The Quays of Cork. A Study

The Quays of Cork A STUDY

The Quays of Cork

This guide book aims to identify the significance of the quays of Cork City and the benefit of establishing the distinctive character and significance of an important structure and historic landcape to the wider community and economic interests. .

Written and edited by John Hegarty With assistance from Arturas Calyj and Kate Murphy Formatting by John Hegarty, Arturas Calyj and Kate Murphy Photographs from the Lawrence Collection are courtesy of the National Library of Ireland.

With the assistance of the RIAI, UCC and Cork City Council.

ISBN 2020

The Quays of Cork A STUDY

Foreword

The quays of Cork form a significant and important part of the built heritage of Cork City. They form the landscape of the city on the banks of the River Lee defined by a setting that is rooted in the principles of the development of cities throughout Europe. As historic structures built over hundereds of years they stand testament to the collective works of the people of Cork and their maritime connections with the rest of the world. As the city thrived in the 17th, 18th and early 19th Century the quays in their setting represent a golden age of trade and investment that now for part of the collective memory of those who love Cork and wish to protect it for future generations. This book stands to represent and record the beauty and ingenuity of a significant maritime landscape and a national monument for everyone in Ireland.

Contents

9

INTRODUCTION

11

QUAYSIDES Crosse’s Green Sullivan’s Quay Father Matthew Quay Morrison’s Quay St. Patrick’s Quay Coal Quay Kyrl’s Quay North Mall

43

BOLLARDS AND RAILINGS Bollard Title Development of the Grand Parade Bollard North Mall Railings Father Matthew Quay Railings St. Patrick’s Quay Railings

56

REPAIRS AND ALTERATIONS St. Patrick’s Quay Railing Alteration Open Quay Railing

60

MATERIALS

62

THE ORIGIN THE DRAWINGS

63

GLOSSARY

64

BIBLIOGRAPHY

“. . . the pleasing curves in the river, the silver-grey of limestone walls, the decorative value of the bridges and the discerning placement of public buildings and churches.”

“The beauty of the Quays . . . , is one of Cork’s assets which should be jealously guarded.”

- Professor Patrick Abercrombie, from CORK - A Civic Survey, 1925.

1

8

The Quays of Cork

Introduction

Palladian architecture arrived in Ireland in the late 17th Century and evolved into a finely detailed but Spartan modernism for the time. The change was revolutionary. The new architecture was clean, simple and sometimes monumental yet as modern and economical as ever seen before. Clean lines and classical forms replaced the fortified buildings of the previous era. The change signified an Irish age of reason in architecture which visually forms a large part of our distinctive built heritage.

Despite the loss of many buildings in Cork, a great amount of our historic architecture is still intact and is derived from this significant period of expansion.

The urban landscape of Cork reflects the richness of a city emerging from the uncertainty of the Medieval Age towards the Age of Enlightenment that grew across the continent from the 16th Century onwards. The urban form of Cork stems from a tradition that is rooted in Greek theory where creating order in cities became a requirement, as well as an aspiration.

By the early 18th Century Cork fully embraced the rules of European urbanism applying them with great skill to the distinctive landscape of the city. As the Greeks would angle a temple or amphitheatre to relate to a change in topography or a coastal form, here in Cork buildings were placed to relate to the waterways and the topography of the river valley to deliberate effect. Like the Greeks and the Romans, Cork gave significance to public buildings by increased size and scale, dramatic or picturesque location and a separate material quality. By contrast the general matt of other buildings maintained a uniform height and scale, dependant on the width of the spaces they lined. Public buildings sat within

2

3 Figure 1 St. Mary’s Priory Catholic Church, Pope’s Quay, Kearns Deane, Photograph by R.S Magowan Figure 2 Holy Trinity Church before completion, Cork, c. 1870 National Library, Dublin Figure 3 San Zaninovo, Venice (San Giovanni Nuovo) (c. 1740) Photograph by John Hegarty

Introduction

9

the simplicity of the urban matt whose uniform facades were dotted with entrance doorcases detailed as miniature classical temples.

