No 21 Aungier Street is designated under 4 different legal principles; National Monuments and Sites Act, Article 38 protecting all original materials and use, Section 19 Revenue Act amortising costs against tax and access to the public, 2000 planning and Development act on the list of the RPS (Record of Protected Structure)
- 1992 the building was recognised by Dublin Civic Trust as a late 17th century building. It was reported to the relevant department and was given status – protective status under the monument and sites act and registered as a National Monument.
- 1995 The Bord Pleanala reversed the demolition order on it. Because of its status, an appeal was made to the word and the Bord reversed the decision by DCC and the building was vested in the ownership of the Dublin Civic Trust.
- 1995-97 Research to prove historic and material significance – the dating of timber frame walls which are very early. The timber dating of the early staircase to 1680. This is the only full staircase of its kind going up 4 floors with 6 turns in it – it has early pear shaped balustrades the same as the ones in the Royal Hospital.
Number 21 Aungier Street is a substantial late 17th-century mansion one of the oldest recorded buildings in the city, a structure of outstanding architectural and historical significance, built during the 1660s on lands leased by Sir Francis Aungier to Robert Reading, Esq., an influential colleague of the Duke of Ormond, and was subsequently home to the Earls of Rosse, supporters of King James II at the Battle of the Boyne.
The building is a rare surviving example in Dublin of the transition in building technology from late medieval timber framing to brick and masonry construction.
It substantially retains its original plan and layout, consisting of four rooms, arranged around a centrally positioned staircase and two massive chimney stacks, flanked by smaller closet rooms.
The internal walls are timber-framed and are similar in character to those found in Numbers 9- 9A Aungier Street, a 17th-century mansion that has more recently come to light, a building recognised for its rarity by Dublin City Council, conservation department.
The staircase in No.21 survives intact, it rises six flights through the building, featuring squared newels, a wide heavy handrail and handsome pear-shaped balusters characteristic of the late 17th century and is the only means of accessing the upper floors.
Renovation of the building
In 1992, planning permission was granted for demolition of the building, which was subsequently overturned by An Bord Pleanála in acknowledgement of the mansion’s outstanding architectural significance. Through Dublin Civic Trust’s intervention, (then) Dublin Corporation arranged for a site swap with the developer who had originally purchased it from the Corporation, and subsequently vested the property in Dublin Civic Trust in 1995.
The Dublin Civic Trust undertook a major year-long programme of structural stabilisation, conservation and restoration as a pioneering built heritage demonstration project, which was grant aided by Dublin Corporation and the Department of Environment.
This included extensive steel and masonry bracing, reinstating the roof, repointing the late Georgian façade of c.1810, salvaging and refurbishing all original joinery elements, lime plaster wall and ceiling repairs, and the careful reinstatement of windows to exact historic profiles. A stand-out element of the works was the meticulous consolidation and repair of the rare original staircase and timber-framed walls.
Upon completion of the essential conservation works, Dublin Civic Trust sold the property under our Revolving Fund Scheme to a private owner who undertook to complete the building and operate it as a 15-bedroom heritage guesthouse with associated café at ground floor level. The grant of permission for this use (Ref: 2678/96), which operated until approximately the year 2000, was conditioned on reasonable public access being afforded to the first-floor level, in addition to full public access at ground floor level. Under the same grant, a planning condition required an agreement to be signed under Section 38 of the Local Government (Planning and Development) Act 1963 (amended) stipulating the preservation of the original staircase, original timber beams and medieval timber partitions, original free standing chimney stacks, and the restored front and rear walls. A further condition requested that “no further subdivisions of the important ground and first floors shall be permitted.”
- On completion of the restoration in 1997 the Dublin Civic Trust – the building was launched by the then minister Liz Mc Manus – a section 38 agreement was drawn up protecting all original material identified and stating that this would not be removed or interfered with in the foreseeable future – this was signed by Dublin Corporation.
- Section 19 under the Revenue act was obtained on the building which entitled a would-be purchaser to amortise the restoration costs against their tax liability. This was subsequently used by the new owner.
