爱尔兰国立美术馆
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爱尔兰国立美术馆位于乔治亚时代的都柏林市中心，坐落在梅里昂广场旁边，毗邻议会大厦 “爱尔兰国会” 以及自然历史博物馆、国家图书馆、国家博物馆。美术馆的千年翼创造了一个街道正面和与附近的三一学院相连的连接。
美术馆收藏了欧洲和爱尔兰美术的国家收藏，并在150年的时间里通过一系列重大改建和扩建得以发展。美术馆复杂、零碎的发展导致了各种不匹配的楼层高度和复杂、混乱的流通路径。这次历史翼的翻新是整体总体规划的一部分，旨在通过各个美术馆层次的一致和可访问的流通系统来发展。通过打开被遗忘的窗户，重新构想光井作为庭院，美术馆再次被打开，得以呼吸。新的电梯核心和楼梯实现了整体通行的无障碍，同时注意到了照明水平、视觉对比线索、材料、音频辅助、防火逃生和安全系统。工作的一个重要组成部分是制定一个策略，通过美术馆实现环境控制。为了尽量减少上市建筑中的服务运行范围，一个能源中心被放置在美术馆梅里昂广场入口的花园下，将大部分主要系统从建筑中移除。服务设施安装在现有结构的下方和内部，几乎没有视觉影响。美术馆在施工期间保持开放，需要施工团队与美术馆运营密切协调。
庭院
最初设计为艺术画廊的NGI在今天的法规要求和今天的游客数量和期望方面都需要适应。在达根和米尔顿翼之间的一个空间，最初是为相邻的画廊设计的采光井，在后来的改建中被封堵并被遗忘。通过揭示和修复朝向这个空间的大型画廊窗户，我们使其恢复了作为光源的原始目的。明亮的日光照射，并可从周围的画廊看到，它成为人们可以持续定位自己的地方。一个玻璃屋顶将光线引入庭院，深入到画廊中，为人们提供了与周围画廊的宁静强度形成对比的休息空间。在建筑上，对待这个空间的方法是将其视为一个现成的空间，保持原始的墙面装饰，展示了美术馆发展的故事。玻璃屋顶由三层夹层钢化玻璃鳍支撑，跨越两个历史性翼之间的7米间隙。这些结构最大程度地减少了结构的视觉影响，并在下方的空间中实现了更多的“外部，开放品质”。庭院的两端设置了新的电梯，可提供对美术馆的多个层次的访问，从而改善了游客和艺术处理团队的进入。
光线
自然光，对于最初画廊的设计至关重要，已经成为NGI重新想象的最重要的元素。光线受控，但其变化性、闪烁和变化可见。画廊内的条件反映了外部的条件，通过考虑一年中的照明水平的累积而不是任何一次墙上的绝对水平，允许的照明范围的变化。为了控制自然光但保持自然光水平，微型百叶窗被纳入了玻璃中。微型百叶窗重新定向光线，消除了直接光线，并具有低于1%的紫外线透射率。0.14的玻璃g值减少了太阳能增益和热传递近70%。
花园
花园是从美术馆到梅里昂广场的门槛。停车场已经移除，前院重新调整，从梅里昂广场门到美术馆入口逐渐倾斜，使得全面无偏见的通用访问成为可能。围绕草坪的长凳集成了来自下方隐藏的大型能源中心的通风出口。
可持续性
对现有建筑的更新本身就是保护能源的基本方法。包括建筑和维护画廊所需的资源、材料和劳动力的总和能量被保留下来。该项目使建筑得以继续为其设计的目的服务，延长了其寿命，并保持了其在国家文化生活中的中心地位。建筑的环境计划图层叠加在一起，在中心是受控制的画廊，庭院和入口作为一个缓冲空间，保护层到外部。机械系统的设计通过集成先进的控制系统，使用每个空间内的多个传感器来控制和减少流量，从而实现了环境影响的减少。CHP系统为画廊提供大部分热量，多余的热量转移到了相邻的千年翼画廊。随着电网效率的提高，CHP单元的优先级将降低，热泵将接管负载。冷凝器系统回收废热，作为空气源热泵运行，并且可以将大部分电气负荷转移到夜间，平滑电网需求。现在，博物馆所有区域均使用LED照明。高效低维护，光线创造了最佳的中性颜色来观看绘画。
The National Gallery of Ireland is located in the heart of Georgian Dublin, on Merrion Square beside the Parliament (Dáil Éireann) and adjacent to the Natural History Museum, National Library, National Museum. The Gallery’s Millennium Wing creates a street frontage and connection to nearby Trinity College.
