Architectural thesis - Rejuvenation of Irish Modern Industrial Heritage Through Adaption.

REJUVENATION OF IRISH MODERN INDUSTRIAL HERITAGE THROUGH ADAPTATION FIONN O’LEARY

SAUL Bachelor of Architecture 2021

Thesis Coordinators Anna Ryan Grainne Hassett Maxime Laroussi

Acknowledgements Thank you to all the SAUL staff for the help throughout my Architectural education with a special thanks to Anna, Grainne and Maxime for their support and guidance throughout the final year.

I would also like to thank all my family and friends for their continued support throughout my time in SAUL.

Note Unless otherwise stated/referenced, images

SAUL School of Architecture

TABLE OF CONTENTS

01- Abstract 4-5 02- Forgotten Industrial Heritage 6-7 03- Adaptive Reuse 8-11 04- Preservation 12 -13 05- Twentieth century Irish modernist architecture 14-15 06- Locus - Site Analysis 16-27 07- Material Study - Brick 28-35

08- Design 36-71

09- Bibliography / Image sources 72-73

01. ABSTRACT Industries were integral in the formation of towns and cities, creating employment, boosting economies, and generating a sense of culture within the heart of communities. Have we somehow forgotten the role that manufacturing industries played during Ireland’s industrialisation? As technology improves, profit margins increase and construction booms?

Existing industrial construction interests me. The material composition that embeds itself in the fabric of cities speaks about development giving it a sense of place. For this text, I have looked at our industrial heritage and how people view structures within their community. Do they hold sentimental value in preserving memory or are they using valuable urban space?

How do we approach preservation with the Irish regulations and what do we do with to retain twentieth century modernist structures as part of our industrial heritage as they fall to disrepair?

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Fig. 1 –

Paddle Steamer Entering the port of Cork.

Signifying industrial activity and development in the city.

Painted by George Mousney Wheatley Atkinson in 1842

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Abstract

02. FORGOTTEN INDUSTRIAL HERITAGE As cities have become gentrified, manufacturing industrial sites shift from being in city centre locations to industrial business estates on the outskir ts of cities and its suburbs. Neglected past industrial sites and buildings now stand within our urban environments. Many are untouched or are awaiting future demolition to be replaced with modern buildings, as we live in a post-modern capitalist era of land consumption and displacement. Architecture’s place within the world today seems to only be recognised when structures are developed using innovative ideas and through technological advancements, allowing us to build higher and bigger than ever before. But what about the impressive designs forgotten from the past?

In 1973, the International Committee for the conservation of the industrial heritage (TICCIH) was founded. This is an international society that focuses on industrial heritage that defines itself as:

Fig. 2

Fig. 3

Odlum’s Mill - 1892/1934

Bonded warehouses, Port of Cork - 1814

Industrial buildings are evidence of industrial activities. These physical structures help people remember and understand the heritage of a place and should be valued for their memory, because once they are knocked, their historic value cannot be reclaimed. Across Cork city we now see 19th and 20th century landmark industrial buildings left in disuse or underutilised that have so much potential. The material composition of these building embeds itself into the fabric of the city and are evidence of the industrial activity that once took place leaving a sense of place in the community.

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Have we marginalized these significant heritage sites as the world has become obsessed with expansion and development? As the architectural journalist Frank Peter Jager wrote:

Through the twentieth century a select number of architects began to write the dialogue for the integration of existing and new construction. Carlo Scarpa was one of these trailblazers, a Venetian architect who Fig. 4

Fig. 5

was both inventive with his use of materials and meticulous with his attention to detail. Throughout his career he worked very closely to initiate the conversation of the amalgamation of old and new. We see this distinctly with the renovation of Castelvecchio in Verona and Querini Stampalia in Venice.

Historic buildings physically link us to our heritage and our past or our ancestral past and should be preserved because of their architectural “beauty” and the “character and scale they add to their built environment” according to Zaitzevsky and Bunnell (Zaitzevsky, 1979 p.98). Of course this is correct, but buildings should not only be recycled due to their aesthetic or historical grounds but also for practical reasons. Rehabilitation of buildings reduces the consumption of our ever-depleting building materials and resources.

