P O R T F O L I OW S A _ 1 / 2

T A N S Y . D U N C A N

2WSA1 _ Fishing Hut / Maison Bordeaux 4Cardiff _ Formfinding 6Cardiff _ Concept Development 8Cardiff _ Final Proposal 10Cardiff _ Sectional Detailing 12Tenby _ Manifesto 14Tenby _ Initial Strategies 16Tenby _ Massing / Program 18Tenby _ Final Proposal 20WSA summer _ Rennie Street Herb Garden 22

3TECHINICAL DETAILING

INITIAL CONCEPT SKETCH

COMPONENTS

corrugated steel claddingrigid plasterboard with fixings and vapour barrierpurlinssteel I-beam 532mmrigid insulation 400mmplasterboard 20mmwindow fixing

30mm double glazing panels

window fixingsteel beam 100mmaluminium framed sliding doors with 20mm corrugated steel cladding

door runnersconcrete floor 300mmrigid insulation 400mmdamp-proof membraneconcrete strip foundations

a thing which is both unobtrusive yet unexpected. somewhere to visit, to pause, to soak up the view, to meet, to spectate. a logical, straightforward design, yet special. the space should be new, but not extravagant. it should take from, exhibit and intensify the experi-ence of the natural beauty. it should inspire and uplift, but also be a place of refuge or freedom. a place to be during the everyday, a place to go and to explore. architecturally striking and monolithic, yet detailed and sensitive. inviting in the great outdoors, but remain-ing comfortable. exposure counters enclosure; cave counters cliff. the movement of sand across the beach gives life and energy to the coast; it is a buffer between the rolling ocean and the static land. the buildings will act as pieces of debris around which the sand dances. there will be a play of permeability across the project with which the sand will contend. the sadn will heap up over the structure in winter, a blanket against the elements bringind cosiness for hardened visitors. in summer the sand will melt and erode under the foot traffic.

EARLY CONCEPT SKETCHES

investigating the relationship between main and auxiliary

workshops

roofscapes

sand, sun and views

JUNE

DECEMBER

MARCH

9AM NOON 4PM

LIGHTING STUDY

The space shown in this study is one of the gallery rooms. It explores the lighting conditions where the main source is from the north, against the cliff. There are also slits of light at the corners of the room. This ties in with the idea of a set of rooms forming a sequence, commencing in a cave-like space and progressing to an exposed platform facing the sea; the gallery spaces are intentionally facing the cliff rather than the view.

The lighing conditions shown in the 3Dmodel are not acceptable for a gallery space and suggest that an auxiliary light source or an open-ing in the roof may be required in order to obtain sufficient light levels. However, the physical model tells a different story where ample light is provided. Perhaps a medium between the two can be found in order to reconcile both instances of lighting model.

Physical lighting model, captured at specific timed throughout the year in order to obtain an accurate and full picture of the space all year round: Digital model created in 3DSMax, showing the space from three angles:

1:500 PLAN OF DESIGNATED PUBLIC SPACEROAD AND PARKING SPACE

PUBLIC SPACE DESIGN

THE SPACE LEFT OVER FROM THE BUILDINGS ON THE SITE CAN BE CITED AS PUBLIC SPACE. HOWEVER A PORTION OF THIS WILL BE ASSIGNED AS CAR PARKING SPACES, AND ANOTHER PART AS ACCESS ROAD. THE REMAINING SPACE CAN BE DESIGNED AS USEABLE PUBLIC SPACE WITH THE COMFORT OF THE PUBLIC IN MIND.

THE SOCIAL LIFE OF SMALL URBAN SPACES BY WILLIAM H WHYTE LAYS OUT A SET OF PARAMETERS FOR DESIGNING PUBLIC SPACE IN TERMS OF THE PHYSICAL FACTORS THAT MAKE UP A SPACE, FOR EXAMPLE SEATING, TREES OR WATER. WITH THIS BOOK IN MIND THE PUBLIC SPACE HAS BEEN DESIGNED TO ATTRACT AND PROVIDE FOR PEOPLE, AS WHYTE BELIEVES THAT A SUCCESSFUL SPACE IS MADE UP OF SIMPLE COMBINATIONS OF COMMODITIES WHICH ENCOURAGE BUSTLING ATMOSPHERES. A BUSY SPACEWITH PLENTY OF SEATING TO WATCH IS THE ACTION IS A SUCCESSFUL SPACE.

1:1000 PLAN OF AVAILABLE PUBLIC SPACE

MAIN SEATING AREA

DIRECTION OF VIEW

TREES / WOODLAND PUBLIC WATER ACCESS

IDENTIFIED STREET CORNERS

SEATINGplenty of seating provided along ledges, in places of high foot traffic. street corners indicate projected high flow areas.

WATERunlimited access to sea

TREEStrees are positioned to provide shelter in winter, against wind and rain. trees also provide shade in summer for seating.

WINDthe buildings do channel wind somewhat as per the concept, however this is mitigated through the planting of trees and the location of the smaller work-shops.

INTERESTthe height and level of the work-shops and the articulation of the buildings and terraces generate interest and activity in and around the site. the buildings are welcom-ing and allow observation of the interiors.

DPM II: Tectonic BoardTansy Duncan

ConceptionThe lasercut model is an extended

section taken from the rst and second oors of the masterplan. It cuts through

the open air green layer, and through part of a unit above.

It aims to explore the juxtaposition of a rolling landscape and organic forms

with the orthogonal arrangement of an individual unit, and also the spatial

qualities of the residential oors from public to private.

The Next StepThe model was created in 3ds Max, but using measurements from the AutoCAD plans. Once assembled,

sections were cut through it so that the nished model would be practical to assemble and also so that the subtly changing contours of the lower oor would be clearly delineated.

The script was set so that a section was cut every two millimetres, the same width as the board used to cut out the model, as this ensures that the physical model would have the correct proportions.

