A WORK IN PROGRESS AUGUST 2025

Off the Hook: A Work in Progress by Omin

An Unfinished Mural in Waterford from August 2025

My visit to Waterford was a week earlier than planned due to last-minute issues with hotel accommodation. This meant that many of the murals I hoped to see were still in progress. On top of that, my main server ran out of resources on my return to Dublin and took almost a week to replace, which delayed the publication of these photos from my August 2025 visit to Waterford City.

The Mural on Thomas Street: A Deconstruction

The recent investigation into a specific mural on Thomas Street in Waterford confirms its connection to the artist Omin. The work in question is located on a derelict building opposite or in the immediate vicinity of Henry Downes & Co., a historic pub at 10 Thomas Street. The Waterford Walls festival often uses derelict or underutilised buildings as canvases for its murals, making urban regeneration a key part of its mission. The artwork is officially titled “Off the Hook” and was painted for the Waterford Walls festival.

The fact that the mural remained unfinished after five days is an inherent part of the public art festival experience. Large-scale mural production is a live event, often subject to a range of variables, including persistent weather. Historical accounts of previous Waterford Walls festivals note that rain has been a significant obstacle for artists, particularly those from warmer climates.

The process of a mural’s creation is a public one, and the period of observation—the daily transformation of a blank wall into a vibrant canvas is a key element of the festival’s design. The festival is a social enterprise with the explicit mission to “transform and regenerate urban spaces” and “inspire and connect communities.” By documenting the work’s evolution, the photographer becomes an active, engaged participant in this process, fulfilling one of the festival’s core objectives. The fact that the photographs capture a unique, transitional phase of the art is a powerful demonstration of this principle; the value of the art lies not only in its finished form but also in the community engagement it fosters during its creation. This in-person, dynamic experience is often valued by the organisers over a static, finished photograph.

Omin: From Graffiti Roots to a Cultural Catalyst

The artist behind the Thomas Street mural, Omin, is a significant figure in the Irish urban art scene. Born in 1982 and a graduate of Visual Communications from DIT, he is a graphic artist and muralist with over two decades of experience rooted in graffiti. His career began in his early teens, where he was part of a group that evolved into the highly regarded FOES crew. This background is crucial for understanding the authenticity and foundation of his work.

Omin’s artistic practice is a unique fusion of his graffiti roots and a modern, digital aesthetic. His work is described as a “collision” of “digital and analogue worlds.” He finds influence in the “glitches in everyday use of digital communication” and applies these concepts to his artwork using a combination of techniques, from photorealism to graphic abstraction.

Thematic consistency is a hallmark of his approach. His exhibitions and artworks, such as “Ill Communication” and “Hidden Pulse,” explore ideas of unseen energies and distorted realities, creating pieces that hint at a deeper, more vibrant life just beneath the surface of the mundane. This philosophical direction is perfectly encapsulated by his own self-description as a “Pulse maker ” —a title that not only describes his art but also his wider mission. He is an artist who injects a pulse of life and creativity into stagnant urban environments.

Omin’s role extends far beyond the creation of individual murals. He is a co-founder of the SEEK Urban Art Festival in his home city of Dundalk, an event credited with putting Dundalk on the global street art map. His professional journey from a graffiti artist to a commissioned muralist working with businesses and local governments, such as the Limerick City and County Council, is a direct reflection of the institutionalisation and mainstreaming of street art in Ireland. This demonstrates a significant cultural shift: an art form once associated with unsanctioned acts is now a key component of official urban revitalisation strategies. His body of work is a testament to his influence, spanning numerous high-profile commissions across the country.

The Waterford Walls Festival: Ireland’s Engine for Urban Regeneration

The Thomas Street mural does not exist in a vacuum; it is a single, integral piece of a much larger and more ambitious project. The Waterford Walls festival, which began in 2014, is a central pillar of The Walls Project, a social enterprise dedicated to delivering large-scale public artworks and community outreach projects. The festival’s explicit mission is to use art to “transform and regenerate urban spaces” and “connect communities.” With over 100 large-scale murals installed since its inception, the festival has been a powerful force in regenerating Waterford City Centre, helping to transform derelict buildings into a vibrant, open-air gallery.

The festival’s operational model is designed for maximum impact and community engagement. It invites world-class headlining artists and also hosts an open call to ensure a diverse and innovative roster. The artists are not given a strict brief but are instead encouraged to create work inspired by what Waterford represents to them, drawing on local themes such as Irish folklore, marine motifs, and the city’s Viking history. This approach ensures that the art is deeply resonant with the city’s identity. Furthermore, the festival actively fosters public participation through weekly guided tours, workshops, and panel discussions, making the art accessible and educational for residents and tourists alike.

The socio-economic impact of Waterford Walls is demonstrable. The festival has been credited with developing O’Connell Street as a “cultural quarter” and encouraging the growth of creative industries. The murals have become a source of civic pride, with one source describing how the art has given residents a reason to “look inward again” at their city, creating a “sense of place.” This emotional connection is so profound that the murals, such as the adored elephant by Louis Masai, are so cherished by the community that their removal would likely be met with protests.

The Broader Context of Public Art in Ireland

The mural on Thomas Street and the Waterford Walls festival are a microcosm of a much larger cultural movement sweeping across Ireland. The nation’s public art scene has moved beyond sporadic commissions to become a strategic tool for social cohesion and urban revitalisation. This is evidenced by projects such as the “Murals for Communities” initiative, which involves partnerships between Waterford, the Netherlands, and Lithuania. This collaborative approach, supported by organisations like Creative Europe, demonstrates how mural art can be used as a “powerful tool” to engage with “marginalised and disadvantaged communities,” fostering a sense of belonging and well-being. The murals are not merely for aesthetic purposes; they are an instrument for positive social change, capable of expressing the histories, feelings, and stories of a community.

The success of the Waterford Walls festival is not an isolated phenomenon but is part of a national trend. The existence of other prominent festivals, such as Omin’s own SEEK Urban Art Festival in Dundalk, signifies a robust and decentralised urban art movement. This movement relies on a crucial, symbiotic relationship between artists, government bodies, and private businesses. This partnership model ensures the sustainability and long-term impact of the projects, securing funding and permission for large-scale works. Omin’s own career trajectory, from his early days in a graffiti crew to his current status as a recognised artist collaborating with corporate entities and city councils, perfectly illustrates this cultural maturation. Street art in Ireland is no longer an act of rebellion but a respected and celebrated form of public expression, an integral part of the country’s cultural landscape.

Conclusion: The Enduring Legacy of Art in Public Space

The investigation into the mural on Thomas Street in Waterford reveals a complex and multi-layered story that extends far beyond a single artwork. The mural, “Off the Hook,” is a confirmed work by the influential artist Omin, located on or near Thomas Street. The observation of its “work in progress” status was not an indication of incompletion but a powerful example of the public, participatory nature of modern street art festivals.

The mural stands as a testament to the artist’s evolution, the festival’s transformative power, and the broader societal shift in how public art is perceived and utilised. It is a symbol of urban regeneration, a beacon of cultural expression, and a tangible outcome of a strategic effort to use art as a catalyst for community development. The personal act of documenting its creation becomes a unique contribution to its history, confirming that the value of such art is not solely in its finished form but in the conversations it starts, the connections it fosters, and the life it breathes into the urban environment.

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LARGE MURAL AT HONAN’S QUAY IN LIMERICK

The former Dunnes Stores site at Honan’s Quay in Limerick City has become a focal point of discussion, not just for its ambitious artistic transformation, but also for the controversies surrounding its acquisition by the University of Limerick (UL). This site, now adorned with a striking mural and ground artwork, represents a complex interplay of urban revitalisation, artistic expression, and financial scrutiny.

