Dublin School of Architecture Year Book 2013-2014 by Dublin School of Architecture

Dublin School of Architecture

DUBLIN SCHOOL OF ARCHITECTURE DSA 13 | 14

13 | 14

2013/2014 Dublin School Of Architecture

Editors: Cora Carbajo Melón (Co-Editor in Chief) Niall FitzGerald Celine Jamin Paul Kelly Christopher O Keeﬀe Brendan Spierin (Design Editor) Dublin School of Architecture Dublin Institute of Technology Bolton Street Dublin 1, Ireland Tel: +353 1 4023690 www.dublinschoolofarchitecture.com www.dit.ie/architecture/urbandesign/

Dublin School of Architecture

Cover image: Oisin Jacob ISBN: 978-0-9568502-8-7 © Dublin School of Architecture Press. All rights reserved. All information presented in this publication is deemed to be the copyright of the creator or the Dublin School of Architecture, unless stated otherwise.

Contents

Introduction

ARCHITECTURE Year 1 Year 2 Year 3 Year 4 Year 5

9 10 26 42 72 106

POSTGRADUATE Professional Practice Energy RetroямБt BIM

141 142 142 144 154

EXTRACURRICULAR DSA Publications Oikonet Peter Rice Exhibition

161 162 166 168 178

ARCHITECTURE TECHNOLOGY Year 1 Year 2 Year 3 Year 4

181 182 194 208 226

Introduction

This publication displays a cross-section of the work of the school in the 2013/14 academic year. Dublin School of Architecture worked closely with the Dublin City Council this year, with the proposed cultural quarter at Parnell Square at the centre of many of the programmes investigations, including a collaborative effort by 4th Year Architecture and 3rd Year Architectural Technology, engaging with the future re-housing of the Dublin City Library. The school is committed to collaboration between programmes and disciplines and this year saw an expansion of this. 4th and 5th Year Architecture began with an investigation into the culture of Parnell Square, with the 5th Year Architecture students building on this research for their theses. 4th Year Architecture worked closely with 3rd Year Architectural Technology all year, and also collaborated with 4th Year Structural Engineering students on a housing project. 1st Year students in both programmes worked together on housing details and a structural engineering bridge project. 2nd Year Architectural Technology students worked with 2nd Year Geomatics students in the surveying of sites, while 3rd and 4th Year Architectural Technology, along with a selection of 4th Year Architecture students, produced a exhibition on the work of Peter Rice. This school year saw the completion and opening of the school s new exhibition space in the Linenhall building, which, as well as being used for various displays of the school s work throughout the year, hosted mini-workshops for local primary schools in the area. The new social hub on the ground floor of the building also provided a platform for social interaction and a fostering of the school community spirit. The school also continued to run it s innovative programmes in Professional Practice, Energy Retrofit and Building Information Modelling. These, along with it s trade schools and construction programmes, galvanize the school s reputation as a centre of excellence for education in the construction industry. Christopher O'Keeffe

Architecture

YEAR

The semester is broken into three linked projects, beginning with an introduction to representation skills Project 01 Process of Drawing , including hard / soft line drawing processes, surveying skills and how light is illustrated. A walking tour explores the architectural heritage of Dublin city, taking the student from medieval to classical (Georgian / Victorian) and on to modern. Each student records the tour through sketching and a speciﬁed survey. Proportion is explained relative to the relationship between human form and architecture (These exercises inform the student of their ﬁrst design project).

Two themes ran in parallel in semester two; 1.The city (Dublin); its history, character, grain, materials and housing typologies. 2. Living; specifically urban infill housing. Linking with the fourth and fifth year research and design projects in the Parnell Square area of the city, first year semester two was based in the lanes and backlands of four city blocks close to Parnell Square. The semester began with the Seminal House project, a precedent study with an emphasis on urban and multiple housing units, identifying architectural strategies for city living. The principle design project of semester two was Living in the Lanes , in which students developed programs and briefs for live-work spaces on fourteen sites located close to Parnell Square. Individual design proposals were preceded by an intensive two weeks group urban surveys, mapping and analysis.

The primary function of the second project Transition is to introduce the student to the design process. They are asked to consider their life experience and the transition into first year, considering elements that inspire them, researching same and presenting their findings in their first crit experience. A Toast Master directs the students in the art of public speaking prior to the crit. The brief asks for a tangible space that relates to the human form, manipulates light and the senses.

The design studio projects were directly linked to the Technology Studio and Visual Communication modules each week. Students proposed construction strategies from readily available construction materials. They learnt a wide range of media and presentation techniques, helping to strengthen their design processes. From street photo- montages, to conceptual perspectives, to weathering strategies, to 1:1 detail studies, students were asked to think and design for city living at all scales.

The third project Spirit Store returns to the city space the student surveyed in the first project. They are introduced to site analysis, the importance of context and a brief for a simple multi celled building, where they were free to develop the brief is respect of its function. 6 sites were selected by the staff, having different contextual problems to solve. Architectural Design Studio is the main module of Semester 1, four further modules run in parallel informing the students design work. These modules introduce the student to History & Theory, the Environmental context, Building Technology / Structures and Graphical Communications. Francis Noel Duffy First Semester Module Coordinator

Miriam Delaney Second Semester Module Coordinator

Architecture 01

Ruba Alabbasi Alhashimi

Architecture 01

Lea Duran

Conor Kenny

Architecture 01

Robert Hamilton

Lea Duran

Architecture 01

Valerija Kazackova

Architecture 01

Majella Walsh

Timothy Murphy

Ryan Byrne

Architecture 01

Year 1 - 2013/2014 Ruba Alabbasi Alhashimi, SaudAl Yahyai, Philip Ball, Conor J. Beatty, Ailill Bergin, Ryan Byrne, Sean Byrne, Andrew Chaney, Kassandra Conneely, Peter Cronin, Joanne CuďŹ&#x20AC;e, Niall Cullen, Panna Darazsi, John Darcy, Cathal Dunne, Lea Duran, Holly B. Egan, Daniel Fagan, Sara-Jayne Fee, Steve Geraghty, Conor Grossman, Robert Hamilton, Darragh K. Hickey, Jelena Jablockina, Patrick Jarina, Emma Kavanagh, Valerija Kazackova, Mohamed A Kechkar, Conor Kenny, Hou N. Lok, Ronan Mac Tiernan, Adam Maloney, Sean Mangan, Stephen Mawhinney, Eamonn Mc Kay, Timothy Murphy, Michal Nitychoruk, Anders O Donoghue, Andrew O Driscoll, Ariane M. Ogaco, Mark O Hare, Denise O Leary, Michael Palminteri, Deimante Paplauskaite, David Potts, Paul M. Purcell, Shane Redmond, Erika Soman, Kevin Sweeney, Andrew Walsh, Majella Walsh, Paraic T. Walsh, Darren Williams, Eva D. Williams, Shane Wright. Studio Tutors Francis Noel DuďŹ&#x20AC;y, Miriam Delaney, Gavin Buggy, Helen Lam, Sinead Bourke, Patrick Harrington , Mike Haslam, Tom Maher Guest Critics Anthony Donnelly, Saul Golden, Shane McEnroe, Neil McBrierty, Claire McNamee.

YEAR

Water: Function & Fascination - The Water Device project brought students new understanding of the problems and potentials of water to an architectural project. The question of how to deal with water is important to every building design though not necessarily central. This project sought to bring the question of water to the heart of the design process. Questions of weathering, structure, durability, etc. are all framed around the question of water and its involvement in the students designs. Each student conceived and constructed a water device which collected, contained, and distributed two litres of rainwater located in the Bolton Street Courtyard.

The collaborative nature of cities has always driven the creation of institutions whose purpose is to share resources, culture and everyday experience. In giving order and structure to societies they bind and nurture its social fabric - the role of architecture is to promote and champion such institutions. The project for this semester is a pastoral centre embedded in the city fabric of Stockholm and Dublin. In Semester our studio made propositions for Galway which considered the city as event. In Semester 2 we have considered architecture as instrument - to serve the fellowship of religious practice, space for liturgy and community outreach. In this context we are making a distinction between religion and Christian faith in the design of a pastoral centre.

Event Space: Galway, a living organism - Throughout time, the dynamic interactions between the water bodies of Galway Bay and Lough Corrib have transformed the landscape of the city revealing residual layers of the community s daily and seasonal relationship to water. Successful urban spaces, through their architecture, act as agents that allow the city to transform itself through the celebration of an event or ritual. This ritual in turn informs the built environment over time and strengthens the city s cultural experience through material memory. In Galway, the sites which have been selected are centrally located and currently underutilized by the city and its inhabitants. The aim of this project was to reimagine these sites, their buildings and their voids, by making manifest their ritual functions through permanent contributions to the urban fabric. Through the recreation of these sites into memorable and lasting event spaces, your proposals should inform and support Galway s cultural and historical richness. With a great appreciation of the present and historical traditions within the assigned site areas, students created a memorable and lasting event space which caters for both the daily event and the extraordinary seasonal event within one permanent and comprehensive design solution. Both the daily anchor event and the extraordinary event must be capable of functioning in rainy weather.

The semester started in Sweden with a study trip focused on pre and post Vatican 2 liturgical space in Stockholm. The experience of these 20th century spaces were studied and experienced in the context of 20th century modernism and an urbanism which traces and celebrates 900 years of liturgical buildings. Those students who remained in Ireland visited exemplars in Dublin and the work of Liam McCormac in the Northwest. Experiencing space provides a register to measure our own work. Three sites were chosen in Stockholm and one in Dublin to provide the setting for the study of a Pastoral Centre and Chapel. The ambition of the studio was to consider broader universal architectural qualities as well as those forms which are bound into the objects, words and gestures derived from liturgical ordering. In both cases we seek an architecture which strives for meaning beyond its context - an architecture made in the world.

Jennifer Boyer Semester 1 Module Coordinator

Donal Hickey Semester 2 Module Coordinator

Architecture 02

James Fox

Amy Kinsella

Lindsay Roughneen

Architecture 02

Kevin Moran The design works to transform how the residents interact with the site, turning what was once their back garden into their front entrance. Each resident will have access to this raised walkway. at the centre of the site, there are 5 a side football pitches served by two changing rooms tucked underneath the eastern walkway. Sheds have been removed creating a new public space with stepped seating that leads into the water. In this space a screen could be erected from within the River Corib for a dramatic viewing experience during ďŹ lm festivals which could take place throughout the year.

Tim O Sullivan

Architecture 02

Andrew McAllister

James Forbes The monolithic structure acts as an atmospheric space, when closed. An oculus at the top allows both the access to a underground car park and the city view from upon high. On market day, the event space becomes an event itself by opening its walls in four segments which become ďŹ&#x201A;oors for the diďŹ&#x20AC;erent markets to set up their stalls bringing their goods from underground by an elevator that runs through the centre of the structure. The limestone walls are washed and scrubbed, the debris is caught and ďŹ&#x201A;ushed down to the basement where it is treated, and the stalls and the building collapse.

