EVENTS OF PROGRESS Olivia Rose Arcara University of Buffalo Study Abroad Ireland Summer 2013 Professors : Kenneth S. MacKay AIA, Matt Hume
“A M E M O R Y P L A Y”
“ You are the only young man that I know of who ignores the fact that the future becomes the present, the present the past, and the past turns into everlasting regret if you don’t plan for it. ”
-The Glass Menagerie, Tennessee Williams Clock Tower, Derry - Guildhall
Time is defined as a non-spatial continuum measured in terms of events which succeed one another from past through present to the future. The fundamental entity of the observed physical reality is represented by a point designated by three coordinates of place and one designated by time. In order to move forward and proceed to develop a higher, better or more advanced future these events of progress must take place.
Hope Spire, Belfast - Saint. Anne’s Cathedral
The wave of the future represents forces that will inevitably prevail. The expectation of this progressive development of time is dependent upon a principal of a greater occurrence taking place. This break in uniformity is incapable of being avoided, some will be unable to cope with the rapidity of social and technological changes, but this period of time is critical to the progression of a nation. Peace Bridge, Derry - Across the River Foyle
“The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.”
-The Glass Menagerie, Tennessee Williams
HIPPOCAMPUS-
As stated by the narrator Tom Wingfield
The symbolism of the movies Tom attends
in the opening description of the play The
are substituting on-screen adventure for
Glass Menagerie is a memory play, and
real-life adventure, finding fulfillment in il-
The HIPPOCAMPUS is a major component
therefore its action is drawn from the mem-
lusion rather than real life. Even Jim, who
of the human brain. It belongs to the limbic
ories of its narrator, Tom the main character.
represents the “world of reality,” is banking
system and plays important roles in the con-
The play is set in St. Louis in 1937. Tom is an
his future on public speaking in television or
solidation of information from short-term
aspiring poet who toils in a shoe warehouse
radio industries, all are idioms of illusion and
memory to long-term memory and spa-
to support his mother, Amanda, and sister,
the persuasion of others. The Glass Me-
tial navigation. The hippocampus is a part
Laura. Among the most prominent and ur-
nagerie identifies the conquest of reality by
of the cerebral cortex; and in primates it is
gent themes of The Glass Menagerie is the
illusion as a huge and growing aspect of the
located in the medial temporal lobe. The hip-
difficulty the characters have in accepting
human condition in there time.
pocampus has been studied extensively as
and relating to reality. Each member of the
E
M
O
R
Y
-
part of a brain system responsible for spa-
Wingfield family is unable to overcome the
M
difficulty of relating to their own reality, and
The ability of the mind to store and
shows that people have more active hippo-
each, as a result, withdraws into a private
recall past sensations, the sum of
campi when correctly navigating. Hippo-
world of illusion. This world of illusion differs
everything retained by particular rec-
campal place cells interact extensively with
for each of the characters. This illusion helps
ollection of an event, with the men-
head direction cells, whose activity acts as
them find comfort and meaning that the real
tal capacity or faculty of retaining
an inertial compass, and conjecturally with
world does not seem to offer.
and reviving, events, impressions,
grid cells in the neighboring entorhinal cortex.
or recognizing previous experiences.
tial memory and navigation. Brain imaging
“Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.”
-The Glass Menagerie, Tennessee Williams Harry Houdini - 1920’s Magician Illusionists
Tom as the narrator makes this statement
Much like Williams, Stephen Parcell talks
as part of the beginning introduction to the
about the difference between modern mag-
play, this statement sets the stage and tone
ic and its spiritual counterpart in history.
for the major themes of the play. As Tom is
Parcell describes the reaction of an observ-
describing himself as being the opposite of
er who has witnessed an illusion,
a magician, instead of a modern magician
Ringling Brothers Circus - 1920’s
“As a magical illusion reaches its cli-
who tries disguising fiction with the act of an
max, modern observers are momen-
illusion, Tom states that he shows the world
tarily suspended between belief and
the truth disguised as an illusion. This state-
disbelief, wondering if the illusion could
ment written by Williams reveals the un-
indeed be real. For a brief instant, we
derlying theme of the play of a set group of
savor the possibility that a small gap
characters who struggle with how they per-
has opened up in the midst of the pat-
ceive their own reality. Tom sees himself as
terns of thought with which we have
an illusionist, who goes through his life dis-
tamed both the natural world and our-
guising the truth for others, while he is the
selves.”
only one who sees his life’s true meaning.
