Re-appropriation of South City Markets - Dublin 2

“Re appropriation of South City Markets” A Study of Conservation and Civic Spaces through Private Enterprise

– A Design Dissertation by Dáire Kelly Submitted for assessment for Arch3102 Architectural Design Studio

School of Architecture, DIT May 2012

CONTENTS:

DISSERTATION INTRODUCTION

PROJECT B INTRODUCTION

PROJECT A THEMEATIC STUDY

ARCHITECTURE & PLACE DESIGN DEVELOPMENT

ARCHITECTURE

LANDSCAPE ENVIRONMENT & TECTONICS

REFERENCES

SUMMARY APOLOGIA

BIBLIOGRAPHY

INTRODUCTION:

REAPPROPRIATION is the cultural process by which a group reclaims terms or artifacts that were previously used in a way disparaging of that group.

OUTLINE:

“To investigate the role of civic spaces on an urban fabric and subsequently the criteria pertaining to the conservation of listed structures.”

This dissertation was chosen after considerable investigations in to the architectural context of Dublin city, primarily concerning the influence of its urbanite structure. After previous works where the aim was to implement a civic microcosm, in the form of a public space alongside civic offices, I found an interest in how these spaces are formed and their influence on a space. The main focus of my intrigue was through the implementation of these spaces either due to urban planning or public influence. Initial studies on civic spaces in Dublin supplemented me within the necessary information regarding the scale, use and context of existing spaces. It is through these studies that I formed an opinion on the focus of Dublin’s urbanite structure regarding civic spaces in terms of their aim and location. I found that Dublin has a very formal relationship with its public spaces in contrast to other European cities.

The form of Dublin’s green spaces are heavily influenced by British culture. This is due to the British Empires influence on Irish society before the revolution and formation of the Free State. It was in the early 19th century, a period of expansive growth for Dublin due to its industry, that many of these civic spaces were set out. They followed the Georgian planning structures which had been implanted across the British Isles. This is why Dublin’s civic spaces are very similar to London’s (Phoenix Park – Hampstead Heath, St Stephens Green – Regents Park). In comparison to many central European Cities, Dublin has few intimate Squares. (Markets in Barcelona “La Boqueria”, Squares of Rome “Campo Di Fiori”).

It is from this analysis that I decided I would implement a new criteria for civic spaces for Dublin. I plan to create an interstitial space, an area of reflection in an urban structure, in essence a break within the cities fabric. It is from experiences of smaller civic spaces on trips abroad that I chose this framework as my dissertation aim. These smaller gathering spaces can offer relief from the congested city landscape and their proximity to the city centre means they are the most public of these civic spaces in terms of access and usability.

The supplementary part of this dissertation concerning protected structures stems from an interest in refurbishment criteria and conservation law. The dereliction of period buildings throughout Dublin formed an interest in my studies primarily regarding the reasons for this disregard and also the regeneration possibilities in terms of typology and context. It is because of this interest that I chose to use a protected site as a design challenge in this dissertation. I found that by implementing this difficult site structure I was forced to employ ingenuity in my design decisions and problem solving. Subsequently, it has furthered my education in terms of architectural heritage and also my understanding of the need for architectural processes in these delicate cases.

THEMEATIC STUDY:

CENTRALITY: C O N C E P T

F I G U R EG R O U N D C I R C U L A T I O N

VERTICAL v

RADIAL

SECTIONAL

WEDDING SPACE CONCEPT: “Heavy Site, Light Interior�

The difficult site is located on the banks of the River Liffey in the historic area of Temple Bar in Dublins City centre.

Over the past 50 years this area has been regenerated so space site to a minimum. The site allocated is on the corner of Essex St East and Crane Ln, hidden behind the former Dolphin Hotel. The site is surounded by tall buildings on all sides. Access is through a small laneway which transverses the site from Essex St E through to Dame St. The difficult site required ingenuity in realising its possible potential. By raising the piano nobile vertically, I achieved a vantage point previously unaccesible to the site. However the ceremonial area remained the most prominent area of the installation so it was important that the sense of hirearchy was experienced throughout the building.The fall in the pit of the ceremonial space transcends the build visually through a central glazed foyer.

A strong framework of metal girders, orientated vertically, give order to the irregular, harsh site.

The interior structural framework sets up for a light, alternating screening skin which allows for deep pentration of light. Lighting conditions are important to the success of the build as dark moments are created to use the penetrating light as a means of guidance. Exterior glazing draws the visitor to the edge of each floor, weaving between the cold steel structure, to experince previously impossible vantage points.