Former Ford Factory - 1917

Irish Distillers bottling Plant - 1964

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Forgotten Industrial Heritage

03. ADAPTIVE REUSE Post industrialisation, urban sprawl and protected structure regulations have left many unused industrial

Architects should approach the design of a project with views to preserve historical presence. This can

buildings in cities that had once thrived. Author Stewar t Brand describes adaptive reuse as the conver-

only happen if the finished product will serve its intended use to its full potential. There are criteria to

sion of a building, site or precinct from one use to another. Where the site being reused has heritage value

help with the decision of why a site or building may or may not be suitable for adaptive reuse. The physical

the new use should suppor t the ongoing interpretation and understanding of that heritage while also

potential of buildings must also be acknowledged. Some buildings may be unsafe to readapt which could

accommodating new functions (Brand, 1994)

make rebuilding a more viable option. The historical impor tance, both physically and socially among the community should be considered as the site may have a strong link to the past for people living in the

By understanding our past architectural environment, it permits us to combine the old construction with

local area. This also relates to the societal value of the site to its community. How impor tant is the site

new concepts. The composition of existing buildings provides a sense of place and memory to those

and can it be of benefit to the local area if it was to be readapted? The natural ecological conditions of

around it. Adaptive reuse is an effective strategy for optimising the performance of a built asset whilst

the site, depending on how long a certain site could be left derelict and the built-up ecology would have

understanding conservation and heritage. Old buildings may become unsuitable for their programmatic

to be inspected for endangered species of animals or flora and fauna.

requirements. As a society we are continuously evolving and changing. Technological advances can leave our built environment behind. Adaptive reuse then becomes a sustainable viable method of reclaiming built sites as an alternative to new construction, especially around sustainability and protection of the environment. Combining old structures with new construction results in a texture and character that relates more to the local fabric of a community that is difficult to achieve with new construction. Vacant and abandoned buildings can be taken advantage of by cities, transforming them into efficient structures to the benefit of the people economically socially and culturally.

Industrial buildings which are remarkable for their ornamentation, efficiency and scale are par ticularly suitable for adaptive reuse. Many industrial sites within urban environments are left vacant and derelict.

By reusing existing structures, the energy and land needed to create a new site is diminished, as too is the material waste of constructing a new structure on a greenfield site. Adaptive reuse is also seen as an effective way of reducing urban sprawl and retaining growth within urban settings. Not every existing building is suitable for adaptive reuse, it is dependent on the existing environment.

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Fig. 6 –

Carlo Scarpa. Querini Stampalia, Venezia, Italy. 1961

Once a family home for the prominent Venetian Querini Stampalia family which was renovated by scarpa which begun in 1949. The works were “based on a balanced combination of new and old elements, as well as on a great workmanship of the materials”

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Adaptive Reuse

HERZOG & DE MEURON, CAIXAFORUM MADRID, MADRID, SPAIN

A city landmark designed by the swiss architects Herzog & de Meuron the CaixaForum ar ts centre opened in 2008. After being transformed from its former life as a powerhouse, only the existing brick facades from the industrial age of Madrid were retained, the architects began by removing the areas of the site and existing structure that were not desired. By removing the bottom of the existing structure, the design creates a covered gathering space below the brick elevation offering a sculpture like entrance.

The design is well known for its rusted steel cladding layered above the brick and the 24m vertical garden designed by the French botanist Patrick Blanc.

The segregation of the building from the ground level resembles two separate worlds, underneath and top of ground. This separation divides the functions of the centre. The underworld floors below the plaza accommodates a 311-seat auditorium, multifunctional spaces, car park and services spaces. Above ground Fig.8

the offer more public spaces including, galleries, offices, a bookshop, and a restaurant. Interestingly the distinction between the existing and addition is very clear, through an adaptive reuse approach what was retained is effective in preserving the buildings substantial presence and memory while allowing the adaptions to redevelop the building and space to function with a new program.

Fig. 7

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CIVIC ARCHITECTS, LOCHAL LIBRARY, TILBURG, NETHERLANDS

An example of an existing building that was valued for its industrial aesthetics. which was reimagined for use as a functional library in today’s digital era. Previously a locomotive industrial shed built in 1932, adjacent to Tilburg’s railway station, Civic Architects conceived a design to construct a new library typology redefining the function of a library in today’s digital era. The building now acts as an indoor public space housing more than a library of books, with co-working facilities, labs and lecture spaces , which provides the opportunity to spark creativity and knowledge among its users.

