ZAHA HADID FURNITURE AND PRODUCTS

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					                           ZAHA HADID FURNITURE AND PRODUCTS
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LACOSTE SHOES
London, UK
2009




Photography © Courtesy of Lacoste



PROGRAM:
Limited Edition Footwear for Women & Men + Unisex Diffusion Footwear

CLIENT:
Lacoste
CONCEPT:
The Zaha Hadid for Lacoste footwear collaboration began with a digitized interpretation of surfaces with repeated
patterns. The design expression behind the collaboration with Lacoste footwear allows the evolution of dynamic fluid grids. W hen
wrapped around the shape of a foot, these expand and contract to negotiate and adapt to the body ergonomically. In doing so a
landscape emerges, undulating and radiating as it merges seamlessly with the body. The digital landscape is translated into a tactile
landscape by a series of metal plates depicting the desired wave pattern. These plates were subsequently utilised to apply a
combination of heat embossing and debossing techniques to the calf leather, thus rendering the topography in relief. This resulting
topography gradually emerges on the uppers as it curves around the top and exterior fascia of each shoe, and fades across the straps.
A 2D plan drawing of the 3D pattern is replicated on the sole of the shoe.

The continuity and fluidity in the design are enhanced by the minimum depth of the sole and the seamless strap closure system. The
limited edition closure system features a bi-stable snapping metal band encased in the leather mstrap at the upper-most end. This
responsive band gently wraps and secures itself at ankle height in the men‟s limited edition and at knee height in the women‟s limited
edition. The unique Zaha Hadid for Lacoste logo appears on the side of the heel and on the in-sock.The women‟s boots are available in
black and purple, while the men‟s come in black and navy.

PHOTOGRAPHY:




Photography © Courtesy of Lacoste




Photography © Courtesy of Lacoste
Photography © Courtesy of Lacoste




Photography © Courtesy of Lacoste


RENDERS:
Render © Zaha Hadid Architects




Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DIRECTOR: Woody Yao
DESIGN LEADER: Maria Araya
PROJECT TEAM: Danilo Arsic, Margarita Yordanova Valova, Maha Kutay, Nick Armitage, Dylan Davies




AVILION TRIFLOW TAPS
London, UK
2009
Photography © Luke Hayes



PROGRAM:
Kitchen and Bathroom Taps

CLIENT:
Avilion Triflow

MATERIALS:
Chrome Plated Brass

FINISH:
Chrome, Mirror Image Finish

SIZE:
Kitchen: 43 x 27 x 34 cm
Bath: 40 x 23 x 20 cm

CONCEPT:
The new Avilion Triflow tap is inspired by the fluid movement of water. As a standard tap design begins and ends with a geometric arc
which renders the water visible only when it leaves the faucet head. The design by Zaha Hadid Architects creates a form derived from
the internal movements of water, as a single fluid gesture, where all parts are meant to convey the continuous fl ow between tap, work
surface, and basin.
The Avilion Triflow Tap also incorporates unique manufacturing and functional elements seamlessly into its design. It is revolutionary in
its shape as the manufacture incorporates the newest methods of rapid prototyping with a unique ceramic coring process to create
each tap as a bespoke art piece. A separate waterway for purified water is controlled by a touch sensitive electronic actuator while hot
and cold are controlled by a single lever which blends with the body of the form as the faucet lightly balances on the work-top.

PHOTOGRAPHY:




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Woody Yao, Dylan Baker-Rice, Maha Kutay, Melissa Woolford




SKEIN SLEEVE BRACELET
Damascus, Syria
2009




Photography © Will Thom



PROGRAM:
Bracelet

CLIENT:
Sayegh Jewellers

CONCEPT:
The skein sleeve is a multifaceted jewellery piece that is designed to entwine an arm inside the stretched and pulled latticework of
filigree. The delicate complexity of the geometry is emphasized by the polished white gold that makes up the meshwork and the
adorning white diamonds that flow down the piece like water droplets.

PHOTOGRAPHY:
Photography © Will Thom




Photography © Will Thom


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Maha Kutay, Melissa Woolford, Michael Grau, Hussam Chakouf
GLACE COLLECTION
London, UK
2009




Photography © Courtesy of Swarovski



PROGRAM:
Commercial jewellery

CLIENT:
Atelier Swarovski

MATERIALS:
Coloured Resin and Swarovski crystals in jet, opal, crystal, padpardascha and black diamond

SIZE:
Necklace: 22 x 14 cm
Pendant: 15 x 11 cm
Cuff 1: 10.5 x 5 cm
Cuff 2: 11 x 5 cm
Ring 1: 4.5 x 4.9 cm
Ring 2: 7 x 3.5 cm

CONCEPT:
This enigmatic new collection by Zaha Hadid celebrates a powerful dichotomy between the purity of Swarovski‟s precision cut crystals
and the subtle, organic forms that envelop them. Each piece within the collection has evolved as an abstraction of the sinuous forms
evident in nature, revealing Hadid‟s desire for experimentation and invention throughout every stage of design and realization.

Every miniature crystal describes a unique moment in time, captured in suspension, exhibiting the tension between fluid biomorphic
forms juxtaposing with the exacting, angular regularity of crystal. As the curvature of the surface of each piece flawlessly twists and
turns, dynamic form and ergonomic considerations are seamlessly integrated. An asymmetrical elegance conveys an innate a sense of
movement that seductively encases the embedded crystalline particles.

The lightweight organic pieces translate the brilliance and refraction of light from the crystal. Hadid has aligned these particles in
dynamic swooping arrangements specifically to enhance their elegant formal composition. These signature gestures define this
symbiotic association. They are not so much an abstract exercise for embellishment of the human figure, but Hadid‟s personal
investigation onto the inherent contextual relationships of her work. This personal nature of the collection – rhythmic, seamless and
articulated – gives a truly unique glimpse into Hadid‟s process and experimentation. Each piece intricately suspends its counterparts of
crystal in gentle undulations and folds that relate directly to their organic inspirations. These concave and convex forms are never
arbitrary, alluding to the ergonomic and crystalline properties that define every element of the design.
PHOTOGRAPHY:




Photography © Courtesy of Swarovski




Photography © Courtesy of Swarovski
Photography © Courtesy of Swarovski




Photography © Courtesy of Swarovski
Photography © Courtesy of Swarovski


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Swati Sharma, Maria Araya




CANVAS TV MOBILE STUDIO FOR THE SERPENTINE GALLERY SUMMER
PARTY
London, UK
2009




Photography © Courtesy of Canvas TV



PROGRAM:
Portable studio and sculpture

CLIENT:
Canvas TV
CONCEPT:
The project for Canvas TV extends Zaha Hadid Architects‟ exploration of seamless fluidity into the constantly evolving world of
branding. The undulating elastic surface, with its combination of convex, concave, soft and hard continuous edges, defines a dynamic
form that simultaneously exists across all scales. It is a visionary artistic signature that invites a unique spatial interaction.

PHOTOGRAPHY:




Photography © Courtesy of Canvas TV




Photography © Courtesy of Canvas TV


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
TABLE OF ARCHITECTURE
Padua, Italy
2009




Photography © Fabrizio Marchese



PROGRAM:
Table (Tavolo dell‟Architettura) for the Biennale di Architettura Barbara Cappochin

CLIENT:
Barbara Cappochin Foundation

MATERIAL:
Poplar Wood

SIZE:
2.3 x 19.8 x 1.5 m
             2
Area: 355 m
Weight: 7.3 tonnes

CONCEPT:
Zaha Hadid Architects have designed a 20 meter long wooden table for Cavour Square in Padua, Italy. In continuing the research on
innovative materials and challenging building techniques a traditional construction material has been completely reinvented. The object
is designed to challenge the usual perception of wood as a sheet or stick material, rediscovering the sculptural potential of the wooden
mass. A large block of wood is carved out by dynamic forces to create an undulating structure, installed as a large scale piece of urban
furniture which will attract and surprise the pedestrian flow around it. Seating areas as well as displays are provided within the
sculpture.

