Spaceport Architecture Initiating a typology through interactions of speed, light and experience P R OJ EC T B R I EF Spaceport Architecture: Initiating a typology through interactions of speed, light and experience Unit 19 M.Arch Year 2, Tutors: Neil Spiller & Phil Watson School of Architecture and Landscape University of Greenwich London Academic Year 2015-2016 ARCT-1058-M01-2015-16 Advanced Architectural Design 01 - Project Themes ARCT-1059-M01-2015-16-130 Advanced Architectural Design 02 - Major Project [ARCT 1059]
Space is seen by many as the next holiday destination,the next challenge for a thrill seeker and the next big experience for all. The aim of the design project, is to speculate on the Architecture of a Spaceport in the United Kingdom. Currently the space tourism industry is beginning an incredible journey, with many companies like Virgin Galactic and Space X promising suborbital trips into space for US$250,000. This experience is limited by the size of vessel and cost of trip. The cost of a ticket is increasing due to the experimental nature of the experience and unsafe reality of space travel. Development in the space industry never stops and there are already a number of concepts for a wider commercial application for space tourism. That is where this project sits, attempting to design the Spaceport for a larger community of astronauts. Featuring facilities from training areas, to accommodation, to launch. A future progression on the airport typology, having the possibilities of extending into a tourist compound with all facilities under one blanket area. The project looks to question the architecture, style, aesthetic and environment for an experience unlike any other.
ARCT-1058-M01-2015-16
Advanced Architectural Design 01 [Project Themes] P R OJ EC T TH EM ES
“Yellow “Intellectually, can be I knew what to expect. empowering ... I have probably looked at as many pictures from space as anybody … can stimulate so I knew exactly what I was going to see … intellectualism” But
there is no way you can be prepared for the emotional impact … It brought tears to my eyes.”
Dr Linda Mayer and Prof R.Bhika , 2014 The qualities associated with colours within the Tibb perspective and its relation to the body and emotions
Don L. Lind, astronaut and STS-51-B mission specialist:
Exosphere
D ES I G N B R I EF Creating a unique experience is at the heart of developing an Aesthetic for Space Tourism.
Thermosphere
00 -5 87 km
The development of a design program which works alongside a designated architectural style, may not be the direction for Space Tourism. This design project looks to exaggerate and speculate on what a Spaceport may be like for future generations when space tourism is as prevalent as air-travel is today.
Mesosphere
7 -8 50 km
Stratosphere
0 -5 11 km
Troposphere
Suborbital Tourism
Orbital Tourism
The Design project looks to access the requirements needed for Suborbital tourism, alongside creating an experience based typology focusing on tourism, advertising, marketing and ultimately the user experience.
11 0- m k
The designed architecture should entice the visitor with feelings of unknowing awesome wonder. The spaces created should be the first step to defining potential off-plant architectures or antigravity architectures. This being said the project is firmly routed in gravity and on Earth. The project looks to enhance the characteristics of Space travel, such as intrigue, wanting to explore the unknown but also speed. Speed becomes a key component when developing for space exploration, with the effects of and consequences of speed a feature this project looks to portray through the graphical representation. The project sits in the real world experimentation for space tourism, as developed by Space X, Xcore, Virgin Galactic. Where it is feasible to believe that soon enough we will all be taking holidays in space, and flying around the world in a matter of minutes.
Earth’s Atmosphere
NB. All measurements are approximate, and vary depending on position
H I S TO RY O F S PAC E TO U R I S M Space Tourism has developed from a Government led, secretive development with Russia and USA leading the way. After Apollo 11, when man landed on the moon. Pan AM created the “First Moon Flights� club, selling tickets to those interested in travelling to the moon. These tickets were never refunded, and Pam Am only recently confirmed that trips to the moon, via them, would not be happening.
Helen Sharman first commercial astronaut
Apollo 11 First Man on the Moon
Yuri Gagarin First to orbit Earth
H I S TO RY O F S PAC E TO U R I S M After the development of the X Prize, private companies such as Space X and Virgin Galactic have taken over the developments for space tourism. Government agencies first exploited this potentially lucrative market through offering extended stays on the International Space Station for approximately US$30million. As Space tourism becomes prevalent, Spaceport architecture has and will continue to develop as a building typology to satisfy the growing market created.
