P O R T F O L I O .
01.
Sebastian Tanti Burlò Profile.
{
B.A (v) Architecture and Urban Studies, (University of Westminster, London, U.K.).
}
Sebastian Tanti Burlò is an artist, illustrator and designer, currently stranded on the Island of Malta. He studied architecture at the University of Westminster. His work combines illustration, currentaffairs, architecture, cartooning, poetry and photography, to create a socio-commentary of today’s times. He sees the weirdness in the commonplace, and the wonderful in the dilapidated. I am fascinated by people’s interaction with their built environment and view architecture as a potential agent of change within society. Architecture’s power to influence is what inspires my designs, illustrations and writing. I now wish to apply my architectural studies to a job that furthers my understanding of our local constructed environment.
sebtantiburlo.tumblr.com issuu.com/sebtantiburlo
cargocollective.com/ sebtantiburlo stantiburlo@gmail.com +35699271756
Proficient. Strong. Fair.
Notte Bianca ‘13:
KARTUN + GGANTIJA
2013
Published D.S.09
“Bromley-by-Bow Urban Study”, “SCIBE Newspaper”, London, p.17, SCIBE, 2013
2012 Volunteer group leader with OFD
2011
(Organisation for Friendship in Diversity) Children’s Summer Camp.
University of Westminster, London, UK. BA(Hons) in Architecture & Urban Studies.
Upper Second Honours.
U.o.M. Ba in Architecture & Civil Eng.
Not Completed.
U.o.M. Ba in History of Art & Philosphy.
Not Completed.
Private Tuition A-levles (AQA):
Pure Maths Advanced Physics
St. Aloysius College, Malta. (6th form):
A-levels (Matriculation): History. Geography.
2010 Apprenticed; at Grech & Vinci Architects,
2009
Malta.www.grechandvinci.com
Designed & Built with student colleagues; ‘Reaching for the Past’ Exhibition, University of Malta.
2008 Children’s Book Illustration
Central St. Martins College of Art and Design, London
EXPERIENCE
Published illustrations, “See it My Way”, the Office of the Commissioner for Children, Malta
Formal Education.
2007 2006
Freelance; Illustrator, Political Cartoonist, (‘06 - Current) Photographer & Graphic Designer.
2005
Published political cartoons in “The Allied Newspaper Ltd” (both for the Times of Malta and the Sunday Times of Malta), and illustrations in various publications.
2004 2003
Intermediate (Matric.) Philosophy. English. Systems of Knowledge.
Private Education. Freelance. Work.
INTERESTS.
b.1987
GRAPHIC DESIGN. PHOTOGRAPHY.
LITRATURE.
ART.
POLITICS.
THEATRE & MUSIC.
STREET ART.
RHINO 3D MODELLING.
GOOGLE SKETCH-UP.
IN-DESIGN.
D I G I TA L .
LANGUAGES
SKILLS.
AUTOCAD 2D.
LIGHTROOM.
PHOTOSHOP.
ITALIAN
MALTESE
ENGLISH
PAINTING.
ILLUSTRAITOR.
SKETCH WORK. CHARCOAL. HAND.
WATER COLOUR DRW.
INK DRAWING.
02.
03.
COUNTER / MARKET.
University of Westminster, Architectur e + Urban Studies, D.S . 09, Year II, Semester I.
Westfields, Stratford.
STUCK SOMEWHERE IN-BETWEEN STRATFORD AND THE WESTFIELDS . A Site Analysis. The site is divided in two. To the east you find Stratford, a r un down, beatup neighbourhood. Its main attraction the Stratford Shopping centre, a decrepit, temple of brick and mortar, adorned with a crowning car park of reinforced concrete thorns. To the west through the fumes of desperation coughed up by Stratford you catch a glimpse of the shimmering cathedral to consumerism. Just like the child catcher in Chitty Chitty Bang Bang, the
Westfields lures you in with promises of sweets and at the drop of a hat, has you in its net. Only a moat separates the two worlds. Patrolled incessantly by the Central and Jubilee Lines, two heinous, snake-like tube monsters. Devouring their prey, preferably of the human nature, in minuited gulps, disappearing just as they appeared back down into the innards of the city. Sucking on their victim’s soul only to regurgitate them back into society. They
slither up and down waiting on the frenzy of feeding time.
The revellers of the lyric, singing their works of tr uth through art and literature.