Parcell describes this anticipation of nonrational possibilities that occur despite the tacit modem belief that magic is merely a representation, with no bearing on reality.
Pan American Exposition - Buffalo New York 1901
Stephen Parcell - Decapitation Trick
Stephan Parcell- Explanation of Decapitation Trick
But the wonderfullest trick of
At the beginning of Scene Four, Tom, return-
all was the coffin trick. We
ing home from the movies, tells Laura about
nailed him into a coffin and
a magic show in which the magician performs the coffin trick. Tom, who dreams of
he got out of the coffin with-
adventure and literary greatness, sees the
out removing one nail. . . .
coffin as a symbol of his own life situation.
There is a trick that would
He has been contemplating an escape from
come in handy for me—get
his own coffin. Tom’s escape is not nearly as impressive as the magician’s. Indeed, it
me out of this two-by-four sit-
consists of a trick no fancier than walking
uation! . . . You know it don’t
down the stairs of the fire escape. Tom’s es-
take much intelligence to get
cape is not as seamless as the magician’s.
yourself into a nailed-up cof-
The magician escapes the coffin without disturbing one nail, but Tom’s departure has
fin, Laura. But who in hell ever
a major impact on the lives of Amanda and
got himself out of one without
Laura. When, Tom admits that he is “the
removing one nail?
opposite of a stage magician.” and that
Warners Theater - New York 1920’s
his life has become nothing but an illusion. The illusion of escape that the magician pro-
-The Glass Menagerie, Tennessee Williams
motes is, out of Tom’s reach. Pageant of Progression Industrial Exposition - Chicago 1920’s
Old City Walls - Derry
Free Derry Monument - Demolished Housing
The Irish people like the narrator Tom in
The Irish people’s poetic license takes over
The Glass Menagerie have developed a
and personal biased runs into historic fact
historically tutored memory. This “tutored
making the people’s historic tutored memo-
memory” uses different modes of historical
ry a strong emotional, spiritual, and physical
communication to recall events of their past.
connection between the Irish people’s sense
These forms of communication include cer-
of nationalism.
Ringling Brothers Circus - 1920’s
emonies rituals and other performances which are often neglected because they
Luke Gibbons wrote about the Irish people’s
only refer to a single source, but a historical
sense of nationalism and how it has slowly
tutored memory uses multiple sources to
advanced and hinder the culture from pro-
recall the past. As these events are passed
gressing. The political figures at the time
down to future generations the details be-
used the pride of the Irish people to their ad-
come distorted, and changed on the basis
vantage, and distracted them from the truth
of pride and sense of nationalism. Since the
that the economy was crumbling. Today,
Irish people’s recollection of past events is
and most recently the actions of the Celtic
in the form of memory, Tennessee Williams
Tiger in Limerick has effect the city drasti-
has described the theory of memory as tak-
cally and the local economy has suffered
ing a step back from historic accuracy.
greatly, for instance the unfinished skyscrap-
Erie Canal - 1817 Lockport Buffalo New York
er Riverpoint and its three in-completed top floors Louisiana River Boats - Mississippi River
This lead directly to the concept of a typological series. The type can be thought of as the frame within which change operates, a necessary term to the continuing dialectic required by history. The type then transforms from being a “frozen mechanism”, to produce architecture, becomes a way of denying the past, as well as a way of looking at the future. The “frozen mechanism” Bloody Sunday Monument - Derry
St. Florence Lantern Dome - Brunelleschi
is a frequent argument against typology, the idea that a typology denies change and
“It is true that commemorative
This act of freezing the past and celebrat-
emphasizes an automatic repetition of the
ceremonies, like public monu-
ing only the triumphs, harms the Irish people
past. The opposite is true of the concept of
they lose a sense of strive and persever-
type. A typology encourages and implies
ance. These golden age mentalities the
the idea of change,and transformation while
freeze and immobilize the past”
Irish people have carried with them has
embodying the nostalgia of the period that
There is little doubt that it was with this in
them trapped, in a “frozen mechanism”.
inspiration was drawn from. The architect
mind that the more conservative elements
They have frozen their own progress, and
identifies the type which has remained con-
in the Irish Parliamentary party led by John
typology of architecture, hidden their history
stant throughout history, and has been re-
Dillon, sought to place their stamp on the
in Georgian townhouses and monuments.
