DECEMBER 2024
WILLIAM'S PHOTO DIARY
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USE TEXT BOX ABOVE
SENDING CHRISTMAS CARDS
DO YOU STILL SEND CHRISTMAS CARDS [A LOOK AT THE POSTBOX CAMPAIGN BY AN POST]
"Do You Still Post Christmas Cards?" - A Look at the "The Postbox" Campaign by An Post
The tradition of sending Christmas cards dates back to 1843 in England, when Sir Henry Cole commissioned artist John Callcott Horsley to create the first commercially produced Christmas card. This innovative concept quickly gained popularity, spreading across Europe and the United States.
While Christmas card popularity peaked during the mid-20th century, driven by advancements in printing technology and increased affordability, the rise of digital communication has led to a decline in traditional mail, including Christmas cards. This global trend is reflected in An Post's 2023 financial statement, which highlights a 6.1% decrease in traditional letter volumes, while e-commerce and parcel delivery continue to flourish.
However, An Post is actively working to revitalise the role of the postbox through its engaging "The Postbox" campaign. This initiative features captivating artwork by renowned Irish artists such as Hephee and Mundomoo. Hephee, celebrated for his witty and insightful illustrations that capture the essence of Irish life, is likely contributing designs that celebrate the enduring role of postboxes within Irish communities. Meanwhile, Mundomoo, a Dublin-based designer known for his vibrant and playful style, is expected to bring fresh and imaginative perspectives to the traditional postbox design.
Through "The Postbox" campaign, An Post aims to not only promote the continued use of its services but also to showcase the talents of Irish artists. This initiative serves as a creative way to connect with the public, celebrate the enduring role of the postal service in Irish society, and foster a renewed appreciation for the art of letter writing.
UNUSUAL POST BOX
THIS STYLE OF POST BOX ON LOWER KIMMAGE ROAD IS RARE [BUT NOT UNIQUE]
This Post Box caught my attention today because it is different in a number of ways so I decided to check if there was any information available:
Is it Unique?
While not entirely unique in the sense that there are a few of this type remaining, it is certainly a rare and special example of a particular type of British-made post box that was repurposed after Irish independence. It is likely a Type B wall box, a model that was introduced in 1859 and was the standard wall-mounted box across the UK. The larger size that initially caught my attention was common for the earlier Type B models.
Why It Appears Different:
Absence of Royal Cypher: There is no British Royal Cypher. This is because the box likely pre-dates 1922 and was originally installed during British rule. After independence, the Irish Free State made a conscious decision not to remove all British boxes. They simply painted them green and either removed the Royal Cypher or covered it over. The original purpose of the Royal Cypher was to identify the reigning monarch at the time of the post box's installation.
"POST OFFICE" Lettering: The "POST OFFICE" lettering was standard on British Type B wall boxes of that era. In this case, it remains as a vestige of its original manufacture and purpose. An Post, the Irish postal service, would typically use either their logo, or the Irish language "An Post" on their post boxes.
Flush Mounting: The flush mounting to the pavement is also somewhat unusual but not unheard of. Given that the box is larger than later models, it might have required a deeper setting to ensure stability, especially since it is a wall box.
Graffiti: The yellow graffiti "AKEN" is a modern addition and unfortunately detracts from the historical significance of the post box.
Why the Difference?
Practicality and Cost: Replacing every post box across the newly independent Ireland would have been a massive and expensive undertaking. Repainting was a far more practical and cost-effective solution during a time of significant political and social change.
Symbolic Gesture: While retaining the boxes, painting them green served as a powerful visual symbol of Irish independence. The vibrant green, a colour strongly associated with Ireland, asserted the nation's new identity. It is suspected that in many cases the initial green paint used was not durable, as these post boxes were regularly repainted.
Evolution of An Post: Over the decades, An Post has gradually introduced its own designs and styles of post boxes. However, many of these repurposed British boxes remain in service, creating the variety one may observe today. Many of these older post boxes are now heritage listed.
BIG IRISH HEAD
LUKE KELLY AT GUILD STREET [THE BIG IRISH HEAD ON HIM]
When first encountering the imposing Luke Kelly sculpture on Guild Street, one might overhear, as I did, a passerby remark, "Look at him with the big Irish head on him." This comment, imbued with the quintessential Irish humour and self-awareness explored in the context of the phrase, finds a curious resonance in the stylised features of the memorial.
The actual sculpture, unveiled in 2019, is one of two commissioned to honour the legendary Dubliners singer. It's a strikingly large bronze head, its defining feature being a cascade of stylised copper curls representing Kelly's famous red hair, and it is over 2m in height. The artist, Vera Klute, a renowned German-born, Irish-based sculptor, captured a certain intensity in Kelly's expression, which, combined with the exaggerated proportions of the piece, might lend itself to the "big Irish head" observation. This isn't a literal assessment, of course, but rather an affectionate nod to the perceived "Irishness" the sculpture emanates, as often described in the phrase.
It is notable that this particular rendering of Kelly has been subjected to repeated vandalism. Since its unveiling, it has been defaced numerous times, requiring costly repairs and clean-ups. This unfortunate reality speaks to a darker side of contemporary Dublin, a city grappling with social issues that occasionally manifest in acts of senseless destruction. The repeated targeting of a figure so beloved and representative of Irish culture adds another layer to the sculpture's story, transforming it from a simple tribute into a symbol of resilience in the face of adversity.
The "big Irish head" comment, then, takes on a multi-layered meaning when applied to the Guild Street sculpture. It acknowledges the artwork's physical presence, a commanding, oversized head that certainly draws the eye. It also taps into the cultural baggage of the phrase itself, hinting at a stereotypical "Irish look" that the sculpture, with its fiery hair and intense gaze, arguably embodies. Finally, the statue's troubled history of vandalism, coupled with its enduring presence, perhaps lends itself to a metaphorical interpretation of the "big Irish head" as a symbol of strength and perseverance. A statue to honour an Irish icon vandalised and yet still standing.
Klute's portrayal of Luke Kelly, with its distinctive features and imposing size, serves as a visual anchor for the "big Irish head on him" expression, making it more than just a casual remark, but a commentary on art, identity, and the complex social fabric of modern Ireland. It is the juxtaposition of the affectionate, almost teasing nature of the phrase with the powerful, somewhat imposing image of the sculpture that creates a fascinating interplay between language and visual representation.
When I first photographed this in 2019 I overheard someone say look at him with the "big Irish head on him."
Big Irish Head On Him: Exploring a Quirky Irish Expression
The Irish are known for their colourful language, and one expression that has been making the rounds is "big Irish head on him." This phrase, often used with a touch of humour and self-deprecation , has piqued the curiosity of many, including fans of the iconic sitcom Father Ted. This article delves into the meaning, origins, and cultural significance of this expression, exploring its presence in contemporary Irish society and its potential connection to the beloved TV show.
What Does "Big Irish Head on Him" Mean?
While it might seem like a straightforward comment about someone's physical appearance, "big Irish head on him" is more nuanced than that. It typically refers to someone who embodies a stereotypical "Irish look," encompassing various physical characteristics, such as facial features, hair, and even a certain way of carrying oneself. It's a way of recognising someone as distinctly Irish, often used when encountering fellow Irish people abroad.
However, it's important to note that the expression doesn't necessarily imply an abnormally large head. One person shared an anecdote about their family having abnormally large heads, highlighting that while often used figuratively, the expression can sometimes refer to literal head size. It's more about a perceived "Irishness" in someone's appearance, which can be subjective and even exclusionary to those who don't fit the traditional mold.
Origins of the Expression
Pinpointing the exact origin of "big Irish head on him" proves challenging. Some speculate that comedian Dylan Moran popularised it during his "Monster" tour a couple of decades ago, although his routine focused on recognising an Irishman anywhere in the world because of their appearance. Others believe it gained traction after a Paddy Power marketing campaign featuring an image of a sunburnt man with a prominent head. This campaign, while not extensively detailed in the available sources, likely played a role in bringing the expression into the public consciousness.
Recently, the expression has been discussed on a podcast by Blindboy Boatclub, further increasing its presence in the national conversation. Additionally, the expression was explored in the "Why Would You Tell Me That" podcast with Dr. Ian Miller, a historian and author of A History of Ireland in 10 Body Parts. While the specific details of this discussion aren't available, it suggests that the notion of "Irish head size" has some historical context.
"Big Irish Head on Him" and Father Ted
Despite its popularity, there's no evidence to suggest that the expression "big Irish head on him" was explicitly used in the TV show Father Ted. While the show is renowned for its witty portrayal of Irish priests and their quirky interactions, this particular phrase doesn't appear in any known episodes or scripts.
However, the show's creators, Graham Linehan and Arthur Mathews, are known for their sharp observations of Irish culture and stereotypes. It's conceivable that the concept of a recognisable "Irish look" might have subtly influenced some of the characters or comedic situations in the show.
Is "Big Irish Head on Him" Still Used Today?
Yes, the expression "big Irish head on him" remains in circulation within contemporary Irish society. Its usage is often lighthearted and self-deprecating, reflecting a sense of camaraderie and shared identity among Irish people.
Conclusion
"Big Irish head on him" is a quirky and intriguing example of Irish slang that encapsulates a humorous observation about a perceived "Irish look." While its exact origins remain unclear, it appears to have evolved over time, gaining popularity through various cultural influences, including comedy, marketing, and podcasts. Although not explicitly featured in Father Ted, the expression shares a similar comedic sensibility with the show's portrayal of Irish stereotypes.
This expression highlights the tension between traditional stereotypes and the increasing diversity in Ireland. While often used playfully, it's important to be mindful of its potential to exclude those who don't fit the traditional mold. As Irish identity continues to evolve, it's crucial to use such expressions with awareness and sensitivity, ensuring inclusivity and respect for all who call Ireland home.
Ultimately, "big Irish head on him" provides a glimpse into the unique humor and cultural nuances that make Irish slang so captivating, reminding us of the power of language to both reflect and shape our understanding of identity.
WILTON TERRACE
WILTON TERRACE [AND THE GRAND CANAL]
Wilton Terrace and the Grand Canal: A History of Development and Controversy
Wilton Terrace, nestled on the north bank of Dublin's Grand Canal, boasts a rich history interwoven with the city's development and social challenges. This article delves into the historical background of Wilton Terrace, its recent redevelopment, the contentious issue of homelessness in the area, and the resulting objections to the measures taken to address it.
A Look Back at Wilton Terrace
Wilton Terrace is a collection of former townhouses dating back to 1841. Originally envisioned as part of a grand scheme by Arthur Neville around 1830, the terrace was intended to form a crescent around a semi-circular park overlooking the Grand Canal. However, due to land acquisition issues, the project was delayed and ultimately revised. Of the original scheme, only Nos. 1-6 remain. Four of these houses were constructed by George Farrell and one is attributed to Henry McManus. The remaining houses were demolished to make way for an apartment block and Fitzwilton House, a brutalist office block built in 1969 and demolished in 2018.
The Grand Canal itself is a remarkable feat of late 18th-century engineering, connecting Dublin to the River Shannon. Its construction began in 1757, finally reaching completion in 1804. The canal's presence has significantly shaped the character of Wilton Terrace and the surrounding area. Railings, likely erected in the early-to-mid 19th century, separate the towpath of the Grand Canal from the elevated roadway of Wilton Terrace. These railings, which match those bordering the small park to the north-west on Wilton Place, contribute to the area's historical charm.
The Grand Canal Docks, opened in 1796, were once bustling industrial hubs filled with mills, warehouses, coal yards, and dockyards. Today, the Grand Canal Dock and Spencer Dock have been transformed into vibrant areas with restaurants, cultural attractions, and scenic views.
Redevelopment and Renewal
The historical charm of Wilton Terrace provides a unique backdrop to the area's recent transformation. In recent years, Wilton Terrace has undergone a large-scale redevelopment spearheaded by IPUT Real Estate. This ambitious project, with a completion date of 2024, aims to create a new city quarter with a mix of offices, residential spaces, and amenities. The development prioritises sustainability, efficiency, and digital connectivity, incorporating features such as LEED Platinum, WiredScore Platinum, WELL Gold, and a BER A3 Energy rating. This modern development blends seamlessly with the historical character of the area, creating a dynamic and vibrant urban space.
A key element of the redevelopment is the restoration of the one-acre Wilton Park. The park has been re-landscaped and now features new seating, a renovated Victorian fountain, and improved accessibility. The park's design emphasises biodiversity and aims to provide a welcoming green space for the community.
As part of the redevelopment, a new public square named Mary Lavin Place was created, the first in Ireland to honour a female Irish writer. This square connects Lad Lane, where Mary Lavin once resided, to Wilton Park. It features an interactive water fountain with over 160 individually controlled jets, creating a playful and engaging space for visitors. A mature cherry tree graces the square, adding to its aesthetic appeal.
Further enhancing the area's connectivity and visual appeal is a new 7-metre-high covered street linking Mary Lavin Place to the park and Lad Lane. This striking architectural feature boasts a coloured glass ceiling created by Irish artist James Earley.
The redevelopment also extends to the canal banks themselves. Waterways Ireland and IPUT Real Estate have partnered to upgrade the public realm along the Grand Canal between Leeson and Baggot Street bridges. This collaboration has resulted in improved accessibility for pedestrians and mobility aide users, enhanced public seating, and a wider path along the canal bank.
The design of the new buildings at Wilton Park also reflects the area's prestigious environment and focus on sustainability. The balconies offer unique views and experiences for occupants, while the interiors are designed to maximise natural sunlight.
The Homeless Issue and the Fencing Controversy
The Homeless Crisis and its Impact
Despite the area's revitalisation, Wilton Terrace has become a focal point for Dublin's growing homeless crisis. The canal banks, once a peaceful retreat, have seen an increase in rough sleeping, leading to concerns about public health and safety. In January 2020, a homeless man was paralysed when a digger, attempting to clear tents from the canal bank, inadvertently caught him inside. This tragic incident brought to light the dangers and ethical considerations surrounding the removal of homeless encampments and sparked calls for safer and more humane approaches to addressing the issue. To the best of my knowledge the reported incident was well away from Wilton Terrace in the Portobello Area and close to the Harold's Cross bridge.
In response to the growing number of people sleeping rough, Waterways Ireland erected fencing along sections of the canal to prevent people from pitching tents. This decision sparked controversy, with objections from local residents and businesses who felt it was inhumane and exclusionary. The fencing has been criticised for its high cost, with initial reports stating €30,000 per week for maintenance. However, documents later revealed that the actual cost for the first month alone was €117,845, significantly higher than initially reported. This highlights the financial burden of this temporary solution and raises questions about its long-term viability.
Protests and Public Response
The erection of fencing along the Grand Canal triggered a wave of protests, with groups like "Take Back Our Spaces" demanding the removal of the barriers and criticising them as symbols of division and exclusion. These protests often led to clashes with Gardaí, further highlighting the tensions surrounding the issue and the differing perspectives on how to address homelessness in the city. The perception of the fencing as a measure that targets and marginalises vulnerable communities raises broader concerns about social cohesion and equality in Dublin.
The Influx of Ukrainian Refugees
Adding to the complexity of the situation is the arrival of a large number of Ukrainian refugees in Dublin. With limited accommodation options available, many refugees resorted to camping near the International Protection Office on Mount Street, where they were required to report daily. The encampment along the Grand Canal saw a rapid increase in the number of tents, doubling in size within a short period. This influx placed further strain on already stretched resources and intensified the challenges of providing support and accommodation for those in need.
While the government has taken steps to address the needs of Ukrainian refugees, including establishing reception facilities and providing temporary protection visas, the scale of the influx has presented significant logistical and social challenges. This situation highlights the need for a comprehensive and coordinated response to address both the immediate needs of refugees and the underlying issues contributing to homelessness in Dublin.
A Brighter Future?
Despite the ongoing challenges, there are signs of hope for the future of Wilton Terrace and the Grand Canal. Waterways Ireland, in partnership with IPUT Real Estate, has announced plans to upgrade the public realm along the canal. This public-private partnership aims to improve amenities, increase accessibility, and enhance the overall experience for all users. Furthermore, Waterways Ireland has indicated its intention to remove the controversial fencing and redevelop the landscaping in the area. These initiatives suggest a commitment to creating a more inclusive and welcoming environment along the canal, while also addressing the concerns of local residents and businesses. Note: When I visited the area on Christmas Say 2024 the fencing had been removed.
FLUDUBLIN
FLUDUBLIN RELATED STREET ART ON PARNELL STREET [BY BRUTTO A BRAZILIAN STREET ARTIST
FluDublin is a supporters' club for fans of the Brazilian football team Fluminense, based in Dublin, Ireland.
Here's what I know about them:
Established 2021: They were founded in 2021 by Fluminense fans living in Ireland.
Active Community: The group has over 150 members who gather to watch matches and celebrate their love for the team.
Community Art Project: In 2024, they collaborated with Brutto to create a mural in Dublin celebrating Fluminense. This mural features the club's crest, images of the legendary Fluminense player and musician Cartola, and elements of Rio de Janeiro in the club's colours (green, white, and maroon).
Possible Socca Team: There is also a six-a-side football team called FluDublin that competed in the 2023 Socca Champions League, an international tournament for small-sided football. It's unclear if this team is directly affiliated with the supporters' club.
It seems like FluDublin is a passionate and dedicated group of fans who have found a way to connect with their beloved team from afar.
