THE EMBRACED LOOP
THE EMBRACED LOOP BY ANAISA FRANKO [TODAY I USED A SONY 90MM MACRO LENS WITH MY SONY FX30 BODY]
The Embraced Loop, a poignant HIV and AIDS national monument by Anaisa Franco, resides in the People’s Gardens of Dublin’s Phoenix Park. This powerful sculpture serves as a tribute to those lost to the disease, a celebration of those who fought and supported others, and a symbol of solidarity with those currently living with and affected by HIV. The design, an abstract loop incorporating the iconic Red Ribbon, embodies an interactive approach and the interconnectedness of all those touched by the epidemic. Unveiled in Phoenix Park by Taoiseach Leo Varadkar, the monument stands as a permanent reminder of the ongoing struggle and the need for continued action and support.
Anaisa Franco, the award-winning artist behind The Embraced Loop, pioneers participatory public art, activating bodies and public spaces through interactive experiences. Her studio specialises in parametric digital fabrication and technology integration, creating experiential, self-sustainable works. With a Masters in Digital Art from the University of Plymouth (2007), and experience at Medialab Prado (2008) and Applied Future Studio in Berlin, Franco’s work seamlessly blends creativity, technology, and community engagement.
Recently, I’ve been experimenting with various camera and lens combinations, including my Sony FX30 paired with the Sony 90mm f/2.8 Macro G OSS lens. This exploration is part of my decision-making process for a future camera purchase. While generally pleased with the FX30’s output since December 2024, I find the lack of an electronic viewfinder a significant drawback. However, its compact and lightweight form factor, especially compared to my Sony A7RIV, is a definite plus.
Although the Sony FX30 is primarily a cinema camera, it’s capable of capturing 26.1MP still images. The 90mm macro lens, a full-frame optic renowned for its sharpness and image quality, is compatible with both full-frame and APS-C cameras like the FX30, making it ideal for close-up work such as insects, flowers, and product photography.
Using a full-frame lens on a crop-sensor body like the FX30 does present some considerations. The 1.5x crop factor means the 90mm lens effectively becomes a 135mm lens in terms of field of view. This can be advantageous for macro photography, providing increased reach, but less so for other genres. Furthermore, full-frame lenses are generally larger and heavier, potentially creating an imbalance on the smaller FX30 body.
However, there are also benefits. Full-frame lenses often deliver superior image quality, particularly in the centre, which is the area utilised by the APS-C sensor. Moreover, investing in a full-frame lens offers versatility should I upgrade to a full-frame camera in the future.
It's important to acknowledge the FX30’s limitations for still photography. The absence of a mechanical shutter can lead to rolling shutter distortion with fast-moving subjects or flash photography. The lack of a viewfinder makes composition challenging in bright conditions. The FX30 also lacks some dedicated still photography features, such as advanced burst shooting modes and in-body image stabilisation, and its ergonomics are geared towards video use.
In summary, while the Sony FX30 and 90mm macro lens combination can produce excellent results, its suitability depends on individual needs. For those prioritising video with occasional still photography, it’s a viable option. However, dedicated still photographers may find a camera designed specifically for stills a more appropriate choice.
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.
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.
CLONTARF BOAT SLIPWAY
CLONTARF PIER AND SLIPWAY [NEAR THE CLONTARF YACHT CLUB]
Clontarf Boat Slipway, which is a popular spot for launching small boats and kayaks, and also for swimming! It's located right by the Clontarf Yacht & Boat Club.
History: It's been around for a long time, dating back to 1875 when the Clontarf Yacht and Boat Club was founded. So it has quite a bit of history itself, just like the Baths!
Recent Popularity: It's seen a surge in popularity for sea swimming, especially since the Covid pandemic when boating activities were reduced.
Parking Issues: There have been some issues with illegal parking around the slipway, with people blocking access for those launching boats. Dublin City Council has installed bollards to try and manage this.
Accessibility: While the bollards have helped with parking, some kayakers have found it harder to access the slipway with their equipment. This has caused a bit of debate locally.