4

The distinct nature of our available building materials of cut stone, brick and slate added to the specific character that defined the city. John Butt’s view of Cork c.1750, (Crawford Art Gallery) shows buildings of handmade bricks and limestone detail with steep roofs and gable fronts which are comparable to Flemish or Dutch cities or even the London of the 17th Century. Our buildings sometimes described as regional in modern times were certainly not so in the classical Cork of the 16th to the 20th Century. Cork was part of an Anglo Dutch tradition that traded throughout the world with ingenuity that allowed it to grow rapidly and fashionably embellish the city with impressive architecture.

18th and early 19th Century Irish architecture embraced a unified identity defined by economy of design. In Cork this meant that minimalist yet decorated buildings of rare simplicity formed the general urban facades that defined and surveyed the generous public spaces reclaimed from the river inlets and old quaysides. Public buildings rose from the general matt of buildings declaring their obvious significance.

5

The new Irish approach to building design was simple in form and rich and individual in detail and no less so in a prosperous Cork. The steep roofs of the late 17th and early 18th Centuries became the hidden roofs and parapets of the city landscape of the 19th Century. Timber was always scarce and generally imported from the Balkan states. As the Napoleonic wars progressed it became even more difficult to obtain and an

Figure 4 Neues Museum, Berlin (1997- 2009) © SPK/ David Chipperfield Architects Figure 5 New port Street Gallery, London (2004-2015) © Caruso St John Architects

10

The Quays of Cork

aesthetic of sophisticated delicacy developed in architecture and furniture.

This later Palladian or Georgian architecture is well recognised for its exceptional design integrity. Plentiful plaster replaced timber in many cases internally and externally. In Cork timber was retained for significant joinery and used for front doors, windows and shopfronts. The front door as the expression of the interface between public and private was often elaborate yet based on an exceptional accuracy in classical detail largely due to the academic interpretation by joinery shops of classical pattern books.

Comparisons can be made between the historic plan of Emmet Place and Michelangelo’s Piazza del Campidoglio (Capitoline Hill), Rome. Reinterpreting organic space to classical effect defined the Renaissance landscape of Rome as it did in the 18th Century landscape of Cork where existing building lines could become the sophisticated tool of false perspective or express the picturesque ideals of the age.

The reinterpreted Grand Parade as a large rectangular place can be compared to the Piazza Navona in Rome; both spaces with buildings of continuous height reflecting the width of the space they address and both defined by a central baroque fountain. The further addition of what is distinct in Cork like our technologically advanced bow fronted houses and the exaggerated perspective of the space with one open end addressing the river makes the Grand Parade as it was one of the most important classical public spaces in Ireland and of international importance.

Introduction

11

There is much to develop in Cork outside the core but how we build within the historic city will define our future if development and heritage concerns are to be given warranted consideration. Protecting our heritage begins with realising that the historic built fabric of Cork is of an international standard and significance. Protecting what we have is about our wellbeing and about protecting the distinctiveness of our city and the potential for related economic and social gain. We need to agree that the conservation of the scale, form and material quality of our historic city can be driven by analysis of what it is that makes it distinctive and that we should not design buildings in Cork or plan for Cork without understanding exactly what it is that makes Cork a specific place. Look through the Lawrence collection photos of Cork or compare the images of the incomplete Holy Trinity Church on Morrison’s Island with the incomplete church of San Zaninovo in Venice and you will know how significant Cork is.

There is a need for restoration and for much conservation but it is also through ingenious design that considers context by which we can repair the significance of the city.

We have seen much damage to urban Cork in recent decades where buildings of the general urban matt have been constructed in alien materials and scale, competing for significance with our established public buildings. Every new development competes for more attention and that loud voice represents a major dilution of the tried and tested rules of building in an historic setting. Some of our public projects of noble intent like the Peoples Park have caused significant damage. The space was created from the demolition of a rare medieval block of buildings from within the city walls

12

The Quays of Cork

and broke the line of the building facade of Grand Parade creating a missing tooth and a leaking of the contained space. The demolition also revealed the back of buildings to the street which broke another absolute of our European urban tradition where building facades always address public space and rear elevations are hidden from view. Ingenious repair of demolished urban fabric can be done while retaining urban space but it requires exceptional design ability and a respectful bow to local context. Contemporary architecture that is respectful of setting, scale and material continuity is long overdue in the historic core of the city.

