station = pause

8/9/2019 Station = Pause

1/55

1

Semester 7

Project Document

Sumegha Mantri

Exhibition and Spatial Design

National Institute of Design

Ahmedabad, India

April 2010

STATION = PAUSEfrom Transit nodes to Social nodes


2/55

2

Now shall I walk

Or shall I ride?

Ride, Pleasure said;

Walk, Joy replied.

The Best Friend, W.H.Davies.


3/55

3

1.Prologue

The act of walking offers a natural pace to

sensory perception and a deeper engagement

with the surroundings. It is essential forunderstanding any space. In the Book of

Nature Ruskin Bond states:

I believe that the journey is more important

than the destination. But, then, I have never

really had a destination. The glory that comes

from conquering the Himalayan peaks is not

for me. My greatest pleasure lies in taking path

any old path will do and following it until

it leads me to a forest glade or village or streamor windy hilltop.

When on foot, we have the time to perceive

things, to have small interactions with those

who pass by and more importantly, the time

to muse. However, this kind of tramping is not

what we do in our cities. Walking in the city

usually implies a brisk morning or evening

walk or going around in circles in a park, for

the few health conscious folk. Else, people walk

to get somewhere, and walk past hurriedly

without looking and noticing. Children are

not encouraged to go out and explore on their

own. The wilderness is absent, the roads are

crowded and the city is unsafe. It fosters a fast

paced habit of walking, when the wonder of a

walk is its engagement with its surroundings.

Walking and such leisurely walking areimportant. But of greater consequence is the

existence of an environment that supports

such saunter.

That our cities have become mere towns for

car driving men, have to be reconquered for

those who want to sleep, with an open window,or take a stroll in front of the house, for the

women and for the old people and above all,

for the children.

Hanns Adrian, The car in the city.

R.K. Laxmans illustrations (bottom, left) aptly

reflects how are cities are getting populated

with vehicles, more so, the car. The car can be

viewed as an extension of the private space of the

house. A sealed private bubble on the move, farremoved from the connect of public transport,

cycling or walking. In providing the comfort

and mobility required to sustain our lifestyles,

it has created air and noise pollution, adversely

affecting the quality of urban life. However,

beyond these issues, is the matter of urban

space. The car has carved out for itself spaces

in the limited area of urban fabric garages,

parking spaces and ever widening roads, from

what could have otherwise been gardens, parks

and other public spaces. Such development has

been the guiding vision for long, resulting in

cities which are not walk-able.

There is a need for our developing cities to

avoid getting choked by a car oriented vision of

progress, but to form into open cities, where

its inhabitants can go from one place to another

perhaps by strolling through a series of parksand where the children are free to ramble

about and explore things for themselves, not in

the confines of garages and parking lots, but in

the vistas of parks.

Walking the city: Busy getting somewhere


4/554

Parking spaces Parks

This project has evolved out of the diverse experiences of numerous walks

in the city of Ahmedabad.

The noise and the traffic often made it difficult to walk on the main roads.

Sometimes, there was a complete lack of pedestrian space and walking

became a constant negotiation for space with the two wheelers and cars

on the streets. On other occasions, a stroll through a quiet residential alley

would open into a small park nestled in the locality. Walking through the

narrow lanes of the Pols in the old city was like walking through peoples

homes. One could smell the cooking and hear household conversations.

The old city has a human reference of scale and community life is given

importance. The private space of the home overflows into the lanes of the

Pols and walking through them is an intimate experience. In complete

contrast to this is the isolation that the riverfront offers. Walking on the

concrete banks of the Sabarmati sandwiched between gargantuan walls on

both banks was equivalent to walking with blinders, unable to see the city

around and bereft of natural textures and sounds.

1.1 Walking The City

v/s


5/555

1.2 Ahmedabad City

Ahmedabad is the Indian city with the largest density of motor vehicles1. In the last three decades, the

growth of private vehicles has been phenomenal as compared to that of public transport 2.

This can be attributed to the exponential rise in population and urban migration. Smaller cities are

growing faster than the large metros. Economic growth has led to a rise in the middle class and a

subsequent increase in their disposable incomes. There has also been a significant shift from the joint

family structure to a nuclear family structure in society. These coupled with an absence of adequate

public transport infrastructure has resulted in people investing in private modes of transport. The easy

availability of loans for such investments has further accelerated the growth private vehicles. Therefore,

it is little surprise that cities like Ahmedabad have the highest two wheeler density in the country.

