No free rides: A Palace of quiet subversion by Benjamin Hooper

N O F RE E

RID ES A decentralised palace of quiet subversion

B E N J A M I N T H O M A S H O O P E R

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N O

F R E E

R I D E S :

S T U D I O

C O N T E N T S City of Zurich.

Zurich and the Enjoyment of the City.

Urban investment & resistance.

Territorial implications of the enjoyment of the city.

Depot Hard.

Philip, Christoph, Mallory, Cammi, Alex & Ava

The Tram network facilitating decentralised culture.

Mallory’s Holy Roman Catholic tram.

Christoph’s brief.

Alex’s brief.

Philip’s brief.

Cammi’s brief.

Multiple programs and risk.

Sketches.

Preliminary response to site brief.

Initial concept sketch.

Tensile Structure connection to building.

Theatre and loading & stabling.

Lifting roads offices.

Circulation core.

Precedents.

Waterloo Station theatre.

Finding a frame.

Solar radiation modelling on the existing building.

Testing a Structural model.

Atrium daylight analysis model cut patterns.

Interior daylight analysis model cut patterns.

Resources in context.

Material Sourcing.

Plan Development.

Massing study.

Massing Breakdown.

Hiding the Palace.

Phasing study.

Disassembly workshop and theatre.

Fabrication workshop and co-working space.

Stabling and Studios.

Long section.

Get in touch: benjaminthomashooper@gmail.com @benjaminthooper benjaminthomashooper.wordpress.com

I U S

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S ite }

City of Zurich.

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N O

F R E E

R I D E S :

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 zurichâ&#x20AC;&#x2122;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

S T U D I O

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 Zurichâ&#x20AC;&#x2122;s headquarter economy with the aspirations of its people. No Free rides focuses on a tram depot in upand-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.

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.

I U S

{ T he

S ite }

Zurich and the Enjoyment of the City. Utilberg

S L E D G E

T R A I N

Take the train from Zurich Banhoff to Utilberg station

Hire a sledge from the hotel at the top of the hill.

Uetilberg

District 2

Take the train to the top of the hill.

Sledge to the village at the bottom of the hill.

Come to the bottom of the route.

S K AT E

P A R K S

Reach top of hill sledge down again.

COOLING WIND

A L L O T M E N T S F i r s t became popular in Switzerland

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Zurich is situated and the base of two hills. Below is a section through the hills. Due to its location within a valley the cityâ&#x20AC;&#x2122;s form is long and thin giving most residents access to the countryside or the lake.

City Centre: Bahnhofstrasse

Limmat River

R I D E S :

S T U D I O

I U S

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.

Adlisberg

U R B A N

S W I M M I N G SUN PATH

It is common for Zurich residents to swim in the cityâ&#x20AC;&#x2122;s lake and river with water polo nets found in some parts of the Limmat.

COOLING WIND

COOLING FROM LAKE

WATER PERMEATES THROUGH THE SOIL SOAKING THROUGH TO THE LAKE.

M A R I N A S

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)

{ T he

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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.

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S T U D I O

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 distinguishing 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.

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I U S

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Depot Hard.

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Blue Tower Office Block

Ramp to highway

30 Apartments

Hardturm Tram depot

N O

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R I D E S :

S T U D I O

I U S

Dimensions: Perimeter: 676M Area: 15 sqM

Industrial

A. Site map isometric: Illustrating character and use of the immediate context

Main road: Hardturmstrasse Towards A1H to Basle

Swiss Vernacular: Mixed used complex

Z端rich Lake: Limmat

Site: Depot Hardturmstrasse

Harbrucke Highways toward Central business district

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Z端rich Lake: Limmat

SITE

Existing buildings on site

Limmut River

Pave me

KEY:

ular

Tram

Acce

ss M

Netw ork Vehic

ular

Acce

ss V

Office

ain R oad

Depot entrance

Veh ic

Housing

ia Ra

mp Mixed use Industrial

B. Aerial Site map : Illustrating site features and dimensions A. Site map isometric: Illustrating character and use of the immediate context Scale 1:500

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Wipkinger Park

Pig stye

Housing

Low level Housing

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LIBERTARIANISM

LEFT WING

RIGHT WING

STATISM

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LEFT WING

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.

