INSTITUTE OF ENGINEERING

DEPARTMENT OF ARCHITECTURE
THAPATHALI CAMPUS, THAPATHALI

AN ESSAY ON “ARCHITECTURAL REFORMS OF EXPERT

ARCHITECTS OF 20TH CENTURY”

SUBMITTED BY: SUBMITTED TO:

GARIMA NEUPANE (511) AR. PRADEEP ADHIKARI
ANUP JUNG BUDHATHOKI (505)
KARUNA GHALE (517)
MANDIRA KAFLE (523)
MICHAEL GRAVES:

Michael Graves, born in Indianapolis in 1934, is the face of postmodern architecture. Cincinnati and
Harvard university graduate Michael won the Rome prize in 1960 and studied for 2 years in American
academy in Rome for two years, and it seems that his appreciation for classical architecture started
from this time. Upon returning to the United States in 1962, he accepted a teaching position at
Princeton University’s School of Architecture, where he would teach for nearly four decades. He
started his firm in 1964 where he contributed for more five decades.

The National Medal of Arts in 1999, the American Institute of Architects Gold Medal in 2001and the
Richard H. Driehaus Prize for Classical Architecture in 2012 winner, Graves turned to architecture
itself for inspiration and had a deep interest in existing architecture, ancient, neoclassical, modern
and derives pleasure from reinterpreting its forms and compositions. He gave credence to the basic
tenet that there is no such thing as an original idea but that everything original is based on the
reworking of what already exists. On very strong influence on the work of graves is the interest in
and appreciation of the simple domestic rituals of life that one enjoys or ought to be able to enjoy.

Since Postmodernism was a direct response to Modern architecture, Michael Graves did not want to
abandon historical designs and principles. He instead used them as a guide and an example of great
architecture. Similarly graves always prioritized context and character of the site, i.e. all of the
projects were designed with the surrounding location and history in mind and thus all his buildings
look different and unique. Likewise, his architecture is designed on human scale, unlike the alien
modern architecture, his buildings gave priorities to all human aspects and thus made his buildings
and products accessible to all. He brought intricate design in the homes of people. Michael Graves
never forgot about the users of his buildings. While buildings were getting larger and larger, he
wanted to make sure they were still approachable. One trick he used was called “pavilionizing,” in
which he would break down the facade of a building into smaller sections. This was an approach
thinking about a person walking down the block next to the building. He also believed in having a
complete story in the buildings told via the interiors and exterior.
As he was a disciple of Modernism, his early
architecture in the 1960s was imbued with its
spirit: predominantly white geometric volumes
composed with clean, sparse lines with no
ornamentation. Rejection of past reference,
such as decoration, was a hallmark of his early
style, which echoed the works of Mies van der
Rohe and Le Corbusier and the Miesian motto,
“Less is more.” Examples of Graves’s
Modernist sensibilities are evident in the
Hanselmann House (1967–71) in Fort Wayne,
Indiana.
 His adherence to the principles of
Modernism helped to identify him in
the late 1960s as one of the New York
Five, a group of influential East Coast
architects who wholeheartedly
embraced the Modernist movement.
However, opposition to the coldness
and rigidity of that vernacular was
rising. At the helm of this dissention
was architect Robert Venturi, who
cleverly contested the venerated words
of Mies by pronouncing, “Less is a
bore.”

As he was a disciple of Modernism, his early architecture in the 1960s was imbued with its spirit:
predominantly white geometric volumes composed with clean, sparse lines with no ornamentation.
Rejection of past reference, such as decoration, was a hallmark of his early style, which echoed the
works of Mies van der Rohe and Le Corbusier and the Miesian motto, “Less is more.” Examples of
Graves’s Modernist sensibilities are evident in the Hanselmann House (1967–71) in Fort Wayne,
Indiana.
 In the early 1980s Graves drew remarkable
attention with his designs for several large
public buildings, including the Portland Public
Service Building in Portland (1982), and the
Humana Building in Louisville, Kentucky
(1985). The Portland Building was the epitome
of postmodernist architecture that, with its
colourful structure and facades decorated with
a stylized garland, defied the austere static
steel and glass box of the Modernist
sensibilities. Its classical tripartite organization
consisting of base (teal), middle (terra cotta),
and top (blue) symbolized the cultivated land
or garden, earth, and the heavens.

