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Thomas J. Westropp and his Dublin 1916 photographs

Dr Rachel Moss is Assistant Professor in the Department of History of Art and Architecture, Trinity College Dublin, former board member of the Irish Architectural Archive and current President of the Royal Society of the Antiquaries of Ireland. In February 2016 she graciously agreed to open an exhibition of photographs of Dublin after the 1916 Rising taken by the antiquarian Thomas Johnson Westropp who had held the RSAI Presidency in 1916. This blog is based on her remarks on that occasion.

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A civic engineer by training, Thomas Westropp had fostered an interest in architecture from an early age growing up in Limerick. From 1888 (at the age of 28) he was a regular contributor of articles on Irish antiquities to a variety of journals, and these were invariably densely illustrated with his own sketches and photographs. Like many of the antiquarians of his generation, he was keenly aware of the high rate of attrition of ancient buildings in Ireland, and was particularly keen on the use of photography as a method of accurately recording structures that were in danger of being lost. He saw his antiquarian work not only as historical enquiry, but a race against destruction, wrought, as he identified it in the late 19th century, by the ‘deadly triad’ of the road maker, rabbit catcher and treasure hunter.

Typical page from one fo the IAA Westropp albums

With this in mind he took on the role of curator of the Antiquaries photographic survey from 1894, encouraging members to deposit photographs made using permanent processes that recorded the field monuments of Ireland. By the 1910s, there was a healthy flow of dolmens, crosses and ruined churches and castles streaming into the Society’s collections. The photographic skills of members were not just reserved for pre-historic and medieval buildings. Several active members participated in the recording of Georgian Dublin under the auspices of the Georgian Society, with Ephraim McDowell Cosgrave later depositing his photographs from that survey with the Antiquaries. And the photographic skills of Council member John Cooke were applied to the documentation of housing conditions in the Dublin tenements following the Church Street collapse in 1913, images that were also to join the collection curated by Westropp.

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With this track record for documenting the vanishing past, one might expect that Westropp’s post-Rising photographs were taken at the behest of the Society. After all, both in terms of property and personnel it was far from aloof of the events of Easter week. The Society only purchased 63 Merrion square in July 1917, and in April 1916, their premises and collections were located at no. 6 Stephen’s Green (now Top Shop), neatly sandwiched between the action in the College of Surgeons and the Shelbourne Hotel, where over 100 British soldiers had been stationed during the rising. Westropp had only taken over as President in January of 1916, stepping into the shoes of Count George Noble Plunkett, father of Joseph Plunket who was executed on 4th May, just two weeks prior to Westropp’s photographic excursion. Among the list of new members admitted to the Society at its January 1916 meeting was a certain Thomas McDonagh, and the Hon. Gen. Sec. at the time was Charles Mc Neill, older brother of Eoin McNeill, (the latter who himself would become President of the Society in 1937).

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Yet apparently, the Society was not directly involved in the commissioning of these images. Copies of the photos were deposited with the National Library of Ireland, Trinity College, the Royal Irish Academy and were contained within the albums now in the Irish Architectural Archive, but none made it to the Antiquaries photographic collection. Indeed reading through the correspondence and minute books in the months surrounding April 1916, there is almost an unnatural silence regarding what were referred to as the ‘gloomy and critical’ times in the Society’s journal of that year. Instead, the principal preoccupations that emerge around the time are arrangements for the summer excursion to Limerick. Thus there are endless letters penned by Charles McNeill on what kind of tea the group might expect to get for a shilling a head in the Dunraven Arms and various other hostelries in the area, and a good deal of toing and froing on the number of chara-bangs that were going to be required. There is also a request to the inspector general of the RIC for permission for the group to travel to Limerick. This was granted on condition that no photographs or sketches were made of Limerick castle, or any part of the Shannon estuary south of this.

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In his earlier writing on the antiquities of the Clare, Westropp had expressed his exasperation at the emerging nationalist movement and the lack of importance that it placed on the past. Writing on the prehistoric remains of the Burren he commented ‘so little does the professed patriotism of the men of Clare bear fruit in the care for or preservation of their country’s past, that since I began my work on the county, the ruin of its remains is alarming’. He was also critical of the Romantic view taken by some nationalists who ‘glorying in their country’s early legends’, resented the work of more critical ‘workers’. It was by hard work, Westropp asserted, not by ‘exaggerating things that never happened’ that the ancient glories of Ireland would be secured.

