项目组Sara Sheikh Akbari、Shiqi Li、PhilSoo Kim、Marc Boles、Yelda Gin、Liat Muller、Deniz Manisali、Lillie Liu、Jose Lemos、Simone Fuchs、Jose Ramon Tramoyres、Yu du、Tahmina Parvin、Erhan Patat、Fadi Mansour、Jaime Bartolome、Josef Glas、Michael Grau、Deepti Zachariah、Ceyhun Baskin、Daniel Widrick木拉提穆特鲁，并特别感谢查尔斯沃克的主要承包商和建筑师记录DIA控股咨询公司Tuncel工程，AKT(结构)，gmd工程(机械)，HB工程(电气)，werner sobek(façade)，etik消防顾问(消防)，mezzo StüDYO(声学)，Enar工程(岩土)，Sigal(基础设施)，MBLD(照明)，分包商和制造商Mero(钢制空间框架系统)Bilim Makina(安装空间框架系统)、Doka(模板)、阿拉伯型材(外部包覆板/GRC)

Project Team Sara Sheikh Akbari, Shiqi Li, Phil Soo Kim, Marc Boles, Yelda Gin, Liat Muller, Deniz Manisali, Lillie Liu, Jose Lemos, Simone Fuchs, Jose Ramon Tramoyeres, Yu Du, Tahmina Parvin, Erhan Patat, Fadi Mansour, Jaime Bartolome, Josef Glas, Michael Grau, Deepti Zachariah, Ceyhun Baskin, Daniel Widrig, Murat Mutlu and special thanks to Charles Walker Main Contractor and Architect of Record DiA Holding Consultants Tuncel Engineering, AKT (Structure), GMD Project (Mechanical), HB Engineering (Electrical), Werner Sobek (Façade), Etik Fire Consultancy (Fire), Mezzo Stüdyo (Acoustic), Enar Engineering (Geotechnical), Sigal (Infrastructure), MBLD (Lighting), Subcontractors and manufacturers MERO (Steel Space Frame System) + Bilim Makina (Installation of Space Frame System), Doka (Formwork), Arabian Profile (External Cladding Panels / GRC & GRP), Lindner (Internal Skin Cladding), Sanset İkoor (Auditorium Wooden Cladding), Quinette (Auditorium Seats), Zumtobel (Lighting Fixtures), Baswa (Special Acoustic Ceilings) + Astas (Installation of Ceilings), Solarlux (Multipurpose Hall Façade Door), Bolidt (Polyurethane Floor Finish), Kone Elevators + Ikma (Installation of Elevators) MM Mühendisler Mermer (Marble Cladding Works) HRN Dizayn (Landscape LED Installation) Thyssen Group (Escalator) Remak Makina (Fire Doors and Concrete-Cladded Doors) Tema (Gypsum Panel Works) MIM Mühendislik (Structural Steel) Elekon Enerji Sistemleri (Main Building Lighting Control System), NIS Epoksi Kaplama Sistemleri (Epoxy Works) Light Projects Group (Lighting Fixtures), Limit Insaat (External Skin Insulations and Structure) Manufacturers Loading... More Specs Less Specs

 © Iwan Baan

(Iwan Baan)

架构师提供的文本描述。作为前苏联的一部分，位于里海西海岸的阿塞拜疆首都巴库的城市化和建筑受到那个时代规划的严重影响。自1991年独立以来，阿塞拜疆对巴库基础设施和建筑的现代化和发展进行了大量投资，摆脱了苏联规范现代主义的传统。

Text description provided by the architects. As part of the former Soviet Union, the urbanism and architecture of Baku, the capital of Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning of that era. Since its independence in 1991, Azerbaijan has invested heavily in modernising and developing Baku’s infrastructure and architecture, departing from its legacy of normative Soviet Modernism.

