zaha hadid by Arch Lenda S Ba'rah

Contemporary Islamic Architecture

Zaha Hadid British-Iraqi architect 31 October 1950 – 31 March 2016

Prepared by : Lenda Samer Mohammad Najeh B'arah Master student at An- Najah university - Faculty of Architecture Supervised by: Dr. Haithem Ratrout Assistant Professor at An- Najah university - Faculty of Architecture

2022-2023

Zaha Hadid British-Iraqi architect 31 October 1950 – 31 March 2016

Case Study 1

2.2

Case Study 2

University - Beirut, Lebanon Name: Issam Fares Institute for Public Policy & International Affairs. Architects: Zaha Hadid Architects. Area : 3000 m². Year : 2006- 2014.

Issam Fares Institute at the American University melds local traditions with innovative geometries, creating an architectural manifestation of the Institute’s ideals of opportunity, pluralism, creativity and tolerance. This building asserts confidently that we are not a university that stays rooted in time and place; rather we challenge conventional thinking and actively promote change and new ideas.

Type: Academic, American University of Beirut. Status: Completed. Users: local Construction System: Concrete. Purpose: advance the university’s academic mission in the 21st Century with international facilities.

Design Concept :

A new building, radical in composition but respectful of its traditional context, “floats” above an exterior courtyard.

The Issam Fares Institute occupies a special position in the oeuvre of the late Pritzker Prize-winning architect Zaha Hadid. The American University of Beirut (AUB) held an invited competition for the design of a structure to accommodate a modern-day think tank on its lush middle campus, one that was in harmony with the rest of the university, especially mindful of the surrounding greenery, and to preserve, as far as possible, existing sightlines to the Mediterranean.

Evolution of design concepts : - Response to physical constraints - Response to user requirements - Purely formal aspects - Landscaping trees that were present on the site (150 years) hold historic importance, all of them were preserved. the architect keep the vista facing the Mediterranean open to views . building represents itself in a very dynamic way, cantilevering a big part of the structure over the courtyard . building’s design kept the height of the building in line with the adjacent trees. System of ramps within its site, enabling a connection with the upper and middle campus for pedestrians and wheelchair users.

3.2

Site Analysis Lebanon

Beirut

Beirut , AUB

Beirut, the capital city of Lebanon, is located in the central part of the country facing the Mediterranean Sea. The AUB campus, situated in the Ras Beirut area, borders the Mediterranean and the Corniche on the northern side and the Bliss Street and Hamra neighborhood on its southern side.

Local architectural character : The architecture found in Lebanon dates back to Phoenician times. Houses and temples were built with stone, roofs were made of large rock segments. stone walls were covered with mud/plaster and painted on the exterior or decorated with ornamental plaster on the interior. With the introduction of concrete in the 1920s architectural building techniques in Lebanon were revolutionized. architects adopted almost exclusively the use of reinforced concrete for the structure of the buildings, and introduced fair-faced concrete elements for the buildings’ envelopes, the interior and exterior walls, and their finishes. During post-modernism in the 1980s and to date, the structure of buildings is still mostly of reinforced concrete. Walls are commonly made of concrete masonry units with painted cement plaster and cladding. Contemporary projects are adopting, more and more, glass curtain envelopes following design trends around the world, but are still loyal to the concrete structure and core elements in all types of constructions. The AUB campus itself is rich in buildings representing different architectural influences and developments covering three centuries from the end of the 19th century up to the present, thus creating a layer of architectural history that best tells the story of the development of architecture not only for the campus but for the city as well.

Site and surroundings : The AUB campus is located in the Ras Beirut area and neighbors the famous commercial district of Hamra. The Hamra district is characterized by a mix of commercial and residential midand high-rise buildings. The Issam Fares building itself is located in the upper (historic) part of the campus overlooking the Mediterranean Sea on one side and the historic Green Oval on the other.

The Spaces surrounding the Issam fares

AUB -Issam Fares

A new building for the American University of Beirut’s campus, radical in composition but respectful of its traditional context.

AUB - Beirut

This educational building solves a dense program within a surprisingly small footprint in a manner that is sensitive to its context. With its contemporary form and the purity of its architectural language the building differentiates itself from its neighbor's, though it is not in conflict with the campus and its architecture.

