dsa year book 2011-2012

DUBLIN SCHOOL OFA R C H I T E C T U R E

11 | 12

Dublin School of Architecture2011 / 2012

2 Dublin School of Architecture Press. All rights reserved. All information presented in this publication is deemed to be the copyright of the creator or the Dublin School of Architecture, unless stated otherwise.

Dublin School of ArchitectureDublin Institute of TechnologyBolton StreetDublin 1, IrelandTel: +353 1 4023690ww.dublinschoolofarchitecture.comwww.dit.ie/architecture/urban-design/

ISBN: 978-0-9568502-4-9

Cover Image: Shane Morgan

Editors:David Mulligan - Editor in ChiefPetie BarryShane FitzpatrickPaul KellyIseult KirwanThomas MaguireVictoria MannionMicheal Swords

Contents

IntroductionYear 01Year 02Year 03Year 04Year 05Extra

040620365080114

IntroductionYear 01Year 02Year 03Year 04Extra

138140156172204230

Department of Architecture and Urban Design

Department of Architectural Technology

Department of Architecture and Urban Design

INTRODUCTION

department of architecture and urban design

5

As society undergoes a period of adjustment, institutions and organisations across all sectors are challenged to respond and position themselves for a future of altered priorities. Recent economic developments are overlaid on a gradual and persistent change within the profession which has been underway for some decades. The present and continuing mission for the Dublin School of Architecture, therefore, is to adapt to these changes by combining an established tradition of architectural education with a level of innovation and dynamism, thereby priming the School, both philosophically and strategically, to move forward.

In this context, the academic year 2011-2012 will be recorded as a turning point for the School. Along with many challenges and changes, a number of extremely encouraging developments have taken place over the year which provide very positive opportunities for the Dublin School of Architecture and which will serve to deepen and strengthen its relationship with the built environment sector into the future.

The Dublin School of Architecture aims to provide a collaborative learning environment which encourages and supports independent and imaginative thinkers. The relocation of the Dublin School of Architecture to the Linenhall building facilitates this aim and for the first time in the Schools history, has brought all staff and students of Architecture and Architectural Technology together. This move also marks a coming together of the School of Architecture and the School of Construction, thereby creating exciting and timely opportunities for a new School as part of the planned College restructuring. The first phase of this development was completed at the beginning of 2012, with accommodation for additional studios and school administration being completed over the summer period. Plans for the redevelopment of the ground floor and courtyard area with a new exhibition space and caf are underway and works are scheduled to be completed during summer 2013.

Developing the vocational and professional identities of students through fostering informed debate and discussion of issues relevant to the practice and realisation of architecture and the built environment is a central tenet of the School. This is reflected in developments and refinements made to existing programmes along with the initiation of a new strand of programmes within the School. Following on the success of last years Namalab project, the final year Architectural students engaged with the Bord na Mna sponsored Boglands project, exploring the themes of ethics and aesthetics in environmental sustainability. The final year Architectural Technology students built on the excellent research of previous years and in association with Dublin City Council, investigated the Cuilin House Development. A new programme, the Post Graduate Certificate in Digital Analysis and Energy Retrofit, instigated by Cormac Allen, Head of Department in Architectural Technology, was also successfully developed with

Orna Hanley, Acting Head of Dublin School of ArchitectureStatement on Architecture

the work from the first cohort of students in the programme drawing significant interest and constructive comment from both academics and the wider profession. The Professional Diploma in Architectural Practice, led by Stephen Best as Programme Chair, also completed its first cycle in 2012 and has now achieved full accreditation.

Deriving from its particular relationship with and understanding of the built environment the School aims to engage with its role and responsibility as a centre for related social and cultural research. In this context, it will utilize its franchise, where possible, to contribute to the development and preservation of core values and philosophies relating to the challenges facing society. These values are embedded within the students and staff of the School and are passed from generation to generation. This year saw the retirement of a number of very valued and warmly regarded members of the Dublin School of Architecture, each with connections to the School over a period of several decades. As Head of School for over twenty years, Professor James Horan steered the School through many different phases of development. He was an inspirational figure-head, an extremely effective strategist and a significant contributor to the wider development of architectural education policy, both nationally and internationally. As a lecturer in Architectural Design and Graphics Studio, Ditte Kummer OConnor was responsible for introducing many architectural students to the importance of developing their own sense of visual expression and instilling in them skills which they carried long into their education and later careers. She was also the initiator and editor of the first School publication. Bernadette Solon held many positions of responsibility within the School and was instrumental in developing the professional studies strand as a core element in the curriculum. Thanks and appreciation are extended to Jim, Ditte and Bernadette.

I would like to thank all who worked so hard to create this incredible body of work; colleagues, students and staff, buoyed by the, sometimes unseen, support of their families and friends. I would also acknowledge the essential support provided by the administrative, technical, building maintenance and security staff throughout the year with particular thanks to Aileen Mullane, the School Administrator and Paul Moore, Class Aide.

The Dublin School of Architecture faces many challenges and opportunities. We are dedicated to the objectives of promoting excellence in design, craft and construction and to the development of the individual talents and abilities of our students and staff. We are committed to serve the needs of the profession, the wider architectural construction and engineering sector and to make a positive and relevant contribution to society through our active engagement with issues pertinent to the built environment.


7

The first year course explores architecture in the Irish landscape. In 2011/12 all the design projects were set within the 18th century landscape gardens of Emo Court in Co Laois, bringing to the fore the fine line between the artificial and the natural in any discussions about landscape.

In the first semester the projects progressed from an installation designed to hold a body in space to a small shelter which could accommodate the bodys necessary functions of cooking, eating, resting and washing. The installation project involved the surveying and modelling of external spaces around the house designed by James Gandon for the Earls of Portarlington or around architectural elements in the formal gardens such as urns or gates. Each student, working in partnership with an architectural technologist, designed a site-specific piece of furniture which took advantage of the views, sunlight and shelter afforded by the space they surveyed. Review week was spent drawing and analysing Gandons work in Dublin and that of his mentor, William Chambers. Sketch plans and sections were introduced as a method of capturing the spaces which the students were studying. The semester ended with the design of an over-night shelter for a nature lover at the waters edge of the ornamental pond in Emo Court. The shelter was to have one door, one window and one roof-light. Model-making was used as a vehicle through which the quality of light in the shelter could be measured and designed.- Brian Ward

Semester two begins with the culmination of the Exemplary House study, where the students explore a seminal house in a landscape. The project involves theoretical research, building analysis, graphic representation and model variations of the house. This process places the students in a position where they appreciate, understand and reflect on the complexities of a domestic building. This process prepares the student for the Living Landscape project - design of a dwelling and workspace in the landscape.

The project is located in the Demesne of Emo Court, where staff members set themes including a feminist couple, a forester, artists and a philosophy. The student is asked to consider their project on three scales site strategy, building plan and a tangible object. They are required to investigate the landscape through its historical human fabric on a social and physical level. Within the programme of the project there is a matrix of objectives the student will procure, these include apart from the house, a site strategy to accommodate a sustainable existence, cognisance of the existing human relationships with the land, design of a specific space that requires a structural solution and the design and construction of an object that encompasses the client brief and their architectural intentions.

