Dissertation - Defining Irishness in Northern Irish Architecture

Defining Irishness in Northern Irish Architecture: A Study of Contemporary Identity

Figure 1: Building collage

Orran Slade 20019845 BSc (Hons) Architecture University of the West of England

January 2023 Word count: 4,648

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Declaration This study was completed as part of the BSc (Hons) Architecture at the University of the West of England. The work is my own. Where the work of others is used or drawn on, it is attributed to the relevant source.

Orran Slade

Copyright This dissertation is protected by copyright. Do not copy any part of it for any purpose other than personal academic study without the permission of the author.

Figure 2: Giant’s Causeway (Klopp, 2014)

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Abstract This dissertation examines the contemporary identity of Northern Ireland’s architecture by conducting a comprehensive study that includes a review of existing literature, observations of the current state of the built environment, and design analyses of specific buildings. The study aims to determine whether Northern Ireland’s architecture is moving towards a more independent and distinct sense of identity, and to provide insight and applications for the ongoing exploration of Irish identity in architecture. It is found that architecture can reflect and shape the cultural identity of a society, and that retrofitting is a potential strategy for enhancing the cultural preservation of historically significant buildings in Northern Ireland. Additionally, the contrast between Belfast’s urban fabric and the rest of the country is highlighted, with rural areas often experiencing a lack of resources and investment in building construction. The James Connolly visitor centre is presented as a model for how architects can create new structures that are inclusive and responsive to local heritage. The study concludes that the architecture of Northern Ireland is shaped by a complex interplay of cultural, political, and economic factors, and further research is needed to fully understand its contemporary identity.

Figure 3: Belfast City hall (Visit Ireland, n.d.)

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“... Taking things in his Elysian stride, Talking his way back into sites and truths The art required and his life came down to: Blue slate and whitewash, shadow-lines, projections, Things at once apparent and transparent, Clean-edged, fine-drawn, drawn-out, redrawn, remembered...”

Excerpt from “An Architect” by Seamus Heaney, 1996 (Weston Prince, 2000)

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Contents Introduction 1 Methodology 2 Literature review 3 External Context 5

Ambivalence and Progress: an analysis of Northern Ireland’s Architecture industry 7 Rurality, Urbanity and the Border 9 Reclaimation: Aras ui Chonghaile

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Conclusion

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Bibliography

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Figure List

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Introduction

Introduction The question of whether a contemporary Irish architectural identity exists is a significant and complex argument. This is especially true in the case of Northern Ireland, which was created as a result of Ireland’s partition and the Government of Ireland Act 1920, due to the Irish War of Independence in 1920. (McGarry and O’Leary, 1995) The country has a rich architectural history rooted in vernacular structures that reflect the island’s geology and elements. However, British colonialism and occupation disrupted the development of this history by imposing English legal systems, language, and architecture on the island (Rowan, 1997). As a result, it is unclear whether the architecture of Northern Ireland reflects a distinct ‘Irish’ identity.

To answer this question, the researcher will conduct a comprehensive study that will include a review of existing literature on the subject, observations on the current state of the built environment in Northern Ireland and design analyses of specific buildings. The study’s goal is to determine whether Northern Ireland’s architecture is moving toward a more independent and distinct sense of identity. The researcher hopes to provide valuable insight and developable applications for the ongoing exploration of Irish identity in architecture by defining what constitutes ‘Irishness’ in architecture.

Specifically, by linking the concepts of cultural identity, historical context and the built environment, the researcher aims to demonstrate how architecture can reflect and shape the cultural identity of a society, and how this can be used to promote inclusivity and civic harmony.

Methodology

Methodology This research methodology aims to outline the methods employed in the investigation of the topic of “Defining Irishness in Northern Irish Architecture: A Study of Contemporary Identity.” The methodology comprises a literature review, a cross-sectional analysis of Northern Ireland’s contemporary built environment, a comparison of rural and urban architectural landscapes, and a building case study.

