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The Remodelling and intensification of a West Zurich tram depot. No free rides responds to Zurich’s history of regeneration through grassroots descent and subversion, to propose a scenario where the excesses of gentrification have pushed marginalised communities to take over the cities public transport network. This unassuming depot becomes a palace of subversion as provocateurs and creative disrupters repurpose the cities trams to take art, theatre and ideas away from the city centre and back to the people.
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NO FREE
RIDES-
A decentralised palace o f q u i e t s u b v e r s i o n
B E N J A M I NT H O M A SH O O P E R
{ }
C O N T E N T S
City of Zurich. 2
Zurich and the Enjoyment of the City. 4
Urban investment & resistance. 6
Territorial implications of the enjoyment of the city. 7
Depot Hard. 8
Philip, Christoph, Mallory, Cammi, Alex & Ava 10
The Tram network facilitating decentralised culture. 12
Mallory’s Holy Roman Catholic tram. 13
Christoph’s brief. 14
Alex’s brief. 15
Philip’s brief. 16
Cammi’s brief. 17
Multiple programs and risk. 18
Sketches. 20
Preliminary response to site brief. 22
Initial concept sketch. 24
Tensile Structure connection to building. 26
Theatre and loading & stabling. 28
Lifting roads offices. 30
Circulation core. 30
Precedents. 32
Waterloo Station theatre. 33
Finding a frame. 34
Solar radiation modelling on the existing building. 36
Testing a Structural model. 37
Atrium daylight analysis model cut patterns. 38
Interior daylight analysis model cut patterns. 39
Resources in context. 40
Material Sourcing. 42
Plan Development. 44
Massing study. 46
Massing Breakdown. 47
Hiding the Palace. 48
Phasing study. 50
Disassembly workshop and theatre. 52
Fabrication workshop and co-working space. 54
Stabling and Studios. 56
Long section. 58
Get in touch:
@benjaminthooper
benjaminthomashooper.wordpress.com
1
N O F R E E R I D E S : S T U D I O I U S
City of Zurich.
1:100,000 at A1
2
{ T H E S I T E }
Zurich is successful capital of one of the worlds wealthyest nations. Favourable tax laws and political stability have attracted large companies to set up in the city contributing to zurich’s wealth being built upon a head quarter economy. Such wealth has allowed for much reegeneration of various quarters within the city marked noticably by interventions which promote the enjoyment of the city.
Switzerland
Zurich
The diagram to the left highlights the relational distance of the Depot Hard to the Central business district of Zurich, in comparison to the outlying city belts.
No free rides aims to work on two scales to work on, the city-belt regional and the local in order to tackle the same problem of reduced locational capital through displaced communities.
The negative side of this is that such regeneration leads to great demand for property resultantly businesses and people are being priced out of the city resultantly losing the capital which location affords, acting to further polerise Zurich’s headquarter economy with the aspirations of its people.
No Free rides focuses on a tram depot in up-and-coming Zurich West. Where the tram depot itself, The Depot Hard becomes a spacialised means of restoring locational capital to those priced out of the city.
3
N O F R E E R I D E S : S T U D I O I U S
Uetilberg
Utilberg
S L E D G E T R A I N
A L L O T M E N T S
S K A T E P A R K S
District 2
1 2
COOLING WIND
1.Take the
train from Zurich Banhoff to Utilberg station
6.Reach top
of hill sledge down again.
2.Hire a sledge
from the hotel at the top of the hill.
4.Come to the
bottom of the route.
F i r s t became popular in Switzerland
5.Take the train
to the top of the hill.
3.Sledge to the
village at the bottom of the hill.
Zurich and the Enjoyment of the City.
0km 2km 4km 6km 8km 10km 12km 14km 16km
1:100,000 at A1
4
{ T H E S I T E }
M A R I N A S
U R B A N S W I M M I N G
City Centre:Bahnhofstrasse
Limmat River
Adlisberg
3 4 5
SUN PATH
COOLING WIND
WATER PERMEATES
THROUGH THE SOIL SOAKING THROUGH TO
THE LAKE.
COOLING FROM LAKE
Zurich is situated and the base of two hills. Below is a section through the hills. Due to its location within a valley the city’s form is long and thin giving most residents access to the countryside or the lake.
It is common for Zurich residents to swim in the city’s lake and river with water polo nets found in some parts of the Limmat.
D u e to the extreme differences in height from 195 m [640 ft] above sea level to over 4600 m [14,000 ft] Switzerland displays a great variety of climates with the corresponding.
Switzerland has a temperate climate in the populated areas, but mountain peaks in the alps are buried under eternal ice and snow. On the southern side of the alps the climate is a little bit warmer than in the north, but
the really important thing to consider is that the alps form a barrier that separates two completely different aspect of a weather situation. (1)
5
N O F R E E R I D E S : S T U D I O I U S
Urban investment & resistance.
Analysis and depiction of the link between regenerated areas through private investment, the urban densities and capital within Zurich Juxtaposed with spaces of descent and resistance shows a common link showing resistance is either symptomatic of reinvestment or reinvestment is a result of descent.
0km 1km 2km 3km 4km 5km 6km 7km 8km
1:50,000 at A2
6
{ T H E S I T E }
Territorial implications of the enjoyment of the city.
The map below illustrates the immediate surrounding events in central Zurich and the site and relative lack of events elsewhere d i s t i n g u i s h i n g g e o g r a p h i c territories within the districts of Zurich and demonstrating the hot points of locational capital as emanating around Zurich west.
1:25,000 at A1
7
N O F R E E R I D E S : S T U D I O I U S
Depot Hard.
