A considerate kind of research and design practice. Our interests lie in the production, the disruption and the perception of public space.
We are exploring the experiential qualities of the built environment through a practice of design rooted in mapping and observation.
Our work proposes a discussion on the lived reality of space in the city, in particular, its impact on our shared environments.

01 DARTing Atmospheres
02 Situationist National

03 Sonic Threshold
04 Phibsborough Public Realm 

05 Bishop Lucey Park
06 Memorial Bridge

07 Sound as a Common Language08 Cartographic Practice
     09 Sounding Place



Sonic Threshold

We are very interested in the impact and use of what we call sonic thresholds and in the opportunities they create for different types of public experience. Producing public ‘rooms’, internal or external, with differentiated acoustics, to us, seems an appropriate ambition in the design of public space. We can then accommodate a wide range of needs and activities or can create a sense of place or collectivity.

Trinity Front Gate

Section and Plan

Sound Recording


The soundscape places sound beyond music, experimental art and noise pollution and presents it as an integrated part of our built environment. One of the most transcendent examples of the architecture of sound in a public place, as often noted by Grafton architects, is the Front Gate entrance into Trinity College. This octagonal vestibule with its solid timber tiled floor and groin vaulted ceiling swallows sound and acts as a compression or echo chamber as you leave the busy city and enter the tranquil realm of the Front Square.

In many ways, sound is a kind of soft architecture with the ability to change our perception of our surroundings. It can produce a space’s characteristic intimacy, monumentality, invitation or rejection. It can even reshape the social structures of space and therefore, it could be composed to initiate new perspectives in how we understand, design and transform the public realm and its atmospheres.