I developed a detailed plan for the remaining filler pages and outputs needed for the final submission. This brought a sense of calm and direction, replacing a vague sense of remaining work with something structured and achievable.

Plan:

1. Foundations: Understanding the Site

1.1 Full Site Survey - “Grounding” (new)
A complete measured and observed survey of the site:
- boundaries and extents
- topography and surfaces
- vegetation, road layout and remnant paths
- service and movement infrastructure
- river edge conditions
- existing structures, jetties and utilities
This page establishes the baseline physical reality from which all further readings emerge.

1.2 Introduction to the Three Zones - “The Peninsula Divided” (new)
An outline of the Commercial, Ecological and Industrial zones.
This page introduces the peninsula as a landscape of three distinct identities that meet, overlap and conflict.
A simple mapping diagram introduces the zone boundaries and transitional seams.

1.3 Artistic Identity and the Line Art Walk - “Creative Thresholds” (new)
A page situating the site within its cultural context:
- the peninsula as the endpoint of the Line Art Walk
- existing public artworks
- underused or disused areas with potential for sculpture gardens
- opportunities for collaboration with local schools and the university to create temporary or permanent installations
This frames the project as one that supports creativity and public expression as part of site identity.

1.4 Intrigue - Site Analysis 01 (existing)
The page documenting initial spatial and visual discoveries:
- photographic interest points
- captured perspectives
- existing and potential sightlines
- plane routes
- green spaces
This establishes the site’s visual structure and the qualities that first caught attention.

1.5 Photography of the Site by the Public - “How the Peninsula Is Seen” (new)
A curated analysis of photography already produced on social media and image-sharing sources, identifying:
- what people choose to frame
- from where they capture these moments
- what subjects consistently recur
- what is missing or overlooked
This informs how the design might support or expand these perceptions within the site.

1.6 Vantage - Sightline Analysis (existing)
Key sightlines annotated with corresponding photographs.
This anchors the experience of the peninsula in recognisable visual markers.

1.7 Traversal - User Movement Analysis (existing)
Mapped routes of key user groups (school pupils, university students, residents, tourists, factory workers).
This reveals behavioural patterns, rhythms and overlaps.

1.8 Atmosphere - Spatial Rhythm and Behaviour Map (new)
Diagram identifying:
- fast corridors
- slow-drift areas
- hesitation points
- solitary pockets
- social clusters
This bridges spatial and experiential analysis.

1.9 Flux - Tide and Water Mapping (new)
Mapping the influence of tidal cycles across the site:
- high and low tide reach
- areas where water could be introduced
- low-lying car parks suitable for tidal reclamation
This prepares the ground for later design decisions around water.

1.10 Muse - Precedent Research (existing)
Case studies that use water, tide, framing and edge conditions in significant ways.

1.11 Zest - Manifesto Poster (existing)
A visual and conceptual statement of the project’s intent.

2. Zone Chapters (Existing Conditions and Identities)

The aim of these chapters is to document and interpret the existing character and atmosphere of each zone, forming the narrative base for later design work.

2.1 Chapter I - Commercial Edge

A. Portrait: Commercial Edge
B. Existing Fabric and Urban Grain
C. Everyday Scenes Across User Groups
D. Moments I Seek to Reframe

2.2 Chapter II - Ecological Spine

A. Portrait: Ecological Spine
B. Existing Spaces and Disruptions
- ecology park, central parks, disused edges, car parks
C. Existing Behavioural Patterns

2.3 Chapter III - Industrial Edge

A. Portrait: Industrial Edge
B. Barriers, Boundaries and Material Hardness
C. Encountering Industrial Space

3. Design Narrative

This section explains how the design emerges through process, diagram, research and spatial intention.

3.1 Design Intent: Intimate, Fleeting and Shared Moments
A written and visual outline establishing the ambition to design for memory and experience rather than only form.

3.2 Seasonal and Event Conditions - “The Site in Time” (new)
A page mapping key temporal conditions:
- sunrise and sunset alignments
- solstice and equinox tidal heights
- seasonal planting changes along pollinator trails
- potential annual or periodic events that highlight the site’s transient character
This reinforces that the design celebrates change rather than resisting it.

3.3 Wildflower and Pollinator Trails - “Reclaiming the Roads” (new)
A mapping or diagram of reclaimed roads turned into ecological corridors.
This underlines the shift from vehicular to ecological priority.

3.4 Hydrology and Tidal Design - “Drawing the River In”
Explanation of the tidal channel, tidal ponds and how water interacts with movement paths.

3.5 Ground Strategy - “Weaving the Walks”
Diagrams showing how commercial, ecological, river and industrial walks overlap, diverge and reconnect.

3.6 Constraint-led Refinement - “Shaped by What Cannot Move”
A step-by-step overlay showing how fixed elements of the site determine the form and positioning of:
- tidal channel
- boardwalks
- sculpture sites
- pollinator routes
- key moments

3.7 Sculpture Gardens and Community-making Spaces - “Collective Authors” (new)
Identifying potential locations for sculpture gardens within disused or underperforming areas.
Short descriptions of how:
- local schools
- university students
- community members
could contribute to creative installations that align with the character of each zone.

3.8 Moment Catalogue and Journey Sequences (Three Zones)
A triptych of journey diagrams, scene sketches, sections and plans illustrating the kinds of moments the design facilitates within each zone.

4. Final Proposal

4.1 Aureline - Masterplan
4.2 Sections
4.3 Detailed Scenes and User Narratives
4.4 Material and Planting Strategy

Reflection

This week felt quieter than the previous one, but more settled. The project began to feel less reactive and more deliberate, moving from response into consolidation.