Recent developments3 have made the car smaller, cheaper and more affordable. Besides, the ownership

of the car has been marketed as a status symbol. As a result of all these factors, people who previously

owned two wheelers are now crossing over as small car owners. If such visions of progress continue, the

next five years will see the mass motorization of urban India.

Cities like Ahmedabad will get choked. Footpaths will make way for wider roads and parks will have to

be converted into parking spaces. What is required now is a shift in urban planning and investments to

better the infrastructure and facilities of public transport.

1. Figure 4-4 : Vehicle per 1000 Population in Major Cities

1990 and 2002. Page 64,Jawaharlal Nehru National Urban

Renewal Mission City Development Plan Ahmedabad

2006-2012. Prepared By the Ahmedabad Municipal

Corporation, Ahmedabad Urban Development Authority,

with Technical Suppor t from CEPT University.

2. Between the years 1971 ad 2001, two wheelers have

grown by 3877%, Three wheelers have grown by 1253%

and the AMTS buses have grown by 69%. Table 4-2: Total

motor vehicle growth and growth of two/three wheelers

and AMTS buses in Ahmedabad (1971-2001). Page 62,

Jawaharlal Nehru National Urban Renewal Mission City

Development Plan Ahmedabad 2006-2012. Prepared

By the Ahmedabad Municipal Corporation, Ahmedabad

Urban Development Authority, with Technical Support

from CEPT University.

3. The Tata Nano, Indias Rs.1lakh peoples car was

commercially launched on the 23rd March, 2009.

I observed families riding on two-wheelers the father

driving the scooter, his young kid standing in front of

him, his wife seated behind him holding a little baby. It

led me to wonder whether one could conceive of a safe,

affordable, all-weather form of transport for such a family.

We are happy to present the Peoples Car to India and we

hope it brings the joy, pride and utility of owning a car to

many families who need personal mobility.

Ratan Tatas vision. The Debut at last, Businessworld,31st March - 6th April issue.


6/556

The Green Urban Triangle


7/557

2. Vision

The vision of Ahmedabad outlined in this document is that of a city without cars.

Where parks, buses (BRTS), walkways, cycle-paths and trains form an excellent

integrated urban transport system. Free from noise, pollution and traffic jams, the

experience of walking in the city would be similar to that of strolling in a park. Sucha system would be ecologically and socially sustainable.

Public transport fosters interactions amongst people. This would promote a better

understanding between them and nurture mutual respect and therefore make for a

peaceful and enriching urban environment.

The city is about its people. Its the peoples sense of identity, pride and the

collective ownership of resources that enriches and maintains the social, economic

and physical infrastructure of the city. This pride comes with active engagement.

We identify with something only if we share a memory of it. Memories are tied toemotions. Public spaces need to build this emotional connect with the people and

provide for experiences and memories to be created. Only then will they come

alive, generate a sense of ownership and hence live on.

The transit nodes of the system would not only connect the different modes of

transport, but also act as social nodes. Active social spaces where people

Meet, Eat, Entertain and Travel (MEET).

With this background, the project looks the most important transient public space

in the city The Railway Station.


8/558

3.The City Strategy

Ahmedabad is situated on the banks of the river Sabarmati. It is a radial city, divided by

the river into the old, fortified city on the east bank and the new city on its west bank.This division is not just physical, but economic and cultural as well. Travelling across

the city, this difference of the lived texture on both its banks becomes apparent.The divide of the river is punctuated by ten bridges at almost regular intervals. The

Outer Ring road defines the periphery of the city and along with the 132 feet road

and NH8, connects the different areas of the city internally and also connects the cityexternally. The BRTS (Bus Rapid Transit System) has been recently introduced in the

city. The first part of phase1 is functional and has reduced traffic and travelling time,besides being a delight to travel in.


9/559

Proposal for Trains as a Mode of Urban Public Transport

Trains traversing the city originate at the main railway

station in the center of the city (Kalupur).At the station, the tracks of the local trains are

perpendicular to those of the National Railway.

The trains cover the city in three concentric circular

tracks the inner, middle and the outer tracks. Eachtrack has 2-4 trains.

The trains travel clockwise and anti-clockwise on the same

track. These trains cross each other at the smaller stations,

which are elements of discovery within the urban fabric.

The crossing over Chiasmata

The horizontal cross

Plan

The vertical cross Section

Islands - spaces for public

art and installations

Islands - spaces for publicart and installations

Chhatris Chabootras Buffalo sculpture


10/55

10

4.The Railway Station

The mention of a railway station instantly conjures ideas of travel. And travel, denotes

distance and connectivity. The railway station in signifying travel also becomes a

connecting node for spaces cities and their suburbs and towns and villages.