As you can see from this street artist is not limited to using cling film as his canvas and to the best of my knowledge this is is second to use construction site hoarding as a canvas for his street art.
Brutto, a Brazilian street artist based in Dublin, has gained recognition for his distinctive and ephemeral artwork. He primarily uses cling film as his canvas, creating pieces that are subject to change and degradation daily due to weather and other environmental factors. This impermanence adds a unique dimension to his work, highlighting themes of transience and the fleeting nature of urban life.
Since beginning his Dublin street art journey in 2014, Brutto's work has consistently offered powerful social commentary and thought-provoking messages. His choice of cling film as a medium not only distinguishes him from other street artists but also allows his art to interact with its environment in a dynamic way. The cling film can stretch, tear, and be affected by the elements, meaning the artwork is constantly evolving. This ephemeral quality encourages viewers to consider the temporary nature of urban art and the broader themes it often addresses. While specific details about his early life and training are not widely available, his impact on Dublin's street art scene is undeniable. His work invites reflection on contemporary social issues and the ever-changing cityscape.
FluDublin is a supporters' club for fans of the Brazilian football team Fluminense, based in Dublin, Ireland.
Here's what I know about them:
Established 2021: They were founded in 2021 by Fluminense fans living in Ireland.
Active Community: The group has over 150 members who gather to watch matches and celebrate their love for the team.
Community Art Project: In 2024, they collaborated with Brutto to create a mural in Dublin celebrating Fluminense. This mural features the club's crest, images of the legendary Fluminense player and musician Cartola, and elements of Rio de Janeiro in the club's colours (green, white, and maroon).
Possible Socca Team: There is also a six-a-side football team called FluDublin that competed in the 2023 Socca Champions League, an international tournament for small-sided football. It's unclear if this team is directly affiliated with the supporters' club.
It seems like FluDublin is a passionate and dedicated group of fans who have found a way to connect with their beloved team from afar.
TOO FOGGY
A FOGGY DAY IN DUN LAOGHAIRE [THE DAY AFTER CHRISTMAS DAY 2024]
I was due to meet up with several friends at Eatokyo on Capel Street. However as I was invited to a "postponed" family Christmas dinner the meet-up has been rescheduled for Friday the 3rd. So today I travelled to Dalkey but as there was no Train Service to Dalkey today I got the 46A Bus (a service that was to be discontinued a few weeks ago) to Dun Laoghaire with the intention of walking to Dalkey and photographing my journey but the fog which was getting worse every minute made this idea impractical so I only photographed the area near the railway station in Dun Laoghaire before I got a taxi to Dalkey.
The postponed Christmas Dinner was excellent - maybe we should do the same next year.
As an Irish person, I am accustomed to "St Stephen's Day, but many, likely those primarily from England, frequently comment on my as usage of the term, as "Boxing Day" is entirely standard for them. Until now I have not given much thought to the term "Boxing Day" so I decided to investigate:
St Stephen's Day vs. Boxing Day:
St Stephen's Day: This is the religiously-rooted name, commemorating St Stephen, the first Christian martyr. It is widely used in Ireland, many European countries (often under a translated name e.g. Stephanitag in Austria, Svátek svatého Štěpána in the Czech Republic) and in some Commonwealth countries.
Boxing Day: This term is predominantly used in the United Kingdom (including, to varying extents, Scotland and Wales), Canada, Australia, and New Zealand. Its origins are debated, but common theories include:
Alms Boxes: Churches would open their alms boxes (for the poor) on this day.
Servant's Gifts: Wealthier families would give gifts, or "Christmas boxes," to their servants and tradespeople on this day, as it was often the day after Christmas servants would have time off to visit their family.
Regional Usage:
Ireland: Overwhelmingly uses "St Stephen's Day." "Boxing Day" is rarely, if ever, used and would likely be considered an exclusively British term.
England: Predominantly uses "Boxing Day."
Scotland: "Boxing Day" is widely used. The extent to which some identify it as being an English term is unclear.
Wales: Primarily uses "Boxing Day."
Northern Ireland: The usage is likely more mixed due to the region's complex history and cultural ties to both Ireland and Britain. Some may use "St Stephen's Day" (more likely amongst those identifying as Irish or Catholic), while others will use "Boxing Day" (more likely amongst those identifying as British or Protestant).
Dublin's 46A Bus Route: A History and a Future in Flux
The 46A bus route in Dublin, a service steeped in history and cherished by locals, was recently slated for replacement as part of the BusConnects scheme. While the planned changes promised increased efficiency, their implementation has been delayed, leaving the future of the 46A uncertain. This section of my blog post delves into the history of this iconic route, explores the proposed changes, analyses the reasons behind the delay, and examines public reaction to the developments.
A Dublin Icon: The History of the 46A
The 46A bus route first graced the streets of Dublin in 1926, courtesy of the Dublin United Tramways Company. For nearly a century, it has faithfully connected Dun Laoghaire and the Phoenix Park, traversing the North Circular Road (NCR) in its more recent iterations. This route has become deeply ingrained in the city's fabric, even earning a place in popular culture through its mention in Bagatelle's song "Summer in Dublin." Notably, the 46A was one of the original routes to utilise the then-new 74-seater buses, further solidifying its place in Dublin's transport history.
Over the years, the 46A has gained a reputation for its efficiency and reliability, running as frequently as every eight minutes. This dependability has endeared it to commuters who have come to rely on its consistent service. The route's longevity and consistent service have made it a symbol of Dublin's public transportation system.
The BusConnects Scheme and the Planned Changes
The BusConnects scheme, a comprehensive redesign of Dublin's bus network, aims to create a more efficient and user-friendly system. Under this scheme, the 46A was to be replaced by a new set of routes, primarily the E2, a 24-hour service running from IKEA in Ballymun to Dun Laoghaire via the city centre. The number 11 bus, which currently serves Sandyford, will be diverted to cover the NCR and Phoenix Park, ensuring continued service to this area.
The planned changes also include the following:
Route 4: Diverted from Monkstown at O'Connell Bridge to Heuston Station.
New Routes: Introduction of several new routes, including:
E1: Northwood – DCU – City Centre – Bray – Ballywaltrim
L1: Newtownmountkennedy – Greystones Station – Bray Station
L2: Newcastle – Greystones Station – Bray Station
L3: North Delgany – Greystones Station – Glenbrook Park
L12: Ballywaltrim – Herbert Road – Bray Station
L14: Southern Cross Road – Bray Station – Palermo
L15: Enniskerry Golf Club – Bray Station
L26 & L27: These routes will replace the 46A in South Dublin, running from Kilternan and Leopardstown Valley, respectively, to Cornelscourt and then to Blackrock Station (L26) or Dún Laoghaire (L27). This change is crucial for understanding the impact of the 46A's removal on different parts of the city.
X1 & X2: These express routes will also replace the 46A, providing faster connections between Kilcoole, Greystones, and the city center (X1), and Newcastle, Kilcoole, Greystones, Brides Glen, and the city center (X2).
This information is important for understanding the alternative options available to commuters after the 46A is discontinued.
These new services will replace the following existing routes: 46a, 46e, 63, 63a, 84, 84a, 84x, 143, 144, 145, 155, 184, and 185. These changes, initially scheduled for December 8th, 2024, were intended to streamline services and improve connectivity across the city.
Efficiency Gains: The Rationale Behind the Changes
The new routes under BusConnects are touted as more efficient due to several key factors:
Increased Frequency: The new 'spine' routes, like the E2, are designed to operate at higher frequencies, reducing waiting times for passengers.
Simplified Network: The network redesign aims to simplify routes, making them easier for both locals and tourists to understand.
Orbital Routes: The introduction of orbital routes, such as the N2, allows passengers to travel between suburbs without having to go through the city centre, reducing journey times and congestion.
Improved Connectivity: The new network aims to improve connectivity to key destinations like schools, hospitals, and employment centres.
Enhanced Services: The BusConnects scheme includes increased peak hour capacity, more evening and weekend services, and 24-hour operations on some routes.
Modernised Buses: The revamped routes will feature modernised buses equipped with better amenities for passengers, including improved seating, accessibility for wheelchairs and strollers, and enhanced safety features.
These improvements are expected to enhance the overall efficiency and convenience of Dublin's bus network.
Delay and Uncertainty: Why the Changes Were Postponed
The implementation of the new routes, including the replacement of the 46A, has been postponed to January 2025. The original launch date was December 8th, 2024. The National Transport Authority (NTA) cited several reasons for this delay:
Minimising Disruption During Christmas: The NTA acknowledged that the changes would cause short-term disruption for some passengers, and they deemed it undesirable to implement them in the busy pre-Christmas period.
Resource Allocation for Christmas Services: Delaying Phase 6a of BusConnects allows the NTA to allocate resources to provide additional bus services, including night services, during the Christmas period.
Public Consultation and Feedback: The NTA has been engaging in public consultation to address concerns and gather feedback on the proposed changes. The feedback received during the public consultation likely played a role in the decision to postpone the changes.
Benefits for UCD Students: The delay also benefits students at University College Dublin (UCD) by ensuring continued direct access between Heuston Station and UCD throughout the exam season.
This delay presents an opportunity for the NTA to further refine the BusConnects plan and address public concerns more effectively. By taking the time to analyse the feedback received and make necessary adjustments, the NTA can ensure a smoother transition and increase public acceptance of the new network. While the delay provides a temporary reprieve for the 46A, it also introduces uncertainty about the future of the route.
Public Reaction: A Mix of Opinions
The planned changes to the 46A and the subsequent delay have elicited a mixed response from the public. Some commuters have expressed concerns about the removal of a familiar and reliable service, while others welcome the potential improvements in efficiency and connectivity.
One student, Lucy, highlighted the negative impact of the changes on her commute to UCD and her workplace in Dundrum Town Centre. While acknowledging the increased frequency of some services and the new connectivity to Sandyford, she lamented the loss of popular routes like the 46A. However, other commuters see the changes as a positive step, with more frequent buses and new connections to areas previously not served directly.
On the other hand, some commuters have expressed support for the BusConnects scheme, recognising the need for a more modern and efficient bus network. They believe that the long-term benefits of the redesign will outweigh any short-term inconvenience.
Conclusion: Navigating Change in Dublin's Bus Network
The 46A bus route holds a significant place in Dublin's history, providing reliable service for almost a century. Its proposed replacement under the BusConnects scheme aims to create a more efficient and modern bus network for the city. While the new routes offer potential benefits such as increased frequency, simplified routes, and improved connectivity, the changes also bring concerns about the loss of familiar services and potential disruptions to existing commutes.
The delay in implementing the new routes provides a valuable opportunity for the NTA to address public concerns, refine the BusConnects plan, and ensure a smoother transition for commuters. The diverse public reactions highlight the need for careful consideration and effective communication throughout this process.
Ultimately, the future of the 46A remains uncertain. Whether it will be fully integrated into the new network or eventually phased out, the coming months will be crucial in shaping the future of public transportation in Dublin and determining the fate of this iconic route.
OLD FIRE STATION
ALONE AND EXPOSED [THE OLD DORSET STREET FIRE STATION]
The Dorset Street Fire Station: A Dublin Landmark
The Dorset Street Fire Station, an enduring symbol of Dublin's architectural and social history, stands as a testament to the city's evolving urban landscape. Constructed in 1903 , this iconic building has witnessed significant changes in its surroundings, from its role as a vital community resource to its current state as a solitary figure amidst a planned redevelopment. This blog post delves into the fire station's design, construction, purpose, and history, exploring its importance to the community and the impact of the surrounding urban transformations.
Design and Construction
Designed by the renowned city architect Charles J. McCarthy, the Dorset Street Fire Station was completed in 1903. McCarthy, known for his distinctive architectural style, also designed other fire stations in Dublin, including those on Thomas Street, Tara Street, and Buckingham Street. All of these fire stations still exist, but none are in use as fire stations today. The Dorset Street Fire Station is characterised by its striking red brick Italianate design, featuring a prominent campanile tower and decorative gable. These architectural elements, captured in my photographs, contribute to the building's visual appeal and its prominence in the streetscape, particularly in relation to the nearby Saint Saviour's Church. The building's design reflects the architectural trends of the early 20th century, showcasing McCarthy's skill in blending functionality with aesthetic appeal.
The fire station's construction involved the use of high-quality materials and craftsmanship, evident in the moulded brick and limestone detailing. The tower is surmounted by a pyramidal lead-lined roof with a ball finial and a limestone cornice with concave limestone brackets. Refurbishment works have been carried out on the fire station to ensure its continued use. The building's robust construction has ensured its survival through the decades, despite the significant changes in its surrounding environment.
Purpose and Importance
The primary purpose of the Dorset Street Fire Station was to serve as a base for fire-fighting operations in the north-western area of Dublin. It housed fire-fighting equipment, horses, and personnel, playing a crucial role in protecting the community from fire hazards. The station's strategic location on Dorset Street, a major thoroughfare, allowed for quick response times to emergencies in the surrounding areas.
Beyond its core function, the fire station held significant importance for the local community. It served as a symbol of safety and security, providing reassurance to residents and businesses in the area. The fire station also fostered a sense of community spirit, with firemen engaging in local events and initiatives. For example, the "Home" sculpture project by Leo Higgins, partly made in the Fire Station, stands as a testament to the community's resilience and the fire station's role in addressing social issues.
The Fire Station and the Community
The Dorset Street Fire Station has been more than just a place for fire-fighting; it has been a hub for community engagement and a witness to the area's social history. The "Home" sculpture project by Leo Higgins, mentioned earlier, is a prime example of this community connection. This project, which focused on the impact of drugs in the area, reflects the fire station's involvement in local initiatives and its role in fostering a sense of community identity.
Further evidence of the fire station's connection to the community can be found in the day book for Dorset Street station held by the Dublin Fire Brigade museum. This day book, containing records of daily operations, personnel, and events, provides valuable insights into the station's history and the people who worked there. It serves as a reminder of the human element behind the fire station's function and its importance to the community.
History and Events
The Dorset Street Fire Station commenced operations in 1903 as part of a broader initiative to modernise Dublin's fire services. By 1916, the Dublin Fire Brigade had established a network of modern fire stations across the city, with Dorset Street being one of the key locations. This period saw significant development in the Dublin Fire Brigade, with Chief Fire Officer Captain Purcell playing a key role in its modernisation. Purcell, who travelled to New York to study fire-fighting techniques, introduced innovations such as a turntable ladder and an ambulance service to Dublin. In 1905, the Dublin Fire Brigade had four stations, including Dorset Street, equipped with a variety of fire engines, ladders, and other equipment.
The station's early years coincided with a period of significant social and political change in Dublin, including the 1913 Lockout, the 1916 Easter Rising, and the Irish War of Independence. While specific records of the station's involvement in these events are limited, it undoubtedly played a role in responding to emergencies during those turbulent times. The station's location on Dorset Street, originally known as Drumcondra Lane and part of the ancient Slighe Midh-Luchra , placed it at the heart of these historical events.
The area surrounding the fire station also underwent changes during this period. In 1896, a scheme for St. Joseph's Place involved the construction of 80 cottages and a boys' national school. This development, along with the establishment of the Dublin Fire Brigade Training Centre in 1883 , reflects the ongoing urban development in the area.
The station continued to serve the community for several decades, witnessing the transformation of Dorset Street and its surrounding areas. A photograph from 1972, part of the Michael S. Walker Photographic Collection, captures the fire station's appearance during this period. However, like many of its counterparts, the Dorset Street Fire Station eventually ceased operation as a fire station, possibly in the early 1980s, similar to the Buckingham Street fire station. While the exact reasons for its closure are not explicitly documented in available information, it is likely that factors such as the changing needs of the fire service, the development of new fire stations in other locations, and the evolving urban landscape contributed to this decision.
Newspaper Reports and Stories
Despite its significance, the Dorset Street Fire Station has not been extensively featured in newspaper reports. However, there are a few instances where the station or its vicinity were mentioned in news articles. In 2018, the Dublin Fire Brigade responded to a fire in a building near the corner of Granby Row and Dorset Street. Another report from the same year mentioned a collision between a car and a horse-drawn carriage on Dorset Street. Other incidents reported in the news include a fire that affected every floor of a building on Dorset Street , a woman hospitalised following a collision with a lorry , and a driver who fled the scene after his car hit a cyclist. These reports, while not directly related to the fire station itself, provide glimpses into the events that occurred in its surrounding area.
Demolition of Nearby Flats and Redevelopment
In recent years, the Dorset Street area has undergone significant redevelopment, with the demolition of nearby public housing flats. These flats, built in the 1960s, were found to have poor energy efficiency, sub-standard living conditions, and a site layout that contributed to anti-social behaviour. This demolition marks a stark contrast: the fire station, built in 1903, has endured while the relatively modern flats have been deemed unfit and replaced. The demolition of the flats has left the Dorset Street Fire Station standing alone, marking a significant change in the area's urban fabric. Following the demolition, the area will be landscaped, and existing trees will be retained.
The planned redevelopment of the Dorset Street area, a €65 million project , involves the construction of 163 new housing units, including 7 houses, 11 duplexes, and 145 apartments. The redevelopment aims to create a more inclusive and sustainable urban environment, addressing the issues associated with the previous housing complex. This includes a focus on sustainable energy features, such as the use of ASHP and PV solar panels. The project will be delivered in two phases.
The redevelopment also includes the replacement and enhancement of existing community facilities, including St Saviour's boxing club, karate club, and a childcare community facility. This emphasis on community facilities highlights the social aspect of the redevelopment and its potential benefits for the local area.