The Art: Weaving Nature and Urbanity
The artistic endeavour at Honan’s Quay is a collaborative masterpiece, spearheaded by local artist collective Draw Out in partnership with Limerick City and County Council and the University of Limerick. The project initially saw internationally renowned urban artist Digo Diego adorn the walls of the UL City Centre Campus building with a captivating mural. This artwork, characterised by vivid colours and interlocking organic shapes, symbolically articulates the interactions between the city, the River Shannon, and nature, embodying an ethos of sustainable growth.

What makes this project truly innovative is its evolution into Limerick’s first ground mural. Elements from Digo Diego’s original wall painting have been distilled and extended onto the adjacent horizontal spaces, creating a seamless and immersive experience. Catherine O’Halloran of Draw Out emphasised the collaborative process with Digo Diego to ensure harmony between the two artworks, stating, “We wanted to distil the existing design pattern… and extract the DNA to ensure all the design elements translated effectively to the flat.”

The ground mural, with its “glowing extension of vibrancy and luminosity,” has transformed Honan’s Quay into a “dreamland of colour and imagination.” It’s envisioned as a dynamic public sphere for cultural and recreational purposes, inviting interaction and contemplation. The space now features a Mobile Urban Forest, seating areas, and even table tennis tables, actively encouraging people to “play, pause and be mesmerised by the impact of art on an urban landscape.”

Digo Diego, known for his work’s emphasis on environment and social issues, views his murals as a canvas to “enhance, revitalise and educate.” He expressed excitement about the project’s evolution, noting, “It is very interesting to me to create a piece that has evolved into something bigger.” The artwork’s success lies in its ability to inject warmth, joy, and playful energy into the urban fabric, demonstrating how public art can reshape our experience of a place.

The Artist: Digo Diego and Draw Out

Digo Diego is an urban artist and muralist whose work is deeply influenced by environmental and social concerns. His artistic philosophy centres on using large-scale murals as a medium for enhancement, revitalisation, and education. His distinctive style, evident in the Honan’s Quay project, often incorporates organic forms and vibrant palettes to create visually striking and conceptually rich pieces. His involvement brought an international perspective and a high level of artistic integrity to the project.

Draw Out is a local artist collective based in Limerick, playing a crucial role in bringing ambitious public art projects to fruition. Their expertise lies in translating artistic visions into tangible urban interventions. For the Honan’s Quay project, they were instrumental in the collaboration with Digo Diego, ensuring the seamless transition of the wall mural’s design elements into the groundbreaking ground mural. Draw Out, along with Limerick City Build, is also committed to cultivating a professional team of local practitioners, aiming to roll out similar projects to address derelict or underdeveloped spaces across the city. This highlights their dedication to community engagement and urban renewal through art.

The Concept: Art as Urban Regeneration

The underlying concept behind the Honan’s Quay mural project is the transformative power of public art as a tool for urban regeneration and civic engagement. The goal was to convert a previously underutilised or “derelict” space into a vibrant and inviting public realm. By introducing dynamic and visually arresting artwork, the project aims to attract people, foster a sense of community, and provide new opportunities for cultural and recreational activities along the riverfront.

This initiative is a testament to the belief that art can not only beautify an urban landscape but also imbue it with new meaning and purpose. The “tapestry of vivid colour, overlapping and interlocking shapes” creates a “new public sphere” that encourages interaction and changes the perception of the site. The project also champions sustainable growth as a hallmark for future campus development, aligning with Digo Diego’s environmental leanings. It’s a bold statement about Limerick’s commitment to utilising creative solutions for urban revitalisation and enriching the lives of its citizens.

The Site’s Shadow: Overpayment and Uncertainty

While the artistic transformation of Honan’s Quay has been widely celebrated, the site’s acquisition by the University of Limerick in 2019 for €8 million has been a subject of significant controversy. The Comptroller and Auditor General sharply criticised the purchase, stating, “It is difficult to see how the purchase represented value for money.” A retrospective valuation in 2023 further reinforced these concerns, concluding that UL had paid approximately one third more than the market value of the property four years prior. This financial discrepancy led to the university incurring a €3 million impairment charge on the acquisition in its 2022-2023 annual financial statements.

Despite the substantial investment, UL has made only limited use of the building, with only 20% of the space brought back into operation. The university is now exploring the feasibility of relocating its School of Medicine to the redeveloped city campus at Honan’s Quay, as per a proposal brought to its governing authority by acting president Professor Shane Kilcommins. He acknowledged the site as “one of the most strategically located sites in the city and it is incumbent on the university to seriously consider its intentions for the site.” However, this proposal indicates that a full and final decision on the site’s long-term use and development is yet to be definitively decided, adding to the uncertainty surrounding the initial investment.

Dunnes Stores’ Departure and the Site’s Dereliction

The Dunnes Stores at Honan’s Quay, which had been a prominent city-centre retail outlet, ceased trading there in August 2008. This departure left the significant building vacant and largely idle for over a decade, becoming what local officials and citizens often described as a major “eyesore” at a crucial gateway to Limerick City’s waterfront.

The exact reasons for Dunnes Stores’ decision to abandon this specific city centre location are not explicitly detailed in publicly available records. However, it’s a common trend for large retailers to consolidate operations or relocate to out-of-town retail parks that offer larger footprints, ample parking, and easier access for shoppers who prefer driving.

The site did indeed become derelict or unoccupied for an extended period of time, contributing to concerns about urban decay in Limerick city centre. This protracted vacancy prompted discussions and even calls for Limerick City and County Council to impose vacant site levies on Dunnes Stores to encourage development or sale. The argument was that a successful, profitable company was neglecting a substantial, strategically located site, hindering the city’s broader regeneration plans like “Limerick 2030.”

The University of Limerick’s acquisition in 2019, despite the later controversies regarding the purchase price, was seen by many as a positive step towards addressing the dereliction and bringing life back to this key city center property. The subsequent artistic interventions, preceding a full development plan, further aimed to visually transform the “eyesore” into a vibrant public space.

The post HONAN’S QUAY A CANVAS OF CONTRADICTIONS – CLOSE UP AND FAR AWAY appeared first on URBAN CARTOGRAPHER 2025.

THE LAST WEEK IN MAY 2025

It should be noted that I obtained permission to photograph within the building.

Planning a Trip to Belfast: 2025 Considerations

My recent travel planning for Belfast uncovered a few surprises, particularly the fact that Monday 26th May was a Bank Holiday in Belfast. This is crucial as many restaurants, even on a regular Monday, tend to be closed. My previous visits to Belfast made me aware of how challenging it can be to secure a restaurant booking on a Monday or Tuesday, though this issue might be less prevalent outside the city centre. I ended up dining at my hotel, the Maldron, which is very close to the station. The menu was somewhat limited and on the Monday steak was off the menu and some options were unavailable on the Tuesday.

Belfast Grand Central Station & Enterprise Rail Service: A Review

The landscape of cross-border rail travel between Dublin and Belfast has been significantly enhanced with the opening of Belfast Grand Central Station and the upgrade of the Enterprise train service.

Revolutionising Northern Irish Transport

Belfast Grand Central Station, initially known as the Belfast Transport Hub, marks a monumental investment in Northern Ireland’s infrastructure. Its phased opening saw bus services commence on 8th September 2024, followed by rail services, including the Enterprise, on 13th October 2024. As of May 2025, the station is fully operational for both bus and rail, serving as the primary terminus for nearly all active railway lines in Northern Ireland.

This state-of-the-art facility is the largest integrated transport hub on the island of Ireland, designed to handle approximately 20 million passenger journeys annually. Its expansive 7,500 square metre concourse boasts 26 bus stands and 8 railway platforms, facilitating seamless transfers. The design prioritises passenger experience and inclusivity, featuring full internal tactile paths, accessible toilets, dedicated changing places, parenting rooms, and a unique “Sensory Nook.” It operates as a “quiet station,” relying on information screens rather than audio announcements to reduce sensory overload. Modern ticketing options, including automatic gates and mobile apps, are complemented by complimentary Wi-Fi and a range of retail and refreshment outlets. This strategic investment aims to encourage a shift from private car use to public transport, with a reported 96% passenger satisfaction rating indicating early success.

