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I have come up with the final drawing - the
I think if possible the most appropriate finish would be an aged copper with a industrial sort of patina - not too shiny, but a great deep orange colour. I would have to do some research to find out how/where to get that done.
I also would get the laser cut pattern done in the shape of the stars on the logo!

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One of the principles of Te Tiriti o Waitangi is 'participation'. Working with Saacha was a real two way partnership.

Right at the start we were discussing the naming of the cafe, and went through a lot of discussion and options to arrive at 'Hononga'. He was really good at contributing, and also taking on my contributions.
Designing the logo was also a process of evolving the concept to reach a conclusion that we both were happy with. He didn't just go off and design in isolation, and I think this created a really great outcome.
NB: I tried many times unsuccessfully to include the second design student in the conversations - for whatever reason she chose not to respond.

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A PARTNERSHIP between the Crown and Maori to be of mutual benefit to both.
In the design world this means we work with Maori - consult and co-create.
ACTIVE PROTECTION: Both parties agree to protect each others culture, values. Recognise that Maori is now an official language.
PARTICIPATION: Both parties to be equally involved in the process.

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"You have a responsibility to uplift, empower and protect Maori culture and the visual language that was here long before you and I were"

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"You have a responsibility to uplift, empower and protect Maori culture and the visual language that was here long before you and I were"

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Design in relation to Te Tiriti o Waitangi.

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Always consider - does it uplift the culture?

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The bathroom is according to plan - the door space is 800, allowing for plenty of room for accessibility. I think the use of glossy tiles, and a nice large mirror with track lighting to light the mirror and walls will create an enveloping atmosphere. The upper portion of the walls would be finished in strandboard, which is very hardy, and easy to use, eliminating the need for plastering and painting. It would then be stained, and coated with a clear polyurethane to create a wipeable surface. I think the strandboard kind of has a starry association - just with the pieces of timber that you can see in it. It is also a very honest material - and relies on lots of small pieces to create a strong whole - which relates to the theme of connection.

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I realised that there was not enough space for the two larger tables at the end of the space, so have added another round table. These tables are not huge - but as this is a pop up cafe, just serving counter food and coffee, there would be little need for a full table setting, salt and Pepper, glasses - everything that cafes need larger tables for . The small tables could be moved to suit, and create more space should diners need it. They also echo the curved shapes throughout the interior space - from the curved servers, to the curved banquettes. this lets the eye flow and echoes Zaha Hadid's moniker 'Queen of the Curve'.
Circular tables and shapes also speak to the concept of connection that I want Hononga to be about.  They are more social and less closed off from other patrons.
The tiles at the entrance would be terracotta as this would tie in nicely with the warm tones of the logo and would offset the rubber floor.
I also included a space  at the end for information and display about Matariki, Patrons can get some background, and info about other events while waiting for their takeaway coffee.
The kitchen servery has a little less space between the bench and the front counter (around 900) this was due to the space constraints, but after talking with a local cafe owner - a pop up cafe with so few tables and only counter food, would probably only require two staff. One to do coffees and serve, the other to do clean ups and serve. Therefore we thought that a little less space behind the counter would not be an issue.

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The idea of this shelving unit is that it can be flexible to fit the space. I am considering the finishes
- either 2mm core-ten steel
- mild steel, lacquered, to preserve the inky blue natural state of the steel. The brackets would be welded and the plate would slide into the brackets.

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This is a modular concept to relate more to Zaha Hadid's forms and shapes. The bracket would be copper or brass - electroplated steel. The shelving could be configured in any number of ways - with the shelving passing through the brackets - so the minimum length could be 900, then in multiples of 900 - brackets would sit 700mm apart.
I think either etched/printed glass to create the intersecting lines - or even laser cut steel or perspex maybe - would need to be altered to it stayed together! Not pattern over entire surface!

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Using the curving motif of Hadid’s work and cut outs to create support

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Using the curving motif of Hadid’s work and cut outs to create support

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Timber and steel - I thought the bracket could all be one, with the support pieces being folded out of the bracket. Not sure about the shape of the shelves - the curved front is good - but I don't like the curved back. It'd be better if it sat flush with the wall

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trying to create a light and airy design that relates to the interconnected shapes that Hadid designs with

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I think there needs to be more room for a thoroughfare between the serving area and the tables. My idea is to create more of a short term coffee and cake type of seating, with smaller tables and moveable stools, with a couple of larger tables where there is more room to circulate - past the servery and takeaway area. Wondering if it needs a second door for exit.