Impact of Redevelopment and Future of the Fire Station
The planned redevelopment has a direct impact on the Dorset Street Fire Station. The building, with its recently renovated façade, is to be retained and celebrated as a focal point in the complex. This decision reflects a recognition of the fire station's historical and architectural significance. The redevelopment plans indicate a potential future use of the fire station as a fire museum, further enhancing its role as a community asset. This museum could potentially house exhibits on the history of the Dublin Fire Brigade, fire-fighting equipment, and the stories of the firemen who served at the station. It could also provide educational opportunities for the community and serve as a venue for events and exhibitions.
The redevelopment of the surrounding area presents both challenges and opportunities for the fire station. While the new development will bring increased activity and footfall to the area, it is essential to ensure that the fire station's historical character and integrity are preserved. Careful planning and design are crucial to integrate the fire station into the new urban landscape while respecting its heritage. The proposed non-residential accommodation on the ground floor fronting Dorset Street and the planned café adjacent to the future Fire Museum will need to be carefully integrated to ensure they complement the fire station's historical character.
One concern raised about the redevelopment is that it will not add any new supply to the housing market and that it uses expensive consultants. This highlights the complexities of urban redevelopment and the need to balance various factors, including the preservation of historical buildings, the provision of affordable housing, and the efficient use of resources.
Points of Interest near Dorset Street
While exploring the Dorset Street area, visitors may be interested in discovering other nearby attractions. One such point of interest is the Blessington Street Basin, described as a "secret garden" in Dublin. This hidden gem offers a tranquil escape from the bustling city streets and provides a glimpse into Dublin's history and natural beauty.
Conclusion
The Dorset Street Fire Station stands as a proud symbol of Dublin's architectural and social history. Its distinctive design, its vital role in community safety, and its enduring presence in the face of urban transformation make it a landmark worthy of preservation and celebration. The fire station's history is intertwined with the history of Dorset Street and the surrounding community, reflecting both the challenges and the resilience of the people who have lived and worked in the area.
The planned redevelopment of the surrounding area offers a unique opportunity to breathe new life into this historic building, ensuring that it continues to serve the community for generations to come. By incorporating the fire station into the new development, Dublin City Council is demonstrating its commitment to preserving the city's heritage while creating a vibrant and sustainable future for the Dorset Street area.
UNIVERSITY CAMPUS
HAVE YOU EVER EXPLORED GRANGORMAN CAMPUS [IT IS SERVED BY TWO LUAS TRAM STOPS SO YOU HAVE NO EXCUSE NOT TO]
Grangegorman Campus: Addressing Concerns Regarding Atmosphere and Anti-Social Behaviour
I enjoy visiting the Grangegorman campus of Technological University (TU) Dublin, but I find it lacks a distinct "university campus atmosphere". Having attended various universities and technical colleges, my impression is that Grangegorman feels more akin to a 1960s British polytechnic. This feeling of impersonality is difficult to articulate, but I'll attempt to elaborate. My recent observations have also raised concerns about potential anti-social behaviour in the area, prompting this review. I should mention that I much prefer using the Broadstone LUAS stop over the nearby Dominick Street stop.
Anti-Social Behaviour and Safety Concerns
Reports of anti-social behaviour at the Grangegorman campus and its surrounding areas have emerged. One incident involved a significant Garda presence responding to an altercation. While no injuries were reported, it highlighted safety concerns on and around the campus. The Students’ Union has also expressed concerns about an increase in anti-social behaviour.
The university president has specifically noted an increase in "intimidation and anti-social behaviour" at Broadstone Plaza and the adjacent LUAS stop, leading to a request for increased Garda patrols. This followed an incident of racist abuse directed at students at the Broadstone LUAS stop. While TU Dublin states that no further racist incidents have been reported since February 2023, reports from community forums and social media suggest ongoing concerns about safety at the Broadstone stop, with some describing the area as "sketchy," particularly after dark.
While I found no specific reports of theft near the Broadstone LUAS stop or under the Bus Depot flyover, TU Dublin has experienced security breaches in the past, including a 2021 ransomware attack on the Tallaght campus. Though no data exfiltration was indicated, this incident does raise questions about cybersecurity measures.
TU Dublin provides general safety advice on its Campus Personal Safety page, encouraging awareness, preventative measures, and incident reporting. However, community forums offer more specific insights into concerns surrounding the Broadstone LUAS stop.
Community Concerns and Crime Statistics
Discussions on community forums and social media consistently highlight safety concerns at the Broadstone LUAS stop. The "Broadstone Together" survey mentioned "aggressive begging and intimidation." Other concerns include drug dealing, drug use, assaults, and robberies on the LUAS Red Line (although Broadstone is on the Green Line, this highlights a broader issue).
It's important to contextualise these concerns within Dublin's broader crime statistics. Dublin has the highest crime rate in Ireland. In the last quarter of 2023, theft and related crimes increased by 12%, and robbery, extortion, and car theft rose by 26%. Public order offences decreased by 8%. While the decrease in public order offences is positive, the increases in theft and robbery are worrying. Dublin also has a lower detection rate for some crimes, including theft and sexual offences, compared to other regions, and a higher burglary rate.
Initiatives to Address Safety
Both Dublin City Council and TU Dublin have implemented initiatives to improve safety. Dublin City Council's Local Community Safety Partnership (LCSP) in the North Inner City, including Smithfield/Broadstone, aims to address local safety issues through collaboration between community members, statutory services, and local councillors. The Council has also implemented a "Safe School Zone" initiative near schools in the Dublin Central area. Additionally, security guards have been deployed on Dublin Bus services as a pilot programme to address anti-social behaviour on public transport.
TU Dublin promotes a culture of safety and has a Student Dignity and Respect Policy to address bullying and harassment. Campus security is also present.
The "University Campus Feel"
Returning to my initial point about the lack of a “university campus feel,” I believe several factors contribute. The integration of the campus within the existing urban fabric, while offering benefits, perhaps dilutes the sense of a distinct university environment. The proximity to busy transport hubs, while convenient, can also contribute to a less tranquil atmosphere. The architectural style of some buildings, reminiscent of older polytechnics, further reinforces this impression. It lacks the cohesive, self-contained environment often associated with traditional university campuses.
Conclusion
While there are valid concerns about anti-social behaviour and safety in the vicinity of the Grangegorman campus, particularly around the Broadstone LUAS stop, there were no specific reports of theft in the provided material. The reported anti-social behaviour does, however, warrant vigilance.
The various initiatives implemented by Dublin City Council and TU Dublin are positive steps towards improving safety. However, addressing the underlying feeling of a lack of a “university campus feel” may require a more holistic approach, considering factors such as campus design, integration with the local community, and the overall atmosphere. Staying informed about safety updates and reporting any incidents is crucial. By working together, the community and the university can contribute to a safer and more welcoming environment.
WAS THE MANOR CINEMA
DID YOU EVER NOTICE THE MANOR CINEMA BUILDING [MANOR STREET DUBLIN]
On 10 May 1920, the Manor Cinema opened on Manor Street, Dublin. Managed by George Fagan, the silent films it offered had strong musical accompaniment from a small all-female orchestra that included two of Fagan’s sisters, Kitty and Lily, on cello and piano. The main opening film was Douglas Fairbanks’ He Comes Up Smiling.
The Manor Cinema: A Dublin Landmark
On 10 May 1920, Dublin, Ireland welcomed a new entertainment venue to Manor Street: the Manor Cinema. Established by the Corcoran Brothers but managed by George Fagan, the 630-seat cinema specialised in silent films, offering a captivating experience for audiences eager to immerse themselves in the burgeoning world of motion pictures. The cinema's opening night featured Douglas Fairbanks' "He Comes Up Smiling," a comedic adventure film that undoubtedly delighted the attendees.
Adding to the allure of the silent films was the presence of a small all-female orchestra providing live musical accompaniment. This ensemble included two of the manager's sisters, Kitty and Lily, showcasing their talents on the cello and piano, respectively. Their contribution enriched the cinematic experience, enhancing the emotional impact of the visual storytelling.
The Rise of Cinema and the Role of Women Musicians
The Manor Cinema emerged during a period of rapid growth for the cinema industry in Ireland. As motion pictures gained popularity, picture houses sprung up across Dublin and other cities, transforming the entertainment landscape. This surge in cinema construction created opportunities for women musicians, who found employment as accompanists to silent films.
This era marked a turning point for women in the arts. In the early 20th century, women faced considerable challenges in securing skilled jobs and pursuing professional careers. Societal expectations and limited access to education often restricted their options. However, the rise of cinema provided new avenues for talented women, particularly in the musical field.
The presence of an all-female orchestra at the Manor Cinema reflects this trend. These skilled musicians played a crucial role in enhancing the cinematic experience, adding depth and emotion to the visual narratives. Their contributions helped elevate the status of cinema, demonstrating its potential as a sophisticated and respectable form of entertainment.
Moreover, the Manor Cinema provided a much-needed escape from the social and political turmoil of the time. The year 1920 was a challenging one for the Irish film world, marked by both hopeful developments and setbacks. The violence of the War of Independence cast a shadow over daily life, and cinema offered a temporary refuge, a place where people could come together and share a collective experience.
The evolution of cinema music itself is also intertwined with the story of the Manor Cinema. In the early days of cinema, music was often provided by automatic machines, such as the Hupfeld Phonoliszt-Violina. However, as cinema gained popularity and prestige, the demand for live musical accompaniment grew. This led to the emergence of solo pianists and small orchestras, like the one at the Manor Cinema, which further enriched the cinematic experience.
The Manor Cinema's Legacy
Although the Manor Cinema eventually closed its doors in the late 1950s, its legacy as a Dublin landmark endures. The building, with its traditional design and balcony level, stands as a testament to the city's rich cinematic history, reminding us of a time when silent films captivated audiences and live music filled the air. A notable feature of the building was the glass and iron canopy over the doorway, a common architectural element in early 20th-century cinemas.
The Manor Cinema's story also highlights the important role women played in the early days of cinema. Their musical talents contributed significantly to the development and popularisation of this new form of entertainment, paving the way for future generations of women in the film industry.
The Manor Cinema in Context
The Manor Cinema's story is interwoven with the broader narrative of Dublin's social and cultural history. Its emergence coincided with a period of significant change in Ireland, marked by both political upheaval and the rise of new forms of entertainment. The cinema provided a space for escapism and community building, offering a shared experience that transcended social divisions.
Furthermore, the Manor Cinema's all-female orchestra exemplifies the growing role of women in the arts and entertainment industry. By showcasing their musical talents, these women challenged societal norms and contributed to the evolving perception of cinema as a respectable and sophisticated form of entertainment.
The Manor Cinema's legacy extends beyond its physical presence on Manor Street. It serves as a reminder of the power of film and music to bring people together, to provide solace during challenging times, and to create lasting memories.
RATHFARNHAM VILLAGE
RATHFARNHAM VILLAGE [IS A VERY VERY NICE PLACE]
Rathfarnham Village stands as a captivating testament to the passage of time, seamlessly interweaving history, natural beauty, and modern living. From its origins as a medieval settlement to its present-day status as a thriving suburb, Rathfarnham has steadfastly retained its unique character while embracing progress. The River Dodder, once a source of power for the village's mills, now flows as a symbol of Rathfarnham's enduring connection to its natural heritage.
The village's transformation from a strategic outpost to a desirable suburb reflects its adaptability and resilience. Factors such as its proximity to Dublin city centre, its excellent amenities, and its strong sense of community have contributed to its enduring appeal.
As Rathfarnham continues to evolve, it is poised to remain a vibrant and engaging destination for both residents and visitors. Its rich history, its picturesque setting, and its welcoming atmosphere ensure that Rathfarnham will continue to leave a lasting impression on all who experience its unique charm.
BY MARIA CASTILLO
I'LL BE YOUR WINGS BY MARIA CASTILLO [PAINT-A-BOX STREET ART ON EAST TERENURE ROAD]
There may have been a second version of this as I am almost certain that I saw one outside the Village Inn in Inchicore [now closed].
Maria Castillo's artistic journey began in Mexico City, where she was born and raised. Her parents, both painters, instilled in her a deep passion for art from a young age. This early exposure to the world of colour and creativity nurtured her artistic spirit and laid the foundation for her own creative pursuits.
Beyond her artistic talents, Maria is a skilled athlete and a member of the Mexican national ultimate Frisbee team. This athletic passion speaks to her drive, energy, and ability to excel in diverse fields. In 2016, while creating 'I'll be the wings that keep your heart in the clouds', Maria was dedicated to expanding her horizons by studying English in Dublin. Her ultimate goal was to obtain a scholarship for a master's degree in textile graphic design, highlighting her commitment to artistic growth and exploration.
While specific details about her formal art education are limited in the provided material, her professional background as a graphic designer undoubtedly influences her approach to public art. Her design sensibilities likely contribute to the artwork's visual impact and its ability to resonate with viewers in a public setting.
Maria Castillo's artistic contributions to Dublin extend beyond 'I'll be the wings that keep your heart in the clouds'. Another notable work is 'Deer Dance', also part of the Dublin Canvas programme. Located on the Navan Road/Nephin Road in Dublin 7, this piece draws inspiration from the graceful deer that inhabit Phoenix Park. Through 'Deer Dance', Maria captures the essence of these creatures, adding a touch of natural beauty to the urban landscape.
'I'll be the wings that keep your heart in the clouds': An Overview
The artwork is located on Terenure Road East in Dublin . Installed in 2016 as a commission by Dublin City Council, it has become a local landmark. The artwork's description, "The balloons only have one life and the only way of finding out whether they work is to attempt to go around the world," invites contemplation . It speaks to the fleeting nature of opportunities, the courage to pursue dreams, and the spirit of adventure.
The title , 'I'll be the wings that keep your heart in the clouds', is drawn from the lyrics of Mayday Parade's song "You Be the Anchor That Keeps My Feet on the Ground, I'll Be the Wings That Keep Your Heart in the Clouds" . This intertextual connection adds a layer of depth and meaning to the artwork.
The song lyrics suggest a relationship built on mutual support and a balance between roundedness and the freedom to dream. The anchor symbolises stability and security, while the wings represent aspirations and the pursuit of one's passions. By referencing these lyrics, Maria Castillo's artwork may be interpreted as an exploration of this balance. It encourages viewers to embrace both the anchor and the wings in their own lives, finding harmony between stability and the pursuit of their dreams.
THE OLD COURTHOUSE
THE RATHFARNHAM COURT OF PETTY SESSIONS [THIS BUILDING WAS ERECTED IN 1912]
A History of the Rathfarnham Court of Petty Sessions
The Court of Petty Sessions in Rathfarnham Village, a structure etched with the inscription "COURT OF PETTY SESSIONS ERECTED 1912", stands as a testament to the area's rich history . This article delves into the past of this building, exploring its construction, purpose, and evolution over time.
Methodology
To gather information for this article, a multi-faceted research approach was employed. This included examining historical records and documents from the South Dublin County Libraries , searching newspaper archives for mentions of the Court of Petty Sessions in the early 20th century , and investigating the current status of the building through online resources .
Construction and Early Use
Built in 1912 , the Court of Petty Sessions was strategically positioned on Main Street to serve the local community. This location reflects the intention to make the court accessible to the people it served . The building itself is an example of the Edwardian Arts and Crafts architectural style, common for Irish public buildings in the early twentieth century . Constructed with buff-yellow common canal bricks and rendered with a lime roughcast, the building features solid walls that are approximately 300mm thick and 5.7 meters high .
The Court of Petty Sessions was designed with separate entrances for the public (on the left) and the judge (on the right) . As a forerunner to the modern District Court, the Court of Petty Sessions in Rathfarnham Village played a crucial role in upholding law and order in the area . It served as the venue for hearing minor criminal and civil cases, such as shoplifting, drunken fights, breaking and entering of commercial premises, and other local disputes .
Newspaper Archives and Historical Records
While specific newspaper reports detailing cases or events at the Rathfarnham Court of Petty Sessions between 1912 and 1977 are not readily available, digitised court registers offer a valuable alternative resource . These registers, from various Petty Sessions Courts across Ireland, including Rathfarnham, can be found on the Findmypast.ie website . They include the names of individuals, addresses, dates of court appearances, and their roles in the cases (witness, complainant, or defendant) . This ongoing digitisation project promises to uncover more historical details in the future .
Photographs and Illustrations
A photograph from 1985 captures the Court of Petty Sessions in its later years . This image, housed in the South Dublin County Libraries' archives, shows the building's facade with the "Rathfarnham Athletic Club" sign above the original public entrance . The photograph also provides a glimpse of everyday life in Rathfarnham Village during that period, with a 1981 Opel Kadett estate car parked in the foreground.
Current Status
The Court of Petty Sessions building no longer functions as a court. In 1977, court operations were moved to the former boys' school on Willbrook Road when a new school was opened . However, the building on Main Street continued to serve as a District Court until the boys' school was converted for that purpose . Today, the building houses the Rathfarnham Athletic Club .
Local Historical Societies
For those interested in delving deeper into the history of the Court of Petty Sessions and Rathfarnham Village, the Rathfarnham Historical Society is an invaluable resource . This local society is dedicated to preserving and promoting the area's heritage. They hold regular meetings, lectures, and guided walks that explore various aspects of Rathfarnham's past, including its historical buildings and the stories of its people . You can contact the Rathfarnham Historical Society at The Church of Ireland Parish Centre, Main Street, Rathfarnham, Dublin 14. Their telephone number is 01 494 2665, and you can reach them via email at [email protected] or [email protected]. More information can be found on their website: Rathfarnham Historical Society .
