CENTER HEYDAR ALIYEV, LOCATED IN AZERBAIJAN

zaha hadid architects: information and photographic credit The Heydar Aliyev Center in Baku is a regional showcase, a catalyst for revitalization, and a national emblem for Azerbaijan. It was named after the former president of the country. The Heydar Aliyev Center really is a labor of love, and iand is making an exception by providing you a much longer piece with extensive information of this exceptional project. Following the completion of a competition in 2007, zaha hadid architects were selected to take on the role of design architects for the Heydar Aliyev Centre. The center, which is intended to become the primary building for the nation’s cultural programs, departs from the rigid and often monumental soviet architecture that is so prevalent in baku. Instead, the center aspires to express the sensibilities of azeri culture and the optimism of a nation that looks to the future. The design takes into account the context of this. Furthermore, it is a daring move. It has used the knowledge of people from Turkey, the United Arab Emirates, and the Commonwealth of Independent States, in addition to those from farther afield. The story follows an uncompromising architectural vision, unbridled geometric inventiveness, attention to detail, and resourceful engineering that, according to project architect saffet kaya bekiroglu, involved constructing mock-ups of practically everything to evaluate appearance as well as performance; the contractors’ and engineers’ quest for faster, lighter, and more buildable answers to problems posed by irregular, non-rectilinear geometry and large column-free spaces; and the project tea party. The design creates a link that is continuous and flowing between the plaza that surrounds the building and the inside of the structure itself. The plaza, which serves as the ground surface and is open to the public as an integral part of the urban fabric of Baku, rises to enclose an equally public interior space and define a succession of event spaces devoted to the communal celebration of current and traditional Azerbaijani culture. This plaza surface is transformed into an architectural landscape by the addition of elaborate formations such as undulations, bifurcations, folds, and inflections. This architectural landscape serves a variety of purposes, including greeting visitors, enclosing them, and guiding them through the various levels of the interior. The building blurs the customary distinction between architectural object and urban environment, building envelope and urban plaza, figure and ground, as well as interior and exterior, with this gesture. This area has long been known for its flexibility in architectural design. Historically, in Islamic architecture, non-hierarchical space was created by arranging buildings in rows, grids, or column sequences that flowed to infinity like the branches of trees in a forest. Establishing seamless links and dissolving divisions between architectural parts and the ground they occupy, continuous calligraphic and decorative patterns flow from carpets to walls, walls to ceilings, and ceilings to domes. These patterns may be seen throughout the structure. The design relates to that historical understanding of architecture not through the use of mimicry or a limiting adherence to the iconography of the past, but rather by developing a firmly contemporary interpretation that reflects a more nuanced understanding. This is how the design relates to that historical understanding of architecture. The concept offers a perfectly terraced landscape as a response to the topographic precipitous drop that had previously divided the site in half. The aim of the project is to generate alternate linkages and paths between the public plaza, the building, and the subterranean parking. This technique prevents the need for extra excavation and landfilling, and it also effectively transforms an original drawback of the site into an important component of the design. The architectural design of the building’s skin was one of the aspects of the project that was very important while also being quite complex. The goal of the architect was to create a surface that is so continuous that it gives the impression that it is homogenous. In order to accomplish this goal, a wide variety of distinct functions, construction logics, and technical systems needed to be brought together and integrated into the building’s envelope. The use of modern computer technology enabled a continual control of and communication about these intricacies among the many people that participated in the project. The Heydar Aliyev Center is primarily made up of two different systems that work together to form the building. These systems are a concrete structure and a space frame system. Vertical structural components are absorbed by the envelope and curtain wall system in order to generate large-scale column-free areas within the building. This provides the visitor with the opportunity to feel the fluidity of the interior. The specific surface geometry encourages the development of unconventional structural solutions, such as the incorporation of curved ‘boot columns’ to achieve the inverse peel of the surface from the ground to the west of the building and the ‘dovetail’ tapering of the cantilever beams that support the building envelope to the east of the site. Both of these solutions were necessary to achieve the inverse peel of the surface from the ground. The space frame system made it possible to build a free-form structure while simultaneously saving a significant amount of time throughout the entirety of the construction process. Meanwhile, the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams. The process of rationalizing the complicated geometry, use, and aesthetics of the project resulted in the formation of these seams. Both glass fibre reinforced concrete (gfrc) and glass fibre reinforced polyester (gfrp) were selected as the ideal cladding materials for the building because they allow for the powerful plasticity of the building’s design while simultaneously responding to very different functional demands related to a variety of situations, including the plaza, transitional zones, and envelope. If the surface is the song that makes up this architectural symphony, then the seams that separate the panels are the beat that drives it. Numerous studies on the surface geometry were conducted in order to rationalize the panels while still preserving consistency across the whole of the structure and landscape. The seams let the viewer have a better comprehension of the scope of the project. They place an emphasis on the continuous transformation and implied motion of its fluid geometry, which provides a pragmatic solution to practical construction issues such as manufacturing, handling, transportation, and assembly. Additionally, they answer technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity, and wind loading. The daytime and nighttime readings of the building are presented in a distinct manner by the lighting design approach in order to highlight the constant interaction that exists between the building’s outside and inside. The look of the center is continuously altered depending on the time of day and the viewer’s vantage point due to the way in which the building’s volume reflects light throughout the day. The use of glass that is only partially reflecting creates enticing glances of what’s on the other side, provoking interest without disclosing the flow of spaces on the other side. At night, this character undergoes a progressive transformation as a result of lighting that washes from the inside onto the outer surfaces. This reveals the substance of the formal composition while preserving the fluidity between the interior and exterior. Visit the website http://www.zaha-hadid.com to educate yourself about the space frame, architectural skin, assembly, and other related topics. Please visit globalhop.indiaartndesign.com in order to see the photographs.

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