Laser-cut stainless steel creates an intricately patterned surface on the walls of this upgraded metro station in Amsterdam by architecture firm Maccreanor Lavington (+ slideshow).
Maccreanor Lavington‘s Rotterdam studio overhauled the 1970s Kraaiennest station in the Bijlmermeer neighbourhood of Amsterdam, increasing its capacity and modernising its facilities.
The decorative steel screens surround the new ground-level entrance, allowing natural light to filter inside during the day. After dark, lights glowing from within transform the structure into a glowing beacon that makes it easy for locals to find.
“At night time the design allows the station to be a lantern for the local neighbourhood,” said the architect in a statement.
As well as the laser-cut panels surrounding the base of the station, the opaque upper walls are also made from stainless steel. The architect says this material will age well and need little maintenance.
Unlike the old station, which only offered stairs, the new facility incorporates a series of escalators to transport passengers up to the platform. This will help it offer regular transport to around 100,000 local residents.
The upgraded Kraaiennest station is the latest in a series of infrastructure improvements underway in the 1960s neighbourhood. It follows the 2008 completion of Grimshaw’s Bijlmer Station, which was shortlisted for the RIBA Stirling Prize.
Here’s a project description from Maccreanor Lavington:
New €14 million Metro Station completed in Amsterdam
London and Rotterdam based architecture firm, Maccreanor Lavington has completed a major new metro station in Amsterdam, Netherlands.
The new 550m² station and 1,880m² platform in the neighbourhood of Bijlmermeer started on site in 2010 and sits on the site of the original station, built in 1970.
The metro station features a ground level entrance with new escalators to take passengers up to the platforms, a major improvement for citizens as the old station only had stairs. The ground level entrance provides the main focal point of the station with an elegant stainless steel facade with a floral design. The laser cut design allows plenty of natural light to flow through the entrance, helping the passenger journey to seamlessly flow from the external surroundings into the station.
At night time the design allows the station to be a lantern for the local neighbourhood, creating a sense of warmth on street level and creating an instantly recognisable feature for the station. The architects’ chose stainless steel for the external facade due to its durability and low maintenance enabling the station not to need constant upkeep.
Since the beginning of the late 1990s the area has seen massive investment transforming it from its previous negative public opinion and now making it a thriving suburb of Amsterdam.
Now completed, the station will be in use by over 100,000 residents in Bijlmermeer, a vast increase on the number of users from when the station first opened and completes one of the biggest urban regeneration projects in Europe in recent history.
An angular metal-clad canopy now projects over a public square at the entrance to Rotterdam Centraal station, which reopened last week following an extensive remodelling by a team including Dutch firm Benthem Crouwel Architects (+ slideshow).
A project team called Team CS, comprising Benthem Crouwel Architects, MVSA Architects and landscape firm West 8, was tasked with redeveloping the existing station built in 1957, which was struggling to meet the demands of a modern transportation hub.
The architects expanded the main station complex and updated the surrounding public spaces to improve the building’s integration with its urban context.
“The new station is not only larger, brighter and more orderly than the former, but also has an international feel; it beautifully complements both the efficiency of the hi-speed stop and Rotterdam city’s bold ambitions for urban development and renewal,” said the architects in a statement.
A modest entrance on the north side of the station reflects the character of its historic surroundings and the smaller number of passengers who use it, while the shiny canopy above the main entrance signals the station’s presence to those approaching from the city.
“The roof of the hall, fully clad with stainless steel, gives rise to the building’s iconic character and points to the heart of the city,” said the architects.
The underside of the projecting structure is partly clad in wood and envelops a glazed wall that opens up to a bright forecourt with an angular wooden ceiling.
“The wood finish on the inside of the hall, combined with the structural wooden beams of the platform roof creates a warm and welcoming ambience, inviting visitors to linger,” the architects added.
Stone floor slabs with a reddish hue continue from the esplanade into the station’s forecourt, helping to enhance the connection between the external and internal spaces.
Parking for 750 cars and 5200 bicycles is hidden away underneath the esplanade. Meanwhile, services for buses, taxis and trams, have been relocated to free up space for pedestrians.
The roof above the platforms is made from glass so passengers arrive into an airy space filled with natural daylight. Light also reaches the lower levels through large voids containing staircases and escalators.
Solar panels partly covering the roof have a high level of transparency to prevent them reducing the amount of light entering the station.
A narrow horizontal LED screen in the main hall was donated by the Port of Rotterdam and displays imagery relating to the city’s heritage as an important port.
Photography is by Jannes Linders, apart from where otherwise stated.
