ZORROZAURRE MASTER PLAN

Transcription

PRESS RELEASE
ZORROZAURRE
MASTER PLAN
ZAHA HADID ARCHITECTS
FOR FURTHER INFORMATION: [email protected]
ZORROZAURRE MASTER PLAN, BILBAO
[BILBAO, SPAIN]
2003 - Urban Development
PROGRAM:
Refurbishment and construction of housing, new industries, tertiary uses, urban and
recreational spaces and new connections linking the peninsular, city and surrounding areas.
CLIENT:
Management Committee for the urban development of the peninsula of Zorrozaurre of Bilbao
Bilbao
SPAIN
ARCHITECT:
Design
Project Architect
Project Manager
Zaha Hadid Architects
Gunther Koppelhuber
Kim Thornton
Local Firm
Arkitektura Eta Hirigintza Bulegoa S.A. [Spain]
ENGINEER:
Ove Arup Partners [UK]
LANDSCAPE ARCHITECT:
Gross Max [UK]
URBAN STRATEGY CONSULTANT:
Larry Barth [UK]
SIZE/AREA :
60 hectare
The Zorrozaurre area is at the centre of three linked trends in the contemporary urban process. There are many challenges and
opportunities for the master planning and development of Zorrozaurre, for the various claims for infrastructure, open space,
community, and recreation must be innovatively balanced in this tightly defined area of land.
If Zorrozaurre presents itself as a key to both regional and local development, its current disconnection from both raises the opening challenge. Transport solutions will have to be explored in depth, and in conjunction with various possible densities and types
of development. However, if it is the Nervion river which currently isolates the site, it is also the water which gives this site its
future character and identity. The master planning of this site will require the close integration of engineering, architecture, and
strategic planning. We believe that innovation in urban design offers the best possible response to challenges of this magnitude,
for it is here that one begins to define the character and identity of Zorrozaurre, the better to generate the sustaining partnerships
and commitments necessary to the support its long-term success.
Defining a Spatial Strategy for Zorrozaurre
The Zorrozaurre area is especially important both to the city and to the Bizkaia region, and presents an opportunity to establish
an exemplary model for the strategic development of Bilbao. This development will help to "anchor" the Abandoibarra area, and
also establish a pattern for the extension and integration of the regional network downriver. In this sense, the Zorrozaurre area
must be understood in relation to its immediate neighbours on both banks, and also as part of the broader intention to define the
character of the urban and regional process in Bilbao. We sense that there are many dramatic and as yet unexplored possibilities for the development of the area that may encourage the board to consider a more intensive urbanism. In no way should this
be taken as a rejection of the recreational and leisure aspirations for the site, but instead as part of a search for the approach
that will make these aspirations economically sustainable.
We would begin our work with five starting positions in mind. Firstly, we would continue the boldness with which Bilbao has turned
toward the Nervion River, both as an organizing element for the city's development and for its visual vitality.
Secondly, just as we would employ the magic of the river to define important engagements, lines of sight, patterns of separation
and connection, we would also work intensively with the ground condition to define areas of intensity and concentration.
A third principle stands in our commitment to optimizing the organization of the built fabric in relation to the urban process. Just
as the Ensanche brought a new spatial organization to the city, different from that of the Casco Viejo, the Zorrozaurre area must
differentiate itself to respond to contemporary forces and needs.
Next, we recognize that to make the Zorrozaurre area perform effectively, significant investment will be needed for the transport
and hydrological infrastructure. These engineering works should be treated as themselves sculptural elements of a new landscape. Not only are we in a period in which art and engineering have come to reside more closely together than for many
decades, but the very power of the existing industrial landscape at Zorrozaurre seems to suggest the principle.
Finally, however different the future Zorrozaurre may be from San Ignacio and Deusto today, the plan must work to secure their
coherent integration. Bilbao is a walking city, and Zorrozaurre must continue this tradition. Just as the integration of the site with
the city's centre stands at the heart of any developmental rationality, so its connectivity to its right-bank neighbours will drive the
perception of its inclusion within the social and economic pattern of everyday life. Additionally, the university faculties on both
sides of the river present opportunities to cultivate within Zorrozaurre a new-economy network, encouraging the exploration of
forward-looking connections between living and working to complement the standard residential and office typologies.
Together, these five starting points describe our initial approach to Zorrozaurre. A series of workshops form part of the package
of activities to be held throughout the design process to aide the progress and refinement of the master plan.
