There are still 150-foot-high wings on either side of the hall's tapering arc, but there will not be glass or any other material between the ribs. The wings will still open on nice spring and summer days, and ceremonially every Sept. 11, exposing the concourse below to the open sky. But the width of the maximum opening has shrunk to about 30 feet from 45 feet.

Twice as many steel ribs will enclose the transit hall in the revised design. By reducing the space between the ribs to 5½ feet from 11, the designers have cut down on the amount of glass that would be exposed to a blast. The ribs themselves would create a protective shadow, depending on the angle of the explosion.

New beaklike prows - it is difficult to avoid zoomorphism when describing Mr. Calatrava's architecture - will extend from the Church Street end of the main transit hall. This hardened prow, about 25 feet long, will protect a critical structural juncture.

A solid wall more than three feet high will ring the base of the transit hall, where the glass bays once almost reached the pavement, and the hall itself will shrink in length to less than 330 feet from 360 feet. This will increase the distance between the hall and surrounding streets, a key means of limiting destruction from vehicle-borne bombs.

:: can you post any pics please?! ::

Looking Ahead: WTC Transportation Hub



August 10, 2005

The image of a bird in flight is not one normally associated with an underground transportation center, but architect Santiago Calatrava has perfectly managed to marry the two. As designed, the World Trade Center (WTC) transportation hub -- built with two 150-feet-tall canopies extending from a glass- and steel-ribbed "body" -- sits at street level like a bird poised for flight, delivering natural light to the PATH train platform 60 feet below ground.

Click here to view a slide show featuring the latest renderings of this project. Also view animations showing an exterior view and an interior view of the transportation hub.

Calatrava originally unveiled his design to the public in early 2004 and revised it in July 2005 to address security, engineering, and feasibility elements for the landmark structure.

The $2 billion hub will sit at the northeast corner of the WTC site at Church and Vesey Streets and is expected to form an underground connection between the World Financial Center and the Metropolitan Transportation Authority's Fulton Street Transit Center. Through it, pedestrians will have access to Hudson River ferry terminals, PATH trains, 14 subway lines, and, potentially, a direct rail link to JFK International Airport.



Calatrava's reworked plan will reduce the amount of glass between the canopy's steel "ribs," while the total number of ribs will be doubled. The main hall itself will be shortened from 360 to 330 feet, further from the curb line of Church Street.


Inside the station, Calatrava designed the underground concourse, mezzanine, and platform levels to be free of vertical columns for a greater sense of light, movement, and openness. This feeling of openness will be further magnified by a retractable ceiling -- an architectural feature most common to sports arenas -- planned for use on sunny days and annually on September 11. As part of Calatrava's revisions, the ceiling will open to 30 feet wide, instead of the original 45 feet.
"The building is built with steel, glass, and light. They will all be equal building materials," Calatrava said. "The light will arrive at the platform, and visitors will feel like they are arriving in a great place, a welcoming place."



Calatrava said that Daniel Libeskind's original master plan both guided his design and served as inspiration, stating that the transportation hub "articulates with Libeskind's beautiful plan. The station fits like a centerpiece in the middle of the plaza."
The hub's first phase of construction is to build a permanent WTC PATH terminal, slated for completion in late 2006. The hub in its entirety, which will be funded by the Federal Transit Administration, should open by 2009 and is expected to eventually serve more than 250,000 travelers daily.

For more information about the temporary PATH station now open to the public, please click here or visit the Port Authority's website at www.pathrestoration.com.

Image - 2

Image 3

Image 4

Before revision -

Model

For more information on the redevelopment of lower Manhattan (http://www.lowermanhattan.info/news/calatrava_s_wtc_transportation_29863.asp)

Other views of original scheme

I saw that model at MOMAQNS when they had the tall buildings exhibit there. Just amazing. The whole exhibit was good, really enjoyed it. I have to get back to NYC to see the new MOMA. What do you think of it JP? Did you see the exhibit I am refering to?

I saw that model at MOMAQNS when they had the tall buildings exhibit there. Just amazing. The whole exhibit was good, really enjoyed it. I have to get back to NYC to see the new MOMA. What do you think of it JP? Did you see the exhibit I am refering to?

The only information I have attained is local NY papers or online webisted like the lower mahattan development site.

Taking away the glass in the rib extensions has improved the design immensely. It puts back the lightness into the design. And imagine how often it would have to have been cleaned!
An incredible design regarding the sheer span of the halls! :rock on:

How Calatravaish..

I just hope he doesn't get to predictable as in Richard Meiers work (minus the church for the year 2000)

I just hope he doesn't get to predictable as in Richard Meiers work (minus the church for the year 2000)

what do you mean doesn't get too predictable? He hasn't changed his inspiration for anything over his career! I think he has already been too predictable over the past 7 years...

I wasn't too enamored by him @ the AIA convention in Vegas, either, but he did sketch like no other...

tr

what do you mean doesn't get too predictable? He hasn't changed his inspiration for anything over his career! I think he has already been too predictable over the past 7 years...

I agree.
I've never been at a Calatrava project, but by others comments and by the books every new one tastes like "dèja vu".

I just don’t get it. Why do most of the superstar architects have such a signature style? There are exceptions, but the biggest are the worst. Once you do that truly great building are you at its mercy because that is what clients wants or do you really think that one idea/form/material is appropriate for every design problem? I find the lack of ingenuity disheartening. Any of you superstar pushpullers want to field this one?

I see where you are comming from however I would point you to what is probably the most known architect. Frank Lloyd Wright has mastered the textile block in the Ennis House, the curvacious sprial of the Guggenheim, the canteliever in the Kaufmann House/Fallingwater, and introduced us to the prairie home. Some architects are known for their one way of styling but I much more appreciate the ones who do different things. I wouldnt want to do the same thing every time.

Actually I think you can do both things and don't miss your qualities.
See Tadao Ando for example. He did the same thing for decades and I still find his concrete works amazing. And sometime ago Kevin posted a steel building he did and it was great.

I see where you are comming from however I would point you to what is probably the most known architect. Frank Lloyd Wright has mastered the textile block in the Ennis House, the curvacious sprial of the Guggenheim, the canteliever in the Kaufmann House/Fallingwater, and introduced us to the prairie home. Some architects are known for their one way of styling but I much more appreciate the ones who do different things. I wouldnt want to do the same thing every time.

I did say that there where exceptions, and yes FLW was one of them. I think the truly great architects, while possibly exploring one idea held as truth, never got hung up too long on one form. Ando is an excellent example. I guess to further clarify what I am saying; there are many architects that have some basic ideas of architecture that lead to verying forms. The ones who don't I am sick of....yes I am talking to you Ghery, Libeskind, Meier for many years, etc.

t