Beech was a widely planted broadleaf tree in Ireland from the mid-18th to the mid-19th century. More beech was planted than all other broadleaves combined including oak, ash, sweet chestnut and sycamore from the 1930s to the 1960s. In recent decades, it has experienced a spectacular fall from grace.

While annual broadleaf planting has increased to 40% of all afforestation in recent years, beech barely registers as the emphasis today is on planting native broadleaves. Although a naturalised species, it is not native even though it has been here since the 16th century and may even have been introduced by the Normans.

Incorrect provenances and seed collection from dubious seed sources resulted in poorly formed forest trees even on suitable sites. In recent years it has suffered from damage by the grey squirrel.

Beech is the forgotten broadleaf in Ireland which is a pity. It is an elegant tree, which retains its smooth bark well into old age. It has attractive pale-green leaves in spring.

These darken in summer and provide a brilliant mix of colours in autumn varying from pale yellow to ochre and reddish brown.

It grows extremely well on moist, free-draining mineral soils with a pH range between 6.0 and 7.5. In common with most broadleaves, it grows best on sheltered, mild and sunny areas. It will withstand exposure and was often planted in the past as a boundary tree but usually developed forked leaders and poor form on exposed sites. It dislikes heavy clay soils, peats and very shallow soils.

Qualifies

Planted on suitable sites, it is well worth consideration as a woodland tree. Beech qualifies for the maximum planting grant of €6,744/ha and annual premiums of €1,037/ha over 20 years for farmers. Like oak it takes at least 100 years to grow to its full potential so it is a tree for the future.

It produces a highly attractive timber with a wide range of high added value end uses.

These include furniture (both solid and laminated), joinery, flooring, domestic woodware, plywood and veneering.

Although not suitable for outdoor use, it is prized by woodworkers because of its versatility – it finishes well and can be shaped and bent during steam-heating.

Some of these qualities will be explored in a fascinating exhibition chosen for the 2025 Venice Biennale.

The structure –, titled Assembly – is being designed by Cotter & Naessens Architects in collaboration with Irish woodworkers, designers and artists.

Cork-based Cotter & Naessens Architects will represent Ireland at the 2025 Venice Architecture Biennale. The practice has chosen Irish grown beech to construct the Irish pavilion because it is a versatile, aesthetic and functional timber.

But beech also allows Louise Cotter and David Naessens to explore its acoustic possibilities with their collaborators, sound artist David Stalling, poet Michelle Delea and curator Luke Naessens.

Beech has a natural range as a woodland tree over most of the continent. Its woodworking qualities will be well understood by visitors to the Biennale as beech is the hardwood of choice for woodworkers and designers throughout Europe and North America.

The acoustic qualities of wood have been explored in the past by Cotter and Naessens in projects such as their award-winning dlrLexicon Library in Dún Laoghaire. Here, the oak bookshelves, floors, staircases and tall panels are not only powerful visual statements but they also contribute enormously to the acoustic experience in the library.

Possibilities

While the end design of the Irish pavilion – titled Assembly – is a closely guarded secret, the potential of beech to amplify and absorb sound will be fully explored by the architects, curator and performers.

Work began recently on the pavilion as beech was sourced in Irish woodlands and delivered to Alan Meredith’s workshop in Mountmellick.

Meredith understands wood better than most as he moves effortlessly between contemporary craft, sculpture and architecture in designing and making award winning furniture, vessels and sculptures, mainly in native oak.

Correct

Meredith has now sawn the beech and it is being kiln dried to the correct moisture content.

Assembly is a complex project which involves tree selection and purchasing, harvesting, haulage, sawing and kiln-drying the timber as well as designing, making and assembling.

While all of this is happening, David Stalling and Michelle Dea are exploring “a polyphonic chorus of diverse sounds and human voices” which are attuned to the acoustic characteristic of beech wood.

Finally, the finished work has to be transported to Venice and reassembled next April for the Biennale which runs from May to November before it is disassembled and returned to Ireland.

The Venice Architecture Biennale offers a unique opportunity for Irish architects to engage with international audiences. It is also a major exhibition to promote home-grown timber as well as Irish design and craft, but it is a costly undertaking from conception to final exhibition.

While the organisers have sourced some funding, they require further sponsorship from State agencies and especially the forestry and forest products sector.

“This is as an extremely important project for Irish forestry and also the architectural, design and arts communities,” said Pat O’Sullivan, technical director of the Society of Irish Foresters. “It is an ideal platform to promote Irish timber, and deserves to be supported,” he added.