DESKTOP STUDY

HYDER ALIYEV CENTER

BAKU, AZERBAIJAN

SUBMITTED BY:T.SHUBASRI
R.NO.- 14181AA058
VI SEMESTER
JNIAS- SPA
 PROJECT DETAILS
PROJECT NAME: HEYDER ALIYEV CENTER
LOCATION: BAKU
START OF PROJECT: SEPT 2007
COMPLETION: MAY 10, 2012
CLIENT: THE REPUBLIC OF AZERBAIJAN
SITE AREA: 111,292 SQ.MT.
TOTAL FLOOR AREA: 101,801 SQ.MT.
LANDSCAPE: 13.58 HA
HIGHEST POINT: 74.1M
TOTAL SURFACE SPACE FRAME: 33,000 SQ.MT.
SURFACE AREA OF INNER SKIN: 22,000SQ.MT.
ROOF AREA: 39,000 SQ.MT.
ARCHITECT: ZAHA HADID ARCHITECTS
- ZAHA HADID, PATRIK SCHUMACHER( DESIGN)
MAIN CONTRACTOR: DIA HOLDING
STRUCTURAL ENGINEERING: AKT; TUNCEL ENGINEERS; MERO
ACOUSTICAL CONSULTANT: DBKES, MEZZO STUDIO
 REQUIREMENTS
• CONFERENCE CENTER
• MUSEUM
• INFORMATION DESK
• CLOAKROOM
• MULTI PURPOSE HALL
• SERVICE KITCHEN
• LOADING AREA
• SECURITY
• AUDITORIUM
• MEETING ROOM
• REST AREA
• STORAGE
• LIBRARY
• TEMPORARY ART GALLERY
• RESTAURANT
• MEZZANINE CAFFE
• NETWORK ROOM
• SERVICE ROOM
• ADMINISTRATION OFFICE
 • LIKE AZERBAIJAN ITSELF,WHICH IS SPLIT THE PUBLIC PLAZA, AS URBAN GROUND,
BETWEEN ASIA AND EUROPE, THE HYDER UNDULATES & FOLDS UPWARDS TO CREATE
ALIYEV CENTER CARRIES ELEMENTS OF BOTH
EASTERN AND WESTERN DESIGN AESTHETICS. INTERNAL SPACES.

• THE ARCH- SHAPED PASSAGEWAYS & CURVED LINES OF LIGHTING THAT CUT THROUGH THE
BAKU CENTER CREATE IMPRESSION THAT THESE SPACES CONTINUE INTO INFINITY.
• ARCHITECTURE OF THE NEW CULTURAL OUTPOST FLOWS SYMMETRICALLY INTO THE
LANDSCAPE DESIGN.
•
THE HISTORICAL CONTEXT
CONNECTED TO THE REGION’S ANCIENT CULTURAL FOUNDATIONS.
• BUILDING’S CURVILINIAR CONTOURS ECHO THE CURSIVE FLOW OF THE ISLAMIC WORLD’S
CALLIGRAPHY, ETCHED INTO MOSQUES SCATTERED AROUND BAKU IN CENTURIES PAST.
• WHILE DESIGNING THE CENTER, ZAHA HADID ARCHITECTS REVIEWED A SPECTRUM OF
ARCHITECTURAL AND CULTURAL INNOVATIONS THAT HAVE APPEARED ACROSS THE ISLAMIC
WORLD OVER THE PAST 1400 YEARS.

