C3_Cultural Context Report by Damien McGonigle

C3: Cultural Context: Project Related Study

Candidate: Damien Mc Gonigle

Candidate No: 08/1/8130

Date: September 2010

Contents 1. Introduction 2. History of the ‘Liberties’ 3. Local Context 4. The Site within its Surroundings 5. Concept Development 6. Conclusion 7. Bibliography

Introduction The Liberties Is a portion of the South West Inner City of Dublin which has a mixed use character and a strong sense of physical and social identity. By the 1990s the area had suffered from lack of investment, rationalization of industry and the loss of a middle-income population. Concentrations of social disadvantage within the area have contributed to its poor image. Despite this image the area retains a rich archaeological, historical and architectural heritage as well a strong sense of community. The sense of community has suffered however in recent years with the introduction of new developments. Life in the Liberties has become fragmented with the lack of interaction between the traditional residents, and those of the gated new developments. It is envisaged that the provision of a new cultural amenity, in the shape of the dance theatre, will be the catalyst for a change in attitude, creating a more integrated local community. This will be achieved by first of all providing public open space accessible to all, and secondly through community based dance initiatives, promoting an enjoyable and all inclusive activity to be enjoyed by all groups. The centre is designed to facilitate the professional contemporary dancer through the provision of rehearsal spaces, and will also act as a centre for community outreach with public dance programmes. The building is designed to engage the public with the medium of dance, creating communication and interaction similar to that experienced daily between the street markets vendors and the public. In this report I explore the history of the site and locale, and how it has sat within the community in both past and present. I analyse the scheme within its surroundings and how this can interact and enhance the daily life in the Liberties. I discus how my concept has developed through my research of the local area, and examine precedent buildings that have influenced the evolution of my scheme to deliver the cultural community facility of the Dance Centre.

History of the ‘Liberties’

The site chosen for this project is located on Thomas Street, South West Inner City Dublin. The street is situated in an area traditionally known as The Liberties. While this area and its name had connotations and an association with 1916 rising and subsequent push for independence, the name itself; The Liberties, is actually derived from its Anglo-Norman beginnings. ‘The Liberties’ refers collectively to jurisdictions which existed in 12th century Dublin. The area was made up of four geographical areas which were united to the city but were located outside the city walls. All four liberties were rooted to ecclesiastical groups by charter. These began principally as agricultural areas outside of the city walls, with the exception of the liberty of the dean and chapter of Christ Church which comprised the cathedral precinct and lay within the walls. The other three jurisdictions were the Archbishop of Dublin’s liberty, St Sepulchure’s, the dean and chapter of St. Patrick’s liberty, and the liberty of Thomas Court and Donore. The latter began as an ecclesiastical liberty but following the Reformation was dissolved by Henry VIII and granted to the Brabazon family, the Earls of Meath, whose name remains ingrained in the area to the present day in, Meath Street, The Meath Hospital, Meath Market, Brabazon Row. The liberties were essentially self-governing municipalities. They were granted certain rights in exchange for support for the current ruler. These included its own courts of justice, free customs, freedom from certain taxes and services, freedom to impose their own fines, have their own coroners, rights of salvage, maintain their own fairs and markets and regulate weights and measure. The independent, and perhaps sometimes autocratic nature of the liberties may be summed up in the words of Dean Jonathon Swift, lord of the manor and liberty of St. Patrick’s cathedral Dublin in 1733: i

“I am lord mayor of one hundred and twenty houses, I am absolute lord of the greatest

cathedral in the Kingdom, am at peace with the neighbouring princes, the lord mayor of the city and the archbishop of Dublin, only the latter, like the king of France, sometimes attempts encroachments on my dominions”

The chosen site for the project is located within the former liberty of Thomas and Donore and fronts onto Thomas Street. As a western approach to the city, the area became a centre for agricultural business and trades. Up until the nineteenth century Thomas Street was regarded as the gateway to the west, a route by which farmers came to sell their produce and buy items such as tea and other luxuries. The Corn Market was located here just outside the city wall and the area thrived as a market community.