Ultimately, these diverse methods of analysis will allow for a comprehensive examination of opinions and perspectives when reaching a conclusion and proposing potential applications of the research. By considering a range of viewpoints and utilising a variety of analytical techniques, the researcher aims to gain a more holistic understanding of the topic at hand and develop a more nuanced and wellsupported conclusion.

Firstyly, the literature review serves as a meta-analysis of relevant material, sourced from reputable journals and publications, and written by prominent architectural historians, cultural commentators, journalists, and architectural critics. While the qualitative nature of this research may be subject to some degree of subjectivity, evaluation of opinions on the topic will enable a balanced and considered conclusion to be reached.

The case study approach allows for a close examination of a localised, contextual example of manifestation of ‘Irishness’ in the built environment. Accompanying photographs will be used to highlight architectural motifs and approaches. In addition, observations from the researcher and additional literature on rurality and urbanity in Northern Ireland will provide a more informal commentary on the atmospheres of places and buildings, across the nation as a whole.

In conclusion, the analyses, accompanied by the case study, will be reflected upon to assess the contemporary identity of Northern Irish architecture, identifying shortcomings and suggesting potential actions that built environment professionals could take to enrich the cultural identity of the nation’s architecture. This methodology is suitable for the research aim of exploring Northern Ireland’s contemporary architectural identity and evaluating existing understanding of the topic. If this research were to be revisited in the future, a larger study incorporating additional case studies and literature could be conducted to provide a more comprehensive analysis and strengthen the findings and applications of the research.

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Literature review

Literature review There is a wealth of literature, including studies, journals, and other sources, that examine the issue of identity in Northern Ireland. However, this topic is not often discussed within the field of architecture. This literature review aims to summarise the narrative on cultural identity in Northern Irish architecture and to consolidate the prevailing opinions on the subject. Alistair Rowan’s article, “The Irishness of Irish Architecture,” published in the journal Architectural History, is a key source for understanding the relationship between Irish identity and architecture throughout the country’s history. Inspired by Niklaus Pesvener’s “The Englishness of English Architecture,” Rowan’s work examines the ways in which national identity is reflected in architectural styles. This article is a valuable contribution to the literature on Irish architectural history (Rowan, 1997). Rowan’s article provides a detailed analysis of the architectural history of Ireland, beginning with Megalithic structures such as Newgrange and continuing through to the 19th century, when English architectural styles were imported and synthesised. By examining this history, the article contextualises the contemporary architectural landscape in Ireland, including Northern Ireland (Rowan, 1997). While not all of the buildings discussed in the article are located in Northern Ireland, a comprehensive understanding of the architectural history of the entire island is relevant for understanding the topic of cultural identity in Northern Irish architecture.

In her article ‘A Future for Irish Vernacular Architecture?’, published in Archaeology Ireland, Bairbre Ó Floinn argues that Irish vernacular buildings: “…reflect the culture that gave rise to them…” (1989, p.148), are undervalued by the architectural discipline in Ireland. Ó Floinn contends that these buildings are more significant than those of imported styles and typologies, which were often built for the wealthy.

As Ó Floinn advocates, it is crucial for the increased conservation and study of Irish vernacular buildings, which are being neglected and allowed to fall into disrepair. By recognising the importance and cultural value of these structures, we can work towards preserving them and ensuring they continue to shape the architectural identity of Ireland. The built environment industry has attempted to replicate the traditional Irish country home, but according to Ó Floinn, these efforts are unsuccessful. Vernacular buildings, on the other hand, are authentic representations of Irish culture

Literature review

and are in danger of disappearing due to a lack of conservation efforts (Ó Floinn, 1989). This issue is relevant to my research question because it illustrates the identity crisis facing Northern Irish architecture, which prioritises functionality over the preservation of culturally significant Irish buildings; this trend results in the neglect of important architectural structures that reflect the cultural identity of Ireland.