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Changing the access to bathroom to a more discreet location, and making the cupboard a more practical size

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Changing the access to bathroom to a more discreet location, and making the cupboard a more practical size

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Also removed the second access door - I think the circulation corridor is wide enough to allow 2 way traffic - therefore it would be better to have 8 extra seats than a second door to let cold air in

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I am imagining that a lot of the Te Ruru action will take place between Victoria Street and the grassed area - so if people can see in the large glassed pivot door to some gorgeous lighting and people inside it will attract others in. I don't think a courtyard will be popular on mid-winter evenings so have not planned for that at this stage. But I think a large backlit sign on the end of the second container, beside the main door, could be effective.

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This 3rd iteration creates storage and moves the display unit to 2 potential locations.

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This 3rd iteration creates storage and moves the display unit to 2 potential locations.

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With this 2nd iteration I have considered the actual dimensions of the kitchen fixtures, and drawn them into scale. the accessible toilet is larger than minimum size but to cut it down to size would be a waste of space as the remaining area could not be used? or maybe it could - it could be storage - but this would decrease the size of my display unit which is currently situated on that wall. I will look at relocating that.

I have played with the idea of the space being inward focused - and have made banquette seating all along one wall, with the window sitting at approx 1.5-2m from the floor? maybe this will encourage patrons to look up - which is important if they want to see anything associated with Matariki.

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Originally I had thought it would be all about seeing the action outside while in this cafe... which to some degree it is - but is it also an opportunity to create a warming and inward focused space where the patrons feel cosy, relaxed, sheltered and connected while they gather out of the mid winter chill? I am considering doing away with windows and creating skylights, or a ceiling that resembles the night sky? Glowing surfaces with intimate lighting that invites the outsider in? No courtyard but some sort of interactive sculpture that is adjacent?

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Saacha suggested 'Hui' as a name - I was a bit ho hum as it didn't feel that exciting - I could just picture people sitting around not doing anything! Which is possibly because we associate Hui with meeting. I quickly looked up gather - and came up with Hononga  - or Hono for short.
Saacha emailed Fozzie, to check on the meaning - he thought Hononga would be better than Hono - Hononga means gathering, Hono can also mean crowd.
We both had a look at several other options, but kept coming back to Hononga - I hadn't heard from Siena at all, so Hononga was the name we chose to move forward with.

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I presented to them my concept, and mentioned that I would like to focus on the word 'gather' or 'connect' as my overarching concept. We did not discuss it at great length - but my idea was that the name would be on it's own, therefore it would not necessarily include 'cafe' in the title eg Mr Pickles, Gothenburg, Madam Woo - none of these mention food or cafe - but the titles are intriguing and you want to know more about what goes on there.

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I like the simplicity and honesty of materials used for this cafe fit out

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I like the simplicity and honesty of materials used for this cafe fit out

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Containers adjacent but offset - This plan relates to circulation diagram 1.

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Containers adjacent but offset - This plan relates to circulation diagram 1.

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The second concept I have worked through is to have the two containers butting up, but with a 2.5m offset - which in effect offers a space for the accessible toilet - and a front entrance foyer.

This space is more user friendly with the additional width we can accommodate a functional kitchen space and enough room for circulation space around the servers and access to the accessible bathroom.

I would anticipate that a cafe of this size would be staffed by 2 people, so the kitchen does not need to be overly large - but must work well to service the flow of food, coffee and patrons.I think entry/exit points at both ends of the building will assist in this.

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Stacked concept - relates to circulation diagram 2

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Stacked concept - relates to circulation diagram 2

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This was my initial concept for the containers, as I really liked the stacked version - giving a bit of height for patrons to enjoy the view. But as I worked through it it became evident that the 2.35 internal width is not enough space to accommodate a workable kitchen and serving area. This single container space would work in summer, when it is warm and the indoor/outdoor threshold can be completely open, but as a mid-winter - predominantly evening cafe - the space needs to be warm and inviting in from the cold. Therefore this design is a non-starter!

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This circulation diagram shows the ease of flow when there are designated entry and exit points - especially in such a compact space. Patrons can enter, move through to select food/cold drinks, then to POS to order coffee if needed. They would then either wait in a designated space to the side for coffee and/or takeaway food, or take a seat to wait for coffee/food if dining in. The courtyard space could only be accessed after entering the building in this circulation idea. Also to clean up the staff would only need to come to one end of the kitchen while the other end of the back bench could be used to prepare any food - either with toastie maker or microwave.

