Funicular del Tibidabo by Miàs Architects

CHAPTER TITLE Bartlett Design Research Folios

Miàs Architects Funicular del Tibidabo

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MIÀS ARCHITECTS

FUNICULAR DEL TIBIDABO

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BARTLETT DESIGN RESEARCH FOLIOS

Miàs Architects Funicular del Tibidabo: Cuca de Llum

MIAS ARCHITECTS

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CHAPTER TITLE

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CONTENTS

1 (previous) View over the city of Barcelona from the Tibidabo Amusement Park.

2–3 (overleaf) The funicular in production in Lyon.

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Project Details

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Statement about the Research Content and Process

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Introduction

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Aims and Objectives

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Questions

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Context

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Methodology

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Dissemination

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Project Highlights

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Bibliography

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Related Publications

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Project Details Author

Josep Miàs

Title

Funicular del Tibidabo: Cuca de Llum

Output Type

Design of transportation system

Location

Barcelona, Spain

Clients

Barcelona City Council, BSM Barcelona Serveis Municipals

Commission

First Prize, International Competition, July 2017

Completion Date

October 2020

Budget

€18.03 million

Carrier Manufacturing

Leitner Ropeways, SigmaCabins, Teleféricos Y Nieve (TyN)

Collaborating Directors Martin Leitner (Leitner Director); Olivier Martens, Yannick Morand (Sigma Directors); Eduard Bretcha (TyN Director) Miàs Architects Team Marc Subirana (Project Leader); Rainer M. Grant, Mikel Maury (Project Assistants) Project Engineers

Christian Seltsam, Tierry Triolier, Victor Chene (Project Engineer Leaders); Silvia Valero (Project Engineer)

Contractors Barcelona City Council, BSM Barcelona Serveis Municipals, PATSA Parc d’Atraccions Tibidabo Occupancy

400,000-500,000 passengers per year

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PROJECT DETAILS

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Statement about the Research Content and Process Description

Methodology

Since 1901, a funicular has transported passengers up the Collserola mountain range in Barcelona to the Tibidabo Amusement Park. Open to the public in 2020, Cuca de Llum (glow worm) is the third iteration of the transportation system, designed by Miàs Architects. Miàs’s design incorporates a curved transparent structure, integrated lighting and entertainment, and an automated driving system. It is more than just a simple mode of transportation, providing an interactive and educational experience for the passenger.

1. Workshops and onsite visits; 2. Extensive historical research to determine innovative design strategies; 3. Identify efficient design, modelling and building techniques; 4. Implement new technologies and fabrication materials; 5. Employ digital design to optimise decisions and results; 6. Test and develop prefabricated elements to reduce construction time onsite.

Questions

1. How can the design promote the sociocultural context and natural environment of the trajectory?

Dissemination

The project has been presented at the Centre Pompidou in Paris as part of an exhibition on Miás Architects, as well as two exhibitions in Barcelona. It has been the subject of six international lectures, including at the Copenhagen School of Design and Technology and the Forum, Barcelona; 21 international publications, including a book by the City Council of Barcelona; and two Spanish television shows.

2. What engineering and construction solutions are necessary for a transparent automated machine to be realised?

3. What design characteristics promote the train’s role as transportation to an amusement park?

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STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

Project Highlights

The project was the winning proposal of an international competition by BSM Barcelona Serveis Municipals, Barcelona City Council, which operates the Tibidabo Amusement Park. The research culminated in a state-ofthe-art technological hybrid merging innovative manufacturing techniques and design features. These include double-curved glass panels, pre-cast fibreglass pieces, an automated driving system, and integrated lighting and entertainment. A model of Funicular del Tibidabo is now part of the Permanent Collection of the Centre Pompidou in Paris.

