URBAN CARTOGRAPHER 2025

I VISITED DUNDRUM MAIN STREET TWICE OVER THE CHRISTMAS HOLIDAY TO HAVE LUNCH AT ESSENCE

Making my blog more accessible is important to me. For readers who find the detailed text descriptions challenging, I've begun adding audio descriptions in a conversational format. I hope this offers a richer and more inclusive experience

THIS IS NOT AN ADVERTISEMENT

I visited Dundrum village twice over the Christmas holiday as a friend recently took over “Essence” on the main Street.

Essence is a, long established, café and patisserie and is a popular spot offering a variety of breakfast and lunch options, along with a selection of pastries and cakes. In essence it provides a casual dining experience with a focus on fresh ingredients and quality food. They offer items such as:

Breakfast/Brunch: Full Irish breakfast, pancakes, and various egg dishes.
Lunch: Sandwiches, paninis, soups, and salads.
Pastries and Cakes: A range of freshly baked goods, including croissants, cakes, and other sweet treats.
Beverages: Coffee, tea, and other drinks.

The reconfiguration of Dundrum Main Street has been a significant undertaking with the aim of prioritising pedestrians and cyclists, and creating a more vibrant and accessible village centre. Here’s a summary of the changes and the public reaction:

Changes Implemented:

One-way System for Motor Vehicles: Traffic flow was changed to a one-way system to facilitate wider footpaths and cycle lanes.
Cycle Lanes: Dedicated cycle lanes were introduced to improve safety for cyclists.
Wider Footpaths: Footpaths were widened to provide more space for pedestrians and outdoor seating for businesses.
Pedestrian Crossings: New pedestrian crossings were installed to improve safety for those on foot.
Traffic Calming Measures: Measures were implemented to reduce traffic speed and create a more pedestrian-friendly environment.

Public Reaction:

Before and During:

Initial Concerns: There were initial concerns from some businesses about the potential impact on trade due to changes in traffic flow and parking.
Disruption During Construction: As with any construction project, there was some disruption during the implementation phase.

After:

Generally Positive: The overall reaction has been largely positive, with many people appreciating the improved pedestrian environment and safer cycling facilities.
Increased Footfall: Studies have shown an increase in footfall on Main Street, suggesting that the changes have had a positive impact on the area’s vibrancy.
Concerns about Accessibility: Some concerns were raised about accessibility for elderly people and those with mobility issues, particularly regarding the kerbs separating the cycle lanes.
Temporary Measures: Some of the initial measures, such as the temporary kerbs, were recognised as not being ideal long-term solutions.

Overall:

The reconfiguration of Dundrum Main Street appears to have been largely successful in achieving its objectives of creating a more pedestrian and cycle-friendly environment. While there were some initial concerns and challenges, the overall reaction has been positive, with evidence suggesting that the changes have had a positive impact on the area.

It’s worth noting that ongoing monitoring and evaluation are important to address any remaining issues and ensure that the changes continue to benefit the community.

EXPLORING SANDYCOVE AVENUE AND NEARBY

1 JANUARY 2025

Many years ago, I photographed an official sign that read “FORTY FOOT MEN ONLY”. My account of the area should explain why this was considered amusing.

Sandycove Avenue forms three sides of a rectangle, bounded on the south by Sandycove Terrace (part of Sandycove Road). Originally, Sandycove Avenue East was a cul-de-sac leading to the Martello Tower (Joyce’s Tower, Sandycove), as shown on maps from 1820. By 1860, only two houses stood on Sandycove Avenue East. Ten years later, significant building had occurred, including three houses designated Ellerslie Terrace, alongside detached and terraced houses. The 1901 census recorded 27 houses, five of which were vacant, with 98 occupants. Five houses were classified as first class. In 1884, the first meeting of the Dublin Bay Sailing Club took place at Number 7 Sandycove Avenue East, the home of Major Edward White. St Kilda’s, a villa-style house on the east side, was owned by Francis Falkner, a grocer with shops in Grafton Street and London.

Sandycove Avenue West runs north from Sandycove Road towards Sandycove Point. It features an attractive wall-mounted post box bearing the Saorstát Éireann signage. Four terraced houses and two large houses, Cove Castle (Number 9) and St Michael’s, predate 1860. Most of the remaining east side was completed within the following decade.

