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Zaha Hadid's Architectural Form Patterns
Working Paper · March 2016
DOI: 10.13140/RG.2.1.1113.7680
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Zaha Hadid's Architectural Form Patterns 
AmatalRaof AbdUllah1,*, Ismail Bin Said2, Dilshan Remaz Ossen3 
1Department of Architecture, Universiti Teknologi Malaysia, Johor, Malaysia 
2Department Landscape Architecture, Universiti Teknologi Malaysia, Johor, Malaysia 
3Department of Architecture, Universiti Teknologi Malaysia, Johor, Malaysia 
*Corresponding author (Email: raofa4@yahoo.com) 
Abstract – Going through Zaha Mohammad Hadid’s architectural works, one could see a large variety of forms and notions to a 
degree that some doubt in the possibility of classifying them within certain categories. Hadid is one of this era’s well-known 
architects who have contributed in conceiving the architectural form and space from new, innovative and futuristic perspective. 
Despite her great influence in the new generation of architects and architectural students around the world, there is a lack of 
systematic research on her patterns in designing architectural form which is considered Hadid’s main contribution to 
architecture. The study used qualitative research employing a content analysis for her discourse as a reliable and valid source of 
data. It also conducted a comparative study for 20 projects for the purpose of figuring out the identifying characteristics of each 
pattern. It resulted in suggesting that Hadid often works within the framework of five patterns in regard of projects’ form notion 
and the prevailing features of projects’ exterior configuration. Chronologically arranged, Hadid’s architectural form patterns are 
suprematist, topographic, fluid, organic, and parametric form. The study refers Hadid’s continued success to the desire to catch 
up with what is new making her works keep pace with Nanotechnology's episode. 
Keywords – Zaha Hadid, architectural form, patterns, suprematism, qualitative study 
 
 
1. Introduction 
 
Full of rebel, mysterious thoughts, rejection of what is norm, 
and strong will of gaining success, Zaha Mohammad Hadid 
now is considered a role model in the 21st century architecture 
followed by an eager generation for scientific innovation and 
artistic creation [1]. Hadid won 93 prizes till 2012; the most 
important one is the Pritzker Prize (2004) and she is the first 
woman architect achieving such prize. Her works 
characterized by abstraction, anti-gravity, complexity, 
fragmentation, and energetic curvelinearity [2]. Hadid first 
global recognition was in1982 when she won the competition 
of the Peak spa and leisure club in Hong Kong where 538 
competitors, including the renowned architects in the world at 
that time, had applied for rival [3]. Her works are a 
combination of the culture, identity of Iraq and the new 
thoughts; architectural and artistic schools in Europe(Aref, 
2011; Woods, 2008; D‘Apuzzo, 2011). This could be linked to 
her early studies in which she married between the abstract 
thoughts of suprematism, fragments of deconstructivism [4]. 
When she is asked to evaluate her works, she stated that her 
early works that are presented in drawing were about 
abstraction and fragmentation and then the ideas progressively 
developed to be more fluid [5]. Designing architecture for 
Hadid is an adventurous journey to the unknown place for 
exploring and experiencing new kind of spaces and forms [6]. 
The energetic and abstract form which is considered Hadid’s 
contribution to architecture “can make is to stand in for that 
totality, which eludes every effort, every model, and every 
allegory that seeks to represent it” [7]. 
Zaha Hadid: The Female Modernist of the Twenty-First 
Century is one of the reviewed studies in which the author, 
Reid (2009), highlighted Hadid’s role in reformulating the 
framework and theoretical concept of modernist architecture 
and the large influence she leaves in the new generation of 
architects. Reid examined the effects of Hadid’s architectural 
design in the surrounding by discussing the energetic role the 
Cincinnati Contemporary Arts Museum plays in New York 
life as a case study. The study exposed one of the underling 
goals Hadid always keen to offer it in her projects that is 
creating architecture characterized by activist sociality, 
connection, forming new kind of landscape [4]. Mertins (2006) 
referred Hadid involvement in deconstructivism to her 
teachers at AA, Rem Koolhaas and Elia Zenghlis who were 
interested in Russian constructivism. He also declared that 
Hadid painting of landscape is a skill acquired from mixing 
between the cubism’s prismatic expression for landscape and 
the futurist expression of dynamic energies [7]. Regarding her 
trends, Woods (2008) highlighted that Hadid works are a 
transformation from the fragmentation and cracking of 
Malevich’s ‘chaotic’ painting and the convergence and 
cohesion of fluidity. The intentions and factors considered in 
 
