Architecture Ireland (AI)The Grand Canal Theatre is your fi rst built project in Ireland. Does this fulfi l an ambition for you, following on from your short-listed competition entries for the extension to the National Gallery of Ireland and the Dun Laoghaire Pier?

Daniel Libeskind (DL)I love Dublin and the city has been a core experience for me. This is not something new for me. My interest in its culture, and particularly in its literature, has been with me right through my career. So it was wonderful to have the opportunity to fi nally build something in the Dublin Docklands.

AI What inspired the striking form of the theatre, as its cranked geometry emerges amongst the linear grid of the Dublin Docklands?

DL You must see the project on different levels: It is not just about what was there before, but how we create new public places. It is about creating a setting. It is about how the prow of the theatre projects into the new plaza and how it connects with the offi ce

blocks on the street side. A theatre building has to be thought-out from the inside out. One has to achieve a balance between the internal workings of the theatre and the need to create external appearance.

AI Your practice is engaged in landmark projects throughout the world. How important is ‘place’ in your architecture?

DL Place is foremost in my work; it is particularly important in a global world connected by technology. But place is more than location. It is about inscribing a building into a cultural setting; connecting it to a city’s culture and cultural history.

AI Your architecture is therefore less about a real place and more about a metaphysical place?

DL On the contrary, culture is what makes a place a real place. Dublin resonates with rich culture and history, in particular its literature. In the atrium of the offi ce building beside the Grand Canal Theatre, I have paid the largest homage yet to James Joyce and have chosen key words from Finnegans Wake in reversed-out lettering.

AI From the Grand Canal Theatre’s upper foyers, building and public space very successfully read as ‘one’. How extensive was the collaboration with Martha Schwartz Partners and have you worked together on other projects since?

DL Martha Schwartz is a good friend and we have collaborated on many projects. For example, we are currently working together on the masterplan for the Yongsan International Business District in Seoul. Working closely together on the Grand Canal Theatre Square was essential to achieve a coherent and interesting place. We wanted to create a fl uidity and something that is easy to understand for the public; one single composition.

AI Another composition features strongly in the theatre: your Chamber Works has been reproduced both in the foyers and in the auditorium. Could you explain the background to this work?

DL Chamber Works, Meditations on Themes

from Heraclitus, is a set of 28 drawings, published by the Architectural Association in London in 1983. These are abstract drawings that deal with architecture in a fundamental way. The drawings consider architecture as music; they are about rhythm and composition, but also about construction, space, history and craft. Chamber Works reappears throughout my work, as I constantly refer back to them. Palladio worked in a similar way when he was building; he kept going back to the drawings and studies he did on geometry and proportions. In the Grand Canal Theatre, Chamber Works appears in different places, sometimes literally as a graphic, sometimes as a measurement or proportion. It is great to see them in a space that has to do with music.

AI How was the design of the project delivered – you have a local offi ce as well as worked with Dublin architects McCauley Daye O’Connell?

DL It was a fantastic cooperation. While Studio Libeskind designed everything and were responsible 100 per cent, we collaborated with Theatre consultants RHWL in London and with McCauley Daye O’Connell Architects in Dublin. When we work abroad, we usually collaborate with a local practice but it is equally important for us to remain directly involved. We are not one of those architects who just send over their drawings.

AI Irish architecture is undergoing a traumatic time with job losses and few new commissions – what advice would you give your peers in Ireland?

DL This is a diffi cult time for architecture in Ireland but also globally. But architecture is not just about building. It is an art that is greater than the buildings it produces. In periods when there is less building, architects can get more involved in thinking and in the art of architecture. I pursued architecture for many years not building anything. One can be successful in other forms of architecture.

AI Thank you very much.