ZORROZAURRE MASTER PLAN, BILBAO [BILBAO, SPAIN]
ZORROZAURRE MASTER PLAN, BILBAO
[BILBAO, SPAIN]
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PLEASE CREDIT PHOTOGRAPHER AS MENTIONED
Studio 9, 10 Bowling green lane EC1ROBQ London
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PRESS RELEASE
BMW
CENTRAL
BUILDING
BMW CENTRAL BUILDING
[LEIPZIG, GERMANY]
2002-2004 [under construction]
PROGRAM:
Offices and technical spaces for car manufacturing plant
CLIENT:
BMW AG
Triebstraße 14
80993 München
Germany
ARCHITECT:
Design
Zaha Hadid with Patrik Schumacher
Project Architect
Jim Heverin/Lars Teichmann [Zaha Hadid]
Landscape Acrhitects:
Gross. Max [Edinburgh, UK]
Structural Engineering
IFB Dr. Braschel AG [Stuttgart, Germany]
Anthony Hunt Associates [London, UK]
Costing
IFB Dr. Braschel AG [Stuttgart, Germany]
Lighting Design
Equation Lighting [London, UK]
Building
25,000 m2
CONSULTANTS:
SIZE/AREA :
© Helene Binet
The Central Building is the active nerve- centre or brain of the whole factory complex. All threads of the building's activities gather together and branch out again from here.This planning strategy applies to the cycles and trajectories of people - workers
(arriving in the morning and returning for lunch) and visitors - as well as for the cycle and progress of the production line which
traverses this central point - departing and returning again. This dynamic focal point of the enterprise is made visually evident
in the proposed dynamic spatial system that encompasses the whole northern front of the factory and articulates the central
building as the point of confluence and culmination of the various converging flows. It seems as if the whole expanse of this
side of the factory is oriented and animated by a force field emanating from the central building. All movement converging on
the site is funnelled through this compression chamber squeezed inbetween the three main segments of production: Body in
White, Paint Shop and Assembly.
The organisation of the building exploits the obvious sequence of front to back for the phasing of public/busy to more withdrawn/quiet activities. The façade envelope is pulled in under a large diagonally projecting top floor. Here the car drop off
swoops underneath letting off visitors into the glazed public lobby. The generous lobby allows views deep into the building.
The depth of the building is opened by means of the insertion of courtyards that admit daylight and visibility to the building's
heart. This is exemplified by the Canteen location adjacent to such a courtyard, offering a point of communication within the
inner zone.
The primary organising strategy is the scissor-section that connects groundfloor and first floor into a continuous field. Two
sequences of terraced plates - like giant staircases - step up from north to south and from south to north. One commences
close to the public lobby passing by/overlooking the forum to reach the first floor in the middle of the building. The other cascade starts with the cafeteria at the south end moving up to meet the first cascade then moving all the way up to the space projecting over the entrance. The two cascading sequences capture a long connective void between them. At the bottom of this
void is the auditing area as a central focus of everybody's attention. Above the void the half-finished cars are moving along their
tracks between the various surrounding production units open to view.
The cascading floor plates are large enough to allow for flexible occupation patterns. The advantage lies in the articulation of
recognisable domains within an overall field. Also the global field is opened up to visual communication much more than would
be possible on a single flat floorplate. A huge flat playing field for various configurations of the administrative and engineering
is offered above the forum. This field is again overlooked by the top end of the south-north cascade.
The close integration of all workers is facilitated by the overall transparency of the internal organisation. The mixing of functions
avoids the traditional segregation into status groups that is no longer conducive for a modern workplace. A whole series of engineering and administrative functions is located within the trajectory of the manual workforce coming in to work or moving in and
out of their lunch break. White collar functions are located both on ground and first floor. Equally some of the Blue Collar spaces
(lockers and social spaces) are located on the first floor. Especially those internal reserve spaces that are waiting for full use in
Phase 2 are allocated as social communication spaces to mix blue and white collar workers. This way the establishment of
exclusive domain is prevented.
ACar Park as Landscape feature: The potential problem of placing a large carpark in front of the building had to be turned into
an integral architectural feature that carries the scheme by turning it into a dynamic spectacle in its own right. The inherent
dynamism of vehicle movement and the 'lively' field of the car bodies is revealed by giving the arrangement of parking lots a
twist that lets the whole field move, colour and sparkle. The swooping trajectories across the field culminate within the building.
BMW CENTRAL BUILDING [LEIPZIG, GERMANY]
BMW CENTRAL BUILDING
[LEIPZIG, GERMANY]
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PRESS RELEASE
CARDIFF OPERA HOUSE
THE PEAK
KMR, ART AND MEDIA CENTRE
MALEVICH’S TEKTONIK
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 located
above the congested city. The architecture cuts through traditional principles and reconstitutes new ones, defies nature and
resists 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 is
a landscape within which functions - exercise platforms, snack bar, library - are suspended like planets. The upper strata contain
penthouse apartments.
Offering and symbolizing the pinnacle of the high life, the Peak's beams and voids are a gentle seismic shift on an immovable
mass.
CARDIFF OPERA HOUSE [Cardiff, Wales]
1994-1996
Client
Cardiff Bay Opera Trust
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
Services Consultant
Acoustic Consultant
Theatre Consultant
Costing Consultant
Area
25,000 m²
Ove Arup and Partners, UK
Anne Minors, Theatre Projects, UK
Brett Butler-Tillyard, UK
The proposed design tries to achieve simultaneity of typically exclusive paradigms of urban design: monument and space. The
project takes part in the continuous building mass giving shape to the Oval Basin Piazza as envisioned by the master plan. At
the same time, the building projects a strong figural landmark against the waterfront. The dichotomy of the typical perimeter
block externally shaping a larger public urban space while enclosing a secluded internal space is dissolved into a continuum
between those two types of spaces.
