zha – DesignApplause

zaha hadid associates opens airport with world’s largest airport terminal in beijing.

Sep 26, 2019

beijing daxing international airport is a new airport in the daxing district 28/miles/46km south of the city center (20 minutes by express train).

developed to alleviate congestion at the capital’s existing airport, beijing daxing will be a major transport hub for the region with the world’s fastest growing demand for international travel and is fully integrated within the country’s expanding transport network.

initially serving 45 million passengers per year, the airport will accommodate 72 million travelers by 2025 and is planned for further expansion to serve up to 100 million passengers and 4 million tons of cargo annually.

beijing daxing’s 7.5 million square feet/700,000 square meters passenger terminal includes an 861,000 square feet/80,000 square meter ground transportation center offering direct connections to beijing, the national high-speed rail network and local train services, providing a catalyst for economic development in tianjin and hebei province.

[ zha official project description ] recently assigned the airport code ‘pkx’ by the international air transport association, beijing daxing sets a new standard in air transport services, serving the region’s growing population within a compact and efficient passenger terminal that is adaptable for future growth.

top > terminal hub / photo > nkchu // above> central courtyard / following photos courtesy of zha

echoing principles within traditional chinese architecture that organize interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multi-layered meeting space at the heart of the terminal.

six flowing forms within the terminal’s vaulted roof reach to the ground to support the structure and bring natural light within, directing all passengers towards the central courtyard. natural light also enters the terminal via a network of linear skylights that provide an intuitive system of navigation throughout the building, guiding passengers to and from their departure gates.

structural spans of up to 100m create the terminal’s generous public spaces and allow the highest degree of flexibility for any future reconfiguration.

the compact radial design of the terminal allows a maximum number of aircraft to be parked directly at the terminal with minimum distances from the centre of the building, providing exceptional convenience for passengers and flexibility in operations. 79 gates with airbridges connect directly to the terminal which can rapidly process the passengers of six full a380 aircraft simultaneously.

five aircraft piers radiate directly from the terminal’s main central court where all passenger services and amenities are located, enabling passengers to walk the comparatively short distances through the airport without the need for automated shuttle trains. as a result, the terminal’s compact design minimizes distances between check-in and gate, as well as connections between gates for transferring passengers. this radial configuration ensures the farthest boarding gate can be accessed in a walking time of less than 8 minutes.

photovoltaic power generation is installed throughout the airport to provide a minimum capacity of at least 10mw. beijing daxing’s centralized heating with waste heat recovery is supported by a composite ground-source heat pump system incorporating a concentrated energy supply area of nearly 2.5 million m2.

the airport also implements rainwater collection and a water management system that employs the natural storage, natural permeation and natural purification of up to 2.8 million cubic meters of water in new wetlands, lakes and streams to prevent flooding and counter the summer ‘heat island’ effect on the local microclimate.

[ project credits ]
client > beijing new airport construction headquarters
architects/joint design team > zaha hadid architects (zha) and adp ingeniérie (adpi)
design (zha) > zaha hadid, patrik schumacher
project directors (zha) > cristiano ceccato, charles walker, mouzhan majidi
project design director (zha) > paulo flores
project architect (zha) > lydia kim
project coordination (zha) > eugene leung, shao-wei huang
project team (zha) > uli blum, antonio monserrat, alberto moletto, sophie davison, carolina lopez-blanco, shaun farrell, junyi wang, ermis chalvatzis, rafael contreras, michael grau, fernando poucell, gerry cruz, filipa gomez, kyla farrell, natassa lianou, teoman ayas, peter logan, yun zhang, karoly markos, irene guerra
beijing team (zha) > satoshi ohashi, rita lee, yang jingwen, lillie liu, juan liu
local design institutes > biad (beijing institute of architecture & design) + cacc (china airport construction company)
consortium team (competition stage) > pascall + watson, burohappold engineering, mott macdonald, ec harris consultants, mckinsey & company, dunnett craven, triagonal, logplan, sensing places, spada

[ consultants ]
security system + baggage systems design > china ippr international engineering co
information and weak power systems design > china electronics engineering design institute + civil aviation electronic technology co
high speed rail design > the third rail survey and design institute group corporation
subway design > beijing city construction design research general institute co
viaduct/bridge design > beijing general municipal engineering design & research institute co
fire performance design > arup
public art > central academy of fine arts
green technology > beijing tsinghua tongheng urban planning and design institute
bim design > dtree ltd.
architecture facade > xinshan curtainwall + beijing institute of architectural design (group) co –complex structure division
metro system > lea+elliott
lighting > gala lighting design studio
identification/signage system > east sign design & engineering co
landscape > beijing institute of architectural design (biad) landscape design division

charlotte olympia launches limited edition collaboration with zaha hadid design.