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Introduction

advanced. Remodelling an existing funicular poses various challenges, primarily that of capturing its positive qualities as a form of transportation – its magic and efficiency – while also renewing and improving the passenger experience. The brief given to Miàs asked that the speed, capacity and accessibility of the funicular were increased to improve the connection between Barcelona and the park. To do so, the tracks and the machinery were reviewed and updated. Constricting factors included the incline and width of the track and tunnels, along with transport regulations and restrictive security and use laws, which were revised with the city council and the metropolitan transport engineers. The funicular also needed to represent the spirit of the park – it is in essence the first attraction – and reflect its core values of sustainability, education and solidarity.

Cuca de Llum is a meticulously planned construction made from prefabricated parts.

From the outset, Miàs decided to maximise the transparency of the vehicles to blur the boundary between interior and exterior, and draw the attention of the passengers to the natural environment of the mountain range. Extruded aluminium profiles, fibreglass and floor-to-ceiling curved glass make a lightweight transparent design possible. All of the elements and mechanisms necessary for its operation – from electric doors to an automated driving system – are integrated within its structure. Compartments for bicycles, an accessible area for passengers with reduced mobility, barrier-free access and elevators at both stations were introduced to improve accessibility. In addition to the numerous new technical systems and equipment, Miàs focused on design aspects that enhance the interior space, offering more comfort – air conditioning and ergonomically designed seats – and

Funiculars are a niche form of transport usually found in peripheral urban areas with specific topographical and urban planning conditions, and the presence of natural barriers. Merging the functionality of an elevator with a train, the funicular’s counterbalanced cars are able to traverse steep inclines via a system of pulleys, cables and engines located in stations. Their development is often prohibited due to technological limitations (e.g. speed and topography), infrastructure requirements (e.g. space for station buildings) and legal frameworks. There is, however, a lot of interest in revitalising them and making them suitable for the twenty-first century, as they are an energy-efficient and low-impact form of transportation and are also, quite simply, an exciting way of moving large numbers of people.

The funicular that climbs the Collserola mountain range in Barcelona first opened to the public in 1901. Developed by the Spanish entrepreneur Salvador Andreu, it connected the Tibidabo Amusement Park with the city of Barcelona. It has had several renovations over the years to modernise and maximise its potential as visitor numbers to the park increased. Cuca de Llum, designed by Miàs Architects, is the third and most ambitious iteration yet. Open to the public in 2020, the funicular is transformed into a sophisticated, cutting-edge transportation capsule, providing visitors with both an exciting and informative journey to and from the park.

The Tibidabo funicular was designed over a hundred years ago – the first passengers were pulled up the mountain in wooden wagons – before factors such as accessibility were a concern, and when the technological possibilities for construction were less

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INTRODUCTION

a panoramic view. By offering multigenerational entertainment, the funicular becomes a prolongation of the park’s programme. Innovative features include specific locations for personal devices, state-of-the-art audio equipment and an inconspicuous CCTV system.

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4–6 Historical images of the inaugural funicular.

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7 Exterior view of the lower station of the Tibidabo funicular, built in 1888.

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INTRODUCTION

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8 The station’s interior following refurbishment by Miàs Architects in 2008.

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9 Plan of Barcelona indicating the city’s three funiculars and the Port Cable Car, all powered by ropeway mechanisms.

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INTRODUCTION

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10 Historical image of the Tibidabo Amusement Park.

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Aims and Objectives

Questions

The main objective was to create a distinguished travel experience that merges construction with innovative technology.

Miàs’s design aims to:

1. How can the design promote the sociocultural context and natural environment of the trajectory?

The rich history of the funicular and its trajectory through the Parc de Collserola requires a respectful design proposal, using sophisticated sustainable technology in order to decrease the impact on the environment.

One of the main aims of the project was to immerse the funicular within its surroundings using a transparent structure. Improved accessibility further promotes this idea, encouraging more people to experience the journey and the landscape.

1. Provide a faster, safer and more comfortable journey; 2. Increase passenger capacity and improve accessibility to the park; 3. Use existing perimeters of the funicular; 4. Educate passengers about their journey;

2. What engineering and construction solutions are necessary for a transparent automated machine to be realised?

5. Develop an autonomous driving system; 6. Create a transparent vehicle that combines all the necessary mechanical and electrical components.

