A VISION OF

A MBE RGR I S C AY

I N T RO D U C T I O N
T H E P O RT F O L I O S
L A N D S C A P E D E SI G N
A M B E RG R I S C AY R I SI N G
C R E D I TS

AND

B IBLIOGR APHY

A V I SI O N

n an 1,100 acre private island in the Turks & Caicos chain, a new, private-equity membership
community is about to rise. When completed, the
Turks & Caicos Sporting Club at Ambergris Cay will
no doubt take its place among the worlds most beautiful and exclusive leisure environments. Achieving this
goal begins with understanding the projects context,
and then developing from that understanding a clear
and coherent vision of the island in its eventual built
state. The next step is to communicate that vision to
all who will contribute to its realization members,
architects, landscape professionals, builders and the
development team. The Ambergris Cay Vision Book
represents the rst phase of that process.
Contextually, Ambergris Cay is historically and culturally rooted in the Turks & Caicos Islands. Ultimately colonized by England in the 17th century, the
islands soon attracted pirates, British Loyalists ee-

1 - A Vision of Ambergris Cay

OF

A M B E RG R I S C AY

ing America after the Revolutionary War, Bermudan

and Bahamian migrs, and other European settlers.
Prior to its eventual emergence as a British Overseas
Protectorate in 1962, the Turks & Caicos Islands were
variously under the control of the Bermudan, Bahamian and Jamaican governments.

gests a relaxed formality reective of its retreat atmosphere. A goal of architectural and landscape design
on Ambergris Cay is therefore to draw together the
sophisticated aspects of British West Indies character
with the more informal, vernacular qualities of island
buildings and gardens.

In light of the countrys connections to the U.K., the

archaeological remains on Ambergris Cay of British
and Loyalist settlements, and the rich tradition of
Anglo-American colonial architecture and urbanism
throughout the region, the aesthetic vision developed
for the Sporting Club is best described as a creative
and fresh interpretation of British West Indies architecture and landscape design. This stylistic tradition
oers for inspiration a keen sense of proportion and
human scale, a practice of solid construction, simplicity of detail and dignity of presentation. At the
same time, the nature of an island environment sug-

Having adopted the British West Indies legacy as a

design platform - a starting point for contemporary
interpretations of an artistic tradition historical
examples from several neighboring countries and
islands with strong historical, political and cultural
connections to the Turks & Caicos Islands have been
documented in the Ambergris Cay Vision Book. Together with more recent work, these regional portfolios proscribe a design envelope broad enough to
sustain creative ingenuity, yet suciently dened to
encourage a harmonious development respectful of
the unique place that is Ambergris Cay.

2 - A Vision of Ambergris Cay

B E R MU DA S T YL E

prevalent among Bermudan roofs (1, 10, 14). Constructed of one and a half inch thick limestone slabs laid
on heavy cedar timber rafters, the Bermudan roof was
traditionally encased in a semi-liquid cement which
hardened to form a water-tight seal. Rain water that
fell on the roof could then be eciently collected and
channeled to underground cisterns. The deep steps in
the roof slabs were devised to increase surface tension
between the water and the roof surface, which in turn
slowed the velocity of the run-o and increased the
amount of water that could be captured.

ocated 600 miles east of Americas Carolina coast,

Bermuda is exceptional among former British
holdings in the region. Unlike other countries historically allied with the Turks & Caicos Islands, it does
not lie within a Caribbean locale, a tropic zone or on a
comparable latitude. Yet its opportune location within
the Atlantics gulf stream endows it with a warm and
lush climate not unlike its more southern neighbors.
Similarly unique geological and ecological conditions
gave rise to a strikingly Bermudan style of building
dened largely by the character of masonry construction. Abundant limestone deposits made this possible,
while the properties of the stone dictated some of its
distinctive characteristics. For instance, the softness of
the material required that it always be protected by a
stucco and whitewash covering (1, 4, 11). Its brittleness
also lessened the viability of developing any intricate
carving or deep projections of detail, which explains
the stark and abstract beauty of so much Bermudan
architecture (5, 12, 16). Relatively small numbers and
sizes of windows and other openings through exterior
walls are other telltale signs of the constraints inherent
in traditional masonry building.

Roof forms vary considerably. Both gable end and

hipped roofs are used extensively, sometimes in the
same building (1). No particular range of roof pitch
predominates; instead, one nds roofs that are nearly at alongside others approaching sixty degrees in
pitch. Dormers are non-existent. Spans rarely exceed
eighteen feet, partly because of the limited sizes of cedar lumber available for oor beams. An occasional
tendency for these roofs to create horizontal thrust
was countered by the addition of exterior buttresses at
the ground storey, some of which were tapered down
to minimal pilaster depth in the upper storey. Such dimensional limitations in plan and volume impart a diminutive overall scale to many of the older Bermudan
homes and their later counterparts.

