part 1 architectural portfolio, tansy duncan

P O R T F O L I OWelsh School of Architecture

T A N S Y D U N C A N B S c

2 Tenby _ Boat housingSwansea _ Solid and void Swansea _ Scheme overviewSwansea _ The house on the hillSwansea _ ExcavationsSwansea _ 3D printSwansea _ Technical drawingsRiverside _ Rennie Street Herb Garden

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:

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4OLD 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.

OLD TOWN AND TOURIST ATTRACTIONS

SITE


PUBLIC GREEN SPACE



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



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SITEMANIFESTO

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 beThere to make life easier

During the everyday, the normal.

Architecturally, the project should be striking, monolithic, and yet not too hard on the eye. Experimenting with exposure and inclosure,

bringing the outside inside but creating a balance between comfort and excitement, is

the main aim.

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.

OLD TOWN AND TOURIST ATTRACTIONS

SITE


PUBLIC GREEN SPACE



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



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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.

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FIRST FLOOR PLAN

GROUND FLOOR PLAN

LONG SECTIONN1:200

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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

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6These study models aim to investigate the building up and breaking down of massing on site over time. The post-industrial wasteland was once a bustling hive of activity, and before that was a collection of slowly expanding sheds. The massing is reversed for the two perspex models, the first of which shows voids in years gone by. The second displays existing remnants on site (shown in clear) and provides initial site strategies.

8N

Plan: ruins1:100

Elevation H:HRiver Route 1:200

Section A:A Hinged Program 1:100

Section B:BSheltered exploration 1:100

Section E:EArchive 1:200

Section c:cMarket & Housing 1:100

Plan: Dwelling 1:100

Section G:GWhite Rock Cafe 1:200

A:A

B:B

C:C

D:D

E:E

F:F

G:G

H:H

I:I

Section F:FClassroom 1:200

Plan: Archive and Library1:100

WarehousesInformation, shelter, workshopsIndependent of historical map-ping boundaries, these struc-tures are made to look tempo-rary, yet provideopen-air work-shop space and informations points. They facilitate learning and experience without a pre-scriptive study atmosphere, and allow access without exception.

RuinsWalls combining existing and new structure, where the per-manent voids have been mapped.Concrete walls with prefabri-cated panels are offset from the existing retaining wall, cre-ating a tunnel along the route of the old railway lines. The gaps between the panels facilitate the experiential quali-ty of the tunnel, as one is re-minded of being on a train as the light flashes in the narrow space.

ExcitementAround the old industrial cen-tres such as yards and chim-neys, new social nodes are cre-ated. The amphitheatre provides an entertainment space as well as a place of play for chil-dren, and the exposed ruins in the ground become sandpits.

MazesThe changing heights of the walls create a relaxed yet mys-terious feeling, with opportuni-ty for sitting, leaning, hiding, surprising and investigating.

LearningThe two remaining engine houses are outdoor exhibition spaces housing a variety of artefacts, sculpture and demonstrations. The old engine is restored and can be shown as part of the working exhibi-tion. The founo pulleys from the roof structure are reintro-duced.

TrepidationThe remaining furnaces can be explored from an equal level, as the ground drops away to-wards the river, leaving parts of the furnaces exposed.

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Drainage chute with vegetation barrier

Sedum blanketDrainage trimsDrainage mat 30mmRoot resistant SBS cap sheet 4mm12mm WBP plyStructural metal decking

PPC extruded aluminium perimeter trim, PPC aluminium fascia

Prefabricated concrete panel system wall

Existing solid stone structure, concrete padstone with steel bearing 160mm

Drainage system with metal grating

Technical Section D:DTunnel, 1:20

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E

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H

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Section B:BSheltered exploration 1:100

TECTONIC EXPLORATION

Model details

12







Technical Section D:D

Tunnel, 1:20

Section D:DArchive 1:200

Section F:FWhite Rock Cafe 1:200

Section E:EClassroom 1:200








Tunnel, 1:20




The main archives sit back into banked up earth along the riverbank. These sections show the changing spatial experience as one progresses along the spine of the building, a glass walkway which opens up and narrows down according to public and private domains.