CLONTARF PUMPING STATION
THE 2004 PUMPING STATION IN CLONTARF [A RATHER INTERESTING BUILDING]
Pumping Station in Clontarf, Dublin, built in 2004! It's a rather interesting building.
Not just a pumping station: This building, located at the junction of Vernon Avenue and Clontarf Road, actually houses three things:
The pumping station itself
A maintenance depot for Dublin City Council Parks Department
An ESB substation
Unique design: The building has a distinctive modern design. It's a single, angular structure that "rotates" across the site to maximise light and create interesting relationships with its surroundings (the road, the village, the sea wall, and even the docklands across the estuary).
Architects: It was designed by de Paor Architects.
Purposeful design: Each façade of the building serves a different function (pumping station, park depot, or electrical substation). Despite this separation, the interior is linked by a shared space for natural ventilation, which also cleverly incorporates toilet/shower facilities and a water tank.
Part of a larger plan: The pumping station was part of a broader initiative by Dublin City Council and the Royal Institute of the Architects of Ireland to improve and enhance the village centre of Clontarf.
ST JOHN THE BAPTIST
ST JOHN THE BAPTIST CATHOLIC CHURCH [CLONTARF ROAD AND CHURCH GATE AVENUE]
St John the Baptist Church on Clontarf Road is a Catholic church with a rich history dating back to the 19th century.
History & Architecture
Early Years: The church was designed by renowned Dublin ecclesiastical architect Patrick Byrne. The foundation stone was laid in 1835, and it opened in 1838, though it wasn't fully completed until 1842.
Growth and Expansion: The church underwent significant expansion in 1895, thanks to the generosity of Mr Owison Allingham. He funded a 17-foot extension, a new high altar, pulpit, altar rails, sacristy, and bell tower. His sister, Miss Allingham, decorated the church's interior.
Parish Priests: Several notable parish priests have served St John the Baptist, including Fr Callanan (died 1846), Rev Cornelius Rooney (1846-1878), and Fr Patrick O'Neill (1879-1909). Fr Edward McCabe, a curate under Fr Callanan, went on to become Cardinal Archbishop of Dublin.
Parish Changes: The parish boundaries have shifted over time. Initially, Clontarf was part of a union of eight parishes. In 1879, this was split, with Clontarf then including Killester, Coolock, and Raheny. In 1909, Clontarf became a separate parish. With the growing population, chapels-of-ease were opened: St Anthony's in 1927 and St Gabriel's in 1956. These became independent parishes in 1966 but were reunited with St John the Baptist in 2009.
Holy Faith Sisters: In 1890, the Sisters of Holy Faith established a convent and schools for girls and junior boys in Clontarf at the invitation of Fr O'Neill.
INFIRMARY ROAD
TODAY I WALKED UP INFIRMARY HILL [THERE IS MUCH ONGOING REDEVELOPMENT IN THE AREA]
Infirmary "Hill" in Dublin is more than just a street with a steep incline near the Phoenix Park. While the name reflects the common European practice of denoting slopes as "hills," this particular street holds a fascinating and layered history, intertwined with Ireland's journey to independence.
Here's what I know about the two significant sites on Infirmary "Hill":
The Royal Military Infirmary: This grand edifice, designed by renowned English architect James Gandon, stands proudly on the southeastern edge of Phoenix Park. Built between 1786 and 1788, it originally served as a state-of-the-art hospital for British soldiers stationed in Dublin. Today, this imposing structure, with its distinctive C-shaped footprint and central clock tower, houses the Irish Department of Defence's Office of the Director of Public Prosecutions.
The former Military Support Complex: Further up Infirmary Road, nestled between Montpelier Hill and Montpelier Gardens, lies a site with a rich military past. While previously believed to be solely a Veterinary Hospital, recent archaeological assessments reveal a more complex picture. This site, dating back to at least the 18th century, served a variety of military functions, including stabling, accommodation, stores, and workshops. It likely played a vital role in supporting the logistical needs of the British Army in Dublin.