Perhaps the most noticeable impact of this indigenous

material on local building form is the stepped slopes
1. Overboard, Tuckers Town. 2. Bridge House, Tuckers Town. 3. Verdmont, Smiths Parish. 4. Tankeld, Paget Parish. 5. Old Rectory, St.
Peters Church, St. Georges Town. 6. Greendale, Paget Parish. 7. Middle
Road, Hamilton Parish. 8. Tankeld, Paget Parish. 9. Verdmont, Smiths
Parish. 10. St. Johns Rectory, Pembroke Parish. 11. Bridge House, St.
Georges Town. 12. Residence, Somerset Parish. 13. Happy Days, Tuckers Town. 14. Magic Time, Tuckers Town. 15. Verdmont, Smiths Parish. 16. Stockdale, St. Georges Town.

3 - Bermuda Style

4 - Bermuda Style

Original Bermuda houses largely lack the extensive

porches and verandas so common in other parts of the
British West Indies and in the American South. Instead
inhabitants might nd a degree of relief from the heat
behind the thick stone walls that kept houses cooled
by sheer thermal mass, rendering the need for exterior
shading elements less imperative. A limited supply of
framing lumber, as well as the constant threat of hurricane and uplift caused by the strong trade winds, probably further discouraged the use of attached lightweight
elements. The goal of reducing interior heat certainly
led to the practice of placing kitchens and their accompanying replaces and prominent chimneys at the far
ends of the house. Bermudans probably brought this
planning approach to places like Grand Turk and Salt
Cay when they began settling there in the 18th century, as can be seen in many surviving homes on these
neighboring islands of Ambergris Cay.

Dependencies are common in Bermudan houses (10).

They might be linked to the main house in a chain, be
entirely free-standing, or combine both arrangements
when multiple structures are involved. Best known for
their distinctive silhouette are the butteries, typically
square in plan and with tall, pyramidal roofs either
stepped or curved in prole (8). Built before the days
of refrigeration, they were used to keep perishable
food from spoiling. These eye-catching features give
a vertical emphasis to an otherwise typically horizontal series of masses. Perimeters walls often enclose the
outbuildings within a boundary, and help contain areas for more cultivated landscaping and husbandry.
Paint colors adorning the outside of Bermudan houses
range broadly. Bright white coupled with black or dark
green trim is a popular scheme. Deeper hues in red and
earth tones comprise another group, while pastel body
colors with white trim are not uncommon. Attractive
Bermudan colors have been adopted as the principal
basis for the Ambergris Cay palette.

5 - Bermuda Style

10

13

12

11

14

15

16

6 - Bermuda Style

B A H A M A S S T YL E

city of Charleston, South Carolina and the surrounding Low Country are especially prevalent among the
islands inhabited in the colonial era.

omprising almost 700 islands and 2,000 cays, the

Bahamas lay mostly uninhabited except by pirates
and buccaneers until 1620, when claimed by the English. Fueled by a variety of agricultural, shing, salt,
sugar and other commercial activities, parts of the
archipelago developed rapidly in the 18th and 19th
centuries. Lavish plantations sprang up in substantial
numbers, and in the case of Nassau on the island of
New Providence, an urban center lled with Georgianera buildings took shape.
From an architectural perspective, the Bahamas are
noteworthy in being more stylistically diverse and
more populated by buildings indicative of American
colonial and Federal-era design than almost anywhere
else in the British West Indies. These attributes can be
largely explained by geography and history. Situated at
the strategic crossroads of the Caribbean and North
America, the Bahamas sat on trade routes frequented by people of various nationalities, some of whom
brought the architectural style of their homeland into
the country as they settled. In the aftermath of the
American Revolution, an inux of Loyalists eeing a
political backlash in the States had just this eect as
they constructed mansions, homes, commercial buildings and plantation complexes reminiscent of those
they had left behind in the Carolinas, Mississippi, Louisiana and Florida. Echoes of the graceful American
17. Georgeside. 18. Magna Carta Court. 19. Curry House. 20.
ODonnell House. 21. International House. 22. Jacaranda House. 23.
Balcony House. 24. Vendue House. 25. Cumberland House. 26. Legislative Building. 27. Beside-the-Point. 28. Commissioners House. 29. The
Grapevine. 30. Residence. 31. The Temple. 32. The Doll House and Still
Point. All in Nassau, New Providence.

