As defined by Merriam Webster, architecture is the art or science of designing and creating buildings. Although the word itself is narrowly defined, the art itself is broad and the science complex. Therefore, being considered a master or a great impact is a feat that few achieve. For centuries, architects were educated on what was known, continually repeating the mistakes of their predecessors and limiting their designs to function. However, in these time periods, only a few intelligent and innovative individuals have had the honor of being remembered for laying the foundation for the future of architecture and leaving a legacy. Among these notable architects are Gustave Eiffel and Jorn Utzon who designed the Eiffel Tower and the Sydney Opera House respectively. These men are prime examples of innovators whose creative genius and ability to think outside the box have earned them a place in history. However, to be considered among the greatest architects, one must shine creatively and practically. It is a combination of the two that Zaha Hadid embodies with her life's work and the legacy she leaves behind. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Born in Baghdad, Iraq, on October 31, 1950, Hadid was welcomed by two wonderful parents. Both originally from Mosul, Iraq, her parents gave her a great influence from an early age. Muhammad al-Hajj Husayn Hadid, Zaha's father, was a wealthy man who also came from wealth. He studied at the London School of Economics and after having succeeded as an industrialist he became interested in politics. He later became the founder of an al-Ahali group in 1932. This left-liberal organization aimed to ensure the flourishing of democratic and civil growth within his nation. This succeeded when, a few years later, in 1958, Muhammad and a cohort of army officers overthrew the monarch. He then established himself by becoming Finance Minister in the government of General Abd al-Karim Qasim. Like Muhammad, Zaha's mother, Wajiha al-Sabunji, was also raised by a wealthy family in Mosul, Iraq. His influences included a broad interest in the arts. As an artist, her mother encouraged her to enjoy designing, drawing, sketching, and other artistic pursuits. Hadid references these early experiences, along with travel and sightseeing, as the impetus for her career. When Zaha reached school age she was enrolled in a Catholic boarding school administered by French Roman Catholic nuns. The school was attended predominantly by French children, but during Iraq's tolerant and progressive era, the school welcomed people of all backgrounds, including Muslim and Jewish students. He began his secondary education in Switzerland and Great Britain and then continued in the Middle East, when he chose to study mathematics at the American University of Beirut between 1968 and 1971. After obtaining his diploma, Zaha continued his life in London and she became a British student. citizen. He participated in innovative and challenging experimental projects in the 1970s and 1980s through the Architectural Association. An intriguing organization that encouraged a lot of brainstorming and out-of-the-box thinking. As Hadid got closer to graduation, she completed her final project called Malevich's Tektonik, leading her to the first stepping stone on a path of innovative design and architecture. Zaha Hadid's ideas and style filtered through Kasimir Malevich's idea of ​​suprematism. The Russian painter Kasimir Malevich was born in 1878 and continued his life until 1935. Malevich founded Suprematism and was recognizedthe merit of having painted the first geometric and non-representational picture. Malevich dove into a new type of architectural visual, creating “series of three-dimensional “architects” over the next decade. Three-dimensional structures had limitless imagination, ranging from airplanes, to buildings or even cities towering in the sky between the Earth and the Moon. By letting ideas flow freely without constricting them with gravity and physics, the creative process is not inhibited. This is how Malevich's creations were made possible. Hadid put her techniques into practice and took them further, conceptualizing different variations of the shapeless, not recognizable in Malevich's previous creations. “Hadid gave color to the white crystalline forms originally sculpted in the Russian winter and took them on holiday to the tropical warmth of Oscar Niemeyer's Brazil or Morris Lapidus's Miami, creating a sort of poolside architecture....” Hadid received extensive knowledge from Malevich and maneuvered around the corners and lack of pleasure she saw in his technique, only to better enhance the idea of ​​Suprematist composition. In 1976–1977, Zaha finally presented his AA thesis project, Malevich's Tekonik, filling the 1923 Alpha Architekton which included a 14-layer structure based around a club and swimming pool. His innovative research and sheer ability to produce a structure described as “a long, thin white bar, covered in linear outcroppings like the deck of an intergalactic tanker, was given this sensual hotel as the engine and the enormous form was skilfully landed on the Hungerford. Bridge so that it spanned the Thames. he would set a higher standard for architects of his time and our future. Hadid's success comes from her unorthodox approach to architectural drawings in her paintings, leaving aside typical perspectives such as plans, elevations, and sections. His paintings completely departed from traditional styles, almost neglecting viewers' sense of up, down, sideways or frontal, allowing people's different perspectives to run free. Zada did not want to remain safe or conventional, she took risks that would almost certainly impress from some point of view, “…the paintings rejected any typical hierarchy of scale, abandoning the distinctions between furniture, buildings, city and landscape”. These early multi-perspective paintings were made specifically to spark ideas, but these were obviously never the finished product or the structure he was designing for. These large-scale, open-ended works of art also served as a puzzle piece for any other projects that could potentially mix or match. Innovation and innovation might have a chance to combine as one, in a sense. As time passed, Hadid's early designs blended into one another, creating a single painting called "The World (89 Degrees) of 1983," with individual drawings becoming tectonic plates that molded into one. Similarly, the wrinkled crust of new planets forming a single structure in space is what created the term “Planetary Architecture”. Designing early projects that would move away from closure or a look of completeness allows early ideas to flow into each other, being one of the few reasons why Zaha is able to innovate successfully. As Hadid continued her promising life, she eventually submitted an entry to the Peak Leisure Club in Hong Kong, for the design of a mountain club. The large number of 600 applicants demonstrates the sense of urgency and severity in the details that would be required to win such a competition. Hadid's project featured anew architectural