The 15-storey structure is located next to

Portland City Hall and contains offices for many
of the city's public agencies, with rentable office
space on the top floors and a food court in the
base. The blocky edifice is dominated by highly
abstracted classical elements – including
columns, pediments, and a frieze-like decorative
band – all set amid a grid of small square
windows. A teal-coloured podium encompasses
the entrance level, and features a Classically-
styled sculpture of a woman called Portlandia,
by artist Raymond Kaskey, above the front
doors. Graves said the facade design reflected
classical, anthropomorphic orders representing
the base, the body, and the head. The Portland
Building won an honour award from the
American Institute of Architects in 1983. It is
the most published and talked about post
modern architecture.

Likewise, Humana Building in Louisville was also one of his most famous designs, often cited as an
important example of postmodern architecture. It punctures the city’s skyline with its singular
triangular form at the top. The interior and exterior are encased with granite and marble of myriad
colours. Rather than adopting the Modernist approach of creating a conventional box with repetitive
facades, Graves designed each elevation to address the site. This attention to the building’s context
created varied and memorable faces or sides. The gently curved open-air observation deck,
cantilevering from the top of the structure, afforded spectators a remarkable view of the Ohio River.
The Humana Building garnered the coveted American Institute of Architects’ National Honor Award
in 1987. The building is a successful demonstration of how architecture after modernism can enliven
urban space through color, contextualism, and metaphorical references to the larger environment.
Those structures, and many others designed by
Graves at that time, were famous for their hulking
masses and for his highly personal Cubist
interpretations of such classical elements as
colonnades and loggias. These structures were
acclaimed for their powerful and energetic
presence.

By the end of the 1980s, Graves had emerged as

one of the most original and popular figures
working in the postmodernist idiom. His design
for Disney’s corporate offices in Burbank,
California (1990), used terra-cotta dwarfs, nearly
20 feet high, to hold up the classical pediment in a
whimsical postmodern interpretation of the
Parthenon. The structure faces a pedestrian plaza
and reflecting pool. “I wanted to design a
corporate office for a serious company engaged in
entertainment,” he once said.

Michael Graves, was commissioned in 1990 to renovate and design an extension to the Denver Central
Library. Known for his surreal and “entertainment” architecture; Graves’ implemented traditional post-
modern motifs of abstracted classical forms, natural materials, and colors commonly found in past
centuries.
 Graves was also at this time associated with the famed
Memphis Group of designers organized in Milan by
Ettore Sottsass, who sought to bring postmodernism to
product and furniture design. Graves began a long and
highly successful partnership with the Italian kitchenware
company Alessi. His famous stainless steel teakettle
(1985) for Alessi, with its cheerful red whistling bird and
sky-blue handle, became the company’s best-selling
product and is still in production today. In 1997, while
designing stylized scaffolding for the restoration of the
Washington Monument, Graves also joined forces with
mass retailer Target to develop a line of kitchen products
ranging from toasters to spatulas. His designs were both
appealing and affordable, and they helped make Graves a
household name. The tagline that Target attached to his
product line reflected the designer’s mission: “Good
design should be affordable to all.”

In 2003 Graves’s sinus infection that developed

into an infection of the spinal cord that left him
paralyzed below the waist. While recovering in a
hospital, Graves quickly realized the deficiencies
of the room’s design, which did not address the
needs of the wheelchair-bound individual. So he
set his sights on redesigning recovery rooms and
other ubiquitous objects such as wheelchairs,
walking canes, and bathtub grab bars to make
them more functional, more comfortable, and
more attractive.

Graves’s language of architecture operates on a number of levels. It is meant to be legible & a part of
everyday life. Secondly, & certainly no less important although admittedly more understandable to the
trained eye, is a passionate & sometimes playful interest in reworking the commonly accepted
language of architecture into a uniquely personal expression of what it might become, without losing
its identity. The reworking of what exists into what is unknown but still recognizable is the goal. He
desired to create a pleasant, comfortable environment for the people in his building. His continually
evolving experimentation with architectural form & language at the level of abstraction & figuration,
scale & color, size & structural system was such that, there is emergence of new ideas without denying
existence of traditions.
BALKRISHNA DOSHI:
B.V. Doshi practiced architecture at its most functional form. A disciple of Le Corbusier, Doshi blends
the idea of functionalism into then emerging post- independent India, which lacking an architectural
identity soon to be introduced to modern architecture through Le Corbusier found its own style in one
of its own, B.V. Doshi. India seeking closure after the British Regime turned to architecture. Projects
like Chandigarh city planning, Villa Sodhan reflect the context, the seeking of something new. B.V.
Doshi found his roots in ancient Indian philosophy. The courts, the verandas, the internal gardens, the
spaces for community assembly – which form a spine to all his designs.

