Anticipated Ruin B.ARCH 2019 Majella Walsh by Majella Walsh

ANTICIPATED RUIN Permanence. Temporality. Metamorphosis. “The world around us, so much of it our own creation, shifts continually and often bewilders us.” - Lynch, Kevin. What Time Is This Place? Cambridge: MIT Press, 1972.

The relationship between Permanence, Decay and Architecture in the Metamorphosis of time. We are drawn to artefacts with a patina of age, we are repulsed by decay, and ruins evoke in us something in-between the uncanny and the sublime. In my thesis I wish to explore Scales of Permanence, to create a Temporal Architecture that anticipates change and ages with dignity.

Castelvecchio, Carlo Scarpa Dialogue between Past and Present.

Villa Emo, Palladio Permanence of Plan and Proportion

A N T I C I PAT E D R U I N

MAJ EL LA

WA L S H

Ise Grand Shrine Sacriﬁcial in order to be Permanent

ACKNOWLEDGEMENTS My Many Thanks... - To Gerry Foley who has spent the last decade, researching, compiling and finally self-publishing the history of barytes mining between 1858 and 1979. Also to Alastair Lings from the Mining Heritage Trust of Ireland for his assistance with the collection of maps. - To all Lecturing Staff of Dublin School of Architecture, for my education over the years, but specifically Miriam Delaney, Steve Larkin, Kevin Donovan and Ryan Kennihan. - And finally all my Family, for the many years of support and endurance, but especially my dad who accompanied me on every hike.

CONTENTS II

P R E FA C E

ABSTRACT I N T R O D U C T I O N

T H EO RY & P RO P OS I T I O N

THESIS DEVELOPMENT REPORT

PRECEDENTS I

PROJECT 1

PROJECT 2

PROJECT 3

PRECEDENTS II

CONTEXTURE

SITE & BRIEF

A N T I C I PA T E D R U I N

I N T E R I M D E S I G N S TAG E & D E V E L O P M E N T

F I NA L P R E S E N TAT I O N

81 99

CO NC LUS I O N BIBLIOGRAPHY

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P R E FAC E

“The ideal is architecture, or sculpture, immobilising harmony, guaranteeing the duration of motifs whose essence is the annulations of time.’ 1 Thus the dream of architecture, among other things, is to escape entropy. This dream may be illusory on its face; but this is something that must be demonstrated nonetheless – which is to say that one must ‘exit the domain of the project by means of a project.”

Fig. 1 Island of the Dismantled Building - Vancouver, 1970 ink on paper; 21.4 x 27.6 cm. Collection of the Vancouver Art Gallery, Permanent Collection Fund 1 Bois, Yve-Alain, and Rosalind E. Krauss. Formless: A Users Guide. New York: Zone Books, 1997

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“The world around us, so much of it our own creation, shifts continually and often bewilders us.” 2

this thesis year, and by focusing on this idea of the sublime, I wanted to explore the potential for lasting beauty in my thesis project.

With all the uncertainty life brings, a home, a building, a sanctuary - architecture should offer assurance. A comfort, and symbol of resilience against chaos. Yet, it feels the past 100 year experiment with Modernist architecture has failed us, giving only ‘the illusion of durability.”3 Curtain walls and cladding systems are not stone. So my question is, how can we design for permanence in an age obsessed with the shiny and new?

A way of resolving this anxious urban congestion we face at present is to create comfortable beautiful surroundings. This comfort and beauty can be created by building in a way that generates stability. We should aim to design buildings grounded in the present, reflective of the past and accepting of the future. Taking time as the starting point in design we can attempt to make a resilient architecture, instead of a redundant one. The careful proportioning of rooms and layouts leads to layered uses, the durability of materials used leads to longevity. This layering of use and wear gives us comfort and stability. There is the beauty in the metamorphosis over time, even to the point of ruin.

In the 1960’s 45% of Ireland’s population was living in cities. According to the Central Statistics Office, that figure has risen to 63% since the last census in 2016. Modern cites feel anxious and suffocating. With our mental space in direct proportion to our perception of physical space, it is only natural that everyone should be entitled to enjoyable cityscapes. The Vitruvian concept of beauty, Venustas, was chosen as the theme for

2 Lynch, Kevin. What Time Is This Place? Cambridge: MIT Press, 1972. Ford, Edward R. The theory and practice of impermanence: The illusion of durability. Harvard Design Magazine (Autumn): 12-18. 1997

ABSTRACT

This thesis explores the relationship between permanence, decay and architecture in the metamorphosis of time. We are drawn to artefacts with a patina of age, we are repulsed by decay, and ruins evoke in us something in-between the uncanny and the sublime. Initial explorations examined the relationship between past and present, the permnanence of plan and proportion, and the use of sacrafical elements to achieve permanence. The final project re-inhabits an abandoned mining site at Glencarbury, Glencar, Co Sligo. A new hikers hotel at the delta of the mining site builds upon the imbedded memory of the place, adding to its story with an architecture aware of its own potential for demise. The hotel acts as a piece of infrastructure bridging accross the landscape. The beauty of the abandoned mining structures belonging to the landscape informs the structural premise for the design, allowing it to age beautifully over time, even to the point of ruin.

I N T RO DUC T I O N

previous page Site photo of Glenbury Mines

Fig. 2 Parthenon, Athens Greece, as it stands today nearly 2500 years after construction.

Fig. 3 Peter Cook, Plug-in City: Maximum Pressure Area, project (Section) 1964

I N T RO DUC T I O N

INTRODUCTION

This thesis contends that there is no such thing as absolute permeance when it comes to building design. We can, however, think of buildings as permanent when they remain intact after centuries and millennia of use. A structure can be relatively permanent if it has continuous occupation, even with additions and changes over time. The difference here can be thought of as ‘static’ and ‘dynamic’ permanences. Static permanences in architecture usually materialises in monumental architecture, the Parthenon being an obvious example. While dynamic permanences tends to be adaptive architecture, Plug-in-city by Archigram is an ambitious concept of this. A combination of static and dynamic creates a layered permanence. The purpose of this project is to examine the beauty of layered permanences in architecture. Through layered permanences, architecture has the ability to combat the somewhat volatile effects of time on landscape, building and culture. By discussing the following titles of Delightful Ruin, The Uncanny, On Permanence, Imbedded Memory, Terrain Vague and On Duration; I will explore my argument.

p e r m a n e n c e 4

NOUN (mass noun) The state or quality of lasting or remaining unchanged indefinitely. Origin: Late Middle English: from medieval Latin permanentia (perhaps via French), from permanent- ‘remaining to the end’, from the verb permanere.

t e m p o r a l i t y 5

NOUN 1. (mass noun) The state of existing within or having some relationship with time. 2. (usually temporalities) A secular possession, especially the properties and revenues of a religious body or a member of the clergy. Origin: Late Middle English (denoting temporal matters or secular authority): from late Latin temporalitas, from temporalis.

m e t a m o r p h o s i s 6 NOUN (mass noun) 1. (in an insect or amphibian) the process of transformation from an immature form to an adult form in two or more distinct stages. 1.1 A change of the form or nature of a thing or person into a completely different one. Origin: Late Middle English: via Latin from Greek metamorphōsis, from metamorphoun ‘transform, change shape’.

“English Dictionary, Thesaurus, & Grammar Help | Oxford Dictionaries.” Oxford Dictionaries | English. Accessed December 01, 2018. https:// en.oxforddictionaries.com/.

“English Dictionary, Thesaurus, & Grammar Help | Oxford Dictionaries.” Oxford Dictionaries | English. Accessed December 01, 2018. https:// en.oxforddictionaries.com/. 6

T H EO RY & P RO P OS I T I O N THE SI S

D EV ELO PMENT

REP O RT

T H EO RY

P RO P OS I T I O N

DELIGHTFUL RUIN

Fig. 4 The model of reshaped Berlin by Albert Speer

Fig. 5 Gandy’s Imaginary view of the Rotunda and the Dividend Warrant Offices at the Bank of England in ruins.

Fig. 6 In Praise of Shadows book cover

Speer, Albert. Inside the Third Reich. London: Weidenfeld & Nicolson, 2003.

8 Brecht, Bertolt, and Reinhold Grimm. Poetry and Prose. New York: Continuum, 2003. 9 Simmel, Georg. 1858-1918: A Collection of Essays, with Translations and a Bibliography by Kurt H. Wolff. Columbus: Ohio State University Press, 1959, pp. 261. 10 Boym, Svetlana. Architecture of The OffModern, New York, Architectural Press, 2008.

Zumthor, Peter. Atmospheres: architectural environments, surrounding objects. Basel: Birkhäuser, 2006.

Tanizaki, Jun’ichirō. In praise of shadows. New Haven, Conn: Leete’s Island Books, 1977.

Pollio, Vitruvius, M. H. Morgan, Herbert Langford Warren, and Vitruvius Pollio. The Ten Books on Architecture. Columbia, SC: Harvard University Press, 2018.

What is to be said of the contemporary ruin? Does it inspire us or disgust us? In project 1, Boland’s Quay in Ruins, I attempted to illustrate how in today’s building culture we seem to ignore the reality of entropy, which results in volatile deterioration instead of beautiful ruins. Architecture is often designed around or is inspired by dilapidated buildings of antiquity. In contemporary culture, as some buildings are inevitably left to the wayside, is the poetry of decay translated into the way they age? ‘Ruinenwert’ is the theory of ruin value, pioneered by German architect Albert Speer, Hilter’s architect during the third reich. Ruin value is the concept for a building to be designed

in such a way that if it were to eventually collapse, it would leave behind aesthetically pleasing ruins. “Ultimately, all that remained to remind men of the great epochs of history was their monumental architecture, he remarked. What then remained of the emperors of the Roman Empire? What would still give evidence of them today, if not their buildings.”7 While Speer claimed to have invented the idea of Ruin value, the romantic fascination with ruins had been a European wide phenomenon for quite some time. German playwright and poet Bertolt Brecht wrote of the aesthetic delight of ruins in the last stanza of his poem Of All the Works of Man: “Half ruined buildings once again take on The look of buildings waiting to be finished Generously planned: their fine proportions Can already be guessed at, but they still Need our understanding. At the same time They have already served, indeed have already been overcome. All this Delights me.”8 —Bertolt Brecht Of All the Works of Man (written between 1926-33) Soane commissioned the painter Joseph Micheal Gandy to paint an imaginary view of the interior of the Rotunda as an ancient ruin in 1798, the same year the building was completed. The painting is atmospheric and is reminiscent of Piranesi’s sketches of ancient ruins. German sociologist and philosopher Georg Simmel theorised that ruins are the “counterpart of that fruitful moment for which those riches which the ruin has in retrospect are still in prospect.”9 They evoke in us a nostalgia, which has elements of a utopia not directed towards to future, and often not even directed towards the past, but rather sideways in a stifled era outsides the confines of space and time. Ruinscape reveals the ambivalence of the

people’s thinking is abstract or concrete. This includes temporal distance. The general idea is that the more distant an object is from the individual, the more abstract it will be thought of. Tanizaki explains the alluring appeal of “a pensive lustre to a shallow brilliance, a murky light that, whether in a stone or an artefact, bespeaks a sheen of antiquity.”12 We are drawn to man-made objects with a patina of age.

aesthetic enjoyment that seeks unity and transient perfection, but only if it is rooted in something “deeper than mere aesthetic unity - in existential metamorphosis, in the process of becoming.”10 There is a beauty as the manmade object returns to the earth from which it was made. “Nature has transformed the work of art into material for her own expression, as she had previously served as material for art.”9 The final thesis project is situated on the site of an abandoned mine, where I had to be careful not to petrify the ruinous landscape, but instead synergise the acceptance of entropy with the new architectural intervention. This requires a sensitivity that does not verge on nostalgia. Thoughtful design should hopefully incorporate significant residuals of the terrain vague into an architecture that anticipates its own ruin.