The presence of agricultural produce gave rise to the development of related industry in the area such as brewing, distilling, and tanning. This is the area where brands such as Guinness and Powers Whiskey began their days. The Guinness brewery sits at the west end of Thomas Street, and the Powers Distillery site is now occupied by the National College of Art & Design. As the area became the industrial heart of the city, the population began to rise with the influx of craftsmen and their families into the liberties. The liberties maze-like streets were teaming with life and activity, and were made up of a mix of artisans and the impoverished. Overseas immigration began in the seventeenth century, predominantly from English and French, or Huguenot settlers. A further influx took place in the mid 1700â&#x20AC;&#x2122;s with the introduction of legislation which encouraged protestant settlers to relocate to Ireland. These new settlers, and in particular the Huguenots began to create communities with a sense of identity within the liberties. The Huguenot communities brought with them a knowledge of the textile industry, weaving in particular, including silk and poplin. This became an established industry in the liberties and certain areas prospered.

Despite the industrial success of the liberties, it was an area which was never free from poverty. A preamble to legislation of 1703 referred to the continuing rise of poverty iiâ&#x20AC;&#x2DC;within the city of Dublin, and liberties adjoining theretoâ&#x20AC;&#x2122;. The area began to increasingly decline, caused in no small part by the mechanisation of the industries, and the job losses which were inevitably associated with this. This was further exacerbated in 1786 by the withdrawal of the Bounties, which were duties levied on certain goods imported from England.

These factors combined with the economic slump of 1827 had as large an impact on Dublin life as the Great Famine had in rural Ireland. An official enquiry took place in 1836, and witness reports paint a bleak picture of life in the liberties:

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‘Trade was nearly annihilated in this liberty [the earl of Meath’s], and in the consequence of

the poverty it is not unusual to find in the same apartment the father, mother, and their children and grandchildren; the father of the second family being in some instances seeking employment in England, and in other instances idle, or next to idle, at home, and is otherwise brought to a premature grave by an accumulation of misfortune or misery’

The liberties never recovered, and instead continued in a steady decline. As the area suffered the more prosperous inhabitants, including the well off émigrés relocated to the more salubrious areas of the city, such as Clontarf and Malahide on the North East coast. This shift in class and the desertion of the liberties was witnessed in 1840 by Mr. & Mrs. Hall, writers who were touring Ireland at the time and were recording their experiences. They observed:

‘a once flourishing region: large houses of costly structure now the abode of the most

miserable. As they were deserted by the rich, they were filled by the poor’

The administrative ability of the liberties was questioned in the mid 1800’s by a number of commission which were examining municipal areas in the country. They concluded that the liberties represented the ‘remnants of the feudal polity in which they originated’ they were v

‘productive of great present inconvenience’ and that ‘these manorial jurisdictions are not

suited to the altered circumstances of modern times’ It appeared the liberties had run their course as independent administrative centres. In 1859 their rights to their own court systems were deemed to be ‘prejudicial to the proper administration of justice’ and were withdrawn. Eventually the various other rights to which they had been accustomed, such as the running of the markets and the weights and

measures were taken over by the then Dublin Corporation and the liberties as they were known ceased to exist. In 1898 the 12th Countess of Meath opened a fountain on the former site of the Meath Court House. The ceremony marked the closure of a part of Dublin life and an end to the distinctive role of the liberties. However the area continues to hold its own sense of place to this day, something which can be experienced in those who continue to live and work there.

Map by John Speed, 1610

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Map by John Rocque, 1756

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Tenements in Dublin in 1850

Map by Ordnance Survey,1875

Map by Dublin Civic Survey,1925

Map by Ordnance Survey,1945

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Map by Ordnance Survey, Present Day

Local Context

The dance centre is designed to facilitate the professional contemporary dancer through the provision of rehearsal spaces, and will also act as a centre for community outreach with public dance programmes. The building is designed to engage the public with the medium of dance, creating communication and interaction similar to that experienced daily between the street markets vendors and the public.

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Images of the Liberties Life

Living The arrival of the Celtic Tiger did little for the character of the liberties. Whilst Thomas Street , and Meath Street retain much of the hustle and bustle and life which is most associated with the liberties, other areas, in particular the residential spaces, have not maintained this.

