MAXXI
museum of 21st century arts zaha hadid architects
building analysis project: curt budd & josiah cline
MAXXI
museum of 21st century arts rome, italy zaha hadid architects
building analysis by curt budd & josiah cline arch 341 // fall 2018 // studio toker 0.1 Cover Photo: MAXXI circulation Photo: Zaha Hadid Architects
CONTENTS 01. project summary 02. place 03. form and assemblies 04. perception and performance 05. references and reflection
[01] PROJECT
SUMMARY
PROJECT SUMMARY project team
project information building: Museum of 21st Century Arts location: Rome, Italy
architect: Zaha Hadid Architects structural engineer: Anthony Hunts Associates OK Design Group lights & illumination: Equation Lighting
year of enchantment: 1999
acoustic consultant: Paul Gilleron Acoustic
completed construction: 2009 building area: 27,000 square meters
planning consultant: Abt (Rome, Italy) client: Ministero Beni e Attivita Culturali - Fondazione MAXXI
explanatory diagram
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cast on site concrete acts as the primary structure of the museum
concrete louvers in the roof of the museum help prevent direct sunlight in gallery spaces and aid in distributing diffuse daylight
translucent glazing layered above a system of concrete louvers brings even, diffuse daylight into the gallery spaces bellow
Zaha intersects the new construction of the museum with preexisting military barracks to uphold historical context from the street view on the south side. The use of concrete heightens MAXXI’s connection to its historical context.
**Information from Zaha Hadid Architects and Arch Daily** 8
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1.1 MAXXI gallery space Photo: Iwan Baan; Arch Daily
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architect profile Zaha Hadid was born on October 31, 1950 in Baghdad, Iraq and died on March 31, 2016 in Miami, Florida. Known for her radical deconstructivist designs, she was the first women to be awarded the Pritzker Architecture Prize. After she established her London-based firm in 1979, she gained international recognition in 1983 for the winning design of a leisure and recreational center in Hong Kong. The design incorporated a dynamic diagonal down the hillside site, where here aggressive geometric designs characterized by a sense of fragmentation led her to be grouped with the deconstructivist movement (ZHA). She began to be known as a “paper architect” - one whose designs were to exploratory to move beyond the sketch phase to be buit. Her rendered designs also began appearing in museums as works of art. She solidified her reputation as an architect with the design and construction of the Lois & Richard Rosenthal Center for Contemporary Arts in 2000. This became the first American museum designed by a women. In 2010, with the construction of the imaginative designed MAXXI finally completed, she earned the Royal Institute of British Architects Stirling Prize for the best building completed in the past year. She went on to win another Stirling Prize for her Evelyn Grace Academy design. In the 2012 Olympics, she was selected to design the London Aquatics Center (ZHA). Outside of the architectural realm, she also lectured in architecture at Harvard, Yale, and the University of Chicago. Notably, in 2014 she designed the sets for Los Angeles Philharmonic’s production of Mozart’s Cosi fan tutte. She also won the Japan Art Association’s Praemium Imperiale prize for architecture in 2009 (ZHA). As a whole, she redefined architecture for the 21st century through her broad exploration of material usages such as concrete, steel, and glass. Architects usually are called on to create symbols of social progress and as such, Zaha Hadid regularly created spectacular designs. “Her practice remains one of the world’s most inventive architectural studios - and has been for almost 40 years” (ZHA).
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1.2 Zaha Hadid
Photo: Zaha Hadid Architects
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project description
design process
Zaha Hadid Architects was commissioned by the client to create a space for a new century of Art. Italy, and Rome in particular, has been a pioneering hub of artistic expression for centuries. For this reason, the city features many museums and historical sites that showcase and celebrate the art history of the region. The goal of the client was to complement existing art centers with a museum focused on art, not of the past, but of the present and of the future [arch daily].
On the site, there exist two urban grid-directions. When these two directions become intersecting vectors on the site, an angle of 51 degrees is formed. Curves are then used to smooth the angle and develop a rigorous formalism defined by parallel lines. These lines may undergo any number of operations; they bend, bundle, branch, or intersect. This began the overall layout of building components such as walls, beams, ribs, stairs, and even lighting strips.