Architecture 02

David McCarthy The brief was to design a sports complex with temporary cinema facilities. The design explored the possibilities of a matt-building strategy for a series of tennis courts, an elevated, open grandstand with north, south, east and west views, a central bar/cafĂŠ and changing facilities at ground level. The roof acted as a rainwater collector and the concrete structure of the building stored the rainwater for use in the bathrooms. A grid of ďŹ&#x201A;oodlights extend out to the edge of the site and provide an infrastructure to hold canvas screens which can be used to transform the courts into a temporary cinema.

Lindsay Roughneen

Architecture 02

Stephen Johnston The floor is hung from two beams via tensile cables, relying on Cross Laminated Timber on castellated Steel to reduce the weight of the structure. The entire church space is surrounded with floor to ceiling glazing. For those in the elevated space to the north, a view is created through the building between two planes (floor and ceiling) past the canopy trees to the horizon beyond. Bridging the long ascent into the church is the side chapel ; a contrastively dark and insular space. The project echoes the notion of transparency while attempting to make both a dynamic and functional amenity for the parishioners

Architecture 02

Emmet Morris

Architecture 02

Year 2 - 2013/2014 Sean Barrett, Cathal Behan, Michael Behan, Kieran Brady, Cian Burke, Gerard Byrne, Michael R. CaďŹ&#x20AC;rey, Aifric Carroll, Holly V. Carton, Kevin Casey, Emma Conway, Benjamen J. Cooney, James Cosgrove, Dumitru Cusnir, Luc Dikansky, Niall A. English, Samantha A. Farrell, Eoin Fitzgerald, John Flynn, James J. Forbes, Joseph Fox, Raluca Gaftoi, Aine Gavin, Heather Gavin, John Geraghty, Jack Gleeson, Emma Hanan, Stephen Johnston, Bertin Kidiamboko, Amy P. Kinsella, Jason Ladrigan, Carol Lawlor, Carinne Lobo Rodrigues, Shane Madden, Mason Kenneth, Kate Masquelier, Simon Maybury Thornton, Andrew McAllister, David McCarthy, Rory McDonald, Cillian J. McGrath, Alexander McGuirk, Aoife McKenna, John McLoughlin, John Melvin, Kevin Moran, Sebastian Mora, Emmet Morris, Aislinn Murphy, Victor A. Noriega Pena, John P. O Connor, Zuleika O Malley, Aaron O Neill, Tim O Sullivan, Dylan O Toole, Oliver J. Redmond, Shane Regazzoli, Lindsay Roughneen, David Ruttledge, Yi Shi, Bernard W. Steemers, Fariba Talebi Kalkhoran, Rory Tobin, Michael Weir, Jevgenijs Zaharciks. Studio Tutors Amanda Bone, Alice Casey, Ronan Costello, Gary Lysaght, Kieran O Brien, Orla O Callahan , Sarah Sheridan, Donal Hickey, Jennifer Boyer. Guest Critics Rosemarie Webb, Mary Anne Harris, Kevin Donovan, Sinead Bourke, Noreile Breen, Dominic Stevens (DIT 5th Year), Ryan Kennihan (DIT 3rd Year), Niall Rowan, Mirriam Dunne, Roland Bosbach. 41

YEAR

The work of the studio during the ﬁrst semester was based entirely outside of Ireland in the cities of West Flanders. We began the studio with architectural research into the building typology and construction methods of the Belgian Begijnhoven, 13th C. semimonastic communities of women, for which we created some of the ﬁrst drawn documents in existence. The research is then utilized as a way of developing conceptual, spatial, and material aspects of an architectural project, framing a studio agenda interested in exploring ideas of continuity , place, construction and space. We look back in order to look forward. We study spaces of great character so that we might make spaces of great character. Students then created extensions to these Cities within cities , designing houses, gardens and public spaces within the Begijnhoven.

The second semester Architectural design studio in year 3 is devoted to developing a holistic approach to the problem of architecture. This year we began with an examination of typologies which follows up on the work of the ﬁrst semester. In conjunction with an urban analysis of Mallow, Co. Cork, each student picked a site, a programme (derived from the typology study) and a theme to develop their own work. At critical junctures the studio staﬀ made critical presentations to stimulate development. The urban context provides a valuable canvas within which the student can test various ideas and themes culminating in their design dissertation.

Ryan Kennihan Module Coordinator

Noel Brady Module coordinator

Architecture 03

Silvia Pavia

Research Project Belgium

Architecture 03

Research Project Belgium

Architecture 03

James Kelly

Architecture 03

Mark Redmond

Architecture 03

Sophie El Nimr The design project is based on a simplistic analysis of the typology studied, as well as parallels with the communal, social and spatial aspects. The social housing, for single mothers and their children, consists of two concrete blocks that form a stable, supportive environment for the inhabitants. Each two-story block contains 10 two-bedroom dwellings. A playground ďŹ ts in-between the blocks on this extremely tight site, inviting one down to the river. The crĂ¨che is sited at the entrance of the scheme to encourage permeability from the surrounding locale into the entire development.

Architecture 03

Daniel Mc Fadden

Architecture 03

James Kelly

Mark Corcoran

Architecture 03

Shane Cleary

Viktor Iyanovakivska

Architecture 03

Glen O Dea

Architecture 03

Capturing Space Karen Tighe

The area I have chosen to explore in architecture is that of Capturing space . I have become interested in this area through my studies in architecture and my interest in art. Rachel Whiteread is a British artist whose art captures the negative space through casts and moulds. She captures these ghost like spaces by sculpting the enclosed negative space of our inhabitants, …spatial forms of our man made environment (Damon Hyldreth 2002) through materials such as concrete. Whiteread creates objects that are redolent of a mirrored world of strange traces of human life, ghosts of our common existence .(Damon Hyldreth 2002) House and Ghosts are two of her most famous pieces of work and are of architectural interest. Whiteread explores the world of domestic architecture through these two sculptures. She casts a negative imprint and turns it into a positive space. What is invisible becomes visible . (Damon Hyldreth 2002)

artist , where the modern day artist will have a temporary stay and be hidden in amongst the secular society, an entry into the hidden realm of layered history. I hope to create an architecture that creates space for itself and yet tells the story of the once occupied structures. The workspaces and studios will be a place for reﬂection and refuge for the artist , a place to escape too. The materials of this project will be sculpted, of truth and highlight the negative space through light and minimalistic design. The brief that I have given myself is: To provide work spaces for the visual and contemporary artists, to allow them to investigate their ideas and thoughts in an appropriate environment. To create networks between artists and mallow as a cultural and picturesque town.

Zevi declares that architecture is like …a great hollowed-out sculpture which man enters and apprehends by moving about within it He goes on to say that Architecture is not derived from a sum of lengths, widths, and heights of the building elements that surround the space, but rather emanates directly from the void, from the surrounded space, from the interior space in which men live and move (Zevi 1993, p.22)

To provide opportunities for artists and local communities to discuss and develop their ideas within appropriate spaces and facilities e.g. Dark rooms, gallery spaces…etc. To support artists in their collaboration with the local community. R DUC

Kahn implemented a new relationship in which structure is combined into the negative space. The structure wraps entirely or partially around the negative space, creating a boundary, a wall that can vary in thickness. He goes on to say that the structures thickness also aﬀects the light entering the spaces inside the building, which not only enters through skylights, but also enters through deep openings deﬁned by the walls. (El Croquis 2011, p.23)

To encourage public enjoyment and appreciation of the arts. To provide equality of access to the arts. Architecture: The poet Patrick Kavanagh understood the realities of rural life and small scale farming; he was always familiar to the great events that could happen in the simplest of places. He ﬁnds the extraordinary things in what most people see as the ordinary.

My research from the case studies, artist and site has led me to want to deﬁne and create a familiar yet a counter-place for the ordinary

Residen ial Stud os

Architecture 03

Of paint to hide those wrinkles, and such scringes Break hoarsely on the silence--rusty hinges: A barbed wire clasp around one withered arm Replaces the old latch, with evil charm. That poplar tree you hang upon is rotten, And all its early loveliness forgotten. This gap ere long must ﬁnd another sentry If the cows are not to roam the open country. (Patrick Kavanagh)

The plans of my residential and public buildings are based on simple proportion, repetition, and variation.

Public Building: The architecture of this building is based on layers of enclosures; the ground floor involves things in things and things behind things. The architecture exploits the idea of contrasting spatial layers between the inside and outside in a series of parallel walls in plan and in the opening roof supported on load bearing frames in section. There is a rhythmic pattern of openings and windows when one looks down the building. The workspaces on the first floor recreates a series of spaces fitted which all have the same general form but are unspecific in their function. Workspaces can be easily transformed into exhibition spaces or vice versa. The multifunctioning room is a possibly truer answer to the modern architect s concern with flexibility. The room with a generic rather than a specific purpose, and with moveable furniture rather than movable partitions, promotes a perceptual flexibility rather than a physical flexibility, and permits the toughness and permanence still necessary in our building (Robert Venturi P34).

have been restored and cleaned; stages of decay or missing stone work have been given new volumes and are built in white concrete. The difference in materials allows the visitor to read the changes in time, use and know how it was constructed. A new roof and first floor volume has been reconstructed to rehabilitate the building. The structure, form and orientation of the roof are defined by the use of natural light. The material of the roof is of corrugated iron to blend into its landscape and of its history. The roof folds over the first floor confining the now contained mass.

Residential Studios: On the ground floor each residential studio has a bedroom with an en suite bathroom and shared storage space. On the first floor there is a shared kitchen come living room area with windows facing east and west. Two studio roof lights are facing north, allowing for the visiting artist to be able to work for long periods on their pieces. The Graphic designer or Photographer s studios are provided with a private darkroom on the ground floor.

Landscape: The sense of place within the historic core of Mallow was considered an asset and was used as a reference point for the growth and development of this project. In order to maintain the vibrancy of this laneway, the architecture is not isolated from its surrounding environment but physically linked to the existing structures that were once in use.

The existing walls create the scale and boundary of each private studio. The use of these existing structures has created a linear pattern along the laneway. The existing walls have become revived from its derelict state and the lane way reopened to the public. The aim of this project was to recover the architectural character of the existing building and at the same time create a modern approach and use of space.

The lane way is revived to what is now an inhabitable space to occupy or circulate around. The existing structures have set the linear pattern of the new architecture. The once existing lane way has now been reopened to the public. The façade of an existing shed is kept for the use of the public to interact with, a threshold to the public building. The boundary line of the new architecture is parallel to the car park. The new building is set behind the existing façade to show the distorted linear axis of the once occupied space. The reuse of brick from the site has been used as an extension to the now threshold

The concept of keeping the existing walls was to highlight and accurately identify the intervention stages so as not to destroy the history of the site but rather show the interventions of the site through time by layering the materials of old and new. The existing stone walls

façade which allows the visitor to look down and read the wall as an unbroken divider to the public building.

in tone and surface: concrete, reclaimed stone from the site, brick, metal, and glass. Simple and bare, each of these materials shows its own character through variation of texture.

