The Queen of Swoop, Zaha Hadid, has unveiled her latest project: the upcoming headquarters for Bee'ah, a waste management company based in the Middle East. The roughly 75,000-square-foot structure, in the city of Sharjah in the United Arab Emirates, keeps a low-profile in its desert environment by taking the form of the surrounding sand dunes. "The formal composition of the new Bee’ah Headquarters building has been informed by its desert context as a series of intersecting dunes orientated to optimize the prevailing Shamal winds, and designed to provide its interiors with high quality daylight and views whilst limiting the quantity of glazing exposed to the harsh sun," Zaha Hadid Architects said in a statement. The two main "dunes" of the structure rise out of the sand and intersect, creating a courtyard, or what Hadid calls "an oasis." This is intended to create a meeting space that also maximizes indirect sunlight and enhances ventilation. The "oasis" is part of the firm's overall strategy to create a LEED Platinum building that produces zero waste. "Zaha Hadid Architects will collaborate with engineer Buro Happold and environmental consultant Atelier Ten to ensure the project minimises material wastage and energy consumption," reported Deezen. "A ventilation energy recovery system will reduce the need for mechanical cooling systems, while photovoltaic cells will be integrated in the surrounding landscape to provide the building with solar power." Bee'ah will use its headquarters as an educational center that teaches the community about caring for the environment. Hadid won an international competition for the commission last year.
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International outdoor advertising and street furnishings firm JCDecaux and Zaha Hadid Architects have proposed a new billboard design for a busy London intersection. The Paris-based JCDecaux has quite the history of collaborating with high-profile architects and designers—Peter Eisenman, Robert Stern, Gae Aulenti, Philippe Starck, and Lord Norman Foster among them. From an improbable aerial view, the project looks promising. But on the ground, its aesthetic traction is questionable. The design is a retread, both in its resemblance to defective tires and with regard to Hadid's canon of mobius-like creations. The pedestrian experience—no pun intended—doesn't look to be enhanced, either, even though the proposed structure is narrower than the existing advertising kiosk. Could a case be made that such eye-catching, animated structures might contribute to distracted driving? The answer to that question depends on who you ask. The U.S. Department of Transportation conducted a study that concluded digital billboards are no more distracting than stationary signage. But an investigation by the Swedish National Road and Transport Research Institute came to a very different finding, which led to the removal of all such advertisements.
In an effort to make math appear exciting, London's Science Museum has tapped Zaha Hadid to design its new mathematics gallery. According to the museum, the new multi-million dollar, Hadid-ian space will "tell stories that place mathematics at the heart of our lives, exploring how mathematicians, their tools and ideas have helped to shape the world from the turn of the 17th century to the present." If that doesn't sound absolutely riveting to you, well maybe some math-themed architecture can help. Good news, that is exactly what Hadid has planned for the space. In a statement, she said, “the design explores the many influences of mathematics in our everyday lives; transforming seemingly abstract mathematical concepts into an exciting interactive experience for visitors of all ages." The centerpiece of Hadid's design is a 1920s-era Handley Page airplane that is surrounded by undulating forms that appear like visualized turbulence. "The gallery's design will bring this remarkable story of the Handley Page bi-plane to life by considering the entire gallery as a wind tunnel for the aircraft," explained the architect. The gallery is expected to open in 2016. [h/t bdonline]
London's Victoria & Albert Museum is preparing to construct an art installation by Zaha Hadid. Called Crest, the oval form takes its name from ocean waves and will appear in the museum’s John Madejski garden as part of the London Design Festival, which takes place later this month. The Crest, as Hadid’s team has named it, will hover over the pond within the V&A's Madejski garden, forming a swooping arc over the body of water. The futuristic pavilion will sport a metallic surface which will reflect the sky above and the water underneath it. The contrast between these two reflected images will play on the clear contrast of the ultramodern installation against the backdrop of the 19th century museum. Despite this contrast, Hadid designed the installation to create a sense that it had always been there. “We envisioned creating a piece that would emerge from the pool which is the centrepiece of the space, both visually and in terms of social interaction,” Hadid explained in a statement. “Crest is intended to offer an exciting new perspective with which visitors experience the courtyard. It will multiply the movements of the water and the historic backdrop within which it is sited. It will capture the attention of visitors as they enter the space and draw them towards exploring the new quality of space created within.” Hadid previously stated the installation would be comprised of a very thin aluminum material, making it light and easily transported. After the London Design Festival concludes, the Crest installation will be transported from the V&A Museum to Hadid's ultra-parametric ME Dubai hotel, where it will stand as a permanent sculpture. The hotel is expected to open in 2016.