Accordingly, Zaha Hadid Architects designed MAXXI, “not as an arena to exhibit art, but as a research ‘hothouse’” [ZHA]. The museum is intended to go beyond the display of art and create an environment that fosters innovation in the disciplines of “design, fashion, cinema, art, and architecture” [ZHA]. Moreover, by interweaving tubular forms, Hadid encourages interaction among programs, creating an interdisciplinary atmosphere.
This formal expression of the museum adopted functionality through the “substance of a museum”. This idea means physical building components themselves could become a potential exhibition space. For example, the walls and floors themselves are opportunities to display art, yet they may not define a contained gallery space. Such design contributes to the spontaneity of the museum. The urban directions that the curves start to smooth together become the opportunity to change the spacing of walls, intersect walls, or even tangential branching of ribs and floors. The walls do not all touch the ground and make different architectural forms such as cantilevers or large “beams.” The one set of walls that are sloped allow for a terracing gallery on the interior. The ribs in the roof plane act as the main support structure of glass panes that allows natural light to filter into the gallery spaces. The staircases themselves take on a flowing nature that mimics that of the rest of the building as everything seemingly flows together into a complex and elegant solution [Schumacher].
The design intents of MAXXI are achieved through a number of different architectural strategies. First, the museum acknowledges the historical context of its site. It physically cuts through existing Roman military barracks and acknowledges the use of stone in vernacular architectural by using concrete as the primary facade material. By recognizing the rich history of the surrounding environment, the highly contrasting winding forms and irregular footprint of MAXXI provide indication that the primary focus of the building is not of the past, but rather, of the future. By Elongating the museum’s footprint into an exaggerated ‘L’ shape, Hadid allows circulation through the building to become a defining experience that provides visuals into a variety of spaces, thus contributing to the interdisciplinary nature of the museum. Finally, the museum’s material expression is dominated by concrete, glass, steel, and white interior finishes. The neutrality of this material selection allows the museum to house a large variety of works without threatening to overshadow the art [ZHA].
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1.3 Maxxi Aerial Photo Photo: Iwan Baan; Arch Daily
1.4 Maxxi Schematic Painting Photo: Iwan Baan; Arch Daily
1.5 Maxxi Schematic Painting Photo: Iwan Baan; Arch Daily
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project representation
1/64” = 1’
massing model
section a-a 14
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1” 80’
A
2
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A
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1. 2. 3. 4. 5.
4
Entrance hall Exhibition suite 2 Exhibition suite 3 Exhibition Suite 4 Auditorium
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1 5
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1” 160’
level one A
Level 2 1 : 750 1
6
Owner
A www.autodesk.com/revit
Project Name
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Unnamed
Project number Project Number Date Issue Date Drawn by Author Checked by Checker Scale
A102 1 : 750
12/9/2018 4:36:02 PM
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1. 2. 3. 4. 5. 6. 7. 8. 9.
Landscaping Entrance hall Reception Temporary exhibition Graphic collection Exhibition suite 1 Auditorium Shop Coffee bar
7 1
3
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8 5
Level 1 1 1 : 750
ground floor
4
1” 160’
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GRAPHIC SUMMARY
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cast on site concrete acts as the primary structure of the museum
concrete louvers in the roof of the museum help prevent direct sunlight in gallery spaces and aid in distributing diffuse daylight
translucent glazing layered above a system of concrete louvers brings even, diffuse daylight into the gallery spaces bellow
Zaha intersects the new construction of the museum with preexisting military barracks to uphold historical context from the street view on the south side. The use of concrete heightens MAXXI’s connection to its historical context.
**Information from Zaha Hadid Architects and Arch Daily**
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[1] louvers Steel trusses encased in cement fiber board create a louver system that gives the impression of large concrete beams weaving through the roof of MAXXI.
[2] galzing
+
A layer of glazing and translucent daylight baffles sits between the deep louvers of the roof.