Finally the student is introduced to thinking processes, that being logical and intuitive. The former shows the student how to perceive space and record it. The latter is explored to further design possibilities of their work through intuitive exercises.- Francis Noel Duffy

Brian Ward & Francis Noel DuffyMan in the LandscapeStudents:Deepka Abbi

Zunairah AnsariJamie Bayly

Michael BehanAmy Branagan

Holly CartonVincent Cheung

Shane ClearySean Conlonsmith

Mark CorcoranSeamus DeenyLuke DempseyAlex DevereuxMichelle DiverEmmett Doyle

James DruryPhilip DuffyJean Ebejer

Eoin FitzgeraldAoife Flynn

Raluca GaftoiHeather Gavin

Bryan GeogheganDavid GondryNathan Griffin

Louise HynesRuairi Kelly

Joseph KeohaneChanghwan Kim

Matthew LedinghamConor LynchJohn Macken

Sorcha MaguireConor McBride

Roisin McDonaldLouise McEvoyManus McGill

Kevin McSherryPoilina MullanSelene Murphy

Patrickstephen NewellNhan Nguyen

Viktoriya NovakivskaStephen OBrien

Glen ODeaWilliam ODonnell

Susan OLearyDarryl ONeill

Mark PrendergastMichael Sexton

Jack SmithConor SpencerMichael Sykes

Fariba TalebikalkhoranMatthew Thornton

Karen TigheCristian Wittig

Staff:Sinead BourkeGavin BuggyFrancis DuffyEmma GeogheganPatrick Harrington

John LauderTom MaherGerry OBrienMagdi RashiedBrian WardEthna Walls

8Susan OLearyThe Body in Emo

The Body in EmoRoisin Mc Donald

department of architecture and urban design 01

9

Darryl OLearyEmo Court, Co Laois

10

Michelle DiverShelter


11

Raluca GaftoiBrick Solarium

12

Raluca GaftoiShelter

Michelle DiverShelter


13

Christian WittigExemplary House

14

Raluca GaftoiTown & Country

Louise HynesPoillina MullanConor Lynch


15

16

John MackenLiving Landscape


17

Living LandscapeMatthew Thornton


19

Deepka AbbiLiving Landscape


21

The second year architecture course is based on the study of the Irish town. This year, the students explored Monasterevin, a planned town which has expanded from the original configuration. A strong emphasis was placed on exploring the existing patterns of town structure, daily rituals, use and key node points. Each project explores methods of finding a path into the design process while at the same time proposing/addressing sustainable town development at a variety of scales.The projects are structured around four major projects. Project 1 - A Space for Making, where the space is defined by the tools of the occupants and the actions they require), Project 2 Communal (Small Town Living Typologies); where the household unit is carefully scaled to its contextProject 3 - Interface/Exchange, investigates action and reactions to group strategies for new and existing civic spaces and public realm strategies Project 4 - The Building Unit examines how the building unit informs the making of the building as a whole. Each project explores methods of finding a path into the design process.The year began with an introductory study of the town informed by interviews with the local authority architects, planners, and local historians and community groups. The students recorded and analysed the town in groups with studies that asked questions such as why people use cars for short journeys and why people desire the sub-urban house type over more urban living. This allowed for an informed response from the students in their proposals both for the overall town pattern and the design of their individual architectural proposals. During the initial two weeks of intensive study on Monasterevin, the students critically concluded that providing an overall master plan for the town would be less successful than providing a series of small scale interventions, thus allowing for the flexibility in resolving

Partick Flynn & Jennifer BoyerYearmasters Statement

Students:Jaroslaw AdamczukIlze AntonovaMarie-Claire BlighConor BourkeNevan BuckleyJohn CalterCora CarbajomelonAlice ClarkeGeorge CooneyHannah CrehanNiamh DennyAidan DevlinAmandine DiciaccioWilliam DurkanSophie ElnimrClaire FitzpatrickGraham FlahertyJamie FlynnDavidwilliam GrahamEvalena Hemmingsson

Nigel HolmesWayne HolmesRyan HughesRebecca KellyShaunagh KeoganAaron KirkOksana KorotkovaCarl LaffanRonan LonerganRebecca ManganGillian McAllenStephen McGettiganThomas McPhillipsThomas MooreSuzanne MullallyCiara MurnaneAndrew MurphyClaudia MurrayEtain NearyKatie NicholsonDaire Nolan

the towns needs during the rise and fall of inevitable future economic cycles. The first semester consisted of two projects 1 and 2. The first project explored how form can be made by the particular needs of a brief. The man-shed was focused around designing a communal space for making. The machines used had particular dimensions and use requirements and the students began by drawing these first. The second project took the analysis of the house types in Monasterevin and re-interpreted them to design residential types that would reinforce the existing town morphology. The combination of house types explored both the needs of the town and the stages of life of the residents. Each residential component was paired with a retail space which was to be considered within the brief holistically, thus re-imagining the relationships which exist between private/public, day/night, front/back, and so on.The second semester explored the civic realm. Each brief dealt with the conflict between the need for a public face and a private space. The third project built on the town study and explored the idea of linking the existing routes through the town by making a series of interventions which would reinforce the existing town pattern/centre. The students worked in groups at the start of the project to define their area of study in the town and to examine the relationship between the proposed and existing town fabric. The final project of the year was based around the study of one material. This understanding of one material informed a unique method for making architecture that responded to the scale of the individual unit and that of the building as a whole.Thus the study of one town can provide the research material and lessons in how to immerse oneself in the design process.

Donnacha OConnellShelly-Ann ODeaOrla ODonnellSilvia PaivaKate RusheCiaran SheridanDavid SmithAndrew SterrittColin SweeneyAilbhe WalshJames WardMatthew WebbKatie WolahanJack Worrall

Staff:Amanda BoneJennifer BoyerNoel BradyPhilip ComerfordFrancis DuffyPatrick FlynnMike HaslamGerry OBrienOrla OCallaghanJanek OzminMagdi RashiedMartin Spillane

22Carl LaffanCivic Building


23

Alice ClarkeOutdoor Stage

24

Ciaran SheridanLibrary


25

Colin Sweeney

Conor Bourke

Manshed

Housing

26

Ilze Antonova

Jamie Flynn

Stage

Stage


27

Jim WardFarmers Market

28

Perspective section

Rebecca Kelly

Silvia Paiva

Warehouse

Performance Centre


29

Kate RusheStage

30

Jarek AdamczukBookshop & Residence


31

Matthew Webb

Niamh Denny

32

Orla ODonnell

Graham Flaherty

Residence & Bookshop

Living in Monasterevin


33

Ilze AntonovaGym

Ryan HughesPerformance Space


35

Stephen McGettiganTheatre


37

The studio in the first semester of Year 3 is configured around architectural research into primary sources buildings. The central design project of the studio is founded on research into a specific building type as a way of developing conceptual, spatial, structural, material, and technical aspects of an architectural and urban project. The studio moves the role of precedent from a peripheral referent to central foundation for new work.