inforced through its community. Then the
ments, have the capacity to
centenary celebrations…
newly transformed type is intimately related
“In their most authoritative, stately forms, commemoration ceremonies, like monuments, institu-
with the “needs and nature” of the com-
Ultimately, the group defining a type must
munity the architecture has been created
be rooted in this reality and abstract geom-
for.
etry. This means that buildings also have a
tionalize habit at the heart of the
precise position in history. The type of 19th
public sphere, attempting not just
century domes belong to a different rank
to represent the past but to freeze it through pomp and ritual.” - Where Wolfe Tone’s statue was not’: Joyce, Luke Gibbons
than the domes from the Renaissance and Baroque periods. Brunelleschi introduced the lantern dome at Florence. This form was imitated for almost three hundred years.
- Rafel Moneo on Typology
“Often, external events, such as new techniques or changes in society are responsible for impelling an architecture toward this creation of a new type, in accordance with a dialectical relationship with history. ” - Rafeal Moneno On Typology Farmer Market - Limerick
Crystal Palace - Joseph Paxton 1851
The ‘social spaces’ of the modern city
Tennessee Williams writes about social
The Great Exhibition’s Crystal Palace sought
such as a movie theater can be contrasted
spaces such as the movie theater from the
to house its visitors and installations togeth-
by, the orderly procession of the state power
perspective of the flaneur and how they
er as a collective entity. Everyone could see
through the main streets of the city, with all
perceive the world. The flaneur is much
the exhibits, the Crystal Palace was specifi-
there, pomp and splendor. The movement
like how Tennessee Williams describes the
cally designed with a high level of transpar-
of the people through these main streets
movie goers they watch the adventures but
ency this social space was designed for the
compared against the movements of the
never get to experience them. There is a
display of progress as well as the display of
‘flaneur’, or the city stroller, which has
difference between having pride in one’s
people. The space promoted a self-regulat-
become a key figure of the modern cul-
nation, then trying to bring back the past.
ing system in which visitors became con-
ture. The flaneur roams through the streets
Reviving a lost vernacular is simply living in
scious of their actions. The Crystal Palace
seemingly at random, but often in the shad-
the past, nothing is gained from it the peo-
visitor’s, self-regulation takes on the form
ow of the counter-public sphere. The mon-
ple and the nation does not progress. They
of the collective. The decentralized exhibi-
tage of time in the modern city infiltrates the
are left behind the times and the people
tion space was sought to educate its visi-
mind of even the most casual “passer-by”.
become lost. Architecture is the same if it
tors through the sharing of knowledge and
“When it ceases to be the familiar ob-
does not progress and maintains the same
goods. The Crystal Palace acts as a “mu-
ject of a dull memory, then the past has
level of lost vernacular as the culture and
seum of human nature”. The concept of
the power to jolt the Dubliner into rec-
society the whole nation becomes stationary
community alteration and behavioral modifi-
ognizing for the first time what he previ-
in the past events.
cation by use of architecture.
ously thought he knew so well.” - Luke Gibbons, ‘Where Wolfe Tone’s statue was not’
“People go to the movies instead of moving. Hollywood characters are supposed to have all the adventures for everybody in America, while everybody in America sits in a dark room and watches them have them.” -The Glass Menagerie, Tennessee Williams
The inhabitants of Ireland can be described
Temple Bar Region - Dublin
Gay and Lesbian Pride Parade - Dublin
The Irish Parliament Party distracted the
by the interactions of the movement be-
public with lavish parties, festivals, and
tween different periods of time coexisting
commemoration ceremonies to deceive the
in the cities’ diverse architecture. As James
public into believing that the country was in
Joyce depicts, the impact of the massive
the midst of a golden age. The flaneur men-
mobilization of national sentiment during
tality of the city stroller or the passer byer
the centenary of the l798 rebellion testified
was to unmotivated to question the Parlia-
not to the backward look of romanticism,
ments true intensions. This left the country
but was more akin to the radical, unsettling
divided between the social classes of the
strategies of the flanuer with their gestures
politicians and the flanuer.
towards other futures, and alternative nar-
Similar in context to Roman times when
ratives of the nation. The Irish Parliament
the economy was at a critical stage, living
Party during this time took advantage of the
conditions were deplorable, and poverty
Irish cultures ‘flaneur’ attitude, this relaxed
was widespread through the city. In a last
‘Las e faire’ mentality about their economic
ditch attempt to distract the Roman citizens
and political status as a country.
