M A J E L L A WA L S H ARCHITECTURE PORTFOLIO 2020
P RO F E S S I O NA L E X P E R I E N C E
Employer Date Job Description Responsibilities
MAJELLA WA L S H 5 Glenview Park, Grange, Co. Sligo, Ireland 0851530521 majellamaria@gmail.com www.linkedin.com/in/majella-walsh
S O F T WA R E
AUTOCAD
Fitzgerald Kavanagh and Partners 1 Mount St Cres, Dublin, D02 XF57 July 2019 to May 2020 June 2018 to September 2018 Part 1 Architect Design architect responsible to the relevant associate / project director within the office
Employer SSA Architects, 42 Haddington Road, Ballsbridge, Dublin 4 016687939 or info@ssa.ie Date December 2016 to September 2017 Job Description Part 1 Architect Responsibilities Surveying, designing and meeting with clients. Drawing up finalised designs to be tendered Employer Deirdre Conway Eason’s Book Store Sligo, 45 O’Connell St, Sligo 071914 0660 Date July to November 2016 Job Description Sales Assistant Employer Walk in Love Centre Arusha, Tanzania Date 2nd July to 2nd August 2015 Job Description Volunteer work Responsibilities Care of underprivileged children
E D U C AT I O N
2019. B.Arch in Dublin School of Architecture (DSA), DIT Bolton Street
SKETCHUP REVIT RHINO
ACHIEVEMENTS
VRAY PHOTOSHOP INDESIGN
Treasurer for the ASA (Architecture Student Association) 2015 - 2016 Member of the Order of Malta and CFR (cert. First Responder) Gaisce Silver Award CREST Bronze Award Sligo Student Enterprise Award 1
LOWER HOUSE
2
LOWER HOUSE GRANGEGORMAN FKP Architects are leading the multi-disciplinary design team on the project, Construction Refurbishment to be completed for September 2020 Contact: info@fkp.ie
Lower House, opened in 1815, is the oldest building on the Grangegorman site. It was designed by Francis Johnson, the leading architect of the day whose other work includes the GPO. It is the only remaining part of the large quadrangle complex that served as the original Richmond Asylum and later became part of St. Brendan’s Hospital. At its peak in 1896, the Richmond Asylum had 2,375 patients. While the other wings of the quadrangle were demolished in the late 1980s when there was no building protection in place, the Lower House was retained owing to its impressive frontage. The building has been unoccupied since the late 1980s. In the 1990s it was used in the filming of the film Michael Collins where it stood in for the GPO. It is one of the 11 protected structures on the Grangegorman site. This old building will be refurbished to be available for a variety of student uses for TU Dublin, including music practice rooms, students’ union workspace, a food hall, sports rooms, a dance studio and general student support services.
above Lower House Exterior Render left Grangegorman City Drawings
3
H OUS E
G R ANG EG O R M A N
COLOUR PALETTE
LOW ER
above Interior Photograghs taken in 2015 during Stabilization works Colour Palette derived from histroical layers of paint
4
LOWE R
HOUSE
GRA NGEGO RMAN
left Verandas Look & Feel
right Bathrooms Look & Feel
left Café Look & Feel
5
LOW ER
H OUS E
G R ANG EG O R M A N
C
D
22545.00 Parapet Level
21405
21405
LH-043 Dance Studio LH-044 Switchroom
00 - Ground Floor Level 16345.00 16114.00 Top of Beam Lvl
above Dance Studio Section (New build block)
D
22545.00 Parapet Level
16345.00 00 - Ground Floor Level
above Dance Studio Elevation
6
C
LOWE R
HOUSE
GRA NGEGO RMAN
above Entrance and Main Circulation
7
A N T I C I PAT E D R U I N Academic work, 5th year thesis TUDublin, 2018-19
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 permanence 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. above Elevation of Hikers Hotel and mine portal right
8
Model of Benbulben Plateau, showing Glencarbury Mine, Glencar, Co Sligo
Arrival at Hikers Hotel, South Elevation 1:200
9
A N T I C I PAT E D
10
RU I N
Castelgrande, Bellinzona. Aurelio Galfetti. Castelgrande, Bellinzona. Aurelio Galfetti. Section 1:500 Section 1:500
Showroom House, Pfalz. FNP Architekten. Showroom House, Pfalz, FNP Architekten. Axonometric 1:200 Axonmetric 1:200
Castelgrande Entrance
Showroom House Construction
A N T I C I PAT E D
Paimio Sanatorium, Finland. Alvar Aalto. Paimio Sanotorium, Finland. Alvar Aalto. Plan 1:500 Plan 1:500
Paimio Sanotorium
RUIN
Tanikawa House, Tanikawa House, Nagano Prefecture, Japan, 1974Nagano Prefecture, Japan Kazuo Shinohara, 1974 Kazuo Shinohara Section 1:200 Section
Tanikawa House
11
A N T I C I PAT E D
RU I N
above 1:500 Site Model illustrating the process of positioning the Hiker’s Hotel at the delta of the Mine.