The only way past the moat is through the mouth of the mask and across the Town Centre Link Bridge (T.C.L.). A 130m stretch of cor-ten steel and glazing, 12m wide, designed for one purpose; the mass trafficking of sacrificial souls. Lined up, and sent to the heart of the Moloch.
We treat the tr uth as if it was the common cold. At the first sign of a r unny nose, we dr ug the fucker out - We twist and tangle our perception of reality so that we move on - blinkered reality. But tr uth, like a cold is a tough bastard, sometimes lingering long enough to get you. And once it does, it creeps up your spine like a Dementors kiss, shaking you from your Starbucks induced coma. This is the
Inhabiting the r usty thoroughfare are the fairies of counterculture.
danger that lies between the gates of the T.C.L; twenty stalls by day manned by artists, poets, philosophers, writers, musicians, activists, journalists, pacifist, all ready to pass on their tr uths, beliefs, aspirations through their work (obviously at a reasonable rape-free price). At night, the stalls break apart for ming intimate spaces open for all, and it is here that they will play their music, read their literature, listen to ideas. It is here that they will make their stand. The 99%ers, the beautiful losers.
04.
BRIEF A Market with a Sur prise. Site: The Town Centre Link Bridge. Connecting Stratford centre to the Westfield shopping complex. The 130m long and 12m wide bridge will also form part of the route to the Olympic Village which London is hosting in 2012. This specific site has been chosen for these reasons: • Market stalls can already be found in Stratford centre, continuing through the Stratford Shopping Centre, and ending at the foot of the bridge. Thus embracing
Site Plan. Scale: N/A
Site Photos
of an already existing urban language. • The thoroughfare which connects Stratford to the Westfield shopping complex is a public space which was designed to cope with heavy pedestrian traffic during the Olympics. Thus the question arises, how is this space going to be used after the games? Market: The Occupy market comprises of 16 stalls. Each individual stall would have a dimension
of maximum of 4m x 2m. The stalls produce and distribute ideas through; art, music, theatre, literature, poetry, philosophy, humanitarian and environmental activism. The market would take place every day of the week, from 8:00am till 7:00pm. This includes one hour for setting up and another for dismantling. Services: Since the market will be situated so close to the Westfield Complex it is safe to assume that the people manning the market will
be able to use the services provided by said complex. There are public toilets that are easily accessible.
the bridge preferably hidden in the street furniture.
With regards to sourcing energy, the Westfield Complex will be installing a relatively new technology called Pavegen. This technology harvests the wasted kinetic energy, which is produced by foot traffic. If the bridge’s surface is covered by these slabs then the market can be powered by efficiently and sustainably by the customers themselves.
After the market is dismantled the space will be converted into a busking area, where musicians, poets and scholars could assemble to give performances, discussions and talks. Specific street furniture should be designed to create small intimate outdoor performance spaces, and possibly one main area where larger groups can congregate. This idea is designed to culturally enrich an area, which is being threatened by a very powerful retail grip.
Otherwise the alternative is to create connection points along
Suprise:
05.
MARKET STALLS Axo + Plans
06.
MARKET STALLS Plans of Bridge + Stalls. N
07.
MARKET ENTRANCE Elevation + Section
08.
09.
PERSPECTIVES. Collage.
10.
MARKET ENTRANCE. Oils + Clay.
11.
P.O.B. THEATRE.
University of Westminster, Architectur e + Urban Studies, D.S . 09, Year III, Semester I.
BRIEF Community Building. Site: Mallard Point, Bow Cross Estate, Rainhill Way Bromley-by-Bow London E3 Client: Bow Cross Estate Residents. Pr oject: Public Theatre + Workshop Space. Site Description: Mallard Point is one of three, 25 storey tower blocks for ming part of the Crossways Estate (built 1970s) now known as Bow Cross Estate. The original estate locally known as the “Pride of Bow” comprised of the three tower blocks and a low rise block; a total of 298 homes.
