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thoughts from the editor TRANSPARENT AND FIGURATIVE

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josé manuel pedreirinho DIFFERENT TIGERS, STILL CELTIC

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CLANCY MOORE ARCHITECTS SLIEVEBAWNOGUE ALBANY WAREHOUSE PORTOBELLO ATCOST 1+2 AILESBURY

008 010 022 032 044 054

RYAN W. KENNIHAN ARCHITECTS VITA CENTRE LEAGAUN HOUSE ST. CATHERINE’S HOUSE

064 066 076 086

BEACH ROAD HOUSE BALTRASNA HOUSE

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STEVE LARKIN ARCHITECTS BOGWEST SLYGUFF BOLABEG KIMMAGE BALLYBLAKE

120 122 132 146 156 166

CREDITS

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2007 - 2013 011

SLIEVEBAWNOGUE Dublin, Ireland

This is the first room we drew as a practice. It is a place made by two houses and the wall of a stone quarry in the Dublin Mountains. The space between is a room in the landscape. A shared garden for the two families that live there. It is a Freespace. We see it and the making of a project as generating a common space. That space exists in both the finished building and the process of its design and construction. We understand both as a space of encounter. We see this space of encounter as a place where meaning is generated collectively. People and place are not distinct, one begets the other. Irelands deep history of agrarian land rights mean that there is a particular strength of feeling about people wishing to make their life in the places they grew up in. Contemporary readings of social and spatial sustainability work counter to this - and frequently seek to prevent the design of new houses in rural areas. Here our clients family had lived in this area for 4 generations. Planning legislation had recently designated it as an area of outstanding natural beauty - a factor of the valleys victorian reservoir, and its associated trees. Our clients were a family of two brothers and two sisters looking for a way to remain living in the place they grew up in. In walking their lands we came across the quarry which had been used in the making of the dam for the reservoir. Something in the idea of healing the scar which had resulted from transforming the valley with housing for locals that offered a meaningful narrative in response to the planning laws. Constrained by the shadow cast by the quarry wall to the south and a zoning line which restricts construction to the north the project is paradoxically urban or infill in this otherwise rural condition. Within the given form between these two lines living spaces and bedrooms are arranged to give well proportioned spaces, deep views and contained rooms. When arranging these spaces we were thinking of the Hotel Beauvais in Paris. An exercise in poché. A strategy where ideal rooms are inscribed into imperfect spaces. Spanning difficult ground conditions we constructed the two houses as inhabited timber beams. A line above the landscape. A living bridge propped by the figure of a shared entrance staircase. It is an architecture that approaches infrastructure.

C’est la première pièce que nous avons dessinée en tant que cabinet. C’est un lieu formé par deux maisons et le mur d’une carrière de pierre dans les Montagnes de Dublin. L’espace entre les deux forme comme une pièce au sein du paysage, un jardin partagé pour les deux familles qui y vivent. C’est un espace libre. Nous le voyons, ainsi que la réalisation d’un projet, comme la création d’un espace commun. Cet espace existe à la fois dans le bâtiment fini et dans le processus de son design et de sa construction. Nous considérons les deux comme des espaces de rencontre. Nous voyons cet espace de rencontre comme un lieu où le sens est généré à titre collectif. L’Homme et le l’endroit ne sont pas distincts, l’un engendre l’autre. La longue histoire des droits fonciers agraires en Irlande signifie qu’il y a un attachement particulier au souhait que les gens ont de faire leur vie dans les lieux où ils ont grandi. Les analyses contemporaines de durabilité sociale et spatiale vont à l’encontre de cela et cherchent souvent à empêcher la réalisation de nouvelles maisons dans les zones rurales. Ici, la famille de nos clients vivait dans cette région depuis quatre générations. La législation en matière de planification l’avait récemment désignée comme une zone de beauté naturelle exceptionnelle, en raison du réservoir victorien et des arbres de cette vallée. Nos clients étaient une famille de deux frères et deux sœurs qui cherchaient un moyen de continuer à vivre dans le lieu où ils avaient grandi. En parcourant leurs terres, nous sommes tombés sur la carrière qui avait été utilisée pour la construction du barrage du réservoir. C’était l’idée de guérir la cicatrice de la transformation de la vallée par la création de logements pour la population locale qui offrait un récit pertinent en réponse aux lois de planification. Contraint par l’ombre projetée par le mur de la carrière au sud et par une limite de zonage qui restreint la construction au nord, le projet est paradoxalement urbain ou d’aménagement intercalaire dans cette zone autrement rurale. Au sein de la configuration comprise entre ces deux lignes, les espaces de vie et les chambres sont disposées de manière à offrir des espaces bien proportionnés, des vues dégagées et des pièces fermées. En aménageant ces espaces, nous avons pensé à l’hôtel Beauvais à Paris. Un exercice de poché. Une stratégie où des pièces idylliques sont insérées dans des espaces imparfaits. Surmontant des conditions de terrain difficiles, nous avons construit les deux maisons comme des poutres de bois habitées. Une ligne surplombant le paysage. Un pont vivant soutenu par la silhouette d’un escalier d’entrée commun. C’est une architecture qui s’approche de l’infrastructure.

ORIGINAL TEXT

Este foi o primeiro projecto do escritório: duas casas numa pedreira, nas montanhas de Dublin. O espaço entre as casas é como uma sala exterior, parte da paisagem natural. Um jardim partilhado pelas duas famílias que habitam as duas casas. Um espaço livre, que interpretamos como um espaço comum, que existe quer no edifício depois de pronto, quer no processo de projecto ou construção, que entendemos de encontro, como um lugar no qual o sentido é gerado colectivamente. Pessoas e lugares são indissociáveis. A profunda história irlandesa, de direito à terra agrária, significa que há um sentimento de força particular sobre as pessoas que desejam construir a sua vida nos lugares nos quais cresceram. As leituras contemporâneas de sustentabilidade social e espacial contrariam essa vontade – e frequentemente procuram impedir a construção de novas casas no meio rural. A família dos nossos clientes vive nesta região à 4 gerações, e a legislação urbanística designou recentemente o local como área protegida pela sua grande beleza natural – parte da reserva vitoriana e da respectiva floresta que a habita. Os nossos clientes, uma família de dois irmãos e duas irmãs, procuravam uma forma de permanecer no local onde cresceram. Ao percorrer o terreno encontramos a pedreira utilizada na construção da barragem da reserva, que nos remeteu de imediato como a cura para a cicatriz resultante da transformação do vale. Claramente condicionado pela sombra da parede da pedreira a sul e a linha de zoneamento que restringe a construção a norte, o projecto é paradoxalmente urbano e preenche essa condição rural. Dentro da forma que resulta entre essas duas linhas, os espaços de estar e os quartos são organizados, permitido espaços bem proporcionados, vistas profundas e salas contidas. Ao organizar os espaços pensamos no Hotel Beauvais em Paris. Um exercício de Poché. Uma estratégia na qual os quartos perfeitos se inserem em espaços imperfeitos. Abraçando as difíceis condições presentes no terreno, construímos as duas casas como “vigas de madeira” habitadas. Uma linha acima da paisagem. Uma ponte viva sustentada pela figura de uma escada de entrada partilhada. Uma arquitectura que se aproxima da infra-estrutura.

CLANCY MOORE ARCHITECTS SLIEVEBAWNOGUE

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GROUND FLOOR PLAN

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01. Terrace Construction: Timber decking boards, 19mm; adjustable paving support pads; waterproof membrane, 4.5mm; vapour control layer; wpb plywood deck 18mm; insulation 150mm; glulam timber roof joists, 330mm x 100mm; insulation 100mm, plywood lining 18mm.

02. Wall Construction: Douglas fir timber cladding, 19mm; timber counter battens; 4.5mm; vapour control layer; formline boarding, 13mm; timber studwork; insulation 200mm; glulam timber beam; vapour check; service cavity, 35mm; plasterboard, 15mm.

03. Floor Construction: Timber floor boards, flooring underlay; underfloor heating; formline boarding; glulam timber rfloor joists, 280mm x 100mm; insulation 180mm; timber battens,WBP plywood soffit cladding 18mm.

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ALBANY Dublin, Ireland

The plan of this house and our extension to it approaches a perfect square. It reminds us of plans we made at the beginning of our practice searching for perfected internal logics. This though is very different. In working with existing fabric we do not make extensions but instead choose to respond by addition. In this, a new whole is constructed of many parts over time. It remains incomplete, awaiting further additions. In this way, working with existing fabric has tempered the way we think about the making of architecture. We see ourselves as working always in conversation as the shared authors of buildings. For reasons of programme the project was constructed as exempted development placing a limit on the footprint of the extension dictated by planning legislation. By necessity of scale the new family room is of equal parts old and new producing a deep plan typical of such extensions. A large roof light brings light to the centre of this plan. Whilst the daylight is necessary the black void produced by the large surface of glass at night is not desirable. Thinking of the architect John Soane’s breakfast room at Lincoln’s Inn Fields we inserted vaults to imply rooms within this large space. Soane was forever inscribing ideal rooms into existing spaces. The light pours over them. We resolved the structural steel work necessary to enable this new room into a figurative element in the space. This figure sits at the junction between the old house and the extension. It is a tree like structure with beams spanning off a central column in three directions - propping the existing back wall of the house along its length, catching the ends of the existing suspended timber first floor and reaching out to make an edge to the warm roof of our new construction. It stands centrally in the large open plan living space acting to divide the requested ‘open plan’ into three more comfortably scaled spaces - kitchen, dining and seating around a fire place. A reference for the making of the external walls was the Venetian architect Carlo Scarpo. In particular we were interested in his use of stratification to construct a fictive archaeology in his architecture. We have explored this language in the articulation of a contemporary masonry wall, layered in its construction by the necessity for thermal performance. The wall is resolved into a series of aedicular moments creating an ambiguity between inside and out, enclosure and opening. The wall to the living space is thought of as a multitude of smaller spaces, a necklace of miniature rooms.

ORIGINAL TEXT

Le plan de cette maison et de son extension s’approche d’un carré parfait. Il nous rappelle les plans que nous faisions au début de notre activité, à la recherche de logiques internes parfaites. Ce projet est cependant très différent. En travaillant avec le tissu existant, nous ne faisons pas d’extensions mais choisissons plutôt de répondre par l’addition. Ainsi, un nouveau corps est construit à partir de plusieurs éléments, au fil du temps. Il reste incomplet, en attendant d’autres additions. De cette manière, travailler avec ce qui était déjà existant a atténué notre façon de concevoir l’architecture. Nous nous considérons comme travaillant toujours en conversation en tant que co-auteurs de bâtiments. Pour des raisons de programme, le projet a été conçu de façon à ne pas nécessiter de permis de construire, ce qui limite l’emprise au sol de l’extension imposée par les lois d’urbanisme. Par nécessité de taille, la nouvelle pièce de vie est à parts égales ancienne et moderne, produisant un plan profond typique de ce genre d’extension. Une grande verrière de toit apporte de la lumière au centre de ce plan. Si la lumière du jour est nécessaire, le soir, le vide noir produit par la grande surface vitrée n’est pas souhaitable. En pensant à la salle de petit déjeuner de l’architecte John Soane à Lincoln’s Inn Fields, nous avons introduit des voûtes pour créer l’effet de pièces à l’intérieur de ce grand espace. Soane a toujours inséré des pièces imaginaires dans des espaces existants. La lumière se répand sur elles. Nous avons réalisé les travaux de charpente en acier nécessaires pour que cette nouvelle pièce devienne un élément figuratif dans l’espace. Cette figure se trouve à la jonction entre l’ancienne maison et l’extension. Il s’agit d’une structure arborescente dont les poutres s’étendent à partir d’une colonne centrale dans trois directions - soutenant le mur arrière existant de la maison sur toute sa longueur, attrapant les extrémités du premier étage en plancher suspendu et s’étendant jusqu’à la toiture chaude de notre nouvelle construction. Elle se trouve au centre du grand espace de vie ouvert et a pour fonction de diviser le ‘plan ouvert’ souhaité en trois espaces de taille plus confortable : la cuisine, la salle à manger et l’espace de vie autour de la cheminée. L’architecte vénitien Carlo Scarpo a été une référence pour la réalisation des murs extérieurs. Nous nous sommes intéressés en particulier à son utilisation de la stratification pour construire une archéologie fictive dans son architecture. Nous avons exploré ce langage dans l’articulation d’un mur de maçonnerie contemporain, stratifié dans sa construction pour des raisons de performance thermique. Le mur est constitué d’une série de mouvements édiculaires, créant une ambiguïté entre l’intérieur et l’extérieur, la clôture et l’ouverture. Le mur de l’espace de vie est pensé comme une multitude de petits espaces, comme un collier de pièces miniatures.