The station plays a crucial role in centralising bus, coach, and rail services, significantly enhancing connectivity within Northern Ireland and across the Republic of Ireland. This £340 million project, the largest-ever investment in Northern Ireland’s public transport, is a key driver for economic growth and tourism, making Belfast considerably more accessible from Dublin and contributing to a notable increase in visitors from the Republic. Beyond its transport function, the station is the centrepiece of the Weavers Cross regeneration project, aiming to transform an 8-hectare brownfield site into a dynamic new employment and mixed-use hub. While this has necessitated some operational changes for certain internal Northern Ireland routes, leading to transfers for some local commuters, the benefits for cross-border travellers are substantial.

Enhanced Connectivity: The Enterprise Service

The Enterprise train service, a vital link between Dublin and Belfast, has seen significant improvements, particularly in its frequency and integration with the new Belfast Grand Central Station.

New Hourly Frequency

The long-awaited hourly service on the Dublin to Belfast route officially began on Monday, 28th October 2024. This consistent “clockface hourly service” operates Monday to Saturday, introducing seven new services in each direction for a total of fifteen daily services. This improved timetable includes pre-09:00 arrivals into both Dublin and Belfast, catering to early commuters and leisure travellers. Sundays see a two-hourly frequency with extended operating hours. This predictable, high-frequency service significantly enhances convenience and flexibility for both business and leisure travel, fostering a more integrated economic and social corridor between the two capitals. The approximate travel time remains around 2 hours 15 minutes.

Relocation and Integration

All Enterprise services now exclusively depart from and terminate at Belfast Grand Central Station, a significant change from the previous use of Belfast Lanyon Place. This centralisation at the new hub, with its eight platforms, allows for more efficient train turnaround times and streamlined operational management, which is critical for maintaining the new hourly frequency. This integrated design enhances overall connectivity with the wider public transport network, ensuring a more coherent experience for passengers.

Onboard Experience

The Enterprise service is a joint operation between Iarnród Éireann (Irish Rail) and Northern Ireland Railways (Translink), ensuring a consistent and high-quality onboard experience. Passengers can choose between Enterprise Standard and Enterprise Plus (First Class), both offering comfortable seating and wheelchair access. Catering services, including buffet car and trolley service, vary by departure time. Complimentary Wi-Fi is available on all services, and 220V power sockets are conveniently located at every seat, ensuring devices can be charged throughout the journey.

Practicalities for a 2025 Visit

For a visitor planning a trip to Belfast in 2025, understanding the practicalities of ticketing, station access, and how the environment might suit street photography is essential.

Ticketing and Fares

Enterprise tickets can be purchased online, via the mLink mobile app, or from Ticket Vending Machines (TVMs) at stations. Various fare types are available, including Adult, Child (5-18 years), and Young Adult/Student (19-25 years or full-time students with a valid TFI Leap Card).

It’s important to note a significant disparity in Enterprise fares depending on the journey’s origin. A standard single adult ticket from Belfast to Dublin could cost £33, whereas the same journey originating in Dublin might cost approximately €15.99 (around £13.50). This pricing difference stems from differing fare structures, separate IT systems, distinct special offers, and varying government subsidies. Currently, tickets can only be booked on the website of the country where the journey originates. For a return journey, it might be more cost-effective to purchase two single tickets, one from each country’s operator. Translink has indicated that Enterprise rail fares are currently under review. While seat reservations were previously limited for Northern Ireland originating standard fares, this is expected to change in late 2024, hinting at a more unified digital booking experience in the future.

Station Access and Parking

For a visit in May 2025, public realm works around Belfast Grand Central Station will be ongoing, with completion anticipated later in the year. These works are designed to upgrade surrounding streets and enhance pedestrian safety. Temporary access changes include the closure of Durham Street (from Grosvenor Road to Hope Street) for up to 12 months from October 2024, and a footpath closure on the north side of Glengall Street (Grand Opera House side) from 7th February 2025 for up to three months. Visitors are advised to check Translink’s “Works Updates” closer to their travel date for the latest information.

Designated set-down and pick-up points are available at St Andrew’s Square (via Hope Street), Value Car Parks (via Grosvenor Road), and Glengall Street. Glengall Street is recommended for those with accessibility or mobility requirements, with taxis actively serving this location. For car parking, options include Go Park Great Northern Car Park (near Great Victoria Street/Sandy Row) offering 530 spaces at a reduced rate of £12 per 24 hours for cross-border passengers, and Value Car Parks on Grosvenor Road providing 575 additional spaces. Translink also encourages the use of its extensive network of approximately 60 Park and Ride sites across Northern Ireland.

Considerations for Street Photography

For a street photographer, Belfast Grand Central Station offers a compelling subject, embodying urban modernisation and social interaction. The station’s “state-of-the-art” architecture, inspired by Belfast’s industrial heritage, provides a rich backdrop. The spacious concourse, with varied lighting conditions, offers ample compositional opportunities for capturing human interaction and the dynamics of modern urban life.

The planned Saltwater Square, expected to be the main entrance and open in 2025, will provide a significant photographic opportunity as a new public realm space emphasising arts and culture. As a major transport hub, the station generates a constant flow of diverse individuals, creating a vibrant and ever-changing scene. The inclusive design elements, while functional, also speak to a thoughtfully designed urban space.

My plan to bring a Leica Q3 and a Fujifilm GFX100RF reflects a desire for high-quality, potentially discreet (Leica Q3) and high-resolution (Fujifilm GFX100RF) capture. The spacious concourse and evolving exterior suited these cameras well. The timing of my visit in May 2025, coinciding with ongoing public realm works and the anticipated opening of Saltwater Square, presents a unique photographic narrative. This transitional period allows for capturing the juxtaposition of active construction and emerging finished spaces, creating visually compelling and historically significant images of urban transformation in real-time.

A Transformed Journey

The opening of Belfast Grand Central Station and the implementation of the hourly Enterprise service have fundamentally transformed cross-border rail travel between Dublin and Belfast. The station, a modern and accessible hub, has significantly increased capacity and streamlined connectivity, offering a vastly improved passenger experience. The enhanced frequency of the Enterprise service provides unprecedented flexibility, facilitating both business and leisure travel and fostering greater economic and social integration across the island.

These developments are more than just transport upgrades; they are integral to Belfast’s broader urban regeneration, serving as a catalyst for economic growth, tourism, and sustainable development within the Weavers Cross area. While visitors in 2025 will need to be mindful of ongoing public realm works around the station, these temporary adjustments are part of a larger, positive transformation. For the discerning traveller and street photographer, this period presents a unique opportunity to witness and capture a city in dynamic evolution, offering compelling narratives of progress and change. The future outlook for rail travel between Dublin and Belfast is one of continued enhancement, solidifying the Enterprise service and Belfast Grand Central Station as cornerstones of a modern, connected Ireland.

The post MY FIRST OPPORTUNITY TO PHOTOGRAPH BELFAST GRAND CENTRAL STATION appeared first on URBAN CARTOGRAPHER 2025.

PHOTOGRAPHED BY WILLIAM MURPHY

Geographical and Historical Context of the Parnell Street/Ryder’s Row Triangle Area

The Ryder’s Row Triangle, an area bounded by Ryder’s Row, Capel Street, and Parnell Street, has long been identified as a critical zone suffering from urban decay and anti-social behaviour in Dublin’s city centre. This deterioration reflects the wider economic decline that impacted inner-city Dublin during the latter half of the 20th century.

The area’s historical significance, particularly Capel Street, which was laid out in the late 17th century and boasts unique architectural heritage such as ‘Dutch Billy’ houses, adds complexity to any modern redevelopment. Understanding this rich historical fabric is crucial for appreciating the challenges and sensitivities inherent in contemporary urban revitalisation efforts here.

The Parnell Street Hotel Development

The proposed hotel development site is substantial, encompassing Nos. 3, 4, 5, and 6 Parnell Street, and Nos. 58 and 59 Capel Street, with its rear boundary extending to Jervis Lane Upper. The primary site area was initially 895 square metres, but has expanded with the integration of 57a Jervis Lane Upper.

