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Edited with photoshop
Interior light colour to be decided.

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The duration of each video is two minutes.

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I have recorded two videos and edited them by using four different blur effects. I might add colour effect as experimentation. I will record more videos tomorrow.

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Newman's Broken Obelisk: the end of a political dream

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Barnett Newman's Broken Obelisk balances enigmatically above a long, shallow reflecting pool outside the Rothko Chapel in Houston, Texas. Lush swamp-like foliage and obsessively trimmed lawns surround it in the humid heat. You might be in ancient Egypt, the scene is so silent and reverential.

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Lights on: installation model in the dark

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Lights on: installation model in the dark

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The hole is used to pass the wires

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Square bricks made by using a stone cutting electric saw

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Square bricks made by using a stone cutting electric saw

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Silurian rock/stone. Ormonde Slate Quarry.

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by Augustus Saint-Gaudens, he created ‘Charles Stuart Parnell Memorial’ O'Connell St. Dublin (unveiled 1911)

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Pamplona 2006

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Stand Alone Sculpture - DeWitt Godfrey Studio

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Luttel, 2016

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'All of this and Nothing'exhibition, he won the 52nd GNMH Award

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Sculpture Dublin Lecture Series with Paula Murphy

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Sculpture Dublin Lecture Series with Paula Murphy

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‘The Commission’ - Third webinar topic

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Sculpture Dublin Lecture Series with Paula Murphy- ‘The Commission’ - Third webinar topic  

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I will use stone to create the pedestal for the installation

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Twilight Together

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World honour for Irish photographer's pandemic shot

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Materials: Arduino Board, LED lights, Cardboards, Glue Gun, Copper Wires, Skewers in Bamboo, black paint, Coloured Tissue Paper, Glue Stick, Masking Tape.

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Silurian grey and blue slate of the Ahenny Formation.

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Silurian grey and blue slate of the Ahenny Formation.

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Intuition Within the Conversation between Graphic Designer and Design Materials

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Intuition Within the Conversation between Graphic Designer and Design Materials

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Conceptual Transformation and Cognitive Processesin Origami Paper Folding

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Conceptual Transformation and Cognitive Processesin Origami Paper Folding

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Sound Installation?

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This is only a 3D sketch idea of what the work could look like. The yellow rectangle represents a monitor (monitors will be framed in each section of the structure. Materials of the frame: metal, wood,.......).

Viewers will not be able to see clearly what is on the monitor apart from blurred colours because of the distance.

-I might create a pedestal for it.

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Architecture of the unfinished: A journey through Italy's modern-day ruins. A foray into the symbols of an age uncertain about its future and the people who re-invented these paradoxical products of political corruption.

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Architecture of the unfinished: A journey through Italy's modern-day ruins. A foray into the symbols of an age uncertain about its future and the people who re-invented these paradoxical products of political corruption. Architecture of the unfinished: A journey through Italy's modern-day ru...

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Is creosote Harmful?

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Is creosote harmful?

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The most common creosote-treated wood that homeowners will encounter is used railroad ties. Although these sturdy pieces of wood may seem like an attractive addition to your landscape, the Environmental Protection Agency (EPA) does not recommend using them in gardens or any other residential application. This is primarily due to the dangerous health effects of creosote and the possibility of exposure through skin contact and through contaminated fruits and vegetables. The environmental impact of creosote lumber remains under investigation.

Tip

Creosote is harmful to human health, but its environmental impact is unclear. Regardless, creosote-treated wood is not recommended for use in gardens.

Creosote is a chemical by-product that forms when wood, coal or creosote bushes (Larrea tridentata) are burned under high heat. It is not a single chemical, but rather a mix of chemicals - anywhere from 300 to 10,000. According to the Virginia Department of Health, related products include coal tar, coal tar pitch, coal tar pitch volatiles, wood creosote and coal tar creosote.

You may be familiar with creosote in terms of chimney safety: creosote settles onto the inner walls of wood-burning chimneys, especially those that burn inefficiently, and greatly increases the risk of chimney fire. However, creosote is also used in the lumber industry as a wood preservative. According to the EPA, creosote protects wood from damage caused by termites, mites and fungi.

According to the Agency for Toxic Substances and Disease Registry (ATSDR), creosote can enter your body through inhalation, ingestion or skin contact. In days gone by, creosote from beechwood was commonly used in the U.S. as a laxative and expectorant to treat pneumonia, leprosy and tuberculosis. This use implies that creosote is non-toxic, but in fact, it has been associated with harmful health effects, especially with long-term exposure. The health impact of creosote exposure depends on how it entered your body, how much you were exposed to, and how long the exposure lasted.

The EPA notes that creosote is approved only for wood used in outdoor settings. In particular, it is used in railroad ties and utility poles, and marine and foundation piling. Creosote-treated wood is not for residential use and is also not intended to be used as landscape timbers or for building raised garden beds.

Due to its specialty applications, the EPA reports that new creosote-treated wood is not commercially available to homeowners. However, the EPA notes that it does not regulate used creosote-treated wood.

Used railroad ties also sometimes end up for sale at recycling centers or can be purchased directly from railroad companies. In addition, both Home Depot and Menards list "used railroad ties - creosote treated" for sale on their websites and suggest using them for landscaping purposes. Despite this sales pitch, the EPA's warnings about creosote-treated wood remain in effect. Assume that all railroad ties have been treated with creosote, and steer clear of them for home or garden use.

The ATSDR lists an alarming number of possible side effects associated with exposure to creosote. For example, it can cause a burning sensation in the throat if ingested, or can irritate the respiratory tract if inhaled. Skin exposure can lead to a rash, and chemical burns can result if it makes contact with the surface of the eye. In severe cases, it can cause light sensitivity, kidney and liver damage, mental confusion, seizures, fainting and even death.

Children may be more likely to accidentally ingest soil contaminated with creosote due to their tendency to put foreign objects in their mouths or fail to wash their hands after playing outside. Creosote exposure is not linked to birth defects in humans, but it has led to birth defects in animal studies.

Creosote is also a known carcinogen. In fact, the National Cancer Institute notes that the correlation between soot (creosote) exposure and cancer of the scrotum in chimney sweeps was first identified in Britain in 1775. Chimney sweeps also experience a high rate of skin, lung, esophageal and bladder cancers, all of which seem to be related to prolonged exposure to creosote in this population.

Most of the research regarding the environmental impact of creosote focuses on creosote derived from coal, or on large amounts of creosote released as a by-product of lumber processing plants. Information about the environmental impact of creosote-treated lumber in home gardens is lacking, but the existing body of evidence about creosote in general suggests that it does not have a significant environmental impact when present in small quantities.

However, a 2000 United States Department of Agriculture study did focus on creosote-treated wooden bridges and found negligible amounts of creosote in downstream sediment and water. The study also determined that creosote-treated wood was unlikely to harm invertebrates living in nearby waterways. However, only two creosote-treated bridges were examined, which does not give this study enough data for significant analysis.