During the 1990s the estate due to various causes fell into disrepute. The development rests in a for mer railway cutting below the level of the surrounding streets and the towers are reached by a series of access bridges with 22 1 & 2 storey maisonettes (Holyhead Close) built over the DLR. In its poor condition the estate with its open green spaces became a ‘no go’ area for many of the locals. Overcrowding became a common issue, and while there was a core of long-standing residents, over 40% of the rental stock in the tower blocks were either empty or let as temporar y placements by Homeless Ser vices. The shifting and constant movement of this social class has resulted in high levels of anti social behaviour along
with a general feeling of apathy. In 1999, Tower Hamlets’ Housing Directorate commissioned initial str uctural and stock condition appraisals, which found the blocks to be in sound str uctural condition although in need of full refurbishment. The £4.5 million bid by “Communities in Business” attempts to ameliorate the estate. Bumping up the residential units from 298 to 672. 50% of which will be sold on the open market and the other 50% given to a Social Landlord. The idea that a new architecture is the sole solution to an ailing society’s problems is what attracted me to the site. The last tower block to undergo refurbishment is Mallard Point. Where as the
other two were ready clad in bland off-white aluminium, Mallard Point remained untouched, abandoned and br utal in its raw concrete for m. Pr oject Description: The Pride of Bow Theatre (P.O.B.) a public theatre and studio spaces will be fitted at the submerged base of Mallard Point. The towers footprint will house the back of house as well as studio spaces on the first floor, while extensive landscaping around the base of the tower will provide access as well as open air seating for the theatre. The aim of a public theatre is to create social regeneration and place to a previously “no go” area. This creation of an ‘Urban Node’ is further accentuated by an interchangeable
Venturiesque ‘Urban Marker’ atop of the tower. This marker as well as the towers appearance will change according to the production taking place in the theatre. The landscaping around the tower’s base incorporates a ramp that takes you to different landings, which provide access to the different seating areas. This area also doubles as a public garden. “The sug gestion is that if happiness or, in my construction, hope, is to be found thr ough architectur e, a differ ent kind of thinking is r equir ed: one full of ingenuity, eyes and feet to the gr ound rather than raised up with pr etensions of detached gr eatness.” – Jeremy Till.
Swiss Cottage Community Centr e Room-Use Study .
12.
Axonometric View of Bow Cr oss Estate .
A HAPPY AGE (BEFORE THE DAYS OF ARCHITECTS) Jer emy Till.
SADNESS
OL D BUILDING
NE W ARCHITECTURE
OL D BUILDING
HAPPINESS
“...equation (fr esh architectur e = fr esh hope) so fragile.” “The hope attached to isolated new architectural beginnings and the r eality of being placed within a much mor e complex continuum”
NE W ARCHITECTURE
TIME
13.
BOW CROSS ESTATE. Activity Map N
14.
BOW CROSS ESTATE. Site Sketches
Perfect Fried Chicken.
Archive Photos
Lunch Box.
Culinar y Cancer.
15.
P.O.B. THEATRE Evolution of Mallard Pt.
Existing Tower
1st Pr oposal
2nd Pr oposal
Ar r ghh!
16.
3rd Pr oposal
4th Pr oposal
Fianl Pr oposal
17.
P.O.B. THEATRE Concept Development.
E.T.F.E. Theatr e.
18.
Inflatable Concr ete Bini Shell.
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P.O.B. THEATRE
B
Plans.
+09.90 +07.00
+13.20
+13.14 +08.90
OFFICE
STUDIO 1
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STAGE
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+08.40
+07.40
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+12.90
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+10.90
STAGE +12.40
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+11.90
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First Floor / Str eet Level.
+09.90 +07.00
+13.20
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DRESSING DRESSING ROOM ROOM GREEN ROOM
DRESSING ROOM
CAFE/BAR
DRESSING ROOM
BACK - STAGE W.C.
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MAKE-UP AREA
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PROJECTOR BUNKER
+10.40
PROP ROOM +09.40
STAGE
+12.90
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+12.90
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+07.40
FEMALE W.C.
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+07.40
+10.90
STAGE
+08.40
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MALE W.C.
+12.90
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SOUND BUNKER
PROJECTOR BUNKER
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TECH. ROOM
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Gr ound Floor.
20.
P.O.B. THEATRE Section B-B.
Perfor mance: The Merchant of Venice
21.
GYPSY PALACE.
University of Westminster, Architectur e + Urban Studies, D.S . 09, Year III, Semester II.
BRIEF Community Building.
Site-
D.S . 09 Brief:
Rounton Road, Bow-byBromley, London E3.
Identify a local client and produce, self-build/flexible live/work residential units.
A land locked island, walled in by a triangle of railways, incessantly patrolled by trains travelling the tracks. This island is home to a council appointed Traveller Caravan Site with a capacity of 34 caravans and 19 pitches. The site has been split into a grid taken perpendicular to the central axis of each archway. Divided by two the grid comprises of 3350mm x 3350mm boxes.