The landscape of the site has not changed drastically from looking at historical maps, buildings were extended or knocked down but the linear street scape has always kept a similar shape throughout the years. The existing landscape today has still this shape. The entrance to the site is of mud and stone, the site is partially tarmacked and the rear of the site is overgrown with grass and is now used as a dumping ground.

Structure: The structures of my public and residential studios are structurally expressed in all ways possible. The existing stone walls of the residential studios have been given new volumes by a board marked concrete wall that is layered on top of the stone walls. The tie holes and marks of the once present framework have been left to tell the story of how the structure was formed. The public building has ﬁve reinforced concrete walls that carry the load of the roof structures. The front façade of the public building is made of brick. A Flemish bond is used to express the wall as a solid structure. The roofs are clad in corrugated iron like the studios to blend into its landscape.

As mentioned previously, mallow is layered in history. The site shows its uses throughout the ages. The existing tarmacked patch has been stripped back to its old cobblestones, revealing the history of what was once there. The entrance and rear of the site have unfortunately lost their cobblestones due to overgrowth of vegetation and wear and tear of the site. Cobblestones are small stone rounded by the ﬂow of water, perhaps these stones were gathered from the stream bed of the Blackwater river. Cobblestones were not measured and ﬁtted together like a long jigsaw piece by eye. The inaccurate measurement and revealed local materials, brings back the lost character of the street.

Light: Window orientation is founded on the function of the space. This allows the visitor to read the building from the outside. North light produces cool and controlled light. Drawing and Graphic design workshop spaces and residential artists who work in paints, pencils, pastels…etc have a large window facing north to allow the artists to work on their pieces without having to worry about the eﬀects of the sun moving through the studio at diﬀerent angles during the day. North light allows the subject matter to be painted in a cool atmosphere with the same deadened light throughout long periods of time. The north window orientation allows the artist to have a greater control over values, contrasts and subtle color changes within a piece. The café and lobby spaces have south westerly facing light as they are used throughout the day by the occupants. South Westerly light allows a warm light to enter into the building.

A new insertion of locally sourced limestone pavement is laid down in replacement. The existing shed façade s concrete ﬂoor has been left as an imprint on the landscape. The cobblestones, concrete ﬂoor and new limestone pavement are stitched together to reveal the layers of history in this landscape. The separation of these materials is created by a strip of a lighter shade of limestone to help stitch the materials together and at the same time allows the reading of each individual material. Environment and Tectonics: The town of Mallow is enriched in locally sourced materials. The outhouse buildings in farm yards are made from the materials that are at hand. Outhouse buildings tend to be very modest in detail and are generally built of stone, in earlier times and sheeted in corrugated iron. Their structures have stood the test of time.

Urban Context: Mallow town is steeped in history. The town has a number of historical buildings such as the Clock House, which was built in 1855 by Sir Denham Orlando Jephson and the Spa House, built in 1724. Mallow is set in a rich and diverse landscape, located in the Blackwater Valley. The town lies at the heart of Munster where major road and rail route connections are between Cork and Limerick. This setting provides an attractive backdrop for the town and provides opportunities for marketing the hub town as a tourist/artist destination. In order to enhance the quality of life for the residents and a way of strengthening the tourist economy, it is important that the natural and built heritage in this town is exposed to the wider spectrum by

Materials: I have chosen materials that are strong and durable, as well as Cpleasant on the eye. The simple forms and natural materials present a sense of serenity and elegance but also stand in a strong robust fashion in the landscape. I have selected materials that complemented each other

Architecture 03

creating workshops and studios that are available to the traveling artists and local communities.

The lane-ways tell the story of historical planning. Laneways line the street with the linear expansion of alleyways. The arched laneways are created to allow access to the rear of buildings. The arches keep the rhythm of the street-scape as one looks down; they extend the street to its fullest, creating somewhat of an unbroken wall. Many of these arched lane-ways lead to car parks which in turn create these empty spaces that are surrounded by inward looking buildings

Mallow, like many towns holds a market where local farmers produce can be sold and bought. Like many rural towns, mallow shows its agricultural use. Mallows landscape is enriched by its farmhouses, outbuildings, street-scape, field patterns and nature of boundaries that divide them, as well as its evident medieval and Georgian architecture. Their fields filled with livestock, rhythmic street-scape and vernacular structures create a sense of charm to the town. By walking the town of Mallow many things stood out for me, the use of simple and local materials for their buildings, linear patterns, rhythm of the street-scape, and the use of lane-ways. Material and finishes of houses: Most buildings in the town are finished with a smooth plaster, with a coat of lime or paint. Sills are slightly extruded out from the wall to help with water runoff. Window and door heights are proportioned greater than the width of the buildings. Houses are built with a shared wall. The separation or division of houses is expressed by the use of gutters, chimney locations and of finished renders. Linear patterns: From viewing the plans of the town there is an obvious linear pattern occurring. Housing and retailing look onto the main road in a linear direction. Buildings that are adjacent to the main road spread out in their own linear direction. Creating axes from the main street. This creates areas of negative spaces that are used for car parks and brown fill sites. Street-scape: The streets are long and narrow. Buildings are built to the front of the street, with long narrow gardens and outbuildings are located to the rear. The height of the building is greater to that of the width. Roof heights change; altered ever so slightly to fit into its own scale and over all, creates a rhythmic pattern. Arches Lane-ways:

Michael Sykes

Architecture 03

Year 3 - 2013/2014 Deepka Abbi, Zunairah Ansari, Jamie Bayly, Mark J. Callanan, Shane Cleary, Sean Conlan Smith, George Cooney, Mark Corcoran, Alex J. Devereux, Michelle M. Diver, Emmett F. Doyle, James Drury, Philip Duﬀy, Sophie A. El Nimr, Claire Fitzpatrick, Bryan Geoghegan, David Gondry, James Kelly, Ruairi Kelly, Joseph Keohane, Changhwan Kim, Matthew Ledingham, Conor Lynch, John Macken, Sorcha Maguire, Conor N. McBride, Roisin McDonald, Daniel McFadden, Manus McGill, Eoghan McKendry, Kevin McSherry, Alexander D. Moloney, Poilina Mullan, Ciara Murnane, Selene Murphy, Patrick S. Newell, Nhan Nguyen, Daire Nolan, Viktoriya Novakivska, O Brien J. Stephen, Donnacha O Connell, Glen O Dea, William O Donnell, Darryl O Neill, Silvia Paiva, Mark A. Redmond, Daniel Rigby, Michael X. Sexton, Michael D. Sykes, Matthew P. Thornton, Karen. Tighe, Cristian M. Wittig, Jack L. Worrall. Studio Tutors Ryan Kennihan, Noel Brady, Steven Best, Colette Burns, Steve Larkin, and Martin Spillane. Guest Critics Grainne Hassett, Grainne Shaﬀerey, Loughlin Keeley, Tomas O Connor, Dermot Boyd, Paul Kelly, and Brian Ward

YEAR

The fourth and fifth year studios were combined under the theme of culture with the proposed cultural quarter based around Parnell Square acting as the learning laboratory. The study began with both years working in groups for four weeks under various themes which were set by the tutors. These themes were defined to allow the city to be explored and understood from different viewpoints. The varied approaches to exploration were set a physical limit of a walking distance from Parnell Square.

The Second Semester in Fourth Year is concerned with Tectonics while operating within the scope of overall theme for Fourth and Fifth Year of Culture . Students entering fourth year architecture have a developed skill set that enables them to imagine and describe their proposed buildings well. These skills have been developed quickly when one considers that they may have designed just ten projects over their ﬁrst three years of college. To prepare students to more fully engage in a discussion about the built environment other issues must be addressed such as the environment, material choice and detailed design.

The studies were informed by a symposium at which academics, historians and practitioners discussed their understanding of culture and the physical context of Parnell square. The years had a combined class trip to Istanbul which undertook a similar series of studies all deﬁned by the same area. This led to the remainder of the semester being based on the brief for the City Library with Dublin City Council acting as the client.

In the second semester of Fourth Year the vehicle of a social housing project was used to give the students scope to develop ideas beyond the typical design scale of 1:100, here students were asked to investigate issues that would have a direct impact on the user, in terms of colour, texture and light among other issue. A strong emphasis was placed on principles of universal design, students received briefings from a representative of the NDA and local residents associations to inform their thinking about housing. Specific seminars were provided to assist students in understanding housing typologies and to assess their initial site analysis against specific metrics concerned with the environmental performance of their proposals.

Four sites all within the proposed cultural quarter were selected for study. The ﬁrst semester is based around the theme of Environment so the students are required to examine how issues such as aspect through to energy consumption and issues in between can inform their thinking, process and realisation. The library brief was chosen to interrogate the changing nature and function of libraries in the city. The brief proved challenging in its wide range of requirements for silence and thinking space and also a need to accommodate children who use the space in a noisy, interactive manner. The completed projects challenged the traditional role of the library as a storehouse for books and proposed a space for the city where the building could house a variety of activities.

The project successfully culminated in an examination of the haptic engagement of the buildings users. Students selected an area of study fundamental to the design of their scheme and made a 1:1 mock up investigating ideas about material, texture, form and colour.

The completed projects then formed part of a public exhibition and book to promote a wider discussion on the meaning of culture and the role of the library in the city. Patrick Flynn Semester 1 Module Coordinator

Paul Kelly Semester 2 Module coordinator

Architecture 04

Ronan Keane

Cora Carbajo Melón In a noisy and dangerous emplacement, the design of the city library aims to build a precious interior world based in courtyards for the building to look at but also which invites the exterior world to experiment it, while this interior remains protected. Materiality and the experience of spaces become the tool used to achieve the concept. The built form plays with light, levels and surfaces textures to guide the visitor through the diﬀerent areas. The building is not anymore a static form, its appearance becomes variable when it is inhabited in order to be able to satisfy the individual light requirements of the reader.

Brendan Spierin After meeting with local residents in which they spoke very highly of deck access and its social importance, I decided to look at how I could use this system but improve on it. I have designed a system where the deck is its own structure and pulls away from the building, except at entrances, to increase privacy in the units while maintaining the community feel of the deck. The units all have south-facing living spaces and the majority overlook the internal courtyard. The two-bed units are duplexes and are designed for potential expansion to threebeds by way of a double height space over the living rooms.

Architecture 04

Ronan Keane The project integrates live work units, student housing, public and private housing and facilitates the development of a sustainable community over a generation. The ideology sees the progression from student to working graduate to permanent resident whilst sustaining relationships with neighbors. Ground ďŹ&#x201A;oor urban living is characterized by a lack of threshold to the street and in the existing examples has resulted in vacancy and dereliction. The ground ďŹ&#x201A;oor of the new housing block is reinvigorated by community and social happenings.

Architecture 04

Mark McCormack The scheme s form is so that the building helps repair the urban fabric of this junction, while the covered plaza provides a strong but welcoming entrance to the building. The layout of the building is so that the ground ďŹ&#x201A;oor acts as a cultural street with exhibition and workshop spaces, ending with a public park space to the rear of the scheme. This street is the activator for the scheme inviting the public upstairs to the library proper.