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In this diagram I was envisaging the access to the cafe would be through a courtyard first. This would be great for drawing people in - but only if the table were full and the atmosphere was buzzing! An empty courtyard would not be as inviting!
After entering the building I envisaged a clear path of movement for patrons - first to the drinks fridge, then cabinet to select food, POS, then to coffee pickup - or to a table or seat to wait for drinks/food. The accessible toilet would need to be in a spot in the building that is easily accessible to the courtyard.

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I really like the way the underside of the top container can be utilised as shelter and for lighting

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Polycarbonate with framing to create a pattern

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Polycarbonate with framing to create a pattern

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I think this concept would work well as there is the star shape on the underside and translucency of a lantern

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I love this polycarbonate addition

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Top could be like a lantern - glass enclosure? Polycarbonate walls?

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Zaha Hadid x Matariki Concept

Matariki is a time for gathering together, to celebrate the Maori New Year, usually around the rise of the new moon, to give thanks for the year past, celebrate the future, and a special time to connect and remember those who have passed.

The Maori festival of Matariki has many meanings, and is named for the constellation of 9 stars seen in the night sky from the end of May until near the end of June. The stars represent different aspects of the coming years harvest and traditionally were used to tell what crops would thrive and what would fail. Matariki was also a time for gathering to celebrate the traditional harvest of kumara, pikopiko and karaka berries.

Kites were flown traditionally by Maori to connect those living, to the ancestors who have passed. This tradition continues, but now can take on any form of air borne symbol, balloons, lanterns, and fireworks are all used to represent kites. There are also kite flying days held as part of many Matariki festivals.

Zaha Hadid was a visionary architect of our time.  She challenged traditionalism her entire life, and was an innovator - developing new uses for products to fulfil her vision for buildings. She used digital techniques to structurally engineer a building and compute it's form, and therefore was able to create the sweeping, curving forms she became famous for. She believed that architecture should have the same intricacy as nature’ and famously never used 90 degree angles in her buildings.

The concepts I have centre around the idea of Gathering and Connection. This provides a link to geometry, which uses connections to form shapes, illumination which we see in Hadid’s buildings, and the organic nature of both Matariki and Hadid’s work.

My inspiration/mood board is tied closely to the geometry and visual language of stars and the shapes within Hadid’s buildings - especially the skylights and interior structures. I see the stars and warm/reflective colours as drawing people in to the light/illumination - to gather together and make connections - to give thanks, enjoy each others company, look forward to the coming year, and remember those passed. The organic nature of the curves is to bring calm and peace to those who gather together.

The colour palette ties into this with the inky blue of the night sky and chalky warm grey for the winter light, offset by the cobalt to bring energy, and the reflective but warm copper, with the white for the light of the stars.

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Matariki is a time to gather together to celebrate the coming new year, give thanks for the year past and remember those who have passed.

It was also traditionally a time to celebrate the gathering of the harvest of traditional crops - kumara, pikopiko and Karaka berries.

The Matariki formation usually comes out at the end of May and is visible until the end of June. This year Matariki will be celebrated on July 13 - quite late.

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Inky blue - night sky
Cobalt blue
White
Maybe coral or pink used as subtle accent - when a star is starting to burn out it gives off a pinky glow

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Keen to use the cobalt blue, with an inky blue, warm grey, white and copper

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We can see connection at work in both Matariki, and Zaha Hadid’s work. There are connections within the stars of Matariki as they relate to each other, and the future. They also provide a spiritual connection to ancestors who have passed. Hadid’s work uses connections and geometry to create new and exciting ways of interpreting spaces - creating new forms and shapes within a building.

Matariki also inspires us to gather together to reflect on the past and give thanks for what we have and what may come. In the architecture of Hadid we can see her vision come to life with a gathering of ideas, materials and skills.

Zaha Hadid’s work is so revered because of it’s organic nature. It invites people to touch it, to experience it, it has a soothing presence. This organic concept also relates to the centuries old tradition of Matariki - to guide Maori in the planting of crops, indicating what crops will flourish, and what crops may fail.

The work of Zaha Hadid is based in geometry. "The idea is not to have any 90-degree angles. In the beginning, there was the diagonal. The diagonal comes from the idea of the explosion which 're-forms' the space." This relates directly to the explosion that forms a star, and also the visual language of a star, which is drawn as a geometric shape.

