BARCH Thesis - Teja Payapalle

YOKOHOMA CRUISE TERMINAL
INTERNATIONAL CRUISE TERMINAL - MUMBAI

THESIS REPORT
THESIS RESEARCH GUIDE: DR. JAYA KUMAR THESIS GUIDES: MANOJ MATHUR SIR SHIRIESH MALPANI SIR P. TEJA SIVA SRINIVAS A/2256/2010
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SEC: B V YEAR B.ARCH
ACKNOWLEDGEMENTS
I have a great privilege to offer my sincere thanks to my thesis guides, Prof. Manoj Mathur Sir and Prof. Shiriesh Malpani Sir for their continuous
support and insightful comments at all the stage of the thesis. This thesis would not have seen its final stage without their encouragement and
thoughtful efforts.
I extend my thanks to Prof. Dr. Jaya Kumar Ma’am, studio co-ordinator, and Prof. Manoj Mathur for their critical insights in my report and technology
aspect.
My heartiest of gratitude to the city of Mumbai, which led me to seek the project. Very special thanks to its warm and courteous people.
I express my sincere thanks to Mr. Gurtej, Ms. Priya Shetty, Mr. Fernandez from Thomas cook who took all the troubles for me to visit the terminal
building during a ship arrival.
I offer my sincere thanks to my parents, all my friends and well wishers who kept faith on me and always supported me during these years of my
education at SPA, New Delhi.
I would like to express my gratitude to all the people who have supported and contributed to my thesis exercise directly or indirectly.
THESIS RESEARCH GUIDE: DR. JAYA KUMAR THESIS GUIDES: MANOJ MATHUR SIR SHIRIESH MALPANI SIR P. TEJA SIVA SRINIVAS A/2256/2010 2
INTERNATIONAL CRUISE TERMINAL – THESIS RESEARCH
RESEARCH FRAMEWORK:
CHAPTER 1: THESIS- A SEARCH CHAPTER 3: READING OF THE PROGRAM
 Introduction-Proposition
 Introduction
1.1 The city
3.1 Area Calculations
1.2 Cruise Tourism
3.2 Area Program
1.3 Mumbai Harbor
3.3 Relationship of Program Components
1.4 Search
 Inferences
 Inferences
CHAPTER 4: READING OF THE SITE

CHAPTER 2: RESEARCH
 Introduction
2A Areas of Research
4.1 City Level Study
 Introduction
4.2 Precinct Study
2A.1 Architecture and Transformation
4.3 Site Level Study
2A.2 Architecture and Identity
4.4 Site Schematic Drawings
2A.3 Tradition or Future
 Inferences
2A.4 Cruise terminal operation
 Inferences
CHAPTER 5: TECHNOLOGY
2B Case Studies
CHAPTER 6: SUMMING UP
 Introduction
 Challenges
2B.1 Yokohama Cruise Terminal, Japan
 Constraints
2B.2 Kai Tak Port Terminal, Hong Kong
 Opportunities
2B.3 Marina bay International terminal, Singapore
2B.4 Salerno maritime terminal, Italy
CHAPTER 7: DESIGN TRANSLATION
2B.5 International Cruise Terminal, Ballard Pier, Mumbai
CHAPTER 8: DESIGN DEVELOPMENT
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INTERNATIONAL CRUISE TERMINAL – INTRODUCTION - THESIS PROPOSITION
PROPOSITION
The sea is a far ending experience which has always been desired to be captured. Thus since ages ships have been sent to far off land. Even today the charm is
not lost and everyone wishes to set sail on a cruise as a once in a lifetime opportunity.
The project deals with the fulfilment of desire of such adventurous people who wish to leisure in the deep ocean. Thus, providing a facility on the harbour to set
sail with comfort and security. It also adds to the ecstatic joy of the upcoming journey and the nostalgia of returning home.
The thesis book acknowledges the project from its beginning to the end. The book shall guide one to the introduction of the project and the city of Mumbai with
which it deals. It also brings about the joy to be on the sea. In terms of the technical data, it provides with the program being achieved for and its analysis.
Later the book deals with the areas which need to be researched upon providing a critical analysis of the same. It also discusses examples of a similar project
deriving inferences from what has been done already and, finally summing up the thought process that goes about in the initialization of the project, to head for
the design.
“ Designing the cruise terminal of Mumbai which would make the people consume architecture as a product and form part of the identity by
blending subtly yet creating inquisitive and emotional connection towards the journey ahead. ”
CHANGE AND TRANSFORMATION IN ARCHITECTURE:

In the context of a multicultural society, the role of architects and the limitations of architecture are changing in the direction of an effort to create sustainable
environments and sustainable development. From this point of view, the age of globalization has prompted us to rethink certain concepts in terms of our roles.
Regarding the strong relationship between “change” and “transformation”, the connection of Zeitgeist to architecture has to be dealt with in terms of the concepts
which are evoked or which emerge within the scope of this study. At this point, the relationship between change and transformation as reflected in architecture
will be examined, and a series of questions which the idea of Zeitgeist prompts will be addressed.
The problem area addressed by the study shall embrace the following subjects: Change and Transformation, Architecture as an Instrument of Identity and
language, Zeitgeist and Architecture, Tradition or Future.
SEC: B V YEAR B.ARCH 4
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION - THESIS PROPOSITION
Since the beginning of its appearance on earth, humankind has needed to construct in order to stand and maintain its existence, and has mastered various
construction techniques in that pursuit. As technology has played an ever greater role in human life, humanity has found itself not only enjoying greater convenience,
but also facing significant controversies and complexities. Humanity, conceived of as individuals trying to prove themselves, entered the participation process by
becoming members of society and acquiring the ability to live together. Hence humanity inevitably became a part of a cycle of change and transformation.
The most significant factor affecting the transformation process is change. Change as a common worldwide expression has come into prominence within such
subtopics as “sustainability, globalization, technology” in architecture. The practice of architecture taking part between theory-practice dialectics gained a
transdisciplinary quality given the constant change it underwent, due to the fact that both the architect and the practice of architecture are expected to establish
multidisciplinary links. This state of affairs can be traced back to Vitruvius, author of the earliest architecture book and developer of the first theory of architecture
(Güven, 2009).
Vitruvius considered formation of the theory of architecture more important than the construction of a building , because his purpose was to avoid the loss of traditions
rather than to search for the new (Güven, 2009). Along with these arguments concerning the discipline of architecture, he also specified some characteristics that
architects must have. Even in those days, he pointed to the necessity of both architects and architecture having organization.
This model proposed by Vitruvius remains largely valid for architects and architecture of the 21st century. Today, globalization and sustainability, as well as technology
and developments in communication, make architecture a profoundly interdisciplinary activity. Architecture, an upper-identity and an upper-language, gives us hope for
the future by bringing out the spirit of the profession within the dialectics of man and society. As architects, we emphasize such expressions as “designing the future,
looking at the future, and catching the spirit of the age (Zeitgeist)”. Doing so urges us to rethink and continually question such concepts as the practice of architecture,
professionalism, the process of education and, especially, architecture for society. Architecture and the future are comingled with the idea of change. Architecture must
anticipate transformations and focus on designing life and spaces of the future (Hacıhasanoğlu, 2005).
In that regard, as proposed by Vitruvius (1998), such questions as the following arise: Must we try to understand the past and our traditions? Or must we strive
to keep up with the age, aiming at creating the architecture of the future? Therefore, it is the space between these two dialectics, architecture and the role
of architects that will be examined through this project..
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – THE CITY
1.1 THE CITY
The city Mumbai, know as Bombay until 1995, is a great port city, situated on the west coast of the Indian peninsula. It is one of India's dominant urban centers
and, indeed, is one of the largest and most densely populated cities in the world. Deriving its name from Mumba Devi, a goddess of the local Koli fishing peoples,
Mumbai grew up around a fort established by the British in the mid-seventeenth century to protect their trading interests along India's western coast. The city's
superb natural harbour provided a focal point for sea routes crossing the Arabian Sea, and Mumbai soon became the main western gateway to Britain's
expanding Indian empire. The city emerged as a center of manufacturing and industry during the eighteenth century. Today, Mumbai is India's commercial and
financial capital, as well as the capital city of Maharashtra State.
The architecture of the city is a blend of Gothic Revival, Indo-Saracenic, Art Deco, and other contemporary styles. Most of the buildings during the British period,
such as the Victoria Terminus and Bombay University, were built in Gothic Revival style ("Rainswept glory". The Hindu. Chennai, India. 24 July 2004. Retrieved 7
July 2009. Their architectural features include a variety of European influences such as German gables, Dutch roofs, Swiss timbering, Romance arches, Tudor
casements, and traditional Indian features (Morris & Winchester 2005, p. 212). There are also a few Indo-Saracenic styled buildings such as the Gateway of India
( "Mumbai's entrance -the 'Gateway' to be more tourist-friendly". The Hindu. Chennai, India. 4 March 2007. Archived from the original on 6 March 2007.
Retrieved 7 July 2009). Art Deco styled landmarks can be found along the Marine Drive and west of the Oval Maidan. Mumbai has the second largest number of
Art Deco buildings in the world after Miami. In the newer suburbs, modern buildings dominate the landscape. Mumbai has by far the largest number of
skyscrapers in India, with 956 existing buildings and 272 under construction as of 2009.
The Mumbai Heritage Conservation Committee (MHCC), established in 1995, formulates special regulations and by-laws to assist in the conservation of the city's
heritage structures. Mumbai has two UNESCO World Heritage Sites, the Chhatrapati Shivaji Terminus and the Elephanta Caves ( "India: World heritage sites
centre". UNESCO. Retrieved 9 August 2007). In the south of Mumbai, there are colonial-era buildings and Soviet-style offices. In the east are factories and some
slums. On the West coast are former-textile mills being demolished and skyscrapers built on top. There are 31 buildings taller than 100 m, compared with 200 in
Shanghai, 500 in Hong Kong and 500 in New York ( "Is the world's weirdest property market strangling the city that hosts it?". The Economist. 9 June 2012.
Retrieved 6 July 2012).
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INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – THE CITY – WEATHER DETAILS
TIDAL INFORMATION Above(+) or Below(-) Chart
Tide
The dominant tide in the Mumbai Harbour is the semi-diurnal tide with a Datum
period of 12 hours and 40 minutes. The following are the particulars of tidal Highest High Water recorded + 5.39 m
levels related to Chart Datum. Mean High Water Spring Tides. + 4.42 m
Statistical studies made indicate that :- Mean High Water Neap Tides. + 3.30 m
1. All high tides exceed + 2.70 m. Mean Sea Level. + 2.51 m
2. About 5% of all high tides would be less than + 3.20 m. Mean Low Water Neap Tides. + 1.86 m
WIND Mean Low Water Spring Tides. + 0.76 m
General direction of wind is from the North to the West quarter, with seasonal Lowest Low Water recorded. - 0.46 m
variations as shown :- Highest Low Water + 2.74 m
CYCLONES SEASONAL WIND VARIATIONS
These may occur in the period of May/June or October/November. The last