The top undulating surface has been panellized to generate a series of elements that can display architectural projects, and it will be
used to showcase the winners of the 2009 Barbara Cappochin Biennale. The 3d file produced from Zaha Hadid Architects has been
engineered directly by the main contractor Arte, which has printed in 3 dimensions the projects, sculpting out the large wooden
structure. The piece has been studied and subdivided in modules to allow transportation on several locations worldwide after the 2009
Biennale is over the next year.

PHOTOGRAPHY:
Photography © Fabrizio Marchese




Photography © Fabrizio Marchese




Photography © Fabrizio Marchese


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT TEAM: Michele Pasca di Magliano, Viviana R. Muscettola,
Elif Erdine
CONSULTANTS:
PRODUCTION: Arte




GENESY AT ARTEMIDE EUROLUCE 2009
Milan, Italy
2009




Photography © Courtesy of Artemide



PROGRAM:
Double Emission Lamp: general light with florescent lamp and task light with 3×1 Watt LED

CLIENT:
Artemide
MATERIALS:
Expanded Polyurethane lacquered

DIMENSIONS:
195 x 120 x 59 cm

CONCEPT:
Zaha Hadid Architects exploration and research into systems of growth in the natural world have informed the distinct formal language
of the Genesy lamp for Artemide. As in the organic development of trees, a sweeping canopy emerges through an extensive
interconnected supporting network at the base. The primary components of this organic analogy are transformed from abstract
diagrams into Genesy‟s fluid design. The lamp‟s structure increases in complexity as it rises from the floor. Like a growing organism,
the central support sprouts branches that adopt a greater radial geometry to enhance the dynamic tensional forces of the structure.
Nature continues to inform the design as these branches frame voids, enhancing the contrast between positive and negative, convex
and concave, tension and compression. These branches follow the coherent formal logic of morphology and spring from the central
structure to support the light source. The Genesy lamp epitomizes the symbiosis between the sensual fluidity of the natural world and
the exacting tolerances made possible by state-of-the-art manufacturing technologies.

RENDERS:
Photography © Courtesy of Artemide
Photography © Courtesy of Artemide
Photography © Courtesy of Artemide


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Alessio Costantino




SEOUL TABLE
New York, USA
2008
Photography © Courtesy of StageOne



PROGRAM:
Table

CLIENT:
NY Project

SIZE:
422x 125 x 72 cm

MATERIAL:
Carbon Fiber

FINISH:
Textured

CONCEPT:
The Seoul Table and Yung Hee Desk explore the moment of transition between the horizontal to the vertical by blending their structural
elements into one streamlined formation. Taking advantage of advanced automotive design and manufacturing techniques the desk
and the table are built through a complex process using carbon fibre giving these pieces extraordinary lightness, strength and
characteristic textured finishing.

PHOTOGRAPHY:
Photography © Courtesy of StageOne




Photography © Courtesy of StageOne


COMPUTER RENDERS:
Render © Zaha Hadid Architects




Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGNER: Daniel Widrig




SEOUL DESK
New York, USA
2008
Photography © Luke Hayes



PROGRAM:
Desk

CLIENT:
NY Project

SIZE:
422 x 125 x 72 cm

MATERIAL:
Carbon Fiber

FINISH:
Textured

CONCEPT:
The Seoul Table and Yung Hee Desk explore the moment of transition between the horizontal to the vertical by blending their structural
elements into one streamlined formation. Taking advantage of advanced automotive design and manufacturing techniques the desk
and the table are built through a complex process using carbon fibre giving these pieces extraordinary lightness, strength and
characteristic textured finishing.

PHOTOGRAPHY:




Photography © Luke Hayes
Photography © Luke Hayes
Photography © Luke Hayes
Photography © Luke Hayes
Photography © Luke Hayes


COMPUTER RENDERS:
Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGNER: Daniel Widrig




CIRRUS
Cincinnati, USA
2008
Photography © Zaha Hadid Architects



PROGRAM:
Furniture made from Formica®
to be sold at auction benefiting the CAC‟s exhibitions and education programs

CLIENT:
Lois & Richard Rosenthal Center for Contemporary Art

MATERIALS:
Laminate by Formica®, colour Black (909-90) in Polished finish, stained medium density fiberboard

SIZE:
244 x 244 x 244 cm

CONCEPT:
Zaha Hadid Architects design Cirrus was produced in collaboration with the Contemporary Arts Center and Formica Corporation. This
dynamic sculpture was displayed as a part of the exhibition FORM: Contemporary Architects at Play, in Cincinnati in May 2008. A live
auction will took place at which this exclusive first edition of Cirrus was sold. All proceeds from the auction went to benefit the CAC‟s
exhibitions and education programs.
Completed in 2003, 2008 year marks the 5th anniversary of Zaha Hadid‟s seminal design for the Lois & Richard Rosenthal Center for
Contemporary Art in Cincinnati. It was conceived as an Urban Carpet that draws in circulation around the suspended interlocking solids
and voids of the galleries. Cirrus offers a carpet of interiority as its striated and weaved articulations unravel from the wall to the ground.
The encompassed series of voids structure the sculpture, providing functional areas for sitting, leaning, lying, and reclining.

PHOTOGRAPHY:




Photography © Zaha Hadid Architects


COMPUTER RENDERS:




Render © Zaha Hadid Architects
Render © Zaha Hadid Architects




Render © Zaha Hadid Architects
Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Melodie Leung, Gerhild Orthacker




ZAHA HADID CHANDELIER AT MILAN FURNITURE FAIR
Milan, Italy
2008
Photography © Leo Torri



PROGRAM:
Chandelier

CLIENT:
Swarovski Crystal Palace

MATERIALS:
Swarovski Crystal, Aluminium, SS Cabling, Copper wire, Microprinted LEDs

SIZE:
Height: 6 m
Width: 2.25 m
Length:10.50 m

CONCEPT:
Zaha Hadid and Swarovski Crystal Palace are collaborating on a design that pushes the boundaries and preconceived notions of what
a chandelier is; one drawing inspiration from self-organizing systems and nanotechnology, redefining the chandelier as an object that is
not merely hung from the ceiling to one engaging the space forcefully. 86 cables stretching from floor to ceiling at a 45 deg. angle with
over 8 tons of tensile force create a fluted cone that carries 2,700 internally lit crystals. Wrapping in a fluid vortex about the cone, the lit
Swarovski crystals inscribe an ethereality in a light blue hue. More than 15m long and intended for a grand interior, the chandelier non-
the-less maintains a high level of refinement. The Zaha Hadid chandelier will be produced as a limited edition sold through Swarovski
Crystal Palace.

