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    Drain(Herit)age

    The office of Public Works (OPW, the State’s building service) proposes to construct up to 15km of flood defence walls and embankments in Cork City, including dykes, concrete walls and railings throughout the historic centre of the city. The works would be carried out under the Lower Lee (Cork City) Drainage Scheme (Flood Relief) and are an effort to mitigate the effects of climate-change driven flooding which all agree needs to be addressed in Cork. In some places the OPW walls would cover the entire frontage to the water of 16th, 17th and 18th Century historic quays while in others the new walls (and railings) would be constructed on top of older quays. Clearly the aesthetic and design of the scheme as presented is in stark contrast to the existing historic fabric and could not rationally be considered sensitive to the historic setting. Drawings for the scheme show the effect would be dramatic. The proposals have been viewed as a way of investing in the quays and the historic setting of Cork, and there are those, including some business groups, who want to secure the investment without questioning whether it is necessary or how the project is designed. However, Save Cork City and a growing number of opponents say that, like the main drainage project, the construction of the scheme would undermine local business in the historic city, destroy heritage and leave a barren landscape in the city centre that would lose the competitive advantage of its special character, over out-of-town locations in the Cork area. It says the widespread construction of drainage walls and pump chambers is ill-conceived in Cork where tampering with ground-water systems could lead to building subsidence and that water will rise within buildings, flooding the city from within as has long been the case, regardless of the works proposed. HR Wallingford international hydrological engineers, commissioned by Save Cork City, have said overtopping of quay walls after implementation of the OPW scheme could cause serious risk to life and the OPW has confirmed this may happen as early as 2049. Save Cork City say a tidal barrier at Little Island is the most economical and the fastest way to protect Cork. International experts agree, with Delft University saying it is “an interesting and attractive option” to protect the city. Emeritus Professor Philip O’Kane has extensively studied the upstream dams in Cork and, with HR Wallingford which has provided consultancy advice to the ESB over the years and the Port of Cork Authority, confirming that the dams are suitable to protect the city from fluvial flooding with little alteration to current practice or even electricity production. Save Cork City say the walls scheme is the largest scale planned destruction of heritage in the history of the state. They also say Cork has the largest intact urban Georgian waterway landscape in the World. Cork city has grown for a thousand years as a centre of trade. Its development was heavily influenced by its connections with Northern Europe and the south of England. Early Cork as seen in John Butt’s view of Cork c1740, (Crawford Art Gallery) shows a city of canals and waterways with fine Dutch style gabled, brick buildings. Ireland was a different place back then and Cork connected very fast with other trading cities especially in progressive and innovative Northern Europe. In 2017 Save Cork City ran an international design competition with a €10,000 prize for the quays of Cork to demonstrate what the city quays could be if sensitively repaired. The jury was chaired by Yvonne Farrell of Grafton Architects a multi-award-winning Irish practice and included Tim Lucas of Pryce Myers Engineers in London. The competition received entries from all over Europe and was won by Henry Harker and Francis Keane. The City Council and OPW largely ignored the exhibition and the results, in what was seen as a punitive response to a genuine effort to improve Cork. The winning design considers flood defence and provides for a tidal barrier that would cost less than the OPW and City Council scheme. Save Cork City describe the OPW designs as brutal and insensitive to the art of design in historic settings. It says Cork City Council now has an opportunity to repair the damage it inflicted on the city during the darker days of the later 20th Century. For example as part of the modernisation of the 18th-Century centre the City removed all cobbles from the quaysides, discarding them into the river; and built bridges that prevented boating on the river by being too low. It also demolished much of Cork’s 18th Century building stock. Save Cork City say the destruction has deeply affected the psychology of citizens and wants political support to protect the historic centre of the city and its quay scape. Cork City Council proposed to start the OPW scheme under a Part 8 process (where a local authority gives citizens an opportunity to comment on proposals). It duly consulted on the first phase of the OPW walls proposal – at Morrison’s Island. Tidal flooding has run into the city centre from low lying Morrison’s Island and protecting the area is seen as a priority for the City Council. Save Cork City says localised OPW walls at Morrison’s Island are a wasteful sticking-plaster-type solution and won’t solve the problem as many more areas are also vulnerable and the city would flood regardless. They question that the Council has not ever provided demountable protection to the area. The City Council says Morrison’s Island is a stand alone project, yet the OPW say it is not. Save Cork City has raised concerns as to why there has been no tender process for consultancy services for the “separate project”. It claims the City Council and OPW are supporting “project-splitting” methods to push the scheme against substantial public opposition. Clearly, the full project exceeds the size threshold over which an EIA is required. The City Council received an unprecedented 1491 submissions in response to its part 8 consultation process for the Morrison’s

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    Referee!