severe cyclone off the coast of Mumbai was experienced in June 1996. Prior Months Directions Speeds
to this the earlier cyclone occured in 1992. 1. Feb-May Mainly from N.W. (Max. 8 to 10 Beaufort Substantial 4-6
CURRENTS Beaufort)
The currents in the harbour are essentially caused by the tides and are not 2. June- Mainly from (Max. 8 to 10 Beaufort Substantial 6-8
influenced to any extent by monsoons etc. The tidal flow is unsteady and the Sep W.N.W. Beaufort)
magnitude and direction of the current varies with respect to location, time 3. Oct-Jan Mainly from (Max. 6 to 8 Beaufort Substantial 2-6
and depth. N.N.W. Beaufort)
WAVES
The predominant waves are the swell waves generated by deep sea storms. These mainly arise just before and during the South W est monsoon. The statistical
analysis indicates that most wave periods fall between 6 seconds and 10 seconds.
During the continuance of the North-East monsoon, North-Easterly winds known as "Elephantas" blow for short durations during the months of October-
November. As the fetch and duration of these winds are limited, the"Significant height" of the resulting waves is not likely to exceed 1 metre with period ranging
from 3 to 5 seconds.
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – THE CITY – CRUISE TOURISM
RELATIVE HUMIDITY & TEMPERATURE
Relative humidity ranges from 61% to 87% being the highest in the monsoon period. During the winter months (Nov-Jan) relative humidity ranges from 61% to
72%. Mean daily temperature ranges from 24 Degrees C to 33 Degrees C except during the winter period when the minimum temperature may fall to about
19 Degrees. The hotter months are March, April, May and June
VISIBILITY
In general, on the West Coast, above latitude 16o N mist sometimes develops during sunrise but disperses thereafter.
At Mumbai from November to March smog hangs over the land, obscuring everything in view. This happens only for short periods most often shortly after
sunrise but also occasionally in the evenings. Visibility is generally good for most part of the year.
RAINFALL
The climate of the region has a regular seasonal variation determined by the occurrence of two annual monsoons. The South-West monsoon period extends
from June to September. Most of the annual rainfall occurs during the South-West monsoon, the average monthly rainfall being about 45 cm. Rain during the
North-East monsoon is slight. The average annual rainfall over 20 years is 193 cm.
1.2 CRUISE TOURISM SCENARIO
The city is looking to be an international cruise destination with the Mumbai Port Trust giving high priority to developing this sector under its new business
plan.
The Mumbai Port is transforming itself to become the gateway of international cruise in the country and a leading hub of automobile exports. Costa Cruise line
is making Mumbai its home port and the port authorities are streamlining various facilities to make the city attractive for foreigners coming in on cruise lines.
According to experts, lack of infrastructure and complicated customs rules are the major deterrents for the growth of cruise tourism in the country.
“ Mumbai must have an international-level cruise terminal. Last year, it was operating from the same cargo terminal and was not up to the mark. No
international tourist would like to visit. We have to make e-visas available so that they do not have to waste time. Customs formalities should be conducted on
board the vessel, There is a need for good quality hotels, shopping malls, taxi service, and easy connectivity to the nearest tourist destinations to make their
visit exciting. There has to be a recreation area too ” - Subhash Goyal, chairman of Stic Travels, The general sales agent for three international cruise lines in
India.
Internationally, the cruise business is a trillion-dollar industry but India is not getting even one per cent of that business. Mumbai will have to go a long way
before it reaches the level of major cruise destinations like Hong Kong, Singapore and even Dubai. While Hong Kong and Singapore receive about 500 cruise
ships a year, Dubai and Sydney get about 200 each. Barcelona and Alaska get about 800 each approximately.
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – CRUISE TOURISM
Meanwhile, the Mumbai Port Trust is developing a marina which will open up a sea
front for recreational purposes. It is also working on land development for which an
international consultant has been appointed.
The cruise industry has experienced incredible growth over the past decade.
There has been an increase in the number of cruise shipping lines and in
their fleets (the number and
size of the ships).
In this evolving market context it is fundamental

that port development can be carefully planned,
with specific up-to- date cruise terminals and
other cruise berthing facilities.
FIGURE 1 : Cruise ship classification

(PIANC WG 152, 2015)
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – CRUISE TOURISM
CRUISE INDUSTRY OUTLOOK
Cruise tourism – fastest growing sector of tourist industry Cruise Destinations
Other regions
South America
Economic impact of $119.19 billion + 940.000 jobs (CLIA, 2014) 3%
14% Caribbean
Asia 37%
4%
Main Cruise destinations: Alaska 5%
Caribbean (37%), Mediterranean (20%), North Europe (11%),Australia (6%)
Main Cruise companies: Australia

Carnival (48%), RC (24%), NCL(11%), MSC (5%) 6%
• Fleet of 389 cruise vessels and plus 41 being ordered North Europe
Mediterranean
• Trend for mega - cruises (+5,000 pax) 11% 20%
• Ports have developed an interest in advancing their cruise activities
FIGURE 3 : Cruise Destinations
(PIANC WG 152, 2015)
Cruise liner Operations

Others
12% Carnival
MSC Corporation
5% 48%
Norwegian
CruiseLines
11%
Royal
FIGURE 2 : Cruise ship classification Caribbean
(PIANC WG 152, 2015) Cruise Ltd
24%
FIGURE 4 : Cruise liner opearations
(PIANC WG 152, 2015)
INTERNATIONAL CRUISE TERMINAL – CRUISE TERMINAL IN BRIEF – CURRENT SCENARIO
CRUISE TERMINAL
The terminal is situated at Ballard Pier (BPX) within 5-10 minutes driving distance from the Taj Mahal Hotel, Museum,
Art galleries, CBD of Fort, Colaba Causeway, Nariman Point and Marine Drive.
The Cruise Terminal has check- in baggage handling facilities, a lounge, duty free shop, curios and handicraft stalls
and toilets etc.
Features :
Dedicated Cruise Terminal at BPX
Domestic Cruise at Ferry Wharf Shed no. 3
Details of the cruise passengers handled at Mumbai Port – both international and domestic – during the last six years
is given in the following table:
(* Inclusive of transit tourists)
International Cruise Domestic Cruise Total
No. of calls Passengers * No. of calls Passengers No. of calls Passengers
2007-08 25 14212 59 54917 84 69129
2008-09 30 17375 45 26247 75 43622
2009-10 33 27482 90 62032 123 89514
2010-11 42 27529 21 12063 63 39592
2011-12 40 36803 --- --- 40 36803
2012-13 41 27827 --- --- 41 27827
1 Facilities existing in Cruise Terminal : 2. Proposed New Cruise Terminal / upgradation of

Foreign Exchange, Police/ Port Security
(I) Berthing Facilities: existing terminal :
Passenger Lounge
Adequate Bollards & Fenders at berth New Terminal proposed near Gateway of India.
Duty Free Shop, Handicrafts Shops, Cyber
Gangways of various sizes available Convention Centre, Conference Hall, Shopping Mall, Marina.
Cafe
Barricaded berth for enhanced security (ISPS compliance) Zebec Marine Consultants submitted the draft final DPR on
Baggage Handling, Trolleys, Porters
Facilities for loading of provisions/supplies 21.02.2009.
Parking lots for cars/ buses/ taxis
Garbage reception facility as per MARPOL Navy has raised issues of security & objected proposed location.
Terminal capable of handling two vessels’
(II) Terminal Facilities: Meanwhile consultants have been asked to study the existing
pax simultaneously (adjoining berth BPS is
Total Terminal area 6000 sq.mtr. However only 2500 Terminal.
often used for second cruise vessel)
sq.mtr used due to fewer vessels calls (low requirement) The consultant have submitted Draft Report of the upgradation
Separate baggage drop off and reclaim
Fully Air-conditioned terminal (2500 sq mtr) of existing Cruise Terminal at BPX, estimated to cost Rs. 42.25
area
Information Counter of India Tourism, Customs, Crores.
Crew sign on/ sign off facilities in separate
Immigration
hall
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION – MUMBAI HARBOR
1.3 MUMBAI HARBOR
Mumbai Port has long been the principal gateway to India and has played a pivotal role in the development of the national economy, trade & commerce and
prosperity of Mumbai city in particular. The port has achieved this position through continuous endeavor to serve the changing needs of maritime trade. Though
traditionally designed to handle general cargo, over the years, the port has adapted to changing shipping trends and cargo packaging from break bulk to
unitization/palletisation and containerization. Besides, it has also developed specialized berths for handling POL and chemicals. For decades, Mumbai Port was
India’s premier port. Even today, with the development of other ports, it caters to 10% of the country’s sea-borne trade handled by Major Ports of the country in
terms of volume. It caters about 19% of POL Traffic handled by Major Ports.
Having weathered and survived many a changes in maritime trade in its long history, Mumbai Port is today facing challenges posed by competition from adjoining
ports and private ports, changing traffic patterns, inherent physical constraints and continuing labour intensive operations, etc. However, Mumbai
Port is taking various measures to render cost effective and quality services to the trade.
HISTORY IN DETAIL
After the transfer of the Port and Island to the East India Company by Royal Charter in 1668, development of the Port started taking shape. Various measures
such as construction of a Custom house, a warehouse, dry docks etc. were taken up by the Company to encourage trade. In 1813, an act of the British
Parliament ended the Company’s commercial monopoly. This resulted in a great spurt in the trade of the Port. The year 1858 witnessed the exit of East India
Company, and passing of Mumbai under the direct rule of the British Crown. In 1873, the present statutory autonomous Port Trust was set up for administering
the affairs of the Mumbai Port.
The opening of the Suez Canal in 1869 revolutionised the maritime trade of Mumbai. It shifted the whole scenario of import and export trade from the East coast
to the West and Mumbai port became the principal Gateway of India. The first wet dock constructed in India was the Sassoon Dock at Mumbai in 1875 followed
by the Prince’s and Victoria Docks in 1880 and 1888 respectively. However, Princess and Victoria Dock are being filled up to convert the consultant area to
make temporary stacking yard for containers in connection with "Offshore Container Terminal" in Indira Dock. The Alexandra Dock renamed Indira Dock in
January 1972, the most modern of Mumbai’s docks, was constructed in 1904-1914. To handle petroleum products and liquid chemicals, a jetty was constructed
at Pir Pau in 1923 and a new modern jetty capable of handling tankers of 47,000 Displacement tons was commissioned in December 1996. A modern oil
terminal at Jawahar Dweep with three berths was constructed between 1952-1956, and the fourth oil berth capable of receiving tankers upto 1,25,000
Displacement tons was constructed between 1980-1984.
1.4 NATURE AND SCOPE OF RESEARCH
INTERNATIONAL CRUISE TERMINAL – INTRODUCTION - SEARCH
With some 18 million people cruising worldwide every year, today’s cruise ship terminals come in all shapes and styles; from bare-boned to “Space Age.” The differences mostly
depend on the importance of cruising to the local community, the availability of valuable seaside property and finally, the dedication and ingenuity of local planners and investors.
The sea is a far ending experience which has always been desired to be captured. Thus since ages ships have been sent to far off land. Even today the charm is rising and everyone
wishes to set sail on a cruise as a once in a life time opportunity.
The project shall deal with the fulfillment desire of such adventurous people who wish to leisure in the deep ocean. Thus, providing a facility on the harbour to set sail with comfort and
security. It also adds to the ecstatic joy of the upcoming journey and the nostalgia of returning home while adding on to the identity to the city as well.
COMPONENTS OF RESEARCH
The development of the design has various contrasts:

 Land and sea front.
 Private and Public Use.
 Embarkation and disembarkation from a journey.
 Excitement for the future but reminiscence of the past.
 Rigidity of the site but fluidity of the surrounding.
• The amalgamation of these factors in the design and providing justice to them all shall be the major area of research. Defining an architectural expression for the transition of
divergent elements will require an in-depth study for achieving this and further its translation.
• The port areas usually are associated with industrial workshops, storage units and heavy manufacturing industries which renders the attractive seafront into an unusable factory
space for the city. The search will include a formation of a typology for the harbour which expands the public realm and provides an open front to the sea rather than indulging in
a closed manufacturing or industrial area as it is used presently.
OBJECTIVES CHALLANGES
 Introducing the sea front to the city  At a macro level the development is a continuation of the public zone from the
gateway plaza.
 Defining an architectural expression for the water front development  The typology of spaces and arranging in the site.
 Articulation of an open public domain for the dense city  Defining levels of privacy the space demands and the necessity of a public sea front.
 Designing a spatial experience for the transition of journey between land and water  Architectural articulation of the design in reference to the demands of the site
 Amalgamation of the port with a public domain  The isolation and combination of the desired components
 Management of cruise traffic and understanding the water-borne transport system.  Articulation of an image to the city which highlights the skyline of the city.
INTERNATIONAL CRUISE TERMINAL – 2A.1 ARCHITECTURE AND TRANSFORMATION
TRANSFORMATION OF BUILDING IN ARCHITECTURE :
In Architecture, Transformation is defined as “The principle that an architectural concept, structure, or organization can be altered through a series of discrete
manipulations and permutations in response to a specific context or set of conditions without a loss of identity or concept.”
The principle of transformation allow a designer to select

a prototypical architecture model whose formal structural and ordering of
elements might be appropriate and reasonable, and to transform it through
series of discrete manipulations in order to respond to the specific conditions
and context of the design.
A design is a generative process of analysis and synthesis, of trial and error, of trying out possibilities and seizing opportunities. In the process of exploring an
idea and inquiring its potentials, it is essential that a designer should understand the fundamental nature and structure of the concept. If the ordering system of
a prototypical model is perceived and understood, then the original design concept can be done through a series of finite permutations, be clarified, strengthened
and built upon, rather than destroyed.
Basically repetition of form can also be said to show transformation if it looks a little different each time. Sometimes shapes are transformed by getting bigger or
smaller and they might also rotate, stretch, or morph into a different shape.
As it can be explained with another example of Architect Alvar Alto’s designs which he had planned with transformation of reading area as shown in figure:
01. Refer the first plan of Architect’s design of a reading room space utilization in 02. Refer the second plan of Architect’s design of a reading room with a transformation
Library of Mount Angel at Oregon in design by its shape and center space is further utilized for connection between
different floors in Library of Seinajoki at Finland.
INTERNATIONAL CRUISE TERMINAL – 2A.2 ARCHITECTURE AND IDENTITY
03. Refer the Third plan of Architect’s design of a reading room with a See the scheme of 3 libraries design by same Architect Alvar Alto –
transformation in design with more refined shape and organized by further transformation of reading room space.
utilization of space in different manner in Library of Rovaniemi at Finland.
2A.2 ARCHITECTURE AS AN INSTRUMENT OF IDENTITY AND LANGUAGE

