WSA 1 / 2 Portfolio

P O R T F O L I O W

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

WSA1 _ Fishing Hut / Maison Ă Bordeaux

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Cardiff _ Formfinding

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Cardiff _ Concept Development

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Cardiff _ Final Proposal

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Cardiff _ Sectional Detailing

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Tenby _ Manifesto

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Tenby _ Initial Strategies

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Tenby _ Massing / Program

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Tenby _ Final Proposal

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WSA summer _ Rennie Street Herb Garden

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s. Once assembled, and also so that the e clearly delineated. e board used to cut correct proportions.

ARLY CONCEPT SKETCHES

nvestigating the relationship between main and auxiliary workshops roofscapes sand, sun and views

Output

The 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 final model showing the changing landscape of the lower floor in contrast to the organisation of the residential floor above.

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

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FORMFINDING

MODELLING EROSION BY CUTTING LAYERS OF PAPER

Taking water as an ecological system, the act of erosion on a riverbed was the starting point of the formfinding investigations.

The 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.’ 6

The 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

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Site section 1:200

River

Stratification

Circulation

From the initial masterplan

Another masterplan strat-

The concept of human traf-

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Key

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Water from every surface on site is channeled into the water system. Any surface run-off is released slowly into the river to

b. stationery, flooding.

The rainwater from the roof writing feeds the individual water tanks on each floor.

1 waterprevent colllection / equipment amphitheatre

c. box office 2 water tower

d. fishmongers, grocery, 3 carpark Water is channeled down through the units, where each floor has an individual water tank that services the floor below. bakery 4 circulation Excess water falls to the ground system.

e. coffee shop 5 green space / allotments /

f. clothing

garden centre 8 outdoor cafe space 6 rampCentral water collector: Water is filtered underground, then collected in the central area and used as a grey water 9 waterwall 7 retail,resource. open plan 10 ferry point

a. second hand bookshop/ 11public access point swap River Water: the filtered water overflows into the river if necessary. Alternatively the central reservoir connects to a soaka12 existing public space way underground.

11 6 12 7a 7b

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6 7c

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7a

7d 5 7e

7b

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7f

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7c

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Lower Floor Floor Plan 1:200 N N LowerGround Ground

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Final Images:

DPM II: Tectonic Board Tansy Duncan

Final Images:

ssembled, o that the elineated. sed to cut oportions.

ements from the AutoCAD plans. Once assembled, would be practical to assemble and also so that the ours of the lower floor would be clearly delineated. illimetres, the same width as the board used to cut hysical model would have the correct proportions.

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Output

The 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 final model showing the changing landscape of the lower floor in contrast to the organisation of the residential floor above.

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

sembled, o that the elineated. sed to cut portions.

Final Images:

Output

The section lines were then exported to AutoCAD where they were array and cleaned up before being sent to the The physical sections were then assembled one by one, to create a final mo the changing landscape of the lower floor in contrast to the organis residential 13 The result, of a scale of approximately 1:130, shows clearly the relationship b

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 enclosure, 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 Tenby’s year-round visitors and inhabitants. Summer will bring more people, eroding the sand.

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SITE ANALYSIS

Site

Public green space

Old Town / Tourist attractions

Main roads

Transport points

DIAGRAMS 1:1000

Sea Views

Community

Proximity to the Elements

SITE

ANNUAL SUN-PATH DIAGRAM

SITE

VIEWS FROM IN AND AROUND SITE

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PEDESTRIAN ACCESS VEHICLE ACCESS

Craft

WIND-ROSE DIAGRAM Prevailing winds from SW-NW (Spring) and NW (Autumn)

sand, sun and views

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 experiEARLY CONCEPT SKETCHES 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 remaininvestigating the relationship ing comfortable. exposure counters enclosure; cave counters cliff. between main and auxiliary workshops

the movement ofroofscapes sand across the beach gives life and energy to the coast; it is a buffer between the rolling ocean and the static land. the buildingssand, willsunact as pieces of debris around which the sand dances. there will be a play of permeability across the project with and views 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.

north, uence, ing the

an opene ample

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Initial concept plans and sections

Mapping out massing

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DRIFTWOOD / TIMBER

THE 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.

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MONOLITH / STEEL

KEY

TENBY LUGGER BOATBUILDING CENTRE / TANSY DUNCAN

SET BETWEEN A CLIFF AND SAND DUNES, THE BOAT BUILDING CENTRE IS A PLACE FOR HANDS-ON ACTIVITY AND RELAXING OBSERVATION. 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.