AUB site plan

Plans & Spaces 4.2 Issam Fares Institute (IFI) The IFI has a combined floor area of 3’000 square meters. A maximum height of 22 meters and is divided into 6 floors with a spatial program consisting of: research and administration offices seminar and workshop rooms conference room/auditorium reading room recreational lounge roof terrace. East and west entrances are strategically situated at the nexus of several primary circulation paths, one leading directly from the east, the other gently cutting through the main atrium hall to the west and consequently blurring the line between building and landscape. On the western side of the site, sloping ramp and stairs provide new outdoor spaces for AUB students to relax.

First Floor LEGEND 1. Researcher's Office 2. Seminar Room 3. Lobby 4. Toile1s 5. Electrical Room 6. Lift 7. Stairs 8. Hard_scape 9. Soft-soape

Basement I Auditorium floor LEGEND 1. Auditorium Lounge 2. Auditorium 3. Breakout Room 4. Translation Room 5. Projection Room 6. Control Room 7. Storage Room 8. Server Room 9. Lobby 10. Mechanical Room 11. Toilets 12. Janitor Room 13. Electrical Room 14. Lift 15. Stairs

Second Floor LEGEND 1. IFI Director's Office 2. IFI Direct or Assistants Office 3. Researcher's Office 4. Researcher's lounge 5. Utilities Room 6. lobby 7. Stairs 8. lift 9. Electric Room 1 0. Toilels 1 1. Main Access Ramp 1 2. Void

Third Floor LEGEND 1. Researcher's Office 2. Seminar Rooms 3. Lobby 4. Kitchenette 5. Toilets 6. Electrical Room 7. Stairs 8. Lift

Fifth Floor LEGEND 11. Reading Room 2. Intern's Office 3. Lobby 4. Roof Terrace 5. Toilets 6. Void To Below 7. Storage Room and Access to Roof 8. Electric Room 9. Lift 10. Stairs

Fourth Floor LEGEND 1. Researcher's Office 2. Workshop Lounge 3. Lobby 4. Kitchen 5. Researcher's Assistants Office 6. workshop Conference Room 7. Breakout Room 8. Translation Room 9. SmartZone 10. Server Room 11. Toilets 12. Electric Room 13. Lift 14. Stairs

Roof Plan LEGEND 1. Roof Terrace 2. Accessible Roof 3. Skylight Glass Cover

5.2 Interior Auditorium , plans , details , section Some of the larger items of furniture such as the big table in the conference room, were designed by the architect and, due of their size, built on site.

One of the main aims of the architect with the division of space by glass walls was to create this transparency of space throughout the interiors. Initially, the glass was supposed to be fully transparent but in later stages of consultations with the AUB, the glass was partially pigmented. The lounge space, the lobby and the terrace promote an even greater interaction between the users, especially during the morning hours of meetings and during lunch hours.

The Auditorium and its related amenities are located underground creating a comfortable and quiet academic space.

Auditorium The 100-seat auditorium is on the lowest level with its own entrance .

enabling the institute to host larger conferences and presentations . Internal partitions arein ink-pigmented glass to enable communication and interaction. Internal partitions are in glass to enable interaction.

Internal partitions are in glass to enable interaction.

ISSAM FARES INSTITUTE Basement I Auditorium floor

6.2 Exterior A new building, radical in composition but respectful of its traditional context, “floats” above an exterior courtyard. The American University of Beirut (AUB) held an invited competition for the design of a structure to accommodate a modern-day think tank on its lush middle campus, one that was in harmony with the rest of the university, especially mindful of the surrounding greenery, and to preserve, as far as possible, existing sightlines to the Mediterranean. The building had to fit into another stage in the implementation of a master plan for AUB, whose upper campus overlooks the water, and whose lower campus is located on the seafront.

Exterior Access : The IFI is accessible via 2 main public entrances : the west, which gently ramps up to the second floor from ground level, to reach the directors office, administration and researcher lounges; the east, which leads to conference, workshop, break out rooms and lounges on the first floor. Third and fourth floors contain offices and seminar rooms, with the fifth floor devoted entirely to a reading room. Above these ‘working’ spaces, a roof terrace provides respite and views across the surrounding city.

7.2 Exterior

Elevations

Angular concrete façade

employs fair-faced concrete façades, emblematic of 20th-century Lebanese construction culture.

