WILLIAM DARGAN BRIDGE
THERE ARE TWO TRAM STOPS IN DUNDRUM [AND ONE FEATURES THE LANDMARK WILLIAM DARGAN BRIDGE]
A friend of mine owns a restaurant "Essence" in Dundrum so I decided to have lunch there but on my arrival I discovered that the restaurant was closed, I had forgotten that he had mentioned that they would not be open this Sunday. Anyway, my visit gave me the opportunity to photograph the William Dargan Suspension Bridge,
Key Features:
Cable-stayed design: The bridge is a cable-stayed bridge, meaning the deck is supported by cables running directly to a central tower or pylon. This design allows for longer spans and a more visually striking structure.
Purpose: It carries the Green Line of the Luas over the busy Taney junction, where the R112 and R117 regional roads intersect. It also crosses the Slang River.
Historical context: The bridge is built on the alignment of the former Harcourt Street railway line, which was closed in the 1950s. The new bridge facilitated the return of rail transport to this corridor.
Named after William Dargan: The bridge is named after William Dargan (1799-1867), an important Irish railway contractor who was instrumental in developing Ireland's railway network in the 19th century.
Significance:
Transport infrastructure: The bridge is a vital part of the Luas Green Line, enabling efficient and grade-separated movement of trams through a busy traffic intersection.
Engineering achievement: The bridge's design and construction represent a significant engineering undertaking, particularly given the need to minimise disruption to traffic during construction.
Landmark: With its 50-meter-high pylon and distinctive cable arrangement, the bridge has become a recognisable landmark in the Dundrum area.
Symbolic of regeneration: The bridge symbolises the regeneration of a former railway corridor for modern public transport use.
Additional details:
The bridge was opened in 2004 as part of the launch of the Luas Green Line.
It has a total length of 162 meters.
The main span is 108 meters long.
The pylon is an inverted-Y shape and is made of reinforced concrete.
The deck is supported by 13 pairs of high-tensile steel cables.
Overall, the William Dargan Bridge is a well-designed and important piece of infrastructure that plays a key role in Dublin's public transport system. It also serves as a reminder of Ireland's railway heritage and a symbol of modern urban development.
Essence Patisserie is a casual, cozy spot with a warm and inviting atmosphere. It's a great place to enjoy a delicious breakfast, lunch, or dinner, or to simply relax with a cup of coffee and a pastry. The menu features a variety of fresh and flavourful dishes, including sandwiches, wraps, bagels, and more. The staff are friendly and attentive, and the service is excellent. Of course I am somewhat biased.
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.
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.
LOWER KILMACUD ROAD
Kilmacud and Stillorgan are neighbouring areas in Dublin with a somewhat overlapping identity. It's easy to get confused about where one ends and the other begins, especially if you're relying on public transport. Don't assume that the Kilmacud or Stillorgan Luas stops will get you exactly where you need to go - Kilmacud, in particular, stretches across a significant distance.
To understand Kilmacud's location, it helps to picture it in relation to its surrounding areas:
North: Goatstown and Mount Merrion
South: Sandyford
East: Stillorgan
West: Dundrum and Balally
The area is defined by two main roads:
Lower Kilmacud Road: Starts in Goatstown and runs southeast, eventually connecting to the N11 Stillorgan dual carriageway. This road is approximately 2.6 kilometers (1.6 miles) long.
Upper Kilmacud Road: Begins in Dundrum, heads east, and then turns north to join Lower Kilmacud Road near St. Laurence's Boys School. It's about 2.9 kilometers (1.8 miles) long.
Adding to the potential confusion, Kilmacud Crokes GAA club is actually located in Stillorgan, while Stillorgan's Catholic parish is named Kilmacud!
Historically, the boundary between the two areas was less clear. A "Stillorgan" placename sign once stood near Beaufield Park on Lower Kilmacud Road, marking what was then the western edge of Stillorgan. This was before the significant housing developments of the 1950s and beyond.
Getting There by Bus:
Several Dublin Bus routes serve the Kilmacud area, providing connections to various parts of the city. Here are some key routes and stops:
Route 75: Connects Dun Laoghaire to Tallaght, with stops along the N11 Stillorgan dual carriageway, serving the eastern edge of Kilmacud.
Route 11: Runs from Wadelai to Sandyford, with stops on Lower Kilmacud Road near St. Laurence's Church and the Stillorgan Shopping Centre.
Route 44: Travels between DCU and Enniskerry, serving the western part of Kilmacud with stops on Dundrum Road.
Route 47: Connects Poolbeg Street to Belarmine, with stops on Stillorgan Road near Kilmacud Crokes GAA club.
When planning your journey, be sure to check the Dublin Bus website or app for the most up-to-date routes and timetables. Always confirm the specific stop closest to your destination to avoid a potentially long walk.
REBRANDED AS STILLORGAN VILLAGE
Stillorgan Shopping Centre, now rebranded as Stillorgan Village, holds a unique place in Irish retail history. Opened in 1966, it was the first shopping centre in Ireland and introduced a new era of consumerism to the country. Its open-air design, a departure from the fully enclosed malls that later became the norm, set it apart. This design, with its covered walkways and central plaza, fostered a sense of community and openness, making it a popular gathering spot for locals.