7 - Bahama Style

20

1.

2.

Porches, both open and shuttered, are ubiquitous in

Bahamian houses, sometimes to the point that the
house becomes entirely subsumed within them (19,
30). In most cases they are supported by slender wood
colonettes (22) or simple chamfered posts (17), almost
never by canonical classic columns. In multi-storied
town homes they can run two stories high, sometimes
on more than one elevation, extend the length of entire facades and engage the rooine. In other examples
the second storey gallery may rest on brackets whose
shapes and pegged joinery recall the kind of supports
used in ship hulls (23).

17

18

21

Building in the countryside, Loyalists of moderate economic status tended to use timber and the ship-building techniques brought from the north (23). Of the
8,000 Loyalists who settled in growing towns like Nassau, many preferred instead the ample stock of white
coral limestone as their preferred walling material,
thereby transforming the town into a city of gleaming stone architecture (18, 22). Wood was not entirely
omitted from the urban palette, however, but lingered
in the form of ornamental and additive elements, like
verandahs enclosed by latticework (31); louvered shutters and jalousies (20, 22); decorative hand rails (27);
and exposed rafter tails that sometimes encased wood
gutters (29, 32). Outside the city timber framing and
wood clapboard or drop siding were common (32), as
were tabby and masonry construction. Local woods,
including medeira, pine, cedar and dogwood, proved
excellent for building purposes.

19

22

Rooines are typically hipped or gabled, with a fairly

low pitch, or utilize a combination of dierent pitches
when the roof is extended over projections (32). Dormers are a constant feature along the roofscape, in both

8 - Bahama Style

city and country dwellings (21). Wood shingles was the

most common roong material in Nassau until modern
times, whereas thatch was dominant in the remote countryside until the advent of more modern materials.
Masonry was favored for public buildings in the capital, the nest examples being Government House and
the three-part legislative complex o Bay Street (26).
Both reect the Georgian style as it was interpreted by
British and American designers in their use of the classical orders, balanced composition, formal simplicity
and elegant proportions. That these are among the few
buildings in the city to explicitly utilize the classical orders reects how the Georgian designer used architectural form to convey social hierarchy and distinguish
the public from the private realm (24).

27

Together the collection of civic architecture, attractive upper and middle-class homes, ne churches and
commercial buildings makes Old Nassau a treasury of
the British West Indies style.

30
23

24

9 - Bahama Style

25

28

26

29

31

32

10 - Bahama Style

J A M A I C A S T YL E

amaica came under British rule in 1655, after over

a century of Spanish domination. In the course of
the next several centuries it became one of the British empires richest and most strategically important
holdings in the region. Its prosperity is recalled today
in the large number of surviving public, residential,
naval, military, ecclesiastical and industrial structures
that dot this beautiful island.
Perhaps most impressive and pertinent to the present
study is the rich array of plantation great houses that
once populated the Jamaican countryside (33, 34, 36).
Great houses refer to the main residence of a plantation where the landowner and family lived. At its peak
in the mid-1700s there were over 300 great houses on
the island, each set amidst an assortment of outbuildings and agricultural facilities related to the crops being farmed. Stylistically the great houses often echoed
the prevalent Anglo-European styles of their time, and
were sometimes designed by English or Italian architects brought over from abroad. If not available locally, building materials also were imported as needed.
Some designs modied European formalism with an
eye towards mitigating the eects of the tropical climate; others were more indierent to their settings.
Constructed by owners at a time of vast wealth, these
structures displayed the auence of their occupants
and were often the backdrop for lavish entertainments.

33. Rose Hall Great House. 34. Good Hope Great House. 35. Courthouse, Kingston. 36. Greenwood Great House. 37. Town Hall, Mandeville. 38-40. Good Hope Great House. 41. Greenwood Great House. 42.
Residence, Black River. 43. Strawberry Hill, Kingston; Ann Hodges, architect. 44. Good Hope Great House. 45. Post Oce, Falmouth. 46.
Devon House, Kingston. 47-48. Greenwood Great House.

11 - Jamaica Style

36

Not far from Rose Hall sits the Greenwood Great

House (36, 38, 41, 47, 48). Unlike Rose Hall, it is asymmetrically composed, with a diverse exterior palette of
large scale eldstone and wood cladding. Entry to the
home is approached eccentrically, and the front door is
de-emphasized by its placement under the deep shadows of a continuous projecting porch. Interior spaces
are casually juxtaposed to each other, with few direct
or balanced axial relationships among openings. Specically classical details are rare.

