Azizul hoque dr 2015 unit24 comp

M.Arch Design Realisation Report 2014/15 - Azizul Hoque - Unit 24 - 14032147

0m

25 m

50 m

This project is a temporary film festival that will last for around one year. The project is located in New York and the site sits on a pile field in the Hudson River.

Chapter 1

Chapter 2 (30%)

Chapter 3

Chapter 4

Introduction

Building Construction - The Skin & Flesh of the Building Fabric

Building Performance - Tempering the Building Environment

Building Delivery - Procuring the Building

42nd Street 6 Grindhouse Films 7 Early Spatial Concepts 8 Site Discovery 9

Detailed Method of Construction 48 Structural Strategy of the Pier 50 Piertre PG Structural Strategy 52 Piertre PG Construction Method 53 Piertre PG Envelope Strategy 54 Piertre PG Material Selection & Performance 55 Piertre PG Key Junctions 56 Piertre R Structural Strategy 58 Piertre R Construction Method 59 Pierte R Key Junctions 60 Arcade & Mini Theatre Structural Strategy 62 Voyeur Gallery Structural Strategy 63 Mini Theatre Key Junctions 64 Voyeur Gallery Key Junctions 66 Box Office Key Junction 68 Internal Fire Spread 69

Overall Energy Strategy 72 Energy Requirements 73 Water Supply Drainage & Treatment 74 Heating Strategy 76 Ventilation Strategy 77 Natural Light & Shading 78 Artificial Lighting Strategy 79 Environmental Impact of Materials 84 Building Life Cycle 85

Local & Financial Context 88 Planning Constraints 89 Procurement Route 90 The Roles, Risks, Health & Safety 91

Planning and context Project Precedence 12 Historical Context 13 Pier 55 14 Timeline Strategy 15 Site Location 16 View of Site 17 Site Context 18 Climate Conditions 19

Appendix A Bibliography 92 Appendix B Waterfront Revitalisation program assessment form

93

Building Form & Systems Site Strategy 20 Programme & Organisation 21 Building Concept 22 Concept Development 23 Form Development 24 Form Through Film 25 Structural Development 26 Spatial Arrangement 27 Structural Grid Plan 28 Lower Ground Floor Plan 29 Ground Floor plan 30 Roof Plan 31 Long Section 32 Short Section 33 North Elevation 34 East Elevation 35 West Elevation 36 South Elevation 37 Circulation Strategy 38 Means of Escape 39 Disabled Access 40 M&E, Sanitation Systems 41 Acoustic Qualities 42 Health and Safety in Construction 43 Structural Strategy 44 Construction Strategy 45

Contents

One Ticket Please!

5

intro

Duction

6

Born in the wrong decade West 42nd Street, between 7th and 8th avenues. This area is referenced frequently when it comes to the history of vice in New York. In the early 20th century, motion picture theatres started to become popular thereby changing the modes of entertainment that were the norm. Movies that had themes like violence, sex and crime emerged as the most popular in theatres. This created a situation where themes of this nature became in demand, thereby leading the way to all kinds of seedy businesses including peep shows, burlesque and adult book stores. By the 60’s, American Congress changed legislation regarding the definition of what was classed as obscene, allowing entertainment to be more violent and x-rated than before. The by-product of this context was that it attracted crime, the peak of which was in the 70’s and 80’s. Prostitution and drugs were readily available for anyone looking ‘for a good time.’ The image of New York was under fire by the 90’s and something had to be done. Issues like poverty, crime, racial tension and economic distress had to be dealt with. And so with soaring rent prices, government initiatives, and corporate backing, the“sleazy crime ridden sexual playground” of the 80’s became gentrified as the area slowly was rid of any traces of the old 42nd street.

Fig. 2 A look at the old 42nd street popular theatre scene .

Fig. 3 Popular American social passtime, the movie theatre.

Fig. 1 Times Square Red Times Square Blue - Early research into the topic.

Fig. 4 The seedier side of 42nd streets theatre scene.

42nd Street

Introduction

7

SEXPLOITATION

Sex/erotica themed exploitation cinema

HORROR

Giallo Cinema | Slasher Films | Zombies | Eco-Terror | Cannibals | Occult | Vampires | Werewolves

Sewer Cinema Some may argue that a gem to have come out of the chaos of old 42nd Street was the Grind-house cinema. These low budget, independently made and distributed films were the backbone of the theatres in New York and throughout America. Although the qualities of the movies were not great, they were ambitious in their exploiting of themes. They would go where Hollywood would not. And for this they had their niche within the film industry. The movie sub genres were rich and varied, from zombie gore to hicks-exploitation. One consistency that I found interesting and would use to explore further was the artwork that went with the films to promote them.

SCIENCE FICTION

Classic Science Fiction Exploitation Films

Fig 5. Sleazoid Express - early research into the topic

Fig 5. The various sub-genres of grind house cinema

Grindhouse Films

Introduction

8

Sleazy Ideas Looking at small scale street components and intervening using the areas of interest elaborated on so far.

Iteration A is an idea that would allow discreet viewing of authentic analogue footage of classic Grindhouse film. The user would sit on one side and the opposite surface would be used for projection of the film. There would be an interface using the pay phone device to dial in the desired film. Instead of putting quarters in to make phone calls, the film would be played on a pay-as-you-go basis. When the credit runs out, the film stops.

Iteration B is a live peep show. There will be a divide between the viewer and the performer. The Viewer would insert money into the payphone and a little hatch would open up in the divide. Through the hatch, the viewer can see the performer dancing.

Music will be playing through little speakers to accompany the performance. When the credit runs out, the little hatch will close and the music will stop playing.

Sleazy video library phone booth

Sketching out sequence for a peep show and ways of making small scale interventions around the streets

Sleazy peep show phone booth

Pop up theatre Marquee

Spatial Concepts

Introduction

9

How I ended up on the pier I made my way west on 42nd Street, creating steps of inquisition. Trying to feel the echo of history. What was once there, the buzz, the attractions, the risqué. However, it seemed that all of what once made 42nd Street notorious was finely erased under the façades of family-friendly tourism. I had discovered interesting conditions along the edge of the city, ones that weren’t saturated by the overwhelming current West 42nd Street. I walked along the many piers exploring their past and present functions. One of the most interesting was the area around Piers 54,56 and 57, mainly because of its rich history and current situation. Pier 54 is a long open pier that provides public access. It has an eye-catching steel arch at the entrance – the remnants of Pier 54’s past pier shed for ocean liner. The Pier is one of Hudson River Park’s main event/performance spaces.

Concept of bringing a Grindhouse film festival to the pier

Long panorama of site

Site Discovery

Introduction

11

Planning context Building form & systems

12

Temporary, temporary, temporary.

The references are examples of temporary theatre/cinema spaces.

I was interested in the Cinerolium because of its draping skin and the ambition of taking a disused petrol station and turning it into an event space for the public. Its execution is quit admirable considering it makes use of a modest material palette.

The key is the unique way it uses foil-lined blanket insulation for not only its practical qualities, but also to create a theatrical aesthetic.

The Small Coal Man’s Travelling Theatre is interesting because of its deployability scheme. Again, like the Cinerolium, it makes use of a modest material palette, but manages to draw attention from the public. Once the show is over, it is easily packed up and taken away.

Top- The Cinerolium, Assemble studio Right - The Small Coal Man’s Travelling Theatre, Aberant Architecture

Project precedence

Planning & Context

13

Site Portfolio Historical aerial views of the piers as they were used for ocean liner ports. They were designed by architecture firm Warren and Wetmore who are also know to have designed Grand Central Station.

Since its initial function, the site has been reused by the city for events and shows such as David Blane’s electricity stunt, Superstar DJ Paul Van Dyke’s concert and it has even hosted a Nike Jordan product launch. The site has also featured in movies such as the 1980’s cult classic, Times Square, and more recently, the very fitting 2011 Steve McQueen thriller - Shame.

Fig. 3 Aerial of an ocean liner docking into the pier

Fig. 4 Aerial of pier 54 structural collapse

Fig. 5 View of pier 56 before demolition

Fig. 1 Scene from the movie ‘Shame’

PAST USES COLLAGE The piers have had a variety of uses including product launches and being made into temporary museum by Shigeru Ban

Historical context

Fig. 2 Drawings showing dimensions and relations of the piers

Planning & Context

14

Problem or Opportunity?

Plans have been made to turn the area around pier 56 and 54 into a $170 million floating park facility that has been designed by Heatherwick Studios. However, this proposal has not gone through without controversy, criticism and opposition.

The construction is forecast to start some time in 2017. Until then, the site will be occupied by - The A-PIER-ING GRINDHOUSE FILM FAIR!

Pier 55

Planning & Context

15

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e plet

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ign

Des

sa ropo

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June 2015

em e cin ptiv

August 2015

September 2015

October 2015

November 2015

ark

p to s

December 2015

Jan 2016

Jan - Mar 2016

April 2016

May - Aug 2016

September 2016

Operation Film Festival The timeline illustrates the life span and key operational points of the project. The ambition is to fall inline within the context of the Heatherwick Pier 55 proposal - on the surface as a site occupational forerunner, but also as potential opposition to the future use of the site.

Time line strategy

Planning & Context

16

Where is this place ?

The site is situated on the west coast of Manhattan island within the legal jurisdiction of the Hudson River Park Trust. Its is in close proximity to the trendy Chelsea and Meatpacking districts. It can be reached by taxi, bus, car, bicycle, and even by boat. If none of these modes of transport appeal, it can also be reached on foot.

Postal Address Hudson River Greenway New York, NY 10011, USA Global coordinates 40.742364, -74.009095

Site Location

Planning & Context

17

What does it look like ?

Visible to the southern of the site is the great Pier 54 steel arch structure; A remnant of the past. Maybe my project can be a worthy addition to the landscape.

1.

The view of the site from the world famous ‘High Line.’ There isn’t much going on in the foreground, but my site nicely projects into the Hudson River, with the majestic New Jersey skyline in the background.

2.