B.V. Doshi, in time had developed his own philosophy in architecture. He had flexible approach to
architecture. Although, he started out as a modernist, in time he leaned towards postmodern
philosophies, somewhat diverting his philosophies from functionalism. “Ahmedabad Ni Gufa” in
Ahmedabad is an excellent example. He had an artistic approach to design. He is famously quoted
“One cannot only be an architect, I thought to myself. The idea is to become a Sthapati.”. He believed
an architect must not only know about building but, he should know how to perceive the world. He
believed in timelessness. His building had a sense of transition between the exterior and the interior
which gave the sense of belongingness. He believed institutions to be an important aspect of society.
He was a true devotee to Hindu tradition which we can see in some of his works. The use of
courtyards and verandas are extensive in his design. The idea of symbolization is present being post
modern architect that he was. A building is created out of memories, associations, sounds, forms,
spaces and images, porous and open-ended in nature and most of these aspects were met in his
buildings. He believed in the use of materials in raw form as much undecorated as possible. He is
famous for his idea of low-cost building for communal people.
Doshi’s early works show the influence of his
mentors’ projects in India. The School of
Architecture in Ahmedabad, which Doshi founded
and designed in 1966, recalls the grid facade of
the Mill Owners’ Association Building, while the
use of brick and concrete evokes the Villa
Sarabhai. Appreciative of Le Corbusier’s ability
“to create a soft light that makes people’s faces
glow,” Doshi included slanted skylights and
sliding doors to manipulate light and to regulate
temperature. Ever mindful of India’s heat, he
included recessed plazas shaded by leafy trees
throughout the campus to offer spaces where
students could meet in comfort. The school
continued to grow in the following decades,
expanding to include, among others, the School of
Planning in 1970, the Visual Arts Centre in 1978,
and the School of Interior Design in 1982. It was
renamed the Centre for Environmental Planning
and Technology (CEPT University) in 2002.
Students assisted in designing each new addition,
using similar forms and materials so that the
entire campus felt cohesive.

Doshi quickly became known for his commitment

to providing affordable housing throughout India,
where a shortage of homes had plagued cities for
decades. Notably, he designed the Life Insurance
Corporation Housing in Ahmedabad (1973) and
the Aranya Low-Cost Housing in Indore (1989).
The latter, arguably his best-known project, was a
township for low- to middle-income families. The
master plan called for a central spine of private
businesses and houses constructed on each side. A
cluster of 10 residences share a central courtyard,
while paved streets and squares break up the
ordered space. Doshi offered future inhabitants a
selection of 80 models that ranged from one-room
units to larger houses that suited different needs
and incomes. The minimalist designs show
Doshi’s dedication to waste little space and
material. The completed township provides
80,000 individuals with 6,500 residences.
 In 1980 Doshi design and constructed his
very own office which exaggerates his
concept of Indian philosophical roots.
“Sangath” departs from the usual
architectural office insofar as it includes a
research Centre and community related
facilities. Architecturally, it is an attempt to
evolve structures forms which are suited to
the local climate and which evoke a local
ethos.

The principal design element is the vaulted roofing and the building is sunk into the ground to make
the vaults more prominent and to create a stepped outdoor space for lectures and slide shows.
These steps lead to the terrace and the main studios.

The architect, acting as his own client, was

able to express his attitudes concerning
community co-operation and individualistic
expression, which accounts for the unusual
incorporation of multiple activities "under
one roof".

Completed in the year 1994 Ahmedabad Ni Gufa is few of Doshi’s project which consists of artistic
decoration and handy craftsmanship. Its interior is ornated in the inside making him a post-
modernist. Porcelain mosaic tiles reflect sunlight and mitigate heat, covering the tortoise shell-
inspired roof that shelters the undulating cave-like interiors below.

