Bus Terminal Architecture Case Study

[Geraldine Ferraiz]

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I recently had the opportunity to complete a personal project that I had been meaning to do for the past two years. The building of the One Vanderbilt tower on the corner of 42nd Street and Vanderbilt Ave. in Midtown Manhattan gave New Yorkers a remarkable chance to see Grand Central Terminal in it's full architectural glory. I considered it a once in a lifetime opportunity to see the complete western and southern facade of GCT from 42nd street. Just as the many historical painters documented important events in history, this was a brief time to show Grand Central before it was obscured once again by new construction.

I chose to make the piece at twilight to emphasize the powerful lighting so the Terminal was not illustrated in the shadow of it's neighbors during the day. The rendering was painted on a large format sheet of Arches watercolor paper that had been pre-stretched by soaking it in water, stapling it down to fiberboard, and letting it air dry tight. This would ensure the paper would not bubble or warp once I began painting several layers of washes with watercolor.

One of the hardest parts of working in watercolor media is how to "paint" buildings that are white or near white in appearance. For this piece, the limestone facade glowed under the abundant lighting at night. The photo of the start of the rendering shows that in order to get a "off white" to look real it takes several different colors and tones working together. The limestone color was made with a combination of both warm and cool grey tones using tints of naples yellow, ultramarine blue, payne's grey, and even a little permanent rose (red). I had to work slowly and methodically to carefully build up the darks in the piece. The goal for a watercolor is to not have the final piece appear too "heavy" or dark. At the same time, I had to always be careful to measure and maintain straight vertical and horizontal lines to ensure the perspective was accurate.

As I worked on the rendering, I also had to be careful to select what features to include to support the piece. Having the street appear to be "wet" was important to emphasize the glowing quality of the terminal and have a break from the rigid architecture. Careful observers will note I did not include the top of the Chrysler building for fear that it would draw focus away from the terminal. Finally, the construction screen for the future One Vanderbilt Tower was de-emphasized by having it be one flat color with lights. However, it was important to recognize the screen in the rendering because without this new construction Grand Central would not have been seen at all from this angle. You can see below from this current screenshot of Google Map View that the new tower already obscures the full view of Grand Central that was visible in 2017 - 2018.

The final watercolor is now a unique artwork that celebrates a brief period of time for the famed Grand Central. In my work, I look for rare moments where the common and the daily become extraordinary - this piece certainly qualifies. To be able to take the time to make this piece made me appreciate even more the great detail of Grand Central and how it's been encased by skyscrapers. Unlike it's neighbors, Grand Central was designed to be viewed at street level. This rendering highlights a rare view that will not be visible again for several decades or more to come.

Teek Eaton-Koch is an architectural renderer and illustrator in the NYC Metro. To see more of his work please visit: www.teekartworks.com The original Grand Central rendering is framed and available for sale - please contact Teek through his website for details.

Welcome to my architectural portfolio featuring designs and drawings from a wide range of media. From physical modeling, computer design and free hand drawings, I love working with mixed media to create spaces that not only have a positive influence on the environment but, do not compromise human health.

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What makes this airport unique is that for a relatively small airport, the use of bio-mimicry in the light weight structural members creates a powerful blend with the built and natural environment giving the entire building an open and inspiring vibe. The concept of Biomimicry, considered as the science and philosophy of learning from nature , is a source of architectural design inspiration with different approaches undertaken by architects and engineers.

Umbel structures start to split and divide loads that meet at nodes. There are many variations to these structures that can be determined by the number of tiers and number of nodes needed for support.

This building effectively showcases a visible structural system that is vital toward the expression of the building. What truly makes this building is that un-like real trees, the smaller, outermost branches of this structure system is able to carry relatively heavy loads. This all comes down to calculations that optimize direct load performance and reduce bending moments. The whole system is built to act like one unit. This umbel system creates large unobstructed areas close to the foundation while providing closely spaced supports at the roof level. Structurally speaking, what makes the tree-like support branches holding up the roof so unique is how large of a span the column holds in comparison to its footprint at ground level.

With so many ways to create impact architecture, bio-mimicry holds a powerful connection to the importance of natural intuition. Airports especially have an importance role in architecture in regards to a national expression. Being the first contact with visitors from all over the world, airport designs should have an attractive and vibrant appearance to welcome all visitors.

Interstate bus terminal - Library Study & Case Study, by 4th-year students of bachelors of architecture, Indo Global college of architecture affiliated with I.K.GUJRAL PUNJAB TECHNICAL UNIVERSITY. TRANSIT TERMINAL DESIGN - INTRODUCTION, Terminal Characteristics, Functional Attributes, CIRCULATION, DESIGN, SERVICES. CASE STUDY - ISBT-Sector 43 Chandigarh Read less

Grand Central Terminal (GCT)-colloquially called Grand Central Station, or shortened to simply Grand Central-is a commuter rail terminal station at 42nd Street and Park Avenue in Midtown Manhattan in New York City, United States. Built by and named for the New York Central Railroad in the heyday of American long-distance passenger rail travel, it is the largest train station in the world by number of platforms: 44, with 67 tracks along them. They are on two levels, both below ground, with 41 tracks on the upper level and 26 on the lower, though the total number of tracks along platforms and in rail yards exceeds 100. The terminal covers an area of 48 acres (19 ha).

Between 1903 and 1913, the entire building was torn down in phases and replaced by the current Grand Central Terminal, which was designed by the architectural firms of Reed and Stem and Warren and Wetmore, who entered an agreement to act as the associated architects of Grand Central Terminal in February 1904. Reed & Stem were responsible for the overall design of the station, Warren and Wetmore added architectural details and the Beaux-Arts style. Charles Reed was appointed the chief executive for the collaboration between the two firms, and promptly appointed Alfred T. Fellheimer as head of the combined design team. This work was accompanied by the electrification of the three railroads using the station and the burial of the approach in the Park Avenue tunnel. The result of this was the creation of several blocks worth of prime real estate in Manhattan, which were then sold for a large sum of money. The new terminal opened on February 2, 1913.

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