OCEAN TRANSPORT SYSTEMS 3D and Animated Design Msc Design and Digital Media 2016-2017 The University of Edinburgh KIRIAKI PAPATHANASOPOULOU (s1670597)
THE STORYTELLING INGERMANMORE (Baltic Sea, St Petersburg)
During the year 2146, due to climate change and the melting of ice, most of the cities will be submerged. Thus, It will be imperative the need of a transport network which will be able to move in two parallel levels (the old city which is submerged, and the new city which is situated on the sea surface in an islet form). On the other hand, the citizens will start to live in a nomadic way, trying to be self sufficient (ref. to Neofuturism architecture & nomadic cities). Initially, an attempt to analyze the maglev train structure is made. Then, there was a historical analysis from the structure of the first train until the modern forms of hydroplanes and how these can move under the water. Two elements that cause particular interest are: • How the original traditional train with the series of wagons has been slowly converted into a uniform format and structure. • How the modern small transport structures (units) may have better move capabilities through space. Subsequently, an attempt was made to analyze the special characteristics of the site intervention INGERMANMORE (Baltic Sea, St Petersburg). Therefore, I identify the following elements which I intend to exploit them: • The small amount of salt in the Baltic Sea (low levels of salinity) makes the sea water somehow drinking for residents. • The presence of submarines in the Baltic Sea area during the First World War (British and Russian submarines). • The submarine structure. The possibility of submarine to sink, while at the same time, to move on the sea surface. • The use of periscope (in submarine structure), as a way to view and control the area οver it. • The skyline of the cities which we would say that it is at low altitudes with only some great heights made from some certain landmarks and monuments. • The enormous architectural wealth of the cities which will be buried underwater. • The rich flora and fauna of the site and the fact that there are some marine species which are endangered, such as balanus. • The strong relationship of these cities with the sea. These cities are considered as cities - ports, creating a huge marine transportation network to and from the Baltic Sea. Therefore, through the above analysis I imagined the transport model which I will analyze at this point. It is about a "wagon" with 6 persons capacity and 4m x 4m x 4,8m size. Its cylinder shape is a reminiscent of the balanus (invasive species in the Baltic), while its structure, which will be analyzed, is inspired by the submarine. This ‘’wagon’’ becomes a transportation unit and an habitation module, simultaneously, for the future nomadic citizens. By using laser rays (located on the façade of the unit) and magnetic fields (in the bottom of the unit), this “wagon” can be joined with other similar units creating a single linear transport system. This uniform system can be moved through a huge constructed tunnel (d = 6m) by means of magnetic rails. (wider-scale transfer from city to city). When this linear system reaches the station stops, then the units can be easily detached and act as an autonomous unit. (local transfer from island to island). The unit, now, could act like a submarine. By using air tanks, which are located within the unit (in special areas), a further immersion or a rise in the sea level, can be achieved. At the same time, the existence of the two wheels and propellers (short wings) helps this unit, to roll on the sea surface or moving like a hydroplane, respectively. As a result, this self-contained unit is capable to move or to stop, for some time, in both the two levels of future cities. This scenario is reinforced by the low salinity of the Baltic Sea, a key element that contributes to life under the sea. Furthermore, the presence of the periscope at the bottom of the unit (in the reverse direction from the normal, from top to bottom) contributes to the gaze view through a digital screen (which is situated in the floor of the unit) as a memory of the old city which, now, remains submerged. As far as the materials are concerned, I decided to use elements that they are used in the construction of transportation systems such as trains, yachts and space crafts. Thus, I concluded to materials like steel, glass, plastic, aluminum, titanium and nanotechnology matelrials. Τhe main facade of the unit is made by blocks of titanium whereas the other sides are covered by a red nanotechnology material. The automatic-electric doors are made by aluminium and each one has a bordered red line in order to create security and to be legible for the public. The engine unit is consist of glass, giving a sense of transparency in the transportation system. The use of alarm lights both in the interior and in the exterior design confirms the security and the smooth οperation of the whole system. Furthermore, in the interior design the chairs-beds are designed with embedded technology in order to change position, during the journey, according to the needs of the passengers.
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
1
In the second submission, the brief asked for a train station which is located in the surface of the ocean. Searching for some key elements of the site intervention, I ended up with the idea that the main characteristic of the entire site is the inextricable connection of the cities with the city waterfront and the great domination of their ports. Therefore, my intention was to “play” with the boundaries of the ground level and the sea surface. The station is about a breathtaking white platform which invites the users to walk into the sea in an experience that feels like floating in and on the water. My attempt was to create a station that explores fluidity and reflects the unstable new environment in a constant interaction with the sea level. This platform can, also, act like a floating port. Analysing the site intervention INGERMANMORE (Baltic Sea, St Petersburg), I realised how important are the ports to the cities. Thus, I tried to use the traditional industrial design of a Baltic Sea port. Cranes, steel towers, container unit boxes, light tower and construction grids are combined together, in order to create an atmospere of an industrial submarine port. Moreover, Τhe embark and disembark area are located in two seperated “holes” (one below and the other above the sea surface) creating a wondereful area in between them for the users to relax, walk, sit or gaze the view of the sea. In addition, the water “void” between these two ‘‘holes’’ οffers the possibility of a wharf for the units. The units can lie there, detached from the uniform system, and like a submarine boat, traveling, autonomus, over or under the sea level. Looking in detail, the whole station accomodates all the services and elements of a traditional station like: sitting areas, ticket machines, bank atm machines, stands for advertisements, transportation system maps, boarding time screens, lights, control ticket areas, sheltered areas, secuity border lines. The steel sitting and sheltered areas are designed in curved form, as a resemblance of the ocean waves. Last but not least, the white marble platform consists of some linear “cuts” that are covered by glass, reinforced the transparency of the station and the idea that the platform is located over the sea level. As far as the storyboard is concerned, I tried to create a linear sequence of events. Starting point is the camera (it is used to display images in the digital screen of the interior wagon), and how it works. Then we step inside the wagon and view the mechanisms of the interior design of the unit. The train arrives to the station and after a short stroll around the station and the plattform the train, finally leaves the station entering in the dark and long tunnel.