A train journey brings with itself, an element of excitement, part of which can be

attributed to its essentially public nature. The station is a public space. Chaotic as itmay seem, it demands an order of time and space. We do not travel alone, but with

hundreds of unknown fellow travellers, some of whom we befriend in the course

of the journey. The motion provides a view to perceive the transition of landscapes

as we reach our destination.

This drama of travel is fairly continuous, rhythmically punctuated by pauses at

stations.


11/55

11


12/55

12


13/55

13


14/55

14

4.1 Location of the station

The present Ahmedabad railway station was built in the early

1960s. It is centrally located in the city (facing page, top left)

and is one of the busiest junctions of western India. The image

(facing page, bottom left.) shows the distribution of space in

the station complex.

The railway station is an opening into the city. It is an important

point of entry and exit and in being so, it is an introduction

to the city.

Around the station, are landmarks that people would identify

with and relate to the city. The pair of minarets

(facing page, top right) that open onto the first platform are

fragments of the citys political and architectural history. The

chimney of the mill in Saraspur (facing page, bottom right.)

belongs to the recent past. It stands for the economic and socio-

cultural identity of the city. Besides being visual landmarks,

these symbols introduce the city to the traveller and orient the

visitor to the rest of the city.


15/55

15

Old Plaorms

Parking Area

Kalupur Staon

broad gauge

Present Plaorms

Saraspur Staon

meter gauge

Reservaon

building

minarets

mill complex


16/55

16

4.2 The Nature of Space

The station is a linear system of tracks, trains

and platforms. Circulation and the distribution

of amenities are centered around this linearity of

space.

At any time, there is a large population using

the space and it tends to get crowded. The large

volumes of spaces like the main entrance hall help

dissipate the feeling of claustrophobia. This volumeof the main hall opens onto the long platforms,

their lengths covered by corrugated canopies.

These canopies are visual barriers and break the

connectivity of space. Pair of bridges, one on

each end define the limits of the active zone of

the station and physically connect the platforms.

Spatially, these bridges are long busy corridors,

with little view to the platforms and activity below

or to the city at large


17/55

17


18/55

18

5. The Proposal

The railway station has been visioned as a transit hub

connecting different modes of transport and as one of

the social nodesin the city where people can Meet, Eat,Entertain and Travel (MEET).

The present arrangement of tracks, trains and platforms

has been kept constant and the strategy is designed around

them. Part of the proposal is also the adaptive reuse of

defunct urban spaces (for eg. the Mill land) in the vicinity

of the railway complex. The attempt is to hopefully

weave these physical signifiers of history and culture as

active public spaces in the urban fabric. Other peripheralamenities (for eg. places to stay) have not been provided

for in the immediate design with the hope that demands

for such amenities would initiate collateral development

around the area. The whole is made up of the following

parts.

5.1 The Upper Platform

5.2 The Canopy

5.3 Circulation

5.3a Entrances5.3b The Ramp

5.3c The Main Hall

5.3d Bridges


19/55

19

Initial conceptual drawing


20/55

20

5.1 The Upper Platform

The local trains travel in a direction perpendicular to that of the national

railways, 12m above the present platforms.


21/55

21

This upper platform is supported by a system of arches that span its entire length.

The tunnels formed by the arches would be an element of excitement for those on

the platforms and in the trains on the lower level.


22/55

22

structure signalli

To have the local trains pierce

through the main hall was not

feasible. This would make the

portal frames of the hall vibrate.

The trains would therefore have

to enter and exit the station

from the Saraspur end.


23/55

23

g entrance

The freight corridor lies between

the third and the fourth platforms.

Therefore, the distance between

them is greater as compared to theothers.

To achieve the minimum clearance

height required for trains to pass

through, the arch spanning the the

distance between the third and

fourth platform was required to

be larger than the rest. For reasons

of aesthetics (the proportions of

height and span), the second arch

rises higher than the level of the

upper platform. While keeping

the aesthetic and visual language

constant, it breaks the monotony of

the arches and the structure signals

entrance.


24/55

24

Initial cross section from sketches.

Cross section from

3D model

Cross section

with adjacent base

arches

Cross section

with common base

arches.

Cross section

with common base

point arches.

Cross sectionwith common base

of 2m

Cross section

of non-parabolic

arches.


25/55

25

Refinement and iterations of the various arches and the area of

contact between the base of the arches and the platforms.