The processional treatment of light creates a natural circulation,encircling the ceremonial space.

Finally the softer wooden interior of the ceremonial space gives a warmer ambiance before finally releasing back to the city through the roof garden.

HOUSE & BARN CONCEPT: “Home is at the Hearth”

This remote site is located within the confines of the Lough Boora Parklands, just outside of Tullamore, Co.Offaly. The brief calls for the design of a dwelling,, inclusion of adjacent farm buildings and farm. Due to the relative solidarity of the area it was deemed important to respect the contextual grain of the area in the design proposal.

The idea of the hearth is used in a literal sense as the chimney-like roof structure denotes the centre of the home and its function. The other elements of the build have been organised into their respective functions radially around this central pivot point. The shape and structure of the room indicate its importance both internally and externally. The space it creates is open and inviting. Light is used to draw the inhabitants towards the framed views while also offering the opportunity to reflect inwardly on the space.

The concept of the room is to create a transient area, which seamlessly links the homes functions and serves as a congregative point for all aspects of the family’s life. The central spine of the house commands both interior and exterior spaces, while the connecting corridors “serve” the larger defined areas of the home.

The strong materiality choices help the building to nestle into the site and sit between the covering trees.

ST.MICHEALS HOUSE CONCEPT: “Protection through Observation�

The division of program is very important to the success of this build. The use of the contextual datum line allows for functions to be organised in a more practical manner. Program is divided in the complex to help stimulate the daily users: Functional aspects which are challenging are controlled in confined lower level spaces of the complex where they can be monitored and encouraged. Relaxtive and enjoyable areas are located higher to give a sense of reward and achievement. These spaces are arranged around the centres pivot and are surrounded by undefined spaces and impressive views.

The central arrangement of the programs of the complex, coupled with the recessed offices, allow the complex to function with the concept of observation without interaction. This concept allowed the confined area of the complex to act as a society in its own, empowering the users of the centre. The central external space is the pivotal point by which the whole complex is organised and protected. It creates a sheltered gathering point for the users.

The division of program is very important to the success of this build. The use of the contextual datum line allows for functions to be organised in a more practical manner.

Program is divided in the complex to help stimulate the daily users: Functional aspects which are challenging are controlled in confined lower level spaces of the complex where they can be monitored and encouraged.

Relaxtive and enjoyable areas are located higher to give a sense of reward and achievement. These spaces are arranged around the centres pivot and are surrounded by undefined spaces and impressive views

INTRODUCTION:

In reaction to the analysis of my previous works in Project A, I started to explore the meaning of these results and how these parameters define my own style of architecture. Now realising that an architectural style had subconsciously developed in my psyche, I started to specifically apply these characteristics throughout my work and found an interesting comfort in this form of design. This change in approach allowed for a more considered form of design progression and thus resulted in a better formation and understanding of solutions to architectural problems. It was astounding to learn that these architectural ideas had been formed without realisation and had become inherent in each of my designs irrespective of their differences in programme, typology and context.

In terms of helping to develop the aim of the subsequent dissertation work, I found that by implementing the ideas formed during the first semester trip to Rome from its unique relationship regarding civic identity and the formation of its public spaces, I began to think of architecture as a means of controlling and influencing the urban fabric of a place, even at a larger scale such as a city.

After the analysis of the Dublin Cultural Corridor brief, these new ideals on architectural theory allowed me to form an appreciation of Dublin’s civic architecture. I analyzed how the city’s urban agenda had influenced the organisation of the city. The use of these architectural ideas had helped to define the feel of any place and also how it informed the way in which inhabitants’ co-exist within this urbanite structure.

This analysis provided me with my first core discovery in this dissertation project, in that, even though Dublin city has many large public gathering spaces (i.e. St Stephens Green, Trinity College), it lacks smaller interstitial spaces which provide relief from the bulk of the city. These types of spaces are found in most European cities (i.e. Berlin’s “hinterhoff ” courtyards) and are utilised as quiet gathering spaces in an urban area. Most of Dublin’s inner city buildings seem to only address the commercial and residential sides of Dublin lifestyle but ignore its civic identity. The scale of modern Dublin can oftentimes be construed as daunting so the need for new smaller civic spaces is prominent in its development as a European city.

This new discovery, coupled with previous studies on Dublin civic strategy, the organisation of negative spaces in the massing of Rome and its relationship to the edge boundary from the first semester, formed an ambition to create a new civic space for D ublin, an area which acts as a relief from the built up city and aims to create a break in Dublin’s heavy fabric.