The shells are handmade from reinforcing bars and mesh covered with cement. This is covered with
compacted vermiculite, followed by mosaic pieces.
“The form and space of Gufa animate the
mysteries of light and memories. Challenges
between an artist and an architect give
birth to the most unexpected. Searching the
uncommon meant raising fundamental
questions – what is the meaning of
function, space and technology – amidst
structure and form.”
In the early 1970s, Doshi immersed himself in a deep study of India’s religious practices and their
meaning for the built environment. Doshi lamented the contemporary emphasis on the secular over the
sacred, and sought to understand the basic principles that shaped Indian society. Architecture, he
believed, should grow from a culture’s roots; for Doshi the meaning of space could only be discovered
through an understanding of the rituals that bring dignity to everyday life. Indeed, he maintained, the
strength of India’s spirit would survive in the rituals of its people. In this way India could be a rich
country; poverty is not the absence of material success of the West, but the loss of significant meaning
in the present.
“Doshi's concern was not to create a style, but to support an ethos that acknowledges India's
complexities.”

While he rejected Nehru’s clear distinction between the past and present, Doshi nevertheless felt that
segments of the past that were no longer viable should be discarded. He valued modernist architecture,
but believed it should be adapted to an Indian way of life. Modern forms could renew traditions and
sustain the vitality of traditional values. Doshi’s concern was not to create a style. but to support an
ethos that acknowledges India’s complexities. This led him to an architecture of ambiguous spaces
that seeks to activate the psyche, while also providing a sense of security and well-being.

Doshi’s first project that sought to integrate

his studies was Sangath (1979–81), his
studio west of Ahmedabad. Sangath’s
organic formal values establish, through a
process of abstraction, multiple associations
and orderings that build upon an
understanding of what informed the past and
eschew overt references that would give the
work an obvious Indian identity. In this
work, Doshi succeeds in transforming the
past into something totally new. Sangath
also expresses Doshi’s understanding of the
spiritual value of craft, which he used to FIG: S ANGATHA BY B.V. DOSHI: CONNECTION
further develop a modern vocabulary. There TO INDIAN ROOTS
is for Doshi, as there was for the traditional
Indian architect, a unity of purpose in the
thinking and the making of architecture.
Sangath’s vaulted forms, set in a garden,
result in an evocative and sensuous
architecture. This craft quality is closely tied
to scale, and Doshi’s Gandhi Labour
Institute (1980–84), located a kilometer
away from Sangath, which makes use of
similar forms and materials, reveals the
limitation of craft production when adopted
for large projects. FIG: LOW-COST HOUSING MODEL SKETCHES
BY B.V. DOSHI
Like Le Corbusier, Doshi has produced an oeuvre that covers a wide range of building types and
scales. Prominent in his work is his effort to understand and address the need to provide housing for
India’s masses. In rural areas, poor people have traditionally built their own shelters. When they
migrate to cities, it is impossible for the government to house all: many end up in squatter settlements.
Since the 1970s, non-governmental organizations, including the World Bank, have been involved in
development schemes to provide housing for India’s destitute. In an effort to take care of the most
urgent needs of sanitation and public access, programs providing “sites and services” have been
implemented. With an emphasis on quantity, they have mostly resulted in the stringing out of services
along the most efficient route.

FIGURE 1: LIFE INSURANCE COMPANY MODEL SKETCH BY DOSHI

Doshi’s settlement plan for Aranya, carried out with the Vastu-Shilpa Foundation, seeks to expand the
concept of “sites and services” and create a new model for the architect’s role in housing, as the
supporter of people’s initiative to build for themselves. Through intelligent planning of the site, and
through the creation of mechanisms to encourage residents in their own efforts, the architect can
structure space to address community issues and strengthen a social framework. Aranya is about
creating social structures; for Doshi this is ultimately tied to his growth as an architect through a
deepening of social engagement.
In his pivotal role as a founder, teacher and the architect of Ahmedabad’s Centre for Environmental
Planning and Technology (CEPT), Doshi has profoundly affected the way young Indian architects
design and think about architecture. His friendships with internationally known architects such as
Christopher Alexander, and CEPT’s exchange programs with schools in Zurich, Philadelphia, and
Syracuse, have enabled many Indian students to become acquainted with diverse approaches to
modern architecture.
Even his interest in Kahn’s work was conditioned by his growing conviction of the importance of
responding to Indian traditions. While Doshi has been instrumental in bringing Louis Kahn to
Ahmedabad to design the Institute of Management (1962–1974), he found Kahn’s Beaux Arts-
influenced planning to rigid for the Indian context.
ZAHA HADID:

