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Zaha Hadid obsession with shadows and light rooted from the Islam architecture, while its flows openly, charging forward like an ocean bed and crash to impact, deforming a metaphor tsunami, together with an unbalance of modern urban landscapes. All of this would have been impossible without the support through computer technology, architects given the endless possibility creating any shapes they want to have. Such extreme rhythm of shapes required significant investment and time, financially and engineering capabilities. Her style has been described as today’s De-constructivist and Neo-modernist. In the Britain’s Design Museum discussed her work referring to baroque modernism.

Like Francesco Borromini’s Baroque classicists ‘demolished ideas of Renaissance, using a single perception that desire for an unstable nature’. Zaha Hadid against both the classically rules, modernism references from Mies van der Rohe, Le Corbusier and the rules of architecture space. She would reconstruct the idea to what she said as “a new fluid, kind of spatiality of design” of multiple perspective points and fragmented mesh geometries, designed to attach the chaotic forms of modern living quarters.

Perhaps her style was partially inspired by her tutor’s work, when Zaha Hadid graduated in 1977, Rem Koolhaas offered her a job but she didn’t last long. If she got attracted to any of the tutors in her past, it was Rem Koolhaas, he was writing his books for the 1977’s ‘Delirious New York’ and working his ‘neo-modernity’ ideas.

This has set Rem Koolhaas's career and he described the “a desire” for a change in city living: “The environment is an obsessive high-tech city which is inescapable” in his book. He explained the city was a group of “red hot spots.” He acknowledged that this method had already been proven in the Japanese Metabolist Movement from the 1960s to the 1970s.

The scheme for The Peak in Hong Kong 1983 marked a shift in her ability to sense certainties from her past, the resistance between the complexity of order and chaos. Her passion remains in her work, creating abstract architectures. Her works were recognized and accepted in Asia, this all started from her first encounter of a project that signaled her breakthrough in the year 1983. The Hong Kong competition project was ‘The Peak’, a sports club and she won first place for the competition entry in The Peak project.

Her contest scheme was discarded by some technical reasons, but a late judge pulled it back from the disqualified submissions. The scheme was to feature a sports center with multiple floors; however it was never build because the developer went bankrupted after the incident. The building from Weil-am-Rhein in Germany, or known as the The Vitra fire station completed in the year 1993 was Zaha Hadid’s first project, which later converted in to a museum.

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