For information on current work by Studio Libeskind, see www.daniel-libeskind.com

Interview with Daniel Libeskindby Sandra Andrea O’Connell

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1. Daniel Libeskind in his New York studio © Michael Klinkhamer Photography2. Chamber Works, Meditations on Themes from Heraclitus, drawing by Daniel Libeskind

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Grand Canal Square Theatre, Dublin 2

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Grand Canal Square Theatre , Dublin Docklands, Architekt Daniel Libeskind AG (Zurich)Three Houses by ABK Architects, Killiney and GlencreeFather Collins Park, Dublin, ArArq Ireland/ MCO ProjectsThe Criminal Courts of Justice, Dublin, Henry J Lyons Architects

PROJECTS

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The Grand Canal Theatre forms part of a large new development in the Dublin Docklands, which includes two new commercial offi ce blocks. A vastly complex process, the project involves a large client, contractor and design team including specialist consultants for areas such as acoustics, venue consultancy and lighting. Architekt Daniel Libeskind AG (ADL) worked with Dublin-based architects McCauley Daye O’Connell on the overall development. On the theatre, ADL provided full services for all stages of the project, with MDO acting in the role of Contact Administrators. London based theatre specialists RHWL Architects, were responsible for the design of back-of-house and stage areas, and the technical coordination and completion of the fi nal stages of the auditorium design.

In 2004 Daniel Libeskind won a competition to develop this site of a former gasworks in the docklands. During the following two years, the project was taken over by a new client, who assembled a project team, and a ‘kick-off’ meeting was held in Dublin, in December 2006. In early 2007, major modifi cations were made to the original concept model. Whereas the entire ground fl oor initially had been retail, with the theatre above, the commercial model (proposed by the theatre operator) for a 2000-seater West End style theatre required access for loading from street level. As a result, the foyer and stage were lowered to ground fl oor level, with an off-street loading bay to the rear of the theatre, off Macken Street. The theatre entrance façade from the plaza was remodelled based on the concept of the theatre curtain: Two folding glazed screens overlap each other, with the main theatre entrance nestled in between; the public slip in, as if through a stage curtain.

To understand the overall extent of the development, it is best to fi rst view from the west or the Macken Street façade, where the theatre, south block and north block can be seen in the context of the urban street. Along the west elevation, it reads as one homogenous block, bisected by Misery Hill, and punctuated by the louver façades of the two bookend ‘diagonal bars’ at either end. The red and green fritt-patterned façades are volumes projecting from the blocks.

From the west, the offi ce façades wrap around the theatre’s back-of-house accommodation, and one is aware of the peak of the stainless steel wedge-shaped volume above. The stainless steel clad theatre grows out of the urban block, like a crystal on a rock. On Misery Hill, the inclined overhanging façades of theatre and north block frame a distant view of the Pigeon House chimneys and create a dramatic sculpted portal leading to Martha Schwartz’s plaza and the theatre entrance.

From Macken Street, the building is arranged with the off-street loading bay to the rear of the stage. Above the stage is a 30m fl y tower with a complex system of counter-weighted fl ying bars for scenery, drapes or lighting over the stage. The administration, dressing rooms, workshops and other back of house accommodation is wrapped around the fl y tower on the upper levels. Plant and equipment is located in large plant spaces in the roof space above the fl y tower and auditorium. At the front of the stage, an orchestra pit with hydraulic platforms provides lexibility to form either a thrust stage, additional rows of seating at stalls level, or a full orchestra pit. The 2000-seat auditorium has a traditional proscenium arch

Architects: Architekt Daniel Libeskind AG (Zurich)Stefan Blach (Principal Architect), Gerhard Brun (Project Architect), Feargal Doyle, Patrick Cox, Andreas Baumgärtner, Matthias Rühl, Toralf Sümmchen, Anna Poullou, Guillaume Chapallaz, Nathaniel Lloyd, Jens Jessen, Jens Hoffman, Kaori Hirasawa, Maja Leonelli, Anja Bungies and Christian Müller

Client: Ramford Limited, Chartered Land

Project Management: Lafferty Project Management

Contract Administrator (Theatre): McCauley Daye O’Connell Architects

Theatre Consultants and Architects: Arts Team (part of RHWL Architects) (UK)