The primary design project was for a new city hall and public space which began with a period of intensive research into the distinct building type of the medieval town hall - its spaces, construction methods and forms as well as the historical, technological, economic and social environment within which it evolved. The medieval city hall, the house of early European democracy, is an intriguing and powerful building typology unique to only three regions in the world the Northern cities of the Hanseatic League and the cities of Northern and Central Italy. The typology is an extremely rich source for architectural study, replete with architectural ideas at every level from their urbanistic function on the market square, to their political role as a symbol for nascent democracy pinned between Church and populace, to their construction and spatial experience which hold a timeless logic and power unequalled since their construction.

These buildings were formative to the central market square of their cities and often contained trading and goods storage facilities as well as performing an administrative function. The common feature of all of these buildings was a large and often luxurious room for the political and ceremonial affairs of the city. These rooms housed any number of functions and were the cradle of a nascent concept of democracy as we know it. This study is focused on character and space and so is primarily concerned with these City Rooms the multifunctional hall and the market square.-Ryan Kennihan

The new Architectural Design Studio is located in the second semester of Year 3. The studio is centred on the Architectural Design Dissertation. This is a new departure from the usual studio programme. While there is a design vehicle, the way in which this is explored provides an opportunity for the student to interrogate their own work. Firstly students are invited to revisit work completed in previous years and are brought through a review process where ideas and themes are extracted, refined and presented. Through an urban based project the students are then tasked to investigate an area, select a site and compatible brief (theme and programme) and carry out a design exercise that will expand on their ideas or approaches. Each stage of the process is engineered to accentuate parts of the process, such as the use of case studies to identify appropriate performance and programme criteria. Instead of looking at the design process as one of production it emphasises the role of iterative development. This year our work in the studio is centred on the Dublin Cultural Corridor, a Dublin City Council Project

Noel J. Brady & Ryan KennihanYearmasters Statement

Students:Grayson BaileyMark Bailey-SmithKristen BenderChristine BoeseKate BuckEanna ByrneLaura CarrollAilbhe CunninghamAoife CunninghamBrendan DalyDeirdre DoyleDeclan DuffyOrla FaughnanMax FedorovNiall FitzgeraldJames HanlonJohn HanrahanPeter HoganRonan KeaneDavid KeeganSophie KelliherDaire KellyEmilie KoppOksana LastovetskyDavid LawlessSophia LubbeMark McCormackJulie MolloyCiaran MolumbyDavina Moody

Staff:Stephen BestNoel BradyCollette BurnsJohanna ClearyDonal HickeyRyan KennihanStephen LarkinBrian OBrienGerry OBrienMagdi Rashied

which is to be launched this year. From Trinity College to the War Memorial at Islandbridge the zone contains most of the citys major cultural artefacts. It also contains a rich tapestry of urban invention. The students role is to unearth opportunities in relation to the context, to take ownership of their work and reflect upon the work. At the end of the studio the work is to be presented as an Architectural Design Dissertation; an illustrated narrative on the process. -Noel J. Brady

Fiona MuldowneyDean MurphyEoin MurphyCormac MurrayHugh NearySusie NewmanVincent OByrneEoin ODonnellChristopher OKeeffeFinnian ONeillAlison OReillySebastian PertlStephen RichardsonDonal RyanConor SheehanMadison SorrickBrendan SpierinAmanda WeselyCillian Wright

38

Travelling ResearchPalazzo Dei Priori

Palazzo Dei Priori

Designs for the Palazzo dei Priori date back as far as the 1270s. A first part consisting of 3triple-windows towards the square and 10 along Corso Vannucci was built between 1293 and1297. A first extension of the building took place between 1333 and 1337, with the addition oftwo more triple-windows towards the piazza, as well as the stairs and balcony. The lowersteps were built in 1902).

After 1353 a second extension was added on the Corso, with six triple-windows, the largedoorway and the originally fortified tower that surmounts the access to Via dei Priori.

A third extension was carried out between 1429 and 1443 with the addition of three moretriple-windows and the section containing the Collegio del Cambio, the "money exchange"that was the financial center of Perugia. A final extension to the rear was built on in the 16thcentury.

The asymmetrical and irregular facade of the building is the result of the various stages inwhich it was built. The perimeter of the roof was originally crenellated, symbolising the powerof the free city. When Perugia fell to the papal armies the crenellations were demolished in1610. The upper part of the tower had been destroyed in 1569. The crenellations we see onthe roof did not reappear until 1860, with the unification of Italy.

The stairs in Piazza IV Novembre lead to a Gothic portal surmounted by the city's symbols,the griffin and lion. These are reproductions - the originals are kept in theGalleria Nazionale.Given their size, early date and the fact that they are in bronze, the statues were probable castin Venice in 1274.

The portal leads into the Sala dei Notari, formerly the Town Council Hall, which was allocatedto the notaries guild in 1582. Their former headquarters, the Palazzetto dei Notari, oppositePalazzo dei Priori in Corso Vannucci, had had to be partially demolished to enlarge the left sideof Via Calderini.

Punctuated by eight huge arches, the hall is completely covered by frescoes (late 1200)depicting biblical and allegorical scenes, as well as the coat of arms of the city'svarious podest up until 1499.

A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced tothe city from this spall protruding pulpit.

Site Map 1:1000 N

Corso Vanucci Elevation 1:100

Piazza Elevation 1:100

Piazza IV Novembre Section 1:500

Palazzo Dei Priori









Site Map 1:1000 N




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Site

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Designs for the Palazzo dei Priori date back as far as the 1270s. A first part, consisting of three triple-windows towards the square and ten along Corso Vannucci was built between 1293 and 1297. The first extension of the building took place between 1333 and 1337, with the addition of two more triple-windows towards the piazza, as well as the stairs and balcony. The lower steps were built in 1902. After 1353 a second extension was added on the Corso, with six triple-windows, the large doorway and the originally fortified tower that surmounts the access to Via dei Priori. A third extension was carried out between 1429 and 1443 with the addition of three more triple-windows and the section containing the Collegio del Cambio, the money exchange that was the financial center of Perugia. A final extension to the rear was built in the 16th century. The asymmetrical and irregular facade of the building is the result of the various stages in which it was built. The perimeter of the roof was originally crenellated, symbolising the power of the free city. When Perugia fell to the papal armies the crenellations were demolished in 1610. The upper part of the tower had been destroyed in 1569. The crenellations we see on the roof did not reappear until 1860, with the unification of Italy. The stairs in Piazza IV Novembre lead to a Gothic portal surmounted by the citys symbols, the griffin and lion. These are reproductions - the originals are kept in the Galleria Nazionale. Given their size, early date and the fact that they are in bronze, the statues were probably cast in Venice in 1274. The portal leads into the Sala dei Notari, formerly the Town Council Hall, which was allocated to the notaries guild in 1582. Their former headquarters, the Palazzetto dei Notari, opposite Palazzo dei Priori in Corso Vannucci, had to be partially demolished to enlarge the left side of Via Calderini.Punctuated by eight huge arches, the hall is completely covered by frescoes (late 1200) depicting biblical and allegorical scenes, as well as the coat of arms of the citys various podesta up until 1499.A smaller door on top of the stairs leads to the current Council Hall. Edicts were announced to the city from this small protruding pulpit.


