...a child’s first experience of the world is not his realization that “adults are stronger but rather that he cannot make magic,” .... It is, in fact, quite likely that the invincible sadness that sometimes overwhelms children is born precisely of their awareness that they are incapable of magic. What ever we can achieve through merit and effort, cannot make us truly happy....
...Jeffry’s House is a respite from the elements and from the trials of merit, effort and the everyday. It has portals for the irreducible universes of the sky, the sea and for the earth. It is for children and for the child within us....
(There is some more text and info in the blog section of the site)
.... photos by Emily Mannion, Tom O Brien
This is a small project for a family of four. The existing bungalow is small and unsuitable for their needs. The intention now is to refurbish and rework the existing house and add a small extension to the rear. The extension forms a ball alley for the boys to play, and together with the shed creates two new outdoor rooms, a south facing patio and a small orchard.
This project is located in Naas, Co. Kildare.The brief was to refurbish a small house to suit the needs of an elderly couple. The project seeks to provide all the necessary facilities for a client with limited mobility in a very small space, and to create a homely rather than clinical atmosphere.
(photography by Aidan Oliver)
To celebrate the closing of the centenary of the UCD School of Architecture, an exhibition entitled ‘we had an idea about the future’, featuring installations from a mix of architecture students, graduates and collaborators took place June 2012 in Earlsfort Terrace, the former home of UCD School of Architecture.
This site specific installation designed and realised with artist Emily Mannion is an adaptation of a previous project constructed in October 2011at 200 Clonliffe Road. It explores our pre-conception of familiar environments and re- imagines them. The work seeks to take an everyday space, a common room, and augment it using nothing but a given material, in this instance a carpet, into a radical one. It seeks to turn the familiar on its head, using geometry to encourage a re-assessment or re-seeing of what constitutes space. The hung work broods and swells just outside the limits of its form like it is unfolding and reshaping before our eyes.
(photography by David Mannion)
When Rick Walsh from Side Show Productions asked me to design a set for a post-theatre parody of love stories, and the normative portrayal of male and female relationships, emotions and identities, he described his vision of the set as vulgar, or more correctly vulgaris, as in of the common people. The set was thus designed as a sort of anti-design, using common cheap materials, arranged to create a familiar yet mildly oppressive interior and exterior.
(photography by Aideen English)