PRESS RELEASE
CARDIFF OPERA HOUSE THE PEAK KMR, ART AND MEDIA CENTRE MALEVICH’S TEKTONIK
ZAHA HADID ARCHITECTS FOR FURTHER INFORMATION:
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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 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 CARDIFF OPERA HOUSE 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 En Engineer Services Consultant Acoustic Consultant Theatre Co Consultant Costing Consultant
Area
25,000 m²
Ove Arup and Pa Partners, UK Ove Arup and Partners, UK Ove Arup and Partners, UK Anne Mi Minors, Th Theatre Pr Projects, UK 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 shape to the Oval Basin Piazza as envisioned by the master plan. At the same time, the building projects a strong figural landmark 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. 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. 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. 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. 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 ART AND AND MEDIA CENTRE 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 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
Structural En Engineers
Ove Arup an and Pa Partners, UK UK Boll und Partner, Germany
Services Engineers
Ove Arup and Partners, UK Mornhinweg and Partner, Germany
Cost Consultants
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 fl oors 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. 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, 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 particular resonance with Hadid's later projects. First, in the Great Utopia show at the Guggenheim, she 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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