N°1

EDITION KEIM

01|17

CONSERVATION AND CREATIONZAHA HADID ARCHITECTS

Fluid, kinetic, parametric: the architectural world of Zaha Hadid

1„I DON’T THINK THAT ARCHITECTURE IS ONLY ABOUT SHELTER,
IS ONLY ABOUT A VERY SIMPLE ENCLOSURE. IT SHOULD BE ABLE
TO EXCITE YOU, TO CALM YOU, TO MAKE YOU THINK.“ZAHA HADIDZAHA HADID 1950–2016
In the midst of preparing this Conservation and Creation edition, we received the news of thesudden death of the protagonist. And so an exhibition of her work has become a posthumous
retrospective, an attempt to explore Hadid‘s universe of fluid construction; the two-dimensional
nature of the printed form can only hint at the fascination which takes hold when standing infront of or even better inside the buildings she has designed.
Zaha Hadid had a constantly polarising effect, challenged her clients and even broke off
interviews if they turned to projects for controversial regimes. Hadid was seen as a diva, both
uncompromising and undaunted. It was these attributes that helped her to succeed and be
taken seriously as a woman in the alpha-male dominated world of international architecture.
Hadid was without doubt a visionary, capable of the grand gesture; her creations are solitairesthat appear to come from a distant galaxy.
Her death on 31 March 2016 leaves a void.
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EDITION KEIM

FLUID, KINETIC,PARAMETRIC
Zaha Hadid was one of the most dazzling but also innovative figures in the internationalarchitecture scene. Born in 1950 in Bagdad, legend has it that she already recognised hercalling to architecture at the early age of eleven. Even so, she initially studied mathematics at
the American University of Beirut until 1971, before moving to London where she attended theArchitectural Association School from 1972 to 1977, and studied with Rem Koolhaas among
others. It was in his OMA Office that she started her professional career, before setting up her
own firm in London in 1980. For a long time, her bold designs were deemed to be impossible tobuild until she completed her first building with the Vitra Fire Station in Weil am Rhein, Germany.
This kick-started her career which took off from this point on a global scale; today her fluid
buildings can be found all over the world. In 2002, the German architect Patrik Schumacher
joined the business as a partner; he was involved in all the projects and ran the firm with its
staff of more than 400 employees. In 2004, Zaha Hadid was the first woman to receive therenowned Pritzker Architecture Prize; from 2000 onwards she was also a professor at the
University of Applied Arts Vienna until she retired in 2015.
Hadid‘s search for a new design language took her initially to deconstructivism, inspired by
the work of the Russian constructivists Kazimir Malevich and El Lissitzky. In fact, Hadid succeededin transforming the more intellectual deconstructivism into an individual form of architecture that
she called fluid, kinetic and parametric. „The most important thing is motion,“ said Zaha Hadid
in an exhibition catalogue in 2003, “the flux of things, a non-Euclidean geometry in whichnothing repeats itself: a new order of space.“ And so planes shift, verticals tilt and space seems
to gain a new dimension. Here she was surely helped by her mathematical mind: it takes anextraordinarily abstract, analytical approach to build like this – and efficient IT. It simply would
not be possible to design the complicated volumes, let alone transfer them to construction plans
and complete the building, without computers and parametric software.

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The possibilities offered by IT also transformed Hadid‘s design language. While Vitra Fire
Station was basically still a two-dimensional collage of surfaces, meanwhile she confronts us
with structures that have multiple curves and complex free forms and transition features thathave never been seen before.
No matter how innovative and breathtaking the interplay of volumes, forms and surfaces,
even avantgarde design needs to be protected from the rigours of adverse weather conditions.
Keimfarben is involved in many projects with corresponding silicate-based products – on theoutside and inside.
www.zaha-hadid.com

above and cover: Heydar-Aliyef Cultural Centre, Baku, Azerbaijan

56WEIGHTLESSAND
FLOWINGLONDON AQUATICS CENTRE

In 2012, the London Aquatics Centre saw both triumphs
and defeats, joy and disappointment: this was the venue
for the Olympic swimming events which were held under
the spectacular roof. Today it is a public swimming pool.