Quantity Surveyors: Davis Langdon PKS

Structural, Civil and Services Engineers: Arup Consulting Engineers

Acoustic Consultants: Arup Acoustics (UK)

Venue Consultants: ARUP Venue Consulting (UK)

Facade Consultants: Billings Design Associates

Lighting Designers: Pritchard Themis (UK)

Fire Engineers: Michael Slattery Associates

Health & Safety: Bruce Shaw Partnership

Main Contractor: John Sisk & Son Ltd

Photography: Ros Kavanagh

Project size: 13,768m2

Value: e75mDuration: 3 years (on site)Location: Grand Canal Square, Dublin Docklands

Grand Canal Square Theatre

Report by Architekt Daniel Libeskind AG

1 Grand Canal Theatre2 Grand Canal Square3 Chimney Park4 ESB Substation5 North block offi ces6 South block offi ces

grand canal harbour

macken street cardiff lane

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river liffey

hanoveer quay

sir john rogersons quay

misery hill

Site Plan

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1 Entrance2 Main foyer3 Stage4 Loading bay5 Commercial building6 Hotel

Ground fl oor plan

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1.The theatre’s entrance façade, facing Grand Canal Square, is modelled on the concept of a theatre curtain2.A traditional proscenium arch form, the auditorium draws on the imagery of shipbuilding as in the acoustic ‘sails’3.The ground fl oor foyer areas connect with the exterior

form, with stalls, circle and upper circle levels, and private boxes on either side. The foyer and auditorium are fully accessible with provision for wheelchair spaces on each level.

The auditorium design concept draws on shipbuilding imagery in reference to the former docklands area. Suspended ‘sails’ conceal the technical gantries and equipment. The large protruding ‘rib’ volumes on the side walls evoke the timber members of an old boat’s hull. Daniel Libeskind’s Chamber Works drawings embellish the box and balcony fronts and are set behind woven bronze mesh, with lighting to create a lantern effect. Arcing lines of lights set into the zig zag side walls, and recessed ‘cuts’ in the ceiling soffi ts, add depth to the layered three dimensionality of the interior. The chosen materials, carpet, walnut, brass and the subtle variations in red tone give an intimacy and ambience to the large space.

Front-of-house, the auditorium is expressed as a red volume around which the foyers and corridors are arranged. The auditorium rear wall is a layer that accommodates bars, recessed in niche spaces, and other services. The foyer levels are set back from the façade overlooking the atrium spaces and plaza. The primary circulation is provided by two staircases either side of the foyer; the half landings provide dramatic views and form small pocket spaces off the main levels. Toilets, reception rooms and other accommodation are located along the fl ank corridors, which also provide access to the auditorium and boxes. The foyer ceilings are perforated to provide comfortable acoustic levels, and services are arranged in a matrix of intersecting recessed lines, to present a coherent pattern when viewed from below. Above the main front-of-house levels, a further foyer area provides access to a viewing terrace, cut into the roof, with views over the plaza, and docklands area.

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1 Foyer2 Upper circle3 Fly tower4 Commercial building (atrium)

Third fl oor plan

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Architectural Acoustic Design By Arup Acoustics (See images 2 & 6)

The brief for the Grand Canal Theatre was to provide an acoustic principally suited to amplifi ed West End shows, but with a good natural acoustic for opera and other unamplifi ed performances. The acoustic design balances these differing requirements and is damped enough to enable the high performance sound systems to deliver high fi delity show sound, but is suffi ciently warm and reverberant to provide a sympathetic acoustic for opera. The acoustical requirements were integrated into the striking architectural concept, providing a blend of sound-refl ecting and sound-transparent surfaces in a room geometry that embellishes the sound clarity whilst maximising the acoustic volume.