In his article “Identity Check: Slow Architecture Grows on the Islands of Ireland,” published in The Architectural Review, Shane O’Toole discusses the challenges facing the development of an architectural culture in Northern Ireland. O’Toole highlights the threat that Brexit poses to the fragile peace in Northern Ireland, as the return of a hard border could lead to the closing of many roads, reminiscent of the restrictions during the Troubles in the 1970s and 1980s. The physical legacy of the Troubles, such as peace walls and isolated neighbourhoods, remains present in Northern Ireland and continues to hinder trust and compromise between the two communities.

Additionally, the Northern Irish economy has suffered, with per capita income significantly lower than in the Republic of Ireland. This economic decline, combined with the lack of autonomy in city planning and regeneration, has hindered the growth of an architectural culture in Northern Ireland. Despite these challenges, O’Toole notes that there are architects in Northern Ireland who are working to shape a connected and inclusive post-conflict city through their designs (O’Toole, 2019).

Despite challenges such as the threat of Brexit, the legacy of the Troubles, and economic decline, there are architects in Northern Ireland who are working to shape a connected and inclusive postconflict city through their designs. This highlights the complexity of defining Irishness in Northern Irish architecture and the need for further research on the topic. In order to fully understand the contemporary identity of Northern Irish architecture, it is important to consider the various cultural, political, and economic factors that have shaped the built environment. Further research on this topic will be valuable in understanding the role of architecture in defining Irish identity in Northern Ireland.

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External context

External context Before the examination of the state of Northern Ireland’s contemporary architectural identity, it is pertinent to define and summarise terms and ideas that are relevant to the research, providing historical context so that the analysis is not solely focused on the current condition of the nation’s built environment. This will facilitate a more holistic understanding of the topic, and enable an examination of how past events have shaped the architectural landscape of Northern Ireland today.

National identity, aside from the cultural arts and architecture, differs drastically . Irish nationalists believe that Northern Ireland should be a part of a unified, independent Ireland, while Unionists believe it should remain a part of the United Kingdom. These political identities are often conflated with religious identities in Northern Ireland, with Catholics being associated with nationalism and Protestants with unionism. However, it is important to note that these connections are not concrete, and that nationalism and Irish republicanism are secular movements not affiliated with the Catholic Church. Roman Catholicism has played a significant role in Irish ethnic nationalism movements as it serves as a symbol of native Irish identity, similarly, Protestantism is seen as a symbol of the identity of the settlers and their descendants (McGarry, O’Leary, 1995). Identity in Northern Ireland is a multifaceted and contentious issue, with divisions along religious, national, and political lines. Despite progress towards integration, sectarian tensions remain.

It is important to define what is meant by Irish vernacular architecture. Compared to other civilisations, such as Japan with its pagodas or Greece with its temples, one may say that Irish vernacular architecture is less well known and less easily identifiable. To understand the timeline and progression of the Irish vernacular, it is essential to recognise the importance of the island’s geological profile in defining its architectural story.

External context

Ireland has a very diverse geological composition despite only being around 70,000km in land area; this is due to high levels of volcanic activity from the Atlantic Ocean’s seafloor to the west and glacial shifts after the Ice age, which created glens, valleys, and mountains across the island. (Geological Survey Ireland, 2019) Approximately 80% of Ireland’s land area is comprised of white carboniferous limestone on the flat plains, flanked by a border of granite mountains down its coastlines.

Once native settlers of the island obtained the means to reach the bedrock, limestone rock became the primary material used in constructing shelters as early as 3200 BCE, in Megalithic passage tombs like Newgrange, Co. Louth (Figure 4) (Rowan, 1997, p.1). This reliance on Ireland’s geology to articulate its buildings is still prevalent today, with most rural communities still predominantly utilising the island’s stone – the glaring exception being the major cities of Belfast and Dublin, that are populated by a higher proportion of contemporary structures from ‘non-vernacular’ materials such as timber, metals and brick.

Figure 4: Newgrange passage tomb at Winter Solstice (National Museum of Ireland n.d.)