Protected Structure Status

No. 3 Parnell Street is a designated protected structure (RPS Ref. 6422). This three-storey over basement building, dating from the 18th or early 19th century, is in very poor condition. Its protected status mandates stringent requirements for any alterations, requiring supervision by a qualified conservation professional throughout all works.

Nos. 58 and 59 Capel Street, despite undergoing substantial demolition in the approved plans, are recognised for their heritage value. Dublin City Council proposed their inclusion in the Record of Protected Structures (RPS) as “Early Buildings” appearing on Roque’s map of 1756. This recognition led to conditions for facade retention and preservation of key internal structures, even if formal protected status was pending at the time of initial planning approval.

The property at 57a Jervis Lane Upper is within the curtilage of Protected Structure No. 57 Capel Street (RPS No. 1182), necessitating a sensitive approach to its refurbishment and change of use.

Ryder’s Row Triangle: Analysis of Urban Decay and Regeneration Initiatives

Factors Contributing to Urban Decay

Historical and Economic Decline: The Ryder’s Row Triangle, like much of inner-city Dublin, experienced significant economic decline in the latter half of the 20th century. This led to widespread business closures and property dilapidation, a common pattern in historic urban cores struggling to adapt to evolving economic landscapes.

Impact of Suburbanisation and Online Retail: The rise of suburban shopping centres and online retail fundamentally altered consumer behaviour, diverting activity from traditional high street shops. This directly contributed to increased commercial vacancy and neglect in areas like Capel Street and the Ryder’s Row Triangle.

Social Factors: Derelict buildings and vacant spaces in the Ryder’s Row Triangle attracted anti-social behaviour, fostering a negative public perception. The “appearance of ruin,” including dilapidated structures, an unkempt bicycle shop, and graffiti, actively discouraged footfall and deterred adjacent property owners from investing. The “Reimagining Dublin One” report highlights how such vacant spaces contribute to perceptions of safety problems, exacerbated by blank walls, rubbish piles, and evidence of rough sleeping and drug use.

Fragmented Property Ownership: Fragmented property ownership has been a significant impediment to comprehensive redevelopment. Dublin City Council’s use of a Compulsory Purchase Order (CPO) for the bicycle yard and other properties implicitly confirms this challenge, as CPOs are typically used when voluntary acquisition or consolidation of multiple, often uncooperative, ownerships proves difficult.

Significant Obstacles to Regeneration

The Dutch Billy House on Capel Street: The Dutch Billy house at 66 Capel Street (Reg No. 50010593) is a nationally important protected structure, built between 1716 and 1719. As a rare and intact example of Dublin’s pre-Georgian architectural heritage, its protected status means any redevelopment in its vicinity must be highly sensitive to its character, often imposing strict limitations on height, massing, and design. This prioritisation of historical preservation can significantly challenge regeneration efforts.

The Bicycle Yard on Ryder’s Row: The well-known bicycle yard, located at Nos. 13, 14/15 Ryder’s Row and 218-222 Parnell Street, was a “previously uncooperative” obstacle. It was explicitly included in the “Ryder’s Row/Parnell Street/Capel Street Area Compulsory Purchase (Residential/Commercial Development) Order, 2019.” Dublin City Council formally took possession of these lands on 14 November 2022, confirming its status as an obstacle that has now been addressed through public acquisition.

Recent Regeneration Developments

Relocation Status of the Bicycle Yard: The bicycle yard, a long-standing impediment, has been addressed. Dublin City Council successfully acquired the properties associated with the bicycle sales outlet through a CPO initiated in 2019, taking formal possession on 14 November 2022. This removes a significant obstacle, paving the way for future residential and commercial development.

Current Status of Derelict Buildings: Claims that “the derelict buildings on Parnell Street remain a concern” are accurate. Dublin City Council’s Derelict Sites Register, updated as of 9 May 2025, lists 77 Parnell Street and 78 Parnell Street, Dublin 1, as derelict sites, subject to an annual levy. While specific Capel Street properties aren’t listed, the “Reimagining Dublin One” report generally notes that vacant and derelict buildings across Dublin One are a “large drag” on the area, hindering vibrancy.

Wider Regeneration Plans for the Ryder’s Row Triangle: While the acquisition of key sites via CPO demonstrates Dublin City Council’s intent, and the area is identified as a Strategic Development Regeneration Area (SDRA) within the Dublin City Development Plan, detailed, overarching “concrete plans” for the entire triangle beyond the acquired CPO sites and the hotel development are not yet publicly detailed as approved projects. The SDRA designation implies a strategic framework emphasising high architectural quality, urban greening, and mixed uses, aligning with community aspirations for a more complete community with mixed uses, green space, and a vibrant public realm. This indicates a long-term, incremental approach rather than a single, fully implemented master plan.

The post DEMOLITION AT THE CAPEL STREET END OF PARNELL STREET – UPPER JERVIS LANE appeared first on URBAN CARTOGRAPHER 2025.

A LEICA Q3 WAS USED FOR THIS SESSION

George’s Dock, situated in Dublin’s Docklands and forming part of the International Financial Services Centre (IFSC), boasts a rich history and a dynamic present. Constructed in 1821 by the esteemed engineer John Rennie the Elder as part of the Custom House Docks expansion, it was named in honour of King George IV.

The Inner Dock (originally Revenue Dock) followed in 1824, completed by his son, John Rennie the Younger. These docks, alongside the older Custom House Dock, constituted a crucial element of Dublin’s maritime infrastructure, collectively known as the Custom House Docks. However, with the advent of larger vessels and containerisation, deeper water berths further upriver gained prominence, leading to a gradual decline in George’s Dock’s maritime usage. Notably, the Old Dock was infilled in 1927 for road extensions, altering the original layout.

In a parallel development, a significant Triumphal Arch now located at the western end of George’s Dock, near the entrance to the CHQ Building (Custom House Quay), has its own distinct history. This arch was originally erected in 1813 at the Eden Quay entrance to the Custom House. It commemorated the Duke of Wellington’s victory at the Battle of Salamanca in 1812 during the Peninsular War. As part of the extensive redevelopment of the Dublin Docklands area, including George’s Dock, the Triumphal Arch was relocated to its current position in 1998 to preserve this historical structure within the revitalised urban landscape. An inscription stone dated 2002 was later added on the rear of the arch, honouring a Pat O’Shea for his contributions to community development, illustrating the arch’s integration into the modern community and its role in local remembrance.

Like much of the Dublin Docklands, George’s Dock itself underwent substantial redevelopment in the late 20th and early 21st centuries, aiming to revitalise the area and integrate it into the contemporary city. Crucially, the basin of George’s Dock was retained as a central water feature, a reminder of its maritime past. Today, George’s Dock is primarily utilised by Dublin City Council as an event space, hosting various public gatherings. A modern steel deck structure has been added to the dock’s centre for this purpose.

The Inner Dock saw the construction of apartment complexes in the late 1990s, blending residential living with the historic dockside environment. Furthermore, the George’s Dock Luas (light rail) stop on the Red Line offers excellent connectivity. Recent years have seen discussions and proposals for the future of George’s Dock, including a postponed white water rafting facility and more promising plans for a public outdoor swimming pool (Lido), with feasibility studies and public fundraising underway.

Other potential uses considered include temporary parks, markets, and sporting facilities, reflecting a desire to activate the space for public benefit. Any future development must carefully consider the historical significance of George’s Dock, as its physical fabric is protected.

In essence, George’s Dock and its relocated Triumphal Arch stand as testaments to Dublin’s maritime heritage and its ongoing urban evolution. Once a vital part of the city’s port, George’s Dock has been successfully integrated into the modern Docklands, serving as an event space and a focal point for future development that seeks to balance its heritage with contemporary needs, while the arch serves as a reminder of both national and local historical events.