Acoustically transparent expanded metal mesh sails (carefully oriented and lit to appear visually opaque) allow the sound to pass into the upper heights of the room volume and back out again. Sound refl ecting surfaces hidden by the sails are designed carefully to refl ect early sound to the audience. The zigzag wall shaping on side walls helps redirect sound towards the centre of the room, aiding clarity and the feeling of spaciousness. Similar but larger scale shaping on the rear wall breaks up large plane surfaces to prevent echoes from amplifi ed sound back to the stage. The ribs on the walls also include sound-transparent sections to allow the side wall refl ections to reach the audience at the back of the room. Where the geometry of the ribs is benefi cial acoustically, the ribs are solid. The balcony fronts both provide useful sound refl ections to seats and prevent adverse sound refl ections back to the stage, while relief in the form of architectural motifs provides some high frequency scattering. Sound-absorbing slots on the underside of the seat pans help to limit the acoustic difference between times when the room is occupied and unoccupied. The seats were rigorously tested in an acoustic laboratory to ensure that they complied with a stringent acoustic specifi cation. The surface masses of the wall linings were carefully chosen to ensure that natural sound from an orchestra in the pit will be rich and warm. Variable acoustic surfaces in the orchestra pit provide absorption and refl ection on demand, enabling the space to be tuned for orchestra or amplifi ed use. These surfaces in sound-absorbing mode also control noise build-up and create good working conditions for musicians. The balustrade between the orchestra and the audience is adaptable, enabling the string brightness balance to be adjusted.

The Grand Canal Theatre in the Masterplan for Grand Canal Dock By John McLaughlin

The Dublin Docklands Masterplan emphasises the importance of creating cultural capital alongside social and economic value in the urban regeneration project. The Authority identifi ed a key site in the centre of the Grand Canal Harbour, facing the new square, as the location for a major cultural building. Initially it was hoped that a national cultural institution could be attracted to the area and discussions were held with a number of institutions but in each case the site did not match their requirements. The Authority then set about fi nding a private sector cultural use and market analysis indicated that there was capacity in Dublin for a 2000-seat West End type commercial theatre. A tender process led to the selection of Heritage Property Ltd (who subsequently sold the development to Chartered Land) with Studio Daniel Libeskind as Architects.

The design proposed for the theatre was bold and confi dent. In design meetings two key issues emerged – the relationship of the space to the theatre, and the façade that the theatre would present to the space. Analysis showed that there was an opportunity to reconfi gure the existing public space to achieve an integrated relationship with the theatre, the new hotel and the water so as to more than double the size of the public square. The second issue was one of transparency of the theatre from the square, which we argued should be increased so that the foyer spaces become a stage to the city, allowing everyone to enjoy the opening night spectacle. The result of these discussions was that the Authority commissioned Martha Schwartz to reconfi gure Grand Canal Square, and that Studio Daniel Libeskind redesigned the main façade as a glass ‘curtain’ onto the stage of the foyers. The Docklands Authority is delighted with the result and hopes that the theatre will add to the cultural infrastructure of Dublin City.

4.The glass curtain has been constructed from high performance glazing with exposed pre-fabricated steel box sections5.From Macken Street, the theatre’s loading bay is accessed. The theatre is fl anked by the two offi ce blocks6.In the auditorium, Daniel Libeskind’s Chamber Works drawings, have been used to embellish the box and balcony fronts. The motif reoccurs in the carpet

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Curtain Unfold Elevations

Primary Steel Structure

Glass Facade

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Reviewby liam tuite

Daniel Libeskind understands theatre. He designs buildings. He writes poetry. He reads Joyce and Shaw. He designs theatrical sets and costumes for plays and opera. He is a performer on a world stage. His work refl ects his personality. It radiates energy. He is also an architect of unquestioned talent and ability, and the combination of these qualities must have been irresistible to those who chose him to design the Grand Canal Square Theatre.