Carlo Scarpa began the post war conversation on how to combine new design elements with historic architecture and his work still influences great projects like the David Chipperfield Neues Museum in Berlin or his radical proposal for the Castelo Sforzesco in Milan. In the UK the Newport Street Gallery by Caruso St John is an exercise in subtle interpretation of setting and respect for the historic fabric that led to the integration of different industrial existing buildings into one overall entity. Developments like Borneo Sporenberg near Amsterdam are an inspiration as they recognise scale and variety of ownership with key design guidelines creating a new socially integrated urban environment. We should not forget how the temple bar project reconstructed an ailing historic urban landscape in Dublin and recognise the approach to the retention of and reference to the historic qualities of scale, material quality and urban truisms that made the project successful.

6

7

Figure 6 View of the Golden Bend in the Heregracht, seen from the East, Gerrit Adriaensz. Berckheyde. 1671-1672.

Figure 7 View of Cork. John Butts, 1728-1765

Introduction

13

If we look beyond Cork to Bordeaux and Copenhagen, Amsterdam and Porto or the UNESCO site of Liverpool Docks we can learn how our city can be. In combination we must study what it is that makes Cork a specific place so we may retain our unique identity. Let’s hope that the repair of the wounds we have inflicted on the historic core of Cork can start from now and that our river city can regain some of its previous significance through good design and care of the important fabric of the historic centre.

8

9

Figure 8 The Opera House. S McDonnell Figure 9 Paddle Steamer entering the Port of Cork. G.M.W. Atkinson, 1842.

14

The Quays of Cork

Materials

The origin of Corks quayside landscape lies in shipping and trade. Open quays allowed boats to unload cargo and take more goods on board. The quays were robustly built in solid blocks of Limestone which is almost white in colour and was quarried locally. Architectural stonemasonry was a high art for centuries in the city.

The blocks of stone for the quays varied in length but were predominantly laid in layers of different heights with varying lengths allowing for little wastage of stone in construction. In some places additional layers of stone have been added to increase the height of the quays historically and towards the end of the 19th Century white granite was used in places. Every time stone was added to the top of the walls it was added as a structural capping to the last layer and so was deep and was laid flush to the landscape behind. The stone quay edge acted as a tough edge to what was almost a pier like landscape where robust loading and unloading of ships occurred on a daily basis. Basic piers / quayside landscape was of a tamped earth surface which later became cobbled in many places. There is historic precedent that indicates the replacement of tamped earth in some circumstances with an early form of weak and lime based concrete surface or limecrete screed. This may explain why concrete screeded footpaths predominate in Cork. In places where a footpath was created against the quayside it may have been of tamped earth firstly and then have become of a screeded surface in the late 19th C and early 20th Century. Initially the limestone kerbstones were retained in this case. Tree holes were often circular or semi circular with no cast grate or edge

(seen in historic Sullivan’s quay). Within the tamped earth paths against the quays were often found narrow flag stone paths. These were laid in a random brick pattern with varying depth to each stripe which was again for reasons of economical use of the stone and there is much historic precedent for the practical pattern. In turning corners flagstones merely interlocked randomly but remained orthogonal. The flag for the slabs was quarried in Tipperary historically.

Kerbstones in Cork were of Limestone which matched the huge slabs to the top of the walls that defined the edge of the open quays. The use of the white stone created great contrast with the flagstones, cobbles and tamped earth. The same aesthetic of contrast is found in both Venice and Rome and represents the ideal contrast for a classical landscape and works well for indication of change in level in both an historic and modern circumstance. Kerbstones tended to range from between 190mm and 80mm and were wider within larger spaces and narrow on more minor streets. They almost always varied in length to use the stone economically.

Some of the wider stones could be over 1m in length and some of the shortest kerbs could be only 250mm long.