 © Hufton+Crow

赫夫顿乌鸦

扎哈哈迪德建筑师被任命为设计建筑师海达尔阿利耶夫中心后，在2007年的竞争。该中心旨在成为国家文化项目的主要建筑，它打破了巴库盛行的僵化的、通常意义重大的苏联建筑，而是表达了阿塞拜疆文化的敏感性和一个展望未来的国家的乐观情绪。

Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center following a competition in 2007. The Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.

 © Hufton+Crow

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Design concept

海达尔阿利耶夫中心的设计建立了一个持续的，流动的关系，周围的广场和建筑物的内部。作为地面的广场，作为巴库城市结构的一部分，人人都可以进入，它将同样公共的室内空间包围起来，并定义了一系列活动空间，专门用于共同庆祝当代和传统的阿塞拜疆文化。如波浪、分岔、褶皱和弯曲等精细的构形使这个广场表面成为一种建筑景观，具有多种功能：欢迎、拥抱和引导游客穿过不同层次的室内。通过这种姿态，建筑模糊了建筑对象与城市景观、建筑围护与城市广场、图形与地面、内部与外部的传统区别。

The design of the Heydar Aliyev Center establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. The plaza, as the ground surface; accessible to all as part of Baku’s urban fabric, rises to envelop an equally public interior space and define a sequence of event spaces dedicated to the collective celebration of contemporary and traditional Azeri culture. Elaborate formations such as undulations, bifurcations, folds, and inflections modify this plaza surface into an architectural landscape that performs a multitude of functions: welcoming, embracing, and directing visitors through different levels of the interior. With this gesture, the building blurs the conventional differentiation between architectural object and urban landscape, building envelope and urban plaza, figure and ground, interior and exterior.

 ©  Helene Binet

海琳·比内

在这个地区，建筑的流动性并不是什么新鲜事。在历史上的伊斯兰建筑中，行、格或列序列像森林中的树一样流向无穷大，建立了无层次的空间。连续的书法和装饰图案从地毯到墙壁，从墙壁到天花板，从天花板到圆顶，建立无缝的关系，模糊建筑元素和他们居住的地面之间的区别。我们的意图是通过对建筑的历史理解，而不是通过使用模仿或限制对过去的图像的依附，而是通过发展一种坚定的当代解释，反映出一种更加微妙的理解。由于地形图的急剧下降，原先将场地分割成两部分，该项目引入了一种精确的梯田景观，在公共广场、建筑物和地下停车场之间建立了其他连接和路线。该解决方案避免了额外的挖掘和填埋场，并成功地将场地最初的缺点转化为关键的设计功能。

Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. Our intention was to relate 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, reflecting a more nuanced understanding. Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that establishes alternative connections and routes between public plaza, building, and underground parking. This solution avoids additional excavation and landfill, and successfully converts an initial disadvantage of the site into a key design feature.

 © Hufton+Crow

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几何、结构、物质性

Geometry, structure, materiality

该项目最关键但最具挑战性的因素之一是建筑表皮的建筑开发。我们的雄心是要实现表面如此连续，表面看起来是同质的，需要广泛的不同功能，建筑逻辑和技术系统必须结合在一起，并整合到建筑物的封套中。先进的计算允许在众多项目参与者之间持续控制和交流这些复杂性。

One of the most critical yet challenging elements of the project was the architectural development of the building’s skin. Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building’s envelope. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants.

 ©  Helene Binet

海琳·比内

Heydar Aliyev中心主要由两个协作系统组成：一个具体的结构与一个空间框架系统相结合。为了实现大型无柱空间，让游客体验到室内的流动性，垂直结构元素被围护和幕墙系统吸收。这种特殊的表面几何学促进了非常规的结构解决方案，例如引入弯曲的“靴柱”以实现从地面到建筑物西面的反剥离，以及支撑建筑围护结构向东的悬臂梁的“搭接”变细。

The Heydar Aliyev Center principally consists of two collaborating systems: a concrete structure combined with a space frame system. In order to achieve large-scale column-free spaces that allow the visitor to experience the fluidity of the interior, vertical structural elements are absorbed by the envelope and curtain wall system. The particular surface geometry fosters unconventional structural solutions, such as the introduction 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.