 
 
2 
the design process by Hadid and other three free-form 
architects of this era were highlighted by Wong (2010). Using 
grounded theory and based on their words in both writing and 
interviews, he divided their intentions and factors into five 
major categories that are inspiration, exploration, language, 
context and industry, each category has sub-themes and 
collected them in one diagram which explains them clearly. A 
review on these studies and other related articles mentioning 
Hadid architecture concluded in that there is no study has 
addressed her patterns of designing architecture regarding the 
form notion. In addition, Hadid has designed a large set of 
works characterized by variety and differentiation that each 
work has its special form and its unique philosophical concept. 
According to Zaha Hadid’s official website, the number of 
total works designed by her office is 950 projects in 44 
countries till 2013. Therefore, it would be helpful for her fans 
from architects and architectural students to comprehend the 
big variety of her works if they are categorized under certain 
patterns. Hence this study aims are to find out Hadid’s patterns 
in designing architectural form and the timeline of their 
occurrences. 
This study qualitatively employed a content analysis for 
her discourse as a rich and comprehensive source for reliable 
core data [8]. It also includes a comparative study for four 
projects on each pattern to identify the common characteristics 
between projects under various styles. Comparison is 
considered as one of the effective ways in terms of finding 
commonality between designs’ ideas and features like the 
study done by Clark and Pause (2005) in Precedents in 
Architecture. 
2. Patterns of Architectural Form 
 
While Evans (1975) and Gelernter (1995) analyzed and 
categorized form patterns and architectural styles according to 
the different eras over time such as Renaissance and Antiquity, 
Pause and Clark (2005) categorized form patterns based on the 
relative disposition of parts and their way of formative 
organizations that are linear, central, cluster, nested, 
concentric, binuclear and double-centered. This variety in 
determining form patterns underlies the difference in origins 
of form’ time, notion, sources, and author’s perspective of 
evaluation. The coherent properties of form could govern its 
pattern and compositional elements. These properties are 
form location in relative to the surrounding architectural 
masses, form orientation, and visual inertia; concentration 
degree and steadiness of a form [9]. Architectural patterns are 
powerful clues for architecture time and orientation of society 
in which “the concepts of character and expression” in the 
orientation have a purpose of use [10]. As language of 
expression, a character has a relationship with project function 
and this character generates the impression of project nature 
such as the formal design of Dance and Music Centre in The 
Hague, the Netherlands designed by Hadid that reflects its 
energetic functional nature. Although the styles have huge 
differences in their appearance, they have at the end the same 
purpose that is enhancing the formal architectural language 
and achieving the idea of communication [11]. Lately, a 
massive number of architectural forms appear as a result of 
architectural digital programs such as parametric design 
system which it’s “parametricist patterning is the move from 
adaptive compensation to the amplification of differences” 
[10]. Therefore, it is concluded that there are different ways of 
assessing patterns in architecture which in turn this paper has 
identified and categorized the architectural form patterns of 
Hadid based on her description to project’s form notion and 
their prevailing characteristics. 
3. Suprematism 
Suprematism is the pivotal inspiring style for Hadid’s early 
works. It is an abstract painting style established by the 
Russian artist, Kasimir Malevich. This style presents painting 
in pure geometric forms as an essential way of expression and 
searching for purity of form [12]. Its roots can be traced to 
expressionism which is the basis of the late modernism 
movements in art. In 1860s, expressionism was the first 
movement that started to take new way of expression in 
painting; abstract art rather than classical one that portrays 
things as it is in realty [13]. As a sequence, new trends of art 
appeared to be more abstract in expression like impressionism, 
cubism, futurism, and suprematism. Malevich wrote that “I 
have transformed myself in the zero of form, and through zero 
have reached creation, that is, suprematism, the new painterly 
realism-non-objective creation” [14]. He regarded the black 
square as a symbol of perfection and the base of all new forms. 
Hadid graduation project was an embodiment of Malevich 
Tektonik in painting in which he presented his Tektonic as an 
orbit hovering in the space with ignoring gravity factor and she 
offered her project as a hotel hanged over Hungerford Bridge 
in London [7]. Another example of her suprematist projects is 
the Peak in which she applied abstraction, fragmentation, 
anti-gravity techniques; this project made a major shift in her 
profession. What attract her to such style is its soul of 
exploration to going through the inexperienced and the faith in 
the power of creation [1]. Hadid stated that the revolution 
accomplished by abstract art has revealed “a previously 
unimaginable realm of creative freedom” for those who are 
interested in creating new art and architecture [1]. 
4. Methodology 
 