The existing structure governed the new architecture by keeping within the constraints of the existing structure. The entrance hall rises to the full height of the building to a height of 15m, which leads the visitor up a staircase to tiered seating to the second floor where peripheral galleries line the hall. Quiet reading areas and bookcases are located on the second floor. To separate large open spaces to create smaller semi-private areas, large cur tain screens can be arranged using an automated control system.

Fig. 10

Fig. 9

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Adaptive Reuse

04. PRESERVATION Preservation is the process of retaining and sustaining a building’s historic fabric. Effor ts are being made to preserve some architecturally valued sites and reuse them as industrial monuments or cultural art museums, such as, the Tate Modern museum in London, UK or PC CARITAS in Melle, Belgium. Such projects

that preserve the heritage of the building are incredibly valuable to society. However, not all

post-industrial buildings can become museums and less attention is being paid to reimagining less prominent disused buildings. Preservation of historic structures can be a controversial topic, with opinions from many disciplines, and views on specific sites by local communities. To some, buildings of heritage should be restored as monuments, historically preserved, to tell a specific story about the activities that took place.

To others, renovation, and integration of the structures, giving sites a new lease of life is the best option.

Neil Cossons poses in his essay “

” that there are two views on post-in-

dustrial sites that “to advocate preservation of a redundant industrial site, basing the arguments on traditional heritage values, does not always look attractive to a community afflicted by economic collapse or high levels of unemployment” (Cossons, 2012, p27). People may not see the value of preserving the

Fig. 12

heritage of these places when their land, space or building could be put to use with the potential to benefit the local community economically to create jobs. Cossons continuous “harsh economic circumstances make realisation by conventional means an impossibility. It is in these contexts that one might legitimately

What set of principles should we follow? Should we extend the life cycle of a building? Do we preserve

ask, ‘why preserve the industrial heritage” (Cossons, 2012, p27). On the contrary, there are views for the

historic buildings bringing them back in time? Or do we allow buildings to erode and continue constructing

preservation of the industrial heritage, “the community may find the notion appealing, offering as it might,

new buildings?

the chance of capturing something of their former spirit and pride (Cossons, 2012, p25). Perhaps the

A building should have a life cycle comparable to that of a person, constantly evolving and changing to

community are proud of their heritage and wish to preserve it.

their surroundings. But at some point, during a building’s life, someone decides that a building can no longer serve its purpose. In the past, before the modern world, industrial buildings were constantly being

Architects, historians, and preservationists all have their own views, but there is rarely consensus - so what

altered and changed to suit the needs of the industry and function. However, there was a shift towards

is the best solution to an issue that will continue to develop as more buildings fall to disuse?

new construction, opposed to adaptation.

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In the industrial realm cost and efficiency can typically dictate that steel sheds be the preferred method

In a way, being listed as a protected structure does not protect the structure. As it becomes a built

of construction. Industries working from traditional industrial buildings, that may have been listed as

monument that must freeze at a cer tain time frame, not allowing change and adaptation for people to

protected structures find themselves having to adhere to strict regulations. As a result, new construction

become part of the building’s narrative. It becomes more of a deterrent to people interested in inhabiting

becomes a more viable option rather than renovating an existing structure to fulfil the same purpose.

an existing structure. The heritage guidelines suggest that conservation principles should be of minimum intervention”

dramatic interventions in a protected structure are rarely appropriate (Keogh, 2020).

In order to truly preserve historic buildings, we must give them a use. Instead of restoring them to a

Some historic buildings do deserve to be preserved and unchanged, depending on the condition of the

previous state ending the building’s life cycle when the only function can be that of an exhibition space

building and maintenance that it receives. That is where the problem lies, under our regulations, there are

or museum, we should keep these buildings in our everyday life serving a useful function. Living, learning,

no gradings for a protected structure, resulting in all structures listed, viewed in the same manner, ignoring

working, and enjoying our time spent within them. To do this, alterations and additions should be made

the individuality that each building expresses. As a result, this has contributed to the increase in disused

respectfully to the memory, interweaving modern architecture to preserve heritage instead of viewing

buildings and the decline in historic urban centres around the country.

preservation as an artefact. Exploring the past and expressing the memories within the living spaces to be told through future generations.

