• Evolutionary Walk Pavilion

    Celebrating Charles Darwin Bicentenary.


    This pavilion was designed for the SESAM 2009 workshop in Valle di Canne, Rome. Each workshop group was given a metal U-Structure (4.8m square), in which to explore the theme of Evolution. The concept of our project was to explore man's physical, mental and spiritual evolution. Visitors are led on a journey through the pavilion where they discover a variety of spaces articulated to heighten awareness of particular faculties. Touch — crawling through a dark and narrow passage, our concern is with the texture of the surfaces immediate to us. Vision — we stand, where we are presented with a view of the park in the distance. We become more aware of the world around us. Self-awareness — we discover a generous bright lit room, where a small mirror attracts our attention. Upon seeing ourselves we become aware of our own physical limitations. We are objects in space. Spirituality — The mirror also directs us to a seat in an adjoining space. Sitting here, in a chimney to the sky, we reflect on our experience.

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  • Hibbertia


    The house is located in Margaret River, Western Australia. The clients for the house had a narrow plot and requested that their future house would have as much outdoor space as possible for the family to utilise and enjoy. As a response to this request, the concept for the design of the house evolved around the idea of making a series of external spaces; a garden for the children to play in, a vegetable patch, a space to eat in the evening and a deck to the north. The massing of the house and garage is broken down into three volumes which form the periphery to these external spaces. On arrival you move through the front garden and a series of controlled courtyard spaces, before entering the house. On entering the hallway you move up to a raised living space which takes advantage of the view of the jarrah forest to the north. Upstairs, the bedrooms are organised in a narrow volume to enhance cross ventilation and eliminate the use of mechanical cooling systems.

  • Murlán Cnoic Uí Gogáin

    Murlán Cnoic Uí Gogáin was designed in collaboration with the Danish Sculptor Helle Helsner. The door handle is narrow at the base to take a child’s hand and widens to the top for an adult’s hand. The curve to the rear of the handle mimics the shape of a cupped hand, while the flat front follows the line of the user’s thumb. The handle has been polished for softness of touch, yet the indents on the surface are reminders of the casting process. The casting was carried out using the traditional bronze casting technique of employing sand and horse dung to form the mold before pouring the molten liquid. Through use, the memory of the form becomes familiar to the hand and after contact, the scent of the bronze lingers on the palm of the user’s hand.

  •  BurnY-BurnY


    The form of this garden studio is derived from the form of the standard garden shed. The open plan studio space is adaptable to different working conditions. Large openings capture the heat and light of the sun. The studio sits elevated on pillars to avoid interfering with the ground below. Charred Irish larch was used to clad the building. The studio was detailed and designed adopting Passiv Haus Standards. Bespoke door handles, window latches, light fittings and furniture for the studio were designed in collaboration with master crafts people. 

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  • Gaelplex
    A proposal for an Irish Language Centre for Cork.


    The client Gael Taca, are the support group for the Irish Language in Cork. The design sought to give them the much needed facilities to promote the language effectively in the city. The basic brief was for a theatre / performance space, exhibition space, cafe, book / language resource, language labs and space for a pre-school. The idea for the project was to heighten the identity of the language in the city, to increase the possibility for interaction through the language and to create a meaningful connection between the city and the centre. From these core ideas of identity, interaction and connection the concept of "flow space" emerged. The proposed centre is located on the Grand Parade with a new public square off Market Lane. The proposal utilises large interconnecting voids within the centre and large openings on the facade to allow the activities of the city and the language centre to flow between each other, thus giving the opportunity for the language to enhance its connection and identity with the city. 

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  • Innisfree


    The competition brief was to design an installation for Innisfree Island inspired by WB Yeats' poem, "The Lake Isle of Innisfree". The project was initiated to commemorate the 150th anniversary of the poet's birth. Our response has been to imagine a place that fosters those feelings of peace and sanctuary so beautifully evoked in the lines of the poem. Visitors gather on a raised platform prior to entering into the cabin. Internally, an oculus in the ceiling allows light from above to gently illuminate the space. From within the cabin the picturesque lake setting is framed by the entrance opening. A bespoke table acts as a focus point within the space but also as a lectern referencing the project's literary inspiration. The structure consists of a steel frame, a timber deck, a rammed earth floor, wattle walls and a canvas and tar roof.