The purpose of the space is to provide a small gathering area in which to experience the city, a place where a citizen can retreat and reflect on busy city life. In essence, it is to create a new external city room for Dublin and its inhabitants.

The aim of this dissertation is to create an area which can be given back to the inhabitants of the city.

ARCHITECTURE AND PLACE:

After the initial analysis of the Dublin Cultural Corridor brief and the visit of the route along which we were to place our programmes, I began to critique the area in terms of necessity for development and relevance to my dissertation aim.

I felt that after careful consideration, an area nearer to the built up city centre would benefit more from an external city space than in the other less dense areas located at the extents of the Cultural Corridor.

After trialling initial reactions to possibilities of programmes and locations, I discovered that many buildings in and around Dublin City centre do not utilise the whole building it is housed in. There are many examples along Dame St of buildings which have many different functions on street level but oftentimes have vacant lots above that commercial datum line. This negative space is caused by the high rents experienced in built up areas, restrictive criteria of existing development plans and the difficulties of working within protected structures.

This analysis peaked my interest as I was very curious to learn about the difficulties associated in working within these conservation guidelines. It’s because of this that I wished to explore this avenue as a new architectural challenge in my education. The possibilities associated with this design approach in helping to regenerate an area of architectural importance, while also meeting the brief parameters, caught my interest and I immediately searched for a suitable site.

It was at this point I chose South City Markets on south Great Georges St as my site for development. I found that this building had an interesting architectural characteristic charm to it. This Victorian market is still considered an ambitious project today and it’s for this reason I felt that it deserved carful regeneration.

The terracotta brick design of its walls is characteristic of Dublin of the late 1800’s.

The building is still in relatively good repair but has been let down by its poor tenants over time and lax planning laws which changed the original layout of the building. Upon further investigation of the markets history I found that the building is a shining example of the Dublin people’s generosity and it would only be fitting that it was to be the location to house an external city room which would give back to those city’s inhabitants.

Furthermore, I was very intrigued by the location and design of the Georges St Arcade which is housed inside the south city markets. This immediately brought together possibilities of how the external city room could work together with the planned arcade.

Due to the heavily ornate nature of the exterior of the South City Markets building, I felt accommodation would be the most suitable form of tenancy as the decorative nature of the building and its contextual history limited certain typologies with larger footprints. I choose to implement a hotel design into the site as it matched the main criteria I had garnered for the location.

Items set out by the Dublin City Development Plan 2011 – 2017: Site is located within an Architectural Conservation Area.

Zoning Objective Z5:

“to consolidate and facilitate the development of the central area and to identify, re inforce and strengthen and protect its civic design character and dignity.”

Figure 18: City Centre Retail Core: Principal Shopping Streets - Category 2: “Streets in this category are those which already have a mix of retail and non-retail uses. In order to strengthen the retail character of these streets, further development of retail frontages will be encouraged. Additional non-retail uses may be permitted, provided that such development would not result in the predominance of non-retail frontages on the street.”

All streets surrounding South City Markets are considered Category 2 Shopping Streets Most of the proposed sites are considered protected structures.

South City Markets

- South Great George’s St - Drury St - Exchequer St

Categories of Special Interest:

It is from these design limitations that I also set up another set of parameters for the design. In discovering previous planning applications I found a rejected proposal to extend the largest building on the northern half of the markets to engulf the majority of the infill of the site, transcending the full South City markets area and diverting focus away from the Market Arcade. It was from this proposal that I choose the limitations of the large site to the area which this client possessed. This brought a realistic element to the design as it forced me to work with neighbouring buildings and adjacent programmes.

Protected Structure Numbers 3216 – 3219 3282 – 3288 2721 – 2726 Historical, Architectural, Technical, Artistic

From the study of the footprint of the South City Market, it became apparent that the original design of the scheme incorporated the internal market between large four-storey buildings which bordered the site. These large buildings helped frame the streetscape but the interior was largely ignored. While these buildings still remain as the protected structures mentioned above, the inward area of the site has been changed several times. It’s from this analysis that I decided to return the site back to its original footprint and place the external city room where the market used to exist, allowing it once again to “service” the city.

The initial step once defining the site was to learn which planning laws were relative to the area and under which conservation heading did the building fall. The importance of this stage was to learn exactly what had been proposed previously and if and why they were granted or refused.

From this information I was able to discern exactly what the parameters of the site were and what exactly my design must adhere too. It was also useful to learn of the previous design limitations of submitted projects through its relative scale and appropriateness of function.