K EY QU ES TI O N S
“I’m interested in
The following key questions help determine the possible futures of the space tourism industry. Asking a series of questions which satisfy the paying customers intrigue for a new experience. However there has not been an investigation into the architecture, architectural language, style or aesthetic which runs parallel with the investigations into suborbital tourism.
man’s march into the unknown but to vomit in space is not my idea
This design project looks to capitalise on this unknown, and develop a proposal for limitless individuals, offering a platform to explore space.
The following question and answers were supplied by Eric Seedhouse, a Norwegian-Canadian suborbital astronaut, in his book, Tourists in Space. They have either been copied exactly or paraphrased in the rewriting process. SEEDHOUSE, E. (2014). Tourists in SPACE 2nd Edition. Springer Q1. When will space tourism be available?
of a good time.
It’s available now. A trip with “Space Adventures” will set you back US$35 million for a 10 days trip to the International Space Station. Alternatively you can reserve a seat for a suborbital ride with XCOR Aerospace (US$95,000) or Virgin Galactic(US$250,000). Q2. What kind of space trips are available?
Neither is a fiery crash with the vomit hovering over me.”
Quote from: William Shatner, the actor who played Captain James T. Kirk, regards offer by Richard Branson to fly on Virgin Galactic, Daily Mail newspaper, 6 September 2006.
Suborbital - An experimentation thrill ride, still in development. Orbital - A rare, expensive experience on the International Space Station. Q3. What is meant by Suborbital and Orbital?
Q6. How much training is needed?
Q12. What government regulations cover space tourism?
For suborbital a 3 day to a week, extensive course, covering anything from anti gravity training to mental and physical examinations. Orbital however is a six month process to learn the ins and out of the whole experience, as you will be expected to work on the International Space Station. You will also need to learn Russian.
Not regulations as such, but guidelines exist as a framework for licenses and permits of space faring companies.
Q7. Do I have to be really fit to go into space? The fitness standards for space tourists, especially suborbital trips, are not as rigorous as orbital flights. You will need a medical but this should be routine. Q8. Where are the Spaceports? The Russian orbital flights take off from Baikonur Kazakhstan, and suborbital flights will take off from Spaceport America in New Mexico. There are also plans for spaceports in Curaco, Sweden, Denver, Houston, Florida and the United Kingdom. Q9. What do I do when I get there?
Suborbital - You will spend 5 minutes floating about the threshold of space (100km). Orbital - You will reach an altitude of 320km and orbit the Earth every 90 minutes.
In suborbital flight, you will have a view extending 1,600km, so photography is the obvious activity. Aerobatics may also be popular, experiencing a weightless environment. For orbital flights, you will need to eat, sleep, exercise and enjoy 16 sunrises and sunsets a day.
Q4. How long is a trip?
Q10. Will there be space hotels?
For suborbital flights, you spend five minutes in space. For orbital flights, you would normally spend 10 days in space.
Yes, but you will have to wait a decade or longer, prototypes are currently being built and tested.
Q5. Is the trip dangerous?
Q11. How do I eat/drink/go to the bathroom in space?
This is a risky business. Several astronauts and cosmonauts have lost their lives over the years, but lessons have been learned and these trips would not be available if it was deemed too risky. However it may never be as safe as commercial aviation.
As a suborbital tourist, these are not something you will have to worry about. For orbital flights it will be covered in the training.
Q13. Will I be Comfortable? These trips are claustrophobic, and will be similar to the experience of aviation travel. If you don’t like roller coasters then it probably isn’t for you. Q14. Can my kids go? The lower age limit is 18, but there is no upper restriction. Virgin Galactic’s founder, Richard Branson, plans on taking his mother on their first suborbital flight. Q15. What about people with disabilities? No problem, weightlessness is a benign environment for people with disabilities. Stephen Hawking planes on heading into space with Virgin Galactic, after experiencing zero G flight simulators. Q16. Will I have to wear a spacesuit? Yes, these are still being tested and each operator will offer their own guidelines. Q17. Is there a market for space tourism? Yes, it appears so. Hence why the British Government has such a strong interest in the whole experience.
The proposed design project is not limited by everyday constraints like time, cost, current limits on flight frequency or participation numbers. It looks to envisage a future where multiple flights could occur each hour, all offering a different perspective of the experience, the view and possible activities which could occur in micro-gravity.
S I TE S EL EC TI O N When beginning the design project and focused area of study, I contacted the UK Space Agency to find specifics relating to the development of a UK Spaceport.
Criteria The location of a Spaceport within the United Kingdom. As set out by the British Government and The Department of Transport, in communications with the UK Space Agency.