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Ambivalence and progress

Ambivalence and Progress: an analysis of Northern Ireland’s Architecture Industry Since its founding in 1921, Northern Ireland has shown to be a challenging nation to develop an architectural culture. Before the southern 26 counties won independence, Belfast and the counties that now comprise Northern Ireland today were responsible for 80 per cent of economic output of the island. Today, however, Northern Ireland is a shadow of its former self in an economic sense.

Data from the Financial Times indicates that in 2018, the Republic of Ireland had exports of goods and services worth €282.4bn, while Northern Ireland had exports worth only €10.1bn, a difference of nearly 30 times. Furthermore, per capita income in Northern Ireland is currently €22,000, a significant decrease from its previous wealth, while in the Republic of Ireland, per capita income is €38,000 (O’Toole, 2019).

Consequentially, the shift in wealth and economic activity in Northern Ireland has had a profound impact on the architecture profession. Despite the lack of internationally renowned architecture firms based in the region, the Republic of Ireland is home to well-established firms such as O’Donnell + Tuomey and Grafton Architects, the latter of which won the Royal Institute of British Architects (RIBA) Stirling Prize in 2021 for their Town House for Kingston University London (RIBA, 2021).

As of the time of writing, there are only 1,114 registered architects practicing in Northern Ireland according to the Architects Registration Board (ARB, 2023). As a result, many of the large-scale projects in Northern Ireland are designed by architects from the Republic or from other international locations. However, the results of the RIBA Future Trends survey conducted in 2019 indicate that Northern Irish architects were the most confident in the expectation of an increase in workloads within the sector, despite the uncertainty surrounding Brexit and the suspension of the Northern Irish Assembly at the time (RIBA, 2017).

The architecture industry’s response to the issues surrounding cultural identity in Northern Ireland represents a distinct and more deeply ingrained challenge that requires attention. In the paper “Architectural Ambivalence: the Built Environment and Cultural Identity in Belfast,” authors Malachy

Ambivalence and Progress

McEldowney, Ken Sterrett, and Frank Gaffikin use the term “ambivalence” to describe the contradictions present within Northern Ireland’s architectural sphere, as well as the differing political perspectives on the region’s ethnic identity (McEldowney, Sterrett, Gaffikin, 2001). In conclusion, the examination of the issues surrounding cultural identity in Northern Ireland’s architecture reveals a complex and multifaceted challenge. The use of the term “ambivalence” by McEldowney, Sterrett, and Gaffikin in their paper highlights the contradictions and differing political perspectives present within the architectural sphere of Northern Ireland. These findings underscore the importance of continued research and analysis in understanding and addressing the challenges of cultural identity in the built environment of Northern Ireland.

One area in which ambivalence is particularly prevalent is the idea that Northern Ireland should not cling to its past, as there is a fear that doing so could revive the sectarian divisions that were so destructive during the Troubles. In an architectural context, this has negative consequences on buildings of cultural significance, as vernacular structures that embody the region’s past are neglected in favour of efforts to redefine Northern Ireland’s identity (Ó Floinn, 1989).

One potential strategy for enhancing the cultural preservation of historically significant buildings in Northern Ireland would be to place greater emphasis on retrofit projects. Such projects could improve the representation of heritage in the contemporary architectural landscape while also addressing issues such as thermal performance and aesthetics. The Royal Society of Ulster Architects (RSUA) could introduce incentives for retrofit projects to encourage the preservation of vernacular buildings, as a more deliberate and effective use of resources in the context of improving the quality of Northern Ireland’s architectural output.

As an example, the Aras Uí Chonghaile project by McGurk Architects (2019) presents an excellent case study of the benefits of retrofitting to enhance areas in need of development. The project involved the transformation of a disused former post office into a visitor centre celebrating the legacy of Republican James Connolly. The architect has skilfully repurposed the building, utilising smart use of existing structure and sensitive detailing to create an architecturally impressive space. The project has received a number of awards, including the 2022 RIBA Regional Award (McGurk, n.d.).