A planta desta casa e o nosso projecto de ampliação, aproximam-se da forma de um quadrado perfeito. Isso remete-nos para as plantas que fizemos no início do nosso percurso, na procura de uma logica interna perfeita. Porém, actualmente, a nossa intensão é muito diferente. Ao trabalhar com o tecido existente, não fazemos ampliações, mas optamos por responder através de uma adição, que representa um novo todo que se constrói ao longo do tempo, através da adição de muitas partes, e que permanece incompleto, na expectativa de novas adições. Desta forma, o trabalho com o tecido existente tempera a forma como pensamos o fazer arquitectura. Nós trabalhamos em diálogo com os autores dos edifícios pré-existentes, que partilhamos. Por razões de programa, a área do projecto surge como resultado directo do limite da possível área de construção ditada pela legislação de planeamento. Por necessidade de escala, a nova sala da família é desenvolvida em partes iguais, entre o espaço antigo e o espaço novo, que se reflecte de forma clara na planta final. Uma grande clarabóia garante a entrada de luz no centro da sala e muito embora a luz do dia seja necessária, o vazio escuro produzido pela grande superfície de vidro à noite, é desejável. A pensar na sala de pequenos-almoços do arquitecto John Soane no Lincoln’s Inn Field, introduzimos abóbadas para representar quartos dentro deste grande espaço. Tal como Soane introduzia espaços em espaços existentes, apropriados pela luz. A nova estrutura de suporte construída em ferro, confere um novo caracter figurativo ao espaço, e estabelece a relação entre a antiga casa e a adição que propomos. Uma estrutura semelhante à de uma árvore, com vigas que se estendem em três direcções a partir de um pilar central. Uma viga que suporta a parede do fundo da casa ao longo de todo o seu comprimento, uma outra as extremidades suspensas em madeira pré-existente no primeiro andar e outra ainda que confere o limite do telhado da nova construção. Centrada no grande espaço da nova sala de estar em plano aberto, a estrutura representa simbolicamente uma divisão espacial do espaço em três mais pequenos de caracter e uso diferenciado: a cozinha, a sala de jantar e a sala de estar junto da lareira. A clara influência do arquitecto veneziano Carlo Scarpa, é evidente nas paredes exteriores da adição construída. Em particular, interessou-nos o seu uso habitual de estratificação para construir uma arqueologia fictícia na sua arquitectura. Exploramos essa linguagem na articulação de uma parede de alvenaria contemporânea, estratificada na sua construção pela necessidade de desempenho térmico. A parede é resolvida por uma série de momentos que conferem uma ambiguidade entre o espaço interior e exterior, o seu encerramento ou abertura. A parede voltada para a sala de estar é pensada como uma infinidade de espaços menores, como um colar de quartos em miniatura.

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DETAIL

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01. Roof Construction: V profile pressed aluminium gutter, waterproof membrane 5mm; insulation laid to falls 150mm; vapour control layer; wpb plywood deck 18mm; p.o.a. softwood timber joists 225mm 400mm c/c; precast concrete u-block ring beam; plywood fins scribed to ceiling profile; gypsum board 12.5mm; plaster. 02. Facade Construction: Load bearing clay brick inner leaf 225mm; partial fill cavity Wall insulation 140mm; galvanised metal wall ties 400mm c/c; clay brick outer leaf 100mm; lintels to openings either in pre cast concrete 75mm or steel I sections 150x150mm; hard wood timber windows. 03. Floor Construction: Concrete screed, power floated, 90mm; Insulation 110mm; radon barrier lapper with dpc; concrete floor slab 200mm; sand binding 25mm; compacted hardcore.

031

2016-2019 033

WAREHOUSE PORTOBELLO Dublin, Ireland

In this renovation of an existing industrial warehouse the house is thought of as a piece of city. A ground floor of family rooms is anchored by a large space, a sort of rumpus room, its purpose not completely defined. It is double height and lit from above. And like a small city square its edges contain apartments for the family to look onto this space. The generosity of this space preserves the warehouse character and describes our ambition to create a gregarious architecture. Located to the rear of an 18th century terrace of houses the existing shed structure is simple and elegant. Constructed with minimal means in block-work and steel it is a space defined by the span of its roof. Below the roof some walls are removed with new suspended floors requiring props at points. We make as few as is possible to minimise groundworks. The budget is small. Constructed as a family consisting of columns, staircases and cabinets these props are arranged scenographically establishing the backdrop to the life of the house. Walls at first floor are constructed as timber trusses made in conversation with the existing steel ladder trusses opening up light and long views across the house. Shutters open through these screens to the living room below. A polycarbonate curtain will provide a further layer as required for privacy with the growing life of the family. Internally new and old are unified in the thickness of paint. With little budget available the exterior was finished in a silver paint. In its reflections are highlighted the small relief of marks made in cutting new openings through the existing facade.

ORIGINAL TEXT

Dans cette rénovation d’un entrepôt industriel existant, la maison est pensée comme un fragment de ville. Un rezde--chaussée de pièces de vie est ancré par un grand espace, une sorte de salle de jeux, dont l’usage n’est pas complètement défini. Il a une grande hauteur sous plafond et est éclairé par le haut. Et comme un petit square de ville, il est entouré d’appartements pour la famille, qui donnent sur cet espace. Les grandes dimensions de l’espace préservent le caractère d’entrepôt et reflètent notre ambition de créer une architecture conviviale.

Na renovação deste armazém industrial pré-existente, a casa é pensada como um pedaço da cidade. Um piso térreo de espaços de uso comum é ancorado num grande espaço, uma espécie de sala de uso polivalente de pé direito duplo e iluminação zenital, cuja finalidade não é completamente definida. Tal como numa pequena praça de uma cidade, os limites acolhem quartos que se abrem para esse mesmo espaço. A generosidade do espaço preserva o carácter de armazém e representa a nossa ambição de criar uma arquitectura gregária.

Située à l’arrière d’une série de maisons du 18ème siècle, la structure du hangar existant est simple et élégante. Construite avec des moyens réduits en parpaings et en acier, c’est un espace défini par la portée de son toit. Sous le toit, certains murs sont abattus et les nouveaux planchers suspendus nécessitent d’étais à certains endroits. Nous en utilisons le moins possible pour minimiser les travaux de terrassement. Le budget est réduit. Construits comme une famille composée de colonnes, d’escaliers et d’armoires, ces accessoires sont disposés de manière scénographique et constituent la toile de fond de la vie de la maison.

Localizado nas traseiras do terraço de um conjunto de casas do século XVIII, a estrutura pré-existente do armazém, é simples e elegante. Construído com recursos mínimos, blocos de cimento e ferro, é um espaço que se define pelo vão da sua cobertura. Abaixo do telhado, algumas paredes são removidas, e novos pisos suspensos exigem escoras em determinados pontos. Considerando o pequeno orçamento disponível, tentamos ao máximo minimizar os trabalhos de base. Construído como uma família composta por pilares, escadas e armários, estes mesmo elementos são dispostos de forma cenográfica como num teatro.

Les murs du premier étage sont construits à partir de poutres en bois qui communiquent avec les poutres en treillis en acier existantes, laissant entrer la lumière et offrant une vue dégagée sur la maison. Des volets s’ouvrent à travers ces écrans vers le salon situé en dessous. Un rideau en polycarbonate fournira une couche supplémentaire selon les besoins d’intimité de la famille.

As paredes do primeiro andar, em treliças de madeira, estabelecem um diálogo directo com as treliças de aço existentes nas escadas, e permitem uma luz difusa e uma leitura global da casa, através também das portadas dos quartos no piso superior, que se abrem para a sala de estar no piso inferior. Ainda nos quartos, as paredes em policarbonato garantem a camada adicional que confere privacidade às exigências da vivencia do dia a dia, pela família.

À l’intérieur, le neuf et l’ancien sont unifiés par la peinture. Avec le peu de budget disponible, l’extérieur a été revêtu d’une peinture argentée. Dans ses reflets, les petits reliefs des traces laissées lors de la découpe de nouvelles ouvertures dans la façade existante sont mis en évidence.

No interior, os materiais novos e pré-existentes são unificados através da espessura das tintas aplicadas. No exterior é usada uma pintura prateada, cujo reflexo destaca as marcas do corte, consequentes das novas aberturas na fachada pré-existente.

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01. Terrace Construction: Concrete paving slabs; adjustable paving support pads; waterproof membrane, 4.5mm; insulation laid to falls 150mm; vapour control layer; wpb plywood deck 18mm; softwood timber joists 225mm; gypsum board 12.5mm; plaster

02. Wall Construction: Plaster, skim finish 3mm; insulated plasterboard 100mm; existing blockwork wall & external render

03. Floor Construction: Concrete screed, power floated, 90mm; insulation 50mm; radon barrier with dpc; concrete floor slab 200mm

2014-2021 045

ATCOST 1+2 Somerset, England

The duration of a project is worth thinking about. Does it start with the first inclination in the mind of a client, or before this maybe - In the potentials of a site? This project went through many lives, starting out as multiple houses, then a house, then a gallery. Each in turn remaining unbuilt. Brexit, economics and more intervened. The project died on multiple occasion, and yet it didn’t. There can be a despair at this contingency of architecture, the loss of ideas hard worked for, and we felt this too. In time however we learned that these were not dead ends, or abortive thinking, but that ideas had walked their way into other projects - promiscuous and unruly. In its final form that you see here this is a project for Drawing Matter - an archive of architectural drawings and other materials which occupies an adjacent building on the farm. Drawing Matters growing ambitions led to a need for more space for its expanding programme for education, away days, community events and occasional performances of opera or drama. We noticed that the vast majority of these activities take place in Summer and so proposed an infrastructural architecture - adjusting the existing barn with the minimum necessary to enable its inhabitation. Eager to do as much as we could with as little as possible we drew a line, allowing the building to remain perpetually unfinished - so that it might inspire ad-hoc completion by those who use it. Clearing out the existing barn we exposed its figurative central concrete portals, making a theatrical facade which addressed a larger, unweathered volume. This facade, as a backdrop, contains a kitchen, circulation, toilets and other services. It also acts to divide the remaining part of the barn into two floors - a lower weathered area for archival storage of models, and a permeable space above to host dinners, talks, classes, impromptu events and can be transformed to act as an exhibition space, or a changing area for productions addressing the larger space. Given the very limited budget of £200,000 we used what was to hand, the materials already on site repurposed, and skills found in the local town. The building itself presents as something in formation, scaffold is used for barriers and handrails, and a bricolage of materials found in the yard to make its enclosure. Trusting the conversation with the site to provide the solution in each case, the design was a case of improvisation, refinement and editing, with a constant pairing back to what was essential.

