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For the past three years, we have welcomed makers, designers, artists and architects to the Joseph Walsh Studio in County Cork.

On September 12th 2020, for the fourth edition of MAKING IN, the international MAKING IN community convened online for the first time, engaging in a free creative dialogue presented by Glenn Adamson via ZOOM.

The theme of this year’s seminar was PLACE. Our speakers looked at the theme through the lenses of LANDSCAPE, WORKSHOP and THE CITY

Participants included Lord William Burlington, Joe Hogan, Sara Flynn, Jeremy Irons (Hegarty's Boatyard), Grafton Architects, O’Donnell + Tuomey Architects, Lord David Puttnam. The seminar was hosted by Joseph Walsh and Niall Gaffney of IPUT, this year’s event partner.

We are delighted to have continued these dialogues into 2020, and to have reached new and broader audiences through this global, virtual conversation on Saturday 12th September 2020. We hope you will join in with us, and enjoy this recording of MAKING IN: PLACE 2020.

Making In: Place 2020


Joseph Walsh Studio

Joseph Walsh


Glenn Adamson

Glenn Adamson

Event Partner

Niall Gaffney

Niall Gaffney

MAKING IN was established to share the stories of making in art, architecture, design and craft; to share the passion, commitment and mastery of so many, which is lived through their work. We believe that this world of making, with a level of commitment often thought to belong in the past, is alive and growing and has a vibrant future.

In 2020, MAKING IN will focus on the relationship making has to place, to resources, environment, sustainability, culture and heritage from the mastery of an object to the future of the built environment and the future aspirations of place makers.

Entitled MAKING IN: PLACE, it will expand beyond being an event to become the creation of a movement. This year’s dialogues will be filmed along with location footage featuring prominent creatives in Ireland. It will also include interviews with some international makers who have participated in MAKING IN over the last three years. These interviews will be held in their own place. In 2020 we will emphasise the importance of supporting a making culture and will ask if this movement could have broader consequences internationally.

Joseph Walsh, July 2020
Founder of Joseph Walsh Studio
Creator of MAKING IN

Since its inauguration in 2017, the annual event MAKING IN has convened a broad array of voices, ranging across the fields of art, craft, design and architecture. Much of the event’s magic has come from its location in County Cork, Ireland, a place whose natural beauty is rivalled only by its cultural inheritance.

For 2020, MAKING IN will retain its focus on place, creativity and craft. It will, however, shift in its format. Emphasis will be placed on reaching a broad public through films of makers in their own working environments.

These immersive documentary-style films will be supplemented by in-person conversation convened at Joseph Walsh Studio. Despite the disruptions of the moment, we aim to continue and extend the conversation around art and design, their role in place-making, and the tremendous value that creative makers bring to society.

Glenn Adamson,
June 2020
Scriptwriter and Narrator of MAKING IN: PLACE

Niall Gaffney, Chief Executive of IPUT Real Estate Dublin, main supporter of MAKING IN: PLACE. As Dublin’s leading owner and developer of office buildings, Niall describes their development projects as a “living canvas”, an opportunity to provide spaces to support cultural engagement with art, design, and creativity.

For over 50 years IPUT has influenced the urban fabric of Dublin city. As IPUT continue to deliver the next generation of offices at Wilton Park in Dublin, they are both curious and passionate about making places that reinvest in the human factors of urban space; places that promote pro-social behaviour; places that will positively shape the future of Dublin city.

IPUT see Irish art and design as integral to this, by investing in public art, by supporting cultural institutions through tangible initiatives such as, the creation of an artists in residence programme at their Wilton Park development. This is IPUT’s third year as the main supporter of MAKING IN, and their most recent thought leadership project about the future of the workplace and our sense of place in today’s world, has inspired part of the day’s debate. 