Evolution of the Site: The 19th century saw significant development on the site, with new buildings, boundary walls, and laneways added, suggesting an expansion of military activities. It continued to be used for various military purposes throughout the 20th century, adapting to changing needs, before eventually falling into decline.
A Window into the Past: Today, the derelict structures and buried archaeological remains offer a unique opportunity to explore Dublin's military history. They hold the potential to reveal valuable insights into the daily lives and activities of the soldiers who once occupied this space.
Looking to the Future: Interestingly, the site is now earmarked for a social housing scheme. This presents both a challenge and an opportunity – to balance the needs of the present with the preservation of the past. Careful consideration must be given to ensure the archaeological heritage of the site is protected and integrated into any future development.
The decline of this military complex, along with other British military installations in Dublin, reflects a pivotal moment in Irish history. The War of Independence marked a struggle for self-determination, and the transformation of these sites can be seen as a physical manifestation of Ireland's journey to independence.
AN EMPTY PLINTH
In the heart of the People's Flower Garden, a solitary plinth stands as a silent witness to a bygone era. This classically-styled pedestal once supported a bronze statue of George William Frederick Howard, the 7th Earl of Carlisle. Erected around 1870, the statue was the work of renowned Irish sculptor, John Henry Foley, whose other notable works include the statue of Prince Albert at the Albert Memorial in London and the Daniel O'Connell Monument in Dublin.
The Earl of Carlisle was a prominent figure in 19th-century Irish politics, serving as Chief Secretary and twice as Lord Lieutenant of Ireland. He played a key role in the creation of the People's Garden, envisioning it as a place for the "recreation and instruction of the poor of Dublin". In a time when monuments in Irish municipal parks were rare, the Carlisle Monument held a unique position as the sole statue in the People's Garden.
However, the monument's story took a dramatic turn in 1956 when a bomb dislodged the bronze statue from its pedestal. The statue was subsequently relocated to Castle Howard in Yorkshire, England, the Earl's ancestral home. The plinth, however, remained in Dublin, a poignant reminder of the Earl's legacy and a testament to the changing tides of history.
Today, the plinth stands as a central focus in a grassy area at the southwest edge of the gardens near Chesterfield Avenue. Its inscriptions provide a glimpse into the life of the Earl of Carlisle:
North face: "Erected by public subscription 1870"
South face: "George Wm. Frederick, seventh Earl of Carlisle, K.G / Chief Secretary for Ireland, 1835 to 1841 / Lord Lieutenant of Ireland, 1855-1858 and 1859 to 1864 / Born 1802. Died 1864."
Surrounded by low-level planting, the plinth serves as a quiet place for reflection, inviting visitors to contemplate the complexities of history and the enduring power of public spaces.
THE WELLINGTON OBELISK
The Wellington Monument in Phoenix Park, a towering obelisk marking the Dublin skyline, stands as a somewhat ironic tribute to Arthur Wellesley, the Duke of Wellington. While intended to celebrate his victory at Waterloo and Irish roots, the project was met with lukewarm public support and beset by delays and funding issues. This lack of enthusiasm stemmed from Wellington's waning popularity in Ireland due to his political stance against Catholic Emancipation, alongside funding difficulties and the monument's relocation to a less central location.
Ironically, the monument is associated with two contrasting anecdotes that capture the complex relationship between Wellington and his homeland. The first, often recounted with a chuckle, involves a stable built on site to house the horse for the planned equestrian statue. When funds ran dry, leaving the stable empty, Wellington quipped, "If they cannot afford the horse, they can afford the stable." This story, though popular in Dublin, highlights the financial woes that plagued the monument's construction and the eventual abandonment of the statue.
Far more widely known, however, is the biting remark by Daniel O'Connell, a leading figure in the fight for Catholic Emancipation: "The poor old duke, what shall I say of him? To be sure he was born in Ireland, but being born in a stable does not make a man a horse." O'Connell, a champion of Catholic Emancipation and a towering figure in Irish history, crafted a retort that resonated deeply with those who felt betrayed by Wellington's political stance. This quote, deeply ingrained in Irish historical memory, underscores the complexities of Wellington's legacy in Ireland, where admiration for his military achievements is often tempered by his political actions.