One of the major draws of the centre in its early days was the presence of Quinnsworth, a supermarket chain owned by the charismatic Pat Quinn. Quinn was a well-known figure in Ireland, and his supermarkets were renowned for their quality and customer service. This attracted the attention of rival supermarket chain Dunnes Stores, who saw the success of Quinnsworth and Stillorgan and decided to open a massive superstore in nearby Cornelscourt. This was a bold move, aiming to capture some of the market share that Quinnsworth had gained.
However, while the Dunnes Stores in Cornelscourt was, and still is, a huge success in its own right, it didn't negatively impact Stillorgan Shopping Centre to the extent that might have been expected. This was likely due to a combination of factors. Quinnsworth, under Pat Quinn, emphasised customer service and a more premium experience, while Dunnes Stores leaned more towards value and a wider range of goods, including their own-brand clothing and homewares. This meant they appealed to slightly different customer bases. Additionally, Stillorgan had the advantage of being established first, and its central location in Stillorgan remained highly convenient for many shoppers. Furthermore, Pat Quinn had cultivated a strong sense of customer loyalty, and many shoppers remained faithful to Quinnsworth despite the arrival of Dunnes.
This rivalry highlights the dynamic nature of the Irish retail landscape. Ultimately, both stores thrived, demonstrating that there was room for multiple players even in a relatively small geographical area. This competition likely benefited consumers by driving improvements in both stores.
Despite the competition and challenges over the years, including several failed attempts to redevelop the site, Stillorgan Shopping Centre has remained a popular shopping destination. The rebranding of the centre as Stillorgan Village is a common trend in Ireland, where shopping centres often adopt the moniker of "village" to create a sense of community and local identity. While Stillorgan Shopping Centre may have a stronger claim to this title, given that the original village centre was demolished to make way for it, the rebranding nonetheless reflects a broader trend in Irish retail.
Stillorgan Village, with its unique open-air design and its place in Irish retail history, continues to be a popular destination for shoppers and a landmark in the community.
While Dunnes Stores has fiercely guarded its independence, Quinnsworth was eventually sold as a going concern, marking a significant turning point in its history.
Here's a closer look at the factors that led to Quinnsworth's sale:
Ambitious Expansion and Diversification: Pat Quinn had ambitious plans for Quinnsworth. He expanded rapidly, not just with supermarkets, but also with ventures like B&Q (DIY) and Crazy Prices (discount). This expansion required significant investment and may have stretched the company's resources.
The Rise of Tesco: Tesco, a major UK supermarket chain, entered the Irish market in the late 1990s with the acquisition of Associated British Foods (ABF), which owned Quinnsworth and Crazy Prices. This brought a formidable competitor into the mix.
Strategic Decision: It's likely that ABF saw the sale to Tesco as a strategic move, allowing them to focus on their core businesses while capitalising on the value of their Irish retail assets.
It's important to remember that Quinnsworth was a highly successful business when it was sold. It had a strong brand reputation, a loyal customer base, and a significant market share. However, the changing landscape of Irish retail, with increased competition and the arrival of Tesco, likely played a role in ABF's decision to sell.
The sale of Quinnsworth to Tesco marked the end of an era in Irish retail. While the Quinnsworth name eventually disappeared, its legacy lived on in many ways. Tesco retained many of the former Quinnsworth employees and incorporated some of its successful practices.
The contrasting trajectories of Dunnes Stores and Quinnsworth provide a fascinating case study in how different companies navigate the challenges of the retail industry. Dunnes Stores, with its unwavering commitment to independence, stands in contrast to Quinnsworth, which ultimately became part of a larger international corporation.
OLD DUBLIN ROAD
THE OLD DUBLIN ROAD STILLORGAN SECTION [IN THE 1960s I LIVED AT WOODLANDS DRIVE WHICH IS OFF THIS ROAD]
Stillorgan's Transformation: From Village to Suburban Hub
The area now known as the 'Old Stillorgan Road' was simply 'Stillorgan Road' when I lived in Woodlands Drive in the 1960s. Stillorgan was then a small, rural village, a far cry from the bustling suburb it is today. While I personally found it aesthetically unappealing, its transformation throughout the latter half of the 20th century is undeniable. I should mention that I liked living in Stillorgan and that I remained there until I accepted a job offer in California in 1979.
My childhood experiences in Stillorgan were starkly different to those in Rathgar, where I had previously lived with my grandmother. In Rathgar, the local shops offered a warm and welcoming atmosphere, particularly for a child. The shopkeepers were friendly and helpful, creating a sense of community. Stillorgan, in contrast, felt cold and impersonal. The local shops along Stillorgan Road were generally unpleasant, with staff often dismissive or unhelpful towards children. There was, however, one shining exception: Baumanns.