  • Teach Cnoic Uí Gogáin

    The project brief was to refurbish and extend a 1920's cottage. The new extension acknowledges the proportion and form of the existing cottage. A "slipped" plan creates a serpentine arrangement of exterior spaces. A south west facing patio off the dining space creates an outdoor room to be enjoyed in the summertime. To the front of the house a low lying wall creates a welcoming entry courtyard on arrival. The windows in the dining space and living room have been placed carefully to allow the views across the valley to be enjoyed from within the house.

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  • Heliocentric
    Art Installation Proposal

    The principle idea of the project is to create an observation point to capture the ever changing canvas of the sky. This idea is explored with a circular funnel which frames the moving clouds, passing planes from Cork Airport, flying birds and the sun. The framed view will never be exactly the same, each day will bring variations to allow the children to interpret and explore. On a wet day the funnel changes its role to collect rain and create a mini waterfall. Directly surrounding the installation are four "hang out zones" with benches to allow the pupils to gather, engage and play. The scale of the project is broken down to the scale of a child. The walls and entry doors have a smaller height and width to correspond to the proportion of a child. The proposed colour palate of the scheme is green (from the school uniform), red, gold and white (from the crest of the school). The four trees give shade on a sunny day their organic form acts as a counter balance to the strict geometric grid of the scheme.

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  • House at Mountnorth

    The L-Shaped plan of the house creates a private south facing garden that captures the sun. The positioning of the internal circulation for the house around this garden space was inspired by a visit to the friaries at Kilcrea and Killmallock. A recessed entry porch creates shelter from the elements while creating a transition from exterior to interior. The formal arrangement of the fenestration on the front façade is a design reference to the layout of the fenestration on the classical middle size Irish house. The simple form of house takes its reference from vernacular farm house buildings.

  • Seán Antóin Ó Muirí is the Design Principal of fuinneamh workshop an architecture and design studio based in Cork, Ireland.

    Design Philosophy at fuinneamh workshop:

    The core objective of our work is to explore space. For us, to create a place which is comfortable to the user, appropriate in scale and proportion, respectful to light and sensitive to materials, is the ultimate architecture. Whether the project is for a single room extension or an apartment block, these principles still apply. We have no defined design style but only one that is respectful to the client, the brief and the site. We are interested in craftsmanship and the detailing of materials, in order to realise a design that has honesty and longevity outside of any design period. The design process for each project is investigated through a series of sketches, drawings and scale models. With each project we consider carefully the important design factors of the user, the project brief, the plot and the site features to help us develop an appropriate design. We seek simplicity, not complication in our work.

    We look forward to hearing from you to discuss your project

  • Glasnvevin Centenary Chapel Competition

    The design strategy is one which seeks to deal effectively with the challenges of the site, respect the existing Easter Rising Monument and resolve the functional dilemma, of how to accommodate multiple funerals consecutively, without one funeral affecting another. The external presence of the Chapel seeks to create a "striking memorial" for the centenary celebrations, while internally the spaces are designed to offer a sanctuary of peace and spirituality for the mourner to grieve, remember and celebrate the recently deceased. The concept for the project is governed by the ideas of "movement" and "reflection". Mourners gather at the Centenary Square before moving parallel to the monument, through the main door and into the lobby. The lobby acts as a sheltered gathering point prior to entering the chapel for the ceremony. A quiet chapel space is illuminated with a continuous clerestory light. The lectern sits as the central element in the room. On exiting the chapel the hortus concluss provides the important function of a temporary gathering space, a moment of pause for mourners to group and console after the ceremony. Finally, a 'Golden Crown' made up of sixteen triangles sits upon the roof of the 1916 Centenary Chapel. Its simple geometric form acts as a beacon within the graveyard.


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