Tempelhof

Affectionately nicknamed “the Berlin Coat Hanger” for its draping form, the airport terminal was the longest continuous building in the world at the time of its construction and still is the third largest. It has a suspended roof that protrudes over arriving aircraft and allows for dry transfers of passengers into the terminal. The roof was designed so that it could also function as a seating area for 20,000 audience members during air shows; the building has 14 large staircases to provide spectators with quick access to the roof. Also noteworthy is the building’s symmetrical construction, which allowed mail to be brought in one side of the building and outgoing mail to be processed on the other. This processing area boosted efficiency at a time when airmail had become popular and was sent to distant destinations on passenger flights.

To make the site independent of the city’s infrastructure, the airport has its own water company with two large water reservoirs under the greenbelt at the Columbiadamm, as well as an electrical works and heating supply. More than five kilometers of tunnels extend under the buildings; parts of these tunnels were used as bomb shelters during World War II.

I am proposing a Business centre redevelopment plan with green zones and sky scrapers.

The advantage of the underground tunnels which used to be bomb shelters, now can be transformed into pathway gateways to enhance the information exchange between zones, at hyper speeds using fibre optics.

Thus the information exchange becomes real time, and conventionally boosting the speed of the process.

http://www.icdsarch.com

5 Replies to “Tempelhof”

  1. Previously you talk about connections; the connecting of spaces within a city in constant flux of change…
    With these drawings you seem to do the opposite; the creation of a new urban enclave without developed links in relation to its surrounding urban environment. Moreover the design you describe seems to be generated by developing urban mass only vaguely linked by artificial linear connections (lines). In the spaces you propose the starting point thus seems to be the design/circumscription of mass. What if the starting point of generating spaces is the design of the connections?

  2. What I try to design is the relational link between the main mass interactions as you say, and the user, in my case the lines, tracks for people to satisfy the dynamic interconnection, flux of change, jungle. Would be impossible to generate it into a restricted area, as Central London. I moved forward to generate the connection, in order to apply my inter-articulation. It’s a long process. I’m going the sci-fi way. My final thought is to end up with an utopian view, in a virtual reality connection.

    It has lack of communication, but I hope that a picture tells 1000 words.

  3. Then I would be really interested in seeing some drawings describing the ‘thickness’ of these lines
    What if we as an audience would descend in these linear spaces?

Leave a Reply