The following studies look at the idea of spaces of movement between the communal and the individual. Looking at how, within the thickness of walls or orientation of windows and individual can be transported from the collective. The Tautra Mariakloster uses the periphery of the plan to o!er each of the cellular rooms an extended window sill condition. This is seen also in the Aalto Sanatorium and La Tourette where the structure standing up against a hill gives the monks views out over the landscape from a height. These conditions are similar to those seen at the Lighthouse on Clare Island and I am interested in how they can be interpreted into other programmes.

matt ew mo an matt ew moran ma thew mo an m tthew mo an ma thew oran ma thew or n mat hew mo an mat hew oran ma t ew moran matt ew moran matt ew moran matt ew moran

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sha on

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Toormore:Nora and Pat MoranMary Agnes and Oliver O’Mal eyEllen and Sandy O’Mal ey DunlopKathleen and Liam WintersMarty O MalleyMargaret and Sean O’GradyCharlie FlynnJohn RuddyAustin and Maid e Ruddy

Lecarrow:Mary Ellen GallagherCathy and Michael GallagherAgathas CottageMary Ann and John Lizzie O’Mal eyMark Winters and Mary O GradyJohn “Lecarrow” O’GradyBig Austy

Strake:Agatha O ConnorPeter MurrayMary and John Dick BarrettWi lie O’GradyCannings CottageDen s and Brendan O’LearyPauline and Charles O’Malley

Kille:The ShopBern e WintersThe ChurchSt Patrick s SchoolThe WellMarguerite and Dermot PhelanBeatrice O’MalleyMaryand joe O’Mal eyJohn and Martin Ga lagherHannahs HouseNancy and John (Nancy) O’Ma leySonja and Pat EwenJorg ZengelAnn and Paddy Flynn

Gurteen:Nora and Martin BurnsAnna and Austy BurnsMaureen and Tom PinderSharon and Seamus O’GradyThe Murrays of GurteenMargaret and Michael O GradyMary Bina and Michael BarrettThe House of Red JohnMary Jimmy

Glen:Catherine and Noel KellyIrene and Marcus SweeneyChris and Patrick O’LearyMary Ann Sammon and JohnMichael Bob) O MalleyJane and Ann MoranSusan and Pauric O’GradyWi lie Moran

The Quay:McCabesBr dget and Humphrey O’LearyThe LodgeNora Da y

Fawnglass:Jane and Padraic O MalleyNora and Pat McNamaraAnn and Kieran McCabeMary and Brian McNamaraHelen and Brian Sta!ordAnn and Michael James MoranMichael McAleerMary and john Moran

Capnagower:Johnny Eddy O’Mal eyThe QuakersChris O GradyClare s and Commun ty Co OpFelicity and Austin O’MalleyWinifred and John Scho"eldThe BurkesKathleen Bess e and John BobL nda and Michael PinderMichael (Gerry) O’MalleyGra nne and Dominic OMa ley

The Mill:Paddy Gal agherAnna and Peter Gill

Ballytoohy:C ara Cul enBeth and Ma rt n MoranThe LighthouseTess and Myles RuddyJane aand Pat O’TooleEilish Toole

“The Speaker, The Chief, The Monk, Mary Ann Lizzie and John,

Ann Burke, Johnny Lecarrow, Oul’Toole.

Their names have arrived in the churchyard, written here for all to see,

farmers, "shermen, carpenters, talkers, tea-makers, makers of song.”

CLARE ISLAND, COMMUNITY LINKS MAP

0 20 40 60 80

100

No. of People

0-5

6-18

18-65

65+

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Total Island Population = 164

Each line represents a social, family or historical connection

An urban location is one in which the collective lives and memories of many, combine to make a whole.A parallel theme in this group is that architecturally, such consequences of urbanity are also apparent in the room. The design, construction, assembly and occupation of a room re"ect the lives of many, the e!orts of the individual to the betterment of others. In mak-ing, we have memory, and such memories are essential to any notion of urbanity.

We propose to #rst map and then make designs for the internal life of Dublin city. We do this because we wish to discuss the possibility of strategies for an urban society that may emerge from the interior. We propose that much of the urban, social life of the city happens indoors, and not only on the streets or in the squares or in between. We wish to propose that instead of relying on urban design to make urban life or interior design to make interior, architecture might instead intensify and act as a link between the city and the citizen as they live life in the rooms of Dublin.

Studio B3: The Discovery of a new TerritoryIn search for Place and a Construction.

The architecture of the territory is searching for a conscious relationship between nature and culture, a condition that is not passive, but active. The established “culture of place” has made this relationship rather passive. How can the territory, the way the program describes it with its fragile and potential energy release this relationship? (From B3 program H.010)

Program intension: Within a give area, you shall through a construction claim your own territory. To claim will be an intuitive act motivated of your own accord as a human being and architect. To !nd the architectural potential within the territory, an energy that is to be discovered and de!ned by you, will be the !rst challenge in the course before developing this potential into an architecture that inside the territory o"ers your desired relationship between nature and culture. The architecture of the territory is searching for a conscious relationship between nature and culture, a condition that is not passive, but active. You shall not discover an established territory, but create one.