 © Hufton+Crow

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在整个施工过程中，空间框架系统实现了自由结构的施工，节省了大量的时间，而子结构的开发是为了将空间框架的刚性网格与自由形成的外包层缝之间的柔性关系结合起来。这些接缝是从一个使项目的复杂几何、使用和美学合理化的过程中得出的。玻璃纤维增强混凝土(GFRC)和玻璃纤维增强聚酯(GFRP)是一种理想的包覆材料，它们在满足不同场合(广场、过渡区和围护结构)不同功能要求的同时，也为建筑设计提供了强大的可塑性。

The space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process, while the substructure was developed to incorporate a flexible relationship between the rigid grid of the space frame and the free-formed exterior cladding seams. These seams were derived from a process of rationalizing the complex geometry, usage, and aesthetics of the project. Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were chosen as ideal cladding materials, as they allow for the powerful plasticity of the building’s design while responding to very different functional demands related to a variety of situations: plaza, transitional zones and envelope. 

 © Iwan Baan

(Iwan Baan)

在这个建筑构图中，如果表面是音乐，那么面板之间的接缝就是节奏。对表面几何学进行了许多研究，以使小组合理化，同时保持整个建筑和景观的连续性。接缝有助于更好地了解项目的规模。它们强调流体几何学的不断变换和隐含运动，为制造、搬运、运输和装配等实际施工问题提供了务实的解决办法；并回答了诸如挠度、外部载荷、温度变化、地震活动和风荷载等技术问题。

In this architectural composition, if the surface is the music, then the seams between the panels are the rhythm. Numerous studies were carried out on the surface geometry to rationalize the panels while maintaining continuity throughout the building and landscape. The seams promote a greater understanding of the project’s scale. They emphasize the continual transformation and implied motion of its fluid geometry, offering a pragmatic solution to practical construction issues such as manufacturing, handling, transportation and assembly; and answering technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity and wind loading.

 ©  Helene Binet

海琳·比内

为了强调建筑物的外部和内部之间的持续关系，Heydar Aliyev中心的照明问题得到了非常仔细的考虑。照明设计策略区分了建筑物的昼夜阅读。白天，建筑物的体积反射光线，根据一天中的时间和观看的角度不断地改变中心的外观。半反光玻璃的使用给人以诱人的一瞥，在没有揭示空间流动轨迹的情况下，引起了人们的好奇心。在夜间，这一特征通过从内部冲刷到外部表面的照明逐渐转变，展开形式构图以揭示其内容，并保持内部和外部之间的流动性。

To emphasize the continuous relationship between the building’s exterior and interior, the lighting of the Heydar Aliyev Center has been very carefully considered. The lighting design strategy differentiates the day and night reading of the building. During the day, the building’s volume reflects light, constantly altering the Center’s appearance according to the time of day and viewing perspective. The use of semi-reflective glass gives tantalizing glimpses within, arousing curiosity without revealing the fluid trajectory of spaces inside. At night, this character is gradually transformed by means of lighting that washes from the interior onto the exterior surfaces, unfolding the formal composition to reveal its content and maintaining the fluidity between interior and exterior.

 Section A-A

A-A节

和我们所有的工作一样，Heydar Aliyev中心的设计是从我们对遗址地形的调查和研究以及该中心在其更广阔的文化景观中的作用演变而来的。通过使用这些清晰的关系，设计被嵌入在这个背景中，展现了国家未来的文化可能性。

As with all of our work, the Heydar Aliyev Center’s design evolved from our investigations and research of the site’s topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation. 

 © Hufton+Crow

赫夫顿乌鸦

Architects Zaha Hadid Architects

Location Baku, Azerbaijan

Category Cultural Center

Design Zaha Hadid, Patrik Schumacher

Project Designer and Architect Saffet Kaya Bekiroglu

Client The Republic of Azerbaijan

Area 101801.0 m2

Project Year 2013

Photographs Iwan Baan , Hufton+Crow ,  Helene Binet

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