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Thread: WTC Transit Hub - by Santiago Calatrava

  1. #136
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    Good point. Maybe there will be heating conduits within the wings to melt the snow? Then it would just employ the same apparatus it would use to channel or recycle rainwater.

  2. #137

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    Shouldn't the steep slope of the roof take care of all that?

  3. #138
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    Quote Originally Posted by dbhstockton
    Shouldn't the steep slope of the roof take care of all that?
    Take care of the snow or the rain?

  4. #139

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    http://www.chicagotribune.com/

    Copyright 2004, Chicago Tribune. All Rights Reserved.

    Sunday, February 22, 2004

    Calatrava's ground zero design flies to new heights
    By Blair Kamin, Tribune architecture critic.

    While Frank Lloyd Wright drew inspiration from the forms of nature, designing
    skyscrapers that suggested the tree-and-branch structure of a tree, Santiago
    Calatrava often finds his artistic sources in the bodies of living creatures.
    His buildings, it's been said, are "zoo-omorphic," variously evoking the wings
    of a bird, the belly of a whale, or the skeleton of a cat. Visitors who have
    toured Calatrava's stunning addition to the Milwaukee Art Museum, which flaunts
    a sunshade that opens and closes like the wings of a giant bird, intuitively
    understand this idea. And now they are likely to realize something else: The
    Milwaukee project, which was Calatrava's first American building and which
    opened one month after the Sept. 11, 2001, terrorist attacks, was a kind of
    off-Broadway tryout. Now Calatrava plans another moving, winglike structure --
    a $2 billion commuter railway station at the World Trade Center.

    That design, unveiled last month and expected to be finished in 2009, seems
    destined to become the finest piece of architecture at ground zero, head and
    shoulders above the awkward "Freedom Tower" that resulted from the stormy
    collaboration between architects David Childs and Daniel Libeskind. The transit
    station will simultaneously provide a grandly scaled civic gateway to lower
    Manhattan and the kind of light-washed, cathedral-like public space that
    Chicagoans and other visitors rave about in Milwaukee.

    More with less

    In key respects, however, the station is an architectural refinement of the
    Milwaukee addition. It's simpler, doing more with less. That is all to the good
    because Calatrava can be his own worst enemy, designing outlandish, over-the-
    top stuff, like his new opera house in the Canary Islands. There, a huge
    curving element swoops menacingly over concrete shells. It's sheer spectacle
    and showmanship.

    Happily, there will be none of this excess in lower Manhattan, where Calatrava,
    in association with DMJM + Harris and the STV Group, proposes a railway station
    with several underground levels that will serve PATH commuter railroad trains
    between New York and New Jersey, plus city subway trains.

    Yet like any Calatrava transportation project -- the 52-year-old Spanish- born,
    Zurich-based architect and engineer is internationally renowned for bridges as
    well as airports and railroad stations -- this transit station is much more
    than an anonymous building that moves people from Point A to Point B.

    A better plan

    Calatrava's design improves on Libeskind's ground zero master plan, which
    attached the transit station to a skyscraper and placed it in the middle of a
    block. By making the station free-standing and by shifting it northward,
    Calatrava puts it squarely at the crossroads of the new Trade Center -- kitty-
    corner from the Freedom Tower site and directly across the street from the
    planned "Reflecting Absence" memorial by Michael Arad and Peter Walker.

    Beyond the obvious logic of putting the station where the people are, the move
    will allow a small east-west street to be rebuilt, making it easier for cars
    and pedestrians to get around. It also makes a virtue of one of the more
    controversial parts of Libeskind's master plan -- the so-called "Wedge of
    Light," a proposed outdoor plaza that the architect claimed would be bathed in
    sunlight every Sept. 11 from 8:46 a.m. (marking the moment when the first plane
    hit the trade center) to 10:28 a.m. (when the second tower collapsed).