Conclusion
The Court of Petty Sessions building in Rathfarnham Village remains a significant landmark, reflecting the area's history and its commitment to justice. Initially built in 1912 as a venue for minor legal proceedings, the building has adapted to the changing needs of the community. It served as a District Court and now houses the Rathfarnham Athletic Club. This transition from a court of law to a community centre mirrors the broader evolution of Rathfarnham Village itself, from a rural outpost on the edge of Dublin to a bustling suburb with a rich and varied history . The building stands as a reminder of the enduring importance of community spaces and the ways in which they can evolve to serve new purposes while still retaining their historical significance.
POST OFFICE HAS CLOSED
The Bushy Park Bandstand: A History of Neglect and Renewal
Bushy Park, a beloved green space nestled in the heart of Terenure, Dublin, is home to a variety of attractions, including playing fields, walking trails, a picturesque duck pond, a children's playground, an extensive wooded area with walks to the banks of the River Dodder, a woodland pond, and a recently reopened kiosk. Yet, amidst this vibrant landscape, an air of melancholy surrounds the old bandstand. Situated in an idyllic location near the duck pond, the bandstand has fallen into a state of dereliction, its once-proud structure now bearing the scars of time and neglect. This article delves into the history of the Bushy Park bandstand, exploring its origins, the reasons behind its decline, and the plans for its future.
A Bandstand in Bushy Park
Before becoming the public park we know today, the land that now constitutes Bushy Park was part of a larger estate surrounding Bushy Park House. Built in the early eighteenth century, the house was home to several notable figures, including Sir Robert Shaw, a successful financier and politician. Shaw inherited the house through his wife, Maria Wilkinson, and during their time, the estate encompassed a vast area stretching from Rathfarnham to Crumlin. The house eventually passed down through the Shaw family to its final private owner, Mrs Frances Shaw, the grandmother of the renowned Irish playwright and polemicist George Bernard Shaw.
In May 1960, the park officially opened to the public, marking a new chapter in its history. Designed to provide a variety of amenities for the community, the park included two pavilions, 16 hard courts, pitches for Gaelic football, football, and hockey, and, of course, the bandstand. It is believed that the bandstand was likely constructed around the same time as the park's official opening. Built with masonry and painted in a deep green hue, the bandstand boasts a distinctive fan-shaped design that opens out at the base of a slope, creating a natural amphitheatre. This unique setting, with its gentle slopes and surrounding greenery, provided an ideal venue for musical performances and community gatherings, which was indeed its original purpose.
A Period of Decline
Over the years, the bandstand has gradually fallen into disrepair. Despite its aesthetic appeal and attractive location, it has remained largely unused, its stage silent and its seating empty. A number of factors have contributed to this decline. While specific records or reports detailing the reasons for the bandstand's neglect are unavailable, several contributing factors can be identified.
Lack of Maintenance
The bandstand's structure shows signs of deterioration, with peeling paint, weathered surfaces, and an overall air of neglect. This lack of upkeep has likely discouraged its use and contributed to its decline.
Changing Entertainment Landscape
In the past, bandstands served as popular venues for community events and musical performances. However, with the rise of alternative entertainment options and the increasing availability of portable sound systems, the demand for traditional bandstands has diminished.
Secluded Location
The bandstand's location, while aesthetically pleasing, may have also contributed to its underutilisation. Situated in a relatively secluded area of the park, it may not have been easily accessible or visible to all park visitors. This lack of prominence could have further contributed to its decline.
The bandstand's decline reflects a broader shift away from traditional community spaces and towards more individualised forms of entertainment, a trend observed in many parks and public spaces.
A New Chapter: Renovation and Renewal
Despite its years of neglect, the Bushy Park bandstand is not forgotten. In recent years, there has been a renewed interest in its potential, with plans for its renovation and revitalisation taking shape.
In 2019, a striking anamorphic mural was painted on the bandstand by the Dublin art group Subset. This vibrant artwork, titled "Please Stand By", was inspired by the bandstand's long period of disuse and aimed to breathe new life into the neglected structure. The mural, which creates a three-dimensional illusion when viewed from a specific angle, has become a popular attraction in the park, drawing attention to the bandstand and its potential. More than just a visual enhancement, the "Please Stand By" mural symbolises the community's desire to re-engage with this forgotten space and reclaim it as a hub for creativity and expression. It serves as a powerful reminder of the potential for art to revitalise neglected spaces and inspire community engagement.
Beyond the artistic intervention, there are more substantial plans for the bandstand's future. Guided by the 2008 landscape masterplan for Bushy Park, Dublin City Council has commissioned Howley Hayes Architects to develop a design for the renovation of the bandstand. The project, which is being developed in the context of the park's Landscape Masterplan and Management & Development Plan, aims to create a vibrant civic space for the park.
The proposed renovation includes the removal of the existing roof, columns, and rear wall, and the addition of a new roof, backstage area, accessible ramp, lighting, and an enhanced stage element. The refurbishment will use a similar palette of materials to the proposed new tearoom, creating a cohesive and aesthetically pleasing design.
These plans signal a new chapter for the Bushy Park bandstand. The renovation project, combined with the artistic intervention of the "Please Stand By" mural, promises to transform the derelict structure into a vibrant community space, once again fulfilling its original purpose as a venue for events and gatherings.
Stories, Events, and News Reports
While the bandstand itself may not have been the subject of extensive news coverage or local anecdotes, its story is intertwined with the history and development of Bushy Park. The park, with its rich past and diverse amenities, has been featured in various newspaper articles and reports.
One notable news story highlighted the creation of the "Please Stand By" mural, showcasing the artistic transformation of the bandstand and its potential as a canvas for creative expression. Another article explored the history of Bushy Park, mentioning the bandstand as one of its key features and highlighting its aesthetic appeal within the park's landscape. This article also mentions a curious feature near the bandstand known as the "Shell House". This small, ruined structure is decorated inside with shells, mainly cockle shells, collected from various Dublin beaches. Although much of the plaster has fallen away, along with many of the shells, it remains an interesting testament to the park's history and the creativity of its past inhabitants.
While specific stories or anecdotes about the bandstand may be limited, its presence in the park has undoubtedly contributed to the memories and experiences of countless visitors over the years. Whether serving as a backdrop for leisurely walks, a meeting point for friends, or a source of curiosity for those intrigued by its history, the bandstand has played a silent yet significant role in the life of Bushy Park.
Conclusion
The Bushy Park bandstand stands as a testament to the changing times and the evolving needs of a community. Once a symbol of community spirit and entertainment, it fell into neglect, its potential obscured by years of disuse. However, with the recent artistic intervention and the planned renovation project, the bandstand is poised for a revival. Its transformation promises to bring new life to this forgotten corner of Bushy Park, creating a space for community engagement, artistic expression, and the enjoyment of the park's natural beauty.
The bandstand's story is a reminder that even in the face of decline, there is always hope for renewal. With careful planning, community involvement, and a touch of creativity, neglected spaces can be transformed into vibrant assets, enriching the lives of those who use them. The bandstand's journey reflects broader themes of community development, historical preservation, and the importance of public spaces in fostering a sense of belonging and shared identity. Its revitalisation will not only enhance the aesthetic appeal of Bushy Park but also contribute to the well-being and social fabric of the surrounding community.
POST OFFICE HAS CLOSED
WHAT A SHAME - THE RATHFARNHAM VILLAGE POST OFFICE HAS BEEN SOLD [20 DECEMBER 2024]
I first photographed this attractive post office at Christmas in 2021. This time I had difficulty photographing the building because of some rather aggressive drivers who were blocked by a parked van.
The Rathfarnham Post Office: A History and Closure
Rathfarnham village, a charming suburb of Dublin, is known for its historic buildings and picturesque setting. Located within the historical baronies of Rathdown and Uppercross, the village has a rich past intertwined with the development of postal services in the area. Among its notable structures, the post office, with its attractive façade and prominent location on Main Street, has long been a focal point for the community. However, recent visitors to the village may have noticed a change – the post office has ceased trading, and an auctioneer's 'sale agreed' sign now hangs outside. This article delves into the history of this local landmark and explores the reasons behind its closure.
Early Postal Services in Rathfarnham
While pinpointing the exact establishment date of a dedicated post office building in Rathfarnham is challenging with the available historical records, evidence suggests that postal services were operating in the village as far back as the 18th century. Documents from this period reveal the existence of a 'Two Penny Post' system in Dublin, with receiving offices established in various surrounding areas, including Rathfarnham . This system, which operated within a four-mile radius of the city, indicates that Rathfarnham was already integrated into the postal network of the time.
By the 19th century, Rathfarnham, situated in the postal districts of Dublin 14 and 16 , was on the periphery of "the Pale", the area around Dublin under Anglo-Norman control. As a key route for mail coaches travelling to and from Dublin, the village likely had a designated post office to handle mail and deliveries. This is supported by the presence of a "Dublin Milestone" on the Ballyboden Road in Rathfarnham, used to calculate postage distances . These milestones highlight the significance of Rathfarnham in the postal network of the time.
Over the years, Rathfarnham has grown and evolved, with its Main Street becoming a bustling hub of shops, restaurants, pubs, and businesses . Located approximately 6.8km south of Dublin City and 4km northwest of Dundrum , or roughly 7km south of Dublin City Centre , the village enjoys a strategic position within the greater Dublin area. The post office, situated on this vibrant Main Street, played a vital role in connecting the community to the wider world. The building itself has a long history, having traded as the local post office for just over 90 years until its closure in 2023 .
Reasons for Closure
The closure of the Rathfarnham post office can be primarily attributed to the unfortunate passing of the long-serving postmaster, Donal Bermingham . Following his death, An Post, the Irish postal service, made extensive efforts to find a new operator for the post office. They advertised the contract on three separate occasions , but no suitable candidates emerged. An Post also engaged with the Bermingham family, who owned the property, but they ultimately decided not to continue the business . This left An Post with no alternative but to close the office in 2023 and transfer customers to the Nutgrove post office .
While the Rathfarnham closure stems from this specific circumstance, it also reflects a broader trend of post office closures in Ireland. An Post is actively seeking to secure long-term financial sustainability, and closures are part of this strategy . This raises questions about the balance between financial considerations and the needs of local communities. Interestingly, the closure comes at a time when An Post appears to be in a strong financial position. In the first half of 2024, parcel growth reached 18%, with parcels for Irish companies now on par with Amazon . Furthermore, An Post has repaid a €30m government loan, reducing its overall debt from €82m to €39m . This apparent contradiction between financial health and local closures has led many to question the logic of shutting down community post offices .
Community Impact and Future of the Building
The closure of the Rathfarnham post office has undoubtedly had an impact on the local community. Residents now face the inconvenience of travelling to the nearest post office in Nutgrove Shopping Centre, approximately 1.7km away . This is particularly challenging for elderly residents or those without personal transport, as it limits their access to essential services . While there are three post offices based in Rathfarnham – Ballyroan, Nutgrove Shopping Centre, and the now-closed Rathfarnham Village branch – the loss of the village post office is still felt by many.
Local TD John Lahart has been actively involved in addressing the concerns of his constituents. He contacted both the CEO and Deputy CEO of An Post to highlight the significance of losing another post office in the constituency, particularly as Templeogue had also recently experienced a loss of postal services . He emphasised the importance of maintaining accessible postal services for the community .
The building itself has been sold, with a guide price of €510,000 . The new owners' plans for its future use remain unclear. However, given its prime location on Main Street, which is well-served by public transport with numerous Dublin Bus routes and easily accessible from the M50 motorway , it is likely to be redeveloped for commercial purposes . It currently houses a Montessori and a Physiotherapy Clinic , but its long-term future remains to be seen.
Conclusion
The closure of the Rathfarnham post office represents a loss for the village. For over 90 years, it served as a vital community hub, connecting residents to each other and the wider world. Its closure, while primarily driven by the unfortunate passing of the postmaster, also highlights the challenges faced by post offices in adapting to the modern era. The fact that An Post is closing local branches despite its apparent financial health raises questions about its commitment to community services. The impact of the closure is particularly significant for those who rely on the post office for essential services and have limited mobility. While the future of the building remains uncertain, its history as a community landmark will endure.
CLOCK TOWER BUILDING
The Clocktower Building: A Sentinel of Time in Lower Grangegorman
The Clocktower Building, an enduring landmark in Dublin's Lower Grangegorman, stands as a testament to the area's rich and complex history. Originally constructed in 1816 as the Richmond Penitentiary, this iconic structure has witnessed a multitude of transformations throughout its lifetime, serving as a prison, a hospital, and an asylum. This article delves into the fascinating history of the Clocktower Building, exploring its architectural significance, its evolving role within the community, and the stories that have unfolded within its walls.
A Legacy Etched in Stone
Designed by renowned architect Francis Johnston, also known for his work on the General Post Office (GPO) on O'Connell Street and the Lower House in Grangegorman, the Clocktower Building embodies the architectural style prevalent in early 19th-century Ireland. The Lower House, constructed in 1814, served as the Richmond Lunatic Asylum and shares a similar architectural style with the Clocktower Building. The Clocktower Building's most striking feature is its four-sided clock, the oldest flatbed mechanical clock in Britain and Ireland, which continues to chime hourly to this day. The front facade, overlooking Grangegorman Lower, and the western side of the site are all that remain of the original structure.
From Penitentiary to Pandemic Ward: A Multifaceted History
The Clocktower Building's history began in 1816 when it was constructed as the Richmond Penitentiary. However, a fever epidemic that year led to its immediate repurposing as a Fever Hospital. It wasn't until 1820 that the building finally housed prisoners. Despite its intended purpose, the Richmond Penitentiary did not fully live up to its name. Overcrowding prevented the implementation of the "separate system," a key element of penitentiary design that aimed to isolate prisoners in individual cells.
Controversy soon engulfed the penitentiary. Tensions arose between Roman Catholic and Church of Ireland chaplains, with accusations of proselytising and mistreatment of inmates. An inquiry followed, leading to the closure of the Richmond Penitentiary in 1831. This period has been described as "an experiment that failed."
From 1832 to 1834, the building served as a Cholera Hospital during a time of widespread outbreaks in Dublin. In 1836, it reopened as the Grangegorman Female Penitentiary, the first exclusively female penitentiary in the UK and Ireland. This model prison was founded on principles of moral reform advanced by philanthropists John Howard and later the Quaker prison reformer Elizabeth Fry. The penitentiary also served as a transportation depot, holding women and girls for up to three months before their transportation to Tasmania until 1858. In 1874, due to overcrowding elsewhere, the north wing began housing male prisoners again.
Echoes of the Past: Stories Within the Walls
The Clocktower Building's history is intertwined with the broader story of Grangegorman, a neighbourhood with a long and complex past as an institutional quarter. The site has housed a workhouse, a hospital, and a prison, reflecting the social and economic challenges faced by Dublin throughout the centuries. The Clocktower Building has borne witness to countless individual stories, some tragic, others hopeful. During its time as a female penitentiary and transportation depot, many women and girls were incarcerated for crimes ranging from petty theft to infanticide, drunkenness, larceny, and "disturbing the peace." One particularly poignant case is that of Elizabeth Markey, a 17-year-old girl who was committed to the penitentiary for being "destitute" and died on the same day. These stories offer a glimpse into the harsh realities faced by women in 19th-century Ireland, a period marked by poverty, famine, and emigration. These broader historical events likely had a profound impact on the lives of those who found themselves within the walls of the Clocktower Building.
The building's association with the Richmond Lunatic Asylum, later known as St. Brendan's Psychiatric Hospital, adds another layer to its complex history. The asylum, which opened in 1814, was one of the first public psychiatric hospitals in the country, offering a more humane approach to mental health care than was previously available. It championed the "moral management" of patients, which involved proper diet, exercise, social interaction, and "occupation" or work. However, the asylum also had its challenges, with patients often subjected to overcrowding and limited resources. At its peak, the asylum housed 2,375 inpatients in 1896, a number that gradually declined over the years.
In 2014, the "Personal Effects" exhibition was held in the Long Stores behind the Clocktower Building. This exhibition showcased personal belongings found in the old asylum, offering a poignant glimpse into the lives of the patients who resided there. Items included birth certificates, travel visas, letters, photographs, cutlery, combs, and diaries, each holding a story and a connection to the past.
A New Chapter: The Clocktower Building Today
In the late 20th century, the Clocktower Building fell into a state of disrepair. However, recent years have seen a renewed effort to preserve and repurpose this historic structure. In 2014, stabilisation works and partial refurbishment were carried out to prevent further deterioration and bring the building back into use. The refurbished sections now serve as administration offices for Technological University Dublin (TU Dublin), including the office of TU Dublin's president.
The Clocktower Building occupies a total area of 3650m2. As of October 2021, 1750m2 were occupied, while 1900m2 remained unoccupied. Key adjacencies to the building include the future Workday site and Broadstone Gate to the east, the East Quad to the south, and An Croí to the west. The East Quad site, located to the east of Grangegorman Lower and immediately south of the Clocktower Building, presented archaeological risks due to the potential for subsurface remains associated with demolished wings of the Richmond Penitentiary and ancillary structures.