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LONDON AQUATICS CENTRE

One of the most spectacular buildings in the Queen Elizabeth Olympic Park is without doubt
the aquatics centre planned by Zaha Hadid Architects. The most exciting feature is the huge roof,
which floats like a dynamic wave measuring 11,000 square feet over the swimming pool. 160
metres long and weighing 3,200 tonnes, the steel structure rests on just three mighty columns thattake all the static and dynamic forces. A great work not just of architecture but also of structural
engineering, provided once again by Ove Arup & Partners.
Beneath the undulating roof are the 50 metres competition pool and the 25 metres diving poolwith four sculptural diving platforms soaring along the edge. With their combination of soft
surface progressions and clear edges, they stand for the design language of the entire complex,
for flowing lines and volumes that reflect the nature of water. The base of the building is madeof exposed concrete consisting of up to 75% recycled aggregate. Tiles were only used inareas that have direct contact with the water. Between the roof and the building itself, hugeglass facades flood the pool with natural light, with advantages in terms of both atmosphereand energy efficiency. A highly insulated, impervious building envelope, ventilation with highly
efficient heat recovery and demand-controlled heating from the municipal supply network reduce
the annual carbon footprint to a calculated 54 grams per square metre. By using the pool
overflow to flush the toilets, the demand for fresh water is cut by 40%; showers with flow limiters
save 35% water – and corresponding amounts of energy for heating the water. After all, noteven athletes always want a cold shower, let alone the mere mortals who have been swimmingin the pool since it was opened to the general public in March 2014.
This subsequent use was a central part of the concept, which was planned for the „Olympic
Mode“ and the „Legacy Mode“ to cover the period after the Olympic Games. The most striking
difference is the seating in the stands: today the seating capacity allows for 2,500 spectators,
compared to an audience of 17,500 during the Olympic Games. Even Zaha Hadid struggledwith this dichotomy and a compromise had to be found. An unsightly one, it has to be said.
During the Olympic Games, large additional stands were fitted above the permanent seating
along the two longitudinal sides. From the outside, they looked like two clumsy volumes fitted
directly to the roof. Sports fans actually saw nothing of the double-curvature roof, while thesupplementary features prevented people inside the building from seeing outside.
And so it was not until 2014 that the Aquatics Centre revealed its originally intended design,
after the extensions had been removed and the glass facade completed. 628 panes werefitted, each weighing around 250 kilos and measuring about 1.5 x 3.0 metres in size, totalling
altogether 2,800 square metres. By the way, hot water flows through the bronze-coloured
steel support structure which acts as a huge heating element to prevent condensation on thepanes of glass.

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WEIGHTLESS AND FLOWINGThe dotted design printed in varying sizes and densities across the whole height serves as anantireflection and shading solution where necessary.
The entrance to the Aquatics Centre and its pools with ten million litres of water is above thepool level from the generous Stratford City Bridge, where the roof comes down in a very low,
wide curve as a generous welcoming gesture to visitors as an expression of appreciation andinvitation. By the way, the training section is below the bridge level with its own 50 metre pool.
Instead of putting it in a purely utilitarian construction, here the roof again is a surprising feature.
Not that this is another curved design, but the numerous tear-shaped skylights form an elegant
contrast to the heavy concrete grid structure, letting in plenty of natural light.

LONDON AQUATICS CENTRE
Architecture

Zaha Hadid, Patrik Schumacher

Project management

Jim Heverin

Structural engineering

Ove Arup & Partners

ClientLocation
Construction period
Internet

Olympic Delivery Authority
London-Stratford
2005–2011www.londonaquaticscentre.org

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Wave in Post-Olympic Mode. After removing the stands, the flowing, curved shape of the roof can be truly
appreciated.