Here’s some more information from the project team:
Rotterdam Centraal
Rotterdam Centraal Station is one of the most important transport hubs in The Netherlands. With 110,000 passengers a day the public transport terminal has as many travellers as Amsterdam Airport Schiphol. In addition to the European network of the High Speed Train (HST), Rotterdam Centraal is also connected to the light rail system, RandstadRail. With the advent of both the HST and RandstadRail the number of daily travellers at Rotterdam Centraal is expected to increase to approximately 323,000 by 2025.
Rotterdam HST is the first stop in the Netherlands when travelling from the south and is strategically positioned in the middle of Europe, with Schiphol only twenty minutes and Paris a mere two and a half hours away. Hence the new station is not only larger, brighter and more orderly than the former, but also has an international feel; it beautifully complements both the efficiency of the Hispeed stop and the Rotterdam city’s bold ambitions for urban development and renewal. The station matches in all respects the practicality, capacity, comfort and allure, of the central stations of Madrid, Paris, London and Brussels.
Integration in urban environment
One of the fundamental challenges of Rotterdam Centraal station was the difference in the urban character of the north and south side of the station. The entrance on the north side has a modest design, appropriate to the character of the neighbourhood Provenierswijk and the smaller number of passengers. The entrance gradually connects to the city. In the Provenierswijk the character of the 19th-century Dutch provincial town is strengthened. Large architectural extensions are avoided on this side of the station, the presence of green is ameliorated and the station is transparent.
In contrast, the grand entrance on the city side is clearly the gateway to the high-rise urban centre. Here the station derives its new international, metropolitan identity from the hall made of glass and wood. The roof of the hall, fully clad with stainless steel, gives rise to building’s iconic character and points to the heart of the city.
Now Rotterdam Centraal has the appropriate structure and dimensions for the urban landscape; it is in balance with the heights that characterise the metropolis and simultaneously reflects the human scale. The city of Rotterdam is drawn to the new station via the compaction of the small-scale urban texture surrounding the public transport terminal. The entire railway zone becomes one with the city. This finer urban texture with new sight lines and a mixture of living and working will dramatically improve the quality of life and the environment of the station area.
The esplanade in front of the station is a continuous public space. To achieve this simplicity a parking garage for 750 cars and a bicycle shed for 5,200 bicycles are located under the square. The tram station is moved to the east side of the station, so the platforms broaden the square. Bus, tram, taxi and the area for short-term parking are integrated into the existing urban fabric and do not constitute barriers. The red stone of the station floor continues into the forecourt, merging the station with the city. Pedestrian and cycling routes are pleasant and safe and arriving travellers now have dignified entrance to the city, free from traffic.
Incorporation of natural light, the warmth of the sun’s rays and a modern look are important elements in the design. The platform roof on the Proveniersside is transparent. When the train drives into the station, there is an almost tangible feeling of being enshrouded in the station building. Upon entering in the bright high hall through the centre side, the traveler gets an overview of the entire complex and a view to the trains that are waiting invitingly along the platforms.
The wood finish on the inside of the hall, combined with the structural wooden beams of the platform roof creates a warm and welcoming ambience, inviting visitors to linger. The largely transparent roof structure which covers all the tracks over a length of 250 meters, flood the platforms with light. The glass plates of the roof vary the level of light transmittance by utilising different solar cells patterns, which produce an ever-changing and fascinating play of shadows on the platforms.
The routing through the station is logical; travellers are guided by a direct view of the trains and by the daylight that penetrates to the traveler’s passage via the voids that extend through the transparent roof platform and down to the stairs. Because of its transparency the widened traveler’s passage, lined with commercial functions, forms a natural part of the station. Escalators, lifts and stairs lead up to the new platforms, which feature inviting and comfortable platform furniture. On the west side of the station there is a footbridge over the tracks for travellers in transit. This footbridge also functions as an escape route in the event of an emergency.
The passenger terminal is a national and international hub that connects train, tram, bus and subway. The public transport terminal is designed for passenger comfort, which is visible in the different zones of the station. It includes commercial spaces, a lounge, restaurants, offices, parking for cars and bicycles. In the spacious concourse the passenger service functions are conveniently arranged. There is travel information, an information point, the Dutch Railways (NS) travellers shop, ticket vending machines and commercial functions. The grand café and the NS-lounge offer spectacular views across the hall and the adjacent tracks. Waiting areas in the hall and the passage are linked to the passenger flows, with areas both for browsing and quick shopping.