The step created by kerbstones would be up to 200mm and not less than 150mm generally. At street level running beside the kerb stones was often a line of flag stones about 290mm wide which acted as a linear drain and as a support to the edge of the kerbs. These varied in length. Some quay walls were railed in or walled when bridges were built as access became limited due to the building of early bridges. This happened behind or upriver of Parliament Bridge and Patrick’s Bridge. In some cases octagonal stone bollards were used with cast iron bars between as in Sullivan’s Quay and Lavitt’s Quay. The stone bollards had been previously used along the quays in open form but were almost always octagonal with a shallow pyramided octagonal top and a square base to restrict movement. The shape was simple to carve and unlikely to chip or break easily. Cast Iron bollards of simple cannon like forms were used for later railings and these became more baroque and decorative in the later 19th.

Quaysides Century (North Mall, Patrick’s Quay). Repair and restoration of the innate quality of the quayside spaces and material quality is highly desirable to the city. The need arises as so much of the original space has been distorted due to additions and alterations that have been brought about by a desire for modernity or renewal for the sake of renewal. Health and safety may have been used to justify some changes but the issue of guard railing is complex as more seems to invite a greater sense of security and this is not always the case in a quayside landscape where security may not always exist when access to the water is required and the contrast may be more troublesome than open quays. ICOMOS produce charters for repair and restoration of historic fabric the most notable is the Venice Charter of 1964. The less well known Nara Document on Authenticity of 1994 which was prepared jointly by ICOMOS, UNESCO and ICCROM speaks more of cultural heritage, values and authenticity.

The quayside landscapes were simple and minimal. They embraced the water closely and craft were always on the river of many different scales. The material quality was rooted in what was handmade or even historically industrial with cast iron and stone mooring posts and rings in evidence today and many more in evidence within historic photographs. Earthy handmade materials of tamped earth, light and dark stone, cast Iron and timber predominated within the minimal historic environment.

These spaces have been brought to new use from ancient trade use in many coastal historic European cities. Modern intervention is often recognizably new and yet aware of precedent, simplicity and the material quality of context. It is considered that the conservation of urban landscape is fully compatible with modern intervention and that restoration of aspects of a place while maintaining authenticity is possible also.

Manufactured or new materials can be introduced into the historic environment only with great skill as each new material may dilute the whole. Historic materials may only be introduced also with great skill based on the protection of authenticity and enhancement of sense of place.

Proby's Quay Drawn Survey Plan 1:50 July '17

Crosse’s Green, plan of slipway.

Figure 10 reconstruction

18

The Quays of Cork

Crosse’s Green

Proby's Quay Drawn Survey Elevation 1:50 July '17

Crosse’s Green. elevation of slipway.

Figure 11 reconstruction

Crosse’s Green

19

Proby's Quay Drawn Survey Plan 1:50 July '17

Figure 12 Plan of slipway at Crosse’s Green reconstruction

20

The Quays of Cork

Crosse’s Green

Proby's Quay Drawn Survey Elevation 1:50 July '17

Figure 13 Elevation of slipway at Crosse’s Green reconstruction

Crosse’s Green

21

Sullivan’s Quay

Sullivan's Q Drawn Sur Elevation 1 June Figure 14 Historical Image of Cork City.

Figure 15 Sullivan’s Quay elevation of quay wall survey

Sullivan’s Quay

23

Sullivan's Quay Drawn Survey Plan 1:50 June '17 Sullivan’s Quay, plan of quay wall.

Figure 16 survey

24

The Quays of Cork

Sullivan’s Quay

Sullivan's Qu Historic Reconstruct Elevation 1: June Sullivan’s Quay, plan of quay wall.

Figure 17 reconstruction based on photograph from Lawrence collection

Sullivan’s Quay

25

Father Mathew Quay Drawn Survey Elevation 1:50 June '17 Father Matthew Quay, elevation of quay wall.

Figure 18 survey

26

The Quays of Cork

Father Matthew Quay

Father Mathew Quay Historic Reconstruction Elevation 1:50 June '17 Father Matthew Quay, elevation of quay wall.