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LIBERTARIANISM

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6060 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.

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LEFT WING

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.

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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.

I N T E R E S T S

PO LI TI C

N K PU ER O IN H

ECONOMIC CULTURAL LOCATION SOCIAL

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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.

V I E W S

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.

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P O L I T I C A L

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.

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RUNNING

C A P I T A L

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PARENTING

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DIETING

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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.

ROTA FABRIK

IA ED M

GYM

M AR X

S EN

TE RP RI SE

ET H IC

ECONOMIC 20 CULTURAL LOCATION SOCIAL

APPRENTICSHIP

TR AV EL

AR X M

APPRENTICESHIP

I N T E R E S T S

ROWING

POLITICAL PHILOSOPHY

A G E

B Y

AT HL ET IC S

YACHTING

Malloryb.1962

C A P I T A L

AR M Y

READING

P O L I T I C A L

AR T

OPERA

H ES

CONSCRIPTION

TH EA TR E

K TI

Christoph b.1957

I N T E R E S T S

LATE BAROQUE MUSIC

RA N D AY N

Philip b. 1934

CO U H NC U RC ILIN H G

S cenario } S

{ T he

LEFT WING

LIBERTARIANISM

LEFT WING

RIGHT WING

STATISM

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STATISM

LA TI O N SI PHILANTROPY

A G E B Y C A P I T A L

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.

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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...

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I N T E R E S T S

N ES

M U U C

O BB

A G E C A P I T A L

B Y

LEFT WING

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C TR OM AM MU LI N N IT ES Y TI C KE T C O LL LI EC BE TI RT N G AR IA N IS M RI M E G AV E W 3R D

AL L FO O TB

I N T E R E S T S

MINDFUFULNESS

KT IV IS M PROGRAMING

AC H

PY C

PH PO IL LI O TI SO C PH AL Y

I N T E R E S T S A G E

1.0

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.

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V I E W S

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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.

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P O L I T I C A L

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V I E W S

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O C

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V I E W S

Yet Zurich Westâ&#x20AC;&#x2122;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.

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C A P I T A L

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6060 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.

ECONOMIC 20 20 CULTURAL LOCATION SOCIAL

P O L I T I C A L

4040

E C

ECONOMIC 20 20 CULTURAL LOCATION SOCIAL

Ava b. 2009

S T U D I O

ZURICH WEST

R I D E S :

RUNNING

EN IZ ISM T I C AL RN U JO

F R E E

EV EN TS CHARITY

STREET PARADE

Alex b. 1994

IN O TC BI

EN TE RP RI

CONCEPTUAL ART

EN VI RO PH N PO M IL E O N LI SO TA TI C PH LIS S Y M

Cammi b.1979

N G

N O

I U S

{ T he

S cenario }

The Tram network facilitating decentralised culture. 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

A R R I V A L

D I S A S S E M B LY

C O N S T R U C T I O N

I N S P E C T I O N

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.

N O

F R E E

R I D E S :

S T U D I O

I U S

Mallory’s Holy Roman Catholic tram. 1.

Tram speeds back from another successful exhibition or show.

As the tram breaks it generates energy otherwise wasted this powers a battery..

When the battery is charged it can be disconnected by from the tram.

An artist can take the battery and carry it to where it is needed

Artists can then use this power to charge their own studios.

Those artists who do most work in Zurich’s communities can power their studios in the most spectacular ways.

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.

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{ T he

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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.

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F R E E

R I D E S :

S T U D I O

Alexâ&#x20AC;&#x2122;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.

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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.

A place of Assembaly

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.

I U S

{ T he

S cenario }

Philipâ&#x20AC;&#x2122;s brief .

T h i s depot represents a significant investment to me, I want to be here to make sure itâ&#x20AC;&#x2122;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.

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F R E E

R I D E S :

S T U D I O

Cammiâ&#x20AC;&#x2122;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.

