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TIM OFFER

ANDY HUMPHREYS

HUGO KEENE

SAM CLARK

SERGIO PINEDA

SOPHIA AHMAD ZAHARUDIN

TZOULIA BALTSAYA

JOANNA HART

KENJI IKEGAYA

ELLIOT JEFFERIES

CARYS JONES

JOHN KIRK

WILLIAM MEAKIN

JAI PATEL

TOM WAKEMAN

WITH SPECIAL THANKS TO:

NORMAN EVANS AND THE WESTERN TIMBER ASSOCIATION

THE WELSH TEMPLE OF PEACE AND HEALTH

AD:HOC AND MOLE ARCHITECTS

PETER CURRIE ARCHITECTS AND PLYMOUTH UNIVERSITY

MOLE ARCHITECTS

WELSH SCHOOL OF ARCHITECTURE

WELSH SCHOOL OF ARCHITECTURE

Contributions

32

Introduction 6-7

[Developments]

Initial Response: Truss Developments 8-11

[Contributions]

Site Analysis 18-27

Logistics 28-29

Health and Safety Considerations 30-31 Construction 32-33

Procurement and Ancillary Logistics 34-35

Final Design 42-43

Lessons Learned and Modi!cations 44-45

Contents

54

Big span refers to a possibility for form and also to the realm that the project hopes to encompass. Our investigations are based on the premise that rather than technology being imposed upon an architectural proposition, in a poetic work detailed strategies should reside throughout the process. We wish to observe and understand the link between the general and the speci!c, from analysis to detail.

David Leatherbarrow refers to a milieu in which the life of a building unfolds, which he calls the building’s ‘topography’. This topography can be observed as a knot of in"uences, complimentary and con"icting, out of which a project can emerge. To engage with this messy process requires that we return to architecture, to the ordinary fabric of buildings and the way that they are put together, to reveal an underlying language that can communicate something of the situation in which they exist (spatially and culturally). This is to move away from the tendency to convert architecture into some other medium – art, language, or philosophy. Meaning is conveyed and is only possible in the built artefact, embodied through

the negotiation of real world phenomena. This is about more than a visual understanding and goes beyond the building as an artefact.

We set out to build something that would explore ideas of movement and rest, rhythm and pause, threshold and dwelling, responding to a set of conditions in a given site. As well as these programmatic intentions our topography included real world issues of budget, site, time, timber size and quantity, construction techniques and teamwork. Each of these in"uenced the !nal product, which encompasses and responds to these identi!ed parameters. By using only a single small section timber for the construct, we pushed an analysis of material possibilities and constraints, both in a technical and poetic sense.

The aims of the project were to understand a site and propose a suitable intervention based on its constraints and opportunities [INTENTIONS]; to understand the nature of the selected material and the opportunities that these suggest – both practically and poetically [TOOLS]; and to learn through making – to

use our understanding of the site and of the materials to develop an intervention at 1:1 [REALISATION]. It has also been an exercise in collective learning and collaboration – a laboratory of the wider world of architectural realisation – where a number of di#erent personalities and roles are required to achieve our goals. This was an exercise in discussion and negotiation, and in knowing when to step forward and when to step back.

Tim O#er

Introduction

76

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1716

Founded in 1988, the garden was created in order to celebrate and support the Temple’s values. It is intended to o#er a place of tranquility and peace in the city centre. The garden contains a number of commemorative plaques as well as trees planted in memory of contributors and signi!cant people and events.

The Temple of peace itself was opened in 1938 and is a non-religious civic building in the city centre given to the Welsh people by Lord Davies. It was dedicated to the men who lost their lives as a result of WW1. Today, the Temple is used by the Welsh Centre for International A#airs for conferences, seminars, wedding parties and social events and is also occupied by the Public Health Wales NHS Trust.

To decide the location of the pavilion we each stood in the area where we thought the main force should be corresponding to the main archway. This brought forwards our individual thoughts on the site and how we would like the structure to enhance our

experience of the place.Having evaluated the site, it was possible to create di#erent scenarios of how a person would like to experience the space and how our structure could enhance the use of the garden. Having situated the pavilion in a garden aimed to create peace we went forwards to create a guideline of 3 stages in the design- threshold, enclosure and view point. This idea allows people to be drawn inside the space and to experience the main purpose of the space, to experience and celebrate peace. The analysis we made informed what kind of feel the structure should hold in the garden, and through this we decided to create a sweeping e#ect through the weave of wood, which draws the eye to a certain point.

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Site Analysis

1918

To read the site in a more manageable scale we created a 1:10 site plan, to help locate the focal point of the structure and how the structure will engage with the site.

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Logistics

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