OutputThe section lines were then exported to AutoCAD where they were arrayed properly

and cleaned up before being sent to the laser cutter. The physical sections were then assembled one by one, to create a nal model showing

the changing landscape of the lower oor in contrast to the organisation of the residential oor above.

The result, of a scale of approximately 1:130, shows clearly the relationship between the two oors and the potential for place-making within both.

The outlines to be cut:

3DSMax model:

Final Images:

4

5

6MODELLING EROSION BY CUTTING LAYERS OF PAPERTaking water as an ecological system, the act of erosion on a riverbed was the starting point of the formfinding investigations.

FORMFINDINGThe initial concept

was the idea of an original mass

being eroded from the inside, similar to the

processes occurring on the

riverbed.

How can we protect and enhance the environment and at the same time use it productively as a creative force in the city? The studio will propose a self-sufficient residential neighbourhood-block, mixed with some shopping and a public space, to accommodate new modes of local urban living that address issues of urban density and porosity.

7The digital manipulations helped us to develop the intial concept in terms of thinking about program and distribution of mass; whether we wanted to further the idea of a compact block surrounded by eroded landscape, or an inward-looking formation in which the erosion causes the landscape.

The iterative process

8

9Site section 1:200

River

From the initial masterplan idea of bringing the river in, a jetty was created which integrates with the existing ferry network. The level of the site and the open space close to the riverbank creates a feeling of proximity to the local natural water system.

Stratication

Another masterplan strat-egy was the idea of stratify-ing the site, in keeping with our research on ero-sion and the natural system. In this vein, the building is integrated into the site using levelling and horizontality to increase the feeling of place.

Circulation

The concept of human traf-c as a force of erosion ties into the circulation paths in and around the site. The circulation routes actually create the form of the spiral, and in turn the spiral catches the passing trac and directs it inwards to the retail and public space.

10

Lower Ground Floor Plan 1:200 N

KEY

1 Water collection/amphitheatre2 Water tower3 Carpark4 Circulation: liftshaft and stairs5 Green space: allotments, trees, garden centre6 Ramp7 Retail, open plan a. Second hand bookshop/swap b. Stationery/writing equipment c. Box Oce d. Fishmongers/grocers/bakery e. Coee shop f. Clothing8 Outdoor cafe space9 Water wall10 Ferry point11 Public access points12 Existing public space

Plans 1:1000

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Ground Floor Top/Library FloorThird FloorSecond FloorFirst Floor

Site Section A:A, 1:200

Water is channeled down through the units, where each oor has an individual water tank that services the oor below. Excess water falls to the ground system.

Water from every surface on site is channeled into the water system. Any surface run-o is released slowly into the river to prevent ooding. The rainwater from the roof feeds the individual water tanks on each oor.

Central water collector: Water is ltered underground, then collected in the central area and used as a grey water resource.

River Water: the ltered water overows into the river if necessary. Alternatively the central reservoir connects to a soaka-way underground.

A

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KEY

1 water colllection / amphitheatre2 water tower3 carpark4 circulation5 green space / allotments / garden centre6 ramp7 retail, open plan a. second hand bookshop/ swap

b. stationery, writing equipment c. box office d. fishmongers, grocery, bakery e. coffee shop f. clothing8 outdoor cafe space9 waterwall10 ferry point11public access point12 existing public space

11

Lower Ground Floor Plan 1:200 N

KEY

1 Water collection/amphitheatre2 Water tower3 Carpark4 Circulation: liftshaft and stairs5 Green space: allotments, trees, garden centre6 Ramp7 Retail, open plan a. Second hand bookshop/swap b. Stationery/writing equipment c. Box Oce d. Fishmongers/grocers/bakery e. Coee shop f. Clothing8 Outdoor cafe space9 Water wall10 Ferry point11 Public access points12 Existing public space

Plans 1:1000

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Ground Floor Top/Library FloorThird FloorSecond FloorFirst Floor

Lower Ground Floor Plan 1:200 N

KEY

1 Water collection/amphitheatre2 Water tower3 Carpark4 Circulation: liftshaft and stairs5 Green space: allotments, trees, garden centre6 Ramp7 Retail, open plan a. Second hand bookshop/swap b. Stationery/writing equipment c. Box Oce d. Fishmongers/grocers/bakery e. Coee shop f. Clothing8 Outdoor cafe space9 Water wall10 Ferry point11 Public access points12 Existing public space

Plans 1:1000

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Ground Floor Top/Library FloorThird FloorSecond FloorFirst Floor

Lower Ground Floor N

12

DPM II: Tectonic BoardTansy Duncan

ConceptionThe lasercut model is an extended

section taken from the rst and second oors of the masterplan. It cuts through

the open air green layer, and through part of a unit above.

It aims to explore the juxtaposition of a rolling landscape and organic forms

with the orthogonal arrangement of an individual unit, and also the spatial

qualities of the residential oors from public to private.

The Next StepThe model was created in 3ds Max, but using measurements from the AutoCAD plans. Once assembled,

sections were cut through it so that the nished model would be practical to assemble and also so that the subtly changing contours of the lower oor would be clearly delineated.

The script was set so that a section was cut every two millimetres, the same width as the board used to cut out the model, as this ensures that the physical model would have the correct proportions.

OutputThe section lines were then exported to AutoCAD where they were arrayed properly

and cleaned up before being sent to the laser cutter. The physical sections were then assembled one by one, to create a nal model showing

the changing landscape of the lower oor in contrast to the organisation of the residential oor above.

The result, of a scale of approximately 1:130, shows clearly the relationship between the two oors and the potential for place-making within both.

The outlines to be cut:

3DSMax model:

Final Images:

DPM II: Tectonic BoardTansy Duncan

ConceptionThe lasercut model is an extended

section taken from the rst and second oors of the masterplan. It cuts through

the open air green layer, and through part of a unit above.