The change taking place in every component which affects architecture - such as the economy, politics, and technology - has an influence on architecture on
various levels, too. It is possible to talk about social change in the context of architecture particularly when issues concerning society are in question. The
change of the component in the society illustrates the society, the change in the society and its rapidity. Therefore the relationship of the human-society-
architecture-culture is experienced rapidly and transforms by evolving within this cycle.
The practice of architecture behaves like a language and builds itself. From the oldest times when it was first manifested, architecture has brought itself up as
a tool for expressing itself and has constructed its own means of representation. If we consider this representation technically, drawing tools utilized in the
production of the architectural product can be taken as an example. Architectural activity was made up of drawing practice until Alberti to Le Corbusier (see
Figure 6, 7 above) For instance, plan drawings were in use instead of section or facade (Tanyeli, 2010). Today, however, the act of design has gained a new
dimension with the help of digital tools and model programmes, and the production process has begun to be constructed (see Figure 8, 9 below). That is to
say, techniques in the world of architecture do not change very rapidly because architects have been using their drawings as a means of expression for
centuries (Tanyeli, 2010). It’s clear that the architect needs a tool for representation and that the architectural product proves itself by being represented. The
language spoken by the architectural product strives to be mentioned in every condition, whether local or global.
Representation as a lexical entry means “behaving on behalf of someone or a society, being a symbol, symbolization” (BTS, 2010c). For this reason the state of
representation can be brought to discussions of identity. A number of questions may arise, including “What sort of identity should the architectural product have?
What is identity in architecture? Should identity include an image? What is the role of the architect within this identity?” Undoubtedly, these questions can be
multiplied. However, it is beneficial to focus more on the association of identity with architecture rather than on what that identity is per se.
INTERNATIONAL CRUISE TERMINAL – 2A.3 TRADITION OR FUTURE
Every change objects and change stage occasion different thoughts. Architectural relations, like history, should have literary relations, simply because it is not
possible to articulate a new statement if we do not build a language which is specific to us. For architecture, works are either clothed in existing concepts or
existing concepts are clothed in the works. Nietzsche called this condition ‘representation illusion about concepts’. That is to say, he argues that ‘we clothe the
concepts’. We present what we wish to see; not what should be or what is as it is. Architecture, in this sense, has constructed itself as a meta-narrative
throughout history. Precisely at this point, how the discipline of architecture carries on successful communication with concepts becomes clear.
According to Rosenberg (2005), the idea of globalization no longer captured the spirit of the times; hence the age of globalization ended abruptly. While
globalization was frequently regarded as the Zeitgeist of 90s, such concepts as sustainability and ecology can be taken under consideration within this scope
(Rosenberg, 2005). This state of affairs seems to embody what is meant by catching the spirit of the age. In fact, architecture is a part of a building process
following what’s on the agenda and depending on social and public needs. It is understood that the Zeitgeist of society and culture can be found in its own unique
architecture. Precisely at this point, we may find ourselves obliged to choose between the tradition and the future, because Zeitgeist might be both representing
the tradition and promising the future. This combination is the result of the interdependence of architecture and society. Therefore, the fact of the relation of
architecture to both society and other disciplines, in other words its being an interdisciplinary information area, is not a new expression (Durmuş, 2010a).
2A.3 TRADITION OR FUTURE:
Today, is it possible to talk about representation? To what extent is representation necessary now? Isn’t everything designing itself in the 21st century? Is it
possible to foresee the probabilities of the future?
The future is no longer a formation to be limited only to architecture. Although the speculations, expressions and even utopias of architects are considered
instances of foresight, it is now important to take the future of the branches of architecture and any kind of activity into consideration.
It is not possible to draw conclusions at the point at which we are discussing change.
INTERNATIONAL CRUISE TERMINAL – 2A.3 TRADITION OR FUTURE
For this reason, a number of questions can be useful:
What is the Zeitgeist of today and what should it be?
Can a generalization or a definition be made? Is doing so necessary?
Isn’t Zeitgeist the change itself in architecture?
Doesn’t every age set up its own spirit? So, is it possible to talk about the future and change in architecture? Is change not taking place even in this process?
Therefore, a practice/manner/approach fulfilling today or catching the spirit of the time (Zeitgeist) is neither completely new nor is such a search needed; on the
contrary, it is necessary to keep away from static thoughts. We are in a labile world today. The fact that the boundaries of disciplines are quite vague will likely
bring polyphony of architecture to the agenda.
Living in the dream of searching for a true and consistent architecture sometimes requires the architect to utter assertive expressions. This sensational attitude
has surrendered its place to an interpretive one in the postmodern world (Bauman, 2003). Architecture is now on its way toward forsaking comprehensive
expressions claiming to be valid everywhere; that’s because it’s not the architect’s task to write prescriptions. Although such was the case in certain periods, the
disintegration now being experienced will necessitate holisticity on a new level of transcendence.
Tradition existing with culture and being enriched by architecture can also be a tool for expressing the future. Does the idea of future without tradition, or tradition
without future seem more reasonable? Neither seems reasonable, perhaps. However, it won’t be far wrong to point out that the architect’s role of foreseeing the
future has changed, and that the architect has assumed an interpretive identity.
INTERNATIONAL CRUISE TERMINAL – 2A.4 CRUISE TERMINAL DESIGN CRITERIA
INTRODUCTION - PIANC
The World Association for Waterborne Transport Infrastructure (PIANC) is an international
organization, in which professionals around the world join forces to provide expert advice on
cost-effective, reliable and sustainable infrastructures to facilitate the growth of waterborne
transport.
Established in 1885, PIANC continues to be the leading partner for government and the private
sector in the design, development and maintenance of ports, waterways and coastal areas.
PIANC - TERMS OF REFERENCE
The terms of reference were set up by the Maritime Commission of PIANC in

2012 and they can be summarized as follows:
• Port development planned according to the new requirements of the cruise

industry
• Accurate investigation of functional design of cruise terminals and

facilities
• Preliminary audit phase, technical visits on cruise terminals, confrontation of

experiences rules and regulations and best practices
• Members of the group of different disciplines
• A useful report to countries with significant tourist

attraction
CONTENTS INTRODUCTION - GUIDELINE
1. Preface
2. General Aspects
3. Waterside design
4. Apron area
5. Cruise terminal building
6. Ground transportation area
7. Financial aspects
8. Security
OBJECTIVES OF THE GUIDELINE
 Provide a technical guideline for assisting the development of cruise port facilities based on the newest trends of cruise ships and
industry.
 The guideline covers all areas involved in the operation of a cruise ship:
• waterside drivers
• apron area
• terminal building
• ground transportation area
• financial aspects
• security
PLANNING A CRUISE TERMINAL
• Location of the terminal in accordance with the

master plan
• Provision for different spaces inside the cruise

terminal:
• Types of terminals:
1. Home port (turnaround)

2. Port of call (transit)
3. Interporting
22
WATERSIDE DESIGN DRIVERS
DESIGN OF THE WATERSIDE INFRASTRUCTURE
In order to design the waterside infrastructure, several considerations must

be determined:
• Vessel characteristics.
• Use of facility as home port or Port of call
• Operational conditions (storm events)
• Navigation and berthing
• Number and size of vessels, etc.
VESSEL CHARACTERISTICS
Cruise vessels have continued to grow in all dimensions for over 40 years.
Following graphs identify the range of vessels being delivered over the
past
15 years:
• Gross Tonnage has increased by 120% up to 110,000 GT
• Average Cruise Passengers has increased by 138% up to 3,100

pax
• Average Length Overall has increased by 50% up to 300 m
23
Cruise ship classification
Cruise ships are frequently classified by size, associated with a particular commercial cruise line and not a more general industry-wide
characterization
Example of cruise line: Royal Caribbean
LOA Draught Beam

ROYAL CARIBBEAN GRT
(m) (ft) (m) (ft) (m) (ft)
Sovereign class 73,192 268.32 m 7.85m 32.20m

(880ft) (25.75 ft) (106 ft)
Vision class 78,340 279.00m 7.90 m 32.20m
(915 ft) (25.92 ft) (106 ft)
Radiance class 90,090 293.20m 8.50m 32.20m
(962 ft) (27.89 ft) (106 ft)
Voyagerclass 137,276 311.12 m 9.10 m 38.60m
(1,020 ft) (29.86 ft) (127 ft)
Freedom class 154,407 338.04 m 8.80m 38.60m
(1,112 ft) (28.87 ft) (127 ft)
Quantum class 168,666 347.17 m 8.82m 41.40 m
(1,139 ft) (28.94 ft) (136 ft)
Oasis class 225,282 360.00 m 9.32 m 47.00 m
(1,181 ft) (30.57 ft) (154 ft)
24
Aspects to be defined are:
 Vessel characteristics (dimensions, tonnage, overhanging decks, etc.)
 Navigation and berthing (channels, turning basins, prevailing winds, sea level in port- tides, weather conditions, wave and current, berth length,
etc.)
Turning basins
Overhanging decks – Oasis class Berth length
25
Aspects to be in the QUAY defined are:
 Mooring systems (configuration, bollard types, load capacities)  Structural factors (tidal variations-draught, clearance under keel,
load capacities)
 Fender systems (configuration, fender types, load capacities)
 Protection from propeller erosion
APRON AREA
The apron is a fenced/secure area with access control at all entry/egress points.
Home ports: up to 30.00 m

Ports of call: up to 22.00 m
Apron area provides space for operations of stevedoring (line-handling, baggage

movement, processing of wastes), provisioning, emergencies, etc.
Luggage loading Vessel provisions
26
APRON AREA – VESSEL DOORS
Doors with a variety of functions depending on the users in the apron area
Provisioning door Luggage door Utility door
THESIS RESEARCH THESIS TECH GUIDES: MANOJ MATHUR SIR P. TEJA SIVA SRINIVAS A/2256/2010
27
GUIDE: DR. JAYA KUMAR SHIRIESH MALPANI SIR SEC: B V YEAR B.ARCH
APRON AREA - GANGWAYS
There are several alternatives designs for gangways:
Fixed gangway: cost effective solution with a limited number of passenger doors Fixed telescoping gangway: fixed at the building and adjustable to
match vessel door Mobile adjustable gangway: not fixed either the building or vessel end
Fixed gangway Fixed telescoping gangway Mobile adjustable gangway Gangway system scheme
Design considerations: width of the pier, gangway geometric design, minimum walkway clearance (2 m), disable persons (max 8%), minimize obstructions
to the apron service area, stability during storm events, fully covered, construction materials,etc.
APRON AREA – VESSEL UTILITIES

Demand for utility services at cruise vessel is considerable and impacts wharf design:
 Potable water
 Communications
 Bunkering
 Sewage & biosolids
 Garbage
 Ballast water
 Power – cold ironing Shore power connection LNG barge
 Potential future considerations – LNG
28
CRUISE TERMINAL BUILDING
Cruise terminals can be divided into four categories based on their use, longevity, adaptability and relationship within a context of adjacent
development:
 Temporary terminal: initial stage with minimal needs – a building is not required
 Convertible building: other primary use of the building
 Purpose-built terminal: address the full needs and functionality of a cruise
 Mixed-use terminal: adds other uses like shopping and commercial areas.
Temporary terminal Convertible building Purpose-built terminal Mixed-use terminal

Programme – size and location of spaces in a cruiseterminal
29
CRUISE TERMINAL BUILDING
Flow diagram – definition of embarkation & disembarkation routes
Building levels:
Single storey Multi-storey

SPACES INSIDE A CRUISE TERMINAL – EMBARKATION
• Entry: some will have a pre-queue for security
• Bag drop: includes area for baggage to be queued, processed through x-rays
• X-ray luggage scanners: Minimum 2 (when <3,000 pax) to maximum 4 (>5,000 pax)
• Security: linear arrangement of lanes, x-rays machines for luggage, security arcs, security staff and port police. Lanes of 12 x 3 m. Minimum of 2 Inspection
lines (when <1,000 pax) to a maximum of 6 (>5,000 pax).
• Ticketing (Check-in): linear arrangement of counters. (recommended of 50 counters – 3 to 5 minutes per counter)
• Waiting area: ample seating and circulation area
• Boarding corridor: last element of the terminal building (1.5 -6 m)
• Gangway: critical link for passengers between ship andterminal
30
• SPACES INSIDE A CRUISE TERMINAL – DISEMBARKATION
Gangway: critical link for passengers between ship andterminal
• Boarding corridor: separate the embarking & disembarking flow
• CIQP: Customs, immigration, quarantine and police spaces. Each country has its own regulatory criteria.
• Baggage lay down: largest place of the building. Color coded grouping. Required space (0.5 -1 m2 per pax). Sophisticated method - via carrousels
(min. 2)
• Customs: Include processing counters, office and other program elements described in CIQP.
• Meet & greet: A place to meet. Last space in the terminal before exiting.
GTA: Space of 1-2 m2/pax with buses, taxis, parkin.

