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Architectural model of Liberty Hall, Eden Quay, Dublin

Micro-Art Studios, after Desmond Rea O’Kelly

1958

Cardboard, wood and acrylic

IAA 2014/108

Building for Work II: Offices

Architectural model of Liberty Hall, Eden Quay, Dublin

Micro-Art Studios, after Desmond Rea O’Kelly

1958

Cardboard, wood and acrylic

IAA 2014/108

Desmond Rea O’Kelly began working on a new headquarters building for the Irish Transport and General Workers Union in 1954. The design evolved through at least four versions before crystallising into the scheme represented by this model. O’Kelly, who was also the building’s structural engineer, proposed a sixty metre (197 feet), seventeen-storey tower, square in plan and transparent in elevation. The original Liberty Hall, headquarters of the Union during the traumatic 1913 Lockout and rebuilt after being badly damaged in Easter Week 1916, was demolished without fanfare in 1958 to make way for its replacement. Construction of the new building began in 1961 and it was completed in early 1965.

Although the mosaic-lined, copper clad, zig-zag roof was just too jazzy for one critic, the building was broadly welcomed by the architectural press. However, it was far from universally popular and continues to divide public opinion. Its original appearance, visible still in the model, was dramatically altered in the wake of a December 1972 car-bomb explosion. A grey putty was applied to the bands of white mosaic which delineated each floor, and in 1973 a reflective film was applied to the glazing, making the building opaque. Ostensibly inserted to counteract solar heat gain, its main benefit was security, a test area of the covered glazing having survived the bomb blast while surrounding windows shattered. The Union itself fell out of love with Liberty Hall in the 2000s and planned to replace it with a taller, broader and deeper tower. The downturn of 2008 ended this project, but the future of Liberty Hall remains uncertain.

Survey drawing by Desmond Rea O’Kelly of Liberty Hall, 1955.
24.1 Desmond Rea O’Kelly, Survey of Liberty Hall, 1955 (IAA Liberty Hall Drawings Collection 2009/111.128/4A)

Unaccustomed briskness: Dublin’s new office buildings

Carole Pollard

 

Returning to Ireland early in 1963 it was impossible not to feel the atmospheric change or notice the many signs of modernization. There was an unaccustomed briskness about the way Dubliners moved and a freshness of complexion which I had not seen before. Even the grumbles were indicative. There were too many Germans and other foreigners moving into the country to suit some people; there were complaints about all the money being spent on jet airliners and luxury hotels; and it was annoying that the upsurge in car ownership meant that the Irish would now have to take examinations for driving licenses.

(Donald S. Connery, The Irish (London, 1969), 30)

 

Liberty Hall, designed 1958-61 and completed in 1965, is a manifestation of the modernisation Connery speaks of above. It represents the 1960s dawn of a new Ireland – one that heralded prosperity and promise which by the mid-1970s had withered away. Today, as we witness wholesale demolition of Dublin’s 1960s and 1970s office buildings, the fact that Liberty Hall still stands is testament to its status as Ireland’s first sky scraper, and the representational importance of its emergence in place and time. Its architecture is very fine too.

Liberty Hall was designed by Desmond Rea O’Kelly as a new headquarters for the Irish Transport and General Workers Union, replacing the old nineteenth-century Union building on the same site (24.1). It was conceived on the cusp of a transitionary phase of Irish economic, social and cultural history, coinciding with the 1958 publication of T. K. Whitaker’s First Programme for Economic Expansion, and was born into an Ireland eager to modernise. Liberty Hall foretold the wave of a new development typology in a city that had seen little change in more than a century: the modern office block had emphatically arrived in Dublin.

The briskness that Connery speaks of in his observation was derived from significant improvements in the economy and small but important moves towards social progress. The expansion of Ireland’s commercial property market, led by unprecedented growth in office development, signalled a significant change in direction for architects, pulling them away from traditional patrons (such as State and church bodies) into the arms of speculative developers, banks, and insurance companies.