• FLUIDITY IN ISLAMIC WORLD’S ARCHITECTURE EXAMPLE:

- 400 YEAR OLD BLUE MOSQUE IN ISTANBUL.
- CALLIGRAPHY & GEOMETRIC PATTERNS FLOW THROUGH THE INTERIOR SURFACES OF DOMES
& WALLS & ONTO CARPETS WITHIN, ESTABLISHING CONTINUITY.
CONTINUATION OF THE PLAZA’S
URBAN LIFE
• THE PLAZA SURROUNDING THE CENTER
FEATURES A SERIES OF ASCENDING TERRACES,
INFINITY POOLS, WATERFALLS, & TRIANGLE-
SHAPED CHANNELS.
FLUID SPACES
• ZAHA HADID SAID- BAKU CENTER IS PART
OF A SERIES OF EXPERIMENTAL
“ FLUID SPACE” STRUCTURES.
• BAKU COMPLEX ACTUALLY CONSISTS OF
THREE BUILDINGS- A CONFERENCE CENTER,
A MUSEUM & A LIBRARY- CONNECTED
THROUGH AN INTERIOR SPACE & BY THE
CURVING “FLUID” ENVELOP THAT WINDS
ACROSS THE ENTIRE STRUCTURE.

• DESIGN INSPIRED BY “ THE FLUID
GEOMETRY OF WATER IN MOTION”.
• THE STUDIO USED RHINO SOFTWARE TO
DEVELOP HIGHLY PRECISED BUT
CONSTANTLY EVOLVING 3D DIGITAL
MODEL OF THE CENTER.
THE SKIN THE BUILDING LIVES IN
• CHALLENGING ELEMENTS - ARCHITECTURAL
DEVELOPMENT OF THE BUILDING’S SKIN.
• LIGHT INTERACTS WITH THE CONTRASTING
ARCHITECTURAL FORMS IN DIFFERENT WAYS:
- LIGHT BOUNCES OFF EACH SIDE OF A RECTILINEAR
BUILDING IN A UNIFORM DIRECTION.
- BULIDING WITH DOUBLE- CURVATURE SURFACES,
THE PATTERNS OF REFLECTED LIGHT ARE RICHER.

• AS THE SUN GOES DOWN, THE LIGHT COMES FROM INSIDE

& WASHES ACROSS THE SURFACES.
• GROUND-EMBEDDED FACADE LIGHTING POSITIONED
ALONG THE PERIMETER OF THE CENTER PROJECTS CONES
OF LIGHT ONTO THE BUILDING'S SURFACE, CREATE THE
ILLUSION THAT THIS GLOWING FORM IS SUSPENDED
ABOVE THE EARTH, FREE FROM THE FORCE OF
GRAVITATION.
 DESIGN CONCEPT
• ZAHA HADID ARCHITECTS WAS APPOINTED AS DESIGN ARCHITECTS OF THE HYDER ALIYEV
CENTERE FOLLOWING A COMPETITION IN 2007.
• CONTINUOUS, FLUID RELATIONSHIP BETWEEN ITS SURROUNDING PLAZA & THE BUILDING’S
INTERIOR.

• ELABORATE FORMATIONS SUCH AS UNDULATIONS, BIFURCATIONS, FOLDS, & INFLECTIONS

MODIFY THIS PLAZA SURFACE INTO AN ARCHITECTURAL LANDSCAPE THAT PERFORMS
MULTITUDE OF FUNCTIONS.
INTENTION- RELATE TO THAT HISTORICAL
UNDERSTANDING OF ARCHITECTURE
- NOT THROUGH MIMICRY OR LIMITING ADHERENCE
TO THE ICONOGRAPHY OF THE PAST
- DEVELOPING A FIRMLY CONTEMPORARY
INTERPRETATION
- REFLECTING MORE NUANCED UNDERSTANDING.