Making In: Place Schedule

Welcome to Making In: Place and Joseph Walsh Studio


  • Introduction by the Seminar moderator, Glenn Adamson
  • Conversation with the event hosts and sponsor, Joseph Walsh (Joseph Walsh Studio) and Niall Gaffney (IPUT)


  • Conversation with Lord Burlington
  • Conversation with Joe Hogan


  • Conversation with Jeremy Irons
  • Conversation with Sara Flynn


  • Conversation with O’Donnell + Tuomey Architects
  • Conversation with Grafton Architects
  • Conversation with Lord Puttnam

Panel Discussion & Conclusion

  • Glenn Adamson in conversation with Lord Puttnam, Niall Gaffney & Joseph Walsh

End of Seminar

Making In: Place 

MakingIn: Place - Introduction


Since 2017, Joseph Walsh has welcomed makers, designers, artists and architects to his studio in County Cork. These events have been magical settings for conversation about craft and community: the vital role that skill and creativity play in forging a sense of place, and ways of living sustainably.

For the fourth edition of the series, the theme was MAKING IN: PLACE. Place featured strongly for all of us in 2020. Our changed environment saw much more engagement with place and its people. This prompted us to explore this theme - taking landscape, workshop and city as starting points for three separate dialogues during the online event that took place on 12 September 2020.

While the format for MAKING IN 2020 evolved to a digital platform, its mission remained the same; to enable creative voices to share their stories of making in art, architecture, design and craft and to focus on making as a significant aspect of our culture and heritage. In 2020, participants not only shared their commitment to making, but also discussed its important relationship to their place. 

MakingIn: Place - Landscape


Part 1

Glenn Adamson begins by speaking with Lord Burlington about his work and his family and his teams work at Lismore Castle and Gardens as well as Lismore Castle Arts; a gallery space that brings world class artists to Lismore, Co Waterford. This is followed by a conversation with basket maker Joe Hogan who reflects on his sense of place in Connemara in the west of Ireland.  

MakingIn: Place - Workshop


Part 2

This segment begins with a conversation with Jeremy Irons who talks about West Cork and his involvement with Hegarty’s Boatyard in Baltimore. Ceramic artist Sara Flynn then speaks about her practice, located in Belfast, and how she has embraced the sculptural element of her work.    

MakingIn: Place - City


Part 3

Here Glenn Adamson focuses on two Dublin based architectural practices as he speaks with Sheila O’Donnell and John Tuomey of O’Donnell + Tuomey, followed by Shelley McNamara of Grafton Architects, about their work and place in the city. He then returns to West Cork for a conversation with Lord Puttnam who reflects on the events overall theme of Place.   

Making In: Place Contributors 

William Burlington


William Burlington’s career began in photography. After studying under Jorge Lewinski, he worked for eight years as a portrait photographer before setting up Jasmine Photographic Studios Ltd. After his grandfather died in 2004, William began to devote more time to his family’s businesses, primarily at Chatsworth in Derbyshire and Lismore in County Waterford, Ireland. Among other responsibilities, he is Chairman of the Devonshire Educational Trust, which oversees approximately 20,000 educational visits per year. He also chairs the family’s sustainability and social responsibility steering group and he recently undertook a management programme at Harvard Business School, graduating in 2017.

He has been Chancellor of the University of Derby since 2018 and has served on the boards of various charities and trusts, currently including the Duke of Devonshire’s Charitable Trust, Peak District Artisans, Towers and Tales children’s literary festival in Lismore and a fundraising advisory panel for the Royal Academy of Arts in London.

Selected former charitable roles include: Governor of the Byam Shaw School of Art; Trustee of the Chiswick House and Gardens Trust; Waterford County Council Economic Think Tanks panel member; Trustee of the Chisenhale Gallery; Patron of the Irish Museum of Modern Art.

In 2005 he converted the derelict West wing of his family’s home in Ireland in to a state-of-the-art contemporary gallery and arts centre which hosts exhibitions by Irish and international artists. Lismore Castle Arts also runs a busy programme of lectures, classes and workshops.