[3] roof The roof consists of cast on site, reinforced concrete.
[4] shear walls MAXXI’s shear walls were cast on site with reinforced concrete. In addition to providing horizontal and lateral support, they help form the museum’s enclosure.
[5] floor plates The floor plates consists of cast on site concrete and steel rebar reinforcements.
[6] floor plates
[1]
[1]
[2] [2]
shear walls exploded [2]
[1]
[1] glazing
[2] concrete
The majority of the museum’s glazing is located on the roof. A few areas near the entrance feature glazing set into the building’s concrete structure.
The majority of the building envelope is formed by cast on site reinforced concrete. This material makes up both the roof and exterior walls of the museum
shear wall arrangement
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[02] PLACE
ENERGY Imports from Switzerland and France
WASTE
Solar
Rome Grid
SITE
Solid
Waste
Re cy cli
Hydroelectric
Distribution Center Tra s
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Fossil Fuels
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Lake Bracciano
WATER energy Italian Energy is gradually moving towards more sustainable methodologies. It is currently approximately 35% renewable with most of that being hydroelectric, 30% imported from Switzerland and France and the rest coming from Fossil Fuels such as Oil and Natural Gas. Currently Rome is experiences a water shortage as climate change has lessened snow pack and decreased levels in Lake Bracciano by about 5 feet as of 2016. However, Rome still gets the majority of its water (97%) from underground springs (Bruno Cignini). Along with water demands, Italy as a whole is suffering from waste disposal issues. Currently the EU is debating whether to impose sanctions on Italy for not disposing of its waste properly. Approximately 700,000 tons of household waste is sent to Austria to be disposed of. To make matters worse, one of Romes largest waste disposal centers burned to the ground on December 11th, 2018 which has the Roman government beleaguered in trying to resolve the waste situation.
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AMA Centers
ng
Sewage
Waste Treatment Plant
Springs
Austria
2.1 Aerial view of Urban Context Surrounding MAXXI Photo: Google
context
0’
50’
100’
200’
The MAXXI is situated in the urban context of Rome, Italy. It is north and slightly west of the Roman Downtown and is situated along the axis running from the Olympic Stadium. The two roads to the north, Via Luigi Pole and Via Misaccio, intersect to generate the overall formality of the building
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climate analysis and response climate analysis:
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Rome’s climate can be defined as hot and humid. In summer months, high temperatures average around 90 degrees, while in the winter the average high drops to around 55 degrees. On a monthly basis, 10% of hours fall within the human comfort zone, while 20% of hours are overheated and 61% fall bellow the human comfort zone. The prevailing winds come from the northeast and blow into the public plaza on the north side of the museum [Climate Consultant: Rome-Richard B Russell AP 723200 (TMY3)].
architectural response: Maxxi’s climatic response is closely related the daylighting needs of its gallery spaces. Its concrete shear wall structures, which make up the majority of the building envelope, act as one large thermal mass. This has the effect of keeping occupants cool on hot summer days, and with the help of a layer of rigid insulation on the interior, warm during mild winters. Minimal apertures in the vertical walls of MAXXI prevent harsh glare, while even, diffuse daylight fills interior spaces through skylights and baffles in the roof. These baffles protect the occupants from direct sunlight and solar gain during long hours of solar exposure in the summer. Finally, the few instances of vertical glazing are oriented toward the north east and are located around the museum’s entry. This orientation helps minimize unwanted solar gains [MAXXI].
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n 30°
100%
80%
30°
10°
60% .028
20° 30°
60°
june 21
50°
july 21
.020
6 a.m.
aug. 21
70°
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7 a.m.
80°
4 p.m. 2 p.m.
1 p.m.
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70 .016
8 a.m.
90°
3 p.m.
11 a.m.
10 a.m.
w
9 a.m.
sept. 21
60
.012
oct. 21
50
nov. 21
.008
dec. 21
60°
60°
humidity ratio
60° 6 p.m. 5 p.m.
