2008西班牙世博會主場館 Zaragoza Bridge Pavilion-Zaha Hadid

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Posted by Marcus Fairs
June 16th, 2008



Photographer Luke Hayes has sent us these photos of Zaragoza Bridge Pavilion, a pavilion by Zaha Hadid Architects at Zaragoza Expo 2008 that doubles as a pedestrian bridge across the river Ebro in Zaragoza, Spain.



The pavilion, and the expo itself, opened this weekend.



Zaragoza Expo 2008 is dedicated to water and sustainable development.



Here’s some info from Zaha Hadid Architects:
–
ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN] 2005-2008



PROGRAM: Interactive exhibition area focusing on water sustainability, integrating a pedestrian bridge to perform as gateway for the Zaragoza Expo 2008.



CLIENT: Expoagua Zaragoza 2008

ARCHITECTS: Design Zaha Hadid with Patrik Schumacher
Project Architect: Manuela Gatto
Project team:

Fabian Hecker Matthias Baer, Federico Dunkelberg, Maria Jose Mendoza, Jose’ Monfa, Marta Rodriguez, Diego Rosales, Guillermo Ruiz, Lucio Santos, Hala Sheikh, Marcela Spadaro, Anat Stern.

CONSULTANTS: Engineers ARUP Associates
Cost Consultants: ARUP Associates / IDOM
Artists: Golan Levin and Zach Liebermann, Christian Moeller
SIZE:

Total Surface 6415 m2
Exhibition Surface 3915 m2
Pedestrian Bridge 2500 m2

ZARAGOZA BRIDGE PAVILION [ZARAGOZA, SPAIN]

The Zaragoza Bridge Pavilion is organized around 4 main objects, or “pods” that perform both as structural elements and as spatial enclosures. The Bridge Pavilion design stems from the detailed examination and research into the potential of a diamond shaped section - which offers both structural and programming properties. As in the case of space-frame structures, a diamond section represents a rational way if distributing forces along a surface.



Underneath the floor plate, a resulting triangular pocket space can be used to run utilities. Floors inside each pod are located at the Expo principal levels: +201.5m (the soffit of the bridge is at +200m, flood protection minimum level of the Ebro River at the location of the Bridge Pavilion) +203m, +206m and +207.5m for the upper level.



The diamond section has also been extruded along a slightly curved path. The extrusion of this rhombus section along different paths has generated the four separate ‘pods’ of the Bridge Pavilion. The stacking and interlocking of these truss elements (the ‘pods’), satisfies two specific criteria: optimizing the structural system, and allowing for a natural differentiation of the interiors, where each pod corresponds to a specific exhibition space.



By intersecting the trusses/pods, they brace each other and loads are distributed across the four trusses instead of a singular main element, resulting in a reduction in size of load-bearing members.



The pods are stacked according to precise criteria - aimed at reducing the section of the bridge as much as possible where the span is longer (approximately 185m from the island in the middle of the river to the right bank), and enlarging it where the span is shorter (85m from the island to the Expo riverbank). One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.

This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod though small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the installation content within each pod. The identity of each pod remains thoroughly readable inside the pavilion, almost performing as a three-dimensional orientation device.

Spatial concern is one of the main drivers of this project. Each zone within the building has its own spatial identity; their nature varies from complete interior spaces focused on the exhibition, to open spaces with strong visual connections to the Ebro river and the Expo.

Natural surfaces have been investigated when designing the Pavilion’s exterior surfaces. Shark scales are fascinating paradigms both for their visual appearance and for their performance. Their pattern can easily wrap around complex curvatures with a simple system of rectilinear ridges. For the Bridge Pavilion, this proves to be functional, visually appealing and economically convenient.

The building’s envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations. The project has been designed to allow its interior to be thoroughly enlivened by the effect of atmospheric agents, such as the Tramontana wind blowing along the Ebro and, the strength of Zaragoza’s sunshine.

During the Expo, a single weathering layer will enclose the building to protect it from rain. This Shark scale skin will be generated by a complex pattern of simple overlapping
shingles. Some shingles can rotate around a pivot, allowing for temporary opening or closing of part of the façade. The pattern of shingles overlapping each other gives the Bridge Pavilion the widest variety of natural light via several degrees of aperture sizes: from rays piercing through tiny apertures - to wide, full size openings. Large apertures are located on the lower level, in correspondence with either end of the bridge, allowing for the greatest degree of visual contact with the river and the Expo.