The new Rotterdam Centraal Station is a pleasant, open and transparent public transport terminal which functions as an iconic meeting point. Interwoven into the urban network, the station connects the diverse characters of the city and marks the beginning of Rotterdam’s cultural axis. This modern and efficient building offers travellers to and from the port city all the amenities and comfort they could want or need in the present and the future.
Windows with 130,000 solar cells cover 10,000 m2 of the total roof area of 28,000 m2. This is the largest application of solar energy in a station roof in The Netherlands and is also one of the largest rooftop solar projects in Europe. The solar cells are placed on the parts of the roof that get the most sun, taking into account the high buildings around Rotterdam Centraal. The glass panels vary in light transmittance by using different patterns in the solar cells. Where the roof has the greatest efficiency in terms of sunlight, the cell density is the highest. The solar cells that are integrated in the roof have a high degree of transparency, so there is ample light. The solar cells represent an 8% reduction in the station’s CO2 emissions. The cells are expected to generate 320 megawatt per annum, which is enough energy for 100 households.
The former station was designed by Sybold of Ravesteyn in 1957. However, this post-war building was no longer suitable for the current passenger numbers and complexity of the transport hub. In order to maintain the connection with the past after the demolition of the building, several characteristic elements from the former station can be found in the new Rotterdam Centraal. The Speculaasjes, two typical granite sculptures are placed above the access to the bike tunnel. The beginning of the esplanade is defined by two flagpoles, which were also part of the former station. Moreover, the letters ROTTERDAM CENTRAAL and the station clock are proudly displayed on the current façade as a tribute to the past.
In the main hall of the station a LED screen of 40 x 4.5 meters has been installed. To emphasise the importance of the port and to strengthen the bond between the city and the port, the Port of Rotterdam donated the LED screen to the City of Rotterdam. By showing elements of the port on this LED screen, the Port of Rotterdam wants to give the thousands of travellers who arrive daily in Rotterdam the feeling that they have entered a port city, even though the port has slowly disappeared from the cityscape, due to seawards development. Now travellers can enjoy views of Europe’s largest port at all hours and times of the day.
Team CS is a cooperation between Benthem Crouwel Architects, MVSA Meyer en Van Schooten Architecten and West 8. This unique combination of designers came to existence in 2003, when the competition for the new Rotterdam Centraal was issued.
Client: Gemeente Rotterdam and ProRail Architect Team CS: a cooperation between Benthem Crouwel Architects, MVSA Meyer en van Schooten Architecten and West 8 Gross floor area: 46,000 m² Gross floor area urban design: 50,000 m² Location: Stationsplein 1, 3013 AJ Rotterdam, The Netherlands Lead architects: Jan Benthem, Marcel Blom, Adriaan Geuze, Jeroen van Schooten Project team: Arman Akdogan, Anja Blechen, Freek Boerwinkel, Amir Farokhian, Joost Koningen, Joost van Noort, Falk Schneeman, Daphne Schuit, Matthijs Smit (†), Andrew Tang, Wouter Thijssen, Joost Vos Structural engineer: Arcadis and Gemeentewerken Rotterdam Mechanical services: Arcadis and Gemeentewerken Rotterdam Building physics: Arcadis and Gemeentewerken Rotterdam Contractor: Bouwcombinatie TBI Rotterdam Centraal (BTRC), Iemants NV (zuidhal)
This new metro station in Leipzig, Germany, by Swiss architect Max Dudler comprises a 140 metre-long tunnel made up of illuminated glass blocks.
The Wilhelm-Leuschner-Platz S-Bahn station is one of four stops along the new Leipzig City Tunnel railway line that has been under construction for over ten years and is set to open next month, creating a new link between some of the city’s major stations.
Swiss architect Max Dudler, whose previous projects include a glowing library and a castle visitor centre, won a competition to design the station in 1997 with his proposal for a glowing tunnel with a gently curved concourse and raw concrete details.
Back-lit glass blocks are arranged in groups within a concrete framework to create large glowing squares across the entire length of the walls and ceiling.
“The seemingly endless repetition of the same element in the course of the slightly curved, light-filled hall increases the sensation of the dimensions of this already large structure,” said the studio.
The station platform is covered in pale terrazzo and interspersed with concrete volumes that form seating areas and signage boards.
“All station furnishings of the station are arranged as geometric concrete sculptures,” added the studio.
Entrances are positioned at the north and south ends of the platform, where solid concrete staircases are sandwiched between escalators. At street level, these entrances are contained within rectilinear structures that were also constructed using glass blocks.
Photography is by Stefan Müller.