The ATSDR notes that creosote particles are broken down by microorganisms in the environment, but it's unclear how long this takes. In the meantime, plants, invertebrates and small mammals have been known to absorb small amounts of it into their tissues. In theory, fruits and vegetables planted near creosote-treated wood could contain creosote. This creosote could then be passed on to you when you consume these plants.

Untreated wood used in garden settings will last just a few years. Contact with the soil will degrade it, but even wood raised off the ground is susceptible to damage from termites and wood bees. That's why many gardeners look for treated lumber: it lasts longer because it's not constantly under attack.

The most common EPA-approved preservative for pressure treated wood in residential applications is called alkaline copper quaternary, or ACQ. Visit EPA.gov to view a complete list of wood preservatives currently approved for use. Note that some treatments are only approved for restricted use.

Another option is composite wood. Some varieties combine wood with plastic, which pests like termites can't digest, while some products cover the wood with a microscopic layer of glass. Or, go the all-natural route and choose wood that's naturally pest-resistant. Orkin cites cypress, yellow cedar, redwood and Laotian teak as good options, especially when the heartwood is used.

If you already have railroad ties in your garden and would like to replace them, it's important to follow a few guidelines for safe disposal. First and foremost, the EPA notes that creosote-treated wood - or wood treated with any kind of chemical preservative - should not be burned, so do not put it in your bonfire pile. Burning it will release toxic chemicals that could cause respiratory damage if inhaled.

Whether creosote-treated wood is considered "hazardous material" is up to your state or municipal government. Visit EPA.gov to look up hazardous waste programs in your area and to ask about railroad tie disposal. If local laws don't consider it hazardous, your normal trash collection company should pick up the ties. Because they are often heavy and bulky, it's best to call ahead to arrange a special collection.

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Is Creosote Harmful in a Garden?. Wood doesn't last long when exposed to the elements unless you take steps to protect it, and for many decades, creosote has been used to protect wood used in outdoor industrial applications. Creosote is a potentially hazardous substance, though, and while creosote-treated wood ...

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Drone

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I edited one of the work made by Ana Julia Gobbi to simulate an installation idea that I have in my head.

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Edoardo Tresoldi has suspended phantom ruins above the hallowed halls of Le Bon Marché Rive Gauche in Paris.

The Italian artist - who creates spectral architecture in unexpected spaces - has hung two Neoclassical domes from the department store's Gustave Eiffel-designed glass ceilings for his latest site-specific work, titled Aura.

Both ephemeral structures are eight metres in length and almost identical in shape but the two have been constructed from different materials. One is wire mesh - Edoardo Tresoldi's usual medium - while the other is built from corrugated metal sheeting for the first time ever.

'They embody two different sides of architectural history,' says the artist. 'Like relics on display in an 18th-century natural history museum. By observing them, visitors trace back the historicity of architecture through its components.'

Aura will be on display at Le Bon Marché until 22 October. Its follows previous site-specific commissions by artists including Ai Weiwei, Chiharu Shiota and architect Tadao Ando.

Times have been busy for Tresoldi (one of 12 artists we suggest you follow on Instagram) who filled a courtyard in Abu Dhabi with wire-mesh arches in May and built a phantom basilica in Italy's Puglia in 2016.

Read next: LVMH to turn a Paris garden into a €60m theme park

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Artist Edoardo Tresoldi builds ghostly ruins inside Paris' Le Bon Marché

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Edoardo Tresoldi has suspended phantom ruins above the hallowed halls of Le Bon Marché Rive Gauche in Paris. The Italian artist - who creates spectral architecture in unexpected spaces - has hung two Neoclassical domes from the department store's Gustave Eiffel-designed glass ceilings for his latest site-specific work, titled Aura.

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Location: beside San Francis Bridge, Kilkenny City, Leister

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To celebrate the beginning of the 2016 Olympic Games in Rio, French street artist JR wanted to do something special. And as you can see from these awesome installations, he's definitely succeeded.

The two giant athletes, which are part of the artist's ongoing 'inside out' project, are made out of scaffolding and are currently on display in Rio de Janeiro. The high jumper is 27-year-old Mohamed Younes Idress, a Sudan-born, Germany-based athlete who, according to JR on Instagram, "missed out on qualification for the 2016 Rio Olympics but he is there some how." The second installation, which took the artist around a year to complete, represents a swimmer diving into the ocean. The opening ceremony for the Rio Olympics begins on August 5th 2016, and over 11,000 athletes from 207 countries will compete.

More info: Instagram (h/t: designboom)

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French Artist JR Installs Giant Athletes Across Rio's Urban Landscape For 2016 Olympic Games

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To celebrate the beginning of the 2016 Olympic Games in Rio, French street artist JR wanted to do something special. And as you can see from these awesome installations, he's definitely succeeded. The two giant athletes, which are part of the artist's ongoing 'inside out' project, are made out of scaffolding and are currently on display in Rio de Janeiro.

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Sculpture Dublin Lecture Series with Paula Murphy

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Sculpture Dublin Lecture Series with Paula Murphy

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‘The Practice’ - Second webinar topic

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Sculpture Dublin Lecture Series with Paula Murphy-  ‘The Practice’ - Second webinar topic

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Journal * Art & Culture

Richard Wilson

You know Richard Wilson's work - even if you don't think you do, you do. He's perhaps best known for 20:50, his piece from the late 1980s that filled a gallery space with sump oil and invited viewers (via a partly submerged walkway) into the multi-planed, mathematically precise yet hallucinatory space thus created. (It's been for years the only permanent installation in the Saatchi gallery, housed in a custom-built room.)

For Turning The Place Over, Wilson cut a huge section out of a concrete building-front in Liverpool and rotated it, miraculously conjuring a science fiction dimensional portal out of the lumpen reality of brutalist architecture. For Hang On A Minute Lads...I've Got a Great Idea, he balanced a full-size coach on top of a building in the unlikely surrealist surrounds of Bexhill.

They're memorable, to say the least, but for me the most striking aspects of his work is that it makes me look differently at everything, as if the world is rigged with unassuming objects that might at any moment start to act oddly. When I ask him whether this is deliberate, though, he says not, or at least not exactly.

'I believe the secret of your experience is that, though I look as if I construct, in fact I undo or de-construct. And by the deconstructive act of revealing you break the skin of an object and show that there's much more than what you would assume going on under the surface.'

The pieces seem to engage the world as a place imbued with the fluidity of geometry and mathematics; somewhat incongruously, I was put in mind of them by the surreal CGI spectacles in Christopher Nolan's film Inception, but of course Wilson's work doesn't rely on computer trickery ('I find it impossible when its all in the computer. You don't get that real response to problem solving') and instead invades the material world. That said, what a Wilson piece does have in common with Hollywood productions is that it's not cheap - not at all. His recent piece Slipstream, in Heathrow's Terminal 2, is the longest and most expensive privately-funded sculptural work in Europe, and in terms of conception and execution can only be described as staggering. How on earth did it come about?