ORIGINAL TEXT

La durée d’un projet mérite de l’attention. Commence-t-il avec la première idée qui vient à l’esprit d’un client, ou avant cela peut-être – dans le potentiel d’un lieu? Ce projet a connu plusieurs vies, commençant par plusieurs maisons, puis une seule maison, puis une galerie – chacun de ces projets n’étant jamais réalisé. Le Brexit, l’économie et d’autres facteurs sont intervenus. Le projet a échoué à plusieurs reprises, et pourtant, il n’est pas mort. On peut être désespéré par cette condition de l’architecture, par la perte d’idées pour lesquelles on a travaillé, et nous l’avons aussi ressenti. Avec le temps, cependant, nous avons appris qu’il ne s’agissait pas d’impasses ou de pensées abandonnées, mais que les idées s’étaient frayées un chemin dans d’autres projets, de manière libertine et indisciplinée. Dans sa forme finale que vous voyez ici, c’est un projet pour Drawing Matter - une archive de dessins d’architecture et d’autres matériaux qui occupe un bâtiment adjacent à la ferme. Les ambitions croissantes de Drawing Matter ont conduit à un besoin d’espace supplémentaire pour son programme grandissant d’éducation, de sorties, d’événements de communauté et d’occasionnels spectacles d’opéra ou de théâtre. Nous avons remarqué que la grande majorité de ces activités se déroulent en été et avons donc proposé une architecture infrastructurelle - en adaptant la grange existante avec le minimum nécessaire pour permettre son habitation. Voulant en faire le plus possible avec le moins possible, nous avons établi des limites, permettant au bâtiment de rester perpétuellement inachevé - afin qu’il puisse inspirer une réalisation ad hoc par ceux qui l’utilisent.

Vale a pena pensar na duração de cada projecto. Será que começa com a primeira intensão de um cliente, ou talvez mesmo no potencial de cada espaço? Este projecto passou por várias fases, desde várias casas a uma casa, e posteriormente uma galeria. Cada uma por sua vez, não construída. Brexit, dificuldades económicas, entres outras razoes, fizeram com que o projecto morresse em várias ocasiões, e mesmo assim permanecesse. Pode haver um certo desespero nesta condição da arquitectura e a perda de ideias nas quais se trabalhou arduamente, o que de facto sentimos por vezes. No entanto, com o tempo, aprendemos que não foram pensamentos abortivos ou becos sem saída, e que as ideias se reflectiriam noutros projectos - promíscua e indisciplinadamente. O projecto final que apresentamos foi feito para a Drawing Matter - um arquivo de desenhos arquitectónicos e outros materiais, que ocupa um prédio adjacente à quinta. As ambições crescentes do Drawing Matters levaram à necessidade de mais espaços em resposta ao programa de expansão educativo, viagens, eventos comunitários e apresentações ocasionais de ópera ou drama. Constatámos que a grande maioria destas actividades decorreria no Verão e por consequência propusemos uma arquitectura infra-estrutural - adequando o celeiro pré-existente com a mínima intervenção possível e que permitisse o seu uso. Com a ambição de fazer o máximo com o mínimo, determinamos uma estratégia para que o edifício permanecesse perpetuamente inacabado – e pudesse inspirar a conclusão ad hoc por aqueles que o usassem.

En vidant la grange existante, nous avons exposé ses portails centraux figuratifs en béton, créant une façade théâtrale qui s’adresse à un volume plus grand, non dégradé. Cette façade, comme une toile de fond, contient une cuisine, des passages, des toilettes et d’autres services. Elle sert également à diviser la partie restante de la grange en deux étages - une zone inférieure patinée pour le stockage des archives de modèles et un espace perméable au-dessus pour organiser des dîners, des conférences, des cours, des événements impromptus et qui peut être transformé pour servir d’espace d’exposition ou de vestiaire pour les productions s’adressant à l’espace plus grand.

Ao limpar o celeiro, expusemos os portais centrais figurativos em betão, que resultaram numa fachada teatral que por sua vez acolhia um volume maior e intemperado. Esta fachada, como pano de fundo, acolhe uma cozinha, áreas de circulação, instalações sanitárias e outros serviços, e representa simultaneamente a divisão do restante do celeiro em dois pisos - uma área inferior climatizada para armazenamento de maquetes, e um espaço superior permeável, para receber jantares, conferencias, aulas e eventos improvisados, com a possibilidade de poder ser transformado para funcionar como espaço expositivo, ou camarins para produções que se realizem no espaço maior.

Compte tenu du budget très limité de 200 000 £, nous avons utilisé ce qui était à portée de main, les matériaux déjà présents sur place ont été réutilisés et les savoir-faire ont été trouvés dans la ville locale. Le bâtiment lui-même se présente comme une chose en cours de réalisation, des échafaudages sont utilisés pour les barrières et les rampes et un bricolage de matériaux trouvés dans la cour ont servi à construire son enceinte. En faisant confiance au dialogue avec l’endroit pour trouver la solution dans chaque situation, le design a été un cas d’improvisation, de raffinement et de rédaction, avec un constant retour à l’essentiel.

Dado o orçamento muito limitado de £200.000, recorremos e reaproveitamos de forma simples e imediata os materiais existentes e os recursos presentes na cidade local. O edifício apresenta-se como um elemento em constante transformação. Os andaimes são utilizados como guardas e corrimões, e uma montagem com os materiais encontrados no pátio fazem o seu enclausuramento. Confiando no diálogo com o local para encontrar a solução em cada caso, o desenvolvimento do projecto é o resultado directo do improviso, ajuste e edição, numa constante e simultânea harmonização com o entendido como essencial.

CLANCY MOORE ARCHITECTS

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2018 - 2021 055

AILESBURY Dublin, Ireland

Sometimes you don’t need to add space to transform a house. In this project a previously modified Victorian house was renovated, with minimal increase in floor area. Our work to the rear is less an addition than it is a weaving, building on a careful consideration of the site as we found it. An existing series of deep and low ceiling rooms made for a dark and unusable heart to the house - the only resonant space offered was a PVC bay window, in bad disrepair. We enjoyed its ambiguity - both the way a bay window can be part of yet apart from a larger room, and the external spaces captured within the fold of its geometry. This ambiguity between inside and outside and the individual within a community was part of the conversation with our clients when we discussed how they might inhabit the large family room they wished to make at the centre of their new home. Our addition to the existing property is considered as an elaborated bay window. The design is made in a series of smaller bay windows and roof lights which imply rooms of various scale in a larger open plan space. The rear wall of the house is propped at the first floor level by a steel column which opens up the existing rooms to the back of the house as one large living space. This structural figure anchors the spaces surrounding it. In spite of the terrace, each of these ‘rooms’, for cooking, gathering, eating and relaxing, is lit from all directions. The geometry of bay windows and rooflights draws light deep into the plan and opens up long views to the garden and other rooms within the house.

ORIGINAL TEXT

Parfois, il n’est pas nécessaire d’ajouter de l’espace pour transformer une maison. Dans ce projet, une maison victorienne qui avait déjà été modifiée a été rénovée, en augmentant que très légèrement la surface au sol. Notre travail à l’arrière de la maison est un ajout plutôt qu’un tissage, basé sur une analyse minutieuse du site tel que nous l’avons trouvé. Une série de pièces profondes et basses de plafond formait un cœur de maison sombre et inutilisable - le seul élément d’ouverture présent était une baie vitrée en PVC, en mauvais état. Nous appréciions son ambiguïté - à la fois la façon dont une baie vitrée peut faire partie d’une pièce plus grande et en être séparée, et les espaces extérieurs capturés dans le pli de sa géométrie. Cette ambiguïté entre l’intérieur et l’extérieur ainsi que l’individu au sein d’une communauté a alimenté la conversation avec nos clients lorsque nous avons abordé la manière dont ils pourraient habiter la grande pièce de vie qu’ils souhaitaient placer au centre de leur nouvelle maison.

Nem sempre é necessário adicionar um espaço para transformar uma casa. Este projecto consistiu na renovação de uma antiga casa vitoriana previamente alterada, com um aumento mínimo da área útil. O nosso trabalho nas traseiras da casa representa mais uma composição, com base numa cuidada consideração do local pré-existente, do que uma adição. Uma série de espaços profundos, com pé direito reduzido, representavam o coração escuro e inutilizado da casa, com uma única presença diferenciadora: uma janela de sacada de PVC, em péssimo estado de conservação. Interessou-nos a sua ambiguidade tanto na forma como uma janela de sacada pode ser parte de uma sala maior, quanto nos espaços externos resultantes da sua geometria. Essa ambiguidade entre o interior e o exterior, e o indivíduo dentro de uma comunidade, foi parte constante no dialogo com os clientes ao longo da discussão sobre as novas possibilidades no habitar da grande sala que desejavam no centro da casa.

Notre ajout à la propriété existante est pensé comme une baie vitrée sophistiquée. Le design est basé sur une série de petites baies vitrées et de puits de lumière qui laissent entrevoir des pièces de différentes tailles dans un seul grand espace ouvert. Le mur arrière de la maison est soutenu au niveau du premier étage par une colonne en acier qui ouvre les pièces existantes vers l’arrière de la maison pour en faire un grand espace de vie. Cette figure structurelle ancre les espaces qui l’entourent. Malgré la structure, chacune de ces “pièces”, où l’on cuisine, se réunit, mange et se détend, est éclairée de tous les côtés. La géométrie des baies vitrées et des puits de lumière fait entrer la lumière dans le volume et dégage la vue sur le jardin ainsi que sur les autres pièces de la maison.

A nossa adição à propriedade existente é considerada como uma janela de sacada complexa. O projecto é desenvolvido através de uma série de pequenas janelas salientes e clarabóias que resultam em salas de várias escalas e num grande espaço aberto. A parede traseira da casa é apoiada ao nível do primeiro andar num pilar de ferro que se abre para os espaços existentes como um grande espaço de estar. Essa figura estrutural ancora os espaços circundantes. Apesar do terraço, cada uma dessas ‘salas’, quer seja para cozinhar, estar, comer ou relaxar, é iluminada em todas as direcções. A geometria das janelas de sacada e clarabóias permite não só a entrada de luz de forma difusa no espaço, como uma simultânea vista sobre o jardim e os outros espaços presentes.

CLANCY MOORE ARCHITECTS AILESBURY

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01. Roof Construction: Waterproof membrane 5mm; insulation laid to falls 150mm; vapour control layer; wpb plywood deck 18mm; softwood timber joists 225mm; gypsum board 12.5mm; plaster.

02. Glazed Screen Construction: Steel angle fixed to timber roof; full length aluminum window system; steel angle fixed to ground support slab; gravel filled french drain.

03. Floor Construction: Concrete screed, power floated, 100mm; insulation 110mm; radon barrier with dpc; concrete floor slab 200mm; compacted hardcore.