Illuminate represents the illumination of the night sky with the nine stars of Matariki. A starry night sky is a peaceful experience, and people are drawn to it. Similarly, Hadid connects the environment to her buildings through blurring the lines between outside and in - using skylights, shared vestibule spaces and extensive windows. The illumination of these elements draw people in to gather and connect.

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Her buildings responded to the environment.

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Her buildings responded to the environment.

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The Rosenthal Centre for Contemporary Art was to be built on a busy street corner.
To invite people in the facade is translucent, and Hadid developed the idea of an 'urban carpet to create continuity between the museum and the street, driving footfall into the buiding'. the ground floor then functioned as sa public square, albeit enclosed by glazing.

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She 'believed in progress and creativity's role in progress' and has challenged traditionalism her entire working life.

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She 'believed in progress and creativity's role in progress' and has challenged traditionalism her entire working life.

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Upon her death, her Studio reported 'She was widely regarded to be the greatest female architect in the world today'. I don't believe her gender has any relevance to her achievements.

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She pioneered a new approach to architecture, termed 'Parametricism'.

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She pioneered a new approach to architecture, termed 'Parametricism'.

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Using digital techniques to structurally engineer a building and compute it's form.
'Parametricism succede modernism as a new long wave of systematic innovation'.
This style is characterised by the sweeping, curving forms she is now famous for.
The Maxxi Museum in Rome in 2010 was one of the last works in her former angular style. The Heydar Aliyev Centre, in Baku, Azerbaijan in 2010 was the first in her new curving style.

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Zaha Hadid died in 2016, at the age of 66. 

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Zaha Hadid died in 2016, at the age of 66. 

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She had devoted her entire adult life to architecture, even her house had very few items in it, giving the impression that she lived for her work, and spent little time on domesticities. She never married and chose not to have children.

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She was the first female architect to design an museum in America

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She was the first female architect to design an museum in America

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The Rosenthal Centre, in Cincinnati, Ohio.
The following year she was awarded the 'Pritzker Prize' - widely considered to be the most prestigious architectural award worldwide.
She was also the first women to receive the prize. This in turn attracted higher profile/more wealthy clients, with greater ambition and bigger budgets.
Her predominantly angular designs evolved as she was able to undertake more ambitious projects.

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Throughout her professional practice she continued to paint abstracts, using this to develop new designs as opposed to the traditional system of architectural drawing. Through abstraction she adventurously explored the spatial relationships between buildings' elements.

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Graduated from Architecture School in 1997

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Graduated from Architecture School in 1997

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Describedin 1977 as a 'planet in her own orbit' in her graduation year from architecture school, Zaha Hadid went on to become one of the most outstanding and memorable architects of our time. A female in a male dominated world, she was born in Iraq.

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First woman to break the glass ceiling of the "Starchitect" universe. Zaha Hadid's pioneering vision challenged notions of what could be achieved in building. Dubbed the "Queen of the Curve," her highly inventive designs liberated architecture from its traditional treatment of concrete and steel and introduced radical new ways to envision spaces in synchronicity with their surroundings.

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Her consistency with questioning the status quo led Hadid toward the development of new digital techniques that allowed her to depart from the standard horizontals and verticals and to reimagine the structural engineering of bold new forms. Her firm would coin the term Parametricism to define this signature look and feel.

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Hadid graduated in 1977 with a Diploma Prize. At the ceremony, Koolhaas described the architect as "a planet in her own orbit."

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In her fourth year at university, Hadid designed a hotel for the Hungerford Bridge on the River Thames in London, known as the Malevich Tektonik. Kazimir Malevich's Suprematist paintings of geometric forms inspired the radical project that revealed Hadid's fearless way of challenging the status quo.

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I love the way the curves she incorporates into the building are so sinuous - they could be rolling hills. Especially the thermally formed glass - when you see it in photos it looks like a sheet of melting ice

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Her earlier work was more angular - that's where the 89 degrees quote came from. When she developed the computer modelling for the curves in 2012 she moved on from the angular buildings

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“We traditionally would be doing our crops, bringing in the harvest and settling into the winter.

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“We traditionally would be doing our crops, bringing in the harvest and settling into the winter.

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This cluster of stars is well known across the globe, signifies Maori New Year, acts as a key navigation beacon for ocean voyagers, as well as an important signal for seasonal celebration in many countries.