'What I used to explain Slipstream to others was simply a verbal fictitious scenario: imagine filling the void of the Central Court of Terminal 2 with clay. Now imagine a small stunt plane moving through that mass of clay, somersaulting, spiralling, twisting and climbing. Once out the other side, imagine the vast void left by the plane's path in the clay and fill it with fast setting plaster. Afterwards, excavate the hall of all clay to leave a suspended plaster form. Imagine what this solid but fluid shape of the movement of the plane through space could look like.'

Simple, right? The explanation does help to emphasis, though, that whereas it can seem as if his works are the embodiments of quite abstract notions brought to material life, in fact for him it's never abstract. It's more about understanding the material reality of things in profound and unexpected ways.

'Understand what I was up to,' he urges. 'I never saw Slipstream as an abstract concept. I think it's partly to do with understanding structures and how your world stands up. I liked the statement Fitzcarraldo gave in the film when asked how he intended to transport a steamship over a steep hill: "Like the cow jumped over the moon". That's how I try to think.'

And how does it work practically? What's the process by which the reality-tweaks he sees in his head come to be made to the utilitarian spaces of our city-centres and airports?

'It's to do with not being afraid of grand schemes - and, of course, of having the right team around you to get you out of the fixes scale and size can place you in. I always develop an idea to the best of my ability, and then if the project requires engineering expertise then I approach one of several good engineering practices who've been sympathetic to my previous schemes. I would take to them all my drawings and models and we would spend time developing the necessary engineering. I enjoy the meetings with engineers especially when I bring in all my wood/card models - they're incredibly democratic things.'

Works on this scale, in these everyday contexts, have as part of their appeal a sense of danger, I think. Can that sense of danger be a problem? That coach does look pretty precarious ...

'Well,' he admits with a hint of humour, 'Sometimes there is an element of reassuring a client that it won't collapse ... On the other hand, it can be a blessing, too. Once I'd proved that I could deliver work at this kind of scale the phone started to ring.'

Another notable feature of Wilson's work is how irreverent it is, how unprecious: for all its surreality and insistent oddness, it seems profoundly democratic. He's also a cultural magpie, on more than one occasion naming a piece after a popular song. It's playful rather than ironic: One Piece At A Time is a good example, an installation named for the comedy Johnny Cash song of that name.

'Well,' he says, 'for me its important to open parameters up rather than corral or close things down - it's an inclusive approach on lots of different levels. And humour can be a very useful way into the sculptures for the viewer, as well. You need these as hooks for your audience. Alongside the scale and the spectacle, it's all part of what I like to call the 'wow' factor.'

The 'wow' factor is very relevant. I'm interested in how he thinks about scale, since he's brought it up a couple of times now.

'The word scale is interesting with reference to my work. One has to ask "how big is large", really: it's all relative to what you're trying to say and where you're saying it. Slipstream at Heathrow is 78m long but is only supported on 4 of 11 columns that were offered to me as the site, so in fact it's not that big for the space offered. One has to be sensitive to each site's potential - sometimes the whisper is greater than the shout.'

And what draws him to these spaces and types of works?

'I've spent the best part of 35 years tampering with architecture as my sculptural material, in order to disrupt our normal relationship with things in the hope of finding a new aesthetic potential. If that means being given a large architectural space or open area you find a scale or size that is appropriate for such a space. Basically' - he says this nonchalantly, while singularly failing to convince me that I could ever consider doing anything like what he does - 'space should not be intimidating. When I visit cities and see what man is capable of assembling as structures I know that my possibilities are opened up.'

As we near the end of the interview, I want to ask him whether he's ever considered, or would ever consider, moving in a different - perhaps smaller? - direction with his work. It seems to me inconceivable that someone would consider at the beginning of a career that they might work at the kind of scale that Wilson regularly has, so it must have occurred to him.

'Well, even now I work on a variety of different scales, and with sound as well as large objects and so on. But I've always seen myself as a formalist, working with known objects like architecture, ships, planes etc., and sometimes inevitably that can only be done at considerable scale. And as I said, once you've demonstrated that you can work on this kind of project you're afforded opportunities that otherwise wouldn't ever come your way. 'Look,' he finishes, 'it's that 'wow' factor I was talking about. If you can somehow challenge and tweak the viewer's preconceptions of the world around them, then job done.'

Job, I think we can safely say on behalf of Richard Wilson, done.

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Super-scale Brit sculptor Richard Wilson gives us the lowdown on distorting reality...

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Journal * Art & Culture Richard Wilson You know Richard Wilson's work - even if you don't think you do, you do. He's perhaps best known for 20:50, his piece from the late 1980s that filled a gallery space with sump oil and invited viewers (via a partly submerged walkway) into the multi-planed, mathematically precise yet hallucinatory space thus created.

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"I do not see it spectacular, I wanna see it in harmony with the rest of the sky" Jim Campbell

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"I do not see it spectacular, I wanna see it in harmony with the rest of the sky" Jim Campbell

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1,070 feet

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Light tower show

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Salesforce Tower is the tallest building in San Francisco and now a landmark of light art as well thanks to artist Jim Campbell, who has created the six-story "Day for Night" light installation on the building's crown. The artwork is a visual diary filled with impressions provided by cameras set up around the city. The projections are made possible with the use of flat-lens emitters from our subsidiary LED Engin. They are especially long-lasting and offer a wide range of brilliant colors.

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Salesforce Tower is the tallest building in San Francisco and now a landmark of light art as well thanks to artist Jim Campbell, who has created the six-story "Day for Night" light installation on the building's crown. The artwork is a visual diary filled with impressions provided by cameras set up around the city.

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Galerie Bertrand Grimont, Paris. 7,308 likes · 10 talking about this · 644 were here. Galerie Bertrand Grimont

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Galerie Bertrand Grimont

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glitch[dot]fest: JimKimchi (Visuals by seskamol)

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A new ecology is emerging in the Belgian swampland just outside the old mining town of Genk. Beginning this spring, exotic beasts from around the world will roam free alongside the humblest of farm critters, while ancient species of undomesticated chicken once thought extinct will live within an art-filled arcade designed by Mario Botta.

Known simply as LABIOMISTA (meaning "mixture of life"), the project's 60 acres are chiefly devoted to the expansive Cosmopolitan Culture Park, a public nature grounds populated by dozens of rare and commonplace animals. Several structures also dot the premises, including a refurbished 20th-century villa and a 53,000-square-foot private studio belonging to the Belgian artist Koen Vanmechelen, who is at the helm of the ambitious endeavor.

With a prolific practice that dates back to the 1990s, Vanmechelen is among the first artists to use animals as his primary medium. Perhaps his best-known work is the The Cosmopolitan Chicken Project ( CCP), which goes back two decades and predates the Culture Park at LABIOMISTA. The CCP involves cross-breeding domestic chickens from around the world to achieve maximum diversity and immunity against diseases.