Closeup of the piles on the site, which will act as the foundation for my project.

3.

Views of the Site

Planning & Context

18

14th Street Park Site boundary & building scope Barge docking area

The Highline

Pedestrian side walk Cycle lane 14th street park The Highline Pedestrian crossing Main road Public parking facility

What are we working with?

The site sits in a shallow bank of the Hudson River. The overall dimension of the pile field is 815 feet long by 100 feet wide.

The project does not intend to occupy the whole area of the field. The nature of the program will be experimental and designed to a manageable scale.

Site boundary & building scope

Barge docking area

Pedestrian side walk

Cycle lane

14th street park

The Highline

Pedestrian crossing

Main road

Public parking facility

Pier 54 Gate

Pier 57

Site context

Planning & Context

19

What’s the weather like ?

Prevailing Winds

The weather in New York is generally humid continental, which subsequently results in two longer summer and winter seasons.

Possible wind deflection strategy

Peak sun path

Summer generally develops in New York towards the end of April, when the temperature vastly increases from March, averaging at a temperature of around 13°C.

Possible areas to shade

Usually New York experiences a humid continental climate during summer, with the temperature continuing to rise in temperature throughout the season.

The winter months are very cold and this would need to be taken into consideration for a heating strategy.

Average Temperature (°c) Graph for New York 40 27

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Average High Temp (°c)

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Average Low Temp (°c)

Fig. 5 Average temperature in New York

Average Rainfall (mm Graph for New York) 30

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Average Rainfall days

Possible areas to shade

Precipitation (mm)

Peak sun path

February

Possible wind deflection strategy

Average Rainfall Days

Fig. 5 Average rainfall in New york

Climate conditions

Planning & Context

20

Naughty & Nice The intention for the layout form of the project was to create undulating levels that would change a person’s height and position as movement through the site occurs.

The reason for this is to alter the individual view and create a hidden and revealing experience. Although, the layout was primarily adopted from the traditional cinema typology of declining aisles for optimum screen viewing.

The layout then adopts elements of the design brief. It does this by creating an architectural situation where a discreet adult orientated programme can function under the nose of a more tasteful family-friendly programme.

Nice

Naughty

Fig. 1 Yokohama ferry terminal, famous for its undulating decks creating a playful landscape and public spaces.

Site strategy

Building Form & Systems

21 (1)

(1)

(2)

(2)

(3)

(3)

STAGE/SCREEN BOOTHS PRIVATE

GALLERY/ LOBBY

AUDITORIUM

AUDITORIUM

STAGE/SCREEN

PROJECTION

CONCESSIONS

(4)

FOYER

Cinema 101

STAGE/SCREEN

AUDITORIUM

WASHROOMS MINI SCREEN

(4)

WASHROOMS FOYER

BOX OFFICE

The proposal seeks to take the conventional program requirements of a typical cinema, and enhance it to incorporate the elements of the project theme i.e. the Grindhouse Film Festival.

ARCADE GAMES

Combining this with the context of the programme, I was able to develop a strategy for a temporary pop-up film fair.

LOBBY CONCESSIONS SIGNS/POSTERS

LOBBY

ARCADE GAMES

SIGNS/POSTERS ENTRANCE

ENTRANCE

Massing development

Programme & Organisation

Layout evolution

Typical cinema programme

BOX OFFICE

Grindhouse Film Festival programme

Fig. 1 Typical theatre design

Building Form & Systems

22 Primary enclosed space strategy

Animating the envelope

Conventional volume represents any enclosed space for viewing film.

Theatrical theatre Taking the social experience of watching the big screen and combining it with the idea of being a spectacle, the space adopts the idea of using flexible material for the envelope to create a private environment within the theatre, while also being a spectacle for the observers.

Morphs into trapezoid for enhanced audio quality and projection.

At the end of the film, the skin would draw back, ending the audience’s suspension of disbelief and extending the experience within the cinema out into the open.

Raise one base edge to create steady incline for natural audience viewing platform.

Add festive and seasonal presence of open air cinema space.

Night

Cold

Day

Warm

Combine to create adaptive cinema space that adjusts to time of day and temperature variations.

Fig. 1 Creating a theatrical space - Cinerolium by Assemble studio.

Building Concept

Building Form & Systems

23

Early sketch idea of a platform system that would attach to the pile heads and mechanically draw open to allow circulation onto the site.

Early sketch concept of a retractable canopy. The roof would draw back like the hood of a convertible car. The panels of projection screen would retract to reveal the scenic view behind.

The mechanical elements are rather ambitious. The idea is to have a adaptive platform that would be able to raise up in sections to become tiered seating.

Concept Development

Building Form & Systems

24

Sketchy Iterations The overall design layout has gone under development. Coherency resides in bringing about a sense of continuity, hierarchy, and spaces that hide and reveal themselves and others. The redefinition came in the form of smoothing out the fragmented spaces. However, there is a running theme of a kind of celebratory spectacle as the project is a temporary event for a niche interest.

Sketch plan iteration 1

3D plan iteration 1

3D plan iteration 2

Sketch plan iteration 2

Form development

Building Form & Systems

25

A film within a film Animating the design enabled me to realise the spacial qualities. We get a glimpse of how the functions might work, how movement occurs around the spaces, and aesthetic qualities. It also helped make changes to the layout and understand the mechanics of how the main theatre space would work.

Film sequence of moving through the space and the envelope retracting for a theatrical finish

Theatre envelope closed

Form through film

Theatre envelope open

Building Form & Systems

26

Piertre PG- Exploded

Here’s one I made earlier

Piertre R - Exploded

Structural development of the main theatre spaces refining how to make them more deployable and theatrical based on their respective themes. Changes to structural configuration, mechanical elements, and spatial proportions have been developed over time. The material selection has for the most part remained consistent.

Structural development

Building Form & Systems

27 Voyeur gallery Private VHS booths Piertre R - Adult Cinema Piertre PG - Family friendly Cinema Foyer/Lobby/open pier space Washrooms Arcade room Mini Theatre for group bookings Concessions including paraphernalia stalls Box office

Spatial Arrangement

Building Form & Systems

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Building Form & Systems

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1. Voyeur Gallery 2. Private video booths 3.Water System 4. Female/disabled rest room 5. Male/disabled rest room 6. Arcade room 7. Mini cinema room 8. Adult Cinema access 9. Plant/Utility room 10. Staff toilet 11. Box office 12. General access

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1. Piertre R - Adult cinema 2. Piertre PG - Family friendly cinema 3. Concessions/open lobby

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Building Form & Systems

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Rolled alluminium internal frame sections Timber beam & posts

1x2 1x 3

Timber acoustic sound diffusers Canvas pulley track and slider

Canvas envelope with blanket isulatation fire retardant internal lining Acoustic diffiser frame

MDF composite benches

+9.00m

+3.70m

+1.75m

0.00m

2 x 4 timber stringers 4 x 8 timber sleepers Pile jacket

Timber pile 2 x 4 timber stringers

1 x 3 timber plank

PVC drain pipe 1 x 3 timber plank

2 x 4 timber stringers

Waterprrof canvas spread

Prefabricated steel frame

0m

B-B Short Section

1m

Interlocking timber posts

5m

Building Form & Systems

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North Elevation

Building Form & Systems

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East Elevation

Building Form & Systems

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West Elevation

Building Form & Systems

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South Elevation

Building Form & Systems

38 Non-ticket Circulation Family ticket circulation Additional circulation when theatre not in use Primary Adult circulation Secondary Adult circulation Suggestive circulation cross over Controlled access

Circulation Strategy

Building Form & Systems

39 Life ring locations Fire extinguisher locations Fire escape Fire Service arrival point Minor risk assembly points Major risk assembly points Escape routes N/B. All fire escapes are within proximity of ADA standard requirements for fire escapes

Means of escape

Building Form & Systems

40 Wheelchair accessible ramps Wheelchair clear thresholds Wheelchair accessible spaces N.B. Will require minor assistance

Disabled Access

Building Form & Systems

41 Rain water Plant room with portable distributor

Remote Water Tank

Waste collection tank Electrical service layout Initial drainage Sanitation system

M&E, Sanitation systems

Building Form & Systems

42

Voyeur Gallery

IMAX is overrated

Adult Theatre

There is a distinct acoustic condition required for cinema type environments.

The desired outcome is usually a space that is isolated from external noise and distractions. Combine this with a really loud, crystal clear Dolby digital super high definition 10:1 turbo deluxe audio master system, and you have yourself an acoustic environment that will completely engage the audience for a couple of hours.

Ways to achieve optimum acoustic conditions: External sound insulation - Stops noise coming from the atrium and the street if the auditorium shares an external wall.

Absorb

Internal sound insulation – this is important with a multiple screen cinema where a loud soundtrack can leak into the adjoining auditorium

Soundproof acoustic diffuser panel With polyester fibre

Services and equipment noise control – noises such as air conditioning, lifts, toilets and projection equipment need to be controlled

sound source sound projection

Acoustics – acoustic design in cinemas should be considered from feasibility stage – location, auditorium planning etc.

This project will not have the privileges of an expensive sound system nor is it appropriate for the design. So assuming the auditorium spaces in this project are equipped with retail level sound systems due to cost and time concerns, it will deploy architectural methods to achieve suitable acoustic conditions.

sound Absorber

Reflect MDF carved wood acoustical panels

Piertre PG (public theatre)

Public Theatre

With a thick acoustic dampening skin it will be able to stop a lot of sound escaping, reducing any risk of noise complaints. (Even though the site has no neighbours and will be in the water.) However, the desired environment would be one that will allow sound coming from the futile audio system to travel smoothly throughout the entirety of the space . Therefore, the people sitting at the back of the room, will be able to hear as well as the people sitting at the front. In order to achieve this, the space will be equipped with suspended sound diffusing panels.