Zaha Hadid (born October 31, 1950, Baghdad, Iraq—died March 31, 2016, Miami, Florida, U.S.)
the world’ s renowned master of architecture. She was one of the most distinctive creative talents of
her generation. she Was the first woman to be awarded the Pritzker Architecture Prize. Hadid is
known for the dynamic curving forms in her powerful, elongated structures.
Zaha Hadid began her college studies at the American University in Beirut receiving a
bachelor’s degree in mathematics. She moved to London in 1972 to study architecture at the
Architectural Association and upon graduation in 1977, she joined the Office of Metropolitan
Architecture (OMA). She also taught at the Architectural Association (AA) with OMA collaborators
Rem Koolhaas and Elia Zenghelis.
 She began her own practice in London in 1980 and won
the prestigious competition for the Hong Kong Peak
Club, a leisure and recreational center in 1983. Hadid
proposed for the landmark to stand apart above the
intensity and congestion of Hongkong centered on the
creation of man-made polished granite mountain. forms
appear to hover and float, defying gravity.

Though never built, The Peak is considered to be

Hadid’s breakthrough project and a pivotal moment in her
FIGURE:ELEVATION OF
investigation of painting as a design tool. Hadid often
BERGISEL SKI 2EAST JUMP
referred to the lasting impact that Russian Suprematist
painters, and in particular Kazimir Malevich, the
slope
FIGUREof the mountainside
1: THE PEAK LESIURE up toward
CLUB the sky. Hadid described her design as an “organic hybrid”
between a tower and a bridge. The tower is a tall concrete shaft, forming a seven-meter square in plan.
founding figure of the movement, had on her work. Pushing the traditional boundaries of architectural
Two elevators ferry visitors from the base of the tower to the café, the café is part of the larger spatial
representation, Hadid’s early paintings and drawings explore the potential of dynamism and distortion
volume perched atop the tower, which fuses the public spaces and the ski ramp into a visually
by superimposing sharp planar elements and overlaying multiple perspectives. In this case, the
cohesive whole. The observation deck provides an uninterrupted view in every direction, allowing
interplay of elementary geometric forms and primary colors is transformed into a vigorous spatial
visitors to survey both downtown Innsbruck and the surrounding Alps, from a single space.
composition. First developed during this period of experimentation in the early 1980s, her ideas about
“lightness,
Her floating, and fluidity,”
career started as she
to escalate described
at the end ofthem, were recurring
1990s.She started toreferences throughout
compete against her
well-known
prolific career. Most of her other radical designs in the 1980s and early ’90s, including
architects for the design of the Contemporary Arts Center in Cincinnati, Ohio (1997–2000), Hadid the
Kurfürstendamm
proposed organizing (1986) in Berlin,into
the museum the aDüsseldorf
number ofArt and Mediagallery
independent Centrevolumes,
(1992–93), alland the Cardiff
suspended from a
Bay
warped concrete plane. These functional elements would inform not only the massing architect,”.
Opera House (1994) in Wales were never built. Hadid began to be known as a “paper of the new
her designsbut
museum, were
its too avant-garde
exterior to move
appearance beyond
as well. it'sthe sketch
heavy phase andmassing
volumetric actually makes
be built.it Ever since
appear as an
her 1983 retrospective
independent exhibition
and impenetrable at the AA
sculptural in London,
element, it is aher architecture
building hasboth
that can beenblend
shownininandexhibitions
stand out
worldwide
at the same and
time.many of her works are held in important museum collections.

