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Zaha Hadid: Axxi Rome

Zaha Hadid was commissioned to design the MAXXI Museum in Rome in 1998. Her design features overlapping and intersecting fluid forms that defy gravity and absorb the surrounding landscape. The building uses materials like glass, steel and concrete to create a complex network of interior and exterior exhibition spaces connected by twisting staircases and walkways. It functions as both an art museum and urban cultural center with galleries, an auditorium and outdoor courtyard.

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MIGUEL ANGEL ZUÑIGA PALOMINO
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84 views12 pages

Zaha Hadid: Axxi Rome

Zaha Hadid was commissioned to design the MAXXI Museum in Rome in 1998. Her design features overlapping and intersecting fluid forms that defy gravity and absorb the surrounding landscape. The building uses materials like glass, steel and concrete to create a complex network of interior and exterior exhibition spaces connected by twisting staircases and walkways. It functions as both an art museum and urban cultural center with galleries, an auditorium and outdoor courtyard.

Uploaded by

MIGUEL ANGEL ZUÑIGA PALOMINO
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PPTX, PDF, TXT or read online on Scribd
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ZAHA

HADID

"Only rarely does an architect emerge Presentation on


with a philosophy and approach to the
art form that influences the direction
of the entire field. Such an architect is MAXXI ROME
Zaha Hadid..." -- Bill Lacy, architect
Saajan Sharma
T.Y.B.arch
BIOGRAPHY
 She was born on October 31, 1950 in Baghdad, Iraq.
 She studied mathematics at the American University of Beirut
(Lebanon) in 1968.
 In 1972 she moved to London (UK), to join the Association of
Architecture where she graduated with honors in 1977 and
served as a teacher soon after.
 After her first building was commissioned and built in 1994,
the Vitra Fire Station in Germany, her career took a leap
forward.
 In 2004, she was bestowed with

Pritzker.
STYLE
 Her style is Deconstructivism (breaking architecture,
displacement and distortion, leaving the vertical and the
horizontal, using rotations on small, sharp angles, breaks up
structures apparent chaos)
 Using light volumes, sharp, angular forms, the play of light
and the integration of the buildings with the landscape.
 Integrated into their architectural designs using spiral forms.
 She is an architect known worldwide for her talent in various
disciplines such as painting, graphic arts, three-dimensional
models and computer design.
Project
Considered for Museum of Art, XXI
Study: (MAXXI), Rome, Italy.

Keywords:
Concept
Form
Urban Culture
Functionality
Material
Light and
ventilation
Maxxi Rome
 The museum became the joint home of the MAXXI Arts and MAXXI
Architecture and Italy’s first national museum solely dedicated to
contemporary arts.
 Zaha Hadid architects, out of 273 candidates, won the architectural
competition to design the building in 1998 with a design that responds to the
form and arrangement of existing industrial buildings on the site.
 The design had a flexible, interdisciplinary arena for the exhibition of
contemporary art and architecture and for live events.

View of
Maxxi rome
CONCEPT:
 "GRAVITY-DEFYING",
 "FRAGMENTARY"
 "REVOLUTIONARY"
 A MAIN THEME OF HADID'S DESIGNS EXHIBITS THAT A
BUILDING CAN FLOAT AND DEFY GRAVITY.

Zaha Hadid stated: "I see the


MAXXI as an immersive urban
environment for the exchange of
ideas, feeding the cultural vitality of
the city. It's no longer just a
museum, but an urban cultural
centre where a dense texture of
interior and exterior spaces have
been intertwined and superimposed
over one another. It's an intriguing
mixture of galleries, irrigating a
large urban field with linear display
surfaces".
Urban effect
 It is built on the site of old army barracks between the
river
tiber and via guido reni, the centre is made up of spaces
that flow freely and unexpectedly between interior and
exterior, where walls twist to become floors or ceilings.

 The building
absorbs the
landscape
structures,
dynamizes them
and gives them
back to the
urban
environment. View of maxxi rome with urban developement
Shape and Form

 The fluid and sinuous shapes, the variety and interweaving of spaces and
the modulated use of natural light lead to a spatial and functional
framework of great complexity, offering constantly changing and
unexpected views from within the building and outdoor spaces.
Shape and Form

 The building is a composition of bending oblong tubes,


overlapping, intersecting and piling over each other, resembling a
piece of massive transport infrastructure
 It acts as a tie between the geometrical elements already present.

Overlapping staircases with


intersections
Function and materials
 Located around a large full height space which gives access to the
galleries dedicated to permanent collections and temporary
exhibitions, the auditorium, reception services, cafeteria and
bookshop.
 Outside, a pedestrian walkway follows the outline of the building,
restoring an urban link that has been blocked in past.
 Materials such as glass

(roof), steel (stairs) and


cement (walls) give the
exhibition spaces a
neutral appearance,
whilst mobile panels
enable curatorial
flexibility and variety. The outdoor courtyard surrounding the
museum provides a venue for large-scale works
of art.
Two principle architectural elements characterize the project:
 the concrete walls that define the exhibition galleries and determine the
interweaving of volumes;
 and the transparent roof that modulates natural light. The roofing system
complies with the highest standards required for museums and is
composed of integrated frames and louvers with devices for filtering
sunlight, artificial light and environmental control.

R.c.c walls, glass facades


Conclusion:

Her works has revealed that Zaha Hadid is an


independent and energetic person who has
authentic works and brave enough to speak up
about her own taste. As a woman, her design
metaphors has represent the spirit of “sharp-
energetic-feminine” figure in architecture.

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