Established in 1947 by Jack and Catherine Baumann, Baumanns of Stillorgan quickly became a local institution. This remarkably diverse business catered to a wide range of needs, offering everything from high-class delicatessen items and pet supplies to hardware, gardening equipment, and even hairdressing services. Jack Baumann, affectionately known as the "King of Stillorgan", was a beloved figure in the community, renowned for his generosity and charitable work. He also showed a strong commitment to local employment.
In 1978, Val Baumann took over the business, streamlining it to focus on hardware, pet supplies, and garden sheds. The business continued to adapt and evolve, with the addition of an aquatic centre and fishing and shooting supplies in 2002. Baumanns remains a thriving business in Stillorgan to this day, a testament to its enduring appeal and adaptability.
The arrival of the Stillorgan Shopping Centre in the 1960s marked a significant turning point in the area's development. As one of the first shopping centres in Ireland, and indeed one of the first outside of the USA, it revolutionised the retail landscape. The convenience and variety offered by the shopping centre drew customers away from the smaller shops along Stillorgan Road, leading to the closure of many. Baumanns, however, withstood this change, demonstrating its resilience and strong community ties.
Across the road from this new retail behemoth sat Nimble Fingers, a beloved arts and crafts shop. Now, Nimble Fingers also found itself at the centre of an unexpected drama involving the nearby Oatlands school. In the late 1960s, the school issued a rather startling decree: all students were forbidden from visiting Nimble Fingers. Naturally, this caused quite a stir amongst the parents, who demanded an explanation for this seemingly arbitrary ban. The school, with an air of grave seriousness, declared that the owner of Nimble Fingers was a known member of the Irish Communist Party! One can only imagine the whispers and raised eyebrows that followed this revelation. However, the truth, as it often does, proved to be far less dramatic. It turned out that the owner was not a communist revolutionary, but rather a member of the ICA – the Irish Countrywomen's Association. This venerable organisation, dedicated to social and educational opportunities for women and the betterment of rural and urban life, was evidently mistaken for a hotbed of communist activity. The misunderstanding, once cleared up, no doubt provided much amusement in the community.
The construction of the Stillorgan Bypass and the M50 motorway further contributed to Stillorgan's transformation. Improved transport links increased accessibility and spurred further development, solidifying Stillorgan's position as a key suburban hub.
Stillorgan's Transformation: From Village to Suburban Hub
The area now known as the 'Old Stillorgan Road' was simply 'Stillorgan Road' when I lived in Woodlands Drive in the 1960s. Stillorgan was then a small, rural village, a far cry from the bustling suburb it is today. While I personally found it aesthetically unappealing, its transformation throughout the latter half of the 20th century is undeniable. I should mention that I liked living in Stillorgan and that I remained there until I accepted a job offer in California in 1979.
My childhood experiences in Stillorgan were starkly different to those in Rathgar, where I had previously lived with my grandmother. In Rathgar, the local shops offered a warm and welcoming atmosphere, particularly for a child. The shopkeepers were friendly and helpful, creating a sense of community. Stillorgan, in contrast, felt cold and impersonal. The local shops along Stillorgan Road were generally unpleasant, with staff often dismissive or unhelpful towards children. There was, however, one shining exception: Baumanns.
Established in 1947 by Jack and Catherine Baumann, Baumanns of Stillorgan quickly became a local institution. This remarkably diverse business catered to a wide range of needs, offering everything from high-class delicatessen items and pet supplies to hardware, gardening equipment, and even hairdressing services. Jack Baumann, affectionately known as the "King of Stillorgan", was a beloved figure in the community, renowned for his generosity and charitable work. He also showed a strong commitment to local employment.
In 1978, Val Baumann took over the business, streamlining it to focus on hardware, pet supplies, and garden sheds. The business continued to adapt and evolve, with the addition of an aquatic centre and fishing and shooting supplies in 2002. Baumanns remains a thriving business in Stillorgan to this day, a testament to its enduring appeal and adaptability.
The arrival of the Stillorgan Shopping Centre in the 1960s marked a significant turning point in the area's development. As one of the first shopping centres in Ireland, and indeed one of the first outside of the USA, it revolutionised the retail landscape. The convenience and variety offered by the shopping centre drew customers away from the smaller shops along Stillorgan Road, leading to the closure of many. Baumanns, however, withstood this change, demonstrating its resilience and strong community ties.
Across the road from this new retail behemoth sat Nimble Fingers, a beloved arts and crafts shop. Now, Nimble Fingers also found itself at the centre of an unexpected drama involving the nearby Oatlands school. In the late 1960s, the school issued a rather startling decree: all students were forbidden from visiting Nimble Fingers. Naturally, this caused quite a stir amongst the parents, who demanded an explanation for this seemingly arbitrary ban. The school, with an air of grave seriousness, declared that the owner of Nimble Fingers was a known member of the Irish Communist Party! One can only imagine the whispers and raised eyebrows that followed this revelation. However, the truth, as it often does, proved to be far less dramatic. It turned out that the owner was not a communist revolutionary, but rather a member of the ICA – the Irish Countrywomen's Association. This venerable organisation, dedicated to social and educational opportunities for women and the betterment of rural and urban life, was evidently mistaken for a hotbed of communist activity. The misunderstanding, once cleared up, no doubt provided much amusement in the community.