THE UNCANNY Architecture is experienced through scales of time. It is not purely a spatial art, “architecture, like music, is a temporal art.”11 Basic construal level theory describes the relationship between psychological distance and the extent to which

Permanence applies not just to firmitas ‘to stand and resist the passage of time’13 , but all aspects of the Vitruvian triad. A building’s function could be transient and then lose it’s permanence, a buildings aesthetic could be of a time and cease to be considered beautiful. The fascination people

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have with ruins is an example of the relationship between Venustas and Temporality, where there is beauty in the uncanny metamorphic capabilities of architecture over time. In Anthony Vidler’s essay Unhomely, he describes uncanny as “intimately bound up with, but strangely diﬀerent from the grander and more serious ‘sublime’ (the master category of aspiration, nostalgia, and the unattainable).” 14 The concept of the uncanny was first introduced in Sigmund Freud’s 1919 essay Das Unheimliche, which translates to weird or unfamiliar, the opposite of the familiar heimlich. As described by Anthony Vidler, “The Unheimlich seems to emerge beneath the Heimlich, so to speak, to rise up again when seemingly put to rest, to escape from the bounds of home…Unheimlich is the name for everything that ought to have remained…secret and hidden but has come to light.”14

The dreamlike and unfamiliar nature of the umheinlich makes it both fascinating and terrifying. Vidler later compares the lack of identity or place in postmodernism to that of Piranesi “caught in a vertigo of his own making, forever claiming unfinished stairs in a labyrinth of carceral spaces… The endless drive to repeat is uncanny, both for its association with death drive and by virtue of the ‘doubling’ inherent in the incessant movement without movement.”14 He continues to “…distinguish the general space of the sublime (height, depth, and extension) from that of the uncanny (silence, solitude, inherent confinement, that mental space where temporality and spatiality collapse)… The passage from homely to unhomely, now operating wholly in the mind, reinforces the ambiguity between real world and dream, real world and spirit world, so as to undermine even the sense of security demanded by professional dreamers…”14 Contemporary architecture tries to avoid the pitfalls of postmodernism’s placelessness, anchoring itself to culture being the origin of critical regionalism. Yet somewhere in-between the uncanny and the sublime sits the most intriguing of atmospheres, evoking the possibility of change for either better or for worse. Awareness of time and change prevents architecture from reaching absolute permanence or perfection, whereas an acceptance of and cooperation with entropy, allows it to rest in this in-between. This idea became the driving force for project 3, The Wonderful Brewery, in which the architecture tries to anticipate the effects of change through stratified permanences. The strive for this inbetween beauty is visible in the structures metamorphoric ability to transcend long periods of time and changing functions.

ON PERMANENCE Contribution à Une Théorie de l’Architecture, publish in 1952, is a collection of aphorisms by Auguste Perret. In this small book he implies that the world is separated into two basic categories that architecture has to deal with, “Mobile or immobile, everything that occupies space belongs to the domain of architecture.”15 Perret continues to explain architecture’s place within these two categories: “The architect is the constructor who fulfils the transitory through the permanent.” For Perret, architecture is characterised by its specific temporality inscribed in duration. The inertia of architecture is in opposition to the short unpredictable human life. “Permanent are the conditions which nature imposes, transitory are those which man imposes.” Karina Touw points out that the distinction between the ‘physical world and the world of memories is an important demarcation between the realms of relative and absolute permanence. In contemporary society, permanence is generally perceived as an absolute concept.’16 There are complications, however, with this perception of absolute permanence when it used as an adjective to describe something we view as tangible or relative in the material world. “Splitting the concept of permanence into two by qualifying it as belonging to two diﬀerent ‘realms’ - absolute or relative… Architecture has the capacity to achieve both relative permanence and absolute permanence either concurrently or independently without disagreement.”16 From this, we have moved beyond the Vitruvius’ concept of Firmitas. “Vitruvius lived in age of absolutes, while we exist in a time of relativity… our conception of permanence is intimately linked to our conception of both time

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and matter”16. Touw distinguishes further between the connotations and implications of permanence - by breaking “the concept up into ‘realms’ absolute and relative - and ‘modes’ - static and dynamic. The absolute and relative realms define the perspective from which permanence may be judged, the static and dynamic modes define the type of permanence in question.”16 Manifestations of dynamic permanence in contemporary architecture include Design for Disassembly, Diversified Lifetimes (J.E. Fernandez) and the re-use of materials. Static permanence can complement dynamic permanences. Adaptive re-use of a building core can adopt elements of disassembly design or rematerialization within each successive stage of its programmatic evolution.

Fig. 7 Victor Hugo’s uncanny ‘dead house’ in the Guernsey village of Pleinmont

Fig. 8 The Architecture of the City cover

Vidler, Anthony. The Architectural Uncanny: Essays in the Modern Unhomely. Cambridge, Mass: MIT Press, 1992. 14

15 Perret, Auguste. Contribution à Une Théorie De Larchitecture. Fermanville: Editions Du Linteau, 2016.

Taow, Katrina. Firmitas Re-visted: Permanence in Contemporary Architecture. Waterloo, Ontario, Canada, 2006.

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Aldo Rossi discussed his theories on permanence inThe Architect and the City, viewing it as “Persistences…revealed through monuments, the physical signs of the past.”16 He suggests that permanence has two aspects; “The Propelling element” as seen in the Palazzo della Ragione, has vitality in continued function, where the form of the past has been “modified and we can imagine future modifications”. “The Pathological element” on the other hand, visible in the Alhambra in Granada, is when only the form is permanent, only the locus remains, standing “virtually isolated in the city…nothing can be added.” Our cities are a combination of these permanent structures, both propelling and pathological, new structures and decaying ones. The life of a city is a simultaneous

Fig. 9 Palazzo della Ragione, Padua, Italy. First constructed in 1218.

Fig. 10 On Collective Memory cover.

Fig. 11 The Seven Lamps of Architecture cover

16 Rossi, Aldo, and Peter Eisenman. The architecture of the city. Cambridge, Mass: MIT Press. 1982.

de Solà-Morales, Ignasi and Sarah Whiting. Differences: Topographies of contemporary architecture. Writing architecture. Cambridge, Mass: MIT Press. 1997

Coser, Lewis A. Maurice Halbwachs: On Collective Memory. Chicago: University of Chicago Press, 1992.

Ruskin, John. The Seven Lamps of Architecture;. Orpington, Etc.: George Allen, 1894.

process of demolition and construction, yet these fleeting permanences give the city its identity, character and history. Pathological permanence is difficult to achieve, and for some architects it is not seen as true resilience. Ignasi de Sola-Morales regards the Vitruvian concept of Firmitas as besides the point in contemporary architecture, writing in his essay “Place: Permanence or Production.” that the “effects of duration, stability, and defence of time’s passing are now irrelevant. The idea of place as the cultivation and maintenance of the essential and the profound, of a genius loci, is no longer credible in an age of agnosticism; it becomes reactionary.”17 Place in the form of a mausoleum to itself is inapt. Morales instead defends the value of place as production, “produced out of a meeting of present energies, resulting from the force of projective mechanisms capable of promoting intense, productive shock.” In order to prevent ruin, relying on pathological permanence is not enough for today’s society. Place is “a conjectural foundation, a ritual of and in time, capable of fixing a point of particular intensity in the universal chaos of our metropolitan civilisation.” Although I don’t fully agree with Morales pessimistic view of contemporary architecture, I do feel it is more relevant to strive for propelling permanence in my thesis project. A place in ruin can avoid museumification by aiming to have a continued function, a meeting of energies, a place of production. An attempt to execute this is present in The Wonderful Brewery, whereby incorporating a brewery into the site of the abandoned grain store and barn, the architectural intervention attempts to inject a new lease of life into the complex.

about and protecting those worth remembering. Ruskin felt that places worth retaining embodied civic memory. He states that there were “two strong conquerors of the forgetfulness of men, Poetry and Architecture; and the latter in some sort includes the former, and is mightier in its reality.”19 He saw architecture as the embodied record of our civic culture, and far more enduring than the written word. At that time, the Industrial Revolution encouraged mass production of impersonal housing as people migrated to industrial towns. Ruskin feared for the loss of individual and collective identity that resulted from this, “when

I M B E D D E D M E M O RY Maurice Halwach coined the term the Collective Memory18 in the 1920’s, whereby one member of society can re-call and re-experience an important event they have not taken part in. The collective memory informs members of society what they can remember, and how to remember these events. He explains that through architecture, these events and memories can survive in the long run if they are mapped and imprinted onto the topography. In contrast to historical memory, which is objective and scientific, the collective memory is never fully articulated or stable. Architecture has the ability to preserve cultural heritage and memory. John Ruskin’s Lamp of Memory stresses the importance of creating places worth caring

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men build in the hope of leaving the places they have built, and live in the hope of forgetting the years that they have lived; when the comfort, the peace, the religion of home have ceased to be felt.” This throwaway nature of constructing with no intention of lasting is still present, the concept of home as a commodity bearing down on us. Heritage buildings continue to survive because they were constructed far better than that we built today. In most cases their resilience relies on thoughtful maintenance rather than their reconstruction, as Ruskin says “a few sheets of lead put in time upon the roof, a few dead leaves and sticks swept in time out of the water-courses, will save both roof and walls from ruin.” In order to carry the collective memory through to future generations, contemporary architecture has to address the issue of maintenance in building design. There is a risk of ruin of the cultural identity, and imbedded memory of architecture, if it is constantly replaced by the shiny and new.

