 60 projects worldwide. In addition to project collaboration, the team will also research high-rise buildings (though ZHA's latest skyscraper, 666 Fifth Avenue, may be off the table for good). “We see this alliance as a continuation of global best practice, pioneering research and innovation, where each of the three firms' individual strengths will deliver the most ambitious projects," Zaha Hadid Architects explained in a prepared statement. "The combination of design excellence, resources, knowledge and sector leading expertise enables us to deliver more sophisticated, high-performance and high-value projects.” The collaboration will be celebrated in London and New York, following a ribbon cutting ceremony and partnership agreement in Shanghai.
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Chevron Clarity

A closer look at Zaha Hadid’s first residential property in New York
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Originally unveiled in 2013, Zaha Hadid’s first residential property in New York is nearing completion. Situated on the High Line in close proximity to Hudson Yards, one of NYC’s largest developments, the intimate building offers 39 condo units, many of which include private vestibules and entrances. The project is perhaps the epitome of luxury “21st-century dwelling” in New York, but for all of its loaded amenities catering to private residents–an automated valet, one of the first private IMAX theatres in the world, advanced home automation capabilities, 24-hour gym, juice bar, private automated storage accessed via a secured viewing room (inspired by the design of a Swiss bank vault nonetheless)–the architects say the essence of this project is about an urban contextual response that results in a building that doubles as public art for passersby to enjoy. This dynamic plays out in the building envelope, a sculptural expression of hand-rubbed steel that weaves between motorized doors, windows, and curved glass units. Ed Gaskin, senior associate at Zaha Hadid Architects, said “in the great tradition of quintessential New York buildings, such as Rockefeller Center and the Chrysler Building, 520 West 28th is a building that seeks to improve the public realm through art and architecture.”
  • Facade Manufacturer M. Cohen and Sons (exterior metal cladding and railings); Stahlbau Pichler GmbH/Srl (curtain wall and window wall); Sunglass (glazing)
  • Architects Zaha Hadid Ltd; Ismael Leyva Architects (Architect of Record)
  • Facade Installer M. Cohen and Sons
  • Facade Consultants Gilsanz Murray Steficek
  • Location New York, NY
  • Date of Completion 2017
  • System curtain wall over flat slab concrete frame
  • Products Aluminum frame curtain wall and window wall; handcrafted exterior metal cladding panels; Large scale curved glass; custom motorized sliding doors; custom motorized operable windows
The proximity of the High Line was particularly important for the architects, who say they were inspired by the overlay of public space near the site, namely the contrast between an elevated free-flowing High Line pathway with the urban grid of streets below. In response, the architects developed an “urban layering” concept that resulted in split levels, challenging the orthodoxy of flat floor plate construction. The resulting split-level configuration is articulated by a continuous chevron ribbon composed of a 900-piece hand-rubbed steel panel installation. “Rather than a staggered zigzag climbing the facade from floor to floor, the chevron is a continuous line, extending along and framing living spaces, bending around the soft curves of unbroken panoramic glass corners and wrapping the facade in free flowing lines each connected and looping continuously from one floor to the next,” said Gaskin. “Balconies and set-back terraces further express a sense of layering in the urban fabric heightened by balconies projecting and dynamically gesturing toward the High Line where it meets the site.” The metal facade was meticulously hand-crafted from stainless steel, recalling the spirit of Chelsea’s industrial past. The panels were engineered, cut, and welded by M. Cohen and Sons, a Philadelphia-based metal fabrication group offering design assist, engineering, project management, and installation services. They achieved a lustrous blackened finish by an antiquing process, light orbital brushing and hand tinting, to produce an effect that resonates with the adjacent elevated rail structure of the High Line.   The structuring of the 11-story building was achieved with a conventional flat plate in-situ reinforced concrete. Local areas of post-tensioning were required where cantilevered floors and balconies exceed the limits of flat plate spans.   Glazing design was key to the energy and visual performance of the building envelope. Insulated glazing units (IGU’s) track continuously around flat and radiused segments of the perimeter of the building. IGUs are composed of a layered assembly of three low iron glass panels, two of which are laminated together, with an air void along with low-e coatings for solar protection. The transition between flat and curved units was greatly scrutinized by the project team to ensure visual clarity and color consistency across the fluid expression of the building envelope. One of the challenges, however, was the convex and concave curvatures of the design required varied glazing manufacturing processes which yielded slightly different visual results. The major difference between concave and convex glazing was the location of the coating surface, which produced an “almost imperceptible change in color” according to Gaskin, who said the team “exploited architectural conditions to minimize the visual impact of these differences.” The concave units were located in full shade at deep balcony recesses, contrasting with exposed conditions of the convex units. Gaskin said this contrast of conditions assisted in masking the already subtle differences in glazing appearance. Additionally, during the product sourcing phase, the project team’s attention was focused on testing the supplier’s capability to deliver consistent quality through production and inspection of full-scale mock-ups. This attention to detail ultimately resulted in a “continuity of quality,” according to Gaskin, which was achieved by “understanding material qualities, impacts of manufacturing techniques and working with suppliers to coordinate and test results across different types of glass manufacturing and window unit assemblies.” The project complied with all code requirements, maximizing gross floor area (GFA), building height, and standard setback conformance. The IGUs were installed in a curtain wall system that hung on the outside of floor decks to fully enclose the building. These were selected after design simulation models of thermal and energy performance, which compared the assembly to more commonly-specified window wall systems which sit between floor decks. Gaskin said the facade design at 520 W 28th “successfully demonstrates a way of achieving dynamic and organic sculptural form by repetition of a limited number of standard cladding panel types. Further, use of common installation details and practices allows us to apply the best practices for envelope performance and costs.”
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Instagram Eavesdrop