39

Palazzo Dei Priori









Site Map 1:1000 N




40

Oksana LastovetskyGallery Extension, RHK

This project originates from a wish to create more cohesion in the grounds of the Royal Hospital Kilmainham. The building houses a gallery, an art library, a cafe/bar and an auditorium. The wall of the formal gardens is incorporated into the complex. The complex itself becomes the wall, but a permeable one, that focuses on stitching the two parts of the grounds together (garden and field), rather than separating them. The building sits in relation to the topography, using its gentle slope to create soft ramps in the gallery spaces.


41

Davina MoodyCity Hall, Trastevere, Rome

The planning of this city hall was influenced by the history of the Trastevere area and its people, principally the importance of ruins as a place of sanctuary for Jewish people during WWII. Old maps provided information on previous planning of the site. The module of the windows in surrounding buildings was used to establish the module of the concrete columns. The materials chosen were concrete, for its link to Ancient Rome, and timber for its warm, haptic qualities. Material is used to define use. Concrete is used for structural elements and is solid next to the street giving privacy to the buildings around it. Timber screens are non-structural and allow people to catch glimpses past into the adjoining space.

0

2 7

1

1

4

5 5

555

5 5 5 5 5

55

6

3

1 5

1. Planning Archive2. Reception3. Room for the City4. Planning Office5. Councillers Office6. Support Staff7. Social Welfare

Section B-B

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Laura CarrollCity Hall, Trastevere, Rome

The dominant influence for this project in Trastevere, Rome, is the work of Pierre Luigi Nervi. The scheme consists of a services/circulation core flanked by public program on either side and binded by a pleated copper screen. This allows communication with the existing physical and social context, providing shelter and privacy for the public. The concrete structure is manipulated and distorted into curtain-like folds which reflect and reveal shifts in program within the space. The folding geometry enlivens the exterior and interior, evoking the depth and rhythm of a traditional arcaded nave in the city room, thus creating an architecture that is both reminiscent of and a development of the past.


43

Sebastian Pertl

Dublin City Hall

This project activates the small public square on Dame street beside City Hall. A thin office building closes the square, a small cantilever allows for light to enter to the smaller buildings behind. The main elements of the program, such as meeting rooms and council chambers, are located under the square. Light cannons pierce through, organising the spaces above. In section the building reverses the organisation of the old city hall, the council chambers are now located below the public realm.

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Eoin MurphyCity Hall, Trastevere, Rome

Peter HoganCity Hall, Trastevere, Rome


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Deirdre DoyleDublin City Hall

Tradition, movement and spatial ceremony are firmly fixed in the architecture of the city room at City Hall, Dublin. The city square is elevated to reflect its equal status to the room and, like the room, it is a sanctuary for the public. The concept and layout for this project was derived from an examination of movement patterns identified around and in relation to the existing City Hall. The section investigates the horizontal programmatic relationship between the city square and City Hall, while the series of plans show an analysis of vertical movement from the street to the city square and associated buildings.

City Sq. Dame St. Dublin

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Tradition, movement & spatial ceremony are

Room, City Hall, Dublin.

equal status to the room and like the room; it is a sanctuary for the public.

concept about movement to the east elevation of the City Hall

study of publics movement

square

Section investigates the horizontal programmatic relation

-ship between the City Sq. & City Hall

CITY Sq. CITY ROOMCIVIC OFFICESCIVIC OFFICES

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Declan DuffyCity Hall, Trastevere, Rome

The project consisted of a City Hall, Council Offices and a Planning department for Trastevere, Rome. These different elements were divided into separate volumes and bound together by a concrete plinth. The plinth creates an internal street for the public, which each of the departments open up into. The space above, on the first floor creates a public space which looks out into some of the squares of Trastevere and allows for congregation outside the city hall. Two large courtyards are used to draw sunlight and fresh air into the ground floor. Along with separating the different departments, they give an individual identity to each piece of the programme.


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Ciaran MolumbyThomas Street Theatre

This project has embraced a complex programme to enrich the site at an urban scale for public access and enjoyment. Questions were raised regarding the use of this space throughout the day and the activities that might populate it. The decision was made to isolate the restaurant/cafe and the box office and allow them to be independent of the theatre. In addition, a museum with school of acting was included to reinforce the sense of community in the new square. The square became the glue holding the different pieces together. Each piece of the arrangement would have the ability to activate the square at any point during the day and therefore encourage both movement and rest.

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Kate Emily BuckCity Hall, Trastevere, Rome

The long ascent from the center of Travastere moves you towards the Town Hall. The high level of detail along their journey slows the visitors pace, giving their mind time to wander. This act slows their perception of time. As you come to the end of the street the building comes into view. The visitors pace increases and they no longer take in the surroundings as they near their destination. Due to the quicken ing of pace their body feels as though it is moving further, has travelled a longer distance.A large brick mass and four lighter elements stand watch over the street. The visitor passes through these light weight structures and moves up one of three flights of stairs towards the sheltered, raised Piazetta. This space marks the beginning of the entrance sequence for the main town hall space. The visitor is drawn towards their destination, their pace once more quickened.

Main Space - a spacial sequenceMoving along the length of the raised Piazetta you approach the brick mass.You move through the entrance guarded by a heavy timber doors, smoothed through use.The light floods in behind you from outside,into a cool, dark anti chamber.Once the door has closed you are surrounded by this darkness, light softly entering from a distant window, casting shadows.You pause to take it in, to feel.The second door gives you purpose, direction, creating a second threshold.As you move through this andenter the main space, it takes your eyes 30 seconds to adjust to the new light quality.A sequential process which allows the other senses to heighten while your vision is ad-justing.Firstly you take in the volume of the room, tall and long with light filtering in from both ends.Secondly, you take in the material and the sounds, people walking and conversation.Then you become aware of the structure, the tall brick columns supporting a ornate timber roof.Finally, you experience the light, the shadow and the room in its entirety.

