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THE NEW SECTION OF THE ROYAL CANAL GREEN WAY
PHIBSBORO TO DRUMCONDRA
New Bridge on the Royal Canal Greenway: Progress and Challenges
The recent installation of a new walking and cycling bridge between Phibsborough and Drumcondra marks a significant milestone in the ongoing development of the Royal Canal Greenway Phase 3. This bridge, part of a larger €30.8 million project, will allow users to seamlessly switch from the south to the north bank of the canal, enhancing connectivity and accessibility along the 2.1km route.
History and Delays of the Royal Canal Project
The Royal Canal, completed in 1817, was initially intended for commercial transport but fell into decline with the advent of railways. The vision to transform it into a greenway emerged in the early 2000s, aiming to create a continuous off-road route for cyclists and pedestrians.
However, the project has faced numerous delays due to various factors, including:
Land acquisition and legal complexities: Securing necessary land rights and navigating legal challenges have been time-consuming.
Environmental concerns: Mitigating the project’s impact on the canal’s delicate ecosystem and addressing concerns about potential flooding have required careful planning and adjustments.
Funding constraints: Securing adequate funding for such a large-scale infrastructure project has been an ongoing challenge.
Utility diversions: The need to relocate or accommodate existing utilities, such as gas and electricity lines, has caused unforeseen delays and additional costs.
Current Status and Future Outlook
Despite these challenges, the Royal Canal Greenway project has made substantial progress in recent years. Phase 1 and 2, covering sections from Maynooth to Blanchardstown and Ashtown to Sheriff Street, are already open to the public.
Phase 3, currently under construction, is set to connect North Strand Road to Phibsborough Road. While initial completion was targeted for Q2 2025, recent updates suggest potential delays pushing the completion date back to at least Q3 2025 due to unforeseen issues with the canal quay wall and utility diversions.
Once completed, the Royal Canal Greenway will provide a vital link for active travel across Dublin, encouraging sustainable transport and enhancing the quality of life for residents and visitors alike.
Design Choices: Path Switching and Width Variations
The decision to switch the greenway cycle path from one side of the canal to the other at the new bridge is likely driven by a combination of factors:
Optimal route: The switch might offer a more direct or efficient route, avoiding obstacles or challenging terrain on one side.
Land ownership and access: The availability of land or existing infrastructure on each side could influence the path’s alignment.
User experience: The switch might provide better views or a more varied experience for users.
Width variations along the cycle path can be attributed to several factors:
Existing constraints: Space limitations due to bridges, buildings, or other structures might necessitate narrower sections in certain areas.
Cost considerations: Widening the path in all sections might be prohibitively expensive.
User volumes: Sections with lower anticipated user volumes might be designed with narrower paths to optimise space and resources.
While these variations might pose minor inconveniences, they are often unavoidable in such complex infrastructure projects. Overall, the benefits of the completed Royal Canal Greenway are expected to far outweigh these minor drawbacks.
A SET OF THREE TILES FEATURING THE WREN AND THE GOLDCREST
BY KILLIAN MULLARNEY
Let’s delve into the fascinating world of two tiny birds that call Ireland home: the Wren and the Goldcrest.
Wren (Troglodytes troglodytes)
Native to Ireland: The Wren is a common resident throughout Ireland, found in almost all habitats, from farmland and woodland to cliffs and even offshore islands. It’s one of Ireland’s top 20 most widespread garden birds. The Wren has a wide distribution across Europe, Asia, and North Africa.
Migration: Wrens are largely sedentary, meaning they don’t typically migrate long distances. However, some populations may move short distances in response to harsh winters or food scarcity.
Found in the USA: No, the Eurasian Wren is not found in the USA. However, North America has its own species of wrens, like the House Wren and Carolina Wren.
Goldcrest (Regulus regulus)
Native to Ireland: The Goldcrest is a resident throughout Ireland, mainly inhabiting coniferous forests. It is Ireland’s smallest bird. The Goldcrest is also widespread across Europe and parts of Asia.
Migration: Goldcrests exhibit partial migration. While some populations remain resident year-round, others, especially those in northern regions, migrate southwards for the winter.