33

34

37

Two Jamaican great houses epitomize the stylistic

range of the colonial era. Rose Hall, a great house originally dating from between 1760 and 1780, embodies
one of the purest expressions of high Georgian style
found in the British West Indies (33). Symmetrically
disposed around a long visual axis leading through the
landscape to the house, its main mass sits on a tall masonry platform that anchors it to the earth while at the
same time separating architecture from nature. Boldly
carved Tuscan columns a rare instance in British
West Indies of the classical orders utilized on a private dwelling carry the eye and visitor to its front
door, and proclaim the status of its occupants. Inside,
mahogany trimmed openings, paneling and stairways
impart a luxurious touch to the well-planned suite of
rooms evocative of an English country house. A triple
hipped roof line is among the few features on the mansion overtly inspired by regional practices. Proportions
exhibit the restrained formalism and elegance of classic Georgian design.

35

38

Dependencies surrounding the great house varied in

their architectural expression. Those housing equipment used for crop production or serving the operation of the great house might be straightforward and
utilitarian in character, although bold designs can be
seen at Kenilworth and elsewhere. Managers houses
and other structures tied to important personnel or
family purposes were more prone to aesthetic atten-

12 - Jamaica Style

tion, most eloquently applied to the nely styled stone

pavilions scattered around Good Hope Great House (39,
40). Palladian windows, quoining, molded cornices and
watertables are just a few of the elements drawn from
the repertoire of classical architecture adorning these
exquisite and unusual outbuildings.
Environmentally sensitive great houses demonstrated
ingenuity in mitigating the climate. Some drew upon
an English basement scheme, whereby the main living level was raised above a ground storey set close to
grade (33). Verandahs were positioned to channel cooling breezes through the interiors, and arched openings
and combination window-and-shutter units were strategically placed to optimize air circulation (41). Projecting window bays tted with louvered panels, sometimes in combination with operable windows, became
known as coolers in reference to their capacity to
admit air and limit solar inltration (35). Tray ceilings augmented these eects in facilitating convection
currents inside the rooms, which were often designed
with broad openings between them.

44

39

45

40
47

41

13 - Jamaica Style

42

43

46

48

14 - Jamaica Style

B A R B A D O S S T YL E

and partly due to the taste for austere geometries associated with European neo-classicism, many of these
great houses are characterized by bold and simplied
massing and details. More nely wrought details, typically executed in wood, were usually invested in applied elements, such as porches and window hoods
that, if blown away, would not compromise the basic
structure (59). Some of these appendages, such as the
combination of latticed and shuttered coolers that
shaded window openings, and the use of latticed porch
supports, appear unique to the islands architecture
(62). Fancifully shaped gable ends and parapets are another distinguishing feature of some of the houses, in
pleasing counterpoint to the simplicity of the rest of
the Georgian fabric (53, 59).

n the nearly four centuries since it was rst settled

by the British, Barbados has developed a unique interpretation of the Anglo-Caribbean style. Three principal factors combined to generate this legacy. First, a
tropical climate prone to periodic hurricanes resulted
in the devastation of the countryside in 1666, 1780 and
most forcefully in 1831. While the last two occurrences must have destroyed a substantial number of early
medieval and later Georgian buildings, they also laid
the groundwork for a building boom that replaced the
lost structures with an even greater tapestry of AngloCaribbean architecture. Enormous wealth largely resulting from sugar production provided the catalyst to
this boom. A ready supply of easily quarried and sawn
white coral stone and access to other building materials contributed the third ingredient in the formation of
the Barbadian style.

49

In the domestic realm four main types of houses dominate the Barbadian landscape. Historically, great houses, the residence of a plantation owner and his family,
were the focus of the greatest architectural attention
and resources before the 20th century (63). Partly due
to a desire to avoid the destructive uplift of projecting elements caused by hurricane and strong winds,

49. Fustic House, St. Lucy; Oliver Messel, designer. 50. Maddox, St.
James; Oliver Messel, original designer. Larry Warren, architect of alterations. 51. Les Jolie DEaux, Mustique; Oliver Messel, original designer.
52. Clonsilla, Mustique; Oliver Messel, designer. 53. Leaminton Pavilion, St. Peter; Larry Warren, architect. 54. Chattel house, St. James.
55. Cane Heaven, St. Peter. 56. Blue Waters, Mustique; Oliver Messel,
designer. 57. Gardenia, St. James; Larry Warren, architect. 58. Les Jolie
DEaux, Mustique; Oliver Messel, original designer. 59-60. Gardenia,
St. James; Larry Warren, architect. 61-2. Four Winds, St. Peter; Larry
Warren, architect. 63. Villa Nova, St. John..