Blue Tower Office Block
Ramp to highway 30 Apartments Hardturm Tram depot
41 2 3
0m 4m 8m 12m 16m 20m 24m 28m 32m
1:200 at A1+A1
8
{ T H E S I T E }
Low level Housing
Limmut River
HousingPig styeWipkinger Park
5
987
SITE
3 4 521 Main road: Hardturmstrasse Towards A1H to Basle
Swiss Vernacular: Mixed used complex
Zürich Lake: Limmat Site: Depot Hardturmstrasse Harbrucke Highways toward Central business district
A. Site map isometric: Illustrating character and use of the immediate context
Housing
Office
Mixed use
Industrial
KEY:
Dimensions:Perimeter: 676MArea: 15 sqM
Vehicular Access Main Road
Tram Network
5Z
ürich Lake: Lim
mat
55
Existing
buildings on site5
Depot entrance
N0 10m 20m 30m 40m 50m
A. Site map isometric: Illustrating character and use of the immediate context
B. Aerial Site map : Illustrating site features and dimensions
Scale 1:500
Industrial
Vehicular Access Via Ramp
Pavement
9
N O F R E E R I D E S : S T U D I O I U S
Philip b. 1934 Christoph b.1957
The father of Fritz Zorn, author of Mars. Philip was a successful banker, highly educated and descended from a well established family. Philip has spent his life dedicated to his work. After studying Engineering at ETH and a prolonged military service where Philip rose to the rank of sergeant, he has spent much of his life as an executive for UBS only ever taking a brief sabbatical to unsuccessfully run for a seat on Switzerland’s national council representing the SVP.
Philip lives on the wealthy East Shore of Zurich. From his window he can see the symbols of his great passions in life, the marina which houses his yaght he learnt to sail during military service and recalls happy memories of taking his family out onto the lake.
In the other direction is Rote Fabrik a once temporary arts venue which housed opera during the redevelopment of the Zurich Opera House, Philip sees himself as a patron of the opera and regularly attends. Then across the lake is the Europaallee the new headquarters for the bank.
Although often absent as a father Philip felt close to his family, his debutaunt wife and two children providing for them by sending them to the best private schools in the country. Upon the death of his son Philip did all he could to respect his sons wishes in publishing his book an anarchist text which was notably derogatory about philip himself. Following the 1980’s riots Philip felt some responsibility for the uprising through his sons book.
Christoph hailed from Zurich’s punk generation, as a result his early life has been shaped by rebellion against the centralised determination Swiss youths were subject to. This lead him to become a major and influential practitioner in Zurich’s emergent counter cultural economy. Resultantly Christoph became wealthy finding a home in a newly regenerated Zurich West amongst the city’s elite, where he is aware of the gentrification which goes on but the agglomeration of money and talent is good for his media business.
Following the Hard depot tram protests and the freedom rides festivals which follow Christoph realises how commercial his work has become freedom rides allow him the chance to re-engage with the political context he left behind as a result, his theatre productions travel to outer suburbs
like rehenbalg and Frankental, resultantly theatre productions become publicity for his media firm he goes on to sponsor the rides despite hearing complaints that the festival is becoming too commercial he feels partly responsible for its success.
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
LEFT WING
0.0 0.2 0.4 0.6 0.8 1.0
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
LEFT WING
0.0 0.2 0.4 0.6 0.8 1.0
0.00.20.40.60.81.0
CA
PI
TA
L
BY
A
GE
0.00.20.40.60.81.0
ECONOMICCULTURALLOCATIONSOCIAL
20
40
60
80
OPE
RA
POLITICS
FINANCEARMY
AYN R
AND
CHESS
ATHLE
TICS LA
TE
BARO
QU
E M
USI
C
YACHTING
ROWING IN
TE
RE
ST
S
PUNK
READING
POLITICAL PHILOSOPHY
THEATRE
ETHIC
SMARX
ENTER
PRISE
TRAVEL
MEDIA
WIN
E
ART
APPRENTICESHIP
CONSCRIPTION
IN
TE
RE
ST
S Malloryb.1962
From a well to do family Mallory trained as an apprentice in clerical support, although never overtly political she joined the 1980 opera house protests due to a desire to encourage more venues to play punk music. Through the protests and the ensuing autonomy of Rote Fabrik Mallory felt a sense of belonging which she hand not felt before, and began to share everything with a community building around the cause.
As the novelty of an autonomous youth centre at Rote Fabrik wore off the centre gained a reputation for drug taking unfortunately this was where Mallory first became addicted to heroine.
The autonomous Rote Fabrik failed but went on to inform Zurich’s liberal drugs policy with an autonomous needle park at Platzsptz park. Although it did not reduce the amount of drug use in Zurich it helped save many dying from an overdose including Mallory.
Mallory eventually quit with the support of a church group and went on to plant her own church with her partner It was through this that Mallory became involved with the Depot Hard which allowed her church to be decentralised and appeal to the whole of Zurich.
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
LEFT WING
0.0 0.2 0.4 0.6 0.8 1.0
20
40
60
80
CA
PI
TA
L
BY
A
GE
0.00.20.40.60.81.0
ECONOMICCULTURALLOCATIONSOCIAL
20
40
60
80
MARX
IN
TE
RE
ST
S
HEROIN
ROTA
FA
BRIK
POLIT
ICS
COUNCILING
PARENTING
TV
RUNNING
GYM
DIETING
THE CHURCH
APP
REN
TIC
SHIP
PUNK
10
{ T H E S C E N A R I O }
Cammi b.1979
Cammi studied at the Zurich school of art and Design and went on to live and work in the area as a conceptual ceramicist finding a studio in a former factory for cheep rent. Cammi lived Zurich West at a time where unlicensed bars and raves were establishing themselves and giving the city its identity as a capital for counter culture. Cammi had a great love for the city and the community that grew up around this identity.