Architecture 04

Niall FitzGerald The scheme is composed of three individual elements; the main city library building, a connected administration building and a community building. The main library building is organized in a series of layers which are expressed using diďŹ&#x20AC;erent materials. The inner layer, around the central atrium, is a pre cast concrete construction that houses the main spaces of gathering, circulation and storage of books. It is surrounded with a perimeter layer of brickwork, inside which the study carrels are found. The traditional outer brickwork layer allows the building to blend in with its Georgian surroundings.

Architecture 04

Lisa Wischermann

Sophie Kelliher Continuing on from one of the themes I chose for my Capriccio, the investigation into the introduction of physical sets to the fabric of the exiting city followed. A wrapping technique seemed the most appropriate approach. In my Capriccio I pulled apart the city, tearing up the Hugh Lane and Ambassador Theatre from their surrounds and shut them away in a warehouse with dust sheets ďŹ&#x201A;owing over them protecting them, now returned to where they belong a subtler gesture is what I was interested in. An engagement of the city fabric with my temporary theatrical pavilions.

Architecture 04

Niall FitzGerald I elected to use a cross laminated timber panel system. There is not a culture of apartment dwelling in Ireland. With this in mind, from a psychological point of view, the inherent solidity of the CLT structure allowed for each apartment unit to be read and experienced as a separate individual home within the wider whole. I explored the notion of threshold in this scheme; i.e. the in between spaces such as the front porch, the access deck and the stairwell - features so important in large residential buildings because they become the main places of neighborly interaction.

Celine Jamin The project is located on Great Charles Street,and takes its L shape as a natural response to the surrounding urban fabric. The building acts like a giant timber cascade in the landscape, it s principal entrance/ communal space being the lower falling point. A portion of the site is subtracted and given back to the city as an open public square. It provides shade, seating and playgrounds for children. It promotes interaction between residents of the neighborhood

Architecture 04

Cora Carbajo Mel贸n The proposed brief was the development of social housing in Dublin city centre. The site, on Great Charles street, was placed just behind Mountjoy square, therefore the concept born from the grid of the Georgian houses of the square. Having this mind, the dwellings, which include duplex, apartments and houses, are developed between monolithic wall of concrete. The global vision of the project is the designation of spaces by the experience produced by the materials used and the incidence of light.

Christopher O KeeďŹ&#x20AC;e This project seeks to create ďŹ&#x201A;exible density housing in the city centre of Dublin, taking the form of three timber towers. The construction of these towers allows maximum customized layout by leaving both the plan and the section free for manipulation. Cross-laminated timber panels make up the structure of the towers, with the services located around a central core. A timber screen wraps each tower, with a Flemish bond pattern becoming more and less dense as the orientation dictates. These towers rise above a plinth imagined as the service zone for the apartments.

Architecture 04

The Cultural Legacy of the ESB Headquarters Cormac Murray

Dublin s Fitzwilliam Street is a tapestry of granite paving, handmade brick, wrought iron and hand-blown glass. Colloquially referred to as the Georgian Mile , it unfurls from the steps of Holles Street Hospital to Lower Leeson Street. Until 1964 it held the distinction of being the longest intact Georgian façade in the world. That was before the Electricity Supply Board of Ireland, taking the counsel of the architectural historian Sir John Summerson, commissioned the demolition of 16 Georgian buildings at its centre. In 1965, the Board replaced the terrace, referred to by Summerson as simply one damned house after another , with a 120 metre long neobrutalist headquarters. The building has recently resurfaced in public discussion with the announcement of plans for its demolition.

The most enduring feature of the 1965 building is its cultural legacy, since, if the new building is demolished, its cultural signiﬁcance will still survive. In a similar manner, Summerson s recommendations to the ESB, published in 1962, have gained a second-life: the architects of 2013 confront the same issues Summerson highlighted over 50 years ago. In the context of 1960s Ireland, the drama surrounding the ESB Headquarters had a catalysing eﬀect on the notions of conservation in the city and the approach to context-sensitive design. Pre-1960, Irish society adopted less of a protective position on the city, with the brazen destruction of much of its built fabric. The ESB building was, however, a demolition of unprecedented scale and ambition which polarised public opinion.

The ESB s plans to replace the building with a new sympathetic hybrid of the Georgian design have sparked a fresh architectural debate. While some argue for the restoration of the original Georgian façade or the relocation of the ESB, groups such as Docomomo have been very vocal in the campaign for the building s conservation. Shane O Toole of Docomomo pointed out that, with the inﬂuence of the ESB: there was a changing of attitudes towards architecture and architectural value in the city. That alone is of value .

While some condemned what they perceived as wanton destruction of the city s architectural heritage, others reacted against the museumiﬁcation of the inner-city. There was widespread dilapidation of Georgian Architecture in Dublin at the time, and many citizens viewed Georgian Dublin as a painful reminder of social discord and colonialism. As 1966 and the 50th anniversary of the 1916 Rising approached, there was a resurgence in nationalist rhetoric: many nationalists were eager to wipe the city of its colonial heritage. At the heart of the Georgian Mile, the ESB building looms large, dominating the picturesque vista towards Holles Street Hospital. It has aged considerably more visibly than its bicentennial neighbours. Its pre-cast concrete skin is uneven, with repairs being made where the steel reinforcement has corroded; a new pigmented pink skin was introduced in the 1990s. Today the building seems diminished, not only physically, by the forces of nature, but also symbolically, by the waves of contention it invoked. In 1962, the ESB, wary of the controversy it was courting, consulted Sir John Summerson and asked him to assess the situation. Summerson was, at the time, a leading architectural historian and a renowned expert on Georgian era neo-classical architecture. He had copious and well regarded publications to his name on the subject, and what were considered the deﬁnitive texts on the Georgian architecture of London. His appreciation and extensive knowledge of antique architecture was however tempered by a pragmatic view on the necessity for its replacement when in states of neglect, and an opposition to its replication by contemporary architects.

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Summerson s report argued that the value of the Fitzwilliam Street buildings was almost entirely in the contribution made by the facades to the long vista of Fitzwilliam Street. The interiors, he noted, were of negligible architectural merit and in a poor state of construction. In order for the site to provide the necessary oﬃce space desired, he concluded that a demolition and new construction was the only reasonable course. With this reassurance, the ESB proceeded, with much objection from the public, to demolish the existing terrace and hold a competition to design a successor. Two young Irish architectural graduates, Sam Stephenson and Arthur Gibney, won.

In John Summerson s obituary in The Independent in 1992, Lloyd Grossman wrote of his unintentional role in the demolition of Georgian Dublin . Summerson has often been fallaciously associated with the architecture of the ESB building itself, in reality he did little more than identify the challenges and proposed a technique for its solution. With the exception of the current building s upper floors, the blandness and poor character of the interior office layouts result in a situation that is reminiscent of Summerson s view of the very Georgian buildings it replaced: a building merely providing a façade. From the outset, a large office building trying to imitate a series of domestic buildings creates a conflict of function and expression.

The façade design was a critical factor in Stephenson and Gibney s attempts to harmonise the building with its surroundings. As a means of translating the Georgian aesthetic to a modernist rationality, the elevation is resolved to a careful study of proportion and rhythm. It consists an unrelenting line of 14 protruding bays with 70 windows on ﬁve storeys. The design deliberately echoes the implied dominance of vertical elements characteristic of Georgian buildings, a reinterpretation of the staccato of oblong Georgian windows, doorways and chimney shafts. The vertical emphasis of the elevation is reinforced by brise-soleil, framing contemporary windows which mimic the original Georgian proportions.

The public s apprehension when confronted with a fresh attempt to solve this architectural conundrum is understandable: the same issues that arose in the 1960 s still need to be addressed. Significant challenges remain. Whether or not a contemporary building is capable of complimenting - yet not replicating - a historic context; providing a successful office design in a predominantly residential quarter; and re-stitching a rupture in a celebrated Dublin perspective, is still open to debate. Perhaps it is worth revisiting Summerson s final thoughts on the subject. They remain potent in their continued relevancy to the present dilemma. He noted that architects have to: evolve types of façade designs ‒ not necessarily Georgian in character ‒ which are not in conflict with their preserved neighbours and which yet have positive values of their own .

Upon entering the headquarters, a significant threshold is breached. The vast, stone-clad, double-height lobby would feel at home at the base of a New-York skyscraper. Its floor and walls are lined in polished Wicklow granite, that bestows a striking, grandiose quality. To the left, a monolithic granite staircase corkscrews into the floor. It brings an imposing, dynamic, sculptural presence. These lush finishes conspire to demonstrate Stephenson and Gibney s clear admiration for American Corporate Architecture. The ESB adopted the lavish material elegance of international corporation buildings to enhance its company image, a strategic architectural declaration to visitors. It was a time where the company was undergoing significant expansion, moving from just a domestic market to an industrial one. This corporate declaration is at odds with the domestic-inspired language of the façade. Reconciling this has been a challenge the architecture has struggled with to this day. Increasing the contrast between inside to outside, the ground to third floors are devised with a strongly horizontal, not vertical, emphasis. Dull, carpeted internal corridors run the entire length of the building, with narrow, cellular meeting and office compartments thrown off either side. At roof level, however, this device is very successfully exploited. The company had claimed the positive experience of their workforce was the driving force behind the design. Here at last, this sentiment is most clearly expressed. ESB employees are offered a breath-taking panorama of the rooftops of Dublin, a precipice looming over the Georgian slate and chimney pots. However, in an ironic commentary on corporate hierarchy, the board-room canteen was perched on the fifth and final floor, symbolically presiding over the building. In recent times, it has been adapted to provide further office space.

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Irish-Chinese Workshop in Shanghai Cormac Murray

quarter we were studying seemed not to have changed signiﬁcantly in the last two hundred years. It was a tranquil residential area overlooking a canal, with winding narrow streets and elegant bridges. Its shops were owned by many of the residents, with basket weavers, tea-houses, stamp-makers or traditional noodle restaurants opening onto the streets.

Arriving in Shanghai by motorway, we were greeted by looming electricity pylons, huge neon billboards with a mix of Chinese and English text. We encountered what we thought were tall buildings, later to discover these were mere foothills in Shanghai s skyscraper landscape. The hotel was conveniently neighbouring the university campus which was bigger than perhaps all of Dublin s universities combined. The hotel also overlooked a construction site, where another concrete tower was being constructed, and soon would be no doubt vying with its neighbours to be the most memorable addition to the skyline. The hammering and drilling was a constant presence in the city, combined with the hum of traﬃc and blaring of megaphone advertisements.

On the surface, the buildings looked quite similar to the traditional style we had seen the preceding few days in the older quarters of Shanghai and in its neighbouring city of Su Zhou. The architecture consisted of pitched roofs with decorated tiles and bowed timber eaves, with simple timber shutters and lime-rendered walls. When we entered the buildings we realised they were in fact quite diﬀerent to anything we had experienced before.