Risk Space-planes cannot and possible may never be able to demonstrate the same safety standards as commercial aviation.
Operating Criteria An existing Aerodrome. A runway existing or capable of being extended to 3000m (5000m for a Skylon Rocket) Segregated Airspace, with little to no existing commercial flights.
Safety Factors Located away from densely populated areas. Safe storage of any hazardous materials. Coastal location for flight take off and landing.
Stornoway Airport RAF Lossiemouth
Investigating the proposed location of Llanbedr Airfield , formally RAF Llanbedr.
Kinloss Barracks
The following sites were shortlisted as potential locations for developing feasibility studies. As such I have chosen Llanbedr Airfield as the site for this project.
Mitigation of risk - providing all pilots, crew and tourists understand the inherent risks of space travel, and acknowledge the flight is experimental and that their safety cannot be protected. RAF Leuchars Llanbedr is currently a disused RAF facility which was decommissioned in 2004, and had been previously used as a test flying site. It is currently a base for experimental drone flying. It has 3 runways with the longest being 2289m however their is the possibility to extend 2 of the runways out towards the ocean.
Glasgow Prestwick Airport Campbeltown Airport
As the population density map shows Llanbedr is located in a relatively low populated area. Coastal location adjacent to Danger Area in Cardigan Bay (danger area relates to an area of military operations)
Meteorological Regional variations in weather - the ideal being little to no cloud cover and no strong winds on flight days.
Environmental Concerns Mitigation of noise.
Wales has a maritime climate, characterised by often cloudy, wet, windy but mild weather. However coastal areas experience more favourable conditions. Llanbedr Airfield Due to the low population density, noise to the local community is less off an issue.
Mitigation of the reduction of air quality.
Economic Site accessibility for tourists, staff and visitors. Influence the growth of an existing space related economy or create added business to generate the UK’s centre for space exploration.
Wales enjoys a thriving tourist economy, with many experiences for both the tourist and tourists guest to enjoy before the space flight. Wales already has an aviation, scientific and industrial expertise including in unmanned aerial systems, rockets and satellites
The meeting led to a number of discussions, in which I was led to believe the UK were rather tentatively progressing to adapt an existing airfield, to be suitable for satellite launches. With an eye for human launch as a possible future scenario.
Newquay Cornwall Airport
In terms of budget, feasibility and design brief as set out by the UK Space Agency, the design project would be limited, unimaginative and constrained by too much bureaucracy. Add to this the secretive nature of the space industry and the design project would of be stifled. The proposed design therefore lies in a theoretical future, where a building typology has been progressed to the masses. The project looks to investigate people, movement, speed and structure, alongside the development of intrigue.
S I TE P H OTO S
Runway A
Llanbedr Airfield sits on the west coast of Wales in Cardigan Bay. It is a changeable site which rapidly alters due to tidal change, wind movement and sand shifts.
Runway C
The airfield itself is largely disused, which each building lying in a state of disrepair. The positives for the site include its vast expanses of hard landscape, direct access from multiple routes and also suitable runway lengths and positions for space flight.
Runway B
Llanbedr Harbour
Shell Island
Existing Hangers Control Centre
Ordnance Towers
Space Plane Hangers
Shelters
Control Centre
[1970]
Cold War Years -
Limitation of data due to national secrecy.
H I S TO RY
[1960]
The size and detailed mapping of the site varies since its opening. This is due to the military nature of the site, meaning it was largely unmapped or incorrectly mapped to maintain national security.
Pilots of 198 sqn (1944)
Home to RAF Fighter Commands 12 group
Korean War Training Base
Airfield Constructed
1950
1939
1941
RAF Llanbedr opened
1943
Inter War Years General Aviation Airfield
Handley Page Hastings Plane (1968)
MOD Drone Testing
Limitation of data due to national secrecy.