As unemployment rose in the 1970â&#x20AC;&#x2122;s and 1980â&#x20AC;&#x2122;s, so too did the problems within the social housing estates. The South West inner city experienced extremely high levels of long term unemployment. The built fabric of the area became dilapidated, drug use and drug related crime escalated. As the socio-economic problems grew, people began to look towards the new local authority housing estates which were developing on the periphery of the city. Displacement occurred as people began to migrate to areas such as Ballymun, Finglas, and Tallaght in search of a better way of life, unfortunately many of these developments were to experience the same problems as the inner city.

New residential development has taken place, however much of this is under private ownership and a scenario has been created whereby new gated developments sit in close proximity to Local Authority housing units. This has led to an almost segregated society within the area with the highly affluent living close to the highly disadvantaged with little or no interaction.

The changing demographic of the liberties has managed to paint conflicting picture of current life there. A study commissioned by the Dublin Inner City Partnership in 2008 sought to ascertain the reality of living conditions as opposed to the statistical data presented by Central Statistics Office. The new development and influx of young professional that came with it seem to have given the area more respectable figures in terms of employment and education. xiv

In 1991 over 62% of the areas population were poorly educated, as opposed. Those who

had received third level education rose from 1.5% to 47.5% in the same period. Male unemployment was 55.8% in 1991, and female unemployment was35.9%. these have both greatly decreased to 12.5% and 12.9% respectively by 2006. One of the largest shifts was in local authority housing, in 1991 this accounted for 95.8% of housing in the liberties, whereas by 2006 this represented only 28.3%. These figures would indicate the displacement of the initial population and their replacement with the professional classes.

The study found that the area is ‘made up of a chessboard-like array of housing blocks, xv

unconnected and unrelated to one another and with no sense of shared community between

them……. What is striking about the area is the lack of integration of its built environment, the height of the individual housing blocks relative to the narrowness of the streets between them and the discomfort which this lack of open space induces in the visitor or resident. The only hope for the future lies with the appropriate use of a major development site in the centre of all of these unconnected buildings which might allow these fragmented communities to connect.’ Were statements such as this adhered to, the liberties could once again become a thriving well integrated community. As it stands the development of the area is gradually leading to more and more social exclusion and marginalisation for those who traditionally grew up here.

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View of Local Authority Social Housing on Swift Alley looking south

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View of Bertram Court Gated Community on Francis Street looking south

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View of Local Authority Social Housing on Vicar Street looking south

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View of Le Rochelle Gated Community on Cornmarket looking east

Markets Markets and trading have long played a part in the life of the liberties. Many of the houses on Thomas Street, Meath Street, and Francis Street are occupied with retail units on the ground floor level. Francis Street was once populated by textile related shops, before developing into an area given over to grocers, tea, wine and spirit merchants. Francis Street and Meath Street were also traditionally home to shoemakers and saddlers wh were supplied by the local tanneries. Today Francis Street is predominately a centre for antiques, while Meath Street has retained some of its traditional shops, along with additions such as household items and furniture. Many of the premises have remained in the ownership of the same families for several generations, a fact that can be attested to in the Thomâ&#x20AC;&#x2122;s Directroy. Street vendors were a common sight in the liberties and the tradition has remained in certain areas, in particular Thomas Street and on weekends on Meath Street. An effort was made to remove much of this street trade in 1902 with the erection of the Iveagh Markets. This large purpose built building contained a large gallery space, with iron roof trusses supported from cast iron columns. It was intended that the street vendors would gather in this building rather than line the streets of the area. The building now lies empty. Several attempts to rejuvenate it with various proposals ranging from retail to hotel, have failed to materialise. The availability of most day to day items within the liberties itself has over the years given the area a sense of place and meant a certain type of independence from the city itself.