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Zaragoza Bridge






11.06.2007
Icon of the Expo 2008 made of fibreC

Maishofen/Zaragoza. The British star architect Zaha Hadid has chosen glass fibre reinforced concrete from the Austrian company Rieder to envelope the 275 meters long „Zaragoza Bridge Pavilion“, the new symbol of the Expo 2008 in the northern Spanish Zaragoza: she will cover the outer skin of the building with 29.000 triangles in different grey shades out of fibreC - and has so brought the Austrian concrete manufacturer Rieder an order of more than Euro 1,5 Millions The new bridge across the river Ebro is entrance to the Expo area and at the same time multi-level exhibition area; 10.000 visitors per hour will frequent the Main Pavilion of the world exhibition.

From 14 June to 13 September 2008 Zaragoza, in the northern Spain, will host the next international EXPO. More than seven and a half million people are expected to visit over 3,400 performances staged during the three months of the world exhibition. Due to the theme of the EXPO 2008 “Water and Sustainable Development”, worldwide interest is guaranteed in times of climate changes, tsunami and catastrophic drought. Especially the new landmark of Zaragoza, the shining main pavilion, which is a bridge over the river Ebro at the same time – designed by the prestigious architect Zaha Hadid together with Ove Arup Engineers London – is supposed to cause surprise around the world.

The Pavilion consists of an inhabited multi-level bridge that spans the Ebro River, linking the city to the EXPO site.

Apart from its function as a pedestrian access to the EXPO, the 275 meters long Zaragoza Bridge is a big showroom: on or in the bridge, to be precise, people can visit three exhibitions relating to the water and sustainability theme. Four curved vaults on two floors offer an exhibition area of 7000 m².

Design – Inspired by Nature
Furthermore the bridge figures a symbolic building, since the Expo slogan “Water and Sustainable Development” was translated into the design und the material of the construction. The pavilion bridge is slightly curved and its gently flowing form is based on the natural conditions of water. The new Zaragoza Bridge Pavilion will be composed of four elements, which overlap each other like petals and form a diamond in the cross section. Inspired by the variety of nature, the main pavilion spans the Ebro River and opens up like a gladiola blossom. On the bank of the EXPO-area, the “aesthetic and emotional” bridge for pedestrians offers three different exits.

Shimmering Skin
For the envelope of the pavilion, Zaha Hadid chose triangular panels made of glass fibre reinforced concrete – fibreC. A sophisticated pattern out of 29.000 elements in different grey shades causes an effect like shiny fish scales and will shimmer in the sunshine on completion. Due to its dimensional effect, the fibreC triangles imbue the outer skin of the pavilion with life, reflecting the glittering and varied facets if the water.

fibreC- a Sustainable Material
Apart from its design and visual impact, Zaha Hadid’s idea could stand up to 40 competitors at the jury – not least due to the sustainability of the used materials like fibreC. “The composition of fibreC out of degradable, purely mineral raw materials entirely complies with the current trend of natural, environmentally-friendly and sustainable materials“, says CEO Wolfgang Rieder. Apposite to the Expo-Theme “Sustainability”, Rieder has been certified in May according to DIN EN ISO 14.001. This international approved environmental management certificate confirms the commitment to sustainability at Rieder. With this „organic approach“, Zaha Hadid’s design of the bridge as well as the use of the material fibreC fit with the EXPO theme „Water and Sustainable Development“.

The innovative material fibreC enables big creative freedom in terms of mouldability, colour and processing. “Today, fibreC meets architectural challenges, which apparently made impossible to employ concrete still a few years ago“, Rieder says. “The example of the Zaragoza Bridge shows that 29.000 different triangular forms with accurately defined radiants can be manufactured industrially. With this technical precision and the logistic complexity Rieder breaks new ground in the world of concrete production.“

The Architect
Zaha Hadid is a notable Iraqi-British architect and professor. In 2004 Hadid became the first female recipient of the Pritzker Architecture Prize, architecture’s equivalent of the Nobel Prize. Many buildings and projects all over the world derive from Hadid’s creativity, such as the new city casino of Basel (Switzerland), the Guggenheim Museum in Taiwan, the National Centre of Contemporary Arts in Rome, the Bergisel Ski Jump in Innsbruck (Austria) and the Library for the Seville University (Spain).

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Source from Flickr Search

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Source from lúcio santos

The bridge pavilion was commissioned as the 'iconic' entrance to the 2008 world expo in zaragoza, españa. 300m long with 2 levels, it is composed of 4 pods: 2 & 4 being the central , open-aired pedestrian passage flanked by pods 1 & 4 on both sides. the bridge will house a water conservation exhibition on the upper levels.