A qualitative study is conducted to identify Hadid patterns in 
designing architectural form employing content analysis for 
her discourse fromaccessible texts, videos and transcripts 
(Figure 1). Content analysis has been selected as a research 
technique because it is a set of procedures to accomplish 
reliable and valid inferences [8]. It is also an inclusive and 
systematic method to gain primary data providing “first-hand 
insights” [15]. In addition, it is an indispensable source of data 
in regard of human thought and behavior [16]. Based on Hadid 
discourse in books, magazines, articles, videos, and projects’ 
images, a qualitative method is appropriate to identify form 
patterns in respecting of projects’ form ideas that follows the 
process explained by Groat and Wang (2002) in Architectural 
Research Methods. The prevailing characteristics of projects’ 
exterior forms and her description to their notion enable the 
study to figure out some patterns that Hadid usually works 
 
 
 
3 
within their frameworks. It is throughout noting repetitive 
incidences through her words while describing projects as well 
as through form’s prevailing characteristics. These repetitive 
features and words could be categorized under five 
well-recognized patterns that are suprematism, topographic, 
fluid, organic, and parametric form which is a result of 
clustering all Hadid’s terms in describing form notion under 
each pattern. Finally, all related details have been subsumed 
into general writing with examples. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Hadid’s Books, Articles & Video Project’s Images 
Form’s Prevailing Characteristics Form notion 
From Hadid’s words 
Repetitive features which are categorized 
under 
Different Form’s Patterns 
 
 
Suprematist 
 
 
 
Topographic 
 
 
 
Fluid 
 
 
 
 
 
Organic 
 
 
Fig. 1. Methodology of figuring out Hadid patterns in designing form 
 
Zaha Hadid’s Form Patterns 
 
 
Parametric 
 
 
 
 
4 
Having identifying form patterns, based on noting the 
prevailing characteristics of Hadid’s forms and her description 
for form notion, an analytical study is conducted to identify 
the percentage of each pattern out of the total accessible 
projects; 208 works. In addition, it is used to figure out their 
occurrence through years of her long journey in architectural 
design ranges from 1976 till 2012. The total set of data and the 
huge amount of information have been presented and 
translated into clear charts using Microsoft Excel program as a 
medium ( Table 1). This strategic method follows the study 
explained by Abdulmajid et al. (2007). 
 
Table 1. A Template for the Analysis of Hadid’s Form patterns 
P.No Project name Location Year of 
design 
Function Form 
Notion 
 
Notes 
1. Malevich‘s 
Tektonik 
 
London 1976-77 Hotel suprematist Her Graduation 
project 
2. Museum of the 
Nineteenth 
Century 
 
London 
 
 
 
1977-78 
 
 
 
Museum 
 
 
 
suprematist 
3. 
 
………… 
 
……….. 
 
…………. 
 
………… 
 
………… 
.. 
.. 
.. 
…………. 
………….. 
………… 
…………. 
………… 
………… 
…………. 
………….. 
………… 
…………. 
………….. 
………… 
…………. 
………….. 
………… 
 
208 Beko Complex 
 
 
 
Belgrade, 
Serbia 
 
 
2012 
 
 
 
a hotel, apartment, shopping 
complex, . 
. 
 
parametric 
 
Finally, the study examined the commonality of exterior 
form’s features and notions between four projects within each 
pattern using their images. The comparative study is 
conducted to find out the shared features of each pattern in 
order to facilitate recognizing such pattern by architects and 
architectural students. The analysis includes Hadid’s 
accessible projects that are considered good representative of 
their category. This method had been applied by Clark and 
Pause (2005) to find the formal ideas that are commonly used 
by many architects to generate the forms of architectural 
drawing. The sampling procedures for these methodologies’ 
stages are determined based on the information explained in 
Figure 2. 
 