Sandycove Point is a residential area on a northerly headland between Bullock Harbour and Glasthule. The area boasts outstanding built heritage, including Victorian terraced and villa-style residences, an acclaimed International Modernist house designed by Irish architect Michael Scott, and various maritime, defensive, and bathing-related structures. The headland offers a sheltered harbour on its west side, along with a park and beach providing recreational facilities.

Before the 19th century, the Sandycove area, between Glasthule and Bullock, was largely uninhabited. The rough terrain was scattered with rocks and disused, water-filled quarries. Primarily a local fishing spot, old sketches depict humble cottages in sheltered locations with timber fishing boats drawn up on the rocks. A lifeboat service was established in Sandycove in 1803, housed in a boathouse now part of Neptune Lodge.

The Martello Tower, one of 74 built around the Irish coast (mainly south and east) to defend against a threatened Napoleonic invasion, was erected between 1801 and 1804 in about six months. Many, like this one, were attached to a battery or fort. These stone towers were forty feet high with eight-foot thick walls. The entrance was typically ten feet above ground, protected by a machicolation from which scalding water could be poured onto attackers. Sandycove’s is one of the most famous, as James Joyce briefly resided there. The opening scene of Ulysses is set on its gun platform, hence its name, Joyce’s Tower. Since 1964, it has operated as a Joycean museum and visitor centre, owned by Dublin Tourism Enterprises.

The battery, a massive cut-stone bulwark, was built shortly after the tower. Bedrock rises within the fort, forming its highest point. A flagstaff likely stood at the battery’s centre, communicating with the old telegraph station on Dalkey Hill. During the Second World War, searchlights and guns were stationed here. The battery is now part of a private house converted in 1955 from the existing garrison building. In its prime, it housed 36 artillerymen.

The harbour, completed in 1864 to support boating and fishing, fell into disrepair by the late 19th century as Dublin Port and Docks Board ceased its use. However, the area remained popular for bathing, particularly at the Forty Foot. It is believed the army presence at Sandycove Point established this all-male bathing tradition.

The name “Forty Foot” has various explanations: the fortieth foot regiment stationed at the battery, the forty-foot wide Marine Road in Dún Laoghaire, or the sea’s depth. However, Pearson suggests it derives from the area being called “Forty Foot Hole” since around 1800, a common term for deep-water fishing pools around the Irish coast.

Despite being a long-established bathing spot, facilities were limited until around 1880, when the Sandycove Bathers’ Association was formed. In 1909, the local authority won a case forcing the association to spend nearly £2,000 on improvements: removing dangerous rocks, carving steps, installing ladders, building screen walls, and repairing storm damage. Since then, it has been well-maintained and is now enjoyed by both men and women.

References to hot and cold baths in Sandycove date back to 1838. Owned by Mr John Walsh, they were initially Walsh’s Baths, then the Sandycove Ladies’ Baths, located north of Sandycove Park. The 1844 railway extension to Dalkey and the subsequent Sandycove station boosted the district’s residential development and popularity, coinciding with Dún Laoghaire’s Victorian boom. Land was sold to speculative builders, much of it once belonging to the Proby Estate. The Proby estate at Sandycove and Dalkey originated from a Proby marriage to the Allen estate heiress of Stillorgan in the late 18th century.

The Allens, Dublin builders, acquired much land in south County Dublin, including Sandycove, during Charles I’s reign. In the early 19th century, Admiral Proby made five leases of coastal land in Sandycove, where villas and terraced houses were built.

The first Proby leases in Sandycove appear around 1803. Many houses built between 1830 and 1850 were rented to summer visitors for high prices. These middle-class merchants or professionals, living in city-centre terraced houses, sought the fresher air of coastal towns like Sandycove during summer. Eventually, tenants bought the freeholds from the original leaseholders, making them permanent residences.

While most houses date from the Victorian speculative building boom, there is impressive architectural diversity from before and after this period. One example is ‘Geragh’, built by Michael Scott in 1936 as his own residence at Sandycove Point.