There were several diverse factors at play that underpinned the 1960s surge in office block construction in Dublin: sectoral shifts in employment patterns resulted in the expansion of office-based workforces; the Office Premises Act (1958) set new standards for the design, management, and maintenance of office premises with the consequence of undermining the suitability of older buildings; the removal of restrictions on investment and ownership in Irish companies via the External Investment Act (1958) meant many British property companies capitalised on the opportunity to develop office blocks in Dublin; and the 1963 Local Government (Planning and Development) Act, which set out to regularise planning in Ireland, facilitated development by eliminating the need to obtain planning permission for demolition.

In all this, however, Liberty Hall was remarkable for the fact that it was situated on the north side of the city. Except for Busáras (1953) designed by Michael Scott for the newly formed state transport company Córas Iompar Éireann (CIÉ), no commercial development of consequence had occurred in this part of the city since the early 1930s; and it would take another fifteen years before the Irish Life Centre on nearby Abbey Street was completed (1978 and 1985).

Development in the 1960s was focused on the city’s south Georgian core where the streets and squares had maintained a level of prosperity that the city’s northside counterparts had lost. As a result, the city’s business centre shifted south-easterly towards the Pembroke Estate and the environs of the Grand Canal. Architects seized the opportunity to experiment with new construction methods and materials. Concrete, steel and glass appeared to an extent not seen in the city before. At the same time, conditions such as a lackadaisical tax regime, and generally poor oversight of financial transactions which made property speculation attractive to developers, also generated public suspicion of those involved.

Colour photograph by Niall Monrgomery of the Bord Fáilte Headquarters, Baggot Street Lower, Dublin, 1966.
24.2 Bord Fáilte Headquarters, Baggot Street Lower, Dublin, 1966 (IAA Niall Montgomery Slides Collection 2020/18.4/4)

The surge in office-block development pushed architects into an unaccustomed limelight. They found themselves negotiating new territories and leaving themselves open to guilt-by-association with controversy. Architects were generally not well-known and few, if any, were household names, except perhaps Michael Scott of Scott Tallon Walker and Sam Stephenson of Stephenson Gibney & Associates. Scott was known as a pioneer of modernism; Stephenson had the dubious honour of being notorious for his architecture and his outspoken views. He regularly appeared in the national press, denouncing public rejection of his architecture.

 The architectural practices of Robinson Keefe & Devane and Tyndall Hogan Hurley joined Scott Tallon Walker and Stephenson Gibney & Associates to make up the four firms which dominated office-block architecture of the period. Of the four, Scott Tallon Walker established a reputation for producing high-specification, high-quality work. Heavily influenced by European modernism, their projects in Dublin during the period included RTÉ Campus, Montrose (1961), Bord Fáilte at Baggot Street Bridge (1962, demolished) (24.2), Abbey Theatre, Abbey Street (1966), Bank of Ireland Headquarters, Baggot Street (1972), Lisney Headquarters, St Stephen’s Green (1973) and PMPA Headquarters, Wolfe Tone Street (1978).

Black and white photograph of the ESB Headquarters, Fitzwilliam Street Lower, Dublin, 1971.
24.3 ESB Headquarters, Fitzwilliam Street Lower, Dublin, 1971 (IAA Photo Collection 10/1 X11)

Stephenson Gibney & Associates designed several controversial developments, including the ESB headquarters on Fitzwilliam Street (1965, demolished) (24.3), two office blocks at Hume Street (which were halted by preservationists and later built in Georgian pastiche), the Central Bank on Dame Street (1972-80) and the Civic Offices on Wood Quay (1976-86). Other Stephenson Gibney buildings include Hainault House, St Stephen’s Green (1967), the Institute of Advanced Studies, Burlington Road (1971), Merrion Hall, Sandymount (1973), Molyneux House, Bride Street (1973, substantially demolished), and Agriculture House, Kildare Street (1974). After the practice was dissolved in 1976, Gibney designed the Currency Centre, Sandyford (1978), and Stephenson was responsible for the Bord na Móna Headquarters, Baggot Street (1978).