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Rurality and Urbanity

Rurality and Urbanity The difference between the architectural quality in rural and urban areas of Northern Ireland is clear, particularly when comparing Belfast’s architecture to the rest of the country.

According to McEldowney, Sterrett, and Gaffikin, Belfast’s residential areas tend to lean towards traditional vernacular architecture while the city centre embraces a more modern, consumerist style; this creates a sense of ambivalence, looking both backwards and forwards in terms of identity. On the other hand, rural areas of Northern Ireland lack the

Figure 5: Belfast City Hall Statue

resources to develop an international style or address deficiencies in their built environment (McEldowney, Sterrett, Gaffikin, 2001).

Despite the potential for increased investment in building construction in rural areas, it is important to consider the potential resistance to altering the authentic sense of place that has developed in towns and villages through the introduction of new buildings. This sentiment is echoed in Pat Loughery’s journal article “Communal Identity in Rural Northern Ireland” (1985) where the author highlights the strong respect for tradition and preservation of cultural sites in rural communities. It is

Figure 6: Stable building in the Glens of Antrim

Rurality and Urbanity

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crucial to approach any changes to the built environment with sensitivity to the cultural heritage and sense of place that is deeply valued by these communities. Additionally, it is important to consider alternative solutions that could respect and enhance the existing sense of place, rather than completely altering it (Loughery, 1985).

Despite the aforementioned reluctance towards change in rural areas, the issue of Figure 7: Mary McBride’s pub in Cushendun, Glendun.

Area and local character preserved by National Trust

poor maintenance of existing vernacular or architecturally significant buildings remains prevalent. In Ulster, many buildings that have been granted special protective status were once owned and occupied by plantation owners who settled in the region during the 1600s. The Plantation of Ulster, which saw the decline of the Gaelic social and political system, brought about significant changes to the economy, governance, and land ownership.

This period saw a large influx of settlers from England and Scotland into Ulster, leading to a shift in the ethnic makeup of the region and

Figure 8: Church near Murlough Bay, Causeway Coast

adding complexity to the religious and political landscape (Kennedy and Ollerenshaw, 2013).

This power shift resulted in the ethnically Irish

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Rurality and Urbanity

settlers being relegated to less arable land, such as the glens and craggy coastline, while the Scottish and English plantation owners occupied the more fertile, low-lying land (McGarry and O’Leary, 1995).

An example of vernacular structures that facilitated survival for these communities is the ‘hidden village’ of Galboly, near Garron Point, Gleanarm Country Antrim. The village of Galboly, located within the picturesque glens of Antrim, presents a unique opportunity for architectural and historical study. The remains of the rural cottages, now in a state of dereliction, offer a glimpse into the past and the location, nestled between the mountains of Garron plateau and the sea, imbues the site with a sense of charm and mystery. The setting of Galboly, which is hidden from view, adds to its significance as an object of study for understanding the architectural and cultural heritage of rural communities in Northern Ireland (Belfast Entries, 2021).

The cottages in Galboly village were stone-built, one-storey structures, with the exception of one building that featured an upper floor. These cottages typically consisted of a single room, serving as a multi-purpose space for the inhabitants.

Historically, the roofs were thatched, though some were later replaced with aluminium sheeting (Figure 9). An open fireplace, fuelled by turf, provided both heat and a means of cooking for the residents. The advent of new farming methods and the decline in labour needs led to changes in traditional ways of life. The steep terrain of the mountainside limited the use of agricultural machinery and small farmers struggled to compete with larger commercial enterprises. As a result, the population of the village gradually decreased

Figure 9: Dilapidated cottage with thatched roof in Galboly (Belfast Entries, 2021)

Rurality and Urbanity

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as residents left to find employment in urban areas. By 1951, only 6 people remained in the once bustling rural village (Belfast Entries, 2021).