Aside from family business and charitable pursuits, William’s passions are education, art, heritage, sport and his family. He was married in 2007 to Laura Roundell and they have three children. He continues to take photographs as and when other commitments allow.

Joe Hogan


Prompted by his own desire to develop a deeper connection to the natural world and reawaken a sense of wonder, Basketmaker Joe Hogan’s work has evolved from traditional forms to crafted sculptural objects. He represents the generation that created in a traditional way for use and now creates crafted objects as art. But is the relevance in his sculptural objects their relationship with his earlier functional work?

Today, Joe Hogan’s practice allows him the opportunity to live rurally and to be involved in the entire process, from growing the material to making the finished object. His home and landscape have had a profound influence on the style and diversity of his work, encouraging him to explore and develop new designs based on old traditions. 



Born in Cork, Ireland in 1971, Sara Flynn trained in ceramic design at the Crawford College of Art and Design, Cork, Ireland.

Her work concentrates on the challenges of thrown forms, which are then altered and changed at varying stages of the drying process, producing Sculptural Decorative Vessels. Having begun her career producing small-scale functional pots she now produces one-off vessels that are entirely sculptural in their intent.

The main elements which feed the development of the work are Process and Finish, coupled with constant exploration and understanding of Form and Volume. Risk-taking and ‘play’ are fundamental to her practice. She produced her first works in cast bronze in 2016.

Shortlisted for the Loewe Craft Prize in its’ inaugural year, she served as a member of the Experts Panel for the Prize in 2018, 2019 and 2020.

Sara Flynn’s work is held in many major collections including The Devonshire Collection at Chatsworth House, England; The Gardiner Museum, Toronto, Canada; The Fitzwilliam Museum, Cambridge, England, U.K. ; The Art Institute of Chicago, U.S.A., and the National Museum of Ireland. 

Jeremy Irons


Hegarty’s Boatyard was set up in the mid 1940s by Paddy Hegarty who had served his time in Skinner’s yard in Rath close to Baltimore, he built a variety of timber boats from dinghies to punts and fishing boats up to 40 feet. Paddy passed on his skills and craftsmanship to his two son’s Liam and John and they joined the yard in the 1970s.

In the 1990s Liam Hegarty took charge of the rebuilding and the restoration of sailing boats from the local area such as mackerel yawls and lobster boats, which were fishing boats used in the early 1900s.  Many traditional boats have been built and rebuilt throughout his time of running the yard.

In the meantime, John Hegarty had been building and repairing Hegarty Punts which his Father Paddy designed for fishermen on the coastline and rivers, building them in clinker or carvel. He carried out this work in the late evenings after the working day in the yard had finished. In 1995 they built a slipway for hauling out of larger boats such as fishing boats. 

In 1997 the 56 foot ketch Ilen [a boat built in 1926 in the fisheries school in Baltimore, for the Falkland Islands] was brought back to Baltimore and brought up the Ilen river to Hegarty’s yard there she stayed for over 10 years when her rebuild had started and another 10 years when she was launched in 2018. 

Before she had touched the water the keel for the 42 foot Saoirse had been laid; the Saoirse was the first boat to go around the world with the tricolour on it - another great Irish boat being brought back to life.

In 2017 Liam’s son Paddy joined the family business and is learning his trade from Liam, John and Fachtna. 

Grafton Architects


Shelley McNamara and Yvonne Farrell co-founded Grafton Architects in 1978 having graduated from University College Dublin in 1974. They are Fellows of the RIAI, International Honorary Fellows of the RIBA and elected members of Aosdána, the eminent Irish Art organisation.

Teaching at the School of Architecture at University College Dublin from 1976 to 2002, they were appointed Adjunct Professors at UCD in 2015. They have been Visiting Professors at EPFL, Lausanne from 2010 – 2011. They held the Kenzo Tange Chair at GSD Harvard in 2010 and the Louis Kahn chair at Yale in the Autumn of 2011. Currently, they are Professors at the Accademia di Archittettura, Mendrisio, Switzerland.