Distribution of space on the upper platform.Iterations Final selecion

Arch base of 2m on the platform



Arch base of 1.5m on the platform


26/55

26

Main Hall Upper Concourse

Main Hall Upper Concourse

The upper level is divided into two zones the concourse and the platforms, distinctly demarcated by a pair of larger arches. The concourse

is the primary waiting and meeting area. Its a place where people can sit down, wait, have lunch, read a book, meet friends and look down

at the expanse of the space below. Small exhibits could be placed here and there could even be short performances on the concourse.


27/55

27

Local Train Platforms

Local Train Platforms

Local trains originate on the platform that follows the concourse. Arched openings cut

across the walls of the tunnel on the platforms below. They function as points or access

between platforms and visually frame the span and the activities across all platforms.


28/55

28

5.2 The Canopy


29/55

29

5. e Ca opy

Besides providing protection from the natural

elements, the canopy unifies the space. The

existing individual canopies on each of theplatforms did not allow for a visual connectivity

across the span.

There was a need for a singular volume that

would encase the entire station and maintain

spatial unity. The volume was required to make

the space feel open, such that people could see

the sky and feel the air of the city.

For those entering the station in the trains, the

appearance of the canopy from a distance would

signify their arrival at the station.


30/55

30

A singular volume that encases the entire station and maintains spatial unity


31/55

31

An exploration of forms for the canopy. The forms in the first row of images was finally selected.


32/55

32

5.3 Circulation

Circulation is about the relationship between movement andpauses in movement. Spaces define the way in which people move

and are often ordered around this movement.

The adjacent image shows the macro-circulation aspect of the

station. The station is a transit hub. Bus stops on both sides and

local trains connect it to the entire city.

The micro-circulation deals with the movement of people withinthe space, the connections and accessibility of the different

elements within the space. Besides, circulation refers not just

to the movement, but the spatial experience and the transition

of volumes along the path of these movements. These have been

elaborated further in the following parts:

5.3a Entrances

5.3b Ramp

5.3c Main Hall

5.3d Bridges


33/55

33

5 3a Entrances


34/55

34

Kalupur

Saraspur

5.3a Entrances

An entrance is the point of distinction between the inside and the outside. It is an

introduction to the space and just like the contents page of a book, it must orient

people in space.

There are six entrances to the station complex, besides entering the station by the

trains. Three from the Kalupur side and three from the Saraspur side.

Saraspur Entrances

One of the entrances to the station is through the station building itself. Local

trains exiting of the upper platform are elevated above the road. These tracks

begin inclining down after they have crossed the road. Those entering the station

through this end would have to walk under the tracks. They will see the trains

pass overhead.

The local train track separates the other two entrances. Both are inclined ramps

that open onto parks on both ends and connect to the cross platform bridgesinside the station.

The park on the right side is a bus station and the old Mill building has been

converted into a caf, with the chimney as a landmark. One can walk down the

ramp, cross the road and enter a park, go to the mill caf and be informed about

the events in the city and then board a bus to reach the event.

Kalupur Entrances

The right bridge entrance from Saraspur connects right across to the Kalupur end.

A pair of escalators and stairs from the side park takes one up to the bridge, through

an aperture in the superstructure. The bridge connects to all the platforms below

and to the upper concourse.

The central entrance at the Kalupur end is from the main hall. It is the primarycirculation zone.

The third entrance is through the minarets. One of the minarets will have to be

shifted from its original position to make this a wider entrance. The minarets mark

a dramatic beginning that leads one onto the long curved entrance ramp. In time,

people would start mentioning this landmark in their conversations "

,- lets meet at the minarets at 4.30.


35/55

35


36/55

36

5.3b The Ramp


37/55

37

Ramp

The entrance through the minarets gradually leads to a

ramp that takes one into the station. The ramp begins

to rise gradually amongst the trees on one side and thetracks on the other and turns to reveal the inside of the

superstructure. It constantly rises to give a birds eye

view of the station and its activities. The ramp enters the

superstructure, curving above the first platform, giving a

closer glimpse of the platforms and the trains below and

the cross bridges and concourse ahead. It continues to

ascend to meet the cross bridge and then pierces out of

the superstructure into the open, amongst the canopies

of trees. The ramp continues further and finally ends in

the center of the main hall.


38/55

38

The rise of the ramp is gradual It grows and pushes itself out of the earth just the way plants do.

Once inside the main hall, the ramp connects

to the upper concourse. There is a dramatic

transition of volumes, from the low height

of the ceiling inside the main hall, to the

large volume of the station enclosed by the

canopy.