North West Elevation

South Elevation

South West Elevation

Detail of concrete façade with trapezoidal windows

North East Elevation

Structure, materials, technology Building Envelope : The building currently employs thick exterior walls of 250mm of concrete with minimal to no insulation because the thermal mass (concrete) is effective in balancing the thermal conditions of the building. The IFI building is built uses high-quality in-situ reinforced concrete. The total surface of the fair-faced concrete in the building is 6,000 m2, the amount of the concrete cast in-situ was 4,200 m3, and 800 kg of steel were used for the structure. Although the construction technology of producing in-situ fair-faced concrete is not new in Lebanon, credit should be given to the local builders and technicians for the high-quality finishing. The building’s distribution of services and utilities space is planned in such a way that they are very easily accessible and convenient to maintain.

in-situ fair-faced concrete

8.2

Glass & Lighting : Lighting :

Window & Glass : The thick, concrete façade doubles as a shading device for the recessed windows, which are double-pane, low-e, clear glass with aluminum framing. This architectural shading design blocks the direct solar radiation frame the summer sun and allows some of the direct solar radiation the winter sun to penetrate the space, aiding the thermal mass.

- Natural Light - Artificial Light The windows throughout the building spaces provide sufficient Natural light during the whole day, while the Artificial Lighting By Using all light fixtures LED .

Considering the climate in Beirut, we need a glass with high SHGC value. (SHGC) = Solar Heat Gain Coefficient

Aluminum Framing Double-Pane Low-e Clear Glass (Air Fill) No Silk Screen

One of the main aims of the architect with the division of space by glass walls was to create this transparency of space throughout the interiors.

Initially, the glass was supposed to be fully transparent but in later stages of consultations with the AUB, the glass was partially pigmented.

Sections :

ISSAM FARES INSTITUTE IFI - Cross Section

ISSAM FARES INSTITUTE IFI - Cross Section 1. ReadingRoom 2. lntern's Office 3. Roof Terrace 4. SmartZone 5. Breakout Room 6. Translation Room 7. Researcher's Office

8. Seminar Room 9. External Covered Area 10. Auditorium Main Entrance 11. Lobby 12. Void to Below 13. Auditorium 14. Projection Room

1. Reading Room 2. Workshop Conference Room 3. Seminar Room 4. Fellow & Researcher's Lounge 5. Auditorium 6. Researcher's Office 7. Storage Room

8. Breakout Room 9. Server Room 10. Building Main Stairs 11. Ventilation Cavity 1 2. Lobby 13. Toilets

9.2 Response to, and planning for, emergency situations The building complies with the local applicable codes for earthquake protection. complies with the local and international fire protection codes such as the US NFPA (National Fire Protection Association) codes, and with local and international EMP codes such as the US NEC (National Electrical Code). The building has a fire-protection system distributed throughout the building, with water sprinklers covering all the interior spaces, and wide stairs separated from the lobby by fire-protective doors. In case of fire or other emergencies, the building can be approached very easily; there is a vehicle road on the northern side separating the building plot from the middle campus.

2016 Aga Khan Award for Architecture Winners Jury comments: “The building makes a courageous – and at the same time fully respectful – contribution to the multilayered physical environment of this historic and rooted university campus. With its simple, exposed concrete surface and strong volumetric presence, it is an elegant yet unique solution to a complex and special context.”

Summary With its monumental form, swept diagonal lines and elevated concrete walkways, the Issam Fares Institute building at the American University of Beirut by Zaha Hadid Architects emphasizes movement, evoking the speed of contemporary life as it presides over a connecting system of pedestrian walkways. Begun in 2006 and completed in 2014, Hadid’s award-winning concrete and glass building makes a bold statement with its prominent 21-meter, two-story-tall cantilever, which creates a covered courtyard and reduces the footprint of the building to avoid blocking circulation routes.

3.3

Case Study 3

Fire Station , Weil am Rhein, Germany Name: Vitra Fire Station. Architects: Zaha Hadid Architects. Area : 852m². Year : 1991 / 1993.

Zaha Hadid’s first realized project: A manifestation of the DE-constructivism language explored through her paintings, establishing a relationship between form and space. The structure consists of sequential formal manipulations that conceive a cinematic experience of space through the contraction and expansion of physical and visual spatial boundaries. This in turn creates distinct spatial characteristics respective to an individual's position within space.”

Client: Vitra International AG . Status: Built. Category: Fire Station , Type Infrastructure . Style: De-constructivism is a movement belonging to contemporary architecture, and was developed to oppose the ordered rationality of modernism.