Found in the USA: No, the Goldcrest is not found in the USA.
Wren Day (Lá an DreoilĂn)
Wren Day, celebrated on St. Stephen’s Day (December 26th), is a traditional Irish and Manx custom that involves the hunting and capturing of a wren. Historically, the wren was then paraded through the streets, often on a decorated pole, accompanied by music and singing.
The origins of Wren Day are shrouded in folklore and mythology. One popular belief is that the wren betrayed St. Stephen’s hiding place to his enemies, leading to his martyrdom. Another theory links the custom to pre-Christian rituals celebrating the winter solstice.
While Wren Day holds cultural significance for some, it’s important to note that the practice of hunting and killing wrens is no longer widely accepted. Modern celebrations often involve symbolic representations of the wren, such as carrying a wren feather or a decorated wren effigy.
As mentioned in a previous post, the custom of hunting the wren is one that I have never been fond of. Many in Ireland now find the practice distasteful, given its association with the killing of a small and harmless bird. Thankfully, evolving sensibilities have led to a shift away from the actual hunting of wrens, allowing the focus to remain on the cultural and historical aspects of the tradition.
In conclusion, both the Wren and the Goldcrest are fascinating birds that enrich Ireland’s natural landscape. While Wren Day is a unique cultural tradition, its evolution reflects a growing appreciation for the value of wildlife and a move towards more humane celebrations.
Killian Mullarney is a highly acclaimed Irish ornithologist, bird artist, and bird tour leader. He is considered one of the most accomplished bird artists of our time, specialising in field guide illustrations and plate designs.
His artwork is featured in many renowned bird guides, most notably the Collins Bird Guide, where he has been involved since its inception. His detailed and accurate illustrations have helped countless birdwatchers identify and appreciate different species. He also designed a series of Irish definitive stamps for An Post (the Irish postal service) illustrating Irish birds, issued between 1997 and 2004.
Mullarney has co-authored influential books on bird identification, including “The New Approach to Bird Identification.” He is also a sought-after consultant for bird identification and has contributed to numerous birding journals and magazines. As an experienced birdwatcher, Mullarney leads bird tours worldwide, sharing his expertise and passion for birds with enthusiasts.
Mullarney’s dedication to bird conservation and his exceptional talent have earned him a prominent place in the world of ornithology and bird art. His work continues to inspire and educate birdwatchers of all levels, and his contribution to the field is immeasurable.
An intriguing Irish legend ties St. Stephen’s Day to the wren. It tells how a chattering wren betrayed the saint’s hiding place, leading to his martyrdom by stoning. Another tale recounts the wren alerting Vikings to an Irish ambush, adding to the bird’s perceived treachery.
These legends fuelled a tradition where, on St. Stephen’s Day, young boys would hunt wrens, parading their catch to collect money for a communal feast. The wren’s feather was offered as a token of good luck.
St. Stephen’s Day in Ireland: A Unique Holiday
It’s important to note that St. Stephen’s Day, December 26th, is a public holiday in Ireland, distinct from the UK’s Boxing Day. While the wren tradition has largely faded, the day retains its significance.
Thankfully, by the early 1900s, the practice of killing wrens had largely ceased. Today, St. Stephen’s Day is observed with more humane customs. Children might go door-to-door with a toy wren, singing and dancing to raise funds for charity or school projects. Others enjoy a relaxed day with family, perhaps attending a special church service or a theatrical performance.
The evolution of St. Stephen’s Day celebrations reflects a shift towards compassion and respect for nature, while preserving the essence of a unique Irish holiday.
WOLFE TONE STREET WAS ONCE KNOWN AS STAFFORD STREET
PHOTOGRAPHED BY WILLIAM MURPHY IN AUGUST 2024
Wolfe Tone Street, once known as Stafford Street, is steeped in historical significance due to its association with Theobald Wolfe Tone, a prominent figure in Irish history.
Wolfe Tone House: Occupies the site of Tone’s birthplace and the Stafford Printing Works. Its presence serves as a tangible reminder of Tone’s legacy and the area’s historical connection to printing and publishing.