.024
80
40°
60°
40 30
.004
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30°
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N er
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site access prevailing winds sun paths adjacent roads public space
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[03] FORM +
ASSEMBLIES
PROGRAM program description Zaha Hadid Architects approached the program of MAXXI in a manner that can be summarized as ‘interdisciplinary’, a descriptor utilized by the architect herself. The winding geometries of the building create a variety of different spaces, both interior and exterior, as the collection of tubes move in and out of one another. The geometric complexity of the building’s mass, coupled with meandering circulatory paths, result in a dynamic space that offers ample opportunity for interaction between art and artists of different disciplines [ZHA].
3.1 Performance / gallery space Photo: Iwan Baan; Arch Daily
3.3 Informal performance / gallery space Photo: Iwan Baan; Arch Daily
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3.2 Gallery space
Photo: Iwan Baan; Arch Daily
program diagram
entrance hall reception graphic collection exhibition suites auditorium coffee bar circulation
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STRUCTURE structure description “The structure also included large gaps [that] had to be filled with reinforced steel bars with a density higher than 300kg/m3. The formwork was made in Germany, modular panels of 9 meters long and 2.4 high which were assembled at the site and were linked using lasers to ensure the flat surfaces during the curing time.” To further the structural stability in these areas, a liquid mixture consisting of selfcompacting concrete, a fine aggregate of limestone powder and an additive in epoxy resin, was dumped in, which was then allowed to settle uniformly by the force of gravity. “While the concrete was poured, the form-work panels were controlled to check the protuberances in nanometers. Finally, as the pouring of concrete has to dry slowly and evenly, without risk of overheating, construction teams had to take into account the outside temperature did not exceed 25° C; which in the Mediterranean climate of Rome these conditions are present only from November to April,” (Carone Blanco) which dictated a strong construction schedule based off of climate.
3.4 Form-work construction process Photo: Construction Manager Magazine
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3.5 Construction photo
Photo: Construction Manager Magazine
structure diagram
shear walls exploded
shear wall arrangement
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BUILDING ASSEMBLY assembly description On a holistic scale, the assembly of MAXXI is fairly simple. The museum consists of three distinct elements; cement fiber board encased steel louvers, skylights and glazing, and reinforced concrete tubes. the general massing of the building is defined by twisting, winding, intersecting concrete tubes. The tubes were cast on site and are the primary vertical and lateral load resisting structures. Due to the long spans and cantilevers of the tubes, the steel reinforcement within the concrete is much denser than in typical concrete construction. It is these tubular forms that have the biggest impact on the experience of MAXXI. They create meandering circulatory experience in which occupants navigate through a diverse range of spaces that vary in height and level of enclosure, among other things [CMM]. From this concrete mass of the building, additional elements contribute to the overall formal expression, performance, and experience. Notable among these additional elements is the system of skylights louver, and baffles, inset in the roof of the museum. The louvers are composed of slender steel trusses encased in CFB, thus giving the impression of concrete. They wind along with the tubular masses accentuating the sprawling form of the museum. The skylights and baffles draw diffuse daylight that compliments gallery and performance spaces, keeping direct sunlight and undesirable solar gains out [CMM / ZHA].
3.6 Louver construction
Photo: Construction Manager Magazine
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3.7 West end construction
Photo: Construction Manager Magazine
assembly diagram [1] louvers Steel trusses encased in cement fiber board create a louver system that gives the impression of large concrete beams weaving through the roof of MAXXI.
[2] galzing + baffles A layer of glazing and translucent daylight baffles sits between the deep louvers of the roof.
[3] roof The roof consists of cast on site, reinforced concrete.
[4] shear walls MAXXI’s shear walls were cast on site with reinforced concrete. In addition to providing horizontal and lateral support, they help form the museum’s enclosure.
[5] floor plates The floor plates consists of cast on site concrete and steel rebar reinforcements.