and in order to quiet the rumors of a failing
Bogside - Derry
economy. The emperor would hold festivals, gladiator fights, and plays at the Coliseum to keep the citizens unaware that there golden age was coming to an end. Coliseum Gladiator Fights- Rome
“The same object may not seem beautiful to all people, all people who admire a beautiful object find in it certain relations which satisfy and coincide with the stages themselves of all esthetic apprehension.” - Portrait of the Artist as a Young Man, James Joyce Muchross Abbey 1448 - Killarney
Hope Spire Saint. Anne’s Cathedral - Belfast
Nostalgia is a feeling, a memory, a sense
Reflex action of the nerves. Beauty ex-
of remembrance. Nostalgia is a wistful de-
pressed by the artist cannot awaken in us
sire to return in thought or to a former time
an emotion which is kinetic or a sensation
in one’s life, to one’s home or homeland,
which is purely physical. It awakens, or
or to one’s family and friends; a sentimen-
ought to awaken, or induces, or ought to
tal yearning for the happiness of a former
induce, an esthetic stasis, an ideal pity or
place or time. Architecture is full of nostal-
an ideal terror, a stasis called forth, pro-
gia, something as simple as a front door to
longed and at last dissolved by what is call
a childhood house, or the entrance to your
the rhythm of beauty. An esthetic image is
father’s office can evoke a strong sense of
presented to us either in space or in time.
emotion within the body. Architecture uses
What is audible is presented in time, what
different shapes, patterns, and precedents
is visible is presented in space. But, tem-
to evoke the emotions of the past. Joyce
poral or spatial, the esthetic image is first
speaks about the distinction between ki-
luminously apprehended as self-bound
netic and esthetic emotions; the act of
and self-contained upon the immeasur-
architecture evoking an intense feeling of
able background of space or time which is
nostalgia provides an esthetic emotion.
not it.
Using architecture as an art from to convey sentiment, or remembrance without being overly symbolic.
-“Portrait of the artist as a young man”, James Joyce
“The type was in this way identified with the logic of form connected with reason and use, and throughout history, whenever an architectural object was related to some form, a kind of logic was implied, creating a deep bond with the past.” - Rafeal Moneno On Typology
Modern Movement architects wanted to offer a new image of architecture to the society that produce it, an image that reflected the new industrialized world created by that society. The mass production system was introduced into architecture, displacing the quality of singularity and uniqueness of the traditional architectural “object”. Titanic Museum - Belfast
Calatrava Bridge - Dublin
“ Tourism is the conspicuous
Ricoeur’s paradox talks about learning
consumption of resources ac-
from the past, and creating a national
cumulated
in
secular
time;
spirit, but in order to create a modern civilization, we must be able to participate in
it’s very possibility, in other
scientific, technical, and political rationality,
words, is securely rooted in
but the main issue is that in participating
the real world of gross political
in these different aspects of revolution one
and economic inequalities be-
usually forgets about their cultural past. Not every culture can handle the shock of
tween nations and classes. In
and infusion of modern advancements so
fact… tourism is doubly impe-
the paradox is explained as to how to be-
rialistic; not only does is make
come a modern civilization without losing
a spectacle of the Other, mak-
a sense of national spirit and past cultural achievements. How can we revive the old
ing cultures into consumer
while taking part in the new?
items, tourism is also an opi-
Whatever connection they have with the
ate of the masses in the af-
past, in architectonic term, with the type is
fluent countries themselves.”
carefully avoided in favor of a generic and actual description of the current world.
- The international of the tourist, Richard Ingersoll Causeway Visitors Centre - Heneghan Peng Architects
Peace Bridge, Derry - Across the River Foyle
Holy Trinity Church - Cork
Avant-garde architecture has served as a
The city was seen as a formal structure
symbol and an instrument for the propaga-
which could be understood through its con-
tion of universal civilization. Avant-garde
tinuous historical development. Architecture
architecture was also seen as an adversary
is not considered neither as a single artistic
stance towards the industrial process and
event proposed by the avant-garde or the
neoclassical form. The Avant-garde pushed
industrially produced object, but is consid-
the trajectory of the enlightenment by using
ered a process, in time, of building from a
new and modern architecture as a form of
single dwelling to the total city. “The mo-
propaganda and advertisement for the age
ment of typology” implied a certain degree
An ‘arriere-garde’ position is a movement
of inertia, this moment established a neces-
where they reject the advancements of
sary connection with the past and with soci-
technology, but also reject the tendency to
ety.