Yet Zurich West’s counter culture began to formalise as property prices rose Cammi found herself priced out of the area, in which time she found she had fewer opportunities presenting themselves to her. Initially blaming this on capitalism Cammi became active in the
Occupy movement some years later following the announcement that both the Depot Hard and Wipkinger Platz would be turned into a mega mall Cammi began the movement to occupy the Depot Hard. The depot became a symbol for the people priced out of the city with those protesting mainly coming from the suburbs and beyond. When asked about their demands the movement asked for the surrender of the Depot as an autonomous community asset, although autonomous the Depot becamame heavily supervised by a cooperative who wanted the depot to act against the agglomeration and gentrification of the city by providing cheep studio spaces to those like Cammi willing to offer the sweat equity to appropriate the space.
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
LEFT WING
0.0 0.2 0.4 0.6 0.8 1.0
20
40
60
80
CA
PI
TA
L
BY
A
GE
0.00.20.40.60.81.0
ECONOMICCULTURALLOCATIONSOCIAL
20
40
60
80
IN
TE
RE
ST
S
STREET PARADE
RUNNING ZURICHWEST
POLIT
ICS
CH
AR
ITY
PHILO
SOPH
Y
ENTER
PRISE
EVEN
TSEN
VIRONMEN
TALIS
M
CONCEPTUALART
Alex b. 1994
Alex had for a long time lived in the suburbs of Zurich and had rarely spend much time within the city centre having felt a lot more ownership of of out of town retail outlets. Alex first felt ownership and pride in his city during the Ocuupy movement and believed during this time he was experiencing his right to the city this encouraged him to return to the city for the 2011 rioits and the raves along Banhof strasse in 2013-14. As a proud anti capitalist Alex joined the sit ins at Depot hard and was one of the protesters to demand the depot, again believing it to be important in order to reclaim his rights to the city.
Following this Alex tried to run the depot with a number of friends. Without any management structure the depot was quickly teritorialised by a skater gang and the depot failed to function proeprly. With the growing support of an interested community the depot was taken on as a community asset, united by a manifesto. Canton funding was given for a new roof following the failure of its competition and some funding from the community met the cost of building some workspace in the depot.
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
LEFT WING
0.0 0.2 0.4 0.6 0.8 1.0
20
40
60
80
CA
PI
TA
L
BY
A
GE
0.00.20.40.60.81.0
ECONOMICCULTURALLOCATIONSOCIAL
20
40
60
80
IN
TE
RE
ST
SHACKTIVISM
CITIZ
EN
JOURNALIS
MPO
LITIC
AL
PHILO
SOPH
Y
BITCOIN
HACKING
OCCUPY
MIN
DFU
FULN
ESS
PRO
GR
AM
ING
FOOTBA
LL
Ava b. 2009
Ava grew up in one of the apartments of the orignial Hard Depot building and was aware of the activity within the depot and the successful freedom rides festival yet always felt alionated by the secrecy arround the depot and that living in the city centre she was never alowed in. Following the end of the lease on the Depot Ava attempted to join a croud funding campaign to buy the depot as it had dramtaically increased in value.
Although the croud funding campaign was successful in outbidding the cooperative for the leasse the lease on the property was renewed. Feeling cheeted due to not having the social capital with the city council Ava and other croud funders protesed...
LIBERTARIANISM
STATISM
RIGHT WINGLEFT WING
PO
LI
TI
CA
L
VI
EW
S
0.0 0.2 0.4 0.6 0.8 1.0
20
40
60
80
CA
PI
TA
L
BY
A
GE
0.00.20.40.60.81.0
ECONOMICCULTURALLOCATIONSOCIAL
20
40
60
80
IN
TE
RE
ST
SCOMMUNITY
TRAMLINES
HOBBES
LIBER
TARIANISM
3RD W
AVE GRIM
E
BUSIN
ESS
ACCUMULATIO
N
FINANCE
PHIL
AN
TR
OPY
TICKET
COLL
ECTIN
G
11
N O F R E E R I D E S : S T U D I O I U S
The Tram network facilitating decentralised culture.
D I S A S S E M B L Y
I N S P E C T I O N
A R R I V A L
C O N S T R U C T I O N
T h e Momentum of grass roots regeneration has lead to may being priced out of the centre of Zurich, where the majority of interventions for the enjoyment of the
city are located. The scenario represents a new line of flight where the city is decentralised by placing cultural activities on the back of trams and sent into the margins of the city.
12
{ T H E S C E N A R I O }
Mallory’sHoly Roman Catholic tram.
1.Tram speeds
back from another s u c c e s s f u l
exhibition or show.
2.As the tram
breaks it generates energy otherwise wasted this powers a battery..
3.When the
battery is charged it can be disconnected by from the tram.
4.An artist can
take the battery and carry it to where it is needed
5.Artists can
then use this power to charge their own studios.
6.Those artists
who do most work in Zurich’s c o m m u n i t i e s can power their studios in the most spectacular ways.
0m 4m 8m 12m 16m 20m 24m 28m 32m
1:200 at A2
The heavy machinery and tools necessary for the day to day function of the Tram Depot also lend themselves to subversive purposes.
Instead of maintaining a tram Mallory’s church group has used the depot to transform a tram into a High Catholic church capable of traveling the city.
13
N O F R E E R I D E S : S T U D I O I U S
Christoph’s brief .
The tram depot could potentially be oneof the biggest and most exciting performance spaces in the whole of Zurich. Hearing about the plans to take over the depot took me back to my radical youth I remember when rote fabric was taken over in the 80’s it allowed a real flurishing of the arts. We were free from the constraints of of finance and convention finaly our work could be self determined. Off
the back of 1980 I started my own successful media companly but as I was introduced to share holders and grant funding I felt like I was losing creative control of my projects.