The Hotel would consist of a shared external courtyard which would act as the external city room, the accommodation would inhabit the existing structure redefining its function and the conference/restaurant aspects of the design would also contribute to the public functioning of the building. The locations of all these objects were decided upon due to the importance of their relative adjacent streets. The main entrance to the Hotel would be located off Exchequer St/Wicklow St as it is the quietest street which still retains the ornate exterior of the South City Markets. The restaurant would be located adjacent to the busy South Great Georges St due to its commercial interests and similarity in programme to adjacent buildings. Finally the external courtyard would be accessed by the public through the Market Arcade and by guests through the hotel foyer, creating a north-south axis through the site. The decision to locate the external room off the main street allowed me to create the quiet break that was necessary for the privacy of the area but also reopens the arcade to the north so the external room will cater for the small boutique business located within the market itself.

Tectonic studies of the site brought forth information regarding the method of construction of the buildings but also the interesting underlying support systems incorporated in the buildings basements. This information allowed me to structure the initial design of the building around this existing historical framework, incorporating this system in terms of organisation of the designs function in both its hierarchy and layout. This tectonic nature of the site alluded to a simple design strategy to progress the project.

After finalising the programmatic nature of the design, I searched for exemplars in hotel design, specifically in the form of their use on infill sites and beside protected structures.

Edouardo Souta De Moura Conversion of Santa Maria Do Bouro Monastery into a State Inn Bouro, Amares, Braga, Portugal

ESdeM’s Monastery conversion is part of a series of state-run enterprises to convert obsolete medieval castles,Renaissance palaces, Baroque monasteries and disused convents into state luxury hotels.

I found this exmplerary conversion project to be very useful to my dissertation. The simple modern interior compliments the historical importance of the Santa Maria do Bouro Monastery.

The building had been in decline for more than 100 years and it is a testament to the architecture employed that it is now a popular destination.

The change of function to a complete building with exterior courtyards complementing the monastery and the surroundings make it a perfect exemplar for my project.

Project: Musee d’Art de Nantes By researching outside my defined programme, in terms of spaces I would like to create, I found many exemplary projects.

These projects embody either the spatial relationships I wish to create between the hotel, external space and the city or the organisational opportunities afforded by their arrangement horizontally,vertically and sectionally.

I found this particluar project important as it has to deal with creating an open public space internally while still addressing the city externally. Programme relationships are important here and the light studies will help with organisation.

Stanton Williams

Project: Museum of Concrete Art & Design,Ingolstadt,Germany This project was very useful in seeing the oppourtunities available by working with George’s St Arcade. It has helped me to understand the structure present in the arcade but also the change in relationship caused by raising it into a two-storey arcade. The iron structure is similar so I’d hope that the outcome would match the museums elegant design.

The lighting conditions experienced are a perfect study into the potential of the arcade. It has allowed me to experiment with similar structures throughout the hotel design and attempt investigations into light pentration due to the scale of neighbouring buildings.

The simple room divison techniques used have inspired many different versions of the organisation of the external spaces and their privacy.

DESIGN DEVELOPMENT:

The initial approach for the design was instigated from the discoveries made during the analysis of the sites history and relevant exemplars for this typology.

The original organisation idea of placing different functions on the ground floor nearest to their most appropriate area of the site was the basis for all further development. This system was aided by my opinion of each functions importance as a direct relevance to the scale of the building and street it was part of i.e. Restaurant – Public – South Great Georges St / Hotel Lobby – Semi-Private – Exchequer St / Administration – Private – Drury St. The most important part of the scheme was the external city room, though largely undefined, its serves as the area where the basic criteria of the aim of the dissertation can be met. In the initial design strategies of this space, it engulfed the entire infill of the site, pushing all other functions into the existing buildings on the site. However due to the limitations of the clients site it would cause for these functions of the larger programme to be unnecessarily disjointed. Subsequently, because of this I limited the scale of the external room so that the programmatic element of the Hotel design could influence both the existing structures and, through the creation of double envelope areas, the new external city space.

The main reason for this is that I felt the public functions of the hotel should address both the new external space but also the streetscape. This in turn creates new routes through the site which allow the external space be experienced universally. From this development the programmes originally bound to the protected structures, begin to encroach on the central space, re orientating the design from a boundary filled object to a framing object.

This design ideal was interesting as it began to explore the possibilities of using existing criteria of broken boundary lines to allow my design to transverse the historic boundary of the South City Market edge buildings with the new external space.