[6] floor plates
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BUILDING ENVELOPE envelope description The building envelope of MAXXI is relatively simple. It consists of two primary materials; glass and reinforced concrete. The concrete walls of the museum fulfill many purposes, acting as both vertical and lateral load resistors, the primary exterior finish, and a critical component of the building’s enclosure. As a museum, MAXXI has little need for focus and task lighting. Rather, it requires large amounts of even, diffuse daylight to provide optimal lighting for its gallery and performance spaces. The sprawling footprint of the museum and extensive quantities of glazing and light baffles in the roof help to meet this need. Because the museum’s daylighting needs are fulfilled by these skylights, there is little need for apertures in the vertical portions of the building envelope. The few ares of vertical glazing can be found on the north east side of the museum at the primary entrance. Thus, the building envelope is dominated by skylights and concrete, creating an excellent environment for the display of art [CMM].
3.8 Maxxi Entry
Photo: Iwan Baan; Arch Daily
The daylighting requirements of the building enclosure create an building envelope that also performs well from a thermal standpoint. The building is essential a large thermal mass which keeps occupants cool during the hot and humid roman summers. Moreover, the majority of glazing (skylights in the roof) is coupled with translucent baffles that prevent direct sunlight from entering the museum and causing unwanted solar gains. In the winter a layer of rigid insulation between the concrete and interior finish (generally white gypsum wallboard) kelps the building to retain heat [CMM].
3.9 Maxxi louvers Photo: Roland Halbe
3.91 Maxxi diffuse light Photo: Roland Halbe
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envelope diagram
[1]
[1]
[2] [2]
[2] [1]
[1] glazing
[2] concrete
The majority of the museum’s glazing is located on the roof. A few areas near the entrance feature glazing set into the building’s concrete structure.
The majority of the building envelope is formed by cast on site reinforced concrete. This material makes up both the roof and exterior walls of the museum
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[04] PERCEPTION +
PERFORMANCE
ENERGY + DAYLIGHTING energy + daylighting description The contemporary target for a museum is an EUI of 20. However, the MAXXI uses artificial lighting to help generate and differentiate spaces inside. Because of this, the lighting load drastically increases the amount of energy needed per year to sufficiently light the space. As with most museums, people will generate much heat and thus equipment is needed to sufficiently cool the space which also significantly increases the overall energy usage of the building.
Energy Use Data
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Energy Model
Daylight Model
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THERMAL + VENTILATION thermal + ventilation description In the MAXXI, the “concrete construction gives great air-tightness and the building housing a high efficiency heat recovery air-handling system and efficient condensing boilers. The air handling plant for the displacement air conditioning system is placed close to the galleries to minimize the amount of major horizontal duct work needed” (CMM). Additionally, each gallery uses an external fixed shading system in the form of concrete sheathed steel ribs that allow for shading of southern light. To control other light, the building incorporates “adjustable external active louvers and internal roller blinds to minimize radiant energy and limit lighting to 50 to 200 lux” (CMM). In order to minimize the amount of incoming fresh air that needs to be heated, CO2 censors were installed to monitor toxicity levels and adjust intakes accordingly. Unfortunately information regarding the mechanical systems utilized by MAXXI is not widely available and it was not possible to gather enough information to create a visual of spatial layout of this system. Provided is a diagrammatic exploration of few of MAXXI’s passive strategies and how they relate to building performance and experience.
[1] sunlight [2] skylight glazing [3] louvers [4] baffles [5] diffuse daylight
envelope detail
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[6] continuous insulation [7] mechanical cavity
thermal performance section
sun light diffuse daylight
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CIRCULATION + EGRESS circulation + egress description By Elongating the museum’s footprint into an exaggerated ‘L’ shape, Hadid allows circulation through the building to become a defining experience [ZHA]. Stairs wind their way through open voids meandering through the cluster of tubular structures. The spatial development of circulation in this manner provides visuals into a variety of spaces, thus contributing to the interdisciplinary nature of the museum. Circulation aids in bluing boundaries between programs, thus contributing to the notion of the museum as a space for interaction and innovation among multiple design disciplines.