Claiming a Territory

The territory I have chosen is on the island of Lindoya in the Oslo Fjord. It is a small site situated high up overlooking the sea to the south of the island. Lindoya is a residential island with clusters of small timber constructed cabins that are used as summer houses. They are all similar in proprtion and style with a variation of three colours: red, yellow and green. These houses, that pop up on the landscape in clusters, all similar but varying slightly, seem to me to have become a part of this landscape. In my opinion, they enhance the rugged nature of the islands, especially when seen from the sea.The overwhelming feeling when investigating these islands is that they seem to come alive in summer and sleep empty throught the winter months. The territory I wish to claim is that of the peace and tranquility found on these islands, that are so close to the city, all year round. Taking a boat out to the islands one forgets that they are near Oslo as you move past the !rst island of Hovedoya. The forests and walks to the interior of the islands are a world away from the noise of the city, or even that of the busy #ord waterways.My construction would be small, located high up, separated from the sea and enjoying the quiet of the forest. The clusters of summer houses, arranged to get the best of views and sun on the hills leads to the idea of varying modular components that connect to make a whole. The success of the houses, in my opinion, is how they jut boldly up from the landscape in bunches and the whole seems more the construction tha the individual.The construction of a series of volumes would try to capture the extraordinary calm of the place and take advantage of the unigue light of the sea. The idea is that a person can escape or get lost from the city for work, rest or recreation.“Getting lost means that between us and space there is not only a relationship of dominion, of control on the part of the subject, but also the possibility that space can dominate us. There are moments in life in which we learn how to learn from the space around us ... if someone never gets lost he never grows up. And this is done in the desert, the forest, places that are sort of a machine through which to attain other states of consciousness.” (Ref: Franco La Cecla, Perdusi, Latuza, 1988, Walking as an aesthetic practice, Francesco )

At the Window, Claiming a space for Solitude

“The man of initiative, of action, of thought, the leader, demands shelter for his meditations in a quiet and sure spot; a problem which is indispensable to the health of specialized people.”Le Corbusier, Toward a New ArchitectureThe territory I wish to claim is that of the solitude and tranquility a"orded to man through his relationship with nature. The mood of Lindoya through the winter months, when it is left de-serted and quiet, is something of value to the city dweller. Moments of solitude and re$ection are an important part of our existence and it is these which I wish to capture.I came to the place with no preconceptions of a form or structure. It was the sense that the mood at this place was perishable that struck me. The mood of isolation a"orded in the winter on Lindoya is not permanent or reliable. It is my desire to !nd a way of capturing or claiming this mood with my construction. Something I did bring with me to the place was a desire from previous semesters’ work. It is about the individual, their moments of solitude and how these moments can be constructed or housed. These spaces of the individual, such as the desk, the bookshelf, the garden chair, and mainly the window have always interested and challenged me.These ideas sprang from a talk entitled, “Open Up The Window,” given by a school professor, in which he spoke about the evolution of the window as an event from the eighteenth century to present. In it he uses an observation by J. A. Schmoll: “Since the late eighteenth century homesickness, Wanderlust, longing, secret and indeterminate love, roaming thoughts, the attun-

