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.
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.
STACGORY CHURCH RUINS
My first attempts to access this old church and graveyard in 2023 and early 2024 were thwarted by metal fencing blocking the entrance. Although some photographers had managed to capture and publish images online, I was eager to explore the site myself. Finally, during a recent visit, I found the fence had been pushed aside, allowing access.
The current structure, built circa 1670, is not the original church on this site. Historical records suggest an earlier church, possibly dating back to the 11th or 12th century, once stood here. While the Board of Works cleaned the churchyard and building in 1978, the site has unfortunately fallen into a state of neglect once again. This overgrowth made it difficult to read many of the memorials, but I was surprised to find that the majority of legible headstones were much more recent than I anticipated. The most recent I could decipher was for James Hall, who died in March 1936. The oldest legible stones dated back to 1811 and 1801, which is relatively recent in the context of Irish history. This may challenge the claim that the graveyard was active only until the mid-1700s, as the gravestones I photographed were much more recent.
Despite the overgrown conditions, the ruins of Stacgory Church evoke a sense of history. The remaining stone walls hint at the generations of worship that once took place within them. The graveyard, although more modern than expected, still provides a peaceful space for reflection. The weathered headstones, with their diverse styles and inscriptions, offer a glimpse into the past, even if they don't transport us back through centuries as some sources suggest.
A Note on Photography:
Photographers drawn to historical and atmospheric settings will find Stacgory of interest. However, be prepared for challenges! During my visit, my adapted Sigma 24-105mm F4 lens refused to focus, possibly due to an issue with my Sony A7RIV body. I plan to bring a more suitable lens on my next visit.
Location and Access:
Stacgory is located off Mill Lane in Redcowfarm, Palmerstown, and is accessible on foot.
Directions:
Take the N4 exit for Palmerstown.
At the first set of traffic lights, turn left into the village.
At the T-junction in the village, turn right.
Turn left onto Mill Lane.
Park at the sharp right-hand bend at the top of this road; you'll see the fence to your left.
Important Note:
Although the fence was pushed aside during my visit, a sign warning against trespassing remains. The site is owned by a developer, and while it appears somewhat neglected, it's important to be aware of this and proceed with caution.
Recent Information:
Unfortunately, finding detailed and up-to-date information on Stacgory Church proved challenging. It seems to be a site that has slipped through the cracks, with limited online resources. Hopefully my personal observations and photographs provide valuable documentation of its current state.
BALNAGOWAN HOUSE
Balnagowan House: A Modernist Gem in Decay
The recent fire at The Haven, which tragically destroyed outbuildings on the grounds of Balnagowan House, has cast a shadow of uncertainty over the future of this architectural gem. Located off Mobhi Road in Glasnevin, Balnagowan House stands as a testament to Ireland's early embrace of Modernist architecture.
Wendon House, later renamed Balnagowan, was a marvel of modern luxury hidden behind an unassuming exterior. While the street presence was understated, the interior was a testament to cutting-edge design and comfort.
Architect Harold Greenwood, under the direction of developer George Linzell, incorporated features that were ahead of their time:
Modern Conveniences: Central heating, concealed lighting, and an internal telephone system for seamless communication with staff.
Luxurious Amenities: Bedrooms with private hand basins and built-in wardrobes, two bathrooms, and a serving hatch between the kitchen and dining room with electric hotplates to keep food warm.
State-of-the-art Appliances: A laundry room equipped with a washing machine, connected to the upper floors by a laundry chute.
Modernist Design Elements: Oak panelling and chrome light-switches added a touch of sleek sophistication.
Linzell, who built speculative houses in Dublin, leveraged his own residence as a showpiece of modern luxury living, attracting discerning buyers. Later occupants further enhanced the property with additions like a tennis court, swimming pool, greenhouses, and outbuildings, while strategically planted trees provided privacy from the neighbouring Bons Secours Hospital.
The house changed hands several times over the years, with notable residents including publican John Doyle, who renamed it Balnagowan, and the Quinns, the last family to reside there. Before its current vacancy, it served as the headquarters for the Central Fisheries Board.
The recent fire at The Haven, which tragically destroyed outbuildings on the grounds of Balnagowan House, has cast a shadow of uncertainty over the future of this architectural gem. Located off Mobhi Road in Glasnevin, Balnagowan House stands as a testament to Ireland's early embrace of Modernist architecture.
Wendon House, later renamed Balnagowan, was a marvel of modern luxury hidden behind an unassuming exterior. While the street presence was understated, the interior was a testament to cutting-edge design and comfort.
Architect Harold Greenwood, under the direction of developer George Linzell, incorporated features that were ahead of their time:
Modern Conveniences: Central heating, concealed lighting, and an internal telephone system for seamless communication with staff.
Luxurious Amenities: Bedrooms with private hand basins and built-in wardrobes, two bathrooms, and a serving hatch between the kitchen and dining room with electric hotplates to keep food warm.
State-of-the-art Appliances: A laundry room equipped with a washing machine, connected to the upper floors by a laundry chute.
Modernist Design Elements: Oak panelling and chrome light-switches added a touch of sleek sophistication.
Linzell, who built speculative houses in Dublin, leveraged his own residence as a showpiece of modern luxury living, attracting discerning buyers. Later occupants further enhanced the property with additions like a tennis court, swimming pool, greenhouses, and outbuildings, while strategically planted trees provided privacy from the neighbouring Bons Secours Hospital.
The house changed hands several times over the years, with notable residents including publican John Doyle, who renamed it Balnagowan, and the Quinns, the last family to reside there. Before its current vacancy, it served as the headquarters for the Central Fisheries Board.
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