Restoring History The Magazine Fort Revival
After two years of meticulous work, the Magazine Fort stabilisation and restoration project in Phoenix Park has
been successfully completed, breathing new life into one of
Dublin’s most significant historic military sites.
A Fortress with a Storied Past
Built between 1734 and 1736 during the reign of King George II, the Magazine Fort was commissioned by the Duke of Dorset, then Lord Lieutenant of Ireland. Designed by military engineer John
Corneille, the fort was constructed as a secure ‘magazine’ to store and supply gunpowder and ammunition to British Government forces. Its classic square layout features four demi-bastions and
is surrounded by a dry moat, embodying 18th-century military architecture.
Between 1793 and 1801, the fort underwent several enhancements
to strengthen its defences. In 1801, architect Francis Johnston extended the fort’s east side to provide accommodation for officers, soldiers, and their families.
The fort was handed over to the newly formed Irish State army in 1922. After decades of military use, it was decommissioned in 1988 and transferred to the Office of Public Works.
The Restoration Journey
The recent restoration involved a range of specialist works to preserve the fort’s historic fabric and ensure its longevity.
Key works included:
– Structural repairs and lime rendering
of the rampart walls and three cavalier
buildings.
– Exterior repairs to the Magazine
Building, including roof renewal
with natural slate, lead gutters and
reinstatement of stone capping.
– Repointing of the blast wall.
– Structural repairs and restoration of
the metal Reception Shed.
– Reconstruction of the Duke of Dorset
Gate.
– Localised roof repairs to other
buildings within the fort.
One of the most complex tasks was the restoration of the rampart walls. The ‘banquettes’—stone steps built into the walls—were sinking and separating. Each stone was carefully numbered,
dismantled, and reassembled after installing new geogrid reinforcement footings. This work required close collaboration with ecologists to protect the sand martin birds that nest in the
lower part of the walls during summer.
The Magazine Building Gunpowder Store, with its three parallel vaulted structures and thick brick and stone walls, was restored to be weathertight. This included renewing the roof, repairing timber windows, and applying new lime render and repointing.
Rebuilding the Duke of Dorset Gate
The reconstruction of the Duke of Dorset Gate was a highlight of the project. Partially dismantled in the 1970s to allow military vehicles access, only the gate’s piers remained. Without historic drawings or photos, the team faced a significant challenge.
A breakthrough came with the discovery of a 1969 photograph of the fort’s caretaker, Mr. Larry Cunningham, and his daughter on her wedding day. This image provided crucial details of the gate’s Wicklow granite and Portland stone façade. Using the photograph
and a few remaining original stones, architects Audrey Farrell and Angela Rueda, structural engineer Liam Keogh, and master stonemason Gavin Conlon, worked together to recreate the missing elements with precision, restoring the gate to its former glory.
Unearthing the Past
Archaeologists from Archaeological Plan supervised the restoration, documenting artefacts and conducting safety surveys.
Their discoveries included metal detonator tops, grenade fragments, and an Irish Republican Brotherhood uniform button, all remnants of the fort’s turbulent history, which included the
1939 IRA raid when munitions were seized.
During excavation, suspicious soil containing degraded plastic explosives was found and safely removed by the Irish Army’s Explosive Ordnance Disposal unit, underscoring the site’s complex past. It caused quite the excitement on site that day!
Skills and Legacy
The project also served as a training ground for heritage skills. Junior craftspersons worked alongside experienced masons and craftspersons, learning traditional techniques in masonry repair, lime repointing, and lime harl rendering, ensuring these crafts
continue for future generations.
Opening to the Public
With this phase of the restoration program complete, the Magazine Fort will soon open its doors for public guided tours. Visitors can book through the Phoenix Park Visitor Centre and
experience first-hand this remarkable piece of Ireland’s military heritage.
A Day in the Life of an apprentice with the Office of Public Works
The Office of Public Works has a long and proud history of delivering Craft Apprenticeship programmes across a number of disciplines. Our Apprentices are an integral part of our workforce and are key to the maintenance of National Monuments in State care. The traditional skills and experience gained by our
Craft Apprentices over the four year programme preserves generations of knowledge for the future.
Since 2023 we have introduced new apprenticeship programmes such as Civil Engineering Technician, Arborist and Digital Marketing and Media, these are consortia led apprenticeships
that are delivered on average over a period of two years. Read about some of our current apprentices and their experiences.
Painter and Decorator Apprentice Jason Fay
Apprentice of the Year finalist
“My life in the OPW began in August 2023. I always wanted to be a painter from a young age. I come from a painting family. My great-grandfather, grandfather, and all their brothers were all in the trade. My father and uncle also frequently went on jobs
with my grandfather but never took to the trade fully.
As soon as I finished my Leaving Cert, I began working for a contractor, after a year they said I should apply to The Office of Public Works, as they were looking for apprentice painters.