2011 - 2013 067

VITA CENTRE Roscommon, Ireland

The building is an extension and renovation of a detached townhouse on Abbey Street in Roscommon town. It provides counseling rooms and a large meeting hall for the holistic counseling centre called Vita House and the broader community. The site is highly sensitive as it overlooks the town’s primary church, the Sacred Heart Cathedral, while the existing building is part of an architectural conservation area. The design arises from the client’s desire to create a peaceful welcoming place which can be a central part of community life. The design therefore seeks to be a ‘good neighbour’, inspired in part by the simple pitched roofs and rectangular windows on the road as well as by 18th century buildings like the City Assembly House in Dublin which contain a variety of unexpected spaces behind modest exteriors. The reserved exterior allows the church to continue to dominate the surroundings and relies on subtle tectonic details and asymmetries for richness. The simple volume belies the variety rooms within including a large meeting space whose domed ceiling and serene atmosphere allude to the religious associations of the client organization and the neighbouring parish church.

ORIGINAL TEXT

Le bâtiment est une expansion et une rénovation d’une maison détachée sur Abbey Street dans la ville de Roscommon. Il abrite des salles de conseil et une grande salle de réunion pour le centre de conseil holistique appelé Vita House, ainsi que la communauté environnante.

O edifício é uma extensão e renovação de uma casa geminada na Abbey Street, na cidade de Roscommon, que acolhe salas de aconselhamento e um grande espaço de reuniões do centro de aconselhamento holístico para a comunidade, designado por Vita House.

Le lieu est très sensible car il surplombe l’église principale de la ville, la cathédrale de Sacred Heart, et le bâtiment existant fait partie d’une zone de conservation architecturale. Le design découle du désir du client de créer un lieu paisible et accueillant qui puisse être un élément central de la vie en communauté.

O local é extremamente delicado. Além da vista para a principal igreja da cidade, a Catedral do Sagrado Coração, o edifício existente esta inserido numa área protegida.

Le design cherche donc à être un “bon voisin”, inspiré en partie par les toits en pente simples et les fenêtres rectangulaires de la rue, ainsi que par les bâtiments du XVIIIe siècle comme la City Assembly House à Dublin, qui contiennent une série d’espaces surprenants derrière des extérieurs modestes. L’extérieur discret permet à l’église de continuer à dominer les environs et s’appuie sur des détails tectoniques subtils et des asymétries pour apporter de la richesse. Le volume simple dissimule la grande variété de pièces qu’il contient, notamment un grand espace de réunion dont le plafond en forme de dôme et l’atmosphère sereine font allusion aux aspects religieux de l’organisation cliente et de l’église paroissiale voisine.

O projecto surge do desejo do cliente em proporcionar um espaço acolhedor e tranquilo à vida da comunidade. Por sua vez, o projecto procura ser um ‘bom vizinho’, inspirado em parte quer nos simples telhados inclinados e janelas rectangulares comuns, quer por edifícios do século XVIII, como a Câmara Municipal de Dublin, que escode uma variedade de espaços inesperados por trás de exteriores modestos. O exterior discreto permite que a igreja continue a dominar formal e visualmente o local, considerando, no entanto, detalhes subtis e assimetrias que lhe conferem uma certa riqueza. O volume aparentemente simples esconde as inúmeras salas presentes no seu interior, incluindo um grande espaço de reunião cujo tecto abobadado e ambiente sereno, aludem às associações religiosas da organização cliente e à igreja paroquial vizinha.

RYAN W. KENNIHAN ARCHITECTS VITA CENTRE

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SECTION A

RYAN W. KENNIHAN ARCHITECTS

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16.

355x430mm fair-faced, cast in-situ concrete barge Selected natural slates on treated sw timber battens, (cross battened) Breathable sarking felt on 13mm wbp plywood deck 125mm kingspan kooltherm k7 pitched roof board between 44x150mm rafters at 400 c/c. Rafters skew nailed to wallplate with 3 fixings 75x100mm wallplate shot fixed to ub at 800mm 254x146x37 ub. Refer to engineers drawing & specification 320 Wide fair-faced, cast in-situ concrete capping with 26 degree top face as shown Lead flashing to wbp plywood gutter WBP plywood upstand to form gutter fixed to ends of rafters Bitumen lined gutter 18mm plywood cut to profile as shown to provide form for plasterboard to dome 12,5mm foildbacked plasterboard fixed to plywood formwork to profile as shown, with skimcoat finish 44x150mm tie every third rafter refer to engineers drawings DPC cavity tray 44x150mm struts between ceiling joits 100x225mm stained sw framing piece to stained timber sheeting & dome refer to reflected ceiling plans

17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

20x100mm stained timber sheeting, neatly pinned to ceiling joists above 30x75mm stained sw framing piece to stained timber sheeting (15mm soffit shown only) External painted render Concrete blockwork laid on edge as part of 300mm standard cavity wall construction Skimcoat on 62,5mm kingspan kooltherm k17 insulated dry-lining board bonded to inner blockwork leaf 60mm kingspan kooltherm k8 cavity board and 40mm clear ventilated cavity DPC 200x100mm exposed, precast, fair-faced concrete lintel Concrete lintel, inner leaf Factory painted timber frame windows by nordic windows Painted sw framing piece to frame Expamet plaster stop bead to be used at all locations where plaster meets timber Painted sw framing piece to frame Pressed aluminium capping piece, to be sloped outwards by 5 deg. To lap over concrete ring beam and to be screw fixed to pressed stainless steel battens running across concrete @ 400mm centres Skirting board to detail 20mm kingspan kooltherm cavity board

33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49.

100x200mm exposed, cast in-situ, fair-faced concrete ringbeam 65x20mm solid oak floor boards to be stained 100mm concrete screed subfloor to contain underfloor heating throughout Precast hollowcore floorslab 100x44 sw studwork to carry stained timber sheeting below 59x150mm stained sw framing piece to stained timber sheeting (44mm soffit shown only) 120mm exposed, cast in-situ, fair-faced concrete plinth, plinth to run from cill level to ground level Rubble wall set 50mm below concrete plinth oin blockwork rising wall External leaf of wall to be tanked with bitumen below ground level to perimeter of building Cavity to rubble wall to be drained vertically with hydroduct cf20 dimpled cavity membrane Geotextile membrane (to exclude topsoil from drainage zone) on pebble/aggregate drainage zone to perforated/porus land drain set in lean concrete mix Selected gravel to drain 100mm land drain surrounded with pea gravel and wrapped in geotextile membrane 75mm concrete screed subfloor to contain underfloor heating throughout 2no. Layers of 75mm kingspan kooltherm k3 floorboard All joints to be crossed, visiqueen plyethelene dpm/radon barrier installed to manufacturers instructions 150mm reinforced concrete slab on 50mm concrete blinding on consolidated fill

VITA CENTRE

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2012 - 2014 077

LEAGAUN HOUSE Galway, Ireland

Une nouvelle maison de ferme pour la campagne de Galway.

Uma nova quinta para a zona rural de Galway.

This house begins with the vernacular Irish farmhouse typology, which exists throughout the surrounding landscape.

Cette maison est basée sur la typologie traditionnelle des fermes irlandaises qui se trouvent dans le paysage environnant.

While the design adopts the simple volumes and courtyard based organization of this robust and useful typology, it evolves a new expressive tectonic language. Here the traditional ringbeam is exposed and incorporates other functions such as water collection and lateral thrust resistance allowing for an open, unbraced timber roof. The structure is therefore responsive to not just the demands of gravity but also to the climate, the local building cultures and traditional materiality.

Le design adopte les volumes simples et la disposition autour d’une cour de cette typologie robuste et utile, tout en développant un nouveau langage tectonique très expressif. Ici, les poutres maîtresses traditionnelles sont mises à nu et intègrent d’autres fonctions telles que la captation d’eau et la résistance à la pression latérale, ce qui permet d’avoir un toit en bois ouvert, sans armature. La structure répond donc non seulement aux exigences gravitationnelles, mais aussi au climat, aux cultures de construction locales et aux matériaux traditionnels.

Esta casa tem como base a tipologia vernacular comum das quintas irlandesas, que existe em toda a circunstância envolvente.

A new farmhouse for the Galway countryside.

The typical south facing sheltered courtyard is lined with a shallow colonnade connecting inside and out through a deep threshold. This formal element faces the crisply manicured and perfectly square courtyard set in contrast to the wild field beyond. The finishes reflect the rural character of the house with a slate tile roof, white lime washed walls and a rough cast concrete finish. The house sits quietly in a field adjacent to Lough Corrib, familiar and yet distinctly unique.

ORIGINAL TEXT

La cour couverte typique, orientée vers le sud, est délimitée par une colonnade étroite qui relie l’intérieur et l’extérieur par un seuil profond. Cet élément formel fait face à la cour parfaitement carrée et parfaitement entretenue, qui fait contraste avec le champ sauvage qui l’entoure. Les finitions reflètent le caractère rural de la maison avec un toit en tuiles d’ardoise, des murs blanchis à la chaux et une finition en béton coulé brut. La maison se tient paisiblement dans un champ adjacent au Lough Corrib, familière et pourtant incontestablement unique.

O projecto adopta os volumes simples e a organização baseada no pátio desta tipologia robusta e útil, e desenvolve uma nova linguagem tectónica expressiva. As tradicionais vigas são expostas e assumem outras funções, como a colecta de água e o reforço lateral, permitindo um telhado de madeira aberto e sem contra aventamento. A estrutura responde, portanto, não só às exigências da gravidade, mas também ao clima, às culturas locais de construção e à materialidade tradicional. O tradicional pátio abrigado, virado a sul, é delineado por uma colunata rasa que estabelece a ligação entre o interior e o exterior num limiar profundo. Um elemento formal, de frente para o pátio, perfeitamente quadrado, em contraste com o campo selvagem circundante. Os acabamentos reflectem o carácter rural da casa, com telhado revestido a ardósia, paredes caiadas de branco e alguns elementos de betão em bruto. A casa situa-se de forma tranquila, familiar e ainda que de forma distinta, num campo adjacente ao Lough Corrib.

RYAN W. KENNIHAN ARCHITECTS

RYAN W. KENNIHAN ARCHITECTS LEAGUAN HOUSE

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GROUND FLOOR PLAN

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01. Roof Build Up: ‘Tegral thrutone-plus blue-black’ slates on 50x25mm battens on 50x25mm cross battens on breathable sarking felt on 13mm plywood on 150mm Kingspan rigid insulation on vapour check on 13mm plywood on 25x30mm Douglas fir battens on 60x150 C16 grade American Douglas fir rafters. 02. Gutter formed with 2no. layers of paralon on 18mm WBP plywood laid to fall to downpipes. 03. Pressed alumium capping piece, to be sloped to gutter by 5 deg. and to be bonded to top of concrete parapet. 04. DPM tanking layer to inner face outer beam. 05. 800x400mm board marked concrete beam to engineers specification with rebar quantity of 180Kg/m3. Refer to schedule of works for beam construction & specification. 06. 75mm rigid insulation set between internal and external beams.

07. 300x145mm board marked concrete beam with rebate to bottom face to take window - refer to schedule of works for beam construction & specification. 08. Rebated drip in beam between columns. 09. Large glazed slider to be supplied & fitted by nominated supplier, Nordic windows. 10. External column formed in concrete and rendered to match external wall to engineers specification. 11. Floor Build Up: 100mm power floated concrete screed containing underfloor heating to be painted with approved concrete floor paint on separating layer on 100mm rigid insulation on DPM/radon barrier on 150mm concrete slab on 50mm slab blinding on 200mm hardcorerefer to schedule of works for floor finish specification. 12. Continuous DPC between door frame rising wall.