PHOTOGRAPHY:
Photography © Leo Torri
Photography © Leo Torri


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNERS: Saffet Kaya Bekiroglu, Kevin McClellan
PROJECT TEAM: Jaime Bartolome, Simon Koumijan III, Amit Gupta
COMPETITION TEAM:


CONSULTANTS:
ENGINEER: ARUP AGU
FABRICATION: LDDE Vertriebs GmbH, Stainless Steel Solutions, Inc, Sheetfabs
CREVASSE
London, UK
2005–2008




Gold Plated Crevasse Vases designed exclusively for Women to Women Gala Auction, 2008. Photography © Zaha Hadid Architects



PROGRAM:
Stainless steel, Gold mirror polish

CLIENT:
Alessi SPA

MANUFACTURER:
Alessi SPA, Italy

CONCEPT:
The two vases are cut from a single block, and scored along two diagonal lines, creating a warped, inverted surface. They can be
assembled together in alternative configurations, creating solid forms, or they can stand alone as distinct objects. The playful nature of
the set means that the configurations can be altered to make a variety of different shapes, and the user can build a family of objects,
like an endlessly mutating jigsaw puzzle.

PHOTOGRAPHY:
Photography © Zaha Hadid Architects
Photography © Zaha Hadid Architects
Photography © Zaha Hadid Architects
Photography © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher, Woody Yao, Thomas Vietzke




MESA AT MILAN SALONE
London, UK
2007–2008
Golden Lime Mesa, Photography © Eudardo Perez



PROGRAM:
Table

CLIENT:
Vitra

MATERIALS:
Polyurethane base, Fiberglass top, Metallic paint finish

DIMENSIONS:
4050 x 1650 x 700 mm

DESIGN CONCEPT:
The Mesa table evolved from an architectural experiment which was similarly to do with creating connections. Elastika was an
installation created in the Moore Building in 2005 for the Miami Art Fair. The brief had been a sculptural structure to revivify the
1921building‟s atrium. Zaha‟s proposal was an organic set of tentacles which linked spaces and floors across the atrium, defying
changing levels and criss-crossing each other in mid-air. The effect was like a huge, sticky chewing gum pulled out of shape across the
interior. It is a sci-fi alien piece which transforms the heart of the building, reaching across space. It looks as if the structure was
attempting to resolve itself back into a single solid.

The Mesa table takes as its starting point a similar situation. Stripping the formal idea back to its constituent parts; ground; structure;
surface, the design creates a world in between the two horizontal planes, a world which becomes structure but in which the voids
express the form as much as the solids.

PHOTOGRAPHY:
Midnight Blue & Golden Lime Mesa, Photography © Eudardo Perez




Midnight Blue Mesa, Photography © Barbara Sorg




Midnight Blue Mesa, Photography © Barbara Sorg
ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Saffet Kaya Bekiroglu
PROJECT TEAM: Chikara Inamura, Melike Altinisik




SCOOP SOFA
London, UK
2008




Photography © Courtesy of Sawaya & Moroni



PROGRAM:
A sofa designed by Zaha Hadid

CLIENT:
Sawaya & Moroni and ROVE LLP

MATERIALS:
GRP with pearlised lacquered paint finish

DIMENSIONS:
Length: 3.90 m
Width: 1.41 m
Height: 0.83 m

CONCEPT:
A fluid form of curvilinear geometry, the Scoop is a continuation of the morphological design language Zaha Hadid has explored and
developed over the past three decades. Whilst at first appearing unscripted and spontaneous, the total fluidity of the Scoop‟s volume
follows the overriding formal logic of Hadid‟s research into systems of continuous transformations and smooth transitions. The Scoop
further develops this dialogue, allowing the architect to capture the ephemeral qualities and diffused forms of clouds, solidifying them.

The Scoop‟s evolutionary lineage is apparent in Hadid‟s past projects: Z-Scape Furniture for Sawaya & Moroni (2003); the Tea &
Coffee Set for Alessi (2003); the Aqua Table for Established & Sons (2005); the Hotel Puerta America interiors (2005); and Elastika for
Design Miami (2006). Zaha Hadid has generated an additional dimensional relationship beyond the reflection of light from the Scoop‟s
surface. By encouraging an exploration into the dichotomy between the powerful solidity of sterling silver and the organic fluidity of its
form, Hadid has created an exquisite and sensual piece that continues her thirty-year repertoire of morphological conception.
COMPUTER RENDERS:




Front Elevation, Render © Zaha Hadid Architects




Perspective 2, Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Saffet Kaya Bekiroglu, Melodie Leung, Maha Kutay, Dylan Baker-Rice, Filipa Gomes




ARZU RUG
London, UK
2008
Photography © Zaha Hadid Architects



PROGRAM:
Rug for the “Designer of Hope” Collection

CLIENT:
Arzu Rugs

MATERIAL:
100% wool with a cotton foundation

SIZE/AREA:
3 x 10, 3 x 12, and 3 x 14 ft

CONCEPT:
Zaha Hadid Architects have designed for Arzu Rugs a one-of-a kind rug, as part of their „Hope by Designers‟ collection, with proceeds
of all rug sales benefiting Arzu‟s programs in Afghanistan. The rug comes in three sizes: 3 x 10, 3 x 12, and 3 x 14 and are all woven by
Arzu women weavers in Afghanistan. Arzu provides sustainable income to Afghan women by sourcing and selling the rugs they weave.
Arzu helps weavers and their families break the cycle of poverty by providing them above market compensation and access to
education and health care.

To place an order, please contact:
Arzu‟s Director of Sales
Suzana Rizzo
Ph.+1 312.321.8665
srizzo@arzurugs.org

RENDER:
Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid
PROJECT DESIGNER: Melodie Leung, Woody Yao, Melissa Woolford




Z–CAR II
London, UK
2008




Front Perspective I, Render © Zaha Hadid Architects



PROGRAM:
Design of a concept car

CLIENT:
Kenny Schachter

SIZE:
Length: 3680 mm
Width: 1700 mm
Height: 1400 mm
Wheelbase: 2450 mm

CONCEPT:
The Z-CAR II is a compact 4-wheeled 4-seater city-car that is based on its 3-wheeled predecessor, the Z-CAR. It is an emission-free
vehicle that is powered by rechargeable lithium-ion batteries. To save space and increase performance the car is fitted with 4 electric
in-wheel motors that make it very quiet. The large sliding passenger doors give easy access. The compact design is taking advantage a
high degree of weight and space distribution for all the mechanical and electrical components.

Computer Renders:
Side View, Render © Zaha Hadid Architects




Front Perspective II, Render © Zaha Hadid Architects
Door perspective, Render © Zaha Hadid Architects




Back view, Render © Zaha Hadid Architects
Top view, Render © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Jens Borstelmann
DESIGN TEAM: David Seeland




HOME HOUSE CLUB
London, UK
2008




Photography © Luke Hayes



PROGRAM:
Private Members Club Interior (reception, bar and lounge)
CLIENT:
Home House Ltd

MATERIALS:
Fibre glass, resin and fabric; Lacquered finish

DIMENSIONS:
7.5 x 3 x 3 m
Floor size: 158 m²

CONCEPT:
Zaha Hadid Architects first London interior for two decades explodes within the Georgian restoration of the ground floor at Home House
private members club. The furniture installations, in saturated Georgian colours, flow through the bar, entrance, and reception rooms to
create an interior landscape of sculptural islands. The sinuous forms follow the fluid geometries of natural systems and distortions.
Whilst further informed by the ergonomic considerations of a social environment, each piece is conceived through the morphological
language that remains its primary formal determination.

The furniture installations at Home House demonstrate a new type of living environment that continues the investigations of dynamic
space making, creating a new open aesthetic that plays with the user‟s interaction. James Wyatt‟s original programmed spaces are
recalled in the functionality of the composition‟s fluid and fresh forms. The islands float between history and future, inviting a dialogue
between past and present, elasticity and solidity and craftsmanship spanning three centuries A new sensibility has evolved out of a
refined knowledge of CNC milling and material technologies, allowing us to develop our design techniques and further contribute to the
current global discourse in digital design and fabrication. A unique dichotomy is realized within Home House between this new formal
language of morphology and dynamic forces and the characteristic orthogonal programming of its Georgian envelope.