Client: The Eleanor Road Gypsy and Traveller community. Opened in 1983 and home to a population of Irish Gypsy Travellers. Site’s Social Parameters: The sites isolation is a double-edged sword. Sheltering and providing protection to a traditionally secretive and clan like community; the site also increases the Gypsy Traveller’s exclusion from neighbouring residents and visitors. These two factors although seemingly site specific are
Rounton Road, Site Map.
N
the primar y social problems faced by many Gypsy communities around the U.K. Whether justified or not, this social exclusion must be addressed in a manner that both ser ves the Gypsy’s and sur rounding community’s interests. Pr oject’s Aim: The inclusion of the Gypsy and Traveller community; by preser ving and celebrating their rich nomadic heritage in tandem with the external forces that have curbed their travelling lift-style. The premise of this project is to develop a language of architectur e for the 21st limited-nomadic Gypsy Community.
The language’s str ucture: • Non-site specific. • Demountable. • Respective of the Gypsy Traditions and the communities around them. • Provides a sense of place and ownership to the Gypsy Community. Vocabular y: • Caravans • The Vardo (traditional horse drawn caravans) • Tower Cranes • Travelling Fair Grounds. Grammar: • Cedric Price’s libertarian Fun Palace.
• Walter Segal’s opensourced D.I.Y. homes, the Segal Method. • Piano and Rogers’ inside-out Pompidou. Phonolog y: • Super studio’s Continuous Monument • Archigram. The Gypsy Palace (Three Par ts: 1. The Gypsy Palace Structur e. 2. Vertical Pitches. 3. The Vardo Method (Self Build Static-Caravans).
22.
1. The Gypsy Palace Structur e.
soon as its completed.
All components of the Gypsy Palace are demountable. Allowing the Palace to be moved from location to location, or at least provide the illusion of nomadicity.
The Gypsy Palace’s str ucture comprises of (refer to plan in Brief p.2 and Str uctural Strateg y):
The predominant use of tower-crane type columns, gives credibility to the illusion. The tower-crane is today’s inner-city nomad; moving across the skyline, setting up camp where work is needed and leaving as
Gypsy Palace, Section.
9.
Multifunctional.
8.
Multifunctional.
7.
Caravan Lift.
6.
Communal.
5.
Residential.
4.
Residential.
3.
Residential.
2.
Residential.
1.
Residential.
G.F.
• 2 dimensions of er-crane masts;
tow-
1. 50.25m high, made of 15, 3350x3350mm steel spacial tr usses. (X8) 2. 67m high, made of 40, 1675x1675mm steel spacial tr usses. (x8).
• 2 of the 50.25m masts provide the vertical access between the 1st and 6th floors. Via a wrap around staircase and a builder’s hoist lift in its core.
• 9 floor plates in total;
• The other 6 provide housing and vertical passage for ser vices (water, electricity, drainage & data)
ii. Each floor plate is made of 8 segments.
i. 1 - 6 doughnut floor plates. The centre doubles as a light well and lift shaft for the Caravan Lift.
iii. 6 residential pitches (Vertical Pitches) and 2 communal segments. iv. Each segment is comprised of 4 floor slices. Each slice is framed by
a 500mm high perforated steel wedge, top filled with timber planks, leaving space for ser vices to r un freely underneath the pitch. v. 7 - 9 are the floor plates in the tower. vi. The ground floor is kept relatively free to be used as a residents car-park and small open air market, and as a fair grounds for the yearly Gypsy Fair.
23.
2. Vertical Pitches.
3. The Vardo Method (Self Build Static-Caravans).
According to Design for Gypsy and Travellers, there is no one size fits all when it comes to the standard design of a caravan pitch. The Gypsy Community prefers the circular ar ray of pitches, looking in.
The self-build aspect of this project aims to provide a sense of place and ownership to a community who till a generation ago where able to move around the countr y freely.
The space required for inner city caravan sites is larger than the space used by the same amount of sedentar y community. The vertical pitches will balance the use of space by being able to maximise the number of residents.
Through an instr uction manual inspired by the self-build home guide; The Segal Method by architect Walter Segal. The sedentar y nomads will be able to constr uct their own static caravan, personalising them as they did their old Vardos.
On the residential floors, each plate is split into 8 pitches; 6 residential and 2 amenity. • 36 Vertical Pitches in total. • 1 Vertical Pitch area is 2783.53m2 • Each Pitch is provided with a modular area upon which the SelfBuild Static-Caravans will be erected (the size of which depends on the needs and numbers of the pitch occupiers). There is also space for 1 – 2 touring caravans Exploded Axo of Vertical Pitch.