13. External Floor Build Up: 100mm power floated concrete screed to slope to line drain, to be painted with approved concrete floor paint to match internal floor on sand blinding on compacted hardcore. 14. ‘ACO’ ‘doorway drain’ with stainless steel grating to be set in screed. 15. Face of external floor to be board marked concrete to be level with plinth around the perimeter of the house. 16. Blockwork rising wall. 17. 20mm Kingspan kooltherm rigid insulation to turn up along screed. 18. High gauge DPM/radon barrier to lap up around edges and under DPC. 19. Rising blockwork wall widens in locations to support columns beyond. 20. Concrete raft foundation to engineers specification to contain a 142 mesh.

RYAN W. KENNIHAN ARCHITECTS

NORTHEAST ELEVATION

LEAGAUN HOUSE

085

2015 - 2017 087

ST. CATHERINE’S HOUSE Dublin, Ireland

While many extensions to the typical two-up-two-down house create an aesthetic division between old and new, we wanted to blur the lines between these conditions.

Our approach was surgical. Through a series of cuts and openings in the existing, visual connections are created from the street to the new extension to the garden beyond. The existing rear room was stripped of its plaster to expose the brick construction, relating it to the new brick extension. The shared structuring material of concrete links old and new together spatially and materially. The result of these blending interventions is a series of characterful and livable rooms that are knitted together but each distinct as its own space.

Si de nombreux agrandissements de maisons typiques à deux étages créent une division esthétique entre l’ancien et le nouveau, nous avons voulu brouiller les lignes entre ces deux états. Notre approche était chirurgicale. Grâce à une série de coupes et d’ouvertures dans les éléments existants, des connexions visuelles sont créées entre la rue, la nouvelle extension et le jardin. La pièce arrière existante a été débarrassée de son plâtre pour mettre à nu la construction en brique, la reliant ainsi à la nouvelle extension en brique. Le matériau structurel commun qu’est le béton relie ainsi l’ancien et le nouveau dans l’espace et sur le plan matériel. Le résultat de ces interventions de fusion est une série de pièces habitables et de caractère, qui sont liées les unes aux autres mais dont chacune est distincte en tant qu’espace indépendant.

Embora muitas ampliações das típicas casas Two-up twodown1 criem uma divisão estética entre o antigo e o novo, queríamos dissipar ao máximo essas mesmas condições. A nossa abordagem foi cirúrgica. Através de uma série de cortes e aberturas no pré-existente, foram estabelecidas relaçoes visuais desde a rua até a nova extensão e ao jardim. Foi retirado o reboco da parede pré-existente tardoz, para expor a construção em tijolo, estabelecendo-se de imediato uma relação com a nova construção em tijolo. A estrutura de betão à vista estabelece de forma imediata a ligação espacial e material entre o antigo e o novo. O resultado das intervenções com este caracter, consiste numa série de espaços habitáveis e com uma identidade particular que se relacionam entre si, embora mantenham de forma distinta cada um dos espaços.

Two-up two-down é um tipo de casa pequena com dois quartos no piso térreo e dois quartos no piso superior. 1

ORIGINAL TEXT

RYAN W. KENNIHAN ARCHITECTS

ST. CATHERINE’S HOUSE

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SECTION A

RYAN W. KENNIHAN ARCHITECTS

ELEVATION

ST. CATHERINE’S HOUSE

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2015 - 2020 095

BEACH ROAD HOUSE Galway, Ireland

Connemara is a windswept, roughhewn, and endlessly beautiful landscape. The commonly heard phrase, ‘four seasons in a day’ speaks to the ever present weather that can be both debilitating and invigorating but also creates a perpetually changing and extraordinary display of light and colour each day. Travelling west and leaving behind the town of Clifden, one arrives at the shores of the Atlantic and the distinct feeling of being at the edge of the earth takes hold. ‘Here be Dragons’.

In this sublime and tempestuous place we have made a house that is both a sanctuary from and celebration of the elements. Wide overhanging eaves spread a feeling of shelter around the building. Robust concrete buttresses resist both the thrust of the roofs and the rush of the wind. Yet the structure is responsive to the weather. The buttresses hold the gutters down from the eaves to open up a space for rain where one can see the rivulets fall from the corrugated steel. They also contain within them the downpipes, discharging the rain into twelve unique gulleys. The building resonates with vernacular form and material, with the common post facto abutments found in many rural buildings, and with the ‘ride’ at Russborough House where every turn of the rain is celebrated. The house is replete with simultaneity - it is both old and new, ordinary and sublime, familiar and unusual. The slender and delicate internal structure is the counterpoint to the muscular external concrete. In the large hall there is a play between this elegant tectonic and the abstract plane, between the curved form and the linear, between the repetitive and the singular. Bowed walls evoke the idea of sanctuary while making a space for dining and a space for food. The fireplace anchors the room and is made from the same stone as the surrounding field walls, recalling its agricultural past. In the end, the owners say they enjoy this ‘safe harbour’ most when it is raining, because it is then that the house comes alive.

ORIGINAL TEXT

Le Connemara est un paysage venteux, rugueux et d’une beauté infinie. L’expression courante “quatre saisons en un jour” fait référence à la météo omniprésente, qui peut être à la fois dévastatrice et vivifiante, mais qui crée aussi quotidiennement un spectacle de lumière et de couleurs extraordinaire et en perpétuel changement. En voyageant vers l’ouest et en quittant la ville de Clifden, on arrive sur les rives de l’Atlantique et la sensation particulière d’être au bout du monde nous envahit. “Hic sunt dracones”. Dans ce lieu sublime et tumultueux, nous avons construit une maison qui est à la fois un sanctuaire et une célébration des éléments. De larges avant-toits en surplomb répandent un sentiment d’abri autour du bâtiment. De robustes contreforts en béton résistent à la fois à la poussée des toits et au souffle du vent. Pourtant, la structure est réceptive aux intempéries. Les contreforts maintiennent les gouttières en bas des avant-toits pour créer un espace pour la pluie où l’on peut voir les gouttes tomber de la tôle ondulée. Ils contiennent également les tuyaux de descente, qui déversent la pluie dans douze ravins différents. Le bâtiment est en harmonie avec les formes et les matériaux locaux, avec les appuis ajoutés à posteriori que l’on retrouve dans de nombreux bâtiments ruraux, et avec le “manège” de Russborough House où chaque tour de pluie est célébré. La maison regorge de simultanéité - elle est à la fois ancienne et nouvelle, ordinaire et sublime, familière et inhabituelle. La structure interne, fine et délicate, est le contrepoint du robuste béton extérieur. Dans le grand hall, il y a un jeu entre cette tectonique élégante et le plan abstrait, entre la forme courbe et le linéaire, entre le répétitif et le singulier. Les murs en arc évoquent l’idée de sanctuaire tout en faisant de la place pour les repas et un espace pour la nourriture. La cheminée ancre la pièce et est faite de la même pierre que les murs des champs environnants, évoquant son passé agricole. Au final, les propriétaires disent apprécier ce “havre de paix” le plus lorsqu’il pleut, car c’est à ce moment-là que la maison prend vie.

Connemara é uma paisagem ventosa, tosca e infinitamente bela. A expressão vulgarmente associada “quatro estações num dia” reflecte o tempo que pode ao mesmo tempo ser debilitante e revigorante, mas também proporcionar uma extraordinária e constante mudança de luz e cor, em cada dia. Viajando para oeste e deixando para trás a cidade de Clifden, alcançam-se as margens do Atlântico e a sensação única de estar no limite da terra impera. “Aqui estão os dragões”. Neste lugar sublime e tempestuoso fizemos uma casa que é tanto um santuário quanto uma celebração dos elementos. Os amplos beirais salientes conferem uma sensação de abrigo ao redor do edifício. Os robustos contrafortes de betão resistem tanto ao impulso dos telhados quanto às rajadas de vento. No entanto, a estrutura é sensível ao clima. Os contrafortes suportam as caleiras do beiral que conduzem a chuva ate aos tubos de queda e nos quais se pode ver a água cair sobre o aço corrugado. O edifício assemelha-se à forma e a materiais vernaculares, presentes na Russborough House, na qual cada volta da chuva é celebrada. A casa está repleta de contrarieades - é velha e nova, ordinária e sublime, familiar e incomum. A estrutura e o espaço interior esbelto e delicado é o contraponto ao forte betão presente no exterior. Na grande sala de estar e jantar, há um jogo claro entre o plano tectónico elegante e o plano abstracto, entre a forma curva e linear, entre o repetitivo e o singular. Paredes curvas remetem para a ideia de santuário, ao mesmo tempo que criam um espaço para refeições e um espaço de preparação. A lareira é a ancora da sala e é feita da mesma pedra que as paredes do espaço circundante, relembrando o seu passado agrícola. No final, os proprietários dizem que gostam mais deste ‘porto seguro’ quando está a chover, porque é então que a casa ganha vida.

RYAN W. KENNIHAN ARCHITECTS BEACH ROAD HOUSE

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Roof to be finished with Sin 18 SE/ Sin 26 SE Lindab profiled metal roof sheeting in dark red Pitched roof breather membrane laid across the top of the insulation/battens layer Foam Infill End Closure Strip Corrugated Profile to be fit above timber blocking piece 44x70mm SW treated battens and to allow for helix screws to be fixed through metal roof sheeting and batten through to rafter below 150mm Kingspan rigid Xtratherm Thin-R XT PR rigid insulation Vapour check to outside of plywood sheeting to be taped with vapour check tape ate all laps and junctions with adjacent materials Rafters to be clad with two layers of plywood, inner layer to be 18mm birch veneered plywood running vertically with joints aligned behind rafters where possible to be finished with 2 coats of translucent white stain. Outer layer to be 18mm osb running horizontally in break bond pattern Rafters to be 38x219mm planed all over softwood at 300mm centres. To be finished with 2 coats of translucent white stain Rafters to be 38x219mm planed all over softwood at 300mm centres. To be finished with 2 coats of translucent white stain 18mm plywood Exposed blocking piece to be planed square (pao) and finished with 2no. coats of Danish Oil 2no. 75x100mm exposed Blocking piece, to be planed square (pao) and finished with 1no. Danish Oil 475x545mm reinforced fairfaced concrete beam

14. Planed softwood wall plate to be 38mm thick cut to angles indicated to align with roof and wall planes 15. 120mm Kingspan rigid Xtratherm XT insulation 16. Walls to be in 38x150mm planed all over studs at 300mm centers. To be finished with 2 coats of translucent white stain 17. 18mm birch veneered plywood sheeting running vertically with joints aligned behind rafters where possible. To be finished with 2 coats of translucent white stain above the plaster line 18. 2 no.84x225mm support timbers 19. Kingspan 120mm cavity closer along horizontal and vertical cavity ope of all new window and door opennings 20. Ope to be filled with rigid insulation to outside of cavity closer and plaster board to turn corner and run into side of timber door frame 21. Painted hardwood window frame continuously taped with vapour check tape at all edges back to internal vapour check ensuring an airtight seal. All doors and window to have 75mm steel flashing notched 15mm into frame 22. All window opes to be lined with DPC coursing on all sides Taped and laped at all junctions 23. 38x230mm Rafters, planed all over softwood at 300mm centres. To be finished with 2 coats of translucent white stain´ 24. 18mm hardwood strip on rigid insulation to close window ope at sill level 25. Outer leaf to be 100mm blockwork 26. 25mm sand cement render to outerleaf, with heavy nap finish to be painted with 3no. coats to Dulux weathershield

27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40.