Elevation, Travastere, Rome

Long section - Travastere, Rome

Plan, Travastere, Rome

Main Space,Travastere Town Hall

Sequenctial Space, Travestere,Rome













Brendan SpierinCity Hall, Trastevere


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Eoin ODonnellCity Hall, Trastevere, Rome


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The theme of the first Semester was Identity and Place. This was explored through the analysis of two varying habitats, a manmade urban eco system and a natural ecosystem in a coastal location. Initial research was carried out observing and identifying mans behavioural patterns and relationships in particular in their use of public space and identifying sense of place. Video footage was used for a greater phenomenological experience. Identity and genius loci was explored further through the analysis, master planning and development of public space, associated buildings and facilities for the newly regenerated town of Ballymun. Issues such as biodiversity, infrastructure, transport, energy, along with edges, permeability, legibility, etc. were addressed, along with the difficulty of providing community, social and environmental networks for a sustainable urban eco system. The symbiotic relationship between man and his environment was further strengthened by a group analysis and master plan for part of Skerries and Balbriggan, both contrasting coastal communities in North Co. Dublin. Issues such as natural eco systems, protected species, coastal erosion, rising tides, potential coastal energies, future of the fishing communities, etc. all lead to very individualised, environmentally driven concepts, which strengthen identity. The Semester was further enhanced by the involvement of students and staff from 3rd Year Architectural Technology. This liaison was particularly successful in Project 3, which was the further development of the design of a selected building from Project 1 or 2. The successful outcome of this project was a testament to the collaboration involved. - Ethna Walls

The work of this semester is centred around the theme of Building, students are challenged to combine interests they are developing in their Theory, Environment and Tectonics strands with their Studio work. The intention is to examine architecture at the 1:1 scale, the relationship between the human form, architectural space and beyond to the urban level.

The goal of the Advanced Design Studio (ADS) is to develop an attitude to the concept for a building that is applicable over the entire range of concerns of Architecture. The concept should be a touchstone that informs decisions at the urban scale and also at the scale of the human form. This practical application of a concept or theory serves to ensure a consistency of thinking over the development of a project analogous to the process in practice where a coherent idea is required to sustain a projects development over a number of years. The Studio draws on the influences of Theory and Tectonics classes that make for a rounded approach to Architecture, students infuse their work with ideas that they are elaborating on in their written dissertations while investigating specific tectonic approaches.

To this end the students were set briefs at the ranged from the design of an object, chair or bench to support the human form, a high density housing scheme and the detailed design of an aspect of this housing project that was fundamental to the concept for the project. This approach to the full range of the concerns of Architecture develops the students philosophical standpoint against the backdrop of the implementation of ideas. Architecture can be described as physical form given to abstract ideas, the physical being a intrinsic to the understanding and experience of Architecture. To further these ideas students are encouraged to investigate materials, obtain samples and to seek to understand as far as possible the nature of the materials they propose working with.

The work of the studio develops the students thinking enabling them to consider a starting point for a project from a wide range of sources both theoretical and practical.-Paul Kelly

Ethna Walls & Paul KellyYearmasters Statement

Students:Christine BoseLauriane CluzelRenaud Lille Du Laurent De La BarreLaura HometElena KunzSophia LubbeChloe VailleAdedayo AdeyemiDavid AitkenAlan AttridePetie BarryConor BoyleManon BrissaudAndries BurgerAndries BurkeCiaran ByrnePeter CarrollTomas ConnorsBen ConwayConor CopelandShane De FaoiteSinead DelaneyJennifer DuffyAilbhe DunleaDavid EganShane FitzpatrickOlwyn GreeneJames GrennanAlice HalliganOrla HayesNicholas HegartySimeon KirkegaardIseult KirwanThomas MaguireVictoria MannionRuth McElroyMartin McGloinGrace MullenDavid MulliganAmy MurphySteven MurphyGemma Nic ConchraKevin NolanJohn OCallaghanAidan O'SheaShane ReidAnna ReidyNoel RochePhilip RyanThomas SaundersMichael SwordsRichard TaaffeSamuel TeoKarl TobinPatrick TyrrellTomas VerlingMark Walker

Staff:Stephen BestDermot BoydNoel BradyJohanna ClearyPeter CrowleyPierce FahyEmma GeogheganDonal HickeyPaul KellyRyan KennihanHelen LambBrian OBrienLenzie OSullivanJanek OzminBrian WardMarcin WojcikEthna Walls

52

Cork Street Housing

The concept for the scheme came about from the idea of an object within an enclosure. The scheme would enclose and act as the perimeter wall to a community garden. Within this garden sits a residents pavilion. The residential blocks are entered from within the courtyard creating a sense of community and activity within this space.The structure is a simple concrete frame structure. Each apartment unit helps to inhabit the structure with holes left to allow sky gardens to form and to let light through into the centre of the building.

Alice Halligan


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Ballymun MasterplanMichael Swords

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Cork Street HousingOrla Hayes


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Balbriggan Fish Market

The Balbriggan harbour masterplan aimed to reinvigorate the harbour area and strengthen its identity as a fishing port. It also aimed to connect several projects in key areas using a boardwalk. This would act as a new public space. This was to centre on a new harbour market, selling the local fishermens catch. The market aimed to strengthen the harbour edge by increasing its activity.

Ben Conway

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Cork Street HousingDavid Mulligan


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Marine Research CentreOlwyn Greene


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Cork Street HousingNoel Roche

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Cork Street HousingRichard Taaffe


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Cork Street HousingAndries Burger


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Balbriggan Harbour WallSamuel Teo


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Cork Street Housing

An open internally oriented block stands on the edge of the historic WeaversSquare. Presenting a strong facade to the street, the courtyard facade dissolves, enabling each unit to form his neighbours private space. This implied community finds resonance with the established communities of the area, lately damaged by inconsiderate closed community developments. Permeability and openness balance with privacy through a hierarchical spatial arrangement.

Shane Fitzpatrick


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Cork Street Housing

The initial concept was influenced by the theories of Karl Marx, in particular to his views relating to the common man re-establishing a relationship with the soil and agriculture. I was also very interested in the Agricultural City Plan by Kisho Kurokawa in 1960. In this urban concept, natural growth of the agricultural city is provided by a grid of elevated streets. The living units multiply spontaneously without any hierarchy, gradually bringing the village into being. In my project an emphasis is placed on human interaction with the land and the intention is to create a strong connection with the natural environment in an urban situation. There was a high value placed on the public realm in this project.

Thomas Saunders

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Cork Street HousingShane Reid


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Iseult KirwanCork Street Housing

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Cork Street HousingKarl Tobin


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Cork Street HousingPetie Barry

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FutilitoriumPetie Barry


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Ballymun MediathequeAndries Burger


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Cork Street Housing

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Phillip Ryan

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Skerries Watersports Centre

A notable aspect of the road from the Main Street in Skerries to the end of the peninsula is that the road shields views of the beach that sweeps around to the south. This project attempts to unit the separate paths that traverse the isthmus and create a building at the intersection. This results in a lively, fluid building that is born from the movement and crossing of the path.

Conor Boyle


77

Ballymun Mediatheque

The outer skin of the Mediatheque is inspired by London designer Gitta Gschwendtners Animal Wall. It is intended that some of Ballymuns many bird and bat species may nest in the mediatheques outer skin, providing an ecologically friendly condition which in turn would provided a bird watching centre in the Dublin Suburbs.