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PHOTOGRAPHED USING A LEICA Q3

The Samuel Beckett Bridge is a striking and modern cable-stayed swing bridge that spans the River Liffey in Dublin, connecting Sir John Rogerson’s Quay on the south side to Guild Street and North Wall Quay in the Docklands area. It stands as a significant landmark in Dublin’s contemporary urban landscape.

Design and Inspiration:

Designed by the internationally renowned Spanish architect Santiago Calatrava, the bridge’s aesthetic is highly distinctive. Its most prominent feature is a 48-meter high, curving pylon with 31 cable stays fanning out in a way that strikingly evokes the image of a Celtic harp lying on its side. This design cleverly pays homage to Ireland’s national symbol, blending modern engineering with cultural symbolism. Calatrava himself noted his deep affinity for the people of Dublin and intended the bridge to serve as a monument honoring the city’s past, present, and future.

Key Features:

Cable-Stayed Structure: The bridge’s deck is supported by a network of steel cables extending from the central pylon.
Swing Bridge Capability: A unique feature of the Samuel Beckett Bridge is its ability to rotate horizontally through 90 degrees. This allows ships and other watercraft to pass through, maintaining navigation along the River Liffey and providing a gateway between the city and the sea. The rotation mechanism is housed within the bridge’s central support pier.
Dimensions: The bridge has a total length of 120 meters and a width of 27 meters.
Multi-Modal Functionality: The deck accommodates four lanes for vehicular traffic, as well as dedicated pedestrian and cycle tracks on either side, promoting various modes of transportation across the river. There is also the potential to adapt two of the vehicular lanes for tram lines in the future.
Materials and Construction: The main structure is constructed of steel, with a steel box girder deck. The pylon is also made of curved steel. The bridge was fabricated in Rotterdam, Netherlands, and transported by barge to Dublin in 2009. The foundations and supporting pier in the river are made of reinforced concrete.
Significance and Impact:

Improved Connectivity: The bridge provides a vital and efficient river crossing, linking communities and facilitating smoother traffic flow within the city, particularly in the developing Docklands area.
Urban Regeneration: It has become a symbol of the modern and vibrant urban landscape of the Dublin Docklands, contributing to its regeneration and acting as a focal point for development.
Architectural Icon: Its striking and unique design has made it an instantly recognisable landmark and a popular subject for photography and art.
Tribute to Samuel Beckett: Named in 2006 to commemorate the centenary of the birth of Nobel Prize-winning Irish writer Samuel Beckett, the bridge also complements the nearby James Joyce Bridge, further celebrating Dublin’s rich literary heritage.
Engineering Achievement: The Samuel Beckett Bridge has been recognised for its engineering excellence, winning the Engineers Ireland’s “Engineering Project of the Year” award in 2010.
In essence, the Samuel Beckett Bridge is more than just a functional piece of infrastructure; it is a striking work of engineering and architectural design that has become an iconic symbol of modern Dublin, celebrating both its cultural heritage and its forward-looking development.

The post THE SAMUEL BECKETT BRIDGE 10 MAY 2025 appeared first on URBAN CARTOGRAPHER 2025.

PHOTOGRAPHED 10 MAY 2025 USING A LEICA Q3

NEW URBAN WATER SPORTS DESTINATION ON RIVER LIFFEY [PHOTOGRAPHED 10 MAY 2025 USING A LEICA Q3]

A New Urban Watersports Destination on the River Liffey

(Photographed 10 May 2025 using a Leica Q3)

7 May 2025: General Manager Sought for New Urban Watersports Destination on River Liffey.

The Evolving Narrative of Custom House Quay: From Historic Nexus to Modern Amenity

I. Introduction: The Enduring Significance and Evolving Face of Custom House Quay

Custom House Quay, a name deeply intertwined with Dublin’s rich maritime and civic heritage, is currently witnessing the emergence of its latest significant development: the Liffey watersports hub. This facility, recently completed or nearing completion, signifies a renewed and purposeful engagement with the River Liffey, transforming it from a scenic backdrop and historical waterway into an active recreational space for the city’s residents and visitors.

Spearheaded by Dublin City Council, the development is thoughtfully designed to include new public walkways, a central courtyard, and, notably, an enhanced “gangway” providing improved access to the replica famine ship, the Jeanie Johnston. This integration demonstrates an ambition to weave contemporary recreational utility with the area’s existing cultural and heritage assets.

A critical aspect of this transformation involved the demolition of the former Dublin Docklands Development Authority (DDDA) office building that previously occupied the site. This physical change underscores a broader shift in the functional identity of this specific plot on Custom House Quay, moving from a centre of planning and development authority to a point of public access and enjoyment.

This new hub is not an isolated project but rather the latest chapter in the extensive and ongoing regeneration of the Dublin Docklands. For decades, this vast area, stretching along both banks of the Liffey, has been transforming from a landscape of declining industrial port activity into a dynamic, modern urban quarter. This metamorphosis has been propelled by a succession of state-led initiatives and evolving planning frameworks, each leaving its imprint on the Docklands’ character and trajectory.

The Liffey watersports hub thus takes its place within a complex tapestry of renewal, reflecting contemporary urban planning philosophies that prioritise public engagement with waterfronts. The very nature of the project—focused on water-based recreation—also points to an evolving understanding and utilisation of the River Liffey itself. Historically the lifeblood of Dublin’s commerce and a primary channel for transport, the river’s potential as a significant civic and recreational amenity is now being more fully embraced. While activities such as river tours have long been a feature, the establishment of a dedicated, city-backed watersports centre signals a more structured and participatory approach to aquatic leisure. This development can be interpreted as a response to a growing public desire for more direct and active engagement with the river, perhaps also informed by the mixed outcomes of previous, more ambitious water-based proposals in the vicinity, such as the debated George’s Dock white-water rafting facility.

This discussion, presented as a blog post, aims to provide a comprehensive historical narrative of the Liffey watersports hub site and its environs. It will trace the evolution of Custom House Quay from its foundational period, examine the era of the Dublin Docklands Development Authority and its impact on the area, and detail the conception and realisation of the new recreational facility, thereby contextualising this modern intervention within the deep and multifaceted history of one of Dublin’s most significant urban landscapes.

II. The Historic Custom House Quay: Foundation and Early Development (c. 1700s – Early 1900s)

The story of Custom House Quay is deeply intertwined with the eastward expansion of Dublin along the River Liffey and the evolving needs of its burgeoning maritime trade. Long before James Gandon’s iconic Custom House graced the north banks, earlier customs facilities served the city. An older custom house at Wood Quay, within the city walls, was notably destroyed in the Dublin gunpowder explosion of 1597, a testament to the long-standing presence of customs operations. Subsequently, another facility was developed near Essex Gate around 1620. The immediate predecessor to Gandon’s masterpiece was the Old Custom House, constructed between 1704 and 1707 on what is now Wellington Quay. Designed by Thomas Burgh, this building marked a significant moment, being one of the first major public structures built outside Dublin’s ancient city walls, indicating growing confidence in the city’s stability and the pressing need for expanded, dedicated office and customs space due to increasing trade.

By the 1770s, however, even Burgh’s Custom House was deemed insufficient. Merchants complained of river congestion, shallow waters preventing larger vessels from reaching the quay, and the building’s inadequate size. This necessity for a new, more strategically located facility drove the decision, championed by John Beresford, First Commissioner of Revenue, to construct a grander Custom House further downriver, nearer to Dublin Bay. This eastward shift was a logical progression, reflecting the continuous efforts of land reclamation from the Liffey and the city’s relentless commercial push towards the sea to accommodate larger ships and burgeoning trade volumes that older, upriver locations could no longer efficiently manage.

