In the search for her recognizable plasticity, the architect turns to images imprinted in her memory since childhood and during her years of study. These can be both fleeting vivid impressions and entire complicated image systems in architecture. The selection of material from previous contexts is accompanied by “procedures” of purification, reduction and abstraction from the historical samples and formations. Before starting a design, Z. Hadid has her own ways of abstracting and identifying areas of imagery, borrowed from various masters of the Russian and Western Avant-garde, Expressionism, Surrealism, Modernism, Metabolism, Postmodernism and Deconstructivism. Images, ideas, constructions are often taken in a concentrated, “compressed” and simplified to a scheme or principal way. All of them constitute a “bank of ideas” or the author’s repertoires of themes, which later are included and revealed, sometimes accidentally and unpredictably, at different moments in the course of her creative process and they peculiarly tint her forms search by special meanings, enriching them with plastic findings. Images borrowed from different contexts may direct the images’ search along certain “channels”, but such branching “streams” of form creation can also intersect and merge together, generating “hybrids”, mixtures of plastic themes referring to the different origins. Appeal to the images’ origins and attempts to trace the ways of “recollecting”, influence and “mutation” of individual images and image systems in the creative process of the architect could provide a basis for the classification of different types of plasticity in Z. Hadid’s form creation.