Shane de Faoite

78

Cork Street HousingThis housing project sought to bring about a dialogue between the burgeoning expectations of density within Dublin city centre, as per the competition requirements, and the reality of the economic situation in which we find ourselves. The building gradually adapts to the economic recovery and the increase in density of Dublin. A series of lift shafts provide the framework for growth within the project. Each unit fits into the same structural grid and system, because of this they are freely adaptable and changeable, so over time the building adapts to the needs of the user. Three units are built around one lift core, and each has two floors. The second floor of each becomes a means of entering onto a communal garden space which runs the length of the plan, and for the most part, these spaces are double height.

Mark Walker


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Cork Street Urban LivingThomas MaguireThis housing scheme includes 180 1+2+3 bed units is a housing model based upon urban community. It has three distinct realms, taking advantage of the fall across the site, providing a lower level public space fronted by a vibrant cafe and market/retail zone creating a public connection from Cork Street through the new space, a raised semipublic space accessed by steps from the Cork Street level which provide a threshold to the space. The third space, a private space for residents is located to the southern end of the site providing a garden sanctuary which the public cannot enter. The formal internal square is orientated to maximise its aspect to the southern sun, which the surrounding buildings are related to this idea in height, the lowest block facing south onto Chamber Street. The variation in facade allows for privacy and no overlooking to occur, as no window directly faces another opposite, being spaced so as a minimum of 300mm occurs between facing windows. Units are primarily dual aspect and all apartments have a private balcony space to avail of. By providing a diversity of units types

it allows for diversity within the building, accommodating single residents to familyliving. Each apartment allows for direct solar gain with tall opes, also encouraging natural ventilation.


81

We are very interested in the strength of collaborative work in studio. The architectural studio as a physical space is a shared one. It is an environment where students and staff, work, exchange ideas and learn from each other. To compliment this, it seems only appropriate that it would be an intellectual space too. The students should share a common theme or area of investigation that allows them to intensively discuss, research, analyse and synthesise their architectural thinking together and not in isolation or competition.

As with NAMAlab last year, if the students of fifth year are to adopt a historical, theoretical and historical idea, there seems a need to attach that abstract world of ideas to the needs of the real world. Following on from commentary by the external examiners last year, we became particularly interested in environmental issues and sustainability this year.

In entitling the year, The Ethics and Aesthetics of Sustainability, it enabled us to examine the debate that surrounds the green agenda in architecture. At present, there is a distinct duality pedalled by both sides, that ethics and aesthetics are not compatible in sustainable architecture. For us, this conundrum must be extinguished and we wished to use the students design research to challenge this misconception.

As architects, there is no doubt, we have an ethical responsibility to our fellow man and the earth that we must design and build in a more sustainable way. But in doing so, green architecture does not need to become an identifiable style.

Too often with sustainable architecture, there is a shared formal language, a common materiality associated with applied technologies. There is a lack of aesthetic sensibility and ambition and it is this architectural shortfall that we wish to address this year in the Boglands project.

As architects we have both an ethical and aesthetic role in shaping our environment. Sustainable architecture should be commonplace, the global norm, but in our view it should be primarily strategic rather than tactical in its response to the needs of man and nature. All architectural thinking must be supported by a strong political and technological agenda at the highest national and international level.

Dermot BoydYearmasters Statement

Students:Bernard Brennan

James BrowneJonathan Buckley

Eoin ByrneNaomi Campbell

Niamh ChambersRobert Chapman

Kevin CoffeyEoghan Considine

Jamie ConwayDeclan Crowley

Aisling FlanaganEmma Forristal

Donnchadha GallagherLuke Gleeson

Simon HarringtonEdwyn HickeyOlivia HilleryNiall Howard

Ruth HynesBrian Jordan

Clare KiltyMaria LarkinBryan Ledger

Paul MaherCourtney McDonnell

Aengus MitchellShane MorganRonan Murray

Grainne NichuanachainDavid OBrienMary OBrienAlen OFarrell

Niamh OFlahertySaran ORourke

James OTooleAnna Pierce

Adrian RooneyEmmet Smith

Alex StuparElaine Wynne

Staff:Stephen BestDermot BoydJohanna ClearyLaura HartyMike HaslamDonal HickeyRyan KennihanJanek OzminDeclan ScullionDominic StevensMarcin Wojcik

82

The project consists of a huge landscaping project in the creation of a 1000 hectare algae farm. This farm would have the capability of producing just under 100,000 barrels of pure biodiesel oil per year.One main building provides the centre of the project, with an adminisration building containing the lab and administrative functions of the farm. The lab is required to constantly check the cultures to ensure they are not contaminated and then an area is required for growing replacement cultures. A large area is also required for processing the algae cultures and separating the biomass, oil and water which is returned to the system. The biomass is fed into an anaerobic digester which produces methane which can be sent to the proposed (and under the scheme would go ahead) gas fired power station on site. The gas exhausts from the power station are then piped into the algae ponds which over the course of the year will absorb the entire emissions from the plant and more.

Algae Farm & Rest StopAdrian Rooney


83

The Mill is located at the fastest flowing point of the Yellow River which is diverted down a 10m drop into the cutaway passing through a Francis Turbine at the base of the black structural tower. It is then pumped 55m skyward to a charred cedar-clad water caisson whose weight anchors the tower to the bedrock of the cutaway. In the weaving hall, this necessity is greatest and is represented structurally by the hydrophilic cedar-clad crowns which sit above the Jacquard looms catching and condensing steam at the apex and transferring it back through the structure to the humidifiers held within the Vierendeel truss in the floor plate.

Derryarkin Linen MillAishling Flanagan

84

School for the Culinary ArtsDerrygreenagh

School1. Walled Garden2. Entrance3. Reception / Office4. Exhibition Kitchen5. Classroomsl6. Glasshouses/Growing Area

Workshops7. Workshop 18. Workshop 29. Workshop 3

Accomodation10. Accomodation

11. Dining Hall

Productive Landscape12. Vegetable Gardens13. Orchard14. Water Collection Pond

Site Plan Scale 1:200

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BoglandsAlen OFarrell


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This thesis is about a new type of architecture, an architecture that uses illusion and ambiguity, what would usually be considered to be deceptive and vague, to instead portray truth. Through the naked-eye observatory on the Derrygreenagh bog, I have explored and raised questions above what we know to be fact. My aim was to show the world through an alternative lense, to probe questions about convention, questions about what is learned, what is accepted and then simply forgotten about. This thesis has been an exploration into architecture and illusion, that in all its blurriness and ambiguity is a more true representation of reality than reality itself.

Naked Eye ObservatoryAnna Pierce

86

The intervention is grounded in its site through acoherent dialogue with the topography, culture and history of the town The schema of horizontal space is restored on the ground and at first floor the form of the original plan is reinstated to create a suite of well proportioned rooms for markets, festivals and the civic requirements of the town. Together, the new and old form unified pair. Deep gardens in the plinth reveal a taller elevation which gives the building a more elegant proportion. Thick masonry walls carry the stonework to the new ground level. Patterns and rich materials of the epoch are employed in the new spaces.

