https://www.amazon.com/dp/B0D4PSHCMX?&linkCode=ll1&tag=emall2000&linkId=3dad5f10539bd44dda47c5e56126718f&language=en_US&ref_=as_li_ss_tl
CHINESE GARDEN
THE IRISH SUZHOU GARDEN IN ST ANNE'S PARK [HAS BEEN RESTORED]
A Revitalised Orient in Dublin: The Story of the Irish Suzhou Garden in St. Anne's Park
1. An Introduction to Dublin's Hidden Orient: The Irish Suzhou Garden
St. Anne's Park, the second largest municipal park in Dublin, stands as a testament to the city's rich heritage and its commitment to providing cherished public amenities. Formed from a historic estate, its expansive grounds offer a diverse tapestry of features, including tranquil woodland walks, a celebrated international rose garden, intriguing architectural follies dating from its demesne past, and extensive recreational facilities. This historical and horticultural richness, recognised by its designation as a Conservation Area, underscores a dedication to preserving the unique character of the park. It is within this layered landscape, which transitions from the grandeur of the Guinness family era to its present-day role as a vital public space, that the Irish Suzhou Garden emerges as a distinctive, harmonious cultural jewel.
Recent observations by visitors regarding the garden's markedly improved condition and its previous periods of inaccessibility provide a pertinent starting point for exploring its journey. Indeed, official announcements confirm a significant reopening in the spring of 2025 following comprehensive restoration works, validating perceptions of its enhanced state. Equally, accounts from late 2020 and early 2025 describe periods of closure due to necessary maintenance and the deterioration of original features, corroborating experiences of past inaccessibility.
The Irish Suzhou Garden, also known by the evocative name Ire-Su Garden , holds a unique cultural standing. It is affectionately described as a "little corner of China" nestled within Dublin and has been referred to as a "great little secret in the park". This distinctiveness arises from its authentic design, conceived by experts from Suzhou, and its origin as a cultural gift, making it a tangible and serene expression of Chinese culture through the art of garden design. More profoundly, it stands as an enduring symbol of the friendship and cultural ties between Ireland and China.
The careful placement of the garden within the established framework of St. Anne's Park, particularly its proximity to indigenous Irish flora and historic structures like the old clock tower, fosters a captivating dialogue between cultures. Noel McEvoy of Dublin City Council has remarked on this successful synergy, noting how the "old western empirical architecture blending with the eastern oriental garden... works really well". This deliberate integration, rather than mere co-location, suggests a nuanced appreciation for how differing cultural aesthetics cannot only coexist but also mutually enhance the character of a shared public space. Such juxtaposition likely contributes to its perception as a "hidden gem," offering an element of unexpected discovery within a familiar and beloved Dublin landscape.
Furthermore, the garden's history is not static; it is a dynamic entity whose evolution reflects the ongoing care required for cultural assets and, perhaps more subtly, the vitality of the diplomatic relationship it represents. The initial gifting, the subsequent periods of closure necessitated by wear, and the recent, ceremonious reopening are all chapters in its unfolding story. The timing of this grand reopening to coincide with the 46th anniversary of diplomatic relations between Ireland and China was no mere accident; it served as a deliberate affirmation of the garden's symbolic weight. This active engagement in its preservation and celebration ensures that the garden remains a vibrant, living symbol of friendship, demonstrating that such cultural tokens require continuous investment and attention to maintain their resonance and meaning.
2. The Genesis of a Cultural Gift: From Bloom to St. Anne's Park
The story of the Irish Suzhou Garden begins with a significant gesture of international goodwill. It was gifted to Dublin City Council in 2012 by the People's Republic of China. This act of generosity was strategically timed to coincide with Dublin's official twinning with Beijing in 2011, immediately imbuing the garden with diplomatic and cultural importance. The garden's formal inauguration by the then Chinese Ambassador on 4th February 2012 further underscored its role as a bridge between the two nations.
The garden's initial incarnation was as a showpiece at the prestigious Bloom Festival in 2011, where it was displayed to great acclaim in Phoenix Park. Its design and construction were undertaken by the highly esteemed Suzhou Garden Bureau, an organisation responsible for the stewardship of nine UNESCO World Heritage Site gardens in Eastern China. This direct involvement by Suzhou experts ensured an authentic representation of classical Chinese garden design and craftsmanship. Notably, it was Bloom's first-ever international show garden, highlighting its pioneering status within the festival's history.
Following its successful debut at Bloom, Dublin City Council embarked on finding a permanent and fitting home for this remarkable cultural asset. Noel McEvoy, Dublin City Council's executive parks superintendent at the time, was a keen advocate for its relocation to St. Anne's Park, recognising the site's potential to provide an ideal setting. The selection of St. Anne's Park was far from arbitrary; it was a carefully considered decision. The chosen "model garden area" within the park was identified as a "perfect sheltered home," a crucial factor given that the careful placement of Chinese classical gardens within their environment is vital for their aesthetic success and symbolic resonance. This location allowed the garden to "borrow from the adjoining landscape features," a key principle in traditional Chinese garden design where the garden integrates with and incorporates views of its surroundings.
The existing mature Austrian pines and birch trees within St. Anne's Park were seen as natural allies, effectively enclosing the garden and imbuing it with a palpable sense of peacefulness and seclusion, thereby harmonising the new oriental feature with the established Irish parkland. The proximity of the historical clock tower, a prominent feature of St. Anne's, was also viewed as an aesthetic advantage, creating an intriguing and complementary visual dialogue between Western and Eastern architectural traditions.
The initial act of gifting the garden set in motion a long-term commitment for Dublin City Council. This was not merely a symbolic exchange but the acceptance of a living entity that would require ongoing stewardship, including the complexities of relocation, dedicated maintenance, and, as events would prove, a significant future restoration. The council's proactive search for a suitable "home" and their subsequent efforts to integrate and maintain the garden demonstrate an understanding of this enduring responsibility. Cultural gifts of this nature, particularly those as specialised as a classical garden, carry with them practical, long-term obligations if their cultural value and symbolic intent are to be preserved for future generations. The later engagement of the original Suzhou designers for the restoration process further highlights this continuous connection and the shared responsibility for the garden's legacy.
Moreover, the successful transplantation of the garden from the temporary setting of Bloom to the permanent embrace of St. Anne's Park underscores the critical importance of site-specific adaptation in the preservation of cultural heritage. The relocation's triumph was contingent upon identifying an environment that resonated with the core principles of Chinese garden design, such as the concept of "borrowing scenery" or jiè jǐng. The careful consideration of factors like shelter and the harmonious integration with existing mature trees reveals a thoughtful process that extended beyond mere logistical arrangements. This illustrates a broader tenet in the conservation of landscape architecture: the context and surrounding environment are as integral to a feature's success and meaning as the feature itself. The enduring appeal of the Irish Suzhou Garden in St. Anne's Park is, in no small part, attributable to this meticulous consideration of its new micro-environment, allowing its distinct cultural character to flourish.
3. Echoes of Suzhou: Design, Craftsmanship, and Symbolism
The Irish Suzhou Garden is a direct descendant of a rich and ancient tradition. Classical Suzhou gardens, with a lineage stretching from the 11th to the 19th century , are globally celebrated for their profound ability to recreate the essence of natural landscapes within often limited confines. These horticultural masterpieces are deeply imbued with the "profound metaphysical importance of natural beauty in Chinese culture". Each garden is conceived as a microcosm of the natural world, artfully incorporating fundamental elements: water, stones, carefully selected plants, and an array of pavilions and other structures, many of which hold literary and poetic significance. The aesthetic sensibility guiding their creation is heavily influenced by the "unconstrained poetic freehand style originally seen in traditional Chinese landscape paintings," lending them an artistic and philosophical depth.
These gardens are distinguished by their sophisticated fusion of exquisite craftsmanship, refined artistic elegance, and profound cultural implications. They offer a window into the ways ancient Chinese intellectuals sought to harmonise aesthetic ideals with a life of reclusion and contemplation, often within bustling urban environments. Traditionally, these serene spaces served multiple purposes: as venues for banquets and celebrations, as sanctuaries for solitude and meditation, and as inspiring settings for artistic pursuits such as painting, poetry, calligraphy, and music. The inscription of numerous Suzhou gardens on the UNESCO World Heritage list stands as powerful testimony to their global cultural significance and their status as supreme examples of this garden genre. A characteristic feature of their design is the creation of small, interlinking spaces, often demarcated and connected by distinctive round 'moon gates' or other forms of archways, which enhance the sense of privacy and discovery as one moves through the garden.
The Irish Suzhou Garden in St. Anne's Park was meticulously designed by expert craftsmen from Suzhou, with the explicit aim of exemplifying the finest traditions of Chinese landscape architecture. While the plants for its original display at the Bloom festival were sourced from Irish nurseries , a conscious effort was made during its relocation to St. Anne's Park to incorporate flora characteristic of authentic Chinese gardens. Species such as magnolias, various types of bamboo including distinctive black bamboo, fragrant osmanthus, and symbolic plum trees were carefully transplanted to the new site. Accompanying these horticultural elements, the gardeners from Suzhou also brought essential architectural components, including traditional wooden pavilions and intricately patterned tiled floors. One notable decorative detail is an image of a long-legged crane, a potent symbol of longevity and good fortune in Chinese culture , meticulously laid out in coloured pebbles within a tiled floor area. The garden is often described as "petite" , a characteristic that aligns perfectly with the Suzhou design principle of creating condensed, miniature worlds that capture the essence of nature in a limited space. Adding a unique Dublin narrative to its physical boundary, the original timber fencing from its Bloom festival days was replaced with a more durable and substantial granite wall. Intriguingly, the granite for this wall was sourced from the dismantled Anna Livia monument, popularly known as the "Floozie in the Jacuzzi," thus weaving a thread of local Dublin history into the fabric of this oriental oasis.
The cultural significance embodied in the garden's design is manifold. It serves as a "tangible expression of Chinese culture expressed in garden design" , offering visitors to St. Anne's Park a unique opportunity to immerse themselves in and experience aspects of Chinese culture within a serene and contemplative setting. The very design principles that underpin its structure – the emphasis on achieving harmony with nature, the creation of secluded spaces conducive to reflection, and the highly artistic arrangement of its constituent elements – are deeply rooted in centuries of Chinese philosophy and intellectual tradition.
The creation of the Irish Suzhou Garden presents an interesting interplay between the pursuit of authenticity and the practicalities of adaptation. While the core design philosophy and the craftsmanship of key architectural elements are authentically Suzhou , the initial sourcing of plants from Irish nurseries for the Bloom display and the later incorporation of Irish granite for the boundary walls illustrate a sensitive blending of genuine Chinese design with local materials and context. This does not necessarily detract from its authenticity but rather fashions a unique hybrid entity that tells a compelling story of cultural exchange and adaptation. The subsequent extensive restoration, however, placed a strong emphasis on employing authentic Chinese materials and traditional craftsmanship for critical features such as the pavilions and roof tiles , suggesting a clear intention to preserve and reinforce the garden's original Suzhou character where it was deemed most essential for its integrity.
Beyond its symbolic and aesthetic roles, the garden functions as a direct, immersive educational and sensory experience, conveying Chinese aesthetic and philosophical principles not through didactic text but through lived experience. The classical Suzhou gardens, as described by Assistant Professor Isabella Jackson, sometimes feature "almost mazes of slowly moving water" and were venues for poetic games, such as floating wine cups along a stream, where participants would compose a line of poetry when the cup reached them. While the scale of the Dublin garden may differ, this illustrates the multi-sensory and interactive nature for which these gardens are traditionally designed. The meticulous arrangement of its elements is not solely for visual pleasure; it is intended to evoke feelings of peace, encourage contemplation, and foster a connection with nature in a culturally specific manner. Its description as a "cocoon of Zen and tranquillity" attests to its success in achieving this aim, implying that the garden serves as an informal educational space, subtly imparting aspects of Chinese culture through direct sensory engagement.
Finally, the recurring description of the garden as "petite" should not be misconstrued as a limitation but rather understood as a deliberate design choice that reflects core Suzhou principles. Unlike the often vast and expansive parks of Western traditions, classical Suzhou gardens excel in the creation of intimate, meticulously composed scenes, aiming to create "miniature worlds in limited spaces" and to make "each section feel quite private". The compact size of the Dublin garden is therefore a testament to its adherence to these classical tenets. This distinction in scale and intent might be a point of initial unfamiliarity for visitors accustomed to larger Western-style gardens, thereby underscoring the value of its subtle educational role in broadening perspectives on garden design and cultural expression.
4. A Period of Seclusion: Challenges and Past Inaccessibility
The user's recollection of the Irish Suzhou Garden being previously inaccessible is well-founded. By December 2020, the garden was indeed closed to the public. Noel McEvoy, Dublin City Council's executive parks superintendent, confirmed this at the time, stating, "It's closed for maintenance right now," and later reiterating, "That's why St Anne's Suzhou Garden is closed at the moment". This official confirmation directly aligns with the observed period of inaccessibility.
The primary reasons for the garden's deterioration and subsequent closure were intrinsically linked to the unsuitability of some original construction materials when faced with the persistent challenges of the Irish climate. The wooden pavilions, central features of its design, proved particularly vulnerable. Mr McEvoy pointedly remarked, "They weren't made for Irish weather. The wood is rotting". This assessment was later echoed and expanded upon by Fergus O'Carroll, a senior executive parks superintendent with Dublin City Council. In March 2025, as reported in an April 2025 article, Mr O'Carroll explained that a significant portion of the original installation was constructed from materials such as "tissue paper and plywood," which were fundamentally "not intended to last". This candid admission clarifies that the initial construction, likely influenced by its original purpose as a temporary exhibit for the Bloom festival, utilised materials with inherently limited durability for a permanent outdoor installation in Ireland. The paving within the garden was another element that had not been designed to withstand the rigours of Irish seasons and required comprehensive attention.