The Irish Landscape, full of prismatic buildings isolated in the open countryside, has a strong relationship between inhabited buildings and ruins. “Ireland’s landscapes have been inhabited over many centuries: the ground is marked with layers of the past.” Hundreds of years of invasion and destruction have left a landscape that creates a

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comparison between the ordinary everyday world and a subversive archaic world, offering “a tragic juxtaposition which questions the permanence - and the validity - of all endeavour under a difficult, grey sky - a weary poetry of absolutes common to Greece, Italy and Ireland.”22 The industrial revolution etched its layer onto the Irish landscape, leaving behind abandoned factories, quarries, mills and mines. Unlike the ruins of ancient Ireland, which are much appreciated for their aesthetic value, these terrain vague sites remain pepper potted across the country, ignoring their potential for aesthetic enjoyment. Choosing a terrain vague site became the obvious vessel for my thesis project. An undisturbed site forgotten in time, holding onto an imbedded memory, an uncanny atmosphere with the potential for beauty. A site already in ruin allows me to react to an architectural topology, and design an intervention that can investigate the power that propelling permanence has on place.

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“Empty, abandoned space in which a series of occurrences have taken place … I will denote by the French expression terrain vagues” 20 Ignasi de Solà-Morales describes this nonplace in Terrain vague as a ‘wasteland’ and an ‘ambiguous space’.21 These forgotten places were once industrial areas, railway stations, ports, contaminated sites or unsafe neighbourhoods. Places that are now ‘un-inhibited, unsafe, unproductive.’ Morales continues to explain how this concept has an innate duality, terrain vague is “both a physical expression of our fear and insecurity and our expectation of the other, the alternative, the utopian, the future.” These sites act as a memento mori to a forgotten time, stuck in suspended redevelopment.

The durability of architecture; its ability to survive wear, pressure, and damage over time, is one of the major problems of sustainable architecture today. The technical durability in architecture is an ambiguous and disputable issue. Morales disregards the relevance of durability in the modern day concept of place, arguing that the energy and productive nature of a place is what saves it from ruin, however ignoring the importance of a places’ ability to endure seems careless. Weathering is a natural entropic process. Conservation has always been about duration, what survives and what is destroyed. At different times and in different ways, conservation has

concerned itself with three basic constructs or modalities: form, fabric and function, the latter being the intangible beliefs, uses, and traditions associated with the material correlates of form and fabric. “Implicit in all three constructs is the notion of maintaining contact with the past through the identification, transmission, and protection of that which is considered valuable and relevant in the present.”23 Patina as a term denotes the “acceptable entropic changes that are considered intrinsic to the material under normal circumstances.”23 In contradiction, the excessive alteration due to soiling and deterioration are unacceptable changes. Traditional architecture has always strived to protect itself from these changes. From overhangs and eaves, to butt and pass joints, protective elements sacrifice themselves for the duration of the structure. Sacrificial elements in the fabric sustain the form and function. With this approach in mind, the final thesis project endeavours to anticipate its own ruin.

Fig. 12 & 13 Still and Poster from the 1960 French Drama film directed by Marcel Carné and starring Danielle Gaubert and Maurice Caffarelli.

Fig. 14 Triadic model of the modalities of tangible cultural heritage

de Solà Morales, I. Terrain Vague in C. Davidson (Ed.). Anyplace. Cambridge, Mass: MIT Press, 1995. 20

Mariani, Manuela, and Barron, Patrick. Terrain Vague: Interstices at the Edge of Pale. London: Routledge, 2014.

22 McCullough, Niall, and Valerie Mulvin. A Lost Tradition: The Nature of Architecture in Ireland. Dublin: Gandon Editions, 1989. 23

Born, Megan. Dirt. Philadelphia: PennDesign, 2012.

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PRECEDENTS I Castelvecchio, Carlo Scarpa D i a l o g u e b e t we e n Pa s t a n d Pre s e n t. Scarpa’s Castelvecchio is an example of how architecture can highlight the relationship between old and new; where complex layers of ancient and recent history are both independent and dependent at the same time. This moment of “coming together” is the most essential in Scarpa’s architecture. Kenneth Frampton described Scarpa’s work as the “adoration of the joint … the joint is treated as a kind of tectonic condensation; as an intersection embodying the whole in the part”.24

Fig. 15 Section through Castelvecchio

Frampton, Kenneth, and John Cava. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Cambridge, MA: MIT Press, 1995.

Castelvecchio is a storied medieval fortification in Verona, Italy. Dating back to the 12th century, it served as a residence and military compound until the 1920’s, when it was transformed into a museum. In 1958, the museum was completely reorganised, so as to restore the value of both the historical and the artistic additions over the years. Commissioning Carlo Scarpa, this restoration was to be authentic, eliminating the false contexts created in the 1920s. In focusing on the scale of the detail, Scarpa celebrates the meeting of different materials, layers and moments of time, turning these details into jewels of handcrafted architecture. His method of montage was a strategy for integrating heterogeneous elements, cutting and excavating into materials, to which he introduced new components. Scarpa’s design language can be read through all scales; landscape, plan, elevation, section, object, and detail. Landscape was treated as a continuation of the interior, in which he used related architectural gestures to continue his dialogue.

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Villa Emo Pe r m a n e n c e o f Pl a n a n d Pro p o r t i o n

“We shall therefore borrow all our Rules for the Finishing our Proportions, from the Musicians, who are the greatest Masters of this Sort of Numbers, and from those Things wherein Nature shows herself most excellent and complete.”25 Rudolf Wittkower 26 identified the numbers 12, 16, 24, 27, and 48 as the terms of musical harmonies. Alberti, having revived the ancient theories of Vitruvius, Plato, and the Pythagoreans, translated these numbers into spatial ratios and proportions. These ratios of musical consonances became the rules for organising a building’s individual measurements and harmonizing the parts with the whole. The “seven sets of the most beautiful and harmonious proportions to be used in the construction of rooms,”27 Andrea Palladio suggests to use in his treatise I Quattro Libri dell’Architettura are derived from these ratios. Villa Emo is one of Palladio’s most accomplished villas, illustrating the culmination of 20 years of his experience in domestic architecture. The villa uses simple mathematical relationships expressed in its proportions, both in the elevation and the dimensions of the rooms. The dimensions of the rooms are in Golden Mean ratio. The system of dividing a Golden Rectangle into a square and a smaller Golden Rectangle is evident in Mario Zocconi and Andrzej Pereswiet Soltan 1927 survey. These “harmonic proportions” were a formulation of Palladio’s design theory. In Palladio’s eyes, the beauty of architecture was not in the use of orders and ornamentation, but instead architecture devoid of ornamentation, where delight could be found if aesthetically pleasing proportions were

Fig. 16 Proportional diagram of Villa Emo

incorporated. In 1570 Palladio published a plan of the villa in his Four Books on Architecture. Palladio’s interpretation of classical architecture has stood the test of time, his influence far-reaching and still used by designers today. Abstracted Palladian proportions are evident in Glashutte by Oswald Mathias Ungers, and Haus Kuehnis by Peter Märkli.

Alberti, Leon Battista, Cosimo Bartoli, and Giacomo Leoni. The Ten Books on Architecture. New York: Dover Publications, 1987.

Wittkower, Rudolf. Architectural Principles in the Age of Humanism. Chichester, West Sussex: Academy Editions, 1998 26

Palladio, Andrea. I Quattro Libri Dell Architettura. Livorno: Vignozzi, 1828.

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Ise Grand Shrine S a c r i f i c i a l i n o rd e r t o b e Pe r m a n e n t The Ise Grand Shine, also known as Jingū, situated in Ise, Mic Prefecture of Japan, is a shrine complex composed of a large number of small shinto shrines entered on two main shrines, Naikū and Gekū. The inner shrine, Naikū, dedicated to the sun goddess Amaterasu, and she is believed to dwell there. The outer shrine, Gekū, is dedicated to ToyoukeŌmikami, the god of agriculture, rice harvest and industry. A further 123 smaller shrines surround the Ise city.

Fig. 17 Ise Grand Shine plan and site plan

“Rebuilding Every 20 Years Renders Sanctuaries Eternal -- the Sengu Ceremony at Jingu Shrine in Ise | JFS Japan for Sustainability.” JFS Japan for Sustainability. Accessed December 01, 2018. https://www.japanfs.org/en/news/archives/ news_id034293.html.

Holl, Steven. Anchoring. New York: Princeton Architectural, 1991.

The Ise shrine architectural style is called shinmei-zukuri, distinguished by its simplicity and antiquity. A special variant of this style called Yuitsu-shinmei-zukuri is used at Ise, which is not permitted in the construction of any other shrine. The Shikinen Sengu ceremony that takes place every 20 years at Jingu Shrine, where the old shrines are dismantled and new ones built on an adjacent site to exacting specifications. In this way, the buildings will be forever new and forever ancient and original. “This is an important national event. Its underlying concept -- that repeated rebuilding renders sanctuaries eternal - is unique in the world.”28 The current shrines, from 2013, are the 62nd iteration to date and the next Shikinen Sengu ceremony is in 2033. The shrines have been re-constructed at adjacent alternate sites every twenty years without a break for the last 1,300 years. In the western world, durable structures normally involve robust stones, bricks, and concrete. However, at the Ise shrine, the structures are “constructed using plain Japanese cypress, with a raised floor, a roof thatched with miscanthus grass and “Chigi” (forked finials) at both ends of the roof. The supporting pillars are buried in the ground.”28 By being rebuilt over and

over again, they can last forever. In the process of rebuilding, the skills of shrine builders and craftsmen in various fields are also passed on from one generation to the next, preserving the tradition. “Time and site are further engaged in the Sakaki - the paper ornaments hanging on the gates and fences that are replaced fresh every ten days.”29

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PROJECT 1 - FIELD AND FOCUS Constellation board

right Constellation board in progress

The aim of this project was to bring into focus key images of the Thesis topic, and to highlight their connection and relationship with one another. Under the theme of permanence and decay, the collection of images varied between enduring buildings from antiquity, ruin value, terrain vague, failings of modernism and transient building culture.

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Fig. 18 Buildings to be demolished (2003-2005) - Julie Merrimand

Fig. 19 Demolition works for the new Bollands Quay development

Fig. 20 Gandyâ&#x20AC;&#x2122;s Imaginary view of the Rotunda and the Dividend Warrant Offices at the Bank of England in ruins.