It aims to explore the juxtaposition of a rolling landscape and organic forms

with the orthogonal arrangement of an individual unit, and also the spatial

qualities of the residential oors from public to private.

The Next StepThe model was created in 3ds Max, but using measurements from the AutoCAD plans. Once assembled,

sections were cut through it so that the nished model would be practical to assemble and also so that the subtly changing contours of the lower oor would be clearly delineated.

The script was set so that a section was cut every two millimetres, the same width as the board used to cut out the model, as this ensures that the physical model would have the correct proportions.

OutputThe section lines were then exported to AutoCAD where they were arrayed properly

and cleaned up before being sent to the laser cutter. The physical sections were then assembled one by one, to create a nal model showing

the changing landscape of the lower oor in contrast to the organisation of the residential oor above.

The result, of a scale of approximately 1:130, shows clearly the relationship between the two oors and the potential for place-making within both.

The outlines to be cut:

3DSMax model:

Final Images:

13

DPM II: Tectonic BoardTansy Duncan

ConceptionThe lasercut model is an extended

section taken from the rst and second oors of the masterplan. It cuts through

the open air green layer, and through part of a unit above.

It aims to explore the juxtaposition of a rolling landscape and organic forms

with the orthogonal arrangement of an individual unit, and also the spatial

qualities of the residential oors from public to private.

The Next StepThe model was created in 3ds Max, but using measurements from the AutoCAD plans. Once assembled,

sections were cut through it so that the nished model would be practical to assemble and also so that the subtly changing contours of the lower oor would be clearly delineated.

The script was set so that a section was cut every two millimetres, the same width as the board used to cut out the model, as this ensures that the physical model would have the correct proportions.

OutputThe section lines were then exported to AutoCAD where they were arrayed properly

and cleaned up before being sent to the laser cutter. The physical sections were then assembled one by one, to create a nal model showing

the changing landscape of the lower oor in contrast to the organisation of the residential oor above.

The result, of a scale of approximately 1:130, shows clearly the relationship between the two oors and the potential for place-making within both.

The outlines to be cut:

3DSMax model:

Final Images:

DPM II: Tectonic BoardTansy Duncan

ConceptionThe lasercut model is an extended

section taken from the rst and second oors of the masterplan. It cuts through

the open air green layer, and through part of a unit above.

It aims to explore the juxtaposition of a rolling landscape and organic forms

with the orthogonal arrangement of an individual unit, and also the spatial

qualities of the residential oors from public to private.

The Next StepThe model was created in 3ds Max, but using measurements from the AutoCAD plans. Once assembled,

sections were cut through it so that the nished model would be practical to assemble and also so that the subtly changing contours of the lower oor would be clearly delineated.

The script was set so that a section was cut every two millimetres, the same width as the board used to cut out the model, as this ensures that the physical model would have the correct proportions.

OutputThe section lines were then exported to AutoCAD where they were arrayed properly

and cleaned up before being sent to the laser cutter. The physical sections were then assembled one by one, to create a nal model showing

the changing landscape of the lower oor in contrast to the organisation of the residential oor above.

The result, of a scale of approximately 1:130, shows clearly the relationship between the two oors and the potential for place-making within both.

The outlines to be cut:

3DSMax model:

Final Images:

14

A thing which is unobtrusive yet unexpected. Somewhere to visit, somewhere to pause, something to take in on the way past, something to explore, somewhere to meet, somewhere to watch from. The design should be: logical, straightforward. Tenby is forward thinking in spirit, perhaps not in

action. The public space should take from, exhibit and intensify the experience of the natural surroundings. It should inspire and uplift, but be a place of refuge and freedom. In essence, the place should be:

A place to be There to enhance life During the everyday, the normal.

Architecturally, the project should be striking, monolithic, and yet not too challenging to the eye. It should be experimenting with exposure and enclo-sure, bringing the outside inside and creating a balance between comfort and excitement.

The movement of sand across the beach gives life and energy to the coast, acting as a buffer between the rolling ocean and the static land. I want to encapsulate this energy in this project. The buildings should act as pebbles or pieces of debris around which the sand dances. Some parts will let the sand through, others will be a barrier against it.

The sand will heap up over the building in winter, covering it against the elements and creating a cosier place for Tenbys year-round visitors and inhabitants. Summer will bring more people, eroding the sand.

15

16

OLD TOWN AND TOURIST ATTRACTIONS

SITE

TRANSPORT POINTSAND MAIN ROADS

PUBLIC GREEN SPACE

SITE ANALYSISDIAGRAMS 1:5000

Tansy DuncanCardiff University

Jan 19, 2012 17:38Scale 1:100000 100 200 300 400 500 600 700 800 900 1000 m

Geological Map Data NERC 2011 Crown copyright/database right 2011. An Ordnance Survey/EDINA supplied service

Tenby geological makeup, 1:10000Map showing the dierent rock types around the Tenby peninsula. The site is predominantly Pembrokeshire Limstone, with blown sand where the site meets the sand dunes. Piles or other deep foundations will be necessary to ensure stability. The cli (limestone) to the east of the site is suitable for building or excavating into.