In 2016, further works were carried out under the supervision of the Dublin City Council (DCC) Architects Department. These included re-pointing lime mortar, installing ramps, steps, and doors, as well as additional service-related works. In 2023, a grant under the Historical Structures Fund was secured for the refurbishment of 29 windows and 3 doors on the engineering block.
The Grangegorman Masterplan envisions the Clocktower Building as a key component of the new TU Dublin campus, providing academic space for the College of Engineering & Built Environment. A green area, the Cultural Garden, has been created opposite the building, offering a space for reflection and commemoration.
The Clocktower Building is not the only structure undergoing transformation in Grangegorman. The development of the TU Dublin campus has seen the completion of several projects, including the East Quad, which opened in late 2020, and the Central Quad, which is currently accommodating staff from various locations across the city. Three existing buildings – Lower House, Rathdown House, and Park House – have also been significantly upgraded and refurbished. In 2015, the Greenway Hub, providing research laboratories and start-up business spaces, was completed, along with four sports pitches for university use. The Phoenix Centre, a state-of-the-art HSE mental health facility, replaced the old psychiatric hospital in 2014, ensuring the continuation of mental health services in the area.
Grangegorman Histories Project
The Grangegorman Histories project is an initiative dedicated to uncovering and documenting the history of the Grangegorman site and its surrounding communities. This project aims to shed light on the site's complex past, which includes its time as a workhouse, a hospital, and a prison. Through a diverse programme of events, publications, and learning opportunities, Grangegorman Histories provides valuable resources and insights into the lives of those who lived and worked in Grangegorman. The project has undertaken a comprehensive review of all published and unpublished material relating to Grangegorman since 1770, creating a rich repository of historical information.
Conclusion: A Symbol of Resilience and Renewal
The Clocktower Building stands as a powerful symbol of resilience and renewal in Lower Grangegorman. Its journey from penitentiary to pandemic ward to academic building reflects the changing needs and priorities of the community it serves. The building's varied uses also mirror evolving social attitudes towards crime and punishment, public health, and mental illness. Its initial role as a penitentiary, with its focus on moral reform, reflects the social anxieties of the time and the belief in rehabilitation through isolation and discipline. Its subsequent use as a hospital during various epidemics highlights the challenges of public health in a rapidly growing city. Finally, its association with the Richmond Lunatic Asylum and the later provision of mental health services in the area speaks to the evolving understanding and treatment of mental illness.
The Clocktower Building's architectural significance lies not only in its design by renowned architect Francis Johnston but also in its enduring presence as a landmark in Lower Grangegorman. The building has witnessed significant historical events and social changes, and its story is deeply intertwined with the history of Dublin itself. As TU Dublin continues to develop its Grangegorman campus, the Clocktower Building will undoubtedly play a central role in shaping the future of this historic neighbourhood, serving as a reminder of its past while contributing to its vibrant present and future.
ANNE DEVLIN SCULPTURE
ANNE DEVLIN SCULPTURE [RATHFARNHAM VILLAGE DECEMBER 2024]
Anne Devlin: A Symbol of Resilience in Rathfarnham
On 25th February 2004, South Dublin County Council unveiled a statue of Anne Devlin, a key figure in the 1803 Rebellion, at the entrance to Rathfarnham Village. Positioned facing the Dublin Mountains, the statue portrays Devlin looking towards the horizon, a symbol of hope and the future.
Who was Anne Devlin?
Anne Devlin (c. 1780 – 1851) was born in Cronebeg, near Aughrim, County Wicklow. A cousin of United Irishmen leaders Michael Dwyer and Hugh Vesty Byrne, she became deeply involved in the republican movement. Despite coming from a relatively comfortable farming background, she dedicated herself to the cause of Irish freedom.
Devlin's Role in the 1803 Rebellion
Following the failed 1798 Rebellion, Robert Emmet, a prominent leader of the United Irishmen, sought to reignite the fight for independence. He established a headquarters in a house on Butterfield Lane, Rathfarnham (then known as Butterfield Avenue), then a rural area, to prepare for a renewed uprising in 1803. Anne Devlin, though not directly Emmet's housekeeper as is commonly believed, was indeed a very close associate, moving to this house with Emmet and his close allies to act as a housekeeper, a common way for revolutionaries to mask their activities.
Devlin's role was far more crucial than that of a domestic servant. She acted as a trusted confidante and messenger, carrying vital communications between Emmet and other rebels. Her unwavering loyalty and courage were essential to the planning of the rebellion.
The Aftermath of the Rebellion
The 1803 Rebellion, launched on 23rd July, was a short-lived and ultimately unsuccessful attempt to overthrow British rule. Emmet was captured, tried for treason, and publicly executed on 20th September 1803 outside St. Catherine's Church on Thomas Street, Dublin.
Anne Devlin was arrested shortly after the rising and imprisoned in Kilmainham Gaol. She endured brutal interrogations, including torture, and was offered substantial sums of money to betray her comrades. Despite the horrific conditions of her confinement, which included solitary confinement and psychological torment, Devlin refused to divulge any information. She remained steadfast in her loyalty, earning her a reputation as a symbol of resilience and unwavering dedication to the cause of Irish freedom.
On the day of Emmet's execution, Devlin was subjected to a particularly cruel act of psychological torture. She was taken from her cell and brought in a carriage to Dublin Castle for questioning. On the way, the carriage was deliberately stopped outside St. Catherine's Church, where Emmet had been executed, and Anne was forced to witness the aftermath, including the gruesome sight of animals licking up Emmet's blood from the paving stones. This horrific experience is documented in historical accounts and highlights the lengths to which the authorities went to break her spirit.
Life After Imprisonment and Legacy
Devlin was eventually released from Kilmainham Gaol in 1806, possibly through the intervention of Dr. William Trevor, the prison doctor, who was sympathetic to her plight. However, she was a broken woman, physically and emotionally scarred by her experiences. She married William Campbell in 1811 and they had two known children, but she lived out her remaining years in poverty, working as a washerwoman in the Liberties area of Dublin. She died in 1851 and was initially buried in a pauper's grave. Thanks to the efforts of historian Dr. Richard Robert Madden, who recognised her significance, her remains were later reinterred in Glasnevin Cemetery, a more fitting resting place for such a significant figure.
The Rathfarnham Statue: A Contested Memorial
The decision to erect a statue of Anne Devlin in Rathfarnham, rather than one of Robert Emmet, has been a subject of some debate. Emmet is undoubtedly a more widely recognised figure, and his connection to the area is well-established. However, the choice to honour Devlin highlights her crucial role in the 1803 Rebellion and recognises her extraordinary courage and sacrifice. It also serves as a reminder of the countless unsung heroes, particularly women, who played vital roles in Ireland's struggle for independence.
The Statue's Location and Significance
The statue's location at the entrance to Rathfarnham Village is significant. It stands near the site of Emmet's former headquarters on Butterfield Lane, marking the area's connection to this pivotal moment in Irish history. The statue is a popular point of interest for locals and visitors alike and provides an opportunity for reflection on the events of 1803 and the individuals who risked everything for their beliefs.
The Statue's Composition and Condition
While commonly referred to as bronze, the Anne Devlin statue is actually composed of fibreglass with a bronze resin finish. This technique creates the appearance of bronze at a lower cost and weight. This choice of material likely explains the visible wear and tear observed on the statue, as fibreglass is less durable than solid bronze. The statue, now over two decades old, has been exposed to the elements and shows signs of weathering, including fading of the bronze finish. It is also worth noting that the statue has been vandalised in the past and this has caused further damage to the sculpture.
Conclusion
The Anne Devlin statue in Rathfarnham is a powerful tribute to a remarkable woman whose courage and dedication continue to inspire. It stands as a testament to the enduring spirit of resistance and the pursuit of freedom, reminding us of the sacrifices made by those who fought for a better future for Ireland. The statue's presence in Rathfarnham enriches the village's historical landscape and provides a focal point for remembering a crucial period in Irish history.
MONUMENT TO MISSING PERSONS
ANN MULROONEY'S BRONZE MONUMENT TO MISSING PERSONS [KILKENNY CASTLE PARK]
Ann Mulrooney's "Monument To Missing Persons" in Kilkenny Castle Park
Kilkenny Castle Park, a place steeped in history and natural beauty, is home to a poignant sculpture entitled "Monument To Missing Persons". Created by the acclaimed Irish artist Ann Mulrooney, this artwork serves as a powerful reminder of those who have disappeared and the enduring impact their absence has on loved ones. This article delves into the sculpture itself, the artist's background, the significance of its location within Kilkenny Castle Park, and explores the "CONNECTED Kilkenny Sculpture Trail". It also examines the sculpture's relevance within the context of missing person cases and highlights any related stories, events, or media reports.
The "Monument To Missing Persons"
The "Monument To Missing Persons" is a deeply moving sculpture that captures the profound sense of loss and longing associated with the disappearance of a loved one. The sculpture, designed by Ann Mulrooney , consists of multiple hands cast in bronze and arranged on a stone plinth. These life-sized hands reach upwards, symbolising the missing persons reaching out for help or their loved ones reaching out to them. This powerful imagery evokes a sense of both despair and hope, acknowledging the pain of absence while also clinging to the possibility of reunion.
Each hand in the sculpture was cast from the actual hand of a relative of a missing person. This intimate connection to real individuals imbues the artwork with a profound sense of humanity and collective grief. The monument was commissioned by the Jo Jo Dullard Memorial Trust and funded by the National Millennium Committee Project. It was unveiled in 2002 by President Mary Mc Aleese.
The sculpture is located in a serene area of Kilkenny Castle Park, providing a space for quiet reflection and remembrance. The tranquil surroundings and the poignant symbolism of the outstretched hands create an atmosphere conducive to contemplation and healing. An inscription on the stone at the monument reads: "This sculpture and area of reflection is dedicated to all missing persons." This dedication broadens the sculpture's scope, acknowledging the widespread impact of disappearances and offering solace to all those affected.
Jo Jo Dullard
The "Monument To Missing Persons" holds particular significance for the family and friends of Jo Jo Dullard, a 21-year-old woman from Callan who went missing in November 1995. Jo Jo was last seen in Moone, County Kildare, while travelling home from Dublin. Her disappearance remains a mystery, and in 2020, the case was upgraded to a murder inquiry.
The Jo Jo Dullard Memorial Trust played a crucial role in commissioning the monument, ensuring that Jo Jo's story and the plight of other missing persons are not forgotten. Every year on the anniversary of her disappearance, a memorial ceremony is held at the monument. This event brings together family, friends, and the community to remember Jo Jo and other missing persons. The monument serves as a focal point for their grief and their hope for answers.
Ann Mulrooney: Sculptor and Cultural Leader
Ann Mulrooney is an Irish artist with a diverse background in sculpture and cultural management.
Education: BA in Fine Art, Crawford College of Art, Cork
MA in Sculpture, Royal College of Art, London
Artistic Style: Mulrooney's style is characterized by her use of diverse materials, often incorporating metalwork, and her focus on creating public art that engages with social and personal themes.
Major Works: "Monument To Missing Persons" in Kilkenny Castle Park.
Her artistic journey began with a focus on metalwork, having worked in a foundry in the UK. This experience likely influenced her sculptural style and her ability to work with different materials. As she explains in an interview, "I trained as a sculptor originally in the Crawford in Cork and I went and worked as a metal worker in a foundry in the UK for a couple of years."
Mulrooney's work has been exhibited widely in the UK and Ireland, and her pieces are held in numerous public and private collections. While she initially trained as a sculptor, she transitioned into cultural management, taking on roles such as running the National Design and Craft Gallery and serving as the CEO and Artistic Director of VISUAL Centre for Contemporary Art in Carlow. In these positions, she curated exhibitions and developed cross-disciplinary artistic programmes, often exploring the intersection of art, science, and technology.
Mulrooney's artistic vision and leadership have been recognised through her appointment to the Golden Fleece Award Advisory Panel, where she contributes to the selection process for this prestigious award in the visual and applied arts. Her involvement in this panel highlights her expertise and influence within the Irish arts community.
In addition to her work as a sculptor and cultural leader, Mulrooney has also been involved with Puffin Rock Habitats, where she has applied her creative skills and experience to projects related to environmental conservation and education. This demonstrates her commitment to using art and creativity to address important social and environmental issues.
Kilkenny Castle Park: A Place of History and Remembrance
Kilkenny Castle Park provides a historically rich and symbolically resonant setting for the "Monument To Missing Persons". The castle itself has witnessed centuries of Irish history, dating back to its construction in 1260. Originally built to control a fording point of the River Nore, it has served as a strategic stronghold and a symbol of power throughout its existence.
The castle and its surrounding parkland have undergone various transformations over the years, reflecting the changing needs and tastes of its occupants. Today, Kilkenny Castle is a popular tourist destination and a cherished public space, managed by the Office of Public Works. The park's tranquil atmosphere and its association with both historical events and personal memories make it a fitting location for a monument dedicated to those who have vanished.
The placement of the "Monument To Missing Persons" within this historic landscape adds another layer of meaning to the artwork. It connects the personal tragedies of missing persons to the broader historical narrative of Kilkenny Castle and the surrounding area. The park becomes a space where individual stories of loss intersect with the collective memory of the community.
The park also serves as a place to remember not only missing persons but also historical events and figures. This theme of remembrance is woven into the fabric of Kilkenny Castle Park, with its monuments, gardens, and historical buildings all serving as reminders of the past. The "Monument To Missing Persons" adds another dimension to this theme, highlighting the ongoing impact of loss and the importance of keeping memories alive.
Events in Kilkenny Castle Park
Kilkenny Castle Park is not only a place of historical significance and artistic expression but also a vibrant hub for events and gatherings. The Parade Tower, for example, serves as a conference venue, hosting meetings and events for various organisations and businesses.
The park also plays a role in academic life, as ceremonies for conferring awards and degrees on the graduates of the Kilkenny Campus of the National University of Ireland, Maynooth, have been held at the castle since 2002. These events bring a sense of celebration and achievement to the park, adding to its diverse range of functions.
The CONNECTED Kilkenny Sculpture Trails
While the name "CONNECTED Kilkenny Sculpture Trail" may cause some confusion, it actually refers to two distinct art initiatives in Kilkenny.
Firstly, there is the "Kilkenny Catwalk", a trail featuring 21 cat sculptures decorated by Irish artists and displayed in public spaces throughout Kilkenny City. This trail aims to engage the community with art, promote local businesses, and attract visitors to the city.
Secondly, there is a sculpture trail simply called "CONNECTED", an initiative by Design & Crafts Council Ireland, Kilkenny County Council, Kilkenny Arts Festival, Kilkenny Civic Trust and the OPW. This trail began at the National Design & Craft Gallery and led through the city's key cultural and historic sites along Kilkenny's Medieval Mile. It aimed to highlight the craftsmanship involved in developing large and small-scale works suited to the outdoors and to encourage people to reconnect with culture and craft outside of a gallery setting.
Although the "Monument To Missing Persons" may not be officially part of these trails, its presence in Kilkenny Castle Park contributes to the city's rich artistic landscape. It encourages visitors to explore the park and engage with public art that reflects on important social and personal themes.
Stories and Media Reports
The "Monument To Missing Persons" has been featured in news reports and events related to missing person cases, particularly the disappearance of Jo Jo Dullard. News articles about the annual memorial ceremonies often highlight the importance of keeping the memory of missing persons alive and the ongoing search for information about their whereabouts. One article states, "'It's important to keep Jo Jo's memory alive in our hearts and our prayers,' said Father Willie Purcell who with the Kilkenny Gospel choir will lead the walk and service for Jo Jo." This quote emphasises the role of the monument in providing a space for collective remembrance and support.
The "Monument To Missing Persons" provides a tangible symbol of this enduring hope and a place where the community can come together to offer support and solidarity.
Conclusion
Ann Mulrooney's "Monument To Missing Persons" is a powerful and moving artwork that serves as a focal point for remembrance and reflection in Kilkenny Castle Park. The sculpture's location within this historic landscape adds layers of meaning, connecting individual stories of loss to the broader historical narrative of the area and the wider context of missing person cases in Ireland. The artist's background in both sculpture and cultural management has informed her ability to create a work that resonates with both personal and collective experiences. The sculpture's role in memorial events and media reports related to missing person cases further highlights its significance as a symbol of remembrance and hope. The "Monument To Missing Persons" stands as a testament to the power of public art to address social issues, offer solace to those affected by loss, and foster a sense of community.
O'CONNELL STREET
ON THE 8 OF DECEMBER I WALKED ALONG O'CONNELL STREET [AND WAS SURPRISED TO SEE A GROUP OF SYRIANS CELEBRATING THE FALL OF THE ASSAD REGIME]
Today, the 8th December, I walked along O'Connell Street and, using my iPhone 12 Pro Max, photographed at random and until I encountered a number of very happy Syrians had not realised what had happened overnight.
O'Connell Street, and particularly the General Post Office (GPO), hold immense significance in the historical and contemporary landscape of protest and political demonstration in Ireland.
Historic Importance
1916 Easter Rising: The GPO served as the headquarters of the 1916 Easter Rising, a pivotal moment in Irish history and the fight for independence from British rule. The Rising, though ultimately unsuccessful, ignited the flame of Irish nationalism and paved the way for the establishment of the Irish Republic.
Focal Point for Demonstrations: O'Connell Street's wide thoroughfare and central location have made it a natural gathering place for large-scale protests and demonstrations throughout Irish history. Its association with the GPO further amplifies its symbolism as a place where people can voice their dissent and demand change.