WATCH THE VIDEO ΙΝ: https://vimeo.com/216041106 (password: archportfolio)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
2
ANALYSIS FROM TRADITIONAL TRAIN ....
.... TO MAGLEV TRAIN
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
3
REFERENCES
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
4
ANALYSIS G – INGERMANMORE (St. Petersburg / Baltic)
The Baltic Sea's salinity is much lower than that of ocean water (which averages 3.5%), as a result of abundant freshwater runoff from the surrounding land, combined with the shallowness of the sea itself; indeed, runoff contributes roughly one-fortieth its total volume per year, as the volume of the basin is about 21,000 km3 (5,000 cu mi) and yearly runoff is about 500 km3 (120 cu mi). The open surface waters of the central basin have salinity of 0.5% to 0.8%, which makes the basin border-line freshwater.
Baltic Sea salinity
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
5
REFERENCES
Submarine
Submarines – Remains of the WorldRemains War I Submarines in Baltic Sea– of the World War I
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
6
SCENARIO CONNECTION CITY WITH PORT
St. Petersburg Port View http://avelana.ru/en/results-of-the-annual-general-shareholders-meeting-ofojsc-sea-port-of-saint-petersburg/
Transportation Network - Ingermanmore (St. Petersburg / Baltic)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
7
THE PERISCOPE gaze view of the buried city above
RIGA
TALINN
HELSINKI
ST. PETERSBURG
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
8
STATION PLAN
1 2 3 4
floating port crane steel tower containers
5 6 7 8
main entrance control area embark area roof shelter
9 resting area 10 secondary stairs 11 cylinder structure
12 ticket machine 13 bank machine 14 main stairs
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
15 glass sewing 16 ‘‘module’’ wharf 17 disembark area
9
TRANSPORTATION SYSTEM 5
5
4
4
3
3
2
2
magnet joint (laser rays)
1
1
engine
PASSENGER CAR
ENGINE CAR
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
10
WAGON
A-A SECTION
PLAN Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
11
B-B SECTION
C-C SECTION Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
12
WAGON
FRONT VIEW
PLAN Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
13
BACK VIEW
SIDE VIEW Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
14
ENGINE WAGON
FRONT VIEW
PLAN Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
15
BACK VIEW
SIDE VIEW Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
16
PERSPECTIVE VIEWS WAGON
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
17
ENGINE WAGON
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
18
PERSPECTIVE VIEWS ENGINE CAR
PASSENGER CAR
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
19
WAGON - INTERIOR VIEW
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
20
THE STORYBOARD THE CAMERA
power button off - on (close up)
film area (cut-in)
the camera (shot)
film moving around (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
21
side view of camera (shot)
lens movement (cut-in)
the lens (wide close up)
the lens (extreme close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
22
THE STORYBOARD THE UNIT
the video screen (wide close up)
the video screen (close up)
the video changes (close up)
inside the unit (cut in)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
23
inside view (medium close up)
the wc door moves kitchen view (close up)
the sink (wide close up)
water fluid (wide close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
24
THE STORYBOARD THE UNIT
the sitting area (shot)
the screen turns off (shot)
alarms change light - chairs moving (shot)
operation (video - chairs) ends up (shot)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
25
interior view (shot)
sitting area (close up)
chairs moving (close up)
automatic door - sitting area (cut in)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
26
THE STORYBOARD THE UNIT
the door starts to open (close up)
the automatic door opened (close up)
stepping outside the unit (cut in)
the station (wide close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
27
THE ARRIVAL
the station (close up)
the train arrives (close up)
train moving (close up)
train moving - engine (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
28
THE STORYBOARD THE ARRIVAL
train moving (close up)
train arrived (close up)
disembarking (close up)
doors opened (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
29
train view with opened door (wide close up)
the doors start to close (wide close up)
doors closed (wide close up)
wagon inside the station (cut in)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
30
THE STORYBOARD TICKET CONTROL AREA
station view (shot)
station view (close up)
ticket control area (wide shot)
ticket control area (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
31
control machine invalid/off (wide close up)
control machine valid/on (wide close up)
doors start to open (wide close up)
doors opened (wide close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
32
THE STORYBOARD THE PLATTFORM
control machines (extreme close up)
control machines (extreme wide close up)
the plattform (extreme wide close up)
the plattform (cut in)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
33
sitting area (close up)
the floating port (wide shot)
the cranes (shot)
the cranes moving (shot)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
34
THE STORYBOARD THE PLATTFORM
the floating port (shot)
the plattform (wide shot)
shetled area (close up)
stairs view (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
35
plattform view (wide shot)
plattform view (wide shot)
units inside the sea - wharf (close up)
units move and submerge (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
36
THE STORYBOARD TICKET CONTROL AREA
between the “holes” (cut in)
embarking area (wide shot)
ticket control area (close up)
control machine invalid/off (wide close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
37
control machine valid/on (wide close up)
doors start to open (wide shot)
ticket control machines (wide close up)
inside the “hole” (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
38
THE STORYBOARD THE DEPARTURE
inside the “hole” (close up)
the embarking begins (close up)
train moves (close up)
train leaves the station (close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
39
train inside the tunnel (wide close up)
the tunnel (wide close up)
inside the tunnel (extreme close up)
black (extreme wide close up)
Msc Design and Digital Media 2016-2017 • ESALA • The University of Edinburgh
40