Here’s a project description from the design team:
Wilhelm-Leuschner-Platz Station
S-Bahn trains will cross beneath the centre of Leipzig from December 2013. This is when the 5.3 kilometre long city tunnel Leipzig, a joint development of Deutsche Bahn AG and the Free State of Saxony, will be completed. Wilhelm-Leuschner-Platz / Platz der Friedlichen revolution station on the southern end of the historic city centre is one of four stations of the major project that is currently one of the largest inner-city infrastructure projects in Europe.
The design of the station is based on architect Max Dudler’s successful competition entry from 1997. The Swiss architect’s impressive 140 metre long and 20 metre wide station concourse has just recently been awarded the city of Leipzig’s architecture award.
The station concourse, with a rectangular section and a slight longitudinal curve, is situated 20 metres below ground. Walls and ceilings of the elongated, column-free hall are clad with large, backlit prefabricated glass blocks set into a framework of fair-faced precast concrete. This gives the station concourse a bright and spacious feel. Extreme repetition of one and the same motif makes its actual dimensions almost intangible for passengers.
The light-coloured, jointless terrazzo flooring of the insular platform acts as a quiet counterpoint to the seemingly endless pattern of the walls. All necessary station furniture is arranged on the platform in the shape of geometrical concrete sculptures, all functions such as seating, timetables and ticket machines having in a sense been subtracted from or carved out of the concrete cubes.
The station concourse’s supporting structure of precast reinforced concrete is not visible behind the glass block cladding. The wall elements of the glass block envelope are anchored to a steel substructure on the tunnel wall. The ceiling elements are suspended from the building shell.
Passengers access the station through the entrances on the north and south ends of the station that are fitted with solid staircases, escalators and elevators. The architectural design of the two entrances is in deliberate contrast to the filigree, seemingly transparent station concourse. As soon as they dip beneath the surface of the square, the staircases and their inner casings are made entirely of fair-faced concrete. The minimalist, almost coarse design conveys an impression of descending towards the interior of the earth, as if it was tunnelled directly into the rock.
The stairs and the platform combine seamlessly into a monolithic ribbon. Similar to the station concourse, the aboveground entrance buildings have also been fitted with glass block components. They will help bring the square to life when illuminated at night.
Wilhelm Leuschner was a social democrat politician and part of the resistance against National Socialism. Formerly known as Königsplatz, this square in Leipzig was renamed Wilhelm-Leuschner-Platz in his honour in 1945. In 2013 it was finally renamed “Platz der Friedlichen Revolution” to honour the important role it played during German reunification.
This railway station in the Netherlands by Dutch studio NL Architects comprises a cross formation of shipping containers that frame a transparent waiting room and cafe (+ slideshow).
NL Architects designed the Barneveld Noord station for Dutch national railway service ProRail, which is upgrading 20 stations across the country as part of a campaign called Prettig Wachten, or Pleasant Waiting. The aim is to make waiting for trains a more comfortable experience for passengers.
“One of the keys to the success of Prettig Wachten is to introduce human presence on these stations, to create some sort of informal supervision,” said the architects, explaining the concept to add features such as WIFI and artwork to stations.
The architects used shipping containers to create a temporary structure that could easily be relocated.
“Containers seemed a cheap and light material that can easily be put together and taken apart, ” the architects told Dezeen. “These huge building blocks allowed us to create a large sculpture with minimal effort.”
Three of the containers form a roof above the glazed waiting room. One has an open bottom, creating a double-height space, while the other two are sealed to provide overhead storage.
A fourth container has been flipped on its side to form a clock tower in the middle of the structure. A toilet is located inside, with a skylight overhead to let in natural light.
A gilded chicken sits on the top of the tower, as a reference to the local egg farming industry that earned the route its nickname “chicken line”.
Photography is by Marcel van der Burg, apart from where otherwise indicated.
Here’s a project description from the architects:
Barneveld Noord
ProRail, responsible for the railway network in the Netherlands, together with the so-called spoorbouwmeester Koen van Velsen (the national supervisor for railway architecture) started a campaign to make waiting more comfortable: Prettig Wachten.
Photograph by Bart van Hoek
Travellers experience waiting on a station as much longer then waiting within a vehicle. Surveys have indicated that waiting time is experienced as three times longer than it actually is. In this respect especially small and medium sized stations proof a big challenge. These smaller stations are usually unmanned, desolate, often creating a sense un-safety. What can we do to improve them?