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TILTEDANDINTEGRATEDEVELYN GRACE ACADEMY LONDON

Zaha Hadid‘s first project to be completed on British
soil is in the south of London and cleverly integrates four
schools including the sporting facilities, on an extremely
narrow plot of land. The angular building with its tilted
structures is designed for 1,200 school children andreceived the renowned RIBA Stirling Prize 2011.
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EVELYN GRACE ACADEMY

Actually, British schools are a local authority matter, but the academy model initiated by
Tony Blair is based on a combination of centralisation and privatisation. Here the schools arerun by private organisations instead of public authorities. This controversial concept aimed inparticular to boost and reactivate secondary schools in weaker areas.
One example is the Evelyn Grace Academy in the London Borough of Lambeth, which is run
by the „Absolute Return for Kids“ charity. To be precise, the academy encompasses four schools:
two secondary schools and two sixth form colleges. On a plot of land measuring only 1.4 hectares,
all schools are accommodated in one single S-shaped building that includes all the extra rooms
for laboratories, sport and art. Zaha Hadid and Patrik Schumacher were responsible for theconcept and even managed to find space for three sports fields and a 100 m sprint track.
The latter runs spectacularly under the school building from one edge of the plot to the other.
Each school has its own entrance, and its position in the building is revealed by the large tilted
strips across the facade. In fact, the two levels of each school are interlinked with those of theneighbouring school, resulting in the building‘s basic motif of tilting lines.

While the building exterior is dominated by aluminium panels, glass and dramatic tilting effects,
the interior is characterised by generously curved corridors, light classrooms and highly variedtransitions between the levels. Yellow and green accents are the only contrast to the grey ofthe exposed concrete and help the Academy to stand out clearly from other schools, wherecolour schemes play a far greater role in terms of spatial effects and identification. Besides being
an aesthetic feature, exposed concrete is a thermal mass that helps to compensate for peaktemperatures in the summer.
The schools-within-schools principle not only makes it easier to move from one school to another.
It also enhances communication between the 1,200 school children, thanks to the communal
areas on the base levels and the mobility zones approaching these areas. Indeed, thespatial planning has been designed with multifunctional social contact areas supplementing
the classrooms on various different levels.

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TILTED AND INTEGRATEDEVELYN GRACE ACADEMYArchitecture

Zaha Hadid und Patrik Schumacher

Project management

Lars Teichmann

Location

London-Lambeth

Construction period
Internet

2006–2010www.evelyngraceacademy.org

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SHOESANDSHIPSDESIGN KOSMOS HADID

Brilliant on the large and small scale: Hadid‘s passion
for design went beyond her artistic and architectural work.
She created furniture, interior furnishings, trade show pavilions,exhibition designs and everyday objects. Join us on a tourof the Design Cosmos Hadid ...

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DESIGN KOSMOS HADID

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UNIQUE CIRCLE YACHTS
Design Zaha Hadid und Patrik Schumacher 2013, Customer Blohm+Voss
Zaha Hadid designed a fleet of futuristic yachts for the Blohm+Voss shipyard in Hamburg, inspired by the diversityof organic shapes in the submarine world together with fluid dynamics and the marine ecosystem. She broke all thestandard rules of yacht design by turning her back on the usual aquanautic design vocabulary.

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ZAHA HADID DESIGNINDEX

1 ZEPHYR SOFA

5 VORTEXX CHANDELIER

DesignZaha Hadid
Patrik Schumacher, 2013

DesignZaha Hadid
Patrik Schumacher

Design team

Fulvio Wirz
Mariagrazia Lanza
Maha Kutay

Project designer

Thomas Vietzke

Material

Fiberglass, paint, Acryl, LED

Customer

Sawaya & Moroni

Material

Painted Fiberglass, upholstery

Production

Cassina Contract
6 TAU VASES

2 ICONE BAG
DesignZaha Hadid
Patrik Schumacher, 2006

Project designer

Ana M. Cajiao

Design team

Muthahar Khan

CustomerLouis Vuitton

3 LIQUID GL ACIAL TABLE
DesignZaha Hadid
Patrik Schumacher, 2012

Design teamMaha Kutay
Woody Yao
Mariagrazia Lanza
Fulvio Wirz

Material

Polished Plexiglas

CustomerDavid Gill Galleries

DesignZaha Hadid
Patrik Schumacher, 2015

Material

MarbleCustomerCitco

7 Z-CAR II
DesignZaha Hadid
Patrik Schumacher, 2005–2008

Design teamJens BorstelmannDavid Seeland

Material

Carbon fiber composite, EPS PU, paintCustomer

Kenny Schachter, ROVE Gallery

8 LOA AND VESU VASE
DesignZaha Hadid
Patrik Schumacher, 2014

Design teamMaha Kutay
Hannes Schafelner
Niran Buyukkoz
Maria Tsironi

Material

Sterling silver

Customer

Wiener Silber Manufaktur

4 ADIDAS SUPERSTAR ORIGINALSDesignZaha Hadid
Patrik Schumacher, 2014

CustomerPharell Williams

Production

Adidas
9 L AMELL AE JEWELLERY
DesignZaha Hadid, 2015

Material

Sterling silver

CustomerGeorg Jensen
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PEBBLESBY THERIVERSIDEGUANGZHOU OPERA HOUSE

The largest and most complex project produced by
Zaha Hadid Architects is located right on the banksof the Pearl River. A dramatic spatial experience
unfolds under the flowing exterior of the opera house.