Crawford Art Gallery - Cork
regress toward the nostalgic history and decorative nature of historic architecture. It relates to the happy medium of architecture where there is not an overpowering amount of technological advancement but not an increased amount of ornamentation or decoration affiliated with historic architecture.
Market - Derry
“The theater, in which the architecture serves as a possible background, a setting, a building that can be calculated and transformed into the measurements and concrete materials of an often elusive feeling, has been one of my passions.”
Rossi graphically represents the ideal city in question to its relation rooted in reality. Rossi’s types communicate only with themselves and there ideal context. The types become reminders of a less perfect past, this past my never have existed, but convey the emotion of the encompassing area.
- Aldo Rossi Floating Theater - Aldo Rossi
Aldo Rossi reiterated throughout his career
Aldo Rossi the logic of architectural form lies
that architecture provides a stage for life,
in a definition of type based on the juxtapo-
with public spaces acting as backdrops for
sition of memory and reason. Architecture
life’s experiences; the theater acts a meta-
retains the memory of those first moments
phor for his beliefs. With neither theater nor
in which the architect asserts and estab-
architecture existing without an event, Rossi
lished his presence in the world through
focuses on the unexpected occurrences, the
building activity, so type retains the reason
ever-changing meanings of a place due to
of form itself. The type preserves and de-
ever-changing events. His theater is not a
fines the internal logic of forms.
place solely to watch performances but also
According to Rossi, it is the task of an archi-
a place to be watched, a place to observe
tect today to contribute to the recovery of
and to be observed. This is accomplished
society. Rossi pictures the a city as a time
on two levels, by placing the theater as an
in which the society is frozen. The city be-
object in the water and, in the interior, and
comes unrecognizable as any one specific
placing the stage in the center of the seats.
place, and transforms into the ideal city,
Public participation and interaction create
filled with types and history of architecture
the event and architecture.
that society represents.
Theater - Aldo Rossi
Theater Aldo Rossi - Venice
EVENTS OF PROGRESS Manuscript : The Glass Menagerie Tennessee Williams
Pavilions of Progress Cork, Galway, Dublin
The manuscript acts as a base by cutting
The purpose to the inter-stitching of the
and carving into the manuscript allows for a
tourist brochures is to act as a distraction.
reveal and highlighting of quotes that deal
There are only small portions of the play
with the characters struggle in reality and
that become legible, and the rest becomes
how it distracts from the future. This ever
nothing more that a distraction as well. The
present focus on the future comes the ap-
Wingfield family all have difficulty accept-
parent in the setting and location of the play.
ing the reality of their lives, they hide them-
During the time of the great depression
selves in the illusions of movies, alcohol and
people wanted to have a sense of future
memories of the past, which are distracting
security, this is common goal for the mother,
them from overcoming their hardships in life
Amanda.
and progressing.
Crannog Water Front - Ireland Coast
Curragh Boat Race - Aryan Islands
The crannog or water fort- a house on stake-bound platform in a lake- has parallels in many culture, in stilt houses, water villages, even in the origins of cities like Venice. May be of Neolithic origin, setting up this insecure existence on water created a host of artifacts designed to aid a life stretched between crannog and dry land. At a much later date, the Bartlett maps illustrate a small crannog under attack which has fields on the shore nearby, reached by boat or possibly by a narrow cause way traditionally
A curragh is a type of Irish boat with a wood-
The curragh represents two traditions of boat and
sunk a few inches under water to render it
en frame, over which animal skins or hides
shipbuilding in Ireland: the skin-covered vessel and
invisible. The crannog seems like a delicate
were once stretched, though now canvas
the wooden vessel. An account of the voyage of St.
and vulnerable foreign body rising sheer
is more widely used. The construction and
Brendan (who was born c. 484 in the southwest of
from the water-a rath transposed, or an im-
design of the curragh are unique to the west
Ireland): Navigatio sancti Brendani abbatis, con-
movable boat.
coasts of Ireland and Scotland, with varia-
tains an event of building an ocean-going boat: using
tions in size and shape by region. It is re-
iron tools, the monks made a thin-sided and wooden-
ferred to as “little holy one�. The curragh is
ribbed vessel, covering it with hides cured with oak
used both as a sea boat and inland waters.