T h e Hardturm Depot represents something radical to me, huge cranes nessecary for the function of the depot can perform gymnastics with my cast which I could only dream of in a
conventional theatre the rails can move entire sets in a matter of seconds and all of this already exists. There’s no need to go on search for extra funding for these things because they’re nessecary for the day to day running of the depot.
Above all is my love for the spirt of the place. Its harsh, industrial and dirty. I dont want my theatre to be an anecitised vision of
what is seen to be cordially acceptable people shouldn’t be comfortable I want to challenge them and present something which is raw and challenging and that’s exactly what the depot represents.
14
{ T H E S C E N A R I O }
Alex’s brief .
I could work anywhere all I need is a laptop and an internet connection but the depot offers something more though its facilities once used for tram maintenance and new facilities like laser cutters which means it has become a place for rapid prototyping. Alive with a collective energy of others who were attracted
to the depot after the protest there are so many people and ideas here which makes it a really worth while place to be. I like to swap desks as often as I can to survey these ideas and write about them and I can because this place belongs to everyone. Not the people in the middle of the city not the people in the countryside
but everyone who can get to it. Its the perfect place for quiet subversion.
1:2
1. I need a place I can get dirty with tools I might not ordinarily have access to.
2. I often need to do rabid prototypoing of ideas, to save time a cnc machine or 3d printer would be very useful
3. A good wifi connection is essential.
4. I like spaces were I can come together to work with others.
4. I dont like being tethered to a desk but if I need to work I need somewhere comfortable but but I want to be free to move arround and have choice of where to work.
A place of Assembaly
15
N O F R E E R I D E S : S T U D I O I U S
Philip’sbrief .
T h i s depot represents a significant investment to me, I want to be here to make sure it’s not squandered away but
its also a comfortable place to work. Nowhere else could I have a window onto my own investment and such a beautiful view of the river in
such a nice heritage building. Its a comfortable quiet place to work where I can lock my doors and contemplate in silence or open
my doors to engage with such a vibrant community of people trying to do things for the good of Zurich.
16
{ T H E S C E N A R I O }
Cammi’s brief .
I was priced out of Zurich west few artists have studios there because no where is cheep enough but the depot needed a lot of work
to be repaired. At first rents were very cheep. Which meant by transforming the building through our own sweat equity we could create an
affordable space in Zurich west for artists who were priced out to the suburbs.
17
N O F R E E R I D E S : S T U D I O I U S
Electrocution
Low
Low
Harmful fumes
Medium
Medium
Poorlighting
Ulterior uses
Falling or tripping
Fragile equipment
Dirt
Multiple programs and risk.
P H I L I P
Wants a public service to run smoothly
R I S K S A N D R E W A R D S
R I S K M A N A G E M E N T S T R A T E G I E S
R E W A R D M A N A G E M E N T S T R A T E G I E S
W A T E R L O O T H E A T R E
C H R I S T O P H
Wants a place for bold dramatic expression
C A M M I
Wants to decentralise Art and culture
A L E X
Wants a canvas for artistic experimentation
Physical hazards
High
High
Loud noises Fun
Unpleasant odours Spectacle
L E V E L
L E V E L
R I S K S REWARDS
P O L I C Y
P O L I C Y
Risk < Reward
Precedent Study
Passive prevention, keeping routes and activities away from low risk areas yet allowing engagement at users own risk..
Risk management strategy should be upheld.
Active mitigation and adaptation, making use of barriers and isolation zones to discourage user engagement.
Efforts should be made to make risk as visible as possible engagement should be included in building program on occasion.
Isolate and Restrict containing risks in zones accessible only to those who require direct contact with a risk.
Special measures should be made to incorporate risk or emulate its spacial properties into the building program
Wa t e r l o o ’s former Eurostar platforms were converted into a theatre for the production of The Railway Children.
A lighting rig suspended a blackout curtain to create a black box theatre. A sprung stage had to be added over the existing concrete platform to provide a suitable space for physical performance and the railway track was exploited to bring scenery on and off stage.
This project negotiates the r e p r o g r a m m i n g of a tram depot to accommodate various groups priced out of the fast gentrifying Zurich west.
T e n s i o n s rise between Philip who wants the tram service to continue to run from the depot, Christoph who wants depot to become a performance space.
Cammi who hopes to subvert the depot’s current function to produce mobile event and Alex who hopes to practice in the depot while developing his event space.
Each offers risks to each-other when programmed within the same space this CMA aims to address these tensions.