Andy Devane of Robinson Keefe & Devane designed only three office developments in Dublin, two of which were, at the time of their completion, the biggest office developments ever undertaken in the city – the Irish Life Centre (1978 and 1985) and AIB Bankcentre (1979, demolished). Devane was the architect for Stephen Court on St Stephen’s Green (1972), his first venture into office block architecture (24.4).

 

Colour photograph of Stephen Court, St Stephen’ s Green, Dublin, 2024.
24.4 Stephen Court, St Stephen’ s Green, Dublin, 2024 (IAA Survey Photograph 2024/3.157)
Arechitectural drawing by Tyndall Hogan and Associates, for Office Block, Lansdowne Road, Dublin.
24.5 Tyndall Hogan and Associates, Office Block Lansdowne Road Dublin for Messrs Hardwicke, Elevation to Northumberland Road (Lansdowne House),1966 (IAA Tyndall Hogan Hurley Collection 98/61.65/8/9)

In terms of office block output, Stephenson Gibney & Associates was matched by only one other practice, Tyndall Hogan Hurley, whose commercial wing was led by Brian Hogan. His work included Lansdowne House, Ballsbridge (1967) (24.5), Telephone House, Marlborough Street (1969), Canada House, St Stephen’s Green (1972, demolished), Oisín House, Pearse Street (1972, demolished), the Setanta Centre, Nassau Street (1976), and two office blocks on Burlington Road (1969 and 1972). Hogan advocated a philosophy that separated him from his peers: he argued that ‘architects are not artists; [they] manipulate other people’s money and reach some sort of balance of all the conflicting priorities. At least I have the intention of making buildings you don’t really notice. I would say, in fact, that the best building is the one you notice least’ (Frank McDonald, The Destruction of Dublin (Dublin, 1985), 52).

There were others too who produced plain, functional office blocks, for example, Desmond Fitzgerald’s O’Connell Bridge House (1964), Burke-Kennedy Doyle’s Shell House, Hatch Street (1969, demolished) and Bowmaker Building, Nassau Street (1970, demolished) Costello Murray Beaumont’s block at Mespil Road (1965, demolished), David Keane & Partners’ Apollo House, Tara Street (1969, demolished), and Lardner & Partners’ Norwich Union, Nassau Street (1963, demolished), Hume House, Ballsbridge (1966, demolished), and Harcourt House, Harcourt Street (1972).

Interspersed with the legion of inconsequential office buildings were a number which made a significant impact for a variety of reasons. Liberty Hall sits firmly in this category, as does: the US Embassy, Ballsbridge (1964), by American architect John Johansen, which established Ballsbridge as the premier office district outside the city centre; the Sugar Company offices on Earlsfort Terrace (1964), the result of an architectural competition won by Boyle and Delaney, raised on a podium and disrupting established building plot lines; British architects Shoolheifer & Burley’s brutalist Fitzwilton House (1969, demolished) set at an angle to the canal bank at Wilton Terrace (24.6); and the divisive brutalist monument, River House on Chancery Street (1975, demolished), by Patrick Sheahan.

Also of note are Downes Meehan Robson’s Irish Life Assurance company headquarters on Mespil Road (1962, demolished), Morris & McCullough’s New Ireland Assurance Company offices on Dawson Street (1964) with later additions by Patrick Campbell (1971), and McCormack Keane & Partners’ Texaco House, Ballsbridge (1972).

These buildings for work are a physical manifestation of Ireland’s short but frenetic burst of prosperity in the 1960s and 1970s. Liberty Hall is prominent among the ever-shortening list of survivors. Despite its significantly altered glazing and ongoing lack of appropriate maintenance, its original architectural intent remains true.

 

 

Dr Carole Pollard is an architect and holder of an MA in History of Design from National College of Art and Design, and a PhD from the School of Architecture, Planning & Environmental Policy at University College Dublin. She is a Fellow of the Royal Institute of the Architects of Ireland and served as RIAI President for 2016-17.

 

 

Colour photograph of Fitzwilton House, Wilton Terrace, Dublin, 2017.
24.6 Fitzwilton House, Wilton Terrace, Dublin, 2017 (IAA Survey Photograph 2017/2.7079)

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