HEADLESS SOUTH OF THE RIVER

STREET PHOTOGRAPHY

urban planning

EXPLORING A UNIQUE SECTION OF THE LUAS RED LINE

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THE GRASS SECTION BETWEEN THE SUIR ROAD STOP AND THE RIALTO STOP

I visited the area as I wanted to explore the new Children’s Hospital.

From Canal to Rail: The story begins with the Grand Canal, a vital 18th and 19th-century transport network. James’s Street Harbour, a bustling hub connected to Guinness’s operations, was a key part of this system. However, the canal system declined due to the rise of railways, which offered faster and more efficient transport. Ironically, sections of these very canals, including the one connected to James’s Street Harbour, were later filled in. Now, history has come full circle: the LUAS Red Line, a 21st-century light rail system, utilises the path of this filled-in canal, demonstrating how old transport corridors can be repurposed for new technologies.

The Rise and Fall (and Rise Again) of Transport: We see a clear pattern: canals gave way to railways, which in turn faced competition from road transport. The wheel turns again as cities now grapple with traffic congestion and seek more sustainable solutions. Light rail, like the LUAS, re-emerges as a viable option, often utilising existing rights-of-wayโ€”in this case, the old canal route.

The Children’s Hospital Connection: Adding another layer to this historical tapestry, the new Children’s Hospital is located on land associated with the original James’s Street area, near the old harbour. This means that the land, once a hub for canal traffic connected to Guinness and other industries, is now home to a major medical facility served by a modern light rail system running along the path of the old canal.

A Full Circle: This sequence of events is a powerful illustration of how urban landscapes evolve. A transport system (canals) becomes obsolete, its infrastructure is repurposed, and then, a new transport system (light rail) reuses that repurposed land. The location of the Children’s Hospital on land associated with the old James’s Street Harbour further emphasises this cycle of change and adaptation. It’s a testament to how cities constantly reinvent themselves, often building the future on the foundations of the past.

THE WIND SHELTERS AND THE BANDSTAND ALONG CLONTARF PROMENADE

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REMAIN AS A TRIBUTE TO HERBERT SIMMS

ERROR THIS IS ON THE NORTH SIDE OF THE LIFFEY

Clontarf promenade is home to a series of remarkable wind shelters and a bandstand, all designed by the influential architect Herbert Simms. These structures, built between 1955 and 1958, are not only functional, providing respite from the elements, but also serve as striking examples of modernist design.

The Wind Shelters:

There are eight freestanding reinforced concrete shelters dotted along the promenade.
Each shelter features a curved concrete roof and walls, with integrated concrete benches providing seating.
They have distinctive round openings to the east and west, allowing for views and ventilation, and two diamond or round openings at the back.
The shelters are considered iconic structures, emblematic of Dublin’s urban landscape.

The Bandstand:

This circular structure, also constructed from reinforced concrete, boasts a unique design.
Its most notable feature is the cantilevered roof, supported by a central column.
While currently fenced off due to structural concerns, it remains a beloved landmark.

Herbert Simms (1898-1948):

Simms was a prominent Dublin City Architect who played a pivotal role in shaping the city’s landscape during the 1930s and 1940s.
He is best known for his work on social housing projects, including the iconic Dublin flat complexes.
Simms’ designs were heavily influenced by the modernist movement, evident in the clean lines and functional aesthetic of the Clontarf structures.
His work often incorporated innovative use of materials like reinforced concrete, as seen in the shelters and bandstand.
Simms’ legacy extends beyond individual buildings; he championed the idea of public amenities and green spaces as integral parts of urban planning.

The wind shelters and bandstand on Clontarf promenade are not merely architectural curiosities; they are testaments to Simms’ vision of a city where form and function coexist, and where public spaces are designed to enhance the lives of its citizens. These structures, now under consideration for protected status, stand as a reminder of Dublin’s rich architectural heritage and the enduring impact of Herbert Simms.