The Los Angeles Philharmonic has a thing for star architects. As part of a trilogy of Mozart operas directed by Gustavo Dudamel (himself a global celebrity), in 2012 Frank Gehry designed the set for Don Giovanni, in 2013 Jean Nouvel designed one for The Marriage of Figaro, and this month Zaha Hadid Architects has designed the backdrop for Così fan tutee, the trilogy's finale. The firm's curving white design, evocative of a skateboarding bowl (or a Corian sink?), is meant to represent a large sand dune on the Italian coast. It was called "shape-shifting" by the LA Times. Its steep inclines have presented challenges to performers, but they seem to be adapting in rehearsals. Shows begin on Friday. Costumes were created by British designer Hussein Chalayan, who, like Hadid, is known for edgy, tech-heavy designs. And the director, Christopher Alden, is also known for taking risks. It seems like a combination that should stir things up, and perhaps produce a template for still-rare collaborations across disciplines.
Zaha Hadid has designed another seemingly-structurally-impossible parametric building form that is set to touch down in Macau in 2017. The building, which could be equally at home in Miami or Dubai, is a large block that has been punctured by three curvaceous openings. The entire mass is encased in an exposed exoskeleton that twists and turns along the structure's contours. The project was undertaken at the behest of Melco Crown Entertainment, casino magnates who have contributed the City of Dreams resort to the gambling-soaked Chinese island. The developers commissioned Hadid to create the fifth hotel located on the property, which will top out at 40 stories and house 780 rooms in over 1.6 million square feet of space. Other expected amenities include luxury retail, specialty restaurants, spa facilities, a roof-top pool, and a number of gaming areas. The external latticework varies in patterning as it crawls up the structure's facade. It is densest at its middle, where it navigates the irregularities of the design's central void, and becomes more elongated at each of the building's poles. The interior is more angular, awash in crystalline glass outcroppings subdivided by triangular grids. These walls collide with the curved base of the structure's opening to create a 130-foot central atrium that welcomes arriving visitors to the hotel. Construction for the newest member of the City of Dreams is already underway.
In the same futuristic spirit of its design, One Thousand Museum, the proposed Zaha Hadid-designed condominium building in Miami, Florida, has recently been rendered in hologram form. As anticipation builds about what will be the Pritzker Prize–winning architect’s first residential building in the United States, Zaha Hadid Architects continued the hype with a Miami party and holographic unveiling of the 705-foot condo tower. According to the South Florida Business Journal, the new digital rendering underscores Hadid’s commitment to curvilinear forms, especially prevalent in this sculptural tower that will soon join the Magic City skyline. Curving exoskeletal ribs over a glazed glass facade define areas of private terraces and balconies, simultaneously creating a space age schematic on the exterior of One Thousand Museum. The facade also gives volume; windows sculpt themselves into three-dimension, a crystalline pattern under the curving web. The condo is designed with luxurious amenities for its residents, including a rooftop spa and wellness center on the wide podium base. Situated in the center of the Miami skyline in Bicentennial Park, a downtown area to be renamed “Museum Park” after the December 4th opening of Herzog & de Meuron’s Perez Art Museum Miami, the tower’s double height glass crown will offer spectacular panoramic views of Museum Park, Biscayne Bay, and the Atlantic Ocean. At the recent Miami gathering, hosted by local celebrity architects Gregg Covin and Louis Birdman in the Covin-designed residential building next door to the One Thousand Museum site, architects from Hadid’s firm were present for questions and mingling with privately invited guests, said the Business Journal. Project director Chris Lepine, lead architect Stephan Wurster, and lead designer Michael Powers represented the company and presented the 3D rendering.
In 2007, Zaha Hadid Architects won a competition to design an Innovation Tower for Hong Kong Polytechnic University. Six years later, students and faculty are beginning to settle into the glacial, 130,000 square foot, 250 foot tall design-education center as it nears completion. The space-age, striated structure will be a “creative multidisciplinary environment,” that, according to the architects, “dissolves the classic typography of a tower and podium to create a seamlessly fluid new structure,” meaning that the Pearl of the Orient will soon welcome a curving, difficult-to-decipher, new educational building. Set to fully open next spring, the tower will be Hadid’s first permanent structure in Hong Kong. “I am delighted to be working in Hong Kong again," said Hadid in a press statement back n 2007." The city has such diversity in its landscapes and history; this is reflected in an urbanism of layering and porosity. Our own explorations and research into an architecture of seamless fluidity follows this paradigm so evident in Hong Kong. One of our seminal projects was designed for the city exactly 25 years ago," referring to her influential Peak Leisure Club proposal of 1983,"and the Innovation Tower design is a realization of this continued research.”