ENTRANCE/E
XIT R
OADS
WATER WASH
CHEMIC
AL WASH
COVERED
STABL
ING A
REA
WORKS STABLING
WO
RKS LOCO
PAIN
T SHO
P
LIFTIN
G ROADS
WORKSHOP
TESTING FACILITIES
ADMINBLO
CK
DRY
ROO
M
RESTRO
OM
ACCOMO
DATIO
N
DRY C
LEANIN
G
CLEANING FACILITIES
CAB
SIMULATOR
CONTRO
L
OFF
ICE
ENTRANCE/E
XIT
ROADS
WHEEL LATHE
STAGE
DOO
R
AUDITORIUMPUBLIC SPACESBOX O
FFICE/
BAR
MANAGERIAL
SPACES
ORHESTRA PIT
STAGE
PERFO
RMACNE
SPACE
REHER
SAL
SPACE
PERFO
RMANCE
ORGANISA
TION
COMPA
NY
ORGANISA
TION
SCEN
E
DOCK
SCENERY WORKSHOP
ENTRANCE/E
XIT
ROADS
ENTRANCE/E
XIT
ROADS
COST
UME
STO
RE
ENTRANCE/E
XIT
ROADS
ENTRANCE/E
XIT
ROADS
LIFTIN
G ROADS
FABRICATION WORKSHOP
BOGIE
WO
RKSHO
P
MEETIN
GSPAC
E
ARCHIVE
OUTREACHO
FFICE
EVENT SPACE
LOADIN
G
STORAGE
RECYCLINGFACILITY KTICHEN
MATERIALSSTO
RE
CAB
SIMULA
TOR
ENTRANCE/E
XIT
ROADS
PAIN
T SHO
PEN
TRANCE/EXIT
ROADS
LIFTIN
G ROADS
FABRICATION WORKSHOP
BOGIE
WO
RKSHO
P
MEETING SPACE
INDIVISUAL
STUDIOS
EXHIBITION SPACE
LOADIN
G
OPEN STORAGESTO
RAGE
RECYCLINGFACILITY
KTICHEN
MATER
IALS
STO
RE
ENTRANCE/E
XIT
ROADS
ENTRANCE/E
XIT
ROADS
CAB
SIMULA
TOR
Scen
e cha
nge
set m
oves
Scen
ery p
ulled
by t
rain
Lighting rigRailway trackSprung flooring
Blackout curtain
Temporary seatingfor over 1,000
Lighting Desk
Steam trainWings
Sprung flooring on tracks
18
{ T H E S C E N A R I O }
M A I N T E N A N C E - P I T S
B A R LIGHTINGR I G
R E T R A C T A B L E - S E A T I N G
C R A N E S C A B SIMULATOR
L O A D I N G
M A T E R I A L S R E C Y C L I N G
B O G I E WORKSHOP
M E E T I N G - S P A C E
F A B R I C A T I O N W O R K S H O P
O P E N - S T O R A G E
O R C H E S T R A - P I T
S T A G E - L I F T S
DRESSING R O O M S
P A I N T - S H O P
OVERHEAD-WALKWAY C L E A N I N GF A C I L I T I E S
A C C O M M O D A T I O NL A T H E
Exciting to see the under side of trams Interesting circulation
I n t e r e s t i n g circulation
Will create uneven floor levels
M o v i n g components
Could be utilised in operation of depot
Recessed floor
Recessed floor
R e q u i r e railings
Folds away to provide useful space
If used to t r a n s p o r t people
M o v i n g parts require lubrication
D y n a m i c architecture
Dynamic architecture as tram components assembled.
May serve other programs
Hazardous materials being disposed
Waste from fabrication and workshops
Non specialist learning space
Potential to be used across programs
C o m p l e x m o v i n g components
Machinery needed to support components
Game like setting
Moving parts
Moving parts
Noisy motors
Noisy motors
r e q u i r e s c o n t r o l l e d environment
If used in performance
Event
Spectacle If mechanised
Spectacle If mechanised
To be utilised in performance
H y d r a u l i c s make noise.
Covered to extend stage
Covered to extend stage
M o v i n g components
Adds interest
Adds interest
H a z a r d o u s chemicals
D a n g e r o u s tools
Risk of electrocution
Power tools
May be used across programs Excess paint from spraying
Complex moving components May be used across programs
Risk of falling. Hazardous paint fumes
Interesting process
Mess from fabrication
If presented like gallery Moving components
Dynamic architecture
Fumes from paint
M o v i n g parts require lubrication
V i s i b l e spectacle for performance
Moving parts
Moving parts
R e p r e s e n t s conversion of uses
Low simple railings pose risk
Low simple railings pose risk
allow acces to tram power cables
Moving, sharp components
Social space
Potential point of contact for whole building
Used for washing oily tram parts
Machinery to be opporated by expert
Complex power controls
C o m p l e x p o w e r controls
Workers require washing facilities, lockers and a canteen useful for other programs
Actors require w a s h i n g f a c i l i t i e s , lockers and a canteen useful for other programs
Low simple railings arround pit pose risk
moving parts Use powerful detergents
May offer exciting views onto trams
Noise of wheel reprofiling
Residual lubricants and oils
Pits require lighting to be accessible
Accidental moving of stabled trams
Changing of oil will leave odour
Empty pits will have to be barricaded
Dirt will need to be cleaned off pits if they are to be publicly accessible
Non-programmed space useful across other programs
19
N O F R E E R I D E S : S T U D I O I U S
Sketches.
20
{ T H E S C E N A R I O }
From left top to right bottom, early frame sketch ideas, facade ideas, crane gantry, Facade opening, Build over facade form, studio forms, Co working space form sketch detail of studio sub structure, sketch interior massing and sketch plans.
21
N O F R E E R I D E S : S T U D I O I U S
Time: 0913 (Sunrise)No solar gain
at the rear of the site. The existing volumes are in shade.
Time: 0727 (Sunrise)The North
side of the site captures some solar rays.
Time: 0927Both North
and south side capture solar rays.
Time: 0927The massing
model cast a shadow to the rear of the site. The shading device encloses the North side lake bank, and renders it a more habitable space.
Time: 1927The rear of
the massing model captures the last solar rays, as it approaches sunset.
Time: 1113First glimpses
of solar gain to the rear of the site.
Time: 1113Due to
the height of the massing block, it captures some of the solar rays.
Time: 1713The top rear
of the massing block catches some of the rays, as it approaches sunset.
Time: 0532 (Sunrise)Overshadowing
by tall office blocks. This is acceptable as its not considered to be working hours
Time: 0932The entire
site is lit by sunlight.
Time: 0932The massing
block cast some shadows unto the road and rear of the site. The shading device, provides shade on the North side.
Time: 1930By sunset
the site and massing model, are still solar lit.
Preliminary response to site brief .
22
{ T H E S C E N A R I O }
4. PUBLIC PLAZA: The vast amount of space to the rear of the site and front of the site at Escher Wys Platz, easily lends itself as potential public plaza.