The commission for this ambitious project was awarded to the English architect James Gandon. Construction began in 1781 and was completed in 1791 at a considerable cost of over £200,000, a sum equivalent to nearly €24 million in today’s currency. Gandon’s neoclassical design, reportedly inspired by the grandeur of Parisian buildings along the Seine, resulted in one of Dublin’s most celebrated architectural treasures. The building’s exterior, faced with Portland stone and mountain granite, featured a Doric portico adorned with statues by Agostino Carlini and the renowned Irish sculptor Edward Smyth. The tympanum depicted Hibernia and Britannia, while a statue of Neptune banishing famine and despair, and fourteen keystones representing the Atlantic, the Liffey, and twelve other principal Irish rivers, further embellished the facade. Crowning this edifice is a distinctive copper dome topped by a statue of Commerce. Beyond its primary function related to customs, the building also served as a vital centre for revenue administration, described by the architectural historian Christine Casey as “the single most important collection point in the Irish Revenue system”.

The physical quay upon which Gandon’s Custom House stands, Custom House Quay itself, was constructed around 1790. Built of granite ashlar, it formed a crucial segment of the newly defined north bank of the Liffey. The area rapidly developed into a bustling hub of maritime trade and commerce. Warehouses were erected behind and adjacent to the Custom House to store the vast quantities of goods offloaded from merchant vessels, and the quayside teemed with activity. The architectural grandeur of both Gandon’s Custom House and other significant structures in the vicinity underscores the immense economic importance of the port and customs revenue to Dublin and Ireland during this era. Such substantial public and private investment in infrastructure is invariably driven by powerful economic incentives and the strategic significance of the activities they support.

A prime example of this era’s industrial architecture is the CHQ Building, originally known as Stack A. Located just east of the Custom House, it was constructed circa 1820 to designs by the Scottish engineer John Rennie, primarily as a bonded warehouse for valuable commodities such as tobacco, tea, and spirits. Stack A was an industrial masterpiece, boasting what was then the largest pre-20th century clear-floor space in Dublin. Its innovative cast-iron frame supported a slate roof, enclosing a vast area within Georgian brickwork. The building gained further historical notoriety when it hosted the Crimean War Banquet in 1856, celebrating the return of 3,000 Irish soldiers. The Custom House Quay area was not, however, a static environment. Its infrastructure evolved to meet changing operational demands, exemplified by the widening of Custom House Quay in 1884, a modification that necessitated the shortening of Stack A by five metres at its southern end. This pragmatic adaptation, even at the expense of a significant existing structure, illustrates a recurring theme in the Docklands’ history: the primacy of functional needs in shaping the urban fabric.

Throughout the 19th and early 20th centuries, Custom House Quay maintained its role as a vital commercial and shipping nexus. Gandon’s Custom House, however, faced significant perils. It was severely damaged by a major fire and was later occupied and burned during the War of Independence in May 1921. Following these destructive events, the Office of Public Works (OPW) undertook extensive restoration work to preserve the iconic structure.

III. The Dublin Docklands in Transition: Mid-20th Century Decline and the Dawn of Regeneration (c. 1950s – 1990s)

The mid-20th century heralded a period of profound change and subsequent decline for the traditional activities of the Dublin Docklands. The advent of mechanisation and containerisation in shipping from the 1960s onwards rendered many traditional dockland labour practices obsolete, leading to widespread redundancies among dock workers. This economic disruption contributed to significant social problems in the area, including unemployment and associated issues. Compounding these local challenges, the broader trend of Dublin’s suburbanisation from the 1970s saw a substantial decrease in the inner-city population, which by 1991 had fallen by as much as 50% in some areas. This backdrop of economic hardship and demographic shift created the imperative for the large-scale regeneration efforts that would follow.

The initial stirrings of a planned revitalisation began to emerge in the 1980s. The Urban Renewal Act of 1986 was a pivotal piece of legislation, defining the initial designated areas for renewal, which importantly included the Custom House Docks area. Following this, the Custom House Docks Development Authority (CHDDA) was established by the state in 1987. Its specific remit was to oversee the development of an International Financial Services Centre (IFSC) within a defined section of the Docklands, broadly situated between Amiens Street, Commons Street, Sheriff Street Lower, and Custom House Quay. The CHDDA and the establishment of the IFSC can be seen as precursors to the more comprehensive and ambitious regeneration body that was to follow.

In 1997, the Dublin Docklands Development Authority (DDDA) was formally established through the Dublin Docklands Development Authority Act. This new authority was granted a significantly broader mandate: to lead a major project of physical, social, and economic regeneration across a substantial area of East Dublin, encompassing land along both banks of the River Liffey. The stated mission of the DDDA was ambitious, aiming to transform the Dublin Docklands into a “world-class city quarter” and a “paragon of sustainable inner city regeneration.” This vision included the provision of high standards in education, employment, housing, and social amenities for the entire community. Among its quantitative targets was the construction of over 11,000 new homes, with a commitment that 20% of these would be designated as social and affordable housing.

As part of its operational infrastructure and physical presence within the Docklands, the DDDA maintained offices. One such office was located on Custom House Quay. While specific construction dates for this particular building are not detailed in the available information, its existence and subsequent role as the “Dublin Docklands office building” even after the DDDA’s dissolution confirm its function as an administrative hub for the authority and later for Dublin City Council’s Docklands functions. Its placement on Custom House Quay, a location imbued with historical significance and central to the Docklands, would have been symbolic of the DDDA’s authority and its role in orchestrating the area’s transformation. The eventual demolition of this building to make way for the new Liffey watersports hub (as detailed in Section V) can be viewed as a symbolic marker, signifying the end of that specific era of centralised, top-down regeneration for that particular plot of land and heralding a shift towards public amenity.

During its operational years, the DDDA oversaw a number of large-scale projects, including the Spencer Dock development and the Point Village. However, the Point Village encountered significant financial difficulties and was eventually taken over by the National Asset Management Agency (NAMA). Other ambitious proposals, such as the U2 Tower, were ultimately abandoned. The DDDA also became a substantial landholder in the Docklands, acquiring control over sites previously held by major developers like Treasury Holdings and Harry Crosbie.

Despite some successes in physical regeneration—the DDDA’s website once claimed the creation of 40,000 new jobs and 11,000 new homes—the authority became mired in controversy. The most damaging of these was the acquisition of the 25-acre former Irish Glass Bottle site in Ringsend. In 2006, a consortium including the DDDA paid €412 million for the site. The planned development never materialised, and by 2011, the land—which had cost €431 million including acquisition costs and stamp duty—was valued at a mere €45 million. A subsequent special report by the Comptroller and Auditor General found that the DDDA had failed to obtain an independent valuation of the site before committing to the deal, a failing that ultimately cost the authority €52 million. This and other “damning findings about the authority’s conduct” severely damaged the DDDA’s reputation and public trust. The DDDA’s active period coincided with Ireland’s “Celtic Tiger” economic boom, and some of its ventures and financial exposures reflected the speculative excesses characteristic of that era, contributing to its eventual downfall.

The Irish government announced its intention to wind up the DDDA in May 2012, following the publication of the critical Comptroller and Auditor General’s report. The Minister for the Environment at the time, Phil Hogan, stated that while the government remained committed to the continued regeneration of the Docklands, maintaining the DDDA as a standalone entity was “no longer viable, financially or otherwise”. A new board was appointed to manage a transitional period. The full dissolution, initially planned for May 2014, was postponed due to concerns regarding the disengagement of the DDDA leading up to the date, and unresolved issues related to its failure to acknowledge enterprise as a key driver of Docklands success, unclear terms of reference for a new Docklands Consultative Forum, and a lack of transparency concerning the transfer of remaining cash and assets. The Dublin Docklands Development Authority was officially dissolved on 1 March 2016, with its functions and oversight responsibilities largely transferring to Dublin City Council. This transfer marked a shift in the governance model for the Docklands, moving away from a powerful, centralised development authority towards a more integrated, municipally-led planning framework.