Plans for the garden's renovation, involving collaboration with Chinese counterparts, were already in consideration by December 2020, though they were acknowledged at the time as being "farish in the future". The progression of these plans was significantly impeded by the unforeseen global disruption caused by the COVID-19 pandemic. "People were supposed to come over from Suzhou at the start of this year but then, of course, Covid stopped all of that," Mr McEvoy explained, highlighting the direct impact of travel restrictions. Consequently, it was anticipated that the necessary renovation works would not commence until at least 2022. The highly specialised nature of the required restoration work further compounded these delays. The traditional Chinese construction "methods, means and materials aren't familiar to industry here in Ireland" , making the physical presence and expertise of craftsmen from Suzhou indispensable. The pandemic-induced travel restrictions thus became a critical bottleneck, postponing the much-needed revitalisation.
The garden's origin as a "show garden" for the Bloom festival , likely constructed with an emphasis on immediate visual impact rather than long-term endurance using less robust materials like "tissue paper and plywood" , created inherent vulnerabilities once it was transitioned into a permanent feature of St. Anne's Park. While the decision to preserve and relocate the garden was a commendable act of cultural enrichment, the initial material specifications were not aligned with the demands of a permanent outdoor installation exposed to the persistent dampness and fluctuating temperatures of the Irish climate. This mismatch inevitably led to a predictable, albeit delayed, requirement for substantial renovation. This situation highlights a common challenge encountered when adapting temporary artistic or cultural exhibits into lasting public installations, where the initial excitement of the gift or acquisition might sometimes overshadow the long-term practical considerations of maintenance and material suitability.
The crucial role of specialised craftsmanship in the preservation of such unique cultural heritage is starkly illustrated by this period. The explicit statement that the traditional "methods, means and materials aren't familiar to industry here in Ireland" underscores the garden's profound dependence on a niche, culturally-specific skillset for its authentic upkeep and repair. This is not a matter of general construction or horticultural practice; it demands an intimate understanding of traditional Chinese architectural techniques and material properties. The significant delays caused by the COVID-19 pandemic, which prevented the Suzhou craftsmen from travelling , directly demonstrate this critical dependency. It suggests that the long-term preservation of such distinctive cultural assets necessitates not only adequate funding but also reliable access to this specialised expertise, potentially posing ongoing challenges for future maintenance cycles unless there is a concerted effort to develop or transfer such knowledge locally.
Finally, the extended period of the garden's inaccessibility, prolonged by unforeseen global events like the pandemic, could understandably have led to public disappointment or even a perception of neglect, despite the council's underlying intentions and plans for renovation. The user's query itself is a reflection of this public awareness of its past unavailability. Consequently, the eventual successful and high-profile reopening of the garden likely served an extremely important function in terms of public and community relations. It not only marked the return of a valued amenity but also visibly communicated the considerable efforts undertaken for its restoration, thereby reaffirming the garden's significance to the city and its visitors.
5. Rebirth and Restoration: A Collaborative Renewal
A significant chapter in the Irish Suzhou Garden's history commenced in the spring of 2025. On 16th April 2025, Dublin City Council formally announced the much-anticipated reopening of the garden following the completion of an "extensive restoration" project. This event marked a decisive turning point, signalling the garden's emergence from its previous state of disrepair and prolonged closure. The importance of this occasion was underscored by the presence of distinguished guests at the reopening ceremony, including His Excellency Zhao Xiyuan, Ambassador of the People's Republic of China to Ireland, and the Lord Mayor of Dublin, Councillor Emma Blain , signifying the project's cultural and diplomatic resonance.
The restoration itself was a testament to international cooperation, characterised as a "unique collaboration between Irish and Chinese craftsmen". This partnership was specifically forged with the Suzhou Garden Bureau in China , also referred to as the Suzhou Municipal Garden and Landscape Administration Bureau , the very body responsible for its original design. This collaborative approach was lauded as providing a "valuable opportunity for knowledge exchange, shared craftsmanship, and cultural appreciation" between the two nations. The process involved the original designer from Suzhou travelling to Dublin to conduct a thorough assessment of the garden's condition and to compile a detailed list of necessary works. Subsequently, a team of four specialist craftsmen, along with two shipping containers filled with authentic materials, were dispatched from Suzhou to undertake the intricate restoration tasks.
The refurbishment programme was comprehensive, directly addressing the previously identified issues of unsuitable original materials and weather-induced decay. The inadequate plywood components were replaced with "purple wood" – likely referring to a highly durable and resilient timber such as Purpleheart or a similar species known for its longevity in outdoor applications – and the pavilion roofs were re-tiled using proper clay or ceramic tiles, ensuring greater weather resistance and authenticity. This aligned with earlier intentions articulated by Noel McEvoy in 2020, who had indicated plans to "take down the wooden roofs of the pavilion and put this on instead," signalling a move towards more appropriate roofing materials. The paving stones throughout the garden were also meticulously lifted and painstakingly replaced with durable slate, a material well-suited to the Irish climate. The scale of the structural work undertaken was such that a significant amount of existing planting had to be temporarily removed to allow the craftsmen the necessary access to perform their tasks. The overarching goal of this meticulous process was to ensure that the revitalised garden would once again "exemplify traditional Chinese landscape architecture at its finest".
Regarding the financial aspects of this international collaboration, Fergus O'Carroll of Dublin City Council indicated a shared investment. When questioned whether the council had borne the full cost of bringing the Chinese craftsmen to Ireland, he responded, "I think we paid 50/50... they contributed as well". This cost-sharing arrangement further underscores the genuinely collaborative spirit of the restoration project.
Adding another layer of significance to the event, the reopening of the garden was timed to coincide with the 46th anniversary of the establishment of diplomatic relations between Ireland and China. This deliberate alignment made the occasion "even more significant," powerfully reinforcing the garden's enduring role as a tangible symbol of friendship and cultural exchange between the two countries.
The extensive, collaborative, and co-funded restoration of the Irish Suzhou Garden represents far more than a simple repair job; it is a profound reaffirmation of the garden's intrinsic cultural value and a testament to the strength and vitality of the Sino-Irish relationship. Allowing such a significant cultural gift to fall into irreversible disrepair would have undoubtedly sent a detrimental signal. Conversely, the substantial investment in its meticulous restoration, crucially involving the original designers and specialist craftsmen from Suzhou , and the strategic timing of its reopening to align with a key diplomatic anniversary , transforms this project into a potent and visible act of cultural diplomacy. It eloquently demonstrates deep respect for the gift, the gifting nation, and the shared cultural heritage it embodies.
This ambitious undertaking also casts light on both the practical challenges and the considerable benefits inherent in international heritage collaboration. The necessity of bringing skilled craftsmen and specific materials directly from China , due to the specialised nature of the techniques involved , illustrates the logistical complexities that can arise in such projects. However, the explicit mention of this collaboration fostering "knowledge exchange" suggests a valuable, albeit perhaps less tangible, outcome: Irish personnel involved in the project may have gained precious insights into traditional Chinese construction and conservation techniques. While this is an inference, such an exchange could contribute to building local capacity for future maintenance and care of the garden. The 50/50 cost-sharing model also points towards a sustainable partnership approach that could serve as a valuable precedent for other international cultural heritage initiatives.
Moreover, the tangible impact of this "authentic" restoration on the future visitor experience cannot be overstated. The deliberate use of appropriate, high-quality, and durable materials such as "purple wood," traditional ceramic tiles, and natural slate , in stark contrast to the original "plywood and tissue paper" used for some elements, will not only guarantee the garden's longevity but will also significantly enhance its sensory and aesthetic qualities. This commitment to authenticity ensures that the garden is now a more robust and visually compelling representation of Suzhou craftsmanship. Visitors, even those not consciously aware of the specific material changes, will undoubtedly experience a more authentic, high-quality, and immersive environment. This directly addresses and validates the user's perception of a markedly "improved condition," which extends far beyond the garden simply being accessible once more.
6. The Irish Suzhou Garden Today: A Revitalised Sanctuary
The extensive and meticulous restoration undertaken by Dublin City Council in collaboration with Suzhou experts directly substantiates the observed significant improvement in the Irish Suzhou Garden's condition. The careful replacement of failing, unsuitable original materials with durable and authentic alternatives, such as resilient "purple wood" for structural elements, traditional ceramic roof tiles, and natural slate paving , has ensured a garden that is not only visually renewed but also structurally sound for the future. Official communications from Dublin City Council describe the garden as "newly renovated" and "newly refurbished" , and an open invitation has been extended to the public to "experience the beauty and serenity" of this revitalised space.
Following this comprehensive refurbishment, the Irish Suzhou Garden officially reopened its gates to the public on 16th April 2025. While the specific opening hours dedicated to the Suzhou Garden itself in its post-restoration phase were not explicitly detailed in the immediate reopening announcements , the broader St. Anne's Park, within which it is nestled, maintains a general opening time of 10:00 am daily, with closing times varying seasonally throughout the year. For historical context, when the garden first opened in 2012, its viewing hours were Monday to Thursday from 10:00 am to 4:00 pm, and on Fridays and Saturdays from 10:00 am to 1:00 pm. It is advisable for prospective visitors to confirm the current, specific opening hours for the Suzhou Garden directly with Dublin City Council to ensure access. Admission to St. Anne's Park itself is free of charge , and it is strongly implied that entry to the Suzhou Garden also remains free, though, as with opening hours, verifying the most current information via official Dublin City Council channels is recommended.
The garden's fundamental purpose remains to serve as a "place of beauty and retreat" and a "stunning cocoon of Zen and tranquillity" within the bustling urban environment of Dublin. It continues to offer a unique and immersive opportunity for visitors to "experience Chinese culture in a tranquil setting". Its intentionally "petite size" is not a limitation but a key characteristic that contributes to its intimate atmosphere and its success as a tangible, accessible expression of Chinese cultural and garden design principles.
The reopening of the Irish Suzhou Garden is more than a simple return to its previous state; it represents an enhanced offering to the public. The investment in superior, authentic materials and the renewed diplomatic and cultural emphasis surrounding its relaunch signal a revitalised commitment to this unique landmark. For visitors who were aware of its past closure and period of decline, the opportunity to now experience its renewed "beauty and serenity" may hold even greater significance. The council's explicit invitation to the public to visit and enjoy the restored garden is effectively an invitation to rediscover a familiar place that has been thoughtfully reborn, offering a fresh perspective and a deepened appreciation for its cultural value.
However, amidst the celebration of its renewal, the absence of clearly communicated, specific opening hours for the Suzhou Garden itself in the immediate post-restoration announcements – in contrast to the detailed hours provided upon its initial 2012 opening – highlights a potential practical issue. After a significant period of inaccessibility and a major restoration effort, providing clear, easily accessible, and up-to-date information regarding how and when the public can experience the revitalised garden is crucial for managing expectations and ensuring a positive visitor experience. While the general opening hours for St. Anne's Park are readily available , distinct enclosures or special features within larger public parks can often operate under different, more restricted schedules. Addressing this information gap would be beneficial for both the public and the effective management of this cherished cultural asset.
7. The Wider Context: St. Anne's Park and Sino-Irish Cultural Connections
The Irish Suzhou Garden is not an isolated entity but an integral part of the rich tapestry that is St. Anne's Park, a site steeped in history and horticultural diversity. The park itself was formed from the historic core of an extensive estate originally belonging to the Guinness family, which was subsequently purchased by Dublin Corporation (now Dublin City Council) in 1937. The grand Italianate-style residence, St. Anne's House, which once formed the centrepiece of the estate, was tragically lost to fire in 1943 and later demolished. Nevertheless, numerous fascinating architectural follies and garden buildings from the Guinness era, constructed primarily between 1838 and 1904, still grace the parklands. These structures, often influenced by classical Roman and formal French garden styles, are considered to be of national and even European importance in terms of their historical connections and as examples of 19th-century European cultural landscape heritage.
Beyond these historical remnants, St. Anne's Park boasts a wealth of other notable features that contribute to its enduring appeal. The internationally renowned Rose Garden, established in the 1970s, is a major attraction, particularly during its peak blooming season, and has served as a centre for International Rose Trials. Other significant elements include the historic Walled Garden (the former kitchen garden), the picturesque Naniken River that meanders through the park, a Millennium Arboretum featuring over a thousand types of trees, and the Red Stables complex, which has been thoughtfully refurbished to house an arts centre and a popular café. The distinctive historical clock tower, located near the Walled Garden, stands as a prominent landmark and provides a charming visual counterpoint to the nearby Suzhou Garden. It is this rich historical and horticultural milieu that provides the unique and layered setting into which the Irish Suzhou Garden has been so carefully and successfully integrated.
The Irish Suzhou Garden transcends its physical beauty to serve as a potent "cherished cultural landmark and a symbol of friendship between Ireland and China". The close collaboration between Irish and Chinese entities on its recent, extensive restoration, and the high-profile attendance of the Chinese Ambassador at its reopening ceremony , serve to vividly highlight the "continued cultural partnership between Dublin and Suzhou". This commitment to mutual understanding and shared cultural appreciation is embodied in the renewed garden.