Space next to the terminal building and the quay operational area where passengers arrive from all modes of transport.
31
Following spaces are required: GROUND TRANSPORTATION AREA (GTA)
 Coaches Park: for shuttle and tour
buses
 Taxi ranks: with walkway to pedestrians of

a width of at least 1.5 m
 Kiss and ride: short stay parking area

for people accompanying the
passengers
 Parking: for employees, ship agents,

porters and all people working
When calculating the spaces required in the GTA area, the following issues should be considered:
 Type of cruise vessel operations
 Port-city distance
 Transport systems available
 Other factors – local, regional and environmental considerations
For a first approach, a mobility study will be necessary.
32
GROUND TRANSPORTATION AREA – MOBILITY
PATTERNS
A recommended process to dimension modal spaces of a cruise terminal could be as follows:
33
FINANCIAL ASPECTS – COSTS AND SOURCE OF REVENUE
COST AND INVESTMENT SOURCE OF REVENUE
INFRASTRUCTURE
• Marine infrastructure: channel, basin, • Cruise passenger head tax/tariff
dock. • Harbour dues and fees
• Land-side of the terminal: land, pavement, • Revenues from providing ship services like water,
terminal building, gangways, etc collection of sewage and waste, etc
• GTA logistics infrastructure: makes a • Licenses for buses, taxis, water taxis,
significant contribution to the wellbeing of the booths and shops
pax • Renting of land for shops and food and beverages

Operating & maintenance • Crew facilities including phone and internet services
• Operating costs • Security fees per passenger.
• Maintenance
• Parking fees (particularly at a home port).
• Fees
SECURITY
• Cruise ports must comply with the security regulation:

SOLAs CHAPTER Xl-2 and the ISPS Code (IMO), December 2002
• It is also necessary to take into consideration the European regulations (EU Regulation 725/2004, EU Directive 2005/65, EU
Regulation 324/2008) in European ports and the American regulations for US ports.
• Cruise lines also have their own requirements (CVSSA 2010)
• Port facility assessment plan
34
INTERNATIONAL CRUISE TERMINAL – 2B.CASE STUDIES – SELECTION CRITERIA MATRIX
CASE STUDY 1: CASE STUDY 2: CASE STUDY 3: CASE STUDY 4: CASE STUDY 5:
YOKOHOMA CRUISE KAI TAK PORT TERMINAL, MARINA BAY INTERNATIONAL SALERNO MARITIME INTERNATIONAL CRUISE
TERMINAL, TOKYO HONGKONG TERMINAL, SINGAPORE TERMINAL, ITALY TERMINAL, BALLARD PIER,
MUMBAI
The case study is of an existing The next study will be at a master The cruise terminal at Marina Bay is The most intriguing aspect of this The fifth is a primary study which
cruise terminal to understand the plan level. Here the aim is to unique because of the way it terminal is its articulation of space will help in understanding the
function of a terminal building with a understand the various nodes emphasizes the interface between and a merger between land and process flow and existing scenario
study of various components and formed, their criteria of formation the public promenade and the sea. of cruise operation. This shall also
details required to deal with. A and their linkages among terminal. help to realize the context to the city
complete understanding of the themselves as well as the city and Understandings of the transition with its port and operation in india.
movement and the circulation neighbourhood surrounding it. There is a publically accessible between changing landscapes and
pattern can be realized by this open plaza which integrates the still going smoothly along with the Since the existing cruise terminal is
example. The linkages of the landscape will outside and the inside. site. quite close to one of the proposed
also be understood from here. sites and on the same harbour,
Yokohama Cruise terminal lays a The private vehicular, public transit, Iconic, Aspiring and depicting the some of the basic technical
strong emphasis on the inclusion of service lanes and pedestrian paths change are the key learnings from requirements remain the same.
the outside community. It does so are all segregated to emphasize an here.
by creating a publically accessible ease of movement. The site level
promenade on the roof of the entire circulation is one of the most
terminal. important aspects of any terminal.
General Information: General Information: General Information: General Information: General Information:
Architect: FOA Architect: FOSTER Architects: RSP Architects Architects Zaha Hadid Architects Omner: Mumbai port land trust
Bermello Ajamil & Partners,
Built up Area: 4500.0 sqm Built up Area: 6000 sq.m.
Built up Area: 44,000 sq.m. Built up Area: 40,600 sq.m Built up Area: 29,873.9 m2
2B.1 YOKOHOMA PORT TERMINAL - FOREIGN OFFICE ARCHITECTS - OVERVIEW
Yokohama’s Osanbashi Pier has been a fixture on the Tokyo Bay since 1894, connecting with the Pacific Ocean
and providing Japan with a marine gateway to the world. In 1988 the pier fell under construction and in 1996 a GENERAL INFORMATION:
competition was held for a new passenger terminal.

Architect: FOA
Ground Floor Area: 30,100
The Foreign Office Architects (FOA) won the competition and the new terminal should be fully realized by
sq.m.
November of 2002. The steel frame structure was designed with the beautiful scenery of the port in mind. It is a
Total area: 44,000 sq.m.
three level facility of a gentle curved form. The occupiable roof curves back in to form the ceiling of the level below
and then again to form the floor. The inside space is barrier free without columns or beams and the vertical
circulation is accomplished through ramps and elevators.
YOKOHOMA PORT TERMINAL - SITE AND GENERAL
The major pier possesses the ability to harbor vessels of

varying sizing including the largest passenger ships. The
port has both pedestrian and vehicular connection to the
mainland. The seamless transition presents an “inherent
dichotomy between global system of transport.”
Basement- machinery rooms

First floor- parking
Second floor- passenger terminal, multipurpose space
Roof- roof plaza, visitor’s deck
YOKOHOMA PORT TERMINAL - CIRCULATION PATTERN
CIRCULATION SEQUENCE
The circulation sequence shows the nodes of interest as one would approach and enter the port from the city. the approach shows pedestrian and vehicular
sequence. One can perceive how the programmatic elements are merely zones and there is no concrete separation between zones of program and circulation.
the overlapping zones provide for the diagram at right where only the beginning and end of the sequence are non-overlapping nodes.
CIRCULATION
The utilization and perception of the space is constantly modified by the size and arrangement of the ships. The major circulation paths become evident during
high traffic times but the gentle curves of the structure allow people to flow almost completely unrestricted. The two distinct flows are that of embarking and
disembarking, the two overlap constantly, and adding minor circulatory flows such as visitor and passenger pick up, completely bring the architecture to life.
PUBLIC ENTRANCE AND
PLAZA VISITORS TERRACE VISITOR ENTRY/ EXIT EXIT HALL
RESTAURANTS PUBLIC
NATIONAL HALL
TRANSPORT PASSENGERS POLICE INTERNATIONAL EMBARKING
PLAZA HALL CONTROL PASSENGERS HALL PLATFORM
CRUISE
TRANSPORT POLICE
PLAZA CONTROL
TABLIER
PARKING
CIRCULATION DIAGRAM
CITY OF
YOKOHAMA
THESIS PROPOSITION P.TEJA SIVA SRINIVAS
A/2256/2010
YOKOHOMA PORT TERMINAL - SECTION & ZONING
As the structure takes shape, its extraordinary form becomes apparent both
externally and internally. The working sections and earlier conceptual
sections indicate the innovative geometry. These geometries expose the
abstract bands of space that are used by the architects, along with folds in
the ground that are translated into enveloping structures, in one big
operating platform working in an active and efficient system.
For example, the piazza situated at the center of the project has not only the
function of channelling the flow of travellers but also of producing a field of
stresses likely to incite them to explore various directions. The architects
conceived and saw this as projecting the urban intensity of Yokohama on the
inside of the port itself, an element as significant of their approach to the
project as the philosophical and technical prerequisites that they have
developed and systematically apply.
YOKOHOMA PORT TERMINAL - ARCHITECTURUAL DETAILS – FORM AND MATERIALITY
SUNRISE
(APPROX. 6 AM)
The immense upper deck is a rolling landscape of timber and

grass designed as a new public space for Tokyo. This roof then
folds back into itself. The principal of the folded plate has an
amazing coherence, with the public realm twisting from outside to
inside to form ramps in the internal areas. This puts the arrival and
SUN AT ITS
departure hall (pictured at right) in darkness at much of the day. PEAK
(NOON)
This fundamentally humanizes the architecture. The origami
ceiling skin coupled with strategic lighting is able to bring the
space to life especially during times of darkness. The dark curves
of the arrival and departure hall present a dramatic contrast to the
sunlit curves of the roofscape above.
The diagrams at right show the arrival and departure hall at three
different stages of the day. The first stage is approximately 6 am
NO NATURAL
when the hall actually experiences the most natural illumination. LIGHT
(LIGHT EFFECT ON
(The time is meant to represent a time an hour or so past sunrise, CEILING/ 8PM)
which changes with the seasons) The second diagram shows the
hall during the noon hour when the sun is at it's peak in the sky
and the hall becomes a 'bat cave.' The final stage represents a
time following sunset where the hall is, of course, dark and one
can begin to see the effect of the lights on the origami ceiling
structure.
YOKOHOMA PORT TERMINAL - ARCHITECTURUAL DETAILS – AXON – STRUCTURAL SYSTEM
AXON
The design sought to encompass the general functional

imperatives of the cruise terminal (as a smoothly functioning
link between land and water transport) and the specific civic
possibilities suggested by the pier configuration itself. The
structure was conceived as an incomplete or partial building -
partial, both conceptually and formally, acknowledging that
such programmes frame thresholds in two distinct yet
overlapping continuums: the cruise terminal cycle and the
buildings civic role as a place of rest and recreation.
The terminal is a shed building measuring 412 meters in length