[1950]
Line of Aircraft in service (2002)
QinetiQ - Remotely Piloted Aircraft Systems
[1900]
Shortlisted for UK Spaceport Red Bull Stunt Venue
1970’s
1957
1992
1995
Site closed
Site reopened
2004
2014
1915
[1890] RAF Llanbedr (Royal Air Force)
RAE Llanbedr (Royal Aircraft Establishment)
Test and Evaluation Establishment
Defence Test and Evaluation Organisation
Llanbedr Estates Fly Llanbedr
Jindivik Target Drone (2002) Information from: All accessed first on 2nd September 2015 https://tracymonger.wordpress.com/2012/11/04/raf-llandbedr-maes-artro-wales/ http://www.wikiwand.com/en/Llanbedr_Airport http://www.derelictplaces.co.uk/main/military-sites/19897-llanbedr-airfield-wales-aug2011-a.html#.Vizb77fhDDc http://www.ronaldv.nl/abandoned/airfields/gb/wales/gwynned.html https://en.wikipedia.org/wiki/Llanbedr_Airport
Red bull Stunt, Flying two planes through a hanger (2015)
Llanbedr Airfield opened in 1941, and has gone through many ownership changes since. It is currently owned by Llanbedr Estates and Fly Llanbedr which run flight school, drones tests and remotely piloted aircraft systems. The venue has also been used as a stunt airfield, due to the isolated facilities, large site area and low population density.
ANALYSIS Analysing a remote site like Llanbedr airfield is a particularly challenging task. Therefore the wider context has to be interrogated to place the airfield within its surroundings. Showing key features which could determine the design, urbanisation, architecture, transport and overall accessibility of a Spaceport. The diagrams show an investigation of the shifting coastline, due to; wind, tidal and sand shifts. This constant adaptation creates a changing site which may need to adapt through time.
A487
Portmerion Portmadog
Talsarnau Tygwyn
A496
A496
Cardigan Bay Harlech Harlech Castle
Llanbedr Harbour Llanbedr
Llanbedr A496
Shell Island
Dyffryn Ardudwy Llanaber Talybont
A496
A496
Shifts of Time
Accessing the Remote
Handling the Masses
Coastal shifts adapt the varied environment
Possible routes in via land or sea
Enhancing the Railway System
The site has limited road access through a series of coastal roads and lanes. This poor connectivity has it a prime candidate for development, although with work to the airfield the transport network will need to be updated. This needs to be investigated whether access is indeed by road, rail, sea or air. Wales coastal railway offers a rarely used route onto the site. This can be utilised for the delivering of materials as well as staff and visitors to the growing urbanism of Spaceport UK.
ANALYSIS A key reason for the choice of Llanbedr Airfield as design site, and short-listing for Spaceport UK, is its low population density. There is little chance of disruption be in noise, pollution or safety concerns for the local population. In developing an extended brief for a Spaceport in a theoretical future, the urban environment which surrounds the site will need to undergo shifts and changes similar to that of the sand coastline. Developing a future city based and focused around the exploration of space. The North-South grid as laid out by ordnance survey may act as a starting point for the development of orientation and scales. This grid will need to be twisted, adapted and enhanced to create a workable solution to the expanding Spaceport. The existing 3 runways offer a variety of routes and opportunities for flights, throughout the year. Each runway, at any time will offer a different experience, different views, different light affects, different speeds and ultimately a varied enhanced experience for the space tourist.
A B C
Population Safety
Enhancing the Grid
Launching into the Skies
4550 people within 5 nautical miles 23100 people within 10 nautical miles
Adapting the grid for the site
Runway A = 1,319m Runway B = 1,282m Runway C = 2,286m
Cardigan Bay
Shell Island
Llanbedr Harbour
Harlech Castle
Portmadog
Dyffryn Ardudwy
Talybont
Llanbedr
Harlech
Portmerion
Llanaber
Tygwyn
Talsarnau
ANALYSIS
I M P O R TA N C E O F A I R C R A FT
[HIGH LEVEL FLIGHT PATHS]
Designing around the Aircraft is a key principle for any airport / spaceport design. The current aircraft possible for suborbital flight is Virgin’s WhiteknightTwo or Xcor’s Lynx Mark II. This offer limited scope for increasing passenger numbers. The concept for the “Spacebus” would enable a higher number of tourists to experience space in a smaller number of journeys. However, this concept is still at feasibility possibly a good 10-20 years behind the development of a UK Spaceport. Therefore for the project the most likely scenario for increasing revenue from Space Tourism, is multiple flights per day of the smaller “SpaceShipTwo”.
[HIGH LEVEL FLIGHT PATHS]
The project design will focus around frequent flights similar to that off international airports. Similarly to designing around the aircraft, designing around flight paths and air traffic routes will offer opportunities for innovative design and thought to take the architectural style to another level.