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“We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artefact, bespeaks a sheen of antiquity.” 4 “But who knows the temporal dimensions of the forest? History is not enough. We should have to know how the forest experiences its great age; why, in the reign of the imagonation, ther are no youngforests ... the forest is a before-me, before-us, whereas for fields and meadows, my dreams and reflexions accompany all the different phases of tilling and havesting.” 5

Tanizaki, Jun’ichirō. In praise of shadows. New Haven, Conn: Leete’s Island Books, 1977.

Bachelard, Gaston, Maria Jolas, Mark Z. Danielewski, and Richard Kearney. The Poetics of Space. New York: Penguin Books, 2014.

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PROJECT 1 - FOCUS AND IMAGE Bolands Quay as Ruin

The final image produced was an analytical drawing that investigated the connections between these elements, which manifested in a dystopian image of the not yet completed proposal for the site of Boland’s Mill at Dublins Docklands, drawn as a ruin. The image served as a critique of Irelands materialistic building culture, which idolises the shiny and new, only have structures become redundant and distressed in a short amount of time. From this image came the title “Anticipated Ruin”. To Anticipate the buildings ruin, a way of designing that looking towards the future, is reflective of the past but ultimately bound in the present.

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PROJECT 2 - FRAMING FOCI Ivestigating permanence and decay through iterations of window design

Each iteration examined a different aspect of permanence; from memory, scales of time, propelling and pathological permanence, durability and sacrificial layers. The images served a more representative and pictorial function, rather than investigative and analytical. Window design proved a difficult vehicle to examine the idea of Anticipated Ruin. Reexamining the Georgian and Wittgenstein window iterations, however, proved to be interesting case studies. They examined two tangible aspects of durability - the permanence of proportions and the design intent of maintenance.

right Iteration 1: windows into three different scales of time, inspired by Escherâ&#x20AC;&#x2122;s stairs.

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left Iteration 2: Resilience of the craftsmanship of the past, Irish cottage re-imaged as a cafe serving the city.

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right Iteration 3: Residuals of past integrated into present, re-imagining the abandoned Richmond Lunatic Asylum at Grangegorman

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top & bottom Iteration 4: Georgian Window with layered maintenance. Iteration 5: Ludwig Wittensteinâ&#x20AC;&#x2122;s window design at Kundmanngasse, permanence of proportion.

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right Iteration 6: Examining layers of maintenance and effects of weathering.

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left Iteration 7: Experiencing layers of maintenance and effects of weathering.

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PROJECT 3 T H E WO N D E R F U L BA R N T h e Wo n d e r f u l B r e w e r y The Wonderful Barn is a corkscrew-shaped building on the edge of Castletown House Estate, in Leixlip, County Kildare. With Castletown House at the centre of the axis, Connolly Folly is to the northwest, Leixlip village to the southwest, the river Liffey to the southeast and the Wonderfull barn to the northeast. Through decades of development and urban sprawl the barn has cut ties with its relationship to Castletown, the motorway strangles the tree-lined avenue to the barn, while the surrounding suburbia suffocates the site. It has become an Island of lost time. The original function as a famine relief and folly is no longer evident. In order to revive the memory of the barn and give it a new lease of life, an architectural intervention could be put in place. The town of Leixlip is home to the Arthur Guinness, and his first Storehouse before he moved to St. James Gate. In terms of local industry in Ireland, the beer, gin and whiskey industry is booming. The Wonderful barn served as a grain store, and the surrounding now fallow fields once provided grain. A Brewery fits as an appropriate architectural intervention to bring the site into the present. A brewery would draw people to see the beer making process in action, experience the bar with its views, and walk around the site of the Wonderful barn with a better understanding of its heritage. As well as reviving the site, it could further offset a regeneration project for the barn and its surrounds.

right Sketch diagram of Wonderful Barn site

The idea of Anticipated Ruin was tested in the design of the Brewery in two aspects - Spatial Permanence and Structural Permanence. Spatial

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Permanence manifested into a villa-type warehouse structure. Not a strictly Palladian design, but abstracted into just the proportions, simple and beautiful. The plan was derived from these proportions, with the programme of the brewery stacked inside. The villa proportions create a dialogue with the language of Castletown House and tie in with the barn and its environs. Structural Permanence in terms of materials, masonry and concrete again forms a relationship the the materials of the barn, brick masonry and render. The order of durability indicates the maintenance levels required and built into the design. From the relatively permanent layers of foundation and superstructure, up to the sacrificial layers such as lining and render. The permanence of plan and layered structural permanence became the crux of the project, which could be further examined by examining built-in maintenance, targeted sacrificial layers, weathering of projections and overhangs etc. as well as examining ways to overcome the failings of modernist design.

above Elevation of the Wonderful Brewery centre Brewery process

吀䠀䔀圀伀一䐀䔀刀䘀唀䰀䈀䄀刀一

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䌀䄀匀吀䰀䔀吀伀圀一䠀伀唀匀䔀

吀䠀䔀圀伀一䐀䔀刀䘀唀䰀䈀䄀刀一

䌀伀一伀䰀䰀夀䘀伀䰀䰀夀

刀䤀嘀䔀刀䰀䤀䘀䘀䔀夀刀䄀倀䤀䐀匀

䌀䄀匀吀䰀䔀吀伀圀一䠀伀唀匀䔀

吀䠀䔀圀伀一䐀䔀刀䘀唀䰀䈀䄀刀一

刀䤀嘀䔀刀䰀䤀䘀䘀䔀夀刀䄀倀䤀䐀匀

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above Photos of proposed brewery site

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left Site plan of the Wonderful Barn site showing the proposed brewery

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Pa l l a d i a n V i l l a s I n I re l a n d

Palladianism forms the grand theme of Irish Classical architecture, extending its influence beyond common house to include churches, institutions and even industrial buildings. Its architecture of rational balance, made around a hierarchical triparte plan and elevation derived from the buildings and published works of Andrea Palladio, was initiated into Ireland in the early eighteenth century and came to prominence with Castletown House, erected after 1722. Although it followed the Baroque (in leapfrogging of styles the exact reverse of their Italian predecssors) it would be an inaccurate to compartmentalise the two - their apirations merged into the other. Castletown ushered in a generation of houses which from the core of Irish eighteenth century architecture. 6

Fig. 21 Palladianism Villas in Ireland, from A Lost Tradition: The Nature of Architecture in Ireland. McCullough, Niall, and Valerie Mulvin. A Lost Tradition: The Nature of Architecture in Ireland. Dublin: Gandon Editions, 1989.

Island Co Cork

Rathbeale Co Dublin

Kilshannig Co Cork

Castletown Cox Co Kildare

Castletown Co Kildare

Frenchpark Co Roscommon

The Wonderful brewery design uses a villa-type warehouse structure. Not a strictly Palladian design, but abstracted into just the proportions, simple and beautiful. The plan was derived from these proportions, with the programme of the brewery stacked inside. The villa proportions create a dialogue with the language of Castletown House and tie in with the barn and its environs.

Russboro Co Wicklow

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left Plan and Elevations of the Wonderful Brewery

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right Sacraficial and Permanent elements shown in order of durability

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right Reviving the Lost Arcadia Proposed brewery for the Wonderful Barn

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left Adaptive Reuse + 50 years

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I I

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right Castelgrande, Bellinzona. Aurelio Galfetti. Section 1:500 Fig. 22 Castelgrande Entrance

Castelgrande, Bellinzona. Aurelio Galfetti. Section 1:500 36

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left Showroom House, Pfalz, FNP Architekten. Axonmetric 1:200 Fig. 23 Showroom House Construction

Showroom House, Pfalz. FNP Architekten. Axonometric 1:200 37

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right Paimio Sanotorium, Finland. Alvar Aalto. Plan 1:500 Fig. 24 Paimio Sanotorium

Paimio Sanatorium, Finland. Alvar Aalto. Plan 1:500 38

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left Flower Shop, Sigurd Lewerentz. 1969 Östra Kyrkogården, Malmö Fig. 25 Flower Shop 1970’s

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right School in Paspels, Switzerland, 1997. Valerio Olgiati Wall Details Fig. 26 School in Paspels

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left ESO Hotel, Cerro Paronal, Chile, Auer+Weber Plan & Section Fig. 27 ESO Hotel

ESO Hotel, Cerro Paranal, Chile, Auer+Weber 41

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right Fondazione Prada, Milan, Italy, 2015. OMA Axonometric diagram Fig. 28 Fondazione Prada, Milan

Fondazione Prada, Milan, Italy OMA 2015 42

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left Tanikawa House, Nagano Prefecture, Japan, 1974 Kazuo Shinohara Section Fig. 29 Tanikawa House

Tanikawa House, Nagano Prefecture, Japan Kazuo Shinohara, 1974 Section 1:200 43

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CONTEXTURE THE SI S

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B RI EF

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right Model of Benbulben Plateau, showing Glencarbury Mine, Glencar, Co Sligo

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The primary countries in which commerical deposits of barite are currently found are the United States, China, and Morocco. The Sligo deposits are currently not commerically viable, and sure to financial cost the Glencarbury mines were closed in the 1970’s.

G L E NC A R BU RY M I N E S Project 4 focused on developing the context for the main thesis design by working on three essential components: site, brief and construction. Terrain vague sites in Ireland, both rural and urban, were the main point of interest at the beginning of this research. Rural sites had less variables to test the the idea of Antipated Ruin. In learning from the Wonderful Barn Project, particular attention was paid to areas at risk of fading away from the collective memory. The site chosen re-inhabits an abandoned mining site at Glencarbury, Glencar, Co Sligo. Barytes mining was carried out on Benbulben at Glencarbury from 1858 to 1979.33 Barytes ore is a naturally occurring mineral. It’s chemical stability means that it can be used to give added value to a whole range of products, such as paints, plastics, pottery, etc. It blocks radiation and is easily ground into a very fine white powder Atomic power stations and x-ray rooms are plastered with a protective coating of Barytes. In medicine, a mixture of Barytes, called a Barium meal, taken orally, is used to assist in the x-ray of soft tissues of the stomach. It is used extensively in the oil exploration industry, where its heaviness and insolubility in water, are exploited as drilling mud.