We are not the only country with historic buildings that are of interest to protect and preserve. If we compare our system to that of the UK, we can see how these buildings can become more useful to society.

To achieve this, regulations on preservation in Ireland may have to be altered. Currently, a protected

Their protection is comprised of a three-tiered grading system which allows for the degree of protection

structure is near to impossible to integrate with modern architecture. Architect Paul Keogh explains how

to be set on the importance of the building in question. This allows for buildings to be renovated, adapt-

the current regulations are flawed.

ed, integrated, or preserved, to re-immerse them back into society while always protecting the existing structure to the benefit of the user and society. It is detrimental to our environment, society, and historical preservation to continue extensive new development. Views and regulations may have to be changed to advance in preserving the memory of the existing.

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Preservation

05. TWENTIETH CENTURY IRISH MODERNIST ARCHITECTURE In 2014, Rem Koolhaas curated the Venice Architecture Biennale entitled “Absorbing Modernity 1914-

the King in Turners Cross, Cork (1928) by Chicago based architect Barry Byrne, Terminal One at Dublin

2014”. This became a study of developments over a century of modernism from around the world. In

airport (1937) -led by Desmond FitzGerald, the Radió Teilifís Éireann complex (1962) by Ronald Tallon,

Ireland it emphasised the advances our country made during its emergence as an independent state. The

the Cork distillers bottling plant (1964) by Frank Murphy and the Birr Community School (1979), by ar-

book Infra Eireann, a collection of research on the architectural and societal journey Ireland faced in the

chitects Peter and Mary Doyle.

20th century with new infrastructures projects and architecturally impor tant buildings designed to house them. As Gary A.Boyd and John McLaughlin write about in the book, in the early twentieth century, Ire-

According to a colloquium at the Getty Centre in 2013 (Donnelly 2015), the average life span of mod-

land’s independence from Britain was the beginning of a prosperous modern Ireland, with “modernist ar-

ernist buildings built of reinforced concrete and glass curtain walls is of sixty years. As the years pass,

chitecture perceived as a means of escaping the colonial past “ (Boyd, G. A. & McLaughlin, J. 2015 p2). Padraig

this expected life span is proving to be correct, with many of the stated buildings already updated and

Pearse was adamant that becoming a free state would improve the quality of life for those who lived here,

others awaiting attention. Without the appropriate awareness, we can expect to lose many of our coun-

“Ireland has the resources to feed five times her population; a free Ireland would make those resources

try’s twentieth-century identity buildings to demolition for redevelopment. For tunately, some have been

available “(Padraig Pearse 1913, “From a Hermitage”). He also recognised that the romantic ideology of

identified as protected structures. Although this just protects the building’s existence, is it the best option

becoming a self-resourceful state must be underpinned by solid systems with new infrastructural concepts.

for them?

To reimagine the identity of the Irish culture was an essential element in reconstructing the nation after the de-colonisation and political independence.

New views on construction began to flourish throughout the newly independent state, transitioning from vernacular building methods and materials with a push towards utilising modern materials and systems, exposing steel columns and concrete blocks. Emphasising forms, with horizontal and ver tical lines while utilizing glass and natural light. Infrastructural projects and public buildings were at the forefront, from the “Rural Electrification Scheme” set up along by the ESB, which included the construction of Ardnacrusha in Co. Clare completed in July 1929, illuminating much of the country, to Dublin’s Busáras terminal building built in 1953 and designed by Micheal Scott. This architectural style gave the country its post-colonial identity, stitching Scandinavian and American forms, influencing this new Irish era. Other examples of modernist architecture emerged around the country included the Concrete Ar t deco Church of Christ

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Fig. 13 – Busáras, Dublin. 1953.

Note the 18th century Customs House forming a backdrop for the modern era.

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Twentieth entury Irish modernist architecture

06. SITE ANALYSIS The Distiller’s field is located on the nor th banks of Cork City’s the river Lee (51.89892, -8.48633) and is thought to be the last reclaimed marsh land in the city. Reclaiming land was common in Cork through the seventeenth and eighteenth centuries with the Distiller’s field completed in the 1850s.

During low tide stone walls are visible which were constructed and back filled to raise the land level above the high tide level.