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This cluster of stars is well known across the globe, signifies Maori New Year, acts as a key navigation beacon for ocean voyagers, as well as an important signal for seasonal celebration in many countries.

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Rest and connection are vital in the depths of winter, and Matariki calls us to that.”

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Rest and connection are vital in the depths of winter, and Matariki calls us to that.”

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‘He rau tangata he koingo aroha’ (many people gather and express love in a myriad of ways) is the theme for the Matariki Festival at Te Papa Tongarewa

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‘He rau tangata he koingo aroha’ (many people gather and express love in a myriad of ways) is the theme for the Matariki Festival at Te Papa Tongarewa

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Remembering our loved ones who have passed on and sharing kai, inu and korero with friends and whanau

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Tukutuku designs - used in walls of meeting house

Each tukutuku design is named. A very common stepped design is named poutama, referring to education, progress and ascension. A whole panel covered with white crosses is called purapurawhetū (star seeds). Vertical bands of white crosses are known as roimata (tears). A diamond motif is called pātiki (flounder).

Modern tukutuku

As with tāniko, new tukutuku designs and materials have been introduced since European contact. The meeting house Porourangi, at Waiōmatatini on the East Coast, was built in the 1870s. Its tukutuku panels were among the first to depict human figures. Other innovations include motifs such as stars, fern leaves and alphabet letters. New materials such as half-round wooden slats, pegboard, kangaroo hide and raffia have made tukutuku work more accessible to beginners, albeit with a loss of traditional practices

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Together
Toward the light
Also refers to gathering harvest

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Thermal Formed glass was used to create this thoroughly unique Station. The site is surrounded by mountains, and the form is reminiscent of melting icicles.

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This is one of several temporary structures Zaha designed

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Love this concept of using the inside to project images, and it being translucent enough to let light through

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Love this concept of using the inside to project images, and it being translucent enough to let light through

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The internal frame was constructed of an aluminium, and overlaid with poly cotton fabric both inside and out. The outside was translucent enough to let light through, while the inside was used as a surface to project images on to about the history of Burnham's plan for Chicago.

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"The idea is not to have any 90-degree angles. In the beginning, there was the diagonal. The diagonal comes from the idea of the explosion which 're-forms' the space. This was an important discovery."

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"The idea is not to have any 90-degree angles. In the beginning, there was the diagonal. The diagonal comes from the idea of the explosion which 're-forms' the space. This was an important discovery."

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Serpentine Pavilion in Britain - temporary structure

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Serpentine Pavilion in Britain - temporary structure

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Ordupgaard Museum Building, Copenhagen, Denmark

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Ordupgaard Museum Building, Copenhagen, Denmark

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It has been cast in black lava concrete which renders the surface open to changes in colour and textural effects according to the weather and wind. Subsequently, the building may appear both grey and matt and shiny black.

Inside, the building opens itself up as a ‘fluid space’ where it is hard to detect the transition between galleries and corridors, not to mention floors and ceilings. The rooms constantly relate to the curves of the terrain, with the ceiling rising and falling as you progress through them.

Finally, the building is characterised by large areas of glass which invite in the daylight and surrounding nature and which reinforce the experience of the building’s integration with the landscape.

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Opened in 2019

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Gallery of London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects - 36

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Image 36 of 61 from gallery of London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects. Photograph by Helene Binet

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Built with an exoskeleton
'built with a structural geometric grid negating the need for internal walls or columns that would clutter the hotel's interior.'

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Gathering
Infinity
Female/Male duality
Dynamic
Evolving
Future focused
Organic/Natural
Soothing

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Matariki is represented by Kite flying, and/or fireworks or balloons have been used to represent kites as well

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Matariki is represented by Kite flying, and/or fireworks or balloons have been used to represent kites as well

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This is because traditionally kites were used by Maori to connect with ancestors that had passed.

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The Morepork/Owl

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Was run for the first time in 2019

‘This free community event includes interactive light installations, immersive performances, building projections, a dedicated kids' zone, and much more. Dress up warm for this not-to-be-missed annual event set under the stars of Matariki.

Plus Saturday night only presents Dr Mesmer's Private Army with special guest Horomona Horo, in a unique, one-off light and sound experience like nothing you've seen before’

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Dame Zaha Mohammad Hadid DBE RA (Arabic: زها حديد‎ Zahā Ḥadīd; 31 October 1950 – 31 March 2016) was an Iraqi–British architect.

