Zaha Hadid's Architectural Form Patterns AmatalRaof AbdUllah 1,* , Ismail Bin Said 2 , Dilshan Remaz Ossen 3 1 Department of Architecture, Universiti Teknologi Malaysia, Johor, Malaysia 2 Department Landscape Architecture, Universiti Teknologi Malaysia, Johor, Malaysia 3 Department of Architecture, Universiti Teknologi Malaysia, Johor, Malaysia *Corresponding author (Email: raofa4@yahoo.com) Abstract – Going through Zaha Mohammad Hadid’s architectural works, one could see a large variety of forms and notions to a degree that some doubt in the possibility of classifying them within certain categories. Hadid is one of this era’s well -known architects who have contributed in conceiving the architectural form and space from new, innovative and futuristic perspective. Despite her great influence in the new generation of architects and architectural students around the world, there is a lack of systematic research on her patterns in designing architectural form which is considered Hadid’s main contribution to architecture. The study used qualitative research employing a content analysis for her discourse as a reliable and valid source of data. It also conducted a comparative study for 20 projects for the purpose of figuring out the identifying characteristics of each pattern. It resulted in suggesting that Hadid often works within the framework of five patterns in regard of projects’ form n otion and the prevailing features of projects’ exterior configuration. Chronologically arranged, Hadid’s architectural form patterns are suprematist, topographic, fluid, organic, and parametric form. The study refers Hadid’s continued success to the desire to c atch up with what is new making her works keep pace with Nanotechnology's episode. Keywords – Zaha Hadid, architectural form, patterns, suprematism, qualitative study 1. Introduction Full of rebel, mysterious thoughts, rejection of what is norm, and strong will of gaining success, Zaha Mohammad Hadid now is considered a role model in the 21st century architecture followed by an eager generation for scientific innovation and artistic creation [1]. Hadid won 93 prizes till 2012; the most important one is the Pritzker Prize (2004) and she is the first woman architect achieving such prize. Her works characterized by abstraction, anti-gravity, complexity, fragmentation, and energetic curvelinearity [2]. Hadid first global recognition was in1982 when she won the competition of the Peak spa and leisure club in Hong Kong where 538 competitors, including the renowned architects in the world at that time, had applied for rival [3]. Her works are a combination of the culture, identity of Iraq and the new thoughts; architectural and artistic schools in Europe (Aref, 2011; Woods, 2008; D‘Apuzzo, 2011). This could be linked to her early studies in which she married between the abstract thoughts of suprematism, fragments of deconstructivism [4]. When she is asked to evaluate her works, she stated that her early works that are presented in drawing were about abstraction and fragmentation and then the ideas progressively developed to be more fluid [5]. Designing architecture for Hadid is an adventurous journey to the unknown place for exploring and experiencing new kind of spaces and forms [6]. The energetic and abstract form which is considered Hadid’s contribution to architecture “can make is to stand in for that totality, which eludes every effort, every model, and every allegory that seeks to represent it” [7]. Zaha Hadid: The Female Modernist of the Twenty-First Century is one of the reviewed studies in which the author, Reid (2009), highlighted Hadid’s role in reformulating the framework and theoretical concept of modernist architecture and the large influence she leaves in the new generation of architects. Reid examined the effects of Hadid’s architectural design in the surrounding by discussing the energetic role the Cincinnati Contemporary Arts Museum plays in New York life as a case study. The study exposed one of the underling goals Hadid always keen to offer it in her projects that is creating architecture characterized by activist sociality, connection, forming new kind of landscape [4]. Mertins (2006) referred Hadid involvement in deconstructivism to her teachers at AA, Rem Koolhaas and Elia Zenghlis who were interested in Russian constructivism. He also declared that Hadid painting of landscape is a skill acquired from mixing between the cubism’s prismatic expression for landscape and the futurist expression of dynamic energies [7]. Regarding her trends, Woods (2008) highlighted that Hadid works are a transformation from the fragmentation and cracking of Malevich’s ‘chaotic’ painting and the convergence and cohesion of fluidity. The intentions and factors considered in