The original village houses in Galboly, now in a state of disrepair, have recently gained renewed attention as a filming location. The production team of the popular TV series ‘Game of Thrones’ recreated the vernacular Figure 10: Replica vernacular cottage built for Game of Thrones Galboly (Belfast Entries, 2021)

architecture of the village. (Figure 10). (Belfast Entries, 2021) The case of Galboly serves as a metaphor for the disregard of rural vernacular structures in Northern Ireland, where preservation efforts and public funding are often not allocated despite their architectural merit, which was gifted a new lease of life for cinematic purposes.

In their article, McEldowney, Sterrett, and Gaffikin highlights the lack of inclusivity in Belfast’s built environment throughout the century. They point out that the Edwardian city was seen as excluding Catholics, and certain parts of the modern city are viewed as excluding Protestants. Additionally, the consumerist city of the 1980s was seen as only Figure 11: Cloister in Queen’s University Belfast’s main building

catering to the well-off, while the terrorised

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Rurality and Urbanity

city of the 1970s effectively excluded everyone (McEldowney, Sterrett, Gaffikin, 2001). This cacophony of styles does not converge seamlessly, with Belfast’s urban fabric feeling like a patchwork of different styles and eras, with each patch often associated with either Protestants/Unionists or Catholic/Nationalists, a sign that the architecture of Belfast is not promoting civic interconnection.

McEldowney and co. also remark that Belfast also appears “…ashamed of its local character…” (2001, pp. 115), due to its troubled history (McEldowney, Sterrett, Gaffikin, 2001).

In conclusion, this section has examined the disparities in architectural quality between rural and urban areas in Northern Ireland. The comparison between Belfast’s urban fabric and the rest of the country has revealed a distinct contrast in the built environment. The rural areas, particularly those that were once inhabited by Gaelic communities, have experienced a lack of resources and investment in building construction. This has led to a prevalent issue of poor maintenance of vernacular or architecturally significant buildings. Observation of the village of Galboly illustrates the importance of understanding the historical, cultural and architectural significance of rural communities, and the need for preservation and conservation efforts to be directed towards these areas. To promote unity and progress towards a more architecturally confident capital in Belfast, architects should encourage projects that connect areas of varying architectural styles and break down the invisible barriers between the city’s enclaves.

Figure 12: Ulster Museum brutalist facade

Reclaimation

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Reclaimation: Áras Uí Chonghaile/ James Connolly Visitor Centre Áras Uí Chonghaile/ James Connolly Visitor Centre, opened in 2019, is a retrofitted Victorian twin end-of-terrace on the historic Falls Road, West Belfast. This project has been lauded for its innovative approach to adapting the existing building to facilitate its new purpose, winning multiple awards, some of which include: RSUA Design Award 2022, RIBA Regional Award 2022, Most Sustainable Building 2021 – Façade Awards UK, Liam McCormick Building of the Year 2022. The purpose of this Figure 13: James Connolly statue outside Centre

case study is to examine retrofitting as a means of addressing the issues of inclusivity and cultural identity in Northern Irish architecture.

The James Connolly visitor centre is located on Falls Road, Belfast, a historically significant area known for its association with Irish republicanism and the nationalist community.

The building itself is dedicated to James Connolly, a prominent figure in Irish history and one of the leaders of the Easter Rising of 1916. He is revered as a hero of the Irish nationalist movement and his legacy continues to be celebrated in Northern Ireland.

Figure 14: Mural on Falls Road, West Belfast

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Reclaimation

The centre aims to commemorate his life and ideas, and to educate visitors about the Irish struggle for independence (McGurk Architects, 2022).

Falls Road, where the centre is located, has a long history of political and social significance.

It has been a centre of Irish nationalism activity since the 19th century and was heavily impacted by the Troubles, the period of conflict in Northern Ireland from the late 1960s to the late 1990s. The area experienced significant

Figure 15: Perforated brick second skin facade

upheaval and violence during this time, and many of its buildings were damaged or destroyed. The visitor centre’s location on Falls Road, therefore, holds a special significance as it stands as a symbol of resilience and community perseverance, and it serves as an important cultural hub for the community (Zenker, 2016).