Figure 19 reconstruction

Father Matthew Quay

27

Father Mathew Quay Drawn Survey Plan 1:50 June '17 Father Matthew Quay, plan of quay wall.

Figure 20 surveyx

28

The Quays of Cork

Father Matthew Quay

Father Mathew Quay Historic Reconstruction Plan 1:50 June '17

Father Matthew Quay, plan of quay wall.

Figure 21 reconstruction

Father Matthew Quay

29

Morrison's Quay Drawn Survey Elevation 1:50 June '17

Morrison’s Quay, elevation of quay steps.

Figure 22 survey

30

The Quays of Cork

Morrison’s Quay

Morrison's Quay Historic Reconstruction Elevation 1:50 June '17

Morrison’s Quay, elevation of quay steps.

Figure 23 reconstruction

Morrison’s Quay

31

Morrison's Quay Historic Reconstruction Elevation 1:50 June '17

32

The Quays of Cork

Morrison's Quay Historic Reconstruction Elevation 1:50 June '17

Morrison’s Quay

33

Morrison's Quay Drawn Survey Plan 1:50 June '17

Morrison’s Quay, plan of quay steps.

Figure 24 survey

34

The Quays of Cork

Morrison’s Quay

Morrison's Quay Historic Reconstruction Plan 1:50 June '17 Morrison’s Quay, plan of quay steps.

Figure 25 reconstruction

Morrison’s Quay

35

St. Patrick’s Quay, elevation of quay steps.

38

The Quays of Cork

St. Patrick’s Quay

St Pat Historic Reco Elev Figure 26 (previous page) Photograph of St Patrick’s Quay Figure 27 reconstruction

St. Patrick’s Quay

39

St. Patrick’s Quay, plan of quay steps.

40

The Quays of Cork

St. Patrick’s Quay

St Pat Historic Reco Elev

St Pat Historic Reco

Figure 28 reconstruction

St. Patrick’s Quay

41

Coals Quay, elevation of quay steps.

42

The Quays of Cork

Coal Quay

Lavitt's Quay Drawn Survey Elevation 1:100 July '17

Figure 29 survey

Coal Quay

43

Coal Quay, plan of quay steps.

44

The Quays of Cork

Lavitt's Quay Drawn Survey Elevation 1:100 July '17

Coal Quay

Lavitt's Quay Drawn Survey Plan 1:100 July '17

Figure 30 survey

Coal Quay

45

Kyrl's Quay Drawn Survey Plan 1:50 July '17

Kyrl’s Quay, plan of quay slipway..

Figure 31 Survey

46

The Quays of Cork

Kyrl’s Quay

Kyrl's Quay Drawn Survey Elevation 1:50 July '17

Kyrl’s Quay, elevation of quay slipway..

Figure 32 survey

Kyrl’s Quay

47

North Mall Historic Reconstruction Plan 1:50 June '17 North Mall, plan of quay wall.

Figure 33 reconstruction

48

The Quays of Cork

North Mall

North Mall Historic Reconstruction Elevation 1:50 June '17

North Mall, elevation of quay wall.

Figure 34 survey

North Mall

49

50

The Quays of Cork

Bollards and Railings

Figure 35 Historical photograph of Cork City

23

Figure 36 limestone bollard lavitt’s quay reconstruction from photographs, and height t fro

52

The Quays of Cork

Bollard Title

24

25

Figure 37 Limestone bollard Morrison’s Quay

Figure 38 Limestone bollard Morrison’s Quay

Bollard Title

53

27

Figure 39 Grand Parade Railing (historic reconstruction). Limestone & cast iron, unknown maker, 19th century.

In a final development, a third rail was added to make the railing safer. The original bottom rail was cut away and moved lower and a new centre rail was attached with a cast-iron clip, featuring a flower design on two sides. There are only three of these railings remaining next to Nano Nagle Bridge, with their limestone bases encased in concrete.

54

The Quays of Cork

Development of the Grand Parade Bollard

28

29

Figure 40 Grand Parade Railing (historic reconstruction). Limestone & cast iron, unknown maker, 19th century.