The waiting areas of in total twenty stations throughout the country will be upgraded, both functionally and cosmetically: introduction of washrooms, wifi, floor heating, railway TV. Or art! One of the keys to the success of Prettig Wachten is to introduce human presence on these stations, to create some sort of informal supervision.
Photograph by Bart van Hoek
An effort is made to create small multifunctional shops. In Wolvega for instance a flower shop will be opened, the florist will also be serving coffee and will even be cleaning the restrooms.
Photograph by Bart van Hoek
In Barneveld Noord a bike-repair shop will be included run by people that are ‘differently able’. They will contribute to the maintenance and hopefully prevent the broken window syndrome. In Barneveld Noord a new station will be build. Well station, perhaps more a bus-stop. But then again, quite an intriguing bus stop. It is supposed to be a temporary structure. Hence the station will be build out of shipping containers. The containers contain space, but also form space. They will be combined into an explicit arrangement. Together they form an ambiguous but strong sign. Minimum effort, maximum output.
Long section
Three containers are ‘suspended’ in the air. Together they form a ‘roof’. One contains the installations, the other storage. The third will be opened at the bottom. It forms the headroom for the enclosed but fully transparent waiting area, creating a double high space.
Cross section
The fourth container is flipped to an upright position. It makes an instant tower. The tower contains a clock. And a wind vane. Since Barneveld is the egg capital of the Netherlands – the station is located on the so-called Chicken Line – not the typical rooster will be mounted, but a gilded chicken. The tower holds a lavatory, 11.998mm high, topped by a glass roof. Royal Flush.
Front elevation
Project: train station in the framework of Prettig Wachten, 2011, Completion: 2013 Initiative ‘Prettig Wachten’ and Supervision: Spoorbouwmeester Koen van Velsen / ProRail Client: ProRail NL Architects: Pieter Bannenberg, Walter van Dijk, Kamiel Klaasse Project Architect: Gerbrand van Oostveen Team: Kirsten Hüsig, Barbara Luns, Gert Jan Machiels and Gen Yamamoto with Aude Robert and Christian Asbo Consultant: Movares Contractor: Strukton
News: British designer Thomas Heatherwick has been commissioned to design a string of metro stations for Beijing and is also bidding to develop two new stations on the London Underground.
Thomas Heatherwick, who is currently travelling with London Mayor Boris Johnson on a trade mission to China, has so far been appointed to work on two stations for the Chinese capital, which plans to add 125 miles to its underground rail network, but could develop an entire line with as many as 20 stations, according to a report in the Evening Standard.
“There will be a chance to think about the whole line as an entity, as a character and my interest would be how you could make that feel more distinctively Beijing,” he told the paper.
Heatherwick has also made an informal bid to work on the extension to the Northern Line in London, which if approved would see new stations constructed in Nine Elms and Battersea.
Seeing off competition from architects including Zaha Hadid and Grimshaw, Herzog & de Meuron and Hassell‘s proposals were selected by a panel of architects and experts as the preferred option for the overhaul of the nineteenth-century Flinders Street Station and its surrounding spaces, including the restoration of the iconic dome and clock tower.
The winning design includes the construction of a new barrel-vaulted roof structure that envelops the station and brings dappled light and ventilation onto both new and improved station concourses. The architects also plan to add a new public art gallery dedicated to oceanic and contemporary art, a public plaza, a marketplace, an amphitheatre and a permanent home for some of the city’s cultural festival organisations.
Existing taxi ranks would be located to a more suitable location on Flinders Street, while the existing tram stop would be redesigned and a new cycle route would be inserted beneath the station in an old concourse, connecting with existing routes along the Yarra River.
“Our proposal respects the heritage, improves all aspects of the transport hub, and underscores its central civic nature with new cultural and public functions for all residents and visitors to Melbourne,” says the design team on the competition website.
The judges praised the scheme for its “beautiful and compelling integration of aspects of the original station design” and supported the decision to keep the height down on the east side, but increase it to the west.
“The extended vaulted forms provide a distinctive branding for the city, their eastern elevation to Swanston Street imaginatively recalls the intended – but not executed – proposition by Fawcett and Ashworth [the architects of the existing station building] of a family of variously scaled vaults,” they said. “At the same time, however, the language is clearly contemporary, underlined by the fact that the new line-up of vaults is bracketed by the pair of historic Flinders Street Station buildings facing the Swanston Street concourse.”
They continued:” The main train hall offers a celebratory experience of rail travel; its light-weight structure promises a filigree of ever-changing dappled light while providing ventilation, shelter and way-finding. The vaulted form will appeal to the universal collective memory of the great station terminuses of the past”.