The revitalisation of the Suzhou Garden is also perceived within a broader context of a growing Chinese cultural presence in Dublin. This strengthening of cultural connections appears to be fostering an environment conducive to other forms of exchange. Notably, the garden's restoration has been linked to emerging business opportunities, with initiatives such as the Zatino Group's China Business Connection Programme. This Dublin-based programme aims to assist Irish businesses in navigating and entering the Chinese market, or optimising existing trade relationships, a particularly pertinent endeavour given the complexities of current global trade dynamics and escalating US-China trade tensions. The explicit connection made in some reports between the garden's renewal and these broader economic and trade relations suggests that such cultural projects can indeed have ripple effects that extend beyond the purely aesthetic or diplomatic spheres.
St. Anne's Park itself can be viewed as a palimpsest, a landscape upon which different historical and cultural influences have been inscribed over time. While its dominant historical layers are primarily European – reflecting its origins as a grand demesne with Italianate and French influences in its architecture and garden design – the Irish Suzhou Garden introduces a distinct, non-European cultural layer. This addition enriches the park's overall narrative and offers a compelling contemporary example of how new cultural expressions can be thoughtfully incorporated into historic landscapes. The park's management objectives include the study of its historic landscape and the retention of its essential estate character. The successful integration of the Suzhou Garden, with careful consideration given to its siting and relationship with existing features , suggests that "historic character" need not be static. Instead, it can be dynamic and capable of accommodating new cultural forms that are introduced respectfully and harmoniously. This demonstrates how a historic park can evolve and embrace new influences without sacrificing its core identity or sense of place.
The explicit linking of the garden's restoration to new trade initiatives with China further suggests that such cultural projects, while valuable in their own right, can also contribute to a positive atmosphere that encourages other forms of international exchange, including economic partnerships. While the garden itself is a non-commercial, contemplative space, its successful maintenance and the positive publicity surrounding its celebration can foster goodwill and visibility that may be leveraged by, or at least coincide with, efforts to strengthen business ties. This points towards a more holistic understanding of international relations, where cultural, diplomatic, and economic strands are often subtly intertwined and mutually reinforcing.
Ultimately, St. Anne's Park, with its deep-rooted historical European influences now complemented by the modern addition of an authentic classical Chinese garden, can be seen as a microcosm reflecting Dublin's own journey. The city has evolved significantly, becoming an increasingly multicultural and globally connected urban centre. The park is not frozen in a single moment of its past; the addition of the Suzhou Garden and the significant collaborative effort invested in its meticulous restoration demonstrate an openness to incorporating diverse cultural influences and a commitment to nurturing international friendships. In this sense, the evolving landscape of St. Anne's Park tells a story not only of its own fascinating past but also of Dublin's dynamic and continuously unfolding cultural identity.
8. Concluding Reflections
The journey of the Irish Suzhou Garden in St. Anne's Park is a compelling narrative of cultural generosity, unforeseen challenges, dedicated collaboration, and ultimately, triumphant renewal. From its auspicious gifting by the People's Republic of China and its initial acclaim at the Bloom Festival, to its period of decline due to the rigours of the Irish climate acting on materials not intended for such longevity, and culminating in its impressive, internationally collaborative restoration, the garden has undergone a significant evolution. The successful restoration, finalised in the spring of 2025, has not merely rectified past deficiencies but has arguably enhanced the garden's status and resilience through the use of more durable, authentic materials and a renewed emphasis on its diplomatic and cultural significance.
Dublin City Council's unwavering commitment to "preserving this important cultural contribution" stands as a commendable example of responsible stewardship of international cultural gifts. The considerable effort, expertise, and financial investment involved in the garden's revitalisation underscore the profound value placed on such unique and enriching assets within the urban landscape. It highlights an understanding that cultural heritage, even when relatively young, requires ongoing vigilance and proactive intervention to ensure its survival and continued relevance for future generations.
The story of the Irish Suzhou Garden offers a valuable case study in the resilience and potential for renewal of cultural heritage. Many heritage sites, both ancient and modern, face the challenges of decay, environmental pressures, and the need for specialised conservation. The garden's journey – from its enthusiastic reception, through its period of vulnerability exacerbated by material limitations and external factors like the global pandemic, to its ultimate and celebrated restoration achieved through dedicated international partnership – serves as an inspiring precedent. It demonstrates that with sustained commitment, cross-cultural collaboration, and the application of specialised expertise, even heritage features that have encountered significant adversity can be revitalised, their cultural value reaffirmed, and indeed, potentially deepened.
Furthermore, the narrative of this particular cultural landmark is not static; it has acquired new layers of meaning through its experiences. The garden's story now encompasses not only its origin as a symbol of friendship but also the chronicle of its vulnerability, the dedication and specialised skills required for its meticulous repair , and the significant international effort that underpinned its rebirth. This richer, more complex narrative can foster a deeper public appreciation and a stronger connection to the site, transforming it from merely a charming park feature into a place with a compelling story of perseverance, cultural respect, and renewed international friendship.
In its revitalised state, the Irish Suzhou Garden once again extends its quiet invitation to the people of Dublin and visitors from afar. It stands as a "place of beauty and retreat" , offering a tranquil and authentic setting in which to experience the profound artistry and philosophical depth of Chinese garden culture. Its enduring appeal lies not only in its aesthetic charm but also in its capacity to enrich the cultural landscape of Dublin, fostering contemplation, understanding, and a quiet appreciation for this exquisite "little corner of China" in the heart of St. Anne's Park.
THE ROCKERY
I visited the Botanic Gardens on Saturday and on Sunday. On Saturday I used a crop sensor Sony FX30 with a 16-35mm F2.8 GM II lens and on the follow up visit I used my old Sony A7RIV with a brand new Sony 70-200mm F4 G II lens. I also experimented with the new "landscape" masking feature in Lightroom Classic so some of the images may look a bit weird.
If you are a rockery fan you're in luck! The National Botanic Gardens in Dublin does indeed have a rockery, and it's a feature with some history.
Key Details about the Rockery:
Development: The rockery was developed towards the end of the 1880s.
Construction Material: It was built using stone quarried from nearby Finglas.
Reginald Farrer's Opinion: Interestingly, the renowned rock garden expert Reginald Farrer had a rather unflattering view of the Glasnevin rock garden. He described it in his book "My Rock Garden" as one of the finest examples of what he termed the "Devil's Lapful," suggesting a chaotic and haphazard arrangement of bare boulders.
Modern Interpretation: Despite Farrer's harsh critique, the rockery is still a feature of the Botanic Gardens today. It's mentioned as one of the attractions that visitors can enjoy, alongside the herbaceous borders, rose garden, and alpine yard.
Irish Geology Rockery: In more recent times (around 2009), an "Irish Geology Rockery" was opened within the Botanic Gardens. This rockery was specifically designed as an educational resource, showcasing different rock types from around Ireland, arranged geographically. The centrepiece of this rockery is the shape of Ireland outlined in quartzite and infilled with Mississippian limestone.
So, while the original rockery dates back to the late 19th century and received a less-than-enthusiastic review from a famous expert, the Botanic Gardens has maintained a rockery as a feature and even developed a new one with an educational focus on Irish geology. You can still visit and see it for yourself!
PHOTOGRAPHING FLOWERS
Photographing flowers and plants in public gardens can be surprisingly difficult due to a confluence of factors, both environmental and practical:
Environmental Challenges:
Light: The ideal soft, diffused light for revealing delicate colours and textures is often fleeting. Harsh midday sun can create strong shadows, blow out highlights, and wash out colours, making it hard to capture detail.
Wind: Even a gentle breeze can cause flowers and slender stems to sway, resulting in blurry images unless you use a very fast shutter speed or a tripod.
Time of Day: The best light is typically in the early morning or late afternoon ("golden hour"). Public gardens might be crowded or even closed during these optimal times.
Practical Challenges:
Composition: Finding a pleasing angle that isolates the subject from distracting backgrounds (other plants, paths, signs, people) can be tricky. You might need to get very low or find a specific viewpoint.
Focus: Achieving sharp focus on the desired part of the flower, especially in close-ups with a shallow depth of field, requires precision and a steady hand (or a tripod).
Movement (of others): Public gardens often have visitors who may inadvertently walk into your shot or cast shadows. Waiting for a clear moment can be time-consuming.
Scale: Capturing the beauty of individual flowers versus the grandeur of a whole garden bed requires different approaches and can be challenging to balance.
GLASSHOUSES
THE GLASSHOUSES IN THE BOTANIC GARDENS IN DUBLIN [3 MAY 2025]
Today I visited the Botanic Gardens in Dublin and at the end of May 2025 I hope to visit the Botanic Gardens in Belfast.
The National Botanic Gardens in Dublin, located in Glasnevin, boast a remarkable collection of beautifully restored and historically significant glasshouses. These structures are not only functional spaces for cultivating diverse plant collections but also represent significant achievements in Victorian engineering and design.
The most notable glasshouses in Dublin include:
The Curvilinear Range: Designed and largely constructed by the celebrated Dublin ironmaster Richard Turner and his son, this long, low range of iron and glass with its distinctive curved roof was built in stages from the 1840s. It's considered one of the most important buildings in the Gardens and a fine example of Turner's innovative style. Its central dome was once featured on Irish stamps.
The Great Palm House: Erected in 1884 to replace an earlier structure damaged by a storm, the ironwork for this impressive house was fabricated in Glasgow. Faithfully restored in the early 2000s, it is the tallest structure in the Gardens and houses a diverse collection of tropical plants.
The Orchid House: Reflecting the historical importance of orchid cultivation in Glasnevin (where orchids were first grown to flowering stage from seed in Ireland in the 1840s), this house was restored alongside the Palm House.
The Victoria Waterlily House: Designed and built in 1854, this house was specifically created to display the then-botanical sensation, Victoria amazonica, the giant Amazon waterlily.
The Alpine House: Home to a collection of plants from mountainous regions around the world.
The Cactus and Succulent House: Currently housing the cactus and succulent collection while their original house undergoes restoration.
The Teak House: A later addition, known for hosting the annual Orchid Fair.
Many of these glasshouses, particularly the Turner Curvilinear Range and the Great Palm House, have received Europa Nostra awards for their excellence in conservation architecture. They are open to the public free of charge throughout the year, except on Christmas Day.
In contrast, the Botanic Gardens in Belfast also feature significant Victorian glasshouses, most notably:
The Palm House: Designed by Charles Lanyon and with wrought iron construction by Richard Turner, this Palm House was completed in 1840, predating Turner's work in Dublin and Kew Gardens. It is one of the earliest examples of a curvilinear cast iron glasshouse and is divided into three sections: a cool wing, a tropical wing, and a central dome for taller palms.
The Tropical Ravine House: Built in 1889 by the head gardener Charles McKimm, this glasshouse has a unique sunken ravine running its length with viewing balconies on either side. It houses a collection of tropical plants, some of which are very old and endangered.
Comparing and Contrasting the Glasshouses:
Both the Dublin and Belfast Botanic Gardens boast impressive Victorian glasshouses that are significant for their architectural merit and the plant collections they house. Richard Turner played a key role in the construction of significant glasshouses in both cities, highlighting his importance as a leading ironmaster and glasshouse designer of the era.
However, there are some differences:
Number and Variety: Dublin has a larger number and a greater variety of distinct glasshouses, each often dedicated to specific plant groups or climates (e.g., Alpine House, Cactus and Succulent House, Orchid House, Victoria Waterlily House). Belfast's main historical glasshouses are the Palm House and the Tropical Ravine.
Design and Layout: While both feature curvilinear designs characteristic of the Victorian era, the Tropical Ravine in Belfast offers a unique sunken layout not found in Dublin. Dublin's Curvilinear Range is a long, linear structure with a central dome, whereas Belfast's Palm House has a more traditional dome structure with flanking wings.
Historical Significance: Both Palm Houses are early and important examples of Victorian glasshouse construction. Belfast's Palm House predates Dublin's major Turner structures. The Tropical Ravine in Belfast is also a unique example of Victorian horticultural architecture. Dublin's glasshouses, particularly the Curvilinear Range, are notable for their association with Richard Turner's distinct style and the historical cultivation of orchids.
Restoration: Both gardens have undertaken significant restoration work on their historic glasshouses to preserve these important structures for future generations.
In conclusion, both the National Botanic Gardens in Dublin and the Botanic Gardens in Belfast are home to significant and beautiful Victorian glasshouses that reflect the horticultural and architectural achievements of their time. While both share a connection through the work of Richard Turner, they each possess unique characteristics in terms of the number, design, and layout of their glasshouse collections.
BRIDGEFOOT STREET PARK
BRIDGEFOOT STREET PARK AND NEARBY [ISLAND STREET AND BRIDGEFOOT STREET]
The History of Bridgefoot Street Park and its Environs
Bridgefoot Street Park, a recent addition to the Liberties area of Dublin 8, stands as a testament to urban regeneration and community engagement.
Officially opened in 2022, this one-hectare green space is notable for its innovative construction, utilising repurposed materials derived from construction and demolition waste. Situated within the historic Liberties neighbourhood, the park is bordered by several sites of historical significance, making its location particularly noteworthy.
This discussion aims to delve into the history of Bridgefoot Street Park and its immediate surroundings, exploring the various transformations the area has undergone, investigating the etymology of the street name, and examining the factors contributing to its perceived "rough" reputation. Understanding the multifaceted history of this locale provides valuable context for appreciating the park's emergence as a vital community asset.
The land on which Bridgefoot Street Park now resides has a layered past, reflecting Dublin's evolving urban landscape. Before its transformation into a public amenity, the site was a brownfield area that housed a substantial Corporation flat complex. Known as Oliver Bond House, these flats were constructed in 1936 and named in honour of Oliver Bond, a key figure in the Society of United Irishmen.