This discovery was aided by an architectural language I was trying to understand where the historic building is treated as the “earthbound” element of the design, in this case primarily due to its protected status. However this re enforces the double envelope strategy I had implemented and it encourages that a new framework is to be introduced to reorganise the internal spaces attached to this stationary boundary element, similarly to same way Palladio uses extra columns to reorganise the Basilica Vincenza into a simpler design. By allowing the restaurant element of the design (off South Great Georges St) to transverse the boundary of the existing building and the external space, it creates a new lighting condition for the space but also forced it to address the external space as well as the streetscape.

Once the Ground Floor of the design had been appropriated spaces, I reverted to the natural datum line of the city to move the accommodation of the Hotel to raised floors, servicing both the guests’ privacy and their spatial requirements. However as the building grew vertically, the same criteria which applied to the public levels on the ground floor could not also be applied, the building shifted to react to these new parameters. Light requirements for adjoining buildings were the main concern for this infill design from its commencement and they began to surface as the design grew. The distances between the new and the old defined the boundaries of the upper levels of the Hotel design while also showcasing an interesting dialogue between the old and the new. In this initial design only areas where these problems could be avoided grew vertically, and then subsequent interstitial space was treated as a large atrium for the hotel, in the same vain as architect John Portman pioneered in his large scale Hotels in the early seventies. This space was used as metaphorical window into the past where the public could view the rear of the boundary buildings of the South City Markets from the external space, a view which was unattainable since the Market arcade was boarded by shops.

As the design now began to move away from the initial idea of re inhabiting the South City Market structure to actually reappropriating its function, I made the decision that design would revert its original intention of moving from the “earthbound� element of the boundary structure to actually originating from the external courtyard and knitting back into this urban fabric.

This was also the first point where the building became a more modern design and a new architectural language of the tension between the old and the new was explored through the materiality, shape and structure. The strong form of the large glass atrium at the inner most extent of the hotel design allowed me to work retrospectively in implementing the modern design elements back into the boundary structures. Through this the hotel lobby became a double height space, releasing the natural light of the ornate windows of the first floor in to the space while allowing a dialogue to be experienced as one would transverse from the old to the new. The same criteria was implemented in the restaurant to clearly mark the area where the old ended and the new began.

Furthermore by implementing this same strategy for the hotel entrance off Exchequer St, I was able to frame the external space further, between the Market Arcade, the restaurant element and the hotel proper. By doing this a design framework was implemented where different functions address different areas through these transversing spaces. This allowed for the recreational element of the hotel, the main bar, be both part of the hotel proper while still addressing and influencing the external space. These criteria allowed for a blurring of the lines of the boundaries between public function and private space.

By rounding of the framing of the external space, with the conference centre to the east, I had now created a courtyard for the hotel in the form of the external city space. It is through this method that we see the importance of the double envelope system in this design, as it allows the external green space serve double functions on different social and civic levels.

This is the first point where I became aware that my subconscious architectural ideas were once again implementing their style on the design in the form of a shared central space.

The use of the radial organisation around the external space has become a common trend in my architecture and utilise this central space as either a place to be experienced in or looking in on. In this case it serves both functions.

ARCHITECTURE:

The most obvious version of this impact was in the space between the boundary structure and the hotel at room level. The problems of privacy were addressed by orientating the corridors to this edge while still allowing ample distance between the two elements. On a programmatic scale this apparent problem was not as prominent, as from the previous studies we learned that none of the boundary buildings were occupied by residential tenants. This meant that the main times when the two elements were in primary use were at the two opposite ends of the day thus without overlap the problem was irrelevant.

Similar problems were experienced above the restaurant area in the room layout. But these were not just on the scale of the space between the old and the new but the disjointed nature of the circulation alluded to before. Thus a reorganisation of room layout and the consolidation of a central circulation core caused the rooms above the restaurant to be re orientated over the bar area, joining in with the existing services core of the east wing. This move helped to strategise the service aspects of the hotel design to be hidden behind this circulation core. It also helped to scale down the imposing Hotel atrium to a more manageable scale which was also now experienced by several floors of rooms.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

After this initial design development, where the form of the building was decided, I began to explore each element in further detail through analysis of its impact on the surrounding area.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

In respect to the atrium space now created between the two elements, I intended for it to be experienced from each floor as the wedge piece between the old and the new, symbolising the tension between the two and the architectural dialogue they experience. It also is in keeping with the double functioning nature of the design as it allows the early morning east sun penetrate directly into the foyer and boundary buildings.

In terms of organisation of the external space and the framing element of the Hotel’s design, it was most influenced in this stage by the layout of the structural grid system. The structural system previously was defined by the scale of the minimum spaces between the old and new elements, however this left the central external space undefined by its boundaries due to their scale and minimal relationship between each other. After re analysing the tectonics of the area and the original design of the South City Markets, I proposed to relate back to the original purpose of the markets once again by utilising the structural system implemented during its construction. It was from this underground vaulting system that the new structural organisation system was sprung.