Fig. 30 Barytes Mineral

Benbulben and the Dartry mountains were shaped during the Ice Age, when Ireland was under glaciers, about 300 million years ago. Benbulben masif rests on almost horizontal bed of sandstone. The ascending sedimentary rock layers are composed of shales and various types of limestone with the highest point, Truskmore, being capped by a small layer of sandstone. The Barytes vein penetrates, almost horizontally, the limestone mud layers at about 1400ft (425). The ore deposits were formed millions of years ago when hot gasses and fluids, containing the minieral, leaked through natural fractures in the limestone bedrock. The gasses and fluids filled out cavities and old river bed tunnels to cool and consolidte into ore commonly called Barytes.34

Fig. 31 Props and platforms inside the deserted tunnels Fig. 32 The upper aerial bucket station and mine site at the 430m level mid 1960’s Fig. 33 Newly built hostel for the miners at the 400m level on the mountain early 1940’s

The site is accessd by the Old Bog Road, a scenic hike with atunning views of Glencar Lake and the Swiss Valley. The route follows the escarpment and up to the site of the old mines, getting a glimpse of the old buildings and extraction methods, and seeing the way in which the mineral was transported to the valley for further milling.

Fig. 34 Inside the 430m level tunnel showing air line bogie tracks and branching tunnels 33

Foley, Gerry. Barytes Mining at Belbulen. Sligo, Ireland, 2009.

Foley, Gerry. The Benbulben Barytes Miners, The Forgotten Story. Sligo, Ireland, 2016.

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The surrounding area of the mines is vast, and since the closure of the mines in 1979, survey work in the area has been limited. The Geological Survey of Ireland online data archive database, GOLDMINE (GSI OnLine Document, Maps and InformatioN Explorer) contains scanned information from all geological work carried accross Ireland. Historical maps from OSI and GOLDMINE tell a story of how the area was developed over the last 150 years. In order to resolve what programme of architecture would be appropriate to the site and thesis, an explorative mapping analysis of the site was necessary.

above & right Map of Ireland and Map of Sligo showing areas of interest surrounding Glencarbury Mine

Through a series of maps I could establish a boundary, and explore a suitable architecture programme. From analysing Sligo and its environs, manufacturing and extraction industries were no longer viable at the site. However, tourism was shown to be quite an undervalued industry. Inspired by the Allmannajuvet Zinc Mine Museum by Peter Zumpthor, and Luke Franklinâ&#x20AC;&#x2122;s bothy projects for Inishark Island, a hikers hotel was chosen as the brief. The plateau of Benbulbin is at the centre of many hidden gems of natural beauty in the area, all within a 15km radius. It provides a a base point for hikers, adventure seekers, day trips and relaxing breaks.

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Fig. 35 Allmannajuvet Zinc Mine Museum by Peter Zumpthor centre & right Inishark Bothy Gallery Project, photographs courtesy of Daniel Fagan following pages: Fig. 36 & 37 Historic maps from GOLDMINE

HISTORICAL DEVELOPMENT OF MINES HISTORICAL DEVELOPMENT OF MINES

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H I S T-O1922 RICAL 1858 1858 - 1922 D1858 E V E L- O1922 PMENT A non-metallic mineral mine called Barytes was mined on the Benbulben A non-metallic mineral called Barytes

surface There above the Here the barytes accessed a consuming. vertical ladder climbing 50m consulted up washed before being carted to worthwhile Gleniff Mills where expensive and via time Barton, having an expert any seam of Barytes. wasmine. a brief spell of opensurfaced cast was near naturally occurring deep sinkhole the cliff face. Previous operators had used the ore was processed. Aside fromon thethe main adit, above mined on the Benbulben Plateau for roughly 120 in wirefrom tramway systems, installed a gravity operated aerial mining surface thea mine. Here the barytes surfacedwhich Plateau for roughly 120 years. The first recorded mining operation expensive and time consuming. Barton, having consulted an expert any worthwhile seam of Barytes. There was a brief spell of open cast A non-metallic mineral mine called Barytes was mined on the Benbulben a fur t her two adits include an upper dug trial is now called Bar t on’s Pot. The mine donkeys to transport the ore down the valley, but years. The first recorded mining operation was wire-rope tramway known as a Blondin, after the tightrope walker. near a naturally occurring deep sinkhole which is now calledapparently Barwas in1858 and the last in 1980. During that period six independent in wireit tramway systems, installed a gravity operated aerial mining on the vein. surface above theopen mine. Here the barytes surfacedSurvey Plateau for roughly 120 years. The first recorded mining operation adit, which failed to access profitable At stays stays until the ‘geological proved the expensive andwashed time consuming. Barton, in 1858 and the last in 1980. During ore was before being carted to Gleniff ton’sa Pot. The mine apparently open19922 untilwhen 19922 when the `geogroups mined the ore. Fallion Barton’s mining operation began in that periodAt the bottom wire-rope tramway known expert as a Blondin, after the tightrope walker.is the “Barrennear a naturally occurring of deep sinkhole which is itnow called Barwas in1858 and the last in 1980. During that period groups six independent the bottom Adit” dug to intercept Irelandrecord memoirs record as being in operation. having the consulted inAside wire from tramway sixthe independent ore wasanprocessed. the main adit, a furlogical Survey of Ireland memoirs it as being operation. The 1870, and exploited the ore bed near edge of a verticalmined escarp-the ore. FallionMills where At the bottom the ore was washed before being carted to Gleniff ton’s Pot. The mine apparently stays open until 19922 when the `geogroups mined the ore. Fallion Barton’s mining operation began in the large central vein at a mine more convenient The mine evidently ceases operation at some time systems, installedanaupper gravity mining operation began in 1870, and ther two adits include dugoperated trial adit,aerial which failed to access evidently height, ceases operation at some time in the mid ninement, 300 metres above the GleniffBarton’s Valley, accessed via a vertical Mills where the ore was processed. from the main adit, a furlogical Survey of Ireland memoirs record it as being operation. The 1870, and exploited the ore bed near the edge of a vertical escarpto find any worthwhile seam of Barytes. in the mid nineteen-twenties. wire-rope known as aAside Blondin, exploited the ore bed near the had edge of a vertical a profitable vein.tramway At the bottom is the “Barren after Adit” dugthis to failed intercept teen-twenties. ladder climbing 50m up from the cliff face. Previous operators ther two adits include an upper dug trialtheadit, failed towas access evidently ment, 300 metres above the Gleniffescarp Valley, accessed via a above vertical There a brief spell of mine open cast miningceases on the operation at some time in the mid ninetightrope walker. At theconvenient bottom ore which was this ment, 300 metres the la the central vein at a more height, failed to find don used donkeys to transport the ore down the valley, but it proved exGleniff Valley,the large OF MINES

ladder climbing 50m up from the cliff face. Previous operators had used donkeys to transport the ore down the valley, but it proved ex don

1913 - 1915 1913 - 1915 1913 - 1915 Between 1913 and 1915 the Sligo Barytes Co. Ltd, based in Westmin-

a profitable vein. At the bottom is the “Barren Adit” dug to intercept la central vein at a more convenient height, this failed to find the large

teen-twenties.

here since they invested int he expensive construction of an aerial quartz vein. The upper trial adit proved to be more profitable and ropeway 800m long to carry the ore off the mountain. For reasons had a deposit ranging from 1m to almost 3.5m wide. ster, London undertook trial explorations from he Glencar side of vein.For The upper trial adit proved beproved more profitable and here since they invested intnhe expensiveexpected construction of aerial Between 1913 and 1915 the Sligo Barytes Co. Ltd, in WestminLe Mood. The compa y evidently a to an carry the ore off the quartz mountain. reasons The upper trialto adit to be more profitable 1913 based 1915 the Sligo Barytes Co. unknown however, the operations ceased in June 1915. The lower the valley, under the supervision ofBetween Mr Bruce Le and Mood. The compahad a deposit 1mhad to almost 3.5m wide. ropeway 800m long to carryofthe ore offtothe For reasons ster, London undertook trial explorations frominhe Glencar side of considerable quantity barytes be mountain. mined unknown however, the operations ceasedranging in June fromand a deposit ranging from Im to almost 3.5m Ltd, based Westmin ster, London undertook trial adit was bored for 18 metres and proved largely to be through a ny evidently expected a considerable quantity of barytes to be mined unknown however, the operations ceased in June 1915. The lower the valley, under the supervision oftrial Mr Bruce Le Mood. The compahere since they invested int he expensive 1915. The lower trial adit was bored for 18 metres wide. explorations from the Glencar side of construction an18aerial ropeway 8oom largely long to be andthrough proved largely to be through a quartz vein. trial adit was boredoffor metres and proved a ny evidently expected a considerable of barytes to be mined thequantity valley, under the supervision of Mr Bruce

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1928 -1931 Between 1928 and 1931 the Gleniff mine was reopened but by Barium Consolidated Ltd, a British company, and a railroad built from Gleniff to Mullaghmore Harbour to export the Barytes. The invest ment in the railroad shows considerable confidence in the mine

pro ducing good quantities of ore, however this enterprise failed to flour ish. The port of Mullaghmore proved to be too shallow to take the ore ships and only three deliveries of ore were ever made to the harbour. The railroad was mainly used to transport coal from ships up to the

mine to fuel the generator. The ore was thereafter carted to Sligo deepwater port. The mine failed for a number of reasons, mainly due to the fact that the mine owners interested in the Cornish tin-making industry proved to be a burden on the company when the international demand for tin

collapsed due to the great depression. Allied to this was the fact that antagonistic Irish legislation regarding the number of Irishmen who has to serve on the board of the company turned the board of directors against Ireland.

vein higher up the mountain which was worked via a series of wooden platforms wedged between the walls of the vein. Some of these platforms exist to this day, though are unreliable. During the 194o’s the war greatly

curtailed the quantity of raw materials entering Ireland. Consequently, the scale of native mining operations was increased to cover the deficit. Operations at the mine were stepped up during this period. This arial ropeway was extended by 300m

to the north to exploit the next large lode. Here a zig-zapping adit was bored to extract the ore.