PHOTOGRAPHY:
Photography © Luke Hayes




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Maha Kutay, Melissa Woolford, Woody Yao, Susanne Berggen, Sophie LeBienvenue, Susu Xu, Gabriela Jimenez




CELESTE NECKLACE & CUFF
Venice, Italy
2008




Photography © Courtesy of Swarovski



PROGRAM:
Showpiece Jewellery
CLIENT:
Swarovski

MATERIALS:
Blackened pure silver and previous stones: white topaz, smoky quartz and black-spaniel

SIZE:
Necklace
Length: 43 cm
Width: 40 cm

Cuff
Length: 45 cm
Width: 10 cm

CONCEPT:
The Celeste jewellery pieces reflect the fluid movements, dynamic forms and seamless complexity of the vision Zaha Hadid has
explored and developed over the past three decades. The liquid, curvilinear shapes of the necklace and the cuff follow the formal logic
of continuous transformations observed in Hadid‟s morphological research. The unique jewellery pieces are a clear interpretation of the
architectural language pursued by the practice; soft curves arise from the torso to create a dynamic form that wraps around the neck,
coming to rest on the shoulder and eventually flowing down the arm to tentatively rest on the finger. The sculptural sensibility of the
pieces is strongly accentuated by the use of sterling silver that brings to life the rhythm of folds and protrusions. By focusing on the
dichotomy between the powerful solidity of sterling silver and the organic fluidity forms, Hadid has created exquisite, sensual and
stunning pieces.

PHOTOGRAPHY:




Photography © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Swati Sharma
PROJECT TEAM: Kevin McClellan, Maha Kutay
LOTUS AT VENICE ARCHITECTURE BIENNALE
Venice, Italy
2008




Photography © Luke Hayes



PROGRAM:
Furniture

CLIENT:
La Biennale di Venezia

MATERIALS:
Glass-reinforced plastic and polyurethane with high gloss lacquer paint finish, foam mattress, wood, printed fabric, synthetic rubber, and
stretch fabric

SIZE:
Closed: 5.7 x 5.7 x 2.6 m
Open: 10.2 x 6.1 x 2.6 m

CONCEPT:
The „Lotus‟ room is conceived as a fragmented enclosure that can be compressed and expanded into programmed areas for resting,
sitting, storage, and browsing. A multitude of folds structure these programs both formally and functionally. The space of the room is in
transience and fluctuates between two extreme states: one which is highly condensed and exclusive of its surroundings and the other
which is unfolded, dispersed and interlocked into its environment. Furniture and Architecture become integrated and mobile as the
various parts are released from their compact configuration to reveal a mobile desk with encased chair, bed, shelving, a wardrobe
rail/room divider, and end table. Increased variety and possibilities for habitation are revealed as the Lotus seductively sheds and
unveils its embedded counterparts.

PHOTOGRAPHY:
Photography © Luke Hayes




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Melodie Leung, Gerhild Orthacker




AURA L & AURA S
AT THE VILLA LA MALCONTENTA
Venice, Italy
2008
Photography © Luke Hayes



PROGRAM:
„Andrea Palladio & Contemporary Architects‟, Zaha Hadid
and Patrik Schumacher, La Biennale di Venezia

CLIENT:
Fondazione La Malcontenta

CURATOR:
Giulia Foscari W.R.

MATERIALS:
Lacquered fibreglass with embedded steel frame;
Core material: PU-Foam RG100 and Polystyrene EPS 20 milled parts coated with PU-SB1.
Ed. 1/1

SIZES:
6 x 3 x 2.45 m
CONCEPT:
The architecture of Andrea Palladio represents the built manifestation of Palladio‟s utopia of synthesizing all humanistic values by
establishing the exact role and relation of each part of his architectural compositions – from the organism as a perfect whole to each
single room. The proportion of each room is in fact determined by a specific set of „harmonic‟ relations that derive from the Euclidian
mathematics practiced in the 16th Century. Zaha Hadid and Patrik Schumacher – when invited to initiate a dialogue between
contemporary architects and Palladio in occasion of the 500th anniversary of Palladio‟s birth – focused their study on one room,
conscious that exploring the logic and relational system of a single room they would have addressed and captured the essence of
Palladio‟s architectural theory. Villa Foscari La Malcontenta, a building designed by Palladio in 1555 for a site along the Brenta River,
represents the ideal setting for this exploration as it was conceived and built by Palladio as a manifesto to demonstrate the perfection of
his architectural theories to the Serenissima Republic of Venice.

The proportions of the rooms of the piano nobile of La Malcontenta thus constitute the starting point for Zaha Hadid and Patrik
Schumacher‟s study. The frequency curves generated by the harmonic proportional system of the villa are progressively transformed,
through mathematical algorithms, to define a genotypic elementary form that contains in its DNA the whole Palladian set of rules. As a
result of this experimentation, multiple complex spatial environments are generated through lawful variations of Palladio‟s classical
proportions.

Giulia Foscari, exhibition curator

PHOTOGRAPHY:




Photography © Luke Hayes
Photography © Luke Hayes
Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Fulvio Wirz and Mariagrazia Lanza


CONSULTANTS:
STRUCTURAL:
MANUFACTURING: Idee&Design GmbH, The Art Factory
LIGHTING: Zumtobel Illuminazione s.r.l.
ACOUSTIC:
MELISSA SHOES
Designed in London, UK
2008




Photography © David Grandorge



PROGRAM:
Product Design

CLIENT:
Melissa
GRENDENE S/A
Av. Pedro Grendene 131
P.O.Box 230
95.180-000
Farroupilha-RS-Brazil

CONCEPT:
The collaboration with Melissa expands Zaha Hadid‟s portfolio to the field of fashion, creating an exciting opportunity to express spatial
ideas in a different scale and through different media. For the first time Melissa is collaborating with an architect opening a new
research topic, diversifying its repertoire. The design engages with the fluid organic contours of the body. The shoes asymmetric quality
conveys an inherent sense of movement to the design, evoking continuous transformation. The concept addresses the perception of
wearing the shoe in motion rather than a static display on a shopping window. The shoes emerge from the ground and climb up the foot
and leg with a soft elegant movement. The plastic organic quality of the choreography adheres to the skin. There is an implicit sense of
lightness that blurs the boundary between body and object.

Advanced computational modelling allowed us to develop the product and establish a dialogue with Melissa in order to bring the design
to the production line. This challenging process employed 3D printing and rapid prototyping techniques as key tools for refining the
ergonomics of the shoes. The fluidity of the design was a perfect match with Melissa‟s plastic injection mould technology, generating
great synergy between the teams. An overall strategy extends the design values to the packaging and marketing systems, sharing the
same fluidity and seamlessness of the shoes, and enhancing the experience of the product as a whole. The collaboration embodies the
values of the brand creating and exciting product that is fun and new.

PHOTOGRAPHY:
Photography © Courtesy of Melissa




Photography © David Grandorge
Photography © David Grandorge


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
LEAD DESIGNER: Ana M. Cajiao
DESIGN TEAM: Maria Araya, Muthahar Khan




KLORIS
London, UK
2008




Chrome Kloris, Photography © IsaWipfli



PROGRAM:
Outdoor seating
CLIENT:
Julian Treger and Kenny Schachter/ROVE

SIZE:
Length: 6.5 m
Width: 5.1 m
Height: 0.8 m

MATERIALS:
Glass Reinforced Plastic with high gloss lacquer finish in chrome and gradations of green, steel base plates.

