My 2021 Architecture Portfolio - Eoin Denvir

ARCHITECTURE

P O R T F O L I O EOIN DENVIR

EOIN DENVIR RIBA PART 1 POST GRADUATE.

ARCHITECTURAL PORTFOLIO | VOL 1.

Architecture to me is the connection between people, the place, and the built environment. Society is shaped by architecture, there must be harmony between the theoretical, social, functional and technical characteristics, while at the same time, relating respectfully to its context. The way people behave and act, think and feel can be directly influenced by architecture. This is something that drives all my conceptual work.

I have a passion for the environment and love being challenged by it. The environement provides the brief and we have no choice but to respond. With the imminent threat of climate change, having a design that is adaptable to its surroundings, egologically sustainable and environmentally safe, is something I strive for in every project.

My experiences so far not only include academia, but I also make every effort to relate with the professional world and with beneficial extra activities. I was lucky enough to work as an intern in an architectural practice for a summer.

While I was there, I learned how important it is to be able to balance the many different themes and requirements of a project, from team work and theoretical issues, to dealing with clients, engineers and building regulations.

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To conclude, I not only have a fascination with architecture, but with knowledge and all the information architects needs to know to work at peak performance, and Im willing to learn.

1 | THE DEBRIS FIELD - ARMADA WRECK SITE, SLIGO | ACADEMIC | 04 - 11

2.1 | RIVERSIDE MASTERPLAN - GARAVOGUE, SLIGO | ACADEMIC | 12 - 13

2.2 | WICKER - GARAVOGUE RIVERSIDE , SLIGO | ACADEMIC | 14 - 21

3 | RESILIENCE - GLENNIFF HORSESHOE VALLEY, SLIGO | ACADEMIC | 24 - 27

4 | RESILIENCE REVISITED - FINAL YEAR LOOK BACK | ACADEMIC | 28 - 31

5 | BD RENOVATION - STRANDHILL COAST, SLIGO | PROPERTY | 32 - 35

YEAR: 2019 | LOCATION: GRANGE, SLIGO | BUILDING: ARAMDA INTERPRETIVE CENTRE | TYPE: ACADEMIC

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THE DEBRIS FIELD A DYNAMIC SHIFT IN PRESERVING OUR HISTORY

THE BRIEF WAS TO DESIGN AN ARMADA INTERPRTIVE CENTRE. A BUILDING THAT SERVED AS BOTH A MUSEUM TO TELL THE STORY OF THE WRECKAGES AT STREEDAGH BEACH AND BEYOND ASWELL AS A HEADQUATERS TO HOUSE THE ARCHEOLOGICAL TEAM CURRENTLY STATIONED IN DUBLIN ON THE OPPOSITE COAST OF THE COUNTRY. WE WERE GIVEN A CHOICE OF 6 SITES IN THE GRANGE AREA ALL WITHIN WALKING DISTANCE AND WITH A LINE OF SITE TO THE BEACH AND WRECKAGES.

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The site of the wrecks is dynamic, harsh and cold.

The wrecks lie under metres of sand and only reveal themselves after rough storms. This piece of information was a key influence in developing the form of the building. By abstracting the debris field I created a cluster of geometric man made forms, which sit sunk-

en into the hillside of the site, emulating the way the Spanish artefacts lie strewn through the Irish landscape.

I took the same approach when considering materials. Choosing an acid burned concrete to create a stark juxtaposition to the soft green hillside, like the man made bronze lost in the Irish sea.

CONCEPT MODEL Abstract Debris in Streedagh Sand

ARCHITECTURAL INTENTION

DISORIENTATING

FORM

PERSPECTIVE

ALIENATED

ARCHEOLOGY

The building will be raw, and misleading, guided through narrow passages by false light, through small crevices giving snippets of outside.

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Derived from the concept, the abstracted man made shapes, buried in the sloping site, mimic the debris of the wrecks on the sea floor at Streedagh.

We look at the armada from the Irish perspective looking out.