TRA

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REEN

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SITE

PEDESTRIAN ACCESS

VEHICLE ACCESS

SITE ANALYSISDIAGRAMS 1:1000

SITE ANNUAL SUN-PATH DIAGRAM WIND-ROSE DIAGRAMPrevailing winds from SW-NW (Spring)and NW (Autumn)

VIEWS FROM IN AND AROUND SITE

SEA VIEwS

COMMUNITY

PROxIMITY TO ThE ELEMENTS

CRAFT

17

TECHINICAL DETAILING

INITIAL CONCEPT SKETCH

COMPONENTS

corrugated steel claddingrigid plasterboard with fixings and vapour barrierpurlinssteel I-beam 532mmrigid insulation 400mmplasterboard 20mmwindow fixing

30mm double glazing panels

window fixingsteel beam 100mmaluminium framed sliding doors with 20mm corrugated steel cladding

door runnersconcrete floor 300mmrigid insulation 400mmdamp-proof membraneconcrete strip foundations

a thing which is both unobtrusive yet unexpected. somewhere to visit, to pause, to soak up the view, to meet, to spectate. a logical, straightforward design, yet special. the space should be new, but not extravagant. it should take from, exhibit and intensify the experi-ence of the natural beauty. it should inspire and uplift, but also be a place of refuge or freedom. a place to be during the everyday, a place to go and to explore. architecturally striking and monolithic, yet detailed and sensitive. inviting in the great outdoors, but remain-ing comfortable. exposure counters enclosure; cave counters cliff. the movement of sand across the beach gives life and energy to the coast; it is a buffer between the rolling ocean and the static land. the buildings will act as pieces of debris around which the sand dances. there will be a play of permeability across the project with which the sand will contend. the sadn will heap up over the structure in winter, a blanket against the elements bringind cosiness for hardened visitors. in summer the sand will melt and erode under the foot traffic.

EARLY CONCEPT SKETCHES

investigating the relationship between main and auxiliary

workshops

roofscapes

sand, sun and views

JUNE

DECEMBER

MARCH

9AM NOON 4PM

LIGHTING STUDY

The space shown in this study is one of the gallery rooms. It explores the lighting conditions where the main source is from the north, against the cliff. There are also slits of light at the corners of the room. This ties in with the idea of a set of rooms forming a sequence, commencing in a cave-like space and progressing to an exposed platform facing the sea; the gallery spaces are intentionally facing the cliff rather than the view.

The lighing conditions shown in the 3Dmodel are not acceptable for a gallery space and suggest that an auxiliary light source or an open-ing in the roof may be required in order to obtain sufficient light levels. However, the physical model tells a different story where ample light is provided. Perhaps a medium between the two can be found in order to reconcile both instances of lighting model.

Physical lighting model, captured at specific timed throughout the year in order to obtain an accurate and full picture of the space all year round: Digital model created in 3DSMax, showing the space from three angles:

1:500 PLAN OF DESIGNATED PUBLIC SPACEROAD AND PARKING SPACE

PUBLIC SPACE DESIGN

THE SPACE LEFT OVER FROM THE BUILDINGS ON THE SITE CAN BE CITED AS PUBLIC SPACE. HOWEVER A PORTION OF THIS WILL BE ASSIGNED AS CAR PARKING SPACES, AND ANOTHER PART AS ACCESS ROAD. THE REMAINING SPACE CAN BE DESIGNED AS USEABLE PUBLIC SPACE WITH THE COMFORT OF THE PUBLIC IN MIND.

THE SOCIAL LIFE OF SMALL URBAN SPACES BY WILLIAM H WHYTE LAYS OUT A SET OF PARAMETERS FOR DESIGNING PUBLIC SPACE IN TERMS OF THE PHYSICAL FACTORS THAT MAKE UP A SPACE, FOR EXAMPLE SEATING, TREES OR WATER. WITH THIS BOOK IN MIND THE PUBLIC SPACE HAS BEEN DESIGNED TO ATTRACT AND PROVIDE FOR PEOPLE, AS WHYTE BELIEVES THAT A SUCCESSFUL SPACE IS MADE UP OF SIMPLE COMBINATIONS OF COMMODITIES WHICH ENCOURAGE BUSTLING ATMOSPHERES. A BUSY SPACEWITH PLENTY OF SEATING TO WATCH IS THE ACTION IS A SUCCESSFUL SPACE.

1:1000 PLAN OF AVAILABLE PUBLIC SPACE

MAIN SEATING AREA

DIRECTION OF VIEW

TREES / WOODLAND PUBLIC WATER ACCESS

IDENTIFIED STREET CORNERS

SEATINGplenty of seating provided along ledges, in places of high foot traffic. street corners indicate projected high flow areas.

WATERunlimited access to sea

TREEStrees are positioned to provide shelter in winter, against wind and rain. trees also provide shade in summer for seating.

WINDthe buildings do channel wind somewhat as per the concept, however this is mitigated through the planting of trees and the location of the smaller work-shops.

INTERESTthe height and level of the work-shops and the articulation of the buildings and terraces generate interest and activity in and around the site. the buildings are welcom-ing and allow observation of the interiors.

TECHINICAL DETAILING

INITIAL CONCEPT SKETCH

COMPONENTS

corrugated steel claddingrigid plasterboard with fixings and vapour barrierpurlinssteel I-beam 532mmrigid insulation 400mmplasterboard 20mmwindow fixing

30mm double glazing panels

window fixingsteel beam 100mmaluminium framed sliding doors with 20mm corrugated steel cladding

door runnersconcrete floor 300mmrigid insulation 400mmdamp-proof membraneconcrete strip foundations

a thing which is both unobtrusive yet unexpected. somewhere to visit, to pause, to soak up the view, to meet, to spectate. a logical, straightforward design, yet special. the space should be new, but not extravagant. it should take from, exhibit and intensify the experi-ence of the natural beauty. it should inspire and uplift, but also be a place of refuge or freedom. a place to be during the everyday, a place to go and to explore. architecturally striking and monolithic, yet detailed and sensitive. inviting in the great outdoors, but remain-ing comfortable. exposure counters enclosure; cave counters cliff. the movement of sand across the beach gives life and energy to the coast; it is a buffer between the rolling ocean and the static land. the buildings will act as pieces of debris around which the sand dances. there will be a play of permeability across the project with which the sand will contend. the sadn will heap up over the structure in winter, a blanket against the elements bringind cosiness for hardened visitors. in summer the sand will melt and erode under the foot traffic.