The building, originally a corner shop and post office, began redevelopment in 2016 at the proposal of client Visit West Belfast (Fáilte Feirste Thiar). The project received significant funding from Belfast City Council, as well as additional donations from North American trade unions with a strong connection to

Figure 16: Material junctions

Reclaimation

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Ireland and the legacy of James Connolly. The Áras Uí Chonghaile serves as a crucial site for understanding and preserving the history of the Irish republican movement, particularly in the context of the Falls Road community where Connolly lived. The project also represents an important example of the role of local government and community organisations in preserving cultural heritage and promoting cultural tourism (Maxwell, 2020).

Figure 17: Drip drain gutter on balcony

The author of this dissertation visited the centre in August 2022, prompting the choice of Áras Uí Chonghaile as a case study.

Observations made in the following design analysis are based upon visiting the centre and subsequent research.

McGurk Architects, an architecture firm based in Magherafelt, Co. Derry, were appointed to undertake the design of the centre, with founder of the practice, the late Colm McGurk, as the principal designer. The design team approached the project with a focus on utilising the existing structure and accommodating its unique characteristics. This approach allowed for the allocation of funds towards elements Figure 18: Handrail detail, existing timber joist

such as the bespoke perforated corten steel clad

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Reclaimation

extension, voided and extruded brick skin, and stairwell detailing. The corten steel (Figure 19 and 21), which features an intricate perforation revealing the image of James Connolly’s face, references the maritime and industrial heritage of Belfast where Connolly’s campaigning aimed to improve the labour conditions of exploited workers (McGurk Architects, 2022).

The building’s interior also showcases the design team’s skilful utilisation of space, with a range of features including a bilingual museum,

Figure 19: James Connolly corten steel screen

café, library, office, and a space for meetings, learning, or exhibiting all incorporated within a relatively small area without feeling cramped.

The use of design elements such as double height glazing in the extension, stacked light wells (Figure 20), and a balcony terrace on the roof of the side extension, are key to creating a sense of spaciousness and bringing natural light into the building (McGurk Architects, 2022).

In addition to preserving the existing structure, the design team also made efforts to enhance thermal insulation, minimise cold bridging, and maximise air tightness to meet or exceed modern building control standards (McGurk Architects, 2022). This approach not only improved energy efficiency but also reinforced the building’s cultural significance by preserving

Figure 20: Short section (McGurk Architects, 2022)

Reclaimation

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its heritage and character.

The case study of the James Connolly visitor centre on Falls Road, Belfast, serves as a powerful example of the potential of retrofitting to address issues of inclusivity and cultural identity in Northern Irish architecture.

Through its design, materials, and layout, this retrofitted building offers valuable lessons for other architects and developers looking to Figure 21: Corner

create new or rehabilitated structures that are sensitive to the unique cultural heritage and identity of Northern Ireland. By focusing on the preservation of the area’s character, and the integration of new design elements that promote a sense of community and unity, the James Connolly visitor centre represents a successful example of how retrofitting can be used to create buildings that are not only functional, but also meaningful and representative of the culture and history of their surroundings. Ultimately, the James Connolly visitor centre serves as a model for how architects and developers can work to create new structures that are inclusive, responsive to local heritage, and reflective of the cultural identity of Northern Ireland.

Figure 22: Window

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Conclusion

Conclusion In conclusion, this dissertation has aimed to explore the contemporary identity of Northern Irish architecture and its relationship to cultural, political, and economic factors. Through the examination of case studies such as the James Connolly visitor centre, it has demonstrated that architects in Northern Ireland are working to create a connected and inclusive post-conflict city, despite the challenges faced by the region. However, it is clear that further research is needed to fully understand the complexities of the contemporary identity of Northern Irish architecture.

Retrofitting has been identified as a potential strategy for enhancing the cultural preservation of historically significant buildings in Northern Ireland. By improving the representation of heritage in the contemporary architectural landscape, while also addressing issues of thermal performance and aesthetics, retrofitting can be a more deliberate and effective use of resources in the context of improving the quality of Northern Ireland’s architectural output.