DUN LAOGHAIRE VICTORIAN BATHS PHOTOGRAPHED 1 JANUARY 2025

PAST AND PRESENT

Dun Laoghaire Baths: A History

This blog post explores the captivating history of Dun Laoghaire Baths, nestled in the picturesque seaside town of Dun Laoghaire, County Dublin, Ireland. Constructed in 1843 by a private company, the baths were initially intended to provide both fresh and saltwater swimming experiences for the affluent residents of Kingstown, now known as Dun Laoghaire. Over the years, these baths have undergone numerous renovations and transformations, reflecting the changing social and recreational landscape of the town.

Research Methodology

To compile this comprehensive account of Dun Laoghaire Baths, a meticulous research process was undertaken. This involved a thorough examination of online resources, including historical archives, local council websites, and community blogs. Additionally, relevant articles and publications were reviewed to gather diverse perspectives and insights into the baths’ history and current status.

Construction and Early Years

The story of Dun Laoghaire Baths begins in 1843 when John Crosthwaite erected the Royal Victoria Baths east of the East Pier. These baths were exclusively designed for the well-to-do inhabitants of Kingstown. This period coincided with a shift in bathing practices, as the popularity of spas, once favoured by the wealthy, began to wane with the rise of sea-bathing. The health benefits associated with sea swimming and fresh air were gaining recognition, contributing to the growing appeal of seaside resorts like Dun Laoghaire.

In 1896, the Kingston Urban District Council purchased the baths, and the firm Alexander Fraser was commissioned to construct new baths on the current site. Completed in June 1908, these new baths laid the foundation for the structure as it stands today. Interestingly, the site also holds archaeological significance, as it was once home to Glasthule Battery, built around 1804-1805 as part of a network of fortifications protecting Dublin City.

Evolution and Expansion

The turn of the 20th century ushered in a period of significant transformation for Dun Laoghaire Baths. In 1911, the baths underwent renovations and were renamed Kingstown Baths, eventually becoming Dun Laoghaire Baths. During this era, the Edwardian baths served as an urban spa, offering therapeutic health and relaxation benefits.

The 1930s witnessed further expansion and modernisation. Three pools were added, along with changing rooms, a tearoom, a lounge, and a laundry. This architectural transformation reflected the changing trends in leisure and recreation, moving from the Victorian-era emphasis on private bathing to a more inclusive and modern approach. The baths also featured ‘slipper baths’ filled with hot sea water, catering to those seeking a more traditional bathing experience.

However, this period was not without its challenges. In 1933, a storm caused significant damage to both Blackrock Baths and Dun Laoghaire Baths, necessitating extensive renovations and extensions. Despite these setbacks, the baths continued to thrive, becoming a popular destination for tourists and day-trippers, drawn by its comprehensive facilities and affordable prices.

Closure and Redevelopment

Despite its popularity, Dun Laoghaire Baths eventually closed in the 1970s. Before falling into dereliction, the site was briefly used as ‘Rainbow Rapids’. The closure marked a period of decline for this once-vibrant landmark.

However, the story of Dun Laoghaire Baths did not end there. In the late 1990s, efforts to revive the baths gained momentum. A voluntary community organisation, Save Our Seafront, was formed in 2002 with the aim of restoring the baths to their former glory. In 2005, Dún Laoghaire-Rathdown County Council proposed a €140 million development plan for the site, which included apartments, shops, restaurants, an indoor pool, and a maritime park. This plan, however, faced strong public opposition and was ultimately rejected by councillors.

The redevelopment process was not without its hurdles. Delays and disagreements over the best approach to revitalising the baths prolonged the project. Nevertheless, in 2018, work finally commenced on the €9 million redevelopment of the site. As part of the redevelopment, several dilapidated buildings were demolished to allow sunlight to reach the main pavilion. To enhance the site’s resilience against coastal erosion, 600 tonnes of Cornish granite were deposited as part of additional rock armour protection measures. The project also received €1.1 million in grant funding from the European Regional Development Fund’s S&E Regional Programme 2014-20 “Designated Urban Centres Grant Scheme”.

Facilities and Amenities

The newly reopened Dun Laoghaire Baths offer a range of facilities and amenities for visitors to enjoy. The refurbished baths pavilion houses artists’ studios, a gallery, a café, and public toilet facilities. A new 35m jetty with built-in seating extends into the sea, providing stunning views of Scotsman’s Bay. A simple changing shelter and a refurbished Edwardian gazebo in the beach garden further enhance the site’s appeal.