    That idea did not withstand the scrutiny of critics, who charged that nearby
    towers would block the sun for much of the time. Yet Calatrava has astutely
    honored it, aligning the main axis of the transit station with the southern
    edge of Libeskind's Wedge of Light. The move lends his diagonally oriented
    building, which might have dismissed as a free-standing sculptural object, a
    convenient historical rationale.

    "It gives you a testimony of time in the ground," Calatrava said Thursday in a
    telephone interview from Jackson Hole, Wyo., where he was on a ski vacation.
    Libeskind has warmly endorsed the plan, in contrast to his tussles with Childs
    over the Freedom Tower.

    At street level, Calatrava's transit station will resemble a great bird that
    alighted on a landscaped plaza, breaking up the dense cluster of skyscrapers at
    the new Trade Center. But its true merits are architectural.

    In contrast to the Milwaukee museum addition, which is part-bird and part-ship
    due to the prowlike extensions of its main reception hall, the station is a
    pure oval, its forms uncluttered and uncompromised.

    The station's steel ribs would extend upward to form a pair of canopies that
    suggest wings, but the canopies would not open and close completely, as the
    sunshade does in Milwaukee. Instead -- on warm days in the spring and summer,
    and on each Sept. 11 -- the canopies could be retracted hydraulically to form a
    45-foot-wide opening. That would open the station to the sky, a poetic gesture
    that would subtly memorialize those who died in the terrorist attacks.

    The canopies also may have a practical value, or so Calatrava claims. With each
    canopy cantilevering 140 feet, he said, the overhangs will protect pedestrians
    from the wind and the rain. Yet they seem so dramatically raked that it's hard
    to imagine them providing shelter from the weather. Opening the concourse's
    roof, on the other hand, should save on energy costs and prevent the building
    from becoming an overheated greenhouse.

    To Calatrava's credit, the birdlike pavilion is simply the most visible part of
    a design that has greater depth, both literally and figuratively, than the
    Milwaukee museum addition.

    Lighting the depths

    In Milwaukee, the grand gesture of the reception hall and its winglike sunshade
    provide the museum an iconic image. At ground zero, such imagery is more
    closely integrated with the rest of the building: Not only will the new
    pavilion shelter a clear-span, cathedral-like concourse. It will bring light
    down to three lower levels of concourses, mezzanines and platforms.

    Based on Calatrava's computer simulations of the station, these interlocking,
    subterranean spaces promise to be astonishing. Topped by concrete ceilings with
    arching ribs, they appear expansive and inviting, brilliant demonstrations of
    structural art. Glass block floors and light wells will bring natural light
    into them. And Calatrava plans to endow them with additional drama.

    As he did in Milwaukee, where the lyrical concrete columns of the museum's
    underground parking garage give way to the even more dazzling steel-and-glass
    tent of the reception hall, Calatrava will shift from concrete to steel as the
    visitor ascends within the transit station.

    On days when the pavilion roof opens, the building will dematerialize into the
    sky. Throughout the year, the station should suggest, with great subtlety, a
    phoenix bird rising from the ashes.

    Calatrava's design is at once a return to the tradition of grand New York
    transit hubs, such as the restored Grand Central Terminal and the demolished
    Pennsylvania Station, and a new kind of transit architecture that relies not
    classical facades, but a dazzling integration of structure and form. It is not
    spectacle, but art.

  5. #140

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    If anyone one is interested in a video rendering of the WTCTransportation Hub with the preliminary 1776 Freedom Fower and five office tower go to Calatrava’s firm site.http://www.calatrava.com

    1. click WTC Transportation Hub
    2. bottom you should see: Video
    3. enjoy

  6. #141

    Default Calatrava building

    I have lately returned from Milwaukee, where I was working on the installation of an exhibition in the new Calatrava-designed wing. I was very impressed with more that the look of the building. I was delighted with how well it worked and how well its form was married to its function. Of particular interest to me was the ease of traffic flow both for visitors and for workers such as myself, especially when I compared it to the equally new Geary building I was in the following week, which suddenly seemed all about the shiny bauble of the roof yet with cramped and mundane interiors.