對整個營建過程有興趣的可以看看這個分類內有一些過程照片和敘述

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Google Map上面看起來的樣子

檢視較大的地圖

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miércoles 12 de diciembre de 2007

Pabellón Puente - Zaragoza, España




























































Zaha Hadid

http://www.zaha-hadid.com/

http://www.flickr.com/search/?q=pabellon+puente

http://teimper.com/2007/12/07/el-lanzamiento-del-pabellon-puente/

http://www.coaaragon.es/privada/cultura/exposiciones/pdf/pabellon-puente.pdf

http://www.arup.com/spain/newsitem.cfm?pageid=6800

http://www.arquinews.com/edificios-nuevos/pabellon-puente-zaha-hadid-expo/

http://arquitecturatv.wordpress.com/2007/06/17/zaha-hadid-en-las-obras-del-pabellon-puente/

http://www.elperiodicodearagon.com/noticias/noticia.asp?pkid=295582

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Source from Flickr Search

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Source from Flickr Search

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Source from Flickr Search

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27 June 2008
By Ellis Woodman

Zaha Hadid’s bridge over the River Ebro for the Zaragoza Expo is another creative triumph, but will it achieve its legacy role once the expo is over, wonders Ellis Woodman

The Spanish city of Zaragoza lies just about midway between Madrid and Barcelona, an hour and a half’s train ride from each. Earlier this month after travelling north from the capital and arriving close to midnight, I headed for the shower. On turning the tap, however, I had second thoughts. The water that emerged was an alarming shade of chocolate brown.

The next morning as I walked down to the Ebro, the river that winds through the middle of the city, it soon became apparent why. Ordinarily Zaragoza’s climate verges on the desert-like, with average annual rainfall of just 310mm. This year, the region has experienced its wettest spring since 1930. Having burst its banks, the river was consuming everything in its path under a raging torrent of muddy water.

The timing could not have been worse. The reason I and a 100 other journalists were in town was that Expo Zaragoza 2008 was about to open its doors.The 25ha site is caught in a wide meander of the river, and one of its outdoor stages even projects out into the water. In the end, judicious sandbagging ensured that the only major casualty was the opening ceremony. Yet as the waters rose, the organisers must surely have begun to fear they had been singled out as the butt of some cosmic joke: the exhibition on which they had just spent €700 million takes as its theme the subject of water and sustainable development.

The exhibits were still being installed during my visit, but there was enough visible to get a handle on the general tone: an uneasy straddling between the school room and the theme park. Gormleyesque sculpture, French circus troops, MDF architecture and inspirational super-graphics were the order of the day — anyone who survived a visit to the Millennium Dome will know the drill.

These doubts were compounded by the suspicion that there must be better ways of promoting sustainability than by staging a gargantuan exhibition — there are 140 pavilions — which ends up in a skip after three months. In fairness, the project has been undertaken with a legacy plan in place. After September, a number of the larger structures will be adapted to office space and the whole site will be redesignated as a business park.

At least one element of Expo 2008 will also continue to function as a public resource: the 260m-long pedestrian bridge that has been built across the Ebro to a design by Zaha Hadid. In its current incarnation the bridge forms the site’s principal entrance, while after September it promises to play a critical role in unlocking the regeneration of Zaragoza’s north bank. Particularly significant in this regard is the fact that it has a very direct relationship with the city’s main railway station — a really splendid work by Carlos Ferrater — which stands half a kilometre to the south.

No doubt this basic infrastructure requirement could have been satisfied for a fraction of the €34 million expended on Hadid’s bridge. However, her project has additional functions to perform: it doubles as an exhibition pavilion in its own right, hosting a display devoted to best practice in water management across the world. As such, it represents the long delayed realisation of an idea that Hadid has rehearsed across a series of unbuilt projects — the habitable bridge.

Two designs to which that theme is particularly key are her 1977 AA graduation scheme for a Malevich-inspired hotel intended to sit on London’s Hungerford Bridge, and the winning entry in the Royal Academy’s 1996 competition for a habitable crossing over the Thames, conceived for a site just a couple of hundred metres downriver from the earlier project.

Hadid’s architecture had developed significantly in the interim, the neoconstructivist agglomerations of the early work having been exchanged for the language of quasi-organic forms that dominates her current production. Nonetheless, a clear conceptual thread exists between the two schemes: both were much concerned with cultivating spatial relationships — coincidences — between the diverse programmes distributed along their length.