Saint Mary’s Church Graveyard: Although now transformed into Wolfe Tone Memorial Park, the site once served as the final resting place for many Dubliners. The park’s redesign pays homage to Tone while also providing a green space for the community.
Recent Park Redevelopment: The recent redevelopment suggests an ongoing effort to revitalise the area and maintain its relevance to both historical commemoration and contemporary recreation.
The section nearest Upper Abbey street has witnessed a significant transformation, transitioning from an industrial hub to a site of modern development.
Twilfit House: Once the Irish headquarters of the corset manufacturer Leethems, this building represented a shift towards larger-scale industrial production in Ireland. Its demolition marks the end of an era.
Architectural Significance: The building’s late Art Deco style added a unique aesthetic element to the streetscape. Its loss prompts a reflection on the balance between preservation and progress.
Premier Inn Development: The construction of a new hotel on this site exemplifies the ongoing commercial development in Dublin. While it caters to the growing tourism industry, it also sparks debate about the preservation of historical buildings.
Leprechaun Museum Relocation: The museum’s relocation, while a short distance away, does signify the changing dynamics of the area and the pressures that commercial development can exert on existing businesses and attractions. However, it is important to recognise that the museum, while a popular tourist destination, caters to a specific niche and does not represent a traditional cultural institution in the same vein as museums or historical sites that preserve a community’s shared heritage. Its relocation, therefore, highlights the challenges faced by businesses reliant on tourism in the face of urban development, even if they are not traditional cultural establishments.
I FOUND IT DIFFICULT TO PROPERLY PHOTOGRAPH THE WOODED AREAS
ST ANNE’S PARK JULY 2024
Woodland photography presents unique challenges due to several factors:
Light and Shadow: The dense canopy of trees filters sunlight, creating a complex interplay of dappled light and deep shadows. This makes achieving proper exposure and managing contrast difficult, as the dynamic range within the scene can be vast.
Composition: Woodlands are teeming with visual elements, from towering trees to intricate undergrowth. Creating compelling compositions amidst this complexity requires a keen eye for detail and a deep understanding of visual storytelling. The abundance of elements can easily lead to clutter and confusion in the photograph.
Changing Conditions: Light conditions in woodlands can change rapidly, especially during the golden hours around sunrise and sunset. The photographer must be quick to adapt to these changes and adjust settings accordingly.
Weather: Rain, fog, and mist can create unique opportunities for woodland photography, but they also present challenges. Moisture can cause lens flare, and fog can reduce visibility and make focusing difficult.
Technical Challenges: Achieving sharp focus in low light conditions can be tricky. The photographer may need to use a tripod and slower shutter speeds, increasing the risk of camera shake. Additionally, capturing the intricate details of the forest floor may require a macro lens.
However, these challenges also make woodland photography rewarding. With careful planning, technical skill, and a creative eye, it’s possible to capture stunning images that showcase the beauty and mystery of the forest.
Here are some tips for overcoming the challenges of woodland photography:
Scout Locations: Visit the location at different times of day and in different weather conditions to find the best light and compositions.
Simplify Your Composition: Look for simple, uncluttered scenes that focus on a single subject or element. Use leading lines and natural framing to guide the viewer’s eye.
Experiment with Exposure: Bracket your shots to ensure you capture the full dynamic range of the scene. Use exposure compensation to brighten shadows or darken highlights.
Use a Tripod: A tripod will help you achieve sharp images in low light and allow you to use slower shutter speeds for creative effects.
Edit Your Photos: Post-processing can help you enhance the mood and atmosphere of your woodland photos. Adjust contrast, clarity, and colour to bring out the best in your images.
The landscape design of St. Anne’s Park began when the Guinness family acquired the Thornhill House estate. In subsequent years, the estate was renamed St. Anne’s and expanded to encompass nearly 500 acres.
In 1838, Benjamin Lee Guinness established his family home at St. Anne’s and oversaw the construction of decorative follies throughout the estate. His son, Arthur (Lord Ardilaun), inherited the property in 1868 and, along with his wife, Lady Olive Ardilaun, further developed the house and gardens. Their work was carried out by a team of skilled gardeners who also tended to other Guinness estates, including Ashford Castle and Muckross House (now Killarney National Park).
