"Modern" Protected Structures in Dublin

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  • #785720
    Anonymous
    Inactive

    I wouldn’t describe Seagram as “three blocks on a plaza”.

    #785721
    Anonymous
    Inactive

    @goneill wrote:

    I wouldn’t describe Seagram as “three blocks on a plaza”.

    Oh I think it is. The arrangement is the opposite way, one main tall block and two low supporting blocks behind, but that’s because it’s in amongst the skyscrapers in central New York.

    #785722
    Anonymous
    Inactive

    Well, each to his own! i don’t get any sense of “three blocks in a plaza”. The blocks are mainly stuck together quite unlike the Federal Centre Chicago, or Toronto Dominion among many others. In fact it is a commonly used criticism of the building that the rear blocks are an unresolved cop-out. They are rarely shown in any of the contemporary publicity shots or in Mies’ sketches.

    #785723
    admin
    Keymaster

    Whatever opinions are regarding the esteem the building is held in, whether its considered to be a sharp interpretation or perhaps a lesser parody of Mies; there is unanimous agreement that this intervention as proposed (and for me any intervention) is and should be out of the question.

    #785724
    Anonymous
    Inactive

    @Peter Fitz wrote:

    there is unanimous agreement that this intervention as proposed is and should be out of the question.

    Sorry, I shouldn’t have distracted attention away from that basic truth.

    #785725
    Anonymous
    Inactive

    And just to add to the fun, there’s two further objections from An Taisce and Alexander Kearney.

    In fairness it’s worth noting that Dublin An Taisce originally put in a particularly erudite submission giving great weight to having the buildings added to the RPS – citing the Architectural Reveiw piece from 1972 or thereabouts etc… Now weren’t they the helpful fellows?

    I agree with Gunter. BOI should never have been allowed build that there, but seeing as they went to such trouble – weekend demolition jobs etc thwarting the late, great, Deirdre Kelly from getting her injunction – it would be a great shame not to let them keep it. Environmental karma, some might say 😀

    In any event, apart from the debate regarding the building’s own merits, it is worth noting that any further development here would be wholly, totally, and completely unsuitable – being where it it at the heart of the South Georgian Quarter.

    Down with this sort of thing…

    #785726
    Paul Clerkin
    Keymaster

    I believe there are seven other objections including the Arts Council

    #785727
    Anonymous
    Inactive

    Before we all get super excited by the quality of the submissions, let’s not forget that the recent decision by ABP re the Clarence, if applied to this building, would likely permit this development to take place.

    It is, after all, ‘continuance of use’, and the quality of the architecture could be described as outstanding. Not by me, you understand, but if the Board thinks the Foster was top drawer, then anything goes.

    #785728
    Anonymous
    Inactive

    😡 That is the nightmare interpretation of the Clarence decision isn’t it? Unfortunately hard to avoid it given the almost diametric positions taken by the inspector and the board (practically unanimously).

    #785729
    Anonymous
    Inactive

    Very much so.

    @gunter wrote:

    when I look at the B of I in Baggot Street, the phrase that comes to mind is: How did they get away with this?

    The B of I is a well executed 1970s provincial version of Mies’s 1950s Seagram Building in New York. It’s not a re-interpretation of Mies, it’s a cut-down copy of Mies. Seagram is three blocks on a plaza, so Baggot Street is three blocks on a plaza. The composition of blocks is different, but the design is modular, so the heights are arbitrary, the number of bays are arbitrary. If you tried this today, you’d be up in the High Court tomorrow.

    I must agree. As much as I drool over this complex, I’ve never quite understood the unflinching regard in which Tallon is held purely in respect of this building (noting the quality and imagination of his other work). Essentially if you could copy n paste back in the 70s, that’s what this would be called. Of course the devil is in the detail, which Tallon executed exquisitely, but so too did Mies. Perhaps the genius is being so informed in the language of Mies, which is unquestioningly apparent. But an important distinction to make nonetheless.

    As an aside, I find it faintly irritating that (some) of the stars of the built environment and arts only come out of the woodwork to defend a flagship case like this one, when countless other proposals which so erode the character of the city, and urban centres nationwide, slip through unchallenged on a daily basis. Fair enough, this is the Custom House of modernisim, but a greater input and indeed holding to account of fellow members of the architecture and plannng sectors in Ireland wouldn’t go amiss for the other 364 days of the year.

    Indeed in that vein, it was refreshing to note Shaffrey Associates dedicating considerable time and professional expertise submitting against the Clarence development. More enlightened and principled input like this from architecture and planning professionals please.

    #785730
    Paul Clerkin
    Keymaster
    #785731
    Anonymous
    Inactive

    Obviously this is essential viewing for any serious commentary on the affair –

    http://www.youtube.com/watch?v=I5oNd6RziDo

    I think I’ll just beatle off now… *gets coat*

    #785732
    Anonymous
    Inactive

    God I miss the gasometer.

    #785733
    Anonymous
    Inactive

    Quit blubbing, gunter! Anyone would think you were Italian!

    @hutton wrote:

    http://www.youtube.com/watch?v=I5oNd6RziDo

    Genius.

    All I want for christmas is a shamrock bass.

    #785734
    Anonymous
    Inactive

    the axe in question is in an Irish rock museum in Derry if you’re feeling light fingered, form did follow function in this instance for a then contemporary diddley -eye rock outfit’s backline. All we need now is the Edge playing a grotesquely oversized gibson explorer to bring the rock/architecture contextual gamesmanship to its rightful conclusion.

    #785735
    Anonymous
    Inactive

    I can f**king blub if I want to.

    And another thing, they can only keep their bloody windows that clean because of the extortionate rates the charge ordinary people for exceeding their overdraft limits.

    #785736
    Anonymous
    Inactive

    @gunter wrote:

    I can f**king blub if I want to.

    Oh hush now. 😉 I was talking about the gasometer. I’m right with you on the BoI.

    @tommyt wrote:

    the Edge playing a grotesquely oversized gibson explorer

    Gentlemen, choose your weapons.

    #785737
    Anonymous
    Inactive

    hey ctesiphon!!! How did you get into my bedroom to take that pic!!!

    (ah I’m more of a flying V man m’self)


    pure sex

    #785738
    Anonymous
    Inactive

    @gunter wrote:

    It’s the DCC heritage-style bin on the pavement that I find a particularly charming juxtaposition.
    Must be one of the few left; do you reckon it too is now listed de-facto as part of the setting? It’s essential :p

    @ctesiphon wrote:

    http://www.youtube.com/watch?v=I5oNd6RziDo
    Genius.

    Why thank-you. It’s the banker having just got out of the blue Lada at the start that I reckon is crucial. What self-respecting banker would need the vanity of a Merc? Maybe it’s a vision of the not-too-distant future…

    #785739
    Anonymous
    Inactive

    I see Frank has gone soft.

    The killer instinct must have gone with the moustache.


    The vista down Bath Avenue and Londonbridge Road to the modern black box of the Bank
    of Ireland and the white classical stone temple of the Pepper Canister church. I don’t want
    to use the word ‘iconic’, but you know what I mean.

    (I think this one needed Graham’s superior lens)

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