This is achieved by three complementary moves: the raising of the perimeter; the
opening up of the perimeter at the corner pointing at the pier head and revealing the expressed volume of the auditorium as the
main solid figure within the perimeter of the site; and finally, the continuation of the public urban space by means of extending
the plaza with a gentle slope into the site establishing a new ground plane over the main foyer areas. Thus the project provides
a raised plaza suitable for outdoor performances and allowing an enhanced vista back into the Inner Harbor and Bay.
The
building concept is based on the architectural expression of the hierarchy between serviced and servicing spaces: the auditorium and the other public and semi-public performance and rehearsal spaces spring like jewels from a band of rationally lined up
support accommodations. This band is then wrapped around the perimeter of the site like an inverted necklace where all the
jewels turn towards each other creating a concentrated public space between each other, accessible to the public from the center while serviced from the back around the perimeter.
This central space is experienced from the courtyard open to the
sky as well as from the foyer areas under the raised ground floor. The auditorium and the main rehearsal studios penetrate this
raised ground floor. Cuts in this plane mark the two axes crossing the space from the two main entrances: the main pedestrian
entrance from the Oval Basin Piazza and the concourse entrance with drop-off from Pierhead Street.
KMR, ART AND MEDIA CENTRE
[Dusseldorf, Germany]
1989 - 1993
Client
Kunst-und Medienzentrum Rheinhafen GmbH, Germany
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, Youisif
Albustani
Models
Ademir Volic, Daniel Chadwick, Richard Threadgill
Consultants
Consultant Architect
Roland Mayer, Germany
Boll und Partner, Germany
Services Engineers
Cost Consultants
Mornhinweg and Partner, Germany
Tillyard GmbH, Germany
The development of this prominent site is the impetus to transform the old Dusseldorf Harbour into a new Enterprise Zone. The
programme for the whole area concentrates on providing facilities for the communication business and allied, creative professions. Their offices and studios are interspersed with and supported by shops, restaurants, cultural and leisure facilities. This
becomes 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, with
one 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 pierces
the wall, breaking it, to form an entrance ramp to the street and a sloping plaza below. The adjoining ground planes crack open
and reveal technical studios to the North, shops and restaurants to the South. Below ground, a wall of technical services is compressed, 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 articulated by varying depths of cantilever according to the function of each of the floors. The advertising agency is an even more
fragmented series of slabs, set perpendicular to the street. They are glass splinters broken from the wall and have floor to floor
full height triple glazed curtain wall. Where the floor slabs converge, a void is carved out for conference rooms and exhibition
areas. The cores of lifts and services are separated into detached elements to give dramatic, uninterrupted views across the
Agency. The entrance lobby is at the point of intersection of wall and Agency. It is a minimalist glass box surrounded by a family of sculptured feet and heavy, triangular, transfer structures. A grand curved stair leads the way up to the conference rooms
through the underbelly of a heavy slab suspended above.
MALEVICH'S TEKTONIK [London, UK]
1976 - 1977
For the graduation project at the Architectural Association, Zaha Hadid explored the 'mutation' factor for the programme
requirements of a hotel on the Hungerford Bridge over the Thames. The horizontal 'tektonik' conforms to and makes use of the
apparantly 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 a
1950's arts complex. The fourteen levels of the building systematically adhere to the tektonik, turning all conceivable constraints 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 was
able to realize some of these tektoniks in concrete form, and second in the Habitable Bridge project, which considered the
possibilities of a mixed-use development over the Thames.
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PRESS RELEASE
CAR PARK AND
TERMINUS
HOENHEIM
NORTH
CAR PARK AND TERMINUS HOENHEIM NORTH
[STRASBOURG, FRANCE]
1999-2001
PROGRAM:
Station for trams and buses
Car-Park for 700 cars
Various functions [ticket offices, shop, bikes racks, public toilets]
CLIENT:
C.U.S [Communaute Urbaine de Strasbourg]
C.T.S [Compagnie des Transports Strasbourgeois]
14 place de la gare aux marchandises
Strasbourg F-67200
FRANCE
ARCHITECT:
Zaha Hadid Architects [London, UK]
Stephane Hof [Project Architect]
CONSULTANTS:
General Engineering
Structure station
Local Architect
Getas/Serue [Strasbourg, France]
GS Projekt, Luigi Martino [Germany, Italy]
Albert Grandadam [Strasbourg, France]
SIZE/AREA :
Parking
Station
25 000 m2
3 000 m2
AWARD :
Equerre d'Argent special mention, 2001
FX Awards 2001 Finalist, 2001
AIA UK Chapter Award, 2002
Red Dot Design Award, 2002
Mies van der Rohe Award, 2003
© Airdiasol / Rothan
© Helene Binet
BACKGROUND The city of Strasbourg has been developing a new tram-line service to combat increasing congestion and pollution in the city center. It encourages people to leave their cars outside the city in specially designed car parks, and then take
a tram to the more inner parts of the city. The first part of this initiative was the development of Line ‘A’ that ran east to west
across Strasbourg. A parallel initiative to the design of the transport system was the inclusion of a number of artists, such as
Barbara Kruger and Mario Mertz, to make specific installations at key points of the line. Currently, Strasbourg is planning the
second line, ‘B’, that will run north to south. Zaha Hadid has been invited, as part of the new artist’s interventions, to design the
tram-station and a car park for 700 cars at the northern apex of the line.