Prior to the development of these flats, the area was occupied by 18th-century terraced houses, a common form of urban dwelling during that period. However, going further back in time, historical records indicate a less salubrious use for the land. In the mid-18th century, the site served as a municipal dump or laystall, a designated area for the disposal of waste.
John Rocque's map of Dublin, dating back to 1756, explicitly marks the area for this purpose, even referring to the adjacent Island Street as Dunghill Lane. Interestingly, archaeological investigations conducted on the site revealed evidence of even earlier land use, uncovering medieval garden soils beneath the later waste deposits. This discovery suggests that the area was once part of the medieval western suburb of Dublin, with cultivated land predating its use as a refuse site. Furthermore, a map from 1610 depicts a potential mill in the vicinity, hinting at some level of industrial activity in the area during the early 17th century.
The metamorphosis of this historically rich site into Bridgefoot Street Park began in 2016, culminating in its opening to the public in 2022.
This transformation was the result of a collaborative and innovative design process spearheaded by DFLA landscape architects, with a strong emphasis on community involvement. A key feature of the park's development is its commitment to sustainability, utilising construction and demolition waste as secondary raw materials.
This makes Bridgefoot Street Park the first permanent public space in Ireland to be created using such materials. An impressive amount of waste, including concrete, bricks, and crushed glass, was repurposed in the park's construction. The resulting landscape is multi-layered and incorporates mounds, sunny terraces, a community garden, and play areas, all enhanced by the planting of over 180 trees. This initiative directly addresses the documented lack of quality green space in the Liberties area, aiming to promote biodiversity and environmental consciousness within the urban environment. The creation of the park was not a swift process but rather the result of years of campaigning by local residents who advocated for a green space on this site instead of further housing developments. Prior to the official construction, the site was even temporarily used as a community garden by local people, demonstrating their desire for and engagement with the space.
The immediate area surrounding Bridgefoot Street Park is steeped in history, with several significant buildings and events leaving their mark. To the east of the park lies Oliver Bond House, the aforementioned flat complex built in 1936. Before its construction, the site housed The Anchor brewery, established in 1740 and later owned by a son of Daniel O'Connell.
Historically, many residents of the Oliver Bond flats found employment in various local factories, contributing to the area's working-class character. Located near the park on Usher's Island is the Mendicity Institution, one of Dublin's oldest charities, founded in 1818. This institution has a long history of providing essential support such as food, clothing, lodging, education, and employment training to the impoverished in Dublin.
Notably, the Mendicity Institution played a significant role in the 1916 Easter Rising when it was occupied by Captain Seán Heuston and a contingent of Irish Volunteers. Even prominent figures like Daniel O'Connell served as president of the institution in 1842, highlighting its importance in Dublin's social fabric.
The legacy of Irish nationalism is also strongly linked to the area. Robert Emmet, a key figure in the 1803 rebellion, was executed on Thomas Street, which is in close proximity to Bridgefoot Street. While an urban myth persists that his head was rolled down Bridgefoot Street after his execution, historical evidence does not support this claim.
The park's address on Robert Emmet Walk serves as a contemporary reminder of this historical figure. Beyond these prominent connections, the area's history stretches back to medieval times, lying on a significant east-west route connecting Kilmainham to the historic walled city. Marshalsea Barracks and St Catherine's Church are also located on the periphery of the park area, further underscoring the historical depth of the surroundings. St Catherine's Chapel itself has roots dating back to 1724 when it existed on what was then known as Dirty Lane, now the upper part of Bridgefoot Street. Mellows Bridge, another historical landmark, forms the northern boundary of the area.
The name "Bridgefoot Street" itself has an interesting history. Originally, the street was known as "Dirty Lane," a moniker that directly reflected the unsanitary practice of dumping human waste from within the city walls onto the street, resulting in foul odours.
The subsequent name, "Bridgefoot Street," clearly indicates a location at the base or foot of a bridge. Given the proximity of Mellows Bridge, which was historically known as Queen's Bridge, it is likely that the street's name derives from its position relative to an older bridge in the vicinity.
This type of naming convention, where streets take their names from nearby geographical features, is not uncommon, as evidenced by the example of Bridgefoot Street in Sligo, which was named for its location at the foot of a bridge crossing the Garavogue River.
The existence of St. Catherine's Chapel on Dirty Lane in 1724 suggests that the name change to Bridgefoot Street occurred sometime after this period, likely as the area developed and efforts were made to improve its image and sanitation. While a less probable theory from a TikTok user suggests a connection to a chapel dedicated to Princess Isolde , the historical context of "Dirty Lane" and the common topographical naming practice make the derivation from a physical bridge far more plausible.
The perception of Bridgefoot Street and the wider Liberties area as "rough" is a recurring theme in discussions about this part of Dublin. Several interconnected factors likely contribute to this reputation.
The presence of Oliver Bond House, a large social housing complex, is frequently mentioned in this context. Residents of Oliver Bond House have reported significant issues with drug dealing, anti-social behaviour, and instances of violence within the complex.
Online discussions on platforms like Reddit corroborate this, with users noting a higher prevalence of public drug use and homelessness around Bridgefoot Street compared to other areas of the city.
Some long-term residents have indicated that while social problems have historically been present, they have become more pronounced in recent years. However, it is also important to acknowledge the perspective of community members who emphasise that these issues are primarily caused by a minority and that the Liberties is home to many hardworking and friendly individuals.
Historically, the Liberties has been a predominantly working-class area, and like many such areas in urban centres, it has faced challenges related to poverty and associated social issues. While some level of gentrification has occurred in recent times, social housing remains a significant feature of the area.
The development of Bridgefoot Street Park is part of a broader "Greening the Liberties" strategy by Dublin City Council, which itself suggests a recognition of past deficiencies in public spaces within the neighbourhood. Interestingly, the unusually wide roads along Bridgefoot Street are remnants of an ambitious but ultimately abandoned motorway plan from the 1960s and 70s. This incomplete infrastructure project may have inadvertently contributed to the area's character by creating a less cohesive or pedestrian-friendly urban environment.
In conclusion, the history of Bridgefoot Street Park and its surrounding area is a rich tapestry woven with threads of medieval settlements, industrial activity, social housing developments, charitable endeavours, and nationalist uprisings.
The transformation of a former municipal dump and later a site of social housing into a public park signifies a significant shift in urban planning priorities, emphasising the importance of green spaces and community well-being.
The name "Bridgefoot Street" likely originates from its location at the foot of a historical bridge, replacing the less appealing moniker of "Dirty Lane." The area's "rough" reputation appears to stem from a combination of historical socio-economic factors, the presence of social housing with its associated challenges, and perceptions of crime and anti-social behaviour. However, the development of Bridgefoot Street Park, as part of the "Greening the Liberties" initiative, represents a positive step towards enhancing the quality of life for residents and potentially reshaping the area's image. This new green space holds the promise of becoming a vital community hub, balancing the rich history of the Liberties with contemporary needs for recreation, social interaction, and environmental sustainability.
VICTORIAN FOUNTAIN
THE VERY OLD FOUNTAIN AT WILTON PARK [PHOTOGRAPHED APRIL 2025]
The Fountain at Wilton Park, Dublin 2: A Historical and Architectural Analysis
Wilton Park, situated in the heart of Dublin 2, stands as a notable urban space, its contemporary vibrancy built upon layers of historical significance. A central feature of this park is its fountain, a structure that invites inquiry into its origins and evolution.
This conversation aims to explore the history of this fountain, specifically addressing whether it has always occupied its current location and detailing any restoration work it has undergone. The recent redevelopment of the Wilton Park area has brought renewed attention to its historical elements, with references to a restored fountain appearing in recent descriptions. These mentions suggest a process of refurbishment, prompting a deeper investigation into the fountain's historical context and its journey through time.
The narrative of Wilton Park and its fountain begins with the vision of Arthur Neville in the 1830s. Neville conceived of a grand urban scheme around 1830, proposing a broad crescent of buildings that would frame a semi-circular park overlooking the Grand Canal.
While this ambitious design was ultimately not fully realised due to challenges in acquiring the necessary land, a modified plan resulted in the creation of a smaller, triangular park around 1841. This period also saw the construction of the first six townhouses on Wilton Place.
The emergence of this park is intrinsically linked to the presence of the fountain, as historical records indicate that the park was laid out at the same time as these initial buildings were constructed. Arthur Neville's involvement in other planning activities within Dublin around the same period, as evidenced by a map from 1830 related to Church Street , underscores his role in shaping the urban fabric of the city during this era.
The fact that the park's creation was part of a larger, albeit incomplete, design suggests that its current form and features, including the fountain, are elements of a considered, if partially executed, urban planning vision. The coordinated development of the park and the adjacent buildings around 1841 indicates that the park, with its intended features, was conceived as an integral component of the evolving streetscape of Wilton Place.
The original fountain, erected around 1841, was designed as a freestanding cast-iron structure. Its construction comprised a masonry plinth supporting a square-plan granite-clad base. Above this base sat two-tier circular-plan cast-iron troughs, held aloft by columns and topped with a central finial. Originally, the fountain likely featured a cast-iron spout, though this was later replaced with stainless steel. Crucially, the fountain's initial placement within the newly established triangular park was in the centre of a flower bed, which itself occupied the central area of the park.
The flower bed was bordered by a rendered circular-plan dwarf wall with granite coping. The historical records identify J & R Mallet as the manufacturer of this fountain. Furthermore, the water that supplied the fountain was originally sourced from the nearby Grand Canal. The detailed description of the fountain, including the identification of its manufacturer, suggests it was a significant and ornamental element of the original park design, reflecting a commitment to aesthetic and civic amenity during the mid-19th century. The direct connection of the fountain's water supply to the Grand Canal highlights the practical integration of the park's features with the existing urban infrastructure of the time, underscoring the canal's importance as a vital resource for the city.
While the historical documentation provides a clear picture of the fountain's origins and initial placement, specific details regarding its condition and any modifications between its erection in 1841 and the recent redevelopment are less readily available within the provided material.
It can be reasonably inferred that the park and its central fountain remained a public green space within the Dublin 2 area for many years, likely experiencing the typical cycles of maintenance and potential minor alterations associated with urban parks. The presence of "Wilton Park House," which served as the headquarters of the Industrial Development Agency of Ireland , indicates the continued commercial significance of the area surrounding the park.
This building, completed in 1984, featured a sober design with granite and stainless steel cladding , reflecting a later architectural aesthetic in contrast to the earlier Victorian era of the fountain. Additionally, the adjacent Fitzwilton House, a brutalist office block completed in 1969 and demolished in 2018 , further illustrates the evolving architectural landscape around Wilton Park over the decades. The absence of specific mentions of the fountain's upkeep during this period might suggest a degree of stability or simply a lack of detailed historical records within the current scope of research. However, the sustained commercial activity in the vicinity implies that the park likely continued to serve as an amenity within a changing urban environment.
The landscape of Wilton Park has undergone a significant transformation in recent years through a large-scale redevelopment spearheaded by IPUT Real Estate.
This ambitious project aimed to revitalise the area, creating a new urban quarter with a mix of office spaces, residential units, and public amenities, all centred around a restored one-acre park.
A key element of this redevelopment was the creation of Mary Lavin Place, a new public square that serves as a focal point for the area. Integral to the park's refurbishment was the restoration of the original Victorian fountain. The restoration works aimed to bring the fountain back to full operational status , ensuring that this historical feature could once again be enjoyed by the public.
The overall park restoration also included the addition of new seating areas, updated landscaping, and improved accessibility. To facilitate these extensive works, Wilton Park was temporarily closed between March 2023 and Spring 2024. Maylim, a principal contractor, was engaged to carry out the restoration project. The significant investment and effort dedicated to restoring the Victorian fountain highlight a growing trend in urban development that recognises the value of preserving historical elements within contemporary settings. This approach seeks to create a richer sense of place by integrating heritage with modern urban life. Interestingly, alongside the restored Victorian fountain, the redevelopment also introduced a new "interactive water feature" in Mary Lavin Place. This juxtaposition of a historical fountain with a modern water feature suggests a deliberate design choice to offer diverse experiences within the redeveloped space, catering to different aesthetic preferences and functional requirements.
The culmination of the recent redevelopment is the reopening of Wilton Park, featuring the fully restored original Victorian fountain. Based on the historical descriptions and the information provided about the restoration, it is highly probable that the fountain remains in its original central location within the triangular park. Indeed, documentation indicates that the redevelopment was designed to preserve the existing layout of the park, including the central placement of the fountain. While the stainless steel spout, a later modification, remains , the core structure and location of the fountain appear to have been retained. New seating has also been added around the restored fountain, enhancing its accessibility and providing a space for visitors to appreciate this historical feature.
The emphasis on restoring the "original Victorian fountain" and the intention to preserve its central location strongly suggest a commitment to maintaining the historical integrity of Wilton Park's design. This approach underscores the value placed on historical authenticity in contemporary urban regeneration projects and confirms that the fountain has likely occupied the same central position within the park since its erection in the mid-19th century.
Conclusion
In conclusion, the fountain at Wilton Park in Dublin 2 was indeed part of the original design for the park, which was laid out around 1841 as part of Arthur Neville's broader vision for the area. The fountain was originally located in the centre of a flower bed within the triangular park, and evidence suggests it has remained in this central location throughout its history. Recently, the fountain has undergone a comprehensive restoration as part of the significant redevelopment of the Wilton Park estate by IPUT Real Estate. This restoration ensures that the original Victorian fountain continues to serve as a prominent and cherished feature of Wilton Park, blending historical charm with contemporary urban life.