She was the first woman to receive the Pritzker Architecture Prize, in 2004.[1] She received the UK's most prestigious architectural award, the Stirling Prize, in 2010 and 2011. In 2012, she was made a Dame by Elizabeth II for services to architecture, and in February, 2016, the month preceding her death,[2] she became the first and only woman to be awarded the Royal Gold Medal from the Royal Institute of British Architects.[3][4]

She was described by The Guardian of London as the "Queen of the curve",[5] who "liberated architectural geometry, giving it a whole new expressive identity".[6]Her major works include the London Aquatics Centre for the 2012 Olympics, Michigan State University's Broad Art Museum in the US, the MAXXI Museum in Rome, the Guangzhou Opera House in China,[7] and the Beijing Daxing International Airport in China.[8] Some of her awards have been presented posthumously, including the statuette for the 2017 Brit Awards. Several of her buildings were still under construction at the time of her death, including the Daxing airport and the Al Wakrah Stadium in Qatar, a venue for the 2022 FIFA World Cup.[9][10]

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After Matariki, the star cluster gets easier to see as it rises earlier and earlier in the morning, then later and later at night. The cluster can be found by looking north-east after the festival of Matariki – find Orion’s Belt and follow the three stars across the sky to the left until you find Matariki. Once you find it the first time, you’ll always be able to spot it because of its distinctive grouping. This makes it a great class stargazing exercise.

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"I don't think that architecture is only about shelter... it should be able to excite you, to calm you, to make you think."

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"I don't think that architecture is only about shelter... it should be able to excite you, to calm you, to make you think."

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Te Iwa o Matariki are:

Matariki – signifies reflection, hope and our connection to the environment

Pōhutukawa – connects with those who have passed on

Waitī – ties to bodies of fresh water and the food within it

Waitā – ties to the ocean and the food within it

Waipuna-ā-rangi – associated with the rain

Tupuānuku – is for food that grows within the soil

Tupuārangi – is for food that grows up in the trees

Ururangi – is the star associated with the winds

Hiwa-i-te-rangi – the youngest, is the wishing star that also ties into our aspirations for the coming year

The whetū indicate the success of the season ahead; clear bright stars are a good omen and hazy stars predict a cold, harsh winter. If one star is brighter than another, there will be lots of yummy kai from the source it represents. If one is more dim, or completely missing, you can say haere rā to that kai source for the year, there won’t be much of it.

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Maori ancestors traditionally used stars to navigate across the ocean

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Maori ancestors traditionally used stars to navigate across the ocean

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Ngā Mata o te Ariki – The Eyes of the God

According to Dr Matamua, it is a common misconception that ‘Matariki’ means ‘little eyes’; there are no stories to support this translation. Matariki is actually an abbreviation of ‘Ngā Mata o te Ariki’ – The Eyes of the God. The god referred to is Tāwhirimātea, god of the winds and weather. When Ranginui, the sky father, and Papatūānuku, the earth mother, were separated from their dark embrace by Tāne, Tāwhirimātea was distraught. He tore out his eyes, crushed them into pieces and stuck them onto the chest of the sky. This is why Tāwhirimātea is the blind god, feeling his way around the sky and bringing winds from different directions.

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Māori used Matariki as a signal for when to plant their crops after the long winter. If the stars were clear and bright, it was a sign that a favourable and productive season lay ahead, and planting would begin in September

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The aesthetic of Zaha Hadid's work was the concept that 'architecture should have the same coherence and intricacy as nature'

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The aesthetic of Zaha Hadid's work was the concept that 'architecture should have the same coherence and intricacy as nature'

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Matariki and Māori astronomy with Dr Rangi Matamua | McGuinness Institute

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Matariki celebrations were popular before the arrival of Europeans in New Zealand, and they continued into the 1900s. Gradually they dwindled, with one of the last traditional festivals recorded in the 1940s.

At the beginning of the 21st century Matariki celebrations were revived. Their increasing popularity has led to some to suggest that Matariki should replace the Queen's birthday as a national holiday.

When Te Rangi Huata organised his first Matariki celebrations in Hastings in 2000, about 500 people joined him. In 2003, 15,000 people came. Te Rangi Huata believes that Matariki is becoming more popular because it celebrates Māori culture and in doing so brings together all New Zealanders: ‘It’s becoming a little like Thanksgiving or Halloween, except it’s a celebration of the Maori culture here in (Aotearoa) New Zealand. It’s New Zealand's Thanksgiving.’

