MICHAEL SCOTT — in (casual) conversation with Dorothy Walker

ed. John O’Regan, Nicola Dearey

intro by Peter Palumbo

ISBN 978 0946641 512      256pp (hb)    24 x 17 cm    188 illus     index

It is impossible to imagine modern architecture in Ireland without Michael Scott. This well-researched publication, which takes the form of a book-length interview, provides a richly anecdotal account of his life and times. He was the leading pioneer of modern architecture in this country (a career that was initially begun in tandem with an acting career) and a hero for a whole generation of young Irish architects.

His most notable buildings include his own house, Geragh, at Sandycove; the Irish Pavilion at the New York World’s Fair, which earned him international recognition; Donnybrook Garage, a pioneer development in shell construction; and Busáras. His practice (which later became Scott Tallon Walker) has been responsible for many of the most architecturally significant institutional and commercial buildings in Ireland, and in 1975 he was awarded the Royal Gold Medal for Architecture by the RIBA.

His courage, independence and architectural talent, and his ability to inspire younger colleagues, made him Ireland’s foremost architect of the 20th century. Michael Scott was a true Renaissance man who was involved in almost every facet of the arts. His influence on the visual arts in Ireland in the twentieth century has been immense. His genuine love of art and his support of artists was of great importance to the art community and to the cultural and artistic development of the country. He was one of the great personalities of the age.

This fascinating portrait of the life and times of Ireland’s leading modern architect is copiously illustrated with portraits and drawings of Scott’s major buildings as well as many photographs of Scott- often in the company of his various illustrious contemporaries.

EXTRACTS

"Patriot, visionary, bon viveur, aesthete, thespian, wit, roisterer, charmer, enabler, friend and engaging companion, husband, father – Michael Scott was all of these, and an immensely distinguished architect with an international reputation ... He trained simultaneously for the stage and as an architect, and in his early days as an actor, he changed his name lest the client of his architectural practive should be put off by his being and actor ... for all the colour of that personality, his architecture had a great simplicity, for he was a child of the Modern Movement."

— from the introduction by Peter Palumbo

"The New York World’s Fair was a very exciting business. I got a telephone call from Freddie Boland, who was assistant secretary in the Department of Indust­ry and Commerce. He asked me to come to the Department to discuss a most important matter. He told me that I had been appointed architect for the Irish Pavilion at the New York World’s Fair. He said that this was a very important assignment, and also that costs would be an important factor. But the most important thing of all was that it would have to be something that the 25 million Irish-Americans could connect with. I asked them what they meant by that. I told them that there was no Irish architecture after the twelfth century, that all the rest was influenced one way or another by outside sources.

— ‘What do you expect me to do?’ I said. ‘A couple of round towers and the Rock of Cashel?’ I didn’t sleep for the next three nights thinking about it! This was the first time that Ireland had ever appeared in any world forum, and it was of great importance that it would be of some character and distinction. I thought about the theme of the exhibition, which was ‘A New World of Tomorrow’. It struck me that as aeroplane travel would undoubtedly increase more and more, buildings would be looked at in plan as well as in elevation. Therefore, if I had a symbol of Ireland in plan, and, in elevation a modern building of our time, it would ring all the right bells. I thought of beehive huts, but you wouldn’t know what they were from the air. And then the terrible thought came into my head: could I do a shamrock?

At first I dismissed it. Then the more I thought of it, the more I thought it mightn’t be bad in plan, so I made various sketches. It developed into a two-storey building, with a long, double-height, curved hall. The exhibits were in the leaves of the shamrock. Outside, on the end wall, was the word ‘Éire’ and a large sculptural piece. I have always tried to have art in my buildings. I asked various sculptors to submit maquettes for a competition, and Herkner’s, undoubtedly, was by far the best. It really looked very splendid. Frederick Herkner was a young man who had been appointed to the College of Art shortly before this. I had given a line of a poem by Yeats as a theme for the sculpture – ‘Your mother Éire is always young’."

— Michael Scott, from chapter IV

REVIEWS

This is the most successful example I have read of a book based on transcribed conversation... Time and again, one can hear Michael’s melodious voice talking from the page.  — John Bowman, Irish Times ‘Books of the Year’

 
What Dorothy Walker and Gandon Editions have done is to assemble skilfully a series of interviews with Scott, well illustrated with photographs and drawings ... and the end result is a fascinating portrait of the life and times of an exceptional character ... The book is beautifully designed and a highly entertaining read.  — Seán Rothery, Irish Times

 
What comes from reading this book ... is what an amazingly affable and conversational person Michael Scott was ... This book is a wonderful insight into the man and his ideas.  — Waterstone’s Guide to Irish Books

 
I must resist the temptation to continue exulting in this story of the past seventy years of modern Irish art and architecture as evoked by Michael Scott’s words and point out that his contribution to the period was considerable ... No student of architecture can afford to be without this book. — James White, Irish Arts Review

 
The book is nicely designed, well illustrated ... It is a very enjoyable and highly entertaining read, and provides a fascinating portrait ... of an exceptional and well-nigh legendary character in Irish architecture. — Paul Larmour, Perspective

 
This is a beautifully presented book ... represents the most extensive first-hand record of the achievements of this pioneer of modern architecture in Ireland. — Plan

 
Reading Michael Scott is like browsing through somebody’s papers: it’s full of little gems of anecdotal revelation. — Ciarán Carty, Sunday Tribune

Taped-and-transcribed interviews can make difficult reading, but these are well edited and compulsive. — Books Ireland