The architects are awarded a $500,000 (£300,000) prize and the Victorian Government has two years to decide whether to proceed with the scheme.
The same team was not the winner of the public vote, as proposals by Colombian architects Eduardo Velasquez, Manuel Pineda and Santiago Medina topped the poll on the competition website.
Here’s a summary of the scheme from the competition website:
Flinders Street Station Design Competition Winner
Overall Design Merit
Decades after the people of Melbourne first talked about “meeting under the clocks” at Flinders Street Station, the HASSELL + Herzog and de Meuron proposal updates it for the 21st Century, turning it from a place to hurry through to a destination.
The overall design merit of the proposal can be seen in a new, major public art gallery, public plaza, amphitheatre, marketplace, and a permanent home for arts and cultural festival organisations. But we have also delivered the glory of the first 19th Century design for Flinders Street Station.
Transport Function
Transport function is greatly improved, with new or improved concourses making it easier to get in and out. New weather-proof vaulted roofs flood the platforms with dappled, natural light and ventilation. Taxi ranks are relocated to Flinders Street and the tram stop between the station and Federation Square redesigned to improve the connection across St Kilda Road. A bike path under the station through the old western concourse links cycle ways on the river and Elizabeth Street.
Cultural Heritage and Iconic Status
The cultural heritage and iconic status of the station is protected, with the built fabric that most people are familiar with – the Flinders Street building and corner entrance pavilion – are both retained, and paintwork returned to the original colours.
The vaulted roofs that greatly improve the passenger experience are inspired by features of the original design that were never realised. The new elements, particularly the Oceanic and Contemporary Art Gallery, enhance the station’s iconic status.
Urban Design and Precinct Integration
Good urban design and precinct integration breathe new life into the city, stitching it together. The restored station and the new art gallery fill the missing link between the cultural precinct encompassing St Kilda Road and Federation Square with the old Customs House and the Immigration Museum on Flinders Street.
The station itself is better integrated with the city, the river and Federation Square. Distinctive and memorable architecture sits with significant civic space and high quality public amenity.
News: Herzog & de Meuron, Zaha Hadid and Grimshaw are among the shortlisted architects in a competition to overhaul Melbourne’s iconic nineteenth-century railway station at Flinders Street.
Above and top: Flinders Street Station by Zaha Hadid Architects and BVN Architecture
Six international teams have been named on the shortlist for the $1 million redesign, which will see the modernisation of Melbourne’s busiest station and its surrounding spaces, as well as the restoration of the building’s period features.
Flinders Street Station by Hassell and Herzog & de Meuron
Flinders Street Station by Hassell and Herzog & de Meuron
UK firm Grimshaw and Australian studio John Wardle Architects have presented plans to reorientate the station, creating a network of bridges, underpasses, vaults and green space.
Flinders Street Station by NH Architecture
They face competition from local firm NH Architecture, which plans to create a new landmark by floating a glass lattice roof above the station’s additional concourses.
Flinders Street Station by NH Architecture
The shortlist is completed by ARM Architecture, who propose converting the old building into a school, and a team made up of Colombian architects Eduardo Velasquez, Manuel Pineda and Santiago Medina, with designs to add a garden over the roof.
Flinders Street Station by John Wardle Architects and Grimshaw
Each of the proposals retains part of the station’s historic facade. Completed in 1909, over 50 years after the station opened, its prominent dome and clock tower have become one of the city’s most recognisable landmarks.
Flinders Street Station by Eduardo Velasquez, Manuel Pineda and Santiago Medina
The Victorian Government has launched a website presenting all six proposals and is inviting the public to offer feedback and vote for their favourite. The final decision will be made by a panel of architects and experts, and will be announced on 8 August.
Alongside other firms Foster + Parters and SOM, the architects were invited by the Municipal Art Society of New York to look at the public spaces in and around the 100-year-old station then come up with a strategy for the future.
Like Foster + Partners, WXY Architecture proposes the pedestrianisation of Vanderbilt Avenue, above which an elevated deck would surround the base of the 250-metre-high MetLife Building.
The architects refer to this deck as a “podium park”, which would feature transparent glass paving and seasonal plants, plus routes for cyclists and pedestrians and spaces to pause for reflection.
“The plan for Midtown’s near future needs to make the Grand Central neighbourhood a place people enjoy being in not just running through,” said WXY’s Claire Weisz.
The new skyscraper would be constructed to the west of the station and the architects have imagined a pyramidal structure with vertiginous gardens that protrude from the facade.
All three architecture teams presented their proposals at the third annual MAS Summit for New York City last week.