Hardwood Bench by others 15mm plasterboard fixed to timber structure with 3no. coats to be painted eggshell white 2no. 38x150mm sole plates to be fixed to concrete upstand DPC coursing to pass between timber sole plates, to lap underneath vapour check to be taped and sealed at all junctions 18x100mm timber skirting to be fixed to timber studs behind, and to finish 3mm proud of plasterboard above New Finished floor in all new construction. Flooring to be 189x20mm engineered boarding with 6mm wearing layer of Oak of Natural grade allow 75euro sqM supply. Glued to reinforced 75mm screed with underfloor heating throughout 125mm of Kingspan rigid Xtratherm XT floor insulation with 35mm rigid Xtratherm edge insulation to edge of screed Concrete upstand 1200 guage Visqueen polyethelene DPM/ radon barrier lapped into outer leaf to level indicated Lindab K33 Steel Gutter Bracket, screw fixed to rafter to engineer’s specification and detail Corrugate roofing to finish level with underside of sawn timber rafter as shown Lindab 190mm Steel Half Round Gutter Alignment to be held here between underside of double timber beam, inner edge of timber window frame, underside of concrete beam and underside of gutter All Buttresses: 225mm thick fairfaced reinforced concrete buttress. All concrete to contain 50% GGBS

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2017 - 2020 109

BALTRASNA HOUSE Dublin, Ireland

The site for this house contained a ruined farmhouse and barns that had been in the family since the early 1800’s. Its layout was typical of the vernacular farmhouse type with a series of simple pitched roof volumes arranged around several yards that provide shelter from the coastal weather. These buildings and yards accumulate incrementally over generations with new structures added to accommodate new uses.

The initial client brief was to renovate the existing buildings – but we enjoyed the buildings as ruins. In their cob and stone walls, in the broken windows and weathered shutters, in the cast iron stove and stable hitches, in the egg boxes and broken books we could see the lives of those who had lived here before and could feel the slow passage of time. To renovate would be to erase the mysterious joy of the ruin. So we decided to add to the complex of buildings the way it had always happened in the past, with the addition of a single simple building. In the process we created a series of outdoor garden rooms within and between the existing buildings. The form and materials are intended to resonate with the surrounding buildings making a house that is simultaneously old and new. The construction is in simple block walls washed with mortar internally and all of the openings are glazed doors allowing one to move freely between new rooms and garden rooms. The simple pitched roof externally conceals a variety of ‘tented’ ceilings internally giving each room a unique character and playfulness.

ORIGINAL TEXT

Le terrain pour cette maison contenait une ferme en ruine et des granges qui étaient dans la famille depuis le début des années 1800. Sa disposition était typique du modèle de ferme traditionnelle avec une série de volumes à toit en pente simple disposés autour de plusieurs cours qui offrent un abri contre le climat de la côte. Ces bâtiments et cours s’accumulent au fil des générations et de nouvelles structures y sont ajoutées pour répondre aux nouvelles utilisations.

O terreno para este projecto, propriedade da família desde o início de 1800, compreendia uma quinta e celeiros em ruínas. O seu layout, típico de uma quinta vernacular e constituído por uma série de volumes com telhados inclinados simples, dispostos em torno de vários quintais, ofereciam abrigo ao clima costeiro local. Comstruçoes e pátios, que se acumularam ao longo de gerações, com a adição de novas estruturas para acomodar novos usos.

L’objectif de départ du client était de rénover les bâtiments existants - mais nous appréciions ces bâtiments en tant que ruines. Dans leurs murs de bauge et de pierre, dans les fenêtres cassées et les volets usés par le temps, dans le poêle en fonte et les attelages d’écurie, dans les boîtes à œufs et les livres cassés, nous pouvions entrevoir la vie de ceux qui avaient vécu ici auparavant et sentir le lent passage du temps.

A intenção inicial do cliente consistia na renovação dos edifícios existentes, mas nos gostamos dos edifícios como ruínas. Nas paredes de barro e pedra, nas janelas partidas e nas venezianas gastas, no fogão de ferro fundido e nos ganchos dos estábulos, nas caixas de ovos e livros estragados, sentimos a lenta passagem de Tempo e vida de quem ali teria vivido.

Rénover serait effacer la mystérieuse joie de la ruine. Nous avons donc décidé d’ajouter à l’ensemble des bâtiments, comme cela s’était toujours fait dans le passé, en ajoutant un seul bâtiment simple. Ce faisant, nous avons créé une série de salons de jardin extérieurs au sein de et entre les bâtiments existants.

Renovar, significaria, portanto, apagar a misteriosa alegria da ruína. Pelo que decidimos, da mesma forma que no passado, adicionar ao conjunto de construções um único e simples edifício. No processo, desenvolvemos uma série de salas de jardim exterior, dentro e entre as construções pré-existentes.

La forme et les matériaux sont choisis pour faire écho aux bâtiments environnants, créant ainsi une maison qui est à la fois ancienne et nouvelle. La construction est faite de simples murs en blocs revêtus de mortier à l’intérieur et toutes les ouvertures sont des portes vitrées permettant de se déplacer librement entre les nouvelles pièces et les salons de jardin. Vu de l’extérieur, le toit en pente simple dissimule une multitude de plafonds en forme de “tente” à l’intérieur, qui donnent à chaque pièce un caractère unique et ludique.

A forma e os materiais escolhidos, pretendem coexistir com as construções circundantes pré-existentes, cujo resultado é uma casa simultaneamente antiga e nova. A construção é feita em paredes de blocos simples e argamassa, e todas as aberturas são portas envidraçadas que permitem uma livre circulação entre os novos espaços e os espaços do jardim. O telhado inclinado aparentemente simples pelo lado exterior, esconde uma variedade de tectos interiores, que conferem a cada quarto um carácter único e divertido.

RYAN W. KENNIHAN ARCHITECTS BALTRASNA HOUSE

113

SECTION B

RYAN W. KENNIHAN ARCHITECTS

01. 20mm galvanized semi circle corrugated steel sheeting, colour to be confirmed, to form primary pitched roof surface, to be screw fixed with galvanized steel roofing screws with hex heads and steel washers, head and washers to be painted to match corrugated colour, with epdm rubber washer, at 600mm centres through battens 02. 44x75mm treated softwood cross battens to be laid at 600mm centres along all pitched roofs from ridge to eaves. To be screw fixed to treated sw battens beneath at sufficient intervals to ensure no movement, uplift, slippage, etc. Cavity created between corrugated and roof membranes to allow for continuous clear ventailation 03. 44x75mm treated SW battens running down roof from ridge to eaves at 400mm centres screw fixed with helical screws through to rafters below 04. Continuous Nilvent breather membrane installed to manufactures instructions, to top of insulation 05. 150mm Xtratherm XT/TF rigid pir insulation installed to manufacturers instructions ensuring tight fit between boards and no gaps 06. Rothoblass UD Double thread connector carbon steel with durocoat 07. Continuous Vapour check to be provided to underside of insulation to be installed to manufacturers instruction to achieve air tightness. Joints and junctions with adjacent materials to be lapped and taped with vapour tape, and allpunctures for servicing suspended ceilings, etc to be taped to ensure airtightness 08. 12mm marine grade plywood sheeting to be screw fixed to SW rafters, to be laid in a break bond pattern

09. 10. 11. 12. 13. 14. 15.

16. 17. 18. 19.

44x175mm softwood rafters@350mm centres 12,5mm plaster board, skimmed and painted with 3no. coats of matt emulsion 75x100mm SW wall plate to top of blockwork inner leaf to receive rafter above 140x150mm Reinforced concrete lintel at head of window. Lintel to have fairfaced concrete with no visible joint lines from shuttering on visible faces Damp Proof Course to be layed to level indicated on all edges of window frame between window and blockwork. DPC to be lapped and taped with at all junctions with DPM 75x12mm SW framing piece to conceal joint between window and blockwork. Framing piece to have 6mm routed shadow gaps where it meets block and window. Framing piece to be painted and finished to match window frames. All windows to be The VELFAC 200i Aluwood supplied and fitted by Teroco Windows and Doors, refer to window schedule. All windows to be fixed to outer leaf of blockwork cavity wall, with painted steel profilled sill to be fixed beneath window prior to external rendering. 9mm HW timber framing piece to be fixed to inner edge of window frame, painted to match window frame Painted 80mm power floated sand cement screed, sample of floor finish to be provided on site for approval prior construction Underfloor heating pipes to be layed in screed Polyethylene separating layer lapped up at edges and taped to adjacent walls 125mm Xtrathrem XT/UF Aluminium capped underfloor rigid insulation laid in break bond pattern to manufacturers instruction

20. Radon resisting 1200 High gauge DPM, laid in accordance with CP 102 with all joints lapped 150mm and sealed and lapped up and keyed in below dpc as per detail with external wall 21. 150mm reinforced concrete slab foundation to engineers specification and drawings 22. 50mm Sand blinding layer 23. Well compacted hardcore, in layers not exceeding 150mm to a minimum depth of 300mm 24. Blockwork courses layed on flat to support cavity wall above 25. Continuous reinforced cast concrete strip foundation footing 26. New gable to be constructed from retained stone pieces on 215mm blockwork on 25mm sand sement render 27. Polyester coated steel pressed angle flashing, shape to confirmed on site to provide protection at junction between horizontal corrugated and stone gable wall. To be screw fixed to SW substrate with metal roofing screws 28. Concealed steel H-frame within blockwork to be formed with a horizontal 152 UC 30 in conjunction with 2no. 90x90 vertical SHS 29. New gable opening to be supported by 150mm x 280mm reinforced concrete lintel 30. 25mm sand cement render with nap finish to be painted in Dulux Weathershield external masonary paint in 3no. coats 31. Dotted line indicates 90x90 vertical SHS within the blockwork 32. 30mm insulation strip at screed perimeter 33. Bottom blocks of outer leaf to be laid with Quinlite insulated blocks

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BALTRASNA HOUSE

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06. 07. 08.

26. 27.

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115

RYAN W. KENNIHAN ARCHITECTS

BALTRASNA HOUSE

117

ELEVATION

2008-2011 123

BOGWEST Bogwest, Mayglass, Co. Wexford

This house is made within a ruined farmyard enclave of lane ways, walls, haggards and sheds. It is positioned within these ruins to make multiple external spaces; a new entrance court, an enclosed garden, a laneway and a parking area and to enjoy the remarkable views across south Co. Wexford. The internal accommodation is arranged around these spaces. Bedrooms are offered privacy at ground level with an intimate relationship to the enclosed garden. Living areas are offered openness and view at the first floor level. The roof light provides light to these living areas throughout the day. The section is nuanced to ensure no spaces are alienated from the ground. A three-leaf wall construction is developed to integrate the existing stonewalls into the external wall construction. Bay windows are provided within this wall thickness with deeply recessed opening lights. A contemporary cornice detail can easily be accommodated within this thickness. The joinery work of the bay windows becomes explicit at the enclosed garden. The cultural context is important. The house is a contemporary adaptation of the classical house of the middle size, reinterpreting architectural detailing and landscape relationship. Construction details are developed for economy, compositional balance and to prioritize local materials and building practices.

ORIGINAL TEXT

Cette maison est construite à l’intérieur d’une enclave agricole en ruine composée de chemins, de murs, de hangars et de granges. Elle est positionnée au sein de ces ruines pour créer plusieurs espaces extérieurs: une nouvelle cour d’entrée, un jardin clos, une allée et une zone de stationnement, et pour profiter des vues remarquables sur le sud du comté de Wexford. L’aménagement intérieur est organisé autour de ces espaces. Les chambres offrent une certaine intimité au niveau du rez-dechaussée par leur accès direct au jardin clos. Au premier étage, les espaces de vie bénéficient d’une certaine ouverture et d’une vue. La verrière de toit fournit de la lumière à ces espaces de vie tout au long de la journée. La coupe est nuancée pour s’assurer qu’aucun espace ne se trouve éloigné du sol. Une construction en mur double est utilisée pour pouvoir intégrer les murs de pierre existants dans la construction de la paroi extérieure. Des baies vitrées sont installées dans ces murs épais, créant des ouvertures qui sont en retrait. Une corniche contemporaine peut facilement être placée dans cette même épaisseur. Le travail de menuiserie des baies vitrées devient explicite au niveau du jardin clos. Le contexte culturel est important. La maison est une adaptation contemporaine de la maison classique de taille moyenne, réinterprétant l’idée de détail et de rapport au paysage dans l’architecture. Les détails de construction sont développés par souci de budget, d’équilibre de la composition et pour donner la priorité aux matériaux et aux pratiques de construction locales.