15 - Barbados Style

50

At the opposite end of the social and architectural spectrum is the chattel house (54). Owned and occupied
by slaves emancipated in the early 19th century, these
small houses were precursors of the mobile homes of
today; set only on coral stone foundation blocks, they
could be picked up and moved when the occupants relocated to another plantation for work. Chattel houses
also pregure aspects of contemporary modular homes in that they
could be expanded at will by adding
units to the existing volumes. To
modern eyes, their distinctive wood
frame construction, lively massing,
elaborate rooines, vibrant colors,
diminutive scale and confectionary
ornament in contrast to the relative austerity of the plantation house
endow them with exceptional outward charm. Many still stand today,
and are often treated with considerable pride by their owners.

52

51

53

54

A third residential type is the town

house, found in the denser towns

16 - Barbados Style

and villages on the island. Attached town houses are

generally multi-storied, with projecting galleries providing needed outdoor space and shading eects for
the interior. Galleries in higher-end homes tend to be
constructed of cast iron, their thin, spindly forms contrasting in a pleasing way with the heavier masonry
character of the enclosed volume behind. Shadows
cast by the galleries create a delightful play of light
on the same smooth surfaces. Projecting porches in
houses of more moderate means usually were crafted
in wood, supported on deep braces or brackets, and
have their openings in-lled with louvers and shutters
to allow air but not sun to pass through. When joined
in series on a village street they provide welcome shade
and a satisfying perspective to the passers-by below.
57

Interestingly, detached suburban villas and smaller

homes erected prior to World War II appropriate stylistic features from both the chattel and great house
traditions. Examples of both can be found in Belleville,
a planned community in Bridgetown dating from the
late 19th century.
Finally, beginning in the 1950s Barbados began to attract tourists as well as an auent community who
took to constructing coastal vacation homes. Frequently these homes, and their more recent iterations, look
to the British West Indies tradition as the jumping-o
point for their design. Without question the individual
who set the tone for post-War Barbadian residential
work was Oliver Messel, a British set designer who emigrated to Barbados in the 1960s. Messel later designed
the rst group of homes and amenities on Mustique, a
nearby island development begun in the 1970s (52, 56).
More recently, talented Barbados architects like Larry
Warren have looked to extend Messels legacy into the
21st century in conceiving the latest generation of elegant vacation homes (50, 53, 57, 59-62).

55

56

17 - Barbados Style

60

59

58

61

62

63

18 - Barbados Style

T U R KS

&

CAICOS STYLES

In the rst category are several homes originally built

by local salt rakers and boatmen. Most feature one or
two storey stacked porches along their street elevations, not unlike those found in Nassau. Gingerbread
ornament appears occasionally, though a restrained
aesthetic predominates (69). Combination hipped and
shed roofs also known as jerkin-head roofs - are quite
common, as are the even more ever-present Bahamian
dormer windows and Bermudan louvers. Moderately
colored, the houses are uniformly set back a short distance from the streets, which are almost entirely lined
at their edges by garden walls (70). Pushing back the
homes leaves a pleasant intermediate front yard available for landscaping and creates a transition space
between the public street and private domain of the
residence (69).

lthough a modern state for only a short period of

time, Turks & Caicos Islands possesses a unique
heritage in historic Anglo-Caribbean architecture and
town planning. This heritage is concentrated on two islands, Grand Turk and Salt Cay. Both reect a strong
Bermudan inuence brought there starting in the 1670s
by settlers involved in the boat building and salt harvesting economies in Bermuda and on The Bahamas. By
1789 an American Southern inuence made itself felt in
these and other Turks & Caicos Islands with the arrival
of Loyalist plantation owners eeing from Georgia.
Bermudan style is visible throughout the streets of
Cockburn Town, the capital of Turks & Caicos Islands
and the largest island in physical area (66). Most of
the surviving fabric can be found on and around Duke
Street, also called Front Street, which runs parallel
to the western beachfront. Buildings can be divided
roughly between what has been termed Turks Style,
which relates to shipwright techniques customarily associated with timber framed and wood clad structures,
as found most abundantly in The Bahamas (69, 71),
and Caicos Style, deriving from the masonry-based
construction typical of Bermudan design (80).
64. Residence, Balfour Town, Salt Cay. 65. Turks & Caicos Islands National Museum, Cockburn Town, Grand Turk. 66. Legislative Council
Chamber, Cockburn Town, Grand Turk. 67. Eunice Lodge, Cockburn
Town, Grand Turk. 68. White House, Balfour Town, Salt Cay. 69-70.
Residences, Duke Street, Cockburn Town, Grand Turk. 71. Salt Rakers
Inn, Cockburn Town, Grand Turk. 72-73. Anglican Church, Balfour
Town, Salt Cay. 74. Legislative Council Chamber, Cockburn Town, Grand
Turk. 75. Commercial buildings, Duke Street, Cockburn Town, Grand
Turk. 76. Turks & Caicos Islands National Museum, Cockburn Town,
Grand Turk. 77. Residence, Duke Street, Cockburn Town, Grand Turk.
78. White House, Balfour Town, Salt Cay. 79. Library, Cockburn Town,
Grand Turk. 80. Residence, Duke Street, Cockburn Town, Grand Turk.