The Sports Minister for the Tokyo 2020 Olympic Games, Hakubum Shimomura, is set to scale back the approved stadium, designed by Iraqi-born architect, Zaha Hadid. The decision was made in the wake of a big uproar from some leading Japanese architects who claim that the stadium is "too big and too expensive." The Minister did not give specifics on how the structure would be scaled down, but stressed that the original design concept would be maintained. The futuristic mothership-like structure which was planned to seat 80,000 people, is estimated to cost $3 billion, which is more than double of the original budget. Pritzker Prize–winning architect, Fumihiko Maki, urged that the design be reworked to a “more sustainable stadium.” His views are shared by approximately one hundred other experts in the field. Zaha Hadid Architects have responded by saying that the space will be highly flexible, and can be used for a diverse range of events beyond the Olympics, such as music concerts. They have also expressed willingness to discuss design changes in order to make the scheme more cost-effective and sustainable. With construction set to commence in 2014, the design team will be hard pressed to trim down the stadium without compromising its original concept and structural integrity.
Zaha Hadid has once again expanded her curvilinear design prospects. From wine bottles to superyachts, the starchitect has been quite productive in her recent development of a variety of non-architecture products, and none with right angles. Her latest endeavor is in the world of furniture. For the current exhibition, Liquid Glacial, at David Gill Galleries in London, Hadid has unveiled a new piece in her ongoing series of ice-influenced tables. Inspired by the unique geometry of glaciers, “Prototype Liquid Glacial Table” is an evolution of the previous tables, but all explore a seemingly contradictory existence of two simultaneous states of water. Polished to resemble pure glacial ice, Prototype Liquid Glacial Table has the dynamism and curves signature of Hadid’s architectural designs. In clear Plexiglas, four columns resembling cyclones of liquid water are frozen as solid table legs. These supports seem to originate from the horizontal tabletop, a smooth, undisturbed plane. The underside of this flat surface is a series of ripples in clear acrylic, as if the glacier were still liquid and the table were truly made of water. Hadid’s 2012 Liquid Glacier furniture series was shortlisted by London’s Design Museum as a “Best Design of 2012.”
From high-end hotels interiors to deluxe dollhouses and state-of-the-art superyachts, Queen of the Curve, Zaha Hadid, has been expanding her signature sinuous style to all corners of the design map. The latest unexpected design to emerge from the architect’s versatile office comes in the form of a limited-edition wine bottle for Austrian winemaker Leo Hillinger. For the 999-bottle edition of the winery’s 2009 vintage red, Icon Hill, Hadid created a curvaceous form derived from the profile of liquid droplets. A concave indentation along one side of the bottle’s surface matches the curvature of the bottle’s opposite side, so if you happen to be the proud owner of more than one of these bottles, you can create an interlocking conga-line of high-design wine. At the base of the bottle, the architect has designed a small dimple to assist in correct pouring and the collection of sediments. The bottle’s geometries were created using NURB-based CAD software, from which cast iron molds were produced to form the glass.
Taking her sleek, space-age forms to the sea, Zaha Hadid has teamed up with Hamburg, Germany–based master shipbuilders Blohm+Voss to launch a fleet of signature superyachts. Together they have created The Unique Circle Yacht, a family of five distinct 90m yachts based on the design philosophies and sculptural contours of a 420-foot master prototype that was recently displayed in an exhibition of Hadid’s work at the David Gill Gallery in London. The web-like design of the yachts’ distinctively-Zaha upper exoskeleton was supposedly informed by fluid dynamics, underwater ecosystems, and the structural systems of marine organisms, while the hull was the result of intense hydrodynamic research. Hadid broke with the traditional horizontal order of yacht design to create a fluid, naturalistic whole which seamlessly connects the ship’s various elements through a dynamic yet cohesive framework. As Hadid explained in a statement, a yacht is “a dynamic object that moves in dynamic environments,” and as such, its design “must incorporate additional parameters beyond those for architecture—which all become much more extreme on water. Each yacht is an engineered platform that integrates specific hydrodynamic and structural demands together with the highest levels of comfort, spatial quality and safety.” Out of the five Unique Circle Yachts, JAZZ is the first of which to be fully specified and detailed by the naval architects at Blohm+Voss. Each of the five yachts will be inimitable products of collaboration, combining the design language of the original prototype, specific technical refinements to address the distinct use of each yacht, and the individual requests of the vessels’ prestigious owners. As Dr. Herbert Aly, CEO and Managing Partner of Blohm+Voss explained in a statement, this formula allows for the creation of unique, exceptional objects of complete design, while offering an adaptable template for future innovation. “On an aesthetic level a superyacht is a great design task as everything is customised down to the last detail,” said Aly. “A superyacht is by definition an exercise in total design, where every detail is looked at with attention and refinement. In the past, in the era of steam liners, there has been an attempt of utilizing ship building elements in architecture. Zaha Hadid and her team have taken this ethos and created a bold new vision and a new benchmark in the design of superyachts.” “The idea of the Unique Circle Yachts allows for variation of a genotype and its phenotypes,” Aly continued, “offering a range of possible solutions based on an cognate platform. As a result Zaha Hadid’s design is malleable to suit the very individual wishes and needs of a potential customer, which lies at the heart of Blohm+Voss’ approach to yacht design. The strength of the design lies not just in its functionality and form, but also its effortless adaptability.”