From the earliest stages, he has described the project in theatrical terms, combining professional performance with public behaviour, and explaining the building as a series of stages. Most obviously, there is the players’ stage, a vast space behind the proscenium arch on which actors, dancers and singers engage their talents for our entertainment. Outside is the stage of the square, an intersection of public routes, a connection of meeting places linked and separated by paths and lines that cross and recross, a place for all with no admission ticket necessary, a “grand outdoor lobby for the theatre”. Midway lie the stages of the space between auditorium and glass, an outward looking series of jagged platforms and meeting places, an offer of conviviality in the moments that fl ank a performance. Here theatregoers become the spectacle for those below, and in return are granted views over Grand Canal Square, across the harbour and to the city as it meets the sea. At each level, the experience subtly alters, exchanging proximity for panorama. As the sun dims the red and blue and green lights of the square, the white lights of the water’s edge and the yellow lights of Dublin create paths and patterns not at fi rst discerned.

The design of the project has changed since it was fi rst promoted. The roof terrace, proposed as a “garden overlooking the piazza

with spectacular views out over Dublin Bay” is diminished in scale and importance, accessed from a minor bar space and divorced from the tiered interval balconies. The deletion of the ascending entrance ramp due to an overall lowering of the building has modifi ed the relationship of building and landscape, and an engagement once total and committed has become more ordinary.

The design of the square has always favoured the theatre over the fl anking buildings, providing the dominant red carpeted paved route and the redder still pickup stick lights to defi ne a ceremonial approach. Landscape designers Martha Schwartz and Partners describe life and light spilling outwards from the theatre towards the water and through the piazza. The carpet was recently redesigned to stop shy of the entrance, as if the relationship forged in New York had cooled in the chill wind from the Irish Sea.

Daniel Libeskind set out to create a dialogue between the outward looking platforms of the internal space and the public square outside, and that he has been successful is one of the triumphs of the design. The tiered spaces are jagged and complex in plan, here approaching the glass, there retreating, here providing an incidental area to meet and laugh, there offering a framed vignette through layers of structure and folded wall. To those who see the art of theatregoing as a broad and communal experience of which the performance on stage is only part, this theatre will offer something unique. What could be more agreeable to a Dublin audience than to spend time over a late evening drink with friends, watching the Pigeon House chimneys as they catch the last of the evening sun, while in the square below the coloured lights brighten and the restaurants come alive with warmth and noise?

The folding glass plates of the entrance elevation rest on oversized structure. They are described by the architect as a series of glass theatre curtains, extending the idea of balcony as stage and audience as performers. The steelwork which both supports and layers leans against the more orthodox structure of the central volume of the auditorium. The roof ascends dramatically, cut through with openings that are sometimes external to the square, sometimes internal to the foyer. The composition is assertive, polygonal, thrusting. The fl ytower, so often the embarrassing and unmentioned add-on, is here encompassed within the total volume as it rises from the square, peaks, and falls vertically to form the edge to Cardiff Lane.

Admirers of the building, and of the architect, will perhaps be surprised by the auditorium. They have already experienced the external play of form, volume and material, the variety and inventiveness of found and irregular spaces in the zone between envelope and volume, the complexity of structure and layer. The room is familiar, conventional, even symmetrical. It seems a fi ne auditorium, and will no doubt do all that a theatre should, but its warm red womb is an unchallenging place of comfort.

Daniel Libeskind has expressed his wish that this theatre will establish a powerful cultural presence within the city, an iconic destination. Can a receiving house, its huge stage a single space with neither rehearsal rooms nor studio spaces and designed to cater for touring productions, be that? Perhaps it can, and perhaps this building which has promised so much can be the catalyst that will bring to the South Docklands the vibrancy and energy that is so badly needed.

“the concept of the Grand Canal Square theatre ....is to build a powerful cultural presence expressed in dynamic volumes sculpted to project a fl uid and transparent public dialogue with the cultural, commercial and residential surroundings whilst communicating the various inner forces intrinsic to the theatre and offi ce buildings. .... a dynamic urban gathering place and icon mirroring the joy and drama emblematic of Dublin itself. “ Studio Daniel libeskind.

Daniel in Nighttown

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