[LOW LEVEL FLIGHT PATHS]
34m length
88m length
[LOW LEVEL FLIGHT PATHS]
21m Span
[VISUAL FLIGHT RULES]
[VISUAL FLIGHT RULES]
38m Span
Diagram of the Spacebus Not to scale
Diagram of WhiteKnightTwo Not to scale
EXI S TI N G S I TE The following will detail perceived problems for a development at Llanbedr Airfield Runway Length Neither runway is long enough to accommodate spaceplane launch, therefore one or all will need to be extended to at least 5000m. Existing Office and Control Buildings The airfield had been disused and all facilities are therefore in urgent need of updating. The question needing to be asked therefore is, are the existing buildings worth maintaining? or should the site be dealt with as clear. Hanger Size Do the existing hangers meet the size requirements for the array of space planes that could possibly use the Spaceport? Storage of Materials and Hazards Are the current facilities capable of storing materials needed for space launch, or will these need to be specified in a proposal. Site Access The current access, is not suitable for large scale deliveries or large amounts of people. The whole site infra structure will need to be considered for any proposed project.
A I R P O R T AS P R EC ED EN T If the Spaceport is developed from an existing typology, then it is the typology of the airport. A building typology routed in the heart of modernism, pushed to its boundaries by the high-tech. Airports have evolved to epitomise the post-modern society. Created as giant sheds to house and facilitate the movement of as many people as possible. As people pass through the machine, consumerism can thrive, with vast expansive roofs creating a micro-city encompassing all the luxuries of modern society, from shops to restaurants to spa’s and cinemas. The project will look to mutate the aesthetics of the airport, developing from high-tech to create an architectural framework. This framework interacts with the individuals and space training process to focus the experience on the awesome wonder. Speed and light are the essence of space.
S PAC EP O R T AS P R EC ED EN T The first commercial Spaceport designed and built by Foster & Partners in New Mexico, lies as the benchmark for an emerging industry. It has been designed around the specifications and dimensions of the spaceplane, whilst giving those luxury users the opportunity to immerse themselves in the workings and details for a mission to space. Spaceports are planned for many major cities throughout the world including Houston, Colorado, Sweden and the Caribbean. This are all at vary stages, however have not helped to create a new aesthetic style for a new typology. This projects looks to use the precedents as a starting point before proposing a design language for space travel.
S C I EN C E FI C TI O N AS P R EC ED EN T To speculate on the future of a building typology, what better place to act as precedent than science fiction. Science fiction lays the ideas and imagery for a future where anything is possible. Architecture is not bound by physics. In Jupiter Ascending (2015) directed by Andy Wachowski the spaceport architecture is a future machine, developing mechanisms which push the current ideas of high-tech and structuralism to the extreme. In Tomorrowland (2015) directed by Brad Bird, in which their portrayal of space tourism and transportation becomes prevalent for the whole of society. Any future speculation can act as guidance for the project, giving a focus to the narrative of space travel for all.
A DV ER TI S I N G AS P R EC ED EN T The ambition for Space travel for all, can be reflected in the recent advertising campaign by NASA. Who released a series of posters for potential space tourism destinations. The graphic style screams of inspiration, taking its own precedent from 1960’s America. Giving the audience a feeling of nostalgia alongside the promise of a future proposal. It is the merging of science fiction with everyday activities and holidays which offers a unique perspective for future vacations. At the current time space is limited to the few, but these posters ask what if it was open to all. The proposed Spaceport therefore needs to build on user experience, with imagery which inspires a feeling of aiming for the stars.
D R A FT S C H ED U L E O F CO M P O N EN TS The following is a comprehensive list of all required, specific, areas needed for a Spaceport to function within the consumerist, mass market society. The list is similar to that needed for an airport, however includes specific training facilities and extra safety measures for fuel handling. Transport Material Access Runways Railways Railheads Public Access Port Road Railway Heliport Runways
Proposed Accommodation pods Not to scale
Economic Benefit Experience of the visitors Hotels Restaurants Shops Entertainment Space Academy Museums Attractions Information point Tourist Facilities Terminal Shops W.C Check in Lounge
Proposed Dive Tank Not to scale
Proposed G-Force Training Simulator Not to scale
Proposed Staff Control Not to scale
D R A FT S C H ED U L E O F CO M P O N EN TS Control Systems Horizontal Take-off 3,000 metre Runway 5,000 metre Runway Control Centre Ordnance Radar Cameras Storage Systems Aircraft Fuel handling Liquid Solid Hybrid Equipment Store Satellites Training Facilities Medical Assessment Fitness Examination Mental Examination
Proposed Fuel Storage Not to scale
Astronaut Training Simulators Anti-Gravity G-Force Flight Take-0ff Landing Emergency Situations Operations Training Testing Systems Engine Testing Material Testing Chemical Testing Emergency Services Response team
Proposed Security Entrance Not to scale
Proposed Control Tower Not to scale
Proposed SImulator Not to scale
I N I TI A L QU ES TI O N S The initial development drawings look to establish a base for the project. First investigating the levels of security needed for the project. Would the Spaceport be open to all? Is it a private members club? How much would it cost to enter? Does it serve a purpose of inclusion or segregation?