PHOTOGRAPHY:




Chrome Kloris, Photography © IsaWipfli




Chrome Kloris, Photography © IsaWipfli
Green Gradation Kloris, Photography © Simon J Spode




Green Gradation Kloris, Photography © Zaha Hadid Architects
Green Gradation Kloris, Photography © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Melodie Leung, Tom Wuenschmann, Yael Brosilovski




„HENRY MOORE: IDEAS FOR SCULPTURE‟ TABLE
London, UK
2008
Photography © Luke Hayes



PROGRAM:
Table, Shelf, and Exhibition Design

CLIENT:
Hauser & Wirth

MATERIAL:
Aluminium

FINISH:
Mirror Finish

DIMENSIONS:
Length: 6.42 m
Width: 2.18 m
Height: 1.04 m

CONCEPT:
Zaha Hadid Architects has designed a table, shelf and exhibition space to display the seldom seen smaller sculptures of British artist
Henry Moore. The parallels between Moore‟s and Hadid‟s work led to her commission of the display and gallery design – both start with
a formal abstraction, movement, and asymmetry, which bring their solid creations a unique life and identity. In the gallery design this is
expressed in the softly curving and undulating walls of the ground fl oor space, which will display drawings and paintings of Henry
Moore. In the display design the connection is shown through the simultaneous organic and mathematical intricacy of the table and
shelf legs which blend seamlessly into mercurial tops holding the sculptures. Thus, table, shelf, and walls are inspired by the sculptor‟s
work and form not only a plinth for display but a secondary sculpture which complement the original pieces.
The process of creating Zaha Hadid‟s unique exhibition design was similar to carving a sculpture from solid blocks of material. The
table and shelf were made through a combination of hi-tech and traditional craftsmanship. The newest automotive manufacturing
techniques are used to whittle solid blocks of aluminium into the basic shapes of leg and tops. Each piece is then hand polished,
welded and polished again by expert craftsmen in the Midlands to create a singular seamless piece. Table and shelf become an
organisation of three separate pieces suited to the gallery and its walls, which are constructed of fabric stretched over a framework, like
a canvas.The display can be rearranged after the exhibition into an array of combinations.

PHOTOGRAPHY:




Photography © Luke Hayes
Photography © Luke Hayes
Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT TEAM: Woody Yao, Dylan Baker-Rice




ORCHIS SERIES
Designed in London, UK
2008




Sonnabend Gallery Exhibition, NYC, Photography © Isa Wipfli



PROGRAM:
Outdoor Stools
CLIENT:
Kenny Schachter/ROVE

SIZE:
Orchis1: 130 x 73 cm
Orchis2: 152 x 75 cm
Orchis3: 103.5 x 52 cm
Orchis4: 175 x 83 cm

MATERIALS:
Milled foam; coated with Polyurethane, reinforced with mineral fibreglass laminate and painted with car paint.

CONCEPT:
Stools were conceived using the mathematical principle of non orientated surfaces; having no distinct inner and outer side. As the
curvature of the surface twists and bends it creates an elegant seat, back rest and legs. The outdoor stools coalesce as a single object
or lie scattered as a fi eld of related dynamic shapes. Each piece accommodates from one to three places, bunched affording generous
seating. Milled from EPS foam and reinforced with a fiberglass shell, the design has evolved from a developed knowledge of material
technologies and CNC milling.

PHOTOGRAPHY:




Orchis 1, Photography © Bettina Johae
Orchis 2, Photography © Bettina Johae




Orchis 3, Photography © Bettina Johae
Orchis 4, Photography © Bettina Johae


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Johannes Schafelner
DESIGN TEAM: Judith Schafelner, Andres Schenker




SERIES ZH DOOR HANDLES
London, UK
2007




Photography © Courtesy of Valli & Valli



PROGRAM:
Door handles

CLIENT:
Valli & Valli

MATERIAL:
Nikrall Zamak alloy UNI 3717

CONCEPT:
A door handle that captures the seamless beauty which is synonymous with the work of Zaha Hadid. It was designed expressly for the
communal spaces and the rooms of the floor she created for the Puerta America Hotel in Madrid, characterised by a dynamic and
strongly customised architecture.

The coldness of the material fuses effortlessly with the sensual fluidity of the design. The spatial formation defies a beginning and an
end. Pure lines merge organically into a harmonious link creating a spatial journey of beauty and intricacy. On the occasion of the
forthcoming marketing launch of this series, the rose has been specially designed as an irregular form characterized by symmetrical
lines that unequivocally recall the grip‟s pattern.

PHOTOGRAPHY:




Photography © Courtesy of Valli & Valli


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Woody K.T.Yao




BOWLS FOR SAWAYA & MORONI
London, UK
2007




Arcylic Bowl, Photography © Sawaya & Moroni



PROGRAM:
A bowl by Zaha Hadid, available in sterling silver
(2 seperate sizes) and Metacrylic

CLIENT:
Sawaya & Moroni
DIMENSIONS:
Bowl 70
Width 700 mm
Depth 325 mm
Height 130 mm

Bowl 60
Width 600 mm
Depth 275 mm
Height 130 mm

Bowl (Metacrylic)
Width 700 mm
Depth 325 mm
Height 130 mm

CONCEPT:
A fluid form of curvilinear geometry, this silver bowl is a continuation of the morphological design language Zaha Hadid has explored
and developed over the past three decades. The elegant sculptural mass of the bowl is slightly concave in its centre and responds to
the diffusion of energies that are generated at its perimeter, inviting an exploration of natural forces and affording a unique contextual
relationship within any environment.

Whilst at first appearing unscripted and spontaneous, the total fluidity of the bowl‟s volume follows the overriding formal logic of Hadid‟s
research into systems of continuous transformations and smooth transitions. The silver bowl further develops this dialogue, allowing the
architect to capture the ephemeral qualities and diffused forms of clouds, solidifying them in sterling silver.

PHOTOGRAPHY:




Arcylic Bowl, Photography © Sawaya & Moroni
Silver Bowl, Photography © Sawaya & Moroni


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN LEAD: Saffet Bekiroglu
DESIGN TEAM: Maha Kutay, Melissa Woolford, Tarek Shamma




DUNE FORMATIONS
Venice, Italy
2007




Wall Shelving, Photography © ORCH
PROGRAM:
Installation for Venice Art Biennale

CLIENT:
David Gill Galleries

MATERIAL:
Aluminium & Fiberglass/Resin

SIZE/AREA:
24 x 13 m

CONCEPT:
Dune Formations emerge as a series of distinct elements, all generated by a common series of topological rules and differentiated by
unique design features. The elements nest into each other to form a dynamic three-dimensional ensemble, where each object affects
its neighbours and at the same time has the ability to live on its own as a piece.

The unique furniture elements range from wall shelving, units, tables, benches and an artificial tree. Every piece of the installation
challenges traditional Cartesian geometries by blending vertical and horizontal into continuous three-dimensional surfaces. Advanced
3d modelling techniques are combined with processes of digital production and innovative materials. Metal and resins are melted into
sinuous shapes finished with a bespoke golden orange colour. Domestic objects are redefined into abstractions that lead to a unique
interpretation of an interior landscape. Each element suggests a multiplicity of possible uses, introducing a creative combination of
horizontal surfaces, display areas and seating elements.