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GUANGZHOU OPERA HOUSEThe 200 million dollar Opera House in the city of Guangzhou is the product of an internationalarchitectural competition with three renowned architecture offices invited to submit bids. It was
the imagery and metaphors of Hadid‘s design for the competition held in 2002 that convinced
the Chinese authorities. The two flowing building structures appear to be pebbles that havebeen smoothed into a round harmonious shape by the neighbouring Pearl River. The spectacularinterior is designed as a man-made landscape with canyons, promontories and recesses,with the powers of erosion appearing to be responsible for their topographic shape.
The groundbreaking ceremony took place in 2005, followed by the official opening in 2010
with the premiere production of Puccini‘s opera Turandot, a controversial opera in China.
The Opera House is at the heart of Guangzhou’s cultural development in this city of 18 million
people, and is located in the direct vicinity of the mighty towers of the financial district.
Basically the opera house consists of two structures: the large 1,800-seat opera auditorium
and a smaller 400-seat multi-function hall for concerts and performance art. Both structures
are designed in the houses-within-houses principle as freestanding concrete constructions,completely covering the fascinatingly intricate, exposed steel frame. The freestanding structureof the exterior consists of giant star-shaped cast steel nodes, steel rods and bars covered withcountless triangular elements on the outside. The three-dimensional design thus creates the soft,
pebble external shape.
But this came at huge cost: all the facets have different dimensions and curvatures so that every
single one had to be made individually from glass and white granite, working with absolute
precision. There is no cladding on the support structure on the inside so that it remains completely
legible, underlining the dramatic interior with its sculptural staircases, swinging transitions andcolumn-free foyers. Generously glazed, the exterior lets daylight penetrate right into the heartof the interior. In turn, at night the buildings which are surrounded by large spaces of water turninto amorphous structures that seem to glow mystically from the inside out.
The interior reveals a very special kind of space aesthetics, with the open spaces between
the terraced walkways acting as waterfall ravines, while this naturally shaped landscapeanalogy continues in the smooth transitions between disparate elements and different levels.
But the main highlight is of course the large opera auditorium, with its organic flowing spaces
reminiscent of the cavities caused by centuries of water erosion. Balconies protrude harmoniously
into the auditorium like terraces and are reflected by the lobby walkways outside. Here multilayered perspectives create their very own dimension of experience, generating that atmosphereof transitioning between the real world outside and the staged art on the inside that makes all
great opera houses so special.

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PEBBLES BY THE RIVERSIDEGUANGZHOU OPERA HOUSE
Architecture
Project management
ClientLocation
Construction period
Internet

Zaha Hadid
Woody K.T. Yao und Patrik Schumacher
Guangzhou Municipal Government
Guangzhou, China
2003–2010www.gzdjy.org
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The champagne-golden colour scheme creates a noble background for the auditorium. In China, gold is the colourof happiness – yet another reason for the positive effect.
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SPACEFORART

LOIS & RICHARD ROSENTHAL CENTERFOR CONTEMPORARY ART CINCINNATIThe Rosenthal Center is one of the oldest institutionsin the USA dedicated to contemporary arts.
For a long time it was housed in various other institutions,but now it has been given its own premises.
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ROSENTHAL CENTER FOR CONTEMPORARY ART