Here’s a project description from WXY Architecture:
WXY Architecture + Urban Design was one of three distinguished firms invited by New York City’s Municipal Arts Society to create a vision for the future of the public areas around Grand Central Terminal and the surrounding East Midtown district. With deep experience in civic projects, the firm has proposed opening up more public space to city dwellers and visitors for enjoyment and reflection. The plan would also create inviting thoroughfares devoted to pedestrians and bicycle riders.
Proposed pedestrian and bicycle route – click above for larger image
“New zoning rules should trigger real transportation links to public space. One way is to harness the untapped potential of Grand Central’s edges” says Claire Weisz, one of WXY’s founding principals. “The plan for Midtown’s near future needs to make the Grand Central neighborhood a place people enjoy being in not just running through.”
WXY’s proposal would create a striking new ground transportation hub, through the following interventions:
» Transforming Vanderbilt Avenue into a pedestrian-only street, » Creating new public spaces around the base of the MetLife building, » Adapting the west side of the current Park Avenue Viaduct into an elevated pedestrian and bicycle path, with a glass floor and seasonal plantings, and » Introducing a new tower, featuring “sky parks,” on the west side of Grand Central Terminal.
Focusing efforts along 42nd Street and Vanderbilt Avenue, the plan by WXY Architecture + Urban Design restores pedestrian-friendly amenities to what had been an automobile-centric urban layout. The pedestrian/auto hybrid strategy includes making Vanderbilt Avenue a pedestrian-only walkway. The west side of the Park Avenue viaduct would become an elevated promenade featuring tall grass plantings and glass paving — a space for reflection hovering over the city bustle.
Proposed new entrances – click above for larger image
Combining walkable skylights with wide staircases and a multi-level approach, points of entry to the Grand Central area become unusual and gracious outdoor rooms that provide access and support to an expanded terminal city. Direct access to and links between the multiple subway and train lines — including the new East Side Access/LIRR lines — would be greatly expanded and improved.
Egress from the MetLife building’s base would become visually striking and yet relaxing to use, with escalators transporting travelers into a cleared podium park. Some years after completion, visitors exiting via these escalators will have the experience of being greeted first by the park’s grove of trees, a pleasant surprise in the Midtown East district. Surrounded by an active facade and a sky lobby above, the podium park presents an opportunity for a unique public event space.
WXY’s plan also includes a proposed obelisk-shaped tower west of Grand Central Terminal. The tower’s graceful, elongated pyramidal lines are broken at odd intervals by garden terraces that protrude like enormous window-box gardens, and feature seasonal plantings. The roof is likewise vegetated, reinforcing New York City’s renewed commitment to finding and creating green spaces for the health and enjoyment of its citizens.
The moving deck is one of several public realm strategies that the firm is promoting for the 100-year-old station, following an invitation from the Municipal Art Society of New York to re-think the spaces in and around the building.
SOM suggests that the hovering deck would would improve the quality of the public space around the building by offering an “iconic landmark” with a 360-degree panorama of the city skyline.
“Throughout the history of New York City, urban growth has been matched by grand civic gestures,” said SOM partner Roger Duffy.
The doughnut-shaped structure would be attached to the sides of two new office towers, which would fit in with the current rezoning proposals of the New York City planning department designating it as a commercial area.
The plans also include new pedestrian routes to help ease congestion, as well as a series of public spaces that are privately owned and managed.
SOM presents vision for Grand Central’s next 100 years
Skidmore, Owings & Merrill LLP (SOM) presented its vision for “Grand Central’s Next 100″ at the Municipal Art Society of New York’s third annual Summit for New York City. Led by partners Roger Duffy, FAIA, and T.J. Gottesdiener, FAIA, SOM’s design transforms the public spaces around Grand Central Terminal, creating new pedestrian corridors for increased circulation and visualizing innovative options for new public amenities.
The Municipal Art Society (MAS) challenged SOM to re-think the public spaces in and around Grand Central Terminal in celebration of the landmark’s centennial. The design challenge coincides with a rezoning proposal from the New York City Department of City Planning, which, if approved, would allow the development of new office towers in the area around Grand Central, thereby increasing the density around the station exponentially.
The proposed zoning would also require developers to donate to a fund that would make improvements to the infrastructure in the area, including additional access points to the subway platforms and a pedestrian mall on Vanderbilt Avenue. Along with Foster + Partners and WXY Architecture + Urban Design, SOM was one of three architecture firms invited by MAS to present ideas about the future of Grand Central Terminal’s public realm.