The site was home to an old Dominican Friary, which was known as the Abbey of St. Francis or the Nor th Abbey, before the Nor th Mall distillery was established in 1779.

The distillery was established by two brothers and expanded exponentially producing more than 400,000 gallons per annum in 1833. In 1867 the Nor th Mall Distillery was sold to the Cork Distillers Company which purchased other distillers across the county and continued production through until 1920 when a fire destroyed the five-story mill and all the production buildings.

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The Cork Distillers Company (CDC) decided not to rebuild the distillers and concentrated on production elsewhere.

The site was left as a storage facility until the CDC commissioned Cork architect Frank Murphy to design a modern state of the art bottling facility in 1964 to signify a modern company to rival their competitors.

In 1966 the CDC merged with John Jameson & Co and John Powers & Co to form Irish Distillers which continued to use the Fig. 14

6 Inch Cassini

Fig.15

1837-1842

bottling plant until mid-2007. Subsequently both University College Cork (UCC) and the Mercy hospital purchased the land and buildings around the bottling plant which finally led to the purchase of the building.

The development of the site over time is clear from the Ordance survey maps of the area and an ariel view of the site taken shortly after the construction of the bottling plant was completed. Noting its positioning in the site formally facing the city across the water.

Fig. 16

1888-1913

Fig. 17

Ariel View 1964

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Site Analysis

Currently a recreational pathway (indicated in black dash) runs around the perimeter of the site adjacent to the river Lee. Blue dash indicates an idea

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of opening the site for more public use.

Since the site was purchased by UCC a pedestrian bridge was constructed in 2005 linking the existing campus to this

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satellite campus (North Mall Campus).

There is currently one vehicle entrance to the north east of the site. Buildings

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currently residing on the site include, the Enterprise Centre/Butler building (No.1). which houses laboratories and lecture theatres’ . The Cooperage building (No.2), a 19th century listed building functioning as UCC’s Aquaculture & Fisheries Development Centre (AFDC), a research building for Biological, Earth & Environmental Sciences (BEES). The Cork Distillers Bottling Plant (No.3) currently in use as a storage facility.

Photoshop Investigating movement through and around the site.

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Evidence of the historical development embed into the fabric of the site from the Friary and the ‘Distillers’ (No.4) are still in place across the 23-acre site. A brick chimney which once stood 160 feet tall (No.5) and the remains of a mill race once in use for the distillery (No.6).

Photo montage of the existing perimeter stone wall, investigating historical access to the site through openings. Noting the materials of old red sandstone and brick dressing.

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Site Analysis

Existing industrial construction is of interest ro me, especially twentieth century modernist structures, which are deemed of little economic value and at risk of being demolished.

Specifically, the ‘Distillers’ Bottling Plant, which is currently under the threat of extinction as it on land now owned by UCC and Tyndell Institute who are in the pre planning process to knock the building and repurpose the land for office and lab spaces. As the theme of the year is matter matters with a keen eye for conservation through adaptation, I would be an advocate for the reuse of material for sustainable purposes but also with a view on preserving the memory of the building which is now a landmark in the city itself.

Drawing of the existing ground condition of the site.

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The material build-up of the building is of a quite simple construction with bright glazed yellow bricks facing the front façade and the sawtooth roof covering the enormous bottling area to the rear with steel trusses spanning 30m across.

There are two covered front

openings. The ‘goods out’ area, covered with a large chevron half cantilevered concrete canopy and ‘goods in’ area, covered with a cast concrete canopy with glass bricks around the opening to light into the interior. Conor English writes elequently about how architect Frank Murphy approached the design of the building “each zone has a different approach to its function or purpose, allowing Murphy to break up the mass of the building” (English, 2019)

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Site Analysis

Drawings exploring the presence the building has on its immediate context.

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Site Analysis

Drawings investigating the material build up and structure, figuring out how the steel trusses span to support the sawtooth roof.

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Site Analysis

An exploded isometric of the existing building .