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Sticking to the truth, the facts, was something for which he received criticism in his writing, the author of his obituary commenting on the dense forest of facts that confronted the reader of his articles. But so it was, in the impartial spirit of the archaeologist, rather than the critical liberal unionist, that he took the Dublin photos. The short captions that accompany the photographic prints convey no sense of Westropp’s feelings about what had happened to the centre of his adopted city. He points out the flag staff of republicans on the corner of the GPO, but otherwise information is limited to the location at which the photograph was taken. This is the presentation of the facts. The rights and wrongs of what had happened was left to the individual viewer’s own interpretation.

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It is only in a footnote, added to his presidential address of January 1916, that Westropp alludes to the ‘utmost risk’ to which ‘our libraries, museum and records office’ had been exposed during the week’s warfare in Dublin. Perhaps it was for this reason that he distributed copies of these important photographs to a number of repositories around the city. Either way, we owe him a debt of gratitude for his endeavours.

Dr Rachel Moss

February 2016

Finian Tallan

Spine, The Architects Companion, 1908

Donations of material to the Architectural Archive are always welcome. The Archive collects, preserves, and makes available to the public, material of every kind relating to Irish architecture. A donation can comprise anything from a single book, letter, drawing or photo to the entire archive of an international architectural practice.

We were delighted recently to receive a donation by Mr John Lyons of Dublin of documents relating to his grand uncle Finian H. Tallan, architect, of Drogheda, who died in 1908. As Mr Lyons described to us, this professional material was put in a chest and subsequently lay undisturbed for almost 100 years. The collection chiefly comprises books, such as trade catalogues and text books, but also includes a damp-press letter-book (an early means of duplication of documents), and a professional ‘scribbling diary’ for 1904.

Cordelova catalogue, c. 1900

Finian (Finnie) Tallan was born on the 9th January 1881, one of six children of Thomas Tallan a town councillor of Drogheda. His sudden and early death at the age of just 27 cut short what looked set to be a diligent life and promising career.

An architect’s library could – by necessity – be quite sizeable. Tallan’s collection of books is no exception. The surviving volumes number some forty items and give an insight into the various aspects of the working life of an architect at the time. Presumably all practising architects had their own much-consulted copy of The Architects Compendium and Catalogue, a substantial tome of over a thousand pages. Similarly, the volumes Notes on Building Construction and Nicholson’s Architecture would also be much used by the busy architect. The volume An Encyclopaedia of Cottage, Farm and Villa Architecture and Furniture by J.C. Loudon (originally published in 1846), would have been a well-known book, and its place in Tallan’s collection possibly points to an architect with a particular interest in the architectural history of rural house design.

Title page

In addition to the structural textbooks and architectural history reference books, there is an extensive number of trade catalogues in Tallan’s collection.

Cover, Henry Hope & Sons Ltd catalgoue, 1904

These not only remind us of all the elements and components an architect of the time had to consider but also they provide an invaluable resource to us – an architectural archive in the twenty-first century – for the conservation architects, interior designers and architectural historians of today interested in the technologies and stylistic features of Edwardian architecture. From the embossed decorations, steel sash windows and ‘sanitary specialities’ of the family home, to the various radiator designs, iron staircases and lift shafts of public buildings, to the coal plates and pavement lights of the urban streets – we have a catalogue for them all.

Cover, Doulton & Co. Ltd catalogue, 1898

Designs for bath decorations, Doulton & Co Ltd catalogue, 1898

Cover, Shanks & Co. catalogue, 1904

The most personal item in the collection is the ‘Scribbling Diary’ for 1904. Along with the letter-book for the years 1903-06, this diary records the communications and negotiations involved in Tallan’s various projects. However, the diary also gives us a unique insight into Finnie’s daily working routine – the meetings and journeys which were all required of this ‘infernally busy’ man. In the absence of any photograph of Finnie, the diary also gives us our only insight into the personal life and character of the man himself: the occasional Tuesday evenings at the Music Society, nights at the opera ‘with the girls’, and weekend visits to Wilkinstown a village near Navan.