The funicular’s trains have panoramic transparent endings made from doublecurved glass as a result of the automated driving system. These endings required new moulds and casting techniques to be developed. The structure of the funicular’s skeleton is further adapted in order to create space between the columns that shape the train. The aluminium walls are stabilised by this support system, which also holds the windows in place, and the internal mechanics are camouflaged within this framework.

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AIMS AND OBJECTIVES / QUESTIONS

3. What design characteristics promote the funicular’s role as transportation to an amusement park?

An informative entertainment programme educating passengers about the history and function of the funicular and its location is strategically placed within the time span of the journey. A distinctive lighting system is also integrated into the external fibreglass structure, which references the bright lights of the amusement park and allows it to be seen at night as it traverses the mountain range.

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11 The track before refurbishment.

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QUESTIONS

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12 The funicular in production at the factory in Lyon.

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Context

Fuller, who said in his book Critical Path ‘You never change things by fighting the existing reality. To change something, build a new model that makes the existing model obsolete’ (Buckminster Fuller 1981). His groundbreaking Dymaxion Car (1933) is a futurisitic prototype for an automobile, featuring a lightweight hinged chassis on three wheels and an aerodynamic bodywork designed for increased fuel efficiency and speed. Technologically and functionally, the new funicular shares many of the aims considered by Buckminster Fuller in the design of his Dymaxion Car. The American industrial designer Syd Mead, who designed architectural renderings for films such as Tron and Blade Runner and cars for Ford and Phillips, is also an influence.

Mead’s work put forward the idea that creative thought processes help to reframe the meaning of the liveable object; buildings can be mechanised while transportation can be domesticated. Designed with its future inhabitants and surroundings in mind, Cuca de Llum combines a futuristic vision with the ludic mood of the Tibidabo amusement park.

The research leading to the new funicular was based on a close collaboration with the engineering and manufacturing firms Leitner Ropeways, SigmaCabins and Teleféricos y Nieve. Leitner Ropeways and SigmaCabins have developed a complex manufacturing process for ropeway vehicles and engines, involving specific machinery and technology, qualified personnel and comprehensive mechanical studies of parts and final results, which helped to inform Miàs’s design. This process has previously been used in the production of 32 sealed and air-conditioned ovoidal capsules for the London Eye, which are attached to the external circumference of the rotating wheel so that the floors remain horizontal.

French architect and designer Jean Prouvé was a recurring reference. Prouvé’s work was diverse in nature and scale, ranging from furniture to modular components for structures and façades. He developed new ways of building related to prefabrication and assembly, transferring manufacturing technology from engineering to architecture whilst foregrounding aesthetic qualities.

Reminiscent processes were applied to the funicular’s design so that the necessary components and technical aspects were integrated using the required manufacturing processes and materials. Prouvé was famously quoted as saying: ‘Never design anything that cannot be made’ (Prouve n.d.).

The research for the new funicular focused on merging architecture with engineering and went beyond the realm of common architectural practice, from the adoption of new construction techniques for large-scale glass windows to the reorganisation of machinery so that it is concealed in a clean design. This innovative spirit of invention references Buckminster

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CONTEXT

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13 SigmaCabins was responsible for designing and manufacturing the cabins for the pioneering London Eye. 14 Buckminster Fuller and his Dymaxion Car.

15 SigmaCabins has also been involved in the design and manufacture of the British Airways i360 Viewing Tower in Brighton.

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Methodology 1. Workshops and onsite visits

Miàs’s research was conducted in close collaboration with the engineering firms Leitner Ropeways, SigmaCabins and Teleféricos y Nieve. The research focused on architecture and engineering, and also the passenger experience. Several workshops were held and onsite visits were conducted to the assembling factory in Lyon to discuss the design proposals.

During these visits, it was possible to check and validate the first mock-ups and later the final results. The workshops allowed the design team and engineers to evaluate the design proposals to ensure they were feasible in terms of structure, functionality and MEP, the quantity surveyor to evaluate the cost, and the rendering team to introduce and evaluate modifications in 3D.