19 - Turks & Caicos Styles

67

64

65

66

69

68

Stone houses sit alongside their wooden counterparts. Porches are mostly absent or underplayed in
these homes, consistent with the Bermudan style. A
stucco covering over the masonry is universal. Stone
is the material of choice for the public and institutional buildings in town as well, including a government
building, library and church all dating from the 19th
century (66, 79).
Balfour Town on the small island of Salt Cay similarly contains houses in both styles. Dominating the
landscape architecturally and historically is the aptlynamed White House, a large Bermudan-style dwelling built by shipwright-turned-salt baron Alexander
Harriott, on Victoria Street (68, 78). Constructed of
stone and stucco, the main two-story residence sports
a traditional Bermudian stone roof. A complex of
single-story stone and stucco utility buildings associated with the salinas, or salt-producing pans across
the street, surrounds the house, including a weathered
gray, wooden ruin believed to be the payroll house and
store. Standing just behind the White House is the
last remaining boat house and salt shed on Salt Cay.

20 - Turks & Caicos Styles

Set half way into the water, the shed still shelters local
hand-built boats after a day of shing. The slanted loft
above the boat house was designed to allow dripping
burlap bags of salt to drain down through the slatted
oor. Remnants of old, hand hewn wooden paddles
and salt raking paraphernalia can still be spotted in
its corners. Even in their decayed state, the remains of
the salt production facilities adjoining the house form
a picturesque agrarian village.
As impressive as the house and dependencies are, the
adjacent salinas are equally impressive - especially
when one considers the eort put into laying the extensive stone works and irrigation canals, known as lollies. Dotting the salinas are the remains of nine original windmills, which were used to push saltwater into
the drying pans. Although decades of storms and neglect have rendered them inoperable, they now provide
roosting spots for ospreys and egrets, as nature begins
to slowly return the land to its pre-industrial state.

75

70

78

76

71

21 - Turks & Caicos Styles

72

73

74

77

79

80

22 - Turks & Caicos Styles

C ON TE MP OR A RY A N G L O C A R I BBE A N D E SI G N
All over the British West Indies, architects, landscape
professionals and builders are mining the Anglo-Caribbean tradition in the design of new homes and landscapes. Some of these projects evidence a deep respect
for the original forms and principles of the classical
tradition that spawned the many historical examples
found across the region. Other designs assume a more
adaptive approach, transforming time-honored aesthetics to reect recent ideas about the nature of built
form and shelter. Both approaches are available to
members and their design teams working at the Sporting Club. Of course, all examples of contemporary
design by their nature incorporate current practice
with regard to construction, materials, environmental
controls and other facts of modern life. And nearly all
ultimately share the same desire to capitalize on the
luxury of a warm, tropical environment by creating
spaces and gardens that encourage the occupants to
enjoy the beautiful outdoors.

81. Residence, Providenciales, Turks & Caicos Islands; Simon Wood, architect. 82. Four Winds, St. Peter, Barbados; Larry Warren, architect.
83. High Cane, St. James, Barbados; Larry Warren, architect. 84. Residence, Providenciales, Turks & Caicos Islands; Simon Wood, architect.
85. Spa, Point Grace Resort, Providenciales, Turks & Caicos Islands;
Simon Wood, architect. 86. Residence, Rosemary Beach, Florida; Eric
Watson, architect. 87. Four Winds, St. Peter, Barbados; Larry Warren,
architect. 88. Residence, Tuckers Town, Bermuda. 89. Strawberry Hill,
Kingston, Jamaica; Ann Hodges, architect. 90. Mango Bay, St. James,
Barbados; Oliver Messel, original designer; Larry Warren, architect of
the alterations. 91. Strawberry Hill, Kingston, Jamaica; Ann Hodges,
architect. 92. Vertigo, Tuckers Town, Bermuda; Robert Venturi, architect. 93. Residence, Providenciales, Turks & Caicos Islands; Simon
Wood, architect. 94. Residence, Rosemary Beach, Florida; Eric Watson,
architect. 95. Residence, Tampa, Florida; Cooper Johnson Smith, architect. 96. Residence, Providenciales, Turks & Caicos Islands; Simon
Wood, architect.