Images of the Liberties Markets

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Images of the Iveagh Market and Shop front on Meath Street

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Map of Places, Landmarks and Markets

Industry The area had an extensive manufacturing industry throughout its history. This initially began with agricultural produce, and later developed into agriculturally related industry such as brewing and distilling. There was a brewery at St James Gate as early as 1670. This became the property of Arthur Guinness in 1759 and grew to become a large campus of storehouses, brew houses and malthouses employing local tradesmen. The Powerâ&#x20AC;&#x2122;s Distillery was located on Thomas Street. The site is today occupied by the National College of Art & Design (NCAD). The distillery began operating in 1791 and went on

to become one of the largest whiskey producers in the world. When NCAD took the premises over in the 1980â&#x20AC;&#x2122;s much of the site was demolished, however the grain store was retained and converted into studios and much of the Victorian faĂ§ade survives. Other industries of note in the area were saw mills, of which the site chosen for this project once housed, and tanners.

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View of the Powers Whiskey former distillery on Thomas Street looking north-west

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View of the listed still located within NCAD

View of the Guinness Brewery on Thomas Street

Churches As the liberties began its existence as ecclesiastically governed centres, it is no surprise that some of the landmark buildings are churches. There are two in particular which dominate Thomas Street, St Catherine’s, and the Church of S.S. Augustine & John.

St Catherine’s current building sits on the site of a thirteenth century church on the west end of Thomas Street. The present building designed by John Smyth was completed in 1769. it has been described by historian Maurice Craig as ‘the finest façade of any church in Dublin, a superbly virile composition in Roman Doric built of mountain granite’. A belfry tower is located on the west façade which was designed to support a spire but was never completed. The church closed for worship in 1966 and was deconsecrated. It fell into disrepair and was saved from demolition by a conservationist trust. It served as a cultural centre until mid 1980’s. It received grants in 1997 from the Heritage Council, Local government, and the Department of Environment which enabled restoration work to take place on the interior. The church is now run by an evangelical wing of the Church of Ireland who raised funds for parts of the restoration.

The Church of S.S. Augustine & John is located on Thomas Street adjacent the chosen project site. It was designed by Pugin and opened for worship in 1874. it was described by Ruskin as a ‘poem in stone’. The interior was not completed until 1911 due to a lack of funds. The spire of the vhurch is visible on the skyline of Dublin. The exterior is mainly of Dalkey granite, with carved red sandstone dressing. It contains stained glass windows created by the Henry Clarke studio. The church is still very much in use today.

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Former St. Catherines Church on Thomas Street

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S.S. John and Augustineâ&#x20AC;&#x2122;s Church on Thomas Street

Dutch Billy’s in the Liberties Today the vistas and streetscapes of the liberties are dominated by Georgian and Victorian type facades. This was not generally the case in seventeenth century and early eighteenth. Many facades were modernised in the eighteenth century to update premises to what was considered a more fashionable form. Prior to the renovations much of the liberties was occupied by gabled facades which fronted onto the street commonly refered to as Dutch Billy’s. These houses took their roots from the influx of English and Huguenot settlers who had arrived in the city. The buildings began as a rather simple form in rows of simple gable fronted house. From the 1690’s onwards they began to take on an altogether more decorative look with the introduction of curved and stepped gables. The Dutch Billy term was a nickname used to refer to William III, and subsequently became used to refer to houses with a curvilinear gable with pediment. There are few surviving examples today, the majority having been demolished by slum clearances in the 1870’s, and others which had not fallen into disrepair have simply had a Georgian facelift. In their pomp the area must have been an interesting place to visit, perhaps best summed up by the writer Frances Gerard who described it as xxviii“that curious little quarter known as the Liberties.”

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‘Dutch Billy’s’ within the Liberties

Cultural As well as the various public houses which populate the area there are a number of other entertainment sites. There are a number of entertainment venues in the Thomas Street vicinity. The Vicar Street venue is located on the junction of Vicar Street and Thomas Street. It is a venue which showcases music and comedy, and tends to attract the bigger name Irish and International performers. The Tivoli Theatre is located on Francis Street. It was originally built as a cinema and screened it first film in 1934. at the time it seated 1400 and was the largest in the city. It suffered various economic misfortunes in its life time and has reopened several times. In 1987 it opened as a theatre and has continued to attract local and international shows. The National College of Art & Design is located on the North side of Thomas Street on the site of the former Power’s Distillery. The college moved here in the 1980’s. in the early 2000’ there was a proposal to relocate the college to the University College Dublin campus, south of the city. This was met with protest by local inhabitants and business alike. The proposal was rejected and the campus remains there today. The Digital Hub was an initiative of the Irish government which sought to establish an international centre for innovation and creativity. It covers several sites in the Thomas Street area. It consisits of ‘a community of

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people – artists, researchers, educators, technologists,

entrepreneurs and consumers, all working together to create innovative and successful digital media products and services which support their future.’ The initiative has been relatively successful and has not been as affected by the economic downturn as many others have.