The city of Sha Xi seemed a world apart from Shanghai. Situated about an hour away by bus, here the workshop took place between students of architecture in Ireland and Tongji University. Our task was to document the existing terraced canal houses in Sha-Xi and to come up with a prototype to adapt them to contemporary living. While Sha Xi did have busy shopping streets, and even had a KFC, the

Two to three families shared bays of ﬁve to six metres wide on two ﬂoors. The houses were organised around courtyards. Here every family could interact, and there was a constant feeling of being observed by someone else from an adjoining balcony or window. As our Chinese colleagues conversed with the owners, who were more than enthusiastic about showing us around, we heard interesting

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With the Irish and Chinese lecturers, together with visiting critics from around the world, we had a thought-provoking debate on the existing fabric, and the ethics of an architectural intervention in the area. Returning to Shanghai from Sha Xi, my ďŹ rst instinct was to think that the city had been infected by consumerism and that this had eroded much of its history and culture. However, on scratching below the surface there still are many intriguing examples of architecture from the last one hundred years to be found caught between skyscrapers and landmark developments. One example of this is the Li Long, brick terraced housing constructed in the nineteenth and twentieth century which propose interesting ideas about collective living and still maintain a sense of community in the city.

stories of the houses being altered over time by family rifts, or a rise in fortune leading to their expansion upwards or outwards.

Our brief visit to China opened our eyes to rich, varied tradition and culture and proved to be an enriching experience for all involved. Sincere thanks to the University of Tongji, the RIAI and all who helped make this happen.

Many functions were condensed into one space, with single rooms often accommodating dining areas, living, sleeping and toilets. The houses were designed with a practical understanding of the constraints of timber construction: every dimension was determined by the structural capacity of the timber posts and beams. The buildings were cleverly organized to capitalise on natural light and ventilation and at times employed subtle methods of concealing views to provide degrees of privacy. We had two days to survey the existing buildings, but in reality could have spent much longer. What we were able to produce was a snapshot of the way the people used these buildings and how the architecture has evolved over time. We developed diďŹ&#x20AC;erent strategies on how the buildings could be conserved; accommodate a denser population; become more ďŹ&#x201A;exible to changing needs and how they could re-engage the waterfront. 103

Sophie Keilliher

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Year 4 - 2013/2014 Ilze Antonova, Mark Bailey-Smith, Conor Bourke, Sarah Brehonnet, Marta Carta, Anne Canavan, Cora Carbajo Melón, Edoardo Cerpelloni, Ailbhe Cunningham, Aoife Cunningham, Brendan Daly, Vitor Denetello, Jose Angel Diaz, Amandine DiCiaccio, Max Fedorov, Niall FitzGerald, Hadrien Garnier, David W. Graham, Eva Hemmingsson, Peter Hogan, Wayne Holmes, Celine Jamin, Ronan Keane, David Keegan, Sophie Kelliher, Daire Kelly, Rebecca Kelly, Carl Laﬀan, Oksana Lastovetsky, David Lawless, Craig Leavy, Nathan Leclercq, Niall Lennon, Gillian McAllen, Ross McCarty, Mark McCormack, Laura McDermott, Thomas McPhillips, Julie Molloy, Davina Moody, Thomas Moore, Fiona Muldowney, Eoin Murphy, Cormac Murray, Susie Newman, Caisin NicAnBheatha, Vincent O Byrne, Eoin O Donnell, Christopher O Keeﬀe, Hadrien Pouhaer, Donal Ryan, Andrea Rodriguez, Ciaran Sheridan, Brendan Spierin, Lisa Wischermann. Studio Tutors Paul Kelly, Patrick Flynn, Peter Crowley, Emma Geoghean, Brian O Brien, Lenzie O Sullivan, Jim Roche. Guest Critics Brenda Carroll, Giorgio Bottega, Louise Cotter, Henning Ehrhardt, Colm Dunbar, Liz Gaynor, Paul Keogh, Dean Lah, Laurence Lord, Niall McCullough, Gary Mongey, Neil Murphy, Owen O Doherty, Olivia Rusk, Ian Tracey, Kevin Woods. 105

YEAR

When we discover that there are several cultures instead of just one and consequently at the time when we acknowledge the end of a sort of cultural monopoly, be it illusionary or real, we are threatened with the destruction of our own discovery. Suddenly it becomes possible that there are just others, that we ourselves are an other among others. All meaning and every goal having disappeared, it becomes possible to wander through civilizations as if through vestiges and ruins. Paul Ricoeur Civilisation and National Cultures

PLACE The site - an appropriate location and the context through which the project is strengthened both socially and materially, culturally and physically or a situation that oﬀers the means from which to conceive and direct the project.

We are interested in developing architectural thinking in both fourth and fifth year in order to identify useful ideas through which one can explore architecture, to create appropriate theses. There are five layers or strands of thinking that the student must interwine or build upon in each project in fifth year for its successful completion. These are THEME, IDEA, PLACE, BUILDING and PROCESS.

PROCESS An identiﬁable methodology by which you progress your area of research throughout the year. This process may not be linear or be highly intuitve but it should be a design approach open to critical reﬂection and investigation at all stages so that can be theoretically mapped and recorded.

THEME The chosen overarching intellectual context or collective area of research for fourth and ﬁfth year. This is an academic sounding board against which to test and appraise your thinking. For 2013-14, the theme is Culture. IDEA This is the thesis - an individual investigative and innovative spatial idea, a semi-autobiographical or ideological venture; an speciﬁc area of architectural theory or research that furthers the production of new architectural knowledge.

BUILDING The typology and physical means by which you make your project through space, structure, material and technology. It is the spatial reality.

One must apply innovative design solutions and rigorous academic research in all five areas of thought so as to demonstrate advanced and independent architectural thinking appropriate to a what is equivalent to a masters level degree at fourth and fifth year, here at the Dublin School of Architecture, DIT. Within the collective THEME of Culture, a specific emphasis on PLACE, with the adoption of Dublin City Council s initiative to make Parnell Square and its surrounds into a Cultural Quarter, the final year is set out to explore Parnell Square and its surrounding area at an urban and architectural level. Out of a PROCESS of critical analysis and projective synthesis, an individual IDEA or thesis is realized, a site identified in the area and a BUILDING project undertaken by each student. The year s work is our contribution to the culture of built ideas. Dermot Boyd, Johanna Cleary and Dominic Stevens Module Co-ordinators

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Laura Carroll

Ciaran Molumby Travel has become a rite of passage for many young people. This global community is a breeding ground for the exchange and creation of new knowledge. To understand the customs of a new place requires a faith in the collective stranger . The vulnerability of this nomadic existence necessitates identiďŹ able network centres . From personal experience, the youth hostel is more than just cheap accommodation. It is an informal hub for aspirational young people to get to know each other. It is character building with an emphasis on self-catering. Crucially, this provides a gateway to the city. These places are all about embracing the city.

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OisĂn Jacob The aim of the project is to introduce a music school into inner city Dublin in an attempt to create a strong connection between an existing local community and a place for cultural creation and expression. The building will create a space for musical conversation and ultimately a space for cultural exchange. The schools character will be derived from that of the surrounding community and the people who inhabit it. The architecture is a driven by a structural system which uses a beam on beam strategy to achieve a large undercroft space at ground level which is then inhabited by program above.

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Michael Drury I have chosen to develop a language school on Hill street. I am hoping to break down the dichotomy of public and private, by developing a school that blurs the rigid boundaries between inside and outside, classroom and not classroom. Equidistant to the Parnell Cultural Quarter and Mountjoy square, it will hopefully become a hub for language within the city. By providing a through route across the site, utilising an existing carriage lane way between two Georgian buildings, the building will act as a public meeting place as well as a school.

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Cillian Wright This thesis looks at the culture of memory. With culture being a habit or trait we choose to remember it becomes atemporal through an element of respect. Perhaps a memory is best preserved through both education and reflection. The thesis deals with the latent potential of neglected and forgotten landscapes. Parnell Square can once again provide a growing city with open public space which unifies its cultural institutions. Today it is currently a disappointing termination to the cities primary thoroughfare. The proposal seeks to offer a city space, for retreat and reflection with a memorial museum.

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Sophie Dempsey This thesis aims to analyse, dismantle and reconďŹ gure the mat-building as a suitable, systematic strategy for the re-housing of Ireland s National Archives and for the re-establishment of Parnell Square as a place for public recreation. The project imagines architecture as a structure to facilitate social interaction, where programmatic boundaries are partially undeďŹ ned and the transitional spaces between these programmes allow for a multiplicity of social scenarios. The tectonic expression of this project suggests permanence and security. It is embedded and protected by its surroundings. It becomes an element of the landscape in which it is situated.

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Aisling Cleary This thesis investigates intriguing, curious space, and its potential to act as an event which can disturb the accepted ways of navigating and perceiving our surroundings. The typology, a fabric design collective, challenges the perception of the production process. Curious elements of the process explored include eccentric structure, ambiguous boundaries, and the interplay of industrial process and public procession. ReďŹ&#x201A;ecting on de Certeau s notion of culture as the practices of everyday life which should be expressed, the typology opens up a production event, oďŹ&#x20AC;ering glimpses of this world on a public route which weaves through the site.

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Matt Murphy This thesis attempts to reuse the existing ďŹ ve story maisonette blocks on Lower Dominick Street, Dublin 1. It relates to the transformation and redesign of existing residential areas in to promote a greater quality of life, a degree of community ownership and agency. In terms a of a strategy for the city, it supports the idea of urban build up as a bricolage , recognising the fact that a cities build up has a cultural narrative attached to it - a built genealogy. Then through a process of redesign it attempts to preserve this narrative, while upgrading it to contemporary urban living.

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FĂona Canavan This thesis explores the idea of interiority in a women and children s refuge. I am exploring the relationship between the within , the inbetween and the without . The women and children s refuge is built with domestic materials, load bearing brick walls and 2x4 timber members which form a structural screen. Secondly, the structure screens and protects those within the refuge; the brick wall s mass and thickness is exploited in openings to give view out but not in. The timber lattice screen by obscuring and distorting those behind it, fragmenting the inhabitants to on-looking views, but allowing natural light ďŹ&#x201A;ood in.

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Declan DuďŹ&#x20AC;y The project is a boxing club on Rutland Place. The site is suitable for a boxing club because of its city centre location while maintaining a subtlety which boxing clubs thrive from. The internal environment is designed as a landscape for activity and sport. The main portion of the building is a poured concrete three dimensional terrain, cast with deep pockets, stairs, terraces and a lift core. The enclosure moves in the horizontal direction, juxtaposing the ďŹ&#x201A;ow of the cast landscape beneath. A hard wearing steel shell with a variety of pitched roofs completes the lane elevation of worn and wrinkled industrial buildings.