 
 
 
Purpose No Sampling Items 
Numerous Interviews The Accessible 
208 Projects The Accessible 
20 Projects The project that: 
1- Purely symbolize the pattern 
2-The most creative and artistic 
3- Represented different kinds of 
 function 
4-Being restricted by the availability 
 of information 
 
4 projects for 
Pattern 1 4 
Identifying Form’s patterns 
Patterns occurrence & 
Percentage 
The common characteristics 
of each pattern 
Fig. 2. Sampling Procedures 
 
4 
4 
4 
 
 
 
5 
5. Findings and Discussion 
 
Since Hadid's contribution to architecture is the form which 
constitutes a broad base of diverse ideas [7], this paper focuses 
on Hadid patterns in designing form. Through text analysis, it 
is noticed an incidence of words’ repetition when describing 
projects’ form notion and their features resulted in proposing 
that Hadid usually works within the framework of five 
patterns; suprematist, topographic, fluid, organic, and 
parametric form which arranged chronologically according to 
their appearance. These varieties of notions are actually a 
result of drawing research in different domains [17]. The 
study discusses patterns’ nature, inspiring roots and 
identifiable, common features which figured out through 
doing a comparative study for four representative projects 
under each pattern. Then, a qualitative analysis for Hadid’s 
accessible works, representing different stages of her 
professional life, is conducted to find out the percentage of 
each pattern and their occurrence through years. 
 
 
5.1 Hadid’s Patterns in Designing Architectural Forms 
 
5.1.1 Suprematist/ Deconstructivist Forms 
 
Most of Hadid’s early works stand on the radical notions of 
avant-garde Russian art, suprematism, which presents painting 
in an abstract way using fundamental geometric forms. Hadid 
has injected these notions with the ideas of fragmentation and 
deconstruction to architecture creating her unique, 
deconstructivist style [4]. The evaluation and classification of 
her projects under this pattern are based on the suprematist 
features and her deconstructivist, abstract ideas. Suprematism 
usually utilizes analogous forms in order to offer harmony 
through painting. This feature is represented in many of Hadid 
early projects; however, she used to draw deformed rectangles 
as a kind of deconstructive interferences; a perspective of 
three points such as Zollhof 3 Media Park in Germany 
(1989-93). Another important feature is depicting flight 
forms in painting ignoring the factor of gravity which became 
later one of her most used techniques in designing form. 
Hadid referred her usage for painting as a method of 
presenting her early designs to the better opportunity afforded 
by painting rather than drawing in conceiving space. She also 
stated that projections in painting need kind of distortion and 
this in turn affects the output itself [18]. A good example of 
this trend is the peak in Hong Kong, 1982 (Figure 3). Since 
constructivism is architectural movement originally inspired 
from suprematism [19], suprematist style also includes the 
very few early projects which their forms have some 
constructivist features such as fenestration and having nude 
structure; an example of that is Nineteenth Century Museum 
in London(1977). A comparative study is conducted for the 
exterior forms of four representative projects of suprematist 
pattern (Table 2) resulted in exposing the common 
characteristics that could be used as a guide to determine the 
projects under this pattern; they are explained below 
 
• Project’s form consists of abstract and fundamental 
geometric forms that are harmonically similar to each other. 
• A significant proportion of projects characterized by 
defying gravity or elevating theground. 
• Form has the impression of fragmentation. 
• Some projects’ masses designed and perceived as 
perspective of three points. 
• Project is characterized by porosity connecting the inside 
with outside. 
• A number of multi-storey projects are featured by 
manipulating the ground of different floors. 
 
 
Fig. 3. The suprematist form of the Peak in Hong Kong, China 
(1982-83). Source: http://www.zaha-hadid.com) 
 
Table 2. Examples of suprematist projects; Hadid’s deconstructivist pattern 
 
Evaluation 
based on 
Project’s form 
 
Project 
 
Location 
 
 
Hadid’s 
description for 
form notion 
A mixture of the suprematist geology, defying 
gravity and fragmentation 
 
The Peak 
(1982-83) 
 
Hong Kong 
 
 
Geometries collision (Fragmentation) 
 
 
Vitra Fire Station 
(1990-94) 
 
Weil am, 
Germany 
 
The prevailing 
features of 
form 
perspective design, fragment, pure geometric 
forms, Anti-gravity 
 
Cardiff Bay Opera House 
 (1994-96) 
 
Cardiff, Wales 
 
 
 
 
 
6 
Accumulated pure geometric forms, 
constructivist design- like (Yakov Chernikhov*) 
 
 
Lois &Richard Rosenthal Center of 
Contemporary Art 
(1997- 2003) 
 
 
Cincinnati-USA 
 
 
 
* Yakov Chernikhov is a Russian constructivist architect who contributed in translating some suprematist artistic ideas into 
architecture. 
 