EARLY CONCEPT SKETCHES

investigating the relationship between main and auxiliary

workshops

roofscapes

sand, sun and views

JUNE

DECEMBER

MARCH

9AM NOON 4PM

LIGHTING STUDY

The space shown in this study is one of the gallery rooms. It explores the lighting conditions where the main source is from the north, against the cliff. There are also slits of light at the corners of the room. This ties in with the idea of a set of rooms forming a sequence, commencing in a cave-like space and progressing to an exposed platform facing the sea; the gallery spaces are intentionally facing the cliff rather than the view.

The lighing conditions shown in the 3Dmodel are not acceptable for a gallery space and suggest that an auxiliary light source or an open-ing in the roof may be required in order to obtain sufficient light levels. However, the physical model tells a different story where ample light is provided. Perhaps a medium between the two can be found in order to reconcile both instances of lighting model.

Physical lighting model, captured at specific timed throughout the year in order to obtain an accurate and full picture of the space all year round: Digital model created in 3DSMax, showing the space from three angles:

1:500 PLAN OF DESIGNATED PUBLIC SPACEROAD AND PARKING SPACE

PUBLIC SPACE DESIGN

THE SPACE LEFT OVER FROM THE BUILDINGS ON THE SITE CAN BE CITED AS PUBLIC SPACE. HOWEVER A PORTION OF THIS WILL BE ASSIGNED AS CAR PARKING SPACES, AND ANOTHER PART AS ACCESS ROAD. THE REMAINING SPACE CAN BE DESIGNED AS USEABLE PUBLIC SPACE WITH THE COMFORT OF THE PUBLIC IN MIND.

THE SOCIAL LIFE OF SMALL URBAN SPACES BY WILLIAM H WHYTE LAYS OUT A SET OF PARAMETERS FOR DESIGNING PUBLIC SPACE IN TERMS OF THE PHYSICAL FACTORS THAT MAKE UP A SPACE, FOR EXAMPLE SEATING, TREES OR WATER. WITH THIS BOOK IN MIND THE PUBLIC SPACE HAS BEEN DESIGNED TO ATTRACT AND PROVIDE FOR PEOPLE, AS WHYTE BELIEVES THAT A SUCCESSFUL SPACE IS MADE UP OF SIMPLE COMBINATIONS OF COMMODITIES WHICH ENCOURAGE BUSTLING ATMOSPHERES. A BUSY SPACEWITH PLENTY OF SEATING TO WATCH IS THE ACTION IS A SUCCESSFUL SPACE.

1:1000 PLAN OF AVAILABLE PUBLIC SPACE

MAIN SEATING AREA

DIRECTION OF VIEW

TREES / WOODLAND PUBLIC WATER ACCESS

IDENTIFIED STREET CORNERS

SEATINGplenty of seating provided along ledges, in places of high foot traffic. street corners indicate projected high flow areas.

WATERunlimited access to sea

TREEStrees are positioned to provide shelter in winter, against wind and rain. trees also provide shade in summer for seating.

WINDthe buildings do channel wind somewhat as per the concept, however this is mitigated through the planting of trees and the location of the smaller work-shops.

INTERESTthe height and level of the work-shops and the articulation of the buildings and terraces generate interest and activity in and around the site. the buildings are welcom-ing and allow observation of the interiors.

TECHINICAL DETAILING

INITIAL CONCEPT SKETCH

COMPONENTS

corrugated steel claddingrigid plasterboard with fixings and vapour barrierpurlinssteel I-beam 532mmrigid insulation 400mmplasterboard 20mmwindow fixing

30mm double glazing panels

window fixingsteel beam 100mmaluminium framed sliding doors with 20mm corrugated steel cladding

door runnersconcrete floor 300mmrigid insulation 400mmdamp-proof membraneconcrete strip foundations

a thing which is both unobtrusive yet unexpected. somewhere to visit, to pause, to soak up the view, to meet, to spectate. a logical, straightforward design, yet special. the space should be new, but not extravagant. it should take from, exhibit and intensify the experi-ence of the natural beauty. it should inspire and uplift, but also be a place of refuge or freedom. a place to be during the everyday, a place to go and to explore. architecturally striking and monolithic, yet detailed and sensitive. inviting in the great outdoors, but remain-ing comfortable. exposure counters enclosure; cave counters cliff. the movement of sand across the beach gives life and energy to the coast; it is a buffer between the rolling ocean and the static land. the buildings will act as pieces of debris around which the sand dances. there will be a play of permeability across the project with which the sand will contend. the sadn will heap up over the structure in winter, a blanket against the elements bringind cosiness for hardened visitors. in summer the sand will melt and erode under the foot traffic.

EARLY CONCEPT SKETCHES

investigating the relationship between main and auxiliary

workshops

roofscapes

sand, sun and views

JUNE

DECEMBER

MARCH

9AM NOON 4PM

LIGHTING STUDY

The space shown in this study is one of the gallery rooms. It explores the lighting conditions where the main source is from the north, against the cliff. There are also slits of light at the corners of the room. This ties in with the idea of a set of rooms forming a sequence, commencing in a cave-like space and progressing to an exposed platform facing the sea; the gallery spaces are intentionally facing the cliff rather than the view.

The lighing conditions shown in the 3Dmodel are not acceptable for a gallery space and suggest that an auxiliary light source or an open-ing in the roof may be required in order to obtain sufficient light levels. However, the physical model tells a different story where ample light is provided. Perhaps a medium between the two can be found in order to reconcile both instances of lighting model.

Physical lighting model, captured at specific timed throughout the year in order to obtain an accurate and full picture of the space all year round: Digital model created in 3DSMax, showing the space from three angles:

1:500 PLAN OF DESIGNATED PUBLIC SPACEROAD AND PARKING SPACE

PUBLIC SPACE DESIGN

THE SPACE LEFT OVER FROM THE BUILDINGS ON THE SITE CAN BE CITED AS PUBLIC SPACE. HOWEVER A PORTION OF THIS WILL BE ASSIGNED AS CAR PARKING SPACES, AND ANOTHER PART AS ACCESS ROAD. THE REMAINING SPACE CAN BE DESIGNED AS USEABLE PUBLIC SPACE WITH THE COMFORT OF THE PUBLIC IN MIND.