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Images of Vicar Street Music Venue on Thomas Street

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Images of the Digihub on Thomas Street

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Images of NCAD on Thomas Street

Transport Links Thomas Street is located 1.4km. from Dublin City Centre. This in itself lends some scope to the project as it is easily within walking and cycling distance. Dublin City Council has introduced a bicycle rental scheme to promote greener travel within the city. The scheme has 40 stations around the city where a bicycle can be rented and returned to any station, thus making it a flexible form of transportation. Thomas Street is currently serviced, by a Quality Bus Corridor (QBC). It has dedicated bus lanes and so is well served by the service which connects with the city centre, with some services travelling north as far as Dublin Airport. The Luas , the Dublin light rail system currently runs its western service parallel to the River Liffey, with the nearest terminal at Heuston Station. The station is located 1km. north west of the Thomas street. Under the Governments Transport 21 initiative it is proposed to extend the Luas line. One of the new routes will run from Lucan, on the west periphery of the city and will have stops at Meath Street and Christchurch, both of which will be an added convenience to the site. The strong existing transport links in the area will ensure that the dance centre can be accessed primarily by public transport. Commuters by car could be easily accommodated in the adjacent car parking facility at thr Tivoli Theatre which is currently open to the public daily.

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Map of pedestrian commuting distances

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Map of public transport Links

The Site within its Surroundings Thomas Street The site sits on the southern side of Thomas Street which runs from the Cornmarket in the east end almost parallel to the River Liffey before curving into James Street in its west end due to the curving nature of the street there are no stand-out terminating vistas, however a look down Meath Street, which runs perpendicular to Thomas Street, provides an impressive view of the Dublin Mountains to the South. The street itself is made up of predominately Georgian and Victorian facades. Many of the Georgian houses are still intact, although many are in poor condition with plenty of upper floors vacant. Others were refronted in Victorian times concealing their eighteenth century origins. Thomas Street accommodates a variety of differing uses along its stretch ranging from commercial, industrial, and institutional. Services to be found on the stretch vary from street traders, pubs, newsagents, hostels, furniture and clothes stoes, religious, financial and educational facilities. In all it is a diverse mix activity which many would say encapsulates liberties life.

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Thomas Street elevation

Site Approach, Access & Boundaries The site chosen for the dance centre is located at No. 66-68 Thomas Street. The property is currently occupied by Chadwicks Builders Suppliers. It is approached from the city centre from the east via the Cornmarket. From the west it is approached from the direction of James Gate, The Guinness Brewery.

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Approach from the east via the Cornmarket

The site is accessed at present through a monumental arch which dates to 1861 and was built by Joseph Kelly, owner of Joseph Kelly & Sons timber yard and city saw mills which occupied the site. This is a stuccoed arch with Roman Doric columns. When first erected in 1861 it was described in the Dublin Builders Journal as xxxviiiâ&#x20AC;&#x153;....a handsome front entrance to this extensive concern, comprising a lofty semi-circular arched central gateway, flanked by coupled Roman Doric columns resting on a cut stone pedestal, surmounted by entablature and blocking, with a smaller opening for pedestrians at either sideâ&#x20AC;Śit will when completed form one of the most attractive features of its character in the cityâ&#x20AC;? The portal to the east of the arch has been demolished. It is proposed to reinstate this and return the entrance to its former glory as part of the scheme.