I U S

S cenario }

Multiple programs and risk. R E W A R D S R E WA R D S Falling or tripping

Poor lighting

Harmful fumes

Fragile equipment

Loud noises

Fun

Physical hazards

Dirt

Unpleasant odours

Spectacle

Electrocution

Ulterior uses

W O

WORKSHOP

O P

AR EA IN G ST AB L RO DR O Y M

Active mitigation and adaptation, making use of barriers and isolation zones to discourage user engagement.

O VE

EM IC

W AS H

Passive prevention, keeping routes and activities away from low risk areas yet allowing engagement at users own risk..

Medium

EN TR AN C D E RY RO /EX C AD IT LE AN S IN G

WATER WASH

POLICY

Low

FT IN G

SH T

PA I

WHEEL LATHE

L E V E L

S T R AT E G I E S

RO AD

S RO AD IT EX

WORKS STABLING

M A N AG E M E N T

EN TR AN C

R I S K

Each offers risks to each-other when programmed within the same space this CMA aims to address these tensions.

R I S K S

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.

IN AB C OR M K T AD OC L LA B U M S S SI IE IT ITIE IL IL C FA FAC G G N TI NIN A

A N D

Tensions rise between Philip who wants the tram service to continue to run from the depot, Christoph who wants depot to become a performance space.

S TE

R I S K S

This project negotiates the reprogramming of a tram depot to accommodate various groups priced out of the fast gentrifying Zurich west.

AC C RE C O ON ST O FF T RO M IC RO O O E DA L M TI O N

{ T he

P H I L I P Wants a public service to run smoothly

Isolate and Restrict containing risks in zones accessible only to those who require direct contact with a risk.

L E V E L

POLICY

AG ST

AUDITORIUM

I ER AG S AN E M AC SP

Special measures should be made to incorporate risk or emulate its spacial properties into the building program

High

M L E E U RE N E SA E NC N C ST TO R C C A A A IO E A O S C RM SP REH SP RM SAT Y O O I AN N RF RF AN P E E P P G M IO R O T O C ISA AN RG O

Efforts should be made to make risk as visible as possible engagement should be included in building program on occasion.

SP AC

O X BO AR B

ORHESTRA PIT

Medium

/E X

R O O

E EN CK SC O D

Risk management strategy should be upheld.

Low

D E ST AG

Risk < Reward

SCENERY WORKSHOP

E RO NTR AD AN S CE

R E WA R D M A N A G E M E N T S T R AT E G I E S

/E X

High

C H R I S T O P H Wants a place for bold dramatic expression

Precedent Study

WAT E R L O O T H E AT R E

C SI AB M U LA TO

IV H

W O

C E RO /EX AD IT S

AN TR

C E RO /EX AD IT S

LI AN

C E RO /EX AD IT S

G IN

LO AD

RO AD S

C E RO /EX AD IT S

AN TR EN TR

Wants to decentralise Art and culture

M ST AT O ER RE IA L

MEETING SPACE

ST O

C E RO /EX AD IT S

G LO AD IN

AN TR

P O

PA I

RO AD S

C E RO /EX AD IT S

RK BO SH GI O E P

EXHIBITION SPACE

FABRICATION WORKSHOP

OPEN STORAGE

W O

CY FA CL CI IN LI G TY

EN C SI AB M U LA TO R

IC KT

D I ST VIS U UA D L IO S

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.

Sprung flooring on tracks

C A M M I

Scene change set moves

Wa t e r l o o ’s former Eurostar platforms were converted into a theatre for the production of The Railway Children.

Steam train

Scenery pulled by train

Wings

EVENT SPACE

FABRICATION WORKSHOP

Temporary seating for over 1,000

MEETING SPACE E

G RA

O ST

Blackout curtain

KTICHEN

RK BO SH GI O E P

Lighting Desk

Lighting rig

CY FA CL CI IN LI G TY

Railway track

AT ER ST IA O LS RE

RA G

Sprung flooring

TR O EAC FF H IC E

A L E X Wants a canvas for artistic experimentation

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OVERHEAD-WALKWAY

MAINTENANCE-PITS

F R E E

R I D E S :