Current Status

Dun Laoghaire Baths reopened to the public in December 2022, marking a significant milestone in the town’s history. The revitalised space has quickly become a popular destination for both locals and tourists. Visitors can enjoy a variety of activities, including swimming, water sports, and attending events. The baths have also become a favourite spot for promenading, taking in the views from the jetty, and admiring the new Casement Memorial Statue.

Accessibility has been a key consideration in the redevelopment project. A lift and stairs have been installed to provide access to the lower level, where artists’ studios and a communal exhibition space are located. However, some accessibility issues have been raised regarding the temporary ramps leading to the lower-level amphitheatre, which have been deemed too steep by wheelchair users.

The project has prioritised sustainability by using materials that minimise its carbon footprint. Swimmers have two main points of entry to the water, ensuring safe and convenient access for all.

Nearby Attractions

While visiting Dun Laoghaire Baths, it’s worth exploring the nearby National Maritime Museum of Ireland. Housed in a former Mariners’ Church, the museum offers a fascinating glimpse into the town’s maritime heritage. Exhibits include a ship’s radio room, a Titanic exhibition, and relics from the RMS Leinster, a ship that sank nearby during World War I.

Future Plans

The redevelopment of Dun Laoghaire Baths is an ongoing project. Phase 2, scheduled for completion in Q3 2024, will focus on improving universal access from Queen’s Road down to the new jetty. This phase will involve the construction of accessible ramps, steps, seating, and public lighting.

Furthermore, a further €2.5 million has been allocated for additional improvements to the baths. There are also discussions about incorporating an open seawater pool in a future phase of development.

Conclusion

Dun Laoghaire Baths have been an integral part of Dun Laoghaire’s history for almost two centuries. From their exclusive beginnings as a private bathing facility to their current status as a vibrant and inclusive public space, the baths have mirrored the town’s social and cultural evolution. The recent redevelopment, recognised with the prestigious AR public awards 2024 has breathed new life into this cherished landmark.

Beyond their recreational function, the baths have served as a social hub, fostering community spirit and providing a gathering place for people of all ages and backgrounds. The ongoing development plans demonstrate a commitment to ensuring the baths remain a vital asset for generations to come.

RACHEL JOYNT’S MOTHERSHIP SCULPTURE AT NEWTOWNSMITH BETWEEN DUN LAOGHAIRE AND GLASTHULE

PHOTOGRAPHED ON THE FIRST DAY OF 2025

Happy New Year to everyone.

May the dawn of 2025 bring you new hope, joy, and countless opportunities. May each day be filled with happiness, success, and cherished moments with loved ones. Wishing you a prosperous and fulfilling year ahead!

On New Year’s Day 2025, my 75th birthday, my brother hosted a party at his home in Dalkey. After dinner, some of us walked from Dalkey towards Dun Laoghaire. I chose not to bring my camera, using my iPhone 12 Pro Max to capture the fading light and our journey.

This walk provided an opportunity to revisit Rachel Joynt’s captivating sculpture, Mothership, located in Newtownsmith, between Dun Laoghaire and Glasthule. I first photographed this piece in 2001. Though often referred to online as the “Sea Urchin Sculpture”, a plaque at the site correctly identifies it as Mothership by Rachel Joynt 1999.

Commissioned in 1998 through an open competition as part of the Dun Laoghaire Drainage Scheme’s Art Programme, Mothership has become a local landmark. Its scale and intriguing form invite interaction, with visitors frequently climbing within its shell-like structure.

Constructed from cast bronze and stainless steel, Mothership depicts a sea urchin seemingly caught in mid-motion, its trajectory marked by a trail of metallic silver droplets. This dynamic portrayal suggests the creature has been propelled onto the shore by a powerful wave, its momentum captured in the sculpture’s angled position and the scattered steel discs marking its path.

The artwork symbolises the cleaner waters achieved through the Dun Laoghaire Drainage Scheme. Interestingly, the sculpture’s diameter mirrors that of the pipes used in the scheme’s construction, creating a subtle link between the artwork and the infrastructure project it commemorates.

The sculpture’s placement allows viewers to look through its open form towards the sea, establishing a visual connection between the artwork, the surrounding landscape, and the ocean.

