Einladungswettbewerb | 02/2018
Seilbahn / Cable Car in Göteborg
©White Arkitekter / Diller Scofidio + Renfro
Teilnahme
Architektur
Architektur
Architektur
Architektur
sonstige Fachplanung
Stadtplanung / Städtebau
Beurteilung durch das Preisgericht
FLUX (Proposal)
FLUX is an elegant proposal on a fine scale and with a high degree of detail. Design-wise, the towers and the stations have different expressions and idioms, with a common denominator in the form of concrete bases that transition into steel.
Both the towers and stations claim attention and space in their urban surroundings.
FLUX has high ambitions for social and environmental sustainability. The reasoning about
“non-users”—people who will not use the cable car but will still encounter it on a daily basis—is well described, but not always evident in the proposed solutions.
THE TOWERS
The towers are beautiful, with a slender, organic shape and a unique expression. Their form makes allusions to Gothenburg’s historical identity as a harbor and shipyard
by interacting with elements such as the harbor cranes to create a fresh, finely drawn and dynamic design.
The heavy tower bases are intended to be public spaces where people can gather under the roof formed by the structure above. If a restaurant or other business can be
integrated into the space, this could be a plus, but without programming the jury feels dubious about this idea, both from a safety and an urban spaces perspective. The bases
will be hard to adapt to situations where the towers must be placed in or close to traffic.
The towers are executed as a hybrid of concrete and steel, with concrete bases transitioning to stainless steel in the upper tower sections and the branched structures that carry the cables.
The jury is concerned that their dimensions probably need to be more robust, which would affect the proportions, especially for the lower towers.
THE STATIONS
The station has its own architectural expression and evokes transport environments and terminals through its direction and form. The white concrete base of the protective
“sou’wester” is topped by an openwork steel structure whose channels provide generous overhead light to the platforms and which will shine like a lantern at night. The stations
have a carefully cultivated, pavilion-like quality that signals the specialness of the cable car and invites people in. It is a refined approach that needs space around it for best effect.
The stations are successfully coupled to their surroundings, especially at Järntorget, through the use of partially raised park areas. However, the jury wonders how useful these
areas will be. The risk is that they will impede passage under and through the stations, and without careful care and maintenance they may be perceived as unsafe.
In spite of good intentions, this proposal’s concept lacks impact and the plan seems inflexible and not open-ended enough.
The authors themselves have indicated that the proposal in its current form would go over budget, and the jury agrees.
FLUX is an elegant proposal on a fine scale and with a high degree of detail. Design-wise, the towers and the stations have different expressions and idioms, with a common denominator in the form of concrete bases that transition into steel.
Both the towers and stations claim attention and space in their urban surroundings.
FLUX has high ambitions for social and environmental sustainability. The reasoning about
“non-users”—people who will not use the cable car but will still encounter it on a daily basis—is well described, but not always evident in the proposed solutions.
THE TOWERS
The towers are beautiful, with a slender, organic shape and a unique expression. Their form makes allusions to Gothenburg’s historical identity as a harbor and shipyard
by interacting with elements such as the harbor cranes to create a fresh, finely drawn and dynamic design.
The heavy tower bases are intended to be public spaces where people can gather under the roof formed by the structure above. If a restaurant or other business can be
integrated into the space, this could be a plus, but without programming the jury feels dubious about this idea, both from a safety and an urban spaces perspective. The bases
will be hard to adapt to situations where the towers must be placed in or close to traffic.
The towers are executed as a hybrid of concrete and steel, with concrete bases transitioning to stainless steel in the upper tower sections and the branched structures that carry the cables.
The jury is concerned that their dimensions probably need to be more robust, which would affect the proportions, especially for the lower towers.
THE STATIONS
The station has its own architectural expression and evokes transport environments and terminals through its direction and form. The white concrete base of the protective
“sou’wester” is topped by an openwork steel structure whose channels provide generous overhead light to the platforms and which will shine like a lantern at night. The stations
have a carefully cultivated, pavilion-like quality that signals the specialness of the cable car and invites people in. It is a refined approach that needs space around it for best effect.
The stations are successfully coupled to their surroundings, especially at Järntorget, through the use of partially raised park areas. However, the jury wonders how useful these
areas will be. The risk is that they will impede passage under and through the stations, and without careful care and maintenance they may be perceived as unsafe.
In spite of good intentions, this proposal’s concept lacks impact and the plan seems inflexible and not open-ended enough.
The authors themselves have indicated that the proposal in its current form would go over budget, and the jury agrees.
©White Arkitekter / Diller Scofidio + Renfro
©White Arkitekter / Diller Scofidio + Renfro
©White Arkitekter / Diller Scofidio + Renfro
©White Arkitekter / Diller Scofidio + Renfro
©White Arkitekter / Diller Scofidio + Renfro
©White Arkitekter / Diller Scofidio + Renfro