CONCEPT
The overall concept towards the planning of the car park and the station is one of overlapping fields and lines
that knit together to form a constantly shifting whole. Those ‘fields’ are the patterns of movement engendered by cars, trams,
bicycles and pedestrians. Each has a trajectory and a trace, as well as a static fixture. It is as though the transition between
transport types (car to tram, train to tram) is rendered as the material and spatial transitions of the station, the landscaping and
the context.
MATERIALISED VECTORS
The Station contains a basic program of waiting space, bicycle storage, toilets and shop.
This sense of three dimensional vectors is enhanced in the treatment of space: the play of lines continues as light lines in the
floor, or furniture pieces or strip-lights in the ceiling. Viewed in plan, all the ‘lines’ co-alesce to create a synchronous whole. The
idea is to create an energetic and attractive space that is clearly defined in terms of function and circulation, which is made possible through three-dimensional graphics of light and open-ings.
MAGNETIC FIELDS
The car park is divided into two parts to cater for 700 cars. The notion of the cars as being ephemeral and constantly changing elements on site is manifest as a ‘magnetic field’ of white lines on the black tarmac. These delineate
each parking space and start off aligned north/south at the lowest part of the site, then gently rotate according to the curvature
of the site boundaries. Each space has a vertical light post. In contrast with the lines on the ground, an area of darker concrete,
almost an imaginary ‘shadow’, cuts gently through the car park, linking the field of the station to the one of the car park. Overall,
the ‘field’ of the light posts maintains a constant datum height that combines with the gradient of the floor slope. Again, the intention is to reciprocate between static and dynamic elements at all scales. As an ensemble, the Tram station and the car park create a synthesis between floor, light and space. By articulating the moments of transition between open landscape space and
public interior space, it is hoped that a new notion of an ‘artificial nature’ is offered, one that blurs the boundaries between natural and the artificial environments towards the improving of civic life for Strasbourg.
© Helene Binet
CAR PARK AND TERMINUS HOENHEIM NORTH
[STRASBOURG, FRANCE]
1999-2001
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PRESS RELEASE
LFONE
LANDESGARTENSCHAU
LANDESGARTENSCHAU
[WEIL AM RHEIN, GERMANY]
1996-1999
PROGRAM:
Exhibition spaces, restaurant, offices
CLIENT:
City of Weil am Rhein
Rathaus
Schillerstrasse 1
79576 Weil am Rhein
GERMANY
ARCHITECT:
Architects
Project Architect
Project Director
Local Architect
Zaha Hadid, Patrik Schumacher, Mayer Bahrle
Markus Dochantschi
Patrik Schumacher
Mayer Bahrle Freie Architekten DBA [Lorrach, Germany]
CONSULTANTS:
Structure
M/E
Heating, conditioning
Acoustic
GS Projekt, Luigi Martino [Germany, Italy]
Kuttenbaum energietechnik [Lorrach, Germany]
Delzer Kybernetik [Lorrach, Germany]
Ehrsaum und Pannach [Lorrach, Germany]
SIZE/AREA :
845 m2
© Helene Binet
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The project is designed to serve as an event and exhibition space for the garden festival in Weil am Rhein 1999. The suggested structure does not sit in the landscape as an isolated object, but emerges from the fluid geometry of the surrounding network
of paths.
Three of those paths entangle to make the building. Four parallel, partly interwoven spaces are caught in this bundle of paths.
One path snuggles up to the south side of the building, another, gently sloping, rises over its back, whereas the third path cuts
diagonally through the interior. The main spaces, exhibition hall and cafe, stretch along those routes and allow for plenty of sun
light and views from the exterior. Secondary rooms 'disappear' within the 'root' of the building. A terrace including a covered performance space is located to the south of the cafe.
The centre for environmental research is situated north of the exhibition hall, half submerged into the ground in order to take
advantage of the isolating quality of the earth itself. On the other side the exhibition hall acts as a buffer zone, which allows a
passive use of solar energy in winter. The sunken beam of the centre of environmental research becomes an open mezzanine
in the exhibition hall.
LANDERSGARDENSCHAU [WEIL AM RHEIN, GERMANY]
LANDESGARTENSCHAU
[WEIL AM RHEIN, GERMANY]
1996-1999
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PRESS RELEASE
HERAULT
CULTURE
SPORT
HERAULT CULTURE SPORT
[MONTPELLIER, FRANCE]
2002-2007
PROGRAM:
Library, departemental archive, sports facility
CLIENT:
Departement de l'Herault
1000, rue de l’Alco
24087 Montpellier Cedex 4
FRANCE
ARCHITECT:
Design
Project Architect
LOCAL ARCHITECT:
Blue Tango Architectures [France]
CONSULTANTS
Engineer
Ove Arup Partners [UK]
Landscape Architect
West 8 [Netherlands]
Cost Consultant
Davis Langdom & Everest [UK]
Landscape Area
Building
100,000 m2
35, 000 m2
SIZE/AREA :
Stephane Hof [Zaha Hadid]
The three institutions - the archive, the bibliotheque and the sport department - are unified within a single, envelope. The three
parts of this "cite administrative" combine into a strong figure visible far into the landscape. As one moves closer, the division into
three parts becomes apparent. The building has been developed on the basis of a rigorous pursuit of functional and economic
logic. However, the resultant figure is reminiscent of a large tree-trunk, laid horizontal. The archive is located at the solid base of
the trunk, followed by the slightly more porous bibliotheque. The sport department with its well-lit offices is next, at the end where
the trunk bifurcates and becomes much lighter. The branches projecting off the main trunk are articulating the points of access
and the entrances into the various institutions. On the western side are all the public entrances and on the eastern side are all
the service entrances, i.e. staff entrances and loading bays. In this way the tree-trunk analogy is exploited to organise and articulate the complexity of the overall "cite administrative".