1 9 2 o ’s - 1 9 4 o ’s During the 192o’s the southern portion of the mine was exploited. The older aerial ropeway was dismantled and a new one built parallel to it some 100m to the east. This time the ropeway extended fur ther to the high-quality

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1950’s - 1960’s 1950’s - 1960’s

1 9 5 o ’s - 1 9 6 o ’s

Company. Despite investment in a new road to the expanded dramatically and the mine becomes closed for several periods in 1953 and 1954. The minethe is 1950’s, profitably worked throughout thesive narrow-vein mine in Ireland. The mine’s future waswas always unthe Benbulben Barytes Company. Despite investment in a new road The mine is profitably worked throughout the ore being north, the mine closed in the 196o’s. further closure occurred in 1955, and the mine most extensive narrow-vein mine in Ireland. 195o’s, the ore being chiefly destined for the certaintheand it was closed for several periods in 1953 andA1954. A furto the mine from the northmine the from minethe closed in the 1960’s. chiefly destined for the pain industry. The underground operations Ireland. mine’sand future always un- in 1956 bythe Barytes Company. Despite investment in a new road The mine is profitably worked throughout the 1950’s, the ore beingoperations aresive narrow-vein was re-opened the Benbulben Benbulben Barytes The mine’s mine future in was alwaysThe uncertain it was paint industry. The underground ther closure occurred in 1955 and the mine was re-opened in 1956 by are expanded dramatically and the mine becomes the most extencertain and it was closed for several periods in 1953 and 1954. A furto the mine from the north the mine closed in the 1960’s. chiefly destined for the pain industry. The underground operations ther closure occurred in 1955 and the mine was re-opened in 1956 by are expanded dramatically and the mine becomes the most exten-

1973 - 1979 1973 - 1979

1973 -1979

thought by 1979 the cost of extracting the ore had become too high, the aerial ropeway was antiqued and the ore was trucked of the By the early 1970’s the boom in the North sea oil drilling had created and cheaper suppliers began to undercut the Benbulben mine. Conand cartedbegan off to once Sligomore. Port Much of the extraction oca a renewed demand for barytes, this time for use as drilling mud. Con sequently the become mine closed, though and ropeway extraction By ore now thetrucked hydrothermal cavity almost wide. the sea early the had boom in the North seamountain the aerial was antiqued and the was of the thought10m by 1979 the In cost ofmine. extracting the ore had too high, By the early 1970’s the boom in the By North oil197o’s drilling created sequently the mine closed, though reserves at the mine remain concurred at the area known as Barton’s Pot, a huge hydrothermal cavity The mine was reopened by a subsidiary of American oil company reserves at the mine remain con s iderable. aerial ropeway was antiqued and the ore was 1978 the mine was still planning expansion, oil drilling had created a a renewed demand mountain and carted off to Sligo Port Much of the extraction ocand cheaper suppliers began to undercut the Benbulben mine. Cona a renewed demand for barytes, this time for use as drilling mud. siderable. almosttrucked 10m wide. In 1978 the mine was still planning expansion Halliburton, and extraction began once more. By now of the mountain and carted off to thought by 1979 the cost of extracting for barytes, this time for use as drilling mud. curred at the area known as Barton’s Pot, a huge hydrothermal cavity sequently the minethe closed, though reserves at the mine remain conThe mine was reopened by a subsidiary of American oil company ore had become too high, and cheaper Sligo Port. Much of the extraction occurred The mine was reopened by a subsidiary almost 10m wide. In 1978 the mine was still planning expansion siderable. Halliburton, and extraction began once more. By now of

American

oil

company

Halliburton,

at the area known as Barton’s Pot, a huge

suppliers began to undercut the Benbulben

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4 7

8 15

5 6

10 17

above

MINE STRUCTURES 1. Weighbridge 2. Compressor House 3. Sanitory Block and Canteen 4. Mine Portal 5. Offices

6. Toolshed 7. Locomotive House and Forge 8. Ropeway Landing 9. Railway 10. Loading Bay

11. 12. 13. 14. 15.

Ore Crusher Engine House Tailings Pond Pump House Engine House

16. 17.

Miners Hostel Ropeway Landings

Plan of mine vein and structures

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INITIAL SITE VISIT 4th December 2018

centre Hike up from Gleniff Valley right Ore Crusher

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left Props and platforms inside the deserted tunnel centre Bartonâ&#x20AC;&#x2122;s Pit right Hikerâ&#x20AC;&#x2122;s Hostel

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PROGRAMME Hikerâ&#x20AC;&#x2122;s Hotel

Experience History

O u t l i n e d Tr a i l s & Wa l k s

By creating a mining museum trail, the visitors get a full understanding of the history of the industrial site and its impact on the landscape. This allows them to better appreciate the richness of the area instead of merely just taking in the views and will attract those interested in history and culture

Guided walks and mapped trails through the site, the visitors can explore the landscape in a safe and experiential way.

CO N T E X T U R E

Hiking and Exploring the Landscape

Dining with a view

Ta k i n g a b r e a k

Creating a base for adventure seeking visitors, the centre can cater for those looking to explore the mines, nearby caves as wells as hiking and mountain climbing.

Due to the natural setting and relaxing scenery, it has the potential to become a place of extraordinary gastronomy with both local agricultural and seafood produce. With an intimate architecture in place, it can be seen as a separate function for an atmospheric place to have a unique dining experience.

While the building caters for mostly adventurous visitors, groups, families and couples can use the centre as a place to relax. With lots of impressions acting on the visitor, the natural setting can be utilised to create little breaks with the possibility to enjoy the serene scenic views over the mountain and valley.

of railways hotels 1839-1983

for the distribution of knowledge and goods. Caravaneras in Persia punctuated the silk road, now they areand left asrun ruis by or tourastic Hotels built the British recreations.

railway companies between 1829 and 1983 numbered over 140. As transport advanced, the purpose of travel changed, leading to ‘purposive purposeless” as Siegfried Kracauer coined it. To the right is the Midlands Hotel in Manchester built in 1873.

Since 985 BC Caravaneras

CO NT E X T U R E

The history of hotels stands in two distinct phases, before and after the inventiom of the railway. Hotels served as nodes in networks for the distribution of knowledge and goods. Caravaneras in Persia punctuated the silk road, now they are left as ruis or tourastic recreations.

Railway invention meant that virgin territories of the world were now made Since Roman Empire 753 BCMaloja in the pregnable. Hôtel Kursaal de la Alps Tabernae had 300 bedrooms and 20 public In terms of luxury it can be compared H Ô T E L K U R S A A L rooms. D ETabernae LA found on roads between towns were decreed by the Romam Emperor to support the infrastructural to the Morphosis design for Vals, while system of the empire. Now found as taverns or pubs. Both Tabernae andCavaneras had to accomodate M A L O J A , 1 8 8 4 . R U contemporary R Apassengers, L rural now adapt the of donkeys, camels and horses. goods and hotels means of transport in the form playing pretend with local H O T E L S I N 1 9 T H Cvernacular, E N T U A R Y poverty.

A D V E N T O F T H E R A I L WA Y S A N D T H E R I S E O F R A I L WA Y S H O T E L S 1839-1983

SINCE 985 BC C A R AVA N S E R A I

Hotels built and run by the British railway companies between 1829 and 1983 numbered over 140. As transport advanced, the purpose of travel changed, leading to ‘purposive purposeless” as Siegfried Kracauer coined it. Fig. 40 Midlands Hotel in Manchester built in 1873

Since 985 BC Caravaneras

y of hotels stands in two distinct ore and after the inventiom of the tels served as nodes in networks ribution of knowledge and goods. s in Persia punctuated the silk they are left as ruis or tourastic .

Railway invention meant that virgin territories of the world were now made pregnable. Hôtel Kursaal de la public rooms. In terms of luxury it can be compared to the Morphosis design for Vals, while contemporary rural hotels now adapt the vernacular, playing pretend with local poverty. Fig. 42

Hôtel Kursaal de la Maloja, 1884 Rural Hotels in 19th centuary

Advent of the railways and the rise of railways hotels 1839-1983 Hotels built and run by the British railway companies between 1829 and 1983 numbered over 140. As transport advanced, the purpose of travel changed, leading to ‘purposive purposeless” as Siegfried Kracauer coined it. To the right is the Midlands Hotel in Manchester built in 1873.

5 BC eras

Since Roman Empire 753 BC Tabernae

Tabernae found on roads between towns were decreed by the Romam Emperor to support the infrastructural Advent of the railways and the riseof the empire. Now found as Maloja system taverns or in pubs. Both Tabernae had to accomodate the Alps hadandCavaneras 300 bedrooms and 20 of railways hotels 1839-1983 passengers, goods and means of transport in the form of donkeys, camels and horses.

The history of hotels stands in two distinct

The history of hotels stands in two distinct phases, phases, before and after the inventiom of the railway. Hotels served as nodes in networks before and after the inventiom of thefor railway. Hotels the distribution of knowledge and goods. Caravaneras in Persia punctuated the silk served as nodes in networks for the distribution road, now they are left as ruis or tourastic of knowledge and goods. Caravaneras in Persia recreations. punctuated the silk road, now they are left as ruis or tourastic recreations. Fig. 38

Hôtel Kursaal de la Maloja, 1884 Rural Hotels in 19th centuary

Railway invention meant that virgin territories of the world were now made pregnable. Hôtel Kursaal de la Maloja in the Alps had 300 bedrooms and 20 public Since Roman Empire 753 BC rooms. In terms of luxury it can be compared Tabernae to the Morphosis design for Vals, while rural hotels adapt Emperor the to support the infrastructural Tabernae foundcontemporary on roads between towns were decreednow by the Romam system of the empire. Now found as tavernspretend or pubs. Both Tabernae vernacular, playing with localandCavaneras had to accomodate passengers, goods and means of transport in the form of donkeys, camels and horses. poverty.

Advent of the railways and the rise of railways hotels 1839-1983 Hotels built and run by the British railway Since Roman Empire 753 BC companies between 1829 and 1983 numbered Tabernae over 140. As transport advanced, the purpose of travel changed, leading to ‘purposive purposeless” as Siegfried Kracauer coined Tabernae foundit.on roads between towns were decreed by the Romam Emperor to support the infrastructural Hôtel Kursaal de la Maloja, 1884 To the right is the Midlands Hotel in system of the empire. Now found as taverns or pubs. Both Tabernae andCavaneras had to accomodate Hotels in in 19th Manchester built in 1873. passengers, goods and Rural means of transport the centuary form of donkeys, camels and horses.

the Romam Emperor to support the infrastructural system of the empire. Now found as taverns or pubs. Both Tabernae andCavaneras had to accomodate passengers, goods and means of transport in the form of donkeys, camels and horses. Fig. 39

History of Hotels, a timeline

Railway invention meant that virgin territories of the world were now made pregnable. Hôtel Kursaal de la Maloja in the Alps had 300 bedrooms and 20 public rooms. In terms of luxury it can be compared to the Morphosis design for Vals, while contemporary rural hotels now adapt the vernacular, playing pretend with local poverty.

Ritz Hotel Paris 1898 César Ritz opened his own hotel in Paris in 1898.

Railway invention meant that virgin territories of the world were now made pregnable. Hôtel Kursaal de la Maloja in the Alps had 300 bedrooms and 20William public Waldorf Astor, 1843, and the Grand Hotel rooms. In terms of luxury it can be compared to the Morphosis design for Vals, Thewhile Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, contemporary rural hotels now adapt the a luxury at the time. Its famous ballroom was host to high society. considered vernacular, playing pretend with local poverty.