PHOTOGRAPHY:




Artificial Tree, Photography © ORCH
Wall Shelving, Photography © ORCH




Dune Table, Photography © ORCH


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Michele Pasca di Magliano, Viviana Muscettola
CRATER
London, UK
2007




Standing View, Photography © Michael Molloy



PROGRAM:
Table

CLIENT:
David Gill Galleries

DESIGN CONCEPT:
With Crater, Hadid‟s experimentation leads to an entirely unique line of questioning that explores the relationship between the table and
disparate objects placed upon its surface. Hadid has reduced the substance of the table and these objects on its surface into the purest
of forms. She then reconnects each function with a sensual fluidity generated by her dialogue of smooth transitions between elements.

Emerging from Crater‟s surface we see objects that appear definite, yet when examined from an alternative perspective, these bowls or
candle holders have no independent solidity – they are simply integral elements within the continuous topology of the table‟s surface.
Three craters are molded by invisible forces into the complex curvilinear geometry mastered by Hadid – a design language that
incorporates the radical aesthetics of the Russian Avant-Garde together with a fluidity reminiscent of Expressionism. Two of these
craters extend reassuringly to the floor. The third crater is suspended in space, and clearly a bowl. With this truncation, we are, once
again, provoked to question the separation between table and object.

PHOTOGRAPHY:
Detail, Photography © Michael Molloy




Side View, Photography © Michael Molloy


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Saffet Kaya Bekiroglu
DESIGN TEAM: Chikara Inamura, Chrysostomos Tsimourdagkas
WMF CUTLERY
London, UK
2007




Render © Zaha Hadid Architects



PROGRAM:
Cutlery

CLIENT:
WMF AG Eberhardstr. D-73309 Geislingen/Steige

MATERIAL:
Stainless steel, Mirror-polished

CONCEPT:
Each single piece within the cutlery set has a formal expression of its own and yet combined they compliment one another as a unified
entity. Sculptural surfaces are combined with fine detail to form geometrically complex objects. The cutlery is forged from solid stainless
steel that is polished to a mirror finish. The thickness of the material is extreme in some parts, allowing each item of the set to be
ergonomically well balanced.

ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Jens Borstelmann




BELU BENCH
London, UK
2007




Photography © Barbara Sorg



PROGRAM:
Commission for a seating area

CLIENT:
Kenny Schachter/ROVE

CONCEPT:
Belu is conceived as an autonomous single-celled body that allows for multi-functional use; as a table, counter, chair, container, or
simply as a surface to lean on, rest on. With the dynamic complex geometry of a fluid volume, Belu is able to generate varying
adjacency conditions in its direct relationship with the human body. Belu is not just an object for display, but a dynamic gesture that
spatially defines its surroundings whilst serving a variety of functions. In a re-visitation of the original concept, these unique geometries
of Belu have been maintained yet scaled down in all three dimensions. This series affords Belu further possibilities of direct intervention
within the domestic environment.

PHOTOGRAPHY:
Photography © Barbara Sorg




Photography © Barbara Sorg
Photography © Luke Hayes




Photography © Luke Hayes
Photography © Luke Hayes




Photography © Luke Hayes


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Saffet Kaya Bekiroglu
PROJECT TEAM: Maha Kutay, Tarek Shamma, Melissa Woolford
FLOW
Designed in London, UK
2006–2007




Flow Large & Medium, Photography © Zaha Hadid Architects



PROGRAM:
Vase

CLIENT:
Serralunga

MATERIALS:
Polyethelene with laquered gloss finish

DIMENSIONS:
Flow L: 2000 x 1300 x 1200 mm
Flow M: 1200 x 900 x 900 mm

CONCEPT:
FLOW has been designed by Zaha Hadid and Patrik Schumacher as an experiment in coupling advanced 3d modelling techniques and
the technology of rotational moulding. It defines a new typology in product design, vase and sculpture, a sinuous object through which
Cartesian geometries are blended in a continuous three-dimensional surface.
PHOTOGRAPHY:




Flow at Milan Show, Photography © Courtesy of Serralung




Flow at Milan Show, Photography © Courtesy of Serralung




Flow at Milan Show, Photography © Courtesy of Serralung
Flow at Serpentine Party 2007, Photography © Luke Hayes




Flow at Serpentine Party 2007, Photography © Luke Hayes
Flow at Serpentine Party 2007, Photography © Luke Hayes




Flow at Serpentine Party 2007, Photography © Luke Hayes


DRAWINGS:
Drawing © Zaha Hadid Architects


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Michele Pasca, Viviana Muscettola




MOON SYSTEM
Designed in London, UK
2007




Photography © Fabrizio Bergamo



PROGRAM:
Seating
CLIENT:
B&B Italia

MATERIAL:
Polyurethane

DIMENSION:
2700 x 2000 x 850 mm

CONCEPT:
Zaha Hadid Architects and B&B Italia are delighted to present the MOON System, a totally unique new seating concept combining the
unrivalled experience in manufacturing technologies of B&B Italia with Zaha Hadid Architects‟ many years of research into complex
curvilinear geometries. Ergonomics and beauty are blended in a continuous shape. MOON liquefies the traditional sofa typology to
accommodate a variety of users in a flexible and comfortable design.

MOON redefines the idea of modular seating systems by making each element a module in its own right: the system reconfigures itself
by rotating, interlocking, and hiding its individual elements to allow an integration of formal disparate pieces within an overall ensemble.
The complex double-curvature geometries introduced by Zaha Hadid allow the smooth transition between the surrounding space and
pieces themselves. MOON is able to constantly reconfigure the equilibrium between solid and void, positive and negative, object and
space.

PHOTOGRAPHY:




Photography © Fabrizio Bergamo
Photography © Fabrizio Bergamo




Photography © Fabrizio Bergamo


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN LEAD: Viviana Muscettola
DESIGN TEAM: Michele Pasca di Magliano




SWARM CHANDELIER
London, UK
2006
Photography © Courtesy Established & Sons



PROGRAM:
Chandelier

CLIENT:
Established & Sons

MANUFACTURER:
Established & Sons, London

MATERIAL:
Crystal

CONCEPT:
The Swarm Chandelier by Zaha Hadid Architects for Established & Sons expresses the continued sense of motion that is characterized
in the architecture of Zaha Hadid. Like a controlled explosion, it is a composition of black crystal volumes in forms that are dynamic
rather than static and that slash through space, creating movement through actual and perceived time. The intricately layered spatial
formation of the chandelier presents itself as a unified whole, only revealing the forces that created its varied modulations and sub-
articulations upon closer examination. It does not presuppose any proportional system, nor does it privilege symmetry. Instead
integration is achieved via various modes and spatial relationships created from the dynamic forces of this controlled explosion. The
parts – the petals of the chandelier – are brought together to form a larger organic whole. They do not remain pure and indifferent to
each other, but are mutually adapting to each other and to the forces of the generating explosion.
The swarm of drifting volumes of the Swarm Chandelier is a spatial composition with the highest degrees of complexity that define the
forces generated by an explosion of the original mass. The ability to produce such intricately moulded forms is continuously enhanced
by the utilization of ever more sophisticated digital modelling tools, including animation software to illustrate the force-fields of the
creation explosion.

PHOTOGRAPHY:




Photography © Courtesy Established & Sons
Photography © Courtesy Established & Sons


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Saffet Kaya Berkiroglu
Z–CAR
London, UK
2005




Render © Zaha Hadid Architects



PROGRAM:
Design of a concept car

CLIENT:
Kenny Schachter/ROVE

SIZE:
Length: 3.8 m
Width: 1.8 m
Height: 1.7 m

CONCEPT:
The Z-CAR is a two-seater city car with a three-wheel base. Using Hydrogen as a source of energy it is a very quiet zero-emission
vehicle. The inclination of the passenger pod is speed adjusted. At low speeds it is in the upper position and gives the driver a better
street vision. A shortened wheelbase then also requires less parking-space. At higher speeds the pod lowers on the hinged rear
suspension, moving the car‟s centre of gravity closer to the road for safer handling and improved aerodynamics. Reflecting the organic
language of the office, the shape of the car is streamlined in order to generate a fluid design with minimum wind friction.
The body consists of lightweight carbon-fibre composite with a large asymmetric door hatch giving the passengers a panoramic vision.
The interior design is based on ergonomics embracing both driver and passenger that sit side by side. The steering wheel connects
with “drive-by wire” technology to motors that operate the steering mechanism and it holds controls that manage other functions.

