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ZAHA HADID ARCHITECTSFOR FURTHER INFORMATION: [email protected]
CARDIFF OPERA HOUSE
THE PEAK
KMR, ART AND MEDIA CENTRE
MALEVICH’S TEKTONIK
PRESS RELEASE
THE PEAK [Kowloon, Hong Kong]1982-1983(Competition, First Prize)
Architectural Design Zaha Hadid
Design Team Zaha Hadid with Michael Wolfson, J. Dunn, M. van der Waals, N. Ayoubi
Presentation M. Wolfson, A. Sanding, N. Lee, M. Galway
Structural Engineers Ove Arup & Partners with David Thomlinson
A Suprematist geology - materials that are impacted vertically and horizontally - characterizes this cliff top resort loftily locatedabove the congested city. The architecture cuts through traditional principles and reconstitutes new ones, defies nature andresists destroying it. Like the mountain, the building is stratified, which each layer defining a function: the first and second levels contain apartments,the third layer -a 13-metre-high void suspended between the second and the penthouse storeys - features the club. The void isa landscape within which functions - exercise platforms, snack bar, library - are suspended like planets. The upper strata containpenthouse apartments.Offering and symbolizing the pinnacle of the high life, the Peak's beams and voids are a gentle seismic shift on an immovablemass.
The proposed design tries to achieve simultaneity of typically exclusive paradigms of urban design: monument and space. Theproject takes part in the continuous building mass giving shape to the Oval Basin Piazza as envisioned by the master plan. Atthe same time, the building projects a strong figural landmark against the waterfront. The dichotomy of the typical perimeterblock externally shaping a larger public urban space while enclosing a secluded internal space is dissolved into a continuumbetween those two types of spaces. This is achieved by three complementary moves: the raising of the perimeter; theopening up of the perimeter at the corner pointing at the pier head and revealing the expressed volume of the auditorium as themain solid figure within the perimeter of the site; and finally, the continuation of the public urban space by means of extendingthe plaza with a gentle slope into the site establishing a new ground plane over the main foyer areas. Thus the project providesa raised plaza suitable for outdoor performances and allowing an enhanced vista back into the Inner Harbor and Bay. Thebuilding concept is based on the architectural expression of the hierarchy between serviced and servicing spaces: the auditori-um and the other public and semi-public performance and rehearsal spaces spring like jewels from a band of rationally lined upsupport accommodations. This band is then wrapped around the perimeter of the site like an inverted necklace where all thejewels turn towards each other creating a concentrated public space between each other, accessible to the public from the cen-ter while serviced from the back around the perimeter. This central space is experienced from the courtyard open to thesky as well as from the foyer areas under the raised ground floor. The auditorium and the main rehearsal studios penetrate thisraised ground floor. Cuts in this plane mark the two axes crossing the space from the two main entrances: the main pedestrianentrance from the Oval Basin Piazza and the concourse entrance with drop-off from Pierhead Street.
CARDIFF OPERA HOUSE [Cardiff, Wales]1994-1996(Competition, First Prize)
Client Cardiff Bay Opera Trust
Architectural Design Zaha Hadid
Lead Designer Patrik Schumacher
Project Architect Brian Ma Siy
Competition Team Wendy Ing, Paola Sanguinetti, Nunu Luan, Douglas Grieco, Graham Modlen, Woody Yao, Paul Brislin, Voon Yi Wong, Simon Koumjian, Anne Save de Beaurecueil, David Gomersall, Nicola Cousins
Consultants Structural Engineer Ove Arup and Partners, UKServices Consultant Ove Arup and Partners, UKAcoustic Consultant Ove Arup and Partners, UKTheatre Consultant Anne Minors, Theatre Projects, UKCosting Consultant Brett Butler-Tillyard, UK
Area 25,000 m²
The development of this prominent site is the impetus to transform the old Dusseldorf Harbour into a new Enterprise Zone. Theprogramme for the whole area concentrates on providing facilities for the communication business and allied, creative profes-sions. Their offices and studios are interspersed with and supported by shops, restaurants, cultural and leisure facilities. Thisbecomes a strategy for the whole harbour development. The focus of the area is the river, which is animated with sport and leisure activities. A large, artificially modelled landscape, withone of the planes like a grass wedge, faces the river and becomes an extension of this very public and active part of the site.This is physically protected by a 90 m long wall of offices. From the river an enormous metallic triangle cuts into the site. It piercesthe wall, breaking it, to form an entrance ramp to the street and a sloping plaza below. The adjoining ground planes crack openand reveal technical studios to the North, shops and restaurants to the South. Below ground, a wall of technical services is com-pressed, which results in part of the wall rising above ground and curving around to form a 320 seat cinema.On the street side the wall has tiny, linear incisions in its in-situ concrete elevation; while on river side, individual floors are artic-ulated by varying depths of cantilever according to the function of each of the floors. The advertising agency is an even morefragmented series of slabs, set perpendicular to the street. They are glass splinters broken from the wall and have floor to floorfull height triple glazed curtain wall. Where the floor slabs converge, a void is carved out for conference rooms and exhibitionareas. The cores of lifts and services are separated into detached elements to give dramatic, uninterrupted views across theAgency. The entrance lobby is at the point of intersection of wall and Agency. It is a minimalist glass box surrounded by a fam-ily of sculptured feet and heavy, triangular, transfer structures. A grand curved stair leads the way up to the conference roomsthrough the underbelly of a heavy slab suspended above.
KMR, ART AND MEDIA CENTRE [Dusseldorf, Germany]1989 - 1993(Competition, First Prize)
Client Kunst-und Medienzentrum Rheinhafen GmbH, Germany
Architectural Design Zaha Hadid
Project Architects Brett Steele and Brian Ma Siy
Project Team Paul Brislin, Cathleen Chua, John Comparelli, Elden Croy, Craig Kiner, Graeme Little, Yousif Albustani, Patrik Schumacher, Daniel Oakley, Alistair Standing, Tuta Barbosa, David Gomersall, C.J. Lim
Competition Team Michael Wolfson, Anthony Owen, Signy svalastoga, Edgar Gonzales, Graig Kiner, Patrik Schumacher, Ursula Gonsinor, Bryan Langlands, Ed Gaskin, Yuko Moriyama, Graeme Little, Cristrina Verissimo, Maria Rossi, YouisifAlbustani
Models Ademir Volic, Daniel Chadwick, Richard Threadgill
Consultants Consultant Architect Roland Mayer, GermanyStructural Engineers Ove Arup and Partners, UK
Boll und Partner, GermanyServices Engineers Ove Arup and Partners, UK
Mornhinweg and Partner, GermanyCost Consultants Tillyard GmbH, Germany
MALEVICH'S TEKTONIK [London, UK]1976 - 1977
For the graduation project at the Architectural Association, Zaha Hadid explored the 'mutation' factor for the programmerequirements of a hotel on the Hungerford Bridge over the Thames. The horizontal 'tektonik' conforms to and makes use of theapparantly random composition of Suprematist forms to meet the demands of the programme and the site.
The bridge links the nineteenth century side of the river with the South Bank, which is dominated by the Brutalist forms of a1950's arts complex. The fourteen levels of the building systematically adhere to the tektonik, turning all conceivable con-straints into new possibilities for space.
The project has particular resonance with Hadid's later projects. First, in the Great Utopia show at the Guggenheim, she wasable to realize some of these tektoniks in concrete form, and second in the Habitable Bridge project, which considered thepossibilities of a mixed-use development over the Thames.
ZAHA HADID ARCHITECTSStudio 9, 10 Bowling green lane EC1ROBQ London
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