 
 
 
5.1.2 Topographic Forms 
 
It is the second pattern of form used by Hadid after the 
abstraction and fragmentation of suprematism in which she 
expressed her interest in “landscape, topography, and 
geography” [20]. She inspires project’s shape notion from the 
line formation of earth’s surfaces such as contours, ridges, 
dunes, floodplain, and cliff with considering site inclinations 
and directions. She uses this to create a harmony with the 
surrounding landscape. For instance, Glasgow riverside 
museum of transport in the UK which form notion is inspired 
from the ripples of dunes in desert, in addition to the detour in 
form inspired from the unique site that metaphorically 
resembles transmission link between Clyde and Glasgow. 
Another example is Dubai Opera House (2006) where Hadid 
inspired form from the sand dunes of Dubai topography 
(Figure 4). The followings are the common characteristics of 
four projects under topographic pattern (Table 3); they are 
derived via the similarities between their exterior forms 
 
• Forms are inspired from the natural formations of earth’s 
topography. 
• Forms vanish to the site giving the sense of affiliation to 
the earth which gains projects the feature of withdrawing; 
Hadid usually employs it to strengthen the entrance and direct 
the movement. 
• Forms have seamless and fluid surfaces. 
• Lighting slots smoothly take place in parallel to the form 
of the building. 
 
 
 
Fig. 4. The topographic form of Dubai Opera House in USE 
(2006). Source: http://www.designboom.com 
 
 
Table 3. Examples of Topographic Pattern 
 
Evaluation 
based on 
Project’s form 
 
Project 
 
Location 
 
 
 
 
 
Hadid’s 
description 
for form 
notion 
Inspired from contour lines of the site. 
 
 
Landesgartenschau 1999 
(1996-99) 
 
Weil am, 
Germany 
 
Inspired from adjacent sand dunes of Dubai 
topography as a desert 
 
Dubai Opera House 
 (2006) 
 
Dubai, UAE 
 
 
Form is translation for the direction and contours of 
the site 
 
E.ON Energy Research Department 
(2006-10) 
 
Aachen, 
Germany 
 
Form is generated by withdrawing landscape of the 
site into four topographically formed slices 
 
 
Heydar Aliyev Culture Centre 
 (2007-12) 
 
 
Baku 
Azerbaijan 
 
 
 
 
5.1.3 Fluid Form 
 
Fluid form equally refers to as water architecture because 
of the symbolic similarity in the dynamic qualities and 
features such as smooth, outflowing, shapeless, and 
continuously seamless. Although fluid form distinguished by 
complexity is a permanent feature for most of Hadid’s recent 
works including other patterns such as organic and parametric 
designs, fluid project is categorized based on the form concept 
 
 
 
7 
generated by Hadid’s fluid and dynamic hand sketches and the 
others inspired from water movement. Fluid pattern is neither 
based on simulating organic things nor generating form by the 
feature of malleability in parametric design system. Hadid 
basically inspired this type from the fluid and curvy lines of 
Arabic calligraphy which combines all the features mentioned 
under this pattern; Bittar (2006) has studied the effects of 
Arabic calligraphy in some of Hadid works. Rem Koolhaas 
referred her mastering in producing fluid lines to being Arab 
who are talented in creating nice calligraphy [21]. 
 
 
Fluid architecture is mostly established and precedential 
recognized through Hadid’s works especially with regard to 
fluid space which she considers it as a part of her architectural 
prints [22]. She notably started to work in this prototype in the 
mid of 1980s especially what is related to furniture and interior 
design such as 24 Cathcart Road in London. She frequently 
announced her ambition of creating fluid space to reflect the 
technological advances in every sectors “From my first days at 
the AA, I explored the concepts of fragmentation, abstraction, 
and explosion…, but my ambition was always to create fluid 
space” [23]. Fluid and curvy architecture could offer a better 
view to the surrounding neighborhoods; it also allows light to 
come into the building in a better way rather than the cubic 
designs [5]. An example of such pattern is the proposed design 
for Guggenheim Museum Taichung in Taiwan (Figure 5). The 
following are the common features of four fluid projects 
(Table 4) which derived from noting the similarities between 
their forms 
 
• Projects’ forms have smooth, continuous and watery 
surfaces. 
• Some projects have the feature of vanishing gaining the 
project a nice withdrawal from earth to sky. 
• In this architecture, rarely Hadid uses corner and 
orthogonal angle; she instead uses continuous curvy surfaces. 
• Windows and entrances’ slots take the same fluid form of 
the masses. 
 