Table 1: Timeline of Wilton Park Fountain
Circa 1830 Arthur Neville's scheme for Wilton Place and a semi-circular park proposed.
Circa 1841 Triangular Wilton Park laid out; cast-iron fountain by J & R Mallet erected in the centre of a flower bed.
Circa 2019-2024 Redevelopment of the Wilton Park estate by IPUT Real Estate. Various, e.g.,
March 2023 - Spring 2024 Wilton Park closed for restoration works, including the Victorian fountain. Maylim as principal contractor.
Spring 2024 Wilton Park reopens with the restored Victorian fountain in its original central location.
MARY LAVIN PLACE
MARY LAVIN PLACE [NEW PUBLIC SPACE BETWEEN LAD LANE AND WILTON PLACE]
Mary Lavin Place: A Landmark Commemoration in Dublin's Literary Landscape
Mary Lavin (1912-1996) stands as a distinguished figure in Irish literature, celebrated for her profound contributions to the short story genre and her insightful exploration of human emotions and experiences within the Irish context.
Her work, often focusing on the nuances of family life and the inner lives of women, has earned her recognition as a pioneer in women's writing. A significant moment in Irish cultural history occurred with the naming of Mary Lavin Place, the first public space in Ireland dedicated to an Irish female writer.
This newly established square is situated within the recently completed Wilton Park development, an area overlooking Dublin’s picturesque Grand Canal, nestled between the Leeson Street and Baggot Street bridges in Dublin 2.
This dedication marks a notable shift towards a more inclusive commemoration of the diverse figures who have shaped Ireland's cultural heritage, as the historical record of public honours has predominantly featured men. Furthermore, the decision to honour a writer in this manner underscores the enduring importance of literature within the cultural fabric of Dublin and the nation.
The official unveiling of Mary Lavin Place took place on Friday, the 18th of October 2024. The launch was officiated by Colm Tóibín, the esteemed Laureate for Irish Fiction (2022-2025). Tóibín's involvement lent considerable cultural significance to the event, highlighting the national importance of recognising Lavin's literary achievements. His connection to Mary Lavin extends back to his time at University College Dublin (UCD), where he met her through her daughter, Caroline Walsh. During the launch, Tóibín paid a heartfelt tribute to Lavin's exceptional talent as a short story writer and her profound influence on Irish culture and society, describing her as a "pioneering figure" and a "genius who walked among us".
The ceremony was also attended by members of Mary Lavin's family, including her grandchildren, who expressed their profound gratitude and support for this public acknowledgement of her significant contribution to literature. The fact that the Laureate for Irish Fiction, a prominent contemporary writer, presided over the opening underscores the continuity and enduring relevance of Ireland's rich literary tradition and Mary Lavin's esteemed place within it. It is worth noting that the launch date in October 2024 differs from the user's initial query which suggested a date in April 2025, indicating the importance of consulting multiple sources for accurate information.
The act of naming a public space after Mary Lavin holds significant cultural and historical weight, particularly in Ireland where public commemorations have historically favoured male figures. This gesture serves as a vital step towards redressing this imbalance and celebrating the substantial contributions of women to Irish society.
Mary Lavin was indeed a pioneering force in literature, renowned for her insightful exploration of themes pertinent to women's lives and her mastery of the short story form. Her notable works include her debut collection, Tales from Bective Bridge, published in 1942, which garnered the prestigious James Tait Black Memorial Prize. Other acclaimed works include Happiness and In the Middle of the Fields.
Lavin's literary talent earned her international recognition, including prestigious Guggenheim Fellowships in 1959 and 1961, as well as the Katherine Mansfield Prize in 1961. Furthermore, she was honoured with the distinction of Saoi of Aosdána in 1992, the highest accolade in Irish culture.
Niall Gaffney, Chief Executive of IPUT Real Estate Dublin, aptly highlighted the significance of this placemaking initiative, emphasising the desire to create a lasting tribute to Lavin's life and her groundbreaking role as a female author. This commemoration can be viewed as part of a broader societal movement aimed at achieving greater gender balance in public recognition and celebrating the diverse achievements of women within Irish culture. The specific choice to honour Mary Lavin underscores the high value placed on literary accomplishments within the Irish national identity.
Mary Lavin maintained a significant connection to Dublin, particularly through her residence at The Mews, located at 11 Lad Lane, from 1958 to 1981. Notably, Mary Lavin Place serves as a direct link between Lad Lane and Wilton Park. During her time at 11 Lad Lane, Lavin's home became a vibrant literary hub, where she frequently hosted gatherings for fellow writers, including prominent figures such as Frank O'Connor, Seán O'Faoláin, John McGahern, Brian Friel, and Tom Kilroy. She also extended her support to emerging writers like Nuala O'Faolain and Colm Tóibín. This physical connection between Mary Lavin Place and her former Dublin residence on Lad Lane forges a tangible bond between the writer and the commemorated space, thereby amplifying its significance. Moreover, the description of Lad Lane as a literary hub during Lavin's residency reveals her crucial role not only as a writer but also as a central figure in the Irish literary community of her era. This suggests that the commemoration also acknowledges her contribution to nurturing and fostering Irish literature beyond her own considerable body of work.
The Wilton Park development, recently completed by IPUT Real Estate, has transformed a significant area within Dublin 2. The development overlooks the Grand Canal, situated between the Leeson Street and Baggot Street bridges.
A key feature of this development is the restoration of a one-acre Victorian park. The area surrounding Wilton Park, historically known as "Baggotonia," boasts strong literary associations, having been home to numerous celebrated Irish writers such as Patrick Kavanagh, Brendan Behan, Eavan Boland, and Brian O'Nolan. The Wilton Park development seamlessly integrates modern elements, including new headquarters for prominent companies like LinkedIn, Stripe, and EY, alongside new restaurants and artist studios at street level.
Furthermore, a public-private partnership between IPUT Real Estate and Waterways Ireland is underway to enhance the public spaces along the Grand Canal at Wilton Terrace, with work commencing in January 2025 and anticipated completion by early summer. The Wilton Park development's thoughtful combination of respecting the area's rich literary heritage while embracing contemporary urban design makes it a particularly fitting location for a tribute to a writer of Mary Lavin's stature. IPUT Real Estate's significant investment in this area and their initiative in naming the square after Mary Lavin demonstrate a growing appreciation among developers for the importance of incorporating cultural elements into urban spaces, enriching the environment beyond purely commercial interests.
Mary Lavin Place serves as the central point of the Wilton Park development, effectively connecting Lad Lane with the newly restored park. A notable feature is the commissioning of a commemorative sculpture by the acclaimed artist Eilis O'Connell, titled 'Tipping the Wing,' which draws inspiration from Lavin's short story 'One Evening'. Plans are also in place to reimagine Parsons Bookshop, a beloved former social hub for Irish writers located on Baggot Street bridge, as a new bookshop and cultural destination that will open onto Mary Lavin Place.
A striking new 7-metre covered street, featuring a coloured glass ceiling created by Irish artist James Earley, links Lad Lane to Mary Lavin Place. The restored Wilton Park offers additional amenities, including the original Victorian fountain, new seating areas, revitalised lawns and pathways, diverse planting to promote biodiversity, a designated dog park, and a secure play area for young children.
The intention is for both Wilton Park and Mary Lavin Place to function as vibrant public spaces hosting exhibitions, musical performances, and various arts events. The integration of public art, a bookshop, and community-oriented spaces within the Wilton Park development, with Mary Lavin Place at its core, strongly suggests a deliberate effort to cultivate a dynamic cultural hub that honours the area's deep literary roots. The commissioning of a sculpture directly inspired by Lavin's literary work exemplifies a thoughtful and artistic approach to this commemoration, elevating it beyond a mere symbolic gesture.
In conclusion, the establishment of Mary Lavin Place represents a significant milestone as the first public space in Ireland named after a female writer, marking a crucial step towards a more equitable recognition of women's profound impact on Irish culture. This commemoration not only honours the enduring legacy of Mary Lavin as a pioneering figure in Irish literature but also enriches Dublin's cultural landscape by introducing a new space dedicated to community engagement and artistic expression. The deliberate connection between Mary Lavin Place, her former residence on Lad Lane, and the historically significant literary locale of Wilton Park creates a meaningful and lasting tribute to her remarkable life and her substantial body of work.
PHOTOGRAPHING TREES
I LIKE PHOTOGRAPHING THE TREES IN PHOENIX PARK [9 APRIL 2025]
Phoenix Park in Dublin is renowned for its expansive green spaces and diverse collection of trees. Here's a look at the variety you can find, and some of its notable arboreal features:
Variety of Trees:
The park boasts a wide range of tree species, contributing to its rich biodiversity. Common varieties include:
Oak (Quercus robur)
Ash
Lime
Sycamore
Horse Chestnut
Hawthorn
Beech
Evergreens
Key Features:
The park contains various woodland habitats, and also scattered trees within parkland areas.
There has been extensive tree planting over the years, to maintain and replace older trees.
The horse chestnut trees within the park create some very impressive avenue's. These trees have had problems with horse chestnut bleeding canker, and there has been work done to combat this disease.
It's important to note the presence of semi-natural oak-ash-hazel woodland, which is a valuable habitat.
The park's older trees contribute significantly to its historical landscape. Determining the single "oldest" tree can be difficult, but many mature oaks and other species are centuries old.
The park is also home to protected plant species, showing the importance of the parks biodiversity.
THE CROPPIES ACRE
THE CROPPIES ACRE MEMORIAL PARK [AT THE MUSEUM LUAS TRAM STOP ON BENBURB STREET]
A decade or so ago I advised visitors to avoid this park but much has changed since then.
The Croppies' Acre, officially the Croppies Acre Memorial Park, is a historically significant public space located in Dublin, Ireland, along the banks of the River Liffey, near Collins Barracks. Its primary importance stems from its association with the 1798 Rebellion. Here's a breakdown of its significance and past issues:
Historical Significance:
1798 Rebellion:
The site is traditionally believed to have been used as a mass burial ground for Irish rebels, known as "Croppies" due to their short-cropped hair, who were casualties of the 1798 Rebellion.
This connection makes it a poignant reminder of a crucial period in Irish history, attracting those interested in Ireland's struggle for independence.
The memorial park serves as a place of remembrance for those who fought in the rebellion.
Historical Context:
The park's proximity to Collins Barracks (formerly the Royal Barracks) adds to its historical context, as the barracks played a role in the events of that era.
Past Issues and Redevelopment:
Anti-social Behaviour:
In the past, the park suffered from significant anti-social behaviour, including public drunkenness and drug use, leading to its closure by the Office of Public Works in 2012.
Redesign and Reopening:
Dublin City Council took over the park's management and implemented a redesign to address these issues.
The park was reopened in 2016, with the aim of creating a safer and more accessible public space.
The redesign of the park, and the work done by the Dublin City Council has greatly helped to reduce anti social behaviour.
The park is now open 24 hours a day, increasing public access.
Why it may be of interest to overseas visitors:
Irish History:
For those interested in Irish history and the struggle for Irish independence, Croppies' Acre provides a tangible link to a pivotal moment.
Cultural Significance:
It offers insight into Irish cultural memory and how historical events are commemorated.
Dublin's Heritage:
It is a part of Dublin's rich historical heritage, located along the scenic River Liffey.
OSCAR SQUARE
SOME CLAIM THAT OSCAR SQUARE FEATURING A MARIAN STATUE WAS NAMED IN HONOUR OF OSCAR WILDE [WRONG OSCAR]
The small urban green space, now commonly known as Oscar Square Park, has a history that intertwines mythology, wartime necessity, and evolving community identity. While it is often mistakenly claimed that the square is named in honour of Oscar Wilde, evidence strongly suggests its namesake is Oscar, son of Oisín, a figure from Irish mythology.
Oscar, son of Oisín, is a prominent character within the Fenian Cycle. As the son of Oisín and grandson of Fionn mac Cumhaill, he is celebrated for his bravery and strength as one of the fianna, an elite band of warriors. The location of Oscar Square within the Tenters estate provides crucial context. The Tenters, one of the first public housing schemes built by the Irish State post-independence (1922-1924), reflects a period of national identity formation. During this time, it was common to commemorate figures from Irish heritage in the naming of public spaces.
Further supporting this theory is the pattern of naming nearby roads. Clarence Mangan Road honours the poet James Clarence Mangan, while O’Carolan Road commemorates the harpist Turlough O'Carolan. These literary and musical associations reinforce the likelihood that Oscar Square, following this pattern, is also named after a figure from Irish culture – the mythological Oscar.
Despite Oscar Wilde's strong Dublin connections – born in the city in 1854, attending Trinity College, and having a prominent memorial in Merrion Square – the claim that Oscar Square is named after him is likely erroneous. The historical context of the Tenters estate, and the naming of adjacent roads, points towards the mythological Oscar.
The square's history also includes a period as Rosary Park. According to a local resident, as recently as December 2020, the space was still known by this name, and was traditionally closed to the public except on Sundays. This suggests a gradual shift in common usage or a formal name change, possibly reflecting a move towards emphasising Irish cultural figures.
Furthermore, research confirms the presence of World War II trench shelters in Oscar Square during "The Emergency." Historical records and local accounts corroborate this, with one resident recalling the entrance to a shelter located at the park's steps. This aligns with the wider context of Dublin's Air Raid Precautions (ARP) efforts.
Finally, the square's shape has been a point of contention. While often referred to as a "square," local publications describe it as a "triangular patch of green." This discrepancy may reflect a change in the park's physical layout or a broader interpretation of the term "square" to refer to the urban area rather than the precise geometric form.