In contrast to the Dublin monument, the Wellington Monument in Trim, County Meath, enjoyed significant local support. This stemmed from Wellington's strong personal ties to the town, where he spent his formative years and served as a member of Parliament. Funded and championed by the local community, the Trim monument, a more modest bronze statue atop a column, reflects a sense of local pride and ownership absent in the Dublin project.
The contrasting stories associated with the Dublin monument, one humorous and the other pointedly critical, offer a glimpse into the complexities of commemorating historical figures whose legacies are intertwined with political and social tensions. These contrasting narratives, alongside the differing receptions of the Dublin and Trim monuments, paint a nuanced picture of Wellington's legacy in Ireland, one marked by both admiration and resentment.
RICHMOND HOSPITAL
The Richmond Hospital, located on North Brunswick Street in Dublin, has a long and fascinating history. It began as a convent in 1688, founded by the Benedictine Nuns. In the 18th century, the site was transformed into a complex of hospitals, including the Hardwicke Fever Hospital (1803), the Richmond Surgical Hospital (1811), and the Whitworth Medical Hospital (1817).
In 1901, the Richmond Surgical Hospital was rebuilt in a grand red brick and terracotta style, designed by the renowned architects Carroll and Batchelor. It quickly became known for its excellent surgical care and its reputation for innovation. The hospital served as a leading medical facility for over 80 years.
In 1987, the Richmond Hospital closed its doors as a hospital. The building was later repurposed as a courthouse, serving as a base for the District Court Service for many years. In 2018, the building was acquired by the Irish Nurses and Midwives Organisation (INMO) and transformed into the Richmond Education and Event Centre.
Today, the Richmond building stands as a testament to its rich history and architectural significance. It serves as a vibrant hub for education, training, and events, while also preserving its heritage as a former hospital.
NORTH KING STREET
NORTH KING STREET [IT IS LONGER THAN I THOUGHT IT WAS]
North King Street, stretching further than many realise, is a street steeped in history and woven into the fabric of Dublin's identity. More than just a thoroughfare, it bears witness to significant events and transformations that have shaped the city.
Historical Significance
The Linen Industry Legacy: Before Belfast became synonymous with linen production, North King Street and its surrounding area were at the heart of Ireland's linen industry. This legacy is reflected in the street names that echo places in Ulster, such as Lurgan Street, Coleraine Street, and Lisburn Street. Linenhall Street, Linenhall Place, and Linenhall Terrace further emphasise this historical connection. The Linenhall itself, once a bustling hub for the trade, stood nearby, though its influence waned with the rise of Belfast's linen industry.
1916 Easter Rising and the North King Street Massacre: During the 1916 Easter Rising, North King Street became a scene of intense fighting between Irish Volunteers and British forces. This culminated in the tragic North King Street Massacre, where sixteen unarmed civilians were killed by British troops. This event remains a poignant reminder of the conflict's human cost. A memorial plaque at the Dublinbikes docking station on Smithfield Square, located prominently on North King Street, commemorates the victims.
Smithfield Square: This large public plaza, once a bustling marketplace, is now a vibrant space that hosts markets, concerts, and other events. It's a central feature of North King Street and a popular gathering place for locals and visitors.
The Cobblestone Pub: Facing the potential threat of demolition, the Cobblestone Pub stands as a symbol of community resilience and the importance of preserving cultural heritage. Thanks to the passionate opposition and protests from locals, this beloved traditional music pub was saved. It continues to be a cherished venue for live music and a vital part of Dublin's cultural landscape.
North King Street, with its rich history and vibrant present, offers a fascinating glimpse into the evolution of Dublin. It's a place where the past and present intertwine, reminding us of the struggles, triumphs, and enduring spirit of the city.
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