bark. Curragh Boat Plans - Aryan Islands
A basket, plate or cup, is an architectural
As early as 20,000 BC people started fish-
object that can be repeated, but is meant
ing in rivers and lakes using rafts and dug-
to be repeated. Any changes developed
outs. Roman sources dated 50 BC men-
are particularities that can be found in any
tion extensive transportation of goods and
product over time. From this point of view a
people on the river Rhine. Upstream, boats
work of architecture, such as a house, boat
were usually powered by sails or oars. In
or cup can be defined through its formal
the Middle Ages, towpaths were built along
features, which express the objects short-
most waterways to use working animals or
comings. In this sense the essence of an
people to pull riverboats. In the 19th century,
architectural object lies in that objects re-
steamboats became common.
peatability. Not only a fascinating meeting
Not only a fascinating meeting point be-
point between architecture and craft, this
tween architecture and craft, this stunning
stunning sculptural form has been a venue
sculptural form has been a venue for a host
for a host of talks and performances includ-
of talks and performances including music.
ing music.
Christy Ring Bridge 1987 - Cork River Lee
River Lee - Cork City Center
Hardwick
Bridge Street
Bridge Street
Street
St. Patric
River Lee
eannaithe
h Phadra
Street
on Road
gt Wellin
ks Place Cene gC
Ce Naom
g e le Plac
River Lee
le Plac e
River Lee Cene gC
eannaithe
Street
Parnel
St. Pa
le Plac
e
trick’s
Pine Street
Quay
Parnel
River Lee
Bridge Street
k’s Stre et
Ce Naom Cene gCeannai h Phadrag the
St. Pa tric
Christy Ring Bridge
Plas Camden
ic Churtain
Parnel
Bridge Street
trick’s
Sraid Mh
St. Pa
Pine Street
Christy Ring Bridge
River Lee
ay
Ce Pope
Ce Pope
hic h Ph Chad urrag tain
Plas Camden
Carroll’s
(after Queen Victoria). Cork’s economy
Quay
information or to explain; a detailed state-
d
able in place names such as Victoria Cross
Hardwick
Lavitt’s Qu
d
or speeches primarily intended to convey
n Road
to Welling
St. Patrickic Churtain s Place
SraiNa Ce d om M
uay
Lavitt’s Quay
oa eR av lgr
The Victorian influence on the city is notice-
Ce Lavitt’s
on Road
gt Wellin
ks Place
Sraid Mh
Street
River Lee
Lavitt’s Q
River Lee
Mu
of art or manufactured products, writing
Lavitt’s Quay
Roa
Ce Pope
now house Banks and Department stores.
Christy Ring Bridge
River Lee
St. Patric
Plas Camden
Lavitt’s Qu Carroll’s
in many areas around the city such as the neo-Georgian and Victorian buildings that
Hardwick
ay
ave lgr
duit to spark a large-scale public showing
Quay
e
Ce Lavitt’s
fair. An exposition is also used as a con-
Carroll’s
Lavitt’s Quay
Ce Pop
Mu
large fair of extended duration, as a world’s
19th century architecture can still be seen
Pine Street
Quay
d Roa ve
Ce Lavitt’s
jects of general interest. An exposition or
lgra
River Lee
Mu
ing, distilling, wool and shipbuilding. Much
Ce Pope
d
or factories, the skills of performers, or ob-
Roa
portant industries in Cork included, brew-
ave lgr
Mu
of artists or artisans, the products of farms
Pine Street
During the 19th and early 20th century im-
Carroll’s
Exposition - a public display, as of the work
Street
River Lee - Cork City Center
Plas Camden
Plas Camdenay
an important industry in the city’s economic
Stree t
Ce Lavitt’s Lavitt’s Ce
et
tre
S ge
reet
River Lee
River Lee
rid
wb Dra
Lavitt’s Quay Quay Lavitt’s
life. In 2005, Cork was the European Capital
La Lavitt’s Qu
vitt’s Qua ay y
Cork Opera House
Em ett P mett Pla lace ce
Cork Opera House
Emm
of Culture.
ick’s St
River Lee River Lee
Plas Camden
St. Pa tr
ment was high in the 1980s. Tourism is also
Plas Camden
Plas Camden
Place
society together.