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Sophie Dempsey

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Year 5 - 2013/2014 Timothy Bergin, Morgan Boland, Kate Emily Buck, David Burke, Fiona Canavan, Laura Carroll, Peter Caulfield, Aisling Cleary, Tomás Connors, Jamie Conway, Miriam Corcoran, Sophie Dempsey, Michael Drury, Declan Duffy, David Egan, Paul Egan, Jennifer Fisher, Josephine Flavin, James Hanlon, Cian Hughes, Oisín Jacob, Nadine Kelly, Anna Keogh, David Lally, Robert Mannion, Sophie McCauley, Aidan McDonnell, Karen McGillion, David McGowan, Sinead Mc Loughlin, John Meehan, Ciarán Molumby, Grace Mullen, Dean Murphy, Matthew Murphy, Hugh Neary, Finnian O Neill, Alison O Reilly, Liam O Reilly, Shane Phelan, Mark Poland, Shane Reid, Stephen Richardson, Ciara Ryan, Natalie Scanlon, Conor Sheehan, Alan Sherlock, James Slater, Colum Smith, Michael Swords, Philip Tennyson, Kenneth Tuite, Georgina Vernon, Clíodhna Walsh, Anne Young Studio Tutors Dermot Boyd, Johanna Cleary, Cian Deegan, Anna Hofheinz, Lucy Jones, Hugo Lamont, Dominic Stevens, Brian Ward. Guest Critic Grainne Hassett, Dougal Sheridan, Chris Bakkala, Stephen Best, Edith Blennerhassett, Dr Gary Boyd Queens, Jennifer Boyer, Prof Merritt Bucholz, Denis Byrne, John Casey Casey, Andrew Clancy, Susan Cormican, Ciaran Cuffe, Tom dePaor, Vincent Ducatez, Tony Duggan, Patrick Flynn, Andrew Griffin, Patrick Harrington, Alan Hooper, Donagh Horgan, Ali Grehan, Derry Solan, Sean Harrington, Michael Haslam, Donal Hickey, Jochim Hilhorst, Neasa Hourigan, Dr Gul Kacmaz, Brian KavanaghKavanagh, Paul Kelly, Ryan Kennihan, Niall McCullough, Colm Moore, Miranda Nieboer, Esmonde O Briain, Brian O Brien, Michael O Brien, Owen O Doherty, Michael Pike, Shi-Fu Peng, John Piggott, Sarah Sheridan, Stephen Tierney, Simon Walker, Prof Peter Veerstigh, Michael Merrill, Valerie Mulvin, Jim Murphy.

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Postgraduate

Professional Practice This year the PDAP course has begun to settle into a regular rhythm and goes from strength to strength. It hasn t been without its challenges though. Over the past twelve months there seems to have been a legislative upheaval for architects working in practice. Amongst these changes, there has been a welcome introduction of health and safety considerations for domestic buildings, as well as the partial protection of function for architects. Introduced through the new Building Control (Amendment) Regulations, from April 2014 it is no longer possible to build anything other than a small domestic extension without the input of either a registered Engineer, Building Surveyor, or Architect. This is of significant benefit to both the protection of role of the architect in society and the public in general, who have been unfairly exposed to some bad practices across all facets of the construction industry, but this does not come without consequences. Architects are now being required to ensure that buildings are not only designed but also constructed in compliance with the building regulations, and failure on their part to do so may result in prosecution, scary stuff which has many in the profession scratching their heads. It also means that many practitioners who are still unregistered are being excluded from the full range of practice. This has resulted in a dramatic rise in interest for the course by those who have been in practice for some time, as well as several heated debates in the classroom, both of which have created a rich engaging session this year.

The PDAP is a nine month long course, running from January to September, which is open to all graduates of the school, as well as those from other recognised institutions. It is divided into two semesters, one which is taught through weekly lectures and one in which the case study is prepared. The programme employs a wide variety of media to support the students learning, these include lectures, seminars, one-to-one tutorials, and web based media such as video and collaborative online forums ‒ all of the lectures are video recorded and available online. We also aspire to inculcate selfdirected reﬂection, an essential element of the on-going professional development required of registered architects.. Together each mode of learning aims to equip individual candidates with the knowledge, ability and judgement expected of an Architect in oﬀering services to a client as well as to successfully manage a business.

We are also delighted to announce that Anne-Marie Fallon was the highest overall graduate and was consequently awarded this year s Jack O Keefe Medal. Anne-Marie has as is tradition been asked to return to the school as an examiner.

The programme comprises of three 5 credit lecture based modules and one 15 credit case study module. Each of the three lecture modules may also be taken individually as CPD.

The first semester is delivered through a thirteen week series of lectures, seminars and one-to-one tutorials. These are delivered by a broad range of industry specialists, acknowledged leaders in their field, who bring contemporary leading edge practical experience and knowledge to the course. The second semester is focused on each candidates own career in practice and is structured around their personal architectural experience, which is captured in the Janus report, and the Case Study which allows the candidate to critically reflect on a significant built project which they were involved in.

Stephen Best Programme Chair

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Professional Diploma in Architectural Practice

Energy Retrofit As EU and domestic directives and regulations demand higher levels of energy performance, and with the failure of existing building stock to meet even current building regulation standards, the retrofitting of existing building stock will emerge as a significant market for the construction industry. For the coming years it is predicted that building activity in the domestic economy will be centred on the vast challenge of retrofitting the existing private, public and domestic building stock to meet mandatory EU energy performance requirements. Opportunities are also emerging for Irish building design and construction businesses to provide design and construction services in an international setting. The emissions objectives defined in the first Kyoto treaty and enshrined in the European 20/20/20 emissions target are dependent on the availability of suitably trained personnel capable of delivering the targeted energy savings within each industry sector. With over 40% of possible emissions savings related to the building stock and with the vast majority of that concentrated within the pre 1990 legacy stock, the retrofit of buildings to very low energy standards is key to Europe achieving its international commitments. Within that context the Irish national targets cannot be achieved without a similar commitment in this country and failure to achieve them will result in the Irish treasury incurring increasing financial penalties.

With the majority of architects and architectural technologists having completed their education with limited coverage of the theory and practice of energy performance and sustainability, and with limited training in computer modelling and predictive digital analysis, a significant opportunity exists for the development of a programme which unites a concern for both energy performance and digital analysis combined with prior learning arising from practice experience. The Dublin School of Architecture has developed a series of industryfocussed programmes centred on retrofit technologies aimed at reskilling of architects, architectural technologists and other building design professionals. These programmes are: • DT774 Postgraduate Certificate (Digital Analysis & Energy Retrofit) • DT774a Postgraduate Diploma (Digital Analysis & Energy Retrofit) • DT774b MSc (Energy Retrofit Technology) • DT775b CPD Diploma (Thermal Bridge Assessment) • DT775c Postgraduate Certificate (Thermal Performance Modelling) • DT775d CPD Diploma (Building Environmental Assessment Methods)

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Performance and Energy RetroďŹ t

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Diploma in Energy Retroﬁt Technology

Students graduating from the Postgraduate Certificate in Digital Analysis and Energy Retrofit can advance to the one-year part-time Diploma in Energy Retrofit Technology. The focus of the Diploma is on institutional and commercial building typologies which fall under the European Performance of Buildings Directive and it s nearly Zero Energy mandatory performance standard. Students applied the international Passive House Institute s PHPP energy metric to inform the design of the retrofit of a typical Irish national school to the international Enerphit standard, the highest international energy rating for building retrofitting. The school s existing energy demand was assessed at 520 kWh/m2a, about twice the energy demand of the average European home. Following retrofitting, the design energy demand was reduced to 25 kWh/m2a maximum, a saving of almost 500 kWh/m2a. The savings, if applied nationally would result in savings of €85million every year to the Education sector, at current market prices. The school typology was chosen due to its standardised design ensuring that solutions were applicable to a large proportion of the national school buildings in the state. The energy savings alone are sufficient to fund the entire cost of the retrofit over half the residual lifecycle of the building.

Extensive modelling of daylighting and air quality were undertaken as part of the project and solutions developed to achieve the target values for each assigned in new build school buildings in Ireland. The Passive House focus on user comfort is not currently a requirement of Irish building standards. Of particular importance was the active management of carbon dioxide, a major pollutant of indoor air which has severe negative effects on learning outcomes and concentration levels in school buildings, particularly naturally ventilated school buildings in spring and autumn. Heat recovery ventilation, incorporating continuous fresh air replenishment whilst recovering over 90% of the heat in the exhaust air was incorporated within the confines of the existing concrete structure. Three dimensional modelling using BIM ensured that ductwork could be modelled as part of the spatial design and air handling units located accurately. The results of the research were shared with the design and procurement section of the Department of Education and Science. Further research into the application of the nZEB standard by students on the Diploma in Energy Retrofit Technology to an office building for the Dublin Airports Authority is currently being subjected to peer review.

Simon Mc Guiness Module Coordinator

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Performance and Energy RetroďŹ t

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PG Certiﬁcate DAER 2014

In conjunction with the UK Building Research Establishment, students have been working on the retrofit of a purpose built 4-in-a-block apartment building, typical of Scottish social housing built from 1920 to 1970. BRE have reconstructed one of these blocks on their new innovation park at Ravenscraig, Scotland and have subsequently retrofitted these apartments to various energy standards. The retrofits are being monitored to establish actual energy use in order to inform future advances in UK building regulations and adjust the UK s SAP energy rating system in the context of the recast European Performance of Buildings Directive (EPBD).

energy metric being applied to a UK building in order to inform an energy retroﬁt solution.

DIT students were asked to analyse the BRE retrofits and suggest ways to bring them up to the EPBD nZEB standard in the most cost optimal way. Significant discoveries were made in relation to renewable energy system design using lifecycle cost analysis: one scheme delivered a low cost, all electric, installation justified by the collapse in the carbon content of mains electricity forecast over the lifecycle of the retrofit.

As part of its public service remit, the DIT research is to be presented as free CPD to Local Authorities and industry experts in order to disseminate the ongoing program of industry leading DIT investigations into the feasibility of nearly zero energy buildings in Ireland. The results of the BRE apartment retroﬁts are applicable to many Irish residential retroﬁts, particularly those undertaken in the public sector, where nZEB becomes mandatory from December 2018.

The UK focus on zero carbon was found to emphasise engineering system solutions over fabric solutions by comparison with the Irish residential energy metric which balances both carbon emissions and energy performance. This is the ﬁrst recorded case of the Irish DEAP

Students graduating from the one-year part-time program are uniquely equipped to deliver the demanding nZEB standard in both new build and retrofit residential buildings. The course is open to qualified Architects, Engineers, Surveyors and level 8 Architectural Technonlogists and runs on Fridays over two semesters with a significant distance learning component.

Students also applied the BREEAM sustainability metric to assess the environmental credentials of their designs and invariably returned the highest possible ratings of excellent or outstanding . BRE, the originators of the BREEAM metric, have applied the metric to the development of the Ravenscraig Innovation Park and were keen to have the environmental aspects of any proposed retroﬁts assessed using the metric.