• THE BULIDING BLURS THE CONVENTIONAL

DIFFERENTIATION BETWEEN
- ARCHITECTURAL OBJECT & URBAN
LANDSCAPE
- BUILDING ENVELOPE & URBAN PLAZA
- FIGURE & GROUND
- INTERIOR & EXTERIOR.
 TOPOGRAPHY
• 20M TOPOGRAPHIC SHEER DROP FORMERLY SPLIT THE SITE INTO TWO.
• THE MAIN BUILDING IS SITUATED TO THE NORTHERN, HIGHER END OF THE SITE, WHILE THE
PARKING, LANDSCAPE, POND AND EXTERIOR CAFÉ ARE TO THE SOUTH.
• THIS SOLUTION AVOIDS ADDITIONAL EXCAVATION AND LANDFILL, AND SUCCESSFULLY CONVERTS
AN INITIAL DISADVANTAGE OF THE SITE INTO A KEY DESIGN FEATURE.
• BAKU MEANING IN FARSI: ‘ WHERE WIND
BEATS’.
• CITY LIES WITHIN SEISMIC ZONE.
• SUBJECT TO HIGH WIND LOADS THROUGHOUT
THE YEAR.
• THE CENTER PRINCIPALLY CONSISTS OF TWO
COLLABORATING SYSTEMS:
A CONCRETE STRUCTURE COMBINED WITH A
SPACE FRAME SYSTEM.
• VERTICAL SRUCTURAL ELEMENTS: ENVELOPE
& CURTAIN WALL SYSTEM.
REASON: TO ACHIEVE LARGE- SCALE
COLUMN FREE SPACES THAT ALLOW THE
VISITOR TO EXPERIENCE THE FLUIDITY OF THE
INTERIOR.
• SURFACE GEOMETRY FOSTERS
UNCONVENTIONAL STRUCTURAL SOLUTIONS:
-CURVED ‘BOOT COLUMN’ TO ACHIEVE THE
INVERSE PEEL OF THE SURFACE FROM THE
GROUND TO THE WEST OF THE BUILDING.
-‘DOVETAIL’ TAPERING OF THE CANTILEVER
BEAMS SUPPORT THE BUILDING ENVELOP TO
THE EAST OF THE SITE.
• SPACE FRAME SYSTEM ENABLED CONSTRUCTON OF
A FREE FORM STRUCTURE
• SUBSTRUCTURE: DEVELOPED TO INCORPORATE A
FLEXIBLE RELATIONSHIP BETWEEN THE RIGID
GRID OF THE SPACE FRAME & THE FREE FORMED
EXTERIOR CLADDING SEAMS.
• CLADDING MATERIALS:-
-GLASS FIBRE REINFORCED
CONCRETE(GFRC)
- GLASS FIBRE REINFORCED
POLYSTER(GFRP)
- ALLOW POWERFUL PLASTICITY OF THE
BUILDING’S DESIGN
• RESPOND TO DIFFERENT FUNCTIONAL DEMANDS
RELATED TO A VARIETY OF SITUATIONS:
PLAZA, TRADITIONAL ZONES & ENVELOPE.
 STRUCTURAL SYSTEM

SPACE FRAME CONCRETE SLAB

OVERALL VIEW CONCRETE CORES

 SEAMS LIGHTING
• DICTIONARY MEANING: A LINE WHERE TWO
THINGS JOIN. • DAY - BUILDING’S VOLUME REFLECT
SLIGHT,CONSTANTLY ALTERING THE CENTER’S
• DERIVED FROM A PROCESS OF RATIONALIZING
APPEARANCE ACCORDING TO THE TIME OF DAY
THE COMPLEX GEOMETRY, USAGE, &
AND VIEWING PERSPECTIVE.
AESTHETICS OF THE PROJECT.
• SEAMS PROMOTE A GREATER UNDERSTANDING
OF THE PROJRCT’S SCALE. • SEMI-REFLECTIVE GLASS- GIVES TANTALIZING
GLIMPSES WITHIN,AROUSING CURIOSITY WITHOUT
• EMPHASIZE THE CONTINUAL TRANSFORMATION
REVEALING THE FLUID TRAJECTORY OF SPACES
& IMPLIED MOTION OF ITS FLUID GEOMETRY.
INSIDE.
• OFFER SOLUTION TO PRACTICAL
CONSTRUCTION ISSUES SUCH MANUFACTURING,
HANDLING, TRANSPORTATION & • NIGHT- LIGHTING WASHES FROM THE INTERIOR
ASSEMBLY. ONTO THE EXTERIOR SURFACES, UNFOLDING THE
FORMAL COMPOSITION AND MAINTAINING THE
• ANSWERING TECHNICAL CONCERNS –
FLUIDITY BETWEEN INTERIOR AND EXTERIOR.
ACCOMODATING MOVEMENT DUE TO
DEFLECTION, EXTERNAL LOADS, TEMPERATURE
CHANGE, SEISMIC ACTIVITY & WIND LOADING.
 LOCATION
• BAKU , AZERBAIJAN REPUBLIC, WEST COAST OF THE CASPIAN SEA.
• SURROUNDINGS: APPROVED FOR RESIDENTIAL, OFFICES, A HOTEL, & A SHOPPING MALL.