SOM’s vision proposes three solutions, all of which provide improvements – both quantitative and qualitative – to the quality of public space around the station. The first solution alleviates pedestrian congestion at street level by restructuring Privately Owned Public Spaces (POPS) to create pedestrian corridors through multiple city blocks, connecting Grand Central to nearby urban attractors.
The second is a condensing of the public realm through the creation of additional levels of public space that exist both above and below the existing spaces. These new strata would be funded privately but under public ownership – Privately Funded Public Space (PFPS).
The third proposal creates an active, 24-hour precinct around Grand Central Terminal in the form of an iconic circular pedestrian observation deck, suspended above Grand Central, which reveals a full, 360-degree panorama of the city. This grand public space moves vertically, bringing people from the cornice of Grand Central to the pinnacle of New York City’s skyline. It is a gesture at the scale of the city that acts both as a spectacular experience as well as an iconic landmark and a symbol of a 21st-century New York City.
News: architecture firm Foster + Partners has unveiled proposals to increase the capacity of New York’s Grand Central Terminal by widening approach routes and pedestrianising streets (+ slideshow).
The architects were one of three teams invited by the Municipal Art Society of New York to re-think the public spaces in and around the 100-year-old station, which was designed to serve around 75,000 passengers a day but often sees as many as a million passing through.
Foster + Partners’ proposals include the pedestrianisation of Vanderbilt Avenue to the west of the station, creating a public square at the entrance to the new East Side Access lines, surrounded by trees, cafes and public art.
The plans also include wider pavements and trees on the southern approach from 42nd Street and along Lexington Avenue to the east, while larger underground spaces would lead into the terminal from Park Avenue to the north.
Inside the station, wider concourses would help to ease congestion for travellers on the 4, 5, 6 and 7 metro lines.
“The quality of a city’s public realm reflects the level of civic pride and has a direct impact on the quality of everyday life,” said Norman Foster. “With the advent of the Long Island Rail Road East Side Access, along with the plan to re-zone the district, there has never been a better opportunity to tackle the issues of public access and mobility around one of the greatest rail terminals in the world.”
Here’s some more information from Foster + Partners:
Foster + Partners re-imagines Grand Central Terminal for 2013 Centenary
Norman Foster presented proposals for a masterplan to bring clarity back to Grand Central Terminal at The Municipal Art Society of New York’s annual Summit in New York last night.
Masterplan – click above for larger image
Grand Central Terminal is one of New York’s greatest landmarks and contains perhaps the city’s finest civic space. However, over time it has become a victim of its own success. A building designed to be used by 75,000 people per day now routinely handles ten times that number with up to a million on peak days.
The result is acute overcrowding; connections to the rail and subway lines beneath the concourse are inadequate; and the arrival and departure experience is poor. Added to that, the surrounding streets are choked with traffic and pedestrians are marginalised. The rapid growth of tall buildings in the vicinity has all but consumed the Terminal.
Within the station, the proposal creates wider concourses, with new and improved entrances. Externally, streets will be reconfigured as shared vehicle/pedestrian routes, and Vanderbilt Avenue fully pedestrianised. The proposal also creates new civic spaces that will provide Grand Central with an appropriate urban setting for the next 100 years.
Wider masterplan
The 42nd street entrance to the south, where access is severely constrained, will be widened to fill the entire elevation by using existing openings, thus greatly easing accessibility. The access via tunnels on the northern approach from Park Avenue will be rebalanced in favour of pedestrians by creating grander, enlarged underground spaces through the Helmsley building. Lexington Avenue to the east will be tree-lined with wider sidewalks and will benefit from more prominent and enhanced tunnel access to Grand Central Terminal. The idea already mooted to pedestrianise Vanderbilt Avenue to the west would be extended. The street would be anchored to the south by a major new enlarged civic space between 43rd Street and the west entrance to the Terminal and to the north by a plaza accommodating new entrances to the East Side Access lines. Trees, sculpture and street cafes will bring life and new breathing space to Grand Central Terminal.
At platform and concourse levels where congestion is particularly acute for travellers on the 4, 5, 6 and 7 lines, we will radically enlarge the connecting public areas, to address the huge increase in passenger traffic in the last 100 years. This will transform the experience for arriving and departing commuters and passengers. A generous new concourse will be created beneath the west entrance plaza on Vanderbilt Avenue connecting directly into the main station concourse.
This visionary masterplan with its focus on pedestrians and travellers will allow Grand Central Terminal to regain the civic stature that it deserves as a major New York landmark and an appropriate twenty-first century transport hub.
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