In conclusion, Oscar Square Park, despite its name, is not definitively square, and its namesake is more likely the mythological Oscar, son of Oisín, rather than Oscar Wilde. Its history reflects the cultural and wartime experiences of the surrounding community, transitioning from Rosary Park to its current designation, and containing wartime shelters, all while being a point of minor geometric confusion.
TOLKA ESTUARY GREENWAY
IF YOU ARE IN DUBLIN FOR THE ST PATRICK'S FESTIVAL [YOU SHOULD VISTI DUBLIN CASTLE]
The gardens at Dublin Castle, particularly the Dubh Linn Garden, offer a fascinating and tranquil escape within the heart of Dublin city. Here's a breakdown of why they're worth a visit:
Historical Significance:
The gardens are situated on or near the site of the original "dubh linn" (black pool), from which Dublin derives its name. This connection to the city's Viking origins provides a unique historical layer.
The gardens have existed in some form since the 17th century, meaning they have witnessed centuries of Dublin's history.
Memorial and Artistic Elements:
The gardens feature memorial areas, such as the Garda Memorial Garden, which honours members of the Irish police force who died in the line of duty. These spaces offer moments of reflection.
Specially commissioned sculptures are integrated throughout the gardens, adding artistic interest.
There is a memorial to the 2003 special olympics, that also is located within the gardens.
Oasis of Calm:
In the midst of a bustling city, the gardens provide a peaceful retreat. They offer a chance to relax and enjoy greenery.
The layout of the gardens, with its various smaller garden areas, allows for a sense of discovery.
Dubh Linn Garden Features:
The grassy sward of the Dubh Linn Garden, with its sea serpent inspired patterns, is a unique feature.
The "four seasons" gardens that surround the dubh linn garden, offer a variety of plant life to enjoy.
Why a Tourist Should Visit:
To experience a tangible link to Dublin's Viking past.
To enjoy a moment of peace and tranquillity in a city centre location.
To appreciate the memorial and artistic elements within the gardens.
To experience part of the Dublin castle complex, and the history it holds.
To enjoy a beautiful garden space.
TOLKA ESTUARY GREENWAY
DUBLIN PORT TOLKA ESTUARY GREENWAY [A HARBOUR HAVEN]
Everyone that I met along this trail indicated that they were more than impressed by this most unlikely facility within the port area of Dublin.
Opened in September 2024 by Minister of State James Lawless TD, the Dublin Port Tolka Estuary Greenway offers a new shared cycling and pedestrian route, connecting EastPoint Business Park to the Ferry Terminals. This scenic pathway traverses reclaimed land, a legacy of the 1970s, along Dublin Port's northern perimeter.
Developed by the Dublin Port Company, the Tolka Estuary Greenway forms part of Fáilte Ireland’s Dublin Coastal Trail, a captivating route showcasing Dublin’s majestic coastline from Skerries in the north to Killiney in the south. This trail, renowned for its diverse experiences, now proudly features the port's own greenway.
Nestled within the bustling port, the Greenway provides cyclists and pedestrians with breathtaking views of Dublin Bay. The air is alive with the calls of migratory birds, including Brent Geese, Bar-Tailed Godwits, and Common and Arctic Terns, who find sanctuary in the port throughout the year.
Mature Pine, Willow, and Sycamore trees have been carefully preserved along the route. Complementing this existing greenery, over 200 large trees and more than 5,000 smaller woodland trees, alongside native wildflowers, have been planted, creating new shelter and nesting sites for birds, pollinators, and other insects.
The Dublin Port Tolka Estuary Greenway also celebrates the port's rich history. Seating at the Greenway’s Discovery Points incorporates reclaimed granite from the 19th-century Alexandra Basin, salvaged during the first phase of Dublin Port’s Masterplan 2040.
Easily accessible from Clontarf, the Greenway's EastPoint Business Park entrance is a short walk from the EastPoint stop on the N4 bus route. Access is also available from the Ferry Terminals via the Stena Line Terminal 2 building, and is conveniently located near the Irish Ferries and Isle of Man Ferries Terminal 1 building.
Midway along the route, via Promenade Road, the Circle K Dublin Port service station offers refreshments from K Coffee, a variety of food options, an ATM, showers, and toilet facilities. The Greenway features a specialist lighting system designed to minimise disturbance to wildlife, and call points are strategically placed along the route.
Entering from the EastPoint side, users are immediately immersed in a woodland corridor. The expanse of Dublin Bay dramatically unfolds at the first of the Greenway’s three ‘Discovery Points’. These observation platforms offer previously inaccessible panoramic views across the bay.
Interpretive panels at each Discovery Point provide insights into Dublin's maritime heritage. The first Discovery Point overlooks Clontarf, the site of Brian Boru’s momentous victory over the Viking and Leinster armies in the 1014 Battle of Clontarf.
At the second Discovery Point, near Promenade Road, visitors can gaze out over Dublin Bay, where over 300 shipwrecks lie undiscovered beneath the waves. The panels here also offer a glimpse into the lives and humour of the dockers who worked in the nearby shipyards, a vibrant hub of economic activity that continues to thrive today.
Continuing along Promenade Road to ‘Discovery Point 3’, visitors witness the port's bustling heart, observing ships arriving and departing, and enjoying a 270-degree view of Dublin Bay stretching out to the Irish Sea.
The Dublin Port Tolka Estuary Greenway is a certified section of the ‘Eurovelo 2 Capitals Route’, a 5,000km network of long-distance cycling routes connecting seven countries, six capital cities, and two European seas. By Q2 2025, the Greenway will connect westward to Athlone via the Royal Canal and Clontarf Greenways, upon completion of Phase 3 of the Royal Canal Greenway.
The official opening of Phase One of the Dublin Port Tolka Estuary Greenway took place in September 2024, with further phases planned as the port develops. The Greenway will also be linked to the River Liffey via the Liffey-Tolka Project, which received planning approval in 2023. This project represents a significant milestone in Dublin Port’s Masterplan 2040, maximising the potential of existing port lands and integrating the port with the city, an investment for generations to come.
THE BOTANIC GARDENS
A QUICK VISIT TO THE BOTANIC GARDENS [GLASNEVIN 22 FEBRUARY 2025]
The National Botanic Gardens of Ireland, a serene oasis nestled just a short distance from Dublin city centre, offer a tranquil escape into the world of horticulture. Spanning over 50 acres, these gardens are a captivating tapestry of themed landscapes, glasshouses, and collections, showcasing the remarkable diversity of plant life. Visitors can wander through meticulously curated gardens, from the formal elegance of the Rose Garden to the vibrant displays of the Alpine and Bog Gardens. The Curvilinear Range of glasshouses, a stunning feat of Victorian engineering, houses a fascinating array of exotic plants from around the globe, creating a humid and verdant world of its own.
The Gardens also boast a rich history, dating back to 1795, and serve as a vital centre for botanical research and education. Whether you're seeking inspiration for your own garden, a peaceful stroll amidst nature, or simply a fascinating glimpse into the plant kingdom, the National Botanic Gardens of Ireland provide an enriching and memorable experience.
CLOCK TOWER GARDENS
THE CLOCKTOWER GARDENS [ST. ANNE'S PARK IN RAHENY 1 AUGUST 2019]
In the Central Nurseries, located behind the Clocktower Gardens, over 600,000 seasonal bedding plants are produced annually for the city’s parks. The wooden planters to be seen on the Liffey Boardwalk and elsewhere throughout the city, along with the tiered floral planters, are also produced & maintained within the Nursery.
The Clocktower Gardens at St. Anne's Park are so named for the prominent and historically significant Clock Tower that stands within them. This impressive structure, built around 1850, is a four-storey brick tower with a striking presence. Its most notable feature is the giant bell, nearly 1.2 metres across, inscribed with Benjamin Lee Guinness's name and the family motto, 'Spes Mea in Deo' (My Hope is in God). This inscription immediately connects the tower to the Guinness family, who were instrumental in the development of St. Anne's Park.
The Clock Tower isn't just a visual landmark; it also has an interesting architectural detail: it originally served as the entrance to the walled gardens. This suggests that the Clock Tower was not only a symbol of the Guinness estate but also an integral part of its functional design. The clock itself, made by James Booth of Dublin, has a single dial facing eastwards, towards where the main house once stood. This orientation further emphasises the tower's historical connection to the Guinness family and their estate.
Knowing these details, we can appreciate the Clock Tower Gardens in a richer context. The Clock Tower isn't merely a feature within the gardens, but a central element with historical, architectural, and symbolic importance. It's a reminder of the Guinness family's legacy and the evolution of St. Anne's Park over time.
THE FOUR MASTERS
THE FOUR MASTERS MEMORIAL [FEATURING LARGE CELTIC CROSS BY JAMES CAHILL]
(Images from 2020 and 2022)
The Four Masters Memorial, a striking Celtic cross sculpted by James Cahill, stands within a small, privately owned park bounded by Eccles Street, Berkeley Road, and St. Joseph's Church in Dublin. While the park's location is publicly accessible to view from the street, access to the park itself is restricted, preventing public entry.
The Memorial and its Origins:
Erected in 1876, the memorial commemorates the remarkable achievement of the Franciscan friars of Donegal town. Between 1632 and 1636, these friars meticulously compiled a comprehensive history of early Ireland from a wealth of ancient sources. This monumental work, known as the Annals of the Four Masters, is a cornerstone of medieval Irish historiography, providing invaluable insights into the island's past.
The driving force behind the memorial was Sir William Wilde (1815-1876), father of Oscar Wilde. A distinguished eye and ear surgeon, Sir William was also a passionate antiquarian with a deep interest in Irish history and archaeology. His active involvement in Dublin's sculptural commissions, coupled with his membership in the Royal Irish Academy, made him a natural champion for a monument honouring the Four Masters. He commissioned James Cahill to execute the project.
The Sculptor: James Cahill (d. 1890):
James Cahill, born in Delvin, County Westmeath, demonstrated his artistic talent early in life. Following his father's death, his family moved to Dublin, where he studied at the Royal Dublin Society School, winning prizes in 1851 and 1852. In 1852, he exhibited a sculptural group at the Royal Hibernian Academy before travelling to Rome for a brief period.
Upon his return to Dublin in 1853, Cahill apprenticed in the studio of the renowned Irish sculptor, John Hogan, remaining there until 1858. During this time, he honed his skills and produced numerous works for churches, as well as portrait busts and statues. His most significant individual work is considered to be the statue of Daniel O'Connell, erected in Ennis in 1865. Cahill exhibited regularly at the Royal Hibernian Academy between 1856 and 1886. He died in Dublin on 28 October 1890 and is buried in Glasnevin Cemetery.
The Park and the MetroLink Connection:
The park containing the Four Masters Memorial is owned by the Mater Misericordiae University Hospital. Interestingly, historical records reveal that the park was once intended to be integrated with the now-cancelled Metro North project. A partially constructed underground structure, sometimes referred to as a "box," exists beneath the Mater Hospital grounds, likely intended to serve as part of a planned "Mater Stop" on the original Metro North line. However, with the shift to the MetroLink project and a revised route, these plans were abandoned, leaving the "box" and the park's future uncertain. The reasons for restricting public access to the park remain unclear.
PEACE PARK
WAS DERELICT BACK IN JANUARY 2019 [HAS SINCE BEEN RESTORED AS THE PEACE PARK]
The Peace Park, located on Nicholas Street opposite Christchurch Cathedral in Dublin, has a complex history. Originally opened in 1988 as a symbol of Ireland's yearning for peace, it fell into disrepair and was closed to the public for nearly a decade.
The park occupies the site of Dublin's old Tholsel, a significant building from the Norman invasion until its demolition around 1809. The Tholsel served various functions, including civic hall, guildhall, court, and gaol. It also housed a merchants' exchange and the City Recorder's Court, where punishments, such as whipping and dragging behind a horse and cart, or flaying and pillorying, were meted out for crimes less serious than murder. These brutal punishments ceased by the late 1700s. The remains of St. Nicholas Within church stand to the south-west of the park.
Designed as a sunken garden in the late 1980s to minimise traffic noise, the park was officially opened in 1988 during the Troubles. Its paving consists of Liscannor Flagstone from County Clare, known for its fossilised traces of unknown organisms. Despite its peaceful intentions, the park became a haven for antisocial behaviour, leading to its indefinite closure in 2009/2010. One local resident I spoke to when I first photographed the derelict park in 2019 confirmed that it had been closed for years due to such issues.
Before its 2019 redevelopment, the park featured a bronze 'Tree of Life' statue, a fountain, and engraved quotes from Irish poets W.B. Yeats and Patrick Kavanagh. The 'Tree of Life' was installed for Dublin's Millennium celebrations in 1988, alongside other projects like the Molly Malone statue. The "Millennium Child" sculpture by John Behan, depicting three bronze children playing, stands in front of the park. It was unveiled by President Mary McAleese in November 2000 to celebrate the children of the new millennium. By 2019, however, the park was derelict and locked, a far cry from its original purpose. It has since been redeveloped and reopened.
SANTRY PUBLIC PARK
SANTRY DEMESNE PUBLIC PARK [I HAD NOT REALISED THE EXTENT OF THIS PUBLIC PARK UNTIL THIS VISIT]
My exploration of Santry Demesne Public Park began with a ride on the new E1 bus to Northwood. Intrigued by this terminus, I ventured into the area and, trusting my sense of direction, soon found myself near Morton Stadium and the adjacent park. (As an aside, during my time at B+I Shipping, I shared an office with Billy Morton's brother – whose name escapes me, though he always introduced himself by his famous sibling).