Since approximately the year 2000 Number 21 was pressed into unauthorised use as a long-term hostel providing residential accommodation for the Immigration Service, and latterly to the Department of Justice as a step-down facility for young offenders. This use was in breach of the authorised guesthouse use which afforded public access to the property and facilitated the appreciation and enjoyment of its unique heritage features.
Irish Times, March 2nd 2017: Olivia O Kelly
Irish Times, March 26th 2017: Olivia O Kelly
KAMERINO POP-UP SHOP. Barcelona
Exclusive five-day sale of a unique collection of handmade pieces from the old workshop of a historic Barcelona shop specializing in party favours and theatrical curios.
You’ll find cardboard masks, hats and instruments, genuine Japanese lanterns, paper toys and a dazzling array of other weird and wonderful objects made between 1926 and 1948.
From Wednesday 1st March 2017 until Sunday 5th March 2017
Open: 10am-6pm daily
Adifferentkettleoffishaltogether, 18 Ormond Quay Upper, Dublin 7
The Catalan artist/performer/scenographer/collector and antique furniture restorer Xavier Palet Sabater will set up his exquisite shop at 18 Ormond Quay Dublin 7. Now the new home of Dublin Civic Trust. This will be the final event to take place in this historic building before the Trust begin renovations and the scaffolding goes up.
Please call in and visit over the week. Xavier is selling rare Catalan stock from 1926-1948 and will be giving a demonstration and talk on Saturday 4th March at 3 pm in 18 Ormond. (Adifferentkettleoffishaltogether)
This is a free event but limited seating – 20 persons
Please email email@example.com to book a place
POP-UP SHOP KAMERINO. Barcelona
Exclusiva venta durante seis días de la inédita colección recuperada de un antiguo almacén de Barcelona dedicado a la fabricación artesanal de artículos de teatro y fiesta entre los años 1926 y 1948.
Podréis encontrar máscaras, sombreros e instrumentos de cartón, auténticos faroles japoneses, juguetes de papel y una infinidad de objetos curiosos…
Además, programaremos una charla teatralizada para dar a conocer el proyecto.
Estaremos en a different kettle of fish altogether, 18 Ormond Quay Upper, Dublín, del 28 de febrero al 5 de marzo de 2017.
Horario: 10 h a 18 h
Encontraréis más información en la página de Facebook Kamerino Collection in Dublin.
Xavier Palet Sabater was born in a small town in L’Empordà, Catalonia. In 2000 he embarked on an artistic career restoring antique furniture and artwork while managing his workshop and the Kamerino shop in Calonge. Since 2007 he has also worked in the field of performance art and theatre, designing, directing and performing his own work at a number of festivals. In 2016 he launched the Kamerino de l’Enginy project in Barcelona.
Tim James Morris grew up on the south coast of England to a family with Welsh roots, but has lived for the last 15 years in Barcelona, where he translates for art exhibitions, festivals and other cultural events.
(Tim will be translating Xavier’s talk on Saturday 4th March)
Further information on the Kamerino Collection in Dublin Facebook page.
Supported by: Dublin Civic Trust/Farcry Productions/The Temple Bar Company/DCC
Tony Mac Mahon, Farewell to Music
- Two days of key note speakers talking about Trauma, Silence and Voice
- The speakers are Bríd Keenan, Belfast based expert on trauma
- Siobhan Madden Social Researcher, Feminist Activist speaking about voice, silence, memory and knowledge
- Dr Micheline Sheehy Skeffington, speaking about her Grandparents and campaign for gender equality in third level institutions
- Mary McDermott Radical Educator and Feminist Philosopher who will speak about the interaction betweeen social and personal change
- These speakers and key themes are interwoven with music, poetry, drama song and dance, and most importantly conversation and tea….
- €25.00 per individual for the two days.. plus a light lunch, plus a creche, plus ISL interpreters and for those that cannot afford it we have a limited amount of free tickets….so it would be nice to entice those on the East Coast over to the West for two days.
For those of you within driving distance of Dundalk town there will be a very interesting talk given by Fiachra Mac Gabhann this Friday June 10th on Irish Place Names. It will be well worth attending. No booking needed.