I want the building to flip the perspective, give visitors a snapshot of the raw, harsh task the Spanish undertook and the environment the survivors of the wrecks faced when they arrived.

The material choice is important for a building with such a particular message.

Like the bronze cannons and Mediterranean wood found at the bottom of the sea, the building will be sunken into and swallowed by the slope, but the material is what will tell people that it doesn’t belong.

It is important that the process of collecting, preserving and conserving these amazing artefacts, doesn’t go unnoticed. The building must have a strong connection to the archaeology, and give the public a unique insight and appreciation for the difficult task of protecting theses amazing artefacts.

This shouldn’t come at the expense of the archeology itself.

S U B M E R G E D The rectangular shape submerged in the natural hill represents the man made artefacts out of place in the sand on Streedagh.

S C A T T E R E D Adding more man made forms to the site to create a chaotic and disorentating environment mimicking the experiecne of wrecking on the irish coast.

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The gardens follow the same philosphophy, nestling into the hillside. Placed between the buildings, giving users a respite from the heavy narrative inside.

SITE MODEL Topography & Geometry

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THE JOURNEY

Ramping above, below & through the natural landscape.

This is a linear building, beginning and ending at the courtyard before the tunnel. The circulation is disoreintating, reflecting the Spanish perspective, the below deck experience, the tumbling wreck, the disorientated survivors.

AXONOMETRIC Created in Photoshop

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Model in SketchUp Rendered in Vray

LED BY LIGHT

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Sunlight refracting through the surface of the sea, lamp light in a window, light glittering through the canopy. The survivors of the wreckage would have been following the light.

Orientating themselves in the water, resting in the forest nearby, hiding in barns for warmth at night. To emulate this dependence, I created dark spaces, with light appearing through cracks and around corners, always out of reach, but always offering guidance.

Renzo Piano Exhibtion, Venice Inspiration for the interior.

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YEAR: 2020 | LOCATION: GARAVOGUE, SLIGO | BUILDING: CONCEPT RIVERSIDE PROMENADE | TYPE: ACADEMIC

GARAVOGUE RIVER MASTERPLAN THE MISSING PIECE OF THE PUZZLE An extremely under valued part of Sligo’s identity is its proximity to nature.

Less than a kilometre from the commercial centre of Sligo is raw countryside. Yet this unique connection is overlooked. The development of the towns businesses and traffic has cut off this link. The river used to be the fulcrum of activity in Sligo. businesses now turn their

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back on the river, it is seen as an obsticle rather than a part of everyday life. I think a cohesive plan for the future, with a few nodes of develpment bringing focus back to the river, will enable businesses to reorientate themselves to the river.

I focused on the Mall block as one of these nodes to reintroduce the river as a part of life

in Sligo. By linking the Garavogue promenade to the the existing weir bridge their would be a pedestrian link from the centre of town to Doorley Park on the south side of the river as well as the Hazelwood coach lane along the north bank of the river, which could potential revitalise a long forgotten beauty of Sligo, Hazelwood House.

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YEAR: 2020 | LOCATION: GARAVOGUE, SLIGO | BUILDING: CRAFTERS HUB | TYPE: ACADEMIC

WEAKER A DYNAMIC SHIFT IN PRESERVING OUR HISTORY

AS A CONTINUATION OF THE RIVERSIDE MASTERPLAN, THIS PROJECT WAS AN EXTENSION OF MY INTENTION, WE WERE TASKED WITH CONTINUING ON WITH OUR SOLUTION TO THE RIVERSIDE CONNECTION, TAKING OUR CHOSEN BLOCK AND DESIGN A UNIQUE BUIDLING, TO LEAD THE WAY IN REOIRENTATING THE TOWN BACK TOWARDS THE RIVER.

With this project I took inspiration from the wicker basket. In Sligo crafting has been part of our identity since the very first settlements along the Garavogue. Its woven into our history and what better example than the simple wicker basket, once seen in abundance in every household in the nation. Its now

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a niche craft rarely seen.

There has been a recent resurgance of crafters in Sligo with places like the Strandhill Market becoming a haven for the lost traditions.