Finian Tallan’s Scribbling Diary, 1904 (IAA 2015/60)

Embarking on his career as an architect, Tallan served a three year apprenticeship with Frederick Shaw of Drogheda. He then moved to Dublin where he worked as an assistant to Frederick George Hicks and subsequently in the office of Batchelor and Hicks when that partnership was formed in the summer of 1905. He started his own practice in Drogheda in the same year but a professional relationship seems to have continued with Batchelor and Hicks for some time at least, with some letters being signed ‘Batchelor Hicks and Tallan’. It is likely this was an informal arrangement, perhaps due to the completion of an existing job, or merely a necessary practicality for a young architect setting out on his own.

The letter book details the wide mixum gatherum of jobs which comprised the daily routine of the provincial architect: the many smaller scale surveys, legal cases, drainage problems, alterations and extensions. However, Tallan also carried out complete commissions, such as ‘Little Neptune’, a double fronted house with bay windows which cost £508, for a Mrs Kelly, just beside the sea in Bettystown, Co. Meath. There were also works for Miss Lyons at No. 20 James Street, Drogheda as well as premises for the St Lawrence Gate Cycle Works, also in Drogheda.

Carnegie Library, Drogheda (Photo: Brendan Grimes)

Tallan’s main work, however, was the sizeable project of the Carnegie Library in Drogheda for which his design was selected by competition. From the diary we can see the workload required by such a commission, and the many days which went in to working on the plans. Tallan’s attention to detail was such that several letters deal with the issue of the railings to the front of the building, about which he specifies that ‘the spikes must be close enough together to prevent children getting astride of [them]’. The job went to tender early 1904 and the contract was awarded to Gogarty Brothers; the library was opened by Cardinal Logue 16 April 1906. The letter-book includes a Statement of Account for the building which shows a total cost of £2,315.5.0, of which Tallan’s fee was £108.15.0.

The building is a mid-terrace, three-storey over basement design; it is an elegant, understated facade which carefully fits in with the existing streetscape. Built of red brick with contrasting grey limestone dressings around the windows and door, it has been described as ‘Jacobean Gothic’ in style. Even though it is no longer in use as a library it remains today as a handsome testament to the talent of a hardworking young architect who sadly died long before reaching his prime.

Dr Eve McAulay,
July 2015

Curator’s Choice: Dromana Estate Map (IAA 94/73)

The Irish Architectural Archive has initiated the occasional exhibition of objects selected from the collections by a member of staff. These ‘curator’s choice’ items are whimsically chosen, picked because they are interesting or beautiful or appeal to the individual eccentricities of a particular staff member. They are to be found on display in the first floor rooms of 45 Merrion Square.

The first ‘curators choice’ is this estate map of Dromana demesne and Villierstown, Co. Waterford, produced in 1751 for John Villiers Stuart (c.1684 – 1766), 1st Earl Grandison, by the otherwise unknown surveyor Henry Jones. The map is unusual in the number and detail of the architectural elevations with which it is adorned.

Grandison, known as ‘Good Earl John’, was an improving landlord who had the village of Villierstown constructed on his estate specifically as a centre for linen manufacture. Across the top of the map is shown the neat row of village houses built to accommodate the Ulster linen workers who were to be brought to the village to help establish the new industry on a sound footing. At the centre is an inn, presumably required to accommodate the merchants and traders who would flock to deal in the locally produced linen.

This experiment in social engineering ultimately failed, and linen never became the cash crop of the area. However, Villierstown found other ways to thrive and, although few of the buildings are recognisable from the map, it remains to this day one of the neatest of the planned estate villages in Ireland.

Down the right-hand side of the map are depicted the principal buildings of Dromana demesne, including Dromana House itself, with its prominent Gibbsian doorcase.

The house was much enlarged in the 19th century, so much so that this door was reduced to providing access to a rear courtyard. However, the demolition of the later additions in the mid-20th century resulted in the Gibbsian entrance becoming, once again, the main door. Other structures depicted on Jones’s survey, including the terraced garden, the ‘Rock House’ and the boat house, still survive.