CeOpera Pope House Cork
Emm ett
1980s. As a result of closures unemploy-
ChristChrist y Ring y Ring Bridg ee Bridg
munities sense of nationalism which ties the
St. Patrick ’s Bridge Bridge StreBrid et ge Street
Lavitt’s Qu
Ce Pope Ce Pope
St. St.Pat Pat rick rick ’s Brid ’s Brid ge ge
Lavitt’s Quay
Ce Pope
River Lee
et
tre
S ge
rid
wb
Dra
St. Pa St. Patr trick’s ick’s St Street reet
Shipbuilding in Cork came ended in the
Ce Lavitt’s
Perry
An exposition inspires and drives the com-
manufacturing industries in Cork declined.
PerryPerry Stree Stree t t
political to progressive rights of the nation.
Quay Quay Carroll’s
River Lee
Christy Ring Bridge
Carroll’s
dipped in the late 20th century as the old
d d oa oa eR eR av av lgr lgr Mu Mu
ment. This statement can be anything from
Pine Street Pine Street
Plas Camden
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rid wb Christy Ring Bridge | Lavitts Quay - Cork, River Lee Dra
Opera House | Crawford Museum - Cork
To help foster urban regeneration, and to further change progress a city’s appearance on a national as well as international scale a series of pavilions have been installed among three location. Cork, Galway, and Dublin. These new types, these Pavilions of Progress are designed to stimulate the economy. The pavilions will directly impact the surrounding area with an infusion of Christy Ring Bridge - River Lee, Cork
cultural events, such as music, art, theater as well as initiate growth of technology and
The city is built on the River Lee which di-
The European Capital of Culture is a city
industry. Similar in concept to the Pan Amer-
vides into two channels at the western end
designated by the European Union for a year
ican Exposition in Buffalo New York, the
of the city. The city centre is located on the
during which a series of cultural events are
Pavilions will be centered along the major
island created by the channels. At the east-
held. A European Capital of Culture can be
water ways of the city. The pavilions influ-
ern end of the city centre where the chan-
an opportunity for the city to generate con-
ence will spread into the streets of the city
nels re-converge, quays and docks along
siderable cultural, social and economic ben-
which will be lined with tents and architec-
the river banks lead to Lough Mahon and
efits and it can help foster urban regenera-
tural instillations promoting new industries
Cork Harbour, which is one of the world’s
tion, change the city’s image and raise its
and materials, like the Crystal Palace in the
largest natural harbours.
visibility and profile on an international scale.
London Exposition.
Galway Hooker Boats - Galway Bay
Eyre Square - Galway
The Galway hooker is a traditional fishing
Galway is the most central port on the West
boat used in Galway Bay off the west coast
Coast of Ireland in the sheltered eastern
of Ireland. The hooker was developed for the
corner of Galway Bay. The River Corrib is by
strong seas there. It is identified by its sharp,
far the most important waterway in Galway
clean entry, bluff bow, marked tumble-home
and a number of canals and channels were
and raked transom. Its sail plan consists
built above and through the city. The pur-
of a single mast with a main sail and two
poses of these to divert and control the wa-
foresails. Traditionally, the boat is black (be-
ter from the river, to harness its power and
ing coated in pitch) and the sails are a dark
to provide a navigable route to the sea. The
red-brown. The festival of Cruinniú na mBád
canals provided a power source for Galway
is held each year, when boats race across
and were the location of the first industries
Galway Bay from Connemara to Kinvara on
in the mid-19th century.
the Galway/Clare county boundary. They have been in use for at least two hundred years, although it has been suggested that the design of the boat may date back further, owing to the Eastern appearance of the púcán sail and the craft itself.
The Conamara area had many boat builders and it is thought that they formed these boats especially to suit the area. The boats were able to sail in shallow waters and thus were ideal for the areas around South Connemara Galway Hooker Boat Plans - Galway
Fr. Griffin Road - Galway Bay
Galway has a vibrant and varied musical
New art and architecture will start to devel-
scene. Galway Festival presents European
op out of necessity to convey the areas sur-
music from the 12th - 18th century. The Gal-
rounding progress. In addition to keeping
way Arts Festival was first held in 1978 and
Galway’s existing cultural events alive, such
has grown into one of the biggest arts festi-
as the Galway hooker boat race, held annu-
vals in Ireland. It attracts international artists,
ally in the bay. The pavilion itself has been
local, and national performers. The festi-
designed on these major concepts of taking
val features parades, street performances,
the cultural history from its surrounding area
plays, and comedy acts.