and composed of 27 steel trusses averaging 42.5 meters in
span and placed at 16 meter intervals. The trusses are joined
longitudinally by trussed members of conventional
configuration, and purlins carrying, either metal cladding or
glazing. The trusses are carried on concrete piers extending
from the basement parking level through the apron to the
surface of the main level. The large shed employs a unified
form thourgh repetitive structural units to enclose a single
homogeneous space. The transformation yields a complex of
spaces that smoothly incorporates the multiple terminal, civic
and garden programmes within and below its span.
YOKOHAMA CRUISE TERMINAL
INFERENCES
1.CONCEPT- Based on the concept of ‘No Return Pier’ where you can never retrace your steps is what makes this terminal unique in itself.
2. FOCUS- The terminal has focused more on structuring and circulation & created spaces that are architecturally & aesthetically pleasing.
3. PARKING- The project allows the public to park their cars and visit the terminal plaza and rooftop plaza. Parking for approximately 400 cars is provided. The public
transportation are allowed to reach the terrace floor level and park the vehicle.
4. CIRCULATION- No staircase is provided. It is made sure that the building should promote barrier free movement
5. ZONING- The building has 4 levels- ground, first, second & terrace level. All the areas are zoned as per passenger movement flow.
6. MONUMENTAL SCALE- The building has a monumental scale to create a grandeur effect on the visitor’s mind. Also, the interiors of the terminal reflect advanced
design methods and technologies- folded plates & girders are used to achieve the output. The terminal is provided with halls for holding various functions(private and
public).
7. MATERIAL- Extensive use of wood is seen in the terminal. Almost 75% of the interiors & exteriors are catered with wood which adds to the monotony of the design.
8. LANDSCAPING- The terminal lacks landscaped pockets when compared with the number of visitors. The terrace floor of the terminal has more of the hard areas &
less soft areas.
41
2B.2 KAI TAK PORT TERMINAL - FOSTER+ PARTNERS - OVERVIEW
The new Kai Tak Cruise Terminal is on the site of Hong Kong’s former airport, at the tip of the old runway. Establishing Hong Kong as the
preeminent regional hub for cruise liners, the terminal will have capacity to berth two large 360-metre-long vessels, each with more than Appointment: 2010
4,000 passengers and over 2,000 crew, as well as anticipating the demands of a next generation of larger ships. Completion: 2013
Area: 52,000m²
The linear arrangement of light-filled passenger areas is characterized by its clarity and ease of use. The terminal has a generous, Country: China
rectangular footprint and is arranged over three main levels, encased by a lattice of large white ‘fins’ that allow daylight to filter through to the Client: Dragages
passenger waiting spaces. Services are integrated with the structure and the different levels are fused with the surrounding pedestrian Structural Engineer: AECOM
walkways. A pedestrian route starting from the waterfront promenade progresses up through the building and opens onto a large public roof Additional Consultants:
garden, with open and sheltered spaces for informal picnics and outdoor dining, set against the stunning backdrop of the city. The site on the Po ching, Amsterdam Port
Consultants, Barrie Ho, Benoy
south-western tip of the former runway has unobstructed views of the eastern entrance to the harbour, framing both Hong Kong Island and
Ltd
Kowloon.
The design is highly flexible, incorporating spaces that are suitable for alternative functions and enabling the building to be used all year round, fully utilizing ‘down time’. The
spacious interior spans just over 42 meters and the waiting areas can be converted into a venue for performances, events and exhibitions, supported by a variety of restaurants
and shops. The sustainable design also combines a number of energy saving measures, as well as generating power from renewable sources and making use of recycled rain
water for cooling.
KAI TAK PORT TERMINAL - SITE AND GENERAL
KAI TAK PORT TERMINAL - SITE AND GENERAL
KAI TAK PORT TERMINAL - SECTION AND ZONING
CRUISE TERMINAL ORGANIZATION
Efficient Program Stacking - 4 Main Levels
• Ground - Ground Transportation, Baggage, Custom Hall, Loading/Unloading
• Mezzanine - Ground Transportation, Pick-ups, Concourse, MEP
• First - Passenger Check-in & Waiting, CIQP, Commercial
SCHEMATIC SECTION
• Landscape Deck : extensive roof garden
KAI TAK PORT TERMINAL - DESIGN STRATEGIES &SCHEMATIC SECTIONS
BUILDING ENVELOPE HYBRID NATURAL AND MECHANICAL
VENTILATION SYSTEM
• Green roofs
• Co2 detectors to control a/c in occupied areas
• green walls
• Active air treatment systems
• Natural ventilation for car parks
• Limiting pollution in the building (no2, radon, voc,
• Free cooling
etc.)
• Air flushing effect
• Skylights
MAJOR USE OF SOLAR ENERGY
• shading devices to reduce solar
• Solar thermal panels for domestic hot water pre-
heat gain
heating: provide all the hot water needs for FAÇADE STRATEGY
• Wide span structure
showers and part of heating during winter 35.7
• Atria drawing daylight deep into the
MWhr per year, 26 panels, total 51.7 m2
plan
• Photovoltaic panels for electrical power
• Façade that responds to
production 25.5 MWhr per year, 132 panels, total
environmental
158.4 m2
and functional needs
• Solar power lightings
BUILDING ENVELOPE STRATEGY
FAÇADE AND FORM BUILDING ENVELOPE STRATEGY

KAI TAK PORT TERMINAL - INFERENCES
KAI TAK INTERNATIONAL CRUISE TERMINAL
INFERENCES
1.LOCATION- Built on 2/3rd area of ex-kai tak airport with a strategic location and has 4 visual corridors.
Recreational facilities promote the use of the cruise terminal even there is no port of call.
No reclaimed land.
2. ACCESS- The terminal has satisfactory hinterland connections – By rail, by road, by air &
Pedestrians
3. APPROACH CHANNEL- There is an exciting odour from poor water and sediment qualities at
embayed water bodies.
Although, bio-remediation method is being used to overcome the problem.
4. SITE ENTRY- 3 no. of entry & exit gates are provided but no boundary wall are provided. The project is focused on attracting as many people as possible.
Although, the site is well secured throughout the day by the security guards and CCTVs.
5. PARKING- The parking is only for licensed and authorized vehicles- shuttle bus service, taxis etc.
Private vehicles are not allowed to park their cars. This is also done to make sure that people visiting the the kai tak development use the pedestrian pathways more than
the private vehicles and if not, then they should use the public transportation- because of the concern of rising air pollutants in Hong Kong.
6. ORIENTATION- the building is facing NS direction. To avoid the south sun entering the departure halls and various other areas of the terminal, the façade is treated
with curved walls.
2B.3 MARINA BAY INTERNATIONAL TERMINAL- RSP ARCHITECTS - OVERVIEW
THE PROJECT AT A GLANCE AWARDS
Able to handle the world’s largest cruise ships and more Area: 29,873.9 m2
2013
than 6,000 passengers, this expansive cruise terminal Location: 61 Marina Coastal Drive, World Architecture Festival Awards
Singapore (Shortlisted)
stands out for its bold angularity of layered form, inspired
Completion: 6 Feb 2012 2012
by the ebb and flow of waves. Together with other icons BCA Green Mark Awards Gold
Clients:
along Marina Bay, it offers a dramatic entry point into Steel Design Awards Merit
Singapore Tourism Board
Singapore.
In Association with:
THE CHALLENGE Bermello Ajamil & Partners, Inc
The major challenge was to dress a low and flat building Terminal Space 28,000 sqm
Car park & Coach bay area 32,000 sqm
form to create a distinctive profile visible from a distance.
Design Load 6,800 pax (or 13,600
This was achieved through a cubistic interpretation of
throughput), capacity to concurrently berth
undulating diagonal roof forms, with the interior design
two 3,000-pax cruise ships
concept continuing this metaphor based on the theme of
Capacity to achieve per passenger
the undersea world. turnaround of within 30 minutes*
49
MARINA BAY INTERNATIONAL TERMINAL – SITE AND GENERAL
DESIGN FEATURES
Commanding a prominent waterfront location with the Singapore skyline as its backdrop, the
Marina Bay Cruise Centre Singapore (MBCCS) serves as a marine gateway to the heart of the
city.
Occupying 28,000sqm, equivalent to three football fields, the MBCCS is designed as an

architectural icon with the capability to accommodate some of the world's largest ships. The
terminal features a spacious arrival and departure hall as well as a large ground transportation
area to ensure a smooth and seamless experience for passengers.
Waves and nautical elements take centre stage with an undulating roof-scape that mimics the
breaking of waves on the shore - featuring an angular rather than curvilinear form, with
alternating panels of aluminium and glass along the length of the terminal. When viewed from
the towering heights of a cruise liner, the roof becomes a multi-dimensional mosaic of shapes
and patterns. Passengers will be treated to a constantly changing view as the ship approaches
land, creating a sense of anticipation.
The rolling waves on the terminal break form at the junction between the terminal and the
ground transportation area (GTA). The spent waves, having broken, slide calmly up the shore
over the GTA. The breaking point of the waves serve as a point of separation between the
terminal and the GTA, functioning as a grand entrance to the terminal.
The terminal complements several other developments which have, and will become, icons
of Singapore, such as the Business Financial Centre, Marina Bay Integrated Resort,
Singapore Flyer, Esplanade, and Gardens by the Bay. Together, they present Singapore as a
complete destination with world-class attractions, infrastructure, and leisure facilities.
50
MARINA BAY INTERNATIONAL TERMINAL- CIRCULATION SEQUENCE
01 CALL TO
DISEMBARK
01 TAGGING
02 SECURITY
03 BAGGAGE
02 IMMIGRATION
03 CHECK IN
PARKING FACILITIES
The car park has lots for
327 cars, 46 motorcycles
and 25 coaches. It is linked
04 to the cruise centre and has

IMMIGRATION sheltered access. 04 SECURITY &
AND BOARDING TRANSPORT SERVICES
MARINA BAY INTERNATIONAL TERMINAL- CIRCULATION PATTERN
MARINA BAY INTERNATIONAL TERMINAL- ICONIC TO THE CITY
Known for its award winning architecture with a panoramic view of the straits of malacca and singapore’s city skyline, marina bay cruise centre singapore is truly
a scenic location that will wow the guests.
53
2B.4 SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS - OVERVIEW
Architects Zaha Hadid Architects Local Executive Architect: Interplan
Seconda - Alessandro Gubitosi From the architect: Inaugurated on 25 April 2016, the
Location: Stazione Marittima di Salerno,
84121 Salerno SA, Italy Costing: Building Consulting - Pasquale new Salerno Maritime Terminal by Zaha Hadid Architects is integral to
Miele
the city’s urban plan. Begun by Mayor Vincenzo De Luca, now Governor
ZHA Project: Architect Paola Cattarin
Structural Engineers: Ingeco - of the Campania Region, and continued under the city’s current Mayor
Area: 4500.0 sqm Francesco Sylos Labini, Ove Arup &
Partners (prelim. design) - Sophie Le Vincenzo Napoli, the 1993 plan for Salerno targeted the development of
Project Year: 2016 Bourva
essential projects and programs for the social, economic and
Photographs: Hélène M&E Engineers: Macchiaroli and environmental regeneration of the city. As part of the 1993 plan, Zaha
Binet, Hufton+Crow Partners - Roberto Macchiaroli, Itaca srl -
Felice Marotta, Ove Arup & Partners Hadid Architects won the international competition in 2000 to design the
ZHA Design Team: Vincenzo Barilari, (prelim. design)
new terminal.
Andrea Parenti, Anja Simons, Giovanna
Sylos Labini, Cedric Libert, Filippo Maritime/Transport Engineering: Ove The new Salerno Maritime Terminal will enable the port of Salerno to
Innocenti, Paolo Zilli, Lorenzo Grifantini, Arup & Partners (London) - Greg Heigh
increase arrivals of ferry and cruise ships by 500,000 additional
ZHA Competition Team: Paola Cattarin, Lighting: Equation Lighting Design
passengers each year, which would create up to 2,000 new jobs in the
Sonia Villaseca, Christos Passas, Chris (London) - Mark Hensmann
Dopheide city’s hospitality, services and retail sectors.
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – SITE AND GENERAL
Located on the public quay that extends into Salerno’s

working harbor and marina, the new maritime terminal
continues the city’s relationship with the sea and
establishes new links; connecting Salerno’s rich
maritime traditions with its historic urban fabric and
beyond to the hills that frame the city.
55
THESIS PROPOSITION P.TEJA SIVA SRINIVAS A/2256/2010
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – SITE PLAN & SECTION
The new maritime terminal is