IV. The Post-DDDA Era: Strategic Development and New Visions (c. 2012 – Present)

Following the government’s decision to wind down the Dublin Docklands Development Authority (DDDA), a new framework for managing the continued regeneration of the Docklands was implemented. The DDDA’s powers and responsibilities were progressively transferred to Dublin City Council between 2014 and its official dissolution in March 2016. A key instrument in this new phase was the establishment of the Docklands Strategic Development Zone (SDZ) Planning Scheme. This scheme, formally approved by An Bord Pleanála in May 2014, superseded the previous planning schemes that had been generated by the DDDA.

The SDZ was designed to facilitate a more streamlined and potentially faster development process for designated areas within the Docklands, particularly focusing on the urban regeneration of areas in North Lotts and Grand Canal Dock. The scheme allowed for the construction of landmark buildings up to 22 storeys (approximately 88 metres) in specific locations, although the predominant building height was generally set around eight storeys. This provision for significant building heights indicated a continued commitment to intensive development within the Docklands. The National Asset Management Agency (NAMA) emerged as a key landholder and a significant investor in this new phase, with plans to inject €2 billion into new projects across the Docklands, including on sites previously controlled by entities like Treasury Holdings and the DDDA itself. This shift from the DDDA model to the SDZ framework represented a notable change in approach, moving from a direct development authority to a more regulatory and planning-led system managed by the City Council, albeit one still geared towards substantial and often fast-tracked development.

Under the SDZ framework, development continued apace. Several major projects were completed after 2015, a prominent example being the new Central Bank of Ireland headquarters on North Wall Quay. By early 2018, a significant portion of the land within the SDZ had been designated for corporate construction, underscoring the strong commercial impetus driving the ongoing regeneration. An illustration of the scale of development envisioned was the plan reported in October 2014 by a consortium including US investment group Oaktree Capital Management, Irish construction company Bennett, and NAMA, for a mixed-use development comprising 42,500 square metres of offices and 158 apartments at 5 Hanover Quay and 76 Sir John Rogerson’s Quay, with estimated construction costs of €140 million.

Alongside this commercial and residential development, proposals for new public amenities in the Docklands also came to the fore, often generating considerable public and political discourse. The most notable of these was the plan for a white-water rafting facility at George’s Dock. This Dublin City Council proposal, with an estimated cost of around €25 million, faced intense scrutiny and ultimately widespread opposition. Critics lambasted the project as a costly “luxury” at a time of a severe housing crisis in Dublin, arguing that public funds could be better allocated. The narrative that the facility would primarily cater to “business people and tourists rafting for €50 a go” rather than ordinary citizens also fuelled public discontent, despite counter-arguments that such commercial use would help subsidise access for local clubs and residents. The timing of the proposal, coinciding with broader frustrations over housing policy, created what was described as “appalling optics”. Ultimately, councillors rejected the white-water rafting plan.

Following the abandonment of the rafting facility, discussions continued regarding the future of the George’s Dock site. Proposals for a lido (an outdoor public swimming pool) gained some traction, fitting the site’s existing planning permission which zoned it for “water use”. However, this too faced debates over feasibility and operational costs, with €500,000 being set aside in the 2025-2027 capital programme to explore new ideas and intermediary uses for the site. By March 2025, the lido proposal appeared to be back under active consideration. This history of controversy and careful deliberation surrounding major recreational projects in the Docklands likely shaped the context and reception for subsequent amenity proposals, including the new Liffey watersports hub at Custom House Quay. There appears to be an underlying tension between ambitions for large-scale, “statement” projects and the demand for more community-focused, accessible, and financially prudent amenities. The continued drive for high-value corporate construction within the SDZ also creates a dynamic where public amenity projects must clearly demonstrate widespread public benefit and careful use of resources to gain approval and acceptance.

V. The New Liffey Watersports Hub: A Modern Intervention (c. 2020s)

The conception of a new water-based activity centre at Custom House Quay emerged as a distinct Dublin City Council initiative, strategically positioned on the Liffey’s north bank between the EPIC The Irish Emigration Museum (housed within the historic CHQ Building) and the Jeanie Johnston replica famine ship. This location, directly on the quayside, differentiates it from the George’s Dock proposals, which focused on repurposing an existing inland dock basin. The project for the Liffey hub appears to have evolved from earlier, broader plans. A previously granted Part 8 planning application (reference 3833/19) had encompassed a more extensive scheme that included not only a white-water rafting course at George’s Dock but also, significantly, “the demolition of former Dublin Docklands Development Authority office building” at Custom House Quay and the “Construction of two new quayside buildings… The west building comprising replacement offices and conference room for the use of Dublin City Council Docklands office”. The subsequent focus on a dedicated water-based activity centre at Custom House Quay, coupled with the abandonment of the George’s Dock rafting component, suggests a strategic decoupling and refinement of these initial plans. The Liffey Watersports Hub project, therefore, seems to be a more pragmatic and perhaps more focused successor to the controversial George’s Dock scheme, potentially learning from its predecessor’s difficulties by concentrating on a different location and a set of activities with broader public appeal.

A critical preparatory step for the new hub was the demolition of the former DDDA office building. As explicitly stated in the granted Part 8 planning application 3833/19, the removal of this structure was integral to the redevelopment of the Custom House Quay site. Planning documents associated with mooring extensions adjacent to the site referred to this structure as the “current Dublin Docklands office building”, indicating its continued use by Dublin City Council’s Docklands staff even after the formal dissolution of the DDDA. The demolition of this administrative building to make way for a public recreational facility represents a significant reallocation of prime, historically-sensitive public land, prioritising direct public benefit and enjoyment over administrative functions for this specific plot. This aligns with contemporary urban planning trends that seek to “give the waterfront back to the people.”

The design of the new Liffey watersports hub aims to create a multi-functional space. Key features include the development of new public walkways, a central courtyard, and a new “gangway” to improve access to the Jeanie Johnston. Supporting documentation for related “Dublin City Moorings Custom House Quay” enhancements, likely linked to the hub, details plans for an extended boardwalk with glass balustrading, the relocation and replacement of existing pontoons with new ones under a glazed canopy, and an additional new gangway connecting to the extended boardwalk. These elements suggest comprehensive facilities for mooring watercraft and facilitating various on-water activities, thereby enhancing public access to and engagement with the River Liffey, while also integrating with adjacent cultural attractions.

Recent reports, dated around 9 May 2025, indicated that Dublin City Councillors formally backed the new Liffey watersports hub, with a reported cost of €23 million. These reports also referred to the project as the “Liffey aquatics centre”. While an earlier Part 8 planning permission (3833/19) had been granted for a more extensive scheme that included development at Custom House Quay, the timeline for the specific approvals that allowed the current hub to reach a near-completed state by May 2025 (as per initial information) would necessarily have preceded these early May 2025 announcements. The formal backing reported in May 2025 might therefore represent a final budgetary confirmation, a political endorsement of the project as it neared completion, or pertain to its upcoming operational phase, rather than the initial green light for construction to commence.

The architectural realisation of the Liffey watersports hub carries significant responsibilities, given its sensitive location. The site lies within a designated Conservation Area, and the historic Custom House quay wall itself is a protected structure, listed on the Record of Monuments and Places. Immediately to the west stands James Gandon’s Custom House, one of Dublin’s most important architectural landmarks, and to the east is the historically significant CHQ Building. Any new development in such a context must demonstrate exceptional sensitivity to its surroundings. The planning documents mention features like an “extended Boardwalk and glass balustrading… elevated above the Quay Wall protected structure level,” and a “glazed canopy”, indicating the use of modern materials. The success of the project will therefore heavily depend on the quality of its architectural design and its ability to integrate harmoniously with the powerful historical and aesthetic presence of its neighbours, complementing rather than clashing with the established character of Custom House Quay. Architectural heritage impact assessments would have formed a crucial part of the planning process, similar to those required for other developments in comparably sensitive locations within the Docklands.