Design Concept : Hadid invited to design a small fire station for the factory. Her radical design, made of raw concrete and glass, was a sculptural work composed of sharp diagonal forms colliding together in the centre. These are the concepts, in the words of the study itself, used to develop the building: “We started our project with a total study site that is implanted in the factory. Our intention was to deploy elements of the project so that would not be lost among the huge sheds of the ships that make up the factory. We also use these elements to structure the entire site, giving identity and rhythm to the main street that runs through the complex. ” It was conceived as a longitudinal garden, as if it were the artificial extension of the linear patterns of the adjacent farmland and vineyards.

This street – which stretches from the chair museum to the other end of the factory site, where the fire station is now located, was envisaged as a linear landscaped zone, almost as if it were the artificial extension of the linear patterns of the adjacent agricultural fields and vineyards. Thus, rather than designing the building as an isolated object, it was developed as the outer edge of the landscaped zone: defining space rather than occupying space. This was achieved by stretching the programme into a long, narrow building alongside the street which marks the edge of the factory site, and which also functions as a screening device against the bordering buildings.

4.3

Site Analysis Weil am Rhein, Germany

Germany

Local architectural character :

Germany is a Western European country with a landscape of forests, rivers, mountain ranges and North Sea beaches.

To define German architectural identity is not an easy task. when you follow the development of German architecture through history you will get a very diverse picture. This is caused by differences in climate, politics, religion or mentality. The main city center is dominated by closed blocks and solid facades. The general attitude of the facades cladded with stones. These facades followed a classical image, avoiding large glass structures. Germany also produced strong and influential ideas like the “Bauhaus”. The quality of contemporary German architecture is concealed in it details, its fusion of craftsmanship and architectural design. It respects individuality, the human scale and history. The Industrial Revolution produced the need for new types of buildings like train stations new infrastructure and factories.

Weil am Rhein is a German town and commune. It is on the east bank of the River Rhine.

Vitra Campus is a complex comprising factories, showrooms, and Museum. Since the original factory’s destruction by a fire in 1981, Hadid was initially tasked only to design the fire station itself. The Fire Station was built in order to protect all Vitra buildings after a fire .

The Vitra Campus

5.3 Plans & Spaces

6.3

Interior

Static Walls mark the interior

Lockers for firemen serve as a partition between spaces.

Elements of the building seem to be converging into a focal Point.

Zaha Hadid designed the building with the concept of angles and the combination of polygons and triangles. The relatively small structure is long but narrow, so internal space relies on a range of techniques to increase the sense of space in the building. Glass wall sections and transparency which results in a greater visual space. The interior space uses a more monochrome theme with the use of polished aluminum planes to create a combination of matte and gloss textures with the reinforced concrete .

7.3 Exterior Access :

The fire station was understood to be the linkage that would define the edge between the surrounding landscape and the artificiality of the campus. By implementing a narrow profile to the building, it can be perceived as an extension, or extrusion, of the landscape that conceptually runs through the building.

Exterior

The design with it's sharp edges formed by the reinforced creates a wall of the exterior space due to it's length and style. The furniture in the exterior is also made of concrete and uses angles and polygons to create its overall form. The design overall is geometric, playing with angles and transparency to create a greater visual space and natural lighting. The exterior is also impacted by this transparency as the structure being narrow, the viewer will be seeing the small space of the interior due to the location of the windows. This therefore shrouds the realization that the building is narrow, which then makes the external space feel larger.

8.3 Structure, materials, technology Structure Blades or wedges are concrete walls and roof pitch in new directions give a strong sense of the dynamism of this reinforced concrete structure was created based on walls, in spaces arise. MATERIALS AND FINISHES -Reinforced concrete (concrete in situ) with a white dye creating a matte finish.(avoiding any added that distort the simplicity of its prismatic form and the abstract quality of the architectural concept, paying particular attention to the sharpness of the edges). - Glass. - Polished aluminum planes which create a gloss finish. The lack of detail was also applied on the inside, rough opening frames, guard rails or lighting design, maintaining a consistent language that gives meaning to the whole.