Nov 21, 2017

in tribute to the late visionary zaha hadid, charlotte olympia launches two limited edition pieces, a platform wedge shoe and a clutch bag, both featuring fluid forms in perspex with rose gold metal accents. in conjunction to these, special packaging was created to echo the sculptural qualities of the designs.

combining the unmistakeable design language of the renowned architect with the creative hallmarks of the british luxury shoe and accessories brand, the partnership began when zaha and charlotte first met in 2015 and agreed to collaborate on a collection. zaha hadid design and charlotte olympia have meticulously realised these pieces as zaha originally envisioned.

launching on 21st november, the two pieces will be available exclusively at charlotte olympia retail stores and online, priced at £1,600 for the shoes and £2,600 for the clutch bag. to mark the occasion, a reception will take place at christie’s on the day of launch with charlotte olympia dellal taking part in a panel discussion. charlotte will also be at the brompton cross store on 22nd november to sign the purchased limited edition designs.

“zaha hadid was a phenomenal person to have known and her work and aesthetic are constant sources of inspiration for me. it was an honor and privilege to have worked with her and to continue working with her fantastic team on this dream collaboration.”
charlotte olympia dellal, founder and creative director of charlotte olympia

“we are always delighted to work with clients who share our passion for bold design and pristine craftsmanship. charlotte olympia and her team have masterfully translated our ideas into reality in two fantastic pieces of superb quality.”
maha kutay, director of zaha hadid design

zaha hadid alleges collusion against japanese government and architects over tokyo national stadium.

Dec 22, 2015

responding to the winning proposal to design the tokyo national stadium, zaha hadid, who’s design won the juried international competition over two years, accuses the japanese government and local architects of collusion over tokyo national stadium.

[official zha statement] “we were honoured to be selected to design a stadium that would enable japan to welcome the world for the 2019 rugby world cup and bring the 2020 olympic games to tokyo, before becoming a new home for japanese sport for many future generations.

“sadly the japanese authorities, with the support of some of those from our own profession in japan, have colluded to close the doors on the project to the world.

“this shocking treatment of an international design and engineering team, as well as the respected japanese design companies with whom we worked, was not about design or budget. in fact much of our two years of detailed design work and the cost savings we recommended have been validated by the remarkable similarities of our original detailed stadium layout and our seating bowl configuration with those of the design announced today.

“work would already be underway building the stadium if the original design team had simply been able to develop this original design, avoiding the increased costs of an 18 month delay and risk that it may not be ready in time for the 2020 games.”

zaha hadid

above/below> kengo kuma’s winning concept incorporates the surrounding trees of the jingu shrine to create a stadium of wood and greenery. the roofing is a hybrid structure that uses wood and steel. the plan is for a stadium that cooperates with the surrounding environment and utilizes the latest technology to create a modern interpretation regarding japan’s climate, culture and tradition.

above/below> what defines toyo ito’s runner-up concept is it’s unique and feathery undulating roof and the 72 wooden pillars. the weight-bearing pillars are symbolic of japan’s tradition of building pillars to honor festivities and also reference japan’s 72 micro-seasons.

in the end, this project inspired two concepts, one a swank sculptural landmark that connects to the future, the other, a frugal nod to tradition that integrates with an everyday present.

somewhere in the research of this article, it was said that the track surface for kuma’s proposal will not pass olympic standards and the national stadium as is can accommodate the 2019 rugby world cup but not the 2020 olympics. but this is not confirmed.

so, each concept is not without controversy, the first led by credible rival local architects, two of whom were the winner and runner-up for the project. and both the runner-up and winner raise comments from even advocates that this is not their best efforts, suggesting a committee designed solution.

zaha does make a case for collusion with the following statement:

zaha hadid architects with arup sports won the international competition to design the new national stadium in 2012. the design was successfully used by tokyo in 2013 when bidding for the 2020 olympic and paralympic games.

zha and arup sports have been collaborating on the design with the sekkei joint venture that includes four of the largest design consultants in japan led by nikken sekkei.

the team selected in the new, restricted, competition includes azusa sekkei, who were part of the zha supervised original design team and focussed specifically on the seating bowl, and also one of the original contractors, taisei. taisei were contracted to deliver the ‘sunken bowl’ of the original zha/arup design (seating, access strategy, etc) and, along with azusa, had access to all of the detailed drawings, plans and work carried out over 2 years by the original design team.

this includes access to the detailed cost savings proposed (and associated design work) by the zha/arup sport including: reducing permanent capacity to 68k with temporary seats used to reach 80k; removing the retractable roof; removing air-conditioning from under each of the seats; removing the public walkway and viewing points around the venue,removing the permanent running track and removing the non-stadium functions such a convention centre, museum and gym. when zha proposed these changes they were rejected by the client and the team was eventually instructed to cease proposing cost-saving solutions. however, all these cost-saving solutions were adopted in the brief of the new competition.

zha wrote to the client on 21 august 2015 stressing that all the design work to date was the intellectual property of zha.

[ in-depth analysis of original zha stadium ]

zaha hadid announced as 2016 royal gold medal winner.