The map was found in a second-hand book shop in England by James Howley and purchased by the Archive in 1994 with the aid of the Friends of the National Collections.

Irish War News

A Relic of 1916

The Irish Architectural Archive has a very clear collecting or acquisitions policy. If you like, you can read it here but what it boils down to – and the clue really is in our name – is that we collect architectural material. We define ‘architectural’ pretty broadly; we are interested in material of any kind relating to buildings of every kind across the length and breadth of Ireland. Even so, not everything in an architectural collection falls within this all-encompassing definition. We have numerous waifs and strays, items with tenuous or no architectural connections. In 1994, while sorting through a large collection of press cuttings about architects and buildings, we found one such stray; a small, folded, tattered sheet of newsprint which on closer examination turned out to be an original copy of Irish War News, the newspaper issued by Republican forces on Tuesday 25 April 1916, exactly 99 years ago tomorrow. It bears on its back page the ‘Stop-Press’ news that the Irish Republic has been declared.

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Copies of Irish War News are quite rare, rarer even than original copies of the Proclamation though not as valuable. A small, undated, newspaper clipping stuck to the front of ours records that a copy of the Proclamation sold ‘recently’ for £7 and a copy of Irish War News ‘of which journal only one issue was printed, the price being a penny’ fetched 25s.

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Our Irish War News will shortly be handed over to the professional conservation care of Liz D’Arcy of Paperworks Conservation Studio who will clean and stabilise it and reunite the separated halves, making it fit for inclusion in the Archive’s first exhibition of 2016, of which more anon.

Colum O’Riordan,
24 April 2015.

Cinema building and the Strongest Woman in the World

In 1985 the Irish Architectural Archive acquired an album of photographs recording the building of the Savoy Cinema, O’Connell Street, Dublin. With twenty-five images spanning the period from July 1928 to January 1930, the images show key moments in the construction process and are of interest for a whole host of reasons. They detail, for example, the speed with which a building of this period was erected, the nature of the construction site, with flat-cap wearing labourers in their shirt sleeves,

Workers

and its ‘railway’,

Railway

and the very modern looking structural steel (including the skeleton of a never-completed internal dome).

Dome

The site billboard records not only the astonishing scale of the enterprise – a 3,000 seat cinema – but also the complete project team,

Billboard

while the post-construction images reveal in some detail the highly-ornate ‘Venetian’ themed decorative scheme, with its elaborate ‘Bridge of Sighs’ proscenium arch and ‘Doge’s Palace’ curtain, all of which must have been quite overwhelming to the Dublin audiences of 1930.

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Also captured are fragments of the buildings which formerly stood on the site,

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and some of the surrounding buildings, for instance those on the south side of Cathedral Street and the west side of Upper O’Connell Street.

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But, as so often with purely architectural photographs, it is the incidental details which bring the album to life. The construction was obviously a source of interest and amusement to Dubliners, whether alone

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or in crowds.

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Cars were rare but not unknown, though starting them could be a bit of a bother.

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It is legitimate to wonder how or why a pram might have been left unattended at the site entrance.

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And just when you thought mobile advertising hoardings are a relatively modern invention you find that the Dubliners of 1928 had their ass-drawn antecedents.

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The real wonder of this shot of course is the dramatic news that Katie Sandwina, the World’s Strongest Woman, is making her first visit to Ireland. Famous across Europe and North America, Katharina Brumbach (1884-1952), aka Katie Sandwina, could bend iron, out-pull horses and lift her husband above her head with one hand. Now what film could be more exciting than that?

Colum O’Riordan,
February 2015

Pretty as a Picture: pattern books from Palladio to Fitzsimons

Designs for Cottages, Cottage Farms and other Rural Buildings, Joseph Gandy (1771-1843), 1805.

Recently the architectural critic Shane O’Toole donated to the Irish Architectural Archive a book which had belonged to his father, a copy of Designs for Cottages, Cottage Farms and other Rural Buildings, published in 1805 by the English architect Joseph Gandy (1771-1843). This ostensibly simple work contains page after page of designs, some of them deceptively modern in appearance, displaying ideas for ‘modest’ country residences. It is an important addition to the growing collection of architectural pattern books held by the Archive.