Small Group Screen

Piertre R (Adult theatre) This space will be fitted with a similar retail level audio system that uses passive speakers to save on operational costs. This auditorium will be showing films of an adult nature. Therefore, it is paramount that sound does not escape this space during occupancy. The strategy for achieving this is to reinforce the acoustic absorption of materials used for this space. The main interior sound absorption material that will be used is a sound proof acoustic diffuser panel with polyester fibre. sound source sound projection sound Absorber

Diffuse

Heat insulation diffuser wall Panel

acoustic

sound source sound projection sound reflector/diffuser sound reflection/diffusion

Acoustic Qualities

Building Form & Systems

43 PPE, Health and Safety signs for construction phase Safety & Health The legislative body in charge of Health & Safety in construction is the New York State Department of Labour.

Guidelines in the “Protection in Construction, Demolition and Excavation Operations “ chapter instruct how to maintain a safe working environment. Below are the areas that need to be addressed to ensure a safe working environment:

(a) The hazards of falling and of falling objects and materials. (b) The hazards associated with the operation of vehicles and of construction, demolition and excavation machinery and equipment. (c) The hazards of fire, explosion and electricity. (d) The hazards of injury from the use of and contact with dangerous tools, machines and materials. (e) The hazards incidental to the handling and movement of heavy materials. (f) The hazards of exposure to the elements and air contaminants.

For the construction process of this project, considerations for in water constructions will be taken among the general rules laid out by the Department of Labour.

The project will use unionised labour to ensure the use of workers that have been properly trained and are fit to work in construction.

Site Specific PPE Because the project is situated on a pile field in shallow water, safety harnesses and underwater diving equipment may be required for completing specific tasks such as repairing and strengthening the pile structures.

Health & Safety in Construction

Building Form & Systems

44

Cap removed, replaced after driving and cutting new piles

Existing piles sections reduced by marine damage

New pile head pulled into place

Early abandoned structural strategy idea

One of the early steps of realising the design involved understanding and learning about pier structure and construction. Combined with the temporary nature, cost considerations and the specific site conditions, a traditional approach was taken to developing the base for the project.

Deck tread Upper wale Stringer

Existing pile cut off low and new pile driven alongside Existing pile pulled and new pile driven into same location

Curb Deck Planking

Existing pile condition scenarios

Pile cap Pile caps

Cross bracing Low wale Welded spacers inside form

Fender pile Barrier Pile

Wood pile Damage Form sealed with steel bolts

Piling

Typical re-enforcement strategy - Pile jacket

Mud line

Typical Timber pile structure

N.B. Shaded components are not essential

New pile The FX-70速 Inert Corrosion-Free Structural Repair and Protection System

by Simpson Strong Tie

Steel bolts

Old pile

Typical pile extension strategy - Timber splicing

Structural Strategy

Building Form & Systems

45 Material Assembly & Storage space Construction site office & security Clearance space for Construction Barges Scaffold assembly area Construction site fence and boundary Pedestrian re-route Barge access and approach Delivery truck approach Goods delivery zone

37

m

42

m

Construction strategy

Building Form & Systems

47

Building

Construction

The Skin & Flesh of the Building Fabric

48

Pile and pier construction The first construction task would be initial site preparation. Field office trailers for the construction engineers and managers would be hauled to the site and installed, and several moveable barges would be brought to the project site to serve as equipment and material staging areas. These activities would also involve the installation of public safety measures such as construction safety signs. Construction start up tasks are normally completed within days.

Construction of the proposed project would then commence and would involve three main stages—pile & structural deck construction, enclosed spaces, and external finishes.

1.

Material arrives via Hudson river from local sources including salvage yards and upstate suppliers

3.

Material gets prepared for construction and loading onto construction barge 2.

Gets delivered to storage site at pier 54

4.

Construction barge delivers to site and assembly takes place

Modular panel building system - SIP “Structural Insulated Panels (SIPS) are an advanced method of construction offering excellent thermal performance, light-weight structural strength and time and cost saving benefits over traditional construction methods or systems. SIP panels are used in floors, walls and roofs for residential, commercial and educational applications, providing ecologically friendly and energy efficient buildings.� 1

Site preparation - bringing materials and equipment to the site

Different approaches to construction work on the piles

Installation of the SIP panels for most of the enclosed spaces

Installation of lighting, fixures and finishes

The reason why I chose SIP panels as a primary building material is because of their quick construction time, structural qualities, and the ease of dismantling the material when the project life is over.

1. SIP - sip building systems

Detailed method of construction

Building Construction - The skin & flesh of the building fabric

49

Construction Time Lapse (1)

(2)

(3)

1. Analyse the pile field to determine structural integrity. Then prepare the individual pile for either reinforcement of replacement.

2. Assemble scaffold system so that contractors can get onto the site.

3. Pile attachments are then hoisted into place and then construction workers fastened into place.

4. Recycled railway sleepers are used to cap the piles. They are placed along the short span of the site. Overhang is kept to a minimum and excess timber is used for additional support in the form of cross bracing.

(4)

(5)

(6)

5. First portion of the program is assembled. Stringers, deck plank, and deck treading allowing construction workers to go deeper in the site.

6. The lower ground functions such as the arcade and toilets are hoisted into position using the barge cranes and then tucked into the pile structure.

7. The rest of the lower ground functions are hoisted into position while the upper deck surface is constructed.

8. The family cinema is assembled on site.

9. Pre fabricated components of the adult cinema are hoisted into position and assembled on site.

(7)

(8)

(9) 10. Sub-structures that carry the load of walkway partitions, signs marquees, and hand rails are constructed and fitted into place on site.

11. Main constructions complete. Furnishing and services are finalised.

12. Scaffolding is removed from site and stored at pier 54. All functions are now operational.

(10)

Detailed method of construction

(11)

(12)

Building Construction - The skin & flesh of the building fabric

50

Pier Composition

Deck top Stringer

Product Research

Side Boards and hand rails

Pilemedic is an American company specialising in pile repair and strengthening. They claim their products are stronger than steel. Here is an excerpt from their website: All piles cut at same level

“ The only product approved by FEMA and the US Army Corps of Engineers 3-4 times stronger than steel Fastest repair & strengthening system with no traffic control!

Increase axial capacity beyond original strength of column No weak seams along height offers uniform confining pressure (360°) Provides structural confinement No costly divers for underwater repair Does not corrode No metallic parts Grout or resin can be pressurized to penetrate all cracks and crevices Works equally well on concrete, steel and wood or timber piles and columns One size fits all piles (no delays for customized jackets) “

Fish plates connectors Drift pin

Stairs/ramps

Deck plank and tread

Pilemedic System for pile reinforcement is suitable for this project because of its fast application and superior strength. I will use this product to add extensions to the existing piles in order to create the undulating platforms.

Deck top

Stringer Drift pin

Stringers

Double cap bolted together 1 inch removed from top of pile Bolt and plate if drift pin can not be reached

Pile caps

Fig. 1 Sequence of Pilemedic product application process

Pile extensions Stringer Fish plate Drift pin Steel bolts

Pile jackets/splice connectors Fig. 2 Pilemedic prod jacket being applied to a pile

Pile Cap

Fig. 3 Pilemedic jacket completed application

Existing pile field

Structural strategy of the Pier

Pile

Building Construction - The skin & flesh of the building fabric

51 Primary structure material Selection & Performance

Pile caps made from: Second hand timber railway sleepers 200 x 100mm

Stringers made from: Second hand or new Plywood 2x4’s 50 x 100mm

Timber Pile extensions made from: Hard or soft wood, round profiled timber posts average 6 - 8’ diameter

Top deck made from : Second hand or new timber planks

Structural strategy of the peir

Building Construction - The skin & flesh of the building fabric

52

Acoustic MDF panels OSB composed benches Fibreboard insulating panel

Primary structure Welded steel frame Secondary structure Timber beams and joists

Piertre PG structural strategy

Building Construction - The skin & flesh of the building fabric

53

(1)

(2)

OSB slab is laid down in sections to create the overall base for the theatre

Profiled and welded hollow steel are hoisted on top and bolted onto the The rear counter frame is connected to the main frame. Its job is to support 2x4 sub frame is constructed to hold the acoustic panels and the OSB Plywood timber deck is placed onto the joist where the seating will be.

OSB slab using galvanised 6 inch steel bolts. the sub-structure and also the internal wall frame. benches.

(6)

(7)

(3)

(8)

(4)

(9)

(5)

(10)

OSB boards are then assembled to make the seating area according to The MDF Carved Acoustical Wood Ceiling Panels are suspended to the The rail slider track and internal sliding frames are connected to the The different layers of the fabric envelope are dressed onto the sliding The internal wall frames fasten the envelope into place. design specifications, coated with fire and water proof varnish. overhead joist using steel cable and horizontal timber battens. primary steel frame. frames.

Piertre PG Construction Method

Building Construction - The skin & flesh of the building fabric

54

We start with the poly vinyl skin.

This is lined with the foil insulation and satin interior.

The exterior skin is wrapped on the outer sides of the section frames while the interior lining is wrapped along the inside of the frames with the insulation blankets inbetween.

The slider heads are then attached to the section frames via holes made in the fabric.

Piertre PG envelope strategy

The layers are clamped at the bottom end of the structure with the internal and external gurder frames

The layers of material are then fastened to each other around the frames using rope and velcro straps.

The manually controlled skin will be suspended in place using small hooks sewn into the ends of the fabric lining.

Building Construction - The skin & flesh of the building fabric

55

Envelope material

Structural material

Hollow steel sections.

Rose brand Weblon outdoor fabric Vinyl polyester composite Backed with a urethane/acrylic coating Inherently fire resistant Water resistant UV resistant Mildew resistant

Galvanised steel bolts and cleat fastenings onto timber joists.

Multifoil insulation blanket Class E fire resistant Thermal resistance of 1.52m²K/W 13kg for every 15m²

Internal material

Synthetic velour Inherently fire resistant Sound absorbing Light absorption

Equivalent to 210mm of rock-wool insulation

OSB, lightweight and easy to handle for installation. Comes in various sizes and can be easily cut into desired shapes for benches.

Acoustic panels have excellent acoustic performance, sound absorption and noise reduction thereby, improving sound articulations.