HEYDER ALIYEV INTERNATIONAL AIRPORT

HAC TO HAIA: 21.6 KM

HEYDER ALIYEV CENTER
 INTERIOR
• THE INSIDE CENTER IS CHARACTERIZED BY CONTINUOUS SURFACES THAT TWIST TO TRANSFORM
THE CEILING WALLS AND RAMPS.
• THE SHAPES REMIND CONCH TERMINAL TWA AT JFK, WHICH ITS ARCHITECT EERO
SAARINEN SAID “… IT’S ALL ONE THING… ”
• THE GROUND FLOOR HAS SEVERAL SPACES LOBBYING AIMED AT CREATING PUBLIC PLACES
THAT UNITE THE DIFFERENT ASPECTS OF THE PROGRAM OF THE CENTER.
• SOILS BECOME RAMPS AND WALLS, TURNING ON CEILINGS, THEN KEEP TURNING AND MOVING
OUT OF SIGHT, FORMING ENDLESS WHITE LANDSCAPES.
• THE INTERIOR WALLS AND CEILING WILL BE CONSTRUCTED OF COMPOSITE GYPSUM BOARDS
WITH WHITE MATT PAINT FINISH, RESPONDING TO ACOUSTICAL AND LIGHTING REQUIREMENTS,
AS WELL AS PARAMETERS
SUCH AS LOAD (RESULTING FROM HANGING ART WORK AT THE MUSEUM) AND LOCATION.
 LIBRARY
• ORIENTED NORTH TO TAKE ADVANTAGE OF NATURAL LIGHT AND HAS ITS OWN ENTRANCE.
• LEVELS DEDICATED TO READING AND FILE ARE STACKED ONE ABOVE THE OTHER, WRAPPED
IN THE FOLDS OF THE OUTER SKIN.
• PLANTS TUMBLE OVER ONE ANOTHER WITH RAMPS WHICH CONNECT, CREATING A
CONTINUOUS CIRCULATION PATH.
• THE LIBRARY AND MUSEUM ARE ALSO CONNECTED BY A RAMP THAT LEADS THROUGH THE
GROUND FLOOR OF THE LIBRARY, TO THE FIRST FLOOR OF THE MUSEUM.
• THE LIBRARY IS CONNECTED TO THE CONFERENCE ROOM THROUGH A BRIDGE THAT ‘FLY’
OVER THE ENTRANCE HALL.
 AUDITORIUM
• MAIN ENTRANCE- ON THE VOID CREATED IN THE OUTER LAYER, “STRETCHING” OF THE
VOLUME OF THE MUSEUM AND THE LIBRARY TOWER.
• SECONDARY ENTRANCE - ON THE NORTH SIDE OF THE BUILDING.

• TOTAL AREA- 1200SQ.MT. • HYDRAULIC ORCHESTRA PIT WILL BE USED FOR

• SEATING CAPACITY- 960 SEATS. BOTH CONVENTIONS AND MUSICAL
• STAGE AREA- 290 SQ.MT. PERFORMANCES.
• DESIGNED FOR NAKED SOUND ACOUSTIC VALUES,
BUT WITH TRANSFORMABLE COUPLING SLOTS IT
CAN ADJUST TO MEETING PURPOSES.
• IDEAL PLACE WITH MODERN INFRASTRUCTURE FOR HOSTING VARIOUS EVENTS, CONFERENCES,
FORUMS, SYMPOSIUMS & CONCERTS.
• HALL – COMPOSED OF ASSYMETRIC DRAINING LINES WITH NO CLEAR – CUT CLEAVAGE
BETWEEN THE FLOOR, THE WALLS, & THE CEILING.