Residence for a Curate and Family, with a Cellar under the Parlour, and two or three Bed-chambers above. Plate XVII, Designs for Cottages, Cottage Farms and other Rural Buildings, Joseph Gandy, 1805.

The history of the pattern book is a long one. Its origins can be traced to the Ten Books on Architecture of the Roman architect Vitruvius (c. 80-70 BC). However, the idea of pattern books really came of age with the publication of I Quattro Libri dell’ Architettura (The Four Books of Architecture) by Andrea Palladio (1508-1580) in 1570. Villas and palazzi of refined elegance and beauty were displayed on his pages, and through the wide dissemination of the book, available from the 1660s in English translations, the Palladian style became an inspiration to architects from Christopher Wren to Inigo Jones to Edward Lovett Pearce. The Archive holds a copy of the 1742 edition of Giacomo Leoni’s translation of the Quattro Libri which once belonged to James Gandon, and later to William Henry Byrne.

Part of the title page of 1742 edition of Giacomo Leoni’s translation of Palladio’s Quattro Libri with the signature of James Gandon. The William Darcy who also signed the page is otherwise unknown.

Architectural treatises soon developed into more than discussions on the use of the classical orders for grander houses and public buildings, so that by the late 18^th and early 19^th centuries they became a means for architects to display their suggestions for more modest buildings. British architects such as John Plaw, Francis Goodwin and John B. Papworth produced books on rural residences, villas, cottage ornée, gate lodges, cottages and farm buildings. Irish examples of the genre are quite rare but include Twelve Designs of Country Houses by ‘A Gentleman’, published in Dublin in 1757, and Lady Helena Domvile’s Eighteen Designs for Glebe Houses and Rural Cottages, 1840, all the rarer because of the gender of the author.

House 4 from Eighteen Designs for Glebe Houses and Rural Cottages, Lady Helena Domvile, 1840.

Gandy stated in his introduction to Designs for Cottages that he was influenced by a Board of Agriculture publication discussing the need to improve ‘the conditions of the Labouring Poor’. He notes that ‘we should combine convenience of arrangement with elegance in the external appearance’, and says his designs are ‘offered as hints for the consideration of Country Gentlemen, and others, who build, and who are sufficiently aware of the use and importance of consulting Architects upon these occasions, by which disappointment, and eventually great expenses, may be avoided’. For Gandy, the pattern book is an architectural calling card, advertising an architect’s abilities and encouraging potential patrons to seek out his professional services. He never intended that anyone would actually build from these published drawings.

Bungalow Bliss, Jack Fitzsimons, first edition, May 1971.

Guides, manuals and pattern books didn’t die away after the 19^thcentury, and thanks to another recent acquisition here at the Archive we are reminded of that. In 2013, Jack Fitzsimons placed in the Archive a set of each of the published editions of his seminal Bungalow Bliss, a series of design books that served as a template for so many houses in the Irish countryside, later donating many of the original drawings for the first edition. From 1971 to 1998, through at least twenty-six reprints and twelve separate editions, Fitzsimons’s books included drawings, details of services, information on grants, town planning, contracts and decoration for modest two- to four-bedroom homes. For a fee (£10 in 1970) the full set of measured drawings and specifications could then be ordered. Robert Molloy TD, the Minister for Local Government, noted in the introduction to the first edition that, while property developers provide housing for the urban dweller, for the rural and small town resident the site, design and construction of a house had to be done ‘on his own initiative’ and therefore help was needed. Fitzsimons added that ‘while [the book] is intended primarily for those with little or no knowledge of the subject it is hoped that it may also prove a useful reference book for those already engaged in any sphere of housing’. Here was a pattern book from which the author did intend people to build. And build people did.

Design No. 1. Bungalow Bliss, Jack FItzsimons, 1971.

Aisling Dunne,
Irish Architectural Archive,
October 2014.