12
A N T I C I PAT E D
RUIN
above Interior shared space for guests, exposed to the elements
13
A N T I C I PAT E D
RU I N
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.
ANTICIPATED RUIN
Permanence. Temporality. Metamorphosis.
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 s, so much of it our own creation, shifts continually and often bewilders us.” relationship between old and new; where complex layers of ancient and recent - Lynch, Kevin. What Time Is This Place? Cambridge: MIT Press, 1972.
history are both independent and dependent at the same time. This moment of We “coming together” is thewith most essential in Scarpa’s architecture. Kenneth nce, Decay and Architecture in the Metamorphosis of time. are drawn to artefacts Frampton described Scarpa’s y decay, and ruins evoke in us something in-between the uncanny and the sublime. In mywork as the “adoration of the joint … the joint is rmanence, to create a Temporal Architecture that anticipates change ages dignity. treated as aand kind of with tectonic condensation; as an intersection embodying the whole in the part”.1 Castelvecchio, Carlo Scarpa Dialogue between Past and Present.
Villa Emo, Palladio Permanence of Plan and Proportion
Ise Grand Shrine Sacrificial in order to be Permanent
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
phosis.
ally and often bewilders us.”
s, 1972.
osis of time. We are drawn to artefacts with ween the uncanny and the sublime. In my at anticipates change and ages with dignity. Villa Emo, Palladio Permanence of Plan and Proportion
“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.”2
Ise Grand Shrine S a c r i f i cIsei aGrand l i nShrine o rd e r t o b e Pe r m a n e n t Sacrificial in order to be Permanent
The Ise shrine architectural style is called shinmei-zukuri, distinguished by its simplicity and antiquity. 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.”3 The current shrines, from 2013, are the 62nd iteration to date and the next Shikinen Sengu ceremony is in 2033. Ise Grand Shrine Sacrificial in order to be Permanent
1
Frampton, Kenneth, and John Cava. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture. Cambridge, MA: MIT Press, 1995.
2
Alberti, Leon Battista, Cosimo Bartoli, and Giacomo Leoni. The Ten Books on Architecture. New York: Dover Publications, 1987.
“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. 3
14
A N T I C I PAT E D
RUIN
above Central stairwell with view to the Mine, exposed to the elements
15
A N T I C I PAT E D
RU I N
Hotel Plan First Floor 1:200
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 It’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 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.
600 m
500 m
Lower Adit
400 m
300 m
200 m
100 m
16
A N T I C I PAT E D
RUIN
Hotel Plan Second Floor 1:200
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
Bartons Hole
been reinstated to bring the visiter up the cliff edge with a dramatic arrival at the hotel and mine. above & left Hotel plan, first and second floor below Section through Glencarbury Mine, showing cable car access
Gleniff Face
1500 ft Level Portal Gate
1450 ft Level
1400 ft Level
17
A N T I C I PAT E D
RU I N
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. top & centre Structural model 1:100
18
A N T I C I PAT E D
RUIN
STRUCTURE The hotel acts as a piece of infrastructure, bridging 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. right & centre Model 1:100 bottom Section through Hiker’s Hotel restaurant
19
T H E WO N D E R F U L B R E W E RY Academic work, 5th year thesis TUDublin, 2018-19
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. 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. Attracting people to see the beer making process, experience views fromt he bar, 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. The idea of Anticipated Ruin was tested in the design of the Brewery in two aspects - Spatial Permanence and Structural Permanence. Spatial 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. 20
top & centre Sketch diagram of Wonderful Barn site bottom Brewery process
T HE
WON D E RFUL
BREWERY
above Elevation of the Wonderful Brewery centre Plan and Elevations of the Wonderful Brewery
21
THE
WOND ERF UL
B R E W E RY
O R D E R O F DU R A B I LT Y
9. FIXTURE AND FITTINGS
The necessary services are laid along the walls or under the plasterboard. They can be altered/repaired/ removed as needed.