- INTERIOR- OAK- AESTHETIC VALUE, INSTRUMENTAL- COMPRISES THE STALLS & THE BALCONY.
IN CREATION OF EXCELLENT ACOUSTICS , SOUND - TWELVE ENTRANCES FROM DIFFERENT FLOORS.
IS EQUALLY AUDIBLE AT ANY POINT OF THE HALL.
 CONFERENCE HALLS

TWO CONFERENCE HALLS ; • WITH SPECIAL PANELS HALL CAN •THESE PARTS ACCORDINGLY:-
• GROUND FLOOR: AREA - 1796BE SPLIT INTO 3 PARTS. 493SQ.M, 510 SQ.M., 793 SQ.M.
SQ.MT.

TOTAL HEIGHT- 7.6M • CAPABLE OF HOSTING EVENTS •CONFRENCE HALL ON 3RD FLOOR
IN DIFFERENT FORMATS. AREA- 1811 SQ.MT.
• 6 ENTRANCES. HEIGHT- 7.8 MT.
 EXHIBITION HALLS
• EXHIBITION HALLS ARE LOCATED ON THE GROUND, 1ST, 2ND , 3RD , 4TH & 5TH FLOORS

GROUND FLOOR: 785.58 SQ.MT.

1ST FLR: 1163.4 SQ.MT. 3RD FLOOR: 767.72 SQ.MT.

2ND FLR: 794.54 SQ.MT. 4TH FLR: 860.53 SQ.MT.
5TH FLR: 833.37 SQ.MT.
 PARKING
THE VOLUME BELOW THIS TRANSITIONAL ZONE IS USED FOR UNDERGROUND PARKING
PARKING AREA CONSISTS OF 4 LEVELS.
AREA: 39,420 SQ.MT.
CAPACITY: 1241 VEHICLES.
 MUSEUM OF HEYDER ALIYEV
• DESCRIBES THE HISTORY OF AZERBAIJAN & DIFFERENT STAGES OF HEYDER ALIYEV’S LIFE &
WORK.
• 3 FLOOR MUSEUM DESCRIBES- INTERESTING FACTS, PHOTO, & VIDEO MATERIAL, UNIQUE
EXHIBITS RELATING TO HEYDER ALIYEV.
• MUSEUM SPACE FRAME: 12,569 MEMBERS.
 MATERIALS
• 121,000 M³OF REINFORCED CONCRETE, 194,000TN FORMWORK AND 19.000TN MOLD STEEL.
• THE OUTER SKIN 5,500 TONS OF STRUCTURAL STEEL.CREATING THE 40,000 SQ.MT. BASIS AREA
FOR PANELS MADE FROM FIBERGLASS REINFORCED POLYESTER OR WITH CONCRETE,
• 17,000 INDIVIDUAL PANELS WITH DIFFERENT GEOMETRIES.
• METAL AND RUBBER GASKETS ARE LOCATED BETWEEN THE PANELS.
• THE TOP AND BOTTOM LAYERS THE FIBERS ARE UNDIRECTED AND SCATTERED; IN THE MIDDLE
LAYER, THEY ARE SET IN FIBER BUNDLES THAT TAKE THE FORM OF THE ROOF.
• THIN SLAB OF 8-13 MM THICKNESS THAT IS VERY LIGHT-WEIGHT YET HAS A HIGH FLEXURAL
STRENGTH.
• GEOMETRICAL DIVISION OF PANELS: : FLAT-PLANAR, SINGLE CURVATURE AND DOUBLE
CURVATURE.
• FLAT PANELS ARE FABRICATED THROUGH AN EXTRUSION BED WHILE SINGLE AND DOUBLE
CURVATURE PANELS ARE MOULDED.
• PLAZA PANELS REST ON GRAVEL & CONCRETE.
• TRANSITIONAL ZONE PANELS ARE SUPPORTED ON A WEDGE - SHAPED CONCRETE FOOTING.
• ENVELOPE PANELS WORKING AS RAIN SCREEN CLADDING SYSTEM ARE CONNECTED TO THE
SPACE FRAME NODES VIA PEDESTALS AND THE SUB-STRUCTURE, ENABL ING MAXIMUM
FLEXIBILITY BETWEEN THE STRUCTURE AND CLADDING.
CONSTRUCTION
 THEORY
• SHE DOES BUILD THEORY—IN THIS CASE A SPATIAL THEORY OF FLOWS. FOR MANY YEARS,
HADID HAS WORKED WITH THE IDEA OF BLURRING OBJECT AND FIELD, FOREGROUND AND
BACKGROUND, AND THE SHEER SCALE OF THE CENTER AND DIVERSITY OF ITS PROGRAMS
HAS GIVEN HADID THE OPPORTUNITY TO PROVE HER IDEAS OF WORKING THE GROUND AND
BUILDING TOGETHER.
• HADID SAYS. “YOU DON’T KNOW WHERE IT ALL STARTS AND ENDS.”
• “THE THREE PROGRAMS MERGE TOWARD THE CENTER, WHICH BECOMES THE LOBBIES,
WHICH CAN HANDLE SEVERAL EVENTS AT THE SAME TIME,”
• THE CORE OF THE BUILDING, THEN, IS THE PUBLIC SPACE, AND THE CELEBRATION OF PUBLIC
LIFE IN AN ATRIUM
 THE GFRP-CLAD EXTERIOR OF THE HYDER DEVELOPED THE FREE-FORM CURVES OF THE
ALIYEV CENTER USING RHINOCEROS 3D
CENTER HIDES A COMPLEXSPACE FRAME
STRUCTURE