An experiment in sustainable architecture

Frank Gibney (1905-1978) was an architect and planning consultant whose career spanned the period from the early 1930s to the early 1970s. A planner before the profession really existed in Ireland, he prepared detailed plans for several towns including Tralee (1939), Drogheda (1940), Navan (1943), Waterford (1943), Cavan (1945), Listowel (1947), Ballina (1950) and Tullamore (1950). Although perhaps now best remembered for the villages and developments which he designed for Bord na Móna workers in the 1950s, the connections he established when working on these town plans led him to work as a housing architect for at least sixteen different local authorities. From dozens of ‘one-off’ rural cottages for Kerry County Council to large urban housing estates for Waterford Borough, Gibney’s houses are to be found right across the country.

Layout drawing for Bord na Mona housing scheme, Ardra, Bracknagh, Co. Offaly (St Broughan’s Park). Frank Gibney Collection, IAA (2014/63).

St Broughan’s Park, Co. Offaly. (c) Google.

Gibney’s working method for both the local authority and Bord na Móna housing was to set out schemes using a basic palette of generic house designs. Lay-out drawings show the placing, in block plan, of houses on particular sites, with an indication of which house types are to be built. This approach led to obvious efficiencies in design and construction costs. While the houses themselves are basic and repetitive, distinction and variety was given to each scheme by the use of ‘feature’ houses, more elaborate versions of the core types, inserted to add emphasis or punctuation. But what really makes Gibney’s schemes stand out are the distinctive layouts. His oval design for a small estate of 20 houses in Stradbally, Co. Laois (Brockley Park), or the tadpole shaped Bord na Móna estate at Bracknagh, Co. Offaly (St Broughan’s Park) are just two examples, both deriving their curving forms from Gibney’s careful consideration of site, aspect and orientation.

Layout drawing for housing scheme for Laois County Council, Stradbally, Co. Laois. (Brockley Park), 1950. Frank Gibney Collection, IAA (2014/63).

Brockley Park, Stradbally, Co. Laois, 2014. IAA

During the construction hiatus enforced by the Second World War, Gibney had time to indulge one of his many interests – building with clay. ‘Emergency conditions’, he wrote, ‘have forced us to look inwards upon our own natural resources and to extract therefrom the maximum substance for the primaries of life – Food, Fuel, Clothing and Shelter’. When it came to the last of these, shelter, Gibney proposed a ‘practical… simple’ solution – the clay cottage. After all, he says, ‘there is nothing new here, for the building of dwellings in rammed earth and thatching of roof with straw, reeds or heather, was at one time a thriving Craft in our country’.

Proposed Clay Cottage for Castlecomer Collieries, 1943. Frank Gibney Collection, IAA (2014/63).

In 1943 he produced a drawing for a Clay Cottage for Captain Prior-Wandesforde of Castlecomer Collieries. This was to be no mere paper exercise; a sample cottage, based on the drawing, was in fact erected at Cloneen Co. Kilkenny, a few miles outside Castlecomer. A basic bungalow, traditional in plan yet – as Gibney was anxious to point out – nearly twice as large as contemporary local-authority-built labourers cottages, the Clay Cottage was finished in early 1944 and was ’warm, dry and comfortable.’

Construction was straightforward: ‘the walls, two feet thick, are constructed with sub-soil clay from the Cottage garden, removed immediately from excavation without watering and rammed hard between timber panelling. Straw reinforcement was only used in the internal partition walls, they being twelve inches thick. Surfaces of walls were plastered and lime washed white. The windows are timber double hung sashes fitted into wood jamb linings and cills built in the walls as part of the panelling.’ The fireplaces and chimneys were brick-built and the cottage was supplied with a flushing toilet, hot and cold water, ventilated sub-floors and a ‘modern drainage system’. The thatch was treated with ‘fire and vermin solutions’.

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What made the building truly practical for Gibney – and particularly ‘sustainable’ in the modern sense – was the fact that ‘practically all material was found on site – clay from [the] garden, timber from nearby oak-trees, straw from harvest, and all work executed by local Craftsmen’. Even the boiler, located in the living room, was made by a local blacksmith. So fired was he by the success of the Clay Cottage that Gibney could see nothing but a bright future: ‘the writer believes that this mode of construction could be considerably developed in alleviating Rural Building problems, both in housing, farm buildings, workshops, Community halls, and even small Churches’. Alas it was not to be. The increasing availability of more modern building materials after 1945 meant that even Gibney himself had to abandon clay for concrete. But perhaps the Clay Cottage was an idea ahead of its time.