In 2018, Yvonne Farrell and Shelley McNamara were the Curators of the Venice Architecture Biennale. Their manifesto : Freespace was the title of the Biennale. Grafton Architects have participated in numerous exhibitions including : the Sensing Spaces Exhibition in 2014 in the Royal Academy in London; a Pavilion for the 2014 Tercentenary of the City of Barcelona; ‘the Ogham Wall’ installation in 2015 in the Victoria & Albert Museum, London.

Current projects include The Marshall Institute, Lincoln’s Inn Fields, for the London School of Economics; City Library Parnell Square Dublin with Shaffrey Architects ; Headquarters for Electricity Supply Board (ESB) with OMP architects in Dublin; all won by international competition. Recently completed projects include The Town House Building, Kingston University London; The School of Economics for the University of Toulouse 1 Capitol; Institut Mines Télécom University Building, Paris Saclay.

The practice has won numerous awards for their work, including: The RIAI Institute of Architects of Ireland Gold Medal for Architecture 2007 – 2009 for Universita Luigi Bocconi, Milan, Italy; the Jane Drew Prize awarded to Yvonne Farrell and Shelley McNamara in 2015; the inaugural RIBA International Prize for the Universidad de Ingeniería y Tecnología (UTEC) in Lima, Peru in 2016 and the University of Virginia and the Thomas Jefferson Foundation at Monticello Architecture Medal in 2017.

In 2019 Yvonne Farrell and Shelley McNamara were awarded honorary degrees from NUI Galway and from Trinity College Dublin. Yvonne and Shelley were commended for their contribution to Irish society.

In 2019, the Royal Institute of the Architects of Ireland (RIAI) awarded the RIAI James Gandon Medal for Lifetime Achievement in Architecture to Yvonne Farrell and Shelley McNamara, of Grafton Architects. The Gandon Medal is the highest personal award given to an Architect in Ireland.

The practice was recently presented with the 2020 RIBA Royal Gold Medal in London. The Royal Gold Medal is given to a person or group of people who have had a significant influence "either directly or indirectly on the advancement of architecture".

Shelley and Yvonne have been selected as the 2020 Pritzker Prize Laureates, the award that is known internationally as architecture’s highest honour.   




Sheila O’Donnell and John Tuomey met while studying architecture at University College Dublin and have worked together for more than 30 years. They have been involved with urban design, cultural, educational and housing projects in Ireland, the Netherlands, the UK and Hungary. With offices in Dublin, Cork and London, O’Donnell + Tuomey has developed an international reputation for its engagement with complex urban situations and sensitive landscapes. They have exhibited six times at the Venice Biennale, been shortlisted six times for the European Mies van der Rohe Award and five times for the UK Stirling Prize. They won the AAI Downes medal seven times and the RIAI Gold Medal in 2005. In 2015 they received the RIBA Royal Gold Medal.

Buildings include Glucksman Gallery and Student Hub at UCC; Sean O'Casey Centre, Dublin; Timberyard Social Housing, Dublin; Lyric Theatre, Belfast; London School of Economics Student Centre; St. Angela’s College, Cork; and Central European University, Budapest.

They are currently working on a new cultural and education district in Stratford, East London, which includes new buildings for the Victoria and Albert Museum and Sadler’s Well Theatre; the Academic Hub and Library for TUDublin; the School of Architecture at Liverpool University; and various schools and housing projects. Both are Emeritus Professors at UCD and have taught at Harvard, Princeton and Cambridge. They were elected honorary fellows of the American Institute of Architects in 2010. They are members of Aosdána. 

David Puttnam


David Puttnam is a British film producer, educator, environmentalist and member of the House of Lords. In 2019 he was appointed chair to a special inquiry committee to investigate the impact of digital technologies on democracy. The report for the committee’s findings is due to be published in 2020. His films, including The Mission, The Killing Fields, Local Hero, Chariots of Fire, Midnight Express, Bugsy Malone and Memphis Belle, have won 10 Oscars, 31 BAFTAs, 13 Golden Globes, nine Emmys, four David di Donatellos in Italy and the Palme D'Or at Cannes. David set up his production company, Enigma Productions, in 1976 and founded Atticus Education in 2012. Atticus Education delivers interactive seminars on film, media and screen to students at universities all over the world.