Simon Mc Guiness Module Coordinator

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Performance and Energy RetroďŹ t

Studio Tutors Cormac Allen Simon Mc Guinness Patrick Daly David Hopkins Ciara Ahern, Michael McCarthy Thaddeus Jessup Lorcan McDermott Andrew Lundsberg Guest Critics John McCarthy, Michael Mohan, Matt Carroll, Bill Scott, Dr David Kelly, Simon Jones, Prof. Owen lewis Joseph Little

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BIM Building Information Modelling (BIM) is an innovative and collaborative way of working that is underpinned by digital technologies which support more eﬃcient methods of designing, creating and maintaining the built environment. In essence BIM embeds key product and asset data within multi-dimensional computer models that can be used for eﬀective management of information throughout the project lifecycle ‒ from earliest inception through occupation. It has been described as a game-changing technological and cultural process for the construction sector. From Growth through BIM April 3012 report of the UK Construction Industry Council (CIC)

The College of Engineering & the Built Environment is one of four colleges in the Dublin Institute of Technology. The College comprises seven schools, each of which provides professionally accredited undergraduate and postgraduate programmes in building design and construction disciplines including architecture, architectural technology, civil and structural engineering, mechanical and electrical engineering, planning, quantity surveying and construction management. The new School of Multidisciplinary Technologies has developed two industry-focussed re-skilling programmes in Building Information Modelling (BIM), which are delivered in collaboration with the Dublin School of Architecture, the School of Surveying & Construction Management and the School of Mechanical & Design Engineering,

BIM will be central to the resurgence of the building industry in Ireland. For the coming years it is predicted that building activity in the domestic economy will be centred on the vast challenge of retroﬁtting the existing private, public and domestic building stock to meet mandatory EU energy performance requirements, while opportunities are also emerging for Irish building design and construction businesses to provide design and construction services in an international setting. All of this activity will require signiﬁcant upskilling amongst architects, engineers, surveyors, technologists and construction managers in the use of BIM.

These programmes are: • DT775 CPD Diploma (BIM Technologies) • DT775a CPD Diploma (Collaborative BIM) • CPDBEU01 BIM Architecture 1: Primary Building Elements • CPDBEU02 BIM Architecture 2: Secondary Building Elements • CPDBEU04 BIM Architecture 3: Tertiary Building Elements BIM is exclusively used in all of the Architectural Technology Studios at undergraduate level and in the above mentioned postgraduate courses. Opposite and the following pages are examples of undergraduate work Malachy Mathews Module Coordinator

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Building Information Modelling

Carl McGarry

Vincent Doherty

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Darren Hoey

Building Information Modelling

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Gerard Bennett

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David Holland

Building Information Modelling

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Extracurricular

DSA PUBLICATIONS

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DSA Publications

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Oikonet DIT has been selected to participate on a three-year international housing research programme worth a total of €750,000. Called the OIKONet Consortium and funded by the Lifelong Learning Programme of the European Union, the goal of the three year project is to create a space of collaboration to study contemporary housing from a multidisciplinary and global perspective. Noel Brady and Jim Roche (DIT Project Co-ordinator) from the Dublin School of Architecture (DSA) and Dr. Lorcan Sirr from the School of Surveying and Construction Management are representing the DIT in the project. OIKOnet will provide a structure to foster the exchange among research groups and higher education institutions, to interlink research activities and from DIT s perspective, the project will enable DIT students and staﬀ that are involved in housing projects to share their work and engage in pedagogical discourse with international colleagues. The OIKONET consortium is made of 30 partners from 26 European countries and 4 partners outside Europe. Educational and research

institutions from the following cities are involved in the network: Barcelona, Valencia, Bratislava, Cottbus, Lugano, Goteborg, Rotterdam, Vilnius, Skopje, Oradea, Ljubljana, Aalborg, Riga, Nicosia, Preston, Grenoble, Oslo, Kocali, Sofia, Bologna, Lisbon, Belgrade, Bialystock, Budapest, Istanbul, Volgograd, Santiago, San Juan and Nairobi. Each year there will be series of events in which DIT staff and students will participate namely: one major conference, one weeklong sitespecific workshop including an exhibition and several sub-network seminars. An interactive digital platform will also be created to facilitate access to learning resources to institutions. The OIKOnet reader - a detailed publication - will conclude the three-year programme. The staff and students of 4th Year Architecture have already engaged with the project through a digital workspace entitled Threshold Matters and three DSA students and staff member Jim Roche will participate in an international workshop entitled Contemporary living patterns in mass housing in Europe this July. In addition Jim will participate at the first international conference in Barcelona in September. Jim Roche http://www.oikonet.org

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Oikonet

Christopher O'KeeďŹ&#x20AC;e

Peter Rice

Peter Rice - 2013/2014 Milo Bashford, Gerard Bennett, Ross Boyce, Patrick Brady, Robert A Burns, Robert G Burns, Sean Casey, Andrew Cleary, Carl Corcoran, Anna Cullen, Chris Daly, Adam Darby, Bernard Deay, Mark Denneny, Vincent Doherty, Mark Doyle, Dean Farrell, Ciaran Ford, Shane Hall, Ross Harrell, Ben Harrison, Colin Hemon, Adam Henderson, Fatma Hinawy, Darren Hoey, David Holland, Brian Kennedy, Akvile Klapatauskaite, Davitt Lamon, Brian Lee, Peter Lemasney, Ciaran Lennon, Brendan Linnane, Sarah MacLoughlin, James Maguire, Peter Mahon, Brian Malone, Michael Malone, Jason McElroy, Kevin McFeely, Karl McGarry, Pauric McGill, Marcus McGuire, Joe McNally, Kevin McNulty, Bryan Menton, Darragh Moore, Stephen Morris, Niall Murphy, Owen O Flaherty, Ruairi O Neill, John O Sullivan, Daryl Phelan, Martin Philip, Ian Plunkett, Robert Quinn, Stephen Ralph, David Reilly, Jonathan Rogers, Anita Salako, Andrei Triﬀo, Aiga Veltensone, David Veltom, John Wolfe-Flanagan, Dominika Zubiak. Studio Tutors Cormac Allen, Eric Bates, Noel Brady, Máirtín D Alton, Pierce Fahy, Rory Greenan, Orna Hanly, John Lauder, Tim O Leary, Jim Roche, Sima Rouholamin, David Wright. Guest Critics Gerard Crowley, Peter Flynn, Declan McGonagle, Sean Ó Laoire.

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Exhibition

Peter Rice

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Architecture Technology

YEAR

The Architectural Technology Technical Design Studio module is the vehicle for all the project work in the First Year and it is the means by which the application of the technical knowledge and the learning developed in the other modules is advanced. In the first semester students are exposed to freehand drawing and sketching, digital sketching and drawing, surveying and measuring, material research along with various building and construction technologies and regulations. They are also involved in construction skills where they receive hands-on practical experience in a number of different construction skills including bricklaying, carpentry, painting, plumbing and sheet metal. The second semester focuses on the development of a domestic scale building project. Students visit the selected site and carry out a site analysis which includes research on the Local Development Plan, site topography and climate conditions, existing services to name a few. Research is then carried out on the technologies of various constructions to produce a low energy and sustainable building. The final stage of the first year is to produce a full set of working drawings to industry standards for their building using building information modelling software. Theory module assignments are

integrated into the studio project, thus requiring the application of the principles of technology, the investigation of structure and the analysis of the environment. The studio environment offers flexibility, allows for teamwork both within the architectural technology programme and in a multidisciplinary way with students of architecture and other courses. It also gives flexibility for students to attend site visits, factory visits and field trips away from the college environment thus widening their college experience and their understanding of the context of their project work. The First Year students are also involved with two joint projects with First Year Architecture, a Structures project where they design and build a model of a bridge to span and carry a specific distance and weight. This project occurs at the end of the first semester and leads to much fun and noise when bridges are tested to descruction. The second joint project is a Technology project where they team up with an Architectural student and create a detail for their building which is then reproduced it to a scale of 1:1. The project is carried out over a two demanding but enjoyable days at the end of the second semester. Maire Crean Module Coordinator

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Owen Molloy

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Architectural Technology 01

Thomas Garvin

Year 1 - 2013/2014 Adeshola Ahove, Morteza Bazhban,James J. Brady, Ian Briody, Danny Bruton, Jamie Cromwell, Alison Darcy, Jamie Darcy, Neil Davidson, Sahana Deivanai, Jose D. Diago, Andrew Dixon, Liam Farrell, Jack Finn, Niamh Fitzpatrick, Vanessa Flood, Pierce Galligan, Thomas Garvin, Alice M. George,Nabil G. Ghnewa, Ryan Graham, Stephen Griﬃn, James Grunfeld, Ahmed Hameedi, Adam Hayes, Vandross C. Ikoro, Craig Kavanagh, Kotoku Kennedy, Meadhbh Kernan, David Lyons, Aidan Malone, Gillian Mc Auley, Christopher Mc Cabe, Iain Mc Connon, Donal Mc Dermott, Brian Mc Donnell, Ian Mc Guinness, Kevin J. Mc Loughney, Ryan Mc Rory, Luke Mc Sweeney, Owen Molloy, Dean Mulrooney, Jack Nolan, Kevin Omelia, Cormac Renaghan, Tom Riordan, Mark Smyth, Preston Tudor, Edward E. Williams, Max Yore, Andrew P. Young. Studio Tutors Máire Crean, Sean McGovern, David Knight, Paul Tierney, Eamonn McDonnell, John Lauder, Malachy Mathews, Francis Duﬀy, Eric Bates.