Copies of Frank Gibney’s town plans (2013/9) and drawings from his architectural practice (2014/63) were donated to the Irish Architectural Archive by his son, also Frank Gibney. Work is ongoing to catalogue and make accessible this record of the work of a remarkable and fascinating man. All quotations above come from an unpublished note by Frank Gibney attached to his Clay Cottage drawing. For more on Frank Gibney and his work see his entry in the IAA’s Dictionary of Irish Architects.

Colum O’Riordan,
IAA,
August 2014

Rooms for all

I would like to introduce you to our wonderful rooms here at the Irish Architectural Archive, 45 Merrion Square, Dublin 2.

This magnificent Georgian house, located in the heart of Dublin’s south city centre, is one of the great Georgian houses of Dublin. Built for the speculative developer Gustavus Hume in the mid 1790s and situated directly across Merrion Square from Leinster House, this is the largest terraced house on the Square and is the centrepiece of its east side. Light-filled, spectacularly-proportioned, interconnected reception rooms on the piano nobile of this Georgian palazzo offer a range of venues and facilities.

Bespoke catering

We are the perfect venue if you are planning an event, big or small. We have excellent facilities for business meetings or private corporate entertaining. We are ideally suited to host a wide variety of corporate events, be it a board meeting, breakfast briefing, working lunch or training session.

Flexible seating

We have a fully equipped multi-media lecture room that can seat up to 55 people. Our meeting room can accommodate 20 people for a board meeting. The three rooms combined can host up to 250 people for a reception.

Shopping opportunities

We are a perfect city centre location for a trade show, product or book launch, or indeed a fashion show or musical recital.

Room to dine

As you can see, the rooms vary in size and decoration, and they can be used either separately or in combination, according to your requirements.

Music and lighting

No. 45 is the perfect venue for a small conference in the heart of Dublin city centre. We offer complimentary Wi-Fi; a projector, screen and microphone are all available on request.

Room for all

Hiring the rooms provides the Archive with much needed extra income. If you know of anyone looking for a unique location for an event or special occasion please contact us. We would be delighted to send you further information or to arrange a visit to view the venue.

Anne Henderson,
Events Officer,
IAA.

Hanging in the Archive

The opening of the Architectural Association of Ireland Awards on 27^th May last marked an important milestone in improved options for exhibitions in the Irish Architectural Archive. In March of this year the Archive installed a new picture hanging system in two of our first floor rooms, the Rachel McRory Meeting Room and the Model Room. Until now, it was not possible to have temporary exhibitions in these spaces as attaching objects to the walls with hooks or nails would have interfered with the historic panelling in the rooms. The walls would have had to be repaired and repainted on a regular basis, something which would have been neither desirable nor affordable.

AAI Awards exhibition panels in the IAA

A number of considerations needed to be taken into account when the decision was taken to install the hanging system. First and foremost, the system had to allow for the maximum number of hanging options. Secondly, it was a requirement that the system have a minimal impact on the historic interiors of No. 45 Merrion Square. Given the rooms are over 5m in height, the system needed to have a low visual impact in the rooms. And finally, the system had to be straightforward for Archive staff and other exhibition installers to use.

The system chosen consists of a narrow high-level rail installed just below the decorative plasterwork frieze. As it is only 1cm deep and installed 4.5m above floor level, the rail is barely noticeable, especially when not in use. From the rail, long transparent cables are suspended. Attached to the cables are secure hooks from which objects can be hung. The transparency of the cables allows them to ‘disappear’ against the walls, minimising the impact on the architectural features of both rooms.

IAA Model Room with AAI Awards installation screen and bench, and photographs handing on new system

One final piece of equipment was needed to complete the system, a tall ladder with a working platform to allow for the attaching of the cable to the hanging rail.