Taking the woven basket and using it in the design to creat a crafted building for the crafters. Carefully constructed for the crafters using their own trechniques.

[1] SITE BOUNDARIES The site is open and blank with a steep slope from the north east to south west corner.

[2] VISUAL CONNECTIONS Alleyways on each side of the building open the street to the river, keeping these clear was vital.

[3] URBAN NORTH Splitting the building down the middle opens a wayfair along the back of all the buildings.

[4] THE SLOPE Moving the front building across the site and making it single storey to allow views through.

[5] RURAL SOUTH With the buildings short end facing south. Extending out sections on the sides to bring the daylight further back into the building.

[6] EXTERNAL SPACE Vegetation and greenary are added to smoothen the transition between urban and rural.

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APPROACH STUDY Modeled in SketchUp Rendered in Vray

WOVEN WOOD FACADE The facade is where the concept is first understood by the visitors. Seen above, the street approach to the building is elevated to present the woven facade as the first glimpse seen throught the trees. The windows fit seemlessly into the woven wood which was an explored option for the facade.

CIRCULATION Making the building approachable from all sides was a challenege.

A series of ramps from both street appraoches bring the users down to the exterior courtyards. While the river promenade approaches along flat ground from the south.

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GALLERY STAIR STUDY Modeled in SketchUp Rendered in Vray

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SHOWCASING THE CRAFT The building was designed on a grid which allowed me to keep the structure in mind from an early stage. Using a series of exposed glulam ribs down the centre of the building with exposed joints to showcase the craft of the building. The double height void of the market crosses over the north to south void of the communal staircase, the fulcrum where the crafters engage with the public market.

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SECTION AND PERSPECTIVES Modelled in SketchUp Rendered in Vray Edited in Photoshop

YEAR: 2017 | LOCATION: GLENNIFF, SLIGO | BUILDING: BOTANICAL RETREAT | TYPE: ACADEMIC

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RESILIENCE ENGULFED BY THE SHEER POWER OF THE LANDSCAPE

GOING BACK TO MY FAVOURITE PROJECT FROM MY TIME IN COLLEGE. THE BOTANIST RETREAT IS A PROJECT INSPIRED BY THE PRE ICE AGE PLANT, THE FRINGED SANDWORT. THIS PLANT IS UNIQUE IN THAT IT WAS THE FIRST PLANT TO HAVE BEEN PROVEN TO PRE DATE THE ICE AGE. THIS PLANT CAN ONLY BE FOUND IN SPECIFIC PARTS OF THE SLIGO MOUNTAINS AND IN ICELAND, SCIENTIST BELIEVE THIS IS PROOF OF THE LAND MASSES POTENTIALLY BEING CONNECTED IN THE PAST. THE BOTANSIT RETREAT PROVIDES A PLACE FOR SCIENTIST AROUND THE WORLD TO COME STUDY THIS PREHISTORIC FLORA.

Reflecting on the unforgiving landscape of the Glenniff Horseshoe. The land itself is engulfing everything man made. Man, has had a presence in the valley for many decades, but not without a constant battle against the harsh environment. The schoolhouse is derelict. My aim is to rebuild the schoolhouse, make it feel new and invigorated without changing its outward appearance. I aim

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to use transparent materials coupled with carefully planned vegetation to give the appearance that the building is unchanged. Engulfed by the sheer powerof the landscape, still derelict and un-used. As the viewer draws nearer to the building, lured by the terstament of resilience it displays. They will realise that the building isn’t derelict, but serves a purpose, which they will be eager to see.

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SYMPATHETIC With the proposed building being a derelict miners lodge, it was important to retain the history while designing a fully functioning botanist lodge and research hub. I did this by retaining all the existing walls as they were, half crumbled and completing the spaces with glass pannelling.

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GREEN ON GREEN It seemed logical to look to green roof technology to engulf the building in the site. I designed geometric green panelling to cover the roof and drop down the front to protect the fragile front from the valley winds.

CONCLUSION In retrospect, I believe this was an overzealous solution to a very sensitive site. I intended to enhance the identity of the Glenniff Schoolhouse but instead I tarnished it.