1

Fabric Vinyl polyester composite

0.17

10

0.06

2

Multi foil thermal Blankets

0.037

60*

0.24

Bridged by 5% of Stainless Steel

17

Synthetic Velour

0.25

3

Corrections

Bridge Layer

Thermal Resistance m2K/W

Thickness mm

Material Colour

Layer

Thermal Conductivity W/mK

A basic U value calculation indicates that the thermal performance of the chosen materials is not too bad. Considering the makeshift/temporary nature of the project.

However, there is an active heating system to compensate and to achieve thermal comfort if the air temperature becomes too low. (Please see chapter 3 for heating.)

Yes 5

0.02

*equivalent to 210mm mineral wool insulation

Internal Surface resistance External Surface resistance Upper limit resistance Lower limit resistance

U-Value Piertre PG Material selection and performance

0.13 m2K/W 0.04 m2K/W 2.84 m2K/W 0.49m2K/W

Red areas indicate where thermal bridging occurs.

0.60 W/m2K Building Construction - The skin & flesh of the building fabric

56

0

1m

5m

1.50 @ A2

Frames Skin Slider Mechanism D.01, D.02

Piertre PG Key Junctions

Building Construction - The skin & flesh of the building fabric

57

Hollow mild steel frame PVC rain water drainage system Inherent Fire retardant synthetic velour 2x50mm Multi foil insulation blanket - 1.52m²K/W thermal resistance Vapour control layer Firesist composite fibre - urethane/acrylic coating

100x100mm square hollow steel frame 50x175mm timber joist Anlge cleat w/ steel bolt fastening

Galvanised steel fastening Hollow steel track case Roller wheels Slider track Track bars

Galvanised steel fastening 100x100mm square hollow steel frame

D.01

15x30mm Horizontal timber batons 35mm glass wool fabric acoustic wall panel 95x95mm square hollow steel frame 15mm osb board 20mm Particle board 100x100mm square hollow steel frame

Piertre PG Key Junctions

D.02

50x175mm Timber joists 15mm MDF Carved Acoustical Wood Ceiling Panels

Building Construction - The skin & flesh of the building fabric

58

SIP roof system w/ poly roof membrane finish

Acoustic panels

PCV drainage system

LED light strip pattern Steel strut entertainment wall

SIP modular wall system will cement fibre board finish

SIP modular floor system w/ steel girder frame base

Steel girder frame system

Piertre R structural strategy

Building Construction - The skin & flesh of the building fabric

59 1.

5.

Material Selection

Structural insulated panels: OSB panel 150mm polyurethane insulation OSB panel U Values - 0.17-0.18 W/m2K @150mm rigid polyurethane insulation Preparation of the pier deck for the assembly of the building.

2.

The SIP wall panels are installed and fastened together with bolts & cleats.

Installation of acoustic ceiling panels.

Foil back plaster board:

6.

10-12 mm Thermal conductivity - 0.23 W/mK U value - 20 W/m2K

Due to the declining form, the base for the SIPs would sit on a frame network of angled girders made from soft steel struts. (see fig 1) 3.

Contoured acoustic wall panels are fitted for sound absorption.

7.

Simultaneous assembly

Stages of assembly

Cement fibre board:

Installation of lighting, drapes, seating and equipment.

10-12mm Thermal conductivity - 0.23 W/mK U value - 20 W/m2K

Internal wall materials Soundproof Acoustic Diffuser Panel with Polyester Fibre Does not absorb moisture Grade B1 fire resistant

The Entertainment wall is installed, also from steel struts.

Timber posts are placed at the spacial intervals that correspond to the SIP panels.

4.

Roof beams are bolted to the timber post.

The floor modules are then attached to the base frame.

Modifications to the wall and roof including plywood sub floor and a sound insulating floating floor layer.

The Roof SIPs are installed, modifications include a Polyroof membrane finish.

Piertre R Construction Method

Installation of rainwater drainage system.

Synthetic velour Inherently fire resistant Sound absorbing Light absorption

8.

Installation of external lighting and signage.

Fig. 1 Manual for N55 SPACEFRAME_1999 http://www.n55.dk/MANUALS/SPACEFRAME/spaceframe.html

Building Construction - The skin & flesh of the building fabric

60

0

1m

5m

1.50 @ A2

Roof Wall Electrical

Roof Wall Drainage D.04

D.03

Piertre R Key Junctions

Building Construction - The skin & flesh of the building fabric

61 12mm plywood w/polyroof membrane finish 12mm OSB board 100mm Polyurenthane insulation

12mm plywood w/polyroof membrane finish 25mm counter battens

25mm counter battens

12mm OSB board

Approved breather membrane 12mm OSB board

15mm Foil backed plaster board 125mm custom profile timber wall plate

100mm Polyurenthane insulation

Urethane sealants Shaped end plate

100mm timber wall plate

GRP roof edge trim Ventilation strip

Urethane sealants Air gap

PVC gutter half pipe

Ventilation strip PVC gutter half pipe

Neon tube lighting 200mm rockwool insulation Timber I-beam 45mm Polyurenthane insulation 15mm foil backed plaster board

50mm glass wool fabric acoustic panel

Fire retardant lacquer finish 12mm Cement particle board fastent w/ screws Electricity service line Approved breather membrane 50x100mm timber top plate 100mm Polyurethane insulation 12mm OSB board 15mm Foil backed plaster board Fire retardant base coat Inherently fire retardant Black out satin wall finish D.03

Piertre R Key Junctions

Cavity barrier & fire stop LED strip lighting Acoustic diffuser panel

Panel header 20mm particle board D.04

100x100mm hollow steel frame

Building Construction - The skin & flesh of the building fabric

62

Polyroof membrane

Plywood roof deck OSB insulating panel Polyurethane insulation SIP frame (timber)

Plaster on OSB panel

Acoustic Diffuser Plaster on OSB Board SIP frame (timber) Polyurethane insulation Breather membrane OSB board Counter battens Cement fibre board

Arcade & Mini Theatre Structural Strategy

Building Construction - The skin & flesh of the building fabric

63

Polyroof Membrane Counter battens

OSB panel Polyurethane insulation SIP timber roof frame OSB board Ceiling insert Plaster board

Cement fibre board Counter battens OSB panel

Timber spacers Polyurethane insulation SIP Frame OSB panel Plasterboard insert Plaster board

Acoustic floor mats OSB floor panel Polyurethane insulation SIP frame Wall plates OSB floor panel Plywood subfloor Soul Plate

Voyeur Gallery Structural Strategy

Building Construction - The skin & flesh of the building fabric

64

0

1m

5m

1.50 @ A2

Roof wall water pipe D.05

D.06 Floor Foundation

Mini Theatre Key Junctions

Building Construction - The skin & flesh of the building fabric

65 12mm plywood w/polyroof membrane finish 25mm counter battens Approved breather membrane 55mm Polyurenthane insulation 12mm OSB board 15mm Foil backed plaster board PVC water pipe wall mount Urethane sealants 50x90mm end plate 50x55mm end plate Shaped end plate GRP roof edge trim Ventilation strip

10mm Fabric acoustic panel

12mm Cement particle board

10mm foil back plaster board Waterproof rubber floor finish

Fire retardant lacquer finish

Soft carpet finish ISOMAT - Acoustic floor mats 10mm OSB board

150mm Stringer

12mm Cement particle board

Galvanised steel bolt D.05

D.06

Pile cap Steel plate Pile cap

Wall clad seal Ventilation strip External wall cap 10mm OSB board 90mm Polyurethane insulation 50x90mm end plate

Arcade & Mini Theatre Key Junctions

40mm Polyurethane insulation Timber bearers Damp proof membrane 20mm plywood subfloor 50x90mm end plate Engineered soul plate

Building Construction - The skin & flesh of the building fabric

66

0

1m

5m

1.50 @ A2

Sliding door Roof D.07

D.08 Sliding door Floor

Voyeur Gallery Key Junctions

Building Construction - The skin & flesh of the building fabric

67

10mm plywood w/polyroof membrane finish 15mm counter battens Approved breather membrane 12 mm OSB board 90 mm polyurethane insulation 12 mm OSB board 15mm Foil backed plaster board GRP roof edge trim Facia board

Ventilation strip 50x80mm end plate Timber door frame

12mm Cement particle board Sliding door system

Plywood door panels 12mm foil back plaster board w/satin finish Internal door frame Fire retardant lacquer finish 12mm Cement particle board External timber door frame External timber deck

D.07

D.08

Voyeur Gallery Key Junctions

Wall clad seal Sliding door system base Vapour strip Timber sill

Floor trim Urethane sealant 50x85mm end plate 12mm OSB board ISOMAT - Acoustic floor mats Soft carpet finish

60mm Polyurethane insulation Timber bearers Damp proof membrane 20mm plywood subfloor Engineered soul plate

Building Construction - The skin & flesh of the building fabric

68

D.09 Glazing Wall Floor

0

1m

5m

1.50 @ A2

Box office Key Junction

Building Construction - The skin & flesh of the building fabric

69

Timber sill cap 40 x 70mm SIP end plate 70mm Polyurethane insulation 10mm OSB panel 10mm foil back plaster board Fire retardant paint finish

Fire in the Hole

Single glazing Flexible mastic seal Insulated cavity barrier Breather membrane

In order to protect against fire, surfaces would be applied with a layer of fire retardant paint. This is necessary as a lot of the material used in this project can catch fire very quickly if left untreated.

Air cavity/counter battens

The level of performance that can be expected from the protective layer:

Plywood cladding

Up to 60 minutes on plasterboard Up to 90 minutes on interior and exterior structural steel Up to 60 minutes on timber walling (minimum requirements for construction) Up to 30 minutes on panelled, ledged & braced doors Class B (EN13501) on timber panelling Lining sheet for plaster 60 minutes

30 min fire doors 60 min on plaster boards and timber structure 90 min on steel structure

Waterproof rubber layer 20mm PVC floor mat 10mm OSB board Timber joist 50mm Polyurethane insulation 20mm Timber bearers 10mm plywood subfloor Steel floats

External wall cap 40x70 SIP end plate Ventilation strip 40x90mm soul plate Engineered timber plank

D.09

Internal Fire spread

Building Construction - The skin & flesh of the building fabric

71

Building

peformance

Tempering the building environment

72

I have the POWER! The programme for this project is energy hungry. The most convenient method of providing energy is to take it directly from the grid. A temporary transformer can be installed at Gansevoort Peninsula to serve electricity to the site.