For my first job with the OPW, I was sent to Royal Hospital Kilmainham. There, myself and one of the other painters began prepping and painting all the bollards and lampposts throughout. We later tackled the gates too.
After that I was sent to Dublin Castle, where I and two others were doing a job in what is known as “the bedrooms”.
I frequently spend time in Collins Barracks. This is where the workshops are for painting and joinery. In the workshop we bring in various pieces from raw up to a finish. The most common being sash windows.
We strip them, send them to be repaired, reglazed then they’re brought back to us to bring them up to a finish.
When I was not in the workshop, I did various jobs in a number of different buildings including; Áras an Uachtaráin, Farmleigh, Leinster House, Iveagh House, Custom House and the Four Courts.
In the OPW we get a great education from high quality tradesmen. They are carrying on the wealth of experience in restoring and maintaining these buildings along with their wealth of knowledge of the trade… Which I am very grateful for.
Since my time began in the OPW, I’ve been sent to my Phase 2 and Phase 4 of my apprenticeship. There we do off-the job training, first in Ballyfermot, then in Bolton Street.
There we learn more intricate skills of the trade – the more decorative side, as well as the theory side too. Solas and the OPW has brought me a lot of great experiences and opportunities such as; Speaking at the ‘World Skills Ireland 2025 Event’ and going over to Slovenia to represent Ireland in the Humanitarian
Painting Project 2025.
At the time of writing this I am in Dublin Castle where we are getting George’s Hall ready for the presidential inauguration. While being on the this job, I have filled and caulked all the mouldings on the wall and am now sanding them all down ready for the finish coats and some counter filling if needed.”
I am very grateful to be in the position I am in the OPW as it’s a great opportunity, especially as a young person. I am excited for the future and where it will bring me.”
Architectural Stonemasonry Apprentice Luca Howard
World Skills Ireland Winner
“I am currently doing the Stone Carving and Stonemasonry Apprenticeship in Tralee.
We are currently a year and a half into the course, and in phase 4.
I’ve always had an interest in heritage buildings. Before the apprenticeship, I went labouring with stonemasons in Cork and Galway, who were preserving private houses and stone buildings. But I always had the idea that I wanted to get into the carving side of the trade. The Office of Public Works cares for the most significant heritage sites in the country so, I thought I should probably try and work with them.
In the college phases, we are taught carving, cutting, and cladding. We make large pieces as a group but are also encouraged to work on individual projects. At my depot we cover Galway, Clare, Roscommon, parts of Mayo and Limerick. Recently I was lucky enough to work on a large stone window in Roscommon Castle.
In September, we went to the World Skills competition in the RDS Dublin and five of us competed over three days to make
a bird bath with oak tree motifs. It was fantastic to see all the other trades, some of which I had never heard of before.
Starting this apprenticeship was the best choice I’ve made, I can’t recommend it enough. I think it would best suit someone who enjoys working with their hands and has patience for the work.
With practice you won’t need patience, as the work itself becomes enjoyable.”
Painter and Decorator Apprentice Karl Ellis
Apprentice of the Year finalist
“I am a third year apprentice painter and decorator employed by the Office of Public Works, Building Maintenance Section. The reason I became an apprentice, at a later stage in life, is because I have a young family. I knew if I had a career with a qualification my family’s future would be a lot more stable.
When I saw that the OPW were hiring apprentices I felt an opportunity like this could not be missed. The OPW is a multidisciplinary government organisation with a workforce of
highly skilled and trained people. We deliver projects through conservation, restoration and maintenance. There are great benefits to working here. Since starting my career, I’ve worked in
some of the most prestigious buildings in Ireland from Dáil Éireann, The Department of the Taoiseach, Dublin Castle, Farmleigh House and Áras an Uachtaráin. I am learning the trade from a great team who have knowledge and skill maintaining and restoring historical buildings, some of which are 300 years old using very old techniques.
There are many benefits of being qualified as a tradesman. I could work anywhere in the world; Ireland Australia, America, Tokyo and Abu Dhabi. My qualification would be recognised in
many countries. There is a great future for those holding trade qualifications as trade people will always be needed. Since I have started my apprenticeship, I have never looked back because when I am fully qualified the endless opportunities that await me are only possible because of my trade.”
Architectural Stonemason Apprentice Megan Pepper
World Skills Ireland competitor
“I am currently doing an Architectural Stonemason’s Apprenticeship (Stonecutting Apprenticeship). I’m in my
second year of my apprenticeship and I’m in Phase 4.
I decided to do my apprenticeship with the Office of Public Works because I’ve always wanted to work with older buildings and when I saw the ads for the apprenticeship I jumped at it.
Some of the places I’ve worked with the OPW include the boundary wall at the The Hill of Tara. Currently, I’m working
on the repointing of the Kells Round Tower. I have also been working on the cap stones there, shaping them for the top of the tower.