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16-22 Several factory visits were organised to explore the different manufacturing processes and to assess the results.

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METHODOLOGY

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2. Extensive historical research to determine innovative design strategies

Several prototypes were made and case studies explored in the development of a final design. In order to understand the relevance of the new funicular, a thorough historical investigation was required.

Preliminary designs contemplated renewing the vehicles from 1901 and 1958 respectively. Despite representing the historical character, the 1901 design was dismissed as adapting it to new standards and regulations was not viable.

In the same way that the automobile industry periodically renews the design of its vehicles, the possibility of a new funicular with features reminiscent of its 1958 predecessor was also discussed.

Examples such as the London buses designed by Thomas Heatherwick and the redesign of the Volkswagen Beetle influenced this process. Miàs used digital systems to modernise the funicular’s design, refining its features and making it more curvilinear. In the end, however, both of these options were discounted due to the automated driving system, which required a full redesign of the lower and upper parts of the trains.

The new design had to fulfil modern-day requirements, evoke the funicular’s surroundings and express the same will of innovation as Salvador Andreu and the original funicular in 1901.

23 The 1901 funicular was open on all sides and was made out of wood and steel.

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24 A 1958 train, cleaned, painted and ready to be exhibited at the Catalonia Railway Museum.

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METHODOLOGY

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25 Interior of the new funicular in production.

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3. Identify efficient design, modelling and building techniques

Following Leitner Ropeways and SigmaCabins expertise, the proposal implemented previously used and newly established manufacturing processes.

The reshaping of both ends of the train allows for an integrated transparent design, framed by a panoramic view from floor to ceiling. In order to achieve its organic shape, both ends are made using curved extruded aluminium. Fibreglass and aluminium components were developed for the external cladding, along with elements to camouflage its mechanics. All of these components meet health and safety requirements.

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26 3D axonometric of a section of the train’s interior.

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METHODOLOGY

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27 Floor plan and sections of the preliminary design.

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28 Numeric manufacturing processes are combined with craft practices to shape the various parts.

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METHODOLOGY

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29 The two-colour design contrasts the train’s interior with its exterior.

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30–1 Construction of the funicular’s main structure.

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METHODOLOGY

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METHODOLOGY

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32 A complex electrical system was implemented to achieve maximum transparency. The technical components are embedded into the ceiling in order to keep a smooth and continuous design.

33–7 (overleaf) The various parts were introduced into 3D software in order to study their integration in the final design.

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METHODOLOGY

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4. Implement new technologies and fabrication materials

The main structure of the trains is made from ultra-light aluminium profiles. Only the floor, which hides the machinery, is made of steel. The predominant use of lightweight aluminium enhances the energy efficiency and speed of the train, while also reducing the impact from vibration. The structure is covered with coloured fibreglass, which is further enhanced and protected by a reflective colour particle that was specifically designed for the project.

Extensive research on colour compositions unveiled new ingredients that increase durability and reflectivity using a matte tone. An LED lighting system embedded into the train’s structure further promotes the funicular as a performative vehicle.

The funicular’s transparent structure is made possible using curved glass at both ends of the train. The maximum curvature of the glass was digitally calculated, which also insured that it met the required impactresistance regulations. While curved glass is not uncommon, the funicular uses two curved sheets of more than one non-constant radius, which are separated by dehydrated air chambers in order to achieve highefficiency solar requirements. The space in between the sheets of glass is defined by a separating profile and a desiccant product is used to prevent condensation.

The funicular is a transparent capsule that glides up the mountain. Experiences that complement the ride need to subtly fall into place within the journey. Entertainment devices merge with the internal design as if it was poured in one piece, both aesthetically and conceptually. Audio-visual pads are placed at key locations, targeting families and children in particular, in order to enrich their journey with games and educational content.

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38–9 (overleaf) A main aim of the train’s design proposal was to achieve a transparent vehicle that immerses the passenger in the surrounding nature as they travel up the mountain. Another key aim was to make the journey educational, using various interactive features.