work, "Suprematist Geology", related between his student projects in Utopia and the Vitra fire station. The proposed project would cut through the mountainside, causing two large beams supporting the studio apartments to slide into the gash, extending outward into the mountainside. The space between the two structures is the fulcrum that Zaha had the freedom to play with, ultimately leading to a suspended hotel with a swimming pool installed at the center of the project. The project was never actually realized and was presented at the Museum of Modern Art in New York. This distinctive approach that denied all normal static architectural designs provided Zaha Hadid with the best product among all 600 entries, acting as a seminal work that would take her to international levels of architecture. In 1993, Hadid completed another, very large, noteworthy project called Vitra Fire Station. Around this time, there were gusts of hate approaching Hadid that attempted to hinder her rapid success. Several people from Cardiff, UK acted with a national funding body called the Millennium Commission in London, with the aim of postponing and canceling the Cardiff Bay Opera House which Zaha had won in 1994. With 268 other entries which included 4 expert architects, Hadid went above and beyond to ensure that this competition only challenged her to work harder. With the gradual introduction of computers, computational processes, and designing, manufacturing, and rendering images, it would only add to Hadid's progress in producing more realistic visual models. Her already achieved natural ability to depict realism in her paintings has allowed her to greatly expand the definition of architectural design through this technology. This is where his work began to appear less like a supremacist imagination and more like a new attainable practicality. The Vitra fire station became Hadid's first built and completed project, located in Weil-am-Rhein, Germany, the station would serve as a museum for the future. With the successful completion of his first big project came the joy of accomplishment and the desire to strive for bigger stars. Two major projects attracted the attention of contractors during 1998 and 1999, potentially allowing Zaha to initiate projects in the new century. The new Rosenthal Center for Contemporary Art in Cincinnati and the new Bergisel Ski-Jump in Innsbruck, Austria. Both have extraordinary aspects that stand out in the eyes of any user or individual who experiences the facility. Inside the Rosenthal Center for Contemporary Art there is strangely but efficient pedestrian transportation, "Perhaps the most notable element in Zaha Hadid's Rosenthal Center for Contemporary Art" Cincinnati is the management of pedestrian traffic through the building” . The route begins with the entrance supporting the concrete “urban carpet” that connects from the sidewalk and slopes upward towards the atrium floor to create a wall that connects from the top and bottom of the atrium. In front of the urban carpet there are dark-colored ramps that vary repeatedly to take pedestrians towards the art galleries. Hadid describes the urban carpet and ramps as connecting to the urban context of the structure, interacting with the nature of the art on display: “The urban carpet and ramps are typically dynamic devices for Hadid that connect the building to its urban context , enliven the passage through the Center and respond to the nature of the art displayed in the building.” Hadid's stylistic approach to adding such a large ramp may have been influenced by three previous architects: Hadid's admirers,Le Corbusier and Frank Lloyd Wright. Their version of the structural ramp was used to control pedestrian circulation throughout the building, ensuring intense movement of people along the ramp. The orderly movement of people provides a dynamic and interesting visual appeal to individuals on the opposite side. The Rosenthal Center also possesses other characteristics that provide a strong sense of originality in the design of the architectural structure. It included many intriguing objects: “The Rosenthal Center has many of Hadid's signature design elements, including loft-like gallery spaces around a quirky core, public spaces brought into the building, and forms that extend toward the city,” offering 11,000 square meters. meters of space to walk. Being in the heart of Cincinnati, Hadid was limited and constrained by the different rules and space of the deep city, something many architects choose not to tamper with. Hadid saw this challenging project as an opportunity to “… realize her desire to provide a fluid conduit between the street and the building…” which she believes is one of the main goals of urban architecture. The Center for Contemporary Art finally opened in 2003, being Hadid's first comprehensive building in the United States of America, continually receiving praise from numerous writers. Muschamp of the New York Times commented, "...the most important American building to complete since the end of the Cold War", also mentioning that Hadid's ambition to insert herself into difficult situations only to overcome them demonstrates why I believe she deserves the highest recognition. Hadid's second project in this period aimed to improve a previously functioning factory at the top of Bergisel Mountain. The ski jumping hill was originally built in 1926 and served as a hot spot for numerous Winter Olympic competitions in 1964 and 1976. There was still heavy use when it was not being used for the Olympics, causing wear and tear on the many years it has been used. used. The original trampoline was no longer able to meet the requirements of modern international standards, forcing construction plans for a complete replacement. The new Bergisel ski jump required the addition of numerous new features, including new public spaces in the facility, a new viewing terrace including a café, all in addition to the specialized sports programme. The Austrian Ski Federation sought to create more than just an athletic facility, but to also incorporate it as a new monument. This heralded an international design competition hosted by the Austrian Ski Federation in 1999, where Zaha Hadid took 1st place in the competition that same year. Please note: this is just an example. Get a custom paper from our expert writers now. Get Custom EssayZaha, has gained respect and a greater reputation through her previous projects, using any racism and sexualism she previously faced as fuel to win even more competitions. The proposed new ski jump was designed to blend into the mountain, measuring 90 meters in length and approximately 50 meters above the summit of Bergisel Mountain. All requirements have been pushed as tightly as possible into the streamlined design, molded into a single mass with a ski ramp that moves along the curve of the mountain. The structure is basically just the figure of a tower and a bridge, or what Hadid describes as an "organic hybrid." The numerous components of ski jumping combined as one seamless mass were not encouraged by the institution, but simply represented speed and smoothness.