S T U D I O

C L E A N I N G F A C I L I T I E S

Exciting to see the under side of trams

Interesting circulation

Pits require lighting to be accessible

Low simple railings pose risk

Used for washing oily tram parts

Machinery to be opporated by expert

Changing of oil will leave odour

allow acces to tram power cables

moving parts

Use powerful detergents

Residual lubricants and oils

Complex power controls

Accidental moving of stabled trams

May offer exciting views onto trams

L A T H E

Low simple railings arround pit pose risk

Dirt will need to be cleaned off pits if they are to be publicly accessible

Noise of wheel reprofiling

Potential point of contact for whole building

Interesting circulation

Will create uneven floor levels

M o v i n g components

Complex p o w e r controls

To be utilised in performance

Hydraulics make noise.

Low simple railings pose risk

M o v i n g parts require lubrication

V i s i b l e spectacle for performance

ORCHESTRA-PIT

RETRACTABLE-SEATING R e q u i r e railings

Workers require washing facilities, lockers and a canteen useful for other programs

S T A G E - L I F T S

LIGHTING R I G

Social space

ACCOMMODATION

Moving, sharp components

Empty pits will have to be barricaded

Folds away to provide useful space

Recessed floor

Spectacle If mechanised

M o v i n g components

Covered to extend stage

Adds interest

Represents conversion of uses

Moving parts

CRANES

C A B SIMULATOR

If used to transport people

Could be utilised in operation of depot

DRESSING R O O M S Actors require w a s h i n g facilities, lockers and a canteen useful for other programs

Non specialist learning space

Event

If used in performance

Game setting

Dynamic architecture components assembled.

M o v i n g parts require lubrication

requires controlled environment

Potential to be used across programs Moving parts

M E E TI N G -S PAC E

I U S

Machinery needed components Moving parts

Non-programmed space useful across other programs

Noisy motors

tram

support

M A T E R I A L S R E C Y C L I N G May serve other programs

Dynamic architecture

Hazardous materials being disposed

Complex m o v i n g components

Waste from fabrication and workshops

Noisy motors

OPEN-STORAGE

B O G I E WORKSHOP

P A I N T - S H O P

Recessed floor

Risk of falling.

Hazardous paint fumes

Covered to extend stage

May be used across programs

Excess paint from spraying

Moving parts

If presented like gallery

Moving components

Spectacle If mechanised Adds interest

F A B R I C A T I O N W O R K S H O P

Interesting process

Dangerous tools

May be used across programs

Complex moving components

Hazardous chemicals

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Dynamic architecture

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Sketches.

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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.

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Preliminary response to site brief . Time: 0913 (Sunrise)

Time: 0727 (Sunrise)

Time: 0532 (Sunrise)

No solar gain at the rear of the site. The existing volumes are in shade.

The North side of the site captures some solar rays.

Overshadowing by tall office blocks. This is acceptable as its not considered to be working hours

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First glimpses of solar gain to the rear of the site.

Both North and south side capture solar rays.

The entire site is lit by sunlight.

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Due to the height of the massing block, it captures some of the solar rays.

The 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.

The massing block cast some shadows unto the road and rear of the site. The shading device, provides shade on the North side.

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Time: 1927

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The top rear of the massing block catches some of the rays, as it approaches sunset.

The rear of the massing model captures the last solar rays, as it approaches sunset.

By sunset the site and massing model, are still solar lit.

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A preliminary response to site, its existing contraints, to generate a scheme that accommodates sustainable strategies

SITE GEOMETRY: The image illustrates a crude massing for the proposed scheme. This is in accordance to the geometry of the site.

SITE ACCESS: The orange line, illustrates the various patterns to access the site currently. Note that there isnt an evident route to Lake Limmat

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

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.

TRANSPORT: Surrounding the site are 3 major means of transportation. Pedestrian pavement, Tram, bus/car

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.

Pedestrian, tram, bus

Deliveries

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.

WIND DIRECTION: Surrounding the site are 3 major means of transportation. Pedestrian pavement, Tram, bus/car

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.

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Initial concept sketch.

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Tensile Structure connection to building

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The Crane is used to fit new specialised tram biddies made in the workshop but the space above also comes in useful as a fly tower the crane itself is also sometimes used in performances.