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We work at all scales and in all sectors. We create transformative cultural, corporate, residential and other spaces that work in synchronicity with their surroundings. 950 projects 44 countries 400 staff 55 nations Welcome to the interactive archive of Zaha Hadid Architects.

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An initial study of the Vitra factory site informed our designs for the Vitra Fire Station - a building conceived as the key element within a linear landscaped zone, the artificial extension of linear patterns in adjacent fields and vineyards - designed as a connecting unit rather than an isolated object; defining rather than occupying space.

The new fire station - long, linear, narrow - emerges as a layered series of tilted and breaking walls, between which program elements are contained within spaces visible only from a perpendicular viewpoint.

On passing, brilliant red fire vehicles are glimpsed, their lines of movement inscribed in surrounding asphalt - a visual grammar also used to inscribe the ritualized exercises completed by fire teams.

This building is 'movement frozen' - a vivid, lucid expression of the tensions necessary to remain 'alert', to explode into action as required. Walls appear to slide one across the other, main sliding doors form a 'moving' wall.

The whole building is constructed from exposed, reinforced in-situ concrete, marked by the sharpness of all edges and the absence of all edgings and claddings to retain the clarity and simplicity of this prismatic volume.

This same absence of detail informed the frameless glazing, the sliding planes enclosing the garage, and the treatment of the interior spaces, in which lines of light are direct, logical and precise.

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We work at all scales and in all sectors. We create transformative cultural, corporate, residential and other spaces that work in synchronicity with their surroundings. 950 projects 44 countries 400 staff 55 nations Welcome to the interactive archive of Zaha Hadid Architects.

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Her architecture covers Urban design to Architecture to Interior to Products

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As Zaha Hadid's 520 West 28th approaches completion, photos of the apartment interiors have been revealed for the first time. Shared by developer Related Companies, the images show two of the building's first completed residences: the massive 4,500-square-foot Unit 20 and the more modest 1,700-square-foot Unit 12. The two units feature the interior built-ins and finishes designed by Hadid alongside interior design schemes envisioned by Jennifer Post and West Chin, respectively.

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The larger of the two units, the $15 million dollar Unit 20 contains four bedrooms and features views of the High Line and the Empire State building. The interiors have been outfitted by Post in a dynamic palette of white and muted tones, with pops of color introduced in contemporary furniture and art pieces. Post's choices were aimed at "[igniting] the architectural vision of Zaha Hadid, while preserving her voice and identity, and highlighting the seamless synthesis of indoor/outdoor living."

"I am usually the creative visionary behind both the architecture and interior design of a space. Here, I am respectfully creating a vision that coexists with the vision of one of architecture's greatest minds," explained Post. "This prompted me to really consider every move, every decision in a different, special way."

The interiors of the $4.9 million Unit 12 were completed by West Chin, principal of West Chin Architects. Chin's approach was one of minimalistic functionality, resulting in a layout that would attract a range of couples or single dwellers. Furniture pieces were chosen to take advantage of light from the unit's large windows and the sensory architectural elements.

The 11-story building contains a total of 39 residences across 21 interlaced levels. Units range in size from two to five bedrooms and are priced from $4,950,000 to $50 million for the three-story penthouse. The two completed residences will be used as model unit sales galleries as the building approaches its expected June 2017 move-in date.
News via Related Companies.

Real Estate firm Related Companies has announced the development of 15 new art gallery spaces to be located in and around the base of Zaha Hadid's 520 West 28th Street residential building, located along the High Line in the New York neighborhood of Chelsea.

Zaha Hadid has unveiled her first New York City commission: an 11-story, luxury apartment block planned alongside the second section of the High Line in Chelsea at 520 West 28th Street.

Just as the luxury condominium high rise opens for sales, Zaha Hadid Architects and Related Companies have released a new image of 520 West 28th - Zaha Hadid's first residential building in New York.

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Interiors of Zaha Hadid's Nearly-Complete High Line Residential Building Revealed

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As Zaha Hadid's 520 West 28th approaches completion, photos of the apartment interiors have been revealed for the first time. Shared by developer Related Companies, the images show two of the building's first completed residences: the massive 4,500-square-foot Unit 20 and the more modest 1,700-square-foot Unit 12.

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 "the highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life".

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 "the highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life".

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Beacon in the mid winter