THE SOCIAL LIFE OF SMALL URBAN SPACES BY WILLIAM H WHYTE LAYS OUT A SET OF PARAMETERS FOR DESIGNING PUBLIC SPACE IN TERMS OF THE PHYSICAL FACTORS THAT MAKE UP A SPACE, FOR EXAMPLE SEATING, TREES OR WATER. WITH THIS BOOK IN MIND THE PUBLIC SPACE HAS BEEN DESIGNED TO ATTRACT AND PROVIDE FOR PEOPLE, AS WHYTE BELIEVES THAT A SUCCESSFUL SPACE IS MADE UP OF SIMPLE COMBINATIONS OF COMMODITIES WHICH ENCOURAGE BUSTLING ATMOSPHERES. A BUSY SPACEWITH PLENTY OF SEATING TO WATCH IS THE ACTION IS A SUCCESSFUL SPACE.

1:1000 PLAN OF AVAILABLE PUBLIC SPACE

MAIN SEATING AREA

DIRECTION OF VIEW

TREES / WOODLAND PUBLIC WATER ACCESS

IDENTIFIED STREET CORNERS

SEATINGplenty of seating provided along ledges, in places of high foot traffic. street corners indicate projected high flow areas.

WATERunlimited access to sea

TREEStrees are positioned to provide shelter in winter, against wind and rain. trees also provide shade in summer for seating.

WINDthe buildings do channel wind somewhat as per the concept, however this is mitigated through the planting of trees and the location of the smaller work-shops.

INTERESTthe height and level of the work-shops and the articulation of the buildings and terraces generate interest and activity in and around the site. the buildings are welcom-ing and allow observation of the interiors.

18

INITIAL CONCEPT PLANS AND SECTIONS

MAPPING OUT MASSING

19

20

FIRST FLOOR PLAN

GROUND FLOOR PLAN

LONG SECTIONN1:200

A

A

B

B

C

C

SECTION A:A 1:100

SECTION B:B 1:100

SECTION C:C 1:50

KEY

1 MAIN WORKSHOP2 SAILMAKING AND TEXTILES3 SPRAY ROOM4 MACHINE ROOM5 STEAM ROOM6 MARINE ENGINEERING7 PLANT8 STORE9 SURF SHOP10 GRP BAY11 ADMINISTRATION12 LECTURE AND EDUCATION13 RECEPTION14 TOILETS15 EXHIBITION16 GALLERY17 CAFE18 ROOF TERRACE19 SLIPWAY20 PEDESTRIAN ACCESS21 CAR PARK

1

2

3

4

5

6

78

910

11 12

8 813

14

15

16 16 1617

18

19

20

21

MONOLITH / STEELTHE MAIN WORKSHOP IS CONSTRUCTED

AS A SERIES OF STEEL PORTAL FRAMES WITH A CORRUGATED STEEL ROOF. OVER

TIME THE STEEL WILL CORRODE AND BLEND WITH THE MANUAL BACKGROUND

OF TENBY.

DRIFTWOOD / TIMBERTHE SMALLER WORKSHOPS ACT AS SEPARATE TIMBER BOXES, WITH THEIR OWN CONSTRUCTION METHODS AND FINISHES. THEY COLLIDE WITH THE VOLUME OF THE MAIN WORKSHOP AND INTERRUPT ITS ORDERED RHYTHM.

BUCKETS AND SPADES / MESH AND TUBING THESE COMPONENTS TRAP AND PLAY WITH THE SAND AS IT GETS SWEPT OVER THE SITE, COLLECTING AND REDISTRIBUTING IT TO MAKE A PATTERN OF HIGH AND LOW WIND LEVELS.

ROUGH OR SMOOTH? / CONCRETE, PLASTER AND GLASSCONCRETE FORMS THE FOUNDATIONS, WALLS AND FLOOR FOR THE MAIN MONOLITHIC VOLUMES OF THE SCHEME. SAND-BLASTED, POLISHED AND SHUTTERED FINISHES ARE ALL ENTERTAINED ACCORDING TO PROXIMITY TO THE SANDS. CEILINGS ARE PLASTERED, AND SOME FILMED GLASS IS INSERTED IN THE WINDIER CORNERS OF THE BUILDINGS TO EXPERIMENT WITH THE SAND-BLASTING POSSIBILITIES OF WINDSWEPT SAND.

FUNCTIONAL WORKFLOWTHE WORKSHOP SPACES ARE TREATED AS WASHED-UP CON-

TAINERS OR DRIFTWOOD, WHICH SLOT INTO THE MAIN WORKSHOP SPACE BUT DO NOT CONFORM TO ITS STRUC-

TURAL RHYTHM. THEY ARE ORGANISED ACCORDING TO FUNCTION: THE DELIVERED TIMBER CAN BE DELIVERED AT

ONE END OF THE SHED AND CAN ZIG-ZAG ITS WAY TO BECOMING A FULLY FINISHED TENBY LUGGER.

FRAMING THE SUNSETTHE WINDOWS THROUGHOUT

THE SCHEME ARE SET UP TO FRAME THE VIEWS IN CERTAIN

WAYS: THE ENTIRETY OF THE SCHEME FACES THE HORIZON

OVER THE SEA. THE VIEWS FROM THE MAIN WORKSHOP ARE DIRECTED TOWARD THE SKY AND THROUGH VARYING

WIDTHS BETWEEN THE PROJECTING WORKSHOPS. THE

SMALLER WORKSHOP WINDOWS ARE SIMILARLY TALL

AND THIN, AND THEY ALTERNATE SO THAT THERE

ARE NO DIRECT VIEWS ACROSS WORKSHOPS EXCEPT AT AN

ANGLE.