“The bridge entirely wrong-foots one’s sense of perspective”

That impulse is also clearly present in the Zaragoza project, but Hadid had a rather less appetising set of ingredients to work with on this occasion. The bridge’s programme is a far simpler than those of the earlier schemes, while the urban situation into which it has been inserted is at present all but non-existent.

What it has principally in its favour is a wonderful landscape setting, to which the bridge proves responsive in a number of ways. For one thing, it curves in plan, gently resolving the divergent geometries of the north and south banks. In order to keep it above flood level, it extends far beyond the river’s edge on both sides. Massive embankments serve to anchor — both structurally and visually — either end in the ground.

The structure is not, however, a single span. A third point of support is provided by a small island two thirds of the way along the bridge’s length. The island’s eccentric location invests the structure with an asymmetry that Hadid — if not her engineer — has clearly relished.

The basic module from which the whole structure has been derived is a triangular steel frame. It is repeated at 3.6m intervals along the bridge’s length, and adjusted in height and width with each iteration. What emerges through this procedure is an arched truss which is then lined out to become a spatial enclosure.

The bridge comprises four such trusses. Two are laid end to end, forming the public route. The other two are rammed in from either side and serve as exhibition halls. The plan that results is trident-like, the handle bearing on the south bank, the forks pointing north.

Early on in the project’s development, the design team considered the possibility of an engineering solution based on a series of shell structures. This was ultimately rejected because the architect felt that such a monolithic structure would give the project the presence of a piece of heavy engineering. What Hadid wanted was a finer, more building-like scale. The bridge’s external image is very largely, therefore, a matter of cladding.

The lower level has been faced in premoulded steel panels, giving it a sinuous, aerofoil profile. Above, we are presented with a skin of mosaic-like glass-reinforced concrete panels. Comprising a series of interlocking triangles, this treatment is built up of ten different cutting patterns, each of which is assigned a distinct tone, graduating from black to white.

On first sight, the impression is dazzling, entirely wrong-footing one’s sense of perspective, so that the surface appears more heavily profiled than it truly is. Having assumed that it could only have been generated parametrically, I was surprised when, drawing closer, its systematic and charmingly low-tech nature became apparent.

Many panels are also omitted, casting a rich pattern of light and shadow on the bridge’s floor. The lighting requirements of the exhibition — the demand was essentially for a black-box environment — limited the number of these perforations, but the plan is to introduce more once the bridge passes into legacy mode.

“The structure is the realisation of an idea Hadid has rehearsed across a series of unbuilt projects — the habitable bridge”

More substantial openings have been introduced at the junction of the glass-reinforced concrete panels and moulded steel cladding. The interplay between this horizon line, the ridge and the bridge’s underside forms the primary motive for the elevations: a simple idea, but one handled here with fantastic dynamism and invention.

If the bridge’s interior proves somewhat less happy, that is not altogether the architect’s fault. A continuous lining of moulded plasterboard extends down the length of the space, faced in several layers of resin to give a white plastic finish. The subcontractor was also responsible for the linings of Gehry’s Bilbao Guggenheim, and the craftsmanship on show at Zaragoza is every bit as impressive.

The exhibition halls are entirely lined out, but at high level, large expanses of wall along the public route have been left unlined. This is the one point where the building’s construction is legible: we can see the triangular frames, a grid of secondary steelwork laid on the diagonal, and finally the underside of the GRC panels.

The difficulties that have arisen are related to the realisation of the Expo programme. Hadid had hoped to design the exhibition, but the commission was handed to a firm of US specialists. What it has done is fine enough, but one regrets that the opportunity to give the building and its contents a common expression has been lost.

Far more problematically, it was decided that the smaller of the two exhibition halls would stand empty, serving merely as overflow space on days when visitor numbers are particularly high. As a result, there is little sense of the programmatic juxtaposition that characterised Hadid’s earlier habitable bridge projects.

After the Expo closes, the plan is for the structure to retain its use as an exhibition venue, although what form those exhibitions might take remains unclear. The absence of vertical walls and the very particular nature of the daylighting will certainly limit the choices.

However, an issue which will surely pose a far greater threat to the building’s future is its urban dislocation. Given that it lies in such an undeveloped part of the city, it is hard to imagine how it will find the density of activity that its scale demands for some time to come.

To be blunt, without careful stewardship, one can see it very quickly becoming a target of vandalism and anti-social activity. As ever with Hadid’s work, the project presents a challenge to the world. And not for the first time, I fear it is one the world may prove incapable of meeting.