The park proved far larger than I'd imagined. Santry Demesne occupies the grounds of a once-grand house and gardens, originally built in 1703 on the site of a medieval dwelling. The house fell into disrepair around the turn of the 20th century, with local stories offering various explanations. A devastating fire in 1947 sealed its fate, and the house was finally demolished in 1959.
Despite its destruction, traces of the house's former splendour remain. Visitors can still see the foundations, front steps, tree avenue, and walled garden. In June 2003, Fingal County Council took over Santry Demesne, transforming it into a valuable public amenity.
Today, the park offers a children's playground, a network of paths for walkers, joggers, and dog walkers, and free car parking just inside the main gates. The Community Garden, within the Walled Garden, is flourishing, boasting a Kitchen Garden and Heritage Orchard established for over two years. The front section is currently being developed into a Recreational Garden, soon to be open to the public more regularly.
While the original stone temple from the Domvile family's Templeogue residence (moved to Luggala in County Wicklow in 1858) is no longer in Santry, a facsimile stands in its place. The original Phoenix Folly, however, remains a key feature, echoing the more famous Phoenix Column in Phoenix Park.
The Phoenix Folly draws inspiration from the 1747 monument in Phoenix Park, commissioned by the 4th Earl of Chesterfield. This column, topped with a mythical phoenix, was a prominent feature on the park’s main avenue, though later moved. It is thought to have commemorated the park's opening to the public, symbolising a new era of access for Dubliners.
Santry Demesne's Phoenix Folly faithfully recreates the original column's key architectural elements, showcasing neoclassical elegance. The Corinthian column, with its fluted shaft and intricately carved capital, exemplifies this style, while the ornate base and sculpted phoenix enhance its aesthetic appeal.
WAR MEMORIAL GARDENS
IRISH NATIONAL WAR MEMORIAL GARDENS AT ISLANDBRIDGE [TUESDAY 14 JANUARY 2025]
The Irish National War Memorial Gardens in Dublin, located in Islandbridge, serve as a poignant and beautiful tribute to the Irish men and women who lost their lives during the First World War. Designed by the renowned British architect Sir Edwin Lutyens, they are considered one of the most important war memorials in Europe.
Here's a closer look at this significant site:
A Place of Remembrance
The gardens are primarily dedicated to the memory of the 49,400 Irish soldiers who died in the Great War (1914-1918). However, they also honour all Irishmen who perished in that conflict. This inclusivity is important, acknowledging the diverse backgrounds and motivations of those who served.
Architectural and Landscape Design
Lutyens' design masterfully blends architectural elements with the natural landscape. Key features include:
Sunken Rose Gardens: Two circular sunken rose gardens form the heart of the memorial, providing a tranquil and contemplative space.
Granite Bookrooms: Four granite bookrooms house illuminated manuscripts created by the renowned Irish artist Harry Clarke. These books contain the names of all the Irish war dead, ensuring their individual sacrifices are remembered.
The Stone of Remembrance: A large rectangular stone lies at the centre of the main avenue, echoing similar stones found in other Commonwealth War Graves Commission cemeteries.
Extensive Planting: The gardens feature a variety of trees, shrubs, and herbaceous borders, creating a peaceful and reflective atmosphere.
Historical Context
The memorial's construction began in the 1930s, with the official opening taking place in 1940. Its creation was a significant undertaking, involving ex-servicemen from both the British Army and the Irish National Army in its construction, further highlighting its role as a symbol of shared loss and reconciliation.
A Place for Reflection and Recreation
Today, the Irish National War Memorial Gardens are not only a place of remembrance but also a popular public park. Visitors can stroll through the gardens, admire the architecture and horticulture, and reflect on the human cost of war.
The gardens' location, adjacent to Phoenix Park and near the River Liffey, adds to their appeal, providing a peaceful and accessible green space within Dublin city.
LIFFEY PARK
EXPLORING LIFFEY PARK [A SECTION OF LIFFEY VALLEY LINEAR PARK BETWEEN ISLAND BRIDGE AND CHAPELIZOD]
Dublin boasts over 200 public parks of varying sizes, distributions, and characters within its administrative area. These parks provide recreational, cultural, environmental, and social benefits to the city, and Park Services is responsible for their planning, design, maintenance, and management.
Among these urban green spaces is Liffey Park, a picturesque stretch along the River Liffey that meanders through Dublin's heart. This photographic series focuses on the section of Liffey Park situated between the National War Memorial and the charming village of Chapelizod.
Locating Liffey Park
To orient ourselves within this section of Liffey Park, it's essential to identify key landmarks. The Irish National War Memorial Gardens, located in Islandbridge, serve as our starting point. These gardens, a solemn and beautiful tribute to the 49,400 Irish soldiers who died in the First World War, stand as a permanent memorial to all Irishmen who perished in the Great War. They are adjacent to Phoenix Park, one of Europe's largest enclosed public parks, and can be accessed from Con Colbert Road and South Circular Road.
At the western end of this section of Liffey Park lies the village of Chapelizod. Nestled in the wooded valley of the River Liffey, approximately 6km west of Dublin city centre, Chapelizod is known for its strong community spirit and historical charm, offering a peaceful escape from the bustling city. The village's association with Iseult of Ireland adds a touch of local legend.
A Journey Through Time
The River Liffey has been Dublin's lifeblood since its earliest settlements. Archaeological evidence suggests that the area around the river's mouth was inhabited as far back as the Neolithic period by farmers and fishermen. The Liffey played a crucial role in Dublin's establishment and growth, providing a vital route for transportation and trade. Over the centuries, the riverbanks have witnessed the rise and fall of civilisations, from Vikings to Normans, each leaving their mark on the landscape. The earliest known stone bridge over the Liffey in Dublin was the Bridge of Dublin, built in 1428 by the Dominicans. This replaced an older wooden structure and incorporated architectural features such as a chapel and a bakehouse.
In the 1970s, during the development of Wood Quay, the discovery of a significant Viking settlement further highlighted the rich historical tapestry woven into Liffey Park and the Liffey's enduring presence in Dublin's evolution.
Features and Amenities
Liffey Park offers a diverse range of features catering to various interests. The parkland provides opportunities for leisurely strolls, invigorating runs, and peaceful moments by the river.
Within the broader Liffey Valley Park, a variety of amenities are available, including playgrounds, a petting farm, dog walking tracks, fairy trails, rose gardens, and fishing lakes. A BMX track in St Catherine's Park adds an element of excitement for those seeking more adventurous pursuits.
Liffey Valley Park is more than just a recreational space; it reflects the city's commitment to preserving its natural heritage and promoting sustainable development. A strategy is in place to develop and promote Liffey Valley Park, focusing on recreation, tourism, economic development, and habitat creation. This strategy encompasses various sections within the park, including Celbridge, Leixlip, St Catherine's Park, Lucan, Anna Liffey Mills, Strawberry Beds, Palmerstown, Mill Race, Chapelizod/St Lawrence, Phoenix Park, and Memorial Park. Flagship projects within Liffey Valley Park, such as those in Islandbridge and Chapelizod, aim to enhance the park's amenities and accessibility.
MARTELLO TOWER No 15
THE MARTELLO TOWER AND THE FOOTBRIDGE [IN WILLIAMSTOWN THE VILLAGE THAT WAS MOVED]
The Martello Tower and Footbridge, Blackrock Linear Park
Blackrock Park's landscape reveals several layers of history. A fine example of Victorian landscape design, the park features a bandstand, lake, and pavilion, among other notable elements. The Martello Tower is one of the park's most prominent and historically significant structures.
Tower No. 15, Booterstown (Williamstown)
Originally situated slightly offshore, this tower was surrounded by water to facilitate effective flag signalling to its neighbouring Martello towers at Sandymount and Seapoint. Slightly wider than standard to accommodate two guns, it was built approximately 2 kilometres from its south-eastern neighbour, Tower No. 14 at Seapoint, and 2.4 kilometres from its north-western neighbour, Tower No. 16 at Sandymount. The range of its two 24-pounder cannons, just under 1,700 metres, ensured that, combined with the overlapping firing arcs of its neighbours, any attacking ship could be severely damaged or sunk.
Unlike other south Dublin towers, the Williamstown tower lacks a machicolation for dropping boiling oil on attackers. Instead, it features murder holes above the western doorway, incorporated within the continuous corbelled courses of the parapet. Currently unoccupied, the local authority expressed intentions in 2013 to restore the tower for community use, though this work has not yet commenced.
The tower stands on a large grassy area bordered by a coastal walkway, with the Dublin Area Rapid Transit (DART) line to its east. Unfortunately, it has suffered from both the passage of time and vandalism.
The Dublin to Kingstown railway line, built in 1834, significantly altered the local landscape, including the area around the tower. The track was constructed offshore from Merrion, south-eastwards past Booterstown and Williamstown towards Blackrock. This construction restricted tidal flow, leading to the formation of marshlands between the railway and the shoreline, and around the tower.
When Blackrock Park was created in 1873, this new marsh at Williamstown was filled in. This raised the ground level around the tower, burying its basement. Consequently, the tower now appears shorter and stouter than its original profile. Based on the current height difference between the sand east of the railway and the tower's base, at least 2 to 3 metres of the original above-ground structure is now concealed by soil.
A significant maritime tragedy occurred near the tower on 18 November 1807. During a violent storm, His Majesty’s Packet Prince of Wales, part of a military convoy carrying Irish recruits to fight Napoleon, was driven ashore on rocks near Blackrock House (then the home of Sir John Lees), approximately 1.4 kilometres south-east of the tower. The storm was so severe that winds reportedly reached hurricane force. On the same day, the brig Rochdale, another ship carrying recruits, was driven onto rocks directly beneath the Martello tower at Seapoint. The extreme weather, including driving snow and sleet that reduced visibility to near zero, hampered rescue efforts at both locations. Hundreds of people perished close to the shore.
At Seapoint, it was said that a twelve-foot plank could have saved hundreds of lives. After the storm, 385 mangled and largely unidentifiable bodies were recovered from the shore (265 from the Rochdale and 120 from the Prince of Wales) and buried in Merrion and Carrickbrennan graveyards. The captain and crew of the Prince of Wales abandoned the ship and its doomed passengers, escaping in the ship’s longboat. On 19 November 2007, a commemorative plaque was unveiled on the sea wall beside the Seapoint Martello tower to commemorate this tragic event.
Williamstown: A Tale of Relocation
Williamstown, a small village nestled between Blackrock and Booterstown in Dublin, Ireland, boasts a fascinating history intertwined with the expansion of Blackrock College. Originally situated on the site now occupied by the college, Williamstown faced a unique challenge in the early 20th century.
A Move for Expansion:
Blackrock College, a prestigious educational institution, embarked on a significant expansion project in the early 1900s. This necessitated acquiring additional land, including the area where Williamstown stood. To accommodate the college's growth, the decision was made to relocate the entire village.
A New Home:
In a remarkable feat of community planning, the houses and businesses of Williamstown were carefully dismantled and reconstructed on the opposite side of the Rock Road. This effectively "moved" the entire village to its current location. While the exact timeline is still debated, it is believed this relocation occurred between 1906 and 1907.
A Lost Landmark:
Among the relocated buildings was a local pub, a central gathering place for the community. Sadly, this pub has since disappeared, leaving only historical accounts and fading memories of its presence. However, the houses that were relocated remain standing today, serving as a tangible link to Williamstown's past.
A Legacy of Resilience:
The story of Williamstown's relocation is a testament to the resilience and adaptability of the community. It highlights how urban development and institutional growth can reshape landscapes and communities. Despite the upheaval, Williamstown persevered, finding a new home and continuing to thrive.
SALTWATER LAKE
THE SALTWATER LAKE IN BLACKROCK PARK [ACCESS VIA PHOENIX TERRACE CAR PARK]
The Lake in Blackrock Park
The lake is the dominant feature within Blackrock Park, a green space managed by Dún Laoghaire-Rathdown County Council. Its shape is organic in outline, punctuated by a tree-covered island. A pump house, disguised as a historic folly, is nestled amongst the vegetation. This unique saline lake features a rusticated edge and is enclosed by a perimeter pathway.
Saline Water Source: The lake's salinity likely originates from groundwater with a high salt content, a common occurrence in coastal areas where seawater can seep into the aquifer.
Tide Invariance: The lake's water level remains relatively constant due to its isolation from the direct tidal influence of the sea.
The most distinctive feature of the lake is the circular island stage at the northern end. This stage forms part of a grass amphitheatre that encloses the northern end of the lake. Its bank rises sharply in level from the lake to Rock Road. A path runs along this bank, ramping up to provide access from the Phoenix Terrace car park. A utility box and a commemorative seat are incongruously located along this path.
A historic stone structure, resembling a lookout post, sits inconspicuously below Rock Road amongst the trees. This may have served as a changing facility before the construction of the railway line.
On the other side of the lake, along the eastern edge, the path doubles as a cycle path. It is the main access route through the park and acts as a link in a broader commuter corridor.
Car Parking and Surrounding Areas
The car park at Phoenix Terrace caters for 18 cars. It features an entry and an exit gate, both with similar imposing granite piers and substantial original metalwork, reminiscent of the entrance at Elm Cliff.
Access paths from the car park lead to a 1916 memorial garden and towards the eastern side of the park to the cycle/walking route that parallels the railway line. An ESB substation sits jarringly along the boundary with the railway line opposite this path.