D EV EL O P I N G A L A N G UAG E
D EV EL O P I N G A L A N G UAG E The Architectural language for a Spaceport, as described is built from the high-tech movement and the architecture of the anti-gravity. The development of a complex requires a series of components, interlocked to create an experience not like anything seen before. The developments here are only the first step in defining an architectural language. They are in fact the first mistakes. The Spaceport design may take many iterations before completion, however the ideals of exposed structure, interlocking components, and a close connection with all things space, will be key.
D EV EL O P I N G A L A N G UAG E
D EV EL O P I N G A L A N G UAG E
TH ES I S AS B EG I N N I N G The accompanying thesis projects, offers an opportunity to speculate on the future of a new building typology; the commercial Spaceport. The research project discusses how the public interact with the development, through advertising and marketing of the democratisation and popularisation of space travel. It addresses the current context of the Spaceport as architectural typology. Then develops a possible architecture for the future, through analysis of precedent studies showing current styles and aesthetics. Whilst basing all discussions within the aesthetic, architectural history of the aviation industry. Once a background and precedent had been addressed, analysed and critiqued, the thesis examined how the advertising of a new experience becomes a driving force for the development of the typology. The development of advert as architecture offers a series of commentaries on the popularisation of architecture as commercial image. Alongside the development of architectural style to show the architecture itself as an advert for the experience of space tourism. The conclusion offers critical analysis of the speculation possible for a future architecture. Unveiling to you, the imagery true or false, of your dream. Space tourism.
U N D ER S TA N D I N G S P EED The architecture as detailed before, relates to fixed points in time and a fixed interchangeable structure or components parts. To develop an understanding of Spaceport as future development, and understanding of what it really feels like reaching the karman line needs to be understood. To progress an understanding of speed, transportation and the manipulation of light, a study was undertaken. This focuses on the arrivals and departures, and the interaction between people, space, movement and the effects of these on light. Capturing the temporary volatile nature of light and movement to begin to understand what an architecture for a Spaceport will need to encapsulate.
S P EED , L I G H T, EXP ER I EN C E
S P EED , L I G H T, EXP ER I EN C E
S P EED , L I G H T, EXP ER I EN C E
S P EED , L I G H T, EXP ER I EN C E
S P EED , L I G H T, EXP ER I EN C E
ARCT-1059-M01-2015-16
Advanced Architectural Design 02 [Major Project] M A J O R P R OJ EC T
P R O P O S ED S I TE The second term builds on the developments in speed and light to envisage how the architecture will work in a real world scenario, situated at Llanbedr Airfield. Wales.
P R O P O S ED S I TE
EN TR A N C E
The Entrance to the Spaceport Complex, has multiple purposes. First the obvious, allowing people to enter. Second to organise and sort the visitors into their respective group;, determining who is actually flying and when, who is there to support friends or family, who is there visiting and who should not be there. Once individuals are sorted there paths through the Spaceport complex becomes defined and they will receive access to only those specific zones. The entrance also acts as a baggage deposit for those beginning their training , or those planning an extended stay at the Spaceport. The architecture of the entrance is one of digital scanning, information collection, control and order.
D EPA R TU R ES / A R R I VA L S
The arrivals and departures area is accessible to all. Architecturally it acts as a maze, an expansive roof keeping all inside occupied and spending. Much like the terminal in a modern airport. There are fast track routes for staff, VIP’s and those on specific programs. Each floor and space within the departure terminal, offers possibilities for consumerist activities. The departure terminal also acts as a visitors information point and museum. Containing areas for exhibitions, education and expansion of knowledge.
G - FO R C E S I M U L ATO R
The G-Force simulator is an integral piece of engineering within the Spaceport complex. Those willing to fly into the thermosphere will have to acclimatise to high G-Forces and a possible motion sickness like no other. The training simulators can also be used by visitors looking to experience a thrill without the costs of a Suborbital trip. Adding an extra revenue stream to the now commercial Spaceport.