Just as Vanmechelen was preparing to leave his native Belgium in 2015, the mayor of Genk offered up this plot of land for a project of the artist's choosing. Recalling childhood visits to the old municipal zoo that once stood on the site, Vanmechelen seized the opportunity, devising a new sort of nature park that would place animals and visitors on equal footing.

"This landscape is a wounded space, but if you learn to appreciate the scars, they become your agent," Vanmechelen explains stoically as an overexcited toucan pecks at his elbow. He stands inside a balmy tropical aviary that's blinged-out with dangling neon text art and giant artificial nests. It's one of two bird habitats that bookend his three-floor studio. From the bird-covered balcony, one can just about make out the entrance to the park emerging from the surrounding forestland like a boat run aground.

An elegant mix of polished concrete, birchwood, and black brick, the 2,500-square-foot entrance definitely out-chics the flaming gates of Jurassic Park, though it doesn't skimp on drama either. Appropriately named the Ark, its towering, prow-like archway seamlessly draws visitors into a glass-lined hallway, where a succession of pop-up exhibitions, a gift shop, welcome center, and more of Vanmechelen's neon-infused animal artworks ultimately deposit visitors on the doorsteps of the nearby Villa. Built in 1925 by the old mine's owner, the two-floor neoclassical building will host Vanmechelen's eclectic collaborators as well as the artist's Open University of Diversity project when renovation is completed in April.

Exiting the villa, visitors can then traverse the park via a sinuous, sloping, and at times impossibly thin bridge made of concrete aggregate. Nicknamed the Snake, it winds across (and at times above) a roaming pasture cohabited by countless critters including emus, llamas, nandus, and alpacas-all relocated from the artist's studio just a couple miles down the road-alongside Vanmechelen's all-star squad of crossbred chickens.

There are no fences or pens in sight: rather, the protective infrastructure for keeping humans and animals at a pleasant distance from each other has been ingeniously engineered into the landscape, thanks to Belgian landscape architects BURO Landschap, in consultation with a team of biologists. At a point of the Snake that feels particularly exposed to the wild, visitors might notice a moat-like ditch a few yards deep on either side of the walkway. These ha-has, or sharp landscaped drop-off points, will keep the roaming ostriches at bay (they can't walk downhill).

"LABIOMISTA is a reverse zoo, you are a human momentarily inhabiting an animal kingdom," suggests Vanmechelen. But these animal-centric landscape interventions remain subtle and unobtrusive-you'd be hard pressed to notice most of them.

Further along the winding path, a striking sequence of light grey concrete arches emerge. Cast in situ by the young Spanish-Belgian architecture practice Van Belle & Medina, they give structure to LabOvo, a mixed-use amphitheater that includes a 600-square-foot workshop and a nursing room for LABIOMISTA's in-house veterinarian. A rooftop terrace will double as a performance space for live performances come summertime.

Reaching the outskirts of the park, the thick woodland drops off entirely, and the scenery is engulfed by a flat plain reminiscent of a savanna. A Dr. Seuss-like artificial hill puffs up in the distance, its bulbous shape peppered with trees. This surreal formation is a surprisingly common site in Genk; it was a means of depositing the detritus of the city's mines. In the future, this portion of LABIOMISTA will be populated by packs of wolves, as part of a long-term project to re-integrate Vanmechelen's animals into the wild.

At the north end of the site, Nomad Land-designed by Vanmechelen with picnic tables by the architect-psychologist power team Voet en De Brabandere -will be a marketplace/dining area where visitors can buy produce and meals from local farmers and food trucks. (Nomad Land, while part of the overall project, will be located outside LAMBIOSTA park itself.) Voet en De Brabandere are designing tranquil, domed white picnic areas that will be reminiscent of water lilies; Nomad Land's bright neon-plated steel signage (also designed by Vanmechelen) could pass for a piece by Martin Creed.

Following the path back to Botta's black brick studio at dusk, the building's ominous black brick and glass facade is illuminated by dramatic blood-red lighting. The scene is oddly reminiscent of the Isla Nublar Laboratory from Jurassic Park. As if on cue, dinosaur-like screeches erupt from the second steel enclosure. The shrieking derives from a pair of positively prehistoric Steller's sea eagles which seem to guard the passage back to reality.

Walking under the raised building, visitors have a final up-close-and-personal encounter with the Steller's sea eagles through a glass ceiling. If you're lucky, you might catch the birds perched on the bone-white dead tree that sprouts up from center of the cage, selected by Botta himself. "Botta really took charge of designing the eagles' residence," Vanmechelen says with a grin. "But he is not showing off; the whole studio is something to discover-it's a giant ship going into the world."
You may also enjoy "The Eerie-Fantastic Interiors of Friedman Benda's Blow-Up."

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LABIOMISTA, the "Reverse Zoo" With a Mario Botta-Designed Building

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A new ecology is emerging in the Belgian swampland just outside the old mining town of Genk. Beginning this spring, exotic beasts from around the world will roam free alongside the humblest of farm critters, while ancient species of undomesticated chicken once thought extinct will live within an art-filled arcade designed by Mario Botta.

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How it was made: Antony Gormley's Matrix III

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“BENGAL”: CYCLING SCULPTURES BY GERRY JUDAH

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“BENGAL”: CYCLING SCULPTURES BY GERRY JUDAH

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This series of sculptures titled BENGAL from the Calcutta-born artist Gerry Judah, reflect upon the issues of poverty, identity, displacement and loss - emotions the artist say greatly impacted his youth.

Commissioned for the TIPPING POINT exhibition at Wolverhampton Art Gallery in the UK, the sculptures comprise temples, pylons and monuments remade from different media, including coal and ash - symbols of an earlier India that has now become a fully-developed country.

However, the artistic portrayal of a country in ascendance does not tally with Judah's experiences, "i t seems to me that there are some people in India getting richer and richer and there are a great many people getting poorer and poorer. And it's those who are more affected by climate change impacting on people so hard, that they're trying to patch up whatever they can to just deal with it."

Judah's maternal and paternal grandparents came from Baghdad to settle in the already established Baghdadi Jewish community in India and Burma. His mother was born in Calcutta and his father in Rangoon. Judah himself, was born in Calcutta in 1951, but grew up in West Bengal before his family moved to London when he was ten years old.

As a boy, the dramatic landscapes of India and the ornate architecture of its temples, mosques and synagogues with their theatrical rituals had a profound effect on Judah's developing psyche, elements that would later resurface in his own work.

Meanwhile, austere London, still in its post-war drab, proved to be a shock to the young Judah, choosing to spend most of the time in his bedroom conjuring up imaginary landscapes, architectural fantasies and futuristic cars with pencils and paper, spawning the desire to become an artist.