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07. MATERIAL STUDY - BRICK The use of brick on the ‘Distiller’s’ site stirred my interest in investigating the traditional production and use of bricks in construction, compared to modern methods of brick manufacturing. The first widespread use of brick in the surrounding areas occured in the port towns such as Cork, Youghal and Kinsale, where impor ted brick from Holland, was brought in as ship’s ballast. Brick became a popular building material in Cork in the nineteenth century and was commonly used in architectural features such as chimney stacks and flues, and surrounds around doors and windows, both as functional and decorative features. The Cooperage building, which is on the ‘Distiller’s’ site I studied, was constructed in 1870 with solid brick buttresses, limestone copings, red brick dressings to openings and red brick string courses.

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SILICA (SAND) - 60%

ALUMINA (CLAY) - 30%

LIME - 4 %

MAGNESIA - 1%

IRON OXIDE - 5%

Typical ingredients in a brick.

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Material Study - Brick

An abstract view on how traditionally materials would have once came from the surrounding landscape. An idea of how the cooperage building could have been constructed out of locally sourced raw materials .

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1.

2.

Modern day brick manufacturing and transport routes.

1 - Uk/Netherlands to Ireland 2 - Brick suppliers in Ireland

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Material Study - Brick

Brick ‘clay’ is often found around river estuaries, which had the added advantage of facilitating the transport of bulky cargoes of finished brick. Brick making involved the digging of clay by hand; a crushing process, pugging (stiring), moulding to a standard shape and firing in a kiln. .

Brick making was generally a seasonal activity on the smaller Irish brickfields, where brick makers could be casual workers - the main period of production being around April to September. Many of these were established on relatively large acreages of brick clay such as the Ballinphellic brickworks near Ballinhassig, which was set within 45 acres of clay soil owned by the ‘Cork Brick Company’

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The modern day brick production process has six general phases: 1) mining and storage of raw materials, 2) preparing raw materials, 3) forming the brick, 4) drying, 5) firing and cooling and 6) de-hacking and storing finished products

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Material Study - Brick

Traditional solid brick construction.

Cooperage building, Distillery field, 1870

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Fig. 18

Fig. 19

Bricks in use in a modern building. These days primarily used as a skin and not structurally.

Spencer courtyard, London, UK Kennedywaddle - 2020

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Material Study - Brick

08. DESIGN Industries such as the various distilleries that have occupied the ‘Distillers’ field since the 18th century, have played an integral role in the formation of Cork city. From when it was first reclaimed from marsh for use as a Friary, through to the home of the Cork Distillery bottling facility in the early 21st century, it has provided employment, supported the local and national economies, and added to the cultural identity of Cork city. The material composition of that site is embedded in the fabric of the city that it is located, and is interwoven with other local industrial buildings by the use of material, giving it a sense of place in the city.

It is now at another crossroads in its long history, with the current plans to raze the buildings and the reuse of the land for new modern offices and labs. I propose to advocate for the reuse of the building to preserve the historical presence it holds on the site and given the characteristics of the industrial nature, it lends itself to be adaptable to suit the given program currently proposed, while safeguarding the existing.

The concept for my design was to promote movement and make the exisitng building more permeable. while allowing additions to fit within the existing. The concept sketches were ideas, thinking about how I would add to the space both under the roof and additional floors above the offices.

Initial sketch of the existing

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Concept sketches

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ARPAE HEADQUARTERS IN FERRARA, ITALY

Before I started deisigning I looked at precedents that related to the program I was designing for, one that attracted my attention was the ARPAE (Regional Agency for the Prevention, Environment and Energy) Headquarters in Ferrara, Italy by Mario Cucinella Architects (MCA) Located in Ferrara, in a humid temperate climate the building is positioned to exploit access to sunlight and wind. It was of interest as it is a purposely built building for the program but responds to its existing environment effectively, my intention was to fulfill the pragmatic requirements similar to this, while working with an existing structure.

The office and laboratory building is designed to integrate architectural form with innovative systems, passive climate-responsive strategies, and new construction methods maximiseing the use of renewable sources. The building is made from a wooden glulam structure connected by steel elements to a reinforced concrete foundation. A pre fabricated timber decking frame of studs and joist on which the 112 shafts or chimneys are connected sitting within the primary structure. The decking is infilled with 200mm thick fiberboard panel and

Fig. 20

is sandwiched together on each side by OSB panels. After these panels are transported to site and erected, 22mm thick painted white spruce plywood sheets are fastened internally to the panels. Externally wooden listels are fixed running vertially up the chimneys. These pieces vary in size and thickness.