23 - Contemporary Anglo-Caribbean Design

81

82

83

84

85

86

87

88

24 - Contemporary Anglo-Caribbean Design

90

89

91

92

25 - Contemporary Anglo-Caribbean Design

93

94

95

96

26 - Contemporary Anglo-Caribbean Design

L A N D S C A PE D E SI G N

97. Magic Time, Tuckers Town, Bermuda. 98. Verdmont, Smiths Parish, Bermuda. 99. Wimoweh, St. James, Barbados. 100. Hamilton
Parish, Bermuda. 101. Seaways, Tuckers Town, Bermuda. 102-103.
Waterville, Hamilton Parish, Bermuda. 104. Plantation, Curaao.
105. Residence, Providenciales, Turks & Caicos Islands; Simon Wood,
architect. 106. Residence, Cockburn Town, Grand Turk, Turks & Caicos Islands. 107. Osprey Hotel, Cockburn Town, Grand Turk, Turks
& Caicos Islands. 108. Waterville, Hamilton Parish, Bermuda. 109.
Cockburn Town, Grand Turk, Turks & Caicos Islands. 110. Residence,
Providenciales, Turks & Caicos Islands; Simon Wood, architect. 111.
Residence, Cockburn Town, Grand Turk, Turks & Caicos Islands. 112.
Public Garden, Cockburn Town, Grand Turk, Turks & Caicos Islands.
113. Cockburn Town, Grand Turk, Turks & Caicos Islands. 114. St.
Georges Town, Bermuda. 115. Library, Cockburn Town, Grand Turk,
Turks & Caicos Islands.

qually as important as the quality of the architectural fabric to be built on the island is the treatment
of the landscape. Committed to preserving the environmental character and quality of Ambergris Cay, the
development team welcomes designs for the Sporting
Club that create private gardens and landscaped areas
complementary to the adjacent homes, while leaving
remaining areas of the property undisturbed to the degree possible. An understanding of and sensitivity to
the patterns of the sun, wind, vegetation, animal populations, soils and other natural environmental conditions of the site can be considered prerequisites for the
successful development of a propertys landscape.
Few historical examples of intact landscapes and gardens survive from the classic era of British West Indies
design. More evidence exists in illustrated form, such
as in old engravings, drawings and other documents.
Fortunately there exist substantial bodies of landscape
work among contemporary residences throughout the
British West Indies and in related tropical environments that can oer potential design inspiration for
homes at Ambergris Cay. Similar to the Clubs philosophy of architectural design, the development team
is open to diverse approaches, from those strongly inuenced by the historical precedent to ones of a more
modern sensibility. In all cases, sympathy for the intrinsic qualities and native features of the Ambergris Cay
ecosystem, a respect for the well-being of neighboring
properties, and a harmonious aesthetic connection between house and landscape should be evident in the
proposed scheme.

99

98

27 - Landscape Design

101

97

100

103

102

104

105

28 - Landscape Design

112

111

106

107

108

109

29 - Landscape Design

110

113

114

115

30 - Landscape Design

A MBE RGR I S C AY R I SI N G

uided by the vision put forth in this book and

an approved master plan, the developers of the
Turks & Caicos Sporting Club at Ambergris Cay have
begun to commission design and building professionals to execute the various amenities buildings, cottage
neighborhoods, landscaped areas and infrastructure
that will give shape to the emerging community. These
professionals come from around the globe and have
been selected on the basis of their experience and ability to realize the project objectives. Each team will
work closely with the developers to ensure close coordination among program, design and construction
requirements. Consistently high standards of building
and aesthetic quality will be applied to each project so
as to protect the values of the entire development.
Anchoring the residential component of the Sporting
Club properties are several neighborhood clusters located around the island. The rst to rise is the LeGrand
cottage neighborhood, with homes designed in the masonry-based Caicos style described elsewhere in this
book. Following closely behind is the Calico Jack village,
a grouping of homes conceived in the complementary
Turks style derived from the wood techniques of traditional ship building. The rst epitomizes the classical
elegance of balance and symmetry; the informal composition of the second reects the casual ambience of
island living. Together they establish the broad range of
design possibilities available to each member embarking on the design of their home at the Sporting Club.
116. Master Plan. 117. Calico Jack pavilion; Simon Wood, architect.
118. Welcome Center; Merrill & Pastor, architect. 119. LeGrand cottages; Cooper Johnson Smith, architect. 120. Calico Jack two-storey cottage;
Simon Wood, architect. 121. LeGrand cottage; Cooper Johnson Smith,
architect. 122. Proposed marina village.