The park is renowned for its grand avenues of mature trees, originally designed to frame the main house. The impressive East/West Avenue is lined with Holm oaks (Quercus ilex), Monterey pines (Pinus radiata), and Austrian pines (Pinus nigra). Other avenues feature yews (Taxus baccata), horse chestnuts (Aesculus hippocastanum), and additional Holm oaks and Monterey pines. The extensive planting of Holm oak, chosen for its resistance to the harsh coastal winds, serves as a protective barrier along the park’s boundaries and was a particular favourite of Lord Ardilaun.
The Naniken River winds through the park, its banks adorned with mature beech trees (Fagus sylvatica). Adjacent woodlands boast a mix of Holm oak, Monterey cypress, yew, and horse chestnut, alongside self-seeded wych elm (Ulmus glabra), ash, and sycamore (Acer pseudoplatanus).
During springtime, the woodland floor is carpeted with wild garlic (Allium ursinum), Hart’s-tongue fern (Asplenium scolopendrium), lords and ladies (Arum maculatum), lesser celandines (Ficaria verna), and primroses (Primula vulgaris).
The Chestnut Meadow showcases a diverse array of wildflowers, including lesser knapweed (Centaurea nigra), field scabious (Knautia arvensis), oxeye daisy (Leucanthemum vulgare), bee orchid (Ophrys apifera), and the rare pyramidal orchid (Anacamptis pyramidalis).
The park’s pond even harbours aquatic species seldom found in Dublin, such as the broad-leaved pondweed (Potamogeton natans) and horned pondweed (Zannichellia palustrus).
30 MANOR STREET WAS ONCE A SHOP BUT IT HAS BEEN SOLD
FOR MANY YEARS IT WAS A MAJOR DERELICT EYESORE
30 Manor Street, once a popular shop in the heart of Stoneybatter, Dublin 7, has been sold after years of neglect. Prior to its sale, the building had become a derelict eyesore, attracting pigeons due to the actions of an elderly man who fed them. Locals even nicknamed it the “pigeon house.”
Despite its state of disrepair, the building held potential due to its prime location on Manor Street, rear access from Shea’s Lane, and a large rear garden. The property offered opportunities for redevelopment and was zoned for mixed use, meaning it could be transformed into a residential unit, retail space, or office.
Interestingly, the building’s facade featured artwork by Sorcha O’Higgins, part of a growing network of murals and signage throughout Stoneybatter, including pieces by Claire Prouvost near Rea auctioneers, and others at Viking Place, Halliday Road, and the Scout building on Ben Edair Road. While this artistic contribution added to the area’s character, it ultimately did not alter the fate of the building itself.
The sale of 30 Manor Street marks a new chapter for this once-neglected property. Its transformation could breathe new life into the area, contributing to the ongoing revitalisation of Stoneybatter.
Feral pigeons pose a public health issue due to the numerous diseases they can carry and transmit to humans. These diseases can be spread through direct contact with the birds, their droppings, or by inhaling contaminated dust.
Some of the health risks associated with feral pigeons include:
Histoplasmosis: A respiratory infection caused by a fungus found in pigeon droppings.
Cryptococcosis: A fungal infection that can affect the lungs, brain, and other organs.
Psittacosis: A bacterial infection that can cause flu-like symptoms and pneumonia.
Salmonellosis: A bacterial infection that can cause food poisoning.
E. coli: A bacteria that can cause severe gastrointestinal illness.
In addition to these diseases, feral pigeons can also carry parasites such as mites and fleas, which can infest humans and cause skin irritation and allergic reactions.
The accumulation of pigeon droppings can also create unsanitary conditions and attract other pests, further exacerbating the public health risks.
For these reasons, it is important to minimize contact with feral pigeons and their droppings, and to report any concerns about their presence to the appropriate authorities.
More about the pigeon issue: www.dublininquirer.com/2017/11/15/in-stoneybatter-ambival…