This project deals with the architecture of order. It is at its core an exploration of how design is used to provide a powerful and coherent image of the state through the representation of the most fundamental and controversial of institutions: police.
The police station is interpreted here as the center of a system of state representation, the place where civilians, officers, detainees and solicitors converge, positioning n at the intersection of state order and architectural order.
The project focuses on the Garda Siochana, the sole police force in the Republic of Ireland. In the context of the Project Ireland 2040 the Irish government plans to increase the Garda presence over the country, focusing specifically on rural areas. The plan includes the refurbishment, expansion and construction of more than 30 Garda stations. A policeman, in this rural context, is a common fixture, a part of the local landscape, the butt of a popular joke. Not a semi-divine representation of the state, nor a troubled urban detective, a policeman is here part of the local society together with the postman, the butcher, the pub owner. It is this specific condition that allows for a reconsideration of police architecture not as one defined by the idea of control, or even intimidation, but one characterized fundamentally by reassurance.
This reality opens the possibility for rethinking the role of police on the Irish territory, proposing an architectural language embedded in the rural irish context, consisting of an encounter between the classical order and elements of the local vernacular.
This critical reconsideration projected outwards by the facade of the police station and the moments of exchange it enacts, and inwards, through the design of interrelating spaces that underpin the practice of policing.
“The police are the public and the public are the police” is stated in the Peelian principles, the founding document of Irish police. It is the adherence to this principle that leads to a design for police that is not based on grandiose architectural gestures, but on a careful reconsideration of the relationship between the vernacular and the classic, the relatable and the impressive, the public and the policeman.

An archive is everything but definitive. It is the nature of every living collection and such a collection is a city as well. The project is an archive holding a collection of lost, disappeared or forgotten in the former centre of the textile industry in Brno. It is composed of physical urban artefacts discovered through a series of interventions. These proposed interventions will serve as a model in the area of the city burdened with a disturbing past and expecting blurred future. The graduation project is trying to embrace a wider social context by looking at the complexity of the environment and trying to capture the everyday practices that form the place. By looking at mundane and marginalized, the project elaborates inclusiveness that is present at current architectural discourse.

Through Irish history, different spiritual demands in specific historical moments impacts on the legends of Hy-Brasil. In turn, the stories of Hy-Brasil reflects the history of Ireland through its possible position, appearances, items events, viewpoints gateways and monuments. The project is to use the history of Hy-Brasil, a mystical island of Ireland, to explore the architecture of myth, which are expected to be triggered and formed by the current situation of Ireland. It looks to design a pragmatic space by providing a gateway to the mythic island of Hy-Brasil. Siting on the north end the Ireland, the Lough Foyle in Donegal, the project constructs an architectural artifact out of a particular strata of Ireland’s specific geology and monumental landscape to take people into the imagination and expectation of perceive the Irish mythology.

This project explores the realities of production in the Irish landscape, and speculates upon certain industries that maintain both a rural economy and Ireland’s architectural identity. The essence of this project as the name suggest, is to combine two residual industries in Ireland, farming and the pharmaceutical industry into one new synthetic architectural type, The Farmacy. These Farmacies, house a pharmaceutical production facility within the traditional scale of the smallholding or farm, while using the authentic spatial model of the Irish monastery. It provides an alternative to the existing fragmented pharmaceutical production landscape. In its density, scale, repeatability and seriality it continues to define an architecture of rural Ireland, while they also give a much-needed identity to an economically important emerging industry.

Using the value of scenic landscape of the West coast of Ireland, the project proposes a construction of the new type of territorial tourism, called the Grand Motel. The Grand Motel explores the idea of luxury. It does so through the XIX century Grand Hotel- type and the grandeur of landscape as an authentic form of Irish luxury, synthesised with the model of the Motel, articulated through a sequence of touristic architectures along the stretch of the West Irish coast.
The Grand Motel literally deconstructs an old model of luxury, as it was framed in the architecture of the Grand Hotel, through the context of Irish landscape. It is designed as a touring route composed of five self-sufficient day stretches around the remote county of Donegal. The vast lobby,
bar, pool, shop, private room and even the ballroom are seen here as the support structures for the experience of different types of physical landscape. These structures together with a new system of service aim to unfold the authentic Irish luxury, providing conditions for an active process of engagement with nature.
What does luxury mean for architecture today? It has no fixed formal definition. Thus, it is interesting to rethink its meaning yet again. “Elegance is refusal”, argued Vogue editor Diana Vreeland. And I think I agree. In these terms, true modern luxury could be seen to reside in an appreciation of its absence. Its idea is not about extravagance, but rather about reduction. And in this way, the Grand Motel takes a critical attitude towards the shifting ideas of luxury, landscape, service and economy.

By considering the forces and events that cause individuals and families to move from one household to the next, between the city and the country, between one country and another, this project examines housing in Ireland, seeking to understand how these events feed back into the design and provision of housing. Seven key moments are identified in the Ireland's housing- past, present, future. This is narrated through the story of an extended fictionalized Irish family and is explained through the drawing of a family tree across seven generations. Seven house types are identified to discuss significant changes.
The first four house types, moments are historical– the agrarian cottage, the Anglo-Irish big house, Suburban semi-detached house and the one-off. The survey of these first four moments results in the territorial artifact of the rural Irish village, consisting of a mix of these types. The project specifically addresses such villages along the Atlantic corridor and speculates new forms of communality through the three new types introduced. The fifth house is reactivated as productive space for working. Within a new social reality where individuals work from home this new type creates a large enclosed village green with a perimeter of single houses. The sixth house is a self-build house within a dense allotment system, designed to contain sprawl and protect agricultural activities. The seventh moment re-designs vacant houses around a cul-de-sac within the existing suburban estates converting them into sheltered housing and co-working spaces.
It is within these house types – past, present and future that the story of the family operates in. Projective designs will be layered within this framework and subject to the same analyses and presentation techniques as their historical precedents. Placed alongside one another, the method of the project seeks to collapse, or at least interrogate, traditional divisions within the production and representation of architecture: technical and narrative; as-built and as-used; historical and contemporary etc.

The bicycle tour, more than any other sporting event, is fundamentally dependent on the landscape. The landscape has been used not only to challenge the peloton physically but also as a visual background for the event that has been broadcast worldwide. Tour of Ireland was first organised in 1953 as a part of An Tóstal, an Irish cultural festival, and was terminated in 2009 due to a financial shortage. The project proposes a new Tour of Ireland, whose stages exploit the varying topography of the country and promote the skill of a particular kind of racer — the Puncheur. The architect in this scenario operates as an event planner who demarcates a route, an infrastructural planner who provides structures and services, and an iconographer who depicts the landscape quality in different perspective. The project looks to enhances the spectator physical experience of watching the cycling race by providing multiple and different perspectives and a heightened experience. In addition, it also promotes the elongation of sports infrastructure beyond the short time span of a specific event, providing a structures that have a longer life span and more diverse set of uses. bicycle race is used as a catalyst to present a new and meaningful interpretation of the landscape culturally and technically, to change the way people see the landscape as a background to a representative artefact of the country.