Current Importance
Continuing Tradition of Protest: O'Connell Street and the GPO continue to be a focal point for protests and marches in contemporary Ireland. Demonstrations on various social, political, and economic issues frequently either begin or culminate at this iconic location.
Symbol of Solidarity: The recent gathering of Syrians celebrating the fall of the Assad regime underscores the enduring significance of O'Connell Street and the GPO as a place where people can express solidarity with global movements and struggles for freedom and justice.
The 8th of December holds significant importance in Ireland for a couple of intertwined reasons:
Religious Significance:
Feast of the Immaculate Conception: This is a holy day of obligation for Catholics in Ireland, commemorating the belief in the Immaculate Conception of the Virgin Mary. Traditionally, it marked the beginning of the Christmas season in Ireland, with many families attending Mass and putting up their Christmas decorations on this day.
Cultural Significance:
"Country Shopping Day": Historically, December 8th was a major shopping day in Ireland, particularly in larger cities and towns. As it was a holy day and often a day off work, people from rural areas would travel to Dublin, Cork, Galway, or their nearest large town to do their Christmas shopping. This tradition earned the day the nickname "Culchie Shopping Day" (culchie being a slang term for someone from rural Ireland).
Decline of the Tradition:
While December 8th still holds religious significance, its importance as a major shopping day has diminished in recent years due to several factors:
Changing Work Patterns: Fewer people have a day off on December 8th, making it difficult to travel for shopping.
Rise of Online Shopping: The convenience of online shopping has reduced the need to travel to larger towns for gifts.
Extended Christmas Shopping Season: The Christmas shopping season now starts much earlier, spreading out the shopping crowds.
Despite the decline of the "Country Shopping Day" tradition, December 8th remains an important date in Ireland, marking the start of the Christmas season for many and serving as a reminder of past traditions.
CHOOSING THE RIGHT CAMERA
DISCUSSING THE SONY A1 II, THE LEICA Q3 43, LEICA Q3 AND THE M11
DISCUSSING THE SONY A1 II, THE LEICA Q3 43, LEICA Q3 AND THE M11
Street photography demands a unique blend of high image quality, responsiveness, and portability. As a street photographer, you need a camera that can capture fleeting moments with precision and clarity, while being discreet and easy to handle. This report compares four high-end cameras—the Sony A1 II, Leica Q3 43, Leica Q3, and Leica M11—to help you determine which best suits your needs. The evaluation focuses on key factors for street photography, including high resolution, quick response time, accurate focus and composition, and GPS functionality via an iPhone app.
Sony A1 II
The Sony A1 II is a mirrorless camera that boasts impressive specifications. It features a 50MP full-frame stacked CMOS sensor, capable of capturing incredibly detailed images. This high resolution is particularly beneficial for street photography as it allows for extensive cropping and creating large prints without sacrificing image quality. The camera's autofocus system is one of the best on the market, with AI subject-detection capabilities that can track humans, animals, and even insects with remarkable accuracy. This ensures that your subjects are always in focus, even in dynamic street scenes.
The A1 II also incorporates a dedicated AI processing unit, first seen in the a7R V and a9 III, which further enhances its autofocus capabilities. This unit enables refined subject recognition and tracking, allowing the camera to quickly and accurately identify and focus on subjects in a variety of situations. This is invaluable for street photography, where capturing candid moments often requires split-second reactions.
In terms of connectivity, the A1 II offers a range of options, including Wi-Fi, USB-C, and Ethernet. This is relevant to your need for GPS functionality, as the camera can acquire location data via a connected smartphone using the Imaging Edge Mobile app. Additionally, the A1 II provides various shutter speed options, with a mechanical shutter range of 1/8000 to 30 seconds and an electronic shutter range of 1/32000 to 30 seconds. This flexibility allows you to precisely control exposure and motion blur in diverse street photography scenarios.
Pros:
● High Resolution: The 50MP sensor delivers incredibly detailed images, allowing for extensive cropping and large prints without compromising image quality1. This is crucial for street photography, where you may need to crop in on a subject or print large images to showcase the details of a scene.
● Fast Response Time: The A1 II can shoot continuously at up to 30fps, ensuring you capture those fleeting moments that are so characteristic of street photography1. This speed allows you to capture a sequence of images and select the perfect shot with the ideal composition and expression.
● Accurate Focus: The advanced AI-powered autofocus system with real-time tracking and subject recognition ensures sharp images, even when subjects are moving unpredictably1. This is essential for street photography, where subjects are often in motion and capturing the decisive moment requires precise focus.
● Image Stabilisation: The in-body image stabilisation system helps capture sharp images even when shooting handheld in low light, which is often necessary in street photography3. This allows you to use slower shutter speeds without introducing camera shake, expanding your creative possibilities in low-light conditions.
Cons:
● Price: The A1 II is a significant investment, potentially exceeding the budget of some street photographers1.
● Size and Weight: While not the largest camera, the A1 II might be less discreet for street photography compared to smaller, more compact options1.
Leica Q3 43
Moving on to the Leica Q3 43, this fixed-lens, full-frame camera offers a unique combination of image quality and portability. Its 43mm Summilux lens is renowned for its sharpness and beautiful rendering, making it ideal for capturing the essence of street scenes with exceptional clarity and detail. The Q3 43 also features a 60MP sensor, providing exceptional resolution and detail.
The Q3 43 boasts a state-of-the-art hybrid autofocus system that combines contrast autofocus with a depth from defocus (DFD) system and fast phase-detection autofocus. This ensures high speed and precision when focusing and tracking subjects, which is crucial for capturing spontaneous moments in street photography. The camera's intelligent subject recognition further enhances its autofocus performance, helping you achieve sharp focus even in challenging situations.
Pros:
● Image Quality: The Q3 43's lens and sensor combination delivers exceptional image quality with rich detail and accurate colors. This allows you to capture the nuances of street scenes with stunning clarity and fidelity.
● High Resolution: The 60MP sensor provides ample resolution for cropping and large prints, giving you the flexibility to refine your compositions and showcase your work in various formats.
● Compact Size: The Q3 43 is smaller and lighter than the Sony A1 II, making it more discreet for street photography, allowing you to blend into the environment and capture candid moments without drawing attention to yourself.
Cons:
● Fixed Lens: The 43mm fixed lens, while excellent in its own right, limits your framing options compared to the Sony A1 II with interchangeable lenses8. This might require you to be more creative with your positioning and composition to achieve the desired framing.
● Price: The Leica Q3 43 is slightly more expensive than the Sony A1 II, making it a considerable investment for street photographers.
Leica Q3
The Leica Q3 shares many similarities with the Q3 43, including the 60MP sensor and the overall design. However, it features a 28mm Summilux lens, providing a wider field of view that can be advantageous for street photography. This wider perspective allows you to capture more of the environment and context surrounding your subjects, adding depth and storytelling to your images.
One notable feature of the Q3 is its triple resolution technology, which allows you to choose between different resolutions (60MP, 36MP, 18MP) for both DNG raw files and JPEGs. This flexibility is beneficial for street photography as it allows you to manage file sizes and storage space while maintaining excellent image quality. You can opt for the full 60MP resolution when you need maximum detail or choose a lower resolution for faster shooting and smaller files.
The Q3 also features a lens filter thread (E49), which allows you to use various filters to enhance your images. For example, you can use a polarising filter to reduce reflections or a neutral density filter to control exposure in bright conditions. This expands your creative options and allows you to tailor your images to your artistic vision.
Pros:
● Wider Field of View: The 28mm lens is well-suited for capturing environmental portraits and wider street scenes, providing a broader perspective and incorporating more context into your images.
● High Resolution: The 60MP sensor provides exceptional resolution and detail, allowing for detailed captures of street scenes and subjects.
Cons:
● Fixed Lens: The 28mm fixed lens, while offering a wider perspective, still limits your framing options compared to the Sony A1 II with interchangeable lenses.
● Price: The Leica Q3 is a significant investment, potentially exceeding the budget of some street photographers.
Leica M11
Finally, we come to the Leica M11, a rangefinder camera that represents a different approach to street photography. It features a 60MP sensor and a manual focus system, requiring a more deliberate and hands-on approach to photography. This can be appealing to street photographers who prefer to have complete control over their focus and composition.
While the M11 lacks autofocus, it offers focus peaking as a focus assist function. This feature highlights the edges of in-focus areas in the electronic viewfinder or on the LCD screen, aiding manual focusing. This can be particularly useful for street photography when zone focusing, where you pre-focus the lens to a specific distance and rely on depth of field to capture subjects within that zone.
The M11 also boasts exceptional image quality, especially when paired with Leica M lenses. These lenses are renowned for their sharpness, contrast, and unique rendering, allowing you to capture the character of street scenes with remarkable clarity and artistry.
Pros:
● Image Quality: The M11, paired with Leica M lenses, is capable of producing exceptional image quality with a distinctive character.
● High Resolution: The 60MP sensor provides ample resolution for cropping and large prints, allowing you to capture the finest details of your subjects and surroundings.
● Compact Size: The M11 is the smallest and lightest camera among the four, making it ideal for discreet street photography. Its compact form factor allows you to move around unnoticed and capture candid moments without disrupting the natural flow of the street.
Cons:
● Manual Focus: The manual focus system, while offering precise control, requires practice and may not be suitable for all street photographers, especially those who prefer a faster, more spontaneous approach.
● Price: The M11 is the most expensive camera among the four, and Leica M lenses are also costly, making it a significant investment for street photographers.
● No Image Stabilisation: The M11 lacks built-in image stabilisation, which can be a drawback for street photographers who often shoot handheld in low-light conditions.
GPS Functionality
All four cameras—the Sony A1 II, Leica Q3 43, Leica Q3, and Leica M11—offer GPS functionality via an iPhone app. The Sony A1 II uses the Imaging Edge Mobile app, while the Leica cameras utilise the Leica FOTOS app. These apps allow you to connect your camera to your iPhone via Bluetooth and embed location data into your images. This is a valuable feature for street photographers who want to record the exact location where their photos were taken, adding another layer of context and information to their work.
Comparison Table
Conclusion
Choosing the best camera for street photography depends on your individual needs and preferences. The Sony A1 II offers a compelling combination of high resolution, speed, and advanced autofocus, making it a versatile tool for capturing decisive moments. Its AI-powered autofocus system excels at tracking subjects and ensuring sharp focus, even in dynamic street scenes. However, its price and size might be deterrents for some.
The Leica Q3 43 and Q3 provide exceptional image quality in a more compact package. Their fixed lenses, while limiting versatility, offer outstanding optical performance and contribute to the cameras' discreet nature, which is ideal for street photography. The Q3's triple resolution technology adds another layer of flexibility, allowing you to choose the resolution that best suits your needs.
The Leica M11 represents a more traditional approach with its rangefinder focusing and manual controls. This camera appeals to those who prefer a more deliberate shooting experience and value the exceptional image quality that Leica M lenses provide. However, its manual focus system and lack of image stabilisation might not be ideal for all street photographers.
Ultimately, the best camera for you will depend on your priorities and budget. For photographers who prioritise speed and autofocus, the Sony A1 II is the best choice. For those who value compactness and image quality above all else, the Leica Q3 is a strong contender. And for those who prefer a more traditional rangefinder experience and are willing to invest in the system, the Leica M11 is a unique and rewarding option.
GRAND CANAL SQUARE
Grand Canal Square is a striking public space in the heart of Dublin's revitalised Docklands. Situated on the south side of the River Liffey, it forms a key part of the Grand Canal Dock area, a vibrant hub for business, technology, and living. Once a busy commercial port, the Docklands have undergone a dramatic transformation in recent decades, and Grand Canal Square stands as a testament to this urban regeneration.
Design and Development
The square was designed by Martha Schwartz Partners, a renowned landscape architecture firm known for its innovative and contemporary approach. Their design for Grand Canal Square aimed to create a dynamic and modern space that complements the surrounding architecture while referencing the area's industrial heritage.
The square's development was an integral part of the overall Grand Canal Dock masterplan, which sought to create a mixed-use district with residential, commercial, and cultural offerings. Grand Canal Square, with its central location and distinctive design, plays a crucial role in attracting people to the area and fostering a sense of community.
Key Features
Red Resin Surface: One of the most striking features of the square is its vibrant red resin surface. This bold and unusual choice creates a contemporary aesthetic that sets it apart from traditional public spaces. The surface is punctuated by large granite blocks, adding texture and visual interest.
Bespoke Lighting: The lighting design, by Speirs + Major, is a key element of the square's appeal. Bespoke light fittings integrated into the granite blocks emit a soft, diffused light, creating a welcoming and dramatic atmosphere after dark.
Accessibility: The square is designed to be accessible and inclusive, with gently sloping pathways and ample seating, making it a welcoming space for everyone.
Grand Canal Dock: The square sits on the edge of the Grand Canal Dock itself, a large expanse of water that provides a stunning backdrop to the space. The dock is a popular spot for watersports and boat tours, adding to the area's vibrancy.
Bord Gáis Energy Theatre: This prominent landmark is located on the eastern edge of the square. As one of Dublin's leading venues for theatre, musicals, and concerts, it brings a significant cultural dimension to the area.
The Marker Hotel: This five-star hotel, situated on the north side of the square, adds a touch of luxury to the area. Its contemporary design and rooftop bar make it a popular destination for both locals and visitors.
Restaurants and Cafes: A variety of restaurants and cafes are located around the square, offering a range of cuisines and dining experiences. These establishments contribute to the square's lively atmosphere and make it a popular destination for socialising and relaxation.
Grand Canal Square is a truly multifaceted public space, successfully combining striking design with cultural attractions and a vibrant social scene. It exemplifies the successful regeneration of Dublin's Docklands, offering a dynamic and welcoming space for all.
GRAND CANAL QUAY
Grand Canal Quay is a dynamic and evolving district nestled within Dublin's Docklands. This vibrant hub seamlessly blends residential, commercial, and educational spaces, attracting a diverse mix of residents, businesses, and visitors.
Here's a closer look at the key elements that define this unique area:
Lir Academy:
As Ireland's National Academy of Dramatic Art, the Lir Academy is a cornerstone of the Quay's cultural scene. Its renowned training programs in acting, stage management, and theatre design attract talented students from across Ireland and beyond.
The Academy's presence enriches the area with public performances and events, showcasing the creativity and talent it fosters.
Housed in a modern building with dedicated performance spaces, classrooms, and studios, the Lir Academy provides a stimulating environment for aspiring artists.
Waterways Ireland:
Grand Canal Quay is not just a place of urban activity; it's intrinsically linked to the historic Grand Canal. Waterways Ireland, the cross-border body responsible for managing Ireland's inland waterways, has its headquarters here.
Beyond its administrative role, Waterways Ireland actively promotes recreational use of the canal, encouraging boating, angling, and leisurely walks along the towpaths.
Adding to the Quay's distinctive character is a community of colourful barges moored along the canal. These vessels are a mix of residential homes and pleasure craft, creating a vibrant waterfront community and a unique living experience in the heart of Dublin.
Trinity East Campus (planned):
Trinity College Dublin has ambitious plans to develop a new campus on Grand Canal Quay, with a focus on innovation and entrepreneurship. This "Trinity East Campus" is set to further enhance the area's reputation as a centre for technology and creativity.
The development is expected to feature state-of-the-art research facilities, co-working spaces, and accommodation for students and staff, fostering collaboration and driving economic growth.
Google:
Grand Canal Quay benefits from its proximity to Grand Canal Docks, a major technology hub where Google has a significant presence. This not only contributes to the area's economic prosperity but also attracts other tech companies and start-ups, creating a thriving business ecosystem.
Google's offices bring a dynamic, international atmosphere to the Docklands, and the company's large workforce supports local businesses and services.
The Portal (redevelopment project):
A major redevelopment project known as "The Portal" is set to transform Grand Canal Quay, adding new office, residential, and retail spaces, along with a welcoming public plaza.
This project aims to enhance the area's appeal with improved pedestrian access, attractive public spaces, and a focus on sustainable design.
Low Railway Bridge:
The low railway bridge that crosses Grand Canal Quay is a defining feature of the area. While it limits access for large commercial vehicles, it also contributes to a more pedestrian and cyclist-friendly environment, in line with the Docklands' commitment to sustainable transport.
The bridge carries the Dublin Area Rapid Transit (DART) line, providing excellent connectivity to the city centre and beyond via Grand Canal Dock station, just a short walk away. This ease of access to public transport is a major draw for residents and businesses alike.
Nearby DART stations:
Grand Canal Dock: Offers convenient access to the DART network, with frequent services to Dublin city centre and other destinations.
Pearse Street: Provides additional DART and commuter rail services, further enhancing connectivity for the area.
ARCHERS GARAGE
ARCHERS GARAGE AS IT IS TODAY [THIS IS NOT THE ORIGINAL BUILDING]
Archer's Garage, located at the corner of Fenian Street and Sandwith Street Upper in Dublin, has a rich and somewhat controversial history.
Original Building (1946)
The original Archer's Garage was constructed in 1946. It was designed by Billy Baird of Kaye Parry Ross Hendy architects for Richard Archer, the first agent for Ford motorcars in Ireland. This building was considered groundbreaking for its time, as it was the first in Ireland to be built with reinforced concrete and fitted with fluorescent lighting.
