Zaha Hadid: Post-its

Zaha Hadid, DM 3075.2_3
Zaha Hadid, DM 3075.2_2
Zaha Hadid, DM 3075.2_1
Zaha Hadid, DM 3075.2_4

This is all Zaha’s hand. When she is drawing there is a directionality – you are looking from the top, at a plan, extruded or in perspective. These sketches are relatively preliminary but certainly not initial – they are too defined. She is developing a composition, but already thinking about programme, site, context – the relationship of elements, the ground, how the curve addresses context. 

Zaha Hadid, DM 3075.2_5

The context was in her head though not drawn; she did not want to be confined adversely by contextual issues. This aspect of her process was throughout. It was only by knowing the site and the context around it – yet not confining herself to it – that she would flow with her ideas.

Zaha Hadid, 3075.1-1
Zaha Hadid, 3075.1_4
Zaha Hadid, 3075.1_3
Zaha Hadid, 3075.1_5 copy
Zaha Hadid, 3075.1_1

It was a fluid process of drawing. In the one on the top right I am tracing over something that had been drawn out of scale – I have got a column in there. There would always be a back and forth. These two lines look slightly different – the slower, more angular, slightly thicker line could be me. 

Zaha Hadid, 3075.1_2

– Michael Wolfson in conversation with Tina di Carlo, December 2018, about Kurfurstendamm and Azabu Jyuban shown above. Designed in 1986, both projects had narrow sites, in which Hadid's approach was a similar composition of vertical elements layered laterally, connected through a series of stacked infrustructural volumes.