Urban Strategie The key to the urban strategy is the extension of the future Parc de Malbosc into our site and across to La
Paillade. Our scheme proposes that on our site the public park becomes a recreational forest with various clearings and playgrounds.
Spatial Organisation The main vehicular access - both for public visitors as well as for staff and service vehicles is from Rue
du professeur Blayac, on either side of the building. The public access leads to the generous visitor carpark right in front of the
various entrance lobbies. The service access is stretched along the opposite side. This longitudinal division of serviced and servicing spaces is maintained within the groundfloor of the building. This clear boundary and interface is coherent along the full
length of the building. The front side of the groundlevel contains all the public functions of each institution, linked by a linear
lobby in the centre. From here the reading rooms and educational spaces of the archive are immediately accessible. The same
goes The public facilities shared between the three institutions, like the exhibition hall and conference centre, are located in the
main branch that projects out from the trunk at this front side. Above the connective groundlevel the three institutions remain
strictly separated. Each has its own set of cores for internal vertical circulation. The lay-outs of each part follow their specific functional logic.
HERAULT CULTURE SPORT [MONTPELLIER, FRANCE]
HERAULT CULTURE SPORT
[MONTPELLIER, FRANCE]
2002-2007
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PRESS RELEASE
HIGH SPEED
TRAIN STATION
NAPOLI-AFRAGOLA
HIGH SPEED TRAIN STATION NAPOLI-AFRAGOLA
[NAPLES, ITALY]
2003 - 2008
PROGRAM:
Train Station for high speed and regional services. Facilities for bus, taxi and car
parking; retail and civic; rail administration, police and fire services.
CLIENT:
TAV s.p.a.
Treno Alta Velocita
via Mantova, 24
00198 Rome
ITALY
ARCHITECT:
Design
Project Architects / Managing
Filippo Innocenti [Zaha Hadid]
Paola Cattarin [Zaha Hadid]
Structural Engineer and Geotechnics
Environmental Engineer
Landscape Design
Costing
Adams Kara Taylor [London, UK]
Max Fordham [London, UK]
Gross Max [London, UK]
Studio Miele [Napoli, Italy]
Interplan 2 SRL [Napoli, Italy]
Macchiaroli & Partners SRL [Napoli, Italy]
CONSULTANTS:
Fire Safety
SIZE/AREA :
20,000 m2
The New High Speed Station Napoli Afragola is a bridge above the tracks. The key challenge of the architectural scheme is to
create a well organized transport interchange that can simultaneously serve as a new landmark to announce the approach to
Naples - thus a new gateway to the city. The concept of the bridge emerges from the idea of enlarging the overhead concourse,
required to access the various platforms, to such a degree that it can become the main passenger concourse itself.
Providing an urbanized public link across the tracks, the task is to give expression to the imposition of a new through-station that
can also act as the nucleus of a new proposed business park linking the various surrounding towns. The bridge concept further
allows two strips of extended park-land to move openly through the site alongside the tracks opening and connecting the site to
the surrounding landscape and business park.
The architectural language proposed, geared towards the articulation of movement, is pursued further within the interior of the
building, where the trajectory of the travelers determines the geometry of the space.
HIGH SPEED TRAIN STATION NAPOLI-AFRAGOLA [NAPLES, ITALY]
HIGH SPEED TRAIN STATION NAPOLI-AFRAGOLA
[NAPLES, ITALY]
2003 - 2008
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PRESS RELEASE
PRICE TOWER
ARTS CENTRE
PRICE TOWER ARTS CENTRE
[BARTLESVILLE, USA]
2002 - TBC
PROGRAM:
Study center with adjoining storage to house growing collection of works on paper
CLIENT:
The Price Tower Arts Centre
Bartlesville, Oklahoma
ARCHITECT:
Design
Project Architect
Design Team
SIZE/AREA :
50,000 m2
Markus Dochantschi [Zaha Hadid]
Matias Musacchio, Patrik Schumacher,
Tamar Jacobs, Viggo Haremst, Christian
Ludwig, Ed Gaskin
Zaha Hadid and her team's first step is a rigorous exploration of urban context and natural terrain. In this case they began with
an examination of the city grid of Bartlesville, considering the various modes of movement through the city (pedestrian, automotive, over highways, overpasses), and then superimposed the skewed axes of the Price Tower's orientation. Other patterns,
in a more formalistic sense, were explored, including Frank Lloyd Wright textile blocks from the Ennis House (Los Angeles) and
the footprint of the Price Tower itself.