After finishing Whitefield Secondary Modern School in London, Judah worked in a number of jobs from kitchen porter to architectural draftsman, after which he went on to study Foundation Art and Design at the Barnet College of Art before obtaining a degree in Fine Art at Goldsmiths College at the University of London. He later studied sculpture as a postgraduate at the Slade School of Fine Art, University College London.

After college, Judah set up a studio in the theater district of London's West End. There, he began to work on large sculptures.

Still needing to earn an income, Judah worked as a scene artist for many of London's most prestigious theaters that included the Royal Opera House, English National Opera, Royal Festival Ballet, London Contemporary Dance, Sadlers Wells Royal Ballet, Royal Shakespeare Company and the Royal National Theatre.

From there, Judah began building a reputation for innovative scene design, working in film, television, theater, museums and public spaces, wherein he created settings for the BBC, British Museum, Museum of Mankind, Natural History Museum, Imperial War Museum, Museum of Tolerance, Paul McCartney, Michael Jackson, Robert Plant and Jimmy Page, The Who and many other performers. He has also created sculptures for Ferrari, Porsche, Audi, Jaguar, Mercedes-Benz, Renault, Ford, Rolls-Royce, Honda, Toyota, Land Rover, Alfa Romeo and Lotus at the annual Goodwood Festival of Speed and bridges in London and Cambridge.

Amongst a number of commissions from public museums and institutions, Judah was asked by the Imperial War Museum in London to create a large-scale model of the Auschwitz-Birkenau concentration camp for the Holocaust Exhibition opened by Queen Elizabeth II.

Extensive research and numerous visits to Auschwitz led him to produce work that encouraged his art into yet a new direction.

Indeed, returning to his fine art beginnings, Judah began creating large three-dimensional paintings that reflected the devastation that war and the ravages of mankind had caused on the environment - particularly the recent conflicts in Eastern Europe and the Middle East.

FRONTIERS, ANGELS, MOTHERLANDS, BABYLON, COUNTRY and THE CRUSADER were the titles of some of these works, which were exhibited in galleries throughout the UK and New York.

Judah began his BENGAL series of bicycle sculptures in 2013, which he steadily contributed to over the years - right up until the present.

Judah continues to live and work in London.

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| "BENGAL": Cycling Sculptures by Gerry Judah

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From a series entitled BENGAL, these sculptures are the result of a commission specifically for the TIPPING POINT exhibition at Wolverhampton Art Gallery. They're inspired by a research trip to West Bengal and Jharkhand undertaken by in 2012. Gerry Judah was born and raised in Calcutta, which allowed him to reflect on issues of identity, displacement and loss.

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RICHARD SERRA Inverted, 2019. Forged steel, Four rounds, installed in two inverted stacks Two: 48” (121.9 cm) high, 102” (259 cm) diameter; Two: 54” (137.1 cm) high, 96” (243.8 cm) diameter; Each stack: 102” (259 cm), 102” (259 cm) diameter, New York.

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Prescience is part of it, surely. In art jargon, Serra's art is process art-art about how it's made, what it is made of, how those materials age and change, and how all that makes the viewer move and feel. Perhaps more simply put, Serra's art was "experiential" long before that word started appearing in every 21st-century tourism brochure to describe immersive, striking encounters. The art of Serra is what it does to you-how "it propels you," says Gagosian senior gallery director Kara Vander Weg. In the past, Serra's giant works have pulled people in with their elements of mazes or shelters, and there are hints this time around of steel graveyards, of hide-and-seek playgrounds, of forests to explore.

In the exhibition uptown on Madison Avenue, the paper works on view look deceptively simple in photos, but in person, the squares of black on cream seem to rise and fall. At Forged Rounds, the huge abstract forms, as you walk among and around them, evoke 20th-century industrial manufacturing towns, and their blistered, gritty surfaces in spots suggest nothing so much as decaying harborside cargo ports. Serra's biggest works have always been ferocious and meditative, elegant and, in a moment, threatening, and Reverse Curve is all that: suggesting, in spots, a wall of protection or exclusion; a building collapsing; or a bolt of rust-colored cloth suspended and swirling. It is, for something hard and mean and powerful, gorgeous.

The gallery declines to disclose prices, but Serra sculptures have sold for up to $4 million at public auction. The drawings, made here with paint stick that leaves a thick, memorable, almost metal-like surface, have cracked the seven-figure mark. Two-dimensional works can be a hard sell for sculptors, as for some, they are ancillary to their practice. But Serra makes his own completely by hand, without assistants, and "they are not trinkets" to the bigger works, notes Vander Weg.

The works in the shows were not presold, she adds, and are not specific commissions for individual institutions or collections. And while certainly every Gagosian client owns or has been offered a Serra-this is his 31st show at the gallery-"there are always new collectors," she says, laughing.

Triptychs and Diptychs runs September 16 through November 2, 2019, at 980 Madison Avenue (Drawings)Forged Rounds runs September 17 through December 7, 2019, at 555 West 24th Street (Sculpture)Reverse Curve runs September 17 through February 1, 2020, at 522 West 21st Street (Sculpture)

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Richard Serra Stuns Yet Again With a Blockbuster Trio of Gagosian Shows

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Prescience is part of it, surely. In art jargon, Serra's art is process art-art about how it's made, what it is made of, how those materials age and change, and how all that makes the viewer move and feel.

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I roughly delimited Abbey Quarter's area by marking a close-up of Kilkenny City from Google Maps

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This elegant, 5-span, 125m long bridge crossing of the River Nore is located in the heart of the historic city and was constructed as part of the Kilkenny Central Access Scheme. Designed by Malone O’Regan and constructed by John Craddock, the bridge was completed in 2016.

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PROJECT DESCRIPTION

The Scheme facilitates the commercial, residential, educational, cultural and recreational development of the City of Kilkenny. The scheme also includes provision for new and improved pedestrian and cycle linkages and will facilitate a modal transport shift in the
historic City centre. The street accommodates two lanes 3.5m wide for traffic in either direction and two parallel cycle lanes 1.5m wide at road level. Footways are provided on both sides of the street. In general, these footways are 2m wide and raised behind the roadside kerbs. On the River Nore Bridge, the footways have been increased to 3m. The bridge also supports a further widened observation platform above the riverbank on the southeast side of the crossing.

The new bridge won the 2016 Excellence in Civil Engineering Award (€5m - €10m) (Civil Engineering Contractors Association).

Ancillary Services Included:

Update of Kilkenny City Traffic Model

Feasibility study for pedestrianisation of High Street

Public Transport feasibility study

Noise studies - acoustic baseline monitoring conducted along the selected route of the scheme, followed by noise modelling (Predictor software) based upon predicted traffic volumes, and road design to identify potential impacts on residential properties.

PROJECT COMPLEXITIES

The bridge was constructed in the centre of the Medieval City of Kilkenny and there were numerous potential sites of archaeological significance in the vicinity of the route. A complex route selection was undertaken along with extensive archaeological testing and
investigations to determine a route which traverses mainly derelict industrial sites and avoid where possible known areas of archaeology. Given the sensitive location the bridge is specifically designed to be unobtrusive and indeed when viewed from the focal point of St. John's bridge the bridge barely features on the horizon, a significant achievement.