Source of electricity will come from the city grid

The main reason for this scenario is the short life span and high electrical demands.

(See over leaf for energy requirements) Conserving energy The project does use a passive system for ventilation by taking advantage of the strong west, and north-easterly prevailing winds.

The project also seeks to take advantage of the local rainfall and collect it to be used as flush water. This is because the project will have an isolated water management system.

In an ideal world...

If the project had a longer life and a strong budget, there could be potential to explore more experimental sources of energy such as tidal and wave energy because the project sits in the water of the Hudson River.

Overall Energy Strategy

Source of water supply will come from an isolated water system

Building Performance - Tempering the Building Environment

73

Product Solution

Voltage

Power unit

Power total

Time usage

kWh day

kWh month

$/day @14.62¢

$/month @14.62¢

3

60” Portable Mini HD LED Projector Cinema Theatre With VGA/USB/ SD/AV input

12v

24w

72w

6hrs

0.43

12.96

$0.06

$1.89

Audio

3

KAM RZ15 1000w 15” Full range PA passive speakers (Powered by audio source e.g. the projectors)

_

_

_

_

_

_

_

_

Arcade machines

12

20” TFT APEX PLAY ARCADE CABINET

110 / 220v

110w

1320w

8hrs

10.56

316.8

$0.23

$7.01

TV/VCR combos

7

SONY TELEVISION, DVD AND VIDEO PLAYER COMBI 20”

110 / 220v

70w

490w

6hs

2.94

88.2

$0.06

$1.84

Infrared

24

INFRARED HEATER 240V CT105 HALOGEN low energy

240v

400w

9600w

3hs

28.8

864

$4.21

$126.3

LED strips

N/A

LED Neon Light Glow EL Wire Rope Tube

12v/USB AA Battery

_

_

_

_

_

_

_

Fluorescent tube

24

Halolite Fluorescent Tubes T4 1200Lm 580mm 20W

NA

20w

480w

3hs

1.44

43.2

$0.21

$6.31

Neon tube

20m

EUROLITE LED Neon Flex

240v

6w/m

120w

6hs

0.72

21.6

$0.11

$3.15

Spot light

18

FUTURELIGHT AKKU MBT-3 Spot

100-230v

45w

810w

6hs

4.86

145.8

$0.71

$21.31

Carnival lights

200

60volt E14 SMD LED Turbo Replacement Bulbs

60v

0.8w

160w

8hs

1.28

38.4

$0.18

$5.61

Popcorn

2

Combi Steel 7455.0810 Popcorn Machine

240v

600w

1200w

8hrs

9.60

288

$1.40

$42.10

Refrigerator

2

Polar Display Fridge 600 Ltr

230v

145w

290w

24hrs

6.96

208.8

$1.01

$30.52

Candy floss

1

Combi Steel 745.0805 Candy Floss Machine 50cm Bowl

240v

30w

30w

8hrs

0.24

7.2

$0.03

$1.05

Vending machine

2

NECTA SNAKKY RY SNACK VENDING MACHINE

230v

145w

290w

24hrs

6.96

208.8

$1.01

$30.52

75.79 kWh/day

2243.76 kWh/month

$9.22/day

$555.22 /month !

Category

Product Requirement

Entertainment systems

Projectors

Heating

Internal lighting

External Lighting

Concession equipment

Totals

Quantity

I chose the conventional energy strategy due to the immediate and substantial energy requirements combined with the short life span of the project.

It would also feel novel and timely if the strategy tried to use solar panels. http://www.eia.gov/electricity/monthly/epm_table_grapher.cfm?t=epmt_5_6_a http://www.rapidtables.com/calc/electric/energy-cost-calculator.htm

Energy Requirements

Building Performance - Tempering the Building Environment

74

New York receives 75mm of rainwater on average throughout the year. It is viable and cost effective to take advantage of this because the water demands for this project are minimal; the usage of water is limited to toilet flushing and hand washing. The freshwater tank is the primary source for this. It will provide water for the necessary functions. If the freshwater supply is running low then the pump can be switched to the harvested rainwater tank. In worst case scenario, when the freshwater supply is low and there is no harvested rainwater, water will have to be delivered by local water supply company. However, with a 19,000 litre water tank combined with super eco portable toilets, the worst case scenario is highly unlikely.

Rain water Drainage collection path Fresh water tank Rainwater collection tank Waste water tank

Fig 1 Water tank

High efficiency toilet = 1.28 GPF = 5.8 litres per flush 19089 / 5.8 = 3291 flushes Total days operational through out the year = 150 Average expected visitors per day = 100 100*150 = 15000 Estimate 50% flush rate = 7500 flush per year (not taking into account hand washing)

Therefore in theory, if no rainwater is collected throughout the entire life of the project, the freshwater tank will only need to be refilled once.

Thanks to the undulating typography, the rain water should disperse successfully.

All enclosed spaces are fitted with their own design specific drainage systems which should ensure good collection of rainwater.

0

Precipitation (mm)

December

0 November

25

October

5

September

50

August

10

July

75

June

15

May

100

April

20

March

125

February

25

January

150

Precipitation (mm)

Average Rainfall days

Average Rainfall (mm Graph for New York) 30

Average Rainfall Days

Fig. 2 Average rainfall in New York

Water supply/ Drainage & Treatment

Building Performance - Tempering the Building Environment

75

Freshwater tank Foul water tank Rainwater harvest tank Mechanical filter & pump

Water supply/ Drainage & Treatment

Building Performance - Tempering the Building Environment

76 Active Heating Method In order to provide thermal comfort in the enclosed spaces for a short period during the winter months, three elements were taken into consideration when choosing infrared to heat the spaces.

1. Thermal comfort 2. Noise 3. Ease of use Thermal Comfort & Efficiency Infrared heating lamps are widely being recognised as more efficient for heating spaces than air-driven heating devices. This is because the hot air rises and escapes through gaps in the envelope, while the infrared rays are distributed evenly and are absorbed by objects. This means they are required for less time which drives down operational costs.

Noise Infra red lamps are silent which is a suitable quality when watching a film.

Ease of use No complicated heating system is required; no additional mechanical pipes or service lines are required either. They can be wall mounted and plugged into the mains electricity. This will drive down construction costs.

Conventional air driven heating system

Infrared light heating system

When the project is complete, they can be sold on eBay.

Fig. 1 Infrared wall mounted heater

Average Temperature (째c) Graph for New York 40 27 21

20

0

6

7

-3

-3

February

10

17

16

January

Temperature (째c)

30

29

29

20

19

25 16

11

10

19 10

6

13 8 4

0

-1

Average High Temp (째c)

December

November

October

September

August

July

June

May

April

March

-10

Average Low Temp (째c)

Fig. 2 Average temerature in New York

Ventilation/ Heating & Cooling

Building Performance - Tempering the Building Environment

77

Fresh Air in Exhaust Air out

W

NE

In order to ventilate the spaces, the project will make use of a passive strategy.

Air Vent Position

For the PIERTRE PG space, ventilation will be controlled by the adaptive skin. The skin can be drawn open in incremental amounts, depending on how many people are occupying the space and how much ventilation is needed.

The rest of the spaces employ the same system. This involves wall mounted ventilation grills. The advantages of these vents are that they can be manually operated to control the amount of ventilation required to balance with the temperature of the spaces. The amount of light that comes in is kept to a minimum by the orientation of the flaps.

Closed when ventilation is not needed

Ventilation/ Heating & Cooling

Semi-open when ventilation is needed Direct light is blocked

Fully open when ventilation is needed Some light will enter also

Fig 1. Prevailing wind directions in New York

Building Performance - Tempering the Building Environment

78

Let there be light, or no light The optimum condition for watching a film is usually in complete darkness.

However, because this project wants to incorporate a festive feeling, it uses the adaptive skin to achieve a balance between enclosed theatre and open air theatre.

As long as daylight exposure and screen glare are controlled, then conditions for outdoor viewing can be achieved comfortably.

AM PM

Morning sunlight from the East causes a high amount of glare and exposure.

Not suitable for open theatre.

Natural Light & Shading

AM PM

In the afternoon, glare would reduce, but the light exposure would outweigh the shade.

Not ideal, but in the summer with high temperatures, this scenario may occur.

AM PM

In the evening, glare would further reduce. Shade would increase with some colour offset.

OK for viewing quality.

Building Performance - Tempering the Building Environment

79

AM PM

Morning light would cause glare and reflections.

Not suitable.

Natural Light & Shading

AM PM

Afternoon light would cause minimum glare and reflections.

OK for viewing quality.

AM PM

Evening light provides good shading and minimum colour offset.

Good for viewing quality.

AM PM

Complete enclosure, no natural light interference.

Excellent for viewing quality.

Building Performance - Tempering the Building Environment

80

Lights, Camera, Action!

Artificial lighting will be used extensively for aesthetic and narrative purposes.

The aim is to use architectural lighting to create a spectacle-like environment; Similar to a carnival or fun fair. But the lighting is also used to sew in more subliminal and suggestive complexities to how the public will move around and use the space.

Lighter colours indicate a convivial feeling and a sense of safety and comfort.

The neon colours such as the magenta and turquoise are suggest spaces of a seedier nature.

Overall Lighting scheme

Artificial Lighting Strategy

Building Performance - Tempering the Building Environment

81 Plant room Remote 14v battery units Neon tube lights Spotlights Battery powered LED string light Carnival Light

Artificial Lighting Strategy

Building Performance - Tempering the Building Environment

82

Using 3ds Max to set up the artificial lighting system.