The limestone and cast-iron cap railing was altered to this version in areas which were subject to beautification, this example was surveyed from the end of the Grand Parade. The limestone base was cut in half, tapered and an ornate cast-iron pole was added.t Figure 41 Grand Parade Railing (historic reconstruction). Limestone & cast iron, unknown maker, 19th century.

In a final development, a third rail was added to make the railing safer. The original bottom rail was cut away and moved lower and a new centre rail was attached with a cast-iron clip, featuring a flower design on two sides. There are only three of these railings remaining next to Nano Nagle Bridge, with their limestone bases encased in concrete.

Development of the Grand Parade Bollard

55

Figure 42 Historic photograph of the Grand Parade, Cork Figure 43 Historic photograph of the railings along the Sullivan’s Quay Figure 44 Historic photograph looking across the river at Grand Parade from Sullivan’s Quay

Development of the Grand Parade Bollard

57

30

31

Figure 45 North Mall Railing (historic reconstruction). Cast & wrought iron, Unknown maker, c. 1850-1910.

Type One sitting on the old Quay, unmarked Figure 46 North Mall Railing (survey). Cast & wrought iron, Unknown maker, c. 1850-1910.

Type One sitting on the old Quay, unmarked

58

The Quays of Cork

North Mall Railings

32

33

Figure 47 North Mall Railing (historic reconstruction). Cast & wrought iron, Hive Ironworks, early 20th century. type 2 Sitting on the new quay which has rough cut stone. marked by Hive Ironworks.

Figure 48 North Mall Railing (survey). Cast & wrought iron, Hive Ironworks, early 20th century. type 2 Sitting on the new quay which has rough cut stone. marked by Hive Ironworks.

North Mall Railings

59

Father Matthew Quay Railings

Figure 49 Holy Trinity Church before completion, Cork, c. 1870 National Library, Dublin Figure 50 Father Matthew Quay & Morrison’s Quay railing (historic reconstruction). Cast & wrought iron, unknown maker, unknown date.

These simple piers are found surrounding the steps of the quays. Their canon-like resemblence would suggest an early 19th century date, produced at a time when old canons were reused as bollards following the Napoleonic Wars. Their current condition is extremely poor and these last examples are under imminent threat of being removed.

Father Matthew Quay Railings

61

St. Patrick’s Quay, detail elevation of pier.

Figure 51 St. Patrick’s Quay railing (survey). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

62

The Quays of Cork

St. Patrick’s Quay Railings

St. Patrick’s Quay, detail elevation of pier.

Figure 52 St. Patrick’s Quay railing (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

St. Patrick’s Quay Railings

63

Repairs and Alterations

Figure 53 St. Patrick’s Quay railing (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

64

The Quays of Cork

St. Patrick’s Quay Railing Alteration

37

36

Figure 54 St. Patrick’s Quay railing (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

Repairs and Alterations

65

Figure 55 St. Patrick’s Quay railing (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

66

The Quays of Cork

Open Quay Railing

38

39

Figure 56 St. Patrick’s Quay railing (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

Repairs and Alterations

67

Figure 57 St. Patrick’s Quay railing plan (historic reconstruction). Cast iron, H & C and George Perrott, 1870-1880 The piers on this railing have elaborate chrysanthemum-shaped capitals, with only a number of examples remaining in the city. The remaining eight piers on St. Patrick’s Quay are in good condition, but many unsightly interventions have been added over the years to increase the safety of the busy quay.

68

The Quays of Cork

Open Quay Railing

Repairs and Alterations

69

Materials

58

59

Figure 58 Shandon from St. Patrick’s Bridge, Cork. Valentine’s Series postcard.

Figure 59 The Lee at St. Patrick’s Bridge, Cork. Valentine’s Series postcard.

Figure 60 Historic photograph of Cork City.

Figure 61 Historic photograph of the North Mall, Cork

70

The Quays of Cork

Materials

71

The Origin the Drawings

62

The surveys of the quays were carried out from 2015 and presented in the months of June and July 2017 and in July 2020. Handheld measuring tools were used in locations which were accesible by foot. In certain cases photographs were used to create parts of the drawing, such as the stone of the quay wall in the elevations. The photographs were scaled as accurately as possible and were used as a guideline to complement the physical measurements taken of the quay.