The cumulative effect of these elements ultimately gives rise to the new building's structure. The building is not imposed on the
site, but akin to Wright's philosophy, grows out of the site's patterns of living and landscape. Hadid's structure will not be intimidated by Wright's tower, nor defer to it, but instead rather will "flirt" with the skyscraper as it wraps around it with sinewy, sensuous contours that accentuate the strong verticality of Wright's architecture. The two buildings, a half-century apart, will fit
together as if intended for one another, linked by their shared origins in place and purpose.
PRICE TOWER ARTS CENTRE [BARTLESVILLE, USA]
PRICE TOWER ARTS CENTRE
[BARTLESVILLE, USA]
2002 - TBC
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[email protected]
PRESS RELEASE
MAXXI: NATIONAL
CENTRE OF
CONTEMPORARY
ARTS
MAXXI: NATIONAL CENTRE OF CONTEMPORARY ARTS
[ROME, ITALY]
PROGRAM:
Contemporary art and architecture centre, temporary exhibition spaces
CLIENT:
Italian Ministry of Culture, Rome, Italy
ARCHITECT:
Design
Project Architect
Local Architect
Gianluca Racana [Zaha Hadid]
ABT srl [Rome, Italy]
CONSULTANTS:
Structure
Anthony Hunt Associates [London, UK]
OK Design Group [Rome, Italy]
M&E
Max Fordham and Partners [London, UK]
OK Design Group [Rome, Italy]
Lighting
Equation Lighting [London, UK]
Acoustic
Paul Gilleron Acoustic [London, UK]
SIZE/AREA :
30,000 m2
The Contemporary Art and Architecture Centre for Rome is the first national museum for contemporary art in Italy. The new
Institution has been established by act of parliament and the design of the building is the first concrete step in the creation of the
institution. A large urban site in the Flaminia district on the northern edge of the historic centre has been allocated for the building. The centre comprises spaces for permanent, temporary and commercial galleries, an architecture centre, a conference centre as well as a library.
The concept for the project is based on the idea of 'irrigating' the large urban field with linear display surfaces, weaving a dense
texture of interior and exterior spaces. The institution is thus rendered porous for the casual visitor, either providing en passe
delight or enticing entry. Our design for the Contemporary Art Centre in Rome was awarded the 1st Prize in an International
Design Competition in February 1999. We have been awarded the full contract for all architectural and engineering services.
Construction begins in 2003, and the project is scheduled for completion in 2005.
MAXXI: NATIONAL CENTRE OF CONTEMPORARY ARTS [ROME, ITALY]
MAXXI: NATIONAL CENTRE OF CONTEMPORARY ARTS
[ROME, ITALY]
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PRESS RELEASE
ROSENTHAL
CENTER FOR
CONTEMPORARY
ART
ROSENTHAL CENTER FOR CONTEMPORARY ART, CINCINNATI
[CINCINNATI, USA]
1997-2003
PROGRAM:
Temporary exhibition space, performance space, education facility, offices, art preparation
areas, and museum store
CLIENT:
The Contemporary Arts Center
44 East Sixth Street
Cincinnati, Ohio 45202
USA
ARCHITECT:
Design
Local Firm
Project Architect [Zaha Hadid]
Design Team
KZF incorporated [Cincinnati, USA]
Markus Dochantschi
Ed Gaskin, Ana Sotrel, David Gerber, Jan Hübener,
Christos Passas, Sonia Villaseca, James Lim, JeeEun Lee, Oliver Domeisen, Helmut Kinzler, Patrik
Schumacher, Michael Wolfson, David Gomersall
CONSULTANTS:
Structure
Jane Wernick [London, UK]
THP Limited [Cincinnati, Ohio]
Heapy Engineering [Dayton, Ohio]
Theatre Design, inc [New York]
Ove arup and Partners [London, New York]
Office for Visual Interaction [New York]
Turner Construction Company [Cincinnati, Ohio]
M/E
Theater
Acoustic
Lighting
Construction Manager
SIZE/AREA :
8500 m2
© Helene Binet
© Helene Binet
© Helene Binet
The first freestanding building for The Contemporary Arts Center, founded in Cincinnati in 1939 as one of the first institutions in
the United States dedicated to the contemporary visual arts. The new CAC building will provide spaces for temporary exhibitions,
site-specific installations, and performances, but not for a permanent collection. Other program elements include an education
facility, offices, art preparation areas, a museum store, a cafe and public areas.
To draw in pedestrian movement from the surrounding areas and create a sense of dynamic public space, the entrance, lobby
and lead-in to the circulation system are organized as an "Urban Carpet." Starting at the corner of Sixth and Walnut, the ground
curves slowly upward as it enters the building, rising to become the back wall. As it rises and turns, this Urban Carpet leads visitors up a suspended mezzanine ramp through the full length of the lobby, which during the day functions as an open, day-lit,
"landscaped" expanse that reads as an artificial park. The mezzanine ramp continues to rise until it penetrates the back wall, on
the other side of which it becomes a landing at the entrance to the galleries.
Jigsaw Puzzle: In contrast to the Urban Carpet, which is a series of polished, undulating surfaces, the galleries are expressed
as if they had been carved from a single block of concrete and were floating over the lobby space.