Sep 27, 2015

above> zaha hadid | photo steve double

British architect Zaha Hadid is the first woman to earn in her own right the Royal Gold Medal for architecture. The medal, approved by the Queen and awarded by the Royal Institute of British Architects (RIBA), has been the harborage of men since 1848, although women have shared the prize with others on a handful of occasions. Previous winners include IM Pei (2010), Frank Gehry (2000), Norman Foster (1983), Ludwig Mies van der Rohe (1959), Le Corbusier (1953), Eliel Saarinen (1950), Frank Lloyd Wright (1941) and George Gilbert Scott (1859)

Zaha Hadid is internationally known for her built, theoretical and academic work. Each of her dynamic and innovative projects builds on over thirty years of revolutionary experimentation and research in the fields of architecture, design and urbanism.

RIBA President and chair of the selection committee, Jane Duncan, said: “Zaha Hadid is a formidable and globally-influential force in architecture. Highly experimental, rigorous and exacting, her work from buildings to furniture, footwear and cars, is quite rightly revered and desired by brands and people all around the world. I am delighted Zaha will be awarded the Royal Gold Medal in 2016 and can’t wait to see what she and her practice will do next.”

Zaha Hadid said: “I am very proud to be awarded the Royal Gold Medal, in particular, to be the first woman to receive the honour in her own right. I would like to thank Peter Cook, Louisa Hutton and David Chipperfield for the nomination and Jane Duncan and the Honours Committee for their support. We now see more established female architects all the time. That doesn’t mean it’s easy. Sometimes the challenges are immense. There has been tremendous change over recent years and we will continue this progress. This recognition is an honour for me and my practice, but equally, for all our clients. It is always exciting to collaborate with those who have great civic pride and vision. Part of architecture’s job is to make people feel good in the spaces where we live, go to school or where we work – so we must be committed to raising standards. Housing, schools and other vital public buildings have always been based on the concept of minimal existence – that shouldn’t be the case today. Architects now have the skills and tools to address these critical issues.”

serpentine sackler gallery | photo luke hayes

Born in Baghdad in 1950, Zaha Hadid started her architectural journey in 1972 studying at the progressive Architectural Association in London. She joined her former professors, Rem Koolhaas and Elia Zenghelis, at the Office for Metropolitan Architecture in Rotterdam, where she became a partner in 1977. By 1979 she had established her own practice in London – Zaha Hadid Architects – garnering a reputation across the world for her trail-blazing theoretical works including The Peak in Hong Kong (1983), the Kurfürstendamm in Berlin (1986) and the Cardiff Bay Opera House in Wales (1994).

Working with office partner Patrik Schumacher, Hadid’s interest is in the interface between architecture, landscape, and geology; which her practice integrates with the use of cutting-edge technologies – the result is often unexpected and dynamic architectural forms.

Hadid’s first major built commission, one that catapulted her rise, was the Vitra Fire Station in Weil Am Rhein, Germany (1993); subsequent notable projects including the MAXXI: Italian National Museum of 21st Century Arts in Rome (2009), the London Aquatics Centre for the 2012 Olympic Games (2011) and the Heydar Aliyev Centre in Baku (2013) illustrate her quest for complex, fluid space. Buildings such as the Rosenthal Center for Contemporary Art in Cincinnati (2003) and the Guangzhou Opera House in China (2010) have also been hailed as architecture that transforms our ideas of the future with new spatial concepts and dynamic, visionary forms.

pierresvives | montpllier | photo helene binet

In 2004 Zaha Hadid became the first woman to be awarded the Pritzker Architecture Prize. She has twice won the UK’s most prestigious architecture award, the RIBA Stirling Prize: in 2010 for the MAXXI Museum in Rome, a building for the staging of 21st Century art, the distillation of years of experimentation, a mature piece of architecture conveying a calmness that belies the complexities of its form and organisation; and the Evelyn Grace Academy, a unique design, expertly inserted into an extremely tight site, that shows the students, staff and local residents they are valued and celebrates the school’s specialism throughout its fabric, with views of student participation at every turn.

Zaha Hadid’s other awards include the Republic of France’s Commandeur de l’Ordre des Arts et des Lettres, Japan’s Praemium Imperiale and in 2012, Zaha Hadid was made a Dame Commander of the Order of the British Empire. She was made Honorary Member of the American Academy of Arts and Letters and Fellow of the American Institute of Architecture.

Zaha has held various adademic roles including the Kenzo Tange Chair at the Graduate School of Design, Harvard University; the Sullivan Chair at the University of Illinois, School of Architecture; guest professorships at the Hochschule für Bildende Künste in Hamburg; the Knolton School of Architecture, Ohio and the Masters Studio at Columbia University, New York; the Eero Saarinen Visiting Professor of Architectural Design at Yale University, New Haven, Connecticut and the University of Applied Arts in Vienna.

The Royal Medal comes at a good time for Hadid. In July 2015, her proposed National Stadium for the 2020 Games in Tokyo was renounced by the Japanese government at the 11 1/2 hour. We’re also reminded of a similar fate for the Cardiff Bay Opera House, Cardiff, Wales, 1995. Of interested she won both design competitions for these projects. However, virtue was rewarded in 2010. Using the designs for the Cardiff Bay Opera House on the Guangzhou Opera House, the opera house is now credited with transforming a Chinese city with a population more than four times the size of Wales into a cultural capital. [ zha ]