A ground floor refurbishment of a slightly worn out terrace house in Dublin. Limited means meant for careful choices about how to spend the budget , such as pairing beautiful oak doors and counter tops from COS Furniture with Ikea kitchen units. The floor is highly varnished birch plywood laid as full sheets.
Like many houses of a certain age in rural Ireland, despite its favorable South-South East aspect the existing suburban type house takes no cognisance of its context. A new pitched zinc roof extension seeks to address this. The architectural aim is to give this family private internal and external spaces that enjoy plentiful daylight, and shelter. The new elements are architecturally influenced by the local heritage of single storey farm buildings and enclosed yards.
This is a brick extension to the rear of a modest council house in Cabra, Dublin. An existing extension in poor repair to the rear of the house will be rebuilt with a mottled brick outer leaf and pale brick inner leaf. 3 vaults leapfrog across the three main spaces of utility, kitchen and dining. The existing ground floor is remodeled, and an existing sewing studio to the rear is partially demolished to allow for walled patios and to maintain the long sequence of indoor and outdoor spaces sewn together. The palette of the scheme will be kept simple, using douglas fir timber joinery to contrast with the harder brick interior. Expected completion, Summer 2016.
3 Enniskerry Road is a typical Victorian red-brick terrace house, bought in 2013 as a family home for a young couple, their two children and grandmother. The house was in an advanced state of disrepair when purchased and while much of the project involved remedial structural work and refurbishment of the main house, a new extension was proposed to the rear.
The extension makes use of tall panels of glass to maximise daylight and solar gain deep into the house. A roof lit space allows passive ventilation and the warm air generated by this solar gain is drawn through the main house.
The choice of cladding materials and timber/masonry construction are intended as a reference to the common use of such materials in 'back of house' developments along the lane. It is intended as a relatively low cost, ecologically performative addition to this type of DIY approach, while improving on the low standard of construction that undeniably exists along the lane.
(Contractor: Ralph McMahon Ltd.)
(Photography: Aisling McCoy, Thomas O Brien)
Situated on a hill in Co. Cavan the house is nestled in world of retaining walls, gardens and outhouses. It has an expansive southerly view over a lush valley of farm and woodland. The house itself is a simple arrangement of rooms, not breaking too far from the traditional farmhouse type. The reference images are of an hameau (hamlet) in the Dordogne region of France though this type of familial community or 'clochán' is typical to Ireland also.
...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
The brief called for refurbishment of the lower ground floor of a large Georgian house. This was done by enlarging existing openings, providing more light into the house, and creating better access to the gardens. All hardwood external joinery is face mounted on to walls and housed in steel angles painted gold. A new wine cellar forms a passageway from the front room out to a new granite patio, allowing access to the sunnier front lawn from the lower ground floor - where the family spend much of their time. The wine cellar forms a curious internal space largely defined by the existing arched ceiling and the new brick quadrant dome linking back to the sitting room, the new boiler room wall is similarly curved. All masonry surfaces are rendered in an unpainted lime/cement plaster. The cedar floor is ramped to accentuate the strange volume and allow wheelchair access. (Reference image shows ruins of an RIC barracks in Annacarthy, co. Tipperary)
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)