Computer Renders:




Render © Zaha Hadid Architects
Render © Zaha Hadid Architects




Render © Zaha Hadid Architects
ICONE BAG
Paris, France
2006




Photography © Werner Huthmacher



PROGRAM:
Product Design

CLIENT:
Louis Vuitton
2, Rue Du Pont-Neuf
75034 Paris
France
CONCEPT:
The opportunities of reinterpretation of the iconic LV Bucket bag lead us to reflect on its condition as a generic container. The
combination of a series of formal operations (extrusion, distortion, peeling and slicing) and the selection of materials, created a family of
differentiated bags, hybrid crossings between traditional bag typologies, i.e. pochette and clutch, and the bucket.

Clustering the bags generated a series of possible relations between the different buckets, the containers and the contained, which
allowed for its parts to be interchangeable under one coherent composition. The possibility of different combinations of containers,
buckets, triggers a playful and interactive relationship with the user, allowing for a customization of the bucket‟s form and program to
each occasion.

PHOTOGRAPHY:




Photography © Werner Huthmacher
Photography © Werner Huthmacher
Photography © Werner Huthmacher


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT DESIGNER: Ana M. Cajiao
DESIGN TEAM: Muthahar Khan
Z–ISLAND
London, UK
2006




Photography © Courtesy of DuPont Corian



PROGRAM:
2 free-standing kitchen islands, 1 modular wall panel system, 1 shelving system

CLIENT:
DuPont and Ernestomeda

SIZE/AREA:
Main Island: 4.5 x 0.8 x 1.8 m
Second Island: 1.2 x 1.6 x 0.9 m
Wall Panels: 100 pieces of 0.6 x 0.6 m

CONCEPT:
The Z-Island is in line with a series of formal studies emphasizing the conceptual term of „fluidity‟. The overall composition contains the
main cooking island, the secondary island as well as a background of wall panels. The main Island is an elongated cantilevering shape
(450 x 70 cm), which evolves from a horizontal cooking and eating surface continuously into a vertical digital surface. In contrast to this
stretched figure the secondary Island resembles a point/drop. It contains the sink the dishwasher as well as a shelving unit. The
background is an elevation of a wavy morphological puzzle consisting of modular 60 cm x 60 cm thermoformed Corian elements that
are rotated and reassembled in various ways creating complex patterns on the interior walls.

PHOTOGRAPHY:
Photography © Courtesy of DuPont Corian




Photography © Courtesy of DuPont Corian


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Thomas Vietzke
DESIGN TEAM: Georgios Maillies, Maurice Martel, Katharina Neuhaus, Ariane Stracke


MANUFACTURER:
Company Hasenkopf, Germany
Z–ISLAND
London, UK
2006




Photography © Courtesy of DuPont Corian



PROGRAM:
2 free-standing kitchen islands, 1 modular wall panel system, 1 shelving system

CLIENT:
DuPont and Ernestomeda

SIZE/AREA:
Main Island: 4.5 x 0.8 x 1.8 m
Second Island: 1.2 x 1.6 x 0.9 m
Wall Panels: 100 pieces of 0.6 x 0.6 m

CONCEPT:
The Z-Island is in line with a series of formal studies emphasizing the conceptual term of „fluidity‟. The overall composition contains the
main cooking island, the secondary island as well as a background of wall panels. The main Island is an elongated cantilevering shape
(450 x 70 cm), which evolves from a horizontal cooking and eating surface continuously into a vertical digital surface. In contrast to this
stretched figure the secondary Island resembles a point/drop. It contains the sink the dishwasher as well as a shelving unit. The
background is an elevation of a wavy morphological puzzle consisting of modular 60 cm x 60 cm thermoformed Corian elements that
are rotated and reassembled in various ways creating complex patterns on the interior walls.

PHOTOGRAPHY:
Photography © Courtesy of DuPont Corian




Photography © Courtesy of DuPont Corian


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
PROJECT ARCHITECT: Thomas Vietzke
DESIGN TEAM: Georgios Maillies, Maurice Martel, Katharina Neuhaus, Ariane Stracke


MANUFACTURER:
Company Hasenkopf, Germany
ODRUPGAARD BENCH
London, UK
2004–2005




Ordrupgaard Bench, Photography © PP MØBLER



PROGRAM:
Bench Designed for Ordrupgaard Extension

CLIENT:
Danish Ministry of Culture

SIZE:
203 x 70 x 45 cm

PHOTOGRAPHY:
Ordrupgaard Bench, Photography © PP MØBLER




Ordrupgaard Bench, Photography © PP MØBLER


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher


MANUFACTURER:
PP Møbler
VORTEXX CHANDELIER
London, UK
2005




Photography © Zumtobel



PROGRAM:
Chandelier

CLIENT:
Sawaya & Moroni and Zumtobel & Staff

SIZE:
Diametre: 1.8 m

MATERIAL:
Fibreglass, Car Paint, Acrylic and LED

CONCEPT:
The design language explored in the vortex is in line with a series of furniture pieces realized in collaboration with Sawaya & Moroni.
Fluidity and seamlessness are conceptual terms that best describe the appearance of this 1.8 m wide and 0.8 high chandelier. Its
complex curvilinearity follows a double helix connecting its beginning to its end and therefore forming an endless ribbon of light. In plan
the object resembles a star with its protrusions pointing outwards from the center, emphasizing an imaginary centrifugal force. Two
transparent acrylic light spirals are inscribed in the chandelier‟s otherwise opaque surface. A recessed LED light strip provides
animated and programmable light sensations. Direct as well as indirect light can optionally be emitted to the environment. Consequently
different lighting atmospheres may be created by the user in order to match the specific space in which the chandelier is installed. This
new interior design language is fuelled by advanced digital design possibilities and manufacturing methods such as CNC-milling and 3D
printing. The user is invited to creatively explore its interactive qualities and respond to its unfamiliar aesthetics.

PHOTOGRAPHY:
Photography © Zumtobel




Photography © Zumtobel
Photography © Zumtobel




Photography © Zumtobel
Photography © Zumtobel


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Thomas Vietzke
AQUA TABLE
London, UK
2005




Black Production Table, Photography © Dan Toben Smith



PROGRAM:
Table

CLIENT:
Established & Sons

MATERIALS:
Limited Edition: Gloss Laminated Polyurethane resin, silicone
Production: Gloss-finish Polyurethane

SIZE:
Limited Edition: 4200 x 1450 x 750 mm
Production: 3050 x 1320 x 760 mm

CONCEPT:
The enigmatic liquid form of the Aqua table awakens one‟s curiosity. The user is invited to explore the forces of motion that created
such a form. The form is blurring the relationship between the horizontal top and vertical legs. The three blisters bulging out to form legs
below the table surface register as indentations at the top surface.