The 112 chimneys are designed for two functions. They control the dispersal of natural light throughout the building and naturally ventilate the offices. As the climate changes from summer to winter so do the way in which the chimneys work. During the hotter summer month the chimneys pass air upwards and out through openings, constrantly changing the air within the space. In winter these openings are closed and the glass face on top of the chimneys allow the space to work are a greenhouse. Producing solar heat allowing it to move throught the building.

Fig. 22

- Mario Cucinella

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Fig. 21

Fig. 23 Summer months - Chimneys Ventilating the building

Fig. 24 Winter months - Chimneys heating the building

A section through a ventilation chamber.

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As the site will act as a satellite campus for UCC its important to look at its relationship to the whole estate and imagine the potential it has to embrace the city and allow people to enjoy the green space which is continuously decreasing.

My proposal is to demonstrate through adaptation that the building does not have to be demolished to ahieve a design suitable for labs offices, research and education spaces on the site and allow the memory and presence of the modernist building to live on.

Surrounding the bottling plant, there are other buildings including the existing tyndall institute building , to form a connection between the two I propose a public pedestrian bridge to cross the river lee. Creating a boardwalk area inviting users to interact with the river.

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Site section. The existing building is formally facing the city, and has a strong relationship the river Lee

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Existing

Proposed

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Existing

Proposed

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To successfully adapt an existing building my attitude is not everything can be retained, and elements must be removed. In this diagram I have identified the existing, then what is to be removed and added Rejuvenation of Irish Modern Industrial Heritage rough Adaptation

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Demonstrated with a model, looking at what I propose to be a glulam structure and how it forms itself around what was the existing offices of the bottling plant. Glulam posts and beams timber structure allow for open spaces rather than enclosed walls 47

Building plan. I decided to remove the perimeter wall around the rear bottling plant to open the building inviting the public and recreational users to access what will now be a large covered open area roof where less institutional programs may occur. Reusing the existing linear office building to the front and forming circulation along a single bay to the rear.

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Section A

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Section A: Sectional perspective through the central courtyard.

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Section B: Sectional perspective through office and lab spaces connected by the covered open-air roof.

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A detailed section and elevation of the proposed structure interacting with the existing.

As the existing form of the building is of an aesthetic nature, I wanted my proposed elevation to be quite laconic.

Deriving the vertical spacings from the existing dimensions of the building to form the proposed linear pattern elevation. The proposed extends to below the height of the existing chimney, again allowing the existing to hold the attention.

To allow light to penetrate the circulation spaces, the form of the roof structure folds inwards, this also allows for double height spaces within.

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Part elevation.

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Part section A

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1:5 details at A1 of how the proposed façade connects back to the Glulam structure and CLT walls.

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Thinking about how the proposed upper floor will allow light to penetrate through the façade.

A defined program is important in these buildings. but to allow social interactions to take place I propose areas with less programmatic function.

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A perspective of how I perceive the front of the building would attract public to the site engaging the city and embellish the existing structure.

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1:50 card model, testing the natural light quality of the labs through the existing roof.

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As part of my research was looking at brick as a material and this informed my material choice. Forming a connection with the building adjacent, I propose that the structures under the existing roof will have an outer leaf of brick, shown in these atmospheric perspectives of the courtyards.

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Another atmospheric perspective of the central courtyard. Conveying the idea of promoting movement through and around the building.

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To conclude I wanted to imagine what would have been a part of my wall for the final review of the year.

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09. BIBLIOGRAPHY Boyd, G. A. & McLaughlin, J. (2015) Infrastructure and the architectures of modernity in Ireland: 1916-2016.

Jäger, F. P. (2012) Old & New: Design Manual for Revitalizing Existing Buildings. Basel: Birkhäuser. p.7

Farnham: Ashgate.

Keogh, P., 2020.The Problem with Preserving Historic Buildings – And Why It Needs to Change.The Irish Times.

Brand, S. (1994) How buildings learn: what happens after they’re built. New York, N.Y.; Viking.

<https://www.irishtimes.com/life-and-style/homes-and-property/the-problem-with-preserving-historic-buildings-and-why-it-needs-to-change-1.4390882 />

Conor English (2019) Corks modern architect: The work of Frank Murphy: Kirkwood, H. (2001) Manufactured Sites: Rethinking the Post-Industrial Landscape. London: Taylor & Francis.

