Gerrard’s brother and his family. ‘This was the
beginning of developing a language with Adrian
and Jennifer, and an understanding,’ Moulson recalls.
‘We kept in touch on and off over the following years.
Then, out of the blue, they emailed and said, “Do
you want to come and visit us in Dublin? We’ve got
something we’d like to show you”.’
What they showed him was an old townhouse in
the heart of Dublin 2, part of the city’s untouched
Georgian fabric. It had been used as office space and at
the time was completely run down, although retained
its grand character, beautiful light and large windows.
‘What really surprised me was discovering an
overgrown mass of green to the rear of the house
in this part of Dublin – an oasis among a barrage of
car parks and offices. And then, crossing to the end
of it, finding the ruined classical façade of a coach
house, like a real-life Piranesian vision,’ says Moulson.
‘Seeing this amazing building and knowing Adrian
and Jennifer’s interest in design and their taste,
it was an offer I couldn’t turn down.’
The O’Carrolls gave him lots of design freedom,
remaining involved and supportive throughout the
project, and the result is a meticulous sequencing
of spaces that spans five levels (one is underground)
and unites the main house and the coach house
annex through a garden designed by specialist
horticulturalists Liat and Oliver Schurmann
of Mount Venus Nursery.
‘The design is multi-referential; it draws on
diverse sources across disciplines and eras,’ explains
Moulson. ‘I was thinking very much about the flow
through the house, the dilemma of how much to
open up or separate and what leads onto what. In
getting to know and uncover the spaces of the house
I was drawn to historical precedents where each room
has a distinctive quality, material and atmosphere,
according to inhabitation and routine. In some cases,
these might come together over time, designed by
multiple architects. I wanted a rhythm of hiding
and revealing, and of coming into unexpected places.
As it’s a protected building, we couldn’t, and didn’t
want to, impact on the historic structure so we used
bespoke elements throughout to work with, amplify
or modify the qualities of the rooms and light for
different moods and times of day. Having the variety
of spaces to stimulate and facilitate this approach
has been amazing.’
The main entrance leads into the kitchen, made
of undulating Corian, and a deep blue breakfast room
clad in brass and leather to the right, or through a dark
timber-panelled corridor to a light-filled, double-height
art gallery and formal dining room at the rear of the
house. This sequence from darkness to light was »‘I wanted a rhythm of hiding and revealing,
and of coming into unexpected places’
ABOVE LEFT, THE DOUBLE-
HEIGHT FORMAL DINING
ROOM AND GALLERY SPACE
ABOVE RIGHT, THE GUEST
SUITE, ON THE FIRST FLOOR
OF THE FORMER COACH
HOUSE. IN THE DISPLAY CASE
IS A DOLLS’ HOUSE DESIGNED
BY MORAG MYERSCOUGH
AND LUKE MORGAN∑ 081
In Residence