Zaha Hadid's first tower, completed in September 2011 for container-shipping company CMA CGM, is visible beyond low-rise buildings in Marseilles's Grands-Carmes district.
Report card: Zaha Hadid's MAXXI turns out to be a good place to see art. There's a giant, white, habitable sculpture sitting in the midst of Rome's nondescript Flaminio district just north of the city center. Its exterior juxtaposes sinuous curves and sharply angled planes, and its interior flows in smooth, serpentine capaciousness. It's Zaha Hadid's National Museum of XXI Century Arts (better known as MAXXI), and doubtless it's a work of art itself. But museums aren't supposed to be stand-alone masterpieces. They're supposed to display and enhance other works of art to visual and contextual advantage. The 228,000-square-foot MAXXI
The Guangzhou Municipal Government’s brief for a new opera house was ambitious: the building had to be able to host Chinese and Western operas of the highest caliber, as well as be a welcoming civic center, open and accessible to all.
Raising the Bar in Brixton: Winner of the 2011 Stirling Prize, this daring charter school aims to bridge architectural and social divides in a regenerating historic neighborhood.
Set back from the road, Zaha Hadid's Evelyn Grace Academy in South London zigzags across its small site with jagged angles of bare concrete, glass, and silver-spray-painted aluminum.
Twirl, an installation by Zaha Hadid Architects on display for two weeks during the 50th anniversary of the Milan Furniture Fair in April, was intended to be a contemporary interpretation of the State University of Milan’s 18th-century courtyard.
Turn the clock back to 1999 and you find Zaha Hadid and her partner Patrik Schumacher working on a critical set of projects, four of which (including MAXXI) eventually got built and two that never moved off the page or computer screen.