Cossons, N. Why preserve industrial heritage, in Douet. J. (2012) Industrial heritage re-tooled: the TICCIH guide

com/2015/09/06/the-life-expectancy-of-buildings/>

to industrial heritage conservation. Lancaster UK: Carnegie Publishing Limited.

Rothery, S. (1991) Ireland and the new architecture, 1900-1940. Dublin: Lilliput Press.

Cramer, J. & Breitling, S. (2012) Architecture in Existing Fabric: Planning, Design, Building. Basel: Birkhäuser, Thompson, S., 2021. Ireland’s Industrial Heritage: The Past You Might Not Know We Had. The Irish Times.: Crowley, J. & Murphy, M. (2005) Atlas of Cork city. Cork: Cork University Press.

https://www.irishtimes.com/culture/heritage/ireland-s-industrial-heritage-the-past-you-might-not-know-wehad-1.2324451 />

Cullinan, E., 2020. A Celebration of Ireland’s Modernist Heritage. The Irish Times.: <https://www.irishtimes.com/ life-and-style/homes-and-property/a-celebration-of-ireland-s-modernist-heritage-1.2503610 />

Williams, F., 2020.Train of Thought: Lochal Library by Civic Architects.The Architects’ Journal. <https://www.architectsjournal.co.uk/buildings/train-of-thought-lochal-library-by-civic-architects-2?post_id=151849&access=off/>

Donnelly, B., 2021. Brandon Donnelly The Life Expectancy of Buildings. <https://brandondonnelly.

Zaitzevsky, C. (1979) Built to Last: A Handbook on Recycling Old Buildings. 11 (1) p.98–100 Glendinning, M. (2013) The conservation movement a history of architectural preservation: antiquity to modernity. New York: Routledge

2020. TICCIH – The International Committee for the Conservation of The Industrial Heritage Ticcih.org. <https://ticcih.org/>

Harvey, D. (2003) The right to the city. International journal of urban and regional research. 27 (4), 939–941.

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IMAGE SOURCES

Fig 1 - https://crawfordartgallery.ie/work-of-the-week-21-december-2020/ Fig 2 - https://twitter.com/savecorkcity/status/1265280838985383938/photo/1 Fig 3 - https://twitter.com/Dalypixels/status/1340307083032408065 Fig 4 Fig 5 - https://twitter.com/archireland/status/1003698080460533765 Fig 6 - http://hiddenarchitecture.net/fondazione-querini-stampalia/ Fig 7 - https://www.inexhibit.com/mymuseum/caixaforum-madrid-herzog-de-meuron Fig 8 - https://www.inexhibit.com/mymuseum/caixaforum-madrid-herzog-de-meuron Fig 9 - https://urbannext.net/lochal-public-library/ Fig 10 - https://www.architectsjournal.co.uk/buildings/train-of-thought-lochal-library-by-civic-architects-2 Fig 11 - https://www.architectsjournal.co.uk/buildings/train-of-thought-lochal-library-by-civic-architects-2 Fig 12 - https://www.miesarch.com/work/4113 Fig 13 - http://makingirelandmodern.ie/projects/transportation/ Fig 14 - http://map.geohive.ie/mapviewer.html Fig 15 - http://map.geohive.ie/mapviewer.html Fig 16 - http://map.geohive.ie/mapviewer.html Fig 17 - https://www.archiseek.com/2018/1964-irish-distillers-bottling-plant-north-mall-cork/ Fig 18 - https://www.archdaily.com/942523/spencer-courtyard-kennedytwaddle Fig 19 - https://www.archdaily.com/942523/spencer-courtyard-kennedytwaddle Fig 20 -https://aasarchitecture.com/2014/04/arpa-new-headquarters-mario-cucinella-architects.html/ Fig 21 -https://aasarchitecture.com/2014/04/arpa-new-headquarters-mario-cucinella-architects.html/ Fig 22 -https://aasarchitecture.com/2014/04/arpa-new-headquarters-mario-cucinella-architects.html/ Fig 23 -https://aasarchitecture.com/2014/04/arpa-new-headquarters-mario-cucinella-architects.html/ Fig 24 -https://aasarchitecture.com/2014/04/arpa-new-headquarters-mario-cucinella-architects.html/

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