 
Fig. 5. The fluid form of Guggenheim Museum Taichung in 
Taiwan (2003). Source: http://www.zaha-hadid.com 
 
Table 4. Examples of Fluid Pattern 
 
Evaluation 
based on 
Project’s form 
 
Project 
 
Location 
 
 
Hadid’s 
description 
for form 
notion 
“an ever-changing event space”; kinetic 
space (Hadid, 2009) 
 
Guggenheim Museum Taichung 
(2003) 
 
Taichung, Taiwan 
 
Inspired from the fluid movement of Nile 
delta 
 
Cairo Expo City 
(2009) 
 
Cairo, Egypt 
 
 
 
The 
prevailing 
features of 
form 
Have a fluid watery form 
 
 
High-Speed Train Station Napoli Afragola 
( 2004-14) 
 
Naples, Italy 
 
 
Form idea is basically generated by Hadid 
fluid smooth sketches 
 
Japan National Stadium 
 (2012) 
 
Tokyo, Japan 
 
 
 
 
5.1.4 Organic form 
 
Organic pattern in this study is called for project which its 
form notion stands on simulating things in nature or as Hadid 
called it “organic morphology” [17]. She even emulates forms 
of tiny details in biological morphology like cells; an example 
of that is Abu Dhabi Performing arts Centre in UAE. 
Generally, majority of organic forms are characterized by 
having irregular curvy surfaces and this underlies using no 
corners and orthogonal walls in some of her works. Hadid 
fondness of nature started during her visit to marshes in Sumer 
villages, Iraq where the nature is totally embodied in a 
splendid view without the intervention of the machine and 
technology [4]. This guides her to inspire from nature andgives her the curiosity to know how creatures’ forms adjust 
with their environment [17]. The adjustment to natural 
environment stands behind the diversity of creatures from one 
type; as well this could be applied to the diversity in Hadid 
works in which she tries hard to adapt project to the context 
with the vital relationships gaining it “the “sense of 
embedded-ness, and fit-ness into the context” [18]. A good 
example of organic pattern is Regium Waterfront Muesum in 
Italy in which she inspired its configuration from the physical 
form of starfish (Figure 6). The followings are the shared 
features for 4 organic projects (Table 5) which are derived 
through comparing between the physical appearances of these 
projects. They could be used as directors to identify the 
projects under this pattern: 
 
 
 
 
8 
• Forms are inspired from natural things particularly sea 
creatures 
• Majority of them have irregular surfaces and often 
asymmetrical. 
• Windows slots, entrances and swimming pool take the same 
form of masses. 
 
Fig..6. The organic form of Regium Waterfront in Reggio, 
Italy (2007). Source: http://www.zaha-hadid.com 
Table 5. Examples of Organic Pattern 
 
Evaluation 
based on 
Project’s form 
 
Project 
 
Location 
 
 
 
 
Hadid’s 
description 
for form 
notion 
Simulates the strong shell of the oyster 
 
 
Maritime Terminal 
(2000-12) 
 
Salerno, Italy 
 
 
Inspired from the physical form of starfish 
 
 
Regium Waterfront Muesum 
(2007) 
 
Reggio, Italy 
 
 
Inspired from the organic form of gravel beach 
and the other samples are inspired from shell 
 
 
Golf and spa resort 
(2009) 
 
 
Dubrovnik, Croatia 
 
 
 
The 
prevailing 
features of 
form 
Form is likely inspired from the physical form of 
a fish 
 
 
Maldives Luxury Resort 
(2007) 
 
 
Munandhua Island, 
Maldives 
 
 
 