The Aqua table is an organic body flowing within space. Rather than being static, it implies motion by adopting the dynamic gestures of
liquid to form a continuous surface. The table‟s asymmetrical, irregular tabletop and varying edges create an ergonomic solid that offers
endless relationship possibilities with its user and its environment. Through surface mutations at three local points, the table‟s legs
emerge to form a singular, unbroken surface, elevating the tabletop and stabilizing the beneath. These mutations are inflected in the
tabletop surface to enhance the singular monolithic form of the Aqua table. The translucent silicon gel of the tabletop surface has a
smooth top with 3 deformities on its lower side. Gradual alterations in the colour of the tabletop reflect these deformities, creating a
surreal visual effect that draws us to explore the difference between the actual/perceived depth of the pad by touching the surface to
reveal its true nature.

PHOTOGRAPHS:
White Limited Edition Table, Photography © David Sykes




White Limited Edition Table, Photography © David Sykes
White Limited Edition Table, Photography © David Sykes




(RED) Campaign Limited Edition Table, Photography © Graham Carlow




(RED) Campaign Limited Edition Table, Photography © Graham Carlow
Z-SCAPE ICEBERG
London, UK
2003




Ice-Berg, Copper Scheme, Photography © Sawaya & Moroni



PROGRAM:
Bench

CLIENT:
Sawaya & Moroni

MATERIAL:
Wood, Steel, Car Paint

CONCEPT:
The „Iceberg‟ furniture piece is part of a line of formal research that explores the idea of liquid territories. As well there is the „ice-cube‟,
a day bed developed for Sawaya & Moroni, and the „ice-storm‟, a sculpture designed for the MAK in Vienna that embraces and
incorporates these different furniture pieces within one whole liquid landscape. The „ice-berg‟ is a bench that enables the user to sit on
both sides. The outstanding and apparent features of this bench are two icicles – like extensions. One is darting into horizontally
whereas the other points vertical.

Although these two shapes are opposing and contrasting each other there is mediation between them through a diagonal fold that
„morphs‟ one shape into the other. The morphing process (the continuous transition from one shape to another) enables us to blend
disparate shapes into one organic whole. A straight plane cuts the „iceberg‟ in two pieces approximately in a one third /two third ratio.
The resulting parts might be used single standing so that there will be one throne like chair reaching up to a height of about 2 m, as well
as one horizontal part which invites the user to stretch out and try different leaning and lying positions on it. Both parts are highly
ergonomic due to the organic shape that flows around the user‟s body. The finish, pearl white car paint increases this feeling of
smoothness and liquification.
PHOTOGRAPHY:




Ice-Berg, Copper Scheme, Photography © Sawaya & Moroni


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Thomas Vietzke, Woody K.T. Yao




TEA & COFFEE PIAZZA
London, UK
2003
Photography © Courtesy of Alessi



PRODUCT DESIGN:
Table sculpture composed of 4 elements: tea pot, coffee pot, milk jar and sugar pot.

CLIENT:
Alessi

CONCEPT:
This is a table sculpture that splits into 4 elements: tea pot, coffee pot, milk jar and sugar pot. Like a three-dimensional puzzle, the
pieces fit together to form a whole. They sit within a tray that guides the user through the multiple configurations, the form changing
according to whether or not the set is in use. The „representative mode‟, when the set is unused, is a compact structure that is easily
carried around. Formally speaking, the sculpture exploits the idea of contrasting and combining extremely vertical with extremely
horizontal objects.

The teapot is a wide, flat organic shape, whilst the coffee pot rises from this landscape like a tower. In the „functional mode‟ the objects
are flipped and turned, facilitated by the template of the tray. Each shape has a cut/section that enables the piece to slide onto a
different axis, exposing openings for pouring, and producing a completely different composition. „Tea-time‟ takes on a whole new
significance: it becomes a sculptural riddle. The user manipulates the sliding, flipping and revolving parts, and finds the answers
contained in the tea tray.

PHOTOGRAPHY:
Photography © Courtesy of Alessi




Photography © Courtesy of Alessi


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid
DESIGN LEADERS: Woody KT Yao, Thomas Vietzke




MAX PROTETCH BENCH
London, UK
2003
Photography © Eli-Ping Weinberg



PROGRAM:
Bench

CLIENT:
Max Protech

MATERIAL:
Aluminium

SIZE/AREA:
141.8 x 37.75 x 31.6 in

CONCEPT:
The aluminium cast bench is in line with a series of large scale furniture pieces exploring the conceptual terms of fluidity. The bench is
conceived as a diagonal fold providing seating on both sides of the backrest. The continuous curvatures provide ergonomic qualities
while two planar cuts at either end of the bench suggest a positioning along a vertical wall. Advanced modelling software and digital
manufacturing methods were used to realize the complex shape.

PHOTOGRAPHY:
Photography © Eli-Ping Weinberg




Photography © Eli-Ping Weinberg
TEA & COFFEE SET FOR SAWAYA & MORONI
London, UK
1996–1997




Photography © Marcela Spadaro



PROGRAM:
Tea & Coffee Set, Silverware

CLIENT:
Sawaya & Moroni
Manzoni 11
20121 Milano – Italy

MATERIALS:
Handmade sterling silver

SIZE:
Overall Dimensions: 56 x 36 x 47 cm
Tea Pot: 15 x 28 x 8 cm
Coffee Pot: 9 x 28 x 10 cm
Milk Jug: 20 x 9 x 7 cm
Sugar Bowl: 9 x 10 x 7 cm
PHOTOGRAPHY:




Photography © Sawaya & Moroni


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid
DESIGN TEAM: Maha Kutay, Anne Save de Beaurecueil


Z-SCAPE
London, UK
2000




Moraine, Glacier & Stalactite, Photography © Courtesy of Sawaya & Moroni
PIECES:
Glacier, Moraine, Stalactite, Stalagmite and Iceberg

PROGRAM:
Furniture Ensemble

CLIENT:
Sawaya & Moroni

CONCEPT:
Z-Scape is a compact ensemble of lounging furniture for public and private living rooms. The formal concept is derived from dynamic
landscape formations like glaciers and erosions. The different pieces are constituted as fragments determined by the overall mass and
its diagonal veins. Along these veins the block splits offering large splinters for further erosive sculpting. Four pieces have emerged so
far: stalactite, stalagmite, glacier, and moraine. Others are yet to be unearthed. The pieces thus derived are shaped further- if rather
loosely – by typological, functional and ergonomic considerations. But these further determinations remain secondary and precariously
dependent on the overriding formal language. Optimized and thus predetermined use-patterns are not being offered in this project. A
margin of strangeness and indeterminacy is desired. Stimulation emerges between abstraction and metaphor.

Within 5 x 2.5 m, 11 different pieces are melted together into a jigsaw puzzle, which can be opened up and recombined into other
configurations. The lounging box chops off a condensed moment in a flow of interwoven soft and hard space. The soft space, moving
up from the floor, is re-shaped into comfortable seating elements, while the hard space always has vertical flat surfaces on the top, as
well as within its structure, giving rise to tables, desk and bar elements and a range of shelving. At this stage of the process, four pieces
are developed into real scale prototypes. Glacier and Moraine are a pair of sofas in monolith upholstered foam. They are presented with
two complementary tables, Stalactite and Stalagmite, which are made of wood.

PHOTOGRAPHY:




Moraine & Glacier, Photography © Courtesy of Sawaya & Moroni
Copper Scheme Glacier, Photography © Courtesy of Sawaya & Moroni




Stalactite & Stalagmite, Photography © Courtesy of Sawaya & Moroni
Z-Play, Photography © Courtesy of Sawaya & Moroni


ARCHITECT:
ZAHA HADID ARCHITECTS
DESIGN: Zaha Hadid with Patrik Schumacher
DESIGN TEAM: Woody Yao, Caroline Voet, Chris Dopheide, Eddie Can

				
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