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The Scheme facilitates the commercial, residential, educational, cultural and recreational development of the City of Kilkenny. The scheme also includes provision for new and improved pedestrian and cycle linkages and will facilitate a modal transport shift in the historic City centre.

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Department of Housing, Local Government & Heritage

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Abbey Quarter Project, Kilkenny. Urban Regeneration. Medieval Meets Modern.

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A view of the ongoing works at Abbey Quarter in Kilkenny City.

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Department of Housing, Local Government & Heritage

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The first signs of progress at one of the largest developments ever planned in Kilkenny have moved another step closer after the local authority submitted a planning application to develop part of the Abbey Quarter site.

Kilkenny County Council have recently lodged plans with An Bord Pléanala for the proposed development works within the Abbey Quarter (formerly Smithwick's Brewery site), which include a new urban park, a new street and a new outdoor event space.

The proposed development will cover an area of approximately 1.44ha within the Abbey Quarter development and will include an Urban Park, an Urban Street and provide space to accommodate outdoor events.

The Urban Park, if approved, will be located on the northern part of the Abbey Quarter and is centred around the upstanding remains of St Francis Abbey. The Park will comprise of a variety of grassed areas, trees, paved surfaces, water feature and meeting points and will provide a new amenity area for Kilkenny City.

The Park has been specifically designed to express known historical features in the area, including St. Francis Abbey, the City Walls incorporating Evan's Turret and St Francis Well and will link the Abbey Quarter to Bateman Quay and St. Francis Bridge in the north. The new street will be pedestrian and cycle friendly with limited access to vehicles.

As the Abbey Quarter is part of a Strategic Infrastructure Development, the application can go straight to An Bord Pléanála to fast track the process.

Submissions from the public regarding the parks' plans are being accepted up until September 29.

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Kilkenny council submits plans to develop Abbey Quarter site - Kilkenny Now - Your City. Your County. Your News. Now

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The first signs of progress at one of the largest developments ever planned in Kilkenny have moved another step closer after the local authority submitted a planning application to develop part of the Abbey Quarter site. Kilkenny County Council have recently lodged plans with An Bord Pléanala for the proposed development works within the Abbey ...

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The Abbey Quarter, site of the former Smithwick's Brewery, is a strategic city centre site located on the banks of the River Nore and accessed off Irelands Medieval Mile, a unique discovery trail running through the heart of Kilkenny City. It is steeped in history - the story of the St. Francis Abbey, its monks and their life here in the City; the story of Kilkenny's great tradition in brewing - 300 years of Smithwicks, under the majestic 12th Century Kilkenny Castle and overlooked by St. Canice's Cathedral and it is protected by the City Wall.

Kilkenny County Council entered into a 50:50 partnership with Ireland Strategic Investment Fund (ISIF) and established the Kilkenny Abbey Quarter Development Limited (KAQDL) to develop the building plots. KAQDL has responsibility for the commercial development of the plots, including the buildings on the Abbey Quarter. These buildings will include a mix of offices, residential, education and retail uses and will be delivered on a commercial basis. Kilkenny County Council is responsible for the delivery of the significant public realm, community and cultural infrastructure in the Abbey Quarter.

Launching the redevelopment works, An Taoiseach, Leo Varadkar said "' over €6 million has been granted to Kilkenny County Council to help achieve the vision for the Abbey Quarter, with the 800-year-old Abbey as its stunning centrepiece, a new linear park running along the banks of the River Nore, and a new Public Realm works around the iconic Brewhouse and Mayfair buildings and the renovation of two 19th century teahouses.
The Government has a vision and it is to invest in more compact, sustainable and community-centred developments. We want homes, workplaces, schools and amenities to be built in sensible, sustainable ways that improve the quality of life for families, workers and local communities. We want new developments to be climate friendly. With Project Ireland 2040 our investment matches the quality of the plans.
Indeed some 200 projects across the country have been granted funding of over €330 million under the four Project Ireland funds in their first year. As a result we are seeing better transport links, better health and environmental outcomes, and more housing. Projects promised for years are now underway or complete."

Speaking at the launch, Minister Eoghan Murphy, Minister for Housing, Planning and Local Government said that " this project is the very essence of what the Urban Regeneration Development Fund (URDF) was established to deliver. It is a spend from the public purse levering private sector investment to deliver redevelopment of a city centre brownfield site for mixed use development. I am delighted that my Department was in a position to support the project to the tune of €6m".

An Cathaoirleach, Cllr. Peter Cleere said " that today is the culmination of many years of hard work and tough decisions. The result is a partnership that will deliver a new living/working quarter in the heart of Kilkenny City. The public realm works will be delivered by Kilkenny County Council with funding support from the URDF and the development of commercial offices in the Brewhouse will be delivered by the Abbey Quarter Development with funds borrowed from the Ireland Strategic Investment Fund (ISIF). This is Phase 1 of a much bigger project, but really important to see works commence on the site while plans progress to deliver many other projects within the overall Masterplan".

Chairperson of the Partnership, Billy Murphy (former Deputy Managing Director of Glanbia PLC) stated that " when complete the Brewhouse will comprise 4,500 square metres of high Grade A office space, divided into 12 units wrapped around a central atrium. Mythen Construction Ltd. has commenced works on the Brewhouse and the surrounding public realm in Horse Barrack Lane and Brewhouse Courtyard. The building will be ready for fit-out by the end of summer 2020, all within a few minutes walk of High Street in the centre of the city".

Senior Investment Director of the NTMA Mr. Donal Murphy outlined how "regional development is one of the five key themes of ISIF's investment strategy and our investment in the Kilkenny Abbey Quarter site is an excellent example of our commitment to high-quality, commercial investments in regional locations throughout Ireland". He further stated that " our partnership with Kilkenny County Council - the first of its kind with a local authority - demonstrates our appetite for investing in projects that deliver a commercial return while supporting economic activity and employment in Ireland. This project will deliver modern offices in the former Brewhouse that will enhance Kilkenny's attractiveness as a centre for employment."

"This is an exceptional opportunity for Kilkenny," says Chief Executive, Colette Byrne. " The Brewhouse will be transformed and redeveloped to create a bespoke modern work space. The building is the only example of Bauhaus Construction in Kilkenny. It's retention and redevelopment are an important link to the former industrial and brewing history of the Abbey Quarter site and accords with the principle of sustainable re-use of existing buildings. The redesign will ensure a high level upgrade of modern standards whilst respecting the heritage of the building. The upgrade will keep the "industrial feel" of the building whilst delivering quality offices that meet the Leadership in Energy & Environmental Design [LEED] standard with sustainability at the core of all design decisions for the building."