The contrast between Belfast’s urban fabric and the rest of the country has also been highlighted, with rural areas often experiencing a lack of resources and investment in building construction, leading to poor maintenance of vernacular or architecturally significant buildings. It is important to understand the historical, cultural, and architectural significance of these rural communities and to direct preservation and conservation efforts towards them.

Overall, the James Connolly visitor centre serves as a model for how architects and developers can create new structures that are inclusive, responsive to local heritage, and reflective of the cultural identity of Northern Ireland. As such, the architecture of Northern Ireland is shaped by a complex interplay of cultural, political, and economic factors, and that further research is needed to fully understand the contemporary identity of Northern Irish architecture.

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Weston Prince, C. (2000) Resonant Forms: Architecture in the Poetry of Seamus Heaney and Derek Walcott [online].

PhD, University of Toronto. Available from: https://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/NQ49886. pdf [Accessed 12 January 2023].

Zenker, O. (2016). Irish/ness is all around us : Language revivalism and the culture of ethnic identity in Northern Ireland. New York: Berghahn.

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Figure list

Figure List Figure 1 – Building Collage: made by the Author Figure 2 – Giant’s Causeway: Klopp, S. (2014) Giant’s causeway. [online]. Available flickr. com/photos/ kloppster/14213693110/ [Accessed 2 May 2022].

from: https://www.

Figure 3 – Belfast City Hall: Visit Ireland (n.d.) Belfast City Hall. [online]. Available from: https:// visitbelfast. com/partners/bel fast-city-hall/ [Accessed 1 May 2022].

Figure 4 – Newgrange Co. Louth: National Museum of Ireland (no date) ‘The Winter solstice at Newgrange’. [online]. Available from: https://www.museum.ie/en-IE/Collections-Research/ Irish-Antiquities-Division-Collections/Irish-Antiquities-Articles/The-Winter-solstice-at-Newgrange.

Figure 5 – Belfast City Hall statue: Photograph taken by the Author Figure 6 - Stable building in the Glens of Antrim: Photograph taken by the Author Figure 7 - Mary McBride’s pub in Cushendun, Glendun: Photograph taken by the Author Figure 8 – Church near Murlough Bay, Causeway coast: Photograph taken by the Author Figure 9 – Dilapidated cottage with thatched roof in Galboly: Belfast Entries (2021). Galboly – The County Antrim Village Lost in Time. [online] Belfast Entries. Available at: https://www.belfastentries.com/places/galbolyvillage/ [Accessed 13 Jan. 2023].

Figure 10 - Replica vernacular cottage built for Game of Thrones Galboly: Belfast Entries (2021). Galboly – The County Antrim Village Lost in Time. [online] Belfast Entries. Available at: https://www.belfastentries.com/ places/galboly-village/ [Accessed 13 Jan. 2023].

Figure 11 - Cloister in Queen’s University Belfast’s main building: Photograph taken by the Author Figure 12 - Ulster Museum brutalist façade: Photograph taken by the Author Figure 13 - James Connolly statue outside Centre: Photograph taken by the Author Figure 14 - Mural on Falls Road, West Belfast: Photograph taken by the Author Figure 15 - Perforated brick second skin facade: Photograph taken by the Author Figure 16 - Material junctions: Photograph taken by the Author Figure 17 - Drip drain gutter on balcony: Photograph taken by the Author Figure 18 - Handrail detail, existing timber joist: Photograph taken by the Author Figure 19 – James Connolly corten steel screen: Photograph taken by the Author

Figure list

Figure 20 – Short section: McGurk Architects (2022) ÁRAS UÍ CHONGHAILE / JAMES CONNOLLY VISITOR CENTRE. [online]. Available from: https://www.mcgurk-architects.com/aras-uichonghaile-james-connolly-visitor-centre/ [Accessed 12 January 2023].

Figure 21 – Corner: Photograph taken by the Author Figure 22 - Window: Photograph taken by the Author

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