39/55

39


40/55

40


41/55

41

5.3c The Main Hall


42/55

42

The portal frame structure of the hall has been retained. Entrance to the main hall

is through the ramp at the upper level or directly at the ground level.

The ramp that rises from the minarets ends in the center of the main hall nine meters

above the ground, dividing the volume of the hall. It is supported by branching tree

like tetrahedrons and its periphery is lined with creepers that come down. This

would make people feel as if they were walking under the canopy and shade of

trees. The ramp can be reached by pairs of carefully placed elevators and escalators.

A flight of stairs just outside the first portal frame has also been provided for the

same purpose.

The main function of the ramp in this area is to connect to the upper concourse,

which is the primary meetingarea and the station for the local trains. Generously

wide flights of steps and inclined moving ramps connect the ramp to the upper

concourse.

The main hall opens onto the first platform through two arched doorways, which

frame the entrance and are of the same language as the arches that support the

upper platform. The doorway just under the ramp opens to reveal a surprise. On its

left, the arched openings under the upper concourse form a tunnel and frame the

entire span of the station and the activities across it.

Outside the hall, on both sides is a grassed landscape with evergreen and deciduous

trees. The road that reaches the main hall r ises very gently from a distance to meet

the steps. A single step demarcates the inside from the outside. Gradually sloping

ramps on both ends provide an easy transition for the differently-abled and for

those with heavy luggage. Once inside, one would encounter the creepers coming

down from the ramp. This unexpected encounter with the living green transforms

the entire spatial experience of the main hall and would perhaps influence people

to slowdown and look around.


43/55

43

5.3d Bridges


44/55

44

The main purpose of bridges is to connect. There are two sets of bridges in the station. A pair of

bridges parallel to the upper platform and three pairs of perpendicular bridges in between them.

The bridges parallel to the upper concourse are placed 65m away from it on either side. They

connect the lower platforms to each other and can be accessed by stairs and elevators on the

lower platforms.

The perpendicular bridges connect the parallel bridges to the upper concourse. They are three

pairs, strategically placed such that they can be accessed from all the platforms. These bridges are

supported by inclined columns, at the base of which is seating for the lower platforms.

parallel bridges

perpendicularbridges


45/55

45

Detail of the parallel bridges and

staircase from the platforms.


46/55

46


47/55

47

You say they bore their way through hills,

They roll over bridges across mighty streams,

They crash through forests and vast planes,

But at the end of their restless journeyings

Where do they go and finally rest?

~ Trains, Humayun Kabir

6. Epilogue


48/55

48

The complete strategy in drawings


49/55

49

SITE PLAN


50/55

50

SECTION AA - secon through the main hall and the upper plaorm.

SECTION BB - longitudinal secon of the canopy, upper plaorm and bridges.


51/55

51


52/55

52

Long secon through the main hall and part of the ramp

Plan of the main hall and the upper concourse.


53/55

53

The Ramp turns and pierces out of the Superstructure


54/55

54

Acknowledgements


55/55

55

THANK YOU

Jignesh Khakhar for guiding not only this, but the earlier projects as well.

For his time, trust and incessant encouragement with everything.

Tanishka Kachru, for her guidance and valuable feedback at every step and

for extending learning beyond the studio and academics.

Richard Goodwin for all the inspiration.

Yatin Pandya, for his guidance with raw nascent ideas.

Rishi Singhal, for showing us photography in a different light.

Praveen Nahar, for his insightful inputs in the beginning of the project.

Dimple Soni for coordinating the Exhibition Design department.

Biju Thomas and all those at the Kalupur Railway Station for giving time and

helping me understand the space.

Kanjibhai Dasadia for the selfless effort he puts into the smooth running of

the studio.

Jeetubhai, Jayesh and Paresh Soni for all the printing, photocopying and laser

cutting to the most odd of requests.

My fellow classmates Sitangika Srivastava, Upasana Jain, Prathima

Muniyappa and Vivek Sheth for sharing thoughts on work and beyond and

for their friendship.

Sanaa and Akanksha for the many discussions in the studio.

Priyanka, Rhea, Vihanga, Samyak, Rhoda, Tanvi and Prerna for making the

studio a fun place to work in.

Tanima, Kanika, Vasanthi, Tarka, Nikhil, Neerav, Meenakshi, Rakhi, Malika

and Maria for their encouragement and enthusiasm.

Vishaka and Yash Mantri for sharing the madness and Poonam and Ramesh

Mantri for nurturing it.

station = pause

Documents