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PROJECT REPORT: TRANSPORT FACILITIES & PUBLIC REALM


clouds on top of clouds, sometimes the sun will shine through, casting shadows, sometimes you’ll see buildings through clouds, and at night, of course, it’ll look completely different,” says Naybour. Due to the nature of the artwork, the canopy had to be painstakingly pieced together like a jigsaw, lifting the 220 prefabricated glass panels, each weighing over a tonne, into their respective places using cranes and suction cups.


In addition to enhancing passenger experience, the considerable amounts of natural light entering the station reduces energy use. Compared to the embodied energy expended during the station’s construction, the amount required to run it “is really tiny,” says Naybour. Crossrail worked directly with the BRE to put together its own energy standard, which is reflected in the use of LEDs and recyclable waste storage.


Security


Despite the overarching design driver being openness, safety and security were also a crucial factor in what is a busy London location, particularly in the canopy design. Strict blast-proofing requirements were imposed on top of the structural criteria, demanding complex engineering and even testing with explosives. To gauge precisely how the structure would react in the event of an explosion, a replica bay was constructed and taken to Cumbria to be tested using actual detonations.


In further security-conscious interventions to the external public realm, purpose-built benches and bollards have been included to blend in with the visual language of the canopy’s cigar-shaped steel columns. Positioned around the void, they block the trajectory of cars or buses potentially leaving the Eastbourne Terrace roadway, or delivery vehicles in Departures Road. Naybour notes: “You’re trying to deal with these big technical issues, but in an elegant way that doesn’t look heavy handed.”


Commitment to concept The sheer scale and abundance of variables that must be considered in such high-use and long-life civic projects as Paddington’s Crossrail station is bewildering. They combine heritage, conservation, transport integration, way-finding, servicing and security – few other typologies are so inten- sive in what they demand from the architect. However the rare opportunity to design for such a choice plot in London was matched by WW+P’s distinctive design


ADF OCTOBER 2018


49


concept for the station, as Naybour summarises: “We’ve created a building that you can walk past at 3 o’clock in the morning and look straight down into an underground station. It’s unusual.” The station was due to be open in December, but this was recently put back to autumn 2019, following Crossrail’s announcement it needed more time to complete further “infrastructure and extensive testing” across the central section of the Elizabeth Line. The new building will then assume its critical daily role as a link in the Crossrail chain, helping to transport some 200 million passengers each year. Perhaps chief among the design achievements of this complex scheme was providing an underground station with such a highly unusual degree of openness. Despite all of the plusses, Naybour coyly admits to frequent questioning during the project over what would happen if people threw rubbish down into the station from above. His straightforward response: “Well, you have to go and pick it up.” It’s impossible to solve everything with


design, but WW+P’s attempt to bring the underground closer to the surface has delivered a unique transport hub sure to make Londoners proud. 


LIGHTNESS


The station has a grand, 120 metre-long canopy constructed from 6.1 metre glass elements


PROJECT FACTFILE


Client: Crossrail Contractor: Costain Skanska Architects: Weston Williamson + Partners


Structural engineer: AECOM Landscape architects: Gillespies Cost: Bechtel


WWW.ARCHITECTSDATAFILE.CO.UK


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