Simon Lincoln adjusting hanging cables during exhibition installation, with Steven McNamara of Roji Designs and Elspeth Lee of the AAI

It is intended that these first floor spaces will feature regular exhibitions of material from the Archive’s photographic collections, while exhibitions of original drawings and documents will remain in the Architecture Gallery on the ground floor. It is also hoped that the flexible new hanging system will encourage more outside use of the rooms for events and exhibitions, providing opportunities for the Archive to generate much needed revenue. Enquiries about the use of the rooms can be sent to slincoln@iarc.ie.

Simon Lincoln,
Outreach and Exhibitions Officer,
IAA.

A small but charming Place

The Irish Architectural Archive is incredibly fortunate to be able to constantly grow its holdings through the generosity of donors. To date, some 3,090 donations are recorded in our Accessions Register. These can come in the form of the entire office archive of an architectural practice with tens of thousands of drawings and related documents, or they can be a single item – a book, pamphlet, photograph, document or drawing.

Late last year, the Archive was contacted by Kate Gunn, Newbury, England, who asked if we might accept a donation of ‘a small framed (rather charming) old pen and ink drawing’ in memory of her father, the historian Arnold Taylor. Naturally we responded that we would be delighted to accept such a donation. The drawing was passed by Kate to a good friend of the Archive, an Irish lawyer living in London, and he brought it to 45 Merrion Square earlier this month.

Drawing of St Laurence’s Gate by Francis Place, framed. IAA 2014/30.

The drawing is indeed small – it measures just 18cm by 19cm in its frame – and it is charming. A view of St Laurence’s Gate, Drogheda by the English painter and antiquarian Francis Place (1647-1728), it dates to 1698, making it one of the earliest known views of what Harold Leask called the finest surviving barbican in Ireland (Irish Castles and Castellated Houses, Harold Leask, Dublin, 1941, p. 21). Place landed in Drogheda in 1698, which is presumably when he produced this drawing, perhaps while making observations for his panoramic view of the town. He travelled on to Dublin and Kilkenny before leaving Ireland via the port of Waterford in 1699.

West side of St Laurence’s Gate viewed from Laurence Street, c. 1880. IAA Collection.

While most early views of St Laurence’s Gate, whether engravings or photographs, show the west or interior (town) elevation, this drawing shows the east or exterior side of the barbican. It has been said of Place that ‘his views are not only topographically accurate but have a clarity of vision which is not found again until the late eighteenth century’ (The Painters of Ireland c.1660-1920, Anne Crookshank and the Knight of Glin, London, 1978, p. 53). A comparison of the drawing with a 1959 photograph of the structure from the AA Collection in the Archive bears out just how accurate Place has been. Worth noting in particular are the positions of the windows and loops in the two towers.

Drawing of St Laurence’s Gate by Francis Place, unframed. IAA 2014/30.

East side of St Laurence’s Gate, 1959. AA Collection, IAA.

Drawing of St Laurence’s Gate by Francis Place, detail.

Given this accuracy, the recording in this drawing of elements of the building no longer extant is particularly valuable. The crenulated gate structure at the base is gone, as are flanking walls. There is also a strong indication that the tower on the left may in fact have been taller than it is now, interesting given that the barbican, even in its present sate, is considered extremely tall for its type.

Drawing of St Laurence’s Gate by Francis Place, detail.

The thatched cottage to the left of the gate, an example of a vernacular structure whose external form remained unchanged for centuries, might be considered characteristic of Place; he included a similar cottage in his view of Granagh Castle, Co. Kilkenny. Perhaps the only oddity in the drawing is the somewhat out-of-scale figure to the right of the gate.

Not all donations to the Archive are as old as this drawing, not all are by as talented an artist as Francis Place, not all depict an outstanding building such as St Laurence’s Gate. But each is valuable in its own way; each is important. And each is accessible in the Reading Room in 45 Merrion Square to anyone who wishes to visit, peruse the catalogues and explore the Archive’s ever increasing holdings.

With thanks to Kate Gunn and John Taylor for donating the Frances Place drawing of St Laurence’s Gate, Drogheda, to the Irish Architectural Archive in memory of their father Arnold Taylor.

Colum O’Riordan,
General Manager,
IAA,
April 2014

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