Contact for Further Details: Fiona Deegan, Head of Enterprise, Kilkenny County Council - fiona.deegan@leo.kilkennycoco.ie - 086 4114935

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The Abbey Quarter, site of the former Smithwick's Brewery, is a strategic city centre site located on the banks of the River Nore and accessed off Irelands Medieval Mile, a unique discovery trail running through the heart of Kilkenny City. It is steeped in history - the story of the St.

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where business succeeds

The vision for the Abbey Quarter is to create a vibrant new urban quarter in the heart of the medieval city. The new quarter will provide an exceptional business location for companies seeking outstanding global connectivity and the capacity to attract high calibre talent. It is located on the site of the former Smithwick's Brewery on the banks of the River Nore.

This site was originally settled in the 13th century by Franciscan monks who established St. Francis Abbey. The monks brewed ales here long before John Smithwick established his brewery in the early 1700s and it continued to operate as a brewery for 300 years until it was closed by its owner Diageo in 2013. The remains of the choir and bell tower of St. Francis Abbey still stand on the site today as a reminder of its rich history.

In recent years the site was acquired by Kilkenny County Council and a detailed masterplan has been adopted to guide development of the brewery site and adjacent lands. The vision of the masterplan is to develop the Abbey Quarter as a seamless complement to the medieval city and an inclusive place for an inter-generational community to work, live and play. A new 3 acre public park will be laid out with the 800 year old Abbey as its centrepiece.

To find out more about opportunities at the Abbey Quarter please contact:

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where business succeeds The vision for the Abbey Quarter is to create a vibrant new urban quarter in the heart of the medieval city. The new quarter will provide an exceptional business location for companies seeking outstanding global connectivity and the capacity to attract high calibre talent.

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Reddy A+U was commissioned in August 2013 to undertake the urban design and master planning of the site following a design competition. The team developed a masterplan which was to have a healthy mix of uses including educational, employment, residential, enterprise development, recreational and community uses. One issue was that the site would take a number of years to fully develop and there was a requirement to have suitable short to medium term uses on site while development proposals are evolving over time. Sustainable transport with safe and direct routes for pedestrians and cyclists was a strong aspiration.

The design draws from the unique natural, cultural and built heritage of the area and adds to that context with a strong architectural presence while safeguarding the visual and varied environmental quality aimed at enhancing quality of life.

Following on from the successful Masterplan, Reddy A+U have been commissioned to develop the Brewhouse Building. The project redevelops and extends the old building into a new 6,500 sq m (21,325 sq ft) facility.

The Brewhouse Building represents the single largest structure to be retained and reused in the Abbey Creative Quarter Site. The Brewhouse is a unique structure in terms of its industrial heritage and modernist qualities within the city of Kilkenny. Its retention, refurbishment and reuse represents the best principles of sustainable development and also forms a key link in the story of the architectural and social history of the city.

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Abbey Creative Quarter, Kilkenny - REDDY A+U

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Reddy A+U was commissioned in August 2013 to undertake the urban design and master planning of the site following a design competition. The team developed a masterplan which was to have a healthy mix of uses including educational, employment, residential, enterprise development, recreational and community uses.

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Abbey Quarter Urban Park and Street - Proposed Development

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Abbey Quarter Urban Park and Street - Proposed Development

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Abbey Quarter Urban Park and Street - Proposed Development

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Kilkenny County Council approved a masterplan for the Abbey Creative Quarter at a Special Meeting of Kilkenny County Council on Friday the 31st July 2015, see below.

ACQ Masterplan (Full document; please note the large file size of 56 MB .pdf)

Masterplan broken into chapters:

Cover and Contents 3 Mb

Section 1 Introduction 2Mb

Section 2 Context 9Mb

Section 3 Analysis 11 Mb

Section 4 Masterplan Strategies 14 Mb

Section 5 Masterplan Proposals 11 Mb

Appendices:

Appendix A Kilkenny City & Environs Development Plan 2014-2020 Environmental and Sustainable Development Provisions

Appendix B Appropriate Assessment, Natura Impact Report, Strategic Environmental Assesment (SEA) Environmental Report , SEA Statement
Appendix C Archaeological Strategy Appendix D Flood Risk Assessment
Appendix E Spatial Content & Process Principles

Appendix F Observations on Urban Code

Launch Brochure
Abbey Quarter Launch Brochure August 2019.pdf (size 4.7 MB)
Abbey Quarter Information Booklet

Archived Material

Abbey Creative Quarter

(Former Smithwick's Brewery site and Bateman Quay / Market Yard area)

Notice is hereby given that Kilkenny County Council has approved a masterplan for the Abbey Creative Quarter at a Special Meeting of Kilkenny County Council on Friday the 31st July 2015.
A copy of the Masterplan, including a Strategic Environmental Assessment (SEA) Statement, SEA Environmental Report and Appropriate Assessment (AA) Natura Impact Statement, may be inspected at the following locations:

Online at http://ourplan.kilkenny.ie

The Planning Department, Kilkenny County Council, County Hall, John Street, Kilkenny during office opening hours of 9.00am to 1.00pm and 2.00pm to 4.00pm Monday to Friday.

The SEA Statement details:

a) How environmental considerations have been integrated into the Masterplan;

b) How the following have been taken into account during the preparation of the Masterplan:

the environmental report,

submissions and observations made to the planning authority on the Draft Masterplan and Environmental Report, and

any transboundary consultations [this is not relevant to this SEA]

c) The reasons for choosing the Masterplan in the light of the other reasonable alternatives dealt with; and

d) The measures decided upon to monitor the significant environmental effects of implementation of the Masterplan.

Maria Melia
Director of Services,
Planning Department
2nd October 2015

Related Links:

Information on the No. 1. variation to the Kilkenny City & Environs Development plan, environmental impact assessment etc.

Identification & assessment of options for parking

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Kilkenny County Council approved a masterplan for the Abbey Creative Quarter at a Special Meeting of Kilkenny County Council on Friday the 31st July 2015, see below.

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The Abbey Quarter, site of the former Smithwick's Brewery, is a strategic city centre site located on the banks of the river Nore in the heart of Kilkenny City. The 300 year old brewery was closed by Diageo in 2013. Kilkenny County Council then purchased the site and produced a detailed masterplan for the brewery site and adjacent lands, totalling about 20 acres. With St Francis Abbey at its core, this regeneration project aims to create an attractive, well-designed urban quarter with a mix of uses. These include commercial, residential, enterprise development, recreational and community.

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The Abbey Quarter, site of the former Smithwick's Brewery, is a strategic city centre site located on the banks of the river Nore in the heart of Kilkenny City. The 300 year old brewery was closed by Diageo in 2013.

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14 new blocks creating a new urban quarter to complement the existing city centre.

Capacity for almost 60,000 sq.m. (645,000 sq.ft.) of mixed use residential, commercial, retail, education and civic space.

New public, landscaped spaces including a new 2.5 acre public plaza/urban park at St. Francis Abbey.

Refurbishment of the old Brewhouse to provide almost 4,450 sq.m. (47,850 sq.ft.) of unique, grade A office space.