Project team
- Client Expoagua 2008, Architect Zaha Hadid Architects, Engineer Arup, Lighting Bartenback Lichtlabor, General contractor UTE Dragados – URSSA



Photos by Fernando Guerra

Exit to the Expo site


The bridge forms the entance to the Expo site from the south.


The GRC cladding uses 10 different cutting patterns, each assigned a different colour.


Upper floor site plan


Cross-sections along bridge part 2


Cross-sections along bridge part 1

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Zaha Hadid Architects
Zaragoza Bridge Pavilion
Zaragoza, Spain

The building’s envelope plays an essential role in defining its relation to the surrounding environment and atmospheric variations.


Photo: Fernando Guerra / FG+SG

The Zaragoza Bridge Pavilion is an interactive exhibition area focusing on water sustainability, integrating a pedestrian bridge to perform as gateway for the Zaragoza Expo 2008.


Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

The Bridge Pavilion is organized around 4 main elements, or “pods”, that perform both as structural elements and as spatial enclosures, where each “pod” corresponds to a specific exhibition space.

These pods intersect and brace each other, allowing the weight of the bridge to be distributed across the four trusses instead of a singular main element.


Photo: Fernando Guerra / FG+SG

The body of the building evolves from the extrusion of a diamond-shaped section along a slightly curved path, projected diagonally across the shores of the Ebro River. Its dynamic shape is enveloped by a distinctive shark-scale skin, a permeable membrane that generates an internal microclimate based on the natural airflow. The concrete belly of the articulated volume partially rests on a small island in the middle of the river, reinforcing the hybrid, lifelike nature of its curvilinear volumes.


Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Located above the main flood level, the Bridge Pavilion connects with each river bank via a smooth inclined terrain. Each pod is located on the same level, except one which is 1.5 meters above this main level and intersects with its adjacent pods.
All pods are stacked according to precise criteria - aimed at reducing the Bridge Pavilion’s section as much as possible where the span is longer, and enlarging the section where the span is shorter. One long pod spans from the right riverbank to the island, where the other three are grafted into it, spanning from island to left bank.


Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

This interlocking of the pods has given the design many exciting possibilities. Interiors become complex spaces, where visitors move from pod to pod through small in-between spaces that act as filters - or buffer zones. These zones diffuse the sound and visual experience from one exhibition space to the next, allowing for a clearer understanding of the content within each pod. The identity of each pod remains evident inside the pavilion, almost performing as a three-dimensional orientation device.
Each zone within the building has its own spatial identity. Their nature varies from completely enclosed interior spaces that focus on the exhibition, to open spaces with strong visual connections to the Ebro River and the Expo.


Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

Photo: Fernando Guerra / FG+SG

“We designed an envelope for the Bridge Pavilion that encloses the exhibition spaces yet can be permeated by natural elements. The internal micro-environment varies with the external climate and requires minimal cooling or heating infrastructure. In particular, we considered the local Cierzo wind when designing the skin. A variety of openings convey and direct air into the building’s interior - cooling visitors in the heat of the summer.”
Zaha Hadid

The design merges two traditionally distinct and separate building typologies: the “infrastructure” element (the bridge) and an “architectural” element (the pavilion). With the Bridge Pavilion design, Zaha Hadid Architects has challenged the conventional idea of a bridge being purely engineering.

Drawing courtesy Zaha Hadid Architects
Lower Floor Site Plan

Drawing courtesy Zaha Hadid Architects
Upper Floor Site Plan

Drawing courtesy Zaha Hadid Architects
Longitudinal Section Pod 2 west

Drawing courtesy Zaha Hadid Architects
Cross Section


Total floor area: 6,415 square meters
Exhibition surface area: 3,915 square meters
Pedestrian Bridge surface: 2,500 square meters
Length: 270 meters
Completed: 2008
Client: Expoagua Zaragoza 2008
Architects: Zaha Hadid Architects
Design: Zaha Hadid with Patrik Schumacher
Project architect: Manuela Gatto (Associate)
Project team:
Fabian Hecker
Matthias Baer
Soohyun Chang
Feng Chen
Atrey Chhaya
Ignacio Choliz
Federico Dunkelberg
Dipal Kothari
Maria Jose Mendoza
José Monfa
Marta Rodriguez
Diego Rosales
Guillermo Ruiz
Lucio Santos
Hala Sheikh
Marcela Spadaro
Anat Stern
Jay Suthadarat
Competition team:
Feng Chen
Atrey Chhaya
Dipal Kotari
Engineers: ARUP Associates
Photographed by Fernando Guerra / FG+SG

Zaha Hadid Architects arcspace features

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