    On-side Rugby is religion for Limerick. The city mercifully did not inherit the class exclusivity associated with the sport. In the latter decades of the twentieth century Munster victories, usually over Leinster, sustained Limerick’s morale in the face of prejudice. In gratitude its City and County Council has granted permission for a rugby museum which will shoehorn a seven-storey show-stopper into a Georgian streetscape. With a rugby hero and a billionaire philanthropist tax-exile fronting the project they have the public on side. Does the new class of money and celebrity overrule our planning laws? The Players A new sports museum for Limerick, was announced in December 2016. Its applicants were Rugby World Experience Ltd set up that same year with a registered address in Lucan, Co. Dublin. It has three Directors: Chairman Paul O’Connell, Paul Foley and Sue-Ann Foley. Former Ireland, Munster and Irish Lions captain Paul O’Connell, Limerick native, basso profundo, family giant, Lidl man of squeaky cleanliness is the perfect frontman. Paul Foley is a former Limerick City Council Senior Executive Officer in the Department of Economic and Planning Development. Sue-Ann Foley is the daughter of JP McManus. Limerick’s greatest/richest son, and Chair of the JP McManus Benevolent Fund. The Coach John Patrick ‘JP’ McManus, money-trader and gambler, hails from humble beginnings but has for 30 years been resident in tax-friendly Geneva, Switzerland, while retaining a suite at the Dorchester Hotel in London. He is a doughty force in Limerick, particularly in Limerick City and County Council which even has a hall named after his most famous horse, Istabraq. His charity has funded schools, palliative care units, and every type of local sports clubs. Any criticism against a JP McManus project in Limerick is an attack on Santa Claus. It is McManus’ €10m seed funding that is making this project happen. O’Connell has said the rugby museum was a notion put to him by JP McManus during his playing days, but the idea has gained momentum since he retired. The Dashing Out-Half An unexpected dash for Rugby World Experience was the commissioning of renowned London-based, Irish-born architect Níall McLaughlin, twice shortlisted for the Royal Institute of British Architects Stirling Prize. His work includes the extension to the National History Museum London, the Carmelite Prayer room in St Teresa’s Church Dublin and college buildings in Oxford and Cambridge. Try The museum would be of scintillating contemporary design with, it is hoped, a sensitive palette of materials, mainly brick in keeping with the Georgian aesthetic. However, the architect’s report admits that “the brick selection and brickwork quality will present a challenge and it may be decided to use precast panels”. High Tackle The proposal is for a seven-storey building, 32-metres high (the architect originally intended the tower to be 36 metres in height), with a two-storey portico fronting O’Connell Street, and a two-storey block to the rear. There would be a three-storey block built over the existing Fine’s Jewellers, at the junction of O’Connell Street and Cecil Street. Inside, the development would see the existing buildings’ 1335sqm floor area increased to 2787 sqm “multi-media visitor experience, exhibition and education space”, plus retail (81sqm) and café (83sqm) at ground-floor level. The scheme is context-free: a bold attempt to subvert an aesthetic built up over centuries by breaching the established building height on Limerick’s main street, its beating heart. The design also self-consciously does not replicate the Georgian fenestration rhythm perhaps in an effort to minimise the perception of extra floors. Spear tackle The plan involves the razing of 40 and 41 O’Connell Street, and of 1 Cecil Street, a corner site on two prominent streetscapes within Newtown Pery, Limerick’s Georgian area. The Beautiful Game Lewis’ Topographical Dictionary of 1837 called Limerick’s Newtown Pery “one of the handsomest modern towns in Ireland”. The historic Georgian city is an example of ambitious eighteenth-century Italian-inspired town planning whose integrity should be respected through the retention of the characteristic continuous heights and building-frontage alignment that contributes to a quality unrivalled anywhere in the world, albeit that it has been allowed to dilapidate. Substitution The buildings that stand in the way are not protected but are listed on the National Inventory for Architectural Heritage, an indication that national government thinks they merit protection. There have been some changes to them over the second half of the twentieth century, including the cement-rendering of the façade, the replacement of an earlier shop front and the blocking up of window openings on the side elevation. These could easily be removed. The off-side rule Both sides of this site sit within an Architectural Conservation Area (ACA), protected under Section 81 of the Planning and Development Act 2000-2008 which states that an ACA is: “a place, area, group of structures or townscape, taking account of building lines and heights, that is of special architectural, historical, archaeological, artistic, cultural, scientific, social or technical interest”. ACA protections extend to the carrying out of works to the exterior of a building within the Area regardless of whether or not it’s a protected structure. The aim of designating areas is to protect their “special characteristics and distinctive features” from inappropriate actions. The ‘Statement of Character and Identification of Key Threats’ set out in Chapter 10 of the Limerick City and County Development Plan 2010-2016 notes: “This ACA constitutes the core heart of Limerick City’s Georgian Heritage within the City Centre…The streets of Newtown Pery represent a unique example of eighteenth and nineteenth-century planning in Ireland…The streets leading to The Crescent and Pery Square conform to eighteenth-century town planning, defining the streetscape by their adherence to fixed proportions and ordered harmonious symmetry. They combine to form an architectural heritage of great urbanity and considerable beauty”. This appears damning for McLaughlin’s acontextual, proportionately unfixed, asymetrical and inharmonious effort. But the ACA statement goes on: “The irregularity which emerged in relation to the treatment of heights, facades, and type of buildings combined with the rigid street pattern gives Georgian Limerick a distinct sense of place…All of these

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