Ritz Hotel Paris 1898 César Ritz opened his own hotel in Paris in 1898.

Ritz Hotel Paris 1898 William Waldorf Astor, 1843, and the Grand Hotel London Savoy Royal Suite, D’Oyly Carte, 1889

London Savoy Royal Suite, D’Oyly Carte, 1889 The Savoy emboddied luxury and the best of the best. Managed by the famous César Auguste Ascoffrer.

YMCA’s and YWCA’s were the 3rd largest chain in the world the D’Oyly 1980’s. Carte, Hostels, London Savoy RoyalinSuite, 1889 though challenged by Airbnb, are still very L O N D O N S AV O Y R O YA L S U I T E , D ’ O Y L Y The Savoy emboddied luxurytravellers. and the best of the best. Managed by the famous César Ritz and ‘chef of kings’ popular amoung young

CARTE, 1889

Auguste Ascoffrer.

The Savoy emboddied luxury and the best of the best. Managed by the famous César Ritz and ‘chef of kings’ Auguste Ascoffrer. Fig. 43

The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, considered a luxury at the time. Its famous ballroom was host to high society. Fig. 41

Affirdable Hotel Chains 1900’s YMCA’s and YWCA’s were the 3rd largest chain in the world in the 1980’s. Hostels, though YMCA’s and challenged YWCA’s were by the Airbnb, 3rd largest are still very London Savoychain Royal Suite, D’Oyly Carte, 1889 popular amoung young in the world in the 1980’s. travellers. Hostels,

The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, considered a luxury at the time. Its famous ballroom was host to high society.

nvention meant that virgin of the world were now made Hôtel Kursaal de la Maloja in the 300 bedrooms and 20 public erms of luxury it can be compared rphosis design for Vals, while

The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, considered a luxury at the time. Its famous ballroom was host to high society.

César Ritz opened his own hotel in Paris in

William Waldorf Astor, 1843, and the Grand Hotel

rsaal de la Maloja, 1884 otels in 19th centuary

César Ritz opened his own hotel in Paris in 1898.

W L L on I1898. A L was D the Olargest RTheFSavoy Ainemboddied StheTworld, OR 8 4to have 3 , private A Nbathrooms, D THE TheIWaldorf 5th M AvenueWA New York hotel and,the1first luxury and the best of the best. Managed by the famous César Ritz and ‘chef of kings’ considered a luxury at the time. Its famous ballroom was host to high society. Auguste Ascoffrer. GRAND HOTEL

Hôtel Kursaal de la Maloja, 1884 Rural Hotels in 19th centuary

above

Ritz Hotel Paris 1898

Affirdable Hotel Chains 1900’s

Railway invention meant that virgin territories of the world were now made pregnable. Hôtel Kursaal de la Maloja in the Since Roman Empire 753 BC Alps had 300 bedrooms and 20 public Tabernae rooms. In terms of luxury it can be compared to the Morphosis design for Vals, while Tabernae found on roads between towns were decreed by the Romam Emperor to support the infrastructural contemporary rural hotels now adapt the system of the empire. Now found as taverns or pubs. Both Tabernae andCavaneras had to accomodate vernacular, playing pretend with local passengers, goods and means transportbetween in the form oftowns donkeys, were camels and horses. by Tabernae found on ofroads decreed poverty.

SINCE ROMAN EMPIRE 753 BC TA B E R NA E

t and run by the British railway between 1829 and 1983 numbered s transport advanced, the purpose hanged, leading to ‘purposive s” as Siegfried Kracauer coined it. ght is the Midlands Hotel in r built in 1873.

César Ritz opened his own hotel in Paris in 1898. Fig. 44

The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to considered a luxury at the time. Its famous ballroom was host to high society.

William Waldorf Astor, 1843, and the Grand Hotel

Hôtel Kursaal de la Maloja, 1884 Rural Hotels in 19th centuary

f the railways and the rise ys hotels 1839-1983

R I T Z H O T E L PA R I S 1 8 9 8

William Waldorf Astor, 1843, and the Grand Hotel

William Waldorf Astor, 1843, and the Grand Hotel The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, considered a luxury at the time. Its famous ballroom was host to high society. Affirdable Hotel Chains 1900’s

Affirdable Hotel Chains 1900’s

though challenged by Airbnb, are still very popular amoung travellers. The Savoy emboddied luxury andyoung the best of the best. Managed by the famous César Ritz and ‘chef of kings’ Auguste Ascoffrer.

Hilton Hotel, Texas, 1919

Conrad Hilton built the first Hilton at the height of the oil boom. In the 50’s it

Conrad Hilton built the first Hilton at the height of the oil boom. In the 50’s it became the first truly international hotel 188brand establishments in the Us and 54 overseas. It was bas international chain hotel , with 188 establishments in the Us and 54chain overseas. It was, with based on consistency

Auguste Ascoffrer.

rooms. In terms of luxury it can be compared to the Morphosis design for Vals, while contemporary rural hotels now adapt the vernacular, playing pretend with local poverty.

Hilton Hotel, Texas, 1919 Conrad Hilton built the first Hilton at the height of the oil boom. In the 50’s it became the first truly international chain hotel , with 188 establishments in the Us and 54 overseas. It was based on brand consistency and franchising. with standard operating manuals creating the same experience in different continents.

Ritz Hotel Paris 1898

CO N T E X T U R E

“Each of our hotels is a little America” - Conrad Hilton

César Ritz opened his own hotel in Paris in 1898.

Affirdable Hotel Chains 1900’s London Savoy Royal Suite, D’Oyly Carte, 1889

Westin Bonaventure Hotel, 1976 John C Portman Jr

YMCA’s and YWCA’s were the 3rd largest

The Savoy emboddied luxury the best. Managed by the A F F I R D A B L E H O T Echain L in the world in the 1980’s. Hostels, WandEtheS best T IofN BO N AV Efamous N TCésar U RRitzEand ‘chef of kings’ though challenged by Airbnb, are still very Ascoffrer. Auguste popular amoung young travellers. C H A I N S 1 9 0 0 ’s HOTEL, 1976 J O H N C P O R T M A N J R Hilton Hotel, Texas, 1919

YMCA’s and YWCA’s were the 3rd largest chain in the world in the 1980’s. Hostels, though challenged by Airbnb, are still very popular César Ritz opened his own hotel in Paris in amoung young travellers. Fig. 46 1898. Ritz Hotel Paris 1898

Hotel serving as a paradigmatric for Fig. 48

Hotel serving as a paradigmatric for Podtmodernism.

The Waldorf on 5th Avenue New York was the largest hotel in the world, and the first to have private bathrooms, considered a luxury at the time. Its famous ballroom was host to high society.

“Aspires to be a total space, a complete

“Each of our hotels is a little America” - Conrad Hilton

Hotel serving as a paradigmatric for Podtmodernism.

Affirdable Hotel Chains 1900’s

“Aspires to be a total space, a complete world, a kind of minature city.”

YMCA’s and YWCA’s were the 3rd largest chain in the world in the 1980’s. Hostels, though challenged by Airbnb, are still very popular amoung young travellers.

- Fredric Jameson, The Ethical Function of Architecture

Westin Bonaventure Hotel, 1976 Hilton Hotel, Texas, 1919 John C Portman Jr

Affirdable Hotel Chains 1900’s YMCA’s and YWCA’s were the 3rd largest chain in the world in the 1980’s. Hostels, though challenged by Airbnb, are still very popular amoung young travellers.

Themed hotels provide and escape from reality. Las Vegas desert sheds dressed in Neon became Ceasars Palace or the Pyramids, a blissful simulacrum.

Conrad Hilton built the first Hilton at the height of the oil boom. 50’s it became world, a kindInofthe minature city.” the first truly international chain hotel , with 188 establishments in the Us and 54 overseas. It was based on brand consistency Podtmodernism. and franchising. with standard operating manuals creating the same experience in different continents.

“Aspires to be a total space, a complete world, aWestin kind Bonaventure Hotel, 1976 of minature city.” John C Portman Jr - Fredric Jameson, The Ethical Function of Architecture

William Waldorf Astor, 1843, and the Grand Hotel

Themed Hotels Micheal Graves’ Disneyland Hotels in Orland 1990

Conrad Hilton built the first Hilton at the height of the oil boom. In the 50’s it became the first truly Hotel serving as a international paradigmatric forhotel , with 188 establishments in the Us and 54 overseas. It was based on brand consistency chain Podtmodernism. and franchising. with standard operating manuals creating the same experience in different continents.

- Fredric Jameson, The Ethical Function ofThemed Hotels Architecture

Disneyland Y U N H O U S E B O UMicheal T I Q UGraves’ E EC O-RESORT / Hotels in Orland 1990 A R E S PA R T N E R S + A T E L I E R L I U Y U YA N G Themed hotels provide and escape from A R C H I T E C T S , 2 0 reality. 1 4 Las Vegas desert sheds dressed in Neon became Ceasars Palace or the Pyramids, a blissful simulacrum.

Architecture sensitive to landscape and culture, yet helping redirect cash from the wealthy coast into the undeveloped interior of China. Fig. 50 Themed Hotels Micheal Graves’ Disneyland Hotels in Orland 1990

Geoffrey Bawa Kandalama Hotel, 1991

Themed hotels provide and escape from reality. Las Vegas desert sheds dressed in Neon became Ceasars Palace or the Pyramids, a blissful simulacrum.

Bluring the distinction between natural landscape

“Aspires to be a total “Each space,of aour complete hotels is a little America” - Conrad Hilton world, a kind of minature city.” - Fredric Jameson, The Ethical Function of

London Savoy Royal Suite, D’Oyly Carte, 1889 The Savoy emboddied luxury and the best of the best. Managed by the famous César Ritz and ‘chef of kings’ Auguste Ascoffrer.

Hilton Hotel, Texas, 1919 ArchitectureHotel, 1976 Westin Bonaventure John C Portman Jr Conrad Hilton built the first Hilton

Geoffrey Bawa Kandalama Hotel, 1991

at the height of the oil boom. In the 50’s it became the first truly international chain hotel , with 188 establishments in the Us and 54 overseas. It was based on brand consistency franchising. with standard operating manuals creating the same experience in different continents. Hotel serving as a paradigmatricandfor Podtmodernism. “Each of our hotels is a little America” - Conrad Hilton “Aspires to be a total space, a complete world, a kind of minature city.” - Fredric Jameson, The Ethical Function of Architecture

Bluring the distinction between natural landscape and man made.