In keeping with the progression of the design to a more modern Hotel to contrast the heritage of the site, I choose to use a steel structural system to juxtapose the original brick construction of the Markets. This new form of structure helped to lighten the design of the hotel as strength was not an issue for the upper floors anymore.

It is interesting that through careful tectonic analysis and strong design decisions, the dialogue between the old and the new elements are fully incorporated in influencing each other’s relative locations and the original tension between the two is now replaced by a building design in essence acting as one whole entity.

Developing on from the change in material, it became important to have very clear differences between the old and the new in terms of texture, yet however the use of a common material to both elements helps the design to read as one building. The use of vertical wood batons as an exterior cladding is a homage to the Victorian craftsmanship of the shop fronts on the boundary structures on South City Markets. However these vertical batons also have a double purpose of breaking up the elevation of Hotel while also providing a level of privacy to the hotel rooms from the external civic space. The use of the wood as the skin material is another method to diffuse the strong form of the modern building in respect to this green urban space by dampening its harsh edges. The relationship between the green central space and the wooden cladding also allows for a coherent dialogue between the two spaces in both materiality and order. These wooden batons are also used on the inner elevation of the design to dampen down effect of the heavy metal structure of the Hotel in lieu of a more delicate wooden framing support system.

Inherent to all hotel design is the room module. Due to the designs emphasis on public spaces and organisation, these private quarters have been limited to a set scale and massing. Each room has been designed to experience maximum comfort from a minimum footprint defined by the tectonic structural system and experience the maximum amount of ambient light and ample views available. The rooms have been ordered around the external space so that they can constantly relate back to the city they are staying in. On the other side of room envelope they experience the city skyline to the east and the historic South City Markets boundary building to the north. The design of the room is similar to that employed by the Radisson Blu Hotel group where minimum dimensions are incorporated into the rooms’ furniture design, the use of glass as the divider to maximise the space footprint of the wet room and a large floor to ceiling window to maximise light and views and give the illusion of space. The services for each room run through the joint wet wall and travel in the flooring to the central services core to be removed. Ambient up lighting is used to give the room an even light tone but also to create a picturesque elevation of the hotel from the external city room.

The foyer of the Hotel acts as a thoroughfare that transcends the building from the old to the new and vice versa. It is the pivotal point of the hotel design as it is where the Hotel design kinks to address itself with the external city space as well as its origin from the boundary buildings on Exchequer St. The foyer is the main hub of the hotel, it is the entrance and gathering point, it has the routes to the upper floors and to the conference room, it joins the street with the civic space and it incorporates the reception and the bar. The foyer is the heart of the design, the epicentre of the programmes function. It encapsulates the design ideal of knitting back into the urban fabric by stretching the length of the design, the foyer acts as the Hotels link to the streetscape and the city. The progression through the space from the modest street entrance, past the secure reception area, into the main atrium and on through the bar and civic space describes the guests experience from old to new through a direct linear pathway. The use of double and triple height spaces allow the foyer to transverse the building vertically allowing sectional engagements from every floor. The space divides the private and administrative functions by bisecting the north-south axis created from the Market Arcade to Exchequer St. The foyer is the centre point about which all programmatic functions are organised and relate too.

In terms of the conservational aspect of the design I feel that it is similar to many exemplary projects in which the aim was to regenerate a forgotten building.

In terms of function it is similar to Eduardo Souta De Moura’s Santa Maria Do Bouro Monastery conversion into a State run Hotel, where he treats the original building with respect by implementing simple subtle modern interiors to juxtapose the ancient importance of the monastery. He uses this simple organisational tool to highlight the importance of the building but also creates new avenues in which to experience the space. The organisation of primary functions around a central courtyard on ground level is very similar to my approach.

In terms of lighting conditions and new within the old, the design is similar to David Chipperfield’s Neues museum in how it represents the differences between the new and the old and how they can cohabitate and also in overhead illumination the central space relied on. The success of this project of re implementing the original tectonic structure through restoration and replacement is similar to my approach of releasing blocked spaces through replacement with modern structures and renovating the streetscape to its former glory.

The proportions of the Hotel design is in direct relation to the tectonic nature of the site in the form of the structural system but also the scale of the surrounding. The building is a hidden gem unknown from the streetscape but discoverable through its functions and the Market Arcade. It is through this method I feel that the building succeeds in creating a harmonious space in which to reflect and experience the city, an area of relief.