The construction of the Stillorgan Bypass and the M50 motorway further contributed to Stillorgan's transformation. Improved transport links increased accessibility and spurred further development, solidifying Stillorgan's position as a key suburban hub.
PALMERSTOWN VILLAGE
Palmerstown Village, nestled in the suburbs of Dublin, boasts a rich history dating back to the 12th century. Its name originates from a pilgrim, or "palmer", named Ailred, who established the Palmers' Hospital there. This hospital later became known as the Hospital of St. John the Baptist and eventually merged with the Augustinian Order.
Note: Palmerston [different spelling] is a small area located in Rathmines, on the south side of Dublin City. It's primarily known for a park, Palmerston Park, and the surrounding residential streets. It has no historical connection to Palmerstown Village.
Throughout the centuries, Palmerstown has seen its fair share of notable residents and events:
Early History: In 1188, Pope Clement III officially recognised the priory's land grants, which included the parish of Palmerstown. A renowned scholar, Thomas Hibernicus, also resided in Palmerstown in the 13th century.
Post-Dissolution: Following the dissolution of monasteries in 1539, the hospital's property, including a large house, church, mill, and kiln, was granted to Sir John Allen, the Irish Chancellor.
17th Century: Sir Maurice Eustace, a prominent figure in Irish law and politics, became the primary owner of Palmerstown. After his death, the estate passed to Sir John Temple, Solicitor-General for Ireland under Charles II.
18th Century: The prominent Anglo-Irish politician, John Hely-Hutchinson, held ownership of Palmerstown. He also served as Provost of Trinity College Dublin.
Modern Era: Palmerstown experienced significant growth and development in the 20th century, transforming into a bustling suburb of Dublin.
Today, Palmerstown retains its village charm while offering modern amenities. It's a popular residential area with a strong sense of community.
The spelling of "Palmerstown" has been a source of local contention and even led to a plebiscite in the village.
Here's a breakdown of the situation:
The Issue:
Two Spellings: "Palmerstown" with a 'w' is the historical and traditional spelling of the village, reflecting its origin from the pilgrim "palmer." However, "Palmerston" (without the 'w') became common in official usage, particularly on road signs and by some government agencies.
Local Identity: Residents felt that the 'w'-less spelling eroded their village's historical identity and connection to its past. They argued that "Palmerston" was associated with the area in Dublin City and caused confusion.
The Plebiscite:
2009 Vote: An initial attempt to restore the 'w' in 2009 through a vote of the wider area failed due to low turnout.
2014 Village Vote: In 2014, a local councillor organised a plebiscite specifically for Palmerstown Village residents. This time, the vote was overwhelmingly in favour of officially reinstating the 'w'.
Outcome:
Official Recognition: South Dublin County Council acknowledged the results of the plebiscite. While the surrounding area may still sometimes be referred to as "Palmerston," the village itself is officially recognised as "Palmerstown."
Ongoing Changes: Efforts have been made to update signage and official documents to reflect the correct spelling. However, you might still encounter the 'w'-less version from time to time.
Significance:
The "Palmerstown" spelling dispute highlights the importance of local identity and historical preservation for communities. It demonstrates how even seemingly small details like a single letter can carry significant meaning for residents.
Note: Palmerston [different spelling] is a small area located in Rathmines, on the south side of Dublin City. It's primarily known for a park, Palmerston Park, and the surrounding residential streets. It has no historical connection to Palmerstown Village.
Throughout the centuries, Palmerstown has seen its fair share of notable residents and events:
Early History: In 1188, Pope Clement III officially recognised the priory's land grants, which included the parish of Palmerstown. A renowned scholar, Thomas Hibernicus, also resided in Palmerstown in the 13th century.
Post-Dissolution: Following the dissolution of monasteries in 1539, the hospital's property, including a large house, church, mill, and kiln, was granted to Sir John Allen, the Irish Chancellor.
17th Century: Sir Maurice Eustace, a prominent figure in Irish law and politics, became the primary owner of Palmerstown. After his death, the estate passed to Sir John Temple, Solicitor-General for Ireland under Charles II.
18th Century: The prominent Anglo-Irish politician, John Hely-Hutchinson, held ownership of Palmerstown. He also served as Provost of Trinity College Dublin.
Modern Era: Palmerstown experienced significant growth and development in the 20th century, transforming into a bustling suburb of Dublin.
Today, Palmerstown retains its village charm while offering modern amenities. It's a popular residential area with a strong sense of community.
The spelling of "Palmerstown" has been a source of local contention and even led to a plebiscite in the village.
Here's a breakdown of the situation:
The Issue:
Two Spellings: "Palmerstown" with a 'w' is the historical and traditional spelling of the village, reflecting its origin from the pilgrim "palmer." However, "Palmerston" (without the 'w') became common in official usage, particularly on road signs and by some government agencies.
Local Identity: Residents felt that the 'w'-less spelling eroded their village's historical identity and connection to its past. They argued that "Palmerston" was associated with the area in Dublin City and caused confusion.