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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 GLASS

THE 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.

1 MAIN WORKSHOP 2 SAILMAKING AND TEXTILES 3 SPRAY ROOM 4 MACHINE ROOM 5 STEAM ROOM 6 MARINE ENGINEERING 7 PLANT 8 STORE 9 SURF SHOP 10 GRP BAY 11 ADMINISTRATION 12 LECTURE AND EDUCATION 13 RECEPTION 14 TOILETS 15 EXHIBITION 16 GALLERY 17 CAFE 18 ROOF TERRACE 19 SLIPWAY 20 PEDESTRIAN ACCESS 21 CAR PARK

BUCKETS AND SPADES / MESH AND TUBING

CONCRETE FORMS THE FOUNDATIONS, WALLS AND FLOOR FOR THE MAIN MONOLITHIC VOLUMES OF THE SCHEME. SANDBLASTED, 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.

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A

B

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FRAMING THE SUNSET

THE 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.

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FIRST FLOOR PLAN B 8

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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.

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GROUND FLOOR PLAN FUNCTIONAL WORKFLOW

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THE WORKSHOP SPACES ARE TREATED AS WASHED-UP CONTAINERS OR DRIFTWOOD, WHICH SLOT INTO THE MAIN WORKSHOP SPACE BUT DO NOT CONFORM TO ITS STRUCTURAL 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.

1:500 PLANS

N 1:200

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LONG SECTION

T OVER F HIGH

T OVER F HIGH

TE, PLASTER AND

S, WALLS AND FLOOR FOR THE SCHEME. SANDFINISHES ARE ALL MITY TO THE SANDS. FILMED GLASS IS INSERTED LDINGS TO EXPERIMENT ES OF WINDSWEPT SAND.

TE, PLASTER AND

S, WALLS AND FLOOR FOR THE SCHEME. SANDFINISHES ARE ALL MITY TO THE SANDS. FILMED GLASS IS INSERTED LDINGS TO EXPERIMENT ES OF WINDSWEPT SAND.

SECTION A:A 1:100

SECTION A:A 1:100

FRAMING THE SUNSET

E WINDOWS THROUGHOUT HE SCHEME ARE SET UP TO AME THE VIEWS IN CERTAIN WAYS: THE ENTIRETY OF THE HEME FACES THE HORIZON OVER THE SEA. THE VIEWS ROM THE MAIN WORKSHOP RE DIRECTED TOWARD THE KY AND THROUGH VARYING WIDTHS THE BETWEEN THE FRAMING SUNSET WORKSHOPS. THE EJECTING WINDOWS THROUGHOUT SMALLER WORKSHOP HE SCHEME ARE SET UP TO NDOWS ARE SIMILARLY TALL AME THE VIEWS IN CERTAIN AND THIN, AND WAYS: THE ENTIRETY OFTHEY THE ALTERNATE THAT THERE HEME FACESSO THE HORIZON NO DIRECT VIEWS ACROSS OVER THE SEA. THE VIEWS WORKSHOPS EXCEPT AT AN ROM THE MAIN WORKSHOP ANGLE. RE DIRECTED TOWARD THE

KY AND THROUGH VARYING WIDTHS BETWEEN THE JECTING WORKSHOPS. THE SMALLER WORKSHOP HEY AREARE MORE SMALL GAPS NDOWS SIMILARLY TALL N THE WALLS THAN VIEWING AND THIN, AND THEY DOWS. FROM THE GALLERY ALTERNATE SO THAT THERE ACE THE VIEW IS ORIENTED NO DIRECT VIEWS ACROSS ECTLY PERPENDICULAR WORKSHOPS EXCEPT AT TO AN HE BUILDINGS. HOWEVER A ANGLE. SIMILAR STRATEGY IS EMPLOYED WHEN ONES ATTENTION SHOULD BE OCUSSED ON EXHIBITIONS AND ARTWORK. WHENGAPS THE HEY ARE MORE SMALL CAFE IS REACHED, AFTER N THE WALLS THAN VIEWING AVIGATING THE SEQUENCE DOWS. FROM THE GALLERY OF PRECEDING ROOMS, THE ACE THE VIEW IS ORIENTED W IS COMPLETELY OPENED ECTLY PERPENDICULAR TO UP A DOUBLE HEIGHT HEWITH BUILDINGS. HOWEVER A SPACESIMILAR FACING STRATEGY THE SUNSET. IS EMPLOYED WHEN ONES

SECTION B:B 1:100

SECTION B:B 1:100

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