METHODOLOGY

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METHODOLOGY

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5. Employ digital design to optimise decisions and results

The funicular was designed using Building Information Modelling (BIM) software, and every decision and modification was checked as it was cost evaluated. This was key to developing a sustainable, efficient and optimised design. Each part of the vehicle was analysed to design the joints and evaluate their geometry and viability.

This process allowed the team to carefully study the design and produce moulds using 3D models. This process was used to obtain the necessary calculations in order to verify the structure, resistance and overall cost of all the elements. This was essential in assessing the weight of the vehicle, in order to achieve the required speed and maximum train occupancy.

All the materials and parts were later tested in order to fulfil the specifications, regulations and laws.

40–1 Initial approaches to the train’s design and its final volume. All of the technical components, such as the automatic doors, were introduced into 3D digital drawings in order to integrate them into the final design.

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METHODOLOGY

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42–6 Evaluating the front and rear parts of the trains and their integration of various elements, such as camera systems, LED lights, multiple sensors and bumpers.

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METHODOLOGY

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METHODOLOGY

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6. Test and develop prefabricated elements to reduce construction time onsite

The majority of the funicular’s components were prefabricated. Digital design allowed for the different elements to be tested and developed before they were manufactured and assembled at the Leitner Ropeways and SigmaCabins factories in Lyon. This process allowed for maximum precision and attention to detail. The structure of the funicular is made using prefabricated extruded aluminium profiles, while the cladding is made from reinforced isolated aluminium panels. High-efficiency solar glass panels were developed for the glazing using a double-curved manufacturing process.

For the most complex and precise parts of the funicular’s structure, prefabricated fibreglass components were created to achieve a continuous and organic shape.

Following their manufacture in Lyon, the trains were transported to Barcelona where minor adjustments were then made.

47 Aluminium and fibreglass elements in development. All of the train’s elements were designed in the order of assembly.

48 Testing of transparent curved 3D polycarbonate panels for the front and rear of the trains.

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METHODOLOGY

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49 Section of the fibreglass bumper, including LED lighting.

50 Train doors ready to be installed.

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METHODOLOGY

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51–2 Curved extruded aluminium profiles for the front and rear of the train.

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Dissemination

Project Highlights

The project has received a lot of attention from online news sources, particularly in Spain. Articles have featured in a range of publications, including Time Out Barcelona (2019), El Pais (2019) and El Periódico de Catalunya (2019). It has also featured in a book by the City Council of Barcelona (2019) and has been discussed on two Spanish television shows.

The project was the winning proposal of an international competition by BSM Barcelona Serveis Municipals, Barcelona City Council, which operates the Tibidabo Amusement Park. Miàs Architects developed the winning proposal, in conjunction with engineering and building companies Leitner Ropeways, SigmaCabins and Teleféricos Y Nieve.

Cuca de Llum is the most ambitious, inclusive and sustainable iteration of the Tibidabo Funicular. It preserves, revitalises and optimises the function of the funicular as an exciting and low-impact form of transportation for the twenty-first century.

The research culminated in a state-of-the-art technological hybrid merging innovative manufacturing techniques and design features. These include double-curved glass panels, pre-cast fibreglass pieces, an automated driving system, and integrated lighting and entertainment.

Josep Miàs’s design will transport, educate and entertain an estimated 400,000 to 500,000 passengers each year.

A model of Funicular der Tibidabo is now part of the Permanent Collection of the Centre Pompidou in Paris.

Lectures

· · · · · · ·

COAC, Barcelona (2020) Barcelona Council (2019) Copenhagen School of Design and Technology (2019) Forum, Barcelona (2019) Grupo Via, Barcelona (2019) Tibidabo Amusement Park, Barcelona (2019) La sede dell’Ordine, Palermo (2018)

Exhibitions and Collections

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MiAS Studio at Centre Pompidou, exhibition and permanent collection, Centre Pompidou, Paris (2020) Annual Architecture Celebration, Tibidabo Amusement Park, Barcelona (2019) Setmana d’Arquitectura 2019, COAC, Barcelona (2019)

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DISSEMINATION / PROJECT HIGHLIGHTS / BIBLIOGRAPHY

Bibliography Ajuntament de Barcelona (2008). Un Segle Pujant al Tibidabo. Barcelona: Ajuntament de Barcelona.