Theatre and loading & stabling

Wa l k w a y s were supposed to be used for inspecting the trams but theyâ&#x20AC;&#x2122;re also perfectly placed to be used as a tech box and lighting rig.

Blackout blinds built into the Eaves of the original building mean the depot can act as an atrium bringing natural light into the old building on all floors but light can be shut out when the performance space is needed as a black box theatre.

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Fitting Sprung floors to bogies means dancers wont damage their joints on the hard concrete depot floor, when theyâ&#x20AC;&#x2122;re done with theyâ&#x20AC;&#x2122;re simply stored in the Bogie workshop in the basement.

Retractable seating allows the space to be used as a tram side workshop when performances arenâ&#x20AC;&#x2122;t on.

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Lifting roads and offices.

Some studio spaces are left as cold construction this allows artists to build and insulate their own temporary studio spaces they can use these for the length of their residency in the depot and take them when they leave.

Circulation core

A performance space in a tram depot is great but noise from the lifting roads can disrupt performances, this glazed circulation space mittigates some of the structural accoustic leakage.

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Precedents.

I N S T I T U T E of

L I G H T W E I G H T

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Stuttgart, Frei Otto

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K I N G S D A L E

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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 RY

London, Will Alsop

B O R D E U X RSHP, Bordeux

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Scene change set moves

Scenery pulled by train

precedents: Waterloo Station Theatre.

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Finding a frame I T E R AT I O N

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.

I T E R AT I O N 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.

I T E R AT I O N

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.

I T E R AT I O N

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.

I T E R AT I O N

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.

I T E R AT I O N 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.

I T E R AT I O N 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.

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Modelled on the bracing between a kingspan truss this takes the idea of alternating frames to give an interesting form but is ultimately inflexible

I T E R AT I O N

Suffers the same problems as iteration 8.

I T E R AT I O N Rectifies 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

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inappropriate, it also starves the Neighbouring apartments of daylighting.

I T E R AT I O N

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.

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Solar radiation modelling on the existing building.

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Sources http://www.gaisma.com/ en/location/zurich.html http://www.zurich. climatemps.com/ temperatures.php

In an attempt to generate an environmentally 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.

However 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.

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Testing a Structural model. 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.

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.

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

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.

Problems

The 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 couldnâ&#x20AC;&#x2122;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.

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 didnâ&#x20AC;&#x2122;t work with a the bin taking much of the weight and demonstrates the need to investigate columns or pillars to sit below.

It was initially hoped that with a large weight

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Atrium daylight analysis model cut patter ns.

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.

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Interior daylight analysis model cut patter ns.

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Resources in context.

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Material Sourcing.

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Plan Development.

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S T R AT E G Y Visual links to wipkinger park

Tram network map of zurich showing where all adapted trams are in Zurich

The destination of the Fischerweg footpath

Interim Plan

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Massing Study. S E G M E N TAT 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..

Sought to break the roof into blocks in response to urban breaks and edges in the context in order to diffuse wind flow.

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LANDSC APING

Continued the structure of the frame to form towers which peep out of the massive roof. Replaced mass of tarmac with planting.

Play on contextual theme of dormers to break down the mass of the roof.

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Introduces towers to the facade to acknowledge breaks and edges in context.

Uses the angles of the roof truss to create an undulating roof.

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Massing Breakdown. 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.

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Hiding the Palace. 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.

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Phasing Study.

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Depot Function before occupation

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Depot during initial occupation

WORKSHOP UNUSED TRAM STABLING AND LIGHT MAINTENANCE STORAGE RESIDENTIAL

Day program.

OFFICE AND CLEAN STUDIOS EVENT AND PERFORMANCE SPACE NEW PROGRAM ABOVE

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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.

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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.

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Depot following Replacement of the roof

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Completion of the Depot

Day program off peak Day program off peak

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The competition for the redesign of Depot Hard was initially due to the need for the depotâ&#x20AC;&#x2122;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.

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Disassembly workshop and theatre.

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Fabrication workshop and co-working space.

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Stabling and Studios

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Long section.

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