Yun House Boutique Eco-Resort / Ares Partners + Atelier Liu Yuyang Architects, 2014

Themed Hotels Micheal Graves’ Disneyland Hotels in Orland 1990

Architecture sensitive to landscape and culture, yet helping redirect cash from the wealthy coast into the undeveloped interior of China.

Themed hotels provide and Boutique escape from Yun House Eco-Resort / Ares Partners + Atelier Liu Yuyang Architects, 2014 reality. Las Vegas desert sheds dressed Geoffrey in Bawa Kandalama Hotel, 1991 Themed Hotels Neon became Ceasars Palace or the Architecture sensitive to landscape and culture, yet helping redirect cash from the wealthy coast into the Micheal Graves’ Disneyland Pyramids, a blissful simulacrum. undeveloped interior of China. Bluring the distinction between natural landscape and man made.

Hotels in Orland 1990

Themed hotels provide and escape from reality. Las Vegas desert sheds dressed in Neon became Ceasars Palace or the Geoffrey Bawa Kandalama Hotel, 1991 Pyramids, a blissful simulacrum.

Westin Bonaventure Hotel, 1976 John C Portman Jr

Bluring the distinction between natural landscape and man made.

Hotel serving as a paradigmatric for Podtmodernism. Westin Bonaventure Hotel, 1976

John C Portman Jr

“Aspires to be a total space, a complete world, a kind of minature city.” Hotel serving as a paradigmatric for Podtmodernism.

- Fredric Jameson, The Ethical Function of Hilton Hotel, Texas, 1919 “Aspires to be a total space, a complete Architecture

H I LTO N H OT E L , T E X AS , 1 9 1 9

world, a kind of minature city.” Conrad Hilton built the first Hilton at the height of the oil boom. In the 50’s it became the first truly international chain hotel , with 188 establishments the Us Function and 54 overseas. It was based on brand consistency - Fredric Jameson, TheinEthical of and franchising. with standard operating creating the same experience in different continents. Architecture Conrad Hilton built the firstmanuals Hilton at the height of the oil boom. In the 50’s

it became theis afirst truly international “Each of our hotels little America” - Conrad Hilton

chain hotel, with 188 establishments in the Us and 54 overseas. It was based on brand consistency and franchising. with standard operating manuals creating the same experience in different continents. Fig. 45

KOKO architects, mountain lodges alon

G E O F F R E Y B AWA K A N D A L A M A HOTEL, 1991

THEMED HOTELS. Bluring the distinction M I C H A E L G R AV E S ’ made. Fig. 49 Yun House Boutique Partners 2014 D I S NEco-Resort E Y L A N/ Ares D H O T E+LAtelier S Liu Yuyang Architects, I N toOlandscape R L A and ND O 1yet 9 9helping 0 redirect cash from the wealthy coast into the Architecture sensitive culture,

between natural landscape and man

A series of dwellings for a hiking trail in norway. th building, sleeping cabins, a toilet with storage room

KOKO architects, mountain lodges along a hiking trail in norway, 2016

undeveloped interior of China.

Yun House Boutique Eco-Resort / Ares Partners + Atelier Liu Yuyang Architects, 2014

Themed hotels provide and escape from

Architecture sensitive to landscape and culture, yet helping redirect cash from the wealthy coast into the undeveloped interior of China. reality. Las Vegas desert sheds dressed

in Neon became Ceasars Palace or the Pyramids, a blissful simulacrum. Fig. 47

A series of dwellings for a hiking trail in norway. the skåpet mountain lodges in soddatjørn comprise a main building, sleeping cabins, a toilet with storage room, and a sauna. Fig. 51

“Each of our hotels is a little America” - Conrad Hilton

Themed Hotels Micheal Graves’ Disneyland Hotels in Orland 1990 Themed hotels provide and escape from reality. Las Vegas desert sheds dressed in Neon became Ceasars Palace or the Pyramids, a blissful simulacrum.

Geoffrey Bawa Kandalama Hotel, 1991

Bluring the distinction between natural landscape and man made.

KO KO A RC H I T EC T S , M O U N TA I N L O D G E S ALONG A HIKING TRAIL I N N O R WA Y , 2 0 1 6

A series of dwellings for a hiking trail in norway. the skåpet mountain lodges in soddatjørn comprise a main building, sleeping cabins, a toilet with storage room, and a sauna.

KOKO architects, mountain lodges along a hiking trail in norway, 2016 series along of dwellings for atrail hiking trail in norway. KOKO architects, mountainAlodges a hiking in norway, 2016 the skåpet mountain lodges in soddatjørn comprise a main building, sleeping cabins, a toilet with storage room, and a sauna.

A series of dwellings for a hiking trail in norway. the skåpet mountain lodges in soddatjørn comprise a main building, sleeping cabins, a toilet with storage room, and a sauna.

CO NT E X T U R E

F I NA L S I T E V I S I T 6th April 2019 Specific site boundary chosen

centre Mine Portal, 1400ft right Old Hikerâ&#x20AC;&#x2122;s Hostel and Lower Adit 1300ft

61 6

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left Old Hikerâ&#x20AC;&#x2122;s Hostel and Lower Adit 1300ft centre Engine House and Lower Adit 1300ft right Old Bog Road down to Glencar Valley

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Gleniff Valley Loop (Existing)

Mine Site Trail (Proposed)

Diarmuid & Grainne Hike (Proposed)

Truskmore Hike (Proposed)

Benbulben Plateau Hike (Proposed)

Mine Site Hike (Proposed)

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left Model of Glencarbury Mine Specific site is located at the delta of the mine crevice

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1:500 Site Model illustrating the process of positioning the Hikerâ&#x20AC;&#x2122;s Hotel at the delta of the Mine.

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top Model of Ore Crusher, one of the structures on the site bottom Model of lobby space design and entrance 1:100

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Ground Floor Plan 1:200

top Interim Ground Floor Plan bottom Interim First Floor Plan

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centre Model of basement and lobby entrance 1:100

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left Section detail of walkway right Structural Model 1:200

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centre Structural Model 1:200

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centre Section through Hikers Hotel

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INTERIM REVIEW Following the interim review, it became clear the thesis idea was becoming lost in the design. The structural models illustrated a clear methodology that disappeared in the plans. To develope the design further, the plan needed to be simplified and reordered into only two conditions - the facade and the lobby.

right Sketch of developing plans

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right Final Presentation

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F I NA L P R E S E N TAT I O N The final project re-inhabits an old abandoned mining site with a new Hikerâ&#x20AC;&#x2122;s Hotel, building upon the imbedded memory of the place and adding to its story with an architecture aware of its own potential for demise. The beauty of the mining structures belonging to the landscape informs the strctural premise of the design, allowing it to age beautifully over time, even to the point of ruin. SITE The site is the Old Barytes Mines at Glencarbury, Glencar, Co. Sligo. Baryted mining was carried out at Benbulben from 1858 to 1979. Barytes ore is a naturally occuring mineral with Itâ&#x20AC;&#x2122;s chemical stability means that it can be used to give added value to a whole range of products, such as paints, plastics, and pottery. In medicine, a mixture of Barytes, called a Barium meal, taken orally, is used to assist in the x-ray of soft tissues of the stomach.

It is used extensively in the oil exploration industry, where its heaviness and insolubility in water, are exploited as drilling mud. At the time of operation, the Glencarbury Mines were one of the largest in existence. Now barytes mineral is mined closer to oil extracting sites, and due to finicial costs the mines on Benbulben Plateau were closed in 1979. ACCESS The site is accessed via the Old Bog Road (yellow line on site map pg. 70). The hike is very scenic with stunnin views of Glencar Lake and the Swiss Valley. The route follows the escarpment and up to the site of the old mines, getting a glimpse of the old buildings and extraction methods, and seeing the way the mineral was transported down the valley for further milling. The old cable car has been reinstated to bring the visiter up the cliff edge with a dramatic arrival at the hotel and mine

portal entrance, seeing the way the mineral was transported down the valley for further milling. The old cable car has been reinstated to bring the visiter up the cliff edge with a dramatic arrival at the hotel and mine portal entrance. POSITIONING The hotel is positioned at the delta of the mine valley. The mine cuts a straight line through the Benbulben Plateau with the main portal entrances at the 1300ft and 1400ft mark. The cable car leaves you at the 1300ft entrance. The hotel is positioned along the crevice, with the form following the contours. The structure is raised up off the ground so the visitor is presented with a facade they can meander through and under. STRUCTURE

accross the landscape. The only point of conflict with the landscape being the main stairwell and lobby, buried deep in the belly of the bridge. The entrance is under the facade up into the lobby, and then into the bedrooms and restaurant wing. The structure acts as the ruin, the permanent element that will decay slowly over time with existing mining structures. The inhabiting hotel is fittef with bedroom pods and restaurant pod. The timber lined pods, along with the services act as sacraficial elements. Their permanence will only remain if they are maintained, repaired or replaced. The visiter is only aware of the inhabiting hotel once inside, from the exterior the facade is already acting as a ruin. The cavernous stairwell creates a dialogue with the mines, leading to the cracks and crevices of meeting points and relaxing spaces.

The hotel acts as a piece of infrastructure, bridging

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400 m

300 m

200 m

100 m

right Section through Glencarbury Mine, showing cable car access

Lower Adit

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Bartons Hole

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Gleniff Face

1500 ft Level Portal Gate

1450 ft Level

1400 ft Level

Hotel Plan First Floor 1:200

Hotel Plan Second Floor 1:200

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right Elevation of Hikerâ&#x20AC;&#x2122;s Hotel

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right Section through Hikerâ&#x20AC;&#x2122;s Hotel restaurant

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Section through Hotel and Entrance to Mine 1:200

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right Model 1:100

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left Section of Model 1:100

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right Structural Model 1:200

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left Structural Model 1:200

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right Interior shared space for guests, exposed to the elements centre Central stairwell with view to the Mine

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left Hikers Hotel bedroom with view to Glencar Valley right Bedroom pod diagram, sacraficial element

CONCLUSION

The Hiker’s Hotel explores the realtionship permanence, decay and architecture in the metamorphosis of time. It explores the relationship between past and present by building upon the imbedded memory of the mining site, and adding future chapters to its narritive. The plan and proportion of the infrastructure is open to new interior linings over time, allowing for ‘static’ and ‘dynamic’ permanence. The structural element becomes the permanent and the inhabiting lining sacraficial, so to allow beautiful decay. The final thesis helped me to understand the beauty of layered permanences in architecture, and the stratification of different layers of time in one place.

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