Buckminster Fuller, R. (1981). Critical Path.

New York: St Martin’s Press.

Buckminster Fuller, R. and Marks, R. W. (1973).

The Dymaxion World of Buckminster Fuller.

New York: Doubleday.

Carracedo, O. and Sotoca, A. (2015). Naturbà Barcelona Collserola. Barcelona Llibres.

Galerie Patrick Seguin (2017). Jean Prouvé.

Paris: Galerie Patrick Seguin.

Gallardo, J. M. (1997). Los Funiculares y Teleféricos Españoles. Mollet del Vallès: Monografías del Ferrocarril.

Leitner Ropeways (2018). Report. [Viewed 5 March 2020]. www.leitner-ropeways. com/fileadmin/user_upload/RopewaysEN-2018.pdf Mead, S. and Hodgetts, C. (2017). The Movie Art of Syd Mead: Visual Futurist. London: Titan Books.

Wallis-Tayler, A. J. (2013). Aerial or Wire Rope-Ways: Their Construction and Management. London: C. Lockwood.

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53 Aerial view of the funicular’s transparent roof.

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RELATED PUBLICATIONS

Related Writings by Others Andreu, M. (2019). ‘Adiós al Mítico Funicular del Tibidabo, Hola Cuca de Llum’. Time Out Barcelona. 16 August.

Barcelona de Serveis Municipals (2018). ‘El Funicular del Tibidabo es Modernitza i es Transforma en la “Cuca de Llum”’.

B:SM. 27 October.

Collboni, J. (2019). ‘El Tibidabo Quiere Aumentar los Visitantes que Llegan en Transporte Público con su Futura Cuca de Llum’.

Europa Press. 12 August.

Diari Ara (2018). ‘El Funicular del Tibidabo: Transformació Total el 2020’. Diari Ara. 27 October.

Gutiérrez, S. (2019). ‘Retiren els Quatre Vagons de l’antic Funicular del Tibidabo’. Betevé. 26 September.

La Vanguardia (2019). ‘Empiezan a Retirar el Viejo Funicular del Tibidabo, que Tendrá uno Nuevo en 2020’. La Vanguardia.

26 September.

Nació Digital (2018). ‘El Funicular del Tibidabo Viurà una Transformació Radical’. Nació Digital. 27 October.

Nació Digital (2019). ‘El Tibidabo Estrenarà un nou Funicular la Tardor de 2020’. Nació Digital. 12 August.

Márquez Daniel, C. (2019). ‘El nou Funicular del Tibidabo Avança amb el Tramvia Blau en Guaret’. El Periódico de Catalunya.

26 September.

Morales, L. (2019). ‘La Cuca de Llum Substituirà l’actual Funicular per Accedir al Tibidabo’. El País. 12 August.

Printed article

Online article (clickable link)

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Image Credits

Bartlett Design Research Folios

All images © Miàs Architects, unless otherwise stated.

ISSN 2753-9822

1

© Raquel Fabregat

© 2022 The Bartlett School of Architecture. All rights reserved.

2, 12, 18, 20–1, 25, 32, 38–9, 52–3

© DEL RIO BANI copyright unknown 7–8, 24 © Adrià Goula 13 © Kamusal Alan 14 Roger W. Stoller 15 © britishairwaysi360 26–9 © Miàs Architects and Leitner Ropeways

Text © the authors

4–6, 10

Founder of the series and lead editor: Yeoryia Manolopoulou Edited by Yeoryia Manolopoulou, Barbara Penner, Phoebe Adler Picture researcher: Sarah Bell Additional project management: Srijana Gurung Graphic design: Objectif Layout and typesetting: Siâron Hughes Every effort has been made to trace the copyright holders of the material reproduced in this publication. If there have been any omissions, we will be pleased to make appropriate acknowledgement in revised editions.

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