Esta casa é construída num terreno em ruínas entre ruelas, muros, e galpões, e posiciona-se dentro dessas ruínas para dar origem a múltiplos espaços externos; um novo pátio na entrada, um jardim fechado, uma viela, uma área de estacionamento, e poder simultaneamente usufruir da vista extraordinária sobre South Co. Wexford. A programa interior é organizado em torno desses mesmo espaços. Os quartos tiram partido da privacidade ao nível do piso inferior e da relação íntima com o jardim, fechado, e as áreas sociais, no piso superior, das grandes aberturas e vistas panorâmicas. Uma grande clarabóia garante luz natural ao longo do dia. A secção é matizada para garantir que nenhum espaço seja alienado do solo. A construção das paredes do piso inferior, em três folhas, é desenvolvida para permitir integrar as paredes de pedra existentes na construção. As janelas de sacada são fornecidas dentro dessa espessura de parede, com luzes de abertura profundamente embutidas. Um detalhe contemporâneo na cornija, pode ser facilmente acolhido dentro dessa espessura. O trabalho de marcenaria das janelas de sacada torna-se explícito no jardim fechado. O contexto cultural é importante. A casa é o resultado de uma adaptação contemporânea da casa clássica de médio porte, reinterpretando os detalhes arquitectónicos e a relação paisagística. Os detalhes construtivos são desenvolvidos com o objectivo de respeitar o orçamento, atingir um equilíbrio formal e priorizando materiais e práticas de construção locais.

STEVE LARKIN ARCHITECTS BOGWEST

125

1ST FLOOR PLAN

GROUND FLOOR PLAN

STEVE LARKIN ARCHITECTS BOGWEST

127

SECTION A

2014 - 2019 133

SLYGUFF Slyguff, Muine Bheag, Co. Carlow

This house is located on a family farm in the historic Slyguff landscape in Co. Carlow. The client’s family have been curators of this landscape for generations and continue to play an important role in the conservation of its natural, cultural and archaeological character. This home enables the younger generation to continue this tradition. Context is very important. Cultural artefacts, with origins in farming, archaeology, neo-classicism, Victorian industry and infrastructure, contribute significantly to the spatial character of this landscape. This house seeks to integrate into this spatial character and establish new relationships with these contextual artefacts. The house is both a singular object in landscape and a collection of elements that form the assemblage of the project. At the landscape scale, a strong geometry is set against the undulating farmland and the archetypal geometry of the adjacent ringfort. An inverted plinth integrates the house on the site makes a space in landscape similar to the ringfort. At the project scale, the warm envelope is weathered by a castin-situ concrete outer shell. The collection of elements; rainfall gutters, windows, gables, columns, tapestry ceilings, plinths, greenhouses, gargoyles, etc. provide opportunities for space and syntactical order. The ground floor provides for the intimate and social spaces of the house and emphasizes companionship and interiority within the larger landscape. The attic provides a studio / play space and is perched above the topography offering views to landscape through two ocular windows. Low-level eaves windows capture light and rain in the attic.

ORIGINAL TEXT

Cette maison est située sur une ferme de famille dans le paysage historique de Slyguff, dans le comté de Carlow. La famille du client conserve ce paysage depuis des générations et continue de jouer un rôle important dans la préservation de son caractère naturel, culturel et archéologique. Cette maison permet à la nouvelle génération de poursuivre cette tradition. Le contexte est très important. Les artefacts culturels, dont les origines remontent à l’agriculture, l’archéologie, le néo-classicisme, l’industrie et l’infrastructure victorienne, contribuent de manière importante au caractère spatial de ce paysage. Cette maison cherche à s’intégrer dans ce caractère spatial et à établir de nouvelles relations avec ces artefacts contextuels. La maison est à la fois un objet à part dans le paysage et une collection d’éléments qui forment le tout du projet. À l’échelle du paysage, sa géométrie forte s’oppose à la surface ondulée des terres agricoles et à la géométrie archétypale du ringfort adjacent. Une plinthe inversée vient intégrer la maison sur le terrain pour en faire un espace dans le paysage, analogue au ringfort. À l’échelle du projet, une coque extérieure en béton coulé sur place vient patiner son enveloppe chaleureuse. La collection d’éléments; gouttières, fenêtres, pignons, colonnes, plafonds travaillés, plinthes, serres, gargouilles, etc. offre des possibilités d’espace et d’ordre syntaxique. Le rez-de-chaussée abrite les espaces intimes et sociaux de la maison et met l’accent sur la compagnie et la vie intérieure au sein d’un paysage plus vaste. Le grenier fournit un studio / espace de jeu et est perché au-dessus de la topographie, offrant des vues sur le paysage à travers deux fenêtres rondes. Des fenêtres d’avant-toit au niveau du sol captent la lumière et la pluie dans le grenier.

Esta casa esta inserida numa quinta de família, na paisagem histórica de Slyguff em Co. Carlow. A família do cliente é curadora desta paisagem há gerações e continua a desempenhar um papel muito importante na conservação do seu carácter natural, cultural e arqueológico. Esta casa permitirá que a geração mais jovem continue esta tradição. O contexto é muito importante. Artefactos culturais, com origem na agricultura, arqueologia, neoclassicismo, indústria vitoriana e infraestrutura, contribuem significativamente para o carácter espacial desta paisagem. Esta casa procura integrar-se neste carácter espacial e estabelecer novas relações com estes artefactos contextuais. A casa representa tanto um objecto singular na paisagem, quanto um conjunto de elementos que formam o conjunto do projecto. Na escala da paisagem, temos por contraposição uma forte geometria contra a ondulação natural das terras agrícolas e a geometria arquetípica da fortaleza circular adjacente. O plinto invertido que integra a casa no terreno cria um espaço na paisagem semelhante ao do forte. Na escala do projecto, o involucro quente é intemperado por uma casca externa de betão moldado in loco. A colecção dos vários elementos presentes, (goteiras, janelas, pilares, tectos de tapeçaria, plintos, estufas, gárgulas, etc.), oferecem oportunidades de espaço e uma ordem sintáctica. O piso térreo acolhe os espaços íntimos e sociais da casa e enfatiza a relação de companheirismo e a interioridade dentro da paisagem maior. O sótão, no piso superior, acolhe um espaço de estar e jogos com uma vista extraordinária para a paisagem através de duas janelas oculares. Janelas baixas ao longo do perímetro do espaço, permitem a entrada de luz e uma relação visual com a chuva.

STEVE LARKIN ARCHITECTS

STEVE LARKIN ARCHITECTS SLYGUFF

137

SECTION A

STEVE LARKIN ARCHITECTS SLYGUFF

141

STEVE LARKIN ARCHITECTS

01. Marley eternit profile 3 roof cladding on battens and counterbattens over insulation zone with vapour check and breather membrane over plywood on pao rafters 02. Cast in situ inner and outer concrete beams with full fill insulated cavity 03. Cast in situ concrete eaves beam

04. Douglas fir attic window 05. Rainwater catchment gutter with falls to spout. Finished in 30mm round beach pebble 06. Cast in situ concrete spout 07. Cast in situ inner and outer concrete beams with full fill insulated cavity

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Douglas fir opening light Cast in situ column behind Polished concrete upstand Cast in situ concrete plinth Stone retaining wall

SLYGUFF 01.

02.

143

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2015-2017 147

BOLABEG Bola beg, Co. Wexford

This is a small house in a farmyard in Co Wexford. The farm is over 150 years old and has continually evolved to meet with changing farming practices over time. This is a house for a family member and their young family. The house is located within the existing buildings to form a garden space to the south east, caught between the existing house and farmyard sheds, and for the view to Mount Leinster to the northwest. Gables offer long views across landscape. The house is timber frame with corrugated metal cladding adopting the character of the existing farm buildings.

ORIGINAL TEXT

Il s’agit d’une petite maison dans une propriété agricole du comté de Wexford. La ferme a plus de 150 ans et a sans cesse évolué pour répondre à l’évolution des pratiques agricoles au cours du temps. Il s’agit d’une maison pour un membre de la famille et sa jeune famille.

Esta pequena casa está inserida numa quinta com mais de 150 anos, em Co Wexford, em permanente evolução ao longo do tempo, de forma a responder às mudanças nas práticas agrícolas. É uma casa para um membro da família e sua jovem família.

La maison est située au sein des bâtiments existants pour former un espace de jardin au sud-est, coincé entre la maison existante et les hangars de la ferme, et pour profiter de la vue sur le Mont Leinster au nord-ouest.

A casa desenvolve-se dentro dos edifícios existentes para formar um espaço de jardim a sudeste entre a casa existente e os galpões da quinta, com vista para o Monte Leinster a noroeste.

Les pignons permettent des vues dégagées sur le paysage. La maison a une structure en bois avec un revêtement en tôle ondulée qui adopte le caractère des bâtiments de ferme existants.

A configuração do telhado oferece longas vistas sobre a paisagem. A casa é feita em estrutura de madeira e revestida com chapas ondulada, adoptando o carácter dos edifícios agrícolas existentes.

ELEVATION

STEVE LARKIN ARCHITECTS BOLABEG

151

STEVE LARKIN ARCHITECTS

01.

02.

03.

01. Roof construction: Tegral fineline 19 roof sheeting fixed to cross battens fixed to rafters with roof membrane to outer side double timber fascia fixed to pao rafter ends 02. Wall construction: Tegral fineline 19 wall sheeting with iroko trims fixed to battens and cross battens fixed to osb board lined with membrane fixed to insulated timber frame vapour check to inside service cavity and plasterboard to inside cast in situ concrete plinth as base. 03. Floor construction: Timber flooring on concrete screed on insulation, radon barrier on sand blinding and hardcore

SECTION DETAIL A

0.25

BOLABEG

153

155

2015 - 2020 157

KIMMAGE Kimmage Road Lower, Terenure, Dublin 6W

This house and studio is located in a backland brownfield site in Kimmage, Dublin. The site was a former joinery workshop, which extended to the four sides of the site. The old walls of the workshop were retained and reinforced to provide an enclosed garden. The architecture emphasizes discrete moments within the garden landscape rather than an overall building form.

Cette maison et cet atelier sont situés dans une friche industrielle à Kimmage, Dublin. Le site était un ancien atelier de menuiserie, qui s’étendait sur les quatre côtés du terrain. Les anciens murs de l’atelier ont été conservés et renforcés pour créer un jardin clos. L’architecture met l’accent sur des moments discrets dans le paysage végétal plutôt que sur la structure globale du bâtiment.

The house is positioned to enjoy a south-facing garden with a studio to the north. Piers and colonnades make covered intimate spaces between the interior and the exterior on the edge of the garden. Light is brought in overhead to avoid shading by planting and walls. Bedrooms are incorporated behind small planting areas and parapet walls at first floor level to maintain generous window sizes while avoiding overlooking. The resultant mute pebbledash walls provide surfaces for future planting and form an important spatial frame to the garden. Views are offered across the treetops of the adjacent back gardens.