The Plebiscite:
2009 Vote: An initial attempt to restore the 'w' in 2009 through a vote of the wider area failed due to low turnout.
2014 Village Vote: In 2014, a local councillor organised a plebiscite specifically for Palmerstown Village residents. This time, the vote was overwhelmingly in favour of officially reinstating the 'w'.
Outcome:
Official Recognition: South Dublin County Council acknowledged the results of the plebiscite. While the surrounding area may still sometimes be referred to as "Palmerston," the village itself is officially recognised as "Palmerstown."
Ongoing Changes: Efforts have been made to update signage and official documents to reflect the correct spelling. However, you might still encounter the 'w'-less version from time to time.
Significance:
The "Palmerstown" spelling dispute highlights the importance of local identity and historical preservation for communities. It demonstrates how even seemingly small details like a single letter can carry significant meaning for residents.
BABY AUSTIN
Based on my memory of my Grandfather's first car, the car parked outside the Dropping Well Pub is an Austin 7 which he referred to as his Baby Austin.
The prominent "Austin" badge on the front grille, along with the overall shape and design of the vehicle, including the distinctive headlights and wire wheels, are characteristic of this iconic model.
The Austin 7, affectionately known as the "Baby Austin," was a hugely popular car produced by the Austin Motor Company from 1922 to 1939. Its small size, affordability, and reliability made it a favorite among the British public, and it played a significant role in democratising car ownership in the early 20th century.
Seeing one parked outside the historic Dropping Well Pub was a delightful sight, adding a touch of vintage charm and a nod to the area's rich heritage.
The Austin Motor Company: A Driving Force in British Automotive History
The Austin Motor Company, founded in 1905 by Herbert Austin, played a pivotal role in shaping the British automotive industry and left an enduring mark on the global automotive landscape.
Early Years and Expansion:
1905: The Birth of Austin: Herbert Austin, an engineer with a vision, established the company in Longbridge, Birmingham, initially utilising a disused printing works.
Focus on Luxury: Early Austin cars were marketed towards the affluent, gaining a reputation for quality and craftsmanship.
World War I Production: The company's manufacturing prowess was harnessed during the war, producing munitions and vehicles for the British military.
Post-War Growth: Following the war, Austin expanded its model range and production capacity, catering to a wider market.
Iconic Models and Innovations:
The Austin 7: Launched in 1922, this small, affordable car revolutionised the British automotive market, making car ownership accessible to a broader segment of the population.
The Austin Mini: Introduced in 1959, the Mini became an icon of British design and engineering, known for its compact size, innovative space utilisation, and fun driving experience.
Other Notable Models: Throughout its history, Austin produced a wide range of vehicles, including the Austin Healey sports cars, the Austin A30, the Austin 1100/1300, and the Austin Maxi.
Mergers and Transformations:
1952: Formation of BMC: Austin merged with Morris Motors to form the British Motor Corporation (BMC), consolidating their market presence and resources.
1968: British Leyland: BMC merged with Leyland Motors to create British Leyland, a conglomerate that faced challenges due to its size and complex structure.
1980s: Decline and Demise: The Austin brand struggled during the 1980s, facing competition from foreign manufacturers and internal challenges within British Leyland. The brand was eventually phased out in 1987.
Legacy and Influence:
Accessibility and Innovation: Austin played a crucial role in democratising car ownership in Britain, making automobiles more affordable and accessible to the masses.
Design and Engineering Excellence: The company produced numerous iconic models that showcased innovative design and engineering solutions.
Global Impact: Austin cars were exported worldwide, contributing to the company's international recognition and influence.
Cultural Icon: The Austin Mini, in particular, became a symbol of British culture and style, capturing the spirit of a generation.
Conclusion:
The Austin Motor Company, despite its eventual demise, left an indelible mark on the automotive world. Its commitment to innovation, accessibility, and design excellence helped shape the British automotive industry and inspired generations of car enthusiasts. While the Austin brand may no longer exist, its legacy lives on through the iconic models and the memories they evoke.
Austin 7, Baby Austin, Dropping Well Pub, Dublin, vintage car, automotive heritage, nostalgia, iconic car, Herbert Austin, compact car, affordable car, simple design, fuel efficiency, democratisation of car ownership.
The prominent "Austin" badge on the front grille, along with the overall shape and design of the vehicle, including the distinctive headlights and wire wheels, are characteristic of this iconic model.
The Austin 7, affectionately known as the "Baby Austin," was a hugely popular car produced by the Austin Motor Company from 1922 to 1939. Its small size, affordability, and reliability made it a favorite among the British public, and it played a significant role in democratising car ownership in the early 20th century.
Seeing one parked outside the historic Dropping Well Pub was a delightful sight, adding a touch of vintage charm and a nod to the area's rich heritage.
The Austin Motor Company: A Driving Force in British Automotive History
The Austin Motor Company, founded in 1905 by Herbert Austin, played a pivotal role in shaping the British automotive industry and left an enduring mark on the global automotive landscape.