THE CENTER'S INTERIOR IS MARKED BY CONTINUOUS THE GROUND FLOOR HAS SEVERAL LOBBY SPACES
SURFACES THAT TWIST TO TRANSFORM WALLS INTO INTENDED TO CREATE PUBLIC VENUES FOR UNITING
CEILINGS AND RAMPS INTO SOFFITS. THE DIFFERENT ASPECTS OF THE CENTER’S
PROGRAM.
THE SWEEPING, MULTIHEIGHT PUBLIC SPACES ARE
CRISS-CROSSED WITH A SERIES OF BRIDGES TO
TRANSPORT VISITORS FROM ONE PART OF THE
CENTER TO ANOTHER.
WITHIN THE CENTER, SLITS ALONG THE
INTERIOR'S CURVED SURFACES PROVIDE
GENERAL ILLLUMINATION WHILE
AMPLIFYING THE VERTIGINOUS EFFECT OF
THE DISTORTED SPACES.

A VERTICAL CURTAINWALL SYSTEM, HIDES BEHIND A GRAND STAIRWAY INSIDE THE CENTER LEADS
AN EXTERIOR SURFACE THAT BOWS TO TOUCH THE TO ONE OF ITS MANY LEVELS.
GROUND.
 ZAHA HADID
• BORN: 31 OCT 1950 BAGHDAD, IRAQ
• DIED: 31 MAR 2016 MIAMI, FLORIDA,
US.
• IRAQI- BORN BRITISH ARCHITECT.
• FIRST WOMEN TO RECEIVE PRITZKER
ARCHITECTURE PRIZE, IN 2004.
• STIRLING PRIZE , IN 2010 & 2011.
• FIRST WOMEN TO RECEIVE THE
ROYAL GOLD MEDAL FROM THE
ROYAL INSTITUTE OF BRITISH
ARCHITECTS.
• DESCRIBED AS THE ‘ QUEEN OF
CURVES’ BY GUARDIAN OF LONDON.
• STUDIED AT ARCHITECTURAL
ASSOCIATION SCHOOL OF
ARCHITECTURE, LONDON.
• WORKED FOR HER FORMER
PROFESSORS, KOOLHAAS &
ZENGHELIS.
• OPENED HER OWN FIRM IN 1980.