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YEAR

The chief aspiration in second year Architectural Technology is to develop the student s ability to produce clear and concise construction documentation towards industry standards. In order to achieve this objective, the students were encouraged to improve their personal working procedures, time management and problem-solving methodologies to increase their ability to work independently, while also further developing their use of Building Information Modelling (BIM). Freehand drawing to scale and making working models were used to analyse structure and detailing. The theory and principles of building technologies, materials and services (which continued over both semesters), while delivered as separate lectures in different Modules, were integrated as specific components for each Technical Design Studio project. The students also had site visits to buildings (and a manufacturing plant) in Dublin, Valencia and Barcelona, to look at construction systems and materials relating to the specific projects in the Technical Design Studio module in both semesters. In Semester 1 the students were introduced to the variety of appropriate building techniques that could be used to assemble a prefabricated single storey timber framed mid-span restaurant for a charitable organisation set in Granby Lane. The project, (which was required to meet current building regulations), was also subject to energy performance audits (which required technical adjustments in some areas of the design) in order to achieve compliance. The timber project was the student s first introduction to industry convention for

creating non-domestic construction information drawings, schedules and working models. This included the preparation of a set of Planning Permission drawings and supporting documentation for the project which was linked to the Professional Development module also. The technical aspects of the complete project were then evaluated in stages in a crit environment. In preparation for the multi-storey, glass, concrete and steel larger span construction systems that would be encountered in the second half of the year there was a class trip to Barcelona and Valencia in October, which was very successful. In Semester 2, the students were introduced to the technologies used for prefabrication in both steel and concrete framed and clad structures. The students were also introduced to the principles of surveying and levelling using physical and digital measurement instrumentation, working in collaboration with the 2nd Year Geomatics students, whereby the project site was surveyed and then drawn.The concrete project was a multi-storey office building with basement car park set in the Kings Inn grounds and the steel project was a research library. Each project required the individual student to carry out technical research/exploration through the esquisse from site analyses, the proposed materials along with the appropriate construction processes and the fire safety strategy for the specific building type and function. It was a hectic year, yet had it s fun times too. Cathy Prunty Module Coordinator

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Bruna Croce

Architectural Technology 02

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Jack Lambourne

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Architectural Technology 02

Year 2 - 2013/2014 Keith Behan, Ciaran Carberry, Sean Colley, Michael Cowley,Patrick Dunne, James, C. Fennelly, Jamie Fitzgerald, Alex Gleeson, Rachel Harris, Gavin Kelly, Jack Lambourne, Garreth Larkin, Keith Mann, James Mc Auley, Colm Mc Carron, Luke Munro, Sean Nolan, Sean Noonan, Alan O Reilly, Raivis Prenka, Mariusz Przychodzen, Aaron Quinn, Craig Quinn, Shay Rooney, Aoife R. Ryan, Jack Sheenan,Christina Stringer. Studio Tutors Caty Punty, Tony Hayes, John Lauder, Eric Bates, Sarah Sheridan E part

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YEAR

This years Architectural Technology 3rd years students hit the ground running on a collaborative project with 4th year Architectural Technology. The project was based on Peter Rice s work. An Engineer and Dundalk man like myself - a perfect start! Rice s work has hit on the core of multidisciplinary approaches to achieve exemplar architecture. The students learned by reverse engineering existing works through various researched medium. The hard work was displayed in the National Collage of Art and Design (NCAD) shop front gallery on Thomas Street, in their collaborative exhibition Learning from Peter Rice: Under the Skin . This was followed by the themes of timber technologies (Structure and Fabric) and conservation, each explored through a series of short, intense group and individual projects. The individual Structure and Fabric project contained exemplar works of timber architecture. The challenge for the individual students was to use the skills they had learned on the Rice projects and execute them as an individual. With limited information sourced from books, magazines and websites, the students explored the relationship

between architectural concepts and the technological solutions of their chosen works. The findings were presented in free-hand drawings, CGIs (Revit/Sketch-up) and well-crafted physical models of 3 materials. The conservation buildings were selected from Dublin s Parnell Square, Henrietta Street and St. John s Lane s Powers Distillery, now the NCAD. The student groups detailed their projects using Revit collaboratively which again proved to be quite a challenge for a short complex project with multiple detail junctions. The collaborative Library building design began just before Christmas. Each Technology student was paired with two 4th Year Architects who were designing Library Buildings in Dublin on brown field sites. Each Technology student then selected one of their paired architects buildings to develop for the entire second semester. This involved researching, auditing and developing drawings and technical details for their Library Buildings from inception sketches through to a full set of technical drawing packages, utilising the skills and knowledge they had developed in the first semester. Rory Greenan Module Coordinator

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Vincent Doherty

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Mark Doyle

Architectural Technology 03

221

Gerard Bennett

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Anna Cullen

Architectural Technology 03

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Akvile Klapatauskaite

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Akvile Klapatauskaite

Vincent

Architectural Technology 03

Year 3 - 2013/2014 Sean Casey, Andrew Cleary, Carl Corcoran, Anna Cullen, Chris Daly, Adam Darby, Vincent Doherty, Dean Farrell, Ross S. Harrell, Ben Harrison, Adam P. Henderson, Colin Hernon, David Holland, Akvile Klapatauskaite, Brian Lee, Peter N. Lemasney, Ciaran Lennon, Brendan Linnane, Fiachra Lohan, Sarah E. Macloughlin, James Maguire, Peter Mahon, Philip Martin, Karl Mc Garry, Kevin Mc Nulty, Darryl Phelan, Robert Quinn, Stephen Ralph, David Reilly, Jonathan Rogers, Anita Salako, David Veltom. Studio Tutors Cormac Allen, Eric Bates, Darren Bergin, Rory Greenan, Year Head, John Lauder, Jim Roche. Guest Critics Peter Crowley, Patrick Flynn, Paul Gunne, Paul Kelly, Gary Mongey, Larry Nesbitt, Ciaran O Connor.

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YEAR

In the second semester of the fourth year Architectural Technology programme, students are required to develop a thesis project which builds on their own research interests. Some of these research projects grow out of the conservation and re-use group project undertaken in the ďŹ rst semester. However the majority are self directed, highly speciďŹ c projects engaging with a diverse range of architectural technology and environmental design research areas. Thesis topics this year have included investigations into the use of living plant systems for use in air ďŹ ltration and waste water treatment, thermal analysis of building fabric upgrades, re-use of building materials, and low energy heating and ventilation systems. The

increasing importance of BIM software as a design and collaborative tool as well as the use of environmental performance digital analysis tools have also been recurring themes in many of the research projects. Although the research topics are varied there is an emphasis on the development of a consistent and rigorous research methodology. Studio projects are run in parallel with the written dissertation module and students are expected to allow one project to inform the other. By the end of the semester students have developed the ability to analyse, synthesise and evaluate appropriate building technologies, constructional systems and materials through structured research. Emma Geoghegan Module Coordinator

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Architectural Technology 04

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A Mobile Air Bioﬁltration System: The Design & Construction of a Low Environmental Impact Prototype Mark Doyle

This dissertation topic is based on developing a demonstration Mobile Air Biofilter Prototype. The design, construction and testing was undertaken in collaboration with DWEcoCO Ltd. (Sustainable Design Consultants) as part of CETIEB (Cost Effective Tools for Better Indoor Environment in Retrofitted Energy Efficient Buildings), a project supported by the European Commission under the 7th Framework Programme. Modern air tight buildings rely on air conditioning and heat recovery systems which require fresh air being delivered to the eclosed environment to be conditioned to the requirements of the end user. This process can involve heating or cooling of the filtered external air, which contributes considerably to energy demands of the building. An air biofilter utilises Bioremediation and Phtoremediation processes to reduce or remove harmfull VOCs from the internal environments of modern enclosed air tight energy eficient buildings without the need for conditioning. Thus, reducing energy loads, helping to combat the causes of climate change.

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Architectural Technology 04 TENNON SY T M

m JOIST IS DOUBLED UP TO GIVE ADDED STRENGTH TO R

R SET OF TRIMMER JOISTS CONNECT THE POSTS FRONT K AND ACT LIKE A WALL PLATE TO HOLD THE RAFTERS

OF CONNECTION PLATES ARE SLOTTED THROUGH THE FTER COMPONENTS AND FIXED IN PLACE USING TAPERED

OR FOR EACH MODULE CONNISTS OF FOUR

EACH COMPONENT IS DESIGNED TO BE CARRIED AND PUT IN PLACE BY NO MORE THAN TWO PEOPLE

SEEN AS THE MAXIMUM LENGTH POSSIBLE FOR EACH COMPONENT IS 2400mm THE POSTS MUST BE CONNECTED TOGETHER TO CREATE A FALL FOR THE ROOF STRUCTURE

AS THE SPAN OF THE TRIMMER JOIST IS GREATER THAN THE 2 4m DUE TO THE INCREASED SPAN NEEDED FOR THE RAFTERS EACH ONE MAXIMUM COMPONENT SIZE TWO ADDITIONAL PIECES ARE ADDED IS CONSTRUCTED OF 4 SEPERATE COMPONENTS AND CONNECTED TO AND CONNECTED EITHER SIDE USING A SCARF JOINT AND A METAL THE TOP TRIMMER JOISTS CONNECTION PLATE

IN ORDER TO REDUCE THE STRESS ON EACH SCARFF JOINT THEY WERE LOCATED AS CLOSE AS POSSIBLE TO THE POINT OF CONTRAFLEXURE

THE FLOOR PANNELS ARE NOTCHED TO SLOT AROUND THE

COMPLETED BASIC STRUCTURE OF A SINGLE 3600 X 2400 MODULE

USING THE SAME TECHNIQUE ANY COMBINATION OF MODULES

A SMALLER EXTENTION IS ADDED TO THE FRONT COLUMNS IN ORDER TO ACHIEVE A MINIMUM CEILING HEIGHT OF 2 5m

THE STANDADRD SLOT HOUSING JOINT IS USED TOP AND BOTTOM TO ACHIEVE THR RAFTERS CONNECTION

TWO MODULES CAN BE CONNECTED BACK TO BACK TO CREATE A ROOM SIZE OF 3 6m X 4 8m

THE END COLUMNS OF THE FIRST TWO MOUDELS ACT

IN ADDITION TO THE MORTISE & TENNON JOINT A SERIES O DOVE TAIL JOINTS ARE USED TO CONNECT THE POSTS VERT AND RESTRICT LATERAL MOVEMENT

THE RAFTER CONSITS OF FOUR COMPONENTS CONNECT BY TWO SCARF JOINTS AND CONNECTION PLATES THE SCARFF JOINT IS MIRRORED ON EITHER END OF THE RAF TO INCREASE STRENGTH

THE MODULES ARE HELD TOGETHER USING A SERIES OF CONNECTION JOISTS USING THE SLOT HOUSING JOINT

FOUR MODULES CONNECTED TOGETHER TO CREATE A FL

Year 4 - 2013/2014 Milo Bashford, Gerard Bennett, Ross Boyce, Paul Brady,Robert A Burns, Robert G Burns, Bernard Deay, Mark Denneny, Mark Doyle, Ciaran Forde, Shane Hall, Fatma M Hinawy, Darren Hoey, Brian Kennedy, Davitt Lamon, Brian Malone, Michael Malone, Jason Mc Elroy, Kevin Mc Feely, Pauric Mc Gill, Marcus Mc Guire, Joe Mc Nally, Bryan Menton, Darragh Moore, Stephen Morris, Ruairi O Neill, John O Sullivan, Ian Plunkett, Andrei Triﬀo, Aiga Veltensone , John Woulfe Flanagan, Dominika Zubiak. Studio Tutors Emma Geoghegan, Sima Rouholamin, Sarah Sheridan , Máirtín D Alton, Timothy O Leary, Stephen Best, David Wright, Pierce Fahy, Tony Hayes, John Lauder, Rory Greenan, Cathy Prunty, Maire Crean, Malachy Matthews. Guest Critics James Kelly, John Feely, Shane Waring, Phillip James, Claire Farren, Jeremy Wales, Edel Whelan, Sarah Kelliher, James O Callaghan, John McCarthy, Peter Flynn, Graham Petrie, Dervilla Masterson, Feidhlim Harty, Tomas Sexton, David Palmer, Simon Whelan, Catriona Cantwell, Orla Fitzgerald.

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Dublin School of Architecture

DUBLIN SCHOOL OF ARCHITECTURE DSA 13 | 14

13 | 14