Additional space is occupied by the substation, which provides parking for service vehicles. The area known as Williamstown is a large, featureless space that backs onto the residential developments of Phoenix Square, Emmet Square, and Seafront Parade. A grove of trees is the only feature in this space, predominantly Lime but also including Poplar and Ash.
BOOTERSTOWN MARSH
BOOTERSTOWN MARSH AND NATURE RESERVE [ROCK ROAD BOOTERSTOWN]
Booterstown Marsh and Nature Reserve is a unique and important habitat with an interesting history. The marsh's origins are directly linked to the construction of the Dublin and Kingstown Railway in the 1830s. This railway, one of the first commuter lines in the world, was built on an embankment across the then-existing Merrion Strand. This construction effectively created a tidal lagoon, which over time evolved into the saltmarsh we see today.
This human-induced change inadvertently created a valuable ecosystem. Booterstown Marsh provides a habitat for a variety of plant and animal life, most notably birds. It's a key stopover point for migratory birds, offering crucial feeding and resting grounds.
Recognizing the ecological importance of the marsh, Dún Laoghaire–Rathdown County Council has recently undertaken efforts to further enhance the habitat. Notably, they created islands within the marsh. These islands serve multiple purposes:
Roosting sites: Providing safe places for birds to rest and preen.
Nesting grounds: Offering secure locations for birds to nest and raise their young, away from disturbances.
Protection from high tides: Giving birds refuge during high tide events.
These recent interventions demonstrate an ongoing commitment to conserving and improving this valuable urban wetland. Booterstown Marsh stands as a testament to how human activity can unintentionally create new habitats, and how careful management can further enhance their ecological value.
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.
BUSHY PARK
MY CHRISTMAS 2024 VISIT TO BUSHY PARK [19 DECEMBER 2024]
Every year I have the opportunity to base myself in Rathgar over Christmas but as the house is to be sold in 2025 this will be the last time which is a pity.
Bushy Park is a large public park located in Terenure, Dublin, Ireland, bordering the River Dodder. Unlike many other urban parks which feature formal gardens, Bushy Park is distinguished by its extensive natural areas, including mature woodlands and a large pond with several smaller ponds that are havens for wildlife. The park provides a welcome escape from the urban environment, offering a more rustic and natural experience.
Key Features and Attractions:
Woodlands: Significant portions of the park are covered in mature woodlands, offering shaded walking trails and a sense of being immersed in nature. These areas are home to a variety of tree species and provide habitats for birds and other wildlife.
Ponds: The large central pond, along with several smaller ponds, is a focal point of the park. These bodies of water attract waterfowl such as ducks, swans, and moorhens, and the surrounding areas offer tranquil spots for relaxation.
River Dodder: The park's eastern boundary is defined by the River Dodder, adding to the park's scenic beauty and providing opportunities for riverside walks.
Recreational Facilities: Bushy Park is well-equipped for sports and recreation, with numerous playing pitches for soccer and Gaelic football, tennis courts, a skate park, and two children's playgrounds.
Walking Trails: A network of paved and unpaved walking trails winds through the park, catering to leisurely strollers and more energetic walkers alike.
New Pedestrian/Cycle Bridge: A recently constructed bridge over the River Dodder enhances connectivity within the park and provides safe passage for pedestrians and cyclists.
Café: A small café offers refreshments.
Cycling in Bushy Park:
Cycling is permitted in Bushy Park, and the paved paths and new bridge provide suitable routes. However, cyclists should be mindful of pedestrians, who have priority. The presence of numerous dogs, often off-leash outside of designated areas, necessitates extra caution.
History:
The land that now comprises Bushy Park was once part of the estates of Terenure and Templeogue. Its development into the park we know today began in the 18th century. Dublin Corporation acquired the park in the mid-20th century, and it has since become a valued recreational space for the local community.
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.
THE PEOPLES PARK
THE PEOPLE'S PARK IN LIMERICK [LOST ITS BEEBEE TREE IN 2013]
It rained almost constantly during my visit and it was especially heavy when I visited the People's Park in Limerick City but there was an upside in that I was was the only person the park for much of the time.
The People's Park: A Limerick Treasure
The People's Park stands as a testament to Limerick's history and community spirit. Originally a private park for the residents of the affluent Pery Square, it was officially opened to the public in 1877. This generous act by the Earl of Limerick was in memory of Richard Russell, a prominent local businessman.
Historical Elements:
Victorian Shelters: These ornate cast-iron structures, typical of Victorian park design, offer a charming reminder of the park's origins, providing shelter and a place to rest for generations of visitors.
Bandstand: The Victorian bandstand, a common feature in 19th-century parks, has been a focal point for musical performances and community gatherings throughout the park's history, echoing with the sounds of music and laughter.
Memorials: The park houses several memorials that connect visitors to Limerick's past:
Thomas Spring Rice: A towering Doric column dedicated to the 19th-century local MP, reflecting the ambition and grandeur of Limerick's Georgian era.
Richard Russell: A beautiful and unique fountain commemorating the man whose legacy led to the park's public opening. This fountain is the only one of its kind in Ireland, adding a special significance to the park.
The BeeBee Tree and its Legacy:
The park was home to a much-loved tree known as the "BeeBee Tree". This wasn't just any tree; it was a Tetradium Danielli, a rare species that had thrived in the park for over ninety years. Its name came from the masses of small white flowers that bloomed in late summer, attracting swarms of bees. This made it a vital source of late-season nectar and a beloved sight for park visitors.
Storm Damage and Artistic Renewal:
In 2013, a severe storm caused significant damage to the park, tragically felling the BeeBee Tree and other mature specimens. However, Limerick City and County Council, in a move that blends conservation and creativity, commissioned talented chainsaw artist, Tommy Craggs, to transform the remaining tree stumps into stunning sculptures. These works of art now stand as a testament to the park's resilience and a unique reminder of the lost trees. This approach not only salvaged something beautiful from a natural disaster but also provided a unique artistic element to the park, making it stand out from other green spaces.
Modernisation and Accessibility:
Recognising the importance of inclusivity, the park has undergone renovations to improve accessibility. The playground has been redesigned to cater to children of all abilities, with sensory areas, wheelchair-accessible swings, and a wide range of play equipment. This ensures that the People's Park can be enjoyed by everyone in the community.
IVEAGH GARDENS
IVEAGH GARDENS [ONCE PRIVATELY OWNED BUT NOW OPEN TO THE PUBLIC]
The Iveagh Gardens are often referred to as a "hidden gem" or "secret garden" for a few reasons:
Tucked Away Location: They are located behind the National Concert Hall, slightly off the beaten track for most tourists and even some Dubliners. Unlike the more prominent St. Stephen's Green, they aren't immediately visible from major thoroughfares.
Historical Obscurity: While always a beautiful space, the gardens went through periods of neglect and limited access in the 20th century, contributing to their lower profile.
Smaller Size: Compared to the vast expanse of St. Stephen's Green or Phoenix Park, the Iveagh Gardens are relatively compact. This adds to their intimate and secluded atmosphere.
The gardens were privately owned for much of their history. They were created in the 1860s by the Guinness family as part of their estate.
Public access was restricted during certain periods.
In 1995, the Iveagh Gardens were officially gifted to the Irish nation and opened fully to the public.
About the statues:
The statues you see, with their missing heads and limbs, were designed to appear aged and weathered. This is a deliberate stylistic choice, often seen in Romantic and Victorian gardens, to evoke a sense of history and antiquity. The statues are meant to look like ancient ruins discovered within the garden, adding to its romantic charm.
The Iveagh Gardens are a remarkable example of Victorian landscape design, blending formal and informal styles. They offer a tranquil oasis in the heart of Dublin, featuring:
Sunken Lawns: Formal, geometric panels of lawn with central fountains.
Rustic Grottoes: Artificial caves and waterfalls creating a sense of wilderness.
Maze: A traditional yew maze for a playful challenge.
Rosarium: A beautiful rose garden with pre-1860s varieties.
American Garden: Showcasing plants native to North America.
Archery Grounds: A reminder of the gardens' historical use.
PEOPLES FLOWER GARDEN
Phoenix Park: Dublin's Urban Oasis
Phoenix Park is a sprawling urban park in Dublin, Ireland, boasting 707 hectares (1,750 acres) of recreational space. It's one of the largest enclosed recreational spaces within any European capital city. Established in 1662, the park has a rich history and offers a diverse range of attractions for visitors.
Key Features of Phoenix Park:
Vast green spaces: The park is known for its expansive grasslands and tree-lined avenues, perfect for leisurely strolls, picnics, or simply relaxing amidst nature.
Home to wildlife: A herd of wild fallow deer has roamed the park since the 17th century, adding to its unique charm.
Historical landmarks: The park houses significant landmarks, including Áras an Uachtaráin (the official residence of the President of Ireland), Dublin Zoo, and the Wellington Monument.
Recreational facilities: Visitors can enjoy various activities, such as cycling, playing sports, or exploring the various gardens and walking trails.
The People's Flower Garden: A Victorian Oasis within the Park
Nestled within Phoenix Park, the People's Flower Garden is a beautifully manicured Victorian garden spanning 9 hectares. Originally known as the Promenade Grounds, it was opened in the mid-19th century and offers a tranquil escape from the hustle and bustle of city life.
Highlights of the People's Flower Garden:
Victorian bedding schemes: The garden showcases stunning floral displays, reflecting the classic Victorian style of horticulture.
Ornamental lake: A large lake with various waterfowl adds to the serene atmosphere of the garden.
Children's playground: A dedicated play area provides entertainment for younger visitors.
Picnic areas: Ample picnic spots allow visitors to relax and enjoy the surroundings.
The People's Flower Garden is a true gem within Phoenix Park, offering a unique blend of natural beauty, historical significance, and recreational opportunities. Whether you're seeking a peaceful retreat, a family outing, or a glimpse into Victorian horticulture, the People's Flower Garden is a must-visit destination in Dublin.
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.
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.
MILL LANE PARK
MILL LANE PARK IN PALMERSTOWN [AND PALMERSTOWN FOOTBALL CLUB]
The photographs featured here are from my most recent visit to the park on Mill Lane 22 October 2024.
There is a stone obelisk or standing-stone sculpture at Mill Lane Park or Palmerstown FC and it is most likely be a recent addition, as I have not seen it before, and it appears to feature Ogham an Early Medieval alphabet used primarily to write the early Irish language. Unfortunately I cannot find any mention of this online - does anyone have any information?
My first visit to Palmerstown, earlier this year, led me on an unexpected adventure through Mill Lane. Initially, I encountered the locked gates of Palmerstown FC, which gave the impression of an exclusive or private club. However, as I continued along the lane, I discovered an open entrance within a stone wall, beckoning me to explore further.
Stepping inside and following a rustic pathway, I found myself in a spacious green area that could have easily been mistaken for a football practice ground. Was this part of the football club, or was it a public park? Luckily, a friendly local resident cleared up the confusion. This was indeed a public park, a hidden gem she often enjoyed with her dogs.
A Note of Caution: While this park is a lovely spot for a stroll, it's important to be aware that dogs are often off-lead here. There have been some reports of dog bites, so it's advisable to exercise caution, especially if you're nervous around dogs.
Unravelling the Connection to Palmerstown FC:
Although the park isn't directly affiliated with Palmerstown FC, understanding the club's location helps to paint a clearer picture.
Palmerstown FC: This local football club is based in Palmerstown, Dublin 10.
Glenaulin Park: The club plays its home matches at Glenaulin Park, situated on Glenaulin Green. This park, managed by South Dublin County Council, boasts two football pitches and is open to the public.
Mill Lane's Charm:
The area surrounding Mill Lane, where Palmerstown FC is located, possesses a unique charm. With its picturesque river, abundant wildlife, ancient churchyard, quaint buildings, and even the occasional sighting of roaming horses, it has an almost fairytale-like quality.
A Glimpse into the Past:
During my research, I came across an intriguing account of Mill Lane's history:
"The Mill Lane consists of several houses, and the ruins of four mills, which show, that, at one time the Mill Lane was a busy centre of industry. A few years ago, there was an 'Ink Factory' established there. In this factory, there are about twenty men employed making ink. At one time the Mill Lane must have been large. It was there the old Catholic School was, and it is said there was also a Protestant School. The very ancient church now in ruins is still to be seen in the old graveyard."
While I couldn't find concrete evidence of the ink factory, I did discover a fascinating discussion about early schools in Mill Lane in a historical document from South Dublin Libraries (https://source.southdublinlibraries.ie/bitstream/10599/12263/4/AncientPlacePDF.pdf).
This document reveals that the earliest known school in Palmerstown was a Female School located in Mill Lane and marked on an 1816 map. It delves into the challenges of funding such schools and highlights the role of local landlords, particularly the Earls of Donoughmore, in supporting education. It also mentions the presence of two Free Schools in Mill Lane by 1821, offering education to both boys and girls.
In Conclusion:
Mill Lane Park is a delightful, albeit somewhat hidden, green space in Palmerstown. While its connection to Palmerstown FC might initially seem confusing, it's a separate public park offering a peaceful retreat amidst the remnants of a historically rich and industrious area.
INTRODUCING A NEW APPROACH
NEW GLOBAL MENU FOR PHOTO CENTRIC SITES
IF YOU PREFER IMAGES TO TEXT THIS IS FOR YOU
Commercial Disclosure
You will find links to buy products from Amazon, Google and other partners. If you click on these links, you’ll find that the URL includes a small extra piece of text which identifies that the click came from my websites. This text is an affiliate code, and it means that I get a small percentage of the money you spend if you choose to buy that product, or, in some cases, other products from the site soon after. These affiliate links help pay the costs of producing my websites and ensure that the content is free to you.