VO M I TO R I U M
Linked to the G-Force Simulator is the Vomitorium. A collection system for fuel production, helping to increase sustainability and reuse the waste from the complex. In this case the waste is human vomit, which gets stored, processed and converted into propane, through a series of drone controlled vessels.
S TA FF O FFI C ES
One area off limits to everyone except staff is the Offices. These flexible floor spaces offer the opportunity for expansion and evolution of typology. The structural frame can be morphed, repositioned and transitioned into the interactive hub which controls the complex remotely. The frame itself will become inhabited by technology. Technology which powers, controls, watches and inspires. That is the intention here. The flexible space has been left as a blank canvas, waiting to be inhabited by technology. Only then can the component adjust and adapt to the requirements of the user.
CO N TR O L TOW ER
The Control tower lies at the pinnacle of the Spaceport complex. It is a postmodern symbol keeping an eye on the complete workings. Linked to the staff platform, each space tourist can openly see a selection of professionals monitoring every aspect of the journey.
H Y B R I D FU EL S TO R AG E
Fuel handling is a key component for the spaceport, it is the most volatile part of the system. When talking about space travel you have to realise how unsafe it is. It is not like air travel currently, but perhaps once space travel is available for all, it will be as safe. The hybrid composite fuel systems used by space planes and their accompanying space craft, are a mix of composite solids and liquid or gas propellants. Stored in separate capsules for ease of movement and control. The fuel handling system can become a fully automated machine, working on the sub-layer of the spaceport complex, Below the raised platforms of the training and visitor levels.
S P EC TATO R O B S ERVATI O N
The spectator observation terraces hark back to the early days of space flight. When people used to watch in amazement of flight, crowds gathering at airports to see the future. Space flight becomes the theme park, the thrill ride. The viewing terraces are an all access section located at the end of the public arc to the project. They face the runways, for the best view of planes taking off into the sunrise.
V. I . P L O U N G E
The open vessel which is the VIP lounge, architecturally intersects the strict structural aesthetic of the complex. The curved hub, gives the appeal of importance, centrally located but only accessible by the few. The contents of the VIP lounge include luxury’s which people expect with a business such as high end travel. Virgin Galactic tickets currently cost $250,000 making suborbital flight an opportunity for the rich. Once space flight becomes more accessible and prices drop, levels of decadence will have to go up for the higher level space tourist.
LUXURY
PRIVATE
SPA
FINE DINING RESTAURANT CHAMPAGNE BAR
MASSAGE ENTERTAINMENT
LIVE MUSIC COCKTAILS
EMPTY VESSEL - ADAPTABLE TO CLIENT REQUESTS
ACCO M M O DATI O N PODS
The accommodation pods are designed and adapted from BIGELOW Space hotels, which are inflatable capsules. One of these capsules has been tested and sits adjoined to the International Space Station. Bigelow’s pod’s measure 17 metres in length, and house everything an individual needs to from a hotel in orbit. From sleeping arrangements for 4 people, hygiene areas, entertainment and storage compartments. The adapted pods used here, give a glimpse of what an extended stay might be like, they offer sleeping quarters for 2 people alongside hygiene areas.
HYGIENE SLEEPING HYGIENE SLEEPING
HYGIENE SLEEPING HYGIENE SLEEPING
The pods are for use by those training for an extended trip into space, but also available to hire by any visitor to the facility looking to delve further into the reality of living in Space. A fault to the system is gravity, Bigelow’s pods are designed to work in microgravity and as such on earth they do not function as practically as they do in Space.
B OA R D I N G G ATE
The boarding gate acts as a pivot at the heart of the Spaceport proposal. At each end of the boarding gate, lies security which allows those to enter either training, visitor or staff areas. Automated screens help map out information for the tourists, giving details of flight times, training times, and each activity throughout the complex.
FA M I L Y L O U N G E
The lounge offers facilities that you would expect within an airport terminal, that detail remains. If space travel is to be prevalent and open for all, then the architecture needs to reflect this. The open shed, empty vessel and blank canvas, offer the chance for spaces to mutate develop and adapt. The vessel of lounge means spaces of comfort along with spaces of waiting. Space travel is inconsistent, departures may be delayed due to varying pressures including meteorological factors. The lounge therefore offers a waiting zone, for those staying on the complex, staying elsewhere or just those waiting for their next training exercise.