13








Tunnel, 1:20











Tunnel, 1:20




15

ARTICULATIING

RE-HINGING

RE-IMAGINING

The kinetic 3D printed model embodies the concept behind the spatial organisation of the new centre. The arrangement of existing artefacts on site is broken down into hinging sections, which then reconfigure to create the new plan. Considerations such as environment, program and orientation combine with suitable iterations to decide the final articulation.

16








Tunnel, 1:20




WarehousesInformation, shelter, workshopsIndependent of historical mapping boundaries, these structures are made to look temporary, yet provideopen-air workshop space and informations points. They facilitate learning and experience without a prescriptive study atmosphere, and allow access without exception.

RuinsWalls combining existing and new structure, where the permanent voids have been mapped.Concrete walls with prefabricated panels are offset from the existing retaining wall, creating a tunnel along the route of the old railway lines. The gaps between the panels facilitate the experiential quality of the tunnel, as one is reminded of being on a train as the light flashes in the narrow space.

ExcitementAround the old industrial centres such as yards and chimneys, new social nodes are created. The amphitheatre provides an entertainment space as well as a place of play for children, and the exposed ruins in the ground become sandpits.

MazesThe changing heights of the walls create a relaxed yet mysterious feeling, with opportunity for sitting, leaning, hiding, surprising and investigating.

LearningThe two remaining engine houses are outdoor exhibition spaces housing a variety of artefacts, sculpture and demonstrations. The old engine is restored and can be shown as part of the working exhibition. The founo pulleys from the roof structure are reintroduced.

TrepidationThe remaining furnaces can be explored from an equal level, as the ground drops away towards the river, leaving parts of the furnaces exposed.

17Facade maps 1:200

1:100

AT3 Task 3aTansy Duncan, Jamie Squelch and Joseph Capildeo

PASSIVE STRATEGIES

REPEATED PANEL / OVERALL ENVELOPE STRATEGY _ WORKED EXAMPLE

Concept: _ A repetitive system of optimised panels which offer flexibility in terms of interior layout. _ A low U-value of the wall was set in order to reduce conduction losses._ The system attempts to compromise between potential solar gains and conduction losses through the envelope.

The calculations undertaken to model the heat gains and losses in this scenario set out to confirm or disprove the efficiency of this building envelope strategy.

The main problem posed is to maintain a passive scenario in winter, when the only variable gain (solar) is negligible due to the northern latitude of the UK.

From our initial calculations we have found that using this strategy the building can be run passively from June to August.

COMPLEX PANEL SYSTEM STRATEGY

Concept: _ A system of panels which are grouped into five different sets. _ These can be selected according to both facade orientation and interior requirements, allowing maximum adaptability. _ They include aluminium cladding and plasterboard modules with cellulosic insulation along with aluminium-framed windows._ The North facade has a higher ratio of wall to window panels as there is minimal solar gain even in summer._ The South facade has a high amount of glazing in order to maximise solar gain, but there may be some issues for overheating during the warmer months.

ORIENTATION DEPENDENT STRATEGY

Concept: _ A panel whose fenestration varies according to orientation but does not reflect the interior program._ This allows for maximum solar gains on the south facade and minimal heat loss on the north. _ The panel consists of a ceramic tile-clad skin and aluminium-framed windows, keeping the construction lightweight and with a higher U-value than the repeated panel proposal, in order to try to avoid overheating in summer.

1:100

1:50

1:50

1:20

1:20

10mm plasterboard

100mm air gap

1mm damp proof membrane

40mm polyisocyanurate board

30mm pine cladding

U-VALUE 0.4 W/mK

double glazing, u-value 2.7 W/mK

aluminium window frame



20mm plasterboard

100mm air gap


40mm expanded polystyrene board20mm ceramic tiles

U-VALUE 0.6 W/mK

20mm plasterboard


100mm air gap

40mm cellulosic insulation

20mm aluminium cladding

U-VALUE 0.89 W/mK



THERMAL BRIDGING MAP 1:200

Shows areas of thermal bridging; between panels and at corner joins of the facade

Thermal bridging has been minimised by enclosing the structure within the envelope.

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part 1 architectural portfolio, tansy duncan

Documents

physical model

dsmax model

stepthe model

nal model

nished model

blown sand

sand dunes

mgeological map data