Testing the artificial lighting strategy on the animated skin of the Piertre PG

The intention was to simulate how architectural spotlighting can illuminate surfaces to give them a new dimension, combined with the dynamic movement of the skin to try and achieve a theatrical spectacle environment.

Artificial Lighting Strategy

Building Performance - Tempering the Building Environment

83

Neon lights flicker on the sleazy side of the pier.

Artificial Lighting Strategy

Walkways illuminated with time controlled LED’s.

Light on = booth occupied, Light off = booth is vacant.

Illuminated marquee with spot, neon and box lighting.

Coloured spotlighting used to create a spectacle.

Colour changing LED strips further animate the spaces.

Building Performance - Tempering the Building Environment

84

IN WATER CONSTRUCTION The construction activities associated with the proposed project will not cause any significant adverse environmental impacts on terrestrial or aquatic resources. Increases in suspended sediment resulting from construction activities would be temporary and localised, and would be expected to dissipate quickly.

HAZARDOUS MATERIALS This project would not involve any hazardous subsurface disturbance of any upland areas and it would not have the potential to increase the exposure of people or the environment to hazardous materials. On site, regulation requirements associated with hazardous materials in existing buildings or structures (e.g., asbestos containing materials or lead based paint) would be followed. Therefore, the proposed project would not be expected to result in any significant adverse impacts due to hazardous materials.

fig. 1 CEQR manual for guidlines on environmental inpacts

WATER AND SEWER INFRASTRUCTURE The CEQR Technical Manual states that a preliminary infrastructure analysis for water supply is required if a project will result in a demand for water of more than one million gallons per day, or if the project is located in an area that experiences low water pressure (such as the Rockaway Peninsula and Coney Island).

Fig. 2 Energy requirements for the sourcing of raw materials - Red indicates the general materials used for this project

The proposed project would not meet either of these thresholds, as it has its own remote water management system. Therefore, no further analysis of water supply is required.

Source Materials - non toxic -Recycled -Low impact

SOLID WASTE AND SANITATION SERVICES The CEQR Technical Manual states that few projects generate the substantial amounts of solid waste (50 tons a week or more) that would result in a significant adverse impact. The proposed project integrates its own waste management system due to is temporary nature and therefore would have little to no environmental impact.

Construction

Deconstruction

ENERGY According to the CEQR Technical Manual, a detailed assessment of energy impacts would be limited to actions that could significantly affect the transmission or generation of energy, or that generate substantial consumption of energy. The proposed project is not expected to generate a significant demand for energy; as described on page 64, the pier would be served by a temporary transformer on the Gansevoort Peninsula.

re sale ebay etc.

New project

Strategy to reduce environmental impact of materials

Environmental Impact of Materials

Building Performance - Tempering the Building Environment

85 ma cine tive p a ad l o dly stiva curi frienspace xt fe ark y e l p i s n t c r m i ne n nt to n fo e fa ubl rma val ntio i eme d thehind p e e t e v n t s p g t a a e p re ls b ora da s er f side mo n be stal etly fe st e an ider mm it ca th e r sa hyp road siond discre r su s o s r prov n g n s o f e l e n f o i o n n c f y i o h a s t a ay eat con ble ret tion diti ditio oth and n aw ara con gw ia cr om ude sem con i bo dem city take nal incl eing as nal ry fr med prep akin min n o s / i l o a o t s e r m s t a l y e n d a i e l a b b se ne an nd th se m soc blic ns b itin ac e d to u ssem sful mpo d to asse ugh the s pl e pu ctio t cces lds aro apte ake for a le co thro ces/ apte o thnal fun s on t u d Trus t b n d t e s d a r t k e a a y e n e i s r l t a i u d s e itio fi l d m a b o p t n p o a P n e l c t a l m o m m v a i r e a p al oj rn k, al ive pro sse e co tur ival add e Pr ther tion retu tion arg brea and d isa truc on R Fest and if th f the o pera nal by b sred ents pera uds nd s the inema o o u d o n n H a s f t e o n o o l n e a o r p i r p e e e io ct om ca rt C sa sa eria com e-s so n luat o on it fr stru est t pa ult ects tion tion mat Sea er 55’ Eva cated t Con d inter Firs ace/ Ad able t eff n tim unc perm unc ain o l Valu ‘pi All f Even Dow All f Get Obt an sp re sity

lete

ign

Des

p l com osa

prop

June 2015

August 2015

September 2015

October 2015

November 2015

December 2015

Jan 2016

Jan - Mar 2016

April 2016

May - Aug 2016

September 2016

HIGH The graph predicts that the highest carbon footprint will be during the construction and deconstruction phases.

CARBON FOOTPRINT

This takes into consideration the amount of non-renewable energy used during the life of the project.

LOW

Building life cycle

Building Performance - Tempering the Building Environment

87

Building

Delivery

Procuring the building

88

Show me the money This is a huge project with complex intricacies, which raises the question, is it all worth it if its only going to be a temporary fixture? Highly unlikely.

Therefore, in order to realise the project, it would have to be a commercial venture whereby all the bodies involved would benefit.

Funding from IFTA member film companies through the IFTA members directory

How could this be achieved?

The grindhouse film festival committee Event organisers running the show (client) State agency under which the project location & site juristriction falls.

Hollywood has had a strong grip on the global film industry for a long time.

However, statistics have shown that the number of people visiting cinemas in recent years is at an all-time low.1 This could be due to changes in economy, digital platforms, and piracy. The film industries in China and India are also very strong now, which also highlights Hollywood’s loss of world dominance.

Given this, maybe there is a scope for independent and cult studio producers to promote and elevate their products.

A niche film festival in New York is a good start. But these things are usually confined to small dingy Rex centres that nobody cares about. If there is no promotion there is no interest. And if there is no interest there is no money.

Architect and conctractors to dfesign and build the project

This is where the Grindhouse Film Festival comes in. The project would be a platform for Indie-film studios and cult movie producers.

Any profits will go back to the financial backers, but the main takeaways will be promotion and exposure.

What makes this film festival different is that the architectural ambition is outrageous enough to draw lots of attention to it. This would result in big bucks for everyone. Almost like a PR stunt.

There will be objections from all corners, but if the payday is big enough, obstacles can be overcome.

The financial backing for the project would have come from a body of independent film studios seeking to take part in the festival.

The clients/event organisers are the International Grindhouse Film Festival Committee.

The grindhouse film festival committee Money made from sales of tickets, concessions, paraphanalia, etc.

Pay for staff, operational and maintanance cost.

1. http://www.slashfilm.com/

Local and financial context

Building Delivery - Procuring the Building

89

The paperwork The project sits inbetween two types of planning areas. It is a temporary public event orientated design that requires an event permit from the Hudson River Park Trust. However, because there will be some invasive construction and operations involved, a full New York state planning application may be required. In New York, the planning application goes through the City Planning Commission (CPC).

I have used the soon to be Pier 55 proposal by Heatherwick Studio’s planning application as a benchmark to understand where it sits with regards to the realisation of the project. This is because the Pier 55 will share the same site location as this project.

Key areas covered in part 1 of this form include: A. Project and Sponsor information B. Government Approvals C. Planning and Zoning D. Project Details

1.proposed and potential development

2.project operations

E. Site and Setting

1.Land Use on and surrounding project site

2.Natural Resources on or near project site

F. Additional Information G. Verification Part 2 of this form is a comprehensive identification of potential project impacts (See Appendix B for waterfront revitalisation program assessment form submitted by the Hudson River Park Trust with regards to this project.)

Fig. 1 Hudson River Park Trust event permit application form.

Planning Constraints

Fig. 2 Hudson River Park Trust Environmental Assessment form

Building Delivery - Procuring the Building

OST

TIME

QUALITY

COST

90

CLIENT PRIORITY

TIME

TIME

Conventional UK RIBA routes: QUALITY

TRADITIONAL TIME

QUALITY

COST

CLIENT PRIORITY

TIME

QUALITY

COST

QUALITY

COST

PROCUREMENTTIME CRITERIA

TIME

COST

QUALITY

QUALITY

DESIGN & BUILD

PROCUREMENT CRITERIA

COST

COST

CLIENT PRIORITY

TIME

QUALITY

TIME

COST

QUALITY

TIME

COST

QUALITY

CONTRACT TYPE

COST

RISK Client

MANAGEMENT TIME

QUALITY

COST

TIME

QUALITY

Time

TIME

COST

QUALITY

TIME

COST

TIME

The project’s short life span means that every second is vital in order to maximise return. Time is the primary concern for the client.

United States AIA equivalent routes: DESIGN-BID-BUILD DESIGN-BUILD CONSTRUCTION MANAGER AS ADVISOR/MULTIPLE PRIME Based on the priorities of the client, the procurement method used for this project will be DESIGN & BUILD

COST

QUALITY

PROCUREMENT CRITERIA

COST

CLIENT PRIORITY

Design & Build Design input by contractor Traditional Lump Sum Fixed Price Traditional Lump Sum Fluctuations

Cost QUALITY

Contractor

Design & Build Complete ‘package’ by supplier

Traditional Meaturments Bill of Approximate Quantities

Treating the project like a business which means that cost is also of high importance.

Traditional Meaturments Fixed fee Prime Cost

Quality

Management Contracting

Is desirable for the sake of safety in the design structure.

Traditional Meaturments Percentage Fee Prime Cost

Fig. 1 The allocations of risk for the different types of procurement contracts - Which Contract?

Design & Build Summary Cost The initial price may be higher, as the contractor may build into his price a ‘risk premium’, and post-contract variations can be more expensive. However, as the contractor is responsible for the design and build, there is less potential for conflict than would be the case under two separate entities. The process can be more costeffective because the contractor can use his experience and expertise to design in a way that allows him to rely on goods and services that he can obtain at the best buying margins.