BASEMENT FLOOR PLAN

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

THIRD FLOOR PLAN

LONG SECTION

SHORT SECTION

EXTERIOR RENDER

INTERIOR RENDER

NIGHT RENDER

LANDSCAPE:

Integration of the landscape into the architecture is paramount to this dissertation. The concept of delivering a space back to the city is the driving force behind the organisation and delivery of this design project. The analysis of Dublin’s environment as a whole urban entity is the origin of the project and the implementation of the new civic space is the investigation carried out. The idea of a city’s landscape is the focus of this design.

The landscape of Dublin is represented in this project as large massing object, with equally large relief spaces dotted around the city fabric. The streetscape is seen as being bordered by harsh edges with little relief in their design. The texture of the landscape of Dublin is that of brick and concrete, dull colours in the modern city. Dublin’s rough exterior is only emphasised by its heavy massing, where buildings become blocks within the city.

Dublin’s attitude to relief spaces is narrow-minded. The large parks have no purpose or direction; they serve everyone and no one at the same time. Even in terms of escapism, these parks read the same as Dublin’s massing blocks, boarded with hard edges which retract from their purpose as relief spaces. These areas offer no relief; they are essentially gated gardens, without personal interaction with the city.

In terms of the landscape of my external civic space, it is designed to challenge the normal parameters of Dublin’s spaces. It differs by being immediately accessible from both public and private spaces. It is owned by everyone and no one at the same time. The space is experienced in a progressional format from either public or private spaces yet it always ends in the large relief once in the space. The design challenges convention of how a civic space should be organised and accessed, it redirects the main focus from the horizon to the skyline.

The texture of the landscape is juxtaposed but the original format of the site of a paved market; it investigates the possibilities of urban shared spaces with respect to their difficult locations, neighbouring problems and unfamiliar tectonics. The civic space is a natural entity within a fabricated world; it is seen as a destination, a place for reflection and a gathering point. This civic spaces soft texture gives a sense of warmth to the area; its inclusion completely changes the feel and dynamic of the surrounding buildings.

All buildings immediately want to address the space and utilise it. It is serving its function of giving back to the city.

In terms of the design the external space is not heavily organised but is given a set of parameters. It is seen as a relief space so it can be utilised by any function yet is also an opportunistic space, so private ventures can benefit as well. It is seen as a method of regenerating the Market Arcade as a primary destination in Dublin once again.

The architectural style of the civic space is similar in design to the larger design project due to its central nature, but it is in stark contrast with the harsh materiality of both the new and old elements of the design. The civic space is seen as a service element within which any member of the public can utilise, however it is unique in the form of protection afforded to it by the infill site and bordering functions. It has created a “safe� public space.

ENVIRONMENT & TECTONICS:

As seen in the previous analysis, the Environmental and Tectonic approach to this design has been calculated thoroughly. The considered approach to the sensitivity of a conservation project can be seen throughout the design development. The importances of the use of existing frameworks were essential to the design strategy in the final drawings.

The environmental aspect of the dissertation can be seen mostly in the approach to materiality of the buildings elements. The contrast between the old boundaries structures to the modern design element were only arrived at after long careful consideration of the implication of their relative materials on each other.

The initial design idea of the infill site is a direct reaction to the local environment of the Dublin city landscape. The harsh boundary edge of the massing blocks of Dublin adequately describes the environment in which this civic space was needed. It was through this consideration of the relevance of the environment in site decision that the South City Markets site was picked, due to its unique boundary structures and simple infill organisation. The subsequent design developments have always been made with regard to the local environment on a personal and city wide scale.

The sunlight environment also had a large influence on the organisation of the programmatic elements of the design by dictating the buildings openings, its main shape in respect to sunlight penetration and finally in the location of the external civic space. The design surrounds had a profound influence on the final shape of the design but also its programmatic detail due to the heavily ornate streetscape.

The building reacted to the tectonic nature of the site at all possible opportunities throughout the design development. From initial discussions on knitting back in to the building fabric to utilising existing structural framework , the tectonic nature of the site has been respected and reacted to throughout the design.

The most notable form of the tectonic reaction is through the assembly of the hotels structural system. After initial design approaches, the use of an underlying structural support system allowed the building to be defined by the site and this created a more uniform building shape. The assembly of this steel structure is seen as a metaphorical tree which rises from the historic tectonic plate off which the hotel hangs between the trunk and its branches, which are knitting back in to environments existing fabric.