Exhibition spaces vary in size and shape, to accommodate the great range of scales and materials in contemporary art. Views
into the galleries from the circulation system are unpredictable, as the stair-ramp zigzags upward through a narrow slit at the
back of the building. Together, these varying galleries interlock like a three-dimensional jigsaw puzzle, made up of solids and
voids.
Skin/Sculpture: The building's corner situation led to the development of two different, but complementary, facades. The south
facade, along Sixth Street, forms an undulating, translucent skin, through which passers-by see into the life of the Centre. The
east facade, along Walnut, is expressed as a sculptural relief. It provides an imprint, in negative, of the gallery interiors.
ROSENTHAL CENTER FOR CONTEMPORARY ART, CINCINNATI [CINCINNATI, USA]
PRESS RELEASE
BERGISEL SKI JUMP
BERGISEL SKI JUMP
[INNSBRUCK, AUSTRIA]
1999 -2002
PROGRAM:
Skijump, cafe & viewing terrace
CLIENT:
Austrian Ski Federation
Olympiastrasse 10
A-6010 Innsbruck
AUSTRIA
ARCHITECT:
Design
Local Firm
Baumeister Ing. Georg Malojer [Innsbruck, Austria]
Project Architect [Zaha Hadid] Jan Huebener
Project Manager
Markus Dochantschi
Design Team
Matthias Frei, Cedric Libert, Sylvia Forlati, Jim Heverin, Garin
O’Aivazian, Sara Noel, Costa de Araujo
STRUCTURE:
Structure
Services
Lighting
Ski Jump Technology
DIMENSION:
Jane Wernick [London, UK]
Christian Aste [Innsbruck, Austria]
Technishes Buro Ing. Heinz Purcher [Schlaming, Austria]
Technishes Buro Matthias Schrempf [Schlaming, Austria]
Peter Fiby [Innsbruck, Austria]
Office for Visual Interaction [New York, USA]
Bauplanungsburo franz Fuschlslueger [Trofaiach, Austria]
Length 90m
Height 49m
© Helene Binet
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© Helene Binet
In December 1999 Zaha Hadid Architects won the international competition for a new ski jump on the Bergisel Mountain in
Innsbruck. The new structure opened in 2002. Situated on the Bergisel Mountain overlooking downtown Innsbruck, the ski jump
is a major landmark.
It is part of a larger refurbishment project for the Olympic Arena and replaces the old ski jump, which no longer met with international standards. The building is a hybrid of highly specialized sports facilities and public spaces, including a café and a viewing terrace. These different programs are combined into a single new shape, which extends the topography of the slope into the
sky.
At a length of about 90m and a height of almost 50m the building is a combination of a tower and a bridge. Structurally it is divided into the vertical concrete tower and a spatial steel structure, which integrates the ramp and the café. Two elevators bring visitors to the café, 40 m over the peak of the Bergisel Mountain. From here they can enjoy the surrounding alpine landscape as
well as watch the athletes below fly above the Innsbruck skyline.
BERGISEL SKI JUMP [INNSBRUCK, AUSTRIA]
BERGISEL SKI JUMP
[INNSBRUCK, AUSTRIA]
1999 -2002
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PRESS RELEASE
GUGGENHEIM
MUSEUM
TAICHUNG
GUGGENHEIM MUSEUM, TAICHUNG
[TAIWAN]
2003- TBC
PROGRAM:
Museum, education facility, restaurant, cafe and museum store
CLIENT:
Solomon R.Guggenheim Foundation
1071 Fifth Avenue
New York NY 10128
USA
ARCHITECT:
Design
Project Architect
Dillon Lin [Zaha Hadid]
Project Team
Jens Borstelmann, Thomas Vietzke, Yosuke Hayano
Structural Engineer
Services
IDOM [Bilbao, Spain]
Costing
IDOM [London, UK], IDOM [Bilbao, Spain]
CONSULTANTS:
SIZE/AREA :
28,000 m2
Concept
The design proposal is based on the concept of the museum as an ever-changing event space. To emphasise the aspect of
transformability of the space we would like to explore the possibility to equip the new museum with something like a "stagemachinery". We devised a series of large-scale kinetic elements that offer the option to radically transform the arrangement of
the gallery spaces. We would also like to make this dramatic transformation of the space itself a spectacle, visible even on the
outside appearance of the building. Thus the internal reconfiguration of the exhibition spaces creates a public sensation within
the urban scenery.
Urban Setting
The generous site on Taichungkang Road is tied into a masterplan of two crossing axes that give an organising structure to the
ensemble of four new landmark buildings that shall comprise the Guggenheim Museum, the new town hall, the city assembly
and the national opera. This arrangement implies that the museum will be approached from two main sides: From Taichung
Harbour Road on the one side and from the crossing point of the two axes on the other side. This double orientation leads to the
idea of a large lobby space that can be approached from two opposing ends and thus cuts a public path through the museum.
Much of the internal organisation of the museum follows from this initial move, motivated by the urban configuration.
We decided to bend the axis of the project so that the building thrusts diagonally through the site towards the corner of Taichung
Harbour Road and Hui Chung Road. Thus we pull away from the neighbouring buildings east of our site. Here we propose to cut
a new road in order to clearly separate and define our site.