Glass & Lighting : Window & Glass :

Northwestern Façade

Southeastern Façade

Limited Reaction Daylight

interior

THE LIVING QUJARTERS OF THE ORIGINAL FIRE STATION, LARGE WINDOWS FACING TO THE WEST BRING IN EVENING DAYLIGHT. BUT ONLY DURING SUMMER MONTHS

9.3 Response to, and planning for, emergency situations Zaha Hadid's Vitra Fire Station is "ready to explode into action at any moment" The station's dynamic form was the built, dynamic forms "exploding into little pieces" with a sense of movement that would become characteristic of the DE-constructivist style. The unusually narrow, sloping spaces created where these planes crash together are intended to create a sense of "tension", anticipating the sudden rush of activity that could occur at any time should the station's alarm ring. "This building is 'movement frozen' – a vivid, lucid expression of the tensions necessary to remain 'alert', to explode into action as required," said Zaha Hadid Architects.

Summary This project demonstrates her technique of mixing polygons with triangular structures, getting a sense of movement characteristic of her designs. a linear layered series of walls. The whole building is movement, frozen, expressing the tension of being alert. The resulting impression is that of “frozen movement.” It is a fitting architectural mood for a fire station, which must remain on constant alert; the design reflects that tension, as well as the potential to burst into action at any given moment. With as much effort as Hadid put in to represent the nature of a fire station, it is ironic that her design saw no real service in that role – instead, it is now used an exhibition and special event space.

4 Comparison After studying Zaha Hadid's biography & famous building , the next is to compare between cases about some point like : Contextual Information : - Respecting historical background. - Vistas (Local architectural character). - Typologies/Climatic conditions. - Site and surroundings. - Topography. Technical Assessment : - Functional assessment. - Climatic performance. - Response to treatment of water and rainfall. - Choice of materials, level of technology. - Response to, and planning for, emergency situations. - Ageing and maintenance problems. - Impact of the project on the site. - Durability and long-time viability of the project. - Interior design and furnishing.

Users : - Description of those who use or benefit from the project. - Response to project by clients, users, community, etc.

Description : - Building data. - Evolution of design concepts. * Response to physical constraints. * Response to user requirements. * Purely formal aspects. * Landscaping. - Structure, materials, technology. - Origin of. * Materials. * Labour force. - Integrity and authenticity. - Symbolism. - Deep Structure . - Regionalism ( International , localized ) - does it express cultural roots ? - Aspiration - The sacred & the Banal - transfer image or transformation ?

Contextual Information Point of : Respecting historical background.

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

a piece of architecture devoid of respectful of its traditional context Respects its surrounding context context

Vistas (Local architectural character).

breaks the rigid and monumental soviet architecture that is so prevalent.

layer of architectural history that tells story of the development of architecture

New Architectural character

Typologies/Climatic conditions.

semi-arid climate with warm, dry summers and cool winters

a typical coastal Mediterranean climate

mild, and generally warm

Site and surroundings.

residential, offices, hotel

residential, Commercial , touristic

factories, showrooms, Museum

Topography

plummeting ground with slope

on a hill overlooking the Mediterranean Sea

at end of the street (flat site)

Description Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Building data

Total site area 111’292 m2 Total floor area 101’801 m2

Total site area 7’000 m2 Total floor area 3’000 m2

Built-up Area 852 m2

Evolution of design concepts - Response to physical constraints.

no physical constrains

responded very intelligently -trees , vista

Responded by total study site (narrow, longitudinal Design)

Response to user requirements

Response

Purely formal aspects

establishes a continuous, fluid relationship between surrounding plaza , interior

The building represents itself in a very dynamic way

the resulted building in a long, narrow structure

Landscaping

no Landscape before

integration of the landscape with the building’s design

no Landscape before

Structure, materials, technology

Glass Fibre Reinforced Concrete (GFRC) Polyester (GFRP)

in-situ reinforced concrete

Integrity and authenticity

“True authenticity resides in the balance between tradition and ever-evolving innovation

Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Origin of/Material

imported

local, imported

local

Labour force

local

local and Syrian

local

Symbolism

symbolise the future aspects of Azerbaijan (overcoming obstacles)

symbolise local traditions with innovative geometries

symbolise the earliest attempt to translate Hadid’s fantastical, powerful conceptual drawings into a functional architectural space.

Deep Structure

yes

Regionalism ( International , localized )

international

local

does it express cultural roots ?

yes

Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Aspiration

express the sensibilities of Azeri culture and aspirations of a confident, new nation

The expression of culture

the artist Kazimir Malevich

The sacred & the Banal

......