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YEAR: 2020 | LOCATION: GLENNIFF, SLIGO | BUILDING: BOTANICALw RETREAT | TYPE: ACADEMIC

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RESILIENCE REVISITED LOOKING BACK WITH A FRESH PERSPECTIVE.

DURING THE RECENT COVID 19 LOCKDOWNS, I CHALLENGED MY SELF TO LOOK BACK AT MY OLD COLLEGE WORK AND RE-EVALUATE IT. LOOKING AT MY WORK WITH MORE EXPERIENCE AND A DEEPER UNDERSTANDING OF ARCHITECTURE. THIS PARTICULAR PROJECT WAS ALWAYS ONE I WANT TO REDESIGN, AS I FELT IT HAD SO MUCH POTENTIAL, I DIDNT CAPITALISE ON AT THE TIME.

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When conversing about preservation and conservation, balance is always a heavily contested attribute. The balance between new and old, the history and new narrative.

In this particular case the Glenniff Schoolhouse has a strong identity, which I

identified when I originally undertook this project, but I didnt follow through.

It was important this time around to let the old building speak for itself. Give it a new purpose without forgetting the history that left it in its current state.

GLENIFF PERSPECTIVE Rendered in Vray edited in Photoshop & Lightroom

ONE CANNOT SURVIVE WITHOUT THE OTHER The design consists of a series of individual glass pods. Each pod is inserted into the appropriate space and secured to the original concrete slab of the structure. The glass facades rely on the shade of the exisiting ruin to prevent over heating inside and on the back side of the building with lower walls, the facade shifts to a local slate, matching the houses in the region. Each pod has a unique fuunction and entrance requiring a constant interaction with nature as you move from pod to pod. A small reminder of the environemtn the building is built to study.

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ROOF PLAN

Research Station

Bedroom 2 Bathroom

Bedroom 1 Bathroom

UPPER FLOOR

Gallery

Storage

Laboratory

Living Space 2

Living Space 1

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YEAR: 2019 | LOCATION: STRANDHILL, SLIGO | BUILDING: KITCHEN/LIVING SPACE | TYPE: RESIDENTIAL

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THE BD RENOVATIONS A NEW SPACE FOR A SHIFT IN LIFESTYLE.

WORKING WITHIN THE CONFINES OF AN EXISTING BUILDING CAN BE A CHALLENGE. TO CHANGE THE IDENTITY AND FEEL OF A SPACE WITHOUT ADDING TO IT. THIS WAS MY FIRST PROJECT AS A POST GRADUATE. THE BRIEF WAS TO RENOVATE THE LIVING SPACE OF A HOME FOR A FAMILY THAT HAS GONE THROUGH A CHANGE IN LIFE STYLE. THE GOAL WAS TO OPEN UP THE SPACE TAKING DOWN A DIVIDING WALL BETWEEN THE LIVING ROOM AND KITCHEN TO CREATE ONE OPEN SPACE MOVING THE KITCHEN TO THE NORTH END AND THE SITTING ROOM TO THE SOUTH TO TAKE ADVANTAGE OF THE EVENING SUN AND SEA VIEWS.

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The location of this build is picturesque. In a secluded part of the Ballisadare bay with its own private access to the water and at low tide there are several islands that can be explored on foot. It was important from an early stage to capture all this from the living space. I decided to implement a corner window into the south and west wall to capture the midday to evening sunlight and the whole bay.

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STORAGE WALL Increasing the size of the utility was an important part of this design. But to do that we had to remove the pantry. To accomodate for the lack of storage, I’ve extended the kitchen cabinetry all the way down the west wall, concealing the utility door flush in the cabinets, increasing the utilities floor space, while dropping the cabinet down at the end to accomodate the TV.

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EAST ELEVATION

ONSTRUCTION

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THANK YOU Thank you for taking the time to read through and analyse the work I have on display. I hope you find that the qualities and skills in my work are what you are looking for.

Looking forward to hearing from you.

Eoin Denvir