    The Milwaukee Art Museum reaffirmed my belief in the positive transformative effect of great architecture. I look forward to passing through Calatrava's PATH station in my future trips to Newark.

  7. #142

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    When the design for the transit station came out I knew I had seen something similar to it before. I think I found the proposal about 3 years ago on the Roosevelt Island web site.

    Roosevelt Island Memorial Park and Restaurant Pavillion

  8. #143
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    Did Calatrava do that?

  9. #144

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    Yes. I remember it now. It couldn't be financed.

  10. #145
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    Seems like a rough sketch. Very similar to the PATH terminal, but it cannot be denied that all of his works have a common theme. The similiarities may have been the result of past inspiration, or merely coincidence.

  11. #146

  12. #147

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    Note that two models of the PATH station are on display at MoMA Queens...

    ...There was an image available with this article that I could not access. It may be a new rendering - can someone check it out?


    CITY ARTS

    A glimpse of the future WTC transit pavilion

    BY STEVE DOLLAR

    May 9, 2004

    That once and future site of the World Trade Center is gradually bounding back. Take a nighttime PATH train to the transportation hub adjacent to the spot and, for now, you'll get an eerie glimpse of Ground Zero under reconstruction.

    It's a spooky inside view that would have been inaccessible to the public eye before rail service resumed. But, as grand and grandiose plans for a new WTC - and a Sept. 11, 2001, memorial - are unfurled, debated and rethought, there is a reviving air of promise below Canal Street.

    Much of that is embodied in Spanish artist Santiago Calatrava's designs for the concourse and street-level entrance to the site's transit center. This commission from the Port Authority of New York and New Jersey transcends what is usually thought of as civic architecture. The glass-and-steel pavilion will boast an exterior composed of two interlocking canopies - wings that rise 168 feet high, and can be hydraulically retracted. Symbolically, according to the architect, this represents an image of hope: a bird flying free from a child's open hands.

    Two scale models of Calatrava's design are on display at the Museum of Modern Art Queens through Sept. 27, providing a sneak preview of New York's future. "He has the incredible ability to take the infrastructure of daily life and turn it into something spectacular," says Terence Riley, the MoMA chief curator of architecture and design who organized the exhibit as part of an ongoing display of significant works of civic architecture. "This isn't just a baby step. This will restore a great amount of dignity and civic pride to downtown."

    The project is a part of the Downtown Design Partnership, a joint venture of the firms DMJM+Harris and STV Group, along with Calatrava's company. Though construction won't be complete until 2009, the models can give viewers a sense of things to come. Of course, that doesn't happen without the architect's having to tangle with the past. As Riley notes, those four major subway lines running into TriBeCa and the Financial District were originally operated by competing companies, which had scarce concern if their services overlapped and resisted any standard form of operation. But the beauty of the designs is how they tie all of this together and make it seem somehow logical.

    But even more significantly, Calatrava has managed to sway bureaucratic tastes, not necessarily known for their artistic acumen. "He has the advantage of being an extraordinarily courtly gentleman and of being from out of town," Riley says. "And like [noted California architect] Frank Gehry, he has an innate instinct for the kind of architecture that really inspires public authorities. He gets people to loosen up the purse strings."

    MoMA QNS is located at 33rd Street and Queens Boulevard, Long Island City. Admission is $12. Hours are Thursdays, Saturdays, Sundays and Mondays 10 a.m.- 5 p.m., Fridays 10 a.m.-7:45 p.m.; call 212-708-9400 or visit www.moma.org .

    Copyright © 2004, Newsday, Inc.

  13. #148
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    Quote Originally Posted by maxinmilan
    simply, a masterpiece
    Hello innovative design excellence and awe-inspiring public and mass transit spaces. We've missed you...

  14. #149
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    Indeed, Billy.

  15. #150

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    Sometimes I catch myself thinking that we're not worthy, but I quickly snap out of it...

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