Architectural Form
The building gradually emerges from a soft landscape formation. The formal language and architectural articulation is premised
on the idea that the building bleeds into the open public space of the urban axis. The overall dynamism and fluidity of the elongated form suggests an emphasis of movement through and around the building. Both the public flow through the building as
well as the internal circulation through the exhibition spaces is expressed by means of swooping ramps. Although the building
can be approached from both ends, these two ends are articulated rather differently. On Taichung Harbour Road the building
offers its urban edge with a severe cantilevering volume which projects towards the Taichung Harbour Road like a huge canopy.
The 50 meter overhang projects close towards Taichung Harbour Road and will provide an unprecedented spatial experience for
visitors entering the site from here. The opposing end facing the future park-scape of the new urban ensemble is characterised
by curved ramps merging into the building.
GUGGENHEIM MUSEUM, TAICHUNG [TAIWAN]
GUGGENHEIM MUSEUM, TAICHUNG
[TAIWAN]
2003-TBC
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PRESS RELEASE
VITRA
FIRE STATION
VITRA FIRE STATION
[WEIL AM RHEIM, GERMANY]
1991-1993
PROGRAM:
Fire Station
CLIENT:
Vitra International AG
Klunefeldstrasse 22
CH-4127 Biersfelden
SUISSE
ARCHITECT:
Design
Local Architect
SIZE/AREA :
852 m2
Roland Mayer [Lorrach, Germany]
Patrik Schumacher
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We initiated our design with a study of the overall factory site. Our intention was to place the elements of our commission in
such a way that they would not be lost between the enormous factory sheds. We also used these elements to structure the
whole site, giving identity and rhythm to the main street running through the complex. 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.
The space-defining and screening functions of the building were the point of departure for the development of the architectural
concept: a linear, layered series of walls. The programme of the firestation inhabits the spaces between these walls, which puncture, tilt and break according to functional requirements. The building is hermetic from a frontal reading, revealing the interiors
only from a perpendicular viewpoint.
As one passes across the spaces of the firestation, one catches glimpses of the large red fire engines. Their lines of movement
are inscribed into the asphalt. Similarly, the ritualized exercises of the firemen will be inscribed into the ground; a series of choreographic notations. The whole building is movement, frozen. It expresses the tension of being on the alert; and the potential to
explode into action at any moment. The walls appear to slide past each other, while the large sliding doors literally form a moving wall.
The whole building is constructed of exposed, reinforced in-situ concrete. Special attention was given to the sharpness of all
edges; any attachments like roof edgings or claddings were avoided as they distract from the simplicity of the prismatic form and
the abstract quality of the architectural concept. This same absence of detail informed the frameless glazing, the large sliding
planes enclosing the garage, and the treatment of the interior spaces including the lighting scheme. The lines of light direct the
cessarily precise and fast movement through the building.
VITRA FIRE STATION [WEIL AM RHEIM, GERMANY]
VITRA FIRE STATION
[WEIL AM RHEIM, GERMANY]
1991-1993
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PRESS RELEASE
SCIENCE
CENTER
WOLFSBURG
PHAENO SCIENCE CENTER WOLFSBURG [WOLFSBURG, GERMANY]
2000 - 2005 [under construction]
PROGRAM:
Science Center, restaurant, cafe, shop, auditorium, underground car park
CLIENT:
City of Wolfsburg
Ministry of Culture and Sport
Goethestrasse 55
Wolfsburg D-38440
GERMANY
ARCHITECT:
Design
Architects
CONSULTANTS:
Services Engineers
Lighting Consultants
SIZE/AREA :
Science Center
Underground Car Park
Zaha Hadid Architects + Mayer Baehrle Freie
Architekten BDA [Loerrach, Germany]
Christos Passas
Tokarz Freirichs Leipold [Hanover, Germany]
NEK [Braunschweig, Germany]
Buro Happold [London, UK]
Fahlke & Dettmer [Hanover, Germany]
Office for Visual Interaction [New York, USA]
12.000 m2
15.000 m2
The Science Center, the first of its kind in Germany, appears as a mysterious object, giving rise to curiosity and dis-covery.
The visitor is faced with a degree of complexity and strangeness, which is ruled however by a very specific
system of structural organization. Located on a very special site in the City of Wolfsburg it is set both as the endpoint
of a chain of important cultural buildings (by Aalto, Scharoun and Schweger) as well as being a connecting link to the
north bank of the Mittelland Kanal -Volkswagen's Car Town. Multiple threads of pedestrian and vehicular movement
are pulled through the site both on an artificial ground landscape and inside and through the building, effectively composing an
interface of movement-paths. Volumetrically, the building is structured in such a way that it maintains a large degree of
transparent and porosity on the ground, since the main volume -the Exhibition- is raised thus covering an outdoor public plaza
with a variety of commercial and cultural functions which reside in the structural concrete cones. An artificial crater-like landscape is developed inside the open exhibition space allowing diagonal views to the different levels of the exhibition-scape,
while volumes, which protrude, accommodate other functions of the science center. A glazed public wormhole-like
extension of the existing bridge flows through the building allowing views to and from the exhibition space.
2000 -2005 [under construction]
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ZORROZAURRE MASTER PLAN

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