DESIGN - BUILD CONTRACT RELATIONSHIP The Design & Build approach TIME

Quality The design is more likely to be ‘buildable’ than may be the case under other procurement methods. However, the client has less control and influence over design matters, and there is a degree of inflexibility with regards to the design changes that need to be made. Also, because the architect acts for the contractor and not for the client, the quality control at that level is not available to the client.

QUALITY

CONSULTANT ARCHITECT

COST

TIME

QUALITY

Time

CLIENT

COST

QUALITY

The process allows for speed of delivery from concept to completed building, and there is normally a much quicker initiation on site. Delivery time is also faster than for traditional procurement. This process allows programmes to be more easily met and the speed of construction is also often quicker.

Procurement Route

COST

In preparation for this contract, the Grindhouse Film Festival Committee will have clearly defined specifications before any thing is signed. Although full documentation is not necessary, consultation with an architect will help have a brief and initial design in place.

Once this is clear, the client enters into contract with a primary contractor. The client also enters into a separate contract with the architect, who will administer the contract between the client and the main contractor. The contractor will be responsible for the development of the design and overall construction. With this type of contract, the majority of the risk falls under the main contractor’s responsibility for building delivery.

CONTRACTOR

CONSULTANT(S)

The main feature of the design and build procurement approach is that the design and the construction process are both carried out by a contractor for a lump sum.

This is ideal as pier construction specialists would be beneficial for this project.

TIME

SUBCONTRACTOR(S)

The advantage of this type of contract is in the speed of delivery. There is normally a much quicker delivery time than for traditional procurement. In its simplest form, design and build allows work on site to begin earlier (that is before the design is fully complete,) than under traditional forms of contract. This is because of the level of design control given to the contractor. Normally, the design and build procurement approach allows programmes and budgets to be more easily met and the speed of construction is also often quicker.

Building Delivery - Procuring the Building

91 Construction risks and difficulties Structural failure The project location is unique. Reusing retired timber piles to take new structural load has little precedence, especially for a temporary programme.

By sticking to the confines of the existing piles, extensive structural integrity testing would be required.

Role of the Architect

Role of the Contractor

Role of the consultants

Over the duration of this project, the architect’s position remains constant in an architect led design and build strategy. The tasks vary as the project progresses:

The contractor under the design and build contract is at single point responsibility.

The contractor is responsible for the design and the construction. Therefore, the client will have a single point of responsibility and liability against the contractor.

The Contractor will take advantage of its own supply chain, consultants and sub contractors that it works closely with.

All consultants involved will work directly with the main contractor.

An ideal solution would be to drive new piles into the ground. This might have its own set of issues such as planning and cost, but whether or not it outweighs the difficulties associated with the original proposal is unknown.

Structural Consultant

Storm water and flooding.

A structural engineer specialising in Pier and Marina structures would be involved.

They would specify all structural requirements and what is feasible for the short term.

North America is synonymous with extreme weather. Many legislative procedures are put in place to adhere to these risks, so realising this project is highly unlikely when taking this into consideration.

Theatre design consultant

Fire

A cinema design specialist would be consulted for advice on the particular qualities required for cinema spaces.

1. Understand the client’s requirements (functional, aesthetic, budget, schedule).

2. Identifying contextual constraints (technicalities of site, materials, construction methods, neighbourhood/cultural mindset, historical meaning).

3. Process brief and context parameters.

Without the allocation of an architect representative of the client, the contractor would enforce its own design intentions, most likely taking the most cost-effective route to maximise profit. However, for this project, an architect is appointed on behalf of the client. As such, the contractor will work with the architect so that the design can to some extent adhere to the client’s requirements.

5.Drafting documentation design that leaves room for client and consultant feedback.

Fire Consultant

Throughout history, for one reason or another, piers have been burnt to the ground.

Working with large amounts of timber and electricity will highlight this risk. A large amount of fire retardant would be required and therefore escalate the cost of the project.

7. Refining progressive iterations of a design from both design and construction perspectives until an optimal outcome is reached.

A fire consultant would be required to design and ensure a specific working fire safety strategy for the project.

Health & Safety

8. If it is required and or requested by the main contractor, drawing sets that reflect construction-ready and trade-specific details for each trade to refer to can be provided.

Lighting Consultant

In construction

A lighting specialist will be consulted for advice on the best solution for a lighting strategy.

To ensure health and safety is addressed during the construction phase, the main contractor will enforce all necessary rules and regulations that are set out by the New York State Department of Labour. Besides the general provisions, areas of concern that are specifically relative to this project would be:

4. Generating a preliminary design response.

9. Throughout construction, the architect will act as an agent for the client and administer the contract.

Acoustic consultant An acoustics specialist will be involved with the design specifications involving sound tempering.

Electrical consultant An electrical engineer will be required for a discreet and water tight electricity supply strategy.

Rainwater harvesting specialist Required for guidance on site-specific qualities to maximise rainwater harvesting capabilities.

SUBPART 23-5 SUBPART 23-6 SUBPART 23-7 SUBPART 23-8 SUBPART 23-9

SCAFFOLDING MATERIAL HOISTING PERSONNEL HOISTS MOBILE CRANES, TOWER CRANES AND DERRICKS POWER-OPERATED EQUIPMENT

In operation During the operation of the building, the client will be responsible for adhering to the health & safety workplace guidelines set out by the New York State Department of Health.

However, there are many sub-categories within the topic. Some which could be specific to this project may include: Emergency preparedness Septic Systems Injury Prevention Air quality

The Roles, Risks, Health & Safety

Building Performance - Tempering the Building Environment

92

Literature

Electronic sources

Consultants

Baden-Powell, C., Hetreed, J. Architect’s Pocket Book (Fourth Edition). Architectural Press: 2011.

ADA Accessibility Guidelines

Ben Sheterline - Price & Myers LLP

Burris-Meyer, H. Theatres and auditoriums. R. E. Krieger: 1964

AIA Design-Build Documents

Clamp, H., Cox, S., Lupton, S., Udom, K. Which Contract? Choosing the Appropriate Building Contract. RIBA Publishing: 2012.

Calculating U-Value

http://www.access-board.gov/guidelines-and-standards/buildings-and-sites/about-the-ada-standards/background/adaag

http://www.schiffhardin.com/binary/new_aia_march2005.pdf

http://www.thermalcalconline.com/u-value-calculator/u-value-opaque/u-value-opaque.html

Liam davis - Arup Associates Hal Currey - Arup Associates Ali Shaw, Max Fordham Associates

City Environmental Quality Review (CEQR) Delany, Samuel R. Times Square Red, Times Square Blue. New York University Press: 2001.

http://www.nyc.gov/html/oec/html/ceqr/ceqr.shtml

Mike Tite, Walters & Cohen

Design & Build Project plan

http://www.designingbuildings.co.uk/wiki/Design_and_build:_mobilisation

Deplazes, Andrea (ed.). Constructing Architecture: Materials, Processes, Structures: A Handbook (Second Edition). Birkhauser: 2008.

Ecosure Watertanks

Kries, Mateo. Grow your own house: Simon Velez and Bamboo Architecture, Vitra Design Museum: 2002

Fabritec Structures

Landis, B., Clifford, M. Sleazoid Express: A Mind-Twisted Tour Though the Grindhouse Cinema of Times Square. Fireside: 2002 Littlefield, David (ed.). Metric Handbook: Planning & Design Data (Third Edition).

Architectural Press:2008.

McConnell, Kirsty. Piers, Jetties and Related Structures Exposed to Waves. ICE Publishing: 2004 SchĂśning, P ., (ed.). Cinematic architecture. Architectural Association: 2009

http://www.ecosure.co.uk/acatalog/technical-sheets.html

http://fabritecstructures.blogspot.co.uk/

Fire Spread & Fire retardants

http://acslimited.co.uk/intumescent-fire-retardant-paint/

Hazardous Materials

http://www.nyc.gov/html/oec/downloads/pdf/2014_ceqr_tm/12_Hazardous_Materials_2014.pdf

Health & Safety in the work place http://www.health.ny.gov/environmental/

Indipendant film & television alliance http://www.ifta-online.org/

JCT Contract 2011

http://www.jctltd.co.uk/docs/Deciding%20on%20the%20appropriate%20JCT%20contract%202011%20Sept%2011%20version%202. pdf

Pile Buck - Pile structure specialist

https://www.pilebuckinternational.com/pile-points/composite-pile-splices/

Protection in construction

https://labor.ny.gov/workerprotection/safetyhealth/sh23.shtm

RICS draft guidance note - Comparative construction and engineering contracts https://consultations.rics.org/consult.ti/comparative.construction/view?objectId=2425108

Rosebrand fabric specialists http://www.rosebrand.com/

SIP Building Systems

http://www.sipbuildingsystems.co.uk/sips-explained.php

Timber Flooring Embodied energy

http://timberflooringsupplies.com.au/timber-the-environment/

Wood Acoustic Panels

http://www.woodacousticpanels.com/

World Weather Online

http://www.worldweatheronline.com/New-York-weather-averages/New-York/US.aspx

Bibliography

Appendix A

93 For Internal Use Only:

WRP no.____________________________

Proposed Activity Cont’d

Date Received:______________________

DOS no.____________________________

4.

If a federal or state permit or license was issued or is required for the proposed activity, identify the permit type(s), the authorizing agency and provide the application or permit number(s), if known:  HRPT approval of lease terms and amendment to the Park's existing General Project Plan.  Approval of this action is considered a "significant action" in the Hudson River Park Act, and therefore requires a public hearing and comment period prior to any vote.  New York State Department of Environmental Conservation (NYSDEC) authorization under Article 15 of the ECL Protection of Waters, and Water Quality Certification under Section 401 of the Clean Water Act.  United States Army Corps of Engineers (USACE) permits under Section 10 of the Rivers and Harbors Act and Section 404 of the Clean Water Act for construction of the proposed project within the Hudson River.

5.

Is federal or state funding being used to finance the project? If so, please identify the funding source(s).

No

6.

Will the proposed project require the preparation of an environmental impact statement?

Yes No  If yes, identify Lead Agency:

7.

Identify city discretionary actions, such as a zoning amendment or adoption of an urban renewal plan, required for the proposed project.