MVRDV’s stacked desires, Zaha Hadid’s latticework roofs, and other updates from the architects of Instagram
At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) Last Friday, Rotterdam-based firm MVRDV opened The Why Factory (W)ego: The Future City is Flexible, a bright new installation for Dutch Design Week 2017 in Eindhoven. According to MVRDV co-director Winy Maas, the project is "based on the hypothesis that the maximum density could be equal to the maximum of desires." https://www.instagram.com/p/BaguLgZBAbV/?taken-by=mvrdv AN contributor and designer Adam Nathaniel Furman shared an alarmingly value-engineered facade in the UK. Beneath the fake brick, a hollow duct–a compelling metaphor for our current newscape. In the comments, there is a bit of hope: Furman and friends list British architects who would never do such a thing, like Sergison Bates, FAT Architects, Outram, or Caruso St. John. https://www.instagram.com/p/Baqmp7ag80u/ Bloomberg is getting a new $1.3 billion, Foster+Partners-designed headquarters in London. The bronze fin-covered building boasts artwork and installations by Cristina Iglesias, Michael Craig-Martin, Olafur Eliasson, and Langlands & Bell. Eliasson's No future is possible without a past crowns a central room within the building, resembling the silvery surface of a pond inverted onto the ceiling. https://www.instagram.com/p/Ban9Gxvnt8u/?taken-by=studioolafureliasson Zaha Hadid Architects completed the King Abdullah Petroleum Studies and Research Centre (KAPSARC) in Riyadh, the capital of Saudi Arabia. The 70,000-square-foot, five-building complex includes an auditorium, library, exhibit hall, and a prayer room sheathed in white latticework (pictured below).  https://www.instagram.com/p/Barov2bFJr6/?taken-by=zahahadidarchitects
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Animal Architecture

Take a look at Zaha Hadid Architects’ dog house design
While Zaha Hadid Architects' 666 Fifth Avenue Tower is in legitimate peril, fans of the architect have something to cheer, or in some cases, howl about. The firm has designed its first dog kennel, a cocoon-like, CNC milled plywood design called "Cloud." Designed for BowWow Haus London, a public exhibition that will aid UK pet charity Blue Cross for Pets, ZHA's barkitecture is slightly elevated above the ground to protect dogs from cold floor surfaces. Other architects and artists participating in BowWow Haus London—most of them located in London and surrounding cities— have created dog houses that range from frilly traditional to austere modernist to flat-out psychedelic. Jia-hao Syu's Bark-alona Pavilion comes with a small reflecting pool/ water bowl and a structurally exposed glass roof; Denise Jaques' Mosaic Happy is covered in a kaleidoscope of colorful mosaic tiles; and Ivan Djidjev's is basically a doggy Greek Temple. See more designs in the gallery above. The completed designs will be displayed at venues around London starting early next year, and will be auctioned at a gala in late spring.