A new linear park running along the banks of the River Nore.

Conservation of historic buildings on the site including St. Francis Abbey.

Acquired by Kilkenny County Council in 2016, the 10 acre site that until 2013 housed Diageo's Smithwicks Brewery is set to become a vibrant urban quarter in the heart of Kilkenny City. Taking its name from the remains of the 13th century Francisan Abbey, which will form a central feature of the develoment, Abbey Quarter will be a living and working destination fro the local community as well as international and national businesses.

The vision of the detailed masterplan and design guidelines adopted by Kilkenny County Council to guide the development of the site is for Abbey Quarter to seamlessly complement the medieval city as an inclusive place for an inter-generational community to work, live and play.

The masterplan for the entirety of the development includes:

In advance of launch the Abbey Quarter scheme, the Minister for Business, Enterprise and Innovation, Heather Humphreys, T.D., said "I am delighted to announce that €12.3m in develoment loan finance has been allocated through the Ireland Strategic Investment Fund (ISIF) to regenerate the old brewery site into top-class office accommodation. Without a doubt, this will be hugely attractive to indigenous and foreign investors alike. The city's local economy has come on in leaps and bounds in recent times, and this initiative is an opportunity to build on all that has been achieved to the benefit of the entire region. I am confident that Kilkenny has the talented workforce, connectivity and cultural offering needed to attract new investments from near and far."

"This is an exceptional opportunity for Kilkenny", says Chief Executive, Colette Byrne. "Kilkenny has so much to offer the internationa, national and local business. Abbey Quarter is a unique city centre site beside the River Nore, nestled between the imposing Kilkenny Castle and the 12th century St. Canice's Cathedral. The redevelopment of the Brewhouse and Mayfair will be complemented by investment in high quality public realm by Kilkenny County Council. The new public spaces will become the backdrop to the many renowned Kilkenny Festivals." According to Ms. Byrne, "today's announcement will see a total investment of over €17 million on the site in the next 18-24 months. This, coupled with investment of over €11 million in infrastructure to open up a new neighbourhood for up to 3,000 housing units, schools along with parks and other local amenities, only 10 minutes from Abbey Quarter, make this a really positive time for Kilkenny City."

According to Cathaoirleach, Cllr. Eamon Aylward, "today's announcement will see a total investment of over €17 million on the site in the next 18-24 months. This, coupled with investment of over €11 million in infrastructure to open up a new neighbourhood for up to 3,000 housing units, schools along with parks and other local amenities, only 10 minutes from Abbey Quarter, make this a really positive time for Kilkenny City."

Eugene O'Callaghan, Director of the ISIF stated that "ISIF's unique mandate has enabled it to partner with Kilkenny County Council on the development of the Kilkenny Abbey Quarter site. ISIF is very pleased to have agreed commercial terms on the construction finance for the delivery of modern offices in the Brewhouse and Mayfair buidings which will kick start the redevelopment of this site in the centre of Kilkenny City. Following execution of legal documentation we expect construction to commence in Q4 2018."

With interest in the development already strong, Aoife O'Neill of Lisney, agent for the development remarked, "Abbey Quarter is attracting businesses looking to provide their employees with something more than just a place to work, this is an exceptional location for companies seeking outstanding global connectivity and the capacity to attract high calibre talent."

Chairperson of the Partrnership, Billy Murphy (former Deputy Managing Director of Glanbia PLC) stated that partnering with the ISIF is a vote of national confidence in this project. According to Mr. Murphy, "Abbey Quarter will be completed on a phased basis, commencing with Brewhouse and The Mayfair which together will provide almost 6,000 sq.m. of Grade A lettable space."

Brewhouse will be the first building to be developed and will provide a range of flexible grade A office options. The building can be let in its entirety, as 3 separate floors (average 1,480 sq.m. - 15,940 sq.ft.) or up to 12 office suites varying from 302 sq.m. (3,250 sq. ft.) to 480 sq.m. (5,170 sq.ft.). The new building is designed to achieve LEED gold standard. Originally the centre of brewing operations, it is located beside the old abbey and has frontage on to Horse Barrack Lane which is being completely re-landscaped to provide high quality public space, all within a few minutes walk from High Street in the centre of the City.

The Mayfair, originally built as a ballroom is steeped in local heritage and once refurbished will offer almost 1,540 sq.m. (16,576 sq.ft.) of naturally ventilated, well-lit and flexible office space and form a gateway to the Abbey Quarter. The north side of the building is close to the old city walls which followed the river Breagagh. The renovation works will be sympathetic to its location at the "Watergate" which connected the old city centred on the castle and the less prosperous Irishtown centred on St. Canice's Cathedral.

The development of the Abbey Quarter will include significant areas of high quality landscaped public realm, which will be developed by Kilkenny County Council. The first phase of these public realm works, which will be part funded by the European Regional Development Fund (ERDF), will include the development of the public realm areas adjoining the Brewhouse and Mayfair Buildings, opening the former brewery site up to the City.

The Abbey Quarter development was launched to the Media by the Minister for Business, Enterprise and Innovation, Deputy Heather Humphreys, T.D., on Wednesday, 4th July, 2018.

For further information, please contact:

Siobháin Bunni, Head of Marketing, Lisney

Tel: 01 6382790/086 1942397.

Email: sbunni@lisney.com

Related Links:

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Former Home of Smithwick's Brewery Set to Become a Vibrant New Urban Quarter in the Heart of Kilkenny City

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14 new blocks creating a new urban quarter to complement the existing city centre. Capacity for almost 60,000 sq.m. (645,000 sq.ft.) of mixed use residential, commercial, retail, education and civic space. New public, landscaped spaces including a new 2.5 acre public plaza/urban park at St. Francis Abbey.

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Artistic License: Michael Quane RHA - The Gloss Magazine

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Alberto Burri

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Michael Warren, ‘Anchored Void’ 1980-85, Steel, Kilkenny Castle

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Michael Warren, ‘Anchored Void’ 1980-85, Steel, Kilkenny Castle

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Ann Mulrooney, ‘Monument to

Missing Persons’ 2000,

eight-feet-high lattice style-bronze, Kilkenny Castle

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Antony Gormley, ‘STAND’ 2019, 10 cast-iron sculptures, each 10 feet high, Philadelphia Museum of Art.

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Antony Gormley, ‘Matrix III’ 2019, 6 tonnes of steel reinforcing mesh, of London Royal Academy of Arts.

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Kilkenny Sculpture Trail: CDS, ‘Memorial commemorates Thomas Woodgate’ 2020, Corten steel 284 piece welded, Kilkenny City

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Scientist, ecologist and urban architecture

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Wild cities: how can we make space for nature in urban areas?

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Sculpture Dublin Lecture Series with Paula Murphy

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Sculpture Dublin Lecture Series with Paula Murphy

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'The Story' - first webinar topic - Wind Sculpture by Éamonn O’Doherty