The Rosenthal Center was founded in 1939 in Cincinnati, a place where the south and thenorth of the USA meet and a place of lively culture. In 2003 the Center finally moved into its
own premises – outstandingly striking premises, it has to be said right at the outset.
The Center for Contemporary Art does not hold a permanent collection, but instead has all
the more space for temporary presentations, including its own performance art room and installations. Besides the exhibition rooms of many different sizes and proportions, the building also
has seminar facilities, offices, workshops, a shop and a café. The ground level is designed as atransparent structure and acts as an „Urban Carpet“ to connect with the public space, enticing
pedestrians into the building and guiding them into the gallery areas. These in turn float above
the bright lobby as if they‘ve been cut from a huge block of concrete. The façades have been
made with absolute precision from precast concrete parts; with their recesses and protrusions,they resemble a three-dimensional jigsaw puzzle. The narrow east side in particular is shaped
like a sculptural relief. By contrast, the „Urban Carpet“ with its polished, wavy surfaces createsa very different impression, including the ramp that leads upwards in a zigzag path through anarrow open space.
The Rosenthal Center is not only Zaha Hadid‘s first building in the United States, it is also thefirst US museum to be designed by a female architect. The New York Times described it as„the most important American building to be completed since the Cold War.“32

SPACE FOR ART

ROSENTHAL CENTERFOR CONTEMPORARY ART
Architecture
Project architect
ClientLocation
Completed
Internet

Zaha Hadid
Markus Dochantschi
The Contemporary Arts Center
Cincinnati, Ohio
2003
www.contemporaryartscenter.org
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ANGUL AR
MOVEMENTVITRA FIRE STATION WEIL AM RHEIN

More a sculpture than a building, Zaha Hadid‘s firstcompleted project served a profane purpose inaccommodating the works fire brigade of the Vitra campus.

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VITRA FIRE STATION

By the time it was completed in 1993, the fire station had already reached the Olympian
pinnacle of architecture. In Weil am Rhein Zaha Hadid was finally able to show that her designs
are indeed buildable.
With its angular edges, tilted concrete walls and weightless protruding porch roof, the smallbuilding anticipates the characteristic features that would be found time and again in Hadid‘slater work: cross-overs, irritations, fascinating space effects and specific materialisations.
The building with its garage for the fire engines, recreation rooms, changing rooms and shower
facilities consists of a linear arrangement of walls to create the functional spaces in between.
Positioned between the huge buildings of the furniture factory, it redefines the space along themain road through the campus and seems to be frozen movement, just waiting to explode into
action. It is thus a direct analogy to the fire brigade, trained to be always on emergency alert.
However, its career as a fire station did not last long: a few years ago, the company firebrigade was disbanded. Today, the exposed concrete building is used for exhibitions andas an event venue. It naturally also attracts people from all over the world who are passionate
about architecture.

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ANGUL AR MOVEMENTVITRA FIRE STATION
Architecture
Project architect
ClientLocation
Construction period
Internet

Zaha Hadid, Patrik Schumacher
Patrik Schumacher
Vitra International AG
Weil am Rhein
1991–1993www.vitra.com
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IMPRINT

Publishers
KEIMFARBEN GMBH
Keimstraße 16/86420 Diedorf/Tel. +49(0)821 4802-0/Fax +49(0)821 4802-210
www.keim.com/info@keimfarben.de
Graphics
Susanne Mandl
Collaboration: Severin Geißler
www.sumadesign.de
Picture credits
Cover
Iwan Baanp. 3
Valerie Bennett
p. 5
Helene Binetp. 6
Hufton and Crowp. 9
Hufton and Crowp. 10/11 Hufton and Crow
p. 12
Luke Hayes
p. 15
Luke Hayes
p. 16/17 Luke Hayes
p. 19
Zaha Hadid Architects
p. 20/21 Zaha Hadid Architectsp. 22
Zaha Hadid Architects
p. 24
Christian Richtersp. 27
Hufton and Crow
p. 28/29 Hufton and Crow
p. 30
Helene Binet
p. 32
Helene Binetp. 33
Helene Binet
p. 34
Christian Richters
p. 36
Helene Binet
p. 37
Christian Richters
Many thanks to Zaha Hadid Architects for their friendly support!

KEIM. COLOURS FOR EVER.

38„I AM A STRONG BELIEVER THAT ARCHITECTURE
CAN EXPRESS SOMETHING, OF WHICH WE HAVENO IDEA THAT IT IS POSSIBLE – A NEW ORDER
OF THINGS, ANOTHER VIEW OF THE WORLD.“ZAHA HADID