Diagramatic Plan of Residential Floor, Gypsy Palace.
Exploded Axo of The Vardo Method.
24.
ROUNTON ROAD 24hr Railway Fr equency
Site Analysis.
Solar Path.
20
15
10
84 dB
5
23
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17 18
2
19
1
20
21
16
4 5
9
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Mon - Sat Hammersmith and City/ District Lines 52 dB
Summer Solstice
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Sunday Hammersmith and City/ District Lines
Autumn Equinox
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70 dB
W inter Solstice
Mon - Sat c2c National Rail Train
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Noise Levels
Sunday c2c National Rail Train
25.
TRAVELLERS Client Study A Nomadic people by tradition, UK Gypsies can trace their ancestr y back to a Northern Indian nomadic tribe from the Indus Valley. It is believed that in the 9th Centur y this tribe had moved and travelled through Persia and settled in Eastern Europe about 1000 years ago; Later landing in England in the 15th Centur y. They became known as Fortune Tellers and Magicians, and refer red to as Dukes or Princess of Eg ypt due to their dark completions, colourful dress and horsedrawn Vardos (Caravans).
the road, further colouring the secretive identity of the British Nomads. The most recent addition in the 1960’s and 70’s were the New Age Travellers. Inspired by the San Francisco based Beat Generation, which later evolved into the Hippie Generation. The ideolog y of freedom and egalitarianism that these generations professed push a small community to break from
society and pursue a life outside what was becoming an ever increasing regulated and corporate community. These New Age Travellers would in the beginning take on much of the customs and traditions of the Gypsies, adopting their old caravans and camping techniques. By the 80’s a new angrier Punk Generation would hijack the “Peace and Love”
festivals. Turning what used to be relatively har mless events into, weeks-long dr ug fuelled festivals. Ultimately resulting in clashes with authorities and landowners, and the passing of new stringent laws against nomadic travelling. These new laws and the manner in which the governing society has become mechanised, commercialised, and globally centralLamp Vent
Windowboard
Gutter
ised, has made it practically impossible for Nomadic Communities to exist. This forced settlement and the Gypsy’s refusal to give up their Nomadic Roots has resulted in ostracised trailer-trash camp-sites. It seems that the longer a Gypsy community remains settled the larger their caravan size becomes. Sedentar y life creates attachments.
Weatherboards
Stove pipe and cowl
Mollicroft Front porch Back porch
Crown board
They travelled the countr y according to their trades and seasons; Moving from far m to far m acquiescent to the seasonal produce, or from village to village as salesmen. In winter they would settle along the outer edges of cities such as London. - A traditional stopping point was Ash Tree Lane in Chatham Marshes, South-East London.
Gargoyles/Floral
Shutter Stanchion
Porch brackets
Penny-boarding
Carriage lamps
Ribbs or Standards Shutter stop
Window-boards
Waist board
Water-jack Cratch and cratch cover Footboard
Back-carragie or cradle
Spreader Break wheel futchels
Steps (slung for the road) Pan-box
Splinter-bar
Grease-cap
Axle-case
In Winter they would earn a living through the selling of trinkets as well as other hand made items, while the men would find casual labour or offer a craft ser vice (such as knife sharpening). Other Travellers made their living travelling from village to village as hawkers or general dealers (traveling salesmen). The histor y of the British Gypsy continued to absorb a number of individuals from various walks of life. In the Victorian Age, new travelling Actors, Entertainers, Circus Perfor mers and Quack Doctors took to
Shafts
Tyre
Shaft-ends Shaft bracing struts Stays Spokes Stepiron
Drag Shackles
Spring block
Spring
Ring plate
Break block
Abbey Close
Roller-scotch
Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
Lynton Closeoff Total no. Pitches Residential Caravan Capacity Site Opened
Main bolster
30 30 60 1997
Forecarriage
96 Castlehaven Total no. Pitches Residential Site Opened
1 1 1995
Bashley Road Total no. Pitches Residential Caravan Capacity Site Opened
24 24 48 1986
Waterloo Bridge
Westway Travellers Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
Blackfriars Bridge Southwark Bridge London Bridge
19 19 19 1975 2005
Golden Jubilee Bridge
Bubly Close Total no. Pitches Residential Caravan Capacity Site Opened
Tower Bridge
Millenium Bridge
Westminster Bridge 8 8 8 2009 Lambeth Bridge
Ilderton
Total no. Pi Residential Caravan C Site Opene
Hammersmith Bridge
Southwark
Kew Bridge
Chelseal Bridge
Vauxhall Bridge
Total no. Pitches Residential Caravan Capacity
38 38 38
Albert Bridge Battersea Bridge
Spring Tide Close Brideale Close Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
Putney Bridge
12 12 12 1993 2006
Total no. Pitches Residential Caravan Capacity Site Opened
Wandsworth Bridge
Burnhill Close Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
Twickenham Bridge
Trewint Street Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
11 11 11 1974 2003
Brickfield Road Total no. Pitches Residential Caravan Capacity
15 15 15
26.