Early Years and Expansion:
1905: The Birth of Austin: Herbert Austin, an engineer with a vision, established the company in Longbridge, Birmingham, initially utilising a disused printing works.
Focus on Luxury: Early Austin cars were marketed towards the affluent, gaining a reputation for quality and craftsmanship.
World War I Production: The company's manufacturing prowess was harnessed during the war, producing munitions and vehicles for the British military.
Post-War Growth: Following the war, Austin expanded its model range and production capacity, catering to a wider market.
Iconic Models and Innovations:
The Austin 7: Launched in 1922, this small, affordable car revolutionised the British automotive market, making car ownership accessible to a broader segment of the population.
The Austin Mini: Introduced in 1959, the Mini became an icon of British design and engineering, known for its compact size, innovative space utilisation, and fun driving experience.
Other Notable Models: Throughout its history, Austin produced a wide range of vehicles, including the Austin Healey sports cars, the Austin A30, the Austin 1100/1300, and the Austin Maxi.
Mergers and Transformations:
1952: Formation of BMC: Austin merged with Morris Motors to form the British Motor Corporation (BMC), consolidating their market presence and resources.
1968: British Leyland: BMC merged with Leyland Motors to create British Leyland, a conglomerate that faced challenges due to its size and complex structure.
1980s: Decline and Demise: The Austin brand struggled during the 1980s, facing competition from foreign manufacturers and internal challenges within British Leyland. The brand was eventually phased out in 1987.
Legacy and Influence:
Accessibility and Innovation: Austin played a crucial role in democratising car ownership in Britain, making automobiles more affordable and accessible to the masses.
Design and Engineering Excellence: The company produced numerous iconic models that showcased innovative design and engineering solutions.
Global Impact: Austin cars were exported worldwide, contributing to the company's international recognition and influence.
Cultural Icon: The Austin Mini, in particular, became a symbol of British culture and style, capturing the spirit of a generation.
Conclusion:
The Austin Motor Company, despite its eventual demise, left an indelible mark on the automotive world. Its commitment to innovation, accessibility, and design excellence helped shape the British automotive industry and inspired generations of car enthusiasts. While the Austin brand may no longer exist, its legacy lives on through the iconic models and the memories they evoke.
Austin 7, Baby Austin, Dropping Well Pub, Dublin, vintage car, automotive heritage, nostalgia, iconic car, Herbert Austin, compact car, affordable car, simple design, fuel efficiency, democratisation of car ownership.
SPIRIT OF THE DOCKLANDS
AND THE HALFPENNY BRIDGE
THE BETA TEST MAY NOT WORK
LIFFEY CRUISE
The origins of the name "Back Lane" are shrouded in mystery, with several theories put forward based on historical context and city planning. Regardless of its name, the lane is home to a significant landmark: Tailor's Hall.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
TAILORS HALL
A HISTORICAL HIGHLIGHT ON BACK LANE
TAILOR'S HALL
The origins of the name "Back Lane" are shrouded in mystery, with several theories put forward based on historical context and city planning. Regardless of its name, the lane is home to a significant landmark: Tailor's Hall.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
MOTHER REDCAP'S
A HISTORICAL AND ARCHAEOLOGICAL SITE ON BACK LANE
MOTHER REDCAP'S
Mother Redcap's, a former market and pub complex situated on Back Lane, holds a unique place in Dublin's history. Its transformation over the years, from a bustling shoe factory to a vibrant market, and the subsequent archaeological discoveries, reveal a multi-layered narrative of the city's past.
A Story of Transformation:
Originally built in the late 19th century as a shoe factory for James Winstanley, the complex played a vital role in Dublin's industrial landscape. In 1988, the site was repurposed as an indoor market and pub, becoming known for its diverse range of vendors and lively atmosphere. However, this era came to an end in the early 2000s when Mother Redcap's closed its doors.
Unearthing the Past:
Extensive archaeological excavations in 2006 unveiled a treasure trove of historical deposits, dating from the Hiberno-Norse period (c. 900 AD) to the post-medieval era. These discoveries included evidence of a Hiberno-Norse defensive bank, medieval cultivation, post-medieval occupation, and the remains of Kildare Hall, a historic building that once graced the site.
Preserving Heritage:
Although the market and pub are no longer in operation, the archaeological significance of Mother Redcap's cannot be overstated. The site stands as a testament to the layers of history that have shaped Dublin, highlighting the importance of preserving and understanding its heritage. While redevelopment plans for the site exist, the archaeological findings underscore the need for a balanced approach that respects the site's historical value.
The Winstanley Legacy:
The original Winstanley Shoe Factory was a major contributor to Dublin's industrial growth. Founded by James Winstanley, an English clogger who settled in Dublin in 1852, the factory thrived, producing thousands of pairs of shoes weekly and employing hundreds of workers, mostly from the Liberties area. Winstanley, an active community member and alderman, played a crucial role in the city's development.
From Factory to Marketplace:
The factory's strategic location on Back Lane, coupled with its use of modern machinery and production techniques, allowed it to flourish. However, by the 1980s, the factory closed due to changes in the global footwear industry. The site's subsequent transformation into Mother Redcap's Market and pub breathed new life into the area, but this too was short-lived.