 
5.1.5 Parametric Form 
 
Parametricism is a new style established by Zaha Hadid 
Architects in 2008, namely Patrik Schumacher [17]. Forms 
produced by this style could be recognized by its melted, 
beautifully distorted, and non-purified geometric forms. It is 
also characterized by connecting the urban design in a very 
well and harmonized manner [24]. According to Schumacher, 
forms in parametric pattern are “parametrically malleable; 
differentiate gradually” which resulting in a large number of 
alternatives [24]. Therefore, projects’ form notions under this 
pattern are generated through the facilities offered by the 
parametric design system such as malleability. The parametric 
form continually changes creating lively and interesting forms 
exactly like Sunrise Tower in Kuala Lumpur, Malaysia 
(Figure 7). This differentiation not only depends on the 
aesthetic sense of architect but it depends largely on the data 
and model’s adaptive processes to environment and 
functionality [25]. The operation idea of this keen system is 
developed from the observations of a lot of creatures’ systems 
in nature by imitating them in their way of adaption with the 
surrounding environment as process and applies that through 
architectural system which is responsible to all data related to 
that project [18] & [24]. Parametricism has an application for 
new techniques to urbanism that guarantees a strong 
connection between different forms, in addition to other 
techniques qualified buildings to be environmentally friendly 
and successfully achieved the mission which they were built 
[25]. It is important to mention that many projects under 
different patterns are designed by parametric design system as 
a design tool; however, this study categorized patterns based 
on project form idea. Since the form notions of projects under 
this pattern depend on parametric system, they all have the 
same notion born; malleability trait of parametric design 
system. The comparative study for the exterior forms of four 
parametric projects (Table 6) resulted in figuring out the 
common features between projects under this pattern 
 
• Forms are parametrically flexible which differentiate 
progressively to meet all the requirements of successful 
architecture. 
• Projects have fluid, torsional, and melted forms. 
• They are highly responsive to environmental program. 
• A significant proportion of projects have a reticular, 
perforated skin. 
 
 
 
Fig. 7. Mass’s parametric manipulation for Sunrise Tower in 
Kuala Lumpur, Malaysia (2009). (Source: Recent Projects 
Zaha Hadid. GA) 
 
 
 
 
 
9 
 
Table 6. Examples of Parametric Pattern 
 
Project’s form 
 
Project 
 
Location 
 
 
Form notions are based on the 
facilities offered by the parametric 
design system such as malleability and 
form’s adaptivity for project’s data in 
addition to the aesthetic interference of 
an architect. 
 
 
Kartal-Pendik Master plan (2006) 
 
 
Istanbul, 
Turkey 
 
Madrid Civil Courts of Justice (2007) 
 
 
Madrid, Spain 
 
 
Sunrise Tower (2009) 
 
 
Kuala Lumpur, Malaysia 
 
 
Proposed Museum of Vilnius (2007) 
 
 
. . 
Vilnius, Lithuania 
 
 
 
 
 
 
5.2 The Analysis of Form Patterns 
 
Based on the data gathered from Hadid descriptions to projects’ 
form notion and the evaluation of their prevailing features 
with regard to matching them to the five patterns’ ones, 
patterns’ percentages and their occurrences through years are 
identified. The study covers 208 accessible works since Hadid 
was student in her graduation year at Architectural 
Association 1976 until 2012. As described previously in 
Section 5.1, Hadid usually designs form notions under five 
patterns; suprematist, topographic, fluid, organic, parametric 
forms. Figure 8 explains the proportion of each pattern out of 
total studied projects. It can be seen that 53 percent of Hadid 
projects are suprematist forming the majority, then came the 
fluid design as the second pattern commonly used an account 
for 24 percent of her work. While 10 percent of these projects 
are parametric, seven percent are inspired from the organic 
forms in nature. It is followed by 6 percent for topographic 
forms which constitutes the lowest proportion in the collection. 
Although parametric design is the recent form used by Hadid, 
it takes the third place in ranking within short time which 
indicates that this pattern proofing to be the prominent style in 
her future works. 
 
Fig. 8. Zaha Hadid patterns of form notion 
 
 
5.2.1 The Occurrence of Patterns Though Years 
 
From the analysis of the data in Figure 9, it can be seen that 
suprematist pattern is still dominating through Hadid’s 
practicing years and this clearly showed through the period 
between 1976 and 1993. Fluid designs began to appear in her 
works in 1985 when she designed three different schemes that 
are Kyoto Installations, the interior design of Melbury Court 
and Cathcart Road. This design disappears until the late of 
1990s when she started again to increasingly work in fluid 
type to include 7 projects within 3 years. Woods (2008) 
referred design’s transformation from suprematist to fluid on 
two reasons; firstly is the stalemate period between the inbuilt 
project, the Peak, and the first built project, Vitra Fire Station 
that is ten years. Therefore, she gradually comprehended that 
she must work in a more realistic manner and accept clients’ 
thoughts and property limitations. Secondly is that her 
thinking had developed ‘from utopian visions of an ideal 
Hadidian world to Hadidian interpretations of the world’ [26]. 
Fluid design surprisingly reached 18 projects for 2000-2005 
which isthe period when computing facilities began notably to 
take place in architectural practice [26]. One could notice 
projects' presentations that were only models, painting and 
sketches; however, from year 2000, it turns to computing 
rendering. Topographic form appears separately with the same 
number in both periods 1994-1999 and 2000-2005 and reaches 
5 projects in the period of 2006-2011. Only in the last two 
periods, organic began to emerge taking a significant 
proportion in the late of 2000s. Although parametric design 
appears lately in the period between 2006- 2011, the number 
of projects under this pattern reaches 19 projects. Therefore, it 
emphasizes that parametric design might become the 
promising and prominent design for Hadid’s future works. 
 