None

C.

COASTAL ASSESSMENT

NEW YORK CITY WATERFRONT REVITALIZATION PROGRAM Consistency Assessment Form Proposed actions that are subject to CEQR, ULURP, or other local, state or federal discretionary review procedures, and that are within New York City's designated coastal zone, must be reviewed and assessed for their consistency with the New York City Waterfront Revitalization Program (WRP). The WRP was adopted as a 197-a Plan by the Council of the City of New York on October 13, 1999, and subsequently approved by the New York State Department of State with the concurrence of the United States Department of Commerce pursuant to applicable state and federal law, including the Waterfront Revitalization of Coastal Areas and Inland Waterways Act. As a result of these approvals, state and federal discretionary actions within the city's coastal zone must be consistent to the maximum extent practicable with the WRP policies and the city must be given the opportunity to comment on all state and federal projects within its coastal zone.

This form is intended to assist an applicant in certifying that the proposed activity is consistent with the WRP. It should be completed when the local, state, or federal application is prepared. The completed form and accompanying information will be used by the New York State Department of State, other state agencies or the New York City Department of City Planning in their review of the applicant's certification of consistency.

A.

APPLICANT

1.

Name:

2.

Address:

3.

Telephone:

4.

Project site owner:

B.

PROPOSED ACTIVITY

1.

Brief description of activity: The Hudson River Park Trust (HRPT) (the project sponsor) proposes to redevelop Pier 54 and reopen it as a public park pier for use as both a general recreation space and an event space (the proposed project). The proposed project would involve the construction of a public park pier with a different overwater footprint than the existing Pier 54, containing approximately 117,000-grosssquare-feet (gsf) of open space.

2.

3.

Hudson River Park Trust, c/o Noreen Doyle, Executive Vice President Pier 40, 353 West Street 212-627-2020

Fax:

NA

E-mail:

ndoyle@hrpt.ny.gov

Hudson River Park Trust

Location Questions:

Purpose of activity: Consistent with the Hudson River Park Act, the purpose of the proposed Pier 54 project is to reuse this portion of the Hudson River waterfront for the public benefit, making it an asset for the City, State, and the region. The Pier 54 project would reestablish public access to the waterfront at this location and provide additional public open space resources and cultural space within Hudson River Park.

Yes

1.

Is the project site on the waterfront or at the water's edge?



2.

Does the proposed project require a waterfront site?



3.

Would the action result in a physical alteration to a waterfront site, including land along the shoreline, land underwater, or coastal waters?



Policy Questions:

Yes

No

No

Location of activity: (street address/borough or site description): Hudson River waterfront, between the current Pier 54 footprint and the Pier 56 pile field to the north, within Hudson River Park at approximately West 13th Street in Manhattan.

WRP consistency form – January 2003

New York City Waterfront Revitalisation program assessment form

1

WRP consistency form – January 2003

2

Appendix B

94 Policy Questions cont’d

The following questions represent, in a broad sense, the policies of the WRP. Numbers in parentheses after each question indicate the policy or policies addressed by the question. The new Waterfront Revitalization Program offers detailed explanations of the policies, including criteria for consistency determinations.

4.

Check either “Yes” or “No” for each of the following questions. For all “yes” responses, provide an attachment assessing the effects of the proposed activity on the relevant policies or standards. Explain how the action would be consistent with the goals of those policies and standards.

See Attachment B, “Land Use, Zoning, and Public Policy” for a discussion of the relevant policies for each “yes” response. The relevant polices for each question are provided in parenthesis after the question.



6.

Will the action result in a change in scale or character of a neighborhood? (1.2)



7.

Will the proposed activity require provision of new public services or infrastructure in undeveloped or sparsely populated sections of the coastal area? (1.3)



Is the action located in one of the designated Significant Maritime and Industrial Areas (SMIA): South Bronx, Newtown Creek, Brooklyn Navy Yard, Red Hook, Sunset Park, or Staten Island? (2)



10.

Are there any waterfront structures, such as piers, docks, bulkheads or wharves, located on the project sites? (2)



Would the action involve the siting or construction of a facility essential to the generation or transmission of energy, or a natural gas facility, or would it develop new energy resources? (2.1)



11.

Does the action involve the siting of a working waterfront use outside of a SMIA? (2.2)



12.

Does the proposed project involve infrastructure improvement, such as construction or repair of piers, docks, or bulkheads? (2.3, 3.2)

13.

14.

15.

16.

17.

18.



Would the action involve mining, dredging, or dredge disposal, or placement of dredged or fill materials in coastal waters? (2.3, 3.1, 4, 5.3, 6.3) Would the action be located in a commercial or recreational boating center, such as City Island, Sheepshead Bay or Great Kills or an area devoted to water-dependent transportation? (3)





Would the proposed project have an adverse effect upon the land or water uses within a commercial or recreation boating center or water-dependent transportation center? (3.1)



Would the proposed project create any conflicts between commercial and recreational boating? (3.2)



Does the proposed project involve any boating activity that would have an impact on the aquatic environment or surrounding land and water uses? (3.3)



Is the action located in one of the designated Special Natural Waterfront Areas (SNWA): Long Island Sound-East River, Jamaica Bay, or Northwest Staten Island? (4 and 9.2)

 

19.

Is the project site in or adjacent to a Significant Coastal Fish and Wildlife Habitats? (4.1)

20.

Is the site located within or adjacent to a Recognized Ecological Complex: South Shore of Staten Island or Riverdale Natural Area District? (4.1and 9.2)



21.

Would the action involve any activity in or near a tidal or freshwater wetland? (4.2)



22.

Does the project site contain a rare ecological community or would the proposed project affect a vulnerable plant, fish, or wildlife species? (4.3)

23.

24.

25.

26.

27.

New York City Waterfront Revitalisation program assessment form



Is the project site appropriate for residential or commercial redevelopment? (1.1)

8.

3

No

5.

9.

WRP consistency form – January 2003

Will the proposed project result in revitalization or redevelopment of a deteriorated or under-used waterfront site? (1)

Yes



Would the action have any effects on commercial or recreational use of fish resources?

(4.4)



Would the proposed project in any way affect the water quality classification of nearby waters or be unable to be consistent with that classification? (5)



Would the action result in any direct or indirect discharges, including toxins, hazardous substances, or other pollutants, effluent, or waste, into any waterbody? (5.1)



Would the action result in the draining of stormwater runoff or sewer overflows into coastal waters? (5.1)



Will any activity associated with the project generate nonpoint source pollution? (5.2)



WRP consistency form – January 2003

4

Appendix B

95 Policy Questions cont’d: 28.

29.

Yes



Would the action cause violations of the National or State air quality standards? (5.2) Would the action result in significant amounts of acid rain precursors (nitrates and sulfates)? (5.2C)



Will the project involve the excavation or placing of fill in or near navigable waters, marshes, estuaries, tidal marshes or other wetlands? (5.3)



31.

Would the proposed action have any effects on surface or ground water supplies? (5.4)



32.

Would the action result in any activities within a federally designated flood hazard area or state designated erosion hazards area? (6)

30.



34.

Would the action involve construction or reconstruction of a flood or erosion control structure? (6.1)



Would the action involve any new or increased activity on or near any beach, dune, barrier island, or bluff? (6.1)



Does the proposed project involve use of public funds for flood prevention or erosion control? (6.2)



37.

Would the proposed project affect a non-renewable source of sand? (6.3)



38.

Would the action result in shipping, handling, or storing of solid wastes, hazardous materials, or other pollutants? (7)



39.

Would the action affect any sites that have been used as landfills? (7.1)



40.

Would the action result in development of a site that may contain contamination or has a history of underground fuel tanks, oil spills, or other form or petroleum product use or storage? (7.2)



Will the proposed activity result in any transport, storage, treatment, or disposal of solid wastes or hazardous materials, or the siting of a solid or hazardous waste facility? (7.3)



Would the action result in a reduction of existing or required access to or along coastal waters, public access areas, or public parks or open spaces? (8)



41.

42.

43.

44.

45.

46.

47.

48.

49.

50.

Will the proposed project affect or be located in, on, or adjacent to any federal, state, or city park or other land in public ownership protected for open space preservation? (8)

Would the action result in any development along the shoreline but NOT include new water-enhanced or water-dependent recreational space? (8.2)



Will the proposed project impede visual access to coastal lands, waters and open space? (8.3)



Does the proposed project involve publically owned or acquired land that could accommodate waterfront open space or recreation? (8.4)



Does the project site involve lands or waters held in public trust by the state or city?

(8.5)



Would the action affect natural or built resources that contribute to the scenic quality of a coastal area? (9)



New York City Waterfront Revitalisation program assessment form

No 

Will the proposed activity affect or be located in, on, or adjacent to an historic resource listed on the National or State Register of Historic Places, or designated as a landmark by the City of New York? (10)



CERTIFICATION

The applicant or agent must certify that the proposed activity is consistent with New York City’s Waterfront Revitalization Program, pursuant to the New York State Coastal Management Program. If this certification cannot be made, the proposed activity shall not be undertaken. If the certification can be made, complete this section.

“The proposed activity complies with New York State’s Coastal Management Program as expressed in New York City’s approved Local Waterfront Revitalization Program, pursuant to New York State’s Coastal Management Program, and will be conducted in a manner consistent with such program.”

Applicant/Agent Name:

New York, NY 10014 Applicant/Agent Signature:

Hudson River Park Trust Pier 40, 353 West Street Telephone

212-627-2020 Date:

 

WRP consistency form – January 2003

Yes

Would the proposed action have a significant adverse impact on historic, archeological, or cultural resources? (10)

Address:

Would the action result in the provision of open space without the provision for its maintenance? (8.1)

Does the site currently include elements that degrade the area's scenic quality or block views to the water? (9.1)

52.

D.

Would the action result in any construction activities that would lead to erosion? (6)

36.

51.



33.

35.

Policy Questions cont’d:

No



5

WRP consistency form – January 2003

6

Appendix B