La maison est positionnée de manière à profiter d’un jardin orienté au sud avec un atelier au nord. Des piliers et des colonnades créent des espaces intimes couverts entre l’intérieur et l’extérieur au bord du jardin. La lumière est amenée par le haut pour éviter toute ombre produite par les plantes et les murs. Les chambres sont placées derrière de petites surfaces plantées et des parapets au niveau du premier étage, afin de permettre l’utilisation de grandes fenêtres tout en protégeant l’intimité. Les murs en crépi qui en découlent offrent des surfaces pour de futures plantations et forment un cadre spatial important pour le jardin. Les vues traversent les sommets des arbres des arrière-jardins adjacents.

The house belongs to a young family and provides a range of social and intimate spaces. The robust architectural detailing inherits the light industrial character of the site and will become enveloped in the garden over time to make a lush interior landscape.

ORIGINAL TEXT

La maison appartient à une jeune famille et fournit une variété d’espaces sociaux et intimes. Les détails architecturaux robustes reprennent le caractère industriel du site et s’intégreront dans le jardin au fil du temps pour former un riche paysage intérieur.

Esta casa e estúdio, insere-se num terreno abandonado em Kimmage, Dublin. O espaço era uma antiga marcenaria, que se estendia pelos quatro lados do terreno. As antigas paredes da oficina foram mantidas e reforçadas, para acolher um jardim fechado. A arquitectura enfatiza momentos discretos na paisagem do jardim. A casa está posicionada de forma a tirar partido do jardim virado a sul e do estúdio a norte. Um jogo de pilares e paredes formam espaços cobertos de caracter íntimo entre o interior e o exterior junto do jardim. A luz é garantida de forma zenital para evitar um possível sombreamento pelas plantas e paredes. Os quartos, no piso superior, desenvolvem-se atrás de pequenos pátios ajardinados com parapeitos ao nível do piso para garantir dimensões generosas nas janelas e privacidade. A casa pertence a uma família jovem e acolhe um vasto conjunto de espaços sociais e reservados. O forte detalhe presente na arquitectura representa o carácter industrial leve no local que se desenvolverá no jardim ao longo do tempo, com a criação de uma paisagem interior exuberante.

STEVE LARKIN ARCHITECTS KIMMAGE

159

1ST FLOOR PLAN

SECTION A

2017-2021 165

BALLYBLAKE Ballyblake, Marley, Co. Carlow

Ballyblake House is a two hundred year old farmhouse that had been uninhabited for over thirty years. It is on a secluded site within an old pattern of hedgerows, fields and laneways. The site is mature and retains a strong interior spatial character.

The original house and external spaces were arranged around an old public laneway that leads to a freshwater spring. This provides intimate landscape spaces, which relate to the façade of the main house. Despite challenges with the condition of the house, and the construction methods used, the house was carefully refurbished to maintain these existing spatial relationships and preserve personal, historical and cultural significance. A new extension, which adopts a form and colour similar to the agricultural sheds of the locality, is placed behind the existing house to minimise spatial impact and to open new views to the wider landscape. This is facilitated with the taking down and rebuilding of one hedgerow (to the rear) and the replanting of two ash trees. The extension is timber frame with corrugated metal cladding. It blankets the house to the north for improved thermal performance while an oculus provides direct sunlight to the interior spaces throughout the day. It relocates the first floor staircase to provide better accommodation in the existing house.

ORIGINAL TEXT

Ballyblake House est une ferme construite il y a deux cents ans qui est restée inhabitée pendant plus de trente ans. Elle se trouve sur un terrain isolé dans un paysage de haies, de champs et de ruelles. Le lieu est mature et conserve un fort caractère spatial intérieur. La maison d’origine et les espaces extérieurs étaient disposés autour d’une ancienne allée publique qui mène à une source d’eau douce. Cela apporte des espaces de paysage intimes, qui créent un lien avec la façade de la maison principale. Malgré les difficultés liées à l’état de la maison et aux méthodes de construction utilisées, elle a été soigneusement restaurée pour maintenir ces relations spatiales existantes et préserver ses valeurs personnelles, historiques et culturelles. Une nouvelle extension, qui adopte une forme et une couleur semblables à celles des hangars agricoles du voisinage, est placée derrière la maison existante afin de minimiser l’impact spatial et de dégager de nouvelles vues sur le paysage. Ceci est facilité par la coupe et la reconstruction d’une haie (à l’arrière) et la replantation de deux frênes. L’extension est une structure en bois avec un revêtement en tôle ondulée. Il couvre la maison au nord pour une meilleure efficacité thermique tandis qu’un oculus fournit de la lumière directe aux espaces intérieurs tout au long de la journée. Les travaux déplacent l’escalier du premier étage pour mieux s’adapter à la maison existante.

Ballyblake House é uma casa com duzentos anos que estava desabitada há mais de trinta. Insere-se numa quinta, num terreno isolado e delimitado por sebes, campos e vielas. O terreno é maduro e tem um forte carácter espacial interior. A casa original e os espaços externos foram dispostos em torno de uma antiga via pública que conduz a uma nascente de água doce, o que proporciona espaços exteriores de caracter íntimo, que se relacionam com a fachada da casa principal. Apesar dos desafios com a condição da casa e os métodos de construção utilizados, a casa foi cuidadosamente remodelada para manter as relações espaciais existentes e preservar o significado pessoal existente, histórico e cultural. A ampliação, adopta uma forma e cor semelhantes aos armazéns agrícolas locais, e é colocada atrás da casa existente para minimizar o impacto espacial e permitir novas vistas para a paisagem exterior, facilitadas a partir da demolição e reconstrução de uma sebe (à retaguarda) e a replantação de dois freixos. A nova construção é feita em estrutura de madeira e revestida em chapa ondulada, e posicionada contra a fachada norte, para melhorar o desempenho térmico. Por sua vez, uma clarabóia central garante luz solar directa nos espaços internos e de circulação ao longo do dia. O acesso ao primeiro andar da casa pré-existente, é feito através da escada inserida na nova ampliação da casa para proporcionar uma melhor acomodação e aproveitamento dos espaços da casa pré-existente.

STEVE LARKIN ARCHITECTS BALLYBLAKE

169

1ST FLOOR PLAN

SECTION A

STEVE LARKIN ARCHITECTS BALLYBLAKE

171

GROUND FLOOR PLAN

SECTION B

STEVE LARKIN ARCHITECTS BALLYBLAKE

NORTH ELEVATION

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CREDITS

COVER 01 CLANCY MOORE ARCHITECTS project SLIEVEBAWNOGUE image © Alice Clancy COVER 02 RYAN W. KENNIHAN ARCHITECTS project BALTRASNA HOUSE image © Aisling Mc Coy COVER 03 STEVE LARKIN ARCHITECTS project SLYGUFF image © Shantanu Starick INDEX project BOLABEG images © Shantanu Starick

CLANCY MOORE ARCHITECTS SLIEVEBAWNOGUE project: 2007-2013 location: Dublin, Ireland gross built area: 448 sq.m. images © Alice Clancy ALBANY project: 2016-2019 location: Dublin, Ireland gross built area: 256.6 sq.m. images © Alice Clancy WAREHOUSE PORTOBELLO project: 2016-2019 location: Dublin, Ireland gross built area: 232.2 sq.m. images © Fionn McCann ATCOST 1+2 project: 2014-2021 location: Somerset, England gross built area: 704.7 sq.m. images © Sue Barr AILESBURY project: 2018-2021 location: Dublin, Ireland gross built area: 311.1 sq.m. images © Fionn McCann RYAN W. KENNIHAN ARCHITECTS VITA CENTRE project: 2011-2013 location: Roscommon, Ireland gross built area: 354 sq.m. images © Alice Clancy LEAGAUN HOUSE project: 2012-2014 location: Galway, Ireland gross built area: 199 sq.m. images © Alice Clancy ST. CATHERINE’S HOUSE project: 2015-2017 location: Dublin, Ireland gross built area: 30 sq.m. extension images © Alice Clancy

BEACH ROAD HOUSE project: 2015-2020 location: Galway, Ireland gross built area: 240 sq.m. images © Shantanu Starick BALTRASNA HOUSE project: 2017-2020 location: Dublin, Ireland gross built area: 117 sq.m. images © Aisling Mc Coy STEVE LARKIN ARCHITECTS BOGWEST project: 2008-2011 location: Bogwest, Mayglass, Co. Wexford gross built area: 200 sq.m. images © Alice Clancy SLYGUFF project: 2014-2019 location: Slyguff, Muine Bheag, Co. Carlow gross built area: 285 sq.m. images © Alice Clancy and © Shantanu Starick BOLABEG project: 2015-2017 location: Bola beg, Co. Wexford gross built area: 70 sq.m. images © Shantanu Starick KIMMAGE project: 2015-2020 location: Kimmage Road Lower, Terenure, Dublin 6W gross built area: House 225 sq.m. Studio 40 sq.m. images © Alice Clancy BALLYBLAKE project: 2017-2021 location: Ballyblake, Marley, Co. Carlow gross built area: 260 sq.m. images © Shantanu Starick

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Andrew studied for his undergraduate degrees in UCD Dublin and completed his PhD at RMIT in 2017. Since 2016 he has been Professor of Architecture in the Kingston School of Art, London - and has led innovative developments encompassing practice research, pedagogic reform and scholarly culture. Prior to this he was visiting professor to Aarhus School of Architecture in Denmark and Senior Lecturer at Queen’s University, Belfast. He has been External Examiner to the AA since 2019, and has critiqued and led workshops in numerous universities including ETH, EPFL, TUM, Miami, Kaiserslauten, London Met, and the Accademia di Mendrisio . In 2016 he co-founded the Drawing Matter Summer school, which in collaboration with Hauser and Wirth Somerset, provides a fully funded architecture course to A-Level students and acts as an incubator for emerging tutors of architecture. Andrew writes critically about architecture and has published extensively in leading journals.

Ryan studied architecture at Cornell University. Originally from Chicago, he has been based in Dublin, Ireland since 2002, establishing his practice in 2007. He has taught architecture at University of Navarra in Pamplona, the Porto Academy, University College Dublin and the Dublin School of Architecture at TU Dublin where he is currently a lecturer.

Steve Larkin studied architecture at University College Dublin and graduated in 2002. He worked with Donaghy and Dimond Architects from 2002 become a member of the Royal Institute of Architects of Ireland in 2005. He established Steve Larkin Architects in 2007.

Steve is a lecturer in architecture at TU Dublin. He was formerly a lecturer in architecture at Queens University Belfast. Steve was EU Marie Curie ITN ADAPT-r Research Fellow at RMIT Europe 2014 - 2015. He was awarded a PhD, for his research, Interiorities in Oral Cultural Landscapes, under the supervision of Richard Blythe, Jo Van Den Berghe and with special assistance from Leon van Schaik in 2017.

Colm studied architecture at University College Dublin graduating in 2002 and was awarded a PhD by practice in 2018 at RMIT. He is a regular visiting critic at schools of architecture both nationally and internationally and is currently a lecturer at the school of architecture at Queen’s University, Belfast, where he co-ordinates the master’s of architecture programme. Andrew and Colm established Clancy Moore architects in 2008. The work of the practice has been exhibited at the LFA (2015) and the Venice Biennale (2018), and widely published. The practice has received numerous awards including the AAI Downes Medal for Excellence in Architecture, BD’s Young Architects of the Year, 2018, and the AR Peter Davey Award for emerging architects in 2019.

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