Edenderry Town Centre

e form of the existing building is restored

A strong datum is articulated in the slab, under Which the new building exists

e footprint of the old building is carried to the ground and dictates the layout below

e new building is carved out of the ground

Tectonic Diagram

Bernard Brennan


87

The greenhouse takes equal infuence from contemporary industrial agricultural greenhouses and 19th century glasshouses. The basic principle of 19th century glasshouses was to enclose space in a transparent skin, and to hold on to and re-radiate as much heat as possible with a steriotomic, high heat capacity element which does not create a prevailing shade over the growing areas. In this greenhouse, the concrete building becomes the massive element. Thetransparent skin is created by a cable net tension roof to which an EFTE plastic membrane is attached.

Food Production GreenhouseLuke Gleeson

88

Proposed is a non-acute centre to facilitate residents of the Irish Midlands suffering from mental health difficulties. Sited in Drumann Bog to the North of the lake, it is intended that it will contribute to Bord na Monas vision to generate environmental and social value.The dominant material in this scheme is Irish blue Limestone which is articulated both internally and externally. It is intended that the scale of the spaces within the scheme are of a domestic scale so as to give the occupant a sense of timelessness and also to instill a sense of familiarity. The organisation of the building is around a series of yards with varying degrees of privacy.

Retreat CentreClare Kilty


89

This project investigates how to use optimisation to influence the design of a tomato farm in Ireland. The result is a collection of floating, rotating greenhouses utilising aeroponic growing technology.The scheme is made from discs that rotate and the greenhouses are spanning between the disc circumferences. This approach has the advantage of using fewer moving parts in the entire construction. Due to the circular nature of the discs, it is impossible to pack them together without interstitial space existing. It is here that the additional buildings - worker buildings, canteen, packaging, storage - can be sited.

Aeroponic Tomato Farm

Roundwood timber truss system

NodeJoint

Internal timber panelling

Recycled polyethylene (HDPE) cladding system cut to frame

Kevin Coffey

90

This project seeks to place the individual in the context of a voluntary community in Derryarkin Bog. The location of the buildings and their orientation is designed to create a sense of immersion in the boglands as an environment. It is located along the existing rail network, with the complex overlooking large areas of stripped bog towards Croghan Hill. The buildings themselves are designed to offer variety in the manner in which they can be inhabited. This project forms a community with a natural sense of democracy and interconnectedness. The role of the individual is respected, while framing that as a participatory role within the collective.

Derryarkin Forrestry CentreDavid OBrien


91

The project deals with immanence and transcendence, their value and meaning in the conception of a contemporary architecture. The cemetery itself is a radial scheme that develops over time with three centralized chapels. The burial mounds pick up on the existing grain of the site carved out by Bord na Mona. This grain determines the initial layout of the cemetery grounds. However, it is intended that each generation would design a layout that becomes representative of their time to avoid a frustrating stagnancy.

Boglands CemeteryDonnachada Gallagher

92

The building proposed is a beekeeping and birdwatching centre. There are very few facilities for beekeepers in Ireland and Irish honey is a much sought after commodity. Honey from Irish suppliers only account for 5% of the 4 million lbs of what we consume. The bog is an ideal location for such a resource. Heather honey produced in the bog is of a thicker consistency and worth far more than normal honey. The bog is free of pesticides, something which is seen as a leading factor in the disappearance of bees.

Beekeeping CentreEmma Forristal


93

My proposal involves the cessation of quarrying on this site and the rehabilitation of the man made lake as a focal point for the restoration of biodiversity. At Lough Boora Park, biodiversity corridors have been developed and encouraged on the less disturbed fringes and along the rail infrastructure of the bog. These corridors both connect the bog and divide it, creating boundaries between rehabilitating bog, wind farm and biomass/biofuel crop.

Powerstation Building in bog contextFINAL DESIGN

AESTHETICS OF ENVIRONMENTAL PERFORMANCE

Internal courtyard functioning as acoustic and thermal buffer between occupied area of plinth and peaking back up turbine.

FINAL DESIGN


AESTHETICS OF ENVIRONMENTAL PERFORMANCEFINAL DESIGN

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01 Entry terrace 02 Canteen 03 Kitchens 04 Lecture hall 05 Peaking/Back up turbine 06 Transformer 07 Loading dock with rotating winch arm 08 Void above boiler 09 Water Treatment 10 Mechanical workshop 11 Contractors yard 12 Raw water pumphouse 13 Fire pumphouse

Boiler Room perspective illustrating structural depth for servicing mechanically & passively

DESIGN DEVELOPMENT: STAGE 05


Emmet Smith

94

This building is to act as a brige into the landscape. In this bog landscape the public space is that of the road and the oligoptical space is that of the bog. The research institute acts as an ambiguous boundary that leads people onto its surface and into the oligoptical spaces below that inhabit the layers stripped away by machines on this site. It also draws people onto the the landscape. There are numerous routes across this building and onto the bog.There is no definite entrance to the building, the building must be explored to be properly understood. The landscape is allowed to bleed into the building.

Research InstituteEoghan Considine


95

The centre is located over two levels. The lower level contains the residential element and all associated services. This includes nurse stations, drugs rooms, storage and social spaces such as family rooms. This level is set into the hill, forming a protective, cave like atmosphere where the shared spaces look inwards, and the rooms turn out to the landscape. This is contrasted by the upper level, a pavilion like structure which sits atop the landscape that flows on to the roof of the lower level. This contains the more public elements of the brief, the administration and the day care centre.

Palliative Care Centre

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1. Homecare Service2. Administration3. Staff Break Area4. Counselling Service5: Day Patient Therapy6. Hydrotherapy7. Living Room8. Physiotherapy9. Kitchen10. Herb Garden11. Canteen12. Administration13. Fundraising14. Boardroom15. Shalom Entrance

GGBS - Ground Granulated Blast Furnace Slag Concrete, this mix allows a lighter colour to be achieved on the surface of the concrete.

Suspended Timber Floor, the tactile experience of walking on this surface is more pleasureable than of that on a harder surface.

Concrete Strip Foundation

Triple Glazed Timber Frame Sliding Door

Pre-cast Concrete Roof Form, positioned above cast in situ concrete wall.

150mm Rigid Foam Insulation

Bauder Green Roof

Concrete Roof light is clad in zinc panels on 40x40mm timber batons.

Custom Elliptical Rooflight

Eoin Byrne

96

The building is based on a 12m x 12m grid. This is based on the dimensions required for the assembly of the components needed for 2MW nacelles. The require independent gantry rails to run efficiently and I am proposing that if Bord na Mona see this as their new energy type, they could build 2 nacelles per week. 3,400 would be needed to produce more than enough electricity for Ireland and so it could be sold to the European grid. The small spans also mean that there will be less deflection within the structure as the very nature of a raft foundation can cause a rise at one side as a result of a heavy loading at the other.