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Listed Doric Arch

Another interesting feature is the wall to the west boundary of the site. It contains stone corbelling and dates to the medieval period. The wall now forms part of the property of No. 65. It may have been part of a hospital of the thirteenth century, which was raised to the ground in the fourteenth century. It was rebuilt and in the seventeenth century became a poorhouse, before it was demolished and sold by the church for industrial use in the 1800â&#x20AC;&#x2122;s. to the south, east and west boundaries are currently storage buildings. These are mostly formed in blockwork walls with corrugated metal roofing. Many are open faced and contain racks for timber storage. The west boundary of the site backs on to Vicar Street. The junction of Vicar Street and Thomas Street contains a popular cultural venue called Vicar Street. This street contains some high rise local authority housing. There is some open space provided to the residents but it is of a poor nature. The rest of the street contains some empty space and storage buildings, which could be described as development amenities. The southern boundary of the site backs on to Swifts Alley. This street contains some high rise local authority housing. There is some open space provided to the residents but it is also of a poor nature with no green space.

The east of the site is bounded by buildings which face on to Francis Street. This is a street which had formerly been full of street vendors. Today it is a mix of residential, with a high concentration of antique dealers. The Iveagh Market building which house many vendors is currently closed and awaiting redevelopment as a retail space.

Maps illustrating the adjoining properties in all directions.

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Photograph of sites internal north boundary.

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Photograph of sites internal north boundary.

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Photograph of sites internal east boundary.

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Photograph of sites internal south boundary.

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Photograph of sites internal west boundary.

Concept Development

The site was chosen and concept developed initially with the idea of the dance centre as a catalyst for change in the Liberties. The patchwork of old and new, private and local authority housing has created a need for community integration that is currently lacking. It is anticipated that the introduction of a cultural community facility, in this instance a dance centre, on the site will be the generator for development of local amenities on the site. There is a clear need for quality open space to be provided and a master planning of the block on which the site stands could serve to accommodate this. Many pedestrian routes in the area have long since been closed off and gated. The opening up of a new artery through the site with the existing monumental arch as its entrance will encourage movement, echoing the

activity within the building. The provision of market space in the shadow of the medieval wall to the east boundary will serve as a reminder of the market beginnings of the area. This holistic approach to the site and surroundings will serve as a link between the fragmented communities in the Liberties and provide a social amenity to be enjoyed by all.

Land Use Institutional Retail â&#x20AC;&#x201C; Market pods Cultural/Community Mixed Use Green Open Space xlvi

Proposed Master Plan indicating proposed controlled vehicular routes

Land Use Institutional Retail â&#x20AC;&#x201C; Market pods Cultural/Community Mixed Use Green Open Space xlvii

Proposed Master Plan indicating proposed pedestrian routes

The concept for the building is derived from the traditions which remain within the liberties. Markets and trading are an everyday feature of life here. The hustle and bustle, and communication between vendor and customer are what characterises the area. Similarly a building should have the same interaction with its surroundings. The studios themselves will have a visual connection with the street so that passers by can engage with the building,

engage with the activity, engage with the dancer. Through the use of glazing, opaque and clear, it is hoped to provide glimpses into the medium of dance which in turn will pique interest, and encourage community participation. The scheme’s aim is to create a building which integrates with, and enhances its surroundings.

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Proposed urban spaces

The form of the building has developed from the exploration of the Dutch Billy house type. The decorative double gable is referenced in the building section. Rather than present a building with a double gabled façade onto the now Georgian/Victorian streetscape of Thomas Street, it is intended that this feature becomes a ghost of the past, obscured behind a mesh or screen which affords the passer-by a glimpse.

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No. 10 Mill Street ‘the Liberties’ An example of a double gabled façade (1888)

The building uses a combination of traditional Thomas Street materials, with contemporary sustainable elements. At ground level a brick finish similar to neighbouring buildings anchors the centre. The upper levels are a combination of glazed elements and sustainable timber finishes, referencing the sites industrial beginnings as the city saw mills.

The ‘Dutch Billy’ form utilised in section to harness natural lighting and ventilation

Sketch of Thomas Street. The screen obscures the Billy form and merges with streetscape

Precedent Study Precedents

When selecting the precedents as part of my research into this building typology, I set out criteria that would best sum up my selected site in ‘The Liberties’ and the challenges that it threw up. These are some of the criteria that I wished to explore through my precedents study. The intention being that by viewing how other buildings dealt with the issues, I will be able to apply the lessons learned. The following issues area:•

An infill site.