An Archive of Our Past: Placenames and Sense of Place
Speaker: Fiachra Mac Gabhann
Venue: Wellington Hall, St. Mary’s Road, Dundalk
Date: Friday, June 10th 2016
Organisers: Dundalk Culture Club
Toponymy – the study of Place Names – gives us a fascinating and unique access to our past. It connects us to the landscape and nature and is a wellspring of geographical, historical and mythical information.
Fiachra Mac Gabhann presents a talk that will draw on his extraordinary ten volume study of the Place Names of County Mayo, Logainmneacha Mhaigh Eo, to examine some of the intricacies of these themes and piece together some of what has been lost, and offer perspectives on the historical and cultural significance of Irish placenames to our sense of identity.
Admission is Free but donations are welcome.
This event has been organised by the Dundalk Culture Club.
Johnny Murphy was an extraordinary talented Dublin artist. He once told me he discovered his talent for performing in the Don Bosco in Crumlin, but I remember seeing Johnny in the many many great productions that the late Deirdre O Connell did at the Focus Theatre. They were the great European classics, Ibsen, Strindberg, Chekhov. Huge talent on a tiny stage, in a tiny place, bursting at the seams. The passion, the commitment, the drive, the humanity that emanated from Johnny Murphy’s performance was something that I carry to this day. Those days, that stage, that place were shared with other greats, Gabriel Byrne, Ena May, Tom Hickey. These people created a whole new energy which was later harnessed into the Project Arts Centre under the baton of the Sheridan brothers, Jim and Peter who assembled a dynamic bunch of individuals that, in my view, changed the course of Irish acting, Irish performance, Irish playwriting, Irish stage writing and dramatic energy.
Johnny Murphy was a vital part, an essential ingredient, a navigator in all of that.
From Yeats’ work to Beckett’s work to Jim and Peter’s own works, the whole collaboration of the Project Arts Centre all boiled down to one ingredient – the performance of the artist and actors. Johnny Murphy was a star attraction. Not just on that stage, but in people’s lives. He was a very generous, no bullshit person who could cut to the chase. I had some fantastic times with Johnny during my time at the Project and in the many plays and tours that we all did as a company.
I deeply respected and appreciated his guidance, his consideration, his understanding and his generous love and what a funny guy. He was blessed with a marvelous wit and a comic genius. He could hold a stage and an audience anywhere. He could mesmerize with a look.
Nobody, that I know of, has ever forgotten a Johnny Murphy performance. Throughout the last number of years of his life he was as active as you possibly could be, particularly after giving what I believe was one of the most definitive performances in the history of Waiting for Godot, when he played the tragic, fabulous Estragon alongside Barry Mc Govern’s Vladimir at the Gate Theatre. It was way back in the Project Arts Centre’s production of Waiting for Godot that Johnny first unleashed that performance and interpretation of Estragon to packed houses.
Drimnagh and Dublin are proud of Johnny Murphy. An artist, a father, a brother and a son. Many of us who also loved Johnny, and I mean loved Johnny Murphy, will grieve and miss him. But we will always be reminded of Johnny as we pass his many haunts, his many theatres, and when his many friends gather in different groups, both now and into the future, to talk and remember. It was Samuel Beckett who coined the phrase ‘we are born astride the grave, the light gleams for an instant, and then it is night once more’. John Murphy’s light gleamed brightly in our hearts and in the limelight of the stage forever. We are obliged to you Mr Murphy.
My deep condolences to his daughter, his family, his many friends and his many audiences.
“Johnny, your cue. You’re on.”
Street performance and Dublin City Council bylaws
There is a group of individuals who claim they represent all buskers who have been putting out misinformation, not just about Dublin City Council, but about me in an unjust and inaccurate attempt to demonise and label me as anti-busking and anti-culture. This is not true.
Firstly, nobody, is attempting or has suggested banning busking or street performance. At present, there is a document in the public domain seeking observations and suggestions with regards how we manage the public domain in relation to street performance. This is part of the democratic process of enshrining the rights of street performers while on the other hand maintaining a balance in the public domain which is also the workplace and home for thousands of people.
Over the years many residents and workers have complained to Dublin City Council and public representatives about the unbearable noise levels at certain locations in the city – mainly Grafton Street, Temple Bar, Henry Street and the GPO.
