No free rides: A Palace of quiet subversion

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:

[email protected]

@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

benjaminthomashooper.wordpress.com

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


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


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.


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


Sketches.

20


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


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


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


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


Te

nsi

le S

tru

ctu

re

co

nn

ec

tio

n t

o b

uil

din

g


0mm 400mm 800mm 1200mm 1600mm 2000mm 2400mm 2800mm 3200mm

1:20 at A1+A2

27


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


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

.


1:20 at A1

29


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



1:20 at A1

31


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


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


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


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


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


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


Interior daylight analysis model cut patterns.

39


Resources in context.

40


41


Material Sourcing.


1:100,000 at A1

42


43


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


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


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


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


Elevation 1

Elevation 2

1:10,000

49


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


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


Disassembly workshop and theatre.

52


0m 1m 2m 3m 4m 5m 6m 7m 8m

1:50 at A1+A2

53


Fabrication workshop and co-working space.

54


0m 1m 2m 3m 4m 5m 6m 7m 8m

1:50 at A1+A2

55


Stabling and Studios

56


0m 1m 2m 3m 4m 5m 6m 7m 8m

1:50 at A1+A2

57


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


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


Documents

No free rides: A Palace of quiet subversion