•

An historical quarter of the city.

•

Located on a busy, noisy road.

•

Site constraints such as: •

Awareness towards neighbouring facades.

•

Height.

•

That recognises the existing hierarchy of existing buildings, street and spaces of artistic, civic or historical importance.

•

That helps maintain or adds to the existing Streetscape.

•

That creates a new pedestrian route.

•

That creates a new civic space.

•

That acts as a catalyst to regeneration within the area.

Temple Bar, Dublin, Ireland. Designed in collaboration by Group 91 Architects Finally since I intend to initially approach my project as part of a perceived master plan, I will study how the Temple bar framework was developed; in particular to look at Meeting House Square.

It is my intention to replicate the successful elements of this quarter within my

project.

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Aerial showing relative distant between Temple Bar and the selected site.

Temple Bar regeneration came about when in 1991 Temple Bar Properties was established to form a framework and to manage the regeneration of Temple Bar to create Dublin’s

Cultural Quarter.

By the late 1980’s Temple Bar narrow streets with their industrial and

commercial past were in a state of disrepair and urban decay.

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The Temple Bar Framework Plan

The appealing approach of the Group 91 architects’ was to retain much of the character of the old, to be flexible in their response, to avoid large scale buildings, ‘to create urban spaces as a contribution to the public realm of the city, and the importance of residential development in the regeneration of the living city’ (The Framework Plan – origins and update, John Tuomey). They strengthened the north south axis linking Temple Bar to the greater city and reaffirmed the existing east-west pedestrian route through the centre of the quarter. The combination of residential, commercial and cultural buildings was at the core of the design ethos. Within Temple Bar, an area of particular significance to my proposal is Meeting House Square; which was designated as a focus for cultural activity within Temple Bar.

Key plan 1 – The Photography Archive/ D.I.T. School of Photography 2 – The Ark A cultural centre for children (Former Presbyterian Meeting House) 3 – The Gaiety School of Acting and a Cafe which opens out onto the square 4 – The Gallery of Photography

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Plan of Meeting House Square, Temple Bar, Dublin.

The desired approach to Meeting house Square was to create an ‘Urban Living room’. By selecting buildings with complimentary briefs and functions, the semi-public square functions by day as Saturday Food Market and by night an open-air cinema and theatrical performances.

A Daytime performance on the Stage

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The Saturday Food Market,

of ‘The Ark’- a cultural centre for children,

Meeting House Square,

Meeting House Square, Temple Bar, Dublin.

Temple Bar, Dublin

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Meeting House Square, Temple Bar, Dublin.

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Meeting House Square, Temple Bar, Dublin

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Axonometric of Meeting House

Square, Temple Bar, Dublin. (The relationship between The Photography Archive/ D.I.T. School of Photography and The Gallery of Photography)

The following are the successes of Meeting House Square that I wish to emulate: •

Meeting House Square is located off a main thoroughfare.

•

Meeting House Squares use of cultural buildings with complimenting functions.

•

Meeting house Square is seen as a destination.

•

Meeting House Square was par of a catalyst for the areas regeneration.

Dance House, Dublin, Ireland. Designed by HKR Architects Located in the North Inner City of Dublin, designed by HKR Architects; the Dance House is a state of the art facility, sole purpose of the building is as a dance rehearsal venue. It is selected not only for the similar building typology but also for its location.

The

characteristics that my proposed site in the ‘The Liberties’ and it’s location on the corner of James Joyce Street (formerly Corporation Street) and Foley Street area as follows:

•

Both are located in a deprived part of Dublin.

•

They both are perceived as a catalyst to regeneration.

•

They both are located in infill sites.

•

They both are conceived as part of a mixed use city block.