Certain parts of the quay walls are overgrown with seaweed, and therefore these areas could not have been surveyed and have been left blank.

Tide height at approximately 1m.

QUAYSIDE DRAWING SCALE 63

0

1

2

3m

BOLLARD AND RAILING DRAWING SCALE

0

0.2

0.4

0.6 m

Figure 62 Grand Parade Cork.Valentine’s Series postcard Figure 63 Shandon from St. Patrick’s Bridge, Cork. Valentine’s Series postcard.

64

72

Figure 64 The Lee at St. Patrick’s Bridge, Cork. Valentine’s Series postcard.

The Quays of Cork

Glossary

SURVEY

Verb

examine and record the area and features of (an area of land) so as to construct a map, plan or description.

HISTORICAL RECONSTRUCTION the action or process of reconstructing or being reconstructed based on historical evidence such as photographs and records.

ELEVATION

noun

a particular side of a building or object.

PLAN

noun

a drawing or diagram made by projection on a horizontal plane, especially one showing the layout of a building or one floor of a building.

65

ARCHITECTURE

noun

the art or practice of designing and constructing buildings.

66

Figure 65 View at South Gate bridge.

Figure 66 View at North Gate bridge Figure 67 View of Holy Trinity Church and Parliament bridge.

67

Glossary

73

Bibliography Abercrombie Patrick and Sydney Kelly. Cork: A Civic Survey. London: Hodder & Stoughton, 1926.

Addis, Bill. Building: 3000 Years of Design Engineering and Construction.

London: Phaidon, 2007.

Architectural Heritage Protection: Guidelines for Planning Authorities.

Dublin: The Stationery Office, 2011.

Baxter, Alan. The City, the Engineer, and the Architect. RIBA. London. 18 October 1994. Lecture.

The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance 1999. Australia ICOMOS, 2000.

Civilised Streets: Briefing. London: CABE, 2008.

Clark, Celia. Vintage Ports or Deserted Dockyards: Differing Futures for Naval Heritage across Europe.

Clark, Kate. Conservation Plans in Action. 1999.

Conservation Plans for Historic Places. London: Heritage Lottery Fund, 1998.

Conserving Ireland’s Architectural Heritage. Volume 6. Dublin: Irish Georgian Society, 2012.

Conserving Ireland’s Architectural Heritage. Volume 8. Dublin: Irish Georgian Society, 2013.

Creating Places: Achieving Quality in Residential Developments: Incorporating Guidance on Layout and Access. Leeds: Corporate Document Services, 2000.

Crowley, John and Michael Murphy. Atlas of Cork City. Cork: Cork UP, 2005.

Cummins, Patrick. The Last Days of the Cork Docklands. Cork: Atrium, 2008.

De Rosa, Fortuna and Maria Di Palma. Historic Urban Landscape Approach and Port Cities Regeneration: Naples between Identity and Outlook. Naples: Sustainability, 2013. Article.

Deplazes, Andrea. Constructing Architecture: Structures: A Handbook. Basel: Birkhäuser, 2005.

Materials Processes

Feilden, B.M. Conservation of Historic Buildings. Third Edition. Oxford: Architectural Press, 2003.

Forsyth, Michael. Structures & Construction in Historic Building Conservation.

Chichester: Wiley, 2007.

Gibney, Arthur. The Building Site in Eighteenth-Century Ireland. Dublin: Four Courts Press, 2017.

Huisman, Jaap. Water in Historic City Centres. Breda: Van Kemenade, 2007.

INFORM; Boundary Ironwork - A Guide to Reinstatement. Edinburgh: Historic Scotland, 2005 INFORM; The Maintenance of Iron Gates and Railings. Edinburgh: Historic Scotland, 2007.

Iron: The Repair of Wrought and Cast Iron Work. Dublin: The Stationery Office. 2009.