4.1 Maxxi circulation and informal performance space Photo: Iwan Baan; Arch Daily
4.2 Maxxi circulation
Photo: Iwan Baan; Arch Daily
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4.3 Maxxi circulation
Photo: Iwan Baan; Arch Daily
circulation + egress diagram
egress stair communication stair massing
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[05] REFERENCES
NOTES Bruno Cignini, Santo Ceravolo, Cesare Salvatore Onniboni. “Relazione sullo Stato dell’Ambiente: Il sistema delle acque”. Roma Capitale. Dipartimento Tutela ambientale e del Verde - Protezione Civile. p. 25. Carone Blanco, Guillermo L. “MAXXI: National Museum of XXI Century Arts in Rome.” https://en.wikiarquitectura.com/building/ maxxi-national-museum-of-xxi-century-arts-in-rome/. CMM. “MAXXI Museum of the 21st Century.” http://www.constructionmanagermagazine.com/client_media/pdfcontent/MAXXI. pdf. “MAXXI Museum / Zaha Hadid Architects.” Arch Daily . Accessed December 12, 2018. https://www.archdaily.com/43822/ maxxi-museum-zaha-hadid-architects. Architects, Zaha Hadid. “Zaha Hadids MAXXI.” Buildipedia. Published December 13, 2010. http://buildipedia.com/aec-pros/featured-architecture/zaha-hadids-maxxi-national-museum-of-xxi-centuryarts. Schumacher, Patrik. “The Meaning of MAXXI – Concepts, Ambitions, Achievements.” https://www.patrikschumacher.com/Texts/The%20Meaning%20of%20MAXXI.html. Zaha Hadid Architects . “MAXXI: Museum of XXI Century Arts.” Accessed December 13, 2018. http://www.zaha-hadid.com/architecture/ maxxi/.
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BIBLIOGRAPHY “MAXXI Museum / Zaha Hadid Architects” 16 Dec 2009. ArchDaily. <https://www.archdaily.com/43822/maxxi-museum-zaha-hadid-architects/> ISSN 0719-8884 Zaha Hadid Architects . “MAXXI: Museum of XXI Century Arts.” Accessed December 13, 2018. http://www.zaha-hadid.com/architecture/ maxxi/.
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IMAGE CREDITS images: 0.1; 1.2 Zaha Hadid Architects . “MAXXI: Museum of XXI Century Arts.” Accessed December 13, 2018. http://www.zaha-hadid.com/architecture/ maxxi/. images: 3.4; 3.5; 3.6; 3.7 CMM. “MAXXI Museum of the 21st Century.” http://www.constructionmanagermagazine.com/client_media/pdfcontent/MAXXI.pdf.
images: 2.1 Google . “MAXXI National Museum of XXI Century Arts.” Accessed December 12, 2018. https://www.google.com/ maps/place/MAXXI+National+Museum+of+XXI+Century+Arts/@41.9280264,12.4658741,53a,35y,11.22h,51.11t/ data=!3m1!1e3!4m5!3m4!1s0x132f60e9c2dc3f8d:0xac80daa2019abd6c!8m2!3d41.9283403!4d12.4668311maps/ place/MAXXI+National+Museum+of+XXI+Century+Arts/@41.9280264,12.4658741,53a,35y,11.22h,51.11t/ data=!3m1!1e3!4m5!3m4!1s0x132f60e9c2dc3f8d:0xac80daa2019abd6c!8m2!3d41.9283403!.
images: 1.1; 1.3 - 1.5; 3.1 - 3.3; 3.8; 4.1 - 4.3 Baan, Iwan. “MAXXI Museum / Zaha Hadid Architects.” Arch Daily . Accessed December 12, 2018. https://www.archdaily.com/43822/ maxxi-museum-zaha-hadid-architects.
images: 3.9-3.91; 5.1 [back cover] Halbe, Roland. “Zaha Hadid’s MAXXI - National Museum of XXI Century Arts.” Buildipedia. Accessed December 12, 2018. http:// buildipedia.com/aec-pros/featured-architecture/zaha-hadids-maxxi-national-museum-of-xxi-century-arts.
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