.....

transfer or transformation ?

transform, re-invent

transfer

transform, re-invent

Technical Assessment Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Functional assessment

multi-functional performance

very functional and well-utilised

functional architectural space(requirements)

naturally ventilated

The mild weather in Beirut allows for the building to be naturally ventilated

naturally ventilated

Climatic performance

Response to treatment of water and rainfall

The water collected from the roof The water collected from the roof and terrace is used to water the and terrace is used to water the surrounding landscape surrounding landscape

no treatment

Choice of materials, level of technology

well-suited material

Response to, and planning for, emergency situations

earthquake protection, Fire protection

Fire protection

Ageing and maintenance problems

no notable problem

Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Impact of the project on the site

very visible, in regard to its physical or functional presence

not visible

established itself as one of the most important think tanks of public policy and international affairs

No Durability and long-time viability of the project

Durability and long-time One of the most beautiful building viability of the project of the world! Interior design and furnishing

Sourced

Users Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Description of those who use or benefit from the project

local &international

local

Response to project by clients, users, community, etc

Response

no Response

Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

pattern of form

Topographic form

Suprematist

Design Techniqe

Iconicity

Landscaping the Surrounding Context Seamlessness and Fluidity Reflecting the Form of the Project in the Space's Interior Design Abstraction and fragmentation The seamless exclusive style of the building comes from its formal design by curves and reflecting the site topography. also using this variety of innovative design techniques.The roof was used to form the building's walls, ceilings, and stairs resulting it being one of the worlds most complex structures ever.

Abstraction and fragmentation Connectivity inside & outside Ideas of Gravity and Ground Play of light

Abstraction and fragmentation Layering Play of light Reflecting the Form of the Project in the Space's Interior Design

The building represents itself in a The building in its entirety signifies very dynamic way, cantilevering a frozen movement, it expresses the big part of the structure over the tension of constant alertness and courtyard and overlooking the old ability to spring to action upon Cypress and Ficus trees. moment's notice.

Point of :

Case 1 Heydar Aliyev Centre

Case 2 Issam Fares Institute

Case 3 Vitra Fire Station

Awards

Architizer A + Award Design of the year 2014

Aga Khan Award for Architecture (AKAA) for 2016

The project that made Hadid famous

Massing

Zaha attempt to play with one mass With its monumental form, swept A mixture of rectangular concrete which diagonal lines and elevated planes is the ground an applying the concrete walkways, emphasizes that tilt, bend, and breaks as topography movement, evoking the speed of specified by pattern principles so as to come out contemporary life as it presides the abstract forces linking with over a connecting system of architecture and such flowing mass. pedestrian walkways. landscape.

Balance & symmetry

Asymmetrical balance

symmetrical balance

Asymmetrical balance

Relationship between plans & sections

Analogue relationship

equal relationship

Geometry

Quadric surfaces including: • Hyperbolic • Elliptic

Quadric surfaces including: • Euclidean

Sharp angle triangular shapes with polygonal shapes

Results & Conclusion : Zaha Hadid is one of the prominent architects who have contributed on conceiving unprecedented, innovative architecture. Designers find it difficult to determine the underlying reason for the uniqueness of her works. In my opinion, hadid has a philosophy not a trend techniques, designs sometimes seem fantastical, but they all stem from architecture’s base function – to facilitate and even perform everyday life. Her style was intensely futuristic architecture characterized by curving facades, sharp angles, and using materials such as concrete and steel which she used in all her projects. Finally, Whether it's for her more controversial designs, her unrealized dreams , Zaha Hadid’s style is rightly globally recognised, and she has obtained legendary status since her death in March 2016.

Is it luck or fate? In an interview with Zaha Hadid Zaha ' it relates to Hard work , and because am Arabic and foreigner , I have a lot of idea and thinking about architecture . no luck , lucky for wining in a competition but that because I worked really hard. - Do you have reached the peak in your career ? I don't think so , there is a lot more to be , I don't think I achieved the perfect project , my goal is to achieve theoretical project , my projects not a dream . how do you perceive the traditional Islamic architecture ? I believe the architecture reflect what we live , I don't think we live as before 3000 years ago , and the heritage is about to change , no frozen , when necessary we persevere heritage , as function I like some work but I don't like all of it , and we shouldn't do it exactly the same , maybe some ideas must be like housing but I don't think to built skyscraper with arches to be Islamic . Rifat Chadirji , Rasem badran , Hasan fathi . I don't like there works , not every think old is good . Islamic world could never progress because its stick to heritage , we cant combine both modernism and heritage only in organization , not true that am looking for aesthetic more than functionality I don't believe in traditional Islamic aspects .