A N TI - G R AV I TY TR A I N I N G
The dive tank is an integral part of training for acclimatising to conditions in micro-gravity. Scenarios can be set up under water, which can teach pilots and tourists what to do in situations which may occur in space. From takeoff conditions to emergency conditions, they can all be tested. Tourists and visitors alike can experience micro-gravity in the scenarios in the dive tank. Giving them a glimpse of conditions they will experience and a chance to practice their flips and gymnastics.
PHYSICAL & MENTAL WELLNESS
Anyone can travel into space, as long as they are fit and healthy. Therefore a physical and mental examination will need to take place. The physical training may be more of a scientific process in a controlled laboratory environment. However the positives of having an outdoor, interactive training regime including height and trust exercises, helps build individual and group confidence. Needed to assist in any potential situation which may arise during the trip into space.
M I C R O - G R AV I TY EN V I R O N M EN TS
A potential revenue stream for the commercial Spaceport is the training exercises linked with space travel. These routines are essential for training astronauts, but also offer visitors the chance to experience a thrill without the increased cost. Turning the Spaceport into a “theme park� environment, through microgravity, sky dive, dive tank and G-Force exercises. This helps keep the awe wonder and uniqueness of space travel, it may become more prevalent but this level of excitement will not wane.
P L A N E S TO R E
The Plane store is the last place the tourist sees before entering the runway. After completing training and being authorised to fly. The potential space tourist will wait in the boarding gates, before the announcement of which bridge to take. Once over the swing bridges, the tourist will board the plan and wait for clearance on the runway. Beginning their trip into space.
D EV EL O P M EN T The culmination of the project not only lies in the series of components which make up the architecture of the Spaceport, but lies in the viewing and interpretation of images. Creating an image style which focuses on giving a glimpse of reality. Focusing on the movement and reaction of light rather than the built form. The architecture is one of a glimpse. Catching a moment in time, which occurs at changeable speeds, along the course of an experience which to date few have achieved.
D EV EL O P M EN T
D EV EL O P M EN T
D EV EL O P M EN T
D EV EL O P M EN T
D EV EL O P M EN T
S TAG ES O F FL I G H T
B OA R D I N G
P R EPA R I N G FO R L AU N C H
TA K E- O FF
I N FL I G H T
TH E S P L I T
S PAC E
B EG I N N I N G O F TH E EN D
H I TTI N G TH E TA R M AC
S L OW I N G TO A HALT
EN D
Deve l opme n t I mage - Th rou gh th e eyes of th e S paceplane Initial Site Perspective Developing a Typology through interactions of light, speed and experience Viewing Architecture as a composite of time
S paceport Com plex Proposed Site Plan encapsulating the immediate public side to the Spacepor t and focus of the design project
S paceport Com plex Site axonometric focusing on the entire complex from arrivals to depar tures
S paceport Com plex Proposed Section 01 Looking at the entrance to the complex
S paceport Com plex Proposed Section 02 Focusing on the plane storage hanger
S paceport Com plex Proposed Section 03 Through the centre of the complex including the control tower
S paceport Com plex Proposed Section 04 Cut through the training wing, including dive tanks
S paceport Com plex Proposed Section 05 Focusing on the visitor experience, from museum, lounge to obser vation
S paceport Com plex Proposed Section 06 Focusing on the VIP experience, from lounge to accommodation
R ef lection of th e entrance A look into one of the entrance, guarded by security and flanked by visitor experiences The image focuses on the unknown arrival
Controlling th e skies View from the control centre, monitoring the complex Interrogating the experience through; light, speed and intrigue
Distorting th e view Adaptations of speed, light, resistance focusing on the distor tion of the control towers lookout depending on speed of the planes
Departu res - Th e Mu seu m The tourist and front end to the facility Replicating the vast expanses of the airpor t terminal
Th e boarding gate The pivotal centre to the complex Co-ordinating all movement of tourists, visitors and astronauts
I nside th e training wing On the ground view of the complex, focusing on the training wing, dive tanks and sky dive tubes.
View from th e top The staff view from the control tower Monitoring all movement, speed, light and resistance
R esistance of S peed La nd ing t he spa ce pla ne o n t he ru nway Co n te st ing wit h a n a rray o f fo rce s bring ing t he jo u rney to a n e nd
Th rou gh th e eyes of th e S paceplane Developing a Typology through interactions of light, speed and experience. Viewing Architecture as a composite of time.
Experiencing th e ru sh Architecture as a composite of time, speed and movement Focusing on the launch and beginning of the experience