A Window into Dublin's Past:
Despite the closures, the legacy of the Winstanley Shoe Factory and Mother Redcap's lives on. The archaeological remains unearthed in 2006 provide valuable insights into the site's long and varied history, reminding us of Dublin's rich industrial and cultural heritage.
A Story of Transformation:
Originally built in the late 19th century as a shoe factory for James Winstanley, the complex played a vital role in Dublin's industrial landscape. In 1988, the site was repurposed as an indoor market and pub, becoming known for its diverse range of vendors and lively atmosphere. However, this era came to an end in the early 2000s when Mother Redcap's closed its doors.
Unearthing the Past:
Extensive archaeological excavations in 2006 unveiled a treasure trove of historical deposits, dating from the Hiberno-Norse period (c. 900 AD) to the post-medieval era. These discoveries included evidence of a Hiberno-Norse defensive bank, medieval cultivation, post-medieval occupation, and the remains of Kildare Hall, a historic building that once graced the site.
Preserving Heritage:
Although the market and pub are no longer in operation, the archaeological significance of Mother Redcap's cannot be overstated. The site stands as a testament to the layers of history that have shaped Dublin, highlighting the importance of preserving and understanding its heritage. While redevelopment plans for the site exist, the archaeological findings underscore the need for a balanced approach that respects the site's historical value.
The Winstanley Legacy:
The original Winstanley Shoe Factory was a major contributor to Dublin's industrial growth. Founded by James Winstanley, an English clogger who settled in Dublin in 1852, the factory thrived, producing thousands of pairs of shoes weekly and employing hundreds of workers, mostly from the Liberties area. Winstanley, an active community member and alderman, played a crucial role in the city's development.
From Factory to Marketplace:
The factory's strategic location on Back Lane, coupled with its use of modern machinery and production techniques, allowed it to flourish. However, by the 1980s, the factory closed due to changes in the global footwear industry. The site's subsequent transformation into Mother Redcap's Market and pub breathed new life into the area, but this too was short-lived.
A Window into Dublin's Past:
Despite the closures, the legacy of the Winstanley Shoe Factory and Mother Redcap's lives on. The archaeological remains unearthed in 2006 provide valuable insights into the site's long and varied history, reminding us of Dublin's rich industrial and cultural heritage.
BACK LANE
AN UNCOMPLICATED NAME FOR A LANE
BACK LANE
This Saint Vincent de Paul night shelter was constructed to designs by Thomas Francis McNamara in 1915 to provide low-cost accommodation for working men, and later became a night shelter as homelessness became more apparent. Its substantial scale and form, with a regular fenestration arrangement creating a well-balanced, symmetrical façade, make it an imposing addition to Back Lane. The statue of Saint Vincent De Paul is notable, adding artistic and contextual interest. The building is of considerable social importance as an early twentieth-century example of purpose-built charitable accommodation.
The origins of the name "Back Lane" are shrouded in mystery, with several theories put forward based on historical context and city planning. Regardless of its name, the lane is home to a significant landmark: Tailor's Hall.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
The origins of the name "Back Lane" are shrouded in mystery, with several theories put forward based on historical context and city planning. Regardless of its name, the lane is home to a significant landmark: Tailor's Hall.
The Back Lane Parliament: In 1792, Tailor's Hall, situated on Back Lane, became the meeting place for the Catholic Committee. They gathered to draft a petition to King George III, seeking relief from the discriminatory Penal Laws imposed on Catholics. This gathering was dubbed the "Back Lane Parliament" and marked a pivotal moment in the fight for Catholic emancipation in Ireland.
The Tailors' Guild: Tailor's Hall itself served as a crucial hub for the Guild of Merchant Tailors, which played a vital role in Dublin's economic and social fabric for centuries.
Architectural Significance:
Tailor's Hall: This beautifully restored 18th-century building remains a prominent feature on Back Lane. It now serves as the headquarters for An Taisce, the National Trust for Ireland.
Important Note: While Tailor's Hall has a rich history and was once open to the public as a pub/tavern, it is currently closed for general access. As the headquarters for An Taisce, the building may be open for pre-arranged tours or special events. Those interested in exploring its interior should contact An Taisce directly for further information.
FRANCIS STREET
THERE IS STILL SOME STREET ART
STILL SOME STREET ART
Francis Street in Dublin has a vibrant history of street art, with a noticeable shift towards more "commercial" or commissioned pieces in recent years. This trend is likely driven by businesses seeking to deter random graffiti and enhance their storefronts.
Vini.Bustamante, a well-known street artist, has contributed significantly to the area's artistic landscape. Their work can be spotted on various buildings, adding a colourful and dynamic touch to the street.
One notable location for high-quality street art was the Tivoli Theatre Car Park. This space became a haven for artists, showcasing diverse styles and themes. However, the recent redevelopment of the car park into a hotel has unfortunately resulted in the loss of this unique artistic hub.