The reaction of this design ideal of knitting came from the initial concept of the “earthbound” protected element, informing the new structures design and layout. Through its implementation, the idea of the design transversing the boundary between the old and new has influenced the development of this project and clarified the thought process of what it is to do the challenge a conservation project. It’s through these reactions that the building has been able to assimilate into the context of the site’s environment. The tectonic nature of the design allowed the Hotel to read as part of the assimilated fabric of the city and through framing the external space, create a new destination in Dublin

SUMMARY APOLOGIA:

In reflection of this dissertation process I feel that I have utilised all my skills obtained over the preceding three years to deliver a well rounded design project which has taken into account different stylistic approaches and has reacted to the context of the site well. I feel that I also adequately represented this development process through different mediums so it could be understood on each level of design detail.

The possibilities of expansion are endless in this design process. I had begun to develop more interesting intricacies in the design brief in the form of further room typologies and different types of framing technologies for the cladding but unfortunately I was unable to complete these in time for the dissertation end. These possibilities have helped me validate my discoveries in this architectural development as they are all reasonable avenues of further investigation.

My opinion of my project has changed several times throughout this process from the initial discovery stage to the delicate tweaking of the latter stages. I still feel that the site choice was the correct option for the development of the main aim of the dissertation, mostly due to the abundant wealth of tectonic history on the site. The challenges I posed myself while unnecessarily difficult, I found they gave a sense of credibility to the design process as a whole.

Working within these strict parameters forced me to innovate in different ways but it also taught me the importance of making correct informed decisions in the early stages of design. I thought my development, although slow at periods in the design, brought the project together to a satisfactory level in time for the dissertation.

However the one aspect I have found myself questioning at the end of this dissertation process is “was the programme correct?” I know that my original choices allowed me the opportunities to explore the aim of the dissertation but I’m still unsure if this typology would have been better suited to a different site and to which typology this site truly belonged.

Irrespective of this I am still pleased with the final result of the Hotel Designs’ organisation and aesthetics.

The approach to the work was calculated and its execution considered.

In terms of my future direction in architecture, I found this project challenged my architectural knowledge to the limit in the form of the difficult site, repetitive modular’s, and challenge of working with protected structure guidelines.

I have taken away from this experience the desire to work in a framework team of design on larger scale projects, where coherence is vital and tectonic response is inherent in all the design. This form of architecture I feel would benefit my thought process greatly and also the opportunity to work on these larger scale projects would give me an insight into the type of architecture I’m interested in.

I think it will be interesting to analyse my future architecture to see if it will also hold similarities with project A just like project B did. It still astounds me that my subconscious has developed its own ideas on architecture and has subsequently influenced my design ideas over time. It’s because of this I hope to further engage with different projects and typologies to help build this psyche to appreciate all forms of architecture and to help with problem solving in the future. I hope my year out in an Architecture practice will help aid in this development and the environment of office life will teach me to manage my architectural ideas and bring a wanted sense of realism to my architectural development.

I feel that critically, I could have completed a better project but the avenues in which I researched and developed this design ideal and dissertation aim, this project is a good representation of my work and the possibilities of this design.

REFERENCES:

- ARCHITECTURE OF THE CITY - ALDO ROSSI - GA - GLOBAL ARCHITECT - JOHN C. PORTMAN & ASSOCIATES - THE ARCHITECT AS A DEVELOPER - JOHN CALVIN PORTMAN - EL CROQUIS SPECIAL EDITION - CARLO SCARPA - ARCHITECTURAL RECORD - EDOUARDO SOUTO DE MOURA - THE IRISH ARCHITECTURAL AND DECORATIVE STUDIES THE JOURNAL OF THE IRISH GEORGIAN SOCIETY

BIBLIOGRAPHY:

- GREAT PUBLIC SQUARES: AN ARCHITECTS SELECTION - ROBERT F GATJE - ATLAS OF A NOVEL TECTONIC - JESSE REISER - ZENITHAL LIGHT - ELIAS TORRES - ENRIC MIRALLES - MIXED TALKS - RAFAEL MONEO - THEORECTICAL ANXIETY AND DESIGN STRATEGIES: IN THE WORK OF EIGHT CONTEMPORARY ARCHITECTS - RAFAEL MONEO AND THE STOCKHOLM MUSEUM OF ART AND ARCHITECTURE: THEORY OF ARCHITECTURE 2000-2001 - HANS SCHAROUN - J CHRISTOPH BURKLE PROJECT STUDY - WEXNER CENTRE - PETER EINESMEN - COMMERZE BANK, SHANGHAI - NORMAN FOSTER - ARCHBISHOPRIC MUSEUM - SVERRE FEHN - PANAYOTIS TOURNIKIOTIS - ADOLF LOOS