THEY ARE MORE SMALL GAPS IN THE WALLS THAN VIEWING

WINDOWS. FROM THE GALLERY SPACE THE VIEW IS ORIENTED

DIRECTLY PERPENDICULAR TO THE BUILDINGS. HOWEVER A

SIMILAR STRATEGY IS EMPLOYED WHEN ONES ATTENTION SHOULD BE

FOCUSSED ON EXHIBITIONS AND ARTWORK. WHEN THE

CAFE IS REACHED, AFTER NAVIGATING THE SEQUENCE OF PRECEDING ROOMS, THE

VIEW IS COMPLETELY OPENED UP WITH A DOUBLE HEIGHT SPACE FACING THE SUNSET.

1:500 PLANS

TENBY LUGGER BOATBUILDING CENTRE / TANSY DUNCANSET BETWEEN A CLIFF AND SAND DUNES, THE BOAT BUILDING CENTRE IS A PLACE FOR HANDS-ON ACTIVITY AND RELAXING OBSERVA-TION. THE BUILDING FACES THE SEA AND THE HORIZON, SHELTERING BETWEEN THE TWO HIGHER AREAS AND CREATING A BARRIER FOR THE REAR SPACE OF CARPARKING AND SEATING.

21

FIRST FLOOR PLAN

GROUND FLOOR PLAN

LONG SECTIONN1:200

A

A

B

B

C

C

SECTION A:A 1:100

SECTION B:B 1:100

SECTION C:C 1:50

KEY

1 MAIN WORKSHOP2 SAILMAKING AND TEXTILES3 SPRAY ROOM4 MACHINE ROOM5 STEAM ROOM6 MARINE ENGINEERING7 PLANT8 STORE9 SURF SHOP10 GRP BAY11 ADMINISTRATION12 LECTURE AND EDUCATION13 RECEPTION14 TOILETS15 EXHIBITION16 GALLERY17 CAFE18 ROOF TERRACE19 SLIPWAY20 PEDESTRIAN ACCESS21 CAR PARK

1

2

3

4

5

6

78

910

11 12

8 813

14

15

16 16 1617

18

19

20

21

MONOLITH / STEELTHE MAIN WORKSHOP IS CONSTRUCTED

AS A SERIES OF STEEL PORTAL FRAMES WITH A CORRUGATED STEEL ROOF. OVER

TIME THE STEEL WILL CORRODE AND BLEND WITH THE MANUAL BACKGROUND

OF TENBY.

DRIFTWOOD / TIMBERTHE SMALLER WORKSHOPS ACT AS SEPARATE TIMBER BOXES, WITH THEIR OWN CONSTRUCTION METHODS AND FINISHES. THEY COLLIDE WITH THE VOLUME OF THE MAIN WORKSHOP AND INTERRUPT ITS ORDERED RHYTHM.

BUCKETS AND SPADES / MESH AND TUBING THESE COMPONENTS TRAP AND PLAY WITH THE SAND AS IT GETS SWEPT OVER THE SITE, COLLECTING AND REDISTRIBUTING IT TO MAKE A PATTERN OF HIGH AND LOW WIND LEVELS.

ROUGH OR SMOOTH? / CONCRETE, PLASTER AND GLASSCONCRETE FORMS THE FOUNDATIONS, WALLS AND FLOOR FOR THE MAIN MONOLITHIC VOLUMES OF THE SCHEME. SAND-BLASTED, POLISHED AND SHUTTERED FINISHES ARE ALL ENTERTAINED ACCORDING TO PROXIMITY TO THE SANDS. CEILINGS ARE PLASTERED, AND SOME FILMED GLASS IS INSERTED IN THE WINDIER CORNERS OF THE BUILDINGS TO EXPERIMENT WITH THE SAND-BLASTING POSSIBILITIES OF WINDSWEPT SAND.

FUNCTIONAL WORKFLOWTHE WORKSHOP SPACES ARE TREATED AS WASHED-UP CON-

TAINERS OR DRIFTWOOD, WHICH SLOT INTO THE MAIN WORKSHOP SPACE BUT DO NOT CONFORM TO ITS STRUC-

TURAL RHYTHM. THEY ARE ORGANISED ACCORDING TO FUNCTION: THE DELIVERED TIMBER CAN BE DELIVERED AT

ONE END OF THE SHED AND CAN ZIG-ZAG ITS WAY TO BECOMING A FULLY FINISHED TENBY LUGGER.

FRAMING THE SUNSETTHE WINDOWS THROUGHOUT

THE SCHEME ARE SET UP TO FRAME THE VIEWS IN CERTAIN

WAYS: THE ENTIRETY OF THE SCHEME FACES THE HORIZON

OVER THE SEA. THE VIEWS FROM THE MAIN WORKSHOP ARE DIRECTED TOWARD THE SKY AND THROUGH VARYING

WIDTHS BETWEEN THE PROJECTING WORKSHOPS. THE

SMALLER WORKSHOP WINDOWS ARE SIMILARLY TALL

AND THIN, AND THEY ALTERNATE SO THAT THERE

ARE NO DIRECT VIEWS ACROSS WORKSHOPS EXCEPT AT AN

ANGLE.

THEY ARE MORE SMALL GAPS IN THE WALLS THAN VIEWING

WINDOWS. FROM THE GALLERY SPACE THE VIEW IS ORIENTED

DIRECTLY PERPENDICULAR TO THE BUILDINGS. HOWEVER A

SIMILAR STRATEGY IS EMPLOYED WHEN ONES ATTENTION SHOULD BE

FOCUSSED ON EXHIBITIONS AND ARTWORK. WHEN THE

CAFE IS REACHED, AFTER NAVIGATING THE SEQUENCE OF PRECEDING ROOMS, THE

VIEW IS COMPLETELY OPENED UP WITH A DOUBLE HEIGHT SPACE FACING THE SUNSET.

