We revisit Níall McLaughlin Architects’ International Rugby Experience in Limerick: a project that combines everyday public use with an international sporting experience to create a contemporary monument to the game of rugby and to Limerick itself.
AT catches up with HLM Architects' newly appointed Belfast Studio Director David Rooney. Using climate action, retrofit and Passivhaus as catalysts for Northern Ireland’s next chapter in architecture, Rooney explains how HLM Belfast is using people-centred, low-carbon design to deliver lasting civic and community impact.
Three years on from the completion of the Tropical Fruit Warehouse on Dublin's quayside, lead architect Eoin Flanagan reflects on the project's success – from an ambitious architectural vision to the specialised team at Schüco that made it possible.
Andrew Clancy, Director of Clancy Moore Architects, discusses how working across Ireland, the UK, and Switzerland shapes his approach to European architecture, and highlights the unique strengths and collaborative opportunities each context offers.
The winners of The 2026 LINA Writing Award discuss In Deep Trouble: The Trepça Mine, a project commissioned by the Irish Architecture Foundation and produced in collaboration with dpr-barcelona exploring the architecture of the Kosovan mine through it's lift shaft that reaches a depth of 850 metres providing access to a network of kilometres of tunnels.
Queen’s Business School, completed by TODD Architects in 2023, is a careful addition to a woodland campus setting in Belfast. Set beside Riddel Hall and its grounds, the building gathers teaching, study and social spaces around a central atrium, reflecting a growing emphasis on collaborative learning environments.
Scullion Architects complete the quietly playful refurbishment of a Victorian terraced house just outside Dublin's city centre, combining concealed doorways and bespoke carpentry to create a spacious and thoughtfully sequenced home.
Róisín Heneghan and Shih-Fu Peng won the international competition for The Grand Egyptian Museum in 2003 against 1557 entries, with a practice of four. They turned to Snøhetta's Craig Dykers and Nick Schumann for advice, and describe how the practice has changed since.
Jennifer O'Donnell from plattenbaustudio speaks to AT about their practice: from drawing 'as a means of transmission', to how Berlin made them stay and why Dublin keeps calling them back.