Prefered Caravan Settlement.
C i r c u l a r.
Facilities Needed in Amenity Block.
Vardo Typology.
FACILITY
HAVE FACILITY
NEED FACILITY
Hot & Cold Water.
94.0%
100%
Electricity Supply.
79.6%
94.4%
Bath / Shower Room.
74.6%
82.6%
Separate WC.
62.4%
84.5%
Space for Cooker/Washer/Wash ing Machine/Fridge.
57.2%
74.2%
Enclosed Storage for Medicine Etc.
46.8%
73.5%
Secure Storage for Food/Washing/Cleaning.
29.6%
64.9%
27.2%
71.4%
Reading
Ledge
Pot-Cart
Open-Lot
Space for 3/4 Person Dining Table.
Length of the Stay in Current Location TIME
PERCENTAGE
>1 Month
6.4%
1 - 3 Months
4.0%
4 - 6 Months
4.0%
7 - 12 Months
1.6%
1 - 2 Years
4.4%
3 - 5 Years
6.8%
5+ Years
72.4%
No Response
0.4%
Source: London Boroughs’ Gypsy & Tr a v e l l e r Accommodation Needs Assessment
Source: London Boroughs’ Gypsy & Tr a v e l l e r Accommodation Needs Assessment
Horse Shoe.
Moder n-day Caravan. St. Theresa’s Total no. Pitches Residential Caravan Capacity Site Opened
7 7 8 1996 2005
7 7 14 2008
Traveller Site, Rush Green Total no. Pitches Residential Ca ravan Capacity Site Opened Last Altered
Palace Close Total no. Pitches Residential Caravan Capacity Site Opened
4 4 6 2008
11 1972 2004
11 15
St. Anthony’s Total no. Pitches Residential Caravan Capacity Site Opened
1 1 1 2008
40543 Parkway Total no. Pitches Residential Caravan Capacity Site Opened
15 15 30 2006
Eleanor Road, Bow Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
19 19 34 1983 1994
Thames Barrier
n Road
itches
Capacity ed
15 15 15 1987
Thistlebrook Manor
e
Total no. Pitches Residential Caravan Capacity Site Opened Last Altered
5 5 5 1995
40 40 72 1970 1997
No. of Pitches 40 +
Greenwich UK Total no. Pitches Residential Caravan Capacity
26 - 40 40 40 72
16 - 25 1 - 15
12 12 12 1993 2010
TRAVELLER SITES LONDON Infographic
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ROUNTON ROAD Arial View + Site Photos
29.
GYPSY PALACE Plan.
N 10.
Caravan.
Daily Gr ound Floor Plan
Typicla Residential Floor Plan.
N
C a r.
Market -Stall
Stables.
Wo r k - S h o p . H o r s e F a i r.
Access.
Storage.
Refuse.
30.
GYPSY PALACE Exploded Axonometric
31.
GYPSY PALACE Pitch Layout + Section.
1b + Caravan
2b + Caravan
1b + Caravan
Caravan Winch.
Vegetation Barrier.
Man waiting for woman to get ready.
Planter.
Smart Cartridge. Waste Pipe. Electrical/Data Services.
Section A-A.
32.
VERTICAL PITCH Exploded Axonometric.
Timber infill planking
Green Fence.
S t e e l We d g e F r a m e .
Services Access Services
3550X3550mm Steel-Cube Forming
Frames. 50.25m
tall columns. X8 Pitch Support Rail. 1675X1675mm Steel-Cube
Caravan-Winch
Frames. Forming 67m tall columns. X8
To u r i n g - C a r a v a n
S t a t i c - Va r d o
Smart-Cartridge
Planter
Standard Ve r t i c a l - P i t c h
West Elevation.