31 - Ambergris Cay Rising

116
119

117

118

120

121

122

32 - Ambergris Cay Rising

A D D ITI ONA L R E A DI N G

A RC H ITE C TS

Button, David. Architecture & Design in Barbados.

Edgehill, St. Thomas, Barbados: Wordsmith International and
Miller Publishing Company, 2001.

Cooper Johnson Smith Architects, Inc., Tampa, Florida. www.cjsarch.com.

Connors, Michael. Caribbean Elegance.

New York: Harry N. Abrams, Inc, 2002.

Larry Warren Ltd., Derricks St. James, Barbados.

Douglas, Robert. Island Heritage, Architecture of the Bahamas.

Bahamas, Darkstream Publishing, 1993.
Fraser, Henry. Historic Houses of Barbados.
Hamilton, Bermuda: The Bermuda National Trust & Art Heritage, 1986.
Gravette, Andrew. Architectural Heritage of the Caribbean.
Kingston, Jamaica: Ian Randle Publishers, 2000.
Hicks, India. Island Life.
New York: Stewart, Tabori & Chang, 2003.
Humphreys, John. Bermuda Houses.
Boston: Marshall Jones Company, 1923.
Sadler, H. E. Turks Island Landfall.
Kingston, Jamaica: United Cooperative Printers, Ltd., 1997.

AND

PLANNERS

OF

A M B E RG R I S C AY

Design Workshop, Inc., Asheville, North Carolina. www.designworkshop.com.

Merrill & Pastor Architects, Vero Beach, Florida. www.merrillpastor.com.

Simon Wood Associates Ltd., Providenciales, Turks & Caicos Islands. www.swa.tc.
Studio for Civil Architecture, PLLC, New York, New York. www.thecivilstudio.com.

P H OTO GR A PH Y

AND

I L LU ST R AT I O N C R E D I TS

Inside Cover: Mango Bay, St. James, Barbados; Oliver Messel, original designer; Larry Warren, architect of
alterations. Page 1: Fustic House, St. Lucy, Barbados; Oliver Messel, original designer. Page 2 left: Residence, Tuckers Town, Bermuda. Center: Maddox, St. James, Barbados; Larry Warren, architect. Right:
Residence, Simon Wood Associates, architect.
All photographs by Donald M. Rattner except the following:
Linda Huber, photographer. Nassau, Bahamas. 19, 21, 22, 27, 28, 29, 30, 31, 32

Saunders, Gail. Nassaus Historic Landmarks.

London: MacMillan Education, Ltd., 2001.

Button, David. Architecture & Design of Barbados. Barbados: Wordsmith International and Miller Publishing Company, 2001. Photography by Mike Toy, Barbados. Courtesy of the publishers and Larry Warren,
architect. 49, 50, 53, 55, 57, 59, 60, 61, 62, 63, 82, 83, 87, 90, 99

Shorto, Silvia. Bermuda Houses and Gardens.

New York: Rizzoli Publishing, 1996.

Simon Wood, architect. Simon Wood Associates, Providenciales, Turks & Caicos Islands, British West
Indies. 81, 84, 85, 92, 93, 96, 105, 110

Slesin, Suzanne. Caribbean Style.

New York: Clarkson Potter/Publishers, 1999.

Slesin, Suzanne. Caribbean Style. New York: Clarkson Potter/Publishers, 1999. Photograph by Gilles de
Chabaneix. 44

Street-Porter, Tim. Tropical Houses.

New York: Clarkson Potter Publishers, 2000.

Cooper Johnson Smith Architects. Tampa, Florida. 95

Vaughan, Roger. Mustique (2 Vols.).

New York: Arne Hasselqvist & Alfred Schweitzman, 1994, 2000.

33

Eric Watson, architect. Tampa, Florida. 86, 94

Renderings:
116. Kris Nowak, architect. Studio for Civil Architecture, PLLC. New York, New York.
117. Matthew Viederman, architect. Krsul & Viederman Architects, PLLC. New York, New York.
119. Michael OBeirne, Architectural Illustration, Providence, Rhode Island.
120. Simon Wood, architect. Simon Wood Associates, Providenciales, Turks & Caicos Islands.
118, 121, 122. Scott Merrill, architect. Merrill & Pastor Architects, Vero Beach, Florida.

34- Ambergris Cay Rising

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