Overview of the Liffey Watersports Hub (Custom House Quay)

Location: Custom House Quay, Dublin 1 (situated between the EPIC Museum/CHQ Building and the Jeanie Johnston replica ship).
Key Features: Watersports facilities, public walkways, courtyard, new gangway to Jeanie Johnston, pontoons, glazed canopies.
Preceding Structure on Site: Former Dublin Docklands Development Authority (DDDA) / Dublin City Council Docklands office building (demolished).
Reported Cost: €23 million.
Reported Approval Date: Circa May 2025.
Key Stakeholder: Dublin City Council.
Status: Completed or near completion.
VI. Archaeological and Heritage Considerations

The Dublin Docklands, as an area shaped by centuries of maritime activity, land reclamation, and urban development, possesses considerable archaeological sensitivity. Custom House Quay and its immediate vicinity are no exception. The site of the new Liffey watersports hub is partially situated within the Zone of Archaeological Constraint for Recorded Monument DU018-020, which corresponds to the Historic City of Dublin. This designation affords statutory protection under the National Monuments Acts.

In advance of, or during the early stages of development for projects in such sensitive zones, archaeological assessment and monitoring are standard requirements. Specific to the Custom House Quay area, archaeological testing under Licence 23E0960 was conducted in April 2024 by archaeologists Paul Duffy and Chris Coffey. This investigation targeted two shoreside pile locations intended for a development project and followed a programme of archaeological monitoring immediately west of the development site. The results of this testing indicated the presence of deep deposits of modern sand, which were associated with a concrete beam running along the inner side of the quay wall. Crucially, the report from this specific investigation stated that “No finds or features of archaeological potential were identified during these works”. It is important to interpret such findings carefully: the absence of archaeological material in limited test trenches does not definitively preclude the existence of archaeological deposits elsewhere on the broader site, at different depths, or of a nature not detectable by the methods used. The “deep deposits of modern sand” could represent fill material that potentially overlies earlier, undisturbed archaeological layers. Nevertheless, for the specific areas tested, no immediate archaeological constraints were identified. This underscores the site-specific nature of archaeological potential and the ongoing necessity for vigilance and appropriate assessment during any ground-disturbing works in historically rich urban environments.

Beyond sub-surface archaeology, the built heritage of Custom House Quay and its surroundings is of paramount importance. James Gandon’s Custom House has itself been the subject of major conservation efforts, including a significant programme of restoration undertaken by the Office of Public Works in the 1980s, which was completed in 1991 to mark the building’s bicentenary. Ongoing maintenance, such as the cleaning and repair of its intricate pediment statuary, continues to be carried out by the OPW. Similarly, the CHQ Building (Stack A), another significant 19th-century structure on the quay, underwent a sympathetic and award-winning restoration by the DDDA in the early 2000s. This project notably included the installation of an innovative glass facade at its southern end, based on a concept by the renowned Irish engineer Peter Rice. Furthermore, the historic quay walls of Custom House Quay are themselves listed as protected structures and are recorded on the Record of Monuments and Places.

Any new development, such as the Liffey watersports hub, must therefore navigate a complex web of heritage protections and conservation principles. Architectural heritage impact assessments are a standard component of the planning process for projects in such locations, ensuring that new designs are sensitive to the scale, materials, and character of the historic environment. The Docklands area thus presents a continuous challenge: balancing the dynamic thrust of modern development and urban regeneration with the profound obligation to preserve, respect, and appropriately manage its significant built and archaeological heritage. The Liffey hub is the latest development to engage with this inherent tension.

VII. Conclusion: Custom House Quay – A Palimpsest of Dublin’s History

Custom House Quay stands as a remarkable palimpsest, a surface upon which successive eras of Dublin’s history have inscribed their narratives, leaving indelible marks that coexist with the innovations of the present. Its journey commenced as a vital commercial and administrative nexus in the late 18th and 19th centuries, anchored by the monumental Custom House of James Gandon and the industrious CHQ Building (Stack A), surrounded by the teeming activity of a principal port. This era of prosperity eventually gave way to a period of mid-20th-century decline, as changes in shipping technology and patterns of urban settlement reshaped the Docklands’ fortunes. The late 20th and early 21st centuries then ushered in an era of intensive, state-led regeneration, initially spearheaded by the Dublin Docklands Development Authority and subsequently guided by the Strategic Development Zone framework under Dublin City Council. This ongoing process has fundamentally transformed the physical and socio-economic landscape of the Docklands, creating a new financial, residential, and cultural quarter. The history of Custom House Quay, and the wider Docklands, is thus characterised by these pronounced cycles of economic flourishing, decline, and ambitious renewal, with each phase profoundly reshaping its fabric and function.

The new Liffey watersports hub is the latest layer to be added to this rich historical tapestry. Its emergence reflects contemporary urban values that prioritise public access to waterfronts, the provision of recreational amenities, and the thoughtful integration of leisure facilities with existing cultural heritage assets like the Jeanie Johnston and the EPIC Museum. Furthermore, the development of this public-facing facility on the very site previously occupied by the offices of the Dublin Docklands Development Authority carries symbolic weight. It signifies a tangible shift, at least for this particular plot, from a phase of regeneration characterised by centralised administrative oversight to one that emphasises direct public amenity and engagement with the River Liffey. This evolution in the use of Custom House Quay—from a primary focus on trade and revenue collection, to a centre for the administrative management of regeneration, and now to a hub for public recreation—mirrors broader societal shifts in how post-industrial cities perceive, value, and utilise their urban waterfronts, moving beyond purely economic or administrative functions to embrace their potential for community life, tourism, and well-being.

Looking ahead, the Dublin Docklands will undoubtedly continue its dynamic evolution. Recent approvals for landmark structures, such as Dublin’s future tallest building on North Wall Quay (permission reported in February 2025), and the area’s increasing prominence as a venue for international events like Dublin Tech Week, signal a future of sustained growth and activity. The enduring challenge for Dublin will be to navigate this continued development by striking a careful balance: fostering economic vitality and accommodating high-density urban living while simultaneously safeguarding precious heritage, ensuring environmental sustainability, and nurturing the creation of inclusive, vibrant, and liveable communities. The Liffey watersports hub at Custom House Quay, in its design and operation, will be one more testament to the city’s capacity to meet this complex and ongoing challenge.

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PHOTOGRAPHED 5 MAY 2025 USING A FUJIFILM GFX100RF

People find the William Dargan Bridge in Dundrum to be an attractive structure for several reasons:

Architectural Design:

Cable-stayed design: This modern design, where the bridge deck is supported by cables running directly to a central tower (pylon), is inherently visually striking. The clean lines of the cables and the imposing pylon create a sense of elegance and engineering prowess.

Asymmetrical form: The bridge’s asymmetrical cable arrangement and the single, inverted-Y shaped pylon contribute to its unique and eye-catching silhouette. This distinguishes it from more conventional bridge designs.

Slender deck: The slim, elegantly curved, prestressed concrete deck, only 1.325 meters deep, adds to the bridge’s refined appearance.
Landmark Status and Visibility:

Prominent feature: In an area with predominantly low-rise buildings, the 50-meter-high pylon and the overall structure stand out, making it a significant and recognisable landmark in Dundrum and the surrounding areas.

Wide visibility: The bridge is visible from a distance, including from the Dublin Mountains, making it a notable feature on the landscape.

Visual Aesthetics:

Scenic backdrop: The view of the sun setting behind the bridge, with the Dublin Mountains in the background, is considered particularly beautiful.

Integration with surroundings: Some find that the modern design of the bridge complements the ongoing development in the Dundrum area.
Symbolism and Recognition:

Named after a significant figure: The bridge is named after William Dargan, a highly important 19th-century Irish railway engineer. This historical connection adds a layer of significance.

Symbol of regeneration: The bridge represents the regeneration of a former railway corridor for modern public transport, symbolizing progress and development.

Awards:

The bridge has received awards such as the ACEI President’s Award for Excellence and the Irish Concrete Society Award, recognizing its design and construction quality.

While some minor criticisms exist, such as the presence of antennas or occasional lack of cleanliness, the overwhelming sentiment is that the William Dargan Bridge is an attractive and architecturally significant structure that enhances the Dundrum landscape.

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