8. INTERIOR LININGS
Sacraficial liing is placed inside the brewery. Worn with use it is eventually replaces or removed. Placed in specific areas in the brewery at varying heights depending on the layout. It protects the superstructure underneath.
7. G L A Z I NG A N D W I N D OWS
Glazing, window and doors are fitted. With care and maintenence they will last indefinitely. Openings can be altered or removed depending on future use. The interior layout is flexible.
6. EXTERIOR AND INTERIOR RENDER
Render is applied to the exteror, plasterwork is applied to the interior. They serve as sacraficial layers that require maintence with weathering and use.
22
T HE
WON D E RFUL
BREWERY
5. FLOORS
The reinforced concrete floor should endure use and heavy loads. Timber flooring ages well with use and tells a story of how the building is occupied. It can be varnished / repaire / altered / removed over time.
4. ROOF
A simple concrete flat roof will endure. In future it can be built upon and/or converted into a green roof over time.
3 . V E R T I C A L C I R C U L AT I O N
The cast-in-site stairs is part of the building fabric. the servive elevatot suits its purpose for the brewery and other future functions.
2. SUPERSTRUCTURE
The masonry construction ties intot he material pallete at the site of the Wonderful Barn. In a speculative future where the structure is left abandoned, it will decay and erode in a similarly beatuiful manner as the barn. The villa type layout create a dialgue between the structure and the architectural language of the site. It leaves a cultural permanence. The logic of the plan comes from the permanence of the structure, using simple yet beautiful proportions. It leaves a spatial imprint that can be fitted to a number of functions.
1 . F O U N DAT I O N I M P R I N T
The site is cleared, excavated and foundatios are poured. From here on it is permanently altered and tells a story of the activity and occupation of the site. What remains is an imprint in th eground and in memory. After enough time has passed that this imprint is all that is left, it should inspire a new process of becoming.
23
THE
WOND ERF UL
吀䠀䔀 圀伀一䐀䔀刀䘀唀䰀 䈀䄀刀一
B R E W E RY
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
䌀伀一伀䰀䰀夀 䘀伀䰀䰀夀
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
䰀 䈀䄀刀一
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
䰀䰀夀
䌀䄀匀吀䰀䔀吀伀圀一 䠀伀唀匀䔀
䌀伀一伀䰀䰀夀 䘀伀䰀䰀夀
24
刀
T HE
WON D E RFUL
BREWERY
above Reviving the Lost Arcadia Proposed brewery for the Wonderful Barn left Castletown House Axial Relationship
25
HAROLDS CROSS LIVE 2018 Under the directon of Dermot Boyd, Sima Rouholamin, Sarah Sheridan A colaborative project with the class of Fourth Year Arch DIT 17/18 Contact: twitter @haroldscross
A N E W U R BA N V I S I O N FO R H A RO L D S C ROS S
Under the directon of Dermot Boyd, Sima Rouholamin, Sarah Sheridan A colaborative project with the class of Fourth Year Arch DIT 17/18 In particular Chloé Cattan, Ronan MacTiernan, Adam Maloney
3
7
10
6
8
4
2 1
26
A new bell tower for St Clare’s convent
Post office
5
New crèche, housing and shops
Old St Clare’s convent, to be turned into housing
HA ROLD S
C ROSS
LIVE
An Croí Oideachais Masterplan by Majella Walsh, Chloé Cattan, Ronan MacTiernan, Adam Maloney
9
11
12
GROUND FLOOR PLAN 1:500
Entrance to the secondary school
Peggy Kelly’s Pub
27
H ARO L D S
CROS S
right & below 1:200 Ground Floor Model of Créche and Commercial Block following page Detail Axonometric of Créche
28
L I V E
HA ROLD S
C ROSS
LIVE
29
S ELECT ED
P H OTO G R AP H Y
SELECTED PHOTOGRAPHY G L E NC A R BU RY M I N E S SITE VISIT APRIL 2019
top Hike up from Gleniff Valley centre Mine Portal, 1400ft bottom Old Hiker’s Hostel and Lower Adit
30
SE LEC T E D
PHOTO GRAPHY
top Abandoned mining structures including railway track & ore crusher plant centre Barton’s Pit
31
S ELECT ED
P H OTO G R AP H Y
M A LTA A R C H I T E C T U R E TRIP MARCH 2018
32
SE LEC T E D
PHOTO GRAPHY
33