Nacelle FactoryJames OToole


97

The architectural proposal is for the re-use of the cutaway boglands at Rochfordbridge as an algae farm - a production facility for fuel, a system which coluld be implemented across the boglands of Ireland as they cease to provide viable means of creating energy.The location of the scheme borders the M6 Galway to Dublin motorway. Here, the oil bearing algae is grown in ponds, processed, refined, stored and sold as fuel to users of the motorway.The ambition for the project is to reduce dependence on imported fuel oil, and to immerse users in the productive background of the fuel they use.

Algae Farm & Fuel StationJames Browne

98

A furniture workshop has been designed allowing the production of well crafted, refined pieces of furniture built from the various tree species grown on the surrounding boglands. The workshop is built specifically for YaffeMay furniture maker. There are two methods of construction used in the making of the built form. One is an industrial method, which can be extended indefinitely, where the construction is the result of layering up timber members and bolting together, while the other method is a refined, crafted system of construction expressing the artefact as the place of a furniture maker. The project is the result of these two methods.

Sawmill & WorkshopJonathon Buckley


99

This facility would take the Irish sheep wool and specially process it using the acidic water of the bog which aids the removal of unwanted matter, spin the wool into thread and produce textiles for use in high fashion industries. The product would be limited in production and there would be facilities for designers to come and specify there own textiles.Heather, tree bark and other plant matter will be used in the dyeing process within the facility. These are found growing in and near the bog giving the final product a unique character that is fundamentally tied to the area.

Textile FactoryMaria Larkin

100

The Carrickgollogan Wood is a planted forest managed by Coillte. The wood has a rich history of lead and silver mining on the northern side of the forest. The waste material from thinning the forest would produce a raw material that would become a way of creating a product from a material not suitable for use in the production of Coillte panel products. A building for the production of charcoal from this waste material is proposed to sit in a clearing between the edge of the forest and a gorse field. The kiln would extract the essence from the timber in the form of charcoal and in turn extract the essence of the forest and the place. The kiln itself became the core of the project, for which all other elements were structured around. It sits into the slight incline over the site. The circulation is folded upon itself and becomes the side elevation of the kiln.

Charcoal KilnBrian Jordan


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The purpose of this thesis is to seek a new solution for this post-industrial site that is different from the precedents in western and developed cities, because of the identifiable local conditions which are heavily dominated by Bord Na Monas purpose built infrastructure and different stages of development around the surrounding environs in Westmeath. It is desired that this new solution may be a good reference for other dilapidated sites that are now or will soon be going through a similar direction of change.

Plastic Recycling CentreMary OBrien


103

The brief is a bathing facility located in an expanse of uncut bog. The scheme contains a heated communal mud bath, several natural pools of varied size and specification, internal treatmentrooms, shower room, a peat sauna, and a changing facility.The baths are designed to be as natural as possible by using water directly from the bog filtered and occasionally heated. The materials are gathered from the site, oak timber, bog water, and the natural silt clay which creates fired tiles for the pools edges.

Bog Bathing CentreCourtney McDonnell

104

This project builds upon a widely used technique of constructing a deep basement - sheet piling. The spatial effect of using this construction technology is retained. The horizontal experience of space is held within the serrated edge left by the technique. As you move vertically within the project, the floor plates are experienced. The waffle slabs become thicker as you descend - the requirements of the floors slabs acting as a brace to the external pressures increases. This project is the marriage of two techniques - horizontal bracing and vertical excavation. The experience of the current day building technology marks this project in time. Future experience will speak of this day.

Aluminium Research CentreRonan Murray


105

Image of approach to BuIldIng

Elaine WynneTannery

The building rests against the border of cutaway and non cutaway bog. People enter on the virgin bog level and look down upon the machine level from a clean environment above the roof scape. All the industry happens on the already machined cutaway bog. The main part of the building which had been a series of segregated rooms came together under one roof. The building became about a thick heavy concrete ground plane with the water tanks cut out and the walls reaching up and down to hold a light timber lattice roof. The roof was my way of giving back to the workers who have to work in a dirty unsavoury environment. The idea is that the roof is like a heaven overhead and the lightdrifting in is part of that experience.

106

Within the overall themes of ethics, aesthetics and sustainablitiy the project aims to provide a place for juveniles that is secure while allowing them to inhabit a building in which they are treated as humans and provided with the best opportunity to re-enter society without committing further crimes. The building itself evolved into a mat building with many courtyards allowing for natural ventilation. These juveniles need a place where social interaction is encouraged, where they learn to exist in a community and at the same time learn individual responsibility.

Juvenile Detention Centre

Perspection Section 1:100

Niamh OFlaherty


107

Goldsmithing has a long history and affiliation with the Irish boglands. The Or exhibition at the National Museum of Ireland holds one of the largest and most important pre-historic gold collections in the world. The Goldsmith Academy will provide training facilities for apprentice goldsmiths and accommodation for the duration of their apprenticeship. It takes as a precedent the many monasteries of ancient Ireland founded on bog islands as well as the uniquely Irish wetland dwelling typology, the crannog. The Academy is built on an area of preserved peat among the ruins of past civilizations and, in time, will be surrounded by water.

Goldsmith AcademyOlivia Hillery

108

The steel mill adapts the precedent of heavy industry by way of reintroducing production to a depleted landscape. Based on modern methods of steel production the project allows for the recycling and reuse of 100% scrap steel. This is achieved with the use of electric arc furnaces, which greatly reduce emissions and energy consumption in comparison to traditional blast furnaces. The project thus becomes a departure from the previously environmentally detrimental process. Instead it deals with the material consequences of the construction boom and the re-appropriation of the countrys hubristic remnants into something more valuable to contemporary society. Reflecting the nature of peat production, the project transforms amorphous scrap into defined object, the billet or ingot.

Steel MillPaul Maher


109

The project deals with the cultural paradox that permeates the uncanny ruin; that it may portray both transience and permanence. The ruin in its incomplete state embodies both potential and decay. As an analogy for time, the ruin looks forward to the future in addition to backwards to the past. Similarly the project recognises the influence of place and time, forming a direct relationship with a transformed and transforming landscape.

Workers Bar Paul Maher

110

A new research and innovation centre has been proposed for this briquette factory, replacing the current function, but retaining a working funtion on the site. The strategy involves ther entire site, reworking current circulation patterns, and creating large scale wind energy prototyping onsite. new route follows the existing infrastructure for peat production; existing walkways and spaces given a habitable layer, while acknowedging the function gone. Overlapping planes redefine existng space within the building and structure to create technical workshops, experimental labs, prototype rooms, and publicly accessible seminar room, reading room, exhibition space and cafe.

Research CentreRuth Hynes


111

The new rowing lake is formed between an existing train line and the topography of Croghan Hill. The large body of water provides a landscape for crossing the landscape by foot, bicycle or scull. A series of constructed walkways create a perimeter to the lake and define the necessary space needed for competitve rowing. A starting tower, aligners hut, judging tower and viewing platforms form a collection of pavilions along the perimeter. A boathouse terminates the lake and forms an entry and exit point from the trainline to the expansive landscape. Training facilities, accommo

dsa year book 2011-2012

Documents

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school administration

school of construction

students of architecture

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