The design was a striking example of Art Deco architecture, featuring a distinctive curved corner tower with a flagpole and projecting fins for signage. This tower served as a visual anchor for the building, emphasising its presence at the intersection of two streets. The garage's design also incorporated functional elements, such as an open ground-level forecourt that allowed for easy access of vehicles.
Illegal Demolition and Reconstruction (1999-2004)
In 1999, the building, despite being a listed structure, was illegally demolished over a June bank holiday weekend by property developer Noel O'Callaghan. This act sparked public outrage and led to legal action by Dublin City Council.
The developer was ultimately forced to reconstruct the building as a condition of the planning permission for a new office and residential development on the site. The reconstruction was completed in 2004.
Controversy Surrounding the Reconstruction
While the reconstruction aimed to replicate the original structure, it has been criticised for being a poor imitation. Many argue that the replacement lacks the fine details and craftsmanship of the original Art Deco building. Some of the specific criticisms include:
Loss of architectural detail: The new building is seen as a simplified version of the original, lacking the nuanced design elements and intricate details that defined the Art Deco style.
Materials and construction quality: Concerns have been raised about the quality of materials used in the reconstruction and whether they accurately reflect the original construction.
Overall aesthetic impact: Many feel that the replacement building fails to capture the spirit and elegance of the original, resulting in a diminished visual impact.
The controversy surrounding Archer's Garage highlights the challenges of reconstructing historic buildings. While the replacement structure may be a faithful replica in terms of its overall form, it arguably falls short in replicating the intangible qualities that made the original building so special.
Significance and Context
The story of Archer's Garage is significant for several reasons:
Architectural heritage: It underscores the importance of preserving architectural heritage, particularly in a city like Dublin where relatively few Art Deco buildings remain intact.
Planning and development: The case led to changes in Irish planning law, with the introduction of stricter penalties for illegal demolition of protected structures.
Public awareness: It raised public awareness about the value of architectural heritage and the need for responsible development practices.
Archer's Garage serves as a reminder of the ongoing tension between preservation and development, and the challenges of balancing these competing interests in a rapidly changing urban environment.
If you'd like to delve deeper into this topic, I recommend exploring the following resources:
Archiseek: This website provides detailed information about Irish architecture, including a page dedicated to Archer's Garage.
Come Here To Me: This blog features an article that discusses the history of Archer's Garage and the controversy surrounding its demolition and reconstruction.
Dublin City Council website: You can find information about planning regulations and listed buildings in Dublin on the official website.
MOUNT ST LAWRENCE
80 RANDOM IMAGES OF MOUNT ST LAWRENCE CEMETERY IN LIMERICK [THERE ARE ABOUT SEVENTY THOUSAND BURIED HERE]
Patrick Sarsfield: Remembered in Limerick, Buried in Belgium
Mount Saint Lawrence Cemetery in Limerick holds a prominent memorial to Patrick Sarsfield, a key figure in Irish Jacobite history. However, it's crucial to note that Sarsfield himself is not buried there. While the monument serves as a focal point for commemorating his contribution to Irish history, his remains lie hundreds of miles away in Huy, Belgium.
Sarsfield, known as "Patrick Sarsfield, Earl of Lucan," was a leading Jacobite general during the Williamite War in Ireland (1689-1691). He is best remembered for his courageous defense of Limerick and his negotiation of the Treaty of Limerick, which ultimately led to the Flight of the Wild Geese, the exodus of Irish Jacobite soldiers to continental Europe.
Mortally wounded at the Battle of Landen in 1693, Sarsfield was taken to Huy, where he died and was buried in the grounds of St. Martin's Church. His grave is believed to be unmarked.
The Search for Sarsfield's Remains
For centuries, the exact location of Sarsfield's burial remained unknown. However, recent research led by Dr. Loïc Guyon has shed new light on this historical mystery. Dr. Guyon has identified the likely location of the graveyard associated with the now-demolished St. Martin's Church. Plans are underway for an archaeological dig at the site to search for Sarsfield's remains. If found and confirmed, there is a possibility they could be repatriated to Ireland.
The Memorial at Mount Saint Lawrence
Despite Sarsfield's burial in Belgium, the memorial at Mount Saint Lawrence Cemetery serves as an important reminder of his legacy in Limerick and Ireland. It stands as a testament to his bravery, military skill, and dedication to the Jacobite cause.
Mount Saint Lawrence Cemetery is located on Mulgrave Street in Limerick City, Ireland. It is the largest cemetery in Limerick and the final resting place of many of the city's most prominent citizens. The cemetery is named after Saint Lawrence, a deacon in the early Christian church who was martyred in 258 AD. Lawrence was known for his charity work and for his defiance of the Roman authorities. He is the patron saint of deacons, cooks, and librarians.
The cemetery was opened in 1849 and was originally intended to be a non-denominational burial ground. However, it soon became predominantly Catholic. The location of the cemetery was chosen because it was on the outskirts of the city at the time and because it was on elevated ground, which was thought to be healthier.
The location of graves within the cemetery can indicate the status or importance of those buried there. For example, the most prominent graves are located in the older part of the cemetery, which is closer to the entrance. These graves are often larger and more elaborate than those in the newer part of the cemetery. Some of the most notable people buried in Mount Saint Lawrence Cemetery include:
Michael Hogan, the Bard of Thomond, a 19th-century poet.
Jim Kemmy, a socialist politician and historian.
Someone from abroad might visit Mount Saint Lawrence Cemetery for a number of reasons. They may have ancestors buried there, or they may be interested in the history of Limerick City. The cemetery is also a beautiful and peaceful place to visit.
The graves and burial history at Mount Saint Lawrence Cemetery are well documented. The cemetery has a searchable online database of burial records, and there are also a number of books and articles available on the history of the cemetery.
The 304 bus does indeed serve Mulgrave Street, with a stop very close to the main entrance of Mount Saint Lawrence Cemetery. It generally runs about every 20 minutes but I have found it to be unreliable . However, it is a short walk from the city centre.
Mount Saint Lawrence Cemetery is not associated with a church or parish because it was originally intended to be a non-denominational burial ground. However, the cemetery is now managed by Limerick City and County Council.
Here are some additional details about Mount Saint Lawrence Cemetery:
The cemetery covers an area of 18 hectares.
There are over 70,000 people buried in the cemetery.
The cemetery is open to the public from 9am to 4pm, Monday to Friday.
BLOCS 6 LAUNCHED
I HAVE UPGRADED FROM VERSION 5 TO 6
BLOCS 6 WAS LAUNCHED YESTERDAY
Blocs 6 launched yesterday, November 30th, 2024. It's a significant update to the popular Mac-based website design software. I should mention that I have upgraded from version to version 6 but I will not use it until I start using an Mac Mini M4 Pro in January or February.
Here's a rundown of what Blocs is and what's new in version 6:
What is Blocs?
Blocs is a visual web design tool that allows users to build responsive websites without writing code. It's known for its user-friendly interface, making it a good option for beginners and experienced designers alike. Blocs uses a drag-and-drop system to create websites with pre-built blocks and components. It also offers features like:
Responsive design: Websites built with Blocs automatically adjust to different screen sizes.
Bootstrap framework: Blocs utilises the Bootstrap framework, ensuring a solid foundation for website structure.
Pre-built templates: A variety of templates are available to get started quickly.
E-commerce integrations: Blocs supports integrations with leading e-commerce providers.
What's new in Blocs 6?
Blocs 6 introduces a host of new features and improvements, including:
Improved UI/UX: The user interface has been refreshed with a focus on a more intuitive design experience.
New page builder: A redesigned page builder offers more flexibility and control over website layouts.
Enhanced asset manager: Managing website assets like images and videos is now easier with the improved asset manager.
Custom class manager: This feature allows for more advanced customisation using custom CSS classes.
Revamped code editor: Blocs 6 includes an updated code editor for those who want to delve into the code.
Performance boosts: Under-the-hood improvements lead to faster performance and smoother workflows.
Benefits of upgrading from Blocs 5 to Blocs 6:
While I don't have access to specific marketing materials detailing upgrade benefits, based on the new features, here are some reasons why upgrading to Blocs 6 might be worthwhile:
Increased efficiency: The improved UI/UX and new page builder could significantly speed up your workflow.
More design control: The enhanced asset manager and custom class manager provide greater flexibility for customising your website's design.
Better performance: Enjoy a smoother and faster web design experience with performance enhancements.
Stay up-to-date: Upgrading ensures you have the latest features and improvements, keeping your web design capabilities current.
Where to find more information:
Blocs website: The official Blocs website (blocsapp.com) is the best place for detailed information, pricing, and download links.
Blocs blog: The Blocs blog (blog.blocsapp.com) often provides insights into new releases and updates.
Blocs forum: Connect with other Blocs users and get support in the Blocs forum (forum.blocsapp.com).
Social media: Follow Blocs on social media channels like Twitter (@blocsapp) for news and announcements.
If you're a web designer using Blocs 5, upgrading to Blocs 6 seems like a logical step to take advantage of the latest advancements and improvements.
WELCOME - FAILTE
CONQUERED TIDE BY KAT ENNIS [AT LAST I FOUND SOME INFORMATION ABOUT THIS]
Today 23 November 2024 I was provided with information relating to this example of Paint-A-Box street art. Photographed August 2017.
Artist: Kat Ennis
Artwork title: 'Conquered Tide'
ocation: Alfie Byrne Road, Clontarf Road, Dublin 3
Year: 2017
Council: Dublin City Council
Artwork description:
"Conquered Tide" is a piece of artwork that I hope portrays a part of Dublin that for many is an area one comes to get away from the city, a place of bracing winds and solitude - also, a place that many people see for the first time viewing from the ferries coming across the Irish Sea. I used to go and watch the ferries come in from the bull wall as a child, the pigeon towers were like an anchor pulling them in across the water, welcoming those on board." - Kat Ennis
About the Artist:
Kat Ennis is an Irish installation artist living just outside of Dublin. With an Honours Degree in Fine Art from IT Sligo, she works across various mediums, from portraiture and line drawings to large-scale installations and graphic pieces. She has also contributed work to the Incognito show in aid of The Jack and Jill Foundation.
Finding the Artwork:
This painted utility box can be found at Alfi Byrne Road along Clontarf Road in Dublin 3. It offers a unique perspective on the coastal landscape, capturing the feeling of the sea and the arrival of ferries into Dublin port.
STREET ART 2017 - PAINTED CABINET AT ALFI BYRNE ROAD CLONTARF [WELCOME - FAILTE]
Street Art and Unexpected Encounters in Clontarf
I stumbled upon this lovely painted cabinet in Clontarf, and it turns out there's a story behind it! A local gentleman told me it was painted by a young schoolgirl from County Meath. We got chatting about the Dublin Canvas project – he even showed me his own impressive artwork proposal!
THE MAOI SCULPTURE
SONY A1 MkII
NEW CAMERA LAUNCHED 19 NOVEMBER 2024
SONY A1 MkII
Sony just announced the Alpha 1 II, and it's generating a lot of buzz in the photography world. Here's a summary of what I know so far:
Key Features and Improvements:
Enhanced AI Processing: A new AI processing unit allows for significantly improved subject recognition and autofocus. This translates to:
30% improvement in eye detection for animals and humans.
50% boost in bird eye detection.
Faster Sensor Readout: This enables features like:
240 fps refresh rate in the electronic viewfinder (EVF) for smoother tracking.
"Pre-Capture" to capture moments before the shutter button is fully pressed.
"Speed Boost" for faster continuous shooting speeds.
Improved Image Quality: Expect better colour and noise handling, especially in JPEGs.
Upgraded Video Capabilities: The Alpha 1 II includes:
Support for importing and monitoring LUTs (Look-Up Tables) for more control over video colour grading.
Enhanced Design and Ergonomics: Sony has taken cues from the Alpha 9 III, resulting in:
A more comfortable grip.
An improved shutter button.
A new fully articulating screen.
An additional custom button (C5).
Improved In-Body Image Stabilisation: Up to 8.5 stops of stabilisation in the centre.
Why it Matters:
The original Alpha 1 was already a groundbreaking camera, pushing the boundaries of speed and resolution. This second generation builds upon that foundation, refining existing features and adding new ones based on user feedback. It seems like Sony is aiming to solidify its position at the top of the full-frame mirrorless camera market.
Who is it for?
The Alpha 1 II is clearly targeted at professional photographers and videographers who demand the absolute best in terms of performance, image quality, and versatility. This includes:
Sports and wildlife photographers who need high-speed shooting and exceptional autofocus.
Wedding and portrait photographers who require high resolution and reliable performance.
Videographers who want a camera capable of capturing high-quality footage with advanced features.
THE BLACK CHURCH
OLD FIRE STATION
DORSET STREET FLATS
MEETING BY PAT LOUGHRAN
THE SONY A1 II
WILL BE ANNOUNCED ON THE 19TH NOVEMBER 2024
SONY CONTACTED ME TO TELL ME THAT THEY WILL LAUNCH THE SONY A1 II ON THE 19TH NOVEMBER 2024
A friend said to me in a text message "You're facing a delightful dilemma—a trifecta of tempting Sony cameras!"
Next week Sony will introduce the A1 MkII camera body. I have had every Sony A7R except for the A7RV which I decided to skip as I was happy with my A7RIV. I had decided that my next upgrade would be the Sony A1 or what ever replaced this flagship camera however in order to complicate life for me Sony recently introduced the A9III which I have considered but could not fund until sometime in 2025.
I will most likely get the new version of the A1 as it is rumoured that it will be based on the newer 9 MkIII body rather than the Original A1.
Let's discuss why anyone might choose each one, and then tackle the flagship vs. faster upgrade cycle question.
Why choose the Sony A1 (or A1 Mark II)?
The "do-it-all" flagship: It excels in almost every area: high resolution (50MP+), blazing fast continuous shooting (30fps), incredible autofocus, 8K video, and robust build. The rumoured A1 II is expected to build on this with even better performance, possibly incorporating features from the A9 III. This is your camera if you want the absolute best and don't want to compromise on any feature.
Ideal for: Hybrid shooters who need both high-resolution stills and top-tier video capabilities; wildlife and sports photographers who demand speed and autofocus precision; landscape photographers who crave detail.
Why choose the Sony A9 III?
Speed demon: Built for action, the A9 III boasts a stacked sensor with a global shutter, eliminating rolling shutter distortion and enabling incredible burst shooting speeds (up to 120fps). Its autofocus system is lightning-fast and tenacious, making it ideal for capturing the most unpredictable subjects.
Ideal for: Sports and wildlife photographers who need the absolute fastest capture speeds and the most reliable autofocus; those shooting fast-action events where rolling shutter is a concern.
Why choose the Sony A7RV?
Resolution king: Boasting a 61MP sensor, the A7RV offers the highest resolution in Sony's Alpha lineup. It also features improved autofocus and in-body image stabilisation.
Ideal for: Landscape, studio, and commercial photographers who prioritise resolution and detail; those who need to make large prints or crop heavily.
Flagship vs. Faster Upgrade Cycle
This is a classic debate, and the answer depends on needs and budget:
Flagship (like the A1):
Pros:
Longer lifespan: Cutting-edge technology means it will remain relevant for longer.
Best performance: No compromises on features or quality.
Higher resale value: Flagships tend to hold their value better.
Cons:
Higher initial cost: A significant investment upfront.
Faster Upgrade Cycle (A7R series):
Pros:
Lower initial cost: More affordable entry point.
Access to newer tech more frequently: Always have relatively up-to-date features.
Cons:
Higher total cost of ownership over time: Repeated purchases add up.
Potentially shorter lifespan: May become outdated more quickly.
Lower resale value: Newer models depreciate the older ones faster.
WAVE BY ANGELA CONNER
I have fact-checked the information provided in various accounts and corrected the height of the sculpture, which is 39.3 metres, not 35.3 metres as sometimes reported.
Park West in Dublin is home to a striking piece of public art: Wave, a towering sculpture by renowned English artist Angela Conner FRBS. Standing at a remarkable 39.3 metres (129 feet), it claims the title of Europe's tallest wind and water mobile sculpture.
Crafted from polystyrene coated in layers of carbon resin, Wave's elegant form is anchored to a 7.6 metre (25 foot) deep pit filled with 9.5 tonnes of lead. This ingenious design allows the sculpture to gracefully sway and respond to the wind, creating a captivating spectacle of movement and balance.
Angela Conner, a celebrated sculptor with a global presence, is known for her dynamic works that often incorporate natural elements like wind and water. Her impressive portfolio includes large-scale sculptures displayed in public and private collections worldwide.
Interestingly, the initial inspiration for Wave came from observing saplings in Vermont. Conner was fascinated by their ability to bend and sway in the wind while always returning to their centre, a concept she found both visually and philosophically compelling.
Did you know? At the base of the sculpture, jets of water create a delicate spray that, when caught by the sunlight, produces a shimmering rainbow. This adds another dimension to the artwork, further connecting it to the natural world.
I PLAN TO PURCHASE A MAC M4 PRO MINI
AS A TESTBED
IN DECEMBER I HOPE TO OBTAIN A M4 PRO MAC MINI [AS A TESTBED TO EXPERIMENT WITH APPLE INTELLIGENCE]
My Apple 27 inch iMac is getting old and the latest OS upgrade/update to Sosoma could well be the last so I am planning to upgrade my equipment towards the end of 2025 however the introduction of the new Apple M4 mini has impacted on my plans and I suspect that I will end up switching to Apple Minis rather than Studios which are much more expensive.