The Gallery houses the National Collection of European and Irish Fine Art and has evolved over 150 years through a number of significant alterations and expansions. The piecemeal, disjointed development of the Gallery complex has caused various mismatching floor levels and complicated, confusing circulation routes throughout. This refurbishment of the historic wings is part of an overall master plan that aims to develop a coherent and accessible circulation system through the various layers of the Gallery. By opening up forgotten windows, reimagining a lightwell as a courtyard, the Gallery has been opened up and allowed to breathe again. New lift cores and stairs create universal access throughout with attention being paid to lighting levels, visual contrast cues, materials, audio aids, fire escape & safety systems. A major element of the work was to devise a strategy to implement environmental control throughout the Gallery. In order to minimise the extent of service runs in the listed buildings, an energy centre has been placed under the garden of the Gallery’s Merrion Square entrance removing most of the major systems from the building. Services installations are threaded under and within the existing fabric, with minimal visual impact. The Gallery remained open during the construction period requiring close co-ordination between the construction team and Gallery operations.
The Courtyard
Originally designed as an art gallery in 1864, the NGI has needed to adapt to both in terms of today’s code requirements and the number and expectation of today’s visitor. A space between the Dargan and Milltown Wings, which was originally intended as a light-well for the adjacent galleries, had been blocked up and forgotten about in subsequent alterations. By uncovering and restoring the large gallery windows looking on to this space we have allowed it to regain its original purpose as a light source. Brightly day lit and visible from the surrounding galleries, it becomes a locus by which people can continuously orientate themselves. A glass roof brings light into the Courtyard deep into the gallery, providing an informal break from the quiet intensity of the surrounding galleries. Architecturally, the approach to the space has been to treat it as a found space, leaving the original wall finishes intact which reveal the story of the Gallery’s development. The Glass Roof is supported on triple laminated toughened glass fins that span the 7 meter gap between the two historic wings. These minimise the visual impact of the structure and achieve a more ‘external, open quality in the space below. New Lifts at either end of the Courtyard provide access to the multiple levels of the Gallery both improving access for visitors and art handling teams.
Light
Natural Light, so important to the design of the original galleries, has become the most important element of the re-imagining of the NGI. The light is controlled yet its variability, sparkle and change can be seen. The conditions within the gallery reflect conditions outside, the range in lighting permitted by considering the lux levels cumulatively over the course of a year rather than an absolute level on the wall at any one time. In order to control natural light yet maintain natural light levels, micro louvres are incorporated within the glazing. The micro louvres redirect light to eliminate direct light and have a UV transmittance below 1%. A glazing g-value of 0.14 reduces solar gains and heat transfer by almost 70%.
The Garden
The garden is the threshold from Gallery to Merrion Square. Parking has been removed and the forecourt regraded with a gradual slope from the Merrion Square Gate to the Gallery Entrance enabling un-biased universal access. The benches surrounding the grass incorporate ventilation extract from the large energy centre hidden below.
Sustainability
The revitalisation of the existing buildings is in itself a fundamental way to conserve energy. The embodied energy – resources, materials and labour that went into constructing and maintaining the galleries over the years is preserved. The project has enabled the building to continue serving the purpose for which it was designed, prolonging its life and retaining its central role in the cultural life of the nation. The environmental plan diagram of the building is layered, at the centre are the closely controlled Galleries, the Courtyard and entrance serving as a buffer space, a protective layer to the outside. The design of the mechanical systems achieves a reduction in environmental impact through integration of an advanced Control System, using multiple sensors within each space in order to control and reduce flow rates that results in significant energy savings. A CHP system provides the majority of heat for the gallery with excess heat transferred to the adjacent Millennium Wing gallery. Over time, as the efficiency of the electrical grid improves the CHP unit will be de-prioritised and the heat pump will be take over the load. The chiller system recovers waste heat, operating as an air source heat pump and can allow a large proportion of the electrical load to be transferred to the night, smoothing demand on the grid. LED lighting is used now in all areas for the museum. With high efficiency and low maintenance, the light creates an optimum neutral colour to view the paintings.