He currently holds a number of positions including: President of the Film Distributors’ Association; Chair of Nord Anglia International School, Dublin; Life President, National Film & Television School; Chair of Film London Executive Task Force; UNICEF Ambassador; Member of the Advisory Board of Accenture (Ireland); Adjunct Professor of Film Studies and Digital Humanities at University College Cork; Adjunct Professor, School of Media & Communications at RMIT University in Australia; Board Member of the Commonwealth of Learning, Patron, Dublin Bid World Summit on Media for Children 2020/2023 and International Ambassador, WWF. He is a member of the ASA (Advertising Standards Authority) Parliamentary Network. 

Joseph Walsh


Joseph Walsh’s work reflects his passion for expression through material and form. From monumental scale sculptures to one-of-a-kind site-specific commissions and collectible design editions, every piece within his dynamic body of work reveals an intuitive relationship with making, a sympathetic use of materials and an expressive engagement with form.

Inspired by the free, uplifting and ever-changing grace that can be found in nature, Joseph Walsh has developed a creative process which captures the fluidity and immediacy of a sketch – of the moment of inspiration – and in which the final form is only defined through its making.
Joseph Walsh was born in 1979 in County Cork on the south coast of Ireland where he established his own studio and workshop at age 20 and is still based today. With no formal training, he began to explore his passion for making, visiting master makers around Europe and developing his own mastery of wood working and deep knowledge of the material. From the outset he pursued innovation in making based on traditional techniques, often from other craft forms, which enabled new making methods and forms. This led to significant early commissions for various ecclesiastical clients, the Embassy of Japan and the National Museum of Ireland.

From these early years of experimentation and development, Joseph Walsh began to break some of the traditional rules of making, and even his own rules, in order to create the truly bold and expressive forms for which he is known today, realised in an ever-widening range of materials, including wood, marble and bronze. His achievements in design have been recognised by an honorary doctorate from University College Cork, a major commission for the National Gallery of Ireland and the acquisition of works for many major international collections, including most recently the Metropolitan Museum of Art in New York.



Glenn Adamson is a curator, writer and historian who works at the intersection of craft, design and contemporary art.

He has previously been Director of the Museum of Arts and Design; Head of Research at the V&A; and Curator at the Chipstone Foundation in Milwaukee.

Adamson’s publications include Thinking Through Craft (2007);  The Craft Reader (2010);  Postmodernism: Style and Subversion (2011, co-edited with Jane Pavitt);  The Invention of Craft (2013); and Art in the Making (2016, co-authored with Julia Bryan-Wilson; and Fewer Better Things: The Hidden Wisdom of Objects (2018).

His new book, Craft: An American History, will be published by Bloomsbury in January 2021.  

Niall Gaffney


Niall Gaffney, Chief Executive of IPUT Real Estate Dublin, main supporter of MAKING IN/PLACE. As Dublin’s leading owner and developer of office buildings, Niall describes their development projects as a “living canvas”, an opportunity to provide spaces to support cultural engagement with art, design, and creativity. For over 50 years IPUT has influenced the urban fabric of Dublin city.

As IPUT continue to deliver the next generation of offices at Wilton Park in Dublin, they are both curious and passionate about making places that reinvest in the human factors of urban space; places that promote pro-social behaviour; places that will positively shape the future of Dublin city.

IPUT see Irish art and design as integral to this, by investing in public art, by supporting cultural institutions through tangible initiatives such as, the creation of an artists in residence programme at their Wilton Park development. This is IPUT’s third year as the main supporter of MAKING IN, and their most recent thought leadership project about the future of the workplace and our sense of place in today’s world, has inspired part of the day’s debate. 

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