with the main focus on water transportation. Fr. Giffien Road - Galway Bay
The pavilion in Galway is based on the famous Galway hooker boat as well as a col-
t ee Str
d
ck
Ro a an ts
t
rc h
Str ee
Me
od Flo
et
nD
t
Na
ug an
ee
a
na
Str
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nF ad
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la
Ro a ien riff
Cla
River Corrib
dda
Fr. G
re
The Long Walk
gh
hill
a Ro
ay
d
ory
Pri
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Roa
one of just art but of technology as well.
St
h
d
ig da
hla
advancements to the surrounding area.
Do
t Low er Stre e inick
An
Fair
new cultural exhibition of Galway Bay, not
ck
rrib Co
reaction of festivals that will encourage a
Do
Do
tion bringing new industry and architectural
Fr.
C an
industries. The pavilion will trigger a chain
d
oa nR
fie
if Gr
Ce
brought together to create a cultural revolu-
b
er Riv
growth and development of the surrounding
Dom
sical scene that these two festivals can be
rri
d
ing areas act as a gravitational pull for the
Co
d
Ro a
way’s history in water travel and vibrant mu-
d Upper Fairhill Roa
the entire coast line. Making the surround-
Ro a
ck
Ri
ve r
ck
Do
It is my hope that in bringing together Gal-
Do
Corrib
Griffien Road in Galway Bay I am charging
lection of the cities other cultural elements.
River
By placing a pavilion at the heart of Fr.
Fr. Griffien Road - Galway Bay
Harold Fisk - Mapped the twisting and changing path of the Mississippi river. Over time representing the rivers past paths, current flows and flooded plains over time. Rivers like the Mississippi change course quite dramatically over time due to flooding and other factors. The maps sandwich colorcoded layers (each one depicting a distinct Mississippi River Boat - Louisiana
path the river took at one point in time) on top of each other. This provides ecologists
A riverboat is a watercraft designed for inland navigation on lakes, rivers, and artificial waterways. They are generally equipped and outfitted for freight or people transport, constructed for entertainment enterprises, such as lake or harbour tour boats. As a larger water craft, riverboats are especially designed and constructed to optimize riverine or lake service. They can thus be built
and planners with a distinct view of each flood path, but also a gestalt visualization of the river’s swath through the landscape. It’s part Edward Tufte, part Jackson Pollock. The idea of superimposing distinct visualizations of phenomenon on top of each other creates the infusion of color and historically accurate information translates into the theory of the pavilions of progress.
from light composite materials. They are limited by the size of the river as well as the height of bridges spanning the river. They
O’Connell St. is the main epicenter
can be designed with shallow drafts, and
of Ireland’s most famous city Dublin. It is
the paddle wheel steamers can operate in
Ireland’s Premier Street lined with stat-
water under two metres deep. The most
ues commemorating many Irish heroes.
famous riverboats were on the Mississippi,
O’Connell Street is the hub of a busting city
Ohio and Missouri rivers in the early 19th
center shopping precinct. O’Connell street
century. These American riverboats were
is a major tourist attraction filled with hun-
designed to draw little water, and it was said
dreds of people every hour of the day.
that they could “navigate on a heavy dew”. Harold Fisk - Mississippi River Map 1944
Dublin O’Connell Street
ower
eet L
y Str Abb O’Con
eet
reach
Mainst
Lair
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a Sraid N
Old
Lower
Eden Quay
Eden
s
Lott
eet Lower Liffey Str
th Nor
y Str Abb
y Qua
River Liffey River Liffey Burgh Quay
ay
B Bac
Goerge’s Quay Tara Street
Qu urgh
alk sW elor
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D’O rS
ay
et Tara Street
r
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D’O
Hawkins Street
id
Sra
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Westmoreland Street
enny
Ha’p
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ing Well
River Liffey
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Dublin O’Connell Street - Liffey River
In placing the final Pavilion in the heart of Dublin creates a cultural epicenter. The expositions in the three major cities of Ireland Cork, Galway and Dublin will permeate the surrounding areas. This will create the commerce needed to promote an industrial revolution that will influence the entire country. The revolution will be an infusion of the arts and history of Ireland. O’Connell Bridge - Liffey River, Dublin
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