External view of Dance House, Foley Street, Dublin, Ireland

Even before entering the building, one can not read the nature of the its purpose. There is no indication that this is a building for dance. There is an adjoining display space for art installations and as someone who worked nearby and passed the building daily, I had the feeling it was poorly utilised, and mostly ignored. The lack of engagement with the street level continues inside, where a double height Foyer space has a dual purpose as a Café. The intention of this space is to create interaction between the public and that of the dancers in

their rehearsal room; sadly this is not achieved, as it is impeded by the solid construction nof the guarding above. Another detrimental effect of the double height Foyer is the resulting limited floor space available in the rehearsal rooms. Performances with an audience can be restrictive. Perhaps this is as much a symptom of the success of the building, from speaking with the manager the building has been a success within the community and classes for varying age groups and skill levels are well attended.

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External terrace at corner, Foley Street, Dublin, Ireland.

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Rehearsal room, Dance House, Foley Street, Dublin, Ireland.

An external terrace area exists and the studios open on to this. It has been utilised for rehearsal, but seems somewhat unsafe as such a space. This element interested me particularly as the dance centre brief calls for access to an external space for rehearsal in good weather.

The over use of glazing in the faรงade and the orientation of the two rehearsal room, southeasterly and south-westerly respectively, has resulted in rooms that easily overheat and are difficult to cool.

With the addition of the activity within the whole experience can be

uncomfortable. It proved an interesting visit, and some valuable lessons were learned, in particular the over-heating of the dance spaces.

Dance City, NewCastle, UK. Designed by Malcolm Fraser Architects

When Dance City sought to relocate, they wanted the new building to immediately appear as a welcoming place to their first time visitors, to be seen as a social space that opened up to its surroundings and invited you in, they also wanted a simple layout which was easy to understand and finally to continue being seen as a creative force within the city.

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Dance City, St. Jamesâ&#x20AC;&#x2122; Boulevard, Newcastle, U.K.

This RIBA award winning building forms Dance city new home. It is located on a busy main road of St. Jamesâ&#x20AC;&#x2122; Boulevard. The building is expressed as two interlocking boxes which are connected through a top-light atrium. The first building block facing west onto the street is built in Staffordshire blue facing brick, this houses the dance studios and theatre. The internal studio finish is painted white brick which helps reflect the natural light. While the brick facing used in the theatre is a dark purple/blue shade conducive to performances of productions. The choice of brick revolves around its obvious low maintenance, its absorbent nature towards both heat and sound, and its hard wearing nature.

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Dance studio, Dance City, St. Jamesâ&#x20AC;&#x2122; Boulevard, Newcastle, U.K.

The second element constructed using steel frame and curtain walling systems. This system allows for the greater flexibility in its form and larger glazed areas to be achieved. This block houses the administration block.

The use of coloured panels set behind the glass, is a

whimsical gesture in start contrast to the stern solid volume of the masonry box of the dance space.

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Dance City, St. Jamesâ&#x20AC;&#x2122; Boulevard, Newcastle, U.K.

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Section of Dance City, St. James’ Boulevard, Newcastle, U.K.

Glimpses of the two accommodations are offered to the buildings user as the plot a course up through the circulation route that wraps around this light filled atrium space. The atrium takes on various functions; as a social space with a café, as a place of arrival, it offers stepped ground floor seating for impromptu performances and the links all the functions of the building. The size of the finished building will allow the organisation to continue to grow and to enhance the surrounding city.

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Atrium space of Dance City,

St. James’ Boulevard, Newcastle, U.K.

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Top light atrium space of Dance City, St. James’ Boulevard, Newcastle, U.K.

Conclusion The â&#x20AC;&#x2DC;Libertiesâ&#x20AC;&#x2122; has experienced great change from its anglo-norman beginnings as a trading post outside the city walls, to itâ&#x20AC;&#x2122;s central role in the industrial and manufacturing landscape of Dublin city, and its eventual downfall, and subsequent patchwork renewal of the present. There can be no doubt that conditions have improved in the area, however this may eventually come at a cost. It is a place renowned for its spirit and sense of pride, it would be a great pity to see this diluted as new development continues and the traditional local population become further marginalised. The key to creating an integrated community for the future is through the promotion of social interaction and activity that is inclusive for all. The dance centre aims to promote this, firstly in the creation of a unifying urban space, and secondly through the provision of a building which is accessible to all and one which has a positive sustainable impact on its surroundings, with a minimal impact on the environment, adding to the sense of place by those who live and work there.

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Dance City