During a previous visit on 23rd July 2024, I photographed another nearby sculpture, Celebration, created by Rachel’s father, Dick Joynt, adding another layer of artistic interest to this coastal area.

Rachel Joynt, Mothership, sculpture, Newtownsmith, Dun Laoghaire, Glasthule, Sea Urchin Sculpture, public art, bronze, stainless steel, Dun Laoghaire Drainage Scheme, Dick Joynt, Celebration, coastal art, Irish art, landmark, art programme, My 75th Birthday, William Murphy, Infomatique, Apple iPhone 12 Pro Max, New Year 2025,

FUGATTO BY NVIDIA – FOUNDATIONAL GENERATIVE AUDIO TRANSFORMER OPUS 1

Fugatto, short for Foundational Generative Audio Transformer Opus 1, is a cutting-edge AI model developed by NVIDIA that’s making waves in the world of audio generation and manipulation. It’s being hailed as the “world’s most flexible sound machine” due to its impressive capabilities.

Key Features and Capabilities

Text-to-Audio Generation: Fugatto can generate novel audio snippets from text prompts alone. Imagine typing “a calming melody with a flute and harp” and having the AI compose it for you.
Audio Transformation: It allows for intricate manipulation of existing audio. You can add or remove instruments, change the emotion or accent of a voice, or even make a saxophone sound like it’s meowing.
Multimodal Input: Fugatto accepts both text and audio as input, allowing for a wide range of creative applications. You can provide a song and a text prompt like “make this sound more upbeat” to guide the transformation.
High-Quality Output: It’s designed to produce high-fidelity audio, making it suitable for professional music production and other demanding applications.
Multilingual and Multi-Accent: Developed by a diverse team, Fugatto boasts strong multilingual and multi-accent capabilities, allowing for nuanced voice generation and transformation across languages.
Technical Details

Foundational Model: Fugatto is a foundational model, meaning it’s trained on a massive dataset of audio and can be adapted to various downstream tasks.
Transformer Architecture: It leverages the powerful transformer architecture, which has proven successful in natural language processing and is now revolutionizing audio processing.
Large-Scale Training: The full version of Fugatto was trained on NVIDIA DGX systems equipped with H100 Tensor Core GPUs, allowing it to learn complex patterns and relationships in audio data.
Potential Applications

The potential applications of Fugatto are vast and span across various industries:

Music Production: Composers and producers can use it to generate new ideas, create variations of existing songs, and explore uncharted sonic territories.
Film and Game Sound Design: Fugatto can generate realistic sound effects, immersive soundscapes, and even voiceovers with specific emotions and accents.
Content Creation: Podcasters, YouTubers, and other content creators can use it to enhance audio quality, generate jingles, or even create AI-powered voiceovers.
Accessibility: Fugatto could be used to create audio descriptions for visually impaired individuals or to generate personalized soundscapes for therapeutic purposes.
Impact and Significance

Fugatto represents a significant advancement in AI audio technology. Its flexibility and capabilities have the potential to democratize music production, revolutionize sound design, and redefine how we interact with audio. By making complex audio manipulation more accessible, Fugatto could empower artists, creators, and even everyday users to express themselves in new and exciting ways.

Limitations and Ethical Considerations

While Fugatto offers incredible potential, it’s important to acknowledge the potential limitations and ethical considerations:

Data Bias: Like any AI model, Fugatto is susceptible to biases present in its training data. This could lead to the generation of audio that reflects or amplifies societal stereotypes.
Copyright Issues: The use of copyrighted material in training data and the ownership of AI-generated audio raise complex legal and ethical questions.
Misinformation and Deepfakes: The ability to generate realistic speech and audio raises concerns about the potential for misuse, such as creating deepfakes or spreading misinformation.
It’s crucial for developers and users to be mindful of these challenges and work towards responsible development and deployment of AI audio technologies like Fugatto.

Fugatto, AI audio generation, text-to-audio, audio transformation, sound design, music production, NVIDIA, deep learning, transformer model, generative AI, artificial intelligence, audio synthesis, sound manipulation, creative tools, multimodal AI, music technology, AI for content creation, audio editing, AI voice generation, sound effects, music composition,