Despite this loss, Francis Street continues to evolve as a canvas for creative expression. The presence of commissioned street art adds a layer of vibrancy to the area, attracting visitors and fostering a sense of community pride. However, the debate continues regarding the balance between commercial interests and the organic, unfiltered nature of street art.
Vini.Bustamante, a well-known street artist, has contributed significantly to the area's artistic landscape. Their work can be spotted on various buildings, adding a colourful and dynamic touch to the street.
One notable location for high-quality street art was the Tivoli Theatre Car Park. This space became a haven for artists, showcasing diverse styles and themes. However, the recent redevelopment of the car park into a hotel has unfortunately resulted in the loss of this unique artistic hub.
Despite this loss, Francis Street continues to evolve as a canvas for creative expression. The presence of commissioned street art adds a layer of vibrancy to the area, attracting visitors and fostering a sense of community pride. However, the debate continues regarding the balance between commercial interests and the organic, unfiltered nature of street art.
NEW PUBLIC SPACE
POCKET PARK AT ST LUKE'S AVENUE
NEW POCKET PARK
ST LUKE'S AVENUE [THE NEW PUBLIC SPACE IN FRONT OF THE OLD CHURCH]
In recent years, Dublin City Council has undertaken a number of improvements to the public realm around the former St. Luke’s Church (Thomas Burgh House). These include the creation of a new public park with new steps and ramp entrances, replacing what was previously a green verge.
History of St. Luke’s Church:
Built between 1715 and 1716.
Situated between The Coombe and Newmarket.
Originally the Parish Church of the St. Nicholas Without and St. Luke’s Parish, now part of the Select Vestry St. Patrick’s Cathedral Group of Parishes.
Closed for public worship in 1975, with the parish now worshipping in St. Catherine and St. James Church, Donore Avenue.
Badly damaged by fire in 1986 and remained unused and in a ruinous condition until 2003.
A protected structure and recorded monument within the Dublin zone of archaeological potential.
Conservation and Restoration Efforts:
A Conservation Plan for St. Luke’s Church was commissioned by Dublin City Council in conjunction with the Heritage Council in 2003.
The plan aimed to address the church’s deteriorating physical condition and ensure its survival.
In 1994, Dublin City Council purchased the site and initiated restoration plans.
The surrounding graveyard has been partially redeveloped into a pocket park.
A tender for the church building’s restoration was awarded in 2006, involving the insertion of a new building into the restored ruins.
Current Status:
The former St. Luke's Church (Thomas Burgh House) is being redeveloped into office spaces.
Significant improvements have been made to the surrounding public realm, including the creation of a new public park and enhancements to Newmarket Street.
A disused drainage chamber at the base of Newmarket Street has been removed and replaced with paving and planted areas.
The stepped entrance into Newmarket Street has been remodelled and widened.
These developments demonstrate a commitment to revitalising the Coombe area and enhancing its public spaces, while preserving its historical significance through the adaptive reuse of the former St. Luke's Church.
In recent years, Dublin City Council has undertaken a number of improvements to the public realm around the former St. Luke’s Church (Thomas Burgh House). These include the creation of a new public park with new steps and ramp entrances, replacing what was previously a green verge.
History of St. Luke’s Church:
Built between 1715 and 1716.
Situated between The Coombe and Newmarket.
Originally the Parish Church of the St. Nicholas Without and St. Luke’s Parish, now part of the Select Vestry St. Patrick’s Cathedral Group of Parishes.
Closed for public worship in 1975, with the parish now worshipping in St. Catherine and St. James Church, Donore Avenue.
Badly damaged by fire in 1986 and remained unused and in a ruinous condition until 2003.
A protected structure and recorded monument within the Dublin zone of archaeological potential.
Conservation and Restoration Efforts:
A Conservation Plan for St. Luke’s Church was commissioned by Dublin City Council in conjunction with the Heritage Council in 2003.
The plan aimed to address the church’s deteriorating physical condition and ensure its survival.
In 1994, Dublin City Council purchased the site and initiated restoration plans.
The surrounding graveyard has been partially redeveloped into a pocket park.
A tender for the church building’s restoration was awarded in 2006, involving the insertion of a new building into the restored ruins.
Current Status:
The former St. Luke's Church (Thomas Burgh House) is being redeveloped into office spaces.
Significant improvements have been made to the surrounding public realm, including the creation of a new public park and enhancements to Newmarket Street.
A disused drainage chamber at the base of Newmarket Street has been removed and replaced with paving and planted areas.
The stepped entrance into Newmarket Street has been remodelled and widened.
These developments demonstrate a commitment to revitalising the Coombe area and enhancing its public spaces, while preserving its historical significance through the adaptive reuse of the former St. Luke's Church.
THE FROG KING
Vini Bustamante, a Brazilian/Portuguese artist based in Dublin 8, created an artwork titled “Frog King.” This vibrant piece features frogs and exudes a magical and mystical quality. As an Art Director at BBDO Dublin, Vini is undoubtedly immersed in creativity and seeking inspiration. According to the information on the box the artist operates under the name Raphael Silva.
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