composed of three primary
Like an oyster, the terminal’s hard,
interlocking components:
asymmetric shell protects the softer
administration offices for national
elements within; sheltering
border controls and shipping lines;
passengers from the intense
the terminal for international
Mediterranean sun during the
ferries and cruise ships from
popular tourist season.
around the world; and the terminal
for the local and regional ferries.
SITE PLAN
LONGITUDINAL SECTION
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – FLOOR PLANS
PLAN LEVEL -1
PLAN LEVEL 0
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – FLOOR PLANS
PLAN LEVEL 1
ROOF PLAN
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – ELEVATIONS
NORTH EAST ELEVATION
Local and regional ferry commuters move The quayside gently rises as passengers
through the terminal quickly, arriving on approach the terminal from the city, indicating
ground level and ascending via ramps to the gradually sloping path of ramps within the
reach the upper and vessel entrance. building which raise passengers to the
Passengers travelling on international embarking level of large ships and ferries. The
ferries and cruise ships are guided terminal’s interior arrangement orientates and
seamlessly through check-in, passport, leads passengers through a sequence of
security and customs controls to their ship. interior spaces that flow into each other and
Arriving passengers follow a similar are organized around focal points such as the
progression through the terminal with the restaurant and the waiting lounge.
inclusion of the luggage reclaim area.
SOUTH WEST ELEVATION
SALERNO MARITIME TERMINAL - ZAHA HADID ARCHITECTS – SECTIONS
SECTION D5
At night, the glow of The new terminal operates, From its terraces and windows, the terminal
the terminal near both functionally and offers spectacular views of the Amalfi Coast, the
the harbour visually, as a smooth Gulf of Salerno and the Cilento. Positano, Capri,
entrance will act as transition between land and Paestum and Pompei are also nearby. The new
a lighthouse to the sea; a coastal land terminal will greatly improve the accessibility
port, welcoming formation that mediates and experience for visitors to the region’s
visitors to the city. between solid and liquid. renowned cultural attractions, coastline and
countryside.
SECTION L1
INTERNATIONAL CRUISE TERMINAL – 3.0 AREA PROGRAMME - ANALYSIS
INTERNATIONAL CRUISE TERMINAL – 4.0 SITE DETAILS – 4.1 CITY LEVEL STUDY
MUMBAI PORT : CRUISING DREAMS, MBPT TERMINAL
The proposed cruise terminal will be sighted on the south of Sassoon Dock and
on west of the main harbour channel in such a way that minimum dredging is
done to the approach channel.
The location of the greenfield cruise terminal is near Radio Club in south
Mumbai. It would be a finger jetty and would be able to handle cruise vessels at
both the sides. The special approach road to this terminal would facilitate easy
evacuation of tourists.
The berth will be double banking connected by a 15 metre wide trestle.
INTERNATIONAL CRUISE TERMINAL – 4.2 PRECINCT LEVEL STUDY
COMMERCIAL
RESIDENTIAL HIGHWAY SITE DEMARCATED WITH PRECINCT AREA
INSTITUTIONAL BUSY ROAD
INDUSTRIAL SECONDARY
SLUMS TERITIARY
RELIGIOUS BUS ROUTE
GOVT. OWNED
LAND USE PATTERN LINKAGES
INTERNATIONAL CRUISE TERMINAL – 4.3 SITE LEVEL STUDY
VIEW OF THE MUMBAI HARBOUR
VIEW CORRIDOR FROM GATEWAY OF

INDIA
VIEW OF THE MAINLAND CITY OF

MUMBAI
VIEW OF THEAPPROACHING SHIPS
PRECINCT STUDY – BUILT TO
OPEN/ GREENS
VISUAL
NAVIGATING CHANNELS TO
BERTHING AREAS
ACTIVITIES VISUAL
URBAN EDGES SITE IMAGERY
INTERNATIONAL CRUISE TERMINAL – 4.4 SITE SCHEMATIC DRAWINGS
SCHEMATIC PLAN
SCHEMATIC SECTION SHOPWING PILES
INTERNATIONAL CRUISE TERMINAL – SITE & PROGRAMME UNDERSTANDING/INFERENCES
The international terminal has been proposed in Mumbai. The project is handled by a joint venture of private firms and Mumbai port trust.
Mumbai has a preference over other harbour cities in India because of:
 Economic growth in and around the city.

 Increase in international tourist arrival.
 Growing interest of cruise ship operators.
 Well connected by rail, road and air.
The site will be a piled platform built on the sea connected to the main land by a trestle originating from the Radio club wharf. The site
which lies south of the radio club in the harbour close to the oyster rock was preferred over the various four options in Mumbai.
The site has many benefits as follows:
 Minimal Dredging cost.

 Close to tourism zones.
 East coast passenger water terminal will improve connectivity.
 Better topography and suitable for the purpose.
 Better marine access.
Thus, being an ideal location for the project. It is surrounded with water on all four sides, the mainland visible in the north and the
cruise ship traffic arriving from the south. There is a presence of views of the open sea on all its four sides with a prominence of the
gateway of India in the skyline of the city.
Near the mainland, it should have facilities for entertainment avenues, with a ground plus two-storeyed structure for various utilities such
as a convention centre, conference halls, duty-free shopping, shopping malls, entertainment, indoor games, parlour and a viewing gallery
with restaurant for seaily view, apart from a sizeable car park for tourist buses, taxis and cars.
The facilities will comprise of a berth which would have a size of 200 metre x 50 metre, a trestle having 15 metre width, mooring dolphins
and walkways, a terminal building of suitable size on the berth, etc.
INTERNATIONAL CRUISE TERMINAL – 5 TECHNOLOGY - CRITERIA
The Criterion for the selection of technology that have to be addressed for the operation of cruise terminal can be listed down as follows:
SUSTAINABILITY STRUCTURAL SYSTEMS SERVICES
HEAT GAIN LARGE SPAN HVAC
DAY LIGHTING FLEXIBLITY FOR FUTURE EXPANSION FIRE FIGHTING
NATURAL VENTILATION PIERS ELECTRICAL SYSTEMS
ACOUSTIC INSULATION FLEXIBILITY TO ACCOMMODATE PLUMBING

SERVICES
WASTE MANAGEMENT FORM CENTRIC RESOLUTION LIGHTING SYSTEMS
STRUCTURAL SYSTEM – SPACE FRAME STRUCTURES – COMPOSITE CONSTRUCTION

Large span, flexibility to expand, flexibiltiy to accommodate services, form centric resolution
SERVICES – HVAC - SEA WATER AIR CONDITIONING

Alternate-energy system using natural sources of cold water from the deep ocean to cool buildings.
SUSTAINABILITY – ENERGY GENERATION - OTEC – LINK - SEA WATER AIR CONDITIONING

System to generate renewable source of energy and also desalination to get drinking water.
Waste is brine which can be used in hvac.
SUSTAINABILTY – ADAPTIVE BUILDING SKINS – FUTURE SYSTEMS

Active design systems to respond to environment change and utilize maximum potential
ZAHA HADID CULTURAL CENTER
STRUCTURAL SYSTEM – SPACE FRAME STRUCTURES – COMPOSITE CONSTRUCTION

LARGE SPAN, FLEXIBILITY TO EXPAND, FLEXIBILTIY TO ACCOMMODATE SERVICES, FORM CENTRIC
RESOLUTION
INTERNATIONAL CRUISE TERMINAL – TECHNOLOGY – STRUCTURAL SYSTEM
DEFINITION
A space frame or space structure is a truss-like, lightweight rigid structure constructed from interlocking struts in a geometric pattern.
Space frames can be used to span large areas with few interior supports.
SPACE FRAME HISTORY OF SPACE FRAME DESIGN METHOD

A three dimensional structure. Space frames were independently developed by alexander Space frames are typically designed using a rigidity
Assembled linear elements are arranged graham bell around 1900 and buckminster fuller in the matrix. The special characteristic of the stiffness
to transfer the load. 1950s buckminster fuller's focus matrix in an architectural space frame is the
Take a form of a flat surface or curved was architectural structures; his work had greater independence of the angular factors.
surface. influence. If the joints are sufficiently rigid, the angular
Designed with no intermediate columns to It was developed in california during the 1960s and deflections can be neglected, simplifying the
create large open area. introduced to the south african market in 1982, specifically calculations.
developed for unstable soil conditions, the panels form a
monolithic structure offering superior wall strength in which
no cracking will occur
MATERIALS
MATERIALS USED FOR THESE SPACE FRAMES
STEEL
TIMBER
STEEL:
This steel material which is used for the space frames sustain more load and carry tones of weight.
This steel is mostly used in now-a-days in a long span structures and has to be maintained propery.
TIMBER:
This timber material is also used in the 19 th century and by using this material the maintaniance level is becoming very high.
DESIGN METHODS
Members are fixed using connectors
different types of connectors are:
NODUS CONNECTOR
TRIODETIC CONNECTOR
TUBALL NODE CONNECTOR
HEMISPHERICAL DOME CONNECTOR
LOAD DISTRIBUTION
The simplest form of space frame is a horizontal slab of interlocking square pyramids and tetrahedra built
from aluminium or tubular steel struts.
Space frames can be used to span large areas with few interior supports. Like the truss, a space frame is strong
because of the inherent rigidity of the triangle; flexing loads (bending moments) are transmitted
as tension and compression loads along the length of each strut.
SPACE FRAME COMPONENTS
Joints
Member
• In a space frame, connecting
• Members are axial elements with
joints play an importantrole, both
circular or rectangular sections, all
functional and esthetic, which
members can only resist tension
derives from their rationality during
or compression.
construction and after completion.
•The space grid is built of
•Since joints have a decisive effect
relatively long tension members
on thestrength and stiffness of the
and shortcompression members.
structure and compose around 20
A trend is very noticeable in which
to 30 percent of the total weight,
the structural members are left
joint design is critical to space
exposed as a part of the
frame economy and safety .
architectural expression
SPACE FRAME METHOD OF ERECTION
• The method chosen for erection of a space frame depends on:

• Its behavior of load transmission
• Constructional details, so that it will meet the over all requirements of quality, safety,speed of construction,and economy
• The scale of the structure being built,the method of jointing the individual elements, and the strength and rigidity of the space frame until its
formisclosedmustallbeconsidered.
STRUCTURAL BACKGROUND
A space frames along-spanning three-dimensional plate structure based on the rigidity of the triangle and composed of linear elements subject
only to axial tension or compression, even in the case of connection by comparatively rigid joints, the influence of bending or torsional moment is
insignificant.
LIMITATIONS
• A space frame or space structure is a truss-like,lightweight rigid structure constructed from interlocking struts in a geometric pattern.
• Space frame truss can be used for a platform or overhead structure that spans large distances without need for internal load bearing support.
• Space frames are advantageous compared to other common structures by their; light weight, mass production, stiffness, and versatility.
• Space frames are classified into three types according to the number of grid layers as follows; single, double, or triple layer.
• Space frame connections can be made by; welding, bolting, or threading.
• Space frame construction utilize three main methods of erection;

1- scaffold method,
2. block assembly Method, lift-up method.
TYPES OF SPACE FRAME
1. Curvature classification 2.Classification by the
Space plane covers arrangement of its elements
Barrel vaults Single layer grid
Spherical domes Double layer grid
Triple layer grid
1. CURVATURE CLASSIFICATION
a. SPACE PLANE COVERS:
Spatial structures composed of planar substructures.
Deflections in the plane are channeled through the horizontal bars and the shear forces are supported by the
diagonals.
b. BARREL VAULTS:
Has a cross section of a simple arch.
Usually this type of space frame does not need to use tetrahedral modules or pyramids as a part of its backing.
c. SPHERICAL DOMES:
Require the use of tetrahedral modules or pyramids and additional support from a skin.
2. CLASSIFICATION BY THE ARRANGMENT OF ITS ELEMENTS

a. SINGLE LAYER GRID:
All elements are located on the surface approximately.
b. DOUBLE LAYER GRID :

Commonly used spaceframes are double layered and flat.
Elements are organized in two parallel layers with each other at a certain distance apart.
Each of the layers form a lattice of triangles, squares or hexagons in which the projection of the nodes in a
layer may overlap or be displaced relative to each other.
c. TRIPLE LAYER GRID :

Elements are placed in three parallel layers, linked by the diagonals.
They are almost always flat practically used for a larger span building
TYPES OF TUBES
1. NODUS CONNECTOR:
It can accept both rectangular and circular
hollow sections and that the cladding can be
fixed directly to the chords.
Chord connectors have to be welded to the
Circular hollow section Rectangular hollow section ends of the hollow members on site.
2. TRIODETIC CONNECTOR:
Consists of a hub, usually an aluminium extrusion, with slots or key ways.
3. TUBALL NODE CONNECTOR:

Hollow sphere made of spheroidal graphite.
End of the circular hollow section member to be connected is fitted at its ends by welding
Connection from inside the cup is done using bolt and nut.
ADVANTAGES OF SPACE FRAMES