Having tried a voluntary code of conduct with regards performers’ noise levels, the City Council decided it was appropriate to create a series of bylaws to help to manage the public domain more effectively. These bylaws were enacted into law a year ago with a review period that would fix any blaring omissions or further complaints.
The concerns at present mainly relate to amplification and noise levels and a general wish by many residents and workers to ban amplification which, as well as being a nuisance, drowns out acoustic buskers. I am not against busking, but, like the residents and workers in the city centre, I support this ban on amplification.
This whole process has been democratic, open and transparent where everyone gets heard – unlike on Grafton Street or Temple Bar sometimes when you can only hear the noise that is so loud your head hurts. Anybody interested can read a copy of the new bylaws under consideration before they are voted upon and the voting process itself can be viewed by all when they are discussed at length in Dublin City Council at the Arts Strategic Policy Committee which is webcast live and available online to view after the meeting also.
Rest assured that Street performance and busking will always be a feature on Dublin and Irish streets and Irish culture is the richer for it.
I hope this clarifies some of the issues, even if it doesn’t stop the devious few who want to undermine me and who last year smashed the window of my former studio on Ormond Quay and graffitied disgusting comments all over the building.
Long live busking. Long live street performance. Long live a safe and healthy work place for all.
John ffrench was born in Dublin to Irish and Italian parents. Travel and foreign inspiration has always been a factor in his work. His early art education was in design, drawing and calligraphy in the National College of Art in Dublin. In 1951, ffrench went to the Institute Statale d´Arte in Florence to study under professor Bruno Pauli. He stayed on in Italy until 1955 to work with like-minded ceramicists on one-off pieces and to soak up the innovations of Italian Modernism. The Mediterranean influence, so apparent in his work from then on, set him apart on his return to Ireland. At this time, Ireland had virtually no craft pottery tradition and mass produced and imported work was standard. Even in the 1950´s, the new craft schools based on the Bernard Leach school favoured the Anglo-Oriental style of dun-coloured pots, the “little brown pots” as they were known.
When ffrench returned to Ireland in 1956 he set up the ‘Ring Studio´ in Kilkenny with Peter Brennan. He began to create pots unlike any seen previously in the country; ffrench preferred to hand build rather than throw his pots and they were very sculptural and experimental in form. The cubist paintings of Picasso and Braque inspired both the ceramics and paintings he made at this time and much of his work was large and irregularly shaped (to the point that his work was described as “too obstinately asymmetrical” by a Dublin newspaper).
In 1962, ffrench returned to Ireland and founded the Arklow Studio Pottery. The Scandinavian Report into the status and quality of craft in Ireland had been scathing, a government initiative to improve standards by involving experts in the various fields was set up. Ffrench was closely involved in this capacity with Kilkenny Studios, which was producing designers for various industries. Influences from his time spent in India were seen in the imagery, colour, form and pattern work of his time. The studio produced tableware, pots, jewellery, wall panels in colourfully glazed, stamped and gilded finishes. In 1969, he moved to America and opened the Dolphin Studio in Massachusetts. With his wife he added batik works and silk-screen prints to his range. He made cheerfully coloured decorative temples and mythical buildings made from individual tiles and arranged like children´s building blocks. In 2007, John ffrench was honoured with a lifetime achievement show from the Arts Council of Ireland.
The motion above was before Dublin City Council at its monthly meeting in April. It was postponed for a month as one Councillor associated it with censorship and questioned whether it was supported by the gay community etc. The exhibition itself is by artists who are long deceased and relates to the Russian Revolution and it is meant to coincide with the 2016 celebration. It is in no way an act of censorship it is more in line with sanctions and challenges that are designed to oppose the manner in which Putin has threatened the gay community in Russia.
The Gay community the world over and indeed many in society at large are absolutely appalled at the draconian measures that have been brought into legislation to suppress and oppress the Gay community of Russia. As an artist and a politician, I am wholeheartedly opposed to these measures, hence, the motion. Please indicate your support by sharing this motion and if you email me firstname.lastname@example.org I will forward your support to the Council meeting tomorrow (Monday 12th May) where I will speak on this motion.
Many artists from musicians to visual arts are withdrawing from scheduled concerts and artistic events such as Documenta 10 in solidarity with the Russian Gay Community.