I had more-or-less decided the get the Mini with the base M4 chip but as I now realise that the M4 Pro is in a different league I have no real option but to get a M4 Pro version with 24G of RAM and 1TB of internal SSD ... this is discussed in a bit more detail below. I had considered the 2T option but uplift in price is more than I am willing to pay at this stage.
Apple Intelligence is Apple's new personal intelligence system, designed to harness the power of Apple silicon to understand and create language and images, take action across apps, and simplify everyday tasks. It was announced in June 2024 and the first set of features became available with the release of iOS 18.1, iPadOS 18.1, and macOS Sequoia 15.1 in October 2024.
Here's a breakdown of what you can expect:
Current Features:
Writing Tools: Enhanced language capabilities to summarise text, rewrite for different tones, and proofread. These are available across apps, including third-party ones.
Clean Up in Photos: This feature intelligently removes unwanted distractions from photos.
Create a Memory film in Photos: Automatically generate a film from your photos and videos with music and transitions.
Natural language search in Photos: Search your photos using natural language, like "photos of my dog at the beach."
Notification summaries: Get a concise overview of your notifications to quickly scan and prioritise.
Reduce Interruptions Focus: Minimise distractions with prioritised notifications.
Intelligent Breakthrough & Silencing in Focus: Allows important calls and messages to break through Focus mode and silences unknown callers.
Priority messages in Mail: Elevates time-sensitive emails to the top of your inbox.
Smart Reply in Mail and Messages: Offers intelligent reply suggestions.
Summaries in Mail and Messages: Provides concise summaries of long emails and message threads.
Siri enhancements: Includes product knowledge, more resilient request handling, a new look and feel, a more natural voice, the ability to type to Siri, and more.
Upcoming Features:
Genmoji: Create personalised emojis that capture your unique style and personality.
Redesigned Siri with richer language understanding: Siri will be able to understand and respond to more complex and nuanced requests.
ChatGPT integration: Access ChatGPT directly through Siri for a wider range of conversational and informational queries.
Timeframe:
October 2024: The first set of features was released with iOS 18.1, iPadOS 18.1, and macOS Sequoia 15.1.
December 2024: Apple Intelligence will be available with localised English in Australia, Canada, Ireland, New Zealand, South Africa, and the U.K.
April 2025: Many core Apple Intelligence features, including those listed above, will roll out to iPhone and iPad users in the EU.
EU Rollout and Ireland/UK Availability:
If you have being paying attention you may notice the discrepancy between Ireland and the UK's access to Apple Intelligence compared to the rest of the EU. Apple has stated that the EU rollout is slightly delayed due to compliance with the Digital Markets Act (DMA).
However, Apple has specifically mentioned that Ireland will have access to the localised English version of Apple Intelligence in December 2024, alongside the UK, despite being an EU member state. This suggests that Apple may be rolling out features in phases within the EU, possibly starting with countries where English is a primary language.
Key Takeaways:
Apple Intelligence is a powerful new system with features designed to improve productivity and simplify tasks.
The rollout is happening in stages, with some features already available and more coming soon.
The EU rollout is slightly delayed due to regulatory compliance, but Ireland will have early access to some features along with the UK.
THE NEW M4 MAC MINI AND THE EXTERNAL DRIVE DILEMMA
As already mentioned, I am planning to get an M4 Pro Apple Mini as a testbed rather than as my main machine but choosing the right configuration is problematic but as I am getting a machine for beta testing purposes the incorrect choice will not have a major impact.
There's a lot of hype surrounding the new machine, and it's easy to get caught up in it without considering potential drawbacks. Here's a breakdown of the situation:
The Appeal of the M4 Mac Mini
Powerful Performance: The M4 chip offers a significant performance boost over previous generations, making it ideal for demanding tasks.
Compact Design: The Mac Mini's small footprint is perfect for those with limited desk space.
Affordable Price: Compared to other Macs, the Mac Mini offers excellent value for money.
The External Drive Dilemma
Cost Savings: Opting for a smaller internal SSD and supplementing it with an external drive can seem like a smart way to save money.
Performance Concerns: While external drives have improved, they generally offer slower speeds than internal SSDs, potentially impacting performance.
macOS Features: Some macOS features, particularly those related to security and machine learning, may require booting from the internal drive. This could limit functionality for those relying on external boot drives.
Future Updates: As macOS evolves, there's a risk that future updates might introduce compatibility issues with external boot drives, potentially leaving users with a less functional system.
Apple's Stance on External Drives
Apple's design philosophy increasingly favours internal storage for the operating system and critical applications. This approach prioritises:
Security: Booting from an internal drive enhances security by reducing the risk of tampering with the OS.
Performance: Internal SSDs provide optimal performance for demanding tasks.
Reliability: Internal drives are less prone to connection issues and data corruption.
Recommendations
Prioritise Internal Storage: If your budget allows, prioritise a larger internal SSD. This will ensure optimal performance and compatibility with macOS features.
Choose Reliable External Drives: If you must use an external drive, opt for a reputable brand and a fast connection like Thunderbolt.
Stay Informed: Keep up-to-date with Apple's recommendations and user experiences regarding external boot drives.
In Conclusion
While the M4 Mac Mini is a compelling machine, it's crucial to carefully consider your storage options. Don't solely rely on external drives for essential functions, and prioritise internal storage whenever possible. By understanding the potential limitations and making informed decisions, you can maximise your Mac Mini experience.
THE WELLINGTON OBELISK
RICHMOND HOSPITAL
MAC STUDIO
I WAS PLANNING TO PURCHASE A MAC STUDIO BEFORE CHRISTMAS [BUT I HAVE CHANGED MY MIND]
I have hit on a key point of confusion in the current Mac lineup! With the impressive performance of the M4 Mac mini, it does make one wonder why someone would opt for the more expensive Mac Studio.
Here's a breakdown of the remaining reasons to consider a Mac Studio in 2024, along with some rumours about future updates:
Why Choose Mac Studio in 2024?
M2 Ultra Chip: The Mac Studio offers the M2 Ultra chip, which is currently the most powerful chip in Apple's lineup. While the M4 Pro in the Mac mini is incredibly capable, the M2 Ultra still holds the edge for the most demanding workflows, like high-end video editing, 3D rendering, and complex simulations.
Expanded Connectivity: The Mac Studio provides more ports than the Mac mini, including 10Gb Ethernet, more Thunderbolt 4 ports, and an SD card slot on the front. This can be crucial for professionals who need to connect a wide array of peripherals.
Upgradability (sort of): While the Mac Studio's RAM isn't user-upgradable, it can be configured with up to 192GB of unified memory at the time of purchase. This provides headroom for future-proofing, especially for memory-intensive tasks.
Form Factor: Some users might prefer the larger, more expandable form factor of the Mac Studio. It offers more flexibility for placing it on a desk and connecting peripherals.
Rumors of Future Mac Studio Updates:
M4 Ultra and M4 Max: Rumors suggest that Apple is working on an updated Mac Studio featuring the M4 Max and a yet-to-be-announced M4 Ultra chip. These chips are expected to deliver a significant performance boost over the current M2 generation.
Release Timeline: Speculation points to a potential release of the M4 Mac Studio sometime in 2025, possibly around mid-year or later.
NEW M4 MAC MINI
I WILL PURCHASE A NEW M4 MAC MINI IN 2025 [RATHER THAN THE MAC STUDIO]
Apple recently unleashed a wave of new Macs, and while the colourful iMacs and powerful MacBooks grabbed headlines, the humble Mac mini quietly underwent a transformation that might just redefine desktop computing. Packing the groundbreaking M4 and M4 Pro chips, this tiny titan delivers performance that rivals, and in some cases surpasses, the much larger and pricier Mac Studio.
David vs. Goliath: M4 Performance that Stuns
The new Mac mini, especially with the M4 Pro chip, offers astonishing performance. Early benchmarks show significant gains in both CPU and GPU performance compared to previous models, even challenging the Mac Studio in certain tasks. This incredible power, packed into a compact and affordable package, makes the Mac mini a compelling choice for a wide range of users, from creative professionals to everyday users.
Versatility and Connectivity: A Mini with Maximum Options
The Mac mini's compact design doesn't mean compromising on connectivity. The M4 Pro model boasts Thunderbolt 5, offering blazing-fast data transfer speeds and support for high-resolution displays. This opens up a world of possibilities for connecting external drives, displays, and other peripherals, making the Mac mini a true desktop powerhouse.
Affordability that Makes Sense
Starting at just €719.00 for the M4 model, the Mac mini offers incredible value for money. Compared to the Mac Studio, which starts at €2329.00, the Mac mini provides a more accessible entry point for those seeking powerful performance without breaking the bank.
Mac Studio Feeling the Heat?
With the impressive performance and affordability of the M4 Mac mini, one has to wonder about the future of the Mac Studio. Rumors suggest that a refresh might not arrive until Q2/Q3 of next year. This leaves the Mac mini in a sweet spot, offering comparable performance at a significantly lower price.
The MacBook Pro Conundrum
While the Mac mini offers incredible value, the top-end MacBook Pro (€8,154.00) presents a compelling alternative. It boasts even more powerful configurations and doesn't require a separate monitor. However, the significant price difference and lack of modularity might make the Mac mini a more sensible choice for many.
The Display Dilemma: To Studio Display or Not?
While the Studio Display is a beautiful 5K monitor, the M4 Pro Mac mini's ability to drive an 8K display makes the Studio Display seem a bit underwhelming. With advancements in display technology happening rapidly, it might be wise to wait for a potential Studio Display update or explore alternative high-resolution displays from third-party manufacturers.
The new Mac mini is a game-changer, offering a compelling blend of performance, versatility, and affordability. Whether you're a creative professional, a student, or an everyday user, the Mac mini with M4 delivers an exceptional computing experience that punches far above its weight. It's a tiny titan that might just make you rethink your desktop setup.
THE SPARK
ON THE GRAMMY LONGLIST
"The viral hit The Spark created by a group of young rappers from Cork and Clare has been longlisted for the 2025 Grammy Awards."
The Spark, a viral rap song created by young rappers from the Kabin Studio in Cork and the Lisdoonvarna Crew in Clare, Ireland. Here's what I was able to gather about this impressive accomplishment:
The Song: "The Spark" was created as part of Rhyme Island, a youth rap initiative leading up to Cruinniú na nÓg, a national day of creativity for young people in Ireland. It's an energetic and inspiring track showcasing the talent of these young artists.
Viral Success: The song gained widespread attention, racking up hundreds of millions of views on social media platforms like TikTok and YouTube. This viral success undoubtedly played a role in its Grammy longlisting.
Kabin Studio: Kabin Studio is a non-profit music and creative hub in Knocknaheeny, Cork, providing a safe and supportive space for young people to express themselves through music and other art forms.
Lisdoonvarna Crew: This group of young rappers hails from Lisdoonvarna in County Clare and collaborated with the Kabin Studio for this project.
Grammy Longlist: Being longlisted for a Grammy Award is a significant achievement, recognising "The Spark" as a contender in its category. It highlights the song's quality and impact, putting these young rappers on
the global music map. While the specific Grammy category hasn't been mentioned in the information available, it's likely to be in a category recognising rap or hip-hop music, potentially within the "Best Children's Music Album" category due to the age of the performers.
To find more information, you could try the following:
Search for "The Spark" on music streaming platforms: This will help you listen to the song and potentially find more details about its creation and the artists involved.
Visit the Kabin Studio website or social media pages: They might have more information about the song and its Grammy nomination.
Look for updates on the official Grammy Awards website: As the awards ceremony gets closer, more details about the nominees and categories will be released.
Follow news sources in Ireland: Irish media outlets are likely to cover the progress of "The Spark" in the Grammy Awards.
This is a fantastic achievement for these young rappers, and it will be interesting to see how they progress in the Grammy Awards process.
BUILDINGS OF INTEREST
DESI CREW RESTAURANT
I have not seen the menu so I can only guess as to what you can expect until I actually have a meal there [note I did attend the opening and was impressed by the sample dishes]
"Desi Crew" is aiming to bring the vibrant and diverse flavours of South Indian street food to Dublin! Here's what you might expect if you visit:
Food:
Focus on South Indian cuisine: Expect dishes from the regions of Tamil Nadu, Kerala, Karnataka, and Andhra Pradesh. Think dosas (thin, crispy crepes made from fermented batter), idlis (steamed rice cakes), vadas (savory lentil doughnuts), and uttapams (thicker pancakes with toppings).
Street food style: This likely means the food will be casual, flavourful, and perhaps served in a way reminiscent of street stalls in India.
Variety of chutneys and sambars: South Indian food is known for its accompanying sauces and dips. You'll probably find coconut chutney, tomato chutney, sambar (a lentil-based vegetable stew), and perhaps even some more unique regional chutneys.
Spice levels: South Indian food can be spicy, but a restaurant catering to a wider audience will likely offer a range of spice levels to suit different palates. Don't hesitate to ask for your preferred level of heat.
Fresh ingredients: Given the emphasis on street food, you can hope for fresh, vibrant ingredients and bold flavours.
Atmosphere:
Casual and lively: Street food is all about a bustling, energetic atmosphere. The restaurant might have bright colors, lively music, and a casual setting.
"Desi Crew" is a promising addition to Dublin's food scene, offering a taste of authentic South Indian street food. If you're looking for a casual, flavourful, and potentially spicy dining experience, it's definitely worth checking out!
FAIRVIEW SECTION
NEW PUBLIC CLOCK
SONY A7RV CAMERA BODY
The Sony Alpha A7RV (or α7R V) is a high-resolution full-frame mirrorless camera that was introduced in October 2022. It's the successor to the popular A7RIV, and while it shares the same 61.0MP sensor, it boasts significant improvements in autofocus performance, image stabilization, and video capabilities.
Here's a breakdown of the key differences between the A7RV and its predecessor, the A7RIV:
Advanced Autofocus System: The A7RV features a new AI-powered autofocus system that uses deep learning to recognize and track a wider variety of subjects, including humans, animals, birds, insects, cars, trains, and airplanes. This results in significantly improved accuracy and reliability, especially in challenging shooting conditions.
Improved Image Stabilization: The A7RV has an upgraded 8-stop in-body image stabilization system, which is a significant improvement over the 5.5 stops offered by the A7RIV. This allows for sharper handheld shots in low light and when using telephoto lenses.
Enhanced Video Capabilities: The A7RV can record 8K video at 24/25p and 4K video at up to 60p with 10-bit 4:2:2 sampling.
It also offers improved video features like S-Cinetone and S-Log3 picture profiles, as well as breathing compensation when used with compatible Sony lenses.
Upgraded LCD Screen: The A7RV has a new 4-axis multi-angle touchscreen LCD, which offers more flexibility for framing shots from different angles.
Higher Resolution EVF: The electronic viewfinder (EVF) on the A7RV has a resolution of 9.44 million dots, compared to 5.76 million dots on the A7RIV. This provides a more detailed and immersive viewing experience.
Is the A7CR an alternative?
Yes, the Sony A7CR is a viable alternative to the A7RV, especially for photographers who prioritize portability and affordability. Launched in August 2023, the A7CR shares the same 61MP sensor and AI-powered autofocus system as the A7RV, but in a much smaller and lighter body, similar to the A7C series. Here's why someone might prefer the A7CR:
Compact Size and Weight: The A7CR is significantly smaller and lighter than the A7RV, making it more comfortable to carry around and travel with.
Lower Price: The A7CR is priced lower than the A7RV, making it a more accessible option for budget-conscious photographers.
Excellent Image Quality: Despite its smaller size, the A7CR delivers the same impressive image quality as the A7RV, thanks to its shared sensor and processor.
However, it's important to note that the A7CR has some limitations compared to the A7RV:
Reduced Video Features: The A7CR lacks 8K video recording and has some limitations in 4K recording compared to the A7RV.
Less Robust Build: The A7CR has a more compact build, which may not be as durable as the A7RV's magnesium alloy body.
Fewer Physical Controls: The A7CR has a more streamlined design with fewer physical buttons and dials, which may not be ideal for photographers who prefer direct access to settings.
Recommended Lenses for the A7RV and A7CR:
The A7RV and A7CR are compatible with Sony's extensive lineup of E-mount lenses. Here are a few recommendations based on different shooting styles:
Versatile Zoom:
Sony FE 24-70mm f/2.8 GM II: A professional-grade zoom lens that offers excellent image quality and versatility for everyday shooting.
Sony FE 24-105mm f/4 G OSS: A more affordable option that still delivers great performance and image stabilization.
Wide-angle:
Sony FE 16-35mm f/2.8 GM: A high-quality wide-angle zoom lens ideal for landscapes and architecture.
Sony FE 20mm f/1.8 G: A compact and lightweight prime lens with a wide field of view.
Telephoto:
Sony FE 70-200mm f/2.8 GM OSS II: A professional telephoto zoom lens perfect for sports and wildlife photography.
Sony FE 100-400mm f/4.5-5.6 GM OSS: A versatile telephoto zoom lens with a long reach.
Prime Lenses:
Sony FE 50mm f/1.2 GM: A fast prime lens that excels in low-light conditions and produces beautiful bokeh.
Sony FE 85mm f/1.4 GM: A classic portrait lens with exceptional sharpness and rendering.
Sony FE 35mm f/1.4 GM: A versatile prime lens suitable for a variety of subjects.
Ultimately, the best lens for you will depend on your specific needs and shooting style. Consider factors like focal length, aperture, image stabilization, and budget when making your decision.
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