DISADVANTAGES
1. Light.
1. One major disadvantage is that they can be difficult to engineer.
2. Elegant & Economical.
2. It's not straightforward to determine how forces will distribute throughout a
3. Carry load by three dimensional action.
structure that has a lot of redundant pieces.
4. High Inherent Stiffness.
5. Easy to construct.
6. Save Construction Time & Cost.
7. Services (such as lighting and air conditioning) can be integrated with
space frames.
8. Offer the architect unrestricted freedom in locating supports and
planning the subdivision of the covered space.
9. Durable materials & protective finishes.
10. Construction is simple, safe and fast.
11. No Site Painting or Welding.
SERVICES – HVAC - SEA WATER AIR CONDITIONING
alternate-energy system using natural sources of cold water from the deep ocean to cool buildings
82
INTERNATIONAL CRUISE TERMINAL – TECHNOLOGY – SERVICES - HVAC
INTRODUCTION
A naturally occurring, deep, cold water reservoir is used for air conditioning. Cold water
is drawn from a lake or ocean through a deep water intake pipe to a cooling station,
where it goes through a heat exchanger and absorbs heat transferred from the buildings
by way of a chilled fresh water loop without ever mixing with the ocean or lake water. The
slightly-warmed ocean or lake water is then discharged back into the ocean or lake,
usually at a shallower depth.
COMPONENTS
COLD WATER SUPPLY AND RETURN PIPES

This is the primary cost driver.
PUMP & HEAT EXCHANGER SYSTEMS

The only electrical component in the system is the pump. Heat exchangers allow
heat from the buildings to be transferred to the cold water and ensure that the
fresh and seawater don’t mix. This transfer of heat is spontaneous and natural,
and requires no input of electricity.
CHILLED FRESHWATER LOOP

A standard component in a conventional AC system. Pre-existing chilled water
loops can be used.
COMPONENTS
SWAC VS CONVENTIONAL AC
1. Long-term savings of up to 85% on operational costs
2. Low, stable electrical costs: SWAC systems require very little electricity
3. Short economic payback period: The initial capital expenditure for a good SWAC
system can be recouped in 5 – 10 years.
4. Predictable free renewable energy: Reduce fuel needs, reduce CO2 emissions and
potentially improve LEED certification status.
FACILITIES
Airports Data Centers District Energy / District Cooling Projects Government / Military facilities Hotels & Resorts Industrial /
Manufacturing Facilities Large Office or Commercial Buildings Power Plants Shopping Malls / Department Stores Universities
Larger Projects With Large Cooling Loads
EXAMPLES
HONOLULU SEAWATER AIR CONDITIONING

The overall goal of this ambitious project is to provide 22,500 tons of air
conditioning to downtown Honolulu commercial and government buildings.
CURACAO
This 3000 ton air conditioning system will supply cooling to 4 hotels and a
power plant. A 915 mm, 6 kilometer long intake pipeline extending to an intake
depth of 850 m has been designed for the system.
SUSTAINABILITY – ENERGY GENERATION - OTEC – LINK - SEA WATER AIR CONDITIONING
87
INTERNATIONAL CRUISE TERMINAL – TECHNOLOGY – SUSTAINABILITY - OTEC
INTRODUCTION
• Oceans cover more than 70% of Earth's surface, making them the world's largest solar collectors.
• OTEC is a renewable energy technology that converts solar radiation into electric power by use of world oceans.
• OTEC Process uses temperature difference between cold deep water (5 ℃) & warm surface water (27 ℃) to power a turbine to generate
electricity.
OTEC WORKING PRINCIPLE
• This plant works on the principle of a closed Rankine Cycle.
• Warm Water is used to evaporate working fluid like Ammonia or halocarbon Refrigerant.
• Evaporated Fluid expands in a low pressure turbine, which is coupled with a turbo alternator to produce electricity.
OTEC SYSTEMS
There are three types of electricity conversion systems:
I. The Closed or Anderson, OTEC Cycle Power Plant
II. The Open or Claude OTEC Cycle Power Plant
III. Hybrid Cycle OTEC Power Plant.
CLOSED-LOOP OTEC OPEN-LOOP OTEC
• Closed cycle system use fluid with a low boiling point, such as • Georges Claude Constructed first OTEC plant in 1929 in
ammonia to power a turbine to generate electricity. Cuba.
• The Claude Plant used an open cycle in which seawater
itself plays the multiple role of heat source, working fluid,
coolant, & heat sink.
HYBRID OTEC CYCLE

•A Hybrid cycle combines the features of both the closed &
Open Cycle System.
AN OTEC SYSTEM APPLICATION
• HYDROGEN can be produced via electrolysis using electricity generated by the OTEC process.
• DESALINATION
It’s produced in open & Hybrid cycle.
System analysis indicates that a 2 MW plant can produce 4300 cubic meter desalination water each day.
• AQUACULTURE
• It reduces the financial & energy coasts of pumping large volumes of water from deep ocean.
• Deep ocean water contains high concentration of essential nutrients that are depleted in surface water due to biological consumption.
• MINERAL EXTRACTION
• The ocean contains 57 trace elements in salt dissolved in solution.
• The Japanese investigated the possibility of extracting Uranium.
CURRENT OPERATING PLANTS OF OTEC
• In March 2013, Makai installed and operate a 100 kilowatt turbine on the OTEC Heat Exchanger Test Facility, and connect OTEC power to the grid.
• Okinawa Prefecture announced the start of the OTEC operation testing at Kume Island on April 15, 2013. The plant consists of two units; one
includes the 50 kW generator while the second unit is used for component testing and optimization.
• In July 2014, DCNS group partnered with Akuo Energy announced their NEMO project. If successful, the 16MW gross 10MW net offshore plant will
be the largest OTEC facility to date.
ADVANTAGES OF OTEC
• Warm surface sea water and cold water from the ocean from the ocean depths replace fossil fuels to produce electricity.
• OTEC plants will produce little or no carbon dioxide or other polluting chemicals.
• OTEC systems can produce fresh water as well as electricity. A lot of fish & other nutritious sea-food will be collected in outlet flow.
• OTEC can also be used to produce ammonia, hydrogen, aluminium, chlorine and other chemicals.
DISADVANTAGES OF OTEC
• OTEC produced electricity at present would cost more than electricity generated from fossils fuels at their current costs.
• No energy company put money in this project because it only had been tested in a very small scale.
• Construction of OTEC plants and lying of pipes in coastal waters may cause localized damage to reefs and near-shore marine ecosystem.
LIGHT MATTERS: MASHRABIYAS - TRANSLATING TRADITION INTO DYNAMIC FACADES
- JEAN NOUVEL
SUSTAINABILTY – ADAPTIVE BUILDING SKINS – FUTURE SYSTEMS

ACTIVE DESIGN SYSTEMS TO RESPOND TO ENVIRONMENT CHANGE AND UTILIZE MAXIMUM
POTENTIAL
92
INTERNATIONAL CRUISE TERMINAL – TECHNOLOGY – SUSTAINABILITY – ADAPTIVE FACADES
ONE OCEAN, YEOSU “Can you imagine, for example, a whole façade that gets
by Wolfgang Leeb, in Media Facades transformed? Not just half a façade, but the whole façade, like a
curtain opening from one side to the other. This is, in my opinion,
feasible today and certainly a challenge for the new generation in the
evolution of architecture.” Cecilia Lew Kausel, Ann Pendleton-Jullian
(2002) Santiago Calatrava: Conversations with Students (New York)
Princeton Architectural Press p. 35
Although movement is intrinsic to any media façade, architecture usually just

provides the stable, immobile screen for digital motion. By facilitating actual
movement, the kinetic façade exemplifies architecture as a medium in itself
and creates a choreography of dynamic patterns. The moving façade that is
seamlessly integrated into the building’s skin was developed together with
Knippers Helbig Advanced Engineering during the planning phases
In addition to their function of controlling light conditions, the

moving lamellae create animated patterns along the façade. The
choreography ranges from subtle local movements to waves
spreading over the whole length of the building. After sunset, the
analogue visual effect of the moving lamellae is intensified by
linear light bars located at the inner side of the front edge of the
lamella. When opened, they illuminate the neighbouring lamella,
depending on the opening angle.
The material performance of the biomimetic louvers produces an
interrelated effect of geometry, movement and light: the longer the
individual lamella — the wider the opening angle — the larger the
illuminated area. The façade covers a total length of about 140 m,
and is between 3 m and 13 m high. It consists of 108 kinetic louvers
supported at the top and the bottom edge of the façade. The
lamellae are made of glass fiber reinforced polymers (GFRP),
which combine high tensile strength with low bending stiffness,
allowing for large reversible elastic deformations.
The louvers are moved by actuators on both the upper and lower edge of the
GFRP blade, which induce compression forces to create the complex elastic
deformation. They reduce the distance between the two bearings and in this
way induce a bending which results in a side rotation of the lamella. The
actuator of the louvers is a screw spindle driven by a servomotor. A computer
controlled bus-system allows the synchronization of the actuators. Each
lamella can be addressed individually within a specific logic of movement to
show different choreographies and operation modes. Upper and lower motors
often work with opposing power requirements (driving-breaking). Any energy
generated can thus be fed back into the local system to save energy.
Project Details:
Project title: Nantong Urban Planning Museum
Client: Urban Planning Department of Nantong, Tongzhou
Architects and lead consultants: HENN
Principal: Prof. Dr. Gunter Henn
Design: Leander Adrian, Daniel da Rocha, Martin Henn, Anthony Hu,
Alan Kim, Agata Kycia, Paul Langley, Jeewon Paek, Emil Pira, Klaus
Ransmayr, Wei Sun, Mu Xingyu
Design period: November 2011 to May 2012
Construction period: March 2012 to October 2012
Gross floor area: 8,100 m2
Net floor area: 7,000 m2
Exhibition area: 4,900 m2
Project Description from Henn Architekten:

As part of the master plan designed by HENN, the new Nantong Urban
Planning Museum is located prominently along the central river, whose
course, together with existing cultural and commercial facilities,
establish the primary East-West axis of Nantong. The museum is
characterized as a 16 m, floating volume, which rests on a setback
glass pedestal, offering space for special exhibitions, café and
bookstore. The overall dominant form which cantilevers above the glass
entry, contains the primary exhibition space, offices and conference
rooms.
Its distinctive façade is composed of two layers: the inner which thermally
seals the building envelope, and the outer, a reticulated metal structure
with a gradient of varied panels. The façade’s diamond-shaped Diagrid is
comprised of seven different panels that allow for varying degrees of
opening from 9%-60%. This provides an opportunity for the controlled
regulation of sunlight in fine increments, to accommodate the needs of the
interior program. The exhibition spaces are therefore, characterized by a
predominantly closed façade with minimal openings, and the offices with
maximum levels of natural daylight.
97
THESIS RESEARCH GUIDE: DR. JAYA KUMAR THESIS GUIDES: MANOJ MATHUR SIR SHIRIESH MALPANI SIR P. TEJA SIVA SRINIVAS A/2256/2010 SEC: B V YEAR B.ARCH
INTERNATIONAL CRUISE TERMINAL – 6.0 SUMMING UP
 CHALLENGES:
 An extension to a cultural as well as heritage district.
 Relating to the architectural context of the Gateway as well as the other Gothic and indo-saracenic style of architecture.
 Location in a naturally deep set harbour and the city of Mumbai which provides good linkages with various other cities of India and
portrays a well developed tourism sector
 A need of an iconic image to the city.
 Need of open space in the eastern seafront.
 Provision of a separate cruise operation facility benefits the passengers as well as the tour operators.
 The site incorporates three basic elements of nature – sky, water and land.
 The seafront provides views on all sides with a few specific focal points.
 CONSTRAINTS:
 Only one access point may lead to under use of facility and / traffic congestion.
 The facility of the terminal will remain closed during monsoons.
 OPPORTUNITIES:
 To provide the skyline of Mumbai a new image to add to the identity of the city.
 The huge area provides an opportunity to incorporate various purposes in the same land.
 Introduction of public recreation along with a highly secured terminal building.
 To explore the sea beyond the land mass.
 To open up the eastern sea front to the people of Mumbai.
 Providing an amalgamation of land as well as sea masses.
 The terminal building can be operational during the monsoons with a provision of multiple uses that of convention or exhibition facilities.
 Disperse various functions in levels, vertically or horizontally.
INTERNATIONAL CRUISE TERMINAL – 7.0 DESIGN TRANSLATION
The search involves creation of a public front for the city. The site is a perfect example of openness and vastness with a terrific vision of the horizon.
For the site the sky and the sea are more important than any of the surroundings. It gives an opportunity to create a land amidst two. Thus the
architectural expression must have bridging of such elements. Spaces that bring one closer to the natural surroundings are of utmost importance.
To fulfil the search, simplicity in the movement pattern with a wide variation of open spaces is necessary. Accessibility of the public needs to
be enhanced. A metaphorical expression determines the built form. Memories from the city are transformed into the variation in spaces.
 STEPS TAKEN TO TRANSLATE THE SEARCH INTO THE FINAL DESIGN:

 Providing the city with a public space which opens up to the sea and the harbour. Thus the eastern seafront is livened. Also the
neighbourhood which lacks a breathing space ona city level receives one.
 The sea side as well as the city side is comprehended with geometry.
 Imagery from the city is reflected in parts of design ( section of sea mass meeting land ).
 A metaphorical expression with the wavesis transformed into built volume.
 Providing broadwalks along the sea and places to gather and further enhance the sea front to create a memorable space.
 The extension of the strand road promenade and cultural stretch definitely opens up the eastern sea front for public recreation.
 The port use to berth the ship is handled with no interference of other activities but that does not imply the restriction of recreational use
of the rest of the site.
 The benefit of views on all directions has been efficiently used.
 The transition of journey is depicted in the movement of passengers. Both arrival and departure passengers get the views of city skyline and
sea side. This is accentuated by the dynamic roof which makes the passengers experience the journey they are about to make or just made.
INTERNATIONAL CRUISE TERMINAL – 8.0 DESIGN DEVELOPMENT
INITIAL ZONING
USING SHAPES & PROGRESSIVE RHYTHMS OF NATURE TO RELATE TO THE
TRANSITION FROM LAND TO SEA.
YATCH
CLUB AND DOMESTIC FACILITY
SERVICES LONG
TERM
PARKING
CONVENT
ION
SHORT
TERM
PARKING PUBLIC
PLAZA
CURVES
REFLECTING
TERMINAL AREA
OCEAN WAVES YATCH
CLUB AND
SERVICES
INITIAL SKETCH
DEVELOPED
ZONING
CONTEXT LEVEL DETAILED SITE
SITE PLAN PLAN
ROOF FORM DERIVED FROM SOLAR SHADING ANALYSIS AND WAVE MOVEMENT. BUILING FAÇADE STRATEGY TO REGULATE HEAT AND LIGHT
INSIDE THE TERMINAL.
Bimetallic strips as
sensors for movemnett
and collecting solar
radiation.
Invar and aluminum
panel.
SECTION
ELEVATION
INTERNATIONAL CRUISE TERMINAL – REFERENCES
Aydınlı, S., 2005. Küresel Kültür ve Mimarlık. Mimarist Dergisi, 5(16), pp. 34-37.
Barthes, R., 1964. The Eiffel Tower. In Rethinking Architecture: A Reader in Cultural Theory. ed. by Neil Leach. London: Routledge, pp. 172-180.
Baudrillard, J., 1998. The Consumer Society: Myths and Structures,. (1970, La Société de consomation, Paris: Galimard), (trans. Chris Turner), UK: Sage Publications
Bauman, Z., 2003. Yasa koyucular ile Yorumcular. (trans. Kemal Atakay) İstanbul: Metis Yayınları.
Berry, D., 1997. Time For Change-The Genesis of Modern Architecture, Number 11 Publishing, [online] Available at: [Accessed 15 February 2010].
BTS, 2010a. Türk Dil Kurumu Büyük Türkçe Sözlük. [online] Available at: < http://www.tdkterim.gov.tr/bts/?kategori=verilst&kelime=de%F0i%FEim&ayn=tam> [Accessed 10
March 2010].
BTS, 2010b. Türk Dil Kurumu Büyük Türkçe Sözlük. [online] Available at: < http://www.tdkterim.gov.tr/bts/?kategori=verilst&kelime=d%F6n%FC%FE%FCm&ayn=t am>
[Accessed 10 March 2010].
BTS, 2010c. Türk Dil Kurumu Büyük Türkçe Sözlük. [online] Available at: < http://www.tdkterim.gov.tr/bts/?kategori=veritbn&kelimesec=309081> [Accessed 10 March 2010].
Demirtaş, H.A., 2003. Sosyal Kimlik Kuramı, Temel Kavram ve Varsayımlar. İletişim Araştırmaları, 1(1), pp. 123-44.
Durmuş, S., 2009. Meaning and Identity Within The Context of Sustainability. In: The Chamber of Architects Bursa Branch and TÜYAP, 21th International Building & Life
Congress: Nature, City & Sustainability. Bursa, Turkey 20-21 March 2009. Bursa: Turkey, pp. 463-71.
Durmuş, S., 2010a. Zeitgeist and Architecture. In: The Chamber of Architects Bursa Branch and TÜYAP, 22th International Building & Life Congress: Architecture & Change.
Bursa, Turkey 26-27 March 2010. Bursa: Turkey, pp. 455-61.
Durmuş, S., 2010b. Zeitgeist Üzerine, MIM6612 Mimarlık Düşüncesi Tarihi Postgraduate Course Term Paper. Yıldız Technical University, unpublished.
Durmuş, S., 2010c. Consumed and Consuming Architecture, MBLE606 Contemporaray Architectural Design Theories Postgraduate Course Term Paper. Yıldız Technical
University, unpublished.
INTERNATIONAL CRUISE TERMINAL – REFERENCES
Güven, S., 2009. Roma Mimarlığını Anlamaya Çalışmak. Doğu Batı Düşünce Dergisi (Romalılar I), 11(49), pp. 177-91.
Güzer, A., 2007. Sahibinden Mimarlık. Mimarlık Dergisi, (336), pp. 29-32.
Hacıhasanoğlu, O., 2005. Mimarlık Meslek Pratiği ve Eğitiminde Dönüşüm. Mimarist Dergisi, 5(15), pp. 92-95.
Hübsch, H., 1992. The Differing Views of Architectural Style In Relation to the Present Time (1847). In What Style Should We Build?. USA: The Getty Center.
Keskinok, Ç., 2009. Kenti Tüketmek Üzerine. Mimarist Dergisi, 9(33), pp. 74-77.
New Dictionary of Cultural Literacy, 2005. New Dictionary of Cultural Literacy, Zeitgeist. The American Heritage , Third Edition, Houghton Mifflin Company.
Oxford Dictionary, 2010a. Oxford Dictionaries. [online] Available at: [Accessed 2 October 2010].
Oxford Dictionary, 2010b. Oxford Dictionaries. [online] Available at: < http://oxforddictionaries.com/view/entry/m_en_gb0877380#m_en_gb0877380> [Accessed 2 October 2010].
Önal, K., 2005. Mimarlık Meslek Pratiği Değişiyor mu? Dönüşüyor mu?. Mimarist Dergisi, 5(16), pp. 70-73.
Rosenberg, J., 2005. Globalization Theory: A Post Mortem. International Politics, 42(1), Palgrave Macmillan Publish, pp. 2-74.
Rousseau, 2005. Part 4/4. cited in Alan Colquhoun. Essays in Architectural Criticism. Ankara: Şevki Vanlı Mimarlık Vakfı Yayınları.
Tanju, B., 2010. Mimarlık Düşüncesi Tarihi, MIM6602 Postgraduate Course Notes. Yıldız Technical University, unpublished.
Tanyeli, U., 2010. Çağdaş Dünya Mimarlığının Sorunları, MIM6612 Postgraduate Course Notes. Yıldız Technical University, unpublished.
Vitruvius, 1998. Mimarlık Üzerine On Kitap. (trans. Suna Güven) İstanbul: Şevki Vanlı Mimarlık Vakfı Yayınları.
Yırtıcı, H., 2002. Tüketimin Mekansal Örgütlenmesinin İdeolojisi, Mimarlık ve Tüketim. İstanbul: Boyut Yayın Grubu
INTERNATIONAL CRUISE TERMINAL – LIST OF FIGURES
Figure 1: http://aalto.arch.ksu.edu/personal/knoxweb/2_3/2_3/images/25.jpg
Figure 2: http://vitruviusfootsteps.files.wordpress.com/2009/07/vitruvius-the-ten-booksreduced.jpg
Figure 3: http://www.cs.drexel.edu/~crorres/Archimedes/Crown/Vitruvius_1548/vitruvius_manuscri pt.jpeg
Figure 4: http://blog.willamette.edu/centers/llc/worldnews/Florida_-_Disney_World.jpg
Figure 5: http://www.skyscrapercity.com/showthread.php?t=352411&page=52
Figure 6: http://www.sorularlaevrim.com/images/icerik/le_Corbusier.jpg
Figure 7: http://aalto.arch.ksu.edu/personal/knoxweb/2_3/2_3/images/25.jpg
Figure 8 : http://artlitideas.files.wordpress.com/2009/03/frank_gehry_star_wood_hotel_3.jpg
Figure 9: http://www.tate.org.uk/40artists40days/zaha_hadid.html
Figure 10: http://www.lehman.edu/vpadvance/artgallery/arch/ideas/images/PalladioRotondaPlan.jpg
Figure 11 : http://seandodson.wordpress.com/2008/03/11/is-rem-koolhaas-planning-tobuild-a-replica-of-the-death-star-off-the-coast-of-dubai/

BARCH Thesis - Teja Payapalle

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YOKOHOMA CRUISE TERMINAL

INTERNATIONAL CRUISE TERMINAL - MUMBAI

CHAPTER 4: READING OF THE SITE

CHANGE AND TRANSFORMATION IN ARCHITECTURE:

WIND Mean Low Water Spring Tides. + 0.76 m

variations as shown :- Highest Low Water + 2.74 m

CYCLONES SEASONAL WIND VARIATIONS

These may occur in the period of May/June or October/November. The last

In this evolving market context it is fundamental

FIGURE 1 : Cruise ship classification

Main Cruise companies: Australia

Cruise liner Operations

1 Facilities existing in Cruise Terminal : 2. Proposed New Cruise Terminal / upgradation of

The development of the design has various contrasts:

The principle of transformation allow a designer to select

2A.2 ARCHITECTURE AS AN INSTRUMENT OF IDENTITY AND LANGUAGE

2A.3 TRADITION OR FUTURE:

PIANC - TERMS OF REFERENCE

The terms of reference were set up by the Maritime Commission of PIANC in

• Port development planned according to the new requirements of the cruise

• Accurate investigation of functional design of cruise terminals and

• Preliminary audit phase, technical visits on cruise terminals, confrontation of

• Members of the group of different disciplines

• A useful report to countries with significant tourist

OBJECTIVES OF THE GUIDELINE

• ground transportation area

• Location of the terminal in accordance with the

• Provision for different spaces inside the cruise

1. Home port (turnaround)

In order to design the waterside infrastructure, several considerations must

• Use of facility as home port or Port of call

• Operational conditions (storm events)

• Navigation and berthing

• Number and size of vessels, etc.

• Gross Tonnage has increased by 120% up to 110,000 GT

• Average Cruise Passengers has increased by 138% up to 3,100

• Average Length Overall has increased by 50% up to 300 m

Example of cruise line: Royal Caribbean

LOA Draught Beam

Sovereign class 73,192 268.32 m 7.85m 32.20m

 Vessel characteristics (dimensions, tonnage, overhanging decks, etc.)

Overhanging decks – Oasis class Berth length

Home ports: up to 30.00 m

Apron area provides space for operations of stevedoring (line-handling, baggage

Luggage loading Vessel provisions

Provisioning door Luggage door Utility door

APRON AREA – VESSEL UTILITIES

Temporary terminal Convertible building Purpose-built terminal Mixed-use terminal

Single storey Multi-storey

• Entry: some will have a pre-queue for security

• Waiting area: ample seating and circulation area

• Boarding corridor: last element of the terminal building (1.5 -6 m)

• Gangway: critical link for passengers between ship andterminal

• Boarding corridor: separate the embarking & disembarking flow

GTA: Space of 1-2 m2/pax with buses, taxis, parkin.

 Taxi ranks: with walkway to pedestrians of

 Kiss and ride: short stay parking area

 Parking: for employees, ship agents,

 Type of cruise vessel operations

 Transport systems available

 Other factors – local, regional and environmental considerations

For a first approach, a mobility study will be necessary.

• Marine infrastructure: channel, basin, • Cruise passenger head tax/tariff