5. TRANSPORT: Surrounding the site are 3 major means of transportation. Pedestrian pavement, Tram, bus/car
6. DELIVERIES + STAFF ACCESS: Despite the fact that the site will be accessed predominantly by foot/ public transport (tram), there is scope to arrange for deliveries and typical “back of house” vehicular access.
7. FOOTPRINT: The vast amount of space to the rear of the site and front of the site at Escher Wys Platz, easily lends itself as potential public plaza.
8. WIND DIRECTION: Surrounding the site are 3 major means of transportation. Pedestrian pavement, Tram, bus/car
9. SUNLIGHT: Despite the fact that the site will be accessed predominantly by foot/ public transport (tram), there is scope to arrange for deliveries and typical “back of house” vehicular access.
Deliveries
Pedestrian, tram, bus
N A preliminary response to site, its existing contraints, to generate a scheme that accommodates sustainable strategies
1. SITE GEOMETRY: The image illustrates a crude massing for the proposed scheme. This is in accordance to the geometry of the site.
2. SITE ACCESS: The orange line, illustrates the various patterns to access the site currently. Note that there isnt an evident route to Lake Limmat
3. SWISS VERNACULAR HOUSING (SVH) ACCESS: The purple illustates access to the existing apartment buildings. A strategy for possible connection between the existing and proposed is sought. I speculate that there should they too currently have limited access to the River§, therefore and integrated access is vital.
Site Geometry
Site Access
SVH Access
23
N O F R E E R I D E S : S T U D I O I U S
Initial concept sketch.
0m 2m 4m 6m 8m 10m 12m 14m 16m
1:200 at A1
24
{ C O N C E P T S K E T C H E S }
F I R S T F L O O R
G R O U N D F L O O R
25
N O F R E E R I D E S : S T U D I O I U S
Te
nsi
le S
tru
ctu
re
co
nn
ec
tio
n t
o b
uil
din
g
{ C O N C E P T S K E T C H E S }
0mm 400mm 800mm 1200mm 1600mm 2000mm 2400mm 2800mm 3200mm
1:20 at A1+A2
27
N O F R E E R I D E S : S T U D I O I U S
Th
ea
tre
an
d
loa
din
g &
st
ab
lin
g
Wa
lkw
ay
s w
ere
supp
osed
to
be
used
fo
r in
spec
ting
the
tram
s bu
t th
ey’re
al
so p
erfe
ctly
pla
ced
to b
e us
ed a
s a
tech
bo
x an
d lig
htin
g rig
.
The
C
rane
is
used
to
fit
ne
w
spec
ialis
ed
tram
bi
ddie
s m
ade
in t
he
wor
ksho
p bu
t th
e sp
ace
abov
e al
so
com
es
in
usef
ul
as
a fly
to
wer
th
e cr
ane
itsel
f is
also
so
met
imes
us
ed
in
perf
orm
ance
s.
Bla
ck
ou
t bl
inds
bui
lt in
to t
he
Eav
es o
f th
e or
igin
al
build
ing
mea
n th
e de
pot
can
act
as
an
atriu
m
brin
ging
na
tura
l lig
ht i
nto
the
old
build
ing
on
all
floor
s bu
t lig
ht c
an
be s
hut o
ut w
hen
the
perf
orm
ance
spa
ce is
ne
eded
as a
bla
ck b
ox
thea
tre.
28
{ C O N C E P T S K E T C H E S }
Fitti
ng S
prun
g flo
ors t
o bo
gies
mea
ns
danc
ers
won
t dam
age
thei
r jo
ints
on
th
e ha
rd c
oncr
ete
depo
t flo
or,
whe
n th
ey’re
do
ne
with
th
ey’re
sim
ply
stor
ed i
n th
e Bo
gie
wor
ksho
p in
th
e ba
sem
ent.
Ret
ract
able
se
atin
g al
low
s th
e sp
ace
to b
e us
ed a
s a
tram
sid
e w
orks
hop
whe
n pe
rfor
man
ces
aren
’t on
.
0mm 400mm 800mm 1200mm 1600mm 2000mm 2400mm 2800mm 3200mm
1:20 at A1
29
N O F R E E R I D E S : S T U D I O I U S
Lif
tin
g r
oa
ds
an
d o
ffic
es.
Cir
cu
lati
on
co
re
A
perf
orm
ance
sp
ace
in
a tra
m
depo
t is
grea
t bu
t no
ise f
rom
th
e lif
ting
road
s ca
n di
srup
t per
form
ance
s, th
is gl
azed
circ
ulat
ion
spac
e m
ittig
ates
som
e of
th
e st
ruct
ural
ac
cous
tic le
akag
e.
Som
e st
udio
sp
aces
are
left
as c
old
cons
truc
tion
this
allo
ws
artis
ts to
bui
ld
and
insu
late
thei
r ow
n te
mpo
rary
st
udio
sp
aces
the
y ca
n us
e th
ese
for
the
leng
th
of t
heir
resid
ency
in
the
depo
t an
d ta
ke
them
whe
n th
ey le
ave.
30
{ C O N C E P T S K E T C H E S }
0mm 400mm 800mm 1200mm 1600mm 2000mm 2400mm 2800mm 3200mm
1:20 at A1
31
N O F R E E R I D E S : S T U D I O I U S
I N S T I T U T E
of
L I G H T W E I G H T S T R U C T U R E S
Stuttgart, Frei Otto
W I K I H O U S E
00:/
K I N G S D A L E S C H O O L
dRMM
F U N P A L A C E
Cedric Price
A R A V E N A P R O J E C T
DNA
P E K H A M L I B R A R Y
London, Will Alsop
B O R D E U X L A W C O U R T S
RSHP, Bordeux
Precedents.
