ZAHA HADID AND THE VENICE BIENNALE
The image on the left was taken at the 2012 Venice Biennale, and is a series of test models for Zaha Hadid’s Nordpark Railway Station project. The project determines form based on a language of fluidity inspired by natural ice formations, and uses this formal language to describe the movement and circulation within. The models seen here are made from a concrete surfaced in a car paint material. The materiality allows for the construction of these fluid forms. Like Zaha’s Nordpark Railway Station, our project argues fluid formal movements which, instead of suggesting circulation patterns, serve to provide them through a series of ramps that allow for movement between levels. In many ways, the series of test models seen on the left are valuable studies that apply very much to the development of our project in terms of materiality and constructability. Ramp structures maintain fluidity of form from the use of poured-in-place concrete and any imperfections will disappear under a smooth surface layer of “car-paint” maintaing ideas of gentle curvature and flawless motion.
CONSTRUCTION DIAGRAMS
PHASE ONE
PHASE TWO
PHASE THREE
PHASE FOUR
PHASE FIVE
In terms of structure, our project will profit from the utilization of the previously existing column system currently present in the site. The diagrams on the left serve to present a step by step process of the ways in which we plan to retrofit/repurpose these existing columns for continued use. Beginning with phase one, our proposal requires that the current ground level of the existing building be lowered approximately three meters. In order to utilize the current column system, concrete supports are added underneath the base of all columns. Phase two requires that steel I-beams be attached to the existing columns at specific heights determined by the location of intersection with our proposed ramp structure. Attachment is achieved through a process of bolts and welds. In phase three, steel reinforcement is placed within the system in a manner that allows for post-tensioning after the slab has been poured. Steel reinforcement helps concrete work in tension. Phase four actually begins somewhere offsite, as formwork is constructed to specific dimensions determined in the design process. The formwork creates the mold in which the concrete is later poured, and is what allows for the construction of the gentle curvatures and other fluid formal characteristics that our project calls for. After the concrete forms are built, they are transported to the site and installed in their respective positions. Phase five begins with the actual pouring of concrete into the formwork. Because the steel reinforcement from phase three is installed in a way that protects them from bonding with the concrete, they are now able to be post-tensioned. The post-tensioning process allows for slabs to be thinner, longer, and stronger. After the formwork is removed, there will be undesired imperfections such as impressions left by the molds, seams, etc. Phase five is finished as the slabs recieve their “car-paint” surface. This surface completely smooths the slabs and eliminates all seams. It is this step that allows for smooth formal qualities and the affect of visual continuity of surface.
RAIL SECTION
Below is a construction detail of the handrails that will be used in our project. Because visual connectivity between the user and the continuous surface that is our ramp system is such an important aspect of our project, any vertical elements that could possibly obstruct views throughout the space will be constructed with glass. The vertical elements of the handrails will be tempered glass and attached to the slab of the ramp with a metal plate and bolts. In keeping with our ideas of continuity of surface, this metal plate will run the entire length of it’s handrail with as lfew seams as possible. This plate is attached with bolts through the glass to the slab.
Deliquescence market place
STRUCTURE & MATERIALITY STEVEN HEWETT