Kerr, J.S. The Sixth Edition Conservation Plan: A Guide to the Preparation of Conservation Plans for Places of European Cultural Significance, 2004 Lewis, S. Lewis’ Cork: A Topograpghical Dictionary of the Parishes, Towns and Villages of Cork City and County. Collins, 1998.

Licciardi, G and Rana Amirtahmasebi. The Economics of Uniqueness: Investing in Historic City Cores and Cultural Heritage Assets for Sustainable Development. World Bank, 2012.

The Nara Document on Authenticity. ICOMOS, 1994.

National Inventory of Architectural Heritage. Department of Arts, Heritage and the Gaeltacht, n.d. Web. <https://www.buildingsofireland.ie> O’Kane, Finola. Landscape Design in Eighteenth-Century Ireland: Mixing Foreign Trees with the Natives. Cork: Cork UP, 2004.

Operational Guidelines for the Implementation of the World Heritage Convention. UNESCO World Heritage Centre, 2008.

Preserving the Cultural Heritage: An Holistic Approach. Dublin: Institute for the Conservation of Historic and Artistic Works in Ireland, 1995.

McAfee, P. Lime Works. Associated Editions, 2009.

McCullough, N., and Valerie Mulvin. A Lost Tradition. Gandons Editions, 1987.

Morrison’s Island: International Design Competition: Cork, Ireland. Cork: Save Cork City, 2018.

The Nara Document on Authenticity. ICOMOS, 1994.

National Inventory of Architectural Heritage. Department of Arts, Heritage and the Gaeltacht, n.d. Web. <https://www.buildingsofireland.ie> O’Kane, Finola. Landscape Design in Eighteenth-Century Ireland: Mixing Foreign Trees with the Natives. Cork: Cork UP, 2004.

Operational Guidelines for the Implementation of the World Heritage Convention. UNESCO World Heritage Centre, 2008.

Preserving the Cultural Heritage: An Holistic Approach. Dublin: Institute for the Conservation of Historic and Artistic Works in Ireland, 1995.

Rossi, Aldo and Peter Eisenman. The Architecture of the City. Cambridge, MA: MIT, 1982.

Ruins: The Conservation and Repair of Masonry Ruins. Dublin: The Stationery Office, 2010.

Rynne, Colin. Archeology of Cork City and Harbour from the Earliest Times to Industrialisation. Cork: The Collin’s Press, 1993.

Saint, Andrew. Architect and Engineer. London: Yale University Press, 2007.

Spalding, Tom. Cork City: A Field Guide to its Street Furniture. Second edition.

Cork: Finch Fortune, 2009.

Sustaining the Historic Environment. London: English Heritage, 1997.

This Way to Better Streets: 10 Case Studies on Improving Street Design: Briefing. London: CABE, 2008.

Thomas Street: Improving the Public Face of an Historic City Centre Street. A Report for Dublin City Council. Dublin: Dublin Civic Trust, 2012.

Traffic Management in Historic Areas. London: Dept. of Transport, 1996.

The Venice Charter 1964: The International Charter for Conservation and Restoration of Monuments and Sites. ICOMOS, 1964.

Vitruvius, Pollio. Vitruvius: The Ten Books on Architecture: Book V: Chapter XII: Harbours, Breakwaters, and Shipyards. London: Oxford University Press, 1914.

Whelan, Kevin., F.H.A Aalen, and Matthew Stout. Atlas of the Irish Rural Landscape. Cork: Cork University Press, 1997.

Wien, Stadterhaltung, Stadterneuerung: Der Stand Der Dinge III = Vienna, Urban Preservation and Renewal: The State of the Art III. Wien: Stadtplanung Wien, 2000.

Los, Sergio. Carlo Scarpa. Cologne: Taschen, 2002.

Maritime and Naval Buildings. Historic England, 2017.

McAfee, P. Lime Works. Associated Editions, 2009.

McCullough, N., and Valerie Mulvin. A Lost Tradition. Gandons Editions, 1987.

Morrison’s Island: International Design Competition: Cork, Ireland. Cork: Save Cork City, 2018.

74

The Quays of Cork

Bibliography

75

FOUREM.IE