32
{ D E S I G N D E V E L O P M E N T }
precedents:Waterloo StationTheatre.
Scen
e cha
nge
set m
oves
Scen
ery p
ulled
by t
rain
33
N O F R E E R I D E S : S T U D I O I U S
Finding a frame
I T E R A T I O N 1
I T E R A T I O N 4
I T E R A T I O N 7
I T E R A T I O N 2
I T E R A T I O N 5
I T E R A T I O N 3
I T E R A T I O N 6
Modeled on the bracing between a kingspan truss I liked the form of this trus but it was not practical in leaving a large uninterrupted space below nor would it accomodate much flexibility above.
Taken from earlier explorations through technical drawings this takes the form of a theatre space and stabling and houses them within two separate but interconnecting s t r u c t u r e s . Although practical
it does not give a particularly exciting form nor does it alleviate structural transmission.
This takes iteration 2 and attempts to make its form more exciting by alternating the orientation of frames to give an undulating roof profile yet still does it alleviate structural transmission.
This takes iteration 2 and attempts to make its form more exciting by alternating the orientation of frames to give an undulating roof profile yet still does it alleviate structural transmission.
The most practical truss in terms of ensuring a large open space below little structural transmission adn a suitable space for a crane to operate. Yet appears unimaginative, the frame also places
much lateral pressure on the walls of the neighbouring building.
This takes iteration 2 further by introducing new frame sections to give a more organic roof profile yet such trusses make it difficult for a crane to operate within the depot.
Modelled on the bracing between a kingspan truss this iteration placed no pressure on the walls of the apartments surrounding the depot. I liked the form but it did not create an uninterrupted space
below nor could it accommodate much flexibility for an operating crane.
34
{ D E S I G N D E V E L O P M E N T }
I T E R A T I O N 8
I T E R A T I O N 9
I T E R A T I O N 1 0
F I N A L I T E R A T I O N
Modelled on the bracing between a kingspan truss this takes the idea of alternating frames to give an interesting form but is ultimately inflexible
Suffers the same problems as iteration 8.
R e c t i f i e s the problems with iteration 6, subjecting no pressure on the apartment walls with a flat roof. The surrounding area however has such a rich language of pitched roofs that this seems
inappropriate, it also starves the N e i g h b o u r i n g apartments of daylighting.
Takes the lessons of all previous iterations into account in creating an uninterrupted space and an architectural form reflective of Swiss vernacular pitched roofs also seen around the site it places little load
on the neighbouring apartment walls due to its form the bottom half of which effectively acts as bracing due to its weight, and through which a crane has space to operate with little obstruction.
35
N O F R E E R I D E S : S T U D I O I U S
Solar radiation modelling on the existing building.
N
S
E
In an attempt to generate an e nv i r o n m e n t a l l y responsive form I attempted some solar radiation modelling of the existing building witrh the hope that this would offer some4 clues to a potential masses form.
H o w e v e r the modelling simply shows the south side of the building receives most solar radiation and infers it may be appropriate to design massing according to generally accepted rules of thumb.
Sourceshttp://www.gaisma.com/en/location/zurich.htmlhttp://www.zurich.climatemps.com/temperatures.php
Max
Ave
Min
0m 4m 8m 12m 16m 20m 24m 28m 32m
1:200 at A2
36
{ D E S I G N D E V E L O P M E N T }
Testing a Structural model.
T E S T I N G
Spanning the model between the opening of a bay window allowed me to test the strength of a truss aimed to span between the load-bearing walls of the apartments to the side of the depot using their lateral stability as a solid wall, the theory was the pressure between walls from the top of the truss would place the truss in compression without necessitating the need for any load bearing construction below the model was capable of holding 3 bags of heavy logs and my own weight yet did not perform in the ways I had wanted.
ProblemsThe first
problem was the struggle to keep the model from bending laterally Ideally the model should have been braced and demonstrates this needs to be considered in future iterations.
Given heavy loads the side pads of the model would often slip this couldn’t be helped in my model but does demonstrate the need for more investigation into how the truss would connect to a load bearing wall.
It was initially hoped that with a large weight
placed on the truss, load bearing construction would not be required to sit under the truss, this was modelled by placing the model on top of a bin then removing the bin once the model was loaded however this didn’t work with a the bin taking much of the weight and demonstrates the need to investigate columns or pillars to sit below.
As a pinned structure the form of the truss braces itself due the weight of its bottom.
If weight is applied to the ridge of the structure; for example in the event of snow loading. Weight is displaced horizontally outward pushing against supporting walls.
If weight is applied to the base of the structure; for example supporting floors below. The truss goes into compression pulling away from connecting walls
Ideally forces on the base and the ridge of the frame need to be kept similar in order not to exert excessive horizontal tension or compression on the supporting walls.
37
N O F R E E R I D E S : S T U D I O I U S
Atrium daylight analysis model cut patterns.
These files failed to be cut properly by the laser cutter but should be acknowledged the atrium model was meant to test forms of interior massing to decide the shape of the studio section the model to the right was a sectional model meant to model whether the studio massing seriously blocked lighting into the existing appartments. Unfortunatley these failed to cut properly therefore decisions about lighting had to be made with rules of thumb and with use of tools such as ray path diagrams.
38
{ D E S I G N D E V E L O P M E N T }
Interior daylight analysis model cut patterns.
39
N O F R E E R I D E S : S T U D I O I U S
Resources in context.
40
{ D E S I G N D E V E L O P M E N T }
41
N O F R E E R I D E S : S T U D I O I U S
Material Sourcing.
0km 2km 4km 6km 8km 10km 12km 14km 16km
1:100,000 at A1
42
{ D E S I G N D E V E L O P M E N T }
43
N O F R E E R I D E S : S T U D I O I U S
Plan Development.