This year, I took part in the World Skills competition. It is specifically for apprentices to showcase their trade and skills. It was an amazing opportunity to be a part of it and it’s great for students to come and experience it.
The advice I would give anyone thinking of starting an apprenticeship with the OPW is do it! If you don’t try you won’t
know. Even if you think you won’t suit it’s still an opportunity and an experience you’ll never regret taking.”
The OPW currently employ 41 apprentices across 13 apprenticeship programmes.
Our recruitment campaigns can be run at any time of the year but are mostly concentrated in the first quarter to coincide with Apprenticeship Fairs we attend around the country, promoting our programmes.
All our apprenticeship opportunities are advertised on the OPW website (www.opw.ie) where candidates can access the Recruitment Competition Information Booklet and download an application form. Interested candidates can also register with www.publicjobs.ie where they can request to be notified of any
competitions. We would also encourage interested candidates to follow us on social media where all our opportunities are advertised.’’
Losing the Crown – but Keeping the Throne: The Presidential Chair at Dublin Castle
Since 1938, when Ireland elected its first head of state, the Office of Public Works has had the responsibility for hosting the inauguration of Ireland’s presidents. The Upper Yard at Dublin Castle was initially suggested as a possible venue by Éamon de Valera, possibly with an eye to the inauguration of the U.S. president in front of the Capitol Building in Washington D.C., but he was persuaded that the Irish weather could not be depended upon and so it was moved inside to St Patrick’s Hall.
In the run up to the first inauguration, of Dr Douglas Hyde, on 25 June 1938, an OPW file records that:
The principal accommodation on the Dais will be a gilt arm chair which the Chairman has directed to be covered in Blue Silk, and a suitable Table for An Uachtaran to sign at.
This might sound rather benign, but this was no regular armchair. It was in fact a repurposed throne, one of a pair made in the nineteenth century, bearing the royal monogram of “VR” and topped with an imperial crown (the other, similarly
repurposed, is used by the Cathaoirleach of Seanad Éireann). In addition to a new blue-silk covering, the throne had its crown and monogram removed. With such minor alterations, it was replaced
where it had stood in former times, on a dais at the end of St Patrick’s Hall to receive the nation’s head of state. But this was a very different head of state. The subtle contrast, to those who
noticed, must have been striking.
This ‘gilt arm chair’ was used in time by Éamon de Valera himself, and by each of Ireland’s presidents up until the inauguration ceremony of 2011. Coinciding with the Craft Council of Ireland’s ‘Year of Craft’ in 2011, and with thoughts that the old chair was worn out, a new chair was commissioned from the furniture maker John Lee.
Dublin Castle has recently had the older chair restored. It was re-gilded by Fergus Purdy, reupholstered by the OPW’s Furniture Branch, and its magnificent Irish embroideries of the state harp and four shamrocks conserved and re-applied by textile conservator Karen Horton. This ‘gilt arm chair’ is a remarkable example of the mixture of change and adaptation that accompanied Ireland’s independence. Much like our
post boxes with their occasional royal monograms, painted green after 1922, this chair embodies our entangled and contested history while reflecting our independence alongside a pragmatic
respect for the past.
On one of his many visits to Dublin Castle, in March 1952, De Valera’s own view on our island’s contested material
culture was noted down:
On the general question of the State Apartments […] the
aim should be to keep them in good condition. While some
people held the view that emblems of British rule should
be removed there was a case for preserving them for their
historical significance and for the emphasis which they
placed on the changeover to national independence. This
applied particularly to places like St. Patrick’s Hall and the
State Apartments generally where there is so much of
value and artistic merit as well as of historical significance.
For De Valera, this was all history – and it was much better to turn the pages of history than to tear them out. Such things would serve as reminders of the past, and memories of that past would serve as a contrast to a new, independent present.
These sentiments were echoed by President McAleese, during the speech she made on 18 May 2011 when hosting Queen Elizabeth II to a State banquet in St Patrick’s Hall:
The relationship between our two neighbouring nations is
long, complex and has often been turbulent. Like the tides that
surround each of us, we have shaped and altered each other. […]
Inevitably where there are the colonisers and the colonised, the
past is a repository of sources of bitter division. The harsh facts
cannot be altered nor loss nor grief erased but with time and
generosity, interpretations and perspectives can soften and open
up space for new accommodations.
As we think upon the long and complicated history of the properties in our care, it is worth interrogating the material culture of our past. For better or worse, it is a shared past, with shared, multiple histories. As President McAleese noted, we need to be alive to the possibilities of new interpretations and perspectives. It is curious to think that such interpretations were already being explored as far back as the 1930s, when Ireland consolidated its independence by electing its first head of state, and inaugurated that person on a crownless throne.