1:500 PLANS

TENBY LUGGER BOATBUILDING CENTRE / TANSY DUNCANSET BETWEEN A CLIFF AND SAND DUNES, THE BOAT BUILDING CENTRE IS A PLACE FOR HANDS-ON ACTIVITY AND RELAXING OBSERVA-TION. THE BUILDING FACES THE SEA AND THE HORIZON, SHELTERING BETWEEN THE TWO HIGHER AREAS AND CREATING A BARRIER FOR THE REAR SPACE OF CARPARKING AND SEATING.

FIRST FLOOR PLAN

GROUND FLOOR PLAN

LONG SECTIONN1:200

A

A

B

B

C

C

SECTION A:A 1:100

SECTION B:B 1:100

SECTION C:C 1:50

KEY

1 MAIN WORKSHOP2 SAILMAKING AND TEXTILES3 SPRAY ROOM4 MACHINE ROOM5 STEAM ROOM6 MARINE ENGINEERING7 PLANT8 STORE9 SURF SHOP10 GRP BAY11 ADMINISTRATION12 LECTURE AND EDUCATION13 RECEPTION14 TOILETS15 EXHIBITION16 GALLERY17 CAFE18 ROOF TERRACE19 SLIPWAY20 PEDESTRIAN ACCESS21 CAR PARK

1

2

3

4

5

6

78

910

11 12

8 813

14

15

16 16 1617

18

19

20

21

MONOLITH / STEELTHE MAIN WORKSHOP IS CONSTRUCTED

AS A SERIES OF STEEL PORTAL FRAMES WITH A CORRUGATED STEEL ROOF. OVER

TIME THE STEEL WILL CORRODE AND BLEND WITH THE MANUAL BACKGROUND

OF TENBY.

DRIFTWOOD / TIMBERTHE SMALLER WORKSHOPS ACT AS SEPARATE TIMBER BOXES, WITH THEIR OWN CONSTRUCTION METHODS AND FINISHES. THEY COLLIDE WITH THE VOLUME OF THE MAIN WORKSHOP AND INTERRUPT ITS ORDERED RHYTHM.

BUCKETS AND SPADES / MESH AND TUBING THESE COMPONENTS TRAP AND PLAY WITH THE SAND AS IT GETS SWEPT OVER THE SITE, COLLECTING AND REDISTRIBUTING IT TO MAKE A PATTERN OF HIGH AND LOW WIND LEVELS.

ROUGH OR SMOOTH? / CONCRETE, PLASTER AND GLASSCONCRETE FORMS THE FOUNDATIONS, WALLS AND FLOOR FOR THE MAIN MONOLITHIC VOLUMES OF THE SCHEME. SAND-BLASTED, POLISHED AND SHUTTERED FINISHES ARE ALL ENTERTAINED ACCORDING TO PROXIMITY TO THE SANDS. CEILINGS ARE PLASTERED, AND SOME FILMED GLASS IS INSERTED IN THE WINDIER CORNERS OF THE BUILDINGS TO EXPERIMENT WITH THE SAND-BLASTING POSSIBILITIES OF WINDSWEPT SAND.

FUNCTIONAL WORKFLOWTHE WORKSHOP SPACES ARE TREATED AS WASHED-UP CON-

TAINERS OR DRIFTWOOD, WHICH SLOT INTO THE MAIN WORKSHOP SPACE BUT DO NOT CONFORM TO ITS STRUC-

TURAL RHYTHM. THEY ARE ORGANISED ACCORDING TO FUNCTION: THE DELIVERED TIMBER CAN BE DELIVERED AT

ONE END OF THE SHED AND CAN ZIG-ZAG ITS WAY TO BECOMING A FULLY FINISHED TENBY LUGGER.

FRAMING THE SUNSETTHE WINDOWS THROUGHOUT

THE SCHEME ARE SET UP TO FRAME THE VIEWS IN CERTAIN

WAYS: THE ENTIRETY OF THE SCHEME FACES THE HORIZON

OVER THE SEA. THE VIEWS FROM THE MAIN WORKSHOP ARE DIRECTED TOWARD THE SKY AND THROUGH VARYING

WIDTHS BETWEEN THE PROJECTING WORKSHOPS. THE

SMALLER WORKSHOP WINDOWS ARE SIMILARLY TALL

AND THIN, AND THEY ALTERNATE SO THAT THERE

ARE NO DIRECT VIEWS ACROSS WORKSHOPS EXCEPT AT AN

ANGLE.

THEY ARE MORE SMALL GAPS IN THE WALLS THAN VIEWING

WINDOWS. FROM THE GALLERY SPACE THE VIEW IS ORIENTED

DIRECTLY PERPENDICULAR TO THE BUILDINGS. HOWEVER A

SIMILAR STRATEGY IS EMPLOYED WHEN ONES ATTENTION SHOULD BE

FOCUSSED ON EXHIBITIONS AND ARTWORK. WHEN THE

CAFE IS REACHED, AFTER NAVIGATING THE SEQUENCE OF PRECEDING ROOMS, THE

VIEW IS COMPLETELY OPENED UP WITH A DOUBLE HEIGHT SPACE FACING THE SUNSET.

1:500 PLANS

TENBY LUGGER BOATBUILDING CENTRE / TANSY DUNCANSET BETWEEN A CLIFF AND SAND DUNES, THE BOAT BUILDING CENTRE IS A PLACE FOR HANDS-ON ACTIVITY AND RELAXING OBSERVA-TION. THE BUILDING FACES THE SEA AND THE HORIZON, SHELTERING BETWEEN THE TWO HIGHER AREAS AND CREATING A BARRIER FOR THE REAR SPACE OF CARPARKING AND SEATING.

22

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