P L A N D E V E L O P M E N T
F I N A L G R O U N D F L O O R P L A N
Early Concept
0m 4m 8m 12m 16m 20m 24m 28m 32m
1:200 at A1
44
{ D E S I G N D E V E L O P M E N T }
Tram network map of zurich showing
where all adapted trams are in Zurich
Visual links to wipkinger park
The destination of the Fischerweg footpath
Interim Plan
E A R L Y U R B A N
S T R A T E G Y
45
N O F R E E R I D E S : S T U D I O I U S
Massing Study.
0m 20m 40m 60m 80m 100m 120m 140m 160m
1:1000 At A2
0m 4m 8m 12m 16m 20m 24m 28m 32m
1:200 At A2
S E G M E N T A T I O N
S O F T
L A N D S C A P I N G
V E R N A C U L A R
T O W E R S M O D U L A R
U N D U L A T I O N
I n i t i a l iteration presumed an extrusion of the frame and basic massing toward the side although some what matching the scale of adjacent buildings and the main road this did not complement the grain of the facade..
C o n t i n u e d the structure of the frame to form towers which peep out of the massive roof. Replaced mass of tarmac with planting.
In t roduce s towers to the facade to acknowledge breaks and edges in context.
Uses the angles of the roof truss to create an undulating roof.
Play on contextual theme of dormers to break down the mass of the roof.
Sought to break the roof into blocks in response to urban breaks and edges in the context in order to diffuse wind flow.
46
{ D E S I G N S T R A T E G I E S }
C O W O R K I N G
S P A C E
F L E X I B L E
S T U D I O S
O F F I C E S
E V E N T S P A C E
Massing Breakdown.
0m 20m 40m 60m 80m 100m 120m 140m 160m
1:1000 at A2
The massing of this project is an Air-rights structure suspended between the existing depot buildings with a self build extension over the smaller depot buildings built as an empty frame to be filled in over time.
47
N O F R E E R I D E S : S T U D I O I U S
Hiding the Palace.
E L E V A T I O N 1
E L E V A T I O N 2 : F A C A D E D U R I N G O C C U P A T I O N
E L E V A T I O N 2 : F A C A D E A F T E R F O R M A L I S A T I O N
E L E V A T I O N 2 : F A C A D E A T C O M P L E T I O N
0m 20m 40m 60m 80m 100m 120m 140m 160m
1:1000 at A1
This Depot is meant to be a palace
of quiet subversion, as it grows it needs to hide itself. We have funding to replacement
the roof but and add a few office spaces but further accomodation needs
to be added as and when funds are made available. As this is built it should mimic the roofline of neighbouring buildings
to blend in with the scenery.
48
{ D E S I G N S T R A T E G I E S }
Elevation 1
Elevation 2
1:10,000
49
N O F R E E R I D E S : S T U D I O I U S
Phasing Study.
P H A S E I
Depot Function before occupationP H A S E I I
Depot during initial occupation
Day program.
Night Program
Day program.
Evening program.
Night Program
Before occupation the Depot Hard was used inefficiently with the space being empty during most of the day. During the day trams would leave the depot, to return when no longer needed.
Following occupation, the depot began to be used for new purposes, most successfully as an event space hosting theatre during peak hours of the day. However sets would have to be taken down at the end of each day and in the event of performances outside of peak commuter times trams would simply have to stable themselves outside the depot. To facilitate performance studios and stage offices were set up in front of the depot as well.
WORKSHOP
STORAGE
OFFICE AND CLEAN STUDIOS
UNUSED
RESIDENTIAL
EVENT AND PERFORMANCE SPACE
NEW PROGRAM ABOVE
TRAM STABLING AND LIGHT MAINTENANCE
0m 20m 40m 60m 80m 100m 120m 140m 160m
1:1000 at A1
50
{ D E S I G N S T R A T E G I E S }
P H A S E I I I
Depot following Replacement of the roof
P H A S E I V
Completion of the Depot
Day program off peak
Day program peak
Evening Program
Night Program
Day program off peak
Day program peak
Evening Program
Night Program
The competition for the redesign of Depot Hard was initially due to the need for the depot’s roof to be replaced. Following occupation funds were given to the to do this. The cooperative specified a high ceiling with potential to fit floors below. The group received a capital grant from the city council for new maintenance equipment such as cranes, strategically positioned so equipment could serve other uses such as stage lifts.
As new sources of funding emerged over time or on the sweat equity of those in search of affordable office and studio accommodation the depot grew. With housing above to contribute to a reduction in housing demand across the city.
51
N O F R E E R I D E S : S T U D I O I U S
Disassembly workshop and theatre.
52
{ D E S I G N S T R A T E G I E S }
0m 1m 2m 3m 4m 5m 6m 7m 8m
1:50 at A1+A2
53
N O F R E E R I D E S : S T U D I O I U S
Fabrication workshop and co-working space.
54
{ D E S I G N S T R A T E G I E S }
0m 1m 2m 3m 4m 5m 6m 7m 8m
1:50 at A1+A2
55
N O F R E E R I D E S : S T U D I O I U S
Stabling and Studios
56
{ D E S I G N S T R A T E G I E S }
0m 1m 2m 3m 4m 5m 6m 7m 8m
1:50 at A1+A2
57
N O F R E E R I D E S : S T U D I O I U S
W O R K S H O P & C O - W O R K I N GE V E N T S P A C E & D I S A S S E M B L YLong section.
58
{ D E S I G N S T R A T E G I E S }
0m 1m 2m 3m 4m 5m 6m 7m 8m
1:50 at A1+A2
S T A B L I N G & S T U D I O S
59
N O F R E E R I D E S : S T U D I O I U S