Hadid’s first major built project was the Vitra Fire

Taken together, the Phaeno Science Center, the BMW Central Building and the Rosenthal Center for
Station (1989–93) in Weil am Rhein, Germany. The Vitra
Contemporary Art powerfully lay to rest the myth that Hadid is primarily a theorist rather than a
Factory campus houses pre-existing factory buildings
builder. Each has a strong material quality, and demonstrates her ability to translate the dynamic
between which the fire station was to be built. the
warping and disruption of space evident in her drawings into physical reality. In these projects the
building draws its linear patterns from the adjacent fields
jagged, linear spaces of her earlier work have melted into more voluptuous forms.
and vineyards in order to act as a connecting element
rather than an isolated object. The building is a series of
layered walls, along with a pointed roof. Layers of tilted
walls envelope programs such as a garage for fire
engines,They were and
showers calling for a new
changing monument.
rooms With a
for firemen,
these specifications in mind, the Austrian Ski FederationFIGURE 2: VITRA FIRE STATION TOP VIEW
hosted an international design competition for the new ski
The simplicity and clarity of the built volume is reflected through the clean, exposed, reinforced
jump in 1999, and Zaha Hadid Architects were awarded
concrete in-situ finish and absence of any edging or cladding materials. The Vitra Fire Station uphold
the first prize in the competition. Hadid’s proposal was
Hadid to rise from the title of a ‘paper architect’ and break through the notion of drawings and
massive, measuring 90 meters long and towering almost
representation of architectural projects.
50 meters over the peak of Bergisel Mountain. the Ski
Jump was designed In 1999,
to Innsbruck began a project
blend seamlessly with theto refurbish its aging Olympic Arena. The new
Bergisel Ski Jump was to provide a greater variety
mountain: the various program requirements were molded of functions than its predecessor and the Austrian
SkiaFederation
into evidently
single, minimal sought
mass, with to
thecreate morecontinuing
ski ramp than a piece of athletic infrastructure.
FIGURE 5: LOIS AND FIGURE 6: PHAENO SCIENCE
the FIGURE 4: BMW CENTRAL RICHARD CENTER FOR CENTER
CONTEMPORARY ART
 She was one of very few architects operating on a global scale, building outside
the usual European and North American circuit, with commissions throughout the Middle East,
Russia, India as well as China. Hadid has a visibility that has attracted projects on an increasing scale.
She continues to explore fresh shapes and new thinking These many successes abroad led to Hadid’s
belated appreciation in the United Kingdom. When the 2012 Olympic Games were announced, a
contribution from the extraordinary laboratory of Zaha Hadid Architects (ZHA) was widely
anticipated. It appeared in the form of a fluid and elegant building for the Aquatic Centre on the
Olympic Park at Stratford. With a school, the Evelyn Grace Academy in Brixton (2010), and the
Serpentine Sackler Gallery in Hyde Park (2009 –13), the Aquatic Centre makes a series of ZHA
contributions to the architecture of the UK’s capital. The impact of the Glasgow Riverside Museum
(2004–11), on the shores of River Clyde, was an important contribution to the regeneration of this
great postindustrial Scottish city.

FIGURE 7: GLASSGLOW RIVERSIDE MEUSEUM FIGURE 8: EVELYNGRACE ACADEMY

FIGURE 9: LONDON AQUATIC CENTER

The mixed-use cultural center

Heydar Aliyev Center is also the
landmark designed by Zaha. The architect
described the design as a "fluid form
which emerges by the folding of the
landscape's natural topography and by the
wrapping of individual functions of the
Center."
FIGURE 10: HEYDAR ALIYEV CENTER
 What followed appears like plain sailing in the context of global success,
resulting in buildings such as: the Skyscraper in the Euroméditerranée business district of Marseille
(2005 –10); the monumental Guangzhou Opera House, China (2005 –10); the Pierresvives Building,
Montpellier, curvilinear asymmetric skyscrapers in Wangjing SOHO, Beijing (2009 –14); the
Innovation Tower for Hong Kong Polytechnic, Hong Kong, (2013); and Issam Fares Institute for
Public Policy and International Affairs, Beirut (2006 – 14). Some designs were controversial and not
considered feasible, such as the one for Tokyo’s 2020 Olympic stadium. A testing of the limits of
feasibility is evident in urban design proposals as well, such as the visionary but huge scale
regeneration project for Kartal Pendik, Istanbul (2006).

FIGURE 11:THE PORT HOUSE FIGURE 12: WANGJING SOHO

Hadid taught architecture at many places, including the Architectural Association,

Harvard University, the University of Chicago, and Yale University. She was the first woman to win
the Pritzker Prize aka Nobel Prize of Architecture, in 2004. The Queen of England Elizabeth II made
her a Dame in 2012 for her contributions to architecture. In 2010 Hadid’s boldly imaginative design
for the MAXXI museum of contemporary art and architecture in Rome earned her the Royal Institute
of British Architects (RIBA) Stirling Prize for the best building by a British architect completed in the
past year. She won a second Stirling Prize the following year for a sleek structure she conceived for
Evelyn Grace Academy, a secondary school in London. Hadid’s fluid undulating design for the
Heydar Aliyev Center, a cultural centre that opened in 2012 in Baku, Azerbaijan, won the London
Design Museum’s Design of the Year in 2014.