 
 
 
10 
 
Fig. 9. Trends in Zaha Hadid form design 
 
5.2.2 The Emergence of Form Patterns 
 
The result in Figure 9 suggests that the sequential 
emergence of Hadid patterns refers to her desire to catch up 
with new things and to make her projects merging with the 
surroundings in harmony. Hadid started her journey in 
architecture by innovating new kind of design characterized 
by her fragment and deconstructive ideas and abstraction of 
suprematism. This style qualified her to be one of those 
pioneer architects of deconstructivism in the 1980s [27]. Then, 
she designs a topographic form which gains her projects some 
earthy features that integrate project with the surrounding in a 
well manner. Later, fluid style takes a place in her designs due 
to the appearance of computing facilities which enable her to 
translate the complex nature of fluid and organic styles into 
real projects. Finally, she concluded by establishing with her 
partner Schumacher new architectural style, parametric design 
system, which suggested to be the reasonable era’s candidate 
style after modernism [17]. Therefore, the serialization of 
Hadid patterns appearance returns to adopting the architecture 
to recent developments. This stage recalls Hadid’s advice to 
her architectural students to be unique by keeping “pace with 
the ongoing changes in the world” [28]. 
 
 
This paper also shows the evolutionary processes for 
Hadid in designing the architectural form via patterns’ 
emergence. Firstly, Hadid’s goal in design was to make her 
projects sparkle like isolated jewels; suprematist stage. Then 
she started to concern about the project and to connect it with 
the surrounding landscape; topographic. Thirdly, she gives 
more attention to the social role which the building should 
plays by designing fluid and open spaces; fluid and organic. 
Finally, she expands her interests to connect the project with 
the bigger circle that is the surrounding urban design; 
parametric design. 
 
 
6. Conclusion 
 
Studying or even viewing Hadid's works is metaphorically like 
going to an exhibition of international competition in 
difference and variety of presenting many paradigms of 
buildings where every project is presented in a different way 
and has its' special beliefs, perspective, and ideas; this is Zaha 
Hadid's architecture . Such situation recalls Mertin’s words 
which have a big echo in embodying and confirming the 
difficulty of representing Hadid’s architectural form. 
Simplifying this complexity, this study dedicates its goals to 
find out Hadid patterns in designing architectural form which 
stand behind this diversity. It derived patterns literally from 
Hadid by conducting a content analysis for her discourse as 
reliable and valid source. It also used a qualitative study to find 
out patterns’ occurrences and their percentage out of the 208 
studied projects. In addition, the paper conducted a 
comparative study to determine the common features for 
projects under each pattern and use them as identifying 
characteristics. The sequential occurrence of the five patterns 
(suprematist, topographic, fluid, organic, and parametric) 
reveals that Hadid is keen enough to catch up with the latest 
developments in the different aspects of life. This is 
emphasized through observing her involvement in the main 
styles; firstly, from one who is interested in suprematism, one 
of artistic avant-garde movements, and applied it in her works 
to become one of the pioneer architects of deconstructivism. 
Then to the one who largely contributes in perceiving new 
kind of space, fluid, using new computing technology to 
translate her ambition and imagination of fluid space into real 
model. Lastly, to become the one who with her partner, Patrik 
Schumacher, have established new architectural style in this 
era; parametricism. As a result, this eagerness to catch up with 
the new developments is suggested to be the underlying reason 
of placing Hadid in the forefront over her colleagues in 
architecture. She usually tends to inject some suprematist 
features in other patterns such as defying gravity and 
manipulating the ground of different floors as well as the 
seamlessness and fluidity. To sum up, Hadid’s architecture is 
a result of many experiences in her long journey in design and 
life, talent of formation, love for rebellion and respecting of 
rationalism regarding functionality. 
 
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