The Architecture of the Territory/Concretisation

At this point in the project I have tried to step back to look at my development and see how my initial claim, or at least desire to claim, is still intact. My methodology in this endeavour was to take another look at my territory, try to remember what it was, exactly and precisely, that instilled in me my initial desire. I also wanted to look at the very speci!c conditions I had written about in my earlier texts and try to realise them at a large scale to fully investigate their properties and how successfully they capture or claim the mood of solitude.By the time I reached my last review I had pushed my construction to a point where I no longer understood the experience of it, how exactly it revealed itself and the ter-ritory to the individual. I really wanted to work on this experiential aspect of my project as it is this, the person walking through the landscape, what they see and what they don’t, what they feel, hear or sense, that form the creators of my mood.The reason, I feel, I had become confused was that I understood the components that create my mood of solitude but I had not investigated them su%ciently in se-quence or as a whole experience. The atmosphere the person feels when walking through the territory is created by many components. These include its sights, both in terms of views and the changing nature of light, it’s sound, or lack thereof as you move away from the houses and surround yourself with the trees and the sky, the con-cealment and revealing as you move through a space and the combination or arrangement of these components. All of these factors, when manipulated in just the right way can take a person and move them to feel a mood of solitude. I understood all of these elements except for the !nal issue of arrangement or sequence. The proces-sion of the views, their approach, context and location in the claim and the landscape are of as much importance as the speci!c ideas I had set out for each one.These aspects of the walker’s moments or experiences were not expressed enough in the scenic materials laid out over my previous week’s work. They were, however understood by me as someone who has vistied the site, moved through these spaces and experienced these components or phenomena in just the correct way that they instilled in me a mood of solitude.So how do I translate these often very subtle and ever changingfeatures into a construction? What features of this nature or landscape have made this? How do they translate to architectural space, or can they at all? What is the form of my claim, speci!c to this territory?To clarify these issues in my mind I wanted to go back to one of the !rst pieces of material I looked at in relation to this and to reread my very !rst text. I have picked out some of this as it is as relevant now in guiding my construction as it was at the start. “The clusters of summer houses, arranged to get the best views and sun on the hills lead to the idea of varying modular components that connect to make a whole... The construction of a series of volumes would try to capture the extraordinary calm of the place and take advantage of the unique light of the sea. The idea is that a person can escape or get lost from the city for work, rest or recreation. “This initial objective is still very much my desire and the idea of varying modules is still something that I feel would be the ideal tool for my development. For this rea-son I have tried to address some of the earlier experiential or atmospheric issues by setting out some conditions for the views. The sequence or procession of views is arranged as a stretched out cluster of similar proportioned but varying elements. The views are, “housed,” in a manner with each space being of similar proportions but varying hugely in the way they attempt to capture the mood of solitude in the territory.It is hoped that this methodology could construct the ideas laid out before. “Each unit is only successful when considered in terms of its context as part of a whole. Through the design of a module for the individual, in this case the window, I want to create the generating unit for a space, or series of spaces in which this mood of soli-tude can be claimed or constructed.”

Final Articulation of the Claim

My intention is to create a space of solitude and contemplation for the individual through the construction of a window module or modules in my territory. My claim as a series of events in a route had, by the time of my last review revealed itself to be, in a way, critiscising itself. The reason for this was that the construction had developed into a series of, “window rooms,” on a route instead of windows o" a room.The notion of the window as a place to retreat to implies that there is a place to retreat from. The territory I have chosen is in itself a retreat from city life and my construc-tion o"ers a chance to bring the individual closer to the calm and tranquility of nature. This is done through bringing them on a journey through speci!c views on the territory.The window moments, however clear and precise in themselves, were not in their own context correct. As discussed at my last review thay are successful as large artcu-lated windows or moments but these must be o" a space, or at least an activity. I had created windows to look out onto the world but from nothing.I have decided so to inhabit the space, give it a programme or human relationship. This presence of activity or, “life,” within the space allows the windows to act as outlets for re$ection within a charged interior. In this way the contrived or forced elements of the previous claim have been reassessed and corrected in a way.This programme or human relationship also allows me to answer precisely many issues that I was unsure of at my last review. I now know who the construction is for, how it is used and how I want it to be experienced. With these issues in mind I was also able to clarify the territorial issues of my site, lay down what the person touches, sees, hears and what they do not. These boundaries have allowed my to clarify my project and it’s extents.The construction has developed into a house of two parts. One, “wing,” of the house accommodates the more informal communal spaces of the living and guest rooms, while along the route the other, “wing,” holds the more private, individual spaces of the bedroom, study and terrace. This arrangement of living and recreation spaces al-lows the moments in the inhabitants personal routine to be based around the spaces of articulated, large scale windows.The idea behind this is to create a series of spaces that are generatedin their layout by a desire to achieve a certain mood or set of conditions for those inhabiting it. One can come to this space to retreat for self re$ection and solitude, even when the place is occupied by others. These aticulated windows allow you small spaces of removal and contemplation even when inside the room with others.Another aspect of the territory that I was interested in claiming was the mood I found on the island in the winter. Having visited the island in both the summer and the winter it is clear that it runs a very seasonal life and holds very di"erent atmospheres throughout the year. This therefore is not a summer cabin. It is purposely a space to be among the nature in the harsh climate of the winter as well as the more usually busy periods of the summer months. Most of the other inhabitants of the island use the space as a summer retreat where families take vacations from the city. The territory I wish to claim is the fragile mood of the place in the winter and construct a re-treat that can house or hold this mood of solitude throughout the year.The elements of the claim run in the same way as before. Experienced as a wanderer in the forest would experience the teritory, the windows reveal themselves and the landscape as if you had stumbled on them alone on a walk. This intention is to claim the territory as a walker, experience your movement in the nature, and allow the site to reveal itself in a, “walkscape,” for the individual.This goes back to my original experience of the site and my !rst intentions for my claim in January. It is that a space can allow someone to escape, if even for a moment, from the pressures of daily life to take some respite and self re$ection.“Getting lost means that between us and space there is not only a relationship of dominion, of control on the part of the subject, but also the possibility that space can dominate us. There are moments in life in which we learn how to learn from the space around us ... if someone never gets lost he never grows up. And this is done in the desert, the forest, places that are sort of a machine through which to attain other states of consciousness.”(Ref: Franco La Cecla, Perdusi, Latuza, 1988, Walking as an aesthetic practice, Francesco)